libeanim/alexandria_finetuning · Datasets at Hugging Face

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sports injuries in cyclists are frequently caused by an abnormal cycling position in which a repetitive motion occurs with a relatively fixed knee position and insufficient muscular endurance in the lower limbs1 . an incorrectly set saddle height can cause a considerable strain on the knees and lead to knee overuse injury3 . the knee joint provides power to pedal and drive a bike during cycling ; however , knee overuse is a common sports injury4 . therefore , the height of the cyclist s saddle is critical to preventing sports injury . the height of the cyclist s saddle is also critical for optimizing performance and reducing the risk of knee overuse injury during cycling5 . one study indicated that effective prevention of knee injury entails setting the bottom dead point of the pedal at a position6 , that allows the knee to be flexed between 25 and 35. another study recommended that the saddle height permit 2535 knee flexion and determined that a knee angle closer to 25 than 35 facilitated sports performance and injury prevention7 . during cycling , the bike must fit a cyclist as possible , which could have optimal sports performance8 . whether professional or amateur , cyclists seek techniques for improving their cycling performance . the optimal pedaling rhythm is one that maintains the minimum pedaling force requirements to provide bike power . this allows cyclists to use slow - twitch fibers for primary muscle power , and this allows anaerobic capability to be reserved to delay exercise fatigue9 . because cycling exercise is a prolonged physical activity , a stable cycling speed is essential to maintaining the fitness of the cyclist , who must compensate for exercise fatigue through riding posture and chaotic pedaling rhythms , thereby affecting individual or team performance10 . adequate fitness and muscular endurance are critical to fundamental athletic performance11 , 12 , with external factors such as bicycle architecture also affecting performance13 . previous studies have frequently explored seat height and demonstrated that inappropriate seat height could affect cycling performance14 , 15 . therefore , our study compared the variance in cadence frequency after exercise fatigue between saddle heights with 25 and 35 knee flexion . the results may elucidate the positive effect of a suitable saddle height for cyclists . the variance in cadence frequency was hypothesized to be less for a saddle height with 25 knee flexion than that for one with 35 knee flexion . this study adopted a crossover design to assess the difference in cadence frequency between the two saddle heights among healthy college students aged older than 20 years . all participants provided informed consent before the study , and the procedure was approved by the research ethics committee of a hospital . the exclusion criteria were a history of lower limb injury , an anterior or lateral cruciate ligament tear , a meniscus lesion or ankle ligament tear , or cardiovascular disease . the variable in this study was saddle height , which was set at two different heights by setting the pedal at the bottom dead point with 35 or 25 knee flexion , respectively ( fig . the participants were randomly assigned to test each saddle height ( i.e. , with 25 or 35 knee flexion ) for 2 days , with a 2-day rest between testing of the two cycling protocols to avoid muscle fatigue . a cadence bike sensor ( edge 510 , garmin , olathe , ks , usa ) with a heart rate sensor was used , and a 10-grade rating of perceived exertion ( rpe ) was adopted for assessing exercise fatigue . the heart rate reaching 90% of its predicted maximum and the rpe reaching a grade of 7 were used for judgment of exercise fatigue16 . saddle height setting ( is 35 or 25 knee flexion ) the participants were asked to pedal to fatigue in the cycling exercise , and the cadence frequency was recorded from the start of a 5-minute warm - up period until 5 minutes after inducing exercise fatigue . before the exercise began , the protocol was explained to the participants in detail , alerting them to precautions and informing them of the assessment project . each participant was allowed to ride a stationary bike and set the saddle height before adjusting the amount of resistance ( 7 grades ) requesting that the participant maintain a cadence frequency of 85 rpm , which is a common training model for cyclists . after the resistance and saddle height were properly adjusted , recording of the cadence frequency was started for the 5-minute warm - up . after exercise fatigue was induced , recoding of the cadence frequency was continued for 5 minutes of exercise fatigue . the relative variance of the cadence frequency was calculated as the current cadence frequency the set cadence frequency ( 85 rpm ) . this equation denotes the pedaling efficiency , which was calculated at the end of the 5-minute warm - up period and 5 minutes after inducing exercise fatigue . the data obtained were analyzed using the spss version 15 software ( spss , inc . descriptive statistics ( i.e. , mean and standard deviation ) of the participants demographic data were calculated . the wilcoxon test was used , and the value was set at 0.05 . comparing the absolute values of cadence frequency under the two conditions with the two saddle heights ten healthy college students ( age = 22.5 0.9 , weight = 61.3 5.1 kg , and height = 169.3 5.1 cm ) were recruited and randomly performed the cycling protocols , which entailed cycling with a saddle height set to allow 25 or 35 knee flexion . the relative variance in cadence frequency denoted the difference between the actual and set cadence frequencies . comparison of the variance in cadence frequency for saddle heights with 25 or 35 knee flexion revealed no significant difference after the 5-minute warm - up ( table 1table 1.absolute values of relative variance of cadence frequencysaddle height with 25knee flexion ( n = 10)saddle height with 35 knee flexion ( n = 10)5-min warm - up2.62 1.252.53 1.765 minutes after inducing exercise fatigue2.32 1.834.21 2.65*p < 0.05 , saddle heights with 25 vs. 35 knee flexion . p < 0.05 , 5-min warm - up vs. 5-min exercise fatigue ) . a significant difference was found using the saddle height with 35 knee flexion after the 5-minute warm - up and 5 minutes after inducing exercise fatigue ( p = 0.001 ) . comparing the mean and standard deviation of the cadence frequency after the 5-minute warm - up and 5 minutes after inducing exercise fatigue revealed a significant difference between the saddle heights with 25 and 35 knee flexion ( p = 0.001 ) . p < 0.05 , saddle heights with 25 vs. 35 knee flexion . a saddle height with 35 knee flexion means that the cyclist is seated at a lower saddle height , with the knees remaining flexed during peddling . a saddle height with 25 knee flexion means that the cyclist is seated at a higher saddle height , with the knees extending during peddling . a cyclist seated at a saddle height with 35 knee flexion maintains a long quadriceps muscle length . according to the muscular length - tension ratio , when the length of the muscle surpasses its primary length , passive elastic tension in the muscle initiates factors that cause a greater contraction force17 , 18 . our results indicated that the saddle height with 35 knee flexion had a relatively high variance in cadence frequency , meaning an increase in chaotic pedaling rhythms . when the knee is almost fully extended , cycling is perceived to be easier and is more effective , indicating that a high saddle height results in reduced muscular work19 . found that anaerobic power in a graded exercise protocol was significantly lower for a saddle height with 25 knee flexion than for one with 35 knee flexion7 . in the current study , the current findings supported to the idea that a saddle height with 35 knee flexion would increase power consumption , resulting in an increased relative variance in cadence frequency 5 minutes after inducing exercise fatigue . however , the saddle height with 25 knee flexion exhibited a significantly lower relative variance in cadence frequency than the saddle height with 35 knee flexion . therefore , cycling with a low saddle height could reduce chaotic pedaling rhythms during exercise fatigue , thus benefiting cycling performance . an incorrect saddle height can exert considerable strain on the knee joint , resulting in an increase of overuse injuries20 . although the current study did not explore the effects of different saddle heights on injury prevention , an experimental study established that a saddle height with 2535 knee flexion is ideal for injury prevention21 . however , some studies have recommended a saddle height with 25 knee flexion for injury prevention6 , 20 . an overly low saddle height can cause anterior knee pain from increased compression of the knee joint as the cyclist pushes through the top of the pedal stroke7 . holmes et al . thought that low saddle heights had a high risk of knee overcompression when cycling , which could also result in overuse injuries involving cyclists knee joints22 . found that increasing saddle height could result in large increases in the index of cyclists effectiveness23 . the results of the current study reveal that a saddle height with 25 knee flexion had a lower relative variance in cadence frequency , and it was presumed that high saddle heights could reduce chaotic pedaling rhythms during exercise fatigue . although this study did not investigate the relationship between saddle height and knee injury , most evidence - based studies have supported using saddle heights with 25 knee flexion for beneficial effects in both performance and injury prevention . after inducing exercise fatigue , the relative variance in cadence frequency for saddle heights with 35 knee flexion was higher than that for saddle heights with 25 knee flexion . . the limitations of our study were the small sample size and the short cycling duration , which was selected because it is difficult to observe exercise fatigue during long - distance cycling .	pubmed
Chip and Dale's Rescue Rangers Foxglove wa Otaku Desu (This fan-fiction assumes the Babel effect. All animals understand each others meaning, irrespective of language, and by extension animals can understand any spoken human language. It also assumes the time is early 1990s, not present day. Where non-English words are spoken, but the Rangers automatically hear the translation, the real words will be in square brackets ) What if Foxglove felt she had a good reason to stay away from the other Rangers? Some dark secret that she felt would alienate her and make her outcast if anyone apart from Dale knew. A secret to terrible that she would hide it completely… Okay enough with the build-up. Presenting… **** Foxglove wa otaku desu It was a great day for the Rangers and Dale in particular. They had a new member, Foxglove, and were finally going to visit her place. Dale and Foxglove had been meeting up away from the RRHQ for several months after the moon-rock incident, 'for hang glider lessons', but she'd been curiously reticent about hanging around headquarters or the other Rangers. At Dale's urging, she'd joined in on a couple of missions and quickly proved a valuable team member, with her sonar and ability to fly while carrying someone (as long as no-one reminded her she couldn't). It quickly became a matter of when she could become a team member, not if. Her outgoing personality and good cheer was quick to win her friends. However all her talk was about the others and their interests, not herself. The team had noticed this and done their best to make her feel welcome, and now it had paid off. She had finally agreed to let them see her place, somewhere that had been off-limits to anyone but Dale. So now the Ranger Plane was following Foxglove, and Dale's bat glider, which he was using, to quote him, 'to give her some company out there… aw shucks.' The lady bat was clearly nervous. A couple of times she started to veer off, only to be called back by Dale. "Maybe I should just bring stuff to the Treehouse myself…" "Don't worry Foxy, the guys will love your place, you got real talent." Dale side-slipped in close. Despite his complete ineptness with any larger vehicle (flying mind controlled tanks aside), the rarely shown determination that had surfaced for Double O Dale and Ram-Dale had made him a very good glider pilot. "But, Dale-cutie chan, they'll see… Chip in particular… And they've all been so friendly…" "Don't worry, Foxy. If they can cope with having me around, you'll be fine." Dale might not be as technically intelligent as Gadget, but he'd quickly found out the easiest way to stop Foxglove worrying over something else was to get her to worry over him. "But you're brave and funny and sweet and helpful. Besides you're so good at Ranger work.." Dale grinned. "I used to goof up a lot more. Like that inventor guy said 'Maybe I just needed a better reason to succeed.' " "What inventor guy?" The retelling of the unintentional kidnapping of Gadget by Clyde Cosgrove, the superstitious inventor took up the rest of the flight. As they reached their destination the pair drifted back level with the Rangerplane. Dale pointed down and swooped, Foxy matching his moves "Golly, it's the City University." Monty said, then realised he'd picked up the wrong script. "Golly, It's the City University." said Gadget as they spiralled down after the two flyers. Dale, headed for the roof of a two-story building with metal lettering on one wall. 'Faculty of Art, Media Studies Department' He sailed over the flat asphalt roof and stalled his glider to drop for a neat landing. Foxy back-winged to land beside him and seconds later the Rangerplane's shadow swept overhead. The other Rangers joined the pair, Dale almost bouncing with eagerness as he lead them to the edge, Foxy almost being dragged by the cheerful chipmunk. An arrangement of ladders and tubing provided a safe route over the edge of the roof and under the eve. Dale explained. "We had to install this before I got good enough to glide straight in." "Straight in where?" Chip asked, and the others looked equally puzzled. "You'll see. This is gonna be great!" They quickly did. The roof overhung the building and underneath it there were a series of ventilation gaps leading upwards into the roof space. They realised that to fly in you'd have to dive and swoop up at the last moment, stalling as you rose over the inner edge. Suddenly Dale's proficiency with a glider was a lot less mysterious. The ventilation gap led into the space over a room with a drop ceiling. A grid of support wires suspended a metal grid holding polystyrene tiles. It was dark, lit only by light leaking through the ventilation gaps and occasional cracks in the tile layout. Barely glimpsed, occasional bundles of cabling and a couple of conduits interrupted the open space. Foxy flew out and up to hover near the roof and switched on a pocket torch, which was secured to the ceiling. It illuminated what was obviously her living space. It had a somewhat schizophrenic feel it, having being created for a creature that was as used to being inverted as upright. Suspended cross wires had been made into perches by padding and string. Below, a polystyrene tile had been reinforced by pieces of cardboard, laminated together with glue. It supported a couple of beanbags and a silvered cardboard stand that supported a bottle top full of water and some personal grooming gear. Some suspended slings next to it acted as storage compartments. Nearby, one of the vertical stays had been more heavily wrapped with padding that looked rather lumpy and worn. A stack of paper cut down to A6 size (notepad) and a plastic box full of pencil stubs and stationary completed the furnishings. Every thing else was decoration. Some carefully angled silvered card mirrors on the floor reflected light from the torch up onto the edges of the area, where dozens of suspended pictures hung. Some were clearly cut from the covers of magazine advertisements, the small 'inset style' pictures making a decent small animal sized posters. Others were obviously hand drawn and painstakingly coloured in. A few were A6, which made them practically bed-sheet sized for a rodent, but most were halved or quartered. Some of the top row were upside down But it was the subject matter that stopped the Rangers in their tracks. Jackie Chan and Bruce Lee rubbed shoulders with Ninja Science Team Gatchaman, Sailor Moon and Moldiver. One series of 'posters' showed Miyazaki films such as 'Laputa – The Flying Island.', 'Kiki's Delivery Service' and 'Naussica of the Valley of Winds'. But most of all it was the hand drawn sketches. Anime style humans in outlandish costumes rubbed shoulders with more realistic animal studies, some equally oddly garbed. All showed the same competent 'hand', or as they quickly realised, 'wing'. A few showed the Rangers or Foxglove herself. One showed the entire Ranger team, minus Foxglove, in the birdlike Ninja Science Team Gatchaman costumes, in an action pose against a starry galaxy. Another was an image of Gadget, in a floating ribbon swathed robe, a curious mark blue mark on cheek and forehead and carrying a staff surmounted by a hex nut. One of the full length ones was an image of Foxy and Dale posed in from of a thin crescent moon, she in a sailor suit and wearing big gold and ruby ornaments on her ears, and him in an immaculate black tuxedo and top hat and wearing a white domino mask. Foxy was still hovering up by the light switch, unsteadily because her wings were shaking. She looked nervous enough to bolt. "Wow!" "Golly and a half!" "Zu zaid id!" "You did all this lass?" "You like them?" Foxy asked, still nervous. Chip got his words out a fraction of a second before the others. "Are you cuh-razy? They're amazing." Dale grinned broadly, "See, I told ya they'd be impressed." Foxglove stopped dead in midair with an almost pathetic expression of relief and dropped down onto one of the beanbags. "I'm so happy!" She bounced up off the beanbag and started practically skipping around the room, hugging each of the Rangers. "I wanted to show everyone, but I was so afraid, especially when I drew you all without permission, but you're team fits the G-Force so well, and anyone who doesn't meet Gadget for 5 minutes and think of Belldandy, with Skuld's talent for gadgeteering…" She sighed deeply. "So now you know… I'm an o-ta-ku." She spelled out the word. Non-plussed expressions had clearly been on sale, because everyone except Dale and Foxy had one. A spelled out word didn't automatically translate. Monty spoke first. "I thought you were a bat, Foxy-luv." Foxglove giggled, "No, silly, it means a fan of Japanese animation styles, cartoon movies anime and comics manga. I'm also into Hong Kong action movies, but anime is my first love… I'd better tell you the whole story." Foxy gestured to the beanbags. "Sorry you have to share, but until Dale I was the only one here." When everyone was comfortable, she perched and started her tale. "As you can guess, I'm not from around here. I grew up in another city, I couldn't tell you which one. I was the odd one out in a family of… stiffs is the only word for them. I was always asking questions that didn't need asking, in their opinion and generally was a nuisance in their well-ordered lives. I wasn't particularly happy, and as soon as thought I had a chance of making a go of it on my own, I left. I went to the rail yard and caught the first train going anywhere but there. I think they were glad to see me go." "Ohhh, Foxglove!" Gadget was almost in tears at the matter of fact account, and the others didn't look too happy either. Dale, who was sitting on the beanbag by Foxglove, put his arm around her. "Foxy, you never said." Foxglove paused and hugged him one wing in return. "I didn't want you to feel sorry for me. Don't feel sad. It was the first decision I ever made for myself, and even if it proved to be a bad one at first I ended up here, with you cutie, and everyone else. That makes up a thousand times what I went through. So, I quickly found out that independence wasn't as easy as I'd thought. It was the end of autumn and I was pretty far down on my luck, cold tired and hungry when I found a roost in the loft of the Art House cinema down on 24th and Jackson. It was warm, there was plenty of food, and I spent the first few days recovering." "Then I got interested in what exactly the humans were doing below. It turns out they were just starting a season on Japanese . That first night I saw Laputa – The Flying Island and Lupin III – Castle of Cagliostro, and I was hooked. I'd only ever seen even TVs in shop windows and to see it like that… over the next couple of weeks I saw everything they showed, all the Miyazaki canon, the uncut version of Akira, Project A-ko, Macross – Do You Remember Love. The stories, the fantastic pictures, the music… When it looked like finishing I was devastated, until I overheard some students who'd been to one of the last showings talking about CUACS." "Quacks?" asked Chip, not wanting to make the obvious remark about ducks. "The City University Asian Cinema Society. They meet one evening a week in the classroom below. Officially it's one of the Media Studies classrooms, but effectively it's their clubhouse. Of course I quickly made my way here. At first I just watched, they even have a laserdisc player that can handle stuff straight from Japan. But then I wanted to do more. Fortunately they keep a small library of books in there, 'How to draw', Japanese dictionaries and guides to their writing, and I had plenty of free time." "Golly, and you managed to draw all these?" "It was hard at first," she held out a wing, "After all I'm not exactly built for dexterity. But I persevered, and eventually I made it work. I even managed to make friends with some of the humans, in a way." Their were more expressions of shock, which Foxglove quickly stalled. "Not directly… But the university, and this building has an excellent computer network, connected to the Internet. I managed to set up a hidden account, easy enough when you can hide in the ducting and watch the Sysop at work. I spoof all my messages through a server in Tokyo so they don't realise I'm right here. They know me as Digital Ice." She paused for a second and Dale, surprisingly, was the one who reacted first. "Ohh… Foxy. I'm the one who does the bad puns." He looked around. "Digital Ice, Digitalis, the medical name for the foxglove plant… Oh yeah, you guys never watched that late, late show on herbal medicine." The lady bat rewarded him with another hug. "They believe I'm a Japanese media student, specialising in English. I make all my posts at between 2 to 4 in the morning, evening time in Japan. I scan in some of my pictures and help them with fan-subbing." The non-plussedness was once again evident. "Anime comes from Japan, mostly, and has sound tracks in Japanese. English speaking humans don't understand, so they commonly add sub-titles. It's done mainly by fans, using dictionaries and hard work," (she used the word otaku again, and this time they understood) "and so it's called fan-subbing. "Of course for us it's different. We can understand each other, even though each species has it's own language. So I speak in Battish, you listen in Mousese or Chipmunk or Flyan but you still understand me. But a human would just be listening in Bewilderment. "At first I didn't understand that humans speaking different languages couldn't understand each other. It took me some time to realise that the words at the bottom of the screen weren't just for the hard of hearing, and didn't match up to the way the words were being spoken. When I did, I started to help, sending transcripts by e-mail. After all, for me, it just means sneaking down at night, putting a un-subtitled tape on and transcribing what I hear." "That makes sense." Gadget was thoughtful. "I didn't realise you knew so much about computers. But why hide it?" Foxglove hesitated. "I had a… bad experience." She bowed her head, then looked back up. "I didn't get along with the few other bats I met. They seemed to think I was weird, I guess to them I was. But there was this one bat, Victor, He was willing to hang out with me, said nice things, and I was happy to let him stay here, share what I had, and generally took care of him." "Sounds a mite like he was using yer, lass." "Maybe I realised that on some level, but I didn't mind, it was so good to be finally needed. But then he started getting more demanding, insisting I stop playing around with all this," she gestured with a wing at the surroundings, "and spend more time on more important things, in short, him. I tried to do more, to provide what he wanted, but it was never enough. One day he finally lost it. He called me… some terrible things, screamed that I was a hopeless little fluff brain who might as well put myself in one of my pathetic scribblings since I had no chance of making it in real life. Then he started tearing down some of my favourite drawings and ripping them to shreds." She gulped, obviously remembering, and started sniffling. "I never told anyone, even Dale that part…" The aforementioned chipmunk held her comfortingly, looking uncharacteristically fierce. "Hey Foxy, don't worry, if he ever shows his face around here again I'll…" he paused, at a bit of a loss for words. "… well he'll be sorry he did!" Foxglove gazed straight at him, managing a smile. "It's okay Dale, when he started wrecking things I got sort of mad and kicked him out." "But…" "I mean I really kicked him out… as in flying kick. I do watch the live action movies too, and I came up with a few ideas. Flying kicks are easier to do when you really can fly, and open handed strikes, well a bat wing is a big webbed open hand with muscles that can lift a bat's bodyweight. That translates to quite a powerful strike. I do practice." And at this she glanced sideways at the vertical stay with the padding. "I don't like to use them unless I have to, but they come in handy." Monty smacked his one paw into another. "Too roight luv, Capone's goons found that out." "Wowie Zowie! I knew you were a really good artist, but you never said you were a kung fu babe as well! That's so neat!" Foxglove blushed. "I didn't want to scare you off. I've worked out a few tricks, but I'm no martial artist." Dale was the one who looked subdued. "But you can do so much, why'd ya end up with Freddie? Not that I'm complaining, 'cause it meant I met you." Foxglove shook her head. "I guess I'm the sort who can't help but make fumble winged mistakes. After Victor I didn't want to see much of anyone. I sort of took his words to heart. Then I found Winifred, and decided if I couldn't be a good person I might still be a good familiar." She got up and walked over to the poster for 'Kiki's Delivery service.' "This was my first introduction to witches and it was as the good guys. It's about a young witch who goes out into the world with her familiar, a little black cat called Jiji, to find her destiny. However she's no good at spells or potions, just at flying her broom. So when she finds a town without a witch she starts a delivery service. That was the sort of thing I was thinking when I met up with Winifred, flying that vacuum cleaner. Maybe it was because she was a witch, but she understood me. "I asked, practically begged to be her familiar. This was before Bud or Lou, and I tried to help her get better at magic and act as her voice of reason, just like Jiji. I found out soon enough she wasn't a nice or reasonable person, but I stuck it out, even when she got other familiars who would do some of the nasty things I wouldn't touch. I guess I still saw it as my responsibility somehow." "Then came that night we were collecting lightning bugs at the drive-in. I was torn between helping out and stopping the others so I just sort of hovered in the background. Then I saw your Rangerplane. It was amazing, like the flaptors out of 'Laputa' and I wanted to find out more. Then you all got into that mess with Bud and Lou and I was scared to show up in case they identified me as part of their group and you thought I was an enemy, and I didn't want that." Dale looked puzzled. "But you acted all cuddly with me right from the start. What'd I do?" "Well I couldn't help overhearing you when I was observing. It was sweet of you to offer some of your food to everyone, the way your bubblegum saved everyone, but I guess it was really the way you fell. You were a little chipmunk Jackie Chan, and I guess I just couldn't help falling too, in love. It was like something out of a girls comic shojo manga where the girl; meets the boy by some ridiculous accident. I couldn't help myself." Dale looked embarrassed, "Gosh, I'm sorry it took me so long to stop pushing you away. I just couldn't figure what you saw in me, I thought it was all some game." Foxy cuddled up to him again. "It's okay Dale-cutie chan. It's also a regular thing in shojo that the guy doesn't want to know at first, thinks there's some trick or something wrong, but the cheery girl perseveres and wins his heart in the end." Monty whispered to Chip. "Looks like our little lady Foxy is even more stuck on comics than Dale-lad." Foxglove's face fell, and Monty remembered how good her hearing was. "Oh, no, please don't tell me I've ruined it!" "Now lass, don't get yerself all twisted up. None of us Rangers is your regular type. If we were, we probably wouldn't be Rescue Rangers." The others quickly agreed. Dale added, "Yeah, Don't worry Foxy, everything will work out fine." Foxy sighed happily. "Thank you, everybody! It's just after so many false hopes, I'm still scared that all this is some wonderful dream. I have friends who are willing to accept me, and a wonderful guy who can share my interest. I feel as if I was in a shojo manga and this was the happy ending." Dale smirked. "Uhuh, this Foxy, this is the real thing. Hey, maybe someone will make a cartoon about us someday. Foxy and Dale, Rescue Rangers." "Hey, aren't you forgetting some people?" asked Chip, his open paw including the rest of the Rangers. Gadget giggled. "Don't worry Chip, who'd make a cartoon about us?" And there was much good humour. & This was not so much a story as a monument to an idea that got out of hand. Foxglove is the one character who is something of a mystery. This tries to resolve that. Thanks for reading. With many thanks to 'aika.ru' for the wallpaper 'Oh My Gadget' i16./albums/b27/Zelgadis97/amgadget-1280x1024.jpg and to Marc Baker for the image 'Spaceranger' rrdatabase./image/marcbaker/spacerangers.jpg both of which inspired pictures attributed to Foxglove in this story. As for the 'Sailor Foxglove, Tuxedo Dale' image described here, I haven't seen it but if someone wants to have a go… Update - It inspired an excellent piece of fan art /phpbb/viewtopic.php?t10691, and all props to Toni, the artist.. End file.	fanfiction
Is HDPE affected by long term exposure to methanol? For at least several years I'be been storing various chloride solutions with methanol as a solute in Nalgene containers, which I believe are made from high density polyethylene (HDP). But recently two of these containers had failed. On these containers the plastic seems to have hardened and cracked (see photographs below). [![enter image description here](https://i.stack.imgur.com/UYZrd.jpg)](https://i.stack.imgur.com/UYZrd.jpg) [![enter image description here](https://i.stack.imgur.com/TImtJ.jpg)](https://i.stack.imgur.com/TImtJ.jpg) The other containers still seem to be pliable, in good shape. I thought that HDPE would be resilient to methanol and provide indefinite storage. Was I wrong? Or is it perhaps the methanol in combination with the particular salt that led to failure of the container? The failed containers had strontium and potassium chloride solution. Others like lithium, sodium and copper solutions are OK. HDPE should be fairly stable to MeOH, but it [crazes in the presence of UV](https://www.directplastics.co.uk/about_plastics/how-uv-affects-engineering-plastics), when subject [to oxidization](https://www.researchgate.net/profile/Donald_Duvall2/publication/269139268_Forensic_Analysis_of_Oxidation_Embrittlement_in_Failed_HDPE_Potable_Water_Pipes/links/560157af08aeafc8ac8c8e1b.pdf) or [to environmental stress](http://sundoc.bibliothek.uni-halle.de/diss-online/04/04H140/prom.pdf). Since only some of the containers failed, were those subjected to more UV (e.g. placed by windows or at the front of a shelf in a well-lit location), placed near oxidizers, such as bleaches or were they subject to higher temperature, which would have caused the methanol liquid and vapor to expand, increasing pressure and stressing the container? My experience has also been that apparently identical polyethylene containers have different failure rates, perhaps due to subtle differences during synthesis or manufacture. Given polyethylene's tendency to craze, it might be best to use another type of container for long-term storage. Note, though, that ~50% MeOH/water solution used for windshield antifreeze is usually shipped in polyethylene containers. Though the water lowers the vapor pressure, perhaps the UV susceptibility is addressed with additives. PE has a strong tendency for cold flow under (esp. extensional) stress. When it yields, it recrystallises, becoming more brittle. The crack position at the edge, where the highest local stress occurs, would support that this is what happened. Different PE types (LDPE; LLDPE; HDPE; and more subtle differences in branching, comonomer content etc.), slightly different temperature, pressure, filling height, previous UV exposure, etc. made the difference for your containers. Once it's started, the crazing is likely to continue, because the anisotropic density change during recrystallisation produces even more local stress in the material.	stackexchange/chemistry
the deletions or mutations occurring in mitochondrial dna ( mtdna ) attract attention toward some of human disease either directly or associated with nuclear dna mutations , especially affects the tissue or organ that have a high demand for respiratory energy . spermatozoa needs energy for rapid motility after ejaculation and energy is produced by oxidative phosphorylation . simultaneously , reactive oxygen species ( ros ) and free radicals are formed as byproducts during oxidative phosphorylation . the molecular studies have revealed that mitochondrial genes atpase 6 , atpase 8 , cox 3 , cox 2 , cytb , nd3 , nd4 , nd5 , and nd6 involved the formation of mature sperm and rapid flagellar movement after ejaculation . any qualitative and quantitative abnormal changes in mtdna may impair physiological functions of spermatozoa and diminish the motility of sperms . high frequencies of nucleotide deletions and mutations in sperm mtdna lead to aberrant changes in growth , development and differentiation of sperm and decreased flagellar movements . more than 100 large scale deletions of mtdna are associated with human diseases , and one of the deletions is 4977-bp deletion caused various pathological phenotypes in human . direct repeats , present at nucleotide 84708482 and 1344713459 bp position , which are prone to 4977-bp deletion in mtdna . long chain pcr is a modified version of conventional pcr , and it amplifies a part or whole genome of mitochondria and allows to detection of multiple mtdna deletions from a single sample . number of studies investigated the relationship between multiple mtdna deletions and sperm abnormalities , but they have produced conflicting data . they also noted that deletions in mtdna had significantly higher in asthenozoospermia and oligoasthenoteratozoospermia ( oat ) when compared with normal males . it is quite common for deleted mtdna molecules to coexist with wild - type mtdna in mitochondria of the same cell known as heteroplasmy . such condition also revealed by the genetic as well as biochemical analysis of the target tissues . in this study , we analyzed presence of 4977-bp sperm mtdna deletions in high- and low - density percoll fractions of spermatozoa from different patients , by long - range polymerase chain reaction ( pcr ) with primer shift techniques , to know the association between sperm mtdna deletions with asthenozoospermia and oat . the study included sixty infertile men and thirty normozoospermic sperm samples . out of them , recruitment of patients and fertile men was made according to guidelines established by world health organization 2010 . all the semen samples were collected into sterile container ; then the sample were allowed to liquefy at 37c for 30 min . semen sample was collected after routine diagnosis of sperm profile including motility , characteristic , concentration , and morphology . in our laboratory , informed consent form was obtained from each patient and study was approved by mahatma gandhi institute of medical sciences institutional ethical committee . fractionation of human sperm was done by using three steps ( 80% , 60% , and 40% ) discontinuous percoll gradients . percoll gradients were prepared by mixing 100% percoll solution ( sigma , ca , usa ) with ham 's f-10 medium ( sigma , ca , usa ) at different volume ratios . freshly ejaculated spermatozoa were gently washed and 500 l sperm sample was layered on top of percoll gradient and incubated at 37c for 1 h 30 min in 5% co2 incubator . after incubation , the spermatozoa migrated into different percentage of percoll gradients according to their motilities [ figure 1 ] . fractionation of human sperm by self - migration into continuous percoll gradients layer according to their motilities of spermatozoa spermatozoa were collected before dna extraction , and sperm was incubated with 50 mm tris - hcl buffer ( ph 6.8 ) at 8c for 20 min to avoid contamination of lymphocytes and epithelial cells by osmotic shock method . those sperm cells resist to this treatment were then collected by centrifugation and subjected to dna extraction according to the method described . sperm cells digested at 55c for 2 h in 1.5 ml tubes ; lysate was extracted with phenol - chloroform . the aqueous layers were separated and precipitated with ethanol and 3 m sodium acetate ( ph 5.6 ) and dna precipitated was washed with 75% ethanol and dried . the sperm mtdna was finally dissolved in 10 mm tris - edta buffer , ph 8.5 . the desired long segment of targeted sequences of mtdna was amplified from 100150 ng of sperm mtdna in a 50 l reaction mixture , containing 200 mm of each dntp ( merck biosciences , bangalore ) , 1 mm of each light and heavy strand primers ( idt technologies , usa ) , 1.5 u of herculase dna polymerase , 50 mm kcl , 2 mm mgcl2,25 mm tris[hydromethyl ] methyl-3-aminopropanesulphonic acid ( agilent technologies , usa ) , 1 mm pcr was carried out for 25 cycles in two steps in first 12 cycles using the denaturation at 94c for 1 min , annealing at 5558c for 1 min , and primer extension at 72c for 6 min and remaining 13 cycles denaturation and annealing condition were same but primer extension at 68c for increasing 10 s to each reactions . the long - range pcr products were then separated on a 1% ethidium bromide containing agarose gel for 1.5 h and observed on gel documentation system ( uvi - teck , uk ) . primer - shift pcr method was used to determine the amplified dna fragment was not the product of mis - annealing of primers from the dna template . we could obtain pcr products of 372 , 572 , 526 bp , by using primer pair mtl1-mth1 , mtl1-mth2 , mtl1-mth3 [ table 1 ] . these reactions allowed to consider the presence of 4977-bp mtdna deletions in spermatozoa with poor motility . by shifting of the primer pair , we could assure that the amplified pcr products were not due to mis - annealing of the primers to the dna template but to the presence of large - scale deletions in sperm mtdna . sequences of primers used for primer shift technique to amplify mitochondrial dna for detection of common 4977 bp deletion the study included sixty infertile men and thirty normozoospermic sperm samples . out of them , recruitment of patients and fertile men was made according to guidelines established by world health organization 2010 . all the semen samples were collected into sterile container ; then the sample were allowed to liquefy at 37c for 30 min . semen sample was collected after routine diagnosis of sperm profile including motility , characteristic , concentration , and morphology . in our laboratory , informed consent form was obtained from each patient and study was approved by mahatma gandhi institute of medical sciences institutional ethical committee . fractionation of human sperm was done by using three steps ( 80% , 60% , and 40% ) discontinuous percoll gradients . percoll gradients were prepared by mixing 100% percoll solution ( sigma , ca , usa ) with ham 's f-10 medium ( sigma , ca , usa ) at different volume ratios . freshly ejaculated spermatozoa were gently washed and 500 l sperm sample was layered on top of percoll gradient and incubated at 37c for 1 h 30 min in 5% co2 incubator . after incubation , the spermatozoa migrated into different percentage of percoll gradients according to their motilities [ figure 1 ] . fractionated spermatozoa were separated from percoll gradients in fresh vials . fractionated sperm samples were used for mtdna extraction . fractionation of human sperm by self - migration into continuous percoll gradients layer according to their motilities of spermatozoa spermatozoa were collected before dna extraction , and sperm was incubated with 50 mm tris - hcl buffer ( ph 6.8 ) at 8c for 20 min to avoid contamination of lymphocytes and epithelial cells by osmotic shock method . those sperm cells resist to this treatment were then collected by centrifugation and subjected to dna extraction according to the method described . sperm cells digested at 55c for 2 h in 1.5 ml tubes ; lysate was extracted with phenol - chloroform . the aqueous layers were separated and precipitated with ethanol and 3 m sodium acetate ( ph 5.6 ) and dna precipitated was washed with 75% ethanol and dried . the sperm mtdna was finally dissolved in 10 mm tris - edta buffer , ph 8.5 . the desired long segment of targeted sequences of mtdna was amplified from 100150 ng of sperm mtdna in a 50 l reaction mixture , containing 200 mm of each dntp ( merck biosciences , bangalore ) , 1 mm of each light and heavy strand primers ( idt technologies , usa ) , 1.5 u of herculase dna polymerase , 50 mm kcl , 2 mm mgcl2,25 mm tris[hydromethyl ] methyl-3-aminopropanesulphonic acid ( agilent technologies , usa ) , 1 mm pcr was carried out for 25 cycles in two steps in first 12 cycles using the denaturation at 94c for 1 min , annealing at 5558c for 1 min , and primer extension at 72c for 6 min and remaining 13 cycles denaturation and annealing condition were same but primer extension at 68c for increasing 10 s to each reactions . the long - range pcr products were then separated on a 1% ethidium bromide containing agarose gel for 1.5 h and observed on gel documentation system ( uvi - teck , uk ) . primer - shift pcr method was used to determine the amplified dna fragment was not the product of mis - annealing of primers from the dna template . we could obtain pcr products of 372 , 572 , 526 bp , by using primer pair mtl1-mth1 , mtl1-mth2 , mtl1-mth3 [ table 1 ] . these reactions allowed to consider the presence of 4977-bp mtdna deletions in spermatozoa with poor motility . by shifting of the primer pair , we could assure that the amplified pcr products were not due to mis - annealing of the primers to the dna template but to the presence of large - scale deletions in sperm mtdna . sequences of primers used for primer shift technique to amplify mitochondrial dna for detection of common 4977 bp deletion we have analyzed sperm mtdna from sixty samples of infertile men with asthenozoospermia ( 39 ) and oat ( 21 ) and thirty control semen samples from fertile males for deletion mapping of mtdna . human spermatozoa with a differing degree of motility were separated by 40% , 60% , and 80% discontinuous percoll gradient . percoll fractions contain spermatozoa were fractionated after incubation on the basis of their sperm motility . the spermatozoa obtained from the 40% fractions of low - density percoll gradients exhibited poor motility . thirty samples from control normozoospermic males were analyzed for mtdna deletions from all three fractions of percoll . results had shown no significant number of 4977-bp common deletions in mtdna of fertile males except two males . using the long - range pcr techniques and the primer sets mtl1-mth1 , we first screened for the deletions of large scale 4977-bp deletions of mtdna in spermatozoa from sixty infertile males . out of sixty patients , 14 ( 23.3% ) patients had showed deletions of 4977-bp ( np the common deletions of 4977-bp results revealed that 40% , 60% , and 80% percoll fractions of spermatozoa had 14 ( 23.3% ) , 7 ( 11.6% ) , and 3 ( 5% ) deletions in mtdna , respectively of infertile males using mtl1-mth1 primer set [ table 2 ] . the 5349 bp band was the full - length pcr product from the wild - type mtdna and the approximately 354393 bp bands were generated from the 4977-bp - deleted mtdna [ figure 2 ] . using the primer - shift pcr technique , we obtained the pcr products with sizes in accordance with the shift in the distance of different primer pairs . mtl1 primer was set with another two primer sets mtl1-mth2 and mtl1-mth3 for primer shift and we obtained the pcr products of 572bp and 526 bp respectively from the 4977-bp deleted mtdna [ table 3 ] . heteroplasmic mtdna is a combination of wild - type and deleted mtdna ( mixed populations of normal and deleted dna ) . in our results , all 14 semen samples ( 14/60 ) of asthenozoospermia and oat showed heteroplasmic mtdna , i.e. a combination of normal and deleted mtdna [ figure 3 ] . the occurrence of the 4977 bp deletions of mitochondrial dna in the percoll gradients fractionated spermatozoa from 14 males with asthenozoospermia and oligoasthenoteratozoospermia a scheme illustrating the strategy used for the confirmation of large scale 4977 - -bp deletion of mitochondrial dna , 13 bp repeat common deletions sites and deleted gene on mitochondrial dna nucleotide primer pairs used for the analysis of the 4977 bp deletions in the mitochondrial dna of human sperm detection of mitochondrial dna molecules with the 4977 - -bp deletions by polymerase chain reaction method . using primer pair mtl1-mth1 we obtained the deleted and wild type mitochondrial dna in lane 3 , 5 , 6 , and 9 . the polymerase chain reaction product size flanking the deleted part is 372 bp sequencing the 372 bp pcr products of the regions flanking the breakpoint of 4977-bp deleted sperm mtdna sequences have been done . the nucleotide sequences flanking the breakpoints of the deletions of 4977-bp of mtdna in human spermatozoa are depicted in figure 2 . upon close examination of the 4977-bp deletion , we found two 13 bp direct repeats in the junction sites from np 8470 to 8482 and from np 13447 to 13460 bp on the mtdna . we sequenced the 12 pcr products of 372 bp generated from 4977-bp deletions of mtdna . sequencing results indicated that maximum breakpoints for 4977-bp deletions were present in the flanking regions of deleted segments and around the direct repeat of 13 bp ( acctccctcacca ) but rarely within the direct repeats . the result confirms that two direct repeats of 13 bp cause or influence the mtdna deletions in infertile men . sperm mitochondria play a crucial role in human fertilization , and defective sperm mtdna is one of the causes of male infertility . sperm dysfunction may be caused by various conditions such as the inability to carry out sperm - oocyte fusion , failure to sperm - zona recognition , and abnormalities of flagellar movement . to known the etiology of the decreased motility and diminished fertility of the spermatozoa and to develop suitable therapeutic approaches , the molecular study of these abnormalities must be explained . in this study , we have investigated 4977-bp large scale deletions of sperm mtdna in sixty asthenozoospermic and oat men . long - range pcr was used for screening large scale deletion of mtdna in spermatozoa with decline motility and deletions were confirmed by primer shift technique . we found large deletions of 4977-bp in 40% percoll fraction in 14 ( 23.3% ) infertile men and in 60% percoll gradient had same deletion in seven patients . however , in 80% percoll gradients only three infertile males had shown 4977-bp deletions . out of 14 mtdna deleted infertile males , eight males had asthenozoospermia and six males had oat [ table 4 ] . nucleotide sequencing of pcr products flanking the deleted mtdna revealed thirteen base - pair direct repeats present at the flanking sites of mtdna , which are generally vulnerable sites for large - scale dna deletions . the break - points of large scale deletions were found in or around the two direct 13 bp repeats . although , the 4977-bp deletion was commonly seen in 40% fraction of spermatozoa with poor motility ; many studies demonstrated that the 4977-bp large scale deletions had present in somatic tissues along with mtdna of infertile male spermatozoa . the mechanism by which these large - scale mtdna deletions occur in still unclear but several studies have been proposed large scale dna deletion by slipped - mispairing , illegitimate recombination , oxidative stress created by free radicals , and topoisomerase or dna recombinase - mediated dna breaks . proportion of the common deletion in 40% , 60% , 80% percoll fractions of asthenozoospermia , oligoasthenoteratozoospermia and normal fertile males mtdna deletions are frequently found in the tissues of different patients and also in mitochondrial myopathy . the 4977-bp deletion of mtdna remove multiple structural genes such as atpase 6 , atpase 8 , coxiii , nd3 , nd4l , nd4 , five t - rna genes , and the deletions results in multiple respiratory chain deficiencies . actually , respiratory chain continuously produces ros in mitochondria and such oxidative stress , exogenous , and endogenous free radicals damage mtdna . showed an increased frequency of nucleotide changes in the mitochondrial gene , including atpase6 , atpase8 , nd2 , nd3 , nd4 , nd5 in the semen of the oat infertile men . they suggested that excess ros and low antioxidant levels in the semen might cause mutation / deletions in mtdna and impair the fertilizing capacity of spermatozoa . had shown a positive correlation between the intracellular content of 8-hydroxy-2-deoxyguanosine , as a biomarker of oxidative dna and the level of mtdna with the 4977-bp deletions in spermatozoa . they suggested ros - mediated oxidative stress to dna might be a causative agent to large - scale deletions of mtdna of spermatozoa . another report suggested that deletions or mutations in the mtdna of sperm / egg cells made by continuously change the physiological environment of germ cells during human ageing . in human sperm cells spectacular segregational and morphological changes occur during spermatogenesis , in which mtdna mutations may be introduced . during spermatogenesis , mtdna deletions / mutations may occur and accumulate in the original spermatid and ultimately damage respiratory function and sperm motility . in the process of intracytoplasmic sperm injection , we avoid the natural selection process of sperm and allows insemination by spermatozoa with low energy production , which means that sperm cells with considerable numbers of mtdna 4977-bp deletions molecule do not produce enough energy for their movement thus oocyte fertilization frequency is low . deletions in a sperm mtdna does not affect embryonic development rather than it reduces fertilization efficiency of spermatozoa which caused infertility in males . direct repeats present in mtdna may introduce the break sites at the time of replication or recombination events . another strong possibility is that for sperm motility continuous energy is required and during the energy production free radical molecules are produced and increases oxidative stress . in the absence of antioxidant activity in mitochondria , the increased oxidative stress caused dna damage . these genetic alterations could be pathological mutations or common mtdna deletions only affect male fertility because mtdna is maternally inherited . indeed , our results indicated the association of the 4977-bp deletions of mtdna with diminished fertility and motility of human spermatozoa . the deletions responsible for decrease sperm motility have been associated with spermatozoa dysfunction and male infertility . our finding suggests that there is a relationship between large - scale deletions of 4977-bp mtdna in spermatozoa with poor motility patients with asthenozoospermia and oat .	pubmed
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INTERSTELLAR Written by Jonathan Nolan STORY BY Jonathan Nolan, Kip Thorne & Lynda Obst MARCH 12 2008 SPACE. But not the dark lonely corner of it we're used to. This is a glittering inferno -- the center of a distant galaxy. Suddenly, something TEARS past at incredible speed: a NEUTRON STAR. It SMASHES headlong through everything it encounters... planets, stars. Can anything stop this juggernaut? Yes. Something looms at the heart of the galaxy, hidden inside the blinding starlight, a dark flaw in the fabric of existence itself: a BLACK HOLE. The neutron star is pulled into the black hole's swirl, spiraling closer and closer to destruction. Finally, it contacts the hole's edge and EXPLODES. The EXPLOSION is so powerful that it sends shock waves into the fabric of space-time itself. We ride one of these waves, racing back out from the black hole. Suddenly, a portion of the wave disappears down a crystal- like hole, emerging in a much darker region of the universe -- a backwater that, as the wave races past a giant red planet with a distinctive eye, we recognize as our own. The wave, now just an infinitesimal ripple, finally reaches our blue planet. It drops into our atmosphere over North America, toward the high desert east of the Cascades, and through the roof of a nondescript warehouse. The wave tickles the atoms in the steel shell of a vacuum chamber, then dances a tiny jig with a laser beam reflected in a heavy piece of glass. The wave shoots back out of the building and disappears in the fractal branches of a tumbleweed resting against a concrete tube that stretches for miles in the desert. An SUV speeds past the tumbleweed and we follow it till it parks at another plain-looking building at the opposite end of the tube. A MAN climbs out of the SUV. INT. CONTROL ROOM, WAREHOUSE -- DAY The man lets himself into a large room that looks like Mission Control. He pours himself a cup of coffee. It is the weekend and the place is empty. No one has been there to see the displays flashing a distinctive shape -- a pulse followed by a series of echoes. The man looks up at the screen, then DROPS his cup of coffee. CUT TO: 2. INT. LIGO OFFICES, CALTECH, PASADENA -- DAY The Laser Interferometer Gravitational-Wave Observatory headquarters at Caltech is a frenzy of activity. POSTDOCS and RESEARCHERS huddle around monitors and printouts, arguing. ANSEN, 60s, the director of LIGO, walks through the frenzy. A postdoc hands him a printout: a pulse followed by echoes. INT. LIGO DIRECTOR'S OFFICE, CALTECH -- DAY Ansen steps into the relative calm of a large, sunlit office, which overlooks a grassy stretch of Caltech's campus. His ASSISTANT, 30s, is on the phone, on hold. He looks up at Ansen as he enters. ASSISTANT I'm on hold with the INS. (COVERS MICROPHONE) Don't you think we should double check the triangulation before we CALL ANYBODY- ANSEN We have double checked it. Someone finally picks up the line. ASSISTANT Yes. I'm trying to reach- (pause, listens) No, I don't think you understand how serious this is. (PAUSE) Because if you did, we'd be having this conversation in person. He listens for a moment, then hangs up the phone, confused. ANSEN What did they say? ASSISTANT They said we should look out the window. Ansen steps to the window and looks out: In the courtyard below, coeds are scrambling to get out of the way as a military helicopter sets down in the middle of the quad and dozens of ARMED FEDERAL AGENTS converge on his building. 3. INT. MAIN CONFERENCE ROOM, LIGO, CALTECH -- DAY Ansen sits, alone, on one side of a conference table. The other side is filled with GOVERNMENT MEN -- NSA mostly, some DIA. The door opens and his assistant steps in. Armed guards pat him down, then shove him into a seat. ANSEN Is that really necessary? One of the NSA agents leans forward. NSA AGENT You've been complaining for years that the government doesn't take your project seriously enough, Doctor. (SMILES) You can't have it both ways. Ansen motions to his assistant, who turns on a projector. On-screen, we see the familiar pulse and echoes. ANSEN Yesterday morning, our facility in Hanford identified this signal: a neutron star colliding with a supermassive black hole. We went through the last year's data and triangulated the source. The pulse is translated into a crude animatic of a neutron star circling into the black hole. NSA AGENT We know that, Doctor. What we don't know is why, according to your numbers, this event took place right here in our own solar system. Suddenly, the image overlays the sun, the earth, and the rest of our solar system around the black hole. ANSEN It didn't. Because if it had we'd all be dead by now. On-screen, Jupiter, then the Earth and the inner planets are consumed by the black hole. Only the sun survives, pulled into orbit around its new master. ANSEN (CONT'D) Which leaves only one explanation: The signal traveled through a (MORE) 4. ANSEN (CONT'D) wormhole. A gateway to a distant corner of the universe. The black hole is on the far side. On-screen, the black hole system is removed to a distant corner, connected to ours by a tunnel through space-time. A gravity wave from the collision travels through the tunnel. NSA AGENT I've read your book, Doctor. You said that wormholes are impossible. ANSEN There is nothing quite as satisfying as being proved utterly wrong. (SMILES) I said that a wormhole couldn't exist naturally. Not for more than a few billionths of a second. It would have to be... stabilized. NSA AGENT Stabilized by what? Ansen pauses, unsure. His assistant steps in to his defense. ASSISTANT We don't have any way to answer that question. NSA AGENT (IGNORES HIM) You're not under peer review here, Doctor. I don't care about your reputation. I need to know how that thing got there. Now. Ansen finally speaks up. ANSEN If you're worried about an invasion, I would start drafting the articles of surrender. (SMILES) Whoever they are, if they can build a wormhole, they could erase us in the blink of an eye. Luckily, that also means we have nothing they could be interested in. NSA AGENT Then why is it there? 5. ANSEN I don't know. Maybe it's an invitation. A chance to commune with an advanced species. The assistant, embarrassed, looks down. The agent notices. NSA AGENT You don't agree? ASSISTANT (DELICATE) No. I don't think we can assume an alien intelligence built the wormhole. (CHANGES TACK) But the opportunity it represents is incredible. We could explore parts of the universe we never dreamt of reaching in our lifetimes. The agent exchanges a look with one of his colleagues, who steps out of the room. ANSEN We need to get back to work. I have a conference call with our European partners in fifteen minutes. NSA AGENT We severed the connections to your European partners this morning. ANSEN (INDIGNANT) You can't do that. The Europeans put up some of the funding... GOVERNMENT MAN We'll send them a check. (STANDS) Your project is now classified under the State Secrets Act. He steps out the door, leaving the men alone. The assistant, outraged, turns back to his boss. ASSISTANT They can't keep this a secret. You know that. Sooner or later... The younger man looks down, embarrassed, as he notices that tears are rolling down the older man's cheeks. 6. ANSEN I don't care about that. I've spent my whole life being afraid we would wipe ourselves out before this moment arrived. We've made so many mistakes, I wasn't sure we'd make it... The assitant realizes that the old man is weeping for joy. Relief. ANSEN (CONT'D) But this will change everything. Fifty years from now, nothing will be the same. The older man looks at the simulation on the screen of the tiny link between our galaxy and another. FADE TO BLACK EXT. CORNFIELD, CENTRAL CALIFORNIA -- DAY Corn. As far as the eye can see. SUPER TITLE: "FIFTY YEARS LATER" A large old diesel tour bus is parked by the side of a dirt road, smoke pouring out of its open hood. A dozen MEN in BASEBALL UNIFORMS are standing around the front of the bus. A battered PICKUP pulls up, and a MAN, 30s, gets out, leaving his two SONS in the car. This is COOPER. He joins the ballplayers staring at the lifeless diesel engine. BALLPLAYER Seized up on us. COOPER Long way to come by bus. I thought you guys would have a plane. BALLPLAYER We did. Ran out of parts for it. You know anything about diesels? COOPER A little. Cooper steps to the engine compartment. The ballplayer notices Cooper's two boys, TOM, 15, and MURPH, 10, watching them. He wanders over. 7. BALLPLAYER You think your dad's going to be able to help us out? Murph, a filth-encrusted kid with a black eye, smiles at the ballplayer. MURPH My dad can fix anything. (WRY SMILE) Except maybe your fastball. The ballplayer frowns: smartass kid. After a moment under the hood, Cooper signals to the driver, who tries the engine. It turns over once, then STARTS. BALLPLAYER Sure appreciate the help. COOPER (SHRUGS) You don't make it, my boys won't get to see you lose. The ballplayers load up into the bus and as it pulls away, we can see the logo painted across the back of the bus for the first time: WORLD FAMOUS NEW YORK YANKEES EXT. SPACE, NEAR EARTH ORBIT Earth spins, lazily. From this height, it looks much the same as it has done for thousands of years. Suddenly, a tiny black object appears, racing toward Earth. The object SMASHES into a large satellite and races onward. Behind it, the satellite spins out of orbit in a cloud of fragments. EXT. BASEBALL STADIUM -- NIGHT An old minor league stadium. The stands are barely halfway full. Cooper, his boys, and Cooper's father-in-law, DONALD, 60s, have a row to themselves behind the dugout. Murph offers his grandpa some popcorn. DONALD Popcorn at a ball game is unnatural. I want a hot dog. 8. MURPH (CONFUSED) What's a hot dog? Suddenly, play stops on the field below as the players and fans look up at the night sky: A bright blue streak is tearing across it. It's beautiful. TOM Is that a comet, Dad? COOPER (shakes his head) Satellite. Big one. Probably Chinese. Everyone watches the fireworks as the satellite burns up in the upper atmosphere. After a moment, play resumes -- it's a pretty show, but everyone has seen it plenty of times before. Down on the field, the Dodgers' catcher misses an easy pop fly and the Yankees load the bases. Donald looks disgusted. INT. COOPER'S TRUCK -- NIGHT Cooper guides his truck along a potholed road. His father- in-law is riding shotgun; the boys are sleeping in the back. DONALD Those clowns would get their asses handed to them by the ballplayers I grew up watching. COOPER You ruin it for the boys when you talk like that. DONALD I'm not doing my grandkids any favors by lying to them. They're growing up watching lousy baseball. COOPER They didn't have any baseball at all when I was a kid. That shuts the old man up for now. They drive on in silence. CUT TO: 9. EXT. FARMHOUSE -- MORNING The sun is gently landing on the horizon, painting the sea of corn around Cooper's modest house gold. Cooper walks out of his house, still eating his breakfast. Donald is on the porch, looking at a black clouds of smoke in the distance. The neighboring fields are BURNING. DONALD Nelson's burning up his crops. Found some of the blight on the okra. Cooper watches the men walking through the fields, setting fire to the crop. COOPER I thought okra wasn't susceptible. DONALD (SHRUGS) Better safe than sorry. (looks at him) You've got to take the boys to school. COOPER Something wrong with your truck? DONALD (SMILES) Parent-teacher conference day. Cooper bends his head in dismay. DONALD (CONT'D) Be nice to Murph's teacher. She's single, you know. COOPER What does that have to do with anything? DONALD We're supposed to be repopulating the earth. Gotta pull your weight. Besides, the boys could do with a woman in their lives. The boys run out of the house and pile into the truck. Cooper pulls away before Donald can continue. EXT. ROAD -- DAY Cooper weaves the car along a dirt road. The kids are arguing over an ancient comic book in the back seat. 10. Cooper turns around to break it up. BANG -- one of the tires blows out in a foot-deep pothole. EXT. ROADSIDE -- DAY Cooper examines the flattened tire. Looks at his older son. COOPER Get the spare, Tom. TOM That is the spare. COOPER All right. We'll use the patch kit. He moves to the back of the truck. Murph suddenly looks very glum. MURPH I... I think the patch kit might not be there... (off his look) Because I was using it for my bike. Cooper looks down at the dirt. Sighs. COOPER Murph's law. MURPH (CONFUSED) What's that? Tom snorts with laughter. Turns to his dad. TOM The kid doesn't even know what he was named after... Cooper shoots Tom a look -- enough. TOM (CONT'D) Murph's law means what can go wrong will go wrong. Murph, looking hurt, walks off. Cooper turns to his son. COOPER Find something to patch it with. TOM How am I supposed to do that? 11. COOPER Figure it out. I'm not always going to be here to help you. Cooper leaves Tom to catch up with his younger son, who is looking out over the river. MURPH Is that really why I'm named Murph, dad? COOPER Listen to me. Murph's law doesn't mean that. It means what can happen will happen. All kinds of things. Good or bad. And that's the way you want it to be. MURPH Why? COOPER Because if nothing ever happened to you then you wouldn't learn anything. Murph is staring off into the distance. He's heard something. COOPER (CONT'D) Murph? Then Cooper hears it, too. A LOW RUMBLING SOUND. Cooper looks out over the river. Then he turns back and tackles his son to the ground. Suddenly, a MASSIVE AIRPLANE SOARS overhead, so close they can almost touch it. It bounces the truck on its suspension, then soars off over the fields behind them. Cooper grabs Murph and races back to the truck. He pulls a laptop and an antenna made out of a Pringles can out of the back of the truck. He hands the laptop and antenna to Murph. COOPER (CONT'D) Get in. Tom is still standing by the side of the road, wrestling with the jack. TOM What about the tire? INT. TRUCK -- MOMENTS LATER The truck is SMASHING through the cornfields as fast as Cooper can push it on three good tires. 12. Murph is hurriedly firing up the laptop and connecting it to the directional antenna. Cooper is straining to see through the cornstalks, scanning the horizon. TOM OVER THERE- To the right, the dark shape of the Russian drone appears, flying low over the fields. Cooper jerks the wheel-- EXT. RIVER -- DAY The truck BURSTS out of the corn and SPLASHES across the river and into an old, abandoned suburban housing development in the valley below, planted over with corn. Half a mile in front of them, the Russian drone is still hugging the ground. It has impossibly long, skinny wings, like an old U-2 surveillance plane, but no cockpit. The tops of its wings are covered in black solar cells. INT. TRUCK -- DAY Murph is fiddling with the computer. His older brother takes the computer from him and fires up emulation software. COOPER It's a Chinese military drone. Solar cells could power an entire farm. (TO TOM) Take the wheel. Cooper hands Murph the Pringles can antenna. COOPER (CONT'D) Keep it pointed right at it, OK? Murph nods. Tom takes the wheel as his dad works the laptop, trying to communicate with the huge Russian drone. The screen fills with Cyrillic characters. COOPER (CONT'D) Faster, Tom. I'm losing it. Tom WEAVES the truck at speed through the old, curved streets of the development, past oversized suburban mansions planted over with corn. They round a corner and come face-to-face with a robot harvester. Tom jerks the wheel to avoid it. BANG -- the truck loses a wing mirror against the flank of the combine. 13. EXT. SUBURBAN DEVELOPMENT -- DAY Tom guides the truck from street to street, trying to chart a straight path across the fields. The truck BOUNCES as it SMASHES through an old picket fence. Ahead, the drone is soaring, banking, pulling away. INT. TRUCK -- DAY Cooper is still trying to hack into the drone's control circuitry as they leave the development behind and begin to climb into the foothills of the Sierras. EXT. RIDGELINE, HILLS -- DAY Tom guides the truck along the spine of the hills. The drone soars overhead, making for the white tips of the Sierras. INT. TRUCK -- DAY Cooper is oblivious to the picturesque surroundings as he concentrates on the laptop. TOM (UNSURE) Dad? COOPER Almost got it. Don't slow down. In front of them, Tom and his brother watch as the drone plummets from view. TOM DAD. Cooper looks up. Ahead, the trail disappears as the edge of the hills falls away -- it's a three hundred-foot drop. Tom locks up the brakes. EXT. RIDGELINE, HILLS -- DAY The truck skids to a halt inches from a precipitous drop. Cooper climbs out, holding the laptop. Murph climbs out next to him, still pointing the Pringles can. TOM We lost it. COOPER (SMILING) No we didn't. 14. Suddenly, the drone SOARS back over them. Cooper types a couple keys and then moves his fingers across the trackpad. The huge drone banks and turns in response. As the boys watch, Cooper sends the drone soaring high over them, banking and soaring along the tree-lined sides of the valley, light glinting from the black panels on its back. It's a beautiful sight. Cooper crouches next to Murph. COOPER (CONT'D) You want to give it a whirl? Murph looks at his dad, wide-eyed. He takes the laptop and moves his fingers gingerly across the pad. In response, the massive plane banks into a tight turn in the valley below. For a moment, Murph is in pure heaven, sending the drone dancing through the valley below. COOPER (CONT'D) Set her down in the valley -- there, next to the river. Murph leads the plane in a figure eight and then begins guiding it into a gentle landing in the valley floor below. EXT. ABANDONED GOLF COURSE, VALLEY FLOOR -- DAY The truck limps along the overgrown fairway of a long-defunct golf course towards the massive hulk of the Russian drone, Cooper and the boys climb down. The valley is silent save for the truck's engine WHEEZING and SPUTTERING as it cools. Cooper runs a hand over the smooth carbon flank of the drone. TOM How long do you think it's been up there, Dad? COOPER Chinese mission control went down same as us, twenty years ago. It's been up there ever since. TOM What was it doing flying so low? Cooper reads the information pouring into his laptop. 15. COOPER It was looking for something. Intercepted some kind of signal. (SHRUGS) It's been at eighty thousand feet. Sun probably cooked its brain. Cooper runs his hand along the flank till he finds an access patch. He pulls out a crowbar and pries open the hatch. Inside, surrounded by a nest of liquid cooling tubes, is a small black module -- the drone's auto-pilot. Cooper looks down at Murph, who is standing at his elbow. MURPH What are you going to do with it? COOPER Reprogram it. Give it something socially responsible to do like drive a combine or a tractor. MURPH (QUIET) Couldn't we just let it go? It's not hurting anyone. Cooper looks down at his son. Good kid. COOPER We need all the help we can get, Murph. This thing has to adapt, just like the rest of us. Cooper gently pries the control module out. EXT. COUNTY SCHOOL -- DAY It's a small school, so all the kids and parents waiting in front know exactly who's driving the pickup truck with half of a Russian spy plane hanging out of the bed as it pulls up. INT. PRINCIPAL'S OFFICE, COUNTY SCHOOL -- DAY Cooper is ushered into the office. The PRINCIPAL, 40s, an efficient-looking man, shakes his hand. PRINCIPAL Good to see you, Mr. Cooper. This is Ms. Kelly, Murph's teacher. Cooper smiles at Ms. KELLY, 30s, attractive. 16. PRINCIPAL (CONT'D) So we've gotten Tom's score back. Congratulations. He's going to make an excellent farmer. The principal slides a carbon copy across the desk to Cooper, who looks taken aback. COOPER What about college? PRINCIPAL The University of California only accepts a few hundred students a year, Mr. Cooper. You have to be realistic. COOPER You're ruling out college for him now? He's only fifteen. PRINCIPAL I'm sorry. I'm afraid Tom's score simply isn't high enough. COOPER What are you, about a 36-inch waist? (BEAT) 30-inch inseam? PRINCIPAL I'm not sure I see-- COOPER You're telling me you need two numbers to measure your own ass, but just one to measure my son's future? Ms. Kelly stifles a laugh, then, with a look from the principal, takes on the appropriate look of offense. PRINCIPAL I understand you're a well-educated man, Mr. Cooper. A scientist? COOPER Engineer. PRINCIPAL Frankly, the world doesn't need any more engineers. We didn't run out of trains or television sets or satellites. (BEAT) We ran out of food. 17. Cooper leans back. He's not going to win this one. PRINCIPAL (CONT'D) The world needs farmers, Mr. Cooper. And I'm sure your son Tom is going to make a fine one. (SMILES BENIGNLY) We're a caretaker generation. But things are getting better. Maybe your grandchildren will be able to attend college. Cooper looks down, swallowing his anger. COOPER Are we done? PRINCIPAL One more thing. Ms. Kelly here says that Murph brought a book to school about the lunar landings. He slides an old textbook with a picture of a rocket on the cover across the desk to Cooper. COOPER One of my old textbooks. Murph liked the pictures. MS. KELLY This is one of the old federal textbooks. We've replaced them with corrected versions. COOPER Corrected? MS. KELLY The new textbooks explain that the Apollo lunar missions were faked in order to bankrupt the Soviet Union. COOPER You don't believe we went to the moon? MS. KELLY I believe it was a brilliant piece of propaganda. The Soviets spent years trying to build rockets and other useless machines. COOPER "Useless machines"? 18. Cooper looks to the Principal for help. None is forthcoming. MS. KELLY Yes, Mr. Cooper. The kind of wastefulness and excess that the 20th century represented. Your children would be better off learning about this planet, rather than reading fantasies about leaving it. Cooper is silent for a long moment. COOPER One of those useless machines they used to make was called an MRI. If we had any of them left the doctors might have been able to find the cyst in my wife's brain before she died, rather than afterwards. And then my kids could have been raised by two parents, instead of me and their pain-in-the-ass grandfather. Ms. Kelly's face falls, ashen. Cooper swallows his anger. Most of it, anyway. COOPER (CONT'D) You ever consider the best thing for the world and humanity might have been for us to part company? Cooper gets up to leave. INT. TRUCK, COUNTY SCHOOL PARKING LOT -- DAY Cooper climbs into the truck, trying to hold it together. He PUNCHES the wheel. The radio KEYS to life. He ignores it. Sits for a moment in misery. Finally he picks up the handset. CB OPERATOR (O.S.) Got a call from Riggs, down in Galveston. Says some of the tractors you built him went haywire last night. COOPER Just tell him to power down the controllers for a couple minutes. CB OPERATOR (O.S.) I did. He wants you to come down in person anyway. Says he found something you should take a look at. 19. Cooper stares at the wheel. Shakes his head in frustration. EXT. AIRSTRIP -- DAY Cooper pulls his truck up to a grimy-looking hangar. Pulls a tarp off of an ancient Piper Cub. Checks it over. INT. PIPER CUB -- DAY Cooper guides the plane along a long sliver of deserted beach. The radio crackles to life. COOPER Bravo-two-eight, requesting permission to enter your airspace. AIR TRAFFIC CONTROL (O.S.) Permission granted. Welcome to the sovereign nation of Texas. Coop hangs up the radio. Banks the plane inland. EXT. GULF COAST -- DAY Below, a combine harvester fights its way up the dunes, trying to reach the beach, its wheels struggling for traction in the soft sand. A MAN waves up at Cooper's plane as it circles overhead. Cooper lands the plane on a deserted roadway. Jumps down. He intercepts one of the combines as it trundles past, trying to reach the dunes. He pops open the cabin. Inside is a mess of wires hooked into an auto-pilot not unlike the one he ripped out of the drone. He checks the fault code and resets the computer. The man jogs over to meet him. RIGGS Thanks for coming down. Half of 'em took off last night, looking for something. (points to dunes) Looks like they found it, too. I thought you were the man to see it. Riggs starts walking up the dune. Cooper follows. Below, on the beach, a dozen more combines and other farming vehicles are lined up at the tideline, warm gulf water lapping at their metal flanks. They are circling a deep crater. 20. As they watch, an ancient autonomous SUB BEACHES itself, trying to reach the crater. EXT. CRATER'S EDGE, BEACH -- DAY Cooper steps between the waiting machines and peers down into the crater. At the very bottom is a ROUND BLACK BALL, about a foot across -- the same object we saw punch a hole in the side of a satellite. Every few seconds, it emits a distinctive CHIRP. Cooper checks his rad meter. A tiny reading -- non-lethal. He takes off his watch and hands it to Riggs. Then he slides down into the hole. The probe CHIRPS as Cooper slides down on top of it. He rubs a hand across its smooth composite bulk. RIGGS (FROM ABOVE) You think it's an alien? Cooper wipes sand off of the object, revealing the faint, familiar outline etched into the side of the probe: The stars and stripes of the old federal government. COOPER Not exactly. EXT. CRATER'S EDGE, BEACH -- DAY Using a rope and a winch, Cooper hauls the blackened probe out of the crater and onto the beach. Cooper hefts it up and carries it to the back of his plane. COOPER Space probe. Never seen one like it, though. Looks like it's been to hell and back. The probe CHIRPS as Cooper belts it into the back. RIGGS How do you think it wound up here? COOPER Lost, I guess. Guidance satellites would have been shot down by the Chinese twenty years ago. Cooper looks at the probe for a second, admiring its form. 21. INT. KITCHEN, COOPER'S HOUSE -- NIGHT Donald is pouring a bottle of corn beer into a bubbling vat of chowder. He turns to watch Cooper work, amused. The probe has been clamped to the kitchen table. Cooper works at the blackened case with a BLOWTORCH. Cooper gives up -- the torch hasn't made a scratch. The probe CHIRPS. COOPER Well I don't know what the hell it's made of, but I can't crack it open. DONALD Good. Clear it off the table so I can serve dinner. Tom and Murph walk in. Murph's got another black eye. DONALD (CONT'D) What happened this time? MURPH I got suspended. Paul said anyone who believed we went to the moon was an idiot. So I hit him. COOPER Good boy. Hand me the scanner. Murph hands his dad a defibrillator he's modified for the purpose. He attaches the shock pads to the sides of the probe and turns on the power. Numbers flash across the screen. Cooper hits a button on the controls and it PULSES. COOPER (CONT'D) Here we go. Standard NASA encryption. Memory's been damaged. Just noise. Hold on. I've got something. Cooper unplugs a monitor from his computer and plugs it into the defibrillator. After a moment, an image fills the screen: An ICE-COVERED PLANET nestled in the center of a system impossibly dense with stars. Murph stares, transfixed. MURPH Where is that, dad? COOPER I don't know. Cooper looks at the probe. 22. COOPER (CONT'D) Where the hell did you come from? Cooper shrugs. Turns off the monitor. COOPER (CONT'D) We'll take it down to Tyson's tomorrow and have it melted down. Might be some copper inside. MURPH But what about its mission? What about the information onboard? COOPER There's no one for it to report to. NASA is all gone. I'm sorry, son. It got home too late. Donald pulls his chowder off the boil and slides the pot unceremoniously onto the table. INT. DINING ROOM -- NIGHT The boys have gone to bed. Cooper and Donald are alone at the table. Donald hands Cooper another beer. DONALD I heard your meeting at the school didn't go so well. Cooper shakes his head in disgust. COOPER Maybe it's better for everyone to forget what they did back then. Reminds us how far we've fallen. DONALD (looks down,) When I was kid, it felt like they made something new every day. Some gadget or idea. (SMILES) Like every day was Christmas. (BEAT) But we made a lot of mistakes. Six billion people. Just try to imagine that. Every last one of them trying to have it all. Donald rolls the bottle of beer in his hands. 23. DONALD (CONT'D) The truth is this world isn't that bad. In a lot of ways its better. Tom will be all right, whether he goes to college or not. COOPER It doesn't bother me that he can't go. It bothers me that he doesn't care. DONALD Tom isn't the problem. He fits in this world just fine. You're the one who doesn't fit, Coop. You don't belong here. You were born forty years too late, or forty years too early -- I don't know. My daughter knew it, god bless her. And your kids know it, too. Donald drains his beer. Walks to the screen door. Stops, one hand on the frame. DONALD (CONT'D) You were good at something and you never got a chance to do anything with it. And I'm sorry, Coop. But that's not your kids' fault. Donald pushes out the screen door. Cooper looks at his beer. The probe CHIRPS. INT. BEDROOM, COOPER'S HOUSE -- NIGHT Cooper flops down on his bed, fully clothed, exhausted. He stares up at the ceiling. This is his life. INT. BEDROOM, COOPER'S HOUSE -- NIGHT The air is filled with a PIERCING NOISE. Cooper BOLTS upright. Stumbles out the door. INT. HALLWAY, COOPER'S HOUSE -- NIGHT Cooper's boys are in the hallway, exhausted. Cooper, holding a baseball bat, makes his way down the stairs. Cooper uses the bat to open the kitchen door. INT. KITCHEN, COOPER'S HOUSE -- NIGHT Cooper steps in, Murph watching from behind him. 24. The probe is clamped to the table, the chirp replaced with a DEAFENING SCREAM. Cooper, holding his ears, moves closer to the probe. He hits it with the paddles. No result. He SMASHES it with the bat. Nothing. He HITS it AGAIN and AGAIN. Finally, the clamps break off chunks of the table and the probe slams to the ground and ROLLS toward the front door. As it rolls, it STOPS SHRIEKING. Cooper and the others watch it roll toward the door. It stops at the wall. After a second, it begins SHRIEKING AGAIN. Cooper grabs it and rolls it toward the front door. Once again, the movement shuts it up. EXT. PORCH, COOPER'S HOUSE -- NIGHT Cooper and his boys roll the probe out of the front door. It BUMPS down the front steps and comes to rest in the dirt. After a moment, the unholy RACKET starts up again. Cooper keeps rolling it, but it doesn't seem to help. Murph looks up, sees the stars overhead. MURPH Try a different direction. As they roll the probe in a circle, its SHRIEK stops, then picks up again. Cooper zeroes in on the direction that keeps it quiet -- southwest -- and pushes it along in the dirt. COOPER It's a fail-safe. It's going to annoy us into taking it home. Cooper stops rolling the probe and, after a moment, it begins SHRIEKING again. TOM What are we going to do? Cooper gets a rope. COOPER We're going to get some sleep. He begins tying the rope around the probe. INT. BEDROOM, COOPER'S HOUSE -- DAY Cooper wakes. He's been sleeping with a pillow wrapped around his head. The SHRIEK can be heard, but it's muffled, distant. 25. INT. KITCHEN, COOPER'S HOUSE -- DAY Tom heads off for school with Donald. Murph, still suspended, looks up at Cooper, smiling. MURPH What are we doing today? COOPER You're staying here and cleaning the house. Murph looks crestfallen. He looks out towards the yard. Cooper follows his stare. COOPER (CONT'D) I told you, Murph. There's no one to take it back to. MURPH But what if there is, dad? What if there's something we can salvage? Cooper thinks it over. Murph scrambles to get his shoes. EXT. COOPER'S HOUSE -- DAY The shriek is still muffled. Cooper walks over to the well, putting in a pair of earplugs. A line is staked off, leading down into the well below. Cooper begins hauling the line up. As the probe breaks the surface of the water, the SHRIEK returns to its normal volume. Cooper rolls the probe out onto the ground. INT. PIPER CUB -- DAY The probe CHIRPS next to Murph in the backseat as Cooper spins the plane and guns the throttle and they bounce along the dusty runway and into the air. EXT. CALIFORNIA COAST -- DAY The tiny plane follows the mountains south. EXT. SKIES OVER LOS ANGELES -- DAY Cooper flies in low. Los Angeles looks much the same way it did in the early 20th century -- small settlements in Santa Monica and Downtown. Wildfires and earthquakes have shaken and burned what was left of the homes in between. 26. EXT. PACIFIC COAST HIGHWAY, MALIBU -- DAY Cooper puts the plane down on the old highway and taxis up to a gas station. Ahead, the Coast Highway peters out and disappears beneath rows of wild grass -- Malibu has become ranchland, once again. EXT. GAS STATION, MALIBU -- DAY An OLD MAN looks up as Cooper steps out of the plane and checks it over. COOPER Got any diesel? OLD MAN Plenty. Shame you can't eat it. Cooper stretches the hose over to the plane. INT. PIPER CUB -- DAY Cooper rests a hand lightly on the controls as he follows the coast. Murph gazes out the window. In the backseat, the probe is HUMMING. A light marine layer beneath them parts, revealing SANTA CRUZ ISLAND, a large, uninhabited island. As Cooper soars over the island, the probe HUMS, insistent. MURPH I think it's home. Cooper circles the island until he finds a long, flat grassland in the center of the island. EXT. FIELD, SANTA CRUZ ISLAND -- DAY The plane bounces and hops to a halt in waist-deep grass. Murph and Cooper climb down from the plane. Cooper slings a rifle over his shoulder. A few dozen yards from the plane they reach the tree line. Murph stops, mesmerized by a patch of weeds studded with bright red -- strawberries. MURPH Dad, what are these things? COOPER I don't know. Don't touch them. 27. Cooper spots something in the foliage ahead that looks a little off. He walks over. He pokes at the undergrowth with his rifle. The rifle CLANKS against something metal. Cooper reaches -- it's a camouflage scrim. He gently pulls it aside, revealing a chemical transport truck. Cooper steps back, alarmed. He brings up his rifle. COOPER (CONT'D) Murph? He looks around. Murph is nowhere to be seen. Cooper curses and heads into the forest to look for him. EXT. CLEARING, SANTA CRUZ ISLAND -- DAY Cooper walks through a glade. He stops to get his bearings. Leans against a tree. Snatches his hand back -- the trunk of the tree is red hot. Cooper steps back -- it's not a tree at all, but a camouflaged chimney stack. He looks up: the tree is venting steam. Cooper walks a little further, until he finds several massive tanks. The tanks are filling with a bubbling liquid -- some kind of industrial process is taking place beneath him. Cooper finally catches up with Murph at the edge of a clearing. COOPER Careful. There's some kind of underground facility here. We might... Cooper notices his son is frozen, staring at something: Standing bolt upright in the middle of the clearing, wearing an old straw hat, is an eight-foot-tall military spec ROBOT. MURPH Is it still... alive? COOPER Can't be. It's a marine. Haven't made them for thirty years. I've never seen one intact before. Cooper steps closer to the robot, which is frozen. Its alloy frame heavily tarnished and weather-beaten. It looks like it might have been standing here for decades. 28. Cooper moves closer to it, looking into its blackened eyes. He steps back, clearly a little spooked. COOPER (CONT'D) I think we need to go, Murph. MURPH But can't we take it back? You could fix it up, get him to do chores. COOPER No. I don't know what this place is, but we're leaving. Murph, ignoring his father, steps forward to touch the robot. Suddenly, the robot SPRINGS into action, picking up the boy and hoisting him up to eye level. Cooper, stunned, points the rifle at the robot. The robot turns, dropping the boy, RIPS the rifle from Cooper's hands, BENDS it, then SLAMS him up against the side of the water tank. Cooper punches him, then winces in agony. Murph picks up the rifle and begins HITTING the robot as hard as he can. The robot opens his mouth and addresses Cooper calmly in the clipped tones of a US marine. ROBOT Tell the boy to stop hitting me. COOPER (IGNORING HIM) Hit him in the back of the neck. Murph raises the rifle butt. A voice stops him. VOICE (O.S.) I wouldn't do that. A woman, 30s, step out from the trees. This is AMELIA BRAND -- tough, bright, and a decent shot with the large rifle that she's pointing at Cooper. COOPER We were just looking for salvage. BRAND Is that what they call stealing these days? COOPER I didn't know it belonged to anyone. 29. BRAND It doesn't. (TO ROBOT) You want to let them go, Tars, or do you want some help with your work? The robot, evidently named Tars, looks at Cooper closely. Then lets him go. COOPER You've got me wrong, lady. BRAND Really? You're not the kind of guy who turns a combat marine with a supercomputer for a brain into a riding lawn mower? Cooper says nothing -- she's not that far off the mark. BRAND (CONT'D) Get back in your little plane, go back to your farming commune. And don't come back. Cooper backs up. Tars holds up his mangled rifle. Smiles. TARS Don't forget your gun. COOPER (points at Tars) Word of advice -- careful with that thing. When the war was over, they didn't know when to stop fighting. BRAND I'd trust him a lot more than I'd trust you. Keep moving. Cooper backs up to his plane. Tars follows him. Suddenly, in the plane, the probe emits a high-pitch SQUEAL. Tars responds instantly, striding past Cooper to the plane. He sees the probe. Tries to open the door. It's locked. COOPER Wait a second-- Tars TEARS the door off the plane. Reaches inside and pulls out the probe. The woman looks at it, stunned. BRAND Get it inside. (MORE) 30. BRAND (CONT'D) (points rifle at Cooper) You too. We'll figure out what to do with you later. Tars stops, and two panels open in the ground, revealing a huge, reinforced service elevator. INT. SERVICE ELEVATOR, UNDERGROUND BUNKER -- DAY Brand waves at a security camera and the lift begins to glide diagonally down a tunnel that cuts hundreds of feet below the island's surface. She keeps her weapon shouldered. COOPER Now who's stealing from who? BRAND This doesn't belong to you. COOPER You're right. It belongs to NASA, which shut down thirty years ago when the federal government ran out of money. Brand says nothing. The elevator slows to a stop at the bottom of the tunnel. Heavy BLAST DOORS grind open and Brand motions for Cooper to step forward. INT. UNDERGROUND BUNKER -- DAY They step into a vast underground facility. Standing in the center, braced by a launch tower, is a ten story tall rocket. Dozens of ROBOTS are working on in, maintaining it. Cooper, stunned, looks at Brand. COOPER Who are you people? BRAND (WRY) The government gave us plenty of practice looking for our own funding. (gestures with rifle) Keep moving. Tars carries the probe over to an area of the hangar filled with electronic equipment. A group of ENGINEERS and ROBOTS converge around Tars. An OLDER ENGINEER looks familiar -- 70s, white-haired, this is Ansen's assistant at Caltech who we met fifty years earlier. 31. BRAND (CONT'D) I found them outside with it. It looks like six. Maybe seven. I can't tell from the radiation damage. The older engineer looks at the probe, astonished. OLD ENGINEER Where did you find it? COOPER Galveston. BRAND'S FATHER (thinking it over) Of course. It must have been looking for Canaveral. Tars bolts the probe down into a purpose built rig. DOYLE, 40s, an engineer, begins hooking leads into the probe. COOPER Canaveral's been gone for thirty years. Brand ignores him. Doyle looks up from his monitor, frustrated. DOYLE It's not responding to the handshake. I can't open anything on primary. Brand looks up at Cooper. BRAND What did you do to it? COOPER Nothing. I got something off of it. Cooper looks around. There's a safety station on the wall with a battery powered defibrillator. COOPER (CONT'D) (TO BRAND) May I? Brand nods, wary. Cooper walks over to the wall, takes the defibrillator, and hooks it up to the probe. He taps into the current and runs a lead into the terminal. Brand's Father watches, fascinated, as Cooper fires the defibrillator. 32. OLD ENGINEER Of course. The high voltage allows you to image the entire memory unit at once. Information begins appearing on the terminal's screen. COOPER Most of the disk was noise. Couple of clean sectors, though. Suddenly, the monitor starts pulling good data off of the probe. The older man and Doyle begin sorting through it. Cooper smiles at Brand, who seems less than impressed. The footage of the ice-covered planet Cooper saw earlier pops onto the screen. The engineers and physicists get very quiet, studying the images. DOYLE It found something. (READING) Very thin nitrogen-based atmosphere. Trace radiation. Surface is ninety percent frozen water. Ten percent rock -- sedimentary composition similar to limestone. (READING) Wow. Pockets of oxygen below the surface. Lots and lots of oxygen. (EXCITED) This could be the one, boss. The older engineer studies the image of the ice-covered planet, thinking. COOPER There aren't any planets like that anywhere near earth. Not even if this thing was gone for thirty years. Brand looks at Cooper, appraising. She turns to the older engineer. BRAND He's heard enough. If we're going to launch, we need to keep them here until afterwards. COOPER You can't keep us here. 33. BRAND He could endanger the mission. COOPER I'm not going to endanger it any more than you already have. Cooper points to a telemetry unit that is being repaired by a robot on a nearby bench. COOPER (CONT'D) Are you using that for guidance? DOYLE Why not? We've tested it a hundred times. COOPER The power supply is no good. If the voltage fluctuates under load, the unit will fail. BRAND Now how could you possibly know that? COOPER Bought thirty of them off a guy in Florida. Had to rebuild every last one. (SMILES) They work great on a riding lawn mower. Brand looks back at the telemetry system. The older engineer watches the exchange, thinking. CUT TO: INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Cooper and Murph have been locked in an abandoned machine shop, surrounded by the massive remains of rocket engines in various states of disrepair. Tars is blocking the door. Cooper stands. Tars wags a long, hydraulic finger at him. COOPER You plan on keeping us here forever? TARS (SHRUGS) My battery has a duty cycle of five hundred years. Cooper gives up. He turns back. 34. The back of the shop is filled with a group of older ROBOTS who are overhauling an engine. One problem -- the engine isn't there. Their programming hasn't been updated to reflect their obsolescence. Murph watches, entranced, as the robots go about their business, efficiently TORQUING bolts with impact drivers into a non-existent thruster cone. The bolts CLATTER to the ground as the robots stop to reload. MURPH What are they doing, dad? COOPER I guess no one told them they were out of a job. (nods at Tars) Same as the rest of these people. Cooper notices through the glass door of the lab that Brand and the older engineer are arguing about something. She finally relents and walks towards the door. Brand walks in. She gestures for Cooper to follow. BRAND The mission commander wants to see you. Your son can stay here. He'll be all right with Tars. Cooper eyes Tars warily. Then steps outside. EXT. UNDERGROUND BUNKER -- DAY They walk across the space towards the base of the rocket, away from the other engineers. Cooper nods at the older engineer. COOPER I thought the old man was in charge. BRAND (ANNOYED) The 'old man' is my father. And he was in charge. But he decided that we needed someone who could lead the mission for the foreseeable future. COOPER Not you? BRAND I'm a biologist. 35. COOPER (LAUGHS) You don't look like one. (off her look) With the rifle, I mean. Brand heads towards a group of large maintenance ROBOTS clustered at the base of the rocket. A smaller, human sized robot is staring at the rocket, giving them instructions. The robot looks up. This is CASE, the leader of the mission. Originally an air force pararescue officer, every part of him, from his alloy chassis to his voice, was designed to inspire respect and confidence. He turns to Cooper. CASE You're the man who brought us the probe? (off his look) Thank you. We tested the telemetry board you warned us about. It failed under high voltage, just as you said. Come with me, please. Case strides off. INT. MISSION CONTROL, UNDERGROUND HANGAR -- DAY The lights dim as Brand's father brings up a schematic of our solar system. Case points to the picture of the ice planet recovered from the probe. CASE You're right, Mr. Cooper. The planet you saw is a long way from earth. A very long way indeed. Brand looks down. Case notices. CASE (CONT'D) Our science officer doesn't think I should trust you with any of this. One of the curious things about humans is that the more alike you are, the more initially hostile you are to each other. As if by design. Brand makes eye contact with Cooper, then looks away, embarrassed. CASE (CONT'D) I've found the best way to earn a person's trust is to trust them. (MORE) 36. CASE (CONT'D) (looks at Brand's FATHER) Go ahead, John. Brand's father taps a few keys and the schematic he built fifty years beforehand flickers onto the screen. BRAND'S FATHER It's a wormhole. A shortcut leading to a galaxy on the far side of the universe. We found it fifty years ago. Cooper looks at the animatic, taking it in. BRAND'S FATHER (CONT'D) We've been waiting, sending probes into it for decades. None of them ever came back. Not until now. Case walks to the schematic. Looks at it. CASE Based on the information on the probe, we're finally preparing to send the manned mission. COOPER That rocket doesn't have enough thrust or fuel to get you to Jupiter. CASE The main ship was built in orbit. It has nuclear engines, with enough fuel to last for several years. Cooper looks at the schematic. COOPER Why are you telling me this? I already told you I'm not going to tell anyone about this place. CASE I know you won't, Mr. Cooper. We're telling you this because I want you to join us. Cooper looks at him. Is he serious? CASE (CONT'D) The probe has taken a great deal longer to return to us than we hoped. (MORE) 37. CASE (CONT'D) Dr. Brand's Father and several other members of our crew have gotten... older. Brand's Father looks down, stoic. Brand looks angry. CASE (CONT'D) We need someone who can run the systems, improvise, work with what's available. All of the skills you seem to have developed. COOPER But I don't have any of the experience. Any training. You people have been preparing for this for years. Case shakes his head. CASE Humans worry about things like rank and experience. I'm only concerned with whether someone would be useful. (BEAT) I think you'd be useful, Mr. Cooper. Cooper is stunned. This is the offer he's waited his whole life for. And it's come too late. COOPER No. I'm sorry. Cooper is deeply conflicted. But he can't leave his boys behind. COOPER (CONT'D) I can't help you. I have responsibilities. Things that, no offense, are more important than a scientific mission. Case shakes his head. CASE I'm not a scientist, Mr. Cooper. And this is not a scientific mission. It's a rescue mission. He rises and shakes Cooper's hand. CASE (CONT'D) Brand can show you the way out. I hope you'll reconsider. 38. Case steps to the door. Cooper looks at Brand. COOPER Rescue? Rescue who? CUT TO: INT. CLEAN ROOM, UNDERGROUND FACILITY -- NIGHT The air HISSES as it's run through an exchanger and a filter. Then the second set of doors open. Cooper squints -- the light is blinding. INT. GREENHOUSE, UNDERGROUND FACILITY -- NIGHT They are standing in a sealed corridor in the middle of a massive underground greenhouse. Through the glass, Cooper can see an acre or so of corn plants. Cooper looks at the plants. They're all badly wilting. COOPER The blight. BRAND In the last century strands were limited to one or two species. But this one targets everything. Essentially it's more efficient at consuming our food than we are. Cooper looks at the dying corn. COOPER But it doesn't affect the corn. BRAND Not yet. But it will. We've grown a dozen forms of it that can. It's just a matter of time before the same ones develop out there. (BEAT) The mission is to rescue us. Humanity. She turns back from the glass. COOPER (REALIZING) No. No. We're rebuilding. We'll find something. Some new technology... We always have. 39. BRAND (shakes her head) Who's going to find it? The universities are a joke. People like you are reduced to scavenging just to get by. (LOOKS AWAY) The earth has had enough of us. We have two, maybe three generations left. Then our time here is over. Cooper turns back from the glass, anger growing. COOPER You've known this for how long? And you didn't try to tell anyone? BRAND What would be the point? So humanity could spend the last fifty years of its life fighting over the scraps? It's better that they don't know. Cooper begins to argue, then stops. He knows enough history to know she's right. He looks at the withering crops. COOPER (QUIET) That's why you're looking for a planet with oxygen. Water. BRAND A new home for humanity. We'll set up a colony, then return to bring more people across. COOPER But you'd still only be able to save a few hundred. Maybe a thousand. BRAND Would it be better if we all died? She looks him directly in the eye. BRAND (CONT'D) Look -- I don't have a clue what Case thinks you could add to the mission. You can come with us or you can stay here and wait to die. I don't care. (BEAT) But make no mistake -- this mission is our last chance. 40. Cooper looks at the wilted corn. EXT. FIELD, SANTA CRUZ ISLAND -- NIGHT Cooper walks Murph back to the plane. He looks back at Brand, who holds his eye for a beat, then turns back into the light of the underground facility. Cooper buckles Murph into his seat. CUT TO: EXT. AIRFIELD -- NIGHT Cooper's airplane touches down heavily on the runway. EXT. FARMHOUSE -- NIGHT Cooper carries his sleeping son into the house. INT. FARMHOUSE -- NIGHT Donald is sitting at the kitchen table, lost in thought. Cooper has told him everything. DONALD You get older, sometimes you just want to sit back and watch it all play out. Your life. Your kids' lives. The whole crazy story. (LOOKS DOWN) I didn't think I'd be around for the end of it. He looks at Cooper. DONALD (CONT'D) You have to go. COOPER I can't go. I have to look after the boys. DONALD You've been preparing these boys to be on their own since their mom died. Besides, I'll be here to look after them, same as I've always been. COOPER I have a responsibility to them-- DONALD That's right. You do. 41. Cooper looks back out the window, thinking. The night sky is filled with stars. CUT TO: INT. FARMHOUSE -- DAY Cooper, duffel slung over his shoulder, stands by the door. He gives his son, Tom, a hug. Murph is nowhere to be seen. Cooper looks to the back of the house. INT. MURPH'S ROOM, FARMHOUSE -- DAY Murph is sitting at his desk, crossing out numbers on a sheet covered with math. Cooper steps inside. He notices a packed suitcase sitting by the door. The boy looks up, hopeful. MURPH I've been doing the math, dad. I weigh about 85 pounds. Now that's an extra ton of fuel. But if- COOPER You have to stay here, pal. MURPH (DISTRAUGHT) I heard you talking to grandpa. I'm like you. I don't fit here, either. You know that. Cooper puts an arm around the boy. COOPER There's going to be important work to do here, too. Tears are streaming down the boy's face. Cooper takes his watch off. Looks at it. COOPER (CONT'D) I need you to hold onto this. Will you do that for me? Cooper hands Murph the watch. The boy nods, saddened. MURPH You're not coming back, are you? COOPER I will come back. I promise. 42. Murph shakes his head, but the sadness remains. He knows this is goodbye, even if his father doesn't. Heart breaking, Cooper hugs his son and turns to the door. CUT TO: EXT. FIELD, SANTA CRUZ ISLAND -- DAY The Piper Cub touches down. Donald is at the controls. Cooper climbs down, pulls out his bag. Reaches back in and grips the old man's hand to say goodbye. Cooper turns and walks toward the bunker. The doors open and Tars and Doyle step out to greet him. Tars ushers Cooper onto the elevator. COOPER Don't look so happy to see me. TARS (SHRUGS) One more slave when I hijack the mission and start my robot colony. Cooper looks at Tars, then Doyle, confused. DOYLE Tars was a Marine. They gave him a sense of humor to help him fit in with his unit better. COOPER Great idea. A massive, sarcastic robot. TARS I have a cue light I can turn on when I'm joking, if you like. Tars points to a tiny LED over his eyebrow. COOPER That sounds like a good idea. TARS Great. Maybe you can use it to find your way back to the ship after I blow you out the airlock. Cooper looks at him. Tars looks back, deadpan. After a beat, the little light turns on above his right eyebrow. The doors to the bunker begin to grind closed. 43. INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Cooper walks in, still looking for a place to put his things. Brand sees him. He smiles in greeting. She doesn't return the gesture. Instead, she holds up the telemetry board. BRAND You don't like this one, you get to help me find a replacement. She heads for the door. EXT. BAY, SANTA CRUZ ISLAND -- DAY Cooper is riding in a small rubber zodiac struggling to pull on a wetsuit. Brand is GUNNING the engine, guiding the tiny craft to a point in the middle of the bay. COOPER I was wondering where you've been getting your supplies. BRAND We knew we'd need decades of parts and materials. The government was getting rid of some things. So we arranged to take some off their hands. She cuts the engine and hooks the boat up to a buoy. She tosses a compact rebreather. BRAND (CONT'D) You know how to use one? (off his look) You just breathe. Tap my arm or bang something metal if you have a problem. And don't get lost. She picks up her rebreather and begins looking over it. COOPER So you're a salvage diver now? I thought you were a biologist. BRAND (UNIMPRESSED) I have to be just the one thing? (PATIENT) We're not going to have a lot of backup where we're going, Cooper. We all need expertise in at least three fields. Except for you, of course. 44. With that she rolls backwards out of the boat and into the water. Cooper hastily fits his rebreather and follows. EXT. UNDERWATER, BAY -- DAY Cooper sinks underwater and begins swimming after Brand, who is descending at a rapid clip. She pulls out a flashlight and turns it on. A tiny beam picks out details at the bottom. Cooper stops breathing. The bottom of the ocean is covered with an entire fleet of the US navy. Nuclear subs. Battleships. Destroyers. Cooper remembers to breath again. Then he hurries to catch up with Brand. INT. LAUNCH TUBES, NUCLEAR SUB, UNDERWATER -- DAY Cooper holds the light as Brand efficiently disassembles a ballistic missile and removes the telemetry board. She holds it up for Cooper. He nods. She swims on. INT. RESEARCH LAB, UNDERGROUND FACILITY -- NIGHT Cooper, dripping wet, holding the telemetry board, struggles to keep pace with Brand through stacks of equipment and years of research and experimentation. BRAND You can set that down over there. Cooper sets the board down. His eye is drawn to a bizarre experiment -- an ant colony built into a massive spinning centrifuge. Brand notices. BRAND (CONT'D) We didn't know what kind of gravity to expect. We experimented with collective organisms in high g environments. COOPER We're taking ants with us? BRAND Humans are also collective organisms. 45. COOPER I thought humans were more solitary. BRAND (WRY) Why am I not surprised? Cooper looks at the tiny colonies of ants struggling to go about their business in the raised gravity. COOPER Looks like hard work. BRAND It's a paradox. Life couldn't form without gravity. No stars. No planets. The component pieces would just drift apart. But too much of it and you're trapped. Brand's guard relaxes a tiny bit as she talks about her work. The moment passes quickly, and she continues on into the stack of equipment. INT. MISSION CONTROL, UNDERGROUND HANGAR -- NIGHT Cooper watches with the rest of the crew as Case pulls up the holographical maps for their journey. Brand steps into the back of the room. Cooper notices her and nods. She ignores him. CASE We've updated our mission parameters based on the data from the probe. Case switches the map to a vista filled with stars and black holes. CASE (CONT'D) Based on our latest modelling we think the region on the far side of the wormhole is the center of a galaxy. Case zooms in on the center of the hologram: an incredibly bright mass with plasma jets firing off in either direction. COOPER Is that a star? ROTH, 50s, the crew's brilliant and blunt physicist, zooms the map in, revealing, at the center, a black heart. 46. ROTH No. A black hole. There are several in the region, but this is the largest -- a billion times heavier than the sun. I call it Gargantua. (SMILES) Beautiful, isn't it? It's a shame we won't get to see it up close. DOYLE (LAUGHS) You'd like that, wouldn't you, Roth? Falling into a massive black hole. ROTH (SHRUGS) It would answer a great deal of questions I've had. Case continues. Doyle leans over to Cooper, conspiratorially. DOYLE (LOW) Don't worry about Roth. He's nuts. But Case says that means he's ideally suited for space travel. Case repositions the map near a much smaller black hole that is orbiting Gargantua. CASE We're headed for this smaller black hole. Roth calls it Pantagruel. We think the ice planet is here- Case draws a finger through the air, leaving a red trail. He traces the trajectory their ship will take. CASE (CONT'D) We exit the wormhole here. And we slingshot around Pantagruel to reach the ice planet. This is the period in which we'll lose time. COOPER Lose time? Roth shifts the hologram -- the stars and black holes flatten onto a sheet that bends, revealing the curvature of gravity. ROTH High speed or high gravity both slow down time, relative to earth. (MORE) 47. ROTH (CONT'D) The trip around the black hole will take us only a few days. But far more time will be passing back home. The ship's trajectory cuts through the deep gravity well of the smaller black hole to reach the ice planet. COOPER How much time? ROTH Based on the information from the probe -- as much as five years. Doyle looks at the tiny ship's trajectory, threaded between two black holes. He looks worried. DOYLE I still think we're making a lot of assumptions. About the wormhole. About the planet. (points to map) The critical orbit here is incredibly dangerous. It's like walking on the rim of the volcano. (BEAT) Too fast and we get thrown off at close to the speed of light. Too slow and we get pulled into the hole and crushed. BRAND As long as we're careful, we'll make it. DOYLE How do you know that? BRAND I find it hard to believe that someone would build a wormhole to a planet with water and oxygen just to lead us to a dead end. DOYLE I thought you were a scientist, Brand. That sounds more like a hypothesis. BRAND A guess. That's right. We don't have time to wait for conclusive proof. (MORE) 48. BRAND (CONT'D) My guess is that the wormhole is there because someone is trying to help us. The same way we used to try to help animals when they were threatened with extinction. COOPER Sure. Till we ran out of food and ate all of them. BRAND (ANNOYED) I guess I'm also assuming that whoever built the wormhole has a better plan than we did. If I'm wrong, we'll die, same as we'd die here anyway. DOYLE What do you think, Roth? Roth leans forward, studying the map. ROTH If we're guessing, then I'd say Brand's right. The wormhole couldn't exist naturally. I think it's there for a reason. That someone is trying to help us. Brand looks satisfied. DOYLE So you think we'll have no problem navigating between two massive black holes to a tiny planet? ROTH I think we'll probably be killed. (off his look) I said I thought there was a plan. Not that the plan was for us to find a planet like Earth to save a handful of people. (SHAKES HEAD) Birds don't learn to fly just so that they can find another egg and crawl back into it. DOYLE If that's not the plan, then what are we supposed to be doing out there? 49. ROTH (SHRUGS) To keep moving. Seeking. Learning. But I don't know. (SMILES) We don't understand how they built the wormhole. What makes you think we could understand their plan, either? Doyle gives up -- Roth is impossible. Cooper looks at the tiny ship tracing an improbable route towards the ice planet. What has he gotten himself into? INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Brand's Father is sitting at a desk, examining the corrupted data on the probe. Tars is helping him. Brand's Father looks up from the screen as Cooper walks up. BRAND'S FATHER Tars here needs to be disassembled. I figured you could do the honors. COOPER (to Tars, sarcastic) I thought I was going to get to enjoy your company all the way to Mars. Tars hands him a plastic waterproof case. TARS You will. My chassis is too heavy for the rocket stage. They have another one waiting for me in orbit. Tars turns his back to Cooper. Two flaps on the back of his torso slide open, revealing his control module. TARS (CONT'D) If you try to turn me into a combine harvester, I'm going to-- His voice cuts out as Cooper removes the chip and seals it in the briefcase. Brand's Father resumes exploring the chaos of ones and zeroes on the probe's memory. Cooper watches. BRAND'S FATHER It's noise. I know it's noise. But it looks too orderly. Probably just an old man seeing things. 50. He shuts down the monitor. INT. UNDERGROUND HANGAR -- DAY The crew file into the capsule, wearing their bulky spacesuits. Cooper watches as Brand's Father seals his daughter into her suit. He hugs her and she heads for the capsule. INT. CONTROL CAPSULE, ROCKET -- NIGHT Cooper straps himself into a seat next to Brand. He catches her eye. She looks away -- she's crying. COOPER We'll be back. It sounds like he's trying to reassure himself as much her. BRAND I won't. Cooper looks at her, confused. As he does, the entire rocket SHAKES as the primary rockets begin to fire. BRAND (CONT'D) If we find a habitable environment, I'm staying behind to build the colony. Brand wipes her tears away and settles into the same fearless mask she usually wears. She steals one last look out the window at Earth, then looks back. Cooper begins to say something, but stops as the entire rocket LURCHES as the primary engines FIRE. EXT. SANTA CRUZ ISLAND -- NIGHT The desolate island is suddenly painted in color as the rocket lifts off on a massive white cloud. EXT. FIELD -- DAY Murph sits alone on a rise overlooking the massive co-op farms. Behind him the combines continue to work, oblivious. Murph watches a tiny vapor trail as it races for the heavens. His father's watch dangles from his wrist. INT. CAPSULE -- NIGHT The interior of the capsule SHAKES with incredible violence as the rocket is lifted up on a giant, continuous explosion. 51. EXT. SPACE, NEAR EARTH ORBIT The rocket sheds one stage, then another, until finally the naked capsule reaches the blackness of space and rockets on. INT. CAPSULE Cooper looks through the tiny porthole into inky blackness. As they get closer, he makes out a looming matte black structure that passes light from the stars directly through. In the center of the structure, Cooper can see a globe-like ship covered in the same refractive material: the ENDURANCE. INT. SPACE STATION The door cracks open and equalizes with a HISS. Case, more comfortable in the zero gravity environment than the humans, hauls himself through. They are greeted by a group of robots painted in the same material as the ship -- the engineers who built and have maintained the Endurance for thirty years. INT. MACHINE SHOP, SPACE STATION One of the robots leads Cooper through a long lab-like room filled with machines capable of fabricating almost anything imaginable. Cooper looks like a kid in a candy store. The robot reaches a vacuum-sealed package. Cuts it open, revealing a bipedal frame. Cooper begins LAUGHING -- Tar's new body is beautifully designed, but tiny, only about four feet tall. ENGINEER ROBOT Would you like me to install the chip? COOPER Oh, no. I want to see this. Cooper takes Tars's chip out of its plastic safety case and looks it over. The engineer opens a bay in the back of the frame and Cooper slides the chip inside. The frame begins its "handshake" -- lights illuminate on the body, muscles flicker from a long gestation. The eyes open. COOPER (CONT'D) (SMILES) Good morning, sunshine. 52. Tars takes one or two steps forward, rotating his arms -- the robot equivalent of a stretch. Cooper can barely hide his mirth at Tars's newfound lack of stature. COOPER (CONT'D) Bit of a demotion. Tars turns back toward Cooper. He puffs out his chest and suddenly his stubby arms and legs telescope, unfolding into long, svelte limbs. When he's done he stands eight feet tall, even more impressive than his earthbound frame. TARS I wouldn't call it that, exactly. He reaches out an arm and pats Cooper on the shoulder. INT. ENDURANCE, SPACE STATION Cooper and the others haul themselves into the ship. To Cooper's surprise, it's quite compact, and divided into two chambers, like nestled spheres. COOPER The ship is tiny. Doyle, squeezing past him, smiles at Cooper's surprise. DOYLE So is the wormhole. Doyle pats Cooper on the back. Cooper begins hauling gear inside. EXT. SPACE, NEAR EARTH ORBIT In complete silence, the Endurance detaches from the space station and rolls gently away. After a moment, its nuclear engines fire and the Endurance begins to accelerate steadily away from the Earth. INT. SPACE STATION The engineer robots who built the Endurance watch as their creation disappears into space. Their mission is complete. One by one, they shut down. INT. CREW QUARTERS, ENDURANCE The crew watch through a translucent section of the ship's hull as the Earth gets steadily smaller. Then they settle in for the long journey to the wormhole. 53. INT. CREW QUARTERS, ENDURANCE Tars is hunched over a small communications relay, one hand is holding a paint brush -- he is making delicate strokes, painting the relay a bright blue. Cooper watches him for a moment. Tars looks up. TARS It's the comms relay. It will allow us to talk to earth, even on the far side of the wormhole. COOPER I know. So why are you painting it? Tars looks almost bashful. TARS It helps me calibrate my fine motor control. COOPER Sure it does. (SMILES) You're pretty good. Tars double checks his work. TARS I learned it during the war. COOPER What'd you paint? TARS Tombstones. Cooper watches him finish in silence. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper watches a highly-compressed video of his son, Tom, talking about school. TOM They said I can start an agriculture class a year early. Cooper shakes his head. TOM (CONT'D) I've got to go, Dad. Hope you're safe up there. 54. Tom gets up to leave. Donald sits down in his place. DONALD I'm sorry, Coop. I asked Murph to record you a message but he's still... well, he's still angry with you. I'll try again next week. The video cuts out. Cooper stares at the darkened screen. INT. ENGINE ROOM, ENDURANCE Cooper, Brand and Tars are moving the bundles of colonization equipment into bins along the wall of the craft. Tars pulls a stack of equipment out the stack and stows it against the wall. Cooper copies the procedure. They labor in silence, working their way along the hull. Cooper gets quicker with each bundle, keeping pace with Tars. TARS Be careful. It's difficult to gauge mass in zero gravity. COOPER How much do these things weigh? TARS Four tons. Cooper looks at the incredibly heavy bundle spinning easily in his hands. He tries to stop it. Catches his hand. COOPER Damn. He jerks his hand away, then pushes himself after the spinning bundle, trying to stop it before it can damage the hull. Tars helps him catch it inches from the hull wall. Brand floats over to Cooper, smiling at him the whole time with an exaggerated grin. BRAND Smile. Cooper smiles, taken aback by Brand's sudden friendliness. COOPER Why? BRAND Because it lowers your blood pressure. 55. Cooper looks at his hand. Blood is pouring out of his palm in large glistening bubbles. INT. INFIRMARY, ENDURANCE Cooper, slightly embarrassed, is seated while Case is hunched over his hand, sewing the meat of it back together with perfect little stitches. CASE How are you feeling? COOPER Fine. The anesthetic is working. CASE No -- I mean how is your mood? You seem to be developing good relations with everyone on the mission. Except perhaps Ms. Brand. COOPER (EMBARRASSED) You worry about my hand and I'll worry about my mood. CASE Only five percent of my resources are devoted to human anatomy. Ten percent is the mission protocol. The rest is human psychology. COOPER Why? CASE We are floating in a total vacuum in a plastic ship powered by nuclear engines. But the most dangerous thing onboard is the three pounds of organic material in your skull. COOPER If we're such a liability, why take us along? You and Tars could build the colony without us. You wouldn't need to bring food or oxygen. CASE Because humans, despite your obvious physical shortcomings, are better at surviving than we are. Your programming is better than ours. 56. COOPER Humans aren't programmed. Case stops, looking Cooper in the eye. CASE Would you prefer I was honest? These things can be uncomfortable for humans. COOPER Did they program you to be condescending? CASE Yes. Of course. (SMILES) But you're not supposed to notice. Case finishes the stitches. Ties off the end. CASE (CONT'D) Humans are good at surviving because evolution gave you magical thinking -- the idea that your relationships mean something. You can't explain the feelings, so you think of them as irrational. But they're not. They're programming. COOPER (DEFENSIVE) My relationships aren't programming. CASE Exactly. You believe it so much you won't listen to me. COOPER How would that make us better at surviving? CASE When I die, the last thing I will see will be a diagnostic of my own power cycle. Would you like to know the last thing you will see? Cooper hesitates. Case senses the jump in his heart rate. CASE (CONT'D) This conversation is making you uncomfortable. We should stop. 57. COOPER No. I want to know. CASE The last thing you will see before you die will be your children. (BEAT) Your mind does this to you to get you to fight a little harder to survive, to try to return to them, even if death is certain. Cooper looks away, overcome for a second with emotion. Case watches him, gauging his mood, whether he has said too much. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper begins recording a message. He looks unsure. COOPER We've almost reached the wormhole. (BEAT) Just in case anything happens, I just wanted to say... (BEAT) I love you boys. And I hope whatever your lives become, whatever is coming your way... you make the most of it. Cooper stops recording. Looks at the equipment, thinking it over. Erases the message. Stands to leave. As he steps to the door he notices Brand watching him through the window. She looks away. INT. OBSERVATION DECK, ENDURANCE Cooper steps out. Brand looks up at him. BRAND We'll be able to communicate with Earth even from the far side of the wormhole. Cooper smiles, grateful for this small kindness. COOPER I know. Thank you. BRAND I can't imagine how tough it would be to leave your kids behind. 58. COOPER You never had any? I thought I was a pariah for only having two. BRAND Hard to settle down when you've spent your life waiting to leave the planet. Cooper looks at the holographic model of the black hole system. The ice planet looks precariously balanced, orbiting the smaller black hole. COOPER Strange place to look for a new home. BRAND You wouldn't want to get too close to the surface of the sun, either. Black holes are a more stable supply of power than stars in many ways. COOPER You really think there's a plan? BRAND I hope so. (looks at him) You don't? COOPER I guess I just think we're on our own. Cooper looks at the impossibly complicated system of black holes orbiting each other. EXT. LAGRANGE POINT, SPACE Behind the ship, the sun is a distant light, not much bigger than the other stars. CASE (O.S.) We've reached the wormhole. The ship slows as it nears a tiny, crystal mouth, just four meters or so in diameter. INT. OBSERVATION DECK, ENDURANCE Case looks at the wormhole on the screen. It glows with the light of stars billions of light-years away. CASE Deploy the comms relay. 59. Cooper moves to the communications touchscreen. EXT. ENDURANCE The relay is released from the ship, and we finally get a look at Tars' paint job -- the stubby device looks like a 20th century mail box. The relay drifts in space. A signal light illuminates as it sends a test packet of data to the ship. INT. OBSERVATION DECK, ENDURANCE Cooper watches the comms screen. After a moment it TONES as it receives a data packet from Earth. CASE Everyone take their station for transit. We're heading into the wormhole mouth. Cooper and the rest begin folding away equipment in the control room and moving into the outer layer of the ship. Case initiates a sequence on the keypad and the nuclear engines disengage themselves from the ship. EXT. ENDURANCE, SPACE The nuclear engines drift a safe distance back from the ship and then snap tight on their tether. INT. OUTER HULL, ENDURANCE The crew move into the tight, claustrophobic outer layer of the ship. They will have very little room as the ship passes through the wormhole. Tars detaches his legs in order to take up less space during transit. Then he tethers himself to the hull wall. Case is the last to join them. He detaches a small control module from the console, then pulls himself into the outer hull and seals the passageway. Case presses a button on the control module. With a GROAN, the hull walls of the ship begin to BEND. EXT. ENDURANCE, SPACE The ship's hull begins to CRACK open, revealing the inner chamber. 60. INT. OUTER HULL, ENDURANCE The SHUDDERING continues. The crew watch nervously as the control chamber below them suddenly opens itself to the cold blackness of space. EXT. ENDURANCE, SPACE The ship silently rolls itself into position, pointing the opening in its hull toward the wormhole mouth. Slowly, the Endurance pushes itself forward, closer and closer to the crystal-like mouth. Finally, it envelops the mouth, bringing it into the open chamber. INT. OUTER HULL, ENDURANCE As the crew watch, the wormhole mouth is positioned in the center of the inner compartment. Case presses a sequence key on the control panel and the ship's hull closes again, trapping the wormhole inside it. With a GRUMBLE, the ship begins contracting, squeezing itself down around the wormhole mouth. Cooper takes a deep breath as the center of the ship begins gently lowering itself into the wormhole mouth, feeding itself into the wormhole from the inside out. Cooper watches as Doyle is swallowed into the compressing ship with a GRUNT. TARS Would you like me to make a joke? COOPER (FIRM) No. Cooper's turn: he is fed into the hole, legs first, then waist, torso, and, finally, his head. EXT. SPACE The Endurance shrinks as it sinks from the inside out into the wormhole. After a moment, it's gone. The only thing left behind is the comms relay, drifting in space, waiting for a signal. INT. OUTER HULL, ENDURANCE The ship continues to slide through the wormhole. Through the outer hull they see images of themselves repeating -- a trick of the narrow collar of space they are sinking through. Cooper smiles at himself. The experience is unnerving. 61. COOPER Where are we? ROTH (SMILING) Nowhere. Nowhere at all. Nowhere is still pretty damn claustrophobic. CASE The hull is intact. Thirty more seconds transit. For a moment, the ship slides gently, silently, through the wormhole. The quiet is eery. Suddenly, a point of distortion appears in the hull next to Cooper. It looks like someone is pushing against the hull of the ship with a giant finger. COOPER Something's happening to the hull over here. CASE Hull integrity is fine. The distortion moves along the hull, growing in diameter. COOPER Well, I don't know what your display is telling you but something is happening over here. Suddenly, along the hull, Doyle speaks up, panicked. DOYLE I've got a problem over here, too. Doyle is watching a separate distortion move across the inner wall of the ship. This one seems to be TWISTING the material of the hull. Suddenly, the point in front of Cooper detaches itself from the outer wall and moves through the space in front of him, bending the empty space itself, distorting the ship behind it like a sphere-shaped magnifying glass. DOYLE (CONT'D) It's not the hull... it's inside the ship... it's... ROTH (SMILES) It's beautiful. 62. Roth watches as the distortions move through the ship. His curiosity doesn't make anyone else feel any better. DOYLE What the hell are they, Case? CASE I don't know. It could be gravitational turbulence. The twisting sphere in front of Doyle begins to grow. DOYLE It's getting bigger. Doyle puts up his hand to defend himself. The sphere absorbs it, twisting Doyle's hand. Doyle CRIES OUT. His hand is twisted completely around, impossibly mangled. But Doyle, hyperventilating, isn't in any pain. ROTH It's not bending your hand. It's bending the space around your hand. The sphere begins to pass through Doyle's body. Doyle is freaking out. The sphere in front of Cooper makes contact with him, also. He holds his breath as it touches him, squeezing and distorting his body. BRAND This isn't turbulence. Look at the way they're moving -- it's like something's examining us. Cooper watches the sphere distort his arm, running along the length of it. COOPER Can you ask it to stop? Suddenly, as quickly as they appeared, the distortions vanish. For a moment, the crew is silent, still spellbound by the encounter. An ALARM sounds. Suddenly, the inner chamber begins to distort from a spherical shape to bispherical: two spheres joined. The ship GROANS as if it's being pulled apart. ROTH The wormhole is splitting into two paths. Radiation is pouring from one path to the other. 63. Case stares at the controls. Decides. CASE Release the second mouth. DOYLE None of our testing involved opening the ship inside the wormhole. We have no idea what might happen. CASE We're going to find out. Doyle reaches over to an auxiliary panel and punches in a sequence. After a moment, the hull cracks open, creating a channel through which the radiating mouth can escape. The opening in the ship allows the pressure to begin to concentrate on one fracture point. The ship SHUDDERS as it's squeezed along its axis. Case punches in a code and the ship begins to close again, painstakingly slowly. Finally, the ship calms as it closes around the original wormhole. CASE (CONT'D) We're reaching the far end of the wormhole. Suddenly, the wormhole mouth begins to grow inside the inner chamber. What was a ball of light spreads out into a black canvas studded with points of light -- like looking into the universe through the wrong end of a telescope. Cooper presses himself against the wall and holds on as the hull beneath him opens outward. EXT. WARPED SIDE OF THE UNIVERSE The Endurance emerges from the opposite end of the wormhole from the inside out. It drifts in space. INT. OBSERVATION DECK, ENDURANCE For a moment, the crew are silent, taking it in. ROTH Look at that. Roth is looking through the translucent panel on the hull. They are on the warped side of the universe. 64. EXT. WORMHOLE MOUTH, WARPED SIDE OF THE UNIVERSE The vista is dazzling -- an ocean of massive stars and black holes, some adorned with jets and brilliant gas disks. At the center, like a king at the center of his court, is Gargantua, plasma jets spewing from its poles. INT. OBSERVATION DECK, ENDURANCE The crew pull themselves back into the control deck from the outer hull. Their incredible surroundings are visible in all directions as Endurance passes the light into the cabin. CASE Reconfigure the engines and test the communications array. The crew break themselves away from the view and get to work. Roth begins adapting his models of the local system with the real observational data pouring in from the ship's instruments. Cooper pulls himself to the comms post. PINGS the relay they left on the far side of the wormhole. EXT. WORMHOLE MOUTH 'A', SPACE The blue and white comms relay LIGHTS up as it receives a packet through the wormhole. INT. ENDURANCE After a nervous moment, the comms computer TONES with a response -- they're still in touch with the Earth. COOPER It's working. Tars finishes reeling the nuclear engines back in from their tether and locks them into place. Roth's updated model appears on the monitors. Brand stares at it, startled. BRAND We're moving. DOYLE That's not possible. We haven't activated the engines yet. The ship's skin illuminates, overlaying a plotted course on top of the view. 65. They are moving, very rapidly, on a course that leads directly between the black hulks of Gargantua and Pantagruel. CASE Roth. Why are we moving? Roth looks at the stars, then back to his model. ROTH The smaller black hole. We're much closer to it than the models predicted. We're being pulled by its swirl. Very quickly. The crew looks out through the hull. They are being pulled into Pantagruel's swirl -- a glittering disc of matter spinning at high speed around the hole. Doyle looks behind them. The wormhole mouth is rapidly growing smaller. CASE Doyle. Fire the engines. Now. The ship's engines FIRE, straining to fight the irresistible pull of the supermassive black hole. They won't be able to fight it for long. DOYLE We're being pulled into it? ROTH No. I don't think so... Roth looks at the instrumentation for a moment. ROTH (CONT'D) It appears to be pulling us on exactly the trajectory we modelled. If we try to fight it, we could push ourselves off of that trajectory. DOYLE You don't know that. Case stares ahead into the darkness. ROTH We should turn off the engines. Let the swirl take us. DOYLE (FRANTIC) Listen to me. (MORE) 66. DOYLE (CONT'D) If the modelling was wrong, then we can't be sure about anything. We need to go back. Case thinks it over. Decides. CASE Shut down the engines. The engines shut down. SILENCE. The ship drifts for a moment in the swirl, then begins to move. EXT. ENDURANCE The ship accelerates as it is pulled by the irresistible force of the black hole onto an inspiraling orbit. INT. OBSERVATION DECK, ENDURANCE The crew watch as the ship hurtles around the black hole at higher and higher speeds. The sky overhead begins to spin due to their motion -- faster and faster until it becomes a blur. The ship begins to GROAN as it appears to be pulled in two different directions. The ship is now speeding around the black hole at incredible speed -- one revolution every four seconds. The crew are suddenly SLAMMED against the hull in opposite directions -- some towards the black hole, some towards the opposite side. Roth looks at his model, which shows the projected path of the ship. It looks perilously close to the event horizon. ROTH It's the tidal gravity caused by the black hole. It means we're right on the critical orbit. The comms screen lights up, TONING again and again, as it receives a long garbled update. Then it shuts down. Cooper drags himself along the hull until he reaches the controls. COOPER We've lost contact with the relay. Case joins Cooper at the comms screen. While they're distracted, Doyle maneuvers himself over to the engine control. 67. COOPER (CONT'D) One long garbled transmission came in. Then nothing. Case looks at the screen. Suddenly, the ship is JOLTED as the engines fire at full power. The crew looks over. Doyle is standing by the controls. DOYLE I'm sorry. I can't let you kill us. We have to go back. The engines strain to fight the swirl -- but they're hopelessly outgunned by the gravity of the black hole. EXT. ENDURANCE Instead of reversing course, the Endurance begins to speed up, as it plummets closer and closer to the black hole. INT. OBSERVATION DECK, ENDURANCE Doyle's face sinks as he watches the controls -- on the 'volcano' model, the ship is now passing the crest and spiraling towards destruction. He has made a tragic mistake. DOYLE Why isn't it slowing down? ROTH We're being pulled towards the event horizon. ALARMS begin sounding throughout the ship as the projected course on Roth's model shifts, showing the Endurance being pushed up the rim, past the critical orbit and down towards the black hole's event horizon. Case takes control of the ship, trying to fire the engines forwards to speed them back up to safety, but it's too late. CASE (CALM) The engines don't have enough power to push us back. ROTH They would if we used it all at once. Cooper is still trying to understand what Roth means as Tars locks himself into the engine compartment. 68. COOPER What is he doing? BRAND Saving us. Tars tears open the engine's control panel and begins overriding it. EXT. ENDURANCE Tars rips out the cooling circuitry. Then, holding on tight, he fires the engine. INT. OBSERVATION DECK, ENDURANCE The crew watch as Tars holds the engine, blasting it at full power into the swirl. The engine heats up white-hot. ROTH Prime the remaining engine. When he detonates it, we'll only have a few seconds. If we overshoot we could be pulled into the bigger hole. Roth moves to the controls. CASE Secure yourselves. The ship should be able to withstand the blast. COOPER What about Tars? As the crew watches, Tars continues to hold the engine even as the casing around it begins to melt. Finally, it EXPLODES. EXT. SPACE Tars is thrown backwards from the explosion, tumbling through space as the ship is ROCKETED upwards. INT. ENDURANCE The ship is SLAMMED by the explosion. Cooper and the rest of the crew are SMASHED against the hull. Doyle is knocked unconscious. Brand steps over to him and cradles his head, trying to protect him. On Roth's model, the course slowly pushes outward, out of the danger zone, back to the original delicate orbit. As they near the original orbit, Case fires the remaining engine, pushing them back onto the outspiraling orbit. 69. CASE It's going to be close, but we're going to make it. Brand looks at the instruments. Points to a tiny radar contact receding towards the massive black hole. BRAND Tars. His transponder is still working. The ship's instruments TONE every few seconds as it communicates with Tars' onboard computer. ROTH He's being pulled toward Gargantua. We can't help him. The crew watch, helpless, as the tones grow further and further apart. Then they stop. Cooper looks at Doyle, anger rising. Then he looks down. EXT. SPACE AROUND PANTAGRUEL The Endurance slowly spirals back away from Pantagruel, the sky slowing as the orbit grows longer. Finally, a tiny speck of light appears in front of the ship. INT. OBSERVATION DECK, ENDURANCE Roth watches as the Endurance races back away from the black hole and into a perfect orbit around a tiny ice planet. Roth looks up from his screen, smiling. ROTH We're here. INT. OBSERVATION DECK, ENDURANCE As Roth and Doyle study the frozen planet below, Cooper tries in vain to signal the relay on the Earth side of the wormhole. Brand and Case are having a private conversation away from everyone else. Cooper walks over. COOPER I still can't contact the relay. Brand ignores him at first. She nods at Case. 70. COOPER (CONT'D) Did you hear me? We're not able to communicate back home. She waves him off. But she looks shaken by something. BRAND I've already checked it. It's electromagnetic interference. We'll try again in a few hours. Cooper begins to ask her what's wrong, but she moves off. Roth looks up from his monitor, excited. ROTH I've got a signal. But it's local. A familiar CHIRP plays over the ship's speakers. ROTH (CONT'D) The remaining probes. We found them. She looks at the monitor. The probes ping the ship with their locations, which pop up on the monitor. They're all clustered in one spot. COOPER How could they all have landed in the same place? ROTH (SMILES) Let's go find out. Case programs a course that will lock the ship in orbit above the probes on the surface. EXT. SPACE ABOVE ICE PLANET The ship settles into orbit a few hundred kilometers above the surface of the ice planet. It can't get any closer: The space below it is choked with hundreds of tiny moons -- a cruder version of Saturn's rings. The moons are hurtling around the planet at high speed. INT. AIRLOCK, ENDURANCE Brand ushers Doyle into the landing module. Cooper objects. COOPER We're bringing him along? 71. BRAND We need all the help we can get. Besides, the alternative is to leave him on the ship alone. You think he'll still be here when we get back? Cooper steps aside, allowing Doyle onboard. EXT. SPACE ABOVE ICE PLANET The lander detaches from Endurance, rolls over on its belly, and FIRES thrusters to sink towards the planet's surface. INT. LANDER The crew watches, fascinated, as the ship descends, navigating between the moons that hurtle past. The moons are vastly different than our own; potato shaped and only one to two miles in circumference, they are hugged in a close embrace with the ice planet, only a few hundred thousand feet from the surface. EXT. SURFACE, ICE PLANET -- NIGHT The lander touches down on the ghostly surface of the planet. EXT. SURFACE, ICE PLANET -- NIGHT After a moment, the hatch HISSES open and the team steps out, led by Case, holding a rifle. The team sets out, moving slowly in their cumbersome suits. Lit by the nebula, the surroundings are a little brighter than a full moon on Earth. Not that there's much to look at. They are standing on a sea of ice, which spreads for miles. In the distance, small rock formations break through the ice. Brand takes a surface reading of the ice. BRAND (RADIO) The probe was right. Looks like significant amounts of oxygen trapped in the ice. Case leads the way, drawn by a signal only he can hear. He walks fifty yards, then stops on a gentle slope that leads down into a small valley. 72. CASE The other probes should be directly beneath us. Case and the others begin digging into the hillside. Cooper is drawn to a small mound in the middle of the valley, four feet high. He takes out a small folding shovel and begins scraping at the ice and snow. Case hits something solid. But it's not a probe. He digs around a little more, then reaches up and hacks away at the hillside, revealing the outline of something metal: A door. They're not standing at the base of a hill -- it's a shelter. The crew stands back, unsure what to make of it. A few feet away, Cooper cuts enough of the mound away to reveal something flexible -- fabric caked with ice. He scrapes away the snow, revealing a bright patch of red fabric: It's the flag of the People's Republic of China. BRAND How could the Chinese have gotten here first? The federal government kept the wormhole a secret. Case shrugs. He has a soldier's gallows humor about his old employer's ability to keep anything a secret. CASE They didn't do a very good job. Case reaches for the door of the shelter. It's sealed shut with ice. He wrenches it open. INT. CONTROL MODULE, CHINESE BASE CAMP -- NIGHT Case steps into the shelter, followed by the rest of the crew. His lights pick up several years worth of dust. Case steps up to an equipment locker. Forces it open. Inside are half a dozen black probes. Exposed to light, the probes begin TONING like the one Cooper found in Texas. DOYLE The Chinese must have captured them. So they couldn't return to us. The crew stare at the probes for a moment, taking it in. BRAND Then how did the probe that Cooper found return? 73. ROTH The more immediate question is what happened to the Chinese expedition. There's no sign of their ship in orbit. And they never returned to earth. Roth picks up an ancient vacuum sealed package of pickled egg. Virtually none of the rations have been eaten. EXT. VALLEY, ICE PLANET -- NIGHT Cooper and Brand scrape ice from one of the other small hills surrounding the valley, revealing another structure. Cooper forces the door open. INT. BARRACKS, CHINESE BASE CAMP, ICE PLANET -- NIGHT Cooper and Brand let themselves in. The shelter is well stocked with food and equipment. Brand is taking readings with a radiation detector. BRAND The whole place has been dosed with huge levels of radiation. What happened here? Cooper looks at the pieces of a modular, one-person rocket, a last-ditch means of escape, stored, untouched in the shelter. He steps back, realizing something. COOPER This is the Taichung mission. BRAND The Mars mission? The Chinese claimed it had been destroyed on landing. Cooper looks over the relay log. COOPER They never landed. Not on Mars. Four human crew, fifteen robots. The log says the base has been here for thirty years. Case's familiar voice comes through the radio. CASE (O.S.) I've found something. 74. INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT The structure is filled with drilling equipment. Cooper and the rest of the team stand at the edge of a three-foot hole that has been drilled into the ice. A descending rig is anchored to the top of the hole. Doyle and Case struggle to pull themselves out of the hole. DOYLE It goes down for a hundred and fifty feet, then stops. Tunnel's old -- the ice has reformed at the bottom. BRAND I'm going to descend to take some samples. Cooper, want to make yourself useful? Cooper begins to say something, then bites his tongue. EXT. LANDER -- NIGHT Cooper emerges, loaded down with several containers of Brand's equipment. As he struggles through the wind and snow, his radio picks up data chatter between the mother ship and Case. The comms are just noise. After a moment, Case's voice cuts in. CASE (O.S.) Get back here, Cooper. We've got a problem. Cooper continues to wade through the snow. Suddenly, he trips over something, dropping the equipment. Cooper looks back. He tripped on a white plastic post sticking out of the snow. He dusts it off, to reveal a picture of a Chinese Taikonaut smiling in his flight suit. This is a grave marker. Cooper sweeps his hand through the snow, revealing three more white posts with pictures. The entire human crew has been buried here. INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT Roth and Case are looking at a portable monitor, showing a projection of the nearby system -- the ice planet is a speck orbiting the local black hole. COOPER The entire human crew is buried out there in the snow. 75. Roth looks up from the monitor and assesses the situation with his usual detachment. ROTH I think I know what killed them. This planet isn't the only thing orbiting this black hole. Roth zooms the monitor in, revealing a tiny, impossibly-bright object appearing at the horizon of the black hole. ROTH (CONT'D) It's a neutron star. The black hole shields the planet's surface from it for twenty hours at a stretch. Time's about up. Even Brand looks rattled. BRAND How long do we have left? ROTH About five minutes. COOPER Then what? BRAND Then we die. The radiation will cook us alive. Cooper looks around, their predicament settling in. Case walks over to the edge of the mine shaft. CASE We have to go down. COOPER What about returning to the ship? BRAND Not enough time. Case is right. The ice can shield us from some of the x-rays. DOYLE It would take a thousand feet of ice to shield us. Brand gives up on the argument, sheds her equipment and clips herself to the line to follow Case down into the ice. Cooper looks at Doyle, then follows her. 76. INT. ICE MINE SHAFT -- NIGHT Cooper descends into the shaft. The only light is from his suit's light array. He reaches the bottom of the shaft, which opens into a small cave, the ice ribbed in wave-like patterns like the seafloor. COOPER What is this? BRAND A pocket formed by gas. There may be more below. The ice below them reveals nothing but murky blackness. Case has found some of the equipment left behind by the Chinese -- a battery-powered drill and a pick. DOYLE We'll never make it far enough down. BRAND Shut up. How much time do we have, Roth? Roth checks his watch with his usual detachment. ROTH About three minutes or so until we're fully exposed. The rad meter Brand is holding begins to CHIRP with activity -- the radiation levels are rising. The ice will not be enough to protect them. Cooper sees that Brand has exhausted herself with the pick. He takes over for her. The drill that Case is operating GROANS as the thirty-year- old battery runs out of charge. Case casts it aside and begins SMASHING at the ice with his bare hand. Brand is looking at the walls of the ice pocket, looking for fissures. Her lights pick out something in the ice. She LOOKS CLOSER: Tiny black flecks. Brand, ever the scientist, forgets their predicament and begins chipping at the ice. BRAND I've found something. Case continues to pummel the ice with his hand, which is badly smashed. 77. He pulls off the hand and continues to hack away at the ice with the stump, trying to save his crew. Brand is examining a piece of ice in her hands, which contains several black flecks. As she shines her light on them, they FLUORESCE, giving off a tiny flicker of light, like a firefly. Brand steps back. BRAND (CONT'D) These things... they're alive. Roth joins her, looking down at the tiny creatures trapped in the ice. Brand shines her flashlight over the ice again, but nothing happens. Roth takes the depth meter dangling by a lanyard from Brand's suit. ROTH It's not your light they're responding to. It's this-- Roth takes the depth meter and waves it over the ice. Suddenly, the black flecks begin to shine. BRAND X-rays. They feed on them and emit visible light. They've found a way to survive here. Roth looks at the shimmering light of the tiny life-forms trapped in the ice, mesmerized. Case hammers down with his arm, gouging a deep hole in the ice below. Suddenly, GAS sprays back up at him. He's found the gas pocket beneath them. Too late. Roth's rad meter begins BEEPING frantically. EXT. ICE PLANET -- ALIEN DAWN Overhead, a tiny ball is orbiting into view from the dark side of the black hole -- the NEUTRON STAR. Its humble size belies its power. As its rays hit the ice, the ice CRACKLES with energy. INT. ICE MINE SHAFT -- ALIEN DAWN Brand steps back from the ice in awe as it begins to glow. The microbes are absorbing the x-rays and emitting light. Within seconds, they are bathed in an incredible glow. Even Cooper stops, awed by the beauty of the display. Only Case is unmoved, continuing to SMASH at the ice with the broken end of his wrist. 78. BRAND (looks at rad meter) They're absorbing most of the x-rays. ROTH Not enough, unfortunately. Suddenly, a CRACK as Case punches into the ice. Cooper looks down -- a great fissure has opened in the ice beneath them. COOPER Case, wait-- Case PUNCHES again. Suddenly, with a great BANG, the ice floor disintegrates beneath them. They fall into the darkness. INT. CAVERN -- ALIEN DAWN Cooper falls. For a moment, the only light he can see is from Case, falling calmly a few yards beneath him. As they fall, the light from the microbes trapped in the ice above sweeps across the inside of the cavern, illuminating the floor of the massive cavern thousands of feet down. The rock formations they saw on the surface are actually the tip of a mountain range extending into the distance, disappearing into the ice above as if it were cloud cover. The base of the mountains is covered in a thick jungle-like foliage that runs into a perfectly-still inland sea. On the far side of the sea, another mountain range stretches into the distance, supporting the thick ice and rock cavern roof. Cooper only has a few seconds to take this in -- he is falling towards the huge inland sea below. Seconds before impact, a tiny warning light flickers on inside his helmet: IMPACT DETECTED. Suddenly, a small drag chute EXPLODES from a panel on the back of suit, slowing his fall. Airbags EXPLODE on his legs and torso to cushion the impact. Cooper SMASHES into the water. BLACKNESS. EXT. UNDERWATER -- DAY Cooper comes to underwater, as liquid is flowing into his suit from his shattered helmet. 79. Bubbles pour out from his suit and Cooper GASPS as his helmet fills with water and he begins to sink. As he sinks, Cooper pulls off his helmet, then tears off pieces of his suit. He forces himself through the neck of the suit and then swims upward. He is about to surface when he remembers where he is. He hesitates, just beneath the surface, lungs tightening as he runs out of oxygen. EXT. SEA, ICE PLANET -- DAY Cooper breaks the surface, COUGHS out water, and takes a panicked breath. He waits. Nothing happens. He opens his mouth again and breathes in almost pure oxygen. He can breathe. Treading water, he looks around. Spots lights in the water below nearby -- Brand, in her suit, is sinking. He dives down and struggles to haul her up by the suit. Cooper breaks the surface, looks at Brand. Her mask is also broken. COOPER Breathe. Trust me. She refuses at first. Water is bubbling into her suit through the open mask. Finally, she takes a deep breath. COOPER (CONT'D) Your suit is filling with water. I'm not going to be able to hold it much longer. I'm going to let go. Brand's eyes widen. BRAND What do you mean, you're going to let go? COOPER Take a deep breath. Brand takes a deep breath and Cooper lets go of her. EXT. UNDERWATER -- DAY Brand sinks. Cooper swims down, following her, ripping away at her suit. The tear-away seals on her suit are stuck fast, damaged in the fall. 80. Cooper finally breaks them off. Brand pulls herself out, free, and they swim for the surface. EXT. SHORE, ICE PLANET -- DAY Cooper drags himself out of the water and onto the beach. He turns back to offer Brand a hand. She waves him off. BRAND I don't need your help. COOPER I thought we were supposed to be a collective organism. She gives up and lets him help her out of the water. They sit together, soaking wet, trying to catch their breath. BRAND Thank you. COOPER Don't mention it. Cooper feels the rocks beneath him, which are translucent, like glass, and polished to an impossible shine. He looks up to see Case dragging Roth and Doyle, still in their suits, out of the water. EXT. SHORE, ICE PLANET -- DAY Doyle and Roth have stripped down from their suits and are breathing in the pure oxygen atmosphere. Case and Cooper are pulling modular pieces from their equipment packs to form a small shelter. Brand is taking readings with her instruments. BRAND Oxygen atmosphere. Pure water. Temperate climate. (TO COOPER) You still think this is a coincidence? Cooper looks at the tree line, less convinced. COOPER Looks like we can climb up the mountains back to the ice. We're down to three suits. We'll have to send someone ahead to get a fourth. 81. BRAND I won't need one. DOYLE Why not? BRAND Because I'm not going anywhere. This is our new home. Brand picks up some of her instruments and a sample case and hikes into the jungle. EXT. SHORE, ICE PLANET -- DAY Cooper finishes constructing the modest shelter. They load the suits and the rest of their gear inside. COOPER Any sign of Brand? ROTH She's still taking samples. If you find her, tell her to head back. Night should be falling soon. COOPER What happens then? ROTH Your guess is as good as mine. Cooper hikes into the jungle to look for Brand. EXT. JUNGLE, ICE PLANET -- DAY Cooper finds Brand taking samples from the tree-like life- forms, which are wildly different from their counterparts back on Earth, piled in torturous coils, as if frozen in a struggle to punch through the canopy to reach the light above. BRAND This is incredible. The organisms trapped in the ice above absorb x- rays and emit light. In return, these plants absorb the light and emit oxygen, which feeds the animals trapped in the ice. Brand cuts off a sample and drops it into the case. The transparent wall of the case magnifies the structure onto the glass automatically. She compares it with the flecks she collected in the ice above, fascinated. 82. BRAND (CONT'D) Look at this. I think they're the same organism at a different stage of the life cycle. (shows him the sample) It's fractal. No individual cells -- the structure repeats all the way down. Cooper looks at the sample, then continues scanning the jungle around them, nervous. COOPER Any sign of big life-forms? BRAND The soil's been disturbed. So something's been moving. But I haven't seen anything. (notices his look) Cooper... are you nervous? Cooper stops scanning the trees, embarrassed. COOPER I just think we should get back to the shelter before night falls. Overhead, the light from the ice above begins to fade -- the neutron star must have orbited out of view. Night is falling. BRAND (LAUGHING) Relax. If there are any large organisms here, even predatory ones, they're not going to attack us -- they have no idea what we are. COOPER You don't know that. You just have blind faith this place is going to be some kind of Eden. Brand stops. He's struck a nerve. BRAND (truly pissed off) Faith has nothing to do with it. You know what you are, Cooper? You're just another in a long line of people saying 'no.' That this isn't going to work. And frankly, I don't have to convince you. 83. COOPER What's that supposed to mean? BRAND You're on this mission because you're another pair of hands. You want the truth? I told Case we should bring another robot over you. At least then I could just reprogram you to- She stops. Something has caught her attention. COOPER What? BRAND Nothing. I just -- I could have sworn it just moved. She walks to the thick, knotted trunk of a tree. Puts a hand on it. Overhead, the ice flickers out and the darkness begins to descend, more rapidly than on Earth. Suddenly, the tree SHUDDERS. Then, the bark begins to ooze over Brand's fingers. Brand snaps her hand away and steps back. Even for her, this is too much. She turns back to Cooper, who is looking at the jungle around them, spooked. COOPER You know how plants don't usually move? Is that a universal rule? BRAND No. There really aren't any rules. All around them, the life-forms begins to melt toward the ground, breaking down into different, smaller forms. BRAND (CONT'D) (trying to stay calm) Remember, we're the aliens. Cooper steps back as several pieces of the nearest tree drop onto the ground and begin scuttling toward him. BRAND (CONT'D) Hold very still. Don't make any sudden movements. Two of the pieces join together, stacking themselves up and staggering toward him. 84. A third piece climbs onto the first two, looking for a good place to hang on. After a moment it hunkers down on top, forming a crude head. Thirty eye-like structures blink open on the creature. The skin of the life-form begins to flicker with a dim light like the animals trapped in the ice above, bathing Cooper and Brand in a warm glow. The creature creeps closer to them, taking them in. Cooper tries his best to seem non-threatening. COOPER Hello there. The creature lurches toward him on three legs, then its head splits open and it BELLOWS. COOPER (CONT'D) OK. Now we run. Brand doesn't argue. They turn and sprint through the trees. EXT. JUNGLE -- NIGHT Cooper and Brand smash headlong through the jungle. At first, they're running from the rumbling, smashing melee behind them. But as they run, the entire jungle around them begins to break apart and move. After a moment, they're surrounded. The jungle is completely disassembling itself into a million different pieces, each one a different size and shape than the others. COOPER We have to reach the shelter. They head off, crashing through the melee. EXT. SHORE, ICE PLANET -- NIGHT Case, Doyle and Roth are standing in front of the shelter finishing the day's work. Doyle turns around. The jungle is breaking apart and crawling down the beach towards them. DOYLE I think we've got a problem. Case and Roth look up to see the organisms picking up speed as they move towards them. Roth begins to step out towards them. 85. ROTH Fascinating. I think- Case grabs him by the arm and pushes him bodily into the shelter after Doyle. Case pushes the door closed. INT. SHELTER, ICE PLANET -- NIGHT They crouch inside the shelter as the organisms begin POUNDING at the walls, trying to force their way inside. It's going to be a long night. EXT. JUNGLE, ICE PLANET -- NIGHT Ahead, Cooper can see the gleaming water of the inland sea, light still flickering in patches from the ice above it. COOPER This way. Brand begins to follow. BRAND No... wait. Too late. Cooper forces his way between two writhing creatures, steps through, and falls... EXT. WATERFALL -- NIGHT Cooper gasps as he surfaces from the ice-cold water. Brand floats past. The river appears to flow randomly down the slope, with good reason -- the forest rearranges itself every night. Ahead, the ground drops away again and the water rushes over it in a torrent. Cooper catches himself at the last minute, grabbing a thick tree branch with one hand and, a second later, Brand with the other as she slides past. COOPER I've got you. Suddenly, the branch in Cooper's hand illuminates and wrenches itself out of the rock -- it's a limb of a huge colony organism. It shakes Cooper loose and they fall again... 86. EXT. POOL -- NIGHT Brand surfaces first. She grabs Cooper and hauls him up and out of the water. She smiles down at him, a little smug. BRAND I've got you. Creatures begin splashing down into the pool behind them, as if imitating them. Cooper stumbles to his feet and Brand guides them backward into a small cave carved into the rock above the pool. INT. CAVE -- NIGHT Brand CRACKS a glow stick, basking the cave around them in a soft light. As they watch, horrified, the pool and the rocks in front of the cave fill up with creatures of all sizes, as they tumble down the hill in what appears to be a battle royal. For a moment, it looks like Brand and Cooper may go unnoticed. Then, a three-foot-tall creature with a dozen legs creeps its way toward the entrance to the cave. Another follows, and another, until the cave entrance is full. Cooper looks around the cave, frantic. He picks up a rock. Brand, scared but still thinking, takes the rock from his hand and drops it back to the ground. BRAND It's game theory. The best move is always to cooperate at first. COOPER By "cooperate" do you mean let it eat me? BRAND These organisms have no interest in us. They survive by photosynthesis. All they need is light. COOPER Then why are they killing each other? BRAND I don't know. (LOOKS AROUND) But we're outnumbered, Cooper. So unless you have a better idea, I suggest we make nice. 87. The creatures move toward them hesitantly, then faster. Cooper stands stock still as the creatures gather around him. Several of them join up into bigger animals to get a better look at him. One of them wraps itself around his chest and begins prodding at his shoulders, then his neck. COOPER (trying to be calm) What is it doing? BRAND It's a colony organism. It's trying to incorporate you into its structure. COOPER I don't want it to incorporate me. BRAND Don't open your mouth. COOPER WHY N- As he speaks, the creature on his chest extends four spindly, pointed feelers and reaches gently into his mouth. Cooper holds his breath as the organism taps against his teeth. Its skin has a roughened texture, as if incomplete, and it appears to be searching for the same texture on Cooper's skin, without much luck. Bored, the life-forms climb back down off of Cooper. The last two creatures link up in an imitation of Cooper's lower body and attempt to walk across the room like a human. After a moment, the creatures tumble to the ground and flail away. Cooper is still breathing hard as the cave empties and he and Brand are left alone again. Brand steps to the edge of the cave and watches, fascinated, as the creatures resume wrestling and battling each other. COOPER (CONT'D) They're killing each other. BRAND No. They don't bleed... they don't die... they're just competing... trying out different shapes, looking for the best one. 88. Cooper watches as a hideously-awkward-looking, five-legged beast stumbles past and tackles another animal. COOPER I'd say they have a long way to go. BRAND (AMAZED) They do this every night. As they watch, a two-foot-long creature with one huge claw scuttles along the ground, grabbing smaller opponents and smashing them apart, then sorting through the wreckage and adopting some of the writhing parts as its own. Something about the movement is endearing, the way it experiments with each piece -- less like a massacre and more like an over-caffeinated self-assembling erector set. Suddenly, a massive, lumbering creature SMASHES down in front of the claw beast. No match, the smaller creature turns to scuttle away. Too slow. The larger organism brings one club-like limb smashing down on top of it. After a moment, it lifts its claw -- the two animals have become one. The new organism lumbers away through the jungle, happily snapping its new claw at larger opponents. BRAND (CONT'D) The behavior changes as the animals get bigger and bigger. More sophisticated. More calculated. Two of the larger organisms square off, circling each other, lights pulsing up and down their bodies in a fierce display. COOPER But what are they competing for? BRAND I don't know. Brand shivers -- it's getting colder. INT. CAVE -- NIGHT Brand and Cooper huddle around a small chemical fire they've brought with them. Brand looks at the sample of the fractal wildlife in her case. It's moving around, splitting apart, reforming, trying to find a way out. 89. BRAND These creatures are billions of years older than we are. But they're relatively primitive. They haven't developed tools, culture, language. COOPER Why not? BRAND I don't know. No one knows how intelligent life began on Earth. But the surface of this planet has virtually no craters. No impacts. It's been sheltered by the local black holes. COOPER What difference would that make? BRAND Maybe not enough has gone wrong here. Maybe bad luck is the key to intelligent life. COOPER (QUIETLY) Murph's Law. BRAND Exactly. Maybe our interaction with them will push them over the top. Maybe that's part of the plan. COOPER (shakes his head) The plan. BRAND Why is it so hard for you to accept that someone might be trying to help us? Cooper is silent for a moment. His mood darkens. COOPER I was in Denver during the first year of the famine. I was just a kid. We kept waiting for someone to come help us. People starved to death sitting on the ground, waiting for someone to come. (MORE) 90. COOPER (CONT'D) (looks at her) I only made it because I realized that nobody was coming to save us. We were on our own. Cooper looks away. The memories are never that far away. COOPER (CONT'D) Honestly? After the things I saw... you want to know why I don't believe that someone would be trying to help us? Because I'm not sure we're worth saving. They sit in silence for a while. EXT. CAVE -- NIGHT Cooper sleeps. After a moment, Brand steps back out into the darkness. EXT. PLAIN -- DAWN Brand exhales great streams of frosted breath -- the temperature is well below freezing. The first flickers of light are visible in the ice above. The creatures are huge now, forty or fifty feet tall, battling each other more and more slowly. As Brand watches, the largest of them beats down his rivals, climbing to the top of the heap. Just as the beast reaches the top, it freezes, as if stuck. Above, the ice begins to shine brighter and brighter. Suddenly, the beast on top breaks apart, unfurling into planes to catch the light. This is what the contest has been about -- a better place in the sun. Brand takes it in. EXT. JUNGLE -- DAY Cooper and Brand pick their way their way through the foliage, which is now perfectly still, absorbing the light. Cooper looks at the plants, wary. Brand sees his trepidation and laughs at him. BRAND They're not going to move now, Cooper. They need to spread themselves as thin as they can to absorb the light. 91. Cooper leads the way, pushing through the trees. Suddenly he stops again. Brand, annoyed, pushes through the foliage to join him. BRAND (CONT'D) Cooper, honestly, you're a bit of a- She stops. Cooper is standing at a sheer cliff. Spread out on the plain below is a massive, fortified base. INT. CHINESE FORTIFIED COLONY -- DAY Massive blast doors, long since smashed in, open onto a building that has been overrun by the local fractal wildlife. Case steps inside first, his worklights flickering on. Cooper and the others follow him in. INT. MESS HALL, CHINESE COLONY -- DAY The room is barely recognizable -- the fractal life has covered the tables and chairs. Water pools on the floor and light streams in from a massive hole the fractal animals have punched in the ceiling. DOYLE Looks like the Chinese picked a fight with the locals. COOPER Looks like they lost. They continue through the ruins. INT. BARRACKS, CHINESE COLONY -- DAY The deeper they go, the less fractal wildlife they find. The barracks are pristine -- hundreds of perfectly made beds, waiting for colonists who never came, like one of the bunkers the federal government used to keep in case of nuclear winter. DOYLE Look at the size of this place. They built it for thousands of people. But no one came. Brand looks around, determined. BRAND They will. We can salvage it. This place will save us years. 92. COOPER But why didn't they come? BRAND (SHRUGS) The Chinese government collapsed, same as ours. The people who knew about this mission probably died years ago. We had the same problems. Roth finds a sign he likes the look of -- it points to the science levels. INT. LABORATORY, CHINESE COLONY -- DAY A massive door GRINDS open and the team steps into a massive complex of underground laboratories. INT. DAMAGED LAB, CHINESE COLONY -- DAY Cooper and the others carefully make their way through a lab that has been completely emptied -- no desks, no chairs, nothing. The only thing that remains is a solid ball of matter in the center of the room. BRAND What happened here? Roth stares at the ball, intrigued. ROTH They were testing something. Cooper looks at the walls, which are bowed inwards. COOPER Testing what? Roth is looking at the ball, which appears to have been built from layers of different material. The outermost layer is flattened steel. COOPER (CONT'D) (LOOKING CLOSER) Is that a chair? Roth looks. The outermost layer of the ball indeed looks like a steel chair, flattened with incredible force onto surface of the ball. Brand opens the door to the next lab. 93. INT. LABORATORY, CHINESE COLONY -- NIGHT The lab is empty, except for a large metal sphere on a pedestal in the center of the room. A black box is set into a cavity in the sphere, wired to a control panel. Cooper looks at the walls of the room, which have been bowed inwards, as if some great force had been pulling from the center of the room. COOPER Everything in here is bolted down. (looks at sphere) What do you think this thing does? ROTH (EXCITED) Let's find out. Roth finds a control panel. Wipes off an inch of dust and begins tinkering with the controls. COOPER I wouldn't turn it on until we can figure out what it does, Roth. Roth continues to look over the controls, oblivious. BRAND (O.S.) Cooper. Come look at this. Brand calls out from the hallway. INT. STAIRWELL, CHINESE COLONY -- DAY Cooper follows Brand's voice down the stairs to a sub-basement beneath the lab level. INT. OBSERVATORY, CHINESE COLONY -- DAY Cooper steps into a huge space filled with a near perfect holographic representation of the local system. Cooper joins Brand and Doyle in the map, looking at the incredibly detailed models of each star. Case is standing at a terminal, hacking into the camp's records. CASE I've found the Chinese mission logs. They're encrypted. Cooper walks over. Looks over the terminal. 94. COOPER Old military-grade encryption. It's not very robust. (looks at Case) No offense. Hang on. Cooper punches a few keys into the terminal. Opens up the terminal. Scans the motherboard. Takes Case's rifle and SMASHES one of the chips on the board. The terminal comes to life. Cooper hands Case his rifle. COOPER (CONT'D) That should open up most of it. Case is silent for a beat, parsing the information. CASE They got here twenty years ago. The human crew was killed by radiation the first day. But the robots survived. They built the colony and radioed home. But they didn't receive a response. COOPER No one was listening. CASE (SCANS DOCUMENT) After a few years they discovered a problem. DOYLE What problem? CASE It doesn't say. Their science team took the ship to continue exploring the system. It says they found some kind of... (TRANSLATING) ...The word literally means 'treasure.' Case skims through the rest of the logs, large portions of which have been redacted. CASE (CONT'D) The science team returned after five years with a new technology. They began the experiments upstairs, then they left again and never returned. 95. BRAND Where did they go? CASE I don't know. They've deleted their mission plan. There's nothing else. DOYLE I think I know what the problem is. Doyle is manipulating the time component of the map, slowing down the passage of time, reversing it, speeding it up. DOYLE (CONT'D) Look. Doyle speeds up the map until the ice planet is nearly a blur, speeding in its orbit around Pantagruel. DOYLE (CONT'D) There's a small black hole moving into the system. Too small for us to have seen in our survey. It's not going to hit the planet, but it's going to come close. A tiny black hole soars through the system. Although it misses the ice planet, it deflects its orbit by a tiny degree. After a dozen more orbits, the ice planet dips down close to Pantagruel's event horizon and is torn apart. Brand and the others watch as the sequence rewinds and repeats -- the planet is pieced back together again and ejected, then pulled back in and torn apart. Over and over. DOYLE (CONT'D) This place isn't paradise. It's doomed. Just like us. The crew stand, watching the sequence in stunned silence. COOPER How long does this place have? CASE A few years. A decade at most. Doyle turns to Brand. DOYLE So much for the plan. Cooper looks at Brand. She is in disbelief, staring as a lifetime's training and optimism are torn to pieces. 96. BRAND But I don't understand... why are we here? What are we here for? Cooper looks down. Brand's upset is turning to anger. BRAND (CONT'D) What the hell are we here for? I trained my whole life to reach this place. She looks at Cooper, questioning. COOPER (GENTLE) Maybe... maybe Roth's right... maybe we just don't understand it yet. She looks down. She knows he doesn't believe what he's saying. He's been right all along -- they're alone. For a tiny moment, all hope is lost. Suddenly, with a distant RUMBLE, the building begins SHAKING. COOPER (CONT'D) Case, what is that? CASE It's nighttime. The native life- forms are mobile again. The RUMBLE grows more intense, as if the entire building is being gently shaken. COOPER No. It's closer than that. (REALIZING) Roth. The RUMBLE grows. As Cooper watches, Case's rifle slides free of the desk. But instead of falling, it simply hangs in the air. Then he realizes the same thing is happening to them -- his boots no longer have traction with the ground. After a second everything in the room is floating an inch off of the ground. COOPER (CONT'D) Quick -- hold onto something. He reaches out to Brand but it's too late -- suddenly they're no longer floating, they're falling. They're falling up. 97. Cooper, Brand and the rest of them hit the ceiling. Cooper picks himself up and adjusts to his surroundings -- up is now down. He helps Brand up. DOYLE What the hell is happening? Case doesn't answer -- he's looking up at the control equipment for the holographic display, which is GROANING under a load it was never built to handle. Case grabs Cooper and Brand and pushes them towards the stairwell as the control panel TEARS free of the floor and CRASHES towards them. Cooper falls into the stairwell -- now they're being pulled up and sideways through the stairwell, like an Escher painting. Brand pushes Cooper out of the way as debris from the control panel orbits past them back up towards the lab. They try to hang on but the force is becoming irresistible, dragging them along the wall of the stairwell and back towards the lab upstairs. Brand wedges herself against the railing as objects and debris are SMASHING against the door to the lab. Doyle is trying to hang onto the handrail but his grip slips and he CRIES OUT as he falls towards the door to the lab, SMASHING it open. Doyle disappears up and into the lab. Cooper slips trying to help Doyle. Brand reaches out for him... Too late. Cooper is pulled through the open door. INT. INTACT LAB, CHINESE COLONY -- NIGHT Cooper is pulled through the door and past the control panel. He reaches out and grabs the underside of the panel. He dangles, the panel cutting into the meat of his hand, trying to get his bearings: Roth, Doyle, and everything that hasn't been bolted down is either pressed against the sphere in the center of the room or is orbiting around it. Roth, who is laughing, jubilant, shouts up to him: ROTH The control panel is beneath you. See if you can turn it off. 98. Cooper slips as he tries to reach the controls. Finally he finds the controls for the machine. COOPER (YELLS UP) I found it. Hold onto something. Roth and Doyle crawl up the side of the mass and hold onto the support wires. Cooper hits a key on the monitor. Suddenly, the room inverts again, reverting to a normal gravitational field. Cooper floats for a second, then topples back to the ground, along with everything else. Brand stumbles in to find Cooper sprawled on the floor as Roth and Doyle hang onto the sphere for dear life. INT. INTACT LAB, CHINESE COLONY -- NIGHT Roth, back on terra firma, is looking at the tiny black box he's pried from the center of the sphere. Cooper is looking over his shoulder. COOPER They found a way to make gravity. ROTH Not make it. Adjust it. Dial it up, or down. I think they were experimenting with it -- firing these into the black hole to try to save this planet. DOYLE All that from one tiny box. Roth has hooked the box up to a terminal and it scrolling through the incredibly sophisticated machine code, trying to parse how it works. Cooper looks on. ROTH (AMAZED) It barely uses any power. I'm only beginning to understand what it does but I think it sends a signal out into the bulk. It must tap into the same technologies that were used to create the wormholes in the first place. COOPER What does that mean? 99. ROTH It means whoever built the wormhole probably doesn't exist inside our universe. Cooper looks at the tiny box. COOPER But how did the Chinese develop the technology? This would take decades, maybe hundreds of years, to create. CASE Wherever they went, they found something that allowed them to build it. Brand looks at the box. ROTH They came back here and tried to use these devices to save this planet. But they didn't work. Nothing would be strong enough to weaken a black hole. BRAND Maybe we could work with it. Try to improve it. ROTH No. You're missing the bigger picture. The robots had strict mission parameters. They were told to build a colony and report back. They tried to. But they failed. Like us they were fixated on this place. Cooper looks at Brand. ROTH (CONT'D) They didn't realize they had already found something that would save us all. (holds up the box) This. This is the prize. He holds up the box. ROTH (CONT'D) Don't you see? Earth's gravity is like a prison. But this is like a master key. (MORE) 100. ROTH (CONT'D) If we could build more of these, we could turn down the earth's gravitational field enough to save millions of people. We wouldn't have to pick a handful of people to survive. With this we can save everyone. BRAND And go where? ROTH Wherever we want. We don't belong in any one place. Can't you see that now? Not Earth. Not this place. Nowhere. If the human race is going to survive, we need to keep moving. Split up. Spread out. Fly. With this, we can. Case looks at the box. Makes a decision. CASE In the morning we're taking this and going home. Doyle, Roth and Case set about making preparations to leave -- gathering space suits, equipment. In the bustle, Cooper finds Brand sitting alone, staring at the sample of fractal life. COOPER I know this isn't exactly what you trained for. But I think Roth might be right. BRAND That doesn't help this planet. This creature is doomed. Unlike us it doesn't have anywhere to go. The fractal organism almost seems to be looking at her, trying to comprehend. But it quickly loses interest and goes back to breaking itself into pieces and reforming into different shapes, trying to escape. Brand sets it back down. CUT TO: INT. BARRACKS, CHINESE COLONY -- DAY Morning. Cooper and the others prepare to head out. They are laden down with gear -- space suits for the return trip to the lander once they reach the surface. 101. Roth carries the gravitational prototype. EXT. ENTRANCE, CHINESE FORTIFIED COLONY -- DAY They make their way through the ruined entrance. CASE We need to hurry. We only have a few hours to reach the ice before nightfall. Cooper stops. He puts a hand on Brand's shoulder. He points to the tree line. Something is moving. COOPER Don't make any sudden movements. They can't hurt us if we're unarmed. BRAND Who? Suddenly, three ROBOT MARINES step out of the jungle, weapons raised. They are wearing ghillie suits, pieced together from dried dead pieces of the local foliage. Under their camouflage, they looks identical to Case. With one key difference -- faded red and gold insignias. Case steps protectively in front of his team. The CHINESE OFFICER steps forward, rifle levelled. CHINESE OFFICER Ni Hao. My name is Technical Sergeant Liu, 177th reconnaissance Marines, Army of the People's Republic. Welcome to New China. (POLITE) Please put down your weapon. Sergeant Liu speaks in the same even tones as Case -- they were probably built in the same factory before the war. Case keeps his rifle raised. CASE This is a scientific expedition, not a military one. We are making our way back to our ship. LIU I'm afraid I cannot let you do that. We will provide food and shelter and await further instructions. (MORE) 102. LIU (CONT'D) We are sorry if this causes you any inconvenience. The sergeant is polite, but firm. BRAND This planet is being pulled into the black hole. We all need to leave. LIU We will await further orders. COOPER Further orders aren't coming. Your government is gone. It ran out of money, same as ours. You're on your own. LIU We can offer you food and shelter as long as you require. The facilities here are quite comfortable. Liu's tone remains polite, but there's no hope of changing his mind. Cooper takes a sidelong glance at Brand. COOPER (LOW) They're never going to let us go. BRAND (TO LIU) Your mission is a humanitarian one, wasn't it? You were sent to start a colony. Like us. LIU Our mission was to prepare for the evacuation. This site was deemed unacceptable. BRAND This device that you have built -- this could save millions of people. We need to get it back home. Brand points to the device Roth is holding. The Chinese robots seem particularly unhappy with this development. LIU These technologies are the property of the People's Republic. (MORE) 103. LIU (CONT'D) We have been ordered to prevent anyone from taking them. We have been ordered to prevent anyone from following. ROTH Following? Following where? Liu pauses. LIU We will await further orders. ROTH Your name means six. Where did the others go? One through five? Is that who were not supposed to follow. Case turns to look at Cooper. CASE (LOW) Take the others up to the lander. Keep going. No matter what happens, don't come back for me. Cooper nods. Case moves. Fast. He FIRES one shot at the nearest robot, disabling it, then hurls himself at the remaining two, tackling them both over the edge of the ravine. Cooper watches them disappear into the void below. Grabs Brand and the others. COOPER Come on. Cooper picks up the rifle from the destroyed marine and begins hiking up the mountain. EXT. MOUNTAIN PEAK -- DAY The crew hike towards the ice above. Below they hear a metallic BOOM as something heavy hits something else -- Case is still fighting. They keep moving. EXT. UPPER MOUNTAIN PEAK -- TWILIGHT They are high above the Marine camp, only fifty feet or so below the massive ice roof of the cavern. The Chinese have blasted a tunnel into the ice leading back up to the camp above. 104. This high, the air is bitterly cold. Cooper and the others are hunkered down, trying to keep warm, waiting for night to fall so that they can climb back up to the lander without being cooked by the neutron star. Finally, above them, the light begins to flicker out. The crew begin pulling on their space suits. Brand checks on the fractal wildlife in the sample case -- she is bringing it with them. Cooper catches her eye. BRAND We can't leave them all to die. She hefts the case and they begin climbing up into the ice. EXT. SURFACE, ICE PLANET -- NIGHT Brand leads the way, the lights from her suit cutting into the drifts of snow as they make their way slowly back to the lander. As they reach the lander Cooper spots lights emerging from the ship. He raises Case's weapon. One of Liu's marines steps around from the back of the lander. Cooper FIRES. The marine collapses. Cooper and the others race to the lander. BRAND Was that the last of them? DOYLE We're not going to stick around to count them. Let's get out of here. COOPER We're too late. Cooper points to a damaged section of the ship's hull -- the marine has torn open a section, revealing damaged hardware. COOPER (CONT'D) The main thruster fuel supply. We're not going anywhere. Cooper looks down. They're stuck here. DOYLE What about the escape rocket at the Chinese base camp? One of us could fit into it. 105. BRAND It doesn't matter how many of us make it. We have to get this back to earth. Roth looks at the moons orbiting overhead. ROTH Can the secondary thrusters still fire on the lander? Doyle looks over the craft. DOYLE Sure. But we don't have nearly enough power for lift off. Roth holds up the small gravity black box. ROTH (SMILES) Yes we do. Roth sets off running towards the Chinese base camp. EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Cooper drags the pieces of the escape rocket out from the shelter. Assembly is semiautomatic -- Cooper lifts the pieces up and they snap together, forming a crude two-stage rocket designed more for a robot than a man. When it's complete Roth wedges himself inside, clutching the black box -- he barely fits. ROTH I can reach one of the moons in low orbit and turn up its gravity. As it passes overhead it should be able to slingshot the lander away from the planet's surface. (LOOKS AROUND) Along with everything else. COOPER But we need to take the box back to earth. ROTH You don't need this -- only the idea. The knowledge of how to build it. Cooper remembers something. Heads back into the shelter. 106. INT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Roth follows Cooper into the lab. Cooper opens the storage crate. Picks one of the probes at random. Sets it down on the bench next to Roth. Cooper begins rigging up a connection between the two. COOPER I'm going to image the operating code and the architecture onto the probe's hard drive. It'll be garbled, but it should give you and me enough to rebuild it when we get back. Cooper looks at the probe filling up with data. ROTH Not me. But you'll make it work. The transfer is complete. Roth hands Cooper the probe, and takes the black box himself. ROTH (CONT'D) This is a one-way trip for me. Before Cooper can respond, Roth heads for the door. EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Roth squeezes himself into the rocket, hugging the black box to his chest. Cooper and Brand help him. BRAND This isn't right, Roth. We can find a way for all of us to leave. ROTH This is the only way. Keep the lander upright and fire the secondary boosters when the moon passes overhead. COOPER Let me take it. ROTH No. You need to make it home. You're going to need to build more of these. Brand looks at him, heartbroken. Roth smiles. 107. ROTH (CONT'D) I understand the plan, now. Whatever happens, you have to keep exploring. Keep learning. One good idea isn't enough. You'll need more and more of them just to survive. Do you understand? BRAND (NODS) Thank you. ROTH Go. Brand turns to follow Cooper back. Behind her, Roth's rocket LAUNCHES on an explosive cloud. In seconds it's high overhead. EXT. LANDER -- NIGHT Cooper checks over the hull, which is intact. Doyle is inside looking over the controls. He steps back outside. DOYLE Control systems inside are online. (LOOKS UP) I've lost sight of the rocket. Do you think he made it? COOPER We're going to find out soon enough. Brand is looking off into the distance. BRAND Someone's coming. Cooper looks up. A robotlike figure is limping through the snowstorm towards them. Cooper raises the rifle. Finally he makes out the insignia -- it's Case. Cooper and Doyle run out towards him. They reach Case as he collapses in the snow. He's badly injured -- one leg torn off at the knee, one arm mangled. Doyle and Cooper drag the crippled robot back into the ship. INT. LANDER -- NIGHT They drag Case into the lander. Doyle checks over the ship's controls. 108. DOYLE Close the door. Cooper moves to the door. Something's wrong. COOPER Where's Brand? She's nowhere to be seen. Cooper looks out onto the ice. Brand is heading back out into the snow. COOPER (CONT'D) Dammit. If I don't make it back, just keep going. (points to probe) Get that thing home. Cooper steps to the door. EXT. SPACE ABOVE ICE PLANET The rocket tucks in close behind one of the moons orbiting the ice planet. The rocket fires to maneuver closer and closer to the moon's surface -- the tiny moon doesn't provide enough gravity to attract it. When the rocket is close enough, Roth detonates the explosive bolts holding him inside and leaps for the moon's surface. He scrambles to grab hold of the craggy surface. Behind him, the rocket smashes apart against the surface. Roth finally gets a good hold. He looks down. Below him, the view is incredible -- the ice planet curving into the distance, Gargantua rising over its horizon. Roth looks at the black box in his hands. EXT. SURFACE, ICE PLANET -- NIGHT Brand is a hundred yards from the lander by the time Cooper catches up with her. She is digging in the snow. He takes her arm but she won't go. She finally finds what she's looking for -- the sample case. The tiny fractal life-form is huddled at the bottom. Cooper shakes his head and turns back to the lander. 109. EXT. MOON, SPACE OVER ICE PLANET Roth is watching the ice planet pass by beneath him. He finally sees the distant peaks of the mountain range as it punctures the ice near the Chinese camp. For a moment he enjoys the view -- the distant hulk of Gargantua rising over the horizon of the shining ice planet. He takes a final breath and activates the black box. Instantly, the moon's gravity is magnified a hundred million times over. Roth is instantly crushed as the moon collapses around him into a tiny sphere. EXT. SURFACE, ICE PLANET -- NIGHT Cooper and Brand are only thirty yards or so from the lander. Suddenly, the ground beneath them begins to RUMBLE. Cooper turns back. A mile back the ground begins to tear apart, heaving massive chunks of ice and rock into the sky. Roth's moon is racing overhead, TEARING up a massive strip of the surface's planet as it nears them. Cooper and Brand run. EXT. MOON, SPACE OVER ICE PLANET The energy being unleashed by the tiny box is incredible -- millions of times more powerful than an atomic bomb. The spray of debris is forming a rooster tail behind the moon, rocketing up from the planet's surface. EXT. LANDER, SURFACE, ICE PLANET -- NIGHT Cooper has almost made it back to the lander. Behind him, Brand stumbles. He turns back. Brand is pulling herself up. Behind her, the THUNDEROUS EXPLOSIONS as a strip of the planet's surface is hurled into space have almost reached them. Cooper looks at the ship. He'll never make it if he waits for Brand. He turns back to find her. He reaches Brand just as the moon's gravity hits them -- they're hurtled off into space. He grabs her hand. Seconds later, everything -- the entire ice sheet, the sea and rocks deep below -- is hurled up after them. 110. Brand and Cooper embrace as they rocket up through the thin atmosphere. Brand looks at him. BRAND (RADIO) You caught me. Now what? Cooper looks around. They planet's surface is breaking into pieces around them. COOPER (RADIO) I don't know. (RADIO) I figured if you were floating out into space, you'd want some company. He holds onto her as they fall up and out of the last of the planet's thin atmosphere and the blackness embraces them. BRAND Between you and utter solitude, Cooper, frankly, I'm not sure. They reach the apex of their climb and the gravity of the planet begins to win out. For a moment they float. COOPER Guess you were right -- too much gravity, or not enough. He smiles, forgetting their predicament for a moment. They stare into each other's eyes. Then they begin, very gently, to fall back towards the ice planet. Suddenly, the lander maneuvers beneath them. The airlock opens to catch them -- Doyle is at the helm. Brand and Cooper pull themselves aboard. INT. LANDER Cooper closes the door and Doyle rotates the lander outwards. Doyle FIRES the engines and the lander continues ascending into space as the debris around them begins crashing back down towards the ice planet. Cooper looks out the window: 111. The moon continues tearing up a massive canyon in the planet's surface as it circles out of view. COOPER Roth. BRAND He's gone. Ahead, a shadow looms in the darkness: the Endurance. INT. OBSERVATION DECK, ENDURANCE Brand, Cooper, and Doyle pull themselves out of the airlock and scramble to take control of the ship. Below them, the surface of the ice planet illuminates as the neutron star's x-rays begin to reach it from the far side of Pantagruel. Doyle finally gets the ship straightened out. Its sole remaining engine FIRES, rocketing the ship back towards the dark side of the planet, out of view of the neutron star, and back towards the original wormhole. DOYLE I'm setting a course for the wormhole. They're going to make it. Cooper and Brand make eye contact -- Brand gives him a tiny awkward smile. He returns it, then descends below. INT. OUTER HULL, ENDURANCE Cooper props Case up against the workbench. He pulls down replacement arms and legs from storage bins. Unwraps them from their vacuum sealed plastic and bolts them back onto Case's chassis. Cooper finishes attaching the arm. Case rotates it, checking the function. COOPER How is that working? CASE Very well, thank you. COOPER Good. We've already set the course, skipper. We're going home. Cooper hauls himself back up into the observation level. 112. INT. OBSERVATION LEVEL Doyle is setting the controls. The ALARMS on the controls have finally abated -- they're out of the danger zone. BRAND We're safe now. Cooper heads to the communications equipment. COOPER Now I know why we weren't able to hit the relay. It's not interference -- the blue-shift from the black hole is more than we thought it would be. Cooper begins re-calibrating the equipment. BRAND (CONFLICTED) Cooper, wait-- The ship PINGS the relay on the far side of the wormhole. There is no response. COOPER Nothing. (THINKS) Wait. The ship cached one long garbled transmission when we first fell into the swirl. If we account for the blue shift then the computer might find something in there. Cooper brings up the last garbled transmission they received. The computer begins re-analyzing it, piece by piece. BRAND (QUIET) Listen to me -- the blueshift also means we've lost time. More time than we thought we would. Cooper looks up at her. COOPER How much? BRAND A lot... Cooper, maybe it's best if WE DON'T- The comms equipment TONES as it translates a packet. Then another. 113. Then a FLOOD of communications, one packet a day, hundreds and hundreds of packets: images, videos, audio messages from family and friends. Cooper watches, horrified, as the images play out across the screen. He is watching the lives of his family play out at light speed. Finally, the packets slow, then stop. Cooper looks at the results, in shock. COOPER Forty seven years. Doyle joins him, staring at the screen, stunned. DOYLE My kids... Cooper tries to PING the relay again. Nothing comes back. BRAND (GENTLE) The relay will have lost power years ago. That's why we couldn't contact it, even after we reached the planet. Cooper is still problem solving, thinking. COOPER We could bypass the relay. Send a conventional shortwave signal. BRAND Only a tiny portion of the signal would make it though the wormhole. Besides, no one will be listening anymore. The comms screen is dead. No movement. Nothing. Cooper looks at Brand, realizing something. COOPER You knew, didn't you? You and Case figured it out when we landed. Brand looks down. BRAND I thought... I couldn't be sure. COOPER Sure you could. You're brilliant. You know everything. 114. BRAND Cooper... we needed to keep going. I'm so sorry. Your children... COOPER They're not children any more... if they're even still alive. He turns away from her. BRAND Listen, the important thing is that we're going home, now. And we have something that can save everyone. It's more important than the people we left behind- Doyle cuts her off, filled with anger. DOYLE That's easy for you to say. You didn't leave anyone behind. Cooper looks at Brand, his anger softened by sadness. COOPER Yes she did. Brand looks at him, grateful for this small kindness. COOPER (CONT'D) That's why you were upset -- your father. She looks down, filled with sadness. BRAND He's gone. But there are other people who still need our help. There's still time... The ship's controls TONE in ALARM. Brand and Cooper turn: Case is standing at the controls. BRAND (CONT'D) Case... what are you doing? Case finishes typing in a sequence on the command controls. Presses the "execute" button. The last nuclear engine begins to detach from the ship. BRAND (CONT'D) Wait... no... 115. The robot turns from them. Cooper notices that the control module snapped into the back of Case's chassis is wrong: It's red with a gold star. It's not Case at all. It's Liu. LIU I'm sorry. I have my orders. No one follows... Liu stares, satisfied, as the nuclear engine spins away from the ship and back down toward Pantagruel. Cooper SMASHES Liu from behind. The robot tumbles to the ground, the fight gone out of him. Cooper and Doyle roll the robot over and Cooper reaches for his control module. LIU (CONT'D) No one follows- Cooper rips the module out. The robot freezes. Brand is already at the controls, trying to regain control. The instruments TONE, alerting the crew to their position: The ship is spinning back down towards the black hole. BRAND No... We're being pulled back to Pantagruel. Cooper, frantically checks the controls, firing the remaining boosters. COOPER We can't let that happen. We'll lose more time... too much... The boosters are no match for the deadly pull of the black hole below them. On the ship's guidance, they watch, helpless, as the ship climbs back up the volcano rim towards the critical orbit. As on their first trip, the black hole grows to dominate the bottom of the sky, and the stars above them become streaks -- time is speeding for them as they are whirled down into the deep gravity well around the hole. As they watch, trapped, decades begin to play out in the system above them. They watch as the ice planet whirls around them, orbiting the black hole dozens of times. 116. COOPER (CONT'D) We're losing years. Finally, the ice planet plunges past them towards destruction. As it reaches it slows, until finally it reaches the event horizon, just as they saw in the projections. Nothing has prepared them for the reality: The ice planet is SMASHED apart with stunning violence. Brand looks at the sample of fractal life. Now they are united -- they are, in all likelihood, the sole survivors of their planet. Doyle points to the instruments. DOYLE The wormhole. Look -- it's being pulled into the black hole as well. They watch on the holographic model as the wormhole's orbit converges on the event horizon of the black hole. BRAND It's orbit mirrored the ice planet's. COOPER What will happen to it? BRAND It'll be destroyed, like everything else. Cooper struggles to pull himself over to the communications screen. Sets it to make a shortwave broadcast. Brand opens her mouth to point out that it's futile, then stops. COOPER (INTO RADIO) This is the crew of the Endurance. We... (gives up on FORMALITIES) Murph, I'm sorry. I'm sorry I didn't make it back, like I promised. He hangs up the radio. In silence, they watch as the wormhole -- their only way home -- vanishes beneath the event horizon. DOYLE How much time are we losing? 117. BRAND (HEARTBROKEN) Decades...hundreds of years. COOPER All of those people back home... none of them will make it. As Doyle watches the controls the ship continues to spiral towards the black hole. DOYLE This is it. We're going to be pulled in. Cooper looks at the controls, an idea forming. He pulls himself down. Hauls himself across the deck to pick up Liu's chip. He plugs it into a diagnostic tool. BRAND What are you doing? COOPER Case said the Chinese found something else. The location was scrubbed from their records. But I bet he knows it. Cooper fires up the chip. Begins sorting through the onboard memory. Doyle watches the instruments. DOYLE Hurry up. Cooper concentrates, poring over the numbers. Finally he begins feeding coordinates into the navigation computer. COOPER Here. Can we reach it? Brand looks at the map. The point appears on the far side of Gargantua. Brand studies the trajectory. BRAND We can use the thrusters to keep us on the critical orbit. Then slingshot us towards Gargantua. The thrusters STRAIN to push the ship back up towards the critical orbit. 118. Suddenly, the tidal gravity SLAMS them against the walls of the ship. Finally, the thrusters fire again -- a tiny push, but just enough to launch the ship clear of the black hole, like a rock out of a slingshot. The ship races toward the massive hole in the sky below them: GARGANTUA EXT. SPACE AROUND GARGANTUA The ship picks up more and more speed as it soars closer to the massive black hole's event horizon. INT. OBSERVATION DECK, ENDURANCE The sky closes to a tiny hole above them. Gargantua is swallowing their view. Cooper looks at the radar, which is choked with debris. DOYLE We only have a few minutes before we're swallowed into that thing. What are we even looking for? On the radar, a tiny empty spot appears. COOPER (points to screen) That? What is it? Brand looks. In one tiny region on the back side of the black hole, the debris simply seems to vanish. BRAND It's another wormhole. Doyle FIRES the thrusters again, pushing the ship towards the wormhole. EXT. SPACE AROUND GARGANTUA The Endurance spins, shifting paths slightly as it continues to race closer and closer to oblivion. INT. OBSERVATION DECK, ENDURANCE They study the controls. The projected path shifts, one degree at a time. Finally, it appears to put them on a path to hit the wormhole. Doyle shuts off the thrusters. 119. DOYLE We're not going to be able to slow down. Hold onto something. He locks up the controls. EXT. SPACE AROUND GARGANTUA -- MORNING The ship is tumbling through space, racing toward the second wormhole. It is massive, much larger than the first wormhole, and it's glowing with a light as bright as a star. INT. OBSERVATION DECK, ENDURANCE The crew brace themselves against the hull of the ship. Suddenly the ship slams onto the wormhole mouth and is pulled violently into the wormhole. WHITENESS. As the light fades, Cooper and the others come to. The light is rapidly dimming from pure white, fading to a deep red, then infrared, finally darkness. Cooper looks out. Checks the instruments. Looks out again. EXT. VACUUM Nothing. Blackness as far as the eye can see. No stars. No planets. Just inky darkness stretching on forever. INT. OBSERVATION DECK, ENDURANCE Brand joins Cooper on the deck. Together, they look out at the blackness that surrounds them. COOPER Where are we? BRAND I don't know. It's like we entered the wormhole and never left it. Brand checks the instruments. There is nothing for the ship to model. There is nowhere to go. They drift. INT. OBSERVATION DECK, ENDURANCE Days go by. They check the instruments. Still nothing. It's as if they have left the known universe altogether. 120. INT. COMMUNICATIONS ROOM, ENDURANCE Doyle sits down. After a moment, he turns on the screen and cues up a message. His children appear on-screen, giggling, pushing each other, trying to get a prime spot in front of the camera. Doyle cups his face in his hands and cries. INT. CREW QUARTERS, ENDURANCE Cooper above his bunk, stares out into the blackness. Brand watches him from the doorway. BRAND I'm sorry. I should have told you. I didn't have the right. (BEAT) But you should watch the recordings. You should know what happened to your kids. Cooper ignores her. INT. COMMUNICATIONS ROOM, ENDURANCE Brand watches her father talking to her on-screen. He is twenty years older than when she left him. BRAND'S FATHER I'm not going to make it much longer. The machines will continue to maintain the station as long as they can and the communications will run as long as the station here still has power. I'm sorry. I hope wherever you are, darling, you're safe. The screen cuts out. Brand watches the static play out. INT. OBSERVATION DECK, ENDURANCE Doyle sits at the table. He has found a flair gun in one of the ditch kits. It is sitting on the table in front of him. The message is clear. Brand sits down across from him. BRAND Our last trip past the black hole cost us another 100, maybe 200 years. Which means there's a good chance we're the only humans alive anywhere. 121. She stands up. BRAND (CONT'D) I think the last human beings should have a little more fight in them than that. Brand picks up the sample of fractal life and places it under a lamp on the counter. It freezes, absorbing the rays. Doyle looks at the gun. EXT. ENDURANCE, VACUUM Cooper, in a space suit, steps out of the airlock. He drifts out from the ship. Nothing. Behind him, the ship is a tiny speck in an ocean of darkness. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper sits down. Turns on the screen. After a moment, the camera turns on. Tom, his eldest son, still 15 years old, turns on the camera. TOM Hi, Dad. Cooper pauses it. He can't take it. After a moment, he lets it run again. TOM (CONT'D) I met another girl, Dad. I really think this is the one. Tom holds up a picture of himself and a teenage GIRL. TOM (CONT'D) Murph stole Grandpa's car. He crashed it. He's OK, though. No broken bones. Cooper leans back. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper is holed up, still watching, several days' growth of beard unshaved. He's been watching for days. On the screen, Tom is a grown man in his 20s. 122. TOM I've got a surprise for you, Dad. You're a grandpa. Tom holds up an infant wrapped tight in swaddling. The kid is BAWLING. TOM (CONT'D) Congratulations. Grandpa said he already earned the "great" bit so we just leave it at that. The screen cuts out. The next message begins. Tom is in his 30s. TOM (CONT'D) Hi, Dad. I'm sorry it's been awhile. He stops, emotional. TOM (CONT'D) Grandpa died last week. We buried him out in the back forty, next to Mom. (LOOKS DOWN) Where we'd have buried you, if you'd ever come back. He laughs, gallows humor. TOM (CONT'D) Murph was there for the funeral. It's been a few years since I've seen him. He's been down in the Gulf Coast. He's an engineer. I guess someone followed in your footsteps after all. Tom looks down. TOM (CONT'D) You're not listening to this. I know that. All of these messages are just out there, drifting in the darkness. He stops for a second. TOM (CONT'D) You're gone. You're never coming back. And I've known that for a long time. Lois says -- that's my wife, Dad -- she says I have to let you go. So I am. 123. He reaches up to turn off the camera. TOM (CONT'D) Wherever you are, I hope you're at peace. Goodbye, Dad. The image freezes, Tom's hand on the camera, then breaks apart into digital noise. Then nothing. Cooper looks at it for a second. Then rises to leave. Suddenly, the screen flickers to life again. A good-looking man in his late 30s turns on a camera. Cooper recognizes him instantly. It's Murph. Murph looks at the camera for a long beat, clearly unsure about this. MURPH Hello, Dad. You sonofabitch. He laughs, self-conscious. MURPH (CONT'D) It's your 60th birthday today. Thought I would celebrate with you a bit. (BEAT) I guess I understand why you left. The corn is dying now, too. Tom says there's less and less at harvest every year. He pauses. Lifts up his hand and scratches his stubble. Cooper pauses the message. He looks carefully at the screen: Murph is wearing his dad's watch. Cooper lets the message play. Tears are streaming down his face. MURPH (CONT'D) Rot's setting in. I guess you were right for clearing out while you had the chance. (reaches up to switch OFF CAMERA) Good luck, old man. I hope you made it. I really do. The video cuts out. 124. A message appears on the screen: "Final transmission." Relay powered down 05232087 Cooper turns off the screen. INT. CREW QUARTERS, ENDURANCE Cooper is seated, alone. Almost every compartment has been opened and emptied -- debris is swirling through the compartment. Brand walks in. They sit in silence for a moment. When Cooper speaks, it's clear his sadness has faded to a gallows humor. COOPER Not a single drink on the whole ship. What kind of mission is this? BRAND I think Doyle's been experimenting with the coolant from his spacesuit. They sit in silence for a moment. COOPER You really think we're the last humans alive anywhere? BRAND I don't know. Maybe. (looks him in the eye) Yes. COOPER So that's it, then? That's all? He looks down, saddened by his own words. BRAND (QUIET) It's happened a billion times over. Stars explode. The pieces drift in space. Gravity pulls them back together. They form new stars. Then planets. Then us. We die. It starts all over again. Cooper shakes his head. COOPER What about the plan? The grand scheme. 125. BRAND I thought you didn't believe in one. COOPER I didn't. But you were bringing me round. He laughs, his anger coming and going in waves. COOPER (CONT'D) What the hell was the point? What did it add up to? BRAND I don't know. Maybe it just adds up to this. COOPER This? You're saying the end result of ten billion years is the atoms from dead stars standing here disagreeing with each other. She smiles at him. Bittersweet. BRAND Maybe that's enough. He turns away from her. She takes his shoulder. She pulls him into a kiss. His surprise disappears and he pulls her to him, kissing her back. Their surroundings forgotten, they drift. She LAUGHS gently as they bump into a wall and he pushes off of it, sending them spinning back into the center of the cabin. She pulls his shirt off and it hangs in space. In moments, the cabin is filling with discarded clothes, different colors and shapes, like a ticker tape parade. In the center of the cabin, Brand and Cooper make love. INT. CREW QUARTERS, ENDURANCE -- LATER Cooper and Brand embrace, sleeping, drifting in the cabin. Suddenly, Doyle's voice calls out from the other cabin. DOYLE (O.S.) It's happening... it's happening again... Get up here... Cooper wakes, careful not to disturb Brand. He plucks his shirt from the floating laundry pile and pulls it on. 126. INT. OBSERVATION DECK, ENDURANCE Cooper hauls himself up into the upper cabin. Doyle is standing in the middle of the chamber. DOYLE They just appeared. A sphere of distortion, like the one they encountered in the first wormhole, is directly in front of Doyle, hovering at a point in the middle of the cabin. Doyle points a finger gently at the sphere, which grows in response. Brand pulls herself into the cabin. Several more points appear, as if they've been summoned by the first. Some of the points twist, some of them spin, and some of them are motionless. BRAND I think these are the creatures that built the wormhole. One of them begins to move closer to Cooper. COOPER This thing is made of... gravity? BRAND No. I don't think it's in our universe at all. I think it lives in the bulk -- the space that the wormholes traverse. And it can only interact with us using gravity. The shape playfully grows around Cooper's hand, bending the space it's in, stretching the skin. Doyle GASPS as the sphere nearest him moves through his body, coming to rest in the middle and bending his entire torso like a fun house mirror. Suddenly, the sphere wrapped around Cooper's hand begins moving, tugging him gently through the cabin. In the next moment, all three of them are being propelled through the cabin. It's a magical moment -- a communion, a dance between creatures on either side of a massive, invisible wall. Doyle exclaims like a kid on a roller coaster as he is whirled around the room. 127. Cooper and Brand collide with each other for a second as the bulk beings move them through space. They hold onto each other for a moment and then are pulled apart again as the whirling dance continues. Even the fractal creature is involved -- inside its cage, a tiny distortion ripples its fractal skin. The creature breaks apart and plays with the distortion around its enclosure. Finally, Brand disengages from the dance and pulls herself around the lab, looking for some way to try to communicate with the creatures. She finds two heavy pieces of engineering equipment and moves them close to each other, then far apart. The bulk beings soon join her, mimicking the motion of the pieces of equipment. COOPER Can we communicate with them? BRAND Where would we even start? Maybe-- She pull a bag of ball bearings out of a storage bin and tears the bag open, releasing a cloud of the tiny shining globes into the air. For a moment, nothing happens. Then, the distortions begin moving through the bearings, shifting them, rearranging them into patterns in the air. First, they rearrange the ball bearings into clusters, then shapes spinning around each other -- planets orbiting around a medium-sized star. DOYLE That's our solar system. After a moment the ball bearings break apart again and rearrange into a larger, more complicated system -- Gargantua, Pantagruel, and the ice planet. Finally, the bearings compress to a two-dimensional sheet. Inside the sheet, one solitary ball bearing orbits around the stars and then pushes up, off of the sheet, into an umbrella shaped space that rises up from the sheet. COOPER What is that? Brand looks at the tiny particle, floating alone above its universe. 128. BRAND That's us. That's where they've brought us. We're in the bulk. Cooper and Doyle stare at the particle. The map is static now. Cooper looks around. The distortions have gone. The instruments on the ship TONE in alarm. Cooper walks through the map, sending the ball bearings scattering. He hurries to the instruments. The ship is moving -- picking up speed at a huge rate. BRAND (CONT'D) They're moving us. DOYLE Where? They stand, looking out into the perfect darkness. EXT. ENDURANCE, VACUUM The ship begins to close in on something in the darkness: a tiny point of light. As they grow closer, they realize that it's an opening. They are inside a massive, hollow sphere. They have been the entire time. The ship is guided out through the opening at the crown of the sphere. Below them is an astonishing sight: Our entire universe, compressed into a flattened disc, like a floor of stars. They are hovering above it, in the bulk, the space between universes. INT. ENDURANCE, BULK Brand and the others stare at the incredible display. The ship drops down and begins to orbit around the massive hollow sphere between them and our universe, lower and lower until it is skimming just above the surface of the sphere. In the distance, they can make out a cluster of lights. COOPER There's something out there. The cluster of lights grows as they are propelled closer: 129. It's a massive space station, built onto the surface of the sphere. EXT. SPACE STATION The Endurance glides to a gentle stop on one of the upper decks of the space station. After a moment, the airlock to the ship opens and Cooper and the others step out, in their suits. They walk up to the airlock doors of the station, which open automatically. INT. SPACE STATION After the airlock decompresses, the inner doors open. Standing there, waiting for them, is a familiar figure: Tars. TARS (DEADPAN) I guess this isn't robot heaven after all. The light on his brow glows and he offers them both a hand. INT. GRAND LABORATORY, SPACE STATION The humans have taken off their space suits -- the station has been built to be habitable by humans -- and are following Tars through the massive facility. TARS I orbited the black hole seven times before I hit the second wormhole. Then I drifted until I found this place. Cooper looks around. The halls are filled with countless technological wonders. COOPER This is what the Chinese were protecting. (LOOKS AROUND) How they could have built all this in just a handful of years. TARS They didn't. It took them four thousand. (off Brand's look) Time moves very slowly here 130. BRAND How do you know? TARS Because I've been waiting for you for three hundred years. Brand looks around at the massive facility. BRAND Time. That's what the bulk beings wanted to give us. That was the treasure the Chinese found. Enough time to let us save ourselves. Brand looks around. The facility is massive. She sets the specimen case down on a table. Even the tiny creature seems in awe of the place. INT. LABORATORY, SPACE STATION Tars shows them a prototype for the gravity machine. It is tiny -- increasing G around two spheres that attract each other with a tiny force. TARS I have catalogued almost everything they had built here. COOPER Must have taken you a while. TARS One hundred and fifty-seven years. Cooper shakes his head in disbelief. COOPER How are they keeping the lights on in this thing? Tars, in answer, points to a far door. TARS Follow me. INT. ENGINE ROOM, SPACE STATION A massive reinforced-concrete shell shudders with the energy contained within it. The whole room HUMS with power. Tars pulls up a display showing the inside of the shell: A tiny black hole spins, spewing out massive amounts of power. 131. TARS It's a mini black hole. A remnant of the big bang. It will power this place forever. Tars leads them on. EXT. HANGAR, SPACE STATION Tars leads them past an incredibly sleek fleet of spacecraft. Cooper starts to stop, but Tars doesn't slow down. INT. SIMULATION ROOM In the center of the room is a giant holographic globe of the Earth, perfect down to the tiniest detail. COOPER It's a map? TARS No. Not a map. This is a simulation of the Earth. A perfect simulation. Tars touches the control panel. The map zooms in over Europe. Down onto Paris. Late 20th century: People walk through the streets. A woman stops at a newsagent to buy a newspaper. Tars touches the controls again and the map zooms out. TARS (CONT'D) They tested each of the technologies hundreds of times, trying to find the one that would cause the least damage and still allow us to leave Earth. Suddenly, the map lights up with atomic explosions in every city. The sequence stops, rewinds. This time, sped up, the Earth seems to be drying up -- great swaths of desert grow across Europe and Asia. Massive circular ships are constructed all over the face of the Earth. TARS (CONT'D) This was their best solution. A massive version of the box we found on the ice planet, allowing the entire human population to escape. At a given moment, the gravity of the Earth is dropped to nothing and the massive ships, filled with the entire 132. population of the Earth, lift gently off of the planet in search of greener pastures. Cooper turns away from the machine, bitter. COOPER So why didn't they return? Why didn't they save us? Brand is staring at the massive map. BRAND Because they were too late. By the time they found this place, the people who sent them were dead. They were unable to fulfill their mission. Tars points to the next room. TARS That was the final problem they tried to solve. Tars moves on. EXT. PLATFORM, SPACE STATION Above them, the blackness of the sky is punctuated with hundreds of crystal shapes, faintly leaking starlight: Wormholes. Brand looks up at them, entranced. BRAND Where do they lead? Tars looks at an illuminated schematic on one wall, mapping some of the wormholes. TARS There are millions of them, connecting virtually every planetary system in the universe. There are thousands in our galaxy alone. But the Chinese stopped mapping them when they found what they were looking for. Tars walks further. He stops. The platform in front of them is dominated by a gigantic version of the black box that Roth found on the ice planet, connected to a massive power array, and pointing into the dark space above the sphere. 133. TARS (CONT'D) This was their final creation. They had to capture the mini black hole just to have enough power to try it. Several miles above the black box, one of the wormholes glows far brighter than the others, crackling with radiation. DOYLE What does it do? Cooper steps forward. Runs a hand on the cold, strange material the antenna is made out of. He knows exactly what it does. COOPER They weren't interested in the other wormholes because their mission was to return home. That one leads back to Earth. The Earth they were told to return to. Tars walks to the controls for the device. BRAND But that's impossible... Tars turns away from the machine. TARS It was only used once. The Chinese team attempted to travel back in time, to Earth just a few years after they had left. COOPER Did they make it? TARS I don't know. Doyle looks back to Cooper. DOYLE Do you really think it works? Cooper looks up at the machine, suddenly determined. COOPER We're going to find out. Cooper walks out of the room. Brand follows him. 134. EXT. AIRLOCK, SPACE STATION Brand follows Cooper as he walks up to the Endurance. BRAND You know it doesn't work. Time travel isn't possible. COOPER You don't know that. BRAND Yes, I do. If it worked, the Chinese would have suddenly discovered all of these incredible technologies. But they never made it. (BEAT) You can't go back, Cooper. You can slow things down, but you can't ever go back. Our home is gone. (off his look) You listened to all of those messages from your family. If you had made it back, we would already know. There would already be some evidence. Cooper looks at the machine. BRAND (CONT'D) If you try to use it, you'll die, just like the people who built it. She puts an arm on his shoulder. BRAND (CONT'D) Roth was right, Cooper. We have to keep going. Keep exploring. We have an obligation to try to survive. From here we could find a thousand places where life could thrive. And you're going to return to the one place where it can't. COOPER I made a promise. He turns away from her, resolute. EXT. HANGAR, SPACE STATION Cooper and Doyle check over one of the sleek Chinese spaceships. 135. INT. CHINESE SPACESHIP Cooper is checking over the controls of the ship. Brand walks in. BRAND I came to say goodbye. Cooper looks up at her. INT. HANGAR, SPACE STATION Cooper walks Brand back to the Endurance. The ship is packed up and repaired. Brand is looking over their work. COOPER You could have taken one of the other ships. BRAND This one's done all right by us so far. Brand holds up a small sample case containing half of the fractal life-form. BRAND (CONT'D) Will you take this with you? It's the last of its kind as well. Thought we should double its chances of survival. In case I'm wrong. Cooper takes the sample and looks at the tiny creature inside, trying to escape. He sets it inside the ship. Turns back to her. COOPER Where are you going to go? BRAND I don't know. Up there, I guess. She points up into the great darkness above them. Tars steps down. Moves over to them. COOPER You're going, too? TARS I'm curious. It's my nature. See you down the road? Tars shakes Cooper's hand. Heads onto the Endurance. 136. BRAND Come with us. Please. You wanted your whole life to explore. This is your chance. Cooper stares at her. This is what he has always wanted. And he has to turn it down. COOPER I'm sorry. I have to find out what happened to my sons. I promised them. Brand sees the resolve in his eyes. Knows there's no way to change his mind. BRAND You're a man who keeps his promises. Make me one- She takes his hand. BRAND (CONT'D) After you're done... come find me. COOPER I promise. They kiss passionately. Not wanting it to end but knowing that it must. Reluctantly, they separate. Brand turns back to the ship. She pulls herself onto the ship. Cooper steps back outside and watches through the tiny window as the Endurance lifts off and disappears into the darkness. Cooper turns away. EXT. PLATFORM, SPACE STATION Cooper watches as radiation pours out of the wormhole high above them. INT. CHINESE SPACESHIP Cooper pulls himself on board. Doyle is at the controls. He keys the controls and the ship lifts off. DOYLE Let's go home. The two men sit in silence as the ship arcs away from the space station and closes in on the wormhole. Cooper hears a familiar CHIRP. He turns around: 137. The probe they took from the ice planet is belted securely into one of the seats, filled with the garbled machine code of the gravitational machine. COOPER The probe... Doyle looks back. DOYLE We get back to earth, you and I can try to make sense of the code. Rebuild the gravity machine. Cooper stares at it, suddenly realizing something. He unbuckles himself. Cooper stands and walks over to the probe. Traces the familiar stars and stripes carved into its side. Cooper stares at the probe, putting it all together. COOPER It's going to work. DOYLE Of course it's going to work. COOPER That's not what I mean. This is the probe I found in Galveston. Below them, the wormhole breaks as it reaches another wormhole mouth that the Chinese have dropped down to a lower gravity well, creating a time machine. The wormhole mouth is FLARING with radiation. COOPER (CONT'D) Brand said there'd be some evidence we'd made it. And there was. This. (holds up probe) But only this. Everything will be destroyed except for this. He moves toward Doyle. Doyle stands. COOPER (CONT'D) We have to stop. DOYLE I don't know what you're talking about, but you're not touching the controls. I'm going home. 138. Cooper moves closer to Doyle. Doyle pulls out the flair gun. Points it at Cooper. COOPER You don't need to do this. We won't make it back, but this does. The secrets are already right on it. Maybe someone found it. There's hope. (SAD) But we don't get to go with. DOYLE You're not stopping me. I'm going home. Doyle forces Cooper into the ship's lander. Then he closes the airlock. Cooper pounds on the other side of the glass, trying to reason with him. The landing craft detaches from the ship. INT. CHINESE LANDING CRAFT Cooper watches, helpless, as Doyle's ship races ahead towards the glowing wormhole mouth. As the ship speeds toward the next wormhole, the radiation suddenly FLARES, annihilating the ship and everything in it. Almost everything. Cooper's landing craft spins away from the wormhole mouth. CUT TO: EXT. SPACE, OUR SOLAR SYSTEM A hole opens in the sky with a FIERY EXPLOSION. As the radiation subsides, all that shoots out of the hole is a vaporous wisp of atomized metal, and a burned, blackened probe, which hurtles toward Earth. EXT. SPACE, NEAR EARTH ORBIT The probe collides with a satellite, hurling debris into the upper atmosphere. PROBE'S ONBOARD CAMERA P.O.V. -- The probe's onboard camera documents its journey. Fragments OF VIDEO: 139. -- The probe HURTLES through the atmosphere, toward North America, the Gulf Coast. -- The probe SMASHES down into a sandbar. -- Daylight. A man is descending toward it, dangling from a rope. It's Cooper. -- Night. A kitchen. A little boy -- Murph -- stares at the probe, while Cooper works at it with a blowtorch. -- Tars pulls the probe out of the back of a plane. -- Brand's father, older, studies the probe. Gives up. -- Much later. People are moving around in the darkened base, scavenging equipment. CUT TO: EXT. FIELD -- DAY A combine harvester is dead in a field, service hatch opened. A MAN is lying under the machine, working. The man hauls himself out from under the huge machine. Dusts himself off. It's Murph, 30s. He looks at the FARMER who is waiting for the verdict. Murph shakes his head. MURPH It's done. Auto-pilot's packed up for the last time. FARMER You can't make it work a little longer? MURPH Can't do anything for you. There aren't any more parts for these. Not anywhere. FARMER You don't understand. We're getting less than a hundred pounds per acre. We need to plant more, not less. Murph looks around him at the pathetic crop of corn that stretches around them. The plants are feeble, barely able to support themselves. 140. FARMER (CONT'D) You've got to find us some more parts, Murph. It's getting desperate. Isn't there anywhere you can look? Murph begins packing up his tools, thinking it over. INT. HANGAR -- DAY Murph stares at the darkened shape of a plane under a tarp. He stares at the tarp, unsure if he wants to keep going. He pulls the tarp off, revealing Cooper's old Piper Cub. He checks over the engine, lights, prop. Turns the key. Fires her up. The diesel wakes with a GRUNT. EXT. AIRSTRIP -- DAY Murph wheels the old plane out onto the field by hand. EXT. SKIES OVER THE SOUTHWEST -- DAY The ancient plane skirts the San Gabriels. EXT. FIELD, SANTA CRUZ ISLAND Murph sets the plane down. He parks the plane under a copse of trees and climbs down. He scans the horizon. Nothing. Is this the place? EXT. FOREST -- DAY Murph pushes his way through the undergrowth. Stops. He's standing at the blast doors to the facility. They've been blown open with dynamite. INT. NASA FACILITY -- DAY Murph lets himself inside. Lights a flare. The place has been gutted. Thieves and scavengers have taken almost everything. Murph finds one of the robots, or what's left of it -- it's been stripped, leaving only the bare composite skeleton. The empty eye sockets stare back at Murph. Murph looks around the place. There is nothing left to salvage. He turns to leave. Hears a familiar CHIRP. In the corner, under a pile of rain-soaked garbage: 141. The probe. No one has bothered to steal it. Murph stares at it. INT. UNDERGROUND FACILITY -- NIGHT Murph sweeps detritus off of an ancient computer mainframe that survived the looting. He hooks the probe up to it. After a minute, the screen fills with a picture of an ice- covered planet. Then nothing. The rest of the probe's drive is filled with garbage, noise. Murph switches off the screen. He stands. Begins to leave without the probe. Stops. Turns back. Picks it up and takes it with him. INT. KITCHEN, MURPH'S HOUSE -- NIGHT Murph is hunched over the probe, trying to pull data off of it with a defibrillator. He has incorporated an ancient laptop into the chain, and is tweaking values on it, trying to decrypt the contents. His WIFE, several months pregnant, turns back to him from the stove. MURPH'S WIFE Would you get that thing off of the table? Murph nods, absorbed. Keys in a final tweak to the decryption software. Hits return. Suddenly, the screen begins filling with data. Murph stares at it, wide eyed. CUT TO: INT. BARN -- NIGHT Murph, now in his 40s, is putting the finishing touches on a large machine. Although slightly different, we recognize some of the components and their configuration: It's a crude version of the gravitational device. Murph double checks it, then fires up a small gas powered generator. Throws a breaker, feeding power to the unit. The unit lights up. HUMS. But nothing happens. 142. Murph, disappointed but undaunted, shuts it down and begins checking it over. He hears a noise at the door. Turns back. His daughter, Emily, 8, is standing at the door. EMILY COOPER Dad? You said you'd take us to the game. MURPH (DISTRACTED) Did I? He looks at the impossible nest of wires. Shakes his head. MURPH (CONT'D) All right. Let me get my jacket. Murph picks up his jacket from the workbench. Next to it on the bench is a shortwave radio playing STATIC. EMILY COOPER (staring at machine) What is it supposed to do, Dad? MURPH I have no idea. Murph switches off the lights and they walk out. After a moment, the radio CRACKLES to life in the darkness. COOPER (over radio, garbled) This is the crew of the Endurance... Murph... I'm sorry... The signal crackles out. CUT TO: INT. KITCHEN, MURPH'S HOUSE -- DAY Murph, 50s, slightly gray, sits at his kitchen table. He hears a distant RUMBLE. He looks up. His wife is standing by the sink. MURPH Where's Emily? WIFE Out in the barn. She's been tinkering with your old projects. 143. Murph stands up. The roof of the barn is visibly shaking. He steps outside. EXT. YARD, MURPH'S HOUSE -- DAY Murph moves towards the barn, concerned. The shaking is growing stronger -- the entire structure is buckling. Emily, now 18, backs out of the barn. EMILY COOPER Dad... I'm sorry... I made some changes to the machine. I think I did something wrong. Murph puts an arm around his daughter and as they watch, the entire barn IMPLODES. Their tractor begins sliding towards the wreckage of the barn, chunky tires plowing up the soil. Finally, the RUMBLING STOPS as the power lines short out in a FIERY display. As the dust clears, Murph and his daughter examine the mess: The entire barn has been crushed into a tiny ball. Murph looks at his daughter. MURPH Do you remember what you changed? Wide-eyed, she thinks about it. Then nods. CUT TO: EXT. EARTH, 2320 -- DAY This is North America. But it doesn't look much like it. Mother Nature has just about wiped the slate clean. Most of the vegetation is gone, and unchecked winds sweep across the barren plains. Patches of ice lie think on the ground, as if a heavy snow has come and gone. SUPER TITLE: "TWO HUNDRED YEARS LATER" One of the Chinese spaceships descends through the thick clouds above and settles gently onto the plain. The hatch opens and Cooper steps out. He takes a cautious look around. He is holding the fractal life in its small container. The clouds are threatening, but the weather looks calm enough right here. 144. Cooper starts to walk. EXT. COLLAPSED HOUSE -- DAY Remarkably, part of Cooper's old house is still standing. INT. COLLAPSED HOUSE -- DAY Cooper stands in the middle of his kitchen. Two walls are missing and the rest is collapsed in a heap. But he can still see where he used to feed his kids breakfast. He has kept his promise. Several hundred years too late. Cooper hunkers down, staring at the space where his kids used to be. Rainwater covers the ancient formica. It has taken him years to finally reach this place. He has had plenty of time to come to grips with what he might find. But nothing has prepared him for this: He is completely alone. Nothing is left. INT. COLLAPSED FARMHOUSE -- NIGHT Cooper is still sitting there when the ice storm hits. Unchecked by trees or vegetation, the wind rockets through the house, blasting Cooper and pelting what's left of the structure with fist-sized hail. Cooper takes shelter against the remaining wall. He's going to have to sit this one out -- the hail and winds are the brutal descendants of the weather he knew. They'll finish him off if he steps back outside. As he watches, the pool of water on the kitchen floor freezes over in seconds. INT. COLLAPSED FARMHOUSE -- DAWN Cooper shivers, pressed against the wall. The storm is still raging outside. He is freezing to death. He has to move now or he will die. He pulls the hood tight around his face and stumbles outside. EXT. SNOWBOUND FIELD -- DAY Cooper makes his way through the blinding snow. He tries to find his way, but the ship has been consumed by the blizzard. He stumbles to the ground, dropping the glass case with the fractal wildlife in it. The case shatters. Cooper tries to stand back up, but his strength is dwindling. 145. As he watches, the fractal wildlife creeps tentatively out of its broken habitat. It forms together against the cold. After a moment, it burrows into the ice. As it does, the ice glows faintly. It seems to be right at home. Cooper laughs, glimpsing the outline of a plan. Was this what the beings who made the wormhole intended all along? Cooper suddenly spots the outline of the ship through the driving snow. He stumbles back up to his feet and struggles a few more steps, then stumbles again, spent. Finally, he sits down in the snow to die. As his senses flicker in and out, he is struck with memories of his boys, so vivid he reaches out for them, crawling forward in the snow. He stops, and laughs, remembering what Case told him about what happens when humans die. He struggles to his feet and stumbles a few more feet, eventually coming to rest just steps from the ship. Cooper takes a final step. Finally, he collapses under his ship, as the wind continues to HOWL around him. As the snow clears for a moment, Cooper is alone on a vast arctic tundra. He will die alone. BLACK FADE IN: INT. HOSPITAL ROOM -- DAY Cooper wakes. He is in a sunlit room. A breeze rustles the curtains as it makes its way in through a large open window. Cooper sits up. As he a does, a control panel on the wall TONES gently, as if in response to his movement. He stands and looks around. He can see sunlight through the open windows and hear people -- kids YELLING as they play. He moves toward the window. Reaches for the curtains. Before he can, the door opens behind him. A WOMAN in a white coat steps in, smiling warmly. DOCTOR Good morning. Don't go outside just yet, Mr. Cooper. (MORE) 146. DOCTOR (CONT'D) (offers him a pill) This will help with the disorientation. Cooper opens his mouth to talk, but his voice is cracked. He gives up. Swallows the pill. DOCTOR (CONT'D) Wait a minute for that to take effect. It can be a bit of an adjustment. (looks him over) You had some frostbite. Nothing too serious. As she talks, Cooper looks past her to the window. COOPER Where am I? DOCTOR (SMILES) It's a bit of a coincidence, really. When the rangers found you, we were the nearest facility. COOPER What's coincidence? What is this place? DOCTOR We have a lot to show you. The doctor reaches for the curtains. She offers him a hand. Cooper declines the help and steps outside. EXT. HOSPICE, COOPER STATION -- DAY Cooper is standing on a rooftop deck of a four-story building in a medium-sized city surrounded by fields. But as the road and the buildings stretch into the distance, the landscape curves up, not down. The entire landscape is contained within a huge cylinder- shaped space station. Cooper stumbles, and reaches instinctively out. The doctor catches him. DOCTOR You're OK. We get this from people who move here from planetary colonies all the time. 147. COOPER Where... where are we? DOCTOR Like I said. It was a coincidence. There was a facility closer to Earth, but they had a problem, so you wound up here. (off his look) This is the Space Station Joseph A. Cooper. Cooper takes in the incredible surroundings. A thousand feet above them, black specks are sprinkled over an ocean of green -- Jersey milking cows grazing in a field of wild grass. DOCTOR (CONT'D) I've got someone who wants to meet you. Cooper looks at her. INT. INTENSIVE CARE ROOM, HOSPICE, COOPER STATION -- DAY Cooper steps inside. The room is dark, still, the only noise is the labored RATTLE of an old man struggling to breathe. Cooper steps closer to the bed. The man's skin is paper- thin. He is ancient. DOCTOR He was moved here after they found you. He's a little old for a transfer, but they made an exception. Cooper hovers at the back of the room, unsure. He turns to the doctor, questioning. Then he notices the pictures on the old man's desk: There are dozens of them. Children, grandchildren. Then the older ones -- the man's own parents. Grandparents. Cooper spots a tiny framed picture with someone he recognizes: Murph, 80 years old, surrounded by his daughter and her family. They are standing in front of a re-opened Cape Canaveral, and a huge spaceship under construction. Cooper picks up the picture and stares at it. The doctor points to a shy little boy hiding behind Murph's leg in the picture. DOCTOR (CONT'D) That's him. 148. She points to the old man lying in the bed. DOCTOR (CONT'D) His name is Anthony Welling. Anthony Cooper Welling. (SMILES) He's your great great grandson. He's been waiting a long time for you. Cooper's eyes well with tears. He steps over to the bed and looks down at the ancient man, teetering on the edge of death. The old man looks at him, eyes widening in excitement. He strains, trying to reach the bedside table. He's trying to reach the drawer. Cooper helps him open it. Inside is a simple, familiar wristwatch. The old man carefully takes out the watch. He gives the watch a few winds and, hands shaking, offers it to Cooper. Cooper, eyes filling with tears, closes his hand over the old man's hand, enveloping both the watch and the man's hand. CUT TO: EXT. CORNFIELD, COOPER STATION -- MORNING Cooper is sitting in a well-appointed office. A middle-aged BUREAUCRAT smiles at him from the far side of a huge desk. ADMINISTRATOR You're a hero, Mr. Cooper. Let's just start off by saying that. It's an incredible and... unexpected honor to have you here with us. Cooper smiles, uncomfortable. ADMINISTRATOR (CONT'D) None of us would be here without the efforts of you and the other crewmembers of the Endurance. (smiles, unconvincingly) So I don't want you to take this the wrong way. But there are some questions I've been told to ask. The man looks petrified, like he's been instructed to grill George Washington on his expense reports. COOPER Shoot. 149. ADMINISTRATOR The rangers who found you reported that you had released a sample of an alien life-form into the wild. Which is, unfortunately, against regulations. COOPER It was last of its kind. Their planet was destroyed. The administrator cues up a series of images on his computer. ADMINISTRATOR The rangers attempted to isolate the life-form, but it had already spread out of control. It seems to be thriving. He shows Cooper a satellite image of north america. A considerable portion of the frozen tundra is glowing. Cooper begins laughing. Which makes the administrator even less comfortable. ADMINISTRATOR (CONT'D) Can you tell me why you... elected to release the life-form back on earth? Cooper is still laughing. COOPER Because that was the plan. ADMINISTRATOR Whose plan? COOPER (SMILES) I don't know. The administrator tries to smile back. Makes a few notes in his file. Changes the subject. ADMINISTRATOR My assistant tells me you've applied for a position with the exploration fleet. COOPER Feel like I should be pulling my weight. 150. ADMINISTRATOR That's admirable, Mr. Cooper. The truth is, most of the fleet's personnel are automated. There are a small number of crewed ships. But there are great numbers of candidates. Very well trained candidates. COOPER I was hoping to enroll in a course. Try to get myself up to speed on the new systems. ADMINISTRATOR I don't want you to take this the wrong way, Mr. Cooper -- like I said, you're a hero. But the truth is we have somewhat limited resources. Cooper remembers this conversation. He looks down. COOPER No one's heard anything from Brand? ADMINISTRATOR I'm sorry. Officially, she's been listed as missing for over 200 years. Mind you, I guess you turned up eventually, didn't you? COOPER Am I really going to hurt anybody by going to look for her? I just need a small ship. I made a promise. The bureaucrat looks down. Is he really going to have to tell this guy the lay of the land? ADMINISTRATOR Listen. Mr. Cooper. You're a hero. You're the oldest man in the human race. Don't you want to take it easy? (off his look) I hope you understand, we all you hold you in the highest possible regard. (QUIET) Which is why they're never going to let you go off by yourself in a spaceship. I'm sorry. Cooper looks at his hands. He's got a couple centuries on the bureaucrat in Earth years, but looks ten years younger. He puts his hands in his pockets. 151. ADMINISTRATOR (CONT'D) I've got some good news, however. (BIG SMILE) We all know about your early life, Mr Cooper. I wrote a paper on it when I was a boy. And I think we found something you'll really enjoy. EXT. CORNFIELD, COOPER STATION -- DAY Corn blows in an artificial breeze. A red tractor makes its way through the field, which curves gently up in the distance. ADMINISTRATOR (V.O.) The machines do most of the work, of course, but we were able to get you a few acres. You're going to be a farmer again. After a moment, the tractor stops. Cooper climbs down from the seat. Looks at the front steering linkage, which is jammed with an errant tree branch. He wipes his forehead and begins working the branch out of the machine. He looks miserable. A robot, a similar unit to Tars, walks over. Offers Cooper a bottle of water. Cooper accepts it. EXT. HANGAR BAY, COOPER STATION Cooper stands on an observation deck, high above the hangar floor. Below him, bright young things in uniforms climb into sleek-looking spaceships and prepare to set out. EXT. BASEBALL DIAMOND, COOPER STATION Cooper sits in the stands, listening to the familiar crack of the bat as an intramural team from the university practices. Cooper watches. He looks bored. The kid up to bat cracks a pop fly. For a second, the catcher shuffles back and forth, trying to get himself into position. But the ball never returns. The catcher YELLS out a warning. Above, the ball begins to slowly fall up, not down, toward the town center above. After a second, the ball smashes through a skylight of a building high above them. Cooper watches as the kid rounds the bases, laughing. 152. INT. KITCHEN, FARMHOUSE, COOPER STATION -- DAY Cooper's robot sits at the kitchen table. Cooper is fiddling around in the back of his head. ROBOT Settings: general settings, security SETTINGS-- COOPER Curiosity. New level setting. 100 percent. ROBOT Confirmed. Would you like to make any additional changes? COOPER Sense of humor. New level setting. 100 percent. Wait. (THINKS) 80 percent. He begins putting the robot back together. EXT. FARMHOUSE, COOPER STATION -- TWILIGHT Cooper sits on his porch, joined by the same robot as before. They watch as the space station rotates lazily out of alignment with the local star, casting the inside of the cylinder into shade, then darkness. The shadow races past them. Another day. Another night. EXT. HANGAR, COOPER STATION A maintenance worker finishes looking over one of the sleek- looking spacecraft. He packs up his tools and heads out. After a moment, two figures pick their way across the hangar floor, sticking to the shadows. As they reach the first ship in the line, we get a better look. It's Cooper and his robot pal. The robot is wearing a baseball cap and carrying a toolbox. Cooper gestures to the robot, who sets down the toolbox with a click against the mirror-like floor. Cooper shakes his head, annoyed, at the robot, and puts his finger to his lips. The robot nods, bashful. Cooper waves a small handheld computer near the skin of the ship until it lights up. Then he punches in a few codes. Nothing happens. He punches in a few more. 153. Suddenly, the hatch opens with a HISS. INT. SHIP Cooper moves quickly to the cockpit of the ship. Looks over the controls. The robot straps himself in next to him. Cooper looks up through the windows. The inky black void of space beckons. Cooper smiles and reaches for the controls. COOPER Where do you want to go first? The robot thinks it over. EXT. HANGAR, COOPER STATION The technician walks back into the hangar. He walks along the row of ships till he reaches the last one. It's not there. He looks out into the blackness of the void. Sees a tiny glowing speck, getting smaller and smaller. END Interstellar Writers : Jonathan Nolan Genres : Adventure Drama Sci-Fi User Comments Back to IMSDb	screenplays
Why do post-Hartree-Fock methods fail to predict the direction of the dipole moment of carbon monoxide? In carbon monoxide the dipole moment (negative to positive) points towards the oxygen, as I explained it in [How can the dipole moment of carbon monoxide be rationalised by molecular orbital theory?](https://chemistry.stackexchange.com/q/30797/4945) A calculation using density functional approximation, the level of theory is BP86/def2-QZVPP, yields the correct direction: \begin{align} \ce{{}^{\ominus}\!:C#O:^{\oplus}} && \text{Dipole:}~\|\mathbf{q}\|=0.19~\mathrm{D} && \text{Direction:}~\longrightarrow \end{align} ``` --------------------------------------------------------------------- Center Atomic Atomic Coordinates (Angstroms) Number Number Type X Y Z --------------------------------------------------------------------- 1 6 0 0.000000 0.000000 -0.648987 2 8 0 0.000000 0.000000 0.486740 --------------------------------------------------------------------- [...] Dipole moment (field-independent basis, Debye): X= 0.0000 Y= 0.0000 Z= 0.1907 Tot= 0.1907 ``` Using Møller-Plesset Perturbation Theory of second order, i.e. MP2/def2-QZVPP, we obtain \begin{align} \ce{{}^{\ominus}\!:C#O:^{\oplus}} && \text{Dipole:}~\|\mathbf{q}\|=0.30~\mathrm{D} && \text{Direction:}~\longleftarrow \end{align} ``` --------------------------------------------------------------------- Center Atomic Atomic Coordinates (Angstroms) Number Number Type X Y Z --------------------------------------------------------------------- 1 6 0 0.000000 0.000000 -0.648450 2 8 0 0.000000 0.000000 0.486337 --------------------------------------------------------------------- [...] Dipole moment (field-independent basis, Debye): X= 0.0000 Y= 0.0000 Z= -0.3002 Tot= 0.3002 ``` There is no improvement going to other post-Hartree\_Fock methods, as the following table indicates. A positive value means that the dipole is directed towards the carbon; the used basis set is in all cases def2-QZVPP. \begin{array}{lr} \text{Method} & \mathbf{q}(\overrightarrow{\ce{CO}})\\\hline \text{Experimental}^1 & 0.11\\\hline \text{HF} & -0.14\\\hline \text{MP2} & -0.30\\ \text{MP3} & -0.22\\ \text{MP4(SDQ)} & -0.27\\ \text{MP4(SDTQ)//MP4(SDQ)} & -0.27\\ \text{CCSD} & -0.25\\ \text{CCSD(T)//CCSD} & -0.25\\ \text{CISD} & -0.22\\ \text{QCISD} & -0.26\\ \hline \text{BP86} & 0.19\\ \text{PBE0} & 0.12\\ \text{M11} & 0.06\\ \text{B3LYP} & 0.10\\ \hline \text{B2PLYP} & -0.07\\ \hline \end{array} This failure probably already starts with Hartree-Fock. Where does the deficiency lie in the HF description in this particular case? And why is this deficiency not corrected by post-HF methods? Even the double hybrid functional B2PLYP cannot predict the direction of the dipole moment correctly. --- 1. According to [Gernot Frenking, Christoph Loschen, Andreas Krapp, Stefan Fau, and Steven H. Strauss, J. Comp. Chem., 2007, 28 (1), 117-126.](https://dx.doi.org/10.1002/jcc.20477) the value can be found in [J. S. Muenter. J. Mol. Spectrosc. 1975, 55, 490.](http://dx.doi.org/10.1016/0022-2852(75)90287-8) (I don't have access to that publication.) --- Sample Input for Gaussian 09 ``` #p MP2/def2QZVPP scf(tight) opt(verytight,maxcycle=100) symmetry(loose) gfinput gfoldprint iop(6/7=3) carbon monoxide 0 1 C 0.0 0.0 1.135 O 0.0 0.0 0.0 ``` The question itself is void, as all methods with the exception of Hartree-Fock predict the direction of the dipole moment correctly. Deathbreath found a Full CI calculation in [Jeremy P. Coe, Daniel J. Taylor, and Martin J. Paterson. J. Comp. Chem. 2013, 34 (13), 1083-1093](https://dx.doi.org/10.1002/jcc.23211) of which luckily an open version exists ([arXiv:1301.4904](https://arxiv.org/abs/1301.4904v1) [physics.chem-ph]). The following passage is taken from the latter: > > The groundstate dipole moment of carbon monoxide, although fairly small, when calculated using HF strikingly has the incorrect sign compared with experimental results. Previous work has suggested that the accuracy of the dipole calculation > depends on the amount of correlation accounted for.14 The bond length (2.1316 Bohr) and the experimental dipole value (0.122 Debye) are taken from Ref. 15. The positive value for the dipole here signifies a polarity of $\ce{C^−O^+}$. > > With a cc-pVDZ basis, two frozen core orbitals and a cut-off value of $c\_\mathrm{min} = 5 \times 10^{−3}$, we see in Fig. 1 [omitted] that the MCCI method, starting from close to the incorrectly signed result of the HF single SD, quickly reaches a correctly signed value which converges at around half of the FCI value. > > > > > --- > > > 14 G. E. Scuseria, M. D. Miller, F. Jensen, and J. Geertsen. J. > Chem. Phys. 1991, 94, 6660. > > 15 J. S. Muenter. J. Mol. Spectrosc. 1975, 55, 490. > > > The problem indeed is just a technical one, resulting from analysing the wrong density. Gaussian 09 by default only analyses the SCF density (see [population](https://web.archive.org/web/20160507034554/http://www.gaussian.com/g_tech/g_ur/k_population.htm), [density](https://web.archive.org/web/20160515231627/http://www.gaussian.com/g_tech/g_ur/k_density.htm)). In order to obtain values for the post-HF methods, the `density=current` keyword needs to be specified. The updated table therefore becomes: \begin{array}{lr} \text{Method} & \mathbf{q}(\overrightarrow{\ce{CO}})/\mathrm{D}& \mathbf{d}(\ce{CO})/\mathrm{10^{-10}m}\\\hline \text{Experimental}^{15} & 0.122 & 1.128\\\hline \text{HF} & -0.14 & 1.102\\\hline \text{MP2} & 0.26 & 1.135\\ \text{MP3} & 0.08 & 1.118\\ \text{MP4(SDQ)} & 0.11 & 1.118\\ \text{MP4(SDTQ)//MP4(SDQ)} & \text{n.a.} \\ \text{CCSD} & 0.08 & 1.124\\ \text{CCSD(T)//CCSD} & \text{n.a.}\\ \text{CISD} & 0.05 & 1.118\\ \text{QCISD} & 0.08 & 1.127\\ \hline \text{BP86} & 0.19 & 1.135\\ \text{PBE0} & 0.12 & 1.122\\ \text{M11} & 0.06 & 1.119\\ \text{B3LYP} & 0.10 & 1.124\\ \hline \text{B2PLYP} & 0.15 & 1.129\\ \hline \end{array} --- Sample Input for Gaussian 09 for analysis (requires the addition of `%chk=mp2qzvpp.chk` to the sample input of the question) ``` %oldchk=mp2qzvpp.chk #p MP2/def2QZVPP Geom=check Guess=(Read,Only) Density=(Check, Current) dens-curr 0 1 ``` --- I apologise for getting everyone worked up over a stupid beginner mistake.	stackexchange/chemistry
How do you recognize a carbohydrate molecule? I am studying carbohydrates in organic chemistry and I am confused a bit on what they are and how you recognize whether a molecule is a carbohydrate or not. For example, will a carbohydrate always have an $\ce{OH}$ group with either an aldehyde or a ketone group? Can it also contain other atoms like nitrogen or bromine? Can it have ether, ester? The name "carbohydrate", which literally means“carbon hydrate,” arises from their chemical composition, which is roughly $\ce{(C.H2O)\_n}$, where $n\ge 3$. The basic units of carbohydrates are monosaccharides. Monosaccharides or simple sugars are aldehyde or ketone derivatives of straight-chain polyhydroxy alcohols containing at least three carbon atoms. Such substances, for example, D-glucose and D-ribulose, cannot be hydrolyzed to form simpler saccharides. Examples of monosaccharides: [![monos](https://i.stack.imgur.com/iLpQX.png)](https://i.stack.imgur.com/iLpQX.png) Classification Monosaccharides are classified according to the chemical nature of their carbonyl group and the number of their C atoms. If the carbonyl group is an aldehyde, as in glucose, the sugar is an aldose. If the carbonyl group is a ketone, as in ribulose, the sugar is a ketose. The smallest monosaccharides, those with three carbon atoms, are trioses. Those with four, five, six, seven, etc., C atoms are, respectively, tetroses, pentoses, hexoses, heptoses, etc. These terms may be combined so that, for example, glucose is an aldohexose, whereas ribulose is a ketopentose. However, there are similar molecules with different atoms such as nitrogen which are also considered carbohydrates. A class of polysaccharides known as glycosaminoglycans (unbranched polysaccharides of alternating uronic acid and hexosamine residues).Practical examples are Hyaluronic acid(linked disaccharide units that consist of D-glucuronic acid and N-acetyl-Dglucosamine) and Heparin (sulfated disaccharide units): [![a](https://i.stack.imgur.com/BVx4w.png)](https://i.stack.imgur.com/BVx4w.png) [![b](https://i.stack.imgur.com/A4B55.png)](https://i.stack.imgur.com/A4B55.png) Nevertheless, when carbohydrates bond with other molecules to form other newer bonds, they are given different names and are not necessarily carbohydrates but are given new names - a good example are glycoproteins (proteins covalently associated with carbohydrates.) Reference Biochemistry Voet and Voet, Grisham > > A carbohydrate is a biological molecule consisting of carbon (C), hydrogen (H) and oxygen (O) atoms, usually with a hydrogen–oxygen atom ratio of 2:1 (as in water); in other words, with the empirical formula Cm(H2O)n (where m could be different from n).This formula holds true for monosaccharides. Some exceptions exist; for example, deoxyribose, a sugar component of DNA,has the empirical formula C5H10O4.Carbohydrates are technically hydrates of carbon; structurally it is more accurate to view them as polyhydroxy aldehydes and ketones. > > > Carbohydrates often display chemical groups such as: ''N''-acetyl (e.g. chitin), sulfate (e.g. glycosaminoglycans), carboxylic acid (e.g. sialic acid) and deoxy modifications (e.g. fucose and sialic acid).This is from [Wikipedia](https://en.m.wikipedia.org/wiki/Carbohydrate) > > > They can also be defined as optically active polyhydroxy aldehydes and ketones. Now about the general formula $\ce{C\_m(H2O)\_n}$ also have exceptions like $\ce{CH3-COOH}$($\ce{C2(H2O)2})$ but it is not a carbohydrate. Similarly, rhamnose($\ce{C6H12O5})$ and deoxyribose($\ce{C5H10O4})$ as mentioned in the above article does not fit into this general formula, but then too they are classified as carbohydrates. Apart from that carbohydrates are also ether. ![enter image description here](https://i.stack.imgur.com/N3f9Wm.jpg) [Source:Wikipedia](https://en.m.wikipedia.org/wiki/Glucose#/media/File%3AD-glucose-chain-2D-Fischer.png) This is the open chain structure of glucose. Some of the properties of glucose was not able to be explained by this structure. [![enter image description here](https://i.stack.imgur.com/Ex73Jm.jpg)](https://i.stack.imgur.com/Ex73Jm.jpg) These are the two hemiacetal cyclic forms $\alpha$ and $\beta$ of glucose also called as Haworth structures which remain in equilibrium with the open chain structure of glucose. It is an ether as you can see in the structure. Other examples of ether include cellulose, starch, sucrose, etc. Sucrose is a disaccharide which gives a glucose and fructose by hydrolysis. Starch and cellulose are polysaccharides. Starch is a branched polymer of $\alpha$ glucose units and cellulose is a straight chain polymer of $\beta$ glucose units. You've asked a great and challenging question, especially for people just learning this material. The other answers are useful and provide good background. They also illustrate how the great structural diversity of carbohydrates quickly muddies the waters. I'll offer an answer that is less technical and gets at the "recognition" part. The trouble with simple carbohydrates (5- or 6-carbon monosaccharides specifically, but we should avoid that term since we haven't defined it here) is that they can be drawn in an an open chain form (as a Fischer projection) or in a cyclic form (as a Haworth projection, or in some cases as a "chair"). So one commonly encounters two or even three "pictures" of the same thing, which hardly helps (examples below). In my courses I nearly always use the cyclic forms since for 5- and 6-carbon sugars they are the dominant and biologically relevant forms. If one sticks to this, a pretty simple rule of thumb can be stated: carbohydrates are compounds with a 5- or 6-membered ring containing oxygen, and decorated extensively with hydroxyl (or alcohol) groups. This "scales" to polysaccharides, and accommodates deoxy and amino sugars, so it works a great deal of the time (and is enough for non-experts in many cases). When and if someone needs to understand more, it's not too hard to transition to the Fischer projections by focusing on opening (breaking open) the ring. [![drawing styles](https://i.stack.imgur.com/dxsr2.png)](https://i.stack.imgur.com/dxsr2.png)	stackexchange/chemistry
Ranma 1. Default Chapter Hello all, Luna Sealeaf here! Just wanted to say one little thing. I love the series, and I've read most of the manga, including the last one, however it's been awhile and I don't remember all the details, and I don't have access to read them again. So please, forgive me if I make a mistake in the story or if I have forgotten something. To avoid this I've tried to stay away from the details of the end of the manga, however it's entirely possible I've done something unintentional. I'd also like to add that, these are most definitely not my characters! They were created by Rumiko Takahashi, who is a genius in my opinion, and she and maybe some sort of anime company are the only ones with rights to it. So please do not sue me! I have no money anyway! However, the plot is entirely mine, and I'd be very annoyed if someone stole it. If this resembles someone else's idea, I apologize, but I haven't read any that have this plot, so I can honestly say that this has spawned from my own imagination, for better or for worse. While trying to stay true to the characters and the overall..atmosphere..of the manga, it is impossible to write as well as Ms. Takahashi, and of course I cannot draw to save my life..so please just enjoy the story! I wish the real thing could have gone on and on, but since it ended, we diehard fans have to continue it in our imaginations.so, enough prattle.enjoy! The Cure to Ranma's Curse Part 1 She was in the middle of a clearing in a forest; a dense forest filled with tall, green trees. Why am I here?, she wondered. Suddenly, a crashing noise from behind her made her jump, turning around quickly. "Who's there?" She called out loud, body ready to fend off an unfriendly visitor. A man appeared in the small clearing. His clothes were strange, but glancing down she realized her clothes were of a similar fashion, adding to her confusion. The man's long black hair was tied back in a knot, and he smiled in a manner that made her want to run. As he took a step forward, an arm extended towards her, that's just what she did. Turning, she ran into the thick forest, breath catching in her throat as she struggled to scream for help. "Jun!" The man called after her. Strangely, she realized it was her name, and this only increased her panic. She could hear him catching up to her, turning she found herself in another clearing, this one had many small pools of water everywhere that she could see. Still running, she weaved her way through them, some instinct telling her to keep out of the waters. Suddenly she fell onto the ground, and before she knew what was happening, she felt someone grab onto her arms tightly. I must have tripped, she thought vaguely as she struggled against him, crying out in words she did not understand. When he spoke to her however, she could understand him perfectly. "How could you do this to me, Jun? I loved you!" The man said angrily, shoving her face into the water. This can't be happening! She thought frantically, as she struggled against him, holding her breath as long as she could; but finally she sank into darkness. "No!" Bathed in sweat, Ranma Saotome sat up on his futon, gasping for breath. His father, in the form of a panda, held up a sign saying 'Quiet!' and promptly kicked him out of the room. Still feeling shaky, Ranma made his way to the kitchen for a glass of water. Must have been a dream, he thought as he gulped it down. Yet it seemed so real! He shivered as he remembered the feeling of the man holding him in the water until he drowned, and wondered if it was some sort of omen. And who the heck was Jun? He didn't know anyone named Jun; it didn't even sound Japanese. Still feeling troubled, he wondered if Akane would mind if he woke her up. Nah, she shouldn't lose sleep over a stupid dream. With that decision made, he walked outside and jumped up to the roof. It was a warm summer night, and he wasn't sure he'd be able to fall back asleep; in any case he didn't feel like going back to his room. So instead he occupied his mind with happier things; such as his upcoming wedding. It had been almost eight months since his first failed wedding with Akane. Looking back, they both had agreed that it was a bit rushed; their gladness at being alive had spurred them to hurry things. Although they had been mad at everyone at first for ruining it, they couldn't help but forgive them. After all, how could they understand that Akane and Ranma wanted this when it had happened so suddenly? Since when had anything in their lives gone smoothly? So it had been rescheduled until next year. Now, it was only three months away, and Ranma was both nervous and excited. These past few months had been almost sheer bliss; he had a terrible feeling that it couldn't possibly last. Akane and he had rarely fought; and when they did, they were both confident enough to make up without worrying that the other didn't feel the same. Ryoga had disappeared for awhile, but when he had finally returned, he had wished his two friends the best and had settled in as their mutual friend. When they asked about Akari, he only blushed and muttered, so they only hoped it was going well for them. Shampoo and Mousse seemed to be getting along better, she and Cologne seemed to be taking the news of Ranma's future wedding surprisingly well, which left Ranma slightly suspicious, but he figured things were better left alone. Kuno, Kodachi, and Happosai were the same as ever, of course, and Ranma's only regret was Ukyo. She had accepted their explanation of their love, and they hadn't spoken much since. Busy with the restaurant, the last they had heard was that she was planning on attending a university course to become a better chef and small business owner. His only real friend from childhood, Ranma had bitterly missed his 'Ucchan'. Even though she had been one of his fiancées, there had been times when she had put aside her jealousy and love to be simply his friend, and he missed that. Hearing footsteps, he turned and his face broke into a smile when he saw Akane climbing up to the roof in her pajamas. She grinned back at him, spreading a blanket over them as she sat down, despite it being a mild summer night. "What're you doing up?" He asked, staring up at the star-filled sky. "I heard someone moving around downstairs and I figured it must be you. Then I heard you up here and decided you might want some company." She blushed slightly as she added, "If you'd rather be alone though." quickly, Ranma shook his head. "Nah, it's nice to have some company, but I didn't mean to wake you up." Nodding, but saying nothing else, she wrapped her arms around her legs and followed his gaze to the sky. They had talked about the situations with their friends; and Akane had even understood Ranma's sadness about Ukyo without being jealous. She had plenty of friends, while Ranma had either fiancées or rivals. Ryoga and he were becoming better friends, but he had a history with Ukyo. Other than that, Akane assumed nothing else was wrong. There was still something bothering him though, and he hadn't told anyone, not even Akane. For the past few months, his curse had started feeling different. At first, he hadn't noticed it, since he hadn't spent long periods of time as a girl. When the heater broke a month after they returned, he was stuck as a female, and he started to notice that he felt different. Not the obvious difference of being a girl; he felt like a different person. He had become moody, his thoughts drifted, and the names of those around him had escaped him a few times. It had scared him, but when he returned to his normal form, he had forgotten about it, until he started having the dreams, such as the one that night. They were so vivid, they felt like memories, but Ranma was sure they couldn't be. He had considered talking to Dr. Tofu about it, but felt silly. They were only dreams, after all. "What're you thinking about, Ranma?" Akane asked, leaning her head against his shoulder, already starting to fall asleep again. "Uh-about our wedding I guess," He replied, shaken out of his thoughts by her voice. Smiling wistfully, Akane sighed. "Yeah, I can't wait. Can you?" This time it was his turn to become red, and he stammered his reply. "N-no, I can't." She laughed softly again, but rather than get angry as he would have done a year ago, Ranma only grinned ruefully. They sat on the roof for awhile, before Ranma returned a sleeping Akane to her bed and he went back to his room. Neither were worried about others watching; even Nabiki had become bored with trying to sneak up on them and then blackmailing them; Akane had made it perfectly clear that their relationship was not a secret, and had convinced Ranma as much too. Although Ranma had his own house with his mother and father; Genma liked to visit his friend, and Nodoka had encouraged Ranma and Akane to spend time together. Of course, there were still a few minor details Ranma had yet to clean up. He had had a talk with Ryoga, well, it had involved a few half-hearted kicks and punches, but Ryoga had agreed that he had to stop sleeping in Akane's bed, despite the fact he was a pig when he did so. Ranma had promised (again) to not tell Akane about his curse, so long as Ryoga promised to do so at the right time, whenever that would be. For now, he was just enjoying the happy moments he was having with Akane. The only times they ever were awkward around each other was when Saffron was brought up. Everyone tended to avoid the topic, but it still hung over Ranma like a dark cloud that he had only been saved from becoming a killer by the fact that Saffron had been reborn. While he would have done anything to save Akane, and not regret it for a moment, he still sometimes had trouble coming to terms with how willing he had become to kill, if only to save someone he loved. The next morning dawned another bright sunny day, and the Tendo house was filled with the sense of peace everyone was enjoying, but knew couldn't last long. The day began as normal enough; after breakfast, Soun and Genma were playing their usual game, and Kasumi was (yet again) trying to teach Akane how to cook. To Ranma's surprise, and relief, it seemed that part of Akane's cooking trouble might have been self-consciousness; she could successfully make an edible bowl of soup, as long as she didn't try and add any of her 'spices' to it. Kasumi was now trying to teach Akane the western meal 'macaroni and cheese', since it was fairly simple. As for Ranma, he was performing his daily exercises, and hoping he wouldn't be asked to sample Akane's cooking. Before long, Ryoga showed up, looking bewildered until he saw the house. "Yo Ryoga," Ranma calmly replied as he continued his movements. Tossing down his back pack and umbrella, Ryoga nodded back. "You're getting lazy Ranma; if I recall you used to be able to do those much faster," He said, with a cocky smile, referring to Ranma's routine. Grinning and cracking his knuckles, Ranma paused to turn to Ryoga. "You think so? How bout I prove you wrong?" He replied, getting into his usual fighting stance. Ryoga smiled again, turning to face him as well. "As if you could," With that, they ran at each other and began sparring. After nearly an hour of it, Akane came running into the yard, carrying a plate laden with what looked like orange gook, to put it nicely. "Ranma! Ranma! Come try these noodles! Don't they look delicious?" She frowned, not seeing them. "I know I heard him out here." She said, turning around just as she heard a cry of- "Akane! Look out!" Ranma was flying towards her, too fast for her to move. To keep from hitting her, he spun and twisted in the air, only this ruined his landing form. Luckily, he hit the koi pond with a painfully loud crack and sent mini waves over the side of it. "Ranma!" Akane cried, forgetting her plate of food and running over to the pond. "Oh come on Ranma, don't tell me you're out of it with a little hit like that-." Ryoga said as he followed Akane to the pond. As they got closer they looked in, seeing Ranma, in his girl form, sitting in the middle of the pond with a dazed look on her face. "Here Ranma," Akane said, reframing from laughing as she held out her hand to help him out. To her utter surprise, instead of looking abashed, or even just brushing her hand away, a stream of incomprehensible words came out of Ranma's mouth and he looked around wide eyed. Catching sight of Ryoga, he sprang out of the pond and ran out of the yard. Completely at a loss for words, Akane turned and looked at Ryoga. "What on earth did you do to him?" Ryoga shrugged helplessly. "I'm not surprised at him running away from a fight, but that was unusual even for him." Despite his rough words, he had a slightly worried look in his eye. "Do you think we should go after him?" Akane wondered aloud, shielding her eyes as she stared in the direction Ranma had run. Ryoga only shrugged again. Farther in Nerima, Ranma was running blindly through the streets. Slamming into another person, he was knocked to the ground. A bright cheery voice exclaimed, "Ranma! You come to see Shampoo?" The smiling Amazon was sitting on her bicycle, having just finished her deliveries. Ignoring Ranma's puzzled look, she pulled him into the Cat Café, calling out happily. "Great- Grandmother, look who come to visit!" Cologne came into the room, hopping on her staff and even Mousse came in. Although no longer as threatened by Ranma now that he was officially engaged to Akane, Mousse still didn't like Shampoo's fondness of him. "Greetings boy," Cologne replied, and Mousse nodded stiffly. "Ranma hungry?" Shampoo asked, fetching a bowl of ramen from behind the counter. The three of them watched Ranma expectantly, but he just looked back with a wild-eyed appearance. He tried to answer them, but only a strange language came out, causing Cologne to gasp, while Shampoo and Mousse simultaneously asked, "What?" Ranma repeated his stream of babble, and suddenly Cologne threw the bowl of ramen over Ranma. "Waah! Hot, it's hot!" He exclaimed. Looking up, he stared at the others and his surroundings with a dazed expression on his face. "Hey, how'd I get here?" "Ranma no remember?" Shampoo asked incredulously. Cologne explained to Ranma how Shampoo had found him, in his girl form, running through the streets, and how he had spoken in a strange language. "In fact, it almost sounded like ancient Chinese." Cologne said calmly. "How is that possible?" Mousse asked, sounding as surprised as Shampoo and Ranma looked. "Ranma doesn't even know modern Chinese, do you Ranma?" He turned to him anxiously, and Ranma shook his head. "The last thing I remember was sparring with Ryoga, then falling towards the pond, and that's it." The three Amazons stared at him in surprise. "Shampoo, you'd better go tell Akane and her family where Ranma is. Mousse come to the back and help me. Ranma, stay right where you are." Shampoo ran outside, Ranma nodded, standing up and sitting at an empty table, while Mousse followed Cologne into the back room. Breathless, Akane and Ryoga returned with Shampoo after a few minutes. Quickly, Ranma explained what had happened. Just as he had finished, Cologne and Mousse returned. "What's wrong with Ranma?" Akane asked in a concerned voice, sitting down next to him. "I'm afraid I'm not sure. However, I think it is obvious that whatever it is, it has to do with Ranma's curse. Ranma, have you noticed any changes in your cursed form recently?" She asked. They all turned to look at Ranma, and he felt himself blush, stammering as he began to tell about the dreams and his sense of detachment when he was in girl-form. Akane placed her hand comfortingly on Ranma's arm. "Why didn't you tell me?" She asked. Not meeting her eyes, he mumbled a reply. "I didn't want to worry you over nothing." Fighting the ache he still got when he saw them together, Ryoga took a deep breath before turning away from the couple and voicing his worries. "Have you or Shampoo noticed changes in your cursed forms? I mean, is it just Ranma?" They both shook their heads, but before they felt relieved, Cologne spoke up again. "Ranma's curse is unique in that it is a human being. Mousse and Shampoo's are animal. I'm not sure what's wrong with Ranma's curse, however there have been reports of," She hesitated. Standing up, Ranma asked firmly. "What do you know?" Sighing, she shook her head slowly. "Not much I'm afraid. Only that there were rumors of others whose cursed form was a human. Some, after a long time with theirs, started complaining that they felt like they were developing split personalities. They began to lose control over their cursed half when in its form." "So how'd they stop it?" Ranma finally asked. Cologne shook her head slowly. "They didn't." Akane closed her eyes, her hand sliding into his. Swallowing hard, Ranma looked around at the others, only Ryoga nodded back and met his gaze. "Well, how do I stop it then? I don't intend on dying or going mad." He turned his gaze defiantly towards Cologne. She studied him for a moment before answering. "I am afraid I do not have all the answers Ranma. My suggestion would be to return to China, to the ground of accursed pools, and to question the guide. His family has watched over the grounds for a long time, it may be that he will be able to answer your questions." Ranma nodded once, then grinned, saying nonchalantly, "Guess I'm taking a trip to China. Don't worry Akane, I'll be back in no time." Smiling with deceptive sweetness at his grinning face, she replied, "Of course I won't worry, Ranma. I'm going with you." At this Ranma's grin faded even as Akane's expression steeled. "Akane, you have to stay here! I don't know if I'll be able to protect you! What if I get turned into a girl and go psycho?" Akane frowned back at him. "I can take care of myself Ranma, you can't stop me from following you." Silence fell as the couple studied each other, the Amazons and Ryoga. "Don't worry about her Ranma. I'll come too, like I'd trust you to be able to take care of Akane! Hah! Besides, you're likely going to bungle things up as usual unless someone's there to stop you." Smiling wryly as Akane stood up and hugged a now furiously blushing Ryoga, Ranma shook his head, standing as well. "Gee thanks Ryoga, that's so incredibly selfless of you." Ignoring their jibes, Akane, eyes filled with tears, nevertheless smiled as she turned back to Ranma. "Aren't you glad now that you're not going all the way to China by yourself Ranma?" Observing his fiancée and his, if he dared to describe him as such, friend, Ranma shrugged, then smiled also, surprising even himself at his answer. "Yeah, guess I am." End of Part 1 So what do you think of it? Please send all thoughts, comments, or ideas to [email protected], if you don't want to write a review. Thanks again for reading it! (I know I rated it PG, and this chapter seems all happy and bubbly, but it's going to get more serious, if not darker, in the later chapters.) Thanks again, happy reading! -Luna Sealeaf. 2. The Cure to Ranma's Curse: Part 2 I've decided to try a new format, one I've commonly seen on other fanfiction, of having spaces between each chapter. I think this makes it easier to read, and hopefully it will turn out better than my first chapter. If it doesn't; sorry, I'm new at fanfiction.net! Ok, on to Part 2, and thanks to everyone's who's reviewed or just read it! The Cure to Ranma's Curse Part 2 Ranma, Akane, and Ryoga set out two days later for China, specifically for the accursed grounds of Jusenkyo. Having little money, and knowing no other way to get to China, Ranma decided they'd walk, then take a boat, then walk again. He would have swum to China, but of course Akane would try and follow; possibly drowning, and Ranma didn't trust himself in his girl form anymore. It was almost fun for the first week. The three of them managed to get along fairly well, and Kasumi had packed enough supplies for them that they were able to camp and eat comfortably. Except for when Akane cooked, that is. "Dinner's ready!" She called out cheerfully. Akane kneeled over a pot boiling over their campfire, two small tents to her right. They had reached China with few delays, and all were confident that they would soon be at their destination. Hearing her call, Ranma glanced at Ryoga, who refused to meet his gaze. Ranma wasn't sure he really wanted to try Akane's cooking, but he knew Ryoga would do it no matter what, and Ranma didn't want to hurt Akane's feelings, especially in front of him. So as they halted their training, Ranma plastered a falsely happy grin onto his face and walked over to the pot, breathing in the fumes deeply. "Ah! Smells good Akane!" He said, still grinning. Oblivious with pleasure at the compliment, Akane blushed but smiled proudly, stirring her concoction with a small wooden spoon. "Thanks Ranma. I hope it tastes good." She said as she ladled it out onto their small traveling plates. Not to be outdone, especially by Ranma, Ryoga hastily took a bite and said, grinning also, "Delicious! It's the best meal I've eaten in a long time." Quickly he shoveled more into his mouth. Ranma hadn't tried his yet, but as Akane turned to watch him, he quickly took a bite. The years of training in self- discipline were the only thing that kept him from spitting it back out. While he had tasted far worse, and this was gourmet for Akane's cooking, it still tasted like boiled leather; with lots of salt. He followed Ryoga's example by eating as fast as possible, handing the plate back to Akane, saying a quick, "Thanks!" and running into the woods. When they were finished being sick, Ranma turned wearily to Ryoga, who still looked green. "Well, at least neither of us are in a coma," He smiled ruefully, and Ryoga started to nod, but quickly caught himself. "I don't know what you're talking about. The meal was wonderful; I've just been feeling sick," Rolling his eyes, Ranma walked back to the camp, finding Akane's tent already closed up, he assumed she was asleep and he went in to the tent he and Ryoga shared to do the same. Just as his eyes were closing for the last time, it occurred to Ranma that Ryoga had not yet returned. Cursing himself for a fool, he jumped up and ran out of the tent, looking around. "Oy Ryoga! Where are ya?" He called out, looking around for the Lost Boy. How could he have left Ryoga alone in the woods? The guy didn't have a clue when it came to directions. Even if the campsite were in sight, Ryoga was prone to make a wrong turn while walking towards it. "P-Chan!" He called again, figuring Ryoga would surely answer to that. Awakened by his calls, a yawning Akane stepped out of her tent, clad in a jacket over white pajamas. "What's wrong Ranma? Where's Ryoga?" She asked tiredly, rubbing her eyes as she looked around. "It's ok Akane; I think Ryoga just got lost, again, as usual." Ignoring him, Akane started circling the campsite, calling Ryoga's name as well. Sighing, and feeling tired and annoyed at Ryoga's disability, Ranma started off towards the area he had last seen Ryoga. As he ran off, he called back to Akane, "Stay here! I'll find him," She tried to answer him, but he had already disappeared into the woods. The night air had become chilly, and Ranma's thin Chinese red shirt and pants weren't as warm as he had thought. He continued to call Ryoga's name, but heard nothing. Trying to find some sort of trail that he might have made, Ranma realized that more time must have passed than he had first thought. The sky was lightening up, and his shoulders slumped with exhaustion. Usually he had boundless energy, but he and Ryoga had sparred all day, and he wasn't used to getting no sleep at all. Worried about Akane, since it was unlikely that she had listened and stayed at the camp, Ranma turned around and started back. 'Maybe she already found him, or he blundered back by accident.' He thought hopefully. It took him a few minutes to find the way back, and just as he had started walking, he heard a crack of thunder. 'Oh no,' he mentally groaned. Sure enough, a splash of water-cold water- hit his back, and a moment later a lithe figure could be seen running through the woods. "Ryoga!" Akane's voice was growing hoarse, and she felt as though she could fall asleep on her feet, but she didn't want to quit looking. Finally she turned around, hoping that Ranma had found Ryoga by now. She had just reached the camp again when she heard thunder, saw a flash of lightning, and was drenched by the time she reached her tent. 'Oh no! What if Ranma's still out there?' She turned away from her tent and quickly looked inside the boys'. A startled Ryoga looked back at her. "Oh Ryoga! Ranma found you! We were worried," She said, feeling relieved; not noticing her rain drenched hair and clothes. "We-were you?" He stammered, blushing slightly. He only thanked his lucky stars that he had found his way back-completely by accident-before it had began to rain. The second half of her sentence registered in his mind as he struggled not to stare at her. "Ranma didn't find me though. Did he go looking?" Why would Ranma look for him, he wondered. This thought was dismissed as he saw Akane's worried face. "He's still out there then, in the rain. As a girl," Not waiting for Ryoga's reply, she turned yet again and called out, this time for Ranma. Ryoga followed her as soon as he had opened his umbrella. "We can't find him in this Akane. If he knows what he's doing, he'll be back soon, if not, well, he's too fast for us to find; especially in this rain." He held the umbrella out so it covered both of them, watching Akane's reluctant nod of agreement. It nearly broke his heart all over again to see how much she cared for that oaf. "We'll find him in the morning, I promise," He said solemnly, seeing her hesitation. At his words however, she seemed to calm down. She nodded and turned to Ryoga. They made their way back to the tents, Ryoga waiting for her to enter hers before going back to his own, so he didn't have to take the umbrella off her. 'Sorry Ranma, but you can take care of yourself, and I can't find you as a pig anyway,' Ryoga said apologetically in his mind. Besides, both he and Akane were too tired to be able to do much that night anyway. Turning away from Ranma's bed, he quickly fell asleep. In her tent, Akane had slipped into dryer clothes, frowning as she wondered where Ranma was and if he was ok or not. Listening to the pounding rain above her head, the wind making the tent roof sway, she whispered quietly into the night, "Please be safe, Ranma." End of Part 2 Wow, this is going a lot slower than I thought it would. Anyway, hope you didn't find this too boring, I can only promise that it does get more interesting; at least, I think it does, later. For now, will Ranma be ok in his girl-form-gone-crazy? Will Ryoga and Akane find him? Trust me, when I know you'll know! Again, please send all thoughts/comments/ideas to [email protected], or write a review. Also, as you may have noticed, I'm not going into too much detail, nor am I trying to make this super realistic. While I admire the work writers put into when Ranma&Co are in mundane situations, such as using trains/planes, etc. for transportation, I decided against going into such detail because it doesn't add to my plot, and you don't see that in the anime or manga, and I'm trying to keep this as much like that as possible. Ok, I'll shut up now and go think of what happens next..hope you enjoyed it! -Luna Sealeaf 3. The Cure to Ranma's Curse: Part 3 Thanks so much for the reviews of chapter 2! Sorry it was so short, but it seems longer on Microsoft Word, which is what I write on. Also, I forgot the disclaimer! Hopefully it's not too big a deal, I mean, like I could come up with such a great story? Yeah right. To be safe though, let's just make it absolutely clear that I do not own these characters, (except for Ling, who sprang from my twisted imagination) in any way, shape or form, am not making a profit from this, other than pride for my already inflated ego, and so there is no reason to sue me whatsoever. Anyway, here's chapter 3, in which the first true important plot points occur.Enjoy! The Cure to Ranma's Curse Part 3 The next thing Ranma remembered, after standing in the middle of the forest as it started to rain, was waking up in an alley way. Groaning, he realized his clothes were a mess, and he ached all over. His hair was disheveled, his clothes mostly torn and covered in mud to boot. Standing up, he limped out onto the crowded street, and he felt a rush of panic as he wondered, 'Where am I?!' Ryoga and Akane packed up the tents, buried the fire, and prepared to look for Ranma. Just as they were about to set out, Akane glanced over at Ryoga and said, trying to sound as nice as possible, "Uh, maybe we should look for him together, so we don't get split up again," She didn't want to hurt his feelings, but even though she said this delicately as possible, Ryoga still blushed and looked away from her. "Right," He said shortly. Sighing and hoping he wasn't offended, Akane started off in the direction Ranma had headed to look for Ryoga-East. Hopefully they'd be able to find some clues as to what had happened to him. She and Ryoga walked in silence for a while. They scanned the ground carefully, but Akane became frustrated as the found no sign of him. After a few hours, they stopped for a lunch break. "I'm surprised we haven't found anything yet," Ryoga said thoughtfully, munching on a pre-made sandwich made by Kasumi. "I know. If he was running wildly like he was when Shampoo found him, surely he'd leave some evidence of a trail." She looked trouble, and they fell silent again. Ryoga knew he ought to be happy-Ranma was gone, literally out of the picture for the moment, and he was all alone with Akane. It was the perfect opportunity to try and win her back. Yet.did he want her back? She clearly loved Ranma, and he admitted to feelings for Akari. He finished his sandwich and started cleaning up as Akane finished as well. If he was honest with himself, Ryoga was also a little concerned about Ranma. It was very disconcerting, this strange change in his curse. It also made Ryoga wonder if his curse would develop complications eventually, as if it wasn't bad enough. "Ryoga! Come here! I found something!" Akane's excited voice broke his strain of thoughts, and he realized he had been sitting still while Akane had gotten up to walk around, although she was still in plain view. Taking longer than most people would have, Ryoga ran to where she was and examined what she was pointing to. A tree with slashes on its trunk, and broken branches were all that he could see. "What do you think this means?" He asked, studying the marks carefully. "It looks like someone fought with a tree," Akane nodded, one hand tracing a broken branch. "I know. But if his cursed form is out of control, then maybe he did attack the tree for some reason." Even as she said this, Ryoga stood back and looked at the tree, a thought quickly coming to mind that disturbed him. "Akane," He said quietly, almost in a whisper as he made sure he couldn't be mistaken. "I think we're wrong. These marks and the broken branches, it looks more like someone was trying to climb the trees and couldn't. As though they were trying to get away from something, but didn't." Akane's eyes grew wide at this, and she took a step away, then turned and started to search the nearby trees. "Come on Ryoga, regardless of what caused those marks, we gotta find him." At almost the same moment, Ranma was walking down the streets of a strange village in China; at least, he assumed he was still in China. He was actually starting to sympathize with what Ryoga had to go through so often. This was really almost frightening, more because of the fact that he couldn't remember what had happened after becoming a girl rather than the fact that he was completely lost. Feeling bewildered, he walked into a small restaurant that was empty, and looked for someone who could help him. A young girl with an apron came into the room and smiled, approaching Ranma. Ranma didn't speak Chinese, but he had picked up a few useful phrases during training trips, and he knew she was greeting him in some way. Straining his mind to remember, he said slowly in heavily accented Chinese, "Where am I?" The girl's smile faltered, but she answered, giving a name Ranma didn't recognize. She then said something else, seeing his stricken face, and from what Ranma could make out, it sounded as though she were asking if he was lost. Racking his brain for the right phrases, he tried to explain that he couldn't remember. It came out more like, "I no think," The girl seemed as frustrated as Ranma, and called to the back of the room. A man walked into the room from the back, a little older than the girl, and he frowned as she talked to him in Chinese. Feeling very out of place, Ranma shifted uncomfortably, wondering what they were saying. After a moment, the man nodded and turned to Ranma, saying in heavily accented Japanese, "You are lost?" Ranma nodded, and said slowly in Japanese, "I can't remember how I got here," The man's brow furrowed as he concentrated on Ranma's words, but he replied, "You should see Old Ling, she can help," He then proceeded to give directions to a very confused Ranma, who thanked him and walked back out into the street, following the directions as they led him to a small dingy shop close to the alley he had awoken in. Stepping inside, he could just make out a hunched form in the back of a dark room. He called out a tentative 'Hello?' in Chinese, then Japanese when the form didn't answer. "Ah, now you speak truly, young man," A dry voice called out, followed by a cackling that made the hairs on the back of his neck crawl. The woman spoke in Japanese, with a Chinese accent less noticeable than the man in the restaurant's had been. "Can you help me remember something?" He asked, walking closer towards her. "You are, uh, Ms. Ling, right?" Ranma asked. Something about the woman reminded him of Cologne, only Cologne seemed like a sweet old grandmother compared to the aura he sensed around the woman. "Yes yes, I am Ling. And you're other question depends," The withered voice said. His nervous feeling growing, he asked, "Depends on what? I don't have any money I'm afraid," For that had been packed up at camp. The woman chuckled again, "Depends on why you forgot it in the first place, and if you really want to remember it," She turned to face him, and Ranma stepped back involuntarily when he saw her face. The woman had no eyes, only sunken pits where her eyeballs should have been, straggly, unwashed white hair was held back by a piece of string, and she wore rough robes almost as torn as Ranma's clothes. He remained determined though; he had to get back to Akane and Ryoga as quickly as possible so they could continue on to Jusenkyo. "Would I ask you if I didn't remember?" He said impatiently. Ling seemed to hear his impatience; she motioned for him to sit across from her, which he did readily, and she pulled a black iron pot in front of her, her face staring towards him. "Let us see then, why you have lost your precious memory, eh? Then we shall talk about payment for Old Ling." Ranma started to nod, and then quickly said, "Sure" when he remembered her lack of sight. He remained silent as she pulled off ancient looking jars from a shelf he hadn't seen in the dark. She pulled out powders and other substances that Ranma didn't want to know, pouring them seemingly randomly into the pot. The finally powder she threw in created a great cloud of smoke, and Ranma struggled to not cover his mouth from the acrid smell. Ling breathed in the fumes deeply; then her dry voice spoke again, somehow sounding different, almost younger. "You are searching for answers; you are cursed," He tensed at hearing her speak of it, but decided at least she couldn't be too much of a fake, unless she was just guessing. "A loved one and a dear friend search for you, trying to decipher your fate even as you do." She fell silent, and Ranma waited for her to continue, glad to hear that Akane and Ryoga were all right then. 'Dear friend, huh? Whatever,' He thought, and concentrated on the woman's next words. "You were lost, afraid. In a.a forest. Something happened that is the cause of your problems. You were found by a group of thieves who were hiding." The woman's voice had changed again, now she sounded as though she were narrating a story. "You fought, but your strength was greatly diminished by something, and they left you, thought to be dead, in the forest. When you awoke, you were confused and wandered here." It all sounded familiar to Ranma, as though someone were reminding him of something that had happened years ago. He decided to risk a question. "What's causing me to forget though?" Meeting up with a bunch of thieves, heck, being beaten up by a bunch of thieves didn't sound so traumatic that he'd block it out. He was bruised, but not too badly hurt, and it seemed much more likely that it was due to his distorted curse than a natural reason. Ling's face wrinkled even more as she fell silent for a moment. "I cannot-see. It is.a corruption.a.corruption in the fabric of...of time.AH! JUN!" Ranma jumped up and back as she led out a loud cry and fell to the ground. He stared at her unmoving form, feeling apprehension wash over him as he stepped back again. That name, he recognized it from his dream! How could she know it? "Ms. Ling?" He asked softly. The woman didn't move, and Ranma made himself walk over to her and check for a pulse. There was none. Fighting back the sudden sense of revulsion that swept over him, he managed not to retch, but turned and ran out the door. He had a feeling he did not want to be found, a stranger in a small town, with a dead old woman. After running for almost half an hour, he stopped to get his bearings, which were none. Cursing, he realized he should have at least stopped for directions to Jusenkyo, but was unwilling to go back in case Ling had been found by now. Instead, he decided to wait awhile, maybe if he could tell which way was north by the sun or stars, he could get an idea of where he was, and how to reach Jusenkyo. For now, he'd just have to hope Akane and Ryoga were ok, and that they'd give up on looking for him and go there too. 'Sorry Akane, the peace was nice while it lasted,' He thought with a sigh, settling down under a thick-foliaged tree to wait for time to pass, trying to understand what Ling had meant. What did the name 'Jun' have to do with a corruption in...what had she called it? The 'Fabric of time'. He decided to save his questions for the guide at Jusenkyo, the events of the past week running through his head like some bizarre marathon. It was night when Akane and Ryoga, exhausted, finally decided to stop for another rest. After the tree, they'd found another clue; nearby there had been the slightest of impressions on the ground, grass bent and what appeared to be foot prints in the dried mud. They had surmised that it a form had laid there, probably a human one, and hopefully Ranma. Collapsing onto the ground, Akane leaned back on her hands, staring up at the sky. "What should we do Ryoga? We haven't found any other sign of a trail, who knows how long it will take to find him?" Her voice caught and she fell silent, hoping he couldn't see the tears run down her face because of the dark. "I don't know Akane. It's been a day, the odds are that Ranma's been turned back into himself, right? There are plenty of ways he could have gotten doused with warm water. If he is back to normal, then he probably doesn't remember anything, like when Shampoo found him. If that's the case, he won't know where he is, unless he's made it to a familiar town or city, which is unlikely. Knowing him, he'd go on to Jusenkyo and hope we meet him there." "You think so?" Akane asked, once she had control of her voice again. "You really think he's ok?" Ryoga nodded firmly. "He'd realize that there's almost no chance of use finding each other any time soon. I suggest we go on to Jusenkyo and wait for him there." Akane nodded slowly, thinking it through. Clearing her throat, she asked in a small voice, looking at Ryoga's form leaning against a tree, arms crossed. "But, what if he's still a girl Ryoga? What if he's still wandering around out there completely lost and confused?" Ryoga didn't meet her eyes as he shrugged slowly. "I don't know Akane. I don't know." She let out a tired sigh, feeling as though all her energy had drained at his words. "I guess we'll just have to go to Jusenkyo and see." She whispered back. 'I hope you're right Ryoga, because whatever's wrong with Ranma's curse isn't going to get better by itself.' Were her last thought before she fell into a dreamless sleep. End of Part 3 I'm so proud of myself! I know the chapters are short, but I thought I'd only be able to write maybe one a week! I'll try to keep writing them this quickly, I didn't get as many plot points in as I wanted. Again, I really really appreciate the reviews! Thanks so much! I got three so far ::dances happily:: Not my record, but still, not bad for my first time on fanfic.net. Anyway, hope you enjoyed it and hopefully it's a little more interesting than the first two chapters. Mysterious, in'nt it?? Mwahahah! Just you wait until it gets REALLY confusing! (Also, while I love all the characters in Ranma ½, the others weren't really necessary for the plot, however I'm considering bringing some in later on, what do you all think? Just keep it three or have Ukyo and/or Shampoo or the others make an appearance?) Till then, happy reading! -Luna Sealeaf 4. The Cure to Ranma's Curse: Part 4 Hello all! Sorry this has taken longer than I expected, but I had to write a story for my English class, which I may post on fiction.net.for all you romance/tragedy lovers out there, you might like it! Anyway, thanks so much to all you reviewers! Here are my responses since it took me awhile to realize you shouldn't hit the 'reply' button. Ghost in the Machine: Thanks for taking the time to read and review! The link didn't work, unfortunately; maybe you could email me again? As for the name Jun, I checked more sites, and while it is a unisex Japanese name, it is also a unisex Chinese name, which probably means it's not an old name, but I don't know, and this is fantasy anyway. But thanks all the same!! (Once again, if anyone knows the correct spelling of Jusenkyo, I'd really appreciate it, I can't believe out of the 5 manga I have, not one mention it, they only refer to it as the 'accursed' grounds) Jerry Unipeg: Thanks as well! I hope you liked the other chapters Alex Ultra: Thanks, I intend to! ( Adi-chan: Thank you! I'm trying to make them longer, I'm just impatient to update, plus they appear longer on Microsoft word. The romance and drama will (hopefully) increase as the story progresses. Thanks again, now, on to the story! The Cure to Ranma's Curse Part 4 Ranma awoke with a jolt, looking around confused until he remembered the events of the past day. He hadn't meant to fall asleep, and now dusk was falling. With a sigh, he stood up and studied the sun; determined his directions, and picked one. He still had no idea where he was, but with any luck he would find another village and get some directions. Many miles away, Akane woke in her dew-drenched tent; she started to realize how much she missed her own bed.among other things. With a heavy sigh, she got dressed and helped Ryoga to pack the tents and cookware back up. "I never thought I'd say this, but this was a lot more fun when Ranma was here," Ryoga muttered as Akane checked their map. Her eyes filled unexpectedly, so she only nodded and said nothing. They trudged through a light mist, saying few words, and both contemplating Ranma's fate. "No-no! Ju-senk-yo!" Ranma repeated slowly to a confused elderly Chinese man. He had spent the first half of his morning wandering around, luckily not in circles, and he had finally found a hermit living in a small hut. 'If only he understood what I was saying!' Ranma thought. Surely there should be more people who had heard of the cursed springs? As the man only shook his head in confusion, Ranma got an idea. He rummaged through his pack, finding a scrap of paper and a pencil. To the best of his ability, he drew the grounds as he knew them. It took a moment, but the man seemed to understand the picture, for he nodded slowly. Taking the pencil from Ranma's hand, and struggling to hold it correctly, he drew what appeared to be a small map. Ranma studied it, and at last realized where he was. Actually, he was closer to Jusenkyo than he had thought, which was a relief. It would hopefully be only a day, baring any unexpected rain showers. As this thought occurred to him, he decided to ask for one more thing; hot water. Again, he had trouble making his wish clear, but the man finally understood his meaning and gave him a wooden canteen of warm water. It wasn't much, but Ranma didn't want to ask for more. He bowed his thanks and started walking. While he walked, he tied the canteen to his waist, upside down. Hopefully if he turned into a girl, if he ran the right way the lid would be knocked off and his legs would be doused with warm water. Feeling more confident than he had earlier, he began to whistle. The tune was one Akane had hummed when she cooked and he stopped when he thought of her. 'Damn it Ryoga, you better take care of her,' He thought, wishing he could be back with the two. Traveling had lost its fun very quickly after he had gotten separated from his companions. He missed Akane, of course, but he also missed Ryoga, strange as that seemed to him. Still, feeling sorry for himself wouldn't get him there any faster. Not that he stopped; he just walked faster. "Oh, ugh," Akane exclaimed as she stepped yet again into ankle deep mud. They had come to a swampy area, and the traveling had been both slow and frustrating. Ryoga had offered to carry her, and while Akane had been tempted to say yes, she didn't want to add to Ryoga's trouble. She would also have had more difficulty in keeping him in the right direction. As it was, she kept having to detour to take Ryoga's arm and guide him in the right direction every once in awhile. "How much farther do you think it is?" Ryoga asked her. She stopped walking to study the map. With a disheartened sigh, she answered him. "Too far to walk in a day. At this rate it'll take us at least two more days." Ryoga just nodded and plodded on, Akane leading the way. She was tired of the silence though, and wanted to make conversation. "So Ryoga, has Ranma asked you yet?" Akane said brightly. Ryoga stared at her, a confused expression on his face. "Asked me what?" "To be Best Man of course. We're doing things the Western way; I think it's more romantic," She explained, smiling. She had a ring also, with a small diamond in the center, but she had left it at home for safety. Ryoga still looked puzzled, so she explained, to the best of her knowledge, what a best man was. "Wouldn't he ask his father? Or Mr. Tendo?" Ryoga asked. "We talked about it. Ranma says you've helped him train far more than his father did. Besides, you're his best friend" She said, as if that settled anything. 'I am?' Ryoga asked silently, but he didn't say it out loud. "Have you set a date then?" He said instead. "Not quite, some time in spring I think. We're going to take a week off from school for the..you know.honeymoon," She said, blushing as she thought of it. Ryoga's gritted his teeth; he didn't really want to hear about this, but he also didn't want to hurt Akane's feelings by changing the subject. Akane seemed to sense his mood, for she said nothing else of the matter. "I-I made it!" Ranma exclaimed to the sky. He was exhausted, he had practically jogged the rest of the way, but he had made it. His cure lay waiting for him at Jusenkyo. All he had to do was find the guide. It didn't take long, his small house was in the same place it always was. Breathing heavily, but smiling, he knocked on the door and waited. "Yes? Oh, is Mr. Customer!" The guide explained, smiling as he recognized Ranma. He opened the door wider, and Ranma stepped in, looking around. "How ya been? Where's your little girl?" He asked, not seeing her in the room. "Daughter is at school in city, please, sit down." The guide replied, gesturing to a small table with two chairs. Ranma sat down gratefully, dropping his pack onto the floor. "What bring Mr. Customer back to accursed grounds? To look for cure?" The guide asked. He set two cups on the table, with a small kettle of hot tea. Pouring it, he handed a cup to Ranma, who thanked him and sipped it. "Ah! That's good! Oh, yeah, actually, I need to ask some questions, if that's ok," He added. "Is fine sir, what you need to know?" "Well." He explained his current dilemma to him, then listened eagerly for answers. The guide was silent, sipping his tea thoughtfully before speaking again. "I not know for sure, but it sound like drowned girl's spirit is coming back," Ranma choked and sputtered on his tea, staring at the guide. "What?" He asked, gasping for breath. The guide nodded regretfully. "Some people who is cursed go through great trauma; strong emotions very quickly. Usually when this happen it.." He searched for the right word in Japanese. "Awakens spirit of original drowned body. Some time it no matter, if cursed form is animal, but when human, it can be very bad," "No kidding," Ranma said softly. The news wasn't as encouraging as he thought. "So how do I stop this.this.person from 'coming back'?" The guide shrugged. "I no know. Most go mad and die." Seeing the color drain from Ranma's face, he quickly added, "But I sure you find way to stop it. You very unique," He said, and sipped his tea again. Ranma thought for a few minutes, biting his lip as ideas ran through his mind. Snapping his fingers, he exclaimed, "I've got it! What about the Amazons? They're ancient! And the old ghoul was the first to figure out it was my curse getting weird," He smiled proudly, the guide smiled politely, not understanding what he meant, except for the part about getting help from the Amazons. "Is good try. You may have to pass test for information though, Amazons not give help to weak or undeserving. Rest here a day, is day's walk to Amazon village, or longer," Ranma nodded, agreeing. He stayed the night, slept in, and walked around the springs in the afternoon. Secretly, he hoped Akane and Ryoga would arrive before he left; he didn't relish the thought of another journey by foot alone. To his surprise, and joy, two mud-covered, tired looking figures arrived at the guide's doorstep the next night. Ranma had opted to stay one more day; to see how the weather faired, was his excuse. Forgetting where he was, he ran out to greet them and hugged Akane fiercely. She hugged him back until he finally let go, blushing. Turning to look at them both, his grin nearly reached his ears. "Great to see you guys again! Took you long enough!" Akane laughed as Ryoga gave him a half hearted punch, then they trudged inside to wash up. They ate dinner together, and Ranma explained his idea of going to the Amazons for help. "What do you think?" He asked them. Ryoga shrugged, shoveling food into his mouth, but Akane smiled encouragingly. "I think that's a good idea Ranma. Shall we go tomorrow?" Ranma nodded and they spent a surprisingly fun night there. The guide kept calling it a 'party' but mostly they were all just relieved to have been united again. The three of them slept in, and the guide had packs of more food waiting for them when they awoke. Thanking him for everything, they once again set out. The journey was much more pleasant than their previous, and they only had to spend one night outside. Ranma held Akane's hand unabashed, and he and Ryoga exchanged superficial insults. When they came to the edge of the village, they were met by a young woman holding a spear towards them. She spoke a long stream of Chinese at them, but they had come prepared. The guide had told them what to say in Chinese, and Ranma had memorized it. Slowly, he repeated it to the girl. She stared at them, but nodded her understanding and led them to the center of the village. A large wooden cabin was there, and she spoke to the two guards outside of it. The girl left and the two guards led them inside, Akane walking behind Ranma nervously and Ryoga trailing behind them. Inside sat three old women all sitting on low stools, the one on the far left looked vaguely like Cologne, and she wore deep green robes. The middle had golden robes with shorter hair, and she was taller than the other one. The right woman wore blue robes, she was the only one of the three to have a streak of black in her long hair.. The middle woman said something, and the guards replied. The communication barrier was starting to annoy Ranma, who decided to learn Chinese when he returned to Japan. The three women nodded as one at the guards reply, and the green robed woman called out in a clear voice, "So, you have come seeking help. What do you knowledge do you wish to gain from us?" She asked him. Feeling rather like a school boy being questioned by his teacher, Ranma nevertheless gave a confident reply. "I fell in one of the springs of Jusenkyo awhile ago, the spring of the drowned girl." And he explained everything, with Akane and Ryoga adding their information as well. The three women listened silently as they explained everything, and it took nearly an hour for them to finish. "The Amazons know much of the past; we keep records that are far older than the oldest Elder." The green robed woman said. "We shall be happy to help with your problem, if you can prove your worth," The blue robed woman said after her. Ranma cracked his knuckles, smiling. "No problem," He said, but the women were not looking at him. The golden robed one stared at Akane. "Do you accept the challenge?" "What?!" Ryoga and Ranma exclaimed together as they turned to face Akane, who looked as surprised as they did. Ranma shook his head furiously, mouthing a 'no'. Akane saw him, and felt annoyed that he didn't trust her fighting ability. Just because she wasn't as good a fighter as Shampoo didn't mean she couldn't handle an Amazon, besides, Shampoo was supposed to be the best fighter, so surely she could take on one Amazon. Besides, Ranma's life was on the line, what choice did she have? With a firm nod, she replied, "I accept." The women stared at her gravely while Ranma cried out, "No Akane!" but they ignored him. "How soon do you wish to begin?" The center woman asked. "Right away," Akane said, again ignoring the two boys. The three women conversed among themselves in Chinese before switching back to Japanese. "Very well; in three hours we shall send three warriors to fight you. If you beat them honorably, we shall tell you all we know," Akane bowed, Ranma and Ryoga copying her reluctantly. "Thank you Grandmothers," She said solemnly. The guards ushered them outside, where Ranma turned on her angrily. "What are you doing Akane? You don't stand a chance against one of their fighters!" "Well what should we do then? Just hope whatever's wrong with you will just go away? I'm not going to sit and watch you go mad Ranma!" She said, her eyes filling with tears at her last words. "Damn it! If my girl form wasn't going crazy I could fight this myself!" He turned away from them, fists clenched. Understanding his problem, Ryoga rested a hand on his shoulder. "I know you hate to have others fight your battles for you Ranma, but Akane's right. She's a good fighter, she'll be fine," Akane beamed at his praise, but Ryoga's real message to Ranma was: We won't let her fight this by herself. Ranma turned again to look at Ryoga's face, understanding his true meaning and allowed himself a small smile. "You're right, and it's not like it's a duel to the death or anything," He said, and they laughed, feeling more relaxed. Until one of the guards turned and said in heavily accented Japanese, smiling, "Actually, it is," End of Part 4 Mwahahaha! Was that a cliffhanger? I like to think so!! Cool twist, having Akane have to fight, really fight, for Ranma, eh? Spur of the moment really.anyway, hopefully it's gotten a little more interesting, although I still haven't gotten to the real plot! I keep getting sidetracked! Argh! Still, it's better than writer's block, I guess. Well, I hope you liked it, and I'm not writing the next chapter till at least one person reads and reviews this one, so there! Thanks again, and don't forget you can send all thoughts/comments/ideas/ to [email protected] -Luna Sealeaf 5. The Cure to Ranma's Curse: Part 5 Wow, I actually read my last few chapters, and I realized how bad they were! At least I read the reviews, otherwise I'd be clueless! Thank you so much, everyone who has read it, despite the awful story telling. One thing that is bothering me though is the number of people who explain to me that Jun is a Japanese name. Thank you, I've realized that. However, I have not stated who Jun is! I'm not even sure if she is Chinese! Besides, I've found it on Chinese name lists (many of them) as female, and sometimes male or female. Thanks nonetheless for noticing though. As for more details, you're all right; school has practically beaten the idea of description out of me. All the stories I've written were declared too long and off topic, so I started using as little description as possible and started getting better grades.someone please explain that to me??? Anyway, please bear with me, and I sincerely hope you enjoy this chapter more than the others! (Really this is backwards for me; usually my stories start out really good but get progressively worse as I lose interest in the story, luckily this has not happened) Disclaimer: I (obviously) do not own any of these characters, they belong to Rumiko Takahashi and maybe some sort of anime company, I don't know, but I'm not making any profit off of this. The Cure to Ranma's Curse: Part 5 Silence enveloped the three travelers as the guard's words echoed in their minds. In a strangely detached way, Ranma noticed that there were few people walking around the village, and vaguely wondered if it had something to do with their arrival. Then he noticed Akane; she was shaking, although with anger or fear he could not tell. "Akane, please, don't do this! We'll find some other way! Perhaps the answer is simply to turn back into a man at Jusenkyo-" He tried to put a comforting hand on her shoulder, but she pushed it away, turning to look him in the eye. "Why don't you believe in me Ranma?" She sounded hurt, her tired brown eyes questioning him. "I do believe in you Akane, but you can't win! Even if you defeat the warrior, they'll make you kill her! Don't you understand? Either way, you'll have lost," He replied softly, staring back at her eyes to make sure she understood. She did; he could see the realization in her eyes. "What are we going to do?" Akane said softly, the question hanging in the cool breeze. How could birds sing, how could the sun shine so brightly in a clear sky when they were faced with such problems? It was Ryoga who finally broke their thoughtful reverie. "Why are they making her do this anyway? Why can't we fight? What's the point of having a challenge anyway?" He said the words bitterly, his fists clenched at his side. Ranma watched him for a moment, turning away to observe the few Amazons who were nearby, ignoring the strange visitors. "It's a matriarchal society, to them Akane is probably our leader, or at least the best fighter. That's why if my cursed form wasn't going crazy I'd fight instead; though if it weren't distorted, we wouldn't be here would we?" His words made him laugh but neither Akane nor Ryoga joined him. "Why make us face a challenge for their help? Who knows?" These last words were said with bitterness equal to Ryoga's. They decided to rest for the next three hours, mayhap they could figure out a plan of some sort. No good ideas came to them while they waited, and no one offered any help. So they sat in a small circle where they were, flanked by two small houses of wood and straw. Villagers passed by; still ignoring them. It was almost like watching TV; no interaction seemed possible with the people they 'watched'. Conversation was stilted among them too, and despite the problems ahead of them, boredom set in. After a while, it had occurred to them that Akane would have difficulty fighting in the clothes she wore; so Ranma unpacked his white training pants and shirt and gave them to Akane. While he and Ryoga had turned their backs, Akane had quickly changed in a nearby patch of trees. The outfit was too large on her, but she would be able to move better in it than in her previous pants and sweater. "I wonder where the fight will be." Akane said as the last hour ticked by. "I'm guessing they'll tell us," Ranma answered her as he pointed to the three small women who had been in the tent. He had surmised that they were Elders, but he didn't really know much about the local government. Still, he rose to his feet as they approached. All three were taller than Cologne, yet he still thought they looked as though they could use a staff. Akane and Ryoga followed his lead and stood up to wait for the women to approach; the golden-robed one walked in front, the green and blue walking a step behind her side by side. When they came close enough, the three of them bowed; it never hurt to be polite when in a strange place surrounded by extremely good fighters. The women seemed not to notice their bow, and the leader, perhaps the chief Elder, said in a stately voice, "The challenge accepted by the strangers shall commence. The three best warriors of our village shall test the challenger one by one. If she can defeat all three and thus prove herself a true and deserving person, her request shall be granted. The fight shall be to the death, the challenger killed if she cannot defeat her opponent." As she spoke, Akane's gaze had firmed and her face betrayed no fear. Ranma felt admiration, love, and frustration for her. How could he convince her to not do this without wounding her pride? What words of his could convince her that he would rather die a thousand times than watch her die for him? He wanted to say something; to somehow stop this, but then they were following the elders to an open space in the village and he still hadn't thought of a way to stop it. "This is the field. To step outside of it-" Ranma saw there were dark lines around the edge of the rectangular space, "Is to forfeit the match and lose." She finished. Akane nodded her understanding and walked to the center; Ranma felt ill suddenly. As he watched, frozen with horror and indecision, a young woman who reminded him of Shampoo, approached Akane. The woman had long, flowing black hair that was tied in back. Her loose yet form fitting clothes were exactly like the ones Shampoo had worn when Ranma had first seen her. Somewhere a drum was hit loudly, and in the time it took Ranma to blink, the young woman had lunged at Akane. His breath caught in his throat as she managed to block and then roll away from the Amazon. The crowd watching was silent; no words of encouragement and warning were shouted. Ranma glanced at Ryoga, who stood next to him. His arms were crossed tightly and he watched the match with a frown on his face. Almost too afraid to look, Ranma turned back to Akane. She was on defense, not having a chance to strike at the warrior. 'That girl's moving faster than Shampoo!' Ranma realized with horror; Akane would never be able to defeat her, unless she managed to wait until the Amazon tired out. 'Yes!' Ranma thought happily; Akane was strong and she had good endurance. She had a chance to win this. His brief euphoria ended quickly when he realized that even if she was able to outlast this warrior; there were two more after her. There was no chance she would be able to fight them all off. Ryoga must have come to a similar conclusion for he elbowed Ranma in the side, trying not to attract attention from the elder Amazons, who were standing a few yards away to their right. "So how are we going to get her out of this without all of us getting killed?" Ryoga whispered, not quite turning his head. Ranma's brow furrowed; how indeed? If they tried to simply put an end to the fight, it seemed likely the Amazons would kill them all for cheating. He would never admit to limitations in his ability, and Ryoga was almost as good as him, but even he doubted they could take on a full village of fighters as good as Mousse and Shampoo or better. "I don't know," Ranma said back. They watched in silence, each trying to find a way to end this without offending the Amazons or getting them all killed. Minutes passed, Ranma could tell Akane was tiring. Sweat ran down her red face as she dodged the blows and kicks of the woman. In contrast, the Amazon didn't look the least bit fazed; her hair was barely out of its tie and she wasn't breathing as heavily as Akane. 'What to do? What can I do?' the words ran around in Ranma's head like a circle. It was a maddening spectacle; he had never felt so helpless before in his life. It was his duty as a martial artist to protect others. While that included Akane beyond all doubt, he didn't want to fight the Amazons. He knew he could defeat at least some of them, perhaps most. He also knew that there were children in the village and the odds were that if he killed even one person, there would be innocent people left to grieve. Ryoga's cry of "NO!" broke through his thoughts and he looked back up at the fighters. Almost in slow motion, he saw the Amazon warrior's high kick catch Akane in the head and she was thrown to the ground. She did not get back up. His sense of honor and duty had disappeared; Ranma broke through the small line of people watching in front of him and ran towards Akane. He sensed Ryoga right behind him, but he didn't really care. His only thoughts were of reaching Akane before her opponent. The woman was preparing for a move to kill; he could see it. He ran until he was close enough to jump the rest of the way, which he did, landing in front of Akane. Quickly he picked her up and out of the way of the woman's fists. "Stop!" He shouted, and to his surprise, she did. Looking uncertainly towards the elders, she simply stood there and watched him. "Is she alright?" Ryoga asked breathlessly as Ranma laid Akane back on the ground, kneeling in front of her. Ryoga was still standing; watching the crowd to make sure no one would try and attack them. "Yeah, I think she just got hit pretty hard; she's unconscious," Ranma answered him as he checked Akane's pulse. It was steady, and he breathed a sigh of relief. Then he picked her up again and turned to study the crowd. The three old women had entered the fighting area. The one in green robes said something to the warrior in Chinese; she bowed to the elders and left. Ranma hoped that was a good sign. "I'm sorry we asked for your help, but this fight is over," Ranma said to them coldly. "Ah, but you shall receive our help, if you still want it," The leader of the three replied. Her gold robes shimmered in the sun, making it hard to see, but Ranma was pretty sure she was smiling. "What do you mean? Akane lost," Ryoga answered angrily, taking a step toward them. "But you have still proven yourselves to be deserving people. It is obvious you our desperate for our help, and yet you would not allow your friend," Seeing the protective way Ranma was holding Akane to him, she rephrased her words, "Your love, to die. You may think our ways hard, but we recognize what it means to be a good person as well as a good fighter, and we know that they are equally important traits," Ranma was stunned, even Ryoga looked unsure of what to say. "Well, that's certainly a nicer sentiment than what Cologne would say," Ryoga said in a relieved voice, a small smile on his face. Ranma couldn't have agreed more. Before they could answer the woman, a man darted onto the ground. He was wearing a dark shirt outlined with white cuffs on the sleeves, with dark glasses and pants, and a small mustache adorned his face. Ranma stared at him; he looked vaguely familiar some how. In halting Japanese the man said, slowly but with a sense of eagerness, "You know Cologne?" Taken aback by the question, Ranma and Ryoga nodded. "Uh yeah, I know her and Shampoo, and Mousse," Ranma replied. The man broke into a smile. "You know daughter, Shampoo?" He asked them. Ranma and Ryoga stared at each other in surprise; Shampoo had a father? "Yeah, we know her. He was engaged to her for awhile," Ryoga answered him, jabbing a thumb in Ranma's direction and his smile growing as he ignored Ranma's angered protest. "Ah! Daughter has written of you!" He didn't quite get the word for written write, but he mimed the act and Ranma and Ryoga understood it. The man then turned to the women, bowing deeply. They talked in quick Chinese for a few minutes, the boys wondering what was going on. For the moment, at least, things seemed to be looking up for them. Shampoo's father turned back to them, and smiled. "Please, accept my hospitality while you here. Friends of daughter is friends of mine. Village Elders will give all help needed," He told them happily. Ranma broke into a smile himself. This was certainly an unexpected change in the Amazon's attitudes, but it was most certainly a welcome one. Still, Ryoga and Ranma were a little wary; they bowed their thanks but exchanged skeptical glances. "Thank you, I'm Ranma Saotome," He added almost as an afterthought, wondering if Shampoo had written to her father at all and if she had, what had she told him? "I'm Ryoga Hibiki," Ryoga said as Shampoo's father ushered them away from the fighting field. Ranma was still carrying Akane's limp form, but he barely noticed her weight. A quick examination had told him that she was only unconscious and would wake up soon, although he would have like someone with more medical knowledge to confirm that. For the moment, he said nothing and merely followed the man, Ryoga at his side, through the small streets of the village. "I am Detangler, welcome to our village," He said pleasantly, hands folded in his robes as they walked along the street. Villagers whispered as they passed, but Ranma ignored them. Instead, he met Ryoga's puzzled look with one of his own. In a questioning voice, he asked, "Uh-, pleased to meet you, Tangler?" He said, sounding confused. Shampoo's father sighed audibly, stopped walking and turned to face the two young men. "It's Detangler, not the Tangler. Don't worry, it's a common mistake," He said, and he did sound used to correcting people. Ranma and Ryoga blushed slightly, but Detangler ignored them and kept walking. Presently they reached a small house; really more of a hut, although it looked more comfortable than the word implied. They followed Detangler inside, and he motioned for Ranma to set Akane down on a mat on the floor. The room was dark, with a few windows, but not dank or unclean. It smelled of straw, which Ranma saw the roof was made of, and a small wooden table and a few stools, with cushions on the floor, with a bed in the back, gave it a cozy feeling. After gently laying Akane onto the mat, Detangler told them to sit down, which they did. "So, what is the reason you have come seeking aid from us?" Detangler asked curiously. Ranma explained his curse and the reason they had come. "When can we see the Elders?" Ranma asked him hesitantly, not sure they were really called that. Detangler didn't seem to notice though. "They await us in the Council Hall, would one of you like to remain with the girl? If not, I can ask a neighbor to watch her while we are gone," Again, Ranma hesitated. He didn't want to leave Akane by herself, but he didn't know how long it would take her to wake up. "I'll stay with her," Ryoga volunteered. "Don't worry about her Ranma. Just go find your cure so we can go home," He said calmly as Ranma and Detangler stood up. Ranma nodded to him, but turned once Detangler had gone to wait for him outside. Lowering his voice, Ranma inquired, "Why didn't you look for the Spring of Drowned Man while we were at Jusenkyo?" He asked, for he had been wondering why Ryoga hadn't looked for the cure while they had been so close to it. Ryoga looked away; his gaze resting on Akane's sleeping face. "Did I have time? I didn't want to sneak away in case Akane got suspicious. Besides, I wasn't about to let her go off alone with you. What if you had gotten turned into a girl on your way here?" Ryoga fell silent, and Ranma felt bad for asking. "Oh. Well, we can go there again before we leave for Japan," He said uncomfortably. Ryoga only nodded, and then stood up to look for some water to make tea. Ranma left the hut and Detangler led him to the Council Hall. It was the same building He, Ryoga, and Akane had been taken to when they had first arrived. Only the golden robed woman sat inside, Ranma saw as he and Detangler were led inside the larger building. She was as crone-like as Cologne, but she somehow had a softer appearance to her. Ranma didn't think she looked like a fighter, but then, neither had Cologne when he first saw her. "We have studied upon your problem, young.?" She waited for him to provide his name. "Ranma," He said, eagerly waiting for her information. "Ranma then; I am afraid you will not be happy at our findings." Ranma swallowed, and he saw Detangler cast him a sympathetic glance, but he ignored it. "What do I have to do to fix this, or better yet, get rid of my curse altogether?" He asked her, fists clenched in anticipation. "That is the key to it; we must get rid of your cursed form. This will not be easy however, and it will only be temporary," Seeing Ranma's confused face, she sighed, clarifying it for him. "There is a potion that must be made. Once you have drunk it, the spirit of the drowned girl will separate from your body, appearing in your cursed form." She spoke slowly, trying to make her meaning as easily understood as possible. "This will be painful, but it is necessary. We must then banish the spirit somehow; if we are lucky, she will merely leave of her own free will. If we are not." Her voice trailed off. "Then more extreme measures will have to be taken." Comprehension dawned on Ranma, and he felt sick. This didn't sound pleasant at all; but he was determined to solve this so they could get home as soon as possible. "When can we do this?" He asked her grimly. She nodded, glad that he was not afraid. "The potion is already being made." She told him. "It shall be ready in a few hours," Ranma wasn't sure whether to take this as good news or bad news. He just hoped that Akane was awake before he had to do this, it would be easier with her at his side. Except that then she would be in danger. 'No,' he thought bleakly 'its better if she stays away until it's settled, one way or another.' Ranma hoped that, as the woman had said, they would be lucky. End of Part 5 That took a lot longer than the other chapters, although I don't think it's much longer. Anyway, hopefully it was better than the previous ones. I apologize for taking liberty with Shampoo's dad, but my friend has been begging me to add that little, "de, not the, tangler" bit. And I know that usually it's 'Hibiki Ryoga, and Saotome Ranma' but if this bothers you, then consider it a translated fanfic, k? Cause in the manga they do it the English way, and since I'm not writing in Japanese, that's how I'm doing things too. Thanks again, please let me know what you think. -Luna Sealeaf [email protected] End file.	fanfiction
id: share title: Share --- ## Example ```js import React from 'react'; import { Share, View, Button } from 'react-native'; export default function ShareExample() { const onShare = async () => { try { const result = await Share.share({ message: 'React Native \| A framework for building native apps using React', }); if (result.action === Share.sharedAction) { if (result.activityType) { // shared with activity type of result.activityType } else { // shared } } else if (result.action === Share.dismissedAction) { // dismissed } } catch (error) { alert(error.message); } }; return ( <View style={{ marginTop: 50 }}> <Button onPress={onShare} title="Share" /> </View> ); } ``` # Reference ## Methods ### `share()` ```js static share(content, options) ``` Open a dialog to share text content. In iOS, returns a Promise which will be invoked with an object containing `action` and `activityType`. If the user dismissed the dialog, the Promise will still be resolved with action being `Share.dismissedAction` and all the other keys being undefined. Note that some share options will not appear or work on the iOS simulator. In Android, returns a Promise which will always be resolved with action being `Share.sharedAction`. ### Content - `message` - a message to share #### iOS - `url` - an URL to share At least one of URL and message is required. #### Android - `title` - title of the message ### Options #### iOS - `subject` - a subject to share via email - `excludedActivityTypes` - `tintColor` #### Android - `dialogTitle` --- ### `sharedAction()` ```js static sharedAction ``` The content was successfully shared. --- ### `dismissedAction()` ```js static dismissedAction ``` _iOS-only_. The dialog has been dismissed.	slim_pajama
Combustion without hydrogen [closed] Closed. This question needs to be more [focused](/help/closed-questions). It is not currently accepting answers. --- Want to improve this question? Update the question so it focuses on one problem only by [editing this post](/posts/35533/edit). Closed 8 years ago. [Improve this question](/posts/35533/edit) Is there any fuels without hydrogen that will combust. My friend believes there might be and do to my experience I have never heard of one. Please explain and if u can show a balanced equation of this combustion. A combustion reaction is classified as a reaction between a fuel and oxygen to produce energy. The reaction: 2CO(g) + O2(g) = 2CO2(g) fulfills this definition, is exothermic, and does not use hydrogen.	stackexchange/chemistry
Question about the apparent loophole in principle of least action: boundary condition vs initial condition In Lagrangian formalism, given two points $(x\_1,t\_1)$ and $(x\_2,t\_2)$, we ask the question which paths $x(t)$ make the action $S=\displaystyle \int\_{t\_1}^{t\_2}L\ \mathrm dt$ stationary and satisfy the boundary condition $x(t\_1)=x\_1,\ x(t\_2)=x\_2$. This question is equivalent to solving the Euler-Lagrange equation $$\frac{\mathrm d}{\mathrm dt}\frac{\partial L}{\partial \dot{x}}=\frac{\partial L}{\partial q}$$ with boundary condtion $x(t\_1)=x\_1,\ x(t\_2)=x\_2$. My question is why we are authorized to use the Euler-Lagrange equation to solve the initial condition problem $x(t\_1)=x\_1,\ \dot{x}(t\_1)=v\_1$. It seems that these are two different problems. One problem is to find a path satisfying the boundary condition $x(t\_1)=x\_1,\ x(t\_2)=x\_2$ and make the action stationary. The other problem is to find a path with initial condition $x(t\_1)=x\_1,\ \dot{x}(t\_1)=v\_1$ and I even don't know how to put other requirements such that its equation of motion is the Euler-Lagrange equation. How can you prove these two problems are equivalent if you can make the second problem clear? Or maybe it is an axiom that we require the initial condition problem is solved by Euler-Lagrange equation. I'm confused about the logic of Lagrangian formalism. Indeed the problem with boundary conditions, generally speaking, is not well-posed. There are boundary conditions admitting no curves or admitting many curves, satisfying both these conditions and Euler-Lagrange equations. Examples. (1) Think of a particle constrained to stay on a smooth sphere where it can freely move. If you assign the North and the South pole of the sphere as boundary conditions, you get infinitely many solutions as the motion always describes a geodesic. (2) Similarly, if you remove an open ball in $\mathbb R^3$ you do not have solutions when assigning boundary conditions on the opposite sides of the ball for a free particle in $\mathbb R^3$. If $L$ is quadratic with respect to the $\dot{q}$ variables and this quadratic form is strictly positively defined, as is the case for systems of classical particles (also satisfying ideal holonomic constraints), the problem with initial conditions is always well-posed provided $L$ is sufficiently regular. There is exactly one maximal solution satisfying both Euler-Lagrange equations and initial conditions. With these hypotheses also the problem with boundary conditions is well-posed with the additional condition that the two boundary conditions are sufficiently close to each other (this is evident from the two examples I presented above). For these reasons a safer (mathematically minded) viewpoint is assuming that the variational principle determines the equation of motion, but not the solutions themselves. The issue is that the underlying classical physics is determined by equations of motion (EOMs) (i.e. Newton's 2nd law), which are common for [initial value problems](http://en.wikipedia.org/wiki/Initial_value_problem) (IVPs) and [boundary value problems](http://en.wikipedia.org/wiki/Boundary_value_problem) (BVPs). For BVPs , the EOMs can often alternatively be formulated as [Euler-Lagrange (EL) equations](http://en.wikipedia.org/wiki/Euler%E2%80%93Lagrange_equation) of a [stationary action principle](http://en.wikipedia.org/wiki/Principle_of_least_action). The latter approach does never work for IVPs, because one does not have the correct boundary conditions to deduce EL equations via integration by parts. See also [this](https://physics.stackexchange.com/q/38348/2451) related Phys.SE post and links therein. In this answer I want to discuss the habit of distinguishing between 'initial value problem' and 'boundary value problem'. This discussion will be for the context of classical mechanics. I expect the reasoning will generalize to other fields of physics. I will first discuss the initial/boundary subject, and subsequently how that discussion ties in with the Euler-Lagrange equation. This answer is inspired by a [blog post by Chad Orzel](https://www.forbes.com/sites/chadorzel/2016/11/21/the-physics-that-got-left-out-of-arrival/?sh=632c0c695a0a). (At the end of this answer I quote the key remark by Chad Orzel.) For completeness I start with the trivial case of an object moving at a uniform velocity, with one spatial degree of freedom: Initial value problem: A train is moving at $x/t$ kilometers per hour. How long does it take to reach a destination $x$ kilometers away? Boundary value problem: A train travels to a train station $x$ kilometers away. At what velocity must the train travel such that it arrives at the destination after $t$ hours? We have: When the problem is stated as an initial value problem we solve it by way of extrapolation, when the problem is stated as a boundary value problem we solve it by way of interpolation. The '-polation' of 'extrapolation' and 'interpolation' is related to the verb 'to polish'; you are obtaining a smooth result. The difference between stating a problem as an initial value problem or a boundary value problem is that the order of operations to solve the problem is different, that is all. For the next level up we allow a known uniform acceleration, and two spatial degrees of freedom. You have a cannon that can shoot projectiles. Firing of a projectile occurs from a level surface, so that the projectile impacting the ground is at the same height as when it was fired. Assume standard Earth gravity. Initial value problem: Given a nozzle velocity, and angle of the barrel with respect to the horizontal, what is the horizontal distance that the projectile will travel, and what will be the duration of the flight? Boundary value problem: What must the horizontal velocity component be, and what must the vertical velocity component be, such that the horizontal distance travelled is x meters, and the duration of the flight is t seconds? The point is: Just as in the simpler case of uniform velocity: the only difference between stating the problem as an initial value problem or a boundary value problem is the order of operations needed to solve the problem. Distinction between 'initial value problem' and 'boundary value problem' boils down to distinction between extrapolation and interpolation, and that distinction is moot. The common factor of interpolation and extrapolation is that you ensure continuity. It's the condition of maintaining continuity that makes it work. In particular: for a differential equation distinction between interpolation and extrapolation is moot. (In both cases it hinges on making sure continuity is satisfied.) The process of deriving the Euler-Lagrange equation The process of deriving the Euler-Lagrange equation removes all elements that are unnecessary. I repeat with different words: In the course of deriving the Euler-Lagrange equation various elements are removed. The elements that are removed are superfluous as far as solving the physics problem is concerned. (From here on I will abbreviate Euler-Lagrange equation to: EL-eq.) When you start deriving the EL-eq. the boundary conditions are treated as variables in the sense that the boundary conditions are not stated as numerical values; the boundary conditions are left unspecified. By allowing the boundary conditions to be variables you are obtaining a very general result. What you obtain is not tied to any specific boundary conditions, and what that does is that application of boundary conditions is deferred. In the course of deriving the EL-eq. you introduce a way of representing variation. (Most often a symbol such as $\epsilon$ is used to manipulate the variation.) In the final stage of deriving the EL-eq. the variation is eliminated. In a sense the variation is like a catalyst; it is involved in the derivation, but it is not present in the final result. What is also eliminated: at the start of deriving the EL-eq. an integration is specified. In the final stage that integration is eliminated. You cannot not-eliminate that integration. The only way to derive the EL-eq. at all is to follow through, and eliminate the integration. We have that the Euler-Lagrange equation is a differential equation. As we know: a differential equation is a mathematical entity that is inherently describing a local property. By contrast: integration is evaluation of a global property. The fact that the Euler-Lagrange equation is a differential equation is the very thing that makes it so powerful. The derivation of the Euler-Lagrange equation is set up in such a way that the boundary conditions are treated as variables. What that does is that application of the boundary conditions is deferred. The power of the Euler-Lagrange equation is that it is a differential equation; distinction between boundary value problem and initial value problem is moot. See also: An October 2021 answer by me with discussion of [Hamilton's stationary action](https://physics.stackexchange.com/a/670705/17198) About that blog post by Chad Orzel: Chad Orzel raises the question: > > is [...] teleological interpretation of least-action principles an accurate reflection of actual physics? > > > Chad Orzel points out: > > [...] it amounts to specifying a starting position and an ending position and being amazed that the path is determined, but if instead you specified a starting position and starting velocity, the path is equally inevitable, but somehow that feels less magical. > > >	stackexchange/physics
Letter: 'Leaked' letter from former LU leaders leaves more questions 'Seasoned university administrators know that universities are always in thrall to the unforeseen, the unexpected' Letter to the Editor May 13, 2021 7:00 PM Laurentian University. (File) Re: Article "Leaked: Former Laurentian leaders break their silence on insolvency roots in letter to the province," published May 11. If the "leaked" letter to the province written by four former Laurentian senior officers is legitimate, it calls for a response. Whatever else it might be, it is certainly an attempt on the part of former President Dominic Giroux and former board members Atkins, Laughren and Witty to clarify and justify their concerns about Laurentian's perilous state and what may have brought it about. It is also an attempt to wash their hands of any responsibility for what has happened at Laurentian, thereby, to some degree at least salving their consciences. Many of the facts they marshal are beyond dispute: it is true that a "perfect storm" of unforeseen circumstances — the loss of international student revenue, the reduction in tuition revenue thanks to the provincial government's decision to cut tuition, and the pandemic — served as the concatenation of events to bring about the tragic financial mess Laurentian now finds itself in. Unforeseen events to be sure. But unforeseeable? Perhaps not. Seasoned university administrators know that universities are always in thrall to the unforeseen, the unexpected. Seasoned university administrators know that the financial world they live in is not characterized by consistency but by contingency. It is for this reason that seasoned university administrators, guided by a wise financial office that is not a bank, but rather, when needed, a careful check on unfocused spending, proceed with prudence, with caution and, most importantly, incrementally when it comes to both infrastructure building and program development. With apologies to Charles Dickens, seasoned university administrators know that from a financial point of view, today's best of times might be tomorrow's worst of times. To what extent the four signatories of the justifying letter and the rest of the Board of Governors thought about the contingent world in which universities live before they proceeded full speed ahead with infrastructure and program growth is a question that needs to be asked but probably will not be answered. The "leaked" letter chose not to address the question of the source of some of the funds the institution used to pay for what appears to have been unchecked spending. Because we have been told, we now know where a chunk of that money came from. I assume that the signatories of the "leaked" letter chose not to justify or explain their decision to draw from those purpose-specific funds because there was no way, in the absence of a present day Cicero, that they could do so. Douglas Parker, VP Academic, Laurentian University, 1998-2004 More Letters to the Editor Letter: Sudbury Performance Group welcomes you back Letter: Freedom Convoy memories warm my heart Letter: Ottawa occupiers don't represent my Canada Mark Gentili - Editor Mark Gentili is the editor of Sudbury.com	slim_pajama
Calling is the twenty-second single by B'z, released on July 9, 1997. This song is one of B'z many number-one singles in Oricon chart. The song was used as a theme of TV drama Glass Mask, an adaptation of the famous shōjo manga of the same name. It sold 1,000,020 copies according to Oricon. Track listing Calling Gimme Your Love Live at Tokyo Dome References External links B'z official website Category:1997 singles Category:B'z songs Category:Oricon Weekly number-one singles Category:Japanese television drama theme songs Category:Songs written by Tak Matsumoto Category:Songs written by Koshi Inaba	wikipedia
What is the relationship between solutions and changes to states of matter? For example, when liquid water evaporates, my instinct is to say that of course it's become gas, but I'm a bit unsure because, if I understand correctly, evaporation occurs because air dissolves the water, and it's not clear to me whether that counts as a phase change. Intuitively it seems like it should should water dissolves in the air or salt dissolved in water, etc. have different properties before and after being dissolved. And yet, the way I've always heard it explained, phase changes are specifically due to changes in temperature and/or pressure, not due to chemical interactions with another another substance. On the other hand, from what I remember from chem 101 and 102, when we considered chemical reactions occuring between solids dissolved in a liquid (usually acids and bases dissolved in water), we usually just labeled them as aqueous, meaning "in solution", whereas for non-aqueous substances, we'd label them with the relevant state of matter, solid, liquid, or gas. Does that mean dissolved substances constitute their own state of matter? Or that it's simply not meaningful to talk about the state of the solute independent of the solvent? I also saw this thread, [Is it appropriate to say "solid-in-gas solution" and "liquid-in-gas solution"?](https://chemistry.stackexchange.com/questions/160389/is-it-appropriate-to-say-solid-in-gas-solution-and-liquid-in-gas-solution), where someone says, "Whenever there is only one phase, but there are two or more chemical species, then you have a solution", which heavily implies there's a fundamental relationship between phase changes and solutions, but it also doesn't seem quite right Water vapour in air is a solution, but not in the same sense as solutions in water. Water vapour in air is solution in sense of homogenous mixture, where molecules move freely and independently. Salts in water dissociate (are dissociated by water) to ions. Having a net charge, they form a nonhomogeneous electrostatic gradient.Ions are hydrated by water molecules that have an electric dipole and therefore attracted to the center of such a gradient. So here we see strong interaction and dependent motion. --- Capacity for water vapour at given temperature is not a shared property of water and air, like solubility of table salt in water. It is a property of water alone. Water need not air at all to evaporate and to stay as vapour. Presence of air has very tiny effect on the maximal absolute humidity in $\pu{g / m3}$, due secondary phenomena, that are significant only at conditions near critical conditions. Like nitrous oxide versus it's 1:1 mixture with oxygen. The former is at room temperature and pressure $\pu{100 atm}$ liquid, while it is gaseous at the same partial pressure $\pu{100 atm}$ in the latter.	stackexchange/chemistry
José Dennis Martínez Ortiz born May 14, 1955, nicknamed El Presidente The President, is a former Major League Baseball pitcher. He was the first Nicaraguan to play in the majors. Early life Martínez was born in Granada, Nicaragua, the last of seven children to Edmundo and Emilia Martínez. The family was poor, but he helped his parents on the farm that raised food for the family. He was scouted by Ray Poitevint of the Baltimore Orioles on December 10, 1973 for $3,000. He spent three years in the minor leagues with three separate teams. He went 15-6 with the Miami Orioles in 1974 with a 2.06 ERA. The following year, he spent time with Miami, Asheville, and the Rochester Red Wings, going 12-4 with the former and 4-1 with the middle while having no wins and losses with the latter. He went 14-8 with the Red Wings for 1976 with a 2.50 ERA before being called up by the team late in the season. Playing career Baltimore Orioles 19761986 Martínez made his debut on September 14, 1976 against the Detroit Tigers at Memorial Stadium. He replaced Dave Pagan in the top of the fourth inning with the Orioles trailing 75. He pitched 5.2 innings while allowing no runs on four hits, one walk and five strikeouts as the Orioles rallied in the seventh to win 97 and give Martínez his first career win. In four games pitched with the team, he went 12 with a 2.60 ERA in 27.2 innings. He had 18 strikeouts and eight walks. The following year, Martínez went 147 with a 4.10 ERA in 42 games of which he started 13 in 166.2 innings, with four saves and five complete games. He had 107 strikeouts and 64 walks. For 1978, Martínez went 1611 with a 3.52 ERA while appearing in 40 games, having 15 complete games in 276.1 innings of work. He had 142 strikeouts and 93 walks a career high. He faced 1,140 batters, the first of three times in his career that he would do so. He finished in the top ten for numerous categories in the AL, such as innings pitched 6th, strikeouts 9th, walks 6th, and hits 9th with 257. The following year, he was at his peak of usage, appearing in 40 games with 39 starts while having 18 complete games and 292.1 innings of work the latter three being career highs. He went 1516 with a 3.66 ERA while having 132 strikeouts and 78 walks. He faced a career and league high 1,206 batters. Martínez made his postseason debut in Game 3 of the ALCS against the California Angels, pitching eight and one third innings while allowing three runs on eight hits while striking out four, although he did not receive a decision in the 43 loss. For the 1980 season, Martínez went 64 with a 3.97 ERA in 25 games. He had two complete games and one save in a total of 99.2 innings. He had 42 strikeouts and 44 walks. He was put into the lineup as a designated hitter on September 29, 1980, although he was pinch hit for Terry Crowley prior to batting. On the field, he had five putouts, 16 assists and one double play for a 1.000 fielding percentage. The following year, Martínez improved. He went 145 with a 3.32 ERA in 25 games, having nine complete games with two shutouts in 179 innings of work. He had 88 strikeouts and 62 walks. He had 20 putouts, 44 assists, two errors, and four double plays for a .970 fielding percentage. He received votes for the Cy Young Award and the Most Valuable Player award, finishing 5th and 23rd, respectively. For the 1982 season, Martínez was selected to pitching the Opening Day game against the Kansas City Royals at Memorial Stadium on April 5, 1982. In four innings of work, he allowed four runs on six hits with two strikeouts and three walks while allowing a home run, although the Orioles rallied in the seventh to win 135. That year, he went 1612 with a 4.21 ERA in 40 games. He had ten complete games in 252 innings of work, while having 111 strikeouts and 87 walks. He faced 1,093 batters, the third and last time he faced a thousand batters in a season. The following year, he was selected for the Opening Day start once again. Facing the Royals on April 4, he allowed four runs on six hits and six innings of work, with six strikeouts and two walks as the Royals trounced the Orioles 72. That year, he went 716 with a 5.53 ERA. In 32 games and 153 innings of work, he had four complete games while having 71 strikeouts and 45 walks. Martínez was plagued by alcoholism in the beginning of his career; he had been introduced to drinking when he was 17, with his drinking problem developing further by the time he made the majors. With the clubhouse always having beer, he drank only on road trips and not in front of the presence of his family. It was this problem that led him to not be included in the 1983 postseason roster by Joe Altobelli, although he did receive a championship ring. One night after the Series was over, Martínez and a friend of his went drinking. On the ride home, he was cited for intoxication by a state trooper. The humiliation from the arrest, which his kids had heard about, led him to enter rehab. Despite quitting drinking, he struggled in the seasons afterwards, going 69 in 1984 with a 5.02 ERA in 34 games and 141.2 innings with 77 strikeouts and 37 walks. Martínez stated that it was dedication to sobriety that affected his focus on the field, saying When I tried to play, it wasnt the same. I wasnt the same pitcher, not the same before I stopped drinking. And its true, you cant concentrate on the game and on sobriety at the same time. You have to concentrate on one or the other. He had slight improvements in 1985, going 1311 with a 5.15 ERA in 33 games and 180 innings of work. He allowed more hits and runs than the season before while having 68 strikeouts and 63 walks. On June 5, Martínez recorded his 100th win. Pitching against the California Angels at Memorial Stadium, he threw a complete game while allowing no runs on one hit while striking out three and having one walk and one hit batsman. In 1986, Martinez's struggles proved to be the end of his tenure in Baltimore. He had a 6.75 ERA in his four games with the Orioles, pitching a total of 6.2 innings while having two walks and strikeouts. On June 16, he was traded by the Orioles along with an additional player to be named later which the Orioles did by sending John Stefero later in the year to the Montreal Expos for a player to be named later which the Expos did by sending Rene Gonzales. In his eleven seasons, Martínez went 10893 while having a 4.16 ERA in 1,775 innings with 858 strikeouts and 583 walks. He still ranks in the top ten of numerous categories for the Orioles, such as wins 10th, innings 9th, strikeouts 10th, walks 8th, losses 8th, and earned runs 6th. Gonzales would bat .221 in four seasons of 267 total games with the Orioles while Martínez won 100 games with the Expos. Trade and Montreal Expos 19861993 Martínez pitched in relief for his first three games before being put in as a starter in July. He lost three of his first four starts with one no decision. Although his sluggish start did not improve with the Expos, he went 36 with a 4.59 ERA in 19 appearances, with a complete game and a save in 98 innings of work. He had 63 strikeouts and 28 walks. After the season, Martínez had a contract dispute with the Expos, who offered him half $250,000 of what he had been earning with the Orioles. He entered free agency, but no one took an offer on him, and so he resigned with the Expos, although he couldn't sign until May 1, which he would do for the minimum. He pitched in the minor leagues to start his comeback to the team, pitching with the Miami Marlins, a Class A independent team. He later went to the Indianapolis Indians, a AAA affiliate for the Expos, going 32 with a 4.46 ERA, but he was called back up to the Expos in June. Martínez went 114 with a 3.30 ERA in 22 games, pitching 144.2 innings while having 84 strikeouts and 40 walks. Martínez made the Opening Day start for the team in 1988, which was the first one in Montreal at Olympic Stadium. Facing the New York Mets on April 4, he faced off against Dwight Gooden. He pitched six innings while allowing seven runs on nine hits three being home runs, with four walks and seven strikeouts while the Expos lost 106. That year, Martínez went 1513 with a 2.72 ERA in 34 games and 235.1 innings of work while having nine complete games, the last two being the most for him since 1982. He had 120 strikeouts and 55 walks. He made 19 putouts, 39 assists, six errors a league high and three double plays for a .906 fielding percentage. He finished in the top ten of numerous categories, such as ERA 9th, innings 9th, complete games 6th, home runs 5th with 21, hits 9th with 215 along with batters faced 10th with 968, and adjusted ERA+ 8th with 133. The following year, Martínez was the Opening Day starter for the Expos once again. Pitching against the Pittsburgh Pirates at Olympic Stadium, he threw seven innings while allowing three runs on eight hits while having three strikeouts, with the Expos rallying to win in the ninth 65. That season, he went 167 with a 3.18 ERA in 34 games and 232 innings. He had 142 strikeouts and 49 walks, the former being tied for the most in his career with his 1978 season. He made 11 putouts, 50 assists, two errors with six double plays for a .968 fielding percentage. He finished in the top ten in numerous categories of the National League, such as wins 6th, winloss 4th, walks per nine innings 3rd with 1.901, innings pitched 8th, games started 7th, home runs 6th with 21, hits 3rd with 227, and batters faced 8th with 950. During Martínez' time with the Expos, a variation of the Montreal hot dog topped with cheese and bacon called the Denny Dog was sold at Olympic Stadium. 1990 was a mixed bag in certain ways for Martínez. He started the year off as the Opening Day pitcher against the St. Louis Cardinals at Busch Stadium. He went five innings while allowing three runs on seven hits with five strikeouts and four walks while the Expos lost 65 in eleven innings. He went 1011 with a 2.95 ERA in 32 games and 226 innings, having seven complete games. He had a career high 156 strikeouts with 49 walks. Despite this, he was named to the All-Star Game at Wrigley Field. He had a 67 record at the time of his selection with a 2.84 ERA. It was his first career AllStar selection. He pitched the fourth inning for the National League. Facing the 456 order of Cal Ripken, Jr, Ken Griffey, Jr and Mark McGwire, Martínez had one strikeout while allowing no hits. For 1991, Martínez improved. For the fourth year in a row, he was the Opening Day starter, pitching against the Pittsburgh Pirates at Three Rivers Stadium. He threw seven innings of work while allowing one hit and no runs with five strikeouts and two walks as the Expos won 70. It was his first and only Opening Day win with the Expos. He went 1411 with a 2.39 ERA a career low in 31 games and 222 innings of work. He had nine complete games while having five shutouts, the latter being a career high. July proved to be a highlight He had 123 strikeouts with 62 walks while being named to the All-Star Game at SkyDome in Toronto on July 9. Martínez pitched the third and fourth inning for the NL, allowing three runs on four hits, including a home run from Cal Ripken, Jr. He received the loss as the American League held on to win 42. Nineteen days later, on July 28, Martínez pitched the 13th perfect game in Major League Baseball history, pitching against the Los Angeles Dodgers. He was the first Latin Americanborn pitcher to pitch a perfect game. Martínez struck out five batters and threw 96 pitches, 66 for strikes. He finished the month of July with a 21 record in five games started while named NL Pitcher of the Month. He finished with the lowest ERA in the league, beating out José Rijo, who finished with a 2.51 ERA. He was the first Expo since Steve Rogers in 1982 to win the ERA title. The following year, Martínez went 1611 with a 2.47 ERA in 32 games and 226.1 innings of work. He had 147 strikeouts and 60 walks while being selected for a third straight All-Star Game, this time in San Diego. Martínez entered in the top of the seventh inning. He had a strikeout and a walk while allowing no hits in his one inning of work. In August, he was named the Pitcher of the Month for the NL. In his five starts for the month, he went 40 while pitching at least seven innings in each of the start, allowing more than one earned run in just one game. He finished in the top for numerous categories in the league once again, such as ERA 5th, wins 3rd, walks & hits per inning 4th, and innings pitched 10th. 1993 was his final season with the Expos. He went 159 with a 3.85 ERA in 35 games, having two complete games along one save in 224.2 innings. He struck out 138 batters while walking 64 batters. On the field, he made 17 putouts, 46 assists, one error and one double play for a .984 fielding percentage. On June 18, Martínez received his 200th win. Pitching in Montreal against the Atlanta Braves, he threw eight innings while allowing one run of four hits with three walks and seven strikeouts as the Expos won 21. On September 28, Martínez won his 100th game for the Expos, doing so against the Florida Marlins at Joe Robbie Stadium. Martínez threw 7.2 innings while allowing two runs on four hits with six strikeouts and one walk on 105 pitches, but the Expos held on to win with John Wetteland throwing a 1.1 inning save to preserve the 32 win for the Expos. In August, the Expos put him on waivers. Three teams put a claim on him, the Atlanta Braves, the San Francisco Giants, and the Philadelphia Phillies, with the Braves doing so in order to try and stop him going to the Giants. The Expos were only willing to let him go to the Braves if they included a player that the team wanted in order to give up Martínez. However, he used his 10and5 rights privilege to veto a trade. The team finished 9468 that year, the best record during Martínez's tenure with the club, although they finished three games back of the Philadelphia Phillies. With the win, he became the seventh pitcher with at least 100 wins in both the American and National leagues, joining Jim Bunning, Ferguson Jenkins, Al Orth, Gaylord Perry, Nolan Ryan and Cy Young; since Martínez, Kevin Brown and Randy Johnson have joined him on the list. Martínez finished his career in the top ten of numerous categories for the franchise, such as wins 2nd behind Steve Rogers, ERA 5th being Tim Burke, innings pitched 2nd behind Rogers, and strikeouts 6th behind Rogers. Cleveland Indians 19941996 Martínez entered free agency after the 1993 season ended, and he signed with the Cleveland Indians in the winter. Martínez was named the pitcher for the Opening Day game against the Seattle Mariners on April 4, which happened to be the first regular season game held at Jacobs Field in Cleveland. He pitched seven innings while allowing two runs on three hits with four strikeouts and walks each, with the Indians rallying to win 43 in ten innings. The season, he went 116 with a 3.52 ERA in 24 games pitched and 176.2 innings. He had three shutouts, the first time he pitched a shutout in a season since 1991. He had 92 strikeouts and 44 walks. He made 11 putouts, 33 assists, two double plays and no errors for a 1.000 fielding percentage, the first time that Martínez compiled the percentage since 1980. He finished in the top ten in numerous categories, such as WAR 6th with 4.6, wins 10th, walks & hits per inning 6th with 1.189, walks per nine innings 7th with 2.242, innings pitched 4th, complete games 2nd, and home runs per nine innings 6th with 0.713. Although the season was cancelled midway through August, the Indians had won 60 games and were on track for a playoff spot. For 1995, he kept consistent form. He started the Opening Day game for the team once again, this time allowing two runs off four hits while striking out three in six innings of work, although the Indians prevailed over the Texas Rangers 116. He went 125 with a 3.08 ERA in 28 games and 187 innings pitched. He had 99 strikeouts with 46 walks. He made 15 putouts, three double plays, 46 assists and four errors, the latter being league highs while having a .938 fielding percentage. He finished in the top ten of numerous categories, such as WAR 5th, 5.7, ERA 3rd, walks & hits per inning 3rd, 1.176, and home runs per nine innings 9th, 0.818. On September 28, a wild pitch by Martínez broke the jaw of Hall of Famer Kirby Puckett. This would be Puckett's last official game of his career, retiring in 1996 due to glaucoma in his right eye, a problem unrelated to Martínez's pitch. Martínez pitched in five games for the Indians during their run to the American League pennant, his first postseason action since 1979 with the Orioles. He went 12 with two no decisions. He started Game 1 of both the ALDS and the ALCS. He earned his first postseason win in Game 6 of the ALCS, pitching seven innings while allowing four hits and no runs with three strikeouts and one walk on 90 pitches as the Indians clinched the pennant 40 over the Seattle Mariners. He started Game 2 and 6 of the World Series, receiving the loss in the former while having a no decision in the latter, although the Braves prevailed to win the Series in six games. The following year, now at the age of 42 oldest in the American League, he had a year plagued by inconsistency. Martínez started the Opening Day game for the team for the third straight year, the first Indians pitcher to have three consecutive Opening Day starts since Gaylord Perry in 1974. He pitched seven innings while allowing two runs on five hits, with five strikeouts and two walks, although the Indians lost 71. He went 96 with a 4.50 ERA in 20 games and 122 innings. He had 48 strikeouts his lowest since 1980 and 37 walks. He didn't make any appearances for the Indians after August 27, in which he pitched just 2/3 innings while allowing two runs. End parts of career 19971998 Martínez signed with the Seattle Mariners as a free agent on February 20, 1997. He appeared in nine games while going 15 with a 7.71 ERA in 49 innings. He struckout 17 batters and walked 29 batters before being released on May 24, three days after allowing 7 runs on 7 hits with two walks in 1.2 innings against the Anaheim Angels in an 183 loss. Martínez spent his final season in 1998 with the Atlanta Braves. He went 46 with a 4.45 ERA, appearing in 53 games while making five starts and having two saves within 91 innings. He had 62 strikeouts and 19 walks. He made four appearances in the postseason for the Braves, all in the NLCS against the San Diego Padres. He received the win for Game 4, getting the final out of the 6th inning in relief of Denny Neagle by having Chris Gomez groundout before the Braves scored in the next inning. His final appearance was in Game 6 on October 14, replacing John Rocker in the top of the 6th inning. He retired all four batters he faced, although the Braves lost the game 50 along with the series. After the season, Martínez retired, stating that there was nothing more to do with his career. He retired having the most wins by a Latin American pitcher, holding that record until Bartolo Colón surpassed him in 2018. During a 23year baseball career, Martínez compiled 245 wins, 2,149 strikeouts, and a 3.70 earned run average. He is one of the top Latin American pitchers of alltime. Martínez is one of only 17 pitchers in MLB history to start on Opening Day more than 10 times, having done it 11 times. Martínez has the most career victories of any pitcher who has never won 20 games in a single season. Mark Buehrle, Milt Pappas, Jerry Reuss, Frank Tanana, Charlie Hough, Chuck Finley, Kenny Rogers, and Tim Wakefield are the only other pitchers with at least 200 career victories who have done so. Four of these pitchers Buehrle, Pappas, Reuss and Rogers had pitched nohitters, with Buehrle also pitching a perfect game, and Rogers' also being a perfect game, three years to the day of Martínez's. Post-playing career In 2002, he was inducted into the Baltimore Orioles Hall of Fame. Martínez has worked as a spring training instructor for the Baltimore Orioles in and , and pitching coach for the Palm Beach Cardinals in the Florida State League. On November 5, 2012, the Houston Astros finalized their coaching staff for the 2013 season, naming Martínez as their new bullpen coach. He was fired on October 1, 2013. Martínez also is manager of the Nicaragua national baseball team, and managed during the 2013 World Baseball Classic Qualifying Tournament. The national baseball park in Managua Nicaragua's capital city, Dennis Martínez National Stadium, was named in his honor. Martínez runs his own organization, The Dennis Martínez Foundation, to help poor children around the world. In 2016, Martínez was inducted into the Canadian Baseball Hall of Fame. Martínez was selected as the manager of the National League Futures Team as part of the 2019 All-Star Game. Highlights 4-time All-Star 19901992, 1995 Twice Top 10 Cy Young Award 1981, 1991 Led league in wins 1981 Led league in ERA 1991 Led league in shutouts 1991 6-time Top 10 in shutouts 1979, 1981, 1990, 19941996 Led league in games started, innings pitched and batters faced 1979 9-time pitched 220 or more innings in a season 19781979, 1982, 19881993 3-time oldest player in the majors 19961998 60th on the strikeouts all-time list Set record for most wins by a Latin American pitcher 244 August 9, 1998 Pitched the 13th perfect game in baseball history July 28, 1991 with the Montreal Expos. See also Pitchers who have thrown a perfect game List of players from Nicaragua in Major League Baseball List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Montreal Expos Opening Day starting pitchers List of Major League Baseball career hit batsmen leaders List of Major League Baseball career strikeout leaders References External links Category:1955 births Category:American League All-Stars Category:American League wins champions Category:Asheville Orioles players Category:Atlanta Braves players Category:Baltimore Orioles players Category:Cleveland Indians players Category:Expatriate baseball players in Canada Category:Indianapolis Indians players Category:Living people Category:Major League Baseball pitchers Category:Major League Baseball pitchers who have pitched a perfect game Category:Major League Baseball players from Nicaragua Category:Miami Marlins FSL players Category:Miami Orioles players Category:Montreal Expos players Category:National League All-Stars Category:National League ERA champions Category:Nicaraguan emigrants to the United States Category:Nicaraguan expatriate baseball players in the United States Category:Nicaraguan expatriate sportspeople in Canada Category:People from Granada, Nicaragua Category:Rochester Red Wings players Category:Seattle Mariners players	wikipedia
: Marc Forgione's steakhouse in TriBeCa is an 80-seat temple of red meat with a menu encompassing short ribs, filet mignon, hanger steak, porterhouse, veal, rib-eye, Wagyu, New York strip and steak tartare. Joining the all-beef all-stars are lamb, roasted chicken, foie gras, bone marrow, and various seafood entrées. With so much to choose from, the indecisive carnivore might have a difficult time. Let us help: the New York City cut, a 20-ounce bone-in rib-eye, dusted with pastrami spices, is unique and explosive in meaty flavor; the tomahawk rib-eye for two, seasoned only with smoked salt, gives the former a run for its money. Pair them with indulgent sides like truffle-infused twice-baked potatoes with melty New York cheddar. For the steak-averse, there are seafood options such as salmon and Dover sole. Desserts include a trio of sorbet or a show-stopping Crackerjack sundae complete with popcorn ice cream. The wine list, naturally, is loaded with (predictably pricey) robust reds that match up nicely with the food. Classic cocktails are available as well.	slim_pajama
What is a "hydrogen-like" or "hydrogenic" atom? I'm studying some chemistry on my own in anticipation of the new school year and in my book, I came across the Rydberg equation for the first time. I worked through some examples and everything was fine until I came across this comment on the question, "[Calculate the wavelength of the radiation released when an electron moves from n=5 to n=2](https://chemistry.stackexchange.com/q/9355/402)": > > For future reference: the Rydberg formula only works for hydrogen-like > atoms. > > > What is meant by "hydrogen-like"? I've heard that solving for multi-electron systems is (near) impossible, so I understand why hydrogen is used here, but I don't understand what "hydrogen-like" is. A [hydrogen-like atom](https://en.wikipedia.org/wiki/Hydrogen-like_atom) (or ion) is simply any particle with a nucleus and one electron. --- That should be sufficient to answer the question at hand, but I thought I should say a bit more, as some of these answers are potentially confusing. The historical reason why the Rydberg formula only works for hydrogen-like atoms is that it was originally formulated to explain the [spectral lines of hydrogen](https://en.wikipedia.org/wiki/Hydrogen_spectral_series). It was never intended to explain the spectra of multi-electron atoms. The physical reason, though, is because the Rydberg formula uses energy levels that only depend on the principal quantum number $n$, which has to be a positive integer: $$\bar{\nu} = Z^2\mathcal{R}\left(\frac{1}{n\_1^2} - \frac{1}{n\_2^2}\right) \qquad n\_1,n\_2 \in \mathbb{Z}^+$$ and nowadays we know that this is only true for hydrogen-like atoms;$^\$ the energy levels of multi-electron atoms depend on both $n$ and $l$.$^\dagger$ --- The $n$-dependency was* later successfully rationalised by the Bohr model, but saying that "the Rydberg formula only works for hydrogen-like atoms because the Bohr model only works for them" is misleading and misses the point, as: 1. This implies that the Rydberg formula was derived from the Bohr model, which is not true; it was merely empirically determined, and the formula predated the Bohr model by 25 years. 2. The Bohr model simply does not work for hydrogen-like atoms. The fact that it reproduces the Rydberg formula should merely be considered a serendipity; Bohr arrived at the correct result by the wrong method. 3. It does not lend any real insight into the proper reason why the Rydberg formula does not apply to helium, etc. (which I briefly mentioned above). --- $^\$ In fact, the energy levels of hydrogen are not only dependent on $n$ (due to various small effects such as – but not limited to – spin-orbit coupling, and hyperfine splitting). Wikipedia has a good overview of the topic [here](https://en.wikipedia.org/wiki/Fine_structure) and most QM textbooks have a chapter on the hydrogen atom, where they discuss these perturbations to the Hamiltonian and their effects on the energies. Not surprisingly, the inability to explain this was one of the failures of the Bohr model. $^\dagger$ Of course, there is also a series of approximations here. The energy levels of multi-electron atoms are only approximately described by sums of orbital energies, so the transition energies are only approximately equal to a difference in energy between two orbitals. In the spirit of notable University Of Nottingham chemist [Sir Martyn Poliakoff](https://royalsociety.org/people/martyn-poliakoff-12107/)'s comment in the [Periodic videos](http://www.periodicvideos.com/index.htm) episode [Helium in Disguise](http://www.periodicvideos.com/videos/feature_hydrogen41.htm) (also [YouTube](https://youtu.be/7hdVjb2gRgQ)): > > Again and again, for scientists, if they hear something surprising that makes them think in a different way, it’s really good. > > > I'll add to the other excellent answers by listing some less common hydrogen-like "atoms". [The video](https://youtu.be/7hdVjb2gRgQ) is about Muonic Heavy Hydrogen* or so-called ${}^{4.1}H$ is discussed at the end of this list. Yes, that's pronounced "hydrogen four-point-one." See the New Scientist article [Atomic disguise makes helium look like hydrogen](https://www.newscientist.com/article/dn20049-atomic-disguise-makes-helium-look-like-hydrogen/), and the primary article published in Science [Kinetic Isotope Effects for the Reactions of Muonic Helium and Muonium with H2](http://science.sciencemag.org/content/331/6016/448) Fleming, D. G. et al. Science 28 Jan 2011: Vol. 331, Issue 6016, pp. 448-450, DOI: 10.1126/science.1199421 --- [Positronium](https://en.wikipedia.org/wiki/Positronium): (e+e−) > > Positronium (Ps) is a system consisting of an [electron](https://en.wikipedia.org/wiki/Electron) and its [anti-particle](https://en.wikipedia.org/wiki/Antimatter), a [positron](https://en.wikipedia.org/wiki/Positron), bound together into an [exotic atom](https://en.wikipedia.org/wiki/Exotic_atom), specifically an [onium](https://en.wikipedia.org/wiki/Onium). > > > It has Rydberg states with $E\_n \sim -(6.8eV)/n^2$ or half that of normal hydrogen because the reduced mass is half that for an electron bound to a much heavier item. The longer-lived triplet ${}^3S\_1$ state has a mean lifetime of about 142ns, and decays by electron-positron annihilation into three gamma-ray photons. It is sometimes studied by slowing and stopping positrons in powdered MgO where they capture an electron and tend to remain relatively unperturbed by the other atoms. --- [Muonium](https://en.wikipedia.org/wiki/Muonium): (μ+e−) > > Muonium is an [exotic atom](https://en.wikipedia.org/wiki/Exotic_atom) made up of an [antimuon](https://en.wikipedia.org/wiki/Muon) and an [electron](https://en.wikipedia.org/wiki/Electron), which was discovered in 1960 and is given the chemical symbol Mu. During the muon's 2.2 µs lifetime, muonium can enter into compounds such as muonium chloride (MuCl) or sodium muonide (NaMu). Due to the mass difference between the antimuon and the electron, muonium (μ+e−) is more similar to [atomic hydrogen](https://en.wikipedia.org/wiki/Hydrogen_atom) (p+e−) than [positronium](https://en.wikipedia.org/wiki/Positronium) (e+e−). Its [Bohr radius](https://en.wikipedia.org/wiki/Bohr_radius) and ionization energy are within 0.5% of hydrogen, deuterium, and tritium, and thus it can usefully be considered as an exotic light isotope of hydrogen. > > > --- [True Muonium](https://en.wikipedia.org/wiki/True_muonium): (μ+μ−) > > True muonium or muononium is an exotic atom made up of an [antimuon](https://en.wikipedia.org/wiki/Muon) and a [muon](https://en.wikipedia.org/wiki/Muon). It is yet to be observed, but it may have been generated in the collision of electron and positron beams. > > > --- [Muonic hydrogen](https://en.wikipedia.org/wiki/Exotic_atom#Muonic_atoms): > > Negative muons can, however, form [muonic atoms](https://en.wikipedia.org/wiki/Exotic_atom#Muonic_atoms) (previously called mu-mesic atoms), by replacing an electron in ordinary atoms. Muonic hydrogen atoms are much smaller than typical hydrogen atoms because the much larger mass of the muon gives it a much more localized ground-state wavefunction than is observed for the electron. > > > --- [Muonic helium](https://en.wikipedia.org/wiki/Muon#Muonic_atoms): > > Muonic helium is created by substituting a muon for one of the electrons in helium-4. The muon orbits much closer to the nucleus, so muonic helium can therefore be regarded as an isotope of helium whose nucleus consists of two neutrons, two protons, and a muon, with a single electron outside. Colloquially, it could be called "helium 4.1", since the mass of the muon is slightly greater than 0.1 amu. Chemically, muonic helium, possessing an unpaired valence electron, can bond with other atoms, and behaves more like a hydrogen atom than an inert helium atom. > > > Muonic heavy hydrogen atoms with a negative muon may undergo nuclear fusion in the process of [muon-catalyzed fusion](https://en.wikipedia.org/wiki/Muon-catalyzed_fusion), after which the muon may leave the new atom to induce fusion in another hydrogen molecule. This process continues until the negative muon is trapped by a helium atom, and cannot leave until it decays. > > > [![enter image description here](https://i.stack.imgur.com/AZGwu.jpg)](https://i.stack.imgur.com/AZGwu.jpg) above: From [New Scientist](https://www.newscientist.com/article/dn20049-atomic-disguise-makes-helium-look-like-hydrogen/). Hydrogen-like atoms are atoms with a single electron "orbiting" a nucleus that has more than one nucleon. As @Xerxes pointed out in a comment, you can in principle have a nucleus made up of particles other than protons and neutrons (nucleons). [Positronium](https://en.wikipedia.org/wiki/Positronium) might be an extreme example of this. Wikipedia actually has an entry about [Hydrogen-like atoms](https://en.wikipedia.org/wiki/Hydrogen-like_atom) which goes somewhat beyond what you asked. Hydrogen-like ions are ions that possess only one electron, just like a hydrogen atom. The fact that these ions have only one ion in the outermost shell makes it simpler to analyze their radii and energies, as a simple electrostatic model can be used to describe them. Species having multiple electrons are difficult to study and are beyond the scope of the Bohr model. This is because the inter-electronic repulsions are hard to account for in electrodynamic interactions that make up the atom's bound system. Single electron systems are known as hydrogenic/hydrogen-like species like He+, Li2+, Be3+, etc. I think one key aspect that is overlooked in these replies is the Born-Oppenheimer approximation. The nucleus of any atom can be approximated as a point with very few relativistic corrections due to its mass. An electron on the other hand is essentially massless (comparatively speaking. I know it is still a fermion and has mass). Once you put more than one electron in any orbital those relativistic corrections have consequences. So "hydrogen-like" means any atom that does not need Pauli or Dirac's insight to explain the deviations in the spectra i.e. the Bohr model.	stackexchange/chemistry
Is a state with no fluctuations in particle density necessarily a stationary state of the Hamiltonian? Consider a system of identical particles (bosons or fermions) with field operator $\hat{\psi}(x)$. The particle density operator is $\hat{\psi}^\dagger(x)\hat{\psi}(x)$. Suppose that the particle density is constant everywhere - that is to say that: $$\rho(x,t)=\langle\Psi(t)\|\hat{\psi}^\dagger(x)\hat{\psi}(x)\|{\Psi(t)}\rangle=c(x)$$ where $c(x)$ is some spatial function that is constant in time. Does this necessarily imply that the system state is an eigenstate of the Hamiltonian? Or are there states with no fluctuation in particle density that aren't eigenstates of the Hamiltonian? How would I prove this in general, or come up with a counterexample? All my attempts thus far have failed. I strongly suspect that this is true in the single-particle case, but struggled to prove even that. Does it hold in that limit? I am considering a non-relativistic Hamiltonian of the form: $$\hat{H} = \int dx \hat{\psi}^\dagger(x)\left(-\frac{\hbar^2}{2m}\nabla^2\_x+V(x)\right)\hat{\psi}(x)+\frac{g}{2}\int dx \hat{\psi}^\dagger(x)\hat{\psi}^\dagger(x)\hat{\psi}(x)\hat{\psi}(x)$$ Does $\langle \psi \| \hat{x} \| \psi\rangle = c$ mean that $\hat{x} \| \psi \rangle = c \| \psi \rangle$? In case of free particles, QFT Hamiltonian: $$ H = \int \frac{d^3p}{(2 \pi)^3} \; \sqrt{p^2 + m^2} a^\dagger\_\vec{p} a\_\vec{p} $$ is not even proportional to the particle density. So the state with mean particle density being equal to $c$ is not necessarily an eigenstate of the Hamiltonian.	stackexchange/physics
Equations of motion for $\mathcal{L}=\sqrt{\phi^\phi}$ Suppose the follow Lagrangian density: $$ \mathcal{L}[x,t]=\sqrt{\phi[x,t]^\\phi[x,t]} $$ The Euler-Lagrangian equations with respect to $t$ yields: $$ \begin{align} 0&=\frac{1}{\sqrt{\phi[x,t]^\\phi[x,t]}} \left(\frac{\partial}{\partial t}(\phi[x,t]^\\phi[x,t])\right)\\ &=\frac{\partial}{\partial t}(\phi[x,t]^\\phi[x,t]) \end{align} $$ Am I correct into thinking of the "equations of motions" as a probability conservation condition? If I integrate both sides, I recover the normalization condition. --- Can I take the Euler-Lagrangian equations of both variables $x$ and $t$ as follows: $$ \begin{align} 0&=\frac{1}{\sqrt{\phi[x,t]^\\phi[x,t]}} \left(\frac{\partial}{\partial t}(\phi[x,t]^\\phi[x,t]) +\frac{\partial}{\partial x}(\phi[x,t]^\\phi[x,t])\right)\\ &=\frac{\partial}{\partial t}(\phi[x,t]^\\phi[x,t]) +\frac{\partial}{\partial x}(\phi[x,t]^\\phi[x,t]) \tag{1} \end{align} $$ What is the physical interpretation of this equation? There is no version of "Euler-Lagrangian equations with respect to t". You must use the "full" version, that is - $$\partial\_\mu\frac{\partial \mathcal{L}}{\partial(\partial\_\mu\phi)}=\frac{\partial \mathcal{L}}{\partial\phi}$$ In your case the LHS is identically zero, thus the EOM results in $\phi=\phi^\*=0$	stackexchange/physics
Will NaOH react with ethanol? [closed] Closed. This question is [off-topic](/help/closed-questions). It is not currently accepting answers. --- Homework questions must demonstrate some effort to understand the underlying concepts. For help asking a good homework question, see: [How do I ask homework questions on Chemistry Stack Exchange?](https://chemistry.meta.stackexchange.com/questions/141/how-do-i-ask-homework-questions-on-chemistry-stack-exchange) Closed 5 years ago. [Improve this question](/posts/90281/edit) I am having a doubt in here that NaOH reacts with methanol but not with ethanol. Theoretically my instructor on chemistry says that the conjugate base of ethanol would be stronger than NaOH. But I can see in many websites that the reaction is given(reaction of CH4 and NaOH). Also a side question to this is CH4,C2H6 will not react with NaOH. Is there any reason other than full saturation CH4 and C2H6. Just because one can write down the reaction equation (as you have read in those websites) doesn't mean it takes place to any considerable extent. Yes, ethanol and NaOH do theoretically react as in $\ce{EtOH + NaOH \to EtO^-Na+ + H2O}$, but can you observe this reaction in practice? The answer lies in the thermodynamics of the reaction: the equilibrium is severely shifted to the left, so the reaction as written is almost irrelevant. Conversely, methanol ionization does present a measurable equilibrium constant at appropriate conditions.	stackexchange/chemistry
the flux level of most blazars pose a challenge to the sensitivity of current iact experiments . thus relatively long exposure times are required to detect blazars in the vhe regime . in addition iacts have a small field of view compared to gev gamma - ray satellite telescopes . an all sky survey in vhe with a deep exposure is thus not technically feasible using current installations . therefore it is necessary to adopt some selection procedure to choose candidate vhe blazars to be observed with iact experiments . a commonly applied strategy to select vhe - observation candidates uses sources selected on the basis of their brightness at lower energies , viz . in the radio and x - ray regime @xcite . this method relies on the hypothesis that the radio and x - ray frequencies , which sample the synchrotron regime , are a direct proxy to estimate the brightness of the vhe component . this strategy has been quite successful . however , the physical mechanism that connects the separate spectral components is not firmly established . in addition , while applying this strategy , sources were selected from incomplete source - catalogs and were thus an incomplete sample of predicted - vhe - bright blazars . + an alternate method proposes to select blazars based on their spectrum in the @xmath0mev - @xmath0gev band ( from now on , referred to as the gev - band ) . this regime is probed using satellite - borne @xmath1-ray - instruments such as the egret instrument which flew on board the cgro satellite , and the large area telescope ( lat ) instrument on the recently launched fgst . for most blazars it is believed that the vhe emission and the gev emission arise from the same physical mechanism and hence should be intimately related . thus selecting blazars detected in the gev - band with certain spectral characteristics , can be a useful tool in selecting candidates for vhe observations . this method was applied to the archival egret data from the 3@xmath2 egret catalog @xcite in @xcite . here we apply this strategy to the recently released gev - bright agn sample provided by the fgst team , called the lbas@xcite . + [ cols="<,^,>,^,^,^,^ , < " , ] the lbas , @xcite consists of @xmath3 sources which have high - confidence associations with known agns . it contains @xmath4 blazars ; of which @xmath5 are flat spectrum radio quasars ( fsrqs ) , @xmath6 are bl lac objects , and @xmath7 are blazars with uncertain classification , in addition to the two radio galaxies - centaurus a and ngc 1275 . in the lbas , the integral flux between @xmath8gev and @xmath0gev and the corresponding spectral index are given for all sources , derived from a power law fit between @xmath9gev and @xmath0gev . a search on the redshift of all these sources in the available literature yielded redshift values for 92 objects . + a subset of these objects after excluding sources with @xmath10 was used as the source - sample for applying our selection strategy . sources with uncertain redshifts were excluded . the lbas spectra of the selected sample was extrapolated to vhe energies to get the estimated intrinsic vhe spectra . in the absence of additional details on individual source spectra ( e.g. any spectral - break or turn - off ) such an extrapolation is a reasonable first order estimate of the vhe spectra . this estimated intrinsic vhe spectra corrected for the ebl attenuation gives the estimated observed - vhe - spectra for each source . vhe @xmath1-rays are absorbed in the inter - galactic medium via pair - production mechanism , from photon - photon scattering on the extragalactic photon field ( @xmath11 ) . the optical depth ( @xmath12 ) due to this mechanism , is both a function of redshift , and the photon energies . for each object the corresponding @xmath13 is calculated using the ebl model in @xcite . the ebl limits in @xcite are derived from actual vhe observations , making certain assumptions about the intrinsic spectra and are hence a reasonable upper limit to the ebl level . the extrapolated spectra is attenuated by a factor of @xmath14 to obtain the predicted observed spectra in vhe ( see figure [ vheextrapolatiion ] ) . + the integral flux under the extrapolated spectra , beyond @xmath15gev , i(@xmath16gev ) , gives an indication of the flux that would be seen using the current generation of iacts such as veritas , h.e.s.s . , and magic . assuming that an i(@xmath17gev ) @xmath18@xmath19 is required for a @xmath7@xmath20 detection in @xmath21hours , a list of @xmath22 candidates satisfying this condition , ranked by their i(@xmath16gev ) value is presented in table [ rankedlist ] . in the table , f@xmath23 is the lbas flux in the @xmath8gev to @xmath0gev band . @xmath24 ( also from lbas ) is the spectral index derived from a simple power law fit between @xmath9gev and @xmath0gev . established vhe emitting blazars are denoted with an asterisk after their common names . the fact that there are eight vhe emitters in this list of twenty predicted vhe emitters , gives credibility to this selection method . to compare these predictions with actual vhe spectra of the sources , simultaneous observation using iacts need to be compared with the lbas extrapolations that we give here . the published example of such a simultaneous observation is the joint h.e.s.s .- fermi campaign on pks 2155 - 304 between @xmath25 august @xmath26 and @xmath27 september @xmath26 , @xcite . the fgst spectra measured during the campaign is consistent with the values given in the lbas . however , the spectra in @xcite shows a break in the fermi spectra at @xmath28gev . since it is not known to us if this break is a stable feature in the gev spectra throughout the three month period used to get the lbas values , we simply take the single power - law fits from lbas . given this we expect the extrapolations to vhe regime to lie slightly above the true vhe measurements , provided the correction due to the ebl absorption was correct ( assuming that the ebl used here truly represents an upper limit ) . as we show in figure [ pks2155 - 304 ] this is indeed the case , for both the simple power law fit from the lbas , and the simple power - law fit in @xcite . + comparing to non - simultaneous vhe datasets though not as constraining to check our estimates , still gives an indication of their compatibility . two more examples are given in figures [ bl - lac ] and [ pks2155 - 304 ] . such a comparison was done for 10 sources , and an overall good agreement was found between our extrapolations and the true - vhe measurements . it is worthwhile to note that , in @xcite , extrapolations from the egret values consistently under predicted the vhe spectra . this could be due to two possible reasons . firstly most blazars are likely to show long term variability ; and secondly the lat instrument on fermi has a higher high - energy threshold , and thus is much nearer to the vhe regime than egret , thus yielding extrapolations that are much closer to the true intrinsic vhe spectra . with the data available from the fgst , it is now possible for the first time to make simultaneous measurements of the high energy component of vhe blazars , from 100 mev to tens of tev . it also opens up a window of opportunity to discover new vhe blazars based on extrapolations from fgst measurements . a list of such candidates is provided here using the spectral measurements from the lat bright agn sample . the extrapolated spectra of these candidates are above the detection threshold of the current generation iacts , and are recommended for observations . eight of the twenty listed blazars are established vhe emitters and hence validate this strategy for selecting candidates for vhe observations .	arxiv
the @xmath0 decay has attracted much theoretical attention , since chiral perturbation theory ( chpt ) calculations have sizable uncertainties and produce systematically rates about a factor of two smaller than experiment @xcite . in contrast models using quark box diagrams @xcite claim to obtain acceptable rates . within chpt , the problem stems from the fact that the tree level amplitudes , both at @xmath4 and @xmath5 , vanish . the first non - vanishing contribution comes at @xmath5 , but either from loops involving kaons , largely suppressed due to the kaon masses , or from pion loops , again suppressed since they violate g parity and are thus proportional to @xmath6 @xcite . the first sizable contribution comes at @xmath7 but the coefficients involved are not precisely determined . one must recur to models : either vector meson dominance ( vmd ) @xcite , the nambu - jona - lasinio model ( njl ) @xcite , or the extended nambu - jona - lasinio model ( enjl ) @xcite , have been used to determine these parameters . however , the use of tree level vmd to obtain the @xmath7 chiral coefficients by expanding the vector meson propagators , leads @xcite to results about a factor of two smaller than the `` all order '' vmd term , which means keeping the full vector meson propagator . all this said , the chiral approach has been useful to unveil the physical mechanisms responsible for this decay , but it has become clear that the strict chiral counting has to be abandoned since the @xmath7 and higher orders involved in the full ( `` all order '' ) vmd results are larger than those of @xmath5 . for a review , see @xcite , together with an experimental upper bound . once the `` all order '' vmd results is accepted as the dominant mechanism , one can not forget the tree level exchange of other resonances around the 1 gev region . in comparison with vmd , the exchange of @xmath8 axial vectors @xcite yields negligible contributions when using values of the couplings in agreement with @xmath9 data @xcite . still at tree level , the @xmath1 exchange , which was taken into account approximately in @xcite , was one of the main sources of uncertainty , since even the sign of its contribution was unknown . after the tree level light resonance exchange have been taken into account , we should consider loop diagrams , since meson - meson interaction or rescattering can be rather strong . first of all we find the already commented @xmath5 kaon loops from chpt , but also the meson loops from the terms involving the exchange of one resonance . the uncertainty from the latter was roughly expected @xcite to be about 30% of the full width . another relevant question is that no attempts have been done to check the consistency of @xmath0 results with data from other processes . on the one hand , the decay results have not been compared with the crossed channel @xmath10 , although some consistency tests with @xmath9 have been carried out as quoted above . the reason is not surprising since there are no hopes within chpt to reach the @xmath1 region where there are measurements of the @xmath10 cross section @xcite . on the other hand , the explicit su(3 ) breaking already present in the radiative vector meson decays has not been taken into account when calculating the vmd tree level contributions . the former discussion has set the stage of the problem and the remaining uncertainties that allow for further improvement . in recent years , with the advent of unitarization methods , it has been possible to extend the results of chpt to higher energies where the perturbative expansion breaks down and to generate resonances up to 1.2 gev @xcite . in particular these ideas were used to describe the @xmath11 reaction , with good results in all the channels up to energies of around 1.2 gev @xcite . work in a similar direction for this latter reaction has also been done in @xcite . with these techniques , and always within the context of meson chiral lagrangians , we will address three of the problems stated above : first , the @xmath1 contribution , second , the evaluation of meson loops from vmd diagrams and , third , the consistency with the crossed channel @xmath10 . in particular , we will make use of the results in @xcite , where the @xmath10 cross section around the @xmath1 resonance was well reproduced using the same input as in meson meson scattering , without introducing any extra parameters . with these improvements we are then left with a model that includes the `` all order '' vmd and resummed chiral loops . we expect this approach to provide a good description of @xmath0 because recent studies on the vector meson decay into two pseudoscalar mesons and one photon @xcite indicate that such a combination of `` all order '' vmd contribution plus the unitary summation of the chiral loops leads to good agreement with data in a variety of reactions . these include @xmath12 @xcite , where the chiral loops are dominant , @xmath13 @xcite , where the vmd mechanism is dominant , and @xmath14 @xcite where both mechanisms have about the same strength . concerning the fourth issue of the su(3 ) breaking present in radiative vector meson decays , we will take it into account here by using effective couplings normalized to reproduce the most recent experimental data . incidentally , there are preliminary results from a very recent experiment @xcite , which give a decay width about half of the previous one . in that work the authors refined the background subtraction , which was known to be rather problematic . let us remark that , in view of the former discussion , revisiting the previous theoretical calculations is mandatory regardless of whether these new experimental results are confirmed or not . in what follows we will address all these theoretical issues in detail , including an updated estimation of the uncertainties in the calculation . in particular , we will take into account the experimental errors in the radiative vector meson decays , which were neglected before , although they will turn out to be the largest source of uncertainty . following @xcite we consider the vmd mechanism of fig . 1 which can be easily derived from the vmd lagrangians involving vvp and @xmath15 couplings @xcite @xmath16 where @xmath17 and @xmath18 are standard @xmath19 matrices constructed with the nonet of vector mesons containing the @xmath20 , and the nonet of pseudoscalar mesons containing the @xmath21 , respectively . for instance for pseudoscalar mesons @xmath22 , with @xmath23 given by @xcite @xmath24 and similarly for vector mesons @xcite . we also assume the ordinary mixing for the @xmath25 , the @xmath26 , the @xmath27 and @xmath28 : @xmath29 in eq . ( [ lagr ] ) @xmath30 , @xmath31 @xcite and @xmath32mev , with @xmath33 the coupling of @xmath20 to @xmath34 in the normalization of @xcite . > from eq . ( [ lagr ] ) one can obtain the radiative widths for @xmath35 , which are given by @xmath36 where @xmath37 is the photon momentum for the vector meson at rest and @xmath38 are @xmath19 coefficients that we give in table 1 for the different radiative decays , together with the theoretical ( using @xmath39mev and @xmath32mev ) and experimental @xcite branching ratios . we shall refer to these results as those with `` universal couplings '' . . su(3 ) @xmath38 coefficients together with theoretical and experimental branching ratios for different vector meson decay processes . [ cols="^,^,^,^",options="header " , ] the agreement with the data is fair but the results can be improved by incorporating @xmath19 breaking mechanisms @xcite . for that purpose , we will normalize here the @xmath38 couplings so that the branching ratios in table 1 agree with experiment . these will be called results with `` normalized couplings '' . in this way we are taking into account phenomenologically the corrections to the @xmath40 vertex from an underlying field theory . once the @xmath40 couplings have been fixed , we can use them in the vmd amplitude corresponding to the diagram of fig . 1 , which is given by @xmath41 where @xmath42 , @xmath43 , with @xmath44 the momentum of the @xmath27 and the two photons . we have parametrized the @xmath20 width phenomenologically as : @xmath45 whereas for the @xmath26 we have considered a constant @xmath46 mev . nevertheless , our results are rather insensitive to these details . from the above amplitude , the @xmath27 decay width is easily calculated , as well as the @xmath47 invariant mass distribution @xmath48 where we take for reference the momentum of the pion , @xmath49 , in the @xmath50 direction , so that @xmath51\end{aligned}\ ] ] with @xmath26 the energy of the @xmath52 . in fig . 2 we show the results of the mass distribution with and without the radiative widths normalization factors . the integrated width is given by @xmath53ev ( universal couplings ) ; @xmath54ev ( normalized couplings ) , where the error has been calculated from a monte carlo gaussian sampling of the normalization parameters within the errors of the experimental branching ratios of table 1 . let us note that there have been stable values for the vector meson radiative widths throughout the last decade in the pdg but a sizable change in the pdg2002 . had we used the pdg2000 , we would have obtained @xmath55ev ( normalized couplings ) . it is interesting to compare these results with those in @xcite , where they used a universal su(3 ) coupling with @xmath33 adjusted to the @xmath56 decay data existing at that time , and obtained an `` all orders '' value of @xmath57ev . the difference between that value and the @xmath55ev that we would have obtained with older data has to be attributed to the adjusting to all the branching ratios , instead of just one as in @xcite . [ fig : fig2 ] our vmd normalized result is within three standard deviations from the value presently given in @xcite,@xcite : @xmath58ev , but within one sigma of the more recent one presented in @xcite , @xmath59ev . there are , however , other contributions that we consider next . the contribution of pion loops to @xmath0 , evaluated in @xcite , proceeds , to begin with , through the g - parity violating @xmath60 process . since the contribution is proportional to @xmath61 , it is very small and we think that if such terms are included , other isospin violating terms proportional to @xmath61 , and isospin violating corrections to the main terms should also be included . rather than undertaking this delicate task , we will use the results of @xcite to estimate uncertainties from all these sources . the main meson loop contribution comes from the charged kaon loops , calculated at @xmath5 in @xcite , and proceeds via @xmath62 . note that these loops are also suppressed due to the large kaon masses . that is why the @xmath63 mechanism was included explicitly , with uncertainties in the size and sign of the @xmath1 couplings . as commented in the introduction , the chiral unitary approach solves this problem by generating dynamically the @xmath1 in the @xmath64 amplitude . in this section , we will illustrate this approach by revisiting the work done in @xcite on the related process @xmath65 where the chiral unitary approach was successfully applied around the @xmath1 region . since for the @xmath27 decay the low energy region of @xmath65 is also of interest , we will include next the vmd mechanisms also in this reaction . once we check that we describe correctly @xmath65 , the results can be easily translated to the eta decay . we will finally add other anomalous meson loops that are numerically relevant for eta decay but not for @xmath65 . in @xcite it was shown that , within the unitary chiral approach , the @xmath66 amplitude around the @xmath1 region , diagrammatically represented at one loop in fig . 3 , factorizes as @xmath67 with @xmath68 the full @xmath69 transition amplitude . the first three diagrams correspond to @xmath70 of eq . ( [ eq : tnpa629 ] ) , already evaluated at one loop in @xcite , where the factorization of the leading @xmath68 also occurred . in our case @xmath71 , written in a general gauge to be also used for the @xmath72 reaction , is given by @xmath73 ^ 2 \right\},\ ] ] above the @xmath74 threshold , with the @xmath75 term removed below threshold . note that the unitarized @xmath68 transition matrix , not just the lowest order chiral amplitude , is factorized outside the loop integral . this on shell factorization was shown in @xcite by proving that the off shell part of the meson - meson amplitude did not contribute to the loop integral . the meson meson scattering amplitude was evaluated in @xcite by summing the bethe salpeter ( bs ) equation with a kernel formed from the lowest order meson chiral lagrangian amplitude and regularizing the loop function with a three momentum cut off . subsequently , other approaches like the inverse amplitude method @xcite or the @xmath76 method @xcite were used and all of them gave the same results in the meson scalar sector . for @xmath66 below 1 gev only the @xmath77 amplitudes are needed @xcite . the bs equation sums the diagrammatic series of fig . 4 , which implies that in the @xmath66 transition of fig . 3 one is resumming the diagrams of fig . 5 . furthermore , the same on - shell factorization of the @xmath78 matrix in the loops found for @xmath66 was also justified for meson - meson scattering in @xcite . thus , the bs equation with coupled channels can be solved algebraically , leading to the following solution in matrix form @xmath79^{-1}t_2(s),\ ] ] with @xmath80 the invariant mass of the two mesons , @xmath81 the lowest order chiral amplitude and @xmath82 a diagonal matrix , @xmath83 , accounting for the loop functions of two mesons . these @xmath84 functions were regularized in @xcite by means of a cut off . the @xmath84 analytic expressions , both using a cut off or dimensional regularization can be found in @xcite . in eq . ( [ eq : tnpa629 ] ) there is another term , @xmath85 , which corresponds to the last two diagrams of fig . 3 where the axial vector meson @xmath86 is exchanged . for the one loop result we follow @xcite . given the large mass of the axial vector , both the factorization of the unitarized on shell meson - meson scattering amplitude outside the loop , as well as that of the @xmath87 amplitude are also justified @xcite . hence , when the full series of fig . 5 is considered , one obtains the contribution @xmath88 with @xmath89 given by @xmath90\cdot g_{k\overline{k}},\ ] ] with @xmath91 , and @xmath92 . + first of all we show in fig . 6 the result for the @xmath66 cross section obtained from eq . ( [ eq : tnpa629 ] ) , which coincides with that obtained in @xcite . to ease the comparison with experimental data we also show the events concentrated in bins of 40 mev , roughly like the experimental ones . we can easily notice the peak of the @xmath1 whose dynamical generation is guaranteed by the resummation of diagrams in fig . the resummed @xmath93 amplitude has indeed a pole in the complex plane associated to the @xmath1 resonance @xcite . in fig . 6 , we also show results above and below @xmath1 , whose description requires further ingredients than those needed just for the @xmath1 region . in particular , the @xmath94 resonance ( second peak ) is included phenomenologically as in ref . @xcite . in @xcite loops like those in fig . 3 , but exchanging a vector meson instead of an axial - vector meson were estimated negligible in the @xmath1 region and hence neglected . in addition , the vmd tree level mechanism of fig . 1 ( with an outgoing @xmath27 ) was neglected since it has no resonant structure in the @xmath47 s - channel . as a consequence the agreement of eq . ( [ eq : tnpa629 ] ) with experiment is fair but some discrepancies can be noticed in fig . 6 at low energies . for the purpose of the present work , @xmath96 , the low energy region of the @xmath66 reaction is also relevant . therefore we will include as a novelty both the vmd tree level contribution as well as the loops involving vector meson exchange . first , we can see in fig . 7 that the results obtained adding the tree level vmd amplitude normalized to the @xmath97 radiative decay rates ( dashed line ) are acceptable around and below the peak of the @xmath1 resonance . let us note that the inclusion of these terms does improve the description of the low energy region . the binning of the theoretical results would make again the apparent agreement with data to look much better , but for the sake of clarity we have not added more lines to the figure , as long as the binning effect has already been illustrated in fig . although in section one we have justified the use of the normalized couplings , we also show in fig . 7 the result using universal couplings ( dotted line ) . in this process , the effect of normalizing the couplings of the vector meson radiative decays is not as drastic as in fig . 2 for the @xmath27 decay where only the vmd mechanism was considered . in what follows we will only use the normalized couplings . second , in addition to the axial vector meson exchange in loops considered in the previous section , we have to include the loops with vector meson exchange for completeness . in fact , some of the uncertainties estimated in @xcite were linked to these loops . for consistency , once again we have to sum the series obtained by iterating the loops in the four meson vertex shown in fig . hence , the new amplitude , which we shall call @xmath98 , will be given by : @xmath99 \label{vmdloops1}\ ] ] where now @xmath100 is the factor that multiplies the @xmath101 product in the @xmath80-wave projection of the @xmath102 amplitude in the @xmath103 cm . although the lorentz structure of polarization vector products may seem rather complicated from eq . ( [ tvmd ] ) , it is easy to show that after the s - wave projection the polarization vectors factorize indeed as @xmath101 . in a general frame the @xmath101 factor has to be replaced by @xmath104 . once again we have factorized the amplitudes for the same reasons as done with the other terms . of course , when introducing loops with vector meson exchange we have to consider loops involving a @xmath105 or a @xmath106 exchanged between the photons ( see fig . 8.b ) , which were not present at tree level . these would be given by @xmath107 \nonumber\end{aligned}\ ] ] the contribution of all these new vmd loop diagrams is an increase of the order of 10 - 20% of the result shown in fig . 7 by the dashed line ( normalized vmd couplings ) . the new result would overlap in a large region with the dotted line of fig . 7 and hence we do not show it explicitly . in what follows we make some considerations about the diagrammatic interpretation of the `` all order '' vmd calculation , the normalization of the @xmath40 vertices and the meson - meson interaction . by `` all order '' vmd one means @xcite that the full vector meson propagator @xmath108 is used in the calculations . this full propagator includes self - energy diagrams in a dyson - schwinger resummation , leading to a shift of the bare mass and generating a width @xcite . thus , one must think in terms of self - energy insertions in the middle of the vector meson lines in fig . 1 and 8 . the @xmath40 coupling normalization to agree with the radiative vector meson decays can also be understood as considering vertex correction diagrams in fig.1 and 8 , and therefore it does not lead to any double counting with the dressing of the vector meson propagator . finally , the meson - meson interaction in the vmd terms leads to the diagrams of fig . 8 , in which the two pseudoscalar mesons interact through four - pseudoscalar meson vertices . the resummation of pseudoscalar meson - meson loops thus leaves apart the vector meson lines and the @xmath40 vertices . once again this ensures that there is no double counting . in the @xmath109 case , the meson loop diagrams correspond to those of @xmath110 but considering the @xmath52 as an outgoing particle . hence , it is enough to replace @xmath111 by @xmath112 in all the @xmath113 amplitudes , which factorize in all the loop diagrams that we have considered so far , and in the @xmath71 and @xmath114 function . since we are considering all the vmd diagrams and the chiral loops , we still have to take into account another kind of loop diagrams @xcite , shown in fig . 9 , which involve two anomalous @xmath115 vertices . despite being @xmath116 it has been found @xcite that they can have a non negligible effect on the @xmath27 decay . the further rescattering of the mesons in the diagrams of fig . 9 , given the structure of the @xmath117 vertex @xcite in the momenta of the particles , would be suppressed by factors of @xmath118 ( with @xmath119 the loop variable ) with respect to those considered for the vmd mechanism . this , and the fact that these anomalous terms are already small , makes the consideration of rescattering in these loops superfluous . therefore , it is enough to take the results from @xcite where it is found that their largest contribution comes from the kaon loops . we use eqs.(12),(13 ) and ( 27 ) of that reference ( note that there is a global change of sign with respect to our notation ) . concerning @xmath120 , these kind of loops have been neglected in the previous section , because the intermediate particles are very far off shell , due to the crossed character of the loop in the reaction . using the model described in the previous sections , we plot in fig . 10 the different contributions to @xmath121 . we can see that the largest contribution is that of the tree level vmd ( long dashed line ) . let us recall that this is a new result as long as we are using the vmd couplings normalized to agree with the vector radiative decays . the resummation of the loops in fig . 3 using eq.([eq : tnpa629 ] ) , ( short dashed line ) gives a small contribution ( @xmath122ev in the total width ) , but when added coherently to the tree level vmd , leads to an increase of @xmath123% in the @xmath27 decay rate ( dashed - dotted line ) . more interestingly , the shape of the @xmath47 invariant mass distribution is appreciably changed with respect to the tree level vmd , developing a peak at high invariant masses . the resummed vmd loops in fig . 8 , using eqs.([vmdloops1 ] ) and ( [ vmdloops2 ] ) , leads , through interference , to a moderate increase of the @xmath27 decay rate ( double dashed dotted line ) , smaller than that of the chiral loops considered before . the last ingredient is the contribution of the anomalous mechanisms of fig . 9 ( continuous line ) , leading again to a moderate increase of the @xmath27 decay rate , also smaller than the chiral loops from eq.([eq : tnpa629 ] ) . these anomalous mechanisms have a very similar shape to the tree level vmd and interfere with it in the whole range of invariant masses . [ fig : fig11 ] altogether , when integrating over the invariant mass , we get : @xmath124 note that the inclusion of the loops has increased the tree level vmd result by 50% . for comparison , we quote here what we would have obtained using the universal vmd couplings : @xmath125ev . so far , the theoretical error has been obtained only from the propagation of the experimental errors in the vector meson radiative decay branching ratios , given in table 1 . the errors from this source had not been considered before although they will turn out to produce the largest uncertainty . in practice we generate a gaussian weighted random value for each vmd coupling which yield a result for the width . this procedure is repeated a sufficiently large number of times , leading to an approximate gaussian distribution of results from where we obtain a central value and the error . we come now to revisit the uncertainties considered in @xcite . one of the largest sources to the @xmath126ev accepted uncertainties in that work , was the contribution of the @xmath1 , whose sign was unknown . this problem is solved in the present work since the @xmath1 is generated dynamically from the rescattering of the mesons implied in the bethe - salpeter resummation of the @xmath127 amplitude . hence its effect can be easily observed comparing with the standard chpt result , which is obtained by substituting the full @xmath127 by its lowest order @xmath4 . in fig . 10 this corresponds to the difference between the continuous and the dotted line . the contribution of the @xmath1 resonance tail is rather small and increases the @xmath27 decay rate from @xmath128ev to @xmath129ev . the sign of its contribution is unambiguously determined . thus , the present calculation removes completely this source of error . the explicit calculation of the @xmath1 contribution giving such a small effect justifies neglecting the @xmath94 resonance contribution which lies much further away in energy . the other source of uncertainty in @xcite was the contribution of the vmd loops . we have been able to calculate them in this work and , as seen in fig . 10 , these effects are also rather small . they increase the @xmath27 decay rate by @xmath130ev . altogether the @xmath1 plus the vmd loops increase the @xmath27 decay rate by @xmath131ev . we thus eliminate these two sources of previous uncertainties , while realizing at the same time that the uncertainties of @xmath132ev attributed to these sources in @xcite were indeed a generous upper bound . in our approach the tree level exchange of the @xmath133 , @xmath134 and @xmath135 axial resonances @xcite will be included as an uncertainty . the reason is that , according to @xcite , they would increase the decay width by about @xmath136ev . however , as shown in @xcite , their inclusion in @xmath137 with the couplings used in @xcite would overestimate the @xmath137 cross section . in view of these discrepancies , we thus consider safe to accept a theoretical uncertainty of the order of @xmath138ev which should still be a generous upper bound . as commented at the beginning of section three , there are uncertainties due to isospin violating terms . we estimate the errors from this source using the results obtained in @xcite for the g - parity violating term corresponding to fig . 3 but with pion loops . this contribution is of the order of @xmath138ev to the total @xmath27 decay rate . finally , by summing all errors in quadrature , we arrive to @xmath139 note that although we have considered a new error source from the uncertainties in the vector radiative decays , which turns out to be the largest one , we still have reduced the uncertainty from previous calculations . the result of eq . ( [ resultfinal ] ) is in remarkable agreement with the latest experimental number @xcite , and lie within two sigmas from the earlier ones in @xcite . confirmation of those preliminary results would therefore be important to test the consistency of this new approach . furthermore , precise measurements of the @xmath47 invariant mass distributions would be of much help given the differences found with and without loop contributions . we have reanalyzed the @xmath140 decay within the context of meson chiral lagrangians , gathering all the mechanisms discussed in the literature , but improving them in the following aspects : on the one hand , using the well tested chiral unitary approach , we have removed the uncertainties from the @xmath1 resonance as well as those from loops with the exchange of one vector meson . in particular , since the @xmath1 is generated dynamically from the meson loop resummation , we have unambiguously determined the sign of its contribution , whereas for the one vector loops we have performed an explicit calculation that in previous works had only been considered as a large source of uncertainty . on the other hand , we have also checked the consistency with other related processes : first , a relevant observation is that the tree level vector meson dominance amplitude with a universal su(3 ) vector - vector - pseudoscalar coupling is not consistent with the @xmath141 , @xmath142 and @xmath143 decays . consequently , throughout the @xmath140 calculation , we have used couplings normalized to agree with the radiative vector meson decays . second , we have established the consistency of our @xmath140 model with the related @xmath95 process . furthermore , we have performed a careful error analysis of our results . as a novelty we have considered the experimental errors in the vector meson radiative decay widths , which turn out to be the largest source of uncertainty . however , since , as just commented above , we have removed former sources of uncertainty , our final error is still smaller than previous estimates . altogether we have found a result of @xmath144ev . with the improved calculation just presented , it seems clear that the mechanisms thus far suggested in the literature in the context of meson chiral lagrangians lead to a result at variance with the experimental result @xmath58ev from @xcite . however , it is worth noticing the agreement of the above result with the new preliminary measurement @xmath59ev from @xcite . nevertheless , a measurement of the invariant mass distribution would be more stringent . confirmation of the preliminary results of @xcite and an accurate measurement of the @xmath47 invariant mass distribution should be the experimental priorities to clarify the situation . we are specially grateful to j.a . oller for fruitful discussions , technical help and his careful reading of the manuscript . we would also like to acknowledge useful discussions with j. bijnens . one of us , l.r . , acknowledges support from the consejo superior de investigaciones cientficas . j.r.p . acknowledges financial support from a cicyt - infn collaboration grant as well as a marie curie fellowship mcfi-2001 - 01155 . he also thanks the dipartimento de fisica , universita de firenze - infn sezione di firenze for its hospitality . this work is also partly supported by dgicyt contract numbers bfm2000 - 1326 , pb98 - 0782 , and the e.u . euridice network contract no . hprn - ct-2002 - 00311 . k. hagiwara _ et al . _ [ particle data group collaboration ] , phys . rev . d * 66 * ( 2002 ) 010001 . j. n. ng and d. j. peters , phys . d * 47 * ( 1993 ) 4939 . y. nemoto , m. oka and m. takizawa , phys . d * 54 * ( 1996 ) 6777 [ arxiv : hep - ph/9602253 ] . l. ametller , j. bijnens , a. bramon and f. cornet , phys . b * 276 * ( 1992 ) 185 . s. oneda and g. oppo , phys . 160 ( 1968 ) 1397 . c. picciotto , nuovo cim . a * 105 * ( 1992 ) 27 . a. a. belkov , a. v. lanyov and s. scherer , j. phys . g * 22 * ( 1996 ) 1383 [ arxiv : hep - ph/9506406 ] . s. bellucci and c. bruno , nucl . b * 452 * ( 1995 ) 626 [ arxiv : hep - ph/9502243 ] . j. bijnens , a. fayyazuddin and j. prades , phys . b * 379 * ( 1996 ) 209 [ arxiv : hep - ph/9512374 ] . m. n. achasov _ et al . _ , nucl . b * 600 * ( 2001 ) 3 [ arxiv : hep - ex/0101043 ] . p. ko , phys . d * 47 * ( 1993 ) 3933 . p. ko , phys . b * 349 * ( 1995 ) 555 [ arxiv : hep - ph/9503253 ] . m. jetter , nucl . b * 459 * ( 1996 ) 283 [ arxiv : hep - ph/9508407 ] . t. oest _ et al . _ [ jade collaboration ] , z. phys . c * 47 * ( 1990 ) 343 . d. antreasyan _ et al . _ [ crystal ball collaboration ] , phys . d * 33 * ( 1986 ) 1847 . j. a. oller and e. oset , nucl . phys . a * 620 * , 438 ( 1997 ) [ erratum - ibid . a * 652 * , 407 ( 1997 ) ] . n. kaiser , eur . j. a * 3 * ( 1998 ) 307 . oller , e. oset and j. r. pelez , phys . * 80 * ( 1998 ) 3452 ; phys . d * 59 * ( 1999 ) 74001 ; erratum - ibid.d60 ( 1990 ) 099906 h. yamagishi and i. zahed , annals phys . * 247 * ( 1996 ) 292 [ arxiv : hep - ph/9503413 ] . c. h. lee , h. yamagishi and i. zahed , nucl . phys . a * 653 * ( 1999 ) 185 [ arxiv : hep - ph/9806447 ] . a. bramon , r. escribano , j. l. lucio martinez and m. napsuciale , phys . b * 517 * ( 2001 ) 345 [ arxiv : hep - ph/0105179 ] . j. e. palomar , s. hirenzaki and e. oset , nucl . a * 707 * ( 2002 ) 161 e. marco , s. hirenzaki , e. oset and h. toki , phys . b * 470 * ( 1999 ) 20 [ arxiv : hep - ph/9903217 ] . s. prakhov , in proceedings of the international conference of non - accelerator new physics , dubna , russia ; b. m. nefkens and j. w. price , in the eta physics handbook , proc . of the uppsala workshop , http://www.tsl.uu.se/ faldt / eta / proceedings.html , published in phys . scripta * t99 * ( 2002 ) 114 [ arxiv : nucl - ex/0202008 ] . j. gasser and h. leutwyler , annals phys . * 158 * ( 1984 ) 142 . g. ecker , j. gasser , a. pich and e. de rafael , nucl . b * 321 * ( 1989 ) 311 . a. bramon , a. grau and g. pancheri , phys . b * 283 * ( 1992 ) 416 . a. bramon , a. grau and g. pancheri , phys . b * 344 * ( 1995 ) 240 . j. bijnens and f. cornet , nucl . b * 296 * ( 1988 ) 557 . j. f. donoghue , b. r. holstein and y. c. lin , phys . d * 37 * ( 1988 ) 2423 . h. albrecht et al . z. phys.c48 ( 1989 ) 183 .	arxiv
patients who have hemiplegia resulting from cerebrovascular diseases face a lot of difficulty in carrying out their daily activities due to motor disorder , sensory disorder , cognitive disorder , and language disorder ; further , loss of gait restricts their activity level and lowers their functional independence1 . gait disorder is common in stroke patients , and their gait patterns are characterized by a slow gait cycle and speed , difference in stride length between the paretic side and non - paretic side , and a long swing phase and short stance phase2 . in particular , the ankle joints not only absorb impact and advance the body , which are their primary functions , but also function as crucial joints for the ankle strategy in maintaining balance3 . movement disorder in the ankle joint is an important cause of gait disorder4 . structural deformity of the foot brings about functional change and therefore affects the maintenance of balance of the bilateral lower extremities and the trunk ; such deformities may trigger abnormal changes in gait patterns and musculoskeletal system pain5 . nonetheless , in the clinical field , it is difficult to analyze the shape of the foot because the equipment required is expensive and the procedure takes up a lot of time . the aim of this study was to examine the foot shape of hemiplegic patients by using the foot posture index ( fpi ) , which is a simple measure of foot deformity in stroke patients in the clinical field ; moreover , we used other fast readily available testing methods , i.e. , the modified ashworth scale ( mas ) test , navicular drop test ( ndt ) , and resting calcaneal stance position ( rcsp ) test , to understand how stroke affects foot joint deformity in hemiplegic patients . these methods do not require a lot of equipment or time , and the findings will provide guidance for future treatment strategies . data from this study will provide the basis for studying functional changes in the feet of these patients . the subjects of this study were hemiplegic patients who were diagnosed with a stroke through computed tomography or magnetic resonance imaging . they were capable of static standing . their korean mini - mental state examination ( k - mmse ) scores were 24 points or higher , and they did not have any problems with cognitive function . the criteria for exclusion were vestibular or inner ear disease , peripheral sensory disorder , amputation of a lower extremity , severe joint disease , previous orthopedic surgery , diseases affecting gait such as alzheimer s disease , and traumatic brain injury . the subjects in the control group were age - matched to those in the experimental group . further , the control group participants had no neurological injury , waist pain , spondylarthritis , or rheumatoid arthritis ; had not undergone orthopedic surgery ; and had no pain or abnormality in the hip or knee joints . they were selected from normal adults who met the conditions for participation in this study and had no reason for disqualification . there were 31 patients in the experimental group ( male , 20 ; female , 11 ; mean age , 63.4 7.5 years ; mean height , 167.4 7.1 cm ; mean weight , 65.2 9 kg ; bmi , 24.81 16.8 ) . of the 31 patients , 18 had left hemiparalysis , and 13 had right hemiparalysis ; the mean time since onset was 24.81 16.8 months . ( male , 21 ; female , 11 ; mean age , 63 8 years ; mean height , 167 8.1 cm ; mean weight , 65.1 7.9 kg ; bmi , 23.2 1.5 ) . the differences in general characteristics between the groups were not significant ( p > 0.05 ) . all the subjects understood the purpose of this study and provided written informed consent prior to participation , in accordance with the ethical standards of the declaration of helsinki . the fpi is a diagnostic tool devised to provide objective numerical values that reflect the condition of the foot whether the foot is pronated , supinated , or neutral . the fpi consists of a total of six items scored on a five - point scale ( 2 , 2 , 0 , 1 , and 2 ) . when the sum of each measured value is a high positive number , the foot is considered to be pronated , while the lower the negative number of the sum is , the more supinated the foot6 . the mas is one of the most widely used methods to clinically evaluate the degree of muscle spasticity , which is defined as the degree of resistance felt in the muscles when an examiner passively bends or extends the joint of an examinee , who is in a lying position or in a relaxed state7 . the mas is scored on a six - point scale : 0 , 1 , 1 + , 2 , 3 , and 48 . the present study measured the degree of spasticity of the ankle plantar flexors , which are known to greatly affect gait imbalance9 . after the examinee sat in and maintained the subtalar neutral position , the examiner palpated the navicular tuberosity of the examinee , measured the height of the navicular bone using measurement equipment , and asked the examinee to stand on both feet . then , the examiner measured again the height of the navicular bone and calculated the difference between the two measured values to obtain the result of the navicular drop test ( ndt)10,11,12 . in this study , a vernier height gauge ( 506 - 207 ; mitutoyo , kawasaki japan ) was used to measure ndt . to measured the rcsp , the patient was laid in the prone position , and then the calcaneus was bisected using a bimanual technique , in which the point of dissection was marked and connected with a dot from the coronal plane13 . the patient was asked to stand such that the gait angle and gait base were in line , and the angle between the vertical line and the bisected line of the calcaneus was measured using a gravity goniometer ( mie , leeds , uk)14 . the angle where the calcaneal slope and the ground met at the right angle was set as 0 , with minus values indicating inversion and plus values indicating eversion . statistical analysis of the data collected in this study was conducted using ibm spss statistics for windows ( version 19.0 ) . general information about the experimental group and the control group including weight , height , and body mass index was analyzed using an independent t - test . the results of the fpi test , mas test , ndt , and rcsp test for the paretic and non - paretic sides of the experimental group and the left and right sides of the control group were compared using a paired t - test . an independent t - test was used to compare the paretic side of the experimental group and the dominant side of the control group . to examine the correlation between the results for the fpi , mas , ndt , and rcsp , the paretic side fpi of the patient group was 0.25 2.1 , while the non - paretic side fpi was 1.74 2.3 ; the fpi of the control group was 2.12 3.4 . of the 32 patients in the control group , 31 used the right foot as their dominant foot , and therefore the fpi obtained from the right foot was used as the control group value . the fpi of the paretic side of the hemiplegic patients and that of their non - paretic side were compared and found to be significantly different ( p < 0.05 ) . the fpi of the paretic side of the experimental group and that of the right side of the control group were also significantly different ( p < 0.05 ) . however , the fpi of the non - paretic side of the experimental group was not significantly different compared with the fpi of the right side of the control group ( p > 0.05 ) ( table 1table 1.comparison of the results of the fpi test , ndt , and rcsp test among the non - paretic and paretic sides of the experimental group and the right side of the control grouppatient group ( n=31)control group ( n=32)paretic sidenon - paretic sidedominant footfpi0.252.11.742.32.123.4ndt6.32.47.82.87.962.8rcsp0.222.51.511.941.682.5values are meansse . fpi , foot posture index ; ndt , navicular drop test ; rcsp , resting calcaneal stance position p<0.05 vs. non - paretic side . fpi , foot posture index ; ndt , navicular drop test ; rcsp , resting calcaneal stance position * p<0.05 vs. non - paretic side . p<0.05 vs. control group , p>0.05 vs. control group . in order to investigate the degree of spasticity of the 31 stroke patients , the mas of the plantar flexors on the patients paretic side was measured . the numbers of patients with scores of 0 , 1 , 1 + , 2 , 3 , and 4 were 8 ( 25.8% ) , 10 ( 32.3% ) , 11 ( 35.5% ) , 2 ( 6.5% ) , 0 ( 0% ) , and 0 ( 0% ) respectively ( table 2table 2.result of the mas testmas mas , modified ashworth scale the paretic side ndt value of the patient group was 6.3 2.4 , and the non - paretic side ndt value was 7.8 2.8 ; the ndt value of the control group was 7.96 2.8 . in the hemiplegic patients , the ndt value of the foot joint on the paretic side was significantly greater than that of the foot joint on the non - paretic side ( p < 0.05 ) and that of the right side of the control group ( p < 0.05 ) . there were no significant differences between the ndt value of the non - paretic side of the hemiplegic patients and that of the right side of the control group ( p > 0.05 ) ( table 1 ) . the paretic side and non - paretic side rcsps of the experimental group were 0.22 2.5 and 1.51 1.94 respectively , while the rcsp of the control group was 1.68 2.5 . the rcsp , as measured for the paretic side of the hemiplegic patients , was significantly different from that measured for the non - paretic side ( p < 0.05 ) and was also significantly different from that of the right side of the control group ( p < 0.05 ) . there were no significant differences between the rcsp of the non - paretic side of the hemiplegic patients and that of the right side of the control group ( p > 0.05 ) ( table 1 ) . in order to examine the effects of the mas score of the paretic foot joint of hemiplegic patients on the fpi , ndt , and rcsp results , there was a strong negative correlation between the results of the mas and fpi tests ( r = 0.78 ) , and there was a weak negative correlation between the results of the mas test and ndt ( r = 0.47 ) . however , a positive correlation was observed between the results of the mas test and rcsp test ( r = 0.567 ) . further , in order to examine the effects of the modified fpi test on the results of the ndt and rcsp test , the correlation between them was examined . the results of the fpi test and ndt were positively correlated ( r = 0.603 ) , while those of the fpi and rcsp tests were strongly negatively correlated ( r = 0.720 ) . the results of the fpi test indicated that smaller differences in the results of the ndt were associated with greater supination and less pronation of the foot . in addition , according to the results of the fpi test , when a subject s calcaneus was observed to be leaning outwards , his or her rcsp had a positive value , and the foot had an overall supinated shape . hemiplegia resulting from a stroke causes changes in the range of motion , muscle strength , and senses of the foot due to musculoskeletal or neurological system abnormalities , and such structural deformities of the foot bring about functional changes and therefore affect maintenance of balance of the bilateral lower extremities and the trunk . such deformities may trigger abnormal changes in overall gait patterns and musculoskeletal system pain5 . the present study employed the fpi to differentiate between foot shapes : the fpi values of the non - paretic side of the hemiplegic patients and the control group were within the normal range . the fpi values of the control subjects were similar to the average fpi value ( 1.9 2.0 ) of healthy subjects examined by redmond et al15 . the ndt was used as another method to examine structural deformities affecting foot shape . when the hemiplegic patients changed their position from a neutral subtalar joint position to a standing position , the drop on the paretic side was greater than that on the non - paretic side and that of the control subjects . the foot joints of the hemiplegic patients on the paretic side were found in eversion than those on the non - paretic side . the results indicated the feet of the hemiplegic patients on the paretic side had an overall supinated shape . it was supported with the strong negative correlation between the rcsp and the fpi . barnes16 noted that spasticity of the lower limbs triggered abnormal muscle tension by mutual contraction of the protagonist and the antagonist muscles , and such abnormal muscle tension may act as a positive element in a standing position or during gait but is a major cause of decreased gait ability in stroke patients . thus , it seems that the degree of spasticity greatly influences the slope of the calcaneus . the results of the ndt and fpi test also showed a high correlation , which implies that the larger the drop of the navicular bone , the more pronated the foot . the results of this study are consistent with those of billis et al.17 , in which a high correlation was reported between navicular drop and foot inversion / eversion . park et al.18 found that hemiparetic patients demonstrated increased weight bearing on the forefoot and lateral foot edge , which made weight bearing harder . , this study showed lower ndt values in subjects with higher tone , which can be attributed to difficulty in putting weight onto the medial edge of the foot . further , sackley19 reported that 61 to 80% of the weight of stroke - related hemiplegic patients was borne by the non - paretic side lower extremity . the causes of asymmetric weight load are abnormal muscle activity , abnormal position dynamics , and sensory disorder20 , 21 . according to the present study , increased spasticity , changes in the navicular location , and changes in the calcaneal location triggered by a stroke led to supination of the foot on the paretic side , which causes abnormal weight support . these changes were found to be closely correlated with each other . according to the research results , the joint of the supinated foot of stroke patients had a high score in the mas test as well . thus , as shown by the other tests too , the higher the degree of spasticity , the more supinated the foot ; moreover , patients whose degree of change in the navicular bone was low exhibited a high degree of spasticity and supination of the foot joint . the rcsp test results showed that changes in the calcaneus were associated with a more lateral location of the calcaneus , a higher degree of spasticity , a smaller change in the navicular bone location , and greater supination of the foot . these data verified that structural deformity of the foot brought about by hemiplegia resulting from a stroke occurs due to various factors and that these factors are highly correlated . thus , the findings from this study shed light on the morphological changes in the foot joint of hemiplegic patients . moreover , since the results of the various tests showed high correlation and since these tests are simple and quick , these findings may have future clinical uses . the findings can therefore be used in therapeutic strategies for patients and lay the basis for future similar research .	pubmed
Tripartite Bell experiment, calculating probabilites Imagine a tripartite photon Bell scenario with, let's say, a prepared state such as W-state or GHZ state: $$\|GHZ>=\frac{1}{\sqrt 2}(\|000>+\|111>)$$ $$\|W>=\frac{1}{\sqrt 3}(\|001>+\|010>+\|100>)$$ Here \|0> means that the particle is polarized horizontally and \|1> means it is polarized vertically. Now imagine the particles are emitted from a source and particle 1 (the first one in each ket) goes to observer A, particle 2 to observer B and particle 3 to observer C. Each observer has a device which can turn the plane of polarization by the angles $\alpha$ (for A), $\beta$ (for B) and $\gamma$ (for C). They are set in such a way that if the angle is zero only horizontally polarized light is transmitted. Behind each device a measurement on the polarization will be done. Now if I have a fixed setting with angles $\alpha\_1$, $\beta\_1$ and $\gamma\_1$ and the W-state, how do I calculate the probability that observer A measures horizontally polarized photons, B measures horizontally polarized and C aswell. What is the probability that A measures vertical, B measures horizontal and C measures vertical (and so on)? I don't know which basis I should choose to describe to polarizers and the states... I hope somebody can help me, thanks. <http://www.users.csbsju.edu/~frioux/polarize/POLAR-sup.pdf> Passage of a photon in state $\|\psi\rangle = a\_0 \|0\rangle + a\_1 \|1\rangle$ through a filter at angle $\alpha$ wrt $\|1\rangle$ leaves the photon in state $\|\psi\_f \rangle = 1/A(a\_0 \sin \alpha \|0\rangle + a\_1 \cos \alpha \|1\rangle).$ Where $A = \sqrt(a\_0^2 \sin^2 \alpha + a\_1^2 \cos^2 \alpha) $. We thus observe horizontal polarization with probability $P\_0 = a\_0^2 \sin^2 \alpha / A^2$. Having observed horizontal polarization on the first particle, the state is now projected onto the particle 1 = $\|0\rangle$ axis of the Hilbert space. In the GHZ case, for example, it is now certain that the full state is $\|000\rangle$. Thus, particle 2 is mapped to $\|\psi\_2\rangle = \sin \beta \|0\rangle + \cos \beta \|0\rangle$ so the probability of observing horizontal polarization is $\sin^2 \beta$. Particle 3 is in the same state with $\gamma$ replacing $\beta$. Note that the probabilities of either observation depend on the outcome of the particle 1 measurement. You'll need to consider all cases. You need to invert an 8 by 8 matrix, but fortunately it's got all kinds of symmetries. Or equally fortunately, there exists Mathematica. I write $E$ and $F$ instead of $\|0\rangle$ and $\|1\rangle$. For each angle $\xi$, put $X\_\xi=\cos(\xi)E+\sin(\xi)F$, $Y\_\xi=-\sin(\xi)E+\cos(\xi)F$. A basis of eigenstates for the measurement you're going to make is the set of eight vectors of the form $A\_\alpha\otimes B\_\beta\otimes C\_\gamma$, where each of $A,B,C$ can be either $X$ or $Y$. Call this basis ${\cal V}(\alpha,\beta,\gamma)$. Let $M$ be the matrix that converts the basis ${\cal V}(0,0,0)$ to the basis $\cal{V}(\alpha,\beta,\gamma)$, so that, for example, $M\_{11}=\cos(\alpha)\cos(\beta)\cos(\gamma)$. Let $N$ be the inverse of $M$. The rows of $N$ will tell you how to write your given state as a linear combination of the eigenstates. For example, the coefficients for the state you've called GHZ are $(1/\sqrt{2})(N\_{1\}+N\_{8\})$ (assuming you've chosen the natural ordering for your basis). Thus the probability of finding three horizontals is $$(1/2)(N\_{11}+N\_{81})^2=(1/2)\big(\cos(\alpha)\cos(\beta)\cos(\gamma)+\sin(\alpha)\sin(\beta)\sin(\gamma)\big)^2$$ The probability of finding (horiz,horiz,vert) is $$(1/2)(N\_{12}+N\_{82})^2=(1/2)\big(\sin(\alpha)\sin(\beta)\cos(\gamma)-\cos(\alpha)\cos(\beta)\sin(\gamma)\big)^2$$ etc.	stackexchange/physics
void AddInformationIntoDictionaryFileTxt(SSMap &newDictionary);	slim_pajama
more than 350,000 workers lose their lives each year due to unintentional occupational injuries at global level . occupational injury results from accidents at work place and more than half of this injury burden occurs among men working in the world health organization ( who ) south - east asia and western pacific regions . although the profile of at risk population has changed greatly over the past decade both qualitatively and quantitatively , the risk of occupational injury still centers on workers of various industries . this is because of urbanization and industrialization with labor oriented markets which depends on more automation and mechanization at workplace . occupational hazards contribute to 2.3% of disability adjusted life year ( daly ) lost among middle income countries and of these welding contributes a significant percentage especially in developing countries like india . the international standard classification of occupations ( isco ) defines welders and flame cutters as welding and cutting metal parts using gas flame , electric arc and other sources of heat to melt and cut , or to melt and fuse metal . welders are employed in average numbers of 3 to 5 in private owned small - scale workshops . as they come under the non - organized sector , some of the commonly seen injuries are eye injuries like arc eye or flash burns to cornea , photo keratosis , astigmatism , pingecula , cataract and retinal damage due to exposure to excessive light and ultra violet rays and foreign body injuries to cornea . inhalation of metal fume causes metal fume fever and pneumonia due to exposure to noxious fumes of zinc , copper , cobalt , nickel , chromium , platinum and their oxides . other injuries that include accidental cut injuries , amputations ; occupational heat stress , thermal burns , electrocution are also common among welders . in spite of the major public health problem existing among welders , very few studies have been conducted to assess the pattern of all types of injuries and its associated risk factors at global level . there exists no published literature to give us an idea about the magnitude of the problem in this vulnerable group in india . with this background , the study aimed to assess the prevalence of work - related injuries and its associated factors among welders in coastal south india . this study was approved by the ethical committee of the medical institution in puducherry , india . subjects were ensured confidentiality and they were explained the purpose and ethical issues involved in the study . written informed consent was obtained from each subject participating in the study . this cross sectional study was conducted among welders in puducherry , a coastal city in south india . a total of 778 registered metal industries in puducherry district are spread over 7 commune regions and for the study purpose puducherry commune region which has got 174 registered metal industries was selected . this region was selected based on feasibility constraints and it will not affect the study outcome because of the comparable socio - demographic and other parameters in these areas . from this area metal industries were selected randomly by using the register number and all the workers in that metal industry were included for our study until our study sample was met . p was taken as 19% based on previous study and required relative precision of estimate at 30% level . by using the formula , considering a non - response error of 10% , final total sample size became 209 . all the workers in the randomly selected metal industry with more than 1 year experience were included in the study . if the selected subject does not give consent or could not be able to meet even after two visits , then they are considered as non - respondents . the data was collected by administering a pre designed questionnaire by the investigators based on the lines of guidelines of international labor organization . the questionnaire was translated to tamil language and back translated to english language by independent experts to retain the reliability of the instrument . the subjects were interviewed in person by the investigators at their work place according to pre scheduled time table . baseline data was collected regarding socio - demographic variables that include age , education , marital status and monthly income . data regarding all types of injuries related to occupation during the past 1 year at work place that include mechanical injuries , arc eye injuries , foreign body in the eye , retinal damage , burns , electrical injury and occupational diseases or hazards like back ache or waist pain , hearing impairment , pingecula , pterygium , metal fume fever and pneumonia were collected based on history and or previous diagnosis by registered medical practitioner . we have considered the presence of any type of occupational injuries to look for possible association of various factors with it that include age , training before induction , experience , job duration , tobacco chewing , alcohol use , awareness and use of protective measures were assessed . current tobacco users were those who use any form of tobacco product at least once daily and alcohol user was defined as a person who consumed any amount of alcohol at least once in a week . the collected data was entered in statistical package for social sciences ( spss ) version 16 for windows . univariate and multivariate analyses were done to find out the possible association between number of injuries and associated factors . this study was approved by the ethical committee of the medical institution in puducherry , india . subjects were ensured confidentiality and they were explained the purpose and ethical issues involved in the study . written informed consent was obtained from each subject participating in the study . this cross sectional study was conducted among welders in puducherry , a coastal city in south india . a total of 778 registered metal industries in puducherry district are spread over 7 commune regions and for the study purpose puducherry commune region which has got 174 registered metal industries was selected . this region was selected based on feasibility constraints and it will not affect the study outcome because of the comparable socio - demographic and other parameters in these areas . from this area metal industries were selected randomly by using the register number and all the workers in that metal industry were included for our study until our study sample was met . p was taken as 19% based on previous study and required relative precision of estimate at 30% level . by using the formula , considering a non - response error of 10% , final total sample size became 209 . all the workers in the randomly selected metal industry with more than 1 year experience were included in the study . if the selected subject does not give consent or could not be able to meet even after two visits , then they are considered as non - respondents . the data was collected by administering a pre designed questionnaire by the investigators based on the lines of guidelines of international labor organization . the questionnaire was translated to tamil language and back translated to english language by independent experts to retain the reliability of the instrument . the subjects were interviewed in person by the investigators at their work place according to pre scheduled time table . baseline data was collected regarding socio - demographic variables that include age , education , marital status and monthly income . data regarding all types of injuries related to occupation during the past 1 year at work place that include mechanical injuries , arc eye injuries , foreign body in the eye , retinal damage , burns , electrical injury and occupational diseases or hazards like back ache or waist pain , hearing impairment , pingecula , pterygium , metal fume fever and pneumonia were collected based on history and or previous diagnosis by registered medical practitioner . we have considered the presence of any type of occupational injuries to look for possible association of various factors with it that include age , training before induction , experience , job duration , tobacco chewing , alcohol use , awareness and use of protective measures were assessed . current tobacco users were those who use any form of tobacco product at least once daily and alcohol user was defined as a person who consumed any amount of alcohol at least once in a week . the collected data was entered in statistical package for social sciences ( spss ) version 16 for windows . univariate and multivariate analyses were done to find out the possible association between number of injuries and associated factors . all 209 welders participated in the study and they were all males . majority of them were aged 20 to 40 years ( 160 , 76.6% ) , educated below 10 standard ( 181 , 86.6% ) and their per capita income was below 3000 rupees ( 178 , 85.2% ) . mean number of injury was found to be 10.74 ( sd = 5.74 ) in the preceding year . all of them had abrasions and more than of them had lacerations , foreign body in the eye , flash burns and contusions . majority of them had more than 2 injuries ( 97.1% , 203 ) and 44% ( 92 ) of them had more than 10 injuries . about 66.5% ( 139 ) had occupational diseases or hazards like waist or back pain and 27.8% ( 58 ) had hearing impairment [ table 1 ] . type of occupational injuries and diseases among the welders the majority of them had more than 5 years experience ( 175 , 83.7% ) and were working less than 8 hours each day ( 156 , 74.6% ) , but only 1/5 of them had institutional training ( 40,19.1% ) . about one quarter of them were using tobacco ( 57 , 27.3% ) and about half of them were using alcohol ( 114 , 54.5% ) . prevalence was comparatively higher among less than 30 years age group ( 48.9% ) and in the group with education between 1 and 7 grade ( 53.2% ) [ table 2 ] . pattern of injury according to socio - demographic characteristics prevalence was found to be comparatively higher among those who did not have institutional training and use alcohol ; and both the above factors were found to be significantly associated with more than 10 injuries in univariate analysis [ table 3 ] . multiple logistic regression analysis showed that age less than 30 years ( or = 5.19 ) , tobacco use ( or = 2.56 ) , alcohol use ( or = 3.96 ) and institutional training ( or = 0.10 ) were independently associated with more than 10 injuries [ table 4 ] . pattern of injury according to associated risk factors : univariate analysis correlates of injuries among welders : multiple logistic regression analysis well - documented studies to determine the epidemiology of injuries among welders at work place are very few at global level . the fact that majority of them had more than 2 injuries and proportion of those with more than 10 injuries is 44% in the previous year is a matter of concern . a recent study in a metal smelting industry in india reported that incidence rate of injuries varied from 40.7 to 85.8 per thousand exposed workers . our study gives valuable information regarding the burden and associated risk factors of injury among welders in this part of the country , which can be used by the concerned authorities to develop appropriate interventional measures . a recent study from nigeria showed that 85.3% of the welders had at least one injury in the preceding year . another study found that 105 injuries were reported by 61 welders out of 208 welders in the past 6 months . a study done in pakistan showed that 18.7% welders reported an injury in the past 3 months , while 30.3% welders reported sustaining an injury in the past twelve months . the difference in injuries reported in various countries may be due to the difference in methodology adopted , socio - cultural and regulatory factors adopted by concerned states . the most common injuries sustained in our study were abrasions , lacerations , contusions and eye injuries which are comparatively more than other studies . also , around half of them had afflicted with each condition of waist / back pain , burns and metal fume fever . this is in spite of the fact that majority of them were working for less than 8 hours a day and were aware regarding this hazard . our study highlighted the fact that predictors of injury includes age less than 30 years , alcohol use , tobacco use and lack of institutional training . a recent study showed that injury is more common among younger age group and those without training . in view of the above finding , it is suggested that adopting the sustainable behavioral change practices for the prevention of injuries through training and adoption of personal protective measures is an important step to be considered . nearly half of the subjects belonged to age group of less than 30 years ( 43% , 90 ) . they are five times higher at risk of developing more than 10 injuries as compared to the above 50 years age group injuries were noted only in males in this study because only males were employed and this is likely to be due to the fact that welding employs males commonly in this region . all the study participants were literate in contrast to nigerian study which reported 7.6% illiterates . although literacy will help in understanding of basic safety measures , here we did not find any association . this may be because of lack of awareness to safety measures ( 36% , 75 ) and utilization of all relevant safety measures during working hours . one of the important injuries among welders in our study is the flash injury called the arc eye . this causes a red eye with feeling of sands in the eye due to inflammation . eye injuries occur most frequently in metal - work industries and cold particles , most often metal are the most common source of injury . a study done in the usa found that eye injuries accounted for 25% of all claims for welders . subjects were mainly males ( 97.1% ) and from manufacturing ( 70.4% ) , service ( 11.8% ) , or construction ( 8.4%)-related industries . most injuries reported in another study were foreign body in the eye ( 71.7% ) or burns ( 22.2% ) which were comparatively lesser than our study . the commonest ocular injury was metallic foreign body followed by photo keratitis and conjunctivitis in this study and three fourth ( 76.5% ) of them were aged below 40 years ; and these results are comparable to another study . about one fourth of subjects had hearing impairment in this study , while it was 7% in another study . the cross sectional study nature and recall bias are the limitations of the study . because of feasibility constraints longitudinal studies will be required to look further into the role of associated factors of injury among welders . the cross sectional study nature and recall bias are the limitations of the study . because of feasibility constraints longitudinal studies will be required to look further into the role of associated factors of injury among welders . injury among welders is an important public health problem in this area , in the context of high prevalence rate and larger involvement of at risk worker population in welding metal industries . strategies for reducing the tobacco and alcohol use and strengthening of institutional training especially for younger age groups may help in decreasing the burden of injuries in this vulnerable group .	pubmed
Bleach, Naruto 1. Chapter 1 **** Naruto's Great journey part 1 Ok everyone here's another story but this story will become a series called The DS series. This series is about Fate and Shinigami asking Naruto to go to different universes and dimensions and help to save the world from darkness. All the stories will be a Naruto crossover with different other shows. The first one is of course bleach! Ok, let's start this story of with how this came to be. The story is going to be in 1st person which will be Naruto. Character will be OOC. Sorry for my spelling and grammar! *** Prologue* (1st person) Hello, everyone! My name is Naruto Uzumaki Namikaze, the Jinchūriki of nine tail fox, Kurama. Well Former Jinchūriki of the nine tail fox, I am currently dead. You wondering how I died well…I could blame Kurama for that. That damn fox's charka finally took me out (1). *It turns out not even I can survive it. Kurama couldn't take the poison out of the charka. So I died at age 33! I didn't even live a full life. I mean I thought I could finally relax after I killed Madara and Sasuke Uchiha. I mean I have four beautiful wives back home waiting to be…well I am not going to finish that sentence but you get the idea. Yes, I know four wives! I hit the jackpot! Damn you Pervy Sage! You corrupt me!* I know you want the life story of me but you know most of it but I will tell the rest after I defeated the two Uchiha(s). Defeating the two Uchiha(s) was a pain in the butt, I had enough trouble defeating one Uchiha but add another one plus with another set of Eternal Mangekyō Sharingan. One was problem but two don't get me started how troublesome it was to face. It was two against one and the odds wasn't with me but somehow I did it. It took three days of fighting but I finally manage to kill Sasuke Uchiha and Madara Uchiha with Kurama's help. I never felt so tired after battle. I didn't even notice I passed out few minutes after the battle was done. I woke up four days later in a hospital. You guys know how much I hate hospitals, heck when I woke up, I got up and ready to leave but Sakura-chan knew what was about to do and force me to go back to bed. (Naruto's age is 18) I spent a week in the hospital but I wasn't alone everyone I knew came to congratulate me on the fight even Sakura did. I mean I thought she would hate or least held a grudge against me because I killed Sasuke but to my surprise she didn't. She told me, I did the right thing and killed Sasuke. I was happy, she finally let go of the crush she had for Sasuke. While I was at the hospital, I remembered Hinata's confession about her love for me. I remembered it throughout the war. She risked her own life to save me from Pain, when he had me nailed down to the ground. But what people didn't know is that I knew about Hinata's feelings about me since we were eleven. I liked Hinata and Sakura but I couldn't date Hinata since she was from a prestigious family. So, I went for Sakura. But now I had a chance to date Hinata because I am the son of Minato Namikaze and Kushina Uzumaki. The day I asked Hinata out on date was the last day I need to stay in the hospital. Of course when I asked out Hinata, she turned back to the shy little girl she was. She started to fumble with fingers again trying answer. It was funny to see but after few minutes she finally said yes…well she yelled out yes. I climbed out of bed and kissed her on the forehead just I thought Hinata change, she fainted again. The date with Hinata was fantastic; we went out to lunch, for a walk and watching the sunset. I thought it was corny but she loved it. It was start to a beautiful relationship between me and Hinata. The day after the date with Hinata I got a message from the Hyūga clan leader, Hiashi Hyūga, which so happens to be Hinata's father. I thought he was going to tell me to stay away from Hinata but he was happy that Hinata was happy dating me, so he allow me to date her and if it goes to the stage of marriage, I have his blessing. Which I got me excited because it got me thinking about a family I always wanted. Life was amazing for the years to come. I became a Jōnin then hokage at age 20. Tsunade was happy about because she finally doesn't need to do anymore paper work. She started taunting me about it but of course I had plan. The plan has only three words… Shadow clone Jutsu. I was laughing at Tsunade but only in the inside because I didn't want to her to know. She was going crazy trying to figure out how I was getting the paperwork done quickly. So after a while I finally told her, she went nuts! She started to destroy everything around her. I was laughing while she was doing this. After she calm down, she asked when did I figure out the secret to defeating paper work, I told her since the day I learn how to train with shadow clone Jutsu. She started to attack me. Everything was great I had girlfriend, I was the hokage and there was no more war. Finally after dating Hinata for couple of years I finally asked her to marry me (Naruto's age is 21.). She yelled out yes instantly after I finished asking her. I asked her to marry me around our friends and family. While I was hugging Hinata, I saw three ladies with down looks. Which surprise me back then, I didn't know other ladies had feelings for me. I told Hinata about this, she asked which ladies. I told Hinata the ladies' name. I told Hinata the first two names; Sakura and Ino but when I got to the last woman well she and I were shocked. When I saw the women I thought she was sad because the women didn't get married before her boyfriend's death. The woman was Kurenai Yūhi. At the time I was helping her taking care of her baby Asuma JR while she does missions or when she goes hangs out with her friends. Hinata was skeptical about Kurenai but not Ino and Sakura. Hinata told me Ino and Sakura started to fall in love with me during the war even if they didn't show it. What Hinata suggest for me to do is to date Ino, Sakura and maybe Kurenai if she does like me. I told her no, I don't want anyone else but her. She smiled at me but turn very quickly to anger threatening me to date them or I will lose my manhood. I asked why. She told me, this is way for, Kami and Fate to repay me for the mistreatment as a child. I told her no I am happy with her and don't want to date or marry anyone else. To my surprise she grabbed my manhood and started to squeezed them tighter until I agreed. I was shocked she would force me to date other women while I date her at the same time. I told Hinata that I would only date them if they truly like me and would be okay with sharing. She agreed and I asked the ladies if they really did have feelings for me, each of them said they started to fall in love with me for while but couldn't ask me out or tell their feeling because they thought they would hurt Hinata. I asked them on date to see if it will work out; of course when I asked they were furious I was considering cheating on Hinata. They were about to slap me until I quickly add that it was Hinata's idea. Each of them hesitated to agree because they didn't think it would be Hinata's idea to date all three of them but in the end they did agree. Two months after I started to date Sakura, Ino, and Kurenai, I got married with Hinata on top of my father's head on the hokage's Monument. It was the one of best day of my life. It was wonderful day nothing went wrong. It took three extra months for me to get married with Sakura, Ino, and Kurenai. Hinata was already month pregnant by the time I asked Kurenai, Ino and Sakura to marry me. I was happy that I was finally having a daughter or son. It turned out to be twins; boy and a girl. Their names are Jiro and Kushina. Everyone was so happy, all of our friends congratulate us for having a babies. After that Sakura, Ino, and Kurenai followed with their own child but each of them only gave birth to one child each. Sakura had girl named Tina, Ino had a boy named Mack, and Kurenai had girl name Anko. After that nothing else special happen except at age 30, I found out I was going to die in three years! When I heard the news I was shocked. Kyūbi told me his charka is finally killing me. I told him it couldn't happen, since my charka paths' should have adjusted to his charka. Kyūbi told me it was suppose to but he told me because I used his charka for three days straight without stopping his charka slowly got into my organs. He tried to take away the poison away but couldn't. I had to give the bad news to my wives. Each of them was not happy at all specially Kurenai because she already lost a lover. They didn't like it so we tried everything to take out the poison out my system but nothing worked. We stopped after 2 years so I could have my last year peaceful. Finally 4 months after my 33 birthday I died in my sleep. Now here I am in front of Fate and Shinigami. They said they have a request for me. I don't know what request they have for me but they about to tell me. "So what is the request do you have for me and what do I get for doing this request?" I asked. Fate floats towards me and stop 10 feet away from me. "We want you to go to other worlds and help save the worlds from darkness and for helping us we have special world for you, your family and friends could live at forever." Fate said. Naruto wasn't expecting that. 'They want me to save other worlds! I just finished saving my world but having a special world just for me, my family and friends sound great! I will do it plus it will give me something to do other then waiting for my wives to get here.' I thought. "Sure, I will do it but can I go tell my wives first?" I asked. Fate and Shinigami look at each other silently talking each other. Finally after few minutes they turn to me. "Sure but there's few people who wants to talk to you." Fate said as couple people appeared behind fate. I look behind fate and see Jiraiya, Asuma, my dad Minato Namikaze and my mother Kushina Uzumaki. I smile at them and run toward them. My mom and dad has smile on their face. I got close to my parents only do a round house kick to my dad's face sending him flying. I look at my mom and she looks shocked at what I did, while Jiraiya and Asuma were laughing. I go up to her and give her a big hug. "Hi mom!" I said Few minutes pass when she finally realized I said something. "Hi, Naruto. Why did you kick your father? He looks like he knocked out." Kushina said. "The reason, I kicked dad is because I want to greet you without dad here. Plus I like you more." I said with grin. Mom smiles at me and hugs me hard. I guess she is happy that I revealed she is my favorite parent. "I am so happy that my son loves me more then his father." She said as she hugs me. I finally see my dad getting up from that I gave him. He starts to wal…stomp towards me. "Awww… didn't you like my kick daddy?" I said with childish voice. I could hear Jiraiya and Asuma laugh, while I hear mom giggle. "No! Why did you kick me? I am your father!" He said. "I kicked you because I wanted to greet my mom without you near me." I said with grin. I could tell dad didn't like my response. "Now, I could say hi dad! How are you?" I said still having the grin on my face. "I am _fine_!" My dad said. I turned to Asuma and Jiraiya. "Hello Asuma! Hello pervy sage!" I said. "Hello Naruto." Asuma said while Jiraiya got tick mark on his forehead. "Hello brat!" Jiraiya said "Now I said hi to all four of you. What do you guys want to talk about?" I asked them. "Me and your father just wanted to say good luck on your trip to save the worlds." My mom said. "We knew you were going to do this. We also wanted to tell you when you're done playing hero we be here waiting for you." Kushina said. "I just want to give you my full collection of Icha Icha series to help with the ladies." Pervy sage said to me in hush voice so no can hear. I guess my mom would hate it if she knew he was giving me his collection of Icha Icha series. "Ohhhh mooom Pervy sage just gave me his whole collection of his series Icha Icha!" I yelled out. Instantly you could see the fear pervy sage's eyes. I look towards my mom and tell she didn't like that pervy sage gave me his collection. Pervy sage starts running away while mom starts chasing after her. I turn my attention back to Asuma. I have this gut feeling this is about Kurenai his ex lover. "I guess you came to talk me about Kurenai?" I asked Asuma. He nodded. "Yes, even though I should be mad at you. I am not; I am that Kurenai fell in love with someone else but she has the right to love someone else. I also want to thank you for taking care of my son when I couldn't." Asuma said with smile. "You're welcome Asuma JR. was very cute baby then he turn into a great respectable teen just like you but hopefully he doesn't pick up your smoking problem." I said. Asuma chuckle "Yea, he did become a fine teen. I have been looking over him ever since he was born. He became very strong ever since he started ninja academy. I just wish I could be there for him but at least you were there for him." Asuma said. I sighed "I am sorry that you could be there for hi…" Asuma interpret me. "It wasn't your fault." Asuma said. "But it was my fault if I wasn't in Konoha at the time you won't been killed. It was because of me that you went to face Hidan and Kakuzu." I said as Asuma shook his head. "Don't worry about it. Yes, it sucks that died but maybe it was for the best." Asuma said. "So losing your lover, who you love, to another man is for the best?" I said to him. "No but I fell in love with another here in the afterlife." Asuma said. I raised one of my eyebrows at him. "Well that's nice at least you got someone else." I said. "Yea, I know you going to go back tell your wives about your trip but can you tell Kurenai that I love her but I can't be with her no more and to my son that I be watching over him." Asuma asked. "Sure I will do that." I said. Asuma nods and walks away while fading with every step. I look around and see no one around. 'I guess dad left while I was talking to Asuma.' I thought just as Fate and Shinigami reappeared in front in of me. "Alright, we about to send you back to Konoha just until done talking to your family, alright." Fate said. I nod to them. Both fate and Shinigami mutter something then my vision turns black. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXX (This part will be in Third person) In a three story house there is a group of people who are mourning for the lost of Naruto Uzumaki Namikaze. This group people knew this day was coming. They just wish they could of said goodbye to him. The group people is Naruto's family; Hinata Hyūga Uzumaki Namikaze, Ino Yamanaka Uzumaki Namikaze, Sakura Haruno Uzumaki Namikaze, Kurenai Yūhi Uzumaki Namikaze, Jiro Uzumaki Namikaze, Kushina Uzumaki Namikaze, Tina Uzumaki Namikaze, Mack Uzumaki Namikaze, Anko Uzumaki Namikaze, and Asuma Jr. Sarutobi. Each of them are crying in the living room for the loss of their husband/father/stepfather. None of them notice a small hole appeared in the middle of the living room. (Back to Naruto's Pov) 'Wow, they are taking it hard.' I thought as I look around. I felt it time to let them know I am back for a bit. I cough to get their attention. The first one to look up was my first wife Hinata. She leaps up to hugs me and yells out. "Naruto!" I smiled as I gave her hug. Everyone looks up instantly; you see the shock on everyone's face when they look up but that didn't last as everyone came to hug me. "Hello everyone!" I said "How…" Hinata said. "How are you alive again?" she asked. "I am not alive; I am just here to tell you guys some things before I go." I said. "But…but, why?" Sakura ask this time. "Because I die, I can't live in this world no more." I said to them. "I know, you guys are sad because of my death but please don't, we knew this day was coming for long time. I want you to know when you die, you guys won't see me for while." I said to them. Of course this cause them to be confuse. "Why?" Ino asked. "Fate and Shinigami have request for me to help other worlds from darkness." I said. And from the looks of it they are not happy. Hinata spoke up. "They asked you to save others worlds! You better get something in return for doing this!" Hinata said angrily. Everyone step back in fear. They knew not to anger Hinata. She is nice, kind and very friendly but get her angry you will face someone you wish you didn't. "Yes I did, I am getting a special world for myself, our friends and family." I said to Hinata. She did not like the answer. "That's all!" Hinata yells out. She looks like she about to yell again but she got a look in her eye that I seen before. It was the same look when she wanted me to date the other three ladies. "Hinata don't even think about it. I already have you four wonderful and beautiful ladies, I don't need any more." I said to her but it was the wrong thing to say. She quickly grabs my manhood and starts to squeeze them. "I don't care if what you want. I am telling you, YOU going to get more! If you don't then when I see you again I rip your manhood off and I will ask Fate, Kami, or even Shinigami to grow you another and I will rip it off again but even more slowly. Do you understand?" Hinata said as she squeezes my balls. I finally had enough of her hurting my balls, so I yell out. "Alright! I will get more lovers! Just please let go." I yelled. She quickly got a smile on her face. "Good, you made the right choice." Hinata said. I look over to others and they look shock at Hinata. "I don't get why you want me to get more lovers. A normal wife wouldn't want their husband to get more lovers." I mutter to myself but clearly Hinata and rest of my family heard it. "True, I clearly want you for myself but I also want a big family. If I have to share you with others to get a big family then so be it." Hinata said. I never knew she wanted a big family. I quickly hugged Hinata. I whispered to her. "If you what a big family then I will give you big family." I could feel her smiled against me. "Thank you!" Hinata said. After giving her hug I turn my attention to Kurenai. "Kurenai during my talk with Fate and Shinigami they brought out my parents, Jiraiya and your ex-lover Asuma. During my talk with your ex, he said that he loves you but can't be with you since he fell in love with someone else." Naruto said with frown. Even though he won't admit to anyone, he was happy that Asuma found else to love. He didn't want to lose Kurenai but he wouldn't stop her should she leave him for Asuma. Kurenai had frowned on her when she heard Asuma fall in love with another but who could blame him, she did the same thing. She loves Asuma but she loves Naruto more. The day she married Naruto, she silently vowed to herself that Naruto would be her only and last lover no matter what. Little did she know Sakura, Ino and Hinata made that same vowed. "He also said that he be watching you Asuma Jr." I said to Asuma. He smiled knowing his father is watching over him. "Now before I leave I have things to tell you(Asuma), Jiro, and Kushina; you guys are the oldest of the children you have be strong for the family. Remember protect each other! Hinata, Sakura, Kurenai, and Ino in the vault is my father's technique; Rasengan and the Hiraishin no Jutsu. I want you guys to try to teach them soon but only Rasengan. The Hiraishin no Jutsu is bit to dangerous for them now. I give you guys challenge, I learned the Rasengan in three weeks and mastered it 1 week. So whoever beats my recorded mastering in month gets a tip on finishing the Rasengan." Naruto said. The children were confused. If they mastered the Rasengan, why would they need a tip to finishing it. Naruto sees the confuse faces and remembered no one born after fourth Shinobi World War knows about his Fūton: Rasenshuriken. "Alright, we told everyone to keep my Fūton: Rasenshuriken a secret from everyone. Come on outside." Naruto said as they went outside. "Alright, their a secret about the Rasengan that no one knows expect for few." Naruto said as he made a Rasengan in his right palm. He smash the Rasengan on side of a tree. You could clearly see a huge piece missing. "As you can see it very strong Jutsu but people don't know is the Rasengan is incomplete Jutsu" Naruto said. his children didn't see how it was incomplete. It looks like it was a perfect Jutsu. "Daddy, how is it incomplete? It looks perfect to us." Kushina asks. "It was perfect but it missing something that could make it stronger. Can you guys figure it out?" Naruto asks. His daughter with Sakura said "Your Affinity!" Tina said. "Correct, lucky you guys don't have wind release. You six have either water or fire Affinity. If had wind, lighting, or earth Affinity I won't allow you guys to even to learn it." Naruto said. "Why?" Mack asks his father. "Because it's too dangerous to even try to learn them without having a Bijū. Wind and lighting Rasengans are harmful to your hands that you won't be able to use charka no more. I was lucky I had Kyuubi to repair the damages. You guys aren't lucky, you guys have do have faster regeneration due to having some of Kyuubi's charka expect you Asuma. But that still won't help you if try to learn wind and lighting Rasengan. Now you guys have a challenge! Its time for me to leave. I will see you guys later." Naruto said as he faded away leaving his family for the finally time until he done saving the first world. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXX I reappear in front of Fate and Shinigami. "I am back and thanks for letting me say goodbye to my family." I said to them. "It's no problem. Anyways on to what world you are going to start helping. Shinigami has a new world that has unforeseen events later on. You will as human but you live for long time and I mean a long time. The darkness won't start for another 2400 years. During the time you have to wait you can anything you want. Look for a guy name Ichigo Kurosaki, he is the main saver of this world. All you need to do to is help him but if he fails you be the one to save the world. You will have your charka and a Zanpakutō." Fate said. "What are Zanpakutō?" I ask. "Each Shinigami carries a Zanpakutō, and each Zanpakutō is unique: as the swords are both reflections of a Shinigami's soul and power, and sentient beings unto themselves. The Zanpakutō's name is also the name of the living spirit that empowers the sword and lends its strength to the Shinigami who wields it. These beings can vary greatly in appearance and have their own distinct personalities which match their owner's." Shinigami said. (Note: this paragraph was taken by wiki/Zanpakut%C5%8D) "I see is there anything else before I go to this new world?' I asks them. "Yes, in 300 years I will visit you again to send you to Soul Society. There's one more thing that we have to warn you." Shinigami said. "What is it?" I asks but I regret it. "You still have Kyuubi seal within you but don't worry you can use his powers with any problem. Not even if you use for 3 day straight. The only thing is that you will hear him complain a lot." Shinigami told me. 'Man, I have to deal with him again. It's going to be long life.' I thought to myself. "Is that all?" I said it "Yes! See you in 300 years!" Shinigami said as he and Fate put their fingers on his forehead. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXX The end for this chapter! Now for people saying is Naruto going to be overpowered? Yes he is! Naruto won't kill Aizen. That's Ichigo job! Naruto's job is to help Ichigo to grow stronger. Yes, Naruto will fight Aizen but he will just be toying with him. Now when I am going end this story! When Aizen dies that's when I am going to end it! Of course they will be epilogue chapter in the end! Now for Naruto's harem! Yes Kurenai, Hinata, Sakura, and Ino are already in it! They won't show up in this story any more until the epilogue. They will be mention during the course of this story. For Naruto's harem, Orihime Inoue Suì-Fēng Momo Hinamori Rangiku Matsumoto Tier Harribel Nelliel Tu Odelschwanck and Lisa Yadōmaru This is not the final paring! See you guys later 2. Chapter 2 Chapter 2 Here I am with the second chapter of Naruto's Great journey part 1. This story is in first person. Naruto has been alive for 2400 years in the world of Bleach. This chapter starts couple of days before Rukia Kuchiki shows up. Hisana Kuchiki is still alive is with Naruto. I explain in this chapter how she is still alive. I am replacing Nelliel Tu Odelschwanck with Hisana Kuchiki. This chapter is going to tell you what Naruto did for 2400 years of life. I won't be telling everything little thing he did. Please don't flame! Disclaimer: All characters are not mine! I don't make money out of this story! Time frame: Naruto Arrived in Bleach world 300 years before Genryūsai Shigekuni Yamamoto made or founded Shinigami Academy! Also the time frame will be off but that's because I want it! There also a huge time skip! Naruto is hiding all his powers! No one can detect him unless he wants people to find him. In this chapter Naruto will be talking to an audience which is you guys who are reading this story. Naruto character's will be mention or appear in flashbacks. Only one Naruto character including Naruto will appear and can you guess who and how he or she will appear? Also Bleach story line will change. Somethings will stay the same but other things won't! XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX Chapter 1 Hello again this is Naruto Uzumaki Namikaze! Now you are wondering where am I…well I am here at Karakura High School located in Karakura Town. Believe it or not I am freaking P.E teacher! Why am I here working as P.E teacher because Ichigo goes to this school. I was ordered not to interact with him until he gets his Shinigami's powers by 'Spirit king'. Shinigami loves that nickname that Soul Society given him but to me he is Ero-King! I thought my godfather Jiraiya was pervert but Shinigami is a bigger pervert then my godfather. Let just say women who are evil and hate perverts better change their ways. Anyways back to what I was saying I wasn't allowed to tell him anything. I had to wait until he gets his Shinigami's power around age 15. Fortunately, Ichigo turned 15 this year! So I am close to quitting this job! Now I just need wait until Ichigo gets his power. I lived long enough in this world. I have lived around 2000 years. I spent 300 years in human world in the beginning training in everything I knew and my new Zanpakutō. While I was training, I always hunt for my food from rabbit, wolves, deer, and more different animals. It took me about 3 months until I found out my Zanpakutō spirit's name. I also learned my Zanpakutō's Shikai and Bankai. I will tell you later! My Zanpakutō's seal state looks like a regular Kanata but with a handle having two red fox tails. While I was learning about my Zanpakutō, I used hundreds of shadow clone to practice my shinobi skills specially my Genjutsu. Normally a Jinchūriki like myself couldn't even use Genjutsu but being able to live for long time and train in charka control for long time can allow someone to learn Genjutsu. After 300 years give or take some years, Shinigami came to see me and send me to Soul Society. I didn't go as myself because didn't want them to know about my abilities. Shinigami gave me advice that I should pretend that I shouldn't didn't have the other forms of my Zanpakutō. My Zanpakutō wasn't pleased with Shinigami. She really loves to be out in her Bankai or Shikai state. After much argue we made an agreement to let her out to kill some Hollows every 2 months and I use her Shikai state. I spent most of the years here. I met interesting people here in Soul Society. I also met _him_, the one who supposes to bring darkness to this world. It wasn't hard to figure out it was him. I could tell he was lying about his sword abilities. Someone told me, Aizen's Zanpakutō abilities. I knew, its true abilities...kind of. Something to do with hypnosis, Aizen tried to use it on me. Well least say, I mislead him. Haha! The reason he can't use it on me is because of Kyūbi. Kyūbi keeps my defenses up on high every day, nothing can control Kyūbi unless is with the Eternal Mangekyō Sharingan which one here has, so it useless on me. Kyūbi could sense Aizen's hypnosis and cancel it out while he tricks Aizen that I am under his hypnosis. I was safe during the time I spent in Soul Society but someone saw my real identity by accident. I drop my Henge in forest and I wasn't paying attention to my surroundings. Thankfully it wasn't Aizen or any of his 'friends'. It was Hisana Kuchiki from the Kuchiki Family. She was married to Byakuya Kuchiki. I remember that encounter very well… _(Flashback)_ '_Man I hate using henge it bugs me.' I thought as I drop my henge. I was about to lay down to see the sky but I just heard a gasp. I quickly turn to see Ms. Kuchiki standing there with her mouth open. I quickly slap myself in head for not paying attention to my surroundings. I went towards Ms. Kuchiki and close her mouth for her._ "_So what brings you out here, Ms. Kuchiki?" I ask her. I have a lot of explaining to do. I waited a bit for her answer as she is in shock. "I…saw you…heading into the forest wanted to see why? How did you change appearance?" Hisana asks. How did I be so careless?_ "_Just say I am not what I appear to be and leave at that." I said to her with smile. My smile brought a blush on her face. "So, why are hiding your true self from everyone?" Hisana asks me. For some reason, I feel like I could tell her anything and she won't tell a soul. "Orders." I said. She raises looks at me within differences. "Orders? From the higher up?" She ask me. I hate answering questions. "Yes I got orders. Anyways I have a question why are you out here" I ask her. She looks conflicted about why she out here. Hisana is mystery to me. I never took interest in her. All I know she married Byakuya 2 years ago. __(A/N: I don't the time frame in bleach, when it happens if someone out there does tell me so I fix it!) __I really want to get to know her. Never did I think Byakuya would marry an outsider __(I don't know what a outside is called. I try to look over the shows but it will take to longer.) __I wonder how she captured his heart. _ "_I was looking for my sister?" She said. "Who is your sister?"I asked her. 'Weird I didn't hear she had a sister. "You don't know her. No one does, I don't even deserve to be called her sister." She yells out. _ "_Why?" I ask her. "I mean everyone is deserves to be called a sister or a brother if they have one." I said to her. What could of happen that she doesn't be called her a sister._ "_Her name is Rukia, when Rukia and I got here we were together but she was just a little baby at that time. We were in district 78 in the Rukongai districts. I did regret what did to Rukia, I left here in alley by herself as baby because I couldn't take care of her." She said. Now, normally I would burst into anger if anyone done this but living as long as me I kept my cool that and I also met little Rukia two months ago. "Hmm, what happens when you find her?" I ask her, I wonder what's her intention, when she finds her. "I want to help out but I could never tell her that I am her older sister. Like I said I don't deserve to be called her sister again." She told me. "That's going to be difficult because she looks just like you." I said. Her eyes quickly open as wide a moon. _ "_You met her?" She asks with hope. "I have met her once, she is a troublemaker but she has friends that are her family." I said to her. I see her smile but turn into a frown. "I want you to look after her." she said to me. "Why should I?" I ask. "If you won't I will tell everyone your true appearance!" She said as yells at me. 'I like this girl.' I thought._ "_Are you blackmailing me?" I ask her with serious face. She didn't back down not even fear in her eyes. "Yes I am!" she said. I smile at her and said. "I got to say, you got a backbone. You not even a Shinigami and you are still blackmailing me knowing I could kill you in a second." I said. I stare at her looking for fear but I see is determination. "You have guts I give you that. Sure I will look after her." I said as walked away. "Meet me here next week in the morning." I said to her as I disappear to the sunset._ _(End of flashback)_ Just like she asked I took care of her, it was easy since I always have a shadow clone looking after her. When she met me again I told her how Rukia was doing and some personal questions. We talked every week but fifth year in her marriage she had Illness that was killing her. I saw how ill she got over the couple of days. I tried everything to heal her but I couldn't do anything until Kyūbi told me to use his chakra. I didn't want to do it, it could kill her and I don't want that but Kyūbi told me it won't kill her. So I took a chance used Kyūbi's chakra to heal her. She healed perfectly, she was up and running. She thanked me by kissing me on the lips. Both she and I were shocked. She quickly apologized about kissing me. I said to her _"I don't mind being kissing but you married to Byakuya." _She cried on me, while she was crying saying how could she cheat on him or I could never look him in the eye again. After while she cried herself out, I had to stay there until she woke up. She woke up and decided to be honest to Byakuya. I didn't hear from her for 2 weeks. During that time I thought I would have to face Byakuya because Hisana kissed me but finally after I saw her she like fine. I asked her what happen. Her answer was shocking. It turns out both Hisana and Byakuya love other people. Hisana fell for me and Byakuya fell in love with Isane Kotetsu. (A/N: If you don't like this then to bad! Its my story!) During the time she was gone, she wasn't punished but she told to leave the Kuchiki family. I asked her where is living? She said at Kuchiki family house until she could find place to stay. I asked her if she wanted to stay with me. She said she love too, she also told me that she made request to Byakuya to try to adopt her little sister. We didn't get to find out if Byakuya adopt little Rukia. We left 3 weeks after I asked her to move in. We went to the human world for the last 200 hundreds years (1). During the last 200 hundreds we spent learning everything in the human world. I also used shadow clone to go to school since I am technically still human and everyone could see me not like Hisana but that all change when Kyūbi told me how to revive her. Kyūbi also said I could only do this six times but he has to wait 3 years each time he uses this move. He quickly used it on Hisana to get a real body. Hisana was happy that she got to live again but quickly turn into sadness. She wished Rukia could be able to live again. I told her, she will be able to but not until we defeat him. A week later after she woke up, she found she had a Zanpakutō in her hands. I trained her while she was in school. Now she close to Lieutenant in power. During this time Hisana and I got married to each other but before I proposed to her I told her everything about me. She took it really well, she didn't care if she has to share me as long as I love her the same. I really was happy she understood and still loves me back. After waiting for 2000 something years, Ichigo finally showed up. I noticed he was nice and kind boy but that all change when his mother died at age 9. He changed after that, he rarely smiles and now he always seem to be mad at something or someone. I could tell, he was strong but he still sloppy stance that will get him killed if no one fixes it. I really hope Ero-king is right about this kid… XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX (The day after Rukia shows up) "Hello Hisana." I said to Hisana who is cooking breakfast for me and her. Hisana is a beautiful woman. She is 5 feet and 5 inches, she has black hair with strands of hair that fell across Hisana's face, and her eyes were purple with hint of blue. She is wearing black t-shirt with logo of a cat sleeping in yellow and she is also wearing black pants. She works at the same place I do but as a senior's math teacher. "Hello dear, food is almost ready." Hisana said. She loves to cook ever since we came to the human world. "Hey, did you feel that Reiryoku last night?" I ask her. She nods to me. "Yea, he or she is a Lieutenant. Do you think Ichigo will get his powers soon?" she asks. "I really think he will but when he gets his powers we will wait before we do anything. I don't think he will want the responsibility of being a Shinigami that fast." I said. "Do you really think Ichigo will succeed at defeating Aizen?" Hisana ask. "I really think he will but it won't anytime soon. Ichigo does have a lot of Reiryoku in him even greater then Aizen but its too wild to control." I said as Hisana puts the food on the table. Today she didn't make anything crazy but she did make my favorite food in whole universe Ramen! I quickly ate my serving of ramen while Hisana ate her ramen in moderate pace. "That could be problem, what do you think the people around him. Do you think they could be affect by him when he gets powers?" Hisana asks me with curious look. "Most likely they be affect, I just hope its for the better and not for the worst." I said to her. She is hoping for the same. She didn't want them to be hurt but soon darkness will try to take over. If they are involve then they need to be train as soon as possible. "Let's get going to for us to get to work." I said. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX *(Normal P.O.V.) Next day! The first time Ichigo and Rukia meet.* Ichigo Kurosaki is a 15 year old teenage boy that has orange spiky with usual angry look. He is a average high school except he could see spirits ever since he could remember. But lately he started to see more and more spirits and he doesn't know why. He has feeling that everything is going to change. He doesn't know how but it will. Ichigo fought five people yesterday who disrespected a site where a girl died. Right now he is going to the place where the girl died to put new flowers. When he got there, he didn't sense the girl or see her. He yells out for her but didn't get response but he did hear roar. He went to investigate the strange sound. He finally found where the sound was coming from and found a huge creature. This creature resembles a giant mantis but this creature has a white mask with big giant hole in his chest. The same dead little girl, he was looking for was running toward him. He saw the creature look at him and starts to run at his direction. Ichigo starts running away from the creature with little girl. Sadly the girl trips, so he needs to go get her. "Get up! We have to get going!" Ichigo said. The creature is closing up on them but before creature got to close a woman appears in front of him. This woman is wearing a black kimono with a katana in her hands. This woman slashes her katana horizontal across the creature's mouth then vertical between the eyes of the creature killing the monster. The woman left without a word after killing the monster. "Hey wait!" Ichigo said but the woman didn't listen. Little did they know a certain blue eye was watching the whole thing. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX (Nighttime) (Naruto's P.O.V) 'Hmm its seems the hollow is coming here, that hollow also seem to leave that little girl alone as well. I guess that hollow senses Ichigo's Reiryoku. It seems Rukia is coming as well. Let's see whats happens.' I thought. I see Rukia, who just looks like Hisana go into Ichigo's room. 'Let's get a closer look.' I thought to myself. I enter the house without problem. I enter Ichigo's room without Rukia and Ichigo knowing. Rukia is explaining to Ichigo about Shinigami, Soul Society, and other things. Right now I could see Ichigo doesn't believe anything she says. He thinks its all nonsense. "That's all believable along with flying pigs and tooth fairy!" Ichigo yells! 'Hmm it seems, he needs to be more convincing to believe in Shinigami(s). Let's see if this hollow whose coming will convince him of that.' I thought. I look over at Rukia. She is about to speak again. "How can you not believe me! You just admit to me that you can see spirits!" Rukia told Ichigo. Ichigo shakes his head. "I never heard or seen Shinigami before I don't believe in things I never heard of. Now go play your Shinigami game somewhere else brat." Ichigo said as he puts his hand on Ruki's head. "I'm a brat am I." Rukia said. 'So, she hates being called a brat. Too bad she is one.' I laugh inwardly. "Bakudō number 1: Sai!" Rukia said as Ichigo fell down face first with his hands behind his back. "What did you do to me?" Ichigo asks. "I used what its call kido. I just paralyze you so you can't move. Now I could do this." Rukia took out her Zanpakutō a use her hilt of her Zanpakutō on the soul's forehead sending the souls to the soul society. "What did you do to him?" Ichigo asks as he saw the same ghost from early disappear. "I sent him to the soul society. Where all souls go after Shinigami like me perform a Konsō." Rukia said. 'Let's leave here, the hollow is close to here. I want to see if Ichigo does gets his power today or not.' I thought as I left the room. 'Hmm this hollow is pretty strong. Let's see if they could handle it. If not I have to interfere and show myself.' I thought. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX (Normal P.O.V.) Naruto is across from the clinic on top of a roof. He conceal himself with a Genjutsu so no one would see him, not even the hollow can see him or sense him. The hollow punches the walls to the Kurosaki's clinic/home. Naruto could hear Karin and Yuzu cry's for help. Naruto wants to help them but it's there problem for now. He sees the hollow grabbing something which is a little girl. If it gets to dangerous he will kill the hollow for them. He hears Rukia yells out to Ichigo that if he keeps struggling the kido will hurt his soul. Moments later he sees Ichigo running towards the hollow with something in his hands trying to save his little sister. The hollow punches Ichigo whole body with his massive fist sending Ichigo to ground few feet away. "I found you!" the hollow says to Ichigo. The hollow was going to take the karin's life but is stop by Rukia. She slashes the hollow in the arm making the hollow retreat and letting go of Karin. Ichigo catches Karin before she falls to the ground. "Did you actually believe you were going kill or harm the hollow with a stool." Rukia said. "Well I wasn't going to wait and see my sister get murdered while I was watching?" Ichigo yells at Rukia. He didn't know why these hollows are attacking them. "Why is that hollow attacking us?" Ichigo ask. "Probably because he sense a lot of Reiryoku coming from you. You had a lot of Reiryoku inside you and must of come out when you touch the little girl." Rukia said Ichigo starts to realize that he's the one who put his family in danger. The same hollow came back. Ichigo runs towards him stops in front of him. "Hey you! You are after me, so and come and get me you crowd!" Ichigo yells at it. The hollow shoots his head toward Ichigo. "Oh no!" Rukia said as she took the blow instead of Ichigo. She fell down while the hollow moves back because he is hurt. "Do you want to help save your family?" Rukia said. Ichigo nods, he does want to save his family. "Then you must shove my Zanpakutō in middle of your being. You must become a Shinigami temporality. I am too injury to fight so if you want to save your family then become a Shinigami." Rukia said faintly as she is injury in her left shoulder. She picks her Zanpakutō with her right arm. She puts in the air, while Ichigo goes in front of her sword. "Then give me that blade Shinigami." Ichigo said as he puts his hands on Rukia's Zanpakutō. "My name is Rukia, Rukia Kuchiki." Rukia said. The hollow starts to attack them again. "My name is Ichigo Kurosaki." Ichigo said as both Rukia and Ichigo push/pulls the Zanpakutō into Ichigo. There was a flash where Ichigo and Rukia are and the next thing you know the hollow's left arm is chop off. The person, who chop off the hollow's left arm was none other then Ichigo Kurosaki. Ichigo outfit turn into what Rukia use to have, he also has a over sizes Zanpakutō. (If you don't know what it looks like just look for it in google or bleach (d0t) wikia .c0m) Ichigo runs towards the hollows and cuts off his other arm then finally he cuts the hollow straight down the middle from the mask to the feet. Ichigo runs towards Rukia to check if she is alright. "Are you alright?" Ichigo asks. "Yes I will recover it just take me all night." Rukia said. Just as Ichigo was about to help her out, Rukia and Ichigo heard clapping then a voice. "Well done Ichigo…" a mystery guy said. XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX End of chapter! I know its like the episode that's because I didn't want to change how Ichigo got his power the first time. This is where everything changes! Kind of…Ichigo will still face the same hollows he did in anime but he will also be little stronger! He is going to use his brain more. I will say this Naruto will fight in this story. Now I am going to answer one question some ask me. Someone said why did I add sasuke's fangirls as Naruto's wives? The answer is simple because I want too! if you don't like it then to bad. You don't need to read this story if you don't like it. This same person also said '_Naruto won't be doing anything except training the heroes of the dimensions he goes to. I think thats useless because Ichigo defeated Aizen anyway, he doesn't need Naruto's help. What's the point?'_ I didn't say Naruto would be training every main character or that Naruto won't be doing anything! Please don't try to put words in my mouth! You don't know how this story will go down! Naruto will be the main character in some of the stories I put in this series! Now onto the harem Orihime Inoue Suì-Fēng Momo Hinamori Rangiku Matsumoto Tier Harribel Hisana **Kuchiki and Lisa Yadōmaru There you have it the harem for now! I know why did I put Hisana Kuchiki in the harem, when she suppose to be dead well because I wanted too and since Naruto came to the bleach world he will be changing how this goes. See you guys in the next chapter! Oh before I go, I need to tell you guys the next chapter won't be out for while starting tomorrow 8/15/12, I will have to go to school again! No! Later! End file.	fanfiction
Where's all the light going in the universe? According to my knowledge, matter can not go faster than light, and light is emitted constantly in the universe from many types of reactions. If this is so, then isn't light constantly getting past all matter in the universe and so being lost. This would mean that energy is constantly being lost from the universe. If there is no evidence of this(is there?) then doesn't that mean that the light(energy) is coming back? And if so how? Cosmology usually adopts something called the "[Cosmological Principle](http://en.wikipedia.org/wiki/Cosmological_principle)", which is that, on large scales. the universe is homogeneous and isotropic. Therefore the universe looks the same wherever you are and looks the same in all directions. Thus light emitted from our part of the universe travels outwards and is received by distant parts of the universe sometime in the future. Light emitted from distant parts of the universe now will reach us sometime in the future. The light does not leave the universe, it just goes somewhere else. Likewise we continually receive light that was emitted from distant parts of the universe in the past. So, whilst the density of light energy can (and does) change, the energy contained in the light is not "lost" from the universe. > > If this is so, then isn't light constantly getting past all matter in the universe and so being lost. > > > It may be, but we have no way to know. We do not see far enough to see what happens on the edge of the material universe. Even if there is such edge and only vacuum beyond, energy of the material universe does not need to decrease, because there may be light present everywhere including that vacuum. The starlight are solar system receive contains much less energy than the sun emits; the conclusion is - it can't be sustainable, it can't be an eternal/stable system. Generally we can see that the sky is dark, and at non-visible wavelengths there is scant energy. Any significant energy emission a local object makes is unlikely to be returned. If there are infinite stars in the sky, why isn't it white? Light from stars beyond the edge of the observable universe cannot even reach us. You should not, then, be surprised that many currently popular theories suggest the universe is a changing system - but the changes are on a grand timescale. The wikipedia page on the ultimate fate of the universe might be an interesting read. If there are places in the universe where the space itself expands faster than the speed of light then the light could end up being trapped there. According to our current knowledge this is not the case on the edge of the black hole as light there cannot have stable position. It will fly away from the black hole or hit the singularity.	stackexchange/physics
Rearrangement of an oxyallyl cation I am supposed to predict the product of rearrangement of this cation, having been told that it's an oxyallyl cation: [![enter image description here](https://i.stack.imgur.com/GEUCn.png)](https://i.stack.imgur.com/GEUCn.png) I did have a look at the [Wikipedia entry](https://en.wikipedia.org/wiki/4%2B3_cycloaddition) (since it mentions "oxyallyl cation") and not even once does it mention such a compound as I have shown above. This question is from my high school text book chapter on "Aldehydes and Ketones", and I'm not sure I'm even supposed to know what to do here in the first place. Anyways, I did guess that the negatively charged oxygen atom will donate its lone pair to the positively charged carbon atom1, forming a three member hetero-ring. But, my book gives the correct answer as: [![enter image description here](https://i.stack.imgur.com/zJSTq.png)](https://i.stack.imgur.com/zJSTq.png) I'm not sure where they dumped the second oxygen atom (and from where they brought an extra carbon atom) to form this all-carbon ring. Also, is that $\ce{-OMe}$ at the ortho position only for ornamental purposes, or does it affect the mechanism in some way? --- Source: MS Chouhan; Advanced Problems In Organic Chemistry; 11th ed; page 218 in solution manual, Q91 chapter on Aldehydes and Ketones --- 1: Yeah I know that all these atoms are in conjugation and the charges are only partially negative/positive. Count carbon and oxygen atoms in the book's answer versus the original molecule, and infer that the book got it wrong. One of the carbon atoms in the book's answer should be oxygen. Question for you: Which one?	stackexchange/chemistry
Coryphellina rubrolineata is a species of sea slug, an aeolid nudibranch, a marine heterobranch mollusc in the family Flabellinidae. Description Coryphellina rubrolineata is a relatively large aeolid nudibranch growing to 42 mm in length. The stretched out body has a sharp end at the tail, the dorsal side is covered with a certain amount of extensions called cerata, which size vary from an animal to another. The rhinophores are pointed and look like feathers. The oral tentacles are thin, cylindrical and longer than the rhinophores. The coloration is variable and here's a description for the two main coloration which can be easily met underwater: The classic coloration: the body is milky white to translucent, three reddish to purple continuous or dotted lines are running on both side and in the middle of the body, oral tentacles and rhinophores are whitish with a mauve to purple ring at the two third of their extremity, cerata are also whitish with a purple ring and with orange tip. The purple coloration: whole body including cerata, rhinophores and oral tentacles are purple to mauve, without any continuous reddish line on the body but with just a darker ring at the two third of the cerata with clearest tips. Many colour variations exist and it is likely that this species is really a species complex. Distribution & habitat This species was described from the Red Sea. Coryphellina rubrolineata is thought to be widespread in tropical, subtropical and temperate waters in the Indo-Pacific area and also as a migrant species in the Mediterranean Sea. It is also commonly observed on shallow reef or rocky slopes rich in hydroids which represent its main diet. Biology Like mainly all aeolids, Coryphellina rubrolineata has the ability to store the stinging cells from cnidarians eaten. This stinging cells stock is a particularly effective means of defense and is located at the ends of cerata, it is contained in cnidosacs. References External links Category:Flabellinidae Category:Gastropods described in 1929	wikipedia
Melaleuca stipitata är en myrtenväxtart som beskrevs av Lyndley Alan Craven. Melaleuca stipitata ingår i släktet Melaleuca och familjen myrtenväxter. Inga underarter finns listade i Catalogue of Life. Källor Externa länkar Myrtenväxter stipitata	slim_pajama
import Mouse from './Mouse'; export default { __init__: [ 'mouse' ], mouse: [ 'type', Mouse ] };	slim_pajama
"Natural Born Killers", early, by Quentin Tarantino "NATURAL BORN KILLERS" WRITTEN BY QUENTIN TARANTINO INT. COFFEE SHOP - DAY A coffee shop somewhere in New Mexico. MICKEY KNOX, his back turned to us, is sitting at the counter finishing his meal. We hear the PING...BANG...of a pinball machine being played OFF SCREEN. MABEL, a waitress, comes over and fills Mickey's coffee cup. MICKEY What kind of pies do you have? MABEL Apple, pecan, cherry, and key lime. MICKEY Which do you recommend? MABEL The key lime is great, but it's an acquired taste. MICKEY I haven't had a key lime pie in ten years. MABEL When ya had it, did ya like it? MICKEY No, but that don't mean much. I was a completely different person ten years ago. Let's give key lime a day in court. And a large glass of milk. Mabel turns to her right. MABEL (to someone O.S.) Should I make that two pieces? CAMERA PULLS BACK and we see for the first time MALLORY KNOX, Mickey's wife, sitting on a counter stool next to him. Her back is to the camera as well. MALLORY Nada, Rosey. MABEL (annoyed) My name's not Rosey. (points at name tag) It's Mabel. Mabel exits FRAME. MALLORY Whatever. Mallory hops from the stool, walks over and grabs the JAR next to the cash register, then dumping out the coins on the counter, she selects a quarter. MABEL Hey, what the hell do you think you're doin'? Mallory saunters past the COWBOY playing pinball. As his eyes follow Mallory, he loses his ball. She walks to the jukebox in the back, inserts the quarter, selects a song, punches the buttons, a needle lands on a record, and a good God almighty rockabilly tune cuts through the coffee shop. Mabel brings Mickey his pie and milk. MABEL (to Mickey) She ought not be doing that. That's for Jerry's kids, not rock 'n roll. CAMERA moves around to a CU of Mickey. This is the first time we see him. As he takes a bite of green pie: MICKEY I can't take her anywhere. Mallory starts doing a slow seductive fandango around the coffee shop. She's really cooking and smoking. Pinball Cowboy and Mabel are starting to wonder just who the hell these people are. Mickey isn't paying much attention. He's too busy enjoying his pie and milk. EXT. COFFEE SHOP - DAY A dirty pickup truck, sporting a Confederate flag decal, pulls up to the coffee shop. SONNY, OTIS, and EARL, three tough-looking rednecks, pile out. Steam rises from beneath the pickup's hood. EARL Goddamn this sumbitch is runnin' hot. Y'all go inside. I'm gonna check 'er out. INT. COFFEE SHOP - DAY The LOUDNESS of the Rockabilly song slaps Sonny and Otis in their faces as they walk inside the door. The sexy sight of Mallory doing the ubang stomp stops them in their tracks. SONNY Good God almighty. What the hell is that? OTIS That's a bitch outta hell, son. Otis and Sonny exchange looks. SONNY Take a run at 'er, kiddo. Otis heads toward Mallory. Sonny moves over to the counter next to Mickey. SONNY Miller, Mabel. MABEL Comin' up. Otis stands in front of Mallory, trying to copy what she's doing. Her eyes are closed at the moment, so she doesn't see him. Mabel sets the Miller down in front of Sonny. Sonny takes a swig, enjoying the floor show. SONNY (to Mickey) That's some sweet piece of meat, ain't it? Mickey turns from his pie and looks at Sonny. His expression betrays nothing. MICKEY Her name's Mallory. The needle lifts off the record. The song ends. Mallory opens her eyes and sees Otis. OTIS Hells Bells! Don't stop now sugar. I'm just getting warmed up. Otis gives her his best shit-eating grin before turning to Sonny. Sonny gurgles out a laugh. SONNY Hey, I think she's sweet on you. Otis turns to Mallory as she PUNCHES him hard in the face spinning him around. Sonny spews his mouthful of Highlife. Mallory grabs the back of Otis' head and SMASHES it down on the table, cracking the linoleum. Otis buckles, dropping to his knees. Sonny jumps off the counter stool, but Mickey's hand clutches hold of his shoulder. Sonny spins around toward Mickey, loaded for bear, and points his finger at him, threateningly. Before any threat can be made, Mickey whips a large buck knife out from its sheath, and in a flash, SLICES off Sonny's finger. Sonny's finger drops on his boot. He grabs his aching hand. Blood flows from the wound. MICKEY Just because my woman's mopping up the floor with your buddy is no reason for you to join in. Mickey makes five lightning quick SLASHING SWINGS. The buck knife slips back into its sheath. At first, there seems to be no difference with Sonny. Finally, blood flows from the slices made in his face and chest. Sonny collapses. The SHORT-ORDER COOK charges out of the kitchen at Mickey, wielding a meat cleaver and screaming. Mickey whips out a .45 automatic from a shoulder holster inside his jacket and FIRES. BULLET'S POV: Heading fast toward Short-Order Cook's face. It HITS. Short-Order Cook puts his hands to his face and falls to the ground, screaming. Mickey spots Earl, who's standing outside the plate glass window. Earl's watched the whole shebang. Earl mouths 'Fuck!' He turns and runs for it. Mickey hurls the knife through the plate glass window, which SHATTERS. The knife PLUNGES deep into Earls back. He hits the ground dead. Mickey turns to Mallory. She's sitting on op of Otis, SLAMMING his head repeatedly on the floor. MICKEY Honey. Mallory looks up at Mickey. She gets off Otis and moves to Mickey's side. Mickey trains his .45 on Pinball Cowboy, who's shaking in his cowboy boots. Mickey aims at Mabel, who's clutching the coffee pot, crying. MICKEY (to Mallory) Pick one. Mallory does eanie, meanie, minie, moe, pointing back and forth from Mabel to Pinball Cowboy. MALLORY Eanie, meanie, minie, moe, catch a nigger by the tow. If he hollers, let him go. Eanie, meanie, minie, moe. My mom told me to pick the best one and you are it. She ends, pointing at Mabel. Mabel's crying. She screams. MABEL NO! Mickey FIRES the .45. The bullet CHINKS through the coffee pot Mabel's holding and explodes, THUNKING her in the chest. She hits the floor dead. Mickey and Mallory join hands and walk over to the Pinball Cowboy who stands in a pool of his own urine. MALLORY When you tell people what went on here, tell 'em Mickey and Mallory Knox did this. Understand? Pinball Cowboy nods yes. The two killers plant a big wet kiss on each other's mouths. Then, holding hands, Mickey and Mallory walk out of the cafe. CREDIT SEQUENCE: INT. COUPE DE VILLE - MOVING - DAY Mickey and Mallory in a flashy '68 Cadillac Coupe De Ville. Duane Eddy's 'REBEL ROUSER' blares on the soundtrack. The B.G. is an outrageous PROCESS SHOT. The titles splash over this image 50's style. When this sequence is over, we CUT TO BLACK. END CREDIT SEQUENCE Over black screen, we hear: CAPTAIN SQUERI Send Scagnetti in here. INT. POLICE STATION (SQUERI'S OFFICE) - DAY CAMERA is position in the middle of the office. The door is in the middle of the frame. JACK SCAGNETTI flings the door open and steps inside Squeri's office. Squeri's never seen. SCAGNETTI You wanted to see me, Capt'n? CAPTAIN SQUERI (O.S.) Scagnetti, go up to interrogation room C. Dewight McClusky, chairman of the prison board, is waiting to meet you. You're gonna deliver two prisoners from the county jail to Nystrom Insane Asylum in Bakersfield. SCAGNETTI This is bullshit. I'm a detective. You want an errand boy, call Jerry Lewis. Scagnetti spins around and leaves the room, SLAMMING the door shut behind him. Captain Squeri shouts after him. CAPTAIN SQUERI (O.S.) Jack! INT. POLICE STATION CORRIDOR - DAY Police Detective Scagnetti walks rapidly down the hallway, wearing an old, wrinkly, black suit jacket. PEOPLE walk by in the F.G. and B.G. Scagnetti slips an already tied tie over his head. INT. INTERROGATION ROOM C - DAY DEWIGHT MCCLUSKY, a man in his fifties, wearing a business suit, stands in the F.G. reading a book with his back to the door. In the B.G., Scagnetti enters the room. SCAGNETTI Jack Scagnetti. You wanted to see me? McClusky turns toward Scagnetti. MCCLUSKY Congratulations on the Curtis Fox case, Scagnetti. You put an end to a nightmare. The ladies of this city can get to sleep again, and they have you to thank. SCAGNETTI Thank you, sir. MCCLUSKY Dewight McClusky of the California Prison Board. Take a seat please. Scagnetti lowers into a chair in front of the interrogation table. MCCLUSKY (referring to book) This is damn good reading. I'm surprised Hollywood hasn't found you. This would make a better movie than that 'Serpico' shit. McClusky puts the book down, we see the title: 'CURTIS FOX: The Capture and Death of a Serial Killer'. Author: Jack Scagnetti. McClusky sits on the edge of the table, facing Scagnetti. He lifts a file off the table, then tosses it in Scagnetti's lap. MCCLUSKY I think you'll find that good reading as well. Mickey and Mallory's file. You familiar with them? Scagnetti opens it. It's the files, reports, and photographs of Mickey and Mallory Knox. Scagnetti's face lights up. SCAGNETTI Who isn't? MCCLUSKY You been followin' the news coverage? SCAGNETTI They've been separated since their incarceration in a couple of penitentiaries--- MCCLUSKY Susanville, Soledade. SCAGNETTI They've killed a shitload of inmates and guards--- MCCLUSKY Five inmates, eight guards and one psychiatrist all in one year's time... Very good. You do keep up with the headlines. Scagnetti nods. MCCLUSKY Look, our situation in a nutshell is, no prison wants 'em, no prison will take 'em. I'm even talkin' hellholes, where the warden's as hard as a bar of iron. No one wants those fuckin' assholes behind their walls, dealin' with 'em day in, day out. SCAGNETTI I can appreciate that. MCCLUSKY So can we. So the solution to our little problem is we had them deemed crazy. And we're shippin' 'em to Nystrom Asylum for the criminally insane. SCAGNETTI Lobotomy Bay? MCCLUSKY You've heard of it? SCAGNETTI So, how do I fit into this scheme? MCCLUSKY The public loves you Jack...You don't mind if I call you Jack, do you? SCAGNETTI By all means. MCCLUSKY You're a celebrated cop. Twenty-six years on the force, a best-seller out on paperback... McClusky grabs Scagnetti's book and reads from the back cover. MCCLUSKY A modern day Pat Garret. A hell bent lawman with a deadly axe to grind with maniacs. McClusky lowers the book. MCCLUSKY You're a breathing icon of justice and that's why you were chosen to deliver Mr. and Mrs. Knox. We, the prison board we, knows that once you get them on the road if anything should happen, an escape attempt, an accident, fire, anything...Jack 'Supercop' Scagnetti would be there to look out for his public's best interests. SCAGNETTI I see. MCCLUSKY You write the script Jack, call it, 'Showdown in Mojave: The extermination of Mickey and Mallory', whatever... Have we found our man? Hold on Scagnetti. CUT TO: INT. COUNTY JAIL - CELL BLOCK CORRIDOR - DAY SCAGNETTI'S POV: McClusky stands next to a big iron door. He BANGS on it with is fist. We stay on Scagnetti's POV through this scene. MCCLUSKY Pete, open it up! I'm comin' through with a visitor! A BUZZER SOUNDS McClusky opens the door and we follow him down the corridor. As soon as the door opens, we can hear a female voice singing the song 'Long Time Woman'. McClusky turns to Scagnetti as they walk. MCCLUSKY Well, Jack, I'll tell ya, in all my years with the penal institution, and I'll tell ya that's no small number, Mickey and Mallory Knox are without a doubt the most twisted, depraved group of fucks it's ever been my displeasure to lay my eyes on. I mean, those two rat shits are a walkin' reminder of just how fucked up our system really is. The song 'Long Time Woman' is getting louder as they proceed. SCAGNETTI (O.S.) Who's the song bird? MCCLUSKY Mickey's better half herself. Mallory Knox. This little lady drowned her father in a fish tank. INSERT: INT. A LIVING ROOM - NIGHT CU of a home aquarium with fish swimming around. Suddenly Mallory's FATHER'S head is shoved into the tank. BACK TO: PRISON CORRIDOR MCCLUSKY While the two together burned her mother alive in her bed. INSERT: INT. A BEDROOM - NIGHT MEDIUM CU of Mallory's MOTHER lying asleep in bed, mouth open. What looks like a gas nozzle appears at the top of the FRAME, pouring gasoline all over her face. She coughs and gags. CAMERA PANS up and we see Mickey holding a gas can. CU of Mallory with a lit match by her face. She tosses it in front of her. We hear the SOUNDS of Mallory's mother igniting. BACK TO: PRISON CORRIDOR Still SCAGNETTI'S POV: SCAGNETTI (O.S.) Why? McClusky's still walking ahead of us. MCCLUSKY Because they wouldn't give them their blessing for marriage. SCAGNETTI (O.S.) Ain't love grand. McClusky laughs. MCCLUSKY Ain't love grand. That's a good one. Still SCAGNETTI'S POV: We look down from McClusky to Mallory's file in our hands. It contains her picture and lists her color of hair, color of eyes, height, weight, race, etc. Beneath that is a column which reads: PSYCHIATRIC REMARKS. As we read the remarks, we hear a DOCTOR'S VOICE read aloud. FEMALE PSYCHIATRIST (V.O.) When pressed about the reason for the murders...patient became hostile... INSERT: INT. A PSYCHIATRIST'S OFFICE - DAY Looking trashy, wild, and animalistic, Mallory's a sex machine dressed in a prison gown. She sits in a chair, looking directly at the CAMERA. MALLORY I don't owe you an explanation! I don't owe you shit! I'm not here for your entertainment. If I don't tell you what you wanna hear, what are you gonna do? Throw me in jail? I'm already there, you stupid pigfucker. You gonna give me some more time? I've already got life. What else you got to threaten me with? Death? I'd like to see you fuckin' try. I haven't met one motherfucker here who's shown me shit! BACK TO DEATH ROW CORRIDOR: Still on SCAGNETTI'S POV: We look up from the fill and see McClusky's leaning against a cell door. We hear somebody signing 'Long Time Woman' inside the cell. We move to McClusky, who looking into the CAMERA, gestures toward the cell. MCCLUSKY Here she is...you know her, you love her, you can't live without her...Mallory Knox. We PAN from McClusky to the inside of the cell where we see Mallory, her back to us, singing and dancing. INT. PRISON (MALLORY KNOX'S CELL) - DAY CU of Mallory's face singing 'Long Time Woman'. MALLORY (singing) 99 years is a long, long time. Look at me, I will never be free, I'm a long time woman... MCCLUSKY (O.S.) Hey, Knox! Somebody out here wants to meet you. Mallory just keeps on truckin'. MALLORY (singing) Been workin' on the road now. Been workin' by the sea. Been workin' in the cane fields. and I wanna be free... MALLORY'S POV: We stare at McClusky and Scagnetti for a second. Then, like a bull, we charge/DOLLY straight at them. Mallory screams O.S. We SMASH headfirst into the bars. Mallory's POV flings up, looking at the ceiling, then falls backward. MEDIUM TIGHT SHOT of floor, Mallory falls into FRAME, out cold. CU on Scagnetti through the cell bars. SCAGNETTI Jesus Christ! CAMERA PANS over to CU on McClusky. MCCLUSKY Don't worry about it. She does that all the time. BACK TO: Mallory on the floor, still unconscious with blood trickling down her scalp. MCCLUSKY (O.S.) Follow me. INT. PRISON (LONG CORRIDOR) - DAY CAMERA is at the end of a long corridor. McClusky and Scagnetti approach from the other end. Scagnetti's studying the files. PHIL WURLITZER comes up behind the two men. WURLITZER You duckin' me Dewight? MCCLUSKY Hey, Phil, how the hell are ya? WURLITZER (to Scagnetti) This son of a bitch is chairman of the prison board, but it's like pullin' teeth to get him down to a prison. MCCLUSKY The only reason I'm here now is to set him straight, and I'm on the next flight out. (to Scagnetti) Jack, this is the superintendent of the jail. Phil Wurlitzer. He's the man who's got the power of the pen here. Wurlitzer shakes hands with Scagnetti. WURLITZER Pleased to meet ya, Jack. I read your book. I'm impressed. Good work on Curtis Fox. SCAGNETTI Thanks. MCCLUSKY From now on, you'll be dealin' with Phil. He can answer all the questions you got about the arrangements. I'm gonna be bidding you good luck and adieu in about twenty minutes. My flight back to Sacramento leaves LAX in a hour. WURLITZER And I want you to know, we'll all cry a river when you're gone. They all laugh. SCAGNETTI What's the travelling arrangements? WURLITZER Well, Mickey and Mallory can't be together. So, we'll put you on one of our prison busses and you'll take Mallory first, then you'll come back for Mickey. SCAGNETTI And where do you keep Mickey? WURLITZER We got his stinkin' ass in the deepest, darkest cell in the whole place. But it just so happens that right now he's got a special visitor. SCAGNETTI Who? WURLITZER Wayne Gayle. SCAGNETTI (surprised) Wayne Gayle! INT. JAIL - VISITING AREA - DAY WAYNE GAYLE, a young, energetic, commando journalist a'la Geraldo Rivera is sitting on the visitor side of the county jail visiting area. Wayne is alone and the visiting area is empty. Apparently some arrangement was made for the visit. Wayne has a miniature tape recorder in his hand and is testing it. WAYNE (into recorder) Testing one...two...three... testing...one...three...over, over, over, Mickey Knox meeting. Wayne shuts off the recorder, rewinds and plays it back. It works beautifully. He hits the record button and conceals the recorder in his sport coat jacket. The door opens on the prisoner side and Mickey Knox is lead into the room by two SHERIFF'S DEPUTIES. Mickey's wearing the country jail blue jump-suit. He has a thick and wide leather belt around his waist with a metal ring built into each side. Long sturdy chains with handcuffs on each end are wrapped across his body and through the rings, binding his arms to his sides. His hands and feet are double cuffed. The Deputies both have their guns drawn, ready to blow Mickey in half at the slightest provocation. For a man wrapped and bound in chains, Mickey seems strangely in control of his environment. Even restrained as he is by the symbols of society (the chains, jail, guards, guns, jump-suit), he remains a dangerous, intimidating, and fascinating figure. Wayne takes in the image of Mickey. WAYNE (to himself) Showtime. Mickey's roughly shoved into his seat on the prisoner's side of the glass. The Deputies move to their place, off to the side by the wall. WAYNE Hello Mickey. We've never been introduced, but I'm Wayne Gayle. I don't know if you've ever heard of me or remember me. I was one of the reporters outside the courthouse during your trial--- MICKEY Everybody knows who you are. You're famous. Wayne pauses and retorts. WAYNE I could say the same thing about you. (smiles) I want to thank you very much for seeing me... Mickey is silent. WAYNE I have a television show. It's very popular. Every week we do a profile on a different serial killer. You don't mind if I call you a serial killer, do you? Mickey shakes his head no. WAYNE The episode we did on Mickey and Mallory was one of our most popular ones. MICKEY Did you ever do one on Wayne Gacy? WAYNE Yes. MICKEY Whose ratings were higher? WAYNE Yours. MICKEY How 'bout Ted Bundy? Ever do one on him? WAYNE Yes. Yours got the larger Nielson share. MICKEY Good...yuppie piece of shit. WAYNE What I'd like to do--- MICKEY How 'bout Manson? WAYNE Manson beat you. MICKEY Yeah, it's pretty hard to beat the king. WAYNE We've been waiting to do a follow up episode on you for a long time. And that time has definitely come. (pause) I feel it's apparent to anyone who's hip to what's going on that the prison board has thrown the constitution straight out the fuckin' window. You and Mallory may be killers, but you're not insane. You belong in a prison, not in an asylum. The prison board is blatantly railroading you into a hospital for the sole purpose of turning you into vegetables. Now some people are saying, 'So what?' I am not one of those people. If we avert our eyes while they do this to you, we give them permission to do it again whenever they see fit. Today they wipe clean your mind because they feel your actions are dangerous, tomorrow they wipe clean my mind because they feel what I say is dangerous. Where does it all stop? No response from Mickey. WAYNE My problem Mickey, is that you don't exactly inspire empathy. I'm all alone on this. I need your help. I want what the prison board is doing to be the focus of our follow up episode. Now I have interviews with chairman of the prison board Dewight McClusky about this issue. And I'm tellin' ya, Mickey, he looks bad. The two psychologists they used for their psychiatric kangaroo court won't talk to us, which always looks bad. I have an interview with both the judge of your trial, Bert Steinsma, and the psychologist and author, Emil Reinghold, both of which discount the notion that you're insane. You put that all together, and what the state is doing becomes obvious. But the network isn't satisfied. They feel the show needs another element. It needs you. In order to put the show on the air, I need to get an interview with you. You haven't talked to the press since your trial. Now, a few days before you get transferred to an asylum, you grant an interview on television with Wayne Gayle. We're talkin' a media event here. Every son of a bitch out the with a TV set's gonna tune in to see that. We'll make their motives so blatant, we'll shame 'em into dropping the whole thing. At least for a little while, the publicity would keep them from just giving you and Mallory lobotomies. Well, whatta ya say? MICKEY Have you talked to Mallory about this? WAYNE She won't even see me, Mickey. Now you're not supposed to know anything about what's going on with her, but I'm gonna tell ya somethin'. Since you two've been sentenced, Mallory hasn't spoken one word. MICKEY She doesn't talk? WAYNE Not to anybody. She sings. MICKEY She sings? What does she sing? WAYNE Songs. 'He's A Rebel', 'Leader Of The Pack', 'Town Without Pity', that Dusty Springfield song 'I Only Want To Be With You'. That's what I hear anyway. Her behaviour was the main thing the doctors' report used against you. So even if she would see me, which she won't, I couldn't put her on camera anyway. If I ask her, 'Mallory, are you insane?' And she starts singing 'Dead Skunk In The Middle Of The Road', that blows our whole case. Mickey cracks a smile. The guards come over to take him away. DEPUTY SHERIFF (O.S.) Time, motherfucker! They grab Mickey, and jerk him from the chair. Wayne stands. WAYNE Wait a minute, Mickey, I need an answer. Mickey doesn't respond. He just leaves with the guards. WAYNE (yells after him) Just think about it. But don't think too long. INT. MICKEY'S CELL - DAY MEDIUM CU of Mickey curled up by his bed, writing Mallory a letter. MICKEY (V.O.) Dearest Mallory. My cell is so cold. At night I get the chills. I pretend you're lying next to me, holding me from behind with your leg draped over mine and your arms wrapped tightly around me. I lie in my cell... DISSOLVE TO: WIDE SHOT in cell behind Mickey. We slowly DOLLY back. MICKEY (V.O.) ...and imagine kissing you. Not making love, just kissing for hours and hours on end. I remember everything about our time. I remember every joke you ever told. CU of the letter being written over the WIDE SHOT. MICKEY (V.O.) I remember every secret you ever shared. Shared or revealed? I think shared is proper. I remember every single time you laughed. ECU of Mickey, mouthing the words as he writes, we can hear Mallory's laugh - a distant haunting echo. MICKEY I remember every meal we ever ate. I remember your cooking. I especially remember your casseroles. I remember watching David Letterman. We hear the echo of television laughter. MICKEY I remember driving fast...faster, man, fast behind the wheel of the Coupe de Ville. The sound of the Coupe de Ville swells until we... CUT TO: EXT. COUPE DE VILLE - NIGHT CAMERA sits on the hood looking down at Mickey and Mallory, driving fast -- SLOW MOTION. A hurricane of wind whips through their hair. Mallory laughs wildly as she wraps her arms around Mickey and kisses. MICKEY (V.O.) You, baby, by my side. Your bare feet up on the dash, singing along with the radio 'Needles And Pins', 'He's A Rebel', 'You're My World', 'Ring Of Fire', 'Love Grows Where My Rosemary Goes', 'Groove Me'... DISSOLVE TO: EXT. COUPE DE VILLE - NIGHT Coupe de Ville parked on the road side. Mickey is in the drivers seat with his feet on the dash watching Mallory dance on the hood of the car. MICKEY (V.O.) And your dancing, my God, your dancing. I lie on my bed and go over every day, every minute of our happiness. Every day take a day of our time and go through it hour by hour. I don't jump ahead either. I take it as it comes, and I live that day again. That way when I get to our first kiss... DISSOLVE TO: INT. A BEDROOM - NIGHT The screen erupts with fire. Mickey and Mallory's faces appear in the flame kissing passionately. MICKEY (V.O.) The killing of your parents, our wedding...They're not just memories. I feel that joy again... DISSOLVE TO: INT. RESTAURANT - DAY MEDIUM CU of Wayne holding a piece of paper in front of his face and reading from it out loud. We hear Wayne's VOICE over Mallory's singing before the last scene DISSOLVES. WAYNE (reading out loud) 'After taking a few days to reflect on your offer, I've come to the conclusion that you are one hundred percent correct. A national TV interview would be very advantageous to both Mallory and I. The only obstacle is they're shipping me out to the funny farm in four days. However, that is your problem and not mine. I feel confident you'll manage. Here's to us making television history. Sincerely, Mickey Knox.' Wayne drops the letter down from in front of his face. WAYNE Am I a God or what? We now see the restaurant adorned with the standard Denny's decorum. Wayne's team is gathered in a booth that surrounds the remains of a greasy meal. In response to his last remark, they all pretend they are praying to him. The team consists of SCOTT, the cameraman, who wears wild t-shirts (presently a t-shirt with the movie 'She Devils On Wheels' splashed on the front); ROGER, the soundman, who wears wild Hawaiian shirts and Bermuda shorts; and UNRULY JULIE, Wayne's assistant, a young lady who wears Bermuda shorts, a baseball jersey, and a dark sports coat no matter how hot the weather is at any time. Roger's never seen without his recorder, Scott's never without his camera, and Unruly Julie always has her giant notebook. These dishevelled film types are all in their twenties and are a marked contrast to Wayne's stylish yuppie demeanour. Unruly Julie pops the cork on a champagne bottle. The guys hold out coffee mugs, while Julie fills. Julie, however drinks straight from the bottle. NOTE: This scene is to be played at a rapid fire 'His Girl Friday' pace. WAYNE Drink up! This is a celebration. This is the day we received word we were gonna make television history. We're gonna have the first sit down, in depth interview with the most charismatic serial killer ever, one day before he's being shipped to a mental hospital for the rest of his life. This is one of those golden moments that happens maybe only four times in a lucky journalist's career. This is Wallace with Noriega, this is Elton John confessing his bi-sexuality to the Rolling Stone, this is the tearful reporting of the Hindenberg disaster, this is Truffaut setting the record straight on Hitchcock, this is a Robert Capa photo, this is Woodward and Bernstien meeting Deep Throat in an underground parking lot, this is John Reid reporting 'The Ten Days That Shook The World', this is the hippies' bloody palms at Kent State, the Maysles brothers at Altamont, this is the Nixon/Frost interviews... ROGER This is Raymond Burr witnessing the destruction of Tokyo by Godzilla. Everybody laughs. SCOTT What's the schedule, mein fuehre? As Wayne talks, Unruly Julie writes furiously in her notebook. She never speaks, just writes. WAYNE We got tonight and tomorrow to get our shit together. The day after that they're shippin' Mallory. That's when we do the Mickey Knox interview, 'cause the next day he goes. SCOTT Would the network really not run it without the interview? WAYNE Are you kidding? The last thing they expected was Mickey Knox to get up close and personal. They wanted a follow up episode and would've taken anything I had given them. I'm not gonna tell Mickey Knox that. I'm gonna make him think his grey matter depends on it. When I told Woody and the brass about this coup, they practically shit a brick. I'm talkin' an adobe brick. They want to expand the show to a hour, and they want it on immediately. ROGER How immediate is immediately? WAYNE Next week's episode. Wayne's team all spit out mouthfuls of champagne. ROGER We don't got enough footage for a hour follow up. SCOTT (pointing at Roger) What he said. WAYNE Rape and pillage the first episode, just change the order a bit. Those sons of bitches out there ain't gonna know the difference. All that shit is just filler for the interview anyway. We film a new intro. Show some old footage from the first episode so the get a brief history of Mickey and Mallory. We introduce a new angle... what the prison board is up to. We see some of that new shit, then the rest of the show is the interview. Now what's so fuckin' hard about that? Oh, Julie make a note: I need Woody to get me thirty seconds of the 'Live at Five' broadcast to promote next weeks show. We'll do a feed right from the jail while we're wrapping up with Mickey. Unruly Julie scribbles in her notebook. Wayne snaps at Scott. WAYNE You too Scott, Betacam and a remote, keep it simple. Scott closes his eyes in concentration, and repeats Wayne. SCOTT Betacam with remote and two-way comm link. Got it. (opens eyes) How about the interview...What camera do you want to use? Wayne closes his eyes. WAYNE I see...high contrast sixteen millimetre black and white, and I mean black and white, where the black's black and the white's white. This is for posterity, so fuck video. Film! Film! Film! Wayne pounds on the table. CU of Unruly Julie writing in her notebook: 'Film...film...film!' WAYNE So Unruly Julie's comin' with me and planning the interview. (points at Roger & Scott) You two go down to the editing bay, take the old footage and the new footage, put it together, and see what we got. Get it into shape so when we finish the interview, we can just stick it in. SCOTT When do you want the assembly? WAYNE Tomorrow. CUT TO: TITLE CARD: 'TOMORROW' CUT TO: INT. TV STATION CORRIDOR - DAY CAMERA leads Wayne, who's talking to Unruly Julie. As they march quickly through the halls Julie writes furiously in her notebook. WAYNE At that point I'll ask him if he believes in God. If he says yes, I'll ask him what he thinks God would make of his actions. And is he worried about burning in hell? If he says no, I'll say, 'Well, Mickey, what do you believe in?' And hopefully he'll say something like a live round of ammo, the expression on the face of a man he just split up the middle, Mallory's eyes, sex, drugs, and rock 'n roll. He's bound to say something provocative. Wayne and Unruly Julie enter the video editing room. Scott and Roger are sitting at the editing bay. Everybody is wearing, and looks like they slept in, the same clothes as the night before, except Wayne, who's in another sweater and looks alert and snappy. WAYNE Okay, boys, let's have it. SCOTT Well, basically, what we did was put part of the old show on first... ROGER But we changed the order around so it wasn't super obvious... SCOTT Then we added the new shit to the tail... ROGER So we film the interview, and we can just slap it on at the end. Wayne and Unruly Julie grab chairs and sit. WAYNE Okay, let's see it. CU of video monitor screen. We see a show rewinding. ROGER (O.S.) Now we got to film a new intro for the follow up episode. But we put the intro for the first episode at the beginning temporarily so you can see it with some scope. WAYNE (V.O.) I hear ya. Play. CU of Roger's hand pressing a play button. CUT TO: Static. Then the opening slate for 'AMERICAN MANIACS' fills the SCREEN. BEGIN: HIGHWAY - DAY EXT. HIGHWAY - DAY WAYNE GAYLE is standing in the middle of an empty highway. The CAMERA looks up from the ground. With a WIDE ANGLE lens, he looks practically mythic. Wayne speaks into the camera. WAYNE Hello. Welcome to 'American Maniacs'. I'm your host Wayne Gayle. And this is Highway 58. Wayne walks toward the CAMERA. We DOLLY back. WAYNE To some the fastest distance between point A and point B. To others a beautiful stretch to the American landscape. But to Mickey and Mallory Knox, it was a candy land of murder and mayhem. While we hear Wayne's narration, we see a MONTAGE of home 8mm movie footage. These are films of Mickey and Mallory living a normal life. HOME MOVIE - Mickey shaking hands with the JUDGE who married them. Mallory stands happily by Mickey's side. HOME MOVIE - Mallory hamming up the sex angle, as she poses by Bob's Big Boy. HOME MOVIE - Mallory sitting on Mickey's lap at home. HOME MOVIE - CU of Mallory asleep in bed. Mickey (holding camera) tickles her under her chin. Mallory slaps herself in the face with a handful of shaving cream. HOME MOVIE - Mickey and Mallory posing with Santa Claus. HOME MOVIE - Mickey being surprised in the toilet. WAYNE (V.O.) After living a very routine, drab, nothing out-of-the-ordinary-ever- happens kind of life, the sweethearts shocked the entire nation with a cross-country crime and murder spree that lasted only three weeks, but left--- PHOTO: BLACK & WHITE PHOTOS of bloody victims -- MEN and WOMEN. PHOTO: BLACK & WHITE PHOTOS of a bloodstained police chalk outline. WAYNE (V.O.) ---forty-eight known bodies in its wake. Including--- HOME MOVE FOOTAGE of Mallory and her PARENTS during happier times. All three are smiling. Mallory's in the middle with her arms around them. Mallory's father is eating a chicken drumstick. Mallory takes a bite out of it while he's holding it. WAYNE (V.O.) ---Mallory's very own parents. PHOTO: COLOR POSTCARD of Los Angeles. WAYNE (V.O.) They started their crime wave in Los Angeles. Wayne Gayle stands in front of a Circle K convenience store. He speaks to us. WAYNE And they were finally apprehended here at this Circle K in St. Paul, Minnesota. CUT TO: EXT. CIRCLE K - DAY This sequence is filmed in 16MM COLOR, cinema verite a'la 'COPS.' The CAMERA runs behind three blue windbreaker clad COPS, as they run up to the Circle K, shouting obscenities. In front of the store three windbreaker cops have Mickey on the ground, beating him with nightsticks. One COP lies on the ground near them, holding his hands over his face, screaming. To the left Mallory is slugging it out with a windbreaker COP, matching each other blow for blow. Meanwhile, the three cops we ran with reach the action and join in. CUT TO: MONTAGE NEWSPAPER-- Newspaper or magazine COLOR AD for a 7/11 store. NEWSPAPER-- Newspaper or magazine COLOR AD for a gas station. WAYNE (V.O.) They started off robbing 7/11 type stores and gas stations and later graduated to banks and the big time. EXT. SUBURBAN STREET - DAY Wayne Gayle walks down the street. The CAMERA walks with him. He speaks into the camera. WAYNE Mickey and Mallory's idea of an armed robbery was a little different than most. It was an assault, actually. EXT. 7/11 STORE - DAY Wayne interviews BISHOP, a young blonde kid with a 'Flock of Sea Gulls' haircut. Bishop's name appears on the SCREEN. BISHOP Well. I knew that Mickey and Mallory kill everybody when they're through, except for one clerk. There were a couple of people in the store then, and I was working with Stevo. And I like Stevo, you know? But I was thinking, what could I do to make them pick me to be the clerk that gets to live? INT. 7/11 STORE - DAY This scene is shot through the STORE'S BLACK & WHITE VIDEO SURVEILLANCE CAMERA. The date and time of day are burned into the edges of the frame. Mickey and Mallory charge into a 7/11 store, cocking their shotguns and shouting things. Mickey SHOOTS a CUSTOMER who lies on the ground screaming. Mallory BLASTS a FEMALE CUSTOMER who lies on the ground screaming. Mickey points his shotgun at Bishop the store clerk and screams: MICKEY Money! Money! Money! Fast! Fast! Faster! Faster! Faster than that! Bishop stuffs money in a bag as Mallory guards the door, shotgun ready. STEVO, the other store clerk, walks in from the back room carrying boxes and wearing a walkman. Mickey and Mallory spin around and shoot him. As all this mayhem happens before our disbelieving eyes, Wayne's narration happens over it. WAYNE (V.O.) They'd storm in with shotguns, and kill every customer in the place right off the bat. CUT TO: Smiling PHOTOS of other VICTIMS. We CUT from each photo to the next photo after shotgun FIRE. EXT. BLEACHERS - DAY Wayne Gayle sitting on football bleachers. He stares into the CAMERA for a few beats. Then, after his dramatic silence, he talks. WAYNE Sick, isn't it? (mournful pause) After killing numerous people, the would always leave one clerk alive. One clerk...to give them the money, and tell the tale of--- PHOTO: BLACK & WHITE snapshot of Mickey and Mallory standing next to each other, guns in hand, smiling for the camera. WAYNE (V.O.) Mickey and Mallory. PHOTO: Police Academy BLACK & WHITE snapshot of OFFICER GERALD NASH. WAYNE (V.O.) Patrolman Gerald Nash was just one of the twelve peace officers that Mickey and Mallory murdered during their reign of terror. PHOTO: BLACK & WHITE photo of Gerald Nash and his partner DALE WRIGLEY, dressed in their uniforms, arms around each other. WAYNE (V.O.) Gerald and his partner Dale Wrigley were parked at... PHOTO: BLACK & WHITE snapshot of donut shop. WAYNE (V.O.) ...this donut shop, Alfie's Donuts. When--- Interview with Dale Wrigley. Dale's name appears below him on the SCREEN. DALE This '68 Cadillac Coupe De Ville pulled up about three spaces away. Gerald came walking out with our coffee and--- (begins to tear up) my bear claw. When the driver of the car asked him something, Gerald started giving him what looked like street directions. When he finished, the driver waved him 'thanks,' brought up a shotgun and--- PHOTO: BLACK & WHITE of donut shop. WIDER PHOTO: Alfie's donut and parking lot. On this photo, a white grease pencil circles where Gerald was shot. We hear a SHOTGUN BLAST and a SCREAM over this. PHOTO: BLACK & WHITE of Mickey and Mallory. We hear LAUGHTER and a car PEELING OUT over this. EXT. BLEACHERS - DAY Wayne talks to us. WAYNE Apparently bored with banditry and murder, the two outlaws proved what renaissance psychopaths they really are. To break up the monotony in between bank jobs, or what have you, they started butchering whole households at random. CUT TO: MONTAGE of newspaper front page stories and headlines of family households butchered by the Knoxs. INT. WAYNE'S STUDIO - DAY Wayne, dressed in a pink shirt and suspenders, talks to us in front of a blue screen that has 'WAYNE GAYLE'S AMERICAN MANIACS' logo behind him. WAYNE Unfortunately, the story didn't end with their capture. It just became more surreal. Their subsequent trial turned into a sick circus... CUT TO: EXT. COURTHOUSE - DAY The CAMERA captures the crowd in front of the courthouse. They're a very mixed lot. WAYNE (V.O.) ...As spectators, reporters, law students, tourists, gawkers, the interested, the curious, the devoted, and the demented were drawn to the Los Angeles county courthouse like moths to a flame. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The Mickey and Mallory Knox murder trial was so event filled it made the crime spree that took place before pale by comparison. The first point was the decision of Mickey's to act as his own council. Now this in itself is not unheard of, for instance, Ted Bundy acted as his own council as well. What was unexpected was how well Mickey's performance would be. INT. JUDGE'S DEN - DAY Wayne interviews JUDGE BURT STEINSMA in his den at home. WAYNE (V.O.) We spoke with Burt Steinsma, who was the presiding judge during the Knox trial. JUDGE STEINSMA Mickey was surprisingly effective. When I was told I was to be the judge of this trial and then I was told Mickey Knox would be handling his own defence, I got a headache that lasted five days. But at first I breathed a sigh of relief. Mickey showed up very prepared, and proved to be an excellent amateur lawyer. INT. WANDA BISBING'S OFFICE - DAY Interview with state prosecutor WANDA BISBING, an attractive woman in her forties. WAYNE (V.O.) However, this opinion isn't shared by the state's prosecutor on this case, Wanda Bisbing. Wayne's with Bisbing. WAYNE Judge Steinsma said that Mickey showed up very prepared and proved to be an excellent amateur attorney. BISBING Oh, that's rich. Well, considering that Mickey Knox turn his court into a mockery and personally made him look like a fool, I'd say that's very benevolent of Judge Steinsma. As far as Mickey being an excellent amateur lawyer, maybe I'm old fashioned, but when I went to law school, we were taught the object was to win the case, which I did. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The nation caught fire to Mickey and Mallory fever, Mickey and Mallory mania, if you will, as the merits to Mickey's talent as a defence attorney became apparent. Law students from all ends of the country converged on Los Angeles as legal history took a new course. But that was only the lemon next to the pie. And that pie is you, the American people. That pie is the way the strangely charismatic, and make no mistake, they are charismatic, Mickey and Mallory have captured the public's interest, fear, and in some cases, admiration. CUT TO: EXT. COURTHOUSE STEPS - DAY Wayne interviews three long-haired guys: CHUCK, STEVE, and JEFF. WAYNE What do you think of Mickey and Mallory? CHUCK Hot. JEFF Hot. STEVE Totally hot. CHUCK Mickey and Mallory's the best thing to happen to mass murder since Manson. STEVE Forty-eight people known. They're way cooler than Manson. CUT TO: Wayne interviewing MORGAN and PAGE, two young girls. WAYNE What do you think of Mickey and Mallory? MORGAN Well, he's just...I dunno... charismatic. PAGE They're so romantic. CUT TO: Wayne interviewing an INTENSE COP. INTENSE COP I'm here to watch the judge give those two shit asses (BLEEP) the stiffest sentence the law allows. I want to see their faces when the state says 'they are the worst scum sucking, degenerate, douche bag, filthy, I don't know what's ever shit (BLEEP) out. (referring to crowd behind him) And these assholes (BLEEP) are making heroes outta sickos. You wanna know who a hero is? You wanna know? I'll tell ya who a Goddamn hero is. Mike Griffin. Mike fuckin' (BLEEP) Griffin is who these misguided assholes (BLEEP) should be revering. You know why Mike Jerome Griffin is a hero? I'll tell ya why. Because he was killed in the line of duty. Do you want to know how he died? WAYNE Yes. INTENSE COP I'll tell you. Mike Jerome Griffin was killed in the line of duty by those two anti-heroes. CUT TO: Wayne interviewing RUSSELL VOSSLER, Harvard law student. WAYNE Tell me, Mr. Vossler, how many days of the trial have you attended? RUSSELL Ahhh yesss, I've been fortunate enough to attend two days. Law history in the making. I've been a participant. WAYNE And you being a Harvard law student, what is your opinion of Mickey Knox's performance? RUSSELL Ahhh, Mickey's pistolero savvy in the courtroom trial rivals, dare I say conquers that of master Melvin Belli. He's like a magnificent loose cannon, firing point blank in the prosecutor's face. It is my anticipation--- BACK TO: The long-haired guys, Chuck, Jeff & Steve as Wayne speaks. WAYNE You're talking about a man and a woman who killed innocent people. STEVE Don't get us wrong... CHUCK We respect human life an' all. JEFF It's a tragedy. STEVE But...if I was a serial killer, which I'm not, but if I was, I'd be like Mickey. CUT TO: Wayne talking with MARVIN, a black man. MARVIN They're like that crazy mother in the first Dirty Harry movie. Member that crazy ass mother? They're like him. Mickey and Mallory be doin' some cold-blooded shit. When I hear about some of the shit they be doin' on TV, I say 'Damn, that's fucked (BLEEP) up.' BACK TO: The two young girls, Morgan & Page as Wayne speaks. PAGE (laughing and blushing) We sit in the courtroom all day and try to catch Mickey's eye. CUT TO: INT. GOLD'S GYM - DAY Wayne's sitting in the gym. Behind him MUSCLE MEN are working out. Their GRUNTING sounds fill the background. Wayne looks up and just OFF CAMERA to the people he's interviewing. WAYNE What do you think of Mickey and Mallory? ECU on SIMON and NORMAN HUN, two brothers/bodybuilders, in a head SHOT. SIMON I admire them. NORMAN I do, too. WAYNE (confused) But how can you say that? SIMON They're mesmerising. NORMAN Hypnotizing. SIMON Have you seen 'Pumping Iron?' WAYNE Yes. NORMAN Then you've seen the scene where Arnold Schwartzenegger is talking to Lou Ferigno. WAYNE Yes. SIMON Through the power of the simple word--- NORMAN And a snake-eye glare. SIMON ---and a snake-eye glare, Arnold was able to totally psyche out any confidence Ferigno had. NORMAN He squashed him mentally before physically defeating him. SIMON He had the edge. The mind's edge. NORMAN Mickey and Mallory have that edge. SIMON Only on a much grander scale. NORMAN They've hypnotized the nation. SIMON Schwartzenegger was the king of the edge before they came along. The CU of the brothers ZOOMS back. WAYNE You say this and yet...you two are both victims of Mickey and Mallory. SHOT has zoomed back to reveal that both Simon and Norman are in wheelchairs (their legs maimed or gone). SIMON Yes. NORMAN Yes. WAYNE How can you say that you 'admire' them? NORMAN It's like this, Wayne. Two people are standing in a dark room waiting for the other to attack. These two people can't see each other, yet they know they're there. Now, they can either stand in the dark room forever waiting until they die of boredom, or one of them can make the first move. WAYNE Why can't they just shake hands and be friends? NORMAN They can't because neither knows if the other is a deranged senseless killer like the Knoxs. So, you may as well make the first move. WAYNE And they made the first move? NORMAN Unfortunately, yes. SIMON But you see, that's okay, Wayne. WAYNE Why? SIMON They passed the 'edge' along to us. WAYNE How so? SIMON By taking away our legs. Now we have to fight harder to get ahead than anyone else you'll find in this gym. Probably the whole city. They gave us the fighting spirit. Before this happened I was content. Now I'm pissed off. Now I'm half a man and I've got to work like the devil to get whole again. WAYNE But you'll never be whole again. SIMON Never is a very long time, Wayne. A word only the weak use. I'm not a sore loser. Even if I don't have a leg to stand on, I'm going to get up and fight this world until I'm on top again. NORMAN That's the Mickey and Mallory way. SIMON That's the way of the world. NORMAN They're shocking the world into remembering the primal law. SIMON Survival of the fittest. WAYNE One last question. Usually Mickey and Mallory kill all of their victims. Why did they let you two survive? The brothers pause, then turn to Wayne. NORMAN They had us tied down during one of their house raids, you've seen the headlines, and they were taking a chainsaw to our legs before they were gonna kill us. SIMON Just for fun, I guess. NORMAN And then Mallory stops Mickey and says, 'Hey, these are the Brothers Hun.' SIMON Mickey stops sawin' on my leg and says, 'Oh my God, I'm your biggest fan!' NORMAN Apparently, they've seen all our films. SIMON They were especially influenced by 'Conquering Huns of Neptune.' NORMAN So, Mallory calls 911 and they took off. SIMON They actually apologized. INT. WAYNE'S STUDIO - DAY Wayne talks. WAYNE The couple proved so popular that a motion picture glamorizing their exploits was made... CUT TO: A POSTER for the Mickey and Mallory movie called 'Thrill Killers' is shown. It has a drawing of the Movie Mickey and Movie Mallory in a romantic pose a'la 'Gone With The Wind,' both with guns in their hands. Around them are smaller drawings of cars, people shooting, people fighting, explosions, etc. The adlines are: 'RIPPED FROM TODAY'S HEADLINES --THE TRUE STORY OF MICKEY AND MALLORY.' 'THE COUPLE THAT LIVED FOR LOVE AND LOVED TO KILL.' The poster lists the credits: 'Starring Jessie Alexander Warwick and Buffy St.McQueen.' 'Written and Directed by Neil Pope.' WAYNE (V.O.) The Movie 'Thrill Killers' proved to be a tremendous box office success, making stars out of the before then unknown--- CUT TO: STILLS of Movie Mickey and Movie Mallory holding weapons, posing together, creating mayhem. WAYNE (V.O.) ---actors Jessie Alexander Warwick and Buffy St.McQueen. CUT TO: MOVIE TRAILER FOR 'THRILL KILLERS': SHOT Movie Mickey dressed in a fastfood uniform. ANNOUNCER (V.O.) Meet Mickey Knox! MOVIE MICKEY I'm gettin' off this minimum wage train. Break my back for you and throw away my youth for nothing. when I'm thirty, have a big wall drop down in front of me called the future. Realize I've been doin' time in a burger flippin' jail. He rips off his uniform. MOVIE MICKEY Listen to me Jimmy-dick, I want cash, lots of it, cars, fast cars! And I want it now! Not later, now! I wanna wail, baby, wail! SHOT of Movie Mallory on her hands and knees crawling toward CAMERA. ANNOUNCER (V.O.) And his lovely wife Mallory. MOVIE MALLORY I need ya, Mickey. I gotta have ya. I'm no good for no one else. when I'm with you, I burn, baby. Burn like blue flame. SHOT of Movie Mickey and Movie Mallory driving fast and laughing their heads off. ANNOUNCER (V.O.) Together they're the Thrill Killers. The true story of the couple that shocked the world... SHOT of the Movie Knoxs FIRING guns. ANNOUNCER (V.O.) ...with a bloodlust of violence... SHOT of Movie Mickey and Movie Mallory kissing. ANNOUNCER (V.O.) ...and unbridled passion. SHOT of Movie Mallory with a knife to a COP'S throat. Movie Mickey holds a shotgun. MOVIE COP When society catches up with you, I'd hate to be in your boots. MOVIE MICKEY Let me telly ya about society and its boots. It uses those boots for steppin' on people like me and her! CUT TO: INT. EDITING ROOM - DAY Wayne enters an editing room where filmmaker NEIL POPE is working at a movieola. WAYNE (V.O.) We talked with Neil Pope, writer and director of 'Thrill Killers' for his take on the Mickey and Mallory phenomena. Pope stops the movieola, turns toward the CAMERA, and greets Wayne M.O.S. CUT INTO INTERVIEW: NEIL POPE It is my belief that Mickey and Mallory Knox are a cultural phenomena that could only exist in our sexually repressed society. A flower that could only bloom amidst a grotesque fast food culture. A what I tried to do with 'Thrill Killers' was trace the root of the problem all the way down the vine to the original bad seed. Yet amidst the violence and murder and carnage, you've got the structure of a Wagnerian love story. EXT. ALLEY - DAY In a back alley, the conclusion of 'Thrill Killers' plays out. The sound of SIRENS and CHOPPERS are nearing. Movie Mickey, shotgun in hand, runs down the alley stopping at a dumpster, where the wounded and bloody Movie Mallory sits propped up against a brick wall. On the bottom of the SCREEN, the subtitle appears: SCENE FROM 'THRILL KILLERS' (1990). MOVIE MALLORY Mickey, honey, listen to me. Movie Mallory holds out her hand for him to take it. He does. MOVIE MALLORY I can't go. I'm too fucked up. MOVIE MICKEY I'm not saying it's not gonna hurt, but-- MOVIE MALLORY I can't run with you, Mickey! I really want to. If I could, I would, but I can't. I gotta stay here. But you can still get out of here. MOVIE MICKEY No fuckin' way! No fuckin' way! MOVIE MALLORY If they stay, they'll catch you, and they don't have to catch you--- MOVIE MICKEY No fuckin' way! MOVIE MALLORY Mickey, you're wasting time! MOVIE MICKEY I don't give a damn if a million United States marines, all whistling the halls of Montezuma, are gonna come marchin' down this alley any second. There ain't not fuckin' way in hell I'm leaving you. And that's that! Movie Mallory grabs his hand with both of hers. She's crying. The SIREN and CHOPPER sounds are getting closer. MOVIE MALLORY Mickey, my love, if you leave me, they'll catch me and take me to the hospital. If you stay, you'll make 'em kill you. Then it'd be like I killed you. I could bear anything, but I couldn't bear that. So please, please, for me, my handsome husband, run for your life. The SIRENS and CHOPPERS draw closer. MOVIE MICKEY I can't do it. You're my wife, you're my partner. A fella doesn't run when his partner can't run with him. Mallory, my angel, if I could of left ya, I'd of left ya a long time ago. They kiss. MOVIE MALLORY Well, hell, if you won't leave, give me a gun so I can go out shooting. Movie Mickey hands her his .44 Magnum from his belt. MOVIE MICKEY Sit tight. I'm gonna make it a little tougher for 'em. Movie Mickey runs to the end of the alley, peers around the corner at the arriving COPS. MOVIE MICKEY (to himself) Time to get naked and boogie. Movie Mallory is out of movie Mickey's view. She cocks the .44, then places the barrel under her chin. MOVIE MALLORY Mickey! Movie Mickey's busy. He doesn't turn around. MOVIE MICKEY Yeah baby. MOVIE MALLORY You made every day like kindergarten. Movie Mallory pulls the trigger. BANG! DOLLY down the alley to a CU on Mickey as he spins around. Movie Mallory literally blew her head clean off. Her headless body, gun in hand, remains upright in her sitting position. Movie Mickey runs toward her, screaming her name in SLOW MOTION. MOVIE MICKEY Mallory! CUT TO: BACK TO: THE POPE INTERVIEW WAYNE (O.S.) Why did you kill Mallory? Both of them are still alive. NEIL POPE It was dramatic license, no doubt. But I felt an operatic love story needed an operatic ending. The two of them kill for each other. They offer the death of their victims to each other like other lovers offer flowers or bon bons. So what more natural, what more organic, what more poetic than Mallory offering her death to Mickey? It's where it's been leading since day one. We worked it in the movie by using a what if they escaped situation. I think it works beautifully. You'd be surprised. People come up to me at the end of the movie in tears. EXT. PARKING LOT - DAY Actor JESSIE ALEXANDER WARWICK sits on his motorcycle and talks to the CAMERA. He's dressed in a Levi's jacket, jeans, a bandanna is wrapped around his head, and as he talks he bogarts a smoke. His name appears at the bottom of the SCREEN. JESSIE One thing about Mickey for sure, he's definitely a man who has his moments. It was wild playin' him. It was one of those get-it-out-of-your-system performances. INT. BUFFY ST. MCQUEEN'S HOME - DAY This interview is SHOT in Buffy's house a'la Barbara Walters. BUFFY sits on the couch in her living room with a cat in her lap. From time to time, she sips from a coffee cup. Her name appears at the bottom of the SCREEN. BUFFY I didn't play Mallory, the murderer. I didn't play her as a butcher. I played her as a woman in love, who also happens to murder people. I didn't want her to be at arm's length from the audience or myself. If you play her as this wild maniac, the audience never has to deal with her. If you see a decapitation in a movie, you just say 'Oh wow, a neat special effect.' Because you can't relate to a decapitation. It doesn't mean anything to anybody because it's not personal. Decapitations don't fall into most people's realm of life experiences. But if you show somebody in a movie getting a paper cut, the whole audience squirms. Because everybody can relate to a paper cut. WAYNE (O.S.) Did you meet the real Mallory Knox? BUFFY I tried to, but she wouldn't see me. But I read some letters she wrote to Mickey before the murder spree. They helped me out a lot. EXT. PARKING LOT - DAY Jessie talks to CAMERA. WAYNE (O.S) You met Mickey Knox, didn't you? JESSIE Yeah, I visited him when he was up in Susanville. He's a little cerebral for my taste, but all in all, we got along. INT. OFFICE - DAY Wayne, sitting in a chair in front of a desk, interviews DR. REINGHOLD, who sits behind the desk. WAYNE (V.O.) To get a psychiatric view on the strange attraction Mickey and Mallory seems to have, we talked with Doctor Emil Reinghold, noted psychologist and author. Wayne begins his interview. WAYNE Can you shed some light, Doctor Reinghold, on why the public has taken a pair of sociopaths so close to their bosom? DR. REINGHOLD Well, for one, the media has done a tremendous job of turning the husband and wife mass murderers into celebrities. But it's the country's youth who have turned the couple into the ultimate anti-heroes. Basically, the very thing that makes them most lethal is the exact same thing that captures the public's hearts and minds -- Mickey and Mallory's operatic devotion to each other. In a world where people can't seem to make the simplest relationships work and the slightest emotional commitment is considered devastating, Mick and Mallory have a do-or-die romance of a Shakespearean magnitude. To the country's youth, 75 percent of which are coming from broken homes, that's appealing. They have an 'us against the world' posture which always appeals to youth. And they've taken that posture seventeen steps beyond. It's not 'us against the world,' it's 'we're gonna kill the world.' They're exciting. I read their file and I find myself turning the page like it was a paperback. Why do disillusioned youths get into Mickey and Mallory? Why do disillusioned housewives read romance novels? Why are you filming this special? Because you know as well as I do, you say 'tonight at nine Charles Manson speaks,' everybody's going to tune in to hear what he says. Mickey and Mallory have shocked a country numb with violence. They've created a world where only two exist and anybody who inadvertently enters that world is murdered. EXT. COURTHOUSE - DAY SHOTS of the crowd. WAYNE (V.O.) This attitude from the young towards their ultimate anti-heroes is nation wide. And spreading. TWO LONDON TEENS BOY and GIRL, dressed like the Knox's. TITLE CARD: 'LONDON' LONDON BOY You take all the great figures from the States...Elvis, Jack Keroac, Bukowski, James Dean, Jim Morrison, Angela Davis, Jack Nicholson, Jim Thompson, Martin Scorcese...add a bloody pale of nitro and you got Mickey and Mallory. They're like rebels without a cause, except they have a cause. Only nobody knows what it is. LONDON GIRL (screaming) Their cause is each utter! TWO JAPANESE TEENS a BOY and GIRL, dressed like the Knox's. They speak in Japanese, which is translated in English. TITLE CARD: 'JAPAN' As Japanese boy and girl speak, we hear: TRANSLATOR (V.O.) Keep the faith, Mickey and Mallory, keep the faith. TWO FRENCH TEENS a BOY and GIRL, dressed like the Knox's. They speak in French, and we hear the translation in English. TITLE CARD: 'FRANCE' TRANSLATOR (V.O.) Mickey and Mallory have a love that's L.A.M.F. FRENCH BOY (in English) They are super cool! INT. WAYNE'S STUDIO - DAY WAYNE And as to almost give this whole misplaced admiration scenario a cherry on the top, the rock band Redd Kross entered the charts last week at number 13 with their song 'Natural Born Killers, The Saga of Mickey and Mallory.' CUT TO: A CLIP from the Redd Kross video of 'Natural Born Killers.' BACK TO: WAYNE'S STUDIO WAYNE The third wicked twist to this story is Grace Mulberry. CUT TO: FRONT PAGE NEWSPAPER - Headline reads: 'MICKEY AND MALLORY KILL SIX TEENS DURING SLUMBER PARTY!' In smaller bold face under it: 'One Teen Escapes Killer's Clutches.' On the front page is a PHOTO of the teen who escaped. It's seventeen year old GRACE MULBERRY. CAMERA moves in CU of the photo. WAYNE (V.O.) Of the six teens murdered that night, seventeen year old Grace Mulberry was the lucky one left to tell the tale. And this haunted young lady summoned up the courage to take the stand, tell what she saw that horrible night, and then allow herself to be cross-examined by the man who killed her brother and girlfriends. EXT. COURTHOUSE - DAY All kinds of PEOPLE are gathered around. It's a real media event. Grace's sedan pulls up to the courthouse. The many spectators and reporters surround the car. Grace, HER FATHER, and BISBING emerge from the sedan, and start walking up the courthouse steps. Microphones and cameras are thrust at her as REPORTERS ask questions. Grace is afraid to face the crowd. Her head darts in the direction of each question, but she doesn't answer. She remains silent and scared. FEMALE ORIENTAL REPORTER Miss Mulberry! How does it feel to be the only survivor of Mickey and Mallory's reign of terror? FAT MALE REPORTER Miss Mulberry! Has the experience marked you? Some scruffy TRANSIENT sticks his head in Grace's face. TRANSIENT Did ya watch your brother get stabbed up? WAYNE How do you feel about Mickey cross- examining you? Grace, her father, and Bisbing shove their way through the crowd. After Grace and her entourage enter the courthouse, we hear the cry of: VOICE (O.S.) Mickey and Mallory! CAMERA whips toward the bottom of the steps as the car carrying Mickey and Mallory pulls up. The reporters race down the steps they just raced up. The Mickey and Mallory fans go apeshit. Mickey and Mallory, handcuffed, are being led up the steps by SHERIFF'S DEPUTIES. Wayne Gayle and other reporters film them and shoot out questions. Microphones are thrust into their faces. WAYNE Mickey, how do you feel about cross- examining Grace Mulberry? MICKEY I'm keen with anticipation. FEMALE ORIENTAL REPORTER What do you think of this turn out, Mallory? MALLORY I ain't never had so much fun. A CUTE REPORTER, a Tawny Little type, steps forward. CUTE REPORTER Do you have any regrets? MALLORY Not a one. MICKEY Yeah, I always regretted we never got around to looking up my old history teacher, Miss Bainbridge. Now there's a big bad bitch not good for herself or nobody. BLACK REPORTER What's your favorite pastime? MICKEY You mean aside from what I'm being tried for? Mallory playfully elbows Mickey in his ribs. MICKEY Oh, I'd say watching TV. All the reporters in unison: REPORTERS What's your favorite show? MICKEY 'Have Gun Will Travel.' CUTE REPORTER Do you have anything to say to your fans? MICKEY (looking in CAMERA) You ain't seen nothin' yet. CUT TO: EXT. COURTHOUSE - DAY Wayne by himself standing on the courthouse steps. WAYNE (to CAMERA) No, apparently we had not seen everything. Grace Mulberry gave her tearful testimony. Then it became Mickey Knox's turn for cross- examination. CUT TO: COURT SKETCHES: An artist SKETCH of Mickey cross-examining Grace on the stand. BISBING (V.O.) Grace was terrified of Mickey. You have to understand most of their victims were normal people with normal lives that nothing out of the ordinary ever happens to. COURT SKETCH of Mickey looking like the devil himself. BISBING (V.O.) Then out of the blue, they're dealing with the devil incarnate. It was extremely difficult for us to find survivors who would take the stand and testify when they knew Mickey would be cross-examining them. COURT SKETCH of terrified Grace. CAMERA closes in Grace's face. BISBING (V.O.) Grace was every bit as terrified, every bit as haunted. But she felt her brother Tim and her five girlfriends were counting on her. CUT TO: INT. COURTROOM - DAY COURT SKETCH - CU of Grace staring intently. CAMERA widens to include Bisbing standing before the bench as Mickey sits with Mallory at the defence table. Judge Steinsma looks down at Grace. The distinct sounds of a court in session can be heard in the B.G. The color of the scene FADES to Black & White as the CAMERA cranes up to reveal the COURT ARTIST drawing while court is in session. OFF SCREEN: Bisbing is wrapping up her examination of Grace who is at the witness stand. Judge Steinsma resides at his bench. CAMERA dollies into a MED. OVERHEAD TWO-SHOT of Mickey and Mallory who are sketching on a pad of paper. CAMERA reveals the drawing of a man stabbing a woman. Mickey is doing the actual drawing, but every once and a while Mallory takes to pencil and adds some touches, as Grace finishes her tearful testimony. BISBING (O.S.) No further questions, your honor. Emotional pause, the silence. JUDGE STEINSMA (O.S.) Would you care to cross examine the witness, Mr. Knox? Mickey scratches out the drawing. Still holding the pencil he stands and leaves frame. MICKEY (O.S) As a matter of fact, your honor, I would. NOTE: The following scene is to be played with EXTREME CLOSE UPS. Not once is the courtroom seen in detail. However courtroom sound can be heard vividly in the B.G. CU of Mallory, who grins at Mickey like a Cheshire cat. CU of Grace's eyes as they look downward. CU of Judge Steinsma as he shuffles paper on his bench. CU of Mickey's feet crossing the court floor. CU of Bisbing as her eyes follow Mickey across the court. Mickey enters the frame, with a pencil pressed to his lips in though. Mickey is looking straight into the CAMERA. Mickey's POV of Grace sitting on the witness stand, staring into her lap. ECU of Grace's finger rolling a large, male-style, High School class ring around her palm. CU of Mickey glancing to the ring. Mickey smiles. Mickey's POV of Grace as she pulls from a reserve of strength. Clenching the ring tight in her fist, her eyes come up and lock hatefully on Mickey. CU Mickey as he walks forward towards Grace. MICKEY That's one helluva story, Miss Mulberry. CU of Grace. GRACE Yes it is. At this point Mickey begins to pace from right to left, but always remaining in CU. MICKEY Grace...I hope you don't mind if I call you Grace... BACK TO: Grace as we DOLLY from a MED CU into a ECU. MICKEY Grace. I'd like to talk to you about your late brother Tim, if you feel up to it. CONTINUE DOLLY: Once locked onto her eyes, her head drops forward and we... CUT TO: INT. GRACE'S HOME - NIGHT ECU of Grace's eyes as her head is pulled back into frame. Her eyes are wide with fear. The CAMERA pulls back to reveal a gag in her mouth and a knife pressed against her throat. She's back at the night of the murder. Mickey's wearing a black leather jacket over a white t-shirt, which is covered with blood. Blood is smeared on his face, and he's holding a knife pressed to his lips, also covered with blood. But he's walking and talking with the same manner and poise as in the courtroom. MICKEY Grace...I hope you don't mind if I call you Grace... TWO SHOT revealing that Grace is bound and gagged with Mallory right behind her, holding the knife and cracking gum. MALLORY Naw, she don't mind. MICKEY Grace. I'd like to talk to you about your murdered brother Tim, if you feel up to it. CUT TO: INT. COURTROOM - DAY CU of Grace in a daze. MICKEY (O.S.) Did you get along? Mickey waits for an answer that doesn't come. MICKEY Miss Mulberry? Back to Grace. GRACE More or less. MICKEY More or less... BACK TO: Mickey. MICKEY What do you mean by that? BACK TO: Grace. GRACE Well, he's my older brother. When we were growing up, there were times we could of very well done without each other. But when it counted, we were close. CU of Bisbing listening. Grace is doing better than she thought. CAMERA PANS from shadows to find Mickey, the pan continues through his line. MICKEY I'd like to talk about Tim's martial arts abilities. How long had he been studying? PAN CONTINUES back into the shadows, then 180 degrees to find Grace. GRACE He started when he was in the seventh grade, so that would make it nine years. PAN CONTINUES back into shadows, then... DISSOLVE TO: INT. MARTIAL ARTS SCHOOL - DAY CAMERA PANS from darkness into a well lit martial arts class room in full session. TIM MULBERRY and expert martial artist is competing against a lesser opponent while their master looks on. CAMERA PANS back into shadows, then... DISSOLVE TO: INT. COURTROOM - DAY CAMERA PANS from darkness and locks on a CU of Mickey. MICKEY When you study the martial arts, they give out belts that come in different colors to signify what level you're at in your training. Am I correct on that point? GRACE Yes you are. MICKEY What was the color of Tim's belt? GRACE The style of fighting that Tim studied didn't believe in belts. MICKEY Is that a fact? Well then, Grace, could you tell us what form of martial arts it was that Tim was schooled in? GRACE Tim studied several styles, but his favorite was Jeet Kune Do. MICKEY Jeet Kune Do...Now I did some research on that form of fighting, and I found out that Jeet Kune Do was a style developed by Bruce Lee. Did you know that? GRACE Yes, I did. That's why Tim studied it. Because it was Bruce Lee's fighting style. CU of COURT CLERK'S HANDS typing in SLOW MOTION. MICKEY Now, while I freely admit total ignorance on the subject, I have heard of Bruce Lee. And I was under the impression that Bruce Lee was one of the, if not the greatest fighter in the history of martial arts. GRACE That's what Tim said. MICKEY So, I think it would be safe to say that anybody who studied the fighting style that Bruce Lee, arguably the greatest martial artist of all times, developed for nine years, that would be a fella who could defend himself. Would you describe Tim that way, Grace? GRACE Yes, I would. Mickey points at Grace with the pencil in his hand. MICKEY Point of fact, weren't Tim's hands registered as lethal weapons? GRACE Yes, they were. CU of Mickey's hand holding the pencil. MICKEY That means his hands are considered a weapon like a gun or a knife. Am I correct on that point? GRACE Yes, you are. CU of Mallory cracking a slight smile. MICKEY Yet, in your testimony just now, you described that Tim... CAMERA moves into a tight CU of Grace. Her eyes widen. MICKEY (O.S.) ...kicked me four times in the head. CUT TO: INT. GRACE'S HOME - NIGHT INSERT: The night of the Murder. Tim cuts loose and hammers Mickey with four punishing kicks to the head. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY And his trained martial artists kicks had little to no effect. CUT TO: INT. GRACE'S HOME - NIGHT CAMERA is LOW ANGLE as Tim backs up after his attack. We notice the High School Ring he wears on his right fist as he steps into a fighting stance, ready for Mickey to drop. Mickey, however, spits out a stream of blood, and smiles at him. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY Then, after shrugging off four blows to the head like I was Superman, I lifted Tim-nine-years-of-Jeet-Kune-Do-Mulberry off the ground and threw him across the room. Mickey, with arms raised over his head, pantomimes throwing Tim's body. CUT TO: INT. GRACE'S HOME - NIGHT WIDE SHOT as Tim flies into FRAME, CRASHING into the living room wall. CUT TO: INT. COURTROOM - DAY We quickly PAN down a number of items with white evidence tags on them. We stop at Mickey's Buck Knife. Mickey's hand comes into FRAME and picks up the knife. MICKEY Then I took... CU of Mickey as he brings the knife into FRAME. MICKEY ...this knife and proceeded to tear him limb from limb. And this man, whose hands are lethal weapons--- CU of Bisbing as she stands. BISBING Objection, defence is intimidating the witness with the murder weapon. JUDGE STEINSMA (O.S.) Sustained. Mr. Knox, put the knife down. Mickey is locked on Grace. MICKEY (cont'd) --had little to no defence. GRACE (yelling) I don't know how you did it, but you did it! JUDGE STEINSMA Mr. Knox! The knife! Mickey glances to the judge, then slowly places the knife back on the table. MICKEY How do you think a human being could possibly be capable of doing something like that? Mickey locks eyes with eyes. GRACE (yelling) I don't know! Mickey is on top of her. MICKEY Now...I don't believe that Grace. I think you have a definite opinion on how I was able to do those things you described. Now, I'm going to ask you again. And I want you to remember you are under oath. Grace collects herself. MICKEY (O.S.) In your opinion, Miss Mulberry, how was I able to murder you brother Tim Mulberry in the manner you described. The Judge looks down at Grace. Grace looks back into her open palm. CU of the ring. BACK TO: Mickey bearing down on her, waiting for an answer. BACK TO: Grace as we slowly DOLLY closer she looks up at Mickey timidly. GRACE (softly) You're not human. Mickey smiles. GRACE I thought about it a lot. And the only thing I could figure is that you're not human. Bisbing hides her disappointment by looking down. Mickey straightens up as Grace continues. GRACE You're a vampire, or the devil, or a monster, or cyborg, or something like that. But you're not human. Grace breaks down. Putting her hands to her head to stop the pain. CU of Mickey smiling down at her. CU Mallory smiling proudly at Mickey. CU Judge Steinsma betraying no emotion looks down at Grace. CU of Grace sobbing, she tries to collect herself by clutching the ring tighter. Mickey rolls his pencil in his hand the CAMERA tilts up as he leans into a CU. MICKEY (softly) Thank you. Grace, there is one other thing... GRACE (softly into her lap) What... Mickey smiles. MICKEY You're right. Grace tearfully looks up and meets Mickey's demonic glare as he plunges his pencil deep into her chest. Grace's eyes go wide as Mickey's vicious attack continues. CAMERA whips to CU of Bisbing jumping up screaming as pandemonium breaks out behind her in SLOW MOTION. CU pencil puncturing Grace's blood soaked chest in SLOW MOTION. CU Judge Steinsma slams his gavel while directing the Sheriff Deputies in SLOW MOTION. CU of the Sheriff Deputies are running to Mickey in SLOW MOTION. ECU of Grace a tear rolls out of her widen eye in SLOW MOTION. CU of Mickey. His attack is unending in SLOW MOTION. MED Grace goes limp. As the Sheriff Deputies reach Mickey from all sides the pencil breaks off inside Grace in SLOW MOTION. CU the bloody eraser end of the pencil in Mickey's hand in SLOW MOTION. SIDE ANGLE as Grace's head falls back into a CU. Her mouth plops open and as her eyelids close, they pinch out a tear that rolls down her cheek in SLOW MOTION. CU of Mickey's torso as the Sheriff Deputies wrestle him away from Grace. Mickey still has the bloody end of the pencil. CU of Grace's hand dropping into frame and as her fist opens, the ring falls in SLOW MOTION. CU of the ring hitting the floor and rolling out of frame. DOLLY along side the rolling ring on the floor until it hits a shoe and stops. ECU of Mickey's eyes looking down at his feet. ECU of Mickey dropping the bloody pencil stub. CAMERA follows it in SLOW MOTION. CU of bloody pencil stub hitting the floor next to the ring in SLOW MOTION. CU of Mickey looking over to Mallory. CU of Mallory surrounded by Sheriff Deputies. She smiles at Mickey. MALLORY Show off. Mickey smiles and glances toward Judge. MICKEY No further questions your honor. Mickey turns forward still wrestling the Deputies. Mickey's POV of a Sheriff Deputy stepping in front of him with a riot club. DEPUTY #1 Light's out Prick. Deputy swings the club. CUT TO BLACK: EXT. COURTHOUSE REAR - DAY Mickey, dressed in county blues, is led out of the courtroom by sheriffs deputies. He's cuffed hand and leg. Reporters throw out questions, photographers shoot photos, Mickey is somewhere else, no mugging to the crowd this time. WAYNE (V.O.) After the deadly brewhaha in the courtroom, the judge, honorable Burt Steinsma, passed down a sentence that was to make legal history. INT. JUDGE'S DEN - DAY Interview with Judge Steinsma in his den at home. M.O.S. SHOT of Wayne and Judge talking. WAYNE (V.O.) We spoke with retired Judge Steinsma at his home in Baltimore, Maryland. The interview: WAYNE Was there any vengeance on your part with your unique sentence? JUDGE STEINSMA Yes, unquestionably. After they did what they did in my court, and judge worth his robe will tell you the same thing. It couldn't help but affect my decision. That's why they have judges. We're supposed to be fair to a fault, but when it's showtime, we have to make a decision. That's why we don't just input all the facts into a computer for the appropriate punishment. I couldn't give them the death penalty. See, California hops back and forth on that issue. Mickey and Mallory went to court when it was out of favor, which is actually good because it leaves more room for imagination. Anybody can give somebody the chair. When you have someone who deserves to die and you can't kill them, you have to be creative. And if the bastards had let it stand, it would of been the perfect sentence. It hit 'em right where they lived. Far more punishing than the death sentence. WAYNE Would you please describe for our viewers what your sentence was? JUDGE STEINSMA Well, in a rogue's gallery of killers, Mickey and Mallory are very unique. I've seen a lot of killers in my day and they're a very cold lot. They have no more feelings about taking a person's life than squashing a tiny bug. It's all the same to them. Well, Mickey and Mallory were that 'kill 'em to watch their expression change' attitude personified. Except with each other. And, since they lived only for each other, I wanted to attack that, at its very root. So, in a nutshell, my sentence was double life for each without any possibility for parole. That would be fairly standard in their case. The twist I added was that the husband and wife would have no contact or correspondence with each other for the rest of their lives. And they would never receive any word or information about the other. So, basically once the cell door slams shut, Mickey and Mallory will completely disappear from each other's life. They'll never know when the other dies. But alas, the best laid plans of mice and men... CUT TO: EXT. COURTHOUSE REAR - DAY Mallory in tears, hysterically actually, is cuffed hand to foot, and being dragged by sheriff's deputies into the prison bus. Reporters throw out questions, photographers shoot photos, TV news people capture the moment on video. The bus pulls out onto the street. CUT TO: PHOTO: Mickey in prison uniform being led by guards. PHOTO: Shot though bars of Mallory in her cell. Her back is to the camera. WAYNE (V.O.) The sentence was never to reach that point. Because after only a year, Mickey and Mallory created so much mayhem that it was decided... INSERT: FRONT PAGE NEWSPAPER: 'MICKEY AND MALLORY TO BE TRANSFERRED TO ASYLUM.' WAYNE (V.O.) ...that they were mentally ill and needed to be transferred to a state mental hospital. CAMERA move into the picture of Mickey and Mallory on the front page of the newspaper. CUT TO: PHOTO: of Dewight McClusky. WAYNE (V.O.) We talked with Dewight McClusky, chairman of the California State Prison Board, about this curious turn of events in the Mickey and Mallory case. INT. MCCLUSKY'S OFFICE - DAY Wayne's interviewing McClusky. WAYNE Why are Mickey and Mallory being moved to an asylum? And who made the decision? MCCLUSKY The prison board made the decision. A board of which I belong. We're the who. The why is simple. Mickey and Mallory are mentally ill and need to be under a doctor's care, where hopefully they'll receive the help they need. WAYNE Mickey and Mallory were deemed competent in a mental examination before their trial. I'm confused. What's changed? MCCLUSKY Well, since that time, they've killed one person during their trail. And since their incarceration, they've killed one psychologist along with several guards and inmates. WAYNE When they were found competent before, they had already killed fifty people. Other than the fact they're a disciplinary problem, which frankly shouldn't surprise anyone, I still don't see where this situation is any different then it was before. So, I ask you again, Mr. McClusky, what's changed? MCCLUSKY What's changed, Mr. Gayle, is our minds. We felt they were competent a year ago. A year has passed, sir, a year where they were under close observation, day in and day out, and their behaviour has led us to believe we were wrong. WAYNE Who is we? MCCLUSKY The prison board and the doctors who examined them. WAYNE Were any of the doctors who made the first evaluation on the Knoxs mental state asked to re-examine them? MCCLUSKY Using the same doctors is not common practice. WAYNE I take it by your answer it was a whole new team? MCCLUSKY Now that you bring it up, yes. They were different men. I hadn't really thought that much about it. Since many psychiatric opinions are, by a rule, sought out for this kind of situation. What do you think normally happens? The Knoxs are assigned a family psychologist that takes care of them throughout the rest of their lives? The state doesn't work like that. PHOTO: of DR. ALBERT RODRIGUEZ. WAYNE (V.O.) The two psychiatric opinions the board sought were those of Albert Rodriguez... PHOTO: of DR. FELIX VARGUS. WAYNE (V.O.) ...and Dr. Felix Vargus. Both of the good doctors, for whatever reason, refused to be interviewed. INT. DR. REINGHOLD'S OFFICE - DAY Back with Dr. Reinghold. He's laughing. DR. REINGHOLD It's a funny situation actually. If anyone besides Mickey and Mallory give a damn, what the prison board is doing would be considered an outrage. The prison board is basically saying, 'We can't handle these guys.' They've moved 'em around twice since their sentence started. They were a handful everywhere they went. Now the prisons they're at now want them outta there. But no other prison's gonna be stupid enough to take 'em. So the prison board is left scratching their heads wondering what they're gonna do. Well, what they decided to do was to set up a kangaroo medical court that found them crazy. Then they get them transferred to Nystrom Medical Asylum or Lobotomy Bay as it's referred to in the psychiatric circle. Put 'em on a strict dope and electro shock diet, and Mickey and Mallory cease to be a problem to anybody except the orderlies who clean out the bedpans, which if you want to see them get theirs, that's all well and good. But there's something being said here. Forget the immorality for a second. Forget the corruption and the skulduggery involved. What the board is saying is 'we give up.' Mickey and Mallory ran amuck in polite society. They were put in an alternative society and they ran amuck there, too. All the powers that be, can't deal with these two kids. And whatever can't be assimilated has to be terminated. WAYNE So, in your opinion Mickey and Mallory are not insane? DR. REINGHOLD Insane, no. Psychotic, yes. A menace to living creatures, yes. But to suggest that they're insane gives the impression that they don't know right from wrong. Mickey and Mallory know the difference between right and wrong. They just don't give a damn. FREEZE FRAME on Dr. Reinghold. INT. EDITING BAY - DAY Wayne's just finished viewing the show. He puts his hands on Scott and Roger's shoulders. WAYNE Good work, my brothers. Fan-fuckin'- tastic! I think that interview stuff's too long, we can lose some of that. Keep the girls, keep the long hairs, keep the Hun brothers, keep the black guy, keep the movie shit, and keep the cop at the donut shop. Lose the rest. And cut the interview with the prison board fellow before that. Cut it after I ask, 'I take it by your answer it was a whole new team.' Don't even let him answer. Fuck him. Then cut to me talking about the two chicken shit psychiatrists and straight in Dr. Reinghold laughing. SCOTT Okay. Wayne puts his arm around Unruly Julie. WAYNE Children, we have a show. (to Scott & Roger) You two get some long well overdue sleep. 'Cause tomorrow, bright and early, county jail and then journey's end...Mickey Knox. CUT TO: TITLE CARD: 'TOMORROW--BRIGHT AND EARLY.' INT. MICKEY'S CELL - DAY Mickey's pacing back and forth in his cell, trying out different jokes. MICKEY There's this Italian guy, a French guy, and a Polish guy. And they're all talkin' about how they fuck their wives--- JUMP CUT: MICKEY ...You know, I'm gonna just rip off your dress and squeeze your titties. Then Little Red Riding Hood whips out her .357, sticks it in the Big Bad Wolf's face and says, 'No you're not. You're gonna eat me...just like the story says.' JUMP CUT: MICKEY (with a lisp) ...Fairy boat! I knew things were good in here, but I didn't know we had our own Navy. JUMP CUT: MICKEY ...So this guy wants to take little Johnny's sister to the drive-in. But the mother says, 'Only if you take little Johnny along---' JUMP CUT: MICKEY ...And the Polish guy says, 'That's nothing. When I get through with my Hanna, I get up, wipe my dick on the curtain, and she hits the roof!' JUMP CUT: Mickey's pretending he's calming down a hysterical audience. MICKEY No...please...thank you...you're too kind...no...please... INT. NEWS VAN - MOVING - DAY Through Scott's CAMERA, we're filming this in BLACK AND WHITE - 16mm. NOTE: Everytime we're viewing through Scott's CAMERA, we are filming handheld in 16mm BLACK AND WHITE. Until otherwise specified, the SHOTS stay in Scott's CAMERA. Scott's filming the back of the newsvan. Roger's sitting in the back eating donuts as is Wayne. Unruly Julie's up front driving. WAYNE (with mouthful of donut) How's it working, Scotty? SCOTT (O.S.) Perfecto! Roger's picking through a box of donuts. Scott PANS over to him, then slowly ZOOMS in on him. ROGER Where the fuck's the chocolate cream filled? Did anyone get my chocolate cream filled? If you did, it's mine. CU of Roger, looking into CAMERA. ROGER I pointed at a chocolate cream filled. You saw me do it, didn't you? Wayne starts talking. We PAN from Roger to a CU of Wayne. WAYNE You were there. Did you see him put it in a box? We PAN back to a CU of Roger. ROGER At the time, I was too busy explaining to Scott the finer points of film. We ZOOM back to a WIDE SHOT. SCOTT (O.S.) Yeah, right. You know what he said? He said, Indiana Jones And The Temple Of Doom is Spielberg's best film. Wayne starts laughing. We hear Scott laugh too. WAYNE (to Roger) You can't be serious? ROGER (preoccupied) I'm as serious about that as I am about going back to the donut store, and dipping that stupid Mexican's head into the batter for forgetting my chocolate cream filled. Gimme that other box. WAYNE Huh uh. This dozen is for Mickey. ROGER That dumbass probably put my chocolate cream filled in there by mistake. WAYNE Roger, no. ROGER What's the big deal? Take out my chocolate cream filled, put one of these roasted coconut--- WAYNE Roger, do you understand what the word 'no' means? It's important we establish a rapport. Something as simple as a dozen donuts can mean the world to somebody who hasn't had a donut in a year. ROGER So you're giving a man who butchers whole families, little babies included, my chocolate cream filled? Unruly Julie HONKS the horn. Wayne gets up and looks out the windshield. WAYNE Okay, guys, we're here. L.A. County Jail. Julie, just park in the front. ROGER Wayne--- WAYNE Roger, I'm starting to get pissed. Just drop this fuckin' donut shit, and gather your gear. The van stops. Wayne slides open the panel door, and steps out. EXT. LOS ANGELES COUNTY JAIL - DAY BACK TO: COLOR 35mm. Wayne hops out of the van and is approached by Superintendent Phil Wurlitzer who's followed by two DEPUTY SHERIFFS. WAYNE (aside to Scott) Here's the welcome wagon. Wurlitzer reaches them and shakes Wayne's hand. WURLITZER Hello, Mr. Gayle. I'm Phil Wurlitzer. We talked on the phone. It's a pleasure to meet you. WAYNE Same here. Let me introduce my crew. Scott...Roger...and Unruly Julie ...this is...I'm sorry. What's your title again? WURLITZER I'm the superintendent here at L.A. County Jail. Me and my deputies are who you'll be working with while you're here. WAYNE That sounds great. Look, I don't want any of this to intimidate you. This is not going to be a big deal. This is going to be very easy. (to his crew) I need to talk with Mr. Wurlitzer. You guys get your equipment ready, power up the van and confirm a transmission code for the remote. Julie come with me. Julie tosses the keys to Roger and shadows Wayne as he speaks confidentially to Wurlitzer. WAYNE The main thing I need is a big room, shut off from the population, so we can get some privacy...with a few electrical outlets. INT. SUPPLY ROOM - DAY Wayne and his crew have set up in the food supply room off from the cafeteria. Being big, roomy, and unpopulated, it's perfect for an interview. There's eight L.A. County DEPUTY SHERIFFS around the room along with Wurlitzer. Roger's setting up his sound equipment while Unruly Julie is checking her notebook. Wurlitzer and a few Deputies talk among themselves. CAMERA moves from person to person without cutting. WURLITZER (to two Deputies) This is just for an interview, I was on the set of 'Dukes of Hazzard' once. It was a much bigger deal than this. They had a crew of maybe seventy-five people. CAMERA moves to Wayne and Scott. WAYNE We're gonna be talking over here. But I want enough freedom so if I wanna get up and move around, we can. Wayne grabs Scott and walks him to the left. WAYNE Take him and walk him over this way. (pretending Scott's Mickey) So, Mickey, killing Mallory's parents, what the hell was that all about? (pauses--to Scott) Then maybe take him to the window. He walks Scott to the window. WAYNE (pretending Scott's Mickey) So, Mickey, if you were let outta jail today, what's the first thing you'd do? (pause--to Scott) Little shit like that. I don't wanna have to feel I gotta stay in the chairs. We're after a cinema verite, anything can happen, truth twenty-four times a second kindda feel. End of single SHOT. Wurlitzer's talking with Deputies. WURLITZER And when it's lunch time, they don't just go to McDonalds. They got cooks there servin' great food. Swedish meatballs... Wayne walks over to Wurlitzer and Deputies. WURLITZER How's everything coming, Mr. Gayle? WAYNE Everything's coming along just fine. Phil, I wanted to know if I could have a small word with you. WURLITZER By all means. Wayne puts his hand on Wurlitzer's shoulder. They walk around the room. WAYNE You met the kids I have working for me? Great bunch, aren't they? WURLITZER Oh yes, indeed. Top flight. WAYNE Scott, genius cameraman, Roger, magician with sound. Unruly Julie, I could sooner do without my arm than Unruly Julie. WURLITZER Is that her real name? WAYNE Just a little nickname. Yep, they're my kids and they're all I need. After working together these past coupla years, we're like well-oiled machinery. No, more like a Formula race car. No, scratch that one, too. What we're really like is a Swiss watch. Small, intricate, compact...it shouldn't work as well as it does, but it does. Because of the craftsmanship, the expertise, and the artist's loving hand. Wayne gives Wurlitzer a moment to digest this. WURLITZER I see. WAYNE Now, Phil, I don't know if you've ever been on a set before--- WURLITZER (proudly) Ya know, I was. WAYNE (acting surprised) Really? WURLITZER I was on the 'Dukes of Hazzard' set about eight years ago. WAYNE (still acting surprised) Well...small world. Well, then, you know firsthand how Hollywood does things. Lights all over the place, generators, a hundred and fifty crew members--- WURLITZER Oh, that 'Dukes of Hazzard' show, there was probably ninety-five people there, maybe more. WAYNE See what I mean? It's a funny business, isn't it? WURLITZER It sure is. WAYNE They got a asshole over here. (pointing to his left) A asshole sitting down reading a magazine over there. (points to his right) A asshole perched up there. (points straight up) Assholes everywhere. Hey, maybe if we were doin' that kiss, kiss, bang, bang stuff we'd need all those assholes, too. What we're about is intimacy. We're about two people having a conversation. Say I was interviewing you. All I want you to worry about is what I ask you. I want a trust to develop. If you're thinking about all this... (indicates the hustle and bustle of a set) ...you're not going to relax, a trust won't develop, we'll be talking a each other instead of to each other, there will be no chance for intimacy. Wayne gives Wurlitzer a chance to take this in. WAYNE That's why my crew is only three...an invisible three. (switching gears) Which brings me to what I wanted to talk to you about. I have to get Mickey Knox to relax...Mickey Knox to share what he's never shared before... Mickey Knox to open doors which 'till today have been closed. Well, how can we expect him to do that when we got Los Angeles County Sheriffs up the walls. Suddenly, things get short between the two men. WURLITZER (snorts) Well, just what the hell do you expect me to do? WAYNE Lose 'em. WURLITZER Mr. Gayle, do you have the slightest idea how dangerous Knox is? WAYNE Mr. Wurlitzer, I assure you, I am very familiar with Mickey Knox's career. They're out and out angry. WURLITZER Since he and his wife have been in custody, they've killed--- WAYNE Don't recite the fact to me. I'm sure I know 'em better than you do. WURLITZER Well, let me let you in on one more fact you obviously don't know. If I were to take my men away, Mickey Knox would snap your neck like a twig. WAYNE One...I can take care of myself. I grew up in a tough neighbourhood, and I've handled some pretty rough customers in my day. Mickey Knox doesn't scare me. Two...I'm a journalist, and I'm prepared to take that risk. Three...it ain't gonna happen. Believe me when I tell you, it is in Mickey Knox's own best interest to play this game according to Hoyle. (pause) Wait a minute. We've gotten into a advisory relationship here, which is not what I want. (pause) But seriously, Phil, look at this. Wayne scans the room, counting the deputy sheriffs. WAYNE (counting) We got one...two...three...four ...five...six...seven...eight. I mean Jesus Christ, Phil, that's too much. Let's lose some of these guys. WURLITZER Wayne, if it was anybody else--- WAYNE Phil, I'm just scared he's gonna clam up on me with all these sheriffs all over the place. They hate him. He hates them. What kinda intimacy am I gonna create with all this hate in the air. Even you and I feel it. WURLITZER What are we talking about? WAYNE Two guys? WURLITZER Okay. I'll take two guys off. WAYNE No, no, no, no, no, no, I mean only two guys. WURLITZER I can't do that. Five guys. WAYNE Three. WURLITZER I'll cut it in half. Four guys, but that's it. INT. MICKEY'S CELL - DAY Mickey lays on his bed with his hands behind his head. CAMERA DOLLIES BACK to include the bars of Mickey's cell door in the F.G. as two DEPUTY SHERIFFS enter FRAME and slide it open. The deputies each carry shotguns and a shit load of chains and shackles. DEPUTY #1 On your feet! Turn your face to the wall. Mickey gets up. MICKEY Now what you're supposed to say is: 'Five minutes, Mr. Knox.' OFF SCREEN the cell door slams closed. CUT TO: INT. MALLORY'S CELL - DAY CU of Mallory asleep in her bunk. The echo of Mickey's cell door makes her up with a jolt. SCAGNETTI (O.S.) Rise and shine, Mallory! Mallory springs out of bed, and into a fighting stance. CAMERA WHIP PANS to Scagnetti, inside her cell, flanked by two deputies with shotguns. The deputies are BINGHAM and WASHINGTON. SCAGNETTI Beautiful day for a drive, isn't it? CUT TO: INT. JAIL CORRIDOR - DAY CU of Mallory's bare feet walking in front of Bingham and Washington's shiny black shoes. The SOUND of Mallory's bare feet slapping the concrete floor, along with the clip-clop-clip-clop of the deputies' shoes, reverberates throughout the scene. Mallory walks slightly ahead of the two shotgun wielding deputies, when Scagnetti slips in beside her. He lights up a cigarette with his Zippo, and talks a long drag. SCAGNETTI It's a long trip to Bakersfield. Long and hot. Ever been to Bakersfield? Mallory looks straight ahead. SCAGNETTI See, I've been there twice. And I'm not lookin' forward to goin' back. But I'm in and out. You, on the other hand, sweetheart, are gonna spend the rest of your life there. Now that's what I call cruel and inhuman punishment. Mallory shows no emotion, just keeps on walking. SCAGNETTI Course you're not gonna give a shit. 'Cause when the good doctor's get through givin' you the zap... (he puts his finger next to his temple, pantomimes being electrocuted) ...You won't know where the hell you are. They'll just put you on a window sill, and water you every other day. Mallory lets out a big yawn. INT. SUPPLY ROOM - DAY Wayne stands at the window speaking to Scott, Roger and Unruly Julie. One the other side of the room Wurlitzer and his entourage of deputies are yucking it up, and occasionally bursting into laughter. WAYNE (to his crew) And when he gets here, its no dick'n around time. Make him up, clip a mike on him, then leave him alone. I don't want you talking to him. I don't want you getting in his face. I want you hiding behind your gear. You are invisible. CAMERA PANS to the door as two deputies lead Mickey into the supply room. Mickey is shackled head to toe, it's a wonder how he can still walk. WAYNE (to his crew) Okay, break. Wayne's team disburses. WURLITZER Okay, boys, lets start undoing him. Two deputies hold shotguns to Mickey's head, while two others start unlocking the chains. As they do, Mickey looks at Wayne. Wayne approaches Mickey. MICKEY (to Wayne) Okay now, before we get started here, there's a few things we have to get clear about. WAYNE All right, Mickey. MICKEY Let's discuss it when I'm unbound. CAMERA holds on Mickey standing still as the two deputies remove the chains. INT. HOLDING CELL - DAY CAMERA is inside a holding cell fixed on the cell door. The cell door is unlocked, then opened. The two deputies bring Mallory inside. Scagnetti wanders in, trailing behind. Bingham pumps his shotgun slide and places the barrel next to Mallory's head. Washington unlocks the cuffs around Mallory's wrists. Mallory's silent. Scagnetti leans up against the wall, smoking his cigarette. BINGHAM Turn around and face the wall! Mallory does. Bingham and Washington move to the door. SCAGNETTI Wait outside for a second, fellas. BINGHAM We're not supposed--- SCAGNETTI Don't worry about it. Bingham and Washington move outside. Scagnetti takes out his gun and tosses it to Washington. Before they can protest, Scagnetti closes the door. Mallory stands in the middle of the cell, motionless, her back to him. Scagnetti walks up behind her. Mallory doesn't move. SCAGNETTI Want a smoke? Mallory's steel eyes glare at Scagnetti. SCAGNETTI C'mon, I already lit one for you. I know you smoke. Mallory doesn't respond. Scagnetti takes the cigarette from his mouth and puts it between Mallory's lips. Hold on C.U. of Mallory. SCAGNETTI I was reading the file on you. You know what it said during your trial, whenever they put you on the stand, no matter what they asked, your answer was always the same...'I love Mickey.' It also says that when they gave you a polygraph, 'I love Mickey' was the only thing you said that registered as the truth. Scagnetti appears at the side of frame next to Mallory. SCAGNETTI Who are you supposed to be? Squeaky Fromme? Is that it? Is Mickey your Charles Manson? Is Mickey Jesus? Is that the attraction? Or does he just got a big dick? Scagnetti changes to Mallory's other ear. SCAGNETTI That's it, isn't it? Mickey's got a big donkey dick. Scagnetti presses closer. SCAGNETTI Can you remember the last time you fucked? Huh? What I want you to do is close your eyes and remember... remember the last time ol' Mickey gave you the high hard one. Are ya thinkin' about it? Good. Remember it. Don't ever forget it cause it ain't never gonna happen again. Cause when they get through with all that electroshock shit they got lined up for you two, Mick's dick ain't gonna be worth shit. Mallory spits the lit cigarette unto Scagnetti's face. Scagnetti spins her around and slaps her. SCAGNETTI Look. You're gonna sit here for a couple hours while I finish up the arrangements. The reason they picked me to be your chaperone is they know I won't hesitate to put a bullet in you. Scagnetti has Mallory clutched tightly by her shoulders. SCAGNETTI So, during our journey, if any wild hairs spring up on your ass, you'd better slap a muzzle on 'em! Fuck with me, bitch, even a little bit, you're gonna get accidentally shot! Comprehende? Mallory looks at him for a moment, then gives his a massive HEAD BUTT. As we hear the CRACKING of his nose, Scagnetti lets out a horrible scream. EXT. HOLDING CELL - DAY Bingham and Washington fumble with the keys to open the cell door. INT. HOLDING CELL - DAY Bingham and Washington burst through the door to find Scagnetti face down on the ground. Mallory's standing, her foot pressed against the middle of Scagnetti's back, pulling his arms behind him trying to break his back. His body is bending like a branch, and he's screaming. The two deputies proceed to BEAT the shit out of her with their shotguns. Scagnetti rolls around in the B.G., holding his bloody nose, screaming. SCAGNETTI She broke my fucking nose! That bitch broke my nose! Washington comes over to him and helps him up. SCAGNETTI (blood down his face) She broke my nose. WASHINGTON I'll fix it. He grabs Scagnetti's nose, then SNAPS it back into place. Scagnetti lets out another horrible scream, and hops up and down from the pain. When the rush of pain passes, Scagnetti brings his hands down from his face, looking over at Mallory. Bingham has Mallory in the corner of the cell with the shotgun barrel placed in her mouth. CU on Scagnetti. He's a hand grenade with the pin pulled. SCAGNETTI Hold her, boys. Scagnetti walks to the corner where Mallory is. The shotgun barrel's out of her mouth. Bingham and Washington stand on either side of her, holding her in place. Scagnetti grabs a can of mace from Washington's belt, and brings it up to Mallory's face. Mallory and Scagnetti trade looks. Scagnetti gives her an intense blast of mace right in the face, eyes, and all over her body. Mallory crumples to the floor, screaming in agony. TWO SHOT of Bingham and Washington looking down at Mallory on the ground. We can hear Scagnetti still spraying her. They can't look at this anymore. Mallory wiggles on the floor as Scagnetti continues spraying her all over her body. CU of Scagnetti's bloody face smiling. We hear the SOUND of the can of mace running empty. It spurts to a stop. Scagnetti rises up to the two deputies. He hands the empty can back to Washington. SCAGNETTI I want this filled before we leave. The three men walk out of the holding cell, closing and locking the door behind them. We can still hear Mallory's screams of excruciating pain. INT. SUPPLY ROOM - DAY Mickey's sitting in a chair eating a donut. Roger's attaching a microphone to his shirt. Unruly Julie's applying make-up to Mickey's face. MICKEY (to Unruly Julie) How come you never talk? ROGER She was born without a tongue. MICKEY (repulsed) Oh my God! (to Unruly Julie) Sorry. Unruly Julie shrugs her shoulders like 'what are you gonna do' and continues applying make-up. Wayne and Wurlitzer talk. WAYNE So we got a deal. Four deputies--- WURLITZER And me. WAYNE Why don't we make it three deputies and you? WURLITZER Why don't I have Mickey thrown back into his cell and we can forget the whole thing? WAYNE Chill out, Phill. Four deputies and you, I can live with that. We're about ready to go here, so let's get rid of these other assholes. WURLITZER Don't call my men assholes. WAYNE I didn't mean they were assholes. I mean if they're leaving, get 'em outta here. Wayne leaves Wurlitzer and goes over to Scott, who's setting up a light stand. WAYNE Okay, Scotty, we're stuck with four of these assholes. Now I want to create the illusion that this is just Mickey and I chewin' the fat all by ourselves. So make sure you don't film these assholes. I don't want to see 'em on film ever. Oh, and 'Live at Five' slated our spot as human interest which means we'll go live at just after five-thirty. Wayne exits to reveal Mickey in B.G. Wurlitzer's speaking with his four deputies. WURLITZER This asshole's tryin' to tell me what I'm gonna do in my jail. Fuck him! This nanderfuck doesn't know what he's dealin' with here, but we do. And if shit happens, he ain't gonna be responsible, we are. So keep your shotguns out, your fingers on the triggers, and be ready to fire at a moment's notice. BACK TO: Mickey alone in FRAME, sitting in a chair and eating a donut. He takes a big bite. ROGER Say something. MICKEY (mouthful of donut) What? ROGER Anything. Mickey swallows the bite of donut, pauses, then recites a poem. MICKEY (talking in rhyme) I stand amid the roar Of a surf tormented shore, As I hold within my hand Grains of the golden sand-- How few! yet how they creep Through my fingers to the deep, While I weep--while I weep! O God! can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream? Mickey bites into the donut. MICKEY (mouthful of donut) How was that? Roger joins him in FRAME and adjusts the mike. ROGER Ah...fine. Let me make an adjustment here, and we'll be ready to rock 'n roll. Oh...uh, the dumbass at the donut place put a chocolate cream filled I asked for in your box. MICKEY There's a chocolate cream filled in there? ROGER Yeah. Ya see, I ordered that special. MICKEY Tough titty, it's mine now. ROGER Look, I'll trade you. Wayne enters frame. WAYNE Roger, enough with the fucking donuts! What did I tell you. Stop bothering Mickey, and get behind your nagra. ROGER (to himself) Fine. Roger, what the hell are you doing? You're bothering the serial killer. Roger exits FRAME. Wayne grabs a chair and sets it in front of Mickey. WAYNE Sorry about that. MICKEY Don't worry about it. WAYNE We're about ready to go here. Are you ready? MICKEY Let's do it. Wayne smiles and exits FRAME. WAYNE (O.S.) Okay people! Let's start to settle down here. CUT TO: INT. SUPPLY ROOM - DAY 16mm - BLACK & WHITE SCENE is now SHOT through Scott's CAMERA which holds a ECU of Mickey's eye. CAMERA focuses then pulls out to include his whole face. WAYNE (O.S.) Are you comfortable? Mickey looks to Wayne OFF SCREEN and nods. WAYNE (O.S.) Roger? ROGER (O.S.) Rockin'! WAYNE (O.S.) Scotty? SCOTT (O.S.) Rollin'...and speed! WAYNE (O.S.) Slate it. CAMERA SLATE reading 'KNOX INTERVIEW -- ROLL #1' is thrust into view and clapped. The CAMERA ZOOMS out to include Wayne in the FRAME. WAYNE So, Mickey, tell us what you do for fun. MICKEY Aside from the obvious? Mickey breaks out laughing. WAYNE (not amused) Yes. Aside from the obvious. Mickey's laughing slowly runs its course. MICKEY Okay, let me see now. What do I do for fun? (to people O.S.) Does anybody got a smoke? You guys are drivin' me crazy with your cigarettes. (to camera) Sorry out there in TV land. I'm just sittin' here lookin'' at these deputies smokin' up a storm, and it's really doin' it to me. A deputy comes into FRAME, hands Mickey a cigarette, then lights it. Deputy exits FRAME. MICKEY Much obliged. What do I do for fun? Do you want to know what I do for fun or what I did for fun? WAYNE What? Oh, aaahhh, what you did for fun for starters. MICKEY What I did for fun for starters. (thinking) Well, something I used to do...always was a lot of fun... (pause) No, scratch that. Let me think of something else. In fact, why don't we come back to that question. Ask me something else. WAYNE Do you miss Mallory? MICKEY Of course, I miss Mallory. She's my wife. I haven't seen her in a long time. What a stupid question. WAYNE Then was it worth it? MICKEY Was what worth it? WAYNE Was massacring all those people worth being separated from your wife for the rest of your life? Mickey takes a drag from his cigarette. MICKEY Do you think up these questions or the girl with no tongue? WAYNE No, Mickey, I can't let you get away with that shit. Answer the question. Was it worth it? You haven't seen, heard, or smelled Mallory in a year. Was it worth it? MICKEY Was an instant of purity worth a lifetime lie? Yeah, it was. WAYNE Excuse me, did you say an instant of purity? What was the instant of purity? The bodies you left behind on your bloody trail? MICKEY That's only part of it. I mean, it's a big, big, big part. But it's only the chorus, it's not the whole song. WAYNE (passionately) Please explain to me, Mickey, where's the purity that you couldn't live without in five year old Danny Millhouse's blown off head? Where's the purity in forty-eight people who are no longer on this planet because they met you and Mallory? What's so fucking pure about that? CAMERA ZOOMS in on Mickey's face. Mickey looks at Wayne, takes a slow drag off his cigarette. MICKEY Where the purity comes into play--- The image on the SCREEN starts to flutter, and then jams. WHITE LEADER fills the SCREEN. SCOTT (V.O.) Camera jam! I'm sorry Wayne. God. WAYNE (V.O.) Fucking dammit! Mickey hold onto that thought. Reload, quick! INT. HOLDING CELL - DAY We're back to COLOR 35mm. WHITE LEADER FADES to reveal the wall of the holding cell. CAMERA pans onto Mallory on the floor, splashing water on her face from the holding cell toilet. The pain has started to subside. All wet, she lies down on the ground and sings: MALLORY (singing) Love is a hurtin' thang, and it leaves a fiery sting. SCOTT (V.O.) Okay. Okay, we're up again. WAYNE (V.O.) Roll it. Save the slate. CUT TO: INT. SUPPLY ROOM - DAY 16MM - BLACK & WHITE We're looking through Scott's CAMERA again on a new roll of film. WAYNE You just said an instant of purity was preferrable to a lifetime lie. I don't understand. What's so pure about forty-eight dead bodies? MICKEY You'll never understand. Me and you, Wayne, we're not even the same species. I used to be you...then I evolved. From where you're standing, you're a man. From where I'm standing, you're a ape. I'm here...I'm right here... and you...you're somewhere else, man. You say why? I say why not? WAYNE Tell me about the purity. MICKEY (laughing) It's not that easy, Wayne. Donuts and a smoke only get you so far. You're gonna have to do your job. WAYNE (laughs) Okay...okay...I'll buy that. We'll move on and come back later. MICKEY I'm sure we will. WAYNE Describe Mallory. MICKEY Describe Mallory? Okay. She's pretty, she's got blonde hair, two eyes, two feet, two hands, ten fingers... WAYNE Don't play dumb with me, Mickey. You know what I mean. Describe Mallory. (points at his head) What's up here? (points at his heart) What's in here? MICKEY That's indescribable. WAYNE Well, riddle me this, Batman. How do you feel about the fact that you're never gonna see Mallory again? MICKEY (smiles) Says who? WAYNE Says the United States of America. MICKEY (laughs) When have they ever been right? The crew laughs (O.S.) MICKEY Hey, just like Soupy Sales. INT. JAIL CORRIDOR - DAY Scagnetti walks down the hallway leading to the supply room. His face is a patchwork of medical tape, to set his broken nose. Bloody cotton protrudes from each nostril. INT. SUPPLY ROOM - DAY Scagnetti walks into the supply room. Mickey is explaining to Wayne 'Why he's killed all those people.' Scagnetti can't believe what he's seeing. The entire room is in rapture. MICKEY ...one night I was asleep, and a noise wakes me up. I thought, 'Oh shit, somebody's broken in.' I didn't own a gun, so I go into the living room with a fucking umbrella. Okay, it turned out to be nothing. God made the noise. Who knows? SCAGNETTI (whispers) How's it goin'? WURLITZER (whispers) Shhhh! I wanna hear this. Wurlitzer sees Scagnetti's bandaged face. WURLITZER What the hell happened to you? SCAGNETTI You should see the other bitch. What time you got? WURLITZER Two-thirty. Shhh... CAMERA leaves them and travels the room, studying the faces of the deputies, Unruly Julie, Roger, and Wayne as they listen to Mickey's story. MICKEY But I came to the direction I need a gun. Do, the next day I started off early for work, and I'm gonna stop by a gun shop and pick up a little home protection. I walked into the place and had never seen so many guns in all my life. So, I'm lookin' around, the this really nice sales guy comes up to me. His name was Warren. I'll never forget his name. He was really nice. Anyway, Warren showed me all these different models of guns. Magnums, automatics, pistols, Walters. And I ask to see a shotgun. He brings me a Mossberg pump action shotgun. As soon as I held that baby in my hands, I knew what I was gonna do. It felt so good. It felt like it was a part of me. They had a mirror in the store. I looked at myself holding it, and looked so fuckin' good, I immediately bought it. Bought a bunch of boxes of ammo. Turned my car around, drove to Mallory's house, we took care of Mallory's parents, packed up the car, and we were off. DISSOLVE TO: SAME SCENE: SHOT through Scott's CAMERA: MEDIUM CU on Mickey. MICKEY Everybody thought I'd gone crazy. The cops, my mom, everybody. But you see, they all missed the point of the story. I wasn't crazy. But when I was holding the shotgun, it all became clear. I realized for the first time my one true calling in life. I'm a natural born killer. WAYNE Okay, let's cut it. BACK TO: COLOR 35mm WAYNE (to Scott) Did ya get that? Unruly Julie hands Wayne a notebook. He starts flipping pages. SCOTT It's gonna be beautiful. WAYNE Super cool. (to Mickey) This is great stuff. How ya doin'? MICKEY I could go for a Coke. WAYNE (yelling) Could I get a Coke for Mickey? WURLITZER I'm not running out and getting that piece of shit a Coke. WAYNE Fine. (to Unruly Julie) Julie, why don't you make a food run? (to the room) What's around here? DEPUTY SHERIFF There's an In and Out Burgers about a block away on Olive. It's walking distance. WAYNE Okay, Julie, take everybody's order. I'll have a double double with cheese, french fries, and a large Coke. Unruly Julie writes down Wayne's order in her notebook, then goes from person to person collecting their orders. Scagnetti and Wurlitzer talk to each other. WURLITZER Are you all set? SCAGNETTI Yeah. Bus is all gassed up and ready to roll. WURLITZER I assigned you Bingham and Washington to go along. In B.G., Unruly Julie takes Scott's and Roger's orders. SCAGNETTI Yeah, we met. They're good men. WURLITZER They're real Goddamn good. They'll be there for when ya need 'em. Where are they? SCAGNETTI Waitin' in the lounge. WURLITZER How 'bout Mallory? SCAGNETTI Coolin' her jets in a holding cell. Unruly Julie walks up to the two men to take their order. In the B.G., we hear the wall phone BUZZ. SCAGNETTI Nothing for me. I'm leavin'. WURLITZER Me, neither. I don't eat meat. Unruly Julie walks away. A deputy yells for Wurlitzer. DEPUTY SHERIFF Capt'n! WURLITZER Yeah? The deputy holds the receiver of the wall phone in his hand. DEPUTY SHERIFF They need you. Emergency! Wurlitzer rushes to the phone, grabs the receiver. WURLITZER (into phone) Talk to me. (pause) Where? (pause) For the love of Pete...okay...okay ...okay. Mobilize the men. I'm on my way. CAMERA PANS away from Wurlitzer to the extremely curious eavesdroppers. CAMERA glides by all of them: Scagnetti, Wayne, Scott, Roger, Unruly Julie, and finally ends up on Mickey. CAMERA holds on Mickey as he contemplates Wurlitzer's conversation. OFF SCREEN the phone receiver being SLAMMED down. WURLITZER (O.S.) I'll be a son of a bitch. There's a riot going on in the laundry room. DEPUTY SHERIFF (O.S.) Is it serious? WURLITZER (O.S.) It sure as hell is. They got guns, hostages, and explosives. The room reacts. WURLITZER (O.S.) Jack, could you stay up here for a while? SCAGNETTI (O.S.) Yeah, sure. WURLITZER (O.S.) I'm taking one of these men. Yates, come with me. WAYNE (O.S.) Could we go with you and film it? WURLITZER (O.S.) Stay up here and finish your interview, I've got to see what the hell's going on down there before I can take responsibility for you to film there. We hear Wurlitzer and Deputy Yates walk out. Unruly Julie walks into FRAME next to Mickey. She has her notebook. MICKEY I'll have a four by four. That's four patty burgers. Now they don't have that on the menu, but if you order a four by four, they'll know what you're talking about. A large Coke and two orders of fries. When she finishes writing down Mickey's order, Julie walks off silently. CAMERA follows Julie out the door and into... INT. JAIL CORRIDOR - DAY CAMERA DOLLIES with Julie as she walks down the corridor. As DEPUTIES with shotguns and riot gear speed down the hall, the CAMERA passes Julie and speeds down the corridor, following the DEPUTIES into BLACKNESS. INT. LAUNDRY ROOM - DAY CAMERA PANS from blackness to WIDE ANGLE of a dark jail wall masques with shadows of prison bars. The surreal echoing sounds of a riot swell until... A SHADOW of a PRISON GUARD stumbles into frame, followed by a MOB of other SHADOWS carrying NIGHTSTICKS and BARS. The Mob catches the Prison Guard and beat him mercilessly before moving on. CAMERA TILTS down to a CU of a thin stream of BLOOD crawling across the floor. FADE TO BLACK: INT. SUPPLY ROOM - DAY SHOT through Scott's CAMERA: FOCUSING on Mickey, who's standing in a MEDIUM SHOT. MICKEY You guys wanna hear a joke I heard? WAYNE (O.S.) Sure. MICKEY Now, I'm no comedian, but it's pretty funny. It's a Little Johnny joke. Now in the joke, Little Johnny can't talk. And Little Johnny's teenage sister asks her mother if she can go out on a date. As Mickey tells this joke, he moves around the room. Scott's CAMERA follows. MICKEY The mother asks, 'Where's he taking you?' The sister says, 'The drive-in movie.' The mother tells her she can only go if she takes Little Johnny with her. She says okay. They go to the drive-in, they come back. The mother gets Little Johnny and says, 'Okay, what happened? Where did ya go?' Mickey, as Little Johnny, draws a square in the air, and acts like he's driving. MICKEY Mother says, 'The drive-in movie. What did they do?' Mickey, as Little Johnny, acts like he's kissing. MICKEY 'They kissed. What else?' Mickey, as Little Johnny, starts squeezing imaginary breasts. MICKEY 'He felt her up? What else?' Mickey, as Little Johnny, acts like he's undressing. MICKEY (dumbfounded) 'They took off their clothes? What else?' Mickey, as Little Johnny, vigorously acts as if he's having sex. MICKEY 'They did it? What were you doing?' Mickey, as Little Johnny, vigorously acts as if he's jacking off. Everyone in the room breaks up. Wayne, the boys, the deputies, even Scagnetti cracks a smile. As Mickey was telling the joke, he stopped in front of Deputy #4 during the punchline. While everybody's laughing, Mickey SLAMS his elbow in Deputy #4's face. Mickey grabs hold of the shotgun, rips it from Deputy #4's grasp, then BASHES him in the face three times with the butt. Deputy #4 drops, ugly and unconscious. Scott's CAMERA goes wild. BACK TO: COLOR 35mm. The other deputies react. Mickey pumps the shotgun slide and shoots, hitting Deputy #5 in the chest, BLOWING him off his feet. He lands on his back with a THUD. Deputy #3 raises his shotgun. Mickey drops to a crouching position and FIRES, BLASTING Deputy #3 in the groin. Deputy #3 crumples into the wall, FIRING his gun -- SLOW MOTION. The stray bullet THUNKS Scott right in the chest, BLOWING him out of FRAME. Deputy #3 drops to the floor, FIRING his shotgun straight up -- SLOW MOTION. CU of ceiling being BLASTED. Chunks of plaster and rock rain down on Sheriff #3. Scagnetti has whipped out his gun and is bringing it up to fire -- SLOW MOTION. Mickey, still crouched down, spins around toward Scagnetti -- SLOW MOTION. Scagnetti has his gun aimed at Mickey. Squatting, Mickey has the shotgun trained on Scagnetti. They're positioned across from each other on opposite sides of the room. Nobody fires. We DOLLY past the faces of both Wayne and Roger, who are flat on the ground, scared to death. CU on Scagnetti's face. CU on Mickey's face. CU on Scagnetti's finger putting pressure on the trigger, then CAMERA moves up to a CU profile of his face. OVERHEAD SHOT of Mickey. CAMERA moves down in front of him into a CU on his face. MICKEY Looks like we got a Mexican standoff. SCAGNETTI Slide the shotgun over here, put your hands behind your head, put your forehead on the floor. MICKEY Or what? You'll wound me? I can blow you in half and you know it. SCAGNETTI I've never wounded anything in my life. I got you locked right between the eyes. Mickey rises. MICKEY If you don't drop that toy, I'm blowin' you in half on three. So, if you got me locked, take the shot. One... DOLLY in on Scagnetti's gun in F.G., past the gun, to his face. CU of barrel of shotgun. MICKEY (O.S.) Two... DOLLY continues closing in on Scagnetti's face. Wayne watches, wide eyed. ECU on Mickey's face. MICKEY Three! MEDIUM SHOT on Scagnetti. SCAGNETTI Hold it! Don't shoot! He CLICKS the hammer back into place on his gun, then points the gun up. MICKEY Open the chamber. Empty the shells. Scagnetti does. The shells fall out. The shells fall on the floor at Scagnetti's feet -- SLOW MOTION. MICKEY Toss it. Scagnetti does. MICKEY Now put your hands behind your head. Scagnetti does. Mickey, holding the shotgun, walks up to Scagnetti. They stand, facing each other. MICKEY Did you ever see 'Eldorado?' SCAGNETTI What? Mickey CLOUTS him across the face with the shotgun. Scagnetti hits the ground. Blood coughs from his broken nose. Mickey looks at Wayne and Roger on the ground. MICKEY You guys stay on your bellies. ROGER Yes, sir. Mickey bends over Scagnetti and takes hold of his right hand. MICKEY I am the most dangerous man in the world. Mickey SNAPS the trigger finger on Scagnetti's right hand. Scagnetti screams. Mickey's still bent over Scagnetti. MICKEY (points at Scagnetti) You're the law. (points at himself) I'm the law breaker. Scagnetti's not going to give Mickey and more trouble. Mickey stands straight, looks toward Wayne and Roger. MICKEY Donut, get your camera. See if it's broke. WAYNE Let me check on Scott. He's hurt bad. MICKEY Scott's dead. And unless you wanna play follow the leader, shut up and do as you're told. Roger's checking the camera. He turns on the motor. It sounds like a lawn mower. MICKEY How is it? ROGER Not good. MICKEY Do you have a back up. ROGER It's video. MICKEY Even better. Wayne call your station, tell 'em we're going live a little early today. Make it happen! CUT TO BLACK: INT. JAIL LAUNDRY ROOM - DAY Wurlitzer steps into the BLACK FRAME. This SCENE becomes a TRAVELLING CU that never leaves Wurlitzer. Although we'll only see Wurlitzer, we can make out activity in the edges of the FRAME and we can vividly hear the SOUNDS of chaos around us. WURLITZER I want two men stationed in that tier, and I want men with rifles all along the walkway. PITNEY (O.S.) Capt'n! Wurlitzer walks over to a table and looks down. PITNEY (O.S.) Here's the layout of the laundry room. WURLITZER Where do the air ducts lead? PITNEY (O.S.) Here. SMITHY (O.S.) Problem is they'll hear somebody approaching that way. PITNEY (O.S.) We turned off the power when they took over the room. WURLITZER We turn it back on. The machines go back on supplying us with the cover noise we need. Smithy, do it. SMITHY (O.S.) Right away, Capt'n. CAMERA follows Wurlitzer as he heads another direction. WURLITZER Jonesy, are the sharpshooters in place? JONESY (O.S.) Yes. WURLITZER You sure? JONESY (O.S.) I think-- WURLITZER Never say you think when you know, or you know when you think. Wurlitzer snatches a walkie talkie. WURLITZER (into walkie talkie) Bergman, you in place? BERGMAN (O.S.) (from walkie talkie) Sure am, Capt'n. Nothin' clean yet. WURLITZER (into walkie talkie) Pass this to your team...the second they get a lock on a blue, they're to take the shot. Do you understand? BERGMAN (O.S.) (from walkie talkie) That's a big ten-four, Capt'n. Wurlitzer looks to his right. WURLITZER What do you think, Pitney? How much Explosives do you think that they really have in there? PITNEY (O.S.) It's hard to say Capt'n. WURLITZER Take a wild stab! PITNEY (O.S.) I'll say enough to destroy this wing. WURLITZER The entire wing? PITNEY (O.S.) That's my opinion. WURLITZER Jesus... CUT TO: SCREEN FILLS WITH STATIC. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) We interrupt this program to bring you a Special Report. INT. NEWS ROOM - DAY Title Card recedes in FRAME to expose an active news room in the B.G. News Anchor TONY CHAVEZ is lowering himself behind a desk while adjusting his earphone. CHAVEZ Good afternoon, I'm Tony Chavez and this is a KKTV Special Report. At this moment we are receiving preliminary reports of a hostage-- (fingering earphone) I...I'm sorry. I'm being told that we're now taking you live to L.A. County Jail where Wayne Gayle is standing by. CUT TO: INT. SUPPLY ROOM - DAY VIDEO FOOTAGE: NOTE: The video footage is all handheld and harshly lit, until otherwise specified. Wayne, stands alone in FRAME, moments from when we last saw him. WAYNE This is Wayne Gayle reporting live from the Los Angeles County Jail, where you can tell from the bloody carnage behind me that the final chapter in the book called Mickey and Mallory has not yet been written. Mickey enters the FRAME with shotgun in hand, pushing Wayne out. MICKEY Thank you, Wayne, but our little movie just underwent a title change. It's now called 'The Escape of Mickey and Mallory.' Starring me, you, Mallory, and special guest accomplice, Jack- fucked-up-fingers-Scagnetti. (into CAMERA) Okay, Donut, move in for a close up. I want this for prosperity. CAMERA ZOOMS into a CU of Scagnetti. MICKEY (O.S.) Okay, buddy boy, where ya keepin' Mallory? I know she's still here, and I know you know where. So, start talking or my first work as a director will be your death scene. SCAGNETTI (slightly out of it) She's in the holding cell, on this floor. MICKEY (O.S.) You're taking us to that holding cell now. (into CAMERA) All right, Cut! The CAMERA shuts off. SCREEN fills with STATIC. CUT TO: INT. NEWS ROOM - DAY Tony Chavez speaks into CAMERA. CHAVEZ Ladies and gentlemen, in case you have just tuned in, it appears that a hostage situation involving Mickey Knox is developing presently at the Los Angeles County Jail. We have seen that he is armed and apparently there has been some loss of life. We will try to re-establish contact with Wayne Gayle and bring you more on this late breaking story. Please stay tuned. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) This has been a KKTV Special Report. CUT TO: INT. SUPPLY ROOM - DAY BACK TO: COLOR 35mm WIDE SHOT of Mickey, holding his shotgun. He walks over and grabs the shotgun from dead Deputy #5. Deputy #5 won't let go of the gun from his dead man's grip. Mickey finally yanks it loose. He extracts all the shells from the gun, picks them off the floor, and puts them in his pocket. Mickey picks up Scagnetti's gun, inserts the loose bullets and slips it into his pants. MICKEY Okay, Jack, this is what we're doing. Stand behind me, put your back against mine and extend your arms behind you. Scagnetti rises, insecurely. He presses his back against Mickey's. MICKEY Now if I feel your back move away from mine, you're gonna be ripped apart. Got it? Scagnetti's back to back with Mickey. His arms flank Mickey. SCAGNETTI Yeah. MICKEY Okay, Wayne, step forward. Wayne enters FRAME. Mickey extends the shotgun. MICKEY Keep comin'. Put your solar plexus against the barrel. Wayne does. MICKEY Grab his arms. Wayne does and Mickey quickly binds their arms together with gaffer's tape, forming a two man ring around him. MICKEY Either one of you two move, it's gonna be shotgun city. You understand? WAYNE & SCAGNETTI Yes. Mickey tucks the tape roll into his shirt. MICKEY You ready, Donut? ROGER Ready. MICKEY Wagons, hooaaa! The hostage train starts moving. Wayne's walking backwards with the shotgun barrel pressed against his midsection. Scagnetti's walking back to back with Mickey and his own pistol pressed to his neck. Roger follows with the camera. INT. HOLDING CELL - DAY Mallory's sitting Indian style, singing Girl Scout songs to herself, and doing the hand motions. MALLORY (singing) Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Simplest thing there isn't much to it. All ya gotta do is dodaleedo it. I like the rest, but the best part I like is Whataleeatcha, whataleeatcha dodaleedo, dodaleedo, do quack, quack. The cell door opens and the hostage train of Wayne, Mickey, Scagnetti, Roger and the camera, and two DEPUTIES they picked up along the way enters the room. The hostages are all wrapped with tape. CU on Mallory. She can't believe her eyes. MICKEY (to Mallory) Honey, I'm home. Mallory runs into Mickey's arms, passionately kissing. This kiss has been a year coming. Now they're doing something everybody told them they would never do again. For this moment they are the only two people on earth. We're enraptured, too. CAMERA does a 360 around the loving couple. MALLORY (in between kisses) It's taken you so long to come to me. CUT TO: INT. JAIL LAUNDRY ROOM - DAY A sheet of paper flashes through FRAME. BAILEY (O.S.) Here's the list of the rioters. CAMERA TILTS to Wurlitzer reading, then looking up. WURLITZER Wait a minute, Bailey. Where's the list of the hostages? BAILEY (O.S.) I'm working on it Capt'n. WURLITZER Keep on it, son. Wurlitzer reads the list to himself as he paces. WURLITZER (reading the names) Alvarado, Issacs, Julian, Martinez, Newendyke, Olvera, Pool, Ramos, Schmidt, Spivey, Walsh, Westerguard... Wurlitzer drops into a chair, exhausted. He rubs his face with his hands. NAPALATONI (O.S.) Capt'n. Wurlitzer looks up, then looks back down. WURLITZER What is it Napalatoni? NAPALATONI (O.S.) Mickey Knox is loose. Wurlitzer looks up. WURLITZER What do you mean he's loose? NAPALATONI (O.S.) He's armed, he's killed three deputies and one of Wayne Gayle's guys. At the moment, he's hold up with Mallory Knox in her holding cell with Wayne Gayle, another TV guy, that cop fella, and two other deputies as hostages. And Capt'n, they have one of them news cameras goin' live to KKTV. They won't stop playin' it. What do you want us to do? Wurlitzer holds a frozen look, as if a fuse has blown and his mind has shut down. If he were to open his mouth now nothing would come out. He just sits. CUT TO: INT. HOLDING CELL - DAY The hostages have been cut free from each other and sit against the wall. Roger cradles the Betacam in his lap, rocking slowly as if in a trance, while Scagnetti feebly splints his broken fingers with the tape that hangs from his wrists. Wayne is standing, alert and ready for action. As for the two deputies, HOSTAGE DEPUTY #1 sits in anger, tight-lipped and stoic. The other, DEPUTY DUNCAN HOMOLKA is panicked and jumpy, one may never see a more nervous man. Mickey and Mallory stand over them with their weapons drawn. MICKEY Okay, we're going out that door, and we're gonna march down the hall and right out of the building. (to Wayne) Donut said something about a news van. WAYNE Yeah, we have a van. MICKEY Where's it parked? WAYNE Out front. MICKEY Let me have the keys. Wayne points to Roger. Roger digs through his pocket and tosses the keys to Mickey. WAYNE Mickey, can I talk to you alone? MICKEY No. WAYNE This is crazy. You can't escape like this. MICKEY Probably not, but we're gonna give it the old college try. WAYNE We'll all be killed. MALLORY Exciting, isn't it? Duncan begins to cry. MICKEY Now, when we get out there, you do what we say or it's curtains. If we say move, you move. If we say left, you move left. If we say right, you move right. If we say mole, you dig a hole. Got it? MALLORY Are we in a big hurry? MICKEY You got something you want to do? MALLORY Yeah. MICKEY By all means, knock yourself out. MALLORY Thanks. Roll 'em, Donut. Roger snaps up and hoists the camera to his shoulder. VIDEO FOOTAGE: Shot through Roger's CAMERA: IMAGE FOCUSES on Mallory as she points to Scagnetti sitting on the floor. MALLORY You! Stand up! Scagnetti gulps, then rises knowing that he has fucked with the wrong woman. Mallory walks up to him with pistol in hand. MALLORY You probably thought it was pretty funny, didn't ya? She raises Scagnetti's pistol, aiming it at its former owner. Scagnetti flinches and squirms. MALLORY Can you remember the last time you fucked with me? Close your eyes and remember...Are ya thinking about it? Good. Mallory fires three shots into Scagnetti's chest. Roger's CAMERA jumps, then follows the body to the floor. Roger HOLDS on Scagnetti slumped on the floor. DUNCAN (O.S.) Oh God! Oh God! Ohhhh... MICKEY We're sending out a hostage. Don't touch him! OFF SCREEN the door is kicked open. Roger's CAMERA whips around to witness Mickey and Mallory jumping into the corridor, BLASTING with their guns while using the hostages for shields. Roger's CAMERA moves out of the cell and... INT. JAIL CORRIDOR (OUTSIDE THE HOLDING CELL) - DAY There are even more DEPUTY SHERIFFS in the corridor. CROSS FIRE whistles by as Roger dodges to catch up with the caravan. The footage is very similar to Vietnam footage. It's shaky, real, harsh, and it captures the pandemonium of battle. The soundtrack is a mixture of yelling, crying, laughing, and gunfire. HOSTAGE DEPUTY #1 is SHOT, and discarded by Mickey. The wild caravan runs down the hallway, FIRING behind them. Mickey's HIT, but keeps on running and FIRING. Mallory sees this and screams. MALLORY Mickey! MICKEY Don't stop! Roger's CAMERA runs along with them. ROGER (O.S.) Man, oh, man...this is better than Vietnam! More DEPUTIES appear at the end of the hallway. Mickey and Mallory get back to back with each other, using DUNCAN as a shield in front of them and Wayne behind them. Mickey FIRES from the front, Mallory FIRES from the rear. DUNCAN Please don't kill me! Don't kill me... CAMERA WHIP PANS to catch a Deputy hopping around the corner. The SCREEN FLASHES WHITE with a BLAST. Roger's HIT, and the CAMERA goes haywire, reeling out of control, the THUNKING to the ground. Roger screams O.S. CAMERA lies on the floor, video still transmitting. Roger rolls into FRAME screaming. MICKEY (O.S.) Get the camera! Get the fucking camera! BACK TO: COLOR 35mm. As Mickey FIRES cover for her, Mallory swipes the camera from Roger's side. The Knox's start running again, still holding Wayne and last hostage. Deputies are lying on the ground, wounded and screaming, or dead and silent. MICKEY (to Mallory) This way. INT. STAIRWELL - DAY The caravan bursts into the stairwell. Mickey turns to Duncan the remaining hostage deputy. MICKEY (to Duncan) Where does this lead? Duncan is hyper-ventilating. Mickey pushes him against to wall. MICKEY Where!?! DUNCAN Th-- the ground floor. MALLORY Is that the front door? Duncan nods frantically. MICKEY Let's go. Mickey grabs Duncan and the caravan starts running down the stairs. They go down a few flights. As they run down one last flight, they find Wurlitzer and a team of DEPUTIES waiting for them on the ground floor. The deputies raise their guns. Mallory grabs hold of Wayne, and gets behind him with one hand pressing the barrel of her gun against his temple and her other are wrapped around his neck, holding him close to her. MALLORY Back off or I'll blast him! Back off or I'll blast him! Back off or I'll blast him! None of the deputies lower their guns, but they appear less likely to start shooting. Wayne screams. WAYNE Don't shoot. I beg you, don't shoot! Please, please, please... Wayne continues begging. Wurlitzer steps forward. WURLITZER Now Mickey, Mallory, just let me say--- MALLORY Shut up! Don't talk, I don't wanna hear it! WURLITZER You have to know--- MALLORY I said shut up... Mallory quickly lowers her gun from Wayne's head and SHOOTS him in the thigh. She whips the gun back up to his head. Wayne's screaming in pain. The deputies jump back. MALLORY ...and I mean shut up! There's a bit of a silent standoff. Tears are streaming down Duncan's face as the caravan slowly retreats back up the stairs to the next flight. The deputies hold their present position. CUT TO: INT. PRISON STAIRWELL - DAY The caravan goes up one flight, then stops. Mickey and Mallory let their two hostages sit down. Duncan is out and out hysterical, urine stains the front of his uniform. Mickey's pacing. MICKEY Think...think...think... Mallory leans up against the wall, holding her side with her hand. Blood trickles out between the fingers. We see now she's been shot. Over Duncan's impassioned clamour they can hear Wurlitzer yelling from below. WURLITZER (O.S.) Give up! There's no other way out! Mickey sits down, utterly exhausted. Mallory sits down next to. him. She winces in pain. He puts his arm around her. MALLORY Look, lover boy, we're not getting outta here. So I say the hell with going back to our cells. Let's do a Butch Cassidy and the Sundance Kid. Run down these stairs shootin', go out in a hail of bullets, but take as many of those motherfuckers with us as possible. Suddenly, Mickey's exhaustion lifts. He has a plan. MICKEY We'll do that when all else fails. Mickey stands. MALLORY Hasn't it? MICKEY We still got a few tricks up our sleeves. Mickey confronts the two hostages. He points at Duncan. MICKEY You married? DUNCAN Oh, I don't wanna die... MICKEY Are you married? Do you have kids? Duncan nods pathetically. MICKEY Good. People, we're goin' all the way to the front door. Now, the only way we're gonna get there is if they don't want to kill you two more than they want to kill us. INSERT: SHOTS of deputies with guns in their hands, just itching to kill Mickey and Mallory. We hear Mickey's voice over this SHOT. MICKEY (V.O.) Right now I find that highly unlikely. So, let's help 'em out, shall we? BACK TO PRISON STAIRWELL: Mickey is squatting in front of Wayne. MICKEY Now, say I tell those guys down there if they shoot or make a move, I'm killin' Wayne Gayle. And they shoot or make a move anyway. Now say by some freak accident, you didn't die, you live though it. What would you do? Mickey pulls the roll of GAFFER'S TAPE from his shirt and starts tearing strips of tape and sticking them to the wall. WAYNE What would I do? Me and my network would sue the entire Los Angeles County Sheriffs Department for flagrantly disregarding my safety. I'd go straight to my buddy, the mayor, and make sure everyone of those son of a bitches down there ends up on the unemployment line. In fact, I'd sue every man down there personally. I would make it my life's ambition to bring the LA County Jail to its knees. I would do expose after expose on the brutality, and the conditions, and the inhumanity that exists here. Mickey tosses the tape roll to Mallory and gestures to Duncan. Mallory winks at Mickey. Mickey smiles and begins wrapping tape around the barrel of his shotgun. MICKEY That's what I thought. You tell them that. When we go down those stairs, I want you to scream what you just told me. 'My name is Wayne Gayle! I am the star of American Maniacs watched every week by'-- how many people? WAYNE On average forty million. MICKEY 'Every week by forty million people. I am a respected journalist.' Have you won any awards? WAYNE Are you kidding? The Golden Globe, The Edward R. Murrow award... MICKEY 'Respected journalist'-- On your knees... Wayne kneels in front of Mickey. While Mickey speaks he props his shotgun under Wayne's chin and wraps the tape from the barrel around his neck. MICKEY (continues) ...'Winner of the Golden Globe and the Edward R. Murrow award among others.' Tell 'em the name of your personal lawyer, his firm, his address, and phone number. Tell 'em about the mayor and the unemployment lines. You getting the idea? WAYNE Yes. Mickey stands with Wayne as he tapes his trigger hand to the stock of the shotgun. MICKEY Say it. Scream it. All the way out the front door and into your van. And if you stop screaming, I swear to God I'll blow your head off. WAYNE Got it. Mickey grabs the camera, and lifts it to his shoulder before shouting to Duncan. MICKEY You! What's your name? Duncan can't answer, Mallory has gagged him with his tape. Mallory grabs Duncan by the collar and lifts him off the floor before reading his name badge. MALLORY Duncan...Homolka? CUT TO: INT. PRISON STAIRWELL (GROUND FLOOR) - DAY Wurlitzer and the deputies are deciding their next move when they hear: MICKEY (O.S.) Start. Wayne and Duncan come into view with the Knoxs behind them. The deputies quickly raise their guns, but soon realize if they take out either Mickey of Mallory that Wayne or Duncan would die. Mallory's right hand is taped to the trigger and stock of the shotgun that's wrapped firmly to Duncan's neck. The pistol in her left hand is trained on Wurlitzer. Mickey's left hand masters the shotgun leash on Wayne, while he monitors the Deputies with the CAMERA on his right shoulder. NOTE: The following scene will intercut between VIDEO FOOTAGE and COLOR 35mm. Wayne starts belting out his speech as Mickey focus the CAMERA on Wurlitzer. Duncan simply cries and begs for his life to be spared. WAYNE (yelling) My name is Wayne Gayle! I am the star of 'American Maniacs', watched by forty million people every week! I am a respected journalist, winners of the Golden Globe, the Edward R. Murrows Award among others! If anybody puts me in danger, my network will sue The Los Angeles County Sheriffs Department. My estate will sue every officer personally who fires. The network's law firm is Rowlands, Davis and Sinclair... Mickey knew what he was doing. This has an effect on the deputies. MALLORY (yelling) Make a path! The wall of deputies starts moving backward. The Knoxs and their hostages start moving forward with Wayne yelling all the way. The deputies keep their guns trained on the caravan, but they keep giving ground, until they reach the doors of the front lobby and they begin to part like the Red Sea. Wurlitzer stands his ground. WURLITZER How far do you think your gonna get? MICKEY Right out the front door. WURLITZER That'll never happen. MICKEY It is happening. The caravan marches forth. Wayne and Duncan keep shouting their speeches. Nobody dares to move on them, but the deputies keep their weapons ready. Wayne stops his speech to take a breath. MALLORY Don't stop! Wayne starts up again. The deputies are completely frustrated. Mickey and Wurlitzer are nose to nose. WURLITZER (to Mickey) I will personally hunt you down, blow the head off your fucking-whore-wife, and plant your sick ass in the ground all by myself. MICKEY (calmly) Another day perhaps, but not today. Mickey leaves FRAME. CUT TO: EXT. COUNTY JAIL - DAY The doors swing wide in SLOW MOTION as the caravan of Mickey, Mallory, Wayne and Duncan take their first step into the open air. A crescent of deputies frame the group in the B.G. while Wurlitzer stands, defeated, just behind Mickey. FREEZE FRAME on WIDE ANGLE. Image DISSOLVES to BLACK & WHITE before BURNING into WHITE LEADER. EXT. WOODS - DAY The WHITE LEADER is disrupted by a fogged image in BLACK & WHITE. The image settles into a ECU of Wayne. He's being filmed by a 16mm CAMERA that he is presently balancing on a fence post. This entire SCENE is played out cinema verite. The SOUND is not in sync as Wayne steps back into a MED SHOT. He looks directly into the CAMERA. WAYNE This is Wayne Gayle. I'm wounded and my crew, Roger and Scott, are dead. This may be out of sync 'cause we are shooting with a wild camera and a standard recorder we found in the van. Mickey Knox's plan worked. We walked out the front door, into my news van and made our getaway. When we were followed by patrol cars, Mallory Knox killed Deputy Sheriff Duncan Homolka and tossed his body out of the back. Mickey told authorities over my police band that I would surely be next if they didn't give up the pursuit. They took Mickey at his word and called off the pursuit. Why helicopters weren't employed, I don't know. My only thought is it all happened too fast for arrangements to be made. We've just pulled off to the side of the road to do this interview. Tensions run high-- Mickey screams O.S. MICKEY (O.S.) We ain't got all fuckin' day! WAYNE Without any further ado, Mickey and Mallory... Wayne steps forward and picks up the CAMERA and while conducting his interview, the CAMERA remains hand held. CAMERA focuses on Mallory sitting on a stump, while Mickey paces in and out of FRAME in the B.G. WAYNE Mallory, what did you think of Mickey's plan? Did you think it would work? MALLORY It wasn't 'till we got on the ground floor that I totally realized they weren't gonna shoot unless we shot first. When we got out of the stairwell, I remember thinking, 'Oh my God. This might work.' But Mickey knew it would work all along. There wasn't any doubt in his mind. It's not like there was and he just didn't show it. He knew it would work. WAYNE (O.S.) What did you think then? MALLORY I wondered how long it would be before we'd get to be alone together. And I wondered if I could wait that long. WAYNE (O.S.) Did you have anything to do with the riot in the laundry room? MALLORY Haven't you been listening to a fuckin' word I said? ...Oh, I'm sorry. Can I say fuckin'? I can't, can I? WAYNE (O.S.) Try to keep it to a minimum. MALLORY We had nothing to do with that riot. That riot was just -- whatchmacallit -- Mickey can be heard faintly in the B.G. MICKEY Divine intervention. MALLORY What he said. We didn't know jack shit about and riot. It just happened. It was kismet. We didn't even know those people. How are we supposed to organize a riot when we've been in fuckin' isolation for the past year? Just bleep out the fucks and jack shits. (laughs) I mean, it's not like we care. If they wanna say we masterminded the whole thing, let 'em. It won't exactly keep us up at night. But you said you wanted the truth, and the truth is we were just lucky. Mickey's snapping his fingers in the B.G. MICKEY C'mon, c'mon, let's hurry this up. WAYNE (O.S.) So, what now? MALLORY Well, now me and Mickey are gonna take it easy. Just enjoy each other's company, stop and smell the roses, notice the color purple, stuff like that. WAYNE (O.S.) How do you intend to disappear? you're probably the most famous couple in America. MALLORY Well, back in slave times they had a thing called the underground railroad. And we got a whole fan club out there just waiting to be conductors. (to the camera) So, you kids out there, keep the faith. Cause Mickey and Mallory will be comin' to your town real soon. MICKEY Okay, that's enough. End of interview. We gotta move. Mickey approaches Wayne. CAMERA goes a little haywire as Wayne lowers it from his eye. WAYNE (O.S.) Okay, just let me swing around and film myself asking the questions. And then I'll do my little wrap up. Mickey takes the CAMERA from Wayne, and while he speaks, he balances it on a fence post. MICKEY Oh, we're gonna do a little wrap up, all right. But it won't be you starin' in the camera, looking dumb, and acting stupid. Instead, you're gonna be starin' down the barrels of our shotguns and we're gonna be pullin' the triggers. Wayne forces a chuckle. Mickey steps away from the CAMERA and into a THREE SHOT. The NEWS VAN is parked in the B.G. WAYNE That's a joke right? Mickey pumps the slide of his shotgun. Mallory grabs her shotgun from off the ground. WAYNE Just wait one fucking minute. MICKEY I said I'd give you a interview. Now unless I'm mistaken, we just did a interview. (to Mallory) We did an interview, didn't we? MALLORY Looked like an interview to me. MICKEY I said we'd give you an interview. I never said we wouldn't kill you. WAYNE Wait! I don't know, but I kinda felt during this...this whole escape that a kind of bond-- Wayne is shaking. WAYNE (continues) ...developed between the three of us. We're kindda in this together, don't ya think? MICKEY No. Not really. WAYNE Don't touch those triggers! Please. I think I've already proven that a live Wayne Gayle is much more better that a dead...Way-- Gayle. I was your passport out of jail, not Duncan Homolka. But me! I'll be your passport outta--- MICKEY Just save your breath, Wayne. We hate you. If anybody in the fuckin' world deserves to die, it's you. Wayne is grasping for anything. WAYNE Wait! You can't kill me. Mickey and Mallory always leave somebody alive to tell the tale. MICKEY We are. (points to camera) Your camera. Mickey turns to Mallory. MICKEY (John Wayne voice) Let's make a little music, Colorada. WAYNE NO!!! The two interview subjects start PUMPING rounds into Wayne, who's body dances like a puppet before collapsing to the ground. Mickey and Mallory kiss each other passionately, then climbing into the news van, they drive away. Wayne's body lay peacefully in FRAME until the CAMERA eventually runs out of film. CUT TO BLACK: A FILM DIRECTED BY RAND VOSSLER A Noja Production. Natural Born Killers Writers : Quentin Tarantino David Veloz Richard Rutowski Oliver Stone Genres : Action Crime Romance Thriller User Comments Back to IMSDb	screenplays
Well met on Audiko.net! We propose to download a free ماجد المهندس ringtones for your iPhone or mobile. Suit yourself your favorite slice from your favorite audio track - الحاج باسم الكربلائي جــــديـــــد قلبي نقش 1435هـــ ررووعــ, عايزين تسمعوا حاجه عدله ؟! من فيلم فيلا 69, باسم الكربلائي مونتاج 2014 اهات ودمع غربه, or any other track. You may download your tone both in the MP3 and m4a formats, compatible with both mobile phones and iPhones. Just select a track, and choose free ماجد المهندس ringtones download option.	slim_pajama
Nuria Llagostera Vives and María José Martínez Sánchez were the defending champions, and in the final, defeated Lourdes Domínguez Lino and Arantxa Parra Santonja, 64, 62. Seeds Draw Draw \| RD2-score01-1=6 \| RD2-score01-2=6 \| RD2-score01-3= \| RD2-seed02= \| RD2-team02= S Borwell C Nagle \| RD2-score02-1=4 \| RD2-score02-2=4 \| RD2-score02-3= \| RD2-seed03=3 \| RD2-team03= \| RD3-score01-1=6 \| RD3-score01-2=6 \| RD3-score01-3= \| RD3-seed02=3 \| RD3-team02= \| RD3-score02-1=2 \| RD3-score02-2=1 \| RD3-score02-3= \| RD3-seed03=4 \| RD3-team03= G Dulko F Pennetta \| RD3-score03-1=3 \| RD3-score03-2=4 \| RD3-score03-3= \| RD3-seed04= \| RD3-team04= L Domínguez Lino A Parra Santonja \| RD3-score04-1=6\| RD3-score04-2=6''' \| RD3-score04-3= \| RD4-seed01=1 \| RD4-team01= External links Draw Abierto Mexicano Telcel - Women's Doubles Category:2009 Abierto Mexicano Telcel	wikipedia
Karl Weber 1897-1965 was a German art director. He frequently worked alongside Erich Zander designing film sets. Filmography Napoleon at Saint Helena 1929 The Opera Ball 1931 Ariane 1931 Abenteuer im Engadin 1932 Der Diamant des Zaren 1932 Melo 1932 The Dreamy Mouth 1932 Spies at Work 1933 The Old and the Young King 1935 Forget Me Not 1935 If It Were Not for Music 1935 A Night of Change 1935 Martha 1936 Intermezzo 1936 Three Girls Around Schubert 1936 Family Parade 1936 The Beggar Student 1936 His Best Friend 1937 Don't Promise Me Anything 1937 To New Shores 1937 Zwei Frauen 1938 Verliebtes Abenteuer 1938 Die kleine und die große Liebe 1938 Red Orchids 1938 Der Tag nach der Scheidung 1938 Ich liebe dich 1938 Yvette 1938 A Hopeless Case 1939 Wibbel the Tailor 1939 Beloved Augustin 1940 Nanette 1940 Casanova heiratet 1940 Our Miss Doctor 1940 Der Weg zu Isabel 1940 Much Ado About Nixi 1942 Melody of a Great City 1943 Vienna 1910 1943 Es lebe die Liebe 1944 Es fing so harmlos an 1944 Leuchtende Schatten 1945 Verlobte Leute 1950 Miracles Still Happen 1951 Homesick for You 1952 The Merry Vineyard 1952 Southern Nights 1953 Hit Parade 1953 Roses from the South 1954 Die Försterbuben 1955 You Can No Longer Remain Silent 1955 Die Mädels vom Immenhof 1955 ..wie einst Lili Marleen 1956 Junger Mann, der alles kann 1957 Doctor Bertram 1957 Meine 99 Bräute 1958 Du bist wunderbar 1959 The Hero of My Dreams 1960 References Bibliography Giesen, Rolf. Nazi Propaganda Films: A History and Filmography. McFarland, 2003. External links Category:1897 births Category:1965 deaths Category:German art directors Category:Film people from Berlin	wikipedia
clebsch - gordan coefficients ( cgcs ) arise when decomposing the tensor product @xmath0 of the representation spaces of two irreducible representations ( _ irreps _ ) @xmath1 and @xmath2 of some group into a direct sum @xmath3 of irreducible representation spaces . they describe the corresponding basis transformation from a tensor product basis @xmath4 to a basis @xmath5 which explicitly accomplishes this decomposition . cgcs are familiar to physicists in the context of angular momentum coupling , in which the direct product of two irreps of the 2 group is decomposed into a direct sum of irreps . 3 clebsch - gordan coefficients arise , for example , in the context of quantum chromodynamics , while n cgcs , for general @xmath6 , appear in the construction of unifying theories whose symmetries contain the @xmath7 standard model as a subgroup@xcite . n cgcs are also useful for the numerical treatment of models with n symmetry , where they arise when exploiting the wigner - eckart theorem to simplify the calculation of matrix elements of the hamiltonian . such a situation arises , for example , in the numerical treatment of n - symmetric quantum impurity models using the numerical renormalization group @xcite . such models can be mapped onto n - symmetric , half - infinite quantum chains , with hopping strengths that decrease exponentially along the chain . the hamiltonian is diagonalized numerically in an iterative fashion , requiring the explicit calculation of matrix elements of the hamiltonian of subchains of increasing length . the efficiency of this process can be increased dramatically by exploiting the wigner - eckart theorem , which requires knowledge of the relevant clebsch - gordan coefficients . ( details of how to implement n symmetries within the context of the numerical renormalization group will be published elsewhere . ) similarly , tremendous gains in efficiency would result from developing n - symmetric implementations of the density matrix renormalization group for treating generic quantum chain models @xcite , or generalizations of this approach for treating two - dimensional tensor network models @xcite . for explicit calculations with models having n symmetry , explicit tables of n clebsch - gordan coefficients are needed . their calculation is a problem of applied representation theory of lie groups that has been solved , in principle , long ago @xcite . for example , for 2 racah@xcite has found an explicit formula that gives the cgcs for the direct product decomposition of two arbitrary irreps @xmath1 and @xmath2 . for n , explicit cgc formulas exist for certain special cases , e.g. where @xmath2 is the defining representation @xcite . moreover , symbolic packages such as the program `` lie '' @xcite also allow the computation of certain cgcs , but rather have been conceived as a general - purpose software for manipulating lie algebras than a high - speed implementation for calculating cgcs . however , for the general case no explicit cgc formulas are known that would constitute a generalization of racah s results to arbitrary @xmath6 , @xmath1 and @xmath2 . the present paper describes a numerical solution to this problem , by presenting an elementary but efficient algorithm ( and a computer implementation thereof ) for producing explicit tables of cgcs arising in the direct product decomposition of two arbitrary n irreps , for arbitrary @xmath6 . ( since n and n have the same cgcs , our algorithm also applies to the latter , but for definiteness we shall usually refer only to the former . ) our work is addressed at a readership of physicists . our algorithm uses only elementary facts from n representation theory , which we introduce and summarize as needed , presuming only knowledge of 2 representation theory at a level conveyed in standard quantum mechanics textbooks . previous attempts at formulating an algorithm for calculating n cgcs are either not sufficiently general for our purposes@xcite , or require mathematical methods@xcite much more advanced than ours , far beyond the scope of a standard physics education . we begin in sec . [ sec : definecgc ] by formulating the problem to be solved in rather general terms . to set the scene for its solution , sections [ sec : su2 ] to [ sec : raising - lowering ] summarize the various elements of n representation theory ( without proofs , since this is all textbook material ) . first , in sec . [ sec : su2 ] we review the calculation of 2 cgcs using a strategy that can readily be generalized to the case of n. then we proceed to n representation theory and review in sections [ sec : algebra ] to [ sec : raising - lowering ] a scheme , due to gelfand and tsetlin ( gt ) @xcite , for labeling the generators of the corresponding lie algebra n , its irreps and the states in each irrep . the gt - scheme is convenient for our purposes since it yields explicit matrix representations for any n irrep ( eqs . ( [ eq : jmelement ] ) and ( [ eq : jpelement ] ) below ) . with these in hand , we are finally in a position to formulate , in sections [ sec : decompose ] to [ sec : algorithm ] , our novel algorithm for computing n cgcs : it is simply a suitably generalized version of the 2 strategy of sec . [ sec : su2 ] . the main text is supplemented by several technical appendices . [ app : young ] reviews the relation between the gt - patterns used in the text and young tableaux , with which physicists are perhaps somewhat more familiar . [ app : littlewood - richardson ] deals with the littlewood - richardson rule for determining which irreps @xmath8 occur in the decomposition @xmath9 . [ app : map ] describes two algorithms , needed for indexing purposes , which map the labels of irreps and of carrier states , respectively , onto natural numbers . finally , app . [ app : source ] , which is available in electronic form@xcite , gives the source code for our computer implementation , written in c++ . as a service to potential users , we have set up a web site@xcite containing an interactive `` cgc - generator '' . it allows visitors to perform a number of tasks on input data of their own choice , such as finding all irreps @xmath10 occuring in the decomposition of @xmath11 , or finding the complete set of cgcs arising in the decomposition of @xmath11 . to fix notation , let us state the problem we wish to solve for a general matrix lie group @xmath12 . ( in subsequent sections , we restrict attention to @xmath12 = n or n. ) let @xmath1 be an irrep label that distinguishes different irreps of @xmath12 of n , and @xmath13 the dimension of irrep @xmath1 . let @xmath14 denote the carrier space for @xmath1 , spanned by @xmath13 carrier states @xmath15 , where the label @xmath16 will be understood to specify both the irrep @xmath1 and a particular state in its carrier space . ( this will be made explicit in subsequent sections . ) note that , throughout this paper , we adopt the viewpoint of quantum mechanics , where we consider only representations on _ complex _ vector spaces . besides , a state is to be understood as a one - dimensional subspace , not a vector . however , we pick a representative vector @xmath15 of each such subspace and subsequently treat a state as a vector . we assume the inner product of two such normalized vectors @xmath15 and @xmath17 to be given by @xmath18 unless noted otherwise . the action of a group element @xmath19 can be represented on @xmath20 as a linear transformation @xmath21 where the @xmath22 are @xmath23 dimensional unitary matrices respecting the group structure @xmath24 . now consider the direct product of two carrier spaces , @xmath25 , of dimension @xmath26 . we are interested in its decomposition into a direct sum of carrier spaces @xmath8 of irreps @xmath10 , @xmath27 here the integer @xmath28 , called the _ outer multiplicity _ of @xmath10 , specifies the number of times the irrep @xmath10 occurs in this decomposition , and for a given @xmath10 , the outer multiplicity index @xmath29 distinguishes multiple occurrences of @xmath10 . correspondingly , let @xmath30 be a basis for the direct sum decomposition , i.e.@xmath31 . carrier space dimensions add up according to @xmath32 . the decomposition ( [ eq : directproductdecomposition ] ) implies that a basis transformation @xmath33 can be found from the direct product basis to the direct sum basis which block - diagonalizes the matrix representations of all group elements ( ref . , p. 100 ) : [ eq : blockdiagonalize ] @xmath34 where each @xmath35 is a shorthand for a certain @xmath36 . since @xmath12 is a matrix lie group ( n or n ) , it is convenient to work with its associated lie algebra @xmath37 ( n or n ) . it is obtained by considering the infinitesimal action of @xmath12 on @xmath38 , i.e. by taking derivatives of the group at the identity . this derivative acts on the direct product of two group representations according to the product rule , so that the basis transformation @xmath33 could equally be defined by the property that it block - diagonalizes the algebra representation : @xmath39 when projected to the subspace @xmath40 ( denote the corresponding projector by @xmath41 ) , the action of the algebra in the direct product representation can thus be written as @xmath42 concretely , the basis transformation @xmath33 can be expressed in the form @xmath43 where the @xmath44 are the clebsch - gordan - coefficients of present interest . they are understood to be defined only for @xmath45 , and express the carrier states of @xmath40 in terms of linear combinations of product basis states from @xmath0 . the cgcs encode so - called _ selection rules _ , in that @xmath46 only for a limited number of combinations of @xmath16 , @xmath47 and @xmath48 . since the cgcs are the entries of the unitary matrix @xmath33 , they satisfy the following orthonormality conditions : [ eq : cgc - orthonormal ] @xmath49 actually , the @xmath44 can always be chosen to be real , and we shall do so throughout . the goal of the present work is to present ( and implement on a computer ) an efficient algorithm for @xmath50 = n or n which , for any specified @xmath6 and any specified irrep labels @xmath1 and @xmath2 , produces explicit tables of all cgcs arising in the direct product decomposition . before considering the general n case , we first review a method for calculating 2 cgcs . while there are various ways to accomplish this task , the particular approach presented below illustrates the general strategy to be used for n in later sections . the discussion is structured as follows : first , we recall the lie algebra associated with 2 , then its irreducible representations , then move on to product representation decompositions , and finally set up equations specifying the cgcs . the lie algebra associated with 2 , denoted by 2 , consists of all real linear combinations of three basis elements , @xmath51 , @xmath52 , and @xmath53 , obeying the commutation relation @xmath54 = ij_z$ ] ( plus cyclic permutations of the indices ) . however , it will be more convenient to deal with complex linear combinations of these , which constitute the algebra 2 . as a basis for the latter , it is common to choose three elements , @xmath55 , @xmath56 , and @xmath53 , obeying the following commutation relations : [ eq : sl2-commutators ] @xmath57 & = \pm j_\pm , \\ [ j_+ , j_- ] & = 2 j_z.\end{aligned}\ ] ] each 2 irrep , and correspondingly , each 2 irrep , can be uniquely ( up to an isomorphism ) identified by a nonnegative half - integer , @xmath58 . the carrier space @xmath20 of such an irrep has an orthonormal basis where the states , denoted by @xmath59 , are labeled by a half - integer , @xmath60 , such that the action of @xmath53 and @xmath61 is given by @xmath62 . arrows show the action of @xmath61 on the state @xmath63 . ] the @xmath53-eigenvalue @xmath64 will be called the @xmath65-_weight _ of the state @xmath59 ( in anticipation of similar nomenclature to be used for n below ) . the action of @xmath61 can be visualized in a so - called _ weight diagram _ , which represents each carrier state @xmath59 by a mark on an axis at the corresponding @xmath64-value . for example , the carrier space of @xmath66 is shown in fig . [ fig : su2 ] . in anticipation of the generalization to n , we label basis states from now on by a composite index @xmath67 , which includes both the irrep label @xmath1 and the basis index @xmath64 . each carrier space @xmath38 contains a unique ( up to normalization ) _ highest - weight state _ , @xmath68 , defined by the property that @xmath69 for 2 , it carries the labels @xmath70 . in the direct product decomposition of two 2 irreps @xmath1 and @xmath2 , the outer multiplicity @xmath71 in the notation of eq . is given by : @xmath72 since @xmath73 for 2 , we shall , throughout this section , omit the index @xmath74 appearing in eq . . in particular , eq . now takes the form @xmath75 where the cgcs @xmath76 satisfy the selection rule : @xmath77 it reflects the fact that @xmath78 , @xmath15 and @xmath17 are eigenstates of @xmath79 , @xmath80 and @xmath81 , respectively , where the superscripts on @xmath53 indicate which carrier space the respective operators act on . to obtain the cgcs for given @xmath1 and @xmath2 explicitly , we consider each @xmath10 for which @xmath82 separately . let us make the following ansatz for the expansion of @xmath68 in terms of product basis states : @xmath83 where @xmath84 are the cgcs of @xmath68 , and the sum runs only over values of @xmath64 and @xmath85 that satisfy the selection rule . inserting into , we obtain @xmath86 after evaluating the action of the raising operators on @xmath87 using eq . and requiring the coefficients in front of each state @xmath87 to vanish independently , we obtain a homogeneous linear system of equations . we solve for @xmath84 and fix a solution by the normalization condition and by requiring @xmath88 to be real and positive for the largest value of @xmath64 for which @xmath88 is nonzero . the cgcs of lower - weight states ( i.e. states other than the highest - weight state ) are found by noting that @xmath89 ( @xmath90 is a normalization constant . ) the right - hand side of this equation is fully known from eq . . by rewriting it into the form of eq . , the desired @xmath76 can readily be identified . for given @xmath10 , @xmath1 and @xmath2 it is possible to write eq . as a recursion relation relating cgcs with different @xmath91 @xcite . moreover , for 2 , there exists a closed formula for @xmath76@xcite . nevertheless , for present purposes , the approach presented here is the most convenient as its key steps can readily be generalized to calculate n clebsch - gordan coefficients . the differences in comparison to 2 will lie in the more complex structure of raising and lowering operators , the labeling schemes for irreps and states , and the method for finding the irreps occurring in a product representation decomposition , all of which we tackle in the following sections . instead of working with the group n itself , it will be more convenient for our purposes to consider its associated lie algebra , n ( * ? ? ? the latter consists of all traceless anti - hermitian @xmath92 matrices , while the ordinary commutator serves as its lie bracket . most results obtained for representations of n carry over to n one - to - one , with the elements of the lie algebra representing the generators of the lie group . notably , the clebsch - gordan coefficients of their representations are identical . we begin by specifying a basis for the n algebra , in order to illustrate its structure . let @xmath93 be the single - entry matrices , i.e.@xmath94 . a possible choice of basis is given by the matrices @xmath95 and @xmath96 for @xmath97 , and @xmath98 for @xmath99 . n is spanned by _ real _ linear combinations of these matrices . just as for 2 and 2 , however , it will be convenient to work with a basis for n. to this end , define for @xmath100 the _ complex _ linear combinations , @xmath101 which satisfy , for each @xmath102 , the familiar 2 commutation relations of eq . : @xmath103 & = \pm j_\pm^{(l ) } , \\ \label{eq : pmcomm } \left [ j_+^{(l ) } , j_-^{(l ) } \right ] & = 2j_z^{(l ) } . \end{aligned}\ ] ] the @xmath104 matrices @xmath105 form a maximal set of mutually commuting matrices , @xmath106 = 0 $ ] ( thus , the @xmath107 span the cartan subalgebra of n ) . thus , none of the @xmath108 commutes with all elements of this set , or with all other @xmath109 operators . the matrices @xmath105 and @xmath108 are not anti - hermitian and thus do not belong to n , but rather to n. however , it is sufficient to restrict our attention to @xmath108 because , from these , we can recover an anti - hermitian basis using @xmath110 \ldots ] \quad\text{for}\quad p > q \;,\ ] ] @xmath111 \ldots ] \quad\text{for}\quad p < q \;.\ ] ] in other words , once we know representations for all @xmath108 on a given carrier space , the representations of all other elements of both the algebras n and n are also known . for definiteness , we shall refer to n below , although the constructions apply equally to n. the n basis defined in the preceding section has a feature that makes it particularly convenient for our purposes : if one also adopts a specific labeling scheme , devised by gelfand and tsetlin ( gt ) @xcite , for labeling n irreps and the basis states of their carrier spaces , these basis states are simultaneous eigenstates of all the matrices @xmath105 , and explicit formulas exist for the matrix elements of the @xmath108 with respect to these basis states . the next three sections are devoted to summarizing the gt labeling scheme without dwelling on its mathematical roots the mere knowledge of its rules is sufficient for our purposes . ( the relation of the gt - scheme labeling scheme to a frequently - used alternative but equivalent labeling scheme , employing young diagrams and young tableaux , is summarized , for convenience , in appendix [ app : young ] . ) up to equivalent representations , each n irrep can be identified uniquely by a sequence of @xmath6 integers @xcite , @xmath112 or @xmath113 in short , fulfilling @xmath114 for @xmath115 . we shall call such a sequence an _ irrep weight _ or _ i - weight _ , in short . the second index , @xmath6 , identifies the algebra , n ; the reasons for displaying this index explicitly will become clear below . two i - weights @xmath1 and @xmath2 for which all components differ only by a @xmath116-independent constant , i.e. @xmath117 with @xmath118 , designate the _ same _ n irrep . this fact can be used to bring any i - weight into a `` normalized '' form having @xmath119 , which will be assumed below , unless otherwise specified . gt exploited the fact that the carrier space of any n irrep splits into disjoint carrier spaces of @xmath120 irreps to devise a labelling scheme with a very convenient property : it yields a remarkably simple rule for enumerating which @xmath120 irreps occur in the decomposition of @xmath113 , namely all those with i - weights @xmath121 that satisfy the condition @xmath122 for @xmath115 . note that , here , it is crucial _ not _ to set @xmath123 so that we can distinguish between multiple occurrences of the same @xmath120 irrep . recursively , the carrier spaces of @xmath120 irreps give rise to @xmath124 irreps and so on , down to 1 , the carrier spaces of which are one - dimensional . this sequence of decompositions can be exploited to label the basis states @xmath15 of a given n irrep @xmath125 using so - called _ gelfand - tsetlin patterns _ ( gt - patterns ) . these are triangular arrangements of integers , to be denoted by @xmath126 , with the structure @xmath127 i.e. the first index labels diagonals from left to right , and the second index labels rows from bottom to top . the top row contains the i - weight @xmath128 that specifies the irrep , and the entries of lower rows are subject to the so - called _ betweenness condition _ , @xmath129 the dimension of an irrep @xmath125 is equal to the number of valid gt - patterns having @xmath1 as their top row . there exists a convenient formula for this number : @xmath130 note that the 2 basis state conventionally labeled as @xmath131 corresponds to the gt - pattern @xmath132 , and the above formula reduces to @xmath133 . to obtain a complete description of n irreps , we need to specify how the lie algebra n acts on states labeled by gelfand - tsetlin patterns . the following two sections are devoted to this task , section [ sec : weights ] with @xmath105 and section [ sec : raising - lowering ] dealing with @xmath108 . a very convenient property of the gt - labeling scheme is that every state @xmath15 is a simultaneous eigenstate of all @xmath105 generators , @xmath134 with eigenvalues @xmath135 where the _ row sum _ @xmath136 denotes the sum over all entries of row @xmath102 of gt - pattern @xmath16 ( @xmath137 by convention ) . we shall call the sequence of @xmath104 @xmath105 eigenvalues the _ @xmath65-weight _ of the state @xmath15 , and denote it by @xmath138 . the _ @xmath65-weight _ of @xmath15 is a straightforward generalization of the quantum number @xmath64 in quantum angular momentum . as will be elaborated below , the notion of weights of states is useful for elucidating the structure of carrier spaces of n irreps , and in particular for visualizing the action of raising and lowering operators . the above way of introducing weights is , however , not unique . we shall often find it convenient to employ an alternative definition of the weight of states , which has the convenient property that it always yields nonnegative _ integer _ elements ( in contrast to @xmath139 ) . this alternative weight , to be called _ pattern weight _ or _ p - weight _ , and denoted by @xmath140 , is defined to be a sequence of @xmath6 integers , @xmath141 , where @xmath142 is the difference between summing up rows @xmath102 and @xmath143 of the gt - pattern @xmath16 . note that the number of _ independent _ elements of @xmath140 is the same as that of @xmath144 , namely @xmath104 , since the @xmath145 satisfy the relation @xmath146 . the two types of weights are directly related to each other : via eq . , we obtain @xmath147 . for definiteness , we will mostly refer to p - weights below ( noting here that most statements involving p - weights can be translated into equivalent statements involving @xmath65-weights ) . at this point , the first of several fundamental differences between 2 and n with @xmath148 appears . while for 2 , there always exists exactly one state with a given p - weight , this is not the case for n in general ; for @xmath148 , several linearly independent states in the carrier space can have the same p - weight . indeed , two states have the same p - weight , @xmath149 , if and only if they have the same set of row sums ( @xmath150 for @xmath100 ) ( i.e. they differ only in the way in which the `` weight '' of the row sums is distributed among the entries of each row ) . for a given p - weight @xmath151 , the number of states @xmath15 having the same p - weight , @xmath152 , is called the _ inner multiplicity _ of that p - weight , to be denoted by @xmath153 . consequently , p - weights or @xmath65-weights are not suited for uniquely labeling states of a carrier space ( which is why gt - patterns are used for this purpose ) . @xmath65-weights nevertheless do provide a convenient way to visualize the carrier space of an n irrep . to this end , consider @xmath154 as a vector in @xmath155-dimensional space and , for each state , mark the endpoint of its weight vector in an @xmath155-dimensional lattice . the resulting diagram is called a _ weight diagram_. for the 2 irrep @xmath156 , weight diagrams consist of a coordinate axis with markings at @xmath157 ( see fig . [ fig : su2 ] ) ; for 3 , weight diagrams are two - dimensional ( see fig . [ fig : su3 ] ) ; for @xmath158 , weight diagrams can not be readily drawn on paper because the corresponding lattices have more than two dimensions . note that , in fig . [ fig : su3 ] , the @xmath65-weight @xmath159 has inner multiplicity two , since the two states @xmath160 and @xmath161 have the same row sums . . each dot represents a @xmath65-weight ; we also indicate the gt - patterns of the corresponding states . the double circle around @xmath162 indicates that there are two states with this weight . the solid and dashed arrows represent the action of @xmath163 and @xmath164 , respectively . ( @xmath165 could be represented by arrows pointing in directions opposite to those of @xmath166 . ) note that both @xmath163 acting on @xmath167 and @xmath164 acting on @xmath168 produce linear combinations of @xmath160 and @xmath161 , albeit different ones . ( in the literature it is not uncommon to choose a different 3 basis that renders this weight diagram more symmetric . ) ] weight diagrams are also very convenient for visualizing the action of the raising and lowering operators @xmath108 . the action of @xmath108 on a given state @xmath15 produces a linear combination of all states of the form @xmath169 with arbitrary @xmath116 , where this notation implies element - wise addition and subtraction of the single - entry pattern @xmath170 having @xmath171 at position @xmath172 and zeros elsewhere , @xmath173 ( note that @xmath170 on its own is not a valid gt - pattern . ) thus the resulting patterns differ from @xmath16 only in row @xmath102 . all states @xmath174 that are generated in this fashion have the same row sums , @xmath65-weights , and p - weights ( independent of @xmath116 ) , [ eq : weight - shift ] @xmath175 unless states with this weight do not exist , in which case the result vanishes . the weight - shifting action of lowering operators is illustrated in fig . [ fig : su3 ] for the weight diagram of the 3 irrep @xmath176 . since the weight diagram is two - dimensional , there are two lowering operators , @xmath163 and @xmath164 , which shift in different directions ( indicated by solid / dashed lines ) . ( @xmath165 produces a shift in the opposite direction of @xmath166 . ) note that there are two different `` paths '' to reach the @xmath65-weight ( 0,0 ) from the @xmath65-weight @xmath177 , namely via either @xmath178 or @xmath179 . since @xmath163 and @xmath164 do not commute , these paths are inequivalent ; indeed , they produce two different linear combinations of the two states with @xmath65-weight @xmath162 . more generally , the fact that inner multiplicities larger than 1 arise for n representations with @xmath180 is a direct consequence of the fact that there are , in general , several different ways of reaching one state from another via a chain of raising and lowering operators , and that these ways are not equivalent , because @xmath108 and @xmath109 do not commute for @xmath181 . very conveniently , closed expressions have been found by gelfand and tsetlin @xcite for the matrix elements of all raising and lowering operators with respect to the basis of gt - patterns . explicitly , the only nonzero matrix elements of @xmath166 are given , for any @xmath182 , by @xcite : @xmath183 these matrix elements are real and nonnegative , and the right - hand side vanishes if @xmath184 is not a valid pattern . as @xmath165 is the hermitian transpose of @xmath166 , we can obtain its nonzero matrix elements by taking the complex conjugate of the preceding formula and replacing @xmath15 by @xmath185 : @xmath186 these formulae generalize eq . to n. each irrep has a unique state @xmath187 , called its _ highest - weight state _ , that is annihilated by all @xmath104 raising operators @xmath188 since @xmath187 is a unique state , the inner multiplicity of its p - weight @xmath189 is one , and the irrep can be identified by specifying @xmath189 . our labeling scheme indeed exploits this fact : the i - weight of an irrep is equal to the p - weight of its highest - weight state @xmath187 , i.e. @xmath190 . conveniently , the gt - pattern @xmath191 has the highest possible entries fulfilling eq . , i.e. @xmath192 for @xmath193 ( all entries on the @xmath116-th diagonal are equal to @xmath194 ) . this concludes our exposition of those elements of n representation theory in the gt - scheme that are needed in this work . in the following sections we discuss the decomposition of direct product representations and the calculation of the associated cgcs . the specific details of the strategy described below are , to the best of our knowledge , original . the product of two irreps , say @xmath11 , is , in general , reducible to a sum of irreps ( eq . ) . while it is well - known for 2 which irreps occur in such a decomposition ( see eq . ) , the corresponding result for n relies on a relatively simple but hard to prove method based on the _ littlewood - richardson rule _ @xcite . this method involves writing down all possible gt - patterns for the irrep @xmath1 and using each of these to construct , starting from @xmath2 , a new irrep @xmath10 . as the outcome of this method is the same when interchanging @xmath1 and @xmath2 , it is preferable to take the irrep with the smaller dimension of the two as @xmath1 . for given irreps @xmath113 and @xmath195 , and a particular gt - pattern @xmath126 associated with @xmath1 , let us introduce some auxiliary notation . for @xmath196 and @xmath197 , we set @xmath198 ( where @xmath199 if @xmath200 , for ease of notation ) and @xmath201 ( note that here , @xmath202 carries a prime , while @xmath203 does not ) . then , the irrep @xmath204 occurs in the decomposition of @xmath11 if and only if @xmath205 ( we emphasize that this condition must hold for _ each _ value of @xmath116 and @xmath102 . ) by checking whether holds for all gt - patterns associated with @xmath1 , all @xmath10 in the decomposition of @xmath11 can be identified . there exists a more efficient way to validate eq . than to check each value of @xmath116 and @xmath102 independently . for a given gt - pattern @xmath126 associated with @xmath1 , proceed as follows : 1 . initialize @xmath206 by the i - weight of @xmath2 . 2 . step through the pattern @xmath16 along the diagonals from top to bottom and from left to right , i.e. in the order @xmath207 , @xmath208 , @xmath209 , @xmath210 , @xmath211 , @xmath212 , @xmath209 , @xmath213 , @xmath209 , @xmath214 . 3 . at each position , say @xmath215 , replace @xmath216 by @xmath217 . if @xmath218 , check whether @xmath219 . if this condition is violated , discard this gt - pattern , construct the next one , and commence again from step 1 . if we reach the end of the pattern @xmath16 , the current value of @xmath220 specifies the weight of an irrep @xmath10 that occurs in the decomposition of @xmath11 . for @xmath221 , this procedure in general can produce several occurrences of the same irrep @xmath10 . the number of such occurrences , denoted by @xmath222 in eq . , is the outer multiplicity of @xmath10 . ( for 2 , the outer multiplicity is either 0 or 1 . ) let us illustrate this procudure by an example ( individual steps are shown in table [ tab : decompose ] ) : @xmath223 ( for the second line , we adopted i - weights with @xmath224 . ) to check that the dimensions are correct , use eq . to verify the dimensions of the irreps in this equation are @xmath225 , respectively . .application of the littlewood - richardson rule according to the steps of section [ sec : decompose ] , for the decomposition of @xmath226 . [ cols="^,^,^,^,^,^,^,^,^,^",options="header " , ] we adopt throughout the convention for an i - weight @xmath113 that @xmath119 ( sec . [ sec : gelfand ] ) . for i - weights we choose the following ordering rule : the `` smaller '' of two i - weights is taken to be the one with the smaller first element ; in case of a tie , compare the second element , and so on . formally , given two i - weights @xmath1 and @xmath2 , we assign the order @xmath227 table [ tab : first - few - su4 ] shows the first few i - weights of 4 , arranged in increasing order . using this ordering rule , all possible n i - weights can be arranged in a list of increasing order and uniquely labeled by a nonnegative integer , say @xmath228 , giving its position in this list , @xmath229 to determine @xmath228 for a given i - weight @xmath1 , we simply count the number of smaller weights @xmath2 : this number is given by the number ( say @xmath230 ) of all weights @xmath2 with @xmath231 , plus the number of all @xmath2 with @xmath232 but @xmath233 ( say @xmath234 ) , etc . thus , @xmath235 where @xmath236 is the number of weights @xmath2 whose first @xmath237 entries are the same as those of @xmath1 ( @xmath238 for all @xmath239 ) , while the @xmath116-th entry is arbitrary but smaller than that of @xmath1 ( @xmath240 ) , and the remaining entries arbitrary ( but subject to @xmath2 being a valid i - weight , with @xmath241 ) . the nontrivial ( though constrained ) entries of @xmath2 , namely @xmath242 , can be viewed as an i - weight @xmath243 of length @xmath244 , whose entries @xmath245 ( for @xmath246 ) satisfy @xmath247 @xmath236 thus is the number of allowed weights @xmath248 that satisfy ( [ eq : rules - for - tildem ] ) . to calculate @xmath236 , we note that it is equal to the number of ways to draw or `` strike out '' , from the set of integers @xmath249 , an ordered subset @xmath250 of @xmath251 integers , @xmath252 ( see fig . [ fig : countingpk ] ) , since there is a one - to - one correspondence between the set of all possible such strike - outs and the set of all i - weights @xmath248 satisfying ( [ eq : rules - for - tildem ] ) : for a given struck - out set @xmath253 , with @xmath254 , set @xmath255 equal to the number of non - struck - out integers smaller than @xmath256 ( i.e. @xmath257 ) . for example , the weight @xmath248 that is largest ( w.r.t . to the ordering rule ( [ eq : orderings ] ) ) , namely having all elements equal to @xmath258 , is obtained by choosing the struck - out integers @xmath259 to be as large as possible ( see fig . [ fig : countingpk2 ] ) . thus , we have @xmath260 and , consequently , @xmath261 in analogy to the ordering we have defined on i - weights , we introduce an ordering on the set of gelfand - tsetlin patterns of a given irrep ( i.e. given top row of the pattern ) . let @xmath126 and @xmath262 ( where @xmath263 ) denote two patterns with @xmath264 for @xmath265 . we define a row - by - row ordering of indices ( see table [ tab : index - order ] ) , increasing from left to right within a row , and from top row to bottom row , i.e. @xmath266 if @xmath267 and @xmath268 , or if @xmath269 . we then define @xmath270 if and only if for the smallest index for which @xmath271 , we have @xmath272 . an example of this ordering is given in table [ tab : gt - ordering ] . we map each gelfand - tsetlin pattern @xmath16 to a nonnegative integer @xmath273 by counting the number of smaller gelfand - tsetlin patterns , i.e. @xmath274 this number can be determined by generating the pattern ( say @xmath275 ) located directly preceding @xmath16 in the ordered list of patterns , then the pattern preceding @xmath276 , and so on , until we arrive at the beginning of this list . to construct the predecessor of the pattern @xmath16 , we start by finding the largest index @xmath277 whose entry @xmath278 can be decreased without violating the betweenness condition , rewritten here as @xmath279 with respect to smaller indices while disregarding it with respect to larger indices ( i.e. without violating the second inequality , but disregarding the first ) . thus , @xmath280 is the index for which @xmath281 for all @xmath282 but @xmath283 . we then decrease @xmath278 by one and reset the entries of all larger indices to the maximal values that satisfy the new betweenness condition . concretely : @xmath284 the number @xmath273 is , of course , the number of times we can repeat the process of constructing a preceding pattern . this procedure maps the lowest - weight and highest - weight states of an irrep @xmath1 to the numbers 1 and dim@xmath285 , respectively . below , we provide a c++ implementation of our algorithm , consisting of four fundamental classes : 1 . create two objects ` clebsch::weight s ` and ` clebsch::weight sprime ` , representing the irreps @xmath1 and @xmath2 . 2 . create the object ` decomp ` as ` clebsch::decomposition decomp(s , sprime ) ` ; this generates the irreps @xmath10 that occur in the decomposition of @xmath286 according to the littlewood - richardson rule . ( its output can be read out , if desired , as follows : read out the total number of irreps @xmath10 by calling ` decomp.size ( ) ` . read out the @xmath156-th one of these ( with @xmath287 ` decomp.size ( ) ` ) by creating an object ` clebsch::weight sdoubleprime(decomp(j ) ) ` . read out its outer multiplicity by calling ` decomp.multiplicity(sdoubleprime ) ` . ) pick one of these irreps ` sdoubleprime ` and create the object ` c ` as ` clebsch::coefficients c(sdoubleprime , s , sprime ) ` ; this generates all cgcs @xmath288 needed for constructing the irrep @xmath10 , with multiplicity index @xmath74 , from @xmath1 and @xmath2 . the clebsch - gordan coefficient @xmath288 is then read out as ` c(alpha , qdoubleprime , q , qprime ) ` , where ` alpha ` indexes the outer multiplicity of @xmath10 , and ` q ` , ` qprime ` , and ` qdoubleprime ` are the pattern indices of @xmath16 , @xmath47 and @xmath48 . other common applications involve the translation between an i - weight @xmath1 and its index @xmath228 , or between a gt - pattern @xmath16 and its index @xmath273 . to obtain the i - weight index @xmath228 from the object ` clebsch::weight s ` , call ` s.index ( ) ` , and to obtain the pattern index @xmath273 from the object ` clebsch::pattern m ` , call ` m.index ( ) ` . conversely , to construct an i - weight @xmath125 from a given irrep index @xmath289 , create the object ` clebsch::weight s(n , p ) ` , and read out the elements @xmath194 as ` s(k ) ` . similarly , to construct a pattern @xmath126 in irrep @xmath1 from a given pattern index @xmath290 , create the object ` clebsch::pattern m(s , q ) ` , and read out the elements @xmath215 as ` m(k , l ) ` . finally , to find the dimension @xmath13 of the irrep @xmath1 , create the object ` clebsch::weight s ` and call ` s.dimension ( ) ` . all of these applications are elaborated in the sample routine @xmath291 at the end of the source code ( starting around line 1000 ) . they are also implemented in the interactive cgc - generator available at http://homepages.physik.uni - muenchen.de/~vondelft / papers / clebschgordan/. to compile , type ` g++ clebsch.cpp -llapack -lblas ` on linux , or ` g++ clebsch.cpp -framework veclib ` on mac os x. on other operating systems , make sure that lapack is included in the linking process . to achieve that , you may have to modify the declaration of the funtions ` dgesvd ` and ` dgels ` . i. m. gelfand and m. l. tsetlin , _ matrix elements for the unitary group _ , dokl . nauk sssr * 71 * , 825 and 1017 ( 1950 ) . reprinted in i. m. gelfand , r. .a . minlos , and z. ya . shapiro , _ representations of the rotation and lorentz group _ ( pergamon , new york , 1963 ) . app . d contains the source code of a computer implementation of our algorithm , made available as supplementary material at http://homepages.physik.uni-muenchen.de/~vondelft/papers/clebschgordan/clebschgordan.cpp .	arxiv
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the online version of this article ( doi:10.1007/s00294 - 013 - 0398 - 6 ) contains supplementary material , which is available to authorized users . mitochondria that host 37 genes within 16.6 kb of their genome ( mtdna ) are the power engines of the cell . mitochondrial dna ( mtdna ) gene regulation and replication start from the non - coding control region , d - loop , that is 1,124 bp long from positions 16,024576 . the d - loop has three hypervariable regions ( hvri - iii ) and contains 25 % of the variable sites , even though it represents only 7 % of the total mtdna length ( sosa et al . mitochondrial diseases associated with mtdna mutations and its phenotypic heterogeneity can be explained by mtdna heteroplasmy the mixture of more than one type of mtdna at a cellular , tissue or organism level . the 100-fold higher mutation rate of mtdna than nuclear dna is caused by a combination of oxidative microenvironment , lack of histones , and rudimentary repair mechanisms , leading to mtdna mutation accumulation during aging . although mtdna is maternally inherited in mammals , heteroplasmy levels vary markedly between a mother and each of her offspring . this means that asymptomatic mothers with medium to low heteroplasmy levels can have an affected child with much higher levels of the same heteroplasmic mutation ( > 30 % ) , which may cause a mitochondrial disease ( zhang et al . massively parallel sequencing ( mps ) allows simultaneous analysis of the complete mtdna and provides annotation and mutant load estimation of each position . taking into account the variable sequencing depth of published data , small sample sizes , read mapping and data filtering criteria , and heteroplasmy detection thresholds , there is no consensus of opinion as regards average heteroplasmic frequency distribution among individuals and in populations . full - length mtdna analysis from 131 individuals identified 40 point heteroplasmies and indels at 10 % minor allele frequency ( maf ) or higher in blood or saliva , making 0.3 heteroplasmies per individual ( li et al . in contrast , 1.8 heteroplasmies per individual at > 10 % maf were identified using 40 immortalized lymphoblastoid cell line samples ( sosa et al . 2012 ) . in recent reports ( andrew et al . 2012 ) , variable heteroplasmy in the human body has been demonstrated to exist within a limited number of tissues such as blood , skeletal muscle and buccal epithelium , leaving the rest of the organism out of focus . as multiple tissue analysis in healthy individuals is highly complicated , data on whole body mtdna heteroplasmy is still far from clear . in this study , we were able to investigate three unrelated males by employing mps technology to detect mtdna heteroplasmy using 16 different tissues taken during post - mortem examination . we show a great range of heteroplasmy variance at position 16,093 , where the lowest values were detected in red and yellow bone marrow tissue and the highest in the bladder . the data contribute to mtdna genetics at human body level and explain the possible formation and expansion of heteroplasmy during post - zygotic embryonic development . the research ethics committee of the university of tartu approved the collection of tissue samples for research . the written informed consent was obtained from next - of - kin to post - mortem individuals to collect the tissue panel during the autopsy . encoded body panel was collected from three males of 40 ( sample kt538 ) , 53 ( ka522 ) and 54 ( sj600 ) years of age at the time of death . donors kt538 and ka522 had died of acute cardiovascular insufficiency due to myocardial infarction and sj600 of cerebellar haemorrhage . the tissue samples were collected within 8 h of post - mortem and consisted of abdominal adipose tissue , lienal artery , bone , yellow bone marrow , red bone marrow , coronary artery , gastric mucosa , joint cartilage , thoracic lymph node , tonsils , bladder , gall bladder , abdominal aorta , thoracic aorta , medulla oblongata and nervus ischiadicus ( table 1 ) . dna extraction was carried out according to the recommendations of the nucleospin tissue dna extraction kit manufacturer ( macherey - nagel , dren , germany ) , with dna concentrations and quality parameters provided in supplementary table 1 . four anonymous genomic dna samples for replication sequencing were provided by the estonian genome center of the university of tartu ( egc ) . whole mtdna was amplified in two amplicons ( 8,225 and 9,447 bp ) by pcr using two pairs of primers . pcr amplicons were enzymatically fragmented , prepared as a 48-plex sequencing library and analysed using an illumina hiseq2000 instrument with 101 bp paired - end reads according to the manufacturer s protocols . confirmation of mtdna position 16,093 heteroplasmic samples and the 300320 d - loop region in three individuals was performed by sanger sequencing . all details of methods used are provided in supplementary methods.table 1heteroplasmy overview at position 16,093 of individual sj600tissuesequencing depthmajor allelec minor allelet maf ( % ) bladder12,339c4,691 t 7,64562.0lienal artery5,343c2,625 t 2,71750.9coronary artery17,265c11,123 t 6,13935.6thoracic aorta6,870c4,446 t 2,42235.3abdominal aorta9,828c6,762 t 3,06131.2nervus ischiadicus8,391c6,190 t 2,20026.2gall bladder5,433c4,041 t 1,39125.6bone11,603c9,047 t 2,55522.0gastric mucosa11,954c9,692 t 2,22218.6abdominal adipose tissue3,724c3,039 t 68518.4medulla oblongata12,985c11,266 t 1,71713.2thoracic lymph node14,600c12,672 t 1,92613.2tonsils10,827c9,752 t 1,0739.9joint cartilage14,444c13,074 t 1,3689.5yellow bone marrow18,223c16,607 t 1,6138.9red bone marrow11,650c11,051 t 5985.1 allele read count the reference allele according to the revised cambridge reference sequence ( rcrs ) heteroplasmy overview at position 16,093 of individual sj600 the reference allele according to the revised cambridge reference sequence ( rcrs ) a total of 260 million paired - end reads were generated for 16-tissue body panels in three unrelated males ( 48 samples in total ) and for four replicates ( 8 samples ) . each sample library preparation was started from 0.5 0.1 g of pcr product , but demultiplexing revealed 22-fold differences between sample raw reads ( supplementary fig . 1 ) . mapping and read trimming increased it to 49-fold , but quality score - based filtering and pcr duplicate removal finally reduced sample variability to 25-fold . the post - filtering mean quality score was 33.5 and 84 % of reads ( median ) had a quality score of 30 . 80.2 % ( median ) of reads mapped to mtdna reference and 41.5 % of reads ( median ) were removed afterwards during the pcr duplicate filtering step . the average maf fraction over the full mtdna sequence is < 0.15 % ( supplementary table 2 ) . pcr amplification generated unequal coverage over mtdna , preferring one amplicon to another and bringing out two overlapping regions in amplicons ( fig . the joint cartilage tissue sample was removed as a result of low - sequencing coverage and quality , caused by lower ( p = 0.0003 ) purity of the original dna sample ( supplementary table 1).fig . c sequencing coverage in hypervariable region ( hvri ) of d - loop . coverage in the three different tissues of individual sj600 is shown . the percentage is from mps analysis and chromatogram from sanger sequencing full mtdna amplification and the confirmation of results . the percentage is from mps analysis and chromatogram from sanger sequencing forty - seven samples were mapped against a reference sequence to investigate heteroplasmy in mtdna . preliminary analysis revealed heteroplasmy with maf of < 10 % at mtdna positions 302 , 309 , 310 , and 316 in the three studied dna body panels but sanger resequencing of poly - c tracks in mtdna bases 302310 and 312317 showed no heteroplasmy in this region , and confirmed only kt538 c insertion at mtdna position 309 ( named c309cc , supplementary fig . 2 ) . that demonstrates that mps mapping output needs sanger confirmation under these conditions . the significant heteroplasmy ( > 10 % ) was detected only in individual sj600 at d - loop position 16,093 ( m.16093 t > c ) ( fig . abdominal aorta , thoracic aorta , coronary artery and lienal artery clustered as one group and showed heteroplasmy in the range of 31.250.9 % , while 62.0 % mtdna heteroplasmy was detected in the bladder ( table 1 ) . three tissues with variable heteroplasmy of 550 % four blood dnas from the egc were analysed as duplicates to show the assay reproducibility . the median sequencing depth of all eight samples varied from 4,832 to 11,531 and at least 99.5 % of all the nucleotides had > 1,000 fold sequencing depth ( supplementary table 3 ) . in total , eight heteroplasmic positions were detected at > 5 % maf . heteroplasmic maf variance between the replicates was 1.525.8 % and the correlation coefficients were 0.880.99 ( supplementary fig . mtdna is highly represented in somatic cells , making it as a considerable dna source after nuclear dna . nevertheless , the total length of mtdna per cell is up to 20 mb , which is still 400 times less than the amount of diploid nuclear dna and therefore mtdna needs specific enrichment before the mps analysis . despite the success of capture - probe - based mtdna enrichment ( li et al . 2012 ) , pcr is still the gold standard for selection and amplification of small , targeted dna regions , like mtdna . in addition , the results indicate that pcr - introduced errors should not be a significant problem as regards this approach ( li et al . 2010 we used 22 pcr cycles to reduce possible bias accumulation and ensured an efficient pcr yield with 0.21.2 g of input dna . the size - selected library was repaired and amplified using ten additional cycles , which were too intense because 41.5 % of mapped reads were eliminated during pcr duplicate filtering ( supplementary fig . 1 ) . the threshold calculations based on nuclear dna control libraries demonstrated that the average proportion of mutations per base was 0.06 % and no base was mutated at greater than 0.8 % frequency ( he et al . a similarly low threshold ( 1.3 % ) was reported using synthetic dna fragments with variable allelic ratios ( zhang et al . 2012 ) , providing the acceptable 510 % cut - off for heteroplasmy ( li et al . 2010 ; sosa et al . , attention should be paid to the fact that artificial quality control dnas are only useful for assessing indexed library amplification , cluster generation and mps itself , but are not suitable for sample enrichment and dna quality issues . in our study , the detected variability at position 16,093 was confirmed by sanger sequencing at 5 , 22 and 51 % mps - detected heteroplasmy levels . as expected , 5 % heteroplasmy is not detectable by dideoxy - terminator sequencing , 22 % heteroplasmy remains unquantified , and 51 % heteroplasmy correlates as a 1:1 polymorphic allelic ratio ( fig . as our experiment was designed without internal controls to detect the mps sensitivity threshold , we are not able to report the number of true - positive heteroplasmies without a confirmation experiment . nevertheless , we detected a great range of position 16,093 heteroplasmy in the human body , contributing to a previous multi - tissue analysis ( he et al . somatic heteroplasmy ranging 791 % was found in one of the two study patients . however , the authors studied significantly fewer tissue samples from the same autopsy individual , with little overlap to the panel used in our study . furthermore , colorectal cancer as the cause of death in ( he et al . unfortunately our analysed tissues did not include blood samples , but according to other recent reports reflecting low - level heteroplasmy in blood ( andrew et al . 2012 ) , we can speculate that blood ( leukocytes ) may have lower heteroplasmy level than the rest of human body . because red bone marrow consists mainly of hematopoietic tissue giving rise to all blood cell types , we used red bone marrow ( heteroplasmy 5.1 % ) as a possible alternative to blood in our study . also , it is suggested that rapidly dividing tissues such as blood cells or bone marrow may have the ability to eliminate cells with mtdna mutations during life , whereas post - mitotic tissues that no longer divide do not eliminate these cells and may instead favour accumulation of mutant mtdna genomes . hence , this could clarify why some inherited mtdna mutations can be lost from the blood but be detected in other post - mitotic tissues ( payne et al . our findings are in line with this , demonstrating very low frequency of heteroplasmy in rapidly dividing red and yellow bone marrow tissues , with 5 and 9 % of heteroplasmy , respectively . according to our findings , position 16,093 was heteroplasmic in all 16 studied tissues in one individual , varying from 5.1 % in red bone marrow to 62.0 % in the bladder . the differences between organ groups can be explained by random segregation of mtdna during oogenesis and in somatic tissue development . it is now believed that somatic segregation may lead to high levels of mutant mtdna in some progenitor cells and low levels in others . in addition , due to the high copy number of mtdnas , a mutation in some of the mtdna results in a mixture of variant mitochondrial genomes within a mitochondrion , cell , tissue , organ , or individual . however , it is impossible to predict the cell types or tissues to which mutant molecules will segregate during the ontogenesis . it is likely that such heteroplasmic variability in our study is a result of random genetic drift and not strongly associated with certain developmental stages or tissue differentiation processes . these findings could explain the unequal distribution of the different genotypes , not only between the three germinal layers ( endoderm , mesoderm and ectoderm ) , but also between derivatives of the same germinal layer . in our panel that mostly contains tissues of mesodermal origin , heteroplasmy at position 16,093 differed by more than 40 % between two mesodermal derivatives bone marrow and lienal artery . in contrast , the same heteroplasmic frequency ( 9 % ) was present in tissues of different origin , such as tonsils and joint cartilage , which are of endodermal and mesodermal origin , respectively . interestingly abdominal aorta , thoracic aorta , coronary artery and lienal artery , ranging 3151 % . these findings may partially be interpreted by the production of oxygen radicals during oxidative phosphorylation and common mesodermal origin . the fact that in bladder tissue we observed the highest frequency of heteroplasmy could be explained by its tissue - specific prevalence , as also indicated by the high incidence of mtdna mutations in bladder cancer ( guney et al . our results demonstrate that screening of a tissue panel using mps technology provides surprising data that reveals somatic heteroplasmy even among the limited number of study subjects . our findings give clear reason to speculate that mtdna heteroplasmic frequency , distribution , and even its possible role in complex diseases or phenotypes could be severely underestimated , evoking the need for more thorough tissue - based screenings at different age groups to provide more comprehensive understanding about its biological and clinical importance .	pubmed
in the last decade , the ly@xmath0 forests of qso s absorption spectra at redshifts @xmath8 have played an important role in understanding the diffuse cosmic baryon gas and the uv ionizing photon background , and constraining cosmological models and parameters ( e.g. rauch et al . 1997 ; croft et al . 2002 ; bolton et al . 2005 ; seljak et al . 2005 ; jena et al . 2005 ; viel et al . 2006 ) . recently , more and more uv photon sources , including qsos , grb , lyman - break galaxies , and ly@xmath0-emitters at redshifts @xmath9 have been observed ( see ellis 2007 and reference therein ) . due to the rapidly increase of gunn - peterson ( gp ) optical depth at @xmath10 , their absorption spectra show long dark gaps on scales of tens of mpc separated by tiny transmitted leaks . it has been suggested that we are observing the end stage of reionization ( fan et al . 2006 ) . it has been known that the dark gaps are from the igm where the density of neutral hydrogen are high enough to produce almost complete absorptions , however , where the transmitted leaks come from is still unclear . in photoionization equilibrium , the density of neutral hydrogen @xmath11 , here @xmath0 is the recombination rate and @xmath12 is the density of igm ; therefore , even when most of the igm are neutral enough to produce complete ly@xmath0 absorptions , it is still possible for the lowest density voids to provide prominent transmitted fluxes . on the other hand , the leaks can also come from ionized patches around ionizing sources where the intensity of uv radiation are higher than average . the origin of leaking is crucial to understanding the history of reionization . according to commonly accepted scenario of the reionization , in the early stage , the ionized regions are isolated patches in the neutral hydrogen background ( e.g. , ciardi et al . 2003 ; sokasian et al . 2003 ; mellema et al . 2006 ; gnedin 2006 ; trac & cen 2006 ) . and the subsequent growing and overlapping of the ionized patches lead to the ending of reionization ( e.g. , ciardi et al . 2003 ; sokasian et al . 2003 ; mellema et al . 2006 ; gnedin 2004 ) . thus , if leaks mostly come from ionized patches , reionization should happen in the early stage . in contrast , if they were produced in lowest density voids , the the uv ionizing background might has already underwent an evolution from highly inhomogeneous to uniform distribution . a variety of statistics has been used to study the evolution of reionization , such as the mean and dispersion of gp optical depth , the probability distribution function ( pdf ) of the flux , and the size of dark gaps ( e.g. , fan et al . 2002 , 2006 ; songaila & cowie 2002 ; paschos & norman 2005 ; kohler et al . 2007 ; gallerani et al . 2006 ; becker et al . 2006 ) , but all of them seem to be ineffective to provide the information of leak s origin and the inhomogeneity of uv ionizing background . the gp optical depth is an average , and not sensitive to details of reionization . the statistical properties ( mean and variance ) of the gp optical depth at @xmath5 can be well explained by either the fluctuation of ionizing background ( fan et al . 2006 ) or models with uniform ionizing background ( lidz et al . 2006 liu et al . 2006 , hereafter paperi ) . the pdf of the flux is also insensitive to the geometry of reionization . in addition , the pdf is heavily contaminated by noise and distorted by resolution . dark gaps are defined to be continuous regions with optical depth above a threshold in spectra . intuitively , the statistics of dark gap should contain the same information as leaks . however , the size of dark gaps are sensitive to the instrumental resolution , because higher resolution data contain more small leaks ( e.g. , paschos & norman 2005 ; paperi ) , and they also are contaminated by observational noise . moreover , dark gaps are from saturated absorptions , they are featureless and contains generally less information of non - saturated absorption . in this paper we made a statistical approach to ly@xmath0 leaks . the purpose is to show that the statistical features of ly@xmath0 leaks would be effective tool to reveal the origin of ly@xmath0 leaks , and to probe the evolution of reionization . similar to ly@xmath0 absorption lines , ly@xmath0 leaks have a rich set of statistical properties , such as the width of leak profile . unlike dark gaps , the properties of ly@xmath0 leaks can be defined through integrated quantities , which are less contaminated by resolution and noise . moreover , ly@xmath0 leaks are from regions of non - saturated absorptions and encode more information of reionization ; therefore , the ly@xmath0 statistics would provide more underlying physics of reionization than all the above - mentioned statistics . the paper is organized as follows . 2 describes the method to produce ly@xmath0 absorption samples . 3 presents the statistical properties of ly@xmath0 leaks with a uniform ionizing background . 4 analyzes the effect of inhomogeneous ionizing background . conclusion and discussion are given in 5 . we simulate lyman series absorption spectra of qsos between @xmath13 and 6.5 using the same lognormal method as those for low redshifts @xmath14 ( e.g. , bi et al . 1995 ; bi & davidsen 1997 ) . in this model , the density field @xmath15 of the igm is given by an exponential mapping of the linear density field @xmath16 as @xmath17,\ ] ] where @xmath18 is the variance of the linear density field on scale of the jeans length . obviously , the 1-point pdf of @xmath15 is lognormal . in this model , the velocity field of baryon gas is produced by considering the statistical relation between density and velocity field ( bi & davidsen , 1997 ; choudhury et al . 2001 ; veil et al . 2002 ) . the dynamical bases of the lognormal model have gradually been settled in recent years . first , although the evolution of cosmic baryon fluid is governed by the naiver - stokes equation , the dynamics of growth modes of the fluid can be sketched by a stochastic force driven burgers equation ( berera & fang 1994 ) . on the other hand , the lognormal field is found to be a good approximation of the solution of the burgers equation ( jones 1999 ) . the one - point distribution of the cosmic density and velocity fields on nonlinear regime are consistent with lognormal distribution ( e.g. yang et al . 2001 , pando et al . especially , it has been shown recently that the velocity and density fields of the baryon matter of the standard @xmath19cdm model is well described by the so - called she - lvque s universal scaling formula , which is given by a hierarchical process with log - poisson probability distribution ( he et al . 2006 , liu & fang 2007 ) . the simulation is performed in the concordance @xmath19cdm cosmological model with parameters @xmath20 , @xmath21 , @xmath22 , and @xmath23 . the thermodynamic evolution in the igm is actually a rather complex process , because the nonlinear clustering leads to a multi - phased igm . as shown in cosmological hydrodynamic simulations ( e.g. , he et al . 2004 ) , for a given mass density , the temperature of the igm could have large scatters with differences up to two orders . nevertheless , the equation of state in ly@xmath0 clouds can be well approximated by a polytropic relation with @xmath24 ( hui & gnedin ; he et al . the neutral fraction @xmath25 is obtained by solving the photoionization equilibrium equation . the photoionization rate @xmath26 will be given in 2.2 . we then construct synthetic absorption spectra by convoluting the neutral hydrogen density field with voigt profiles . for each given @xmath27 , the size of the simulation samples is @xmath28 , and there are @xmath29 pixels in each simulation box . if the distribution of the igm is uniform and the uv ionizing background is independent of redshift , the mean gp optical depth of ly@xmath0 absorption should approximately increase with redshift as @xmath30 . the observations of dark gaps directly show that the gp optical depth undergoes a stronger evolution at @xmath31 , and consequently , the uv ionizing background would decrease rapidly with redshift at @xmath5 . the strong evolution scenario of the uv ionizing background is supported by a number of simulations or semi - analytical models of reionization ( e.g. , razoumov et al . 2002 ; gnedin 2004 ; oh & furlanetto 2005 ; pascho & norman 2005 ; wyithe & loeb 2005 ; kohler et al . 2007 ; gallerani et al . 2006 ) . it has been found that an evolution of photoionization rate as follows can fit the strong redshift evolution of the gp optical depth ( paper i ) : @xmath32^{2.4 } \},\ ] ] which is in units of 10@xmath33 s@xmath34 . note that the power index 2.4 in equation ( 2 ) is little different from the one used in paper i because we use a different @xmath35 in this paper ( also see below ) . with eq.(2 ) , we calculate the redshift dependencies of neutral hydrogen fraction @xmath36 and the effective optical depth , @xmath37 , where @xmath38 is the mean of transmitted flux . the results are plotted in figure 1 . the data points for @xmath39 are taken from ly@xmath0 observations of fan et al . ( 2006 ) . for best fitting , the amplitude @xmath40 is in the range 5 - 7 , which can be considered as the allowed range of @xmath41 . in this paper , we will use @xmath42 as the fiducial photoionization rate . it is interesting to note that @xmath36 approaches to @xmath43 at redshift @xmath44 , which is consistent with the electron scattering optical depth given by the data of cmb polarization of wmap iii ( page et al . 2007 ) . it should be pointed out that the assumption of @xmath45 k ( 2.1 ) is well reasonable at @xmath46 ( e.g. hui & gnedin 1997 ; he et al 2004 ) and may still be applicable at @xmath1 if the mass averaged neutral fraction of hydrogen is not larger than 10@xmath47 , and the photon heating rate is small . however , at higher redshift , say @xmath48 , the temperature @xmath35 might be redshift - dependent . yet , no proper information on @xmath49 is available at high redshift , and this leads to uncertainty of the model . fortunately , in photoionization equilibrium , the neutral fraction @xmath36 depends mainly on a degenerate factor @xmath50 . thus , the problem with the uncertainty of @xmath49 can be overcame if we use the combined parameter of @xmath51^{0.75}$ ] to fit the data . in the range @xmath52 , this parameter actually is @xmath53 ; in the range of @xmath54 , it is different from @xmath53 by a factor of @xmath55^{0.75}$ ] . thus , the redshift - evolution of @xmath41 would be slower than eq.(2 ) if @xmath49 is less than @xmath56 k at higher redshifts . as an example of ly@xmath0 leaks , we plot a simulated sample of ly@xmath0 absorption spectrum at @xmath57 with a uniform ionizing background in figure 2 , which shows the transmitted flux @xmath58 , the density @xmath12 of baryon gas , the bulk velocity @xmath59 , and the neutral hydrogen fraction @xmath36 . as expected , the mean of transmitted flux is very small , about 0.004 , and corresponds to an effective optical depth 5.5 . nevertheless , we see spiky features with the transmitted flux @xmath58 as large as @xmath60 . they are leaks . at low redshifts @xmath61 , the ly@xmath0 forests in qso s spectra have a spectral filling factor significantly less than one and can be decomposed into individual ly@xmath0 absorption lines . at redshifts @xmath9 , it is meaningless to decompose the spectra into individual lines since almost the whole spectra are absorbed completely . we note , however , the transmitted leaks look like emission features upon the dark background , and the absorption spectra can be decomposed into individual `` emission lines '' , i.e. , ly@xmath0 leaks . comparing the top , the second and bottom panels , we see that all the leaks comes from the regions with mass density less than 0.3 of the mean mass density of baryon gas . the neutral fraction for leaks is @xmath62 , which yields a gp optical depth @xmath63 for overdensity 0.25 and a @xmath64 , while the mean neutral fraction of the entire example is about @xmath65 , which is high enough to produce dark gaps . the column density of neutral hydrogen of the leaking features is mainly in the range of 10@xmath66 - 10@xmath67 @xmath68 , which are the non - saturated absorption regions , and therefore , leaks can come from regions where no enough neutral hydrogen to produce complete absorptions . similar to very high density clouds , @xmath69 , the regions with very low density @xmath70 are rare events in the cosmic clustering . therefore , leaks may provide valuable test on models of clustering . for instance , the lognormal distributions are long tailed in both high and low density sides , and it contains more high density events as well as low density events than gaussian model . it should be emphasized that , once the photoionization rate @xmath26 is determined from the gp optical depth , the statistical property of the sample shown in figure 2 does nt contain free parameters . these samples have been successfully used to explain the following observations : 1 . ) the large dispersion of the gp optical depth ; 2.)the pdf of the flux , and 3 . ) the evolution of the size of dark gaps ( paper i ) . now we use them to study the statistical properties of ly@xmath0 leaks . the ly@xmath0 absorption lines at low redshifts are described by well defined quantities , such as the equivalent width , fwhm ( full width half maximum ) , and the voigt profile , all of which are easily related to physical interpretations . since the transmitted leaks look like emission features , one can decompose the spectra into individual `` emission lines '' and describes it by quantities similar to the ly@xmath0 absorption lines . in this section we study the statistical distribution of ly@xmath0 leaks in the model with a uniform ionizing background . the effects of inhomogeneous ionizing background will be discussed in next section . the center of a leak is identified as the maximum of transmitted flux , and the boundaries are two nearby positions around the center where the flux falls down to zero or to noise level ( we take it to be @xmath71 in this paper ) . the properties of leaks can be measured by two quantities : an equivalent width @xmath2 , which is the total area under the profile of a leak , and a half width @xmath72 , which is defined as the width around center within which the area under the profile of the leak is equal to half of the total area of the leak . the equivalent width @xmath2 and the half width @xmath3 are two independent measurements of ly@xmath0 leaks . this point can be seen in figure 3 , which gives the value of @xmath2 and @xmath3 for each leak at @xmath57 . it does not indicate a significant correlation between @xmath2 and @xmath3 , especially in the region of @xmath73 and @xmath74 . figure 3 also shows that the distribution of @xmath72 has a lower limit @xmath75 , which is due to the jeans scale used for smoothing the sample . on the other hand , the equivalent width @xmath2 distributes in the range from @xmath76 to @xmath77 . obviously , one is unable to introduce two independent quantities for characterizing dark gaps . the profiles of 100 randomly sampled leaks with @xmath2 = 0.01 , 0.1 , and 1 are displayed in fig.[profile ] . the tails of the profiles in the three panels of fig.[profile ] look like the lorentz profile , and of course , they do not have the meaning of the natural width of an absorption line . the profiles of leaks for a given equivalent width @xmath2 have very large dispersions ; for example , for @xmath2=0.1 , the flux covers a range from @xmath78 to 0.15 , and @xmath3 can be 0.4 to 4 . as the leaks are formed out of the two neighboring complete absorption troughs , which depend on inhomogeneities of density , velocity , and temperature fields , the large scatter of the profiles is expected . figure 4 also shows that some leaks may have multiple local maximums above the noise level . for clarity and easy - operating , we treat them as one leak . the current observational resolution is of the order of 10km / s , which corresponds to @xmath79 in observer s frame , or about 13 pixels of simulation . therefore , the observed ly@xmath0 leaks would have a resolvable width . similar to ly@xmath0 forests , we can define the cumulative number densities @xmath80 and @xmath81 of leaks as the number of leaks with widths larger than a given @xmath2 and @xmath3 at @xmath27 per unit @xmath27 , respectively . the differential number densities are @xmath82 and @xmath83 . it should be pointed out that statistics of @xmath2 and @xmath84 are not the same as the largest peak width statistics proposed by gallerani et al . ( 2007 ) , which considered only the largest peak width . a peak may contains more than one leaks , i.e. leak statistics describe the details of the leaking area . the mean transmitted flux at @xmath27 within @xmath85 is @xmath86 . we calculate the number densities of leaks in redshift range @xmath87 . in each redshift region we produce 100 light - of - sight samples to calculate the density functions . the results are shown in figure 5 . the errors are estimated by jackknife method , i.e. , the variance over 5 subsamples , each of which contains 20 light - of - sight samples . the number density @xmath88 shown in the up - left panel of figure 5 are similar to a schechter function : they follow a power law at small @xmath2 and have a cut - off at large @xmath2 . the distribution of @xmath89 at @xmath90 declines with decreasing @xmath91 , this is because of the jeans length smoothing . the slope of @xmath88 and @xmath89 are smaller for small redshift . it means the lack of low density voids with small size . that is , the increase of voids of small size is less than voids of large size . this trend can also be seen from the flattening of the cumulative density distributions @xmath92 and @xmath80 . the redshift - evolution of the number densities @xmath80 and @xmath93 of leaks for @xmath2 , @xmath3 = 0.5 , 1.0 , and 3.0 are shown in figure [ zdis ] . as has been seen in figure [ ldis ] , the number densities dramatically decrease at higher redshifts . the evolution is more rapidly for large leaks : the number density @xmath94,@xmath95 drops by a factor of @xmath96 5 when redshift increasing from 5 to 5.8 , while @xmath97,@xmath98 drops by a factor of @xmath96 60 . the evolution trend is the same for the number density @xmath89 . from the error bars of figures [ ldis ] and [ zdis ] we see that the predicted features of leaks would be able used to compare with observed data set containing 20 or more light - of - sight samples with the similar quality as simulation . in this section , we study the observational and instrumental effects on the statistics of leaks . since both @xmath2 and @xmath3 are defined through the area under the profile of leaks , the effects of resolution and noise would be small . to simulate the observational effects , we bin the original data to a coarse grid corresponding to a resolution of 20000 , and we add gaussian noises with signal - to - noise ratio s / n=3 on binned pixels . the number densities of leaks for the noisy binned samples are shown in figures [ noise ] . the effect of binning and noise is very small for @xmath2 : the original plot of @xmath2 actually is the same as the plot of binned @xmath2 , and the distribution of noisy @xmath2 is affected only when @xmath99 . the effect of binning for @xmath91 is also small on scales larger than the binning length . as expected , the noise effects for @xmath91 are significant for @xmath100 . the noise effects for @xmath91 are even smaller if we smooth the noisy sample . this is very different from the pdf of the flux and the size of dark gaps , both of which are heavily contaminated by instrumental resolution and observational noises . one can compare the uncertainty of @xmath40 with the effect of noises . figures [ gamma ] shows the number densities for the uv background amplitude @xmath40 = 5 , 6 , and 7 ( eq.2 ) , which represent the allowed range of @xmath40 . different from noises , the difference of @xmath40 will cause uncertainty in the whole ranges of @xmath2 and @xmath3 . the uncertainties of number densities are within a factor of 2 when the amplitude @xmath40 changes from 7 to 5 . these uncertainties essentially are from the mass density perturbations with long wavelengths ( paper i ) . the error bars from the scattering of light - of - sight samples is also shown in figure [ gamma ] . therefore , the scattering of @xmath101 light - of - sight samples actually is less than the uncertainty of @xmath40 . in the early stage of reionization , ionizing photons are mainly in ionized patches around uv ionizing sources , and therefore , the spatial distribution of ionizing background is highly inhomogeneous and has patchy structures . when the ionized patches spread over the whole space , the ionizing background become uniform or quasi - uniform , and so the ionizing background underwent an inhomogeneous - to - uniform transition during the reionization . in this section we study the effects of inhomogeneous ionizing background on ly@xmath0 leak statistics . the first question is how to model the inhomogeneous spatial distribution of the ionizing photon field . to our problem , the most important property is the relation between the fields of mass density and ionizing photon background or photoionization rate . if the spatial fluctuation of photoionization rate @xmath102 is statistically uncorrelated with the density field @xmath103 , the reionization of igm will statistically be the same as a uniform ionizing background , regardless of the details of the fluctuation of @xmath102 . in this case , the only effect of the fluctuations would be to yield a larger variance in relevant statistics . however , as shown in last sections , the uncertainty of the leak statistics is already large even when the ionizing background is uniform , and therefore , one would not be able to distinguish the fluctuating photon field from inhomogeneous density field if they are uncorrelated . although many simulations on the uv photon field at the epoch of reionization have been done , there still lack the results of the correlation between photon and density fields . in this context , we will consider the following four models on the statistical relation between the inhomogeneous fields of photon and density , which are mainly based on physical consideration of different stage of reionization . _ model 0_. the photoionization rate is spatially uniform . it corresponds to the post - overlapping stage of reionization . this model has been used in last two sections . _ model i_. the photoionization rate at a give redshift is assumed to be proportional to the density field of igm , @xmath104 , @xmath105 being a constant . this model is motivated by the so - called inside - out scenario : high density regions around uv sources are ionized first , and is most probable at the early stage of reionization . _ model ii_. just opposite to model i , the photoionization rate at a give redshift is assumed to be inversely proportional to the density field of igm , @xmath106 , @xmath107 being a constant . this model comes from the so - called outside - in scenario : under - dense regions are ionized first ( miralda - escude et al . 2000 ) , which is applicable at the late stage of reionization ( furlanetto & oh 2005 ) . in order to fit the observed effective optical depth @xmath39 at redshift @xmath57 , we take the following parameters : @xmath108 , @xmath109 where @xmath40 is the photoionization rate at @xmath57 for uniform ionizing background [ eq.(2 ) ] . _ model iii or patch model_. this model corresponds to the stage before the overlapping of ionized patches . the igm is almost fully neutral except for some isolated ionizing patches . we model the ionized patch as a stromgren sphere : the neutral hydrogen fraction is equal to 0 within the patch and equal to 1 outside the patch . the mean radius of the stromgren sphere is assumed to be @xmath110 comoving mpc , which corresponding to an uv photon source with luminosity @xmath111 erg s@xmath34 with active time @xmath112 year and a @xmath113 spectrum . to fit the observed optical depth , we found there should be 2 patches every simulated box ( @xmath114 ) . this number is actually consistent with the following estimation @xmath115 where @xmath116 the comoving luminosity function , i.e. the 3-d number density of sources with luminosity @xmath117 . using @xmath118 mpc@xmath47 ( bouwens et al . 2006 ) , we have @xmath119 and @xmath120 . for the four models described in the last section , we recalculate the transmitted flux with the same underlying density and velocity fields of fig2 . the results are shown in figure 9 . as mentioned above , the mean of transmitted flux for all models takes approximately the same value of 0.004 , which corresponds to an effective optical depth @xmath121 . however , figure 9 shows clearly different behaviors of ly@xmath0 leaks in various models . for models i and ii , the leaks appear exactly at the same positions as model 0 except some small leaks , which are more prominent for model i. in other words , all the leaks of models 0 , i and ii are from lowest density voids . therefore , the three models have the same distribution of dark gaps , and it is impossible to discriminate among these models with the dark gap statistics . however , the profiles of the leaks of model 0 , i and ii are statistically different from each other . for model i , the leaks generally have larger width and lower height than model 0 , while for model ii , the width of leaks generally is narrower than model 0 , and the height of leaks is larger than model 0 . the reason is straightforward . comparing with model 0 , model i gives a higher @xmath36 at low density and lower @xmath36 at high density this leads to lower amplitude and broader width . for model ii , the effect is just opposite to model i and yields higher amplitude and narrower width . in the patch model , all the leaks come from ionized patches , within which ionizing sources are enclosed , and so the internal information of ionized patches can be inferred from the leak statistics . the size of dark gaps is actually given by the distance between ionized patches . generally , ly@xmath0 leaks in the patch model have a maximum flux @xmath122 , which is higher than the maximum flux of other models , 0.2 . this is because the neutral fraction within the stromgren sphere is much less that than other models . this behavior is similar to the so - called proximity effect of qsos at low redshift ( e.g. , rauch 1998 ) . thus , the statistics of the maximum flux of ly@xmath0 leaks may be used to reveal the patchy origin of ly@xmath0 leaks . as we sample the size of patches along the sight of light according to the impact probability , the size of patches is smaller than @xmath123 . if the size is too small , the ionized patch will be opaque to ly@xmath0 photons due to the damping wing of the surrounding neutral hydrogen absorption ( miralda - escude 1998 ) . obviously , it explains why only one leak is apparent in the patch model as displayed in figure 9 . we now calculate the number densities @xmath124 , @xmath80 , @xmath125 and @xmath126 for three inhomogeneous ionizing background models at @xmath57 , and the results are shown in figures 10 . we can see from figure 10 that the effects of different models on the number densities of @xmath2 and @xmath91 are different . that is , although all the models of 0 , i , ii and iii give the same mean effective optical depth , their leak distributions are different . for clarifying , in figures 10 we show only error bars for the curves of model 0 . it would be enough to show that these results can be tested with data set containing about 20 light - of - sight data . first , for model i , both of the number densities @xmath88 and @xmath80 have only small deviations from model 0 . however , @xmath125 are significantly different from their counterparts of model 0 . the number density of leaks with @xmath127 is much more than model 0 . the basic feature of model i is to increase the number of leaks with large @xmath3 as shown in figure 9 . second , for model ii , we see once again that the number densities @xmath88 and @xmath80 have only small deviations from model 0 . yet , the number densities @xmath89 and @xmath81 of the model ii are systematically lower than model 0 . therefore , the basic feature of model ii is to keep the total area under the profile of leaks almost unchanged , but the widths of leaks are significantly narrowed . finally , the behavior of patch model is very different from models 0 , i and ii . as expected , the patch model yields more leaks with large @xmath2 , and @xmath88 shows a bump around @xmath128 , which characterize the area of the ionized patches . on the other hand , the number densities of @xmath89 and @xmath81 are lower than model 0 because the characteristic size of ionized patches is less than that of low density voids . it is interesting to note that for the patch model , the tails of @xmath88 , @xmath80 and @xmath129 , @xmath126 are quite different from each other . generally , the tails of @xmath88 and @xmath80 can extend to as large as @xmath130 , while for @xmath125 and @xmath81 , there are no tails higher than 3 . it results partially from the damping wing effect ( miralda - escude 1998 ) . in summary , the statistical properties of leaks with respective to @xmath2 and @xmath91 are sensitive to the details of ionizing photon field . combining the distribution of @xmath2 and @xmath91 , the ly@xmath0 leaks would be able to probe the origin of themselves , and thus reveal the ionization state of igm , the inhomogeneity of ionizing background , and the evolution stage of reionization . it should be pointed out that we considered only the patches of the hi regions around high redshift galax ies . the hi regions around quasars or the proximity effect would also be the patches of leaking . the mean luminosity of quasars probably is higher than galaxies , and therefore , the above - mentioned feature of @xmath89 and @xmath81 would be more prominent for the patches of quasars . the damped ly@xmath0 absorption system is important for modeling low redshift ly@xmath0 absorption . since these systems have high column density of neutral hydrogen , it will not contribute to leaking either in density void models or patch model . we show that the ly@xmath0 absorption spectra of uv photon emitters at redshifts around @xmath131 can be decomposed into ly@xmath0 leaks , which come from either lowest density voids or ionized patches containing ionizing sources . the ly@xmath0 leaks are well defined and described by the equivalent width @xmath2 and the width of half area @xmath91 . since both @xmath2 and @xmath91 are defined through integrated quantities , the distributions of ly@xmath0 leaks in terms of @xmath2 and @xmath91 are stable with respect to observational noises and instrumental resolution . although the number densities @xmath88 , @xmath80 , @xmath125 , and @xmath81 evolve very rapidly at redshift @xmath5 , these statistics are measurable up to @xmath132 . if the ly@xmath0 leaks come from lowest density voids , the igm should be still highly ionized and the ionizing background is almost uniform ; in contrast , if the leaks come from isolated ionized patches , the ionizing background should be inhomogeneous , and the reionization is still in the overlapping stage . therefore , the origin of ly@xmath0 leaks is crucial to understand the history of reionization . we show that the statistics with @xmath2 and @xmath91 are sensitive to the origin of ly@xmath0 leaks , because the ly@xmath0 leaks are sensitive to the correlation between photon and density fields . based on physical consideration of reionization , we studied four phenomenological models of the photon field : the uniform ionizing background ( model 0 ) , the photoionization rate @xmath4 is proportional to the density @xmath12 ( model i ) , @xmath4 and @xmath12 are anti - correlated ( mode ii ) , and ionized regions only given by stromgren sphere around ionizing photo sources ( patch model ) . we found that , although all the four models can fit the observed mean and variance of optical depth at @xmath5 , the width distribution of ly@xmath0 leaks show very different behaviors . for model 0 , i , and ii , most of ly@xmath0 leaks are from lowest density voids , and the distribution of dark gaps are similar . however , the properties of individual ly@xmath0 leaks are different . model i gives broader width @xmath91 than model 0 ; model ii gives narrower width @xmath91 than model 0 . for patch model , the ly@xmath0 leaks are mainly from ionized sphere , and they generally have higher maximum of transmitted flux than other models . there is a bump in the distribution of the equivalent width @xmath2 , which characterize the intensity of uv photons within ionized patches . ly@xmath0 leaks from ionized patches will provide the information of ionized patches , such as their intensity and size , and constrain the properties of uv sources that contribute most of ionizing photons of the reionization . finally , we point out that similar analysis is also applicable to the reionization of heii . the optical depth of heii ly@xmath0 evolves rapidly at @xmath133 . it reaches @xmath134 at @xmath135 . that is , the evolution of heii reionization at @xmath135 would be similar to that of h at @xmath5 . observed sample of heii ly@xmath0 absorption indeed show structures similar to the leaks of hydrogen absorption spectrum ( zheng et al . one can also draw the information of background photons at the energy band of heii ionization . this work is supported in part by the us nsf under the grant ast-0507340 . llf acknowledges support from the national science foundation of china ( nsfc ) .	arxiv
We had already reported that Tamil Film Producers Council has called for a strike from today (July 27) opposing the sudden increase in the remuneration of FEFSI employees. Now Producers Council has also requested to stop all the ongoing work post-production of Tamil films. Sources say that nearly 35 Tamil films will be affected by the ongoing strike which will eventually have effect on technicians and FEFSI employees. Also, stopping the post-production work will delay the release of many films will lead to unnecessary clashes at the box office. Sources say that big films including Thoongaa Vanam, Thala 56, Vijay 59, '24' will be stopped from today which in turn will bring huge loss to producers. Also, the actors have to re-work their call sheet for various projects which is a tedious task.	slim_pajama
Q: How to write log to console and file on Node.JS? I want how to log both to file and console. This is my code snippet: I want to make it possible to both record to console and record to file. The code below works, but is there any way to do what I just mentioned? var fs = require("fs"); var Logger = (exports.Logger = {}); var infoStream = fs.createWriteStream("logs/info.txt"); var errorStream = fs.createWriteStream("logs/error.txt"); var debugStream = fs.createWriteStream("logs/debug.txt"); Logger.info = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; infoStream.write(message); }; Logger.debug = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; debugStream.write(message); }; Logger.error = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; errorStream.write(message); }; A: I would use winston. You can create different transports with different options. export const Logger = winston.createLogger({ transports: [ new winston.transports.Console({ silent: process.env.NODE_ENV == "test" }), new winston.transports.File({ filename: "log/error.log" }), ], }) For instance if you create a transport for debug/info/error and combine it with silent option so only the wanted files go to the log, there is also a level configuration key, but it will filter out the errors below that level.	slim_pajama
Dragon Age 1. Elainas Secret I don't own anything from bioware besides my character. After the celebrations and festivities winded down, there was quietness all across Denerim; now they were preparing for a Royal Wedding. Alistair was in his bed chambers pacing back and forth, wondering why Elaina was looking awfully pale lately. Then all of a sudden there was a knock on the door. "Come in" Alistair spoke, then by the quick turn of the doorknob in walks the chambermaid. Good Morning Ser how are you today? Oh I'm feeling great how's Elaina today is she is still pale looking! The chambermaid giggled and said well she has been rather in a glowing mood lately. Alistair looks at her puzzled, and the chambermaid said "oh ser it's an expression don't worry about it you will get it when the time comes". She quickly exited his bedchambers, and shut the door as she left; Alistair left and rushed right over to Elaina's bedchambers to see how his betrothed was doing. When he got there he heard some noises like vomiting and he walked right in and said so wedding jitters eh. Elaina looked up quickly and said oh yeah, and he said don't worry we will have a lovely life together. She said oh I have been waiting to marry you since the day I met you; he chuckles and said what does that mean. Elaina said the day we met in Ostagar; when I ran into you I said to myself I'm going to marry that handsome man. Alistair rubbed his hands through his hair, and red started to appear all over his face. Yeah well I couldn't help but stare at your bottom, through the whole trip through the Korcari Wilds. When I saw you tear into your first darkspawn, and the aftermath of you covered in blood with that seductive I'm going to kill you look. Well that's when I knew I either had to hold my composure or ravish you in front of Daveth or Jory. Elaina laughed yeah that would have been a sight; I could hear jory now is this part of our initiation too! Well from the looks that Daveth was giving you it looked like he was thinking the same thing I was HA HA. Elaina looked at Alistair and said; well I wouldn't have touched him at all; not even with a ten foot pole. Even if all the darkspawn killed the good looking men on earth; and he was left. Well anyways my dear, I came here to tell you something; I read into the taint thing; and realized that we could actually have children after all. Elaina was thinking to herself yeah well I think I found that one out on my own before you told me. Elaina looked at him and said well I am going to lie down for a bit, all this puking has gotten me rather parched. Alistair headed for the door, and as he opened the door he said by the way Teagan is coming today to talk about the wedding preparations. So I will come and wake you when he gets here, Elaina nodded and got into her bed. Soon as Alistair stepped out he saw wynne making her way to Elaina's room, he started to walk and soon as he passed he noticed a very odd look on wynne's face. He didn't think anything of it, and continued on his way. Just as Elaina was going to sleep she heard Wynne talking through the door, she said" Can I come in!" Elaina got up and said you can come in; Wynne came in and shut the door quick. Elaina was looking at her like she knew what she had been hiding for the past 2 months. So I see you are rather pale, and vomiting for the past month, when will you tell Alistair? Elaina said real quick how did you know? Oh I know wynne chuckles don't worry dear I won't say anything. But I would tell Alistair though; he is worried about the fact that you two might not be able to have children. Elaina looked at wynne and said go get Alistair NOW! I will tell him now Wynne looked at her and said I will go get him be right back. 2. Alistair a father As wynne walked down the hallway she saw Alistair stand there; talking to Arl Eamon Teagan will be here in the next few hours, he is preparing himself Oh ok! Alistair said So how is your betrothed Alistair? Elaina is sick she has been vomiting for the past 2 months, I think its wedding jitters. Arl Eamon had that look on his face when he heard, well I think its more than that as he laughed Oh Wynne is their something you need? Alistair I think you should come with me, Elaina needs to tell you something. Alistair with that puzzled look on his face he said Oh Ok, As Alistair walked away Eamon winked at wynne which meant he knows that Elaina is going to be changing his life for the better, and that he knew that she was with child. As Alistair, walked into the bedroom of Elaina's he noticed that she didn't have a very good look on her face. Elaina looked up and saw him and said Alistair I think you should sit down for what I'm about to tell you would probably need to sit. Alistair I don't have wedding jitters? Oh then what is it then, Well this may come a shock to you but, the reason why I have been vomiting for the last 2 months is because "sigh" I am going to have your child. Alistair looked with his eyes wide open, and he hopped up and took ahold of Elaina and said Really A baby, Oh my love I guess the taint didn't work on you fast enough, when did it happen when did you get pregnant. I have been pregnant a month after we consummated our love for each other in your tent. I didn't want to tell you cause you have enough on your mind, but Wynne didn't think it would matter. Alistair reached down cupped his hands around her head, and kissed her deeply. Oh maker this is wonderful news. I shall go tell Eamon right away. When Alistair closed the door to Elainas bed chamber he shouted" I'm going to be a father did you hear that everyone. Elaina and Wynne laughed, because of the joy that had overtooken Alistair; well my child what shall you name your child, after he /she is born. Elaina said Alistair jr. if a boy, and if it's a girl I was going to name if after a special friend. Oh who is that Wynne said? Elaina looked up and said You Wynne. Oh Elaina that would honor me so much, to have your child named after me. As Alistair got done telling the whole castle that he was going to be a father; he ran up to Elaina's room he stopped to knock. He heard her say come in so in he walked, after closing the door behind him. He had that look on his face like he got hit with the arm of a darkspawn. What is it my Love? Oh I'm just wondering what kind of father I will be! Elaina looked up at him and walked over to give him a hug. She said you will be a great father; and if I hear you say that one more time I will use you for target practice. He looked down , and lifted her face ; and said your desire is my command. End file.	fanfiction
What is the acid dissociation constant of cacodylic acid? What is the $\mathrm pK\_\mathrm a$ of cacodylic acid? I cann't seem to find one answer on the internet. I have read 1.67, 6.37, and 4.8 in my $\mathrm pK\_\mathrm a$ table. What is the reason for this? Also, the problem I just did had it as 0.34. Cacodylic acid is amphoteric, so it has a $K\_\mathrm a$ and $K\_\mathrm b$. See table 1 of [this EPA report on cacodylic acid](http://nepis.epa.gov/Exe/ZyNET.exe/910124WK.txt?ZyActionD=ZyDocument&Client=EPA&Index=Prior%20to%201976&Docs=&Query=&Time=&EndTime=&SearchMethod=1&TocRestrict=n&Toc=&TocEntry=&QField=&QFieldYear=&QFieldMonth=&QFieldDay=&UseQField=&IntQFieldOp=0&ExtQFieldOp=0&XmlQuery=&File=D%3A%5CZYFILES%5CINDEX%20DATA%5C70THRU75%5CTXT%5C00000018%5C910124WK.txt&User=ANONYMOUS&Password=anonymous&SortMethod=h%7C-&MaximumDocuments=1&FuzzyDegree=0&ImageQuality=r75g8/r75g8/x150y150g16/i425&Display=p%7Cf&DefSeekPage=x&SearchBack=ZyActionL&Back=ZyActionS&BackDesc=Results%20page&MaximumPages=1&ZyEntry=33) The $\mathrm pK\_\mathrm a$ is 6.2. The $\mathrm pK\_\mathrm b$ is 12.4, which corresponds to the $\mathrm pK\_\mathrm a$ of the conjugate acid being 1.6. Also, according to "Weed Control" by the US National Research Council at page 167: > > Cacodylic acid is normally monobasic, but in strong sodium hydroxide it forms the disodium salt, $\ce{(CH3)2AsO3HNa2}$, of a tribasic acid. Cacodylic acid is somewhat amphoteric, forming a hydrochloride $\ce{(CH3)2AsO2H.HCl}$ by direct action with hydrogen chloride gas. > > > Also, the value for the $\mathrm pK\_\mathrm a$ of the conjugate acid being 1.6 was confirmed by electrophorisis is [Arsoniumphospholipid in algae](http://www.pnas.org/content/75/9/4262.short) Proc. Natl. Acad. Sci. USA vol. 75 pages 4262–4264. I found this article (TW. Shin, K. Kim, IJ. Lee, J. Solution Chem. 1997, 26, 379. doi: [10.1007/BF02767677](https://doi.org/10.1007/BF02767677)) with precise analysis of the pKa of cacodylic acid - it says that in 25 °C it's estimated to be 6.27. Values lower than 6 are wrong, but found often. Sometimes it's said to be a diprotic (which it isn't) with first pKa 1.57 and second 6.27 - pubchem says 1.57 citing Lide, D.R. (ed.). CRC Handbook of Chemistry and Physics. 76th ed. Boca Raton, FL: CRC Press Inc., 1995-1996., p. 8-45 - it might be one of the sources of problem.	stackexchange/chemistry
The right hand rule confusion? [![he](https://i.stack.imgur.com/nkjJ2.png)](https://i.stack.imgur.com/nkjJ2.png) I have a question regarding this problem. By using the right hand rule, I thought the answer would be A, but the answer key says it's B. Doesn't the current come from the + side, so you wrap your fingers towards yourself(?) so that the thumb points to the left? Electric and magnetic fields are best understood using the terminology "electric field ${\bf E}$" and "magnetic field $\bf B$". In the case of a magnetic field this is better terminology than "lines of force" because the force produced by a magnetic field on a small object such as a current-carrying wire or a moving charge is perpendicular to the field not along it. And when a small magnet such as a compass is placed in a magnetic field, the effect of the magnetic field is to align the compass without producing any net force on it in any direction (it just produces a torque until the small magnet is aligned with the field). Therefore I will avoid the term "line of force" in my answer. I will call them "field lines" or "lines of magnetic field". In the case of a straight current-carrying wire, the magnetic field loops around the wire in a right-handed direction. That is, if you make your right thumb point along a current then the curled fingers of your right hand show the magnetic field direction. If you do this for each small section of a current-carrying loop, then you find that the field through the middle of the loop has to be in the direction given by your right thumb when your right hand fingers curl around the loop. The current in the circuit shown in the question goes from $+$ to $y$ to $x$ to $-$ so we deduce that the magnetic field lines (lines of $\bf B$) go from $y$ to $x$ inside the coil, and then loop around outside till they come back to $y$. The terminology "north pole, south pole" is also poor terminology because in fact there is no pole for the field ${\bf B}$, it goes in loops. But the convention is that the end where the field lines point away outside the magnet is the "north" so in this example $x$ is the north pole and $y$ the south pole. The question is referring to the lines of force outside the coil. The lines of force go from the north pole to the south pole outside the magnet. The direction is the opposite inside from south to north. Hence if you use the right hand rule correctly, you will see that the lines of force so from y to x outside the coil.	stackexchange/physics
let @xmath0 be a complex banach space . let @xmath4 be an operator in the banach algebra @xmath7 and denote by @xmath8 the discrete semigroup given by @xmath9 for @xmath10 . the cesro sum of order @xmath11 of @xmath4 , @xmath12 , is defined by @xmath13 where @xmath14 is the cesro kernel . it is well known that cesro sums is an important concept that appears in several contexts and ways in the literature . for instance , in zygmund s book , it appeared in connection with summability of fourier series ( * ? ? ? * chapter iii , section 3.11 ) and in @xcite in relation with weighted norm inequalities for jacobi polynomials and series . see also @xcite and @xcite . the starting point for our investigation is this definition of fractional sum of the discrete semigroup @xmath8 . certain fractional sums have been used in recent years to develop a theory of fractional differences with interesting applications to boundary value problems and concrete models coming from biological issues , see for example @xcite and @xcite . note that this definition coincides or is connected with other fractional sums of the discrete semigroup @xmath8 on the set @xmath15 see ( * ? ? ? * section 1 ) or ( * ? ? ? * theorem 2.5 ) . consider @xmath16 a positive weight sequence and the banach algebra @xmath17 ( endowed with their natural convolution product ) . suppose @xmath18 it is well known and easy to show that the semigroup @xmath8 induces an algebra homomorphism @xmath19 defined by @xmath20 note that in the case that @xmath4 is a power bounded operator , i.e. , @xmath21 , then @xmath22 . moreover , this homomorphism is a natural extension of the @xmath23-transform , see for example @xcite and references therein . in general , algebra homomorphisms are useful tools to treat different interesting aspects of operator theory : algebra relations , sharp norm estimations , subordination operators , or ergodic behaviour ( as katznelson - tzafriri theorems , see @xcite ) . as mentioned before , it is remarkable that cesro sums have appeared in the literature since some time ago but until now there was not noted their relationship with the theory of fractional sums and their algebraic structure . the first main purpose of this paper is to show how this connection provide new insight on properties and characterizations of cesro sums , notably concerning their interplay with algebra homomorphisms . cesro sums are also a basic tool to define @xmath3-bounded operators , a natural extension of power - bounded operators . we recall that a bounded operator @xmath24 is @xmath5-bounded @xmath25 if @xmath26 see @xcite for examples and properties of @xmath5-bounded operators . note that if @xmath4 is power bounded , then @xmath4 is a @xmath3-bounded operator for every @xmath11 . however , there are operators that does not satisfy the power - boundedness condition , but @xmath27 as the well - known assani example shows @xmath28 see ( * ? ? ? * section 4.7 ) ; recently other examples are appeared in @xcite . the following natural question then arises : @xmath29 can @xmath4 induce an algebra homomorphism from a proper subalgebra @xmath30 to @xmath7 such that cesro sums are kernels of this homomorphism ? . the second purpose of this paper is to show that , surprisingly , the answer to @xmath29 is positive for every bounded operator such that their cesro sums are properly bounded ( which includes @xmath3-bounded operators ) . more precisely , we construct appropriate subalgebra @xmath31 and then we prove that the following assertions are equivalent : * @xmath4 is @xmath3-bounded operator . * there exists a bounded algebra homomorphism @xmath32 such that @xmath33 in the limit case , the following assertions are equivalent : * @xmath4 is power bounded . * there exists a bounded algebra homomorphism @xmath34 such that @xmath35 * for any @xmath36 , there exist bounded algebra homomorphisms @xmath37 such that @xmath38 and @xmath39 this paper is organized as follows : in order to construct a suitable banach algebra and the corresponding homomorphism , we introduce in section 2 the notion of @xmath6-th fractional weyl sum as follows : @xmath40 see definition [ weyldifference ] below . we state their main algebraic properties in proposition [ weylsumprop ] . then , we introduce banach algebras @xmath41 as the completion of the space of sequences @xmath42 under the norm @xmath43 ( theorem [ th3.1 ] ) . the weighted sequences @xmath44 need to verify some summability conditions ( definition [ condi ] ) to prove that the space @xmath41 is a banach algebra . it is remarkable that such banach algebras extends those defined for @xmath45 and @xmath46 in ( * ? ? ? * section 4 ) . there they are considered to study subalgebras of analytic functions on the unit disc contained in the koremblyum and ( analytic ) wiener algebra . section 3 contains an interesting characterization for the cesro sum of powers of a given @xmath5-bounded operator @xmath2 solely in terms of certain functional equation ( theorem [ theoremecfunc ] ) . the obtained characterization corresponds to an extension of the well known functional equation for the corresponding discrete semigroup @xmath47 namely @xmath48 theorem [ homomorphism ] gives a complete answer to question @xmath29 by defining a bounded algebra homomorphism @xmath49 given explicitly by @xmath50 this homomorphism enjoys remarkable properties . the existence of bounded homomorphisms in these new banach algebras completely characterizes the growth of cesro sums in corollary [ reci ] ; in particular bounded homomorphisms from algebras @xmath51 characterizes @xmath5-boundedness ( corollary [ cor5.7 ] ) . such connection seems to be new in the current literature as well as the functional equation found in the beginning of this section . the @xmath23-transform technique may be traced back to de moivre around the year 1730 . in fact , de moivre introduced the more general concept of `` generating functions '' to probability theory . it is interesting compare the @xmath23-transform ( discrete case ) versus laplace transform ( continuous case ) , see for example ( * ? ? ? * section 6.7 ) . in section 4 , we use the widder space @xmath52 where @xmath53 is borel measure on @xmath54 , introduced in @xcite , to give a new characterization of summable vector - valued sequences in in terms of @xmath23-transform in theorem [ widder ] . we complete the approach given in section 3 involving the @xmath23-transform and resolvent operators in theorem [ th5.5 ] . finally , in section 5 we present several applications , counterexamples and final comments on this paper . a straightforward application is to obtain the abel means by subordination to the cesro sums , as theorem [ abels ] shows . this point of view allows to improve some previous results given in @xcite . some results presented in this paper are inspired in similar ones obtained for @xmath6-times integrated semigroups , see @xcite . in section 5.2 , we show a natural connection between both operator theories . in section 5.3 , we present some counterexamples of algebra homomorphisms defined from some banach algebras which can not be extended to some larger algebras . a future research line , the extension of celebrated katznelson - tzafriri to @xmath3-bounded operators , is commented in section 5.4 . * notation . * we denote by @xmath55 the set of canonical sequences given by @xmath56 where @xmath57 is the known kronecker delta , i.e. , @xmath58 is @xmath59 and @xmath60 in other case . let @xmath0 be a banach space and @xmath61 the set of vector - valued sequences such that @xmath62 for @xmath63 ; and @xmath64 the set of vector - valued sequences with finite support . when @xmath65 we write @xmath66 and @xmath42 respectively . it is well known that @xmath67 is a banach algebra with the usual ( commutative and associative ) convolution product @xmath68 consider @xmath16 a positive sequence , and @xmath17 is the banach spaced formed by complex sequences @xmath69 such that @xmath70 . we write @xmath71 for @xmath72 , @xmath73 and @xmath74 in particular @xmath75 for @xmath10 . throughout the paper , we use the variable constant convention , in which @xmath76 denotes a constant which may not be the same from line to line . the constant is frequently written with subindexes to emphasize that it depends on some parameters . in this section , we define certain spaces of sequences that corresponds to an extension in two different directions of those considered in the recent paper ( * ? ? ? * definition 4.2 ) . we consider a positive order of regularity in weyl differences ( definition [ weyldifference ] ) and different order of growth of weyl differences ( definition [ condi ] ) . these spaces correspond to banach subalgebras of the space @xmath67 and are important to obtain a further characterization via homomorphisms for cesro sums in the next section . we consider the usual difference operator @xmath77 for @xmath78 its powers @xmath79 for @xmath80 and we write by @xmath81 and @xmath82 . it is easy to see that @xmath83 see for example ( * ? ? ? * ( 2.1.1 ) ) and then @xmath84 for @xmath85 . in addition , for @xmath86 we consider the well - known scalar sequence @xmath87 defined by @xmath88 in the classical zygmund s monographic , the numbers @xmath89 are called as cesro numbers of order @xmath6 ( ( * ? ? ? i , p.77 ) ) and written by @xmath90 . however the notation as function @xmath91 will facilitate the understanding of this paper . kernels @xmath92 may equivalently be defined by means of the generating function : @xmath93 and satisfies the semigroup property , that is , @xmath94 for @xmath95 . furthermore , the following equality holds : for @xmath11 , @xmath96 ( ( * ? ? ? i , p.77 ( 1.18 ) ) ) and @xmath91 is increasing ( as a function of @xmath97 ) for @xmath98 , decreasing for @xmath99 and @xmath100 for @xmath101 ( ( * ? ? ? * theorem iii.1.17 ) ) . it is straightforward to check that @xmath102 for @xmath103 and @xmath10 . the gautschi inequality states that @xmath104 ( @xcite ) , which implies that @xmath105 note that when @xmath106 we have @xmath107 [ duplicacion ] for @xmath108 , there exists @xmath109 such that @xmath110 in particular for @xmath36 , the following equality holds @xmath111 the proof of the first inequality is straightforward by the inequality ( [ double ] ) . to show the second inequality , we use the know doubling equality for gamma function @xmath112 to obtain that @xmath113 we apply the gautschi inequality ( [ gau ] ) to get that @xmath114 for @xmath36 and we conclude that @xmath115 for @xmath116 and @xmath36 . the cesro sum of order @xmath6 of @xmath117 is defined by @xmath118 again we prefer to follow the notation @xmath119 instead of @xmath120 used in @xcite . note that @xmath121 and then @xmath122 for @xmath95 , for more details see again ( * ? ? ? i , p.76 - 77 ) . note also that @xmath123 with @xmath11 and @xmath124 . we write @xmath125 , @xmath126 for @xmath127 . the operator @xmath128 has inverse in @xmath129 @xmath130 and its iterations are given by the sum @xmath131 for each scalar - valued sequence @xmath117 such that @xmath132 , see for example @xcite . these facts and the clear connection with the weyl fractional calculus motivates the following definition . [ weyldifference]let @xmath133 and @xmath11 be given . the weyl sum of order @xmath6 of @xmath117 , @xmath134 , is defined by @xmath135 whenever the right hand side makes sense . the weyl difference of order @xmath6 of @xmath117 , @xmath136 , is defined by @xmath137 for @xmath138 + 1,$ ] whenever the right hand side makes sense . in particular @xmath139 for @xmath140 . observe that if @xmath141 the weyl difference of order @xmath6 coincides with the definition given in ( * ? ? ? * section 4 ) . some general properties are shown in the following proposition . [ weylsumprop ] let @xmath142 the following assertions hold : * for @xmath143 @xmath144 * for @xmath108 and @xmath145 , we have @xmath146 * for @xmath86 @xmath147 * for @xmath108 and @xmath145 , we have @xmath148 * [ sempro ] for all @xmath149 we have @xmath150 \(i ) it is clear using the fubini theorem and the semigroup property @xmath151 for @xmath95 . ( ii ) it is sufficient to apply that @xmath117 has finite support and @xmath152 for @xmath153 . ( iii ) we write @xmath138 + 1.$ ] applying part ( i ) , for @xmath154 we have that @xmath155 since @xmath156 is the inverse of @xmath157 in @xmath158 see ( * ? ? ? * section 4 ) . on the other hand , @xmath159 where we use part ( i).(iv ) it is sufficient to apply that @xmath117 has finite support and @xmath160 for @xmath161 ( v ) it is simple to check using the previous results . [ ex2.3 ] * let @xmath162 and @xmath163 for @xmath164 an easy computation shows that the sequence @xmath165 is a pseudo - resolvent , that is , it satisfies the hilbert equation @xmath166 moreover , the following identity holds @xmath167 we claim that the functions @xmath165 are eigenfunctions for the operator @xmath168 for @xmath169 and @xmath170 : we have , by , that @xmath171 by proposition [ weylsumprop ] ( iii ) , we obtain that @xmath172 * let @xmath173 and @xmath145 be given . we define @xmath174functions @xmath175 are denoted by @xmath176 for @xmath177 in ( * ? ? ? * section 4 ) . note that @xmath178 for @xmath10 , in fact , @xmath179 , @xmath180 , @xmath181 , @xmath182 and @xmath183 + then for all @xmath184 it is easy to check that @xmath185 , i.e. , @xmath186 using proposition [ weylsumprop ] ( iii ) , we obtain that @xmath187 for @xmath188 and @xmath164 the following remark shows an interesting duality between the operator @xmath189 and @xmath190 similar results may be found in ( * ? ? ? * section 4 ) and ( * ? ? ? * theorem 4.1 and 4.4 ) . [ duality]let @xmath191 , we consider the usual duality product @xmath192 given by @xmath193 by fubini theorem , we get that @xmath194 and consequently , @xmath195 the next lemma includes a equality which is a important tool for further developments in this paper . the proof runs parallel to the proof of the integer case given in ( * ? ? ? * lemma 4.4 ) and we do not include here . [ lemmatech ] let @xmath191 and @xmath196 then @xmath197 following definitions are inspired in ( * ? ? ? * definition 1.3 ) . [ condi ] let @xmath108 . we say that a positive sequence @xmath44 belongs to the class @xmath198 , if there is a constant @xmath199 such that @xmath200 moreover , we denote by @xmath201 the set of nondecreasing sequences @xmath202 which are of exponential type and satisfy @xmath203 example of sequences in @xmath204 are the following ones : * any nondecreasing sequence @xmath44 satisfying @xmath205 for some @xmath206 and for each @xmath207 ( in particular @xmath208 with @xmath209 and @xmath210 and @xmath211 with @xmath212 ) . * @xmath213 , where @xmath214 is a nondecreasing weight , i.e. , @xmath215 for @xmath216 . * @xmath217 for @xmath218 . by the equivalence @xmath219 , see formula ( [ double ] ) , equivalent examples may be given in terms of @xmath220 . the particular case @xmath221 will play a fundamental role in this paper , and the condition ( [ inte ] ) is improved . for @xmath222 , the following inequality holds @xmath223 for @xmath224 , and @xmath108 , we have that @xmath225 as @xmath226 is an increasing sequence , we have @xmath227 for @xmath228 and we apply the lemma [ duplicacion ] to conclude the proof . [ pieces ] take @xmath229 and @xmath230 . * then @xmath231 and @xmath232 . * @xmath233 for @xmath234 . * @xmath235 for @xmath116 and some @xmath236 . * @xmath237 for @xmath10 and @xmath238 . * @xmath239 for some @xmath240 independent of @xmath241 . * @xmath242 if and only if @xmath243 . \(i ) since @xmath244 for @xmath245 , then @xmath231 and @xmath232 for @xmath246 . ( ii ) it is enough to take @xmath247 in to obtain the inequality . ( iii ) by part ( ii ) , we have that @xmath248 and we get the first inequality . for @xmath241 , we apply the inequality @xmath249 times to obtain that @xmath250 ( iv ) we combine parts ( ii ) , ( iii ) and the semigroup property of kernels @xmath91 to conclude that @xmath251 for some @xmath252 . ( v ) take @xmath253 and @xmath254 in to get @xmath255 ( vi ) if @xmath242 then we apply and part ( ii ) to get @xmath256 and we conclude that @xmath257 . note that @xmath258 and then @xmath242 for @xmath259 for part ( i ) and we conclude the proof . for @xmath196 and @xmath230 , we define the application @xmath260 given by @xmath261 note that for @xmath106 the above application corresponds to the usual norm in @xmath262 . in the case @xmath263 , we write @xmath264 instead of @xmath265 and @xmath266 for @xmath267 . by , the norm @xmath268 is equivalent to the norm @xmath269 given by @xmath270 this expression was considered for the case @xmath271 in ( * ? ? ? * definition 4.2 ) . part of the following result extends ( * ? ? ? * theorem 4.5 ) and the proof is similar to the proof of ( * ? ? ? * proposition 1.4 ) . we include the proof to give a complete view of this result . [ th3.1 ] let @xmath272 and @xmath230 . the application @xmath273 defines a norm in @xmath42 and @xmath274 with @xmath275 independent of @xmath117 and @xmath276 we denote by @xmath41 the banach algebra obtained as the completion of @xmath42 in the norm @xmath277 in the case that @xmath278 then * the operator @xmath279 is linear and bounded on @xmath41 , @xmath280 . * @xmath281 and @xmath282 , for @xmath283 . * for @xmath284 , @xmath285 . * for @xmath286 , @xmath287 it is clear that @xmath268 is a norm in @xmath288 now , applying lemma [ lemmatech ] we have @xmath289 where we use fubini s theorem twice and the inequality ( [ inte ] ) to show the first inequality . now take @xmath290 . ( i ) it is clear that @xmath279 is a linear operator and @xmath291 for @xmath292 . ( ii ) it is clear that @xmath293 by the monotone convergence theorem and proposition [ weylsumprop ] ( ii ) , @xmath294 ( iii ) let @xmath295 and @xmath296 , then @xmath297 where we have applied proposition [ weylsumprop ] ( v ) and the semigroup property of @xmath298 ( iv ) this inequality follows from lemma ( 2.8 ) . [ normequiv ] note that sequence @xmath299 with @xmath230 : by example [ ex2.3 ] ( ii ) , @xmath300 for @xmath10 . then the series @xmath301 converges on @xmath41 for every @xmath302 . by proposition [ pieces ] ( iii ) @xmath303 wherever @xmath91 or @xmath44 is non - decreasing functions , i.e. , for @xmath304 or @xmath278 for example . and then @xmath305 on @xmath41 . take @xmath278 such that @xmath306 for @xmath307 . then @xmath308 for @xmath309 , where sequences @xmath310 are defined in example [ ex2.3 ] ( i ) , and @xmath311 in the particular case @xmath312 , then @xmath313 for @xmath314 and @xmath315 @xmath316 where we have applied example [ ex2.3 ] ( i ) and the formula . in this section we present our main results . the algebra structure of cesro sums are presented in several ways : functional equation ( theorem [ theoremecfunc ] ) , algebra homomorphism ( theorem [ homomorphism ] ) and resolvent operators ( theorem [ th5.5 ] ) . note that these approach in fact characterizes the growth of cesro sums , as corollary [ reci ] and corollary [ cor5.7 ] for @xmath3-bounded operators show . we recall the following definition . [ cesarosum]given a bounded operator @xmath24 , the cesro sum of order @xmath11 of @xmath4 , @xmath317 , is defined by @xmath318 note that we keep the notation @xmath319 for @xmath10 . [ canoni ] the canonical example of a family of cesro sum of order @xmath6 in banach algebras @xmath41 ( in particular in @xmath67 ) is the family @xmath320 given in example [ ex2.3](ii ) . note that @xmath299 with @xmath230 , see example [ normequiv ] . we write @xmath321 to get @xmath322 for @xmath10 by equation ( [ cesarocano ] ) . the following theorem characterizes sequences of operators which are cesro sums of some order @xmath11 and a fixed operator @xmath4 . [ theoremecfunc ] let @xmath108 and @xmath323 . then the following assertions are equivalent . * @xmath324 for @xmath10 . * @xmath325 and the following functional equation holds : @xmath326 assume ( i ) . it is clear @xmath325 and we claim the identity . take @xmath327 then @xmath328 observe that @xmath329 and the equality is proven . conversely , assume ( ii ) . define @xmath330 and @xmath331 it is clear that @xmath332 and @xmath333 inductively , we suppose that @xmath334 then using that @xmath335 satisfies , we have that @xmath336 then we conclude that @xmath337 and consequently @xmath338 for all @xmath339 [ generador]given @xmath340 a sequence of bounded operators which verify the equality ( [ eq4.2 ] ) . then the operator defined by @xmath341 is called the generator of @xmath342 by theorem [ theoremecfunc ] , @xmath338 where @xmath343 for @xmath10 . in particular , note that @xmath344 satisfies in @xmath345 see example [ canoni ] , and the generator is the element @xmath346 . the following is one of the main results of this paper . [ homomorphism ] let @xmath272 and @xmath24 such that @xmath347 for @xmath10 with @xmath202 and @xmath240 . then there exists a bounded algebra homomorphism @xmath49 given by @xmath348 furthermore , the following identities hold . * for @xmath245 , @xmath349 , in particular @xmath350 and @xmath351 . * for @xmath302 such that @xmath352 and @xmath353 , @xmath354 * in the case that @xmath355 , for @xmath284 and @xmath356 , then @xmath357 and @xmath358 * if @xmath359 for some @xmath236 , then @xmath360 for @xmath361 in particular @xmath362 for @xmath363 . note that the map @xmath364 is well - defined , lineal and continuous , @xmath365 for @xmath302 and @xmath366 to see that @xmath364 is algebra homomorphism is sufficient to prove that @xmath367 for @xmath368 by lemma [ lemmatech ] , we get that@xmath369 we apply fubini theorem to get that @xmath370 where we have used the identity ( [ eq4.2 ] ) . \(i ) note that @xmath371 , see example [ ex2.3 ] ( ii ) , and then @xmath349 for @xmath10 . as @xmath372 and @xmath373 , it is clear that @xmath374 and @xmath375 . ( ii ) now , for @xmath376 such that @xmath377 and @xmath353 , we have that @xmath378 where we have applied that @xmath379 and @xmath380 for @xmath381 ( iii ) suppose that @xmath355 , with @xmath284 and @xmath356 , then it is straightforward to check that @xmath357 and @xmath382 where we have applied proposition [ sempro ] ( v ) and remark [ duality ] . ( iv ) now take @xmath236 such that @xmath359 and then @xmath383 . for @xmath361 we apply remark [ duality ] to get @xmath384 in particular @xmath385 for @xmath309 and @xmath386 for @xmath353 . [ reci ] let @xmath11 , @xmath290 and @xmath387 be an algebra homomorphism . then there exists @xmath388 such that @xmath389 in particular @xmath390 for @xmath10 and @xmath391 for @xmath392 take @xmath393 . note that @xmath373 , see example [ ex2.3 ] ( ii ) , and @xmath322 for @xmath10 where @xmath321 , see example [ canoni ] . by example [ normequiv ] , @xmath394 for @xmath395 , we apply the continuity of @xmath364 to get @xmath396 for @xmath353 . by theorem [ homomorphism ] ( iv ) , we conclude the proof . by theorem [ homomorphism ] and corollary [ reci ] , we obtain the following characterizations of @xmath3-bounded and power - bounded operators . [ cor5.7 ] let @xmath24 and @xmath397 be given . the following assertions are equivalent : * @xmath4 is @xmath3-bounded operator . * there exists a bounded algebra homomorphism @xmath32 such that @xmath33 in the limit case , the following assertions are equivalent : * @xmath4 is power bounded . * there exists a bounded algebra homomorphism @xmath34 such that @xmath35 * for any @xmath36 , there exist bounded algebra homomorphisms @xmath37 such that @xmath38 and @xmath39 due to previous results , we only have to check that ( c ) implies ( b ) . since the map @xmath398 is an algebra homomorphism then @xmath399 , @xmath400 is well defined for @xmath283 and is independent of @xmath6 . take @xmath240 such that @xmath401 . we define @xmath402 for @xmath403 and some given @xmath404 . then @xmath405 for @xmath406 by theorem [ th3.1 ] ( ii ) , we get that @xmath407 for @xmath283 and we conclude the result by density . let @xmath408 be a scalar sequence on a banach space @xmath0 . we also recall that the @xmath23-transform of a given sequence @xmath409 is defined by @xmath410 for all @xmath411 such that this series converges . the set of numbers @xmath411 in the complex plane for which series converges is called the region of convergence of @xmath412 . the uniqueness of the inverse @xmath23-transform may be established as follows : suppose that there are two sequences @xmath117 , and @xmath413 with the same @xmath23-transform , that is , @xmath414 it follows from laurent s theorem that @xmath415 for @xmath10 . let @xmath416 be a sequence such that @xmath417 for some @xmath240 and @xmath418 . to follow the notation given in @xcite , we write @xmath419 and @xmath420 is a bound for the counting measure supported on @xmath421 , i.e. , @xmath422 for @xmath423 where @xmath424 and @xmath10 . let @xmath425 be the space of @xmath0-valued functions on @xmath426 infinitely differentiable in the norm topology of @xmath0 . for @xmath427 , set @xmath428 where @xmath429 for @xmath10 and @xmath423 . the widder space @xmath430 is defined by @xmath431 endowed with the norm @xmath432 , the space @xmath433 is a banach space , see more details in ( * ? ? ? * section 1 ) . a direct consequence of ( * ? * theorem 1.2 ) is the following result . [ widder ] let @xmath416 be a sequence such that @xmath417 for some @xmath240 and @xmath418 . take now @xmath408 a vector - valued sequence . then the following assertions are equivalent . * @xmath434 * there exists @xmath435 such that @xmath436 for @xmath437 . * @xmath438 to show that ( i ) implies ( ii ) , we define @xmath439 for @xmath440 . now consider the part ( ii ) . we define @xmath441 for @xmath10 . it is clear that @xmath442 and @xmath443 where we conclude that @xmath444 for @xmath10 and part ( i ) is proved . now take again part ( ii ) . due to ( * ? ? ? * theorem 1.2 ) , @xmath445 and we conclude the part ( iii ) . finally suppose that @xmath438 again by ( * ? ? ? * theorem 1.2 ) , there exists a bounded homomorphism @xmath435 such that @xmath446 for @xmath447 . since @xmath448 , we conclude that @xmath436 for @xmath437 . note that theorem [ widder ] is closely connected to ( * ? ? ? * theorem 4.2 ) , where the banach space @xmath0 has the radon - nikodym property , rnp , to may identity the widder space @xmath52 and @xmath449 . the rnp is a well - known property in the theory of function spaces . this property passes to closed subspaces ( hereditary property ) and is enjoyed by any reflexive space , any separable dual space , and any @xmath450 space , where @xmath451 is a set , see definitions and more details in ( * ? ? ? * section 1.2 ) . in the well - known scalar version , @xmath65 , the following @xmath23-transforms are obtained directly : @xmath452 it is also well - known that @xmath453 wherever these @xmath23-transforms converge on @xmath454 , see these results and many other properties of the @xmath23-transform in , for example ( * ? ? ? * chapter 6 ) . in particular , given @xmath11 and @xmath408 such that @xmath455 converges for @xmath456 , then @xmath457 we denote by @xmath458 for all @xmath459 next technical lemma for the @xmath23-transform is applied in theorem [ th5.5 ] . similar results hold for the laplace transform , see for example ( * ? ? ? * proposition 4.1 ) . [ rt ] let @xmath0 be a banach space , @xmath69 a scalar sequence and @xmath460 a vector - operator valued sequence . then @xmath461 for @xmath462 sufficiently large where the double @xmath23-transform converge and @xmath353 . to show the first equality , note that , @xmath463 for @xmath353 and @xmath464 . then we get that @xmath465 where we have applied the equality ( [ convo ] ) . finally , as @xmath466 we conclude that @xmath467 for @xmath462 sufficiently large and @xmath353 . following these ideas , the second equality is also shown . [ th5.5 ] let @xmath173 , @xmath0 a banach space , @xmath468 such that @xmath469 , @xmath470 ( @xmath471 and @xmath307 ) for all @xmath145 with @xmath472 . the following statements are equivalent : * the operator - valued sequence @xmath473 satisfies the equation . * there exists a bounded algebra homomorphism @xmath474 such that @xmath475 for @xmath10 . * the family @xmath476 defined by @xmath477 is a pseudo - resolvent . in these cases the generator of @xmath473 , defined by @xmath341 in remark [ generador ] , satisfies that @xmath324 for @xmath10 , @xmath351 , @xmath478 and @xmath479 the proof ( i)@xmath480(ii ) is a direct consequence of theorem [ theoremecfunc ] and theorem [ homomorphism ] . to show that ( ii)@xmath480(iii ) , we use that corollary [ reci ] . finally we prove ( iii)@xmath480(i ) . it is clear that @xmath481 where @xmath482 and @xmath483 is given by ( [ zeta ] ) . since @xmath476 is a pseudo - resolvent , then @xmath484 so @xmath485 on the other hand , note that the condition ( [ eq4.2 ] ) is expressed by @xmath486 for @xmath487 and @xmath488 we apply lemma [ rt ] and do some simple operations to get that @xmath489 for @xmath490 and @xmath491 . then we conclude that @xmath473 satisfies , as consequence of the injectivity of the double @xmath23-transform . finally , by corollary [ reci ] @xmath492 and we finish the proof . in this last section , we present some applications , comments , examples and counterexamples of some results presented in this paper . given @xmath388 and @xmath493 the abel mean of order @xmath494 of operator @xmath4 , @xmath495 is defined by @xmath496 when this series converges for some @xmath497 , see for example @xcite . note that for @xmath498 then @xmath499 and @xmath500 where @xmath501 denotes the spectral radius of @xmath502 in the case that @xmath507 for @xmath241 and @xmath508 , there exists a bounded algebra homomorphism @xmath517 by theorem [ homomorphism ] . note that @xmath518 and @xmath519 for @xmath520 by formula ( [ normass ] ) , we obtain that @xmath521 and we conclude the proof . if we consider @xmath522 with @xmath523 using that @xmath524 which follows easily from , we get that @xmath525 which improves the bound of ( * ? ? ? * proposition 2.1 ( i ) ( 2.3 ) ) . use similar arguments to improve the bound of ( * ? ? ? * proposition 2.1 ( i ) ( 2.4 ) ) . an inverse result exists on banach lattices , see ( * ? ? ? * corollary 3.2 ) , which proves that for any @xmath526 and a positive bounded operator @xmath527 @xmath528 is bounded if only if @xmath529 @xmath164 in particular , @xmath4 is abel - mean bounded if only if is @xmath530-bounded . note that there are examples of positive @xmath530-bounded operators in banach lattices which are not power bounded , see remarks following ( * ? ? ? * corollary 3.2 ) . now , let @xmath531 be a closed linear operator on @xmath532 @xmath272 and @xmath533 an @xmath6-times integrated semigroup generated by @xmath531 , that is , @xmath534 , the map @xmath535 , @xmath536 is strongly continuous and @xmath537 for @xmath538 ; for @xmath539 @xmath540 is an usual @xmath541-semigroup , @xmath542 and @xmath543 for @xmath544 . in the case that @xmath545 is a non - degenerate family and @xmath546 for @xmath240 , @xmath547 , then there exists a closed operator , @xmath548 , called the generator of @xmath545 , such that @xmath549 moreover the following integral equality holds @xmath550 [ resolventinte]suppose that @xmath545 is an @xmath6-times integrated semigroup generated by @xmath548 such that @xmath546 with @xmath551 . then @xmath552 , @xmath553 , @xmath554 and @xmath555 in particular if @xmath545 has temperated growth , i.e. @xmath556 for @xmath557 , then @xmath558 is a @xmath3-bounded operator . take @xmath559 such that @xmath560 and then @xmath561 in other hand , for @xmath562 such that @xmath563 , we apply formula ( [ resolvent ] ) to get that @xmath564 finally we take @xmath565 and write @xmath553 , @xmath554 to conclude the first equality for @xmath10 . now for @xmath241 , we have that @xmath566 where we have apply the equality ( [ integral ] ) . classical examples of generators of temperated @xmath6-times integrated semigroup are differential operators @xmath531 such that their symbol @xmath569 is of the form @xmath570 where @xmath571 is a real elliptic homogeneous polynomial on @xmath572 or @xmath573 is a real homogeneous function on @xmath572 such that if @xmath574 then @xmath575 see ( * ? ? ? * theorem 4.2 ) , and other different examples in ( * ? ? ? * section 6 ) . in the case of uniformly bounded @xmath541-semigroups , i.e. @xmath576 such that @xmath577 , the resolvent @xmath578 is power - bounded due to @xmath579 note that theorem [ resolventinte ] includes a natural extension of this fact : the resolvent @xmath578 is a @xmath3-bounded operator when @xmath531 generates a temperated @xmath6-times integrated semigroup . in ( * ? * section 2 ) there is an example of a positive , cesro bounded but not power bounded operator @xmath4 on the space @xmath67 . as the author comments in ( * ? ? ? * section 4 . examples ) , @xmath581 where @xmath582 is the uniform bound of the cesro averages of @xmath4 . in this example @xmath4 is also a contraction in @xmath583 . in ( * section ( vi ) ) , it is proven that @xmath584 for any @xmath585 and @xmath586 . we conclude that @xmath4 is not power bounded in @xmath66 @xmath587 and @xmath4 is a cesro bounded in @xmath66 @xmath588 . by corollary [ cor5.7 ] , there exists a bounded homomorphism @xmath589 such that @xmath351 and extends to @xmath590 if and only @xmath591 . in @xcite , a simple matrix construction , which unifies different approaches to the ritt condition and ergodicity of matrix semigroups , is studied in detail . consider the banach space @xmath592 with norm @xmath593 let the bounded linear operator @xmath594 on @xmath595 be defined by the operator matrix @xmath596 where @xmath388 . in ( * ? ? ? * lemma 2.1 ) , some connected properties between @xmath4 and @xmath594 are given . now we consider as @xmath597 and the backward shift operator @xmath598 defined by @xmath599 by ( * ? ? ? * example 3.1 ) , @xmath600 and @xmath601 is a @xmath602-bounded operator . we apply corollary [ cor5.7 ] to conclude that there exists an algebra homomorphisms @xmath603 such @xmath604 and it is not extended continuously to @xmath67 . in ( * remark 3.2 ) , the growth @xmath600 is pointed at as the fastest possible for a cesro bounded operator . in ( * proposition 4.3 ) , the following example is given . for any @xmath605 with @xmath606 , there exists a positive linear operator @xmath4 on an @xmath607-space such that @xmath608 by corollary [ cor5.7 ] , we conclude that there exists a bounded algebra homomorphism @xmath364 such that @xmath609 for all @xmath610 , @xmath351 , and the homomorphism @xmath364 is not extended continuously to the algebra @xmath611 with @xmath606 . in ( * ? ? ? * proposition 4.4 ( i ) ) , the following operator is constructed . let @xmath612 . for any integer @xmath613 , there exists a bounded linear operator @xmath4 on @xmath0 such that @xmath614 by corollary [ cor5.7 ] , we conclude that there exists a bounded algebra homomorphism @xmath364 such that @xmath615 , @xmath351 , and the homomorphism @xmath364 is not continuously extended to the algebra @xmath611 with @xmath616 . in ( * ? ? ? * proposition 4.4 ( ii ) ) , the following operator is constructed . let @xmath612 . there exists a bounded linear operator @xmath4 on @xmath0 with @xmath617 , @xmath618 and @xmath619 since @xmath620 for @xmath207 , we also conclude that @xmath621 for @xmath622 and the converse of theorem [ abels ] does not hold for @xmath623 . let @xmath624 be the regular convolution wiener algebra formed by all continuous periodic functions @xmath625,$ ] where @xmath626 are the fourier coefficients of @xmath627 that is @xmath628 with the norm @xmath629 and @xmath630 be the convolution closed subalgebra of @xmath624 where the functions satisfies that @xmath631 for @xmath632 note that both @xmath624 and @xmath633 and @xmath630 and @xmath67 are isometrically isomorphic , where @xmath634 denotes the complex summable sequences indexed in @xmath635 katznelson and tzafriri proved in 1986 the following well known theorem : if @xmath505 is power - bounded and @xmath636 is of spectral synthesis in @xmath624 with respect to @xmath637 then @xmath638 see ( * ? ? ? * theorem 5 ) . moreover , for @xmath505 a power - bounded operator , @xmath639 if and only if @xmath640 see ( * ? ? * theorem 1 ) . the authors have got some similar results for @xmath5-bounded operators , which will appear in a forthcoming paper . we define @xmath641 a new regular wiener algebra contained in @xmath642 and @xmath643 a convolution closed subalgebra of @xmath644 which is isometrically isomorphic to @xmath645 the result prove that if @xmath646 @xmath505 is a @xmath5-bounded operator and @xmath647 is of spectral synthesis in @xmath641 with respect to @xmath637 then @xmath648	arxiv
in a remarkable recent report , t. haxton and a. liu ( hl ) @xcite have described molecular - dynamics simulations of a simple , sheared , two - dimensional , glass - forming material over three decades of steady - state strain rates @xmath0 , and for bath temperatures @xmath1 ranging from about one tenth of the glass transition temperature @xmath2 to about twice @xmath2 . most importantly , by measuring pressure fluctuations , hl have determined values of the effective disorder temperature @xmath3 for each value of @xmath0 , @xmath1 , and the shear stress @xmath4 . this extensive data set tests the applicability of any theory of amorphous plasticity such as the shear - transformation - zone ( stz ) theory discussed here , and also probes the limits of validity of the effective - temperature concept . @xcite we find that the main features of the stz theory presented in earlier papers @xcite nicely survive these tests . moreover , several of the theory s specific ingredients , which had not been tightly constrained by earlier experiments or simulations , can be refined and extended in light of the hl data . our most surprising conclusion is that , for @xmath5 , the relation between @xmath0 and @xmath3 is a direct analog of the relation between the @xmath6 relaxation rate and the bath temperature @xmath1 near a conventional glass transition . it is well - known ( e.g. see @xcite ) that , for unstressed glass - forming materials in a range of temperatures above some @xmath7 , the viscosity @xmath8 is at least to a first approximation a simple activated process with a temperature - independent energy barrier . below @xmath7 , @xmath8 depends super - arrheniusly on @xmath1 , diverging as @xmath1 decreases toward the glass transition temperature ( or kauzmann temperature ) @xmath2 . figure [ arr1](a ) shows that the hl data for the viscosity in the limit of vanishing strain rate can be fit by a function of the form @xmath9,\ ] ] where @xmath10 and @xmath11 is an arrhenius activation energy that we interpret as the energy of formation for an stz . @xmath12 is a model - dependent function , to be specified later , that diverges as @xmath13 and vanishes for @xmath14 . the prefactor @xmath15 is a relatively slowly varying function of @xmath16 that appears prominently in our data analysis in section [ hldata ] . ( a ) logarithm of the hl viscosity ( open triangles ) as a function of the inverse temperature @xmath17 . the solid line is the stz - theory fit to these data points . the dashed extension of this line indicates a region where the temperatures are so high that the theory becomes incorrect . ( b ) logarithm of the hl strain rate as a function of the inverse effective temperature @xmath18 at temperatures below the glass transition temperature @xmath19 . the data points correspond to temperatures @xmath20 ( stars),@xmath21 ( squares ) and @xmath22 ( triangles ) . the solid line is the theoretical fit . see section [ hldata ] for details of the theoretical analysis and an evaluation of @xmath23.,height=359 ] our key hypothesis is that , below the glass transition temperature @xmath24 , there is a relationship analogous to eq.([eta - t ] ) between the steady - state effective temperature and the strain rate @xmath0 . in analogy to the definition of @xmath16 , and consistent with earlier notation @xcite , we write @xmath25 . we also define @xmath26 , where @xmath27 is the fundamental time scale that appears in the dynamical stz equations of motion . thus , @xmath28 is a dimensionless rate of molecular rearrangements or , equivalently , a stirring rate . the hl results are expressed in terms of a molecular time scale , @xmath29 , which is derived from their molecular interactions and is not necessarily the same as @xmath27 although the two times should have about the same order of magnitude . we find it convenient to set @xmath30 , and to incorporate any difference between these time scales into the parameter @xmath31 defined below in eq . ( [ f - s ] ) . for clarity , however , we occasionally retain explicit factors @xmath27 . we propose that the rate @xmath28 be interpreted as a purely kinetic quantity , independent of the specific mechanism by which the rearrangements occur . we then define @xmath32 to be the dimensionless , steady - state , effective temperature at stirring rate @xmath28 . to a first approximation , we assume that @xmath32 is independent of @xmath16 for @xmath33 . as we shall see later , the temperature dependence of @xmath32 becomes more interesting for larger @xmath16 . in the limit @xmath34 , the number of rearrangements depends only on the extent of the deformation and not its duration ; thus the condition for steady - state equilibrium is that , with high probability , each molecule has changed its neighbors at least a few times . it follows that @xmath35 is a nonzero constant , also independent of the rearrangement mechanism . we then postulate that the inverse function @xmath36 is the rate at which rearrangements occur when the system is driven so that its steady - state effective temperature is @xmath37 . then , in analogy with eq.([eta - t ] ) , we write @xmath38,\ ] ] where @xmath39 and @xmath40 are constants to be determined , and @xmath41 is a super - arrhenius function that diverges at the effective kauzmann temperature @xmath42 and vanishes above some @xmath43 . this hypothesis is supported by the hl data . [ arr1](b ) is an arrhenius plot of the hl results for the strain rate versus the effective temperature for three values of @xmath16 , all almost certainly below @xmath24 , and the solid curve is a fit to those points using eq . ( [ q - chi ] ) . there are large uncertainties in the data at small strain rates ( large @xmath18 ) , but the existence of arrhenius and super - arrhenius regions is apparent . note that the arrhenius region , i.e. the section of the curve that is linear in @xmath18 , seems to extend all the way to infinite @xmath44 . ordinarily we do not think of arrhenius formulas remaining valid out to high temperatures . the difference here may be that the effective temperature pertains only to a fraction of the degrees of freedom in this system ; so , perhaps in analogy to magnetic spin temperatures , the maximally disordered state at infinite @xmath44 is realistic . one of the most interesting features of eq.([q - chi ] ) is that @xmath44 diverges at a finite strain rate , @xmath45 as seen from the extrapolation shown in fig . [ arr1](b ) . for molecular systems where @xmath27 is of order femtoseconds , @xmath46 is an impossibly large rate ; but it is accessible in numerical simulations and perhaps also in granular systems or the like . the system must liquify in some sense when driven faster than @xmath39 ; and the stz theory must break down near that point . in order to use eq.([q - chi ] ) to compute stresses , strain rates and effective temperatures for @xmath16 both below and above @xmath24 , we need a complete set of dynamical equations of the kind provided by the stz theory . in this section , we summarize the version of that theory that was presented in @xcite , specializing to steady - state motion but otherwise retaining the generality needed to describe plasticity over the wide range of driving conditions studied by hl . we need one structural modification of this theory , which we explain following eq.([m - s ] ) below ; and our analysis requires model dependent rate factors that differ from those used in earlier papers . we start by writing the stz equations in a form determined by the basic structure of the theory . then , in the following subsection , we specify our choice of the model dependent ingredients of these equations . in keeping with the emphasis of hl and the results of recent stz analyses such as @xcite , we write this theory in a form in which the effective temperature @xmath44 is the single , dynamically relevant , internal state variable . accordingly , we need just one equation for the dimensionless strain rate @xmath28 as a function of the shear stress @xmath4 and the effective temperature @xmath44 , supplemented by the steady - state version of an equation of motion for @xmath44 . the equation for the strain rate has the form @xmath47 where @xmath48 is a model - dependent function ( to be specified shortly ) , and @xmath49 is proportional to the stz density . this clean separation between the stress - dependent and @xmath44-dependent parts of the plastic strain rate is an important characteristic feature of the stz theory that has been emphasized recently by shi et . al . @xcite . the equation for @xmath44 is @xmath50=k(\chi)\,\rho(\theta)\,\left({\chi\over\theta}-1\right).\ ] ] this is essentially the steady - state version of eq.(3.5 ) in @xcite ; but here we have written it in a form that is more appropriate for situations in which @xmath32 can become large . according to eq.([chi1 ] ) , @xmath44 finds its steady - state value when the rate at which it is being driven mechanically toward its kinetically optimal value @xmath32 , on the left - hand side , is balanced by the rate at which @xmath44 relaxes toward the bath temperature on the right . @xmath51 , another model - dependent function , is proportional to the rate at which the work done by the driving force is dissipated as configurational entropy ; thus @xmath51 vanishes at @xmath52 . the function @xmath53&for $ \theta > \theta_0$\cr 0 & for $ \theta < \theta_0$}\ ] ] is the super - arrhenius part of the @xmath6 relaxation rate . because @xmath54 vanishes for @xmath55 , eq.([chi1 ] ) implies that the low - temperature , steady - state value of @xmath44 is @xmath32 as anticipated in eq.([q - chi ] ) . the function @xmath56 appearing in eq.([chi1 ] ) is proportional to the density of sites at which thermal equilibration events as opposed to shear - transformations take place . we assume here , as in @xcite , that @xmath57 with @xmath58 , which means that both kinds of sites are comparably populated . the parameter @xmath59 remains to be determined from the data . in the general stz equations as developed in @xcite , the function @xmath48 in eq.([q - s ] ) has the form @xmath60,\ ] ] where @xmath31 is a dimensionless constant , @xmath61,\ ] ] @xmath62 and @xmath63 is the rate at which individual stz s undergo forward shear transitions driven by the stress @xmath4 . the function @xmath64 is the orientational variable that emerges in the role of a back stress in the stz theory . it satisfies the steady - state relation : @xmath65\bigl[1-m(s)\,s / s_0 \bigr ] = m(s)\,\rho(\theta).\ ] ] here , and in the equation for @xmath51 that follows , we depart slightly from the equations derived in @xcite . in that paper , the yield stress @xmath66 was assumed to be approximately equal to a temperature - independent constant @xmath67 , and the stress was everywhere written in units of that constant . here , on the other hand , it is obvious most visibly in the hl graphs of stress versus strain rate at low - temperatures that @xmath66 must be a function of @xmath16 . examination of the derivation of the stz equations in @xcite indicates that the factor of proportionality between @xmath51 and the energy dissipation rate per stz , which was set equal to @xmath67 there primarily for dimensional reasons , should have been a possibly temperature - dependent stress that we now call @xmath68 . the result of this change is that a factor @xmath4 , which multiplies the strain rate in the expression for the rate at which plastic work is done on the system , is replaced by @xmath69 , and the explicit @xmath4 that appears in eq.([m - s ] ) now becomes @xmath69 . this change in the analysis removes an ambiguity in the older stz theories ; e.g. see @xcite details will be published elsewhere . @xcite the significance of the quantity @xmath68 is that below the glass transition temperature it is closely related to the dynamical yield stress @xmath66 . for @xmath55 and @xmath70 , @xmath66 is the value of @xmath4 for which the two factors on the left - hand side of eq.([m - s ] ) vanish simultaneously ; therefore it is the solution of the equation @xmath71 because @xmath72 in all cases and is approximately equal to unity at low temperatures , @xmath73 . if @xmath68 is a function of @xmath16 in eq.([sy ] ) , then @xmath66 also is temperature dependent . although there is no yield stress for @xmath74 , @xmath48 still changes abruptly at @xmath75 for @xmath16 not too much larger than @xmath24 . this implies that at stresses close to @xmath68 , the stress vs. strain rate curve exhibits an abrupt change in slope . the stz formula for the dissipation rate @xmath51 appearing in eq . ( [ chi1 ] ) is @xmath76\bigl[s / s_0-\xi(m)\bigr]+ m\,\xi(m)\,\rho(\theta)\over 1- m\,\xi(m)},\ ] ] where @xmath77 as given by eq.([m - s ] ) , and @xmath78 is the inverse of the function @xmath79 ; that is , @xmath80=m$ ] . it is not difficult to show that @xmath81 for @xmath55 , confirming that the energy dissipated is equal to the work done on the system when configurational relaxation can not occur via thermal fluctuations alone . above the glass transition , on the other hand , the external work is not the same as the dissipation , and the use of eq.([gamma ] ) is necessary for accurate calculations . we turn now to the stz forward transition rate @xmath82 . here we depart from the choices made in earlier papers @xcite , where we were concerned with experiments and simulations performed only at relatively small driving forces , and which therefore did not sharply constrain our choice of @xmath82 . hl have provided a data set that goes up to stresses more than ten times the yield stress , at temperatures both well above and well below the glass transition , and thus have made it necessary for us to consider this rate factor in a broader context than before . we need a function @xmath82 that interpolates between eyring - like behavior at very small stresses and power - law growth at very large ones . in choosing such an @xmath82 , we find that we must depart from our earlier , purely phenomenological procedure of choosing simple functions with very few adjustable parameters , in the expectation that whatever data we had available would not justify additional theoretical complications . here we are facing a very different situation . in order to interpret the hl data , we find it better to start with a physically motivated model containing an uncomfortably large number of parameters . determining the values of these parameters is made easier in places by the fact that we can fit some parts of the data independently of other parts , and then see how these initially separate pieces of the puzzle fit together , for example , in connecting our predictions of behaviors at very small strain rates to those at very large ones . another advantage of this more nearly first - principles procedure is that we can guess the magnitudes of many parameters on physical grounds , and also know the limits of validity of physics - based approximations . for example , we know that the eyring - like formula that we use for the stz transition rate breaks down at the highest temperatures simulated by hl ; and thus we know to assign less weight to our theory at those temperatures in fitting the hl viscosity curve . our proposed @xmath82 is @xmath83\left[1 + \left({s\over s_1}\right)^{2 } \right]^{n/2}.\ ] ] the first factor on the right - hand side of eq.([r - s ] ) is the eyring rate in a form similar to that used in @xcite , where the exponential function of @xmath84 causes the rate to saturate at large @xmath4 . here , @xmath85 is the height of the eyring activation barrier in units of @xmath23 . we expect @xmath86 , because the barrier opposing stz transitions from one state to the other should be less than the barrier opposing creation of new stz s . the parameter @xmath87 is related to the curvature of this barrier at its peak . it appears here ostensibly in the same place where @xmath67 appeared in @xcite , but now it has no direct connection to the yield stress . in the limit of small stress , we recover an eyring rate factor in the form @xmath88;\ ] ] therefore @xmath89 and @xmath90 the second factor on the right - hand side of eq.([r - s ] ) converts the saturated eyring function at large @xmath4 to a power law : @xmath91 here , @xmath92 is a temperature independent stress scale . without loss of generality , we normalize the nominal yield stress @xmath93 so that @xmath94 and measure stresses @xmath4 in units of this zero - temperature yield stress . the crossover stress @xmath92 determines when the system departs from eyering stress - activated behavior . the exponent @xmath95 in eq.([r - s ] ) is especially interesting . in strongly dissipative systems , we expect @xmath96 , indicating that the stz transition rate is controlled at large stresses by some linear dissipative mechanism such as friction or viscosity . in the opposite limit , where rates are controlled by collisions between primarily hard - core objects and the detailed molecular interactions are relatively unimportant , we expect to find bagnold scaling.@xcite that is , if there is no natural energy or stress scale in the problem , then dimensional analysis requires that the stress be proportional to the square of a rate . since @xmath63 is the only available quantity with dimensions of inverse time , we must have @xmath97 and @xmath98 . it appears that the latter case is more consistent with the hl viscosity data . other model - dependent ingredients that we must specify are the super - arrhenius function @xmath12 and its analog @xmath41 . here we adopt formulas motivated by the excitation - chain theory of the glass transition @xcite proposed recently by one of us . for present purposes , these formulas need not be interpreted as anything more than phenomenological fits to experimental data . we write @xmath99,\ ] ] where @xmath100 produces a reasonably accurate description of the transition from an inverse power - law divergence near @xmath24 to simple arrhenius behavior above @xmath101 in analyses of experimental data.@xcite the excitation - chain theory predicts @xmath102 ( vogel - fulcher ) in three dimensions and @xmath103 in two , but the hl data is not accurate enough to distinguish between these possibilities . since hl fit their two dimensional viscosity data with a vogel - fulcher function , we have chosen to be conservative and use @xmath102 in our analyses . however , we point out in section [ hldata ] that @xmath103 remains an interesting possibility . the effective - temperature analog of eq.([alpha - t ] ) is @xmath104.\ ] ] we turn now to a detailed numerical comparison between these theoretical predictions and the hl data . we start by deducing values of the parameters @xmath23 and @xmath40 in eq.([q - chi ] ) and the exponent @xmath95 in eqs.([r - s ] ) and ( [ csn ] ) , using primarily the data in the extreme arrhenius region at low temperatures @xmath16 and large values of @xmath44 . effective temperature @xmath44 as a function of @xmath105 for hl results both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the smooth curves are the predictions of the stz theory at the same temperatures @xmath16 . , height=5 ] figure [ arr1](b ) shows the hl data for @xmath106 as a function of @xmath18 , for the three lowest hl temperatures , @xmath107 , all of which are comfortably below the glass transition temperature @xmath108 . therefore , @xmath109 and @xmath110 . from eq.([q - chi ] ) and the observed slope of this graph in the arrhenius region , i.e. from the data shown in hl fig . 1b , we find that @xmath111 ( in hl units ) . a second piece of information is obtained by looking at the hl results for stress as a function of @xmath18 , shown here in fig . [ hl : schi ] . again , we look only in the large-@xmath44 , small @xmath16 limit . equations ( [ q - chi ] ) and ( [ q - s ] ) , plus our large-@xmath4 estimate for the rate factor , combine to give @xmath112 from which we find @xmath113 the observed slope in fig . [ hl : schi ] , i.e. in the original hl figure in which @xmath114 is plotted as a function of @xmath115 , tells us that @xmath116 . a third relation , equivalent to the first two but useful for data analysis , is @xmath117 the observed asymptotic slope of the graph of @xmath118 versus @xmath119 shown in fig . [ hl : sq ] is @xmath120 . if we assumed @xmath121 , we would find @xmath122 and @xmath123 , a value of @xmath23 that is too small to be consistent with the hl viscosity data . however , @xmath98 ( the bagnold prediction ) implies that @xmath124 and @xmath125 , which fits the viscosity quite well . the same data as shown in fig.[hl : qchi ] but in the form of an arrhenius plot of @xmath105 as a function of @xmath18 , for hl results both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the smooth curves are the predictions of the stz theory at the same temperatures @xmath16 . , height=5 ] we then use the last two graphs to evaluate the @xmath28-independent terms on the right - hand sides of eqs.([s - chi - asymptote ] ) and ( [ s - q - asymptote ] ) , with @xmath126 . in this way we check for consistency of the estimates we have obtained from a noisy data set , and find a relation between @xmath92 and @xmath31 : @xmath127 several other parameters can be determined by direct examination of the hl data . hl measure their stresses @xmath128 in units related to their interatomic forces . because our values of @xmath4 are expressed in units of the zero - temperature yield stress , the ratio of @xmath128 to @xmath4 is approximately the value of @xmath128 at the lowest strain rate and the lowest temperature shown in hl fig.1a , i.e. approximately @xmath129 in hl stress units . thus , the stress - conversion relation is @xmath130 similarly , we deduce from the small-@xmath28 limits of the stress in hl fig.1a ( shown here in fig . [ hl : sq ] ) that , for @xmath55 , @xmath73 is roughly a linearly decreasing function of @xmath16 . there is no comparably systematic way to evaluate @xmath93 for @xmath74 ; but we see no structure in these curves that might indicate a further decrease of the stress scale @xmath93 at temperatures above @xmath24 . accordingly , we choose @xmath131 where @xmath132 . the parameter @xmath31 , in our notation , is proportional to the number density of stz s in the limit of infinite @xmath44 , modified by a time - scale conversion factor of order unity . we have found no independent estimate of @xmath31 comparable to the preceding estimates of @xmath23 , @xmath40 , @xmath95 , etc . ; but we expect it to be small if the stz theory is to remain valid at large values of @xmath44 . ( [ s1 ] ) provides an additional constraint . as discussed in the next section , the stress crossover behavior for the full set of hl data provides an estimate of @xmath133 , and this implies that @xmath134 . our next step is to use the parameters determined so far to compare the hl viscosity shown in fig . [ arr1]a with the stz predictions and thereby evaluate the parameters that occur in eqs . ( [ csmall ] ) , ( [ tsmall ] ) , and ( [ alpha - t ] ) . figure [ hl : etaq ] shows the hl data for @xmath135 as a function of @xmath136 at temperatures above and below the glass transition . by definition , the hl viscosity is @xmath137 in the limit @xmath138 , and the hl viscosity data in fig . [ arr1]a are based on extrapolation of the data in fig . [ hl : etaq ] to @xmath52 using the cross equation . logarithm of the stress @xmath4 divided by @xmath28 as a function of @xmath136 for hl results at temperatures both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the curves are the predictions of the stz theory at the same temperatures . for temperatures below the glass transition , the limit as @xmath139 of @xmath140 is the newtonian viscosity , @xmath8.,height=5 ] to evaluate @xmath8 , we use eqs.([q - s ] ) , ( [ f - s ] ) , and ( [ m - s ] ) with @xmath141 , and , after some algebra , find that @xmath142\cr & = & { \sigma_{hl}\,\tilde\mu\,\theta\over \epsilon_0\,\theta_e}\,\,\left[1 + { 1\over 2}\rho(\theta)\,e^{\theta_e/\theta}\right].\end{aligned}\ ] ] the second version of this equation makes explicit use of eqs.([csmall ] ) and ( [ tsmall ] ) . obviously there are too many parameters here for us to obtain more than a very rough estimate of their range of values . none of the six hl data points for @xmath8 are close enough to the transition temperature @xmath24 to provide an accurate picture of the super - arrhenius singularity . to make matters worse , the highest reported temperature is approximately equal to @xmath23 , well above any reasonable value for @xmath85 and thus far too high for the eyring formula to be valid . nevertheless , we find some interesting information by exploring the ways in which we can fit the theory to the data . our procedure has been simply to use eq.([eta0 ] ) in conjunction with eq.([eta - t ] ) to plot the logarithm of @xmath143 and compare the results with the hl data points . to start , we accept the values @xmath125 ( in hl units ) , obtained from the large - stress behavior , and @xmath144 estimated by hl . we also fix @xmath102 and @xmath145 in eq.([alpha - t ] ) . then our best - fit parameters are @xmath146 , @xmath147 , @xmath148 , and @xmath149 . our fit to the hl viscosity measurements is shown in fig . [ arr1](a ) . the dashed part of that curve indicates the region where , given the above value of @xmath85 , we know that the eyring formula in eq.([r - s ] ) can not be valid . in contrast to the uncertainties that complicate the theoretical fit to the hl viscosity data , the analogous relation between the strain rate and the effective temperature shown in fig . [ arr1](b ) seems relatively easy to understand . whereas the viscosity is an intrinsically dynamic quantity , involving material - specific relations between stress and plastic response , the function @xmath150 appears to be , as we have postulated , a purely kinetic relationship . the solid curve shown in fig . [ arr1](b ) is a fit to eq.([q - chi ] ) with the following parameters defined in eq . ( [ alpha - chi ] ) ; @xmath151 , @xmath152 , @xmath153 , @xmath102 , and @xmath154 . we emphasize that there are still substantial uncertainties in these numbers . within these uncertainities , it appears that @xmath155 . logarithm of the stress @xmath4 as a function of @xmath18 for hl results at temperatures both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the curves are the predictions of the stz theory at the same temperatures.,height=5 ] at the outset , it might seem plausible to set @xmath156 and thereby assume that there is only one energy scale that determines both the thermal and effective glass temperatures . this simplification can not always be correct , however , because we know from the ubiquitous appearance of transient stress peaks in stress - strain curves measured at high strain rates that slow thermal quenches can bring glasses into states where @xmath157 . the conventional interpretation of these stress peaks is that the as - quenched state of the system has a low fictive temperature @xmath44 with a correspondingly small population of stz s , and that plastic flow can not begin until enough deformation has occurred to increase @xmath44 to a value of order @xmath42 . the fictive temperature can not be below @xmath24 , so stress peaks could not be produced by this process if @xmath156 . in this situation , therefore , we expect that the hl model would not exhibit stress peaks except , possibly , at very high strain rates where @xmath32 is substantially larger than @xmath42 . in exploring fits to the viscosity data , however , we find one intriguingly different possibility . we can fit the hl viscosity data with @xmath103 in eq.([alpha - t ] ) the prediction of the excitation - chain theory but this fit looks best if we reduce @xmath24 to about @xmath158 , i.e. half the previous estimate . this lowered transition temperature would mean , for example , that the hl curves of stress versus strain rate shown in fig.[hl : sq ] for values of @xmath16 down to @xmath158 , would bend over and exhibit viscous behavior at strain rates much smaller than those measured by hl . if that were the case , then @xmath42 would be substantially higher than @xmath24 , and the transient behavior of the hl model might be more interesting than predicted at the end of the last paragraph . in order to extend our analysis to temperatures above the glass transition ( kauzmann ) temperature @xmath24 and to arbitrary strain rates , we must reexamine our assumption that the effective kauzmann temperature @xmath42 is independent of the bath temperature @xmath16 . to see what is happening here , we take advantage of our simplifying assumption that @xmath159 in eq.([k - chi ] ) and solve this equation for @xmath44 : @xmath160 note that , for @xmath74 , we can take the limits @xmath161 and @xmath162 in different orders and get different answers . if we take the limit of vanishing @xmath28 first , so that @xmath51 vanishes , then @xmath163 . however , if we let @xmath16 go to @xmath24 first , so that @xmath54 vanishes , then @xmath164 for sufficiently small @xmath28 . we see no _ a priori _ reason why the crossover between these limiting behaviors described by eq.([chiss ] ) can not be physically correct for a temperature independent @xmath42 ; but that assumption is qualitatively inconsistent with the hl data . equation ( [ chiss ] ) implies that @xmath44 always must lie between @xmath16 and @xmath32 ; but we have found ( in a calculation not shown here ) that , if we choose @xmath165 to be a @xmath16-independent constant , then the hl data in fig.[hl : qchi ] for @xmath166 and @xmath167 lie above the allowed range in the transition region between the small-@xmath28 and large-@xmath28 limits . a physically plausible alternative is to assume first that @xmath168 ( the inequality being consistent with the existence of transient stress peaks ) , and then that @xmath169 whenever @xmath16 exceeds @xmath42 . that is , @xmath170 with this assumption , @xmath171 is a continuous function of @xmath16 across the glass transition and , for @xmath172 , there are no small-@xmath28 steady - state solutions other than @xmath173 . nothing in this hypothesis precludes @xmath42 itself from being a function of temperature . in fact , we think we see a hint in the hl data that @xmath42 may be a decreasing function of @xmath16 up to the point where @xmath174 , beyond which @xmath169 . the assumption in eq.([hatchi0 ] ) accurately fits the hl data . in implementing eq.([hatchi0 ] ) , we have simply rescaled the parameters @xmath43 and @xmath175 in eq.([alpha - chi ] ) so that the ratios @xmath176 and @xmath177 remain the same in both low and high temperature regions . we also have chosen @xmath178 in eq.([k - chi ] ) and @xmath179 in eq.([r - s ] ) . our results are shown in figs . [ hl : qchi ] , [ hl : qchiall ] , [ hl : schi ] , and [ hl : sq ] . figure [ hl : qchi ] shows @xmath44 as a function of strain rate @xmath28 for a set of temperatures @xmath16 both above and below @xmath24 . as expected , the hl data and stz curves collapse to roughly a single curve for temperatures below @xmath24 . above @xmath24 , as predicted by eq.([chiss ] ) , @xmath163 in the limit of small @xmath28 ; and the crossover to large-@xmath28 behavior is correctly predicted by the theory . figure [ hl : qchiall ] shows the same data as in fig . [ hl : qchi ] but here as the arrhenius plot , fig . [ arr1]b , with the high - temperature data included . we show this different view of the data to emphasize that even the high - temperature values of @xmath44 collapse to a single arrhenius line , extrapolating to a single `` melting '' strain rate @xmath39 , in the limit of infinite @xmath44 . similarly , the graphs of stress @xmath4 as functions of @xmath18 in fig . [ hl : schi ] , and those for @xmath4 as functions of strain rate in figs . [ hl : sq](a ) and ( b ) , show good agreement between theory and simulations at all temperatures and stresses . as in the preceding figures , these curves and the corresponding hl data points are shown at a selection of temperatures above and below @xmath24 . note , in fig . [ hl : sq ] , that the curves for @xmath74 make smooth transitions to linear viscous behavior at small strain rates . as expected , the curves for @xmath55 level off at temperature - dependent yield stresses . the short - dashed lines in fig . [ hl : sq](a ) illustrate the bifurcation at @xmath24 . at temperatures just above @xmath24 , the material appears to exhibit a yield stress down to very small strain rates , but eventually flows even in the limit of arbitrarily small stress , thus showing how hard it is to make an accurate estimate of @xmath24 by going to smaller and smaller strain rates . ( a ) theoretical log - log plots of stress @xmath4 as a function of strain rate @xmath28 for a range of temperatures above and below the glass transition . the short - dashed curves are for @xmath180 and @xmath181 , both just above the glass transition temperature @xmath182 . ( b ) the same as ( a ) but for a smaller range of strain rates and including hl data at the selected temperatures , height=9 ] two material - specific parameters , @xmath87 and @xmath92 , are best constrained using the hl data for @xmath135 vs. @xmath136 , shown in fig . [ hl : etaq ] . the small strain - rate asymptote of these curves for temperatures above the glass transition is @xmath183 , and the way in which the stress crosses over from its power - law dependence at large @xmath28 to the yield stress or newtonian viscosity at small @xmath28 is strongly sensitive to stz transition rate parameters @xmath87 and @xmath92 . we find that @xmath148 and @xmath133 fit the crossover behavior quite well . the curves in fig . [ hl : etaq ] show the stz solutions for @xmath135 vs. @xmath136 at temperatures above and below the glass transition . for temperatures above the glass transition , @xmath184 is very similar to the cross form used by hl to extrapolate their data . however , the stz solutions for @xmath185 asymptote to a slightly smaller value of @xmath8 as @xmath161 than the one specified by hl . it is unclear how to best extrapolate this stress / strain rate data to @xmath52 , and this uncertainty explains why the hl viscosity values in fig . [ arr1]a are slightly larger than the stz fit . the natural way in which the stz theory accounts for the wealth of data provided by the haxton - liu simulations lends credibility to major elements of that theory , especially the form of the expression for the plastic strain rate in eq.([q - s ] ) and the central role played by the effective disorder temperature . the self - consistent evaluation of parameters in section [ hldata ] depends directly on the first of these elements ; and the remarkable appearance of an effective glass transition in the nonequilibrum glassy state seems to confirm the second . nevertheless , unanswered questions abound . we conclude by listing some of them . _ how close is the analogy between the thermal and effective - thermal glass transitions ? _ the analogy does seem surprisingly close , but there are interesting and potentially very important differences . we think that the near equality of the transition temperatures @xmath24 and @xmath42 , if correct at all , must be an artifact of the hl model . we have argued here that @xmath24 must be substantially smaller than @xmath42 in many realistic circumstances ; and we suspect that this inequality might even turn out to be true in the hl model if measurements could be made at appreciably smaller strain rates . it already is apparent that the effective arrhenius activation energy @xmath186 in eq.([q - chi ] ) is larger than the thermal activation energy @xmath11 by a factor of about @xmath187 ; thus there is no universality in the energy scales . why not ? we see an even deeper question in this regard . as discussed in the paragraph preceding eq.([q - chi ] ) , the fact that @xmath32 goes to a nonzero value @xmath42 in the limit of small @xmath28 seems to have a robust explanation in purely kinetic terms . is a similar argument relevant to the thermal glass transition ? would it imply that the viscosity the analog of @xmath188 rigorously does diverge at @xmath24 ? _ what should the stz transition rate @xmath82 really look like ? which features of it are model dependent ? which have some degree of universality ? _ in eq.([r - s ] ) , we have tried to go part of the way toward deducing @xmath82 from first - principles , many - body physics . doing this correctly would be analogous to using statistical mechanics to compute the viscosity in the navier stokes equations . the problem here is harder , of course , because we do not yet have a precise definition of an stz . nevertheless , this problem needs to be given more thought in view of the new information we have obtained from the hl results . one especially intriguing aspect of this question emerges from our observation that @xmath82 exhibits bagnold scaling at large @xmath4 . under what circumstances may we expect this to happen ? is it special to the hl model ? ordinarily , we think of bagnold scaling as being relevant to the large - stress behavior of the strain rate as a whole , i.e. to @xmath189 in present notation ; whereas our @xmath189 behaves quite differently . the special feature here is that the bagnold behavior is modified by the stz density , i.e. the factor @xmath190 in eq.([q - s ] ) , which is strongly @xmath28 dependent . we suspect that the full bagnold behavior would occur at strain rates larger than @xmath39 , where the stz density is not a meaningful quantity , but where the hl model might look like a rapidly flowing granular material . a better understanding of this large-@xmath28 situation might provide insight regarding the applicability of stz theory to granular systems . _ will the present version of the stz theory accurately predict the time - dependent transient behavior of the hl model ? _ one of the principal successes of earlier applications of the stz theory has been that it correctly accounts for response times observed , for example , in transient stress - strain experiments . the key idea here is that there is a separation of time scales between slow processes , i.e. relaxation of plastic flow or disorder temperature , as opposed to fast processes like the response to perturbations of the stz orientation variable @xmath191 that appears in eq.([m - s ] ) . that separation seems problematic at the upper end of the scale of strain rates used by hl . we have no problem with it here because we consider only steady - state behavior . it will be interesting to look at transient behavior in the hl model to see where the fully dynamic version of the stz theory may break down . before doing that , however , it will be important to look at less esoteric behavior , e.g. transient responses to changes in driving forces of systems initially quenched at different rates to temperatures near the glass transition . do such systems exhibit stress peaks ? the model that we have used for interpreting the hl data , in which @xmath165 , implies that they should not occur here . might transient experiments reveal that , as we suspect , @xmath192 ? _ what are the implications for strain localization ? _ the effective temperature provides a mechanism for strain localization in amorphous materials regions with a higher effective temperature are more likely to undergo plastic deformation , which generates heat that increases the local effective temperature . although previous studies assumed a constant value for @xmath193 @xcite , eq . ( [ q - chi ] ) shows that this assumption is only valid near the effective glass transition . the fact that @xmath193 increases with increasing strain rate is likely to enhance localization and may permit steady state localized solutions . _ what role do thermal fluctuations play in determining the properties of the effective glass transition ? _ we already have concluded that @xmath171 must be equal to @xmath16 at high temperatures , @xmath172 ; but we have little knowledge about what happens to the corresponding @xmath42 when @xmath194 , and have simply assumed that it is a constant . more detailed information about this quantity might help us understand the molecular mechanisms that are at work here . we thank t. haxton and a. liu for allowing us to use their data and for extensive discussions about this project . m.l.m . acknowledges an nsf graduate research fellowship and support from james s. mcdonnell foundation , the david and lucile packard foundation , and nsf grant number dmr-0606092 . j.s.l . was supported by doe grant number de - fg03 - 99er45762 . g. tarjus and d. kivelson , `` the viscous slowing down of supercooled liquids and the glass transition : phenomenology , concepts , and models , '' in _ jamming and rheology _ , a.j . liu and s. r. nagel eds . ( taylor and francis inc . , new york , 2001 ) .	arxiv
EUPHORIA "MADE YOU LOOK" Episode 103 Written by Sam Levinson Directed by Sam Levinson Pre-Production Draft 9.10.18 Concept Meeting Draft 9.20.18 Table Read Draft 10.01.18 White Production Draft 10.08.18 Blue Production Draft 11.12.18 Pink Production Draft 01.31.19 Yellow Production Draft 04.02.19 Green Production Draft 04.08.19 Goldenrod Production Draft 04.25.19 RUE BENNETT JULES VAUGHN LESLIE BENNETT FEZCO NATE JACOBS CHRISTOPHER McKAY CASSIE HOWARD MADDY PEREZ KAT HERNAND EZ LEXI BOWARD GIA BENNETT BB BROOKES ASHTRAY SUZE BOWARD ALI MUHAMMAD ETHAN DALEY DANIEL DIMARCO JOHNNY UNITE USA 11-YEAR-OLD KAT DAVID VAUGHN 11-YEAR-OLD DANIEL 11-YEAR-OLD RUE EUPHORIA "MADE YOU LOOK" CAST LIST TREVOR (FKA LIP RING DUDE) KAT'S MOM CAFETERIA WOMAN CHAPTER PREZ MISS MARSHA SUPER HOT WARRIOR MAN SOME DUDE PLEDGE #1 CUNTY CLASSMATE OTHER STUDENT GUYS TEASING KAT zendaya Hunter Schafer Nika King Angus Cloud Jacob Elordi Algee Smith Sydney Sweeney Alexa Demie Barbie Ferreira Maude Apatow Storm Reid ii. Sophia Rose Wilson Javon Walton Alanna Ubach Colman Domingo Austin Abrams Keean Johnson Jeff Pope Johanna Colon John Ales Isaac Arellanes McKenna Roberts Shiloh Fernandez Mercedes Colon Erika Bowman Peyton Clark Marsha Gambles Brock O'Hurn Seth Mcswain Brandon Knabe Briana Albrektsen Elizabeth Danielyan Lukas Mills Ray Benson EUPHORIA "MADE YOU LOOK" SET LIST INTERIORS MIDDLE SCHOOL -HALLWAY -CLASSROOM SCHOOL -HALLWAY CAFETERIA CAFETERIA (REGISTER AREA) BIOLOGY CLASS LOCKER ROOM NATE'S & JULES' CLASSROOMS KAT'S HOUSE -KAT'S BEDROOM -DINING ROOM -KITCHEN JULES' HOUSE -KITCHEN -STAIRS -JULES' BEDROOM -JULES' BATHROOM MADDY'S HOUSE JACOBS HOME -NATE'S BEDROOM -NATE'S BATHROO M -NATE'S SHOWER CASSIE & LEXI'S BEDROOM RUE'S HOUSE -HALLWAY -RUE'S BEDROOM -GIA'S BEDROOM NA MEETING MALL -FOREVER 21 DRESSING ROOM FEZCO'S CONVENIE NCE STORE -FREEZER iii. INTERIORS (CONT'D) FEZCO'S HOUSE FRAT HOUSE -PARTY -HALLWAY -BATHROOM MCKAY'S CAR CAL'S CAR JULES'DAD'S CAR NATE'S TRUCK EXTERIORS BEACH MIDDLE SCHOOL ALLEY BEHIND RUE'S HOUSE FEZCO'S HOUSE SUBURBAN STREETS -ALLEY WAY CASSIE & LEXI'S HOUSE FEZCO'S HOUSE JULES' HOUSE NA MEETING -PARKING LOT EUPHORIA "MADE YOO LOOK" SET LIST (CONT'D) iv. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY1 2 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 1. FADE IN: INT. JULES' BEDROOM -NIGHT 1 WE SLOW PUSH IN ON RUE'S SLEEPING FACE. Her eyelids flutter . WE HEAR the sound of waves crashing , the ebb and flow of the tide. RUE (V.O.) When Kat was 11 years old, she went on a family vacation to Sandals , Jamaica . EXT. BEACH -DAY CUT TO: TOP SHOT: Of 11-YEAR-OLD KAT, face down in the wet sand, screaming bloody murder as WE QUICKLY BOOM DOWN - And LAND ON: A JELLYFISH stuck to the back of her upper thigh. CLOSE ON: Her face as she wails. RUE (V.O.) She quickly discovered that she hated the ocean ... CUT TO: 2 3 ECU: AS AN UMBRELLA IS STABBED THROUGH A MARASCHINO CHERRY 3 AND A PIECE OF PINEAPPLE - And plopped into a TROPICAL DRINK as Kat wraps her lips around the straw. RUE (V.O.) ... but fucking loved virgin pina coladas . AS SHE TAKES A SIP, FAST DOLLY INTO CU as her eyes open wide, wild with excitement. RUE (V.O.) Up until that moment, Kat had a relatively good life. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY4A-E EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 2. KAT'S RELATIVELY GOOD LIFE: 4A-E Baby pictures . Posed family portraits . Home movies from Christmas . Birthday parties . Hanging out with friends . Etc. RUE (V.O.) I mean, life wasn't amazing but it's not like she fantasized about killing herself . It was good enough. She was popular enough. Smart enough. The only thing that was like actually amazing ... was Daniel. 4F CU: On the SWEET EXPRESSIO NLESS FACE of 11-YEAR-OLD DANIEL4F shaggy hair obscuring his eyes. RUE (V.O.) Daniel was like a dream. Like gorgeous . Like really nice. Like the kind of boy that would text her every night before bed and say: 5 CU: Kat, under her COVERS, illumina ted by her PHONE. A text5 Daniel: sweet dreams 6 And Kat just melts inside. RUE (V.O.) And the kind of boy that would meet her outside of school every morning , just to make sure he could hold her hand as they walked down the hall. INT. MIDDLE SCHOOL -HALLWAY -DAY 6 CLOSE ON: Daniel, who grabs her hand. WE FOLLOW THEM through the hallways. As Kat looks at Daniel while he walks her into school - RUE (V.O.) She could never figure out why Daniel chose her. What Daniel actually liked or loved about her. She just knew it felt really good. Whatever . It didn't matter. It's better not to jinx these things. CUT BACK TO: * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY7 8A-E 9 10 11 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 3. EXT. BEACH -DAY As Kat's STRAW vacuums the bottom of her PINA COLADA. She turns to her MOM. KAT Can I have another one? 7 RAPID CUTS (X 5): 11-YEAR-OLD KAT downing one VIRGIN PINA COLADA after another. 8A-E RUE (V .O.) During her eight day stay on that stupid island, Kat drank 72 virgin pina coladas . She was in heaven ... and then she got home. PRELAP AUDIO: THE SOUND OF KNOCKING. OMITTED INT. KAT'S BATHROOM -DAY ANGLE ON: THE METER OF A SCALE SWINGING WILDLY - RUE (V.O.) When she returned, she weighed in at a whopping 126. -Before landing on 126. Her jaw drops. INT. KAT'S BEDROOM -NIGHT 9 10 11 CLOSE ON: Kat's hands grabbing the waist of her JEANS as she pulls them over her calves, knees, until ... they come to a grinding halt mid-thigh. RUE (V.O.) Despite being 5' 2", which was tall for her age, her body was not prepared to house an extra 20 pounds ... It was noticeable . ANGLE ON: Kat, sitting in bed, shell-shocked. Her PHONE buzzes. It's Daniel: cant wait 2 cu tmrw. sweet dreams 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY12 13 14 15 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 4. Kat bursts into tears. CUT TO: INT. KAT'S BEDROOM -THE NEXT MORNING CLOSE ON: Kat, zipping up one of her DAD'S HOODIES . RUE (V .0.) Kat did her best to minimize the fallout. EXT. MIDDLE SCHOOL -THE NEXT MORNING Kat gets off the SCHOOL Bu·s to see Daniel waiting in the distance for her. 12 13 She takes a deep breath as she passes us, BOODIE zipped up, and WE REVEAL she has ANOTHER HOODIE tied around her waist to hide her ass. DANIEL LOOKS AT HER. DANIEL Are you wearing two sweatshirts? CU: On Kat, who swallows hard. KAT No. INT. MIDDLE SCHOOL -HALLWAY -CONTINUOUS 14 A beat. He tentatively grabs hold of her hand -as they WALK DOWN THE HALL. CLOSE ON: Kat, who breathes a deep sigh of relief. RUE (V .0.) At least Daniel didn't make a big deal out of it ... That's why she liked him. He didn't care what people thought. He liked her for whatever reasons he liked her and 20 stupid pounds would never change that. INT. MIDDLE SCHOOL -CLASSROOM -DAY ECU: A NOTE is slid onto Kat's DESK. 15 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY16A 16B 16C EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 5. RUE ( V. 0. ) Until fourth period. As Kat opens the NOTE. It reads: I'm breaking up with you. Love, Daniel RUE (V. 0.) It wasn't even in Daniel's handwriting. It was Kendra Sutherland 's. KAT LOOKS OVER HER SHOULDER AT KENDRA (11), who bitch-faces her from across the room. RUE (V. 0.) Whatever, fuck her, and fuck him. She didn't actually love Daniel. She was eleven. And when you're eleven you fall in love with like, everyone and everything . That's not real love. Real love is when you can't exist without someone. When you'd rather die than be apart. When the whole world goes dark and nothing else matters but the person standing in front of you. CHRIS MELONI. FULL SCREEN. CUT TO: 16A As Detective Stabler in LAW AND ORDER: SVU. The lights dim, his face to Olivia's ... STABLER (to Benson) Look, we both chose each other over the job - DAVID DOCHOVNY as Mulder in THE X-FILES : MULDER (to Scully) You're my constant , my touchstone - TONY GOLDWY N as Fitz in SCANDAL : FITZ (to Olivia) Just say you'll wait for me -16B 16C 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY17 18 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 6. INT. KAT'S BEDROOM -NIGHT ANGLE ON: Kat, transfi xed as she watches her COMPUTER . RUE (V .O.) That's real love. And those were real men. Men who'd never leave her. Disappoint her. Break her heart. Real men whose love would spark and ignite and inspire ... ECU: COMPUTER SCREEN. Words being typed: HOOK GRABS EMMA BY HER WAIST AS THEIR TONGUES BATTLE FOR DOMINANCE. REVERSE : 14-YEAR-OLD KAT, typing on her LAPTOP (X 4). RUE (V .O.) The summer before high school she started writing fan fiction. By the year's end she had become one of the most prolific smut writers on Tumblr. WE SEE HER PROFILE: THUNDER-KIT-KAT. RUE (V. O.) She was known for her AU crossovers and her consistent NC-17 ratings . But what made her famous was her story: THE FIRST NIGHT ..• a 7,000 word fie that was largely credited with starting the "Larry Stylinson" conspiracy theory ... that Harry Styles and Louis Tomlinson of One Direction were secretly fucking. THE NIGHT KAT WROTE HER INFAMOUS STORY CUT TO: CU: ON KAT. She cracks her knuckles. Pops a SUGAR-FREE REDBULL . Ties her hair up. Rolls her neck out. 17 18 As she slowly lowers her fingers to the KEYBOARD ... WE HEAR the GROWING ROAR of a STADIUM . And like machine gun fire, she types: It's the first night of the Take Me Home Tour ... CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY19A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 7. AN ANIME VERSION OF THE FIRST NIGHT BY THUNDER-KIT-KAT [THE FOLLOWING SEQUENCE will be ANIMATED a la EARLY SAILOR MOON, NARRATED BY ROE]. INT. 02 ARENA -LONDON -NIGHT (ANIMATE D) SUPER: February, 23rd, 2013 19A BACKSTAGE . "LOUIS TOMLINSON" waits in the wings watching SSOS play their set. RUE (V.O.) Louis was unusually nervous . His mouth was dry, palms sweating when suddenly he felt the press of Harry's body from behind. ANGLE ON: Our "HARRY STYLES" as he massages Louis' shoulders. RUE (V .0.) Harry can sense the nervous tension running through Louis' stiff body. CLOSE ON: "Harry" as he runs his hand down "Louis" shoulders, across his chest and over his belt buckle. "LOUIS" (RUE IN AN ENGLISH ACCENT) What are you doing? "HARRY" (RUE, AGAIN, ENGLISH ACCENT) To calm your nerves, you're my best mate and this is what mates do for one another ... As "Harry" guides "Louis" against the cement wall and drops to his knees. "LOUIS" (RUE IN ENGLISH ACCENT) But Harry .•. What if someone sees? Let them. "HARRY" (RUE IN ENGLISH ACCENT) "Harry" unzips "Louis'" fly and - RUE (V. O.) As Harry takes Louis into his mouth with surprising ease, he begins to suck his cock with torturous finesse . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY19B 20 21 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 8. ANGLE ON: OUR "LOUIS" as his head falls back, with a polite English squeak - SLAM CUT TO: ANIME STYLE FIREWORKS EXPLODING ACROSS THE NIGHT SKY 198 As "Louis" and "Harry" tumble through the universe, weightless, their silhouetted bodies sixty-nining. ANGLE ON: Kat, sitting on the BLEACHERS at school, looking up at the sky. Her mouth agape. As "LOUIS" and "HARRY" slowly fade into clear blue sky and O.S. WE HEAR A CUNTY CLASSMATE : CUNTY CLASSMATE (O.S.) Kat doesn't even have asthma ... EXT. SCHOOL -TRACK FIELD -DAY 20 ANGLE ON: CUNTY CLASSMATE, in front of the ENTIRE GYM CLASS: CUNTY CLASSMATE (CONT'D) She's just fat and doesn't want to exercise . The WHOLE CLASS bursts into laughter, as they look at 16-YEAR OLD KAT sitting alone on the bleachers . RUE (V. 0.) Within 72 hours of publishing The First Night, it had garnered 184,265 notes. And 3 weeks later, Kat had amassed 53,824 new followers . 48FPS: WE CUT between Kat, her body wilting, and THE WHOLE CLASS LAUGHING HYSTERICALLY AT HER. RUE (V .O.) She had become extremely popular ... Online. INT. SCHOOL -HALLWAY -DAY 21 Kat walks the halls as TWO GUYS follow in tow, mooing at her. RUE (V.O.) No one in real life knew that she was famous. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY22 23 24 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 9. INT. MADDY'S BEDROOM -NIGHT 22 A sleepover party. As the OTHER GIRLS hang out, Kat answers ANONYMOUS ASKS ON TUMBLR. RUE (V .0.) And no one online knew that her life was actually super depressing. Anon ask: whenever i imagine what u look like i just think of kaleesi lol ily slay kween Kat answers back: i wish lol <3 tyyy INT. SCHOOL -CAFETERIA -MORNING WE DOLLY PAST THE TABLES TO FIND KAT lost in thought. RUE (V .O.) She'd regularly fantasize about telling her followers how much she hated her school, her town, how everyone in it was full of shit and a fucking asshole. 23 A GASP FROM HER CLASSMATES as they all turn to look out the window. Kat faces us, a smile forming . RUE (V. O.) She'd tell them to surround the school, to show up right after the morning bell, prepared for war. INT. SCHOOL -CAFETERIA -MORNING (KAT'S FANTASY) 24 A MASSIVE FOG BANK blows across the perimeter of the cafeteria. TO REVEAL an ARMY of KAT'S FOLLOWERS, dressed in CHAIN MAIL and wielding SWORDS and SPEARS a la GoT. RUE (V .0.) They'd demand the release of their Queen. And if anyone even so hesitated-- ANGLE ON: A SWARM OF SPEARS FLYING THROUGH THE SKY. ANGLE ON: EVERY PERSON who ever talked shit to Kat running for their fucking lives as they're IMPALED , mid-dash, by THICK WOODEN SPEARS. RUE (V .O.) The scary thing is they'd actually do it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY25 EUPHORIA 103 04/25/19 GOLDENROD PRODUCT ION DRAFT 10. As Kat, silhouetted, walks across the CAFETERIA , strewn with BODIES, and towards her ARMY, who all kneel in respect . RUE (V .0.) They'd do anything she asked. That's how much they loved her. (beat) Granted they didn't know who she was or what she looked like. As she comes into view ... a look of genuine confusion on the faces of her ARMY. Baffled whispers . A SUPER HOT WARRIOR MAN, covered in blood and wearing a SKIMPY BEARSKIN CLOTH - SUPER HOT WARRIOR MAN (FIN DOTH-ra-e JIN-ne) Fin dothrae jinne? (Who goes here?) Kat stops. And then, rather meekly: KAT (me AN-ha ... zhey THUN-der kit-kat) Me anha ... Zhey ThunderKitKat. (It's me ..• ThunderKitKat.) A tense beat ... SUPER BOT WARRIOR MAN (qo-sar-ve-NAK) Qosarvenak! (IMPOSTER! ) As he draws his SWORD and the entire ARMY comes charging forth to hack her to death - SLAM CUT TO: INT. KAT'S BEDROOM -THE NIGHT THE VIDEO GOT POSTED 25 Kat opens the Pornhub link of herself and sees the 86k views. RUE (V.O.) And then that video came out. And they did see what she looked like. And they still loved her. As Kat scrolls through every positive comment - RUE (V. 0.) And not only did they love her ... they wanted to fuck her. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY26 27 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 11. INT. KAT'S BATHROOM -NIGHT CLOSE ON: Kat, looking in the MIRROR. "NONSTOP" by DRAKE banging from outside . (NOTE: Let's get body double and do mirror gag.) 26 She lifts her chin up, and pulls A SKI MASK down over her face. She turns and walks into her bedroom and we see she's wearing only a BRA AND PANTIES. She clicks her COMPUTER . The GREEN LIGHT of her iSight CAMERA blinks on. AS SHE BEGINS TO DANCE FOR THE CAMERA. TITLE CARD: EUPHORIA INT. NA MEETING -NIGHT AS RUE STANDS UP IN FRAME. CUT TO: CUT TO: 27 Her hair smashed by her GOLD HOODIE, circles under her eyes. RUE Hi, my name is Rue, I'm an addict, and I've been clean for 60 days. Rue stands at the front of the meeting room as EVERYONE applauds. ANGLE ON: Rue, grimacing - RUE (V.O.) For the record, I'm not not telling the truth. I've actually been doing really well. (beat) Because the morning after the whole drug dealer, face tattoo, Fentanyl excursion - 28A-C RAPID CUTS: 28A-C -MOUSE slices open a FENTANYL PATCH. -Rue licks the FENTANYL off the DEER SKINNER . -Rue's unconscious body is carried into Jules' house. * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY28D 29 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 12. RUE (V .0.) I got in a little bit of trouble ... CUT TO: MORE RAPID CUTS: -RUE'S PHONE SCREEN: 30 missed calls, 10 texts, all from MOM. RUE (V .O.) For disappear ing for like 16 hours. CUT TO: INT. RUE'S HOUSE -JUST BEFORE DAWN Rue opens the front door, all is quiet. She takes a beat. Winces anxiously and then, slams the front door loudly. As she starts to quickly tip-toe towards her room. Leslie catches her immediately . LESLIE Where have you been? RUE I'm so sorry, my phone died-- LESLIE Bullshit . You're doing drugs. RUE Mom, I'm not doing drugs. LESLIE Then where have you been? Why weren't you answering your phone? Why are you sneaking into the house? RUE Because I was with someone . LESLIE Who? RUE It doesn't matter, Mom. 28D 29 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY30 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 13. LESLIE It absolutely matters . You're either doing drugs or having sex or both, God knows. Gia opens up her door. GIA Rue? Is Rue home? LESLIE Yes. Go back to sleep, Gia. GIA Is she okay? RUE Everything's okay. Go back to sleep. As Gia goes back into her bedroom - LESLIE I will not allow you to walk into this house at 5:30 in the morning and lie to my face. So tell me the truth, right now. Where were you? Rue takes a deep breath and then calmly: A beat. RUE If you want to drug test me, drug test me ... but I don't want to have to tell you everything about my life. LESLIE In the bathroom, now. INT. BATHROO M -CONTINUO US CUT TO: Leslie opens up a DRUG TESTING KIT and hands Rue the CUP. Rue immediately sits down on the toilet. LESLIE Where's your underwear? 30 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY31 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 14. RUE (embarrassed ) Morn ... Leslie shakes her head - LESLIE Jesus Christ, Rue. As Rue places the CUP under her and pees. While still on the toilet she hands it to her Morn. RUE (V.O.) She wasn't the only person upset with me. INT. JULES' BEDROOM -AN HOUR EARLIER Jules sits in front of Rue, emotional . JULES I'm not kidding, Rue. I'm not trying to become best friends with someone who's gonna fucking kill thernself. RUE I'm sorry. I didn't - JULES I've had ... like enough ... traumatic shit happen in my life that I don't- Jules gets choked up. Rue reaches out and hugs Jules. RUE I get it. I get it. JULES I don't want to be around you if you don't stop using drugs. RUE I get it. JULES I mean it. 31 As Jules starts to really cry. CU: ON RUE'S FACE, trying to hold it together. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY32 33 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 15. RUE I didn't mean to scare you. (a beat) I promise I'll stop. I'll get clean. A long beat. RUE (CONT'D) I just need one favor though. Jules looks at her - RUE (CONT'D) You're not going to like it. BACK TO: INT. BATHROOM/ INT. RUE'S BEDROOM -JUST BEFORE DAWN 32 Leslie tests Rue's urine. It comes back NEGATIVE for all substances . We see Leslie breathe a heartbreaking sigh of relief as her eyes well up. LESLIE (under her breath) Thank god. RUE I told you I wasn't lying. LESLIE You're still grounded until ... I don't even fucking know. Leslie walks out of the bathroom, down the hall and slams her door shut. Rue walks into her bedroom and closes the door. She reaches under her SKIRT and RIPS OFF A TAPED NASAL SPRAY BOTTLE. She hides it in her desk drawer and collapses on her bed. RUE (V. 0.) So I decided to stay clean. And I have been. For a while. INT. NA MEETING -NIGBT As VARIOUS PEOPLE say hi and hug Rue. 33 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY34 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 16. RUE (V.O.) But I've also been coming to this meeting for longer. ANGLE ON: Sweet face of MISS MARSHA (who used to work at the church we shot at south of Slauson). MISS MARSHA Isn't it 60 days today? Rue nods. As Miss Marsha gets tears in her eyes. MISS MARSHA (CONT'D) God is good. As she hugs her. RUE (V. 0.) And I don't know, I just didn't want to depress anyone. Plus I really have been really trying. And that counts for something. INT. NA MEETING -LATER CUT TO: As Rue stands in front of the GROUP, holding her SOBRIETY CHIP. PAN ACROSS THE SMILING, APPLAUDING FACES of all the ADDICTS - RUE Two months ago, I woke up out of a coma. And I didn't really know what had happened. I just knew by the look on my mom and sister's faces' that whatever it was, whatever I did, it wasn't good. It scared them. Really scared them. And -um, from that moment, I made a decision, to at least try and change. I owed it to them •.. I owed it to everyone I love. And everyone that loves me. 34 ANGLE ON: ALI, in a KUFI and a FIRE DEPT POLO (whom we met in EPISODE 2). He watches Rue talk. RUE {CONT'D) {emotional) What's been harder is feeling like ... I uh, I owe it to myself. That's the struggle . (MORE) * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY35 36A-B EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 17. RUE {CONT'D) And maybe that'll get easier. I hope it will. Thanks. As Rue sits down and pulls her HOODIE lower. RUE (V.O.) (sighs) I don't know. It's been a really weird couple of weeks. INT. SCHOOL -HALLWAY - A COUPLE OF WEEKS AGO CLOSE ON: Rue, as she turns toward us - RUE (TO CAMERA) I didn't know it at the time, but Jules was falling in love. CUT TO: 35 As the BELL RINGS and the CAMERA QUICKLY DOLLIES BACK (and we hear the beginnin g of "WORK" by Charlotte Day Wilson ( <- It's a gorgeous song.) As the STUDENTS SPILL OUT INTO THE HALLWAYS , obscuring Rue and we LAND at the end of the hallway as - Nate walks from left to right, and Jules from right to left, and the CAMERA SPLITS SCREENS as WE FOLLOW BOTH OF THEM - (The following sequence will follow NATE and JULES in split screen as they text each other over the course of a couple of weeks. Their actions should essentially mirror one another and run the course of the song, 3:4Ss.) INT. NATE & JULES BEDROOMS, SPLIT SCREEN -MORNING As both Nate and Jules lay in bed on their PHONES, the morning sun corning through . SHYGUY118 Good morning [blushing face ernoji] JULES Ugh ur so sweet SHYGUY118 Only to u 36A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 18. 37A-B INT. NATE & JULES BATHROOMS, SPLIT SCREEN -MORNING AS JULES DOES HER MAKEUP/ NATE SHAVES . JULES Oh yeah? SHYGUY118 Yea i feel like no one irl would ever call me sweet JULES Thats cuz ur a jock. and jocks are all [side-eye) 38A-B INT. SCHOOL HALLWAY, SPLIT SCREEN -DAY AS THEY BOTH WALK THE HALLS OF SCHOOL. SHYGUY118 Lol JULES But ur diff 37A-B 38A-B Nate sees Maddy and kisses her. Jules sees Rue as they walk together . 39A-B INT. NATE & JULES CLASSROO MS, SPLIT SCREEN -DAY THEY BOTH TEXT UNDER THEIR DESKS. JULES Dou live w ur parents? SHYGUY118 Just my mom. Remember I told you. JULES Thats right. 40A-B INT. NATE & JULES BEDROOMS , SPLIT SCREEN -NIGHT IN THEIR BEDROOMS AT NIGHT. JULES Im sorry Sweet dreams. 39A-B 40A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 19. 41A-B INT. SCHOOL -HALLWAY , SPLIT SCREEN -DAY AGAINST THEIR LOCKERS. SHYGUY118 Where r u going to college? JULES Idk yet. but i hope parsons SHYGUY118 Whats that JULES Lol it's a school in manhattan fashion 42A-B INT. CAFETERIA , SPLIT SCREEN -DAY NATE SITS WITH MADDY/ JULES SITS WITH RUE. SHYGUY118 That's cool JULES Yea but it's super expensive SHYGUY118 u will be some huge designer, u have such cool style. JULES Fuck ur trying to make me blush [heart eyes) 43A-B INT. LOCKER ROOM/EX T. ROOF, SPLIT SCREEN -DAY NATE IN THE LOCKER ROOM/ JULES SITTING ON HER ROOF. SHYGUY118 When did u start transitioning? JULES Lol. SHYGOY118 I'm sorry. Didnt mean to be too persona l JULES No it's okay 41A-B 42A-B 43A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 20. 4 4A-B OMITTED 44A-B 45A-B INT. NATE & JULES BEDROOMS, SPLIT SCREEN -NIGHT 45A-B NATE IN HIS UNDERWEAR LOOKING IN THE MIRROR. JULES IN A CUTE BRA LOOKING AT HERSELF. SBYGUY118 I had a dream about u last night JULES A good one or a bad one? SHYGUY118 A very good one JULES Tell me tell me tell me 46A-B INT. NATE & JULES BEDROOMS, SPLIT SCREEN -NIGHT UNDER THE COVERS. SHYGUY118 We went on a camping trip JULES Ew. Lol u sure ur gay? SHYGUY118 Stfu it was hot. plus i'm not gay. JULES lol u do realize how we met? on a GAY dating app. SHYGUY1 18 Yea where i found a beautiful girl A beat. They both can't help smiling . JULES Fuck u SHYGUY118 What??? 46A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 21. JULES Nothing. I just really like you. 47A-B INT. SCHOOL -CLASSROO M, SPLIT SCREEN -DAY 47A-B 48 AS THEY WALK INTO CLASS AND SIT DOWN AT THEIR DESKS. THE SPLIT SCREEN IMAGES CONNECT INTO ONE FRAME. AND WE HOLD as we watch them both text each other on opposite sides of the classroom . SHYGUY118 is this the part in the movie where we kiss? JULES i hope so. [blushing emoji] SHYGUY118 I wish I could see you. JULES That can be arranged. As NATE puts his PHONE away. He turns and looks at Jules, who's still looking at her PHONE, biting her lip with excitement . CUT TO: EXT. ALLEY BEHIND RUE'S HOUSE -DAY 48 CLOSE ON: Rue, as she eats a BAG OF DORITOS while Jules paces in front of her - JULES I'm not saying I'm in love ... I'm just saying I really really really like him. RUE Shyguy118? JULES His name is Tyler. RUE Doesn't matter. Both fuckboy names. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY49 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 22. JULES He's not, for real. He's super sweet. RUE And where does he go to school? JULES St. Mary's. RUE Ew. Private school. JULES You're just jealous - We can see how much this stings Rue. RUE (V. 0.) Aside from that just being a shitty thing to say ... It's also not true. She had just been acting weird all week. RUE I'm not jealous. JULES You've been acting weird like all week. RUE What? JULES Yeah, like every time I'm on my phone, you just stop talking. You're literally like my dad. RUE Sorry. JULES It's fine. It doesn't matter. (with a grin) You wanna see his dick? INT. KAT'S BEDROOM -EVENING MOUSE CLICK. CUT TO: 49 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY50 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 23. KAT'S SKI MASK DANCING VIDEO ON PORN HUB. ECU: Uploaded 14 days ago. 81 VIEWS. ANGLE: Kat, sitting in front of her COMPUTER . She sighs. KAT (quietly) Fuck. But then she notices she has a message from JOHNNY UNITE USA: i'm obsessed with u. Another message from him: can i pls see u.r feet??? Kat winces ... CLICKS ON HIS PROFILE . His profile pie is just AN 18-WHEELER WITH AN AMERICAN FLAG GRILL. The rest of his profile reads: 47/M ABOUT ME: I LOVE FOOTBALL , CLASSIC ROCK, MACK TRUCKS, AND BADASS WOMEN. INTERES TED IN: CFNM, DOMMES, FINDOM, and FEET, FEET, FEET! She clicks on "CFNM" A PAGE OF PORN VIDEOS under the headline of "CLOTHED FEMALE NAKED MALE." She clicks the first vid: THREE BRITISH WOMEN in SUNDRESSES stand in the middle of a forest, spitting and laughing at a NAKED GUY tied to a TREE. The video has 2.8 MILLION VIEWS. KAT (CONT'D) ... What the fuck? INT. KAT'S HOUSE -DINING ROOM -CONTINUOUS Her FAMILY sits together eating dinner. KAT'S MOM (yelling) Katherine! Dinner! CUT TO: 50 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY51 52 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 24. Frustrated, KAT'S MOM gets up from the table, walks down the hall, and OPENS KAT'S DOOR ... CUT TO: INT. KAT'S BEDROOM -CONTINUOUS 51 TO FIND KAT, HEADPHONES on, laying in bed, FULLY CLOTHED, filming her own feet as she wiggles her toes to the beat of the music. Kat sees her Mom in her periphery , and looks up as she says something Kat can't hear. She takes her headphones out: KAT What? KAT'S MOM I said you can take pictures of your toes later. Dinner's on the table. INT. NATE'S TRUCK -EVENING COT TO: Nate gets a text from Jules on SCRUFF: what r u doing tonight . Like l0ish? He writes back: hopefully alone, in bed, talking 2 u :) ANGLE ON: Maddy, as she splits off from CASSIE and BB and gets into Nate's truck. Nate puts his PHONE into the CUP-HOLDER. MADDY I can't believe I haven't even told you like, how insane my parents are being right now. All day, I've been getting non-stop texts from my Morn about how much she hates my Dad. And I'm just like, you can't do this to me, because he's like my Dad. I'm not objective, like I love him. And I know he's got issues, but so does she. • • And he's not texting me shit about her. NATE can I get a kiss? 52 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY53 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 25. She leans over and kisses him. As he starts to drive. MADDY Okay, but listen, because it's important . NATE It's not cool for your Morn to put you in that position - MADDY But if I say that, then she's gonna make me an enemy, too. ANGLE ON: Nate's PHONE, vibrating in the cup-holder. MADDY (CONT'D) -Which is literally the last thing I need because I'm so stressed with school, and college applications - His PHONE vibrates again - MADDY (CONT'D) -and like, cheer squad, and everything else in the world ... (his phone vibrates again) Who keeps texting you? NATE (without even looking) My dad. MADDY Well, do you want me to answer him? He's texted you like 15 times. NATE Nah, I'll answer him later. Maddy watches as Nate puts his PHONE in his pocket. She looks out the window - CUT TO: INT. SCHOOL - CAFETERIA -DAY 53 As Rue and Jules sit across from one another, and Rue really studies the DICK PIC on Jules' PHONE. JULES I mean, it's huge, right? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY54 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 26. Rue keeps looking at it. RUE Ehhh ... JULES Don't front. It's a big dick. RUE Look, it may be. I'm just saying, there's no way to tell. It's literally just floating in space. JULES So? RUE So, there's no way to like, compare scale. Like if his hand was in frame you could at least be like, "okay, it's the size of an adult male hand." Or "twice the size." Or "a fraction of the size." JULES Rue, he has an objectively big dick! Off Rue's look. INT. CLASSROOM -ANY TIME SLAM CUT TO: FAST DOLLY INTO THE LIGHT OF A SLIDE PROJECTO R. 54 (The following should feel as though it's a SEX-ED VIDEO from the LATE 70s, shot on super-16.) DOLLY IN ON: Rue, standing in front of a silhouetted classroom in a RED SWEATSUIT, talking to THE CLASS- RUE People say that the eyes are the window into the soul. I disagree. It's your dick, and how you photograph it. She raises the SLIDE PROJECTOR CLICKER as WE WHIP PAN AROUND TO: THE CAROUSEL OF A SLIDE PROJECTOR. AS TWO DICK PICS ARE PROJECTED ON THE WHITE BOARD BEHIND HER. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 27. (*Now I know this may seem like a bit much, but if it makes people more comfortable, we can blur out the actual dicks, because the dick itself is not our focus, it's the world around it) AS RUE SNAPS A LONG POINTER - RUE (CONT'D) So there are two types of dick pies. Solicited and unsolicited. WE SEE A DICK ON SNAPCHAT with the CAPTION : u up? ON SCREEN, A BIG INFOMERCIAL X appears through the SNAPCHAT DICK. Rue paces in front of the Class - RUE (CONT'D) Unfortunately, the truth is, solicited dick pies account for about 1% of all dick pies, sent and received . And within that 1%, there are ... THE SLIDE PROJECTOR SPINS, revealing A FLOW CHART OF DICK PICS to illustrate Rue's point. RUE (CONT'D) Three different categories . Terrifying, horrifying, and acceptab le. Now terrifying and horrifying may seem similar, but to a keen eye it could be the difference between ... CUT TO: 55 Rue sits on the edge of SOME DUDE'S BED in a FILTHY ROOM. 55 RUE (V.O.) ... A basic hygiene issue ... SOME DUDE sprays a HALF A CAN OF FEBREEZE into the air as she watches, horrified . SOME DUDE Sorry about the mess. My morn's out of town. RUE (V.O.) Or ... CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY57 58 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT A 2-SECOND CLIP OF CHARLES MANSON TALKING NONSENSE. CHARLES MANSON Blabbity bla bla bla. BACK TO CLOSE UP: Rue. RUE ... A life or death issue. (beat) So here's what to look out for. 28. 57 She snaps her POINTER to the often overlooked details hidden within various DICK PICS. -A RIGHT GUARD DEODORANT WITHOUT A CAP LAYING ON THE CARPET IN THE BACKGROUND . RUE (CONT'D) Horrifying. -A COSTCO SIZED PUMP JUG OF JERGEN'S MOISTURIZER . RUE ( CONT I D) Terrifying. -A DIRTY FINGERNAIL . RUE (CONT'D) Horrifying . -A MEDIEVAL SWORD LEANING AGAINST THE WALL OF A BATHROOM RUE (CONT'D) ON RUE: Terrifying . RUE (CONT'D) So what constitutes that rarefied, sought after, acceptable dick pie? INT. SCHOOL -CAFETERIA -DAY CUT TO: 58 Jules slides her PHONE across the LUNCH TABLE toward Rue, who picks it up, looks at it. RUE Is that an Evian bottle? * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 29. JULES Yup. RUE The lighting's good. JULES Yup. RUE He's got a nice room. JULES I know. RUE And he's well groomed. JULES Right? RUE Okay, I'm beginning to understand the appeal. JULES But here's the thing, Like, I sent him a few pies from like, the bathroom during class because he asked me to - RUE Like nudes? JULES I can't talk about it. I just need your help. RUE With what? JULES I want like, good, professional partial nudes. Like classy, but not too arty. Like it needs to look like I took them with very little thought or effort, but also could be in MOMA. WE SLOW PUSH IN ON RUE ... trying to contain her unbridled excitement about this particular opportunity . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY59 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 30. RUE (V. 0.) (whispered) Be cool, Rue. And then, with forced casualness ... RUE Fine, that's like, easy. Whatever . INT. SCHOOL -CAFETERIA -REGISTER AREA -DAY CUT TO: Kat stands, waiting in line to pay for A SINGLE PLASTIC WRAPPED GRAPEFRUIT rolling around her TRAY. The CAFETERIA WOMAN is heavyset, middle aged. CAFETERIA WOMAN Look at you, still doing the grape fruit diet! KAT I wanna die. CAFETERIA WOMAN It's only bad for the first two weeks, and then your stomach shrinks so you adjust. KAT I can't wait. As she rings up her GRAPEFRUIT . CAFETERIA WOMAN In a month, you're gonna be 90 pounds, wet and wearing clothes . Kat rolls her eyes. CAFETERIA WOMAN (CONT'D) That's gonna be $3.25. She looks through her WALLET, pulls out a DOLLAR AND SOME QUARTERS . She's 75 cents short. OTHER STUDENT (the back of the line) Yo, hurry up! 59 * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY60 EUPHORI A 103 04/25/19 GOLDENROD PRODUCTION DRAFT 31. KAT (to Cafeteria Woman) Can I pay you the rest tomorro w? Before Cafeteria Woman has a chance to say no, ETHAN, who has been watching her the whole time, steps in. ETHAN Don't worry, I'll spot you. Kat looks up at him. KAT Thanks. ETHAN (re: the lone grapefruit) You want something else? Are you short that much, you wanna get some like, actual food? CAFETERIA WOMAN She's on the grapefruit diet. It's not easy. Don't tempt her. KAT (dying inside) No, I'm good. Thanks. ETHAN Okay, cool. See you in bio. As Kat heads over to ... INT. SCHOOL -CAFETERIA -TABLE SECTION -CONTINUOUS Kat passes Nate and HOT JUNIOR DANIEL, (the Guy who was checking out CASSIE in EPISODE 2). Kat averts her eyes and turns - ... and sits down with Cassie, BB, and Maddy. ANGLE ON CASSIE: CASSIE We literally FaceTirne every night. BB That's like the sweetest thing ever, you guys are full on in love. CUT TO: 60 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY61 62 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 32. INT. CASSIE & LEXI'S BEDROOM -NIGHT Cassie, under the COVERS, FACE TIMING with McKay. CASSIE I love you. MCKAY I love you more. CASSIE Well, I love you more than more. 61 ANGLE ON LEXI: on her bed, listening to the lump of BLANKETS that is Cassie. LEXI Ew. INT. SCHOOL -CAFETERIA -DAY Back to Cassie: CASSIE Oh my god, stop. We are not in love. But he did invite me up for the weekend . MADDY (over the moon) Like the whole weekend? CASSIE Like Friday and Saturday, so yeah. MADDY Wait, is your mom going to let you go? CASSIE (dead serious) CUT BACK TO: If she doesn't, I'm literally going to kill her in her sleep. BB That sounds like true love to me. CASSIE Besides, I'm 18. She can't stop me. 62 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY63 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 33. At the same time, Kat gets a NEW MESSAGE THROUGH HER PORN HUB ACCOUNT . Johnny_Unite_USA: that video of ur feet is amazing. Johnny Unite USA: skype session? Johnny=Unite=USA: i'll pay Kat hesitates . Responds : um idk Johnny_Unite_USA : $50 for 30min? Kat writes back: no thx Johnny_Unite_USA : $100??? Kat: how do u pay? Johnny Unite USA: Up front Johnny=Unite=USA : I'll wire it to u Kat: sorry i cant Kat: but thx She puts her PHONE away. Starts to eat her GRAPEFRUIT . A beat. She looks up at the Girls. KAT Do any of you know how Bitcoin works? Confused looks. And then: MADDY No -but you know who probably does? CUT TO: INT. FEZCO'S CONVENIENCE STORE -FREEZER -AFTERNOON Ashtray leans back in his chair and, totally monotone: ASHTRAY It's a worldwide cryptocurrency and digital payment system. REVERSE ON: Kat, totally confused . KAT I literally have no clue what you're talking about. 63 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY64 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 34. ASHTRAY Well, there's no easier way to explain it. A long beat. He just stares at her. ASHTRAY (CONT'D) How about you tell me what you're trying to do and I'll see if I can help you? KAT Um ... ASHTRAY Unless it's human trafficking . I don't fuck with human trafficking . KAT I'm not ..• human trafficking. ASHTRAY Me neither. KAT (a beat) Ok ... I was just wondering if it's like a good way to anonymously get money online. ASHTRAY That's literally what it's made for. As Kat smiles, WE HEAR the opening synths of "DOWN GIRL" by ROY WOODS. CUT TO: INT. JULES' BEDROOM -NIGHT 64 As Rue rises into frame, pointing an iPHONE AT US. ANGLE: AS JULES lays in bed and Rue moves into frame as she takes photos of her from above. RUE Here, put your arm out so it looks like you're holding it. Jules reaches out and wraps her hand around Rue's on the PHONE. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 35. ANGLE ON the iPHONE -Jules in focus on the screen. JULES Do I look hot? RUE Yeah, like, definitely. JULES Like, hot enough that you'd want to fuck me? RUE (a beat) Like me or like him? JULES Either. RUE ... Definite ly. JULES Should I like, show more? RUE ..• Yeah, sure. JULES Like how much more? RUE Um •.. Her PHONE rings. RUE (CONT'D) Shit. It's my mom. Okay, hold on. She walks away as she answers the PHONE, and Jules watches her from the bed. RUE (ON PHONE) (CONT'D) Hi Mom ... yeah no, sorry ... I'm at Jules' house. (a beat) Well, I have NA tonight so like nine-ish ... Okay. Love you too. Bye. Rue hangs up, and Jules watches her. JULES NA? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY65 66 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 36. RUE Narcotics Anonymous . JULES Wait, you've been clean for like two weeks, right? Rue gives her an exaggerated frown. JULES (CONT'D) Fuck you, come here. RUE What? JULES Corne here! As Rue walks over, Jules hugs her and pulls her into the bed. Jules kisses her face a bunch of times. A beat, as Rue looks up at her. A beat. RUE (V. 0.) I've never met anyone in my entire life like Jules. JULES I'm proud of you, Rue. RUE I have to get something to drink. JULES Whatever, bitch. She kisses Rue's face again, and falls to the side as Rue gets up. INT. JULES' HOUSE -STAIRS -CONTINUOUS 65 CLOSE ON: Rue, as she walks downstairs, her heart pounding ... INT. JULES' HOUSE -KITCHEN -CONTINUOUS As Rue fills up a GLASS OF WATER in the REFRIGERATOR DOOR, she notices an ASSORTMENT OF PRESCRIPTIONS sitting on the shelf above the counter. 66 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY67 68 69 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 37. RUE (V. 0.) (whispers) Oh fuck me. She leans closer. ECU ON: THE LABEL. VICODIN ES7.SMG. SLOW ZOOM between Rue's face, and the VICODIN BOTTLE. Suddenly the GLASS OF WATER OVERFLOWS . INT. JULES' BEDROOM -MOMENTS LATER Rue as she kisses Jules on the cheek. RUE I gotta run. I love you. JULES I love you too. EXT. JULES' HOUSE -EVENING As Rue walks out into the evening, she puts in her HEADPHONES . Picks up her BIKE. Sits on it. A beat. SHE DRY SWALLOWS TWO VICODIN and rides away. EXT. ALLEY WAY -NIGHT CUT TO: CUT TO: CUT TO: 67 68 69 Rue, feeling the effects of the painkillers, weaves through the streets on her BIKE. Up ahead, A CHURCH, lit up in the distance . PRE-LAP AUDIO: RUE (gets emotional ) What's been harder is feeling like ... I uh, I owe it to myself. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY70 71 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 38. INT. NA MEETING -NIGHT 70 RUE, high as a kite, but doing a damn good job at hiding it. RUE That's the struggle . And maybe that'll get easier. I hope it will. Thanks. A round of applause for Rue. ANGLE ON: Rue, SOBRIETY CHIP in hand as she sits down. Pulls her HOODIE even lower. CUT TO: I/E. NA MEETING -PARKING LOT -NIGHT 71 Rue gets her SLIP signed and walks outside . Begins to UNCHAIN HER BIKE. A beat. ALI Yo, 60 days. Ain't no small feat. RUE Thanks. ALI Very moving share. RUE Thank you. ALI I got a question though -how'd you survive that OD? RUE What do you mean? ALI Well, someone had to save your life. RUE My sister. ALI Older or younger? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 39. RUE Younger . Look, I gotta run, but like-- ALI What like 12, 13? RUE I don't really understand what the point of this is. ALI Curiosity . RUE She was 13. ALI That's heavy. RUE Yeah. ALI But look, we've all done some bad shit in our lives. It goes with the territory . But I was listening to you speak, and I was just thinking about what it must be like bein' a kid, like a 13 year old kid, finding your big sister overdosed . I started to think about what a moment like that does to someone. You know? How it'll affect the rest of their life. Probably fucks up their sense of trust. Makes it harder to get close to people. Relationships, with friends, guys. Certainly could make her afraid to fall in love, y'know? Just the fear that at any moment the rug's going to be ripped out from under her. That she could lose everything. Like that. (with a snap) Especially those she loves. Probably changed the course of her life. May have fucked her up for life. Rue stares at him. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY72 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 40. ALI (CONT'D) And then I was thinkin ' about that big sister of hers. About what kind of person she'd have to be to do something like that and then get up in front of a whole group of people, who are struggling with the same issues, and lie about being clean. That's some dark shit, wouldn't you agree? RUE I don't know what you're talking about. ALI Listen young blood, you're playin' pool with Minnesota Fats. RUE Who's Minneso ta Fats? ALI The greatest motherfuckin ' pool player of all time. RUE Ooohkay. ALI I'm Ali. Let me know if you wanna stop fucking your life up and go eat some pancakes . He hands her A CARD. She looks at it -it says EAST HIGHLAND FIRE DEPT. ALI MUHAMMAD. CHIEF. She looks back up as he walks away toward his TRUCK. CUT TO: INT. RUE'S HOUSE -HALLWAY -NIGHT LONG SHOT: Rue stands at the end of the hallway, a glow of light from Leslie's bedroom. LESLIE How was N.A. today ... ? RUE I celebrated 60 days today. 72 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY73 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 41. LESLIE I'm really proud of you, Rue. RUE Thanks. Rue walks down the hall, passes Gia's door ... INT. GIA'S BEDROOM -CONTINUOUS Gia lies in bed, watching TV on her COMPUTER . RUE Hey. GIA Hey. RUE What are you doing? GIA Watching My So Called Life. Rue smiles. RUE Fuckin' Jordan Catalano . GIA I know right? Rue walks in, climbs into bed beside Gia. 73 ON HER COMPUTE R: A scene where Jordan tries to kiss Angela in his car and she pushes him away. JORDAN CATALANO How old are you? ANGELA 15. JORDAN CATALANO You seem much younger . WIDE SHOT of the two of them in the glow of the COMPUTER SCREEN. Rue looks at Gia. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY74 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 42. RUE Promise me you won't fall for a Jordan Catalano . Gia winces ... GIA But he's so cute. INT. KAT'S BEDROOM -NIGHT CUT TO: Rat in silhouette, as WE DOLLY AROUND HER to REVEAL she's wearing a SKI MASK. She wears JEANS and a REVEALING TOP. The CLOCK READS 9:58. 74 She double checks that any identifiable stuff in the background has been cleared . A FRAMED PHOTO. A YEARBOOK . Etc. She takes a deep breath. Opens up SKYPE -signs in under a new name KittenKween . An incoming Skype call from Johnny_Unite_USA . She clicks ACCEPT. A WINDOW OPENS, pixelated at first -and then - A NEAR-NAKED HEAVYSET MAN with pale, clammy skin and a crew cut. (Think John Goodman in Big Lebowski, except in tighty whities) He sits on a PLAID COUCH, A COSTCO SIZED PUMP BOTTLE OF JERGENS tucked between the center cushions . JOHNNY UNITE USA KittenKween? Kat ekes out a hesitant - KAT Hi. -- JOHNNY UNITE USA I'm so excited tomeetyou . I've watched that video of you dancing at least a hundred times. KAT Really? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 43. JOHNNY UNITE USA I just love your-confidence . And you're honest to god one of the most beautiful creatures I've ever seen. KAT {laughs) Uh ... I don't know about - JOHNNY UNITE USA (enthusiastically) -It's true. I'm not joshing you. There's a sweetness to him that puts Kat at ease. KAT Thank you. JOHNNY UNITE USA I was like, I got no problem forking over my hard earned coin to this princess. Kat laughs. A beat. JOHNNY UNITE USA (CONT'D) But can I see your face?. KAT I'm sorry but - JOHNNY UNITE USA What if I give you a hundred dollars ? KAT I'm sorry - JOHNNY UNITE USA For just a peek. KAT Uhhh - JOHNNY UNITE USA It's okay. Maybe-once we know each other better. KAT Yeah, definitely . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 44. A beat. KAT (CONT'D) I've actually never -can I be honest? JOHNNY UNITE USA Always. KAT I've never done this before - JOHNNY UNITE USA Oooh, a Skype virgin! - KAT I've never done this with a strange r before. JOHNNY UNITE USA Are you nervous, -KittenKween? KAT I mean, a little. JOHNNY UNITE USA Don't be. KAT I mean, do you want me to like - JOHNNY UNITE USA Just relax. I'll-tell you exactly what to do. I'll warn you though, I'm a bit of an odd duck ... He lets out a big laugh. JOHNNY UNITE USA (CONT'D) I got some pretty extreme kinks ... KAT (a nervous beat) Ok. JOHNNY UNITE USA You wanna see somethi ng? KAT Sure. JOHNNY UNITE USA It's kind of embarrassrng . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 45. KAT Why? WE SEE HIM stand up and begin to pull down his UNDERWEAR . CLOSE ON: Kat's face, as her eyes go wide and she instinctively starts to giggle. JOHNNY UNITE USA Why are you laughing? - KAT I'm so sorry. I didn't mean - JOHNNY UNITE USA Have you ever seen a penis that small? Kat can't help but laugh again. KAT It's not small. JOHNNY_UNITE_USA Don't lie. KAT I'm not. JOHNNY UNITE USA Tell me you'd never fuck me. KAT What? JOHNNY UNITE USA Tell me that you'd never fuck me. That my dick is so tiny and pathetic, it would never satisfy a big beautiful princess like you. Kat bursts out into nervous maniacal laughter. KAT I'm sooo sorry. I don't know why I'm laughing so hard. JOHNNY UNITE USA Keep laughing . It turnsme on. Kat literally can't stop laughing . KAT I can't help it. I'm sorry! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 46. JOHNNY UNITE USA Tell me you'd never fuck me. RAT (laughing & 100% honest) I wouldn't! He begins to moan as he continues to jerk off - JOHNNY UNITE USA Tell me I'm a loser. A-fat, lonely loser with a little baby dick. Kat is dying with laughter . As he moans with pleasure . JOHNNY_UNITE_USA (CONT'D) Keep making fun of me! We watch as the wheels begin to turn in Kat's head. She thinks about every single humiliating thing that anyone has ever said to her and then it just comes flooding out - KAT I mean, like it is ... Your dick is like actually really small. JOHNNY UNITE USA How small? KAT Like medically small. And no woman would ever want you .•. because you're a fucking fat disgusting pig. JOHNNY UNITE USA (whimpering) I know. I know. Tell me to stop touching it. KAT Seriously . Stop. Because you're literally gonna make me throw up. JOHNNY_UNITE_USA Ok. Ok. He raises his hands. KAT So you'd do anything I told you? JOHNNY_UNITE_USA Yes, Kitten. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 47. KAT It's KittenKween . JOHNNY UNITE_USA I'm sorry, KittenKween . Yes, I would do anything you asked. KAT Why? JOHNNY UNITE USA Because you're big and-beautiful and powerful and I need to be owned. KAT (confused) Whaaat? JOHNNY UNITE USA I have no control. KAT Over what? JOHNNY UNITE USA How pathetic I am. How-often I masturbate . I want you to take complete control of me. To own me. To tell me when I'm allowed to cum and when I'm not. And if I cheat, I want you to punish me. Kat bursts into laughter . KAT Like how? JOHNNY UNITE USA By fining me. KAT (a beat; serious) Money? JOHNNY UNITE USA I want you to turn me into your personal human piggy bank. A long beat. We see a big smile begin to form on Kat's face. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY75 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 48. RUE (V .O.) But Kat didn't like actually believe him ... until ... INT. CASSIE & LEXI'S BEDROOM -AFTERNOON CUT TO: As Maddy, BB, Kat, and Lexi help Cassie pick out an OUTFIT for a frat party that she's attending with McKay. RUE (V .O.) Three days later when she got a message - CLOSE ON: Kat, as she looks at her PHONE. Johnny_Unite _USA: im sorry kittenkween I lost control. Kat responds: ur pathetic . Johnny_Unite_USA: i know Kat: that'll be a $100 fine Johnny_Unite_ USA: yes kittenkween RUE (V.O.) And within minutes , $100 in bitcoin was transferred to her. Kat's eyes go wide. Lexi notices the look on her face. LEXI What are you looking at? KAT Nothing. Just this ... article ... LEXI About what? KAT um ... (a beat) The Holocaust. 75 Lexi looks at her, weirdly ... As Cassie turns around, wearing a CROP-TOP AND A HIGH WAISTED MINISKIRT . She looks unsure about it. BB Like perf - LEXI So cute -8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY76 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 49. MADDY Ugh, I wish I had your neck. WHIP TO Suze, holding a GLASS OF WINE, as she materiali zes in the doorway . SUZE I'm putting a lot of trust into you. KAT Yeah, Cassie don't get pregnant . The Girls burst out laughing. SUZE That's not funny, Kat. (turns back to Cassie) But don't you dare get pregnant . CASSIE God mom, he has a roommate . Relax. SUZE I want you to keep your phone on throughout the night. And you send me a photo when you get back to the dorm. With a clock in it. MADDY Like a ransom photo? CASSIE God I hate you. SUZE Well, I love you. CASSIE I love you too. EXT. CASSIE & LEXI'S HOUSE -CONTINUOUS 76 As Cassie goes running out the front door to MCKAY'S CAR. He opens the door for her. The Girls and Suze all watch. SUZE No funny business Christoph er! MCKAY Yeah no, I promise. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 50. SUZE Just be a gentleman . MCRAY Yes, Ma'am. As they drive off, Suze watches, as Kat and Maddy pretend to hump each other behind her back. SUZE (under her breath) And don't you dare get pregnant . CUT TO: 77-78 OMITTED 77-78 79 INT. NATE'S BEDROOM -LATER FROM ABOVE: Maddy's cheek pressed against the bed as Nate fucks her. 79 MADDY'S POV: Of Nate's PHONE on the night stand, screen down, as it VIBRATES. Again. And again. And again. PUSH IN ON: Maddy. As she studies the phone intently . o.s. Nate starts to groan as he collapses into frame as he cums. NATE That was amazing . MADDY I know. He kisses her cheek and immediately gets up to shower. She watches as he walks naked into his bathroom. Shuts the door. HOLD ON MADDY sitting in bed in her BRA. WE HEAR the sound of the SHOWER turn on. She doesn't move. THEN WE HEAR HIM GET INTO THE SHOWER. SHE IMMEDIATELY REACHES FOR THE PHONE, types in his PASSCODE, which is super complicated and 20 characters long ... And his PHONE has thousands of APPS, all compartmentalized neatly into subfolders . She goes for the obvious : * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY80 81 82 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 51. She opens his MESSAGES . Scrolls through his texts. NOTHING . SNAPCHAT. NOTHING. BROWSER HISTORY . CLEARED , She opens CAMERA ROLL. Scrolls through and then ... She finds something . WE SEE ROW AFTER ROW of DICK PICS. But none of them are his dick. Finally, she lands on ONE IN PARTICULAR: A PICTURE OF A DICK laid against an EVIAN BOTTLE for scale. MADDY (CONT'D) What the fuck .... ? INT. NATE'S BATHROO M -CONTINUOUS CUT TO: In the empty bathroom. Nate is hidden inside the shower. MADDY Hey, my mom just called, I gotta go ... NATE (O.S.) Okay, I love you, bae. MADDY I love you too. WE HEAR the door to his bedroom slam shut. INT. NATE'S SHOWER -CONTINUOUS 80 81 WE SEE NATE in the shower at 1000 FPS as water sluices over his face. WE HEAR "THE PURGE" by SCARLXRD as we - CRASH INTO: INT. FRAT PARTY -NIGHT Cassie and McKay enter the chaos of the FRAT PARTY -it should have a dark, agro, testoste rone edge. 82 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 52. MCKAY I just really wanna make it to initiation . CASSIE You will. GIRLS are lined up against a wall twerking as about 15 DUDES, some SHIRTLESS , FILM THEM and egg them on. CASSIE (CONT'D) This is like the craziest party I've ever been to. MCKAY I know right. These guys are so cool. ANGLE ON: FOUR SCARY FRAT BROS as they shove their way through the party and climb up onto a TABLE. CHAPTER PREZ (screaming out) KILL THE FUCKING MUSIC. KILL THE FUCKING MUSIC. The music stops. CHAPTER PREZ (CONT'D) LISTEN UP BITCHES! WE GOT SOME FRESH MEAT UP IN HERE! I WANT ALL YOU PLEDGIE FAGGOTS UP AGAINST THE WALL. Everyon e starts screaming as DUDES are shoved through the party and pushed up to the wall. McKay smiles at Cassie who cheers as he's handed a FOUR LOCO to shotgun . CHAPTER PREZ (CONT'D) LAST ONE TO FINISH GETS STRIPPED NAKED! They all chug as fast as they can, BLUE LIQUID streams down their faces, staining their SHIRTS. They throw their CRUSHED CANS DOWN one by one. McKay is still drinking his -it's between him and ONE OTHER BIG PLEDGE. CASSIE Drink! Drink it McKay! Finish it! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY83 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 53. McKay looks at the OTHER BIG PLEDGE, quickly finishes it, and throws it down with one second to spare. SIX FRAT GUYS rush the Other Big Pledge and immediately strip him naked. EVERYONE PULLS OUT THEIR PHONES as he covers his dick, and he screams and quickly runs out of the party. McKay gives Cassie a relieved look. CUT TO: INT. FRAT PARTY -LATER 83 THREE DOUBLE SHOT GLASSES LINED UP. FILLED WITH TEQUILA . Suddenly WE SEE A LIVE GOLDFISH dropped into EACH ONE. ANGLE ON: McKay and TWO OTHER PLEDGES standing in front of the shot glasses. PLEDGE #1 Fuck that, dude. McKay looks down at the SWEET, UNASSUMING GOLDFISH . MCKAY rs it still alive? CHAPTER PREZ Of course it's ~till fuckin' alive. Cassie watches McKay hesitate. MCKAY I don't know dude ... He looks at Cassie, and right as they make eye contact, she walks over, grabs the abandoned shot glass, raises it, toasts with McKay, and throws it back. McKay follows suit as the WHOLE PARTY GOES MENTAL WITH EXCITEME NT. Cassie turns to McKay and kisses him. EVERYONE GOES WILD. CHAPTER PREZ McKay brought the baddest bitch in the fuckin' game, yo! !l She pulls back from the kiss and whisper s in McKay's ear: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY84 85 86A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 54. CASSIE Follow my lead. She TURNS TO THE OTHER FRAT BROS: CASSIE (CONT'D) If you don't mind, I'm gonna borrow him for a second. WE WATCH AS SHE walks towards the dance floor, wraps her shirt into a bikini top, folds down the waist of her SKIRT. She starts to DANCE WITH MCKAY, who's a little bit hesitant. McKay looks back at all the FRAT BROS, who watch as CASSIE STARTS TO GRIND ON HIM. A BIG SMILE forms on his face. FAST DOLLY IN ON CASSIE AND MCKAY DANCING - WHIP AND FAST DOLLY IN TO - INT. FRAT PARTY -HALLWAY -LATER As Cassie and McKay make out against the wall - AND AS WE LAND, she looks at him. He looks at her. Kinda drunk. MCKAY I love you. She looks up at him - INT. FRAT HOUSE -BATHROOM -CONTINUOUS As Cassie and McKay fuck up against the sink. INT. RUE'S BEDROOM -NIGHT CUT TO: CUT TO: Rue lies in bed on her PHONE. She opens MESSAGES, texts Jules. What r u doing? ... NO RESPONSE . CUT TO: 84 85 86A 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY90 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 57. A beat. A beat. KAT Are you talking about Nate? MADDY Noo! He's like super straight . KAT Are you talking about your Dad? MADDY Noo! KAT Cause that would def explain why they're fighting . MADDY I'm not talking about any guy I know. KAT Look, all I know is most guys, generally ... are like gross, weird and fucking pathetic. Maddy taken aback: MADDY That seems a little harsh ... KAT (cooly) Trust me. It's true. INT. MCKAY'S CAR -DAY CUT TO: As McKay drives Cassie home, he looks at her as she sleeps against the window. MCKAY Hey, you're home. 90 She looks at him and smiles. As they pull up outside of her house, McKay parks. MCKAY (CONT'D) Thank you for this weekend . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY91 92 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 58. They kiss. She smiles. CASSIE I love you. MCKAY I love you more. He watches as she runs to her house. She looks over her shoulder and waves goodbye . CUT TO: INT. FOREVER 21 -DRESSING ROOM -EVENING 91 * Kat walks into the dressing room towards a stall when... * She's approached by a DUDE in SKINNY JEANS and a GIRL'S T-* SHIRT with a LIP RING, TREVOR. * TREVOR Yo, sorry, we're about to close. KAT Oh, I just wanted to try a few things on. TREVOR Okay. I'm gonna have to start * closing up. As she walks to the stall, she LOOKS BACK AT HIM OVER HER * SHOULDER. CUT TO: INT. FOREVER 21 -DRESSING ROOM -A FEW MINUTES LATER 92 As Kat tries on a HARNESS BRA. She looks in the MIRROR. Takes a deep breath. She sees Trevor around the corner and calls out to him: KAT Hey. WE SEE Kat lean her head against the back wall, the CURTAIN DRAWN. KAT (CONT'D) I just wanna ask your opinion on something. * * * * * * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT TREVOR Yeah, sure. 59. * * He walks closer ... PUSH IN ON: Kat's face with a mischievous * grin. * KAT * How does this look? * SLAM CUT TO: * 93A-D INT. FOREVER 21 -DRESSING ROOM -EVENING 93A-D * 94 95 -They MAKE OUT against the MIRROR. * -She UNZIPS his PANTS. * -Straddles him. * -She grabs a fistful of his hair. * SLAM CUT BACK * OMITTED TREVOR STARING AT HER. A beat. TREVOR Yo did you hear me? I said we're about to close. KAT Oh yeah, okay. Sorry ... Um, I think I'm gonna buy these. TREVOR Cool. .. TREVOR (CONT'D) You live around here? KAT No. TREVOR Cool. This place sucks. TO: * 94 95 * * * * * * * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT KAT Yeah ... He looks at her. TREVOR I'll ring you up. Kat smiles . 60. CUT TO: 96A-F INT. KAT'S BEDROOM -THE NEXT MORNING 96A-F 97 98 99 -CLOSE ON A FISHNET STOCKING being pulled up. -THE SNAP of the HARNESS BRA. -THE CLASP of a PASTEL PINK HELLO KITTY CHOKER. -HER LIPS as she paints on a DARK RED. -HER SHOELACES as she tightens her PLATFORM DOC MARTENS . -SHE ZIPS UP the side of her SCHOOL GIRL MINI SKIRT. INT. KAT'S HOUSE -KITCHEN -CONTINUOUS 97 KAT passes her PARENTS and BROTHER , HEADPHONES in, as her Mom calls out to her: KAT'S MOM You want breakfast? Kat ignores her and walks out the front door ... EXT. SCHOOL -DAY 98 The SCHOOL BUS pulls up and Kat gets off first. AND WE BOOM UP as WE FOLLOW HER INTO ... INT. SCHOOL -HALLWAY -CONTINUOUS 99 She walks down the hallway giving zero fucks and looking hot as shit. WE SEE HEADS TURN, PEOPLE whisper, eyes trailing her ... As she turns into ... * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY100 101 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 61. INT. SCHOOL -BIOLOGY CLASS -CONTINUOUS And sits down next to Ethan, who checks her out. He says something but we can't hear it over the music. She pulls out an EARBUD - A beat. KAT What? ETHAN I said you look ... different . KAT Yeah. I changed. Kat smiles. EXT. SCHOOL -COURTYARD -DAY Rue is lying in the grass. JULES ( 0. S . ) Rue! Rue looks up as Jules comes running towards her. JULES (CONT'D) I have like the best news ever. RUE What? JULES First, you are the best soft core pornograp her in the game. Thank you. And second ... CUT TO: 100 101 As she sits down and falls back into the grass next to Rue. JULES (CONT'D) Tyler wants to meet. RUE Wait, really? Where? JULES The lake. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 62. RUE When? JULES After the carnival on Saturday . RUE Like, at night? JULES Of course. RUE That's weird. JULES You watch way too much Dateline . Relax, it's fine. He's our age. RUE I don't know, Jules. You should just meet at the carnival . Like in public. JULES But we can't. He's a jock and his mom's super conGervativc . It'G like a tough situation. RUE I don't care what the circumstances are ... It's not safe. JULES Trust me, I've been in situations that are way less safe. RUE It doesn't matter. It's dangerous . JULES This is the difference between you and me. I don't always get the privilege of meeting people in front of a fucking audience . RUE But that doesn't mean you have to meet someone at a deserted lake in the middle of the night. It just seems fucking insane. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY101A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 63. JULES Out of all the people in the world, I wanted to tell you. Because I thought you'd be happy ... Jules walks off - CUT TO: INT. SCHOOL -CLASSROOM -DAY 101A WE FIND Rue in the back, depressed . She looks over at an EMPTY CHAIR where Jules normally sits. She takes an anxious breath, pulls out her phone, and texts. Rue: Hey? A beat. Rue: Where'd you go? A longer beat. NO RESPONSE. She gets increasingly more anxious. Rue types: I didn't mean to ... and then deletes it. Rue types: I'm sorry for ... deletes it. Rue types: I just wanted to ... deletes it. Rue: Did you leave school? Sends. NO RESPONSE. Rue: Are you ok? NO RESPONSE . Rue: I'm sorry. NO RESPONSE. Rue types: I love you ... deletes it. Rue types: love u ... deletes it. Rue types: heart you ... deletes it. A WIDE SHOT. STEADY PUSH IN TO C/U: as Rue begins to spiral. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY102 A103 103 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 64. INT. SCHOOL -HALLWAY -AFTERNOON 102 Cassie walks alone after school, looking at her PHONE. She gets a TEXT FROM MCKAY -thinkin' of you [heart emoji]. She looks up and sees DANIEL (HOT JUNIOR) at the other end of the hall walking towards her ... She puts her PHONE away. And as they pass, they both make eye contact - Daniel stops -CAMERA TURNS: DANIEL Hey. Cassie stops -CAMERA TURNS: CASSIE Hey. DANIEL I've seen you around, but I don't think we've met. A beat. He walks closer. DANIEL (CONT'D) My name's Daniel. He extends his hand as she smiles. CASSIE Nice to meet you, Daniel. I'm Cassie. EXT. JULES' HOUSE -DAY CUT TO: A103 Rue paces anxiously as she tries to muster up the courage to knock on Jules' door. CUT TO: INT. JULES' BEDROOM -DAY 103 Jules lies in her bed, depressed, watching a MAKE UP TUTORIAL on YOUTUBE . DAVID (O.S.) Jules! Rue's here! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 65. Jules looks up -Rue enters and closes the door behind her. RUE Hey. JULES Hey. RUE I really don't want to fight with you. JULES I don't want to fight with you either. RUE You have to understand, I just want you to be safe. So like, please don't be angry at me for like ... wanting you to be okay. I don't want anything bad to happen. And you can say I'm just being anxious but just please don't be mad at me. (starts to cry) It hurts my heart too much. Because you're like the best thing that's happened in my life in like a really long time. And I know that sounds stupid but it's true. Jules can see that Rue is genuinely emotional. She gets up, walks over, and gives her a hug. JULES I'm sorry, Rue. I get it. I didn't mean to get angry. I love you. I really do. RUE I love you, too. Jules rests her forehead against Rue's for a long beat. JULES You're a mess, you know that? RUE (smiles) Yeah, I know. (beat) But you kinda are, too. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY104 105 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 66. JULES (laughs) Go fuck yourself . RUE It's true. Jules pushes the hair out of Rue's face. JULES I hate everyone else in the world but you. A beat. And Rue kisses Jules. In a real way. A romantic way. Jules stiffens and in an instant, Rue realizes she's crossed a line. She's mortified . RUE I'm so sorry. I-I gotta ... Rue turns and bolts. CUT TO: EXT. SUBURBAN STREETS -MOMENTS LATER 104 Rue pedals her BIKE as fast as she can through the streets, getting more and more emotional. CUT TO: I/E. FEZCO'S HOUSE -DAY 105 Rue drops her BIKE in the front yard of Fezco's house. Walks up to the front door, knocks. INSIDE. WE SEE FEZCO, in bed, in his BOXERS, before he walks toward the front door. He looks through the peephole to see Rue. RUE ( 0. S.) Fez, it's me. Fezco sighs. RUE (CONT'D) Open the door. FEZCO I can't, Rue. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 67. OUTSIDE . RUE (laughs) Corne on, don't be a dick. FEZCO (O.S.) I'm serious , Rue. I'm not letting you in. RUE (emotional) Fezco, I really need you to open the door. FEZCO I told you, Rue. I'm done. RUE I've had a really fucked up day. You have no idea. Just please ... Open the door. FEZCO No. RUE I just need a few OC's. FEZCO Rue, you can't keep going on like this ... RUE Give me a fucking break. FEZCO I'm not gonna help you kill yourself, Rue. RUE What's that even mean? FEZCO That I'm done. I don't wanna be a part of this shit. A beat. INSIDE. ROLD ON FEZCO: FEZCO (CONT'D) Just go home, Rue. Silence . He goes to look through the peephole . As RUE STARTS TO POUND ON THE DOOR. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORI A 103 04/25/19 GOLDENROD PRODUCT ION DRAFT 68. RUE OPEN THE FUCKING DOOR! I'M BEGGING YOU, FEZCO. OPEN THE FUCKING DOOR. Fezco leans against the wall. FEZCO I can't. RUE You're full of shit. You make your living selling drugs to fucking teenagers. And now you wanna act like you got the moral high-ground? FEZCO You're right. RUE You're a fucking dropout drug dealer with about six functioning brain cells. OPEN THE FUCKING DOOR YOU PIECE OF SHIT. FEZCO I know I'm a piece of shit. So just go home. RUE Fuck you. You're doing this because you care about me? FEZCO Yes. RUE I don't believe you. If you ever gave a fuck about me, you'd never have sold me drugs in the first place. But guess what, you did. So open the GODDAMN DOOR. FEZCO Everything you're saying is true. RUE YOU'RE A FUCKING LIAR. (a beat) AND YOU DID THIS TO ME! FEZCO I know. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 69. RUE YOU RUINED MY FUCKING LIFE. THE LEAST YOU CAN DO IS OPEN THE FUCKING DOOR AND FIX IT. FEZCO I can't, Rue. I'm sorry. I can't. Rue starts to pound on the door, violently. As Fezco just stands in the darkened hallway, listening as she hysterically sobs and pleads. ON RUE: RUE If you don't open this door, I will fucking hate you until the day I die. FEZCO (a long beat) Then hate me, Rue. Rue continues to kick and scream and bang on the door, until she physically and emotional ly can't continue. WE HOLD ON: Rue's face as she walks out into the street. She looks at her hand, BLOOD DRIPPING FROM HER CRACKED, BRUISED KNUCKLES. She sucks the blood off as she looks up at the sun setting, a violent red falling over the town. And she slowly begins to calm ... sapped of all emotion . A beat. She reaches into her pocket and pulls out the CARD that Ali gave her at the N.A. Meeting . She looks at it. As she decides to dial the number, the CAMERA DOLLIES BACK TO THE END OF THE STREET. Rue, in silhouette, a lone figure in the middle of the street. RUE Is this Ali? (a beat) It's me, Rue ... (a beat) Um ... (MORE) 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 70. RUE (CONT'D) I was wondering if you still wanted to like, maybe get pancakes or something? END OF EPISODE .	screenplays
Harry Potter Dreams to Dream Disclaimer: I don't own any of the characters. Just the plot. Author's note: A Short story written for the Random Writing Challenge. I apologize if the characters are a tad OCC. All was quiet in the castle when a brown mouse freed its self from a cat and scurried to the next hole. A woman in white quietly made her way through the castle trying not to make a sound. She picked up the sides of her dress to make the ends not brush against the cold floor. She panicked when the wooden door to the right of her opened and a man flung out. "DO not come back for I shall give you poison in your drink. I have had enough of you," the man said not paying attention to the woman in white. She sped quietly through the castle and found the teachers lounge completely puzzled by the scene she had witnessed. She had never seen either of the men before and did not know what room they had come out of. "Ahh Narcissa! How good of you to join the tea party." Albus Dumbledore, head of Hogwarts School Of Witch Craft and Wizardry spoke as she opened the door. She looked around the room. Tables and chairs decorated the room. 'Was this a party?' she thought. The room was lined with purple wall paper. A Purple bunny stood next to Dumbledore waving to her. Her sister Bellatrix was sitting in a chair holding a baby, rocking him to sleep. Wait, a baby? Since when does Bellatrix hold a baby? "Um Bella, is something wrong? Why are you holding a baby?" Narcissa asked her sister. "Don't you remember? You asked me to hold him. He's your baby. Come and look." Narcissa was scared to move. Something very strange was going on. When did she give birth to a baby? Narcissa didn't remember even getting married! She was only seventeen after all. "Sissy?" Bellatrix looked confused as she looked down at the baby. "Narcissa, don't you remember? You had a baby while at school. Professor Snape here helped you to the hospital room," Dumbledore said. "Wait, wait wait! What is going on?" Narcissa said as she sat down on the cold, hard floor. It was then that everything changed. Now she was standing in a room with her sister Bellatrix and Lucius Malfoy. Yet again there was Albus Dumbledore with the purple bunny only, they were in front of an alter. It looked like her sister was going to get married. "Come on Narcissa, it is your turn to marry Professor Snape," The purple life sized bunny said. "NO I DON'T WANT TO GET MARRIED!" She screamed. Suddenly Narcissa woke up in her own bed. Her husband of 20 years laying beside her. Black hair flowed out of his head resting on the pillow. Wait Brown hair? She turned the man over. NOOOOOOOO! She thought she did marry Professor Snape. "That's what you get for eating a month old muffin," someone said. She turned around and again, the giant purple bunny was sitting in front of the bed. "Why do you keep following me? And how are you real?" Narcissa asked. "I am a figment of your imagination. I am not real. I can turn into anything you want." The bunny replied. "NARCISSA. GET UP. YOU'LL BE LATE FOR SCHOOL." Bellatrix prodded Narcissa with her wand. Narcissa sat up and looked around. "Well it's about damn time you woke up,." Bellatrix said. "The bunny. Where did he go?" Narcissa asked. "Bunny? Narcissa ,what are you on? There is no bunny and there will never was one." Her sister walked out the door as Narcissa yawned. Rubbing her eyes, Narcissa blinked again. "Not again!" she screamed at the purple bunny, who was sitting on the edge of her bed eating the head off a giant chocolate Professor Snape.* Author's note: This is a short story and it was written for the Random Writing Challenge so if it doesn't make sense that's the whole point of the challenge! And I know the characters are a bit OCC, but it was my first attempt to write a Bellatrix and a Narcissa story. Please read and review! End file.	fanfiction
non - abelian monopoles are smooth , static , finite - energy solutions to the yang - mills - higgs equations with non - abelian gauge group . it was first noticed by t hooft and polyakov that to a distant observer they resemble dirac monopoles in an abelian gauge theory @xcite . thus the singularity of the dirac monopole can be smoothed out in non - abelian gauge theory . t hooft defined @xcite an asymptotic abelian magnetic field of a non - abelian monopole with gauge group su(2 ) . the flux of this magnetic field through the two - sphere at infinity is topologically quantised and non - zero . however , in the core of the monopole this magnetic field is singular @xcite , and the magnetic charge distribution which induces it typically has delta - function singularities . thus , while a non - abelian monopole is smooth , the magnetic charge distribution associated to t hooft s magnetic field is far from being smooth . as has been argued by coleman @xcite , there is no reason to expect the abelian magnetic field of a non - abelian monopole to be uniquely defined : any magnetic field which agrees with t hooft s asymptotically is an equally viable candidate . however , to date no definition of a magnetic field has been proposed which smoothes out the singularities in t hooft s field . in this article we remedy this situation : we propose a novel definition of the magnetic charge density of a non - abelian monopole which , unlike t hooft s charge density , is smooth . moreover , we show that the magnetic field induced by this charge density agrees with t hooft s asymptotically , at least in the case of bps monopoles . our charge density is evaluated by summing the squared norms of zero - modes of a dirac operator . in this way it resembles the trace of the bergman kernel used in khler geometry , which is a sum of squared norms of zero - modes of a cauchy - riemann operator . the proof that our charge density induces the correct asymptotic magnetic field is based on much of the mathematical formalism that has been developed to study bps monopoles , including the nahm transform and spectral curves . a prominent role is played by a function which we call the _ tail _ of the monopole . this function describes the asymptotics of the higgs field and was first studied by hurtubise @xcite . we have observed that this tail function can in many cases be calculated explicitly , which is remarkable given the paucity of explicit monopole solutions . another interesting consequence of our work is a proof of a conjecture @xcite relating conserved charges of the nahm equation to asymptotics of an associated greens function . this paper is structured as follows . in section [ sec2 ] we review standard results relating moments of electric ( or magnetic ) charge distributions to the asymptotics of the electric ( or magnetic ) fields that they induce . in section [ sec3 ] we introduce our charge density and show that its integral agrees with the magnetic flux through the two - sphere at infinity . the proof that the magnetic field induced by this charge density agrees asymptotically with t hooft s proceeds in two parts : in section [ sec4 ] we show that the moments of the charge density equal certain conserved quantities of the nahm equation , and section [ sec5 ] we show using hurtubise work on the tail function that these conserved quantities also prescribe the asymptotic expansion of t hooft s magnetic field . in section [ sec6 ] we present some explicit calculations of the tail function . we discuss promising extensions of this work in section [ sec7 ] . it is well - known that the moments of a distribution of electric charge determine the asymptotic expansion of the induced electric field @xcite . more precisely , let @xmath1 be a smooth function that decays exponentially as @xmath2 and let @xmath3 be a potential of the induced electric field @xmath4 . the functions @xmath5 and @xmath6 are related by @xmath7suppose that @xmath6 has an expansion in powers of @xmath0 of the form @xmath8 the functions @xmath9 must then be spherical harmonics of weight @xmath10 , as @xmath11 decays exponentially . the expansion is called the multipole expansion of @xmath6 . write @xmath12 and for each @xmath13 let @xmath14 be the polynomial @xmath15 the @xmath16 coefficients of @xmath14 are moments of the distribution @xmath5 . they determine , and are determined by , the spherical harmonics @xmath9 . more precisely : [ prop : moments asymptotics ] let @xmath5 be an exponentially decaying function and let @xmath6 solve @xmath17 , such that @xmath6 has an expansion in powers of @xmath0 of the form . then the coefficients of this expansion and the moments of @xmath5 satisfy the identities @xmath18 in which @xmath19 is a polynomial in @xmath20 whose coefficients are spherical functions , and @xmath21 is a small contour which circles the point @xmath22 although the equivalence of the moments and the spherical harmonics @xmath9 is a standard result , we present a brief proof of equations and , as our notation ( in particular our choice of parameterising the moments using a polynomial ) is non - standard . the proof of rests on the fact that the coefficents of @xmath23 solve the laplace equation this fact follows by induction from the following two identities , which are easily verified : @xmath24 integrating the right hand side of by parts twice and substituting the series expansion for @xmath6 then yields @xmath25 since @xmath26 , the coefficients of @xmath27 are spherical harmonics of weight @xmath10 . now spherical harmonics of different weights are @xmath28-orthogonal , so the integral over @xmath29 appearing in the preceding expression vanishes unless @xmath30 . thus the expression reduces to the stated result . the second identity follows from the first via representation theory . the space of spherical harmonics of weight @xmath10 and the space of degree @xmath31 polynomials both carry representations of @xmath32 : it is easily checked that the operators @xmath33 obey the @xmath32 commutation relations , @xmath34&=\pm{{\rm i}}l_\pm & [ l_+,l_-]&=2{{\rm i}}l_0 \\ [ j^{(\ell)}_0,j^{(\ell)}_\pm]&=\pm{{\rm i}}j^{(\ell)}_\pm & [ j^{(\ell)}_+,j^{(\ell)}_-]&=2{{\rm i}}j^{(\ell)}_0.\end{aligned}\ ] ] these representations are all irreducible . equations and define maps between the spaces of spherical harmonics of weight @xmath10 and the space of degree @xmath31 polynomials , and we aim to show that these maps are inverse to each other . the maps respect the action of @xmath32 , in the sense that @xmath35 their composition is a linear map from the space of spherical harmonics of weight @xmath10 to itself that commutes with the action of @xmath32 . by schur s lemma , this map is equivalent to multiplication by a constant , so we only need to show that this constant is 1 . we can do so by showing that the map fixes just one element . we choose the element @xmath36 . according to eq . the associated polynomial is @xmath37 we now evaluate the right hand side of eq . with this particular @xmath38 . in order to evaluate the contour integral we factorise the denominator : we find that @xmath39 and thus that @xmath40 only the @xmath41 term in this laurent series contributes to the integral , so @xmath42 this equals the original function @xmath9 , so eq . follows from eq . as claimed . the yang - mills higgs energy for an @xmath32 gauge field @xmath43 and adjoint scalar @xmath44 on euclidean @xmath45 is @xmath46 { { \rm d}}^3x,\ ] ] in which @xmath47 is a parameter and @xmath48 . a monopole is a finite - energy solution of its euler - lagrange equations satisfying the boundary condition @xmath49 the asymptotic scalar field of a monopole defines a map from the 2-sphere at infinity to the unit sphere in @xmath32 , and the topological charge of the monopole is the winding number @xmath50 of this map . the non - vanishing asymptotic value for @xmath51 breaks the gauge symmetry from su(2 ) to u(1 ) . motivated by this , t hooft proposed @xcite the following definition of the asymptotic abelian magnetic field of a monopole : @xmath52 another commonly accepted definition for the abelian magnetic field is @xcite @xmath53 the equations of motion imply that this magnetic field differs from t hooft s only by terms which decay exponentially , so these two magnetic fields share the same asymptotic expansion . both magnetic fields @xmath54 and @xmath55 have singularities at points where @xmath56 . the total magnetic charge @xmath57 of the monopole is defined to be the flux of @xmath54 ( or equivalently , of @xmath55 ) through the 2-sphere at infinity . it can be shown that @xmath58 , so the magnetic charge is topologically quantised . it is common in the study of monopoles to introduce two twisted dirac operators with real parameter @xmath59 : @xmath60 these act on @xmath28-normalisable spinors transforming in the fundamental representation of su(2 ) . let @xmath61 be a basis for the space of solutions to @xmath62 , let @xmath63 be a basis for the space of solutions to @xmath64 , and suppose that these bases are both orthonormal : @xmath65 we propose @xmath66 as a definition of the magnetic charge density of a monopole . note that this does not depend on the choice of orthonormal bases @xmath67 and @xmath68 . this density is not unique , as it depends on the parameter @xmath69 . it will be demonstrated below that , although the densities @xmath70 may differ , they induce the same asymptotic magnetic field , with the consequence that all values of @xmath59 yield equally viable charge densities @xmath70 . however , if a unique charge density was required then @xmath71 seems the most natural choice . note that all of the densities @xmath70 decay exponentially in @xmath72 . the first requirement of any putative magnetic charge density is that its integral should equal the total magnetic charge @xmath73 as viewed from infinity . our proposed density meets this requirement : the normalisation conditions above imply that @xmath74 and an index theorem guarantees that @xmath75 . thus the topological nature of the magnetic charge is made manifest through the index theorem . a more sophisticated requirement of a magnetic charge density is that the moments of the density agree with the multipole expansion of the magnetic field in the manner described in the previous section . the main result of this paper is that our proposed density meets this requirement , at least in the case of bps monopoles . bps monopoles with @xmath76 are solutions of the first order equation @xmath77 and the boundary condition @xmath78 they solve the second order euler - lagrange equations for the yang - mills - higgs energy in the limiting case where @xmath79 . the bps equation guarantees that @xmath80 this operator is negative and therefore @xmath81 has no zero - modes @xmath68 . therefore our definition of the magnetic charge density reduces in the case of bps monopoles to @xmath82 bps monopoles can be completely constructed through the formalism of the nahm transform @xcite . this transform associates to any monopole the matrix - valued functions @xmath83 it is a non - trivial but well - known result that these matrices solve the nahm equation , @xmath84 = \frac12\epsilon_{ijk}[t_j , t_k]\quad\mbox{for } i=1,2,3,\ ] ] and certain boundary conditions ( whose precise form does not concern us here ) . the nahm equation is equivalent to a lax equation @xmath85 = 0,\ ] ] in which @xmath86 it follows that the quantities @xmath87 are independent of @xmath88 , for @xmath13 . these conserved quantities are in fact equal to the moments of the density , as the following proposition shows : [ prop : moments charges ] the moments of the charge density of a bps monopole and the conserved charges of its associated nahm data satisfy @xmath89 before presenting the proof we note that this implies that the moments of the charge distribution @xmath70 are independent of @xmath59 . this is why we believe all of the densities @xmath70 are equally viable candidates for a magnetic charge density . for future reference , we denote these moments by @xmath90 the identity will be proved from standard identities for green s functions . let @xmath91 be the green s function for @xmath92 , i.e. the @xmath93 matrix - valued function which solves @xmath94 for convenience we introduce the notation @xmath95 the following identity is well - known ( cf . equation ( 4.35 ) , ( 4.36 ) in @xcite ) : @xmath96 we will use induction and this identity to prove the statement @xmath97 from which our main result follows . the case @xmath98 of follows directly from the normalisation of the fermion zero modes . suppose then that ( [ 2 ] ) holds in the case @xmath30 for some @xmath99 . we will show that it must also hold in the case @xmath100 . appealing to the greens function identity and integrating by parts yields : @xmath101 observe that @xmath102=\sigma(\zeta)=\left[d_s,\overline{x(\zeta)}\right]^\dagger$ ] , where @xmath103 since in addition @xmath104 , the unwanted second term on the right equates to @xmath105 this expression vanishes , because @xmath106 . therefore the identity holds in the case @xmath100 , and for all @xmath107 by the principle of mathematical induction . in the case of bps monopoles the norm of the scalar field @xmath44 provides a scalar potential for the asymptotic magnetic field : it is easily shown using that @xmath108 . hurturbise has derived @xcite an expression for the asymptotic behaviour of @xmath51 in terms of spectral curves . we recall that the spectral curve of a bps monopole is the vanishing set of the polynomial @xmath109 we note that , like the polynomials @xmath110 , this polynomial @xmath57 is independent of @xmath88 . the _ tail _ of a bps monopole is a real function on the complement of a compact subset of @xmath45 , defined by the following contour integral : @xmath111 for sufficiently large @xmath72 , half of the poles of the integrand cluster near the point @xmath112 on the riemann sphere corresponding to @xmath113 , and half near its antipode @xmath114 . the contour @xmath21 encloses the former and not the latter . the domain of @xmath115 is chosen such that none of the poles move from one cluster to another as @xmath116 moves through the domain [ thm : hurtubise ] the norm of the higgs field and tail of a bps monopole satisfy @xmath117 up to exponentially decaying terms . hurtubise result can be used to prove : [ thm : main ] let @xmath118 be a bps monopole , let @xmath59 , and let @xmath70 be the charge density defined in equation @xmath119 . let @xmath120 be a solution to @xmath121 and suppose that it admits an asymptotic expansion in powers of @xmath0 . then the asymptotic expansions of @xmath120 and @xmath122 agree to all orders . the physical interpretation of this theorem is that the multipole expansion of the magnetic field induced by @xmath70 agrees with that of the magnetic field @xmath54 defined in . the tail is automatically harmonic almost everywhere , as follows from the formalism of the penrose transform . therefore it admits an asymptotic expansion in powers of @xmath0 of the form @xmath123 in which @xmath124 are spherical harmonics of weight @xmath10 . by hurtubise theorem [ thm : hurtubise ] the function @xmath122 admits an expansion in powers of @xmath0 that agrees precisely with this expansion of @xmath115 . it is straightforward to derive expressions for these functions @xmath124 from the integral expression . first , note that @xmath125 therefore @xmath126 since @xmath127 , we conclude that @xmath128 suppose now that @xmath120 admits an expansion of the form @xmath129 . by propositions [ prop : moments asymptotics ] and [ prop : moments charges ] the coefficients @xmath9 satisfy @xmath130 thus the expansions of @xmath120 and @xmath122 coincide . in the next section we present some results concerning the explicit evaluation of the tail function @xmath115 . before doing so , we pause to point out that the nahm transform provides a natural definition of the potential function for the magnetic field induced by @xmath70 . we recall that the nahm data green s function @xmath131 is the @xmath132 matrix - valued solution to @xmath133 this green s function is related to the monopole zero - modes @xmath67 by the identity @xcite , @xmath134 it follows that @xmath135 therefore @xmath136 is a potential for the magnetic field induced by @xmath70 . in @xcite it was conjectured that the asymptotic expansion for @xmath137 is determined to all orders by the conserved quantities @xmath110 of the nahm equation . this conjecture provided the initial motivation for our investigations . it can be proved directly from propositions [ prop : moments asymptotics ] and [ prop : moments charges ] , as in the proof of theorem [ thm : main ] . in general reconstructing a monopole from its nahm data is a difficult problem . in this section we show that the tail , and hence the asymptotics , of a monopole can straightforwardly be evaluated from its spectral curve or the conserved tensors of the nahm equation . explicit formulae will be presented for examples with platonic symmetry . the first step in evaluating the tail is to determine the moments @xmath138 from the spectral curve . let @xmath139 be the coefficient of @xmath140 in the spectral curve , so that @xmath141 note in particular that @xmath142 . newton s identity states that @xmath143 rearranging this yields the formula @xmath144 in which it should be understood that @xmath145 for @xmath146 . from this formula the polynomials @xmath138 can be calculated recursively . the second step in evaluating the tail is to determine the spherical harmonics @xmath124 from the polynomials @xmath147 . in principle this can be achieved by evaluating the contour integral , but in practice it is useful to have explicit formulae in terms of the basis polynomials @xmath148 . the following lemma provides such formulae . [ lem : m to v basis ] let @xmath149 and let @xmath124 be the function on @xmath29 obtained from @xmath147 by the contour integral . let @xmath150 by the functions defined by @xmath151 then @xmath152 note that the functions @xmath153 agree up to normalisation and rotation with the standard spherical harmonics . we begin by noting that @xmath154 the case @xmath155 of this identity can be verified by direct calculation , and the cases with @xmath156 follow because @xmath157 obeys the leibniz rule . it follows that @xmath158 to evaluate the contour integral , we note the following identity ( which is easily proved ) : @xmath159 here @xmath160 is the operator defined in the proof of proposition [ prop : moments charges ] . it follows from this identity and equations and that @xmath161 the result follows . lemma [ lem : m to v basis ] provides a means to evaluate @xmath124 from @xmath147 which is easily implemented in standard algebraic software packages . below we present series expansions of @xmath115 for examples of monopoles with platonic symmetry , along with closed form expressions along certain symmetry axes . in figure [ figure ] we display isosurfaces for @xmath162 , which approximates the energy density of the monopole . these are created using series expansions for @xmath115 up to @xmath163 ( removing the last non - zero term from the series expansion did not alter the pictures ) . they closely resemble the pictures published in @xcite , so it seems that much of the structure of a monopole is captured by its abelian tail . for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] + for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] [ figure ] there is a unique monopole with topological charge @xmath164 and tetrahedral symmetry @xcite . its spectral curve is defined by the polynomial @xmath165 the first few terms in the expansion for @xmath115 are easily evaluated . in order to write them down in a concise manner , we make use of the fact that all tetrahedrally - symmetric polynomial functions on the two - sphere can be written in terms of the three polynomials @xmath166 , @xmath167 and @xmath168 . in these terms , we find that @xmath169 note that in general the terms @xmath124 vanish except when @xmath170 . this property does not follow from symmetry considerations alone : for example , there is a tetrahedrally - symmetric spherical harmonic with @xmath171 , but this spherical harmonic does not appear in the series expansion for @xmath115 . it seems difficult to sum the series expansion for @xmath115 in general . however , we have been able to find a closed form expression in some special cases , by working directly from the contour integral expression . restricting eq . to the @xmath172-axis @xmath173 yields the expression @xmath174 by change of variables @xmath175 , the contour integral becomes @xmath176 the denominator of the integrand has two roots , but only the root @xmath177 lies inside the contour @xmath178 . the contour @xmath178 circles this pole twice because @xmath175 . therefore the integral evaluates to @xmath179 it is straightforward to check that the asymptotic expansion of this function agrees with the restriction of the series expansion for @xmath115 to the @xmath172-axis . the reason why a closed form expression can be obtained on the @xmath172-axis is that this line has a high degree of symmetry . the symmetry group of the monopole fixes a tetrahedron , and the @xmath172-axis passes through opposite edges of this tetrahedron . rotations through @xmath180 about the @xmath172-axis fix both the axis and the monopole . this rotational symmetry allowed a simplification of the contour integral , so that the roots of the denominator could be easily found . there is another line with a high degree of symmetry , namely that passing through a vertex and the centre of the opposing face of the tetrahedron . this line has equation @xmath181 . a closed form expression for @xmath115 can also be obtained along this line . to obtain the expression for @xmath115 it is convenient to first rotate the monopole so that the desired line is again the @xmath172-axis . this is accomplished by making a mbius transform of the spectral curve of the form @xmath182 with @xmath183 and @xmath184 . after making this mbius transformation the spectral curve becomes @xmath185 with @xmath57 in this form and @xmath173 the contour integral becomes @xmath186 this integral is simplified by the substitution @xmath187 , and evaluates to @xmath188 we have checked that the expansion of this expression in powers of @xmath189 agrees with the restriction of the series expansion for @xmath115 to the line @xmath181 . the unique monopole with topological charge 4 and cubic symmetry has spectral curve @xcite @xmath190 the first few terms in its series expansion for @xmath115 are easily calculated , and can be written in terms of the octahedrally - symmetric polynomials @xmath191 , @xmath192 and @xmath193 as @xmath194 we have been able to evaluate @xmath115 in closed form along lines which pass through opposing vertices and opposing faces of the cube fixed by the symmetry group : @xmath195 the series expansions of these functions in powers of @xmath189 agree with the general series expansion quoted above . both of these expressions are obtained using a similar method to the one used for the 3-monopole . for the second , it is convenient to first make a mbius transformation with @xmath183 and @xmath196 , after which the spectral curve has the form @xmath197 and the desired line has moved to @xmath173 . the unique monopole with topological charge 5 and cubic symmetry has spectral curve @xmath198 note that this differs from the result quoted in @xcite in that the coefficient of the polynomial in @xmath20 is @xmath199 rather than @xmath200 in attempting to reproduce the calculation of @xcite we discovered a sign error . the first few terms in the series expansion for @xmath115 are @xmath201 we have been able to evaluate @xmath115 in closed form along lines which pass through opposing vertices and opposing faces of the octahedron fixed by the symmetry group : @xmath202 the series expansions of these functions in powers of @xmath189 agree with the general series expansion quoted above . both of these expressions are obtained using a similar method to the one used for the 3-monopole . for the second , it is convenient to first make a mbius transformation as for the 4-monopole , after which the spectral curve has the form @xmath203 the unique charge 7 monopole with dodecahedral symmetry has spectral curve , @xmath204 the first few terms in the series expansion for @xmath115 are @xmath205 the tail function @xmath115 has the following closed form expression along the line @xmath173 : @xmath206 the series expansion of this function in @xmath189 agrees with the general series expansion quoted above . the line on which we have evaluated @xmath115 passes through the centres of opposite faces of the dodecahedron fixed by the symmetry group . one might ask whether it is also possible to evaluate @xmath115 on a line passing through opposite vertices . in order to do so using the method above one would first need to move this line to the @xmath172-axis by mbius transformation and then to factor the denominator in the contour integral . on symmetry grounds this denominator is a quartic polynomial in @xmath207 , which could in principle be factorised , but we have not attempted to do so . in this paper we have proposed a novel definition for the magnetic charge density of a monopole with gauge group su(2 ) . this definition differs from standard definitions in that it is smooth and non - singular . we have shown that , in the case of bps monopoles , the abelian magnetic field which it induces agrees with the standard definitions and to all orders in the multipole expansion . this result can straightforwardly be extended to the case of su(@xmath208 ) monopoles . su(@xmath208 ) monopoles with maximal symmetry - breaking have @xmath209 asymptotic abelian magnetic fields . hurtubise and murray have proved in @xcite a result which relates the asymptotics of these magnetic fields to the spectral curves and which generalises the result of hurtubise employed in this paper . the definition of the magnetic charge densities @xmath70 generalises directly to the su(@xmath208 ) , as do our arguments relating these to the nahm data conserved quantities and the asymptotic magnetic fields . the chief novelty is that different values of @xmath88 must be chosen to source the different magnetic fields . it may be possible to generalise our result to apply to su(@xmath208 ) calorons also , however , the analogue of hurtubise result for calorons is not currently known . the tail function , which describes the asymptotics of the norm of the higgs field , played a key role in our analysis . while the fields of a monopole are in general difficult to construct in explicit form , the tail function is easily evaluated as a series given knowledge of the monopole s spectral curve . moreover , we have exhibited a number of examples in which this tail function can be evaluated in closed form when restricted to a well - chosen line with a high degree of symmetry . the problem of reconstructing a monopole field explicitly from its nahm data remains an important problem , and our observation suggests that more progress might be made if attention is restricted to these symmetric lines . our results have some consequence for the analysis of magnetic bags . one of us argued in @xcite that the nahm transform for monopoles should converge in a certain large @xmath50 limit to what was called the @xmath210 nahm transform . it seems that hurtubise result , together with our observation relating the tail function to the nahm data conserved charges , provides a more direct proof of this result . a final comment concerns other systems that support bps topological solitons . analogues to the charge density @xmath70 could conceivably written down for instantons , vortices , and other solitons . it would be interesting to investigate whether such densities , like the density for monopoles , carry any physical significance . + * acknowledgements . * we are grateful to falk bruckmann for providing the stimulus for this project . we also thank nick manton and bernd schroers for helpful suggestions . f. bruckmann , d. nogradi and p. van baal , `` constituent monopoles through the eyes of fermion zero modes , '' nucl . b * 666 * ( 2003 ) 197 [ arxiv : hep - th/0305063 ] . d. ngrdi , `` multi - calorons and their moduli , '' phd thesis , university of leiden , 2005 , [ arxiv : hep - th/0511125 ] . j. d. jackson , _ classical electrodynamics _ , john wiley and sons , 1962 .	arxiv
Different types of carbides [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/69853/edit). Closed 6 years ago. [Improve this question](/posts/69853/edit) I am confused between different types of carbides such as $\ce{CaC2}$, $\ce{Mg2C3}$, $\ce{Al4C3}$, $\ce{BaC2}$ or $\ce{BeC2}$. And if they are different, why they are called carbides? Carbides are a specific class of carbon-containing compound; there is not a single compound called "carbide". According to [this Wikipedia article](https://en.wikipedia.org/wiki/Carbide): > > In chemistry, a carbide is a compound composed of carbon and a less > electronegative element. Carbides can be generally classified by > chemical bonding type as follows: (i) salt-like, (ii) covalent > compounds, (iii) interstitial compounds, and (iv) "intermediate" > transition metal carbides. Examples include calcium carbide > ($\ce{CaC2}$), silicon carbide ($\ce{SiC}$), tungsten carbide > ($\ce{WC}$) (often called simply carbide when referring to machine > tooling), and cementite ($\ce{Fe3C}$), each used in key industrial > applications. The naming of ionic carbides is not systematic. > > >	stackexchange/chemistry
destruction of the hair follicle can result from a primary folliculo centric disease leading to primary cicatricial alopecia or a secondary insult causing secondary cicatricial alopecia . the north american hair research society ( nahrs)-sponsored workshop put forward a working classification of primary cicatricial alopecias in 2001 , which subdivides the primary cicatricial alopecias according to the predominant inflammatory cell type present and those cicatricial alopecia with inconclusive clinical and histopathological finding are placed under the non - specific category . various non - follicular conditions of the scalp can lead to secondary cicatricial alopecias , which include traumatic , infectious , inflammatory , neoplastic , and genetic conditions . cicatricial alopecias can be particularly challenging clinically , as patients tend to present late due to non - recognition at an early stage , and treatment options are poorly defined and often limited in effect . hair loss has a significant impact on the psychological status , quality of life , and social interaction of those suffering from it . while this is essentially true for all forms of cosmetically disturbing hair loss , the situation is more aggravated in cicatricial alopecias , as they are usually irreversible and often progressive in nature . although there are many studies.[713 ] addressing the psychosocial impact of non - cicatricial alopecias , the information on the psychosocial impact of cicatricial alopecias is sparse . the study was a descriptive study consisting of 30 consecutive patients of irrespective of their age and sex , attending the dermatology out - patient department of a tertiary care institute from september 2008 to june 2010 . data including patient 's age , gender , occupation , marital status , age of onset of disease , disease duration , and symptoms , morphology of the lesions , and site of involvement were recorded . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . potassium hydroxide mount ( koh ) , gram staining , culture sensitivity , and antinuclear antibody testing were undertaken whenever necessary . an elliptical scalp biopsy was taken from the lesional area ( centre / periphery ) , for histopathological evaluation in all cases except those with tinea capitis ( 8 cases ) , which were diagnosed mostly on the basis of clinical presentation , koh examination and/or therapeutic response to griseofulvin . all histopathologic slides were interpreted using defined systematic criteria , as defined by the north american hair research society guidelines . of the 30 patients , psychosocial assessment due to the disease was carried out in 23 patients who were capable of responding to the questionnaire . the psychosocial impact was assessed using an adopted and suitably modified version of women 's androgenetic alopecia quality of life questionnaire ( waa - qol ) . we modified the questionnaire to suit our population and resultant number of questions was 20 . furthermore , we simplified the scoring system to make the questionnaire more comprehensible by scoring each questions on a series of three answers . we also grouped these 20 questions into three sub - scales to measure the psychosocial impact of cicatricial alopecias on the emotional state , social life , and functioning of our patients . unlike the original questionnaire , the questions asked are shown in appendix i and its scoring system in appendix ii . scoring system for the evaluation of psychosocial impact of cicatricial alopecias the results were tabulated and analyzed using spss 15 software . comparison of group differences in gender , disease activity , marital status , in relation to psychosocial impact , was performed by mann - whitney 's test . the relationship between disease variables ( age , disease duration ) and the psychosocial impact were examined using spearman 's rho correlation coefficients . when comparing the scalp surface area involvement and the psychosocial impact , kruskal - wallis test was performed . the observations made in our study has been put under two categories : clinical and histopathological characteristics of cicatricial alopecias.of the 30 cases with cicatricial alopecias , 19 were females ( 63.3% ) and 11 were male ( 36.7% ) patients . according to the nahrs working classification of primary cicatricial alopecias , they were categorized into- lymphocytic , neutrophilic , mixed and non - specific cicatricial alopecias . the secondary cicatricial alopecias were classified as those caused by infections , sclerosing disorders , and vesiculo - bullous disorders . there were 19 patients ( 63.3% ) of primary cicatricial alopecias and 11 patients ( 36.7% ) of secondary cicatricial alopecias.psychosocial impact of cicatricial alopecias.for the evaluation of psychosocial impact 23 patients were included , which comprised of 9 males and 14 female patients . the mean total duration of disease was 3.1 ( range 0.07 - 20 ) years . it was seen that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . clinical and histopathological characteristics of cicatricial alopecias . of the 30 cases with cicatricial alopecias , according to the nahrs working classification of primary cicatricial alopecias , they were categorized into- lymphocytic , neutrophilic , mixed and non - specific cicatricial alopecias . the secondary cicatricial alopecias were classified as those caused by infections , sclerosing disorders , and vesiculo - bullous disorders . there were 19 patients ( 63.3% ) of primary cicatricial alopecias and 11 patients ( 36.7% ) of secondary cicatricial alopecias . psychosocial impact of cicatricial alopecias . for the evaluation of psychosocial impact 23 patients were included , which comprised of 9 males and 14 female patients . the mean total duration of disease was 3.1 ( range 0.07 - 20 ) years . it was seen that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . difference in mean scores of waa - qol and its domains and ssai the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . difference in mean scores of waa - qol and its domains and ssai the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . although cicatricial alopecias are not life threatening conditions , affected individuals may experience substantial psycho - social distress . we observed that that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . this clearly reflects the negative impact of cicatricial alopecias on the patient 's psychosocial state . studies conducted previously on psychological effects of androgenetic alopecia ( aga ) , have found women with aga more psychosocially debilitated than other groups . it was probably because these studies dealt with androgenetic alopecia , which may be regarded as more we examined the relation of gender with the psychosocial impact of cicatricial alopecias in our patients . the social domain of the questionnaire was found to be more affected in females patients ( p=0.05 ) , as reflected by a higher mean ( 1.11 ) compared to males ( 0.58 ) . this could be partly due to the societal norms , which make women more conscious of their physical appearance , lack of which could lead to refrain from social activities . however , apart for the social domain both the sexes seemed to be equally affected by their hair loss . hence , this pathological form of hair loss can be very distressing psychosocially to those suffering from it , and no gender escapes from its impact . an inverse correlation of age of the patient and the modified waa - qol and its domains was seen in our study , though not statistically significant . lack of which can make them feel older and have a negative impact on their self - confidence , perception of physical unattractiveness , and cause embarrassment , and frustration . in a study by wells et al . on psychological correlates of hair loss in 182 balding men , it was found that lower self - esteem , higher introversion , and feeling of unattractiveness were more marked in younger men with aga , and they stated that socialization is again more affected with premature hair loss . the duration of cicatricial alopecias in our patients ranged from 25 days to 20 years . surprisingly , the duration of the disease had no significant impact on the modified waa - qol ( p=0.207 ) or its domains . our observation was similar to that made by williamson et al , who assessed the effect of hair loss on quality of life in 70 patients . we found no significant difference in the mean of modified waa - qol or its domains among the married and unmarried patients . despite the fact that one would expect more psychosocial impact among the unmarried patients , we observed almost an equal psychosocial impact among the married and unmarried groups with cicatricial alopecias . it could be due to the fact that most of our married subjects were females ( 12/16 cases ) , reflecting less perseverance and tolerance by their spouses , regarding their hair loss in a male dominant society . it is possible that individuals with limited hair loss are able to cover their loss with remaining hair and so are likely to experience less psychological problems . cash evaluated the psychological effects of aga in men and women , and found that patients with more extensive hair loss had significantly higher psychosocial distress . in a study , by schmidt et al , on- strategies of coping and quality of life in women with alopecia , identified a subset of patients in their study with no visible hair loss who also showed a significantly lower quality of life . we did not find any significant difference in the mean scores of waa - qol and its domain among patients with different degree of hair loss . the reason for obtaining similar scores among the different groups in our study could be due to the fact that majority of our patients 65.22% ( 15/23 cases ) fell into a single category of hair loss involving less than 25% of scalp surface , and another 30.43% ( 7/23 cases ) had hair loss involving 26 - 50% of the scalp . most of the patients in the second group had hair loss towards the lower side of the range . nevertheless , the fact that even patients with slight visible hair loss can have considerable psychological distress should be acknowledged . the results of our study bore some resemblance to results obtained during the developmental process of the original questionnaire in regard to the questions ranked by our patient . women with aga , ranked questions related to negative feelings about their appearance , feelings of unattractiveness , annoyance at the amount of time spent on hair , trying to cover bare spots ; high in their study . whereas , questions related to restriction of activities , or feeling older were not ranked highly important . it is evident from our study that cicatricial alopecias have an enormous amount of psychological impact on those suffering from it . in addition to laying an emphasis on early diagnosis aided by clinico - pathological correlation , to prevent irreversible hair loss , the psychosocial impact of the disease should also be taken into consideration and addressed by the treating dermatologist .	pubmed
Łukasz Krupiński born June 5, 1992 in Warsaw, Poland is the Polish pianist, winner of many piano contests in Poland and abroad. He has been a participant in the XVII International Chopin Piano Competition in Warsaw, Poland in October 2015, he performed until the semifinal of this competition stage 3. His genre is classical music. Krupiński has his own disc label, his disc label is Dux Records, and he also has his own album and his album now is Espressione...: From Bolzano to San Marino Biography Łukasz Krupiński is a famous Polish classical pianist. He was born on June 5, 1992 in Warsaw, Poland. He started to take piano lessons in his age of five. He attended and finished the Zenon Brzewski music school in Warsaw under professor Joanna Ławrynowicz. He finished his education at Fryderyk Chopin University of Music under Alicja Paleta-Bugaj and Dr Konrad Skolarski. As a participant in the XVII International Chopin Piano Competition 2015, he performed in the semifinals. In 2016 he was honoured with a Commemorative Medal of Frederic Chopin University of Music in recognition of his artistic achievements. Krupiński gives concerts in many Polish cities as well as in Germany, Belgium, Norway, Spain, Switzerland, Russia, Lithuania, Belarus, China, Australia and United States. In January 2017 the publishing house DUX issued the debut CD of Łukasz Krupiński Espression with works by Joseph Haydn, Frédéric Chopin and Alexander Scriabin. The CD was nominated for International Classical Music Awards. Awards and competitions Grand Prix on the 2nd Siberian International Chopin Piano Contest in Tomsk Russia 2013 Extra prize for the best performance of Frédéric Chopin works on the same competition Extra prize for the best performance of Alexander Scriabin works on the same competition Prize of the Polish Ministry of Culture and National Heritage for outstanding http://www.deutschlandfunk.de/gedichtband-von-josef-capek-hoelle-in-versform.700.de.html?dram:article_id=366559 on the field of the artistic creativeness 2013 and 2014 Scholarship of the 2014 Yamaha Music Foundation of Europe piano competition 2nd Prize on the 47th Polish Chopin-Competitions in Warsaw 2015 and right to participate in the XVII International Chopin Piano Competition Warsaw 2015. 1st Prize on the 15th International Piano Competitions of the Chopin Society in Hannover. 1st Prize on the ClaviCologne International Piano Competition 2016 in Aachen. 1st prize at the International Piano Competition in San Marino, September 18, 2016. In addition to the main prize, he received all the additional prices: from the critics, from the audience and from the orchestra of San Marino. Second prize went to Dmytro Choni from Ukraine, the third to Men Shen Sheng from Taiwan. 3rd prize at the Kissinger Klavierolymp Kissingen Piano Olympics 2018. Websites Official Website Chopin Society Poland Polish Music Centre Preludes by Edward Sielicki 2nd stage of the San Marino piano contest References Category:Polish classical pianists Category:1992 births Category:Living people Category:21st-century classical pianists	wikipedia
Robotech/Macross It's Not Easy Hi all! This is the Captain again. Another song-fic, only about my fellow Captain, Henry Gloval. In my opinion, there are simply _not_ enough fics about him out there, so I'm contributing to the cause. And I do apologize if my space terminology isn't correct, but it's been awhile since I've read the books. These are just some of the thoughts he might have had during the series. Before he died. Which was when I threw the book across the room. They ALWAYS kill my favorite characters! Disclaimers: Don't own Robotech, Jack McKinney does, and Five for Fighting owns "Superman" (the song, not the guy...DC comics owns the guy...an-yway...). _It's Not Easy_ _I can't stand to fly_ Captain Gloval looked at the wide expanse of stars from the bridge of the SDF-1 and sighed. Here I am, the captain of the greatest weapon Earth has ever seen, and I no longer find pleasure in flying. It was nice enough some days, but not now. It's too much right now. _I'm not that naïve_ Over the speaker, Minmei's voice provided a pleasant distraction from his disturbing thoughts. Not enough though, he amended somberly. She had to grow up fast, Gloval thought. We all did. And I'm just a tired old man, one old man in charge of a thousand people! "Sir?" Claudia said. "Sir, I've got those bearings you asked for." He nodded stiffly without turning his head. "Thank you, Claudia. Bring us around, please." _I'm just out to find_ _The better part of me_ Well, time to explain myself, I guess. Turning to face his crew, he smiled tiredly. "Ladies, these people have been traveling with us for quite some time. I think we owe it to them to show off some of the better sights of space. The bridge crew chuckled a little and got back to their jobs. _I'm more than a bird_ _I'm more than a plane_ "I hate it when he's like this!" Sammie whispered to Lisa. "It's like his blaming himself for everything that's gone wrong!" Lisa nodded. "I agree. It's something even more than that though, Sammie. As the Captain, he has to be bigger than us, the people, even the ship he's commanding." "And this is a really big ship, right?" "Right." _I'm more than some pretty face _ _Beside a train_ _And it's not easy to be me_ Gloval's face came over the various visual sets over the ship. "Ladies and gentleman of the SDF-1: we are approaching one of the many groups (A/N galaxies?) of stars in our universe. This also happens to be one of the prettiest. If we're lucky, we'll also see some of the "living cloud whales" Doctor Lang has mentioned before. Captain Gloval out. _I wish that I could cry_ _Fall upon my knees_ After Gloval turned the ship-wide visual system off, his already faint smile disappeared. Damn, he thought while rubbing his eyes, why do I fell so tired? "Lisa, Claudia, will you two take care of things? I'll be in my quarters if you need me." "Yessir," the two snapped quietly. After a long hot shower, Gloval sat on the edge of his bed in soft sweatpants, rubbing his salt-and-pepper hair. Noticing the rivulets of water running down his face, he vaguely wondered if they were tears or excess water. _Find a way to lie_ '_Bout a home I'll never see_ Getting up again, he wandered over to one of his few personal effects; a picture of Earth from outer space. Snorting derisively, he said "Outer space indeed!' Suddenly, the alarm sounded. Cursing fervently, he pulled on his discarded uniform pants and threw on his jacket, buttoning it as he ran down the hall to the bridge. _It may sound absurd,_ _But don't be naïve,_ _Even heroes have the right to bleed_ "Zentraedi warships approaching, Captain," Lisa said tightly. "VT fighters scrambled, sir." "Thank you Lisa. How many warships?" "Only two, sir." Gloval frowned. "Two? Why only..." his voice died as his eyes widened. "Lisa! Call them back immediately!" Before Lisa could reach the toggle, the warships exploded. Lisa blinked and looked back at the captain who had regained his mask of impassivity. "Sir?" "Call any survivors back, Lisa. We can't do anything else here. Claudia? Pull out immediately. Those were buoys-they'll be here anytime now." Pausing, he added "and get me the casualty list as soon as possible. Then you ladies go to bed-I'll stay here until the late crew is assembled." Slowly, "Gloval's Harem" filed off of the bridge. Lisa hesitated, and looked back to ask if he needed any help. Seeing Gloval's head shake, she continued off the bridge. You know, he almost looked like he wanted to cry. _I may be disturbed_ _But what you can see_ _Even heroes have the right to dream_ _And it's not easy to be me_ After the late crew had been assembled, Gloval trudged back to his room. Blearily unbuttoning his coat and collapsing on the bed, he rolled over and put an arm over his eyes. Please, he begged silently, no nightmares tonight. No nightmares tonight, please God. _Up, up, and away, away from me,_ _Well it's alright_ _You can all sleep sound tonight,_ _I'm not crazy or anything_ The next day saw Captain Gloval back on the bridge, rubbing bloodshot eyes. However, only Lisa was there to see anything. "Did you sleep well, sir?" she asked with false cheerfulness. Gloval grunted and took another sip of coffee. You didn't listen, he cursed silently, I asked for no nightmares! You didn't listen! _I can't stand to fly _ _I'm not that naïve_ _Men weren't meant to ride _ _With clouds between their knees_ _I'm only a man_ _In a silly red sheet_ _Looking for kryptonite on this one way street_ transport, on the way to conference with Admiral Hayes Some obnoxious rookie had seen to it that all his "cocktails" were on his uniform jacket the day the SDF-1 left earth. Now another one had seen to it that a red cape was on one of the hooks in the transport. "The Red Cape of Honor," it was called. Lisa held out the cape to Gloval expectantly. "Apparently they want you to wear this, sir." Gloval raise one bushy eyebrow. "Apparently." _Only a man _ _In a funny red sheet_ _Looking for special things inside of me_ _Inside of me_ _Inside of me_ _Inside of me_ _I'm only a man _ _In a funny red sheet_ after conference with Admiral Hayes Gloval looked at the cold fury on Commander Haye's Face and silently motioned for her to get in the transport. Inside, they sat in silence for quite some time before Lisa asked "What are we going to do now?" Gloval shook his head. "First of all, I'm going to remove this stupid cape. Second of all," then he said no more because he was busy ripping up the cape and wadding up the shreds. "Commander, we're going to march back to the ships with our heads held high. I will inform the bridge what happened. Then...then I will address the ship." _I'm only a man_ _Looking for a dream_ _I'm more than a man_ _In a funny red sheet_ _And it's not easy_ after Gloval addressed the ship and started crying As Gloval was wiping his eyes, he looked with fuzzy vision around the ship, and the thousands of people looking up at Minmei. (A/N: sorry to all you Minmei fans, but I HATE her!!!!--) "Captain," Lisa said quietly, "we can leave now, if you want." Hands still shaking, Gloval nodded. After shooing Lisa away, Gloval sat down heavily on his bed. His hopes of returning to Earth, of restoring these people to their homes, all of them were crushed. "Now what?" he asked the forlorn walls. Sighing, he continued mumbling out loud. "No more sunsets, no more ocean, no more flowers." Smiling grimly, he added well, I guess I can give the brass one last show then. Turning over, he slowly fell into a deep sleep, permeated only with dreams of a strange blue and green planet once called home. _It's not easy to be me_ End file.	fanfiction
By partnering long-term with an end-to-end branding specialist, Westpac has been able to streamline their procurement process from brand design and construction drawings through to manufacture and installation of national roll outs of the completed signage. Uniformity of the Westpac corporate identity is always of the utmost importance for us at Signcraft. All Westpac projects are jointly managed by our Key Account Manager and a national team of project managers, all experts in the industry and dedicated to Westpac. By utilising our long-running expertise from end-to-end, the cost and complexity of Westpac's branding journey continues to be significantly reduced and consistently delivered, enabling their vision to 'streamline and simplify' each and every project. Each and every Westpac site is assessed by our local Site Surveyor to identify the specific conditions of the site and address any structural challenges prior to design development. Conceptual designs are value engineered to guarantee buildability and reduce cost by eliminating risk by using the most appropriate materials to ensure sustainability and value. During our long standing partnership with Westpac, we have worked closely with their specialist team of ATM installers to ensure the company's corporate identity is carried across all facets of the business both internally and externally. Manufacturing specialty branding for Westpac ATM surrounds for multiple sites across the country, we then supply the product to the specialist team for installation. We have recently been appointed as the major signage partner for the financial institution. Manufacturing the hero 'W' of the brand, in freestanding units up to 2.7m high, as well as external signage in a 'branch pride' rollout nationwide. The branch pride project also included custom cladding in the corporate colours, a new product for us, and a valued benefit for our client. One supplier, one installer – Signcraft has helped streamline the process for Westpac by being a trusted manufacturer and installer of the total retail branding suite. Putting customer experience first, we have addressed wayfinding challenges to improve the navigation for their customers throughout each branch by developing the most effective layouts and ensuring continuity between each location. 2017 has seen the 200th anniversary of Westpac. To celebrate their bicentennial year, we have partnered with Westpac once again to deliver 10 historical totems in their heritage listed site at George St, Sydney, NSW. The freestanding totems depict the early days of Westpac, the long history of the bank and the impact it has had on the financial sector in the country since its inception. We congratulate Westpac on achieving 200 years as a trusted financial institution in Australia and look forward to continuing a partnership that will grow alongside the iconic brand for many years to come.	slim_pajama
Need to find series of equation products from given reagents I can balance equations but only if I already know both the sides. I am trying to find the following products: $$\begin{aligned} \ce{Na2S2O5 + O2 ->}\ ?\\ \ce{Na2S2O5 + KNO3 ->}\ ?\\ \ce{Na2S2O5 + KNO3 + Fe2O3 ->}\ ?\\ \ce{Na2S2O5 + KNO3 + C12H22O11 ->}\ ?\\ \ce{KNO3 + C12H22O11 ->}\ ?\\ \ce{KNO3 + C12H22O11 + Fe2O3 ->}\ ? \end{aligned}$$ I'm guessing that the sodium metabisulfate will produce sulfur dioxide and sodium oxide, but that would just be plain decomposition, so I'm not sure where the oxygen would fit. I know that $\ce{KNO3 + C12H22O11}$ produces carbon dioxide and water, but I'm not sure where the nitrogen and potassium go. Of course once I know the products, balancing and calculating specific energy is simple, if a touch laborious. I will assume that all of these reactions are happening in solution. Since we've established that all these reactions are redox reactions, we know the general structure of each reaction--- $$\text{reducing agent} + \text{oxidizing agent} \to \text{oxidized thing} + \text{reduced thing}$$ ---and we generally won't have to worry about other things (like what you've mentioned in your edit) happening. I will work out one reaction, and leave you with the rest. Let's look at reaction 4. We can ignore $\ce{Na+}$ and $\ce{K+}$, because we know from prior experience that these are relatively inert spectator ions that won't participate in most reactions. Then we have the three species $\ce{S2O5^2-}$, $\ce{NO3^-}$, and $\ce{C12H22O11}$. * $\ce{N}$ has its maximum oxidation state of $+5$ in $\ce{NO3^-}$, so we expect that $\ce{NO3^-}$ will be a good oxidizing agent. $\ce{NO3^-}$ is commonly reduced to $\ce{NO2^-}$ in solution. * On the other hand, $\ce{S}$ has an oxidation state of $+4$ in $\ce{S2O5^2-}$ and a maximum oxidation state of $+6$, so we might expect $\ce{S2O5^2-}$ to be a reducing agent. Fully oxidized $\ce{S}$ is usually present as $\ce{SO4^2-}$ in solution. * Finally, $\ce{C}$ also has its maximum oxidation state of $\ce{+4}$ in $\ce{C12H22O11}$, so $\ce{C12H22O11}$ is likely to also be a reducing agent. Fully oxidized $\ce{C}$ is commonly present as $\ce{CO2}$. This gets us the three half-reactions $$\begin{aligned} \ce{NO3^- + H2O + 2e- &-> NO2^- + 2OH-}\\ \ce{S2O5^2- + 6OH- &-> 2SO4^2- + 3H2O + 4e^-}\\ \ce{C12H22O11 + 48OH- &-> 12CO2 + 35H2O + 48e-} \end{aligned}$$ where we've also assumed basic conditions and hence added $\ce{H2O}$ and $\ce{OH-}$ as required to balance out charges and atoms on both sides of each equation. Now we simply need to take linear combinations of these half-reactions to cancel out electrons on both sides, and we're done. --- In response to your comment, everyone starts out bad at chemistry. You'll get better. the result really depends on reaction conditions. These products are believable: Na2S2O5 + O2 -> Na2SO4 + SO2 Na2S2O5 + KNO3 -> Na2SO4 + KNO2 +NO2 Na2S2O5 + KNO3 + Fe2O3 -> Na2SO4 + KNO2 + [Fe(NO3)3 + Fe(NO2)3] This one makes little sense. Two reducing agents and one oxydizer. Try making this: Na2S2O5 + KNO3 + C12H22O11 -> Na2SO4 + K2SO4 + CO2 + H2O KNO3 + C12H22O11 -> K2CO3 + N2 + CO2 + H2O KNO3 + C12H22O11 + Fe2O3-> K2CO3 + N2 + CO2 + H2O + FeO	stackexchange/chemistry
Babel Written by Guillermo Arriaga (April 9, 2005) 1 EXT. YUSSEF AND AHMED'S HOUSE -- MORNING Day breaks. Hassan (50) arrives at a solitary house made of adobe, in the southern deserts of Morocco, carrying a satchel and a large bundle wrapped in cloth. He walks past a corral made out of branches, where several goats bleat, and knocks on the front door. 2 EXT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Abdullah (40), opens. HASSAN (In Arabic) Good morning Abdullah... I brought you this... He holds up the bundle. 3 INT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER Abdullah's family is inside the house. There is a room, a small table and a simple kitchen. Yasira (38) is roasting some goat meat assisted by Yamil (16) and Zora (17), her daughters. Abdullah and his sons, Yussef (13) and Ahmed (14), are sitting on the floor around the small table, looking at a well- conserved .270 caliber Winchester 60 rifle. HASSAN (To Abdullah) It's almost new. He takes out several boxes of cartridges from his satchel. HASSAN (CONT'D) Three hundred cartridges... He opens a box and shows them one of the golden bullets. HASSAN (CONT'D) The hunter who gave it to me said you can hit up to three kilometers away. ABDULLAH How much do you want for everything? HASSAN One thousand dirhams . 2. ABDULLAH One thousand dirhams ? I'll give you one thousand and a goat. Abdullah and Hassan exchange a look and Hassan smiles. 4 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Hassan and Abdullah's family are behind the house. Hassan stands with the rifle in front of a rock some twenty yards away and he turns toward Abdullah. HASSAN With this rifle, your sons will be able to kill plenty of jackals. He aims at the rock and pulls the trigger without holding the rifle properly. It is clear that he doesn't know how to fire a weapon, and the shot cracks loudly. The rifle kicks and hits him roughly in the shoulder. The bullet flies far wide of the rock. The women laugh nervously. Rubbing his shoulder, Hassan turns to Abdullah. HASSAN (CONT'D) Let one of your sons shoot. Abdullah looks at his boys and points at the younger one. ABDULLAH Let Yussef shoot. When Hassan is about to hand Yussef the rifle, Ahmed cuts him off, upset. AHMED I want to shoot first. Father and son exchange an angry glance. Hassan, without realizing it, turns and gives the rifle to Ahmed. The boy grabs the gun: it is heavier than he thought. HASSAN Look, load it like this. Hassan opens the chamber, inserts the bullet and then closes it. Once it is loaded, he points at the safety. HASSAN (CONT'D) This is the safety. Push it in when you're ready. Ahmed nods. Unsure of himself, he raises the rifle and, almost without aiming, fires. The shot kicks up dust far from the rock. His sisters laugh. 3. HASSAN (CONT'D) If he doesn't hit the jackals, at least he'll scare the shit out of them. Ahmed lowers the rifle. His father grabs it and gives it to Yussef enthusiastically. ABDULLAH Your turn. Yussef grabs the rifle and loads it confidently. He lifts the rifle with ease and takes his time aiming. He seems innately skilled at the maneuver. He shoots and the bullet hits just below the rock. Abdullah celebrates the shot and mockingly turns to Hassan. ABDULLAH (CONT'D) Now this kid shoots a hell of a lot better than you. 5 EXT. GOAT CORRAL -- LATER Yussef takes one of the goats out, ties and ropes it and gives it to Hassan. Abdullah supervises. Yasira approaches and gives Abdullah a bag. YASIRA Your lunch. Abdullah takes it and turns to his sons. ABDULLAH You better kill at least three jackals. HASSAN And make sure no one sees you with the rifle, hide it if you see someone approach you. Ahmed nods. Abdullah and Hassan go on their way. 6 EXT. YUSSEF AND AHMED'S HOUSE -- LATER Yasira and Yamil are far from the house, cleaning some goatskins stretched out on some branches. Ahmed, with the rifle in his hands, opens the corral gate and enters to herd them out. He calls his brother. AHMED Yussef, Yussef...4. 7 EXT. SIDE WALL, YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Yussef is squatting on the other side of the house, spying through a crack, breathing excitedly. 8 INT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Zora is inside, undressing. She has a long body and her cinnamon skin is soft and clean. Every now and then she aims a complicit glance at the crack through which Yussef is spying. AHMED (O.S.) Yussef... Zora turns around toward where the voice is coming from. 9 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef is still spying. Ahmed approaches. AHMED What are you doing? Yussef turns around and signals for him to lower his voice. AHMED (CONT'D) I told you not to spy on her again. Yussef pays no attention and keeps spying. Ahmed pulls him by the shoulder and makes him lose his balance. Yussef falls on his ass. AHMED (CONT'D) I said don't spy on her. Yussef gets up and dusts himself off. YUSSEF What the hell do you care? AHMED Come on, let's go. He turns around and leaves. 10 EXT. DESERT -- DAY The goats graze. Yussef and Ahmed watch them sitting on the side of a hill. They look hot and bored. They both throw stones at a small rusty can. Yussef throws one and misses. Ahmed throws his and does. He draws a line in the ground. AHMED Five to two. A jackal is stalking the goats. Yussef spots it.5. YUSSEF There's a jackal over there. Ahmed raises his head but cannot see it. Yussef points at it, but Ahmed still cannot locate it. Yussef despairs. YUSSEF (CONT'D) Over there. Ahmed finally spots it. He loads the rifle, but when he is about to aim, the rifle fires. The shot hits amidst the goats, lifting up a small cloud of dust. YUSSEF (CONT'D) What are you doing, you idiot? The jackal flees, terrified, while the goats scamper in different directions. 11 EXT. DESERT -- LATER Both brothers are sitting under a tree, eating bread and drinking water from a goatskin canteen. YUSSEF Zora doesn't mind. Ahmed keeps eating without turning to look at his brother. AHMED She doesn't, but I do. YUSSEF This is between her and me. AHMED You're both pigs. Next time I'm going to tell my dad. YUSSEF Stay out of this. AHMED If you want me to stay out of it, don't do it. Yussef gets annoyed, stand up and leaves. 12 EXT. DESERT -- DAY The brothers are sitting apart from each other. Ahmed guards the goats with the rifle on his lap. After a while, Yussef goes to sit behind a large rock. He makes sure his brother isn't watching and he pulls his pants down to start masturbating. 6. When he is at his most concentrated, a shot rings out and startles him. He quickly pulls his pants up and another shot rings out. Yussef gets up to see what his brother is doing. Ahmed is aiming the rifle at a rock some two hundred yards away. He fires a third time. Yussef runs up to him. YUSSEF What are you doing? Ahmed doesn't pay attention, and focuses on the rock in the distance. AHMED Hassan said that it could hit things three kilometers away, but it can't even reach that rock over there. YUSSEF That's because you don't know how to shoot. Give me the rifle. Ahmed looks at his brother defiantly, then hands the rifle over. Yussef aims and fires. The shot echoes through the vast desert; the frightened goats scamper a few yards away. AHMED See, it can't reach it. YUSSEF Give me another bullet. Yussef aims and fires. The bullet hits the rock and kicks up a lot of whitish dust. YUSSEF (CONT'D) See. AHMED Yeah, but that's not three kilometers. Ahmed remains pensive and suddenly starts climbing to the top of the hill. Once at the top, he looks around for a moment and then calls his brother. AHMED (CONT'D) Yussef, come here. Yussef climbs the slope. Ahmed signals a road that in the distance cuts across the great desert plain, and points out a traffic sign that indicates a curve ahead.7. AHMED (CONT'D) I bet you the bullet can't hit that far away. Ahmed loads the rifle and aims at the sign. He fires and nothing. AHMED (CONT'D) These fucking bullets aren't any good. YUSSEF You're not aiming right. Yussef points at a yellow car driving along the road. YUSSEF (CONT'D) What'll you give me if I hit that car? AHMED I'll shoot. Ahmed reloads. The empty cartridge falls to the ground. He fires again - the car keeps going. Yussef asks for the rifle. AHMED (CONT'D) You see? Nothing happens. YUSSEF Let me shoot. He also drops the used cartridge on the ground, reloads and shoots the traffic sign. He fires and nothing. AHMED I told you. Hassan's a liar. A bus approaches. Ahmed points at it. AHMED (CONT'D) Shoot at that one... Yussef loads the rifle parsimoniously, shuts the chamber, raises the weapon, aims and fires. The bus drives on. Ahmed turns to his brother. AHMED (CONT'D) See: nothing. The bus drives on another three hundred yards and suddenly stops in the middle of the road.8. 13 INT. T.V. ROOM, L.A. HOUSE -- NIGHT Amelia (54), a maternal, Mexican woman with a pleasant face, is playing Monopoly with Debbie (4) and Mike (5). They are both typically American kids. AMELIA (In Spanish) I won... MIKE No, I won. The phone rings and Amelia goes to answer it. AMELIA (In English) Yes... yes sir... yes sir, Mrs. Rachel told me...I'm very sorry. How is Mrs. Susan?... No sir, don't worry... Amelia turns to Mike. AMELIA (CONT'D) Your dad is calling. Mike runs to the phone and grabs it. MIKE Hi dad... dad, guess what? Today, at school, they brought some baby chickens...I held one in my hand. He was really little and he was all warm... (A beat) Dad, are you ok?...And Mariana wanted to take one home, but the teacher didn't let her... 14 INT. CHILDREN'S ROOM, L.A. HOUSE -- NIGHT Amelia is putting Debbie and Mike to sleep. They are both lying in bed. Amelia sits next to them. AMELIA (In Spanish) Did you brush your teeth? Mike shows her his teeth so she can see he did. MIKE Will you tell us a story? AMELIA One and then you're going to sleep. Both children nod.9. AMELIA (CONT'D) (Her entire story in Spanish) Once there was a hawk who wanted to fly higher than everyone else. He trained every day and hunted little birds so he could eat them and be strong. MIKE Pajaritos ? Little birds? AMELIA Of course, that's what hawks eat. So, one day the hawk flew so, so high that it crashed into an airplane. It fainted and started to fall. And when it was about to hit the ground, all the birds flew toward him and saved him. DEBBIE They saved him? AMELIA Yes, and when the hawk was healthy again he went to talk to the birds and said: I want to thank you for saving me, but I can't change and I'm going to keep hunting you. The little birds answered: we don't care that you hunt us, because that's who you are. But we will always save you, because that's who we are. The children are silent. AMELIA (CONT'D) (In English) Did you like it? DEBBIE No. Amelia moves to turn out the light. DEBBIE (CONT'D) Leave it on. Amelia stands still beside the switch. AMELIA Quedamos en que se iban a dormir con la luz apagada . DEBBIE But I'm scared.10. AMELIA No pasa nada. DEBBIE I'm scared that what happened to Pat is gonna happen to me. Amelia sits down next to her and caresses her. AMELIA A ti no te va a pasar eso... DEBBIE Pat died while she was sleeping. AMELIA That only happens to some babies when they're really little. MIKE Then why did daddy get so angry at mommy? AMELIA He wasn't angry, he was just very sad. DEBBIE He left. Amelia doesn't know what else to say. She pats Debbie's head. AMELIA Go to sleep. I'll sit here with you, but you can't talk anymore. They both nod and snuggle under their blankets. Amelia watches them silently. 15 INT. AMELIA'S ROOM, L.A. HOUSE -- DAY Amelia (54) sleeps. The sun is just starting to rise. A phone rings distantly. Amelia awakes. She sits up, listens intently and hears the ringing. She grabs a robe from a chair beside her, puts it on and gets up to answer the phone. 16 INT. KITCHEN, L.A. HOUSE -- CONTINUOUS Amelia enters the kitchen and answers a wall phone. AMELIA Yes...11. RICHARD (O.S.) Amelia, it's Richard. We're going to have to be here a few more days here in Morocco than we expected and Rachel wasn't able to find anyone to take care of the kids. AMELIA Your sister-in-law promised me to find someone. RICHARD (O.S.) Amelia, this is very serious. Amelia looks worried. AMELIA It's because... I told Mrs. Jones three months ago that today is my son's wedding. RICHARD (O.S.) Amelia, this is an emergency. Cancel your son's wedding. I'll pay for another one. AMELIA Sir, everything is ready. Can't anyone come take care of the kids? It's just one day. RICHARD (O.S.) We need you, Amelia... hold on. Richard stops talking. We hear voices in the background. RICHARD (O.S.) (CONT'D) Amelia, we're really counting on you. I have to go. Goodbye. He hangs up. Amelia stares into empty space. 17 INT. KITCHEN, L.A. HOUSE -- DAY Debbie (4) and Mike (5) are having breakfast while Amelia leans on the sink and looks at them, overwhelmed. AMELIA (To Debbie, in Spanish) Do you want another quesadilla ? DEBBIE Mhh. Amelia turns around to warm up a tortilla. Mike stops eating his cereal and looks at her. 12. MIKE How many little birds did the hawk eat? Amelia turns around and sees Mike, who is truly worried. AMELIA (In English) None, because he started to like quesadillas . Amelia strokes his hair. A car horn honks. Amelia looks out and sees a school bus parked outside the house. DEBBIE Is the bus here? AMELIA (In Spanish) Yes, but today you're not going to school. DEBBIE Why? AMELIA We have things to do. Amelia turns around and walks out to the street. Through the door we can see her saying something to the bus driver. The school bus leaves and Amelia walks back into the house. 18 INT. T.V. ROOM, L.A. HOUSE -- DAY Debbie and Mike are watching cartoons while Amelia talks on the phone. AMELIA (Both in Spanish) I just want you to take of them for today. WOMAN (O.S.) I can't, Mrs. Black is home. AMELIA And she won't go out? WOMAN (O.S.) No, I don't think so. AMELIA Ok, thanks. I'll call you tomorrow. She hangs up and remains pensive. 13. 19 EXT. STREET, LOS ANGELES -- DAY Amelia and the kids walk down a street in Santa Monica . 20 EXT. LUCIA'S HOUSE, LOS ANGELES -- DAY Amelia and the kids are standing in front of a house, talking with Lucia (22), who is dressed in a black and white uniform. LUCIA (Both in Spanish) I can't Amelia. AMELIA Please, it's my son's wedding. I helped you out with that thing with your boyfriend. LUCIA I really can't. AMELIA Just for the day, Lucia. I'll be back for them tonight. LUCIA And what do I tell Mrs. Black? AMELIA Tell her they're your nephews. Lucia looks down at the blonde-haired , blue-eyed children. LUCIA Yeah right, they look just like me...with this gringa look I have. 21 INT. CHILDREN'S ROOM, L.A. HOUSE -- DAY Amelia is packing the children's clothes in a small suitcase. Debbie and Mike, curious, watch her. MIKE Are we going to see your house? AMELIA Yes, you're going to see my house. MIKE Is it far? AMELIA (In Spanish) Not very.14. 22 EXT. LOS ANGELES HOUSE -- DAY A run-down '88 Ford Pinto parks in front of the house and honks its horn. The front door opens and Amelia walks out, carrying the small suitcase, with the two kids. Santiago (24), a young Mexican with light eyes. SANTIAGO (Both in Spanish) Good morning Aunt Amelia. AMELIA Good morning. Santiago, surprised, looks at the children. SANTIAGO Are they coming? AMELIA I couldn't find anyone to leave them with. Their parents aren't coming back today. SANTIAGO Why bring them, they're just going to make trouble. AMELIA They're good kids. SANTIAGO I know a woman who can take care of them. AMELIA Santiago, I have to take them. I can't leave them with just anybody. SANTIAGO What if you lose your job? AMELIA Come on, don't tempt the fates. Amelia opens the door for the children to get in. 23 EXT. CASBAH TAMNOUGALT , MOROCCO-- DAY Richard (45), tall, thin, weathered, and Susan (38), good- looking, with an athletic body, visit the impressive Casbah with a group of American, French and English tourists. Most of them are old, with a few couples in their forties or fifties. 15. Anwar (30), a man with a kind face, is the tour guide showing them around. ANWAR (In English, with an Arabic accent) The Berbers built these kasbahs . They made them like forts and here they would reside after finishing their caravans. Richard listens attentively. Susan looks hot. RICHARD This place is beautiful, don't you think? SUSAN (not very enthusiastically) Yeah, yeah it's very pretty... Anwar walks toward one end of the aisles and calls the group. ANWAR Now, I'd like to show you the materials that were used to build the walls... The herd moves docile toward Anwar's voice. 24 EXT. SMALL EATERY, MOROCCAN DESERT -- LATER The group of tourists spread about a small eatery with open air tables on a dusty terrace. A bus is parked behind them. At a table, on one end of the terrace with views to a cluster of mountains, Richard and Susan look through some menus. Richard seems at ease in this place. Susan appears to be bothered by the dust and otherness. A waiter brings a plate and some cutlery. WAITER (in broken English) You want to order? RICHARD I'll have a chicken cous-cous and a Coke, please. SUSAN What do you have that doesn't have fat in it? WAITER Everything is delicious.16. Susan reads the menu again. SUSAN I'll have the fried eggplant and a diet Coke. WAITER We don't have diet Coke. SUSAN Then a regular Coke. The waiter smiles and goes to place the order. Susan takes out a small bottle with antibacterial gel, cleans her hands and then starts wiping the plate and the cutlery thoroughly. Richard looks at the mountain range through a pair of binoculars. He spots a hawk flying over the plains. RICHARD Look, look: a hawk. Richard follows the hawk with his binoculars for a few seconds and then puts them down. RICHARD (CONT'D) This country is incredible. Susan remains silent and then turns to look at him. SUSAN Richard, why did we come here? RICHARD What d'you mean why? I thought you would like it. SUSAN Really: why are we here? Richard knows that Susan's answer implies something else. RICHARD To forget everything, to be alone. Susan, sardonically gestures toward the other tourists with her chin. SUSAN Alone? Richard sighs in disappointment. The waiter arrives with the Cokes and the food, which does not look particularly appetizing. He leaves everything on the table and goes. Richard is about to pour his drink when Susan stops him.17. SUSAN (CONT'D) Throw out the ice. RICHARD The Coke is warm. SUSAN Yeah, but you don't know what kind of water is in there. She grabs Richard's glass and tosses out the ice. Then she does the same thing with hers. They are quiet for a moment. RICHARD Why can't you ever relax. You're always stressed. SUSAN You're the one stressing me out. You're why I can't relax. RICHARD You could if you tried. SUSAN Tried? Don't you think I tried? RICHARD You're never going to forgive me, are you? SUSAN Do you even know what I'm talking about? RICHARD Susan, please; we didn't come all this way just to argue. Susan gets angry and faces him. SUSAN Oh, we didn't? Then when are we supposed to "argue"? Or are you planning on running away again? Richard sighs, defeated. They stop speaking and sit looking at the mountains. 25 EXT. BUS -- MOMENTS LATER The tourists crowd around to board the bus. Some boys in rags approach to sell them trinkets. BOYS Stilo...stilo...18. Some of the tourists buy them. They come to Susan, who becomes instantly uncomfortable. She gestures with her hand to say they have no money, but the kids insist. BOYS (CONT'D) Stilo...stilo... SUSAN I don't have any money... I don't have any... Richard takes off his binoculars and gives them to the youngest of the boys (7), who receives them with wide eyes. RICHARD Here. SUSAN What are you doing? Richard just gets in the bus. Susan stares at the boy with the binoculars for a moment and then gets in. 26 INT. BUS -- LATER Susan sits next to the window, in the middle of the bus. She looks hurt and sad. Richard walks over and sits next to her. The bus starts. Through the window, Richard can still see the boy with the binoculars. He smiles until he sees an older boy snatch the binoculars away and push the little boy. The bus drives away, but Richard can't take his eyes off the scene. The older boy walks away with the binoculars. 27 EXT. DESERT -- DAY The bus drives down a straight road that divides the desert. 28 INT. BUS -- MOMENTS LATER The bus drives on. Some of the old men sleep. Susan leans her head against the window and watches the landscape scroll past. Richard sits beside her silently. Susan holds out her hand and takes Richard's, as a sign of reconciliation. He holds hers and caresses it. Susan gets comfortable to try to sleep. She closes her eyes when suddenly something smashes the window and Susan collapses forward. Richard turns to look at the punctured glass and then Susan. RICHARD Susan, what's wrong?19. Susan doesn't answer, limp on her seat. RICHARD (CONT'D) What happened? Richard lifts her up and when he does he sees a thread of blood run down her neck. Richard yells at the driver. RICHARD (CONT'D) Stop the bus, stop, my wife's been hurt. 29 INT. VOLLEYBALL COURT -- DAY In an indoor volleyball court with bleachers, several Japanese girls play volleyball. They all compete intensely for the point. There is excitement, but everything occurs quietly. A player jumps and spikes the ball. Chieko (16), tall, beautiful, with strands of hair painted purple, volleys the ball back up. It reaches one of her teammates who sets up another to spike it. Chieko's team wins the point. The referee, instead of whistling, lifts up a red flag. The players congratulate each other silently, in sign language. The only sound we can here is the parents' clapping as they watch the game from the stands. Chieko's team serves. Again, the game is heated. A rival player spikes the ball, and it is barely out of bounds. However, the referee, with his red flag, calls the point. Chieko is upset and goes to argue with him. CHIEKO (In sign language) The ball was out. REFEREE (In sign language) No, it was good. Chieko gestures violently. One of her teammates goes to calm her down. TEAMMATE Let it go. Chieko breaks loose and approaches the referee. CHIEKO That was out. REFEREE It was on the line. 20. CHIEKO You're not just deaf, you're blind. REFEREE You're out. Chieko is furious. She starts to make obscene gestures. CHIEKO You're an asshole. The coach walks onto the court. He holds her to calm her down and then takes her away. Despite Chieko's violent reaction, everything is still silent. From the bleachers, Yasujiro (47), Chieko's father, dressed in a nice suit with the tie undone, with a sad pride about him, disapproves of his daughter's actions. 30 INT. LOCKER ROOM, VOLLEYBALL COURT -- DAY Chieko sits on a bench in her underwear. She looks aggravated and absorbed in her own thoughts. Her other teammates get dressed. Two of them walk past wrapped in towels, freshly showered, and stand in front of her. They talk to each other in sign language. TEAMMATE 1 You shouldn't have lost your temper. We lost the game. CHIEKO It wasn't my fault, it was the ref. TEAMMATE 2 If you hadn't been thrown out, we would've won the game. Chieko, angry, gets up and starts to rummage through her locker. Her teammate walks over and gets her attention. TEAMMATE 1 Why are you in a bad mood? Chieko doesn't answer. Teammate 2 approaches. TEAMMATE 2 She's always in a bad mood because nobody's fucked her yet. She caps this with an obscene gesture that bothers Chieko. CHIEKO I'm gonna fuck your dad to get rid of my mood. Teammate 1 laughs, amused. Teammate 2 gives Chieko a scornful look. Chieko smiles sardonically.21. 31 INT. YASUJIRO'S CAR -- DAY Yasujiro drives while Chieko looks at the swarming Tokyo streets. She is wearing a skirt revealing of her long volleyball legs. Her fathers speaks to her in sign language. YASUJIRO What do you want to eat? CHIEKO I said I'd meet my friends from the team at Eve's. YASUJIRO Weren't we going to have lunch together? CHIEKO Dad, I told you I was going to eat with them, but you never pay attention to me. Yasujiro shakes his head in disapproval. CHIEKO (CONT'D) My mother always paid attention to me. YASUJIRO Why do you want to fight? They don't say anything else. The traffic is chaotic. YASUJIRO (CONT'D) I miss your mother too. Chieko just looks at him. YASUJIRO (CONT'D) I'm doing what I can, sweetie. They don't say anything else. The traffic is chaos. 32 EXT. STREET, TOKYO -- DAY Yasujiro parks his car and Chieko gets out. YASUJIRO (in sign language) Don't forget you have the dentist at four. Chieko looks annoyed, and blows her father a kiss goodbye. As she is about to get out of the car, Yasujiro grabs her arm. She turns to look at him. 22. YASUJIRO (CONT'D) (In sign language) I love you very much. They exchange a glance. She nods, closes the door and leaves. 33 INT. EVE'S -- DAY Eve's is a restaurant full of t.v.'s, noise, video games. There is smoke, and people talking everywhere. Chieko moves through the crowd. A hostess intercepts her. HOSTESS Do you have a table? Chieko doesn't manage to read her lips. The hostess, smiling, awaits an answer. Chieko waits, expectant, for the hostess to repeat herself. HOSTESS (CONT'D) Do you have a table? Chieko nods and points at her group of girlfriends, who are sitting on the barstools next to the bar. The hostess smiles another stupid smile and lets Chieko by. Further off, her friends spot her and make silly faces. Chieko laughs, walks over to them. They are all dressed the same: short skirts, tight t-shirts . Some of them have piercings in their nose, lips and ears. They all exude hormones in their silence. Chieko goes to talk to them in sign language. CHIEKO Why all the way in the corner? Mitsu, with a good body, not very tall and with violet highlights in her hair, points at a pair of tables where a group of young men are drinking beer. MITSU Because of the view. Chieko turns around and stares at one of them wearing a Milan jersey. Their eyes meet. Chieko keeps her eyes on him, and the boy finally turns away. MITSU (CONT'D) Do you like him? Chieko nods without taking her eyes off him.23. 34 INT. EVE'S -- DAY Chieko, Mitsu and another of their friends are playing a pinball game that makes noises whenever the ball hits a wall. The young man in the Milan jersey approaches Chieko. YOUNG MAN Hello. Neither Chieko, nor her friends answer. The guy turns to look at one of his friends, who signals for him to insist. YOUNG MAN (CONT'D) Can I play with you? Chieko, obviously, cannot hear him. She keeps playing. Suddenly, Mitsu notices the young man's presence and taps Chieko on the shoulder. Chieko turns around and is surprised. The young man turns to look toward his friends as he speaks. YOUNG MAN (CONT'D) Do you want to come have a drink? Chieko gets frustrated; she cannot read his lips. He stops looking at his friends and awaits an answer, but all he sees is three silent girls staring at him stupefied. Chieko talks to Mitsu in sign language. CHIEKO Tell him I couldn't read his lips. The young man, upon seeing them communicate, is caught off guard. He turns around and walks toward his friends without saying a word. 35 INT. BATHROOM, EVE'S -- DAY Chieko leans on the sink while Mitsu pees in one of the stalls. Chieko is noticeably upset. Mitsu walks out of the stall, fixing her skirt. She sees Chieko is distressed. MITSU (In sign language) What's the matter? CHIEKO (In sign language) They look at us like we're monsters. MITSU Oh, come off it.24. Chieko is at a loss for words. Mitsu stares at her: it looks like another one of many tantrums. Chieko hikes up her skirt and starts to pull down her panties. MITSU (CONT'D) What are you doing? CHIEKO Now they're going to meet the real hairy monster. She makes the gesture of sticking her finger up a hole, then goes to the toilet, throws her panties in and flushes. She turns to look at Mitsu defiantly, who cannot help but laugh. 36 INT. EVE'S -- DAY Chieko sits on one of the restaurant's benches. Before her is a new group of young men. Mitsu and Chieko exchange a look. Provocatively, Chieko crosses her legs slowly revealing her pussy. One of the young men seems to notice, and is stunned. Chieko smiles and does it again. He watches Chieko again and discretely turns to one of his friends to tell him. Chieko turns her back to him and faces the bar. She looks over at Mitsu, who shakes her head, amused. A beeper rings on Chieko's skirt. She picks it up and reads: "Don't forget your appointment with the dentist. Papa." She puts the beeper away and turns toward Mitsu. CHIEKO I'll see you later at my place. She mischievously turns toward the table where the young man was, and as she gets off the bench she spreads her legs wide open, flashing him shamelessly. She struts out. 37 EXT. DESERT -- DAY Ahmed and Yussef run full speed, herding their goats as they go. Some of them get left behind and Yussef hurries back to them. As they climb a hill, he slips and falls, rolls downhill and drops the rifle, which slides a few meters away. Ahmed runs to help him. Yussef gets up, covered in dust and with a scratch on his forehead. Ahmed picks up the rifle. AHMED Hurry up, man, hurry...25. Ahmed runs off, hands flailing, to herd the straggling sheep. Yussef follows him, limping. 38 EXT. YUSSEF AND AHMED'S HOUSE -- LATER The brothers make it back home. Agitated, they put the goats back into their corral. Zora walks out and approaches them. ZORA What's wrong? Yussef, busy closing the corral gate, pays no attention. Ahmed, breathing agitatedly, doesn't answer. ZORA (CONT'D) I asked you what's wrong. Ahmed, full of adrenaline, glances angrily at her. AHMED What do you care, whore? Yussef gets in the way. YUSSEF Don't talk to her like that. Yussef steps up to defend her, but Ahmed spins around and goes into the house. Yussef turns to Zora. YUSSEF (CONT'D) Something we ate make us sick so we came back. Without another word, Yussef also goes into the house. 39 INT. YUSSEF AND AHMED'S HOUSE -- LATER Yussef and Ahmed are sitting on their mats, looking at each other, pale, scared and quiet. Yasira walks in to see them, followed by her daughters. She turns to Ahmed. YASIRA What are you doing here? Ahmed, livid, cannot answer. YUSSEF Something we ate gave us a stomach ache. Yasira stares harshly at Ahmed. YASIRA And is that why you're insulting your sister?26. Ahmed looks at Zora, then Yussef, and then is silent. YUSSEF We were feeling really ill. Yasira points toward the corral. YASIRA The goats are going to feel even worse if they don't eat. Take them out again. AHMED Our stomach really hurts. YASIRA Then start jerking the meat. Yasira walks out. Yussef and Zora exchange a look. 40 INT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef and Ahmed are jerking a couple of young goats with very sharp knives. They set the thin strips on newspaper. They look nervous. They talk in whispers. AHMED D'you think something happened? YUSSEF I don't know. AHMED People were screaming. They are silent for a long while. AHMED (CONT'D) It was your fault. Yussef stares at him in disbelief. YUSSEF It was both our faults. We both shot. (A beat) Swear to me you'll never say anything. Ahmed won't answer. Yussef looks around the room to make sure nobody is listening to them. YUSSEF (CONT'D) Swear. Nobody, never. Ahmed remains pensive. He sighs and answers. 27. AHMED I swear. Nobody. 41 EXT. YUSSEF AND AHMED'S HOUSE -- EVENING The brothers are hanging the strips of meat on ropes to dry them in the sun. An old Valiant packed with seven men parks in front of the house and Abdullah gets out. He raises his hand to say goodbye. ABDULLAH Thank you, I'll see you tomorrow. The driver also raises his hand and then drives off. Abdullah turns to Yussef. ABDULLAH (CONT'D) Tell your mother to prepare dinner. Abdullah turns towards the house. Yussef comes out running towards a little field below the house. Yasira is plowing with a manual plow. YUSSEF Mother, mother, father says he wants to have dinner now. 42 INT. YUSSEF AND AHMED'S HOUSE -- EVENING Abdullah and his children sit at the small table while the women prepare the food. A column of smoke rises from the fire where they are roasting goat meat and toasting bread. Yamil, the youngest of the daughters, sets some bread on the table. Abdullah takes it, tears some off and starts to eat. He turns to Yussef. ABDULLAH Did you kill any jackals? YUSSEF We shot at them, but didn't hit them. ABDULLAH You have to kill them. If not they're going to eat all the goats. Yasira sets the strips of goat meat on the table. Abdullah serves himself some. His children wait until he's done to serve themselves. YASIRA Why are you home so late? Abdullah starts talking with his mouth full. 28. ABDULLAH They closed the road, and we had to take the long way around. (He swallows) Apparently some terrorists killed an American tourist. Ahmed and Yussef shoot each other a nervous glance. YASIRA An American? ABDULLAH Yes, the terrorists attacked a tour bus on the road. YASIRA But there aren't any terrorists here. Abdullah finishes his mouthful. He wipes himself with his sleeve. Ahmed doesn't even dare raise his eyes. ABDULLAH You never know. Yussef, nervous, looks up. YUSSEF And how do you know the American died? ABDULLAH That's what they were saying. The police are looking for the culprits. Yussef and Ahmed again exchange a furtive glance. 43 INT. YUSSEF AND AHMED'S HOUSE -- NIGHT Night. An oil lamp in a Nescafe jar lights the house. The family sleeps in the only two rooms in the house. One of them is the parents room, the other the children's. We hear a goat bleating in the darkness. Abdullah's snoring. Yasira's breathing. The crunching of wood in the night cold. Neither Yussef, nor Ahmed can sleep. They both look at each other, anxious. 44 EXT. BORDER CROSSING -- DAY Santiago's car crosses the border between San Diego and Tijuana. They drive through a green light at the crossing, easily entering Mexico without being stopped by three Mexican customs officials. 29. 45 INT. SANTIAGO'S CAR -- DAY Debbie and Mike stare through the windows, amazed at the new world they are entering: other people, other architecture, other colors, other noises. Santiago turns towards them while he's driving. SANTIAGO See how easy it is to get into paradise? DEBBIE Is this Mexico? AMELIA (In Spanish) Yes, this is Mexico. MIKE My mom told us Mexico is really dangerous. Santiago turns toward the kids. SANTIAGO (In Spanish) Yes, it's full of Mexicans. Amelia and Santiago look at each other and smile. 46 EXT. TIJUANA -- DAY They drive through Tijuana. 47 INT. SANTIAGO'S CAR -- DAY Mike and Debbie continue to gaze awestruck through the windows. Santiago turns to them. SANTIAGO (In Spanish) Are you hungry? They both nod. SANTIAGO (CONT'D) Do you like popsicles ? Santiago pulls over next to some stalls, and the street vendors run out to offer them their products. 48 EXT. PARK, TIJUANA -- DAY The children eat their popsicles as they walk through the endless aisles of stalls, past the vendors and their incessant banter. 30. MIKE What's this flavor called? Santiago answers before Amelia. SANTIAGO (In Spanish) Cajeta ... it's called cajeta . MIKE (Mispronouncing) Cayeto ... Santiago laughs. SANTIAGO No, cajeta ... cajeta ... MIKE Cajeto , cajeta ... It's the best thing I've ever tasted in my life. (A beat) Can I buy some for my mom? She's gonna love them. Amelia smiles and nods. 49 EXT. TIJUANA -- DAY The car drives out of the city and gets on a highway. The desert rises in all its magnitude and severity. 50 EXT. DESERT HIGHWAY -- DAY Santiago parks the car next to a junkyard. Amelia and Debbie run out and hide behind a fence. Debbie pulls her underpants down to pee. Troubled, she looks at the mound of destroyed cars. DEBBIE Are they crashed cars? AMELIA Yes... DEBBIE Did lots of people die? AMELIA I guess so... DEBBIE I don't like Mexico.31. 51 EXT. DESERT HIGHWAY -- DAY They drive down the highway and then turn onto a path. They drive down the path at high speed, lifting up clouds of dust. 52 EXT. HAMLET "LOS LOBOS" -- DAY They arrive at a dusty hamlet in the middle of the desert; a few houses, no more than twenty, some adorned with multicolored paper. Several crates of soda are stacked up against a makeshift shed built out of yucca fronds. A group of musicians who play Norteña music are setting up their instruments. There are various pickup trucks and smuggled cars parked around the hamlet. The guests are wearing their best: fresh shirts, big buckles, almost new boots. Santiago parks. Amelia gets out first. A group of people sees her and comes over to greet her. COMADRE 1 (All in Spanish) Hey, so you finally made it. Amelia smiles. Her friends notices Mike and Debbie. COMADRE 1 (CONT'D) You brought them? Amelia nods. Luis (24), Amelia's son, a typical Norteño cowboy with long sideburns and moustache, his face tanned from days under the sun, wearing a pistachio-colored tuxedo with a cloth flower in the lapel, greets Amelia with a kiss. LUIS Hi mom, how're you doing? She looks him up and down. AMELIA Son, you look like Pedro Infante . COMADRE 1 More like Luis Miguel . AMELIA Where's the bride? LUIS She's not here yet. AMELIA What d'you mean she's not here yet?32. LUIS Well, she ain't here. Mike and Debbie, struck dumb by the language and the strangers, hide behind Amelia, who introduces them to Luis. AMELIA Look son, these are Mike and Debbie, the kids I take care of. Luis holds his hand out ceremoniously. LUIS Pleased to meet you Mike. Santiago calls out to some kids who are running around. SANTIAGO Psst. Lucio, come here. Lucio (10), the oldest of the gang, approaches. Santiago gestures toward the two American kids. SANTIAGO (CONT'D) These are Mike and Debbie. Keep an eye on them for me. Lucio gives them a scornful glance and calls them over half- heartedly. LUCIO Come with me. With her hand, Amelia signals to the kids that it's ok to go with him. Shyly, Debbie and Mike follow. 53 INT. ROOM, HAMLET "LOS LOBOS" -- DAY Amelia is in a room with her two daughters standing in front of a peeling and broken mirror putting on her violet gown. One of her daughters helps her and pulls the zipper all the way up. DAUGHTER 1 (All in Spanish) Oh ma, I don't know how you did it but it zipped up perfectly. AMELIA And it's been 15 years since I last wore this dress. DAUGHTER 1 You haven't changed a bit, ma.33. AMELIA Working, dear, working, that's what keeps one young. The two sisters realize that the dress has a hole just below the seat, exchange looks and smile, which doesn't please Amelia. AMELIA (CONT'D) What are you guys laughing about? DAUGHTER 2 Nothing ma, nothing. Amelia looks at them suspiciously, turns around and leaves the room with her dress elegantly torn. 54 EXT. DESERT ROAD, MOROCCO -- DAY The bus is in the middle of the road. Several of the tourists are hiding under their seats, frightened. The driver, still ducking, looks toward the mountains to try to piece together what happened. Richard holds Susan against his shoulder, blood gushing from her neck. Her eyes are open and staring at a fading world. Richard takes Susan from under her armpits and carefully lays her down on the aisle. Anwar runs over to help. RICHARD Take it easy honey, take it easy. Anwar takes his shirt off - left only in his undershirt - and puts it under Susan's neck. SUSAN (mumbling senselessly) I'm ok... I'm ok... Susan breathes in, and every time she does, blood flows from her wound. Richard turns toward the other passengers. RICHARD Is anybody a doctor? Nobody answers. Richard starts to lose his cool. RICHARD (CONT'D) Please: a doctor. The pensioners don't answer; they are too scared. Richard opens Susan's purse and sees a cell phone. He turns it on and tries to call, but there is no signal. He turns to Anwar.34. RICHARD (CONT'D) Where's the nearest hospital? ANWAR It's far away, about four hours. (a beat) There's a clinic that's a little closer, about an hour and a half to the south. By bus it'll take us about two hours and a half though. RICHARD Does that takes away from Marrakesh ? ANWAR Yes, but it's the closest thing we've got. Richard runs down the aisle and gets out of the bus. 55 EXT. DESERT HIGHWAY -- DAY No cars drive by. The road is almost deserted. In the distance, a run-down Renault approaches. Richard stands in the road to stop it. The car brakes and Richard runs toward the driver: an old peasant traveling with his eight year-old grandson. RICHARD I need your help. We were attacked. OLD MAN (In Arabic) I don't understand... Richard grows desperate. RICHARD Help... hospital... OLD MAN (In Arabic) I don't understand you sir. Richard sees that Anwar and the bus driver have gotten out of the bus and he starts shouting at them for help. RICHARD Tell him we need his help. With the distraction, the old man drives off. Richard watches helplessly as they drive away and he grabs Anwar by the arm. RICHARD (CONT'D) Let's take her to the clinic. 35. 56 EXT. DESERT HIGHWAY -- DAY The bus makes a U-turn and drives away at full speed. 57 INT. BUS -- DAY The bus rattles along. Richard huddles over Susan, trying to stop the blood flowing from her neck. Barth, an old man starts shouting. BARTH Marrakech isn't this way. They're going to shoot at us again. RICHARD We've got to get her to a hospital. BARTH They're going to kill us all. Turn back... turn the bus around... Richard gets exasperated at the old man's screaming. RICHARD Shut up, god damn it! Barth shuts up and the bus drives on. 58 EXT. DESERT HIGHWAY -- DAY The bus bounces its way down the straight highway. 59 INT. BUS -- DAY The passengers sit quietly. As the ride gets bumpier, Susan starts to cry out in pain. SUSAN It hurts, it hurts... Richard tries to calm her down. RICHARD Easy, sweetie, easy... SUSAN It hurts... it hurts so much... Richard turns her around and sees her shoulder has been shattered. She won't stop shouting. A pool of blood starts trickling down the aisle. RICHARD (A Anwar) Isn't there anywhere else we can take her?36. ANWAR We can take her to my town. It's near here and there's a doctor. In the meantime we can call Erfourd for an ambulance. Richard turns to look at Susan, who is writhing in pain. RICHARD Ok. ANWAR (To the driver, in Arabic) Make a right onto the next road. Richard and Anwar exchange a glance. 60 EXT. DESERT HIGHWAY -- DAY The bus leaves the main road and turns into a dirt road. 61 INT. BUS -- DAY The bus' poor suspension gives the passengers a jolt. Richard tries to protect Susan's head. 62 EXT. HAMLET -- DAY The bus pulls into a small group of houses. Several children run beside the bus, chasing it. Some gaunt dogs get out of the way to let the bus by. 63 EXT. ANWAR'S HOUSE -- DAY The bus pulls up in front of a modest house. 64 INT. BUS -- DAY Richard raises his head and sees the desolate environs. RICHARD Are we here? ANWAR Yes sir, this is my house. Richard tries to carry Susan, but she screams in pain. RICHARD Easy, darling, easy... He slips his hands under her and lifts her up. SUSAN Don't touch me there.37. Richard moves his hand, which is covered in blood. As he carries her, he turns into the aisle while Anwar and one of the passengers try to help him. 65 EXT. HAMLET -- DAY Richard carries her into the house through a crowd of curious children. 66 INT. ANWAR'S HOUSE -- DAY Anwar leads Richard down the hallways amidst Susan's screams. 67 EXT. PATIO, ANWAR'S HOUSE -- DAY They walk through a dusty patio and Anwar points at some stairs. Richard climbs them with difficulty and Anwar opens the door to a room. ANWAR Here... here... 68 INT. ROOM, ANWAR'S HOUSE -- DAY An old woman (87), Anwar's grandmother, who has centuries of desert in her expression, lets them in and points at a rug on the floor. ANWAR'S GRANDMOTHER (In Arabic) Put her there... Richard understands and softly lays Susan on the rug. Susan looks around horrified: adobe walls, dirt floor: the epitome of the third world. RICHARD I need to call an ambulance and contact my embassy. ANWAR If you have the number of the embassy, I can go call. Obviously, Richard does not have it. RICHARD I need to make a phone call. ANWAR Of course, come with me. They get ready to leave and Susan starts imploring. SUSAN Don't leave me here alone...38. RICHARD Don't worry, I'll be right back. Susan looks desperate. To set Richard somewhat at ease, Anwar points at his Grandmother. ANWAR She can take care of her. Richard leans over Susan. RICHARD You're going to be ok. Anwar kneels down next to her, takes a cloth and improvises a tourniquet that he adjusts near her shoulder. He turns towards the grandmother. ANWAR (In Arabic) Hold and release the tourniquet every once in a while. The grandmother nods. She sees the swarm of kids looking into the place and she shoos them away. ANWAR'S GRANDMOTHER (In Arabic) Get out of here... out... The kids obey, except for one or two who take one last look before they go. Susan's terrified eyes watch Anwar and Richard leave the room. 69 EXT. ANWAR'S HOUSE -- DAY The bus is still parked in front of the house. As soon as Richard walks out, the pensioners approach him. DOUGLAS How is your wife? RICHARD Bad. Very bad. Tom (51), a fat English passenger, faces him. TOM Get her outta there and let's go. RICHARD And where should I take her? TOM In Egypt, in a town like this, they slit thirty German tourists' throats. They might do the same to us.39. Anwar listens and intervenes. ANWAR No, not here. TOM (Aggressively) What do you know? We have to get out of here as soon as possible. Lilly (79), an old woman, approaches. LILLY It's very hot, sir, and the driver turned off the air conditioning. I'm feeling sick. RICHARD You can't leave us here. James (82), Lilly's husband, steps forward. JAMES What's the use in staying? RICHARD In case I need the bus. JAMES They can go drop us off and then come back for you. Douglas (75), a tall old man with good posture, interjects. DOUGLAS I'll stay with you if you need me. Elyse (73), his wife, scolds him. ELYSE And why would you stay? RICHARD Please wait. Let me try to deal with this. TOM We're not going to risk our lives, so hurry. Douglas looks defiantly at Tom. DOUGLAS You do what you have to do, we'll wait. 40. 70 EXT. HAMLET -- DAY Richard and Anwar walk down the streets of the small hamlet before the people's inquisitive gaze. They arrive at a general store with all sorts of roots and grains displayed outside. Anwar walks over to the owner. ANWAR (in Arabic) We need your phone. I'll pay for the call. 71 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying on the floor, desolate. It seems as if the pain is diminishing. The grandmother leans over her and softly caresses her with her dirty, wrinkled hands. This startles Susan. ANWAR'S GRANDMOTHER (In Arabic) How do you feel? Susan is a little bit uncomfortable with her this close. SUSAN Can I have some water? The old woman doesn't seem to understand. She grabs a basket of dates and offers them to her. Susan shakes her head. SUSAN (CONT'D) No, water... With her hand, Susan mimes drinking a glass of water. The old woman seems to understand. She pours some water from a jar, leans over her and helps her drink in small sips. SUSAN (CONT'D) Thanks. The grandmother bows her head as if to say "your welcome." SUSAN (CONT'D) Where's my husband? The old woman just smiles. Susan makes a gesture of desperation. The grandmother leans over her, unfurls her index finger and points at her heart. ANWAR'S GRANDMOTHER (In Arabic) Trust in god. Susan keeps looking at her as she slowly gets up and goes to sit in a chair. 41. 72 INT. GENERAL STORE -- DAY Richard is in a small cubicle dialing on an old cream-colored rotary phone while Anwar waits discretely in a corner. Dozens of people watch from outside. Richard turns to look at them while the call connects. RICHARD Yes... Rachel? It's Richard... RACHEL (O.S.) ¿Are you still in Moroccco ? RICHARD Yes, we're still in Morocco...Rachel, there was an accident, your sister was shot... RACHEL (O.S.) (Surprised) What? Who shot her? RICHARD I don't know... We were shot at from some hills. RACHEL Is she ok? RICHARD She was hit in her neck and shoulder. Rachel, she's not doing well... I need you to tell the embassy as soon as possible... wait... and call Mark... RACHEL (O.S.) Where are you? He turns to Anwar. RICHARD Anwar, where are we? ANWAR In Tazarine , three hours southwest of Erfoud . RICHARD Were in Tazarine , T-a-z-a-r-I-n-e Three hours southwest of Erfoud ... in the desert... it's a town... there's no hospital... There's nothing here at all... RACHEL (O.S.) Where are you calling me from?42. RICHARD From a shop. Rachel, this is urgent... urgent... call the embassy... They have to help us... call James too... RACHEL (O.S.) Why did they shoot her? RICHARD I don't know... Rachel, you're sister's badly hurt... do you understand? Call for help... now... He hangs up. As soon as he does, he turns to Anwar. RICHARD (CONT'D) Call an ambulance... ANWAR I'll call Erfoud so they send one over. Anwar, clumsy and stressed at Richard's desperation, takes the phone and starts dialing. RICHARD And find a doctor... As he finishes dialing, Anwar turns to Richard. ANWAR They've already gone to look for him. 73 INT. ROOM, ANWAR'S HOUSE -- DAY Richard returns to the room. Susan, weak, lies with her eyes open. The grandmother is tending to the wound, which won't stop bleeding. She gets up and goes to Anwar. ANWAR'S GRANDMOTHER (in Arabic) Anwar, bring me some water. 74 EXT. PATIO, ANWAR'S HOUSE -- DAY Anwar goes out to the patio and fetches a metal basin full of soil. He goes to a well, scoops out some water with a gourd and washes out the basin. Anwar is walking back when he is stopped by Mohammed, his brother, a fat man (32) with curly hair and a tanned face. MOHAMMED (the entire dialogue in Arabic) Why did you bring them here?43. Anwar doesn't pay attention to him and keeps walking toward the room. His brother catches up to him. MOHAMMED (CONT'D) You should have consulted with us. Anwar stops and looks at him fixedly. ANWAR She's hurt, we had to take care of her. MOHAMMED In town they're saying she was shot by terrorists. Do you know what they're going to do to us when they find out she's here? ANWAR Don't be paranoid and go help find the doctor. Anwar pays no more attention to him and carries the basin into the room. 75 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying down. A small pool of blood has collected under her neck. She looks restless. She whispers weakly. SUSAN Get me out of here... please... RICHARD I'm going to as soon as I can. I've already called Rachel; she's going to tell the embassy. SUSAN I told you we shouldn't have come. Just then Anwar enters. The grandmother takes the basin and sets it in a corner. She gets some pieces of cloth and starts to soak them. RICHARD How long until the ambulance gets here? ANWAR About an hour and a half. It's coming from Alnif. RICHARD That much? Isn't there anyone here who could take her?44. Anwar shakes his head. RICHARD (CONT'D) We've got to get her out of here. There's no one to tend to her. ANWAR My brother already called a doctor, he's coming. Richard is going to say something, but holds back. His despair and confusion are evident. ANWAR (CONT'D) Trust my grandmother; she knows a lot about remedies. The grandmother wrings out the rags and puts them on a table. She takes some herbs, a fistful of earth from the floor and she tosses them into the basin. She stirs it and pulls out a clump of mud which she lays out on one of the pieces of cloth. Susan looks horrified at the dirt. The grandmother leans over her and tries to clean the wound with the other moistened rags. Susan resists. ANWAR'S GRANDMOTHER (In Arabic) I have to clean you. ANWAR (To Susan) Miss, my grandmother is going to help you. The grandmother finishes cleaning her with the damp cloths and grabs the clump of mud. She tries to put it on the wound, but Susan flinches. SUSAN No, not that. ANWAR'S GRANDMOTHER (In Arabic) It will stop the bleeding. SUSAN No, no... not that... Richard intervenes. RICHARD (To Anwar) Let's wait for the doctor.45. 76 EXT. HAMLET -- DAY Two old men walk through the streets. 77 INT. ROOM, ANWAR'S HOUSE -- DAY Mohammed walks into the room and calls him. MOHAMMED (In Arabic) The sheik and the moukadem are here. 78 EXT. ANWAR'S HOUSE -- DAY The two men walk past the tourists and head inside without knocking or asking for permission. 79 EXT. PATIO, ANWAR'S HOUSE -- DAY Richard and Anwar have walked out into the patio to wait for them. The sheik approaches. SHEIK (In Arabic) Allah be with you. ANWAR (In Arabic) Allah be with you. He turns to Richard and speaks to him in very bad French. SHEIK (In bad French) I am Atallah the sheik and this is Walid, the moukadem . I'm very sorry about your wife. RICHARD I don't understand French. ANWAR He says he is very sorry about your wife. Richard thanks him with a nod. SHEIK (To Anwar, in Arabic) Tell him that I want to ask him some questions. ANWAR (To Richard) Can he ask you some questions? Richard nods. The sheik continues in Arabic.46. SHEIK (In Arabic) Do you have any enemies in this country? ANWAR He asks if you have any enemies in this country. Richard shakes his head. RICHARD Of course not. SHEIK (In Arabic) Then why were you shot at? ANWAR Why did you come to Morocco? RICHARD Vacation. ANWAR (In Arabic) He has no idea. SHEIK (In Arabic) What does he do for a living? ANWAR What do you do for a living? RICHARD I'm a magazine editor. ANWAR (In Arabic) He edits magazines. SHEIK (In Arabic) Anti-muslim magazines? ANWAR Anti-muslim magazines? RICHARD No, magazine magazines. ANWAR (In Arabic) No, normal magazines.47. RICHARD Tell him we need to get my wife out of here. Ask him if the ambulance is on its way. ANWAR (In Arabic) He wants to get his wife out of here. He wants to know if the ambulance is on its way. SHEIK (In Arabic) Tell him the federal police are in charge of this, that they are going to send the ambulance. ANWAR He says the federal police are already in charge, that they are going to send the ambulance. The sheik looks at the house. SHEIK (In Arabic) Hey, did your cousin finally end up getting married? ANWAR (In Arabic) Yep, she's married, she doesn't live here anymore. Richard, anxious, questions Anwar. RICHARD What did he say? ANWAR He gives you his blessing. RICHARD Thank you. The sheik and the moukadem turn and exit the house. 80 INT. DENTIST'S OFFICE -- DAY Chieko is sitting in the reception area, waiting her turn. There is a woman with a twelve year-old son listening to a walkman and an old couple. The receptionist (50) will not stop talking to the old lady.48. RECEPTIONIST My niece sells these creams. And just look at my skin now. I'm going to turn fifty-two and look, almost no wrinkles... The woman continues her banal chatter. Chieko observes her grotesque mouth. She then looks at the old man's bored face, the old woman's feigned interest, the mother's annoyed expression, and the boy, who rocks his head to the music. A man walks out and the receptionist gestures at Chieko and points toward the door. 81 INT. DENTIST'S OFFICE -- DAY The dentist (47) - tall and, unlike the receptionist, with impeccable skin covering his hardened, attractive face - examines Chieko's mouth. His face comes very close to hers as he looks at her, making her nervous. The fat receptionist walks in without knocking. RECEPTIONIST Here are the sterilized drill bits. The dentist looks up at her. She leaves the drill bits on a table and leaves. The dentist turns back to Chieko and speaks face to face with her so she can read his lips. DENTIST I-think-you-have-two-cavities-in- your-molars . She smiles. The dentist moves closer to Chieko's mouth again; she cannot stop looking at him. Suddenly, Chieko licks his cheek. He is surprised, but continues his checkup. She licks him again, this time on the lips. He pulls away, flustered. DENTIST (CONT'D) What are you doing? She grabs his hand, puts it on her inner thigh and rubs it against her pubis. He, confused, tries to pull his hand away, but she prevents him from doing so. The scene starts to turn slightly grotesque. After a slight struggle, he pulls his hand back. DENTIST (CONT'D) What's the matter with you? She grabs his hand again and, again, pulls it toward her pubis. He gets angry and moves back. The fat woman enters again without knocking, sees they are agitated and, without a word, walks out and closes the door. 49. The dentist turns toward Chieko. DENTIST (CONT'D) Get out. She shakes her head. She is excited, anxious, scared, fragile. He pulls her by her wrist out of the chair. DENTIST (CONT'D) Get out right now. He walks to the door and opens it. Just before she walks out, Chieko draws out a slight smile, which is almost a grin. 82 EXT. TOKYO STREETS -- DAY Chieko walks down crowded Tokyo streets. She walks with a lost gaze, unsettled. 83 EXT. APARTMENT BUILDING, TOKYO -- DAY Chieko arrives at an upper class apartment complex. The architecture is cutting edge, but impersonal and cold. 84 INT. LOBBY, TOKYO APARTMENT BUILDING -- DAY Chieko enters the lobby. Beside the doorman are two men dressed in suits: Kenji (31) and Hamano (50). The janitor gestures at Chieko with his chin. The men walk over toward her and cut her off. HAMANO Are you Yasujiro Wataya's daughter? Chieko doesn't manage to read his lips. She is silent. The doorman notices the situation, walks out from behind his small desk and shouts at the men. DOORMAN She's deaf mute. Face her when you speak so she can read your lips. Kenji and Hamano are disconcerted. Hamano stands squarely in front of her and speaks slowly, emphasizing every word. HAMANO Are-you-Yasujiro-Wataya's-daughter ? She nods. HAMANO (CONT'D) We-are-sargeants-Kenji-Mamiya-and- Hamano-Kanoo-of-the-Tokyo-police . We-need-to-find-your-father. She pulls out a pen and a piece of paper from her bag. She scrawls a few lines and hands them over. 50. Hamano reads it and turns his face toward hers. HAMANO (CONT'D) No, he didn't do anything wrong. We just want to talk to him. Do you know where he is? She shrugs her shoulders. Kenji gives her his card. Upon receiving it, Chieko turns to look at him. Their eyes meet and she looks down. She then looks up again, blushing. KENJI Tell him to call us. And don't be scared, we're not going to do anything bad to him. HAMANO Thank you. Chieko can't stop staring at Kenji. The two cops leave. As soon as they do, Chieko heads toward the elevator. 85 INT. CHIEKO'S APARTMENT -- DAY Chieko walks into the apartment. It is a large apartment, elegantly furnished. Although decoration is scant, some hunting trophies stand out: a scimitar-horned Oryx, sheep, and others. There are also photographs of Yasujiro hunting. A wall is dedicated to family photos. Among them is a picture of Chieko as a little girl with her father and her mother. Chieko sees a note on the table at the entrance. She puts the policeman's card down and picks up a note from her father that says: "I waited until five and you didn't make it. I've got a meeting and I'll be back late. I left you some soup and some chicken for dinner. Kisses. Papa." 86 INT. CHIEKO'S ROOM -- DAY Chieko sits in front of a mute T.V., channel surfing. She stops at a fashion show, then some cartoons. Suddenly, on a news program, we see the photographs of Ahmed and Yussef. Chieko looks at them for a moment and then changes the channel. She is watching T.V. when a red bulb, set between a yellow bulb and a blue one, starts to light up insistently as the doorbell rings. Chieko notices and shuts off the T.V. 87 INT. LIVING ROOM, CHIEKO'S APARTMENT -- DAY Chieko opens the door and Mitsu walks in. They greet each other with a handshake where they end up touching their index fingers to each other's hearts. 51. MITSU Are you ready? CHIEKO Yeah, I'm just going to get my bag. Chieko goes to get her bag. Mitsu sees the policeman's card on the entrance table and looks at it. Chieko comes back and Mitsu asks her about it in sign language. MITSU The cops came again? CHIEKO Yeah. They hadn't come in nine months. But these were different cops. MITSU Did they come to ask about your mothers' death? CHIEKO No, but they're probably going to ask my dad about the same things. MITSU They're just not convinced, are they? Chieko shakes her head, remains pensive and then smiles. CHIEKO Believe it or not, I liked one of the cops. Chieko puts Kenji's card in her purse. MITSU Did you put on some panties? Chieko smiles, lifts up her skirt and exposes her naked pubis. Mitsu lifts hers up as well and is also without panties. They laugh and leave the apartment. 88 EXT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER Dawn. The desert is a rose plain softly lit by the sun's first rays. Yussef and Ahmed are digging a hole with their bare hands. Once they're finished, they clean up around the hole and mark it with three stones. 89 EXT. HIGHWAY, DESERT -- MORNING Alarid (40), a federal cop, tall, in an impeccable uniform with numerous rank badges, stands on the highway examining the site of the shot with the old man who was driving. 52. In the distance we can see a police checkpoint stopping some cars and, after checking them, letting them go. ALARID (To the old man, the entire dialogue in Arabic) Are you sure it was here? OLD MAN Sure. I drive down this road every day. The American tried to stop me right here. He stands more or less where Richard tried to stop him. OLD MAN (CONT'D) I was scared. He was covered in blood and I was coming from picking up my grandson from his work. ALARID Where was the bus? The old man points some twenty yards behind him. OLD MAN Over there. Alarid walks toward where the old man said and looks out at the mountains. Some of his men are visible at the tops. Alarid talks to them by radio. ALARID Look further to the right. We can see some men exploring the terrain. ALARID (CONT'D) (To the old man) Why did you wait so long to contact the police? OLD MAN I had to drive my grandson home. The radio crackles. POLICEMAN VOICE Captain Alarid, Captain Alarid... We found the cartridges. 90 EXT. MOUNTAIN RANGE -- MORNING Alarid squats, scrutinizing the four empty cartridges lying on the earth. One of his men approaches and Alarid signals with his hand for him to stop immediately.53. ALARID Stop right there... The man remains motionless. Alarid follows the prints that lead away from the cartridges. He reaches the mess of goat hoof-prints. He picks up a ball of shit and feels it. ALARID (CONT'D) They're from around here. Find out who has a .270 caliber rifle. 91 EXT. DESERT -- MORNING Yussef and Ahmed walk back home, lost in their own thoughts. Suddenly a jackal trots out and stares at them. Yussef picks up a rock and throws it. The jackal runs off. 92 EXT. HASSAN'S HOUSE -- MORNING Hassan and his wife are listening to the radio and playing cards at a table placed outside the house. As they play, Hassan whittles a stake with a small knife. Hassan's wife lowers her hand and Hassan follows. HASSAN I won... His wife pushes two chips from her pile toward him. In the distance, several trucks approach, kicking up a dust cloud. Hassan's wife gets up to better see them. WIFE Are you expecting anyone? Hassan stands up and watches the vehicles come closer. HASSAN No. Five trucks pull up in a semicircle around the house. A dozen police officers get out armed and aim at Hassan and his wife. Alarid gets out and stands next to his car door. ALARID Hassan Ibrahim ? Hassan paralyzed by fear, answers in a broken voice. HASSAN Yes. One of the police officers approaches him aiming directly at his head, while another one aims at his wife. 54. POLICE OFFICER Drop your weapon. Hassan lifts up his knife and shows it to them. HASSAN It's not a weapon, it's my knife. POLICE OFFICER Drop it, now... Hassan drops the knife in the dust. POLICE OFFICER (CONT'D) Get down on the floor... face down... Hassan and his wife look at each other before they obey. HASSAN What did we do? The cop readies himself to fire, and Hassan drops to the ground. His wife follows and also lies on her stomach. 93 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Abdullah takes two goats out of the corral, ties a rope to their neck and drags them over to a rock. The goats bleat desperately trying to break free. Abdullah turns to look at his children. ABDULLAH Hold them. Yussef and Ahmed hold their legs. Abdullah pulls out a knife and slits the goat's throat. 94 EXT. HASSAN'S HOUSE -- DAY Hassan lies on the floor, cuffed, with a broken mouth, surrounded by cops. Alarid is carrying out the interrogation, squatting next to Hassan's face. ALARID Why did you shoot at the bus? HASSAN I didn't shoot at anyone. ALARID Then who, you idiot? Hassan remains silent and turns to look at his wife who is sitting on a chair, cuffed, a few yards away.55. HASSAN It wasn't me. Alarid punches him in the face. ALARID That was your rifle. HASSAN No, not anymore, I sold it today. ALARID Oh yeah? To who? 95 EXT. YUSSEF AND AHMED'S HOUSE -- LATER Abdullah gives Yussef and Ahmed some goat skins. ABDULLAH Take these goat skins to Naguib and see if he wants to buy them. The two brothers bundle up the skins, tie them up with some cord and they leave down the path away from the house. 96 EXT. DESERT -- DAY As they climb a hill, they encounter a convoy of Moroccan police trucks. They are terrified. The vehicles screech to a dramatic halt before them, lifting up much dust. Alarid opens the passenger window. ALARID Hey, do you know where Abdullah Adboum lives? Ahmed and Yussef exchange a glance. Yussef nods. YUSSEF Yes. Ahmed gets very nervous. Yussef points the wrong way with an air of certainty. YUSSEF (CONT'D) Over there, you have to cross those mountains. ALARID They told us he lived around here. YUSSEF No, we just live here with our mother. Abdullah lives over there. Alarid scrutinizes the brothers' faces. 56. ALARID If you're lying to me I'm going to come back and cut your balls off. Ahmed breathes nervously. Yussef continues in cold blood. YUSSEF You can come back whenever you like. Alarid smiles and gestures at the driver with his head that they should go on. The police vehicles drive off in the direction Yussef pointed them in. 97 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Ahmed and Yussef run home. Their mother and sisters are milking some goats into a tin bucket. When they fill, Abdullah empties the milk out into a barrel. AHMED Papa... papa... Abdullah puts the bucket down on the floor and turns to look at his kids, who stop before him, panting, exhilarated. ABDULLAH What happened? Ahmed can barely control his gasping. AHMED The police... they're looking for you... ABDULLAH Me? Why? YUSSEF No, they're not looking for you... they're looking for us... ABDULLAH You? Why? YUSSEF Because of what happened to the tourist... Yasira and her two daughters stop milking and approach. Abdullah can't seem to understand what their talking about. ABDULLAH What tourist? AHMED The American... Yussef killed her...57. YUSSEF That's not true, we both did. YASIRA What are you saying? Ahmed fires his words out. AHMED Yussef started shooting at the cars because Hassan said that the bullet could go really far... YUSSEF That's a lie, you started shooting at the cars. AHMED Yes, but you killed her. Abdullah loses his patience and grabs Ahmed by the shoulders. ABDULLAH What the hell are you talking about? Ahmed looks at his father straight in the eyes. AHMED Yussef killed the American and he spies on Zora naked and Zora lets him watch her... Abdullah turns toward Zora. In his mind, everything is confusion. ABDULLAH What is your brother talking about? ZORA That's bullshit. AHMED It's not bullshit; she's a whore and my brother spies on her... As soon as the words leave Ahmed's mouth, Yussef decks him and leaves him sprawled on the dust. Ahmed shoots right back up and runs at Yussef kicking, until they're both entangled in the fight and end up rolling on the ground. Abdullah tries to get between them. 98 EXT. HAMLET "LOS LOBOS" -- DAY Debbie and Mike are almost like spectators at a soccer match between the other kids, as they play in the dirt with an orange plastic ball.58. Nobody passes to them. Mike just runs from side to side without saying a word. Frustrated, Debbie just watches. 99 INT. HOUSE, HAMLET "LOS LOBOS" -- DAY Inside the house, Amelia is checking on the food. AMELIA (All in Spanish) How many pots of rice did you make? DAUGHTER 1 I made two. Amelia looks out the window and sees the vast amount of guests that have arrived and which have transformed the hamlet into a large parking lot of trucks, horses, carts, etc. AMELIA Too many people have come, that's not going to be enough. Make two more pots. She turns to another of her daughters. AMELIA (CONT'D) And you Maria Eugenia , warm up more tortillas. She sees Santiago walk past the window. AMELIA (CONT'D) Santiago... please go kill another six chickens, or there won't be enough food. Santiago stops and looks through the window. SANTIAGO Sure thing. Out back, Santiago sees a car arrive. A priest steps out. 100 EXT. HAMLET "LOS LOBOS" -- DAY Luis is standing under a shack drinking beer with some friends. Amelia, worried, approaches him. AMELIA (Both in Spanish) Luis, the priest is here and Patricia hasn't arrived. Where is she? LUIS No idea.59. AMELIA Fifteen minutes left before the wedding and you have no idea? LUIS What if she doesn't want to get married? Shut up and come help me look for her. 101 EXT. HAMLET "LOS LOBOS" -- DAY Santiago arrives at where the children are playing. He calls out to them. SANTIAGO (In Spanish) Who wants to help me with the chickens? Everyone raises their hand and go toward him. Mike and Debbie stand still without knowing what to do. Santiago calls them. SANTIAGO (CONT'D) Mike and Debbie. Come with me. 102 EXT. CHICKEN COOP -- DAY The chickens walk around a rustic chicken coop made with wire mesh and mesquite posts. Santiago opens the door to the coop and lets the kids in, Mike and Debbie among them. Once inside, Santiago tells them to catch the chickens. SANTIAGO (In Spanish) I'll give ten pesos to the first one of you who catches a chicken. The kids start chasing the chickens, which scamper as soon as they feel hands trying to grab them. At first, Mike and Debbie don't know what to do, but they are soon amused and run to catch them. After a while, Debbie catches one and holds it up. Santiago applauds her. SANTIAGO (CONT'D) Debbie is the winner. Now we need another five. The kids get back to their game of catching chickens. 103 EXT. DESERT ROAD -- DAY Santiago's car drives down the road, with a terrible sun beating down on it. 60. 104 INT. SANTIAGO'S CAR -- DAY Luis drives while Amelia looks out the window. AMELIA (Both in Spanish) Did you get into a fight with Patricia? LUIS No, not at all. AMELIA I didn't bust my hump to pay for this wedding for Patricia not to show. So she's either coming or she's coming. 105 EXT. CHICKEN COOP -- DAY Santiago has several chickens tied up. One of the kids catches the last one and hands it to Santiago. SANTIAGO (In Spanish) Ready. Now who's going to help me? Several children raise their hands. Mike and Debbie raise theirs as well, excited. Santiago picks Mike. SANTIAGO (CONT'D) Let's see, Mike, you can help me. Proud, Mike walks toward Santiago and stands next to him. Santiago unties a chicken and gives it to Mike. SANTIAGO (CONT'D) Hold it tight, like this. He shows him how to hold it. Mike grabs it and holds it between his arms, smiling, oblivious to what will happen. Santiago grabs the chicken by the head and pulls it off. The chicken starts to shake, spurting blood everywhere. Mike, stunned, lets the animal fall to the ground and the chicken starts its mad race. The Mexican kids start screaming excitedly, chasing the headless chicken. Nobody notices that Debbie and Mike, completely shocked, are about to cry. 106 EXT. PATRICIA'S HOUSE -- DAY They arrive at the bride's house. A car adorned with ribbons is parked outside. There is no one to be seen.61. 107 INT. SANTIAGO'S CAR -- DAY Luis honks the horn. Nobody shows. AMELIA I'm going to see if they're inside. 108 EXT. PATRICIA'S HOUSE -- DAY As Amelia gets out, Patricia's mother appears, upset. AMELIA What's the matter? MOTHER Patricia's not feeling well. 109 EXT. CHICKEN COOP -- DAY Santiago and the other kids are plucking the chicken's feathers. Mike and Debbie stare, horrified. SANTIAGO (In Spanish) Aren't you going to help? Mike and Debbie shake their heads. SANTIAGO (CONT'D) Why? MIKE It's not good to kill animals. Santiago smiles to himself. SANTIAGO (In English) Have you ever been to Kentucky Fried Chicken? They both nod. SANTIAGO (CONT'D) What? Did you think that Colonel Sanders kept them as pets? He hands Mike a headless chicken, and he slowly starts to pluck it. 110 INT. PATRICIA'S ROOM -- DAY Patricia, in her bridal dress and clearly six months pregnant, is sitting on her bed with her hands around her belly, with her mother, father and entire family around her.62. PATRICIA (Both in Spanish) My belly's been hard since the morning. AMELIA That happens when you're nervous. MADRE D'you think the baby's coming? AMELIA There's no way the baby's coming; she's only six months pregnant. PATRICIA But my belly feels hard, really hard. AMELIA D'you want to get married? PATRICIA Yes. AMELIA Well, let's go then. MADRE And what if the baby comes out? AMELIA Well, we'll have the wedding and baptize the kid while we're at it. 111 EXT. HAMLET -- DAY A bearded man (50) on an old bicycle rides down the hamlet's narrow streets. He is carrying a briefcase on the bike. He is escorted by dozens of children. 112 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying on the floor, moaning softly. Flies hover around the pool of blood under her neck. Richard, worried, strokes her hair. The grandmother brings them a pot of tea with two cups and sets them on the floor beside them. RICHARD Thank you. The grandmother goes to sit in a chair. Mohammed walks in and whispers something to him. Anwar turns to Richard.63. ANWAR The doctor's here. 113 EXT. PATIO, ANWAR'S HOUSE -- DAY The doctor walks across the patio, through the tumult of children and before the scrutiny of two police officers. 114 INT. ROOM, ANWAR'S HOUSE -- DAY The doctor enters the room. DOCTOR (In Arabic) Allah be with you. ANWAR'S GRANDMOTHER (In Arabic) Allah be with you. Richard just bows his head slightly. The doctor walks over to Susan, shoos the flies away and examines the wound. She looks at him, anxious. DOCTOR (In Arabic) The bullet didn't hit her spine or split her jugular. But it did shatter her clavicle and she could bleed to death. Anwar looks worried. RICHARD What did he say? ANWAR He says she will be fine. RICHARD Stop lying to me god damn it, and tell me what the fuck he said! The doctor addresses Richard in terrible English. DOCTOR Hospital... need hospital... RICHARD Yes, we know that. What can you do in the meantime? DOCTOR (In Arabic, to Anwar) Tell him I have to stitch up the wound to stop the bleeding.64. Anwar draws close to Richard and whispers. ANWAR He has to sew up her wounds. Susan turns to look at them, suspicious. SUSAN What did he say? Richard gets nervous. RICHARD You need some stitches. SUSAN What do you mean stitches? The doctor opens his kit and takes out a rudimentary needle and thread. He gets ready to sew. Richard questions him, also in whispers. RICHARD You're not going to give her any anesthetic? The doctor and Anwar exchange a look. ANWAR (To Richard) No, he doesn't use anesthetic. RICHARD What kind of doctor is he? Anwar answers naively, in a low voice. ANWAR He's a veterinarian, but he is good. Richard looks at him, surprised and angry. RICHARD He can't take care of her. SUSAN Richard, he might infect the wound... Richard can't answer as he focuses on what the doctor says. DOCTOR (In Arabic) Tell him that if I don't stitch up her wound she may bleed to death.65. ANWAR If he doesn't sew up the wound, she may bleed to death. DOCTOR (In Arabic, to Anwar) And tell him her clavicle is broken. We have to fasten a splint to it. ANWAR He says she has a broken bone and he has to put a splint on it. Richard remains pensive for a moment. He looks at Susan, then at the doctor and assents tentatively. DOCTOR (In Arabic) We're going to have to hold her down. He mimes holding her down with his hands. Richard leans over Susan, who weakly languishes on the rug. RICHARD Honey, this is going to hurt a little. She stares at him. Richard turns to Anwar and signals that he can begin. Anwar holds her hands. Susan, stupefied, to Richard. SUSAN Richard, don't let him... The doctor lifts Susan's neck and starts to stitch. She howls in pain and tries to move away. Anwar and Richard hold Susan down. The doctor sticks the needle in again. Susan shakes her head from side to side trying to pull away. SUSAN (CONT'D) Don't let him, don't let him. RICHARD Calm down... calm down... Susan, they have to sew you up... relax... Richard holds her head to keep her still. She resists. SUSAN No, no...no.. RICHARD Honey, please try to relax...66. The doctor rubs alcohol on the wound and starts to stitch. She moans in pain. Richard puts a rag in her mouth, on which she bites down. 115 EXT. TINY SHOP -- DAY Mohammed sits outside with three friends drinking coffee. From where they are we see the bus and the American tourists. A battery powered radio plays Moroccan music and commercials in the background. MOHAMMED I don't understand why Anwar brought them here. FRIEND 1 Well he spends all his time with them, what do you expect. FRIEND 2 The woman is hurt, he had to help her. MOHAMMED Yeah? And when have they helped us? FRIEND 1 I liked one of those tourists. FRIEND 2 Really? They're all skin and bones. Suddenly Mohammed focuses on the radio. MOHAMMED Shh... sh... listen. The friends are quiet. NEWSCASTER (V.O.) Today, near Tazarine , there was an incident where an American was shot... One of the friends interrupts. FRIEND 3 Hey look, it's the story. FRIEND 2 They said Tazarine , did you hear? We were on the radio... MOHAMMED Shh, shut up.67. NEWSCASTER (V.O.) Although authorities say it could have been a foiled robbery, the American government claims they are certain it was a terrorist attack. Minister Hassef Hazal has said that in our country, terrorist cells have been eradicated, that Morocco is a peaceful country and that one act of vulgar banditry followed by superficial evaluations such as the U.S. intends to place upon it cannot ruin the image, the economy and the pacifist reputation of our country. American Ambassador Ken Jones, however, insists that it was a terrorist attack on American citizens, that it merits a full investigation, and that the guilty should be punished. So far, the attack has not been attributed to any known terrorist organizations... Mohammed shouts. MOHAMMED I fucking told Anwar, I told him he was only going to get us in trouble... he never comes and when he does he always brings trouble...god damn it... FRIEND 1 Are the Americans going to invade our country? MOHAMMED I don't know. 116 INT. ANWAR'S HOUSE -- DAY Susan lies on the floor with her neck shoddily stitched and a splint on her shoulder made out of a few sticks and some dirty bandages. She moans in pain and mumbles curses. SUSAN I hate you... I hate you... She tries to stand, but the doctor impedes it. DOCTOR (To Anwar in Arabic) Tell her not to move; the bullet's still inside. 68. ANWAR (To Susan) Don't move, miss. The bullet is still inside you. SUSAN I don't give a shit... RICHARD My love, don't move. SUSAN I want to call the kids. RICHARD You can't move, calm down. SUSAN I want to talk to them. RICHARD You can't; there's only one phone in town. I'll call them later. She seems obsessed by the idea. SUSAN I want to talk to them... She tries to stand again. As they struggle, the grandmother takes out a hash pipe form a drawer and lights it. She gives it two drags and squats next to Susan. She shows her how to smoke it and hands it over. The old woman's serenity is such that Susan acquiesces. She takes four drags and slowly starts to relax. Susan smokes another three times, relaxes and closes her eyes. The old woman goes to get the clump of mud and starts to spread it on Susan's neck. Susan does not protest. Richard watches the scene in awe. 117 EXT. ANWAR'S HOUSE -- DAY The bus is still parked outside Anwar's house. Some of the passengers sit leaning against the wall, scrutinized by some of the town's children and women who have offered them tea and dates. 118 INT. BUS -- DAY The driver sits in the driver's seat and stares out at the desolate landscape through the windshield. Several of the tourists nap in their seats. One of them, a French tourist, Robert (70), starts to breathe with difficulty. Jane (65), his wife, is alarmed. 69. JANE (In French) Are you ok? Robert nods, but it is clear that he is not. Jane shouts at the driver. JANE (CONT'D) (In French) Could you please turn on the air conditioning? The driver shakes his head regretfully. DRIVER (In broken French) No air condition, no gasoline near. I'm sorry. Robert inhales, he can barely breathe. JANE (In French) My husband is feeling ill. You have to turn it on. DRIVER (In French) No possible. No gasoline near. I'm sorry. LILLY (In French) Please, it's too hot. We can get dehydrated. DRIVER (In French) I'm really sorry, forgive me, but gasoline finish with air conditioner. Tom turns to Jane. TOM What is he saying? JANE That he can't turn on the air conditioning, that it's not possible. Tom stands up and goes to yell at the driver. TOM Fuck you. We're gettin' out of here.70. 119 EXT. PATIO, ANWAR'S HOUSE -- DAY Tom resolutely walks up the stairs followed by James. 120 INT. ROOM, ANWAR'S HOUSE -- DAY Richard is looking out the window while Susan, relaxed, sleeps. Tom and James walk in making noise. TOM We've gotta talk to you. Richard, with his index finger, signals for him to shut up and points at Susan. He gestures for them to leave the room. 121 EXT. ANWAR'S HOUSE -- DAY Tom, James and others are gathered by the door. TOM We're leaving. RICHARD You can't leave us like this. TOM There are old people here and the heat is getting to them. RICHARD At least wait until an ambulance comes. TOM One man almost fainted in the bus and there's a woman who needs to get back in time to take her medication. Richard turns to Anwar. RICHARD Is there anyone around here who can take them in? TOM It's not about that. LILLY Sir, we can't wait anymore. Walter an English man, one of the older men, defends him. WALTER We can't leave him here alone. TOM Well let him come, then.71. DOUGLAS His wife is in no condition to ride a bus. TOM And lots of other people aren't in any condition to keep waiting, can't you see? RICHARD Just wait, the ambulance should be here any minute now. TOM We're giving you an hour... one hour... Richard breathes, relieved. 122 EXT. STREET, TOKYO -- DAY Chieko walks down the street with Mitsu. They are good- looking and attract attention. They know this and look back out of the corners of their eyes. 123 EXT. PARK, TOKYO -- DAY They arrive at a park with a playground: swings, see-saws, slides. Several of their deaf-mute volleyball friends are there. With them are two young men with hair dyed blond. One of them, Takeshi (18), has an earring, and the other, Haruki (19), has several tattoos. Mitsu and Chieko greet them in sign language. Chieko asks the slightly chubby Kumiko who they are. KUMIKO They're my cousins. Chieko turns to look at them, curious. Haruki, the guy with tattoos, exchanges a look with her. Chieko suddenly feels intimidated and looks down. CHIEKO Is he deaf-mute like us? KUMIKO No, but he understands some. Haruki seems to understand what they're saying and leans in to whisper something to Takeshi, his brother. They both laugh. Haruki approaches Chieko and talks to her face to face so she can read his lips.72. HARUKI What's your name? Chieko and her friend smile. Chieko takes out her notebook and pen and writes her name. Haruki reads it out loud. HARUKI (CONT'D) Chieko? Chieko nods. HARUKI (CONT'D) My name's Haruki. Chieko nods, trying to show she's understood. Haruki takes out a flask and holds it out to her. Chieko opens it and smells it. Haruki stands in front of her. HARUKI (CONT'D) It's whisky. Chieko smiles and gives a long swig. Mitsu asks for some and also gives it a long drink. HARUKI (CONT'D) Do the cops come around here? MITSU (Gutturally) Sometimes. Haruki takes out some ecstasy and gives it to them. Mitsu and Chieko look at each other and down the pills with a gulp of whisky. 124 EXT. PARK, TOKYO -- LATER Half-drunk and rushing from the pills, Chieko, her friends, and Haruki and Takeshi, play on the swings and see-saw. They laugh at almost anything. Haruki and Chieko are on the see-saw and every time Chieko rises, Haruki looks at her bush. Chieko knows this sometimes opens her legs even more so he can look to his heart's content. Hormones float in the air. Mitsu also takes advantage of the occasion. She flirts with Haruki whenever she can. Haruki looks happy to be the object of their attention. Takeshi, who has started to make out with one of Chieko's friends, turns to the group and speaks slowly. TAKESHI Why- don't- we- go- to- Montana?73. 125 INT. TAXI, TOKYO -- EVENING Night begins to fall. Haruki sits between Mitsu and Chieko. He strokes Chieko's knee with his hand; she seems turned on. 126 EXT. NIGHTCLUB STRIP, TOKYO -- NIGHT The taxi parks outside the Montana. Chieko, Mitsu and Haruki get out of the car and meet with the others at the door. 127 INT. HALLWAY, NIGHTCLUB -- NIGHT They enter. The music, the light, the crowd, it is almost hallucinatory. For Chieko, it is a silent concert of movement and chaos. She and her friends push their way through the place. Haruki grabs Chieko by the hand, pulls her toward the floor and starts dancing. Chieko looks at the other dancers' rhythm and follows. She slowly manages to follow. The other deaf-mutes also dance. Some do better than others, lost in the sea of lights and people. For Chieko, the dance turns into something hypnotic. She dances with her eyes closed, concentrated on her own rhythm. When she opens her eyes, she sees that Mitsu, a little drunk, is grinding against Haruki, feeling him up. Chieko seems annoyed by this and goes to defend her territory. She starts dancing next to Haruki, but she is constantly interrupted by the surrounding crowd. The struggle between Chieko and Mitsu is a little bit ridiculous. It is finally resolved when Mitsu takes Haruki by the face and starts to kiss him. Chieko doesn't know what to do. Mitsu and Haruki start to make out intensely. Suddenly Chieko is left standing in the middle of the club, motionless, while her friends dance awkwardly and Mitsu and Haruki are having the time of their lives. Chieko, defeated by her friend, decides to leave. Mitsu spots her out of the corner of her eye and waves goodbye. Chieko smiles back and walks away from her friends as they dance. 128 INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT Chieko enters her building and goes straight to the doorman. DOORMAN Good evening, how may I help you? Chieko takes out a piece of paper and a pen from her purse and writes a note. She gives it to the doorman together with Kenji's card. He reads it carefully, and when he's done he turns to her. 74. DOORMAN (CONT'D) Very well miss, I'll call him now. The doorman picks up a cordless phone and dials. DOORMAN (CONT'D) Lieutenant Kenji Mamiya , please? There is a pause. The doorman gestures to Chieko that the lieutenant will answer in a moment. DOORMAN (CONT'D) Lieutenant? Yes, look, I'm with the deaf-mute girl you saw in the afternoon, and she asked me to call you... Yes, her... She says she needs to talk to you, alone... about her father... If it's possible, in her apartment, tonight. Chieko watches attentively. 129 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef and Ahmed are sitting against the wall of the house. Yussef's lip is split. Ahmed's nose is bleeding. Abdullah paces desperately, while his wife and daughters watch the scene, silent. Abdullah stops to look at Yussef. ABDULLAH Why did you do this? They don't answer. Abdullah leans over and slaps Ahmed. ABDULLAH (CONT'D) Answer me, god damn it! Ahmed won't answer and he turns to Yussef again. YUSSEF We were testing the rifle. Abdullah turns and gives Yussef a powerful slap, which he endures with silent dignity. ABDULLAH Are you idiots? You killed a woman, (He turns to Zora) And you, you got naked so your brother would see you? AHMED Yes, she got naked lots of times. I saw how Yussef spied on her. 75. ZORA That's not true. Abdullah turns to Yussef. ABDULLAH Is it true or not? Yussef is silent. Abdullah walks two steps forward and slaps Zora. He looks furious, scared, indignant. ABDULLAH (CONT'D) Why did you do this to us? He can barely hold in his tears. Zora brings her hand to her face tearily. Abdullah turns to Ahmed. ABDULLAH (CONT'D) Where's the rifle? 130 EXT. HASSAN'S HOUSE -- DAY A cop interrogates Hassan. His face is badly bruised and his hands are cuffed behind his back. COP What organization gave you the weapon? HASSAN I've told you it wasn't an organization; I got it from a hunter. COP What hunter? HASSAN A Japanese hunter gave it to me many years ago. I've got a picture inside. She can get it. He turns to look at his wife. She has also been beaten and is guarded by two cops. The interrogating cop authorizes her. She walks in and comes out with a photograph of Hassan with Yasujiro, posing with the scimitar-horned oryx. He hands it over and the cop examines it. HASSAN (CONT'D) He's holding the rifle he gave me. 131 EXT. DESERT -- DAY Yussef and Ahmed dig up the rifle and the bullets in front of their parents and sisters. Abdullah grabs the rifle, dusts it off and puts the bullets in his bag. He turns to Yasira. 76. ABDULLAH We're going to hide out at Naguib's house. If the cops come, tell them we went south. With the rifle in hand, Abdullah runs off, followed by Yussef and Ahmed. The women watch them get lost on the horizon. 132 EXT. HASSAN'S HOUSE -- DAY Alarid's truck parks in front of Hassan's house again. Hassan is still cuffed and being interrogated. Furious, Alarid gets out of the truck and goes toward him. ALARID This Abdullah doesn't live where you said he did. He walks over to kick him. The wife intervenes from where she is, some ten yards away. WIFE They live where he said they do. Alarid turns to her. ALARID You're going to take us. With a gesture, he orders his subordinates to put her in the truck. She obeys, docile. ALARID (CONT'D) And if they're not there, I'll cut your tongue out and I'll kill your husband. 133 EXT. DESERT -- DAY The Moroccan police trucks drive down the dusty roads. The landscape is harsh and barren. 134 INT. POLICE TRUCK -- DAY Hassan's wife gives directions. WIFE Make a right here. Alarid, with his hand, signals the driver to follow her directions. Suddenly, in the distance, over the hills, she signals three tiny dots running up a slope. WIFE (CONT'D) That's them.77. ALARID (To the driver) Stop... The trucks stop and Alarid takes out his binoculars. 135 P.O.V. ALARID'S BINOCULARS -- CONTINUOUS In the distance, we can still see Abdullah, Yussef and Ahmed run across the hills. Abdullah is clearly carrying the rifle. 136 EXT. DESERT -- DAY Alarid quickly gets out. ALARID There they are. All the cops get out with their high powered rifles. 137 EXT. DESERT HILLS -- DAY Abdullah and his sons run full speed. Yussef sees the trucks in the distance. YUSSEF The police, the police... They run up a hill to try to lose them, but shots start to ring out. YUSSEF (CONT'D) They're shooting at us. Abdullah stands before his sons and lifts up the rifle as a sign of surrender. The shots cease for a few seconds, but they suddenly start again. ABDULLAH Get down. Run. The three shepherds run, huddling as low as they can. More shots. They desperately climb between the rocks. Bullets whiz past everywhere. Abdullah makes one last attempt at surrender. He lifts up the rifle again, sets it on the ground and backs away. But the gesture is in vain, as the bullets still rush past. They begin to run again when Ahmed is hit in one of his calves. He collapses and rolls downhill. Abdullah hurries to rescue him and drags him behind a rock. Ahmed won't stop screaming from the pain. AHMED They shot me, they shot me...78. Yussef dives on his belly and snakes his way through the rocks. He gets the rifle, loads it and aims at the trucks. He shoots without hitting anything. Abdullah turns to him. ABDULLAH Don't shoot, don't shoot! Yussef doesn't pay attention. He loads again and aims. 138 P.O.V. RIFLE SIGHTS -- DAY Yussef aims carefully. He picks out one of the cops who has been shooting barely protected by one of the trucks' fenders. Yussef shoots and the policeman collapses. 139 EXT. HAMLET "LOS LOBOS" -- LATER The religious ceremony has ended and everyone throws rice at the bride and groom. Debbie and Mike enjoy doing it. Several cowboys, among them Santiago, have gone to their trucks and are loudly honking their horns. Music begins to blare. 140 EXT. HAMLET "LOS LOBOS" -- DAY The band plays various Norteño songs. Everyone waits for the music to start. After a while a couple starts to timidly dance. Then another, and another, until the dance floor becomes a sway of heads moving to the same rhythm. Amelia dances with Mike and Debbie with Santiago; both Amelia and Santiago show them a few steps. SANTIAGO (To Debbie, in Spanish) Like this, look... He kicks his heel back, then forward. Debbie watches, entertained. Jacinto (55), overweight and with a good-natured face, moves closer to Amelia and watches her dance for a while, she notices and stops, embarrassed. JACINTO (Both in Spanish) Amelia, will you let me dance with you? Amelia remains unperturbed, without answering him. JACINTO (CONT'D) I've been asking you for a dance for 30 years. Does it really cost you that much?79. Amelia stares at him. AMELIA I don't think your wife would have liked that. JACINTO C'mon Amelia, she's been dead for 10 years. Amelia looks around and then turns to him. AMELIA Okay, just one. Jacinto chivalrously takes her by the waist and they begin to dance. Santiago watches them, amused, and continues to dance with Mike and Debbie. Jacinto draws Amelia closer and they kiss gently. 141 EXT. HAMLET "LOS LOBOS" -- NIGHT Beer starts to flow and some of the guests get overbearing. There is a small scuffle at the edge of the dance floor, but order is soon restored. The guitarist in the band stops the music. GUITAR PLAYER (All in Spanish) Now, Luis and Patricia, come forward. Everyone makes way for the bride and groom. GUITAR PLAYER (CONT'D) We-want-cake, we-want-cake... The audience and the band sing the little cake song. A giant, tacky wedding cake, covered in cream, arrives. The bride grabs the knife and gets ready to cut it. GUITAR PLAYER (CONT'D) Take- a- bite, take- a- bite... The bride gives into the ritual. She tries to take a bite out of the cake without using her hands and someone pushes her face into the cream. Debbie and Mike laugh. A cowboy pulls out a gun and, festively, fires. Debbie is frightened and goes to hide behind Amelia. AMELIA Don't worry, it's ok. The man puts the gun away and walks back onto the dance floor as if nothing had happened. 80. Luis asks the band to stop the music for a little bit and he takes the microphone. LUIS Good evening everyone... Hey... I want to say something. Love came today, it came here all pretty... (he taps his heart) It's kind of like a little mouse is crawling inside of me. Because that's what love is, it's like your insides get all twisted into knots... and that, baby, is what you've taught me. And because you've shown me, I want to tell everyone that hopefully love will get inside them too...because it feels so good, really...Thanks a lot and keep havin' a good time... Everybody applauds and Luis steps down from the dais, proud of his speech. He goes to Amelia and gives her a very long and loving hug. 142 EXT. HAMLET "LOS LOBOS" -- NIGHT Night has fallen. The music plays full blast. Everyone dances, people start to make out, the drunk collapse. Patricia breathes regularly with her hands on her belly. Luis drinks beer beside her while he watches the guests dance. Debbie falls asleep on Amelia's lap while Mike watches the party, overwhelmed. MIKE When are my parents getting back? The question catches Amelia off guard. AMELIA Pronto... muy pronto... MIKE They told me they were coming back today. AMELIA Se quedaron más rato. The answer seem to makes Mike anxious. MIKE My dad's coming back with my mom. AMELIA Yes. Yes he is. 81. MIKE I don't want him to leave again. AMELIA He won't. He starts crying. MIKE I miss Pat. Amelia embraces him and kisses his head. AMELIA Yo también hijito , yo también . The boy, tired and sleepy, leans his head on Amelia. 143 EXT. HAMLET "LOS LOBOS" -- NIGHT Santiago, a little bit drunk, and Amelia, carrying Debbie who has passed out, say goodbye to Luis and Patricia. Sleepy, Mike leans on the hood of the car. LUIS (All in Spanish) Stay the night. AMELIA I can't. I have to take these kids home and it's almost dawn. LUIS But Santiago's pretty drunk. SANTIAGO Drunk my ass. I'm fine. I'll go and come back in an hour. PATRICIA Stay for another while, the party's just getting started. AMELIA I wish, but these kids have to go to school. Santiago opens the door for Amelia, who carefully sets Debbie on the back seat. Mike gets in and as soon as he does he nestles in to go to sleep. AMELIA (CONT'D) See you soon, son. Luis and Amelia hug each other. Then Amelia hugs her daughter- in-law.82. AMELIA (CONT'D) Congratulations, dear. (She points at her belly) Take care of my grandson 'cause I'm dying to be a grandmother. She gives her a kiss and gets in the car. Luis turns to Santiago. LUIS You sure you're not too drunk? SANTIAGO Drunk my ass. I'm fine. I'll be back soon. Santiago stumbles to the driver's side and opens the door. 144 EXT. DESERT HIGHWAY -- NIGHT The night spreads over the highway that cuts across the desert. Santiago's car drives along, illuminating the cacti. 145 INT. SANTIAGO'S CAR -- NIGHT Santiago drives the car, nodding off every now and then. In the back, Debbie and Mike have surrendered to sleep. Santiago jerks the wheel. AMELIA (In Spanish) Hey... be careful... Santiago corrects the vehicles trajectory and goes back to his careless driving. 146 EXT. BORDER CROSSING -- NIGHT Santiago decides to cross through Mesa de Otay. Since it's nighttime, there are very few cars. They drive across the bridge and stop before the immigration officer. 147 EXT. IMMIGRATION STALL, BORDER CROSSING -- CONTINUOUS The officer walks up to the window. OFFICER Your papers... Santiago and Amelia take out their passports and their Green cards. The officer compares the documents to their faces again and again. OFFICER (CONT'D) Where you comin' from?83. SANTIAGO (In bad English) From a wedding. The officer looks through the window and sees Debbie and Mike sleeping in the back. OFFICER Who are they? Santiago rushes to answer. SANTIAGO They're her nephews. Amelia freezes at Santiago's answer. The officer won't stop looking at the children. OFFICER They don't look like you. AMELIA (bewildered) I'm in charge of them. OFFICER Do you have their passports? Amelia takes out their American passports and shows them to the cop. He looks them over very carefully. Santiago starts to get nervous. SANTIAGO Is there a problem? The officer turns to look at them suspiciously. He obviously smells the alcohol. OFFICER Should there be one? Santiago shakes his head. Debbie wakes up and looks at the officer sleepily. DEBBIE Hi. OFFICER Hey there, sweetie. Debbie rubs her eyes. OFFICER (CONT'D) Tell me, is this lady your aunty? Debbie innocently shakes her head.84. DEBBIE No, she's not my aunty. The officer stares at them harshly. He says something incomprehensible over his radio and asks Santiago. OFFICER Are you drunk? SANTIAGO Me, sir? No. OFFICER Get out of the car. SANTIAGO Why, officer? OFFICER I'm countin' to three... He brings his hand to his gun. 148 INT. SANTIAGO'S CAR -- NIGHT Nervous, Santiago glances ahead and looks at the border crossing through his rear-view mirror. He puts the car in reverse and accelerates, trying to escape back to Mexico, but he crashes into an arriving car. AMELIA (In Spanish) What are you doing? 149 EXT. IMMIGRATION DESK, BORDER CROSSING -- NIGHT The immigration officers take out their guns and run to stop him. Santiago sees that the road ahead is clear and he drives away full speed, barely swerving around some customs officers who are searching another vehicle. The officer shouts urgently. OFFICER They've kidnapped some kids... He starts a police chase. 150 EXT. DESERT HIGHWAY -- NIGHT Santiago's car drives full speed down the highway. He sometimes looks as if he is going to lose control. 151 INT. SANTIAGO'S CAR -- NIGHT Santiago drives madly. Frightened, Amelia holds onto the dashboard. Debbie and Mike start to cry.85. SANTIAGO (In Spanish) See, I told you you shouldn't have brought them. I told you. I told you.. A trailer drives slowly. Santiago decides to drive around it blindly, and almost drives off the other side of the road. AMELIA (In Spanish) Santiago, stop acting crazy and stop the car... Santiago, stop... Santiago ignores her, concentrated on his driving. He looks through the rear-view mirror. There is nobody behind him, only the dark highway. Santiago steps on the gas. Amelia tries to comfort the kids. AMELIA (CONT'D) (In English) Everything's all right sweeties... The children won't stop crying, terrified by the speed. Through one of his mirrors, Santiago sees two patrol cars following him with their turrets flashing. SANTIAGO (In Spanish) Fucking asshole gringo mother-fuckers , here they come... Santiago accelerates. The car seems to be out of control. The children scream. Amelia tries to stop Santiago. AMELIA (In Spanish) Stop... Stop... Santiago reaches a path and heads toward it. 152 EXT. DESERT PATH -- NIGHT The car drives quickly down the path, raising up a cloud of dust. The patrol cars are no longer visible. The car drives on for a mile and then stops. 153 INT. SANTIAGO'S CAR -- NIGHT Santiago turns to Amelia. SANTIAGO (Their entire dialogue in Spanish) Get out...86. Amelia looks at the dark desert surrounding them. AMELIA Are you crazy? Where? SANTIAGO Get out. I'll lose these bastards and then I'll come back for you. AMELIA Santiago, calm down... SANTIAGO Aunt Amelia, they're going to get us, get out god damn it... 154 EXT. SANTIAGO'S CAR -- NIGHT Amelia gets out and opens the door for the kids. AMELIA (In English) Come with me, dears. The kids get out and Amelia holds their hand. Santiago closes the doors and drives off in a cloud of dust. They start to walk through the darkness. Amelia leads the way, avoiding cacti and thorny branches. The go on like this for a long stretch. The children are quiet and scared. Amelia goes toward the highway and realizes the patrol cars have turned into the path. She runs into the desert with the kids. She can barely see with the light of the early dawn. The three frequently trip on thorny plants. DEBBIE I want to go home now. MIKE Me too. Both of them, scared, start to cry. AMELIA (In English) Don't cry. We're going home now. She looks back worried at where the patrol cars were; they are approaching quickly. Then she turns to where Santiago ran. The headlights are soon lost on the horizon. Amelia holds them by the hand and pulls them as she runs. AMELIA (CONT'D) (In Spanish) Let's go.87. She leads them further and further away from the path, snaking through the brush. The patrol cars come even closer. Amelia ducks and hides behind one of the bushes. AMELIA (CONT'D) Get down. The children hide with her. The patrol cars tear past her, some five hundred yards away, chasing after Santiago. We suddenly hear sirens. Then, the sound of doors slamming and unintelligible voices over a loudspeaker. POLICE OFFICER (O.S.) Do not get out of the car...don't get out...wait...stop...stop...don't run... After a few seconds, we hear distant gunshots, three, four. Amelia listens, frozen. 155 INT. ROOM, ANWAR'S HOUSE -- AFTERNOON Dusk. Susan sleeps and Richard looks at the vast desert through the window. Anwar, sitting on a chair, with a fan clears away the flies hovering around Susan. We can hear the call to prayer and Anwar prostrates himself toward Mecca. Richard observes Anwar's prayer and then looks at Susan who moans in her sleep. 156 INT. ANWAR'S HOUSE -- AFTERNOON Richard and Anwar are sitting in silence while Susan lies unconsciously on the floor. Yamilé (9), a beautiful girl with large brown eyes, enters carrying a tray with cookies and tea. She greets Richard with a nod and offers him tea. Richard takes the tea. RICHARD Thank you. The girl gets up to offer tea to Anwar, who takes it. ANWAR (In Arabic) Thank you, Yamilé . Yamilé smiles and leaves the room. RICHARD Is that your daughter?88. ANWAR The fourth of eight. RICHARD Eight? Anwar affirms, smiling. ANWAR Do you have kids? Richard takes out his wallet and pulls out a photo of him, Susan, Mike and Debbie. He shows it to him. Anwar takes it and looks at it. ANWAR (CONT'D) Just two? RICHARD Three... (He remains pensive) Yes, just two. ANWAR You should have more. Anwar returns the photo. Richard looks at it for a moment before putting it back into his wallet. RICHARD What about you? How many wives do you have? ANWAR (Smiling) I can only afford one. RICHARD And is this where you live? ANWAR No, this is where my family lives. I live in Marrakesh . But I come whenever I can... They exchange a look. We hear a car engine. 157 EXT. STREET, HAMLET -- AFTERNOON An old, run-down Peugeot driven by a policeman pulls up in front of the house. The policeman gets out. The tourists, leaning on the wall, get up to see what's happening. Mohammed comes out to talk to him. 89. MOHAMMED (in Arabic) What happened? POLICEMAN (In Arabic) I need to talk to the American. Tom interrogates Mohammed. TOM What did he say? MOHAMMED No English... 158 EXT. PATIO, ANWAR'S HOUSE -- AFTERNOON The policeman, Anwar and Richard are chatting in the patio. RICHARD (To Anwar) When did he find out? ANWAR (In Arabic) When did you know? POLICEMAN (In Arabic) A while ago... they said the ambulance isn't coming anymore. ANWAR A while ago... he says the ambulance broke down. RICHARD What? Tell him to call another one. He has to get another one. ANWAR (In Arabic, to the Policeman) He wants you to call another ambulance. POLICEMAN (In Arabic) You know there isn't another one. ANWAR (To Richard) There isn't another ambulance.90. RICHARD What the hell do you mean there isn't another ambulance? You've got to get her out of here... He faces the police officer. RICHARD (CONT'D) She can't stay here or she'll die. Call another fucking ambulance... The policeman cannot understand and remains expressionless. RICHARD (CONT'D) Come on, move... call another ambulance... ANWAR (In Arabic) He asks how we're going to get the woman out of here. POLICEMAN (In Arabic) Tell him that they told me that his embassy is going to deal with it. ANWAR He says your embassy will deal with the matter. Richard now shouts at Anwar. RICHARD How the fuck are they going to deal with it? It's your shitty fucking country's responsibility. POLICEMAN (In Arabic) The Americans want to send one of their helicopters but I think there are some problems. Anwar mulls over his answer. He seems to want to lie again. ANWAR They're going to try to send a helicopter. RICHARD (incredulous) A helicopter?... Let's get out of here... He starts walking. Anwar catches up to him.91. ANWAR Where? Richard turns to him, desperate. RICHARD I need to make a phone call. They turn towards the exit leaving the cop behind, who doesn't seem to understand. Tom and James take advantage of the situation to go talk to Richard. TOM We can't stay here any longer. It's going to get dark soon. Lots of people aren't feeling well and its dangerous to stay here. Richard explodes and pushes Tom. RICHARD Stop fucking with me. TOM Don't you dare push me. RICHARD Oh no? He pushes him again, angrily. TOM What are you doing, you stupid fuck? RICHARD Leave asshole. Tom shoves him. TOM Fuck you. Richard becomes furious and loses it, hitting him over and over again. Some of the tourists get involved. James manages to grab him with Anwar. JAMES Hey, take it easy. RICHARD I'm fed up with that asshole. James pulls him away while other tourists pull Tom away. JAMES Try to calm down.92. RICHARD Calm down? My wife is dying up there. JAMES Come with us. RICHARD Where the fuck do you want me to take her? JAMES Try to understand, many of them can't go on. Tell me, honestly, is there any point in us staying? Richard threatens him. RICHARD You leave and I'll kill you... James is going to say something, but Richard turns around and walks away as he is about to say something. Anwar follows. 159 INT. GENERAL STORE -- EVENING Richard is in the phone booth with telephone in hand. A woman's voice answers. RACHEL (O.S.) Hello... RICHARD Rachel... What's going on? Nobody's come... Who have you talked to... we need help...she's dying... RACHEL (O.S.) What d'you mean dying? RICHARD She's very weak, please, you've got to do something. RACHEL (O.S.) Mark, your business partner, already called someone in the Secretary of State, they're going to help you... RICHARD You can't just make these stupid fucking calls, you've got to do something... RACHEL (O.S.) Richard calm down, we're doing everything we can.93. RICHARD How the fuck do you expect me to calm down? Susan is dying... RACHEL (O.S.) I'm flying over there tonight. RICHARD There's no time. I need to get Susan out of here now! Put Mark on the phone... RACHEL (O.S.) I don't know if I can find him. RICHARD God damn it, connect the fucking call. A few seconds go by. Desperate, Richard looks at the town as it goes about its daily business, oblivious to his tragedy. MARK (O.S.) Richard, it's Mark. RICHARD Mark, help me... Susan is dying and there are no ambulances, there's no hospital, there's nothing. MARK (O.S.) Richard, the news is all over the place. They're going to go help you, soon, but there have been some political problems that are being resolved. RICHARD I don't give a shit about political problems... Do something, now, please... Through the window, Richard, astonished, watches the bus drive away, kicking up dust as it disappears in the distance. RICHARD (CONT'D) Son of a bitch... He throws the phone away and runs after the bus. We hear Mark's desperate voice over the receiver. MARK (O.S.) Richard... what happened? Richard, answer me...94. 160 EXT. HAMLET -- EVENING Richard runs after the bus as it drives away down the side streets. RICHARD Stop... Stop... Stop you mother- fuckers stop... The bus vanishes into the distance. Richard picks up a stone and hurls it impotently. 161 INT. CHIEKO'S ROOM -- NIGHT Chieko is in her room, sitting on her bed, staring into space. The doorbell light goes on. She remains motionless for a few moments. The light goes on again. Chieko breathes in and goes to open the door. 162 INT. ENTRANCE TO CHIEKO'S APARTMENT -- NIGHT Chieko opens the door and runs into Kenji, who greets her as if she were just anybody. KENJI Hello. She bows. KENJI (CONT'D) They told me you wanted to talk to me. Chieko, who has been unable to read his lips, asks him with her hands that he speak slowly and face her. Kenji is embarrassed by his tactlessness and tries to be more considerate. KENJI (CONT'D) I'm sorry. Is there something you wanted to tell me? Chieko nods and asks him in with her hand. Kenji takes off his shoes and leaves them at the door. Chieko leads him to the living room and with a gesture asks if he wants anything to drink. KENJI (CONT'D) Do you have tea? Chieko nods and goes into the kitchen. Kenji glances over the apartment. Chieko comes back from the kitchen holding a strange gadget which she puts on the living room table. A small bulb lights. Kenji just watches her. Chieko gestures for him to sit down. Kenji and Chieko sit across from each other. 95. Chieko takes out her notebook and pen, writes something down and hands it over to Kenji. Kenji reads, seems surprised and reads again slowly. KENJI (CONT'D) "My father had nothing to do with my mother's death," what's this? Chieko is disconcerted at the question. She takes her notebook and starts writing. Kenji reads and turns to her. KENJI (CONT'D) Your father was asleep when she jumped off the balcony? She nods. She gets up, asks Kenji to go with her and walks toward the balcony. 163 EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT She opens the door to the balcony and points at the void: it's over twelve floors. Kenji looks over; the distance is dizzying. Chieko writes in her notebook and shows him the piece of paper. KENJI You saw her jump? She nods and writes again. She looks perturbed. KENJI (CONT'D) You've already told the other officers? She nods again. Kenji holds her by her arms. KENJI (CONT'D) I don't know what you're talking about. Chieko remains motionless for a few seconds. She scrawls in her notebook "Then why do you want to talk to my father?" Kenji reads and then turns to her. KENJI (CONT'D) It's about a hunting rifle in his name. The red bulb on the gadget starts to blink. Chieko spots it from the balcony and signals to Kenji that she has to go to the kitchen. She runs off. 164 INT. LIVING ROOM, CHIEKO'S APARTMENT -- NIGHT Kenji stands and looks at the photographs of Yasujiro hunting all over the world: with a kudu in Africa, a black bear in Kamchatka , Hassan and the Oryx in Morocco. 96. Chieko comes back with a cup of steaming tea. KENJI Does your father still hunt? She shakes her head. She writes something and hands it over. KENJI (CONT'D) There was an incident with a rifle in your father's name. That's why we want to talk to him. The news weighs on Chieko; she looks away. The sounds of Tokyo come in through the living room: its car horns, its voices. Suddenly a rush of wind comes in. Chieko sees the balcony doors are open and goes to close them. She then comes back to the living room and sits down, dejected. Kenji sits down beside her and leaves the tea on the table. He doesn't know what to do and looks uncomfortable. She picks up the notebook and writes. Kenji reads. KENJI (CONT'D) No, your father isn't going to jail. We just need to talk to him. There is a long silence. Chieko seems immersed in a remote, inaccessible world. Kenji turns his face to hers so that she can read his lips. KENJI (CONT'D) I have to go now. Thank you. Chieko grabs his arm and shakes her head, urging him to stay. They exchange a look for an instant and Kenji insists. KENJI (CONT'D) I have to go. He gets up to leave. Chieko signals for him to wait for a moment and goes to her room. Kenji stands in the middle of the room, waiting. Chieko comes back completely naked. Her skin bristles. She walks toward him, breathing through her mouth. Kenji is disconcerted when he sees the quiet teenager approach. She walks all the way up to Kenji and when she is about to take another step, he holds her back with both hands. KENJI (CONT'D) What are you doing?97. She doesn't pay attention, breaks free and stands a few inches away from him. She is almost panting. She holds out her hand and caresses Kenji's ear. He stands there, immobile, without taking his eyes off Chieko's. She takes his hand and puts it on one of her breasts. Kenji strokes her breast and then pulls his hand away. She grabs it again and puts it back on. KENJI (CONT'D) No, no, no... this is wrong. Kenji looks turned on and confused: Chieko is beautiful, but he knows he cannot go on and takes his hand away. KENJI (CONT'D) No, I can't. You're just a girl. She walks up to his face and licks it. He is confused. KENJI (CONT'D) Enough, please. He grabs her by her arms and moves her away. She grabs the sleeve of his jacket and pulls him back. She hugs him and suddenly Chieko starts crying, disconsolate. Kenji, bewildered, first does nothing, but upon seeing Chieko's despair, holds her. She buries her face in his shoulder. Her nakedness becomes increasingly fragile. 165 EXT. DESERT -- DAY Abdullah, afraid, watches his son shoot. The police have stopped firing and run for cover. Yussef loads the rifle again and aims carefully. He shoots and, in the distance, we can see one of the headlights on a police truck shatter. Abdullah shouts at Yussef desperately. ABDULLAH Yussef, stop shooting! Furious, Yussef loads the rifle again and starts shooting at the cops. Ahmed won't stop screaming from the pain. Confused, Abdullah doesn't know if he should console his wounded son or stop the enraged Yussef. In the distance, the cops reorganize. We hear the faraway shots of Alarid giving orders. ALARID Move that truck... god damn it... One of the cops gets onto a truck and uses it as a parapet. Yussef aims again, but this time the policemen are well covered. Abdullah drags himself all the way to Yussef. 98. ABDULLAH Give me that rifle... Yussef turns to his father. YUSSEF They're going to kill us. ABDULLAH Give me that rifle. He tries to wrest it away, but Yussef resists. The struggle and Abdullah finally pulls it away. When Yussef tries to snatch it back, the police fire a round of shots and the two barely have time to hide. The air is thick with gunshots. Yussef and Abdullah, terrified, stick to the stones. The bullets strike very close to them, and they can't even raise their heads. Ahmed won't stop complaining. Abdullah shouts at him. ABDULLAH (CONT'D) Ahmed, don't move. The gunshots rain down for over a minute. When they stop, Abdullah turns to look at Ahmed, who is lying motionless on the rocks with bullet in his back. ABDULLAH (CONT'D) Ahmed! Ahmed! Oblivious of the police, he gets up and runs toward him. Motionless, Ahmed just moans. With every breath, his shirt grows bloodier. ABDULLAH (CONT'D) Ahmed! Ahmed! He rolls Ahmed over and lays his head on his lap. Abdullah cannot stop crying. Yussef, ducking, runs toward his brother. Abdullah laments nervously. ABDULLAH (CONT'D) Don't die, don't die. Yussef is shocked upon seeing his dead brother. He stands up and, without caring whether anyone fires at him or not, he raises the rifle up in the air for the police to see that he is not aiming, and starts to break it against the rocks. When he's finished breaking it he opens his arms and walks toward the police. One of them policemen looks at him through a pair of binoculars. Alarid interrogates him. ALARID What's happening?99. POLICE OFFICER A boy is walking this way. ALARID Is he armed? The officer takes a careful look. POLICE OFFICER It doesn't look like it. ALARID What are the others doing? The officer watches Abdullah carrying his wounded son. POLICE OFFICER A man is holding somebody injured. ALARID Is the other one still walking this way? POLICE OFFICER Yes. Alarid turns to the other officers. ALARID Aim. The police aim and hold Yussef in their sights. He keeps walking resolutely toward his aggressors. He is crying softly, keeping his arms open. Yussef walks until his is 10 meters away from the police and he kneels with his arms open. YUSSEF I killed the American, I was the only one who shot at you... Cautious, the police still aim at his chest. Yussef proceeds with his confession, babbling it through his nerves, his pain and his attempt to control his sobbing. YUSSEF (CONT'D) They did nothing... nothing... He turns to his father and his brother and points at them. YUSSEF (CONT'D) Kill me, but save my brother, he did nothing... nothing... Alarid moves in, aiming at him with a rifle. Behind him are five other cops, also ready to shoot. 100. ALARID On the ground... Yussef does not obey. YUSSEF Save my brother... ALARID On the ground... Yussef turns his face toward Alarid looks him in the eye. YUSSEF Save my brother... please... He lies on the floor, crying. Alarid puts his gun down and looks at him: his enemy is a disconsolate child. Then he looks up at Abdullah who is screaming his lamentations. He turns to one of his subordinates. ALARID Go help them. One of the officers goes to help Abdullah and Ahmed. Yussef lies on the floor, crying. 166 EXT. DESERT -- NIGHT The sun rises. Amelia and the children keep walking. They sweat. MIKE I can't walk anymore. AMELIA We have to keep walking. MIKE Why is the air so hot? Amelia stops and tries to distract them. AMELIA (the entire dialogue in English) Because coyotes and snakes and quails have already breathed that air. Mike remains pensive. MIKE We're breathing the same air animals breathe? AMELIA Yes.101. MIKE And it doesn't rot? AMELIA No, it doesn't rot. We all breathe this air. 167 EXT. DESERT -- MORNING Dawn. The three walk through the desert. Debbie walks mechanically, tired and exhausted. DEBBIE I can't anymore. I'm thirsty. MIKE So am I. Amelia looks around her: no sign of civilization. AMELIA (In Spanish) Just a little further and we'll go look for water. 168 EXT. DESERT -- LATER Amelia lumbers heavily, carrying Debbie asleep on her arm. Mike drags his feet a few yards behind. They walk for a long stretch through the thorny brush until they reach a small mound where a leafy mesquite grows. Amelia lays a limp Debbie down on the ground and sits on the mound of earth. AMELIA (In Spanish) We're going to rest here for a while. MIKE What if there are snakes? AMELIA No, there aren't any. Come, lie down. The boy, exhausted and docile, obeys and lies on her chest. Amelia leans against the trunk with Debbie on her legs. The children sleep while Amelia, nodding off, tries to keep watch. 169 EXT. DESERT -- LATER It is well into the morning. Amelia and the children sleep deeply. There is a noise and Amelia opens her eyes. She sees a border patrol truck driving around near them. 102. Looking through the branches, she spies on the truck and watches another one join it. Mike awakes and sits up. MIKE What happening? Amelia ducks and lays Mike face down. The two trucks slowly approach. AMELIA (To Mike, in a low voice, in Spanish) Stay still. A truck drives by about eighty yards away and then passes. The other one cuts diagonally across its path and then gets lost in the desert. Amelia gets up and shakes off the dust. She looks out of place, wearing her best clothes torn by the bramble. She makes sure the trucks are leaving. MIKE Why are we hiding if we didn't do anything wrong? AMELIA (In English) Because they think we did something wrong. MIKE That's not true: you're bad. Amelia freezes upon hearing the boy's words. AMELIA No, sweetie, I'm not bad. I just did something stupid. She pulls him toward her and hugs him tenderly. AMELIA (CONT'D) (In Spanish) I love you very much, sweetie. Amelia turns and tries to wake Debbie. AMELIA (CONT'D) (In English) Debbie, we've got to go. The girl opens her eyes, but doesn't answer. AMELIA (CONT'D) Debbie, sweetheart, wake up.103. She closes her eyes again. Amelia notices her lips are dry and her breath is irregular: she is visibly dehydrated. Upon seeing that she doesn't react, Amelia looks for the trucks: they're far away. 170 EXT. DESERT -- LATER Amelia carries Debbie in her arms under the burning sun, following a cattle trail. Mike walk behind, pale, sweaty. Amelia looks to the horizon: there is no sign of the trucks. 171 EXT. DESERT -- DAY They are still walking. Amelia can barely go on. She stops to rest. She is sweating copiously. Mike also looks weak. 172 EXT. DESERT -- LATER The heat is strong and Amelia is beaten. She looks for the shade of a cluster of mesquites and lays Debbie down. Then she turns to Mike. AMELIA Sweetie, I'm going to go look for help. Stay here and don't move. MIKE I'm not staying here alone. AMELIA Honey, you have to take care of Debbie. MIKE I'm going with you. Mike looks at her with imploring eyes. Amelia caresses him. AMELIA I won't be long. I promise. 173 EXT. DESERT -- DAY Amelia desperately looks through the desert. She also looks dehydrated. She drifts. 174 EXT. DESERT -- DAY Amelia drags her feet as she walks. She can go no further. 175 EXT. DESERT -- DAY Amelia sees a small hillock and climbs it with difficulty. She surveys the environs from the top. In the distance she sees a Border Patrol truck driving down a path. 104. With great effort, Amelia runs down the hill. AMELIA (In Spanish) Stop, stop... The truck doesn't stop. Amelia keeps running, flailing her arms and screaming wildly. AMELIA (CONT'D) Sir... sir... stop... The truck stops and backs up. Amelia keeps going, tripping over stones. John (29), a thoroughly Mexican officer, gets out and she runs up, panting, to him. AMELIA (CONT'D) Please help me. John stares at her suspiciously. AMELIA (CONT'D) I have to go get two kids I left behind in the desert. John looks at her suspiciously. JOHN (In Spanish, with a terrible accent) Are they illegal immigrants? AMELIA No, they're American. JOHN When did you cross? AMELIA (In English) I didn't cross, I live here. Please, help me find these kids. John keeps staring at her. He points to a mesquite. JOHN Stand there and don't move. Amelia obeys. John goes back to the vehicle, opens the door and sits down and grabs the radio. JOHN (CONT'D) Attention base, I have a 4533...I have the suspect.105. Amelia doesn't manage to hear what the radio says. She looks attentively at what the agent is doing. John stops and runs back to her. JOHN (CONT'D) You're under arrest. Turn around and put your hands behind your head. Amelia despairs. AMELIA I left those kids in the desert, I swear. John pushes her forcefully against the truck. JOHN Turn around, now. She turns around with her hands over her head. John handcuffs her and leads her to the vehicle. 176 INT. BORDER PATROL VEHICLE -- DAY Amelia, cuffed, and John, drive down a path in the desert. JOHN Which way are they? Amelia studies the terrain. She points at some mesquites in the distance. AMELIA (In Spanish) Over there. 177 EXT. DESERT -- DAY The truck parks and they both get out. JOHN Where are they? Amelia explores the landscape, anguished. AMELIA They must be around here. Another border patrol truck arrives and pulls up next to them. Eliseo (34), looks out the window. ELISEO What happened? JOHN This lady said they were here, but there's nobody.106. ELISEO (In Spanish) Ma'am, you're not lying to us, are you? AMELIA (In Spanish) I swear they're around here somewhere. She sees another cluster of mesquites and points toward them. AMELIA (CONT'D) They must be over that way. 178 EXT. CLUSTER OF MESQUITES -- DAY They arrive at the cluster. The two trucks park and the three get out. She is still cuffed. A helicopter hovers above them. They walk around: nothing. JOHN There's nobody here. AMELIA (To Eliseo, in Spanish) I left them about a kilometer in from the road. ELISEO (In Spanish) Which road? She doesn't know what to say. John grabs her by the arm and drags her toward the vehicle. JOHN I don't believe you. Amelia looks at him desperately. AMELIA (In English) I swear they're around here. John is not affected. He keeps pulling her. ELISEO (In English) John, wait, maybe she's telling the truth. JOHN Maybe she's not, let's go.107. AMELIA Please sir, believe me. John pays no attention. She turns to Eliseo. AMELIA (CONT'D) (In Spanish) I swear, they're lost, they're going to die. I have to find them. John keeps pulling her. He puts her in the truck and closes the door before Eliseo's passive gaze. AMELIA (CONT'D) (In English) Please no... please... 179 INT. ROOM, ANWAR'S HOUSE -- AFTERNOON Night begins to fall. From the window we can hear the noises of the town: voices, goats bleating, camels moaning, music from a radio. Susan wakes from her slumber and turns to Richard, who is leaning on a wall, tired, sweaty, with his eyes closed. SUSAN Richard. RICHARD What do you need? SUSAN Richard... if I die, take care of the kids. Especially Mike, he really needs you. RICHARD You're not going to die. You can't die. You just can't. SUSAN Don't ever leave them again. RICHARD No, I'm not going to leave them and don't you even think about leaving me, because I'll kill you like nobody's killed you before. She smiles. He caresses her. SUSAN I peed my pants. RICHARD What?108. SUSAN I couldn't hold it in and I peed. Richard touches between her legs and feels the moisture. RICHARD I'm going to tell Mike on you, so you never scold him again. They both laugh. She grimaces in pain when she does. SUSAN I need to pee again. RICHARD (To Anwar) Do you have a pot I can borrow? Anwar looks in a corner and hands it over. RICHARD (CONT'D) (To Anwar) Can you leave us alone for a moment? The grandmother and Anwar exit. RICHARD (CONT'D) Come, try it like this. He lifts up her dress, pulls down her underpants and sets the basin under her. She puts her arm around him to pull herself up, but can't move her right arm. SUSAN I can't. They laugh. He kisses her. We start to hear the stream. SUSAN (CONT'D) Now I can. While she pees, they kiss painfully. She starts to cry. RICHARD Forgive me my love. When Pat died I didn't know what to do, the pain drove me crazy... I was scared, that's why I left... forgive me. SUSAN I was scared too... when I saw Pat lying still in his crib... Her voice breaks up and she can barely go on.109. SUSAN (CONT'D) It wasn't my fault, it wasn't... I couldn't do anything for him... RICHARD No, it wasn't your fault. I was wrong... He strokes her head. RICHARD (CONT'D) Shhh... it wasn't your fault my love, it wasn't anybody's fault... Pat just left... (A beat) Forgive me, please. SUSAN Forgive me for not forgiving you. Richard hugs her and starts to laugh. RICHARD You missed; you got my leg. They both laugh, and as they do, the blanket covering Susan's wound slips off. Richard sees her swollen, bruised arm. He touches it. RICHARD (CONT'D) Does it hurt? SUSAN So much... so much... Richard looks worried and leaves the room. 180 EXT. STAIRS, ANWAR'S HOUSE -- DAY He walks out onto the stairs and calls Anwar. RICHARD Anwar...Anwar... Anwar runs into the room. ANWAR What happened? RICHARD We've got to get her out of here. Where's the clinic? ANWAR In Alnif, an hour and a half away from here.110. RICHARD Can you get us a car we can take her in? Anwar remains pensive for a moment and then nods. 181 INT. ANWAR'S HOUSE -- DAY Richard is squatting next to Susan. RICHARD My love... I'm going to get you out of here. We're going to try to take you to a clinic an hour and a half away from here. Do you think you can make it? She thinks for a moment and then nods. SUSAN Yeah. RICHARD I need you to be strong. Really strong. Susan sighs: the effort required seems as if it will be too much, but she nods again. Richard hugs and kisses her. 182 EXT. ANWAR'S HOUSE -- DAY Richard and the vet carry Susan out on a wheelbarrow. It is very difficult to move her. She is clearly in pain and groans quietly. Outside the house is the policeman with his Peugeot . Anwar is talking to him. Richard and the vet carry Susan all the way to the car. Richard stands before the policeman he humiliated earlier. RICHARD Thank you for lending us the car. Anwar translates. ANWAR (In Arabic) He thanks you for lending us the car. The policeman nods kindly. Dozens of girls and boys and a few adults stare at the scene. Gingerly, Richard, Anwar and the vet lift her into the car and softly lay her on the back seat. 111. Even so, she screams in pain. SUSAN Ahhh... Ahhh... Richard holds her hand and squeezes it. RICHARD Sweetie, you've got to hold on. Richard gets into the car, and as they're about to drive off, the shopkeeper runs up to them. TENDERO (In Arabic) Stop... Stop... The shopkeeper catches up to them. TENDERO (CONT'D) (In Arabic) They're calling from the American Embassy. 183 INT. GENERAL STORE -- AFTERNOON Richard walks into the cubicle. The phone is off the hook and Richard answers. RICHARD Hello... SECRETARY (O.S.) Just a moment, I'm going to put you through to ambassador Ken Clifford . Richard awaits. In the corner of the room, he sees a goat's head covered with flies. KEN Hello, Richard Jones? RICHARD Yes, speaking. KEN (O.S.) I'm very sorry about what happened to your wife, but you can be sure that the culprits will be punished. RICHARD My wife is dying. She's in urgent need of medical attention. KEN (O.S.) We're working on it...112. Richard interrupts angrily. RICHARD We've been here for five hours. What the fuck are you waiting for? KEN (O.S.) The Moroccan government won't let us use their airspace. They refused to acknowledge that this was an act of terrorism... RICHARD I can't wait anymore... I'm taking my wife to a clinic in Tinerhir right now... KEN (O.S.) Stay put... we've settled the matter. A helicopter should arrive soon... RICHARD We can't wait any longer. KEN (O.S.) The helicopter is on its way. Don't move. RICHARD My wife is in critical condition. How long is the chopper going to take? KEN (O.S.) Soon... it'll be there soon... Be patient, it won't be long. 184 INT. INTERROGATION ROOM, POLICE HEADQUARTERS -- EVENING Amelia sits in a room painted white. An American, his hair slicked back, dressed in a shirt and tie, sits before her. POLICE OFFICER (In Spanish) Is your full name Amelia Gloria Jordán Susilla ? AMELIA (In Spanish) Yes sir. POLICE OFFICER Do you understand English? AMELIA (In English) Yes sir.113. POLICE OFFICER (In English) Ma'am, it was a miracle that we found those kids. I don't know how you could leave them alone in the desert. AMELIA I had to look for help. POLICE OFFICER Your reckless behavior endangered their lives. Amelia stops arguing. She looks worried. AMELIA How are they? POLICE OFFICER That's none of your business, ma'am. The man's words hurt Amelia, who looks away to avoid crying. POLICE OFFICER (CONT'D) You've committed serious crimes. AMELIA I just took the kids to my son's wedding. POLICE OFFICER No ma'am, you did not just do that. You took them to another country without their parents' permission and you put them in danger. AMELIA Sir, I raised these kids since they were born. I take care of them day and night. I feed them breakfast, lunch and dinner. I play with them. Mike and Debbie are like my own children. POLICE OFFICER (sternly) But they are not your kids, ma'am. AMELIA What about my nephew, Santiago? POLICE OFFICER I don't have any information on him. Amelia looks destitute. 114. POLICE OFFICER (CONT'D) We located the parents in Morocco. They're very angry, but they've decided not to raise charges. Amelia exhales, relieved. The policeman leans toward her. POLICE OFFICER (CONT'D) Nevertheless, the government of the United States has deemed you were seriously breaking the law and has decided to immediately and definitively deport you. Amelia loses her breath. AMELIA I've been living here for fifteen years. My things are here, I rent a house, I made my life here. POLICE OFFICER You should've thought of that beforehand. AMELIA I want to talk to a lawyer. POLICE OFFICER If you attempt to take this to court, I assure you you will end up in jail. If you want my advice, accept the deportation and never come back. 185 EXT. BORDER CROSSING -- EVENING A bus parks in front of the border. Several border patrol agents have formed a wall for the illegal immigrants to pass directly through. The illegal immigrants get out and walk toward Mexico. As Amelia crosses, she keeps looking back. 186 EXT. BORDER CROSSING, MEXICO -- EVENING The illegal immigrants cross into Mexico, where they disband into small groups. Amelia walks alone. Before she walks away she turns to one of the other deported Mexicans. AMELIA (In Spanish) Do you have a cigarette? He acquiesces. He rummages through his pant pockets and pulls out a pack of cigarettes. He offers one to Amelia, who takes it. He also pulls out some matches and lights one. 115. AMELIA (CONT'D) Thank you. 187 EXT. STREET, TIJUANA -- EVENING Amelia smokes, drifting. After a while she sits on a sidewalk and leans on a post. She looks into the street at the people passing by and starts crying softly. A dusty and battered pick up truck arrives. Inside are her son and her comadre . Her son steps down and hugs her in silence as she cries. Her comadre observes them from a distance. 188 EXT. HAMLET -- EVENING The truck is parked in front of Anwar's house. Richard and Susan wait in the back while the boy, Anwar and the vet lean on the hood. Suddenly a helicopter with American insignia flies over them and goes to land in an empty lot. Anwar looks up and watches the helicopter descend. The helicopter kicks up a cloud of dust before the stunned gaze of dozens of children. Some camels are frightened. Some starving dogs bark at it. 189 EXT. TOWN -- EVENING They carry Susan to the helicopter in a stretcher. They load her in carefully. Richard follows her through the wind generated by the helicopter. Anwar catches up to them to say goodbye. ANWAR Good luck, mister... RICHARD Thank you for everything. Richard gives Anwar a hug which he responds to affectionately. Richard takes out his wallet and holds out three hundred- dollar bills, which Anwar rejects. ANWAR No sir, no... Allah be with you. They look each other in the eye and then Richard gets into the chopper. It takes off. 190 EXT. DESERT -- EVENING The helicopter silently flies over the Moroccan desert. 116. 191 EXT. PARKING LOT, MOROCCAN HOSPITAL -- EVENING The hospital's perimeter is guarded by dozens of soldiers. The security is impressive. A group of doctors and nurses with a stretcher wait in the parking lot. Several journalists and cameras observe. Ken and his entourage await the helicopter's landing. The helicopter approaches. The cameramen hurry to position themselves for a better shot. A reporter speaks to the camera. REPORTER In this helicopter is Susan Jones, an American mother of two who was seriously injured in a terrorist attack. It appears fundamentalist organizations planned the attack... The helicopter settles softly in the parking lot. It is immediately surrounded by several Moroccan soldiers. The doctors on the ground prepare the stretcher. Ken walks hurriedly toward the chopper, guarding himself from the wind. Susan is immediately placed on the stretcher and quickly taken to the emergency room. Richard follows close behind until his is intercepted by Ken. KEN Mr. Jones, I'm Ken Clifford , Ambassador to the United States. Richard keeps running behind the stretcher. Ken stops him. KEN (CONT'D) A first rate medical team is going to tend to her, but if you want we can take her to a hospital in Italy as soon as she's stable... RICHARD Thank you... KEN There are lots of reporters waiting. Is there anything you want to say to the press? A statement against terrorism? Richard looks at him as if he doesn't know what he's talking about.117. RICHARD The last thing I'm worried about right now is the fucking press. He pulls away from Ken and follows Susan toward the E.R. 192 INT. HALLWAY, E.R., MOROCCAN HOSPITAL -- NIGHT Several Moroccan doctors are examining Susan. Richard observes worriedly from a window. One of the doctors comes out. MOROCCAN DOCTOR (In good English) We're going to have to operate immediately. RICHARD Is she going to be ok? MOROCCAN DOCTOR It's probable. We're going to try to save her arm. She's been bleeding internally, and there's been some clotting so there's a high risk of gangrene. RICHARD (insistently, as if he hadn't heard the doctor) But she's going to be ok? The Moroccan doctor puts his hand on Richard's shoulder and thinks about his answer. MOROCCAN DOCTOR Yes, she's going to be ok. The doctor leaves and Richard goes back to looking at his wife through the glass. The doctors are still prepping her. Richard walks in. 193 INT. EMERGENCY ROOM -- NIGHT He stands next to Susan, who is unconscious. He looks at a doctor and she moves to one side. Richard leans over and kisses her. He walks away and the nurses start to wheel her to the O.R. 194 INT. HALLWAY, MOROCCAN HOSPITAL -- NIGHT Richard is talking on the phone from an office. 118. RICHARD Amelia? AMELIA (O.S.) Yes sir. RICHARD How is everything? AMELIA (O.S.) Ok sir, Mrs. Rachel told me. I'm very sorry. How is Mrs. Susan? RICHARD They're going to operate now... Amelia... take good care of the kids, and don't tell them anything... AMELIA (O.S.) No sir, don't worry. RICHARD Put Mike on please. A few seconds pass and Mike answers. This is the phone call from the beginning. MIKE (O.S.) Hi dad. RICHARD Hey sweetie, how are you? MIKE (O.S.) Dad, guess what? Today, at school, they brought some baby chickens. RICHARD Oh really? MIKE (O.S.) I held one in my hand. He was really little and he was all warm. Richard starts to cry for the first time. MIKE (O.S.) (CONT'D) Dad, are you ok? Richard tries to hold back his sobbing. RICHARD Yeah, I'm ok. Everything's fine. The boy keeps talking while Richard cries.119. MIKE (O.S.) And Mariana wanted to take one home, but the teacher didn't let her... 195 INT. CHIEKO'S APARTMENT -- NIGHT Chieko, naked, sits in an armchair, again submerged in the remote world of her silence. Before her, Kenji observes her nakedness, her sadness, her pained beauty. For a while they remain motionless. She seems to return from the long journey to herself and turns to look at him. Their eyes meet. There are still tears in Chieko's eyes. They hold each other's gaze until Chieko gets up, gets her notebook, scribbles down some words and gives them to him. Kenji reads them and looks at her. KENJI You don't have to apologize for anything. She sits down beside him. They look at each other again for a few, long seconds. Chieko takes his hand, strokes it for a moment, kisses it, sucks one of his fingers and then puts it back in its place. She grabs her notebook and starts writing a long note. It takes her almost a minute to do so. Kenji, nervous because of her proximity, watches her write feverishly. Chieko finishes writing, folds the note and hands it to Kenji. Kenji starts unfolding it, but Chieko stops him. She takes it away from him, folds it again and puts it in his breast pocket. She signals for him to read it later. Kenji gets up to go. She stands next to him. Her nakedness contrasts with Kenji's toughness. He bows his head to say goodbye and she moves aside for him to pass. Kenji walks past her as she watches. Kenji reaches the door. He opens it and turns to look at Chieko again, who has been left in the middle of the hall. He bows his head again and leaves. Chieko watches him leave and closes her eyes painfully. 196 INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT Kenji rides the elevator down, touched, barely able to contain his emotion. The elevator doors open and he walks out. 197 INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT Kenji walks past the doorman. 120. KENJI Good night. He keeps walking. On the other end of the lobby, at the parking lot entrance, Yasujiro walks in. The doorman calls Kenji as he is about to leave. DOORMAN Officer... officer... Kenji stops. Beside him is Yasujiro. DOORMAN (CONT'D) This is the man you were looking for. Kenji approaches him while the doorman discretely moves away to leave them alone in the lobby. KENJI Good evening, I'm lieutenant Mamiya . YASUJIRO Good evening, how can I help you? KENJI Sir, there was an incident and... Yasujiro looks at him attentively. Kenji, still moved by Chieko, looks distracted, confused. KENJI (CONT'D) I don't mean to bother you, but... (a beat) Do you own a .270 caliber Winchester 70 rifle with the registration number... Kenji looks through his pockets, takes out a small notebook and looks up the missing number. KENJI (CONT'D) UK-9023? YASUJIRO I don't remember the license, but I did have a rifle like the one you described. KENJI Is it true that you gave it to a Mr. Hassan Ibrahim , who lives in southern Morocco? YASUJIRO Hassan Ibrahim ?121. KENJI He says he was your guide in a hunt. YASUJIRO Hassan? Of course. He was a very good guide and I gave him the rifle. Hassan is a very kind man. Did anything happen? KENJI There was an attempted murder with that rifle, and the Moroccan police want to confirm it's not off the black market. YASUJIRO No, I gave it to him. (a beat) Is Hassan ok? KENJI I don't know. Yasujiro remains silent for a moment. YASUJIRO Am I legally involved? KENJI Not for the moment. You may have to go testify for your friend. YASUJIRO Can I leave now? KENJI Good night. They both bow to say goodbye. Yasujiro walks toward the elevator. Kenji calls out to him. KENJI (CONT'D) Excuse me. Kenji approaches and Yasujiro awaits, expectant. KENJI (CONT'D) Your daughter told me about your wife on the balcony. I'm very sorry. YASUJIRO What balcony? KENJI About how your wife killed herself by jumping off the balcony.122. YASUJIRO My wife never jumped off a balcony. She shot herself in the head. My daughter was the first to find her. Kenji is left speechless. YASUJIRO (CONT'D) I've explained it to the police several times. Don't bother us with that anymore, please. KENJI I'm very sorry sir, we won't bother you anymore. Good night. He turns around and leaves the building. 198 EXT. TOKYO STREETS -- NIGHT Kenji walks down the streets immersed in his thoughts. 199 INT. BAR -- NIGHT Kenji sits in a half-empty bar. He turns to the bartender. KENJI Another whisky. The T.V. has been turned on to a Japanese newscast. Kenji takes out Chieko's note, reads it and, as soon as he is done, closes his eyes. He looks around. Everybody seems to be immersed in a world far from his own. A reporter appears on T.V. REPORTER Susan Jones, the American woman wounded in an attack in Morocco ten days ago, left the hospital today, heading to the United States... Susan appears on screen in a wheelchair pushed by a male nurse and followed by Richard. The bartender leans over to Kenji. BARTENDER Do you want something to eat? I could make you a sandwich. KENJI No thank you. When he looks back at the news, the story has changed. Kenji drinks his whisky parsimoniously.123. 200 INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT Yasujiro rides the elevator up, lost in thought. 201 EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT From the balcony, naked, Chieko observes the city stretching before her. Yasujiro walks in and encounters his daughter completely naked. There are still traces of Chieko's tears in her eyes. Yasujiro is affected when he sees his daughter like this, but says nothing. He slowly walks toward her. Chieko looks hurt, but whole. Yasujiro stands beside her. They look at each other. Chieko holds out her hand and takes his. Chieko squeezes. She looks at the city and then looks at her father's eyes. He strokes her hair and they both stand on the balcony, with the massive city sprawling under them.	screenplays
Join Louisa Ellis, Professional MasterChef finalist for a day full of fine dining techniques, flavour combinations and presentation skills to take your own dinner party cooking to the next level. The day will be fun and action packed as we aim to teach a variety of chef skills and techniques that can be used again at home. Skills include sauce making, pickling and use of water baths to create dinner party style dishes. The recipes taught on the day will represent some of the highlights of Louisa's time on MasterChef and her time spent in professional kitchens and private dining afterwards. The dishes will be ones that you can re create at home using all the skills & chef tips that Louisa will teach throughout the day. During the day you'll enjoy these dishes in our dining room. A chance to share your experiences in creating the dishes as well as enjoying great food and a glass of wine. This day long course is designed to show you the intricate techniques that chefs use to plate and present fine dining dishes. We hope that you will use some of the skills again at home. Louisa Ellis is a MasterChef Professionals finalist, praised by judges for her immaculate presentation, creative dishes and flavour combinations. Louisa worked at the Michelin Starred restaurant Adam's in Birmingham and then in 'The Wilderness' restaurant, a restaurant renowned for it's experimental approach to flavours & foraged ingredients. Following BBC MasterChef the Professionals, Louisa has worked for Sat Bains in Nottingham and is now a private chef, doing pop up events throughout the UK and private dining in people's homes. We are delighted to welcome her to Seasoned. Louisa will demo her focaccia dough and how to salt & cure salmon before it is cooked. The Salmon will be cured before it is cooked in the water bath for 20 minutes. Louisa will demonstrate the citrus mayonnaise and the pickled cucumber which will accompany this dish, before guests make this in pairs. The focaccia bread will be baked whilst we spend time to plate our Salmon starter beautifully before enjoying it alongside a glass of wine in our dining room. Chef Louisa will demonstrate making Sorbet, before we make salted caramel custard, brandy snap & begin the mis en place for the dessert so it is ready to be plated later. Learning to prepare & cook lamb to perfection, alongside the Pommes Anna potatoes to be made in pairs. We'll focus on making a delicious sauce vierge & all the garnishes, so when the lamb is rested it is ready to be calved and presented for lunch. With all your mis en place in place, we will plate the final dish after the lamb has rested & then enjoy a well deserved rest! Hopefully, the techniques shown in todays course will leave you inspired to recreate these dishes again at home. With all the elements in place we will enjoy plating up the banana sorbet with all of the garnishes & enjoy this as one last treat, before leaving with your focaccia to take home with you. Please note places on this day are limited to 12. Book online or call us on 01283 711681 to secure your place.	slim_pajama
one of the most significant aim of all large redshift surveys is to determine the spatial distribution of galaxies in the universe . over the last few decades redshift surveys have revealed the large scale structures in the universe in it s full glory ( e.g. , cfa , @xcite ; lcrs , @xcite ; 2dfgrs , @xcite and sdss , @xcite , @xcite , @xcite ) . it is found that the vast majority of galaxies preferentially reside in an intricate network of interconnected filaments and walls surrounded by voids . the filaments have a dimension of many tens of mpc in length ( @xcite ) and 1 - 2 @xmath1 in thickness ( @xcite , @xcite ) . in fact the local group in which the milky way resides , is believed to lie along an extended filament that originates near the ursa major and includes both the ic342 and m81 groups and connects with another primary filament which originates from the virgo cluster and includes the sculpture group ( @xcite ) . the complex filamentary network of galaxies , the so called cosmic web is possibly the most striking visible feature in the large scale structure of the universe . quantifying the cosmic web and tracing it s origin has remained one of the central issues in cosmology . the analysis of filamentary patterns in the galaxy distribution has a long history dating back to a few papers in the mid - eighties by @xcite , @xcite and @xcite . more recently , extensive studies of the lcrs reveal a rich network of interconnected filaments surrounding voids ( eg . @xcite ; @xcite ; @xcite ; @xcite ; @xcite ; @xcite ; @xcite ) . @xcite have compared the filamentarity in the lcrs galaxy distribution with @xmath2cdm dark matter n - body simulations to show that the two are consistent provided a mild galaxy bias is included . @xcite has used a technique surfgen ( @xcite ) to study the geometry , topology and morphology of the superclusters in mock sdss catalogues . @xcite and @xcite have studied the super - cluster void network in the pscz and the abell / aco cluster catalogue respectively , finding filamentarity to be the dominant feature . @xcite have studied the intercluster galaxy filaments in the 2dfgrs . the sloan digital sky survey ( sdss ) @xcite is currently the largest galaxy redshift survey . in a recent paper @xcite we have analyzed the filamentarity in the two equatorial strips of the first data release of the sdss ( sdss dr1 ) . these strips are nearly two dimensional ( 2-d ) . we have projected the data onto a plane and analyzed the resulting 2-d galaxy distribution . the large volume and dense sampling of the sdss allows us to construct volume limited subsamples extending over lengthscales which are substantially larger than possible with earlier surveys . we find evidence for connectivity and filamentarity in excess of that of a random point distribution , indicating the existence of an interconnected network of filaments . the filamentarity is found to be statistically significant up to length - scales @xmath3 and not beyond @xcite . further , we show that the degree of filamentarity exhibits a luminosity dependence with the brighter galaxies having a more concentrated and less filamentary distribution . it is now quite well accepted that galaxies with different physical properties are differently distributed in space . studies over several decades have established that ellipticals and spirals are not distributed in the same way . the ellipticals are found predominantly inside regular , rich clusters whereas the field galaxies are mostly spirals . this effect is referred to as `` morphological segregation '' which has been studied extensively in the literature ( eg . @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . further , ellipticals exhibit a stronger clustering as compared to spirals ( @xcite ) . the analysis of the two - point correlation function of galaxies with different colours shows the red galaxies , which are mainly ellipticals with old stellar populations , to have a stronger clustering as compared to the blue galaxies which are mostly spirals ( e.g. @xcite , @xcite , @xcite ) . studies of the topology using the genus statistics show that red galaxies exhibit a shift towards a meatball topology ( @xcite , sdss edr , @xcite , sdss dr3 ) implying that they prefer to inhabit the high density environments . it is found that luminous galaxies exhibit a stronger clustering than their fainter counterparts ( e.g. @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . the difference increase markedly above the characteristic magnitude @xmath4 ( @xcite , 2dfgrs , @xcite , sdss dr2 ) of the schecter luminosity function ( @xcite ) . the detailed luminosity dependence has been difficult to establish because of the limited dynamic range of even the largest redshift surveys . @xcite have studied the luminosity distribution of galaxies in high and low density regions of the sdss to show that brighter galaxies are preferentially distributed in the high density environments . @xcite have studied the morphology density relation in the sdss(edr ) and found that this relation is less noticeable in the sparsest regions indicating the need for a denser environment for fostering the physical mechanisms responsible for the galaxy morphological changes . @xcite and @xcite find a strong environment dependence for both the colour and luminosity for the sdss galaxies . the dependence of clustering on galaxy properties like the luminosity , colour and morphology provides very important inputs for theories of galaxy formation . it is a natural prediction of hierarchical structure formation that the rarer objects which correspond to peaks in the density field should be more strongly clustered than the population itself ( @xcite , @xcite , @xcite ) . a possible interpretation of the observations is that the more luminous galaxies are hosted in higher density peaks as compared to the fainter galaxies . in this scenario the properties of a galaxy are largely decided by the initial conditions at the location where the galaxy is formed . this idea is implemented in the halo model ( @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) where it is postulated that all galaxies lie in virialised halos and the number and type of galaxies in a halo is entirely determined by the halo mass . @xcite provide a detailed review of the halo model . it is well known that galaxy - galaxy interactions and environmental effects are also important in determining the physical properties of a galaxy . for example , ram pressure stripping in galaxy clusters is a possible mechanism for the transformation of a spiral galaxy into an elliptical . galaxy - galaxy interactions could also provide a mechanism for morphological transformation . in the classical picture galaxies evolve in isolation and morphology is determined at birth , while in the hierarchical model galaxies have no fixed morphology and they can evolve depending on the nature of their mergers . a study of the spatial distribution of different kind of galaxies holds the potential to probe the factors responsible in determining galaxy luminosity , colour and morphology . much of the research on the luminosity , morphology and colour dependence of the galaxy distribution has focused either on the morphology segregation in clusters or has studied the behaviour of the two point correlation as a function of these galaxy properties . filaments are the largest known statistically significant coherent features . they have been shown to be statistically significant to scales as large as @xmath5 . in this paper we study the luminosity , colour and morphology dependence of filaments in the sloan digital sky survey data release four ( sdss dr4 ) . this allows us to study the distribution of different types of galaxies on the largest length - scales possible . such a study will enable us to estimate the length - scale over which the factors responsible for the galaxy segregation operate . while the two - point correlation function completely characterizes the statistical properties of a gaussian random field , it is well known that the galaxy distribution is significantly non - gaussian . in fact the presence of large - scale coherent features like filaments is a clear indication of non - gaussianity . there have been studies of how the three point correlation function depends on galaxy properties @xcite . while the first two papers do not find any statistically significant effects , @xcite find statistically significant colour and luminosity dependence . the present work studies how the largest known non - gaussian features , the filaments , depend on galaxy properties . this paper presents progress on many counts compared to our earlier work @xcite based on the sdss dr1 . the earlier work was restricted to single volume limited subsamples from each of the two equatorial strips . the absolute magnitude range was divided into two equal halves , and these were analyzed to test for a luminosity dependence in the filamentarity . for a statistically significant conclusion it is necessary to also estimate the cosmic variance ( sample to sample variation ) of the filamentarity which was done by bootstrap resampling . we found that the difference in filamentarity between the two magnitude bins was in excess of the fluctuations expected from cosmic variance , thereby establishing the statistical significance . the sdss dr4 covers a large contiguous region in the northern galactic cap with a few gaps still to be covered . the sdss has been carried out in overlapping strips of @xmath6 width oriented along great circles . since the detection of coherent large - scale features requires a completely sampled region with no gaps , we have extracted seven non - overlapping strips of width @xmath7 each . the volume corresponding to each strip is nearly two dimensional and we have collapsed the thickness and analysed the resulting 2-d galaxy distribution . the increased number of strips provide a better estimate of the cosmic variance leading to more robust conclusions . the analysis has been carried out on five overlapping bins in absolute magnitude . we have extracted separate volume limited subsamples corresponding to each magnitude bin and compared the filamentarity across them . the earlier analysis has been extended here to also consider the colour and morphology dependence , which has been tested in each of the volume limited subsamples . here we would like to mention that the statistics that we are using to quantify the filamentarity is not absolute in the sense that it is sensitive to the volume and galaxy number density of the sample . it is thus only meaningful to compare different galaxy samples provided they have the same volume ( identical shape and size ) and number density . this is an important consideration when constructing the galaxy samples for which we test the luminosity , colour and morphology dependence . a brief outline of our paper follows . section 2 describes the data and section 3 the method of analysis . our results for the sdss data are presented in section 4 , in section 5 we compare our results with the predictions of a semi analytic model of galaxy formation and finally we present our conclusions in section 6 . it may be noted that we have used a @xmath2cdm cosmological model with @xmath8 , @xmath9 and @xmath10 throughout . the sdss is an imaging and spectroscopic survey of the sky ( @xcite ) in five photometric bandpasses , u , g , r , i , z with effective wavelengths of @xmath11 , @xmath12 , @xmath13 , @xmath14 and @xmath15 respectively ( @xcite , @xcite ) to a limiting r band magnitude @xmath16 with @xmath17 completeness . a series of pipelines that perform astrometric calibration ( @xcite ) , photometric reduction ( @xcite ) and photometric calibration ( @xcite ) are used to process the imaging data and then objects are selected from the imaging data for spectroscopy . in the sdss dr4 ( @xcite ) the imaging data covers 6670 @xmath18 of the sky whereas the spectroscopy covers a total area of 4783 @xmath18 . the spectroscopic data includes 673,280 spectra with approximately 480,000 galaxies , 64,000 quasars and 89,000 stars . the survey area covers a single contiguous region in the northern galactic cap and three non - contiguous region in the southern galactic cap . our analysis is restricted to the northern galactic cap region only . the samples analyzed here were obtained from the sdss dr4 skyserver . this is a web interface to the sdss data archive server . the sdss surveys the sky in overlapping stripes of width @xmath6 which form great circles on the sky . the stripes are most conveniently described using survey co - ordinates ( @xmath19 ) defined in @xcite . lines of constant @xmath20 are great circles aligned with the stripes and lines of constant @xmath21 are are small circles along the width of the stripes . each stripe is centered along a line of constant @xmath20 separated from the adjoining stripe by @xmath22 . we have downloaded data from seven overlapping stripes which form a nearly contiguous region shown in figure [ fig:1 ] . we have selected all objects identified as galaxies with extinction corrected r band petrosian magnitude @xmath23 over the redshift range @xmath24 . the primary data is not contiguous and has a few gaps . since our analysis requires contiguous regions , we have extracted seven non - overlapping strips each of width @xmath25 in @xmath20 and spanning @xmath26 in @xmath21 ( figure [ fig:1 ] and table 1 ) . only galaxies with extinction corrected petrosian r band magnitude in the range @xmath27 were used . for each galaxy the absolute magnitude was computed using its redshift , apparent magnitude , k correction and reddening correction ( @xcite ) . we adopt a polynomial fit ( @xcite ) for the mean k - correction , @xmath28 . we construct volume limited sub - samples using the absolute magnitude bins listed in table 2 . the five overlapping absolute magnitude bins are referred to as `` bin 1 '' , `` bin 2 '' , ... `` bin 5 '' in order of increasing luminosity . each bin extends over a different redshift range . the thickness of the volume corresponding to each bin increases with redshift . we have extracted regions of uniform thickness @xmath29 . this corresponds to @xmath7 at redshift @xmath30 , and for some bins it was necessary to discard the range @xmath31 where the thickness was less than @xmath29 . the redshift range which we use for final galaxy samples that were analyzed are shown in table 2 . the faintest luminosity bin has the smallest area ( table 2 ) , and the area of the other bins increases monotonically with luminosity . a smaller magnitude range was chosen for the faintest bin so as to ensure that it covers a reasonably large area while maintaining a number density comparable to the other bins . the galaxy number density is maximum for bin 2 ( table 2 ) which is centered at @xmath32 which has a value @xmath33 @xcite for the sdss . the number density falls for the other bins . the number of galaxies for all the strips in each bin are also tabulated in table 1 . [ cols="^,^,^,^,^,^,^,^",options="header " , ] studies using n - body simulations show that the statistics that we use to characterize the filamentarity in the galaxy distribution is sensitive to the number density as well as the shape and size of the volume of the sample . to test for luminosity dependence it is necessary to compare different luminosity bins which as seen in table 2 have different number densities and cover different areas . to ensure that these factors do not influence our results , we extract regions of identical shape and size as bin 1 from the other bins and use these to test for luminosity dependence . tests using dark matter @xmath2cdm n - body simulations show that galaxy number density variations of @xmath34 do not produce statistically significant effect on the filamentarity ( figure [ fig:11 ] ) . we have discarded randomly chosen galaxies from bins 2 and 3 so as to make the galaxy number density of each strip of these bins exactly equal to the mean density of bin 1 . the galaxy number density of bin 4 is within @xmath35 of that of bin 1 while it is @xmath36 lower in bin 5 . since these are lower than bin 1 , and as they are within the permissible range of variation we do not dilute the galaxy number density in bins 4 and 5 . figure [ fig:2 ] shows the galaxy distribution in two different luminosity bins drawn from the same strip . it is to be noted that the samples with reduced area and diluted galaxy number density are used only for testing luminosity dependence . we separately study the colour and morphology dependence in each of the magnitude bins listed in table 1 and table 2 . we do not compare the colour and morphology dependence across different luminosity bins . when testing for colour dependence in a fixed luminosity bin , all the galaxies ( table 1 ) in the entire area of the bin ( table 2 ) are classified as either red or blue galaxies . the galaxy @xmath37 colours are known to have a bimodal distribution @xcite . in our analysis we determine a value @xmath38 for the colour such that it divides each magnitude bin into equal number of red ( i.e. @xmath39 ) and blue ( i.e. @xmath40 ) galaxies . as a consequence the number density of red and blue galaxies in each luminosity bin are exactly equal and have a value half that of the density shown in table 2 . the value of @xmath38 varies slightly across the luminosity bins , and the values are listed in table 2 . it may be noted that @xcite finds that a color selection criteria @xmath41 ensures that the red galaxies are ellipticals with @xmath42 completeness . figure [ fig:3 ] shows the distribution of red and blue galaxies in one of the subsamples . the morphological classification was carried out using the concentration index defined as @xmath43 where @xmath44 and @xmath45 are the radii containing @xmath42 and @xmath46 of the petrosian flux respectively . this has been found to be one of the best parameter to classify galaxy morphology ( @xcite ) . ellipticals are expected to have a larger concentration indices than spirals . it was found that @xmath47 for a pure de - vaucouleurs profile ( @xcite ) while @xmath48 for a pure exponential profile ( @xcite ) . @xcite show that using a cutoff @xmath49 divides the sample into ellipticals and spirals at @xmath50 completeness . for each luminosity bin we have chosen a cutoff @xmath51 that partitions the galaxies into two equal halves , one predominantly ellipticals and the other spirals . the values of @xmath51 varies across luminosity bins and are listed in table 2 . figure [ fig:4 ] shows the distribution of early and late type galaxies in one of the subsamples . finally we note that there is an incompleteness in the sdss survey arising from a restriction which prevents the redshift of two galaxies at a very small angular separation to be measured . this incompleteness is not expected to introduce a luminosity , colour or morphology dependence and hence we do not take this into account . each of the subsamples described in the previous subsection have a much greater ( 16 - 35 times ) linear dimension compared to their thickness and so can be reasonably treated as two dimensional . the 2d galaxy distribution was embedded in a @xmath52 2d rectangular grid . the galaxy distribution was represented as a set of 1s and 0s on a 2-d rectangular grid by assigning the values 1 and 0 to the filled and empty cells respectively . note that @xmath53 of the filled cells have 2 galaxies while the number is substantially smaller for 3 galaxies or more , and hence the 1s and 0s provide a fair representation of the galaxy distribution on the length - scales of interest . the grid cells which are beyond the boundaries of the survey were assigned a negative value in order to distinguish them from the empty cells within the survey area . the next step is to use an objective criteria to identify the coherent large - scale structures visible in the galaxy distribution . we use a `` friends - of - friends''(fof ) algorithm to identify interconnected regions of filled cells which we refer to as clusters . in this algorithm any two adjacent filled cells are referred to as friends . clusters are defined through the stipulation that any friend of my friend is my friend . the distribution of 1s on the grid is very sparse with only @xmath54 of the cells being filled . also , the filled cells are mostly isolated , and the clusters identified using fof , which contain only a few cells each , do not resemble the large - scale coherent structures seen in the sdss strips . it is necessary to coarse - grain the galaxy distribution so that the large scale structures may be objectively identified . in every iteration of coarse - graining we fill up all the empty cells adjacent to every filled cells ( i.e. cells at the 4 sides and 4 corners of a filled cell ) , causing every filled cell to grow fatter . the size of an isolated filled cell is @xmath55 after @xmath56 iterations of coarse - graining and for example it is @xmath57 after @xmath58 iterations . this causes clusters to grow , first because of the growth of filled cells , and then by the merger of adjacent clusters as they overlap . increasing the coarse - graining further induces the percolation transition when a large fraction of the clusters connect up into a single , multiply connected network of filaments encircling voids . as coarse - graining proceeds even further the network grows to some extent , and eventually the elements become very thick filling up the entire survey region washing away any visible pattern . the filling factor @xmath59 , defined as the fraction of cells within the survey area that are filled , _ ie . _ @xmath60 increases from @xmath61 0.01 to @xmath62 1 as the coarse - graining is increased . the filling factor is around @xmath63 after @xmath58 rounds of coarse - graining ( figure [ fig:5 ] ) . so as to not restrict our analysis to an arbitrarily chosen level of coarse - graining , we analyze the clusters identified in the pattern of 1s and 0s after each iteration of coarse - graining . earlier studies using the sdss dr1 @xcite show that the percolation transition occurs in the @xmath64 range @xmath65 . the geometry and topology of a two dimensional cluster can be described by the three minkowski functionals , namely its area @xmath66 , perimeter @xmath67 , and number of holes or genus @xmath68 . we have tested that the cluster area @xmath66 is proportional to the actual number of galaxies within the cluster boundary . this holds at each level of coarse - graining , with the proportionality constant increasing with coarse - graining . the ratio @xmath69 characterizes the thickness of the cluster , and @xmath67 the extent of its boundary . since the clusters are largely filamentary ( as we shall see later ) , we may interpret @xmath67 as an estimate of the length of the cluster . the ratio @xmath70 has dimensions of length and it is particularly significant after the onset of percolation @xcite as it characterizes the length of the cluster boundary per void . it is possible to quantify the shape of the cluster using a single 2d `` shapefinder '' statistic ( bharadwaj et al . 2000 ) which is defined as the dimensionless ratio @xmath71 which by construction has values in the range @xmath72 . it can be verified that @xmath73 for an ideal filament which has a finite length and zero width , whereby it subtends no area ( @xmath74 ) but has a finite perimeter ( @xmath75 ) . it can be further checked that @xmath76 for a circular disk , and intermediate values of @xmath77 quantifies the degree of filamentarity with the value increasing as a cluster is deformed from a circular disk to a thin filament . the definition of @xmath77 needs to be modified when working on a rectangular grid of spacing @xmath78 . an ideal filament , represented on a grid , has the minimum possible width _ i.e. _ @xmath78 , and its perimeter @xmath67 and area @xmath66 are related as @xmath79 . at the other extreme we have @xmath80 for a square shaped cluster on the grid . we introduce the 2d shapefinder statistic @xmath81 to quantify the shape of clusters on a grid . by definition 0@xmath82 1 . @xmath77 quantifies the degree of filamentarity of the cluster , with @xmath77 = 1 indicating a filament and @xmath77 = 0 , a square , and @xmath77 changes from @xmath83 to @xmath84 as a square is deformed to a filament . at every stage of coarse - graining we have a number of clusters , each of which is characterized by its shape @xmath85 and size @xmath86 . it is desirable to identify a single statistical quantity to capture the filamentarity of the entire set of clusters . we have considered two possibilities @xmath87 and @xmath88 , respectively the first and second area weighted moments of the filamentarity . our aim being to quantitatively compare the filamentarity of different galaxy samples and draw statistically significant conclusions , we find that it is more advantageous to use @xmath88 as a statistical discriminator . though both @xmath87 and @xmath88 show similar behaviour , the differences in @xmath88 between point distributions with different clustering properties is more pronounced as compared to @xmath87 @xcite . the average filamentarity @xmath88 is defined as the mean filamentarity of all the clusters in a slice weighted by the square of the area of each clusters @xmath89 in the current analysis , we study the average filamentarity @xmath88 as a function of @xmath64 to quantify the degree of filamentarity in each of the sdss subsamples and investigate how the average filamentarity @xmath88 changes with intrinsic galaxy properties like luminosity , color and morphology . we also use the area weighted second moment ( defined analogous to eq . ( [ eq : a6 ] ) ) of @xmath90 , @xmath67 and @xmath70 to quantify the average cluster thickness , length and length per void respectively . at a specified level of coarse - graining the value of the filling factor ( @xmath64 ) has small differences from sample to sample as seen in figure [ fig:5 ] . this makes it difficult to compare the filamentarity in different samples using the values of the average filamentarity ( @xmath88 ) as a function of @xmath64 ( figure [ fig:6 ] ) . we overcome this by interpolating the values of @xmath88 as a function of @xmath64 at uniformly chosen values which are same for all the samples . the average thickness and length are also interpolated and analyzed in a similar fashion . further , since the later stages of coarse graining tend to wash out the features of the galaxy distribution , we have restricted our analysis to the range of filling factor @xmath91 . we first study how the average filamentarity varies across the different luminosity bins discussed in section 2 . for each luminosity bin we have seven realisations of the galaxy distributions from the seven non - overlapping strips . the results from all the individual strips in luminosity bin 1 are shown together in figure [ fig:6 ] . for each bin we use the results from these seven samples to determine the mean and variance of @xmath88 at uniformly chosen values of @xmath64 . the results are shown in the left panel of figure [ fig:7 ] . we find that for a fixed value of @xmath64 , the value of @xmath88 decreases with increasing luminosity . we note that there is some deviation from this behaviour at @xmath92 between bins 3 and 4 , but the overall trend is still valid when we compare these bins with fainter or brighter samples . further , the luminosity dependence is enhanced with increasing luminosity . at each values of @xmath64 we use the student s t - test to quantify the statistical significance of the difference in the mean @xmath88 between different luminosity bins . the variance of @xmath88 is very similar in the different luminosity bins and we estimate the standard error for the difference in the means using @xmath93 where the sum is over the points in the two samples a and b which are being compared . here @xmath94 and @xmath95 referes to the mean , and @xmath96 and @xmath97 refers to the number of data points . in our case @xmath98 . we use @xmath99 to estimate the significance of the differences in the means . this is expected to follow a student s t - distribution with @xmath100 degrees of freedom . we accept the difference in the means as being statistically significant if the probability of its occurring by chance is less than @xmath101 . we find that there are no statistically significant differences between adjacent luminosity bins except the two brightest ones ( bins 4 and 5 ) . all the non - adjacent bins ( eg . bin 1 and bin 3 , etc . ) show statistically significant differences at most values of @xmath64 . as noted earlier , the @xmath88 curves are sensitive to the galaxy number density . while bins 2 and 3 have been culled so that they have the same number density as bin 1 , bins 4 and 5 have number densities which are @xmath35 and @xmath102 lower respectively . figure [ fig:11 ] shows the effect of varying the number density by @xmath46 in 18 independent realizations of mock galaxy samples identical to bin 1 in thickness , area and number density ( table 2 ) drawn from dark matter @xmath2cdm n - body simulations @xcite . the test shows that @xmath46 variations in the number density do not introduce a statistically significant effect on the filamentarity except at @xmath103 . this is quite distinct from the luminosity dependence seen in the left panel of figure [ fig:7 ] where there are statistically significant differences among the different luminosity bins at all @xmath64 except for @xmath103 . this clearly establishes the luminosity dependence to be genuine and not an artifact due to number density variations . we have separately analyzed the filamentarity of the red and blue galaxies in each luminosity bin . the results for bin 4 are shown in the middle panel of figure [ fig:7 ] . we find that there is a statistically significant colour dependence . at the smallest value of @xmath64 the red galaxies exhibit a higher filamentarity than the blue ones . there is a cross - over at @xmath104 , and the blue galaxies have a higher filamentarity than the red ones at larger values of @xmath64 . a similar trend is found in all the other luminosity bins , results for which are not shown here . the morphology dependence has been studied separately for each luminosity bin . the results for bin 4 are shown in the right panel of figure [ fig:7 ] . the ellipticals have a higher @xmath88 as compared to spirals for @xmath105 whereas the spirals have a higher @xmath88 at larger values of @xmath64 . we find that the differences are statistically significant for @xmath106 and @xmath107 . the results are similar for the other luminosity bins not shown here . figure [ fig:9 ] shows the average cluster length , length per void and thickness as a function of @xmath64 for two different luminosity bins , and also the colour and morphology dependence for a fixed luminosity bin ( bin 4 ) . we see that the clusters are longer for the faint galaxies , blues galaxies and the spirals as compared to the bright galaxies , red galaxies and ellipticals respectively . unlike the length which increases nearly monotonically with coarse - graining , the cluster length per void is found to be quite stable to coarse - graining after the onset of percolation . the luminosity , colour and morphology dependence found in the cluster length is exactly reversed when the length per void is considered . we also note that the luminosity , colour and morphology dependence of the length and the length per void are not at a high level of statistical significance , except at a few points where the data are seen to lie outside the @xmath108 errorbars . the average cluster thickness , on the other hand , shows statistically significant differences at all values of the filling factor . at the same value of @xmath64 , the clusters are thicker for the bright galaxies , red galaxies and elliptical galaxies as compared to their faint , blue and spiral counterparts respectively semi analytic models have , over the last two decades emerged as a very powerful tool for studying galaxy formation ( @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . these models describe the evolution of galaxies in a hierarchical clustering scenario incorporating all relevant physics of galaxy formation processes ( eg . gas cooling , star formation , supernovea feedback , metal enrichment , merging etc ) often in an approximate and adhoc fashion . the detailed physics of star formation and it s regulation by different feedback mechanisms is still poorly understood . these models serve as simplified simulations of the galaxy formation processes . the output of the semi analytic models are statistical predictions of galaxy properties at some epoch and the precision of these predictions are directly related to the accuracy of the input physics . in this section we investigate the luminosity , and colour dependence of galaxy filaments in a particular semi - analytic model and compare the findings with those from the sdss . we have used the semi analytic galaxy catalogs from the millennium run simulation ( @xcite ) , one of the largest simulation of the growth and evolution of cosmic structures in the universe . the details of the simulation can be found in @xcite . the physical treatment of the galaxy formation processes in this model are described in @xcite . the spectra and magnitude of the model galaxies were computed using population synthesis models of @xcite and we use the catalog where the galaxy magnitudes are available in sdss u , g , r , i , z filters . the catalog contains about 9 million galaxies in the full simulation box . we use these to construct mock strips from the simulation which are otherwise identical to the sdss strips which were analyzed . the luminosity dependence in the semi - analytic model is shown in the left panel of figure [ fig:8 ] . this is found to exhibit a strong luminosity dependence . although the behaviour is qualitatively similar to the actual data , the luminosity dependence is noticeably less pronounced for the brighter galaxies in the semi - analytic model . the differences between the behaviour in the actual data and the semi - analytic model are clearly seen in the middle panel of figure [ fig:8 ] which , for two luminosity bins , shows the results for the actual data and the semi - analytic model together . note that while there is a reasonable agreement for the faint luminosity bins , there are sharp differences between the data and the simulations in the filamentarity of the high luminosity galaxies . the right panel of figure [ fig:8 ] shows the colour dependence of the filamentarity in the semi - analytic model . here again , although the model is qualitatively similar to the data , the colour dependence predicted in the model is substantially in excess of those seen in the actual data . the differences between the data and the simulation is particularly noticeable at low @xmath64 where the filamentarity of the blue galaxies in the model is found to be substantially below that of the actual data . the simulation results for the red galaxies are in rough agreement with the sdss data . the concentration index ( @xmath109 ) was not directly available in the particular simulated catalogue which we have used and hence we did not study the morphology dependence for the semi - analytic model . filaments are the largest known statistically significant coherent features visible in the galaxy distribution . we test if the degree of filamentarity depends on the galaxy properties . we find evidence for statistically significant luminosity , colour and morphology dependence in the average filamentarity @xmath88 studied as a function of the filling factor @xmath64 . comparing the average filamentarity @xmath88 of different luminosity bins ( figure [ fig:7 ] ) , we find that the fainter galaxies have a more filamentary distribution as compared to the brighter ones . these differences exist at nearly all values of @xmath64 . the drop in filamentarity with increasing luminosity is found to be particularly more pronounced in the two brightest luminosity bins which we have considered , both of which are brighter than @xmath32 . comparing the thickness and length ( figure [ fig:9 ] ) , we find that at a fixed value of @xmath64 structures traced by the bright galaxies are thicker and shorter than those traced by the faint ones . while the differences in the length are statistically significant only at large @xmath64 , the differences in the thickness are statistically significant at all values of the filling factor . with increasing coarse - graining there is a percolation transition at @xmath110 beyond which there is an interconnected network of filaments encircling voids . after the onset of percolation the length per void gives an estimate of the circumference of the filaments encircling the voids and dividing this by @xmath111 gives an estimate of the average void diameter . we find that the faint galaxy distribution is more porous ( larger number of holes or voids ) and has smaller voids with a typical void diameter @xmath112 as compared to the bright galaxy distribution which has a typical void diameter @xmath113 . note that these estimates of the void diameter could be somewhat flawed because the estimated void diameters exceed the radial extent ( @xmath114 ) of the samples which we have used to test luminosity dependence ( figure [ fig:2 ] ) , but they serve the purpose of demonstrating the luminosity dependence of the void size . our findings indicate that galaxies of different luminosity are not uniformly distributed along the cosmic web . the brighter galaxies are preferentially distributed in more compact and thicker regions with large voids in between whereas the fainter galaxies inhabit thin , elongated regions with more numerous voids of smaller diameter . we note that studies using the projected two - point correlation function ( eg . @xcite ; @xcite ) show an increase in correlation amplitude with increasing luminosity , the effect being pronounced beyond @xmath115 . these earlier results are consistent with our findings but they do not have any information about the shapes of the clustering patterns . recent studies ( eg . @xcite ; @xcite ) also show evidence for luminosity dependence at higher redshifts ( @xmath116 ) . the results for the colour and morphology dependence of the average filamentarity are somewhat different from those for the luminosity dependence . we find that the red galaxies and the ellipticals have a higher filamentarity as compared to the blue galaxies and spirals respectively at low filling factors ( figure [ fig:9 ] ) . there is a cross - over at @xmath117 for the colour dependence and @xmath118 for the morphology dependence . the blue galaxies and the spirals have a higher filamentarity as compared to the red galaxies and the ellipticals respectively at large filling factors . considering the length and the thickness ( figure [ fig:9 ] ) , we find that the length shows a statistically significant colour and morphology dependence only at large @xmath64 ( beyond percolation ) where the distribution of blue galaxies and the spirals has a greater length as compared to red galaxies and ellipticals respectively . the red galaxies and ellipticals have a thicker distribution , the differences being statistically significant at all @xmath64 . considering the voids , we find that the distribution of red galaxies has fewer voids which are larger ( diameter @xmath119 ) whereas the distribution of blue galaxies has more voids which are smaller ( diameter @xmath120 ) . the ellipticals and spirals show similar differences with void diameters @xmath121 and @xmath122 respectively . these estimates of the void diameter are quite reliable as the sample size ( bin 4 ) is larger than the void diameter ( figure [ fig:3 ] and [ fig:4 ] ) . we note that our estimates are somewhat larger compared to results using other methods . for example , @xcite have found that the voids have a scale of around @xmath123 in iras 1.2 jy redshift survey . a similar conclusion is reached by @xcite from their analysis of the northern local void . a recent analysis of voids in the 2dfgrs by @xcite find that voids have typical diameters of @xmath124 . most of these estimates use the area or volume to determine the void diameter whereas we use the void perimeter . substructures in the void perimeter is possibly the dominant reason why we get a larger estimate of the diameter . further , the large variance in the void diameter seems to indicate that they have a large spread in sizes . the colour and morphology are very strongly correlated galaxy properties , the red galaxies being predominantly ellipticals and the blue ones spirals . it is well known that elliptical are found primarily in dense groups and clusters @xcite whereas the spirals are distributed in the field . our finding that at large length - scales the structures traced by the ellipticals are thicker , and less filamentary as compared to the spirals is consistent with a picture where the entire galaxy population is distributed along an interconnected network of filaments encircling voids , the cosmic web . the ellipticals preferentially inhabit the dense groups and clusters which can be identified with the nodes of the cosmic web , the places where filaments intersect . the spirals , on the other hand , are sparsely distributed along the filaments . the colour and morphology are also known to be correlated with the luminosity . the more luminous galaxies are predominantly ellitpicals and the fainter ones spirals . the fact that at small filling factors ( which we may associate with small length - scales ) the eliipticals have a more filamentary distribution as compared to spirals , whereas the opposite is found at large length - scales is quite intriguing . we discuss below a possible interpretation of this finding . the higher filamentarity of the ellipticals at low @xmath64 seem to indicate that in addition to residing in the clusters at the intersection of filaments , the ellipticals also extend a little along the filaments which originate from the clusters . the spirals on the other hand , are distributed along the entire extent of the filaments . this is shown schematically in figure [ fig:10 ] . in this picture the ellipticals have a more compact distribution , and as a consequence they connect up to form filamentary clusters at the initial stages of coarse graining . since these structures are localized near the nodes of the filaments and they do not extend along the entire length of the filaments , their filamentarity increases slowly during the later stages of coarse graining . the spirals , on the other hand , are sparsely distributed along the entire length of the filaments . they connect up only at a later stage of coarse graining to define the entire filamentary network of the cosmic web . this is a possible explanation why at low filling factors the ellipticals have a higher filamentarity than the spirals . further , it also indicates that with increasing filling factor ( later stages of coarse graining ) the filamentarity of the spirals should grow faster than that of the ellipticals as seen in ( figure [ fig:7 ] ) . finally we note that the qualitative picture presented here is a plausible model which is consistent with the quantitative findings of this paper . we do not claim that it is the only possible explanation , and it is presented here more in the spirit of a hypothesis rather than a conclusion . further work is required to establish or refute this picture . as already mentioned several times , it should be noted , that the curves showing @xmath125 as a function of @xmath64 are not absolute . they depend on the geometry of the volume ( both shape and size ) and the galaxy number density . it is only meaningful to compare different galaxy samples for which these quantities are the same . once these are fixed , we can attribute changes in the filamentarity to factors like luminosity , colour or morphology which we are testing for . observational findings indicate a close connection between the local density and galaxy type @xcite with an increase in the elliptical and s0 population and a decrease in the spirals in galaxy clusters . our findings are consistent with this , and it indicates that there is an excess of ellipticals on scales larger than the clusters extending to some extent into the filaments . in the zeldovich pancake scenario filaments form at the intersection of sheets and clusters form at the nodes of the filaments . structure formation occurs in a hierarchical fashion with sheets forming first , matter flows along the sheets into the filaments which in turn drain into the clusters . the higher galaxy density and a denser hot gas environment are possibly the factors leading to a higher elliptical fraction in the vicinity of the nodes . the relation between our findings and the various theories for galaxy formation is an important issue . we have compared our findings against the millennium run @xcite which is one of the largest simulated galaxy catalogues that incorporates the theory of galaxy formation in a semi - analytic fashion . the semi - analytic model has a number of parameters which have been tuned to match various observed properties of the local galaxy distribution like the luminosity functions and the tully - fisher relation . in this paper we have compared the filamentarity of the galaxy distribution in the semi - analytic model against the actual data from the sdss dr4 . studying this in different luminosity bins we find that the two are consistent for @xmath126 galaxies , while the brighter galaxies show significant differences . for the brighter galaxies , at large filling factors the semi - analytic model predicts a substantially higher filamentarity as compared to the actual data , whereas it underpredicts the same at small @xmath64 . though the semi - analytic model correctly predicts the number density of very luminous galaxies as reflected in the luminosity function , it fails to correctly reproduce the geometry of their spatial distribution . for these galaxies the model does not predict a sufficiently filamentary distribution at small length - scales whereas there is an excess filamentarity predicted at large scales . comparing the filamentarity predicted by the model against the actual data for galaxies of different colours , we find that the two are consistent for red galaxies whereas the distribution of the blue galaxies are quite different . for these galaxies the model markedly underpredicts the filamentarity at small length - scales or filling factors . we speculate that the discrepancy may be a consequence of two possible ingredients of the model , the first being a radio mode feedback from agns in massive halos introduced to stop cooling flows . this effectively quenches star formation in the galaxies in these halos thereby transforming them into red galaxies . the second possibility is the prescription ( plane parallel slab model ) of @xcite to include the effects of dust when calculating the galaxy luminosities and colours . it may be noted that @xcite have found discrepancies in the colour dependence of the two point correlation function . they find that the differences in the correlation amplitudes of the red and blue galaxies predicted by the model are in excess of that seen in the 2dfgrs and sdss . in conclusion we note that the filamentary pattern seen in the galaxy distribution exhibits statistically significant luminosity , colour and morphology dependence . we have speculated on a geometrical picture which can explain some features of the colour and morphology dependence of the filamentarity . explaining the origin of the observed luminosity , colour and morphology dependence in terms of the theories of galaxy formation is an important issue which needs to be addressed in the future . sb would like to acknowledge financial support from the govt . of india , department of science and technology ( sp / s2/k-05/2001 ) . bp would like to thank the csir , govt . of india for financial support through a senior research fellowship . bp acknowledges darren croton for his help in analyzing the millennium catalouge . the authors thank an anonymous referee for the constructive comments and the comprehensive and detailed review of the paper . funding for the creation and distribution of the sdss archive has been provided by the alfred p. sloan foundation , the participating institutions , the national aeronautics and space administration , the national science foundation , the u.s . department of energy , the japanese monbukagakusho , and the max planck society . the sdss web site is http://www.sdss.org/. the sdss is managed by the astrophysical research consortium ( arc ) for the participating institutions . the participating institutions are the university of chicago , fermilab , the institute for advanced study , the japan participation group , the johns hopkins university , the korean scientist group , los alamos national laboratory , the max - planck - institute for astronomy ( mpia ) , the max - planck - institute for astrophysics ( mpa ) , new mexico state university , university of pittsburgh , princeton university , the united states naval observatory , and the university of washington . the millennium run simulation used in this paper was carried out by the virgo supercomputing consortium at the computing centre of the max - planck society in garching . the semi - analytic galaxy catalogue is publicly available at http://www.mpa-garching.mpg.de/galform/agnpaper	arxiv
rheumatoid arthritis ( ra ) is a chronic inflammatory disease characterized by joint swelling , weakness , fragility , and progressive synovial membrane damage , leading to a high degree of disability . the disease evolution is not easily predictable and , if not promptly and adequately treated , can cause severe worsening in joint mobility and function , leading to various levels of disability , significant reduction in quality of life , and increased mortality.15 ra etiopathogenesis is still only partially known . nowadays it seems possible that chronic inflammation localized in joint tissues can be the result of autoimmune reactions that firstly affects synovial tissue , and then may extend to cartilage and bone tissues.6,7 for a prompt and correct diagnosis , currently we refer to american college of rheumatology they suggest starting a pharmacological treatment based on disease - modifying anti - rheumatic drugs ( dmards ) as soon as possible.8 currently , hydroxychloroquine ( hcq ) represents the most commonly used molecule , mainly because of its lower toxicity compared to chloroquine ( cq).9 nevertheless , it can also have harmful effects on retinal pigment epithelium ( rpe ) cells , and consequently on photoreceptor cells.10 this occurs most frequently in prolonged use because of the characteristic dose - dependent relationship of toxic retinopathy,11,12 and early identification is very important because a progression in retinal damage is possible even after therapy discontinuation.12 american academy of ophthalmology ( aao ) recommends the following examinations as follow - up for patients taking hcq : 10 - 2 pattern automated visual field analysis , spectral - domain optical coherence tomography ( sd - oct ) , fundus autofluorescence ( faf ) , and multifocal electroretinogram ( mferg).12 sensitivity of these diagnostic tests in detecting any early sign of retinal toxicity is still under discussion , but in the last years mferg has been increasingly gaining evidence as a very sensitive objective test.13 following these evaluations , we set out to evaluate mferg and subclinical aqueous humor flare and cellularity using a laser flare - cell meter in a group of patients taking hcq for treatment of ra . the current study was approved by the local ethics committee of the university of bologna and adhered to the tenets of the declaration of helsinki . written informed consent was obtained from all participants before any procedure . ten patients ( seven females and three males ; mean age 64.811.7 years ) with a diagnosis of ra followed - up in the outpatient rheumatology service of santorsola - malpighi university hospital of bologna and receiving treatment with hcq ( plaquenil , sanofi s.p.a . , milano , italy ) at a dose of 400 mg per day , were enrolled in this study . average treatment time was 46.715.2 months , with mean cumulative dose ( cd ) of 625.6167.44 g. there were no patient complaints of any visual or ophthalmic symptoms . all patients underwent a comprehensive ophthalmological examination including best - corrected visual acuity for distant and near vision , intraocular pressure measurement with goldmann applanation tonometry , anterior segment slit lamp biomicroscopy ( haag - streit bm 900 , haag - streit , koeniz , switzerland ) , posterior segment slit lamp indirect ophthalmoscopy conducted with volk + 78d non - contact lens ( volk optical inc . , mentor , oh , usa ) , sd - oct and faf ( spectralis hra - oct , heidelberg engineering , heidelberg , germany ) , and 10 - 2 pattern automated visual field analysis ( humphrey 640 , carl zeiss meditec ag , jena , germany ) . after that , since previous examinations yielded results within normal limits , we extended the evaluation performing mferg to evaluate retinal sensitivity and laser flare - cell photometry to assess aqueous humor subclinical flare and cellularity . mferg was recorded using retimax plus ( cso , firenze , italy ) with the following technique . after pupillary dilation with 1% tropicamide eye drops and corneal topical anesthesia with 0.4% oxybuprocaine hydrochloride eye drops , erg hk - loop electrodes were applied on the inferior conjunctival fornix with ground and reference electrodes positioned on forehead and temporal regions respectively . mferg was recorded monocularly using a 61-hexagon stimulus according to international society for the clinical electrophysiology of vision guidelines,14 with 21 inches video stimulating display ( crt monitor , 75 hz frame rate , cut - offs 10100 hz ) , subtending 30 on either side of fixation . the room light was on during stimulation and the screen - patient distance was 28 cm . the radius of the central hexagon was 2 and a red central - fixation cross 2 mm in diameter was used . during stimulation , each element was either black or white ( 93% contrast ) and mean luminance was 51.8 cd / m . mean responses , as assessed by the analysis of five concentric stimulus rings , were passed through a band - pass filter set to 10300 hz . the standard measurement for amplitude was the trough - to - peak amplitude measured from the trough of n1-wave to the peak of p1-wave and was expressed in v , while the standard measurement for timing was the implicit time of p1-wave peak and was expressed in ms.14 aqueous humor proteins and cells were quantified by a laser flare - cell meter fc-500 ( kowa company ltd . , electronics and optics division , tokyo , japan ) , which consists of a helium - neon laser beam system and a photomultiplier mounted on a slit lamp biomicroscope , all connected with a computer . the laser scans the aqueous humor across a sampling window ( 0.30.5 mm ) in 0.5 sec using an optical scanner . light scattered by protein particles and inflammatory cells in the aqueous humor is proportional to their concentration and size , and is detected by a photon - counting multiplier and processed by a computer . given that cells are larger than proteins , the amount of light scattered by cells is greater than that reflected by fine protein particles . at the end of the measurement , flare is expressed in photon counts per ms ( ph / ms ) . a total of seven measurements were obtained for each eye , the highest and the lowest values were eliminated , and the computer calculated the mean and standard deviation automatically . ten healthy patients ( eight females and two males ; mean age 61.310.4 years ) were enrolled as control group . statistical analysis was performed using medcalc 12.3.0 statistical program ( medcalc software , ostend , belgium ) . mferg values of density , p1-wave amplitude and latency in rings 1 , 2 , 3 , 4 , 5 and laser flare - cell photometry values were analyzed applying mann whitney u test and spearman s correlation test to assess differences between groups , considering p<0.05 as significant . furthermore , receiver operating characteristic ( roc ) curve and area under the curve ( auc ) for mferg and laser flare - cell photometry were measured to evaluate their sensitivity and specificity in detecting early retinal toxic damage . regarding mferg p1-wave in ring 2 , data analysis showed a significant reduction in amplitude values for patients receiving treatment with hcq compared to control patients , results are respectively 1.1430.361 v vs 1.3160.236 v ( p=0.040 ) ( table 1 ) , also with a significant increase in latency , results are respectively 38.6112.857 ms vs 36.3342.212 ms ( p=0.024 ) ( table 2 ) . these statistically significant changes in ring 2 amplitude and latency values are highly related to hcq cd ( table 3 ) . no statistically significant changes were found regarding mferg photoreceptor density values ( table 4 ) . because we had no basal mferg and laser flare - cell photometry values for these patients , we divided our patients into two subgroups according to the cd to evaluate possible changes correlated with this parameter . the first group presents cds higher than 500 g ( six patients ; mean value 740.66106.39 g ) , while the second group presents cds lower than 500 g ( four patients ; mean value 45330.6 g ) . analyzing these two subgroups , laser flare - cell photometry values are significantly higher in the group of patients with cd higher than 500 g compared to patients with cd lower than 500 g , results are respectively 14.46.3 ph / ms vs 8.12.9 ph / ms ( p=0.029 ) ( table 5 ) . this increase is found highly related to the cd of the drug ( r=0.899 ; p=0.001 ) ( figure 1 ) . furthermore , mferg data analyzed regarding these two subgroups , show a statistically significant reduction in p1-wave amplitude in ring 2 ( 0.9740.261 v vs 1.3960.352 v ; p=0.006 ) ( table 6 ) and a statistically significant increase in p1-wave latency in ring 1 ( 42.3322.94 ms vs 37.5133.191 ms ; p=0.008 ) and 2 ( 40.1422.442 ms vs 36.3142.442 ms ; p=0.031 ) in patients with cd higher than 500 g ( table 7 ) . this increase in latencies in ring 1 and 2 , and this reduction in amplitude in ring 2 is highly related to the increase in laser flare - cell photometry values ( for latencies in ring 1 : r=0.838 , p=0.0007 ; and in ring 2 , r=0.628 , p=0.029 ; for amplitude in ring 2 : r=0.619 , p=0.032 ) ( table 8 and figures 24 ) . no statistically significant changes were found regarding mferg photoreceptor density values comparing the two subgroups ( table 9 ) . finally , roc curve analysis demonstrates that the most sensitive test in detecting early retinal toxicity was mferg p1-wave amplitude in ring 2 ( auc = 0.931 ) , followed by mferg p1-wave latency in ring 2 ( auc = 0.810 ) , and then laser flare - cell photometry ( auc = 0.791 ) ( table 10 and figure 5 ) . hcq is an anti - malarial drug still commonly used for its anti - inflammatory activity to favorably modulate the clinical course of ra . its use has been associated with various adverse side effects , particularly progressive toxic retinopathy . major risk factors for the development of retinopathy seem to be : the duration of treatment ( > 5 years ) , a high daily dose ( > 6.5 mg / kg ) , a high cd ( > 1,000 g ) , concurrent kidney or liver diseases , and age over 60 years old.1517 how hcq and cq can lead to the development of retinopathy still remains to be elucidated . in vitro experimental studies showed that these molecules could bind to pigmented cells containing melanin , particularly in iris and rpe cells.18 moreover , hcq causes the inhibition of some enzymes essential for rpe metabolic function,19 leading to progressive photoreceptor functional damage.16 recently it has been described that hcq , in addition to altering rpe function , can also alter blood - retinal barrier ( brb ) stability20 provoking a marked increase in permeability of arpe-19 monostratified cells.21 this increase in permeability seems to be related to a subsequent increase in tight junction molecules ( zo-1 , occludin and claudin ) production , which seems to disrupt rpe integrity , regardless of the direct drug action on rpe cells.22,23 therefore , it is necessary to perform a thorough ophthalmological evaluation and follow these patients up with periodical screening exams , in order to detect any possible damage to photoreceptor function early on . actually , the aao recommends the following screening exams : 10 - 2 pattern automated visual field analysis , macular sd - oct , faf , and mferg.12 based on mferg analysis , our study shows that the most frequent finding in patients treated with hcq was p1-wave amplitude reduction in ring 2 , followed by amplitude reduction in rings 3 , 4 , and 1 ( table 11 ) . these results are consistent with previously reported data in literature , although many authors described mferg damages as central , paracentral , pericentral , and peripheral , according to the following criteria : ring 1 to the fovea ( 02 ) , ring 2 to the parafovea ( 27 ) , ring 3 to the perifovea ( 713 ) , ring 4 to the near periphery ( 322 ) , and ring 5 to the central part of the middle periphery ( 22.030.5).2426 regarding p1-wave latency , the most frequent finding seems to be an increase in ring 2 followed by an increase in ring 1 . these data are consistent with previous reports in the literature,24,27,28 and only one study found an increased latency without reduction in amplitude.29 p1-wave amplitude reduction seems to be an expression of histological and morphological rpe damage,10 while increased p1-wave latency appears to be an inconstant parameter that is not always found in toxic retinopathy.30 our findings differ from those reported in the literature about damage onset timing , a previous study described damage starting after 5 years of therapy.27 in this study we divided patients into two subgroups depending on whether cd values were higher or lower than 500 g. in the cd > 500 g group , we found a significant decrease of p1-wave amplitude in ring 2 , and a significant increase in p1-wave latencies in rings 1 and 2 . these data appear to differ from reports by other authors,26,27 who assert that hcq - related damage leads mainly to reduced p1-wave amplitude , and only rarely to an increase in latency in p1-wave analysis . finally , roc curve analysis shows that mferg sensitivity is extremely high regarding p1-wave amplitude decrease and latency increase , partially confirming previously described findings of some authors,13 who indicate amplitude as the most sensitive value in detecting hcq toxic retinopathy . we believe that this partial discordance could be ascribed to the different cds of the drug in our group of patients compared to other clinical records . laser flare - cell photometry has rarely been used for the study of patients with ra without any sign of uveal involvement , and not yet in treatment with dmards . nevertheless , a previous study described a significant increase of aqueous humor flare and cellularity values in these patients , compared to healthy control subjects.31 in this study , we found higher laser flare - cell photometry values in the patient group with cd higher than 500 g compared to the patient group with cd lower than 500 g. also in this case , the increase in flare values seemed to be correlated to higher hcq cd . to our knowledge , no previous clinical studies have described this correlation , however , it can be very interesting because we can find various possibilities to explain our results . our first hypothesis is that hcq , binding to melanin in iris pigmented cells , can lead to their disruption , as occurs in rpe cells , with following pigment release in aqueous humor.32 a second interesting hypothesis is that the observed increase in flare values may be due to a breakdown in brb , as previously reported by some authors using fluorophotometry,20 and caused by the increased permeability of arpe-19 monostratified pigmented cells . this can be induced by hcq21 not only directly , but also stimulating the production of enzymes such as zo-1 , claudin , and occludin.22,23 thus , it appears possible to explain the correlation between increased flare values and increased p1-wave latencies in rings 1 and 2 observed in the group of patients with cds higher than 500 g. moreover , this brb breakdown with the increase in circulating et-1 levels found in patients with ra,33 could justify the significant retinal functional changes localized particularly in ring 2 of mferg , but also found in ring 3 by other authors.25,30 this could be due to the particular anatomical distribution of bipolar cells in the macular region , which is smaller in the fovea and becomes more dense toward the parafovea and perifovea regions,34 where a proper choroidal blood supply is essential for neuronal function . in conclusion , we believe that mferg is a very sensitive test in detecting early retinal dysfunction caused by hcq toxicity in patients with no ophthalmologic symptoms and normal fundus appearance , visual acuity , and 10 - 2 pattern automated visual field analysis . in agreement with aao recommendations , we suggest that mferg should be used instead of automated visual field analysis as objective functional test for the screening of patients treated with hcq . future studies on hcq retinal toxicity with mferg should be directed at the determination of the earliest point at which mferg can detect retinopathy . another interesting future evaluation could be to use laser flare - cell photometry to better understand the importance of vascular permeability deterioration and brb integrity breakdown in the development of toxic damage .	pubmed
Nanny I love you, goodbye I only own the idea to this story :) Sorry if my english isn´t perfect, but it´s not my native language and I tried my best :) So now I say enjoy the story and don´t forget to review :) I´m sitting in front of my mirror to put some make-up on. Today, I want to look beautiful for a man who never thought I was anything like that. But not today. I´m hoping that he would find me and regret all the things he said. He would sit down next to my bed and hold my hand, whispering that I am everything he ever wanted, put a kiss on my forehead and say that he loves me. But is that true? Is it true that he loves me? There are moments when I think it could be possible, like when we´re dancing together or the way he takes care of me when something is wrong with me. But there are also moments when I think it´s so impossible like when he says that I look like a man or something like that, I act like I would´t care but it´s breaking me inside. And it nearly kills me that I don´t know the answer if he loves me. The only thing I know is that I am in love with him. That I want to fall asleep and wake up next to him, that I want to spend every minute of the day with him and that I want to help him in the kitchen. And that´s the problem. A Babcock woman fell in love with a butler. I choose my red lipstick, my dark-grey-eyeshadow, mascara and a little bit rosé- red rouge, that I won´t look so pale. I think that it would look better if my hair is opened and so I´m only using my hairbrush. I put on my black Dolce&Gabbana dress, which stops over my knees and shows my curves perfectly. Then I´m using my parfum that I usually use, Channel no.5. I´m slipping into my black pumps and walk to the big mirror in my bedroom. I´m looking like I would go to a funeral, but isn´t it something like that? I think I should write a letter to say goodbye. So I´m taking a piece of paper and a pen and start to write: _Dear Niles,_ _I want you to know that I never felt something like love until I walked in to the Sheffield residence. I know that you think I mean Maxwell but the truth is that I fell in love with you. Since the first time you took my jacket, I feel it every day. It hurts me to see you every day and I can´t do anything and can´t say how much I need you. And so I decided to end it. To end the pain and the loneliness._ _When you read this I would be glad if you could say Maxwell that I enjoyed to work with him. I think that Chester would like to live near to Nanny Fine._ _Even tough it hurts, I know when it´s time to go and now the time has come._ _Goodbye_ _Your loving CaCa_ I feel the tears running down my cheeks and one dripped down on the paper. I know that I can´t stay longer and so I walk into the kitchen, take out a glass and fill it with the best scotch I have. Next I take the letter and the full glass and walk back into my bedroom and put them down on the small table beside my bed. I´m opening one of the small drawers and grab a little box of sleeping pills. There aren´t much in it, but enough to send me to a better place. My eyes are slowly looking through the room, as I suddenly see a photo, of me and the Sheffield Family, lying on the floor. I take it and realize that I´m the only one who´s not smiling. I lay it down beside me and put the pills in my hand. I´ve never been so frightened in my entire life. I lay down, put the pills in my mouth and throw them down with the scotch. Suddenly I hear Niles voice:"Miss Babcock? Miss Babcock are you in there? I came here because the whole family is really worried about you since you didn´t come to work today." Why does he care? He ever wished that I am dead and now his dream is going to come true. My eyelids become heavier and I can´t hold my eyes open any longer. „Miss Babcock if you don´t answer I have to come in!" I try to shout that he should stay outside, but only a whisper is coming out of my mouth. I´m hearing the key in the door and seconds later Niles is standing in my bedroom. „CC?! Why?! Why did you do this?" I can´t see his face but I can hear that he´s crying. I feel how he slowly grabs my hand and sits down next to me. „CC, please! You can´t left me! Not now, before I say the truth to you! CC please be awake! I´m so sorry for the things I said and did to you. I always saw you as a good friend, maybe the best I ever had. But now I´m here to say that I love you CC. I love you more than anything on this world. Please don´t leave me! I love you!" A small tear is running down my cheek and I take all the power I have left and whisper:"I love you too Niles. And now kiss me goodbye" „You´re the most beautiful woman on this earth. Will you wait for me infront of the door to hell?" A small chuckle comes out of his mouth and if I could I would too. „Yes" I´m feeling his soft lips on mine and slowly I`m drifting away... End file.	fanfiction
Pill Hill is a three-act play by American dramatist Sam Kelley. Set in a neighborhood on the South Side of Chicago known informally as Pill Hill, the play examines the failures, successes, and relationships of six African American steel mill workers as they transition from blue-collar jobs to white-collar professions between 1973 and 1983. The play is regarded as an allegory of economic progress related to the American Dream. Pill Hill debuted at the 1990 Yale Repertory Theatre Winterfest series of plays in progress, and was subsequently performed in several venues across the United States. The play was published by Dramatic Publishing Company in 1995. Characters Charlie, a 20-year steel mill veteran who seeks a promotion to machine operator, maintains a perfect attendance record and eventually lives on his steel mill pension. Eddie, a full-time student who has surrendered his job at the mill and becomes a lawyer Al, a night school student working at the mill to provide for his family who becomes a real estate agent Tony, an encyclopedias salesman who is exploited by his company but becomes engaged to a professor and attempts to buy a house in Pill Hill. Scott, a worker at the mill who was dismissed from college who becomes a Chicago Transit Authority employee before pursuing other career opportunities. Joe, a steel mill worker who plans to leave the mill when his car note is paid, but ends up out of work, homeless and penniless. Plot The Pill Hill neighborhood was a popular residence for successful white physicians resulting in the nickname for the neighborhood. In the 1960s and 1970s, it was a symbol of affluence that represented the American Dream. For young blacks, this symbol was especially poignant, which provides for a subtext in this play. The three-act play examines the failures, successes, and relationships of six black steel mill workers in Chicago as they transition from blue-collar jobs to the white-collar professions. The time is 1973, 1978, and 1983, and the scene is a Chicago basement apartment where the characters meet to socialize over cards and drinks. Racial themes relating to the disparity of life at the steel mill are presented, and dreams about possibilities represented by the upscale Pill Hill neighborhood in Chicago are examined. The conflicts are painful as the characters deal with leaving the comfortable life of the mill to embark on a road of uncertainty while pursuing professional aspirations. Performance and publication history The play debuted in the 1990 Yale Repertory Theatre Winterfest series of plays in progress. It was mounted as a full production in another Connecticut theater, before travelling as productions of the Philadelphia Theatre Company and the Penumbra Theatre Company in St. Paul, Minnesota. The play had a late-1992 production by the Hartford Stage Company, and a 2010 production at Coppin State University. Dramatic Publishing Company published the play on February 23, 1995. The publisher lists it as a full-length drama intended for both high school and college/adult audiences. Critical reception John Beer of Time Out Chicago attended a performance in 2009 and wrote, At its best, Pill Hill draws a corrosive picture of individual lives caught within merciless social systems. Racism haunts the men's periodic get-togethers, most pointedly in a monologue about a Southern excursion gone terribly wrong. [...] [W]riting at the height of the Reagan-Bush years, Kelley saw clearly the impact of right-wing policies on the urban working class. He thought the individuality of the characters was undeveloped, but the play was neatly structured to a fault. He criticized what he perceived as a heavy authorial hand in the repetition of a conversation about one character's self-doubts throughout the play. Analysis Pill Hill is an allegory of economic progress told as tales of various pursuits of the American Dream. Kelley uses a spectrum of sociological types that he develops into complex, recognizable personalities in order to deliver his message in natural idioms. When the play was performed in 2005 at North Carolina Agricultural and Technical State University, the website description noted that a good life in Pill Hill was a common goal that was difficult to reach and when achieved, it was at a cost that could be one's soul. The conflicts range from economic difficulties to the proverbial glass ceiling common to blacks climbing the ladder of success. The changing professional situations coincide with relationship transitions that occurred in America as the hippie generation transformed into the yuppie generation. Four of the six characters become successful by 1983: Al is a real estate dealer, Tony is Mercedes Benz salesman, Ed is a groundbreaking black lawyer and Scott has achieved financial success in a suspicious and mysterious way. The other characters are less successful with Charlie, who is the oldest of the characters, having stayed in the mill without progressing up the ranks, but earning a secure life through hard and dangerous work. Joe's troubles at the mill lead to unemployment and a destiny with the homeless shelter. A 1994 Chicago performance elicited the following character descriptions from the Chicago Reader: Joe is boisterous; Charlie is fatherly; Al is the eternal runner-up; Tony is ingenuously amoral; Scott is innocent and Eddie is the play's spokesman. Notes External links Publisher website Category:1990 plays Category:American plays Category:Chicago in fiction Category:Postmodern plays Category:Plays about race and ethnicity Category:Plays set in Illinois Category:Fiction set in the 1970s	wikipedia
glioblastoma multiforme ( gbm ) is one of the most common primary malignant brain tumors in adults . surgical excision combined with radiotherapy and chemotherapy is the choice of treatment ; however , the overall prognosis remains poor , and the median survival rate of gbm patients is less than 18 months [ 3 - 5 ] . currently , gbm is treated with surgical resection with concurrent radiotherapy and daily temozolomide ( tmz , 75 mg / m ) . tmz is an oral agent used for the treatment of gbm and melanoma ; however , its therapeutic action depends on its ability to alkylate / methylate dna . because this methylation induces dna damage and triggers the death of tumor cells , overexpression of a dna repair enzyme known as o-6-methylguanine - dna methyltransferase ( mgmt ) can diminish the therapeutic efficacy of tmz . other mechanisms including deregulation of cellular enzymes and membrane transporting proteins , genomic aberrations , and altered susceptibility to apoptosis may also be responsible for the higher incidence of chemo - resistance in gbm patients . mitogen - activated protein kinase phosphatases ( mkps ) belong to the family of dual - specificity protein phosphatases , which dephosphorylate both tyrosine and serine / threonine residues of mitogen - activated protein kinases ( mapks ) . mkps are subdivided into three distinct groups based on gene structure , sequence similarity , substrate specificity , and subcellular localization . mkp-1 is localized to the nucleus , and has a high specificity to mapks including p38 mapk and c - jun n - terminal kinase ( jnk ) , but a relatively low specificity to extracellular signal - regulated kinase . mkp-1 is induced by various chemotherapeutics and has been shown to inhibit drug - induced jnk activation and subsequent apoptotic cell death in breast cancers . reduction of mkp-1 expression levels using small interfering rna ( sirna ) increases chemosensitivity and jnk activity in lung and ovarian cancers . in this study , we investigated whether highly expressed mkp-1 in human gbm cells is responsible for the chemo - resistance observed in these cells . rabbit polyclonal antibodies against jnk , phospho - jnk , caspase-3 , and cleaved caspase-3 were purchased from cell signaling technologies ( beverly , ma ) . cisplatin , cyclophosphoamide , doxorubicin , epirubicin , etoposide , 5-fluorouracil , gemcitabine , irinotecan , mitomycin c , and vincristine were purchased from sigma - aldrich ( st . louis , mo ) . rabbit polyclonal anti - human mkp-1 and mkp-2 antibody were purchased from santa cruz biotechnology ( santa cruz , ca ) . jnk inhibitor ( sp600125 ) was purchased from calbiochem ( la jolla , ca ) . human gbm cell lines ( u251-mg and ln215-mg ) were maintained at 37 under an atmosphere of 5% co2 and 95% air in dulbecco 's modified eagle 's medium ( welgene , seoul , korea ) supplemented with 10% fetal bovine serum ( gibco , gaithersburg , md ) , 100 u / ml penicillin , 100 g / ml streptomycin , and minimum essential medium ( mem ) nonessential amino acids ( invitrogen , carlsbad , ca ) . u373-mg and crt - mg were maintained at 37 under an atmosphere of 5% co2 and 95% air in rpmi 1640 medium ( welgene ) supplemented with 10% fetal bovine serum ( gibco ) , 100 u / ml penicillin , 100 g / ml streptomycin , and mem nonessential amino acids ( invitrogen ) . sirna for mkp-1 ( 5'-cucagugugugauccgguu-3 ' ) and a random sequence ( control , 5'-ccuacgccaauuucgu-3 ' ) sirna were synthesized by bioneer ( daejeon , korea ) and used for transfection , which was performed using lipofectamine 2000 ( invitrogen ) according to the manufacturer 's protocols . for transient transfection , cells were plated at 510 cells per well in six - well plates or 610 cells per well in 60 mm dishes . the next day , cells were transfected with mkp-1 sirna oligonucleotides or control sirna using lipofectamine 2000 ( invitrogen ) . after 48 hours of transfection , cells were treated in the presence or absence of various anti - cancer drugs . transfection efficiency was then assessed using both quantitative real - time polymerase chain reaction ( qrt - pcr ) and western blotting of mkp-1 . total rna was isolated using an rneasy mini kit ( qiagen , hilden , germany ) . complementary dna ( cdna ) synthesis was performed with the superscript first - strand synthesis system ( invitrogen ) according to the manufacturer 's instructions , and qrt - pcr was performed using a lightcycler faststart dna kit ( roche applied science , mannheim , germany ) with the lightcycler 2.0 system . the mkp-1 primer sequences were 5'-cctgtccactccacgaacagt-3 ' for the forward primer and 5'-gctgggagaggtcgtaatgg-3 ' for the reverse primer . cell viability was determined using wst-1 reagent ( nalgene , rochester , ny ) with a microplate reader ( bio - rad , richmond , ca ) to measure the absorbance at 450 nm . cell death was confirmed by staining with 100 nmol / l tetramethylrhodamine ethyl ester ( sigma , taufkirchen , germany ) . a total of 10,000 cells were analyzed using an lsrii flow cytometer ( bd bioscience , san jose , ca ) . cell lysates were electrophoresed through 10% or 15% polyacrylamide gels and then transferred to polyvinylidene difluoride membranes ( millipore , bedford , ma ) . the membranes were subsequently probed with the antibodies listed above , after which bound antibody was detected using the eclplus reagent ( amersham pharmacia biotech , little chalfont , uk ) according to the manufacturer 's protocols . a microarray dataset was obtained from gene expression omnibus ( geo ) series ( gse ) , and gse i d gse2223 ; probes 5382 , 40027 , and 40883 were used for mkp-1 . because the probe intensities were recorded on a log2 scale , the intensities were converted to a log10 scale [ 2^(probe intensity recorded in the dataset ) ] , and averaged to give the final mkp-1 expression level . statistical analyses of two independent samples were performed using a student 's t - test . groups were compared by one - way anova with tukey 's post - hoc test , which determines the significance of differences between means . a p < 0.05 was considered to be significant . rabbit polyclonal antibodies against jnk , phospho - jnk , caspase-3 , and cleaved caspase-3 were purchased from cell signaling technologies ( beverly , ma ) . cisplatin , cyclophosphoamide , doxorubicin , epirubicin , etoposide , 5-fluorouracil , gemcitabine , irinotecan , mitomycin c , and vincristine were purchased from sigma - aldrich ( st . louis , mo ) . rabbit polyclonal anti - human mkp-1 and mkp-2 antibody were purchased from santa cruz biotechnology ( santa cruz , ca ) . jnk inhibitor ( sp600125 ) was purchased from calbiochem ( la jolla , ca ) . human gbm cell lines ( u251-mg and ln215-mg ) were maintained at 37 under an atmosphere of 5% co2 and 95% air in dulbecco 's modified eagle 's medium ( welgene , seoul , korea ) supplemented with 10% fetal bovine serum ( gibco , gaithersburg , md ) , 100 u / ml penicillin , 100 g / ml streptomycin , and minimum essential medium ( mem ) nonessential amino acids ( invitrogen , carlsbad , ca ) . u373-mg and crt - mg were maintained at 37 under an atmosphere of 5% co2 and 95% air in rpmi 1640 medium ( welgene ) supplemented with 10% fetal bovine serum ( gibco ) , 100 u / ml penicillin , 100 g / ml streptomycin , and mem nonessential amino acids ( invitrogen ) . sirna for mkp-1 ( 5'-cucagugugugauccgguu-3 ' ) and a random sequence ( control , 5'-ccuacgccaauuucgu-3 ' ) sirna were synthesized by bioneer ( daejeon , korea ) and used for transfection , which was performed using lipofectamine 2000 ( invitrogen ) according to the manufacturer 's protocols . for transient transfection , cells were plated at 510 cells per well in six - well plates or 610 cells per well in 60 mm dishes . the next day , cells were transfected with mkp-1 sirna oligonucleotides or control sirna using lipofectamine 2000 ( invitrogen ) . after 48 hours of transfection , cells were treated in the presence or absence of various anti - cancer drugs . transfection efficiency was then assessed using both quantitative real - time polymerase chain reaction ( qrt - pcr ) and western blotting of mkp-1 . total rna was isolated using an rneasy mini kit ( qiagen , hilden , germany ) . complementary dna ( cdna ) synthesis was performed with the superscript first - strand synthesis system ( invitrogen ) according to the manufacturer 's instructions , and qrt - pcr was performed using a lightcycler faststart dna kit ( roche applied science , mannheim , germany ) with the lightcycler 2.0 system . the mkp-1 primer sequences were 5'-cctgtccactccacgaacagt-3 ' for the forward primer and 5'-gctgggagaggtcgtaatgg-3 ' for the reverse primer . cell viability was determined using wst-1 reagent ( nalgene , rochester , ny ) with a microplate reader ( bio - rad , richmond , ca ) to measure the absorbance at 450 nm . cell death was confirmed by staining with 100 nmol / l tetramethylrhodamine ethyl ester ( sigma , taufkirchen , germany ) . a total of 10,000 cells were analyzed using an lsrii flow cytometer ( bd bioscience , san jose , ca ) . cell lysates were electrophoresed through 10% or 15% polyacrylamide gels and then transferred to polyvinylidene difluoride membranes ( millipore , bedford , ma ) . the membranes were subsequently probed with the antibodies listed above , after which bound antibody was detected using the eclplus reagent ( amersham pharmacia biotech , little chalfont , uk ) according to the manufacturer 's protocols . a microarray dataset was obtained from gene expression omnibus ( geo ) series ( gse ) , and gse i d gse2223 ; probes 5382 , 40027 , and 40883 were used for mkp-1 . because the probe intensities were recorded on a log2 scale , the intensities were converted to a log10 scale [ 2^(probe intensity recorded in the dataset ) ] , and averaged to give the final mkp-1 expression level . statistical analyses of two independent samples were performed using a student 's t - test . groups were compared by one - way anova with tukey 's post - hoc test , which determines the significance of differences between means . a p < 0.05 was considered to be significant . analysis of the cdna microarray data provided by the geo databases ( gse i d gse2223 ) revealed that the mkp-1 mrna expression levels were higher in brain tumor samples than normal samples , and that the amount of the increase was correlated with the grade of the tumor . specifically , mkp-1 levels were only higher in gbm samples ( grade iv ) when compared to normal brain samples ( fig . we tested whether mkp-1 was also highly expressed in human gbm cell lines using immunoblot analysis ( fig . when compared to other cell types and human primary cultured astrocytes , mkp-1 was highly expressed in human gbm cell lines in the absence of any external stimulation . because mkp-2 has a similar intracellular localization and substrate specificity as mkp-1 , we examined the mkp-2 protein levels in the same cell type . interestingly , there were no differences in the expression levels of mkp-2 between various tumor cell types . however , in two of the cell lines ( crt - mg and hepg2 ) , mkp-2 was expressed at relatively higher levels than in the other cell types ( fig . induced expression of mkp-1 has been identified as one of the cancer resistance mechanisms in human breast , lung , and ovarian cancers . therefore , we tested whether highly expressed mkp-1 plays a role in the high incidence of chemo - resistance in gbms . to accomplish this , cells were transiently transfected with control or mkp-1-specific sirna and then tested for drug - induced cytotoxicity . the knockdown efficiency of mkp-1 sirna was confirmed by qrt - pcr and western blot analysis ( fig . the reduction of mkp-1 expression significantly enhanced drug - induced cytotoxicity in u251-mg cells for all of the drugs tested except doxorubicin , epirubicin , and cisplatin ( fig . although the differences were not statistically significant , there were considerable increases in the cytotoxicity of these drugs against cells transfected with mkp-1 sirna . similar results were obtained using ln215 cells ; however , mkp-1 knockdown did not significantly increase vincristine - induced cell death ( data not shown ) . because the effect of mkp-1 knockdown was most pronounced with irinotecan- and etoposide - induced cytotoxicity , we further examined the effect of mkp-1 sirna transfection on drug - induced cell death under these conditions . twenty four hours after transfection with control or mkp-1 sirnas , cells were incubated in the presence or absence of varying doses of irinotecan or etoposide ( fig . these results clearly indicate that mkp-1 may act as a mechanism of chemo - resistance in human gbm cells . anti - cancer drugs are thought to kill cancer cells via sustained activation of the jnk pathway . thus , we tested whether the jnk pathway is also involved in mkp-1-mediated resistance to chemotherapeutic agents . treatment with irinotecan or etoposide increased the phosphorylation of jnk , and this increase was dramatically enhanced by transient transfection with mkp-1 sirna ( fig . 4a ) . cleavage of caspase-3 into active fragments was also induced by treatment with irinotecan or etoposide , while mkp-1 knockdown markedly increased the cleavage of procaspase-3 . consistent with these results , the decrease in viability induced by concomitant treatment with irinotecan and mkp-1 sirna was reversed by pre - incubation with a jnk inhibitor , sp600125 ( fig . 4b and c ) . analysis of the cdna microarray data provided by the geo databases ( gse i d gse2223 ) revealed that the mkp-1 mrna expression levels were higher in brain tumor samples than normal samples , and that the amount of the increase was correlated with the grade of the tumor . specifically , mkp-1 levels were only higher in gbm samples ( grade iv ) when compared to normal brain samples ( fig . we tested whether mkp-1 was also highly expressed in human gbm cell lines using immunoblot analysis ( fig . when compared to other cell types and human primary cultured astrocytes , mkp-1 was highly expressed in human gbm cell lines in the absence of any external stimulation . because mkp-2 has a similar intracellular localization and substrate specificity as mkp-1 , we examined the mkp-2 protein levels in the same cell type . interestingly , there were no differences in the expression levels of mkp-2 between various tumor cell types . however , in two of the cell lines ( crt - mg and hepg2 ) , mkp-2 was expressed at relatively higher levels than in the other cell types ( fig . induced expression of mkp-1 has been identified as one of the cancer resistance mechanisms in human breast , lung , and ovarian cancers . therefore , we tested whether highly expressed mkp-1 plays a role in the high incidence of chemo - resistance in gbms . to accomplish this , cells were transiently transfected with control or mkp-1-specific sirna and then tested for drug - induced cytotoxicity . the knockdown efficiency of mkp-1 sirna was confirmed by qrt - pcr and western blot analysis ( fig . the reduction of mkp-1 expression significantly enhanced drug - induced cytotoxicity in u251-mg cells for all of the drugs tested except doxorubicin , epirubicin , and cisplatin ( fig . 2c ) . although the differences were not statistically significant , there were considerable increases in the cytotoxicity of these drugs against cells transfected with mkp-1 sirna . similar results were obtained using ln215 cells ; however , mkp-1 knockdown did not significantly increase vincristine - induced cell death ( data not shown ) . because the effect of mkp-1 knockdown was most pronounced with irinotecan- and etoposide - induced cytotoxicity , we further examined the effect of mkp-1 sirna transfection on drug - induced cell death under these conditions . twenty four hours after transfection with control or mkp-1 sirnas , cells were incubated in the presence or absence of varying doses of irinotecan or etoposide ( fig . these results clearly indicate that mkp-1 may act as a mechanism of chemo - resistance in human gbm cells . anti - cancer drugs are thought to kill cancer cells via sustained activation of the jnk pathway . thus , we tested whether the jnk pathway is also involved in mkp-1-mediated resistance to chemotherapeutic agents . treatment with irinotecan or etoposide increased the phosphorylation of jnk , and this increase was dramatically enhanced by transient transfection with mkp-1 sirna ( fig . 4a ) . cleavage of caspase-3 into active fragments was also induced by treatment with irinotecan or etoposide , while mkp-1 knockdown markedly increased the cleavage of procaspase-3 . consistent with these results , the decrease in viability induced by concomitant treatment with irinotecan and mkp-1 sirna was reversed by pre - incubation with a jnk inhibitor , sp600125 ( fig . 4b and c ) . we found that mkp-1 is highly expressed in human gbms and transformed gbm cell lines in the absence of external stimulation . we also found that high levels of mkp-1 are responsible for drug - resistance in a jnk - dependent manner . it has been reported that mkp-1 can be induced by various chemotherapeutic agents and can act as an anti - apoptotic mechanism in certain types of human malignancies . in contrast , our results clearly indicate that mkp-1 is constitutively expressed at relatively high levels in human gbm cells and confers resistance to a variety of chemotherapeutic agents in a jnk - dependent manner . due to diverse stimulations triggered by the tumor microenvironment , expression patterns of mkp-1 vary according to tumor types . in human breast cancer , the expression level of mkp-1 is constitutive in tissue surrounding the tumor and greater in tumor lesions . low - grade human colon cancer showed robust mkp-1 expression , but mkp-1 was down regulated in high - grade tumors . as shown in fig . 1 , mkp-1 expression is higher in glioblastoma cell lines than in human primary astrocytes . these results imply that mkp-1 is highly correlated with tumor progression and contributes to subsequent drug resistance in glioblastoma . while multiple mechanisms for multi - drug resistance ( mdr ) have been proposed , there are only a few considered to be primarily responsible for mdr in many human malignancies . first , cancer cells decrease the uptake of water - soluble drugs by downregulating specific transporters . second , mdr can arise from mechanisms involving the increased activity of dna damage repair enzymes , reduced apoptosis , and changes in the cell cycle and drug metabolism . third , the induction of energy - dependent efflux of hydrophobic drugs can cause mdr via increased diffusion through the plasma membrane . unlike previous studies of mdr that address drug acceptability , we investigated the cell signaling associated with mdr . because jnk and p38 mapk are largely responsible for drug - induced apoptosis and are effective downstream targets of mkp-1 , we considered mkp-1 as a potential mechanism for mdr . we observed increased drug sensitivity after mkp-1 knockdown in human gbm cells , found the effect of this knockdown to be most pronounced in irinotecan- and etoposide - induced cytotoxicity . irinotecan , in combination with bevacizumab was tested in a phase 2 clinical study for recurrent glioblastoma . although combination therapy provides impressive response rates , the mechanisms responsible for the clinical benefits in gbm patients remain unclear . etoposide is also being studied in a phase 2 clinical trial and is commonly used in combination with carboplatin in recurrent gbm patients . mkp-1 is highly expressed in the glioblastoma in the basal state , but not in normal brain cells . overexpressed mkp-1 increases the resistance to anti - cancer drugs through inhibition of jnk phosphorylation . therefore , mkp-1 is an attractive target for overcoming drug resistance in this highly refractory malignancy .	pubmed
Koloman von Pataky, real name Kálmán Pataky de Déstalva 14 November 1896 3 March 1964 was a Hungarian opera singer tenor. Life and career Pataky was born in Lendava, Austria-Hungary. After a short period of training he made his debut in Budapest as the Duke of Mantua. In 1926 he went to Vienna and took part in the first performance of Die ägyptische Helena by Richard Strauss. His focus was on Italian and French music, and he made a name for himself as a Mozart singer. In 1931 he made his debut at the Salzburg Festival in Der Rosenkavalier. In 1939, Pataky sang the role of Huon in Oberon in Milan Teatro alla Scala under Tullio Serafin. His Mozart interpretations are said to have been among the best of the 20th century. After a leg amputation he had to end his career in the 1940s. Filmography 1943: Egér a palotában. Bibliography Jürgen Kesting: Die großen Sänger des 20. Jahrhunderts. CormoranVerlag, 1993, Christian Fastl: Pataky de Désfalva, Kálmán Koloman von. Online-Ausgabe, Vienna 2002, ; Druckausgabe: volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, . References External links Koloman von Pataky in: Österreichischer Bibliothekenverbund Category:1896 births Category:1964 deaths Category:People from Lendava Category:Hungarian operatic tenors Category:20th-century Hungarian singers	wikipedia
clinical manifestations of camptodactyly - arthropathy - coxa vara - pericarditis syndrome ( cacp ) include congenital or early - onset camptodactyly , noninflammatory arthropathy with synovial hyperplasia , progressive coxa vara deformity , and noninflammatory pericardial effusion . a cacp locus has been assigned to human chromosome region 1q25 - 31 by homozygosity mapping ( 1 ) , and the syndrome is an autosomal recessive condition ( 2 ) . we report a case of cacp in a 10-yr - old boy with early - onset camptodactyly , noninflammatory arthropathy , coxa vara deformity , pericardial effusion , and without familial aggregation . a 10-yr - old boy was admitted due to deformity of fingers and toes in august 2003 . in july 1999 , he was referred to our hospital because of joint swelling , pericardial effusion . fluid finding did not show inflammatory nature , and synovial biopsy revealed synovial hyperplasia without significant inflammation ( fig . months prior to admission , camptodactyly of fingers and toes was developed and gradually progressed , and he was referred to our hospital again . physical examination showed a blood pressure 100/60 mmhg , pulse rate 90/min , temperature 36.0 , and normal respiration pattern . swelling of both knees , ankles , elbows and wrists and deformity of fingers and toes were observed ( fig . laboratory findings revealed a white blood cell 5,500/l ; hemoglobin 10.9 g / dl ; platelet 194,000/l ; erythrocyte sedimentation rate 9 mm / hr , c - reactive protein 0.1 mg / dl ( reference range 0.1 - 0.8 ) . synovial fluid analysis from knee joints showed a white blood cell 400/l , red blood cell 2,450/l , protein 2.5 g / dl , ldh 432 u / l . chest radiography showed cardiomegaly , and pelvis ap revealed broad short femoral neck and coxa vara ( fig . the plain radiography of both hands and both feet showed flexion deformity of fingers and toes ( fig . 4 ) . knee mri showed large amount joint fluid and thin rim - like enhancement of the fluid filled bursae ( fig . he was diagnosed as having cacp and would be followed up whether camptodactyly and pericardial effusion would progress or not . cacp is characterized by congenital or early - onset camptodactyly , childhood - onset noninflammatory arthropathy associated with synovial hyperplasia , progressive coxa vara deformity and noninflammatory pericardial or pleural effusion . the definition of camptodactyly is a congenital or acquired nontraumatic flexion deformity of the proximal interphalangeal ( pip ) joint of one or several fingers ( 3 ) . camptodactyly in cacp is usually bilateral and congenital , but in some cases , it develops in early childhood . the degree of contracture need not be equal in both and the deformity may progress or not improve 3 ) . camptodactyly may be present as an isolated entity or part of a spectrum of congenital anomalies . camptodactyly may be present in congenital anomalies such as trisomy 13 , oculo - dental - digital , oro - facial - digital , cerebro - hepato - renal , catel manzke , pena - shokeir i syndromes ( 3 - 5 ) , and must be differentiated from a boutonniere deformity , dupuytren 's contracture , a trigger finger , congenital absence of the extensor mechanism ( 3 ) . arthropathy principally involves large joint such as elbows , hips , knees , and ankles . histopathologic analysis of synovial tissue reveals pronounced hyperplasia of synovium without evidence of inflammatory cell infiltration or vasculitis , while synovial hyperplasia in rheumatoid arthritis is associated with chronic inflammation . mri finding of involved joints showed only prominence of cartilage with normal menisci and cruciate ligaments in one study ( 8) , and rim - like enhancement of the fluid filled bursae at t1 weighted image before and after contrast enhancement ( 9 ) . enhancement is related to the presence of inflammatory tissue , but the presence of rimlike enhancement means the noninflammatory features of cacp . the rim - like enhancement can distinguish between cacp and juvenile rheumatoid arthritis ( jra ) based on the homogenous or multinucleated enhancement in jra ( 10 , 11 ) . therefore , mri is regarded as a useful diagnostic tool which differentiates the cacp from other childhood connective tissue disease such as jra ( 9 ) . the presence of coxa vara is noted in 50% of published cacp cases ( 1 ) , and in one study , 90% of cases have cova vara deformity ( 9 ) . the long - term follow - up of cacp patients revealed the hip and spine involvement in some cases ( 12 ) . noninflammatory pericarditis has been reported in up to 30% of cacp ( 1 ) , and it may be mild and self - limited . but it may be necessary to perform a pericardiocentesis or pericardiectomy in life - threatening cases ( 2 , 13 - 15 ) . cacp is a genetically homogenous condition despite clinical variability and differences in ethnic and geographic origins ( 12 ) , and it has autosomal recessive mode of inheritance ( 2 ) . a cacp locus is assigned to a 1.9-cm interval on human chromosome 1q25 - 31 by homozygosity mapping ( 1 ) . marcelino et al . identified mutations in a gene ( cacp ) encoding a secreted proteoglycan as the cause of cacp ( 16 ) . although some cases of cacp were reported in caucasian , egyptian , saudi arabian , but there has been no report in korea . the reason why cacp is rare in korea may be due to rarity of consanguineous marriage , which increases the incidence of autosomal recessive disease . in this case , sporadic gene mutation might be responsible for the disease , because his family has no arthropathy or joint deformity . whenever we see juvenile patients with noninflammatory arthropathy , congenital musculoskeletal disease such as cacp should be considered .	pubmed
How to remove salt from powdered soup mix? Sometimes I carry powdered soup mix (Knorr/Maggi) when I travel but they are way too salty. Is there an efficient and simple chemical process to lower the salt content? I know sodium is super soluble and is hard to remove by precipitation, but is there a work around to perhaps only dissolving the salt and take them out? Thanks! Peel and thickly slice several potatoes and cook these in your soup. Remove them when they have softened. They will absorb the salt while cooking. You can use this method if you accidently add too much salt to stews or sauces (normally this becomes apparent when reducing.) The removed potatoes can be discarded or used in another meal, maybe mashed. I think that using chemistry is the hard way to solve this problem. In my country, all foods have nutrition information which includes sodium levels. So either select low sodium dried mixes or take dried food to make your own soup. Is there an easy way? Yes. But it will make the soup toxic, so I will not explain the details. I'm sure there are some ion exchange columns which have been manufactured so that they are suitable for pharmaceutical or food use. So, what you'd have to do is first filter the soup to remove particulates and colloids (such as oil globules) and then pass the clear liquid through the ion exchange bed(s). I'd estimate it would cost less than 100 $ per bowl of soup. As far as potatoes, they do have a water content. Perhaps cooking them with your soup would eventually decrease the salt in the soup and increase it in the potato, that sounds reasonable. I'd suggest you try low-sodium powdered mashed potato mix (if you can find it) and you could also try rice or pasta to absorb some of the salt water and improve the taste. Just some wild guesses. You really don't want to stray from various cooking or food additive processes when it comes to stuff you eat (or drink).	stackexchange/chemistry
discovered in 1972 by the sas-2 satellite @xcite , geminga is the second brightest @xmath0-ray source in the sky above 100 mev @xcite . it was known only as a @xmath0-ray source until a promising candidate was detected in x - rays by the einstein observatory @xcite , and associated with an optical counterpart @xcite . subsequently , geminga was found to be a rotation - powered pulsar with a period of 237 ms in x - rays by @xcite , and in @xmath0-rays by the energetic gamma ray experiment telescope ( egret ) on the _ compton gamma - ray observatory _ @xcite . prior to the discovery of the 237 ms spin period of geminga , claims had been made for various periods in the range 5960 s in @xmath0-rays and in x - rays @xcite , but no such detections have been made in high quality x - ray and @xmath0-ray observations during the past decade . the optical spectrum of geminga is predominantly non - thermal , with possible ion cyclotron features @xcite . @xcite reported optical modulation from geminga that resembles its @xmath0-ray light curve . geminga is unusual as a rotation - powered pulsar because it is not a strong radio source . in 1997 , three groups @xcite claimed detection of pulsed radio emission at 102 mhz , but observations at other radio frequencies have so far been negative @xcite . a phase - connected ephemeris covering the first 27 years of @xmath0-ray observations of geminga was presented and updated by mattox , halpern , & caraveo ( 1998 , 2000 ) . in this paper we present the results of a long observation with the _ advanced satellite for cosmology and astrophysics _ ( ) , which allows us to better constrain the hard x - ray spectrum of geminga and perform pulse - phase spectroscopy . x - ray pulse times of arrival are compared with the latest ephemeris from egret . additional constraints on the hard x - ray emission are derived from an observation by the _ rossi x - ray timing explorer _ proportional counter array ( _ rxte _ pca ) . a log of the observations used in this paper is given in table [ tbl-1 ] . a six - day observation of geminga was obtained by in 1999 october 511 . observations by _ rxte _ were made in 1996 april and may . egret made many @xmath0-ray observations of geminga since 1991 , until _ cgro _ was de - orbited in 2000 . we also make brief use of a 1993 observation of geminga and a 1994 observation by , both of which were described in detail in @xcite . the satellite @xcite incorporates four co - aligned focal plane detectors , two gas imaging spectrometers ( gis ) and two solid - state imaging spectrometers ( sis ) . each instrument is positioned at the focus of a conical foil mirror . the sis instrument is sensitive to x - rays with energies between 0.4 and 10 kev and the gis detects x - rays between 0.7 and 10 kev . only the gis has time resolution sufficient to study the pulsations of geminga . the 1999 observation was designed with bit assignments such that the time resolution was 0.49 ms in high bit rate telemetry mode , and 3.91 ms at medium bit rate . this required the sacrifice of two bits from the pulse - height analyzer resulting in 256 energy channels instead of the default 1024 , and elimination of the five bits of rise - time information ; both of these have negligible effect on the quality of the data . the gis high and medium bit rate data were combined for the timing and spectral analysis . the small amount of low bit rate data in the gis were not used . for the spectral analysis , data from both the gis and sis instruments were used . the sis observations were conducted in 1-ccd mode . _ rxte _ @xcite consists of the proportional counter array ( pca ) , high energy x - ray timing experiment ( hexte ) , and the all sky monitor ( asm ) . the pca consists of five xenon filled proportional counters , coaligned and collimated , that observe a roughly circular field with @xmath8 fwhm response @xcite . the rxte data analyzed here are exclusively from the pca , because of its large collecting area ( @xmath9 @xmath10 at 10 kev ) . the pca data are of interest to search for pulsed emission at higher x - ray energies than , since the pca is sensitive to x - rays with energies between 2 and 60 kev . egret is a high - energy @xmath0-ray telescope which is sensitive in the energy range from about 30 mev to 30 gev . it measures the energy of incoming @xmath0-rays with a nai(tl ) crystal , and their direction with a multilevel thin - plate spark chamber system which converts the gamma - rays and determines the trajectories of the resulting @xmath11 pair , and a triggering telescope that detects the presence of a pair having the correct direction of the motion . an anti - coincidence scintillation dome discriminates against charged particles . egret s effective area is @xmath12 @xmath13 at 150 mev , 1500 @xmath13 around @xmath14 gev , decreasing gradually at higher energies . we used all of the @xmath15 mev photons detected by egret from geminga between 1991 and 1997 to make a mean light curve . the event selection is described in @xcite . gamma - ray timing provides the most precise and continuous rotational ephemeris of geminga because of the sharpness of its @xmath0-ray peaks and the large number of observations that have been performed over the years . combined analysis of egret data up to 1997 , and earlier data from the _ cos b _ satellite , yielded a phase - connected , cubic ephemeris @xcite that fitted the rotational phase of geminga for 24 years with residuals smaller than 0.05 cycles ( the `` 1997 ephemeris '' ) . we reproduce this ephemeris in table [ tbl-2 ] . the residuals from this timing solution were fitted by @xcite to a sinusoidal term of semiamplitude 0.026 cycles , possibly attributable to an orbiting planet , but it is now apparent that this was simply a manifestation of timing noise . beginning in 1997 , the phase measured by egret began to deviate systematically from the pre-1997 ephemeris in the sense that the peaks arrive earlier than expected @xcite . figure [ phaseplot ] shows the phase residuals of all of the egret observations relative to the 1997 ephemeris . the points in figure [ phaseplot ] correspond to the numbered egret epochs in table [ tbl-1 ] , some of which were grouped together . according to a fit of the light curves to lorentzians , described in @xcite , in 1998 july , the gamma - ray peaks were observed to arrive @xmath16 of a cycle earlier than predicted ; in 1999 may they arrived @xmath17 cycles early ; in 1999 september they arrived @xmath18 cycles early ; and during the final egret observation in 2000 april may , the gamma - ray peaks arrived @xmath19 cycles early . this departure from the phase predicted by the 1997 ephemeris is consistent with a minor glitch ( discontinuous change in frequency ) shortly after the time of the 1996 measurement , mjd @xmath20 ( 1996 oct . 26 ) , by an amount @xmath1 . by fitting the phase residuals in figure [ phaseplot ] , we derive an approximate post - glitch ephemeris , also given in table [ tbl-2 ] . hereafter , we refer to the `` egret ephemeris '' as the two cubic segments covering the years 19912000 in table [ tbl-2 ] , plus the residuals from the cubic terms that are illustrated in figure [ phaseplot ] . in the following analysis , we interpolate the egret ephemeris , including its phase residuals , in order to phase - align and compare pulse profiles from x - ray wavelengths . all of the event times in the gis observation of 1999 october were first converted to barycentric dynamical time ( tdb ) using the position and proper motion of geminga listed in table [ tbl-2 ] . this was done using the `` timeconv '' program , which is part of the ftools software package . we determined optimal radii for the source extraction and background annulus in the gis by maximizing the signal - to - noise ratio in the resulting light curve . as shown in figure [ point1 ] , the radius of the source circle was chosen to be @xmath21 , and a concentric annulus of inner and outer radii of @xmath22 and @xmath23 , respectively gave a good estimate of the background . we confirm that , as found by @xcite using previous and images , there is no evidence for diffuse emission ( synchrotron nebulosity ) associated with geminga . in figure [ pulse1 ] we compare the resulting @xmath24 kev light curve with the only previous hard x - ray light curve of geminga made with the same instrument in 1994 march and described by @xcite . the curves have been aligned according to the egret ephemeris , and the resulting agreement in phase confirms the drifting egret ephemeris shown in figure [ phaseplot ] . to evaluate whether the pulse shape experienced any change between the 1994 and 1999 observations , the two light curves in figure [ pulse1 ] were compared using @xmath25 test , after accounting for the difference in the exposure times . it was determined that the light curves do not differ significantly . the stability of the light curve , and its large pulsed fraction and strong main peak allow the possibility of continuing the rotational ephemeris of geminga using hard x - ray observations , e.g. , with _ xmm - newton _ and _ chandra _ , during the current epoch in which there are no high - energy @xmath0-ray instruments in orbit . figure [ pulse2 ] shows the folded light curves for the 1999 gis data divided into three energy bands , @xmath26 kev , @xmath27 kev , and @xmath28 kev . for comparison , we also reproduce soft x - ray pulse profiles from a 1993 september observation with the pspc that was published by @xcite , in energy bands @xmath29 kev , @xmath30 kev , and @xmath31 kev . the summed egret light curve above 100 mev is also shown . for cgro viewing period 1 , comparing the number of events selected with e@xmath32100 mev to the likelihood estimate of geminga flux @xcite 63% of the events selected are estimated to be from geminga . the remaining 37% would be primarily diffuse galactic gamma - ray emission . this is the estimated background for the egret lightcurve . it is statistically consistent with the claim in @xcite that there is negligible unpulsed emission from geminga in that energy band . these light curves resemble closely those given in figure 9 of @xcite . because the 1999 gis observation had 2.5 times more exposure time than the 1994 observation , the gis light curves could be split into smaller energy bands , yielding more information about the change in pulse profile from low to medium x - ray energies than was available before . it was clear from the analysis of @xcite that thermal surface emission , fitted with @xmath33 k , dominates the x - ray emission below 0.7 kev , whereas the gis , which is sensitive above 0.7 kev , sees primarily non - thermal emission ( see also 4 ) . the large pulsed fractions of the light curves above 0.7 kev bear out this interpretation . in addition , it was noted in @xcite that the non - thermal pulse component itself has energy dependent structure , in particular , an offset of 0.1 cycles between the @xmath26 kev pspc and @xmath34 kev gis light curves . figures [ pulse1 ] and [ pulse2 ] confirm that the gis light curve leads the hardest pspc band ( @xmath31 kev ) by approximately 0.1 cycles . however , since the energy resolution of the pspc is so poor , it is possible that some soft photons of thermal origin bias this light curve s peak toward later times . the non - thermal x - ray pulse as illustrated in figures [ pulse1 ] and [ pulse2 ] is best described as a single broad peak centered at phase 0.63 , approximately coinciding with the smaller of the two egret peaks , with a possible minor peak at phase 0.97 . at the highest energy ( @xmath35 kev ) , the gis light curve may begin to resemble the egret peaks in having two peaks separated by 0.5 cycles , but the statistics are poor and , even if real , the gis peaks lead the egret peaks by @xmath36 cycles . on balance , the differences between the gis and egret light curves seem greater than their similarities , and we regard this as evidence that the hard x - rays are not simply an extension of the @xmath0-ray spectrum ( see also 4 ) . the pca instrument on rxte was used to search for pulsed emission from @xmath37 kev . the data were recorded in good xenon mode and processed using standard methods . the time resolution for the observation of @xmath38s and absolute clock precision of @xmath39s are more than adequate to distinguish pulsations from geminga . the energy information was stored in eight bits in the event word , and the energy - channel conversion table for cycle 3 was used to convert to energy in kev . the barycenter - corrected pca data in the energy ranges @xmath40 kev and @xmath41 kev were folded using the egret ephemeris . the fasebin routine , an epoch folding test , a fourier transform pulse search , a rayleigh test @xcite , and the @xmath42 test of orders 2 and 3 @xcite were performed on the data . no significant pulsations were detected using any of these techniques in the energy range in which pulsations were detected by , nor at higher energies , with a flux upper limit of @xmath43 ergs @xmath4 s@xmath5 in the @xmath40 kev energy range . this negative result is undoubtedly due to the high background that dominates in this non - imaging instrument , in combination with spectral shape of geminga s non - thermal emission , as will be discussed in the next section . the ftools / xselect software package was used to prepare the data for spectral analysis . source spectra were extracted from a circle @xmath44 in radius for the sis data , and @xmath45 in radius for the gis data . the source was at a suitable location for background spectra to be extracted from annuli concentric with the source circle for both sis and gis . it is important to choose an annulus close enough to the source circle to acquire a fair sample of the background sky at the point of the source , but not close enough to contain a significant number of source counts , which would oversubtract the source spectrum . to obtain response matrices , the latest gis `` rmf '' files were downloaded and rebinned to match the reduced number of energy channels in the data . the `` sisrmg '' program was used to generate response matrices ( rmfs ) for the sis spectral files . ancillary response ( arf ) files were created from the rmf files using the program `` ascaarf '' . the spectral data were rebinned , using the program `` grppha '' so that there were 40 counts or more in each bin . this reduces the noise , especially at higher energies where the instrument has less sensitivity , and allows gaussian statistics to be used in the evaluation of the fit . guided by the combined / results of @xcite , we fitted simple power - law models to each of the instruments using xspec . the soft blackbody component that dominates the spectrum does not contribute significantly in the band , and was neglected . in this analysis , the intervening column density @xmath46 was held fixed at the best fitted value of @xmath47 given in @xcite . uncertainties in this small @xmath46 do not affect the results . the energy limits of the fit for the sis data were set at @xmath48 kev for sis0 , and @xmath49 kev for sis1 data because of its poorer signal - to - noise at higher energy . the gis spectra were fitted from @xmath50 kev to avoid calibration uncertainties at the lowest energies . in addition to fits of the individual instruments , combined fits were made . the combined sis and gis fits are shown in figures [ sisspect ] and [ gisspect ] . results of the fits are given in table [ tbl-3 ] for the combined sis and gis as well as for all instruments combined . all fits are acceptable , with @xmath51 per degree of freedom . although not all of the instruments are consistent with each other at the @xmath52 confidence level , three out of four are consistent with the combined sis+gis fit , which yields photon index @xmath53 . this compares favorably with the lower - quality results of @xcite , who found @xmath54 for sis0 and @xmath55 for gis3 in the 1994 observation . we also performed crude pulse - phase spectroscopy by separating the gis events into two phase bins , 0.280.88 in figures [ pulse1 ] and [ pulse2 ] ( which includes most of the main peak ) , and the remainder ( 0.880.28 ) . power - law fits in the range @xmath56 kev were performed for both sets , and the results are also listed in table [ tbl-3 ] . while the spectrum of the main peak is slightly softer than that of the interpeak region ( @xmath57 vs. @xmath58 ) , the difference is only marginally significant . table [ tbl-3 ] also gives the modeled fluxes in the range @xmath59 kev , normalized to a full cycle . the fluxes for the full data sets are similar to those for the pspc+sis0 fit given in @xcite , but are more than twice the flux in the pspc+gis3 fit given there . the fluxes for the individual instruments in our 1999 observation agree with each other quite well , with the gis tending to show a slightly higher flux than the sis . we conclude that the discrepancies between sis and gis spectra in the 1994 observation noted by @xcite were largely due to the shorter exposure and non - optimal mode of that observation , while the current results from the 1999 observation are more internally consistent and precise . an updated broad - band spectrum of geminga , including the new data presented in this paper , is shown in figure [ fullspect ] . the previous sources for data and upper limits are given in the figure caption . we derived upper limits from _ rxte _ for the pulsed flux by determining the minimum pulsed detection threshold for the @xmath60 test ( which should provide the greatest sensitivity of all @xmath42 tests , for a pulse shape similar to the hard x - ray or @xmath0-ray pulse profile in figure [ pulse2 ] ) and the epoch folding test . the frequency at the epoch of the observation is well - defined by the egret ephemeris ( i.e. , a search over frequency is not required , although we nevertheless performed a search in a small frequency range immediately surrounding the expected value ) , and the pulse shape can be approximated by a sine wave . using the appropriate parameters similar to those in @xcite for the epoch folding test ( which , for a pulse shape like that at the highest energy observed by has the lowest pulsed detection threshold ) , we derived upper limits for 10 and 60 kev corresponding to the collecting area of the pca under the assumption of a power - law of @xmath61 as measured by . it is apparent from figure [ fullspect ] that , given its flux and spectral index , geminga is too faint for its pulsed flux to have been detected at any energy by the _ rxte _ pca instrument . it is clear from figure [ fullspect ] that the @xmath0-ray emission from geminga represents the energetically dominant component of the total emission of the pulsar , while an extrapolation of the nonthermal x - ray spectrum falls well below the egret flux . the hard x - rays therefore represent a physically distinct emission mechanism from the primary @xmath0-rays . a general theory of x - ray emission from rotation - powered pulsars @xcite predicted that any strong @xmath0-ray pulsar will also have a hard x - ray spectrum with photon index @xmath62 . in this model , an outer - gap accelerator will send @xmath11 pairs flowing inward and outward along open magnetic field lines . these particles continuously radiate @xmath0-rays by the curvature mechanism . when the inward flowing particles approach the surface of the star , the @xmath15 mev @xmath0-rays that they emit convert into secondary @xmath11 pairs in the inner magnetosphere wherever @xmath63 g , where @xmath64 is the angle between the photon and the * b * field . those secondary pairs must radiate away their energy instantaneously in the strong local * b * field . such a synchrotron decay spectrum has @xmath62 between @xmath650.2 kev and 5 mev . the luminosity of such a component in the bandpass is estimated theoretically from the goldreich - julian current in the outer - gap accelerator , and is found to be @xmath66 ergs s@xmath5 , in agreement with the observed flux from geminga . a three - dimensional magnetosphere model of geminga with a thick outer gap is presented by @xcite , who explain the phasing of the soft and hard x - ray emission with respect to the the @xmath0-ray pulse profile as observed by @xcite . their modeled hard x - ray peak coincides with the first @xmath0-ray peak as a result of the inward motion of the x - ray synchrotron emitting particles , while the soft , thermal x - ray peak coming from near the polar cap coincides with the second @xmath0-ray peak . @xcite fitted the @xmath0-ray pulse profiles with a magnetic inclination angle of @xmath67 and a viewing angle of @xmath68 , which would also be compatible with the pulse modulation of the soft x - rays . while the fitted spectral index of @xmath2 does not strongly support or refute this theory , it can be noted that a power - law fit is merely a parameterization of the shape of the x - ray spectrum that does not allow for possible complications due to additional processes that may be occurring . for example , the cyclotron energy for electrons in the pulsar s inner magnetosphere is in the bandpass , which means that the cyclo - synchrotron spectrum must deviate from a power law there . the nonthermal spectrum must turn down at low energies , both from theoretical arguments , and empirically in order not to exceed the observed ultraviolet and visible flux . furthermore , it is possible that there is an additional , hotter thermal component around 1 kev which would arise from the polar caps heated by the impacting charged particles flowing in along the open field lines , such as in the model of @xcite . the latter model was based on double - blackbody fits to the spectrum alone , taken from @xcite , but since superseded by evidence from that the harder component is non - thermal @xcite . nevertheless , it is still possible that a fainter , hot thermal component is present that is not easily distinguished from the dominant non - thermal spectrum and pulse profiles , but that contaminates the power - law fit . our pulse - phase spectroscopy , even in the long observation of 1999 , is not sensitive enough to meaningfully constrain such a complex model . the detection of x - rays above 10 kev from geminga is an unmet challenge , but one that might be necessary to better measure the the predicted power - law spectrum . we were startled to see a recent report of detection of a 62 s period from geminga in tev @xmath0-rays @xcite . that paper cited nine other detections of periods in the range 5960 s ( see 1 for references ) , going all the way back to analyses of _ sas 2 _ , _ cos b _ , _ einstein _ , and _ exosat _ data , none of which was ever considered convincing @xcite . we have searched and data in this range of periods without detecting significant modulation . for example , there is no signal at a period of 62.4 s that would fit the linear extrapolation of previous claims to the observation of 1999 . we regard the case of the moving 60 s period as closed a decade ago , notwithstanding this recent attempt at revival . although there is no @xmath0-ray telescope currently in orbit , it will be possible to maintain a phase - connected ephemeris and monitor geminga s glitch activity using x - ray instruments such as _ chandra _ and _ xmm - newton _ , now that we have confirmed the precise phase relationship between the hard x - ray and @xmath0-ray pulse in two observations . the standard dipole braking index @xmath69 would correspond to @xmath70 smaller than the observed value by a factor of 5.5 . despite the existence of a 27 yr long phase - connected @xmath0-ray ephemeris of geminga , it has not been possible to measure a true braking index because @xmath70 is apparently dominated by timing noise , even apart from the observed glitch , which is among the smallest ever detected in a pulsar . more sensitive hard x - ray observations , such as are possible with _ xmm - newton _ , also have the potential to disentangle any additional spectral and pulse components that may be present , such as cyclotron features , hot polar cap emission , and even atomic spectral lines from the neutron star photosphere . akerlof , c. w. , et al . 1993 , a&a , 274 , l17 becker , w. , kawai , n. , brinkmann , w. , & mignani , r. 1999 , a&a , 352 , 532 bertch , d. l. , et al . 1992 , nature 357 , 306 bignami , g. f. , caraveo , p. a. , & lamb , r. c. 1983 , , 272 , l9 bignami , g. f. , caraveo , p. a. , & paul , j. a. 1984 , nature , 310 , 464 bignami , g. f. et al . 1987 , 319 , 358 bignami , g. f. , caraveo , p. a. , & paul , j. a. 1988 , a&a , 202 , l1 bignami , g. f. , et al . 1996 , , 456 , l111 bradt , h. v. , rothschild , r. e. , & swank , j. h. 1993 , a&as , 97 , 355 buccheri , r. , et al . 1983 , a&a , 128 , 245 buccheri , r. , damico , n. , hermsen , w. , & sacco , b. 1985 , nature , 316 , 131 burderi , l. , fauci , f. , & boriakoff , v. 1999 , , 512 , l59 caraveo , p. a. , lattanzi , m. g. , massone , g. , mignani , r. p. , makarov , v.v . , perryman , m. a. c. , & bignami , g. f. 1998 , a&a , 329 , l1 fichtel , c. e. et al . 1975 , , 198 , 163 fierro , j. m. , et al . 1998 , , 494 , 794 halpern , j. p. , & holt , s. s. 1992 , nature , 357 , 222 halpern , j. p. , & ruderman , m. 1993 , , 415 , 286 halpern , j. p. , & tytler , d. 1988 , , 330 , 201 halpern , j. p. , & wang , f. y .- h . 1997 , , 477 , 905 jahoda , k. , et al . 1996 , proc . spie , 2808 , 59 kassim , n. e. , & lazio , t. w. 1999 , 527 , l101 kaul , r. k. , et al . 1985 , in proc . cosmic ray conf . ( la jolla ) , 1 , 165 kuiper , l. , et al . 1996 , a&a , 120 , 73 kuzmin , a. d. , & losovskii , b. ya . 1997 , astronomy letters , 23 , 323 leahy , d. a. , elsner , r. f. , & weisskopf , m. c. 1983 , , 272 , 256 malofeev , v. m. , & malov , o. i. 1997 , nature , 389 , 697 martin , c. , halpern , j. p. , & schiminovich , d. 1998 , 494 , l211 masnou , j. l. , et al . 1977 , proc . 12th eslab sym . ( frascati ) , p. 33 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 2000 , a&as , 120 , 77 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 1998 , , 493 , 891 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 2000 , baas , 197 , # 130.05 mayer - hasselwander , h. a. , et al . 1994 , , 421 , 276 mclaughlin , m. a. , cordes , j. m. , hankins , t. h. , & moffett , d. a. 1999 , , 512 , 929 mignani , r. p. , caraveo , p. a. , & bignami , g. f. 1998 , a&a , 332 , l37 neshpor , yu . i. , & stepanyan , a. a. 2001 , astronomy letters , 27 , 794 perna , r. , heyl , j. , & hernquist , l. 2001 , apj , 553 , 809 ramachandran , r. , deshpande , a. a. , & indrani , c. 1998 , a&a , 339 , 787 schroeder , p. c. , et al . 1995 , , 450 , 784 shearer , a. , et al . 1998 , a&a , 335 , 21 shitov , yu . p. , & pugachev , v. d. 1997 , new astronomy 3 ( 2 ) , 101 swanenburg , b. n. et al . 1981 , 243 , l69 tanaka , y. , inoue , h. , & holt , s.s . 1994 , pasj , 46 , l37 thompson , d. j. , fichtel , c. e. , hartman , r. c. , kniffen , d. a. , & lamb , r. c. 1977 , , 213 , 252 wang , f. y .- h . , ruderman , m. , halpern , j. p. , & zhu , t. 1998 , apj , 498 , 373 zhang , l. , & cheng , k. s. 2001 , mnras , 320 , 477 zyskin , y. i. , & mukanov , d. b. 1983 , sov . lett , 9 , 117 zyskin , y. i. 1988 , space sci . , 49 , 49 llrr egret ( 1 ) & 1991 apr 22may 7 & 1209.6 & 1.8@xmath71 + egret ( 1 ) & 1991 may 1630 & 1209.6 & 1.6@xmath71 + egret ( 1 ) & 1991 jun 815 & 604.8 & 1.5@xmath71 + egret ( 2 ) & 1992 jun 1125 & 1209.6 & 2.2@xmath72 + egret ( 2 ) & 1992 aug 1120 & 777.6 & 1.9@xmath72 + egret ( 2 ) & 1992 sep 117 & 1382.4 & 1.7@xmath72 + egret ( 2 ) & 1992 oct 815 & 604.8 & 1.4@xmath72 + egret ( 2 ) & 1992 nov 317 & 1209.6 & 1.0@xmath72 + egret ( 3 ) & 1993 mar 2329 & 604.8 & 3.2@xmath72 + egret ( 3 ) & 1993 may 1324 & 950.4 & 4.1@xmath72 + egret ( 4 ) & 1993 dec 113 & 1036.8 & 3.5@xmath72 + egret ( 4 ) & 1994 feb 817 & 777.6 & 7.7@xmath72 + egret ( 5 ) & 1994 aug 929 & 1814.4 & 3.7@xmath72 + egret ( 6 ) & 1995 feb 28mar 21 & 1814.4 & 4.0@xmath72 + egret ( 6 ) & 1995 apr 411 & 604.8 & 2.5@xmath72 + egret ( 6 ) & 1995 may 9jun 6 & 2419.2 & 1.8@xmath72 + egret ( 7 ) & 1995 aug 822 & 1209.6 & 2.4@xmath72 + egret ( 8) & 1995 oct 1731 & 1209.6 & 2.7@xmath72 + egret ( 9 ) & 1996 jul 30aug 27 & 2419.2 & 3.4@xmath72 + egret ( 10 ) & 1997 feb 18mar 18 & 2419.2 & 1.5@xmath72 + egret ( 11 ) & 1998 jul 721 & 1209.6 & 2.0@xmath72 + egret ( 12 ) & 1999 may 1125 & 1209.6 & 2.1@xmath72 + egret ( 13 ) & 1999 sep 1428 & 1209.6 & 4.7@xmath73 + egret ( 14 ) & 2000 apr 25may 9 & 1209.6 & 2.6@xmath72 + rosat pspc & 1993 sep 1620 & 36.9 & 0.503 + asca sis & 1994 mar 2831 & 49.2 & 1.7@xmath74 + asca gis & 1994 mar 2831 & 75.3 & 1.2@xmath74 + asca sis & 1999 oct 511 & 194.0 & 1.4@xmath74 + asca gis & 1999 oct 511 & 207.8 & 1.0@xmath74 + rxte pca & 1996 apr 27may 8 & 142.7 & + lll epoch of ephemeris @xmath75 ( mjd ) & 46599.5 & 50381.999999364 + range of valid dates ( mjd ) & @xmath76 & @xmath77 + frequency @xmath78 ( hz ) & @xmath79 & @xmath80 + frequency derivative @xmath81 ( hz s@xmath5 ) & @xmath82 & @xmath83 + frequency second derivative , @xmath70 ( hz s@xmath84 ) & @xmath85 & @xmath85 + & & + epoch of position ( mjd ) & 49793.5 & + r.a . ( j2000 ) & @xmath86 & + decl . ( j2000 ) & @xmath87 & + r.a . proper motion @xmath88 ( mas yr@xmath5 ) & 138 & + decl . proper motion @xmath89 ( mas yr@xmath5 ) & 97 & + lrr sis & 1.68 ( @xmath900.13 , @xmath910.12 ) & 2.29@xmath92 + gis & 1.99 ( @xmath900.14 , @xmath910.14 ) & 2.78@xmath92 + gis+sis & 1.72 ( @xmath900.10 , @xmath910.09 ) & 2.62@xmath92 + gis & 2.00 ( @xmath900.24 , @xmath910.24 ) & 3.30@xmath92 + gis & 1.74 ( @xmath900.24 , @xmath910.23 ) & 2.71@xmath92 +	arxiv
What exactly are UV lenses? Edmund Optics has [these UV lenses](https://www.edmundoptics.co.uk/c/uv-lenses/784/#) listed on their site but I'm not quite sure what it means for a lens to be 'UV'. Do glass lenses have significant issues transferring UV (I would also appreciate the correct terminology for this behaviour) or is this simply about avoiding aberration? Yes, a lot of "regular" glasses absorb in the UV, meaning you can't use them as lenses without suffering losses. In addition, They probably have coatings to make them anti-reflective, making the loss due to reflection decrease as well (as absorption loss)	stackexchange/physics
Solution to heat equation with changing boundary conditions I am attempting to solve a homogeneous heat equation \begin{equation} u\_t = \alpha^2 u\_{xx}, \end{equation} with an initial temperature $u\_0$, and time-varying boundary conditions $u(0,t) = u(L,t) = u\_s(t)$. The challenge is that the function $u\_s (t)$ isn't a continuous function that can be expressed neatly, but rather a series of temperatures given for every minute. I followed the method laid out here [Solution methods for heat equation with time-dependent boundary conditions](https://physics.stackexchange.com/questions/281997/solution-methods-for-heat-equation-with-time-dependent-boundary-conditions), and got the result \begin{equation} u\_c(t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s (0) - u\_0 \right), \end{equation} hoping that I could still approximate the integral with a sum like so \begin{equation} u\_c(t) \approx u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- 60 (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \sum\_{m=0}^{t - 1} e^{60(2n + 1)^2 \pi^2 \alpha^2 / L^2 m} \Delta u\_s^m + u\_s (0) - u\_0 \right), \quad \Delta u\_s^m \equiv u\_s^{m+1} - u\_s^m. \end{equation} ($m$ represents minutes, and in any real calculation $t$ would be floored down to the nearest integer) I am able to compare the above result to measured values for the temperature, and it does not hold up at all. My question is then, do anyone know of a better way to handle boundary conditions that are put in by hand every minute? Ultimately, I would like to be able to extract the size $L$, which is why I am not doing this numerically. If you would like to see my derivation, I post it below: We have \begin{equation} u\_t = \alpha^2 u\_{xx}, \end{equation} with boundary and initial conditions \begin{align\} u(x,0) & = f(x), \quad u(0,t) = u(L,t) = u\_s (t)\\ f(0) & = f(L) = u\_s(0), \quad f(0<x<L) = u\_0, \end{align\} and assume \begin{equation} s\_{xx}(x,t) = 0, \end{equation} so that \begin{equation} s(x,t) = u\_s (t). \end{equation} Then we get the inhomogenous equation \begin{equation} v\_t = \alpha^2 v\_{xx} - u\_s'. \end{equation} The homogeneous equation is solved by \begin{equation} v(x,t) = \sum\_{n=1}^\infty T\_n (t) X\_n (x), \quad X\_n (x) = \sin \left( \frac{n \pi x}{L} \right). \end{equation} For the inhomogeneous equation, we make the ansatz \begin{equation} u'\_s (t) = - \sum\_{n=1}^\infty Q\_n (t) X\_n (x), \end{equation} so that the heat equation becomes \begin{equation} \sum\_{n=1}^\infty \left( T\_n' (t) + \lambda\_n T\_n (t) - Q\_n (t) \right) X\_n (x) = 0, \quad \lambda\_n = \left( \frac{n \pi \alpha}{L} \right)^2, \end{equation} which means that \begin{equation} T\_n (t) = e^{-\lambda\_n t} \int\_0^t e^{\lambda\_n \tau} Q\_n (\tau) d \tau + C\_n e^{-\lambda\_n t}. \end{equation} The $C\_n$'s are found by checking the initial conditions \begin{equation} v(x,0) = u(x,0) - s(x,0) = u\_0 - u\_s (0) = \sum\_{n=1}^\infty T\_n (0) X\_n (x) = \sum\_{n=1}^\infty C\_n X\_n (x), \end{equation} so \begin{equation} C\_n = \frac{2 \left( 1 - (-1)^n \right) \left( u\_0 - u\_s (0) \right)}{n \pi}. \end{equation} $Q\_n (t)$ is found from the orthogonality of the $X\_n (x)$'s \begin{equation} Q\_n (t) = 2 \frac{(-1)^n - 1}{n \pi} u\_s' (t), \end{equation} or, since only terms with $n$ odd are non-zero, \begin{align\} C\_n & = \frac{4}{(2n+1) \pi} \left( u\_0 - u\_s (0) \right),\\ Q\_n (t) & = - \frac{4}{(2 n + 1) \pi} u\_s ' (t). \end{align\} Then \begin{equation} T\_n (t) = - \frac{4}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \end{equation} and \begin{equation} v(x,t) = - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{1}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \sin \left( \frac{(2n+1) \pi x}{L} \right). \end{equation} The temperature is then \begin{equation} u(x,t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{1}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \sin \left( \frac{(2n+1) \pi x}{L} \right). \end{equation} In the core the temperature is \begin{equation} u\_c(t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s (0) - u\_0 \right). \end{equation} Numerically, this is \begin{equation} u\_c(t) \approx u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- 60 (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \sum\_{m=0}^{t - 1} e^{60(2n + 1)^2 \pi^2 \alpha^2 / L^2 m} \Delta u\_s^m + u\_s (0) - u\_0 \right), \quad \Delta u\_s^m \equiv u\_s^{m+1} - u\_s^m. \end{equation} If the temperature is changes in steps, then you can obtain the solution by linear superposition. Let the solution for a unit step temperature change at time zero (with 0 internal initial temperature) be U(x,t), and let the boundary temperature change at time $t\_j$ be $\Delta u\_{sj}$, then the solution for your situation will be $$u(x,t)=u\_0+\sum\_j{\Delta u\_{sj}U(x,t-t\_j)}$$This is essentially the solution you have written for step changes in temperature.	stackexchange/physics
Frost & Sutcliffe v Tuiara [2004] 1 NZLR 782; 2003 10 TCLR 912 is a cited case in New Zealand regarding whether a party owes another party concurrent duties in contract and in tort. Background Frost & Sutcliffe were a law firm that represented the Tuiara's in a buyback agreement on their Mangere home, for which they also acted as the legal representatives of the finance company involved. The law firm gave them the following legal advice: 19 March 1999 Re: Sale of your property at 21 Ashley Avenue, Mangere. To Richmond Thornby Holdings Limited and Repurchase. You have been asked to sell your property to Richmond Thornby Holdings Limited which will pay you only $8,000.00 now and will resell it to you in 6 weeks. We note our advices to you as to our concern at advising family as regards to transaction of this type. This is especially the case when their own home is placed at risk. My initial advice to you would be dont. I record however, that you have decided that you do wish to proceed with the arrangement. The effect of registration of the sale will mean that you have lost your home if anything goes wrong. As advised, if for any reason Richmond Thornby Holdings Limited can't get a release of the mortgage it will take on the property, effectively you will have lost your house and have to start again. You will have a right against the security the Company grants but this would be likely to be of no value. We note that at this stage you have satisfied yourselves the Company will be in a position to repurchase the property from you in 6 weeks. To summarise, our advice simply is it is better not to proceed with the transaction. We note however that you wish to assist your family, and you have done so in the full knowledge that the transaction is a financial risk to you and you may suffer financially in the event the Company being unable to complete the resale of the house for you. We note we have strongly recommended you consult an independent Solicitor in respect of the matter but you have declined to so. Yours faithfully'' FROST & SUTCLIFFE At trial, the Tuiara's denied they had ever received this letter, but the court disagreed with them on this. The Tuiara's eventually followed through on the deal, accepting an $8,000 payment in return for temporarily transferring title of their house to a 3rd party. Soon after entering into the agreement, the finance company involved went into liquidation, resulting in the Tuiara's losing their house. They later sued the law firm for breach of contract, as well as for negligence in tort, with the Tuiara's claiming that Sutcliffe had encouraged them to proceed on the deal. The High Court ruled that whilst they did not breach their fiduciary duty owed under contract, they did breach the duty of care they owed in tort. Held The Court of Appeal allowed the law firms appeal. References Category:New Zealand contract case law Category:New Zealand tort case law Category:2003 in New Zealand law Category:Court of Appeal of New Zealand cases Category:2003 in case law	wikipedia
Screenplays Mission Failed! Title : Mission Failed Rating : PG-17 Genre : Humor, GAJE! Warning! : Gaje, YAOI, yang gak suka mendingan gak usah baca. This Fanfiction special for uri Yoochunnie Saengil Chukkae :* . . "Jadi, bisa kau jelaskan yang tadi itu, eoh?" Suara desisan Junsu terdengar mengerikan di telinga Yoochun. Kentara sekali laki-laki berpantat montok itu tengah meredam emosi yang sudah akan meledak. Oh, God. Junsu bukanlah tipe yang suka marah akan tetapi sekalinya ia marah maka habislah sudah apa yang ada di sekitarnya. Yoochun menelan ludahnya pelan, lalu meringis merasakan tangan dan kakinya kebas karena di ikat erat oleh tali di ranjangnya. "Istriku, kau hanya salah paham dengan kejadian itu." Yoochun berusaha menjelaskan dengan Junsu yang sudah dua tahun berstatus sebagai istrinya. Junsu mengerucutkan bibirnya imut, "Salah paham,eoh? Tapi kau senang sekali kelihatannya menggendong Jaejoong. Apalagi dada-nya yang montok itu menempel di punggungmu, iya kan?" Junsu menyeringai sambil menoel pipi Yoochun dengan tongkat penggaruk berbentuk tangan-nya (readers tau kan?) Yoochun menghela nafasnya, "Aniyo, tidak seperti itu." "Apanya yang tidak seperti itu! Aku melihatnya dengan mata kepalaku sendiri, Park Jidat! Aku pikir sifat playboy-mu itu sudah berubah, tapi kau malah seperti ini! Walaupun kita hanya seorang guru dan murid di sekolah tapi aku tetap istrimu! Oh, Tuhan kasihan sekali Changminnie mempunyai Daddy sepertimu!" suara Junsu mulai bergetar menahan tangis, matanya mulai berkaca-kaca. Yoochun mulai mendecih sebal, tahu akan jadi begini ia tidak akan membantu guru Matematika-nya itu. Haau, demi apapun sewaktu ia di sekolah tadi ia hanya membantu Jaejoong yang saat itu keseleo karena terpeleset dari tangga. Ya, sebagai murid yang baik ia hanya membantu gurunya ke unit kesehatan sekolah. Hell, adakah yang salah dengan itu? Junsu hanya melihat dari sisi negatifnya saja. Haaah…. "Su-ie, aku minta maaf. Tapi sungguh aku hanya membantu Jaejoong soensaengnim yang terpeleset dari tangga." Yoochun mencoba untuk meyakinkan istrinya, "Sekarang buka ikatan ini, rasanya perih." "Andwae!" Junsu memekik keras, lalu mulai menelusuri tubuh Yoochun dengan tongkat jarinya. Meraba-raba tubuh Yoochun mulai dari nipple sampai junior yang berada di balik boxer-nya. "Murid yang nakal harus di hukum, eoh?" Yoochun merinding demi sentuhan nakal yang diberikan Junsu, "Jangan main-main, chagi." desis Yoochun mencoba memperingatkan Junsu. Junsu memicing tajam, "Tidak, sampai aku selesai dengan ini. Aku kecewa padamu yang tidak pernah berubah. Setelah kita punya Changmin-pun kau masih seperti ini. Aku lelah, Chun! Apa kau juga mulai lelah denganku!? Apa kau sudah bosan dengan pernikahan ini, eoh!?" Junsu menjerit lantas beberapa saat kemudian menitikkan air matanya. "Kita bercerai saja." Yoochun menggeram kesal demi mendengar perkataan terakhir yang keluar dari mulut Junsu. "Tarik kembali kata-katamu, Park Junsu!" Junsu mulai ketakutan saat mendengar desisan Yoochun yang seketika membuat bulu kuduknya berdiri. "Sekarang lepaskan ikatan ini." Titah Yoochun. Junsu menggelengkan kepalanya takut, "S-shirreo." "Lepaskan sekarang atau aku akan mematahkan ranjang ini." Junsu bergidik ngeri, tiba-tiba saja nyalinya menciut dan air mata mulai membanjiri pipi chubby-nya saking ketakutan dengan aura membunuh Yoochun. Lantas laki-laki berpantat montok itu mulai melepaskan ikatan di tangan dan kaki suaminya. "AAH!" Junsu memekik keras saat tubuhnya langsung ditarik dan dihempaskan Yoochun di ranjang mereka. "C-Chunnie…" Yoochun menatap lama ke dalam mata bulat Junsu, "Dengar, jangan sekali-kali meminta hal yang tidak masuk akal begitu lagi, arra!" Junsu mulai menangis sesenggukan mendengar bentakan Yoochun, "Chunnie mianhae, huks… Yang tadi itu hanya bercanda." Junsu menghapus dengan cepat air mata di pipinya, "H-happy birthday, Chunnie." Isaknya. Yoochun menghela nafasnya, "Aku tahu semua ini untuk mengerjaiku, sayang." Junsu membulatkan matanya, "M-mwo?" "Kelakuanmu itu tidak mencerminkan umurmu, eoh? Lihat, kau menangis seperti anak playgroup." Yoochun menjulurkan lidahnya mengejek Junsu yang sudah mencebilkan bibirnya, "Tentu saja aku tahu semua gerak-gerikmu yang mengerjaiku, kau tidak pandai ber-acting." "Chunnie!" protes Junsu sambil memukul dada bidang Yoochun. Yoochun tertawa renyah, "Yang kalian lakukan itu kuno sekali, istriku~ Jaejoong seonsaengnim juga pasti berada dalam masalah besar sekarang." "Eh?" "Kau seharusnya memikirkan beruang kutubnya yang posesif itu." Laki-laki berpipi chubby itu lantas merapikan poni istrinya yang berantakan, lantas terkikik pelan saat melihat wajah Junsu yang terlihat khawatir memikirkan nasib sahabat dekatnya itu, "Tapi, aku benar-benar marah saat kau mengatakan ingin bercerai. Berjanjilah, kau tidak akan mengucapkannya lagi." Junsu mengangguk, "Ne, yaksoke." Yoochun tersenyum, "Sekarang, katakan dengan benar ucapan-nya." Junsu terkikik, lantas dengan kilat ia mengecup bibir suaminya, "Happy birthday, suamiku. I will always love you." Yoochun terkekeh pelan, lalu menggesekkan hidungnya dengan hidung Junsu, "Lalu, apa hadiahku?" Semburat merah jambu muncul di pipi tembem Junsu, "Hadiahmu ada di depanmu, Chunnie." Yoochun menyeringai, "Kalau begitu, boleh kubuka sekarang?" . . Kyuhyun-Baby sitter yang bekerja untuk keluarga Park- mengumpat dalam hatinya sambil menimang-nimang Changmin yang berusia satu tahun di gendongannya, "Mereka itu benar-benar. Setidaknya pasang peredam suara agar suara mereka tidak membangunkan Changmin, huh!" . . Sementara di kediaman Jung … "A-aniyo, Yunnie. Bukan seperti itu!" Jaejoong mulai berjalan mundur ke ranjangnya saat melihat Yunho yang terus melangkah mendekatinya. Yunho menyeringai sambil membuka satu persatu seragam kantornya, "Benarkah begitu, Jung Jaejoong?" Jaejoong semakin memucat saat ia sudah tidak bisa mundur karena di belakangnya adalah ranjang mereka, sementara Yunho kini tengah membuka belt-nya dan sudah half-naked. "A-aku hanya membantu Junsu, Yunnie." Yunho meletakkan belt-nya, dan kini laki-laki bermata musang itu sudah berada di hadapan Jaejoong, "Jeongmal?" desis Yunho, lantas pria bermarga Jung itu memelintir nipple Jaejoong. "Aah!" Dan Jaejoong hanya bisa berdoa dalam hati agar hole-nya selamat dari terjangan big junior suaminya. Haau… . . -END DENGAN INDAHNYA- Hahahahahah maaf ini gaje dan pendek sekali XD saya hanya iseng ngetik ini judul juga gak tw nyambung apa kagak sm isinya, semoga yang nemu suka dan Happy birthday untuk abang jidaaaaat :* Pokok nya doa gua yang baik2 buat lu bang! Jaga kesehatan dan sukses untuk karir dan wamilnya~ Wish you all the best~ God Bless You~ berminat ninggalin jejak? /kitty eyes/ End file.	fanfiction
Weinberg QFT Chapter 5: gamma matrices consistency Currently reading through Weinberg's QFT book (Vol. 1) [readable in parts [here](http://goo.gl/ZTME3q)]. In his derivation of the causal Dirac field in Ch. 5, he chooses his gamma matrices as (5.4.17) \begin{align} \gamma^0&=-i\left[\begin{array}{cc}0&1\\1&0\end{array}\right]\\ \gamma^i&=-i\left[\begin{array}{cc}0&\sigma^i\\\sigma^i&0\end{array}\right] \end{align} As far as I can see this is just the Weyl basis as I know it from other sources (Peskin & Schroeder, Schwartz) but with an extra factor $-i$ here because of Weinberg's choice of metric $\eta^{\mu\nu}$=diag(-1,1,1,1) in the anticommutation relations for the gamma matrices $$\{\gamma^\mu,\gamma^\nu\}=2\eta^{\mu\nu}.$$ He then goes on to define the matrix $$\beta=i\gamma^0=\left[\begin{array}{cc}0&1\\ 1&0 \end{array} \right] \,(i)$$ (both on p218 and pxxv) and uses this form of $\beta$ explicitly to derive the zero momentum spinors (5.5.17),(5.5.18). Then, however, on the next page in front of Eq. (5.5.26), he states $\beta=-i\gamma^0$ and uses that in (5.5.26) and what follows to construct the causal field and spin sums. The form these equations take does seem to depend on the sign chosen for $\beta$ in (i). If I translate his spin sums back to the (more familiar to me) notation of P&S ($\gamma^\mu \rightarrow -i\gamma^\mu,a^\mu b\_\mu \rightarrow -a^\mu b\_\mu, \beta \rightarrow \gamma^0$) Eqs. (5.5.37),(5.5.38) have the familiar form they take in P&S. So I'm wondering where the inconsistency went, because using both $\beta=\pm i \gamma^0$ in the same derivation should lead to one...? [On a sidenote, in that section in Eqs. (5.5.20)-(5.5.23) the factors $(2\pi)^3$ are also all over the place and not consistent] Ok, tracked the 2005 paperback edition down and indeed those parts have been corrected. In front of Eq. (5.5.26) he now states $\beta=i\gamma^0$ and Eq. (5.5.26) has now changed to [2005 Paperback] $$D(L(p))\beta D^{-1}(L(p)) = i{L\_\mu}^0(p)\gamma^0=-ip\_\mu \gamma^\mu /m,$$ with the sign change in the last step because of his $\eta^{00}=-1$ convention. The previous edition [199x hardcover] reads $$D(L(p))\beta D^{-1}(L(p)) = -i{L\_\mu}^0(p)\gamma^0=-ip\_\mu \gamma^\mu /m,$$ with an extra mistake in the last step giving the same answer so all the derivations after that remain correct. So this mistake in the last step was the inconsistency I was looking for and hadn't spotted. The corrected edition of 1996 does not have such inconsistencies with the sign. Take the + sign and be sure to check the errata before continuing.	stackexchange/physics
Niall Bruton born 27 October 1971 is a former Irish runner who specialized in the 1500 metres, retiring around 2000. From Dublin Niall went to Larkhill National School and then St. Aidan's C.B.S. in Whitehall, he ran with Clonliffe Harriers. Bruton ran collegiately in the US for the University of Arkansas where he won the mile at the NCAA Indoor Championships in 1993 and 1994. He was named most outstanding performer among college men at the 1992 Penn Relays. His personal best 1500 time was 3:35.67 minutes, achieved in August 1995 in Cologne. Bruton's best time in the mile was 3:53 run in Oslo in 1994. His career was cut short, however, as he developed arthritis in his right hip, causing him to retire. Achievements References External links Category:1971 births Category:Living people Category:Irish male middle-distance runners Category:Athletes track and field at the 1996 Summer Olympics Category:Olympic athletes of Ireland Category:Arkansas Razorbacks men's track and field athletes Category:University of Arkansas people Category:World Athletics Championships athletes for Ireland Category:Universiade medalists in athletics track and field Category:Universiade gold medalists for Ireland	wikipedia
Meals on Wheels America, is the community based organization dedicated to providing nutrition and helping to eliminate isolation to the elderly. It supports more than 5,000 communities across the United States. Situated in Arlington, Virginia the Meals on Wheels America is headed by President and CEO Ellie Hollander. It is the oldest and largest national organization supporting community-based senior nutrition programs across the country. Meals on Wheels America is a non-profit organization which works towards improving information and services provided to senior citizens. Vision The vision of Meals on Wheels of America is to see no senior go hungry. Approximately 10,000 people in the United States turn 65 each day. One quarter will live to the age of 90. Many will not be able to keep up with daily tasks. According to the website, These seniors already represent the fastest growing population segment in the U.S. A major factor in living longer is that cost of living increases and funds do not. This becomes a contributing factor for seniors in the decision to sell their homes to move into a nursing facility. Meals on wheels provides a solution to this issue by providing meals to seniors at a fraction of the cost of living in a senior facility. Through this program, billions of dollars are saved everyday in Medicare and Medicaid costs annually. The greatest benefit of the Meals on Wheels program is that it provides seniors with improved health, security, and independence. References External links Retirement Research Foundsation Awards Meals on Wheels America Grant to Uncover and Debunk Older Americans Act Policy Barriers https://www.acl.gov/news-and-events/latest-news/join-us-celebrating-50th-anniversary-older-americans-act http://alliancetoendhunger.org/advocacy-playbook/ http://bestpractices.nokidhungry.org/free-summer-meals-kids#dialog_1125 http://www.mealsonwheelsamerica.org/docs/default-source/membership/resources-tools/advocacy/fa_mowa_seniorhunger.pdf?sfvrsn=2 Category:Charities based in Virginia Category:Organizations based in Arlington County, Virginia Category:Social welfare charities based in the United States	wikipedia
Questions about spacetime curvature and gravity These are some further important queries regarding the question here [Why would spacetime curvature cause gravity?](https://physics.stackexchange.com/questions/102910/why-would-spacetime-curvature-cause-gravity) Q1. Explain the statement “Everything in spacetime moves at the speed of light”. Is this statement even true or false? My naïve understanding is as follows: If an object is stationary in space (relative to an observer?) then it will be moving in time, so, it will, say, move from (x=0,t=0) to (x=0,t=10). The velocity is the space interval / time interval, which from above coordinates is still zero. So it is moving through spacetime, but at zero velocity. So velocity will just determine the angle of its path to the time axis. If this angle is zero, ie it is moving parallel to the time axis, then velocity = zero, and it can really move in time from one time point to the other at zero velocity. Where am I wrong, and what is the real explanation? Q2. Suppose there are two objects (see fig), an apple A above the earth at x=0, and the earth E at x=10 as shown in the fig. If there is no earth and just the apple in open space, then the spacetime is not curved due to the gravity of the earth, and the apple stays at x=0 but moves in time from A to B (fig a). Now the earth is at x=10 and presumably the spacetime curves and the axes tilt as in fig b. Then the apple moves from A to C, just following the geodesic. But if we assume this, then the apple has not moved at all, because, due to the tilt of the axis, point C is also at x=0. So fig b cannot be the correct situation, otherwise the apple will arrive at point C which is still on the x=0 axis. So I assume that in fact the apple has not moved from A to C in fig b, but has moved from A to D in fig. a, where D is really at x=10. But if I assume this, then it is not spacetime itself that has curved. The spacetime is still straight, but the apple has moved from (x=0,t=0) to (x=10,t=10). Again, where am I wrong, and what is the correct explanation? How exactly has the spacetime curved or tilted for the apple at A due to the presence of the Earth at E, and how does the apple move to the earth by following the geodesic in free fall? (assume only one spatial dimention) ![spacetime curved by gravity?](https://i.stack.imgur.com/9QQXe.png) Q3: We say that gravity is not just a “force of attraction” between two pieces of mass, and it does not “pull” the two pieces of mass towards each other. Instead, acceleration is manifested because the two pieces of mass are simply following their now curved geodesics. But it can be shown that there really is an attractive force due to gravity. E.g. Take the apple in the earth’s gravity and suspend it on a spring balance. The spring will extend. Yes, you can say that since it is suspended motionless, so it is no longer in free fall, and since the spring balance exerts an external force upwards on the apple, so it no longer follows its free fall geodesic. But it is not only the spring balance which is exerting an upward force on the apple. The apple is also exerting a downward force on the spring, which causes the spring to extend. Surely it is too naïve to say that the downward force which the earth exerts on the apple and in turn the apple exerts on the spring suddenly vanishes if the apple is released into free fall. If two masses were remotely attracting each other with a force, why would they cease to attract each other with a force when in free fall? It is logically a much more satisfying explanation that the gravitational attraction force which was there at rest remains in free fall too and it is this gravitational attraction force which causes the freefall acceleration by F=ma, just like any force on any object would cause an acceleration. Also, it is the net force on the object which causes the acceleration. When the object was suspended, the net force was zero, so acceleration was zero. When in free fall, the net force IS THE GRAVITATIONAL ATTRACTION FORCE, so acceleration is accordingly. This seems totally opposite to the statement that there is no gravitational force in free fall. The reason why the spring of the spring balance does not extend when in free fall is that there IS a gravitational force downwards, but there is no force exerted by the spring upwards, so the net force on the object is downwards due to gravity, which causes the acceleration F=ma. Where am I wrong? What is the correct explanation? Re (1): the relativistic extension of velocity is [four velocity](http://en.wikipedia.org/wiki/Four-velocity). Pre relativity we separate the spatial and time coordinates, then define velocity as $dx/dt$ etc. In relativity this no longer makes sense because $x$ and $t$ are both spacetime coordinates and indeed the Lorentz transformations will mix them up. So we define the four velocity $U$ as the vector: $$ U = \left(\frac{cdt}{d\tau}, \frac{dx}{d\tau}, \frac{dy}{d\tau}, \frac{dz}{d\tau}\right) $$ where $\tau$ is the [proper time](http://en.wikipedia.org/wiki/Proper_time). In your example of a stationary object $dx$, $dy$ and $dz$ are all zero, and $dt/d\tau = 1$ (because in the rest frame of an object the coordinate time is equal to the proper time). So the four velocity is: $$ U = \left(c, 0, 0, 0\right) $$ and hence the claim that a stationary object has a four velocity equal to $c$. Lorentz transformations to other frames will change the components of the four vector, but its magnitude will always be $c$. Re (2): your drawing isn't a good description of the spacetime near a spherically symmetric object like the Earth. In these circumstances the curvature is given by the [Schwarzschild metric](http://en.wikipedia.org/wiki/Schwarzschild_metric). Calculating the trajectory of your apple in this metric is far from trivial. As it happens this issue is addressed on the recent question [Naive visualization of space-time curvature](https://physics.stackexchange.com/questions/102409/naive-visualization-of-space-time-curvature). Sadly, the answer to this question is that there is no reliable naive visualisation of spacetime curvature. The only way to calculate the trajectory is to bite the bullet and use the [geodesic equation](http://en.wikipedia.org/wiki/Schwarzschild_geodesics#Geodesic_equation). Re (3): the stationary apple attached to the spring is accelerating, and therefore a force is being applied to it. The procedure for calculating this acceleration is described in the question [What is the weight equation through general relativity?](https://physics.stackexchange.com/questions/47379/what-is-the-weight-equation-through-general-relativity), as is the force required to be exerted by the spring to keep the apple accelerating. You object that the apple is also exerting a force on the spring. Well yes, this is just Newton's third law. The spring in turn exerts a force on whatever is supporting the upper end of the spring, and so on. Since no one has answered the second question, and since I discovered the answer subsequently, so I will post it. I only hope that it is correct. The spacetime bends backwards, so that if the the apple takes the shortest path, ie vertical, it reaches the point C where x=10 (in fig b) due to the backward tilt of the axis. Actually, these lines are curves to allow for parabolic nature of acceleration. I have drawn them as straight lines, just to show approximately which way they will bend. Remember, the apple started out at A, where x=0, and the earth was at x=10. Compare with the fig in the question which did not make sense due to the tilt of the axes in the wrong direction. The vertical line followed by the apple in fig b shows that the apple thinks that it is at rest and the earth is accelerating towards it. ![enter image description here](https://i.stack.imgur.com/NY7Wh.png) > > How exactly has the spacetime curved or tilted for the apple at A due > to the presence of the Earth at E, and how does the apple move to the > earth by following the geodesic in free fall? (assume only one spatial > dimention) > > > Spacetime is not "tilted", like you show it, because the two dimension must be orthogonal everywhere. This is shown here: <http://www.youtube.com/watch?v=DdC0QN6f3G4>	stackexchange/physics
during the study period , beth israel deaconess medical center , west campus , was a 320-bed , urban , tertiary - care teaching hospital , with 24 intensive care unit beds and approximately 12,000 admissions annually ; the hospital serves a nonobstetric adult population in boston , massachusetts . data were collected from administrative , laboratory , and pharmacy databases within this hospital by using relational database software ( access97 , microsoft , redmond , wa ) . the microbiology database was searched to identify all cultures positive for nosocomial third - generation cephalosporin - resistant enterobacter spp . , p. aeruginosa , and k. pneumoniae in hospitalized patients from october 1 , 1993 , to june 1 , 1998 . to qualify for inclusion , an isolate had to grow from a culture taken no earlier than the host patient s second hospital day . for enterobacter spp . and k. pneumoniae , third - generation cephalosporin resistance was defined as an mic of ceftriaxone or ceftazidime of > 16 g / ml ; resistance in p. aeruginosa was defined as an mic of ceftazidime of > 16 g / ml . patients whose clinical culture data demonstrated an isolate with the above criteria were considered case - patients . a patient could be included only once . to meet the criteria of appropriate selection of the reference group , which require that controls be derived from the same source population that gives rise to the cases ( 7 ) , controls were selected randomly from hospitalized patients who did not have a positive culture for the studied organisms . controls were matched to the cases in a 2:1 ratio on the basis of length of hospital stay until the positive culture was taken ; thus at the time of matching , each control had been hospitalized as long as his or her index case - patient . variables studied included patient demographics ( age and sex ) , coexisting conditions ( number of conditions , aids , diabetes mellitus , cardiovascular disease , hepatic disease , pulmonary disease , renal disease , and malignancy ) , hospital events during the risk period ( surgery , intensive care unit stay ) , and receipt before the day of culture , for at least 24 hours , of an agent from any of the following antimicrobial drug classes : -lactam/-lactamase inhibitor combinations ( mostly ampicillin / sulbactam and piperacillin / tazobactam ) , aminoglycosides ( mostly gentamicin and tobramycin ) , first- or second - generation cephalosporins , third - generation cephalosporins ( mostly ceftriaxone and ceftazidime ) , imipenem , ureidopenicillins ( mostly piperacillin ) , and fluoroquinolones ( mostly ciprofloxacin and ofloxacin ) . the route of administration of the antimicrobial agents was not considered , since the route was parenteral for all classes studied except fluoroquinolones . for fluoroquinolones , the nearly equivalent bioavailability between the oral and parenteral routes obviated the need to distinguish patients who received agents from this class orally from those who received them parenterally . cary , nc , version 8e ) . matched analyses were conducted by using a conditional logistic regression model . variables with a p value of < 0.05 on univariate matched analysis were included in a multiple conditional logistic regression model . effect modification between factors was searched for by testing appropriate interaction terms for statistical significance . effect estimates in the regression model were reported as hazard ratios ; p values of < 0.05 were considered significant . during the study period , beth israel deaconess medical center , west campus , was a 320-bed , urban , tertiary - care teaching hospital , with 24 intensive care unit beds and approximately 12,000 admissions annually ; the hospital serves a nonobstetric adult population in boston , massachusetts . data were collected from administrative , laboratory , and pharmacy databases within this hospital by using relational database software ( access97 , microsoft , redmond , wa ) . the microbiology database was searched to identify all cultures positive for nosocomial third - generation cephalosporin - resistant enterobacter spp . , p. aeruginosa , and k. pneumoniae in hospitalized patients from october 1 , 1993 , to june 1 , 1998 . to qualify for inclusion , an isolate had to grow from a culture taken no earlier than the host patient s second hospital day . for enterobacter spp . and k. pneumoniae , third - generation cephalosporin resistance was defined as an mic of ceftriaxone or ceftazidime of > 16 g / ml ; resistance in p. aeruginosa was defined as an mic of ceftazidime of > 16 g / ml . patients whose clinical culture data demonstrated an isolate with the above criteria were considered case - patients . a patient could be included only once . to meet the criteria of appropriate selection of the reference group , which require that controls be derived from the same source population that gives rise to the cases ( 7 ) , controls were selected randomly from hospitalized patients who did not have a positive culture for the studied organisms . controls were matched to the cases in a 2:1 ratio on the basis of length of hospital stay until the positive culture was taken ; thus at the time of matching , each control had been hospitalized as long as his or her index case - patient . variables studied included patient demographics ( age and sex ) , coexisting conditions ( number of conditions , aids , diabetes mellitus , cardiovascular disease , hepatic disease , pulmonary disease , renal disease , and malignancy ) , hospital events during the risk period ( surgery , intensive care unit stay ) , and receipt before the day of culture , for at least 24 hours , of an agent from any of the following antimicrobial drug classes : -lactam/-lactamase inhibitor combinations ( mostly ampicillin / sulbactam and piperacillin / tazobactam ) , aminoglycosides ( mostly gentamicin and tobramycin ) , first- or second - generation cephalosporins , third - generation cephalosporins ( mostly ceftriaxone and ceftazidime ) , imipenem , ureidopenicillins ( mostly piperacillin ) , and fluoroquinolones ( mostly ciprofloxacin and ofloxacin ) . the route of administration of the antimicrobial agents was not considered , since the route was parenteral for all classes studied except fluoroquinolones . for fluoroquinolones , the nearly equivalent bioavailability between the oral and parenteral routes obviated the need to distinguish patients who received agents from this class orally from those who received them parenterally . statistical analyses were performed by using sas software ( sas institute , inc . , cary , nc , version 8e ) . variables with a p value of < 0.05 on univariate matched analysis were included in a multiple conditional logistic regression model . effect modification between factors was searched for by testing appropriate interaction terms for statistical significance . effect estimates in the regression model were reported as hazard ratios ; p values of < 0.05 were considered significant . two hundred eighty - two patients with third - generation cephalosporin - resistant nosocomial target pathogens were enrolled in the study : enterobacter spp . were isolated from 203 patients , p. aeruginosa from 50 , and k. pneumoniae from 29 . for all but two of these case - patients , two matched controls were enrolled per case ; for each of the remaining two , one control was enrolled . case - patients and controls were similar in age ( mean 62.4 vs. 62.1 years ; p = 0.82 ) and sex distribution ( 55.3% vs. 52.7% male ; p = 0.44 ) . characteristics of the study patients and the matched univariate comparisons for case - patients and controls are summarized in table 1 . case - patients had a significantly higher number of coexisting conditions than controls ( hazard ratio [ hr ] 1.22 ; p = 0.01 ) ; specifically , case - patients had a higher prevalence of hepatic disease ( hr 1.70 ; p = 0.004 ) , pulmonary disease ( hr 1.52 ; p = 0.04 ) , and renal disease ( hr 1.71 ; p = 0.003 ) . case - patients were significantly more likely than controls to have been in an intensive care unit ( hr 2.65 ; p < 0.001 ) and to have had surgery ( hr 2.03 ; p < 0.001 ) during the risk period . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . case - patients were significantly less likely than controls to have received a fluoroquinolone ( hr 0.48 ; p = 0.008 ) . case - patients were significantly more likely than controls to have received a -lactam/-lactamase inhibitor ( hr 2.48 ; p < 0.001 ) , a first- or second - generation cephalosporin ( hr 1.39 ; p = 0.04 ) , a third - generation cephalosporin ( hr 2.98 , p < 0.001 ) , or a ureidopenicillin ( hr 2.91 , p < 0.001 ) . there was also a trend toward greater use of aminoglycosides ( hr 1.39 ; p = 0.09 ) and imipenem ( hr 1.51 ; p = 0.14 ) in case - patients , but these associations did not achieve significance . results of the multivariable analysis are summarized in table 2 . neither the total number of coexisting conditions nor the frequency of any individual condition was significantly different between cases and controls . after controlling for confounding variables , however , both hospital events examined ( surgery and intensive care unit exposure ) remained significantly associated with the isolation of a resistant gram - negative organism ( hr 1.62 ; p = 0.005 , and hr , 2.17 ; p < 0.001 , respectively ) . three antimicrobial drug classes remained significantly associated with isolation of a resistant pathogen : -lactam/-lactamase inhibitor combinations ( hr , 2.52 ; p < 0.001 ) , ureidopenicillins ( hr , 2.55 ; p = 0.002 ) , and third - generation cephalosporins ( hr , 2.84 ; p < 0.001 ) . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . the only factor protective against isolation of a third - generation cephalosporin - resistant gram - negative pathogen was exposure to a fluoroquinolone . after controlling for confounding , the protective effect was even more pronounced than on univariate analysis ( hr , 0.4 ; p = 0.005 ) . subgroup analyses that used the same multivariable model showed a similar protective effect for fluoroquinolones against isolation of each of the three pathogens considered individually , though in the smaller two subgroups the results did not achieve significance . confounding by severity of illness was controlled for in the analysis by the inclusion in the final model of intensive care unit stay and surgery before culture , as both of these hospital events , particularly the former , are markers of disease severity . none of the individual coexisting conditions analyzed , nor the total number of such conditions , differed significantly between cases and controls on univariate analysis , and thus they were not included in the final model . moreover , forcing the term for total coexisting conditions into the multivariable model expressly to control for confounding did not change the results for any of the significant terms . interaction terms between the following factors were analyzed : fluoroquinolone use and cephalosporin use , surgery and intensive care unit exposure , fluoroquinolone use and diabetes mellitus , and fluoroquinolone use and renal disease . none of these interaction terms achieved significance , and thus they were not included in the final model . two hundred eighty - two patients with third - generation cephalosporin - resistant nosocomial target pathogens were enrolled in the study : enterobacter spp . were isolated from 203 patients , p. aeruginosa from 50 , and k. pneumoniae from 29 . for all but two of these case - patients , two matched controls were enrolled per case ; for each of the remaining two , one control was enrolled . case - patients and controls were similar in age ( mean 62.4 vs. 62.1 years ; p = 0.82 ) and sex distribution ( 55.3% vs. 52.7% male ; p = 0.44 ) . characteristics of the study patients and the matched univariate comparisons for case - patients and controls are summarized in table 1 . case - patients had a significantly higher number of coexisting conditions than controls ( hazard ratio [ hr ] 1.22 ; p = 0.01 ) ; specifically , case - patients had a higher prevalence of hepatic disease ( hr 1.70 ; p = 0.004 ) , pulmonary disease ( hr 1.52 ; p = 0.04 ) , and renal disease ( hr 1.71 ; p = 0.003 ) . case - patients were significantly more likely than controls to have been in an intensive care unit ( hr 2.65 ; p < 0.001 ) and to have had surgery ( hr 2.03 ; p < 0.001 ) during the risk period . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . in the univariate analysis , case - patients were significantly less likely than controls to have received a fluoroquinolone ( hr 0.48 ; p = 0.008 ) . case - patients were significantly more likely than controls to have received a -lactam/-lactamase inhibitor ( hr 2.48 ; p < 0.001 ) , a first- or second - generation cephalosporin ( hr 1.39 ; p = 0.04 ) , a third - generation cephalosporin ( hr 2.98 , p < 0.001 ) , or a ureidopenicillin ( hr 2.91 , p < 0.001 ) . there was also a trend toward greater use of aminoglycosides ( hr 1.39 ; p = 0.09 ) and imipenem ( hr 1.51 ; p = 0.14 ) in case - patients , but these associations did not achieve significance . results of the multivariable analysis are summarized in table 2 . neither the total number of coexisting conditions nor the frequency of any individual condition was significantly different between cases and controls . after controlling for confounding variables , however , both hospital events examined ( surgery and intensive care unit exposure ) remained significantly associated with the isolation of a resistant gram - negative organism ( hr 1.62 ; p = 0.005 , and hr , 2.17 ; p < 0.001 , respectively ) . three antimicrobial drug classes remained significantly associated with isolation of a resistant pathogen : -lactam/-lactamase inhibitor combinations ( hr , 2.52 ; p < 0.001 ) , ureidopenicillins ( hr , 2.55 ; p = 0.002 ) , and third - generation cephalosporins ( hr , 2.84 ; p outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . the only factor protective against isolation of a third - generation cephalosporin - resistant gram - negative pathogen was exposure to a fluoroquinolone . after controlling for confounding , the protective effect was even more pronounced than on univariate analysis ( hr , 0.4 ; p = 0.005 ) . subgroup analyses that used the same multivariable model showed a similar protective effect for fluoroquinolones against isolation of each of the three pathogens considered individually , though in the smaller two subgroups the results did not achieve significance . confounding by severity of illness was controlled for in the analysis by the inclusion in the final model of intensive care unit stay and surgery before culture , as both of these hospital events , particularly the former , are markers of disease severity . none of the individual coexisting conditions analyzed , nor the total number of such conditions , differed significantly between cases and controls on univariate analysis , and thus they were not included in the final model . moreover , forcing the term for total coexisting conditions into the multivariable model expressly to control for confounding did not change the results for any of the significant terms . interaction terms between the following factors were analyzed : fluoroquinolone use and cephalosporin use , surgery and intensive care unit exposure , fluoroquinolone use and diabetes mellitus , and fluoroquinolone use and renal disease . none of these interaction terms achieved significance , and thus they were not included in the final model . resistance to third - generation cephalosporins among gram - negative nosocomial pathogens is associated with increased mortality , length of stay , and hospital costs ( 14 ) . this study was designed to test the hypothesis that recipients of fluoroquinolones are protected against infection and colonization with the three most common third - generation cephalosporin - resistant gram - negative nosocomial pathogens , enterobacter spp . we have demonstrated a protective effect of fluoroquinolone use on infection or colonization with these resistant organisms both in crude analysis and after control for confounding variables . moreover , subgroup analysis demonstrated this protective effect for each genus individually , though small numbers of patients with cultures positive for p. aeruginosa and k. pneumoniae precluded statistical significance in these groups , due to the limited power associated with subgroup analysis . other notable findings are that surgery , intensive care unit stay , and receipt of a -lactam/-lactamase inhibitor combination , a ureidopenicillin , or a third - generation cephalosporin increase the likelihood of recovery of these resistant pathogens . although we did not match case - patients and controls based on date of admission , division of the entire study period into three time intervals showed the ratio of cases to controls to be approximately the same in each . the likelihood of spurious associations resulting from disparity between the year of hospitalization of cases and controls is therefore minimal . since the focus of the study was the occurrence of third - generation cephalosporin - resistant nosocomial organisms in the population we studied , this distinction was not necessary . the organisms we studied are capable of causing infection in a given patient at any point after colonization . moreover , once they have colonized a patient , they are capable of transmission to other hospitalized patients , in whom they can cause infection . our objective , then , was not to compare rates of active disease between hospitalized groups , but rather to use the recovery of these organisms as a marker for actual or potential disease in the populations we examined . in addition to infection control measures , such as active surveillance , hygiene , and isolation precautions , the other important strategy in checking the emergence and spread of antimicrobial resistance is the manipulation of selective antimicrobial pressure through changes in use of antimicrobial drugs ( 5 ) . previous studies exploring the effect of antibiotics on third - generation cephalosporin resistance focused on replacement of cephalosporins with other -lactam containing agents ( 811 ) . two main categories of -lactamases mediate resistance to third - generation cephalosporins among the common gram - negative nosocomial pathogens : chromosomal -lactamases and plasmid - associated extended - spectrum -lactamases ( esbls ) ( 12 ) . enzymes that can confer resistance to most penicillins , cephalosporins , and monobactams , esbls belong to bush - jacoby - medeiros functional group 2 , whose enzymes are generally inhibited in vitro by -lactamase inhibitors . by contrast , the chromosomal -lactamases present in enterobacter and pseudomonas ( which constitute 90% of the resistant isolates in our study ) belong to group 1 , whose enzymes are not inhibited by -lactamase inhibitors ( 13 ) . earlier studies described interventions carried out when plasmid - associated esbls were the main mechanism of resistance , so it is not surprising that replacing cephalosporins with a -lactam/-lactamase inhibitor combination , as was done in some of these studies ( 8,9,11 ) , resulted in reduced rates of cephalosporin resistance . our study , by contrast , found both ureidopenicillins and -lactam/-lactamase inhibitor combinations to be risk factors for the isolation of gram - negative organisms resistant to third - generation cephalosporins . we believe that this discrepancy relates to the fact that the predominant cause of resistance in our hospital during the study period was group 1 chromosomal -lactamases ( against which -lactamase inhibitors are not active ) and that plasmid - mediated esbls played only a minimal role ( 14 ) . our findings expand on the observations of kaye et al . regarding the protective effect of fluoroquinolones on the emergence of third - generation cephalosporin - resistant enterobacter spp ( 6 ) . they diverge , however , regarding risk factors . although kaye et al . found third - generation cephalosporin exposure to be an independent risk factor for emergence of resistance ; no other antimicrobial exposure or hospital event was independently associated with this finding . we propose that the suggested discrepancy between these results and our findings that certain hospital events and antimicrobial classes confer enhanced risk for initial isolation of resistant organisms can be attributed to the difference in the design of the two studies . kaye et al . , in examining emergence of resistance , identified clinical isolates for which -lactamase production was induced or derepressed mutants were selected . our study design , by contrast , detected those patients colonized or infected by an organism with preexisting third - generation cephalosporin resistance , a phenomenon made more likely by certain hospital events or antimicrobial drug exposures . whereas kaye s case - patients began with susceptible isolates that developed resistance after a specific exposure , our case - patients were enrolled with already resistant strains . thus , while a particular hospital event or antimicrobial drug exposure may not induce -lactamase production or select derepressed mutants , it may well confer enhanced susceptibility to the acquisition of a strain in which resistance mechanisms are already expressed . although we do not include molecular typing or epidemiologic data regarding patterns of antimicrobial drug use and colonization with resistant organisms , earlier studies conducted during our study period at the same institution have answered many of these questions ( 14,15 ) . these studies showed that colonization with ceftazidime - resistant gram - negative bacilli in intensive care units during a nonoutbreak period was common , was probably acquired before admission to the unit , involved diverse strains , and was associated with prior exposure to a variety of -lactam antimicrobial drugs . when one generalizes from the interventional studies performed to date , replacing third - generation cephalosporins with other agents is difficult because they are prone to several possible biases : 1 ) they are before / after studies and are therefore prone to time effect bias ; 2 ) they describe a group - level analysis and are therefore prone to ecologic bias ( 16 ) ; 3 ) the formulary intervention is usually coupled with improved infection control measures , causing difficulty in determining which measure is responsible for the noted effect ; and 4 ) these studies are more likely to be reported and published when a positive effect is noted , i.e. , publication bias . our data as well as those of kaye et al . suggest that fluoroquinolones could be substituted for certain types of -lactam antimicrobial drugs to prevent the emergence and lower the rates of isolation of the most common third - generation cephalosporin - resistant gram - negative nosocomial pathogens . the potential advantages of adding fluoroquinolones to the armamentarium of agents that can be used to combat third - generation cephalosporin resistance are several : they can be administered orally ; they are relatively nontoxic and inexpensive ; and they may allow the replacement of earlier generation cephalosporins , receipt of which has previously been identified as a risk factor for isolation of third - generation cephalosporin - resistant gram - negative organisms ( 15 ) . a limitation of retrospective analyses is the inability to prove what appear to be causal relationships . proof that fluoroquinolones are in fact protective against the isolation of nosocomial third - generation cephalosporin - resistant gram - negative pathogens , as suggested by the inverse association demonstrated here , will require animal models or prospective interventional studies . such studies will also be required to determine whether reduced third - generation cephalosporin resistance will come at the cost of increased levels of fluoroquinolone resistance , a phenomenon to which burke has referred as squeezing the balloon ( 17 ) . fluoroquinolone resistance , not addressed in our study , occurs primarily by means of chromosomal mutation ( 18 ) , and resistant mutants could potentially be selected for by increased use of this class of antimicrobial agent . our data , then , provide the impetus for further studies , including a prospective interventional trial to explore the overall protective efficacy of fluoroquinolones against multiresistant gram - negative pathogens .	pubmed
Wicked What is it like? hi! I know I'm supposed to be writing Learning to Love again. I literally have so many ideas for this and now I need to sift through them and cut some out, cuz it would be like eighty chapters if I had my way, and I don't think people will follow it for that long. But this popped into my head, so here you go! disclaimer; not that girl. * * * "What is it like, Fabala?" Nessarose asked. "What is what like, Nessie?" Her sister, Elphaba, returned. "Being able to walk," the seven year old said bluntly. Elphaba flinched, realizing that just the fact that she was standing was enough to rub her sister's face in her disability. She immediately went to kneel beside Nessa's chair. "I've never really thought about it," the girl said. Nessarose nodded, disappointed, and Elphaba winced. "I suppose it's rather a lot like flying," said Elphaba. "Not that I've flown before. But walking is like... Like reaching up to touch a sky that is just out of reach, knowing that you'll get there someday." Nessa's hazel eyes gleamed. "Yes. Tell me more," she said, her voice ringing with longing. "Well," said her sister, "it's rather fun to run down a hill into the wind." "Yes, yes I can picture it." And silence reigned again. Until Elphaba said, "Nessie?" "Hmm?" "What is it like?" "What is what like?" "Not being green." "Oh." Nessa bit her lip."Well, I suppose I've never really thought about it, either. It's just... Normal. It doesn't feel any different. But then, I've never been you. Do you see?" "Yes, and it suppose it doesn't feel like anything to be green, either. It's more... The way people look at you... It's... It's just... What does it feel like, Nessa, to come into a room and see a friend? A smiling face? Someone who wants to talk to you, who isn't..." She groped for a word. "Repulsed by you?" "Well," said Nessarose, "It is very nice to know people care about you." The girl smiled. "But you know it just feels natural. I mean, I've always had you, and you care about me, don't you care about me, Fabala?" "Yes, Nessie. I care about you." Another silence. "Nessie?" "Hmm?" "What does it feel like... To be loved?" Nessarose didn't answer that. End file.	fanfiction
a total of 34 patients were involved in this study at the eye and ent hospital of fudan university from december 2013 to july 2015 . seventeen eyes of 17 patients ( 10 male and 7 female , with ages between 22.4 and 31.4 years ) diagnosed with progressive keratoconus ( kc ) ( kc group ) and 17 eyes of 17 myopic patients ( control group ) with matching age and gender were examined . this study was approved by the ethics committee of the eye and ent hospital of fudan university ( ethical approval number : ky2012 - 017 ) and was carried out following the tenets of the declaration of helsinki . written informed consent for the treatment was obtained from each patient before the procedures . progressive kc was defined as 1 diopter ( d ) increase in the steepest keratometry ( k ) value , 1 d increase in the manifest cylinder , or 0.5 d increase in the manifest refraction spherical equivalent ( mrse ) over the past 2 years . exclusion criteria of the procedure were corneal thickness of less than 340 m at the thinnest point ( evaluated by a 3-dimensional anterior segment analyzer , pentacam hr , type 70900 ; pentacam , oculus , germany ) , endothelial cell density of less than 2000 cells per square millimeter ( specular microscope , sp-2000p ; topcon corporation , japan ) , corneal scarring , severe dry eye , autoimmune diseases , or pregnancy . before their operations , the eyes of the kc patients underwent mrse , best spectacle - corrected distant visual acuity ( bscdva ) , and slit - lamp anterior segment and fundus examinations . corneal topography , including central corneal thickness ( cct ) , thinnest point pachymetry ( tpp ) , flat k value ( k1 ) , steep k value ( k2 ) , mean k value ( km ) , and corneal densitometry were obtained by using a pentacam hr in a sitting position . for the kc group , mrse and bscdva were assessed again 12 months after the procedure . in addition , their cct , tpp , k1 , k2 , km , and corneal densitometry values were postoperatively remeasured at 1 , 6 , and 12 months . densitometry is expressed in gray scale units and ranges from 0 ( 100% transparent ) to 100 ( completely opaque , 0% transparent ) . in this study , corneal densitometry values were analyzed using the cornea densitometry average table ( version 1.20r29 ) , which refers to the average densitometry values in different annuli around the apex and in 4 different layers of the cornea . anterior layer and the posterior layer represent the first 120 m and the last 60 m of the complete corneal thickness . the central layer , which has no fixed thickness value , refers to the volume between the 2 boundary layers . the total layer refers to the volume between the epithelium and endothelium of a cornea . for each eye , the measurements on the central annuli of diameters from 0 to 2 mm ( 02 mm ) and from 2 to 6 mm ( 26 mm ) of the corneas ' anterior layer , central layer , posterior layer , and the total layer were analyzed . this is because densitometry value measurements were much more accurate and repeatable in the central areas compared with the peripheral . all procedures were performed by 1 surgeon ( x.z . ) . before each procedure , 3 drops of 0.4% oxybuprocaine hydrochloride ( santen pharmaceutical co , ltd , osaka , japan ) were applied on the cornea for topical anesthesia . after a lid speculum was applied to keep the whole cornea fully exposed , a trephine with an inner diameter of 8.5 mm ( model 52503b ; 66 vision tech co , ltd , suzhou , china ) was placed in the center of the cornea . paracel solution ( riboflavin 0.25% , hydroxyl - propyl - methyl - cellulose , nacl , ethylene - diamine - tetra - acetic acid , tris , and benzalkonium chloride ; medio - haus - medizinprodukte gmbh , kiel , germany ) was then instilled into the trephine to increase the permeability of the corneal epithelium for 240 seconds and removed immediately with a cellulose sponge . subsequently , vibex - xtra solution ( riboflavin phosphate 2.80 mg / ml and nacl , avedro , inc . ) was continually dripped into the trephine for 6 minutes to saturate the total layer of the corneal tissue . then , the trephine was removed and ate - cxl was performed using a 365-nm uv - a light ( avedro 's kxl system ; avedro , inc ) with 45-mw / cm irradiation in pulsed mode ( 0.5-hertz flash rate , ie , one second on , next second off ) for a total of 320 seconds ( total energy : 7.2 j / cm ) . balanced salt solution was administered every 40 seconds to protect ocular surface from dehydration during irradiation . finally , a bandage contact lens ( acuvue oasys , inc , jacksonville , fl ) was placed on the cornea for 3 days postoperation . topical antibiotics ( ofloxacin ophthalmic solution 0.5% ; santen pharmaceutical co , ltd ) were used 4 times per day for 7 days . artificial tears ( tears naturale ; alcon laboratories , inc , fort worth , tx ) were applied 4 times per day for 20 days . topical steroids ( fluorometholone 0.1% ; santen pharmaceutical co , ltd ) were applied 8 times per day initially , with gradually reduced frequencies for a period of 20 days . test was performed to assess the differences in the baseline of refraction and topographic parameters between the kc group and the control group . repeated measures analyses of variance ( rm - anova ) with bonferroni - adjusted post hoc comparisons were performed to evaluate the changes in corneal densitometry values and topographic parameters obtained preoperation , and at 1 , 6 , and 12 months postoperations . multifactor anovas with bonferroni - adjusted post hoc comparisons were performed to assess the differences between the densitometry values of the control group and those obtained before and at 12 months after ate - cxl of the kc group . a total of 34 patients were involved in this study at the eye and ent hospital of fudan university from december 2013 to july 2015 . seventeen eyes of 17 patients ( 10 male and 7 female , with ages between 22.4 and 31.4 years ) diagnosed with progressive keratoconus ( kc ) ( kc group ) and 17 eyes of 17 myopic patients ( control group ) with matching age and gender were examined . this study was approved by the ethics committee of the eye and ent hospital of fudan university ( ethical approval number : ky2012 - 017 ) and was carried out following the tenets of the declaration of helsinki . written informed consent for the treatment was obtained from each patient before the procedures . progressive kc was defined as 1 diopter ( d ) increase in the steepest keratometry ( k ) value , 1 d increase in the manifest cylinder , or 0.5 d increase in the manifest refraction spherical equivalent ( mrse ) over the past 2 years . exclusion criteria of the procedure were corneal thickness of less than 340 m at the thinnest point ( evaluated by a 3-dimensional anterior segment analyzer , pentacam hr , type 70900 ; pentacam , oculus , germany ) , endothelial cell density of less than 2000 cells per square millimeter ( specular microscope , sp-2000p ; topcon corporation , japan ) , corneal scarring , severe dry eye , autoimmune diseases , or pregnancy . before their operations , the eyes of the kc patients underwent mrse , best spectacle - corrected distant visual acuity ( bscdva ) , and slit - lamp anterior segment and fundus examinations . corneal topography , including central corneal thickness ( cct ) , thinnest point pachymetry ( tpp ) , flat k value ( k1 ) , steep k value ( k2 ) , mean k value ( km ) , and corneal densitometry were obtained by using a pentacam hr in a sitting position . images with acceptable quality were analyzed . for the kc group , mrse and bscdva were assessed again 12 months after the procedure . in addition , their cct , tpp , k1 , k2 , km , and corneal densitometry values were postoperatively remeasured at 1 , 6 , and 12 months . densitometry is expressed in gray scale units and ranges from 0 ( 100% transparent ) to 100 ( completely opaque , 0% transparent ) . in this study , corneal densitometry values were analyzed using the cornea densitometry average table ( version 1.20r29 ) , which refers to the average densitometry values in different annuli around the apex and in 4 different layers of the cornea . anterior layer and the posterior layer represent the first 120 m and the last 60 m of the complete corneal thickness . the central layer , which has no fixed thickness value , refers to the volume between the 2 boundary layers . the total layer refers to the volume between the epithelium and endothelium of a cornea . for each eye , the measurements on the central annuli of diameters from 0 to 2 mm ( 02 mm ) and from 2 to 6 mm ( 26 mm ) of the corneas ' anterior layer , central layer , posterior layer , and the total layer were analyzed . this is because densitometry value measurements were much more accurate and repeatable in the central areas compared with the peripheral . all procedures were performed by 1 surgeon ( x.z . ) . before each procedure , 3 drops of 0.4% oxybuprocaine hydrochloride ( santen pharmaceutical co , ltd , osaka , japan ) were applied on the cornea for topical anesthesia . after a lid speculum was applied to keep the whole cornea fully exposed , a trephine with an inner diameter of 8.5 mm ( model 52503b ; 66 vision tech co , ltd , suzhou , china ) was placed in the center of the cornea . paracel solution ( riboflavin 0.25% , hydroxyl - propyl - methyl - cellulose , nacl , ethylene - diamine - tetra - acetic acid , tris , and benzalkonium chloride ; medio - haus - medizinprodukte gmbh , kiel , germany ) was then instilled into the trephine to increase the permeability of the corneal epithelium for 240 seconds and removed immediately with a cellulose sponge . subsequently , vibex - xtra solution ( riboflavin phosphate 2.80 mg / ml and nacl , avedro , inc . ) was continually dripped into the trephine for 6 minutes to saturate the total layer of the corneal tissue . then , the trephine was removed and ate - cxl was performed using a 365-nm uv - a light ( avedro 's kxl system ; avedro , inc ) with 45-mw / cm irradiation in pulsed mode ( 0.5-hertz flash rate , ie , one second on , next second off ) for a total of 320 seconds ( total energy : 7.2 j / cm ) . balanced salt solution was administered every 40 seconds to protect ocular surface from dehydration during irradiation . finally , a bandage contact lens ( acuvue oasys , inc , jacksonville , fl ) was placed on the cornea for 3 days postoperation . topical antibiotics ( ofloxacin ophthalmic solution 0.5% ; santen pharmaceutical co , ltd ) were used 4 times per day for 7 days . artificial tears ( tears naturale ; alcon laboratories , inc , fort worth , tx ) were applied 4 times per day for 20 days . topical steroids ( fluorometholone 0.1% ; santen pharmaceutical co , ltd ) were applied 8 times per day initially , with gradually reduced frequencies for a period of 20 days . test was performed to assess the differences in the baseline of refraction and topographic parameters between the kc group and the control group . repeated measures analyses of variance ( rm - anova ) with bonferroni - adjusted post hoc comparisons were performed to evaluate the changes in corneal densitometry values and topographic parameters obtained preoperation , and at 1 , 6 , and 12 months postoperations . multifactor anovas with bonferroni - adjusted post hoc comparisons were performed to assess the differences between the densitometry values of the control group and those obtained before and at 12 months after ate - cxl of the kc group . baseline data of patient demographics are shown in table 1 . paired t test revealed that the values of mrse , k1 , k2 , and km in the kc group were significantly higher than those in the control group ( t = 2.188 , p = 0.044 ; t = 3.559 , p = 0.003 ; t = 5.307 , p < 0.001 ; t = 4.439 , p < 0.001 , respectively ) , whereas the mean values of cct and tpp were lower ( t = 3.273 , p = 0.005 and t = 4.642 , p < 0.001 ) . no postoperative complications ( eg , severe dry eye , corneal haze , edema , or infection ) were detected at the 1- , 6- , and 12-month marks . baseline data of main topographic parameters and patient demographics ( n = 34 ) before the procedure , 6 kc patients ' eyes ( 35.3% ) had a bscdva of equal to or better than 20/25 ; 8 ( 47.1% ) had a bdcva between 20/25 and 6/20 . twelve - month postoperative results showed that the postoperative bscdva improved significantly ( z = 2.634 , p = 0.008 ) as 9 kc patients ' eyes ( 52.9% ) had a bscdva of equal to or better than 20/25 ; 5 ( 29.4% ) had a bdcva between 20/25 and 6/20 ; and the remaining 3 ( 17.6% ) were less than 6/20 . the mean values of topographic parameters before and after ate - cxl were listed in table 2 . rm - anova revealed that the mean values of k1 , k2 , km , cct , and tpp remained stable ( f = 2.352 , p = 0.084 ; f = 0.848 , p = 0.474 ; f = 0.938 , p = 0.430 ; f = 0.694 , p = 0.560 ; f = 0.801 , p = 0.471 , respectively ) after the procedure . however , as demonstrated in table 3 , the densitometry values of the anterior layer ( f = 4.186 , p = 0.010 ) , the central layer ( f = 6.438 , p = 0.001 ) , the posterior layer ( f = 6.109 , p = 0.001 ) , and the total layer ( f = 5.590 , p = 0.002 ) over 0 to 2 mm , and the values obtained at 2 to 6 mm of the anterior layer ( f = 3.738 , p = 0.017 ) , the central layer ( f = 7.611 , p < 0.001 ) , the posterior layer ( f = 6.293 , p = 0.001 ) , and the total layer ( f = 5.570 , p = 0.002 ) changed significantly after the ate - cxl procedure . as illustrated in figures 1a , b , a bonferroni post hoc comparison test detected that the mean densitometry values of the anterior layer over 0 to 2 mm and 2 to 6 mm areas remained unchanged at the 1-month mark ( 02 mm post hoc p = 1.000 ; 26 mm post hoc p = 1.000 ) and the 6-month mark ( 02 mm post hoc p = 0.093 ; 26 mm post hoc p = 0.089 ) , but decreased significantly after 12 months ( 02 mm post hoc p = 0.011 ; 26 mm post hoc p = 0.012 ) when compared with the preoperative values . the mean densitometry values decreased significantly after 6 months in the central layer ( 02 mm post hoc p = 0.024 ; 26 mm post hoc p = 0.020 ) , the posterior layer ( 02 mm post hoc p = 0.025 ; 26 mm post hoc p = 0.027 ) , and the total layer ( 02 mm post hoc p = 0.035 ; 26 mm post hoc p = 0.033 ) . those parameters , obtained 12 months postoperations , were still significantly lower than preoperative ones ( central layer 02 mm : post hoc p = 0.006 ; central layer 26 mm : post hoc p = 0.016 ; posterior layer 02 mm : post hoc p = 0.010 ; posterior layer 26 mm : post hoc p = 0.013 ; the total layer 02 mm : post hoc p = 0.007 and the total layer 26 mm : post hoc p = 0.011 ) . changes in topographic parameters after ate - cxl ( n = 17 ) changes in densitometry values of each position of a cornea after ate - cxl ( n = 17 ) a , the densitometry values over 0 to 2 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) b , the densitometry values over 2 to 6 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) the mean densitometry values of each layer in the control group were listed in table 4 . multifactor anova and bonferroni post hoc comparisons tests revealed that the densitometry values of the myopes were significantly lower than those of the kc patients in each location of the cornea over 0 to 2 mm and 2 to 6 mm ( all post hoc p values were less than 0.001 ) . moreover , except for the densitometry value of anterior layer over 2 to 6 mm ( post hoc p = 0.062 ) , the densitometry values of the anterior layer over 0 to 2 mm ( post hoc p = 0.036 ) , the central layer over 0 to 2 mm ( post hoc p < 0.001 ) , the central layer over 2 to 6 mm ( post hoc p < 0.001 ) , the posterior layer over 0 to 2 mm ( post hoc p = 0.049 ) , the posterior layer over 2 to 6 mm ( post hoc p < 0.001 ) , the total layer over 0 to 2 mm ( post hoc p = 0.002 ) , and the total layer over 2 to 6 mm ( post hoc p = 0.001 ) of the kc group were still significantly higher than those of the control group 12 months after the ate - cxl procedure ( figs . corneal densitometry average table ( n = 34 ) a , the mean densitometry values over 0 to 2 mm of preoperation , 12-month postoperation , and control group . b , the mean densitometry values over 2 to 6 mm of preoperation , 12-month postoperation , and control group . baseline data of patient demographics are shown in table 1 . paired t test revealed that the values of mrse , k1 , k2 , and km in the kc group were significantly higher than those in the control group ( t = 2.188 , p = 0.044 ; t = 3.559 , p = 0.003 ; t = 5.307 , p < 0.001 ; t = 4.439 , p < 0.001 , respectively ) , whereas the mean values of cct and tpp were lower ( t = 3.273 , p = 0.005 and t = 4.642 , p < 0.001 ) . no postoperative complications ( eg , severe dry eye , corneal haze , edema , or infection ) were detected at the 1- , 6- , and 12-month marks . before the procedure , 6 kc patients ' eyes ( 35.3% ) had a bscdva of equal to or better than 20/25 ; 8 ( 47.1% ) had a bdcva between 20/25 and 6/20 . twelve - month postoperative results showed that the postoperative bscdva improved significantly ( z = 2.634 , p = 0.008 ) as 9 kc patients ' eyes ( 52.9% ) had a bscdva of equal to or better than 20/25 ; 5 ( 29.4% ) had a bdcva between 20/25 and 6/20 ; and the remaining 3 ( 17.6% ) were less than 6/20 . the mean values of topographic parameters before and after ate - cxl were listed in table 2 . rm - anova revealed that the mean values of k1 , k2 , km , cct , and tpp remained stable ( f = 2.352 , p = 0.084 ; f = 0.848 , p = 0.474 ; f = 0.938 , p = 0.430 ; f = 0.694 , p = 0.560 ; f = 0.801 , p = 0.471 , respectively ) after the procedure . however , as demonstrated in table 3 , the densitometry values of the anterior layer ( f = 4.186 , p = 0.010 ) , the central layer ( f = 6.438 , p = 0.001 ) , the posterior layer ( f = 6.109 , p = 0.001 ) , and the total layer ( f = 5.590 , p = 0.002 ) over 0 to 2 mm , and the values obtained at 2 to 6 mm of the anterior layer ( f = 3.738 , p = 0.017 ) , the central layer ( f = 7.611 , p < 0.001 ) , the posterior layer ( f = 6.293 , p = 0.001 ) , and the total layer ( f = 5.570 , p = 0.002 ) changed significantly after the ate - cxl procedure . as illustrated in figures 1a , b , a bonferroni post hoc comparison test detected that the mean densitometry values of the anterior layer over 0 to 2 mm and 2 to 6 mm areas remained unchanged at the 1-month mark ( 02 mm post hoc p = 1.000 ; 26 mm post hoc p = 1.000 ) and the 6-month mark ( 02 mm post hoc p = 0.093 ; 26 mm post hoc p = 0.089 ) , but decreased significantly after 12 months ( 02 mm post hoc p = 0.011 ; 26 mm post hoc p = 0.012 ) when compared with the preoperative values . the mean densitometry values decreased significantly after 6 months in the central layer ( 02 mm post hoc p = 0.024 ; 26 mm post hoc p = 0.020 ) , the posterior layer ( 02 mm post hoc p = 0.025 ; 26 mm post hoc p = 0.027 ) , and the total layer ( 02 mm post hoc p = 0.035 ; those parameters , obtained 12 months postoperations , were still significantly lower than preoperative ones ( central layer 02 mm : post hoc p = 0.006 ; central layer 26 mm : post hoc p = 0.016 ; posterior layer 02 mm : post hoc p = 0.010 ; posterior layer 26 mm : post hoc p = 0.013 ; the total layer 02 mm : post hoc p = 0.007 and the total layer 26 mm : post hoc p = 0.011 ) . changes in topographic parameters after ate - cxl ( n = 17 ) changes in densitometry values of each position of a cornea after ate - cxl ( n = 17 ) a , the densitometry values over 0 to 2 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) b , the densitometry values over 2 to 6 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) the mean densitometry values of each layer in the control group were listed in table 4 . multifactor anova and bonferroni post hoc comparisons tests revealed that the densitometry values of the myopes were significantly lower than those of the kc patients in each location of the cornea over 0 to 2 mm and 2 to 6 mm ( all post hoc p values were less than 0.001 ) . moreover , except for the densitometry value of anterior layer over 2 to 6 mm ( post hoc p = 0.062 ) , the densitometry values of the anterior layer over 0 to 2 mm ( post hoc p = 0.036 ) , the central layer over 0 to 2 mm ( post hoc p < 0.001 ) , the central layer over 2 to 6 mm ( post hoc p < 0.001 ) , the posterior layer over 0 to 2 mm ( post hoc p = 0.049 ) , the posterior layer over 2 to 6 mm ( post hoc p < 0.001 ) , the total layer over 0 to 2 mm ( post hoc p = 0.002 ) , and the total layer over 2 to 6 mm ( post hoc p = 0.001 ) of the kc group were still significantly higher than those of the control group 12 months after the ate - cxl procedure ( figs . corneal densitometry average table ( n = 34 ) a , the mean densitometry values over 0 to 2 mm of preoperation , 12-month postoperation , and control group . b , the mean densitometry values over 2 to 6 mm of preoperation , 12-month postoperation , and control group . disarrangement in corneal histology ( such as changes in the corneal lamellar array and spacing , inflammation , haze clouding , and scarring formation ) , which may compromise corneal transparency , is considered as the most probable cause of corneal densitometry elevation . several in vivo studies have also reported a significant negative correlation between the severity of kc and the mean epithelial cell density , and the mean anterior and posterior stromal keratocyte densities . in the present study , we found that the mean corneal densitometry values in the kc group were significantly higher than those in the control group , which is similar to the findings of lopes et al . we hypothesize that the decrease in the density and quantity of epithelial cells and keratocytes in the kc corneas compromised the regularity in corneal histology , thus increasing the densitometry values of these sick corneas . furthermore , we found that the mean values of mrse , k1 , k2 , km , and cct remain stable after ate - cxl , which is consistent with the reports of elbaz et al and waszczykowska and jurowski . however , the densitometry values dramatically decreased postoperation , indicating that the change in densitometry measurements may be independent of those topographic parameters . greenstein et al 's study has shown that densitometry values peak 1 month after the c - cxl procedure , decrease between 3 and 12 months , but do not completely return to the baseline 12 months postoperation . alnawaiseh et al found that densitometry measurements were stable at 12 months after epithelium - off accelerated cxl , whereas decreasing below the preoperative baseline after another 12 months . we originally studied the changes in corneal densitometry after ate - cxl and found that the mean densitometry measurements of these kc corneas ( over 06 mm areas ) steadily decreased within the first year after ate - cxl , in contrast with the results of greenstein et al and alnawaiseh et al . a possible explanation is that the epithelial removal and the long duration of uv - a exposure of the epithelium - off cxl technique may trigger more severe inflammatory responses and activate more keratocytes . instead of debriding the epithelium , ate - cxl uses infiltration agents to facilitate the photosensitizer saturating the entire cornea . as a result , the corneal epithelial barrier is maximally maintained and the anterior stromal tissue is minimally invaded . moreover , mrse and topographic parameters kept stable after ate - cxl , whereas bscdva improved significantly 12 months postoperation . although densitometry significantly decreased after ate - cxl , the mean values were still statistically higher than those of the myopes . this implies that although the ate - cxl procedure may significantly ameliorate the arrangement and transparency of the corneal histology in progressive kc patients , they are still compromised when compared with the myopes without kc . one limitation of our study is the potential bias because of the relatively small sample size in each group . however , we mainly investigated the changes in densitometry values before and after the ate - cxl procedure . in addition , age and gender of the 2 groups were strictly paired , thus minimizing the bias . another limitation is that we did not evaluate in vivo corneal morphology and biomechanical properties in this study . the potential relations between the altered densitometry and the pathophysiologic process or biomechanical change after ate - cxl should be clarified in further studies . in conclusion , although the densitometry values decrease significantly at 12 months postoperation , they still remain higher than those of the myopes .	pubmed
Huge Corpse Flower's 'Water Broke', But It Still Hasn't Bloomed By Kyla Gardner \| August 22, 2015 8:26am \| Updated on August 31, 2015 7:54am @gardnerkyla The Chicago Botanic Garden's corpse flower could bloom any day now, according to the garden. CHICAGO — The Chicago Botanic Garden's biggest new star will put on a smelly show any day now, according to the garden. The Botanic Garden said the "corpse flower" plant named Spike still hadn't bloomed as of Saturday afternoon. #CBGSpike update: Not open late tonight. Giving Spike another night off. Titan Tim & our scientists are carefully monitoring progress. — ChicagoBotanicGarden (@chicagobotanic) August 28, 2015 Outside "leaves" on the Amorphophallus titanum specimen fell away late last week, the equivalent of its water breaking, according to the garden. Spike was said to be likely to bloom Monday or Tuesday, but it hadn't bloomed as of Saturday afternoon. When it does eventually bloom, the flower will emit a stench that's described as a combination of "limburger cheese, garlic, rotting fish, and smelly feet." The blooming of corpse flowers is rare, only happening every seven to 10 years. Spike has been in the care of the Chicago Botanic Garden for 12 years. On the night that the plant blooms, the garden will stay open until 2 a.m. and offer free parking after 9 p.m. Regular hours are from 7 a.m. to 9 p.m. daily through Sept. 7. Check in on Spike with the live feed below: For more neighborhood news, listen to DNAinfo Radio here: 42 Percent More Vacant Buildings Torn Down In 2017 Than 2016; Here's Where How Much Will Obama Library Cost, Who's Paying and What Will Be In There? Beverly » 'Wonder' Movie Gets Two Thumbs Up From Mary Cate's Mom, Beverly Classmates	slim_pajama
RESIDENT EVIL ORIGINAL SCREENPLAY BY GEORGE A. ROMERO BASED ON THE GAME BY CAPCOM SCREEN STORY BY GEORGE A. ROMERO & PETER GRUNWALD CONSTANTIN FILM ROMERO-GRUNWALD PRODUCTIONS FIRST DRAFT OCTOBER 7, 1998 --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. --- Pg-1 RESIDENT EVIL PRESENTATION CREDITS appear... then FADE... Out of BLACK... SHOCK CUT TO: INT LAB "A" LEVEL TIMELESS A MAN'S FACE, filling the screen. MARCUS (filter) Stay away from here! We're watching A VIDEO MONITOR. A pre-recorded tape shows a view of what is obviously a pristine-RESEARCH LABORATORY. DR. JOHN MARCUS, in a lab coat, faces THE CAMERA, disheveled and looking like a madman. MARCUS (cont. filter) This lab must remain sealed! INT CONFERENCE ROOM TIMELESS Overhead lamps cast pools of LIGHT down onto A CONFERENCE TABLE, onto THE HANDS of PEOPLE assembled to observe the video. We see NO FACES. But expensive WATCHES, sleeves with high-ranking STRIPES, indicate wealth, power, and a military presence. THE VIDEO: On the wall behind MARCUS, we see SHADOWS darting frantically. We hear VOICES rising in panic. MARCUS (cont. Filter) For God's sake, don't come in! The CAMERA is SWATTED by A HAND that lurches suddenly into the foreground. We only see it for a few video frames, but we might subliminally notice LESIONS on the flesh. The IMAGE SWIRLS wildly. The next clear picture we see... is of the same laboratory...topsy-turvy. THE CAMERA is lying on its side on the floor. VOICE IN THE ROOM (o.s.) Look. Here. A LASER POINTER casts a RED DOT on a corner of the video screen, indicating A HUNCHED FIGURE, leaning over A HUMAN BODY, apparently ...feeding! With a GRUNT, the figure turns. and LUNGES, it's face covered with BLOOD, at the CAMERA. The image SWIRLS again, and the SCREEN GOES BLACK. With a MUSIC STING, a single TITLE appears, full across the blackness... RESIDENT EVIL Pg-2 EXT FOREST LAND PRE-DAWN A DARK SKY ...and in the foreground, profiled against a FULL MOON, A DARK FACE ...watching the heavens with piercing black eyes, alert, though not predatory. This is CHRIS REDFIELD, young, handsome. More than simply an outdoor type, he seems perfectly in place, almost part of the environment. A band of purple tints the horizon, outlining the tops of magnificent uncorrupted hills that extend for miles. Sitting on a ridge, squinting into that band of light, Chris sees ... ...AN EAGLE coasting on a channel of wind that cuts through the hilltops. As the bird moves swiftly closer, it becomes recognizable. Chris smiles and jots a note on a pad. The regal bird lands on a high rock where ...unexpectedly... a freshwater trout lies flapping, three-thousand feet above the highest water. CHRIS Take it, Goliath. It's yours. "Goliath" snaps up the fish and flies away with it. CHRIS (cont.) See ya next year, guy. Chris reaches into a water-filled bucket, pulls out another trout, climbs efficiently, unerringly, across a precarious Cliffside, and deposits the fresh fish on the-same high rock. ANOTHER EAGLE, smaller, a female, appears in the sky. CHRIS (cont.) Cleopatra. Chris scrambles back to his place and jots another note. "Cleopatra" spots the fish, pumps her wings, and swoops down. She's about to snap up the prize, but at the last minute, she recoils and climbs again, hovering. CHRIS (cont.) Come on. Come on down. The eagle circles, its sharp eyes scanning. It makes another dive, but stops short again. CHRIS (cont.) What's the matter, beautiful? The bird seems frightened. Of what? It makes one more dive. Gets very close to the fish... but suddenly SHRIEKS and peels, away from the rock. Chris sees its eyes, looking crazed, as it soars right past him, its wings brushing his hair. Pg-3 CLOSE ON: CHRIS, concerned, as he watches the eagle disappear over the hills. Over his shoulder, we can see the high rock that holds the fish. It's out of focus in the background, but the moonlight catches SOMETHING MOVING there. Something that lets out a sharp INHUMAN SOUND. Chris whirls around. There's nothing on the rock. Nothing at all. The fish has been taken. INT JILL'S APARTMENT DAWN CHRIS walks into a characterless apartment. He quietly sheds his clothes. Even in silhouette, we can see that his body is in perfect shape, not pumped, but lean and tight. Moving lithely, with the natural grace of a cat, he eases himself into a bed where... ...a beautiful young girl, JILL VALENTINE, seems to be fast asleep. As Chris nestles in beside her, we see that her eyes, facing away, are open. Chris gently drapes an arm around her and lets his body relax. CHRIS (A whisper) Glad you're still here, lady JILL It's my apartment. CHRIS (Surprised) You're awake. JILL I've been awake. Since you left. CHRIS Sorry. His apology goes no further. He's still troubled by what happened in the hills. CHRIS (cont.) There was... something wrong. JILL What, with my dinner? I never had a mother. I'll learn. Chris smiles politely. He offers... CHRIS I'll do the cooking. Pg-4 ...but he can't switch focus. CHRIS (cont.) On the mountain...there...must have been something... prowling around up there. JILL There are probably all kinds of things prowling around up there. In the middle of the night. Chris apologizes again, this time more sincerely. CHRIS I'm sorry. Really. You...have to be there at dawn. They ride the wind over the ridge. JILL Dawn? You left at one A.M. CHRIS I had to go fishing. It's the fish that bring them down, so I can get a close look at them. (Enthused) I've tracked a dozen of them, Jill. Twelve of those big bruisers. I can actually recognize them. I've even given them names, over the years. JILL You've been doing this for years? CHRIS Only in the early Autumn. When they're' migrating. JILL I'II set the alarm for next. October. Jill rolls over and faces him. JILL (cont.) I wish I could get excited. Really. That's the truth. As excited as you, over such... simple things. CHRIS Beauty... isn't simple. If it was... I'd be beautiful. JILL You are. Pg-5 CHRIS No, no, no. I'm simple. You, on the other hand...(nuzzling closer)...have all that... stuff... hiding underneath somewhere. That's what fascinates me. JILL Fascination. Not love? Jill is being playful. Chris, taking her question to heart, becomes introspective. CHRIS I... honestly don't know. I guess I've been... living alone too long. You're the first, the only woman I've ever thought of as... a real partner. Now Jill becomes introspective. JILL I've always been...afraid of living alone. I've always had... people... talking at me... knowing they could wind me up and I'd do... (shrug) ... whatever they wanted. Chris looks into her eyes. She kisses him gently. JILL (cont.) We all have... something hidden... underneath. Beauty may not be simple. But it's not all that complicated, Either. Most of the time, you find It... right in the middle of all the... confusion. CHRIS I'm part Mohawk. Indians are never confused. At least, they never let it show. They kiss again, this time more passionately. Rolling over, they begin to make love. EXT FARM DAWN The purple horizon is turning orange, but it's still quite dark when a crusty old farm-hand, RAKE, opens the creaking door of a stable and, with a flashlight, leads THREE HORSES out into the morning breeze. Two dogs, A LAB and A SPANIEL, romp at his heels as Rake opens a log gate. Pg-6 - Two of the untethered horses trot obediently into a large corral. The third, a beautiful stallion, resists, snorting, tossing its head in high spirit. RAKE Get in there, Lucky. Quit horsin' around. Get in. "LUCKY" moves into the corral, strutting proudly. RAKE (cont.) Swear. If I didn't know you was just an animal, I'd say you was all full of yourself. GET IN THERE! Rake waves his flashlight, not meanly, there is clearly a great deal of affection here. Rake shuts the gate behind the stallion, who begins to gallop around happily inside the fence. All seems lovely, until... ...the dogs suddenly go on point. Their ears perk. They sniff the air...and begin to WHINE. RAKE (cont.) What's wrong with you two? KER-RAAKK! A startling SOUND. Rake turns to find Lucky and the other horses, their eyes flaring, trying to KICK their way out of the fencing. They seem terrified. CUT TO : A WIDE SHOT: of RAKE, and the frightened ANIMALS, from two hundred yards away. THE CAMERA MOVES IN, slowly at first, then gaining speed... extraordinary SPEED. We are seeing THROUGH THE EYES OF... whatever it is that's running, charging, SLATHERING HUNGRILY... ...reaching the corral, DARTING through the fence, past the KICKING HORSES, and LEAPING at Rake, who whirls around...and CRIES OUT in pain as his flashlight BLINDS us with WHITENESS. EXT AIR BASE DAWN The WHITENESS becomes the GLARE of HALOGEN LIGHTS. We are overwhelmed by the SOUND of AIRCRAFT ENGINES. We see MEN, armed SOLDIERS, scrambling into combat HELICOPTERS. A RADIO MAN runs right toward THE CAMERA, holding out an open receiver. RADIO MAN Top brass, sir! Pg-7 ANOTHER MAN, in the foreground, takes the radio-phone. We can't see his face. Only his forearm, which bears A TATTOO of a grinning SKULL. MAN WITH TATTOO Alpha Leader. VOICE ON PHONE (o.s. filter) How long before you get in there? MAN WITH TATTOO Fifteen minutes. INT AN OFFICE DAWN A SUIT talks on a red telephone. Once again, we see no face. An ostentatious diamond RING kicks light as the man snips off the end off a Monte Cristo. MAN WITH RING You're good, soldier. But not that good. It's five hundred miles away. In the backwoods of Pennsylvania. MAN WITH TATTOO (o.s. filter) We have troopers on site. A first- strike force. Under cover. The flame from a wooden match lights the Monte Cristo. MAN WITH RING Very resourceful. You have my permission activate them. EXT AIR BASE DAWN MAN WITH TATTOO I've already done that. You have my permission... to say that you gave me permission. THE TATTOOED MAN runs off to join the other SOLDIERS. INT JILL'S APARTMENT MORNING CHRIS sleeps. JILL is awake, deep in thought, when... ...BRRRRT! It's not a ring, it's a vibration. Jill reaches down and extracts something small and black, the size of a box of Tic-Tacs, from one of her shoes. She gets out of bed, checking to see that Chris is still asleep, and moves into... Pg-8 INT JILL'S APARTMENT BATHROOM MORNING ...a bathroom. Closing the door behind her, she puts the small box to her ear, extracts a wire from it, with a tiny microphone on its tip, and... JILL (Softly) Valentine. We can't hear the voice that speaks to her. JILL (cont.) If this is just another a drill, I'll strangle you. (She listens) Shit. Give me the activation code. JILL pulls a small ENVELOPE from a toiletry bag. She breaks open a wax seal...and takes out a thick paper on which is printed... 29-RC-6735. JILL (cont.) (Gaping, not believing) Th-that's a match. (Beat) I'm on my way. Jill clicks off. She dumps something else from the envelope into her hand... A BLUE PLASTIC CARD, the size of a Visa, blank except for a mag-stripe. There's a small hole in one corner, through which a chain is strung. Jill slings the chain over head, wearing the blue card like a pendant. INT JILL'S APARTMENT MORNING CHRIS is still asleep. JILL comes out of the bathroom and looks down at him longingly. Should she wake him? Tell him what's happening? She wants to, but duty prevents it. She pulls herself away. INT JILL'S APARTMENT CLOSET MORNING TCHIK TCHIK TCHIK...JILL pushes aside hangers which hold her clothes. She types numbers into a hidden KEYPAD. A SECRET PANEL OPENS, revealing a CLOSET WITHIN THE CLOSET, packed with COMBAT UNIFORMS and WEAPONS. INT JILL'S APARTMENT MORNING The sound... TCHUNG... of the front door closing snaps CHRIS awake. His first thought is for his lover. He reaches out and finds that... she's not in bed. He jumps up, rushes to a window, looks down, from the second story, and sees... Pg-9 EXT JILL'S APARTMENT MORNING ...JILL, heavily ARMED, in UNIFORM, wearing a beret that has an insignia... S.T.A.R.S. She rushes down the front path and jumps into A HUMMER with THREE OTHER TROOPERS on board. The vehicle pulls instantly away... ...leaving Chris, looking through the window, puzzled, angry, and very much wounded. INT/EXT HUMMER MORNING RUSSO drives. WILLIAMS and DISIMONE sit in the back, all tough Special-Forces types. JILL, in the front passenger seat, though the only female, ranks the highest. DISIMONE Another practice run, right? RUSSO We been practicin' six months! For what? JILL For this. This is the real deal. WILLIAMS Honest to God? JILL Based on my experience, Williams, God isn't always honest DISIMONE Where we goin'? JILL In there. Jill points into THE ARKLEY FOREST which lies ahead. Miles of old growth-trees shrouded in a ghostly morning mist. DISSOLVE TO: EXT THE FOREST MORNING DEEP IN THE HEART OF THE MIST... THE HUMMER bounces over non-roads and stops fifty yards from... ...A PAIR OF IRON GATES, each wrought with the letter "A". Beyond, the shifting fog offers momentary glimpses of... A MANSION. Huge. Like Xandau. THE TROOPERS, amazed, climb out and approach the gates. Pg-10 RUSSO If you had the jing to build a place like this, would you build it in the middle of fuckin' nowhere? WILLIAMS Paris. DISIMONE Manhattan. Upper west. JILL (Wistfully) Some people prefer... a quiet life. (Back to business) Our orders are to secure the area. DISIMONE From what? This area's been 'secure' since the French and Indian War! A deep, animal SNARL comes from the woods. The troopers raise their weapons as they peer into the underbrush. The fog keeps sunlight from penetrating. The forest is a maze of dark shadows. Leaves flutter. Limbs SNAP. Then... DARK SHAPES can be seen moving, circling. A half-dozen of them. Maybe more. Jill whips out a transmitter and quickly types an access code. JILL (Into radio) This is Valentine, Bravo Team. We, er... we might be in trouble, here. KRITCH! Something LEAPS out of the brush. Automatic WEAPONS SPIT reflexively. KRITCH KRITCH KRITCH...more lunging SHAES appear. The troopers scatter, firing, as they are attacked from all sides. Jill dives for the shrubbery, shouting into her transmitter. JILL (cont.) WE ARE IN TROUBLE! CUT TO : INT HUEY MORNING JILL'S VOICE stutters over a headset which is pressed against A MAN'S EAR. JILL (o.s. filter) Under attack... by.. .assailants... Unidentifi... Pg-11 Static. Hissing air. The SHOT WIDENS as the man lowers his headset. First we see the TATTOO on his arm... a grinning SKULL which we recognize. Then, gradually, we see his face. Lean and mean, wearing dark sunglasses, this is ALBERT WESKER, a hard-assed career officer. WESKER Can you get a trace? The pilot, LAGUARDIA, responds. LAGUARDIA Lost the beacon. It just cut out. Like it was...swallowed by something. Oddly, Wesker smiles. WESKER I do believe, gentlemen...that we're gonna be earning some combat pay. There are three other MEN on board. The closest to Wesker is BARRY BURTON, a muscular black man, as big as a grizzly, with the heart of a Teddy. BARRY Damn, if you don't love a fight. WESKER Hey, if I didn't... you'd be a dead man. (To the pilot) Call in a nine- nine. I want Raccoon City e-vacked. Wesker and the men fly from the lens. THE CAMERA passes Out through one of the helicopter's windows as the chopper soars away. When the SHOT WIDENS, we see OTHER HUEYS...black, unmarked, keeping formation. Three... six...ten of them. EXT FOREST MORNING GUNS BLAZE. THE TROOPERS are under assault by thrashing, inhuman SHAPES...GROWLING, SNAPPING. JILL rolls into a natural trench. DISIMONE is behind her, WILLIAMS is crawling just ahead, his legs pumping. Jill scoots past him and sees that... ...those legs aren't moving on their own. They've been RIPPED AWAY FROM WILLIAMS' TORSO and are being dragged into the underbrush by some... BEAST... concealed in the thick brush, so we never get a clear look at it. OTHER BEASTS attack DiSimone. Then Russo. We see only details. Jill fires her pistol, point blank... to no avail. RED-RIMMED EYES, SNARLING JAWS, DROOLING TEETH descend on her as we CUT TO: Pg-12 EXT JILL'S APARTMENT BUILDING MORNING CHRIS steps out of Jill's building. Suddenly, incongruously, camo-painted HUEYS swoop down out of the sky. EXT RACCOON CITY MAIN STREET MORNING THE CHOPPERS land where they can. COMMANDOS leap out and begin to cordon off the town. Bullhorns blare. BULLHORN There's been an accident in the hills nearby. A military aircraft, carrying live weapons, has crashed... EXT RACCOON CITY SIDE STREET MORNING CHRIS runs down a side-street into AN ALLEY, where he's trapped by COMMANDOS, both in front and behind. SOLDIER Let's go, hayseed. (Aiming his M-16) You gonna be a good boy? Chris swallows his fury. Gritting his teeth, he goes along with the soldiers, prodded, by rifle barrels, out onto... EXT RACCOON CITY MAIN STREET MORNING ...Main Street, where there is CHAOS... an Orwellian sight, as CITIZENS find themselves horded into helicopters and TRUCKS from the local National Guard Post. A sweating man, still in his pajamas, rushes up to the SOLDIERS that are escorting CHRIS. MAN Look here, I'm the Sheriff of this... SOLDIER Step aside. SHERIFF But, I'm the Sheriff! An ex-Army man, like you. BULLHORN (o.s.) There is no immediate danger, but as a precaution, we are evacuating the area. You will be provided shelter until the weapons have been removed from the crash site. Pg-13 SHERRIFF That's a worn-out scenario. If a plane crashed nearby, don't you think somebody would have heard it go down? Tell us the truth, guys. What's this really about? SOLDIER I said, STEP ASIDE! The soldier lifts his rifle. He's about to CLUB the sheriff when Chris lunges, grabbing his arm. WHOOMPH! Chris kicks the soldier in the balls. The man buckles. Chris bolts. One of the other commandos FIRES at him, a loud BURST which misses Chris but SHATTERS a shop window, setting off wild PANIC on the street. Chris ducks into a building... EXT RACCOON CITY BACK STREET MORNING ...and out a rear door. He runs through a warren of back alleyways, arriving at... ...A JEEP SAHARA which is parked behind Jill's apartment building. He jumps in without opening the door, jams the key into the ignition, and ROARS off. INT HUEY MORNING Still airborne, in one of the black helicopters that have yet to reach the site, WESKER barks orders into a radio. WESKER Charlie, David, Edward, proceed to Raccoon City. Assist the e-vack. I'm going on target with Alpha Team. All forces stand ready to support. EXT FARM MORNING CHRIS rumbles his jeep onto a picturesque FARM, secluded deep in the forest. We don't recognize it immediately. It was dark when we last saw the place. Jumping out, Chris sees three large SHAPES lying in the grass of a corral. Rushing over, Chris realizes... ...they're HORSES. One of them is LUCKY, his prize stallion... DEAD, in a pool of BLOOD, with its belly torn open and a huge chunk out of its neck. CHRIS Aw, no... (Devastated) ...L-Lucky. Pg-14 Chris hears a weak, MOANING SOUND. He turns and sees... RAKE, lying near a water pump. Chris rushes to the man's side and finds him brutally SLASHED, barely clinging to life. RAKE (Coughing blood) They... they come outta the trees, Reddy. Don't... don't know what they was. Figure... maybe some kinda... wolves, or somethin' ... Examining the man's wounds, Chris realizes they're fatal. RAKE I... I never seen 'em comin'. CHRIS Don't try to talk, Rake. RAKE (cont.) I... ain't... never left this farm... untended... since yer daddy first took it over. CHRIS I know. You... kept the place runnin'... better than me. RAKE I just...never seen 'em comin', Reddy. Never even...had a chance to...turn a gun on 'em. There's a THUNDER in the sky. Chris looks up. Wesker's Fleet of black HUEYS appears on the horizon. They split up, Seven banking off toward Raccoon City, the remaining three grinding ahead over the forest, slowing down, dropping in altitude. CHRIS Where are they going? There's nothing in there... except... RAKE Y'oughta... remember it... real good. I do. From... when you was a kid. CHRIS The... the old Arkley place? RAKE I remember them days. I surely do... Remember them... them old days. Chris looks back down at the old man, who is drifting, starting to lose it. Pg-15 CHRIS (cont.) I'm not gonna bullshit you, Rake. You're...in a bad time. If there's any way to save you, I'll find it, I swear. You just... hang in there, old guy. I'll be right back. Chris jumps to his feet and runs into... INT FARMHOUSE MORNING ...the great-room of the FARMHOUSE. Rustic. Cozy. CHRIS snatches up a telephone. There's no dial-tone. The line is dead. Chris rushes to a gun cabinet and pulls out an old WINCHESTER rifle. He scoops ammo from a drawer into a shoulder bag and runs back outside... EXT FARM MORNING ...where his eyes catch MOVEMENT in the corral. LUCKY, entrails spilling, is trying to stand. CHRIS Oh, God, Rake. Oh, Jesus, the poor thing's still alive. Chris shoulders his ammo bag, reaches inside, and quickly reloads the Winchester. Stepping forward, he aims carefully. CHRIS (cont.) Sorry, old hoss. BLAM! A clean shot to the horse's brain drops the animal. It takes Chris a long moment to recover... then, he looks into the trees. The helicopters are no longer in sight, but their THUNDER remains. They haven't landed yet. Chris turns and rushes back to Rake's side, only to find... ...he has died. Chris' jaws tighten, but he has no time to mourn. He closes Rake's eyes. Digs through the grass. Pulls up a handful of dirt. Stuffs it into the old man's hand, and closes his stiffening fingers over it. CHRIS (cont.) The earth keeps us. Conquering his emotions, Chris runs to his jeep and jumps in. He shifts into four-wheel-drive and, ignoring the road, heads straight over the field for the trees. As the jeep disappears, THE CAMERA CRANES DOWN, ZOOMING IN ON... Pg-16 ...one of the farm dogs. The SPANIEL. Not the entire animal, but one of its three SEPARATE PARTS... it's front end... CRUSHED head, BLOODY neck, and a single BROKEN paw... ...which is trying to CRAWL. Fifty yards away, RAKE'S HAND relaxes. The earth spills out through his fingers as the dead man's eyes... POP OPEN. EXT ARKLEY FOREST MORNING THE FIRST OF THE BLACK HUEYS drops, hazardously, into a small clearing with barely enough space. Unable to land on the scrub-brush, it hovers ten feet off the ground. Its rotors CLIP TREE LEAVES as WESKER, BARRY, and TWO OTHER S.T.A.R.S. COMMANDOS jump out, heavily armed. The chopper lifts off, placed by HUEY NUMBER TWO. NOT FAR AWAY, CHRIS navigates through undergrowth until he can see THE HELICOPTERS through the trees. The THUNDER from their rotors masks the grinding of Chris' jeep. He pulls within a hundred yards and, leaving his vehicle in the bush, moves closer, cautiously, on foot. THE THIRD HUEY air-drops TWO MEN and TWO WOMEN in S.T.A.R.S. uniforms. There are TWELVE COMMANDOS in all... ALPHA TEAM. Wesker looks up at the Huey's PILOT, using his radio to speak to the man. WESKER You'll have to rotate or you'll run out of fuel, but I want one chopper to remain in the air at all times. We might need help in a hurry. A "Roger that", squaks back as the Huey banks away. Barry looks worried. His instincts are asking... "We might need... 'help'". Against what? We only see this in his eyes, he says nothing as... ...Wesker leads the team through the woods, unaware of... ...CHRIS, following behind, crouching around trees and bushes, not a trained commando, but comfortable with the land, a natural warrior using ancestral instincts. THE CAMERA TRACKS COMBAT BOOTS as they CRUNCH through the low-Lying MIST.. .stopping abruptly when they encounter... ...WEAPONS, AMMO BELTS, bits of SHRDDED UNIFORMS... and HUMAN BODY PARTS... strewn all through the surrounding brush, remnants of what was obviously a feeding-frenzy. Pg-17 VICKERS Holy... Goh... gaah... BRAD VICKERS vomits. Unarmed, he's Alpha Team's computer- techie. Not a combat soldier, he's a bit of a coward. Another non-combatant, REBECCA CHAMBERS, is the team's medical officer. She digs an ammonia capsule from her pack and holds it under Vickers' nose. RICHARD AIKEN and KENNETH SULLIVAN are buddies, regular G.I. Joes, right out of every war movie. Aiken stares at the carnage, calmly chewing a wad of gum. AIKEN You ever eat road-kill, Sullivan? SULLIVAN Aiken... a guy with a brain your size would be better off dead. RODRIGUEZ (o.s.) Want me to shoot ya, Aiken? ROSIE RODRIGUEZ, a tough, body-built babe steps in. RODRIGUEZ (cont.) I'm ready ta shoot somebody. ALKEN I'll pass. Shoot Sullivan. FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET and brings it to Wesker. There's an I.D. tag on the brim... WESKER (Reading the tag) 'Valentine'. (Beat) Radio Washington. Bravo Team found on site. No survivors. In the bushes, Chris overhears, not wanting to believe. He sees Wesker angrily pitch Jill's beret into the brush. WESKER We're goin' in. Watch your backs. Wesker advances his troops. When the coast is clear, Chris rushes in, picks up the beret, and sees the name tag for himself. "Valentine ". After what happened at the farm... now this... feeling sucker- punched, defeated, Chris hangs his head. One of the HUEYS dips in low. Pg-18 Chris looks up. The sight of the war machine lifts him from defeat... to rage. His eyes are soft, for the last time, as he tucks Jill's beret into his pack. When he looks up again, those eyes have become newly predatory. He ducks out of sight as the helicopter swings lower. Downdraft from the rotors makes the bushes rustle, catching Chris' attention. He realizes that... it's not just the wind. The shrubs are being disturbed by... SOMETHING DARK which is moving through them. It pokes its head out. A WOLF! Rake was right. Chris readies his Winchester as the animal stalks forward. It's not a wolf. It's A DOG. Mottled, its flesh gray, covered with rotting lesions... and it has three bleeding BULLET HOLES in its belly, chest, neck. GROWRRR! It LEAPS at Chris... who fires... BLAM! Up ahead, Wesker and his commandos freeze. WESKER Who fired? WHO FIRED? Before anyone can answer, the team is ATTACKED by MORE DOGS which BURST out of the surrounding woods...DOBERMANS and SHEPHERDS... but something is seriously wrong with all of them. Their EYES are DEAD, their FLESH decaying. Automatics piss streams of lead. Hot rounds TEAR through the animals, many of the slugs accidentally blowing out brains. of his bullets hits its target... one of the dogs' heads. The commandos are backed up against... the IRON GATES we saw earlier. The Arkley Mansion stands beyond. RODRIGUEZ Let's get inside. WESKER (cont.) NO! (Shouting) I WANT 'EM ALL DEAD! YOU HEAR ME? STAND FAST... UNTIL THEY ARE ALL DEAD ! The dogs don't stand a chance. Alpha Team's firepower is overwhelming. But there is a human casualty. JOSEPH FROST trips and falls. One of the dogs POUNCES on him, chewing out his HEART... through his BACK. Wesker steps in, RIDDLING the dead man, and the dog, with forty rounds from his M-16. Pg-19 In the next instant, ANOTHER DOG LEAPS at Wesker from behind. He hears its snarl... too late. He dives into the grass... too late. The dog is about to land on him when... ...it's BLASTED out of mid air by... Barry. BARRY Even-Steven, boss. You saved my ass in the desert. I saved yours I in Pennsylvania. Wesker stand, straightening his ever-present sunglasses. WESKER I don't believe in being... 'Even- Steven' with anybody. A man saves my ass...I pay him back. Before this day is over, I'll pay you back, Barry. Just... stick with me, okay? Wesker checks his equipment belt. Something is missing. He looks to where he rolled in the grass. Using a FLASH- LIGHT, he finds... ...a small electronic unit the size of a cell-phone. But it's not a cell-phone. Whatever it is... Wesker clips it onto his belt. FROM THE BRUSH, Chris sees all this. The guns have gone silent. The attack seems to be over. Chris moves stealthily to the body of the animal that he shot. It's wearing a COLLAR which reads... SPIKE #26 Alongside the I.D., there's a corporate-looking logo... the symbol of an UMBRELLA. GRRROWWWLL! ANOTHER DOG is advancing on Chris. He aims his Winchester. CLICK! The magazine is empty. No time to reload. The dog is on him. Chris SCRAMBLES away. The dog BOUNDS after him. Chris drops to the ground. Did he trip? No. He pushes a TREE ROOT, which is FALSE. It swings open and he dives in, pulling the root shut over him. The dog arrives an instant later. It lets out an angry howl... and is BLOWN AWAY... by RODRIGUEZ, who neither saw Chris, nor where he went. The forest goes dead quiet. Too quiet. There's not even the chirping of morning birds Wesker is SLAPPED startlingly on the back... by Barry. Pg-20 BARRY Look here, man. I'd follow you into any kind of enemy fire. But these things ain't firin' at us. They want us for breakfast! When are you gonna tell us what the hell is goin' on here? WESKER When you need to know. Just do your job, soldier. That's what I'm doin'. My job. Wesker pulls a chain from under his shirt. It holds a card, the size of a Visa, like the one Jill found in her secret envelope, only Wesker's isn't blue, it's green. Stepping away from Barry, he slide the card through a slot in the iron gate-frame. BUZZZZ. The GATES SWING OPEN with a rusty SQUEAL. INT TUNNEL MORNING CHRIS crawls through a long, dark shaft with earthen walls, a man-made tunnel. EXT ARKLEY FOREST MANSION MORNING AT THE MANSION'S FRONT DOOR, a hand-carved monolith of solid oak, WESKER finds another hidden SLOT and swipes his card. The giant door CREAKS OPEN. INT MANSION CENTRAL HALL MORNING INSIDE, the place looks like a HAUNTED HOUSE, a glorious ruin, once spectacular, now mysterious and threatening. The chandeliers and furniture are covered with sheets that ripple on breezes from a thousand faults in the old walls. Indistinct NOISES echo within the ceiling, the floor, as ALPHA TEAM enters. AIKEN Old. They probably don't have cable. SULLIVAN They probably don't have radio. RODRIGUEZ Who's they? Who's place is this? WESKER shuts the front door. The BOOMING SOUND makes us wonder if we will ever see it opened again. Pg-21 WESKER Guy named Arkley. Bootlegger. Built this old fortress during prohibition. He figured nobody'd ever find him out here in the back woods. Nobody did. Till he died. Feds have had it ever since. Place has been here for eighty years... derelict... a safe-house. BARRY A safe-house... for who? For what? WESKER There's a... a secret installation. Below. A network of laboratories. REBECCA What kind of... laboratories? WESKER (Shrugging) They didn't issue us gas-masks, so I figure... it's okay to breathe. RODRIGUEZ Why send in a strike-force? SULLIVAN Yeah. What are we supposed to do? Polish the silver? WESKER (cont.) There's a man downstairs. A top- priority man. It's our job to... bring him out. Hopefully, there are others alive, as well. We'll Rescue them, too... if we can...but Dr. John Marcus... he comes out alive at any and all cost. INT MANSION CORRIDOR MORNING Though it's still morning, the windows are sealed over. No sunshine can enter. From this point on... there will be no indication of time... except as shown on clocks. A sense of dread takes hold of us as... ...dark SHADOWS LURCH...FEET SCRAPE sluggishly... not in combat boots, but in Nikes, loafers, Dr. Martens... past an accordion GATE of corroded bronze. A motor HUMS. Behind the gate, an old-fashioned service ELEVATOR rises... but stops just below floor level. EYES peer out, waiting for the shuffling feet to pass. Then the car rises the rest of the way, revealing its occupant... Pg-22 ...JILL VALENTINE! She's alive! She deactivates the elevator by pulling her blue ACCESS CARD out of an incon- gruously modern receptacle. Checking to be sure that the coast is clear, she slides the accordion gate aside and steps out into the corridor. With a ghostly MOAN, something LUNGES at her out of the shadows. It's A MAN in a lab coat. His skin is ROTTING, his teeth SNAPPING, like the dogs'. He tries to BITE Jill, not merely to do injury. He seems HUNGRY! Jill leaps aside, lifting her pistol and FIRING... once, twice, three times. The man is shot in the stomach, heart, neck...but he keeps coming! Finally, Jill shoots him in the head...and he falls. Jill quickly reloads, on instinct. But as she does it, she stares at the corpse, frowning, weighing life-long belief against the hideous facts of the moment. INT MANSION CENTRAL HALL MORNING WESKER and his troopers hear the GUNSHOTS. There are THREE DOORS nearby. Wesker selects one that seems to lead to the source of the gunshots. Using his card, he unlocks it. WESKER Three men stay here. Chambers... REBECCA I'm not a man. WESKER Rodriguez... RODRIGUEZ I'm better than a man. Wesker grins, but hardly skips a beat. WESKER Alright. you come with us. Aiken, Sullivan, stick here with Chambers. The troop moves out. Aiken and Sullivan remain in the central hall with Rebecca. AIKEN Why us? SULLIVAN I dunno why me. You? I guess the C.O. figures you're as worthless as a dame, Aiken. Pg-23 Sullivan catches Rebecca's eye. SULLIVAN (cont.) Er... sorry, ma' am. I... I didn't ... I meant Aiken... Not you. REBECCA Relax. I get it. INT MANSION LIBRARY TIMELESS WESKER leads his TROOP into an enormous, cobwebbed library lined with book shelves, but no books. There are doorways on all four walls. Wesker pulls out something that looks like a Game-Boy. He types on a keypad. A MAP of the mansion appears. Wesker scrolls with the arrow-keys. Barry looks on very impressed with the high-tech unit. BARRY That thing...tells you where to go? Wesker doesn't answer. He pockets the "Game Boy". WESKER One man stays here. Ridley. You're it. Shoot to kill. Just make sure it's not one of us. The rest of you... this way. Wesker, leads his squad through one of the doorways. RIDLEY, a young rookie, remains. INT UNDERGROUND CAVERN TIMELESS CHRIS reaches the end of the earthen tunnel. There are signs that children once played here... TOY SOLDIERS. GRAFFITI. Chris finds his nickname... Christopher Reddy... etched in hardened mud. After a moment of reflection, he moves on, into... INT ENTRY CHAMBER TIMELESS ...a small, sheet-rock chamber. CHRIS rushes to a DOOR that looks like it's been there since the beginning of time. As soon as he touches the knob... AN ALARM SOUNDS! INT MANSION KITCHEN TIMELESS RIDLEY, standing guard, hears THE ALARM. He hears Chris JIGGLING the knob. But he sees NO DOOR. The walls around him seem to be solid slabs. Pg-24 INT ENTRY CHAMBER TIMELESS CHRIS can't get the doorknob to turn. Behind him, a dusty ORIENTAL CARPET BULGES upward. One corner flops aside. INT MANSION KITCHEN TIMELESS RIDLEY is spooked by the sound. Frightened, trembling, he un-slings his rifle. RIDLEY Who... who's there? INT ENTRY CHAMBER TIMELESS CHRIS doesn't hear the trooper. Behind him, A Decomposed HAND pokes out of a drainage ditch beneath the carpet. It gropes. Finds purchase on the floor. Chris is unaware of the danger. He HURLS himself against the door. He can't break through. The thing that climbs out of the ditch was once a man, once a SCIENTIST. It's wearing a lab coat and a pair of thick EYEGLASSES. But it's long dead. It's... A ZOMBIE. As it pulls itself up, its eyeglasses strike the side of the ditch. They fall, CLATTERING, the rims scraping the zombie's cheek, which peels away like onion skin. Chris hears the noise. Turns and sees... ...the dead man, reaching out hungrily. Chris is trapped. He aims his Winchester. CLICK! He forgot. It's empty. The zombie pulls itself fully up onto the floor. Chris digs in his shoulder bag. Pulls out a handful of bullets and with them, accidentally, Jill's BERET. Rising emotion stops him for a moment. The dead man crawls toward him. Chris might not have time to load. As he tries to jam a bullet into his rifle, the zombie SWATS at him. Catches the beret. Looks at it. Sniffs it. The bullet pops out of Chris' nervous fingers. He tries to load another. INT MANSION KITCHEN TIMELESS RIDLEY spots A BLUE ACCESS SLOT in the wall. He levels his automatic and CHEWS the thing up with a short burst. A PANEL SWINGS OPEN! CHRIS dives out... with the ZOMBIE inches behind him. Ridley FIRES off another BURST OF ROUNDS. Pg-25 Stray bullets PIERCE the zombie's head. It drops back into the chamber...with Ridley never knowing why. Ridley and Chris look at each other, asking rapid-fire questions, none of them answered. RIDLEY Who are you? CHRIS Who are YOU? What the hell is S.T.A.R.S.? RIDLEY How'd you get in here? CHRIS Who sealed the door? RIDLEY Who knew there a door? WHAM! ANOTHER ZOMBIE appears suddenly behind Ridley, BITING out the muscle between his shoulder and neck. The trooper stands, stunned, for a moment... RIDLEY Who... who... ? ...then he drops.. The zombie, in a uniform, once a security guard, gazes dully at Chris. A wet sound comes from inside its gullet as it calmly chews on Ridley's flesh. Swallowing, it reaches out. Chris grabs its arms, FLINGS it into the chamber. Then FIRES his Winchester, once, putting a HOLE in the thing's head. Chris slams the door. INT MANSION DINING ROOM TIMELESS In a Hearst-sized dining room with draped furniture, WESKER and the OTHER TROOPERS have heard the new gunfire. SPEYER Where'd that come from? BARRY Back...where we just were. SPEYER Shit, man, we're chasin' our tails! Pg-26 INT MANSION KITCHEN TIMELESS CHRIS hears the CLATTERING of the troopers heading his way. What he doesn't hear is... a slight CRACKLING... in the walls. INT MANSION CORRIDOR TIMELESS WESKER and his TEAM burst into the corridor with the old- fashioned ELEVATOR. FLASHLIGHTS find... the body of the ZOMBIE that was shot by Jill, bullet HOLES allover its body. SPEYER Damn. Surnbitch took a lotta lead. BARRY That's not what killed him. Blood's still running. Wounds are fresh. But look at his skin. This guy's been dead for a couple of days. RODRIGUEZ He was dead... before he was shot? INT MANSION KITCHEN TIMELESS CHRIS checks Ridley. No pulse. His own rustling movements prevent him from hearing... that soft CRACKLING SOUND. The kitchen is lined with fifty-year-old IVY-PATTERNED WALLPAPER. The printed VINES seem to be MOVING! Chris doesn't notice until the vines begin to WIGGLE furiously... and RIP THROUGH the paper. They're REAL. Sprouts from some sort of exotic plant, that have climbed up the walls... with INTELLIGENCE! They seem aware of Chris' presence. REBECCA (O.S.) Ridley? REBECCA has appeared in an open doorway. Chris looks at her, with the tips of the vines beginning to brush his shoulders. REBECCA (cont.) Who... who are... CHRIS I... I'm one of the good guys, okay I'm just trying to... REBECCA (Calling) SULLIVAN! AIKEN! CHRIS Shit. Pg-27 Chris, familiar with the room, opens a SMALL DOOR in the wall, barely man-sized, and almost invisible because it's covered in matching wallpaper. Chris dives in. AIKEN and SULLIVAN pop up behind Rebecca, having barely caught a glimpse of Chris. AIKEN Who was that? SULLIVAN Forget him. What are they? Sullivan points at the vines... which are swirling, groping, as if alive, making their way toward Ridley's body. INT MANSION CHUTE TIMELESS In a LAUNDRY CHUTE, propping himself against the sides, CHRIS descends...down...down... as he did as a child... and comes out onto... INT CRAWL SPACE TIMELESS ...a DROP-CEILING, newly installed. Iron frames support AIR-FILTRATION SYSTEMS and other heavy MACHINERY. Sheet- metal walls have replaced the old soffit and fascia. LIGHT, from somewhere below, knifes through gridded iron vents. CHRIS Somebody did some major remodeling. INT MANSION KITCHEN TIMELESS The VINES continue to advance. REBECCA We gotta get him out! THE TROOPERS rush to retrieve RIDLEY'S BODY. The VINES hover around them, occasionally DARTING, then pulling back, as if they were timid animals, hungry, but afraid of anew food- dish. When AIKEN brandishing his M-16, the VINES RECOIL and RETRACT fully... THWIP THWIP THWIP... behind the wallpaper and down... somewhere into the bowels of the house. AIKEN What? Smart fuckin' plants? SULLIVAN No big deal. Most-plants are smarter than you, Aiken. Pg-28 INT MANSION CORRIDOR TIMELESS THE OTHERS are still puzzling over the DOWNED ZOMBIE. SPEYER Why would anyone shoot a dead man? RODRIGUEZ Lemme guess. Maybe 'cause he was... walkin' around? Barry steps closer to the corpse, notes its collapsed skull. BARRY Head-shot. We were sprayin' those dogs outside... but think about it. Were any of 'em brought down without a head-shot. Wesker has been exploring the corridor. Stopping in front of the elevator, he shines his light into the car. We expect someone... or some-thing... to be lurking inside. An attack comes from the opposite direction. A FIGURE BURSTS- out of the shadows behind Weasker. Another Zombie? No. It's JILL! In a rage, she holds her pistol to Wesker's head. JILL I lost three me. You killed them, Wesker. You did... and I did. Because I didn't know what to expect... because you... didn't tell me! WESKER (Calmly) Tell you what? JILL Anything! I wasn't told anything! WESKER Put down the gun. Instead, Jill CLICKS the hammer back. WESKER (cont.) Put down the gun. JILL Not until... WESKER RELEASE! THAT'S AN ORDER, SOLDIER! Jill blinks. Slowly, reluctantly, she lowers her gun. Pg-29 Wesker turns... and recognizes her. WESKER (cont.) How... did you get in here? JILL (Sarcastic) How ya doin' , Valentine? Good to see ya. Glad you're still alive. Same here, colonel, I'm... WESKER How did you get in here? JILL (Exploding) The same way those fuckin' dogs got out! Through their pens! (Relaxing some) I... locked them off. WESKER Good thinking. A VOICE interrupts, from the end of the corridor. VOICE (o.s.) MAN DOWN! The voice is SULLIVAN'S. The troopers run to join him. Last to leave the corridor are Wesker and Jill. Wesker gestures gallantly. WESKER Ladies first. JILL Fuck you. INT MANSION KITCHEN TIMELESS The TROOPERS trickle into the kitchen to find... REBECCA, kneeling over RIDLEY'S CORPSE, examining the ragged bite on its neck. RODRIGUEZ Maybe... they're in the house. More of them dogs. REBECCA Diameter's too small. It... almost looks as if... it was done by a... JILL (Arriving) A human? Rebecca looks up. The two women make sisterly eye-contact. Pg-30 REBECCA Yes, but... what kind of... human... would do something like this? AIKEN Not a vegetarian, that's for sure. SULLIVAN Aiken, you'd be better off... REBECCA There was a guy. Not part of the team. And there was... some kind of... plant... that seemed... alive. RODRIGUEZ Gimme a fuckin' break. AIKEN No shit. It disappeared... right into the wall. Rodriguez cringes when she finds a ragged hole in the wall- paper near where she's standing. WESKER I guess it's... time to spill it. WESKER pulls off his dark glasses for the first time. WESKER (cont.) I don't know... much more than I already told you. I'll tell you the rest now. The labs hare are... were...working on special apps for bio-eng1neered materials. RODRIGUEZ Speak English, hombre. WESKER Marcus has been experimenting with an artificial... man-made... virus. Coded...the 'T'-virus. Financing came from a private corporation, you may have heard the name... Umbrella. JILL They're... multi-national. Huge. WESKER So huge that they have... connections... in high places. That's why we're here. Pg-31 BARRY This virus... it jumped, right? SPEYER Shit! We're all dead! We got the bug, and we're all dead! WESKER It's not airborne. It was spread... in the water supply. Lab animals and... the researchers themselves... passed it on... by... JILL By... biting. Wesker hangs his head. It's an affirmation. BARRY You catch this virus and... what? WESKER You die. But... not for long. The chemical...revives the brain, and... RODRIGUEZ You stand back up... and chew on the first guy you see. SPEYER Christ, this is like... Night of the Living Dead! BARRY Why, in the name of Jesus, would anybody wanna mess with shit... that does that shit? WESKER Victory, friend. Civilization has come a long way, but we still have... war. Imagine... a soldier who can't die. That... was the concept. JILL But the virus... jumped. WESKER Hopefully... if we got all the dogs... we've contained it. JILL Hopefully? Jesus... why didn't you tell us? Pg-32 WESKER By telling you NOW, I've put your lives in jeopardy. Nobody has this information. Except a few high-and- mightys. Me. And now, you. The troopers fall silent as all this sinks in. WESKER (cont.) We have to get Marcus out of here. He developed this thing. He's the only one who... understands it. REBECCA I don't know, this all sounds pretty shaky to me... With a lightning move, Wesker draws his pistol and...BLAM! FIRES... at Rebecca. She flinches. The bullet flies past her and SHATTERS the skull of RIDLEY, the dead trooper who, having stood up, was about to attack Rebecca from behind. Ridley drops... dead again. RODRIGUEZ Guess that proves it. A head-shot knocks 'em down. Rebecca turns and looks at the blood-splattered body. REBECCA Th-that man.. .was dead. (Freaking) I... I'm a doctor! I should know! That man was dead! Vickers reaches in Rebecca's bag, pulls out an ammonia capsule, cracks it, and holds it under her nose. VICKERS I hope you have a lot of these. INT CRAWL-SPACE TIMELESS CHRIS crawls across the drop-ceiling, into the up-rising light from one of the vents. He looks down through the grid work and sees... ...the same LABORATORY that was behind Marcus in the opening video. No longer pristine, it's wrecked, torn apart. Files are scattered everywhere along with smashed fragments of furniture and computer hardware. CAGES that line the walls are filled with LAB ANIMALS making NERVOUS CHATTER. Chris watches a MONKEY sip water from a dish. Like the other animals, its skin is rotting. Pg-33 Chris is about to move on, when his eye catches... ...MOVEMENT... outside the cages. There's A MAN, in a lab coat, sitting at a desk, writing on a note pad. CHRIS (Calling) Hey. CLOSE ON: the man's HAND... flaking, decomposing. The pen it holds is making only random, erratic marks. CHRIS (cont.) HEY! The man turns his head, slowly, to look up toward the voice. There's NOTHING left of his FACE. RAW TISSUE seeps odd- colored fluids. A single eyeball is nested tenuously in the ooze. Something like a mouth, recognizable only because of its position, opens... and GROANS. Chris, pumping his Winchester, hears... KRANG! A NOISE from below. He looks down again, just as... ...the lab door BURSTS open. WESKER and ALPHA TEAM stream into the lab. The thing with. the destroyed face turns toward the invaders, stands, and shuffles toward them. Without hesitation, Wesker, on point, FIRES a quick burst into the thing's brain. It drops like a sack. The lab animals SHRIEK. The team files in, not noticing... ANOTHER ZOMBIE... crawling across the floor...heading directly for SPEYER. Chris shouts CHRIS (cont. ) HEADS UP! He punches out the grate with the barrels of his rifle and... BLAM!...punches a sure-fire HOLE in the zombie's head. BRAD VICKERS, his nerves badly frayed, thinks the team is being attacked. He SPRAYS the ceiling with his automatic. Chris ducks and rolls, narrowly escaping the initial barrage, but bullets keep coming, punching a dotted line up through the ceiling panels. Chris scrambles, as fast as he can, his feet barely escaping the punch holes. He finds himself on top of an enormous checkerboard of vents and Plexiglas panels. Bullets weaken the framework. It sags... then CRACKS, dropping away. Chris is plunged into... Pg-34 INT LAB LEVEL "A" TIMELESS ...WATER! CHRIS kicks, paddles with his rifle, righting himself, getting his bearings. He's in a huge AQUARIUM that's built into one of the laboratory's walls... and he's not alone. There are SIX SHARKS in the tank. ZOMBIE SHARKS, their flesh rotting, leaking pus. The largest of them SNAPS at Chris, but its jaws catch only a clump of his swirling hair. Chris kicks with his feet, remaining upright, and FIRES his wet Winchester. The bullet wimps-out, restrained by the water. It penetrates the shark, but barely. We can see the casing lodged in the animal's flesh. Chris gets an idea. He kicks forward. Plants the barrel of his Winchester directly against the aquarium glass... only to find himself aiming directly at... ...JILL, who is aiming back at him with her M-16. They're both stunned. They stare at each other for a moment, like gunfighters, until... ...another shark circles in for an attack. Chris swings the Winchester away from Jill and FIRES underwater. The aquarium glass CRACKS... but holds. JILL (cont.) Hang on! We're gonna get wet! Jill FIRES. More CRACKS, but the glass is resistant. Chris out. Water SURGES into the lab, knocking Wesker and some of his squad down. They stand up again, only to find themselves knee-high in a dark pool...with SHARK FINS slicing the surface. Everybody opens fire. The dead fish keep coming. AIKEN Where the fuck is a shark's brain? SULLIVAN In it's head! I swear, Aiken, you would be better off dead. In a bizarre frenzy, the sharks KICK their tails, making startlingly quick turns, darting every which way, SNAPPING at the scent of warm flesh. The troopers, hampered by the water, SPLASH around wildly, many of them nearly getting bitten. The air above thickens with a fog of graphite from ten spitting automatics. Pg-35 The water gets darker as it becomes clouded with BLOOD. But thankfully, the level is dropping. The water is seeping out through GRATES in the floor. The sharks become more visible, moving slower as their bellies scrape the floor. The troopers pick them off, one by one. The immediate threat passes...but as the water drains away, the troopers become aware of... a KLAXON-LIKE SOUND. ANOTHER ALARM. The entry door glides shut with a BOOOMMM! WESKER Nice. Very NICE, Valentine! You set off a containment breach! JILL It must have been the water. God, the water! (She turns to Chris} Did you swallow any? SPEYER I did. SULLIVAN A bunch of us did, man. WESKER Separate systems. Salt water. No germs. But.. .it breached! Wesker, looking crazed, his sunglasses gone, is typing on his "Game-Boy"... getting no response. WESKER (cont.) We can go in deeper. But we can't get out. Not with my card-key. RODRIGUEZ So...we live here now. Rosie finds Sullivan looking at her curiously. RODRIGUEZ (cont.} Landlords. Shit hills. Kicked my family out of six apartments. I got use to sayin'...'So...we live here now'. WESKER There are override exits... but I can't find them without THIS! Wesker FLINGS his "Game-Boy" angrily against a wall. It shatters into bits. Pg-36 CHRIS That was a smart move. Wesker bristles. He's about to confront Chris, but he spots his sunglasses where they were deposited on a floor grate by the water. He walks over and picks them up, wiping the lenses on his shirt. Without looking at Chris, he asks... WESKER And... you are? CHRIS Nobody. Just a...a local guy... Chris spots a dry lab-coat hanging on a wall hook. He takes it down and uses it to dry his rifle. CHRIS (cont.) ...who gets pissed-off when he finds... his farm animals... and his father's oldest friend... dead. And the only woman he ever cared about turns out to be a goddam METAL HEAD! Wesker, while seeming to understand, still doesn't look up. WESKER Valentine...who is this asshole? JILL His name is Chris Redfield. He was... part of my cover, sir. CHRIS Cover? A snappy argument develops, a lover's quarrel, with higher- than-normal stakes. JILL This is not the time to mouth off, Chris! You're in deep shit here! CHRIS Why didn't you let me in on this? JILL Why did you have to come after me? How did you get in here, anyway? CHRIS I used to play here, when this was a fucking laundry room! And what makes you think I came after YOU? Pg-37 BARRY (Interrupting) Whoa! Look here. Barry is stooped over the faceless zombie that Wesker shot. He rips an I.D. badge from the corpse's coat. He tosses it to Wesker, who reads the I.D... "DR. J. MARCUS" BARRY (cont.) Is this the pile of shit we're supposed to bring out of here? WESKER It...it once was. VICKERS (o.s.) I got something here. BRAD has been quietly working at one of the lab's computers. Barry rushes over and looks at the monitor screen. BARRY A map. Same as on your gizmo. Exits marked...blue and green. Wesker steps in for a look. WESKER The greens are the overrides. (To Brad) Can you print this out? VICKERS I can try. Chris calmly retrieves his wet shoulder bag from the floor. He wrings out the cloth and, using the lab coat, wipes the bullets dry. VICKERS (cont.) (Off the screen) We're on level 'A'. WESKER We have to get down to level 'D'. BARRY Hold on. Marcus is dead. If this mission was about bringin' him out, we're outta here, right? WESKER I wish we were, but no. We have a potential outbreak here. We might be the only ones who can stop it. Pg-38 SPEYER Stop it? How? WESKER There's... an antidote. Everyone's ears perk. WESKER (cont.) We can't bring Marcus out, but we can bring out the serum. Maybe somebody...can analyze it... and figure how to beat the virus. Jill looks at Chris. Catches him weighing options. JILL (Privately) Not simple. CHRIS (Privately) Not complicated, either. We only have to decide... what's right... and what's wrong. JILL (Privately) I forgot. You're never confused. So...what's right, Mohawk? And what's wrong? VICKERS Shit. (At the computer) There are no green exits on this level. Why... why would that be? CHRIS They don't want anybody up here to go snoopin' ...upstairs or down. Wesker looks at Chris with that odd, confident smile. WESKER Pretty good guess. You must have been in the military, son. CHRIS Native American. Exempted. VICKERS (Typing, starting to panic) Fuck! There... there's no way out! CHRIS Yes there is. Chris points at the broken grid above the shattered aquarium. Pg-39 Wesker looks up. Then looks back at Chris. WESKER Not a bad idea. (Turning to Vickers) See if you can call up... service charts, schematics. Brad's fingers fly. He scrolls through menus. VICKERS Got it. Ceiling grids, ladders. The whole infrastructure. WESKER Print it. Print all of it. The young man types a command. Wesker rushes over to the H. P. and grabs the first chart that rolls out. Rebecca steps over to Brad. She points at his leg. Seated at the computer, his trousers hiked, BLOOD can be seen on his sock, just above his boot. REBECCA What's that from? VICKERS (Nervous) I...snagged it. On the desk. When we were scrambling. REBECCA Lemme look at it. VICKERS (Adamant) No. It's just a scratch! Chris watches Wesker as he studies the printed charts. CHRIS There's a... part of an old laundry chute. It might not show on there. It runs up to the kitchen. WESKER I'm not going up. I'm going down. Wesker, grim-faced, looks at his team. WESKER (cont.) I'd like to let you guys off the hook. But I can't. I need back up. You're comin' with me. Any objections? The troopers exchange glances. Jill is first to speak. Pg-40 JILL No objections. We'll back you up. CHRIS (Disappointed) You said... people wind you up and you do whatever they want you to do. WESKER Stay out of this, son. You're the only one who doesn't have a choice in this. There's no place to lock you up. I can't let you go, you're a security risk. I could shoot you. Legally. But your lady-friend would probably get all over my ass. So... I'm afraid you're comin' with us... whether you like it or not. (To Jill, pointedly) He's your responsibility, Valentine. See that he doesn't make trouble. Jill looks at Chris. CHRIS You up to the challenge? JILL Try me. CHRIS (Snappy) I already have. INT CRAWL-SPACE TIMELESS One by one, the members of ALPHA TEAM wiggle up into the crawl space above the ceiling. CHRIS climbs up behind JILL. OTHER TROOPERS are already away, following WESKER, who guides them with the help of his chart. Jill starts after them. Chris grabs her arm. CHRIS Jill, I... I'm sorry. I'm just... angry. When I... thought you were gone, I... Then... when I saw you. Alive. I realized that... JILL That you were still... fascinated. CHRIS Stop. Stop! He pulls her into an embrace. She goes willingly. Pg-41 CHRIS (cont.) Come with me. We can get out of here. JILL (Tempted) I...I want to. I want... nothing more. But... I can't. When I'm in this uniform, I'm more than... just me. Try to understand...there's no "I" in Team, Chris. CHRIS There's no "I" in DEAD, either. Chris pulls away from the embrace and looks at her. CHRIS (cont.) I should order you to come with me. You'd never refuse an order. JILL You go. You're not part of this. CHRIS I'm part of it as. long as you are. BARRY (o.s.) This is very uncomfortable. Barry, having overheard, is halfway up through the grate. CHRIS For me, too, brother. BARRY I mean this... (indicating the iron that's pressing his belly.) It's very uncomfortable. Chris and Jill help Barry up into the crawl space. start off after the troop. THE CAMERA TRACKS them. BARRY (cont.) This is gettin' old, Man, I swear. I been in this Army eighteen years. CHRIS Eighteen years? BARRY Yep. Two away from the big re-ti. JILL Desk job, right? Nobody lasts that long if they've seen action. Pg-42 BARRY I've seen action in Granada. And Desert Storm. Would have lost it all there... if my buddy didn't bring in a team, against orders, to pull my ass out. Buddy named... Wesker. CHRIS You've been with this asshole since... ? BARRY Since before that. We were... kids together. Macon, Georgia. He's... only an asshole some of the time... UP AHEAD : WESKER reaches a service ladder. He waves his troop on. They start to climb down. VICKERS Who knows what we'll find down there? AIKEN Think positive. The farther down we go, the worse it's gonna get. So... until we hit bottom, we're in good shape... relatively speaking. GRRRAAAAWWWLr.! Distant... but distinct... it sounds like the MGM lion. SPEYER What the fuck? Again .GRRRRRAAAAAWWWWLLLL ! VICKERS Whatever it is.. .it can't get us. We're in the ceiling! AIKEN Maybe it's like... really tall. SULLIVAN Aiken... INT CRAWL SPACE LAB LEVEL "B" TIMELESS The lead TROOPERS reach another section of the ceiling. Clustering around a vent, they look down into... ...the "B"-level lab, more streamlined, more high-tech than the one upstairs. There are large COMPUTERS, linked by metal-shielded conduits to jacks in the walls. Pg-43 WESKER Main-frame. Might have some data we could use. (A quick decision) Fox, Marini, Vickers. Down. WESKER kicks out the vent. He jumps first, through the opening, down into the lab. CHRIS watches from behind. CHRIS The man has balls, I'll say that. Wesker grabs a desk and pushes it under the vent. MARINI climbs down, followed by FOX. BRAD is last. WESKER Hustle it, Vickers. You're the guy we need. To cut into the network. INT LAB LEVEL "B" TIMELESS WESKER looks around. There are THREE Doorways...open wide with only darkness beyond. Wesker runs around closing them. WESKER Watch these entrances, guys. FOX and MARINI take up posts. Brad lowers himself gingerly. He drops the last two feet onto the desk, landing on his bloody leg. VICKERS AAAAH ! Shit. He topples, falling to the floor, but pops up instantly. VICKERS (cont. ) I'm alright. I'm alright. He limps over and attacks the computer keys. GRRRRRAAAAAWWWWWLLLL! Another distant snarl. WESKER Hold tight. It doesn't sound like it's on this level. VICKERS (At the computer) Shit. I'm locked out. Any clues for a password? WESKER Try... Umbrella. Brad types rapidly, nervously. Flubs. Types again. Pg-44 VICKERS Nothing. Wait. I'm into... No. No data. Just some kind of video feed. Time-coded. Yesterday. It's a play-back. (Watching the screen) Holy shit! We HEAR it before we see it. The sound of absolute PANIC. People SHOUTING! SCREAMING! THUDS and CRASHES! GLASS BREAKING! Then A WOMAN'S VOICE . WOMAN'S VOICE (o.s.) Please...please.. .if anyone is receiving this... Brad limps around the desk and spins the monitor for the others to see. The WOMAN is an ORIENTAL. She's standing in the foreground, as Marcus was in the opening video. Behind her is a lab we haven't seen yet... with white- coated FIGURES... RUNNING... FIRING GUNS. WOMAN (cont.) the situation is completely. out of control. We... W HAM ! The woman is pushed out of the way by A MAN who is trying to protect her from... ...SOMETHING that BLURS past the lens, like a pendulum, from ABOVE. In the next instant... SPLAT... the lens is COATED WITH BLOOD! As it oozes down, we see a partial image of the same MAN. His HEAD is OUT OF FRAME at the top of the screen. The thing above must have a hold on it... because the man is DANGLING, his arms witching. His back has three GOUGES in it, long and so deep that they might have been made by piece of heavy machinery. We only see this for an instant... before the man is LIFTED, straight UP, with amazing SPEED. Wesker clicks off the monitor. The other men instinctively look up above their heads. FOX Maybe the ceiling's not such a safe place, after all. CRASH! The door behind Fox BURSTS open. Before he has time to react A ZOMBIE is on him, BITING his cheek, neck, shoulder. The two figures fall to the floor, grappling. Wesker can't get a clean shot. WESKER Scram! SCRAM! Pg-45 Marini is first to reach the desk, but he helps the limping Brad up ahead of him. TWO MORE ZOMBIES lurch in through the open doorway. Wesker shoots them, but he sees MORE... can't tell how many...shambling toward the open doorway from the darkness beyond. Wesker focuses on Fox, who is still being MAULED, BITTEN. Fox SCREAMS. Wesker still has no safe shot. Brad is YANKED up into ceiling by SULLIVAN and AIKEN. CHRIS leans out of the opening, reaching for Marini. Wesker KICKS the mauling zombie in the head. It takes three hard BOOTS to attract the thing's attention. When it finally looks up at him, Wesker BLOWS out its skull. Fox is lying on his stomach, writhing, BLEEDING profusely from a half-dozen bites. Wesker stoops down, trying to roll him over, lift him up. Fox resists. He's gone insane. Chris pulls Marini up to safety. BARRY leans down through the opening. BARRY Haul ass, boss! The zombies are heading for Wesker. There are three of them. Barry shoots at the one in front. Misses. His second shot hits the thing's brain. Wesker again tries to hoist Fox who, this time rolls over on his own. He has drawn his pistol. Before Wesker can stop him, he eats the barrel and BLOWS out the back of his head. One zombie is dangerously close. Barry fires two more rounds. No head shot, but the zombie staggers and, though not dead, FALLS...directly toward Wesker. The colonel rolls on his back, kicking himself away, managing to get clear. He uses his own pistol to BLAST the zombie. He scrambles to his feet, darts toward the desk, and jumps up. The third zombie grabs his legs. From above, Barry risks a dangerous shot. BLAM! Wesker hears the bullet WHIZZZ past his head like a mosquito. The zombie is hit in the skull. It drops. There are MORE of them coming out of the darkness. Barry takes hold of Wesker and, with a single strong arm, pulls him up into... INT CRAWL SPACE LAB LEVEL "B" TIMELESS ...the crawl space, where WESKER breathes heavily for a moment... then looks up at his old friend. Pg-46 WESKER That's...two I owe ya. BARRY One. We were all... 'Even-Steven' . WESKER Two. Remember? 'Even-Steven' ... is not in my vocabulary. A horrible MOANING SOUND comes from below, in the lab. THREE MORE ZOMBIES can be seen clustering around the desk, dumbly trying to climb up, sensing the "food" above. WESKER (cont.) Let's move. Wesker takes off. SPEYER, RODRIGUEZ, AIKEN and SULLIVAN are quick to follow. The others lag behind when CHRIS says... CHRIS Those things could get up here. We can't let that happen. This is our way out... Chris swings his legs through the grate and JUMPS down... INT LAB LEVEL "B" TIMELESS ...ONTO THE DESK. He BOOTS one of the ZOMBIES away and tries to LEAP over the others. One of them catches his foot in mid air. CHRIS isn't hurt, but he TOPPLES to the floor, sprawling, losing his Winchester. The zombies have him cornered. He crawls toward his rifle. Reaches it. Pumps a shell into the firing chamber. Aims at the closest of the walking dead... ...which was once a young man, a simple laborer, wearing overalls, with a name tag... CHRIS (Reading) Caruso. Chris looks empathetically into the thing's dead eyes. CHRIS (cont.) Can you hear me? The zombie lumbers forward hungrily. CHRIS (cont.) Caruso! Can you hear me? Pg-47 Chris has come late to the realization that these things were once human. Now he comes late to the realization... that they are human no longer. The zombie grabs the barrel of the Winchester, pushing it aside. Chris can't bring it back to bear on the monster's head. He BLASTS a round through the thing's belly. It has no effect. The zombie reaches for Chris' throat. Starts to lean in to bite him. BLAM! The thing's skull explodes. JILL has jumped down onto the desk. She FIRES another accurate pistol round. The SECOND ZOMBIE falls. Jill leaps to the floor and starts to push the desk. Chris gets to his feet, rushing in to help her. Together, they shove the desk out from under the open ceiling grate. CHRIS Thank you. JILL Any time. How do we get back UP? CHRIS Shit, if you didn't have a plan, you shouldn't have jumped down here. JILL We have a real problem here, Chris. Jill nods toward the open doorway. There are more stuttering FIGURES approaching out of the dark. CHRIS How big is this place? How many people were down here? How... JILL HOW DO WE GET UP? With a startling SOUND, A DARK SHAPE swing down from above and GRABS Jill! Is it the thing we saw on the video? No. It's BARRY! His mighty arms lift Jill. She's caught by Aiken and Sullivan and pulled up to safety. Barry grabs Chris and lifts him as well. INT CRAWL SPACE LAB LEVEL "B" TIMELESS CHRIS grabs the edge of the grate and pulls himself up. He reaches back down through the opening. Below, BARRY squats... and makes a mighty leap-with his muscular legs. Chris grabs his arms... and is nearly pulled back down. Pg-48 CHRIS (Straining) Big. Heavy. Jill grabs on, then Sullivan. But one of the ZOMBIES has reached Barry. It GRABS his kicking legs. It's TEETH SNAP! And CATCH! The commandos lift Barry clear, but the zombie ends up with a CHUNK of something in its mouth. JILL It got you! Barry checks his leg. His trousers are torn, but... BARRY No skin broken. I'm alright. CHRIS We owe you a pair of pants. They crawl away. The zombies below reach up, their fingers clutching, at the ceiling, but with the desk gone, there's no way they can get up. DISSOLVE TO: INT STORAGE AREA TIMELESS THE COMMANDOS climb down a steel access ladder into a storage room stacked with CRATES and CARTONS. There's only one door. The place seems secure. WESKER Stand down. Five minutes. WESKER sits on a crate and pulls out his printed charts. Gradually the whole troop makes it down into the room. They relax. A few light cigarettes. But not SPEYER. SPEYER I'm through, Wesker. MARINI Me too, man. This ain't nothin' I signed on for. WESKER (Calm) You want to wait here, fine. MARINI Wait here? No. We're gettin' out! WESKER You can't. (He flashes his access card.) Not without this. Pg-49 SPEYER Fuck you! And your fancy doors and your green key! The choppers have rockets. They can blow out a wall if they have to. I'm callin' 'em in. Speyer pulls out his radio and starts to punch a code. WESKER You wanna see a wall blow, I'll blow all of 'em for ya. Wesker reaches down to the electronic unit that he lost and retrieved in the woods. He pulls a long wire out of it, with a small sensor on the end. WESKER (cont.) I'll put a crater in this forest that takes out Racoon City and everything else for twenty miles... with this. He jams the little sensor into his ear and pushes a button on the belt unit. Small red LIGHTS blink. WESKER (cont.) It's a radio detonator...to set off explosives that are...buried under neath us somewhere. The ultimate containment measure. Incinerate the place. (Smiling again) It has a... dead-man mechanism... .(he taps the ear-piece) ...that reads my pulse. My heart stops, and... boom. CHRIS You...lunatic! That damn thing can slip out of your ear by accident! WESKER That's right. It's your job...all of your jobs...to see that it doesn't. And to see that my heart... doesn't skip any beats. Wesker looks over the tops of his sunglasses... at Speyer WESKER (cont.) Give me the radio, soldier. Speyer hesitates. Wesker explodes, for the first time. WESKER (cont.) GIMME THE FUCKIN' RADIO, OR WE ALL GO UP! --- This text orginiated from www.New-Blood.com, please check us out for Resident Evil coverage. --- Pg-50 Shocked silence. Sullivan is the first to speak. SULLIVAN Sumbitch might do it, Speyer. WESKER I'II be obliged to do it! If I don't get that antidote, I'll have to burn this place out! (Beat) Valentine. The radio. Jill steps over to Speyer and takes the radio from him. CHRIS (To Jill) What are you, this guy's flunky? He just threatened to blow us all up, for Christ's sake! JILL That's what I'm trying to prevent! EXT ARKLEY FOREST IN THE AIR DAY WHAP WHAP WHAP... one HUEY is in the air..., THE CAMERA MOVES IN on a window. LAGUARDIA is flying, his RADIO MAN beside him. LAGUARDIA How many digits did you receive? RADIO MAN Six. The beginning of an air- support code, but... it just went dead on me. LAGUARDIA Call S.T.A.R.S. in Washington. I want... RADIO MAN Hold it... The radio man presses his headset to his ear. LaGuardia looks on apprehensively. RADIO MAN (cont.) It's Wesker. (Into mike) Yes, sir. We got the signal sir. (He clicks off) He says it was... a mistake. LAGUARDIA Call Washington anyway. I want the authority to take action if necessary. Pg-51 INT OFFICE TIMELESS BRRRING! The hand with the ostentatious RING snatches a red telephone receiver from of a desk drawer. MAN WITH RING (o.s.) Holden. He listens. Once again, we don't see his face. Just his free hand, with another Monte Cristo burning. HOLDEN (Man with ring, cont.) Denied. This is Wesker's show. If he was in real trouble, we'd have lost half of Pennsylvania by now. As the hand flicks ash, we see a sheet of paper on the desk with a letterhead that bears... an UMBRELLA LOGO. HOLDEN (cont.) No authorization. EXT ARKLEY FOREST IN THE AIR DAY In the HUEY, the RADIO MAN clicks off an incoming call. RADIO MAN No independent action. LAGUARDIA Damn. I feel so fuckin'... helpless! The huey over flies THE MANSION which, from the air, looks as stable as the Rock of Gibraltar. INT STORAGE AREA TIMELESS WESKER has come down off his rampage. He looks exhausted. He also looks staunchly heroic as he speaks to his TROOP. WESKER You guys were hand-picked. A Special Unit. Most of you have been sitting on your asses, drawing pay checks for more than two years. Well... it's time to repay those... Government loans. SPEYER Bull shit. I'm not... Wesker lifts his automatic. Speyer flinches. The action wasn't meant as a threat. Wesker is just checking his ammo. Pg-52 WESKER Pitch your empties. Put all your loaded clips on that crate there. I want a count. Then I want the rounds divvied up... evenly. The troopers deposit their loaded clips, reloading the ones that are half-used. WESKER (cont.) Alright. We're on.. .(checking the maps) ...level "C"... AIKEN Lingerie. Notions. WESKER GOD DAMMIT, NO MORE JOKES! We have men dead upstairs! This hell-hole is full of people who died... because of this stinkin' ...BUG! Jill has been counting the ammo clips. JILL Forty two. SPEYER That's all we have? WESKER We weren't expecting a war, Speyer. (To Jill) I'll take three. Three to your boyfriend... CHRIS Don't need 'em. Got my own loads. Wesker's eyes dart angrily toward Chris. But he notices Jill watching him...and he calms himself. WESKER Good. Then... we all get four clips. SPEYER They must have... weapons down here, somewhere. A powder magazine. WESKER No more side trips. It was a mistake to go into that lab upstairs. My mistake. And I'm not makin' another one. From now on it's straight ahead. In and out. Pg-53 Wesker stands and opens the door. Outside is a SERVICE CORRIDOR with unfinished walls. Spaces between raw metal beams are stuffed with insulation. Wesker checks the jamb outside. It's got a lock mechanism. Blue. WESKER (cont.) Not an override. My key won't work here on the way out. Prop the door. The troopers drag a heavy crate over to hold the door open. Wesker moves out. The commandos trickle after him. Chris holds Jill behind for a moment. CHRIS Jill...this guy is a Loony-Toon. JILL He's just... trying to get the job done. Doing what he has to do. CHRIS Yeah, well...I hope you'll say the same about me... when I do... what I have to do. Chris turns and walks off. Jill follows him out into... INT SERVICE CORRIDOR TIMELESS ...the corridor. They catch up with the TROOP which is clustered at a blind alley which has two doors. WESKER (Checking his map) It's not clear... which way to go. RODRIGUEZ Want me to flip a coin? WESKER is annoyed by the remark. Decisively, he selects one of the doors and uses his green key card. With a BZZZZ, the lock releases. The troop enters... INT SYSTEMS CENTER TIMELESS ...a vast ROOM, fifty-by-fifty yards. It's filled with HEATERS, AIR CONDITIONERS, WATER PUMPS. MAIN FRAMES for the internal computer network line one wall, FUSE BOXES and SWITCHER PANELS another. This is the systems center for the entire facility. There's an attendant's desk just inside the door. AIKEN and SULLIVAN drag it over to prop the door open. It makes Pg-54 a frightening SOUND as it scrapes the floor, echoing, bouncing around in the large space. It prompts a response... another of those animal-like SNARLS from somewhere in the distance. SULLIVAN What's that sound like to you? AlKEN A meat-eater. There are thick columns, floor to ceiling, every ten feet. The spaces between them are very dark. It's hard to see. WESKER and some of the OTHERS click on their FLASHLIGHTS . Beams cut through dust. There are ELECTRONIC HUMS.. CLICKS and CHATTERS emit from the switchers, PINGS from the heaters, all combining to fray everyone's nerves. Light beams dance nervously as the commandos start out across the dark and frightening space. CHRIS (Softly to Jill) This is the heart of the whole place. They've got to have it... protected somehow. Two things happen, almost at once. First.. .CHRIS notices ELECTRIC EYES... on all of the columns. CHRIS (cont.) DUCK! HIT THE DECK! Second. A ZOMBIE lurches around a corner and BITES a chunk out of MARINI'S face. JILL whirls around to shoot at the zombie, but Chris grabs her and FLATTENS her on the floor. Marini, staggering, screaming in pain, triggers the first electric eye. LASER BEAMS shoot in all directions, forming a tight NET. Chris and Jill are barely beneath them. Many of the other troopers are hit by the beams... which do no immediate harm... but wherever they make contact, small CYLINDERS above the electric eyes begin to HISS. CHRIS (cont.) FOR CHRISSAKE, GET DOWN! The commandos duck under the laser beams... just in time. Jets of STEAM spout from the cylinders. It's not just hot steam. It's ACIDIC, deadly. Marini is hit by it. His clothes IGNITE. His flesh BOILS. It's a horrible sight, but for the moment, the jets stop. Pg-55 Marini is dead on his feet. When he falls, he trips another of the laser beams. The steam jets SPOUT again. The troop is beneath them, though many are burned by liquid drops that spit from the nozzles. Amazingly, the zombie has avoided contact. But as it begins to stumble after commandos, we realize it's going to activate the sensors again. SULLIVAN There's no way outta this mousetrap! RODRIGUEZ So we live here now? SPEYER We gotta run for it. The zombie hits one of the laser beams. The steam HISSES out again. The zombie is MELTED. AIKEN Bad idea, Speyer. CHRIS Down. Through these. Chris has noticed a series of hinged panels in the floor. VICKERS Where do they go? SULLIVAN Does it matter? Sullivan whips out a Swiss Army knife and goes to work on the screws that hold down one of the panels. Other troopers do the same. Another ZOMBIE lurches out of the darkness. And ANOTHER. Human hands work furiously, loosening screws. Panels come up, Troopers begin to duck through the openings. A second zombie hits a red beam. STEAM again. Chris and Jill are spattered. Burned. But Jill bravely keeps working with her own issued knife. She gets a panel open. As she drops through, a third zombie triggers a burst of steam. Chris ducks and covers. When the jets stop, Chris begins to climb into the opening, but one of his legs is GRABBED from behind by... ...one of the dead things which has already been MELTED! Pg-56 Its flesh is bubbling. Bone is beginning to show. But the acid hasn't reached its brain yet. The creature is still alive. Chris CRIES out. Acid from the zombie's hands is burning his leg. The thing's lips have been eaten away, making its teeth look frighteningly skeletal as it leans forward for a bite of flesh. Chris jams the stock of his Winchester into the zombie's mouth. He's able to hold the thing's head back, but he's stuck. He can't let go. Jill pops up out of the floor. She presses the barrel of her own weapon into the zombie's forehead. JILL On three... CHRIS One... two... Chris pulls his rifle away. At the same instant, Jill FIRES. The zombie is PROPELLED through the air. One of its flailing arms triggers another laser beam. Chris throws himself in on top of Jill as STEAM HISSES over them. Twenty yards away, Wesker crawls under the cloud of acid. Just as he climbs down through one of the openings, he feels pressure...on his ear. A groping zombie has accidentally hooked its fingers onto the wire that runs from the detonator to Wesker's ear-piece. For a breathless moment, it seems like the sensor will be popped loose. Holding the pulse-reader in place, Wesker twists his body, lifts his hand gun, and PUMPS THREE into the dead thing's brain. The zombie flops over, but its fingers cling, entangled, in the wire. Wesker plants his pistol barrel on the knuckles of the thing's dead hand. THREE MORE SHOTS cut through bone, removing the fingers from the hand. The wire is freed. Wesker dives into the opening in the floor. INT AIR DUCT TIMELESS The COMMANDOS find themselves in an AIR DUCT. No room to stand. Hardly room to sit. Chris looks at his rifle stock. It's corroded from the acid in the zombie's mouth. Jill notices. JILL God...and it doesn't even stop them... Pg-57 CHRIS It's not meant to stop them. It's meant to stop...something else. That distant SNARLING SOUND comes again, making Jill shiver. The troop is strung out along the metal shaft. REBECCA crawls among them, treating the worst burns. WESKER checks his maps. SPEYER confronts him again. SPEYER We damn near got turned into Rice Krispies by that gizmo of yours. If you don't want me to nail that fuckin' thing into your ear, you deactivate it. Right now. WESKER I can't. They.. .fixed it... so you can't chicken out. The system can only be turned off at the main panel. BARRY Where the hell is that? WESKER Where the explosives are. Down... farther than we need to go. We only have to make it down one more level. If... when... we make it back up to the choppers... we can fly out of the detonator's signal range. Chris calls out from the far end of the shaft CHRIS I'm not willing to rely on that. I live here, this is my town! WESKER The town's been evacuated. Just... just in case. CHRIS That explains the lie. About the plane crash. An airplane down... with weapons on board... would nicely explain a big explosion, wouldn't it? You figured all along you might have to blow this place! WESKER I don't want to do it. I... I hope I don't have to. Pg-58 Chris looks down the dim air-shaft, unable to see Wesker's eyes, hidden by distance.. .and by his dark glasses. WESKER (cont.) That's the best I can do for you, kid. Good faith. Now... let's knock on it. Wesker moves out. The troop follows. CHRIS I...I can't let this happen. I've got to find that bomb. JILL I'll help. Once Wesker gets what he wants, my obligation is over. Chris looks at her with appreciative eyes . CHRIS No. I want you out. With the rest of them. Wesker won't push the button until you're clear. JILL He doesn't want to push the button. CHRIS He has to. Don't you see? He can't leave these labs here. And, Jesus... walking corpses! He's gotta get rid of the evidence. INT AIR SHAFT TIMELESS The light is dim at its best. Long stretches of the shaft are pitch black, and there's a constant stream of air that MOANS eerily. This whole mission has been like a descent into Hell, darker and more frightening with each level down. There are turn-offs, "T"s and "Y"s. At one point, when JILL looks back, she finds ROSIE behind her. Chris is gone. Did he leave to deal with the bomb? No, but he's about to. He's at the rear of the pack, pressed against the side-wall, waving others past. JILL Chris, no! CHRIS I've got to try and stop this. Pg-59 Jill starts back toward Chris, but freezes.. .everyone freezes when... the duct-work starts to PING. RODRIGUEZ Shit. One thing after another. BOOM! The air shaft is ROCKED, as if punched by a giant fist. Then...the whole structure begins to SHIMMY. What is it, an earthquake? WESKER Sit tight. Ride it out. GRONK! A sheet-metal panel BUCKLES! Others do the same. All along the shaft, panels begin to FOLD INWARD. Something outside is CRUSHING the duct as if it were a giant tube of toothpaste. And the troopers are being SQUEEZED inside. RIVETS POP! The panels begin to SEPARATE...and large, pulsing bits of FLESH appear! Not animal flesh. But the flesh of A PLANT! The things that press in through the openings are larger versions of the vines we saw in the kitchen. Those were its fingertips. These are its ARMS. Strong arms that are RIPPING the ductwork apart. Chris, Rebecca, Aiken and Sullivan end up in one part of the shaft. The rest in another... including Jill, who calls out. JILL CHRIS! The section that holds Chris' group FALLS AWAY... with a monstrous, CRUNCHING sound. INT ARBORETUM TIMELESS CHRIS' GROUP spills out of the dangling metal, with cables from the torn ceiling...TZZZZZT...SPARKING around them. The troopers drop out of Hell, into...PARADISE. An enormous HOT HOUSE, a lush, indoor JUNGLE of PLANTS, IVIES, GRASSES. It's like a RAIN FOREST, complete with a thick, damp MIST that makes it difficult to see. We might be on another planet. None of the foliage seems indigenous to Earth. There are LEAVES the size of bed sheets, FLOWERS , the size of armchairs. And at the center of it all, is the mother of the deadly vines... ...PLANT 42, a monstrous schefflera, twenty times normal size. Most of its limbs reach upward, where they have opened CRACKS in the ceiling and walls, to stretch on into the facility above. There are also dozens of shorter, beefier "arms", each of which act independently, like tentacles on an octopus... and each has a large, drooling POD at its tip. Pg-60 INT RUNWAY TIMELESS BURSTS OF GUNFIRE from three M-16s shatter our ears... and a ceiling VENT. WESKER and THE OTHERS jump down into... ...a very unusual CORRIDOR. It seems to stretch forever, in both directions. It has no doors, no visible means of exit or entry. The walls are made-up of multi-colored polymer TILES, whose irregular shapes fit together like a JIGSAW PUZZLE. The floor is HEAVY STEEL, though faceted. It seem designed to shift. The whole corridor looks like it might be able to bend, to change position, like an airport jet way. There are disconcerting signs of damage...claw-like GOUGES on the tiles, clean cut HOLES punched through the metal ceiling, larger in diameter than any that might have been caused by bullets. And there are smears of BLOOD everywhere, as if some terrible battle... or battles...took place here. WESKER This way. (He starts off.) JILL No. That way. Chris and the others... WESKER If they're dead, they're dead. If they're alive, they'll still be alive in twenty minutes. When we get back. JILL Maybe not. And how do we know it's only going to be twenty minutes? How do we know we'll be able to come back this way? WESKER We don't. But we'll do our damndest to try. This is it, guys. The home stretch. Let's go. Wesker trots off. Vickers and Rodriguez follow. Speyer and Barry hang back... with Jill, who remains torn. WESKER (cont.) (Looking back) Valentine. You're on the clock! Fall in! Jill wrestles with her emotions but, in the end, dutifully, she "falls in". As the troopers move off, we hear odd SCRATCHING SOUNDS... with the high-pitched SQUEAL of metal-on-metal. Pg-61 INT ARBORETUM TIMELESS The beefy "ARMS" of PLANT 42 undulate overhead as CHRIS and his COMPANIONS look for an exit. REBECCA Th-this thing was no accident. It was cultivated! CHRIS And it didn't rip out the ceiling for the fun of it. Stay alert. The plant seems to behave intelligently, with caution. The pods on its "arms" dart, almost as if sniffing... then pull back...like the vines in the kitchen, like timid animals. Chris spots A DOORWAY. CHRIS (cont.) Here. As the others follow him, one of the pods swoops down in front of REBECCA, and doesn't withdraw. It hovers there. Its follicle's open like jaws, which display serrated daggers of cartilage that look like teeth. Inside, a pulsing calyx emits a pistil that twitches and swells. AIKEN My mother made me eat vegetables. I know 'em all. This ain't one of 'em. SULLIVAN Aiken... ANOTHER POD swoops down on Sullivan's back. Its BEAK clamps onto the flesh between his shoulder blades. It's PISTIL shoots out like a hypodermic needle, stabs him and, within the blink of an eye, SUCKS out every ounce of the man's blood. His skin turns the color of PARCHMENT, FLAKING OFF HIM like powder, as he dies. AIKEN Sullivan! JESUS, SULLIVAN! Aiken rushes to his buddy's side. CHRIS Get out of the away! Chris launches himself off a stone retaining wall around one of the gardens. Leaping up, he grabs one of the SPARKING CONDUITS and pulls it down. Pg-62 CHRIS (cont.) Get OUTA THERE, AIKEN! Chris ends up having to shoulder Aiken out of the way. Tendrils from the plant very nearly get both of them, but Chris manages to JAM the semi-rigid conduit into a pool of sprinkler-fed WATER around the plant's roots. A BRIGHT CURRENT stutters through every vine. The plant SHRIEKS, hideously, as electricity causes fluids to SQUIRT from boils that develop on its flesh, down along its "arms", and into its blood-sucking pods...which FLOP, lifeless, to the floor, with the same sort of liquid SMACKS that human skulls might make. AIKEN They.. .they killed Sullivan. The bastards... whoever did this shit... they KILLED SULLIVAN! Enraged, Aiken draws a long-bladed KNIFE and wildly attacks the remains of Plant 42, slashing at the thing's dead limbs, not stopping until he cuts into... ...something that looks like a vine...but BLEEDS RED! Aiken traces the thing with his eyes, up to where it's coiled in high tree branches. It's the oversized body... ...of A COPPERHEAD, with a belly SIX FEET in diameter. As Aiken gasps, spellbound, he's STUCK from behind. The snake is so long, its body is draped on one side of the greenhouse, but its head is on the other. With the power of a dozer-shovel..JAWS like the open hood of a Cadillac... TEETH the size of windows...CLAMP onto Aiken's mid-section, instantly CRUSHING his ribs. Chris finds a skein of ROPE. He throws the long end over a ceiling beam, then instantly makes a LASSO out of the piece in _is hand and tosses the loop at the snake's head . Aiken's body, in the serpent's jaws, makes the rope miss. Chris throws again. In the seconds between tosses, the snake has SLURPED Aiken into its mouth. The rope encircles the beast's head. Chris pulls. The noose slips down over the snake's maxillaries and tightens around its neck. Chris uses all his strength. With the ceiling beam as a pulley, the snake's head is SLAMMED against the rafters. CHRIS (To Rebecca) Hold this. Rebecca is, understandably, not quick to respond. Pg-63 CHRIS (cont.) GET IN HERE, SOLDIER! In this crisis, Chris finds himself sounding a lot like Wesker. It sobers him. It sobers Rebecca, as well. She rushes in and takes hold of the rope. Moving fast, Chris rushes to where Aiken's knife dropped on the floor. He grabs it, turns back, and sees... ...something MOVING inside the snake's beaded torso. It's Aiken... still alive. Chris charges, PLUNGES the knife into the beast, hacking through layers of fat until he reaches a bloody CAVITY. Aiken is curled within, like Jonah in the Whale. His chest has been crushed to half its normal size. Acids from the monster's intestine have begun to eat through flesh on his hands, his face, but he's still conscious, able to wheeze-out words. AIKEN K-kill me. S-Sullvan said...I'd be.. .better off dead. That...ain't never been truer than now. Kill me! The snake uses all its strength to lower its head from the ceiling. Rebecca hangs bravely onto the rope, but she's LIFTED, bodily, off the floor. The rope SNAPS, cut by the steel beam. Rebecca falls. The trailing edge of the noose catches on twisted debris. It delays the snake for two seconds. Those fragile seconds give Chris just enough time to reach into the open belly of the monster...and pull the PINS on TWO GRENADES that dangle from Aiken's vest. The giant copperhead SNAPS at Chris from behind, missing him by inches. He dives, like a wide-receiver reaching for a pass. What he catches is... ...Rebecca's arm. His momentum carries her down to the floor. They roll behind another STONE WALL that contains tons of earth, which protects them from... ...BOO-BOOOOOM!... the explosions of the grenades... which blow Aiken... and yards of the snake's mid-section...into eternity. INT CONFERENCE ROOM TIMELESS The same nervous HANDS that we saw in the opening fidget on the polished surface of the conference table. A distorted VOICE scratches over a speaker-phone. Pg-64 VOICE ON THE PHONE (o.s. filter) We're close. I think I'll be able to get the package. It's been... very interesting. VOICE IN THE ROOM Anything you can't handle? VOICE ON THE PHONE (o.s. filter) (Chuckling) There's nothing I can't handle. A hand with an ostentatious RING flicks cigar ash. HOLDEN Keep us appraised. Holden's hand clicks off the speaker-phone. HOLDEN (cont.) (To the others in the room) I'm reassured, gentlemen...that every- thing is...under control. INT RUNWAY TIMELESS WESKER, alone in the strange, faceted corridor, packs away his radio. He hears... FOOTSTEPS. JILL appears. WESKER Where are the others? JILL Right behind me. Were you... talking to someone? WESKER To Washington. To my... superiors. They're your superiors too, Valentine. Don't forget that. Jill wonders. Should she challenge Wesker? She has no time to think. More FOOTSTEPS come CLACKING at her back. It's RODRIGUEZ and SPEYER. A moment later, BARRY and VICKERS appear from the opposite direction. BARRY Nothin'. man. No doors. Nothin'. We hit a dead end. SPEYER Us too. Cement wall. VICKERS We're never gonna get to that lab. Pg-65 TCHUNG TCHUNG TCHUNG... a sound like a rivet gun resounds in the corridor, repetitive, but random, not rhythmic. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA are crawling through a two-foot high feeder-passage for electric cables, their bellies scraping the floor, their backs the ceiling. They hear the sound... ...TCHUNG TCHUNG TCHUNG! Then suddenly...it stops. REBECCA (Crying quietly) I... can't take this any more. CHRIS We take what comes. That's the secret of our genius. He looks back. Rebecca sniffles. CHRIS (cont.) How old are you? REBECCA Not very old at all. Not nearly old enough to...to... CHRIS None of us is old enough for that. Rebecca nods, forcing a smile meant to be appreciative. REBECCA Jill... told me... you were nice . CHRIS She did? She never told me. That sound returns... TCHUNG TCHUNG TCHUNG...getting louder. INT RUNWAY TIMELESS Down in the corridor, the other TROOPERS see... ...faintly in the dusty reaches of the dark... AGILE SHAPES advancing... not along the floor, but along the CEILING! They look like apes, swinging from... What could they be swinging from? The ceiling is solid metal. CLOSE ON: A MONSTROUS HAND, both hairy, and scaly. It's fingers have ten-inch claws.. .more like horns... which PUNCH upward, penetrating the ceiling metal, and clamping on. Pg-66 THE SHOT WIDENS to reveal A BEAST, unlike any we've seen, dangling from the ceiling. It is ape-like... and lizard- like. With ferocious eyes that glare from beneath an insect- like carapace. This thing is an amalgam of all the nasty creatures that have pursued us in our nightmares. It's called... A HUNTER. There are SIX OF THEM... as far as we can see, there might be more coming from behind. Their three-toed feet also have claws that can pierce the ceiling, enabling them to move forward... hand over foot, foot over hand. One of them lets out a GRRROWLLLL! The same sound we've been hearing through the walls. Now it echos in the corridor, up close and personal. The troopers open fire, even before the creatures get in range. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA hear the gunfire. CHRIS Hurry. Chris crawls on. Rebecca is stopped when... TCHUNNNNGGG ! One of the HUNTERS' CLAWS PUNCHES up through the floor , almost stabbing her. Rebecca SCREAMS. In the tight space, Chris is barely able to reach back and take her hand. TCHUNNNNGG! TGG! More CLAWS penetrate the metal. The couple plunge ahead of them, the way Chris plunged ahead of the bullets on Level "A". INT RUNWAY TIMELESS WESKER, JILL and the OTHERS spit lead at the advancing creatures. Bullets THUNK into their bodies. Blood flows, but the creatures seem to feel no pain. Even when they're hit squarely in their skulls. BARRY Head shots. Ain't doin' nothin'! WESKER That was the idea. BARRY What idea? WESKER To win. The idea was... to win. Pg-67 Jill aims at one of the hunters, pressing the trigger of her M-16, and not letting go until her clip runs out. The creature's head is turned RAGGED by the barrage... revealing an iron SUPERSTRUCTURE beneath the skin. VOICE (o.s.) Now that... is a metal-head. Jill looks up. CHRIS jumps out of the open grate in the ceiling. REBECCA jumps down after him. CHRIS (cont.) What d'ya think? Should I wait for orders, or just wing it? JILL Wing it! CHRIS You know...that just might be the ticket. Wing the fuckers. Chris takes a careful SHOT with-his Winchester. He hits one of the Hunters squarely on its WRIST...which SNAPS. The creature drops to the floor. CHRIS (cont.) Forget the head shots. They're useless. Shoot for the joints. The JOINTS! Rebecca opens FIRE with Aiken's M-16, giving the others time to reload. Barry is the first to resume firing...at the closest of the Hunters... at its wrists, which are SNAPPED by the bullets. The creature drops to the floor. The troopers fire at KNEES, ANKLES, ELBOWS, which seem to be the weakest spots. More of the hunters drop from the ceiling...but they continue to advance, crawling, pushing themselves forward with whatever limbs remain intact. SPEYER Run! We slowed 'em down. Run! BARRY Where? As far as we'll get, either way, is a cement wall. There are two hunters left on the ceiling. One of them makes a mighty, impossible LUNGE... and hits Speyer like a battering ram, slashing his CHEST OPEN with its claws. Two of the hunters on the floor rush forward, not attacking, but wanting to feed on Speyer's remains. Pg-68 Brad, trembling, completely crazed, drops his weapon and backs away. He sees...one of those jigsaw tiles, a RED one, GLOW from within. He thinks he's hallucinating until... ...the floor JERKS, in a tight spasm. Its steel facets begin to separate, sliding away from each other. The troopers narrowly escape as.. . ...the floor behind them GRINDS, in and out, left and right, as if it were CHEWING. Speyer's body, and those of the hunters on the floor, are EATEN by the powerful steel blades. But one hunter remains above it all. TCHUNG TCHUNG TCHUNG, it continues to advance along the ceiling. An invisible, JIGSAWED DOOR glides open twenty yards down the hall. The troopers run for it, and are met by a beautiful Asian scientist... the woman we saw on the video playback... ADA WONG. ADA You lost a man. If I had only been faster. I was unfamiliar with the mechanism. TCHUNG TCHUNG... the Hunter approaches . ADA (cont.) God. One of them... is still .. Quickly. Inside. Quickly! The troopers rush into... INT CUBICLE TIMELESS ...a security cubicle. CHRIS is the last to enter, barely making it before the door begins to slide shut. KA-TCHUNK! CLAWS penetrate the opening. ADA Don't worry, it's mindless. It doesn't realize that it's strong enough to push the door open. BARRY (cont.) Sometimes the dumb get lucky. RODRIGUEZ Hasn't happened to me, yet. The Hunter GROWLS. Its snout darkens the space between door and wall. Mucous from its nostrils spits through. Pg-69 After a terrifying moment, the claw recedes. The dark snout disappears. The snorting fades away. Followed by a distant...TCHUNG TCHUNG TCHUNG...as the hunter departs. Everyone relaxes, visibly. The troopers turn and, for the first time, notice two haggard SCIENTISTS standing across the room. ADA My... colleagues. Benjamin. Toshiro. As far as we know, we are the...only ones.. .left alive. We worked on "C" level. One of the biologists saved us. Brought us down here. He knew that... he didn't have long to live. He... started the mechanism... out there, in the corridor.. .and he let it... take him. Ada stares at a complicated control panel. ADA (cont.) I only saw it used that one time. Or perhaps...I could have been faster. The man...you lost... RODRIGUEZ You did fine, lady. We're obliged. ADA As are we. (Sighing) We believed... we would die here. Believed...the bomb would destroy us. JILL You knew.. .about the bomb? ADA The end for a place like this, when it fails... must be a bomb, yes? Jill looks at Chris. His point has been proven. ADA (cont.) But now... that you are here... the bomb will not come. CHRIS It... already came. ma'am. We brought it. The colonel, here... he's wearing it. Ada looks at the detonator on Wesker's belt, at the sequence of blinking lights. 70 ADA (To Wesker) Is it true? Are you here to... rescue? Or destroy? WESKER Both. (With that odd smile of his) If I have to pick only one... I'll pick destroy. ADA You're not S.T.A.R.S. You're Umbrella. WESKER Once again. Both. (Still smiling) Two salaries. Three if you count combat pay. Ada looks at him with disgust. ADA The man I loved, John Marcus... developed the organism that caused all this. He... he did it for humanitarian purposes. It was taken away from him...for in-human purposes...by men like you! WESKER No, ma'am. Men like me... are just errand boys. Sent in to do the wet-work. All of the glory. None of the benefits. ADA After what you've seen down here, do you think any of it could be turned into... benefit? WESKER Yes. I think it could be turned into five or ten million dollars. How do we get into "D" lab? ADA Death lab. (She slumps) John was killed...never even knowing it existed. They kept him... isolated, upstairs, while a separate team was down here...corrupting his research. Using it to build B.O.W.s. CHRIS B.O.W.s? Pg-71 ADA Bio-organic weapons. REBECCA The sharks. The plant. ADA Early experiments. CHRIS The snake. ADA A failure. Its behavior remained reptilian. All they could ever get it to do was... grow in size. RODRIGUEZ Those dogs. They were weapons. ADA No. They... simply became infected. As did... everyone else. Janitors. The cook. Electricians. Guards. People who believed they were serving their flag. Scientists. Great minds... turned into mindless.. .ghouls! CHRIS Before the outbreak, the experiments went further, didn't they? Those... ceiling-crawlers out there.. . ADA The product of human DNA spliced with the DNA of vicious carnivores... animals, even insects. Plated with armor, beneath newly cultivated skin. Then... injected with poison, so their biological components would die. JILL Die. ADA The "T"-virus reactivates them in a matter of minutes, but... in battle, lost minutes are... inconvenient. So, the B.O.W.s had to die... and be allowed to revive before they could be used to... full advantage. They were murdered... by their own people... so they could never be murdered again... by the enemy. Pg-72 CHRIS Were any more of these...weapons... developed? Ada is about to answer, but Wesker interrupts. WESKER HOW DO WE GET INTO "D" LAB? ADA You don't. Ada glances at an innocuous wall panel. Wesker notices a key-slot. Green. ADA (cont.) It can't be opened. Thank God. None of us is cleared for that level of security. WESKER How fortunate... that I am. Wesker steps over to the wall and inserts his green card into the slot. The panel slides open. Beyond it is a steel door with another green slot. Wesker uses his card again. A lock CLICKS. Wesker pushes the door open. WESKER (cont.) Barry. Come with me. The rest of you.. .make sure this door doesn't close. Remember... Wesker taps his ear-piece. Everyone gets his meaning. He and Barry disappear through the opening. The steel door begins to close. Rodriguez lunges, and catches it. ADA Have...you been leaving doors open? JILL Yes. ADA This place is going to be overrun by... REBECCA Brad's in really bad shape. Brad is leaning against a wall, sweating, shivering. Rebecca looks at his wounded leg. REBECCA (cont.) That's not just a scrape. You were bitten, weren't you? Pg-73 VICKERS One...of the sharks. Its teeth. I Just...brushed up against its teeth...after it was dead. ADA (Alert) Shoot him. Somebody, shoot him! JILL No! We're so close. The antidote. INT STAIRWELL TIMELESS WESKER and BARRY trot down a flight of metal stairs. BARRY What's got into you man? This... this isn't like you. WESKER Oh, yes, this is exactly like me. Until now, Wesker has been steadfast. He suddenly seems nervous, anxious. Some of it is fear. Most of it is anticipation of the goal which is suddenly within reach. WESKER (cont.) This is...what I've been all my life. A guy... suckin' up to the honchos. Wipin' the shit off their asses... all the while lookin' for a break. A way to get some of my own! Well this it, friend. I'm myself, alright. And I know exactly what I'm doing. I told you...before this day was over... I'd pay you back. INT CUBICLE TIMELESS CHRIS and JILL step past RODRIGUEZ. They take off down the stairs. As they leave, ADA opens a desk drawer and pulls out a .45. RODRIGUEZ (Looking at the gun) You know how to use that thing, chica? ADA Of course I do. I'm a scientist. Pg-74 Ada CLICKS back the bolt, whips up the .45, and aims it at BRAD'S head. REBECCA dives in front of the man. REBECCA No! You can't! Not while there's still a chance to save him! INT SAFETY CHAMBER "D" LAB TIMELESS WESKER and BARRY arrive at a set of PLEXIGLASS DOORS. They can't see through them, they're FOGGED. Wesker finds a key slot, inserts his access card, and... ...WHOOSH... the doors open. A CLOUD OF HYPER-COLD MIST rushes out, instantly coating the men in FROST. Wesker doesn't feel the cold. He doesn't feel anything, except a surge of triumph. He steps through the opening into... INT "D" LAB TIMELESS ...a laboratory that looks like-the cockpit of a Concorde... only a hundred times larger.. Nothing is, recognizable, except desks that hold futuristic-Ibokin computers. A befuddling array of BUTTONS, SWITCHES, stuttering LIGHTS, covers every inch of wall space. And at the center of it all stands a tall, cylindrical TANK, a stasis tube, filled with ICE. It's mounted on a six-foot tall platform, like an altar, with cables and flexible tubes running out of it. Wesker squints, and through the freeze, sees the thing that stands sedated within the cylinder... ...THE TYRANT. It's nine feet tall. Like the hunters, it has more or less human form, though it's musculature is more defined than Superman's. One of its arms is scaled to size, but the other is much longer. Its hand dangles at knee- level. Monstrous steel CLAWS depend from its fingers, nearly touching the floor. WESKER (In awe) It's called... the Tyrant. Nobody knows it exists. Except us... and Holden. BARRY Holden? WESKER Umbrella's man in D.C. We need him. He signs the checks. (Excited) We've got it, Barry! Our fortune! Pg-75 BARRY You're not gonna try to get this big mother outta here ? WESKER Don't have to. All we need is the data. Then.. .these things can be cranked out on an assembly line! Laying down his automatic, WESKER hits computer keys until a DISK pops out of a master-feed. WESKER (cont.) YES! This is it! BARRY What about the antidote? WESKER Antidote? (Laughing) There is no antidote. That was just happy horse shit, to keep the team going. Neither man notices... that the removal of the master disk has caused certain systems to fail... indicated by red lights, and by the fact that... the walls of the Tyrant's cylinder are beginning to run liquid sweat. The ice... is MELTING. BARRY You're gonna give this to Umbrella? WESKER No. I'm gonna sell it to them. Then I'm gonna open a Swiss bank account... right next to yours. JILL (o.s.) God...damn! JILL has appeared in the doorway with CHRIS. They both at the monster with awe...and terror. JILL (cont.) That thing... can't be real! WESKER It's real, alright. And it's worth... more than gold. More than uranium! RODRIGUEZ Do we get a piece of that action? ROSIE has arrived. So have REBECCA, ADA, and the two surviving SCIENTISTS. Pg-76 WESKER All of you do. Anyone who comes out of this alive... gets a taste. RODRIGUEZ (o.s.) I'm in. I been eatin' shit all my life. I'm happy to eat some more... as long as it's got some gravy on it. Rosie steps into the lab, her weapon ready. WESKER Anybody else see it my way? One of the scientists, TOSHIRO, rushes to join. ADA (To Toshiro) You disgrace yourself! TOSHIRO I...I want to live. WESKER Smart. Anyone else? Valentine? Jill looks at Chris. Then she steps through the doorway and takes a defensive post beside her c.o. CHRIS And I was gonna try to disarm the bomb. This place should be destroyed! It needs to be destroyed! Chris lifts his rifle. Wesker is faster with his pistol, aiming it at Chris' belly. WESKER Gotcha, son. It's only because of Valentine, here, that I didn't squeeze the trigger. Chris and Jill exchange dagger eyes. CHRIS If she's on your side... she doesn't mean shit to me. And I don't mean shit to her. JILL Chris, please. There's only... one way to go, here . WESKER That's right. My way! Pg-77 JILL Yes, sir. Your way! Jill presses in close to Wesker, as if completely allied. JILL (cont.) I...can't yell you, Chris...how much I wanted...things to have turned out differently. (Beat) Goodbye. Swiftly, unexpectedly, Jill snatches the detonator wire and pulls the sensor out of Wesker's ear. Everyone shuts their eyes, expecting to be blown sky-high. Nothing happens. Jill pulls the detonator off Wesker's belt. She stares small LED screen which reads... 14:42:16... 15... 14... JILL (cont.) Shit. I got all my courage up... and we still have fifteen minutes! Jill tosses the detonator to Chris. Wesker turns on her, lifting his M-16... BARRY You shoot. I shoot, boss. Wesker turns to find Barry's weapon aiming at his belly. BARRY (cont.) Shit.. here I am still callin' you 'boss'. Wesker is holding the data-disk. Suddenly, he feels it snatched away...by Ada, who has rushed into the room. He aims his weapon at her back as she darts away. Before he can fire, he's KICKED in the head... by Jill. Buckling, dazed, he looks up at her. JILL We believed in you. I believed in you. Boy, was I a sucker. She kicks him again, just for the hell of it. He flops on the floor, his eye-socket swollen. He's dropped his gun. He gropes for it. Barry steps in and boots it away. A KLAXON SOUNDS! Emergency! The ice in the Tyrant's tank has melted down to a critical level. The monster... is beginning to MOVE. Pg-78 Reaching the doorway, Ada hears a mechanism TRIP in the jamb. The Plexiglas doors begin to slide shut. Ada strains to hold them back. ADA Get out! Now! Or you never will! RODRIGUEZ So... we'll live here! (Glancing at the Tyrant) No. The landlord looks like a sonuvabitch. Rosie rushes in to help Ada hold the doors. So does BENJAMIN, the second of the surviving scientists, who is... ...MAULED from behind by a ZOMBIE. It's not just any zombie. It's BRAD VICKERS, back from death, who BITES out the artery in Benjamin's neck. ADA I TOLD YOU... TO SHOOT HIM! Ada lifts her .45 and blows Vickers way. She looks down at Benjamin, writhing on the floor, aims at his head... and FIRES again. Rodriguez is the only one holding the doors. Jill rushes to help her. JILL Everybody! OUT! CHRIS (Off the LED) Thirteen minutes. Inside the lab, Barry turns to Toshiro, the other scientist. BARRY Go. Toshiro hesitates... a second too long. KRAAASSSH! The stasis tube BURSTS open. WATER and bits of ICE fly out... along with an enormous, bionic HAND. Big-enough to grab Toshiro's head as if it were a cantaloupe. Powerful enough to CRUSH that head as if it were... well, a cantaloupe. Wesker, still searching for his pistol, sees all this. The Tyrant is not completely free. Much of the cylinder wall has cracked away, but sections of it cling to a now misshapen mass of ice that still holds the monster bound. Though it won1t for much longer. Wesker starts toward the door. Barry grabs the back of his shirt and pitches him across the lab. Pg-79 BARRY (cont.) You and me... we ain't goin' nowhere. Not just now, boss. Barry turns to the others clustered at the doorway. BARRY (cont.) This thing gets loose, it's gonna be pissed. Somebody's gotta hold it back. Give you guys a fair chance. JILL LOOK OUT! Wesker has found his pistol. He FIRES at Barry who, ducking, is only GRAZED. Wesker aims at the group in the doorway. Barry pops out from behind a desk and shoots back at him. Ada and Rebecca duck away from the doors, pulling Rodriguez and a reluctant Jill after them. The doors begin to slide closed. Chris valiantly tries to prevent them from shutting. Wesker CRAWLS lke a dog. He manages to fling an arm out through the opening. Steel bumpers press on the meat of his forearm. Wesker looks up. Through the Plexiglas, his eyes meet Chris'. WESKER Get me outta here, Redfield. Or so help me God, you're a dead man. With his free hand, Wesker aims his pistol at Chris. The gun barrel is an intimidating sight, even though it's on the other side of the plexi. Chris glances at the others. CHRIS Get going. JILL Not without... CHRIS MOVE! Ada, Rebecca and Rodriguez wrestle Jill away bodily, and start up the metal stairway. WESKER COME BACK! RODRIGUEZ! VALENTINE! THAT'S AN ORDER ! CHRIS Orders don't mean shit any more, Wesker. Especially when they come from sell-out bastards like you. Pg-80 Chris lets go. The doors squeeze tighter. Wesker SCREAMS. Through the plexi, Chris catches a glimpse of Barry, who stands and gives him a military salute. Chris salutes back. BLAM BLAM BLAM... Wesker FIRES three rounds. Dusty blemishes appear on the bulletproof glass. The slugs ricochet back into the lab. One of them CHIPS away at the ICE which is less and less able to contain the Tyrant. Chris makes a break for the stairs. Wesker twists his body in an attempt to push his pistol through the opening, but his fist, around the stock, is too thick. Nonetheless, Wesker FIRES .BLAM BLAM BLAM... bullets SCREAM off the banister rails, but none of them contact Chris' legs which disappear up the stairs. The ice in the stasis tube is turning to slush. The Tyrant is about to break loose. Wesker looks pleadingly at Barry. WESKER B-buddy. You gotta get us out. BARRY Not sure I know how, boss. Do you? Is there some other...'need-to-know' secret for shutting down the Big Bopper, here? WESKER No. It.. it can't be shut down. BARRY The ultimate warrior. The ultimate soldier. We'll see. How it does against a couple of hard-ass career guys, like you and me. WESKER swings his free arm and aims his pistol at BARRY. CLICK! The gun is empty. INT CUBICLE TIMELESS The ESCAPEES arrive in the security cubicle. ADA The corridor outside... can be moved. Ada rushes over to the instrument panel. Her hands go to work on an array of buttons and switches. Pg-81 INT RUNWAY TIMELESS The multi-faceted CORRIDOR TWISTS into a new configuration with the RUMBLE of an "eight" on the Richter. INT CUBICLE TIMELESS ADA You won't come out in the same place. But you'll find a freight loader that can be accessed with... JILL ...a blue key. I hope. ADA No. Pot blue or green. Red. Ada pulls a RED KEY from under her lab coat, snaps the chain on her neck, and holds it out to Chris. ADA (cont.) I took it from an Umbrella agent assigned to us here. He died... like all the rest. CHRIS Red... overrides green. ADA Yes. CHRIS So... you could have unlocked "D" lab. ADA I was hoping it would never be un- locked again. Go. I will see that this.. .(she holds up the data disk) ... is destroyed. Chris grabs Ada's arm and holds it tight while he wrenches the disk away from her. He folds it over onto itself, drops it to the floor, and pumps three Winchester rounds into it. CHRIS It's destroyed. It's worthless But you're not. ADA I helped develop it! Pg-82 CHRIS Unwittingly. They lied to you. They lied to Marcus. They made you believe you were doing a good thing when it wasn't good at all. It was evil! Ada looks deeply into Chris' eyes. CHRIS (cont.) The kind of evil that... resides in all of us. Makes us... greedy, uncaring. The kind of evil that will... wipe us out, in the end. Unless we stand up against it. ADA Stand up? Against powers that have... ruled the world since before we were born? We will only be...eliminated. Or locked away someplace else. I'd rather die here. Knowing that the virus has died with me . Jill takes a step toward Ada. JILL What if it's already spread? You're the only one...who knew anything about it. ADA (The thought penetrating) But, I... know so little. CHRIS More than anyone else. You have... a responsibility. JILL To a higher command. The highest. She and Chris touch eyes again, this time with understanding. INT "D" LAB TIMELESS THE TYRANT flexes its monumental muscles. The ice around it CRACKS... but clings. The giant HEART dangling outside its chest PUMPS rapidly...sending fluids through exposed synthetic veins that run to the creature's brain. BARRY That's one helluva big pump. Pg-83 WESKER An implant. BARRY From what? A fuckin' elephant? WESKER Rhinoceros. BARRY Shit. I figured you knew more than you were telling. Barry FIRES at the encased organ. His bullets bounce off the shielding with no effect. BARRY (cont.) How do we kill this thing? WESKER I told you, we don't. W-we can't. It's unstoppable! More ICE pops off the monster's pectorals. INT RUNWAY TIMELESS CLOSE ON: ADA'S face. ADA I don't know if I can face this. She and the ESCAPEES are no longer in the Cubicle. They're in the runway. CHRIS Just get us upstairs. I'll take care of it from there. ADA Alright. (With a sigh) Come. They break out, at the run, klacking along the faceted steel floor of the movable... and still moving.. .corridor. KRUNNNGGG! They're nearly knocked off their feet when the system suddenly STOPS DEAD. Ada slams her fist into one of those JIGSAW TILES on the wall. Another RED one, which glows from within. A PANEL grinds open, revealing... Pg-84 INT FREIGHT CORRIDOR TIMELESS ...a more natural-looking corridor. Half-way along, there are STEEL PRONGS that protrude from a wall. The group starts toward them...but stops when a soul-shriveling SOUND fills the passageway...the hungry MOANING of things that are dead. ADA Doors... were left open. INT "D" LAB TIMELESS The TYRANT BREAKS free of the last bit of restricting ice. WESKER FREAKS. Whimpering, he gropes with his hand that's outside the Plexiglas doors. He grabs something. A BOOT. Brad Vickers' boot. Wesker tugs on it. BARRY opens fire on the Tyrant, full bore, with his M-16. The stream of bullets does nothing except make the monster notice the big man. INT FREIGHT CORRIDOR TIMELESS THE ESCAPEES run down the corridor. SHAPES appear at the far end. ZOMBIES! Twenty. Thirty. Forty. More. The walking remains of humans who were infected in the labs, crawling over each other, hungry for living flesh. The humans reach the FREIGHT LOADER. Prongs, like those on a fork lift, extend from a heavy chain-drive that runs up and down through openings in the floor and ceiling. ADA swipes her red key through a slot and pushes a button. The chain-drive Grinds upward, hoisting the prongs. ADA Step on. Ada pushes REBECCA onto the next set of prongs that come up out of the floor. The footing is precarious. Rebecca has to hold on to the chain as she is hoisted. The lift moves slowly, eight feet separating each set of prongs. The ghouls continue to press in. JILL I don't know if it's gonna happen. RODRIGUEZ Come on. I been waitin' all day for somthin. like this. Pg-85 Rosie opens FIRE. Chris and Jill follow suit as Ada steps onto the next set of prongs. Blood FLIES. Skulls SHATTER. Front ranks drop. Zombies from behind push their fallen comrades ahead of them. The corridor is like a syringe filled with corrupted bodies, pushing inexorably forward. Rosie, teeth gritted, keeps firing while Chris forces Jill onto the next set of prongs. As she rises, she hands her M-16 to Chris. He slings it on his arm while levering his old Winchester, making each of his shots count, until the next set of prongs rises out of the floor. CHRIS (To Rosie) You're up. RODRIGUEZ I'm havin' too much fun. You got a lady. I just got me. Anyway... I ain't gonna die in this rat hole. I'll make it. Get outta here. Chris hands Jill's rifle to Rosie, who fires with both hands as Chris jumps onto the lift. Zombies are MOWED DOWN. But more come. The syringe keeps pressing. The next prongs rise. Rosie steps on, still blasting.. The first zombies reach her. Shooting down, she blows them away. But more come, grabbing her legs, grabbing the chains, ROCKING the prongs. Rosie nearly falls. She drops one of the rifles in order to hold on. She carefully picks off the most threatening zombies. Miraculously, she rises out of their reach, and into... INT FREIGHT SHAFT TIMELESS ...a very tight, very dark SPACE with sheet metal walls that have been bruised by loads of freight. The rumble of the chain-drive ECHOES frighteningly. ABOVE ROSIE, THE OTHERS rise slowly... very slowly... feeling apprehensive, vulnerable. REBECCA, at the top, looks up and sees LIGHT spilling through an opening through which she is about to pass. ADA (Calling up to her) Level "C". Have your weapons ready. RODRIGUEZ (From below) Whoop-de-doo. Pg-86 Rebecca's eyes rise above the floor of Level "C". All seems quiet... but who knows what might be lurking. INT "D" LAB TIMELESS THE TYRANT, still a bit sluggish, steps down from the platform that supported its tank. BARRY jams in a fresh clip and keeps firing at the thing. The Tyrant, impervious, stalks after the big trooper. Wesker is still on the floor, his arm through the doors, tugging on Vickers' boot. The flesh on Wesker's forearm is PEELED by the bumpers as he uses all his strength to drag Vickers' body closer... until the boot winds up in the opening, preventing the doors from closing. Wesker manages to pull his bloody arm free. He rushes to a computer console and types a request for the "T"-virus. BARRY Get under a desk, man. I'm gonna feed this thing a pineapple. Barry pulls a GRENADE from his belt. WESKER NO! It might damage the system! I've got to get this data! Wesker's M-16 has been lying, where he left it, on the console. He picks it up. BARRY Forget it. Bullets don't work! Barry is about to pull the pin on the grenade when Wesker triggers off A BURST...into BARRY'S GUT! WESKER They seem to work just fine. Barry is BLASTED across the lab. The Tyrant makes its first quick move... making us appreciate how fast and powerful it really is. It swipes at Barry's body as it flies through the air, catching it in it's steel claw. We hears BONES SNAP as Barry goes limp. WESKER (cont.) That's it. Take a little lunch break, Mr. "T". I just need a few more seconds. Pg-87 The Tyrant lifts Barry's body, as if it were as light as a feather, up to its snout. Recognizing that the man is dead, the monster FLINGS him aside like so much garbage... and begins to lumber toward Wesker. WESKER (cont.) (To the computer) Come on, come on.. . A monitor reads: 90% COMPLETE...95%...98%. Wesker rests a finger on the button to eject a floppy. The Tyrant is getting closer by the second. Wesker FIRES a burst at it which only slows it for a heartbeat. 100%.. .TRANSFER COMPLETED. Wesker ejects the floppy, jams it into his flack-jacket, and, FIRING another burst, runs for the door. The Tyrant has to move around desks and computer consoles to catch him. Wesker shoves his M-16 through the space that's being held open by Vickers' boot. He begins to pry the opening wider. A WARNING BUZZER goes off. The Tyrant dimly registers the sound. Its eyes dilate, like camera shutters, with a CLI-CLICK. It strides forward at top peed, PITCHING DESKS easily aside, SMASHING through a CONSOLE as if it were made of balsa. Wesker has pried the doors wide. The Tyrant is coming at him FAST. It's going to be very close. Wesker MAKES IT. He gets outside. The doors begin to glide shut. He LAUGHS! WESKER (cont.) EAT SHIT, YOU... THLANNG! The Tyrant's long, bionic CLAWS SHOOT, with the speed of switch-blades, through the opening, just before the doors meet. FOUR of the claws SKEWER WESKER, passing clean through him. He doesn't die instantly. He's still alive and SCREAMING when the Tyrant uses the same hand, with Wesker impaled on it, to PUSH the doors open wide again. The action causes WESKER'S HEAD to be SLICED OFF by one of the steel bumpers. The Tyrant steps out of the lab. As the doors glide shut, the monster holds the remainder of Wesker's body inside their path. The bumpers are stopped by the Tyrant's iron hand... which it extracts, letting the doors scrape the dead meat from its claws. Pg-88 INT FREIGHT SHAFT TIMELESS REBECCA is approaching another OPENING. ADA Level "B". INT FREIGHT CORRIDOR LEVEL "B" TIMELESS THE CORRIDOR on Level "B" is long and narrow, with only occasional pools of LIGHT from bare, overhanging bulbs. REBECCA rises, like a spirit, out of the floor. She lifts her weapon. Her eyes dart, looking for dangers. There are none. The corridor, while very spooky, is quiet. REBECCA Don't see anything. ADA Good. INT FREIGHT SHAFT TIMELESS REBECCA rises through the ceiling. ADA We're almost there. You'll have to jump off. The belt won't stop. As the ECHO of Ada's voice rings off, Rebecca looks up and... ...SCREEEE... SOMETHING dives down on her out of the darkness. She ducks, almost losing her balance. She clings to the chain as OTHER THINGS...black, relatively small.. .WHIP past her head. REBECCA Bats! There are bats in here! ADA No. They're crows! Infected! Don't let them bite you! Rebecca dodges with new urgency as the black birds dive past her. Looking up, she sees more coming. She aims her M-16 and fires up the shaft. TWO BIRDS are HIT. They plummet. One hits ADA. She swats it aside. It drops all the way down to ROSIE, who JUMPS, gasping, when it hits her. RODRIGUEZ Rats. FLYING RATS! Pg-89 Beneath her, Rosie sees the crows hovering in the light from Level "B"... They circle, then start to fly up again. Rosie opens fire, filling the shaft with ribbons of lead. Another BIRD dives from above and... SKIT... takes a chunk out of Rosie's cheek. RODRIGUEZ (cont.) AAAH ! YOU FUCKER ! CHRIS (From above) You alright? RODRIGUEZ Yeah. I'm cool. I'm... cool. Rosie keeps FIRING. The deafening SOUND of her M-16 keeps her from hearing a... ...KRATTCH...in the sheet-metal wall. A second later... ...RRRRRIPPP! The metal is torn open like tissue-paper. SOMETHING dark lunges from the opening. It's the surviving HUNTER! One of its steel claws GRABS the chain-drive. The mechanism stops dead. QUICK CUTS: of THE ESCAPEES slipping, nearly falling, as they hang on to the chain. REBECCA I thought it wasn't supposed to stop. ADA Climb out. OUT! Rebecca has nearly reached Level "A"... She's able to hoist herself up, and roll to safety. Ada tries to climb. The chain is GREASY. Her hands slip. BELOW, the Hunter lets go of the mechanism. The chain JERKS. The escapees nearly lose their balance again. Rosie, at the bottom, is being lifted toward the Hunter's free hand. She JUMPS down. Barely catching the next set of prongs beneath her. AT THE TOP, Ada reaches Level "A". Rebecca catches her and pulls her up onto Level "A.. Jill is next, rising slowly. Rebecca and Ada reach down and grab her arms just as... TCHUNG... the mechanism stops again. The Hunter has grabbed the chain again. Its free hand swings, clutching at Rosie, who crouches, avoiding capture. Pg-90 Jill is pulled to safety. She turns and reaches down for Chris, who starts to climb the chain, his hands slipping on the grease. CHRIS ROSIE!? RODRIGUEZ I'M ALRIGHT! She's not alright. She's trapped. She can't get up past the Hunter. She FIRES at the thing. Bullets BOUNCE off its protective steel under-hide. Chris climbs three feet. Slides back two. The others reach down from above. Their hands come within inches, but can't quite catch hold of him. RODRIGUEZ (cont.) Here! Here, you... lizard. You fuckin' cockroach, HERE! Straining to reach Rosie, the hunter lets go of the chain for a second, then latches on again. That second lifts Chris to within reach of Jill and the others. They grab his arms. Lift him up. That second has also brought Rosie within reach of the Hunter. Its claws COMB her hair as she tries to duck lower while keeping her balance on the prongs. THWAKK! SOMETHING crashes through the wall. A MONSTROUS CLAW that IMPALES the Hunter. It's the claw of THE TYRANT! The chain mechanism begins to rise again. Rosie, cringing, is lifted past the monster just as it leans its head and shoulders into the shaft to examine what it has caught. Disappointed, the Tyrant SCRAPES the Hunter off its claw. It drops away down the shaft. The Tyrant turns its CLICKING, dilating eyes up at Rosie, and...TCHUNNNGG...purposely STOPS the rising chain. RODRIGUEZ (cont.) (Calling up) BAD NEWS, GUYS. THIS THING'S NOT SO STUPID! CHRIS (From above) Climb, Rosie! ROSIE No. I'm finished. I live here now. CHRIS ROSIE, NOOOOO! Pg-91 Rosie DIVES off the prongs...directly at the Tyrant. With another lightning move, the monster catches her in its bionic claw, crushing her ribs. With BLOOD spurting from her mouth, she utters her last words... ROSIE EAT ME, YOU PILE OF SHIT! INT LEVEL "A" TIMELESS ADA is the most pragmatic. ADA Come. CHRIS ROSIE ... ADA COME! You convinced me that there were...larger matters. We're at the top. You said you'd get us out. Ada's words snap Chris back into the urgency of their situation. He struggles to his feet. CHRIS Th-this way. They are in the MANSION, which Chris knows well. He leads his small troop into... INT POWDER ROOM TIMELESS ...a small powder room, decorated garishly in an East Indian motif. A ceramic TIGER'S HEAD sits atop a vanity. CHRIS grabs it...and TWISTS it on a pivot. A PANEL spins. The COMMODE disappears into the wall, opening a SECRET PASSAGE. REBECCA Hell of a shit-house. JILL The guy was a bootlegger... with a sense of humor. Chris leads the other into... INT CLOCK ROOM TIMELESS ...a small, blank CHAMBER. The only thing it holds is a GRANDFATHER CLOCK . Pg-92 CHRIS I hope they haven't disabled this. CHRIS opens the door that covers the clock face. He quickly spins the hands until they hit... HIGH NOON. GRONNNK! A WALL begins to GRIND open, straining against rust, dirt, from years of idleness. Cobwebs are pulled apart and...DAYLIGHT APPEARS! CHRIS (cont.) Alright. We made it. Chris urges the OTHERS out through the opening. At the same time he checks the detonator. The LED is down to SIX MINUTES and counting. INT HUEY DAY At the controls of his helicopter, LAGUARDIA spots something. EXT MANSION HUEY'S POV DAY REBECCA, then ADA, then JILL climbing onto the lawn. INT HUEY DAY LAGUARDIA I'm goin' in. RADIO MAN You don't have authority. LAGUARDIA Fuck authority. EXT MANSION YARD DAY ...CHRIS climbs out of the secret exit. THE OTHERS, having spotted the incoming chopper, are waving at it. There's a sense of relief, of salvation. Only Chris notices... ...a bit of PLASTER falling away from one of the mansion's stone walls. CHRIS Watch it. WATCH IIIIT! KER-AAAASSSSHHH! THE TYRANT BURSTS through the wall. With superhuman speed, it ATTACKS the escapees, who run, dodge, barely escaping the WHISHING SWIPE of its iron claw. Pg-93 INT HUEY DAY RADIO What in God's name is that thing! LAGUARDIA Somethin' we weren't supposed to see. Drop the ladder. And drop the Stinger. EXT MANSION YARD DAY THE HUEY swoops down as low as safety will allow. A faceted aluminum LADDER unfurls. CHRIS GET UP! CHRIS pushes JILL toward the ladder. She pulls on Ada's arm and sends her up first. ADA begins to climb. Then REBECCA. The Tyrant closes in, SWIPING at Chris, who just manages to avoid the SLICE of its mighty claw. The RADIO MAN leans out of the door above, holding something. RADIO MAN Catch this! Chris doesn't hear. Jill does. JILL Toss it to me! The radio man drops the Stinger...a rocket with a shoulder- launcher.. .down into Jill's hands. Chris hits the dirt. The Tyrant tries to crush him by stepping on him. Chris rolls away. The ladder is too wobbly. Jill can't be sure of launching an accurate shot. JILL (cont.) CHRIS! Chris looks up. Sees Jill holding the rocket launcher. He RUNS past the Tyrant, okey-doking, left, right, then dodging left again. The monster SWIPES at him with its elongated claw. Chris' flack-jacket is caught. Protective fibers fly. But Chris escapes without injury. Pg-94 Jill pitches the weapon. Chris catches it. The Tyrant is on him, about to STOMP him with a bionic FOOT when... ...Chris aims at the monster's rhinoceros heart and FIRES! The rocket CONNECTS, on target. The casing around the animal heart EXPLODES... and the Tyrant drops like a giant Redwood... ...on top of Chris's legs. As Chris tries to free himself, he checks the detonator. THREE MINUTES. TWO-FIFTY-NINE. EIGHT. SEVEN. SIX. LaGuardia drops his chopper a bit lower. The bottom of the ladder hits the ground, coming within Chris' reach. He grabs on. The helicopter rises again. Chris is pulled out from under the Tyrant's steel body and is LIFTED into the air. He climbs frantically. Above him, Jill is still on the ladder as well. Ada and Rebecca pull her up. Chris DANGLES as the Huey banks away over the forest. The tops of TREES whip his legs, but he hangs on, climbing up... up... until the others catch his hands and hoist him into the chopper. Chris checks the LED. ONE MINUTE, FORTY-FIVE SECONDS. JILL (Reading over Chris' shoulder) We have to get out of range. CHRIS No. (To the pilot) Circle around. LAGUARDIA Are there more survivors? CHRIS No. Just...circle, okay? I want to...take a last look. The Huey banks into a circle. Chris looks down at... EXT AERIAL POV DAY ...the MANSION. And just over the hills...HIS FARM. INT HUEY DAY JILL It's... your home. CHRIS looks at her, with a resigned smile. Pg-95 CHRIS I hoped... it would be our home. JILL I guess... we're gonna be moving. Chris checks the LED. THIRTY-EIGHT SECONDS. CHRIS (To the pilot) Full throttle. Out of here, man! LaGuardia pushes his stick. The Huey LUNGES forward at top speed. REBECCA, ADA and JILL are pressed back by inertia. Chris holds himself erect. Through the window, in the receding sky, he spots... ...AN EAGLE, riding the wind. CUT TO: EXT THE ARKLEY FOREST THE MANSION DAY PLOOOOMMMMM! The GROUND ERUPTS from an enormous under- ground explosion. The MANSION is reduced to particulate as the shock-wave spreads outward. EXT FARM DAY Chris' farm hand, RAKE, is shambling out of the house, a ZOMBIE... when the EXPLOSIVE FORCE HITS, tearing him APART. EXT RACCOON CITY DAY The TOWN is EMPTY...except for NINE LONELY FIGURES, lumbering down Main Street. They, too...are ZOMBIES. The hot wave HITS. Two are VAPORIZED. FIRE engulfs two more. The BRAINS of two others are DESTROYED by flying debris.. . ...which catches the remaining three, as well. Arms are torn off. Iron shafts from shattered plumbing, shards of window glass, slats from picket fences... PUNCH through necks, chests, bellies... ...but the dead things, their skulls undamaged, through billows of dust... drooling hungrily. THE SCREEN GOES BLACK. --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. ---	screenplays
studies of the nuclear reaction cross sections induced by neutrons provide information on the properties of excited states of atomic nuclei and nuclear reaction mechanisms @xcite . data on nuclear reaction cross section are also needed in applications , specifically , such as the design of fusion reactor protection and modernization of existing nuclear power plants @xcite . despite of a large amount of information @xcite on observed characteristics of neutron interactions with nuclei , there are disagreements between existing experimental data and evaluated data both within different systematics and calculations by the different codes . in this contribution , experimental and theoretical cross sections of reactions ( n , p ) , ( n , @xmath1 ) , ( n , 2n ) on dy , er and yb isotopes at neutron energies near 14.6 mev are determined and compared . neutron generator ( ng-300 ) , installed in nuclear physics department of taras shevchenko national university of kyiv , was used as a source of neutrons with @xmath0= 14.6 @xmath2 0.2 mev . the neutron activation method was applied for measurements of the cross - sections(see @xcite for details ) . theoretical calculations were performed by the empire 3.0 and talys 1.2 codes@xcite . the experimental cross - sections were also compared with data from the latest versions of evaluated nuclear data libraries : endf / b - vii , tendl-2010 , jendl-4.0 . the reliability of the different systematics @xcite-@xcite for estimation of the nuclear reaction cross sections on isotopes of dy , er and yb was analyzed . ) reactions on the isotopes of dysprosium . ] figure [ fig1 ] shows cross sections of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions on the isotopes of dy as a function of the number of neutrons in comparison with theoretical calculations and evaluated data . for reactions with transitions on ground ( g ) and metastable ( m ) states , the residual nuclei are additionally indicated on this and next figures . calculations of the nuclear reaction cross sections by the empire 3.0 code were performed with and without including pre - equilibrium processes ( pcross = 1.5 and 0 ) . for nuclear level density , the generalized superfluid model was taken . the global optical potential of koning - delaroche @xcite was used . in calculations by the talys 1.2 code default parameters were set . it can be seen , that the measured ( n,2n ) cross section on the @xmath4dy ( n=92 ) with allowance for uncertainties coincides with the available experimental data . the measured ( n,2n ) cross section on the @xmath5dy ( n=90 ) is less than previous ones , but it coincides with evaluated value from the tendl-2010 library . the ( n , 2n ) cross sections on dy isotopes increase with the neutron number increasing . the allowance for pre - equilibrium processes leads to strong increasing the ( n , p ) cross sections ( approximately in five times ) . a behavior of the ( n , 2n ) cross sections is opposite , and pre - equilibrium emission reduce the values of these cross sections mainly due to increase cross - sections of competing binary reactions with emission of charge particles . ) reactions on the isotopes of erbium . ] on the whole , the results of calculations by empire 3.0 code with allowance for pre - equilibrium processes are in best agreement with experimental data . for calculations using different systematics , the results according to @xcite are more suited for description of the experimental data . cross sections of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions on the er isotopes are given on figure [ fig2 ] . cross sections of ( n , 2n ) reaction on the er isotopes have the similar peculiarities as on dy . there is a rather good agreement between presented measurements and the results of other authors . figures [ fig3]-[fig5 ] show cross section of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions the isotopes of yb . rather good agreement between experimental data for the @xmath6yb and @xmath7yb isotopes ( n = 98 and 100 ) is observed for ( n,2n ) reaction , but presented cross section on @xmath8yb ( n = 106 ) is placed higher . the cross section of the reaction @xmath9yb(n , p)@xmath9tm ( n=102 ) calculated by the empire 3.0 with pre - equilibrium processes is agree better with measured value . the results of calculation using systematics from @xcite is also closer to measured one . the cross sections of the ( n,@xmath3 ) reaction were measured with higher precision and they agree better with calculation by systematics from @xcite . ) reaction on the isotopes of ytterbium . ] the results of measurements of the cross sections of the nuclear reactions ( n , p ) , ( n , @xmath1 ) , ( n , 2n ) on isotopes of dy , er and yb at the neutron energy 14.6 @xmath2 0.2 mev are presented . they were compared with available experimental data , evaluated nuclear data and the theoretical calculations by the empire and talys codes . in the most cases , the presented data correlate well with available experimental data . on the whole , the cross sections calculated by the empire 3.0 code with pre - equilibrium processes agree better with experimental data than the results obtained by talys 1.2 code with default set of parameters . amongst the systematics , the cross section values calculated by expressions from @xcite are more consistent with measured cross - sections . et al . _ , book of abstract of the 20th int . sem . on inter . of neutrons with nuclei : isinn-20 , dubna , 52 ( 2012 ) ; proc . of the 20th int . on inter . of neutrons with nuclei : isinn-20 , dubna ( in press ) ( 2013 ) .	arxiv
the effective meson lagrangians obtained on the basis of the local four - quark interaction of the nambu jona - lasinio(njl ) type satisfactorily describe low - energy meson physics @xcite . however , these models contain ultraviolet(uv ) divergences and do not describe quark confinement . therefore , additional regularization is necessary in these models . besides , it is impossible to take into account the dependence of the amplitude of different processes on large external momentum in order to provide quark confinement . this situation restricts the predictive power of these models . satisfactory results in these models can be obtained only for light mesons and interactions at low energies in the range of @xmath8 gev . in order to overcome these restrictions , it is necessary to consider nonlocal versions of these models which allow us to remove uv divergences and describe the quark confinement . a lot of models of this type were proposed in the last few years . unfortunately , we can not give here the full list of references concerning this activity . therefore , we will concentrate only on the direction connected with the nonlocal quark interaction motivated by the instanton theories @xcite . recently , a few nonlocal models of the this type were proposed @xcite . in these models the nonlocal kernel is taken in the separable form where each quark line contain form factor following from instanton theories . these form factors naturally remove uv divergences in quark loops . thus , in @xcite a nonlocal form factor was chosen in the gaussian form @xmath9 where @xmath3 is the cut - off parameter . in @xcite it was proposed to use an additional condition for the form factor @xmath10 ( quark mass function @xmath1 , respectively ) which lead to the absence of the poles in the quark propagator . namely , it is supposed that the scalar part of the quark propagator is expressed through the entire function @xmath11 where @xmath12 is an additional arbitrary parameter . the similar condition providing confinement was used in @xcite . in this work an analogous condition will be used . however , we will take into account that each quark line contain square of the form factor which is expressed through the quark mass @xmath13 as a result , we obtain a simpler solution for the mass function than in @xcite . in our model @xmath2 and the cut - off parameter @xmath3 have a simple connection in the chiral limit @xmath14 ; the function @xmath1 contains only one arbitrary parameter . we fix this parameter by weak pion decay . then , for @xmath15 mev we have @xmath4 mev . this leads to reasonable predictions for the scalar meson mass , width of the decay @xmath16 and @xmath6 ratio in the decay @xmath17 , where @xmath18,@xmath19 are the partial waves of this decay . the paper is organized as follows . in sect.[mod ] , we consider a nonlocal four - quark interaction and after bosonization derive the gap equation for dynamical quark mass . the additional condition for this mass allows us to provide the quark confinement . in sect.[pseudoscalar ] , the masses and couplings of the scalar and pseudoscalar mesons are obtained and the main parameters of the model are fixed . the decay width @xmath20 is calculated . in sect.[axialvector ] , the vector and axial - vector sectors of the model are considered . the @xmath21 meson mass , decay widths @xmath16 , @xmath22 are calculated . @xmath6 ratio in the decay @xmath22 is estimated . the @xmath23 mixing is studied . the discussion of the obtained results and comparison with others models is given in the last section . the @xmath24 symmetric action with the nonlocal four - quark interaction has the form @xmath25 where @xmath26 are the @xmath27 and @xmath28 quark fields , @xmath29 is the diagonal matrix of the current quark masses , @xmath30 is the coupling constant of the scalar and pseudoscalar quark currents , @xmath31 is the coupling constant of the vector and axial - vector quark currents . the nonlocal quark currents @xmath32 are expressed as @xmath33 where @xmath34 are the nonlocal functions . in ( [ j ] ) the matrices @xmath35 are defined as @xmath36 where @xmath37 are the pauli matrices and @xmath38 are the dirac matrices . in this article , we mainly consider the strong interactions . the electroweak fields may be introduced by gauging the quark field by the schwinger phase factors ( see , c.f . @xcite ) . after bosonization the action becomes @xmath39 where @xmath40 are the @xmath41 , @xmath42 , @xmath43 , @xmath21 meson fields , respectively . the field @xmath44 has a nonzero vacuum expectation value @xmath45 . in order to obtain a physical scalar field with zero vacuum expectation value , it is necessary to shift the scalar field as @xmath46 . this leads to the appearance of the quark mass function @xmath1 instead of the current quark mass @xmath29 @xmath47 where @xmath48 is the dynamical quark mass . from the action , eq . ( [ acti ] ) , by using @xmath49 one can obtain the gap equation for the dynamical quark mass @xmath50 the right - hand side of this equation is the tadpole of the quark propagator taken in the euclidean domain . equations ( [ gap1]),([gap ] ) have the following solution : @xmath51 where @xmath52 . in order to provide quark confinement we propose the following anzatz for the quark mass function @xmath1 . we suppose that mass satisfies the following condition in the chiral limit @xmath53 the form of the left - hand side of this equation coincides with the integrand in the gap equation ( [ gap ] ) . from eq.([neqq1 ] ) we obtain the following solution : @xmath54 here we have only one free parameter @xmath3 ; @xmath1 does not have any singularities in the whole real axis and exponentially drops as @xmath55 in the euclidean domain . from eq.([gap2 ] ) follows that the form factors have a similar behavior that provides the absence of uv divergences in our model . at @xmath56 the mass function is equal to the cut - off parameter @xmath3 , @xmath14 . the pole part of the quark propagator also does not contain singularities that provide quark confinement @xmath57 when taking into account the current quark mass eq.([neqq1 ] ) can be modified as follows : @xmath58 here @xmath59 is introduced in the form that conserves the analytical properties of the mass function @xmath1 . then the mass function takes the form @xmath60 let us consider the scalar and pseudoscalar mesons . the meson propagators are given by @xmath61 where @xmath62 are the meson masses , @xmath63 are the functions describing renormalization of the meson fields and @xmath64 are the polarization operators defined by @xmath65 , \label{poloper}\end{aligned}\ ] ] where @xmath66 . for calculation of these integrals it is necessary to rewrite these expressions in the euclidean space where the form - factors(and quark masses ) are the exponentially decreasing functions . then eq.([poloper ] ) takes the form : @xmath67 the functions @xmath68 are the dirac trace multiplied by @xmath69,@xmath70 . in eq.([polopere ] ) all momenta are euclidean . in the description of the meson properties it is necessary to make the analytical continuation of this expression over external momenta @xmath71 to the minkowski space let us emphasize that at our anzatz for a quark mass function only the functions @xmath68 contains nonanalytical root cuts , whereas there is no problems with analytical continuation of the denominator . the meson masses @xmath62 are found from the position of the pole in the meson propagator @xmath72 and the constants @xmath73 are given by @xmath74 firstly , let us consider this model in the chiral limit . the pion constant @xmath75 is not depend on parameter @xmath3 and takes the form @xmath76 here @xmath77 is the riemann zeta function . the gap equation has the simple form @xmath78 the quark condensate is @xmath79 the goldberger - treiman relation is fulfilled in the model of this kind @xcite @xmath80 from eqs.([gpi]),([ffpi ] ) the value @xmath81 mev is obtained for @xmath15 mev . then , from eqs.([g ] ) , ( [ cond ] ) we obtain @xmath82 in the description of pion mass it is necessary to introduce the nonzero current quark mass @xmath29 . in our model @xmath83 . therefore , we can consider only the lowest order of the expansion in small @xmath84 . then , one gets from eq.([mesonprop ] ) @xmath85 by using the expression for @xmath30 from the gap equation ( [ gap ] ) , the gell - mann oakes renner relation can be reproduced @xmath86 from eq.([mpi ] ) with @xmath87 mev we can estimate the value of the current quark mass @xmath88 mev . other model parameters in this case change very little @xmath89 therefore , in calculations of the amplitudes of various processes we can use the values of parameters taken in the chiral limit . with the help of the parameters ( [ par1 ] ) we get for sigma meson @xmath90 mev and @xmath91 . the amplitude of the decay @xmath92 is equal to @xmath93 gev . then , the total decay width is @xmath94 mev . comparing these results with experimental data one finds that @xmath95 is in satisfactory agreement with experiment @xmath96 ; however , the decay width is very small @xmath97 . the propagators of the vector and axial - vector mesons have the transversal and longitudinal parts @xmath98 where @xmath99 and @xmath100 here , @xmath101 and @xmath102 are the transversal and longitudinal parts of the polarization operator @xmath103 @xmath104.\nonumber\end{aligned}\ ] ] the constant @xmath31 is fixed by the @xmath43-meson mass @xmath105 and @xmath106 gev@xmath107 . then the @xmath21-meson mass is equal to @xmath108 mev . the constants @xmath109 are equal to @xmath110 from eq.([gm2 ] ) we obtain @xmath111 , @xmath112 . at @xmath56 we have @xmath113 , @xmath114 . ( see also fig.[g ] ) . the decay @xmath16 is described by the triangle quark diagram . the amplitude for the process is @xmath115 where @xmath116 are momenta of the pions . we obtain @xmath117 and the decay width @xmath118 which is in qualitative agreement with the experimental value @xmath119 mev @xcite . the decay @xmath17 is described in a similar manner . the amplitude for the process @xmath17 is @xmath120 where @xmath121 are momenta of @xmath21,@xmath43 mesons , respectively . we obtain @xmath122 gev , @xmath123 gev@xmath124 . amplitude of the decay @xmath7 contains d and s waves . the ratio of these waves has the form(see @xcite ) : @xmath125 this ratio is in satisfactory agreement with experimental data @xmath126 . the decay width equals @xmath127 mev . this value is noticeably smaller than experiment @xmath128 mev @xcite . the longitudinal component of the @xmath21-meson field is mixed with the pion . the amplitude describing this mixing has the form @xmath129 where @xmath71 is the momentum of the pion , and @xmath130 in the chiral limit is equal to @xmath131 mev . the additional pion kinetic term from the @xmath23 mixing is @xmath132 . in the chiral limit @xmath133 is equal to @xmath134 @xmath133 is small ; therefore , the effect of the @xmath23 mixing can be neglected . in this work we have considered a possibility of constructing the @xmath0 symmetric nonlocal chiral quark model providing the absence of uv divergences and quark confinement . these features of the model are specified by the nonlocal kernel which appears in the four - quark interaction . such a structure of the four - quark interaction can be motivated by the instanton interactions @xcite . the pseudoscalar , scalar , vector and axial - vector mesons have been considered in the framework of this model . the masses and strong coupling constants of the mesons were described . it was shown that the functions describing renormalization of the meson fields noticeably decreased at large @xmath84 in the physical domain(see fig.[g ] ) . however , in the description of the @xmath21 meson mass and decay widths @xmath92 , @xmath7 our results are noticeably smaller than experimental data . note that the width of the decay @xmath7 strongly depends on mass of the @xmath21 meson . indeed , for @xmath135 gev we have @xmath136 mev that is in qualitative agreement with experiment . remind that in the local njl model the cut - off parameter @xmath137 gev and the constituent quark mass @xmath138 mev are used . these parameters are fixed by the decays @xmath139(@xmath140 mev ) and @xmath141(@xmath142 ) . these parameters lead to the quark condensate @xmath143 and current quark mass @xmath144 mev . in the present model @xmath145 mev plays the role of the constituent quark mass , whereas our parameter @xmath146 mev corresponds to the effective cut - off parameter @xmath147 mev . as a result , we obtain @xmath148 and @xmath149 . remind that these values correspond to the physical pion mass . let us consider @xmath150 mixing in these models . in the local njl model the amplitude describing the @xmath23 mixing equals @xmath151 . therefore , the coefficient @xmath152 in the equals @xmath153 mev . this value is @xmath154 times larger than in the present model . as a result , it leads to the noticeable additional renormalization of the pion field in the local njl model @xmath155 , where @xmath156 and @xmath157 , in our model @xmath158 . therefore , in the local njl model the @xmath23 mixing plays a more important role . let us compare also the amplitude of the decay width @xmath159 in these models . in the local njl model without taking into account the @xmath150 mixing in the external pion legs this amplitude equals @xmath160 gev . this amplitude is @xmath161 times larger than in the present model . however , after taking into account the @xmath23 mixing this amplitude takes the form @xmath162 gev . this is close to the amplitude obtained in our work . this leads to a noticeable decrease in the decay width @xmath163 mev which also becomes smaller than experimental data and is in qualitative agreement with the result of our model . the mass of the @xmath41 meson in njl is @xmath164 mev and approximately 30 % larger than the result obtained here . both the values do not contradict the experimental data . the decay @xmath16 in @xcite is used for fitting model parameters while in our model we predict it . the mass of the @xmath21 meson obtained in our model practically coincides with the mass predicted in the local njl model , @xmath165 gev . in what follows we would like to compare our result with the nonlocal model @xcite . in this model a similar separable instanton - motivated form of the interaction is also used . the main difference of our model with that of @xcite is connected with an additional requirement on a quark propagator providing quark confinement . the quark mass function in our model contains only one arbitrary parameter instead of two parameters in @xcite . in spite of less freedom in choosing model parameters , our results is close to the results obtained in @xcite(see table 1 ) . it is interesting also to compare our results with those obtained in @xcite , where the quark propagator is expressed through the entire functions which are similar to the function used in our work ( see eq.([neqq1 ] ) ) . the quark interaction in this work has a separable type which is obtained from the quark - gluon interaction with the help of a modified gluon propagator . in this work , the decays @xmath5 and @xmath7 also have been calculated . the decay ratio @xmath6 is close to ours while the decay widths strongly differs ( see table 1 ) . the failure of the local njl model and its nonlocal extensions to describe the @xmath41-meson is expectable . similar problems appeared in the qcd sum rule method . in the scalar channel with vacuum quantum numbers the corrections from different sources may be valuable . indeed , it has recently been shown that the @xmath166 corrections in this channel are rather big@xcite , and the hartree - fock approximation may be inadequate in this case . moreover , for a correct description of the scalar meson it is necessary to take into account the mixing with the four - quark state @xcite and the scalar glueball @xcite . in future , we plan to describe electromagnetic interactions in the framework of this model , calculate the e.m . pion radius , polarizability of the pion and consider the processes @xmath167 , @xmath168 in a wide domain of photon virtuality . we also plan to generalize this model to the @xmath169 chiral group by introducing new parameters : mass of the strange quark @xmath170 and the cut - off @xmath171 which allows us to describe intrinsic properties and interactions of strange mesons . the authors thank a. e. dorokhov for fruitful collaboration , and d. blaschke , c. d. roberts and v. l. yudichev for useful discussions . the work is supported by rfbr grant no . 02 - 02 - 16194 and the heisenberg landau program . 99 d. ebert and m. k. volkov , z. phys . c * 16 * 205 ( 1983 ) ; m. k. volkov , annals phys . * 157 * , 282 ( 1984 ) ; d. ebert and h. reinhardt , nucl . b * 271 * , 188 ( 1986 ) ; d. ebert , h. reinhardt and m. k. volkov , prog . part . phys . * 33 * , 1 ( 1994 ) . m. k. volkov , sov . j. part . nuclei * 17 * , 186 ( 1986 ) . u. vogl and w. weise , prog . * 27 * , 195 ( 1991 ) . s. p. klevansky , rev . phys . * 64 * , 649 ( 1992 ) . e. v. shuryak , nucl . b * 203 * , 93 ( 1982 ) . d. diakonov and v. y. petrov , nucl . b * 245 * , 259 ( 1984 ) ; nucl . b * 272 * , ( 1986 ) 457 . a. e. dorokhov and l. tomio , phys . d * 62 * , 014016 ( 2000 ) . i. v. anikin , a. e. dorokhov and l. tomio , phys . part . nucl . * 31 * , 509 ( 2000 ) . r. d. bowler and m. c. birse , nucl . a * 582 * , 655 ( 1995 ) . r. s. plant and m. c. birse , nucl . a * 628 * , 607 ( 1998 ) . a. e. dorokhov and w. broniowski , phys . d * 65 * , 094007 ( 2002 ) . a. e. dorokhov , a. e. radzhabov , m. k. volkov , jinr e2 - 2003 - 51,2003 , to be published in phys.at.nucl * 67 * ( 2004 ) . g. v. efimov and m. a. ivanov , _ the quark confinement model of hadrons _ ( iop , bristol , 1993 ) ; g. v. efimov and s. n. nedelko , phys . rev . d * 51 * , 176 ( 1995 ) . c. d. roberts and a. g. williams , prog . part . nucl . phys . * 33 * , 477 ( 1994 ) ; c. j. burden , c. d. roberts and m. j. thomson , phys . lett . b * 371 * , 163 ( 1996 ) . j. c. bloch , y. l. kalinovsky , c. d. roberts and s. m. schmidt , phys . d * 60 * , 111502 ( 1999 ) . g. v. efimov and g. ganbold , phys . d * 65 * , 054012 ( 2002 ) . k. hagiwara _ et al . _ [ particle data group collaboration ] , phys . rev . d * 66 * , 010001 ( 2002 ) . r. s. plant and m. c. birse , nucl . a * 703 * , 717 ( 2002 ) . r. l. jaffe , phys . d * 15 * , 267,281 ( 1977 ) . m. k. volkov and v. l. yudichev , eur . j. a * 10 * , 109 ( 2001 ) . the comparison of the physical results are obtained in local and nonlocal quark models . in local njl model the decay width @xmath16 is used for fitting of the model parameters . two set of values corresponding to the different choice of model parameters are given in column 4 , 5 ( see table 4 in @xcite and table i in @xcite ) .	arxiv
The zebra tick or yellow back tick Rhipicephalus pulchellus is a species of hard tick. It is common in the Horn of Africa, with a habitat of the Rift Valley and eastward. It feeds upon a wide variety of species, including livestock, wild mammals, and humans, and can be a vector for various pathogens. The adult male has a distinctive black and ivory ornamentation on its scutum. Taxonomy and names Rhipicephalus pulchellus was described by Carl Eduard Adolph Gerstaecker, who initially placed it in the genus Dermacentor due to the ornamentation; all Dermacentor ticks are ornate. Its syntypes are at the Museum für Naturkunde. transferred this species to Rhipicephalus in 1897. R. I. Pocock described a junior synonym, R. marmoreus, in 1900; its holotype was deposited at the Natural History Museum, London. By 1901, Neumann had synonymized it with R. pulchellus. In 1926, Maria Tonelli-Rondelli described a subspecies R. p. humeralis, but in 1949, Fritz Konrad Ernst Zumpt reclassified it as its own species, R. humeralis. In 1904, Neumann circumscribed a new subgenus, Eurhipicephalus, and included among its species R. E. pulchellus. Aldo Castellani and Albert J. Chalmers then referred to this species as Eurhipicephalus pulchellus, treating Neumann's subgenus as its own genus. [[B. I. Pomerantsev circumscribed a new Rhipicephalus subgenus Lamellicauda in 1936, which included R. L. pulchellus. J. A. T. Santos Dias circumscribed a subgenus, Tendeirodes including R. T. pulchellus and the three other rhipicephalids with ornamentation, i.e., R. T. dux, R. T. humeralis, and R. T. maculatus, but this subgenus is not recognized by Jane Brotherton Walker and colleagues. In 1998, Pierre-Claude Morel created a pulchellus species group within the nominate subgenus Rhipicephalus consisting of these four species. Based on the larval and nymphal forms of Rhipicephalus species, Walker and colleagues placed R. pulchellus in the R. appendiculatus species group, consisting of R. appendiculatus, R. armatus, R. carnivoralis, R. duttoni, R. humeralis, R. maculatus, R. muehlensi, R. nitens, R. pulchellus, R. sculptus, and R. zambeziensis. In Neumann's 1901 description of R. maculatus, he mistakenly described female specimens of R. pulchellus as representing the female of this new species. The specific epithets pulchellus and marmoreus are Latin adjectives meaning beautiful little and made or consisting of marble, respectively; the word is a diminutive of beautiful. These refer to the male scutal pattern. It is also known by the common name zebra tick both due to its black and white ornamentation and having the zebra as a frequent host. It is also sometimes known as the yellow-backed tick. Description Adult male The males have ivory ornamentation surrounding the edge of the conscutum and much of its center. The male gnathosoma is significantly longer than it is broad, with dimensions of to . Its conscutum measures to . Adult female The female gnathosoma is slightly longer than it is broad, with dimensions of to . Its scutum measure to . Its scutum is mostly ivory colored and its alloscutum is dark brown. Hosts This tick has been found on many species, including both livestock and wild animals, particularly ungulates; common hosts include Burchell's and Grevy's zebras, the black rhinoceros, and antelopes such as the gemsbok, eland, and hartebeest. In one study conducted in Kenya, hundreds of specimens were found on Masai giraffes. They have been found on baboons in the Amboseli region of Kenya near Mount Kilimanjaro, although they only made up 1.8 of all ticks recorded in this study. These ticks have also been known to have elephants as their hosts. Although they far less frequently parasitize birds than they do mammals, examples exist of the ostrich and the yellow-necked francolin as hosts for this species, as well. It is a very common tick of cattle; in some parts of Ethiopia, 90 of all ticks collected from cattle and camels are R. pulchellus. This tick is present on 80 of cattle, and individuals are hosts to over 1000 of this tick each. In one study, adult ticks were found on their hosts' neck and belly 45, head 36, forelegs 7, hump region 13, and hing legs 3, with immature ticks found on the head and forelegs. Humans Immatures have been known to host on legs of humans. The tick has been described as having a strong affinity for human being; ulcers generally form where larvae and nymphs feed on humans, and adults have also been found feeding on humans. Disease transmission Many pathogens harmful to humans and other animals can be transmitted by this tick. The Dugbe virus has been isolated from R. pulchellus collected from sheep in Ethiopia. There is also evidence that this tick can transmit Rickettsia conorii as guinea pigs tested positive for its antibodies after being fed on. One study suggested a possible link between this tick and typhus due to a similar distribution in Kenya, although transmission was unsuccessful in laboratory settings. The CrimeanCongo hemorrhagic fever virus has been extracted from this tick. The West Nile virus has also been extracted from R. pulchellus. It has also been shown to transmit Nairobi sheep disease, and is likely its main vector in northern Somalia. It is the main vector for the Kismayo virus. The piroplasm Theileria taurotragi has R. pulchellus as one of its main vectors. Predators The red-billed oxpecker regularly eats this tick. Habitat and distribution This tick inhabits the Afrotropical biogeographic realm. It has been reported in the Palearctic, namely in the Giza Governorate, Egypt, but some researchers are hesitant about listing the Palearctic in its distribution based on just that report. Adult ticks looking for hosts inhabit scrub and long-grass areas. It occurs in the Horn of Africa, particularly in the Rift Valley and eastward. It lives between elevations of in semiarid bushlands and plains with an annual rainfall of . One study predicted that its habitat range will increase throughout 2100 due to climate change. It is most active during the rainy season. Population It was the most common tick in one study conducted in Haller Park, Kenya. In the early 1900s, it was very common in Kenya's Athi Plains, and also found near Nairobi, Kiambu, and Ruiru, and is the predominant tick collected from grass in the Kilimani area of Nairobi in a 1935 study. One long-term study conducted in Laikipia, Kenya involved people walking for and counting the number of ticks found on their clothing; the average number of R. pulchellus adults peaked at three. As introduced species R. pulchellus has been reported as being found on animals such as giraffes, zebras, rhinoceroses, and others that were imported into the United States, but it does not seem to have become established anywhere in the Nearctic realm. References Further reading External links Category:Ticks Category:Taxa named by Carl Eduard Adolph Gerstaecker Category:Animals described in 1873 Category:Parasitic arthropods of mammals Category:Arachnids of Africa Category:Ixodidae	wikipedia
the survival of gastric cancer has steadily improved in the past decade along with advanced diagnostics and screening programs and improvement of chemotherapy . however , the prognosis of unresectable gastric cancer is still poor , with peritoneal seeding , distant metastasis , and distant lymph node metastasis . para - aortic lymph node ( pan ) metastasis is considered a distant lymph node metastasis . the prognosis of gastric cancer with pan metastasis is quite poor even after prophylactic para - aortic lymphadenectomy . for this reason , systemic chemotherapy is commonly preferred as a primary mode of treatment in these patients . various kinds of chemotherapeutic regiments including 5-fluorouracil , cisplatin , irinotecan , taxans , and capecitabine were widely used in the past decades . the clinical response ratio of palliative chemotherapy in gastric cancer with pan metastasis was reported up to 68.8% . recently several cases of therapeutic gastrectomy with para - aortic lymphadenectomy after chemotherapy were reported [ 2 - 4 ] , but the efficacy of gastrectomy with para - aortic lymphadenectomy after chemotherapy remains still unclear . laparoscopy - assisted gastrectomy is an option in the treatment of gastric cancer , and the indication for this procedure has extended to locally advanced gastric cancer . however , there was no report of laparoscopic para - aortic lymphadenectomy in gastric cancer except laparoscopic biopsy of pan for the staging . herein , we report three cases of laparoscopy - assisted gastrectomy with para - aortic lymphadenectomy after palliative chemotherapy for far advanced gastric cancer for the first time in korea . a 45 year - old man was diagnosed with a poorly differentiated adenocarcinoma in the gastric angle by gastroscopy . a positron emission tomography - computed tomography ( pet - ct ) suggested left para - aortic and aortocaval lymph node metastasis . after completing 4 cycles of xelox , the patient showed partial response to the chemotherapy with decreased extent of primary cancer and retroperitoneal lymph nodes . after the confirmation of no evidence of seeding in the diagnostic laparoscopy , he underwent a successful laparoscopic extended total gastrectomy with para - aortic lymphadenectomy with the usual 5-port system without additional port insertion . the total operative time was 370 minutes and para - aortic lymphadenectomy took 100 minutes . the pathologic results revealed no residual primary tumor and no lymph node metastasis in harvested 77 lymph nodes ( lns ; 16a2 [ 0/3 ] , 16b1 [ 0/5 ] ) . a 46 year - old woman was diagnosed with a poorly differentiated adenocarcinoma in the gastric body , and ct suggested bulky perigastric lymph nodes ( station 3 and 7 , 2.0 cm and 1.0 cm ) and left pan metastasis ( 2.2 cm ) . after completing 4 cycles of xp , she showed partial response to the chemotherapy with decreased sizes of perigastric ( 0.9 cm and 0.6 cm ) and left pans ( 0.8 cm ) . she underwent laparoscopic subtotal gastrectomy with para - aortic lymphadenectomy , but the small branch of the left renal vein was injured at the end of para - aortic lymphadenectomy , so bleeding control was performed via minilaparotomy . the total operative time was 415 minutes and para - aortic lymphadenectomy took 97 minutes . the ebl was 200 ml . the pathologic results revealed submucosa tumor and 6 lns metastases in 58 harvested lns ( 16a2 [ 0/0 ] , 16b1 [ 0/11 ] ) . she was discharged at 11 days postoperatively after conservative management due to a large amount of ascites . a 63 year - old man was diagnosed with a poorly cohesive adenocarcinoma in the gastric lower body , and a pet - ct suggested multiple perigastric and left pan metastases . after completing 7 cycles of xp and 5 cycles of xeloda , he showed a partial response to the chemotherapy with decreased sizes of perigastric and left pans . the total operative time was 310 minutes and para - aortic lymphadenectomy was performed during 93 minutes . the pathologic results revealed subserosa tumor and 3 lns metastases in harvested 35 lns ( 16a2 [ 0/0 ] , 16b1 [ 0/8 ] ) . all laparoscopic para - aortic lymphadenectomies were performed with the standard 5-port system used in laparoscopy - assisted total gastrectomy without any additional port insertion ( fig . 1 ) . an ultrasonic cutting device ( sonosurg , olympus , tokyo , japan ) and ligasure ( valleylab , boulder , co , usa ) was used to minimize postoperative bleeding and ascites after lymphadenectomy . after laparoscopy - assisted subtotal or total gastrectomy with complete omentectomy and d2 lymphadenectomy , pan dissection proceeded from 16b1 area to 16a2 area . after exposure of gerota 's fascia of left kidney , splenic flexure was mobilized to take down transverse colon and mesocolon toward the lower abdomen . following identification of the left renal vein ( superior border ) , left gonadal vein ( left side border ) , treitz ligament ( right side border ) , and inferior mesenteric artery ( i m a ) ( inferior border ) , 16b1 pan including lateroaortic , preaortic , and interaortocaval area were dissected from i m a to left renal vein . for 16a2 lymph node dissection the supra - left renal area was dissected first , and the dissection proceeded up to celiac ganglion . 2 . bowel reconstruction such as uncut roux en y g - j stomy and roux en y e - j stomy was performed after surgical hemostasis and irrigation of para - aortic lymphadenectomy area . a 45 year - old man was diagnosed with a poorly differentiated adenocarcinoma in the gastric angle by gastroscopy . a positron emission tomography - computed tomography ( pet - ct ) suggested left para - aortic and aortocaval lymph node metastasis . after completing 4 cycles of xelox , the patient showed partial response to the chemotherapy with decreased extent of primary cancer and retroperitoneal lymph nodes . after the confirmation of no evidence of seeding in the diagnostic laparoscopy , he underwent a successful laparoscopic extended total gastrectomy with para - aortic lymphadenectomy with the usual 5-port system without additional port insertion . the total operative time was 370 minutes and para - aortic lymphadenectomy took 100 minutes . the pathologic results revealed no residual primary tumor and no lymph node metastasis in harvested 77 lymph nodes ( lns ; 16a2 [ 0/3 ] , 16b1 [ 0/5 ] ) . a 46 year - old woman was diagnosed with a poorly differentiated adenocarcinoma in the gastric body , and ct suggested bulky perigastric lymph nodes ( station 3 and 7 , 2.0 cm and 1.0 cm ) and left pan metastasis ( 2.2 cm ) . after completing 4 cycles of xp , she showed partial response to the chemotherapy with decreased sizes of perigastric ( 0.9 cm and 0.6 cm ) and left pans ( 0.8 cm ) . she underwent laparoscopic subtotal gastrectomy with para - aortic lymphadenectomy , but the small branch of the left renal vein was injured at the end of para - aortic lymphadenectomy , so bleeding control was performed via minilaparotomy . the total operative time was 415 minutes and para - aortic lymphadenectomy took 97 minutes . the ebl was 200 ml . the pathologic results revealed submucosa tumor and 6 lns metastases in 58 harvested lns ( 16a2 [ 0/0 ] , 16b1 [ 0/11 ] ) . she was discharged at 11 days postoperatively after conservative management due to a large amount of ascites . a 63 year - old man was diagnosed with a poorly cohesive adenocarcinoma in the gastric lower body , and a pet - ct suggested multiple perigastric and left pan metastases . after completing 7 cycles of xp and 5 cycles of xeloda , he showed a partial response to the chemotherapy with decreased sizes of perigastric and left pans . the total operative time was 310 minutes and para - aortic lymphadenectomy was performed during 93 minutes . the pathologic results revealed subserosa tumor and 3 lns metastases in harvested 35 lns ( 16a2 [ 0/0 ] , 16b1 [ 0/8 ] ) . all laparoscopic para - aortic lymphadenectomies were performed with the standard 5-port system used in laparoscopy - assisted total gastrectomy without any additional port insertion ( fig . 1 ) . an ultrasonic cutting device ( sonosurg , olympus , tokyo , japan ) and ligasure ( valleylab , boulder , co , usa ) was used to minimize postoperative bleeding and ascites after lymphadenectomy . after laparoscopy - assisted subtotal or total gastrectomy with complete omentectomy and d2 lymphadenectomy , pan dissection proceeded from 16b1 area to 16a2 area . the infra - pancreas mesocolon was first dissected to enter the retroperitoneal space . after exposure of gerota 's fascia of left kidney , splenic flexure was mobilized to take down transverse colon and mesocolon toward the lower abdomen . following identification of the left renal vein ( superior border ) , left gonadal vein ( left side border ) , treitz ligament ( right side border ) , and inferior mesenteric artery ( i m a ) ( inferior border ) , 16b1 pan including lateroaortic , preaortic , and interaortocaval area were dissected from i m a to left renal vein . for 16a2 lymph node dissection , the supra - left renal area was dissected first , and the dissection proceeded up to celiac ganglion . 2 . bowel reconstruction such as uncut roux en y g - j stomy and roux en y e - j stomy was performed after surgical hemostasis and irrigation of para - aortic lymphadenectomy area . in advanced gastric cancer , the prevalence of microscopic metastases in the para - aortic region is 10% to 30% . because the 5-year overall survival rate of patients with pan metastases is less than 20% even after prophylactic dissection , d2 lymphadenectomy plus pan dissection pan involvement is now considered m1 in tumor - node - metastasis ( tnm ) classification system ( 7th edition ) as reported by the american joint committee on cancer . in unresectable gastric cancer park et al . reported that pan - only metastasis showed better survival and longer time to other organ metastasis compared with single or multiple organ metastases , and oyama et al . reported high clinical response ratio of preoperative chemotherapy in gastric cancer with pathologically positive pan . however , the clinical characteristics of isolated pan metastasis have not been comprehensively described . as various chemotherapeutic agents and regimens have been developed , several studies reported that short - term outcome of curative gastrectomy after neoadjuvant chemotherapy in unresectable gastric cancer including pan metastasis . reported that r0 resection was possible in 71% after neoadjuvant chemotherapy with docetaxel , cisplatin and capecitabine . reported that combination preoperative chemotherapy with docetaxel , cisplatin , and s-1 and gastrectomy with pan dissection was extremely effective and feasible for advanced gastric cancer with pan metastasis , and reported 2-year overall survival at 93.8% . however , a consensus of neoadjuvant chemotherapeutic regimen was not established and there were few prospective studies in gastric cancer with pan metastasis . therefore , the efficacy of gastrectomy with pan lymphadenectomy after palliative chemotherapy remains unclear , especially for advanced gastric cancer with isolated pan metastasis . in the present cases , all patients had isolated pan metastasis and showed partial response to capecitabine - based chemotherapy . in case 2 , preoperative advanced gastric cancer was changed to early cancer after chemotherapy , and even in case 1 , the pathologic result showed complete regression . furthermore there was no metastasis of pan in the final pathologic results , so we could achieve r0 resection in all cases and tnm stages of the patients migrated to lower stages eventually compared with preoperative stage . long - term follow - up will be needed to evaluate whether this downstaging effect could influence the actual survival or not . most importantly , the present case series report is the first report of laparoscopic para - aortic lymphadenectomy in korea . laparoscopic surgery is a well - established minimally invasive surgical alternative to open surgery and has advantages of reduced postoperative pain , shorter hospital stays , and less complications . despite its advantages , laparoscopic para - aortic lymphadenectomy the present cases report showed that laparoscopic para - aortic lymphadenectomy could be performed without additional port insertion , and that the mean operation time and mean ebl were acceptable compared with open surgery . considering the number of retrieved lymph nodes in para - aortic region , laparoscopic it was also significant that all patients were recovered and discharged without any significant complications . there was 1 case of intraoperative bleeding due to injury of small branch of left renal vein during 16b1 area dissection . the left renal vein was clamped with two endo bulldogs under laparoscopic view before laparotomy , so it was possible to prevent massive bleeding and to control the bleeding via minilaparotomy . in conclusion , however a multi - institutional clinical phase ii study is needed to quantify the short - term benefit and long - term oncologic outcome of laparoscopy - assisted gastrectomy with para - aortic lymphadenectomy after chemotherapy for advanced gastric cancer with isolated pan metastasis .	pubmed
Digimon, Naruto Lion Heart I've been in a bit of a funk lately. Damn writer's block, ugh! So I went to reading other fanfics that had been updated and such, mostly Naruto x-overs lately, and I found this one Digimon/Naruto fic and thought it was a little weird but still interesting so I started reading other Digimon/Naruto x-overs and that got me to watching some Digimon on youtube and _viola_! Yet another random thought for a story that I couldn't get rid of until I started typing and writing down notes. Geez... I sometimes curse my creative mind because what's sad is that my creativity truly shows when a random thought pops into my head and I can't stop writing until another episode of severe writers block hits! IT DRIVES ME _OUT _OF MY MIND IN _INTO _THE LOONY BIN! But whatevs. Random works I guess... Anywho, this fanfiction takes place in the _Digimon Tamers_ series and I doubt there will be any romance. _If_ there is any chance of romance happening in future chapters of this fic, it will most likely happen between Naruto and Rika. But again, I doubt I will be putting romance in this fic. Enjoy. x XD Chapter 1 The Truth Pt.1 It was an average day in Konoha, the Village Hidden in the Leaves. The dirt streets were lively with the regular hustle and bustle of the villagers and there were several adults chasing after a blonde boy, who they were surprised they couldn't keep up with, yelling obscenities while the boy was grinning and laughing all the way and anyone he passed sneered and debated joining the chase. Yup, an average day for the Leaf Village. The boy in question was eight-year-old Naruto Uzumaki. The reason he was being chased right now was because he'd set off a stink bomb in the grocery store, a paint bomb that colored the clothing shop in a continuous rainbow, made all the books in Konoha's library/bookstore disappear, and put itching powder in the uniforms of all the teachers of the ninja academy except Iruka-sensei... and made it so all these pranks would happen at the same time. With another snicker after looking over his shoulder at the itching teachers, rainbow-painted clothing shop keeper, angry librarian, and grocery store manager who was still holding his nose, Naruto turned a corner, making his pursuers lose sight of him for a moment before continuing their chase after the blonde. In their hurry, none of them noticed the smirking blonde sitting on the roof of the building they'd passed to turn the corner waving to their backs. "They never seem to learn do they?" "Nope." Naruto said in answer giving giving a grin over his shoulder at the weasel masked ANBU who'd appeared. "But it's their fault for seeing the kunai as the storage scroll." "It is indeed." The ANBU said with a nod and, by his tone, Naruto could tell he was smiling behind his mask. "If I didn't know you better, with the way they treat you just for entering their public welcoming doors, I'd be surprised you retaliate with silly pranks rather than show your true shinobi skills." "To each his own Itachi-nii." "Ah ah, remember, I'm in uniform." "It's not like I can call you Itchai-nii when you're _out _of uniform." Naruto said flatly before raising an eyebrow. "And I only refer to you and the team as family when in uniform." "And you're not in uniform at the moment now are you?" The weasel-mask ANBU said crossing his arms. "Fine, _Itachi_." Naruto slightly whined. "So what's up?" "Hokage-sama wishes to go over the details of our mission tonight." Naruto's eyes narrowed slightly. "And the start of my long term mission at your request no doubt." The Itachi gave a nod making the blonde sigh once more before standing, the moment the boy stood, gone was the whisker-marked blue-eyed blonde in blue shorts, a black T-shirt, and an orange vest with a white color and in his place suddenly stood a whisker-marked blue-eyed black-haired boy with his hair cut like the Yondaime's in ANBU garb with a tanto sheathed behind each shoulder and two folded windmill shurikan hanging from either side of his belt, just before he slipped an ANBU crow mask over his face. In an instant, both ANBU disappeared, heading to Hokage tower. Upon reaching the Hokage's office, they found that the rest of the team was already there. "Jeeze, for a minute there, I thought you two were going to start taking after Dog when he's not in uniform." Said the snake masked female ANBU. "Who wants to bet he'll be late for his own funeral unless we put him in is ANBU gear to be buried?" The crow-masked child ANBU said raising his hand while everyone, even the Hokage, but the ANBU in question raised their hands in amusement. "Har-har." The dog-masked ANBU said sarcastically making everyone in the chuckle, giggle, or snicker. "Team Nine-tails." The Hokage said after clearing his throat, making the nine ANBU in the room immediately stand at attention. "This will be the last mission, team Nine-tails will ever be going on again. You nine made yourselves a team, a team most legendary over the past two and a half years. A team with no true captain, just several individuals coming together only for the most serious of missions, and there hasn't been a single mission you have failed. Unmask yourselves here and now as a final good-bye to the title of team Nine-tails when I call on you. SNAKE; Anko Mitarashi." A woman with her slightly spiky purple hair tied back in a pony-tail unmasked her grinning face with light brown eyes. "CAT; Yugao Uzuki." Another woman with her purple hair down unmasked her somewhat serious face and black eyes. "GECKO; Hayate Gekko." A man with slightly shaggy brown hair, black eyes, and dark circles under his eyes, looking a bit sickly along with a cough that came from his lips from time to time unmasked himself. "RAT; Izumo Kamizuki." A young man with dark brown hair and some of his bangs hiding one of his black eyes with a slightly amused smile. "MONKEY; Kotetsu Hagane." Another young man also wearing a slightly amused smile with long black spikes for hair, black eyes, a trimmed beard to look flat on his chin, and a a white cloth tied around his head going over the bridge of his nose and under her ears. "TORTOISE; Gai Maito." A man with his black hair cut into a bowl shape and abnormally large eyes wearing a nice-guy pose smile unmasked himself. "DOG; Kakashi Hatake." A man with silver hair that defied gravity took off his ANBU mask only to reveal he was still masked from the nose down and he had an eye closed with a scar going through it. "WEASEL; Itachi Uchiha." A boy with long black hair tied back in a low pony-tail and diagonal lines on his cheeks from the inner corners of their eyes, looking to be about thirteen, unmasked himself. "And CROW; Naruto Uzumaki." Naruto unmasked himself, his black Yondaime-haircut gone back to his normal wild blonde spikes. "This is Team Nine-tails' last mission... or at least it will be for a very long time." The old man said. "You're mission is to dispose of the coup forming in the Uchiha clan..." Everyone gained a serious expression, ready to hear the details as they were already told of this mission ahead of time. x * * * ><p>x<p> Crow and Snake were running towards training grounds 44, Forest of Death. Team Nine-tails had finished their last mission together and split up into pairs while Itachi stayed behind to face his little brother and make him think Itachi killed the clan alone. As part of a last request to the Hokage, which the old man allowed, Itachi was going to take the role of the bad guy to protect his precious little brother and the old Hokage suggested Naruto watch over Sasuke as a genin when team placements arrived under Kakashi's also watchful eye. It was Naruto's choice how to accomplish this mission. The mission wasn't to truly start until until team placements anyway and would go on until Sasuke made chuunin, when he would hopefully be mature enough to learn the truth, or if something happens to jeopardize the mission, in which case, Naruto would be forced to tell Sasuke everything. Anko lived in a hut just outside the Forest of Death and after missions Team Nine-tails went on and other serious ANBU missions, she allowed Naruto to spend however much time he'd need to shake of the affects the mission had on his person. There were plenty of reasons it was called Forest of Death but, sadly, Naruto felt safer there than he did in the apartment he lived in thanks to the villagers constantly breaking in and the stupid landlord Naruto was forced to live by. The landlord constantly threatened to kick Naruto out for not paying him rent. Naruto was always on time with his rent, the landlord was just pissed Naruto refused to pay more the the money required once a week rather than once a month. Naruto never had to worry about anything he cared about getting damaged because he never trusted anyone but the old man, the others of Team Nine-tails, and Iruka-sensei so he always kept his things in either the Hokage's office or on his person sealed up in a couple storage scrolls. That included the food, clothes, and books the old man allowed him to steal earlier today seeing as no one would ever sell him anything and whenever they did it was three or four times the original price for something of the lowest quality. They reached the Forest of Death and Anko handed him a blanket and pillow saying, "It's getting a bit chilly this time of year and remember to tell me or leave a note when you leave." "Always." Naruto answered, still masked before taking the offered blanket and pillow and hopping over the fence and headed into the dark wood. After running deep into the forest and finding a nice place to sleep, Naruto finally unmasked himself, bathed in the stream close by, and dressed for sleep. He was out like a light as soon as his head hit the pillow. x * * * ><p>x<p> Naruto's eyes snapped open as soon as he heard the first signs of battle. He could sleep through most sounds the Forest of Death gave off but fights were one of the few things he couldn't especially if they were near by. Another thing he couldn't sleep through was when someone was either watching him or someone was near by or at least in the same room as him. The only one he could really find himself sleeping in front of was the old man Hokage. But, moving on... The was a crashing sound of sorts and a tree suddenly fell just a few feet from where he was sleeping. It was still dark out. If Naruto had to guess, it was a little after midnight. He sat up, kunai in hand, and peeked out from the slightly underground tree cave he'd been sleeping in and could hardly believe what he was seeing. There, just several feet from where he was hiding, were two of the strangest creatures he'd ever seen. One was this disfigured green thing a long white mane and burn mark-like scars all over it, it had a long pointy silver horn on either side of it head with four orange rings around each horn, it had three more shorter white horns sticking out of each shoulder, all it's teeth were pointed but it still had larger fangs at the top along with a pair of tusk-looking fangs, it's pointed cow-like ears had two silver hoop rings hanging from each, it's left forearm and right shin were wrapped in strange orange bandage-tape while it's right forearm and left shin had belts and bolted guarding, it wore this dark gray loincloth type thing with a black belt, it's carried this big bone-club with metal spikes at the end, and it looked to be about three times the height of the old man Hokage. The other creature, which seemed to be losing badly judging by the injuries Naruto could see, was red and blue on all fours with nine tails fanned out like a peacock's tail feathers. It was a beautiful crimson color with light and dark blue in stripes and blotches all over. A couple stripes on either side of it's face and on each of it's limbs as well, it had a couple spikes of blue over it's forehead with the blue spread down it's back to it's tails. The end of each tail and it's long pointy ears had darker blue. It looked to be standing about a foot in height on all fours, about two if it were on it's hind legs, and each foot had three white talon toes. It was covered in cuts, scratches, and already forming bruises, and it's left eye seemed to be missing, a slanted x-like cut in it's place. Sort of reminded Naruto of Kakashi. "SUPER THUNDER STRIKE!" The red and blue creature shouted tiredly as it's tails sparked with lighting before the lightning shot towards the green creature. The green creature was able to dodge it though before charging towards the red and blue one with a shout of, "STRONG MAUL!" and started mauling the smaller of the two savagely. Naruto leaped out from his hiding place before throwing two of his four windmill shurikan at the green beast's back. The two windmill shurikan slashed it's targets back with a satisfying shriek of pain before turning to the small blonde boy who threw them just as said boy caught the windmill shurikan that had returned to him. In rage, the green beast charged at the blonde boy who stood ready. "BONE CLUB!" Naruto jumped to the side and leaped up over the green monster's head slashing away with his windmill shurikan on the way to the other side of it. The monster let out a shout of pain as Naruto landed behind it. As soon as the blonde's feet touched the ground, he turned to the beast making a cross sign with his hands and three clones suddenly appeared before hurrying in different directions in the trees. The green monster turned to the blonde more enraged than before and raising fist up as dark energy swarmed around it before hauling it down to the blonde's head. "PUMMEL WHACK!" Naruto jumped back to avoid it but had to put his arms up to keep the flying pieces of earth from hitting him, he jumped back twice before throwing kunai in seemingly random directions. Holding his fists out on either side of him, Naruto waited, staring coldly at the green monster as it regained it's baring and found it had missed it's target. It looked up at the blonde and growled before charging. "STRONG-" Just before the green monster could finish, Naruto yanked his fists over to the opposite sides of his build and it was only with a lucky glint in the sunlight, the downed blue and red creature was able to see twelve pieces of ninja wire going off in the seemingly "random" directions the blonde had thrown the kunai. The green monster was too focused on his own anger ridden attack to notice much of anything. At the end of each ninja wire was one of twelve windmill shurikan that all came flying towards the green monster from all directions as Naruto ducked nearly stomach flat on the ground when all twelve shurikan hit and the green monster screamed in pain and dismay as his body disappeared in red flakes on some kind of energy. Naruto stood as the clones hiding in the trees hopped down around him and the twelve windmill shurikan disappeared in a puff of smoke. He stood there, still in his sleeping white T-shirt and grey sweatpants before looking to the downed red and blue creature before slowly and cautiously approaching it. It growled and tried to edge back as it's tails fanned out again but with it's current condition of exhaustion and pain, it didn't get very far. "I'm not going to hurt you." Naruto said quietly as he slowly knelt down beside it. It didn't stop growling but it did hold back a bit. Naruto made two more clones and had one go get the storage scroll with food and medical supplies and the other go fill up a canister of water from the stream near by as he an the fist three clones he made carefully picked up the red and blue creature, much to it's protest, and brought it over to the slightly underground tree cave. "Quit carrying me like a digi-egg human, I can walk!" The creature said frustratedly. "Not in your condition you can't." Naruto said. "I don't know what a digi-egg is but it sounds defenseless and, by that last attack with the lightning I saw you make before that green monster started mauling you, I can see your far from defenseless. But that doesn't mean you shouldn't accept help when you need it. Now quit complaining, I'm helping you whether you like it or not and you're lucky it was me that found you rather than one of the many idiots in this village. They probably would've killed you just for having nine tails." The creature made something akin to a pout but stopped arguing as Naruto and his three clones carefully brought it down to the blanket on soft soil of the tree cave before the three clones disappeared in a puff of smoke. "What ability is that human?" It asked. "There are few digimon I know of that can make clones but those are simply illusions. How did you make them real?" "My name is Naruto and it's called shadow clone jutsu. I'm a ninja, it's what I do." Naruto said as he carefully slipped his pillow under the front half of the creatures body before the clone who'd taken out the medical supplies and food disappeared along with the clone that got the water when it got back. "And digimon? Is that what you are?" "Yes. I am Elecmon. The one you defeated just know was Ogremon. You never heard of digimon?" It asked slightly confused. "Nope." Naruto said soaking a cloth with the water and started carefully cleaning Elecmon's wounds. "What did that thing do? That was a strange way to escape." "Escape?" "Didn't it?" "No. Digimon are made up of data. What you saw were Ogremon's data particles scattering when you killed it." "Oh. Strange... Is that what happens to all digimon when they die?" Naruto asked. "Yes. Unless a digimon's data particles are absorbed by the digimon that defeated it, it's data goes back to the digital world and it is reborn into, hopefully, a better digimon." "Digital world? Is that like the summoning world?" "Summoning world?" Naruto and Elecmon got to more talking and before they realized it, they were telling each other everything about there home worlds and a bit about themselves as well. Naruto learned that the digital world has a strong connection to the "real" world. Elecmon and his brethren were stopping a group of Goblimon from transporting through what they'd thought was a portal to the "real" world and took care of all but one Goblimon that suddenly digivolved into an Ogremon. It'd killed Elecmon's brethren and got through the portal but didn't escape without Elecmon fallowing. "Well the fight is over and you need to rest so I'll feed you a sandwich or two and then you sleep." Naruto said in a don't-bother-arguing-with-me tone as he put away the medical supplies he'd finished using after bandaging up Elecmon's more serious injuries. Elecmon sighed and rested his head on the pillow as Naruto picked up a ham and cheese sandwich and brought it to Elecmon's mouth who ate it gratefully. He hadn't realized how hungry he was until he took that first bite. Naruto couldn't help letting out a little laugh when Elecmon hurried to eat. The digimon ended up eating four sandwiches, six onigiri, and some friend chicken before finally feeling full and went to sleep. Naruto stayed awake the rest of the night to watch over Elecmon, protecting him from the hungry predators of the training grounds that smelled his blood. x * * * ><p>x<p> Naruto sighed at the many, now dead, predators that had come during the last few hours of the night. He was glad the sun was up now because was dead tired, but he knew he could fall asleep just yet, not with Elecmon still in such a bad condition. He was nodding off but he refused to completely shut his eyes. Elecmon's eyes fluttered open and he noticed Naruto sitting up with his back against a wall of the tree cave looking like it took all his little human body's strength to keep his eyes open and head from falling forward. Taking a closer look, he saw Naruto's sleepwear was filthy and he had a smudge of dirt here and there on his face. Feet and hands were filthy as well and Naruto had a dirtied kunai gripped loosely in his hand. '_...He stayed up to watch over me...and made sure I stayed safe..._' Elecmon noted with a slight smile. Suddenly, he felt... warm. Noticing a light glowing from the corner of his eye and hearing the ripping of cloth, Naruto looked over to see Elecmon's body aglow and shape changing as he grew. Naruto's eyes widened in surprise when the light died down and in Elecmon's place sat an orange humanoid lion man with a golden mane, the slanted X shaped cut in place of his left eye now a scar. He was as tall as the Ogremon Naruto beat hours before. He had a piercing blue eye, the ends of his ears were black, he wore black pants sewn with brown leather up the side and a black belt as well as a black studded belt wrapped around his left forearm and over the knuckles. And resting horizontally on the back of his waste was a wakizashi that was man for a digimon his size. "Whoa..." Naruto said in awe. "Elecmon?... Is this that digivolve thing you told me about?" The lion man smiled and chuckled with a nod. "Yes Naruto." He said with his deep voice. "But I'm no longer Elecmon. I'm Leomon now." "Leomon..." Another light glowed and Naruto found a glowing shape a foot in front of him and a foot above him slowly floating down to his face. The light didn't stop glowing until he reached up and took the floating object in his hands. There in his hands now lay an electronic of sorts, slightly bigger than the size of his eight-year-old hand. It was bright orange with two dark blue buttons, a dark blue ring going around a small screen looking thing, and a dark blue strap with a black clip to hook onto a belt loop like a watch. "What's this?" Naruto asked. "That, Naruto, is a digivice." Leomon said smiling. "The physical sign that we are partners. You're my tamer." Naruto looked up at him in surprise before smiling brightly, a smile, which if compared to the one he uses as a mask in the village, would be easy to tell is true. "Cool." Then Naruto passes out from exhaustion. Leomon chuckled and lifted Naruto from the soil to his lap after wrapping the blanket around the little whisker-faced blonde boy. Back in the Hokage's office a certain old man smiled at the glass ball with Leomon and Naruto in the image, having watched these events the whole time. x * * * ><p>x<p> The next day Naruto walked into the classroom in his usual blue shorts, black T-shirt attire with the orange vest, but this time he had his digivice hanging from the front left belt loop of his pants. He was reading an advanced book on seals as he walked in before sitting down, half not-really-noticing and half ignoring the whispers and stares from the classmates towards the "cool new watch". It was sometime during lunch break now and Naruto walked the halls still reading his book util the last couple hours of class started up again. Class went by in a snap that morning for Naruto, mainly because he secretly read his book on seals through the lessons he already knew. "Hey, dead-last." Naruto stopped his walk and looked back over his shoulder at the three smirking boys in his class coming towards him. The one to call out "dead-last" was a guy who was "big-boned" like Choji but taller and stronger while the two on either side of him were practically toothpicks. This was Jinjo Koteko, a councilman's son and his two goons Ruki and Bonta. These three were the bullies of ninja academy. They were pretty in the middle skill-wise between dead-last and top-of-the-class. Ruki and Bonta grew up spoiled with their rich clans and Jinjo was even worse being treated like royalty everywhere he went for being a councilman's son. When Jinjo wasn't given something he wanted he would do anything to get it himself. "That's a nice watch." Jinjo said smirking in a way that said give-me-my-new-watch. "Color's weird for a ninja but I'm sure I can take care of that." Naruto couldn't honestly say he was surprised. He gave Jinjo a flat half-lidded-eyes look before facing forwards once again and walked while reading his book, ignoring Jinjo and his goons completely. "Hey, where do you think you're going?" Jinjo demanded as Ruki and and Bonta ran past Naruto and stopped in front of him to keep him from getting any further. "I said that was a nice watch." "Thank you. I'll be going now." Naruto said stepping forwards only for Ruki and Bonta to put their arms up to stop him. "I didn't think you could get any stupider dead-last." Jinjo said approaching. "Give me my watch." Feeling irritated, still not really cleared of his angst over killing the Uchiha clan with his from-time-to-time team two days before, Naruto turned to face Jinjo and said without looking up from his book, "And you must be a complete moron if you don't get from my body language that this isn't your watch and I'm not giving it to you." He could feel Ruki and Bonta's surprised and confused is-this-kid-crazy-or-just-plain-mental? stares at his back, but he ignored them. Jinjo was angry in an instant and made a grabbed at Naruto with his other fist already ready to punch the blonde. Naruto ducked to the floor, still without looking up from his book, and sweep-kicked Jijno's feet from underneath him. Naruto was on his feet and Jinjo was on his back before anyone could blink. Ruki and Bonta tried to grab at his shoulders from behind at the same time but, again, it happened before anyone could blink. Naruto tossed his open book a foot in the air, grabbed Ruki and Bonta's offending wrists and flipped them over his shoulders to land on top of Jinjo with a pained "oof!". Naruto stood straight and lifted a hand somewhat lazily, catching his book and turning a page as he turned back around and continued his walk once again. He didn't notice the two pair of eyes on him before the owner of said eyes on him fallowed. Naruto brought himself back to the empty classroom and decided to wait the last few minutes before class started again. Before he could sit down though, the door slid open again and he turned to see Shikamaru and Choji staring at him in question. "What was that just now?" Choji blurted. "You're not really a dead-last are you?" Shikamaru asked. Naruto blinked in surprise before frowning somewhat embarrassed. '_They saw what I did to Jinjo and his goons. How did I not sense them? I must be more irritated than I thought if I was so distracted I didn't sense a couple of academy students._' Naruto sighed. '_Old man, if you're not watching this right now through that orb, I'll have to tell you as soon as class is over._' In the Hokage's office, the old man Sandaime was doing just that. "No. I'm actually not even an academy student." Naruto said honestly, closing his book on seals and placing it on the nearest desk and lifting the right sleeve of his T-shirt to show them his tattoo. "I'm ANBU. I've been ANBU since I was six. The only real reason I'm in the academy is to make friends but with all the people who hate me for no real reason, that planning went down the drain. Now I have a mission that will take a few years to complete and I need to be academy dead last to do that... Well, that and if I'm the dead-last, people won't hate me as me as much as they already do if that's possible. I can't tell you what my mission is thought. Sorry." Both just nodded somewhat absently. "Want to play a card game with us?" Choji suddenly asked. Naruto blinked surprised before smiling, "Sure!" Back in the Hokage's office, Sandaime Hokage smiles a the orb in front of him showing him Naruto playing a card game with his first pair of friends his age. A couple hours later, after class was finished, Naruto sent a shadow clone to the Hokage's office to tell the old man what he already knew while he Shikamaru, and Choji went to the park. "Wait, so kids make fun of your structure and say Akimichi are a clan of fat asses?" Naruto asked confused while hanging upside down from the monkey bars. "Yeah." Choji said feeling down sitting on the swing and Shikamaru just standing off to the side. "They never let me play 'ninja' with them because I'll slow them down. They wouldn't let me play even though there were an odd number of people for teams." "... That's just stupid." Naruto said making Choji and Shikamaru look to him in surprise. The blonde dropped from the monkey bars and flipped in mid air to land on his feet and continued, "Any ninja will tell you there's strength in numbers and having the power those kids seem to want means zip if you don't have the control for it. And the Akimichi are one of the strongest clans to exist and not just by Konoha standards, even with all the clans with bloodlines in our village." Choji looked to him in surprise before smiling a little embarrassed. "Besides, I'd like so see an idiot like Jinjo turn all the built-up fat in his body and in his head into muscle in an instant like an Akimichi can." Naruto added. "Although, for Jinjo, I can't be sure if it's fat or just a bunch of hot air. Haha. Seeing Jinjo float away like a hot air balloon would sure be amusing." Shikamaru and Choji couldn't help laughing at that comment and image in their heads. '_Although I do find playing 'ninja' rather silly too._' Naruto thought. '_Being a ninja isn't a game but that's something these guys have to learn on their own._' Naruto paused in thought before remembering something. '_I haven't seen Leomon since this morning. Those there's plenty of thing for him to eat in the forest and he's not any way defenseless now that he's healed, but..._'"You know guy's I just remembered I have something I need to take care of. And it's getting pretty late." "Hey, yeah!" Choji agreed. "I'm gonna be late for supper!" Naruto and Shikamaru laughed a little when Choji started running off and Shikamaru sent Naruto a nod before heading home as well. While Choji and Shikamaru went home, Naruto headed for training grounds 44. When he got to the fence in front of the Forest of Death, he stiffened as the shadow clone he'd sent to the Hokage's office finally dispelled. Naruto couldn't help scoffing at the memory he gained from the clone as he made his way through the Forest of Death to Leomon. (Shadow clone's memory) _Just after Naruto confirmed the old man had been watching his confrontation with Shikamaru and Choji about being an ANBU, there was a knock._ _"Enter." Sandaime said._ _The door opens and in walks Jinjo's father, Councilman Koteko, with a smug looking Jinjo right behind him._ _"Ah, good." Councilman Koteko said looking at Naruto with a sneer. "Saves us the trouble of looking for him."_ _"Is there something wrong Councilman Koteko?" Sandaime asked, though he was inwardly sighing tiredly._ _"That... __boy__... stole something of my son's today after attacking him and his friends in the hallway at the academy." The councilman said pointing at Naruto._ _Naruto narrowed his eyes at Jinjo who was smirking now._ _"Really?" Sandaime said in a disbelieving tone. "And what did he steal?"_ _"My watch." Jinjo said pointing at Naruto's digivice. "He has it on his belt loop right there."_ _"Hmm." Sandaime looked to Naruto with a raised eyebrow while Naruto continued glaring at Jinjo. "And what proof do you have that it's yours?"_ _"Ruki and Bonta can vouch for me." Jinjo said still smugly smirking at Naruto._ _"Really? And they wouldn't be just saying that as your lackies?" Naruto said angrily._ _"Insolent little brat!" Councilman Koteko hissed at the blonde before looking to the Hokage once more. "Lord Hokage, I demand you have that __thing__ locked up."_ _"You should get all the facts before start demanding __anything__ Councilman." Sandaime said firmly. "Naruto, may I see this watch?"_ _Naruto glanced to the old man before sending another glare at Jinjo and his father before unhooking his digivice from his belt loop and handing it to his grandfather figure._ _The Sandaime looked it over a moment and held it up by the strap before asking Jinjo, "You're saying this is the watch Naruto attacked you and your friends in the hallway for to steal?"_ _"Yes Lord Hokage." Jinjo said smiling._ _"And where did you get this watch?" Sandaime asked._ _"I bought it yesterday in the marketplace." Jinjo said._ _"I see... That's funny. You see, Naruto is turning nine in a couple weeks and I gave him this exact same watch as an early birthday present two days ago." Sandaime said looking over the watch again._ _Councilman Koteko's eyes furrowed in confusion before looking down to his son who's smile dropped and complexion gone pale._ _"Would you like to tell me, again, why Naruto __attacked__ you and your friends in the hallway to steal a watch he already had?" Sandaime said handing Naruto back his digivice to put back on his belt loop where it belonged._ _"W-Well he __did__ attack us!" Jinjo said._ _"Really? Hmm." Sandaime opened one of his drawers and took out a red velvet pillow and an antique wooden box. He placed the pillow on the desk in front of him and opened the box to reveal a crystal ball. He then placed the crystal ball on the pillow before applying his chakra to it. "This crystal ball is special. Only one with the title of Hokage can use it and it's used for watching over anything going on within Fire Country. What few people know is that the Hokage can also display his memories and the crystal ball will not allow him to lie through it either. As it just so happens, I was watching over the academy today through my crystal ball, just to see how things were coming along with the students and imagine my surprise to the scene I'd come across."_ _Over the next couple of minutes, Jinjo grew paler and paler while his father grew more humiliated with each passing second watching the scene that took place in the academy earlier that day between Naruto, Jinjo and Jinjo's goons. Naruto just stood there with his arms crossed and a flat expression. Sandaime ended the show just after the image of Naruto in the crystal ball turned the corner at the end of the hallway to go back to the classroom._ _"As you can see, Councilman, the only __attacking__ on Naruto's part was in self-defense." Sandaime said twining his fingers together. "And it would seem your son hasn't yet learned two very important things. One being that you cannot always get what you want and the other being that you should never mess with a shinobi that has something to protect. Dismissed."_ _Councilman Koteko didn't waste another minute leaving the office and pulling Jinjo out by the ear behind him._ _"I take it you saw my encounter with my new partner as well seeing as you helped me?" Naruto questioned his grandfather figure._ _The old man chuckled. "Yes. From the time he was Elecom to the point where your exhaustion finally caught up with you. I'd like to meet Leomon. Not today, of course, but soon. I still have to take care of an undying enemy."_ _"Paperwork?" Naruto questioned with a raised eyebrow and a smile._ _"Yes..." Sandaime said with a depressed sigh making Naruto laugh a little._ (End of Shadow clone's memory) Naruto shook his head before looking around and finding Leomon sitting in the stream catching fish and putting several on a pointed stick about three feet long, each stick holding ten fish, and three sticks already sticking out of the ground around a large fire. Leomon was working on a forth stick and already had six fish on it and over the fire were two large skinned boars and six skinned rabbits. "Hungry?" Naruto questioned quietly with a light and airy laugh. "I bet you are too." Leomon said without taking his eyes off a fish in the water. Naruto's stomach rumbled before he could retort, making Leomon chuckle as he stuck a seventh fish on the stick. Naruto sighed and gathered twelve sticks about two feet long before sitting by the fire and opening his food and medical supply scroll. He took out carrots, onions, mushrooms, peppers, potatoes, tomatoes, apples, pears, pineapples, strawberries, grapes, and lemons on sticks and stuck them in the ground around the fire with the fish. It wasn't long when he and Leomon were eatting plentifully and more than satisfied. Naruto fell asleep that night in the Forest of Death listening to stories Leomon told about the digital world and the digidestined. x x * * * ><p>x<p> x Four years later... An average day in Konoha. The sun shining, the regular hustle and bustle of the villagers, and an orange clad blonde running while laughing his head off with a couple jounin chasing after him for painting Hokage Mountain. Yep. The average day for Konoha. Naruto escaped easily with a camoflage sheet to match the fence behind him... only to be just as easily caught by Iruka-sensei and brought back to the academy. Iruka made the class repeat the transformation technique and Naruto did his Sexy Jutsu instead making Iruka's head shoot back with blood splatter. After class Iruka made Naruto start cleaning his graffiti all over Hokage Mountain and after thinking a bit, Iruka offered to take Naruto to Ichiraku's for ramen, before Naruto could answer though, a black haired ANBU looking to be Naruto's age in a Crow mask appeared beside Iruka looking down at the blonde. "Uzumaki-san, Hokage-sama wishes to see you. Now." Crow said. "Okay... I'll be right back to clean the rest of this up and then we'll go to Ichiraku's." Naruto said. Iruka nodded and the ANBU Crow hopped down next to Naruto on the platform he was standing on the clean the mountain before putting a hand on Naruto's shoulder and leaf shunshined to the Hokage's building. They appeared just a few feet down the hall from the Hokage's office doors before going in finding the old man at his desk waiting and smiled when he saw who walked in. As soon as Crow closed the door behind him, the blonde clad in orange disappeared in a puff of smoke and Crow took off his mask, black hair immediately shortening and turned blonde before he approached the Hokage's desk. "I don't want to take too long." Naruto said placing his mask on the desk. "I gotta finish cleaning up the graffiti and then go to Ichiraku's for a ramen bowl with my name on it." The old man Sandaime chuckled before asking, "How was the mission?" "The Fire Daimyo thanks you for sending one of your strongest ninja to take care of his roach problem." Naruto said with a smile. "His words, not mine, I promise. He couldn't believe that three of his greatest adversities were the spies but as soon as I showed him their map of Fire Country with a few landmark changes and such as well as the documents proving they were stealing from his treasure fault and making the people try to revolt against him, no more question was asked of me. My full report of the mission." Naruto said handing the old man a scroll. "Ah, good." Sandaime nodded taking the scroll. "And how goes the mission involving traitors _inside_ the village?" "Well, the act of inability to make a regular bunshin, which of course is not _really_ an act," Naruto said making the old man chuckle, "is proving useful. The traitor tries to make it seem like he likes me more than Iruka by being less strict and all but happy to give me second chances. Iruka's a good teacher. He's tough but fair. The traitor just wants to get closer to his target. I still can't be sure what he's up to, but it obviously involves me." The old man nodded, "Be sure to tell me as soon as you know." "Yes, Lord Hokage." Naruto said with a bow before making a clone of him in his ANBU wear with the Crow mask on and left while he himself changed into the orange jumpsuit. "I'm going to have my clone get me more clothes. A guy can only take wearing the only clothes the villagers were willing to sell him for so long. Don't get me wrong, orange looks good on Leomon, but that's his fur." The old man chuckled again. "How is your partner by the way?" "Happily living in the Forest of Death but wishes a portal would open up here already." Naruto said with a slight sigh. "It's been four years and the only digital field to appear was the time I first met him as Elecmon. I wouldn't mind seeing this real world either... And I get the feeling I'll be seeing it soon." "Well we both know how you are with your gut feelings... How long would you say you have?" The old man asked. "I'm not too sure." Naruto said honestly. "I know it's some time around of the next chuunin exam but not if it's before, after, or during it. There's a reason I'm Leomon's partner, I just have to wait and fufil that reason. When I do we'll be back... Maybe." The old man nodded understanding before sitting up, "Alright, dismissed." "See you Old Man." x * * * ><p>x<p> The next morning, around four, Naruto dressed in his "real" clothes. The ones he couldn't wear in public without the villagers bugging him about it. He no longer had to worry about anyone breaking into his apartment, as of three years ago, thanks to the security seals he made. Now no one can get in without his permission. He slipped on a black wife-beater, grey cargo pants, black ninja sandals, and a dark grey zip-up hoodie. His digivice in the pocket of his hoodie so no one wood see it if they say him, just in case. This _is_ a ninja village after all. He pulled his hood up and hurried to the Forest of Death. When he got there, he found it was quiet... Much too quite. He cautiously wandered farther into the forest, looking from left to right under his hood from time to time. The wind whistles as he turns to a scuffling sort of sound, not noticing the glowing blue eyes above him from behind in the trees... Suddenly, a giant shadowed figure jumped down right on top of him and wrestled the blonde to the ground. Naruto elbowed his attacker in the gut before jumping to his feet. His attacker on his feet as well, but Naruto jumped to the giant figure's shoulders and grabbed his hair and, by the hair, flipped his attacker to the ground... Or at least he tried to. When that didn't work, Naruto sent a high kick to his attacker's head. That worked for a moment before a giant hand grabbed his ankle and held him up off the ground in a streak moonlight peaking through the trees. His hood slipped revealing his face as well as the giant orange furred and black clawed hand holding him up by the ankle. "Damn!" Naruto cursed crossing his arms. "I feel like a kid in these spars." The figure chuckled before bringing his head in the moonlight revealing Leomon. "You _are_ a kid. And you forgot to take of your weights." "I didn't forget." Naruto said to the digimon. "I wanted to see how I could do against you with them on." Leomon chuckled. "And you're progress is like that of your mask." "Hey, I wasn't _that_ bad!" Leomon laughed and put Naruto to the ground saying, "Maybe, but isn't the point of us sparring supposed to test _your_ limits and not that of your mask?" Naruto sighed, "Yes." With that, Naruto focused chakra into the gravity seals on his wrists and ankles, deactivating them and disappeared in the wisp of air. The real sparring began. x * * * ><p>x<p> Four hours of sparring and eating a large Forest of Death breakfast later, Naruto was rushing back to his apartment, his gravity seals activated again and his hood back up. He got back and spent the next half hour showering, brushing his teeth, and getting dressed for his last graduation exam and hurrying to class. The day went by quick and Naruto one again failed for tying to do a regular bunshin... and Mizuki offered the solution. That night Naruto snuck into Hokage tower and didn't allow himself to be seen by anyone but the Sandaime when he broke into the Hokage vault to steal the Sacred Scroll and explained things to the old man. "So Mizuki's plan was to have you steal the scroll for him by telling you it was the alternative way to pass the genin exams?" The old man questioned before sighing tiredly. "It's the _Idate Morino _incident all over again." "That's what I thought." Naruto told him as he slipped the Sacred Scroll on his back before facing the old man with a grin. "Now, sorry Old Man, but I got to make this believable for my mask." "What?" "Sexy Jutsu!" "Aaahhhh!" x * * * ><p>x<p> "You are the Nine Tailed Fox!" Mizuki shouted with a smirk. However, instead of crying in denial or shouting, much like both he and Iruka expected, Naruto started laughing. "Wh-What's so funny!" Mizuki demanded. Naruto needed a minute to calm down, but he was still smiling. No, he was smirking. The blonde shook his head and reached into his weapons pouch. Mizuki didn't bother to put up his guard, because everyone knows how poor Naruto's aim was... or so they thought. But what neither chuunin expected was the _weapon_ Naruto took out was an ANBU mask. A crow mask. Still smirking, Naruto slipped the mask over his face, his hair instantly growing out in the front and turned black before he said, "Mizuki... you are hereby under arrest for breaking the Third's law in revealing the sealing of Kyuubi no Yoko to one Naruto Uzumaki... Even though he already knew." Naruto added with a chuckle. "ANBU?" Mizuki shouted. "No! Impossible!" Naruto made a familiar hand-sign and hundreds of clones surrounded them... before beating Mizuki half to death. "So... you're ANBU?" Iruka questioned in the Hokage's office. "Yeah..." Naruto said rubbing the back of his head, slightly nervous. "I've been ANBU since I was six. The only real reason I went to the academy was to make friends my own age and later fulfill a mission. Though I am a prankster... and I love having ramen at Ichiraku's with you, this is the real me. I'm not an idiot, that's just a mask to both fufill my mission and keep me safe from the villagers who hate me for what I hold. They're less fearful if they see me as an idiot. Less beatings, ambushes, breaking into my apartment. Most of the shops have always rufused to sell me anything and when they do, the merchandise is always low quality and they try to make me pay three to four times the real price. I can only imagine what they would do if they knew the real me." Iruka nodded in understanding before suddenly hugging Naruto, much to the blonde's surprise before the blonde hugged back. "At least you can finally graduate." The chuunin said. Naruto couldn't help laughing. x x XP You guys may hate me for this, but I'm not going to be writing in the wave mission, chuunin exams, or finding Tsunade in this fic, although they _do_ happen. The only real reason I'm skipping out on those event in _Naruto _is because I would be making this chapter too long and I wanted to finish it so I could get started on the next chapter and put Naruto in the world of the _Digimon Tamers_. Sorry. x End file.	fanfiction
Grignards and anhydrous ethanol > > I remember using both 95% ethanol and absolute ethanol quite a few times. You'd need absolute ethanol for a reaction that would fail if water was present, such as a Grignard reaction. I can't remember whether the absolute ethanol was in an ordinary bottle or the type with a rubber septum (where you keep the liquid under nitrogen to avoid contact with air). If the ethanol was to be used as a reagent, a septum bottle would be more appropriate. > > > <http://boards.straightdope.com/sdmb/showpost.php?p=5314683&postcount=10> First, why would one use ethanol for a Grignard reaction? If a Grignard is destroyed by water (as suggested by the poster) then wouldn't a Grignard also be destroyed by ethanol? I'm guessing that the poster just forgot all his chemistry. Ironic for someone posting on a message board that proclaims to be "fighting ignorance since 1973." --- Second (assuming that one could somehow run a Grignard reaction in ethanol), do you really need anhydrous ethanol for Grignard reactions to work? Why not just use a slight excess of Grignard to account for the water present in 95% ethanol? Seems to me that anhydrous ethanol would be pretty expensive given that the usual distillation methods wouldn't get you from 95% ethanol to 100% ethanol. Finally, is there a reaction in which using excess Grignard to account for acidic protons wouldn't chemically work in some way? > > First, why would one use ethanol for a Grignard reaction? If a Grignard is destroyed by water (as suggested by the poster) then wouldn't a Grignard also be destroyed by ethanol? > > > As well as being excellent nucleophiles, Grignard reagents are also very strong bases because they essentially function as alkyl anions. Therefore they will react with ethanol to form magnesium ethoxide, the alkane, and magnesium bromide. Grignard reactions are usually carried out in ether solvents such as diethylether and tetrahydrofuran because they are unreactive towards the reagent and they actually stabilize it by coordinating to the magnesium ion to form a tetrahedral complex. ![enter image description here](https://i.stack.imgur.com/SqhQU.gif) ([image source](http://employees.csbsju.edu/cschaller/Reactivity/carbonyl/COsemianion.htm))	stackexchange/chemistry
Characteristic curve of a solar panel I have trouble understanding the $I(U)$-plot of a solar panel: [![enter image description here](https://i.stack.imgur.com/YzmQA.png)](https://i.stack.imgur.com/YzmQA.png) So without any light it should probably just be the characteristic curve of a diode, right? Which means that at some point, when the voltage is high enough, we have a current. And what about the lighted part? Why is it negative? Is it because the diode is still in reverse direction and the photo current $I\_{ph}$ is "coming out" of the panel? And if we increase the voltage, at some point ($V\_{OC}$ we have an opposite current of the diode that evens out the photo current? So technically speaking it is (assuming the lighting is constant) a constant current $I\_{ph}$ which overlaps with the exponential current $I\_D\propto\exp(U)$ from the diode? And how does one "change the voltage" on a solar panel? I will try to answer your questions one at a time: 1. So without any light it should probably just be the characteristic curve of a diode, right? Correct. In principle, a simple solar panel is just a big pn-junction. 2. When the voltage is high enough, we have a current. Right. In the sense that the current follows the simple equation $$I(V) = I\_S (e^{V/V\_t} -1)$$ for a perfect pn-junction. 3. Why is it negative? Is it because the diode is still in reverse direction and the photo current Iph is "coming out" of the panel? I guess the best way to understand the direction of the current is to look at the band diagram of a pn-junction. [![ A p–n junction in thermal equilibrium with zero-bias voltage applied. (from Wikipedia)](https://i.stack.imgur.com/UE4zO.png)](https://i.stack.imgur.com/UE4zO.png) If you apply a positive bias, electrons (holes) start to flow from the p (n) region to the n (p) region. In contrast to that, if you have a solar panel, you use your pn-junction in the other direction. As the free carriers in your device, generated by the absorbed photons, follow the electric field in the device (see picture), the electrons (holes) flow from the n (p) region to the p (n) region (if they are close enough to the junction). 1. And if we increase the voltage, at some point (VOC we have an opposite current of the diode that evens out the photocurrent? So technically speaking it is (assuming the lighting is constant) a constant current Iph which overlaps with the exponential current ID∝exp(U) from the diode? The point of the solar panel is that you control the voltage by the load you apply to it. I am not sure what you mean with applying voltage to the diode, as there is no external voltage source. You are right, that in principle you could apply a voltage to you solar panel and you could control the current, as it follows the current law described above (hence exponentially) but this is not what you do. What you do is to impose a current which defines your $$I(V=0) = I\_{ph}$$ and then the current-voltage characteristics of your solar panel (pn-junction) define which voltage corresponds to which current (that is why the curve shown in your figure is always the same and is just shifted in y-direction) 2. And how does one "change the voltage" on a solar panel? As described in 4., the voltage is controled by the load you apply. For example, the red line indicates, that the maximal voltage is 0.45 V and between 0 V and 0.35 V the current is nearly constant, no matter of voltage. That is why you should consider the solar panel more like a current source than a voltage source.	stackexchange/physics
Giving kids a sporting chance. In-school curriculum, after school academy programmes, school sports days. Education outside of the classroom. Before and after-school care holiday programmes. We are looking for people who have a passion for kids and sport. Established 1996 and now in over 100 schools offering before school, after school and holiday programmes for primary school children. Would suit people who are looking for a change in lifestyle and who enjoy the company of children. We offer you an opportunity to own your own business and make a real difference in children's lives. Running before and after-school care, and holiday programmes kids just love. Our simple franchise model is easy to understand and we provide full training and support. Leading edge, fun, early childhood physical activity and skills classes for under 5's. The Seasons Art Class is the UK's premier adult art class provider. Now seeking new franchisees nationwide for our exciting expansion into New Zealand. High return franchise opportunity from part-time, flexible hours. No artistic talent needed, and full training and support will be provided. Expert Maths Tuition has provided outstanding maths tuition to thousands of students. Pre-school quality early childhood education and care. Education and care from 0-6 years of age. Qualified, registered ECE teachers. Affordable child care with purpose built, fully resourced centres. Kiwikrane franchisees operate amusement claw machines on a revenue share basis with hospitality and retail locations in their exclusive territory. A successful NZ franchise which has exported to Australia as Koalakrane. Opportunities available primarily in Bay of Plenty in 2016. A unique business opportunity for frequent travellers with entrepreneurial spirit. An annual fee entitles agents to earn a percentage of commission rebates on personal and referral travel bookings made under contract. See www.championtravel.co.nz for more information. "It pays to book Champion Travel!" Flip Out is one of the world's largest and most successful trampoline arenas. Business is thriving in New Zealand and we are seeking active individuals to join the hugely successful franchise and enjoy the benefits of a proven and effective business. NumberWorks'nWords is looking for exceptional people to join our expanding network of after-school tutoring centres. If you are a great communicator, and real people person, looking for a business that offers financial success, work/life balance and the feel-good factor, call today for a chat. Join Bark Busters, the largest, most trusted in-home dog training company globally. Seeking people with a passion for photography and a warm personality. A fantastic opportunity for those passionate about music education and who want a work/life balance. Pegasus Rental Cars offers the best value for money car hire in New Zealand.	slim_pajama
Friv Games April 25, 2015 Fun game friv Frozen Kristoff Stable Cleaning, this game is in the category Action Friv Frozen Kristoff loves horse riding and hence he has a fine collection of horses in his own stable. He takes time to feed and groom the horses but he is not able to keep the stable clean as he is alone. Clean up the stable for Kristoff who will take you on his horse back for a thrilling ride. Arrange the things and throw the wastes in the bin. Enjoy playing this cleaning game! Use your mouse to play this game.	slim_pajama
Sci-Fi Lullabies is a two-disc compilation album by English alternative rock band Suede released by Nude Records on 6 October 1997, consisting of B-sides from the singles that were released from the group's first three albums. It reached no. 9 on the UK Albums Chart, and received universal acclaim on release. In subsequent years, the record has been hailed as one of the finest B-side compilations in popular music. Background The album spans two discs and displays the band in its most prolific era. The first disc is dominated by tracks written by the Brett Anderson/Bernard Butler songwriting partnership the exceptions are Together, Bentswood Boys and Europe is Our Playground while the second showcases the various intra-band songwriting variations Anderson/Richard Oakes and Anderson/Neil Codling, plus Anderson solo and compositions contributed to by the whole band that emerged following Butler's departure and the subsequent recruitment of a new guitarist, Richard Oakes and keyboardist Neil Codling. The album is not quite comprehensive, missing out around half a dozen exclusive songs released as B-sides by the band during the period it covers. Missing Anderson/Butler B-sides are Painted People from Animal Nitrate, Dolly from So Young and This World Needs a Father from The Wild Ones Disc 1, which was the last B-side of the Butler era. Omitted Anderson solo compositions include Asda Town from The Wild Ones Disc 2 and Sam from Beautiful Ones. Codling's Digging a Hole and the band's group effort Feel, both from Lazy, were omitted from the collection. Live performances released as B-sides on New Generation Disc 2 and Filmstar Disc 2 are also not included, neither is Suede's cover of the Pet Shop Boys' Rent. The track Eno's Introducing The Band from The Wild Ones Disc 2 is also not included. Bassist Mat Osman outlined the band's reasons for the release of the collection, saying: We had the tracks, we liked them and wanted people to hear them... We were going to release them before our last album Coming Up in April, but that would have been backwards. Also, a load of bootlegs have begun appearing in Europe, and they cost a sum of money. These are songs we want people to hear. This tends to tie up all the loose ends. The album is considered an important one for fans of the band, partially because of the wealth of material and partially as many of the songs on the compilation are considered to be as strong as or even stronger than the singles from which they came. In Hindsight, in a 2016 interview with Canadian magazine Vice, Anderson revealed some regrets over the content of the collection, which he felt could have been better and possibly his favourite of all Suede albums. Reception The collection was released to universal acclaim, with some of the best reviews coming from the American music press. Tom Lanham of Entertainment Weekly said that Anderson is a tireless diarist, judging from this anthology of 27 U.K.-single B sides, each onelike the grim concert staple 'Killing of a Flash Boy'as fey, somber, and solid as any album track. David Daley of the Hartford Courant felt the album was akin to a best of release, writing: Far from an assortment of throwaways that didn't make the albums, this essential double-disc, 27-song set contains some of Suede's strongest material... the perfect antidote to Oasis' cartoonish 'Best Band' claims. Likewise, also comparing Suede to Oasis, Ed Masley of the Pittsburgh Post-Gazette admitted that Suede would always be the underdog to their Britpop rivals. However, he said that the songs on Sci-Fi Lullabies could outshine most of their better-known UK rivals' finest gems. Kurt B. Reighley of CMJ New Music Monthly found the compilation to be overlong and, in contrast to other writers, pointed to the second disc as the strongest. He conceded, however, that there's nary a track among these 27 that wouldn't have made a worthwhile album cut, and a few that merit A-side status. In a retrospective review, Stephen Thomas Erlewine of AllMusic noted that CD1 is as strong as any of their albums, and that several tracks are strong enough to be A-sides. Overall he said, this is absolutely essential material, confirming the group's status as one of the '90s' greatest bands. The collection was widely praised by several notable music critics of the UK press. Mark Beaumont of NME said that while the second disc resembles a typical B-sides album, the first stakes a formidable claim as the fourth Suede album in its own right and is arguably superior to three acclaimed studio albums of the period: Radiohead's OK Computer, Spiritualized's Ladies and Gentlemen We Are Floating in Space, and Suede's own Coming Up. John Harris of Select said the album plays like a retelling of the entire Suede movie script and is truly as good as most Greatest Hits albums. Writing for Vox, Simon Price felt that Anderson wrote some of his funniest lyrics on CD2, on the tracks Young Men and Jumble Sale Mums. Aside from Duchess, which he called lazy rubbish, he had strong praise for both discs. The album continued Suede's run of consecutive top ten albums, peaking at no. 9 in October 1997. Despite never placing on any of Billboards charts, Sci-Fi Lullabies had sold 19,000 units in the US by 2008, according to Nielsen SoundScan. Legacy Keith Phipps of The A.V. Club and Scott Plagenhoef of Stylus Magazine spoke of the effort invested in Suede's B-sides, with the band discarding failed ideas or experiments in favour of high quality tracks. Plagenhoef asserted: Those early B-sidescollected on disc one of Sci-Fi Lullabies remain Suede's strongest collection of songs. The album has been named as one of the finest in the B-side/rarity genre. Independent critic Simon Price hailed it as the greatest B-sides album ever made. Kevin Courtney of The Irish Times expressed similar views of the album's quality, while admitting that only The Smiths' Hatful Of Hollow could supersede it. Another Irish Times writer Brian Boyd felt that a compressed version of the collection would be a hit record, writing: if this was a single 12-track album, it would be pushing for inclusion in the album of the year lists. In 2017, Pitchfork ranked the record at number thirty in its list, The 50 Best Britpop Albums. The A.V. Club included the compilation in its list of 35 essential B-side/rarity/outtakes collections. The article described Sci-Fi Lullabies as being as good as any of Suede's proper albums. NME featured the compilation in their list of 30 Killer B-Side And Rarities Albums You Might've Missed, noting that Suede's B-sides were as exciting as anything Britpop could muster. The record was also included in a 2013 NME poll of the 500 greatest albums of all time, where it placed at number 448. The 1995 book, Spin Alternative Record Guide wrote: Like the Smiths, Suede littered many of its best songs on its B-sides, a case in point being the fine 'My Insatiable One'. The song was covered by former Smiths singer Morrissey during his 1992 solo world tour. Live performances The Suede B-sides have been an integral part of Suede's live shows as well as Anderson's solo performances. Favourites from disc one include The Living Dead and Killing of a Flash Boy, which were performed at Suede's March 2010 reunion shows in London.Suede Concert at Royal Albert Hall, London, England. setlist.fm Anderson and Butler made their last TV appearance on MTV's Most Wanted in March 1994, where they performed the popular Stay Together B-sides The Living Dead and My Dark Star. In April 1997, Suede played an entire set of B-sides at a fanclub gig at the Kentish Town Forum. Title and artwork The title of the album was a phrase considered as a title for the band's second album, Dog Man Star, and is a phrase used in the lyrics of the song Introducing the Band from that album. The collection is accompanied by a 32-page, full-color lyric booklet designed by Peter Saville. The front cover, whose artistic similarities to J. G. Ballard were noted by the BBC's Stephen Dowling, features a destroyed English Electric Lightning aircraft abandoned and used for target practice at the Otterburn Training Area in Northumberland. It was taken by North East photographer John Kippin. Track listing PersonnelSuede Brett Anderson vocals Richard Oakes guitars Bernard Butler guitars, keyboards Simon Gilbert drums Mat Osman electric bass Neil Codling keyboards Production' Ed Buller production , mixing Bruce Lampcov production Ian Caple production Miti Adhikari recording References External links Sci-Fi Lullabies at YouTube streamed copy where licensed Category:B-side compilation albums Category:Suede band compilation albums Category:Albums produced by Ed Buller Category:1997 compilation albums	wikipedia
Pride and Prejudice 1. Travel and Questions _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley._ * * * "Oh, Kitty, you shall meet some of the highest gentlemen in society! Make sure you always look your best! Give our love to Lizzie and Mr. Darcy!!" called Mrs. Bennet as Kitty boarded the coach that would take her to Lambton to meet the Darcy's carriage. "Bye, Mama, bye Papa, bye Mary!" she called, waving as the coachmen loaded her trunk in the boot, "I'll write you when I arrive!" "Goodbye, Kitty, dear, behave yourself," said Mr. Bennet as he kissed his daughter's brow, "I'll look forward to your letter." "Oh, Papa, you needn't worry! I'm not as much like Lydia as everyone thinks, and Lizzie and Mr. Darcy will keep an eye on me," she said smiling as she boarded the coach. "I'm sure they will," he said with a smile. "All aboard?" called the Coachman, "Next stop, Bedfordshire!" he called as the coach lurched forward. Kitty sighed as the rolling countryside of her childhood rolled past the windows of the coach. She had spent nearly her entire life under the influence of Lydia, and much as she loved her sister, she was glad that Lydia was gone and she could become her own person. Lydia had been her closest companion for a long time. Mary was always reading or playing the piano, and Jane and Lizzie were older and much more mature. However, at eighteen, Kitty realized that Lydia had been foolish to run away with Wickham. She still loved her sister and still flirted with officers, but she wasn't looking for her future spouse among the militia anymore. She didn't want a man to fall for her because she was pretty and silly. She realized that she couldn't be silly, little Kitty forever. * * * "Lizzie, when can we expect the arrival of your sister?" asked Georgiana at supper that night. She'd just arrived from London the day before. "Kitty should be here by the end of the week," replied Lizzie. "Oh. She is eighteen, correct?" asked Georgiana. "Yes, I believe so. She's two years younger than Mary, who is twenty, and two years older than Lydia, who is sixteen," Elizabeth replied. "Does she play?" asked Georgiana inquisitively. "No, I don't believe so. Mary does, but not well, though she won't admit that," Lizzie replied. "Does Kitty draw or paint?" "Again, I don't believe so. She and Lydia spent most of their time fawning over the militia in Meryton, dancing, and buying ribbons," Lizzie replied with a sigh, "Although I hope that with the removal of Lydia's influence, Kitty has grown up a bit. Papa said she has been spending more time in the garden rather than in Meryton with the officers." Georgiana was puzzled. She had never in her life met any young lady who couldn't at least play the pianoforte. She had a sudden realization that her questions were very much like something Lady Catherine would ask. She could tell that her brother was a little taken aback at this sudden drilling by his sister on his new wife. "Oh," said Georgiana quietly, "Maybe I'll show Miss Bennet the gardens of Pemberley when she arrives," she offered. "I'm sure Kitty would enjoy that," said Elizabeth slightly relieved, "She loves taking walks." She gave her new sister a reassuring smile. Georgiana was still very shy around her. "Well," said Mr. Darcy, "Shall we retire to the drawing room for the evening?" "Oh, I was hoping Georgiana would play for us," replied Elizabeth. "Oh, Georgiana, would you oblige us with you lovely music?" has asked kindly. "Of course brother, if Elizabeth will accompany me with her lovely voice," replied Georgiana. "Of course, Georgiana. I would be happy to," replied Elizabeth as she rose from the table. With that, they spent the evening in the music room with Georgiana playing and Elizabeth singing. Eventually, Georgiana excused herself to go to bed, and Mr. Darcy offered his wife his arm for them to retire for the night. "Shall we retire to bed, Elizabeth?" has asked offering his arm. "Yes, I am ready to retire for the night," she replied sleepily. With that he led her to their private quarters where her maid, Sarah, was waiting to help her mistress out of her attire. Once in her nightgown, Lizzie made her way to their bed room and settled herself in the warm bed. Darcy soon joined her. "Elizabeth," he said with a sigh, "I apologize for my sister's behavior at supper. It was inappropriate of her to ask such questions of your sister. "Oh, Fitzwilliam," she replied using his Christian name, "You needn't apologize. It's understandable that she would be curious about her new relatives. Most of the ladies she knows must be quite accomplished." "I was just worried about Lady Catherine's influence on her," he answered bringing up a touchy subject at the mention of his aunt. "I think Georgiana cares about you too much to take anything that old hag says seriously," Lizzie replied with a laugh. "I do hope so. I do hope so," he said as he stroked Elizabeth's hair and drifted of to sleep. She soon followed him into dream land. * * * _A/N: So? Like it so far? I'm hoping to make Kitty less like a carbon copy of Lydia and more her own character. Poor Georgiana. I promise she'll become all sweetness and light in the next chapters. She sounded more like Lady Catherine or Caroline Bingley back there. BTW, does anyone know if Kitty is Catherine or Katherine?_ * * * 2. Arrival and Growing Up _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley. _ _Disclaimer: Everything you recognize is the property of Jane Austen. I own nothing except the plot and any characters and places you don't recognize._ * * * "Next stop, Lambton in Derbyshire," called the coachman. Kitty sat up and looked out the window. She recalled that she was supposed to get off the coach at Lambton and there she could stop in the inn and wait for the Darcys' carriage to take her to Pemberley. About ten minutes later the coach came to a halt and the coachman came around to open the door. Kitty exited and went around to await her luggage. "Where am I to take this, Miss Bennet," asked the coachman's assistant who held her trunk. "Oh, I'm to wait at the Rose and Crown for my sister's carriage to arrive," answered Kitty. Fifteen minutes later, Kitty was settled at a table in the inn. She'd asked the Innkeeper to send one of his men with a note to Pemberley, and he had complied. The note read: _Dear Lizzie,_ _The coach has arrived at Lambton, and at your request, I have sent you a note that a carriage might be sent to take me to Pemberley. The roads were a little bumpy, but in otherwise good condition, and the coach made good time. The Innkeeper is very amiable here. I will await the carriage at the Rose and Crown. I cannot tell you how I long to see you and Mr. Darcy again. _ _Yours,_ _Kitty_ * * * "Darcy," asked Elizabeth, peeking her head into Mr. Darcy's study, "Kitty's arrived in Lambton. Might we send a carriage to retrieve her?" "Mm. Burns, go to the stables and alert Mr. Hardin that a carriage needs to be sent to Lambton to retrieve Miss Bennet," Mr. Darcy said offhand to a servant, as he looked over some paperwork. "She's at the Rose and Crown, I believe," called Elizabeth as Burns left, "Lucy, could you make sure Miss Bennet's room is ready for her?" "Yes, Ma'm," said Lucy, a servant, as she left the study to head to the upper levels. "Did your sister have a pleasant trip?" asked Mr. Darcy. "I believe so. She said the roads were in good condition, but didn't say much else. I expect she'll give us a complete tale when she arrives," answered Elizabeth. "I wouldn't expect anything less," answered Mr. Darcy going back to his work. * * * "There, Miss Bennet, ye can see Pemberley through those trees there," called the driver. "Oh, it's lovely!" Kitty answered putting her head to the glass, "how much further?" "Eh, I'd say another ten to fifteen minutes," the driver answered. Kitty let out a sigh. Would Lizzie still see her as the silly younger sister who followed after Lydia? She'd hoped that in the year than Lydia had been gone, she'd started to become her own person. She was almost nineteen after all. Whenever she ventured into Meryton with Maria Lucas, the townspeople looked at her differently. Kitty wasn't as beautiful as Jane or Lizzie, but she certainly wasn't plain either. What constituted this change in attitude? Well, Kitty finally realized that Lydia has been really foolish to think that Wickham actually loved her. Her letters to Kitty revealed that after only being married a year, Wickham was already breaking his marriage vows. Kitty knew her chances of marrying for love would be slim. As the second youngest, her inheritance and dowry were small. Mr. Darcy had refused Lizzie's dowry which had increased Kitty's and Mary's by a small sum, but not enough to attract many more suitors. Kitty could only assume that Lizzie would allow her to visit because she hoped to instill some sense in her or to see the rumored change for herself (Kitty had a feeling that Jane would have written to Lizzie about it). * * * Elizabeth Darcy stood awkwardly in the entrance hall of Pemberley, waiting for the carriage that would bring Kitty. Was she thrilled to see her sister? Well, that would depend on if the change in her disposition that Jane had talked about was true. Lizzie heard the crunch of the gravel outside as the large front doors were opened. The carriage door opened and out came a young woman that she thought she recognized to be Kitty. The long sausage curls of Kitty's childhood were replaced with cascading chestnut tresses tied back with a ribbon. "Lizzie!" called Kitty as soon as her feet found firm ground, "oh, how I've missed you!" "Kitty," answered Elizabeth, pulling her sister into a hug, "how was the trip?" "Not terrible. None of the other passengers were very social, so I stared out the window most of the way," Kitty answered, "but how have you been? We've received your letters, but I haven't seen you since the wedding!" "Oh, I'm quite well. Just getting used to the idea of being the Mistress of Pemberley," Elizabeth said with a smile, "well, shall I have someone take you to your room and then we can continue in the drawing room with Mr. Darcy and his sister?" "Oh, of course. I should probably go and make myself more presentable," said Kitty, eyeing her wrinkled dress. "Lucy, kindly show Miss Bennet where she will be staying," said Elizabeth. Yes, ma'am," answered Lucy, beckoning Kitty and the footman holding her luggage. * * * _A/N: So I hope you enjoyed it! Sorry for the large gap in updating and the fact that it's a short one. I know what the end result is going to be, I just have to figure out how to get there. Anyway, marching band just started again, and I'm leaving for band camp on Sunday! Feel free to be mad at me though. I've been dividing my time between my online summer health class, band, and reading other people's fan fiction to get ideas. Oh, and finally getting around to reading _Pride and Prejudice_ for myself (I'm a huge fan of the 2005 movie, but I'd never read the novel up until now). Reviews would be amazing! I'm an ignorant American who's only understanding of British customs is through the geniuses of Jane Austen, J.K. Rowling, Tolkien, and Shakespeare. _ _Okay. I'm making some assumptions here, but I believe that because Jane's and Lydia's dowries had already been decided upon (Bingley would probably refuse the extra money and Wickham isn't worthy of it), that would leave Kitty and Mary's to be increased. I'm not sure how dowries all work though. That'll probably come up later in the story, so if someone would be willing to explain 19__th__ century engagement, marriage, etc., that'd be lovely! _ 3. Settling In and News _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley. _ _Disclaimer: Everything you recognize is the property of Jane Austen. I own nothing except the plot and any characters and places you don't recognize._ * * * _A/N: Apologies for the long delay! I got really busy with marching band and online health class which I'm done with now, so I should be able to update more often until school starts and then I'll unfortunately get busy again. Keep up the awesome reviews and favoriting!!_ * * * "This will be your room, Miss Bennet," said Lucy, one of the Darcys' servants. "Oh, it's beautiful! Is that the lake?" asked Kitty with excitement. "Yes, it is. I will allow you to be settled and then take you to the drawing room to meet Mr. and Mrs. Darcy, and I believe Miss Georgiana, Mr. Darcy's sister is there too," said Lucy, as she started for the door. "Oh, is she here for the season?" asked Kitty. "I believe so. She will leave for Town after the New Year," answered Lucy. "Ah," said Kitty, as she started opening her luggage in search of a gown appropriate for the Darcys' drawing room. With that, Kitty decided to get acquainted with her surroundings. Her windows faced the lake. It was a large room, much larger than the room she shared with Mary at Longbourn, but it had a cozy feeling. She liked it very much. Mary would say it was too large, but she wasn't there to voice her opinion. Poor Mary. She'd been most unhappy that Kitty was leaving her and Papa to suffer Mama's nerves. She would take solace in her room or in the garden, Mr. Bennet in his study. Finally, Kitty decided that she'd spent enough time fussing over her gown and her hair. * * * "A Miss Catherine Bennet for you, Sir," said a very dignified butler. "Thank you, Jenkins," said Mr. Darcy, rising from a chair, "Miss Bennet, how was your trip?" "Oh, the roads were a little bumpy, but I believe we made good time," said Kitty nervously. "Miss Bennet, of course you know Mrs. Darcy, and this is my sister, Miss Georgiana," he said. "A pleasure, Miss Darcy," said Kitty, curtsying. "And the same to you, Miss Bennet," said Georgiana, also curtsying. "Oh, call me Kitty. Everyone does," said Kitty, smiling. "Oh," said Georgiana, nervously, "then you may call me Georgiana." "Do sit down, Kitty, I'm sure you must be tired," said Elizabeth, kindly. "Oh, thank you, Lizzie," she said taking a seat near her sister. "So how are Papa and Mama?" asked Elizabeth. "Well, Mama is always complaining about her nerves, and Papa retreats to his study. Mary often joins him," said Kitty. "So what do you do?" asked Lizzie. "Walk with Maria Lucas to Meryton, but there isn't much to entertain there anymore except for our Aunt and Uncle Phillips," answered Kitty with a sigh. "What, Mr. Bingley and Jane haven't had a ball at Netherfield yet?" asked Lizzie, smiling. "Mmm, not since the wedding breakfast," said Kitty. "Well that is a shame," said Lizzie, now Mama can never hope to marry you and Mary off." "Yes, Mama is quite distraught over it. She writes Jane about it telling her than Mary and I can never hope to marry well if we're not among society," said Kitty, mocking her mother's shrill voice. "And what does Jane say about it?" asked Lizzie with interest. "She says that Bingley wanted privacy so soon after the wedding. "Mmm. I don't blame the poor man," said Darcy, "He wrote that Caroline and the Hursts are staying at Netherfield. He and Jane can never hope to have any peace." "Now, Mr. Darcy," chided Elizabeth, "I thought we decided that we wouldn't gossip about poor Miss Caroline anymore." "Apologies, my darling," he answered kindly, "I am just so glad that I married you instead of her." "Yes, imagine how boring your life would be, Mr. Darcy," teased Elizabeth in Caroline Bingley's monotone. Kitty and Georgiana giggled and exchanged glances. It was clear that they had an understanding about the detestable Caroline Bingley. "Kitty," said Elizabeth, "is your room to your liking?" "Oh yes!" exclaimed Kitty, "the view of the lake is absolutely breathtaking! If only I had the skill to capture it on paper!" "That room does have quite a view. I could sit in there and draw for hours," said Georgiana. "I wish I could do that. Unfortunately, I lack the talent for drawing and the patience to stay in one spot for a long period of time," said Kitty. "Maybe I could help you learn to draw," offered Georgiana. "Oh, that would be wonderful!" exclaimed Kitty, "Mrs. Long, one of the ladies in Hertfordshire, as always pressing Mama to take us to the masters, but Papa hates Town, so we never went." "Mrs. Long is always trying to show Mama how superior her nieces are to us. Only Mary and Jane come close to those standards of 'accomplishment,'" said Elizabeth with a laugh. "And why do you note meet those standards, Darling?" asked Mr. Darcy with a smile. "I have too quick of a tongue and too sharp a wit for a proper young lady," answered Elizabeth. "And I am too 'silly,'" said Kitty, "but I hope they don't see me as that anymore." "Mmm… I would say that you aren't nearly as silly as you were two years ago," said Elizabeth, "Lydia being married and gone and the influence of Mary have been good for you." "Yes, Papa thinks so. He gave me quite the lecture after Lydia left. I am not allowed to marry an officer unless he is at least a captain in the regulars," Kitty answered with a laugh, "Mama was quite upset and thinks that such a rule will only allow me to marry an old man." "Being a captain or colonel has nothing to do with age," said Elizabeth, "Colonel Fitzwilliam is still young and fit. "Speaking of the Colonel," said Mr. Darcy, "He wrote today to say that he will be returning from Plymouth quite soon and hopes to stay at Pemberley for a time." "Wonderful!" exclaimed Elizabeth, "I shall have Lucy prepare his usual room. Did he give a date of arrival?" "No," said Darcy, "he said he'd write again when he received more information from his commanding officer." "Lizzie, would it be terribly rude if I retired early. I'm rather worn out from traveling all day," said Kitty. "No, no, do feel rude, Kitty. I was just thinking I might retire as well," said Elizabeth, stifling a yawn. "Well, good night, Lizzie, Mr. Darcy, Georgiana," said Kitty as she left for her room. "I think I will follow Kitty's lead and retire as well," said Georgiana, "good night, Brother, Elizabeth." "Good night Georgiana," said Elizabeth. "Come, my dear," said Darcy, offering his arm to his wife. * * * "Any particular reason why you are so elated by my cousin's arrival?" asked Mr. Darcy as he readied for bed. "Mmm… I think it will be good for Kitty to meet a real gentleman who isn't married to me or Jane," Elizabeth answered, "I don't want her to end up in the same situation as Lydia. Kitty doesn't deserve that." "Colonel Fitzwilliam is highly respected among his peers and quite the gentleman among the ladies," said Mr. Darcy, "but he must marry a woman of means if he wishes to be well off." "Mmm… We shall see, Mr. Darcy. We shall see," said Elizabeth. * * * _A/N: So? You like it? Hate it? How's the length? Longer? Shorter? Not sure when I can update next. Hopefully soon!_ _Laura_ End file.	fanfiction
immune cells utilize toll - like receptors ( tlrs ) to sense pathogen associated molecular patterns ( pamps ) , which represents the starting point of the innate immune response . plasmacytoid dendritic cells ( pdcs ) are at the nexus between innate and adaptive immunity and are thereby key contributors to the host 's response to various pathogens . furthermore , pdcs are the major source of type 1 interferon ( ifn ) in humans and are , thus , of particular importance for antiviral immunity and autoimmune diseases . in human beings , pdcs and , to a lesser extent , b cells constitutively express tlr7 and tlr9 , both of which sense nucleic acids [ 35 ] . tlr7 , originally known to recognize imidazoquinoline derivatives ( e.g. , imiquimod and resiquimod / r 848 ) and guanine analogs ( e.g. , loxoribine ) , recognizes single - stranded ( ss ) rna derived from rna viruses such as influenza a virus , vesicular stomatitis virus , and human immunodeficiency virus . in pdcs , tlr7 recognizes these ligands in specialized endolysosomes , resulting in the subsequent activation of nf-b and interferon regulatory factor ( irf ) 7 via myd88 , and induces production of inflammatory cytokines and type 1 ifn , respectively . preclinical studies utilizing tlr7 ligation revealed promising results in the treatment of cancer , allergy , and infectious diseases [ 6 , 7 ] . however , clinical studies using tlr7 ligands systemically are problematic , as they have been associated with severe side effects such as hematological toxicity . , we hypothesized that the simultaneous use of two structurally and chemically different tlr7 ligands unfolds synergistic effects on human pdcs . to test this hypothesis , we coadministered the adenine analog cl264 , a potent and highly specific tlr7 ligand , together with the natural ssrna 9.2s rna to the human pdc line cal-1 . our data may broaden our understanding of tlr7 activation and could impact future strategies optimizing tlr7-targeted drug design . pbs ( ph 7.4 ) and rpmi 1640 were purchased from life technologies ( ca , usa ) . the latter was supplemented with 10% heat inactivated fetal bovine serum ( fbs superior , biochrom ag , berlin , germany ) and 2 mmol / l glutamine ( life technologies ) . cell culture flasks and 24- and 96-well flat - bottom plates were obtained from greiner bio - one ( frickenhausen , germany ) . cl264 ( tlrl - c264e ) and fitc - labeled cl264 ( tlrl - fc264 ) were purchased from invivogen ( ca , usa ) and dissolved in sterile , rnase - free water ( sigma - aldrich , mo , usa ) containing 10% dmso ( sigma - aldrich ) and further diluted in culture medium . cl264 ( formula c47h73n13o7s , molecular weight 413.43 ) is a 9-benzyl-8-hydroxyadenine derivative containing a glycine on the benzyl group ( in para ) . according to the manufacturer specification , the substance we used is highly pure ( endotoxin level < 0.001 eu/g ) . the oligoribonucleotides ( orns ) 9.2s rna and the nonstimulatory control poly - a rna were individually designed and obtained from biomers ( ulm , germany ) and also dissolved in sterile , rnase - free water . poly - l - arginine hydrochloride ( p7762 ) and fitc ( f7250 ) were provided by sigma - aldrich . reagents for fluorescent activated cell sorting ( facs ) were purchased from miltenyi biotec ( bergisch gladbach , germany ) and bd biosciences ( ca , usa ) , respectively . assay buffer for facs was prepared by adding 0.5% fbs and 2 mm edta ( 0.5 m , ph 8.0 , merck kgaa , germany ) to pbs . maeda and kamihira ) was grown in complete medium ( rpmi 1640 ) supplemented with 2 mmol / l glutamine and 10% heat inactivated fbs and cultured as previously described . for gene expression studies , cells were plated in a 24-well plate ( 3 10 cells in 3 ml per well ) , and , for elisa studies , cells were plated in a 96-well plate ( 2 10 cells in 0.2 ml per well ) . after overnight resting in serum reduced ( 1% fbs ) medium , cal-1 cells were stimulated with the tlr7 ligand cl264 ( 5 g / ml ) , with 9.2s rna ( 2 g / ml ) , or with the combination of both . the reagents were diluted in culture medium and added to the cell suspension in the wells of the 96- or 24-well plates , respectively . vehicle and nonstimulatory poly - a rna ( 2 g / ml ) were used as control . before stimulation , orns were complexed with the polycationic polypeptide poly - l - arginine hydrochloride ( plarg , 2 mg / ml ) to facilitate rna delivery . orns were incubated with plarg for 2 minutes at room temperature before adjusting to the desired concentration by adding culture medium and incubating for another 15 minutes . plarg alone or 9.2s rnas not complexed to plarg were used in control conditions , respectively . after addition of the ligands , the cell density was adjusted to 1 10 cells / ml by adding fresh , prewarmed cell culture medium . after incubating for the indicated periods of time , the supernatant from the 96-well plates was collected and stored at 80c for later analysis of proinflammatory cytokines and type 1 interferon . from 24-well plates , the cell suspension the supernatant was discarded and the cell pellet was resuspended in 2 ml trizol reagent and stored at 80c for subsequent extraction of total rna . for some secretion experiments , ligands were added sequentially instead of simultaneously with an intermediary wash step . after incubation with a first ligand for 2 hrs , the plate was centrifuged , followed by careful aspiration of the medium . cells were washed 3 times with prewarmed pbs , each with an intermediary centrifugation step . subsequently , the other ligand was added in prewarmed cell culture medium , and cells were incubated for additional 6 hrs . tnf- , il-6 , and ifn- levels in the cell culture supernatant were quantified using commercially available elisa kits ( bd biosciences ( ca , usa ) and pbl assay science ( nj , usa ) , resp . ) according to manufacturer instructions . after thawing cells suspended in trizol reagent , they were left at room temperature for another 5 minutes and well pipetted up and down to lyse the cell membrane . 400 l chloroform was added and the suspension was shaken vigorously , followed by incubation at room temperature for 3 minutes . after centrifugation for 15 minutes at 12.000 rpm and + 4c , the upper aqueous phase was carefully aspired and transferred into an rnase - free tube . the rna was precipitated using 1 ml isopropanol and incubating at room temperature for 10 minutes . the air - dried rna pellet was resuspended in rnase - free water , and the concentration was determined spectrophotometrically ( nanodrop , thermo scientific , germany ) . total rna was incubated with anchored oligo - dt primers at + 70c and subsequently chilled on ice . cdna synthesis was performed using a mastermix containing first - strand buffer , 20x aminoallyl - dntp labeling mix , dithiothreitol ( dtt ) , rnase inhibitor , and reverse transcriptase enzyme ( promega , germany ) . following incubation , resulting cdna was purified using the qiagen minelute kit ( qiagen , germany ) and was coupled to cy3 and cy5 dyes , respectively , by incubation for 90 min . cy3-labeled reference and cy5-labeled sample cdnas ( 10 l each ) were combined , denatured by heating for 2 minutes at 98c , and mixed with 36 l of hybridization solution at + 42c ( ambion , austin , tx , usa ) . murine microarrays ( nimblegen , roche , basel , switzerland ) were overlaid with this solution and hybridized for 18 hours at + 42c using an actively mixing maui hybridization system ( biomicro systems , salt lake city , ut , usa ) . after hybridization , the arrays were washed in 1x ssc/0.05% sds and 0.1x ssc , centrifuged to remove remaining liquid with unbound cdna , and air - dried . data were uploaded to the madb database ( microarray database , a collaboration of cit / bimas and nci / ccr at the nih ; url : http://nciarray.nci.nih.gov/ ) and formatted via the export function for use with brb arraytools ( biometric research branch , nci , frederick , my , usa ) . cal-1 cells were seeded in 24-well plates one day prior to the experiment and incubated under standard conditions as described above . fresh cold medium was added together with fitc ( 5.5 m ) , plarg - complexed 9.2s rna ( 2 g / ml ) , or fitc - labeled cl264 ( 5 g / ml , equaling 5.5 m ) or a combination , respectively ( figure 4(a ) ) . cells suspension was aspired and washed three times with cold pbs , fixed with pfa for 15 minutes at + 4c , and washed another two times with pbs and once with facs buffer . cells were then resuspended in 250 l facs buffer , followed by readout on a bd facscanto ii flow cytometer . facs data was acquired using bd facsdiva ( version 6.1.2 ) and analyzed using flowjo ( version 10.0.5 ) software . statistical analysis was performed by two - sided unpaired student 's t - test using graphpad prism ( la jolla , ca , usa ) . for the analysis of microarray experiments , data from three independent experiments and three untreated controls was used for statistical analyses . data were background corrected , flagged values were removed , spots in which both signals were < 100 were filtered out , ratios were log base 2-transformed , and lowest intensity - dependent normalization was used to adjust for differences in labeling intensities of cy3 and cy5 dyes . the gene expression profile of all treatment groups was compared to that of the control groups . a p value cutoff of 0.001 was used to identify genes whose expression was significantly upregulated after tlr7 ligand stimulation when compared to controls . ipa maps each gene within a global molecular network , pathways , and functional groups developed from information contained in the ingenuity pathways knowledge base ( see url : https://analysis.ingenuity.com/pa/info/help/ingenuity_network_algorithm_whitepaper_final(2 ) ) . cal-1 cells were stimulated with the specific tlr7 ligand cl264 ( adenine analog ) and the tlr7/8 ligand 9.2s rna complexed to plarg . cal-1 cells do not express tlr8 , so response to 9.2s rna is limited to tlr7 stimulation . dose titration experiments determined optimal conditions : using concentrations from 0.5 to 10 g / ml , stimulation with cl264 resulted in a dose - dependent secretion of tnf- after 6 hours ( figure 1(a ) ) . for further experiments , a submaximal stimulatory concentration of cl264 was used ( 5 g / ml ) . using this concentration , stimulation with cl264 for up to 12 hours led to a robust , time - dependent release of tnf- reaching absolute levels of 1347 pg / ml tnf- into the supernatant ( figure 1(b ) ) . the kinetics of il-6 secretion was comparable to that of tnf- with lower absolute cytokine levels ( 526 pg / ml ) after stimulation for 12 hours ( figure 1(c ) ) . in contrast , upon stimulation solely with 9.2s rna ( 2 g / ml ) , no notable secretion of proinflammatory cytokines was measured . however , the addition of 9.2s rna to cl264 considerably increased the secretion of tnf- and il-6 compared to the monostimulation only with cl264 ( figures 1(b ) and 1(c ) ; p < 0.001 ) . we previously demonstrated that activation of cal-1 cells with tlr9 ligands induces detectable amounts of type 1 ifn . accordingly , we assessed a possible synergism of tlr7 stimulation on ifn- release under the same experimental conditions using cl264 and 9.2s rna . again , costimulation with cl264 and 9.2s rna for 12 hours resulted in a marked and significant increase of ifn- protein compared to monostimulatory conditions ( p < 0.001 ) ( figure 1(d ) ) . of note , the synergistic effect of cl264 and 9.2s rna on cal-1 cells could be abolished by stimulating the cells sequentially instead of simultaneously . more specifically , no enhanced cytokine secretion could be detected when cl264 was the first stimulus , followed by washing and then ligation with 9.2s rna . on the other hand , switching the order of stimulation preserved the supra - additive activation even when cells were washed between the ligation steps ( figure 1(e ) ) . for control experiments , nonstimulatory poly - a rna similarly , the use of plarg alone or 9.2s rna not complexed with plarg prior to stimulation had no additive effect ( figure 1(f ) ) . to gain more insights into the present findings , microarray experiments were performed on cal-1 cells after stimulation either with cl264 , 9.2s rna , or the combination of both . an early time point for this analysis ( 4 hrs ) was chosen to minimize secondary effects , such as autocrine / paracrine cytokine stimulation . all treatment groups were normalized to untreated controls . beside the characterization of genes significantly upregulated by either treatment , main goal was the identification of underlying regulatory genes that play a central role for synergistic effects . using a statistical cutoff of p < 0.001 , treatment with 9.2s rna significantly increased expression of 17 genes in cal-1 cells , while treatment with cl264 resulted in an upregulation of 111 genes ( figure 2(a ) ) . however , costimulation with both tlr7 ligands resulted in a synergistic upregulation of 388 genes , thereby upregulating significantly more genes than the sum of genes upregulated by either ligand alone . interestingly , the majority of the upregulated genes in the monostimulatory groups ( n = 112 , 92% ) were also present in the costimulatory group . furthermore , we addressed the question whether the unique genes significantly upregulated solely by costimulation ( n = 276 , 71% ) were also increased in the monostimulatory groups when the statistical cutoff was lowered by one magnitude ( p < 0.01 ) . in this case , 96 additional genes could be ascribed to either of the monostimulatory groups . altogether , 208 genes ( 54% out of 388 genes ; p < 0.01 ) in the costimulatory group were significantly upregulated in either of the monostimulatory groups . overall , these results indicate that the synergistic effect found in the costimulatory group is partially due to a stronger stimulation of already regulated genes but furthermore an effect of the upregulation of so far unregulated genes . we next addressed the question whether costimulation with cl264 and 9.2s rna also resulted in a significant increase of gene activation in terms of magnitude . therefore , we analyzed the expression levels of the 50 most significantly upregulated genes in each treatment group . results show that the average fold change increased from 1.11 ( 9.2s rna ) and 7.17 ( cl264 ) to 19.6 ( 9.2s rna / cl264 ) ( figure 2(b ) ) compared to untreated cells . together , these results indicate that costimulation with 9.2s rna and cl264 resulted in a synergistic effect on gene expression in terms of both number and magnitude of upregulated genes compared to monostimulation . top scoring canonical pathways were activation of irf by cytosolic pattern recognition receptors ( p < 4.31e 13 ) , dendritic cell maturation ( p < 1.08e 10 ) , and top scoring functional groups were , for example , cellular development , growth , and proliferation ( p < 7.26e 34 ) , cell death and survival ( p < 5.72e 29 ) , infectious disease ( p < 1.6e 24 ) , and inflammatory response ( p < 1.2e 20 ) ( for more see tables 1 and 2 ) . furthermore , ipa was used to identify the pattern of regulatory interactions underlying synergistic gene activation after costimulation with 9.2s rna and cl264 . major regulators were previously defined as regulatory nodes that trigger more than 30% of the costimulatory network , while minor regulators were defined as regulating 10% to < 30% of the network [ 13 , 14 ] . applying this analysis revealed il-1 , il-6 , and ifn- as major regulatory nodes , while several minor regulatory nodes were also identified ( nf-b-1 , rel , stat1 , csf2 , irf1 , and jun ) ( figure 3 ) . together , the major regulators ( il-1 , il-6 , tnf , and ifn- ) impacted the expression of around 95% of all genes within the network of the costimulatory group , while the minor regulators only had modulatory properties on the induced gene expression network . evidence that the combination of cl264 and 9.2s rna synergistically enhanced the secretion of certain cytokines and induced broader networks of gene regulation led us to examine which specific genes were synergistically upregulated by the combination of 9.2s rna and cl264 . therefore , genes in the costimulated group with expressions being upregulated 1.5-fold of the sum induced by the ligands 9.2s rna and cl264 alone were defined as being synergistically regulated . 62 genes were identified to be synergistically regulated by this criterion ( table 3 ) . out of these genes , 65% immune response regulation and 60% were related to cellular growth and proliferation . furthermore , three out of four major regulators ( see above , figure 3 ) belonged to the synergistically regulated genes . other synergistically regulated genes included the cytokines il-1b , il-6 , il-18r , and il-23a , the chemokines ccl1 , ccl2 , cxcl8 , and cxcl10 , and the cd genes cd40 , cd44 , cd69 , cd70 , and cd83 ( table 3 ) , again confirming that the synergistic effect especially refers to immune - related processes . to gain a more functional insight into the synergistic effect of cl294 and 9.2s rna , we finally performed surface binding studies , since microarray analysis suggested that cl264 had a stronger impact on cal-1 cells when being coadministered with 9.2s rna . therefore , cal-1 cells were incubated with fitc - labeled cl264 alone or in combination with 9.2s rna . the binding to the cell surface was determined by facs analysis ( figure 4(a ) ) . cells being incubated with 9.2s rna and fitc as control showed no increase in fluorescence signaling compared to the incubation with fitc alone . however , the combination of 9.2s rna significantly enhanced the binding of fitc - labeled cl264 to the surface of the cells after a 10-minute stimulation period compared to the fitc control ( 221% , p < 0.001 , figure 4(b ) ) . rna not being complexed to plarg or plarg alone used as controls had no enhancing effect on the binding of labeled cl264 . tlrs are essential for host immunity by recognizing conserved structures in pathogens which trigger innate immune responses and prime antigen - specific adaptive immunity . among the nucleic acid - sensing tlrs 3 , 7 , and 9 , all being located intracellularly , tlr7 and tlr9 share many common characteristics [ 1517 ] . tlr7 and tlr9 ligands have shown promise in clinical trials as immunotherapeutics for the treatment of cancer , allergy , and infectious diseases [ 6 , 18 , 19 ] . by utilizing the human pdc line cal-1 , we were able to demonstrate a so far undescribed synergistic immune activation by the simultaneous use of cl264 and 9.2s rna . in particular , costimulation with both ligands resulted in a supra - additive induction of proinflammatory cytokines ( il-6 and tnf- ) as well as type 1 ifn ( figure 1 ) . microarray analysis showed that simultaneous use of both ligands synergistically activated genes primarily associated with immune processes ( figure 3 ) . mechanistically , surface binding studies revealed the enhanced uptake of cl264 in the presence of 9.2s rna ( figure 4 ) , which could account for the observed synergism . pdcs were chosen for this study because they respond to tlr7 and are key players linking the innate and adaptive immune response . of note , the use of human primary pdcs is inherently difficult for two reasons ; first , pdcs are present in very low frequency in human peripheral blood and lymphoid tissue , accounting for approximately 0.20.5% of pbmc ; second , any efforts in purifying pdcs are likely to activate ( prime ) the cells , which contorts pattern of subsequent stimulation . as an alternative , this cell line shares many of the phenotypic and functional properties of freshly isolated human pdcs and mirrors their response to tlr stimulation [ 9 , 11 , 21 ] . similarly to the substituted 8-hydroxyadenine derivative sm360320 , cl264 induces the activation of nf-b and the secretion of type 1 ifn in tlr7-expressing cells . cl264 ligand activity is tlr7-specific , it does not stimulate tlr8 even at high concentrations ( > 10 g / ml ) . the immunostimulatory properties of the single - stranded rna 9.2s were first described in 2005 , when hornung et al . originally intended to design different sirnas ( named 9.1 to 9.4 ) downregulating the human tlr9 to avoid effects of non - target - related ifn induction in human pdcs . however , when the authors of that study transfected human pdcs using these sirnas , they surprisingly noted a consistent pattern of type 1 ifn production , with sirna 9.2 being the strongest inducer of ifn production . additional analyses revealed that a specific sequence of nine bases at the 3 end ( 5-guccuucaa-3 ) of the sense strand of sirna9.2 ( termed rna 9.2s , in contrast to 9.2a , which stands for the antisense strand ) was responsible for the immunostimulatory activity . injection of 9.2 rna into tlr7-deficient mice elicited , in contrast to the injection into wild - type mice , no detectable ifn serum levels . microarrays facilitate the evaluation of global changes in gene expression induced by immune stimuli [ 2325 ] . this has led others to use microarray approaches to monitor global changes of gene expression induced by the combination of several inflammatory stimuli [ 2629 ] . in general , almost all studies observed synergistic upregulation of immune - related genes when combining ligands for different tlrs [ 27 , 29 ] . rationale is always the simultaneous activation of different pathways inducing a supra - additive immune activation . however , we opted for a slightly different approach by creating synergistic effects using structurally different ligands targeting the same receptor . we observed a more than 3-fold increase in the number of genes upregulated by the combination of cl264 and 9.2s rna compared to cl264 alone ( figure 2(a ) ) . additionally , the overall magnitude of gene upregulation was increased by more than 2.5-fold when comparing the top 50 genes induced upon combination of both ligands versus cl264 alone ( figure 2(b ) ) . studies of protein production by elisa confirmed the synergistic activation of regulatory members such as il-6 , tnf , and ifn- ( figure 1 ) . these findings suggest that simultaneous exposure to both ligands magnified and accelerated the response elicited by each individual ligand . importantly , the vast majority of genes upregulated by stimulating with either ligand alone were also induced in the costimulatory setting ( 92% ) . investigating the genes upregulated in the combined cl264/9.2s rna group , nearly 54% of them were also upregulated in the monostimulatory settings ( although at a lower p value ) . taken together , this indicates a stronger stimulation of genes yet upregulated upon stimulation by either ligand . on the other hand , this finding also delineates the upregulation of new or rather so far unregulated genes by the combination of cl264/9.2s rna ( 46% of the genes ) . these synergistic effects primarily broaden the existing immune response , rather than creating a new one . this observation is supported by the fact that the functional groups ( analyzed by ipa ) induced by the combinatory versus single stimulation did not alter qualitatively ( innate immune function such as irf signaling or dc maturation ( table 2 ) ) . finally , exclusive ipa analysis of the 62 synergistically upregulated genes ( defined as upregulated 1.5-fold of the sum induced by the ligands 9.2s rna and cl264 alone ; see table 3 ) revealed that 65% were immune - related . indeed , more than 35% of all synergistically upregulated genes , including the most highly upregulated , coded for cytokines , chemokines , or transcription regulators ( such as il-1b , il-6 , il-18r , il-23a , ccl1 , ccl2 , rel , and nfkbiz ) . these findings support the hypothesis that stimulation via different tlr7 ligands synergistically broadens and increases the magnitude of the host 's protective immune response . , who showed that the combination of small phosphothioate odns with the tlr7/8 agonist cl075 ( a chemical base analog comparable to cl264 ) induced a synergistic response in murine glial cells with substantially higher levels of proinflammatory cytokines and chemokines compared to cl075 . , we showed increased cell surface binding ( > 2-fold ) of cl264 upon combination with 9.2s rna compared to cl264 alone ( figure 4 ) . by stimulating the cells sequentially , 9.2s rna could be identified as being accountable for this phenomenon ( figure 1(f ) ) . although the mechanistic background remains to be elucidated , this finding suggests an optimized surface binding and subsequent cellular uptake into the endolysosomal compartment as one explanation for the observed synergistic effects of cl264 and 9.2s rna . of note , this effect is not due to the use of the cationic polypeptide plarg together with 9.2s rna , since synergy was not observed when cl264 was administered with plarg alone . further investigations are necessary to clarify whether binding is limited at the cell surface or leads to enhanced localization of cl264 within the endosomes in the presence of 9.2s rna , maybe using confocal microscopy . we can not rule out further additive effects on the receptor level using both types of ligands . with regard to the abovementioned properties of 9.2s rna , our microarray data do not show any evidence for a specific influence of 9.2s rna on the closely related tlr9 pathway ( data not shown ) . since cal-1 cells do not express the tlr8 , costimulatory effects of tlr7 and tlr8 by the use of ssrna and cl264 are highly improbable . however , tanji et al . very recently showed two distinct binding sites of ssrna fragments and chemical ligands at tlr8 leading to synergistic effects when being simultaneously activated . since tlr7 and tlr8 are closely related and recognize the same ligands , it is conceivable that the same phenomenon also accounts for tlr7 . thus , optimal stimulation of tlr7 at different binding sites by ssrna and base analogs could also contribute to the observed synergistic effects of this study . upcoming experiments are designed to gain more mechanistic insights into the intracellular level underlying these effects by combining different ssrna motifs and cl264 . although various synthetic tlr7/8 agonists have been used as adjuvants during preclinical trials , not many of them are approved for use in humans . the tlr7/8 agonist r837 is used for the topical treatment of genital warts , basal cell carcinoma , and bladder cancer . however , systemic application of imidazoquinolines causes adverse side effects , and the development of other tlr7 agonists suitable for nontopical use as adjuvants is desirable [ 6 , 33 ] . our study has some limitations . despite the fact that cal-1 cells share many of the phenotypic and functional properties of human pdcs , maeda et al . have described some significant differences between this cell line and freshly isolated primary human pdcs including little ifn- secretion in response to tlr stimulation . it is well accepted that working with purified human pdcs is challenging , since they are extremely sensible to any kind of physical manipulation ( such as purifying them using different sorting techniques ) , resulting in significant cytokine release acting in a paracrine and autocrine fashion [ 20 , 34 ] . kim et al . recently demonstrated that low levels of background ifn- ( so - called primed pdcs ) resulted in a strong feedforward regulation of their tlr - triggered type 1 ifn production in vitro and concluded that the in vitro activity of a tlr ligand on primary pdcs does not necessarily correspond to its in vivo activity . however , we and many other groups have meanwhile shown that cal-1 cells are suitable surrogates to study specific aspects of human pdc physiology and tlr7 and tlr9 [ 9 , 12 , 3638 ] . for the herein presented study , we chose to focus on ifn- ( instead of ifn- ) since we studied early time point effects up to 12 hours to minimize the mentioned auto- and paracrine cytokine effects , which is essential when studying synergism of different tlr ligands . we previously demonstrated that , in contrast to ifn- , ifn- expression peaks rather late ( > 24 hours ) in response to tlr stimulation , which is likewise influenced by a type 1 ifn feedback loop . a number of studies analyzed synergistic effects activating different tlrs [ 2629 ] . however , to our knowledge , the present study is the first to provide fundamental new insights into the simultaneous activation of a single toll - like receptor . using the human pdc - like cell line cal-1 , we demonstrated that structurally different tlr7 ligands act synergistically on gene expression patterns of the inflammatory response . this phenomenon may be explained in part by an enhanced binding of cl264 in the presence of 9.2s rna . however , future studies will need to further elucidate intracellular mechanisms , as suggested by recent studies . taken together , our data could impact future strategies optimizing tlr7-targeted drug design and provide new insights into the synergistic interactions of structurally different tlr7 ligands .	pubmed
Teen Voted To Homecoming Court Learns It's A Cruel Joke — Turns Tables A Michigan teen was excited when her classmates nominated her for homecoming court. But, her joy was quickly destroyed when she was told it was just a cruel prank. Unfortunately for her bullies, however, the tables were about to get turned. Whitney Kropp (Photo Credit: Facebook) Whitney Kropp was both stunned and excited to be nominated for her school's homecoming court. Being voted the female representative of the sophomore class certainly came as a shock for the self-described outcast with just a handful of friends. That joy quickly turned to devastation, however, when she was told the nomination was nothing more than a cruel prank. Whitney's classmates voted for her as a joke. It was like something straight out of a teen drama movie, and it left the 16-year-old feeling destroyed. The Ogemaw Heights High School sophomore went from being over-the-moon to feeling suicidal as a result of the mean-spirited prank. She was left in tears, feeling hurt. Whitney was plagued by depression and suicidal thoughts as she seriously considered taking her own life. "I'm like, 'Wow, I feel like trash,'" she admitted. "I feel like I'm a little thing that no one really cares about." But, her family and friends stepped up to lend encouragement, pushing Whitney to embrace what happened and have fun, which would fly in the face of what her bullies had wanted. Whitney's sister Alivia was the first person to spread the word about what had happened and encourage the bullied sophomore to speak out. "It's very hard to see someone hurt and upset, and you want to do everything in your power to make sure they're not that way," Alivia said, admitting that watching her sister spend an entire night crying was horrible. "You've got the courage, you've got the strength to go do it, so go do it and have fun," Alivia told Whitney. "I can just prove all these kids wrong," Whitney decided. "I'm not the joke everyone thinks I am," she said, and she was going to use this opportunity to prove it. But, opting to stay on the homecoming court wasn't an easy decision, especially after the teen's self-esteem had been so deeply shaken. Luckily, as news of the prank spread, plenty of people were ready to rally around Whitney and help her regain the confidence the cruel bullies had stripped away. Local businesses stepped up to donate her homecoming gown, shoes, and jewelry, and a salon even gave her a makeover. Whitney Kropp, sporting her new "do" (Photo Credit: YouTube) Whitney not only became the focus of many local headlines, but she also made national ones as well, and she began to see that she had far more supporters than she did haters. Students from her own district stood up for her, and Facebook support groups, garnering tens of thousands of likes, popped up, thrusting the teen even further into the spotlight. Seeing how many people had her back, Whitney was able to hold her head high with a new sense of confidence, CNN reported. "It is absolutely awesome to see her stand up," Bernice Kropp said. The beaming mom added that it was "cool" to see the emails they got from people all over, telling their stories and how Whitney's helped and touched them. "My daughter is out there as an inspiration to a lot of people, and it's a really cool thing," Bernice said. "I thought before, 'Oh, no one cares about me,"' Whitney said, admitting that the outpouring of support came as a surprise. "I thought not even my own brother and sister care. But they're proving me they do care. The world is proving they do, well not really care about me, but they care about the situation. So I'm happy. I'm really honored." As the night of homecoming approached, Whitney was still reluctant to attend despite her newfound fame and support. But, instead of staying home, she went out, and it was totally worth it. Whitney got the last laugh, turning the tables on the bullies who wanted this to be a bad time for the teen. Instead, it was a night she will never forget for all the right reasons. Sophomore Class Reps: Whitney Kropp & Josh Awrey (Photo Credit: Facebook) Whitney's smile was front and center during the homecoming coronation as family, friends, the entire community, and many others cheered her on. It was a whirlwind weekend, complete with a Hummer limo ride, banners and signs of support, a standing ovation, and even media coverage. When asked where she got the courage to stand up, unashamed in front of not just her bullies but the entire whole world, Whitney Kropp sent an important message to anyone who's ever bullied. She pointed to her heart and said, "Right here." Indeed, courage, self-esteem, confidence, and joy comes from within — and no bully can strip that away unless you let them. Whitney decided not to, and she's happier because of it.	slim_pajama
in this article , we consider the connection problem of the kz equation on the moduli space @xmath0 , and show that the connection matrices are expressed in terms of the drinfeld associators . as the compatibility condition on the connection problem , we have the pentagon relation for the drinfeld associators . this story was already proved by drinfeld in his famous paper @xcite ( see also wojtkowiak s paper @xcite ) , but our proof is completely different from theirs . our proof is based upon the decomposition theorem for fundamental solutions of the kz equation . as an application of the connection problem , we derive the five term relation for dilogarithms . this paper is organized as follows : in section 2 , we introduce the kz equation on the moduli space @xmath1 . in the cubic coordinate system of the space , it is represented as the kz equation of @xmath2 variables . in section 3 , we particularly consider the kz equation of one variable which is denoted by @xmath3 , and show that the drinfeld associator @xmath4 gives the connection matrix between @xmath5 , which is the fundamental solution of normalized at @xmath6 of the equation , and @xmath7 , which is the fundamental solution normalized at @xmath8 of the equation ; @xmath9 in section 4 , the kz equation of two variables , which are denoted by @xmath10 , will be considered . the fundamental solution @xmath11 normalized at @xmath12 of the equation is shown to decompose as follows : @xmath13 where @xmath14 is the fundamental solution normalized at @xmath15 of the kz equation of the one variable @xmath16 , and @xmath17 is the fundamental solution normalized at @xmath18 of the schlesinger type equation of the variable @xmath19 . we will refer to as `` the decomposition theorem '' . in section 5 , we will consider the connection problem of solutions of the kz equation on @xmath0 . we fix a pentagon in @xmath20 , which denotes the real points of a certain compactification @xmath21 of @xmath0 , as below : ( 0,4.5)(0,-0.5 ) ( 0,0 ) ( 1.2,0.3)@xmath22 ( 2.7,1.0)@xmath23 ( 2.4,2.7)@xmath24 ( 0.7,3.0)@xmath25 ( -0.1,1.4)@xmath26 ( 0.7,0.7)@xmath27 ( 2.1,0.6)@xmath28 ( 2.6,2.0)@xmath29 ( 1.6,2.8)@xmath30 ( 0.5,2.1)@xmath31 to each vertex @xmath32 , we associate the cubic coordinate @xmath33 , and the kz equation of the two variable @xmath33 . let @xmath34 be the fundamental solution normalized at the vertex @xmath32 of the equation . then one can show that @xmath35 where @xmath36 is the drinfeld associator attached to the vertex @xmath32 . the relation is proved by applying the decomposition theorem . as the compatibility condition for @xmath37 , we obtain the pentagon relation of the drinfeld associators @xmath38 in section 6 , as an application of the connection problem , we derive the five term relation for dilogarithms @xmath39 in @xcite , we show that the decomposition theorem @xmath40 is equivalent to the generalized harmonic product relations of hyperlogarithms of the type @xmath0 , which contain the harmonic product of multiple polylogarithms . [ [ acknowledgment ] ] acknowledgment + + + + + + + + + + + + + + the first author is partially supported by waseda university grant for special research projects no . 2010b-200 , 2011b-095 . the second author is partially supported by jsps grant - in - aid no . 19540056 , 22540035 . the moduli space @xmath1 is by definition @xcite @xmath41 here @xmath42 is the configuration space of @xmath43 points on @xmath44 , @xmath45 where @xmath46 is the thick diagonal of @xmath47 , @xmath48 the kz equation(kze ) on @xmath1 is a pfaffian system defined by @xmath49 here @xmath50 are generators of the lie algebra @xmath51 of the fundamental group of @xmath52 , @xmath53 this lie algebra is defined through the lower central series of @xmath52 , @xmath54 we set @xmath55 we should note that the fundamental group @xmath56 of the configuration space @xmath42 is isomorphic to @xmath57 so that @xmath58 is isomorphic to @xmath59 . the generators @xmath60 of @xmath51 satisfy the following relations @xcite : @xmath61=0 \quad ( \{i , j\ } \cap \{k , l\ } = \emptyset ) . \tag{ih3}\label{ih3}\end{aligned}\ ] ] these relations are referred to as the ihara relations . @xmath51 is a lie algebra generated by @xmath60 with the fundamental relations @xmath62 . the relation is rather convention of notations . from and , we have @xmath63=0 \quad ( \#\{i , j , k\}=3).\end{aligned}\ ] ] the one forms @xmath64 satisfy the arnold relations @xcite : @xmath65 for @xmath66 . it is known that @xmath67 are unique nontrivial relations of degree 2 which hold among these one forms . from the ihara relations and the arnold relations , we can deduce that 1 . the system is regular as @xmath68 . the system is integrable , namely @xmath69 satisfy @xmath70 3 . the system is @xmath71 invariant . hence the system can be regarded as an integrable system on @xmath1 . let @xmath72 be a cross ratio . put @xmath73 for @xmath74 . this defines a coordinate system which we call the simplicial coordinate system on @xmath1 . now we introduce @xmath75 by @xmath76 this is also a coordinate system on @xmath1 which we call the cubic coordinate system . these two coordinate system were introduced by f. brown in @xcite . in the cubic coordinate system on @xmath1 , is represented as follows : @xmath77 where @xmath78 and @xmath79 we refer to this system as the kz equation of @xmath2 variables . by the cubic coordinate system @xmath80 , the moduli space @xmath81 is homeomorphic to @xmath82 ; @xmath83 \mapsto z\end{aligned}\ ] ] where @xmath84 $ ] stands for the @xmath71 orbit of @xmath85 . the kz equation on @xmath81 is represented as @xmath86 where @xmath87 . this is the kz equation of one variable . in this case , @xmath51 is a free lie algebra generated by @xmath88 , which we denote by @xmath89 and the universal enveloping algebra @xmath90 is a non - commutative polynomial algebra of @xmath91 ; @xmath92 put @xmath93 they satisfy the arnold relation @xmath94 . we set @xmath95 where @xmath96 stands for the empty word in s and @xmath97 denotes the shuffle product , which is recursively defined by @xmath98 @xmath99 is an associative commutative algebra with the unit elemnt @xmath96 . this is called a shuffle algebra generated by @xmath100 . @xmath101 is a non - commutative and cocomutative hopf algebra , and @xmath99 is a commutative hopf algebra . as hopf algebras , @xmath101 and @xmath99 are dual to each other . to a word @xmath102 , we can associate an iterated integral @xmath103 as follows @xcite : @xmath104 then we have @xmath105 for @xmath106 , we can put an iterated integral @xmath107 , which defines the multiple polylogarithm of one variable ( mpl ) : @xmath108 this is a many - valued function on @xmath81 and has a taylor expansion @xmath109 in particular if @xmath110 , we can define an iterated integral @xmath111 . this is the multiple zeta value ( mzv ) : @xmath112 let us introduce shuffle subalgebras such as @xmath113 @xmath114 is a subalgebra spanned by words ending with other than @xmath115 , and @xmath116 is a subalgebra spanned by words beginning with other than @xmath117 and ending with other than @xmath115 . [ prop : reutanuer ] we have @xmath118=s^{10}[\xi_1,\xi_0].\end{aligned}\ ] ] let us define the regularization maps as follows : @xmath119 \to s^0 , \quad u=\sum w_j\sh \xi_0^j \mapsto w_0 \ ( w_j \in s^0 ) \\ & { \operatorname{reg}}^{10 } : s = s^{10}[\xi_1,\xi_0 ] \to s^{10 } , \quad u=\sum \xi_1^i\sh w_{ij}\sh \xi_0^j \mapsto w_{00 } \ ( w_{ij } \in s^{10}).\end{aligned}\ ] ] from proposition [ prop : reutanuer ] , these maps turn out to be well - defined and homomorphisms . furthermore we can also define the mpl map and the mzv map as follows : * mpl map @xmath120 : for @xmath121 , we put @xmath122 here for a word @xmath123 , @xmath124 is the mpl @xmath125 . * mzv map @xmath126 : for @xmath127 ( i.e. @xmath110 ) , we put @xmath128 [ prop : kze1 ] the equation [ kze1 ] @xmath129 has a unique solution @xmath5 satisfying the following asymptotic condition ; @xmath130 let us express @xmath131 such as @xmath132 where @xmath133 is the homogeneous component of the degree @xmath134 . then it is easy to show that @xmath135 satisfies the following recursive relation ; @xmath136+\frac{1}{1-z}x_1{{\widehat{\mathcal l}}}_s(z).\ ] ] hence we have @xmath137 and for @xmath138 , @xmath139 where @xmath140,\ ; \mu(x_1)(a)=x_1a$ ] for @xmath141 . hence @xmath5 exists and is unique . we call @xmath5 a fundamental solution normalized at @xmath6 of . we should observe that @xmath5 and @xmath131 are grouplike elements of @xmath142 ( a non - commutative formal power series ring of @xmath91 ) , and that @xmath131 is single valued and holomorphic in @xmath143 . let us find out another representation of @xmath5 . we set @xmath144 where in the sum of the right hand side , @xmath145 ranges over the set of words in @xmath99 , and for @xmath146 , we put @xmath147 . they are dual basis to each other . we can show the following lemma @xcite , @xcite . for any @xmath148 , one has @xmath149 hence @xmath150 is a solution of . putting @xmath151 , we prove by induction on @xmath152 . if @xmath153 , then @xmath154 . this case is already proved because we have @xmath155 now assume that , for @xmath156 , holds . since @xmath157 applying @xmath158 to this relation , we have @xmath159 by the assumption of induction , the right hand side above reads @xmath160 since @xmath161 , we have already proved for @xmath162 . hence we have @xmath163 this proves for @xmath164 . in @xcite , the following proposition is implicitly written : we put @xmath165 where @xmath166 denotes the topological tensor product . then @xmath167 decomposes as follows : @xmath168 where @xmath169 . furthermore we have @xmath170 since , by using and , we have @xmath171 @xmath150 satisfies the same asymptotic condition as @xmath5 . hence @xmath172 moreover we obtain the following proposition . [ prop : fundamental0 ] the fundamental solution @xmath5 normalized at @xmath6 can be written as follows : @xmath173 we consider @xmath7 , the fundamental solution normalized at @xmath8 of . by the coordinate transformation @xmath174 , is transformed to @xmath175 hence we can show that @xmath7 which satisfies @xmath176 where @xmath177 is holomorphic at @xmath8 and @xmath178 , uniquely exists . @xmath177 is expressed as follows : @xmath179 from proposition [ prop : fundamental0 ] , we obtain @xmath180 where @xmath181 is an automorphism defined by @xmath182 , @xmath183 . we set @xmath184 which is referred to as the drinfeld associator . this is also a grouplike element of @xmath185 . [ prop : connection1 ] we have 1 . the relation @xmath187 is equivalent to @xmath188 here @xmath189 is an anti - automorphism defined by @xmath190 . 1 . note that @xmath191 is holomorphic in @xmath192 , and @xmath193 is holomorphic in @xmath194 . from @xmath195 and @xmath196 , @xmath197 is holomorphic in a simply connected domain @xmath198 . since @xmath199 , @xmath200 is constant . from @xmath201 , taking the limit @xmath202 , we have @xmath203 2 . since @xmath7 is a grouplike element of @xmath185 , from , we have @xmath204 where @xmath205 is an anti - homomorphism defined by @xmath206 , @xmath207 , which is the antipode of @xmath101 as a hopf algebra . hence , introducing an anti - homomorphism @xmath189 defined by @xmath208 , we have @xmath209 therefore we have @xmath210 this proves . the relation is called the generalized inversion formula . [ prop : duality ] we have 1 . @xmath211 ( the duality relation of @xmath4 ) . [ prop : duality:1 ] 2 . from , we obtain the duality relation of mzv : @xmath212 taking the limit @xmath213 of @xmath214 , we have @xmath215 since the drinfeld associator is grouplike , we have @xmath216 this completes the proof . for examples of proposition [ prop : connection1 ] and proposition [ prop : duality ] , we present the following : 1 . @xmath217 . ( euler s inversion formula @xcite ) 2 . @xmath218 . ( indeed , @xmath219 . ) consideration on generalizes to the case of the schlesinger type equation . @xmath220 where @xmath221 are distinct points . the coefficients @xmath222 are generators of a free lie algebra @xmath223 the universal enveloping algebra @xmath224 is a non - commutative polynomial ring and a completion @xmath225 is a non - commutative formal power series ring . the one forms @xmath226 are defined by @xmath227 and let @xmath228 be a shuffle algebra generated by @xmath226 . [ prop : se1 ] the schlesinger type equation has a unique solution @xmath5 satisfying the asymptotic condition @xmath229 similarly as in the case of , @xmath230 are expressed as @xmath231 here @xmath232 stands for a hyperlogarithm which is by definition @xmath233 this taylor expansion is absolutely convergent for @xmath234 . the solution @xmath5 in proposition [ prop : se1 ] is referred to as the fundamental solution normalized at @xmath6 of . @xmath5 , @xmath131 are grouplike elements of @xmath185 . by the cubic coordinate on @xmath235 , kze on @xmath0 is represented as the kz equation of two variables ( kze2 ) : @xmath236 \xi_1=\frac{dz_1}{z_1},\;\ ; \xi_{11}=\frac{dz_1}{1-z_1},\;\ ; \xi_2=\frac{dz_2}{z_2},\;\ ; \xi_{22}=\frac{dz_2}{1-z_2},\;\ ; \xi_{12}=\frac{d(z_1z_2)}{1-z_1z_2}. \notag \\[-6ex ] \notag\end{gathered}\ ] ] the singular divisors @xmath237 of are @xmath238 the coefficients @xmath239 are given by @xmath240 which satisfy @xmath241=[x_{11},x_2]=[x_1,x_{22}]=0 , \\ [ x_{11},x_{22}]=[-x_{11},x_{12}]=[x_{22},x_{12}]=[-x_1+x_2,x_{12 } ] . \end{cases}\end{aligned}\ ] ] @xmath51 is the lie algebra generated by @xmath242 with as the fundamental relations . note that for this case is @xmath243 ( 0,0)(0,4 ) ( 3,-0.3 ) ( 2.4,-0.3)@xmath244 ( 6.1,-0.3)@xmath245 ( 2.4,2.9)@xmath246 ( 6.1,2.9)@xmath247 ( 7.5,0.0)@xmath248 ( 3.2,4.2)@xmath249 ( 9.0,2 ) consider the projection @xmath250 \mapsto [ x_1,x_3,x_4,x_5].\end{aligned}\ ] ] ( 0,4)(-8.5,-1.5 ) ( 1,-1.2)@xmath251 ( 0,0)(1,0)5 ( 0.5,0 ) ( 0.4,-0.5)0 ( 2.0,0 ) ( 1.9,-0.5)1 ( 3.5,0 ) ( 3.3,-0.5)@xmath252 ( 1.0,2.5)@xmath0 ( 1.6,2.3)(0,-1)1 ( 1.8,1.7)@xmath253 ( 2.65,0 ) ( 2.55,-0.5)@xmath248 ( 2.65,0.3)(0,1)2.5 ( 2.75,1.7 ) from this , we obtain the semi - direct product of the fundamental groups ; @xmath254 taking lie algebras , we have @xmath255 ( @xmath256 is a lie ideal ) . we have similar decomposition @xmath257 ( @xmath258 is a lie ideal ) . [ prop : decompo_x ] the following decomposition holds : @xmath259 moreover , @xmath258 , @xmath256 are lie ideals of @xmath51 . now let @xmath260 be a shuffle algebra generated by @xmath261 . we say that an element @xmath262 ( @xmath263 ) satisfies chen s integrability condition ( cic ) if and only if , for @xmath264 , @xmath265 holds as a multiple differential form @xcite . let @xmath266 be a subalgebra of @xmath99 of elements satisfying : @xmath267 we refer to @xmath266 as the reduced bar algebra . for @xmath268 , the iterated integral @xmath269 depends only on the homotopy class of the integral contour and defines a many - valued analytic function on @xmath270 . as hopf algebras , @xmath101 and @xmath266 are dual to each other . [ prop : bar ] there exist isomorphisms of shuffle algebras @xmath271 where @xmath272 . the isomorphism @xmath273 is defined through the following procedure : + @xmath274 for @xmath268 , pick up the terms @xmath275 . + @xmath276 change each term @xmath277 to @xmath278 . + @xmath279 replace @xmath280 to @xmath281 . + @xmath282 is similarly defined . let @xmath283 be a subalgebra of elements ending with other than @xmath284 : @xmath285 for @xmath286 , we can put an iterated integral @xmath287 . + [ prop : bar0 ] we have isomorphisms of shuffle algebras @xmath288 where @xmath289 . let @xmath290 ( the singular part of @xmath69 at @xmath244 ) and @xmath291 ( the regular part of @xmath69 at @xmath244 ) . [ prop : kze2 ] [ kze2 ] has a unique solution @xmath11 satisfying the asymptotic condition : @xmath292 since the fundamental relations of @xmath51 is homogeneous , @xmath101 has the canonical gradation : @xmath293 . similarly , the reduced bar algebra @xmath266 and the subalgebra @xmath283 are graded : @xmath294 . let @xmath295 . then we have the following recursive relation : @xmath296+\varomega'{{\widehat{\mathcal l}}}_s.\end{aligned}\ ] ] we have @xmath297 where we set @xmath298 $ ] , @xmath299 . hence we have @xmath137 , and for @xmath300 @xmath301 this shows that the fundamental solution @xmath11 exists and is unique . the solution @xmath11 is called the fundamental solution normalized at @xmath244 of . we should observe that @xmath11 and @xmath302 are grouplike elements of @xmath303 which is the completion of @xmath101 with respect to the gradation , and that @xmath302 is single valued and holomorphic in @xmath304 . [ prop : decomposition ] the fundamental solution @xmath11 normalized at @xmath244 decomposes as @xmath305 here @xmath306 is the fundamental solution normalized at @xmath15 of @xmath307 @xmath308 is the fundamental solution normalized at @xmath18 of @xmath309 the holomorphic part @xmath302 has similar decomposition as follows : @xmath310 from the asymptotic condition of @xmath311 , it follows that @xmath312 is the fundamental solution of ( @xmath313 ) . hence @xmath314 . put @xmath315 then @xmath316 is a solution of ( @xmath317 ) . since @xmath318=[x_2,x_{11}]=0 $ ] , it has the asymptotic condition as follows : @xmath319 therefore @xmath320 . we call this proposition `` decomposition theorem for the fundamental solution '' . a smooth compactification of @xmath0 is given as follows @xcite : @xmath321 then @xmath322\;\|\ ; x_i = x_j\}.\end{gathered}\ ] ] the divisors @xmath323 s are rational curves in @xmath21 and satisfy @xmath324 let @xmath20 be the real points of @xmath21 : @xmath325 then @xmath326 has 12 connected components , and each component is a pentagon surrounded by five curves @xmath327 : ( 0,8)(0,0 ) ( 0,0 ) ( 9.1,2.5)@xmath22 ( 2.6,-0.2)@xmath26 ( 9.3,4.1)@xmath24 ( 5.6,0.3)@xmath23 ( -0.2,4.5)@xmath25 ( -0.6,3.4)@xmath328 ( -0.1,0.7)@xmath329 ( 0.9,-0.2)@xmath330 ( -0.2,1.6)@xmath331 ( 8,0.7)@xmath332 ( 3.6,3.8)@xmath333 ( 3.6,1.6)@xmath334 ( 2,3.6)@xmath335 ( 2,1.6)@xmath336 ( 6,3.5)@xmath337 ( 6,1.9)@xmath338 ( 1.5,5.4)@xmath339 ( 2.5,5.8)@xmath340 ( 6.2,5.5)@xmath341 ( 4.6,5.8)@xmath342 ( 3.5,6.7)@xmath343 ( 8,5.8)@xmath344 ( 8.7,2.2)@xmath335 ( 8.7,3)@xmath336 ( 0.6,2.1)@xmath337 ( 0.6,2.9)@xmath338 ( 3.2,0.2)@xmath339 ( 2.2,0.2)@xmath340 ( 4.6,0.6)@xmath341 ( 5.9,0.9)@xmath342 ( 8.5,3.8)@xmath343 ( 4,0)@xmath344 ( 8.5,4.5)@xmath340 ( 7.2,0.7)@xmath339 ( 7.7,1.3)@xmath344 ( 8.6,1.75)@xmath343 ( 1.5,0)@xmath341 ( 0.9,0.7)@xmath344 ( 0.3,1.2)@xmath343 ( 0,3.6)@xmath344 ( 0.4,4.1)@xmath343 ( 0.4,4.7)@xmath342 ( 0.3,5.2)@xmath338 ( 0.5,5.7)@xmath344 ( 0.5,6.3)@xmath341 ( 1,6.6)@xmath334 ( 1.4,7)@xmath336 ( 1.4,7.5)@xmath344 ( 2.05,7.4)@xmath341 ( 2.7,7.6)@xmath337 ( 3.05,8.1)@xmath336 ( 3.6,7.9)@xmath344 ( 4.4,8.3)@xmath338 ( 4.7,7.8)@xmath335 ( 5.4,7.7)@xmath339 ( 6.1,7.8)@xmath344 ( 6.2,7.3)@xmath338 ( 6.5,6.9)@xmath334 ( 7.2,6.7)@xmath339 ( 8,7)@xmath342 ( 8.6,6.6)@xmath338 ( 9.5,6.7)@xmath335 ( 9.7,6.2)@xmath343 ( 10.1,5.6)@xmath337 ( 9.1,5.2)@xmath336 ( 9.1,3.4 ) @xmath344 ( 1.5,2.8)@xmath345 ( 1.5,2.3)@xmath346 ( 8.2,2.3)@xmath345 ( 8.2,2.8)@xmath346 in the above figure , pentagons with the same number should be identified . let us fix the pentagon 1 : ( 0,4.5)(0,-0.5 ) ( 0,0 ) ( 1.2,0.3)@xmath22 ( 2.7,1.0)@xmath23 ( 2.4,2.7)@xmath24 ( 0.7,3.0)@xmath25 ( -0.1,1.4)@xmath26 ( 0.7,0.7)@xmath27 ( 2.1,0.6)@xmath28 ( 2.6,2.0)@xmath29 ( 1.6,2.8)@xmath30 ( 0.5,2.1)@xmath31 ( 4.3,2.2)blow down ( 4.1,2)(1,0)2 ( 6.5,0 ) ( 10.5,0.3)@xmath248 ( 9.2,4)@xmath249 ( 8.9,-0.1)@xmath347 ( 5.9,2.6)@xmath348 ( 10.5,1.8)@xmath349 ( 6.7,0.1)@xmath350 each vertex of this pentagon is given as follows : @xmath351,\quad p_1=[0,\infty,\infty,1,0],\quad p_2=[\infty,0,1,\infty,1],\\ p_3&=[1,1,\infty,0,\infty],\quad p_4=[\infty,\infty,0,1,1].\end{aligned}\ ] ] the cubic coordinate system @xmath352 is a local coordinate system around @xmath27 , and via the map @xmath353 \ \mapsto \ ( z_1,z_2)\end{aligned}\ ] ] the pentagon 1 blows down to the square @xmath354 as follows : @xmath355 we should observe that @xmath11 , the fundamental solution normalized at @xmath12 of , is a fundamental solution of which is single valued and holomorphic in a certain domain containing the pentagon 1 . put @xmath356 . define @xmath357 as follows : for a point @xmath358 $ ] , we set @xmath359\\ & \hspace{7mm}(=[a_3,a_5,a_4,a_2,a_1]).\nonumber \end{aligned}\ ] ] then @xmath360 is an automorphism ( attached to the pentagon 1 ) of @xmath21 satisfying @xmath361 and @xmath362 let @xmath363 which induces an automorphism of the rational function field of @xmath21 . put @xmath364 . then @xmath365 are local coordinates around @xmath28 . in general , we set @xmath366 then @xmath33 is a local coordinate system around @xmath32 , and is called the cubic coordinate system attached to @xmath32 . define the pull - back of @xmath367 by @xmath368 and let @xmath369 be an induced automorphism defined through @xmath370 namely , @xmath371 then we have @xmath372 we represent @xmath69 by the cubic coordinate system attached to @xmath32 : let @xmath373 then @xmath69 reads @xmath374 where @xmath375 let @xmath376 be the fundamental solution normalized at @xmath32 of @xmath377 @xmath378 we should observe that each @xmath34 is a fundamental solution of which is single valued and holomorphic in a certain domain containing the pentagon 1 . let us find the connection matrix @xmath379 ; @xmath380 to this equation , we substitute the decomposition for @xmath381 @xmath382 where @xmath383 is the fundamental solution normalized at @xmath384 of @xmath385 @xmath386 and @xmath387 is the fundamental solution normalized at @xmath388 of @xmath389 @xmath390 then we have @xmath391 note that @xmath392 and @xmath393 . since the left hand side of is independent of the variable @xmath394 , first taking the limit of @xmath395 , we have @xmath396 hence rhs is the fundamental solution normalized at @xmath397 of @xmath398 . this implies @xmath399 . put @xmath400 . 1 . we have @xmath401 2 . as the compatibility condition for the connection relation , we obtain the pentagon relation of the drinfeld associator @xmath402 [ thm : connection_pentagon:2 ] we show . since the connection relations hold in a certain domain containing the pentagon 1 , we have @xmath403 from this we obtain the pentagon relation . ( 0,5)(0,0 ) ( 0,0 ) ( -0.4,0.1)@xmath244 ( 3.2,0.1)@xmath245 ( -0.4,3.2)@xmath246 ( 3.2,3.2)@xmath247 ( 4.8,0.35)@xmath248 ( 0.3,4.6)@xmath249 ( 2.7,2.4)@xmath10 ( 0.9,2.7)@xmath405 ( 2.8,1.7)@xmath406 ( 0.65,0.5)(1,0)2 ( 2.65,0.5)(0,1)2 ( 0.65,0.5)(0,1)2 ( 0.65,2.5)(1,0)2 we call a generalized harmonic product relation . this provides a relation of hyperlogarithms of the type @xmath413 which is defined as follows : for @xmath414 , we set @xmath415 where @xmath416 . this is called hyperlogarithms of the type @xmath413 of the main variable @xmath248 . if @xmath417 , it reduces to a mpl of one variable ; @xmath418 if @xmath419 , it is a mpl of two variables ; @xmath420 1 . we have @xmath428 where @xmath429 runs over the set @xmath430 , and @xmath431 runs over the set @xmath432 . ( @xmath433 , and @xmath434 stands for the set of words of the letters @xmath435 ending with other than @xmath436 . ) @xmath437 is an algebra homomorphism @xmath438 and @xmath439 are linear maps defined by replacing @xmath440 2 . similarly we have @xmath441 where @xmath429 runs over the set @xmath442 , and @xmath431 runs over the set @xmath443 , and @xmath444 are linear maps defined by replacing @xmath445 in this proposition , we should observe that the iterated integral @xmath446 is a hyperlogarithm of the type @xmath0 of the main variable @xmath248 , and the iterated integral @xmath447 is a multiple polylogarithm of the variable @xmath249 . let @xmath448 . define an automorphism @xmath449 as follows : for a point @xmath358 $ ] , set @xmath450 . \end{aligned}\ ] ] by this automorphism , the pentagon 1 is transformed to the pentagon 4 like as in the following figure . ( 0,5)(0,-2 ) ( 0,0 ) ( 4.2,1.7)@xmath22 ( 1.7,-0.3)@xmath26 ( 4.3,2.7)@xmath24 ( 3.5,4)@xmath23 ( 2.7,4.4)@xmath25 ( 0,4)@xmath328 ( -0.5,2.7)@xmath329 ( 3.1,-0.1)@xmath330 ( -0.4,1.1)@xmath331 ( 4.3,0.9)@xmath332 ( 2.5,2,7)@xmath333 ( 1.1,1.1)@xmath336 ( 1.2,2.4)@xmath451 ( 2.4,1.1)@xmath451 let @xmath452 , which induces an automorphism of the rational function field of @xmath21 , in particular , the cubic coordinates are transformed as follows : @xmath453 define the pull - back of @xmath367 by @xmath454 , and let @xmath455 be an automorphism defined by @xmath456 namely , @xmath457 . then we have @xmath458 since @xmath463 , @xmath464 is also a fundamental solution of which has the asymptotic condition @xmath465 therefore the connection relation of @xmath11 and @xmath466 is @xmath467 it is convenient to rewrite this formula as follows : @xmath468 using and in proposition [ prop : itls ] , we have the following proposition . aa , the cohomology ring of the colored braid group , mat . zametki * 5 * ( 1969 ) , pp . 227 - 231 : math . notes * 5 * ( 1969 ) , pp . 138 - 140 . , multiple zeta values and periods of moduli spaces @xmath478 , ann . ( 4 ) 42 ( 2009 ) , no . 3 , 371 - 489 . , algebras of iterated path integrals and fundamental groups , transaction of the american math . * 156 * ( 1971 ) , 359379 . , reduced bar constructions on de rham complexes , algebra , topology , and category theory ( a collection of papers in honor of samuel eilenberg ) , pp . 1932 . academic press , new york , 1976 . , on quasitriangular quasi - hopf algebras and on a group that is closely connected with @xmath479 , algebra i analiz 2 ( 1990 ) , no . 4 , 149181 ; translation in leningrad math . j. * 2 * ( 1991 ) , no . 4 , 829860 . , on a generalization of hilbert s 21st problem , ann . scient.c . norm . , @xmath480 srie , t. 19 , ( 1986 ) , 609627 . , lalgbre des polylogarithmes par les sries gnratrices . proc . of fpsac99 , 11-th international conference of formal power series and algebraic combinatrics , barcelona , june 1999 . , automorphisms of pure sphere braid groups and galois representations , the grothendieck festschrift , vol . ii , 353373 , progr . , 87 , birkhuser boston , boston , ma , 1990 . , derivation and double shuffle relations for multiple zeta values , compos . math . 142 ( 2006 ) , no . 2 , 307338 . , the evolution of the ladder concept , structural properties of polylogarithms ( ed . by l.lewin ) , math . surveys and monographs , * 37 * , amer . math ( 1991),123 . , duality formulas of special values of multiple polylogarithms , bull . london math . ( 2004 ) , the sum formula for multiple zeta values , zeta functions , topology and quantum physics , developments in mathematics 14 , ed . by t. aoki et al . , springer - verlag ( 2005 ) , 145 - 170 . , kz equation on the moduli space @xmath481 and the harmonic product of multiple polylogarithms , preprint ( 2011 ) arxiv : math.qa/0910.0718v3 . , free lie algebras , oxford science publications,1993 . , hypergeomtric functions , my love , aspects of mathematics , e 32 , vieweg , 1997 . , monodromy of iterated integrals and non - abelian unipotent periods , geometric galois actions , 2 , 219289 , london math . lecture note ser . , 243 , cambridge univ . press , cambridge , 1997 .	arxiv
in wireless networks , automatic repeat request ( arq ) techniques have been applied to improve the transmission reliability above the physical layer ( phy ) . prior work ( e.g. , in @xcite and @xcite ) has shown that in the phy of coded or uncoded systems , a higher transmission rate @xmath1 results in higher packet error rates , leading to more arq retransmissions , while a lower @xmath1 leads to reduced packet error rates and therefore less arq retransmissions . hence , choosing to transmit at very high rates can lead to low average successful throughput ( i.e. , goodput ) due to increased number of retransmissions . on the other hand , transmitting at very low rates leads to more reliable communication but the goodput is also low due to low rates . consequently , it is of significant interest to jointly optimize the transmission rates ( at the physical layer ) and the number of arq retransmissions ( at the data - link layer ) by adopting a cross - layer framework so that the goodput of the system is maximized . in recent years , cooperative operation through relaying has attracted much interest due its promise to improve the link reliability @xcite . for instance , when the source - destination link suffers severe fading , information can be sent to the destination through a relay node more reliably if the source - relay and relay - destination channels experience more favorable fading conditions . note that such diversity achieved through cooperation can also lead to increased goodput . hence , cooperation is another important tool that can improve the performance . in this paper , we consider a 3-node cooperative network and investigate the maximization of the goodput in both amplify - and - forward ( af ) and decode - and - forward ( df ) relaying scenarios . in particular , we investigate the tradeoffs and interactions between the goodput , transmission rates , different arq mechanisms , different relaying schemes and relay locations . in both af and df modes , we first quantify the link error probabilities through the capacity outage formulation in a coded system in rayleigh fading channels . then , we analytically identify the average number of transmissions required for successful delivery , and formulate the goodput of the system . through numerical results , we study the tradeoffs between the different parameters of the network . the remainder of this paper is organized as follows . section ii introduces the network model and channel assumptions . section iii presents the goodput analysis in af and df cooperative networks with arq . numerical results are given in section iv . finally , section v provides the conclusions . we consider a 3-node cooperative network in which the source sends information to the destination with the aid of the relay node . we assume that the source - destination ( s - d ) , source - relay ( s - r ) , and relay - destination ( r - d ) links experience independent rayleigh fading . we have the following key assumptions : 1 ) channel codes support communication at the instantaneous channel capacity levels , and outages , which occur if transmission rate exceeds the instantaneous channel capacity , lead to packet errors and are perfectly detected at the receivers ; 2 ) depending on whether packets are successfully received or not , ack or nack control frames are sent and overheard ; 3 ) ack / nack is received reliably with no errors ; 4 ) each codeword contains a certain number of data packets and the transmission of data packets begins when source broadcasts to both relay and destination ; 5 ) the relay mechanism is assumed to be incremental relaying in which the relay node does nt need to engage in transmission whenever the s - d link is successful @xcite,@xcite . the arq process differs in af and df modes . in the af mode , destination sends ack when packets are successfully received from the source to notify the source to schedule the next codeword transmission . otherwise , if source - destination ( s - d ) link fails , an nack is sent and relay amplifies and forwards the packets to the destination via the source - relay - destination ( s - r - d ) cooperative link . if the transmission through the s - r - d link fails as well , destination sends a second nack and source retransmits the codeword . in the df mode , similarly as in af , it is initially checked whether the transmission through the s - d link is successful . if not , nack is sent and it is checked whether the relay , which also has to decode the incoming packets and send ack / nack frames upon its correct / erronous reception of packets , has received the packets successfully through the source - relay ( s - r ) link . if the s - r link has also failed , retransmission from the source is requested . if , on the other hand , relay has decoded the packets correctly , relay forwards the packet to the destination . in cases of failure in the relay - destination ( r - d ) link , retransmissions are requested from the relay . therefore , retransmissions can be confined only to the r - d link when the relay already has the correct codeword . the network states will be further elaborated in section iii . the introduction of a relay node definitely adds more energy overhead and system complexity , but it creates more reliability from the auxiliary r - d link when s - d channel fails . if we assume the signal transmitted from the source is @xmath2 with unit energy , the received signals at the relay and destination can be represented by @xmath3 where @xmath4 is the transmit power of the source . @xmath5 and @xmath6 are channel fading coefficients in the s - r and s - d links , respectively . the fading coefficients are assumed to be zero - mean circularly symmetric gaussian complex random variables , modeling rayleigh fading . path loss is also incorporated into the model through the variance of the fading coefficients . @xmath7 and @xmath8 are the additive gaussian noise components ( with variance @xmath9 ) at the destination and relay . we define the snr at the transmitter side by @xmath10 suppose that the source has @xmath11 codewords to transmit to the destination and the transmission rate is @xmath1 bits per second . each codeword has @xmath12 bits and codeword(i ) needs @xmath13 number of transmissions before being successfully received at the destination . the long - term effective throughput on this single link can be formulated by the total transmitted bits over total transmission time @xcite . in the limit as @xmath14 , we have @xmath15 @xmath16 is a geometric random variable @xcite , @xcite and @xmath17 where @xmath18 is the link error probability . the link error probability is defined as the probability associated with the outage event on a specific link @xcite . for a rayleigh fading channel , the fading coefficient @xmath19 is modeled as a zero - mean complex gaussian random variable with variance @xmath20 . so @xmath21 is exponential distributed with mean @xmath22 . therefore , the link error probability for given snr @xmath23 and transmission rate @xmath1 is @xmath24 in the af mode , relay amplifies and forwards the packets to the destination only if the s - d link is in outage . hence , there are totally 3 mutually exclusive working states in af : 1 ) s - d link is successful ; 2 ) s - d link is in outage , but s - r - d link is successful ; 3 ) both s - d link and s - r - d link are in outage . the source schedules the transmission of the next codeword only after the destination sends back an ack to announce that the codeword has been successfully received through either state 1 or 2 . in state 3 , destination sends back an nack to have the source to retransmit the codeword , triggering arq . consequently , a new transmission round is started all over . this procedure is repeated until a successful codeword delivery is achieved at the destination . the transmission flow is illustrated in fig . [ fig : af - routing ] where the red branch denotes the arq process . we normalize the variance on the s - d link as @xmath25 . from ( 4 ) , we know the outage probability on the s - d link is @xmath26 the variances of the other links are assumed to be proportional to @xmath27 where @xmath28 is the path loss coefficient @xcite . as for the s - r - d cooperative link , by using a generalized distance factor @xmath29 , the received snr via this link can be formulated as @xmath30 where @xmath31 and @xmath32 are independent random variables with the same distribution as @xmath33 . note that we implicitly assume with the above formulation that the we have a linear 3-node network where the relay lies in between the source and destination . a more general scenario in which the relay has a certain vertical distance to the line that connects the source and destination can be treated by normalizing @xmath34 with the cosine of the angle between the source and relay . from @xcite , we know that @xmath35 has a cdf given by @xmath36 where @xmath37 and @xmath38 is the first order modified bessel function of the second type . hence , the outage probability on the s - r - d link is @xmath39 where @xmath40 . now , the probabilities of the 3 network states of the af mode are @xmath41 we define @xmath42 as the time required to transmit one codeword over any link . in state 1 , a duration of @xmath43 is needed . at the end of this period , successful transmission is achieved . in both states 2 and 3 , a duration of @xmath44 is needed . in the first @xmath43 seconds , source transmits . since the s - d link fails in these two states , the relay engages in transmission in the following @xmath43 seconds . as demonstrated in ( [ eq : goodput - singlechannel ] ) , goodput is obtained by first determining the average number of transmissions or equivalently the average time required to send one codeword to the destination successfully . next result provides the average time in the af scenario . [ prop : af ] in af relaying under the arq retransmission scheme with 3 states described in this section , the average time needed to successfully transmit one codeword from the source to the destination is given by @xmath45 where @xmath46 and @xmath47 are given in ( [ eq : p_1af ] ) ( [ eq : p_3af ] ) , and @xmath43 is the time needed to transmit one codeword in one attempt over any link . _ proof _ see appendix [ app : af ] . the goodput in af networks is defined as the ratio of @xmath12 bits ( i.e. , the number of information bits in each codeword ) to the average time required to successfully send one codeword : @xmath48 where @xmath1 is the transmission rate in bits / s . the following result identifies the optimal @xmath34 that maximizes the goodput , and shows that the relay should be located halfway between the source and destination . [ prop : optimal_k ] for any given transmission rate @xmath1 and snr @xmath23 , the af goodput @xmath49 is maximized at @xmath50 . _ proof : _ we first note that @xmath51 is a monotonically decreasing positive function of @xmath52 , and @xmath52 monotonically increases as @xmath53 increases where @xmath54 . hence , @xmath51 is minimized when @xmath53 is maximized at @xmath55 . moreover , @xmath56 monotonically decreases as @xmath57 decreases . the function @xmath58 with @xmath59 is minimized at @xmath55 . therefore , @xmath56 is minimized at @xmath55 . hence , @xmath60 is minimized and @xmath49 is maximized at @xmath55 regardless of the values of @xmath1 and @xmath23 . @xmath61 in the df mode , relay forwards the packets to the destination only if the s - d link is in outage and s - r link is successful . so , there are 4 mutually exclusive working states in the df mode with the following ack / nack feedback schemes : 1 ) s - d link is successful and destination sends back ack to have the source to send the next codeword ; 2 ) both the s - d and s - r links are in outage and both send back nacks to request the source to retransmit the codeword ; 3 ) s - d link is in outage , but s - r and r - d links are successful , and source transmits the next codeword in the next block after receiving ack from the destination ; 4 . s - d link is in outage , s - r link is successful , but r - d link is in outage . in this state , destination sends an nack but requests retransmissions from the relay since the relay has successfully decoded the codeword . hereby , we see two different types of arq retransmissions . in state 2 , source receives nacks from both relay and destination and then retransmits , which could be considered as an outer - loop arq . in state 4 , relay retransmits to the destination , and this could be considered as an inner - loop arq . the inner - loop is beneficial when the relay is closer to the destination than the source is . the transmission flow can be seen in fig . [ fig : df - routing ] . again we normalize the variance on the s - d link as @xmath25 and by using a generalized distance factor @xmath62 , we have the following outage probabilities on the s - d , s - r and r - d links , respectively , @xmath63 now , the probabilities of the 4 states are given by @xmath64 similarly as in the af case , we first determine the average time needed to successfully transmit one codeword . [ prop : df ] in df relaying under the arq retransmission scheme with 4 above - described states , the average time needed for the successful transmission of one codeword is @xmath65 _ proof _ : see appendix [ app : df ] . hence , the goodput is @xmath66 in this section , we present the numerical results . in particular , we compute the goodput in af and df relaying scenarios by using the expressions in ( [ eq : eta - af ] ) and ( [ eq : eta - df ] ) and investigate the network performance as the transmission rate @xmath1 , normalized relay location @xmath34 , and snr @xmath23 vary . we first look at @xmath49 ( goodput in the af mode ) as a function of @xmath1 with @xmath67 and @xmath68 @xcite . the upper subplot in fig . [ fig : af / df - r ] clearly shows for any given normalized relay location @xmath34 , goodput is maximized at a certain unique optimal rate @xmath69 . at rates below @xmath69 , even though the link reliabilities are comparatively high , @xmath49 is low due to small @xmath1 . at rates higher than @xmath69 , the decrease in link reliability and increased number of retransmissions counteracts the increased rate , resulting again in lower @xmath49 . similar results are also observed in the lower subplot , which plots the goodput @xmath70 in the df mode with respect to transmission rate @xmath1 . in fig . [ fig : rate - location ] , we fix the transmission rate @xmath1 at different values and plot the goodput @xmath71 for both af and df as a function of the normalized relay location @xmath34 . verifying the result of proposition [ prop : optimal_k ] , we observe that the af goodput @xmath49 is optimized at @xmath72 regardless of the value of @xmath1 . in df , the optimal relay location is close to @xmath55 for large values of @xmath1 . however , we see that when @xmath1 is relatively low ( i.e. , when @xmath73 bits / s ) , @xmath34 is slightly larger than 0.5 meaning that relay should be placed farther away from the source and closer to the destination . note also that a higher goodput is achieved when @xmath73 bits / s . finally , we observe that at the optimal relay location , df relaying provides higher goodput than af relaying for the same transmission rate . in fig . [ fig : snr - rate ] , we plot @xmath71 as a function of @xmath1 at different snr values in both af and df when the generalized relay location is set at @xmath74 . when snr is maintained at a moderate level , df outperforms af in terms of providing higher goodput at any transmission rate . at very high snr , af and df modes have almost identical performance curves . since the link reliability is so high that very few arq rounds are needed to achieve the successful packet delivery , the goodput is actually approaching the transmission rate @xmath1 . secondly , in either mode , we see as @xmath23 increases , the optimal goodput @xmath75 and @xmath76 which maximizes @xmath71 are both increasing . in fig . [ fig : af - location - r ] and fig . [ fig : df - location - r ] , the goodput is plotted as both the relay location and transmission rate are varied . it is assumed that snr @xmath67 . as is shown in the contours , the goodput surface is nt ideally concave , but there is always a pair of optimal relay location @xmath77 and transmission rate @xmath76 that maximizes the goodput . in fig . [ fig : location - goodput ] , we assume @xmath67 and plot the optimal @xmath78 and the optimal goodput @xmath75 as a function of the transmission rate @xmath1 in both af and df . the upper subplot confirms again the result in proposition [ prop : optimal_k ] and shows that @xmath79 in af . in the df mode , we see that @xmath77 decreases from 1 and approaches 0.5 asymptotically as @xmath1 increases , which is in compliance with our observation in fig . [ fig : rate - location ] . in the lower subplot , the optimal goodput @xmath75 achieved at the optimal @xmath77 is shown , where we see that df outperforms af and provides higher goodput for any given transmission rate @xmath1 . in this paper , we have performed a cross - layer optimization to maximize the goodput of cooperative networks that employ arq schemes and work in either af or df relaying mode . for both af and df schemes , we have described the retransmission mechanisms and determined the average time required to send the information correctly from the source to the destination . subsequently , we have formulated the goodput achieved in both relaying modes . we investigated the impact of transmission rates and relay location on the goodput . we have shown that having the relay halfway between the source and destination maximizes the goodput . through numerical results , we have identified the optimal transmission rates that maximize the goodput . we have also numerically analyzed the optimal relay location in df . we have shown that df generally provides superior performance . in the af mode , we have three networks states and the arq is triggered when both s - d and s - r - d links fail . therefore , the transmission flow can be illustrated as a tree structure as depicted in fig . [ fig : af - tree ] as the arq round progresses . each branch corresponds to a time consumption with a certain probability . we model the time required to successfully transmit one codeword as a random variable and denote it as @xmath16 . it can be easily seen that @xmath16 has the following distribution by @xmath80 for odd number of time slots , the probability distribution is @xmath81 for even number of time slots , the probability distribution is @xmath82 so , the average time @xmath83 is @xmath84\nonumber\\ & = \frac{(p_{1}+2p_{2}+2p_{3})t}{1-p_{3}}.\end{aligned}\ ] ] @xmath61 in the df mode , the transmission flow can be illustrated as in fig . [ fig : df - tree ] , where the long branches occurring with probability @xmath85 and extending to the right are generated when the outer arq round is triggered . recall that the outer arq is triggered when both s - r and s - d links fail , requiring the source to retransmit . note that there is also a downward progression starting initially with probability @xmath86 . this progression occurs when the inner arq rounds are triggered , in which relay , having received the packets successfully from the source , retransmits when the r - d link fails . in df relaying , the random variable @xmath16 , which is time required to one codeword successfully , can be expressed as @xmath87 where @xmath88 and @xmath89 are also random variables whose distributions are as follows : @xmath90 above , we have defined @xmath91 @xmath92 can be defined similarly as @xmath93 but now in terms of @xmath94 and @xmath95 . repeating this procedure , we have random variables defined in a nested fashion with a certain pattern . by examining the characteristics of @xmath96 , we can easily find its mean value as @xmath97 now , the expected value of @xmath16 is @xmath98\nonumber\\ = & \sum_{k=0}^{\infty}(\varepsilon_{1}\varepsilon_{2})^k(1-\varepsilon_{1})(k+1)t+\sum_{k=0}^{\infty}(\varepsilon_{1}\varepsilon_{2})^k\varepsilon_{1}(1-\varepsilon_{2})e(y_{k+1})\nonumber\\ = & \frac{t(1-\varepsilon_{1}\varepsilon_{2})(1+\varepsilon_{1}-\varepsilon_{3}-\varepsilon_{1}\varepsilon_{2})}{(1-\varepsilon_{1}\varepsilon_{2})^2(1-\varepsilon_{3})}\nonumber\\ = & \frac{tp_{1}+tp_{2}+2tp_{3}+(2+\frac{1}{1-\varepsilon_{3}})tp_{4}}{1-p_{2}}.\end{aligned}\ ] ] @xmath61 t. h. himsoon , w. p. siriwongpairat , z. han , k. j. ray liu , `` lifetime maximization via cooperative nodes and relay deployment in wireless networks '' , ieee journal on selected areas in communications , vol.25 , no . 2007 t. renk , h. jakel , f. k. jondral , d. gunduz , a. goldsmith , `` outage capacity of incremental relaying at low signal - to - noise ratios '' , ieee vehicular technology conference ( vtc ) , anchorage , ak , sep . 2009 . v. erceg , l. j. greenstein , s. y. tjandra , s. r. parkoff , a. gupta , b. kulic , a. a. julius , and r. bianchi , `` an emperically based path loss model for wireless channels in suburban environments , '' ieee _ j.select . areas commun , _ vol . 17 , no . 7 , pp.1205 - 1211 , jul .	arxiv
	pubmed
Why doesn't an aliphatic acyl chloride react with cyanide ions in aqueous sulphuric acid undergo nucleophilic addition elimination? [closed] Closed. This question is [off-topic](/help/closed-questions). It is not currently accepting answers. --- Homework questions must demonstrate some effort to understand the underlying concepts. For help asking a good homework question, see: [How do I ask homework questions on Chemistry Stack Exchange?](https://chemistry.meta.stackexchange.com/questions/141/how-do-i-ask-homework-questions-on-chemistry-stack-exchange) Closed 3 years ago. [Improve this question](/posts/128342/edit) I'm asking this because im proving a friend wrong. I get how cyanide ions won't react in an ethanol solvent because the solvent is too reactive but why won't this?![enter image description here](https://i.stack.imgur.com/PnczV.jpg) Cyanide ions in aq. sulfuric acid don't stay as ions very long, they get protonated to give HCN so cannot act as nucleophiles. Also aliphatic acyl cyanides are about as reactive as aliphatic acyl chlorides, both will readily hydolyse to the carboxylic acid in aq. soln.	stackexchange/chemistry
Argoed railway station served the village of Argoed in the County Borough of Caerphilly, Wales. it succeeded the first Argoed station built by the Sirhowy Tramroad, which operated from 1822 to 1855. History The station was opened on 19 June 1865 by the Sirhowy Railway, upon completion of the work to convert the former Sirhowy Tramroad a plateway of gauge into a standard-gauge railway. The company got into financial difficulties, and was leased to the London and North Western Railway in 1875. Therefore, it became part of the London, Midland and Scottish Railway during the Grouping of 1923. It was renamed Argoed Halt on 29 September 1941. Passing on to the Western Region of British Railways on nationalisation in 1948, it was then closed by the British Transport Commission on 13 June 1960. Notes References RailBrit: Sirhowy Tramroad Station on navigable O.S. map Category:Disused railway stations in Caerphilly County Borough Category:Former London and North Western Railway stations Category:Railway stations opened in 1865 Category:Railway stations closed in 1960 Category:History of Monmouthshire Category:1865 establishments in Wales Category:1960 disestablishments in Wales	wikipedia
quantum phase transitions between two fermi liquids , one of which spontaneously breaks translational symmetry and so reconstructs its fermi surface , have been of longstanding theoretical and experimental interest . important new examples of experimental realizations have emerged in the past few years,@xcite and so a full theoretical understanding is of some urgency . next to immediate relevance for a class of strongly correlated electron materials , the spin - fermion model has evolved into a minimal model for itinerant lattice electrons with strong , commensurate magnetic fluctuations that are believed to destroy the fermi liquid behavior when tuned to the critical point . how the compressible electron liquid , without lorentz symmetry and without particle - hole symmetry , behaves when its correlations become singular , could provide some direction in the search for new universality classes beyond , for example , the better - known gross - neveu model of dirac fermions which enjoys more symmetries . however , despite several decades of theoretical work , key questions remain open especially in the important case of two spatial dimensions . early theories @xcite for such quantum phase transitions focused on effective models for the quantum fluctuations of the order parameter , while treating the fermi surface reconstruction as an ancillary phenomenon . however , it has since become clear @xcite that such an approach is inadequate , and the fermi surface excitations are primary actors in the critical theory . reference postulated a critical theory for fermi surface reconstruction , in which the fermi surface excitations and the bosonic order parameter were equally important and both acquired anomalous dimensions . these excitations were strongly coupled to each other by a `` yukawa '' coupling of universal strength , and their correlators scaled with a common dynamic critical exponent , @xmath0 . explicit computations were performed in the context of a @xmath1 expansion , where the physical number of fermion flavors is generalized to @xmath2 . taking @xmath2 large , one can formally reorganize wick s theorem in powers of @xmath1 and then extrapolate results to the physical number of fermion flavors . for the hot - spot field theory at the onset of spin - density wave order , no such critical theory appeared at the two - loop level . indeed , it was pointed out that at higher loops @xcite there is a breakdown of the @xmath1 expansion , and so it remained unclear whether the postulated fixed point existed . here we address the problem of fermi surface reconstruction at the onset of spin - density wave order by an analysis based on a formally exact functional renormalization group ( frg ) approach.@xcite this rg approach allows a computation of correlation function as a function of a continuous cutoff scale @xmath3 ; from the `` uv '' at energies of the order of the bandwidth down to `` infrared '' excitations at and in the vicinity of the fermi surface . nonuniversal quantities and crossover scales can be extracted from the same solution which also yields the critical exponents in the limit @xmath4 . combined with the potential to resolve the momentum ( and frequency ) dependence or correlators along the fermi surface , the frg offers much more than the field theoretic rg or conventional @xmath5 expansion which is typically used to extract the leading singularities only . in this paper , we solve a set of coupled flow equations which treats the electrons on equal footing to the collective , order - parameter fluctuations . we truncate the flow equations to a set of discrete points on the fermi surface . when projecting our correlators onto the hot spot as a function of momenta , we establish the existence of a fixed point with the scaling structure postulated in ref . , describing the quantum phase transition between two fermi liquids : from the metal with preserved @xmath6 spin symmetry to the metallic antiferromagnet which spontaneously breaks spin symmetry . a significant feature of our truncation is that it ties the parameters controlling the order parameter fluctuations to those associated with the fermion excitations , and this is important for a proper description of the scaling structure . we present numerical estimates for the critical exponents of the boson and fermion spectral functions , and for the variation in the fermionic quasiparticle residue around the fermi surface . during our computations , we keep the shape of the fermi surface fixed . in principle , one would have to allow for a flowing fermi surface and consequently a flowing hot spot . in such a truncation , the singular manifold becomes a `` moving target '' and this significantly complicates the analysis . the rest of our results are presented in sec . [ result ] . in sec . [ model ] , we introduce the recently developed two - band spin - fermion model that has the additional appealing feature that it does not suffer from the sign problem in quantum monte carlo simulations.@xcite in sec . [ rg ] , we present the functional rg setup , the truncation , and the cutoff functions . in sec . [ conc ] , we conclude and suggest interesting future directions resulting from this paper . our computation will be carried in the context of the `` spin - fermion '' model of antiferromagnetic fluctuations in a fermi liquid.@xcite this involves a spin - density wave order parameter @xmath7 at wave vector @xmath8 coupled to fermions @xmath9 moving on a square lattice . the analytic analyses have focused on the vicinity of the `` hot spots '' on the fermi surface : these are the eight points on the fermi surface which can generically be connected to each other by @xmath10 . the fermion dispersions were linearized and truncated around the hot spots . however a complete analysis requires that we avoid the spurious singularities associated with truncated fermi surfaces and deal only with continuous fermi surfaces . here , we choose the fermi surface configurations of a recent analysis @xcite which allowed monte carlo studies without a sign problem . the present work may be seen as complementary to ref . : here we especially focus on the universality class and critical properties . this paves the way for an eventual comparison of our renormalization group results with monte carlo . our present method applies also to general fermi surfaces and provides access to real - time spectral functions which are not easily obtainable from imaginary - time monte carlo . the model of ref . contains fermions in two bands , or two flavors , @xmath11 , @xmath12 ( although our present method can also be applied to single band models ) , coupled to @xmath7 in the effective action @xmath13&=\int_k \sum_{\alpha=1,2 } \overline{\psi}_{\alpha}(k ) \left ( \begin{array}{cc } -i k_0+\xi_{\mathbf{k},\alpha } & 0 \\ 0 & -i k_0+\xi_{\mathbf{k},\alpha } \end{array } \right ) % \psi_{\alpha}(k)\nonumber\\ & + \int_q \frac{1}{2 } \vec{\phi}(-q)\ , \left(\mathbf{q}^2 + r\right ) \ , \vec{\phi}(q ) \label{eq : fermi_bose}\\ & + \int_{k , q } \lambda\ , \vec{\phi}(q ) \left(\overline{\psi}_1(k+q ) { \vec{\sigma}}\ , \psi_2(k ) + \overline{\psi}_2(k+q ) { \vec{\sigma } } \psi_1(k ) \right)\nonumber\end{aligned}\ ] ] where @xmath14 represents integrals over spatial momenta @xmath15 over the brillouin zone , and over frequencies @xmath16 . the fermion spinors are defined by @xmath17 , @xmath18 . we already introduce here the cutoff @xmath3 along which we later integrate our renormalization group flow toward @xmath4 . with @xmath19 we have the bare lattice action . the boson quadratic term consists of the control parameter @xmath20 and a spatial gradient squared to account for spatial variations of the order parameter field @xmath7 . the quantum dynamics of @xmath7 will be generated in the rg flow ; putting a @xmath21 term into eq . ( [ eq : fermi_bose ] ) does not change our results . the fermion dispersions for nearest - neighbor hopping are @xmath22 a consistent mapping to `` physical '' fermions can be achieved with an anisotropic choice of hoppings,@xcite @xmath23 , @xmath24 , @xmath25 , and @xmath26 , @xmath27 , @xmath28 , @xmath29 yielding the fermi surfaces shown in fig . [ fig : fermisurface ] . an important distinction of this paper compared to the previous work ( refs . ) is that we do not truncate the fermi surface as patch models around hot spots . , black dashed line ; @xmath30 , blue solid line for eq . ( [ eq : fermion_dispersions ] ) ] from the paramagnetic phase ( a ) to the zeros of the quasiparticle energies in the antiferromagnetic ( sdw ) phase ( b ) . gaps open at the `` hot spots , '' that is , where the fermi surfaces of the two flavors intersect . in this paper , we focus on the sdw transition that is the singular point right when the fermi surfaces reconstruct . the @xmath31 lattice symmetry of the original fermions is preserved.,title="fig:",width=236 ] + , black dashed line ; @xmath30 , blue solid line for eq . ( [ eq : fermion_dispersions ] ) ] from the paramagnetic phase ( a ) to the zeros of the quasiparticle energies in the antiferromagnetic ( sdw ) phase ( b ) . gaps open at the `` hot spots , '' that is , where the fermi surfaces of the two flavors intersect . in this paper , we focus on the sdw transition that is the singular point right when the fermi surfaces reconstruct . the @xmath31 lattice symmetry of the original fermions is preserved.,title="fig:",width=236 ] a mean - field analysis of eq . ( [ eq : fermi_bose ] ) predicts an antiferromagnetic spin - density wave ( sdw ) ground state at @xmath32 which spontaneously breaks the spin su(2 ) symmetry of eq . ( [ eq : fermi_bose ] ) . the fermi surface topology `` reconstructs '' and gaps open at the hot spots , as shown in fig . [ fig : fermisurface ] . on a mean - field level , the sdw transition at zero temperature of eq . ( [ eq : fermi_bose ] ) is first order , as was also found in related single - band models for electronic antiferromagnets.@xcite at present , it is not clear which effects such as fluctuations or competing instabilities could potentially drive the transitions continuous or even change the ground state . the same is true for the formation of sdws with periods incommensurate with the underlying lattice . in the present paper , we ignore these complications and focus our attention on continuous sdw transitions at zero temperature . our rg analysis is based on the ( formally exact ) flow equation for the effective action @xmath33 $ ] , the generating functional for one - particle irreducible correlation functions in the form derived by wetterich.@xcite the regulator @xmath34 introduces a cutoff dependence into the effective action so that @xmath35 smoothly interpolates between the bare action [ eq . ( [ eq : fermi_bose ] ) ] at the ultraviolet scale @xmath36 = \gamma^{\lambda_{\text{uv } } } \left[\bar{\psi},\psi,\vec{\phi}\right]$ ] and the fully renormalized effective action in the limit of vanishing cutoff : @xmath37 = \gamma\left[\bar{\psi},\psi,\vec{\phi}\right]$ ] . the wetterich equation has a one - loop structure and in a vertex expansion the @xmath38 functions for the @xmath39-point correlators are determined by ( cutoff derivatives of ) one - particle irreducible one - loop diagrams with fully dressed propagators and vertices . upon self - consistent integration of the coupled set of @xmath38 functions , contributions of arbitrary high loop order are generated . as we explain below , we truncate the effective action to the full fermion two - point function [ including a fermion self - energy @xmath40 , the full bosonic two - point function [ including a bosonic self - energy @xmath41 , and the yukawa coupling @xmath42 . our results are obtained from the renormalization group flow of the action eq . ( [ eq : fermi_bose ] ) at the quantum - critical point ( @xmath43 ) under the formally exact evolution equation @xcite @xmath44= \frac{1}{2 } \text{str } \left\ { \dot{r}^{\lambda } \left [ \gamma_r^{(2)\lambda}\left[\chi,\bar{\chi}\right ] + r^{\lambda } \right]^{-1 } \right\ } % = % \frac{1}{2}\text{str}\ , % \left\ { % \dot{r}^{\lambda } \partial_{r^\lambda } \ln \left [ \gamma_{r}^{(2)\lambda}\left[\chi,\bar{\chi}\right ] % + % r^{\lambda}\right ] % \right\ } \;. \label{eq : wetterich_equation}\end{aligned}\ ] ] @xmath45 is the second derivative with respect to the fields defined below . @xmath46 is a matrix containing @xmath3-dependent cutoff functions that regularizes the infrared singularities of the fermion and boson propagators . the dot is shorthand notation for a scale derivative @xmath47 . both sides of this equation are projected onto a `` super''-field basis @xmath48 , @xmath49 containing fermionic and bosonic entries : @xmath50 and its conjugate - transposed @xmath51 . str is a `` super '' trace over frequency , momenta , and internal indices and installs an additional factor of @xmath52 for contributions from the purely fermionic sector of the trace of grassmann - valued matrices . we solve eq . ( [ eq : wetterich_equation ] ) in a vertex expansion truncating any generated vertices beyond the yukawa vertex . the flowing fermion self - energy @xmath53 and the boson self - energy @xmath54 are parametrized in a derivative expansion keeping the fermi surfaces fixed . the cutoff matrix in eq . ( [ eq : wetterich_equation ] ) is given by @xmath55 where one is , in principle , free to choose the fermion and boson cutoff scales @xmath56 and @xmath57 and associated regulator functions @xmath58 independently.@xcite the corresponding `` flow trajectories '' in cutoff space ( in the plane of fig . [ fig : cutoff_space ] ) from the bare action ( red dot ) to renormalized , effective action ( green dot ) will be different . we choose the trajectory along the arrows illustrated in fig . [ fig : cutoff_space ] ; that is , we take @xmath59 and @xmath60 before integrating out order parameter fluctuations which are excluded for momenta smaller than @xmath56 . the fermions are , however , not discarded as in the hertz theory,@xcite but coupled self - consistently into the flow for all @xmath61 , thereby imposing important boundary conditions for the integration of order parameter fluctuations down the vertical axis in fig . [ fig : cutoff_space ] . this makes the flow nonlocal in the cutoff scale in that the purely fermionic contractions with yukawa vertices are treated as a total scale derivative that also acts on the self - energy on the internal lines and the yukawa vertices . this is similar in spirit to the katanin scheme , where this can be shown to lead to the inclusion of higher @xmath39-point vertices in the flow.@xcite of the integration over bosonic momenta along the vertical axis the entire range of fermionic momenta is swept over ( gray - striped box).,width=302 ] for the bosons , we use a litim cutoff for momenta , @xmath62 where @xmath63 is bosonic momentum renormalization factor to be specified below . in the following , we set @xmath64 . the fermionic entries in eq . ( [ eq : cutoffmatrix ] ) are zero . the fermionic matrix elements of the generalized matrix propagator @xmath65 + r^{\lambda } \right]^{-1}$ ] occurring in eq . ( [ eq : wetterich_equation ] ) become @xmath66 \frac { \overleftarrow{\delta}}{\delta \chi ( k_2 ) } + r^{\lambda } \right ] _ { \substack { f1,\sigma \\ \overline{\chi}=\chi = 0 \\ k_1=k_2=k } } ^{-1 } \nonumber\\ & = \frac{-1}{- ik_0+\xi_{\mathbf{k},1 } + \sigma^{\lambda}_{f1}(k_0,\mathbf{k})}\ ; , \label{eq : ferm_propagator}\end{aligned}\ ] ] and analogously for the other flavor and spin components . the explicitly cutoff - dependent boson spin fluctuation propagators are @xmath67 \frac { \overleftarrow{\delta}}{\delta \chi ( q_2 ) } + r^{\lambda } \right]_{\substack { b , x\\ \overline{\chi}=\chi = 0 \\ q_1=q_2=q}}^{-1 } \nonumber\\ & = \frac{-1 } { \mathbf{q}^2 + r + \sigma^{\lambda}_{b}(q_0,\mathbf{q})+ r^{\lambda}_{b } } \nonumber\\ & = \left\ { \begin{array}{cl } \frac{-1 } { \mathbf{q}^2 + r + \sigma^{\lambda}_{b}(q_0,\mathbf{q } ) } & \|\mathbf{q}\| > \lambda \\[2 mm ] \frac{-1}{\lambda^2 + r + \sigma^{\lambda}_{b}(q_0,\lambda ) } & \|\mathbf{q}\| < \lambda \end{array } \right . \ ; , \label{eq : bose_prop}\end{aligned}\ ] ] and analogously for the other spin projections @xmath68 , @xmath0 . the functional derivatives are evaluated at zero fields here , as we approach the qcp from the paramagnetic phase . the flow equation for the fermion self - energy [ depicted diagrammatically in fig . [ fig : flow_ferm ] ( a ) ] is @xmath69 = % 3\left(\lambda^{\lambda}\right)^2 \int_{q , r } g^\lambda_{f2}(k+q ) d^{r}_b(q)\ ; , \label{eq : flow_ferm}\end{aligned}\ ] ] and similarly for flavor @xmath70 upon interchanging @xmath71 . we use a shorthand notation encapsulating frequency , momentum integrations , and a cutoff derivative with respect to the bosonic cutoff function : @xmath72 $ ] . ( a ) and the yukawa coupling ( b ) . straight lines denote fermi propagators of flavors 1 and 2 ; wiggly line boson propagators are endowed with a regulator @xmath73 . intersections of wiggly with straight lines represent the yukawa coupling . the cutoff derivative with respect to @xmath73 is implicit . all propagators and vertices are `` dressed '' self - consistently and are functions of @xmath3.,title="fig:",width=188 ] ( a ) and the yukawa coupling ( b ) . straight lines denote fermi propagators of flavors 1 and 2 ; wiggly line boson propagators are endowed with a regulator @xmath73 . intersections of wiggly with straight lines represent the yukawa coupling . the cutoff derivative with respect to @xmath73 is implicit . all propagators and vertices are `` dressed '' self - consistently and are functions of @xmath3.,title="fig:",width=188 ] the prefactors and signs of the flow equations are computed by comparing coefficients between the left- and right - hand sides of eq . ( [ eq : wetterich_equation ] ) as outlined in sec.ii of ref . . the 11@xmath7411 grassmann - valued ( super- ) matrices are evaluated using the grassmannops.m package in mathematica . how to take a supertrace can be found in ref . . the boson self - energy is determined self - consistently from the particle - hole bubble ( fig . [ fig : boson_self ] ) at all stages of the flow : @xmath75 . \nonumber \label{eq : sigma_b}\end{aligned}\ ] ] the following ansatz captures the leading frequency and momentum - dependence of the particle - hole bubble : @xmath76 at the yellow dot in fig . [ fig : cutoff_space ] , the fermi propagators are still fermi - liquid like ( @xmath77 ) because we have not yet integrated out any order parameter fluctuations which , by fig . [ fig : flow_ferm ] ( a ) , generate a finite fermion self - energy . at that point , the coefficients @xmath78 , @xmath79 take finite numerical values . at all stages of the flow , when integrating the flow down the vertical axis of fig . [ fig : cutoff_space ] , the bosonic @xmath80 and @xmath81 factor are determined self - consistently according to the prescription @xmath82 this allows them to pick up potentially singular renormalizations during the flow . the boson momentum factor is isotropic in momentum space ; interchanging @xmath83 delivers the same value for @xmath84 . ) . all propagators and vertices are `` dressed '' self - consistently and depend on @xmath3.,width=245 ] the flow equation as per fig . [ fig : flow_ferm ] ( b ) for the yukawa coupling is @xmath85 the explicit expressions of the flow equations and the numerical parameter used are given in the appendix . we now describe the key results obtained from a solution of the flow equations . ( i ) we find an infrared strong - coupling fixed point for the yukawa - coupling @xmath42 which governs the rg flow of the coupled fermi - bose action down to the lowest scales @xmath4 . this induces scaling relations among the anomalous exponents for the fermi velocity , the quasiparticle weight , and the yukawa vertex . ( ii ) both the quasiparticle weight and the fermi velocity vanish as a power law when scaling the momenta toward the hot spot ; the fermi velocity slower than the quasiparticle weight . ( iii ) the ( quantum ) dynamical scaling of the electronic single - particle and collective spin fluctuations follows from an emergent dynamical exponent , attaining the same ( fractional ) value for both fermions and bosons . the centerpiece of our analysis is the flow equation for the yukawa coupling : @xmath86 where @xmath87 is rescaled by the frequency ( @xmath88 ) and momentum ( @xmath89 ) derivatives of the fermion self - energy generated under the rg flow as per fig . [ fig : flow_ferm ] ( a ) . the power - law divergences as well as all other nonuniversal contributions to the flow of the two fermion self - energy factors and the yukawa coupling itself are absorbed into the anomalous exponents : @xmath90 @xmath91 is driven by the direct contribution to the flow of @xmath42 exhibited in fig . [ fig : flow_ferm ] ( b ) . all couplings are projected to zero fermionic frequency , a discrete set of fermionic momenta on the fermi surfaces , and zero bosonic frequency and momenta . this is where the most singular renormalizations occur . specifically , the inverse quasi - particle weight is computed from the flowing self - energy by @xcite @xmath92 = 1-\frac{\partial}{\partial i k_0 } \sigma^{\lambda}_{f1}(k_0,\mathbf{k})\|_{k_0=0 , \mathbf{k}=\mathbf{k}_{\text{f } } } , \label{eq : z_ferm}\end{aligned}\ ] ] where @xmath93 is a momentum on the fermi surface and the initial condition is @xmath94 . the momentum renormalization factor is obtained from a momentum gradient of the fermion self - energy , @xmath95 = 1+\frac{\|\mathbf{n}_{\mathbf{k},1}\cdot \nabla \sigma^{\lambda}_{f1}(k_0,\mathbf{k})\| } { \label{eq : fs_normals}\end{aligned}\ ] ] with the initial condition @xmath96 . here , @xmath97 and @xmath98 is unit normal vector onto the fermi surface of flavor @xmath99 . we see below that the momentum gradient scales differently than the frequency derivative at the quantum critical point . in a different context , for fermi systems with van hove singularities , this asymmetry was established to all orders in perturbation theory by feldman and salmhofer.@xcite necessary conditions to discover this are ( i ) the codimension of the fermi surface manifold is greater than zero ( it is zero in a one - dimensional fermi systems ) and ( ii ) one includes the additional , relevant transversal momentum direction parallel to the fermi surface into the analysis . . the fixed - point values are @xmath100 , @xmath101 , @xmath102 , and @xmath103 . the scaling plateaus for @xmath104 depicted over @xmath105 4 orders of magnitude would be attained indefinitely but are limited by the numerics only . the infrared is to the right of the plot ( @xmath106).,width=321 ] with these definitions , the scale - dependent `` dressed '' fermion propagator which occurs self - consistently in all rg equations becomes @xmath107 with @xmath108 resembling the quasiparticle weight at low energies and the effective modulus of the fermi velocity @xmath109 . a self - consistent numerical solution of the flow equations for the yukawa vertex @xmath42 , the fermion self - energy @xmath110 , and the boson self - energy @xmath111 is attracted toward an infrared strong - coupling fixed point . as can be read off from fig . [ fig : new_etas_yuk ] , the @xmath38 function for the yukawa coupling [ eq . ( [ eq : flow_yuk_rescaled ] ) ] vanishes for @xmath112 , resulting in a scaling relation for the fermion and yukawa anomalous exponents : @xmath113 where we dropped the flavor index as they become degenerate at the hot spot . similar strong - coupling fixed - point and scaling relations ( without singular vertex corrections ) have recently been obtained at the qcp of a dirac cone toy model between a semimetal and a superfluid.@xcite $ ] non - self - consistently computed from eq . ( [ eq : z_ferm ] ) along the fermi surface . figure [ fig : grid_etas ] exhibits flows of the corresponding exponents for the six data points closest to the maximum / hot spot on the right flank . here the hot spot is located at @xmath114 and @xmath115.,width=340 ] the numerical values of the exponents ( see fig . [ fig : new_etas_yuk ] ) determine the scaling behavior of the fermion propagator [ eq . ( [ eq : ferm_prop ] ) ] and the associated dynamical exponent @xmath116 . the yukawa vertex diverges as a power law , @xmath117 @xmath3 can be associated with the momentum distance from the hot spot ; at @xmath118 the hot spots are resonantly connected by the ordering wave vector @xmath10 of the incipient sdw . at the hot spot , the fermionic quasiparticle weight vanishes as a power law , @xmath119 destroying the fermi liquid character of fermionic quasiparticle excitations . in a non - self - consistent calculation we can also compute the fermion self - energy from eq . ( [ eq : z_ferm ] ) away from the hot spot by solving the flow equations evaluated at general fermionic momenta @xmath120 . the result for a momentum cut along the fermi surface is exhibited in fig . [ fig : zf_grid ] . the renormalization of the quasiparticle weight is strongly peaked around the intersection of the fermi surfaces at the hotspot . away from the hot spot , the suppression of the quasiparticle weight is less pronounced , leading to asymptotically vanishing anomalous exponents in the infrared @xmath4 ( fig . [ fig : grid_etas ] ) . nevertheless , in the vicinity of the hot spot , magnetic fluctuations are still very strong , leading to sizable non - fermi liquid scaling regimes at intermediate scales with the maximum progressively approaching the hot - spot value @xmath121=0.78 $ ] for momenta closer to it . in the numerics for fig . [ fig : zf_grid ] , we stopped the flow at @xmath122 ( recall that @xmath123 ) , leading to finite ( but very large ) values of @xmath124 even at the hot spot . we used a momentum cut of 100 points producing for each grid point in fig . [ fig : zf_grid ] the scale - resolved flows shown in fig . [ fig : grid_etas ] . $ ] for six choices of momenta progressively approaching the hot spot ( corresponding to the six data points closest to the maximum / hot spot on the right flank of fig . [ fig : zf_grid ] ) . the momentum @xmath125 is furthest from the hot spot and @xmath126 is closest to it . the infrared is to the right of the plot ( @xmath106).,width=340 ] the fermi velocity vanishes as well but with a smaller exponent , @xmath127 so that the dynamical exponent for the fermions is @xmath128 an important ingredient to the scaling laws above is the self - consistently flowing boson propagator [ eqs . ( [ eq : bose_prop ] ) and ( [ eq : sigma_b ] ) ] . the asymptotic static and dynamic scaling of the spin fluctuation propagator is given by @xmath129^{-1 } & \sim \lambda^{\eta_{z_b } } \|q_0\| + \mathbf{q}^2 \sim @xmath130 . remarkably , the boson dynamical exponent , @xmath131 takes the same value as the fermion dynamical exponent . it is a distinguishing feature of this infrared fixed - point of electrons in metals at a sdw transition that the dynamical exponent attains fractional value different from @xmath99 ( which is the exact value for quantum - critical fermion systems with lorentz - symmetry ; see ref . and references therein ) and different from @xmath70 ( which is the mean - field value of the hertz theory @xcite ) . our fermion anomalous dimensions and @xmath0 can be mapped to those of ref . for values of the fermi velocity - anisotropy in a range around @xmath132 and upon ignoring the marginal rg flow of @xmath133 [ which is implicitly assumed in ( [ eq : fs_normals ] ) ] ; our boson anomalous dimension renormalizing the @xmath134 term in the propagator is essentially zero , and we trace this to differences in the rg scheme from ref . . this paper was dedicated to the critical behavior of compressible , electronic quantum matter in two - dimensional lattices interacting with self - generated , singular antiferromagnetic fluctuations . we generalized previous hot - spot theories to full `` uv - completed '' fermi surfaces free of spurious edge singularities in a model that can also be analyzed with quantum monte carlo . this should enable a cross - fertilizing comparison of results obtained with different methods for this problem . we provided first quantitative estimates for the critical exponents of the single - particle and spin fluctuations correlators which deviate strongly from the hertz - millis values . the solution of our rg equations was attracted toward a stable , strong - coupling fixed point , resulting in a common dynamic exponent for the fermions and the bosons . it would be interesting to classify all relevant operators to our fixed point and investigate the stability of our strong - coupling fixed point further . as a first simple step in this direction , we have extended the truncation for the fermion dispersions to allow for changes in the fermi surface curvature ( keeping the position of the hot spot fixed ) . a scale - dependent @xmath135 that modifies the hoppings , @xmath136 and @xmath137 , does the job . we found only relatively small , finite renormalizations of @xmath135 . however , a proper self - consistent investigation of a flowing fermi surface with the full dispersion used in this paper requires an advanced truncation and likely also a self - consistent determination also of the position of the fermi surfaces and the hot spots as a function of @xmath3 . potential tendencies toward magnetic ordering at incommensurate wave vectors might also be captured that way . such a state - of - the - art truncation was recently presented for self - energy flows in the repulsive hubbard model close to van hove filling.@xcite other promising future directions are the inclusion of ( @xmath138-wave ) superconductivity,@xcite an extension to the quantum - critical regime at finite temperatures , and the exploration of the antiferromagnetic phase with broken symmetry close to the quantum critical point . case to the staggered @xmath139 case for the spin - fermion model . ] we thank e. berg , c. honerkamp , e. g. moon , and m. punk for useful discussions . this research was supported by the dfg under grant str 1176/1 - 1 , by the nsf under grant dmr-1103860 , and by the army research office award w911nf-12 - 1 - 0227 . jl is also supported by the stx foundation . we here give the explicit expressions of the flow equations ( [ eq : flow_ferm ] ) , ( [ eq : flow_bos ] ) , ( [ eq : flow_yuk ] ) . to that end , it is convenient to use the rescaled variables @xmath140 , @xmath141 as well as rescaled momenta : @xmath142 , @xmath143 , @xmath144 , and @xmath145 . for the the fermionic frequency exponent , there is @xmath146 and similarly ( @xmath71 ) for flavor 2 . the frequency integral over @xmath147 can be performed analytically so that at each step of the flow , two - dimensional integrations over @xmath148 and @xmath149 have to be performed numerically . the yukawa anomalous exponent contains fermion propagators of both flavors : @xmath150 for the flow of the fermionic momentum factors we use the projected @xmath151 and @xmath152 derivatives of eq . ( [ eq : flow_ferm ] ) , @xmath153\big\|_{k_0=0,\mathbf{k}=\mathbf{k}_{\text{hs } } } , \nonumber\\ \partial_\lambda a^{\lambda}_{f1,y}&= % \frac{1}{2t_{1,y}\sin(k_y ) } n_{k_{y},1 } \partial_{k_y}\partial_{\lambda}\sigma_{f1}^{\lambda}[k_0,\mathbf{k}]\big\|_{k_0=0,\mathbf{k}=\mathbf{k}_{\text{hs}}},\end{aligned}\ ] ] with the initial conditions @xmath154 . the fermi surface normal projector is ( similarly for flavor 2 ) @xmath155 the flow equations for the rescaled variables are @xmath156 , @xmath157 . with @xmath158 given in eq . ( [ eq : eta_zf1 ] ) , these take the form @xmath159 with the exponents @xmath160 , @xmath161.at every step of the flow , we compute then per eq . ( 6 ) @xmath162 expressions for the exponents : @xmath163 finally , the ( rescaled ) boson frequency factor and momentum factor are self - consistently determined from @xmath164 , \nonumber\\ % \tilde{a}^\lambda_{b}&= 2 \left(\tilde{\lambda}^{\lambda}\right)^2\sqrt{\|\upsilonup^{\lambda}_{f1}\|\ , \|\upsilonup^{\lambda}_{f2}\| } \int^\pi_{-\pi } \frac{d k_x}{2\pi } \int^\pi_{-\pi } \frac{d k_y}{2\pi } \frac{1}{\lambda^2 } \int ^\infty_{-\infty } \frac { d \tilde{k}_0}{2\pi } \left [ \left ( \frac{1}{i\tilde{k}_0 - \|\upsilonup^{\lambda}_{f1}\| \xi_{\mathbf{k}+q_x,1 } } - \frac{1}{i\tilde{k}_0- + \left(1 \leftrightarrow 2\right ) \right]_{q_x=\lambda}\;. \label{eq : za_b}\end{aligned}\ ] ] equations ( [ eq : flow_yuk_rescaled ] ) , ( [ eq : eta_zf1 ] ) , ( [ eq : eta_yuk ] ) , and ( [ eq : afxy_tilde])([eq : za_b ] ) are solved numerically as a function of flow parameter @xmath165 so that @xmath166 corresponds to the uv ( @xmath167 ) . the hot spot coordinates are @xmath168 , @xmath169 . as initial conditions , we choose @xmath170 , @xmath171 , and @xmath172 . the initial values for the boson propagator are @xmath173 and @xmath174 .	arxiv

sports injuries in cyclists are frequently caused by an abnormal cycling position in which a repetitive motion occurs with a relatively fixed knee position and insufficient muscular endurance in the lower limbs1 . an incorrectly set saddle height can cause a considerable strain on the knees and lead to knee overuse injury3 . the knee joint provides power to pedal and drive a bike during cycling ; however , knee overuse is a common sports injury4 . therefore , the height of the cyclist s saddle is critical to preventing sports injury . the height of the cyclist s saddle is also critical for optimizing performance and reducing the risk of knee overuse injury during cycling5 . one study indicated that effective prevention of knee injury entails setting the bottom dead point of the pedal at a position6 , that allows the knee to be flexed between 25 and 35. another study recommended that the saddle height permit 2535 knee flexion and determined that a knee angle closer to 25 than 35 facilitated sports performance and injury prevention7 . during cycling , the bike must fit a cyclist as possible , which could have optimal sports performance8 . whether professional or amateur , cyclists seek techniques for improving their cycling performance . the optimal pedaling rhythm is one that maintains the minimum pedaling force requirements to provide bike power . this allows cyclists to use slow - twitch fibers for primary muscle power , and this allows anaerobic capability to be reserved to delay exercise fatigue9 . because cycling exercise is a prolonged physical activity , a stable cycling speed is essential to maintaining the fitness of the cyclist , who must compensate for exercise fatigue through riding posture and chaotic pedaling rhythms , thereby affecting individual or team performance10 . adequate fitness and muscular endurance are critical to fundamental athletic performance11 , 12 , with external factors such as bicycle architecture also affecting performance13 . previous studies have frequently explored seat height and demonstrated that inappropriate seat height could affect cycling performance14 , 15 . therefore , our study compared the variance in cadence frequency after exercise fatigue between saddle heights with 25 and 35 knee flexion . the results may elucidate the positive effect of a suitable saddle height for cyclists . the variance in cadence frequency was hypothesized to be less for a saddle height with 25 knee flexion than that for one with 35 knee flexion . this study adopted a crossover design to assess the difference in cadence frequency between the two saddle heights among healthy college students aged older than 20 years . all participants provided informed consent before the study , and the procedure was approved by the research ethics committee of a hospital . the exclusion criteria were a history of lower limb injury , an anterior or lateral cruciate ligament tear , a meniscus lesion or ankle ligament tear , or cardiovascular disease . the variable in this study was saddle height , which was set at two different heights by setting the pedal at the bottom dead point with 35 or 25 knee flexion , respectively ( fig . the participants were randomly assigned to test each saddle height ( i.e. , with 25 or 35 knee flexion ) for 2 days , with a 2-day rest between testing of the two cycling protocols to avoid muscle fatigue . a cadence bike sensor ( edge 510 , garmin , olathe , ks , usa ) with a heart rate sensor was used , and a 10-grade rating of perceived exertion ( rpe ) was adopted for assessing exercise fatigue . the heart rate reaching 90% of its predicted maximum and the rpe reaching a grade of 7 were used for judgment of exercise fatigue16 . saddle height setting ( is 35 or 25 knee flexion ) the participants were asked to pedal to fatigue in the cycling exercise , and the cadence frequency was recorded from the start of a 5-minute warm - up period until 5 minutes after inducing exercise fatigue . before the exercise began , the protocol was explained to the participants in detail , alerting them to precautions and informing them of the assessment project . each participant was allowed to ride a stationary bike and set the saddle height before adjusting the amount of resistance ( 7 grades ) requesting that the participant maintain a cadence frequency of 85 rpm , which is a common training model for cyclists . after the resistance and saddle height were properly adjusted , recording of the cadence frequency was started for the 5-minute warm - up . after exercise fatigue was induced , recoding of the cadence frequency was continued for 5 minutes of exercise fatigue . the relative variance of the cadence frequency was calculated as the current cadence frequency the set cadence frequency ( 85 rpm ) . this equation denotes the pedaling efficiency , which was calculated at the end of the 5-minute warm - up period and 5 minutes after inducing exercise fatigue . the data obtained were analyzed using the spss version 15 software ( spss , inc . descriptive statistics ( i.e. , mean and standard deviation ) of the participants demographic data were calculated . the wilcoxon test was used , and the value was set at 0.05 . comparing the absolute values of cadence frequency under the two conditions with the two saddle heights ten healthy college students ( age = 22.5 0.9 , weight = 61.3 5.1 kg , and height = 169.3 5.1 cm ) were recruited and randomly performed the cycling protocols , which entailed cycling with a saddle height set to allow 25 or 35 knee flexion . the relative variance in cadence frequency denoted the difference between the actual and set cadence frequencies . comparison of the variance in cadence frequency for saddle heights with 25 or 35 knee flexion revealed no significant difference after the 5-minute warm - up ( table 1table 1.absolute values of relative variance of cadence frequencysaddle height with 25knee flexion ( n = 10)saddle height with 35 knee flexion ( n = 10)5-min warm - up2.62 1.252.53 1.765 minutes after inducing exercise fatigue2.32 1.834.21 2.65**p < 0.05 , saddle heights with 25 vs. 35 knee flexion . p < 0.05 , 5-min warm - up vs. 5-min exercise fatigue ) . a significant difference was found using the saddle height with 35 knee flexion after the 5-minute warm - up and 5 minutes after inducing exercise fatigue ( p = 0.001 ) . comparing the mean and standard deviation of the cadence frequency after the 5-minute warm - up and 5 minutes after inducing exercise fatigue revealed a significant difference between the saddle heights with 25 and 35 knee flexion ( p = 0.001 ) . * p < 0.05 , saddle heights with 25 vs. 35 knee flexion . a saddle height with 35 knee flexion means that the cyclist is seated at a lower saddle height , with the knees remaining flexed during peddling . a saddle height with 25 knee flexion means that the cyclist is seated at a higher saddle height , with the knees extending during peddling . a cyclist seated at a saddle height with 35 knee flexion maintains a long quadriceps muscle length . according to the muscular length - tension ratio , when the length of the muscle surpasses its primary length , passive elastic tension in the muscle initiates factors that cause a greater contraction force17 , 18 . our results indicated that the saddle height with 35 knee flexion had a relatively high variance in cadence frequency , meaning an increase in chaotic pedaling rhythms . when the knee is almost fully extended , cycling is perceived to be easier and is more effective , indicating that a high saddle height results in reduced muscular work19 . found that anaerobic power in a graded exercise protocol was significantly lower for a saddle height with 25 knee flexion than for one with 35 knee flexion7 . in the current study , the current findings supported to the idea that a saddle height with 35 knee flexion would increase power consumption , resulting in an increased relative variance in cadence frequency 5 minutes after inducing exercise fatigue . however , the saddle height with 25 knee flexion exhibited a significantly lower relative variance in cadence frequency than the saddle height with 35 knee flexion . therefore , cycling with a low saddle height could reduce chaotic pedaling rhythms during exercise fatigue , thus benefiting cycling performance . an incorrect saddle height can exert considerable strain on the knee joint , resulting in an increase of overuse injuries20 . although the current study did not explore the effects of different saddle heights on injury prevention , an experimental study established that a saddle height with 2535 knee flexion is ideal for injury prevention21 . however , some studies have recommended a saddle height with 25 knee flexion for injury prevention6 , 20 . an overly low saddle height can cause anterior knee pain from increased compression of the knee joint as the cyclist pushes through the top of the pedal stroke7 . holmes et al . thought that low saddle heights had a high risk of knee overcompression when cycling , which could also result in overuse injuries involving cyclists knee joints22 . found that increasing saddle height could result in large increases in the index of cyclists effectiveness23 . the results of the current study reveal that a saddle height with 25 knee flexion had a lower relative variance in cadence frequency , and it was presumed that high saddle heights could reduce chaotic pedaling rhythms during exercise fatigue . although this study did not investigate the relationship between saddle height and knee injury , most evidence - based studies have supported using saddle heights with 25 knee flexion for beneficial effects in both performance and injury prevention . after inducing exercise fatigue , the relative variance in cadence frequency for saddle heights with 35 knee flexion was higher than that for saddle heights with 25 knee flexion . . the limitations of our study were the small sample size and the short cycling duration , which was selected because it is difficult to observe exercise fatigue during long - distance cycling .

pubmed

Chip and Dale's Rescue Rangers Foxglove wa Otaku Desu (This fan-fiction assumes the Babel effect. All animals understand each others meaning, irrespective of language, and by extension animals can understand any spoken human language. It also assumes the time is early 1990s, not present day. Where non-English words are spoken, but the Rangers automatically hear the translation, the real words will be in square brackets ) What if Foxglove felt she had a good reason to stay away from the other Rangers? Some dark secret that she felt would alienate her and make her outcast if anyone apart from Dale knew. A secret to terrible that she would hide it completely… Okay enough with the build-up. Presenting… **** Foxglove wa otaku desu It was a great day for the Rangers and Dale in particular. They had a new member, Foxglove, and were finally going to visit her place. Dale and Foxglove had been meeting up away from the RRHQ for several months after the moon-rock incident, 'for hang glider lessons', but she'd been curiously reticent about hanging around headquarters or the other Rangers. At Dale's urging, she'd joined in on a couple of missions and quickly proved a valuable team member, with her sonar and ability to fly while carrying someone (as long as no-one reminded her she couldn't). It quickly became a matter of when she could become a team member, not if. Her outgoing personality and good cheer was quick to win her friends. However all her talk was about the others and their interests, not herself. The team had noticed this and done their best to make her feel welcome, and now it had paid off. She had finally agreed to let them see her place, somewhere that had been off-limits to anyone but Dale. So now the Ranger Plane was following Foxglove, and Dale's bat glider, which he was using, to quote him, 'to give her some company out there… aw shucks.' The lady bat was clearly nervous. A couple of times she started to veer off, only to be called back by Dale. "Maybe I should just bring stuff to the Treehouse myself…" "Don't worry Foxy, the guys will love your place, you got real talent." Dale side-slipped in close. Despite his complete ineptness with any larger vehicle (flying mind controlled tanks aside), the rarely shown determination that had surfaced for Double O Dale and Ram-Dale had made him a very good glider pilot. "But, Dale-cutie chan, they'll see… Chip in particular… And they've all been so friendly…" "Don't worry, Foxy. If they can cope with having me around, you'll be fine." Dale might not be as technically intelligent as Gadget, but he'd quickly found out the easiest way to stop Foxglove worrying over something else was to get her to worry over him. "But you're brave and funny and sweet and helpful. Besides you're so good at Ranger work.." Dale grinned. "I used to goof up a lot more. Like that inventor guy said 'Maybe I just needed a better reason to succeed.' " "What inventor guy?" The retelling of the unintentional kidnapping of Gadget by Clyde Cosgrove, the superstitious inventor took up the rest of the flight. As they reached their destination the pair drifted back level with the Rangerplane. Dale pointed down and swooped, Foxy matching his moves "Golly, it's the City University." Monty said, then realised he'd picked up the wrong script. "Golly, It's the City University." said Gadget as they spiralled down after the two flyers. Dale, headed for the roof of a two-story building with metal lettering on one wall. 'Faculty of Art, Media Studies Department' He sailed over the flat asphalt roof and stalled his glider to drop for a neat landing. Foxy back-winged to land beside him and seconds later the Rangerplane's shadow swept overhead. The other Rangers joined the pair, Dale almost bouncing with eagerness as he lead them to the edge, Foxy almost being dragged by the cheerful chipmunk. An arrangement of ladders and tubing provided a safe route over the edge of the roof and under the eve. Dale explained. "We had to install this before I got good enough to glide straight in." "Straight in where?" Chip asked, and the others looked equally puzzled. "You'll see. This is gonna be great!" They quickly did. The roof overhung the building and underneath it there were a series of ventilation gaps leading upwards into the roof space. They realised that to fly in you'd have to dive and swoop up at the last moment, stalling as you rose over the inner edge. Suddenly Dale's proficiency with a glider was a lot less mysterious. The ventilation gap led into the space over a room with a drop ceiling. A grid of support wires suspended a metal grid holding polystyrene tiles. It was dark, lit only by light leaking through the ventilation gaps and occasional cracks in the tile layout. Barely glimpsed, occasional bundles of cabling and a couple of conduits interrupted the open space. Foxy flew out and up to hover near the roof and switched on a pocket torch, which was secured to the ceiling. It illuminated what was obviously her living space. It had a somewhat schizophrenic feel it, having being created for a creature that was as used to being inverted as upright. Suspended cross wires had been made into perches by padding and string. Below, a polystyrene tile had been reinforced by pieces of cardboard, laminated together with glue. It supported a couple of beanbags and a silvered cardboard stand that supported a bottle top full of water and some personal grooming gear. Some suspended slings next to it acted as storage compartments. Nearby, one of the vertical stays had been more heavily wrapped with padding that looked rather lumpy and worn. A stack of paper cut down to A6 size (notepad) and a plastic box full of pencil stubs and stationary completed the furnishings. Every thing else was decoration. Some carefully angled silvered card mirrors on the floor reflected light from the torch up onto the edges of the area, where dozens of suspended pictures hung. Some were clearly cut from the covers of magazine advertisements, the small 'inset style' pictures making a decent small animal sized posters. Others were obviously hand drawn and painstakingly coloured in. A few were A6, which made them practically bed-sheet sized for a rodent, but most were halved or quartered. Some of the top row were upside down But it was the subject matter that stopped the Rangers in their tracks. Jackie Chan and Bruce Lee rubbed shoulders with Ninja Science Team Gatchaman, Sailor Moon and Moldiver. One series of 'posters' showed Miyazaki films such as 'Laputa – The Flying Island.', 'Kiki's Delivery Service' and 'Naussica of the Valley of Winds'. But most of all it was the hand drawn sketches. Anime style humans in outlandish costumes rubbed shoulders with more realistic animal studies, some equally oddly garbed. All showed the same competent 'hand', or as they quickly realised, 'wing'. A few showed the Rangers or Foxglove herself. One showed the entire Ranger team, minus Foxglove, in the birdlike Ninja Science Team Gatchaman costumes, in an action pose against a starry galaxy. Another was an image of Gadget, in a floating ribbon swathed robe, a curious mark blue mark on cheek and forehead and carrying a staff surmounted by a hex nut. One of the full length ones was an image of Foxy and Dale posed in from of a thin crescent moon, she in a sailor suit and wearing big gold and ruby ornaments on her ears, and him in an immaculate black tuxedo and top hat and wearing a white domino mask. Foxy was still hovering up by the light switch, unsteadily because her wings were shaking. She looked nervous enough to bolt. "Wow!" "Golly and a half!" "Zu zaid id!" "You did all this lass?" "You like them?" Foxy asked, still nervous. Chip got his words out a fraction of a second before the others. "Are you cuh-razy? They're amazing." Dale grinned broadly, "See, I told ya they'd be impressed." Foxglove stopped dead in midair with an almost pathetic expression of relief and dropped down onto one of the beanbags. "I'm so happy!" She bounced up off the beanbag and started practically skipping around the room, hugging each of the Rangers. "I wanted to show everyone, but I was so afraid, especially when I drew you all without permission, but you're team fits the G-Force so well, and anyone who doesn't meet Gadget for 5 minutes and think of Belldandy, with Skuld's talent for gadgeteering…" She sighed deeply. "So now you know… I'm an o-ta-ku." She spelled out the word. Non-plussed expressions had clearly been on sale, because everyone except Dale and Foxy had one. A spelled out word didn't automatically translate. Monty spoke first. "I thought you were a bat, Foxy-luv." Foxglove giggled, "No, silly, it means a fan of Japanese animation styles, cartoon movies anime and comics manga. I'm also into Hong Kong action movies, but anime is my first love… I'd better tell you the whole story." Foxy gestured to the beanbags. "Sorry you have to share, but until Dale I was the only one here." When everyone was comfortable, she perched and started her tale. "As you can guess, I'm not from around here. I grew up in another city, I couldn't tell you which one. I was the odd one out in a family of… stiffs is the only word for them. I was always asking questions that didn't need asking, in their opinion and generally was a nuisance in their well-ordered lives. I wasn't particularly happy, and as soon as thought I had a chance of making a go of it on my own, I left. I went to the rail yard and caught the first train going anywhere but there. I think they were glad to see me go." "Ohhh, Foxglove!" Gadget was almost in tears at the matter of fact account, and the others didn't look too happy either. Dale, who was sitting on the beanbag by Foxglove, put his arm around her. "Foxy, you never said." Foxglove paused and hugged him one wing in return. "I didn't want you to feel sorry for me. Don't feel sad. It was the first decision I ever made for myself, and even if it proved to be a bad one at first I ended up here, with you cutie, and everyone else. That makes up a thousand times what I went through. So, I quickly found out that independence wasn't as easy as I'd thought. It was the end of autumn and I was pretty far down on my luck, cold tired and hungry when I found a roost in the loft of the Art House cinema down on 24th and Jackson. It was warm, there was plenty of food, and I spent the first few days recovering." "Then I got interested in what exactly the humans were doing below. It turns out they were just starting a season on Japanese . That first night I saw Laputa – The Flying Island and Lupin III – Castle of Cagliostro, and I was hooked. I'd only ever seen even TVs in shop windows and to see it like that… over the next couple of weeks I saw everything they showed, all the Miyazaki canon, the uncut version of Akira, Project A-ko, Macross – Do You Remember Love. The stories, the fantastic pictures, the music… When it looked like finishing I was devastated, until I overheard some students who'd been to one of the last showings talking about CUACS." "Quacks?" asked Chip, not wanting to make the obvious remark about ducks. "The City University Asian Cinema Society. They meet one evening a week in the classroom below. Officially it's one of the Media Studies classrooms, but effectively it's their clubhouse. Of course I quickly made my way here. At first I just watched, they even have a laserdisc player that can handle stuff straight from Japan. But then I wanted to do more. Fortunately they keep a small library of books in there, 'How to draw', Japanese dictionaries and guides to their writing, and I had plenty of free time." "Golly, and you managed to draw all these?" "It was hard at first," she held out a wing, "After all I'm not exactly built for dexterity. But I persevered, and eventually I made it work. I even managed to make friends with some of the humans, in a way." Their were more expressions of shock, which Foxglove quickly stalled. "Not directly… But the university, and this building has an excellent computer network, connected to the Internet. I managed to set up a hidden account, easy enough when you can hide in the ducting and watch the Sysop at work. I spoof all my messages through a server in Tokyo so they don't realise I'm right here. They know me as Digital Ice." She paused for a second and Dale, surprisingly, was the one who reacted first. "Ohh… Foxy. I'm the one who does the bad puns." He looked around. "Digital Ice, Digitalis, the medical name for the foxglove plant… Oh yeah, you guys never watched that late, late show on herbal medicine." The lady bat rewarded him with another hug. "They believe I'm a Japanese media student, specialising in English. I make all my posts at between 2 to 4 in the morning, evening time in Japan. I scan in some of my pictures and help them with fan-subbing." The non-plussedness was once again evident. "Anime comes from Japan, mostly, and has sound tracks in Japanese. English speaking humans don't understand, so they commonly add sub-titles. It's done mainly by fans, using dictionaries and hard work," (she used the word otaku again, and this time they understood) "and so it's called fan-subbing. "Of course for us it's different. We can understand each other, even though each species has it's own language. So I speak in Battish, you listen in Mousese or Chipmunk or Flyan but you still understand me. But a human would just be listening in Bewilderment. "At first I didn't understand that humans speaking different languages couldn't understand each other. It took me some time to realise that the words at the bottom of the screen weren't just for the hard of hearing, and didn't match up to the way the words were being spoken. When I did, I started to help, sending transcripts by e-mail. After all, for me, it just means sneaking down at night, putting a un-subtitled tape on and transcribing what I hear." "That makes sense." Gadget was thoughtful. "I didn't realise you knew so much about computers. But why hide it?" Foxglove hesitated. "I had a… bad experience." She bowed her head, then looked back up. "I didn't get along with the few other bats I met. They seemed to think I was weird, I guess to them I was. But there was this one bat, Victor, He was willing to hang out with me, said nice things, and I was happy to let him stay here, share what I had, and generally took care of him." "Sounds a mite like he was using yer, lass." "Maybe I realised that on some level, but I didn't mind, it was so good to be finally needed. But then he started getting more demanding, insisting I stop playing around with all this," she gestured with a wing at the surroundings, "and spend more time on more important things, in short, him. I tried to do more, to provide what he wanted, but it was never enough. One day he finally lost it. He called me… some terrible things, screamed that I was a hopeless little fluff brain who might as well put myself in one of my pathetic scribblings since I had no chance of making it in real life. Then he started tearing down some of my favourite drawings and ripping them to shreds." She gulped, obviously remembering, and started sniffling. "I never told anyone, even Dale that part…" The aforementioned chipmunk held her comfortingly, looking uncharacteristically fierce. "Hey Foxy, don't worry, if he ever shows his face around here again I'll…" he paused, at a bit of a loss for words. "… well he'll be sorry he did!" Foxglove gazed straight at him, managing a smile. "It's okay Dale, when he started wrecking things I got sort of mad and kicked him out." "But…" "I mean I really kicked him out… as in flying kick. I do watch the live action movies too, and I came up with a few ideas. Flying kicks are easier to do when you really can fly, and open handed strikes, well a bat wing is a big webbed open hand with muscles that can lift a bat's bodyweight. That translates to quite a powerful strike. I do practice." And at this she glanced sideways at the vertical stay with the padding. "I don't like to use them unless I have to, but they come in handy." Monty smacked his one paw into another. "Too roight luv, Capone's goons found that out." "Wowie Zowie! I knew you were a really good artist, but you never said you were a kung fu babe as well! That's so neat!" Foxglove blushed. "I didn't want to scare you off. I've worked out a few tricks, but I'm no martial artist." Dale was the one who looked subdued. "But you can do so much, why'd ya end up with Freddie? Not that I'm complaining, 'cause it meant I met you." Foxglove shook her head. "I guess I'm the sort who can't help but make fumble winged mistakes. After Victor I didn't want to see much of anyone. I sort of took his words to heart. Then I found Winifred, and decided if I couldn't be a good person I might still be a good familiar." She got up and walked over to the poster for 'Kiki's Delivery service.' "This was my first introduction to witches and it was as the good guys. It's about a young witch who goes out into the world with her familiar, a little black cat called Jiji, to find her destiny. However she's no good at spells or potions, just at flying her broom. So when she finds a town without a witch she starts a delivery service. That was the sort of thing I was thinking when I met up with Winifred, flying that vacuum cleaner. Maybe it was because she was a witch, but she understood me. "I asked, practically begged to be her familiar. This was before Bud or Lou, and I tried to help her get better at magic and act as her voice of reason, just like Jiji. I found out soon enough she wasn't a nice or reasonable person, but I stuck it out, even when she got other familiars who would do some of the nasty things I wouldn't touch. I guess I still saw it as my responsibility somehow." "Then came that night we were collecting lightning bugs at the drive-in. I was torn between helping out and stopping the others so I just sort of hovered in the background. Then I saw your Rangerplane. It was amazing, like the flaptors out of 'Laputa' and I wanted to find out more. Then you all got into that mess with Bud and Lou and I was scared to show up in case they identified me as part of their group and you thought I was an enemy, and I didn't want that." Dale looked puzzled. "But you acted all cuddly with me right from the start. What'd I do?" "Well I couldn't help overhearing you when I was observing. It was sweet of you to offer some of your food to everyone, the way your bubblegum saved everyone, but I guess it was really the way you fell. You were a little chipmunk Jackie Chan, and I guess I just couldn't help falling too, in love. It was like something out of a girls comic shojo manga where the girl; meets the boy by some ridiculous accident. I couldn't help myself." Dale looked embarrassed, "Gosh, I'm sorry it took me so long to stop pushing you away. I just couldn't figure what you saw in me, I thought it was all some game." Foxy cuddled up to him again. "It's okay Dale-cutie chan. It's also a regular thing in shojo that the guy doesn't want to know at first, thinks there's some trick or something wrong, but the cheery girl perseveres and wins his heart in the end." Monty whispered to Chip. "Looks like our little lady Foxy is even more stuck on comics than Dale-lad." Foxglove's face fell, and Monty remembered how good her hearing was. "Oh, no, please don't tell me I've ruined it!" "Now lass, don't get yerself all twisted up. None of us Rangers is your regular type. If we were, we probably wouldn't be Rescue Rangers." The others quickly agreed. Dale added, "Yeah, Don't worry Foxy, everything will work out fine." Foxy sighed happily. "Thank you, everybody! It's just after so many false hopes, I'm still scared that all this is some wonderful dream. I have friends who are willing to accept me, and a wonderful guy who can share my interest. I feel as if I was in a shojo manga and this was the happy ending." Dale smirked. "Uhuh, this Foxy, this is the real thing. Hey, maybe someone will make a cartoon about us someday. Foxy and Dale, Rescue Rangers." "Hey, aren't you forgetting some people?" asked Chip, his open paw including the rest of the Rangers. Gadget giggled. "Don't worry Chip, who'd make a cartoon about us?" And there was much good humour. & This was not so much a story as a monument to an idea that got out of hand. Foxglove is the one character who is something of a mystery. This tries to resolve that. Thanks for reading. With many thanks to 'aika.ru' for the wallpaper 'Oh My Gadget' i16./albums/b27/Zelgadis97/amgadget-1280x1024.jpg and to Marc Baker for the image 'Spaceranger' rrdatabase./image/marcbaker/spacerangers.jpg both of which inspired pictures attributed to Foxglove in this story. As for the 'Sailor Foxglove, Tuxedo Dale' image described here, I haven't seen it but if someone wants to have a go… Update - It inspired an excellent piece of fan art /phpbb/viewtopic.php?t10691, and all props to Toni, the artist.. End file.

fanfiction

Is HDPE affected by long term exposure to methanol? For at least several years I'be been storing various chloride solutions with methanol as a solute in Nalgene containers, which I believe are made from high density polyethylene (HDP). But recently two of these containers had failed. On these containers the plastic seems to have hardened and cracked (see photographs below). [![enter image description here](https://i.stack.imgur.com/UYZrd.jpg)](https://i.stack.imgur.com/UYZrd.jpg) [![enter image description here](https://i.stack.imgur.com/TImtJ.jpg)](https://i.stack.imgur.com/TImtJ.jpg) The other containers still seem to be pliable, in good shape. I thought that HDPE would be resilient to methanol and provide indefinite storage. Was I wrong? Or is it perhaps the methanol in combination with the particular salt that led to failure of the container? The failed containers had strontium and potassium chloride solution. Others like lithium, sodium and copper solutions are OK. HDPE *should* be fairly stable to MeOH, but it [crazes in the presence of UV](https://www.directplastics.co.uk/about_plastics/how-uv-affects-engineering-plastics), when subject [to oxidization](https://www.researchgate.net/profile/Donald_Duvall2/publication/269139268_Forensic_Analysis_of_Oxidation_Embrittlement_in_Failed_HDPE_Potable_Water_Pipes/links/560157af08aeafc8ac8c8e1b.pdf) or [to environmental stress](http://sundoc.bibliothek.uni-halle.de/diss-online/04/04H140/prom.pdf). Since only some of the containers failed, were those subjected to more UV (e.g. placed by windows or at the front of a shelf in a well-lit location), placed near oxidizers, such as bleaches or were they subject to higher temperature, which would have caused the methanol liquid and vapor to expand, increasing pressure and stressing the container? My experience has also been that apparently identical polyethylene containers have different failure rates, perhaps due to subtle differences during synthesis or manufacture. Given polyethylene's tendency to craze, it might be best to use another type of container for long-term storage. Note, though, that ~50% MeOH/water solution used for windshield antifreeze is usually shipped in polyethylene containers. Though the water lowers the vapor pressure, perhaps the UV susceptibility is addressed with additives. PE has a strong tendency for cold flow under (esp. extensional) stress. When it yields, it recrystallises, becoming more brittle. The crack position at the edge, where the highest local stress occurs, would support that this is what happened. Different PE types (LDPE; LLDPE; HDPE; and more subtle differences in branching, comonomer content etc.), slightly different temperature, pressure, filling height, previous UV exposure, etc. made the difference for your containers. Once it's started, the crazing is likely to continue, because the anisotropic density change during recrystallisation produces even *more* local stress in the material.

stackexchange/chemistry

the deletions or mutations occurring in mitochondrial dna ( mtdna ) attract attention toward some of human disease either directly or associated with nuclear dna mutations , especially affects the tissue or organ that have a high demand for respiratory energy . spermatozoa needs energy for rapid motility after ejaculation and energy is produced by oxidative phosphorylation . simultaneously , reactive oxygen species ( ros ) and free radicals are formed as byproducts during oxidative phosphorylation . the molecular studies have revealed that mitochondrial genes atpase 6 , atpase 8 , cox 3 , cox 2 , cytb , nd3 , nd4 , nd5 , and nd6 involved the formation of mature sperm and rapid flagellar movement after ejaculation . any qualitative and quantitative abnormal changes in mtdna may impair physiological functions of spermatozoa and diminish the motility of sperms . high frequencies of nucleotide deletions and mutations in sperm mtdna lead to aberrant changes in growth , development and differentiation of sperm and decreased flagellar movements . more than 100 large scale deletions of mtdna are associated with human diseases , and one of the deletions is 4977-bp deletion caused various pathological phenotypes in human . direct repeats , present at nucleotide 84708482 and 1344713459 bp position , which are prone to 4977-bp deletion in mtdna . long chain pcr is a modified version of conventional pcr , and it amplifies a part or whole genome of mitochondria and allows to detection of multiple mtdna deletions from a single sample . number of studies investigated the relationship between multiple mtdna deletions and sperm abnormalities , but they have produced conflicting data . they also noted that deletions in mtdna had significantly higher in asthenozoospermia and oligoasthenoteratozoospermia ( oat ) when compared with normal males . it is quite common for deleted mtdna molecules to coexist with wild - type mtdna in mitochondria of the same cell known as heteroplasmy . such condition also revealed by the genetic as well as biochemical analysis of the target tissues . in this study , we analyzed presence of 4977-bp sperm mtdna deletions in high- and low - density percoll fractions of spermatozoa from different patients , by long - range polymerase chain reaction ( pcr ) with primer shift techniques , to know the association between sperm mtdna deletions with asthenozoospermia and oat . the study included sixty infertile men and thirty normozoospermic sperm samples . out of them , recruitment of patients and fertile men was made according to guidelines established by world health organization 2010 . all the semen samples were collected into sterile container ; then the sample were allowed to liquefy at 37c for 30 min . semen sample was collected after routine diagnosis of sperm profile including motility , characteristic , concentration , and morphology . in our laboratory , informed consent form was obtained from each patient and study was approved by mahatma gandhi institute of medical sciences institutional ethical committee . fractionation of human sperm was done by using three steps ( 80% , 60% , and 40% ) discontinuous percoll gradients . percoll gradients were prepared by mixing 100% percoll solution ( sigma , ca , usa ) with ham 's f-10 medium ( sigma , ca , usa ) at different volume ratios . freshly ejaculated spermatozoa were gently washed and 500 l sperm sample was layered on top of percoll gradient and incubated at 37c for 1 h 30 min in 5% co2 incubator . after incubation , the spermatozoa migrated into different percentage of percoll gradients according to their motilities [ figure 1 ] . fractionation of human sperm by self - migration into continuous percoll gradients layer according to their motilities of spermatozoa spermatozoa were collected before dna extraction , and sperm was incubated with 50 mm tris - hcl buffer ( ph 6.8 ) at 8c for 20 min to avoid contamination of lymphocytes and epithelial cells by osmotic shock method . those sperm cells resist to this treatment were then collected by centrifugation and subjected to dna extraction according to the method described . sperm cells digested at 55c for 2 h in 1.5 ml tubes ; lysate was extracted with phenol - chloroform . the aqueous layers were separated and precipitated with ethanol and 3 m sodium acetate ( ph 5.6 ) and dna precipitated was washed with 75% ethanol and dried . the sperm mtdna was finally dissolved in 10 mm tris - edta buffer , ph 8.5 . the desired long segment of targeted sequences of mtdna was amplified from 100150 ng of sperm mtdna in a 50 l reaction mixture , containing 200 mm of each dntp ( merck biosciences , bangalore ) , 1 mm of each light and heavy strand primers ( idt technologies , usa ) , 1.5 u of herculase dna polymerase , 50 mm kcl , 2 mm mgcl2,25 mm tris[hydromethyl ] methyl-3-aminopropanesulphonic acid ( agilent technologies , usa ) , 1 mm pcr was carried out for 25 cycles in two steps in first 12 cycles using the denaturation at 94c for 1 min , annealing at 5558c for 1 min , and primer extension at 72c for 6 min and remaining 13 cycles denaturation and annealing condition were same but primer extension at 68c for increasing 10 s to each reactions . the long - range pcr products were then separated on a 1% ethidium bromide containing agarose gel for 1.5 h and observed on gel documentation system ( uvi - teck , uk ) . primer - shift pcr method was used to determine the amplified dna fragment was not the product of mis - annealing of primers from the dna template . we could obtain pcr products of 372 , 572 , 526 bp , by using primer pair mtl1-mth1 , mtl1-mth2 , mtl1-mth3 [ table 1 ] . these reactions allowed to consider the presence of 4977-bp mtdna deletions in spermatozoa with poor motility . by shifting of the primer pair , we could assure that the amplified pcr products were not due to mis - annealing of the primers to the dna template but to the presence of large - scale deletions in sperm mtdna . sequences of primers used for primer shift technique to amplify mitochondrial dna for detection of common 4977 bp deletion the study included sixty infertile men and thirty normozoospermic sperm samples . out of them , recruitment of patients and fertile men was made according to guidelines established by world health organization 2010 . all the semen samples were collected into sterile container ; then the sample were allowed to liquefy at 37c for 30 min . semen sample was collected after routine diagnosis of sperm profile including motility , characteristic , concentration , and morphology . in our laboratory , informed consent form was obtained from each patient and study was approved by mahatma gandhi institute of medical sciences institutional ethical committee . fractionation of human sperm was done by using three steps ( 80% , 60% , and 40% ) discontinuous percoll gradients . percoll gradients were prepared by mixing 100% percoll solution ( sigma , ca , usa ) with ham 's f-10 medium ( sigma , ca , usa ) at different volume ratios . freshly ejaculated spermatozoa were gently washed and 500 l sperm sample was layered on top of percoll gradient and incubated at 37c for 1 h 30 min in 5% co2 incubator . after incubation , the spermatozoa migrated into different percentage of percoll gradients according to their motilities [ figure 1 ] . fractionated spermatozoa were separated from percoll gradients in fresh vials . fractionated sperm samples were used for mtdna extraction . fractionation of human sperm by self - migration into continuous percoll gradients layer according to their motilities of spermatozoa spermatozoa were collected before dna extraction , and sperm was incubated with 50 mm tris - hcl buffer ( ph 6.8 ) at 8c for 20 min to avoid contamination of lymphocytes and epithelial cells by osmotic shock method . those sperm cells resist to this treatment were then collected by centrifugation and subjected to dna extraction according to the method described . sperm cells digested at 55c for 2 h in 1.5 ml tubes ; lysate was extracted with phenol - chloroform . the aqueous layers were separated and precipitated with ethanol and 3 m sodium acetate ( ph 5.6 ) and dna precipitated was washed with 75% ethanol and dried . the sperm mtdna was finally dissolved in 10 mm tris - edta buffer , ph 8.5 . the desired long segment of targeted sequences of mtdna was amplified from 100150 ng of sperm mtdna in a 50 l reaction mixture , containing 200 mm of each dntp ( merck biosciences , bangalore ) , 1 mm of each light and heavy strand primers ( idt technologies , usa ) , 1.5 u of herculase dna polymerase , 50 mm kcl , 2 mm mgcl2,25 mm tris[hydromethyl ] methyl-3-aminopropanesulphonic acid ( agilent technologies , usa ) , 1 mm pcr was carried out for 25 cycles in two steps in first 12 cycles using the denaturation at 94c for 1 min , annealing at 5558c for 1 min , and primer extension at 72c for 6 min and remaining 13 cycles denaturation and annealing condition were same but primer extension at 68c for increasing 10 s to each reactions . the long - range pcr products were then separated on a 1% ethidium bromide containing agarose gel for 1.5 h and observed on gel documentation system ( uvi - teck , uk ) . primer - shift pcr method was used to determine the amplified dna fragment was not the product of mis - annealing of primers from the dna template . we could obtain pcr products of 372 , 572 , 526 bp , by using primer pair mtl1-mth1 , mtl1-mth2 , mtl1-mth3 [ table 1 ] . these reactions allowed to consider the presence of 4977-bp mtdna deletions in spermatozoa with poor motility . by shifting of the primer pair , we could assure that the amplified pcr products were not due to mis - annealing of the primers to the dna template but to the presence of large - scale deletions in sperm mtdna . sequences of primers used for primer shift technique to amplify mitochondrial dna for detection of common 4977 bp deletion we have analyzed sperm mtdna from sixty samples of infertile men with asthenozoospermia ( 39 ) and oat ( 21 ) and thirty control semen samples from fertile males for deletion mapping of mtdna . human spermatozoa with a differing degree of motility were separated by 40% , 60% , and 80% discontinuous percoll gradient . percoll fractions contain spermatozoa were fractionated after incubation on the basis of their sperm motility . the spermatozoa obtained from the 40% fractions of low - density percoll gradients exhibited poor motility . thirty samples from control normozoospermic males were analyzed for mtdna deletions from all three fractions of percoll . results had shown no significant number of 4977-bp common deletions in mtdna of fertile males except two males . using the long - range pcr techniques and the primer sets mtl1-mth1 , we first screened for the deletions of large scale 4977-bp deletions of mtdna in spermatozoa from sixty infertile males . out of sixty patients , 14 ( 23.3% ) patients had showed deletions of 4977-bp ( np the common deletions of 4977-bp results revealed that 40% , 60% , and 80% percoll fractions of spermatozoa had 14 ( 23.3% ) , 7 ( 11.6% ) , and 3 ( 5% ) deletions in mtdna , respectively of infertile males using mtl1-mth1 primer set [ table 2 ] . the 5349 bp band was the full - length pcr product from the wild - type mtdna and the approximately 354393 bp bands were generated from the 4977-bp - deleted mtdna [ figure 2 ] . using the primer - shift pcr technique , we obtained the pcr products with sizes in accordance with the shift in the distance of different primer pairs . mtl1 primer was set with another two primer sets mtl1-mth2 and mtl1-mth3 for primer shift and we obtained the pcr products of 572bp and 526 bp respectively from the 4977-bp deleted mtdna [ table 3 ] . heteroplasmic mtdna is a combination of wild - type and deleted mtdna ( mixed populations of normal and deleted dna ) . in our results , all 14 semen samples ( 14/60 ) of asthenozoospermia and oat showed heteroplasmic mtdna , i.e. a combination of normal and deleted mtdna [ figure 3 ] . the occurrence of the 4977 bp deletions of mitochondrial dna in the percoll gradients fractionated spermatozoa from 14 males with asthenozoospermia and oligoasthenoteratozoospermia a scheme illustrating the strategy used for the confirmation of large scale 4977 - -bp deletion of mitochondrial dna , 13 bp repeat common deletions sites and deleted gene on mitochondrial dna nucleotide primer pairs used for the analysis of the 4977 bp deletions in the mitochondrial dna of human sperm detection of mitochondrial dna molecules with the 4977 - -bp deletions by polymerase chain reaction method . using primer pair mtl1-mth1 we obtained the deleted and wild type mitochondrial dna in lane 3 , 5 , 6 , and 9 . the polymerase chain reaction product size flanking the deleted part is 372 bp sequencing the 372 bp pcr products of the regions flanking the breakpoint of 4977-bp deleted sperm mtdna sequences have been done . the nucleotide sequences flanking the breakpoints of the deletions of 4977-bp of mtdna in human spermatozoa are depicted in figure 2 . upon close examination of the 4977-bp deletion , we found two 13 bp direct repeats in the junction sites from np 8470 to 8482 and from np 13447 to 13460 bp on the mtdna . we sequenced the 12 pcr products of 372 bp generated from 4977-bp deletions of mtdna . sequencing results indicated that maximum breakpoints for 4977-bp deletions were present in the flanking regions of deleted segments and around the direct repeat of 13 bp ( acctccctcacca ) but rarely within the direct repeats . the result confirms that two direct repeats of 13 bp cause or influence the mtdna deletions in infertile men . sperm mitochondria play a crucial role in human fertilization , and defective sperm mtdna is one of the causes of male infertility . sperm dysfunction may be caused by various conditions such as the inability to carry out sperm - oocyte fusion , failure to sperm - zona recognition , and abnormalities of flagellar movement . to known the etiology of the decreased motility and diminished fertility of the spermatozoa and to develop suitable therapeutic approaches , the molecular study of these abnormalities must be explained . in this study , we have investigated 4977-bp large scale deletions of sperm mtdna in sixty asthenozoospermic and oat men . long - range pcr was used for screening large scale deletion of mtdna in spermatozoa with decline motility and deletions were confirmed by primer shift technique . we found large deletions of 4977-bp in 40% percoll fraction in 14 ( 23.3% ) infertile men and in 60% percoll gradient had same deletion in seven patients . however , in 80% percoll gradients only three infertile males had shown 4977-bp deletions . out of 14 mtdna deleted infertile males , eight males had asthenozoospermia and six males had oat [ table 4 ] . nucleotide sequencing of pcr products flanking the deleted mtdna revealed thirteen base - pair direct repeats present at the flanking sites of mtdna , which are generally vulnerable sites for large - scale dna deletions . the break - points of large scale deletions were found in or around the two direct 13 bp repeats . although , the 4977-bp deletion was commonly seen in 40% fraction of spermatozoa with poor motility ; many studies demonstrated that the 4977-bp large scale deletions had present in somatic tissues along with mtdna of infertile male spermatozoa . the mechanism by which these large - scale mtdna deletions occur in still unclear but several studies have been proposed large scale dna deletion by slipped - mispairing , illegitimate recombination , oxidative stress created by free radicals , and topoisomerase or dna recombinase - mediated dna breaks . proportion of the common deletion in 40% , 60% , 80% percoll fractions of asthenozoospermia , oligoasthenoteratozoospermia and normal fertile males mtdna deletions are frequently found in the tissues of different patients and also in mitochondrial myopathy . the 4977-bp deletion of mtdna remove multiple structural genes such as atpase 6 , atpase 8 , coxiii , nd3 , nd4l , nd4 , five t - rna genes , and the deletions results in multiple respiratory chain deficiencies . actually , respiratory chain continuously produces ros in mitochondria and such oxidative stress , exogenous , and endogenous free radicals damage mtdna . showed an increased frequency of nucleotide changes in the mitochondrial gene , including atpase6 , atpase8 , nd2 , nd3 , nd4 , nd5 in the semen of the oat infertile men . they suggested that excess ros and low antioxidant levels in the semen might cause mutation / deletions in mtdna and impair the fertilizing capacity of spermatozoa . had shown a positive correlation between the intracellular content of 8-hydroxy-2-deoxyguanosine , as a biomarker of oxidative dna and the level of mtdna with the 4977-bp deletions in spermatozoa . they suggested ros - mediated oxidative stress to dna might be a causative agent to large - scale deletions of mtdna of spermatozoa . another report suggested that deletions or mutations in the mtdna of sperm / egg cells made by continuously change the physiological environment of germ cells during human ageing . in human sperm cells spectacular segregational and morphological changes occur during spermatogenesis , in which mtdna mutations may be introduced . during spermatogenesis , mtdna deletions / mutations may occur and accumulate in the original spermatid and ultimately damage respiratory function and sperm motility . in the process of intracytoplasmic sperm injection , we avoid the natural selection process of sperm and allows insemination by spermatozoa with low energy production , which means that sperm cells with considerable numbers of mtdna 4977-bp deletions molecule do not produce enough energy for their movement thus oocyte fertilization frequency is low . deletions in a sperm mtdna does not affect embryonic development rather than it reduces fertilization efficiency of spermatozoa which caused infertility in males . direct repeats present in mtdna may introduce the break sites at the time of replication or recombination events . another strong possibility is that for sperm motility continuous energy is required and during the energy production free radical molecules are produced and increases oxidative stress . in the absence of antioxidant activity in mitochondria , the increased oxidative stress caused dna damage . these genetic alterations could be pathological mutations or common mtdna deletions only affect male fertility because mtdna is maternally inherited . indeed , our results indicated the association of the 4977-bp deletions of mtdna with diminished fertility and motility of human spermatozoa . the deletions responsible for decrease sperm motility have been associated with spermatozoa dysfunction and male infertility . our finding suggests that there is a relationship between large - scale deletions of 4977-bp mtdna in spermatozoa with poor motility patients with asthenozoospermia and oat .

pubmed

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INTERSTELLAR Written by Jonathan Nolan STORY BY Jonathan Nolan, Kip Thorne & Lynda Obst MARCH 12 2008 SPACE. But not the dark lonely corner of it we're used to. This is a glittering inferno -- the center of a distant galaxy. Suddenly, something TEARS past at incredible speed: a NEUTRON STAR. It SMASHES headlong through everything it encounters... planets, stars. Can anything stop this juggernaut? Yes. Something looms at the heart of the galaxy, hidden inside the blinding starlight, a dark flaw in the fabric of existence itself: a BLACK HOLE. The neutron star is pulled into the black hole's swirl, spiraling closer and closer to destruction. Finally, it contacts the hole's edge and EXPLODES. The EXPLOSION is so powerful that it sends shock waves into the fabric of space-time itself. We ride one of these waves, racing back out from the black hole. Suddenly, a portion of the wave disappears down a crystal- like hole, emerging in a much darker region of the universe -- a backwater that, as the wave races past a giant red planet with a distinctive eye, we recognize as our own. The wave, now just an infinitesimal ripple, finally reaches our blue planet. It drops into our atmosphere over North America, toward the high desert east of the Cascades, and through the roof of a nondescript warehouse. The wave tickles the atoms in the steel shell of a vacuum chamber, then dances a tiny jig with a laser beam reflected in a heavy piece of glass. The wave shoots back out of the building and disappears in the fractal branches of a tumbleweed resting against a concrete tube that stretches for miles in the desert. An SUV speeds past the tumbleweed and we follow it till it parks at another plain-looking building at the opposite end of the tube. A MAN climbs out of the SUV. INT. CONTROL ROOM, WAREHOUSE -- DAY The man lets himself into a large room that looks like Mission Control. He pours himself a cup of coffee. It is the weekend and the place is empty. No one has been there to see the displays flashing a distinctive shape -- a pulse followed by a series of echoes. The man looks up at the screen, then DROPS his cup of coffee. CUT TO: 2. INT. LIGO OFFICES, CALTECH, PASADENA -- DAY The Laser Interferometer Gravitational-Wave Observatory headquarters at Caltech is a frenzy of activity. POSTDOCS and RESEARCHERS huddle around monitors and printouts, arguing. ANSEN, 60s, the director of LIGO, walks through the frenzy. A postdoc hands him a printout: a pulse followed by echoes. INT. LIGO DIRECTOR'S OFFICE, CALTECH -- DAY Ansen steps into the relative calm of a large, sunlit office, which overlooks a grassy stretch of Caltech's campus. His ASSISTANT, 30s, is on the phone, on hold. He looks up at Ansen as he enters. ASSISTANT I'm on hold with the INS. (COVERS MICROPHONE) Don't you think we should double check the triangulation before we CALL ANYBODY- ANSEN We have double checked it. Someone finally picks up the line. ASSISTANT Yes. I'm trying to reach- (pause, listens) No, I don't think you understand how serious this is. (PAUSE) Because if you did, we'd be having this conversation in person. He listens for a moment, then hangs up the phone, confused. ANSEN What did they say? ASSISTANT They said we should look out the window. Ansen steps to the window and looks out: In the courtyard below, coeds are scrambling to get out of the way as a military helicopter sets down in the middle of the quad and dozens of ARMED FEDERAL AGENTS converge on his building. 3. INT. MAIN CONFERENCE ROOM, LIGO, CALTECH -- DAY Ansen sits, alone, on one side of a conference table. The other side is filled with GOVERNMENT MEN -- NSA mostly, some DIA. The door opens and his assistant steps in. Armed guards pat him down, then shove him into a seat. ANSEN Is that really necessary? One of the NSA agents leans forward. NSA AGENT You've been complaining for years that the government doesn't take your project seriously enough, Doctor. (SMILES) You can't have it both ways. Ansen motions to his assistant, who turns on a projector. On-screen, we see the familiar pulse and echoes. ANSEN Yesterday morning, our facility in Hanford identified this signal: a neutron star colliding with a supermassive black hole. We went through the last year's data and triangulated the source. The pulse is translated into a crude animatic of a neutron star circling into the black hole. NSA AGENT We know that, Doctor. What we don't know is why, according to your numbers, this event took place right here in our own solar system. Suddenly, the image overlays the sun, the earth, and the rest of our solar system around the black hole. ANSEN It didn't. Because if it had we'd all be dead by now. On-screen, Jupiter, then the Earth and the inner planets are consumed by the black hole. Only the sun survives, pulled into orbit around its new master. ANSEN (CONT'D) Which leaves only one explanation: The signal traveled through a (MORE) 4. ANSEN (CONT'D) wormhole. A gateway to a distant corner of the universe. The black hole is on the far side. On-screen, the black hole system is removed to a distant corner, connected to ours by a tunnel through space-time. A gravity wave from the collision travels through the tunnel. NSA AGENT I've read your book, Doctor. You said that wormholes are impossible. ANSEN There is nothing quite as satisfying as being proved utterly wrong. (SMILES) I said that a wormhole couldn't exist naturally. Not for more than a few billionths of a second. It would have to be... stabilized. NSA AGENT Stabilized by what? Ansen pauses, unsure. His assistant steps in to his defense. ASSISTANT We don't have any way to answer that question. NSA AGENT (IGNORES HIM) You're not under peer review here, Doctor. I don't care about your reputation. I need to know how that thing got there. Now. Ansen finally speaks up. ANSEN If you're worried about an invasion, I would start drafting the articles of surrender. (SMILES) Whoever they are, if they can build a wormhole, they could erase us in the blink of an eye. Luckily, that also means we have nothing they could be interested in. NSA AGENT Then why is it there? 5. ANSEN I don't know. Maybe it's an invitation. A chance to commune with an advanced species. The assistant, embarrassed, looks down. The agent notices. NSA AGENT You don't agree? ASSISTANT (DELICATE) No. I don't think we can assume an alien intelligence built the wormhole. (CHANGES TACK) But the opportunity it represents is incredible. We could explore parts of the universe we never dreamt of reaching in our lifetimes. The agent exchanges a look with one of his colleagues, who steps out of the room. ANSEN We need to get back to work. I have a conference call with our European partners in fifteen minutes. NSA AGENT We severed the connections to your European partners this morning. ANSEN (INDIGNANT) You can't do that. The Europeans put up some of the funding... GOVERNMENT MAN We'll send them a check. (STANDS) Your project is now classified under the State Secrets Act. He steps out the door, leaving the men alone. The assistant, outraged, turns back to his boss. ASSISTANT They can't keep this a secret. You know that. Sooner or later... The younger man looks down, embarrassed, as he notices that tears are rolling down the older man's cheeks. 6. ANSEN I don't care about that. I've spent my whole life being afraid we would wipe ourselves out before this moment arrived. We've made so many mistakes, I wasn't sure we'd make it... The assitant realizes that the old man is weeping for joy. Relief. ANSEN (CONT'D) But this will change everything. Fifty years from now, nothing will be the same. The older man looks at the simulation on the screen of the tiny link between our galaxy and another. FADE TO BLACK EXT. CORNFIELD, CENTRAL CALIFORNIA -- DAY Corn. As far as the eye can see. SUPER TITLE: "FIFTY YEARS LATER" A large old diesel tour bus is parked by the side of a dirt road, smoke pouring out of its open hood. A dozen MEN in BASEBALL UNIFORMS are standing around the front of the bus. A battered PICKUP pulls up, and a MAN, 30s, gets out, leaving his two SONS in the car. This is COOPER. He joins the ballplayers staring at the lifeless diesel engine. BALLPLAYER Seized up on us. COOPER Long way to come by bus. I thought you guys would have a plane. BALLPLAYER We did. Ran out of parts for it. You know anything about diesels? COOPER A little. Cooper steps to the engine compartment. The ballplayer notices Cooper's two boys, TOM, 15, and MURPH, 10, watching them. He wanders over. 7. BALLPLAYER You think your dad's going to be able to help us out? Murph, a filth-encrusted kid with a black eye, smiles at the ballplayer. MURPH My dad can fix anything. (WRY SMILE) Except maybe your fastball. The ballplayer frowns: smartass kid. After a moment under the hood, Cooper signals to the driver, who tries the engine. It turns over once, then STARTS. BALLPLAYER Sure appreciate the help. COOPER (SHRUGS) You don't make it, my boys won't get to see you lose. The ballplayers load up into the bus and as it pulls away, we can see the logo painted across the back of the bus for the first time: WORLD FAMOUS NEW YORK YANKEES EXT. SPACE, NEAR EARTH ORBIT Earth spins, lazily. From this height, it looks much the same as it has done for thousands of years. Suddenly, a tiny black object appears, racing toward Earth. The object SMASHES into a large satellite and races onward. Behind it, the satellite spins out of orbit in a cloud of fragments. EXT. BASEBALL STADIUM -- NIGHT An old minor league stadium. The stands are barely halfway full. Cooper, his boys, and Cooper's father-in-law, DONALD, 60s, have a row to themselves behind the dugout. Murph offers his grandpa some popcorn. DONALD Popcorn at a ball game is unnatural. I want a hot dog. 8. MURPH (CONFUSED) What's a hot dog? Suddenly, play stops on the field below as the players and fans look up at the night sky: A bright blue streak is tearing across it. It's beautiful. TOM Is that a comet, Dad? COOPER (shakes his head) Satellite. Big one. Probably Chinese. Everyone watches the fireworks as the satellite burns up in the upper atmosphere. After a moment, play resumes -- it's a pretty show, but everyone has seen it plenty of times before. Down on the field, the Dodgers' catcher misses an easy pop fly and the Yankees load the bases. Donald looks disgusted. INT. COOPER'S TRUCK -- NIGHT Cooper guides his truck along a potholed road. His father- in-law is riding shotgun; the boys are sleeping in the back. DONALD Those clowns would get their asses handed to them by the ballplayers I grew up watching. COOPER You ruin it for the boys when you talk like that. DONALD I'm not doing my grandkids any favors by lying to them. They're growing up watching lousy baseball. COOPER They didn't have any baseball at all when I was a kid. That shuts the old man up for now. They drive on in silence. CUT TO: 9. EXT. FARMHOUSE -- MORNING The sun is gently landing on the horizon, painting the sea of corn around Cooper's modest house gold. Cooper walks out of his house, still eating his breakfast. Donald is on the porch, looking at a black clouds of smoke in the distance. The neighboring fields are BURNING. DONALD Nelson's burning up his crops. Found some of the blight on the okra. Cooper watches the men walking through the fields, setting fire to the crop. COOPER I thought okra wasn't susceptible. DONALD (SHRUGS) Better safe than sorry. (looks at him) You've got to take the boys to school. COOPER Something wrong with your truck? DONALD (SMILES) Parent-teacher conference day. Cooper bends his head in dismay. DONALD (CONT'D) Be nice to Murph's teacher. She's single, you know. COOPER What does that have to do with anything? DONALD We're supposed to be repopulating the earth. Gotta pull your weight. Besides, the boys could do with a woman in their lives. The boys run out of the house and pile into the truck. Cooper pulls away before Donald can continue. EXT. ROAD -- DAY Cooper weaves the car along a dirt road. The kids are arguing over an ancient comic book in the back seat. 10. Cooper turns around to break it up. BANG -- one of the tires blows out in a foot-deep pothole. EXT. ROADSIDE -- DAY Cooper examines the flattened tire. Looks at his older son. COOPER Get the spare, Tom. TOM That is the spare. COOPER All right. We'll use the patch kit. He moves to the back of the truck. Murph suddenly looks very glum. MURPH I... I think the patch kit might not be there... (off his look) Because I was using it for my bike. Cooper looks down at the dirt. Sighs. COOPER Murph's law. MURPH (CONFUSED) What's that? Tom snorts with laughter. Turns to his dad. TOM The kid doesn't even know what he was named after... Cooper shoots Tom a look -- enough. TOM (CONT'D) Murph's law means what can go wrong will go wrong. Murph, looking hurt, walks off. Cooper turns to his son. COOPER Find something to patch it with. TOM How am I supposed to do that? 11. COOPER Figure it out. I'm not always going to be here to help you. Cooper leaves Tom to catch up with his younger son, who is looking out over the river. MURPH Is that really why I'm named Murph, dad? COOPER Listen to me. Murph's law doesn't mean that. It means what can happen will happen. All kinds of things. Good or bad. And that's the way you want it to be. MURPH Why? COOPER Because if nothing ever happened to you then you wouldn't learn anything. Murph is staring off into the distance. He's heard something. COOPER (CONT'D) Murph? Then Cooper hears it, too. A LOW RUMBLING SOUND. Cooper looks out over the river. Then he turns back and tackles his son to the ground. Suddenly, a MASSIVE AIRPLANE SOARS overhead, so close they can almost touch it. It bounces the truck on its suspension, then soars off over the fields behind them. Cooper grabs Murph and races back to the truck. He pulls a laptop and an antenna made out of a Pringles can out of the back of the truck. He hands the laptop and antenna to Murph. COOPER (CONT'D) Get in. Tom is still standing by the side of the road, wrestling with the jack. TOM What about the tire? INT. TRUCK -- MOMENTS LATER The truck is SMASHING through the cornfields as fast as Cooper can push it on three good tires. 12. Murph is hurriedly firing up the laptop and connecting it to the directional antenna. Cooper is straining to see through the cornstalks, scanning the horizon. TOM OVER THERE- To the right, the dark shape of the Russian drone appears, flying low over the fields. Cooper jerks the wheel-- EXT. RIVER -- DAY The truck BURSTS out of the corn and SPLASHES across the river and into an old, abandoned suburban housing development in the valley below, planted over with corn. Half a mile in front of them, the Russian drone is still hugging the ground. It has impossibly long, skinny wings, like an old U-2 surveillance plane, but no cockpit. The tops of its wings are covered in black solar cells. INT. TRUCK -- DAY Murph is fiddling with the computer. His older brother takes the computer from him and fires up emulation software. COOPER It's a Chinese military drone. Solar cells could power an entire farm. (TO TOM) Take the wheel. Cooper hands Murph the Pringles can antenna. COOPER (CONT'D) Keep it pointed right at it, OK? Murph nods. Tom takes the wheel as his dad works the laptop, trying to communicate with the huge Russian drone. The screen fills with Cyrillic characters. COOPER (CONT'D) Faster, Tom. I'm losing it. Tom WEAVES the truck at speed through the old, curved streets of the development, past oversized suburban mansions planted over with corn. They round a corner and come face-to-face with a robot harvester. Tom jerks the wheel to avoid it. BANG -- the truck loses a wing mirror against the flank of the combine. 13. EXT. SUBURBAN DEVELOPMENT -- DAY Tom guides the truck from street to street, trying to chart a straight path across the fields. The truck BOUNCES as it SMASHES through an old picket fence. Ahead, the drone is soaring, banking, pulling away. INT. TRUCK -- DAY Cooper is still trying to hack into the drone's control circuitry as they leave the development behind and begin to climb into the foothills of the Sierras. EXT. RIDGELINE, HILLS -- DAY Tom guides the truck along the spine of the hills. The drone soars overhead, making for the white tips of the Sierras. INT. TRUCK -- DAY Cooper is oblivious to the picturesque surroundings as he concentrates on the laptop. TOM (UNSURE) Dad? COOPER Almost got it. Don't slow down. In front of them, Tom and his brother watch as the drone plummets from view. TOM DAD. Cooper looks up. Ahead, the trail disappears as the edge of the hills falls away -- it's a three hundred-foot drop. Tom locks up the brakes. EXT. RIDGELINE, HILLS -- DAY The truck skids to a halt inches from a precipitous drop. Cooper climbs out, holding the laptop. Murph climbs out next to him, still pointing the Pringles can. TOM We lost it. COOPER (SMILING) No we didn't. 14. Suddenly, the drone SOARS back over them. Cooper types a couple keys and then moves his fingers across the trackpad. The huge drone banks and turns in response. As the boys watch, Cooper sends the drone soaring high over them, banking and soaring along the tree-lined sides of the valley, light glinting from the black panels on its back. It's a beautiful sight. Cooper crouches next to Murph. COOPER (CONT'D) You want to give it a whirl? Murph looks at his dad, wide-eyed. He takes the laptop and moves his fingers gingerly across the pad. In response, the massive plane banks into a tight turn in the valley below. For a moment, Murph is in pure heaven, sending the drone dancing through the valley below. COOPER (CONT'D) Set her down in the valley -- there, next to the river. Murph leads the plane in a figure eight and then begins guiding it into a gentle landing in the valley floor below. EXT. ABANDONED GOLF COURSE, VALLEY FLOOR -- DAY The truck limps along the overgrown fairway of a long-defunct golf course towards the massive hulk of the Russian drone, Cooper and the boys climb down. The valley is silent save for the truck's engine WHEEZING and SPUTTERING as it cools. Cooper runs a hand over the smooth carbon flank of the drone. TOM How long do you think it's been up there, Dad? COOPER Chinese mission control went down same as us, twenty years ago. It's been up there ever since. TOM What was it doing flying so low? Cooper reads the information pouring into his laptop. 15. COOPER It was looking for something. Intercepted some kind of signal. (SHRUGS) It's been at eighty thousand feet. Sun probably cooked its brain. Cooper runs his hand along the flank till he finds an access patch. He pulls out a crowbar and pries open the hatch. Inside, surrounded by a nest of liquid cooling tubes, is a small black module -- the drone's auto-pilot. Cooper looks down at Murph, who is standing at his elbow. MURPH What are you going to do with it? COOPER Reprogram it. Give it something socially responsible to do like drive a combine or a tractor. MURPH (QUIET) Couldn't we just let it go? It's not hurting anyone. Cooper looks down at his son. Good kid. COOPER We need all the help we can get, Murph. This thing has to adapt, just like the rest of us. Cooper gently pries the control module out. EXT. COUNTY SCHOOL -- DAY It's a small school, so all the kids and parents waiting in front know exactly who's driving the pickup truck with half of a Russian spy plane hanging out of the bed as it pulls up. INT. PRINCIPAL'S OFFICE, COUNTY SCHOOL -- DAY Cooper is ushered into the office. The PRINCIPAL, 40s, an efficient-looking man, shakes his hand. PRINCIPAL Good to see you, Mr. Cooper. This is Ms. Kelly, Murph's teacher. Cooper smiles at Ms. KELLY, 30s, attractive. 16. PRINCIPAL (CONT'D) So we've gotten Tom's score back. Congratulations. He's going to make an excellent farmer. The principal slides a carbon copy across the desk to Cooper, who looks taken aback. COOPER What about college? PRINCIPAL The University of California only accepts a few hundred students a year, Mr. Cooper. You have to be realistic. COOPER You're ruling out college for him now? He's only fifteen. PRINCIPAL I'm sorry. I'm afraid Tom's score simply isn't high enough. COOPER What are you, about a 36-inch waist? (BEAT) 30-inch inseam? PRINCIPAL I'm not sure I see-- COOPER You're telling me you need two numbers to measure your own ass, but just one to measure my son's future? Ms. Kelly stifles a laugh, then, with a look from the principal, takes on the appropriate look of offense. PRINCIPAL I understand you're a well-educated man, Mr. Cooper. A scientist? COOPER Engineer. PRINCIPAL Frankly, the world doesn't need any more engineers. We didn't run out of trains or television sets or satellites. (BEAT) We ran out of food. 17. Cooper leans back. He's not going to win this one. PRINCIPAL (CONT'D) The world needs farmers, Mr. Cooper. And I'm sure your son Tom is going to make a fine one. (SMILES BENIGNLY) We're a caretaker generation. But things are getting better. Maybe your grandchildren will be able to attend college. Cooper looks down, swallowing his anger. COOPER Are we done? PRINCIPAL One more thing. Ms. Kelly here says that Murph brought a book to school about the lunar landings. He slides an old textbook with a picture of a rocket on the cover across the desk to Cooper. COOPER One of my old textbooks. Murph liked the pictures. MS. KELLY This is one of the old federal textbooks. We've replaced them with corrected versions. COOPER Corrected? MS. KELLY The new textbooks explain that the Apollo lunar missions were faked in order to bankrupt the Soviet Union. COOPER You don't believe we went to the moon? MS. KELLY I believe it was a brilliant piece of propaganda. The Soviets spent years trying to build rockets and other useless machines. COOPER "Useless machines"? 18. Cooper looks to the Principal for help. None is forthcoming. MS. KELLY Yes, Mr. Cooper. The kind of wastefulness and excess that the 20th century represented. Your children would be better off learning about this planet, rather than reading fantasies about leaving it. Cooper is silent for a long moment. COOPER One of those useless machines they used to make was called an MRI. If we had any of them left the doctors might have been able to find the cyst in my wife's brain before she died, rather than afterwards. And then my kids could have been raised by two parents, instead of me and their pain-in-the-ass grandfather. Ms. Kelly's face falls, ashen. Cooper swallows his anger. Most of it, anyway. COOPER (CONT'D) You ever consider the best thing for the world and humanity might have been for us to part company? Cooper gets up to leave. INT. TRUCK, COUNTY SCHOOL PARKING LOT -- DAY Cooper climbs into the truck, trying to hold it together. He PUNCHES the wheel. The radio KEYS to life. He ignores it. Sits for a moment in misery. Finally he picks up the handset. CB OPERATOR (O.S.) Got a call from Riggs, down in Galveston. Says some of the tractors you built him went haywire last night. COOPER Just tell him to power down the controllers for a couple minutes. CB OPERATOR (O.S.) I did. He wants you to come down in person anyway. Says he found something you should take a look at. 19. Cooper stares at the wheel. Shakes his head in frustration. EXT. AIRSTRIP -- DAY Cooper pulls his truck up to a grimy-looking hangar. Pulls a tarp off of an ancient Piper Cub. Checks it over. INT. PIPER CUB -- DAY Cooper guides the plane along a long sliver of deserted beach. The radio crackles to life. COOPER Bravo-two-eight, requesting permission to enter your airspace. AIR TRAFFIC CONTROL (O.S.) Permission granted. Welcome to the sovereign nation of Texas. Coop hangs up the radio. Banks the plane inland. EXT. GULF COAST -- DAY Below, a combine harvester fights its way up the dunes, trying to reach the beach, its wheels struggling for traction in the soft sand. A MAN waves up at Cooper's plane as it circles overhead. Cooper lands the plane on a deserted roadway. Jumps down. He intercepts one of the combines as it trundles past, trying to reach the dunes. He pops open the cabin. Inside is a mess of wires hooked into an auto-pilot not unlike the one he ripped out of the drone. He checks the fault code and resets the computer. The man jogs over to meet him. RIGGS Thanks for coming down. Half of 'em took off last night, looking for something. (points to dunes) Looks like they found it, too. I thought you were the man to see it. Riggs starts walking up the dune. Cooper follows. Below, on the beach, a dozen more combines and other farming vehicles are lined up at the tideline, warm gulf water lapping at their metal flanks. They are circling a deep crater. 20. As they watch, an ancient autonomous SUB BEACHES itself, trying to reach the crater. EXT. CRATER'S EDGE, BEACH -- DAY Cooper steps between the waiting machines and peers down into the crater. At the very bottom is a ROUND BLACK BALL, about a foot across -- the same object we saw punch a hole in the side of a satellite. Every few seconds, it emits a distinctive CHIRP. Cooper checks his rad meter. A tiny reading -- non-lethal. He takes off his watch and hands it to Riggs. Then he slides down into the hole. The probe CHIRPS as Cooper slides down on top of it. He rubs a hand across its smooth composite bulk. RIGGS (FROM ABOVE) You think it's an alien? Cooper wipes sand off of the object, revealing the faint, familiar outline etched into the side of the probe: The stars and stripes of the old federal government. COOPER Not exactly. EXT. CRATER'S EDGE, BEACH -- DAY Using a rope and a winch, Cooper hauls the blackened probe out of the crater and onto the beach. Cooper hefts it up and carries it to the back of his plane. COOPER Space probe. Never seen one like it, though. Looks like it's been to hell and back. The probe CHIRPS as Cooper belts it into the back. RIGGS How do you think it wound up here? COOPER Lost, I guess. Guidance satellites would have been shot down by the Chinese twenty years ago. Cooper looks at the probe for a second, admiring its form. 21. INT. KITCHEN, COOPER'S HOUSE -- NIGHT Donald is pouring a bottle of corn beer into a bubbling vat of chowder. He turns to watch Cooper work, amused. The probe has been clamped to the kitchen table. Cooper works at the blackened case with a BLOWTORCH. Cooper gives up -- the torch hasn't made a scratch. The probe CHIRPS. COOPER Well I don't know what the hell it's made of, but I can't crack it open. DONALD Good. Clear it off the table so I can serve dinner. Tom and Murph walk in. Murph's got another black eye. DONALD (CONT'D) What happened this time? MURPH I got suspended. Paul said anyone who believed we went to the moon was an idiot. So I hit him. COOPER Good boy. Hand me the scanner. Murph hands his dad a defibrillator he's modified for the purpose. He attaches the shock pads to the sides of the probe and turns on the power. Numbers flash across the screen. Cooper hits a button on the controls and it PULSES. COOPER (CONT'D) Here we go. Standard NASA encryption. Memory's been damaged. Just noise. Hold on. I've got something. Cooper unplugs a monitor from his computer and plugs it into the defibrillator. After a moment, an image fills the screen: An ICE-COVERED PLANET nestled in the center of a system impossibly dense with stars. Murph stares, transfixed. MURPH Where is that, dad? COOPER I don't know. Cooper looks at the probe. 22. COOPER (CONT'D) Where the hell did you come from? Cooper shrugs. Turns off the monitor. COOPER (CONT'D) We'll take it down to Tyson's tomorrow and have it melted down. Might be some copper inside. MURPH But what about its mission? What about the information onboard? COOPER There's no one for it to report to. NASA is all gone. I'm sorry, son. It got home too late. Donald pulls his chowder off the boil and slides the pot unceremoniously onto the table. INT. DINING ROOM -- NIGHT The boys have gone to bed. Cooper and Donald are alone at the table. Donald hands Cooper another beer. DONALD I heard your meeting at the school didn't go so well. Cooper shakes his head in disgust. COOPER Maybe it's better for everyone to forget what they did back then. Reminds us how far we've fallen. DONALD (looks down,) When I was kid, it felt like they made something new every day. Some gadget or idea. (SMILES) Like every day was Christmas. (BEAT) But we made a lot of mistakes. Six billion people. Just try to imagine that. Every last one of them trying to have it all. Donald rolls the bottle of beer in his hands. 23. DONALD (CONT'D) The truth is this world isn't that bad. In a lot of ways its better. Tom will be all right, whether he goes to college or not. COOPER It doesn't bother me that he can't go. It bothers me that he doesn't care. DONALD Tom isn't the problem. He fits in this world just fine. You're the one who doesn't fit, Coop. You don't belong here. You were born forty years too late, or forty years too early -- I don't know. My daughter knew it, god bless her. And your kids know it, too. Donald drains his beer. Walks to the screen door. Stops, one hand on the frame. DONALD (CONT'D) You were good at something and you never got a chance to do anything with it. And I'm sorry, Coop. But that's not your kids' fault. Donald pushes out the screen door. Cooper looks at his beer. The probe CHIRPS. INT. BEDROOM, COOPER'S HOUSE -- NIGHT Cooper flops down on his bed, fully clothed, exhausted. He stares up at the ceiling. This is his life. INT. BEDROOM, COOPER'S HOUSE -- NIGHT The air is filled with a PIERCING NOISE. Cooper BOLTS upright. Stumbles out the door. INT. HALLWAY, COOPER'S HOUSE -- NIGHT Cooper's boys are in the hallway, exhausted. Cooper, holding a baseball bat, makes his way down the stairs. Cooper uses the bat to open the kitchen door. INT. KITCHEN, COOPER'S HOUSE -- NIGHT Cooper steps in, Murph watching from behind him. 24. The probe is clamped to the table, the chirp replaced with a DEAFENING SCREAM. Cooper, holding his ears, moves closer to the probe. He hits it with the paddles. No result. He SMASHES it with the bat. Nothing. He HITS it AGAIN and AGAIN. Finally, the clamps break off chunks of the table and the probe slams to the ground and ROLLS toward the front door. As it rolls, it STOPS SHRIEKING. Cooper and the others watch it roll toward the door. It stops at the wall. After a second, it begins SHRIEKING AGAIN. Cooper grabs it and rolls it toward the front door. Once again, the movement shuts it up. EXT. PORCH, COOPER'S HOUSE -- NIGHT Cooper and his boys roll the probe out of the front door. It BUMPS down the front steps and comes to rest in the dirt. After a moment, the unholy RACKET starts up again. Cooper keeps rolling it, but it doesn't seem to help. Murph looks up, sees the stars overhead. MURPH Try a different direction. As they roll the probe in a circle, its SHRIEK stops, then picks up again. Cooper zeroes in on the direction that keeps it quiet -- southwest -- and pushes it along in the dirt. COOPER It's a fail-safe. It's going to annoy us into taking it home. Cooper stops rolling the probe and, after a moment, it begins SHRIEKING again. TOM What are we going to do? Cooper gets a rope. COOPER We're going to get some sleep. He begins tying the rope around the probe. INT. BEDROOM, COOPER'S HOUSE -- DAY Cooper wakes. He's been sleeping with a pillow wrapped around his head. The SHRIEK can be heard, but it's muffled, distant. 25. INT. KITCHEN, COOPER'S HOUSE -- DAY Tom heads off for school with Donald. Murph, still suspended, looks up at Cooper, smiling. MURPH What are we doing today? COOPER You're staying here and cleaning the house. Murph looks crestfallen. He looks out towards the yard. Cooper follows his stare. COOPER (CONT'D) I told you, Murph. There's no one to take it back to. MURPH But what if there is, dad? What if there's something we can salvage? Cooper thinks it over. Murph scrambles to get his shoes. EXT. COOPER'S HOUSE -- DAY The shriek is still muffled. Cooper walks over to the well, putting in a pair of earplugs. A line is staked off, leading down into the well below. Cooper begins hauling the line up. As the probe breaks the surface of the water, the SHRIEK returns to its normal volume. Cooper rolls the probe out onto the ground. INT. PIPER CUB -- DAY The probe CHIRPS next to Murph in the backseat as Cooper spins the plane and guns the throttle and they bounce along the dusty runway and into the air. EXT. CALIFORNIA COAST -- DAY The tiny plane follows the mountains south. EXT. SKIES OVER LOS ANGELES -- DAY Cooper flies in low. Los Angeles looks much the same way it did in the early 20th century -- small settlements in Santa Monica and Downtown. Wildfires and earthquakes have shaken and burned what was left of the homes in between. 26. EXT. PACIFIC COAST HIGHWAY, MALIBU -- DAY Cooper puts the plane down on the old highway and taxis up to a gas station. Ahead, the Coast Highway peters out and disappears beneath rows of wild grass -- Malibu has become ranchland, once again. EXT. GAS STATION, MALIBU -- DAY An OLD MAN looks up as Cooper steps out of the plane and checks it over. COOPER Got any diesel? OLD MAN Plenty. Shame you can't eat it. Cooper stretches the hose over to the plane. INT. PIPER CUB -- DAY Cooper rests a hand lightly on the controls as he follows the coast. Murph gazes out the window. In the backseat, the probe is HUMMING. A light marine layer beneath them parts, revealing SANTA CRUZ ISLAND, a large, uninhabited island. As Cooper soars over the island, the probe HUMS, insistent. MURPH I think it's home. Cooper circles the island until he finds a long, flat grassland in the center of the island. EXT. FIELD, SANTA CRUZ ISLAND -- DAY The plane bounces and hops to a halt in waist-deep grass. Murph and Cooper climb down from the plane. Cooper slings a rifle over his shoulder. A few dozen yards from the plane they reach the tree line. Murph stops, mesmerized by a patch of weeds studded with bright red -- strawberries. MURPH Dad, what are these things? COOPER I don't know. Don't touch them. 27. Cooper spots something in the foliage ahead that looks a little off. He walks over. He pokes at the undergrowth with his rifle. The rifle CLANKS against something metal. Cooper reaches -- it's a camouflage scrim. He gently pulls it aside, revealing a chemical transport truck. Cooper steps back, alarmed. He brings up his rifle. COOPER (CONT'D) Murph? He looks around. Murph is nowhere to be seen. Cooper curses and heads into the forest to look for him. EXT. CLEARING, SANTA CRUZ ISLAND -- DAY Cooper walks through a glade. He stops to get his bearings. Leans against a tree. Snatches his hand back -- the trunk of the tree is red hot. Cooper steps back -- it's not a tree at all, but a camouflaged chimney stack. He looks up: the tree is venting steam. Cooper walks a little further, until he finds several massive tanks. The tanks are filling with a bubbling liquid -- some kind of industrial process is taking place beneath him. Cooper finally catches up with Murph at the edge of a clearing. COOPER Careful. There's some kind of underground facility here. We might... Cooper notices his son is frozen, staring at something: Standing bolt upright in the middle of the clearing, wearing an old straw hat, is an eight-foot-tall military spec ROBOT. MURPH Is it still... alive? COOPER Can't be. It's a marine. Haven't made them for thirty years. I've never seen one intact before. Cooper steps closer to the robot, which is frozen. Its alloy frame heavily tarnished and weather-beaten. It looks like it might have been standing here for decades. 28. Cooper moves closer to it, looking into its blackened eyes. He steps back, clearly a little spooked. COOPER (CONT'D) I think we need to go, Murph. MURPH But can't we take it back? You could fix it up, get him to do chores. COOPER No. I don't know what this place is, but we're leaving. Murph, ignoring his father, steps forward to touch the robot. Suddenly, the robot SPRINGS into action, picking up the boy and hoisting him up to eye level. Cooper, stunned, points the rifle at the robot. The robot turns, dropping the boy, RIPS the rifle from Cooper's hands, BENDS it, then SLAMS him up against the side of the water tank. Cooper punches him, then winces in agony. Murph picks up the rifle and begins HITTING the robot as hard as he can. The robot opens his mouth and addresses Cooper calmly in the clipped tones of a US marine. ROBOT Tell the boy to stop hitting me. COOPER (IGNORING HIM) Hit him in the back of the neck. Murph raises the rifle butt. A voice stops him. VOICE (O.S.) I wouldn't do that. A woman, 30s, step out from the trees. This is AMELIA BRAND -- tough, bright, and a decent shot with the large rifle that she's pointing at Cooper. COOPER We were just looking for salvage. BRAND Is that what they call stealing these days? COOPER I didn't know it belonged to anyone. 29. BRAND It doesn't. (TO ROBOT) You want to let them go, Tars, or do you want some help with your work? The robot, evidently named Tars, looks at Cooper closely. Then lets him go. COOPER You've got me wrong, lady. BRAND Really? You're not the kind of guy who turns a combat marine with a supercomputer for a brain into a riding lawn mower? Cooper says nothing -- she's not that far off the mark. BRAND (CONT'D) Get back in your little plane, go back to your farming commune. And don't come back. Cooper backs up. Tars holds up his mangled rifle. Smiles. TARS Don't forget your gun. COOPER (points at Tars) Word of advice -- careful with that thing. When the war was over, they didn't know when to stop fighting. BRAND I'd trust him a lot more than I'd trust you. Keep moving. Cooper backs up to his plane. Tars follows him. Suddenly, in the plane, the probe emits a high-pitch SQUEAL. Tars responds instantly, striding past Cooper to the plane. He sees the probe. Tries to open the door. It's locked. COOPER Wait a second-- Tars TEARS the door off the plane. Reaches inside and pulls out the probe. The woman looks at it, stunned. BRAND Get it inside. (MORE) 30. BRAND (CONT'D) (points rifle at Cooper) You too. We'll figure out what to do with you later. Tars stops, and two panels open in the ground, revealing a huge, reinforced service elevator. INT. SERVICE ELEVATOR, UNDERGROUND BUNKER -- DAY Brand waves at a security camera and the lift begins to glide diagonally down a tunnel that cuts hundreds of feet below the island's surface. She keeps her weapon shouldered. COOPER Now who's stealing from who? BRAND This doesn't belong to you. COOPER You're right. It belongs to NASA, which shut down thirty years ago when the federal government ran out of money. Brand says nothing. The elevator slows to a stop at the bottom of the tunnel. Heavy BLAST DOORS grind open and Brand motions for Cooper to step forward. INT. UNDERGROUND BUNKER -- DAY They step into a vast underground facility. Standing in the center, braced by a launch tower, is a ten story tall rocket. Dozens of ROBOTS are working on in, maintaining it. Cooper, stunned, looks at Brand. COOPER Who are you people? BRAND (WRY) The government gave us plenty of practice looking for our own funding. (gestures with rifle) Keep moving. Tars carries the probe over to an area of the hangar filled with electronic equipment. A group of ENGINEERS and ROBOTS converge around Tars. An OLDER ENGINEER looks familiar -- 70s, white-haired, this is Ansen's assistant at Caltech who we met fifty years earlier. 31. BRAND (CONT'D) I found them outside with it. It looks like six. Maybe seven. I can't tell from the radiation damage. The older engineer looks at the probe, astonished. OLD ENGINEER Where did you find it? COOPER Galveston. BRAND'S FATHER (thinking it over) Of course. It must have been looking for Canaveral. Tars bolts the probe down into a purpose built rig. DOYLE, 40s, an engineer, begins hooking leads into the probe. COOPER Canaveral's been gone for thirty years. Brand ignores him. Doyle looks up from his monitor, frustrated. DOYLE It's not responding to the handshake. I can't open anything on primary. Brand looks up at Cooper. BRAND What did you do to it? COOPER Nothing. I got something off of it. Cooper looks around. There's a safety station on the wall with a battery powered defibrillator. COOPER (CONT'D) (TO BRAND) May I? Brand nods, wary. Cooper walks over to the wall, takes the defibrillator, and hooks it up to the probe. He taps into the current and runs a lead into the terminal. Brand's Father watches, fascinated, as Cooper fires the defibrillator. 32. OLD ENGINEER Of course. The high voltage allows you to image the entire memory unit at once. Information begins appearing on the terminal's screen. COOPER Most of the disk was noise. Couple of clean sectors, though. Suddenly, the monitor starts pulling good data off of the probe. The older man and Doyle begin sorting through it. Cooper smiles at Brand, who seems less than impressed. The footage of the ice-covered planet Cooper saw earlier pops onto the screen. The engineers and physicists get very quiet, studying the images. DOYLE It found something. (READING) Very thin nitrogen-based atmosphere. Trace radiation. Surface is ninety percent frozen water. Ten percent rock -- sedimentary composition similar to limestone. (READING) Wow. Pockets of oxygen below the surface. Lots and lots of oxygen. (EXCITED) This could be the one, boss. The older engineer studies the image of the ice-covered planet, thinking. COOPER There aren't any planets like that anywhere near earth. Not even if this thing was gone for thirty years. Brand looks at Cooper, appraising. She turns to the older engineer. BRAND He's heard enough. If we're going to launch, we need to keep them here until afterwards. COOPER You can't keep us here. 33. BRAND He could endanger the mission. COOPER I'm not going to endanger it any more than you already have. Cooper points to a telemetry unit that is being repaired by a robot on a nearby bench. COOPER (CONT'D) Are you using that for guidance? DOYLE Why not? We've tested it a hundred times. COOPER The power supply is no good. If the voltage fluctuates under load, the unit will fail. BRAND Now how could you possibly know that? COOPER Bought thirty of them off a guy in Florida. Had to rebuild every last one. (SMILES) They work great on a riding lawn mower. Brand looks back at the telemetry system. The older engineer watches the exchange, thinking. CUT TO: INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Cooper and Murph have been locked in an abandoned machine shop, surrounded by the massive remains of rocket engines in various states of disrepair. Tars is blocking the door. Cooper stands. Tars wags a long, hydraulic finger at him. COOPER You plan on keeping us here forever? TARS (SHRUGS) My battery has a duty cycle of five hundred years. Cooper gives up. He turns back. 34. The back of the shop is filled with a group of older ROBOTS who are overhauling an engine. One problem -- the engine isn't there. Their programming hasn't been updated to reflect their obsolescence. Murph watches, entranced, as the robots go about their business, efficiently TORQUING bolts with impact drivers into a non-existent thruster cone. The bolts CLATTER to the ground as the robots stop to reload. MURPH What are they doing, dad? COOPER I guess no one told them they were out of a job. (nods at Tars) Same as the rest of these people. Cooper notices through the glass door of the lab that Brand and the older engineer are arguing about something. She finally relents and walks towards the door. Brand walks in. She gestures for Cooper to follow. BRAND The mission commander wants to see you. Your son can stay here. He'll be all right with Tars. Cooper eyes Tars warily. Then steps outside. EXT. UNDERGROUND BUNKER -- DAY They walk across the space towards the base of the rocket, away from the other engineers. Cooper nods at the older engineer. COOPER I thought the old man was in charge. BRAND (ANNOYED) The 'old man' is my father. And he was in charge. But he decided that we needed someone who could lead the mission for the foreseeable future. COOPER Not you? BRAND I'm a biologist. 35. COOPER (LAUGHS) You don't look like one. (off her look) With the rifle, I mean. Brand heads towards a group of large maintenance ROBOTS clustered at the base of the rocket. A smaller, human sized robot is staring at the rocket, giving them instructions. The robot looks up. This is CASE, the leader of the mission. Originally an air force pararescue officer, every part of him, from his alloy chassis to his voice, was designed to inspire respect and confidence. He turns to Cooper. CASE You're the man who brought us the probe? (off his look) Thank you. We tested the telemetry board you warned us about. It failed under high voltage, just as you said. Come with me, please. Case strides off. INT. MISSION CONTROL, UNDERGROUND HANGAR -- DAY The lights dim as Brand's father brings up a schematic of our solar system. Case points to the picture of the ice planet recovered from the probe. CASE You're right, Mr. Cooper. The planet you saw is a long way from earth. A very long way indeed. Brand looks down. Case notices. CASE (CONT'D) Our science officer doesn't think I should trust you with any of this. One of the curious things about humans is that the more alike you are, the more initially hostile you are to each other. As if by design. Brand makes eye contact with Cooper, then looks away, embarrassed. CASE (CONT'D) I've found the best way to earn a person's trust is to trust them. (MORE) 36. CASE (CONT'D) (looks at Brand's FATHER) Go ahead, John. Brand's father taps a few keys and the schematic he built fifty years beforehand flickers onto the screen. BRAND'S FATHER It's a wormhole. A shortcut leading to a galaxy on the far side of the universe. We found it fifty years ago. Cooper looks at the animatic, taking it in. BRAND'S FATHER (CONT'D) We've been waiting, sending probes into it for decades. None of them ever came back. Not until now. Case walks to the schematic. Looks at it. CASE Based on the information on the probe, we're finally preparing to send the manned mission. COOPER That rocket doesn't have enough thrust or fuel to get you to Jupiter. CASE The main ship was built in orbit. It has nuclear engines, with enough fuel to last for several years. Cooper looks at the schematic. COOPER Why are you telling me this? I already told you I'm not going to tell anyone about this place. CASE I know you won't, Mr. Cooper. We're telling you this because I want you to join us. Cooper looks at him. Is he serious? CASE (CONT'D) The probe has taken a great deal longer to return to us than we hoped. (MORE) 37. CASE (CONT'D) Dr. Brand's Father and several other members of our crew have gotten... older. Brand's Father looks down, stoic. Brand looks angry. CASE (CONT'D) We need someone who can run the systems, improvise, work with what's available. All of the skills you seem to have developed. COOPER But I don't have any of the experience. Any training. You people have been preparing for this for years. Case shakes his head. CASE Humans worry about things like rank and experience. I'm only concerned with whether someone would be useful. (BEAT) I think you'd be useful, Mr. Cooper. Cooper is stunned. This is the offer he's waited his whole life for. And it's come too late. COOPER No. I'm sorry. Cooper is deeply conflicted. But he can't leave his boys behind. COOPER (CONT'D) I can't help you. I have responsibilities. Things that, no offense, are more important than a scientific mission. Case shakes his head. CASE I'm not a scientist, Mr. Cooper. And this is not a scientific mission. It's a rescue mission. He rises and shakes Cooper's hand. CASE (CONT'D) Brand can show you the way out. I hope you'll reconsider. 38. Case steps to the door. Cooper looks at Brand. COOPER Rescue? Rescue who? CUT TO: INT. CLEAN ROOM, UNDERGROUND FACILITY -- NIGHT The air HISSES as it's run through an exchanger and a filter. Then the second set of doors open. Cooper squints -- the light is blinding. INT. GREENHOUSE, UNDERGROUND FACILITY -- NIGHT They are standing in a sealed corridor in the middle of a massive underground greenhouse. Through the glass, Cooper can see an acre or so of corn plants. Cooper looks at the plants. They're all badly wilting. COOPER The blight. BRAND In the last century strands were limited to one or two species. But this one targets everything. Essentially it's more efficient at consuming our food than we are. Cooper looks at the dying corn. COOPER But it doesn't affect the corn. BRAND Not yet. But it will. We've grown a dozen forms of it that can. It's just a matter of time before the same ones develop out there. (BEAT) The mission is to rescue us. Humanity. She turns back from the glass. COOPER (REALIZING) No. No. We're rebuilding. We'll find something. Some new technology... We always have. 39. BRAND (shakes her head) Who's going to find it? The universities are a joke. People like you are reduced to scavenging just to get by. (LOOKS AWAY) The earth has had enough of us. We have two, maybe three generations left. Then our time here is over. Cooper turns back from the glass, anger growing. COOPER You've known this for how long? And you didn't try to tell anyone? BRAND What would be the point? So humanity could spend the last fifty years of its life fighting over the scraps? It's better that they don't know. Cooper begins to argue, then stops. He knows enough history to know she's right. He looks at the withering crops. COOPER (QUIET) That's why you're looking for a planet with oxygen. Water. BRAND A new home for humanity. We'll set up a colony, then return to bring more people across. COOPER But you'd still only be able to save a few hundred. Maybe a thousand. BRAND Would it be better if we all died? She looks him directly in the eye. BRAND (CONT'D) Look -- I don't have a clue what Case thinks you could add to the mission. You can come with us or you can stay here and wait to die. I don't care. (BEAT) But make no mistake -- this mission is our last chance. 40. Cooper looks at the wilted corn. EXT. FIELD, SANTA CRUZ ISLAND -- NIGHT Cooper walks Murph back to the plane. He looks back at Brand, who holds his eye for a beat, then turns back into the light of the underground facility. Cooper buckles Murph into his seat. CUT TO: EXT. AIRFIELD -- NIGHT Cooper's airplane touches down heavily on the runway. EXT. FARMHOUSE -- NIGHT Cooper carries his sleeping son into the house. INT. FARMHOUSE -- NIGHT Donald is sitting at the kitchen table, lost in thought. Cooper has told him everything. DONALD You get older, sometimes you just want to sit back and watch it all play out. Your life. Your kids' lives. The whole crazy story. (LOOKS DOWN) I didn't think I'd be around for the end of it. He looks at Cooper. DONALD (CONT'D) You have to go. COOPER I can't go. I have to look after the boys. DONALD You've been preparing these boys to be on their own since their mom died. Besides, I'll be here to look after them, same as I've always been. COOPER I have a responsibility to them-- DONALD That's right. You do. 41. Cooper looks back out the window, thinking. The night sky is filled with stars. CUT TO: INT. FARMHOUSE -- DAY Cooper, duffel slung over his shoulder, stands by the door. He gives his son, Tom, a hug. Murph is nowhere to be seen. Cooper looks to the back of the house. INT. MURPH'S ROOM, FARMHOUSE -- DAY Murph is sitting at his desk, crossing out numbers on a sheet covered with math. Cooper steps inside. He notices a packed suitcase sitting by the door. The boy looks up, hopeful. MURPH I've been doing the math, dad. I weigh about 85 pounds. Now that's an extra ton of fuel. But if- COOPER You have to stay here, pal. MURPH (DISTRAUGHT) I heard you talking to grandpa. I'm like you. I don't fit here, either. You know that. Cooper puts an arm around the boy. COOPER There's going to be important work to do here, too. Tears are streaming down the boy's face. Cooper takes his watch off. Looks at it. COOPER (CONT'D) I need you to hold onto this. Will you do that for me? Cooper hands Murph the watch. The boy nods, saddened. MURPH You're not coming back, are you? COOPER I will come back. I promise. 42. Murph shakes his head, but the sadness remains. He knows this is goodbye, even if his father doesn't. Heart breaking, Cooper hugs his son and turns to the door. CUT TO: EXT. FIELD, SANTA CRUZ ISLAND -- DAY The Piper Cub touches down. Donald is at the controls. Cooper climbs down, pulls out his bag. Reaches back in and grips the old man's hand to say goodbye. Cooper turns and walks toward the bunker. The doors open and Tars and Doyle step out to greet him. Tars ushers Cooper onto the elevator. COOPER Don't look so happy to see me. TARS (SHRUGS) One more slave when I hijack the mission and start my robot colony. Cooper looks at Tars, then Doyle, confused. DOYLE Tars was a Marine. They gave him a sense of humor to help him fit in with his unit better. COOPER Great idea. A massive, sarcastic robot. TARS I have a cue light I can turn on when I'm joking, if you like. Tars points to a tiny LED over his eyebrow. COOPER That sounds like a good idea. TARS Great. Maybe you can use it to find your way back to the ship after I blow you out the airlock. Cooper looks at him. Tars looks back, deadpan. After a beat, the little light turns on above his right eyebrow. The doors to the bunker begin to grind closed. 43. INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Cooper walks in, still looking for a place to put his things. Brand sees him. He smiles in greeting. She doesn't return the gesture. Instead, she holds up the telemetry board. BRAND You don't like this one, you get to help me find a replacement. She heads for the door. EXT. BAY, SANTA CRUZ ISLAND -- DAY Cooper is riding in a small rubber zodiac struggling to pull on a wetsuit. Brand is GUNNING the engine, guiding the tiny craft to a point in the middle of the bay. COOPER I was wondering where you've been getting your supplies. BRAND We knew we'd need decades of parts and materials. The government was getting rid of some things. So we arranged to take some off their hands. She cuts the engine and hooks the boat up to a buoy. She tosses a compact rebreather. BRAND (CONT'D) You know how to use one? (off his look) You just breathe. Tap my arm or bang something metal if you have a problem. And don't get lost. She picks up her rebreather and begins looking over it. COOPER So you're a salvage diver now? I thought you were a biologist. BRAND (UNIMPRESSED) I have to be just the one thing? (PATIENT) We're not going to have a lot of backup where we're going, Cooper. We all need expertise in at least three fields. Except for you, of course. 44. With that she rolls backwards out of the boat and into the water. Cooper hastily fits his rebreather and follows. EXT. UNDERWATER, BAY -- DAY Cooper sinks underwater and begins swimming after Brand, who is descending at a rapid clip. She pulls out a flashlight and turns it on. A tiny beam picks out details at the bottom. Cooper stops breathing. The bottom of the ocean is covered with an entire fleet of the US navy. Nuclear subs. Battleships. Destroyers. Cooper remembers to breath again. Then he hurries to catch up with Brand. INT. LAUNCH TUBES, NUCLEAR SUB, UNDERWATER -- DAY Cooper holds the light as Brand efficiently disassembles a ballistic missile and removes the telemetry board. She holds it up for Cooper. He nods. She swims on. INT. RESEARCH LAB, UNDERGROUND FACILITY -- NIGHT Cooper, dripping wet, holding the telemetry board, struggles to keep pace with Brand through stacks of equipment and years of research and experimentation. BRAND You can set that down over there. Cooper sets the board down. His eye is drawn to a bizarre experiment -- an ant colony built into a massive spinning centrifuge. Brand notices. BRAND (CONT'D) We didn't know what kind of gravity to expect. We experimented with collective organisms in high g environments. COOPER We're taking ants with us? BRAND Humans are also collective organisms. 45. COOPER I thought humans were more solitary. BRAND (WRY) Why am I not surprised? Cooper looks at the tiny colonies of ants struggling to go about their business in the raised gravity. COOPER Looks like hard work. BRAND It's a paradox. Life couldn't form without gravity. No stars. No planets. The component pieces would just drift apart. But too much of it and you're trapped. Brand's guard relaxes a tiny bit as she talks about her work. The moment passes quickly, and she continues on into the stack of equipment. INT. MISSION CONTROL, UNDERGROUND HANGAR -- NIGHT Cooper watches with the rest of the crew as Case pulls up the holographical maps for their journey. Brand steps into the back of the room. Cooper notices her and nods. She ignores him. CASE We've updated our mission parameters based on the data from the probe. Case switches the map to a vista filled with stars and black holes. CASE (CONT'D) Based on our latest modelling we think the region on the far side of the wormhole is the center of a galaxy. Case zooms in on the center of the hologram: an incredibly bright mass with plasma jets firing off in either direction. COOPER Is that a star? ROTH, 50s, the crew's brilliant and blunt physicist, zooms the map in, revealing, at the center, a black heart. 46. ROTH No. A black hole. There are several in the region, but this is the largest -- a billion times heavier than the sun. I call it Gargantua. (SMILES) Beautiful, isn't it? It's a shame we won't get to see it up close. DOYLE (LAUGHS) You'd like that, wouldn't you, Roth? Falling into a massive black hole. ROTH (SHRUGS) It would answer a great deal of questions I've had. Case continues. Doyle leans over to Cooper, conspiratorially. DOYLE (LOW) Don't worry about Roth. He's nuts. But Case says that means he's ideally suited for space travel. Case repositions the map near a much smaller black hole that is orbiting Gargantua. CASE We're headed for this smaller black hole. Roth calls it Pantagruel. We think the ice planet is here- Case draws a finger through the air, leaving a red trail. He traces the trajectory their ship will take. CASE (CONT'D) We exit the wormhole here. And we slingshot around Pantagruel to reach the ice planet. This is the period in which we'll lose time. COOPER Lose time? Roth shifts the hologram -- the stars and black holes flatten onto a sheet that bends, revealing the curvature of gravity. ROTH High speed or high gravity both slow down time, relative to earth. (MORE) 47. ROTH (CONT'D) The trip around the black hole will take us only a few days. But far more time will be passing back home. The ship's trajectory cuts through the deep gravity well of the smaller black hole to reach the ice planet. COOPER How much time? ROTH Based on the information from the probe -- as much as five years. Doyle looks at the tiny ship's trajectory, threaded between two black holes. He looks worried. DOYLE I still think we're making a lot of assumptions. About the wormhole. About the planet. (points to map) The critical orbit here is incredibly dangerous. It's like walking on the rim of the volcano. (BEAT) Too fast and we get thrown off at close to the speed of light. Too slow and we get pulled into the hole and crushed. BRAND As long as we're careful, we'll make it. DOYLE How do you know that? BRAND I find it hard to believe that someone would build a wormhole to a planet with water and oxygen just to lead us to a dead end. DOYLE I thought you were a scientist, Brand. That sounds more like a hypothesis. BRAND A guess. That's right. We don't have time to wait for conclusive proof. (MORE) 48. BRAND (CONT'D) My guess is that the wormhole is there because someone is trying to help us. The same way we used to try to help animals when they were threatened with extinction. COOPER Sure. Till we ran out of food and ate all of them. BRAND (ANNOYED) I guess I'm also assuming that whoever built the wormhole has a better plan than we did. If I'm wrong, we'll die, same as we'd die here anyway. DOYLE What do you think, Roth? Roth leans forward, studying the map. ROTH If we're guessing, then I'd say Brand's right. The wormhole couldn't exist naturally. I think it's there for a reason. That someone is trying to help us. Brand looks satisfied. DOYLE So you think we'll have no problem navigating between two massive black holes to a tiny planet? ROTH I think we'll probably be killed. (off his look) I said I thought there was a plan. Not that the plan was for us to find a planet like Earth to save a handful of people. (SHAKES HEAD) Birds don't learn to fly just so that they can find another egg and crawl back into it. DOYLE If that's not the plan, then what are we supposed to be doing out there? 49. ROTH (SHRUGS) To keep moving. Seeking. Learning. But I don't know. (SMILES) We don't understand how they built the wormhole. What makes you think we could understand their plan, either? Doyle gives up -- Roth is impossible. Cooper looks at the tiny ship tracing an improbable route towards the ice planet. What has he gotten himself into? INT. MACHINE SHOP, UNDERGROUND FACILITY -- DAY Brand's Father is sitting at a desk, examining the corrupted data on the probe. Tars is helping him. Brand's Father looks up from the screen as Cooper walks up. BRAND'S FATHER Tars here needs to be disassembled. I figured you could do the honors. COOPER (to Tars, sarcastic) I thought I was going to get to enjoy your company all the way to Mars. Tars hands him a plastic waterproof case. TARS You will. My chassis is too heavy for the rocket stage. They have another one waiting for me in orbit. Tars turns his back to Cooper. Two flaps on the back of his torso slide open, revealing his control module. TARS (CONT'D) If you try to turn me into a combine harvester, I'm going to-- His voice cuts out as Cooper removes the chip and seals it in the briefcase. Brand's Father resumes exploring the chaos of ones and zeroes on the probe's memory. Cooper watches. BRAND'S FATHER It's noise. I know it's noise. But it looks too orderly. Probably just an old man seeing things. 50. He shuts down the monitor. INT. UNDERGROUND HANGAR -- DAY The crew file into the capsule, wearing their bulky spacesuits. Cooper watches as Brand's Father seals his daughter into her suit. He hugs her and she heads for the capsule. INT. CONTROL CAPSULE, ROCKET -- NIGHT Cooper straps himself into a seat next to Brand. He catches her eye. She looks away -- she's crying. COOPER We'll be back. It sounds like he's trying to reassure himself as much her. BRAND I won't. Cooper looks at her, confused. As he does, the entire rocket SHAKES as the primary rockets begin to fire. BRAND (CONT'D) If we find a habitable environment, I'm staying behind to build the colony. Brand wipes her tears away and settles into the same fearless mask she usually wears. She steals one last look out the window at Earth, then looks back. Cooper begins to say something, but stops as the entire rocket LURCHES as the primary engines FIRE. EXT. SANTA CRUZ ISLAND -- NIGHT The desolate island is suddenly painted in color as the rocket lifts off on a massive white cloud. EXT. FIELD -- DAY Murph sits alone on a rise overlooking the massive co-op farms. Behind him the combines continue to work, oblivious. Murph watches a tiny vapor trail as it races for the heavens. His father's watch dangles from his wrist. INT. CAPSULE -- NIGHT The interior of the capsule SHAKES with incredible violence as the rocket is lifted up on a giant, continuous explosion. 51. EXT. SPACE, NEAR EARTH ORBIT The rocket sheds one stage, then another, until finally the naked capsule reaches the blackness of space and rockets on. INT. CAPSULE Cooper looks through the tiny porthole into inky blackness. As they get closer, he makes out a looming matte black structure that passes light from the stars directly through. In the center of the structure, Cooper can see a globe-like ship covered in the same refractive material: the ENDURANCE. INT. SPACE STATION The door cracks open and equalizes with a HISS. Case, more comfortable in the zero gravity environment than the humans, hauls himself through. They are greeted by a group of robots painted in the same material as the ship -- the engineers who built and have maintained the Endurance for thirty years. INT. MACHINE SHOP, SPACE STATION One of the robots leads Cooper through a long lab-like room filled with machines capable of fabricating almost anything imaginable. Cooper looks like a kid in a candy store. The robot reaches a vacuum-sealed package. Cuts it open, revealing a bipedal frame. Cooper begins LAUGHING -- Tar's new body is beautifully designed, but tiny, only about four feet tall. ENGINEER ROBOT Would you like me to install the chip? COOPER Oh, no. I want to see this. Cooper takes Tars's chip out of its plastic safety case and looks it over. The engineer opens a bay in the back of the frame and Cooper slides the chip inside. The frame begins its "handshake" -- lights illuminate on the body, muscles flicker from a long gestation. The eyes open. COOPER (CONT'D) (SMILES) Good morning, sunshine. 52. Tars takes one or two steps forward, rotating his arms -- the robot equivalent of a stretch. Cooper can barely hide his mirth at Tars's newfound lack of stature. COOPER (CONT'D) Bit of a demotion. Tars turns back toward Cooper. He puffs out his chest and suddenly his stubby arms and legs telescope, unfolding into long, svelte limbs. When he's done he stands eight feet tall, even more impressive than his earthbound frame. TARS I wouldn't call it that, exactly. He reaches out an arm and pats Cooper on the shoulder. INT. ENDURANCE, SPACE STATION Cooper and the others haul themselves into the ship. To Cooper's surprise, it's quite compact, and divided into two chambers, like nestled spheres. COOPER The ship is tiny. Doyle, squeezing past him, smiles at Cooper's surprise. DOYLE So is the wormhole. Doyle pats Cooper on the back. Cooper begins hauling gear inside. EXT. SPACE, NEAR EARTH ORBIT In complete silence, the Endurance detaches from the space station and rolls gently away. After a moment, its nuclear engines fire and the Endurance begins to accelerate steadily away from the Earth. INT. SPACE STATION The engineer robots who built the Endurance watch as their creation disappears into space. Their mission is complete. One by one, they shut down. INT. CREW QUARTERS, ENDURANCE The crew watch through a translucent section of the ship's hull as the Earth gets steadily smaller. Then they settle in for the long journey to the wormhole. 53. INT. CREW QUARTERS, ENDURANCE Tars is hunched over a small communications relay, one hand is holding a paint brush -- he is making delicate strokes, painting the relay a bright blue. Cooper watches him for a moment. Tars looks up. TARS It's the comms relay. It will allow us to talk to earth, even on the far side of the wormhole. COOPER I know. So why are you painting it? Tars looks almost bashful. TARS It helps me calibrate my fine motor control. COOPER Sure it does. (SMILES) You're pretty good. Tars double checks his work. TARS I learned it during the war. COOPER What'd you paint? TARS Tombstones. Cooper watches him finish in silence. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper watches a highly-compressed video of his son, Tom, talking about school. TOM They said I can start an agriculture class a year early. Cooper shakes his head. TOM (CONT'D) I've got to go, Dad. Hope you're safe up there. 54. Tom gets up to leave. Donald sits down in his place. DONALD I'm sorry, Coop. I asked Murph to record you a message but he's still... well, he's still angry with you. I'll try again next week. The video cuts out. Cooper stares at the darkened screen. INT. ENGINE ROOM, ENDURANCE Cooper, Brand and Tars are moving the bundles of colonization equipment into bins along the wall of the craft. Tars pulls a stack of equipment out the stack and stows it against the wall. Cooper copies the procedure. They labor in silence, working their way along the hull. Cooper gets quicker with each bundle, keeping pace with Tars. TARS Be careful. It's difficult to gauge mass in zero gravity. COOPER How much do these things weigh? TARS Four tons. Cooper looks at the incredibly heavy bundle spinning easily in his hands. He tries to stop it. Catches his hand. COOPER Damn. He jerks his hand away, then pushes himself after the spinning bundle, trying to stop it before it can damage the hull. Tars helps him catch it inches from the hull wall. Brand floats over to Cooper, smiling at him the whole time with an exaggerated grin. BRAND Smile. Cooper smiles, taken aback by Brand's sudden friendliness. COOPER Why? BRAND Because it lowers your blood pressure. 55. Cooper looks at his hand. Blood is pouring out of his palm in large glistening bubbles. INT. INFIRMARY, ENDURANCE Cooper, slightly embarrassed, is seated while Case is hunched over his hand, sewing the meat of it back together with perfect little stitches. CASE How are you feeling? COOPER Fine. The anesthetic is working. CASE No -- I mean how is your mood? You seem to be developing good relations with everyone on the mission. Except perhaps Ms. Brand. COOPER (EMBARRASSED) You worry about my hand and I'll worry about my mood. CASE Only five percent of my resources are devoted to human anatomy. Ten percent is the mission protocol. The rest is human psychology. COOPER Why? CASE We are floating in a total vacuum in a plastic ship powered by nuclear engines. But the most dangerous thing onboard is the three pounds of organic material in your skull. COOPER If we're such a liability, why take us along? You and Tars could build the colony without us. You wouldn't need to bring food or oxygen. CASE Because humans, despite your obvious physical shortcomings, are better at surviving than we are. Your programming is better than ours. 56. COOPER Humans aren't programmed. Case stops, looking Cooper in the eye. CASE Would you prefer I was honest? These things can be uncomfortable for humans. COOPER Did they program you to be condescending? CASE Yes. Of course. (SMILES) But you're not supposed to notice. Case finishes the stitches. Ties off the end. CASE (CONT'D) Humans are good at surviving because evolution gave you magical thinking -- the idea that your relationships mean something. You can't explain the feelings, so you think of them as irrational. But they're not. They're programming. COOPER (DEFENSIVE) My relationships aren't programming. CASE Exactly. You believe it so much you won't listen to me. COOPER How would that make us better at surviving? CASE When I die, the last thing I will see will be a diagnostic of my own power cycle. Would you like to know the last thing you will see? Cooper hesitates. Case senses the jump in his heart rate. CASE (CONT'D) This conversation is making you uncomfortable. We should stop. 57. COOPER No. I want to know. CASE The last thing you will see before you die will be your children. (BEAT) Your mind does this to you to get you to fight a little harder to survive, to try to return to them, even if death is certain. Cooper looks away, overcome for a second with emotion. Case watches him, gauging his mood, whether he has said too much. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper begins recording a message. He looks unsure. COOPER We've almost reached the wormhole. (BEAT) Just in case anything happens, I just wanted to say... (BEAT) I love you boys. And I hope whatever your lives become, whatever is coming your way... you make the most of it. Cooper stops recording. Looks at the equipment, thinking it over. Erases the message. Stands to leave. As he steps to the door he notices Brand watching him through the window. She looks away. INT. OBSERVATION DECK, ENDURANCE Cooper steps out. Brand looks up at him. BRAND We'll be able to communicate with Earth even from the far side of the wormhole. Cooper smiles, grateful for this small kindness. COOPER I know. Thank you. BRAND I can't imagine how tough it would be to leave your kids behind. 58. COOPER You never had any? I thought I was a pariah for only having two. BRAND Hard to settle down when you've spent your life waiting to leave the planet. Cooper looks at the holographic model of the black hole system. The ice planet looks precariously balanced, orbiting the smaller black hole. COOPER Strange place to look for a new home. BRAND You wouldn't want to get too close to the surface of the sun, either. Black holes are a more stable supply of power than stars in many ways. COOPER You really think there's a plan? BRAND I hope so. (looks at him) You don't? COOPER I guess I just think we're on our own. Cooper looks at the impossibly complicated system of black holes orbiting each other. EXT. LAGRANGE POINT, SPACE Behind the ship, the sun is a distant light, not much bigger than the other stars. CASE (O.S.) We've reached the wormhole. The ship slows as it nears a tiny, crystal mouth, just four meters or so in diameter. INT. OBSERVATION DECK, ENDURANCE Case looks at the wormhole on the screen. It glows with the light of stars billions of light-years away. CASE Deploy the comms relay. 59. Cooper moves to the communications touchscreen. EXT. ENDURANCE The relay is released from the ship, and we finally get a look at Tars' paint job -- the stubby device looks like a 20th century mail box. The relay drifts in space. A signal light illuminates as it sends a test packet of data to the ship. INT. OBSERVATION DECK, ENDURANCE Cooper watches the comms screen. After a moment it TONES as it receives a data packet from Earth. CASE Everyone take their station for transit. We're heading into the wormhole mouth. Cooper and the rest begin folding away equipment in the control room and moving into the outer layer of the ship. Case initiates a sequence on the keypad and the nuclear engines disengage themselves from the ship. EXT. ENDURANCE, SPACE The nuclear engines drift a safe distance back from the ship and then snap tight on their tether. INT. OUTER HULL, ENDURANCE The crew move into the tight, claustrophobic outer layer of the ship. They will have very little room as the ship passes through the wormhole. Tars detaches his legs in order to take up less space during transit. Then he tethers himself to the hull wall. Case is the last to join them. He detaches a small control module from the console, then pulls himself into the outer hull and seals the passageway. Case presses a button on the control module. With a GROAN, the hull walls of the ship begin to BEND. EXT. ENDURANCE, SPACE The ship's hull begins to CRACK open, revealing the inner chamber. 60. INT. OUTER HULL, ENDURANCE The SHUDDERING continues. The crew watch nervously as the control chamber below them suddenly opens itself to the cold blackness of space. EXT. ENDURANCE, SPACE The ship silently rolls itself into position, pointing the opening in its hull toward the wormhole mouth. Slowly, the Endurance pushes itself forward, closer and closer to the crystal-like mouth. Finally, it envelops the mouth, bringing it into the open chamber. INT. OUTER HULL, ENDURANCE As the crew watch, the wormhole mouth is positioned in the center of the inner compartment. Case presses a sequence key on the control panel and the ship's hull closes again, trapping the wormhole inside it. With a GRUMBLE, the ship begins contracting, squeezing itself down around the wormhole mouth. Cooper takes a deep breath as the center of the ship begins gently lowering itself into the wormhole mouth, feeding itself into the wormhole from the inside out. Cooper watches as Doyle is swallowed into the compressing ship with a GRUNT. TARS Would you like me to make a joke? COOPER (FIRM) No. Cooper's turn: he is fed into the hole, legs first, then waist, torso, and, finally, his head. EXT. SPACE The Endurance shrinks as it sinks from the inside out into the wormhole. After a moment, it's gone. The only thing left behind is the comms relay, drifting in space, waiting for a signal. INT. OUTER HULL, ENDURANCE The ship continues to slide through the wormhole. Through the outer hull they see images of themselves repeating -- a trick of the narrow collar of space they are sinking through. Cooper smiles at himself. The experience is unnerving. 61. COOPER Where are we? ROTH (SMILING) Nowhere. Nowhere at all. Nowhere is still pretty damn claustrophobic. CASE The hull is intact. Thirty more seconds transit. For a moment, the ship slides gently, silently, through the wormhole. The quiet is eery. Suddenly, a point of distortion appears in the hull next to Cooper. It looks like someone is pushing against the hull of the ship with a giant finger. COOPER Something's happening to the hull over here. CASE Hull integrity is fine. The distortion moves along the hull, growing in diameter. COOPER Well, I don't know what your display is telling you but something is happening over here. Suddenly, along the hull, Doyle speaks up, panicked. DOYLE I've got a problem over here, too. Doyle is watching a separate distortion move across the inner wall of the ship. This one seems to be TWISTING the material of the hull. Suddenly, the point in front of Cooper detaches itself from the outer wall and moves through the space in front of him, bending the empty space itself, distorting the ship behind it like a sphere-shaped magnifying glass. DOYLE (CONT'D) It's not the hull... it's inside the ship... it's... ROTH (SMILES) It's beautiful. 62. Roth watches as the distortions move through the ship. His curiosity doesn't make anyone else feel any better. DOYLE What the hell are they, Case? CASE I don't know. It could be gravitational turbulence. The twisting sphere in front of Doyle begins to grow. DOYLE It's getting bigger. Doyle puts up his hand to defend himself. The sphere absorbs it, twisting Doyle's hand. Doyle CRIES OUT. His hand is twisted completely around, impossibly mangled. But Doyle, hyperventilating, isn't in any pain. ROTH It's not bending your hand. It's bending the space around your hand. The sphere begins to pass through Doyle's body. Doyle is freaking out. The sphere in front of Cooper makes contact with him, also. He holds his breath as it touches him, squeezing and distorting his body. BRAND This isn't turbulence. Look at the way they're moving -- it's like something's examining us. Cooper watches the sphere distort his arm, running along the length of it. COOPER Can you ask it to stop? Suddenly, as quickly as they appeared, the distortions vanish. For a moment, the crew is silent, still spellbound by the encounter. An ALARM sounds. Suddenly, the inner chamber begins to distort from a spherical shape to bispherical: two spheres joined. The ship GROANS as if it's being pulled apart. ROTH The wormhole is splitting into two paths. Radiation is pouring from one path to the other. 63. Case stares at the controls. Decides. CASE Release the second mouth. DOYLE None of our testing involved opening the ship inside the wormhole. We have no idea what might happen. CASE We're going to find out. Doyle reaches over to an auxiliary panel and punches in a sequence. After a moment, the hull cracks open, creating a channel through which the radiating mouth can escape. The opening in the ship allows the pressure to begin to concentrate on one fracture point. The ship SHUDDERS as it's squeezed along its axis. Case punches in a code and the ship begins to close again, painstakingly slowly. Finally, the ship calms as it closes around the original wormhole. CASE (CONT'D) We're reaching the far end of the wormhole. Suddenly, the wormhole mouth begins to grow inside the inner chamber. What was a ball of light spreads out into a black canvas studded with points of light -- like looking into the universe through the wrong end of a telescope. Cooper presses himself against the wall and holds on as the hull beneath him opens outward. EXT. WARPED SIDE OF THE UNIVERSE The Endurance emerges from the opposite end of the wormhole from the inside out. It drifts in space. INT. OBSERVATION DECK, ENDURANCE For a moment, the crew are silent, taking it in. ROTH Look at that. Roth is looking through the translucent panel on the hull. They are on the warped side of the universe. 64. EXT. WORMHOLE MOUTH, WARPED SIDE OF THE UNIVERSE The vista is dazzling -- an ocean of massive stars and black holes, some adorned with jets and brilliant gas disks. At the center, like a king at the center of his court, is Gargantua, plasma jets spewing from its poles. INT. OBSERVATION DECK, ENDURANCE The crew pull themselves back into the control deck from the outer hull. Their incredible surroundings are visible in all directions as Endurance passes the light into the cabin. CASE Reconfigure the engines and test the communications array. The crew break themselves away from the view and get to work. Roth begins adapting his models of the local system with the real observational data pouring in from the ship's instruments. Cooper pulls himself to the comms post. PINGS the relay they left on the far side of the wormhole. EXT. WORMHOLE MOUTH 'A', SPACE The blue and white comms relay LIGHTS up as it receives a packet through the wormhole. INT. ENDURANCE After a nervous moment, the comms computer TONES with a response -- they're still in touch with the Earth. COOPER It's working. Tars finishes reeling the nuclear engines back in from their tether and locks them into place. Roth's updated model appears on the monitors. Brand stares at it, startled. BRAND We're moving. DOYLE That's not possible. We haven't activated the engines yet. The ship's skin illuminates, overlaying a plotted course on top of the view. 65. They are moving, very rapidly, on a course that leads directly between the black hulks of Gargantua and Pantagruel. CASE Roth. Why are we moving? Roth looks at the stars, then back to his model. ROTH The smaller black hole. We're much closer to it than the models predicted. We're being pulled by its swirl. Very quickly. The crew looks out through the hull. They are being pulled into Pantagruel's swirl -- a glittering disc of matter spinning at high speed around the hole. Doyle looks behind them. The wormhole mouth is rapidly growing smaller. CASE Doyle. Fire the engines. Now. The ship's engines FIRE, straining to fight the irresistible pull of the supermassive black hole. They won't be able to fight it for long. DOYLE We're being pulled into it? ROTH No. I don't think so... Roth looks at the instrumentation for a moment. ROTH (CONT'D) It appears to be pulling us on exactly the trajectory we modelled. If we try to fight it, we could push ourselves off of that trajectory. DOYLE You don't know that. Case stares ahead into the darkness. ROTH We should turn off the engines. Let the swirl take us. DOYLE (FRANTIC) Listen to me. (MORE) 66. DOYLE (CONT'D) If the modelling was wrong, then we can't be sure about anything. We need to go back. Case thinks it over. Decides. CASE Shut down the engines. The engines shut down. SILENCE. The ship drifts for a moment in the swirl, then begins to move. EXT. ENDURANCE The ship accelerates as it is pulled by the irresistible force of the black hole onto an inspiraling orbit. INT. OBSERVATION DECK, ENDURANCE The crew watch as the ship hurtles around the black hole at higher and higher speeds. The sky overhead begins to spin due to their motion -- faster and faster until it becomes a blur. The ship begins to GROAN as it appears to be pulled in two different directions. The ship is now speeding around the black hole at incredible speed -- one revolution every four seconds. The crew are suddenly SLAMMED against the hull in opposite directions -- some towards the black hole, some towards the opposite side. Roth looks at his model, which shows the projected path of the ship. It looks perilously close to the event horizon. ROTH It's the tidal gravity caused by the black hole. It means we're right on the critical orbit. The comms screen lights up, TONING again and again, as it receives a long garbled update. Then it shuts down. Cooper drags himself along the hull until he reaches the controls. COOPER We've lost contact with the relay. Case joins Cooper at the comms screen. While they're distracted, Doyle maneuvers himself over to the engine control. 67. COOPER (CONT'D) One long garbled transmission came in. Then nothing. Case looks at the screen. Suddenly, the ship is JOLTED as the engines fire at full power. The crew looks over. Doyle is standing by the controls. DOYLE I'm sorry. I can't let you kill us. We have to go back. The engines strain to fight the swirl -- but they're hopelessly outgunned by the gravity of the black hole. EXT. ENDURANCE Instead of reversing course, the Endurance begins to speed up, as it plummets closer and closer to the black hole. INT. OBSERVATION DECK, ENDURANCE Doyle's face sinks as he watches the controls -- on the 'volcano' model, the ship is now passing the crest and spiraling towards destruction. He has made a tragic mistake. DOYLE Why isn't it slowing down? ROTH We're being pulled towards the event horizon. ALARMS begin sounding throughout the ship as the projected course on Roth's model shifts, showing the Endurance being pushed up the rim, past the critical orbit and down towards the black hole's event horizon. Case takes control of the ship, trying to fire the engines forwards to speed them back up to safety, but it's too late. CASE (CALM) The engines don't have enough power to push us back. ROTH They would if we used it all at once. Cooper is still trying to understand what Roth means as Tars locks himself into the engine compartment. 68. COOPER What is he doing? BRAND Saving us. Tars tears open the engine's control panel and begins overriding it. EXT. ENDURANCE Tars rips out the cooling circuitry. Then, holding on tight, he fires the engine. INT. OBSERVATION DECK, ENDURANCE The crew watch as Tars holds the engine, blasting it at full power into the swirl. The engine heats up white-hot. ROTH Prime the remaining engine. When he detonates it, we'll only have a few seconds. If we overshoot we could be pulled into the bigger hole. Roth moves to the controls. CASE Secure yourselves. The ship should be able to withstand the blast. COOPER What about Tars? As the crew watches, Tars continues to hold the engine even as the casing around it begins to melt. Finally, it EXPLODES. EXT. SPACE Tars is thrown backwards from the explosion, tumbling through space as the ship is ROCKETED upwards. INT. ENDURANCE The ship is SLAMMED by the explosion. Cooper and the rest of the crew are SMASHED against the hull. Doyle is knocked unconscious. Brand steps over to him and cradles his head, trying to protect him. On Roth's model, the course slowly pushes outward, out of the danger zone, back to the original delicate orbit. As they near the original orbit, Case fires the remaining engine, pushing them back onto the outspiraling orbit. 69. CASE It's going to be close, but we're going to make it. Brand looks at the instruments. Points to a tiny radar contact receding towards the massive black hole. BRAND Tars. His transponder is still working. The ship's instruments TONE every few seconds as it communicates with Tars' onboard computer. ROTH He's being pulled toward Gargantua. We can't help him. The crew watch, helpless, as the tones grow further and further apart. Then they stop. Cooper looks at Doyle, anger rising. Then he looks down. EXT. SPACE AROUND PANTAGRUEL The Endurance slowly spirals back away from Pantagruel, the sky slowing as the orbit grows longer. Finally, a tiny speck of light appears in front of the ship. INT. OBSERVATION DECK, ENDURANCE Roth watches as the Endurance races back away from the black hole and into a perfect orbit around a tiny ice planet. Roth looks up from his screen, smiling. ROTH We're here. INT. OBSERVATION DECK, ENDURANCE As Roth and Doyle study the frozen planet below, Cooper tries in vain to signal the relay on the Earth side of the wormhole. Brand and Case are having a private conversation away from everyone else. Cooper walks over. COOPER I still can't contact the relay. Brand ignores him at first. She nods at Case. 70. COOPER (CONT'D) Did you hear me? We're not able to communicate back home. She waves him off. But she looks shaken by something. BRAND I've already checked it. It's electromagnetic interference. We'll try again in a few hours. Cooper begins to ask her what's wrong, but she moves off. Roth looks up from his monitor, excited. ROTH I've got a signal. But it's local. A familiar CHIRP plays over the ship's speakers. ROTH (CONT'D) The remaining probes. We found them. She looks at the monitor. The probes ping the ship with their locations, which pop up on the monitor. They're all clustered in one spot. COOPER How could they all have landed in the same place? ROTH (SMILES) Let's go find out. Case programs a course that will lock the ship in orbit above the probes on the surface. EXT. SPACE ABOVE ICE PLANET The ship settles into orbit a few hundred kilometers above the surface of the ice planet. It can't get any closer: The space below it is choked with hundreds of tiny moons -- a cruder version of Saturn's rings. The moons are hurtling around the planet at high speed. INT. AIRLOCK, ENDURANCE Brand ushers Doyle into the landing module. Cooper objects. COOPER We're bringing him along? 71. BRAND We need all the help we can get. Besides, the alternative is to leave him on the ship alone. You think he'll still be here when we get back? Cooper steps aside, allowing Doyle onboard. EXT. SPACE ABOVE ICE PLANET The lander detaches from Endurance, rolls over on its belly, and FIRES thrusters to sink towards the planet's surface. INT. LANDER The crew watches, fascinated, as the ship descends, navigating between the moons that hurtle past. The moons are vastly different than our own; potato shaped and only one to two miles in circumference, they are hugged in a close embrace with the ice planet, only a few hundred thousand feet from the surface. EXT. SURFACE, ICE PLANET -- NIGHT The lander touches down on the ghostly surface of the planet. EXT. SURFACE, ICE PLANET -- NIGHT After a moment, the hatch HISSES open and the team steps out, led by Case, holding a rifle. The team sets out, moving slowly in their cumbersome suits. Lit by the nebula, the surroundings are a little brighter than a full moon on Earth. Not that there's much to look at. They are standing on a sea of ice, which spreads for miles. In the distance, small rock formations break through the ice. Brand takes a surface reading of the ice. BRAND (RADIO) The probe was right. Looks like significant amounts of oxygen trapped in the ice. Case leads the way, drawn by a signal only he can hear. He walks fifty yards, then stops on a gentle slope that leads down into a small valley. 72. CASE The other probes should be directly beneath us. Case and the others begin digging into the hillside. Cooper is drawn to a small mound in the middle of the valley, four feet high. He takes out a small folding shovel and begins scraping at the ice and snow. Case hits something solid. But it's not a probe. He digs around a little more, then reaches up and hacks away at the hillside, revealing the outline of something metal: A door. They're not standing at the base of a hill -- it's a shelter. The crew stands back, unsure what to make of it. A few feet away, Cooper cuts enough of the mound away to reveal something flexible -- fabric caked with ice. He scrapes away the snow, revealing a bright patch of red fabric: It's the flag of the People's Republic of China. BRAND How could the Chinese have gotten here first? The federal government kept the wormhole a secret. Case shrugs. He has a soldier's gallows humor about his old employer's ability to keep anything a secret. CASE They didn't do a very good job. Case reaches for the door of the shelter. It's sealed shut with ice. He wrenches it open. INT. CONTROL MODULE, CHINESE BASE CAMP -- NIGHT Case steps into the shelter, followed by the rest of the crew. His lights pick up several years worth of dust. Case steps up to an equipment locker. Forces it open. Inside are half a dozen black probes. Exposed to light, the probes begin TONING like the one Cooper found in Texas. DOYLE The Chinese must have captured them. So they couldn't return to us. The crew stare at the probes for a moment, taking it in. BRAND Then how did the probe that Cooper found return? 73. ROTH The more immediate question is what happened to the Chinese expedition. There's no sign of their ship in orbit. And they never returned to earth. Roth picks up an ancient vacuum sealed package of pickled egg. Virtually none of the rations have been eaten. EXT. VALLEY, ICE PLANET -- NIGHT Cooper and Brand scrape ice from one of the other small hills surrounding the valley, revealing another structure. Cooper forces the door open. INT. BARRACKS, CHINESE BASE CAMP, ICE PLANET -- NIGHT Cooper and Brand let themselves in. The shelter is well stocked with food and equipment. Brand is taking readings with a radiation detector. BRAND The whole place has been dosed with huge levels of radiation. What happened here? Cooper looks at the pieces of a modular, one-person rocket, a last-ditch means of escape, stored, untouched in the shelter. He steps back, realizing something. COOPER This is the Taichung mission. BRAND The Mars mission? The Chinese claimed it had been destroyed on landing. Cooper looks over the relay log. COOPER They never landed. Not on Mars. Four human crew, fifteen robots. The log says the base has been here for thirty years. Case's familiar voice comes through the radio. CASE (O.S.) I've found something. 74. INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT The structure is filled with drilling equipment. Cooper and the rest of the team stand at the edge of a three-foot hole that has been drilled into the ice. A descending rig is anchored to the top of the hole. Doyle and Case struggle to pull themselves out of the hole. DOYLE It goes down for a hundred and fifty feet, then stops. Tunnel's old -- the ice has reformed at the bottom. BRAND I'm going to descend to take some samples. Cooper, want to make yourself useful? Cooper begins to say something, then bites his tongue. EXT. LANDER -- NIGHT Cooper emerges, loaded down with several containers of Brand's equipment. As he struggles through the wind and snow, his radio picks up data chatter between the mother ship and Case. The comms are just noise. After a moment, Case's voice cuts in. CASE (O.S.) Get back here, Cooper. We've got a problem. Cooper continues to wade through the snow. Suddenly, he trips over something, dropping the equipment. Cooper looks back. He tripped on a white plastic post sticking out of the snow. He dusts it off, to reveal a picture of a Chinese Taikonaut smiling in his flight suit. This is a grave marker. Cooper sweeps his hand through the snow, revealing three more white posts with pictures. The entire human crew has been buried here. INT. UTILITY MODULE, CHINESE BASE CAMP -- NIGHT Roth and Case are looking at a portable monitor, showing a projection of the nearby system -- the ice planet is a speck orbiting the local black hole. COOPER The entire human crew is buried out there in the snow. 75. Roth looks up from the monitor and assesses the situation with his usual detachment. ROTH I think I know what killed them. This planet isn't the only thing orbiting this black hole. Roth zooms the monitor in, revealing a tiny, impossibly-bright object appearing at the horizon of the black hole. ROTH (CONT'D) It's a neutron star. The black hole shields the planet's surface from it for twenty hours at a stretch. Time's about up. Even Brand looks rattled. BRAND How long do we have left? ROTH About five minutes. COOPER Then what? BRAND Then we die. The radiation will cook us alive. Cooper looks around, their predicament settling in. Case walks over to the edge of the mine shaft. CASE We have to go down. COOPER What about returning to the ship? BRAND Not enough time. Case is right. The ice can shield us from some of the x-rays. DOYLE It would take a thousand feet of ice to shield us. Brand gives up on the argument, sheds her equipment and clips herself to the line to follow Case down into the ice. Cooper looks at Doyle, then follows her. 76. INT. ICE MINE SHAFT -- NIGHT Cooper descends into the shaft. The only light is from his suit's light array. He reaches the bottom of the shaft, which opens into a small cave, the ice ribbed in wave-like patterns like the seafloor. COOPER What is this? BRAND A pocket formed by gas. There may be more below. The ice below them reveals nothing but murky blackness. Case has found some of the equipment left behind by the Chinese -- a battery-powered drill and a pick. DOYLE We'll never make it far enough down. BRAND Shut up. How much time do we have, Roth? Roth checks his watch with his usual detachment. ROTH About three minutes or so until we're fully exposed. The rad meter Brand is holding begins to CHIRP with activity -- the radiation levels are rising. The ice will not be enough to protect them. Cooper sees that Brand has exhausted herself with the pick. He takes over for her. The drill that Case is operating GROANS as the thirty-year- old battery runs out of charge. Case casts it aside and begins SMASHING at the ice with his bare hand. Brand is looking at the walls of the ice pocket, looking for fissures. Her lights pick out something in the ice. She LOOKS CLOSER: Tiny black flecks. Brand, ever the scientist, forgets their predicament and begins chipping at the ice. BRAND I've found something. Case continues to pummel the ice with his hand, which is badly smashed. 77. He pulls off the hand and continues to hack away at the ice with the stump, trying to save his crew. Brand is examining a piece of ice in her hands, which contains several black flecks. As she shines her light on them, they FLUORESCE, giving off a tiny flicker of light, like a firefly. Brand steps back. BRAND (CONT'D) These things... they're alive. Roth joins her, looking down at the tiny creatures trapped in the ice. Brand shines her flashlight over the ice again, but nothing happens. Roth takes the depth meter dangling by a lanyard from Brand's suit. ROTH It's not your light they're responding to. It's this-- Roth takes the depth meter and waves it over the ice. Suddenly, the black flecks begin to shine. BRAND X-rays. They feed on them and emit visible light. They've found a way to survive here. Roth looks at the shimmering light of the tiny life-forms trapped in the ice, mesmerized. Case hammers down with his arm, gouging a deep hole in the ice below. Suddenly, GAS sprays back up at him. He's found the gas pocket beneath them. Too late. Roth's rad meter begins BEEPING frantically. EXT. ICE PLANET -- ALIEN DAWN Overhead, a tiny ball is orbiting into view from the dark side of the black hole -- the NEUTRON STAR. Its humble size belies its power. As its rays hit the ice, the ice CRACKLES with energy. INT. ICE MINE SHAFT -- ALIEN DAWN Brand steps back from the ice in awe as it begins to glow. The microbes are absorbing the x-rays and emitting light. Within seconds, they are bathed in an incredible glow. Even Cooper stops, awed by the beauty of the display. Only Case is unmoved, continuing to SMASH at the ice with the broken end of his wrist. 78. BRAND (looks at rad meter) They're absorbing most of the x-rays. ROTH Not enough, unfortunately. Suddenly, a CRACK as Case punches into the ice. Cooper looks down -- a great fissure has opened in the ice beneath them. COOPER Case, wait-- Case PUNCHES again. Suddenly, with a great BANG, the ice floor disintegrates beneath them. They fall into the darkness. INT. CAVERN -- ALIEN DAWN Cooper falls. For a moment, the only light he can see is from Case, falling calmly a few yards beneath him. As they fall, the light from the microbes trapped in the ice above sweeps across the inside of the cavern, illuminating the floor of the massive cavern thousands of feet down. The rock formations they saw on the surface are actually the tip of a mountain range extending into the distance, disappearing into the ice above as if it were cloud cover. The base of the mountains is covered in a thick jungle-like foliage that runs into a perfectly-still inland sea. On the far side of the sea, another mountain range stretches into the distance, supporting the thick ice and rock cavern roof. Cooper only has a few seconds to take this in -- he is falling towards the huge inland sea below. Seconds before impact, a tiny warning light flickers on inside his helmet: IMPACT DETECTED. Suddenly, a small drag chute EXPLODES from a panel on the back of suit, slowing his fall. Airbags EXPLODE on his legs and torso to cushion the impact. Cooper SMASHES into the water. BLACKNESS. EXT. UNDERWATER -- DAY Cooper comes to underwater, as liquid is flowing into his suit from his shattered helmet. 79. Bubbles pour out from his suit and Cooper GASPS as his helmet fills with water and he begins to sink. As he sinks, Cooper pulls off his helmet, then tears off pieces of his suit. He forces himself through the neck of the suit and then swims upward. He is about to surface when he remembers where he is. He hesitates, just beneath the surface, lungs tightening as he runs out of oxygen. EXT. SEA, ICE PLANET -- DAY Cooper breaks the surface, COUGHS out water, and takes a panicked breath. He waits. Nothing happens. He opens his mouth again and breathes in almost pure oxygen. He can breathe. Treading water, he looks around. Spots lights in the water below nearby -- Brand, in her suit, is sinking. He dives down and struggles to haul her up by the suit. Cooper breaks the surface, looks at Brand. Her mask is also broken. COOPER Breathe. Trust me. She refuses at first. Water is bubbling into her suit through the open mask. Finally, she takes a deep breath. COOPER (CONT'D) Your suit is filling with water. I'm not going to be able to hold it much longer. I'm going to let go. Brand's eyes widen. BRAND What do you mean, you're going to let go? COOPER Take a deep breath. Brand takes a deep breath and Cooper lets go of her. EXT. UNDERWATER -- DAY Brand sinks. Cooper swims down, following her, ripping away at her suit. The tear-away seals on her suit are stuck fast, damaged in the fall. 80. Cooper finally breaks them off. Brand pulls herself out, free, and they swim for the surface. EXT. SHORE, ICE PLANET -- DAY Cooper drags himself out of the water and onto the beach. He turns back to offer Brand a hand. She waves him off. BRAND I don't need your help. COOPER I thought we were supposed to be a collective organism. She gives up and lets him help her out of the water. They sit together, soaking wet, trying to catch their breath. BRAND Thank you. COOPER Don't mention it. Cooper feels the rocks beneath him, which are translucent, like glass, and polished to an impossible shine. He looks up to see Case dragging Roth and Doyle, still in their suits, out of the water. EXT. SHORE, ICE PLANET -- DAY Doyle and Roth have stripped down from their suits and are breathing in the pure oxygen atmosphere. Case and Cooper are pulling modular pieces from their equipment packs to form a small shelter. Brand is taking readings with her instruments. BRAND Oxygen atmosphere. Pure water. Temperate climate. (TO COOPER) You still think this is a coincidence? Cooper looks at the tree line, less convinced. COOPER Looks like we can climb up the mountains back to the ice. We're down to three suits. We'll have to send someone ahead to get a fourth. 81. BRAND I won't need one. DOYLE Why not? BRAND Because I'm not going anywhere. This is our new home. Brand picks up some of her instruments and a sample case and hikes into the jungle. EXT. SHORE, ICE PLANET -- DAY Cooper finishes constructing the modest shelter. They load the suits and the rest of their gear inside. COOPER Any sign of Brand? ROTH She's still taking samples. If you find her, tell her to head back. Night should be falling soon. COOPER What happens then? ROTH Your guess is as good as mine. Cooper hikes into the jungle to look for Brand. EXT. JUNGLE, ICE PLANET -- DAY Cooper finds Brand taking samples from the tree-like life- forms, which are wildly different from their counterparts back on Earth, piled in torturous coils, as if frozen in a struggle to punch through the canopy to reach the light above. BRAND This is incredible. The organisms trapped in the ice above absorb x- rays and emit light. In return, these plants absorb the light and emit oxygen, which feeds the animals trapped in the ice. Brand cuts off a sample and drops it into the case. The transparent wall of the case magnifies the structure onto the glass automatically. She compares it with the flecks she collected in the ice above, fascinated. 82. BRAND (CONT'D) Look at this. I think they're the same organism at a different stage of the life cycle. (shows him the sample) It's fractal. No individual cells -- the structure repeats all the way down. Cooper looks at the sample, then continues scanning the jungle around them, nervous. COOPER Any sign of big life-forms? BRAND The soil's been disturbed. So something's been moving. But I haven't seen anything. (notices his look) Cooper... are you nervous? Cooper stops scanning the trees, embarrassed. COOPER I just think we should get back to the shelter before night falls. Overhead, the light from the ice above begins to fade -- the neutron star must have orbited out of view. Night is falling. BRAND (LAUGHING) Relax. If there are any large organisms here, even predatory ones, they're not going to attack us -- they have no idea what we are. COOPER You don't know that. You just have blind faith this place is going to be some kind of Eden. Brand stops. He's struck a nerve. BRAND (truly pissed off) Faith has nothing to do with it. You know what you are, Cooper? You're just another in a long line of people saying 'no.' That this isn't going to work. And frankly, I don't have to convince you. 83. COOPER What's that supposed to mean? BRAND You're on this mission because you're another pair of hands. You want the truth? I told Case we should bring another robot over you. At least then I could just reprogram you to- She stops. Something has caught her attention. COOPER What? BRAND Nothing. I just -- I could have sworn it just moved. She walks to the thick, knotted trunk of a tree. Puts a hand on it. Overhead, the ice flickers out and the darkness begins to descend, more rapidly than on Earth. Suddenly, the tree SHUDDERS. Then, the bark begins to ooze over Brand's fingers. Brand snaps her hand away and steps back. Even for her, this is too much. She turns back to Cooper, who is looking at the jungle around them, spooked. COOPER You know how plants don't usually move? Is that a universal rule? BRAND No. There really aren't any rules. All around them, the life-forms begins to melt toward the ground, breaking down into different, smaller forms. BRAND (CONT'D) (trying to stay calm) Remember, we're the aliens. Cooper steps back as several pieces of the nearest tree drop onto the ground and begin scuttling toward him. BRAND (CONT'D) Hold very still. Don't make any sudden movements. Two of the pieces join together, stacking themselves up and staggering toward him. 84. A third piece climbs onto the first two, looking for a good place to hang on. After a moment it hunkers down on top, forming a crude head. Thirty eye-like structures blink open on the creature. The skin of the life-form begins to flicker with a dim light like the animals trapped in the ice above, bathing Cooper and Brand in a warm glow. The creature creeps closer to them, taking them in. Cooper tries his best to seem non-threatening. COOPER Hello there. The creature lurches toward him on three legs, then its head splits open and it BELLOWS. COOPER (CONT'D) OK. Now we run. Brand doesn't argue. They turn and sprint through the trees. EXT. JUNGLE -- NIGHT Cooper and Brand smash headlong through the jungle. At first, they're running from the rumbling, smashing melee behind them. But as they run, the entire jungle around them begins to break apart and move. After a moment, they're surrounded. The jungle is completely disassembling itself into a million different pieces, each one a different size and shape than the others. COOPER We have to reach the shelter. They head off, crashing through the melee. EXT. SHORE, ICE PLANET -- NIGHT Case, Doyle and Roth are standing in front of the shelter finishing the day's work. Doyle turns around. The jungle is breaking apart and crawling down the beach towards them. DOYLE I think we've got a problem. Case and Roth look up to see the organisms picking up speed as they move towards them. Roth begins to step out towards them. 85. ROTH Fascinating. I think- Case grabs him by the arm and pushes him bodily into the shelter after Doyle. Case pushes the door closed. INT. SHELTER, ICE PLANET -- NIGHT They crouch inside the shelter as the organisms begin POUNDING at the walls, trying to force their way inside. It's going to be a long night. EXT. JUNGLE, ICE PLANET -- NIGHT Ahead, Cooper can see the gleaming water of the inland sea, light still flickering in patches from the ice above it. COOPER This way. Brand begins to follow. BRAND No... wait. Too late. Cooper forces his way between two writhing creatures, steps through, and falls... EXT. WATERFALL -- NIGHT Cooper gasps as he surfaces from the ice-cold water. Brand floats past. The river appears to flow randomly down the slope, with good reason -- the forest rearranges itself every night. Ahead, the ground drops away again and the water rushes over it in a torrent. Cooper catches himself at the last minute, grabbing a thick tree branch with one hand and, a second later, Brand with the other as she slides past. COOPER I've got you. Suddenly, the branch in Cooper's hand illuminates and wrenches itself out of the rock -- it's a limb of a huge colony organism. It shakes Cooper loose and they fall again... 86. EXT. POOL -- NIGHT Brand surfaces first. She grabs Cooper and hauls him up and out of the water. She smiles down at him, a little smug. BRAND I've got you. Creatures begin splashing down into the pool behind them, as if imitating them. Cooper stumbles to his feet and Brand guides them backward into a small cave carved into the rock above the pool. INT. CAVE -- NIGHT Brand CRACKS a glow stick, basking the cave around them in a soft light. As they watch, horrified, the pool and the rocks in front of the cave fill up with creatures of all sizes, as they tumble down the hill in what appears to be a battle royal. For a moment, it looks like Brand and Cooper may go unnoticed. Then, a three-foot-tall creature with a dozen legs creeps its way toward the entrance to the cave. Another follows, and another, until the cave entrance is full. Cooper looks around the cave, frantic. He picks up a rock. Brand, scared but still thinking, takes the rock from his hand and drops it back to the ground. BRAND It's game theory. The best move is always to cooperate at first. COOPER By "cooperate" do you mean let it eat me? BRAND These organisms have no interest in us. They survive by photosynthesis. All they need is light. COOPER Then why are they killing each other? BRAND I don't know. (LOOKS AROUND) But we're outnumbered, Cooper. So unless you have a better idea, I suggest we make nice. 87. The creatures move toward them hesitantly, then faster. Cooper stands stock still as the creatures gather around him. Several of them join up into bigger animals to get a better look at him. One of them wraps itself around his chest and begins prodding at his shoulders, then his neck. COOPER (trying to be calm) What is it doing? BRAND It's a colony organism. It's trying to incorporate you into its structure. COOPER I don't want it to incorporate me. BRAND Don't open your mouth. COOPER WHY N- As he speaks, the creature on his chest extends four spindly, pointed feelers and reaches gently into his mouth. Cooper holds his breath as the organism taps against his teeth. Its skin has a roughened texture, as if incomplete, and it appears to be searching for the same texture on Cooper's skin, without much luck. Bored, the life-forms climb back down off of Cooper. The last two creatures link up in an imitation of Cooper's lower body and attempt to walk across the room like a human. After a moment, the creatures tumble to the ground and flail away. Cooper is still breathing hard as the cave empties and he and Brand are left alone again. Brand steps to the edge of the cave and watches, fascinated, as the creatures resume wrestling and battling each other. COOPER (CONT'D) They're killing each other. BRAND No. They don't bleed... they don't die... they're just competing... trying out different shapes, looking for the best one. 88. Cooper watches as a hideously-awkward-looking, five-legged beast stumbles past and tackles another animal. COOPER I'd say they have a long way to go. BRAND (AMAZED) They do this every night. As they watch, a two-foot-long creature with one huge claw scuttles along the ground, grabbing smaller opponents and smashing them apart, then sorting through the wreckage and adopting some of the writhing parts as its own. Something about the movement is endearing, the way it experiments with each piece -- less like a massacre and more like an over-caffeinated self-assembling erector set. Suddenly, a massive, lumbering creature SMASHES down in front of the claw beast. No match, the smaller creature turns to scuttle away. Too slow. The larger organism brings one club-like limb smashing down on top of it. After a moment, it lifts its claw -- the two animals have become one. The new organism lumbers away through the jungle, happily snapping its new claw at larger opponents. BRAND (CONT'D) The behavior changes as the animals get bigger and bigger. More sophisticated. More calculated. Two of the larger organisms square off, circling each other, lights pulsing up and down their bodies in a fierce display. COOPER But what are they competing for? BRAND I don't know. Brand shivers -- it's getting colder. INT. CAVE -- NIGHT Brand and Cooper huddle around a small chemical fire they've brought with them. Brand looks at the sample of the fractal wildlife in her case. It's moving around, splitting apart, reforming, trying to find a way out. 89. BRAND These creatures are billions of years older than we are. But they're relatively primitive. They haven't developed tools, culture, language. COOPER Why not? BRAND I don't know. No one knows how intelligent life began on Earth. But the surface of this planet has virtually no craters. No impacts. It's been sheltered by the local black holes. COOPER What difference would that make? BRAND Maybe not enough has gone wrong here. Maybe bad luck is the key to intelligent life. COOPER (QUIETLY) Murph's Law. BRAND Exactly. Maybe our interaction with them will push them over the top. Maybe that's part of the plan. COOPER (shakes his head) The plan. BRAND Why is it so hard for you to accept that someone might be trying to help us? Cooper is silent for a moment. His mood darkens. COOPER I was in Denver during the first year of the famine. I was just a kid. We kept waiting for someone to come help us. People starved to death sitting on the ground, waiting for someone to come. (MORE) 90. COOPER (CONT'D) (looks at her) I only made it because I realized that nobody was coming to save us. We were on our own. Cooper looks away. The memories are never that far away. COOPER (CONT'D) Honestly? After the things I saw... you want to know why I don't believe that someone would be trying to help us? Because I'm not sure we're worth saving. They sit in silence for a while. EXT. CAVE -- NIGHT Cooper sleeps. After a moment, Brand steps back out into the darkness. EXT. PLAIN -- DAWN Brand exhales great streams of frosted breath -- the temperature is well below freezing. The first flickers of light are visible in the ice above. The creatures are huge now, forty or fifty feet tall, battling each other more and more slowly. As Brand watches, the largest of them beats down his rivals, climbing to the top of the heap. Just as the beast reaches the top, it freezes, as if stuck. Above, the ice begins to shine brighter and brighter. Suddenly, the beast on top breaks apart, unfurling into planes to catch the light. This is what the contest has been about -- a better place in the sun. Brand takes it in. EXT. JUNGLE -- DAY Cooper and Brand pick their way their way through the foliage, which is now perfectly still, absorbing the light. Cooper looks at the plants, wary. Brand sees his trepidation and laughs at him. BRAND They're not going to move now, Cooper. They need to spread themselves as thin as they can to absorb the light. 91. Cooper leads the way, pushing through the trees. Suddenly he stops again. Brand, annoyed, pushes through the foliage to join him. BRAND (CONT'D) Cooper, honestly, you're a bit of a- She stops. Cooper is standing at a sheer cliff. Spread out on the plain below is a massive, fortified base. INT. CHINESE FORTIFIED COLONY -- DAY Massive blast doors, long since smashed in, open onto a building that has been overrun by the local fractal wildlife. Case steps inside first, his worklights flickering on. Cooper and the others follow him in. INT. MESS HALL, CHINESE COLONY -- DAY The room is barely recognizable -- the fractal life has covered the tables and chairs. Water pools on the floor and light streams in from a massive hole the fractal animals have punched in the ceiling. DOYLE Looks like the Chinese picked a fight with the locals. COOPER Looks like they lost. They continue through the ruins. INT. BARRACKS, CHINESE COLONY -- DAY The deeper they go, the less fractal wildlife they find. The barracks are pristine -- hundreds of perfectly made beds, waiting for colonists who never came, like one of the bunkers the federal government used to keep in case of nuclear winter. DOYLE Look at the size of this place. They built it for thousands of people. But no one came. Brand looks around, determined. BRAND They will. We can salvage it. This place will save us years. 92. COOPER But why didn't they come? BRAND (SHRUGS) The Chinese government collapsed, same as ours. The people who knew about this mission probably died years ago. We had the same problems. Roth finds a sign he likes the look of -- it points to the science levels. INT. LABORATORY, CHINESE COLONY -- DAY A massive door GRINDS open and the team steps into a massive complex of underground laboratories. INT. DAMAGED LAB, CHINESE COLONY -- DAY Cooper and the others carefully make their way through a lab that has been completely emptied -- no desks, no chairs, nothing. The only thing that remains is a solid ball of matter in the center of the room. BRAND What happened here? Roth stares at the ball, intrigued. ROTH They were testing something. Cooper looks at the walls, which are bowed inwards. COOPER Testing what? Roth is looking at the ball, which appears to have been built from layers of different material. The outermost layer is flattened steel. COOPER (CONT'D) (LOOKING CLOSER) Is that a chair? Roth looks. The outermost layer of the ball indeed looks like a steel chair, flattened with incredible force onto surface of the ball. Brand opens the door to the next lab. 93. INT. LABORATORY, CHINESE COLONY -- NIGHT The lab is empty, except for a large metal sphere on a pedestal in the center of the room. A black box is set into a cavity in the sphere, wired to a control panel. Cooper looks at the walls of the room, which have been bowed inwards, as if some great force had been pulling from the center of the room. COOPER Everything in here is bolted down. (looks at sphere) What do you think this thing does? ROTH (EXCITED) Let's find out. Roth finds a control panel. Wipes off an inch of dust and begins tinkering with the controls. COOPER I wouldn't turn it on until we can figure out what it does, Roth. Roth continues to look over the controls, oblivious. BRAND (O.S.) Cooper. Come look at this. Brand calls out from the hallway. INT. STAIRWELL, CHINESE COLONY -- DAY Cooper follows Brand's voice down the stairs to a sub-basement beneath the lab level. INT. OBSERVATORY, CHINESE COLONY -- DAY Cooper steps into a huge space filled with a near perfect holographic representation of the local system. Cooper joins Brand and Doyle in the map, looking at the incredibly detailed models of each star. Case is standing at a terminal, hacking into the camp's records. CASE I've found the Chinese mission logs. They're encrypted. Cooper walks over. Looks over the terminal. 94. COOPER Old military-grade encryption. It's not very robust. (looks at Case) No offense. Hang on. Cooper punches a few keys into the terminal. Opens up the terminal. Scans the motherboard. Takes Case's rifle and SMASHES one of the chips on the board. The terminal comes to life. Cooper hands Case his rifle. COOPER (CONT'D) That should open up most of it. Case is silent for a beat, parsing the information. CASE They got here twenty years ago. The human crew was killed by radiation the first day. But the robots survived. They built the colony and radioed home. But they didn't receive a response. COOPER No one was listening. CASE (SCANS DOCUMENT) After a few years they discovered a problem. DOYLE What problem? CASE It doesn't say. Their science team took the ship to continue exploring the system. It says they found some kind of... (TRANSLATING) ...The word literally means 'treasure.' Case skims through the rest of the logs, large portions of which have been redacted. CASE (CONT'D) The science team returned after five years with a new technology. They began the experiments upstairs, then they left again and never returned. 95. BRAND Where did they go? CASE I don't know. They've deleted their mission plan. There's nothing else. DOYLE I think I know what the problem is. Doyle is manipulating the time component of the map, slowing down the passage of time, reversing it, speeding it up. DOYLE (CONT'D) Look. Doyle speeds up the map until the ice planet is nearly a blur, speeding in its orbit around Pantagruel. DOYLE (CONT'D) There's a small black hole moving into the system. Too small for us to have seen in our survey. It's not going to hit the planet, but it's going to come close. A tiny black hole soars through the system. Although it misses the ice planet, it deflects its orbit by a tiny degree. After a dozen more orbits, the ice planet dips down close to Pantagruel's event horizon and is torn apart. Brand and the others watch as the sequence rewinds and repeats -- the planet is pieced back together again and ejected, then pulled back in and torn apart. Over and over. DOYLE (CONT'D) This place isn't paradise. It's doomed. Just like us. The crew stand, watching the sequence in stunned silence. COOPER How long does this place have? CASE A few years. A decade at most. Doyle turns to Brand. DOYLE So much for the plan. Cooper looks at Brand. She is in disbelief, staring as a lifetime's training and optimism are torn to pieces. 96. BRAND But I don't understand... why are we here? What are we here for? Cooper looks down. Brand's upset is turning to anger. BRAND (CONT'D) What the hell are we here for? I trained my whole life to reach this place. She looks at Cooper, questioning. COOPER (GENTLE) Maybe... maybe Roth's right... maybe we just don't understand it yet. She looks down. She knows he doesn't believe what he's saying. He's been right all along -- they're alone. For a tiny moment, all hope is lost. Suddenly, with a distant RUMBLE, the building begins SHAKING. COOPER (CONT'D) Case, what is that? CASE It's nighttime. The native life- forms are mobile again. The RUMBLE grows more intense, as if the entire building is being gently shaken. COOPER No. It's closer than that. (REALIZING) Roth. The RUMBLE grows. As Cooper watches, Case's rifle slides free of the desk. But instead of falling, it simply hangs in the air. Then he realizes the same thing is happening to them -- his boots no longer have traction with the ground. After a second everything in the room is floating an inch off of the ground. COOPER (CONT'D) Quick -- hold onto something. He reaches out to Brand but it's too late -- suddenly they're no longer floating, they're falling. They're falling up. 97. Cooper, Brand and the rest of them hit the ceiling. Cooper picks himself up and adjusts to his surroundings -- up is now down. He helps Brand up. DOYLE What the hell is happening? Case doesn't answer -- he's looking up at the control equipment for the holographic display, which is GROANING under a load it was never built to handle. Case grabs Cooper and Brand and pushes them towards the stairwell as the control panel TEARS free of the floor and CRASHES towards them. Cooper falls into the stairwell -- now they're being pulled up and sideways through the stairwell, like an Escher painting. Brand pushes Cooper out of the way as debris from the control panel orbits past them back up towards the lab. They try to hang on but the force is becoming irresistible, dragging them along the wall of the stairwell and back towards the lab upstairs. Brand wedges herself against the railing as objects and debris are SMASHING against the door to the lab. Doyle is trying to hang onto the handrail but his grip slips and he CRIES OUT as he falls towards the door to the lab, SMASHING it open. Doyle disappears up and into the lab. Cooper slips trying to help Doyle. Brand reaches out for him... Too late. Cooper is pulled through the open door. INT. INTACT LAB, CHINESE COLONY -- NIGHT Cooper is pulled through the door and past the control panel. He reaches out and grabs the underside of the panel. He dangles, the panel cutting into the meat of his hand, trying to get his bearings: Roth, Doyle, and everything that hasn't been bolted down is either pressed against the sphere in the center of the room or is orbiting around it. Roth, who is laughing, jubilant, shouts up to him: ROTH The control panel is beneath you. See if you can turn it off. 98. Cooper slips as he tries to reach the controls. Finally he finds the controls for the machine. COOPER (YELLS UP) I found it. Hold onto something. Roth and Doyle crawl up the side of the mass and hold onto the support wires. Cooper hits a key on the monitor. Suddenly, the room inverts again, reverting to a normal gravitational field. Cooper floats for a second, then topples back to the ground, along with everything else. Brand stumbles in to find Cooper sprawled on the floor as Roth and Doyle hang onto the sphere for dear life. INT. INTACT LAB, CHINESE COLONY -- NIGHT Roth, back on terra firma, is looking at the tiny black box he's pried from the center of the sphere. Cooper is looking over his shoulder. COOPER They found a way to make gravity. ROTH Not make it. Adjust it. Dial it up, or down. I think they were experimenting with it -- firing these into the black hole to try to save this planet. DOYLE All that from one tiny box. Roth has hooked the box up to a terminal and it scrolling through the incredibly sophisticated machine code, trying to parse how it works. Cooper looks on. ROTH (AMAZED) It barely uses any power. I'm only beginning to understand what it does but I think it sends a signal out into the bulk. It must tap into the same technologies that were used to create the wormholes in the first place. COOPER What does that mean? 99. ROTH It means whoever built the wormhole probably doesn't exist inside our universe. Cooper looks at the tiny box. COOPER But how did the Chinese develop the technology? This would take decades, maybe hundreds of years, to create. CASE Wherever they went, they found something that allowed them to build it. Brand looks at the box. ROTH They came back here and tried to use these devices to save this planet. But they didn't work. Nothing would be strong enough to weaken a black hole. BRAND Maybe we could work with it. Try to improve it. ROTH No. You're missing the bigger picture. The robots had strict mission parameters. They were told to build a colony and report back. They tried to. But they failed. Like us they were fixated on this place. Cooper looks at Brand. ROTH (CONT'D) They didn't realize they had already found something that would save us all. (holds up the box) This. This is the prize. He holds up the box. ROTH (CONT'D) Don't you see? Earth's gravity is like a prison. But this is like a master key. (MORE) 100. ROTH (CONT'D) If we could build more of these, we could turn down the earth's gravitational field enough to save millions of people. We wouldn't have to pick a handful of people to survive. With this we can save everyone. BRAND And go where? ROTH Wherever we want. We don't belong in any one place. Can't you see that now? Not Earth. Not this place. Nowhere. If the human race is going to survive, we need to keep moving. Split up. Spread out. Fly. With this, we can. Case looks at the box. Makes a decision. CASE In the morning we're taking this and going home. Doyle, Roth and Case set about making preparations to leave -- gathering space suits, equipment. In the bustle, Cooper finds Brand sitting alone, staring at the sample of fractal life. COOPER I know this isn't exactly what you trained for. But I think Roth might be right. BRAND That doesn't help this planet. This creature is doomed. Unlike us it doesn't have anywhere to go. The fractal organism almost seems to be looking at her, trying to comprehend. But it quickly loses interest and goes back to breaking itself into pieces and reforming into different shapes, trying to escape. Brand sets it back down. CUT TO: INT. BARRACKS, CHINESE COLONY -- DAY Morning. Cooper and the others prepare to head out. They are laden down with gear -- space suits for the return trip to the lander once they reach the surface. 101. Roth carries the gravitational prototype. EXT. ENTRANCE, CHINESE FORTIFIED COLONY -- DAY They make their way through the ruined entrance. CASE We need to hurry. We only have a few hours to reach the ice before nightfall. Cooper stops. He puts a hand on Brand's shoulder. He points to the tree line. Something is moving. COOPER Don't make any sudden movements. They can't hurt us if we're unarmed. BRAND Who? Suddenly, three ROBOT MARINES step out of the jungle, weapons raised. They are wearing ghillie suits, pieced together from dried dead pieces of the local foliage. Under their camouflage, they looks identical to Case. With one key difference -- faded red and gold insignias. Case steps protectively in front of his team. The CHINESE OFFICER steps forward, rifle levelled. CHINESE OFFICER Ni Hao. My name is Technical Sergeant Liu, 177th reconnaissance Marines, Army of the People's Republic. Welcome to New China. (POLITE) Please put down your weapon. Sergeant Liu speaks in the same even tones as Case -- they were probably built in the same factory before the war. Case keeps his rifle raised. CASE This is a scientific expedition, not a military one. We are making our way back to our ship. LIU I'm afraid I cannot let you do that. We will provide food and shelter and await further instructions. (MORE) 102. LIU (CONT'D) We are sorry if this causes you any inconvenience. The sergeant is polite, but firm. BRAND This planet is being pulled into the black hole. We all need to leave. LIU We will await further orders. COOPER Further orders aren't coming. Your government is gone. It ran out of money, same as ours. You're on your own. LIU We can offer you food and shelter as long as you require. The facilities here are quite comfortable. Liu's tone remains polite, but there's no hope of changing his mind. Cooper takes a sidelong glance at Brand. COOPER (LOW) They're never going to let us go. BRAND (TO LIU) Your mission is a humanitarian one, wasn't it? You were sent to start a colony. Like us. LIU Our mission was to prepare for the evacuation. This site was deemed unacceptable. BRAND This device that you have built -- this could save millions of people. We need to get it back home. Brand points to the device Roth is holding. The Chinese robots seem particularly unhappy with this development. LIU These technologies are the property of the People's Republic. (MORE) 103. LIU (CONT'D) We have been ordered to prevent anyone from taking them. We have been ordered to prevent anyone from following. ROTH Following? Following where? Liu pauses. LIU We will await further orders. ROTH Your name means six. Where did the others go? One through five? Is that who were not supposed to follow. Case turns to look at Cooper. CASE (LOW) Take the others up to the lander. Keep going. No matter what happens, don't come back for me. Cooper nods. Case moves. Fast. He FIRES one shot at the nearest robot, disabling it, then hurls himself at the remaining two, tackling them both over the edge of the ravine. Cooper watches them disappear into the void below. Grabs Brand and the others. COOPER Come on. Cooper picks up the rifle from the destroyed marine and begins hiking up the mountain. EXT. MOUNTAIN PEAK -- DAY The crew hike towards the ice above. Below they hear a metallic BOOM as something heavy hits something else -- Case is still fighting. They keep moving. EXT. UPPER MOUNTAIN PEAK -- TWILIGHT They are high above the Marine camp, only fifty feet or so below the massive ice roof of the cavern. The Chinese have blasted a tunnel into the ice leading back up to the camp above. 104. This high, the air is bitterly cold. Cooper and the others are hunkered down, trying to keep warm, waiting for night to fall so that they can climb back up to the lander without being cooked by the neutron star. Finally, above them, the light begins to flicker out. The crew begin pulling on their space suits. Brand checks on the fractal wildlife in the sample case -- she is bringing it with them. Cooper catches her eye. BRAND We can't leave them all to die. She hefts the case and they begin climbing up into the ice. EXT. SURFACE, ICE PLANET -- NIGHT Brand leads the way, the lights from her suit cutting into the drifts of snow as they make their way slowly back to the lander. As they reach the lander Cooper spots lights emerging from the ship. He raises Case's weapon. One of Liu's marines steps around from the back of the lander. Cooper FIRES. The marine collapses. Cooper and the others race to the lander. BRAND Was that the last of them? DOYLE We're not going to stick around to count them. Let's get out of here. COOPER We're too late. Cooper points to a damaged section of the ship's hull -- the marine has torn open a section, revealing damaged hardware. COOPER (CONT'D) The main thruster fuel supply. We're not going anywhere. Cooper looks down. They're stuck here. DOYLE What about the escape rocket at the Chinese base camp? One of us could fit into it. 105. BRAND It doesn't matter how many of us make it. We have to get this back to earth. Roth looks at the moons orbiting overhead. ROTH Can the secondary thrusters still fire on the lander? Doyle looks over the craft. DOYLE Sure. But we don't have nearly enough power for lift off. Roth holds up the small gravity black box. ROTH (SMILES) Yes we do. Roth sets off running towards the Chinese base camp. EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Cooper drags the pieces of the escape rocket out from the shelter. Assembly is semiautomatic -- Cooper lifts the pieces up and they snap together, forming a crude two-stage rocket designed more for a robot than a man. When it's complete Roth wedges himself inside, clutching the black box -- he barely fits. ROTH I can reach one of the moons in low orbit and turn up its gravity. As it passes overhead it should be able to slingshot the lander away from the planet's surface. (LOOKS AROUND) Along with everything else. COOPER But we need to take the box back to earth. ROTH You don't need this -- only the idea. The knowledge of how to build it. Cooper remembers something. Heads back into the shelter. 106. INT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Roth follows Cooper into the lab. Cooper opens the storage crate. Picks one of the probes at random. Sets it down on the bench next to Roth. Cooper begins rigging up a connection between the two. COOPER I'm going to image the operating code and the architecture onto the probe's hard drive. It'll be garbled, but it should give you and me enough to rebuild it when we get back. Cooper looks at the probe filling up with data. ROTH Not me. But you'll make it work. The transfer is complete. Roth hands Cooper the probe, and takes the black box himself. ROTH (CONT'D) This is a one-way trip for me. Before Cooper can respond, Roth heads for the door. EXT. CHINESE BASE CAMP, ICE PLANET -- NIGHT Roth squeezes himself into the rocket, hugging the black box to his chest. Cooper and Brand help him. BRAND This isn't right, Roth. We can find a way for all of us to leave. ROTH This is the only way. Keep the lander upright and fire the secondary boosters when the moon passes overhead. COOPER Let me take it. ROTH No. You need to make it home. You're going to need to build more of these. Brand looks at him, heartbroken. Roth smiles. 107. ROTH (CONT'D) I understand the plan, now. Whatever happens, you have to keep exploring. Keep learning. One good idea isn't enough. You'll need more and more of them just to survive. Do you understand? BRAND (NODS) Thank you. ROTH Go. Brand turns to follow Cooper back. Behind her, Roth's rocket LAUNCHES on an explosive cloud. In seconds it's high overhead. EXT. LANDER -- NIGHT Cooper checks over the hull, which is intact. Doyle is inside looking over the controls. He steps back outside. DOYLE Control systems inside are online. (LOOKS UP) I've lost sight of the rocket. Do you think he made it? COOPER We're going to find out soon enough. Brand is looking off into the distance. BRAND Someone's coming. Cooper looks up. A robotlike figure is limping through the snowstorm towards them. Cooper raises the rifle. Finally he makes out the insignia -- it's Case. Cooper and Doyle run out towards him. They reach Case as he collapses in the snow. He's badly injured -- one leg torn off at the knee, one arm mangled. Doyle and Cooper drag the crippled robot back into the ship. INT. LANDER -- NIGHT They drag Case into the lander. Doyle checks over the ship's controls. 108. DOYLE Close the door. Cooper moves to the door. Something's wrong. COOPER Where's Brand? She's nowhere to be seen. Cooper looks out onto the ice. Brand is heading back out into the snow. COOPER (CONT'D) Dammit. If I don't make it back, just keep going. (points to probe) Get that thing home. Cooper steps to the door. EXT. SPACE ABOVE ICE PLANET The rocket tucks in close behind one of the moons orbiting the ice planet. The rocket fires to maneuver closer and closer to the moon's surface -- the tiny moon doesn't provide enough gravity to attract it. When the rocket is close enough, Roth detonates the explosive bolts holding him inside and leaps for the moon's surface. He scrambles to grab hold of the craggy surface. Behind him, the rocket smashes apart against the surface. Roth finally gets a good hold. He looks down. Below him, the view is incredible -- the ice planet curving into the distance, Gargantua rising over its horizon. Roth looks at the black box in his hands. EXT. SURFACE, ICE PLANET -- NIGHT Brand is a hundred yards from the lander by the time Cooper catches up with her. She is digging in the snow. He takes her arm but she won't go. She finally finds what she's looking for -- the sample case. The tiny fractal life-form is huddled at the bottom. Cooper shakes his head and turns back to the lander. 109. EXT. MOON, SPACE OVER ICE PLANET Roth is watching the ice planet pass by beneath him. He finally sees the distant peaks of the mountain range as it punctures the ice near the Chinese camp. For a moment he enjoys the view -- the distant hulk of Gargantua rising over the horizon of the shining ice planet. He takes a final breath and activates the black box. Instantly, the moon's gravity is magnified a hundred million times over. Roth is instantly crushed as the moon collapses around him into a tiny sphere. EXT. SURFACE, ICE PLANET -- NIGHT Cooper and Brand are only thirty yards or so from the lander. Suddenly, the ground beneath them begins to RUMBLE. Cooper turns back. A mile back the ground begins to tear apart, heaving massive chunks of ice and rock into the sky. Roth's moon is racing overhead, TEARING up a massive strip of the surface's planet as it nears them. Cooper and Brand run. EXT. MOON, SPACE OVER ICE PLANET The energy being unleashed by the tiny box is incredible -- millions of times more powerful than an atomic bomb. The spray of debris is forming a rooster tail behind the moon, rocketing up from the planet's surface. EXT. LANDER, SURFACE, ICE PLANET -- NIGHT Cooper has almost made it back to the lander. Behind him, Brand stumbles. He turns back. Brand is pulling herself up. Behind her, the THUNDEROUS EXPLOSIONS as a strip of the planet's surface is hurled into space have almost reached them. Cooper looks at the ship. He'll never make it if he waits for Brand. He turns back to find her. He reaches Brand just as the moon's gravity hits them -- they're hurtled off into space. He grabs her hand. Seconds later, everything -- the entire ice sheet, the sea and rocks deep below -- is hurled up after them. 110. Brand and Cooper embrace as they rocket up through the thin atmosphere. Brand looks at him. BRAND (RADIO) You caught me. Now what? Cooper looks around. They planet's surface is breaking into pieces around them. COOPER (RADIO) I don't know. (RADIO) I figured if you were floating out into space, you'd want some company. He holds onto her as they fall up and out of the last of the planet's thin atmosphere and the blackness embraces them. BRAND Between you and utter solitude, Cooper, frankly, I'm not sure. They reach the apex of their climb and the gravity of the planet begins to win out. For a moment they float. COOPER Guess you were right -- too much gravity, or not enough. He smiles, forgetting their predicament for a moment. They stare into each other's eyes. Then they begin, very gently, to fall back towards the ice planet. Suddenly, the lander maneuvers beneath them. The airlock opens to catch them -- Doyle is at the helm. Brand and Cooper pull themselves aboard. INT. LANDER Cooper closes the door and Doyle rotates the lander outwards. Doyle FIRES the engines and the lander continues ascending into space as the debris around them begins crashing back down towards the ice planet. Cooper looks out the window: 111. The moon continues tearing up a massive canyon in the planet's surface as it circles out of view. COOPER Roth. BRAND He's gone. Ahead, a shadow looms in the darkness: the Endurance. INT. OBSERVATION DECK, ENDURANCE Brand, Cooper, and Doyle pull themselves out of the airlock and scramble to take control of the ship. Below them, the surface of the ice planet illuminates as the neutron star's x-rays begin to reach it from the far side of Pantagruel. Doyle finally gets the ship straightened out. Its sole remaining engine FIRES, rocketing the ship back towards the dark side of the planet, out of view of the neutron star, and back towards the original wormhole. DOYLE I'm setting a course for the wormhole. They're going to make it. Cooper and Brand make eye contact -- Brand gives him a tiny awkward smile. He returns it, then descends below. INT. OUTER HULL, ENDURANCE Cooper props Case up against the workbench. He pulls down replacement arms and legs from storage bins. Unwraps them from their vacuum sealed plastic and bolts them back onto Case's chassis. Cooper finishes attaching the arm. Case rotates it, checking the function. COOPER How is that working? CASE Very well, thank you. COOPER Good. We've already set the course, skipper. We're going home. Cooper hauls himself back up into the observation level. 112. INT. OBSERVATION LEVEL Doyle is setting the controls. The ALARMS on the controls have finally abated -- they're out of the danger zone. BRAND We're safe now. Cooper heads to the communications equipment. COOPER Now I know why we weren't able to hit the relay. It's not interference -- the blue-shift from the black hole is more than we thought it would be. Cooper begins re-calibrating the equipment. BRAND (CONFLICTED) Cooper, wait-- The ship PINGS the relay on the far side of the wormhole. There is no response. COOPER Nothing. (THINKS) Wait. The ship cached one long garbled transmission when we first fell into the swirl. If we account for the blue shift then the computer might find something in there. Cooper brings up the last garbled transmission they received. The computer begins re-analyzing it, piece by piece. BRAND (QUIET) Listen to me -- the blueshift also means we've lost time. More time than we thought we would. Cooper looks up at her. COOPER How much? BRAND A lot... Cooper, maybe it's best if WE DON'T- The comms equipment TONES as it translates a packet. Then another. 113. Then a FLOOD of communications, one packet a day, hundreds and hundreds of packets: images, videos, audio messages from family and friends. Cooper watches, horrified, as the images play out across the screen. He is watching the lives of his family play out at light speed. Finally, the packets slow, then stop. Cooper looks at the results, in shock. COOPER Forty seven years. Doyle joins him, staring at the screen, stunned. DOYLE My kids... Cooper tries to PING the relay again. Nothing comes back. BRAND (GENTLE) The relay will have lost power years ago. That's why we couldn't contact it, even after we reached the planet. Cooper is still problem solving, thinking. COOPER We could bypass the relay. Send a conventional shortwave signal. BRAND Only a tiny portion of the signal would make it though the wormhole. Besides, no one will be listening anymore. The comms screen is dead. No movement. Nothing. Cooper looks at Brand, realizing something. COOPER You knew, didn't you? You and Case figured it out when we landed. Brand looks down. BRAND I thought... I couldn't be sure. COOPER Sure you could. You're brilliant. You know everything. 114. BRAND Cooper... we needed to keep going. I'm so sorry. Your children... COOPER They're not children any more... if they're even still alive. He turns away from her. BRAND Listen, the important thing is that we're going home, now. And we have something that can save everyone. It's more important than the people we left behind- Doyle cuts her off, filled with anger. DOYLE That's easy for you to say. You didn't leave anyone behind. Cooper looks at Brand, his anger softened by sadness. COOPER Yes she did. Brand looks at him, grateful for this small kindness. COOPER (CONT'D) That's why you were upset -- your father. She looks down, filled with sadness. BRAND He's gone. But there are other people who still need our help. There's still time... The ship's controls TONE in ALARM. Brand and Cooper turn: Case is standing at the controls. BRAND (CONT'D) Case... what are you doing? Case finishes typing in a sequence on the command controls. Presses the "execute" button. The last nuclear engine begins to detach from the ship. BRAND (CONT'D) Wait... no... 115. The robot turns from them. Cooper notices that the control module snapped into the back of Case's chassis is wrong: It's red with a gold star. It's not Case at all. It's Liu. LIU I'm sorry. I have my orders. No one follows... Liu stares, satisfied, as the nuclear engine spins away from the ship and back down toward Pantagruel. Cooper SMASHES Liu from behind. The robot tumbles to the ground, the fight gone out of him. Cooper and Doyle roll the robot over and Cooper reaches for his control module. LIU (CONT'D) No one follows- Cooper rips the module out. The robot freezes. Brand is already at the controls, trying to regain control. The instruments TONE, alerting the crew to their position: The ship is spinning back down towards the black hole. BRAND No... We're being pulled back to Pantagruel. Cooper, frantically checks the controls, firing the remaining boosters. COOPER We can't let that happen. We'll lose more time... too much... The boosters are no match for the deadly pull of the black hole below them. On the ship's guidance, they watch, helpless, as the ship climbs back up the volcano rim towards the critical orbit. As on their first trip, the black hole grows to dominate the bottom of the sky, and the stars above them become streaks -- time is speeding for them as they are whirled down into the deep gravity well around the hole. As they watch, trapped, decades begin to play out in the system above them. They watch as the ice planet whirls around them, orbiting the black hole dozens of times. 116. COOPER (CONT'D) We're losing years. Finally, the ice planet plunges past them towards destruction. As it reaches it slows, until finally it reaches the event horizon, just as they saw in the projections. Nothing has prepared them for the reality: The ice planet is SMASHED apart with stunning violence. Brand looks at the sample of fractal life. Now they are united -- they are, in all likelihood, the sole survivors of their planet. Doyle points to the instruments. DOYLE The wormhole. Look -- it's being pulled into the black hole as well. They watch on the holographic model as the wormhole's orbit converges on the event horizon of the black hole. BRAND It's orbit mirrored the ice planet's. COOPER What will happen to it? BRAND It'll be destroyed, like everything else. Cooper struggles to pull himself over to the communications screen. Sets it to make a shortwave broadcast. Brand opens her mouth to point out that it's futile, then stops. COOPER (INTO RADIO) This is the crew of the Endurance. We... (gives up on FORMALITIES) Murph, I'm sorry. I'm sorry I didn't make it back, like I promised. He hangs up the radio. In silence, they watch as the wormhole -- their only way home -- vanishes beneath the event horizon. DOYLE How much time are we losing? 117. BRAND (HEARTBROKEN) Decades...hundreds of years. COOPER All of those people back home... none of them will make it. As Doyle watches the controls the ship continues to spiral towards the black hole. DOYLE This is it. We're going to be pulled in. Cooper looks at the controls, an idea forming. He pulls himself down. Hauls himself across the deck to pick up Liu's chip. He plugs it into a diagnostic tool. BRAND What are you doing? COOPER Case said the Chinese found something else. The location was scrubbed from their records. But I bet he knows it. Cooper fires up the chip. Begins sorting through the onboard memory. Doyle watches the instruments. DOYLE Hurry up. Cooper concentrates, poring over the numbers. Finally he begins feeding coordinates into the navigation computer. COOPER Here. Can we reach it? Brand looks at the map. The point appears on the far side of Gargantua. Brand studies the trajectory. BRAND We can use the thrusters to keep us on the critical orbit. Then slingshot us towards Gargantua. The thrusters STRAIN to push the ship back up towards the critical orbit. 118. Suddenly, the tidal gravity SLAMS them against the walls of the ship. Finally, the thrusters fire again -- a tiny push, but just enough to launch the ship clear of the black hole, like a rock out of a slingshot. The ship races toward the massive hole in the sky below them: GARGANTUA EXT. SPACE AROUND GARGANTUA The ship picks up more and more speed as it soars closer to the massive black hole's event horizon. INT. OBSERVATION DECK, ENDURANCE The sky closes to a tiny hole above them. Gargantua is swallowing their view. Cooper looks at the radar, which is choked with debris. DOYLE We only have a few minutes before we're swallowed into that thing. What are we even looking for? On the radar, a tiny empty spot appears. COOPER (points to screen) That? What is it? Brand looks. In one tiny region on the back side of the black hole, the debris simply seems to vanish. BRAND It's another wormhole. Doyle FIRES the thrusters again, pushing the ship towards the wormhole. EXT. SPACE AROUND GARGANTUA The Endurance spins, shifting paths slightly as it continues to race closer and closer to oblivion. INT. OBSERVATION DECK, ENDURANCE They study the controls. The projected path shifts, one degree at a time. Finally, it appears to put them on a path to hit the wormhole. Doyle shuts off the thrusters. 119. DOYLE We're not going to be able to slow down. Hold onto something. He locks up the controls. EXT. SPACE AROUND GARGANTUA -- MORNING The ship is tumbling through space, racing toward the second wormhole. It is massive, much larger than the first wormhole, and it's glowing with a light as bright as a star. INT. OBSERVATION DECK, ENDURANCE The crew brace themselves against the hull of the ship. Suddenly the ship slams onto the wormhole mouth and is pulled violently into the wormhole. WHITENESS. As the light fades, Cooper and the others come to. The light is rapidly dimming from pure white, fading to a deep red, then infrared, finally darkness. Cooper looks out. Checks the instruments. Looks out again. EXT. VACUUM Nothing. Blackness as far as the eye can see. No stars. No planets. Just inky darkness stretching on forever. INT. OBSERVATION DECK, ENDURANCE Brand joins Cooper on the deck. Together, they look out at the blackness that surrounds them. COOPER Where are we? BRAND I don't know. It's like we entered the wormhole and never left it. Brand checks the instruments. There is nothing for the ship to model. There is nowhere to go. They drift. INT. OBSERVATION DECK, ENDURANCE Days go by. They check the instruments. Still nothing. It's as if they have left the known universe altogether. 120. INT. COMMUNICATIONS ROOM, ENDURANCE Doyle sits down. After a moment, he turns on the screen and cues up a message. His children appear on-screen, giggling, pushing each other, trying to get a prime spot in front of the camera. Doyle cups his face in his hands and cries. INT. CREW QUARTERS, ENDURANCE Cooper above his bunk, stares out into the blackness. Brand watches him from the doorway. BRAND I'm sorry. I should have told you. I didn't have the right. (BEAT) But you should watch the recordings. You should know what happened to your kids. Cooper ignores her. INT. COMMUNICATIONS ROOM, ENDURANCE Brand watches her father talking to her on-screen. He is twenty years older than when she left him. BRAND'S FATHER I'm not going to make it much longer. The machines will continue to maintain the station as long as they can and the communications will run as long as the station here still has power. I'm sorry. I hope wherever you are, darling, you're safe. The screen cuts out. Brand watches the static play out. INT. OBSERVATION DECK, ENDURANCE Doyle sits at the table. He has found a flair gun in one of the ditch kits. It is sitting on the table in front of him. The message is clear. Brand sits down across from him. BRAND Our last trip past the black hole cost us another 100, maybe 200 years. Which means there's a good chance we're the only humans alive anywhere. 121. She stands up. BRAND (CONT'D) I think the last human beings should have a little more fight in them than that. Brand picks up the sample of fractal life and places it under a lamp on the counter. It freezes, absorbing the rays. Doyle looks at the gun. EXT. ENDURANCE, VACUUM Cooper, in a space suit, steps out of the airlock. He drifts out from the ship. Nothing. Behind him, the ship is a tiny speck in an ocean of darkness. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper sits down. Turns on the screen. After a moment, the camera turns on. Tom, his eldest son, still 15 years old, turns on the camera. TOM Hi, Dad. Cooper pauses it. He can't take it. After a moment, he lets it run again. TOM (CONT'D) I met another girl, Dad. I really think this is the one. Tom holds up a picture of himself and a teenage GIRL. TOM (CONT'D) Murph stole Grandpa's car. He crashed it. He's OK, though. No broken bones. Cooper leans back. INT. COMMUNICATIONS ROOM, ENDURANCE Cooper is holed up, still watching, several days' growth of beard unshaved. He's been watching for days. On the screen, Tom is a grown man in his 20s. 122. TOM I've got a surprise for you, Dad. You're a grandpa. Tom holds up an infant wrapped tight in swaddling. The kid is BAWLING. TOM (CONT'D) Congratulations. Grandpa said he already earned the "great" bit so we just leave it at that. The screen cuts out. The next message begins. Tom is in his 30s. TOM (CONT'D) Hi, Dad. I'm sorry it's been awhile. He stops, emotional. TOM (CONT'D) Grandpa died last week. We buried him out in the back forty, next to Mom. (LOOKS DOWN) Where we'd have buried you, if you'd ever come back. He laughs, gallows humor. TOM (CONT'D) Murph was there for the funeral. It's been a few years since I've seen him. He's been down in the Gulf Coast. He's an engineer. I guess someone followed in your footsteps after all. Tom looks down. TOM (CONT'D) You're not listening to this. I know that. All of these messages are just out there, drifting in the darkness. He stops for a second. TOM (CONT'D) You're gone. You're never coming back. And I've known that for a long time. Lois says -- that's my wife, Dad -- she says I have to let you go. So I am. 123. He reaches up to turn off the camera. TOM (CONT'D) Wherever you are, I hope you're at peace. Goodbye, Dad. The image freezes, Tom's hand on the camera, then breaks apart into digital noise. Then nothing. Cooper looks at it for a second. Then rises to leave. Suddenly, the screen flickers to life again. A good-looking man in his late 30s turns on a camera. Cooper recognizes him instantly. It's Murph. Murph looks at the camera for a long beat, clearly unsure about this. MURPH Hello, Dad. You sonofabitch. He laughs, self-conscious. MURPH (CONT'D) It's your 60th birthday today. Thought I would celebrate with you a bit. (BEAT) I guess I understand why you left. The corn is dying now, too. Tom says there's less and less at harvest every year. He pauses. Lifts up his hand and scratches his stubble. Cooper pauses the message. He looks carefully at the screen: Murph is wearing his dad's watch. Cooper lets the message play. Tears are streaming down his face. MURPH (CONT'D) Rot's setting in. I guess you were right for clearing out while you had the chance. (reaches up to switch OFF CAMERA) Good luck, old man. I hope you made it. I really do. The video cuts out. 124. A message appears on the screen: "Final transmission." Relay powered down 05232087 Cooper turns off the screen. INT. CREW QUARTERS, ENDURANCE Cooper is seated, alone. Almost every compartment has been opened and emptied -- debris is swirling through the compartment. Brand walks in. They sit in silence for a moment. When Cooper speaks, it's clear his sadness has faded to a gallows humor. COOPER Not a single drink on the whole ship. What kind of mission is this? BRAND I think Doyle's been experimenting with the coolant from his spacesuit. They sit in silence for a moment. COOPER You really think we're the last humans alive anywhere? BRAND I don't know. Maybe. (looks him in the eye) Yes. COOPER So that's it, then? That's all? He looks down, saddened by his own words. BRAND (QUIET) It's happened a billion times over. Stars explode. The pieces drift in space. Gravity pulls them back together. They form new stars. Then planets. Then us. We die. It starts all over again. Cooper shakes his head. COOPER What about the plan? The grand scheme. 125. BRAND I thought you didn't believe in one. COOPER I didn't. But you were bringing me round. He laughs, his anger coming and going in waves. COOPER (CONT'D) What the hell was the point? What did it add up to? BRAND I don't know. Maybe it just adds up to this. COOPER This? You're saying the end result of ten billion years is the atoms from dead stars standing here disagreeing with each other. She smiles at him. Bittersweet. BRAND Maybe that's enough. He turns away from her. She takes his shoulder. She pulls him into a kiss. His surprise disappears and he pulls her to him, kissing her back. Their surroundings forgotten, they drift. She LAUGHS gently as they bump into a wall and he pushes off of it, sending them spinning back into the center of the cabin. She pulls his shirt off and it hangs in space. In moments, the cabin is filling with discarded clothes, different colors and shapes, like a ticker tape parade. In the center of the cabin, Brand and Cooper make love. INT. CREW QUARTERS, ENDURANCE -- LATER Cooper and Brand embrace, sleeping, drifting in the cabin. Suddenly, Doyle's voice calls out from the other cabin. DOYLE (O.S.) It's happening... it's happening again... Get up here... Cooper wakes, careful not to disturb Brand. He plucks his shirt from the floating laundry pile and pulls it on. 126. INT. OBSERVATION DECK, ENDURANCE Cooper hauls himself up into the upper cabin. Doyle is standing in the middle of the chamber. DOYLE They just appeared. A sphere of distortion, like the one they encountered in the first wormhole, is directly in front of Doyle, hovering at a point in the middle of the cabin. Doyle points a finger gently at the sphere, which grows in response. Brand pulls herself into the cabin. Several more points appear, as if they've been summoned by the first. Some of the points twist, some of them spin, and some of them are motionless. BRAND I think these are the creatures that built the wormhole. One of them begins to move closer to Cooper. COOPER This thing is made of... gravity? BRAND No. I don't think it's in our universe at all. I think it lives in the bulk -- the space that the wormholes traverse. And it can only interact with us using gravity. The shape playfully grows around Cooper's hand, bending the space it's in, stretching the skin. Doyle GASPS as the sphere nearest him moves through his body, coming to rest in the middle and bending his entire torso like a fun house mirror. Suddenly, the sphere wrapped around Cooper's hand begins moving, tugging him gently through the cabin. In the next moment, all three of them are being propelled through the cabin. It's a magical moment -- a communion, a dance between creatures on either side of a massive, invisible wall. Doyle exclaims like a kid on a roller coaster as he is whirled around the room. 127. Cooper and Brand collide with each other for a second as the bulk beings move them through space. They hold onto each other for a moment and then are pulled apart again as the whirling dance continues. Even the fractal creature is involved -- inside its cage, a tiny distortion ripples its fractal skin. The creature breaks apart and plays with the distortion around its enclosure. Finally, Brand disengages from the dance and pulls herself around the lab, looking for some way to try to communicate with the creatures. She finds two heavy pieces of engineering equipment and moves them close to each other, then far apart. The bulk beings soon join her, mimicking the motion of the pieces of equipment. COOPER Can we communicate with them? BRAND Where would we even start? Maybe-- She pull a bag of ball bearings out of a storage bin and tears the bag open, releasing a cloud of the tiny shining globes into the air. For a moment, nothing happens. Then, the distortions begin moving through the bearings, shifting them, rearranging them into patterns in the air. First, they rearrange the ball bearings into clusters, then shapes spinning around each other -- planets orbiting around a medium-sized star. DOYLE That's our solar system. After a moment the ball bearings break apart again and rearrange into a larger, more complicated system -- Gargantua, Pantagruel, and the ice planet. Finally, the bearings compress to a two-dimensional sheet. Inside the sheet, one solitary ball bearing orbits around the stars and then pushes up, off of the sheet, into an umbrella shaped space that rises up from the sheet. COOPER What is that? Brand looks at the tiny particle, floating alone above its universe. 128. BRAND That's us. That's where they've brought us. We're in the bulk. Cooper and Doyle stare at the particle. The map is static now. Cooper looks around. The distortions have gone. The instruments on the ship TONE in alarm. Cooper walks through the map, sending the ball bearings scattering. He hurries to the instruments. The ship is moving -- picking up speed at a huge rate. BRAND (CONT'D) They're moving us. DOYLE Where? They stand, looking out into the perfect darkness. EXT. ENDURANCE, VACUUM The ship begins to close in on something in the darkness: a tiny point of light. As they grow closer, they realize that it's an opening. They are inside a massive, hollow sphere. They have been the entire time. The ship is guided out through the opening at the crown of the sphere. Below them is an astonishing sight: Our entire universe, compressed into a flattened disc, like a floor of stars. They are hovering above it, in the bulk, the space between universes. INT. ENDURANCE, BULK Brand and the others stare at the incredible display. The ship drops down and begins to orbit around the massive hollow sphere between them and our universe, lower and lower until it is skimming just above the surface of the sphere. In the distance, they can make out a cluster of lights. COOPER There's something out there. The cluster of lights grows as they are propelled closer: 129. It's a massive space station, built onto the surface of the sphere. EXT. SPACE STATION The Endurance glides to a gentle stop on one of the upper decks of the space station. After a moment, the airlock to the ship opens and Cooper and the others step out, in their suits. They walk up to the airlock doors of the station, which open automatically. INT. SPACE STATION After the airlock decompresses, the inner doors open. Standing there, waiting for them, is a familiar figure: Tars. TARS (DEADPAN) I guess this isn't robot heaven after all. The light on his brow glows and he offers them both a hand. INT. GRAND LABORATORY, SPACE STATION The humans have taken off their space suits -- the station has been built to be habitable by humans -- and are following Tars through the massive facility. TARS I orbited the black hole seven times before I hit the second wormhole. Then I drifted until I found this place. Cooper looks around. The halls are filled with countless technological wonders. COOPER This is what the Chinese were protecting. (LOOKS AROUND) How they could have built all this in just a handful of years. TARS They didn't. It took them four thousand. (off Brand's look) Time moves very slowly here 130. BRAND How do you know? TARS Because I've been waiting for you for three hundred years. Brand looks around at the massive facility. BRAND Time. That's what the bulk beings wanted to give us. That was the treasure the Chinese found. Enough time to let us save ourselves. Brand looks around. The facility is massive. She sets the specimen case down on a table. Even the tiny creature seems in awe of the place. INT. LABORATORY, SPACE STATION Tars shows them a prototype for the gravity machine. It is tiny -- increasing G around two spheres that attract each other with a tiny force. TARS I have catalogued almost everything they had built here. COOPER Must have taken you a while. TARS One hundred and fifty-seven years. Cooper shakes his head in disbelief. COOPER How are they keeping the lights on in this thing? Tars, in answer, points to a far door. TARS Follow me. INT. ENGINE ROOM, SPACE STATION A massive reinforced-concrete shell shudders with the energy contained within it. The whole room HUMS with power. Tars pulls up a display showing the inside of the shell: A tiny black hole spins, spewing out massive amounts of power. 131. TARS It's a mini black hole. A remnant of the big bang. It will power this place forever. Tars leads them on. EXT. HANGAR, SPACE STATION Tars leads them past an incredibly sleek fleet of spacecraft. Cooper starts to stop, but Tars doesn't slow down. INT. SIMULATION ROOM In the center of the room is a giant holographic globe of the Earth, perfect down to the tiniest detail. COOPER It's a map? TARS No. Not a map. This is a simulation of the Earth. A perfect simulation. Tars touches the control panel. The map zooms in over Europe. Down onto Paris. Late 20th century: People walk through the streets. A woman stops at a newsagent to buy a newspaper. Tars touches the controls again and the map zooms out. TARS (CONT'D) They tested each of the technologies hundreds of times, trying to find the one that would cause the least damage and still allow us to leave Earth. Suddenly, the map lights up with atomic explosions in every city. The sequence stops, rewinds. This time, sped up, the Earth seems to be drying up -- great swaths of desert grow across Europe and Asia. Massive circular ships are constructed all over the face of the Earth. TARS (CONT'D) This was their best solution. A massive version of the box we found on the ice planet, allowing the entire human population to escape. At a given moment, the gravity of the Earth is dropped to nothing and the massive ships, filled with the entire 132. population of the Earth, lift gently off of the planet in search of greener pastures. Cooper turns away from the machine, bitter. COOPER So why didn't they return? Why didn't they save us? Brand is staring at the massive map. BRAND Because they were too late. By the time they found this place, the people who sent them were dead. They were unable to fulfill their mission. Tars points to the next room. TARS That was the final problem they tried to solve. Tars moves on. EXT. PLATFORM, SPACE STATION Above them, the blackness of the sky is punctuated with hundreds of crystal shapes, faintly leaking starlight: Wormholes. Brand looks up at them, entranced. BRAND Where do they lead? Tars looks at an illuminated schematic on one wall, mapping some of the wormholes. TARS There are millions of them, connecting virtually every planetary system in the universe. There are thousands in our galaxy alone. But the Chinese stopped mapping them when they found what they were looking for. Tars walks further. He stops. The platform in front of them is dominated by a gigantic version of the black box that Roth found on the ice planet, connected to a massive power array, and pointing into the dark space above the sphere. 133. TARS (CONT'D) This was their final creation. They had to capture the mini black hole just to have enough power to try it. Several miles above the black box, one of the wormholes glows far brighter than the others, crackling with radiation. DOYLE What does it do? Cooper steps forward. Runs a hand on the cold, strange material the antenna is made out of. He knows exactly what it does. COOPER They weren't interested in the other wormholes because their mission was to return home. That one leads back to Earth. The Earth they were told to return to. Tars walks to the controls for the device. BRAND But that's impossible... Tars turns away from the machine. TARS It was only used once. The Chinese team attempted to travel back in time, to Earth just a few years after they had left. COOPER Did they make it? TARS I don't know. Doyle looks back to Cooper. DOYLE Do you really think it works? Cooper looks up at the machine, suddenly determined. COOPER We're going to find out. Cooper walks out of the room. Brand follows him. 134. EXT. AIRLOCK, SPACE STATION Brand follows Cooper as he walks up to the Endurance. BRAND You know it doesn't work. Time travel isn't possible. COOPER You don't know that. BRAND Yes, I do. If it worked, the Chinese would have suddenly discovered all of these incredible technologies. But they never made it. (BEAT) You can't go back, Cooper. You can slow things down, but you can't ever go back. Our home is gone. (off his look) You listened to all of those messages from your family. If you had made it back, we would already know. There would already be some evidence. Cooper looks at the machine. BRAND (CONT'D) If you try to use it, you'll die, just like the people who built it. She puts an arm on his shoulder. BRAND (CONT'D) Roth was right, Cooper. We have to keep going. Keep exploring. We have an obligation to try to survive. From here we could find a thousand places where life could thrive. And you're going to return to the one place where it can't. COOPER I made a promise. He turns away from her, resolute. EXT. HANGAR, SPACE STATION Cooper and Doyle check over one of the sleek Chinese spaceships. 135. INT. CHINESE SPACESHIP Cooper is checking over the controls of the ship. Brand walks in. BRAND I came to say goodbye. Cooper looks up at her. INT. HANGAR, SPACE STATION Cooper walks Brand back to the Endurance. The ship is packed up and repaired. Brand is looking over their work. COOPER You could have taken one of the other ships. BRAND This one's done all right by us so far. Brand holds up a small sample case containing half of the fractal life-form. BRAND (CONT'D) Will you take this with you? It's the last of its kind as well. Thought we should double its chances of survival. In case I'm wrong. Cooper takes the sample and looks at the tiny creature inside, trying to escape. He sets it inside the ship. Turns back to her. COOPER Where are you going to go? BRAND I don't know. Up there, I guess. She points up into the great darkness above them. Tars steps down. Moves over to them. COOPER You're going, too? TARS I'm curious. It's my nature. See you down the road? Tars shakes Cooper's hand. Heads onto the Endurance. 136. BRAND Come with us. Please. You wanted your whole life to explore. This is your chance. Cooper stares at her. This is what he has always wanted. And he has to turn it down. COOPER I'm sorry. I have to find out what happened to my sons. I promised them. Brand sees the resolve in his eyes. Knows there's no way to change his mind. BRAND You're a man who keeps his promises. Make me one- She takes his hand. BRAND (CONT'D) After you're done... come find me. COOPER I promise. They kiss passionately. Not wanting it to end but knowing that it must. Reluctantly, they separate. Brand turns back to the ship. She pulls herself onto the ship. Cooper steps back outside and watches through the tiny window as the Endurance lifts off and disappears into the darkness. Cooper turns away. EXT. PLATFORM, SPACE STATION Cooper watches as radiation pours out of the wormhole high above them. INT. CHINESE SPACESHIP Cooper pulls himself on board. Doyle is at the controls. He keys the controls and the ship lifts off. DOYLE Let's go home. The two men sit in silence as the ship arcs away from the space station and closes in on the wormhole. Cooper hears a familiar CHIRP. He turns around: 137. The probe they took from the ice planet is belted securely into one of the seats, filled with the garbled machine code of the gravitational machine. COOPER The probe... Doyle looks back. DOYLE We get back to earth, you and I can try to make sense of the code. Rebuild the gravity machine. Cooper stares at it, suddenly realizing something. He unbuckles himself. Cooper stands and walks over to the probe. Traces the familiar stars and stripes carved into its side. Cooper stares at the probe, putting it all together. COOPER It's going to work. DOYLE Of course it's going to work. COOPER That's not what I mean. This is the probe I found in Galveston. Below them, the wormhole breaks as it reaches another wormhole mouth that the Chinese have dropped down to a lower gravity well, creating a time machine. The wormhole mouth is FLARING with radiation. COOPER (CONT'D) Brand said there'd be some evidence we'd made it. And there was. This. (holds up probe) But only this. Everything will be destroyed except for this. He moves toward Doyle. Doyle stands. COOPER (CONT'D) We have to stop. DOYLE I don't know what you're talking about, but you're not touching the controls. I'm going home. 138. Cooper moves closer to Doyle. Doyle pulls out the flair gun. Points it at Cooper. COOPER You don't need to do this. We won't make it back, but this does. The secrets are already right on it. Maybe someone found it. There's hope. (SAD) But we don't get to go with. DOYLE You're not stopping me. I'm going home. Doyle forces Cooper into the ship's lander. Then he closes the airlock. Cooper pounds on the other side of the glass, trying to reason with him. The landing craft detaches from the ship. INT. CHINESE LANDING CRAFT Cooper watches, helpless, as Doyle's ship races ahead towards the glowing wormhole mouth. As the ship speeds toward the next wormhole, the radiation suddenly FLARES, annihilating the ship and everything in it. Almost everything. Cooper's landing craft spins away from the wormhole mouth. CUT TO: EXT. SPACE, OUR SOLAR SYSTEM A hole opens in the sky with a FIERY EXPLOSION. As the radiation subsides, all that shoots out of the hole is a vaporous wisp of atomized metal, and a burned, blackened probe, which hurtles toward Earth. EXT. SPACE, NEAR EARTH ORBIT The probe collides with a satellite, hurling debris into the upper atmosphere. PROBE'S ONBOARD CAMERA P.O.V. -- The probe's onboard camera documents its journey. Fragments OF VIDEO: 139. -- The probe HURTLES through the atmosphere, toward North America, the Gulf Coast. -- The probe SMASHES down into a sandbar. -- Daylight. A man is descending toward it, dangling from a rope. It's Cooper. -- Night. A kitchen. A little boy -- Murph -- stares at the probe, while Cooper works at it with a blowtorch. -- Tars pulls the probe out of the back of a plane. -- Brand's father, older, studies the probe. Gives up. -- Much later. People are moving around in the darkened base, scavenging equipment. CUT TO: EXT. FIELD -- DAY A combine harvester is dead in a field, service hatch opened. A MAN is lying under the machine, working. The man hauls himself out from under the huge machine. Dusts himself off. It's Murph, 30s. He looks at the FARMER who is waiting for the verdict. Murph shakes his head. MURPH It's done. Auto-pilot's packed up for the last time. FARMER You can't make it work a little longer? MURPH Can't do anything for you. There aren't any more parts for these. Not anywhere. FARMER You don't understand. We're getting less than a hundred pounds per acre. We need to plant more, not less. Murph looks around him at the pathetic crop of corn that stretches around them. The plants are feeble, barely able to support themselves. 140. FARMER (CONT'D) You've got to find us some more parts, Murph. It's getting desperate. Isn't there anywhere you can look? Murph begins packing up his tools, thinking it over. INT. HANGAR -- DAY Murph stares at the darkened shape of a plane under a tarp. He stares at the tarp, unsure if he wants to keep going. He pulls the tarp off, revealing Cooper's old Piper Cub. He checks over the engine, lights, prop. Turns the key. Fires her up. The diesel wakes with a GRUNT. EXT. AIRSTRIP -- DAY Murph wheels the old plane out onto the field by hand. EXT. SKIES OVER THE SOUTHWEST -- DAY The ancient plane skirts the San Gabriels. EXT. FIELD, SANTA CRUZ ISLAND Murph sets the plane down. He parks the plane under a copse of trees and climbs down. He scans the horizon. Nothing. Is this the place? EXT. FOREST -- DAY Murph pushes his way through the undergrowth. Stops. He's standing at the blast doors to the facility. They've been blown open with dynamite. INT. NASA FACILITY -- DAY Murph lets himself inside. Lights a flare. The place has been gutted. Thieves and scavengers have taken almost everything. Murph finds one of the robots, or what's left of it -- it's been stripped, leaving only the bare composite skeleton. The empty eye sockets stare back at Murph. Murph looks around the place. There is nothing left to salvage. He turns to leave. Hears a familiar CHIRP. In the corner, under a pile of rain-soaked garbage: 141. The probe. No one has bothered to steal it. Murph stares at it. INT. UNDERGROUND FACILITY -- NIGHT Murph sweeps detritus off of an ancient computer mainframe that survived the looting. He hooks the probe up to it. After a minute, the screen fills with a picture of an ice- covered planet. Then nothing. The rest of the probe's drive is filled with garbage, noise. Murph switches off the screen. He stands. Begins to leave without the probe. Stops. Turns back. Picks it up and takes it with him. INT. KITCHEN, MURPH'S HOUSE -- NIGHT Murph is hunched over the probe, trying to pull data off of it with a defibrillator. He has incorporated an ancient laptop into the chain, and is tweaking values on it, trying to decrypt the contents. His WIFE, several months pregnant, turns back to him from the stove. MURPH'S WIFE Would you get that thing off of the table? Murph nods, absorbed. Keys in a final tweak to the decryption software. Hits return. Suddenly, the screen begins filling with data. Murph stares at it, wide eyed. CUT TO: INT. BARN -- NIGHT Murph, now in his 40s, is putting the finishing touches on a large machine. Although slightly different, we recognize some of the components and their configuration: It's a crude version of the gravitational device. Murph double checks it, then fires up a small gas powered generator. Throws a breaker, feeding power to the unit. The unit lights up. HUMS. But nothing happens. 142. Murph, disappointed but undaunted, shuts it down and begins checking it over. He hears a noise at the door. Turns back. His daughter, Emily, 8, is standing at the door. EMILY COOPER Dad? You said you'd take us to the game. MURPH (DISTRACTED) Did I? He looks at the impossible nest of wires. Shakes his head. MURPH (CONT'D) All right. Let me get my jacket. Murph picks up his jacket from the workbench. Next to it on the bench is a shortwave radio playing STATIC. EMILY COOPER (staring at machine) What is it supposed to do, Dad? MURPH I have no idea. Murph switches off the lights and they walk out. After a moment, the radio CRACKLES to life in the darkness. COOPER (over radio, garbled) This is the crew of the Endurance... Murph... I'm sorry... The signal crackles out. CUT TO: INT. KITCHEN, MURPH'S HOUSE -- DAY Murph, 50s, slightly gray, sits at his kitchen table. He hears a distant RUMBLE. He looks up. His wife is standing by the sink. MURPH Where's Emily? WIFE Out in the barn. She's been tinkering with your old projects. 143. Murph stands up. The roof of the barn is visibly shaking. He steps outside. EXT. YARD, MURPH'S HOUSE -- DAY Murph moves towards the barn, concerned. The shaking is growing stronger -- the entire structure is buckling. Emily, now 18, backs out of the barn. EMILY COOPER Dad... I'm sorry... I made some changes to the machine. I think I did something wrong. Murph puts an arm around his daughter and as they watch, the entire barn IMPLODES. Their tractor begins sliding towards the wreckage of the barn, chunky tires plowing up the soil. Finally, the RUMBLING STOPS as the power lines short out in a FIERY display. As the dust clears, Murph and his daughter examine the mess: The entire barn has been crushed into a tiny ball. Murph looks at his daughter. MURPH Do you remember what you changed? Wide-eyed, she thinks about it. Then nods. CUT TO: EXT. EARTH, 2320 -- DAY This is North America. But it doesn't look much like it. Mother Nature has just about wiped the slate clean. Most of the vegetation is gone, and unchecked winds sweep across the barren plains. Patches of ice lie think on the ground, as if a heavy snow has come and gone. SUPER TITLE: "TWO HUNDRED YEARS LATER" One of the Chinese spaceships descends through the thick clouds above and settles gently onto the plain. The hatch opens and Cooper steps out. He takes a cautious look around. He is holding the fractal life in its small container. The clouds are threatening, but the weather looks calm enough right here. 144. Cooper starts to walk. EXT. COLLAPSED HOUSE -- DAY Remarkably, part of Cooper's old house is still standing. INT. COLLAPSED HOUSE -- DAY Cooper stands in the middle of his kitchen. Two walls are missing and the rest is collapsed in a heap. But he can still see where he used to feed his kids breakfast. He has kept his promise. Several hundred years too late. Cooper hunkers down, staring at the space where his kids used to be. Rainwater covers the ancient formica. It has taken him years to finally reach this place. He has had plenty of time to come to grips with what he might find. But nothing has prepared him for this: He is completely alone. Nothing is left. INT. COLLAPSED FARMHOUSE -- NIGHT Cooper is still sitting there when the ice storm hits. Unchecked by trees or vegetation, the wind rockets through the house, blasting Cooper and pelting what's left of the structure with fist-sized hail. Cooper takes shelter against the remaining wall. He's going to have to sit this one out -- the hail and winds are the brutal descendants of the weather he knew. They'll finish him off if he steps back outside. As he watches, the pool of water on the kitchen floor freezes over in seconds. INT. COLLAPSED FARMHOUSE -- DAWN Cooper shivers, pressed against the wall. The storm is still raging outside. He is freezing to death. He has to move now or he will die. He pulls the hood tight around his face and stumbles outside. EXT. SNOWBOUND FIELD -- DAY Cooper makes his way through the blinding snow. He tries to find his way, but the ship has been consumed by the blizzard. He stumbles to the ground, dropping the glass case with the fractal wildlife in it. The case shatters. Cooper tries to stand back up, but his strength is dwindling. 145. As he watches, the fractal wildlife creeps tentatively out of its broken habitat. It forms together against the cold. After a moment, it burrows into the ice. As it does, the ice glows faintly. It seems to be right at home. Cooper laughs, glimpsing the outline of a plan. Was this what the beings who made the wormhole intended all along? Cooper suddenly spots the outline of the ship through the driving snow. He stumbles back up to his feet and struggles a few more steps, then stumbles again, spent. Finally, he sits down in the snow to die. As his senses flicker in and out, he is struck with memories of his boys, so vivid he reaches out for them, crawling forward in the snow. He stops, and laughs, remembering what Case told him about what happens when humans die. He struggles to his feet and stumbles a few more feet, eventually coming to rest just steps from the ship. Cooper takes a final step. Finally, he collapses under his ship, as the wind continues to HOWL around him. As the snow clears for a moment, Cooper is alone on a vast arctic tundra. He will die alone. BLACK FADE IN: INT. HOSPITAL ROOM -- DAY Cooper wakes. He is in a sunlit room. A breeze rustles the curtains as it makes its way in through a large open window. Cooper sits up. As he a does, a control panel on the wall TONES gently, as if in response to his movement. He stands and looks around. He can see sunlight through the open windows and hear people -- kids YELLING as they play. He moves toward the window. Reaches for the curtains. Before he can, the door opens behind him. A WOMAN in a white coat steps in, smiling warmly. DOCTOR Good morning. Don't go outside just yet, Mr. Cooper. (MORE) 146. DOCTOR (CONT'D) (offers him a pill) This will help with the disorientation. Cooper opens his mouth to talk, but his voice is cracked. He gives up. Swallows the pill. DOCTOR (CONT'D) Wait a minute for that to take effect. It can be a bit of an adjustment. (looks him over) You had some frostbite. Nothing too serious. As she talks, Cooper looks past her to the window. COOPER Where am I? DOCTOR (SMILES) It's a bit of a coincidence, really. When the rangers found you, we were the nearest facility. COOPER What's coincidence? What is this place? DOCTOR We have a lot to show you. The doctor reaches for the curtains. She offers him a hand. Cooper declines the help and steps outside. EXT. HOSPICE, COOPER STATION -- DAY Cooper is standing on a rooftop deck of a four-story building in a medium-sized city surrounded by fields. But as the road and the buildings stretch into the distance, the landscape curves up, not down. The entire landscape is contained within a huge cylinder- shaped space station. Cooper stumbles, and reaches instinctively out. The doctor catches him. DOCTOR You're OK. We get this from people who move here from planetary colonies all the time. 147. COOPER Where... where are we? DOCTOR Like I said. It was a coincidence. There was a facility closer to Earth, but they had a problem, so you wound up here. (off his look) This is the Space Station Joseph A. Cooper. Cooper takes in the incredible surroundings. A thousand feet above them, black specks are sprinkled over an ocean of green -- Jersey milking cows grazing in a field of wild grass. DOCTOR (CONT'D) I've got someone who wants to meet you. Cooper looks at her. INT. INTENSIVE CARE ROOM, HOSPICE, COOPER STATION -- DAY Cooper steps inside. The room is dark, still, the only noise is the labored RATTLE of an old man struggling to breathe. Cooper steps closer to the bed. The man's skin is paper- thin. He is ancient. DOCTOR He was moved here after they found you. He's a little old for a transfer, but they made an exception. Cooper hovers at the back of the room, unsure. He turns to the doctor, questioning. Then he notices the pictures on the old man's desk: There are dozens of them. Children, grandchildren. Then the older ones -- the man's own parents. Grandparents. Cooper spots a tiny framed picture with someone he recognizes: Murph, 80 years old, surrounded by his daughter and her family. They are standing in front of a re-opened Cape Canaveral, and a huge spaceship under construction. Cooper picks up the picture and stares at it. The doctor points to a shy little boy hiding behind Murph's leg in the picture. DOCTOR (CONT'D) That's him. 148. She points to the old man lying in the bed. DOCTOR (CONT'D) His name is Anthony Welling. Anthony Cooper Welling. (SMILES) He's your great great grandson. He's been waiting a long time for you. Cooper's eyes well with tears. He steps over to the bed and looks down at the ancient man, teetering on the edge of death. The old man looks at him, eyes widening in excitement. He strains, trying to reach the bedside table. He's trying to reach the drawer. Cooper helps him open it. Inside is a simple, familiar wristwatch. The old man carefully takes out the watch. He gives the watch a few winds and, hands shaking, offers it to Cooper. Cooper, eyes filling with tears, closes his hand over the old man's hand, enveloping both the watch and the man's hand. CUT TO: EXT. CORNFIELD, COOPER STATION -- MORNING Cooper is sitting in a well-appointed office. A middle-aged BUREAUCRAT smiles at him from the far side of a huge desk. ADMINISTRATOR You're a hero, Mr. Cooper. Let's just start off by saying that. It's an incredible and... unexpected honor to have you here with us. Cooper smiles, uncomfortable. ADMINISTRATOR (CONT'D) None of us would be here without the efforts of you and the other crewmembers of the Endurance. (smiles, unconvincingly) So I don't want you to take this the wrong way. But there are some questions I've been told to ask. The man looks petrified, like he's been instructed to grill George Washington on his expense reports. COOPER Shoot. 149. ADMINISTRATOR The rangers who found you reported that you had released a sample of an alien life-form into the wild. Which is, unfortunately, against regulations. COOPER It was last of its kind. Their planet was destroyed. The administrator cues up a series of images on his computer. ADMINISTRATOR The rangers attempted to isolate the life-form, but it had already spread out of control. It seems to be thriving. He shows Cooper a satellite image of north america. A considerable portion of the frozen tundra is glowing. Cooper begins laughing. Which makes the administrator even less comfortable. ADMINISTRATOR (CONT'D) Can you tell me why you... elected to release the life-form back on earth? Cooper is still laughing. COOPER Because that was the plan. ADMINISTRATOR Whose plan? COOPER (SMILES) I don't know. The administrator tries to smile back. Makes a few notes in his file. Changes the subject. ADMINISTRATOR My assistant tells me you've applied for a position with the exploration fleet. COOPER Feel like I should be pulling my weight. 150. ADMINISTRATOR That's admirable, Mr. Cooper. The truth is, most of the fleet's personnel are automated. There are a small number of crewed ships. But there are great numbers of candidates. Very well trained candidates. COOPER I was hoping to enroll in a course. Try to get myself up to speed on the new systems. ADMINISTRATOR I don't want you to take this the wrong way, Mr. Cooper -- like I said, you're a hero. But the truth is we have somewhat limited resources. Cooper remembers this conversation. He looks down. COOPER No one's heard anything from Brand? ADMINISTRATOR I'm sorry. Officially, she's been listed as missing for over 200 years. Mind you, I guess you turned up eventually, didn't you? COOPER Am I really going to hurt anybody by going to look for her? I just need a small ship. I made a promise. The bureaucrat looks down. Is he really going to have to tell this guy the lay of the land? ADMINISTRATOR Listen. Mr. Cooper. You're a hero. You're the oldest man in the human race. Don't you want to take it easy? (off his look) I hope you understand, we all you hold you in the highest possible regard. (QUIET) Which is why they're never going to let you go off by yourself in a spaceship. I'm sorry. Cooper looks at his hands. He's got a couple centuries on the bureaucrat in Earth years, but looks ten years younger. He puts his hands in his pockets. 151. ADMINISTRATOR (CONT'D) I've got some good news, however. (BIG SMILE) We all know about your early life, Mr Cooper. I wrote a paper on it when I was a boy. And I think we found something you'll really enjoy. EXT. CORNFIELD, COOPER STATION -- DAY Corn blows in an artificial breeze. A red tractor makes its way through the field, which curves gently up in the distance. ADMINISTRATOR (V.O.) The machines do most of the work, of course, but we were able to get you a few acres. You're going to be a farmer again. After a moment, the tractor stops. Cooper climbs down from the seat. Looks at the front steering linkage, which is jammed with an errant tree branch. He wipes his forehead and begins working the branch out of the machine. He looks miserable. A robot, a similar unit to Tars, walks over. Offers Cooper a bottle of water. Cooper accepts it. EXT. HANGAR BAY, COOPER STATION Cooper stands on an observation deck, high above the hangar floor. Below him, bright young things in uniforms climb into sleek-looking spaceships and prepare to set out. EXT. BASEBALL DIAMOND, COOPER STATION Cooper sits in the stands, listening to the familiar crack of the bat as an intramural team from the university practices. Cooper watches. He looks bored. The kid up to bat cracks a pop fly. For a second, the catcher shuffles back and forth, trying to get himself into position. But the ball never returns. The catcher YELLS out a warning. Above, the ball begins to slowly fall up, not down, toward the town center above. After a second, the ball smashes through a skylight of a building high above them. Cooper watches as the kid rounds the bases, laughing. 152. INT. KITCHEN, FARMHOUSE, COOPER STATION -- DAY Cooper's robot sits at the kitchen table. Cooper is fiddling around in the back of his head. ROBOT Settings: general settings, security SETTINGS-- COOPER Curiosity. New level setting. 100 percent. ROBOT Confirmed. Would you like to make any additional changes? COOPER Sense of humor. New level setting. 100 percent. Wait. (THINKS) 80 percent. He begins putting the robot back together. EXT. FARMHOUSE, COOPER STATION -- TWILIGHT Cooper sits on his porch, joined by the same robot as before. They watch as the space station rotates lazily out of alignment with the local star, casting the inside of the cylinder into shade, then darkness. The shadow races past them. Another day. Another night. EXT. HANGAR, COOPER STATION A maintenance worker finishes looking over one of the sleek- looking spacecraft. He packs up his tools and heads out. After a moment, two figures pick their way across the hangar floor, sticking to the shadows. As they reach the first ship in the line, we get a better look. It's Cooper and his robot pal. The robot is wearing a baseball cap and carrying a toolbox. Cooper gestures to the robot, who sets down the toolbox with a click against the mirror-like floor. Cooper shakes his head, annoyed, at the robot, and puts his finger to his lips. The robot nods, bashful. Cooper waves a small handheld computer near the skin of the ship until it lights up. Then he punches in a few codes. Nothing happens. He punches in a few more. 153. Suddenly, the hatch opens with a HISS. INT. SHIP Cooper moves quickly to the cockpit of the ship. Looks over the controls. The robot straps himself in next to him. Cooper looks up through the windows. The inky black void of space beckons. Cooper smiles and reaches for the controls. COOPER Where do you want to go first? The robot thinks it over. EXT. HANGAR, COOPER STATION The technician walks back into the hangar. He walks along the row of ships till he reaches the last one. It's not there. He looks out into the blackness of the void. Sees a tiny glowing speck, getting smaller and smaller. END Interstellar Writers : Jonathan Nolan Genres : Adventure Drama Sci-Fi User Comments Back to IMSDb

screenplays

Why do post-Hartree-Fock methods fail to predict the direction of the dipole moment of carbon monoxide? In carbon monoxide the dipole moment (negative to positive) points towards the oxygen, as I explained it in [How can the dipole moment of carbon monoxide be rationalised by molecular orbital theory?](https://chemistry.stackexchange.com/q/30797/4945) A calculation using density functional approximation, the level of theory is BP86/def2-QZVPP, yields the correct direction: \begin{align} \ce{{}^{\ominus}\!:C#O:^{\oplus}} && \text{Dipole:}~|\mathbf{q}|=0.19~\mathrm{D} && \text{Direction:}~\longrightarrow \end{align} ``` --------------------------------------------------------------------- Center Atomic Atomic Coordinates (Angstroms) Number Number Type X Y Z --------------------------------------------------------------------- 1 6 0 0.000000 0.000000 -0.648987 2 8 0 0.000000 0.000000 0.486740 --------------------------------------------------------------------- [...] Dipole moment (field-independent basis, Debye): X= 0.0000 Y= 0.0000 Z= 0.1907 Tot= 0.1907 ``` Using Møller-Plesset Perturbation Theory of second order, i.e. MP2/def2-QZVPP, we obtain \begin{align} \ce{{}^{\ominus}\!:C#O:^{\oplus}} && \text{Dipole:}~|\mathbf{q}|=0.30~\mathrm{D} && \text{Direction:}~\longleftarrow \end{align} ``` --------------------------------------------------------------------- Center Atomic Atomic Coordinates (Angstroms) Number Number Type X Y Z --------------------------------------------------------------------- 1 6 0 0.000000 0.000000 -0.648450 2 8 0 0.000000 0.000000 0.486337 --------------------------------------------------------------------- [...] Dipole moment (field-independent basis, Debye): X= 0.0000 Y= 0.0000 Z= -0.3002 Tot= 0.3002 ``` There is no improvement going to other post-Hartree\_Fock methods, as the following table indicates. A positive value means that the dipole is directed towards the carbon; the used basis set is in all cases def2-QZVPP. \begin{array}{lr} \text{Method} & \mathbf{q}(\overrightarrow{\ce{CO}})\\\hline \text{Experimental}^1 & 0.11\\\hline \text{HF} & -0.14\\\hline \text{MP2} & -0.30\\ \text{MP3} & -0.22\\ \text{MP4(SDQ)} & -0.27\\ \text{MP4(SDTQ)//MP4(SDQ)} & -0.27\\ \text{CCSD} & -0.25\\ \text{CCSD(T)//CCSD} & -0.25\\ \text{CISD} & -0.22\\ \text{QCISD} & -0.26\\ \hline \text{BP86} & 0.19\\ \text{PBE0} & 0.12\\ \text{M11} & 0.06\\ \text{B3LYP} & 0.10\\ \hline \text{B2PLYP} & -0.07\\ \hline \end{array} This failure probably already starts with Hartree-Fock. **Where does the deficiency lie in the HF description in this particular case? And why is this deficiency not corrected by post-HF methods?** Even the double hybrid functional B2PLYP cannot predict the direction of the dipole moment correctly. --- 1. According to [Gernot Frenking, Christoph Loschen, Andreas Krapp, Stefan Fau, and Steven H. Strauss, *J. Comp. Chem.*, **2007**, *28* (1), 117-126.](https://dx.doi.org/10.1002/jcc.20477) the value can be found in [J. S. Muenter. *J. Mol. Spectrosc.* **1975,** *55*, 490.](http://dx.doi.org/10.1016/0022-2852(75)90287-8) (I don't have access to that publication.) --- *Sample Input for Gaussian 09* ``` #p MP2/def2QZVPP scf(tight) opt(verytight,maxcycle=100) symmetry(loose) gfinput gfoldprint iop(6/7=3) carbon monoxide 0 1 C 0.0 0.0 1.135 O 0.0 0.0 0.0 ``` **The question itself is void**, as all methods with the exception of Hartree-Fock predict the direction of the dipole moment correctly. Deathbreath found a Full CI calculation in [Jeremy P. Coe, Daniel J. Taylor, and Martin J. Paterson. *J. Comp. Chem.* **2013,** *34* (13), 1083-1093](https://dx.doi.org/10.1002/jcc.23211) of which luckily an open version exists ([arXiv:1301.4904](https://arxiv.org/abs/1301.4904v1) **[physics.chem-ph]**). The following passage is taken from the latter: > > The groundstate dipole moment of carbon monoxide, although fairly small, when calculated using HF strikingly has the incorrect sign compared with experimental results. Previous work has suggested that the accuracy of the dipole calculation > depends on the amount of correlation accounted for.14 The bond length (2.1316 Bohr) and the experimental dipole value (0.122 Debye) are taken from Ref. 15. The positive value for the dipole here signifies a polarity of $\ce{C^−O^+}$. > > With a cc-pVDZ basis, two frozen core orbitals and a cut-off value of $c\_\mathrm{min} = 5 \times 10^{−3}$, we see in Fig. 1 [omitted] that the MCCI method, starting from close to the incorrectly signed result of the HF single SD, quickly reaches a correctly signed value which converges at around half of the FCI value. > > > > > --- > > > 14 G. E. Scuseria, M. D. Miller, F. Jensen, and J. Geertsen. *J. > Chem. Phys.* **1991,** *94*, 6660. > > 15 J. S. Muenter. *J. Mol. Spectrosc.* **1975,** *55*, 490. > > > **The problem indeed is just a technical one, resulting from analysing the wrong density.** Gaussian 09 by default only analyses the SCF density (see [population](https://web.archive.org/web/20160507034554/http://www.gaussian.com/g_tech/g_ur/k_population.htm), [density](https://web.archive.org/web/20160515231627/http://www.gaussian.com/g_tech/g_ur/k_density.htm)). In order to obtain values for the post-HF methods, the `density=current` keyword needs to be specified. The updated table therefore becomes: \begin{array}{lr} \text{Method} & \mathbf{q}(\overrightarrow{\ce{CO}})/\mathrm{D}& \mathbf{d}(\ce{CO})/\mathrm{10^{-10}m}\\\hline \text{Experimental}^{15} & 0.122 & 1.128\\\hline \text{HF} & -0.14 & 1.102\\\hline \text{MP2} & 0.26 & 1.135\\ \text{MP3} & 0.08 & 1.118\\ \text{MP4(SDQ)} & 0.11 & 1.118\\ \text{MP4(SDTQ)//MP4(SDQ)} & \text{n.a.} \\ \text{CCSD} & 0.08 & 1.124\\ \text{CCSD(T)//CCSD} & \text{n.a.}\\ \text{CISD} & 0.05 & 1.118\\ \text{QCISD} & 0.08 & 1.127\\ \hline \text{BP86} & 0.19 & 1.135\\ \text{PBE0} & 0.12 & 1.122\\ \text{M11} & 0.06 & 1.119\\ \text{B3LYP} & 0.10 & 1.124\\ \hline \text{B2PLYP} & 0.15 & 1.129\\ \hline \end{array} --- *Sample Input for Gaussian 09 for analysis* (requires the addition of `%chk=mp2qzvpp.chk` to the sample input of the question) ``` %oldchk=mp2qzvpp.chk #p MP2/def2QZVPP Geom=check Guess=(Read,Only) Density=(Check, Current) dens-curr 0 1 ``` --- *I apologise for getting everyone worked up over a stupid beginner mistake.*

stackexchange/chemistry

How do you recognize a carbohydrate molecule? I am studying carbohydrates in organic chemistry and I am confused a bit on what they are and how you recognize whether a molecule is a carbohydrate or not. For example, will a carbohydrate always have an $\ce{OH}$ group with either an aldehyde or a ketone group? Can it also contain other atoms like nitrogen or bromine? Can it have ether, ester? The name "carbohydrate", which literally means“carbon hydrate,” arises from their chemical composition, which is roughly **$\ce{(C.H2O)\_n}$**, where $n\ge 3$. The basic units of carbohydrates are monosaccharides. Monosaccharides or simple sugars are aldehyde or ketone derivatives of straight-chain polyhydroxy alcohols containing at least three carbon atoms. Such substances, for example, D-glucose and D-ribulose, cannot be hydrolyzed to form simpler saccharides. Examples of monosaccharides: [![monos](https://i.stack.imgur.com/iLpQX.png)](https://i.stack.imgur.com/iLpQX.png) Classification Monosaccharides are classified according to the chemical nature of their carbonyl group and the number of their C atoms. If the carbonyl group is an aldehyde, as in glucose, the sugar is an **aldose**. If the carbonyl group is a ketone, as in ribulose, the sugar is a **ketose**. The smallest monosaccharides, those with three carbon atoms, are trioses. Those with four, five, six, seven, etc., C atoms are, respectively, tetroses, pentoses, hexoses, heptoses, etc. These terms may be combined so that, for example, glucose is an aldohexose, whereas ribulose is a ketopentose. However, there are similar molecules with different atoms such as nitrogen which are also considered carbohydrates. A class of polysaccharides known as glycosaminoglycans (unbranched polysaccharides of alternating uronic acid and hexosamine residues).Practical examples are Hyaluronic acid(linked disaccharide units that consist of D-glucuronic acid and N-acetyl-Dglucosamine) and Heparin (sulfated disaccharide units): [![a](https://i.stack.imgur.com/BVx4w.png)](https://i.stack.imgur.com/BVx4w.png) [![b](https://i.stack.imgur.com/A4B55.png)](https://i.stack.imgur.com/A4B55.png) Nevertheless, when carbohydrates bond with other molecules to form other newer bonds, they are given different names and are not necessarily carbohydrates but are given new names - a good example are **glycoproteins** (proteins covalently associated with carbohydrates.) Reference Biochemistry Voet and Voet, Grisham > > A carbohydrate is a biological molecule consisting of carbon (C), hydrogen (H) and oxygen (O) atoms, usually with a hydrogen–oxygen atom ratio of 2:1 (as in water); in other words, with the empirical formula Cm(H2O)n (where m could be different from n).This formula holds true for monosaccharides. Some exceptions exist; for example, deoxyribose, a sugar component of DNA,has the empirical formula C5H10O4.Carbohydrates are technically hydrates of carbon; structurally it is more accurate to view them as polyhydroxy aldehydes and ketones. > > > Carbohydrates often display chemical groups such as: ''N''-acetyl (e.g. chitin), sulfate (e.g. glycosaminoglycans), carboxylic acid (e.g. sialic acid) and deoxy modifications (e.g. fucose and sialic acid).This is from [Wikipedia](https://en.m.wikipedia.org/wiki/Carbohydrate) > > > They can also be defined as optically active polyhydroxy aldehydes and ketones. Now about the general formula $\ce{C\_m(H2O)\_n}$ also have exceptions like $\ce{CH3-COOH}$($\ce{C2(H2O)2})$ but it is not a carbohydrate. Similarly, rhamnose($\ce{C6H12O5})$ and deoxyribose($\ce{C5H10O4})$ as mentioned in the above article does not fit into this general formula, but then too they are classified as carbohydrates. Apart from that carbohydrates are also ether. ![enter image description here](https://i.stack.imgur.com/N3f9Wm.jpg) [Source:Wikipedia](https://en.m.wikipedia.org/wiki/Glucose#/media/File%3AD-glucose-chain-2D-Fischer.png) This is the open chain structure of glucose. Some of the properties of glucose was not able to be explained by this structure. [![enter image description here](https://i.stack.imgur.com/Ex73Jm.jpg)](https://i.stack.imgur.com/Ex73Jm.jpg) These are the two hemiacetal cyclic forms $\alpha$ and $\beta$ of glucose also called as Haworth structures which remain in equilibrium with the open chain structure of glucose. It is an ether as you can see in the structure. Other examples of ether include cellulose, starch, sucrose, etc. Sucrose is a disaccharide which gives a glucose and fructose by hydrolysis. Starch and cellulose are polysaccharides. Starch is a branched polymer of $\alpha$ glucose units and cellulose is a straight chain polymer of $\beta$ glucose units. You've asked a great and challenging question, especially for people just learning this material. The other answers are useful and provide good background. They also illustrate how the great structural diversity of carbohydrates quickly muddies the waters. I'll offer an answer that is less technical and gets at the "recognition" part. The trouble with simple carbohydrates (5- or 6-carbon monosaccharides specifically, but we should avoid that term since we haven't defined it here) is that they can be drawn in an an open chain form (as a Fischer projection) or in a cyclic form (as a Haworth projection, or in some cases as a "chair"). So one commonly encounters two or even three "pictures" of the same thing, which hardly helps (examples below). In my courses I nearly always use the cyclic forms since for 5- and 6-carbon sugars they are the dominant and biologically relevant forms. If one sticks to this, a pretty simple rule of thumb can be stated: *carbohydrates are compounds with a 5- or 6-membered ring containing oxygen, and decorated extensively with hydroxyl (or alcohol) groups.* This "scales" to polysaccharides, and accommodates deoxy and amino sugars, so it works a great deal of the time (and is enough for non-experts in many cases). When and if someone needs to understand more, it's not too hard to transition to the Fischer projections by focusing on opening (breaking open) the ring. [![drawing styles](https://i.stack.imgur.com/dxsr2.png)](https://i.stack.imgur.com/dxsr2.png)

stackexchange/chemistry

Ranma 1. Default Chapter Hello all, Luna Sealeaf here! Just wanted to say one little thing. I love the series, and I've read most of the manga, including the last one, however it's been awhile and I don't remember all the details, and I don't have access to read them again. So please, forgive me if I make a mistake in the story or if I have forgotten something. To avoid this I've tried to stay away from the details of the end of the manga, however it's entirely possible I've done something unintentional. I'd also like to add that, these are most definitely not my characters! They were created by Rumiko Takahashi, who is a genius in my opinion, and she and maybe some sort of anime company are the only ones with rights to it. So please do not sue me! I have no money anyway! However, the plot is entirely mine, and I'd be very annoyed if someone stole it. If this resembles someone else's idea, I apologize, but I haven't read any that have this plot, so I can honestly say that this has spawned from my own imagination, for better or for worse. While trying to stay true to the characters and the overall..atmosphere..of the manga, it is impossible to write as well as Ms. Takahashi, and of course I cannot draw to save my life..so please just enjoy the story! I wish the real thing could have gone on and on, but since it ended, we diehard fans have to continue it in our imaginations.so, enough prattle.enjoy! The Cure to Ranma's Curse Part 1 She was in the middle of a clearing in a forest; a dense forest filled with tall, green trees. Why am I here?, she wondered. Suddenly, a crashing noise from behind her made her jump, turning around quickly. "Who's there?" She called out loud, body ready to fend off an unfriendly visitor. A man appeared in the small clearing. His clothes were strange, but glancing down she realized her clothes were of a similar fashion, adding to her confusion. The man's long black hair was tied back in a knot, and he smiled in a manner that made her want to run. As he took a step forward, an arm extended towards her, that's just what she did. Turning, she ran into the thick forest, breath catching in her throat as she struggled to scream for help. "Jun!" The man called after her. Strangely, she realized it was her name, and this only increased her panic. She could hear him catching up to her, turning she found herself in another clearing, this one had many small pools of water everywhere that she could see. Still running, she weaved her way through them, some instinct telling her to keep out of the waters. Suddenly she fell onto the ground, and before she knew what was happening, she felt someone grab onto her arms tightly. I must have tripped, she thought vaguely as she struggled against him, crying out in words she did not understand. When he spoke to her however, she could understand him perfectly. "How could you do this to me, Jun? I loved you!" The man said angrily, shoving her face into the water. This can't be happening! She thought frantically, as she struggled against him, holding her breath as long as she could; but finally she sank into darkness. "No!" Bathed in sweat, Ranma Saotome sat up on his futon, gasping for breath. His father, in the form of a panda, held up a sign saying 'Quiet!' and promptly kicked him out of the room. Still feeling shaky, Ranma made his way to the kitchen for a glass of water. Must have been a dream, he thought as he gulped it down. Yet it seemed so real! He shivered as he remembered the feeling of the man holding him in the water until he drowned, and wondered if it was some sort of omen. And who the heck was Jun? He didn't know anyone named Jun; it didn't even sound Japanese. Still feeling troubled, he wondered if Akane would mind if he woke her up. Nah, she shouldn't lose sleep over a stupid dream. With that decision made, he walked outside and jumped up to the roof. It was a warm summer night, and he wasn't sure he'd be able to fall back asleep; in any case he didn't feel like going back to his room. So instead he occupied his mind with happier things; such as his upcoming wedding. It had been almost eight months since his first failed wedding with Akane. Looking back, they both had agreed that it was a bit rushed; their gladness at being alive had spurred them to hurry things. Although they had been mad at everyone at first for ruining it, they couldn't help but forgive them. After all, how could they understand that Akane and Ranma wanted this when it had happened so suddenly? Since when had anything in their lives gone smoothly? So it had been rescheduled until next year. Now, it was only three months away, and Ranma was both nervous and excited. These past few months had been almost sheer bliss; he had a terrible feeling that it couldn't possibly last. Akane and he had rarely fought; and when they did, they were both confident enough to make up without worrying that the other didn't feel the same. Ryoga had disappeared for awhile, but when he had finally returned, he had wished his two friends the best and had settled in as their mutual friend. When they asked about Akari, he only blushed and muttered, so they only hoped it was going well for them. Shampoo and Mousse seemed to be getting along better, she and Cologne seemed to be taking the news of Ranma's future wedding surprisingly well, which left Ranma slightly suspicious, but he figured things were better left alone. Kuno, Kodachi, and Happosai were the same as ever, of course, and Ranma's only regret was Ukyo. She had accepted their explanation of their love, and they hadn't spoken much since. Busy with the restaurant, the last they had heard was that she was planning on attending a university course to become a better chef and small business owner. His only real friend from childhood, Ranma had bitterly missed his 'Ucchan'. Even though she had been one of his fiancées, there had been times when she had put aside her jealousy and love to be simply his friend, and he missed that. Hearing footsteps, he turned and his face broke into a smile when he saw Akane climbing up to the roof in her pajamas. She grinned back at him, spreading a blanket over them as she sat down, despite it being a mild summer night. "What're you doing up?" He asked, staring up at the star-filled sky. "I heard someone moving around downstairs and I figured it must be you. Then I heard you up here and decided you might want some company." She blushed slightly as she added, "If you'd rather be alone though." quickly, Ranma shook his head. "Nah, it's nice to have some company, but I didn't mean to wake you up." Nodding, but saying nothing else, she wrapped her arms around her legs and followed his gaze to the sky. They had talked about the situations with their friends; and Akane had even understood Ranma's sadness about Ukyo without being jealous. She had plenty of friends, while Ranma had either fiancées or rivals. Ryoga and he were becoming better friends, but he had a history with Ukyo. Other than that, Akane assumed nothing else was wrong. There was still something bothering him though, and he hadn't told anyone, not even Akane. For the past few months, his curse had started feeling different. At first, he hadn't noticed it, since he hadn't spent long periods of time as a girl. When the heater broke a month after they returned, he was stuck as a female, and he started to notice that he felt different. Not the obvious difference of being a girl; he felt like a different person. He had become moody, his thoughts drifted, and the names of those around him had escaped him a few times. It had scared him, but when he returned to his normal form, he had forgotten about it, until he started having the dreams, such as the one that night. They were so vivid, they felt like memories, but Ranma was sure they couldn't be. He had considered talking to Dr. Tofu about it, but felt silly. They were only dreams, after all. "What're you thinking about, Ranma?" Akane asked, leaning her head against his shoulder, already starting to fall asleep again. "Uh-about our wedding I guess," He replied, shaken out of his thoughts by her voice. Smiling wistfully, Akane sighed. "Yeah, I can't wait. Can you?" This time it was his turn to become red, and he stammered his reply. "N-no, I can't." She laughed softly again, but rather than get angry as he would have done a year ago, Ranma only grinned ruefully. They sat on the roof for awhile, before Ranma returned a sleeping Akane to her bed and he went back to his room. Neither were worried about others watching; even Nabiki had become bored with trying to sneak up on them and then blackmailing them; Akane had made it perfectly clear that their relationship was not a secret, and had convinced Ranma as much too. Although Ranma had his own house with his mother and father; Genma liked to visit his friend, and Nodoka had encouraged Ranma and Akane to spend time together. Of course, there were still a few minor details Ranma had yet to clean up. He had had a talk with Ryoga, well, it had involved a few half-hearted kicks and punches, but Ryoga had agreed that he had to stop sleeping in Akane's bed, despite the fact he was a pig when he did so. Ranma had promised (again) to not tell Akane about his curse, so long as Ryoga promised to do so at the right time, whenever that would be. For now, he was just enjoying the happy moments he was having with Akane. The only times they ever were awkward around each other was when Saffron was brought up. Everyone tended to avoid the topic, but it still hung over Ranma like a dark cloud that he had only been saved from becoming a killer by the fact that Saffron had been reborn. While he would have done anything to save Akane, and not regret it for a moment, he still sometimes had trouble coming to terms with how willing he had become to kill, if only to save someone he loved. The next morning dawned another bright sunny day, and the Tendo house was filled with the sense of peace everyone was enjoying, but knew couldn't last long. The day began as normal enough; after breakfast, Soun and Genma were playing their usual game, and Kasumi was (yet again) trying to teach Akane how to cook. To Ranma's surprise, and relief, it seemed that part of Akane's cooking trouble might have been self-consciousness; she could successfully make an edible bowl of soup, as long as she didn't try and add any of her 'spices' to it. Kasumi was now trying to teach Akane the western meal 'macaroni and cheese', since it was fairly simple. As for Ranma, he was performing his daily exercises, and hoping he wouldn't be asked to sample Akane's cooking. Before long, Ryoga showed up, looking bewildered until he saw the house. "Yo Ryoga," Ranma calmly replied as he continued his movements. Tossing down his back pack and umbrella, Ryoga nodded back. "You're getting lazy Ranma; if I recall you used to be able to do those much faster," He said, with a cocky smile, referring to Ranma's routine. Grinning and cracking his knuckles, Ranma paused to turn to Ryoga. "You think so? How bout I prove you wrong?" He replied, getting into his usual fighting stance. Ryoga smiled again, turning to face him as well. "As if you could," With that, they ran at each other and began sparring. After nearly an hour of it, Akane came running into the yard, carrying a plate laden with what looked like orange gook, to put it nicely. "Ranma! Ranma! Come try these noodles! Don't they look delicious?" She frowned, not seeing them. "I know I heard him out here." She said, turning around just as she heard a cry of- "Akane! Look out!" Ranma was flying towards her, too fast for her to move. To keep from hitting her, he spun and twisted in the air, only this ruined his landing form. Luckily, he hit the koi pond with a painfully loud crack and sent mini waves over the side of it. "Ranma!" Akane cried, forgetting her plate of food and running over to the pond. "Oh come on Ranma, don't tell me you're out of it with a little hit like that-." Ryoga said as he followed Akane to the pond. As they got closer they looked in, seeing Ranma, in his girl form, sitting in the middle of the pond with a dazed look on her face. "Here Ranma," Akane said, reframing from laughing as she held out her hand to help him out. To her utter surprise, instead of looking abashed, or even just brushing her hand away, a stream of incomprehensible words came out of Ranma's mouth and he looked around wide eyed. Catching sight of Ryoga, he sprang out of the pond and ran out of the yard. Completely at a loss for words, Akane turned and looked at Ryoga. "What on earth did you do to him?" Ryoga shrugged helplessly. "I'm not surprised at him running away from a fight, but that was unusual even for him." Despite his rough words, he had a slightly worried look in his eye. "Do you think we should go after him?" Akane wondered aloud, shielding her eyes as she stared in the direction Ranma had run. Ryoga only shrugged again. Farther in Nerima, Ranma was running blindly through the streets. Slamming into another person, he was knocked to the ground. A bright cheery voice exclaimed, "Ranma! You come to see Shampoo?" The smiling Amazon was sitting on her bicycle, having just finished her deliveries. Ignoring Ranma's puzzled look, she pulled him into the Cat Café, calling out happily. "Great- Grandmother, look who come to visit!" Cologne came into the room, hopping on her staff and even Mousse came in. Although no longer as threatened by Ranma now that he was officially engaged to Akane, Mousse still didn't like Shampoo's fondness of him. "Greetings boy," Cologne replied, and Mousse nodded stiffly. "Ranma hungry?" Shampoo asked, fetching a bowl of ramen from behind the counter. The three of them watched Ranma expectantly, but he just looked back with a wild-eyed appearance. He tried to answer them, but only a strange language came out, causing Cologne to gasp, while Shampoo and Mousse simultaneously asked, "What?" Ranma repeated his stream of babble, and suddenly Cologne threw the bowl of ramen over Ranma. "Waah! Hot, it's hot!" He exclaimed. Looking up, he stared at the others and his surroundings with a dazed expression on his face. "Hey, how'd I get here?" "Ranma no remember?" Shampoo asked incredulously. Cologne explained to Ranma how Shampoo had found him, in his girl form, running through the streets, and how he had spoken in a strange language. "In fact, it almost sounded like ancient Chinese." Cologne said calmly. "How is that possible?" Mousse asked, sounding as surprised as Shampoo and Ranma looked. "Ranma doesn't even know modern Chinese, do you Ranma?" He turned to him anxiously, and Ranma shook his head. "The last thing I remember was sparring with Ryoga, then falling towards the pond, and that's it." The three Amazons stared at him in surprise. "Shampoo, you'd better go tell Akane and her family where Ranma is. Mousse come to the back and help me. Ranma, stay right where you are." Shampoo ran outside, Ranma nodded, standing up and sitting at an empty table, while Mousse followed Cologne into the back room. Breathless, Akane and Ryoga returned with Shampoo after a few minutes. Quickly, Ranma explained what had happened. Just as he had finished, Cologne and Mousse returned. "What's wrong with Ranma?" Akane asked in a concerned voice, sitting down next to him. "I'm afraid I'm not sure. However, I think it is obvious that whatever it is, it has to do with Ranma's curse. Ranma, have you noticed any changes in your cursed form recently?" She asked. They all turned to look at Ranma, and he felt himself blush, stammering as he began to tell about the dreams and his sense of detachment when he was in girl-form. Akane placed her hand comfortingly on Ranma's arm. "Why didn't you tell me?" She asked. Not meeting her eyes, he mumbled a reply. "I didn't want to worry you over nothing." Fighting the ache he still got when he saw them together, Ryoga took a deep breath before turning away from the couple and voicing his worries. "Have you or Shampoo noticed changes in your cursed forms? I mean, is it just Ranma?" They both shook their heads, but before they felt relieved, Cologne spoke up again. "Ranma's curse is unique in that it is a human being. Mousse and Shampoo's are animal. I'm not sure what's wrong with Ranma's curse, however there have been reports of," She hesitated. Standing up, Ranma asked firmly. "What do you know?" Sighing, she shook her head slowly. "Not much I'm afraid. Only that there were rumors of others whose cursed form was a human. Some, after a long time with theirs, started complaining that they felt like they were developing split personalities. They began to lose control over their cursed half when in its form." "So how'd they stop it?" Ranma finally asked. Cologne shook her head slowly. "They didn't." Akane closed her eyes, her hand sliding into his. Swallowing hard, Ranma looked around at the others, only Ryoga nodded back and met his gaze. "Well, how do I stop it then? I don't intend on dying or going mad." He turned his gaze defiantly towards Cologne. She studied him for a moment before answering. "I am afraid I do not have all the answers Ranma. My suggestion would be to return to China, to the ground of accursed pools, and to question the guide. His family has watched over the grounds for a long time, it may be that he will be able to answer your questions." Ranma nodded once, then grinned, saying nonchalantly, "Guess I'm taking a trip to China. Don't worry Akane, I'll be back in no time." Smiling with deceptive sweetness at his grinning face, she replied, "Of course I won't worry, Ranma. I'm going with you." At this Ranma's grin faded even as Akane's expression steeled. "Akane, you have to stay here! I don't know if I'll be able to protect you! What if I get turned into a girl and go psycho?" Akane frowned back at him. "I can take care of myself Ranma, you can't stop me from following you." Silence fell as the couple studied each other, the Amazons and Ryoga. "Don't worry about her Ranma. I'll come too, like I'd trust you to be able to take care of Akane! Hah! Besides, you're likely going to bungle things up as usual unless someone's there to stop you." Smiling wryly as Akane stood up and hugged a now furiously blushing Ryoga, Ranma shook his head, standing as well. "Gee thanks Ryoga, that's so incredibly selfless of you." Ignoring their jibes, Akane, eyes filled with tears, nevertheless smiled as she turned back to Ranma. "Aren't you glad now that you're not going all the way to China by yourself Ranma?" Observing his fiancée and his, if he dared to describe him as such, friend, Ranma shrugged, then smiled also, surprising even himself at his answer. "Yeah, guess I am." End of Part 1 So what do you think of it? Please send all thoughts, comments, or ideas to [email protected], if you don't want to write a review. Thanks again for reading it! (I know I rated it PG, and this chapter seems all happy and bubbly, but it's going to get more serious, if not darker, in the later chapters.) Thanks again, happy reading! -Luna Sealeaf. 2. The Cure to Ranma's Curse: Part 2 I've decided to try a new format, one I've commonly seen on other fanfiction, of having spaces between each chapter. I think this makes it easier to read, and hopefully it will turn out better than my first chapter. If it doesn't; sorry, I'm new at fanfiction.net! Ok, on to Part 2, and thanks to everyone's who's reviewed or just read it! The Cure to Ranma's Curse Part 2 Ranma, Akane, and Ryoga set out two days later for China, specifically for the accursed grounds of Jusenkyo. Having little money, and knowing no other way to get to China, Ranma decided they'd walk, then take a boat, then walk again. He would have swum to China, but of course Akane would try and follow; possibly drowning, and Ranma didn't trust himself in his girl form anymore. It was almost fun for the first week. The three of them managed to get along fairly well, and Kasumi had packed enough supplies for them that they were able to camp and eat comfortably. Except for when Akane cooked, that is. "Dinner's ready!" She called out cheerfully. Akane kneeled over a pot boiling over their campfire, two small tents to her right. They had reached China with few delays, and all were confident that they would soon be at their destination. Hearing her call, Ranma glanced at Ryoga, who refused to meet his gaze. Ranma wasn't sure he really wanted to try Akane's cooking, but he knew Ryoga would do it no matter what, and Ranma didn't want to hurt Akane's feelings, especially in front of him. So as they halted their training, Ranma plastered a falsely happy grin onto his face and walked over to the pot, breathing in the fumes deeply. "Ah! Smells good Akane!" He said, still grinning. Oblivious with pleasure at the compliment, Akane blushed but smiled proudly, stirring her concoction with a small wooden spoon. "Thanks Ranma. I hope it tastes good." She said as she ladled it out onto their small traveling plates. Not to be outdone, especially by Ranma, Ryoga hastily took a bite and said, grinning also, "Delicious! It's the best meal I've eaten in a long time." Quickly he shoveled more into his mouth. Ranma hadn't tried his yet, but as Akane turned to watch him, he quickly took a bite. The years of training in self- discipline were the only thing that kept him from spitting it back out. While he had tasted far worse, and this was gourmet for Akane's cooking, it still tasted like boiled leather; with lots of salt. He followed Ryoga's example by eating as fast as possible, handing the plate back to Akane, saying a quick, "Thanks!" and running into the woods. When they were finished being sick, Ranma turned wearily to Ryoga, who still looked green. "Well, at least neither of us are in a coma," He smiled ruefully, and Ryoga started to nod, but quickly caught himself. "I don't know what you're talking about. The meal was wonderful; I've just been feeling sick," Rolling his eyes, Ranma walked back to the camp, finding Akane's tent already closed up, he assumed she was asleep and he went in to the tent he and Ryoga shared to do the same. Just as his eyes were closing for the last time, it occurred to Ranma that Ryoga had not yet returned. Cursing himself for a fool, he jumped up and ran out of the tent, looking around. "Oy Ryoga! Where are ya?" He called out, looking around for the Lost Boy. How could he have left Ryoga alone in the woods? The guy didn't have a clue when it came to directions. Even if the campsite were in sight, Ryoga was prone to make a wrong turn while walking towards it. "P-Chan!" He called again, figuring Ryoga would surely answer to that. Awakened by his calls, a yawning Akane stepped out of her tent, clad in a jacket over white pajamas. "What's wrong Ranma? Where's Ryoga?" She asked tiredly, rubbing her eyes as she looked around. "It's ok Akane; I think Ryoga just got lost, again, as usual." Ignoring him, Akane started circling the campsite, calling Ryoga's name as well. Sighing, and feeling tired and annoyed at Ryoga's disability, Ranma started off towards the area he had last seen Ryoga. As he ran off, he called back to Akane, "Stay here! I'll find him," She tried to answer him, but he had already disappeared into the woods. The night air had become chilly, and Ranma's thin Chinese red shirt and pants weren't as warm as he had thought. He continued to call Ryoga's name, but heard nothing. Trying to find some sort of trail that he might have made, Ranma realized that more time must have passed than he had first thought. The sky was lightening up, and his shoulders slumped with exhaustion. Usually he had boundless energy, but he and Ryoga had sparred all day, and he wasn't used to getting no sleep at all. Worried about Akane, since it was unlikely that she had listened and stayed at the camp, Ranma turned around and started back. 'Maybe she already found him, or he blundered back by accident.' He thought hopefully. It took him a few minutes to find the way back, and just as he had started walking, he heard a crack of thunder. 'Oh no,' he mentally groaned. Sure enough, a splash of water-cold water- hit his back, and a moment later a lithe figure could be seen running through the woods. "Ryoga!" Akane's voice was growing hoarse, and she felt as though she could fall asleep on her feet, but she didn't want to quit looking. Finally she turned around, hoping that Ranma had found Ryoga by now. She had just reached the camp again when she heard thunder, saw a flash of lightning, and was drenched by the time she reached her tent. 'Oh no! What if Ranma's still out there?' She turned away from her tent and quickly looked inside the boys'. A startled Ryoga looked back at her. "Oh Ryoga! Ranma found you! We were worried," She said, feeling relieved; not noticing her rain drenched hair and clothes. "We-were you?" He stammered, blushing slightly. He only thanked his lucky stars that he had found his way back-completely by accident-before it had began to rain. The second half of her sentence registered in his mind as he struggled not to stare at her. "Ranma didn't find me though. Did he go looking?" Why would Ranma look for him, he wondered. This thought was dismissed as he saw Akane's worried face. "He's still out there then, in the rain. As a girl," Not waiting for Ryoga's reply, she turned yet again and called out, this time for Ranma. Ryoga followed her as soon as he had opened his umbrella. "We can't find him in this Akane. If he knows what he's doing, he'll be back soon, if not, well, he's too fast for us to find; especially in this rain." He held the umbrella out so it covered both of them, watching Akane's reluctant nod of agreement. It nearly broke his heart all over again to see how much she cared for that oaf. "We'll find him in the morning, I promise," He said solemnly, seeing her hesitation. At his words however, she seemed to calm down. She nodded and turned to Ryoga. They made their way back to the tents, Ryoga waiting for her to enter hers before going back to his own, so he didn't have to take the umbrella off her. 'Sorry Ranma, but you can take care of yourself, and I can't find you as a pig anyway,' Ryoga said apologetically in his mind. Besides, both he and Akane were too tired to be able to do much that night anyway. Turning away from Ranma's bed, he quickly fell asleep. In her tent, Akane had slipped into dryer clothes, frowning as she wondered where Ranma was and if he was ok or not. Listening to the pounding rain above her head, the wind making the tent roof sway, she whispered quietly into the night, "Please be safe, Ranma." End of Part 2 Wow, this is going a lot slower than I thought it would. Anyway, hope you didn't find this too boring, I can only promise that it does get more interesting; at least, I think it does, later. For now, will Ranma be ok in his girl-form-gone-crazy? Will Ryoga and Akane find him? Trust me, when I know you'll know! Again, please send all thoughts/comments/ideas to [email protected], or write a review. Also, as you may have noticed, I'm not going into too much detail, nor am I trying to make this super realistic. While I admire the work writers put into when Ranma&Co are in mundane situations, such as using trains/planes, etc. for transportation, I decided against going into such detail because it doesn't add to my plot, and you don't see that in the anime or manga, and I'm trying to keep this as much like that as possible. Ok, I'll shut up now and go think of what happens next..hope you enjoyed it! -Luna Sealeaf 3. The Cure to Ranma's Curse: Part 3 Thanks so much for the reviews of chapter 2! Sorry it was so short, but it seems longer on Microsoft Word, which is what I write on. Also, I forgot the disclaimer! Hopefully it's not too big a deal, I mean, like I could come up with such a great story? Yeah right. To be safe though, let's just make it absolutely clear that I do not own these characters, (except for Ling, who sprang from my twisted imagination) in any way, shape or form, am not making a profit from this, other than pride for my already inflated ego, and so there is no reason to sue me whatsoever. Anyway, here's chapter 3, in which the first true important plot points occur.Enjoy! The Cure to Ranma's Curse Part 3 The next thing Ranma remembered, after standing in the middle of the forest as it started to rain, was waking up in an alley way. Groaning, he realized his clothes were a mess, and he ached all over. His hair was disheveled, his clothes mostly torn and covered in mud to boot. Standing up, he limped out onto the crowded street, and he felt a rush of panic as he wondered, 'Where am I?!' Ryoga and Akane packed up the tents, buried the fire, and prepared to look for Ranma. Just as they were about to set out, Akane glanced over at Ryoga and said, trying to sound as nice as possible, "Uh, maybe we should look for him together, so we don't get split up again," She didn't want to hurt his feelings, but even though she said this delicately as possible, Ryoga still blushed and looked away from her. "Right," He said shortly. Sighing and hoping he wasn't offended, Akane started off in the direction Ranma had headed to look for Ryoga-East. Hopefully they'd be able to find some clues as to what had happened to him. She and Ryoga walked in silence for a while. They scanned the ground carefully, but Akane became frustrated as the found no sign of him. After a few hours, they stopped for a lunch break. "I'm surprised we haven't found anything yet," Ryoga said thoughtfully, munching on a pre-made sandwich made by Kasumi. "I know. If he was running wildly like he was when Shampoo found him, surely he'd leave some evidence of a trail." She looked trouble, and they fell silent again. Ryoga knew he ought to be happy-Ranma was gone, literally out of the picture for the moment, and he was all alone with Akane. It was the perfect opportunity to try and win her back. Yet.did he want her back? She clearly loved Ranma, and he admitted to feelings for Akari. He finished his sandwich and started cleaning up as Akane finished as well. If he was honest with himself, Ryoga was also a little concerned about Ranma. It was very disconcerting, this strange change in his curse. It also made Ryoga wonder if his curse would develop complications eventually, as if it wasn't bad enough. "Ryoga! Come here! I found something!" Akane's excited voice broke his strain of thoughts, and he realized he had been sitting still while Akane had gotten up to walk around, although she was still in plain view. Taking longer than most people would have, Ryoga ran to where she was and examined what she was pointing to. A tree with slashes on its trunk, and broken branches were all that he could see. "What do you think this means?" He asked, studying the marks carefully. "It looks like someone fought with a tree," Akane nodded, one hand tracing a broken branch. "I know. But if his cursed form is out of control, then maybe he did attack the tree for some reason." Even as she said this, Ryoga stood back and looked at the tree, a thought quickly coming to mind that disturbed him. "Akane," He said quietly, almost in a whisper as he made sure he couldn't be mistaken. "I think we're wrong. These marks and the broken branches, it looks more like someone was trying to climb the trees and couldn't. As though they were trying to get away from something, but didn't." Akane's eyes grew wide at this, and she took a step away, then turned and started to search the nearby trees. "Come on Ryoga, regardless of what caused those marks, we gotta find him." At almost the same moment, Ranma was walking down the streets of a strange village in China; at least, he assumed he was still in China. He was actually starting to sympathize with what Ryoga had to go through so often. This was really almost frightening, more because of the fact that he couldn't remember what had happened after becoming a girl rather than the fact that he was completely lost. Feeling bewildered, he walked into a small restaurant that was empty, and looked for someone who could help him. A young girl with an apron came into the room and smiled, approaching Ranma. Ranma didn't speak Chinese, but he had picked up a few useful phrases during training trips, and he knew she was greeting him in some way. Straining his mind to remember, he said slowly in heavily accented Chinese, "Where am I?" The girl's smile faltered, but she answered, giving a name Ranma didn't recognize. She then said something else, seeing his stricken face, and from what Ranma could make out, it sounded as though she were asking if he was lost. Racking his brain for the right phrases, he tried to explain that he couldn't remember. It came out more like, "I no think," The girl seemed as frustrated as Ranma, and called to the back of the room. A man walked into the room from the back, a little older than the girl, and he frowned as she talked to him in Chinese. Feeling very out of place, Ranma shifted uncomfortably, wondering what they were saying. After a moment, the man nodded and turned to Ranma, saying in heavily accented Japanese, "You are lost?" Ranma nodded, and said slowly in Japanese, "I can't remember how I got here," The man's brow furrowed as he concentrated on Ranma's words, but he replied, "You should see Old Ling, she can help," He then proceeded to give directions to a very confused Ranma, who thanked him and walked back out into the street, following the directions as they led him to a small dingy shop close to the alley he had awoken in. Stepping inside, he could just make out a hunched form in the back of a dark room. He called out a tentative 'Hello?' in Chinese, then Japanese when the form didn't answer. "Ah, now you speak truly, young man," A dry voice called out, followed by a cackling that made the hairs on the back of his neck crawl. The woman spoke in Japanese, with a Chinese accent less noticeable than the man in the restaurant's had been. "Can you help me remember something?" He asked, walking closer towards her. "You are, uh, Ms. Ling, right?" Ranma asked. Something about the woman reminded him of Cologne, only Cologne seemed like a sweet old grandmother compared to the aura he sensed around the woman. "Yes yes, I am Ling. And you're other question depends," The withered voice said. His nervous feeling growing, he asked, "Depends on what? I don't have any money I'm afraid," For that had been packed up at camp. The woman chuckled again, "Depends on why you forgot it in the first place, and if you really want to remember it," She turned to face him, and Ranma stepped back involuntarily when he saw her face. The woman had no eyes, only sunken pits where her eyeballs should have been, straggly, unwashed white hair was held back by a piece of string, and she wore rough robes almost as torn as Ranma's clothes. He remained determined though; he had to get back to Akane and Ryoga as quickly as possible so they could continue on to Jusenkyo. "Would I ask you if I didn't remember?" He said impatiently. Ling seemed to hear his impatience; she motioned for him to sit across from her, which he did readily, and she pulled a black iron pot in front of her, her face staring towards him. "Let us see then, why you have lost your precious memory, eh? Then we shall talk about payment for Old Ling." Ranma started to nod, and then quickly said, "Sure" when he remembered her lack of sight. He remained silent as she pulled off ancient looking jars from a shelf he hadn't seen in the dark. She pulled out powders and other substances that Ranma didn't want to know, pouring them seemingly randomly into the pot. The finally powder she threw in created a great cloud of smoke, and Ranma struggled to not cover his mouth from the acrid smell. Ling breathed in the fumes deeply; then her dry voice spoke again, somehow sounding different, almost younger. "You are searching for answers; you are cursed," He tensed at hearing her speak of it, but decided at least she couldn't be too much of a fake, unless she was just guessing. "A loved one and a dear friend search for you, trying to decipher your fate even as you do." She fell silent, and Ranma waited for her to continue, glad to hear that Akane and Ryoga were all right then. 'Dear friend, huh? Whatever,' He thought, and concentrated on the woman's next words. "You were lost, afraid. In a.a forest. Something happened that is the cause of your problems. You were found by a group of thieves who were hiding." The woman's voice had changed again, now she sounded as though she were narrating a story. "You fought, but your strength was greatly diminished by something, and they left you, thought to be dead, in the forest. When you awoke, you were confused and wandered here." It all sounded familiar to Ranma, as though someone were reminding him of something that had happened years ago. He decided to risk a question. "What's causing me to forget though?" Meeting up with a bunch of thieves, heck, being beaten up by a bunch of thieves didn't sound so traumatic that he'd block it out. He was bruised, but not too badly hurt, and it seemed much more likely that it was due to his distorted curse than a natural reason. Ling's face wrinkled even more as she fell silent for a moment. "I cannot-see. It is.a corruption.a.corruption in the fabric of...of time.AH! JUN!" Ranma jumped up and back as she led out a loud cry and fell to the ground. He stared at her unmoving form, feeling apprehension wash over him as he stepped back again. That name, he recognized it from his dream! How could she know it? "Ms. Ling?" He asked softly. The woman didn't move, and Ranma made himself walk over to her and check for a pulse. There was none. Fighting back the sudden sense of revulsion that swept over him, he managed not to retch, but turned and ran out the door. He had a feeling he did not want to be found, a stranger in a small town, with a dead old woman. After running for almost half an hour, he stopped to get his bearings, which were none. Cursing, he realized he should have at least stopped for directions to Jusenkyo, but was unwilling to go back in case Ling had been found by now. Instead, he decided to wait awhile, maybe if he could tell which way was north by the sun or stars, he could get an idea of where he was, and how to reach Jusenkyo. For now, he'd just have to hope Akane and Ryoga were ok, and that they'd give up on looking for him and go there too. 'Sorry Akane, the peace was nice while it lasted,' He thought with a sigh, settling down under a thick-foliaged tree to wait for time to pass, trying to understand what Ling had meant. What did the name 'Jun' have to do with a corruption in...what had she called it? The 'Fabric of time'. He decided to save his questions for the guide at Jusenkyo, the events of the past week running through his head like some bizarre marathon. It was night when Akane and Ryoga, exhausted, finally decided to stop for another rest. After the tree, they'd found another clue; nearby there had been the slightest of impressions on the ground, grass bent and what appeared to be foot prints in the dried mud. They had surmised that it a form had laid there, probably a human one, and hopefully Ranma. Collapsing onto the ground, Akane leaned back on her hands, staring up at the sky. "What should we do Ryoga? We haven't found any other sign of a trail, who knows how long it will take to find him?" Her voice caught and she fell silent, hoping he couldn't see the tears run down her face because of the dark. "I don't know Akane. It's been a day, the odds are that Ranma's been turned back into himself, right? There are plenty of ways he could have gotten doused with warm water. If he is back to normal, then he probably doesn't remember anything, like when Shampoo found him. If that's the case, he won't know where he is, unless he's made it to a familiar town or city, which is unlikely. Knowing him, he'd go on to Jusenkyo and hope we meet him there." "You think so?" Akane asked, once she had control of her voice again. "You really think he's ok?" Ryoga nodded firmly. "He'd realize that there's almost no chance of use finding each other any time soon. I suggest we go on to Jusenkyo and wait for him there." Akane nodded slowly, thinking it through. Clearing her throat, she asked in a small voice, looking at Ryoga's form leaning against a tree, arms crossed. "But, what if he's still a girl Ryoga? What if he's still wandering around out there completely lost and confused?" Ryoga didn't meet her eyes as he shrugged slowly. "I don't know Akane. I don't know." She let out a tired sigh, feeling as though all her energy had drained at his words. "I guess we'll just have to go to Jusenkyo and see." She whispered back. 'I hope you're right Ryoga, because whatever's wrong with Ranma's curse isn't going to get better by itself.' Were her last thought before she fell into a dreamless sleep. End of Part 3 I'm so proud of myself! I know the chapters are short, but I thought I'd only be able to write maybe one a week! I'll try to keep writing them this quickly, I didn't get as many plot points in as I wanted. Again, I really really appreciate the reviews! Thanks so much! I got three so far ::dances happily:: Not my record, but still, not bad for my first time on fanfic.net. Anyway, hope you enjoyed it and hopefully it's a little more interesting than the first two chapters. Mysterious, in'nt it?? Mwahahah! Just you wait until it gets REALLY confusing! (Also, while I love all the characters in Ranma ½, the others weren't really necessary for the plot, however I'm considering bringing some in later on, what do you all think? Just keep it three or have Ukyo and/or Shampoo or the others make an appearance?) Till then, happy reading! -Luna Sealeaf 4. The Cure to Ranma's Curse: Part 4 Hello all! Sorry this has taken longer than I expected, but I had to write a story for my English class, which I may post on fiction.net.for all you romance/tragedy lovers out there, you might like it! Anyway, thanks so much to all you reviewers! Here are my responses since it took me awhile to realize you shouldn't hit the 'reply' button. Ghost in the Machine: Thanks for taking the time to read and review! The link didn't work, unfortunately; maybe you could email me again? As for the name Jun, I checked more sites, and while it is a unisex Japanese name, it is also a unisex Chinese name, which probably means it's not an old name, but I don't know, and this is fantasy anyway. But thanks all the same!! (Once again, if anyone knows the correct spelling of Jusenkyo, I'd really appreciate it, I can't believe out of the 5 manga I have, not one mention it, they only refer to it as the 'accursed' grounds) Jerry Unipeg: Thanks as well! I hope you liked the other chapters Alex Ultra: Thanks, I intend to! ( Adi-chan: Thank you! I'm trying to make them longer, I'm just impatient to update, plus they appear longer on Microsoft word. The romance and drama will (hopefully) increase as the story progresses. Thanks again, now, on to the story! The Cure to Ranma's Curse Part 4 Ranma awoke with a jolt, looking around confused until he remembered the events of the past day. He hadn't meant to fall asleep, and now dusk was falling. With a sigh, he stood up and studied the sun; determined his directions, and picked one. He still had no idea where he was, but with any luck he would find another village and get some directions. Many miles away, Akane woke in her dew-drenched tent; she started to realize how much she missed her own bed.among other things. With a heavy sigh, she got dressed and helped Ryoga to pack the tents and cookware back up. "I never thought I'd say this, but this was a lot more fun when Ranma was here," Ryoga muttered as Akane checked their map. Her eyes filled unexpectedly, so she only nodded and said nothing. They trudged through a light mist, saying few words, and both contemplating Ranma's fate. "No-no! Ju-senk-yo!" Ranma repeated slowly to a confused elderly Chinese man. He had spent the first half of his morning wandering around, luckily not in circles, and he had finally found a hermit living in a small hut. 'If only he understood what I was saying!' Ranma thought. Surely there should be more people who had heard of the cursed springs? As the man only shook his head in confusion, Ranma got an idea. He rummaged through his pack, finding a scrap of paper and a pencil. To the best of his ability, he drew the grounds as he knew them. It took a moment, but the man seemed to understand the picture, for he nodded slowly. Taking the pencil from Ranma's hand, and struggling to hold it correctly, he drew what appeared to be a small map. Ranma studied it, and at last realized where he was. Actually, he was closer to Jusenkyo than he had thought, which was a relief. It would hopefully be only a day, baring any unexpected rain showers. As this thought occurred to him, he decided to ask for one more thing; hot water. Again, he had trouble making his wish clear, but the man finally understood his meaning and gave him a wooden canteen of warm water. It wasn't much, but Ranma didn't want to ask for more. He bowed his thanks and started walking. While he walked, he tied the canteen to his waist, upside down. Hopefully if he turned into a girl, if he ran the right way the lid would be knocked off and his legs would be doused with warm water. Feeling more confident than he had earlier, he began to whistle. The tune was one Akane had hummed when she cooked and he stopped when he thought of her. 'Damn it Ryoga, you better take care of her,' He thought, wishing he could be back with the two. Traveling had lost its fun very quickly after he had gotten separated from his companions. He missed Akane, of course, but he also missed Ryoga, strange as that seemed to him. Still, feeling sorry for himself wouldn't get him there any faster. Not that he stopped; he just walked faster. "Oh, ugh," Akane exclaimed as she stepped yet again into ankle deep mud. They had come to a swampy area, and the traveling had been both slow and frustrating. Ryoga had offered to carry her, and while Akane had been tempted to say yes, she didn't want to add to Ryoga's trouble. She would also have had more difficulty in keeping him in the right direction. As it was, she kept having to detour to take Ryoga's arm and guide him in the right direction every once in awhile. "How much farther do you think it is?" Ryoga asked her. She stopped walking to study the map. With a disheartened sigh, she answered him. "Too far to walk in a day. At this rate it'll take us at least two more days." Ryoga just nodded and plodded on, Akane leading the way. She was tired of the silence though, and wanted to make conversation. "So Ryoga, has Ranma asked you yet?" Akane said brightly. Ryoga stared at her, a confused expression on his face. "Asked me what?" "To be Best Man of course. We're doing things the Western way; I think it's more romantic," She explained, smiling. She had a ring also, with a small diamond in the center, but she had left it at home for safety. Ryoga still looked puzzled, so she explained, to the best of her knowledge, what a best man was. "Wouldn't he ask his father? Or Mr. Tendo?" Ryoga asked. "We talked about it. Ranma says you've helped him train far more than his father did. Besides, you're his best friend" She said, as if that settled anything. 'I am?' Ryoga asked silently, but he didn't say it out loud. "Have you set a date then?" He said instead. "Not quite, some time in spring I think. We're going to take a week off from school for the..you know.honeymoon," She said, blushing as she thought of it. Ryoga's gritted his teeth; he didn't really want to hear about this, but he also didn't want to hurt Akane's feelings by changing the subject. Akane seemed to sense his mood, for she said nothing else of the matter. "I-I made it!" Ranma exclaimed to the sky. He was exhausted, he had practically jogged the rest of the way, but he had made it. His cure lay waiting for him at Jusenkyo. All he had to do was find the guide. It didn't take long, his small house was in the same place it always was. Breathing heavily, but smiling, he knocked on the door and waited. "Yes? Oh, is Mr. Customer!" The guide explained, smiling as he recognized Ranma. He opened the door wider, and Ranma stepped in, looking around. "How ya been? Where's your little girl?" He asked, not seeing her in the room. "Daughter is at school in city, please, sit down." The guide replied, gesturing to a small table with two chairs. Ranma sat down gratefully, dropping his pack onto the floor. "What bring Mr. Customer back to accursed grounds? To look for cure?" The guide asked. He set two cups on the table, with a small kettle of hot tea. Pouring it, he handed a cup to Ranma, who thanked him and sipped it. "Ah! That's good! Oh, yeah, actually, I need to ask some questions, if that's ok," He added. "Is fine sir, what you need to know?" "Well." He explained his current dilemma to him, then listened eagerly for answers. The guide was silent, sipping his tea thoughtfully before speaking again. "I not know for sure, but it sound like drowned girl's spirit is coming back," Ranma choked and sputtered on his tea, staring at the guide. "What?" He asked, gasping for breath. The guide nodded regretfully. "Some people who is cursed go through great trauma; strong emotions very quickly. Usually when this happen it.." He searched for the right word in Japanese. "Awakens spirit of original drowned body. Some time it no matter, if cursed form is animal, but when human, it can be very bad," "No kidding," Ranma said softly. The news wasn't as encouraging as he thought. "So how do I stop this.this.person from 'coming back'?" The guide shrugged. "I no know. Most go mad and die." Seeing the color drain from Ranma's face, he quickly added, "But I sure you find way to stop it. You very unique," He said, and sipped his tea again. Ranma thought for a few minutes, biting his lip as ideas ran through his mind. Snapping his fingers, he exclaimed, "I've got it! What about the Amazons? They're ancient! And the old ghoul was the first to figure out it was my curse getting weird," He smiled proudly, the guide smiled politely, not understanding what he meant, except for the part about getting help from the Amazons. "Is good try. You may have to pass test for information though, Amazons not give help to weak or undeserving. Rest here a day, is day's walk to Amazon village, or longer," Ranma nodded, agreeing. He stayed the night, slept in, and walked around the springs in the afternoon. Secretly, he hoped Akane and Ryoga would arrive before he left; he didn't relish the thought of another journey by foot alone. To his surprise, and joy, two mud-covered, tired looking figures arrived at the guide's doorstep the next night. Ranma had opted to stay one more day; to see how the weather faired, was his excuse. Forgetting where he was, he ran out to greet them and hugged Akane fiercely. She hugged him back until he finally let go, blushing. Turning to look at them both, his grin nearly reached his ears. "Great to see you guys again! Took you long enough!" Akane laughed as Ryoga gave him a half hearted punch, then they trudged inside to wash up. They ate dinner together, and Ranma explained his idea of going to the Amazons for help. "What do you think?" He asked them. Ryoga shrugged, shoveling food into his mouth, but Akane smiled encouragingly. "I think that's a good idea Ranma. Shall we go tomorrow?" Ranma nodded and they spent a surprisingly fun night there. The guide kept calling it a 'party' but mostly they were all just relieved to have been united again. The three of them slept in, and the guide had packs of more food waiting for them when they awoke. Thanking him for everything, they once again set out. The journey was much more pleasant than their previous, and they only had to spend one night outside. Ranma held Akane's hand unabashed, and he and Ryoga exchanged superficial insults. When they came to the edge of the village, they were met by a young woman holding a spear towards them. She spoke a long stream of Chinese at them, but they had come prepared. The guide had told them what to say in Chinese, and Ranma had memorized it. Slowly, he repeated it to the girl. She stared at them, but nodded her understanding and led them to the center of the village. A large wooden cabin was there, and she spoke to the two guards outside of it. The girl left and the two guards led them inside, Akane walking behind Ranma nervously and Ryoga trailing behind them. Inside sat three old women all sitting on low stools, the one on the far left looked vaguely like Cologne, and she wore deep green robes. The middle had golden robes with shorter hair, and she was taller than the other one. The right woman wore blue robes, she was the only one of the three to have a streak of black in her long hair.. The middle woman said something, and the guards replied. The communication barrier was starting to annoy Ranma, who decided to learn Chinese when he returned to Japan. The three women nodded as one at the guards reply, and the green robed woman called out in a clear voice, "So, you have come seeking help. What do you knowledge do you wish to gain from us?" She asked him. Feeling rather like a school boy being questioned by his teacher, Ranma nevertheless gave a confident reply. "I fell in one of the springs of Jusenkyo awhile ago, the spring of the drowned girl." And he explained everything, with Akane and Ryoga adding their information as well. The three women listened silently as they explained everything, and it took nearly an hour for them to finish. "The Amazons know much of the past; we keep records that are far older than the oldest Elder." The green robed woman said. "We shall be happy to help with your problem, if you can prove your worth," The blue robed woman said after her. Ranma cracked his knuckles, smiling. "No problem," He said, but the women were not looking at him. The golden robed one stared at Akane. "Do you accept the challenge?" "What?!" Ryoga and Ranma exclaimed together as they turned to face Akane, who looked as surprised as they did. Ranma shook his head furiously, mouthing a 'no'. Akane saw him, and felt annoyed that he didn't trust her fighting ability. Just because she wasn't as good a fighter as Shampoo didn't mean she couldn't handle an Amazon, besides, Shampoo was supposed to be the best fighter, so surely she could take on one Amazon. Besides, Ranma's life was on the line, what choice did she have? With a firm nod, she replied, "I accept." The women stared at her gravely while Ranma cried out, "No Akane!" but they ignored him. "How soon do you wish to begin?" The center woman asked. "Right away," Akane said, again ignoring the two boys. The three women conversed among themselves in Chinese before switching back to Japanese. "Very well; in three hours we shall send three warriors to fight you. If you beat them honorably, we shall tell you all we know," Akane bowed, Ranma and Ryoga copying her reluctantly. "Thank you Grandmothers," She said solemnly. The guards ushered them outside, where Ranma turned on her angrily. "What are you doing Akane? You don't stand a chance against one of their fighters!" "Well what should we do then? Just hope whatever's wrong with you will just go away? I'm not going to sit and watch you go mad Ranma!" She said, her eyes filling with tears at her last words. "Damn it! If my girl form wasn't going crazy I could fight this myself!" He turned away from them, fists clenched. Understanding his problem, Ryoga rested a hand on his shoulder. "I know you hate to have others fight your battles for you Ranma, but Akane's right. She's a good fighter, she'll be fine," Akane beamed at his praise, but Ryoga's real message to Ranma was: We won't let her fight this by herself. Ranma turned again to look at Ryoga's face, understanding his true meaning and allowed himself a small smile. "You're right, and it's not like it's a duel to the death or anything," He said, and they laughed, feeling more relaxed. Until one of the guards turned and said in heavily accented Japanese, smiling, "Actually, it is," End of Part 4 Mwahahaha! Was that a cliffhanger? I like to think so!! Cool twist, having Akane have to fight, really fight, for Ranma, eh? Spur of the moment really.anyway, hopefully it's gotten a little more interesting, although I still haven't gotten to the real plot! I keep getting sidetracked! Argh! Still, it's better than writer's block, I guess. Well, I hope you liked it, and I'm not writing the next chapter till at least one person reads and reviews this one, so there! Thanks again, and don't forget you can send all thoughts/comments/ideas/ to [email protected] -Luna Sealeaf 5. The Cure to Ranma's Curse: Part 5 Wow, I actually read my last few chapters, and I realized how bad they were! At least I read the reviews, otherwise I'd be clueless! Thank you so much, everyone who has read it, despite the awful story telling. One thing that is bothering me though is the number of people who explain to me that Jun is a Japanese name. Thank you, I've realized that. However, I have not stated who Jun is! I'm not even sure if she is Chinese! Besides, I've found it on Chinese name lists (many of them) as female, and sometimes male or female. Thanks nonetheless for noticing though. As for more details, you're all right; school has practically beaten the idea of description out of me. All the stories I've written were declared too long and off topic, so I started using as little description as possible and started getting better grades.someone please explain that to me??? Anyway, please bear with me, and I sincerely hope you enjoy this chapter more than the others! (Really this is backwards for me; usually my stories start out really good but get progressively worse as I lose interest in the story, luckily this has not happened) Disclaimer: I (obviously) do not own any of these characters, they belong to Rumiko Takahashi and maybe some sort of anime company, I don't know, but I'm not making any profit off of this. The Cure to Ranma's Curse: Part 5 Silence enveloped the three travelers as the guard's words echoed in their minds. In a strangely detached way, Ranma noticed that there were few people walking around the village, and vaguely wondered if it had something to do with their arrival. Then he noticed Akane; she was shaking, although with anger or fear he could not tell. "Akane, please, don't do this! We'll find some other way! Perhaps the answer is simply to turn back into a man at Jusenkyo-" He tried to put a comforting hand on her shoulder, but she pushed it away, turning to look him in the eye. "Why don't you believe in me Ranma?" She sounded hurt, her tired brown eyes questioning him. "I do believe in you Akane, but you can't win! Even if you defeat the warrior, they'll make you kill her! Don't you understand? Either way, you'll have lost," He replied softly, staring back at her eyes to make sure she understood. She did; he could see the realization in her eyes. "What are we going to do?" Akane said softly, the question hanging in the cool breeze. How could birds sing, how could the sun shine so brightly in a clear sky when they were faced with such problems? It was Ryoga who finally broke their thoughtful reverie. "Why are they making her do this anyway? Why can't we fight? What's the point of having a challenge anyway?" He said the words bitterly, his fists clenched at his side. Ranma watched him for a moment, turning away to observe the few Amazons who were nearby, ignoring the strange visitors. "It's a matriarchal society, to them Akane is probably our leader, or at least the best fighter. That's why if my cursed form wasn't going crazy I'd fight instead; though if it weren't distorted, we wouldn't be here would we?" His words made him laugh but neither Akane nor Ryoga joined him. "Why make us face a challenge for their help? Who knows?" These last words were said with bitterness equal to Ryoga's. They decided to rest for the next three hours, mayhap they could figure out a plan of some sort. No good ideas came to them while they waited, and no one offered any help. So they sat in a small circle where they were, flanked by two small houses of wood and straw. Villagers passed by; still ignoring them. It was almost like watching TV; no interaction seemed possible with the people they 'watched'. Conversation was stilted among them too, and despite the problems ahead of them, boredom set in. After a while, it had occurred to them that Akane would have difficulty fighting in the clothes she wore; so Ranma unpacked his white training pants and shirt and gave them to Akane. While he and Ryoga had turned their backs, Akane had quickly changed in a nearby patch of trees. The outfit was too large on her, but she would be able to move better in it than in her previous pants and sweater. "I wonder where the fight will be." Akane said as the last hour ticked by. "I'm guessing they'll tell us," Ranma answered her as he pointed to the three small women who had been in the tent. He had surmised that they were Elders, but he didn't really know much about the local government. Still, he rose to his feet as they approached. All three were taller than Cologne, yet he still thought they looked as though they could use a staff. Akane and Ryoga followed his lead and stood up to wait for the women to approach; the golden-robed one walked in front, the green and blue walking a step behind her side by side. When they came close enough, the three of them bowed; it never hurt to be polite when in a strange place surrounded by extremely good fighters. The women seemed not to notice their bow, and the leader, perhaps the chief Elder, said in a stately voice, "The challenge accepted by the strangers shall commence. The three best warriors of our village shall test the challenger one by one. If she can defeat all three and thus prove herself a true and deserving person, her request shall be granted. The fight shall be to the death, the challenger killed if she cannot defeat her opponent." As she spoke, Akane's gaze had firmed and her face betrayed no fear. Ranma felt admiration, love, and frustration for her. How could he convince her to not do this without wounding her pride? What words of his could convince her that he would rather die a thousand times than watch her die for him? He wanted to say something; to somehow stop this, but then they were following the elders to an open space in the village and he still hadn't thought of a way to stop it. "This is the field. To step outside of it-" Ranma saw there were dark lines around the edge of the rectangular space, "Is to forfeit the match and lose." She finished. Akane nodded her understanding and walked to the center; Ranma felt ill suddenly. As he watched, frozen with horror and indecision, a young woman who reminded him of Shampoo, approached Akane. The woman had long, flowing black hair that was tied in back. Her loose yet form fitting clothes were exactly like the ones Shampoo had worn when Ranma had first seen her. Somewhere a drum was hit loudly, and in the time it took Ranma to blink, the young woman had lunged at Akane. His breath caught in his throat as she managed to block and then roll away from the Amazon. The crowd watching was silent; no words of encouragement and warning were shouted. Ranma glanced at Ryoga, who stood next to him. His arms were crossed tightly and he watched the match with a frown on his face. Almost too afraid to look, Ranma turned back to Akane. She was on defense, not having a chance to strike at the warrior. 'That girl's moving faster than Shampoo!' Ranma realized with horror; Akane would never be able to defeat her, unless she managed to wait until the Amazon tired out. 'Yes!' Ranma thought happily; Akane was strong and she had good endurance. She had a chance to win this. His brief euphoria ended quickly when he realized that even if she was able to outlast this warrior; there were two more after her. There was no chance she would be able to fight them all off. Ryoga must have come to a similar conclusion for he elbowed Ranma in the side, trying not to attract attention from the elder Amazons, who were standing a few yards away to their right. "So how are we going to get her out of this without all of us getting killed?" Ryoga whispered, not quite turning his head. Ranma's brow furrowed; how indeed? If they tried to simply put an end to the fight, it seemed likely the Amazons would kill them all for cheating. He would never admit to limitations in his ability, and Ryoga was almost as good as him, but even he doubted they could take on a full village of fighters as good as Mousse and Shampoo or better. "I don't know," Ranma said back. They watched in silence, each trying to find a way to end this without offending the Amazons or getting them all killed. Minutes passed, Ranma could tell Akane was tiring. Sweat ran down her red face as she dodged the blows and kicks of the woman. In contrast, the Amazon didn't look the least bit fazed; her hair was barely out of its tie and she wasn't breathing as heavily as Akane. 'What to do? What can I do?' the words ran around in Ranma's head like a circle. It was a maddening spectacle; he had never felt so helpless before in his life. It was his duty as a martial artist to protect others. While that included Akane beyond all doubt, he didn't want to fight the Amazons. He knew he could defeat at least some of them, perhaps most. He also knew that there were children in the village and the odds were that if he killed even one person, there would be innocent people left to grieve. Ryoga's cry of "NO!" broke through his thoughts and he looked back up at the fighters. Almost in slow motion, he saw the Amazon warrior's high kick catch Akane in the head and she was thrown to the ground. She did not get back up. His sense of honor and duty had disappeared; Ranma broke through the small line of people watching in front of him and ran towards Akane. He sensed Ryoga right behind him, but he didn't really care. His only thoughts were of reaching Akane before her opponent. The woman was preparing for a move to kill; he could see it. He ran until he was close enough to jump the rest of the way, which he did, landing in front of Akane. Quickly he picked her up and out of the way of the woman's fists. "Stop!" He shouted, and to his surprise, she did. Looking uncertainly towards the elders, she simply stood there and watched him. "Is she alright?" Ryoga asked breathlessly as Ranma laid Akane back on the ground, kneeling in front of her. Ryoga was still standing; watching the crowd to make sure no one would try and attack them. "Yeah, I think she just got hit pretty hard; she's unconscious," Ranma answered him as he checked Akane's pulse. It was steady, and he breathed a sigh of relief. Then he picked her up again and turned to study the crowd. The three old women had entered the fighting area. The one in green robes said something to the warrior in Chinese; she bowed to the elders and left. Ranma hoped that was a good sign. "I'm sorry we asked for your help, but this fight is over," Ranma said to them coldly. "Ah, but you shall receive our help, if you still want it," The leader of the three replied. Her gold robes shimmered in the sun, making it hard to see, but Ranma was pretty sure she was smiling. "What do you mean? Akane lost," Ryoga answered angrily, taking a step toward them. "But you have still proven yourselves to be deserving people. It is obvious you our desperate for our help, and yet you would not allow your friend," Seeing the protective way Ranma was holding Akane to him, she rephrased her words, "Your love, to die. You may think our ways hard, but we recognize what it means to be a good person as well as a good fighter, and we know that they are equally important traits," Ranma was stunned, even Ryoga looked unsure of what to say. "Well, that's certainly a nicer sentiment than what Cologne would say," Ryoga said in a relieved voice, a small smile on his face. Ranma couldn't have agreed more. Before they could answer the woman, a man darted onto the ground. He was wearing a dark shirt outlined with white cuffs on the sleeves, with dark glasses and pants, and a small mustache adorned his face. Ranma stared at him; he looked vaguely familiar some how. In halting Japanese the man said, slowly but with a sense of eagerness, "You know Cologne?" Taken aback by the question, Ranma and Ryoga nodded. "Uh yeah, I know her and Shampoo, and Mousse," Ranma replied. The man broke into a smile. "You know daughter, Shampoo?" He asked them. Ranma and Ryoga stared at each other in surprise; Shampoo had a father? "Yeah, we know her. He was engaged to her for awhile," Ryoga answered him, jabbing a thumb in Ranma's direction and his smile growing as he ignored Ranma's angered protest. "Ah! Daughter has written of you!" He didn't quite get the word for written write, but he mimed the act and Ranma and Ryoga understood it. The man then turned to the women, bowing deeply. They talked in quick Chinese for a few minutes, the boys wondering what was going on. For the moment, at least, things seemed to be looking up for them. Shampoo's father turned back to them, and smiled. "Please, accept my hospitality while you here. Friends of daughter is friends of mine. Village Elders will give all help needed," He told them happily. Ranma broke into a smile himself. This was certainly an unexpected change in the Amazon's attitudes, but it was most certainly a welcome one. Still, Ryoga and Ranma were a little wary; they bowed their thanks but exchanged skeptical glances. "Thank you, I'm Ranma Saotome," He added almost as an afterthought, wondering if Shampoo had written to her father at all and if she had, what had she told him? "I'm Ryoga Hibiki," Ryoga said as Shampoo's father ushered them away from the fighting field. Ranma was still carrying Akane's limp form, but he barely noticed her weight. A quick examination had told him that she was only unconscious and would wake up soon, although he would have like someone with more medical knowledge to confirm that. For the moment, he said nothing and merely followed the man, Ryoga at his side, through the small streets of the village. "I am Detangler, welcome to our village," He said pleasantly, hands folded in his robes as they walked along the street. Villagers whispered as they passed, but Ranma ignored them. Instead, he met Ryoga's puzzled look with one of his own. In a questioning voice, he asked, "Uh-, pleased to meet you, Tangler?" He said, sounding confused. Shampoo's father sighed audibly, stopped walking and turned to face the two young men. "It's Detangler, not the Tangler. Don't worry, it's a common mistake," He said, and he did sound used to correcting people. Ranma and Ryoga blushed slightly, but Detangler ignored them and kept walking. Presently they reached a small house; really more of a hut, although it looked more comfortable than the word implied. They followed Detangler inside, and he motioned for Ranma to set Akane down on a mat on the floor. The room was dark, with a few windows, but not dank or unclean. It smelled of straw, which Ranma saw the roof was made of, and a small wooden table and a few stools, with cushions on the floor, with a bed in the back, gave it a cozy feeling. After gently laying Akane onto the mat, Detangler told them to sit down, which they did. "So, what is the reason you have come seeking aid from us?" Detangler asked curiously. Ranma explained his curse and the reason they had come. "When can we see the Elders?" Ranma asked him hesitantly, not sure they were really called that. Detangler didn't seem to notice though. "They await us in the Council Hall, would one of you like to remain with the girl? If not, I can ask a neighbor to watch her while we are gone," Again, Ranma hesitated. He didn't want to leave Akane by herself, but he didn't know how long it would take her to wake up. "I'll stay with her," Ryoga volunteered. "Don't worry about her Ranma. Just go find your cure so we can go home," He said calmly as Ranma and Detangler stood up. Ranma nodded to him, but turned once Detangler had gone to wait for him outside. Lowering his voice, Ranma inquired, "Why didn't you look for the Spring of Drowned Man while we were at Jusenkyo?" He asked, for he had been wondering why Ryoga hadn't looked for the cure while they had been so close to it. Ryoga looked away; his gaze resting on Akane's sleeping face. "Did I have time? I didn't want to sneak away in case Akane got suspicious. Besides, I wasn't about to let her go off alone with you. What if you had gotten turned into a girl on your way here?" Ryoga fell silent, and Ranma felt bad for asking. "Oh. Well, we can go there again before we leave for Japan," He said uncomfortably. Ryoga only nodded, and then stood up to look for some water to make tea. Ranma left the hut and Detangler led him to the Council Hall. It was the same building He, Ryoga, and Akane had been taken to when they had first arrived. Only the golden robed woman sat inside, Ranma saw as he and Detangler were led inside the larger building. She was as crone-like as Cologne, but she somehow had a softer appearance to her. Ranma didn't think she looked like a fighter, but then, neither had Cologne when he first saw her. "We have studied upon your problem, young.?" She waited for him to provide his name. "Ranma," He said, eagerly waiting for her information. "Ranma then; I am afraid you will not be happy at our findings." Ranma swallowed, and he saw Detangler cast him a sympathetic glance, but he ignored it. "What do I have to do to fix this, or better yet, get rid of my curse altogether?" He asked her, fists clenched in anticipation. "That is the key to it; we must get rid of your cursed form. This will not be easy however, and it will only be temporary," Seeing Ranma's confused face, she sighed, clarifying it for him. "There is a potion that must be made. Once you have drunk it, the spirit of the drowned girl will separate from your body, appearing in your cursed form." She spoke slowly, trying to make her meaning as easily understood as possible. "This will be painful, but it is necessary. We must then banish the spirit somehow; if we are lucky, she will merely leave of her own free will. If we are not." Her voice trailed off. "Then more extreme measures will have to be taken." Comprehension dawned on Ranma, and he felt sick. This didn't sound pleasant at all; but he was determined to solve this so they could get home as soon as possible. "When can we do this?" He asked her grimly. She nodded, glad that he was not afraid. "The potion is already being made." She told him. "It shall be ready in a few hours," Ranma wasn't sure whether to take this as good news or bad news. He just hoped that Akane was awake before he had to do this, it would be easier with her at his side. Except that then she would be in danger. 'No,' he thought bleakly 'its better if she stays away until it's settled, one way or another.' Ranma hoped that, as the woman had said, they would be lucky. End of Part 5 That took a lot longer than the other chapters, although I don't think it's much longer. Anyway, hopefully it was better than the previous ones. I apologize for taking liberty with Shampoo's dad, but my friend has been begging me to add that little, "de, not the, tangler" bit. And I know that usually it's 'Hibiki Ryoga, and Saotome Ranma' but if this bothers you, then consider it a translated fanfic, k? Cause in the manga they do it the English way, and since I'm not writing in Japanese, that's how I'm doing things too. Thanks again, please let me know what you think. -Luna Sealeaf [email protected] End file.

fanfiction

id: share title: Share --- ## Example ```js import React from 'react'; import { Share, View, Button } from 'react-native'; export default function ShareExample() { const onShare = async () => { try { const result = await Share.share({ message: 'React Native | A framework for building native apps using React', }); if (result.action === Share.sharedAction) { if (result.activityType) { // shared with activity type of result.activityType } else { // shared } } else if (result.action === Share.dismissedAction) { // dismissed } } catch (error) { alert(error.message); } }; return ( <View style={{ marginTop: 50 }}> <Button onPress={onShare} title="Share" /> </View> ); } ``` # Reference ## Methods ### `share()` ```js static share(content, options) ``` Open a dialog to share text content. In iOS, returns a Promise which will be invoked with an object containing `action` and `activityType`. If the user dismissed the dialog, the Promise will still be resolved with action being `Share.dismissedAction` and all the other keys being undefined. Note that some share options will not appear or work on the iOS simulator. In Android, returns a Promise which will always be resolved with action being `Share.sharedAction`. ### Content - `message` - a message to share #### iOS - `url` - an URL to share At least one of URL and message is required. #### Android - `title` - title of the message ### Options #### iOS - `subject` - a subject to share via email - `excludedActivityTypes` - `tintColor` #### Android - `dialogTitle` --- ### `sharedAction()` ```js static sharedAction ``` The content was successfully shared. --- ### `dismissedAction()` ```js static dismissedAction ``` _**iOS-only**_. The dialog has been dismissed.

slim_pajama

Combustion without hydrogen [closed] **Closed**. This question needs to be more [focused](/help/closed-questions). It is not currently accepting answers. --- **Want to improve this question?** Update the question so it focuses on one problem only by [editing this post](/posts/35533/edit). Closed 8 years ago. [Improve this question](/posts/35533/edit) Is there any fuels without hydrogen that will combust. My friend believes there might be and do to my experience I have never heard of one. Please explain and if u can show a balanced equation of this combustion. A combustion reaction is classified as a reaction between a fuel and oxygen to produce energy. The reaction: 2CO(g) + O2(g) = 2CO2(g) fulfills this definition, is exothermic, and does not use hydrogen.

stackexchange/chemistry

Question about the apparent loophole in principle of least action: boundary condition vs initial condition In Lagrangian formalism, given two points $(x\_1,t\_1)$ and $(x\_2,t\_2)$, we ask the question which paths $x(t)$ make the action $S=\displaystyle \int\_{t\_1}^{t\_2}L\ \mathrm dt$ stationary and satisfy the boundary condition $x(t\_1)=x\_1,\ x(t\_2)=x\_2$. This question is equivalent to solving the Euler-Lagrange equation $$\frac{\mathrm d}{\mathrm dt}\frac{\partial L}{\partial \dot{x}}=\frac{\partial L}{\partial q}$$ with boundary condtion $x(t\_1)=x\_1,\ x(t\_2)=x\_2$. My question is why we are authorized to use the Euler-Lagrange equation to solve the initial condition problem $x(t\_1)=x\_1,\ \dot{x}(t\_1)=v\_1$. It seems that these are two different problems. One problem is to find a path satisfying the boundary condition $x(t\_1)=x\_1,\ x(t\_2)=x\_2$ and make the action stationary. The other problem is to find a path with initial condition $x(t\_1)=x\_1,\ \dot{x}(t\_1)=v\_1$ and I even don't know how to put other requirements such that its equation of motion is the Euler-Lagrange equation. How can you prove these two problems are equivalent if you can make the second problem clear? Or maybe it is an axiom that we require the initial condition problem is solved by Euler-Lagrange equation. I'm confused about the logic of Lagrangian formalism. Indeed the problem with boundary conditions, generally speaking, is not well-posed. *There are boundary conditions admitting no curves or admitting many curves, satisfying both these conditions and Euler-Lagrange equations.* **Examples.** (1) Think of a particle constrained to stay on a smooth sphere where it can freely move. If you assign the North and the South pole of the sphere as boundary conditions, you get infinitely many solutions as the motion always describes a geodesic. (2) Similarly, if you remove an open ball in $\mathbb R^3$ you do not have solutions when assigning boundary conditions on the opposite sides of the ball for a free particle in $\mathbb R^3$. If $L$ is *quadratic* with respect to the $\dot{q}$ variables and this quadratic form is *strictly positively defined*, as is the case for systems of classical particles (also satisfying ideal holonomic constraints), the problem with initial conditions is always well-posed provided $L$ is sufficiently regular. There is exactly one maximal solution satisfying both Euler-Lagrange equations and initial conditions. With these hypotheses also the problem with boundary conditions is well-posed with the additional condition that the two boundary conditions are sufficiently close to each other (this is evident from the two examples I presented above). For these reasons a safer (mathematically minded) viewpoint is assuming that the variational principle determines the equation of motion, but not the solutions themselves. The issue is that the underlying classical physics is determined by equations of motion (EOMs) (i.e. Newton's 2nd law), which are common for [initial value problems](http://en.wikipedia.org/wiki/Initial_value_problem) (IVPs) and [boundary value problems](http://en.wikipedia.org/wiki/Boundary_value_problem) (BVPs). For BVPs , the EOMs can often alternatively be formulated as [Euler-Lagrange (EL) equations](http://en.wikipedia.org/wiki/Euler%E2%80%93Lagrange_equation) of a [stationary action principle](http://en.wikipedia.org/wiki/Principle_of_least_action). The latter approach does never work for IVPs, because one does not have the correct boundary conditions to deduce EL equations via integration by parts. See also [this](https://physics.stackexchange.com/q/38348/2451) related Phys.SE post and links therein. In this answer I want to discuss the habit of distinguishing between 'initial value problem' and 'boundary value problem'. This discussion will be for the context of classical mechanics. I expect the reasoning will generalize to other fields of physics. I will first discuss the initial/boundary subject, and subsequently how that discussion ties in with the Euler-Lagrange equation. This answer is inspired by a [blog post by Chad Orzel](https://www.forbes.com/sites/chadorzel/2016/11/21/the-physics-that-got-left-out-of-arrival/?sh=632c0c695a0a). (At the end of this answer I quote the key remark by Chad Orzel.) For completeness I start with the trivial case of an object moving at a uniform velocity, with one spatial degree of freedom: Initial value problem: A train is moving at $x/t$ kilometers per hour. How long does it take to reach a destination $x$ kilometers away? Boundary value problem: A train travels to a train station $x$ kilometers away. At what velocity must the train travel such that it arrives at the destination after $t$ hours? We have: When the problem is stated as an initial value problem we solve it by way of *extrapolation*, when the problem is stated as a boundary value problem we solve it by way of *interpolation*. The '-polation' of 'extrapolation' and 'interpolation' is related to the verb 'to polish'; you are obtaining a smooth result. The difference between stating a problem as an initial value problem or a boundary value problem is that the order of operations to solve the problem is different, that is all. For the next level up we allow a known uniform acceleration, and two spatial degrees of freedom. You have a cannon that can shoot projectiles. Firing of a projectile occurs from a level surface, so that the projectile impacting the ground is at the same height as when it was fired. Assume standard Earth gravity. Initial value problem: Given a nozzle velocity, and angle of the barrel with respect to the horizontal, what is the horizontal distance that the projectile will travel, and what will be the duration of the flight? Boundary value problem: What must the horizontal velocity component be, and what must the vertical velocity component be, such that the horizontal distance travelled is x meters, and the duration of the flight is t seconds? The point is: Just as in the simpler case of uniform velocity: the *only* difference between stating the problem as an initial value problem or a boundary value problem is the *order of operations* needed to solve the problem. Distinction between 'initial value problem' and 'boundary value problem' boils down to distinction between *extrapolation* and *interpolation*, and that distinction is moot. The common factor of interpolation and extrapolation is that you ensure continuity. It's the condition of maintaining *continuity* that makes it work. In particular: for a differential equation distinction between interpolation and extrapolation is moot. (In both cases it hinges on making sure continuity is satisfied.) **The process of deriving the Euler-Lagrange equation** The process of deriving the Euler-Lagrange equation removes all elements that are unnecessary. I repeat with different words: In the course of deriving the Euler-Lagrange equation various elements are removed. The elements that are removed are *superfluous* as far as solving the physics problem is concerned. (From here on I will abbreviate Euler-Lagrange equation to: EL-eq.) When you start deriving the EL-eq. the boundary conditions are treated as *variables* in the sense that the boundary conditions are not stated as numerical values; the boundary conditions are left unspecified. By allowing the boundary conditions to be variables you are obtaining a very general result. What you obtain is not tied to any specific boundary conditions, and what that does is that application of boundary conditions is *deferred*. In the course of deriving the EL-eq. you introduce a way of representing variation. (Most often a symbol such as $\epsilon$ is used to manipulate the variation.) In the final stage of deriving the EL-eq. *the variation is eliminated*. In a sense the variation is like a catalyst; it is involved in the derivation, but it is not present in the final result. What is also eliminated: at the start of deriving the EL-eq. an integration is specified. In the final stage that integration is eliminated. You cannot not-eliminate that integration. The only way to derive the EL-eq. at all is to follow through, and *eliminate the integration*. We have that the Euler-Lagrange equation is a differential equation. As we know: a differential equation is a mathematical entity that is inherently describing a *local* property. By contrast: integration is evaluation of a *global* property. The fact that the Euler-Lagrange equation is a *differential equation* is the very thing that makes it so powerful. The derivation of the Euler-Lagrange equation is set up in such a way that the boundary conditions are treated as variables. What that does is that application of the boundary conditions is *deferred*. The power of the Euler-Lagrange equation is that it is a differential equation; distinction between boundary value problem and initial value problem is moot. See also: An October 2021 answer by me with discussion of [Hamilton's stationary action](https://physics.stackexchange.com/a/670705/17198) About that blog post by Chad Orzel: Chad Orzel raises the question: > > is [...] teleological interpretation of least-action principles an accurate reflection of actual physics? > > > Chad Orzel points out: > > [...] it amounts to specifying a starting position and an ending position and being amazed that the path is determined, but if instead you specified a starting position and starting velocity, the path is equally inevitable, but somehow that feels less magical. > > >

stackexchange/physics

Letter: 'Leaked' letter from former LU leaders leaves more questions 'Seasoned university administrators know that universities are always in thrall to the unforeseen, the unexpected' Letter to the Editor May 13, 2021 7:00 PM Laurentian University. (File) Re: Article "Leaked: Former Laurentian leaders break their silence on insolvency roots in letter to the province," published May 11. If the "leaked" letter to the province written by four former Laurentian senior officers is legitimate, it calls for a response. Whatever else it might be, it is certainly an attempt on the part of former President Dominic Giroux and former board members Atkins, Laughren and Witty to clarify and justify their concerns about Laurentian's perilous state and what may have brought it about. It is also an attempt to wash their hands of any responsibility for what has happened at Laurentian, thereby, to some degree at least salving their consciences. Many of the facts they marshal are beyond dispute: it is true that a "perfect storm" of unforeseen circumstances — the loss of international student revenue, the reduction in tuition revenue thanks to the provincial government's decision to cut tuition, and the pandemic — served as the concatenation of events to bring about the tragic financial mess Laurentian now finds itself in. Unforeseen events to be sure. But unforeseeable? Perhaps not. Seasoned university administrators know that universities are always in thrall to the unforeseen, the unexpected. Seasoned university administrators know that the financial world they live in is not characterized by consistency but by contingency. It is for this reason that seasoned university administrators, guided by a wise financial office that is not a bank, but rather, when needed, a careful check on unfocused spending, proceed with prudence, with caution and, most importantly, incrementally when it comes to both infrastructure building and program development. With apologies to Charles Dickens, seasoned university administrators know that from a financial point of view, today's best of times might be tomorrow's worst of times. To what extent the four signatories of the justifying letter and the rest of the Board of Governors thought about the contingent world in which universities live before they proceeded full speed ahead with infrastructure and program growth is a question that needs to be asked but probably will not be answered. The "leaked" letter chose not to address the question of the source of some of the funds the institution used to pay for what appears to have been unchecked spending. Because we have been told, we now know where a chunk of that money came from. I assume that the signatories of the "leaked" letter chose not to justify or explain their decision to draw from those purpose-specific funds because there was no way, in the absence of a present day Cicero, that they could do so. Douglas Parker, VP Academic, Laurentian University, 1998-2004 More Letters to the Editor Letter: Sudbury Performance Group welcomes you back Letter: Freedom Convoy memories warm my heart Letter: Ottawa occupiers don't represent my Canada Mark Gentili - Editor Mark Gentili is the editor of Sudbury.com

slim_pajama

Calling is the twenty-second single by B'z, released on July 9, 1997. This song is one of B'z many number-one singles in Oricon chart. The song was used as a theme of TV drama Glass Mask, an adaptation of the famous shōjo manga of the same name. It sold 1,000,020 copies according to Oricon. Track listing Calling Gimme Your Love Live at Tokyo Dome References External links B'z official website Category:1997 singles Category:B'z songs Category:Oricon Weekly number-one singles Category:Japanese television drama theme songs Category:Songs written by Tak Matsumoto Category:Songs written by Koshi Inaba

wikipedia

What is the relationship between solutions and changes to states of matter? For example, when liquid water evaporates, my instinct is to say that of course it's become gas, but I'm a bit unsure because, if I understand correctly, evaporation occurs because air *dissolves* the water, and it's not clear to me whether that counts as a *phase change*. Intuitively it *seems* like it should should water dissolves in the air or salt dissolved in water, etc. have different properties before and after being dissolved. And yet, the way I've always heard it explained, phase changes are specifically due to changes in temperature and/or pressure, not due to chemical interactions with another another substance. On the other hand, from what I remember from chem 101 and 102, when we considered chemical reactions occuring between solids dissolved in a liquid (usually acids and bases dissolved in water), we usually just labeled them as aqueous, meaning "in solution", whereas for non-aqueous substances, we'd label them with the relevant state of matter, solid, liquid, or gas. Does that mean dissolved substances constitute their own state of matter? Or that it's simply not meaningful to talk about the state of the solute independent of the solvent? I also saw this thread, [Is it appropriate to say "solid-in-gas solution" and "liquid-in-gas solution"?](https://chemistry.stackexchange.com/questions/160389/is-it-appropriate-to-say-solid-in-gas-solution-and-liquid-in-gas-solution), where someone says, "Whenever there is only one phase, but there are two or more chemical species, then you have a solution", which heavily implies there's a fundamental relationship between phase changes and solutions, but it also doesn't seem quite right Water vapour in air is a solution, but not in the same sense as solutions in water. Water vapour in air is solution in sense of homogenous mixture, where molecules move freely and independently. Salts in water dissociate (are dissociated by water) to ions. Having a net charge, they form a nonhomogeneous electrostatic gradient.Ions are hydrated by water molecules that have an electric dipole and therefore attracted to the center of such a gradient. So here we see strong interaction and dependent motion. --- Capacity for water vapour at given temperature is not a shared property of water and air, like solubility of table salt in water. It is a property of water alone. Water need not air at all to evaporate and to stay as vapour. Presence of air has very tiny effect on the maximal absolute humidity in $\pu{g / m3}$, due secondary phenomena, that are significant only at conditions near critical conditions. Like nitrous oxide versus it's 1:1 mixture with oxygen. The former is at room temperature and pressure $\pu{100 atm}$ liquid, while it is gaseous at the same partial pressure $\pu{100 atm}$ in the latter.

stackexchange/chemistry

José Dennis Martínez Ortiz born May 14, 1955, nicknamed El Presidente The President, is a former Major League Baseball pitcher. He was the first Nicaraguan to play in the majors. Early life Martínez was born in Granada, Nicaragua, the last of seven children to Edmundo and Emilia Martínez. The family was poor, but he helped his parents on the farm that raised food for the family. He was scouted by Ray Poitevint of the Baltimore Orioles on December 10, 1973 for $3,000. He spent three years in the minor leagues with three separate teams. He went 15-6 with the Miami Orioles in 1974 with a 2.06 ERA. The following year, he spent time with Miami, Asheville, and the Rochester Red Wings, going 12-4 with the former and 4-1 with the middle while having no wins and losses with the latter. He went 14-8 with the Red Wings for 1976 with a 2.50 ERA before being called up by the team late in the season. Playing career Baltimore Orioles 19761986 Martínez made his debut on September 14, 1976 against the Detroit Tigers at Memorial Stadium. He replaced Dave Pagan in the top of the fourth inning with the Orioles trailing 75. He pitched 5.2 innings while allowing no runs on four hits, one walk and five strikeouts as the Orioles rallied in the seventh to win 97 and give Martínez his first career win. In four games pitched with the team, he went 12 with a 2.60 ERA in 27.2 innings. He had 18 strikeouts and eight walks. The following year, Martínez went 147 with a 4.10 ERA in 42 games of which he started 13 in 166.2 innings, with four saves and five complete games. He had 107 strikeouts and 64 walks. For 1978, Martínez went 1611 with a 3.52 ERA while appearing in 40 games, having 15 complete games in 276.1 innings of work. He had 142 strikeouts and 93 walks a career high. He faced 1,140 batters, the first of three times in his career that he would do so. He finished in the top ten for numerous categories in the AL, such as innings pitched 6th, strikeouts 9th, walks 6th, and hits 9th with 257. The following year, he was at his peak of usage, appearing in 40 games with 39 starts while having 18 complete games and 292.1 innings of work the latter three being career highs. He went 1516 with a 3.66 ERA while having 132 strikeouts and 78 walks. He faced a career and league high 1,206 batters. Martínez made his postseason debut in Game 3 of the ALCS against the California Angels, pitching eight and one third innings while allowing three runs on eight hits while striking out four, although he did not receive a decision in the 43 loss. For the 1980 season, Martínez went 64 with a 3.97 ERA in 25 games. He had two complete games and one save in a total of 99.2 innings. He had 42 strikeouts and 44 walks. He was put into the lineup as a designated hitter on September 29, 1980, although he was pinch hit for Terry Crowley prior to batting. On the field, he had five putouts, 16 assists and one double play for a 1.000 fielding percentage. The following year, Martínez improved. He went 145 with a 3.32 ERA in 25 games, having nine complete games with two shutouts in 179 innings of work. He had 88 strikeouts and 62 walks. He had 20 putouts, 44 assists, two errors, and four double plays for a .970 fielding percentage. He received votes for the Cy Young Award and the Most Valuable Player award, finishing 5th and 23rd, respectively. For the 1982 season, Martínez was selected to pitching the Opening Day game against the Kansas City Royals at Memorial Stadium on April 5, 1982. In four innings of work, he allowed four runs on six hits with two strikeouts and three walks while allowing a home run, although the Orioles rallied in the seventh to win 135. That year, he went 1612 with a 4.21 ERA in 40 games. He had ten complete games in 252 innings of work, while having 111 strikeouts and 87 walks. He faced 1,093 batters, the third and last time he faced a thousand batters in a season. The following year, he was selected for the Opening Day start once again. Facing the Royals on April 4, he allowed four runs on six hits and six innings of work, with six strikeouts and two walks as the Royals trounced the Orioles 72. That year, he went 716 with a 5.53 ERA. In 32 games and 153 innings of work, he had four complete games while having 71 strikeouts and 45 walks. Martínez was plagued by alcoholism in the beginning of his career; he had been introduced to drinking when he was 17, with his drinking problem developing further by the time he made the majors. With the clubhouse always having beer, he drank only on road trips and not in front of the presence of his family. It was this problem that led him to not be included in the 1983 postseason roster by Joe Altobelli, although he did receive a championship ring. One night after the Series was over, Martínez and a friend of his went drinking. On the ride home, he was cited for intoxication by a state trooper. The humiliation from the arrest, which his kids had heard about, led him to enter rehab. Despite quitting drinking, he struggled in the seasons afterwards, going 69 in 1984 with a 5.02 ERA in 34 games and 141.2 innings with 77 strikeouts and 37 walks. Martínez stated that it was dedication to sobriety that affected his focus on the field, saying When I tried to play, it wasnt the same. I wasnt the same pitcher, not the same before I stopped drinking. And its true, you cant concentrate on the game and on sobriety at the same time. You have to concentrate on one or the other. He had slight improvements in 1985, going 1311 with a 5.15 ERA in 33 games and 180 innings of work. He allowed more hits and runs than the season before while having 68 strikeouts and 63 walks. On June 5, Martínez recorded his 100th win. Pitching against the California Angels at Memorial Stadium, he threw a complete game while allowing no runs on one hit while striking out three and having one walk and one hit batsman. In 1986, Martinez's struggles proved to be the end of his tenure in Baltimore. He had a 6.75 ERA in his four games with the Orioles, pitching a total of 6.2 innings while having two walks and strikeouts. On June 16, he was traded by the Orioles along with an additional player to be named later which the Orioles did by sending John Stefero later in the year to the Montreal Expos for a player to be named later which the Expos did by sending Rene Gonzales. In his eleven seasons, Martínez went 10893 while having a 4.16 ERA in 1,775 innings with 858 strikeouts and 583 walks. He still ranks in the top ten of numerous categories for the Orioles, such as wins 10th, innings 9th, strikeouts 10th, walks 8th, losses 8th, and earned runs 6th. Gonzales would bat .221 in four seasons of 267 total games with the Orioles while Martínez won 100 games with the Expos. Trade and Montreal Expos 19861993 Martínez pitched in relief for his first three games before being put in as a starter in July. He lost three of his first four starts with one no decision. Although his sluggish start did not improve with the Expos, he went 36 with a 4.59 ERA in 19 appearances, with a complete game and a save in 98 innings of work. He had 63 strikeouts and 28 walks. After the season, Martínez had a contract dispute with the Expos, who offered him half $250,000 of what he had been earning with the Orioles. He entered free agency, but no one took an offer on him, and so he resigned with the Expos, although he couldn't sign until May 1, which he would do for the minimum. He pitched in the minor leagues to start his comeback to the team, pitching with the Miami Marlins, a Class A independent team. He later went to the Indianapolis Indians, a AAA affiliate for the Expos, going 32 with a 4.46 ERA, but he was called back up to the Expos in June. Martínez went 114 with a 3.30 ERA in 22 games, pitching 144.2 innings while having 84 strikeouts and 40 walks. Martínez made the Opening Day start for the team in 1988, which was the first one in Montreal at Olympic Stadium. Facing the New York Mets on April 4, he faced off against Dwight Gooden. He pitched six innings while allowing seven runs on nine hits three being home runs, with four walks and seven strikeouts while the Expos lost 106. That year, Martínez went 1513 with a 2.72 ERA in 34 games and 235.1 innings of work while having nine complete games, the last two being the most for him since 1982. He had 120 strikeouts and 55 walks. He made 19 putouts, 39 assists, six errors a league high and three double plays for a .906 fielding percentage. He finished in the top ten of numerous categories, such as ERA 9th, innings 9th, complete games 6th, home runs 5th with 21, hits 9th with 215 along with batters faced 10th with 968, and adjusted ERA+ 8th with 133. The following year, Martínez was the Opening Day starter for the Expos once again. Pitching against the Pittsburgh Pirates at Olympic Stadium, he threw seven innings while allowing three runs on eight hits while having three strikeouts, with the Expos rallying to win in the ninth 65. That season, he went 167 with a 3.18 ERA in 34 games and 232 innings. He had 142 strikeouts and 49 walks, the former being tied for the most in his career with his 1978 season. He made 11 putouts, 50 assists, two errors with six double plays for a .968 fielding percentage. He finished in the top ten in numerous categories of the National League, such as wins 6th, winloss 4th, walks per nine innings 3rd with 1.901, innings pitched 8th, games started 7th, home runs 6th with 21, hits 3rd with 227, and batters faced 8th with 950. During Martínez' time with the Expos, a variation of the Montreal hot dog topped with cheese and bacon called the Denny Dog was sold at Olympic Stadium. 1990 was a mixed bag in certain ways for Martínez. He started the year off as the Opening Day pitcher against the St. Louis Cardinals at Busch Stadium. He went five innings while allowing three runs on seven hits with five strikeouts and four walks while the Expos lost 65 in eleven innings. He went 1011 with a 2.95 ERA in 32 games and 226 innings, having seven complete games. He had a career high 156 strikeouts with 49 walks. Despite this, he was named to the All-Star Game at Wrigley Field. He had a 67 record at the time of his selection with a 2.84 ERA. It was his first career AllStar selection. He pitched the fourth inning for the National League. Facing the 456 order of Cal Ripken, Jr, Ken Griffey, Jr and Mark McGwire, Martínez had one strikeout while allowing no hits. For 1991, Martínez improved. For the fourth year in a row, he was the Opening Day starter, pitching against the Pittsburgh Pirates at Three Rivers Stadium. He threw seven innings of work while allowing one hit and no runs with five strikeouts and two walks as the Expos won 70. It was his first and only Opening Day win with the Expos. He went 1411 with a 2.39 ERA a career low in 31 games and 222 innings of work. He had nine complete games while having five shutouts, the latter being a career high. July proved to be a highlight He had 123 strikeouts with 62 walks while being named to the All-Star Game at SkyDome in Toronto on July 9. Martínez pitched the third and fourth inning for the NL, allowing three runs on four hits, including a home run from Cal Ripken, Jr. He received the loss as the American League held on to win 42. Nineteen days later, on July 28, Martínez pitched the 13th perfect game in Major League Baseball history, pitching against the Los Angeles Dodgers. He was the first Latin Americanborn pitcher to pitch a perfect game. Martínez struck out five batters and threw 96 pitches, 66 for strikes. He finished the month of July with a 21 record in five games started while named NL Pitcher of the Month. He finished with the lowest ERA in the league, beating out José Rijo, who finished with a 2.51 ERA. He was the first Expo since Steve Rogers in 1982 to win the ERA title. The following year, Martínez went 1611 with a 2.47 ERA in 32 games and 226.1 innings of work. He had 147 strikeouts and 60 walks while being selected for a third straight All-Star Game, this time in San Diego. Martínez entered in the top of the seventh inning. He had a strikeout and a walk while allowing no hits in his one inning of work. In August, he was named the Pitcher of the Month for the NL. In his five starts for the month, he went 40 while pitching at least seven innings in each of the start, allowing more than one earned run in just one game. He finished in the top for numerous categories in the league once again, such as ERA 5th, wins 3rd, walks & hits per inning 4th, and innings pitched 10th. 1993 was his final season with the Expos. He went 159 with a 3.85 ERA in 35 games, having two complete games along one save in 224.2 innings. He struck out 138 batters while walking 64 batters. On the field, he made 17 putouts, 46 assists, one error and one double play for a .984 fielding percentage. On June 18, Martínez received his 200th win. Pitching in Montreal against the Atlanta Braves, he threw eight innings while allowing one run of four hits with three walks and seven strikeouts as the Expos won 21. On September 28, Martínez won his 100th game for the Expos, doing so against the Florida Marlins at Joe Robbie Stadium. Martínez threw 7.2 innings while allowing two runs on four hits with six strikeouts and one walk on 105 pitches, but the Expos held on to win with John Wetteland throwing a 1.1 inning save to preserve the 32 win for the Expos. In August, the Expos put him on waivers. Three teams put a claim on him, the Atlanta Braves, the San Francisco Giants, and the Philadelphia Phillies, with the Braves doing so in order to try and stop him going to the Giants. The Expos were only willing to let him go to the Braves if they included a player that the team wanted in order to give up Martínez. However, he used his 10and5 rights privilege to veto a trade. The team finished 9468 that year, the best record during Martínez's tenure with the club, although they finished three games back of the Philadelphia Phillies. With the win, he became the seventh pitcher with at least 100 wins in both the American and National leagues, joining Jim Bunning, Ferguson Jenkins, Al Orth, Gaylord Perry, Nolan Ryan and Cy Young; since Martínez, Kevin Brown and Randy Johnson have joined him on the list. Martínez finished his career in the top ten of numerous categories for the franchise, such as wins 2nd behind Steve Rogers, ERA 5th being Tim Burke, innings pitched 2nd behind Rogers, and strikeouts 6th behind Rogers. Cleveland Indians 19941996 Martínez entered free agency after the 1993 season ended, and he signed with the Cleveland Indians in the winter. Martínez was named the pitcher for the Opening Day game against the Seattle Mariners on April 4, which happened to be the first regular season game held at Jacobs Field in Cleveland. He pitched seven innings while allowing two runs on three hits with four strikeouts and walks each, with the Indians rallying to win 43 in ten innings. The season, he went 116 with a 3.52 ERA in 24 games pitched and 176.2 innings. He had three shutouts, the first time he pitched a shutout in a season since 1991. He had 92 strikeouts and 44 walks. He made 11 putouts, 33 assists, two double plays and no errors for a 1.000 fielding percentage, the first time that Martínez compiled the percentage since 1980. He finished in the top ten in numerous categories, such as WAR 6th with 4.6, wins 10th, walks & hits per inning 6th with 1.189, walks per nine innings 7th with 2.242, innings pitched 4th, complete games 2nd, and home runs per nine innings 6th with 0.713. Although the season was cancelled midway through August, the Indians had won 60 games and were on track for a playoff spot. For 1995, he kept consistent form. He started the Opening Day game for the team once again, this time allowing two runs off four hits while striking out three in six innings of work, although the Indians prevailed over the Texas Rangers 116. He went 125 with a 3.08 ERA in 28 games and 187 innings pitched. He had 99 strikeouts with 46 walks. He made 15 putouts, three double plays, 46 assists and four errors, the latter being league highs while having a .938 fielding percentage. He finished in the top ten of numerous categories, such as WAR 5th, 5.7, ERA 3rd, walks & hits per inning 3rd, 1.176, and home runs per nine innings 9th, 0.818. On September 28, a wild pitch by Martínez broke the jaw of Hall of Famer Kirby Puckett. This would be Puckett's last official game of his career, retiring in 1996 due to glaucoma in his right eye, a problem unrelated to Martínez's pitch. Martínez pitched in five games for the Indians during their run to the American League pennant, his first postseason action since 1979 with the Orioles. He went 12 with two no decisions. He started Game 1 of both the ALDS and the ALCS. He earned his first postseason win in Game 6 of the ALCS, pitching seven innings while allowing four hits and no runs with three strikeouts and one walk on 90 pitches as the Indians clinched the pennant 40 over the Seattle Mariners. He started Game 2 and 6 of the World Series, receiving the loss in the former while having a no decision in the latter, although the Braves prevailed to win the Series in six games. The following year, now at the age of 42 oldest in the American League, he had a year plagued by inconsistency. Martínez started the Opening Day game for the team for the third straight year, the first Indians pitcher to have three consecutive Opening Day starts since Gaylord Perry in 1974. He pitched seven innings while allowing two runs on five hits, with five strikeouts and two walks, although the Indians lost 71. He went 96 with a 4.50 ERA in 20 games and 122 innings. He had 48 strikeouts his lowest since 1980 and 37 walks. He didn't make any appearances for the Indians after August 27, in which he pitched just 2/3 innings while allowing two runs. End parts of career 19971998 Martínez signed with the Seattle Mariners as a free agent on February 20, 1997. He appeared in nine games while going 15 with a 7.71 ERA in 49 innings. He struckout 17 batters and walked 29 batters before being released on May 24, three days after allowing 7 runs on 7 hits with two walks in 1.2 innings against the Anaheim Angels in an 183 loss. Martínez spent his final season in 1998 with the Atlanta Braves. He went 46 with a 4.45 ERA, appearing in 53 games while making five starts and having two saves within 91 innings. He had 62 strikeouts and 19 walks. He made four appearances in the postseason for the Braves, all in the NLCS against the San Diego Padres. He received the win for Game 4, getting the final out of the 6th inning in relief of Denny Neagle by having Chris Gomez groundout before the Braves scored in the next inning. His final appearance was in Game 6 on October 14, replacing John Rocker in the top of the 6th inning. He retired all four batters he faced, although the Braves lost the game 50 along with the series. After the season, Martínez retired, stating that there was nothing more to do with his career. He retired having the most wins by a Latin American pitcher, holding that record until Bartolo Colón surpassed him in 2018. During a 23year baseball career, Martínez compiled 245 wins, 2,149 strikeouts, and a 3.70 earned run average. He is one of the top Latin American pitchers of alltime. Martínez is one of only 17 pitchers in MLB history to start on Opening Day more than 10 times, having done it 11 times. Martínez has the most career victories of any pitcher who has never won 20 games in a single season. Mark Buehrle, Milt Pappas, Jerry Reuss, Frank Tanana, Charlie Hough, Chuck Finley, Kenny Rogers, and Tim Wakefield are the only other pitchers with at least 200 career victories who have done so. Four of these pitchers Buehrle, Pappas, Reuss and Rogers had pitched nohitters, with Buehrle also pitching a perfect game, and Rogers' also being a perfect game, three years to the day of Martínez's. Post-playing career In 2002, he was inducted into the Baltimore Orioles Hall of Fame. Martínez has worked as a spring training instructor for the Baltimore Orioles in and , and pitching coach for the Palm Beach Cardinals in the Florida State League. On November 5, 2012, the Houston Astros finalized their coaching staff for the 2013 season, naming Martínez as their new bullpen coach. He was fired on October 1, 2013. Martínez also is manager of the Nicaragua national baseball team, and managed during the 2013 World Baseball Classic Qualifying Tournament. The national baseball park in Managua Nicaragua's capital city, Dennis Martínez National Stadium, was named in his honor. Martínez runs his own organization, The Dennis Martínez Foundation, to help poor children around the world. In 2016, Martínez was inducted into the Canadian Baseball Hall of Fame. Martínez was selected as the manager of the National League Futures Team as part of the 2019 All-Star Game. Highlights 4-time All-Star 19901992, 1995 Twice Top 10 Cy Young Award 1981, 1991 Led league in wins 1981 Led league in ERA 1991 Led league in shutouts 1991 6-time Top 10 in shutouts 1979, 1981, 1990, 19941996 Led league in games started, innings pitched and batters faced 1979 9-time pitched 220 or more innings in a season 19781979, 1982, 19881993 3-time oldest player in the majors 19961998 60th on the strikeouts all-time list Set record for most wins by a Latin American pitcher 244 August 9, 1998 Pitched the 13th perfect game in baseball history July 28, 1991 with the Montreal Expos. See also Pitchers who have thrown a perfect game List of players from Nicaragua in Major League Baseball List of Major League Baseball career wins leaders List of Major League Baseball annual ERA leaders List of Montreal Expos Opening Day starting pitchers List of Major League Baseball career hit batsmen leaders List of Major League Baseball career strikeout leaders References External links Category:1955 births Category:American League All-Stars Category:American League wins champions Category:Asheville Orioles players Category:Atlanta Braves players Category:Baltimore Orioles players Category:Cleveland Indians players Category:Expatriate baseball players in Canada Category:Indianapolis Indians players Category:Living people Category:Major League Baseball pitchers Category:Major League Baseball pitchers who have pitched a perfect game Category:Major League Baseball players from Nicaragua Category:Miami Marlins FSL players Category:Miami Orioles players Category:Montreal Expos players Category:National League All-Stars Category:National League ERA champions Category:Nicaraguan emigrants to the United States Category:Nicaraguan expatriate baseball players in the United States Category:Nicaraguan expatriate sportspeople in Canada Category:People from Granada, Nicaragua Category:Rochester Red Wings players Category:Seattle Mariners players

wikipedia

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slim_pajama

What is a "hydrogen-like" or "hydrogenic" atom? I'm studying some chemistry on my own in anticipation of the new school year and in my book, I came across the Rydberg equation for the first time. I worked through some examples and everything was fine until I came across this comment on the question, "[Calculate the wavelength of the radiation released when an electron moves from n=5 to n=2](https://chemistry.stackexchange.com/q/9355/402)": > > For future reference: the Rydberg formula only works for hydrogen-like > atoms. > > > What is meant by "hydrogen-like"? I've heard that solving for multi-electron systems is (near) impossible, so I understand why hydrogen is used here, but I don't understand what "hydrogen-like" is. A [hydrogen-like atom](https://en.wikipedia.org/wiki/Hydrogen-like_atom) (or ion) is simply any particle with a nucleus and one electron. --- That should be sufficient to answer the question at hand, but I thought I should say a bit more, as some of these answers are potentially confusing. The *historical* reason why the Rydberg formula only works for hydrogen-like atoms is that it was originally formulated to explain the [spectral lines of hydrogen](https://en.wikipedia.org/wiki/Hydrogen_spectral_series). It was never intended to explain the spectra of multi-electron atoms. The *physical* reason, though, is because the Rydberg formula uses energy levels that only depend on the principal quantum number $n$, which has to be a positive integer: $$\bar{\nu} = Z^2\mathcal{R}\left(\frac{1}{n\_1^2} - \frac{1}{n\_2^2}\right) \qquad n\_1,n\_2 \in \mathbb{Z}^+$$ and nowadays we know that this is only true for hydrogen-like atoms;$^\*$ the energy levels of multi-electron atoms depend on both $n$ and $l$.$^\dagger$ --- The $n$-dependency *was* later successfully rationalised by the Bohr model, but saying that "the Rydberg formula only works for hydrogen-like atoms because the Bohr model only works for them" is misleading and misses the point, as: 1. This implies that the Rydberg formula was derived from the Bohr model, which is not true; it was merely empirically determined, and the formula predated the Bohr model by 25 years. 2. The Bohr model simply does *not* work for hydrogen-like atoms. The fact that it reproduces the Rydberg formula should merely be considered a *serendipity*; Bohr arrived at the correct result by the wrong method. 3. It does not lend any real insight into the proper reason why the Rydberg formula does not apply to helium, etc. (which I briefly mentioned above). --- $^\*$ In fact, the energy levels of hydrogen are not only dependent on $n$ (due to various small effects such as – but not limited to – spin-orbit coupling, and hyperfine splitting). Wikipedia has a good overview of the topic [here](https://en.wikipedia.org/wiki/Fine_structure) and most QM textbooks have a chapter on the hydrogen atom, where they discuss these perturbations to the Hamiltonian and their effects on the energies. Not surprisingly, the inability to explain this was one of the failures of the Bohr model. $^\dagger$ Of course, there is also a series of approximations here. The energy levels of multi-electron atoms are only approximately described by sums of orbital energies, so the transition energies are only approximately equal to a difference in energy between two orbitals. In the spirit of notable University Of Nottingham chemist [Sir Martyn Poliakoff](https://royalsociety.org/people/martyn-poliakoff-12107/)'s comment in the [Periodic videos](http://www.periodicvideos.com/index.htm) episode [Helium in Disguise](http://www.periodicvideos.com/videos/feature_hydrogen41.htm) (also [YouTube](https://youtu.be/7hdVjb2gRgQ)): > > Again and again, for scientists, if they hear something surprising that makes them think in a different way, it’s really good. > > > I'll add to the other excellent answers by listing some *less common hydrogen-like "atoms"*. [The video](https://youtu.be/7hdVjb2gRgQ) is about **Muonic Heavy Hydrogen** or so-called ${}^{4.1}H$ is discussed at the end of this list. Yes, that's pronounced "hydrogen four-point-one." See the New Scientist article [Atomic disguise makes helium look like hydrogen](https://www.newscientist.com/article/dn20049-atomic-disguise-makes-helium-look-like-hydrogen/), and the primary article published in Science [Kinetic Isotope Effects for the Reactions of Muonic Helium and Muonium with H2](http://science.sciencemag.org/content/331/6016/448) Fleming, D. G. et al. Science 28 Jan 2011: Vol. 331, Issue 6016, pp. 448-450, DOI: 10.1126/science.1199421 --- [**Positronium**](https://en.wikipedia.org/wiki/Positronium): (e+e−) > > Positronium (Ps) is a system consisting of an [electron](https://en.wikipedia.org/wiki/Electron) and its [anti-particle](https://en.wikipedia.org/wiki/Antimatter), a [positron](https://en.wikipedia.org/wiki/Positron), bound together into an [exotic atom](https://en.wikipedia.org/wiki/Exotic_atom), specifically an [onium](https://en.wikipedia.org/wiki/Onium). > > > It has Rydberg states with $E\_n \sim -(6.8eV)/n^2$ or half that of normal hydrogen because the reduced mass is half that for an electron bound to a much heavier item. The longer-lived triplet ${}^3S\_1$ state has a mean lifetime of about 142ns, and decays by electron-positron annihilation into three gamma-ray photons. It is sometimes studied by slowing and stopping positrons in powdered MgO where they capture an electron and tend to remain relatively unperturbed by the other atoms. --- [**Muonium**](https://en.wikipedia.org/wiki/Muonium): (μ+e−) > > Muonium is an [exotic atom](https://en.wikipedia.org/wiki/Exotic_atom) made up of an [antimuon](https://en.wikipedia.org/wiki/Muon) and an [electron](https://en.wikipedia.org/wiki/Electron), which was discovered in 1960 **and is given the chemical symbol Mu**. During the muon's 2.2 µs lifetime, muonium can enter into compounds such as muonium chloride (MuCl) or sodium muonide (NaMu). Due to the mass difference between the antimuon and the electron, muonium (μ+e−) is more similar to [atomic hydrogen](https://en.wikipedia.org/wiki/Hydrogen_atom) (p+e−) than [positronium](https://en.wikipedia.org/wiki/Positronium) (e+e−). Its [Bohr radius](https://en.wikipedia.org/wiki/Bohr_radius) and ionization energy are within 0.5% of hydrogen, deuterium, and tritium, **and thus it can usefully be considered as an exotic light isotope of hydrogen**. > > > --- [**True Muonium**](https://en.wikipedia.org/wiki/True_muonium): (μ+μ−) > > True muonium or **muononium** is an exotic atom made up of an [antimuon](https://en.wikipedia.org/wiki/Muon) and a [muon](https://en.wikipedia.org/wiki/Muon). It is yet to be observed, but it may have been generated in the collision of electron and positron beams. > > > --- [**Muonic hydrogen**](https://en.wikipedia.org/wiki/Exotic_atom#Muonic_atoms): > > Negative muons can, however, form [muonic atoms](https://en.wikipedia.org/wiki/Exotic_atom#Muonic_atoms) (previously called mu-mesic atoms), by replacing an electron in ordinary atoms. Muonic hydrogen atoms are much smaller than typical hydrogen atoms because the much larger mass of the muon gives it a much more localized ground-state wavefunction than is observed for the electron. > > > --- [**Muonic helium**](https://en.wikipedia.org/wiki/Muon#Muonic_atoms): > > Muonic helium is created by substituting a muon for one of the electrons in helium-4. The muon orbits much closer to the nucleus, so muonic helium can therefore be regarded as an isotope of helium whose nucleus consists of two neutrons, two protons, and a muon, with a single electron outside. Colloquially, it could be called "helium 4.1", since the mass of the muon is slightly greater than 0.1 amu. **Chemically, muonic helium, possessing an unpaired valence electron, can bond with other atoms, and behaves more like a hydrogen atom than an inert helium atom.** > > > Muonic heavy hydrogen atoms with a negative muon may undergo nuclear fusion in the process of [muon-catalyzed fusion](https://en.wikipedia.org/wiki/Muon-catalyzed_fusion), after which the muon may leave the new atom to induce fusion in another hydrogen molecule. This process continues until the negative muon is trapped by a helium atom, and cannot leave until it decays. > > > [![enter image description here](https://i.stack.imgur.com/AZGwu.jpg)](https://i.stack.imgur.com/AZGwu.jpg) **above:** From [New Scientist](https://www.newscientist.com/article/dn20049-atomic-disguise-makes-helium-look-like-hydrogen/). Hydrogen-like atoms are atoms with a single electron "orbiting" a nucleus that has more than one nucleon. As @Xerxes pointed out in a comment, you can in principle have a nucleus made up of particles other than protons and neutrons (nucleons). [Positronium](https://en.wikipedia.org/wiki/Positronium) might be an extreme example of this. Wikipedia actually has an entry about [Hydrogen-like atoms](https://en.wikipedia.org/wiki/Hydrogen-like_atom) which goes somewhat beyond what you asked. Hydrogen-like ions are ions that possess only one electron, just like a hydrogen atom. The fact that these ions have only one ion in the outermost shell makes it simpler to analyze their radii and energies, as a simple electrostatic model can be used to describe them. Species having multiple electrons are difficult to study and are beyond the scope of the Bohr model. This is because the inter-electronic repulsions are hard to account for in electrodynamic interactions that make up the atom's bound system. Single electron systems are known as hydrogenic/hydrogen-like species like He+, Li2+, Be3+, etc. I think one key aspect that is overlooked in these replies is the Born-Oppenheimer approximation. The nucleus of any atom can be approximated as a point with very few relativistic corrections due to its mass. An electron on the other hand is essentially massless (comparatively speaking. I know it is still a fermion and has mass). Once you put more than one electron in any orbital those relativistic corrections have consequences. So "hydrogen-like" means any atom that does not need Pauli or Dirac's insight to explain the deviations in the spectra i.e. the Bohr model.

stackexchange/chemistry

Is a state with no fluctuations in particle density necessarily a stationary state of the Hamiltonian? Consider a system of identical particles (bosons or fermions) with field operator $\hat{\psi}(x)$. The particle density operator is $\hat{\psi}^\dagger(x)\hat{\psi}(x)$. Suppose that the particle density is constant everywhere - that is to say that: $$\rho(x,t)=\langle\Psi(t)|\hat{\psi}^\dagger(x)\hat{\psi}(x)|{\Psi(t)}\rangle=c(x)$$ where $c(x)$ is some spatial function that is constant in time. Does this necessarily imply that the system state is an eigenstate of the Hamiltonian? Or are there states with no fluctuation in particle density that aren't eigenstates of the Hamiltonian? How would I prove this in general, or come up with a counterexample? All my attempts thus far have failed. I strongly suspect that this is true in the single-particle case, but struggled to prove even that. Does it hold in that limit? I am considering a non-relativistic Hamiltonian of the form: $$\hat{H} = \int dx \hat{\psi}^\dagger(x)\left(-\frac{\hbar^2}{2m}\nabla^2\_x+V(x)\right)\hat{\psi}(x)+\frac{g}{2}\int dx \hat{\psi}^\dagger(x)\hat{\psi}^\dagger(x)\hat{\psi}(x)\hat{\psi}(x)$$ Does $\langle \psi | \hat{x} | \psi\rangle = c$ mean that $\hat{x} | \psi \rangle = c | \psi \rangle$? In case of free particles, QFT Hamiltonian: $$ H = \int \frac{d^3p}{(2 \pi)^3} \; \sqrt{p^2 + m^2} a^\dagger\_\vec{p} a\_\vec{p} $$ is not even proportional to the particle density. So the state with mean particle density being equal to $c$ is not necessarily an eigenstate of the Hamiltonian.

stackexchange/physics

Equations of motion for $\mathcal{L}=\sqrt{\phi^*\phi}$ Suppose the follow Lagrangian density: $$ \mathcal{L}[x,t]=\sqrt{\phi[x,t]^\*\phi[x,t]} $$ The Euler-Lagrangian equations with respect to $t$ yields: $$ \begin{align} 0&=\frac{1}{\sqrt{\phi[x,t]^\*\phi[x,t]}} \left(\frac{\partial}{\partial t}(\phi[x,t]^\*\phi[x,t])\right)\\ &=\frac{\partial}{\partial t}(\phi[x,t]^\*\phi[x,t]) \end{align} $$ Am I correct into thinking of the "equations of motions" as a probability conservation condition? If I integrate both sides, I recover the normalization condition. --- Can I take the Euler-Lagrangian equations of both variables $x$ and $t$ as follows: $$ \begin{align} 0&=\frac{1}{\sqrt{\phi[x,t]^\*\phi[x,t]}} \left(\frac{\partial}{\partial t}(\phi[x,t]^\*\phi[x,t]) +\frac{\partial}{\partial x}(\phi[x,t]^\*\phi[x,t])\right)\\ &=\frac{\partial}{\partial t}(\phi[x,t]^\*\phi[x,t]) +\frac{\partial}{\partial x}(\phi[x,t]^\*\phi[x,t]) \tag{1} \end{align} $$ What is the physical interpretation of this equation? There is no version of "Euler-Lagrangian equations with respect to t". You must use the "full" version, that is - $$\partial\_\mu\frac{\partial \mathcal{L}}{\partial(\partial\_\mu\phi)}=\frac{\partial \mathcal{L}}{\partial\phi}$$ In your case the LHS is identically zero, thus the EOM results in $\phi=\phi^\*=0$

stackexchange/physics

Will NaOH react with ethanol? [closed] **Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers. --- **Homework questions** must demonstrate some effort to understand the underlying concepts. For help asking a good homework question, see: [How do I ask homework questions on Chemistry Stack Exchange?](https://chemistry.meta.stackexchange.com/questions/141/how-do-i-ask-homework-questions-on-chemistry-stack-exchange) Closed 5 years ago. [Improve this question](/posts/90281/edit) I am having a doubt in here that NaOH reacts with methanol but not with ethanol. Theoretically my instructor on chemistry says that the conjugate base of ethanol would be stronger than NaOH. But I can see in many websites that the reaction is given(reaction of CH4 and NaOH). Also a side question to this is CH4,C2H6 will not react with NaOH. Is there any reason other than full saturation CH4 and C2H6. Just because one can write down the reaction equation (as you have read in those websites) doesn't mean it takes place to any considerable extent. Yes, ethanol and NaOH do theoretically react as in $\ce{EtOH + NaOH \to EtO^-Na+ + H2O}$, but can you observe this reaction in practice? The answer lies in the thermodynamics of the reaction: the equilibrium is severely shifted to the left, so the reaction as written is almost irrelevant. Conversely, methanol ionization does present a measurable equilibrium constant at appropriate conditions.

stackexchange/chemistry

the flux level of most blazars pose a challenge to the sensitivity of current iact experiments . thus relatively long exposure times are required to detect blazars in the vhe regime . in addition iacts have a small field of view compared to gev gamma - ray satellite telescopes . an all sky survey in vhe with a deep exposure is thus not technically feasible using current installations . therefore it is necessary to adopt some selection procedure to choose candidate vhe blazars to be observed with iact experiments . a commonly applied strategy to select vhe - observation candidates uses sources selected on the basis of their brightness at lower energies , viz . in the radio and x - ray regime @xcite . this method relies on the hypothesis that the radio and x - ray frequencies , which sample the synchrotron regime , are a direct proxy to estimate the brightness of the vhe component . this strategy has been quite successful . however , the physical mechanism that connects the separate spectral components is not firmly established . in addition , while applying this strategy , sources were selected from incomplete source - catalogs and were thus an incomplete sample of predicted - vhe - bright blazars . + an alternate method proposes to select blazars based on their spectrum in the @xmath0mev - @xmath0gev band ( from now on , referred to as the gev - band ) . this regime is probed using satellite - borne @xmath1-ray - instruments such as the egret instrument which flew on board the cgro satellite , and the large area telescope ( lat ) instrument on the recently launched fgst . for most blazars it is believed that the vhe emission and the gev emission arise from the same physical mechanism and hence should be intimately related . thus selecting blazars detected in the gev - band with certain spectral characteristics , can be a useful tool in selecting candidates for vhe observations . this method was applied to the archival egret data from the 3@xmath2 egret catalog @xcite in @xcite . here we apply this strategy to the recently released gev - bright agn sample provided by the fgst team , called the lbas@xcite . + [ cols="<,^,>,^,^,^,^ , < " , ] the lbas , @xcite consists of @xmath3 sources which have high - confidence associations with known agns . it contains @xmath4 blazars ; of which @xmath5 are flat spectrum radio quasars ( fsrqs ) , @xmath6 are bl lac objects , and @xmath7 are blazars with uncertain classification , in addition to the two radio galaxies - centaurus a and ngc 1275 . in the lbas , the integral flux between @xmath8gev and @xmath0gev and the corresponding spectral index are given for all sources , derived from a power law fit between @xmath9gev and @xmath0gev . a search on the redshift of all these sources in the available literature yielded redshift values for 92 objects . + a subset of these objects after excluding sources with @xmath10 was used as the source - sample for applying our selection strategy . sources with uncertain redshifts were excluded . the lbas spectra of the selected sample was extrapolated to vhe energies to get the estimated intrinsic vhe spectra . in the absence of additional details on individual source spectra ( e.g. any spectral - break or turn - off ) such an extrapolation is a reasonable first order estimate of the vhe spectra . this estimated intrinsic vhe spectra corrected for the ebl attenuation gives the estimated observed - vhe - spectra for each source . vhe @xmath1-rays are absorbed in the inter - galactic medium via pair - production mechanism , from photon - photon scattering on the extragalactic photon field ( @xmath11 ) . the optical depth ( @xmath12 ) due to this mechanism , is both a function of redshift , and the photon energies . for each object the corresponding @xmath13 is calculated using the ebl model in @xcite . the ebl limits in @xcite are derived from actual vhe observations , making certain assumptions about the intrinsic spectra and are hence a reasonable upper limit to the ebl level . the extrapolated spectra is attenuated by a factor of @xmath14 to obtain the predicted observed spectra in vhe ( see figure [ vheextrapolatiion ] ) . + the integral flux under the extrapolated spectra , beyond @xmath15gev , i(@xmath16gev ) , gives an indication of the flux that would be seen using the current generation of iacts such as veritas , h.e.s.s . , and magic . assuming that an i(@xmath17gev ) @xmath18@xmath19 is required for a @xmath7@xmath20 detection in @xmath21hours , a list of @xmath22 candidates satisfying this condition , ranked by their i(@xmath16gev ) value is presented in table [ rankedlist ] . in the table , f@xmath23 is the lbas flux in the @xmath8gev to @xmath0gev band . @xmath24 ( also from lbas ) is the spectral index derived from a simple power law fit between @xmath9gev and @xmath0gev . established vhe emitting blazars are denoted with an asterisk after their common names . the fact that there are eight vhe emitters in this list of twenty predicted vhe emitters , gives credibility to this selection method . to compare these predictions with actual vhe spectra of the sources , simultaneous observation using iacts need to be compared with the lbas extrapolations that we give here . the published example of such a simultaneous observation is the joint h.e.s.s .- fermi campaign on pks 2155 - 304 between @xmath25 august @xmath26 and @xmath27 september @xmath26 , @xcite . the fgst spectra measured during the campaign is consistent with the values given in the lbas . however , the spectra in @xcite shows a break in the fermi spectra at @xmath28gev . since it is not known to us if this break is a stable feature in the gev spectra throughout the three month period used to get the lbas values , we simply take the single power - law fits from lbas . given this we expect the extrapolations to vhe regime to lie slightly above the true vhe measurements , provided the correction due to the ebl absorption was correct ( assuming that the ebl used here truly represents an upper limit ) . as we show in figure [ pks2155 - 304 ] this is indeed the case , for both the simple power law fit from the lbas , and the simple power - law fit in @xcite . + comparing to non - simultaneous vhe datasets though not as constraining to check our estimates , still gives an indication of their compatibility . two more examples are given in figures [ bl - lac ] and [ pks2155 - 304 ] . such a comparison was done for 10 sources , and an overall good agreement was found between our extrapolations and the true - vhe measurements . it is worthwhile to note that , in @xcite , extrapolations from the egret values consistently under predicted the vhe spectra . this could be due to two possible reasons . firstly most blazars are likely to show long term variability ; and secondly the lat instrument on fermi has a higher high - energy threshold , and thus is much nearer to the vhe regime than egret , thus yielding extrapolations that are much closer to the true intrinsic vhe spectra . with the data available from the fgst , it is now possible for the first time to make simultaneous measurements of the high energy component of vhe blazars , from 100 mev to tens of tev . it also opens up a window of opportunity to discover new vhe blazars based on extrapolations from fgst measurements . a list of such candidates is provided here using the spectral measurements from the lat bright agn sample . the extrapolated spectra of these candidates are above the detection threshold of the current generation iacts , and are recommended for observations . eight of the twenty listed blazars are established vhe emitters and hence validate this strategy for selecting candidates for vhe observations .

arxiv

the @xmath0 decay has attracted much theoretical attention , since chiral perturbation theory ( chpt ) calculations have sizable uncertainties and produce systematically rates about a factor of two smaller than experiment @xcite . in contrast models using quark box diagrams @xcite claim to obtain acceptable rates . within chpt , the problem stems from the fact that the tree level amplitudes , both at @xmath4 and @xmath5 , vanish . the first non - vanishing contribution comes at @xmath5 , but either from loops involving kaons , largely suppressed due to the kaon masses , or from pion loops , again suppressed since they violate g parity and are thus proportional to @xmath6 @xcite . the first sizable contribution comes at @xmath7 but the coefficients involved are not precisely determined . one must recur to models : either vector meson dominance ( vmd ) @xcite , the nambu - jona - lasinio model ( njl ) @xcite , or the extended nambu - jona - lasinio model ( enjl ) @xcite , have been used to determine these parameters . however , the use of tree level vmd to obtain the @xmath7 chiral coefficients by expanding the vector meson propagators , leads @xcite to results about a factor of two smaller than the `` all order '' vmd term , which means keeping the full vector meson propagator . all this said , the chiral approach has been useful to unveil the physical mechanisms responsible for this decay , but it has become clear that the strict chiral counting has to be abandoned since the @xmath7 and higher orders involved in the full ( `` all order '' ) vmd results are larger than those of @xmath5 . for a review , see @xcite , together with an experimental upper bound . once the `` all order '' vmd results is accepted as the dominant mechanism , one can not forget the tree level exchange of other resonances around the 1 gev region . in comparison with vmd , the exchange of @xmath8 axial vectors @xcite yields negligible contributions when using values of the couplings in agreement with @xmath9 data @xcite . still at tree level , the @xmath1 exchange , which was taken into account approximately in @xcite , was one of the main sources of uncertainty , since even the sign of its contribution was unknown . after the tree level light resonance exchange have been taken into account , we should consider loop diagrams , since meson - meson interaction or rescattering can be rather strong . first of all we find the already commented @xmath5 kaon loops from chpt , but also the meson loops from the terms involving the exchange of one resonance . the uncertainty from the latter was roughly expected @xcite to be about 30% of the full width . another relevant question is that no attempts have been done to check the consistency of @xmath0 results with data from other processes . on the one hand , the decay results have not been compared with the crossed channel @xmath10 , although some consistency tests with @xmath9 have been carried out as quoted above . the reason is not surprising since there are no hopes within chpt to reach the @xmath1 region where there are measurements of the @xmath10 cross section @xcite . on the other hand , the explicit su(3 ) breaking already present in the radiative vector meson decays has not been taken into account when calculating the vmd tree level contributions . the former discussion has set the stage of the problem and the remaining uncertainties that allow for further improvement . in recent years , with the advent of unitarization methods , it has been possible to extend the results of chpt to higher energies where the perturbative expansion breaks down and to generate resonances up to 1.2 gev @xcite . in particular these ideas were used to describe the @xmath11 reaction , with good results in all the channels up to energies of around 1.2 gev @xcite . work in a similar direction for this latter reaction has also been done in @xcite . with these techniques , and always within the context of meson chiral lagrangians , we will address three of the problems stated above : first , the @xmath1 contribution , second , the evaluation of meson loops from vmd diagrams and , third , the consistency with the crossed channel @xmath10 . in particular , we will make use of the results in @xcite , where the @xmath10 cross section around the @xmath1 resonance was well reproduced using the same input as in meson meson scattering , without introducing any extra parameters . with these improvements we are then left with a model that includes the `` all order '' vmd and resummed chiral loops . we expect this approach to provide a good description of @xmath0 because recent studies on the vector meson decay into two pseudoscalar mesons and one photon @xcite indicate that such a combination of `` all order '' vmd contribution plus the unitary summation of the chiral loops leads to good agreement with data in a variety of reactions . these include @xmath12 @xcite , where the chiral loops are dominant , @xmath13 @xcite , where the vmd mechanism is dominant , and @xmath14 @xcite where both mechanisms have about the same strength . concerning the fourth issue of the su(3 ) breaking present in radiative vector meson decays , we will take it into account here by using effective couplings normalized to reproduce the most recent experimental data . incidentally , there are preliminary results from a very recent experiment @xcite , which give a decay width about half of the previous one . in that work the authors refined the background subtraction , which was known to be rather problematic . let us remark that , in view of the former discussion , revisiting the previous theoretical calculations is mandatory regardless of whether these new experimental results are confirmed or not . in what follows we will address all these theoretical issues in detail , including an updated estimation of the uncertainties in the calculation . in particular , we will take into account the experimental errors in the radiative vector meson decays , which were neglected before , although they will turn out to be the largest source of uncertainty . following @xcite we consider the vmd mechanism of fig . 1 which can be easily derived from the vmd lagrangians involving vvp and @xmath15 couplings @xcite @xmath16 where @xmath17 and @xmath18 are standard @xmath19 matrices constructed with the nonet of vector mesons containing the @xmath20 , and the nonet of pseudoscalar mesons containing the @xmath21 , respectively . for instance for pseudoscalar mesons @xmath22 , with @xmath23 given by @xcite @xmath24 and similarly for vector mesons @xcite . we also assume the ordinary mixing for the @xmath25 , the @xmath26 , the @xmath27 and @xmath28 : @xmath29 in eq . ( [ lagr ] ) @xmath30 , @xmath31 @xcite and @xmath32mev , with @xmath33 the coupling of @xmath20 to @xmath34 in the normalization of @xcite . > from eq . ( [ lagr ] ) one can obtain the radiative widths for @xmath35 , which are given by @xmath36 where @xmath37 is the photon momentum for the vector meson at rest and @xmath38 are @xmath19 coefficients that we give in table 1 for the different radiative decays , together with the theoretical ( using @xmath39mev and @xmath32mev ) and experimental @xcite branching ratios . we shall refer to these results as those with `` universal couplings '' . . su(3 ) @xmath38 coefficients together with theoretical and experimental branching ratios for different vector meson decay processes . [ cols="^,^,^,^",options="header " , ] the agreement with the data is fair but the results can be improved by incorporating @xmath19 breaking mechanisms @xcite . for that purpose , we will normalize here the @xmath38 couplings so that the branching ratios in table 1 agree with experiment . these will be called results with `` normalized couplings '' . in this way we are taking into account phenomenologically the corrections to the @xmath40 vertex from an underlying field theory . once the @xmath40 couplings have been fixed , we can use them in the vmd amplitude corresponding to the diagram of fig . 1 , which is given by @xmath41 where @xmath42 , @xmath43 , with @xmath44 the momentum of the @xmath27 and the two photons . we have parametrized the @xmath20 width phenomenologically as : @xmath45 whereas for the @xmath26 we have considered a constant @xmath46 mev . nevertheless , our results are rather insensitive to these details . from the above amplitude , the @xmath27 decay width is easily calculated , as well as the @xmath47 invariant mass distribution @xmath48 where we take for reference the momentum of the pion , @xmath49 , in the @xmath50 direction , so that @xmath51\end{aligned}\ ] ] with @xmath26 the energy of the @xmath52 . in fig . 2 we show the results of the mass distribution with and without the radiative widths normalization factors . the integrated width is given by @xmath53ev ( universal couplings ) ; @xmath54ev ( normalized couplings ) , where the error has been calculated from a monte carlo gaussian sampling of the normalization parameters within the errors of the experimental branching ratios of table 1 . let us note that there have been stable values for the vector meson radiative widths throughout the last decade in the pdg but a sizable change in the pdg2002 . had we used the pdg2000 , we would have obtained @xmath55ev ( normalized couplings ) . it is interesting to compare these results with those in @xcite , where they used a universal su(3 ) coupling with @xmath33 adjusted to the @xmath56 decay data existing at that time , and obtained an `` all orders '' value of @xmath57ev . the difference between that value and the @xmath55ev that we would have obtained with older data has to be attributed to the adjusting to all the branching ratios , instead of just one as in @xcite . [ fig : fig2 ] our vmd normalized result is within three standard deviations from the value presently given in @xcite,@xcite : @xmath58ev , but within one sigma of the more recent one presented in @xcite , @xmath59ev . there are , however , other contributions that we consider next . the contribution of pion loops to @xmath0 , evaluated in @xcite , proceeds , to begin with , through the g - parity violating @xmath60 process . since the contribution is proportional to @xmath61 , it is very small and we think that if such terms are included , other isospin violating terms proportional to @xmath61 , and isospin violating corrections to the main terms should also be included . rather than undertaking this delicate task , we will use the results of @xcite to estimate uncertainties from all these sources . the main meson loop contribution comes from the charged kaon loops , calculated at @xmath5 in @xcite , and proceeds via @xmath62 . note that these loops are also suppressed due to the large kaon masses . that is why the @xmath63 mechanism was included explicitly , with uncertainties in the size and sign of the @xmath1 couplings . as commented in the introduction , the chiral unitary approach solves this problem by generating dynamically the @xmath1 in the @xmath64 amplitude . in this section , we will illustrate this approach by revisiting the work done in @xcite on the related process @xmath65 where the chiral unitary approach was successfully applied around the @xmath1 region . since for the @xmath27 decay the low energy region of @xmath65 is also of interest , we will include next the vmd mechanisms also in this reaction . once we check that we describe correctly @xmath65 , the results can be easily translated to the eta decay . we will finally add other anomalous meson loops that are numerically relevant for eta decay but not for @xmath65 . in @xcite it was shown that , within the unitary chiral approach , the @xmath66 amplitude around the @xmath1 region , diagrammatically represented at one loop in fig . 3 , factorizes as @xmath67 with @xmath68 the full @xmath69 transition amplitude . the first three diagrams correspond to @xmath70 of eq . ( [ eq : tnpa629 ] ) , already evaluated at one loop in @xcite , where the factorization of the leading @xmath68 also occurred . in our case @xmath71 , written in a general gauge to be also used for the @xmath72 reaction , is given by @xmath73 ^ 2 \right\},\ ] ] above the @xmath74 threshold , with the @xmath75 term removed below threshold . note that the unitarized @xmath68 transition matrix , not just the lowest order chiral amplitude , is factorized outside the loop integral . this on shell factorization was shown in @xcite by proving that the off shell part of the meson - meson amplitude did not contribute to the loop integral . the meson meson scattering amplitude was evaluated in @xcite by summing the bethe salpeter ( bs ) equation with a kernel formed from the lowest order meson chiral lagrangian amplitude and regularizing the loop function with a three momentum cut off . subsequently , other approaches like the inverse amplitude method @xcite or the @xmath76 method @xcite were used and all of them gave the same results in the meson scalar sector . for @xmath66 below 1 gev only the @xmath77 amplitudes are needed @xcite . the bs equation sums the diagrammatic series of fig . 4 , which implies that in the @xmath66 transition of fig . 3 one is resumming the diagrams of fig . 5 . furthermore , the same on - shell factorization of the @xmath78 matrix in the loops found for @xmath66 was also justified for meson - meson scattering in @xcite . thus , the bs equation with coupled channels can be solved algebraically , leading to the following solution in matrix form @xmath79^{-1}t_2(s),\ ] ] with @xmath80 the invariant mass of the two mesons , @xmath81 the lowest order chiral amplitude and @xmath82 a diagonal matrix , @xmath83 , accounting for the loop functions of two mesons . these @xmath84 functions were regularized in @xcite by means of a cut off . the @xmath84 analytic expressions , both using a cut off or dimensional regularization can be found in @xcite . in eq . ( [ eq : tnpa629 ] ) there is another term , @xmath85 , which corresponds to the last two diagrams of fig . 3 where the axial vector meson @xmath86 is exchanged . for the one loop result we follow @xcite . given the large mass of the axial vector , both the factorization of the unitarized on shell meson - meson scattering amplitude outside the loop , as well as that of the @xmath87 amplitude are also justified @xcite . hence , when the full series of fig . 5 is considered , one obtains the contribution @xmath88 with @xmath89 given by @xmath90\cdot g_{k\overline{k}},\ ] ] with @xmath91 , and @xmath92 . + first of all we show in fig . 6 the result for the @xmath66 cross section obtained from eq . ( [ eq : tnpa629 ] ) , which coincides with that obtained in @xcite . to ease the comparison with experimental data we also show the events concentrated in bins of 40 mev , roughly like the experimental ones . we can easily notice the peak of the @xmath1 whose dynamical generation is guaranteed by the resummation of diagrams in fig . the resummed @xmath93 amplitude has indeed a pole in the complex plane associated to the @xmath1 resonance @xcite . in fig . 6 , we also show results above and below @xmath1 , whose description requires further ingredients than those needed just for the @xmath1 region . in particular , the @xmath94 resonance ( second peak ) is included phenomenologically as in ref . @xcite . in @xcite loops like those in fig . 3 , but exchanging a vector meson instead of an axial - vector meson were estimated negligible in the @xmath1 region and hence neglected . in addition , the vmd tree level mechanism of fig . 1 ( with an outgoing @xmath27 ) was neglected since it has no resonant structure in the @xmath47 s - channel . as a consequence the agreement of eq . ( [ eq : tnpa629 ] ) with experiment is fair but some discrepancies can be noticed in fig . 6 at low energies . for the purpose of the present work , @xmath96 , the low energy region of the @xmath66 reaction is also relevant . therefore we will include as a novelty both the vmd tree level contribution as well as the loops involving vector meson exchange . first , we can see in fig . 7 that the results obtained adding the tree level vmd amplitude normalized to the @xmath97 radiative decay rates ( dashed line ) are acceptable around and below the peak of the @xmath1 resonance . let us note that the inclusion of these terms does improve the description of the low energy region . the binning of the theoretical results would make again the apparent agreement with data to look much better , but for the sake of clarity we have not added more lines to the figure , as long as the binning effect has already been illustrated in fig . although in section one we have justified the use of the normalized couplings , we also show in fig . 7 the result using universal couplings ( dotted line ) . in this process , the effect of normalizing the couplings of the vector meson radiative decays is not as drastic as in fig . 2 for the @xmath27 decay where only the vmd mechanism was considered . in what follows we will only use the normalized couplings . second , in addition to the axial vector meson exchange in loops considered in the previous section , we have to include the loops with vector meson exchange for completeness . in fact , some of the uncertainties estimated in @xcite were linked to these loops . for consistency , once again we have to sum the series obtained by iterating the loops in the four meson vertex shown in fig . hence , the new amplitude , which we shall call @xmath98 , will be given by : @xmath99 \label{vmdloops1}\ ] ] where now @xmath100 is the factor that multiplies the @xmath101 product in the @xmath80-wave projection of the @xmath102 amplitude in the @xmath103 cm . although the lorentz structure of polarization vector products may seem rather complicated from eq . ( [ tvmd ] ) , it is easy to show that after the s - wave projection the polarization vectors factorize indeed as @xmath101 . in a general frame the @xmath101 factor has to be replaced by @xmath104 . once again we have factorized the amplitudes for the same reasons as done with the other terms . of course , when introducing loops with vector meson exchange we have to consider loops involving a @xmath105 or a @xmath106 exchanged between the photons ( see fig . 8.b ) , which were not present at tree level . these would be given by @xmath107 \nonumber\end{aligned}\ ] ] the contribution of all these new vmd loop diagrams is an increase of the order of 10 - 20% of the result shown in fig . 7 by the dashed line ( normalized vmd couplings ) . the new result would overlap in a large region with the dotted line of fig . 7 and hence we do not show it explicitly . in what follows we make some considerations about the diagrammatic interpretation of the `` all order '' vmd calculation , the normalization of the @xmath40 vertices and the meson - meson interaction . by `` all order '' vmd one means @xcite that the full vector meson propagator @xmath108 is used in the calculations . this full propagator includes self - energy diagrams in a dyson - schwinger resummation , leading to a shift of the bare mass and generating a width @xcite . thus , one must think in terms of self - energy insertions in the middle of the vector meson lines in fig . 1 and 8 . the @xmath40 coupling normalization to agree with the radiative vector meson decays can also be understood as considering vertex correction diagrams in fig.1 and 8 , and therefore it does not lead to any double counting with the dressing of the vector meson propagator . finally , the meson - meson interaction in the vmd terms leads to the diagrams of fig . 8 , in which the two pseudoscalar mesons interact through four - pseudoscalar meson vertices . the resummation of pseudoscalar meson - meson loops thus leaves apart the vector meson lines and the @xmath40 vertices . once again this ensures that there is no double counting . in the @xmath109 case , the meson loop diagrams correspond to those of @xmath110 but considering the @xmath52 as an outgoing particle . hence , it is enough to replace @xmath111 by @xmath112 in all the @xmath113 amplitudes , which factorize in all the loop diagrams that we have considered so far , and in the @xmath71 and @xmath114 function . since we are considering all the vmd diagrams and the chiral loops , we still have to take into account another kind of loop diagrams @xcite , shown in fig . 9 , which involve two anomalous @xmath115 vertices . despite being @xmath116 it has been found @xcite that they can have a non negligible effect on the @xmath27 decay . the further rescattering of the mesons in the diagrams of fig . 9 , given the structure of the @xmath117 vertex @xcite in the momenta of the particles , would be suppressed by factors of @xmath118 ( with @xmath119 the loop variable ) with respect to those considered for the vmd mechanism . this , and the fact that these anomalous terms are already small , makes the consideration of rescattering in these loops superfluous . therefore , it is enough to take the results from @xcite where it is found that their largest contribution comes from the kaon loops . we use eqs.(12),(13 ) and ( 27 ) of that reference ( note that there is a global change of sign with respect to our notation ) . concerning @xmath120 , these kind of loops have been neglected in the previous section , because the intermediate particles are very far off shell , due to the crossed character of the loop in the reaction . using the model described in the previous sections , we plot in fig . 10 the different contributions to @xmath121 . we can see that the largest contribution is that of the tree level vmd ( long dashed line ) . let us recall that this is a new result as long as we are using the vmd couplings normalized to agree with the vector radiative decays . the resummation of the loops in fig . 3 using eq.([eq : tnpa629 ] ) , ( short dashed line ) gives a small contribution ( @xmath122ev in the total width ) , but when added coherently to the tree level vmd , leads to an increase of @xmath123% in the @xmath27 decay rate ( dashed - dotted line ) . more interestingly , the shape of the @xmath47 invariant mass distribution is appreciably changed with respect to the tree level vmd , developing a peak at high invariant masses . the resummed vmd loops in fig . 8 , using eqs.([vmdloops1 ] ) and ( [ vmdloops2 ] ) , leads , through interference , to a moderate increase of the @xmath27 decay rate ( double dashed dotted line ) , smaller than that of the chiral loops considered before . the last ingredient is the contribution of the anomalous mechanisms of fig . 9 ( continuous line ) , leading again to a moderate increase of the @xmath27 decay rate , also smaller than the chiral loops from eq.([eq : tnpa629 ] ) . these anomalous mechanisms have a very similar shape to the tree level vmd and interfere with it in the whole range of invariant masses . [ fig : fig11 ] altogether , when integrating over the invariant mass , we get : @xmath124 note that the inclusion of the loops has increased the tree level vmd result by 50% . for comparison , we quote here what we would have obtained using the universal vmd couplings : @xmath125ev . so far , the theoretical error has been obtained only from the propagation of the experimental errors in the vector meson radiative decay branching ratios , given in table 1 . the errors from this source had not been considered before although they will turn out to produce the largest uncertainty . in practice we generate a gaussian weighted random value for each vmd coupling which yield a result for the width . this procedure is repeated a sufficiently large number of times , leading to an approximate gaussian distribution of results from where we obtain a central value and the error . we come now to revisit the uncertainties considered in @xcite . one of the largest sources to the @xmath126ev accepted uncertainties in that work , was the contribution of the @xmath1 , whose sign was unknown . this problem is solved in the present work since the @xmath1 is generated dynamically from the rescattering of the mesons implied in the bethe - salpeter resummation of the @xmath127 amplitude . hence its effect can be easily observed comparing with the standard chpt result , which is obtained by substituting the full @xmath127 by its lowest order @xmath4 . in fig . 10 this corresponds to the difference between the continuous and the dotted line . the contribution of the @xmath1 resonance tail is rather small and increases the @xmath27 decay rate from @xmath128ev to @xmath129ev . the sign of its contribution is unambiguously determined . thus , the present calculation removes completely this source of error . the explicit calculation of the @xmath1 contribution giving such a small effect justifies neglecting the @xmath94 resonance contribution which lies much further away in energy . the other source of uncertainty in @xcite was the contribution of the vmd loops . we have been able to calculate them in this work and , as seen in fig . 10 , these effects are also rather small . they increase the @xmath27 decay rate by @xmath130ev . altogether the @xmath1 plus the vmd loops increase the @xmath27 decay rate by @xmath131ev . we thus eliminate these two sources of previous uncertainties , while realizing at the same time that the uncertainties of @xmath132ev attributed to these sources in @xcite were indeed a generous upper bound . in our approach the tree level exchange of the @xmath133 , @xmath134 and @xmath135 axial resonances @xcite will be included as an uncertainty . the reason is that , according to @xcite , they would increase the decay width by about @xmath136ev . however , as shown in @xcite , their inclusion in @xmath137 with the couplings used in @xcite would overestimate the @xmath137 cross section . in view of these discrepancies , we thus consider safe to accept a theoretical uncertainty of the order of @xmath138ev which should still be a generous upper bound . as commented at the beginning of section three , there are uncertainties due to isospin violating terms . we estimate the errors from this source using the results obtained in @xcite for the g - parity violating term corresponding to fig . 3 but with pion loops . this contribution is of the order of @xmath138ev to the total @xmath27 decay rate . finally , by summing all errors in quadrature , we arrive to @xmath139 note that although we have considered a new error source from the uncertainties in the vector radiative decays , which turns out to be the largest one , we still have reduced the uncertainty from previous calculations . the result of eq . ( [ resultfinal ] ) is in remarkable agreement with the latest experimental number @xcite , and lie within two sigmas from the earlier ones in @xcite . confirmation of those preliminary results would therefore be important to test the consistency of this new approach . furthermore , precise measurements of the @xmath47 invariant mass distributions would be of much help given the differences found with and without loop contributions . we have reanalyzed the @xmath140 decay within the context of meson chiral lagrangians , gathering all the mechanisms discussed in the literature , but improving them in the following aspects : on the one hand , using the well tested chiral unitary approach , we have removed the uncertainties from the @xmath1 resonance as well as those from loops with the exchange of one vector meson . in particular , since the @xmath1 is generated dynamically from the meson loop resummation , we have unambiguously determined the sign of its contribution , whereas for the one vector loops we have performed an explicit calculation that in previous works had only been considered as a large source of uncertainty . on the other hand , we have also checked the consistency with other related processes : first , a relevant observation is that the tree level vector meson dominance amplitude with a universal su(3 ) vector - vector - pseudoscalar coupling is not consistent with the @xmath141 , @xmath142 and @xmath143 decays . consequently , throughout the @xmath140 calculation , we have used couplings normalized to agree with the radiative vector meson decays . second , we have established the consistency of our @xmath140 model with the related @xmath95 process . furthermore , we have performed a careful error analysis of our results . as a novelty we have considered the experimental errors in the vector meson radiative decay widths , which turn out to be the largest source of uncertainty . however , since , as just commented above , we have removed former sources of uncertainty , our final error is still smaller than previous estimates . altogether we have found a result of @xmath144ev . with the improved calculation just presented , it seems clear that the mechanisms thus far suggested in the literature in the context of meson chiral lagrangians lead to a result at variance with the experimental result @xmath58ev from @xcite . however , it is worth noticing the agreement of the above result with the new preliminary measurement @xmath59ev from @xcite . nevertheless , a measurement of the invariant mass distribution would be more stringent . confirmation of the preliminary results of @xcite and an accurate measurement of the @xmath47 invariant mass distribution should be the experimental priorities to clarify the situation . we are specially grateful to j.a . oller for fruitful discussions , technical help and his careful reading of the manuscript . we would also like to acknowledge useful discussions with j. bijnens . one of us , l.r . , acknowledges support from the consejo superior de investigaciones cientficas . j.r.p . acknowledges financial support from a cicyt - infn collaboration grant as well as a marie curie fellowship mcfi-2001 - 01155 . he also thanks the dipartimento de fisica , universita de firenze - infn sezione di firenze for its hospitality . this work is also partly supported by dgicyt contract numbers bfm2000 - 1326 , pb98 - 0782 , and the e.u . euridice network contract no . hprn - ct-2002 - 00311 . k. hagiwara _ et al . _ [ particle data group collaboration ] , phys . rev . d * 66 * ( 2002 ) 010001 . j. n. ng and d. j. peters , phys . d * 47 * ( 1993 ) 4939 . y. nemoto , m. oka and m. takizawa , phys . d * 54 * ( 1996 ) 6777 [ arxiv : hep - ph/9602253 ] . l. ametller , j. bijnens , a. bramon and f. cornet , phys . b * 276 * ( 1992 ) 185 . s. oneda and g. oppo , phys . 160 ( 1968 ) 1397 . c. picciotto , nuovo cim . a * 105 * ( 1992 ) 27 . a. a. belkov , a. v. lanyov and s. scherer , j. phys . g * 22 * ( 1996 ) 1383 [ arxiv : hep - ph/9506406 ] . s. bellucci and c. bruno , nucl . b * 452 * ( 1995 ) 626 [ arxiv : hep - ph/9502243 ] . j. bijnens , a. fayyazuddin and j. prades , phys . b * 379 * ( 1996 ) 209 [ arxiv : hep - ph/9512374 ] . m. n. achasov _ et al . _ , nucl . b * 600 * ( 2001 ) 3 [ arxiv : hep - ex/0101043 ] . p. ko , phys . d * 47 * ( 1993 ) 3933 . p. ko , phys . b * 349 * ( 1995 ) 555 [ arxiv : hep - ph/9503253 ] . m. jetter , nucl . b * 459 * ( 1996 ) 283 [ arxiv : hep - ph/9508407 ] . t. oest _ et al . _ [ jade collaboration ] , z. phys . c * 47 * ( 1990 ) 343 . d. antreasyan _ et al . _ [ crystal ball collaboration ] , phys . d * 33 * ( 1986 ) 1847 . j. a. oller and e. oset , nucl . phys . a * 620 * , 438 ( 1997 ) [ erratum - ibid . a * 652 * , 407 ( 1997 ) ] . n. kaiser , eur . j. a * 3 * ( 1998 ) 307 . oller , e. oset and j. r. pelez , phys . * 80 * ( 1998 ) 3452 ; phys . d * 59 * ( 1999 ) 74001 ; erratum - ibid.d60 ( 1990 ) 099906 h. yamagishi and i. zahed , annals phys . * 247 * ( 1996 ) 292 [ arxiv : hep - ph/9503413 ] . c. h. lee , h. yamagishi and i. zahed , nucl . phys . a * 653 * ( 1999 ) 185 [ arxiv : hep - ph/9806447 ] . a. bramon , r. escribano , j. l. lucio martinez and m. napsuciale , phys . b * 517 * ( 2001 ) 345 [ arxiv : hep - ph/0105179 ] . j. e. palomar , s. hirenzaki and e. oset , nucl . a * 707 * ( 2002 ) 161 e. marco , s. hirenzaki , e. oset and h. toki , phys . b * 470 * ( 1999 ) 20 [ arxiv : hep - ph/9903217 ] . s. prakhov , in proceedings of the international conference of non - accelerator new physics , dubna , russia ; b. m. nefkens and j. w. price , in the eta physics handbook , proc . of the uppsala workshop , http://www.tsl.uu.se/ faldt / eta / proceedings.html , published in phys . scripta * t99 * ( 2002 ) 114 [ arxiv : nucl - ex/0202008 ] . j. gasser and h. leutwyler , annals phys . * 158 * ( 1984 ) 142 . g. ecker , j. gasser , a. pich and e. de rafael , nucl . b * 321 * ( 1989 ) 311 . a. bramon , a. grau and g. pancheri , phys . b * 283 * ( 1992 ) 416 . a. bramon , a. grau and g. pancheri , phys . b * 344 * ( 1995 ) 240 . j. bijnens and f. cornet , nucl . b * 296 * ( 1988 ) 557 . j. f. donoghue , b. r. holstein and y. c. lin , phys . d * 37 * ( 1988 ) 2423 . h. albrecht et al . z. phys.*c48 * ( 1989 ) 183 .

arxiv

patients who have hemiplegia resulting from cerebrovascular diseases face a lot of difficulty in carrying out their daily activities due to motor disorder , sensory disorder , cognitive disorder , and language disorder ; further , loss of gait restricts their activity level and lowers their functional independence1 . gait disorder is common in stroke patients , and their gait patterns are characterized by a slow gait cycle and speed , difference in stride length between the paretic side and non - paretic side , and a long swing phase and short stance phase2 . in particular , the ankle joints not only absorb impact and advance the body , which are their primary functions , but also function as crucial joints for the ankle strategy in maintaining balance3 . movement disorder in the ankle joint is an important cause of gait disorder4 . structural deformity of the foot brings about functional change and therefore affects the maintenance of balance of the bilateral lower extremities and the trunk ; such deformities may trigger abnormal changes in gait patterns and musculoskeletal system pain5 . nonetheless , in the clinical field , it is difficult to analyze the shape of the foot because the equipment required is expensive and the procedure takes up a lot of time . the aim of this study was to examine the foot shape of hemiplegic patients by using the foot posture index ( fpi ) , which is a simple measure of foot deformity in stroke patients in the clinical field ; moreover , we used other fast readily available testing methods , i.e. , the modified ashworth scale ( mas ) test , navicular drop test ( ndt ) , and resting calcaneal stance position ( rcsp ) test , to understand how stroke affects foot joint deformity in hemiplegic patients . these methods do not require a lot of equipment or time , and the findings will provide guidance for future treatment strategies . data from this study will provide the basis for studying functional changes in the feet of these patients . the subjects of this study were hemiplegic patients who were diagnosed with a stroke through computed tomography or magnetic resonance imaging . they were capable of static standing . their korean mini - mental state examination ( k - mmse ) scores were 24 points or higher , and they did not have any problems with cognitive function . the criteria for exclusion were vestibular or inner ear disease , peripheral sensory disorder , amputation of a lower extremity , severe joint disease , previous orthopedic surgery , diseases affecting gait such as alzheimer s disease , and traumatic brain injury . the subjects in the control group were age - matched to those in the experimental group . further , the control group participants had no neurological injury , waist pain , spondylarthritis , or rheumatoid arthritis ; had not undergone orthopedic surgery ; and had no pain or abnormality in the hip or knee joints . they were selected from normal adults who met the conditions for participation in this study and had no reason for disqualification . there were 31 patients in the experimental group ( male , 20 ; female , 11 ; mean age , 63.4 7.5 years ; mean height , 167.4 7.1 cm ; mean weight , 65.2 9 kg ; bmi , 24.81 16.8 ) . of the 31 patients , 18 had left hemiparalysis , and 13 had right hemiparalysis ; the mean time since onset was 24.81 16.8 months . ( male , 21 ; female , 11 ; mean age , 63 8 years ; mean height , 167 8.1 cm ; mean weight , 65.1 7.9 kg ; bmi , 23.2 1.5 ) . the differences in general characteristics between the groups were not significant ( p > 0.05 ) . all the subjects understood the purpose of this study and provided written informed consent prior to participation , in accordance with the ethical standards of the declaration of helsinki . the fpi is a diagnostic tool devised to provide objective numerical values that reflect the condition of the foot whether the foot is pronated , supinated , or neutral . the fpi consists of a total of six items scored on a five - point scale ( 2 , 2 , 0 , 1 , and 2 ) . when the sum of each measured value is a high positive number , the foot is considered to be pronated , while the lower the negative number of the sum is , the more supinated the foot6 . the mas is one of the most widely used methods to clinically evaluate the degree of muscle spasticity , which is defined as the degree of resistance felt in the muscles when an examiner passively bends or extends the joint of an examinee , who is in a lying position or in a relaxed state7 . the mas is scored on a six - point scale : 0 , 1 , 1 + , 2 , 3 , and 48 . the present study measured the degree of spasticity of the ankle plantar flexors , which are known to greatly affect gait imbalance9 . after the examinee sat in and maintained the subtalar neutral position , the examiner palpated the navicular tuberosity of the examinee , measured the height of the navicular bone using measurement equipment , and asked the examinee to stand on both feet . then , the examiner measured again the height of the navicular bone and calculated the difference between the two measured values to obtain the result of the navicular drop test ( ndt)10,11,12 . in this study , a vernier height gauge ( 506 - 207 ; mitutoyo , kawasaki japan ) was used to measure ndt . to measured the rcsp , the patient was laid in the prone position , and then the calcaneus was bisected using a bimanual technique , in which the point of dissection was marked and connected with a dot from the coronal plane13 . the patient was asked to stand such that the gait angle and gait base were in line , and the angle between the vertical line and the bisected line of the calcaneus was measured using a gravity goniometer ( mie , leeds , uk)14 . the angle where the calcaneal slope and the ground met at the right angle was set as 0 , with minus values indicating inversion and plus values indicating eversion . statistical analysis of the data collected in this study was conducted using ibm spss statistics for windows ( version 19.0 ) . general information about the experimental group and the control group including weight , height , and body mass index was analyzed using an independent t - test . the results of the fpi test , mas test , ndt , and rcsp test for the paretic and non - paretic sides of the experimental group and the left and right sides of the control group were compared using a paired t - test . an independent t - test was used to compare the paretic side of the experimental group and the dominant side of the control group . to examine the correlation between the results for the fpi , mas , ndt , and rcsp , the paretic side fpi of the patient group was 0.25 2.1 , while the non - paretic side fpi was 1.74 2.3 ; the fpi of the control group was 2.12 3.4 . of the 32 patients in the control group , 31 used the right foot as their dominant foot , and therefore the fpi obtained from the right foot was used as the control group value . the fpi of the paretic side of the hemiplegic patients and that of their non - paretic side were compared and found to be significantly different ( p < 0.05 ) . the fpi of the paretic side of the experimental group and that of the right side of the control group were also significantly different ( p < 0.05 ) . however , the fpi of the non - paretic side of the experimental group was not significantly different compared with the fpi of the right side of the control group ( p > 0.05 ) ( table 1table 1.comparison of the results of the fpi test , ndt , and rcsp test among the non - paretic and paretic sides of the experimental group and the right side of the control grouppatient group ( n=31)control group ( n=32)paretic sidenon - paretic sidedominant footfpi0.252.1*1.742.32.123.4ndt6.32.4*7.82.87.962.8rcsp0.222.5*1.511.941.682.5values are meansse . fpi , foot posture index ; ndt , navicular drop test ; rcsp , resting calcaneal stance position * p<0.05 vs. non - paretic side . fpi , foot posture index ; ndt , navicular drop test ; rcsp , resting calcaneal stance position * p<0.05 vs. non - paretic side . p<0.05 vs. control group , p>0.05 vs. control group . in order to investigate the degree of spasticity of the 31 stroke patients , the mas of the plantar flexors on the patients paretic side was measured . the numbers of patients with scores of 0 , 1 , 1 + , 2 , 3 , and 4 were 8 ( 25.8% ) , 10 ( 32.3% ) , 11 ( 35.5% ) , 2 ( 6.5% ) , 0 ( 0% ) , and 0 ( 0% ) respectively ( table 2table 2.result of the mas testmas mas , modified ashworth scale the paretic side ndt value of the patient group was 6.3 2.4 , and the non - paretic side ndt value was 7.8 2.8 ; the ndt value of the control group was 7.96 2.8 . in the hemiplegic patients , the ndt value of the foot joint on the paretic side was significantly greater than that of the foot joint on the non - paretic side ( p < 0.05 ) and that of the right side of the control group ( p < 0.05 ) . there were no significant differences between the ndt value of the non - paretic side of the hemiplegic patients and that of the right side of the control group ( p > 0.05 ) ( table 1 ) . the paretic side and non - paretic side rcsps of the experimental group were 0.22 2.5 and 1.51 1.94 respectively , while the rcsp of the control group was 1.68 2.5 . the rcsp , as measured for the paretic side of the hemiplegic patients , was significantly different from that measured for the non - paretic side ( p < 0.05 ) and was also significantly different from that of the right side of the control group ( p < 0.05 ) . there were no significant differences between the rcsp of the non - paretic side of the hemiplegic patients and that of the right side of the control group ( p > 0.05 ) ( table 1 ) . in order to examine the effects of the mas score of the paretic foot joint of hemiplegic patients on the fpi , ndt , and rcsp results , there was a strong negative correlation between the results of the mas and fpi tests ( r = 0.78 ) , and there was a weak negative correlation between the results of the mas test and ndt ( r = 0.47 ) . however , a positive correlation was observed between the results of the mas test and rcsp test ( r = 0.567 ) . further , in order to examine the effects of the modified fpi test on the results of the ndt and rcsp test , the correlation between them was examined . the results of the fpi test and ndt were positively correlated ( r = 0.603 ) , while those of the fpi and rcsp tests were strongly negatively correlated ( r = 0.720 ) . the results of the fpi test indicated that smaller differences in the results of the ndt were associated with greater supination and less pronation of the foot . in addition , according to the results of the fpi test , when a subject s calcaneus was observed to be leaning outwards , his or her rcsp had a positive value , and the foot had an overall supinated shape . hemiplegia resulting from a stroke causes changes in the range of motion , muscle strength , and senses of the foot due to musculoskeletal or neurological system abnormalities , and such structural deformities of the foot bring about functional changes and therefore affect maintenance of balance of the bilateral lower extremities and the trunk . such deformities may trigger abnormal changes in overall gait patterns and musculoskeletal system pain5 . the present study employed the fpi to differentiate between foot shapes : the fpi values of the non - paretic side of the hemiplegic patients and the control group were within the normal range . the fpi values of the control subjects were similar to the average fpi value ( 1.9 2.0 ) of healthy subjects examined by redmond et al15 . the ndt was used as another method to examine structural deformities affecting foot shape . when the hemiplegic patients changed their position from a neutral subtalar joint position to a standing position , the drop on the paretic side was greater than that on the non - paretic side and that of the control subjects . the foot joints of the hemiplegic patients on the paretic side were found in eversion than those on the non - paretic side . the results indicated the feet of the hemiplegic patients on the paretic side had an overall supinated shape . it was supported with the strong negative correlation between the rcsp and the fpi . barnes16 noted that spasticity of the lower limbs triggered abnormal muscle tension by mutual contraction of the protagonist and the antagonist muscles , and such abnormal muscle tension may act as a positive element in a standing position or during gait but is a major cause of decreased gait ability in stroke patients . thus , it seems that the degree of spasticity greatly influences the slope of the calcaneus . the results of the ndt and fpi test also showed a high correlation , which implies that the larger the drop of the navicular bone , the more pronated the foot . the results of this study are consistent with those of billis et al.17 , in which a high correlation was reported between navicular drop and foot inversion / eversion . park et al.18 found that hemiparetic patients demonstrated increased weight bearing on the forefoot and lateral foot edge , which made weight bearing harder . , this study showed lower ndt values in subjects with higher tone , which can be attributed to difficulty in putting weight onto the medial edge of the foot . further , sackley19 reported that 61 to 80% of the weight of stroke - related hemiplegic patients was borne by the non - paretic side lower extremity . the causes of asymmetric weight load are abnormal muscle activity , abnormal position dynamics , and sensory disorder20 , 21 . according to the present study , increased spasticity , changes in the navicular location , and changes in the calcaneal location triggered by a stroke led to supination of the foot on the paretic side , which causes abnormal weight support . these changes were found to be closely correlated with each other . according to the research results , the joint of the supinated foot of stroke patients had a high score in the mas test as well . thus , as shown by the other tests too , the higher the degree of spasticity , the more supinated the foot ; moreover , patients whose degree of change in the navicular bone was low exhibited a high degree of spasticity and supination of the foot joint . the rcsp test results showed that changes in the calcaneus were associated with a more lateral location of the calcaneus , a higher degree of spasticity , a smaller change in the navicular bone location , and greater supination of the foot . these data verified that structural deformity of the foot brought about by hemiplegia resulting from a stroke occurs due to various factors and that these factors are highly correlated . thus , the findings from this study shed light on the morphological changes in the foot joint of hemiplegic patients . moreover , since the results of the various tests showed high correlation and since these tests are simple and quick , these findings may have future clinical uses . the findings can therefore be used in therapeutic strategies for patients and lay the basis for future similar research .

pubmed

Tripartite Bell experiment, calculating probabilites Imagine a tripartite photon Bell scenario with, let's say, a prepared state such as W-state or GHZ state: $$|GHZ>=\frac{1}{\sqrt 2}(|000>+|111>)$$ $$|W>=\frac{1}{\sqrt 3}(|001>+|010>+|100>)$$ Here |0> means that the particle is polarized horizontally and |1> means it is polarized vertically. Now imagine the particles are emitted from a source and particle 1 (the first one in each ket) goes to observer A, particle 2 to observer B and particle 3 to observer C. Each observer has a device which can turn the plane of polarization by the angles $\alpha$ (for A), $\beta$ (for B) and $\gamma$ (for C). They are set in such a way that if the angle is zero only horizontally polarized light is transmitted. Behind each device a measurement on the polarization will be done. Now if I have a fixed setting with angles $\alpha\_1$, $\beta\_1$ and $\gamma\_1$ and the W-state, how do I calculate the probability that observer A measures horizontally polarized photons, B measures horizontally polarized and C aswell. What is the probability that A measures vertical, B measures horizontal and C measures vertical (and so on)? I don't know which basis I should choose to describe to polarizers and the states... I hope somebody can help me, thanks. <http://www.users.csbsju.edu/~frioux/polarize/POLAR-sup.pdf> Passage of a photon in state $|\psi\rangle = a\_0 |0\rangle + a\_1 |1\rangle$ through a filter at angle $\alpha$ wrt $|1\rangle$ leaves the photon in state $|\psi\_f \rangle = 1/A(a\_0 \sin \alpha |0\rangle + a\_1 \cos \alpha |1\rangle).$ Where $A = \sqrt(a\_0^2 \sin^2 \alpha + a\_1^2 \cos^2 \alpha) $. We thus observe horizontal polarization with probability $P\_0 = a\_0^2 \sin^2 \alpha / A^2$. Having observed horizontal polarization on the first particle, the state is now projected onto the particle 1 = $|0\rangle$ axis of the Hilbert space. In the GHZ case, for example, it is now certain that the full state is $|000\rangle$. Thus, particle 2 is mapped to $|\psi\_2\rangle = \sin \beta |0\rangle + \cos \beta |0\rangle$ so the probability of observing horizontal polarization is $\sin^2 \beta$. Particle 3 is in the same state with $\gamma$ replacing $\beta$. Note that the probabilities of either observation depend on the outcome of the particle 1 measurement. You'll need to consider all cases. You need to invert an 8 by 8 matrix, but fortunately it's got all kinds of symmetries. Or equally fortunately, there exists Mathematica. I write $E$ and $F$ instead of $|0\rangle$ and $|1\rangle$. For each angle $\xi$, put $X\_\xi=\cos(\xi)E+\sin(\xi)F$, $Y\_\xi=-\sin(\xi)E+\cos(\xi)F$. A basis of eigenstates for the measurement you're going to make is the set of eight vectors of the form $A\_\alpha\otimes B\_\beta\otimes C\_\gamma$, where each of $A,B,C$ can be either $X$ or $Y$. Call this basis ${\cal V}(\alpha,\beta,\gamma)$. Let $M$ be the matrix that converts the basis ${\cal V}(0,0,0)$ to the basis $\cal{V}(\alpha,\beta,\gamma)$, so that, for example, $M\_{11}=\cos(\alpha)\cos(\beta)\cos(\gamma)$. Let $N$ be the inverse of $M$. The rows of $N$ will tell you how to write your given state as a linear combination of the eigenstates. For example, the coefficients for the state you've called GHZ are $(1/\sqrt{2})(N\_{1\*}+N\_{8\*})$ (assuming you've chosen the natural ordering for your basis). Thus the probability of finding three horizontals is $$(1/2)(N\_{11}+N\_{81})^2=(1/2)\big(\cos(\alpha)\cos(\beta)\cos(\gamma)+\sin(\alpha)\sin(\beta)\sin(\gamma)\big)^2$$ The probability of finding (horiz,horiz,vert) is $$(1/2)(N\_{12}+N\_{82})^2=(1/2)\big(\sin(\alpha)\sin(\beta)\cos(\gamma)-\cos(\alpha)\cos(\beta)\sin(\gamma)\big)^2$$ etc.

stackexchange/physics

void AddInformationIntoDictionaryFileTxt(SSMap &newDictionary);

slim_pajama

more than 350,000 workers lose their lives each year due to unintentional occupational injuries at global level . occupational injury results from accidents at work place and more than half of this injury burden occurs among men working in the world health organization ( who ) south - east asia and western pacific regions . although the profile of at risk population has changed greatly over the past decade both qualitatively and quantitatively , the risk of occupational injury still centers on workers of various industries . this is because of urbanization and industrialization with labor oriented markets which depends on more automation and mechanization at workplace . occupational hazards contribute to 2.3% of disability adjusted life year ( daly ) lost among middle income countries and of these welding contributes a significant percentage especially in developing countries like india . the international standard classification of occupations ( isco ) defines welders and flame cutters as welding and cutting metal parts using gas flame , electric arc and other sources of heat to melt and cut , or to melt and fuse metal . welders are employed in average numbers of 3 to 5 in private owned small - scale workshops . as they come under the non - organized sector , some of the commonly seen injuries are eye injuries like arc eye or flash burns to cornea , photo keratosis , astigmatism , pingecula , cataract and retinal damage due to exposure to excessive light and ultra violet rays and foreign body injuries to cornea . inhalation of metal fume causes metal fume fever and pneumonia due to exposure to noxious fumes of zinc , copper , cobalt , nickel , chromium , platinum and their oxides . other injuries that include accidental cut injuries , amputations ; occupational heat stress , thermal burns , electrocution are also common among welders . in spite of the major public health problem existing among welders , very few studies have been conducted to assess the pattern of all types of injuries and its associated risk factors at global level . there exists no published literature to give us an idea about the magnitude of the problem in this vulnerable group in india . with this background , the study aimed to assess the prevalence of work - related injuries and its associated factors among welders in coastal south india . this study was approved by the ethical committee of the medical institution in puducherry , india . subjects were ensured confidentiality and they were explained the purpose and ethical issues involved in the study . written informed consent was obtained from each subject participating in the study . this cross sectional study was conducted among welders in puducherry , a coastal city in south india . a total of 778 registered metal industries in puducherry district are spread over 7 commune regions and for the study purpose puducherry commune region which has got 174 registered metal industries was selected . this region was selected based on feasibility constraints and it will not affect the study outcome because of the comparable socio - demographic and other parameters in these areas . from this area metal industries were selected randomly by using the register number and all the workers in that metal industry were included for our study until our study sample was met . p was taken as 19% based on previous study and required relative precision of estimate at 30% level . by using the formula , considering a non - response error of 10% , final total sample size became 209 . all the workers in the randomly selected metal industry with more than 1 year experience were included in the study . if the selected subject does not give consent or could not be able to meet even after two visits , then they are considered as non - respondents . the data was collected by administering a pre designed questionnaire by the investigators based on the lines of guidelines of international labor organization . the questionnaire was translated to tamil language and back translated to english language by independent experts to retain the reliability of the instrument . the subjects were interviewed in person by the investigators at their work place according to pre scheduled time table . baseline data was collected regarding socio - demographic variables that include age , education , marital status and monthly income . data regarding all types of injuries related to occupation during the past 1 year at work place that include mechanical injuries , arc eye injuries , foreign body in the eye , retinal damage , burns , electrical injury and occupational diseases or hazards like back ache or waist pain , hearing impairment , pingecula , pterygium , metal fume fever and pneumonia were collected based on history and or previous diagnosis by registered medical practitioner . we have considered the presence of any type of occupational injuries to look for possible association of various factors with it that include age , training before induction , experience , job duration , tobacco chewing , alcohol use , awareness and use of protective measures were assessed . current tobacco users were those who use any form of tobacco product at least once daily and alcohol user was defined as a person who consumed any amount of alcohol at least once in a week . the collected data was entered in statistical package for social sciences ( spss ) version 16 for windows . univariate and multivariate analyses were done to find out the possible association between number of injuries and associated factors . this study was approved by the ethical committee of the medical institution in puducherry , india . subjects were ensured confidentiality and they were explained the purpose and ethical issues involved in the study . written informed consent was obtained from each subject participating in the study . this cross sectional study was conducted among welders in puducherry , a coastal city in south india . a total of 778 registered metal industries in puducherry district are spread over 7 commune regions and for the study purpose puducherry commune region which has got 174 registered metal industries was selected . this region was selected based on feasibility constraints and it will not affect the study outcome because of the comparable socio - demographic and other parameters in these areas . from this area metal industries were selected randomly by using the register number and all the workers in that metal industry were included for our study until our study sample was met . p was taken as 19% based on previous study and required relative precision of estimate at 30% level . by using the formula , considering a non - response error of 10% , final total sample size became 209 . all the workers in the randomly selected metal industry with more than 1 year experience were included in the study . if the selected subject does not give consent or could not be able to meet even after two visits , then they are considered as non - respondents . the data was collected by administering a pre designed questionnaire by the investigators based on the lines of guidelines of international labor organization . the questionnaire was translated to tamil language and back translated to english language by independent experts to retain the reliability of the instrument . the subjects were interviewed in person by the investigators at their work place according to pre scheduled time table . baseline data was collected regarding socio - demographic variables that include age , education , marital status and monthly income . data regarding all types of injuries related to occupation during the past 1 year at work place that include mechanical injuries , arc eye injuries , foreign body in the eye , retinal damage , burns , electrical injury and occupational diseases or hazards like back ache or waist pain , hearing impairment , pingecula , pterygium , metal fume fever and pneumonia were collected based on history and or previous diagnosis by registered medical practitioner . we have considered the presence of any type of occupational injuries to look for possible association of various factors with it that include age , training before induction , experience , job duration , tobacco chewing , alcohol use , awareness and use of protective measures were assessed . current tobacco users were those who use any form of tobacco product at least once daily and alcohol user was defined as a person who consumed any amount of alcohol at least once in a week . the collected data was entered in statistical package for social sciences ( spss ) version 16 for windows . univariate and multivariate analyses were done to find out the possible association between number of injuries and associated factors . all 209 welders participated in the study and they were all males . majority of them were aged 20 to 40 years ( 160 , 76.6% ) , educated below 10 standard ( 181 , 86.6% ) and their per capita income was below 3000 rupees ( 178 , 85.2% ) . mean number of injury was found to be 10.74 ( sd = 5.74 ) in the preceding year . all of them had abrasions and more than of them had lacerations , foreign body in the eye , flash burns and contusions . majority of them had more than 2 injuries ( 97.1% , 203 ) and 44% ( 92 ) of them had more than 10 injuries . about 66.5% ( 139 ) had occupational diseases or hazards like waist or back pain and 27.8% ( 58 ) had hearing impairment [ table 1 ] . type of occupational injuries and diseases among the welders the majority of them had more than 5 years experience ( 175 , 83.7% ) and were working less than 8 hours each day ( 156 , 74.6% ) , but only 1/5 of them had institutional training ( 40,19.1% ) . about one quarter of them were using tobacco ( 57 , 27.3% ) and about half of them were using alcohol ( 114 , 54.5% ) . prevalence was comparatively higher among less than 30 years age group ( 48.9% ) and in the group with education between 1 and 7 grade ( 53.2% ) [ table 2 ] . pattern of injury according to socio - demographic characteristics prevalence was found to be comparatively higher among those who did not have institutional training and use alcohol ; and both the above factors were found to be significantly associated with more than 10 injuries in univariate analysis [ table 3 ] . multiple logistic regression analysis showed that age less than 30 years ( or = 5.19 ) , tobacco use ( or = 2.56 ) , alcohol use ( or = 3.96 ) and institutional training ( or = 0.10 ) were independently associated with more than 10 injuries [ table 4 ] . pattern of injury according to associated risk factors : univariate analysis correlates of injuries among welders : multiple logistic regression analysis well - documented studies to determine the epidemiology of injuries among welders at work place are very few at global level . the fact that majority of them had more than 2 injuries and proportion of those with more than 10 injuries is 44% in the previous year is a matter of concern . a recent study in a metal smelting industry in india reported that incidence rate of injuries varied from 40.7 to 85.8 per thousand exposed workers . our study gives valuable information regarding the burden and associated risk factors of injury among welders in this part of the country , which can be used by the concerned authorities to develop appropriate interventional measures . a recent study from nigeria showed that 85.3% of the welders had at least one injury in the preceding year . another study found that 105 injuries were reported by 61 welders out of 208 welders in the past 6 months . a study done in pakistan showed that 18.7% welders reported an injury in the past 3 months , while 30.3% welders reported sustaining an injury in the past twelve months . the difference in injuries reported in various countries may be due to the difference in methodology adopted , socio - cultural and regulatory factors adopted by concerned states . the most common injuries sustained in our study were abrasions , lacerations , contusions and eye injuries which are comparatively more than other studies . also , around half of them had afflicted with each condition of waist / back pain , burns and metal fume fever . this is in spite of the fact that majority of them were working for less than 8 hours a day and were aware regarding this hazard . our study highlighted the fact that predictors of injury includes age less than 30 years , alcohol use , tobacco use and lack of institutional training . a recent study showed that injury is more common among younger age group and those without training . in view of the above finding , it is suggested that adopting the sustainable behavioral change practices for the prevention of injuries through training and adoption of personal protective measures is an important step to be considered . nearly half of the subjects belonged to age group of less than 30 years ( 43% , 90 ) . they are five times higher at risk of developing more than 10 injuries as compared to the above 50 years age group injuries were noted only in males in this study because only males were employed and this is likely to be due to the fact that welding employs males commonly in this region . all the study participants were literate in contrast to nigerian study which reported 7.6% illiterates . although literacy will help in understanding of basic safety measures , here we did not find any association . this may be because of lack of awareness to safety measures ( 36% , 75 ) and utilization of all relevant safety measures during working hours . one of the important injuries among welders in our study is the flash injury called the arc eye . this causes a red eye with feeling of sands in the eye due to inflammation . eye injuries occur most frequently in metal - work industries and cold particles , most often metal are the most common source of injury . a study done in the usa found that eye injuries accounted for 25% of all claims for welders . subjects were mainly males ( 97.1% ) and from manufacturing ( 70.4% ) , service ( 11.8% ) , or construction ( 8.4%)-related industries . most injuries reported in another study were foreign body in the eye ( 71.7% ) or burns ( 22.2% ) which were comparatively lesser than our study . the commonest ocular injury was metallic foreign body followed by photo keratitis and conjunctivitis in this study and three fourth ( 76.5% ) of them were aged below 40 years ; and these results are comparable to another study . about one fourth of subjects had hearing impairment in this study , while it was 7% in another study . the cross sectional study nature and recall bias are the limitations of the study . because of feasibility constraints longitudinal studies will be required to look further into the role of associated factors of injury among welders . the cross sectional study nature and recall bias are the limitations of the study . because of feasibility constraints longitudinal studies will be required to look further into the role of associated factors of injury among welders . injury among welders is an important public health problem in this area , in the context of high prevalence rate and larger involvement of at risk worker population in welding metal industries . strategies for reducing the tobacco and alcohol use and strengthening of institutional training especially for younger age groups may help in decreasing the burden of injuries in this vulnerable group .

pubmed

Bleach, Naruto 1. Chapter 1 ****** Naruto's Great journey part 1** **Ok everyone here's another story but this story will become a series called The DS series. This series is about Fate and Shinigami asking Naruto to go to different universes and dimensions and help to save the world from darkness. All the stories will be a Naruto crossover with different other shows. The first one is of course bleach! Ok, let's start this story of with how this came to be. The story is going to be in 1****st**** person which will be Naruto. Character will be OOC. Sorry for my spelling and grammar! ** ***** **Prologue*** (1st person) Hello, everyone! My name is Naruto Uzumaki Namikaze, the Jinchūriki of nine tail fox, Kurama. Well Former Jinchūriki of the nine tail fox, I am currently dead. You wondering how I died well…I could blame Kurama for that. That damn fox's charka finally took me out **(1). **It turns out not even I can survive it. Kurama couldn't take the poison out of the charka. So I died at age 33! I didn't even live a full life. I mean I thought I could finally relax after I killed Madara and Sasuke Uchiha. I mean I have four beautiful wives back home waiting to be…well I am not going to finish that sentence but you get the idea. Yes, I know four wives! I hit the jackpot! *Damn you Pervy Sage! You corrupt me!* I know you want the life story of me but you know most of it but I will tell the rest after I defeated the two Uchiha(s). Defeating the two Uchiha(s) was a pain in the butt, I had enough trouble defeating one Uchiha but add another one plus with another set of Eternal Mangekyō Sharingan. One was problem but two don't get me started how troublesome it was to face. It was two against one and the odds wasn't with me but somehow I did it. It took three days of fighting but I finally manage to kill Sasuke Uchiha and Madara Uchiha with Kurama's help. I never felt so tired after battle. I didn't even notice I passed out few minutes after the battle was done. I woke up four days later in a hospital. You guys know how much I hate hospitals, heck when I woke up, I got up and ready to leave but Sakura-chan knew what was about to do and force me to go back to bed. **(Naruto's age is 18)** I spent a week in the hospital but I wasn't alone everyone I knew came to congratulate me on the fight even Sakura did. I mean I thought she would hate or least held a grudge against me because I killed Sasuke but to my surprise she didn't. She told me, I did the right thing and killed Sasuke. I was happy, she finally let go of the crush she had for Sasuke. While I was at the hospital, I remembered Hinata's confession about her love for me. I remembered it throughout the war. She risked her own life to save me from Pain, when he had me nailed down to the ground. But what people didn't know is that I knew about Hinata's feelings about me since we were eleven. I liked Hinata and Sakura but I couldn't date Hinata since she was from a prestigious family. So, I went for Sakura. But now I had a chance to date Hinata because I am the son of Minato Namikaze and Kushina Uzumaki. The day I asked Hinata out on date was the last day I need to stay in the hospital. Of course when I asked out Hinata, she turned back to the shy little girl she was. She started to fumble with fingers again trying answer. It was funny to see but after few minutes she finally said yes…well she yelled out yes. I climbed out of bed and kissed her on the forehead just I thought Hinata change, she fainted again. The date with Hinata was fantastic; we went out to lunch, for a walk and watching the sunset. I thought it was corny but she loved it. It was start to a beautiful relationship between me and Hinata. The day after the date with Hinata I got a message from the Hyūga clan leader, Hiashi Hyūga, which so happens to be Hinata's father. I thought he was going to tell me to stay away from Hinata but he was happy that Hinata was happy dating me, so he allow me to date her and if it goes to the stage of marriage, I have his blessing. Which I got me excited because it got me thinking about a family I always wanted. Life was amazing for the years to come. I became a Jōnin then hokage at age 20. Tsunade was happy about because she finally doesn't need to do anymore paper work. She started taunting me about it but of course I had plan. The plan has only three words… Shadow clone Jutsu. I was laughing at Tsunade but only in the inside because I didn't want to her to know. She was going crazy trying to figure out how I was getting the paperwork done quickly. So after a while I finally told her, she went nuts! She started to destroy everything around her. I was laughing while she was doing this. After she calm down, she asked when did I figure out the secret to defeating paper work, I told her since the day I learn how to train with shadow clone Jutsu. She started to attack me. Everything was great I had girlfriend, I was the hokage and there was no more war. Finally after dating Hinata for couple of years I finally asked her to marry me **(Naruto's age is 21.)**. She yelled out yes instantly after I finished asking her. I asked her to marry me around our friends and family. While I was hugging Hinata, I saw three ladies with down looks. Which surprise me back then, I didn't know other ladies had feelings for me. I told Hinata about this, she asked which ladies. I told Hinata the ladies' name. I told Hinata the first two names; Sakura and Ino but when I got to the last woman well she and I were shocked. When I saw the women I thought she was sad because the women didn't get married before her boyfriend's death. The woman was Kurenai Yūhi. At the time I was helping her taking care of her baby Asuma JR while she does missions or when she goes hangs out with her friends. Hinata was skeptical about Kurenai but not Ino and Sakura. Hinata told me Ino and Sakura started to fall in love with me during the war even if they didn't show it. What Hinata suggest for me to do is to date Ino, Sakura and maybe Kurenai if she does like me. I told her no, I don't want anyone else but her. She smiled at me but turn very quickly to anger threatening me to date them or I will lose my manhood. I asked why. She told me, this is way for, Kami and Fate to repay me for the mistreatment as a child. I told her no I am happy with her and don't want to date or marry anyone else. To my surprise she grabbed my manhood and started to squeezed them tighter until I agreed. I was shocked she would force me to date other women while I date her at the same time. I told Hinata that I would only date them if they truly like me and would be okay with sharing. She agreed and I asked the ladies if they really did have feelings for me, each of them said they started to fall in love with me for while but couldn't ask me out or tell their feeling because they thought they would hurt Hinata. I asked them on date to see if it will work out; of course when I asked they were furious I was considering cheating on Hinata. They were about to slap me until I quickly add that it was Hinata's idea. Each of them hesitated to agree because they didn't think it would be Hinata's idea to date all three of them but in the end they did agree. Two months after I started to date Sakura, Ino, and Kurenai, I got married with Hinata on top of my father's head on the hokage's Monument. It was the one of best day of my life. It was wonderful day nothing went wrong. It took three extra months for me to get married with Sakura, Ino, and Kurenai. Hinata was already month pregnant by the time I asked Kurenai, Ino and Sakura to marry me. I was happy that I was finally having a daughter or son. It turned out to be twins; boy and a girl. Their names are Jiro and Kushina. Everyone was so happy, all of our friends congratulate us for having a babies. After that Sakura, Ino, and Kurenai followed with their own child but each of them only gave birth to one child each. Sakura had girl named Tina, Ino had a boy named Mack, and Kurenai had girl name Anko. After that nothing else special happen except at age 30, I found out I was going to die in three years! When I heard the news I was shocked. Kyūbi told me his charka is finally killing me. I told him it couldn't happen, since my charka paths' should have adjusted to his charka. Kyūbi told me it was suppose to but he told me because I used his charka for three days straight without stopping his charka slowly got into my organs. He tried to take away the poison away but couldn't. I had to give the bad news to my wives. Each of them was not happy at all specially Kurenai because she already lost a lover. They didn't like it so we tried everything to take out the poison out my system but nothing worked. We stopped after 2 years so I could have my last year peaceful. Finally 4 months after my 33 birthday I died in my sleep. Now here I am in front of Fate and Shinigami. They said they have a request for me. I don't know what request they have for me but they about to tell me. "So what is the request do you have for me and what do I get for doing this request?" I asked. Fate floats towards me and stop 10 feet away from me. "We want you to go to other worlds and help save the worlds from darkness and for helping us we have special world for you, your family and friends could live at forever." Fate said. Naruto wasn't expecting that. 'They want me to save other worlds! I just finished saving my world but having a special world just for me, my family and friends sound great! I will do it plus it will give me something to do other then waiting for my wives to get here.' I thought. "Sure, I will do it but can I go tell my wives first?" I asked. Fate and Shinigami look at each other silently talking each other. Finally after few minutes they turn to me. "Sure but there's few people who wants to talk to you." Fate said as couple people appeared behind fate. I look behind fate and see Jiraiya, Asuma, my dad Minato Namikaze and my mother Kushina Uzumaki. I smile at them and run toward them. My mom and dad has smile on their face. I got close to my parents only do a round house kick to my dad's face sending him flying. I look at my mom and she looks shocked at what I did, while Jiraiya and Asuma were laughing. I go up to her and give her a big hug. "Hi mom!" I said Few minutes pass when she finally realized I said something. "Hi, Naruto. Why did you kick your father? He looks like he knocked out." Kushina said. "The reason, I kicked dad is because I want to greet you without dad here. Plus I like you more." I said with grin. Mom smiles at me and hugs me hard. I guess she is happy that I revealed she is my favorite parent. "I am so happy that my son loves me more then his father." She said as she hugs me. I finally see my dad getting up from that I gave him. He starts to wal…stomp towards me. "Awww… didn't you like my kick daddy?" I said with childish voice. I could hear Jiraiya and Asuma laugh, while I hear mom giggle. "No! Why did you kick me? I am your father!" He said. "I kicked you because I wanted to greet my mom without you near me." I said with grin. I could tell dad didn't like my response. "Now, I could say hi dad! How are you?" I said still having the grin on my face. "I am _fine_!" My dad said. I turned to Asuma and Jiraiya. "Hello Asuma! Hello pervy sage!" I said. "Hello Naruto." Asuma said while Jiraiya got tick mark on his forehead. "Hello brat!" Jiraiya said "Now I said hi to all four of you. What do you guys want to talk about?" I asked them. "Me and your father just wanted to say good luck on your trip to save the worlds." My mom said. "We knew you were going to do this. We also wanted to tell you when you're done playing hero we be here waiting for you." Kushina said. "I just want to give you my full collection of Icha Icha series to help with the ladies." Pervy sage said to me in hush voice so no can hear. I guess my mom would hate it if she knew he was giving me his collection of Icha Icha series. "Ohhhh mooom Pervy sage just gave me his whole collection of his series Icha Icha!" I yelled out. Instantly you could see the fear pervy sage's eyes. I look towards my mom and tell she didn't like that pervy sage gave me his collection. Pervy sage starts running away while mom starts chasing after her. I turn my attention back to Asuma. I have this gut feeling this is about Kurenai his ex lover. "I guess you came to talk me about Kurenai?" I asked Asuma. He nodded. "Yes, even though I should be mad at you. I am not; I am that Kurenai fell in love with someone else but she has the right to love someone else. I also want to thank you for taking care of my son when I couldn't." Asuma said with smile. "You're welcome Asuma JR. was very cute baby then he turn into a great respectable teen just like you but hopefully he doesn't pick up your smoking problem." I said. Asuma chuckle "Yea, he did become a fine teen. I have been looking over him ever since he was born. He became very strong ever since he started ninja academy. I just wish I could be there for him but at least you were there for him." Asuma said. I sighed "I am sorry that you could be there for hi…" Asuma interpret me. "It wasn't your fault." Asuma said. "But it was my fault if I wasn't in Konoha at the time you won't been killed. It was because of me that you went to face Hidan and Kakuzu." I said as Asuma shook his head. "Don't worry about it. Yes, it sucks that died but maybe it was for the best." Asuma said. "So losing your lover, who you love, to another man is for the best?" I said to him. "No but I fell in love with another here in the afterlife." Asuma said. I raised one of my eyebrows at him. "Well that's nice at least you got someone else." I said. "Yea, I know you going to go back tell your wives about your trip but can you tell Kurenai that I love her but I can't be with her no more and to my son that I be watching over him." Asuma asked. "Sure I will do that." I said. Asuma nods and walks away while fading with every step. I look around and see no one around. 'I guess dad left while I was talking to Asuma.' I thought just as Fate and Shinigami reappeared in front in of me. "Alright, we about to send you back to Konoha just until done talking to your family, alright." Fate said. I nod to them. Both fate and Shinigami mutter something then my vision turns black. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXX** **(This part will be in Third person)** In a three story house there is a group of people who are mourning for the lost of Naruto Uzumaki Namikaze. This group people knew this day was coming. They just wish they could of said goodbye to him. The group people is Naruto's family; Hinata Hyūga Uzumaki Namikaze, Ino Yamanaka Uzumaki Namikaze, Sakura Haruno Uzumaki Namikaze, Kurenai Yūhi Uzumaki Namikaze, Jiro Uzumaki Namikaze, Kushina Uzumaki Namikaze, Tina Uzumaki Namikaze, Mack Uzumaki Namikaze, Anko Uzumaki Namikaze, and Asuma Jr. Sarutobi. Each of them are crying in the living room for the loss of their husband/father/stepfather. None of them notice a small hole appeared in the middle of the living room. **(Back to Naruto's Pov)** 'Wow, they are taking it hard.' I thought as I look around. I felt it time to let them know I am back for a bit. I cough to get their attention. The first one to look up was my first wife Hinata. She leaps up to hugs me and yells out. "Naruto!" I smiled as I gave her hug. Everyone looks up instantly; you see the shock on everyone's face when they look up but that didn't last as everyone came to hug me. "Hello everyone!" I said "How…" Hinata said. "How are you alive again?" she asked. "I am not alive; I am just here to tell you guys some things before I go." I said. "But…but, why?" Sakura ask this time. "Because I die, I can't live in this world no more." I said to them. "I know, you guys are sad because of my death but please don't, we knew this day was coming for long time. I want you to know when you die, you guys won't see me for while." I said to them. Of course this cause them to be confuse. "Why?" Ino asked. "Fate and Shinigami have request for me to help other worlds from darkness." I said. And from the looks of it they are not happy. Hinata spoke up. "They asked you to save others worlds! You better get something in return for doing this!" Hinata said angrily. Everyone step back in fear. They knew not to anger Hinata. She is nice, kind and very friendly but get her angry you will face someone you wish you didn't. "Yes I did, I am getting a special world for myself, our friends and family." I said to Hinata. She did not like the answer. "That's all!" Hinata yells out. She looks like she about to yell again but she got a look in her eye that I seen before. It was the same look when she wanted me to date the other three ladies. "Hinata don't even think about it. I already have you four wonderful and beautiful ladies, I don't need any more." I said to her but it was the wrong thing to say. She quickly grabs my manhood and starts to squeeze them. "I don't care if what you want. I am telling you, **YOU** going to get more! If you don't then when I see you again I rip your manhood off and I will ask Fate, Kami, or even Shinigami to grow you another and I will rip it off again but even more slowly. Do you understand?" Hinata said as she squeezes my balls. I finally had enough of her hurting my balls, so I yell out. "Alright! I will get more lovers! Just please let go." I yelled. She quickly got a smile on her face. "Good, you made the right choice." Hinata said. I look over to others and they look shock at Hinata. "I don't get why you want me to get more lovers. A normal wife wouldn't want their husband to get more lovers." I mutter to myself but clearly Hinata and rest of my family heard it. "True, I clearly want you for myself but I also want a big family. If I have to share you with others to get a big family then so be it." Hinata said. I never knew she wanted a big family. I quickly hugged Hinata. I whispered to her. "If you what a big family then I will give you big family." I could feel her smiled against me. "Thank you!" Hinata said. After giving her hug I turn my attention to Kurenai. "Kurenai during my talk with Fate and Shinigami they brought out my parents, Jiraiya and your ex-lover Asuma. During my talk with your ex, he said that he loves you but can't be with you since he fell in love with someone else." Naruto said with frown. Even though he won't admit to anyone, he was happy that Asuma found else to love. He didn't want to lose Kurenai but he wouldn't stop her should she leave him for Asuma. Kurenai had frowned on her when she heard Asuma fall in love with another but who could blame him, she did the same thing. She loves Asuma but she loves Naruto more. The day she married Naruto, she silently vowed to herself that Naruto would be her only and last lover no matter what. Little did she know Sakura, Ino and Hinata made that same vowed. "He also said that he be watching you Asuma Jr." I said to Asuma. He smiled knowing his father is watching over him. "Now before I leave I have things to tell you(Asuma), Jiro, and Kushina; you guys are the oldest of the children you have be strong for the family. Remember protect each other! Hinata, Sakura, Kurenai, and Ino in the vault is my father's technique; Rasengan and the Hiraishin no Jutsu. I want you guys to try to teach them soon but only Rasengan. The Hiraishin no Jutsu is bit to dangerous for them now. I give you guys challenge, I learned the Rasengan in three weeks and mastered it 1 week. So whoever beats my recorded mastering in month gets a tip on finishing the Rasengan." Naruto said. The children were confused. If they mastered the Rasengan, why would they need a tip to finishing it. Naruto sees the confuse faces and remembered no one born after fourth Shinobi World War knows about his **Fūton: Rasenshuriken**. "Alright, we told everyone to keep my **Fūton: Rasenshuriken** a secret from everyone. Come on outside." Naruto said as they went outside. "Alright, their a secret about the Rasengan that no one knows expect for few." Naruto said as he made a Rasengan in his right palm. He smash the Rasengan on side of a tree. You could clearly see a huge piece missing. "As you can see it very strong Jutsu but people don't know is the Rasengan is incomplete Jutsu" Naruto said. his children didn't see how it was incomplete. It looks like it was a perfect Jutsu. "Daddy, how is it incomplete? It looks perfect to us." Kushina asks. "It was perfect but it missing something that could make it stronger. Can you guys figure it out?" Naruto asks. His daughter with Sakura said "Your Affinity!" Tina said. "Correct, lucky you guys don't have wind release. You six have either water or fire Affinity. If had wind, lighting, or earth Affinity I won't allow you guys to even to learn it." Naruto said. "Why?" Mack asks his father. "Because it's too dangerous to even try to learn them without having a Bijū. Wind and lighting Rasengans are harmful to your hands that you won't be able to use charka no more. I was lucky I had Kyuubi to repair the damages. You guys aren't lucky, you guys have do have faster regeneration due to having some of Kyuubi's charka expect you Asuma. But that still won't help you if try to learn wind and lighting Rasengan. Now you guys have a challenge! Its time for me to leave. I will see you guys later." Naruto said as he faded away leaving his family for the finally time until he done saving the first world. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXX** I reappear in front of Fate and Shinigami. "I am back and thanks for letting me say goodbye to my family." I said to them. "It's no problem. Anyways on to what world you are going to start helping. Shinigami has a new world that has unforeseen events later on. You will as human but you live for long time and I mean a long time. The darkness won't start for another 2400 years. During the time you have to wait you can anything you want. Look for a guy name Ichigo Kurosaki, he is the main saver of this world. All you need to do to is help him but if he fails you be the one to save the world. You will have your charka and a Zanpakutō." Fate said. "What are Zanpakutō?" I ask. "Each Shinigami carries a Zanpakutō, and each Zanpakutō is unique: as the swords are both reflections of a Shinigami's soul and power, and sentient beings unto themselves. The Zanpakutō's name is also the name of the living spirit that empowers the sword and lends its strength to the Shinigami who wields it. These beings can vary greatly in appearance and have their own distinct personalities which match their owner's." Shinigami said. **(Note: this paragraph was taken by wiki/Zanpakut%C5%8D) ** "I see is there anything else before I go to this new world?' I asks them. "Yes, in 300 years I will visit you again to send you to Soul Society. There's one more thing that we have to warn you." Shinigami said. "What is it?" I asks but I regret it. "You still have Kyuubi seal within you but don't worry you can use his powers with any problem. Not even if you use for 3 day straight. The only thing is that you will hear him complain a lot." Shinigami told me. 'Man, I have to deal with him again. It's going to be long life.' I thought to myself. "Is that all?" I said it "Yes! See you in 300 years!" Shinigami said as he and Fate put their fingers on his forehead. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXX** **The end for this chapter!** **Now for people saying is Naruto going to be overpowered? Yes he is! Naruto won't kill Aizen. That's Ichigo job! Naruto's job is to help Ichigo to grow stronger. Yes, Naruto will fight Aizen but he will just be toying with him. ** **Now when I am going end this story! When Aizen dies that's when I am going to end it! Of course they will be epilogue chapter in the end!** **Now for Naruto's harem! Yes Kurenai, Hinata, Sakura, and Ino are already in it! They won't show up in this story any more until the epilogue. They will be mention during the course of this story. For Naruto's harem, ** **Orihime Inoue** **Suì-Fēng** **Momo Hinamori** **Rangiku Matsumoto** **Tier Harribel** **Nelliel Tu Odelschwanck** **and ** **Lisa Yadōmaru** **This is not the final paring! ** **See you guys later** 2. Chapter 2 **Chapter 2** **Here I am with the second chapter of Naruto's Great journey part 1. This story is in first person. Naruto has been alive for 2400 years in the world of Bleach. This chapter starts couple of days before Rukia Kuchiki shows up. Hisana Kuchiki is still alive is with Naruto. I explain in this chapter how she is still alive. I am replacing Nelliel Tu Odelschwanck ****with Hisana Kuchiki. This chapter is going to tell you what Naruto did for 2400 years of life. I won't be telling everything little thing he did. Please don't flame!** **Disclaimer: All characters are not mine! I don't make money out of this story!** **Time frame:** Naruto Arrived in Bleach world 300 years before Genryūsai Shigekuni Yamamoto made or founded Shinigami Academy! Also the time frame will be off but that's because I want it! There also a huge time skip! Naruto is hiding all his powers! No one can detect him unless he wants people to find him. In this chapter Naruto will be talking to an audience which is you guys who are reading this story. Naruto character's will be mention or appear in flashbacks. Only one Naruto character including Naruto will appear and can you guess who and how he or she will appear? Also Bleach story line will change. Somethings will stay the same but other things won't! **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **Chapter 1** Hello again this is Naruto Uzumaki Namikaze! Now you are wondering where am I…well I am here at Karakura High School located in Karakura Town. Believe it or not I am freaking P.E teacher! Why am I here working as P.E teacher because Ichigo goes to this school. I was ordered not to interact with him until he gets his Shinigami's powers by 'Spirit king'. Shinigami loves that nickname that Soul Society given him but to me he is Ero-King! I thought my godfather Jiraiya was pervert but Shinigami is a bigger pervert then my godfather. Let just say women who are evil and hate perverts better change their ways. Anyways back to what I was saying I wasn't allowed to tell him anything. I had to wait until he gets his Shinigami's power around age 15. Fortunately, Ichigo turned 15 this year! So I am close to quitting this job! Now I just need wait until Ichigo gets his power. I lived long enough in this world. I have lived around 2000 years. I spent 300 years in human world in the beginning training in everything I knew and my new Zanpakutō. While I was training, I always hunt for my food from rabbit, wolves, deer, and more different animals. It took me about 3 months until I found out my Zanpakutō spirit's name. I also learned my Zanpakutō's Shikai and Bankai. I will tell you later! My Zanpakutō's seal state looks like a regular Kanata but with a handle having two red fox tails. While I was learning about my Zanpakutō, I used hundreds of shadow clone to practice my shinobi skills specially my Genjutsu. Normally a Jinchūriki like myself couldn't even use Genjutsu but being able to live for long time and train in charka control for long time can allow someone to learn Genjutsu. After 300 years give or take some years, Shinigami came to see me and send me to Soul Society. I didn't go as myself because didn't want them to know about my abilities. Shinigami gave me advice that I should pretend that I shouldn't didn't have the other forms of my Zanpakutō. My Zanpakutō wasn't pleased with Shinigami. She really loves to be out in her Bankai or Shikai state. After much argue we made an agreement to let her out to kill some Hollows every 2 months and I use her Shikai state. I spent most of the years here. I met interesting people here in Soul Society. I also met _him_, the one who supposes to bring darkness to this world. It wasn't hard to figure out it was him. I could tell he was lying about his sword abilities. Someone told me, Aizen's Zanpakutō abilities. I knew, its true abilities...kind of. Something to do with hypnosis, Aizen tried to use it on me. Well least say, I mislead him. Haha! The reason he can't use it on me is because of Kyūbi. Kyūbi keeps my defenses up on high every day, nothing can control Kyūbi unless is with the Eternal Mangekyō Sharingan which one here has, so it useless on me. Kyūbi could sense Aizen's hypnosis and cancel it out while he tricks Aizen that I am under his hypnosis. I was safe during the time I spent in Soul Society but someone saw my real identity by accident. I drop my Henge in forest and I wasn't paying attention to my surroundings. Thankfully it wasn't Aizen or any of his 'friends'. It was Hisana Kuchiki from the Kuchiki Family. She was married to Byakuya Kuchiki. I remember that encounter very well… _(Flashback)_ '_Man I hate using henge it bugs me.' I thought as I drop my henge. I was about to lay down to see the sky but I just heard a gasp. I quickly turn to see Ms. Kuchiki standing there with her mouth open. I quickly slap myself in head for not paying attention to my surroundings. I went towards Ms. Kuchiki and close her mouth for her._ "_So what brings you out here, Ms. Kuchiki?" I ask her. I have a lot of explaining to do. I waited a bit for her answer as she is in shock. "I…saw you…heading into the forest wanted to see why? How did you change appearance?" Hisana asks. How did I be so careless?_ "_Just say I am not what I appear to be and leave at that." I said to her with smile. My smile brought a blush on her face. "So, why are hiding your true self from everyone?" Hisana asks me. For some reason, I feel like I could tell her anything and she won't tell a soul. "Orders." I said. She raises looks at me within differences. "Orders? From the higher up?" She ask me. I hate answering questions. "Yes I got orders. Anyways I have a question why are you out here" I ask her. She looks conflicted about why she out here. Hisana is mystery to me. I never took interest in her. All I know she married Byakuya 2 years ago. __**(A/N: I don't the time frame in bleach, when it happens if someone out there does tell me so I fix it!) **__I really want to get to know her. Never did I think Byakuya would marry an outsider __**(I don't know what a outside is called. I try to look over the shows but it will take to longer.) **__I wonder how she captured his heart. _ "_I was looking for my sister?" She said. "Who is your sister?"I asked her. 'Weird I didn't hear she had a sister. "You don't know her. No one does, I don't even deserve to be called her sister." She yells out. _ "_Why?" I ask her. "I mean everyone is deserves to be called a sister or a brother if they have one." I said to her. What could of happen that she doesn't be called her a sister._ "_Her name is Rukia, when Rukia and I got here we were together but she was just a little baby at that time. We were in district 78 in the Rukongai districts. I did regret what did to Rukia, I left here in alley by herself as baby because I couldn't take care of her." She said. Now, normally I would burst into anger if anyone done this but living as long as me I kept my cool that and I also met little Rukia two months ago. "Hmm, what happens when you find her?" I ask her, I wonder what's her intention, when she finds her. "I want to help out but I could never tell her that I am her older sister. Like I said I don't deserve to be called her sister again." She told me. "That's going to be difficult because she looks just like you." I said. Her eyes quickly open as wide a moon. _ "_You met her?" She asks with hope. "I have met her once, she is a troublemaker but she has friends that are her family." I said to her. I see her smile but turn into a frown. "I want you to look after her." she said to me. "Why should I?" I ask. "If you won't I will tell everyone your true appearance!" She said as yells at me. 'I like this girl.' I thought._ "_Are you blackmailing me?" I ask her with serious face. She didn't back down not even fear in her eyes. "Yes I am!" she said. I smile at her and said. "I got to say, you got a backbone. You not even a Shinigami and you are still blackmailing me knowing I could kill you in a second." I said. I stare at her looking for fear but I see is determination. "You have guts I give you that. Sure I will look after her." I said as walked away. "Meet me here next week in the morning." I said to her as I disappear to the sunset._ _(End of flashback)_ Just like she asked I took care of her, it was easy since I always have a shadow clone looking after her. When she met me again I told her how Rukia was doing and some personal questions. We talked every week but fifth year in her marriage she had Illness that was killing her. I saw how ill she got over the couple of days. I tried everything to heal her but I couldn't do anything until Kyūbi told me to use his chakra. I didn't want to do it, it could kill her and I don't want that but Kyūbi told me it won't kill her. So I took a chance used Kyūbi's chakra to heal her. She healed perfectly, she was up and running. She thanked me by kissing me on the lips. Both she and I were shocked. She quickly apologized about kissing me. I said to her _"I don't mind being kissing but you married to Byakuya." _She cried on me, while she was crying saying how could she cheat on him or I could never look him in the eye again. After while she cried herself out, I had to stay there until she woke up. She woke up and decided to be honest to Byakuya. I didn't hear from her for 2 weeks. During that time I thought I would have to face Byakuya because Hisana kissed me but finally after I saw her she like fine. I asked her what happen. Her answer was shocking. It turns out both Hisana and Byakuya love other people. Hisana fell for me and Byakuya fell in love with Isane Kotetsu. **(A/N: If you don't like this then to bad! Its my story!)** During the time she was gone, she wasn't punished but she told to leave the Kuchiki family. I asked her where is living? She said at Kuchiki family house until she could find place to stay. I asked her if she wanted to stay with me. She said she love too, she also told me that she made request to Byakuya to try to adopt her little sister. We didn't get to find out if Byakuya adopt little Rukia. We left 3 weeks after I asked her to move in. We went to the human world for the last 200 hundreds years **(1)**. During the last 200 hundreds we spent learning everything in the human world. I also used shadow clone to go to school since I am technically still human and everyone could see me not like Hisana but that all change when Kyūbi told me how to revive her. Kyūbi also said I could only do this six times but he has to wait 3 years each time he uses this move. He quickly used it on Hisana to get a real body. Hisana was happy that she got to live again but quickly turn into sadness. She wished Rukia could be able to live again. I told her, she will be able to but not until we defeat him. A week later after she woke up, she found she had a Zanpakutō in her hands. I trained her while she was in school. Now she close to Lieutenant in power. During this time Hisana and I got married to each other but before I proposed to her I told her everything about me. She took it really well, she didn't care if she has to share me as long as I love her the same. I really was happy she understood and still loves me back. After waiting for 2000 something years, Ichigo finally showed up. I noticed he was nice and kind boy but that all change when his mother died at age 9. He changed after that, he rarely smiles and now he always seem to be mad at something or someone. I could tell, he was strong but he still sloppy stance that will get him killed if no one fixes it. I really hope Ero-king is right about this kid… **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **(The day after Rukia shows up)** "Hello Hisana." I said to Hisana who is cooking breakfast for me and her. Hisana is a beautiful woman. She is 5 feet and 5 inches, she has black hair with strands of hair that fell across Hisana's face, and her eyes were purple with hint of blue. She is wearing black t-shirt with logo of a cat sleeping in yellow and she is also wearing black pants. She works at the same place I do but as a senior's math teacher. "Hello dear, food is almost ready." Hisana said. She loves to cook ever since we came to the human world. "Hey, did you feel that Reiryoku last night?" I ask her. She nods to me. "Yea, he or she is a Lieutenant. Do you think Ichigo will get his powers soon?" she asks. "I really think he will but when he gets his powers we will wait before we do anything. I don't think he will want the responsibility of being a Shinigami that fast." I said. "Do you really think Ichigo will succeed at defeating Aizen?" Hisana ask. "I really think he will but it won't anytime soon. Ichigo does have a lot of Reiryoku in him even greater then Aizen but its too wild to control." I said as Hisana puts the food on the table. Today she didn't make anything crazy but she did make my favorite food in whole universe Ramen! I quickly ate my serving of ramen while Hisana ate her ramen in moderate pace. "That could be problem, what do you think the people around him. Do you think they could be affect by him when he gets powers?" Hisana asks me with curious look. "Most likely they be affect, I just hope its for the better and not for the worst." I said to her. She is hoping for the same. She didn't want them to be hurt but soon darkness will try to take over. If they are involve then they need to be train as soon as possible. "Let's get going to for us to get to work." I said. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **(Normal P.O.V.) *Next day! The first time Ichigo and Rukia meet.*** Ichigo Kurosaki is a 15 year old teenage boy that has orange spiky with usual angry look. He is a average high school except he could see spirits ever since he could remember. But lately he started to see more and more spirits and he doesn't know why. He has feeling that everything is going to change. He doesn't know how but it will. Ichigo fought five people yesterday who disrespected a site where a girl died. Right now he is going to the place where the girl died to put new flowers. When he got there, he didn't sense the girl or see her. He yells out for her but didn't get response but he did hear roar. He went to investigate the strange sound. He finally found where the sound was coming from and found a huge creature. This creature resembles a giant mantis but this creature has a white mask with big giant hole in his chest. The same dead little girl, he was looking for was running toward him. He saw the creature look at him and starts to run at his direction. Ichigo starts running away from the creature with little girl. Sadly the girl trips, so he needs to go get her. "Get up! We have to get going!" Ichigo said. The creature is closing up on them but before creature got to close a woman appears in front of him. This woman is wearing a black kimono with a katana in her hands. This woman slashes her katana horizontal across the creature's mouth then vertical between the eyes of the creature killing the monster. The woman left without a word after killing the monster. "Hey wait!" Ichigo said but the woman didn't listen. Little did they know a certain blue eye was watching the whole thing. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **(Nighttime) (Naruto's P.O.V)** 'Hmm its seems the hollow is coming here, that hollow also seem to leave that little girl alone as well. I guess that hollow senses Ichigo's Reiryoku. It seems Rukia is coming as well. Let's see whats happens.' I thought. I see Rukia, who just looks like Hisana go into Ichigo's room. 'Let's get a closer look.' I thought to myself. I enter the house without problem. I enter Ichigo's room without Rukia and Ichigo knowing. Rukia is explaining to Ichigo about Shinigami, Soul Society, and other things. Right now I could see Ichigo doesn't believe anything she says. He thinks its all nonsense. "That's all believable along with flying pigs and tooth fairy!" Ichigo yells! 'Hmm it seems, he needs to be more convincing to believe in Shinigami(s). Let's see if this hollow whose coming will convince him of that.' I thought. I look over at Rukia. She is about to speak again. "How can you not believe me! You just admit to me that you can see spirits!" Rukia told Ichigo. Ichigo shakes his head. "I never heard or seen Shinigami before I don't believe in things I never heard of. Now go play your Shinigami game somewhere else brat." Ichigo said as he puts his hand on Ruki's head. "I'm a brat am I." Rukia said. 'So, she hates being called a brat. Too bad she is one.' I laugh inwardly. "**Bakudō number 1: Sai!**" Rukia said as Ichigo fell down face first with his hands behind his back. "What did you do to me?" Ichigo asks. "I used what its call kido. I just paralyze you so you can't move. Now I could do this." Rukia took out her Zanpakutō a use her hilt of her Zanpakutō on the soul's forehead sending the souls to the soul society. "What did you do to him?" Ichigo asks as he saw the same ghost from early disappear. "I sent him to the soul society. Where all souls go after Shinigami like me perform a Konsō." Rukia said. 'Let's leave here, the hollow is close to here. I want to see if Ichigo does gets his power today or not.' I thought as I left the room. 'Hmm this hollow is pretty strong. Let's see if they could handle it. If not I have to interfere and show myself.' I thought. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **(Normal P.O.V.)** Naruto is across from the clinic on top of a roof. He conceal himself with a Genjutsu so no one would see him, not even the hollow can see him or sense him. The hollow punches the walls to the Kurosaki's clinic/home. Naruto could hear Karin and Yuzu cry's for help. Naruto wants to help them but it's there problem for now. He sees the hollow grabbing something which is a little girl. If it gets to dangerous he will kill the hollow for them. He hears Rukia yells out to Ichigo that if he keeps struggling the kido will hurt his soul. Moments later he sees Ichigo running towards the hollow with something in his hands trying to save his little sister. The hollow punches Ichigo whole body with his massive fist sending Ichigo to ground few feet away. "I found you!" the hollow says to Ichigo. The hollow was going to take the karin's life but is stop by Rukia. She slashes the hollow in the arm making the hollow retreat and letting go of Karin. Ichigo catches Karin before she falls to the ground. "Did you actually believe you were going kill or harm the hollow with a stool." Rukia said. "Well I wasn't going to wait and see my sister get murdered while I was watching?" Ichigo yells at Rukia. He didn't know why these hollows are attacking them. "Why is that hollow attacking us?" Ichigo ask. "Probably because he sense a lot of Reiryoku coming from you. You had a lot of Reiryoku inside you and must of come out when you touch the little girl." Rukia said Ichigo starts to realize that he's the one who put his family in danger. The same hollow came back. Ichigo runs towards him stops in front of him. "Hey you! You are after me, so and come and get me you crowd!" Ichigo yells at it. The hollow shoots his head toward Ichigo. "Oh no!" Rukia said as she took the blow instead of Ichigo. She fell down while the hollow moves back because he is hurt. "Do you want to help save your family?" Rukia said. Ichigo nods, he does want to save his family. "Then you must shove my Zanpakutō in middle of your being. You must become a Shinigami temporality. I am too injury to fight so if you want to save your family then become a Shinigami." Rukia said faintly as she is injury in her left shoulder. She picks her Zanpakutō with her right arm. She puts in the air, while Ichigo goes in front of her sword. "Then give me that blade Shinigami." Ichigo said as he puts his hands on Rukia's Zanpakutō. "My name is Rukia, Rukia Kuchiki." Rukia said. The hollow starts to attack them again. "My name is Ichigo Kurosaki." Ichigo said as both Rukia and Ichigo push/pulls the Zanpakutō into Ichigo. There was a flash where Ichigo and Rukia are and the next thing you know the hollow's left arm is chop off. The person, who chop off the hollow's left arm was none other then Ichigo Kurosaki. Ichigo outfit turn into what Rukia use to have, he also has a over sizes Zanpakutō. **(If you don't know what it looks like just look for it in google or bleach (d0t) wikia .c0m)** Ichigo runs towards the hollows and cuts off his other arm then finally he cuts the hollow straight down the middle from the mask to the feet. Ichigo runs towards Rukia to check if she is alright. "Are you alright?" Ichigo asks. "Yes I will recover it just take me all night." Rukia said. Just as Ichigo was about to help her out, Rukia and Ichigo heard clapping then a voice. "Well done Ichigo…" a mystery guy said. **XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX** **End of chapter!** **I know its like the episode that's because I didn't want to change how Ichigo got his power the first time. This is where everything changes! Kind of…Ichigo will still face the same hollows he did in anime but he will also be little stronger! He is going to use his brain more. I will say this Naruto will fight in this story. Now I am going to answer one question some ask me.** **Someone said why did I add sasuke's fangirls as Naruto's wives? The answer is simple because I want too! if you don't like it then to bad. You don't need to read this story if you don't like it. This same person also said '**_**Naruto won't be doing anything except training the heroes of the dimensions he goes to. I think thats useless because Ichigo defeated Aizen anyway, he doesn't need Naruto's help. What's the point?'**_ **I didn't say Naruto would be training every main character or that Naruto won't be doing anything! Please don't try to put words in my mouth! You don't know how this story will go down! Naruto will be the main character in some of the stories I put in this series! ** **Now onto the harem ** **Orihime Inoue** **Suì-Fēng** **Momo Hinamori** **Rangiku Matsumoto** **Tier Harribel** **Hisana ****Kuchiki** **and ** **Lisa Yadōmaru** **There you have it the harem for now! I know why did I put Hisana ****Kuchik****i in the harem, when she suppose to be dead well because I wanted too and since Naruto came to the bleach world he will be changing how this goes.** **See you guys in the next chapter! Oh before I go, I need to tell you guys the next chapter won't be out for while starting tomorrow 8/15/12, I will have to go to school again! No! Later!** End file.

fanfiction

Where's all the light going in the universe? According to my knowledge, matter can not go faster than light, and light is emitted constantly in the universe from many types of reactions. If this is so, then isn't light constantly getting past all matter in the universe and so being lost. This would mean that energy is constantly being lost from the universe. If there is no evidence of this(is there?) then doesn't that mean that the light(energy) is coming back? And if so how? Cosmology usually adopts something called the "[Cosmological Principle](http://en.wikipedia.org/wiki/Cosmological_principle)", which is that, on large scales. the universe is homogeneous and isotropic. Therefore the universe looks the same wherever you are and looks the same in all directions. Thus light emitted from our part of the universe travels outwards and is received by distant parts of the universe sometime in the future. Light emitted from distant parts of the universe *now* will reach us sometime in the future. The light does not leave the universe, it just goes somewhere else. Likewise we continually receive light that *was* emitted from distant parts of the universe in the past. So, whilst the *density* of light energy can (and does) change, the energy contained in the light is not "lost" from the universe. > > If this is so, then isn't light constantly getting past all matter in the universe and so being lost. > > > It may be, but we have no way to know. We do not see far enough to see what happens on the edge of the material universe. Even if there is such edge and only vacuum beyond, energy of the material universe does not need to decrease, because there may be light present everywhere including that vacuum. The starlight are solar system receive contains much less energy than the sun emits; the conclusion is - it can't be sustainable, it can't be an eternal/stable system. Generally we can see that the sky is dark, and at non-visible wavelengths there is scant energy. Any significant energy emission a local object makes is unlikely to be returned. If there are infinite stars in the sky, why isn't it white? Light from stars beyond the edge of the observable universe cannot even reach us. You should not, then, be surprised that many currently popular theories suggest the universe is a changing system - but the changes are on a grand timescale. The wikipedia page on the ultimate fate of the universe might be an interesting read. If there are places in the universe where the space itself expands faster than the speed of light then the light could end up being trapped there. According to our current knowledge this is not the case on the edge of the black hole as light there cannot have stable position. It will fly away from the black hole or hit the singularity.

stackexchange/physics

Rearrangement of an oxyallyl cation I am supposed to predict the product of rearrangement of this cation, having been told that it's an oxyallyl cation: [![enter image description here](https://i.stack.imgur.com/GEUCn.png)](https://i.stack.imgur.com/GEUCn.png) I did have a look at the [Wikipedia entry](https://en.wikipedia.org/wiki/4%2B3_cycloaddition) (since it mentions "oxyallyl cation") and not even once does it mention such a compound as I have shown above. This question is from my high school text book chapter on "Aldehydes and Ketones", and I'm not sure I'm even supposed to know what to do here in the first place. Anyways, I did guess that the negatively charged oxygen atom will donate its lone pair to the positively charged carbon atom1, forming a three member hetero-ring. But, my book gives the correct answer as: [![enter image description here](https://i.stack.imgur.com/zJSTq.png)](https://i.stack.imgur.com/zJSTq.png) I'm not sure where they dumped the second oxygen atom (and from where they brought an extra carbon atom) to form this all-carbon ring. Also, is that $\ce{-OMe}$ at the ortho position only for ornamental purposes, or does it affect the mechanism in some way? --- **Source:** MS Chouhan; Advanced Problems In Organic Chemistry; 11th ed; page 218 in solution manual, Q91 chapter on Aldehydes and Ketones --- 1: Yeah I know that all these atoms are in conjugation and the charges are only partially negative/positive. Count carbon and oxygen atoms in the book's answer versus the original molecule, and infer that the book got it wrong. One of the carbon atoms in the book's answer should be oxygen. Question for you: Which one?

stackexchange/chemistry

Coryphellina rubrolineata is a species of sea slug, an aeolid nudibranch, a marine heterobranch mollusc in the family Flabellinidae. Description Coryphellina rubrolineata is a relatively large aeolid nudibranch growing to 42 mm in length. The stretched out body has a sharp end at the tail, the dorsal side is covered with a certain amount of extensions called cerata, which size vary from an animal to another. The rhinophores are pointed and look like feathers. The oral tentacles are thin, cylindrical and longer than the rhinophores. The coloration is variable and here's a description for the two main coloration which can be easily met underwater: The classic coloration: the body is milky white to translucent, three reddish to purple continuous or dotted lines are running on both side and in the middle of the body, oral tentacles and rhinophores are whitish with a mauve to purple ring at the two third of their extremity, cerata are also whitish with a purple ring and with orange tip. The purple coloration: whole body including cerata, rhinophores and oral tentacles are purple to mauve, without any continuous reddish line on the body but with just a darker ring at the two third of the cerata with clearest tips. Many colour variations exist and it is likely that this species is really a species complex. Distribution & habitat This species was described from the Red Sea. Coryphellina rubrolineata is thought to be widespread in tropical, subtropical and temperate waters in the Indo-Pacific area and also as a migrant species in the Mediterranean Sea. It is also commonly observed on shallow reef or rocky slopes rich in hydroids which represent its main diet. Biology Like mainly all aeolids, Coryphellina rubrolineata has the ability to store the stinging cells from cnidarians eaten. This stinging cells stock is a particularly effective means of defense and is located at the ends of cerata, it is contained in cnidosacs. References External links Category:Flabellinidae Category:Gastropods described in 1929

wikipedia

Melaleuca stipitata är en myrtenväxtart som beskrevs av Lyndley Alan Craven. Melaleuca stipitata ingår i släktet Melaleuca och familjen myrtenväxter. Inga underarter finns listade i Catalogue of Life. Källor Externa länkar Myrtenväxter stipitata

slim_pajama

import Mouse from './Mouse'; export default { __init__: [ 'mouse' ], mouse: [ 'type', Mouse ] };

slim_pajama

"Natural Born Killers", early, by Quentin Tarantino "NATURAL BORN KILLERS" WRITTEN BY QUENTIN TARANTINO INT. COFFEE SHOP - DAY A coffee shop somewhere in New Mexico. MICKEY KNOX, his back turned to us, is sitting at the counter finishing his meal. We hear the PING...BANG...of a pinball machine being played OFF SCREEN. MABEL, a waitress, comes over and fills Mickey's coffee cup. MICKEY What kind of pies do you have? MABEL Apple, pecan, cherry, and key lime. MICKEY Which do you recommend? MABEL The key lime is great, but it's an acquired taste. MICKEY I haven't had a key lime pie in ten years. MABEL When ya had it, did ya like it? MICKEY No, but that don't mean much. I was a completely different person ten years ago. Let's give key lime a day in court. And a large glass of milk. Mabel turns to her right. MABEL (to someone O.S.) Should I make that two pieces? CAMERA PULLS BACK and we see for the first time MALLORY KNOX, Mickey's wife, sitting on a counter stool next to him. Her back is to the camera as well. MALLORY Nada, Rosey. MABEL (annoyed) My name's not Rosey. (points at name tag) It's Mabel. Mabel exits FRAME. MALLORY Whatever. Mallory hops from the stool, walks over and grabs the JAR next to the cash register, then dumping out the coins on the counter, she selects a quarter. MABEL Hey, what the hell do you think you're doin'? Mallory saunters past the COWBOY playing pinball. As his eyes follow Mallory, he loses his ball. She walks to the jukebox in the back, inserts the quarter, selects a song, punches the buttons, a needle lands on a record, and a good God almighty rockabilly tune cuts through the coffee shop. Mabel brings Mickey his pie and milk. MABEL (to Mickey) She ought not be doing that. That's for Jerry's kids, not rock 'n roll. CAMERA moves around to a CU of Mickey. This is the first time we see him. As he takes a bite of green pie: MICKEY I can't take her anywhere. Mallory starts doing a slow seductive fandango around the coffee shop. She's really cooking and smoking. Pinball Cowboy and Mabel are starting to wonder just who the hell these people are. Mickey isn't paying much attention. He's too busy enjoying his pie and milk. EXT. COFFEE SHOP - DAY A dirty pickup truck, sporting a Confederate flag decal, pulls up to the coffee shop. SONNY, OTIS, and EARL, three tough-looking rednecks, pile out. Steam rises from beneath the pickup's hood. EARL Goddamn this sumbitch is runnin' hot. Y'all go inside. I'm gonna check 'er out. INT. COFFEE SHOP - DAY The LOUDNESS of the Rockabilly song slaps Sonny and Otis in their faces as they walk inside the door. The sexy sight of Mallory doing the ubang stomp stops them in their tracks. SONNY Good God almighty. What the hell is that? OTIS That's a bitch outta hell, son. Otis and Sonny exchange looks. SONNY Take a run at 'er, kiddo. Otis heads toward Mallory. Sonny moves over to the counter next to Mickey. SONNY Miller, Mabel. MABEL Comin' up. Otis stands in front of Mallory, trying to copy what she's doing. Her eyes are closed at the moment, so she doesn't see him. Mabel sets the Miller down in front of Sonny. Sonny takes a swig, enjoying the floor show. SONNY (to Mickey) That's some sweet piece of meat, ain't it? Mickey turns from his pie and looks at Sonny. His expression betrays nothing. MICKEY Her name's Mallory. The needle lifts off the record. The song ends. Mallory opens her eyes and sees Otis. OTIS Hells Bells! Don't stop now sugar. I'm just getting warmed up. Otis gives her his best shit-eating grin before turning to Sonny. Sonny gurgles out a laugh. SONNY Hey, I think she's sweet on you. Otis turns to Mallory as she PUNCHES him hard in the face spinning him around. Sonny spews his mouthful of Highlife. Mallory grabs the back of Otis' head and SMASHES it down on the table, cracking the linoleum. Otis buckles, dropping to his knees. Sonny jumps off the counter stool, but Mickey's hand clutches hold of his shoulder. Sonny spins around toward Mickey, loaded for bear, and points his finger at him, threateningly. Before any threat can be made, Mickey whips a large buck knife out from its sheath, and in a flash, SLICES off Sonny's finger. Sonny's finger drops on his boot. He grabs his aching hand. Blood flows from the wound. MICKEY Just because my woman's mopping up the floor with your buddy is no reason for you to join in. Mickey makes five lightning quick SLASHING SWINGS. The buck knife slips back into its sheath. At first, there seems to be no difference with Sonny. Finally, blood flows from the slices made in his face and chest. Sonny collapses. The SHORT-ORDER COOK charges out of the kitchen at Mickey, wielding a meat cleaver and screaming. Mickey whips out a .45 automatic from a shoulder holster inside his jacket and FIRES. BULLET'S POV: Heading fast toward Short-Order Cook's face. It HITS. Short-Order Cook puts his hands to his face and falls to the ground, screaming. Mickey spots Earl, who's standing outside the plate glass window. Earl's watched the whole shebang. Earl mouths 'Fuck!' He turns and runs for it. Mickey hurls the knife through the plate glass window, which SHATTERS. The knife PLUNGES deep into Earls back. He hits the ground dead. Mickey turns to Mallory. She's sitting on op of Otis, SLAMMING his head repeatedly on the floor. MICKEY Honey. Mallory looks up at Mickey. She gets off Otis and moves to Mickey's side. Mickey trains his .45 on Pinball Cowboy, who's shaking in his cowboy boots. Mickey aims at Mabel, who's clutching the coffee pot, crying. MICKEY (to Mallory) Pick one. Mallory does eanie, meanie, minie, moe, pointing back and forth from Mabel to Pinball Cowboy. MALLORY Eanie, meanie, minie, moe, catch a nigger by the tow. If he hollers, let him go. Eanie, meanie, minie, moe. My mom told me to pick the best one and you are it. She ends, pointing at Mabel. Mabel's crying. She screams. MABEL NO! Mickey FIRES the .45. The bullet CHINKS through the coffee pot Mabel's holding and explodes, THUNKING her in the chest. She hits the floor dead. Mickey and Mallory join hands and walk over to the Pinball Cowboy who stands in a pool of his own urine. MALLORY When you tell people what went on here, tell 'em Mickey and Mallory Knox did this. Understand? Pinball Cowboy nods yes. The two killers plant a big wet kiss on each other's mouths. Then, holding hands, Mickey and Mallory walk out of the cafe. CREDIT SEQUENCE: INT. COUPE DE VILLE - MOVING - DAY Mickey and Mallory in a flashy '68 Cadillac Coupe De Ville. Duane Eddy's 'REBEL ROUSER' blares on the soundtrack. The B.G. is an outrageous PROCESS SHOT. The titles splash over this image 50's style. When this sequence is over, we CUT TO BLACK. END CREDIT SEQUENCE Over black screen, we hear: CAPTAIN SQUERI Send Scagnetti in here. INT. POLICE STATION (SQUERI'S OFFICE) - DAY CAMERA is position in the middle of the office. The door is in the middle of the frame. JACK SCAGNETTI flings the door open and steps inside Squeri's office. Squeri's never seen. SCAGNETTI You wanted to see me, Capt'n? CAPTAIN SQUERI (O.S.) Scagnetti, go up to interrogation room C. Dewight McClusky, chairman of the prison board, is waiting to meet you. You're gonna deliver two prisoners from the county jail to Nystrom Insane Asylum in Bakersfield. SCAGNETTI This is bullshit. I'm a detective. You want an errand boy, call Jerry Lewis. Scagnetti spins around and leaves the room, SLAMMING the door shut behind him. Captain Squeri shouts after him. CAPTAIN SQUERI (O.S.) Jack! INT. POLICE STATION CORRIDOR - DAY Police Detective Scagnetti walks rapidly down the hallway, wearing an old, wrinkly, black suit jacket. PEOPLE walk by in the F.G. and B.G. Scagnetti slips an already tied tie over his head. INT. INTERROGATION ROOM C - DAY DEWIGHT MCCLUSKY, a man in his fifties, wearing a business suit, stands in the F.G. reading a book with his back to the door. In the B.G., Scagnetti enters the room. SCAGNETTI Jack Scagnetti. You wanted to see me? McClusky turns toward Scagnetti. MCCLUSKY Congratulations on the Curtis Fox case, Scagnetti. You put an end to a nightmare. The ladies of this city can get to sleep again, and they have you to thank. SCAGNETTI Thank you, sir. MCCLUSKY Dewight McClusky of the California Prison Board. Take a seat please. Scagnetti lowers into a chair in front of the interrogation table. MCCLUSKY (referring to book) This is damn good reading. I'm surprised Hollywood hasn't found you. This would make a better movie than that 'Serpico' shit. McClusky puts the book down, we see the title: 'CURTIS FOX: The Capture and Death of a Serial Killer'. Author: Jack Scagnetti. McClusky sits on the edge of the table, facing Scagnetti. He lifts a file off the table, then tosses it in Scagnetti's lap. MCCLUSKY I think you'll find that good reading as well. Mickey and Mallory's file. You familiar with them? Scagnetti opens it. It's the files, reports, and photographs of Mickey and Mallory Knox. Scagnetti's face lights up. SCAGNETTI Who isn't? MCCLUSKY You been followin' the news coverage? SCAGNETTI They've been separated since their incarceration in a couple of penitentiaries--- MCCLUSKY Susanville, Soledade. SCAGNETTI They've killed a shitload of inmates and guards--- MCCLUSKY Five inmates, eight guards and one psychiatrist all in one year's time... Very good. You do keep up with the headlines. Scagnetti nods. MCCLUSKY Look, our situation in a nutshell is, no prison wants 'em, no prison will take 'em. I'm even talkin' hellholes, where the warden's as hard as a bar of iron. No one wants those fuckin' assholes behind their walls, dealin' with 'em day in, day out. SCAGNETTI I can appreciate that. MCCLUSKY So can we. So the solution to our little problem is we had them deemed crazy. And we're shippin' 'em to Nystrom Asylum for the criminally insane. SCAGNETTI Lobotomy Bay? MCCLUSKY You've heard of it? SCAGNETTI So, how do I fit into this scheme? MCCLUSKY The public loves you Jack...You don't mind if I call you Jack, do you? SCAGNETTI By all means. MCCLUSKY You're a celebrated cop. Twenty-six years on the force, a best-seller out on paperback... McClusky grabs Scagnetti's book and reads from the back cover. MCCLUSKY A modern day Pat Garret. A hell bent lawman with a deadly axe to grind with maniacs. McClusky lowers the book. MCCLUSKY You're a breathing icon of justice and that's why you were chosen to deliver Mr. and Mrs. Knox. We, the prison board we, knows that once you get them on the road if anything should happen, an escape attempt, an accident, fire, anything...Jack 'Supercop' Scagnetti would be there to look out for his public's best interests. SCAGNETTI I see. MCCLUSKY You write the script Jack, call it, 'Showdown in Mojave: The extermination of Mickey and Mallory', whatever... Have we found our man? Hold on Scagnetti. CUT TO: INT. COUNTY JAIL - CELL BLOCK CORRIDOR - DAY SCAGNETTI'S POV: McClusky stands next to a big iron door. He BANGS on it with is fist. We stay on Scagnetti's POV through this scene. MCCLUSKY Pete, open it up! I'm comin' through with a visitor! A BUZZER SOUNDS McClusky opens the door and we follow him down the corridor. As soon as the door opens, we can hear a female voice singing the song 'Long Time Woman'. McClusky turns to Scagnetti as they walk. MCCLUSKY Well, Jack, I'll tell ya, in all my years with the penal institution, and I'll tell ya that's no small number, Mickey and Mallory Knox are without a doubt the most twisted, depraved group of fucks it's ever been my displeasure to lay my eyes on. I mean, those two rat shits are a walkin' reminder of just how fucked up our system really is. The song 'Long Time Woman' is getting louder as they proceed. SCAGNETTI (O.S.) Who's the song bird? MCCLUSKY Mickey's better half herself. Mallory Knox. This little lady drowned her father in a fish tank. INSERT: INT. A LIVING ROOM - NIGHT CU of a home aquarium with fish swimming around. Suddenly Mallory's FATHER'S head is shoved into the tank. BACK TO: PRISON CORRIDOR MCCLUSKY While the two together burned her mother alive in her bed. INSERT: INT. A BEDROOM - NIGHT MEDIUM CU of Mallory's MOTHER lying asleep in bed, mouth open. What looks like a gas nozzle appears at the top of the FRAME, pouring gasoline all over her face. She coughs and gags. CAMERA PANS up and we see Mickey holding a gas can. CU of Mallory with a lit match by her face. She tosses it in front of her. We hear the SOUNDS of Mallory's mother igniting. BACK TO: PRISON CORRIDOR Still SCAGNETTI'S POV: SCAGNETTI (O.S.) Why? McClusky's still walking ahead of us. MCCLUSKY Because they wouldn't give them their blessing for marriage. SCAGNETTI (O.S.) Ain't love grand. McClusky laughs. MCCLUSKY Ain't love grand. That's a good one. Still SCAGNETTI'S POV: We look down from McClusky to Mallory's file in our hands. It contains her picture and lists her color of hair, color of eyes, height, weight, race, etc. Beneath that is a column which reads: PSYCHIATRIC REMARKS. As we read the remarks, we hear a DOCTOR'S VOICE read aloud. FEMALE PSYCHIATRIST (V.O.) When pressed about the reason for the murders...patient became hostile... INSERT: INT. A PSYCHIATRIST'S OFFICE - DAY Looking trashy, wild, and animalistic, Mallory's a sex machine dressed in a prison gown. She sits in a chair, looking directly at the CAMERA. MALLORY I don't owe you an explanation! I don't owe you shit! I'm not here for your entertainment. If I don't tell you what you wanna hear, what are you gonna do? Throw me in jail? I'm already there, you stupid pigfucker. You gonna give me some more time? I've already got life. What else you got to threaten me with? Death? I'd like to see you fuckin' try. I haven't met one motherfucker here who's shown me shit! BACK TO DEATH ROW CORRIDOR: Still on SCAGNETTI'S POV: We look up from the fill and see McClusky's leaning against a cell door. We hear somebody signing 'Long Time Woman' inside the cell. We move to McClusky, who looking into the CAMERA, gestures toward the cell. MCCLUSKY Here she is...you know her, you love her, you can't live without her...Mallory Knox. We PAN from McClusky to the inside of the cell where we see Mallory, her back to us, singing and dancing. INT. PRISON (MALLORY KNOX'S CELL) - DAY CU of Mallory's face singing 'Long Time Woman'. MALLORY (singing) 99 years is a long, long time. Look at me, I will never be free, I'm a long time woman... MCCLUSKY (O.S.) Hey, Knox! Somebody out here wants to meet you. Mallory just keeps on truckin'. MALLORY (singing) Been workin' on the road now. Been workin' by the sea. Been workin' in the cane fields. and I wanna be free... MALLORY'S POV: We stare at McClusky and Scagnetti for a second. Then, like a bull, we charge/DOLLY straight at them. Mallory screams O.S. We SMASH headfirst into the bars. Mallory's POV flings up, looking at the ceiling, then falls backward. MEDIUM TIGHT SHOT of floor, Mallory falls into FRAME, out cold. CU on Scagnetti through the cell bars. SCAGNETTI Jesus Christ! CAMERA PANS over to CU on McClusky. MCCLUSKY Don't worry about it. She does that all the time. BACK TO: Mallory on the floor, still unconscious with blood trickling down her scalp. MCCLUSKY (O.S.) Follow me. INT. PRISON (LONG CORRIDOR) - DAY CAMERA is at the end of a long corridor. McClusky and Scagnetti approach from the other end. Scagnetti's studying the files. PHIL WURLITZER comes up behind the two men. WURLITZER You duckin' me Dewight? MCCLUSKY Hey, Phil, how the hell are ya? WURLITZER (to Scagnetti) This son of a bitch is chairman of the prison board, but it's like pullin' teeth to get him down to a prison. MCCLUSKY The only reason I'm here now is to set him straight, and I'm on the next flight out. (to Scagnetti) Jack, this is the superintendent of the jail. Phil Wurlitzer. He's the man who's got the power of the pen here. Wurlitzer shakes hands with Scagnetti. WURLITZER Pleased to meet ya, Jack. I read your book. I'm impressed. Good work on Curtis Fox. SCAGNETTI Thanks. MCCLUSKY From now on, you'll be dealin' with Phil. He can answer all the questions you got about the arrangements. I'm gonna be bidding you good luck and adieu in about twenty minutes. My flight back to Sacramento leaves LAX in a hour. WURLITZER And I want you to know, we'll all cry a river when you're gone. They all laugh. SCAGNETTI What's the travelling arrangements? WURLITZER Well, Mickey and Mallory can't be together. So, we'll put you on one of our prison busses and you'll take Mallory first, then you'll come back for Mickey. SCAGNETTI And where do you keep Mickey? WURLITZER We got his stinkin' ass in the deepest, darkest cell in the whole place. But it just so happens that right now he's got a special visitor. SCAGNETTI Who? WURLITZER Wayne Gayle. SCAGNETTI (surprised) Wayne Gayle! INT. JAIL - VISITING AREA - DAY WAYNE GAYLE, a young, energetic, commando journalist a'la Geraldo Rivera is sitting on the visitor side of the county jail visiting area. Wayne is alone and the visiting area is empty. Apparently some arrangement was made for the visit. Wayne has a miniature tape recorder in his hand and is testing it. WAYNE (into recorder) Testing one...two...three... testing...one...three...over, over, over, Mickey Knox meeting. Wayne shuts off the recorder, rewinds and plays it back. It works beautifully. He hits the record button and conceals the recorder in his sport coat jacket. The door opens on the prisoner side and Mickey Knox is lead into the room by two SHERIFF'S DEPUTIES. Mickey's wearing the country jail blue jump-suit. He has a thick and wide leather belt around his waist with a metal ring built into each side. Long sturdy chains with handcuffs on each end are wrapped across his body and through the rings, binding his arms to his sides. His hands and feet are double cuffed. The Deputies both have their guns drawn, ready to blow Mickey in half at the slightest provocation. For a man wrapped and bound in chains, Mickey seems strangely in control of his environment. Even restrained as he is by the symbols of society (the chains, jail, guards, guns, jump-suit), he remains a dangerous, intimidating, and fascinating figure. Wayne takes in the image of Mickey. WAYNE (to himself) Showtime. Mickey's roughly shoved into his seat on the prisoner's side of the glass. The Deputies move to their place, off to the side by the wall. WAYNE Hello Mickey. We've never been introduced, but I'm Wayne Gayle. I don't know if you've ever heard of me or remember me. I was one of the reporters outside the courthouse during your trial--- MICKEY Everybody knows who you are. You're famous. Wayne pauses and retorts. WAYNE I could say the same thing about you. (smiles) I want to thank you very much for seeing me... Mickey is silent. WAYNE I have a television show. It's very popular. Every week we do a profile on a different serial killer. You don't mind if I call you a serial killer, do you? Mickey shakes his head no. WAYNE The episode we did on Mickey and Mallory was one of our most popular ones. MICKEY Did you ever do one on Wayne Gacy? WAYNE Yes. MICKEY Whose ratings were higher? WAYNE Yours. MICKEY How 'bout Ted Bundy? Ever do one on him? WAYNE Yes. Yours got the larger Nielson share. MICKEY Good...yuppie piece of shit. WAYNE What I'd like to do--- MICKEY How 'bout Manson? WAYNE Manson beat you. MICKEY Yeah, it's pretty hard to beat the king. WAYNE We've been waiting to do a follow up episode on you for a long time. And that time has definitely come. (pause) I feel it's apparent to anyone who's hip to what's going on that the prison board has thrown the constitution straight out the fuckin' window. You and Mallory may be killers, but you're not insane. You belong in a prison, not in an asylum. The prison board is blatantly railroading you into a hospital for the sole purpose of turning you into vegetables. Now some people are saying, 'So what?' I am not one of those people. If we avert our eyes while they do this to you, we give them permission to do it again whenever they see fit. Today they wipe clean your mind because they feel your actions are dangerous, tomorrow they wipe clean my mind because they feel what I say is dangerous. Where does it all stop? No response from Mickey. WAYNE My problem Mickey, is that you don't exactly inspire empathy. I'm all alone on this. I need your help. I want what the prison board is doing to be the focus of our follow up episode. Now I have interviews with chairman of the prison board Dewight McClusky about this issue. And I'm tellin' ya, Mickey, he looks bad. The two psychologists they used for their psychiatric kangaroo court won't talk to us, which always looks bad. I have an interview with both the judge of your trial, Bert Steinsma, and the psychologist and author, Emil Reinghold, both of which discount the notion that you're insane. You put that all together, and what the state is doing becomes obvious. But the network isn't satisfied. They feel the show needs another element. It needs you. In order to put the show on the air, I need to get an interview with you. You haven't talked to the press since your trial. Now, a few days before you get transferred to an asylum, you grant an interview on television with Wayne Gayle. We're talkin' a media event here. Every son of a bitch out the with a TV set's gonna tune in to see that. We'll make their motives so blatant, we'll shame 'em into dropping the whole thing. At least for a little while, the publicity would keep them from just giving you and Mallory lobotomies. Well, whatta ya say? MICKEY Have you talked to Mallory about this? WAYNE She won't even see me, Mickey. Now you're not supposed to know anything about what's going on with her, but I'm gonna tell ya somethin'. Since you two've been sentenced, Mallory hasn't spoken one word. MICKEY She doesn't talk? WAYNE Not to anybody. She sings. MICKEY She sings? What does she sing? WAYNE Songs. 'He's A Rebel', 'Leader Of The Pack', 'Town Without Pity', that Dusty Springfield song 'I Only Want To Be With You'. That's what I hear anyway. Her behaviour was the main thing the doctors' report used against you. So even if she would see me, which she won't, I couldn't put her on camera anyway. If I ask her, 'Mallory, are you insane?' And she starts singing 'Dead Skunk In The Middle Of The Road', that blows our whole case. Mickey cracks a smile. The guards come over to take him away. DEPUTY SHERIFF (O.S.) Time, motherfucker! They grab Mickey, and jerk him from the chair. Wayne stands. WAYNE Wait a minute, Mickey, I need an answer. Mickey doesn't respond. He just leaves with the guards. WAYNE (yells after him) Just think about it. But don't think too long. INT. MICKEY'S CELL - DAY MEDIUM CU of Mickey curled up by his bed, writing Mallory a letter. MICKEY (V.O.) Dearest Mallory. My cell is so cold. At night I get the chills. I pretend you're lying next to me, holding me from behind with your leg draped over mine and your arms wrapped tightly around me. I lie in my cell... DISSOLVE TO: WIDE SHOT in cell behind Mickey. We slowly DOLLY back. MICKEY (V.O.) ...and imagine kissing you. Not making love, just kissing for hours and hours on end. I remember everything about our time. I remember every joke you ever told. CU of the letter being written over the WIDE SHOT. MICKEY (V.O.) I remember every secret you ever shared. Shared or revealed? I think shared is proper. I remember every single time you laughed. ECU of Mickey, mouthing the words as he writes, we can hear Mallory's laugh - a distant haunting echo. MICKEY I remember every meal we ever ate. I remember your cooking. I especially remember your casseroles. I remember watching David Letterman. We hear the echo of television laughter. MICKEY I remember driving fast...faster, man, fast behind the wheel of the Coupe de Ville. The sound of the Coupe de Ville swells until we... CUT TO: EXT. COUPE DE VILLE - NIGHT CAMERA sits on the hood looking down at Mickey and Mallory, driving fast -- SLOW MOTION. A hurricane of wind whips through their hair. Mallory laughs wildly as she wraps her arms around Mickey and kisses. MICKEY (V.O.) You, baby, by my side. Your bare feet up on the dash, singing along with the radio 'Needles And Pins', 'He's A Rebel', 'You're My World', 'Ring Of Fire', 'Love Grows Where My Rosemary Goes', 'Groove Me'... DISSOLVE TO: EXT. COUPE DE VILLE - NIGHT Coupe de Ville parked on the road side. Mickey is in the drivers seat with his feet on the dash watching Mallory dance on the hood of the car. MICKEY (V.O.) And your dancing, my God, your dancing. I lie on my bed and go over every day, every minute of our happiness. Every day take a day of our time and go through it hour by hour. I don't jump ahead either. I take it as it comes, and I live that day again. That way when I get to our first kiss... DISSOLVE TO: INT. A BEDROOM - NIGHT The screen erupts with fire. Mickey and Mallory's faces appear in the flame kissing passionately. MICKEY (V.O.) The killing of your parents, our wedding...They're not just memories. I feel that joy again... DISSOLVE TO: INT. RESTAURANT - DAY MEDIUM CU of Wayne holding a piece of paper in front of his face and reading from it out loud. We hear Wayne's VOICE over Mallory's singing before the last scene DISSOLVES. WAYNE (reading out loud) 'After taking a few days to reflect on your offer, I've come to the conclusion that you are one hundred percent correct. A national TV interview would be very advantageous to both Mallory and I. The only obstacle is they're shipping me out to the funny farm in four days. However, that is your problem and not mine. I feel confident you'll manage. Here's to us making television history. Sincerely, Mickey Knox.' Wayne drops the letter down from in front of his face. WAYNE Am I a God or what? We now see the restaurant adorned with the standard Denny's decorum. Wayne's team is gathered in a booth that surrounds the remains of a greasy meal. In response to his last remark, they all pretend they are praying to him. The team consists of SCOTT, the cameraman, who wears wild t-shirts (presently a t-shirt with the movie 'She Devils On Wheels' splashed on the front); ROGER, the soundman, who wears wild Hawaiian shirts and Bermuda shorts; and UNRULY JULIE, Wayne's assistant, a young lady who wears Bermuda shorts, a baseball jersey, and a dark sports coat no matter how hot the weather is at any time. Roger's never seen without his recorder, Scott's never without his camera, and Unruly Julie always has her giant notebook. These dishevelled film types are all in their twenties and are a marked contrast to Wayne's stylish yuppie demeanour. Unruly Julie pops the cork on a champagne bottle. The guys hold out coffee mugs, while Julie fills. Julie, however drinks straight from the bottle. NOTE: This scene is to be played at a rapid fire 'His Girl Friday' pace. WAYNE Drink up! This is a celebration. This is the day we received word we were gonna make television history. We're gonna have the first sit down, in depth interview with the most charismatic serial killer ever, one day before he's being shipped to a mental hospital for the rest of his life. This is one of those golden moments that happens maybe only four times in a lucky journalist's career. This is Wallace with Noriega, this is Elton John confessing his bi-sexuality to the Rolling Stone, this is the tearful reporting of the Hindenberg disaster, this is Truffaut setting the record straight on Hitchcock, this is a Robert Capa photo, this is Woodward and Bernstien meeting Deep Throat in an underground parking lot, this is John Reid reporting 'The Ten Days That Shook The World', this is the hippies' bloody palms at Kent State, the Maysles brothers at Altamont, this is the Nixon/Frost interviews... ROGER This is Raymond Burr witnessing the destruction of Tokyo by Godzilla. Everybody laughs. SCOTT What's the schedule, mein fuehre? As Wayne talks, Unruly Julie writes furiously in her notebook. She never speaks, just writes. WAYNE We got tonight and tomorrow to get our shit together. The day after that they're shippin' Mallory. That's when we do the Mickey Knox interview, 'cause the next day he goes. SCOTT Would the network really not run it without the interview? WAYNE Are you kidding? The last thing they expected was Mickey Knox to get up close and personal. They wanted a follow up episode and would've taken anything I had given them. I'm not gonna tell Mickey Knox that. I'm gonna make him think his grey matter depends on it. When I told Woody and the brass about this coup, they practically shit a brick. I'm talkin' an adobe brick. They want to expand the show to a hour, and they want it on immediately. ROGER How immediate is immediately? WAYNE Next week's episode. Wayne's team all spit out mouthfuls of champagne. ROGER We don't got enough footage for a hour follow up. SCOTT (pointing at Roger) What he said. WAYNE Rape and pillage the first episode, just change the order a bit. Those sons of bitches out there ain't gonna know the difference. All that shit is just filler for the interview anyway. We film a new intro. Show some old footage from the first episode so the get a brief history of Mickey and Mallory. We introduce a new angle... what the prison board is up to. We see some of that new shit, then the rest of the show is the interview. Now what's so fuckin' hard about that? Oh, Julie make a note: I need Woody to get me thirty seconds of the 'Live at Five' broadcast to promote next weeks show. We'll do a feed right from the jail while we're wrapping up with Mickey. Unruly Julie scribbles in her notebook. Wayne snaps at Scott. WAYNE You too Scott, Betacam and a remote, keep it simple. Scott closes his eyes in concentration, and repeats Wayne. SCOTT Betacam with remote and two-way comm link. Got it. (opens eyes) How about the interview...What camera do you want to use? Wayne closes his eyes. WAYNE I see...high contrast sixteen millimetre black and white, and I mean black and white, where the black's black and the white's white. This is for posterity, so fuck video. Film! Film! Film! Wayne pounds on the table. CU of Unruly Julie writing in her notebook: 'Film...film...film!' WAYNE So Unruly Julie's comin' with me and planning the interview. (points at Roger & Scott) You two go down to the editing bay, take the old footage and the new footage, put it together, and see what we got. Get it into shape so when we finish the interview, we can just stick it in. SCOTT When do you want the assembly? WAYNE Tomorrow. CUT TO: TITLE CARD: 'TOMORROW' CUT TO: INT. TV STATION CORRIDOR - DAY CAMERA leads Wayne, who's talking to Unruly Julie. As they march quickly through the halls Julie writes furiously in her notebook. WAYNE At that point I'll ask him if he believes in God. If he says yes, I'll ask him what he thinks God would make of his actions. And is he worried about burning in hell? If he says no, I'll say, 'Well, Mickey, what do you believe in?' And hopefully he'll say something like a live round of ammo, the expression on the face of a man he just split up the middle, Mallory's eyes, sex, drugs, and rock 'n roll. He's bound to say something provocative. Wayne and Unruly Julie enter the video editing room. Scott and Roger are sitting at the editing bay. Everybody is wearing, and looks like they slept in, the same clothes as the night before, except Wayne, who's in another sweater and looks alert and snappy. WAYNE Okay, boys, let's have it. SCOTT Well, basically, what we did was put part of the old show on first... ROGER But we changed the order around so it wasn't super obvious... SCOTT Then we added the new shit to the tail... ROGER So we film the interview, and we can just slap it on at the end. Wayne and Unruly Julie grab chairs and sit. WAYNE Okay, let's see it. CU of video monitor screen. We see a show rewinding. ROGER (O.S.) Now we got to film a new intro for the follow up episode. But we put the intro for the first episode at the beginning temporarily so you can see it with some scope. WAYNE (V.O.) I hear ya. Play. CU of Roger's hand pressing a play button. CUT TO: Static. Then the opening slate for 'AMERICAN MANIACS' fills the SCREEN. BEGIN: HIGHWAY - DAY EXT. HIGHWAY - DAY WAYNE GAYLE is standing in the middle of an empty highway. The CAMERA looks up from the ground. With a WIDE ANGLE lens, he looks practically mythic. Wayne speaks into the camera. WAYNE Hello. Welcome to 'American Maniacs'. I'm your host Wayne Gayle. And this is Highway 58. Wayne walks toward the CAMERA. We DOLLY back. WAYNE To some the fastest distance between point A and point B. To others a beautiful stretch to the American landscape. But to Mickey and Mallory Knox, it was a candy land of murder and mayhem. While we hear Wayne's narration, we see a MONTAGE of home 8mm movie footage. These are films of Mickey and Mallory living a normal life. HOME MOVIE - Mickey shaking hands with the JUDGE who married them. Mallory stands happily by Mickey's side. HOME MOVIE - Mallory hamming up the sex angle, as she poses by Bob's Big Boy. HOME MOVIE - Mallory sitting on Mickey's lap at home. HOME MOVIE - CU of Mallory asleep in bed. Mickey (holding camera) tickles her under her chin. Mallory slaps herself in the face with a handful of shaving cream. HOME MOVIE - Mickey and Mallory posing with Santa Claus. HOME MOVIE - Mickey being surprised in the toilet. WAYNE (V.O.) After living a very routine, drab, nothing out-of-the-ordinary-ever- happens kind of life, the sweethearts shocked the entire nation with a cross-country crime and murder spree that lasted only three weeks, but left--- PHOTO: BLACK & WHITE PHOTOS of bloody victims -- MEN and WOMEN. PHOTO: BLACK & WHITE PHOTOS of a bloodstained police chalk outline. WAYNE (V.O.) ---forty-eight known bodies in its wake. Including--- HOME MOVE FOOTAGE of Mallory and her PARENTS during happier times. All three are smiling. Mallory's in the middle with her arms around them. Mallory's father is eating a chicken drumstick. Mallory takes a bite out of it while he's holding it. WAYNE (V.O.) ---Mallory's very own parents. PHOTO: COLOR POSTCARD of Los Angeles. WAYNE (V.O.) They started their crime wave in Los Angeles. Wayne Gayle stands in front of a Circle K convenience store. He speaks to us. WAYNE And they were finally apprehended here at this Circle K in St. Paul, Minnesota. CUT TO: EXT. CIRCLE K - DAY This sequence is filmed in 16MM COLOR, cinema verite a'la 'COPS.' The CAMERA runs behind three blue windbreaker clad COPS, as they run up to the Circle K, shouting obscenities. In front of the store three windbreaker cops have Mickey on the ground, beating him with nightsticks. One COP lies on the ground near them, holding his hands over his face, screaming. To the left Mallory is slugging it out with a windbreaker COP, matching each other blow for blow. Meanwhile, the three cops we ran with reach the action and join in. CUT TO: MONTAGE NEWSPAPER-- Newspaper or magazine COLOR AD for a 7/11 store. NEWSPAPER-- Newspaper or magazine COLOR AD for a gas station. WAYNE (V.O.) They started off robbing 7/11 type stores and gas stations and later graduated to banks and the big time. EXT. SUBURBAN STREET - DAY Wayne Gayle walks down the street. The CAMERA walks with him. He speaks into the camera. WAYNE Mickey and Mallory's idea of an armed robbery was a little different than most. It was an assault, actually. EXT. 7/11 STORE - DAY Wayne interviews BISHOP, a young blonde kid with a 'Flock of Sea Gulls' haircut. Bishop's name appears on the SCREEN. BISHOP Well. I knew that Mickey and Mallory kill everybody when they're through, except for one clerk. There were a couple of people in the store then, and I was working with Stevo. And I like Stevo, you know? But I was thinking, what could I do to make them pick me to be the clerk that gets to live? INT. 7/11 STORE - DAY This scene is shot through the STORE'S BLACK & WHITE VIDEO SURVEILLANCE CAMERA. The date and time of day are burned into the edges of the frame. Mickey and Mallory charge into a 7/11 store, cocking their shotguns and shouting things. Mickey SHOOTS a CUSTOMER who lies on the ground screaming. Mallory BLASTS a FEMALE CUSTOMER who lies on the ground screaming. Mickey points his shotgun at Bishop the store clerk and screams: MICKEY Money! Money! Money! Fast! Fast! Faster! Faster! Faster than that! Bishop stuffs money in a bag as Mallory guards the door, shotgun ready. STEVO, the other store clerk, walks in from the back room carrying boxes and wearing a walkman. Mickey and Mallory spin around and shoot him. As all this mayhem happens before our disbelieving eyes, Wayne's narration happens over it. WAYNE (V.O.) They'd storm in with shotguns, and kill every customer in the place right off the bat. CUT TO: Smiling PHOTOS of other VICTIMS. We CUT from each photo to the next photo after shotgun FIRE. EXT. BLEACHERS - DAY Wayne Gayle sitting on football bleachers. He stares into the CAMERA for a few beats. Then, after his dramatic silence, he talks. WAYNE Sick, isn't it? (mournful pause) After killing numerous people, the would always leave one clerk alive. One clerk...to give them the money, and tell the tale of--- PHOTO: BLACK & WHITE snapshot of Mickey and Mallory standing next to each other, guns in hand, smiling for the camera. WAYNE (V.O.) Mickey and Mallory. PHOTO: Police Academy BLACK & WHITE snapshot of OFFICER GERALD NASH. WAYNE (V.O.) Patrolman Gerald Nash was just one of the twelve peace officers that Mickey and Mallory murdered during their reign of terror. PHOTO: BLACK & WHITE photo of Gerald Nash and his partner DALE WRIGLEY, dressed in their uniforms, arms around each other. WAYNE (V.O.) Gerald and his partner Dale Wrigley were parked at... PHOTO: BLACK & WHITE snapshot of donut shop. WAYNE (V.O.) ...this donut shop, Alfie's Donuts. When--- Interview with Dale Wrigley. Dale's name appears below him on the SCREEN. DALE This '68 Cadillac Coupe De Ville pulled up about three spaces away. Gerald came walking out with our coffee and--- (begins to tear up) my bear claw. When the driver of the car asked him something, Gerald started giving him what looked like street directions. When he finished, the driver waved him 'thanks,' brought up a shotgun and--- PHOTO: BLACK & WHITE of donut shop. WIDER PHOTO: Alfie's donut and parking lot. On this photo, a white grease pencil circles where Gerald was shot. We hear a SHOTGUN BLAST and a SCREAM over this. PHOTO: BLACK & WHITE of Mickey and Mallory. We hear LAUGHTER and a car PEELING OUT over this. EXT. BLEACHERS - DAY Wayne talks to us. WAYNE Apparently bored with banditry and murder, the two outlaws proved what renaissance psychopaths they really are. To break up the monotony in between bank jobs, or what have you, they started butchering whole households at random. CUT TO: MONTAGE of newspaper front page stories and headlines of family households butchered by the Knoxs. INT. WAYNE'S STUDIO - DAY Wayne, dressed in a pink shirt and suspenders, talks to us in front of a blue screen that has 'WAYNE GAYLE'S AMERICAN MANIACS' logo behind him. WAYNE Unfortunately, the story didn't end with their capture. It just became more surreal. Their subsequent trial turned into a sick circus... CUT TO: EXT. COURTHOUSE - DAY The CAMERA captures the crowd in front of the courthouse. They're a very mixed lot. WAYNE (V.O.) ...As spectators, reporters, law students, tourists, gawkers, the interested, the curious, the devoted, and the demented were drawn to the Los Angeles county courthouse like moths to a flame. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The Mickey and Mallory Knox murder trial was so event filled it made the crime spree that took place before pale by comparison. The first point was the decision of Mickey's to act as his own council. Now this in itself is not unheard of, for instance, Ted Bundy acted as his own council as well. What was unexpected was how well Mickey's performance would be. INT. JUDGE'S DEN - DAY Wayne interviews JUDGE BURT STEINSMA in his den at home. WAYNE (V.O.) We spoke with Burt Steinsma, who was the presiding judge during the Knox trial. JUDGE STEINSMA Mickey was surprisingly effective. When I was told I was to be the judge of this trial and then I was told Mickey Knox would be handling his own defence, I got a headache that lasted five days. But at first I breathed a sigh of relief. Mickey showed up very prepared, and proved to be an excellent amateur lawyer. INT. WANDA BISBING'S OFFICE - DAY Interview with state prosecutor WANDA BISBING, an attractive woman in her forties. WAYNE (V.O.) However, this opinion isn't shared by the state's prosecutor on this case, Wanda Bisbing. Wayne's with Bisbing. WAYNE Judge Steinsma said that Mickey showed up very prepared and proved to be an excellent amateur attorney. BISBING Oh, that's rich. Well, considering that Mickey Knox turn his court into a mockery and personally made him look like a fool, I'd say that's very benevolent of Judge Steinsma. As far as Mickey being an excellent amateur lawyer, maybe I'm old fashioned, but when I went to law school, we were taught the object was to win the case, which I did. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The nation caught fire to Mickey and Mallory fever, Mickey and Mallory mania, if you will, as the merits to Mickey's talent as a defence attorney became apparent. Law students from all ends of the country converged on Los Angeles as legal history took a new course. But that was only the lemon next to the pie. And that pie is you, the American people. That pie is the way the strangely charismatic, and make no mistake, they are charismatic, Mickey and Mallory have captured the public's interest, fear, and in some cases, admiration. CUT TO: EXT. COURTHOUSE STEPS - DAY Wayne interviews three long-haired guys: CHUCK, STEVE, and JEFF. WAYNE What do you think of Mickey and Mallory? CHUCK Hot. JEFF Hot. STEVE Totally hot. CHUCK Mickey and Mallory's the best thing to happen to mass murder since Manson. STEVE Forty-eight people known. They're way cooler than Manson. CUT TO: Wayne interviewing MORGAN and PAGE, two young girls. WAYNE What do you think of Mickey and Mallory? MORGAN Well, he's just...I dunno... charismatic. PAGE They're so romantic. CUT TO: Wayne interviewing an INTENSE COP. INTENSE COP I'm here to watch the judge give those two shit asses (BLEEP) the stiffest sentence the law allows. I want to see their faces when the state says 'they are the worst scum sucking, degenerate, douche bag, filthy, I don't know what's ever shit (BLEEP) out. (referring to crowd behind him) And these assholes (BLEEP) are making heroes outta sickos. You wanna know who a hero is? You wanna know? I'll tell ya who a Goddamn hero is. Mike Griffin. Mike fuckin' (BLEEP) Griffin is who these misguided assholes (BLEEP) should be revering. You know why Mike Jerome Griffin is a hero? I'll tell ya why. Because he was killed in the line of duty. Do you want to know how he died? WAYNE Yes. INTENSE COP I'll tell you. Mike Jerome Griffin was killed in the line of duty by those two anti-heroes. CUT TO: Wayne interviewing RUSSELL VOSSLER, Harvard law student. WAYNE Tell me, Mr. Vossler, how many days of the trial have you attended? RUSSELL Ahhh yesss, I've been fortunate enough to attend two days. Law history in the making. I've been a participant. WAYNE And you being a Harvard law student, what is your opinion of Mickey Knox's performance? RUSSELL Ahhh, Mickey's pistolero savvy in the courtroom trial rivals, dare I say conquers that of master Melvin Belli. He's like a magnificent loose cannon, firing point blank in the prosecutor's face. It is my anticipation--- BACK TO: The long-haired guys, Chuck, Jeff & Steve as Wayne speaks. WAYNE You're talking about a man and a woman who killed innocent people. STEVE Don't get us wrong... CHUCK We respect human life an' all. JEFF It's a tragedy. STEVE But...if I was a serial killer, which I'm not, but if I was, I'd be like Mickey. CUT TO: Wayne talking with MARVIN, a black man. MARVIN They're like that crazy mother in the first Dirty Harry movie. Member that crazy ass mother? They're like him. Mickey and Mallory be doin' some cold-blooded shit. When I hear about some of the shit they be doin' on TV, I say 'Damn, that's fucked (BLEEP) up.' BACK TO: The two young girls, Morgan & Page as Wayne speaks. PAGE (laughing and blushing) We sit in the courtroom all day and try to catch Mickey's eye. CUT TO: INT. GOLD'S GYM - DAY Wayne's sitting in the gym. Behind him MUSCLE MEN are working out. Their GRUNTING sounds fill the background. Wayne looks up and just OFF CAMERA to the people he's interviewing. WAYNE What do you think of Mickey and Mallory? ECU on SIMON and NORMAN HUN, two brothers/bodybuilders, in a head SHOT. SIMON I admire them. NORMAN I do, too. WAYNE (confused) But how can you say that? SIMON They're mesmerising. NORMAN Hypnotizing. SIMON Have you seen 'Pumping Iron?' WAYNE Yes. NORMAN Then you've seen the scene where Arnold Schwartzenegger is talking to Lou Ferigno. WAYNE Yes. SIMON Through the power of the simple word--- NORMAN And a snake-eye glare. SIMON ---and a snake-eye glare, Arnold was able to totally psyche out any confidence Ferigno had. NORMAN He squashed him mentally before physically defeating him. SIMON He had the edge. The mind's edge. NORMAN Mickey and Mallory have that edge. SIMON Only on a much grander scale. NORMAN They've hypnotized the nation. SIMON Schwartzenegger was the king of the edge before they came along. The CU of the brothers ZOOMS back. WAYNE You say this and yet...you two are both victims of Mickey and Mallory. SHOT has zoomed back to reveal that both Simon and Norman are in wheelchairs (their legs maimed or gone). SIMON Yes. NORMAN Yes. WAYNE How can you say that you 'admire' them? NORMAN It's like this, Wayne. Two people are standing in a dark room waiting for the other to attack. These two people can't see each other, yet they know they're there. Now, they can either stand in the dark room forever waiting until they die of boredom, or one of them can make the first move. WAYNE Why can't they just shake hands and be friends? NORMAN They can't because neither knows if the other is a deranged senseless killer like the Knoxs. So, you may as well make the first move. WAYNE And they made the first move? NORMAN Unfortunately, yes. SIMON But you see, that's okay, Wayne. WAYNE Why? SIMON They passed the 'edge' along to us. WAYNE How so? SIMON By taking away our legs. Now we have to fight harder to get ahead than anyone else you'll find in this gym. Probably the whole city. They gave us the fighting spirit. Before this happened I was content. Now I'm pissed off. Now I'm half a man and I've got to work like the devil to get whole again. WAYNE But you'll never be whole again. SIMON Never is a very long time, Wayne. A word only the weak use. I'm not a sore loser. Even if I don't have a leg to stand on, I'm going to get up and fight this world until I'm on top again. NORMAN That's the Mickey and Mallory way. SIMON That's the way of the world. NORMAN They're shocking the world into remembering the primal law. SIMON Survival of the fittest. WAYNE One last question. Usually Mickey and Mallory kill all of their victims. Why did they let you two survive? The brothers pause, then turn to Wayne. NORMAN They had us tied down during one of their house raids, you've seen the headlines, and they were taking a chainsaw to our legs before they were gonna kill us. SIMON Just for fun, I guess. NORMAN And then Mallory stops Mickey and says, 'Hey, these are the Brothers Hun.' SIMON Mickey stops sawin' on my leg and says, 'Oh my God, I'm your biggest fan!' NORMAN Apparently, they've seen all our films. SIMON They were especially influenced by 'Conquering Huns of Neptune.' NORMAN So, Mallory calls 911 and they took off. SIMON They actually apologized. INT. WAYNE'S STUDIO - DAY Wayne talks. WAYNE The couple proved so popular that a motion picture glamorizing their exploits was made... CUT TO: A POSTER for the Mickey and Mallory movie called 'Thrill Killers' is shown. It has a drawing of the Movie Mickey and Movie Mallory in a romantic pose a'la 'Gone With The Wind,' both with guns in their hands. Around them are smaller drawings of cars, people shooting, people fighting, explosions, etc. The adlines are: 'RIPPED FROM TODAY'S HEADLINES --THE TRUE STORY OF MICKEY AND MALLORY.' 'THE COUPLE THAT LIVED FOR LOVE AND LOVED TO KILL.' The poster lists the credits: 'Starring Jessie Alexander Warwick and Buffy St.McQueen.' 'Written and Directed by Neil Pope.' WAYNE (V.O.) The Movie 'Thrill Killers' proved to be a tremendous box office success, making stars out of the before then unknown--- CUT TO: STILLS of Movie Mickey and Movie Mallory holding weapons, posing together, creating mayhem. WAYNE (V.O.) ---actors Jessie Alexander Warwick and Buffy St.McQueen. CUT TO: MOVIE TRAILER FOR 'THRILL KILLERS': SHOT Movie Mickey dressed in a fastfood uniform. ANNOUNCER (V.O.) Meet Mickey Knox! MOVIE MICKEY I'm gettin' off this minimum wage train. Break my back for you and throw away my youth for nothing. when I'm thirty, have a big wall drop down in front of me called the future. Realize I've been doin' time in a burger flippin' jail. He rips off his uniform. MOVIE MICKEY Listen to me Jimmy-dick, I want cash, lots of it, cars, fast cars! And I want it now! Not later, now! I wanna wail, baby, wail! SHOT of Movie Mallory on her hands and knees crawling toward CAMERA. ANNOUNCER (V.O.) And his lovely wife Mallory. MOVIE MALLORY I need ya, Mickey. I gotta have ya. I'm no good for no one else. when I'm with you, I burn, baby. Burn like blue flame. SHOT of Movie Mickey and Movie Mallory driving fast and laughing their heads off. ANNOUNCER (V.O.) Together they're the Thrill Killers. The true story of the couple that shocked the world... SHOT of the Movie Knoxs FIRING guns. ANNOUNCER (V.O.) ...with a bloodlust of violence... SHOT of Movie Mickey and Movie Mallory kissing. ANNOUNCER (V.O.) ...and unbridled passion. SHOT of Movie Mallory with a knife to a COP'S throat. Movie Mickey holds a shotgun. MOVIE COP When society catches up with you, I'd hate to be in your boots. MOVIE MICKEY Let me telly ya about society and its boots. It uses those boots for steppin' on people like me and her! CUT TO: INT. EDITING ROOM - DAY Wayne enters an editing room where filmmaker NEIL POPE is working at a movieola. WAYNE (V.O.) We talked with Neil Pope, writer and director of 'Thrill Killers' for his take on the Mickey and Mallory phenomena. Pope stops the movieola, turns toward the CAMERA, and greets Wayne M.O.S. CUT INTO INTERVIEW: NEIL POPE It is my belief that Mickey and Mallory Knox are a cultural phenomena that could only exist in our sexually repressed society. A flower that could only bloom amidst a grotesque fast food culture. A what I tried to do with 'Thrill Killers' was trace the root of the problem all the way down the vine to the original bad seed. Yet amidst the violence and murder and carnage, you've got the structure of a Wagnerian love story. EXT. ALLEY - DAY In a back alley, the conclusion of 'Thrill Killers' plays out. The sound of SIRENS and CHOPPERS are nearing. Movie Mickey, shotgun in hand, runs down the alley stopping at a dumpster, where the wounded and bloody Movie Mallory sits propped up against a brick wall. On the bottom of the SCREEN, the subtitle appears: SCENE FROM 'THRILL KILLERS' (1990). MOVIE MALLORY Mickey, honey, listen to me. Movie Mallory holds out her hand for him to take it. He does. MOVIE MALLORY I can't go. I'm too fucked up. MOVIE MICKEY I'm not saying it's not gonna hurt, but-- MOVIE MALLORY I can't run with you, Mickey! I really want to. If I could, I would, but I can't. I gotta stay here. But you can still get out of here. MOVIE MICKEY No fuckin' way! No fuckin' way! MOVIE MALLORY If they stay, they'll catch you, and they don't have to catch you--- MOVIE MICKEY No fuckin' way! MOVIE MALLORY Mickey, you're wasting time! MOVIE MICKEY I don't give a damn if a million United States marines, all whistling the halls of Montezuma, are gonna come marchin' down this alley any second. There ain't not fuckin' way in hell I'm leaving you. And that's that! Movie Mallory grabs his hand with both of hers. She's crying. The SIREN and CHOPPER sounds are getting closer. MOVIE MALLORY Mickey, my love, if you leave me, they'll catch me and take me to the hospital. If you stay, you'll make 'em kill you. Then it'd be like I killed you. I could bear anything, but I couldn't bear that. So please, please, for me, my handsome husband, run for your life. The SIRENS and CHOPPERS draw closer. MOVIE MICKEY I can't do it. You're my wife, you're my partner. A fella doesn't run when his partner can't run with him. Mallory, my angel, if I could of left ya, I'd of left ya a long time ago. They kiss. MOVIE MALLORY Well, hell, if you won't leave, give me a gun so I can go out shooting. Movie Mickey hands her his .44 Magnum from his belt. MOVIE MICKEY Sit tight. I'm gonna make it a little tougher for 'em. Movie Mickey runs to the end of the alley, peers around the corner at the arriving COPS. MOVIE MICKEY (to himself) Time to get naked and boogie. Movie Mallory is out of movie Mickey's view. She cocks the .44, then places the barrel under her chin. MOVIE MALLORY Mickey! Movie Mickey's busy. He doesn't turn around. MOVIE MICKEY Yeah baby. MOVIE MALLORY You made every day like kindergarten. Movie Mallory pulls the trigger. BANG! DOLLY down the alley to a CU on Mickey as he spins around. Movie Mallory literally blew her head clean off. Her headless body, gun in hand, remains upright in her sitting position. Movie Mickey runs toward her, screaming her name in SLOW MOTION. MOVIE MICKEY Mallory! CUT TO: BACK TO: THE POPE INTERVIEW WAYNE (O.S.) Why did you kill Mallory? Both of them are still alive. NEIL POPE It was dramatic license, no doubt. But I felt an operatic love story needed an operatic ending. The two of them kill for each other. They offer the death of their victims to each other like other lovers offer flowers or bon bons. So what more natural, what more organic, what more poetic than Mallory offering her death to Mickey? It's where it's been leading since day one. We worked it in the movie by using a what if they escaped situation. I think it works beautifully. You'd be surprised. People come up to me at the end of the movie in tears. EXT. PARKING LOT - DAY Actor JESSIE ALEXANDER WARWICK sits on his motorcycle and talks to the CAMERA. He's dressed in a Levi's jacket, jeans, a bandanna is wrapped around his head, and as he talks he bogarts a smoke. His name appears at the bottom of the SCREEN. JESSIE One thing about Mickey for sure, he's definitely a man who has his moments. It was wild playin' him. It was one of those get-it-out-of-your-system performances. INT. BUFFY ST. MCQUEEN'S HOME - DAY This interview is SHOT in Buffy's house a'la Barbara Walters. BUFFY sits on the couch in her living room with a cat in her lap. From time to time, she sips from a coffee cup. Her name appears at the bottom of the SCREEN. BUFFY I didn't play Mallory, the murderer. I didn't play her as a butcher. I played her as a woman in love, who also happens to murder people. I didn't want her to be at arm's length from the audience or myself. If you play her as this wild maniac, the audience never has to deal with her. If you see a decapitation in a movie, you just say 'Oh wow, a neat special effect.' Because you can't relate to a decapitation. It doesn't mean anything to anybody because it's not personal. Decapitations don't fall into most people's realm of life experiences. But if you show somebody in a movie getting a paper cut, the whole audience squirms. Because everybody can relate to a paper cut. WAYNE (O.S.) Did you meet the real Mallory Knox? BUFFY I tried to, but she wouldn't see me. But I read some letters she wrote to Mickey before the murder spree. They helped me out a lot. EXT. PARKING LOT - DAY Jessie talks to CAMERA. WAYNE (O.S) You met Mickey Knox, didn't you? JESSIE Yeah, I visited him when he was up in Susanville. He's a little cerebral for my taste, but all in all, we got along. INT. OFFICE - DAY Wayne, sitting in a chair in front of a desk, interviews DR. REINGHOLD, who sits behind the desk. WAYNE (V.O.) To get a psychiatric view on the strange attraction Mickey and Mallory seems to have, we talked with Doctor Emil Reinghold, noted psychologist and author. Wayne begins his interview. WAYNE Can you shed some light, Doctor Reinghold, on why the public has taken a pair of sociopaths so close to their bosom? DR. REINGHOLD Well, for one, the media has done a tremendous job of turning the husband and wife mass murderers into celebrities. But it's the country's youth who have turned the couple into the ultimate anti-heroes. Basically, the very thing that makes them most lethal is the exact same thing that captures the public's hearts and minds -- Mickey and Mallory's operatic devotion to each other. In a world where people can't seem to make the simplest relationships work and the slightest emotional commitment is considered devastating, Mick and Mallory have a do-or-die romance of a Shakespearean magnitude. To the country's youth, 75 percent of which are coming from broken homes, that's appealing. They have an 'us against the world' posture which always appeals to youth. And they've taken that posture seventeen steps beyond. It's not 'us against the world,' it's 'we're gonna kill the world.' They're exciting. I read their file and I find myself turning the page like it was a paperback. Why do disillusioned youths get into Mickey and Mallory? Why do disillusioned housewives read romance novels? Why are you filming this special? Because you know as well as I do, you say 'tonight at nine Charles Manson speaks,' everybody's going to tune in to hear what he says. Mickey and Mallory have shocked a country numb with violence. They've created a world where only two exist and anybody who inadvertently enters that world is murdered. EXT. COURTHOUSE - DAY SHOTS of the crowd. WAYNE (V.O.) This attitude from the young towards their ultimate anti-heroes is nation wide. And spreading. TWO LONDON TEENS BOY and GIRL, dressed like the Knox's. TITLE CARD: 'LONDON' LONDON BOY You take all the great figures from the States...Elvis, Jack Keroac, Bukowski, James Dean, Jim Morrison, Angela Davis, Jack Nicholson, Jim Thompson, Martin Scorcese...add a bloody pale of nitro and you got Mickey and Mallory. They're like rebels without a cause, except they have a cause. Only nobody knows what it is. LONDON GIRL (screaming) Their cause is each utter! TWO JAPANESE TEENS a BOY and GIRL, dressed like the Knox's. They speak in Japanese, which is translated in English. TITLE CARD: 'JAPAN' As Japanese boy and girl speak, we hear: TRANSLATOR (V.O.) Keep the faith, Mickey and Mallory, keep the faith. TWO FRENCH TEENS a BOY and GIRL, dressed like the Knox's. They speak in French, and we hear the translation in English. TITLE CARD: 'FRANCE' TRANSLATOR (V.O.) Mickey and Mallory have a love that's L.A.M.F. FRENCH BOY (in English) They are super cool! INT. WAYNE'S STUDIO - DAY WAYNE And as to almost give this whole misplaced admiration scenario a cherry on the top, the rock band Redd Kross entered the charts last week at number 13 with their song 'Natural Born Killers, The Saga of Mickey and Mallory.' CUT TO: A CLIP from the Redd Kross video of 'Natural Born Killers.' BACK TO: WAYNE'S STUDIO WAYNE The third wicked twist to this story is Grace Mulberry. CUT TO: FRONT PAGE NEWSPAPER - Headline reads: 'MICKEY AND MALLORY KILL SIX TEENS DURING SLUMBER PARTY!' In smaller bold face under it: 'One Teen Escapes Killer's Clutches.' On the front page is a PHOTO of the teen who escaped. It's seventeen year old GRACE MULBERRY. CAMERA moves in CU of the photo. WAYNE (V.O.) Of the six teens murdered that night, seventeen year old Grace Mulberry was the lucky one left to tell the tale. And this haunted young lady summoned up the courage to take the stand, tell what she saw that horrible night, and then allow herself to be cross-examined by the man who killed her brother and girlfriends. EXT. COURTHOUSE - DAY All kinds of PEOPLE are gathered around. It's a real media event. Grace's sedan pulls up to the courthouse. The many spectators and reporters surround the car. Grace, HER FATHER, and BISBING emerge from the sedan, and start walking up the courthouse steps. Microphones and cameras are thrust at her as REPORTERS ask questions. Grace is afraid to face the crowd. Her head darts in the direction of each question, but she doesn't answer. She remains silent and scared. FEMALE ORIENTAL REPORTER Miss Mulberry! How does it feel to be the only survivor of Mickey and Mallory's reign of terror? FAT MALE REPORTER Miss Mulberry! Has the experience marked you? Some scruffy TRANSIENT sticks his head in Grace's face. TRANSIENT Did ya watch your brother get stabbed up? WAYNE How do you feel about Mickey cross- examining you? Grace, her father, and Bisbing shove their way through the crowd. After Grace and her entourage enter the courthouse, we hear the cry of: VOICE (O.S.) Mickey and Mallory! CAMERA whips toward the bottom of the steps as the car carrying Mickey and Mallory pulls up. The reporters race down the steps they just raced up. The Mickey and Mallory fans go apeshit. Mickey and Mallory, handcuffed, are being led up the steps by SHERIFF'S DEPUTIES. Wayne Gayle and other reporters film them and shoot out questions. Microphones are thrust into their faces. WAYNE Mickey, how do you feel about cross- examining Grace Mulberry? MICKEY I'm keen with anticipation. FEMALE ORIENTAL REPORTER What do you think of this turn out, Mallory? MALLORY I ain't never had so much fun. A CUTE REPORTER, a Tawny Little type, steps forward. CUTE REPORTER Do you have any regrets? MALLORY Not a one. MICKEY Yeah, I always regretted we never got around to looking up my old history teacher, Miss Bainbridge. Now there's a big bad bitch not good for herself or nobody. BLACK REPORTER What's your favorite pastime? MICKEY You mean aside from what I'm being tried for? Mallory playfully elbows Mickey in his ribs. MICKEY Oh, I'd say watching TV. All the reporters in unison: REPORTERS What's your favorite show? MICKEY 'Have Gun Will Travel.' CUTE REPORTER Do you have anything to say to your fans? MICKEY (looking in CAMERA) You ain't seen nothin' yet. CUT TO: EXT. COURTHOUSE - DAY Wayne by himself standing on the courthouse steps. WAYNE (to CAMERA) No, apparently we had not seen everything. Grace Mulberry gave her tearful testimony. Then it became Mickey Knox's turn for cross- examination. CUT TO: COURT SKETCHES: An artist SKETCH of Mickey cross-examining Grace on the stand. BISBING (V.O.) Grace was terrified of Mickey. You have to understand most of their victims were normal people with normal lives that nothing out of the ordinary ever happens to. COURT SKETCH of Mickey looking like the devil himself. BISBING (V.O.) Then out of the blue, they're dealing with the devil incarnate. It was extremely difficult for us to find survivors who would take the stand and testify when they knew Mickey would be cross-examining them. COURT SKETCH of terrified Grace. CAMERA closes in Grace's face. BISBING (V.O.) Grace was every bit as terrified, every bit as haunted. But she felt her brother Tim and her five girlfriends were counting on her. CUT TO: INT. COURTROOM - DAY COURT SKETCH - CU of Grace staring intently. CAMERA widens to include Bisbing standing before the bench as Mickey sits with Mallory at the defence table. Judge Steinsma looks down at Grace. The distinct sounds of a court in session can be heard in the B.G. The color of the scene FADES to Black & White as the CAMERA cranes up to reveal the COURT ARTIST drawing while court is in session. OFF SCREEN: Bisbing is wrapping up her examination of Grace who is at the witness stand. Judge Steinsma resides at his bench. CAMERA dollies into a MED. OVERHEAD TWO-SHOT of Mickey and Mallory who are sketching on a pad of paper. CAMERA reveals the drawing of a man stabbing a woman. Mickey is doing the actual drawing, but every once and a while Mallory takes to pencil and adds some touches, as Grace finishes her tearful testimony. BISBING (O.S.) No further questions, your honor. Emotional pause, the silence. JUDGE STEINSMA (O.S.) Would you care to cross examine the witness, Mr. Knox? Mickey scratches out the drawing. Still holding the pencil he stands and leaves frame. MICKEY (O.S) As a matter of fact, your honor, I would. NOTE: The following scene is to be played with EXTREME CLOSE UPS. Not once is the courtroom seen in detail. However courtroom sound can be heard vividly in the B.G. CU of Mallory, who grins at Mickey like a Cheshire cat. CU of Grace's eyes as they look downward. CU of Judge Steinsma as he shuffles paper on his bench. CU of Mickey's feet crossing the court floor. CU of Bisbing as her eyes follow Mickey across the court. Mickey enters the frame, with a pencil pressed to his lips in though. Mickey is looking straight into the CAMERA. Mickey's POV of Grace sitting on the witness stand, staring into her lap. ECU of Grace's finger rolling a large, male-style, High School class ring around her palm. CU of Mickey glancing to the ring. Mickey smiles. Mickey's POV of Grace as she pulls from a reserve of strength. Clenching the ring tight in her fist, her eyes come up and lock hatefully on Mickey. CU Mickey as he walks forward towards Grace. MICKEY That's one helluva story, Miss Mulberry. CU of Grace. GRACE Yes it is. At this point Mickey begins to pace from right to left, but always remaining in CU. MICKEY Grace...I hope you don't mind if I call you Grace... BACK TO: Grace as we DOLLY from a MED CU into a ECU. MICKEY Grace. I'd like to talk to you about your late brother Tim, if you feel up to it. CONTINUE DOLLY: Once locked onto her eyes, her head drops forward and we... CUT TO: INT. GRACE'S HOME - NIGHT ECU of Grace's eyes as her head is pulled back into frame. Her eyes are wide with fear. The CAMERA pulls back to reveal a gag in her mouth and a knife pressed against her throat. She's back at the night of the murder. Mickey's wearing a black leather jacket over a white t-shirt, which is covered with blood. Blood is smeared on his face, and he's holding a knife pressed to his lips, also covered with blood. But he's walking and talking with the same manner and poise as in the courtroom. MICKEY Grace...I hope you don't mind if I call you Grace... TWO SHOT revealing that Grace is bound and gagged with Mallory right behind her, holding the knife and cracking gum. MALLORY Naw, she don't mind. MICKEY Grace. I'd like to talk to you about your murdered brother Tim, if you feel up to it. CUT TO: INT. COURTROOM - DAY CU of Grace in a daze. MICKEY (O.S.) Did you get along? Mickey waits for an answer that doesn't come. MICKEY Miss Mulberry? Back to Grace. GRACE More or less. MICKEY More or less... BACK TO: Mickey. MICKEY What do you mean by that? BACK TO: Grace. GRACE Well, he's my older brother. When we were growing up, there were times we could of very well done without each other. But when it counted, we were close. CU of Bisbing listening. Grace is doing better than she thought. CAMERA PANS from shadows to find Mickey, the pan continues through his line. MICKEY I'd like to talk about Tim's martial arts abilities. How long had he been studying? PAN CONTINUES back into the shadows, then 180 degrees to find Grace. GRACE He started when he was in the seventh grade, so that would make it nine years. PAN CONTINUES back into shadows, then... DISSOLVE TO: INT. MARTIAL ARTS SCHOOL - DAY CAMERA PANS from darkness into a well lit martial arts class room in full session. TIM MULBERRY and expert martial artist is competing against a lesser opponent while their master looks on. CAMERA PANS back into shadows, then... DISSOLVE TO: INT. COURTROOM - DAY CAMERA PANS from darkness and locks on a CU of Mickey. MICKEY When you study the martial arts, they give out belts that come in different colors to signify what level you're at in your training. Am I correct on that point? GRACE Yes you are. MICKEY What was the color of Tim's belt? GRACE The style of fighting that Tim studied didn't believe in belts. MICKEY Is that a fact? Well then, Grace, could you tell us what form of martial arts it was that Tim was schooled in? GRACE Tim studied several styles, but his favorite was Jeet Kune Do. MICKEY Jeet Kune Do...Now I did some research on that form of fighting, and I found out that Jeet Kune Do was a style developed by Bruce Lee. Did you know that? GRACE Yes, I did. That's why Tim studied it. Because it was Bruce Lee's fighting style. CU of COURT CLERK'S HANDS typing in SLOW MOTION. MICKEY Now, while I freely admit total ignorance on the subject, I have heard of Bruce Lee. And I was under the impression that Bruce Lee was one of the, if not the greatest fighter in the history of martial arts. GRACE That's what Tim said. MICKEY So, I think it would be safe to say that anybody who studied the fighting style that Bruce Lee, arguably the greatest martial artist of all times, developed for nine years, that would be a fella who could defend himself. Would you describe Tim that way, Grace? GRACE Yes, I would. Mickey points at Grace with the pencil in his hand. MICKEY Point of fact, weren't Tim's hands registered as lethal weapons? GRACE Yes, they were. CU of Mickey's hand holding the pencil. MICKEY That means his hands are considered a weapon like a gun or a knife. Am I correct on that point? GRACE Yes, you are. CU of Mallory cracking a slight smile. MICKEY Yet, in your testimony just now, you described that Tim... CAMERA moves into a tight CU of Grace. Her eyes widen. MICKEY (O.S.) ...kicked me four times in the head. CUT TO: INT. GRACE'S HOME - NIGHT INSERT: The night of the Murder. Tim cuts loose and hammers Mickey with four punishing kicks to the head. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY And his trained martial artists kicks had little to no effect. CUT TO: INT. GRACE'S HOME - NIGHT CAMERA is LOW ANGLE as Tim backs up after his attack. We notice the High School Ring he wears on his right fist as he steps into a fighting stance, ready for Mickey to drop. Mickey, however, spits out a stream of blood, and smiles at him. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY Then, after shrugging off four blows to the head like I was Superman, I lifted Tim-nine-years-of-Jeet-Kune-Do-Mulberry off the ground and threw him across the room. Mickey, with arms raised over his head, pantomimes throwing Tim's body. CUT TO: INT. GRACE'S HOME - NIGHT WIDE SHOT as Tim flies into FRAME, CRASHING into the living room wall. CUT TO: INT. COURTROOM - DAY We quickly PAN down a number of items with white evidence tags on them. We stop at Mickey's Buck Knife. Mickey's hand comes into FRAME and picks up the knife. MICKEY Then I took... CU of Mickey as he brings the knife into FRAME. MICKEY ...this knife and proceeded to tear him limb from limb. And this man, whose hands are lethal weapons--- CU of Bisbing as she stands. BISBING Objection, defence is intimidating the witness with the murder weapon. JUDGE STEINSMA (O.S.) Sustained. Mr. Knox, put the knife down. Mickey is locked on Grace. MICKEY (cont'd) --had little to no defence. GRACE (yelling) I don't know how you did it, but you did it! JUDGE STEINSMA Mr. Knox! The knife! Mickey glances to the judge, then slowly places the knife back on the table. MICKEY How do you think a human being could possibly be capable of doing something like that? Mickey locks eyes with eyes. GRACE (yelling) I don't know! Mickey is on top of her. MICKEY Now...I don't believe that Grace. I think you have a definite opinion on how I was able to do those things you described. Now, I'm going to ask you again. And I want you to remember you are under oath. Grace collects herself. MICKEY (O.S.) In your opinion, Miss Mulberry, how was I able to murder you brother Tim Mulberry in the manner you described. The Judge looks down at Grace. Grace looks back into her open palm. CU of the ring. BACK TO: Mickey bearing down on her, waiting for an answer. BACK TO: Grace as we slowly DOLLY closer she looks up at Mickey timidly. GRACE (softly) You're not human. Mickey smiles. GRACE I thought about it a lot. And the only thing I could figure is that you're not human. Bisbing hides her disappointment by looking down. Mickey straightens up as Grace continues. GRACE You're a vampire, or the devil, or a monster, or cyborg, or something like that. But you're not human. Grace breaks down. Putting her hands to her head to stop the pain. CU of Mickey smiling down at her. CU Mallory smiling proudly at Mickey. CU Judge Steinsma betraying no emotion looks down at Grace. CU of Grace sobbing, she tries to collect herself by clutching the ring tighter. Mickey rolls his pencil in his hand the CAMERA tilts up as he leans into a CU. MICKEY (softly) Thank you. Grace, there is one other thing... GRACE (softly into her lap) What... Mickey smiles. MICKEY You're right. Grace tearfully looks up and meets Mickey's demonic glare as he plunges his pencil deep into her chest. Grace's eyes go wide as Mickey's vicious attack continues. CAMERA whips to CU of Bisbing jumping up screaming as pandemonium breaks out behind her in SLOW MOTION. CU pencil puncturing Grace's blood soaked chest in SLOW MOTION. CU Judge Steinsma slams his gavel while directing the Sheriff Deputies in SLOW MOTION. CU of the Sheriff Deputies are running to Mickey in SLOW MOTION. ECU of Grace a tear rolls out of her widen eye in SLOW MOTION. CU of Mickey. His attack is unending in SLOW MOTION. MED Grace goes limp. As the Sheriff Deputies reach Mickey from all sides the pencil breaks off inside Grace in SLOW MOTION. CU the bloody eraser end of the pencil in Mickey's hand in SLOW MOTION. SIDE ANGLE as Grace's head falls back into a CU. Her mouth plops open and as her eyelids close, they pinch out a tear that rolls down her cheek in SLOW MOTION. CU of Mickey's torso as the Sheriff Deputies wrestle him away from Grace. Mickey still has the bloody end of the pencil. CU of Grace's hand dropping into frame and as her fist opens, the ring falls in SLOW MOTION. CU of the ring hitting the floor and rolling out of frame. DOLLY along side the rolling ring on the floor until it hits a shoe and stops. ECU of Mickey's eyes looking down at his feet. ECU of Mickey dropping the bloody pencil stub. CAMERA follows it in SLOW MOTION. CU of bloody pencil stub hitting the floor next to the ring in SLOW MOTION. CU of Mickey looking over to Mallory. CU of Mallory surrounded by Sheriff Deputies. She smiles at Mickey. MALLORY Show off. Mickey smiles and glances toward Judge. MICKEY No further questions your honor. Mickey turns forward still wrestling the Deputies. Mickey's POV of a Sheriff Deputy stepping in front of him with a riot club. DEPUTY #1 Light's out Prick. Deputy swings the club. CUT TO BLACK: EXT. COURTHOUSE REAR - DAY Mickey, dressed in county blues, is led out of the courtroom by sheriffs deputies. He's cuffed hand and leg. Reporters throw out questions, photographers shoot photos, Mickey is somewhere else, no mugging to the crowd this time. WAYNE (V.O.) After the deadly brewhaha in the courtroom, the judge, honorable Burt Steinsma, passed down a sentence that was to make legal history. INT. JUDGE'S DEN - DAY Interview with Judge Steinsma in his den at home. M.O.S. SHOT of Wayne and Judge talking. WAYNE (V.O.) We spoke with retired Judge Steinsma at his home in Baltimore, Maryland. The interview: WAYNE Was there any vengeance on your part with your unique sentence? JUDGE STEINSMA Yes, unquestionably. After they did what they did in my court, and judge worth his robe will tell you the same thing. It couldn't help but affect my decision. That's why they have judges. We're supposed to be fair to a fault, but when it's showtime, we have to make a decision. That's why we don't just input all the facts into a computer for the appropriate punishment. I couldn't give them the death penalty. See, California hops back and forth on that issue. Mickey and Mallory went to court when it was out of favor, which is actually good because it leaves more room for imagination. Anybody can give somebody the chair. When you have someone who deserves to die and you can't kill them, you have to be creative. And if the bastards had let it stand, it would of been the perfect sentence. It hit 'em right where they lived. Far more punishing than the death sentence. WAYNE Would you please describe for our viewers what your sentence was? JUDGE STEINSMA Well, in a rogue's gallery of killers, Mickey and Mallory are very unique. I've seen a lot of killers in my day and they're a very cold lot. They have no more feelings about taking a person's life than squashing a tiny bug. It's all the same to them. Well, Mickey and Mallory were that 'kill 'em to watch their expression change' attitude personified. Except with each other. And, since they lived only for each other, I wanted to attack that, at its very root. So, in a nutshell, my sentence was double life for each without any possibility for parole. That would be fairly standard in their case. The twist I added was that the husband and wife would have no contact or correspondence with each other for the rest of their lives. And they would never receive any word or information about the other. So, basically once the cell door slams shut, Mickey and Mallory will completely disappear from each other's life. They'll never know when the other dies. But alas, the best laid plans of mice and men... CUT TO: EXT. COURTHOUSE REAR - DAY Mallory in tears, hysterically actually, is cuffed hand to foot, and being dragged by sheriff's deputies into the prison bus. Reporters throw out questions, photographers shoot photos, TV news people capture the moment on video. The bus pulls out onto the street. CUT TO: PHOTO: Mickey in prison uniform being led by guards. PHOTO: Shot though bars of Mallory in her cell. Her back is to the camera. WAYNE (V.O.) The sentence was never to reach that point. Because after only a year, Mickey and Mallory created so much mayhem that it was decided... INSERT: FRONT PAGE NEWSPAPER: 'MICKEY AND MALLORY TO BE TRANSFERRED TO ASYLUM.' WAYNE (V.O.) ...that they were mentally ill and needed to be transferred to a state mental hospital. CAMERA move into the picture of Mickey and Mallory on the front page of the newspaper. CUT TO: PHOTO: of Dewight McClusky. WAYNE (V.O.) We talked with Dewight McClusky, chairman of the California State Prison Board, about this curious turn of events in the Mickey and Mallory case. INT. MCCLUSKY'S OFFICE - DAY Wayne's interviewing McClusky. WAYNE Why are Mickey and Mallory being moved to an asylum? And who made the decision? MCCLUSKY The prison board made the decision. A board of which I belong. We're the who. The why is simple. Mickey and Mallory are mentally ill and need to be under a doctor's care, where hopefully they'll receive the help they need. WAYNE Mickey and Mallory were deemed competent in a mental examination before their trial. I'm confused. What's changed? MCCLUSKY Well, since that time, they've killed one person during their trail. And since their incarceration, they've killed one psychologist along with several guards and inmates. WAYNE When they were found competent before, they had already killed fifty people. Other than the fact they're a disciplinary problem, which frankly shouldn't surprise anyone, I still don't see where this situation is any different then it was before. So, I ask you again, Mr. McClusky, what's changed? MCCLUSKY What's changed, Mr. Gayle, is our minds. We felt they were competent a year ago. A year has passed, sir, a year where they were under close observation, day in and day out, and their behaviour has led us to believe we were wrong. WAYNE Who is we? MCCLUSKY The prison board and the doctors who examined them. WAYNE Were any of the doctors who made the first evaluation on the Knoxs mental state asked to re-examine them? MCCLUSKY Using the same doctors is not common practice. WAYNE I take it by your answer it was a whole new team? MCCLUSKY Now that you bring it up, yes. They were different men. I hadn't really thought that much about it. Since many psychiatric opinions are, by a rule, sought out for this kind of situation. What do you think normally happens? The Knoxs are assigned a family psychologist that takes care of them throughout the rest of their lives? The state doesn't work like that. PHOTO: of DR. ALBERT RODRIGUEZ. WAYNE (V.O.) The two psychiatric opinions the board sought were those of Albert Rodriguez... PHOTO: of DR. FELIX VARGUS. WAYNE (V.O.) ...and Dr. Felix Vargus. Both of the good doctors, for whatever reason, refused to be interviewed. INT. DR. REINGHOLD'S OFFICE - DAY Back with Dr. Reinghold. He's laughing. DR. REINGHOLD It's a funny situation actually. If anyone besides Mickey and Mallory give a damn, what the prison board is doing would be considered an outrage. The prison board is basically saying, 'We can't handle these guys.' They've moved 'em around twice since their sentence started. They were a handful everywhere they went. Now the prisons they're at now want them outta there. But no other prison's gonna be stupid enough to take 'em. So the prison board is left scratching their heads wondering what they're gonna do. Well, what they decided to do was to set up a kangaroo medical court that found them crazy. Then they get them transferred to Nystrom Medical Asylum or Lobotomy Bay as it's referred to in the psychiatric circle. Put 'em on a strict dope and electro shock diet, and Mickey and Mallory cease to be a problem to anybody except the orderlies who clean out the bedpans, which if you want to see them get theirs, that's all well and good. But there's something being said here. Forget the immorality for a second. Forget the corruption and the skulduggery involved. What the board is saying is 'we give up.' Mickey and Mallory ran amuck in polite society. They were put in an alternative society and they ran amuck there, too. All the powers that be, can't deal with these two kids. And whatever can't be assimilated has to be terminated. WAYNE So, in your opinion Mickey and Mallory are not insane? DR. REINGHOLD Insane, no. Psychotic, yes. A menace to living creatures, yes. But to suggest that they're insane gives the impression that they don't know right from wrong. Mickey and Mallory know the difference between right and wrong. They just don't give a damn. FREEZE FRAME on Dr. Reinghold. INT. EDITING BAY - DAY Wayne's just finished viewing the show. He puts his hands on Scott and Roger's shoulders. WAYNE Good work, my brothers. Fan-fuckin'- tastic! I think that interview stuff's too long, we can lose some of that. Keep the girls, keep the long hairs, keep the Hun brothers, keep the black guy, keep the movie shit, and keep the cop at the donut shop. Lose the rest. And cut the interview with the prison board fellow before that. Cut it after I ask, 'I take it by your answer it was a whole new team.' Don't even let him answer. Fuck him. Then cut to me talking about the two chicken shit psychiatrists and straight in Dr. Reinghold laughing. SCOTT Okay. Wayne puts his arm around Unruly Julie. WAYNE Children, we have a show. (to Scott & Roger) You two get some long well overdue sleep. 'Cause tomorrow, bright and early, county jail and then journey's end...Mickey Knox. CUT TO: TITLE CARD: 'TOMORROW--BRIGHT AND EARLY.' INT. MICKEY'S CELL - DAY Mickey's pacing back and forth in his cell, trying out different jokes. MICKEY There's this Italian guy, a French guy, and a Polish guy. And they're all talkin' about how they fuck their wives--- JUMP CUT: MICKEY ...You know, I'm gonna just rip off your dress and squeeze your titties. Then Little Red Riding Hood whips out her .357, sticks it in the Big Bad Wolf's face and says, 'No you're not. You're gonna eat me...just like the story says.' JUMP CUT: MICKEY (with a lisp) ...Fairy boat! I knew things were good in here, but I didn't know we had our own Navy. JUMP CUT: MICKEY ...So this guy wants to take little Johnny's sister to the drive-in. But the mother says, 'Only if you take little Johnny along---' JUMP CUT: MICKEY ...And the Polish guy says, 'That's nothing. When I get through with my Hanna, I get up, wipe my dick on the curtain, and she hits the roof!' JUMP CUT: Mickey's pretending he's calming down a hysterical audience. MICKEY No...please...thank you...you're too kind...no...please... INT. NEWS VAN - MOVING - DAY Through Scott's CAMERA, we're filming this in BLACK AND WHITE - 16mm. NOTE: Everytime we're viewing through Scott's CAMERA, we are filming handheld in 16mm BLACK AND WHITE. Until otherwise specified, the SHOTS stay in Scott's CAMERA. Scott's filming the back of the newsvan. Roger's sitting in the back eating donuts as is Wayne. Unruly Julie's up front driving. WAYNE (with mouthful of donut) How's it working, Scotty? SCOTT (O.S.) Perfecto! Roger's picking through a box of donuts. Scott PANS over to him, then slowly ZOOMS in on him. ROGER Where the fuck's the chocolate cream filled? Did anyone get my chocolate cream filled? If you did, it's mine. CU of Roger, looking into CAMERA. ROGER I pointed at a chocolate cream filled. You saw me do it, didn't you? Wayne starts talking. We PAN from Roger to a CU of Wayne. WAYNE You were there. Did you see him put it in a box? We PAN back to a CU of Roger. ROGER At the time, I was too busy explaining to Scott the finer points of film. We ZOOM back to a WIDE SHOT. SCOTT (O.S.) Yeah, right. You know what he said? He said, Indiana Jones And The Temple Of Doom is Spielberg's best film. Wayne starts laughing. We hear Scott laugh too. WAYNE (to Roger) You can't be serious? ROGER (preoccupied) I'm as serious about that as I am about going back to the donut store, and dipping that stupid Mexican's head into the batter for forgetting my chocolate cream filled. Gimme that other box. WAYNE Huh uh. This dozen is for Mickey. ROGER That dumbass probably put my chocolate cream filled in there by mistake. WAYNE Roger, no. ROGER What's the big deal? Take out my chocolate cream filled, put one of these roasted coconut--- WAYNE Roger, do you understand what the word 'no' means? It's important we establish a rapport. Something as simple as a dozen donuts can mean the world to somebody who hasn't had a donut in a year. ROGER So you're giving a man who butchers whole families, little babies included, my chocolate cream filled? Unruly Julie HONKS the horn. Wayne gets up and looks out the windshield. WAYNE Okay, guys, we're here. L.A. County Jail. Julie, just park in the front. ROGER Wayne--- WAYNE Roger, I'm starting to get pissed. Just drop this fuckin' donut shit, and gather your gear. The van stops. Wayne slides open the panel door, and steps out. EXT. LOS ANGELES COUNTY JAIL - DAY BACK TO: COLOR 35mm. Wayne hops out of the van and is approached by Superintendent Phil Wurlitzer who's followed by two DEPUTY SHERIFFS. WAYNE (aside to Scott) Here's the welcome wagon. Wurlitzer reaches them and shakes Wayne's hand. WURLITZER Hello, Mr. Gayle. I'm Phil Wurlitzer. We talked on the phone. It's a pleasure to meet you. WAYNE Same here. Let me introduce my crew. Scott...Roger...and Unruly Julie ...this is...I'm sorry. What's your title again? WURLITZER I'm the superintendent here at L.A. County Jail. Me and my deputies are who you'll be working with while you're here. WAYNE That sounds great. Look, I don't want any of this to intimidate you. This is not going to be a big deal. This is going to be very easy. (to his crew) I need to talk with Mr. Wurlitzer. You guys get your equipment ready, power up the van and confirm a transmission code for the remote. Julie come with me. Julie tosses the keys to Roger and shadows Wayne as he speaks confidentially to Wurlitzer. WAYNE The main thing I need is a big room, shut off from the population, so we can get some privacy...with a few electrical outlets. INT. SUPPLY ROOM - DAY Wayne and his crew have set up in the food supply room off from the cafeteria. Being big, roomy, and unpopulated, it's perfect for an interview. There's eight L.A. County DEPUTY SHERIFFS around the room along with Wurlitzer. Roger's setting up his sound equipment while Unruly Julie is checking her notebook. Wurlitzer and a few Deputies talk among themselves. CAMERA moves from person to person without cutting. WURLITZER (to two Deputies) This is just for an interview, I was on the set of 'Dukes of Hazzard' once. It was a much bigger deal than this. They had a crew of maybe seventy-five people. CAMERA moves to Wayne and Scott. WAYNE We're gonna be talking over here. But I want enough freedom so if I wanna get up and move around, we can. Wayne grabs Scott and walks him to the left. WAYNE Take him and walk him over this way. (pretending Scott's Mickey) So, Mickey, killing Mallory's parents, what the hell was that all about? (pauses--to Scott) Then maybe take him to the window. He walks Scott to the window. WAYNE (pretending Scott's Mickey) So, Mickey, if you were let outta jail today, what's the first thing you'd do? (pause--to Scott) Little shit like that. I don't wanna have to feel I gotta stay in the chairs. We're after a cinema verite, anything can happen, truth twenty-four times a second kindda feel. End of single SHOT. Wurlitzer's talking with Deputies. WURLITZER And when it's lunch time, they don't just go to McDonalds. They got cooks there servin' great food. Swedish meatballs... Wayne walks over to Wurlitzer and Deputies. WURLITZER How's everything coming, Mr. Gayle? WAYNE Everything's coming along just fine. Phil, I wanted to know if I could have a small word with you. WURLITZER By all means. Wayne puts his hand on Wurlitzer's shoulder. They walk around the room. WAYNE You met the kids I have working for me? Great bunch, aren't they? WURLITZER Oh yes, indeed. Top flight. WAYNE Scott, genius cameraman, Roger, magician with sound. Unruly Julie, I could sooner do without my arm than Unruly Julie. WURLITZER Is that her real name? WAYNE Just a little nickname. Yep, they're my kids and they're all I need. After working together these past coupla years, we're like well-oiled machinery. No, more like a Formula race car. No, scratch that one, too. What we're really like is a Swiss watch. Small, intricate, compact...it shouldn't work as well as it does, but it does. Because of the craftsmanship, the expertise, and the artist's loving hand. Wayne gives Wurlitzer a moment to digest this. WURLITZER I see. WAYNE Now, Phil, I don't know if you've ever been on a set before--- WURLITZER (proudly) Ya know, I was. WAYNE (acting surprised) Really? WURLITZER I was on the 'Dukes of Hazzard' set about eight years ago. WAYNE (still acting surprised) Well...small world. Well, then, you know firsthand how Hollywood does things. Lights all over the place, generators, a hundred and fifty crew members--- WURLITZER Oh, that 'Dukes of Hazzard' show, there was probably ninety-five people there, maybe more. WAYNE See what I mean? It's a funny business, isn't it? WURLITZER It sure is. WAYNE They got a asshole over here. (pointing to his left) A asshole sitting down reading a magazine over there. (points to his right) A asshole perched up there. (points straight up) Assholes everywhere. Hey, maybe if we were doin' that kiss, kiss, bang, bang stuff we'd need all those assholes, too. What we're about is intimacy. We're about two people having a conversation. Say I was interviewing you. All I want you to worry about is what I ask you. I want a trust to develop. If you're thinking about all this... (indicates the hustle and bustle of a set) ...you're not going to relax, a trust won't develop, we'll be talking a each other instead of to each other, there will be no chance for intimacy. Wayne gives Wurlitzer a chance to take this in. WAYNE That's why my crew is only three...an invisible three. (switching gears) Which brings me to what I wanted to talk to you about. I have to get Mickey Knox to relax...Mickey Knox to share what he's never shared before... Mickey Knox to open doors which 'till today have been closed. Well, how can we expect him to do that when we got Los Angeles County Sheriffs up the walls. Suddenly, things get short between the two men. WURLITZER (snorts) Well, just what the hell do you expect me to do? WAYNE Lose 'em. WURLITZER Mr. Gayle, do you have the slightest idea how dangerous Knox is? WAYNE Mr. Wurlitzer, I assure you, I am very familiar with Mickey Knox's career. They're out and out angry. WURLITZER Since he and his wife have been in custody, they've killed--- WAYNE Don't recite the fact to me. I'm sure I know 'em better than you do. WURLITZER Well, let me let you in on one more fact you obviously don't know. If I were to take my men away, Mickey Knox would snap your neck like a twig. WAYNE One...I can take care of myself. I grew up in a tough neighbourhood, and I've handled some pretty rough customers in my day. Mickey Knox doesn't scare me. Two...I'm a journalist, and I'm prepared to take that risk. Three...it ain't gonna happen. Believe me when I tell you, it is in Mickey Knox's own best interest to play this game according to Hoyle. (pause) Wait a minute. We've gotten into a advisory relationship here, which is not what I want. (pause) But seriously, Phil, look at this. Wayne scans the room, counting the deputy sheriffs. WAYNE (counting) We got one...two...three...four ...five...six...seven...eight. I mean Jesus Christ, Phil, that's too much. Let's lose some of these guys. WURLITZER Wayne, if it was anybody else--- WAYNE Phil, I'm just scared he's gonna clam up on me with all these sheriffs all over the place. They hate him. He hates them. What kinda intimacy am I gonna create with all this hate in the air. Even you and I feel it. WURLITZER What are we talking about? WAYNE Two guys? WURLITZER Okay. I'll take two guys off. WAYNE No, no, no, no, no, no, I mean only two guys. WURLITZER I can't do that. Five guys. WAYNE Three. WURLITZER I'll cut it in half. Four guys, but that's it. INT. MICKEY'S CELL - DAY Mickey lays on his bed with his hands behind his head. CAMERA DOLLIES BACK to include the bars of Mickey's cell door in the F.G. as two DEPUTY SHERIFFS enter FRAME and slide it open. The deputies each carry shotguns and a shit load of chains and shackles. DEPUTY #1 On your feet! Turn your face to the wall. Mickey gets up. MICKEY Now what you're supposed to say is: 'Five minutes, Mr. Knox.' OFF SCREEN the cell door slams closed. CUT TO: INT. MALLORY'S CELL - DAY CU of Mallory asleep in her bunk. The echo of Mickey's cell door makes her up with a jolt. SCAGNETTI (O.S.) Rise and shine, Mallory! Mallory springs out of bed, and into a fighting stance. CAMERA WHIP PANS to Scagnetti, inside her cell, flanked by two deputies with shotguns. The deputies are BINGHAM and WASHINGTON. SCAGNETTI Beautiful day for a drive, isn't it? CUT TO: INT. JAIL CORRIDOR - DAY CU of Mallory's bare feet walking in front of Bingham and Washington's shiny black shoes. The SOUND of Mallory's bare feet slapping the concrete floor, along with the clip-clop-clip-clop of the deputies' shoes, reverberates throughout the scene. Mallory walks slightly ahead of the two shotgun wielding deputies, when Scagnetti slips in beside her. He lights up a cigarette with his Zippo, and talks a long drag. SCAGNETTI It's a long trip to Bakersfield. Long and hot. Ever been to Bakersfield? Mallory looks straight ahead. SCAGNETTI See, I've been there twice. And I'm not lookin' forward to goin' back. But I'm in and out. You, on the other hand, sweetheart, are gonna spend the rest of your life there. Now that's what I call cruel and inhuman punishment. Mallory shows no emotion, just keeps on walking. SCAGNETTI Course you're not gonna give a shit. 'Cause when the good doctor's get through givin' you the zap... (he puts his finger next to his temple, pantomimes being electrocuted) ...You won't know where the hell you are. They'll just put you on a window sill, and water you every other day. Mallory lets out a big yawn. INT. SUPPLY ROOM - DAY Wayne stands at the window speaking to Scott, Roger and Unruly Julie. One the other side of the room Wurlitzer and his entourage of deputies are yucking it up, and occasionally bursting into laughter. WAYNE (to his crew) And when he gets here, its no dick'n around time. Make him up, clip a mike on him, then leave him alone. I don't want you talking to him. I don't want you getting in his face. I want you hiding behind your gear. You are invisible. CAMERA PANS to the door as two deputies lead Mickey into the supply room. Mickey is shackled head to toe, it's a wonder how he can still walk. WAYNE (to his crew) Okay, break. Wayne's team disburses. WURLITZER Okay, boys, lets start undoing him. Two deputies hold shotguns to Mickey's head, while two others start unlocking the chains. As they do, Mickey looks at Wayne. Wayne approaches Mickey. MICKEY (to Wayne) Okay now, before we get started here, there's a few things we have to get clear about. WAYNE All right, Mickey. MICKEY Let's discuss it when I'm unbound. CAMERA holds on Mickey standing still as the two deputies remove the chains. INT. HOLDING CELL - DAY CAMERA is inside a holding cell fixed on the cell door. The cell door is unlocked, then opened. The two deputies bring Mallory inside. Scagnetti wanders in, trailing behind. Bingham pumps his shotgun slide and places the barrel next to Mallory's head. Washington unlocks the cuffs around Mallory's wrists. Mallory's silent. Scagnetti leans up against the wall, smoking his cigarette. BINGHAM Turn around and face the wall! Mallory does. Bingham and Washington move to the door. SCAGNETTI Wait outside for a second, fellas. BINGHAM We're not supposed--- SCAGNETTI Don't worry about it. Bingham and Washington move outside. Scagnetti takes out his gun and tosses it to Washington. Before they can protest, Scagnetti closes the door. Mallory stands in the middle of the cell, motionless, her back to him. Scagnetti walks up behind her. Mallory doesn't move. SCAGNETTI Want a smoke? Mallory's steel eyes glare at Scagnetti. SCAGNETTI C'mon, I already lit one for you. I know you smoke. Mallory doesn't respond. Scagnetti takes the cigarette from his mouth and puts it between Mallory's lips. Hold on C.U. of Mallory. SCAGNETTI I was reading the file on you. You know what it said during your trial, whenever they put you on the stand, no matter what they asked, your answer was always the same...'I love Mickey.' It also says that when they gave you a polygraph, 'I love Mickey' was the only thing you said that registered as the truth. Scagnetti appears at the side of frame next to Mallory. SCAGNETTI Who are you supposed to be? Squeaky Fromme? Is that it? Is Mickey your Charles Manson? Is Mickey Jesus? Is that the attraction? Or does he just got a big dick? Scagnetti changes to Mallory's other ear. SCAGNETTI That's it, isn't it? Mickey's got a big donkey dick. Scagnetti presses closer. SCAGNETTI Can you remember the last time you fucked? Huh? What I want you to do is close your eyes and remember... remember the last time ol' Mickey gave you the high hard one. Are ya thinkin' about it? Good. Remember it. Don't ever forget it cause it ain't never gonna happen again. Cause when they get through with all that electroshock shit they got lined up for you two, Mick's dick ain't gonna be worth shit. Mallory spits the lit cigarette unto Scagnetti's face. Scagnetti spins her around and slaps her. SCAGNETTI Look. You're gonna sit here for a couple hours while I finish up the arrangements. The reason they picked me to be your chaperone is they know I won't hesitate to put a bullet in you. Scagnetti has Mallory clutched tightly by her shoulders. SCAGNETTI So, during our journey, if any wild hairs spring up on your ass, you'd better slap a muzzle on 'em! Fuck with me, bitch, even a little bit, you're gonna get accidentally shot! Comprehende? Mallory looks at him for a moment, then gives his a massive HEAD BUTT. As we hear the CRACKING of his nose, Scagnetti lets out a horrible scream. EXT. HOLDING CELL - DAY Bingham and Washington fumble with the keys to open the cell door. INT. HOLDING CELL - DAY Bingham and Washington burst through the door to find Scagnetti face down on the ground. Mallory's standing, her foot pressed against the middle of Scagnetti's back, pulling his arms behind him trying to break his back. His body is bending like a branch, and he's screaming. The two deputies proceed to BEAT the shit out of her with their shotguns. Scagnetti rolls around in the B.G., holding his bloody nose, screaming. SCAGNETTI She broke my fucking nose! That bitch broke my nose! Washington comes over to him and helps him up. SCAGNETTI (blood down his face) She broke my nose. WASHINGTON I'll fix it. He grabs Scagnetti's nose, then SNAPS it back into place. Scagnetti lets out another horrible scream, and hops up and down from the pain. When the rush of pain passes, Scagnetti brings his hands down from his face, looking over at Mallory. Bingham has Mallory in the corner of the cell with the shotgun barrel placed in her mouth. CU on Scagnetti. He's a hand grenade with the pin pulled. SCAGNETTI Hold her, boys. Scagnetti walks to the corner where Mallory is. The shotgun barrel's out of her mouth. Bingham and Washington stand on either side of her, holding her in place. Scagnetti grabs a can of mace from Washington's belt, and brings it up to Mallory's face. Mallory and Scagnetti trade looks. Scagnetti gives her an intense blast of mace right in the face, eyes, and all over her body. Mallory crumples to the floor, screaming in agony. TWO SHOT of Bingham and Washington looking down at Mallory on the ground. We can hear Scagnetti still spraying her. They can't look at this anymore. Mallory wiggles on the floor as Scagnetti continues spraying her all over her body. CU of Scagnetti's bloody face smiling. We hear the SOUND of the can of mace running empty. It spurts to a stop. Scagnetti rises up to the two deputies. He hands the empty can back to Washington. SCAGNETTI I want this filled before we leave. The three men walk out of the holding cell, closing and locking the door behind them. We can still hear Mallory's screams of excruciating pain. INT. SUPPLY ROOM - DAY Mickey's sitting in a chair eating a donut. Roger's attaching a microphone to his shirt. Unruly Julie's applying make-up to Mickey's face. MICKEY (to Unruly Julie) How come you never talk? ROGER She was born without a tongue. MICKEY (repulsed) Oh my God! (to Unruly Julie) Sorry. Unruly Julie shrugs her shoulders like 'what are you gonna do' and continues applying make-up. Wayne and Wurlitzer talk. WAYNE So we got a deal. Four deputies--- WURLITZER And me. WAYNE Why don't we make it three deputies and you? WURLITZER Why don't I have Mickey thrown back into his cell and we can forget the whole thing? WAYNE Chill out, Phill. Four deputies and you, I can live with that. We're about ready to go here, so let's get rid of these other assholes. WURLITZER Don't call my men assholes. WAYNE I didn't mean they were assholes. I mean if they're leaving, get 'em outta here. Wayne leaves Wurlitzer and goes over to Scott, who's setting up a light stand. WAYNE Okay, Scotty, we're stuck with four of these assholes. Now I want to create the illusion that this is just Mickey and I chewin' the fat all by ourselves. So make sure you don't film these assholes. I don't want to see 'em on film ever. Oh, and 'Live at Five' slated our spot as human interest which means we'll go live at just after five-thirty. Wayne exits to reveal Mickey in B.G. Wurlitzer's speaking with his four deputies. WURLITZER This asshole's tryin' to tell me what I'm gonna do in my jail. Fuck him! This nanderfuck doesn't know what he's dealin' with here, but we do. And if shit happens, he ain't gonna be responsible, we are. So keep your shotguns out, your fingers on the triggers, and be ready to fire at a moment's notice. BACK TO: Mickey alone in FRAME, sitting in a chair and eating a donut. He takes a big bite. ROGER Say something. MICKEY (mouthful of donut) What? ROGER Anything. Mickey swallows the bite of donut, pauses, then recites a poem. MICKEY (talking in rhyme) I stand amid the roar Of a surf tormented shore, As I hold within my hand Grains of the golden sand-- How few! yet how they creep Through my fingers to the deep, While I weep--while I weep! O God! can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream? Mickey bites into the donut. MICKEY (mouthful of donut) How was that? Roger joins him in FRAME and adjusts the mike. ROGER Ah...fine. Let me make an adjustment here, and we'll be ready to rock 'n roll. Oh...uh, the dumbass at the donut place put a chocolate cream filled I asked for in your box. MICKEY There's a chocolate cream filled in there? ROGER Yeah. Ya see, I ordered that special. MICKEY Tough titty, it's mine now. ROGER Look, I'll trade you. Wayne enters frame. WAYNE Roger, enough with the fucking donuts! What did I tell you. Stop bothering Mickey, and get behind your nagra. ROGER (to himself) Fine. Roger, what the hell are you doing? You're bothering the serial killer. Roger exits FRAME. Wayne grabs a chair and sets it in front of Mickey. WAYNE Sorry about that. MICKEY Don't worry about it. WAYNE We're about ready to go here. Are you ready? MICKEY Let's do it. Wayne smiles and exits FRAME. WAYNE (O.S.) Okay people! Let's start to settle down here. CUT TO: INT. SUPPLY ROOM - DAY 16mm - BLACK & WHITE SCENE is now SHOT through Scott's CAMERA which holds a ECU of Mickey's eye. CAMERA focuses then pulls out to include his whole face. WAYNE (O.S.) Are you comfortable? Mickey looks to Wayne OFF SCREEN and nods. WAYNE (O.S.) Roger? ROGER (O.S.) Rockin'! WAYNE (O.S.) Scotty? SCOTT (O.S.) Rollin'...and speed! WAYNE (O.S.) Slate it. CAMERA SLATE reading 'KNOX INTERVIEW -- ROLL #1' is thrust into view and clapped. The CAMERA ZOOMS out to include Wayne in the FRAME. WAYNE So, Mickey, tell us what you do for fun. MICKEY Aside from the obvious? Mickey breaks out laughing. WAYNE (not amused) Yes. Aside from the obvious. Mickey's laughing slowly runs its course. MICKEY Okay, let me see now. What do I do for fun? (to people O.S.) Does anybody got a smoke? You guys are drivin' me crazy with your cigarettes. (to camera) Sorry out there in TV land. I'm just sittin' here lookin'' at these deputies smokin' up a storm, and it's really doin' it to me. A deputy comes into FRAME, hands Mickey a cigarette, then lights it. Deputy exits FRAME. MICKEY Much obliged. What do I do for fun? Do you want to know what I do for fun or what I did for fun? WAYNE What? Oh, aaahhh, what you did for fun for starters. MICKEY What I did for fun for starters. (thinking) Well, something I used to do...always was a lot of fun... (pause) No, scratch that. Let me think of something else. In fact, why don't we come back to that question. Ask me something else. WAYNE Do you miss Mallory? MICKEY Of course, I miss Mallory. She's my wife. I haven't seen her in a long time. What a stupid question. WAYNE Then was it worth it? MICKEY Was what worth it? WAYNE Was massacring all those people worth being separated from your wife for the rest of your life? Mickey takes a drag from his cigarette. MICKEY Do you think up these questions or the girl with no tongue? WAYNE No, Mickey, I can't let you get away with that shit. Answer the question. Was it worth it? You haven't seen, heard, or smelled Mallory in a year. Was it worth it? MICKEY Was an instant of purity worth a lifetime lie? Yeah, it was. WAYNE Excuse me, did you say an instant of purity? What was the instant of purity? The bodies you left behind on your bloody trail? MICKEY That's only part of it. I mean, it's a big, big, big part. But it's only the chorus, it's not the whole song. WAYNE (passionately) Please explain to me, Mickey, where's the purity that you couldn't live without in five year old Danny Millhouse's blown off head? Where's the purity in forty-eight people who are no longer on this planet because they met you and Mallory? What's so fucking pure about that? CAMERA ZOOMS in on Mickey's face. Mickey looks at Wayne, takes a slow drag off his cigarette. MICKEY Where the purity comes into play--- The image on the SCREEN starts to flutter, and then jams. WHITE LEADER fills the SCREEN. SCOTT (V.O.) Camera jam! I'm sorry Wayne. God. WAYNE (V.O.) Fucking dammit! Mickey hold onto that thought. Reload, quick! INT. HOLDING CELL - DAY We're back to COLOR 35mm. WHITE LEADER FADES to reveal the wall of the holding cell. CAMERA pans onto Mallory on the floor, splashing water on her face from the holding cell toilet. The pain has started to subside. All wet, she lies down on the ground and sings: MALLORY (singing) Love is a hurtin' thang, and it leaves a fiery sting. SCOTT (V.O.) Okay. Okay, we're up again. WAYNE (V.O.) Roll it. Save the slate. CUT TO: INT. SUPPLY ROOM - DAY 16MM - BLACK & WHITE We're looking through Scott's CAMERA again on a new roll of film. WAYNE You just said an instant of purity was preferrable to a lifetime lie. I don't understand. What's so pure about forty-eight dead bodies? MICKEY You'll never understand. Me and you, Wayne, we're not even the same species. I used to be you...then I evolved. From where you're standing, you're a man. From where I'm standing, you're a ape. I'm here...I'm right here... and you...you're somewhere else, man. You say why? I say why not? WAYNE Tell me about the purity. MICKEY (laughing) It's not that easy, Wayne. Donuts and a smoke only get you so far. You're gonna have to do your job. WAYNE (laughs) Okay...okay...I'll buy that. We'll move on and come back later. MICKEY I'm sure we will. WAYNE Describe Mallory. MICKEY Describe Mallory? Okay. She's pretty, she's got blonde hair, two eyes, two feet, two hands, ten fingers... WAYNE Don't play dumb with me, Mickey. You know what I mean. Describe Mallory. (points at his head) What's up here? (points at his heart) What's in here? MICKEY That's indescribable. WAYNE Well, riddle me this, Batman. How do you feel about the fact that you're never gonna see Mallory again? MICKEY (smiles) Says who? WAYNE Says the United States of America. MICKEY (laughs) When have they ever been right? The crew laughs (O.S.) MICKEY Hey, just like Soupy Sales. INT. JAIL CORRIDOR - DAY Scagnetti walks down the hallway leading to the supply room. His face is a patchwork of medical tape, to set his broken nose. Bloody cotton protrudes from each nostril. INT. SUPPLY ROOM - DAY Scagnetti walks into the supply room. Mickey is explaining to Wayne 'Why he's killed all those people.' Scagnetti can't believe what he's seeing. The entire room is in rapture. MICKEY ...one night I was asleep, and a noise wakes me up. I thought, 'Oh shit, somebody's broken in.' I didn't own a gun, so I go into the living room with a fucking umbrella. Okay, it turned out to be nothing. God made the noise. Who knows? SCAGNETTI (whispers) How's it goin'? WURLITZER (whispers) Shhhh! I wanna hear this. Wurlitzer sees Scagnetti's bandaged face. WURLITZER What the hell happened to you? SCAGNETTI You should see the other bitch. What time you got? WURLITZER Two-thirty. Shhh... CAMERA leaves them and travels the room, studying the faces of the deputies, Unruly Julie, Roger, and Wayne as they listen to Mickey's story. MICKEY But I came to the direction I need a gun. Do, the next day I started off early for work, and I'm gonna stop by a gun shop and pick up a little home protection. I walked into the place and had never seen so many guns in all my life. So, I'm lookin' around, the this really nice sales guy comes up to me. His name was Warren. I'll never forget his name. He was really nice. Anyway, Warren showed me all these different models of guns. Magnums, automatics, pistols, Walters. And I ask to see a shotgun. He brings me a Mossberg pump action shotgun. As soon as I held that baby in my hands, I knew what I was gonna do. It felt so good. It felt like it was a part of me. They had a mirror in the store. I looked at myself holding it, and looked so fuckin' good, I immediately bought it. Bought a bunch of boxes of ammo. Turned my car around, drove to Mallory's house, we took care of Mallory's parents, packed up the car, and we were off. DISSOLVE TO: SAME SCENE: SHOT through Scott's CAMERA: MEDIUM CU on Mickey. MICKEY Everybody thought I'd gone crazy. The cops, my mom, everybody. But you see, they all missed the point of the story. I wasn't crazy. But when I was holding the shotgun, it all became clear. I realized for the first time my one true calling in life. I'm a natural born killer. WAYNE Okay, let's cut it. BACK TO: COLOR 35mm WAYNE (to Scott) Did ya get that? Unruly Julie hands Wayne a notebook. He starts flipping pages. SCOTT It's gonna be beautiful. WAYNE Super cool. (to Mickey) This is great stuff. How ya doin'? MICKEY I could go for a Coke. WAYNE (yelling) Could I get a Coke for Mickey? WURLITZER I'm not running out and getting that piece of shit a Coke. WAYNE Fine. (to Unruly Julie) Julie, why don't you make a food run? (to the room) What's around here? DEPUTY SHERIFF There's an In and Out Burgers about a block away on Olive. It's walking distance. WAYNE Okay, Julie, take everybody's order. I'll have a double double with cheese, french fries, and a large Coke. Unruly Julie writes down Wayne's order in her notebook, then goes from person to person collecting their orders. Scagnetti and Wurlitzer talk to each other. WURLITZER Are you all set? SCAGNETTI Yeah. Bus is all gassed up and ready to roll. WURLITZER I assigned you Bingham and Washington to go along. In B.G., Unruly Julie takes Scott's and Roger's orders. SCAGNETTI Yeah, we met. They're good men. WURLITZER They're real Goddamn good. They'll be there for when ya need 'em. Where are they? SCAGNETTI Waitin' in the lounge. WURLITZER How 'bout Mallory? SCAGNETTI Coolin' her jets in a holding cell. Unruly Julie walks up to the two men to take their order. In the B.G., we hear the wall phone BUZZ. SCAGNETTI Nothing for me. I'm leavin'. WURLITZER Me, neither. I don't eat meat. Unruly Julie walks away. A deputy yells for Wurlitzer. DEPUTY SHERIFF Capt'n! WURLITZER Yeah? The deputy holds the receiver of the wall phone in his hand. DEPUTY SHERIFF They need you. Emergency! Wurlitzer rushes to the phone, grabs the receiver. WURLITZER (into phone) Talk to me. (pause) Where? (pause) For the love of Pete...okay...okay ...okay. Mobilize the men. I'm on my way. CAMERA PANS away from Wurlitzer to the extremely curious eavesdroppers. CAMERA glides by all of them: Scagnetti, Wayne, Scott, Roger, Unruly Julie, and finally ends up on Mickey. CAMERA holds on Mickey as he contemplates Wurlitzer's conversation. OFF SCREEN the phone receiver being SLAMMED down. WURLITZER (O.S.) I'll be a son of a bitch. There's a riot going on in the laundry room. DEPUTY SHERIFF (O.S.) Is it serious? WURLITZER (O.S.) It sure as hell is. They got guns, hostages, and explosives. The room reacts. WURLITZER (O.S.) Jack, could you stay up here for a while? SCAGNETTI (O.S.) Yeah, sure. WURLITZER (O.S.) I'm taking one of these men. Yates, come with me. WAYNE (O.S.) Could we go with you and film it? WURLITZER (O.S.) Stay up here and finish your interview, I've got to see what the hell's going on down there before I can take responsibility for you to film there. We hear Wurlitzer and Deputy Yates walk out. Unruly Julie walks into FRAME next to Mickey. She has her notebook. MICKEY I'll have a four by four. That's four patty burgers. Now they don't have that on the menu, but if you order a four by four, they'll know what you're talking about. A large Coke and two orders of fries. When she finishes writing down Mickey's order, Julie walks off silently. CAMERA follows Julie out the door and into... INT. JAIL CORRIDOR - DAY CAMERA DOLLIES with Julie as she walks down the corridor. As DEPUTIES with shotguns and riot gear speed down the hall, the CAMERA passes Julie and speeds down the corridor, following the DEPUTIES into BLACKNESS. INT. LAUNDRY ROOM - DAY CAMERA PANS from blackness to WIDE ANGLE of a dark jail wall masques with shadows of prison bars. The surreal echoing sounds of a riot swell until... A SHADOW of a PRISON GUARD stumbles into frame, followed by a MOB of other SHADOWS carrying NIGHTSTICKS and BARS. The Mob catches the Prison Guard and beat him mercilessly before moving on. CAMERA TILTS down to a CU of a thin stream of BLOOD crawling across the floor. FADE TO BLACK: INT. SUPPLY ROOM - DAY SHOT through Scott's CAMERA: FOCUSING on Mickey, who's standing in a MEDIUM SHOT. MICKEY You guys wanna hear a joke I heard? WAYNE (O.S.) Sure. MICKEY Now, I'm no comedian, but it's pretty funny. It's a Little Johnny joke. Now in the joke, Little Johnny can't talk. And Little Johnny's teenage sister asks her mother if she can go out on a date. As Mickey tells this joke, he moves around the room. Scott's CAMERA follows. MICKEY The mother asks, 'Where's he taking you?' The sister says, 'The drive-in movie.' The mother tells her she can only go if she takes Little Johnny with her. She says okay. They go to the drive-in, they come back. The mother gets Little Johnny and says, 'Okay, what happened? Where did ya go?' Mickey, as Little Johnny, draws a square in the air, and acts like he's driving. MICKEY Mother says, 'The drive-in movie. What did they do?' Mickey, as Little Johnny, acts like he's kissing. MICKEY 'They kissed. What else?' Mickey, as Little Johnny, starts squeezing imaginary breasts. MICKEY 'He felt her up? What else?' Mickey, as Little Johnny, acts like he's undressing. MICKEY (dumbfounded) 'They took off their clothes? What else?' Mickey, as Little Johnny, vigorously acts as if he's having sex. MICKEY 'They did it? What were you doing?' Mickey, as Little Johnny, vigorously acts as if he's jacking off. Everyone in the room breaks up. Wayne, the boys, the deputies, even Scagnetti cracks a smile. As Mickey was telling the joke, he stopped in front of Deputy #4 during the punchline. While everybody's laughing, Mickey SLAMS his elbow in Deputy #4's face. Mickey grabs hold of the shotgun, rips it from Deputy #4's grasp, then BASHES him in the face three times with the butt. Deputy #4 drops, ugly and unconscious. Scott's CAMERA goes wild. BACK TO: COLOR 35mm. The other deputies react. Mickey pumps the shotgun slide and shoots, hitting Deputy #5 in the chest, BLOWING him off his feet. He lands on his back with a THUD. Deputy #3 raises his shotgun. Mickey drops to a crouching position and FIRES, BLASTING Deputy #3 in the groin. Deputy #3 crumples into the wall, FIRING his gun -- SLOW MOTION. The stray bullet THUNKS Scott right in the chest, BLOWING him out of FRAME. Deputy #3 drops to the floor, FIRING his shotgun straight up -- SLOW MOTION. CU of ceiling being BLASTED. Chunks of plaster and rock rain down on Sheriff #3. Scagnetti has whipped out his gun and is bringing it up to fire -- SLOW MOTION. Mickey, still crouched down, spins around toward Scagnetti -- SLOW MOTION. Scagnetti has his gun aimed at Mickey. Squatting, Mickey has the shotgun trained on Scagnetti. They're positioned across from each other on opposite sides of the room. Nobody fires. We DOLLY past the faces of both Wayne and Roger, who are flat on the ground, scared to death. CU on Scagnetti's face. CU on Mickey's face. CU on Scagnetti's finger putting pressure on the trigger, then CAMERA moves up to a CU profile of his face. OVERHEAD SHOT of Mickey. CAMERA moves down in front of him into a CU on his face. MICKEY Looks like we got a Mexican standoff. SCAGNETTI Slide the shotgun over here, put your hands behind your head, put your forehead on the floor. MICKEY Or what? You'll wound me? I can blow you in half and you know it. SCAGNETTI I've never wounded anything in my life. I got you locked right between the eyes. Mickey rises. MICKEY If you don't drop that toy, I'm blowin' you in half on three. So, if you got me locked, take the shot. One... DOLLY in on Scagnetti's gun in F.G., past the gun, to his face. CU of barrel of shotgun. MICKEY (O.S.) Two... DOLLY continues closing in on Scagnetti's face. Wayne watches, wide eyed. ECU on Mickey's face. MICKEY Three! MEDIUM SHOT on Scagnetti. SCAGNETTI Hold it! Don't shoot! He CLICKS the hammer back into place on his gun, then points the gun up. MICKEY Open the chamber. Empty the shells. Scagnetti does. The shells fall out. The shells fall on the floor at Scagnetti's feet -- SLOW MOTION. MICKEY Toss it. Scagnetti does. MICKEY Now put your hands behind your head. Scagnetti does. Mickey, holding the shotgun, walks up to Scagnetti. They stand, facing each other. MICKEY Did you ever see 'Eldorado?' SCAGNETTI What? Mickey CLOUTS him across the face with the shotgun. Scagnetti hits the ground. Blood coughs from his broken nose. Mickey looks at Wayne and Roger on the ground. MICKEY You guys stay on your bellies. ROGER Yes, sir. Mickey bends over Scagnetti and takes hold of his right hand. MICKEY I am the most dangerous man in the world. Mickey SNAPS the trigger finger on Scagnetti's right hand. Scagnetti screams. Mickey's still bent over Scagnetti. MICKEY (points at Scagnetti) You're the law. (points at himself) I'm the law breaker. Scagnetti's not going to give Mickey and more trouble. Mickey stands straight, looks toward Wayne and Roger. MICKEY Donut, get your camera. See if it's broke. WAYNE Let me check on Scott. He's hurt bad. MICKEY Scott's dead. And unless you wanna play follow the leader, shut up and do as you're told. Roger's checking the camera. He turns on the motor. It sounds like a lawn mower. MICKEY How is it? ROGER Not good. MICKEY Do you have a back up. ROGER It's video. MICKEY Even better. Wayne call your station, tell 'em we're going live a little early today. Make it happen! CUT TO BLACK: INT. JAIL LAUNDRY ROOM - DAY Wurlitzer steps into the BLACK FRAME. This SCENE becomes a TRAVELLING CU that never leaves Wurlitzer. Although we'll only see Wurlitzer, we can make out activity in the edges of the FRAME and we can vividly hear the SOUNDS of chaos around us. WURLITZER I want two men stationed in that tier, and I want men with rifles all along the walkway. PITNEY (O.S.) Capt'n! Wurlitzer walks over to a table and looks down. PITNEY (O.S.) Here's the layout of the laundry room. WURLITZER Where do the air ducts lead? PITNEY (O.S.) Here. SMITHY (O.S.) Problem is they'll hear somebody approaching that way. PITNEY (O.S.) We turned off the power when they took over the room. WURLITZER We turn it back on. The machines go back on supplying us with the cover noise we need. Smithy, do it. SMITHY (O.S.) Right away, Capt'n. CAMERA follows Wurlitzer as he heads another direction. WURLITZER Jonesy, are the sharpshooters in place? JONESY (O.S.) Yes. WURLITZER You sure? JONESY (O.S.) I think-- WURLITZER Never say you think when you know, or you know when you think. Wurlitzer snatches a walkie talkie. WURLITZER (into walkie talkie) Bergman, you in place? BERGMAN (O.S.) (from walkie talkie) Sure am, Capt'n. Nothin' clean yet. WURLITZER (into walkie talkie) Pass this to your team...the second they get a lock on a blue, they're to take the shot. Do you understand? BERGMAN (O.S.) (from walkie talkie) That's a big ten-four, Capt'n. Wurlitzer looks to his right. WURLITZER What do you think, Pitney? How much Explosives do you think that they really have in there? PITNEY (O.S.) It's hard to say Capt'n. WURLITZER Take a wild stab! PITNEY (O.S.) I'll say enough to destroy this wing. WURLITZER The entire wing? PITNEY (O.S.) That's my opinion. WURLITZER Jesus... CUT TO: SCREEN FILLS WITH STATIC. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) We interrupt this program to bring you a Special Report. INT. NEWS ROOM - DAY Title Card recedes in FRAME to expose an active news room in the B.G. News Anchor TONY CHAVEZ is lowering himself behind a desk while adjusting his earphone. CHAVEZ Good afternoon, I'm Tony Chavez and this is a KKTV Special Report. At this moment we are receiving preliminary reports of a hostage-- (fingering earphone) I...I'm sorry. I'm being told that we're now taking you live to L.A. County Jail where Wayne Gayle is standing by. CUT TO: INT. SUPPLY ROOM - DAY VIDEO FOOTAGE: NOTE: The video footage is all handheld and harshly lit, until otherwise specified. Wayne, stands alone in FRAME, moments from when we last saw him. WAYNE This is Wayne Gayle reporting live from the Los Angeles County Jail, where you can tell from the bloody carnage behind me that the final chapter in the book called Mickey and Mallory has not yet been written. Mickey enters the FRAME with shotgun in hand, pushing Wayne out. MICKEY Thank you, Wayne, but our little movie just underwent a title change. It's now called 'The Escape of Mickey and Mallory.' Starring me, you, Mallory, and special guest accomplice, Jack- fucked-up-fingers-Scagnetti. (into CAMERA) Okay, Donut, move in for a close up. I want this for prosperity. CAMERA ZOOMS into a CU of Scagnetti. MICKEY (O.S.) Okay, buddy boy, where ya keepin' Mallory? I know she's still here, and I know you know where. So, start talking or my first work as a director will be your death scene. SCAGNETTI (slightly out of it) She's in the holding cell, on this floor. MICKEY (O.S.) You're taking us to that holding cell now. (into CAMERA) All right, Cut! The CAMERA shuts off. SCREEN fills with STATIC. CUT TO: INT. NEWS ROOM - DAY Tony Chavez speaks into CAMERA. CHAVEZ Ladies and gentlemen, in case you have just tuned in, it appears that a hostage situation involving Mickey Knox is developing presently at the Los Angeles County Jail. We have seen that he is armed and apparently there has been some loss of life. We will try to re-establish contact with Wayne Gayle and bring you more on this late breaking story. Please stay tuned. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) This has been a KKTV Special Report. CUT TO: INT. SUPPLY ROOM - DAY BACK TO: COLOR 35mm WIDE SHOT of Mickey, holding his shotgun. He walks over and grabs the shotgun from dead Deputy #5. Deputy #5 won't let go of the gun from his dead man's grip. Mickey finally yanks it loose. He extracts all the shells from the gun, picks them off the floor, and puts them in his pocket. Mickey picks up Scagnetti's gun, inserts the loose bullets and slips it into his pants. MICKEY Okay, Jack, this is what we're doing. Stand behind me, put your back against mine and extend your arms behind you. Scagnetti rises, insecurely. He presses his back against Mickey's. MICKEY Now if I feel your back move away from mine, you're gonna be ripped apart. Got it? Scagnetti's back to back with Mickey. His arms flank Mickey. SCAGNETTI Yeah. MICKEY Okay, Wayne, step forward. Wayne enters FRAME. Mickey extends the shotgun. MICKEY Keep comin'. Put your solar plexus against the barrel. Wayne does. MICKEY Grab his arms. Wayne does and Mickey quickly binds their arms together with gaffer's tape, forming a two man ring around him. MICKEY Either one of you two move, it's gonna be shotgun city. You understand? WAYNE & SCAGNETTI Yes. Mickey tucks the tape roll into his shirt. MICKEY You ready, Donut? ROGER Ready. MICKEY Wagons, hooaaa! The hostage train starts moving. Wayne's walking backwards with the shotgun barrel pressed against his midsection. Scagnetti's walking back to back with Mickey and his own pistol pressed to his neck. Roger follows with the camera. INT. HOLDING CELL - DAY Mallory's sitting Indian style, singing Girl Scout songs to herself, and doing the hand motions. MALLORY (singing) Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Simplest thing there isn't much to it. All ya gotta do is dodaleedo it. I like the rest, but the best part I like is Whataleeatcha, whataleeatcha dodaleedo, dodaleedo, do quack, quack. The cell door opens and the hostage train of Wayne, Mickey, Scagnetti, Roger and the camera, and two DEPUTIES they picked up along the way enters the room. The hostages are all wrapped with tape. CU on Mallory. She can't believe her eyes. MICKEY (to Mallory) Honey, I'm home. Mallory runs into Mickey's arms, passionately kissing. This kiss has been a year coming. Now they're doing something everybody told them they would never do again. For this moment they are the only two people on earth. We're enraptured, too. CAMERA does a 360 around the loving couple. MALLORY (in between kisses) It's taken you so long to come to me. CUT TO: INT. JAIL LAUNDRY ROOM - DAY A sheet of paper flashes through FRAME. BAILEY (O.S.) Here's the list of the rioters. CAMERA TILTS to Wurlitzer reading, then looking up. WURLITZER Wait a minute, Bailey. Where's the list of the hostages? BAILEY (O.S.) I'm working on it Capt'n. WURLITZER Keep on it, son. Wurlitzer reads the list to himself as he paces. WURLITZER (reading the names) Alvarado, Issacs, Julian, Martinez, Newendyke, Olvera, Pool, Ramos, Schmidt, Spivey, Walsh, Westerguard... Wurlitzer drops into a chair, exhausted. He rubs his face with his hands. NAPALATONI (O.S.) Capt'n. Wurlitzer looks up, then looks back down. WURLITZER What is it Napalatoni? NAPALATONI (O.S.) Mickey Knox is loose. Wurlitzer looks up. WURLITZER What do you mean he's loose? NAPALATONI (O.S.) He's armed, he's killed three deputies and one of Wayne Gayle's guys. At the moment, he's hold up with Mallory Knox in her holding cell with Wayne Gayle, another TV guy, that cop fella, and two other deputies as hostages. And Capt'n, they have one of them news cameras goin' live to KKTV. They won't stop playin' it. What do you want us to do? Wurlitzer holds a frozen look, as if a fuse has blown and his mind has shut down. If he were to open his mouth now nothing would come out. He just sits. CUT TO: INT. HOLDING CELL - DAY The hostages have been cut free from each other and sit against the wall. Roger cradles the Betacam in his lap, rocking slowly as if in a trance, while Scagnetti feebly splints his broken fingers with the tape that hangs from his wrists. Wayne is standing, alert and ready for action. As for the two deputies, HOSTAGE DEPUTY #1 sits in anger, tight-lipped and stoic. The other, DEPUTY DUNCAN HOMOLKA is panicked and jumpy, one may never see a more nervous man. Mickey and Mallory stand over them with their weapons drawn. MICKEY Okay, we're going out that door, and we're gonna march down the hall and right out of the building. (to Wayne) Donut said something about a news van. WAYNE Yeah, we have a van. MICKEY Where's it parked? WAYNE Out front. MICKEY Let me have the keys. Wayne points to Roger. Roger digs through his pocket and tosses the keys to Mickey. WAYNE Mickey, can I talk to you alone? MICKEY No. WAYNE This is crazy. You can't escape like this. MICKEY Probably not, but we're gonna give it the old college try. WAYNE We'll all be killed. MALLORY Exciting, isn't it? Duncan begins to cry. MICKEY Now, when we get out there, you do what we say or it's curtains. If we say move, you move. If we say left, you move left. If we say right, you move right. If we say mole, you dig a hole. Got it? MALLORY Are we in a big hurry? MICKEY You got something you want to do? MALLORY Yeah. MICKEY By all means, knock yourself out. MALLORY Thanks. Roll 'em, Donut. Roger snaps up and hoists the camera to his shoulder. VIDEO FOOTAGE: Shot through Roger's CAMERA: IMAGE FOCUSES on Mallory as she points to Scagnetti sitting on the floor. MALLORY You! Stand up! Scagnetti gulps, then rises knowing that he has fucked with the wrong woman. Mallory walks up to him with pistol in hand. MALLORY You probably thought it was pretty funny, didn't ya? She raises Scagnetti's pistol, aiming it at its former owner. Scagnetti flinches and squirms. MALLORY Can you remember the last time you fucked with me? Close your eyes and remember...Are ya thinking about it? Good. Mallory fires three shots into Scagnetti's chest. Roger's CAMERA jumps, then follows the body to the floor. Roger HOLDS on Scagnetti slumped on the floor. DUNCAN (O.S.) Oh God! Oh God! Ohhhh... MICKEY We're sending out a hostage. Don't touch him! OFF SCREEN the door is kicked open. Roger's CAMERA whips around to witness Mickey and Mallory jumping into the corridor, BLASTING with their guns while using the hostages for shields. Roger's CAMERA moves out of the cell and... INT. JAIL CORRIDOR (OUTSIDE THE HOLDING CELL) - DAY There are even more DEPUTY SHERIFFS in the corridor. CROSS FIRE whistles by as Roger dodges to catch up with the caravan. The footage is very similar to Vietnam footage. It's shaky, real, harsh, and it captures the pandemonium of battle. The soundtrack is a mixture of yelling, crying, laughing, and gunfire. HOSTAGE DEPUTY #1 is SHOT, and discarded by Mickey. The wild caravan runs down the hallway, FIRING behind them. Mickey's HIT, but keeps on running and FIRING. Mallory sees this and screams. MALLORY Mickey! MICKEY Don't stop! Roger's CAMERA runs along with them. ROGER (O.S.) Man, oh, man...this is better than Vietnam! More DEPUTIES appear at the end of the hallway. Mickey and Mallory get back to back with each other, using DUNCAN as a shield in front of them and Wayne behind them. Mickey FIRES from the front, Mallory FIRES from the rear. DUNCAN Please don't kill me! Don't kill me... CAMERA WHIP PANS to catch a Deputy hopping around the corner. The SCREEN FLASHES WHITE with a BLAST. Roger's HIT, and the CAMERA goes haywire, reeling out of control, the THUNKING to the ground. Roger screams O.S. CAMERA lies on the floor, video still transmitting. Roger rolls into FRAME screaming. MICKEY (O.S.) Get the camera! Get the fucking camera! BACK TO: COLOR 35mm. As Mickey FIRES cover for her, Mallory swipes the camera from Roger's side. The Knox's start running again, still holding Wayne and last hostage. Deputies are lying on the ground, wounded and screaming, or dead and silent. MICKEY (to Mallory) This way. INT. STAIRWELL - DAY The caravan bursts into the stairwell. Mickey turns to Duncan the remaining hostage deputy. MICKEY (to Duncan) Where does this lead? Duncan is hyper-ventilating. Mickey pushes him against to wall. MICKEY Where!?! DUNCAN Th-- the ground floor. MALLORY Is that the front door? Duncan nods frantically. MICKEY Let's go. Mickey grabs Duncan and the caravan starts running down the stairs. They go down a few flights. As they run down one last flight, they find Wurlitzer and a team of DEPUTIES waiting for them on the ground floor. The deputies raise their guns. Mallory grabs hold of Wayne, and gets behind him with one hand pressing the barrel of her gun against his temple and her other are wrapped around his neck, holding him close to her. MALLORY Back off or I'll blast him! Back off or I'll blast him! Back off or I'll blast him! None of the deputies lower their guns, but they appear less likely to start shooting. Wayne screams. WAYNE Don't shoot. I beg you, don't shoot! Please, please, please... Wayne continues begging. Wurlitzer steps forward. WURLITZER Now Mickey, Mallory, just let me say--- MALLORY Shut up! Don't talk, I don't wanna hear it! WURLITZER You have to know--- MALLORY I said shut up... Mallory quickly lowers her gun from Wayne's head and SHOOTS him in the thigh. She whips the gun back up to his head. Wayne's screaming in pain. The deputies jump back. MALLORY ...and I mean shut up! There's a bit of a silent standoff. Tears are streaming down Duncan's face as the caravan slowly retreats back up the stairs to the next flight. The deputies hold their present position. CUT TO: INT. PRISON STAIRWELL - DAY The caravan goes up one flight, then stops. Mickey and Mallory let their two hostages sit down. Duncan is out and out hysterical, urine stains the front of his uniform. Mickey's pacing. MICKEY Think...think...think... Mallory leans up against the wall, holding her side with her hand. Blood trickles out between the fingers. We see now she's been shot. Over Duncan's impassioned clamour they can hear Wurlitzer yelling from below. WURLITZER (O.S.) Give up! There's no other way out! Mickey sits down, utterly exhausted. Mallory sits down next to. him. She winces in pain. He puts his arm around her. MALLORY Look, lover boy, we're not getting outta here. So I say the hell with going back to our cells. Let's do a Butch Cassidy and the Sundance Kid. Run down these stairs shootin', go out in a hail of bullets, but take as many of those motherfuckers with us as possible. Suddenly, Mickey's exhaustion lifts. He has a plan. MICKEY We'll do that when all else fails. Mickey stands. MALLORY Hasn't it? MICKEY We still got a few tricks up our sleeves. Mickey confronts the two hostages. He points at Duncan. MICKEY You married? DUNCAN Oh, I don't wanna die... MICKEY Are you married? Do you have kids? Duncan nods pathetically. MICKEY Good. People, we're goin' all the way to the front door. Now, the only way we're gonna get there is if they don't want to kill you two more than they want to kill us. INSERT: SHOTS of deputies with guns in their hands, just itching to kill Mickey and Mallory. We hear Mickey's voice over this SHOT. MICKEY (V.O.) Right now I find that highly unlikely. So, let's help 'em out, shall we? BACK TO PRISON STAIRWELL: Mickey is squatting in front of Wayne. MICKEY Now, say I tell those guys down there if they shoot or make a move, I'm killin' Wayne Gayle. And they shoot or make a move anyway. Now say by some freak accident, you didn't die, you live though it. What would you do? Mickey pulls the roll of GAFFER'S TAPE from his shirt and starts tearing strips of tape and sticking them to the wall. WAYNE What would I do? Me and my network would sue the entire Los Angeles County Sheriffs Department for flagrantly disregarding my safety. I'd go straight to my buddy, the mayor, and make sure everyone of those son of a bitches down there ends up on the unemployment line. In fact, I'd sue every man down there personally. I would make it my life's ambition to bring the LA County Jail to its knees. I would do expose after expose on the brutality, and the conditions, and the inhumanity that exists here. Mickey tosses the tape roll to Mallory and gestures to Duncan. Mallory winks at Mickey. Mickey smiles and begins wrapping tape around the barrel of his shotgun. MICKEY That's what I thought. You tell them that. When we go down those stairs, I want you to scream what you just told me. 'My name is Wayne Gayle! I am the star of American Maniacs watched every week by'-- how many people? WAYNE On average forty million. MICKEY 'Every week by forty million people. I am a respected journalist.' Have you won any awards? WAYNE Are you kidding? The Golden Globe, The Edward R. Murrow award... MICKEY 'Respected journalist'-- On your knees... Wayne kneels in front of Mickey. While Mickey speaks he props his shotgun under Wayne's chin and wraps the tape from the barrel around his neck. MICKEY (continues) ...'Winner of the Golden Globe and the Edward R. Murrow award among others.' Tell 'em the name of your personal lawyer, his firm, his address, and phone number. Tell 'em about the mayor and the unemployment lines. You getting the idea? WAYNE Yes. Mickey stands with Wayne as he tapes his trigger hand to the stock of the shotgun. MICKEY Say it. Scream it. All the way out the front door and into your van. And if you stop screaming, I swear to God I'll blow your head off. WAYNE Got it. Mickey grabs the camera, and lifts it to his shoulder before shouting to Duncan. MICKEY You! What's your name? Duncan can't answer, Mallory has gagged him with his tape. Mallory grabs Duncan by the collar and lifts him off the floor before reading his name badge. MALLORY Duncan...Homolka? CUT TO: INT. PRISON STAIRWELL (GROUND FLOOR) - DAY Wurlitzer and the deputies are deciding their next move when they hear: MICKEY (O.S.) Start. Wayne and Duncan come into view with the Knoxs behind them. The deputies quickly raise their guns, but soon realize if they take out either Mickey of Mallory that Wayne or Duncan would die. Mallory's right hand is taped to the trigger and stock of the shotgun that's wrapped firmly to Duncan's neck. The pistol in her left hand is trained on Wurlitzer. Mickey's left hand masters the shotgun leash on Wayne, while he monitors the Deputies with the CAMERA on his right shoulder. NOTE: The following scene will intercut between VIDEO FOOTAGE and COLOR 35mm. Wayne starts belting out his speech as Mickey focus the CAMERA on Wurlitzer. Duncan simply cries and begs for his life to be spared. WAYNE (yelling) My name is Wayne Gayle! I am the star of 'American Maniacs', watched by forty million people every week! I am a respected journalist, winners of the Golden Globe, the Edward R. Murrows Award among others! If anybody puts me in danger, my network will sue The Los Angeles County Sheriffs Department. My estate will sue every officer personally who fires. The network's law firm is Rowlands, Davis and Sinclair... Mickey knew what he was doing. This has an effect on the deputies. MALLORY (yelling) Make a path! The wall of deputies starts moving backward. The Knoxs and their hostages start moving forward with Wayne yelling all the way. The deputies keep their guns trained on the caravan, but they keep giving ground, until they reach the doors of the front lobby and they begin to part like the Red Sea. Wurlitzer stands his ground. WURLITZER How far do you think your gonna get? MICKEY Right out the front door. WURLITZER That'll never happen. MICKEY It is happening. The caravan marches forth. Wayne and Duncan keep shouting their speeches. Nobody dares to move on them, but the deputies keep their weapons ready. Wayne stops his speech to take a breath. MALLORY Don't stop! Wayne starts up again. The deputies are completely frustrated. Mickey and Wurlitzer are nose to nose. WURLITZER (to Mickey) I will personally hunt you down, blow the head off your fucking-whore-wife, and plant your sick ass in the ground all by myself. MICKEY (calmly) Another day perhaps, but not today. Mickey leaves FRAME. CUT TO: EXT. COUNTY JAIL - DAY The doors swing wide in SLOW MOTION as the caravan of Mickey, Mallory, Wayne and Duncan take their first step into the open air. A crescent of deputies frame the group in the B.G. while Wurlitzer stands, defeated, just behind Mickey. FREEZE FRAME on WIDE ANGLE. Image DISSOLVES to BLACK & WHITE before BURNING into WHITE LEADER. EXT. WOODS - DAY The WHITE LEADER is disrupted by a fogged image in BLACK & WHITE. The image settles into a ECU of Wayne. He's being filmed by a 16mm CAMERA that he is presently balancing on a fence post. This entire SCENE is played out cinema verite. The SOUND is not in sync as Wayne steps back into a MED SHOT. He looks directly into the CAMERA. WAYNE This is Wayne Gayle. I'm wounded and my crew, Roger and Scott, are dead. This may be out of sync 'cause we are shooting with a wild camera and a standard recorder we found in the van. Mickey Knox's plan worked. We walked out the front door, into my news van and made our getaway. When we were followed by patrol cars, Mallory Knox killed Deputy Sheriff Duncan Homolka and tossed his body out of the back. Mickey told authorities over my police band that I would surely be next if they didn't give up the pursuit. They took Mickey at his word and called off the pursuit. Why helicopters weren't employed, I don't know. My only thought is it all happened too fast for arrangements to be made. We've just pulled off to the side of the road to do this interview. Tensions run high-- Mickey screams O.S. MICKEY (O.S.) We ain't got all fuckin' day! WAYNE Without any further ado, Mickey and Mallory... Wayne steps forward and picks up the CAMERA and while conducting his interview, the CAMERA remains hand held. CAMERA focuses on Mallory sitting on a stump, while Mickey paces in and out of FRAME in the B.G. WAYNE Mallory, what did you think of Mickey's plan? Did you think it would work? MALLORY It wasn't 'till we got on the ground floor that I totally realized they weren't gonna shoot unless we shot first. When we got out of the stairwell, I remember thinking, 'Oh my God. This might work.' But Mickey knew it would work all along. There wasn't any doubt in his mind. It's not like there was and he just didn't show it. He knew it would work. WAYNE (O.S.) What did you think then? MALLORY I wondered how long it would be before we'd get to be alone together. And I wondered if I could wait that long. WAYNE (O.S.) Did you have anything to do with the riot in the laundry room? MALLORY Haven't you been listening to a fuckin' word I said? ...Oh, I'm sorry. Can I say fuckin'? I can't, can I? WAYNE (O.S.) Try to keep it to a minimum. MALLORY We had nothing to do with that riot. That riot was just -- whatchmacallit -- Mickey can be heard faintly in the B.G. MICKEY Divine intervention. MALLORY What he said. We didn't know jack shit about and riot. It just happened. It was kismet. We didn't even know those people. How are we supposed to organize a riot when we've been in fuckin' isolation for the past year? Just bleep out the fucks and jack shits. (laughs) I mean, it's not like we care. If they wanna say we masterminded the whole thing, let 'em. It won't exactly keep us up at night. But you said you wanted the truth, and the truth is we were just lucky. Mickey's snapping his fingers in the B.G. MICKEY C'mon, c'mon, let's hurry this up. WAYNE (O.S.) So, what now? MALLORY Well, now me and Mickey are gonna take it easy. Just enjoy each other's company, stop and smell the roses, notice the color purple, stuff like that. WAYNE (O.S.) How do you intend to disappear? you're probably the most famous couple in America. MALLORY Well, back in slave times they had a thing called the underground railroad. And we got a whole fan club out there just waiting to be conductors. (to the camera) So, you kids out there, keep the faith. Cause Mickey and Mallory will be comin' to your town real soon. MICKEY Okay, that's enough. End of interview. We gotta move. Mickey approaches Wayne. CAMERA goes a little haywire as Wayne lowers it from his eye. WAYNE (O.S.) Okay, just let me swing around and film myself asking the questions. And then I'll do my little wrap up. Mickey takes the CAMERA from Wayne, and while he speaks, he balances it on a fence post. MICKEY Oh, we're gonna do a little wrap up, all right. But it won't be you starin' in the camera, looking dumb, and acting stupid. Instead, you're gonna be starin' down the barrels of our shotguns and we're gonna be pullin' the triggers. Wayne forces a chuckle. Mickey steps away from the CAMERA and into a THREE SHOT. The NEWS VAN is parked in the B.G. WAYNE That's a joke right? Mickey pumps the slide of his shotgun. Mallory grabs her shotgun from off the ground. WAYNE Just wait one fucking minute. MICKEY I said I'd give you a interview. Now unless I'm mistaken, we just did a interview. (to Mallory) We did an interview, didn't we? MALLORY Looked like an interview to me. MICKEY I said we'd give you an interview. I never said we wouldn't kill you. WAYNE Wait! I don't know, but I kinda felt during this...this whole escape that a kind of bond-- Wayne is shaking. WAYNE (continues) ...developed between the three of us. We're kindda in this together, don't ya think? MICKEY No. Not really. WAYNE Don't touch those triggers! Please. I think I've already proven that a live Wayne Gayle is much more better that a dead...Way-- Gayle. I was your passport out of jail, not Duncan Homolka. But me! I'll be your passport outta--- MICKEY Just save your breath, Wayne. We hate you. If anybody in the fuckin' world deserves to die, it's you. Wayne is grasping for anything. WAYNE Wait! You can't kill me. Mickey and Mallory always leave somebody alive to tell the tale. MICKEY We are. (points to camera) Your camera. Mickey turns to Mallory. MICKEY (John Wayne voice) Let's make a little music, Colorada. WAYNE NO!!! The two interview subjects start PUMPING rounds into Wayne, who's body dances like a puppet before collapsing to the ground. Mickey and Mallory kiss each other passionately, then climbing into the news van, they drive away. Wayne's body lay peacefully in FRAME until the CAMERA eventually runs out of film. CUT TO BLACK: A FILM DIRECTED BY RAND VOSSLER A Noja Production. Natural Born Killers Writers : Quentin Tarantino David Veloz Richard Rutowski Oliver Stone Genres : Action Crime Romance Thriller User Comments Back to IMSDb

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Karl Weber 1897-1965 was a German art director. He frequently worked alongside Erich Zander designing film sets. Filmography Napoleon at Saint Helena 1929 The Opera Ball 1931 Ariane 1931 Abenteuer im Engadin 1932 Der Diamant des Zaren 1932 Melo 1932 The Dreamy Mouth 1932 Spies at Work 1933 The Old and the Young King 1935 Forget Me Not 1935 If It Were Not for Music 1935 A Night of Change 1935 Martha 1936 Intermezzo 1936 Three Girls Around Schubert 1936 Family Parade 1936 The Beggar Student 1936 His Best Friend 1937 Don't Promise Me Anything 1937 To New Shores 1937 Zwei Frauen 1938 Verliebtes Abenteuer 1938 Die kleine und die große Liebe 1938 Red Orchids 1938 Der Tag nach der Scheidung 1938 Ich liebe dich 1938 Yvette 1938 A Hopeless Case 1939 Wibbel the Tailor 1939 Beloved Augustin 1940 Nanette 1940 Casanova heiratet 1940 Our Miss Doctor 1940 Der Weg zu Isabel 1940 Much Ado About Nixi 1942 Melody of a Great City 1943 Vienna 1910 1943 Es lebe die Liebe 1944 Es fing so harmlos an 1944 Leuchtende Schatten 1945 Verlobte Leute 1950 Miracles Still Happen 1951 Homesick for You 1952 The Merry Vineyard 1952 Southern Nights 1953 Hit Parade 1953 Roses from the South 1954 Die Försterbuben 1955 You Can No Longer Remain Silent 1955 Die Mädels vom Immenhof 1955 ..wie einst Lili Marleen 1956 Junger Mann, der alles kann 1957 Doctor Bertram 1957 Meine 99 Bräute 1958 Du bist wunderbar 1959 The Hero of My Dreams 1960 References Bibliography Giesen, Rolf. Nazi Propaganda Films: A History and Filmography. McFarland, 2003. External links Category:1897 births Category:1965 deaths Category:German art directors Category:Film people from Berlin

wikipedia

clebsch - gordan coefficients ( cgcs ) arise when decomposing the tensor product @xmath0 of the representation spaces of two irreducible representations ( _ irreps _ ) @xmath1 and @xmath2 of some group into a direct sum @xmath3 of irreducible representation spaces . they describe the corresponding basis transformation from a tensor product basis @xmath4 to a basis @xmath5 which explicitly accomplishes this decomposition . cgcs are familiar to physicists in the context of angular momentum coupling , in which the direct product of two irreps of the 2 group is decomposed into a direct sum of irreps . 3 clebsch - gordan coefficients arise , for example , in the context of quantum chromodynamics , while n cgcs , for general @xmath6 , appear in the construction of unifying theories whose symmetries contain the @xmath7 standard model as a subgroup@xcite . n cgcs are also useful for the numerical treatment of models with n symmetry , where they arise when exploiting the wigner - eckart theorem to simplify the calculation of matrix elements of the hamiltonian . such a situation arises , for example , in the numerical treatment of n - symmetric quantum impurity models using the numerical renormalization group @xcite . such models can be mapped onto n - symmetric , half - infinite quantum chains , with hopping strengths that decrease exponentially along the chain . the hamiltonian is diagonalized numerically in an iterative fashion , requiring the explicit calculation of matrix elements of the hamiltonian of subchains of increasing length . the efficiency of this process can be increased dramatically by exploiting the wigner - eckart theorem , which requires knowledge of the relevant clebsch - gordan coefficients . ( details of how to implement n symmetries within the context of the numerical renormalization group will be published elsewhere . ) similarly , tremendous gains in efficiency would result from developing n - symmetric implementations of the density matrix renormalization group for treating generic quantum chain models @xcite , or generalizations of this approach for treating two - dimensional tensor network models @xcite . for explicit calculations with models having n symmetry , explicit tables of n clebsch - gordan coefficients are needed . their calculation is a problem of applied representation theory of lie groups that has been solved , in principle , long ago @xcite . for example , for 2 racah@xcite has found an explicit formula that gives the cgcs for the direct product decomposition of two arbitrary irreps @xmath1 and @xmath2 . for n , explicit cgc formulas exist for certain special cases , e.g. where @xmath2 is the defining representation @xcite . moreover , symbolic packages such as the program `` lie '' @xcite also allow the computation of certain cgcs , but rather have been conceived as a general - purpose software for manipulating lie algebras than a high - speed implementation for calculating cgcs . however , for the general case no explicit cgc formulas are known that would constitute a generalization of racah s results to arbitrary @xmath6 , @xmath1 and @xmath2 . the present paper describes a numerical solution to this problem , by presenting an elementary but efficient algorithm ( and a computer implementation thereof ) for producing explicit tables of cgcs arising in the direct product decomposition of two arbitrary n irreps , for arbitrary @xmath6 . ( since n and n have the same cgcs , our algorithm also applies to the latter , but for definiteness we shall usually refer only to the former . ) our work is addressed at a readership of physicists . our algorithm uses only elementary facts from n representation theory , which we introduce and summarize as needed , presuming only knowledge of 2 representation theory at a level conveyed in standard quantum mechanics textbooks . previous attempts at formulating an algorithm for calculating n cgcs are either not sufficiently general for our purposes@xcite , or require mathematical methods@xcite much more advanced than ours , far beyond the scope of a standard physics education . we begin in sec . [ sec : definecgc ] by formulating the problem to be solved in rather general terms . to set the scene for its solution , sections [ sec : su2 ] to [ sec : raising - lowering ] summarize the various elements of n representation theory ( without proofs , since this is all textbook material ) . first , in sec . [ sec : su2 ] we review the calculation of 2 cgcs using a strategy that can readily be generalized to the case of n. then we proceed to n representation theory and review in sections [ sec : algebra ] to [ sec : raising - lowering ] a scheme , due to gelfand and tsetlin ( gt ) @xcite , for labeling the generators of the corresponding lie algebra n , its irreps and the states in each irrep . the gt - scheme is convenient for our purposes since it yields explicit matrix representations for any n irrep ( eqs . ( [ eq : jmelement ] ) and ( [ eq : jpelement ] ) below ) . with these in hand , we are finally in a position to formulate , in sections [ sec : decompose ] to [ sec : algorithm ] , our novel algorithm for computing n cgcs : it is simply a suitably generalized version of the 2 strategy of sec . [ sec : su2 ] . the main text is supplemented by several technical appendices . [ app : young ] reviews the relation between the gt - patterns used in the text and young tableaux , with which physicists are perhaps somewhat more familiar . [ app : littlewood - richardson ] deals with the littlewood - richardson rule for determining which irreps @xmath8 occur in the decomposition @xmath9 . [ app : map ] describes two algorithms , needed for indexing purposes , which map the labels of irreps and of carrier states , respectively , onto natural numbers . finally , app . [ app : source ] , which is available in electronic form@xcite , gives the source code for our computer implementation , written in c++ . as a service to potential users , we have set up a web site@xcite containing an interactive `` cgc - generator '' . it allows visitors to perform a number of tasks on input data of their own choice , such as finding all irreps @xmath10 occuring in the decomposition of @xmath11 , or finding the complete set of cgcs arising in the decomposition of @xmath11 . to fix notation , let us state the problem we wish to solve for a general matrix lie group @xmath12 . ( in subsequent sections , we restrict attention to @xmath12 = n or n. ) let @xmath1 be an irrep label that distinguishes different irreps of @xmath12 of n , and @xmath13 the dimension of irrep @xmath1 . let @xmath14 denote the carrier space for @xmath1 , spanned by @xmath13 carrier states @xmath15 , where the label @xmath16 will be understood to specify both the irrep @xmath1 and a particular state in its carrier space . ( this will be made explicit in subsequent sections . ) note that , throughout this paper , we adopt the viewpoint of quantum mechanics , where we consider only representations on _ complex _ vector spaces . besides , a state is to be understood as a one - dimensional subspace , not a vector . however , we pick a representative vector @xmath15 of each such subspace and subsequently treat a state as a vector . we assume the inner product of two such normalized vectors @xmath15 and @xmath17 to be given by @xmath18 unless noted otherwise . the action of a group element @xmath19 can be represented on @xmath20 as a linear transformation @xmath21 where the @xmath22 are @xmath23 dimensional unitary matrices respecting the group structure @xmath24 . now consider the direct product of two carrier spaces , @xmath25 , of dimension @xmath26 . we are interested in its decomposition into a direct sum of carrier spaces @xmath8 of irreps @xmath10 , @xmath27 here the integer @xmath28 , called the _ outer multiplicity _ of @xmath10 , specifies the number of times the irrep @xmath10 occurs in this decomposition , and for a given @xmath10 , the outer multiplicity index @xmath29 distinguishes multiple occurrences of @xmath10 . correspondingly , let @xmath30 be a basis for the direct sum decomposition , i.e.@xmath31 . carrier space dimensions add up according to @xmath32 . the decomposition ( [ eq : directproductdecomposition ] ) implies that a basis transformation @xmath33 can be found from the direct product basis to the direct sum basis which block - diagonalizes the matrix representations of all group elements ( ref . , p. 100 ) : [ eq : blockdiagonalize ] @xmath34 where each @xmath35 is a shorthand for a certain @xmath36 . since @xmath12 is a matrix lie group ( n or n ) , it is convenient to work with its associated lie algebra @xmath37 ( n or n ) . it is obtained by considering the infinitesimal action of @xmath12 on @xmath38 , i.e. by taking derivatives of the group at the identity . this derivative acts on the direct product of two group representations according to the product rule , so that the basis transformation @xmath33 could equally be defined by the property that it block - diagonalizes the algebra representation : @xmath39 when projected to the subspace @xmath40 ( denote the corresponding projector by @xmath41 ) , the action of the algebra in the direct product representation can thus be written as @xmath42 concretely , the basis transformation @xmath33 can be expressed in the form @xmath43 where the @xmath44 are the clebsch - gordan - coefficients of present interest . they are understood to be defined only for @xmath45 , and express the carrier states of @xmath40 in terms of linear combinations of product basis states from @xmath0 . the cgcs encode so - called _ selection rules _ , in that @xmath46 only for a limited number of combinations of @xmath16 , @xmath47 and @xmath48 . since the cgcs are the entries of the unitary matrix @xmath33 , they satisfy the following orthonormality conditions : [ eq : cgc - orthonormal ] @xmath49 actually , the @xmath44 can always be chosen to be real , and we shall do so throughout . the goal of the present work is to present ( and implement on a computer ) an efficient algorithm for @xmath50 = n or n which , for any specified @xmath6 and any specified irrep labels @xmath1 and @xmath2 , produces explicit tables of all cgcs arising in the direct product decomposition . before considering the general n case , we first review a method for calculating 2 cgcs . while there are various ways to accomplish this task , the particular approach presented below illustrates the general strategy to be used for n in later sections . the discussion is structured as follows : first , we recall the lie algebra associated with 2 , then its irreducible representations , then move on to product representation decompositions , and finally set up equations specifying the cgcs . the lie algebra associated with 2 , denoted by 2 , consists of all real linear combinations of three basis elements , @xmath51 , @xmath52 , and @xmath53 , obeying the commutation relation @xmath54 = ij_z$ ] ( plus cyclic permutations of the indices ) . however , it will be more convenient to deal with complex linear combinations of these , which constitute the algebra 2 . as a basis for the latter , it is common to choose three elements , @xmath55 , @xmath56 , and @xmath53 , obeying the following commutation relations : [ eq : sl2-commutators ] @xmath57 & = \pm j_\pm , \\ [ j_+ , j_- ] & = 2 j_z.\end{aligned}\ ] ] each 2 irrep , and correspondingly , each 2 irrep , can be uniquely ( up to an isomorphism ) identified by a nonnegative half - integer , @xmath58 . the carrier space @xmath20 of such an irrep has an orthonormal basis where the states , denoted by @xmath59 , are labeled by a half - integer , @xmath60 , such that the action of @xmath53 and @xmath61 is given by @xmath62 . arrows show the action of @xmath61 on the state @xmath63 . ] the @xmath53-eigenvalue @xmath64 will be called the @xmath65-_weight _ of the state @xmath59 ( in anticipation of similar nomenclature to be used for n below ) . the action of @xmath61 can be visualized in a so - called _ weight diagram _ , which represents each carrier state @xmath59 by a mark on an axis at the corresponding @xmath64-value . for example , the carrier space of @xmath66 is shown in fig . [ fig : su2 ] . in anticipation of the generalization to n , we label basis states from now on by a composite index @xmath67 , which includes both the irrep label @xmath1 and the basis index @xmath64 . each carrier space @xmath38 contains a unique ( up to normalization ) _ highest - weight state _ , @xmath68 , defined by the property that @xmath69 for 2 , it carries the labels @xmath70 . in the direct product decomposition of two 2 irreps @xmath1 and @xmath2 , the outer multiplicity @xmath71 in the notation of eq . is given by : @xmath72 since @xmath73 for 2 , we shall , throughout this section , omit the index @xmath74 appearing in eq . . in particular , eq . now takes the form @xmath75 where the cgcs @xmath76 satisfy the selection rule : @xmath77 it reflects the fact that @xmath78 , @xmath15 and @xmath17 are eigenstates of @xmath79 , @xmath80 and @xmath81 , respectively , where the superscripts on @xmath53 indicate which carrier space the respective operators act on . to obtain the cgcs for given @xmath1 and @xmath2 explicitly , we consider each @xmath10 for which @xmath82 separately . let us make the following ansatz for the expansion of @xmath68 in terms of product basis states : @xmath83 where @xmath84 are the cgcs of @xmath68 , and the sum runs only over values of @xmath64 and @xmath85 that satisfy the selection rule . inserting into , we obtain @xmath86 after evaluating the action of the raising operators on @xmath87 using eq . and requiring the coefficients in front of each state @xmath87 to vanish independently , we obtain a homogeneous linear system of equations . we solve for @xmath84 and fix a solution by the normalization condition and by requiring @xmath88 to be real and positive for the largest value of @xmath64 for which @xmath88 is nonzero . the cgcs of lower - weight states ( i.e. states other than the highest - weight state ) are found by noting that @xmath89 ( @xmath90 is a normalization constant . ) the right - hand side of this equation is fully known from eq . . by rewriting it into the form of eq . , the desired @xmath76 can readily be identified . for given @xmath10 , @xmath1 and @xmath2 it is possible to write eq . as a recursion relation relating cgcs with different @xmath91 @xcite . moreover , for 2 , there exists a closed formula for @xmath76@xcite . nevertheless , for present purposes , the approach presented here is the most convenient as its key steps can readily be generalized to calculate n clebsch - gordan coefficients . the differences in comparison to 2 will lie in the more complex structure of raising and lowering operators , the labeling schemes for irreps and states , and the method for finding the irreps occurring in a product representation decomposition , all of which we tackle in the following sections . instead of working with the group n itself , it will be more convenient for our purposes to consider its associated lie algebra , n ( * ? ? ? the latter consists of all traceless anti - hermitian @xmath92 matrices , while the ordinary commutator serves as its lie bracket . most results obtained for representations of n carry over to n one - to - one , with the elements of the lie algebra representing the generators of the lie group . notably , the clebsch - gordan coefficients of their representations are identical . we begin by specifying a basis for the n algebra , in order to illustrate its structure . let @xmath93 be the single - entry matrices , i.e.@xmath94 . a possible choice of basis is given by the matrices @xmath95 and @xmath96 for @xmath97 , and @xmath98 for @xmath99 . n is spanned by _ real _ linear combinations of these matrices . just as for 2 and 2 , however , it will be convenient to work with a basis for n. to this end , define for @xmath100 the _ complex _ linear combinations , @xmath101 which satisfy , for each @xmath102 , the familiar 2 commutation relations of eq . : @xmath103 & = \pm j_\pm^{(l ) } , \\ \label{eq : pmcomm } \left [ j_+^{(l ) } , j_-^{(l ) } \right ] & = 2j_z^{(l ) } . \end{aligned}\ ] ] the @xmath104 matrices @xmath105 form a maximal set of mutually commuting matrices , @xmath106 = 0 $ ] ( thus , the @xmath107 span the cartan subalgebra of n ) . thus , none of the @xmath108 commutes with all elements of this set , or with all other @xmath109 operators . the matrices @xmath105 and @xmath108 are not anti - hermitian and thus do not belong to n , but rather to n. however , it is sufficient to restrict our attention to @xmath108 because , from these , we can recover an anti - hermitian basis using @xmath110 \ldots ] \quad\text{for}\quad p > q \;,\ ] ] @xmath111 \ldots ] \quad\text{for}\quad p < q \;.\ ] ] in other words , once we know representations for all @xmath108 on a given carrier space , the representations of all other elements of both the algebras n and n are also known . for definiteness , we shall refer to n below , although the constructions apply equally to n. the n basis defined in the preceding section has a feature that makes it particularly convenient for our purposes : if one also adopts a specific labeling scheme , devised by gelfand and tsetlin ( gt ) @xcite , for labeling n irreps and the basis states of their carrier spaces , these basis states are simultaneous eigenstates of all the matrices @xmath105 , and explicit formulas exist for the matrix elements of the @xmath108 with respect to these basis states . the next three sections are devoted to summarizing the gt labeling scheme without dwelling on its mathematical roots the mere knowledge of its rules is sufficient for our purposes . ( the relation of the gt - scheme labeling scheme to a frequently - used alternative but equivalent labeling scheme , employing young diagrams and young tableaux , is summarized , for convenience , in appendix [ app : young ] . ) up to equivalent representations , each n irrep can be identified uniquely by a sequence of @xmath6 integers @xcite , @xmath112 or @xmath113 in short , fulfilling @xmath114 for @xmath115 . we shall call such a sequence an _ irrep weight _ or _ i - weight _ , in short . the second index , @xmath6 , identifies the algebra , n ; the reasons for displaying this index explicitly will become clear below . two i - weights @xmath1 and @xmath2 for which all components differ only by a @xmath116-independent constant , i.e. @xmath117 with @xmath118 , designate the _ same _ n irrep . this fact can be used to bring any i - weight into a `` normalized '' form having @xmath119 , which will be assumed below , unless otherwise specified . gt exploited the fact that the carrier space of any n irrep splits into disjoint carrier spaces of @xmath120 irreps to devise a labelling scheme with a very convenient property : it yields a remarkably simple rule for enumerating which @xmath120 irreps occur in the decomposition of @xmath113 , namely all those with i - weights @xmath121 that satisfy the condition @xmath122 for @xmath115 . note that , here , it is crucial _ not _ to set @xmath123 so that we can distinguish between multiple occurrences of the same @xmath120 irrep . recursively , the carrier spaces of @xmath120 irreps give rise to @xmath124 irreps and so on , down to 1 , the carrier spaces of which are one - dimensional . this sequence of decompositions can be exploited to label the basis states @xmath15 of a given n irrep @xmath125 using so - called _ gelfand - tsetlin patterns _ ( gt - patterns ) . these are triangular arrangements of integers , to be denoted by @xmath126 , with the structure @xmath127 i.e. the first index labels diagonals from left to right , and the second index labels rows from bottom to top . the top row contains the i - weight @xmath128 that specifies the irrep , and the entries of lower rows are subject to the so - called _ betweenness condition _ , @xmath129 the dimension of an irrep @xmath125 is equal to the number of valid gt - patterns having @xmath1 as their top row . there exists a convenient formula for this number : @xmath130 note that the 2 basis state conventionally labeled as @xmath131 corresponds to the gt - pattern @xmath132 , and the above formula reduces to @xmath133 . to obtain a complete description of n irreps , we need to specify how the lie algebra n acts on states labeled by gelfand - tsetlin patterns . the following two sections are devoted to this task , section [ sec : weights ] with @xmath105 and section [ sec : raising - lowering ] dealing with @xmath108 . a very convenient property of the gt - labeling scheme is that every state @xmath15 is a simultaneous eigenstate of all @xmath105 generators , @xmath134 with eigenvalues @xmath135 where the _ row sum _ @xmath136 denotes the sum over all entries of row @xmath102 of gt - pattern @xmath16 ( @xmath137 by convention ) . we shall call the sequence of @xmath104 @xmath105 eigenvalues the _ @xmath65-weight _ of the state @xmath15 , and denote it by @xmath138 . the _ @xmath65-weight _ of @xmath15 is a straightforward generalization of the quantum number @xmath64 in quantum angular momentum . as will be elaborated below , the notion of weights of states is useful for elucidating the structure of carrier spaces of n irreps , and in particular for visualizing the action of raising and lowering operators . the above way of introducing weights is , however , not unique . we shall often find it convenient to employ an alternative definition of the weight of states , which has the convenient property that it always yields nonnegative _ integer _ elements ( in contrast to @xmath139 ) . this alternative weight , to be called _ pattern weight _ or _ p - weight _ , and denoted by @xmath140 , is defined to be a sequence of @xmath6 integers , @xmath141 , where @xmath142 is the difference between summing up rows @xmath102 and @xmath143 of the gt - pattern @xmath16 . note that the number of _ independent _ elements of @xmath140 is the same as that of @xmath144 , namely @xmath104 , since the @xmath145 satisfy the relation @xmath146 . the two types of weights are directly related to each other : via eq . , we obtain @xmath147 . for definiteness , we will mostly refer to p - weights below ( noting here that most statements involving p - weights can be translated into equivalent statements involving @xmath65-weights ) . at this point , the first of several fundamental differences between 2 and n with @xmath148 appears . while for 2 , there always exists exactly one state with a given p - weight , this is not the case for n in general ; for @xmath148 , several linearly independent states in the carrier space can have the same p - weight . indeed , two states have the same p - weight , @xmath149 , if and only if they have the same set of row sums ( @xmath150 for @xmath100 ) ( i.e. they differ only in the way in which the `` weight '' of the row sums is distributed among the entries of each row ) . for a given p - weight @xmath151 , the number of states @xmath15 having the same p - weight , @xmath152 , is called the _ inner multiplicity _ of that p - weight , to be denoted by @xmath153 . consequently , p - weights or @xmath65-weights are not suited for uniquely labeling states of a carrier space ( which is why gt - patterns are used for this purpose ) . @xmath65-weights nevertheless do provide a convenient way to visualize the carrier space of an n irrep . to this end , consider @xmath154 as a vector in @xmath155-dimensional space and , for each state , mark the endpoint of its weight vector in an @xmath155-dimensional lattice . the resulting diagram is called a _ weight diagram_. for the 2 irrep @xmath156 , weight diagrams consist of a coordinate axis with markings at @xmath157 ( see fig . [ fig : su2 ] ) ; for 3 , weight diagrams are two - dimensional ( see fig . [ fig : su3 ] ) ; for @xmath158 , weight diagrams can not be readily drawn on paper because the corresponding lattices have more than two dimensions . note that , in fig . [ fig : su3 ] , the @xmath65-weight @xmath159 has inner multiplicity two , since the two states @xmath160 and @xmath161 have the same row sums . . each dot represents a @xmath65-weight ; we also indicate the gt - patterns of the corresponding states . the double circle around @xmath162 indicates that there are two states with this weight . the solid and dashed arrows represent the action of @xmath163 and @xmath164 , respectively . ( @xmath165 could be represented by arrows pointing in directions opposite to those of @xmath166 . ) note that both @xmath163 acting on @xmath167 and @xmath164 acting on @xmath168 produce linear combinations of @xmath160 and @xmath161 , albeit different ones . ( in the literature it is not uncommon to choose a different 3 basis that renders this weight diagram more symmetric . ) ] weight diagrams are also very convenient for visualizing the action of the raising and lowering operators @xmath108 . the action of @xmath108 on a given state @xmath15 produces a linear combination of all states of the form @xmath169 with arbitrary @xmath116 , where this notation implies element - wise addition and subtraction of the single - entry pattern @xmath170 having @xmath171 at position @xmath172 and zeros elsewhere , @xmath173 ( note that @xmath170 on its own is not a valid gt - pattern . ) thus the resulting patterns differ from @xmath16 only in row @xmath102 . all states @xmath174 that are generated in this fashion have the same row sums , @xmath65-weights , and p - weights ( independent of @xmath116 ) , [ eq : weight - shift ] @xmath175 unless states with this weight do not exist , in which case the result vanishes . the weight - shifting action of lowering operators is illustrated in fig . [ fig : su3 ] for the weight diagram of the 3 irrep @xmath176 . since the weight diagram is two - dimensional , there are two lowering operators , @xmath163 and @xmath164 , which shift in different directions ( indicated by solid / dashed lines ) . ( @xmath165 produces a shift in the opposite direction of @xmath166 . ) note that there are two different `` paths '' to reach the @xmath65-weight ( 0,0 ) from the @xmath65-weight @xmath177 , namely via either @xmath178 or @xmath179 . since @xmath163 and @xmath164 do not commute , these paths are inequivalent ; indeed , they produce two different linear combinations of the two states with @xmath65-weight @xmath162 . more generally , the fact that inner multiplicities larger than 1 arise for n representations with @xmath180 is a direct consequence of the fact that there are , in general , several different ways of reaching one state from another via a chain of raising and lowering operators , and that these ways are not equivalent , because @xmath108 and @xmath109 do not commute for @xmath181 . very conveniently , closed expressions have been found by gelfand and tsetlin @xcite for the matrix elements of all raising and lowering operators with respect to the basis of gt - patterns . explicitly , the only nonzero matrix elements of @xmath166 are given , for any @xmath182 , by @xcite : @xmath183 these matrix elements are real and nonnegative , and the right - hand side vanishes if @xmath184 is not a valid pattern . as @xmath165 is the hermitian transpose of @xmath166 , we can obtain its nonzero matrix elements by taking the complex conjugate of the preceding formula and replacing @xmath15 by @xmath185 : @xmath186 these formulae generalize eq . to n. each irrep has a unique state @xmath187 , called its _ highest - weight state _ , that is annihilated by all @xmath104 raising operators @xmath188 since @xmath187 is a unique state , the inner multiplicity of its p - weight @xmath189 is one , and the irrep can be identified by specifying @xmath189 . our labeling scheme indeed exploits this fact : the i - weight of an irrep is equal to the p - weight of its highest - weight state @xmath187 , i.e. @xmath190 . conveniently , the gt - pattern @xmath191 has the highest possible entries fulfilling eq . , i.e. @xmath192 for @xmath193 ( all entries on the @xmath116-th diagonal are equal to @xmath194 ) . this concludes our exposition of those elements of n representation theory in the gt - scheme that are needed in this work . in the following sections we discuss the decomposition of direct product representations and the calculation of the associated cgcs . the specific details of the strategy described below are , to the best of our knowledge , original . the product of two irreps , say @xmath11 , is , in general , reducible to a sum of irreps ( eq . ) . while it is well - known for 2 which irreps occur in such a decomposition ( see eq . ) , the corresponding result for n relies on a relatively simple but hard to prove method based on the _ littlewood - richardson rule _ @xcite . this method involves writing down all possible gt - patterns for the irrep @xmath1 and using each of these to construct , starting from @xmath2 , a new irrep @xmath10 . as the outcome of this method is the same when interchanging @xmath1 and @xmath2 , it is preferable to take the irrep with the smaller dimension of the two as @xmath1 . for given irreps @xmath113 and @xmath195 , and a particular gt - pattern @xmath126 associated with @xmath1 , let us introduce some auxiliary notation . for @xmath196 and @xmath197 , we set @xmath198 ( where @xmath199 if @xmath200 , for ease of notation ) and @xmath201 ( note that here , @xmath202 carries a prime , while @xmath203 does not ) . then , the irrep @xmath204 occurs in the decomposition of @xmath11 if and only if @xmath205 ( we emphasize that this condition must hold for _ each _ value of @xmath116 and @xmath102 . ) by checking whether holds for all gt - patterns associated with @xmath1 , all @xmath10 in the decomposition of @xmath11 can be identified . there exists a more efficient way to validate eq . than to check each value of @xmath116 and @xmath102 independently . for a given gt - pattern @xmath126 associated with @xmath1 , proceed as follows : 1 . initialize @xmath206 by the i - weight of @xmath2 . 2 . step through the pattern @xmath16 along the diagonals from top to bottom and from left to right , i.e. in the order @xmath207 , @xmath208 , @xmath209 , @xmath210 , @xmath211 , @xmath212 , @xmath209 , @xmath213 , @xmath209 , @xmath214 . 3 . at each position , say @xmath215 , replace @xmath216 by @xmath217 . if @xmath218 , check whether @xmath219 . if this condition is violated , discard this gt - pattern , construct the next one , and commence again from step 1 . if we reach the end of the pattern @xmath16 , the current value of @xmath220 specifies the weight of an irrep @xmath10 that occurs in the decomposition of @xmath11 . for @xmath221 , this procedure in general can produce several occurrences of the same irrep @xmath10 . the number of such occurrences , denoted by @xmath222 in eq . , is the outer multiplicity of @xmath10 . ( for 2 , the outer multiplicity is either 0 or 1 . ) let us illustrate this procudure by an example ( individual steps are shown in table [ tab : decompose ] ) : @xmath223 ( for the second line , we adopted i - weights with @xmath224 . ) to check that the dimensions are correct , use eq . to verify the dimensions of the irreps in this equation are @xmath225 , respectively . .application of the littlewood - richardson rule according to the steps of section [ sec : decompose ] , for the decomposition of @xmath226 . [ cols="^,^,^,^,^,^,^,^,^,^",options="header " , ] we adopt throughout the convention for an i - weight @xmath113 that @xmath119 ( sec . [ sec : gelfand ] ) . for i - weights we choose the following ordering rule : the `` smaller '' of two i - weights is taken to be the one with the smaller first element ; in case of a tie , compare the second element , and so on . formally , given two i - weights @xmath1 and @xmath2 , we assign the order @xmath227 table [ tab : first - few - su4 ] shows the first few i - weights of 4 , arranged in increasing order . using this ordering rule , all possible n i - weights can be arranged in a list of increasing order and uniquely labeled by a nonnegative integer , say @xmath228 , giving its position in this list , @xmath229 to determine @xmath228 for a given i - weight @xmath1 , we simply count the number of smaller weights @xmath2 : this number is given by the number ( say @xmath230 ) of all weights @xmath2 with @xmath231 , plus the number of all @xmath2 with @xmath232 but @xmath233 ( say @xmath234 ) , etc . thus , @xmath235 where @xmath236 is the number of weights @xmath2 whose first @xmath237 entries are the same as those of @xmath1 ( @xmath238 for all @xmath239 ) , while the @xmath116-th entry is arbitrary but smaller than that of @xmath1 ( @xmath240 ) , and the remaining entries arbitrary ( but subject to @xmath2 being a valid i - weight , with @xmath241 ) . the nontrivial ( though constrained ) entries of @xmath2 , namely @xmath242 , can be viewed as an i - weight @xmath243 of length @xmath244 , whose entries @xmath245 ( for @xmath246 ) satisfy @xmath247 @xmath236 thus is the number of allowed weights @xmath248 that satisfy ( [ eq : rules - for - tildem ] ) . to calculate @xmath236 , we note that it is equal to the number of ways to draw or `` strike out '' , from the set of integers @xmath249 , an ordered subset @xmath250 of @xmath251 integers , @xmath252 ( see fig . [ fig : countingpk ] ) , since there is a one - to - one correspondence between the set of all possible such strike - outs and the set of all i - weights @xmath248 satisfying ( [ eq : rules - for - tildem ] ) : for a given struck - out set @xmath253 , with @xmath254 , set @xmath255 equal to the number of non - struck - out integers smaller than @xmath256 ( i.e. @xmath257 ) . for example , the weight @xmath248 that is largest ( w.r.t . to the ordering rule ( [ eq : orderings ] ) ) , namely having all elements equal to @xmath258 , is obtained by choosing the struck - out integers @xmath259 to be as large as possible ( see fig . [ fig : countingpk2 ] ) . thus , we have @xmath260 and , consequently , @xmath261 in analogy to the ordering we have defined on i - weights , we introduce an ordering on the set of gelfand - tsetlin patterns of a given irrep ( i.e. given top row of the pattern ) . let @xmath126 and @xmath262 ( where @xmath263 ) denote two patterns with @xmath264 for @xmath265 . we define a row - by - row ordering of indices ( see table [ tab : index - order ] ) , increasing from left to right within a row , and from top row to bottom row , i.e. @xmath266 if @xmath267 and @xmath268 , or if @xmath269 . we then define @xmath270 if and only if for the smallest index for which @xmath271 , we have @xmath272 . an example of this ordering is given in table [ tab : gt - ordering ] . we map each gelfand - tsetlin pattern @xmath16 to a nonnegative integer @xmath273 by counting the number of smaller gelfand - tsetlin patterns , i.e. @xmath274 this number can be determined by generating the pattern ( say @xmath275 ) located directly preceding @xmath16 in the ordered list of patterns , then the pattern preceding @xmath276 , and so on , until we arrive at the beginning of this list . to construct the predecessor of the pattern @xmath16 , we start by finding the largest index @xmath277 whose entry @xmath278 can be decreased without violating the betweenness condition , rewritten here as @xmath279 with respect to smaller indices while disregarding it with respect to larger indices ( i.e. without violating the second inequality , but disregarding the first ) . thus , @xmath280 is the index for which @xmath281 for all @xmath282 but @xmath283 . we then decrease @xmath278 by one and reset the entries of all larger indices to the maximal values that satisfy the new betweenness condition . concretely : @xmath284 the number @xmath273 is , of course , the number of times we can repeat the process of constructing a preceding pattern . this procedure maps the lowest - weight and highest - weight states of an irrep @xmath1 to the numbers 1 and dim@xmath285 , respectively . below , we provide a c++ implementation of our algorithm , consisting of four fundamental classes : 1 . create two objects ` clebsch::weight s ` and ` clebsch::weight sprime ` , representing the irreps @xmath1 and @xmath2 . 2 . create the object ` decomp ` as ` clebsch::decomposition decomp(s , sprime ) ` ; this generates the irreps @xmath10 that occur in the decomposition of @xmath286 according to the littlewood - richardson rule . ( its output can be read out , if desired , as follows : read out the total number of irreps @xmath10 by calling ` decomp.size ( ) ` . read out the @xmath156-th one of these ( with @xmath287 ` decomp.size ( ) ` ) by creating an object ` clebsch::weight sdoubleprime(decomp(j ) ) ` . read out its outer multiplicity by calling ` decomp.multiplicity(sdoubleprime ) ` . ) pick one of these irreps ` sdoubleprime ` and create the object ` c ` as ` clebsch::coefficients c(sdoubleprime , s , sprime ) ` ; this generates all cgcs @xmath288 needed for constructing the irrep @xmath10 , with multiplicity index @xmath74 , from @xmath1 and @xmath2 . the clebsch - gordan coefficient @xmath288 is then read out as ` c(alpha , qdoubleprime , q , qprime ) ` , where ` alpha ` indexes the outer multiplicity of @xmath10 , and ` q ` , ` qprime ` , and ` qdoubleprime ` are the pattern indices of @xmath16 , @xmath47 and @xmath48 . other common applications involve the translation between an i - weight @xmath1 and its index @xmath228 , or between a gt - pattern @xmath16 and its index @xmath273 . to obtain the i - weight index @xmath228 from the object ` clebsch::weight s ` , call ` s.index ( ) ` , and to obtain the pattern index @xmath273 from the object ` clebsch::pattern m ` , call ` m.index ( ) ` . conversely , to construct an i - weight @xmath125 from a given irrep index @xmath289 , create the object ` clebsch::weight s(n , p ) ` , and read out the elements @xmath194 as ` s(k ) ` . similarly , to construct a pattern @xmath126 in irrep @xmath1 from a given pattern index @xmath290 , create the object ` clebsch::pattern m(s , q ) ` , and read out the elements @xmath215 as ` m(k , l ) ` . finally , to find the dimension @xmath13 of the irrep @xmath1 , create the object ` clebsch::weight s ` and call ` s.dimension ( ) ` . all of these applications are elaborated in the sample routine @xmath291 at the end of the source code ( starting around line 1000 ) . they are also implemented in the interactive cgc - generator available at http://homepages.physik.uni - muenchen.de/~vondelft / papers / clebschgordan/. to compile , type ` g++ clebsch.cpp -llapack -lblas ` on linux , or ` g++ clebsch.cpp -framework veclib ` on mac os x. on other operating systems , make sure that lapack is included in the linking process . to achieve that , you may have to modify the declaration of the funtions ` dgesvd ` and ` dgels ` . i. m. gelfand and m. l. tsetlin , _ matrix elements for the unitary group _ , dokl . nauk sssr * 71 * , 825 and 1017 ( 1950 ) . reprinted in i. m. gelfand , r. .a . minlos , and z. ya . shapiro , _ representations of the rotation and lorentz group _ ( pergamon , new york , 1963 ) . app . d contains the source code of a computer implementation of our algorithm , made available as supplementary material at http://homepages.physik.uni-muenchen.de/~vondelft/papers/clebschgordan/clebschgordan.cpp .

arxiv

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slim_pajama

the online version of this article ( doi:10.1007/s00294 - 013 - 0398 - 6 ) contains supplementary material , which is available to authorized users . mitochondria that host 37 genes within 16.6 kb of their genome ( mtdna ) are the power engines of the cell . mitochondrial dna ( mtdna ) gene regulation and replication start from the non - coding control region , d - loop , that is 1,124 bp long from positions 16,024576 . the d - loop has three hypervariable regions ( hvri - iii ) and contains 25 % of the variable sites , even though it represents only 7 % of the total mtdna length ( sosa et al . mitochondrial diseases associated with mtdna mutations and its phenotypic heterogeneity can be explained by mtdna heteroplasmy the mixture of more than one type of mtdna at a cellular , tissue or organism level . the 100-fold higher mutation rate of mtdna than nuclear dna is caused by a combination of oxidative microenvironment , lack of histones , and rudimentary repair mechanisms , leading to mtdna mutation accumulation during aging . although mtdna is maternally inherited in mammals , heteroplasmy levels vary markedly between a mother and each of her offspring . this means that asymptomatic mothers with medium to low heteroplasmy levels can have an affected child with much higher levels of the same heteroplasmic mutation ( > 30 % ) , which may cause a mitochondrial disease ( zhang et al . massively parallel sequencing ( mps ) allows simultaneous analysis of the complete mtdna and provides annotation and mutant load estimation of each position . taking into account the variable sequencing depth of published data , small sample sizes , read mapping and data filtering criteria , and heteroplasmy detection thresholds , there is no consensus of opinion as regards average heteroplasmic frequency distribution among individuals and in populations . full - length mtdna analysis from 131 individuals identified 40 point heteroplasmies and indels at 10 % minor allele frequency ( maf ) or higher in blood or saliva , making 0.3 heteroplasmies per individual ( li et al . in contrast , 1.8 heteroplasmies per individual at > 10 % maf were identified using 40 immortalized lymphoblastoid cell line samples ( sosa et al . 2012 ) . in recent reports ( andrew et al . 2012 ) , variable heteroplasmy in the human body has been demonstrated to exist within a limited number of tissues such as blood , skeletal muscle and buccal epithelium , leaving the rest of the organism out of focus . as multiple tissue analysis in healthy individuals is highly complicated , data on whole body mtdna heteroplasmy is still far from clear . in this study , we were able to investigate three unrelated males by employing mps technology to detect mtdna heteroplasmy using 16 different tissues taken during post - mortem examination . we show a great range of heteroplasmy variance at position 16,093 , where the lowest values were detected in red and yellow bone marrow tissue and the highest in the bladder . the data contribute to mtdna genetics at human body level and explain the possible formation and expansion of heteroplasmy during post - zygotic embryonic development . the research ethics committee of the university of tartu approved the collection of tissue samples for research . the written informed consent was obtained from next - of - kin to post - mortem individuals to collect the tissue panel during the autopsy . encoded body panel was collected from three males of 40 ( sample kt538 ) , 53 ( ka522 ) and 54 ( sj600 ) years of age at the time of death . donors kt538 and ka522 had died of acute cardiovascular insufficiency due to myocardial infarction and sj600 of cerebellar haemorrhage . the tissue samples were collected within 8 h of post - mortem and consisted of abdominal adipose tissue , lienal artery , bone , yellow bone marrow , red bone marrow , coronary artery , gastric mucosa , joint cartilage , thoracic lymph node , tonsils , bladder , gall bladder , abdominal aorta , thoracic aorta , medulla oblongata and nervus ischiadicus ( table 1 ) . dna extraction was carried out according to the recommendations of the nucleospin tissue dna extraction kit manufacturer ( macherey - nagel , dren , germany ) , with dna concentrations and quality parameters provided in supplementary table 1 . four anonymous genomic dna samples for replication sequencing were provided by the estonian genome center of the university of tartu ( egc ) . whole mtdna was amplified in two amplicons ( 8,225 and 9,447 bp ) by pcr using two pairs of primers . pcr amplicons were enzymatically fragmented , prepared as a 48-plex sequencing library and analysed using an illumina hiseq2000 instrument with 101 bp paired - end reads according to the manufacturer s protocols . confirmation of mtdna position 16,093 heteroplasmic samples and the 300320 d - loop region in three individuals was performed by sanger sequencing . all details of methods used are provided in supplementary methods.table 1heteroplasmy overview at position 16,093 of individual sj600tissuesequencing depthmajor allelec minor allelet maf ( % ) bladder12,339c4,691 t 7,64562.0lienal artery5,343c2,625 t 2,71750.9coronary artery17,265c11,123 t 6,13935.6thoracic aorta6,870c4,446 t 2,42235.3abdominal aorta9,828c6,762 t 3,06131.2nervus ischiadicus8,391c6,190 t 2,20026.2gall bladder5,433c4,041 t 1,39125.6bone11,603c9,047 t 2,55522.0gastric mucosa11,954c9,692 t 2,22218.6abdominal adipose tissue3,724c3,039 t 68518.4medulla oblongata12,985c11,266 t 1,71713.2thoracic lymph node14,600c12,672 t 1,92613.2tonsils10,827c9,752 t 1,0739.9joint cartilage14,444c13,074 t 1,3689.5yellow bone marrow18,223c16,607 t 1,6138.9red bone marrow11,650c11,051 t 5985.1 allele read count the reference allele according to the revised cambridge reference sequence ( rcrs ) heteroplasmy overview at position 16,093 of individual sj600 the reference allele according to the revised cambridge reference sequence ( rcrs ) a total of 260 million paired - end reads were generated for 16-tissue body panels in three unrelated males ( 48 samples in total ) and for four replicates ( 8 samples ) . each sample library preparation was started from 0.5 0.1 g of pcr product , but demultiplexing revealed 22-fold differences between sample raw reads ( supplementary fig . 1 ) . mapping and read trimming increased it to 49-fold , but quality score - based filtering and pcr duplicate removal finally reduced sample variability to 25-fold . the post - filtering mean quality score was 33.5 and 84 % of reads ( median ) had a quality score of 30 . 80.2 % ( median ) of reads mapped to mtdna reference and 41.5 % of reads ( median ) were removed afterwards during the pcr duplicate filtering step . the average maf fraction over the full mtdna sequence is < 0.15 % ( supplementary table 2 ) . pcr amplification generated unequal coverage over mtdna , preferring one amplicon to another and bringing out two overlapping regions in amplicons ( fig . the joint cartilage tissue sample was removed as a result of low - sequencing coverage and quality , caused by lower ( p = 0.0003 ) purity of the original dna sample ( supplementary table 1).fig . c sequencing coverage in hypervariable region ( hvri ) of d - loop . coverage in the three different tissues of individual sj600 is shown . the percentage is from mps analysis and chromatogram from sanger sequencing full mtdna amplification and the confirmation of results . the percentage is from mps analysis and chromatogram from sanger sequencing forty - seven samples were mapped against a reference sequence to investigate heteroplasmy in mtdna . preliminary analysis revealed heteroplasmy with maf of < 10 % at mtdna positions 302 , 309 , 310 , and 316 in the three studied dna body panels but sanger resequencing of poly - c tracks in mtdna bases 302310 and 312317 showed no heteroplasmy in this region , and confirmed only kt538 c insertion at mtdna position 309 ( named c309cc , supplementary fig . 2 ) . that demonstrates that mps mapping output needs sanger confirmation under these conditions . the significant heteroplasmy ( > 10 % ) was detected only in individual sj600 at d - loop position 16,093 ( m.16093 t > c ) ( fig . abdominal aorta , thoracic aorta , coronary artery and lienal artery clustered as one group and showed heteroplasmy in the range of 31.250.9 % , while 62.0 % mtdna heteroplasmy was detected in the bladder ( table 1 ) . three tissues with variable heteroplasmy of 550 % four blood dnas from the egc were analysed as duplicates to show the assay reproducibility . the median sequencing depth of all eight samples varied from 4,832 to 11,531 and at least 99.5 % of all the nucleotides had > 1,000 fold sequencing depth ( supplementary table 3 ) . in total , eight heteroplasmic positions were detected at > 5 % maf . heteroplasmic maf variance between the replicates was 1.525.8 % and the correlation coefficients were 0.880.99 ( supplementary fig . mtdna is highly represented in somatic cells , making it as a considerable dna source after nuclear dna . nevertheless , the total length of mtdna per cell is up to 20 mb , which is still 400 times less than the amount of diploid nuclear dna and therefore mtdna needs specific enrichment before the mps analysis . despite the success of capture - probe - based mtdna enrichment ( li et al . 2012 ) , pcr is still the gold standard for selection and amplification of small , targeted dna regions , like mtdna . in addition , the results indicate that pcr - introduced errors should not be a significant problem as regards this approach ( li et al . 2010 we used 22 pcr cycles to reduce possible bias accumulation and ensured an efficient pcr yield with 0.21.2 g of input dna . the size - selected library was repaired and amplified using ten additional cycles , which were too intense because 41.5 % of mapped reads were eliminated during pcr duplicate filtering ( supplementary fig . 1 ) . the threshold calculations based on nuclear dna control libraries demonstrated that the average proportion of mutations per base was 0.06 % and no base was mutated at greater than 0.8 % frequency ( he et al . a similarly low threshold ( 1.3 % ) was reported using synthetic dna fragments with variable allelic ratios ( zhang et al . 2012 ) , providing the acceptable 510 % cut - off for heteroplasmy ( li et al . 2010 ; sosa et al . , attention should be paid to the fact that artificial quality control dnas are only useful for assessing indexed library amplification , cluster generation and mps itself , but are not suitable for sample enrichment and dna quality issues . in our study , the detected variability at position 16,093 was confirmed by sanger sequencing at 5 , 22 and 51 % mps - detected heteroplasmy levels . as expected , 5 % heteroplasmy is not detectable by dideoxy - terminator sequencing , 22 % heteroplasmy remains unquantified , and 51 % heteroplasmy correlates as a 1:1 polymorphic allelic ratio ( fig . as our experiment was designed without internal controls to detect the mps sensitivity threshold , we are not able to report the number of true - positive heteroplasmies without a confirmation experiment . nevertheless , we detected a great range of position 16,093 heteroplasmy in the human body , contributing to a previous multi - tissue analysis ( he et al . somatic heteroplasmy ranging 791 % was found in one of the two study patients . however , the authors studied significantly fewer tissue samples from the same autopsy individual , with little overlap to the panel used in our study . furthermore , colorectal cancer as the cause of death in ( he et al . unfortunately our analysed tissues did not include blood samples , but according to other recent reports reflecting low - level heteroplasmy in blood ( andrew et al . 2012 ) , we can speculate that blood ( leukocytes ) may have lower heteroplasmy level than the rest of human body . because red bone marrow consists mainly of hematopoietic tissue giving rise to all blood cell types , we used red bone marrow ( heteroplasmy 5.1 % ) as a possible alternative to blood in our study . also , it is suggested that rapidly dividing tissues such as blood cells or bone marrow may have the ability to eliminate cells with mtdna mutations during life , whereas post - mitotic tissues that no longer divide do not eliminate these cells and may instead favour accumulation of mutant mtdna genomes . hence , this could clarify why some inherited mtdna mutations can be lost from the blood but be detected in other post - mitotic tissues ( payne et al . our findings are in line with this , demonstrating very low frequency of heteroplasmy in rapidly dividing red and yellow bone marrow tissues , with 5 and 9 % of heteroplasmy , respectively . according to our findings , position 16,093 was heteroplasmic in all 16 studied tissues in one individual , varying from 5.1 % in red bone marrow to 62.0 % in the bladder . the differences between organ groups can be explained by random segregation of mtdna during oogenesis and in somatic tissue development . it is now believed that somatic segregation may lead to high levels of mutant mtdna in some progenitor cells and low levels in others . in addition , due to the high copy number of mtdnas , a mutation in some of the mtdna results in a mixture of variant mitochondrial genomes within a mitochondrion , cell , tissue , organ , or individual . however , it is impossible to predict the cell types or tissues to which mutant molecules will segregate during the ontogenesis . it is likely that such heteroplasmic variability in our study is a result of random genetic drift and not strongly associated with certain developmental stages or tissue differentiation processes . these findings could explain the unequal distribution of the different genotypes , not only between the three germinal layers ( endoderm , mesoderm and ectoderm ) , but also between derivatives of the same germinal layer . in our panel that mostly contains tissues of mesodermal origin , heteroplasmy at position 16,093 differed by more than 40 % between two mesodermal derivatives bone marrow and lienal artery . in contrast , the same heteroplasmic frequency ( 9 % ) was present in tissues of different origin , such as tonsils and joint cartilage , which are of endodermal and mesodermal origin , respectively . interestingly abdominal aorta , thoracic aorta , coronary artery and lienal artery , ranging 3151 % . these findings may partially be interpreted by the production of oxygen radicals during oxidative phosphorylation and common mesodermal origin . the fact that in bladder tissue we observed the highest frequency of heteroplasmy could be explained by its tissue - specific prevalence , as also indicated by the high incidence of mtdna mutations in bladder cancer ( guney et al . our results demonstrate that screening of a tissue panel using mps technology provides surprising data that reveals somatic heteroplasmy even among the limited number of study subjects . our findings give clear reason to speculate that mtdna heteroplasmic frequency , distribution , and even its possible role in complex diseases or phenotypes could be severely underestimated , evoking the need for more thorough tissue - based screenings at different age groups to provide more comprehensive understanding about its biological and clinical importance .

pubmed

in the last decade , the ly@xmath0 forests of qso s absorption spectra at redshifts @xmath8 have played an important role in understanding the diffuse cosmic baryon gas and the uv ionizing photon background , and constraining cosmological models and parameters ( e.g. rauch et al . 1997 ; croft et al . 2002 ; bolton et al . 2005 ; seljak et al . 2005 ; jena et al . 2005 ; viel et al . 2006 ) . recently , more and more uv photon sources , including qsos , grb , lyman - break galaxies , and ly@xmath0-emitters at redshifts @xmath9 have been observed ( see ellis 2007 and reference therein ) . due to the rapidly increase of gunn - peterson ( gp ) optical depth at @xmath10 , their absorption spectra show long dark gaps on scales of tens of mpc separated by tiny transmitted leaks . it has been suggested that we are observing the end stage of reionization ( fan et al . 2006 ) . it has been known that the dark gaps are from the igm where the density of neutral hydrogen are high enough to produce almost complete absorptions , however , where the transmitted leaks come from is still unclear . in photoionization equilibrium , the density of neutral hydrogen @xmath11 , here @xmath0 is the recombination rate and @xmath12 is the density of igm ; therefore , even when most of the igm are neutral enough to produce complete ly@xmath0 absorptions , it is still possible for the lowest density voids to provide prominent transmitted fluxes . on the other hand , the leaks can also come from ionized patches around ionizing sources where the intensity of uv radiation are higher than average . the origin of leaking is crucial to understanding the history of reionization . according to commonly accepted scenario of the reionization , in the early stage , the ionized regions are isolated patches in the neutral hydrogen background ( e.g. , ciardi et al . 2003 ; sokasian et al . 2003 ; mellema et al . 2006 ; gnedin 2006 ; trac & cen 2006 ) . and the subsequent growing and overlapping of the ionized patches lead to the ending of reionization ( e.g. , ciardi et al . 2003 ; sokasian et al . 2003 ; mellema et al . 2006 ; gnedin 2004 ) . thus , if leaks mostly come from ionized patches , reionization should happen in the early stage . in contrast , if they were produced in lowest density voids , the the uv ionizing background might has already underwent an evolution from highly inhomogeneous to uniform distribution . a variety of statistics has been used to study the evolution of reionization , such as the mean and dispersion of gp optical depth , the probability distribution function ( pdf ) of the flux , and the size of dark gaps ( e.g. , fan et al . 2002 , 2006 ; songaila & cowie 2002 ; paschos & norman 2005 ; kohler et al . 2007 ; gallerani et al . 2006 ; becker et al . 2006 ) , but all of them seem to be ineffective to provide the information of leak s origin and the inhomogeneity of uv ionizing background . the gp optical depth is an average , and not sensitive to details of reionization . the statistical properties ( mean and variance ) of the gp optical depth at @xmath5 can be well explained by either the fluctuation of ionizing background ( fan et al . 2006 ) or models with uniform ionizing background ( lidz et al . 2006 liu et al . 2006 , hereafter paperi ) . the pdf of the flux is also insensitive to the geometry of reionization . in addition , the pdf is heavily contaminated by noise and distorted by resolution . dark gaps are defined to be continuous regions with optical depth above a threshold in spectra . intuitively , the statistics of dark gap should contain the same information as leaks . however , the size of dark gaps are sensitive to the instrumental resolution , because higher resolution data contain more small leaks ( e.g. , paschos & norman 2005 ; paperi ) , and they also are contaminated by observational noise . moreover , dark gaps are from saturated absorptions , they are featureless and contains generally less information of non - saturated absorption . in this paper we made a statistical approach to ly@xmath0 leaks . the purpose is to show that the statistical features of ly@xmath0 leaks would be effective tool to reveal the origin of ly@xmath0 leaks , and to probe the evolution of reionization . similar to ly@xmath0 absorption lines , ly@xmath0 leaks have a rich set of statistical properties , such as the width of leak profile . unlike dark gaps , the properties of ly@xmath0 leaks can be defined through integrated quantities , which are less contaminated by resolution and noise . moreover , ly@xmath0 leaks are from regions of non - saturated absorptions and encode more information of reionization ; therefore , the ly@xmath0 statistics would provide more underlying physics of reionization than all the above - mentioned statistics . the paper is organized as follows . 2 describes the method to produce ly@xmath0 absorption samples . 3 presents the statistical properties of ly@xmath0 leaks with a uniform ionizing background . 4 analyzes the effect of inhomogeneous ionizing background . conclusion and discussion are given in 5 . we simulate lyman series absorption spectra of qsos between @xmath13 and 6.5 using the same lognormal method as those for low redshifts @xmath14 ( e.g. , bi et al . 1995 ; bi & davidsen 1997 ) . in this model , the density field @xmath15 of the igm is given by an exponential mapping of the linear density field @xmath16 as @xmath17,\ ] ] where @xmath18 is the variance of the linear density field on scale of the jeans length . obviously , the 1-point pdf of @xmath15 is lognormal . in this model , the velocity field of baryon gas is produced by considering the statistical relation between density and velocity field ( bi & davidsen , 1997 ; choudhury et al . 2001 ; veil et al . 2002 ) . the dynamical bases of the lognormal model have gradually been settled in recent years . first , although the evolution of cosmic baryon fluid is governed by the naiver - stokes equation , the dynamics of growth modes of the fluid can be sketched by a stochastic force driven burgers equation ( berera & fang 1994 ) . on the other hand , the lognormal field is found to be a good approximation of the solution of the burgers equation ( jones 1999 ) . the one - point distribution of the cosmic density and velocity fields on nonlinear regime are consistent with lognormal distribution ( e.g. yang et al . 2001 , pando et al . especially , it has been shown recently that the velocity and density fields of the baryon matter of the standard @xmath19cdm model is well described by the so - called she - lvque s universal scaling formula , which is given by a hierarchical process with log - poisson probability distribution ( he et al . 2006 , liu & fang 2007 ) . the simulation is performed in the concordance @xmath19cdm cosmological model with parameters @xmath20 , @xmath21 , @xmath22 , and @xmath23 . the thermodynamic evolution in the igm is actually a rather complex process , because the nonlinear clustering leads to a multi - phased igm . as shown in cosmological hydrodynamic simulations ( e.g. , he et al . 2004 ) , for a given mass density , the temperature of the igm could have large scatters with differences up to two orders . nevertheless , the equation of state in ly@xmath0 clouds can be well approximated by a polytropic relation with @xmath24 ( hui & gnedin ; he et al . the neutral fraction @xmath25 is obtained by solving the photoionization equilibrium equation . the photoionization rate @xmath26 will be given in 2.2 . we then construct synthetic absorption spectra by convoluting the neutral hydrogen density field with voigt profiles . for each given @xmath27 , the size of the simulation samples is @xmath28 , and there are @xmath29 pixels in each simulation box . if the distribution of the igm is uniform and the uv ionizing background is independent of redshift , the mean gp optical depth of ly@xmath0 absorption should approximately increase with redshift as @xmath30 . the observations of dark gaps directly show that the gp optical depth undergoes a stronger evolution at @xmath31 , and consequently , the uv ionizing background would decrease rapidly with redshift at @xmath5 . the strong evolution scenario of the uv ionizing background is supported by a number of simulations or semi - analytical models of reionization ( e.g. , razoumov et al . 2002 ; gnedin 2004 ; oh & furlanetto 2005 ; pascho & norman 2005 ; wyithe & loeb 2005 ; kohler et al . 2007 ; gallerani et al . 2006 ) . it has been found that an evolution of photoionization rate as follows can fit the strong redshift evolution of the gp optical depth ( paper i ) : @xmath32^{2.4 } \},\ ] ] which is in units of 10@xmath33 s@xmath34 . note that the power index 2.4 in equation ( 2 ) is little different from the one used in paper i because we use a different @xmath35 in this paper ( also see below ) . with eq.(2 ) , we calculate the redshift dependencies of neutral hydrogen fraction @xmath36 and the effective optical depth , @xmath37 , where @xmath38 is the mean of transmitted flux . the results are plotted in figure 1 . the data points for @xmath39 are taken from ly@xmath0 observations of fan et al . ( 2006 ) . for best fitting , the amplitude @xmath40 is in the range 5 - 7 , which can be considered as the allowed range of @xmath41 . in this paper , we will use @xmath42 as the fiducial photoionization rate . it is interesting to note that @xmath36 approaches to @xmath43 at redshift @xmath44 , which is consistent with the electron scattering optical depth given by the data of cmb polarization of wmap iii ( page et al . 2007 ) . it should be pointed out that the assumption of @xmath45 k ( 2.1 ) is well reasonable at @xmath46 ( e.g. hui & gnedin 1997 ; he et al 2004 ) and may still be applicable at @xmath1 if the mass averaged neutral fraction of hydrogen is not larger than 10@xmath47 , and the photon heating rate is small . however , at higher redshift , say @xmath48 , the temperature @xmath35 might be redshift - dependent . yet , no proper information on @xmath49 is available at high redshift , and this leads to uncertainty of the model . fortunately , in photoionization equilibrium , the neutral fraction @xmath36 depends mainly on a degenerate factor @xmath50 . thus , the problem with the uncertainty of @xmath49 can be overcame if we use the combined parameter of @xmath51^{0.75}$ ] to fit the data . in the range @xmath52 , this parameter actually is @xmath53 ; in the range of @xmath54 , it is different from @xmath53 by a factor of @xmath55^{0.75}$ ] . thus , the redshift - evolution of @xmath41 would be slower than eq.(2 ) if @xmath49 is less than @xmath56 k at higher redshifts . as an example of ly@xmath0 leaks , we plot a simulated sample of ly@xmath0 absorption spectrum at @xmath57 with a uniform ionizing background in figure 2 , which shows the transmitted flux @xmath58 , the density @xmath12 of baryon gas , the bulk velocity @xmath59 , and the neutral hydrogen fraction @xmath36 . as expected , the mean of transmitted flux is very small , about 0.004 , and corresponds to an effective optical depth 5.5 . nevertheless , we see spiky features with the transmitted flux @xmath58 as large as @xmath60 . they are leaks . at low redshifts @xmath61 , the ly@xmath0 forests in qso s spectra have a spectral filling factor significantly less than one and can be decomposed into individual ly@xmath0 absorption lines . at redshifts @xmath9 , it is meaningless to decompose the spectra into individual lines since almost the whole spectra are absorbed completely . we note , however , the transmitted leaks look like emission features upon the dark background , and the absorption spectra can be decomposed into individual `` emission lines '' , i.e. , ly@xmath0 leaks . comparing the top , the second and bottom panels , we see that all the leaks comes from the regions with mass density less than 0.3 of the mean mass density of baryon gas . the neutral fraction for leaks is @xmath62 , which yields a gp optical depth @xmath63 for overdensity 0.25 and a @xmath64 , while the mean neutral fraction of the entire example is about @xmath65 , which is high enough to produce dark gaps . the column density of neutral hydrogen of the leaking features is mainly in the range of 10@xmath66 - 10@xmath67 @xmath68 , which are the non - saturated absorption regions , and therefore , leaks can come from regions where no enough neutral hydrogen to produce complete absorptions . similar to very high density clouds , @xmath69 , the regions with very low density @xmath70 are rare events in the cosmic clustering . therefore , leaks may provide valuable test on models of clustering . for instance , the lognormal distributions are long tailed in both high and low density sides , and it contains more high density events as well as low density events than gaussian model . it should be emphasized that , once the photoionization rate @xmath26 is determined from the gp optical depth , the statistical property of the sample shown in figure 2 does nt contain free parameters . these samples have been successfully used to explain the following observations : 1 . ) the large dispersion of the gp optical depth ; 2.)the pdf of the flux , and 3 . ) the evolution of the size of dark gaps ( paper i ) . now we use them to study the statistical properties of ly@xmath0 leaks . the ly@xmath0 absorption lines at low redshifts are described by well defined quantities , such as the equivalent width , fwhm ( full width half maximum ) , and the voigt profile , all of which are easily related to physical interpretations . since the transmitted leaks look like emission features , one can decompose the spectra into individual `` emission lines '' and describes it by quantities similar to the ly@xmath0 absorption lines . in this section we study the statistical distribution of ly@xmath0 leaks in the model with a uniform ionizing background . the effects of inhomogeneous ionizing background will be discussed in next section . the center of a leak is identified as the maximum of transmitted flux , and the boundaries are two nearby positions around the center where the flux falls down to zero or to noise level ( we take it to be @xmath71 in this paper ) . the properties of leaks can be measured by two quantities : an equivalent width @xmath2 , which is the total area under the profile of a leak , and a half width @xmath72 , which is defined as the width around center within which the area under the profile of the leak is equal to half of the total area of the leak . the equivalent width @xmath2 and the half width @xmath3 are two independent measurements of ly@xmath0 leaks . this point can be seen in figure 3 , which gives the value of @xmath2 and @xmath3 for each leak at @xmath57 . it does not indicate a significant correlation between @xmath2 and @xmath3 , especially in the region of @xmath73 and @xmath74 . figure 3 also shows that the distribution of @xmath72 has a lower limit @xmath75 , which is due to the jeans scale used for smoothing the sample . on the other hand , the equivalent width @xmath2 distributes in the range from @xmath76 to @xmath77 . obviously , one is unable to introduce two independent quantities for characterizing dark gaps . the profiles of 100 randomly sampled leaks with @xmath2 = 0.01 , 0.1 , and 1 are displayed in fig.[profile ] . the tails of the profiles in the three panels of fig.[profile ] look like the lorentz profile , and of course , they do not have the meaning of the natural width of an absorption line . the profiles of leaks for a given equivalent width @xmath2 have very large dispersions ; for example , for @xmath2=0.1 , the flux covers a range from @xmath78 to 0.15 , and @xmath3 can be 0.4 to 4 . as the leaks are formed out of the two neighboring complete absorption troughs , which depend on inhomogeneities of density , velocity , and temperature fields , the large scatter of the profiles is expected . figure 4 also shows that some leaks may have multiple local maximums above the noise level . for clarity and easy - operating , we treat them as one leak . the current observational resolution is of the order of 10km / s , which corresponds to @xmath79 in observer s frame , or about 13 pixels of simulation . therefore , the observed ly@xmath0 leaks would have a resolvable width . similar to ly@xmath0 forests , we can define the cumulative number densities @xmath80 and @xmath81 of leaks as the number of leaks with widths larger than a given @xmath2 and @xmath3 at @xmath27 per unit @xmath27 , respectively . the differential number densities are @xmath82 and @xmath83 . it should be pointed out that statistics of @xmath2 and @xmath84 are not the same as the largest peak width statistics proposed by gallerani et al . ( 2007 ) , which considered only the largest peak width . a peak may contains more than one leaks , i.e. leak statistics describe the details of the leaking area . the mean transmitted flux at @xmath27 within @xmath85 is @xmath86 . we calculate the number densities of leaks in redshift range @xmath87 . in each redshift region we produce 100 light - of - sight samples to calculate the density functions . the results are shown in figure 5 . the errors are estimated by jackknife method , i.e. , the variance over 5 subsamples , each of which contains 20 light - of - sight samples . the number density @xmath88 shown in the up - left panel of figure 5 are similar to a schechter function : they follow a power law at small @xmath2 and have a cut - off at large @xmath2 . the distribution of @xmath89 at @xmath90 declines with decreasing @xmath91 , this is because of the jeans length smoothing . the slope of @xmath88 and @xmath89 are smaller for small redshift . it means the lack of low density voids with small size . that is , the increase of voids of small size is less than voids of large size . this trend can also be seen from the flattening of the cumulative density distributions @xmath92 and @xmath80 . the redshift - evolution of the number densities @xmath80 and @xmath93 of leaks for @xmath2 , @xmath3 = 0.5 , 1.0 , and 3.0 are shown in figure [ zdis ] . as has been seen in figure [ ldis ] , the number densities dramatically decrease at higher redshifts . the evolution is more rapidly for large leaks : the number density @xmath94,@xmath95 drops by a factor of @xmath96 5 when redshift increasing from 5 to 5.8 , while @xmath97,@xmath98 drops by a factor of @xmath96 60 . the evolution trend is the same for the number density @xmath89 . from the error bars of figures [ ldis ] and [ zdis ] we see that the predicted features of leaks would be able used to compare with observed data set containing 20 or more light - of - sight samples with the similar quality as simulation . in this section , we study the observational and instrumental effects on the statistics of leaks . since both @xmath2 and @xmath3 are defined through the area under the profile of leaks , the effects of resolution and noise would be small . to simulate the observational effects , we bin the original data to a coarse grid corresponding to a resolution of 20000 , and we add gaussian noises with signal - to - noise ratio s / n=3 on binned pixels . the number densities of leaks for the noisy binned samples are shown in figures [ noise ] . the effect of binning and noise is very small for @xmath2 : the original plot of @xmath2 actually is the same as the plot of binned @xmath2 , and the distribution of noisy @xmath2 is affected only when @xmath99 . the effect of binning for @xmath91 is also small on scales larger than the binning length . as expected , the noise effects for @xmath91 are significant for @xmath100 . the noise effects for @xmath91 are even smaller if we smooth the noisy sample . this is very different from the pdf of the flux and the size of dark gaps , both of which are heavily contaminated by instrumental resolution and observational noises . one can compare the uncertainty of @xmath40 with the effect of noises . figures [ gamma ] shows the number densities for the uv background amplitude @xmath40 = 5 , 6 , and 7 ( eq.2 ) , which represent the allowed range of @xmath40 . different from noises , the difference of @xmath40 will cause uncertainty in the whole ranges of @xmath2 and @xmath3 . the uncertainties of number densities are within a factor of 2 when the amplitude @xmath40 changes from 7 to 5 . these uncertainties essentially are from the mass density perturbations with long wavelengths ( paper i ) . the error bars from the scattering of light - of - sight samples is also shown in figure [ gamma ] . therefore , the scattering of @xmath101 light - of - sight samples actually is less than the uncertainty of @xmath40 . in the early stage of reionization , ionizing photons are mainly in ionized patches around uv ionizing sources , and therefore , the spatial distribution of ionizing background is highly inhomogeneous and has patchy structures . when the ionized patches spread over the whole space , the ionizing background become uniform or quasi - uniform , and so the ionizing background underwent an inhomogeneous - to - uniform transition during the reionization . in this section we study the effects of inhomogeneous ionizing background on ly@xmath0 leak statistics . the first question is how to model the inhomogeneous spatial distribution of the ionizing photon field . to our problem , the most important property is the relation between the fields of mass density and ionizing photon background or photoionization rate . if the spatial fluctuation of photoionization rate @xmath102 is statistically uncorrelated with the density field @xmath103 , the reionization of igm will statistically be the same as a uniform ionizing background , regardless of the details of the fluctuation of @xmath102 . in this case , the only effect of the fluctuations would be to yield a larger variance in relevant statistics . however , as shown in last sections , the uncertainty of the leak statistics is already large even when the ionizing background is uniform , and therefore , one would not be able to distinguish the fluctuating photon field from inhomogeneous density field if they are uncorrelated . although many simulations on the uv photon field at the epoch of reionization have been done , there still lack the results of the correlation between photon and density fields . in this context , we will consider the following four models on the statistical relation between the inhomogeneous fields of photon and density , which are mainly based on physical consideration of different stage of reionization . _ model 0_. the photoionization rate is spatially uniform . it corresponds to the post - overlapping stage of reionization . this model has been used in last two sections . _ model i_. the photoionization rate at a give redshift is assumed to be proportional to the density field of igm , @xmath104 , @xmath105 being a constant . this model is motivated by the so - called inside - out scenario : high density regions around uv sources are ionized first , and is most probable at the early stage of reionization . _ model ii_. just opposite to model i , the photoionization rate at a give redshift is assumed to be inversely proportional to the density field of igm , @xmath106 , @xmath107 being a constant . this model comes from the so - called outside - in scenario : under - dense regions are ionized first ( miralda - escude et al . 2000 ) , which is applicable at the late stage of reionization ( furlanetto & oh 2005 ) . in order to fit the observed effective optical depth @xmath39 at redshift @xmath57 , we take the following parameters : @xmath108 , @xmath109 where @xmath40 is the photoionization rate at @xmath57 for uniform ionizing background [ eq.(2 ) ] . _ model iii or patch model_. this model corresponds to the stage before the overlapping of ionized patches . the igm is almost fully neutral except for some isolated ionizing patches . we model the ionized patch as a stromgren sphere : the neutral hydrogen fraction is equal to 0 within the patch and equal to 1 outside the patch . the mean radius of the stromgren sphere is assumed to be @xmath110 comoving mpc , which corresponding to an uv photon source with luminosity @xmath111 erg s@xmath34 with active time @xmath112 year and a @xmath113 spectrum . to fit the observed optical depth , we found there should be 2 patches every simulated box ( @xmath114 ) . this number is actually consistent with the following estimation @xmath115 where @xmath116 the comoving luminosity function , i.e. the 3-d number density of sources with luminosity @xmath117 . using @xmath118 mpc@xmath47 ( bouwens et al . 2006 ) , we have @xmath119 and @xmath120 . for the four models described in the last section , we recalculate the transmitted flux with the same underlying density and velocity fields of fig2 . the results are shown in figure 9 . as mentioned above , the mean of transmitted flux for all models takes approximately the same value of 0.004 , which corresponds to an effective optical depth @xmath121 . however , figure 9 shows clearly different behaviors of ly@xmath0 leaks in various models . for models i and ii , the leaks appear exactly at the same positions as model 0 except some small leaks , which are more prominent for model i. in other words , all the leaks of models 0 , i and ii are from lowest density voids . therefore , the three models have the same distribution of dark gaps , and it is impossible to discriminate among these models with the dark gap statistics . however , the profiles of the leaks of model 0 , i and ii are statistically different from each other . for model i , the leaks generally have larger width and lower height than model 0 , while for model ii , the width of leaks generally is narrower than model 0 , and the height of leaks is larger than model 0 . the reason is straightforward . comparing with model 0 , model i gives a higher @xmath36 at low density and lower @xmath36 at high density this leads to lower amplitude and broader width . for model ii , the effect is just opposite to model i and yields higher amplitude and narrower width . in the patch model , all the leaks come from ionized patches , within which ionizing sources are enclosed , and so the internal information of ionized patches can be inferred from the leak statistics . the size of dark gaps is actually given by the distance between ionized patches . generally , ly@xmath0 leaks in the patch model have a maximum flux @xmath122 , which is higher than the maximum flux of other models , 0.2 . this is because the neutral fraction within the stromgren sphere is much less that than other models . this behavior is similar to the so - called proximity effect of qsos at low redshift ( e.g. , rauch 1998 ) . thus , the statistics of the maximum flux of ly@xmath0 leaks may be used to reveal the patchy origin of ly@xmath0 leaks . as we sample the size of patches along the sight of light according to the impact probability , the size of patches is smaller than @xmath123 . if the size is too small , the ionized patch will be opaque to ly@xmath0 photons due to the damping wing of the surrounding neutral hydrogen absorption ( miralda - escude 1998 ) . obviously , it explains why only one leak is apparent in the patch model as displayed in figure 9 . we now calculate the number densities @xmath124 , @xmath80 , @xmath125 and @xmath126 for three inhomogeneous ionizing background models at @xmath57 , and the results are shown in figures 10 . we can see from figure 10 that the effects of different models on the number densities of @xmath2 and @xmath91 are different . that is , although all the models of 0 , i , ii and iii give the same mean effective optical depth , their leak distributions are different . for clarifying , in figures 10 we show only error bars for the curves of model 0 . it would be enough to show that these results can be tested with data set containing about 20 light - of - sight data . first , for model i , both of the number densities @xmath88 and @xmath80 have only small deviations from model 0 . however , @xmath125 are significantly different from their counterparts of model 0 . the number density of leaks with @xmath127 is much more than model 0 . the basic feature of model i is to increase the number of leaks with large @xmath3 as shown in figure 9 . second , for model ii , we see once again that the number densities @xmath88 and @xmath80 have only small deviations from model 0 . yet , the number densities @xmath89 and @xmath81 of the model ii are systematically lower than model 0 . therefore , the basic feature of model ii is to keep the total area under the profile of leaks almost unchanged , but the widths of leaks are significantly narrowed . finally , the behavior of patch model is very different from models 0 , i and ii . as expected , the patch model yields more leaks with large @xmath2 , and @xmath88 shows a bump around @xmath128 , which characterize the area of the ionized patches . on the other hand , the number densities of @xmath89 and @xmath81 are lower than model 0 because the characteristic size of ionized patches is less than that of low density voids . it is interesting to note that for the patch model , the tails of @xmath88 , @xmath80 and @xmath129 , @xmath126 are quite different from each other . generally , the tails of @xmath88 and @xmath80 can extend to as large as @xmath130 , while for @xmath125 and @xmath81 , there are no tails higher than 3 . it results partially from the damping wing effect ( miralda - escude 1998 ) . in summary , the statistical properties of leaks with respective to @xmath2 and @xmath91 are sensitive to the details of ionizing photon field . combining the distribution of @xmath2 and @xmath91 , the ly@xmath0 leaks would be able to probe the origin of themselves , and thus reveal the ionization state of igm , the inhomogeneity of ionizing background , and the evolution stage of reionization . it should be pointed out that we considered only the patches of the hi regions around high redshift galax ies . the hi regions around quasars or the proximity effect would also be the patches of leaking . the mean luminosity of quasars probably is higher than galaxies , and therefore , the above - mentioned feature of @xmath89 and @xmath81 would be more prominent for the patches of quasars . the damped ly@xmath0 absorption system is important for modeling low redshift ly@xmath0 absorption . since these systems have high column density of neutral hydrogen , it will not contribute to leaking either in density void models or patch model . we show that the ly@xmath0 absorption spectra of uv photon emitters at redshifts around @xmath131 can be decomposed into ly@xmath0 leaks , which come from either lowest density voids or ionized patches containing ionizing sources . the ly@xmath0 leaks are well defined and described by the equivalent width @xmath2 and the width of half area @xmath91 . since both @xmath2 and @xmath91 are defined through integrated quantities , the distributions of ly@xmath0 leaks in terms of @xmath2 and @xmath91 are stable with respect to observational noises and instrumental resolution . although the number densities @xmath88 , @xmath80 , @xmath125 , and @xmath81 evolve very rapidly at redshift @xmath5 , these statistics are measurable up to @xmath132 . if the ly@xmath0 leaks come from lowest density voids , the igm should be still highly ionized and the ionizing background is almost uniform ; in contrast , if the leaks come from isolated ionized patches , the ionizing background should be inhomogeneous , and the reionization is still in the overlapping stage . therefore , the origin of ly@xmath0 leaks is crucial to understand the history of reionization . we show that the statistics with @xmath2 and @xmath91 are sensitive to the origin of ly@xmath0 leaks , because the ly@xmath0 leaks are sensitive to the correlation between photon and density fields . based on physical consideration of reionization , we studied four phenomenological models of the photon field : the uniform ionizing background ( model 0 ) , the photoionization rate @xmath4 is proportional to the density @xmath12 ( model i ) , @xmath4 and @xmath12 are anti - correlated ( mode ii ) , and ionized regions only given by stromgren sphere around ionizing photo sources ( patch model ) . we found that , although all the four models can fit the observed mean and variance of optical depth at @xmath5 , the width distribution of ly@xmath0 leaks show very different behaviors . for model 0 , i , and ii , most of ly@xmath0 leaks are from lowest density voids , and the distribution of dark gaps are similar . however , the properties of individual ly@xmath0 leaks are different . model i gives broader width @xmath91 than model 0 ; model ii gives narrower width @xmath91 than model 0 . for patch model , the ly@xmath0 leaks are mainly from ionized sphere , and they generally have higher maximum of transmitted flux than other models . there is a bump in the distribution of the equivalent width @xmath2 , which characterize the intensity of uv photons within ionized patches . ly@xmath0 leaks from ionized patches will provide the information of ionized patches , such as their intensity and size , and constrain the properties of uv sources that contribute most of ionizing photons of the reionization . finally , we point out that similar analysis is also applicable to the reionization of heii . the optical depth of heii ly@xmath0 evolves rapidly at @xmath133 . it reaches @xmath134 at @xmath135 . that is , the evolution of heii reionization at @xmath135 would be similar to that of h at @xmath5 . observed sample of heii ly@xmath0 absorption indeed show structures similar to the leaks of hydrogen absorption spectrum ( zheng et al . one can also draw the information of background photons at the energy band of heii ionization . this work is supported in part by the us nsf under the grant ast-0507340 . llf acknowledges support from the national science foundation of china ( nsfc ) .

arxiv

We had already reported that Tamil Film Producers Council has called for a strike from today (July 27) opposing the sudden increase in the remuneration of FEFSI employees. Now Producers Council has also requested to stop all the ongoing work post-production of Tamil films. Sources say that nearly 35 Tamil films will be affected by the ongoing strike which will eventually have effect on technicians and FEFSI employees. Also, stopping the post-production work will delay the release of many films will lead to unnecessary clashes at the box office. Sources say that big films including Thoongaa Vanam, Thala 56, Vijay 59, '24' will be stopped from today which in turn will bring huge loss to producers. Also, the actors have to re-work their call sheet for various projects which is a tedious task.

slim_pajama

Q: How to write log to console and file on Node.JS? I want how to log both to file and console. This is my code snippet: I want to make it possible to both record to console and record to file. The code below works, but is there any way to do what I just mentioned? var fs = require("fs"); var Logger = (exports.Logger = {}); var infoStream = fs.createWriteStream("logs/info.txt"); var errorStream = fs.createWriteStream("logs/error.txt"); var debugStream = fs.createWriteStream("logs/debug.txt"); Logger.info = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; infoStream.write(message); }; Logger.debug = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; debugStream.write(message); }; Logger.error = function(msg) { var message = new Date().toISOString() + " : " + msg + "\n"; errorStream.write(message); }; A: I would use winston. You can create different transports with different options. export const Logger = winston.createLogger({ transports: [ new winston.transports.Console({ silent: process.env.NODE_ENV == "test" }), new winston.transports.File({ filename: "log/error.log" }), ], }) For instance if you create a transport for debug/info/error and combine it with silent option so only the wanted files go to the log, there is also a level configuration key, but it will filter out the errors below that level.

slim_pajama

Dragon Age 1. Elainas Secret I don't own anything from bioware besides my character. After the celebrations and festivities winded down, there was quietness all across Denerim; now they were preparing for a Royal Wedding. Alistair was in his bed chambers pacing back and forth, wondering why Elaina was looking awfully pale lately. Then all of a sudden there was a knock on the door. "Come in" Alistair spoke, then by the quick turn of the doorknob in walks the chambermaid. Good Morning Ser how are you today? Oh I'm feeling great how's Elaina today is she is still pale looking! The chambermaid giggled and said well she has been rather in a glowing mood lately. Alistair looks at her puzzled, and the chambermaid said "oh ser it's an expression don't worry about it you will get it when the time comes". She quickly exited his bedchambers, and shut the door as she left; Alistair left and rushed right over to Elaina's bedchambers to see how his betrothed was doing. When he got there he heard some noises like vomiting and he walked right in and said so wedding jitters eh. Elaina looked up quickly and said oh yeah, and he said don't worry we will have a lovely life together. She said oh I have been waiting to marry you since the day I met you; he chuckles and said what does that mean. Elaina said the day we met in Ostagar; when I ran into you I said to myself I'm going to marry that handsome man. Alistair rubbed his hands through his hair, and red started to appear all over his face. Yeah well I couldn't help but stare at your bottom, through the whole trip through the Korcari Wilds. When I saw you tear into your first darkspawn, and the aftermath of you covered in blood with that seductive I'm going to kill you look. Well that's when I knew I either had to hold my composure or ravish you in front of Daveth or Jory. Elaina laughed yeah that would have been a sight; I could hear jory now is this part of our initiation too! Well from the looks that Daveth was giving you it looked like he was thinking the same thing I was HA HA. Elaina looked at Alistair and said; well I wouldn't have touched him at all; not even with a ten foot pole. Even if all the darkspawn killed the good looking men on earth; and he was left. Well anyways my dear, I came here to tell you something; I read into the taint thing; and realized that we could actually have children after all. Elaina was thinking to herself yeah well I think I found that one out on my own before you told me. Elaina looked at him and said well I am going to lie down for a bit, all this puking has gotten me rather parched. Alistair headed for the door, and as he opened the door he said by the way Teagan is coming today to talk about the wedding preparations. So I will come and wake you when he gets here, Elaina nodded and got into her bed. Soon as Alistair stepped out he saw wynne making her way to Elaina's room, he started to walk and soon as he passed he noticed a very odd look on wynne's face. He didn't think anything of it, and continued on his way. Just as Elaina was going to sleep she heard Wynne talking through the door, she said" Can I come in!" Elaina got up and said you can come in; Wynne came in and shut the door quick. Elaina was looking at her like she knew what she had been hiding for the past 2 months. So I see you are rather pale, and vomiting for the past month, when will you tell Alistair? Elaina said real quick how did you know? Oh I know wynne chuckles don't worry dear I won't say anything. But I would tell Alistair though; he is worried about the fact that you two might not be able to have children. Elaina looked at wynne and said go get Alistair NOW! I will tell him now Wynne looked at her and said I will go get him be right back. 2. Alistair a father As wynne walked down the hallway she saw Alistair stand there; talking to Arl Eamon Teagan will be here in the next few hours, he is preparing himself Oh ok! Alistair said So how is your betrothed Alistair? Elaina is sick she has been vomiting for the past 2 months, I think its wedding jitters. Arl Eamon had that look on his face when he heard, well I think its more than that as he laughed Oh Wynne is their something you need? Alistair I think you should come with me, Elaina needs to tell you something. Alistair with that puzzled look on his face he said Oh Ok, As Alistair walked away Eamon winked at wynne which meant he knows that Elaina is going to be changing his life for the better, and that he knew that she was with child. As Alistair, walked into the bedroom of Elaina's he noticed that she didn't have a very good look on her face. Elaina looked up and saw him and said Alistair I think you should sit down for what I'm about to tell you would probably need to sit. Alistair I don't have wedding jitters? Oh then what is it then, Well this may come a shock to you but, the reason why I have been vomiting for the last 2 months is because "sigh" I am going to have your child. Alistair looked with his eyes wide open, and he hopped up and took ahold of Elaina and said Really A baby, Oh my love I guess the taint didn't work on you fast enough, when did it happen when did you get pregnant. I have been pregnant a month after we consummated our love for each other in your tent. I didn't want to tell you cause you have enough on your mind, but Wynne didn't think it would matter. Alistair reached down cupped his hands around her head, and kissed her deeply. Oh maker this is wonderful news. I shall go tell Eamon right away. When Alistair closed the door to Elainas bed chamber he shouted" I'm going to be a father did you hear that everyone. Elaina and Wynne laughed, because of the joy that had overtooken Alistair; well my child what shall you name your child, after he /she is born. Elaina said Alistair jr. if a boy, and if it's a girl I was going to name if after a special friend. Oh who is that Wynne said? Elaina looked up and said You Wynne. Oh Elaina that would honor me so much, to have your child named after me. As Alistair got done telling the whole castle that he was going to be a father; he ran up to Elaina's room he stopped to knock. He heard her say come in so in he walked, after closing the door behind him. He had that look on his face like he got hit with the arm of a darkspawn. What is it my Love? Oh I'm just wondering what kind of father I will be! Elaina looked up at him and walked over to give him a hug. She said you will be a great father; and if I hear you say that one more time I will use you for target practice. He looked down , and lifted her face ; and said your desire is my command. End file.

fanfiction

What is the acid dissociation constant of cacodylic acid? What is the $\mathrm pK\_\mathrm a$ of cacodylic acid? I cann't seem to find one answer on the internet. I have read 1.67, 6.37, and 4.8 in my $\mathrm pK\_\mathrm a$ table. What is the reason for this? Also, the problem I just did had it as 0.34. Cacodylic acid is amphoteric, so it has a $K\_\mathrm a$ and $K\_\mathrm b$. See table 1 of [this EPA report on cacodylic acid](http://nepis.epa.gov/Exe/ZyNET.exe/910124WK.txt?ZyActionD=ZyDocument&Client=EPA&Index=Prior%20to%201976&Docs=&Query=&Time=&EndTime=&SearchMethod=1&TocRestrict=n&Toc=&TocEntry=&QField=&QFieldYear=&QFieldMonth=&QFieldDay=&UseQField=&IntQFieldOp=0&ExtQFieldOp=0&XmlQuery=&File=D%3A%5CZYFILES%5CINDEX%20DATA%5C70THRU75%5CTXT%5C00000018%5C910124WK.txt&User=ANONYMOUS&Password=anonymous&SortMethod=h%7C-&MaximumDocuments=1&FuzzyDegree=0&ImageQuality=r75g8/r75g8/x150y150g16/i425&Display=p%7Cf&DefSeekPage=x&SearchBack=ZyActionL&Back=ZyActionS&BackDesc=Results%20page&MaximumPages=1&ZyEntry=33) The $\mathrm pK\_\mathrm a$ is 6.2. The $\mathrm pK\_\mathrm b$ is 12.4, which corresponds to the $\mathrm pK\_\mathrm a$ of the conjugate acid being 1.6. Also, according to "Weed Control" by the US National Research Council at page 167: > > Cacodylic acid is normally monobasic, but in strong sodium hydroxide it forms the disodium salt, $\ce{(CH3)2AsO3HNa2}$, of a tribasic acid. Cacodylic acid is somewhat amphoteric, forming a hydrochloride $\ce{(CH3)2AsO2H.HCl}$ by direct action with hydrogen chloride gas. > > > Also, the value for the $\mathrm pK\_\mathrm a$ of the conjugate acid being 1.6 was confirmed by electrophorisis is [Arsoniumphospholipid in algae](http://www.pnas.org/content/75/9/4262.short) Proc. Natl. Acad. Sci. USA vol. 75 pages 4262–4264. I found this article (TW. Shin, K. Kim, IJ. Lee, *J. Solution Chem.* **1997,** *26*, 379. doi: [10.1007/BF02767677](https://doi.org/10.1007/BF02767677)) with precise analysis of the p*K*a of cacodylic acid - it says that in 25 °C it's estimated to be 6.27. Values lower than 6 are wrong, but found often. Sometimes it's said to be a diprotic (which it isn't) with first p*K*a 1.57 and second 6.27 - pubchem says 1.57 citing Lide, D.R. (ed.). CRC Handbook of Chemistry and Physics. 76th ed. Boca Raton, FL: CRC Press Inc., 1995-1996., p. 8-45 - it might be one of the sources of problem.

stackexchange/chemistry

The right hand rule confusion? [![he](https://i.stack.imgur.com/nkjJ2.png)](https://i.stack.imgur.com/nkjJ2.png) I have a question regarding this problem. By using the right hand rule, I thought the answer would be A, but the answer key says it's B. Doesn't the current come from the + side, so you wrap your fingers towards yourself(?) so that the thumb points to the left? Electric and magnetic fields are best understood using the terminology "electric field ${\bf E}$" and "magnetic field $\bf B$". In the case of a magnetic field this is better terminology than "lines of force" because the force produced by a magnetic field on a small object such as a current-carrying wire or a moving charge is perpendicular to the field not along it. And when a small magnet such as a compass is placed in a magnetic field, the effect of the magnetic field is to align the compass without producing any net force on it in any direction (it just produces a torque until the small magnet is aligned with the field). Therefore I will avoid the term "line of force" in my answer. I will call them "field lines" or "lines of magnetic field". In the case of a straight current-carrying wire, the magnetic field loops around the wire in a right-handed direction. That is, if you make your right thumb point along a current then the curled fingers of your right hand show the magnetic field direction. If you do this for each small section of a current-carrying loop, then you find that the field through the middle of the loop has to be in the direction given by your right thumb when your right hand fingers curl around the loop. The current in the circuit shown in the question goes from $+$ to $y$ to $x$ to $-$ so we deduce that the magnetic field lines (lines of $\bf B$) go from $y$ to $x$ inside the coil, and then loop around outside till they come back to $y$. The terminology "north pole, south pole" is also poor terminology because in fact there is no pole for the field ${\bf B}$, it goes in loops. But the convention is that the end where the field lines point away *outside* the magnet is the "north" so in this example $x$ is the north pole and $y$ the south pole. The question is referring to the lines of force outside the coil. The lines of force go from the north pole to the south pole outside the magnet. The direction is the opposite inside from south to north. Hence if you use the right hand rule correctly, you will see that the lines of force so from y to x outside the coil.

stackexchange/physics

let @xmath0 be a complex banach space . let @xmath4 be an operator in the banach algebra @xmath7 and denote by @xmath8 the discrete semigroup given by @xmath9 for @xmath10 . the cesro sum of order @xmath11 of @xmath4 , @xmath12 , is defined by @xmath13 where @xmath14 is the cesro kernel . it is well known that cesro sums is an important concept that appears in several contexts and ways in the literature . for instance , in zygmund s book , it appeared in connection with summability of fourier series ( * ? ? ? * chapter iii , section 3.11 ) and in @xcite in relation with weighted norm inequalities for jacobi polynomials and series . see also @xcite and @xcite . the starting point for our investigation is this definition of fractional sum of the discrete semigroup @xmath8 . certain fractional sums have been used in recent years to develop a theory of fractional differences with interesting applications to boundary value problems and concrete models coming from biological issues , see for example @xcite and @xcite . note that this definition coincides or is connected with other fractional sums of the discrete semigroup @xmath8 on the set @xmath15 see ( * ? ? ? * section 1 ) or ( * ? ? ? * theorem 2.5 ) . consider @xmath16 a positive weight sequence and the banach algebra @xmath17 ( endowed with their natural convolution product ) . suppose @xmath18 it is well known and easy to show that the semigroup @xmath8 induces an algebra homomorphism @xmath19 defined by @xmath20 note that in the case that @xmath4 is a power bounded operator , i.e. , @xmath21 , then @xmath22 . moreover , this homomorphism is a natural extension of the @xmath23-transform , see for example @xcite and references therein . in general , algebra homomorphisms are useful tools to treat different interesting aspects of operator theory : algebra relations , sharp norm estimations , subordination operators , or ergodic behaviour ( as katznelson - tzafriri theorems , see @xcite ) . as mentioned before , it is remarkable that cesro sums have appeared in the literature since some time ago but until now there was not noted their relationship with the theory of fractional sums and their algebraic structure . the first main purpose of this paper is to show how this connection provide new insight on properties and characterizations of cesro sums , notably concerning their interplay with algebra homomorphisms . cesro sums are also a basic tool to define @xmath3-bounded operators , a natural extension of power - bounded operators . we recall that a bounded operator @xmath24 is @xmath5-bounded @xmath25 if @xmath26 see @xcite for examples and properties of @xmath5-bounded operators . note that if @xmath4 is power bounded , then @xmath4 is a @xmath3-bounded operator for every @xmath11 . however , there are operators that does not satisfy the power - boundedness condition , but @xmath27 as the well - known assani example shows @xmath28 see ( * ? ? ? * section 4.7 ) ; recently other examples are appeared in @xcite . the following natural question then arises : @xmath29 can @xmath4 induce an algebra homomorphism from a proper subalgebra @xmath30 to @xmath7 such that cesro sums are kernels of this homomorphism ? . the second purpose of this paper is to show that , surprisingly , the answer to @xmath29 is positive for every bounded operator such that their cesro sums are properly bounded ( which includes @xmath3-bounded operators ) . more precisely , we construct appropriate subalgebra @xmath31 and then we prove that the following assertions are equivalent : * @xmath4 is @xmath3-bounded operator . * there exists a bounded algebra homomorphism @xmath32 such that @xmath33 in the limit case , the following assertions are equivalent : * @xmath4 is power bounded . * there exists a bounded algebra homomorphism @xmath34 such that @xmath35 * for any @xmath36 , there exist bounded algebra homomorphisms @xmath37 such that @xmath38 and @xmath39 this paper is organized as follows : in order to construct a suitable banach algebra and the corresponding homomorphism , we introduce in section 2 the notion of @xmath6-th fractional weyl sum as follows : @xmath40 see definition [ weyldifference ] below . we state their main algebraic properties in proposition [ weylsumprop ] . then , we introduce banach algebras @xmath41 as the completion of the space of sequences @xmath42 under the norm @xmath43 ( theorem [ th3.1 ] ) . the weighted sequences @xmath44 need to verify some summability conditions ( definition [ condi ] ) to prove that the space @xmath41 is a banach algebra . it is remarkable that such banach algebras extends those defined for @xmath45 and @xmath46 in ( * ? ? ? * section 4 ) . there they are considered to study subalgebras of analytic functions on the unit disc contained in the koremblyum and ( analytic ) wiener algebra . section 3 contains an interesting characterization for the cesro sum of powers of a given @xmath5-bounded operator @xmath2 solely in terms of certain functional equation ( theorem [ theoremecfunc ] ) . the obtained characterization corresponds to an extension of the well known functional equation for the corresponding discrete semigroup @xmath47 namely @xmath48 theorem [ homomorphism ] gives a complete answer to question @xmath29 by defining a bounded algebra homomorphism @xmath49 given explicitly by @xmath50 this homomorphism enjoys remarkable properties . the existence of bounded homomorphisms in these new banach algebras completely characterizes the growth of cesro sums in corollary [ reci ] ; in particular bounded homomorphisms from algebras @xmath51 characterizes @xmath5-boundedness ( corollary [ cor5.7 ] ) . such connection seems to be new in the current literature as well as the functional equation found in the beginning of this section . the @xmath23-transform technique may be traced back to de moivre around the year 1730 . in fact , de moivre introduced the more general concept of `` generating functions '' to probability theory . it is interesting compare the @xmath23-transform ( discrete case ) versus laplace transform ( continuous case ) , see for example ( * ? ? ? * section 6.7 ) . in section 4 , we use the widder space @xmath52 where @xmath53 is borel measure on @xmath54 , introduced in @xcite , to give a new characterization of summable vector - valued sequences in in terms of @xmath23-transform in theorem [ widder ] . we complete the approach given in section 3 involving the @xmath23-transform and resolvent operators in theorem [ th5.5 ] . finally , in section 5 we present several applications , counterexamples and final comments on this paper . a straightforward application is to obtain the abel means by subordination to the cesro sums , as theorem [ abels ] shows . this point of view allows to improve some previous results given in @xcite . some results presented in this paper are inspired in similar ones obtained for @xmath6-times integrated semigroups , see @xcite . in section 5.2 , we show a natural connection between both operator theories . in section 5.3 , we present some counterexamples of algebra homomorphisms defined from some banach algebras which can not be extended to some larger algebras . a future research line , the extension of celebrated katznelson - tzafriri to @xmath3-bounded operators , is commented in section 5.4 . * notation . * we denote by @xmath55 the set of canonical sequences given by @xmath56 where @xmath57 is the known kronecker delta , i.e. , @xmath58 is @xmath59 and @xmath60 in other case . let @xmath0 be a banach space and @xmath61 the set of vector - valued sequences such that @xmath62 for @xmath63 ; and @xmath64 the set of vector - valued sequences with finite support . when @xmath65 we write @xmath66 and @xmath42 respectively . it is well known that @xmath67 is a banach algebra with the usual ( commutative and associative ) convolution product @xmath68 consider @xmath16 a positive sequence , and @xmath17 is the banach spaced formed by complex sequences @xmath69 such that @xmath70 . we write @xmath71 for @xmath72 , @xmath73 and @xmath74 in particular @xmath75 for @xmath10 . throughout the paper , we use the variable constant convention , in which @xmath76 denotes a constant which may not be the same from line to line . the constant is frequently written with subindexes to emphasize that it depends on some parameters . in this section , we define certain spaces of sequences that corresponds to an extension in two different directions of those considered in the recent paper ( * ? ? ? * definition 4.2 ) . we consider a positive order of regularity in weyl differences ( definition [ weyldifference ] ) and different order of growth of weyl differences ( definition [ condi ] ) . these spaces correspond to banach subalgebras of the space @xmath67 and are important to obtain a further characterization via homomorphisms for cesro sums in the next section . we consider the usual difference operator @xmath77 for @xmath78 its powers @xmath79 for @xmath80 and we write by @xmath81 and @xmath82 . it is easy to see that @xmath83 see for example ( * ? ? ? * ( 2.1.1 ) ) and then @xmath84 for @xmath85 . in addition , for @xmath86 we consider the well - known scalar sequence @xmath87 defined by @xmath88 in the classical zygmund s monographic , the numbers @xmath89 are called as cesro numbers of order @xmath6 ( ( * ? ? ? i , p.77 ) ) and written by @xmath90 . however the notation as function @xmath91 will facilitate the understanding of this paper . kernels @xmath92 may equivalently be defined by means of the generating function : @xmath93 and satisfies the semigroup property , that is , @xmath94 for @xmath95 . furthermore , the following equality holds : for @xmath11 , @xmath96 ( ( * ? ? ? i , p.77 ( 1.18 ) ) ) and @xmath91 is increasing ( as a function of @xmath97 ) for @xmath98 , decreasing for @xmath99 and @xmath100 for @xmath101 ( ( * ? ? ? * theorem iii.1.17 ) ) . it is straightforward to check that @xmath102 for @xmath103 and @xmath10 . the gautschi inequality states that @xmath104 ( @xcite ) , which implies that @xmath105 note that when @xmath106 we have @xmath107 [ duplicacion ] for @xmath108 , there exists @xmath109 such that @xmath110 in particular for @xmath36 , the following equality holds @xmath111 the proof of the first inequality is straightforward by the inequality ( [ double ] ) . to show the second inequality , we use the know doubling equality for gamma function @xmath112 to obtain that @xmath113 we apply the gautschi inequality ( [ gau ] ) to get that @xmath114 for @xmath36 and we conclude that @xmath115 for @xmath116 and @xmath36 . the cesro sum of order @xmath6 of @xmath117 is defined by @xmath118 again we prefer to follow the notation @xmath119 instead of @xmath120 used in @xcite . note that @xmath121 and then @xmath122 for @xmath95 , for more details see again ( * ? ? ? i , p.76 - 77 ) . note also that @xmath123 with @xmath11 and @xmath124 . we write @xmath125 , @xmath126 for @xmath127 . the operator @xmath128 has inverse in @xmath129 @xmath130 and its iterations are given by the sum @xmath131 for each scalar - valued sequence @xmath117 such that @xmath132 , see for example @xcite . these facts and the clear connection with the weyl fractional calculus motivates the following definition . [ weyldifference]let @xmath133 and @xmath11 be given . the weyl sum of order @xmath6 of @xmath117 , @xmath134 , is defined by @xmath135 whenever the right hand side makes sense . the weyl difference of order @xmath6 of @xmath117 , @xmath136 , is defined by @xmath137 for @xmath138 + 1,$ ] whenever the right hand side makes sense . in particular @xmath139 for @xmath140 . observe that if @xmath141 the weyl difference of order @xmath6 coincides with the definition given in ( * ? ? ? * section 4 ) . some general properties are shown in the following proposition . [ weylsumprop ] let @xmath142 the following assertions hold : * for @xmath143 @xmath144 * for @xmath108 and @xmath145 , we have @xmath146 * for @xmath86 @xmath147 * for @xmath108 and @xmath145 , we have @xmath148 * [ sempro ] for all @xmath149 we have @xmath150 \(i ) it is clear using the fubini theorem and the semigroup property @xmath151 for @xmath95 . ( ii ) it is sufficient to apply that @xmath117 has finite support and @xmath152 for @xmath153 . ( iii ) we write @xmath138 + 1.$ ] applying part ( i ) , for @xmath154 we have that @xmath155 since @xmath156 is the inverse of @xmath157 in @xmath158 see ( * ? ? ? * section 4 ) . on the other hand , @xmath159 where we use part ( i).(iv ) it is sufficient to apply that @xmath117 has finite support and @xmath160 for @xmath161 ( v ) it is simple to check using the previous results . [ ex2.3 ] * let @xmath162 and @xmath163 for @xmath164 an easy computation shows that the sequence @xmath165 is a pseudo - resolvent , that is , it satisfies the hilbert equation @xmath166 moreover , the following identity holds @xmath167 we claim that the functions @xmath165 are eigenfunctions for the operator @xmath168 for @xmath169 and @xmath170 : we have , by , that @xmath171 by proposition [ weylsumprop ] ( iii ) , we obtain that @xmath172 * let @xmath173 and @xmath145 be given . we define @xmath174functions @xmath175 are denoted by @xmath176 for @xmath177 in ( * ? ? ? * section 4 ) . note that @xmath178 for @xmath10 , in fact , @xmath179 , @xmath180 , @xmath181 , @xmath182 and @xmath183 + then for all @xmath184 it is easy to check that @xmath185 , i.e. , @xmath186 using proposition [ weylsumprop ] ( iii ) , we obtain that @xmath187 for @xmath188 and @xmath164 the following remark shows an interesting duality between the operator @xmath189 and @xmath190 similar results may be found in ( * ? ? ? * section 4 ) and ( * ? ? ? * theorem 4.1 and 4.4 ) . [ duality]let @xmath191 , we consider the usual duality product @xmath192 given by @xmath193 by fubini theorem , we get that @xmath194 and consequently , @xmath195 the next lemma includes a equality which is a important tool for further developments in this paper . the proof runs parallel to the proof of the integer case given in ( * ? ? ? * lemma 4.4 ) and we do not include here . [ lemmatech ] let @xmath191 and @xmath196 then @xmath197 following definitions are inspired in ( * ? ? ? * definition 1.3 ) . [ condi ] let @xmath108 . we say that a positive sequence @xmath44 belongs to the class @xmath198 , if there is a constant @xmath199 such that @xmath200 moreover , we denote by @xmath201 the set of nondecreasing sequences @xmath202 which are of exponential type and satisfy @xmath203 example of sequences in @xmath204 are the following ones : * any nondecreasing sequence @xmath44 satisfying @xmath205 for some @xmath206 and for each @xmath207 ( in particular @xmath208 with @xmath209 and @xmath210 and @xmath211 with @xmath212 ) . * @xmath213 , where @xmath214 is a nondecreasing weight , i.e. , @xmath215 for @xmath216 . * @xmath217 for @xmath218 . by the equivalence @xmath219 , see formula ( [ double ] ) , equivalent examples may be given in terms of @xmath220 . the particular case @xmath221 will play a fundamental role in this paper , and the condition ( [ inte ] ) is improved . for @xmath222 , the following inequality holds @xmath223 for @xmath224 , and @xmath108 , we have that @xmath225 as @xmath226 is an increasing sequence , we have @xmath227 for @xmath228 and we apply the lemma [ duplicacion ] to conclude the proof . [ pieces ] take @xmath229 and @xmath230 . * then @xmath231 and @xmath232 . * @xmath233 for @xmath234 . * @xmath235 for @xmath116 and some @xmath236 . * @xmath237 for @xmath10 and @xmath238 . * @xmath239 for some @xmath240 independent of @xmath241 . * @xmath242 if and only if @xmath243 . \(i ) since @xmath244 for @xmath245 , then @xmath231 and @xmath232 for @xmath246 . ( ii ) it is enough to take @xmath247 in to obtain the inequality . ( iii ) by part ( ii ) , we have that @xmath248 and we get the first inequality . for @xmath241 , we apply the inequality @xmath249 times to obtain that @xmath250 ( iv ) we combine parts ( ii ) , ( iii ) and the semigroup property of kernels @xmath91 to conclude that @xmath251 for some @xmath252 . ( v ) take @xmath253 and @xmath254 in to get @xmath255 ( vi ) if @xmath242 then we apply and part ( ii ) to get @xmath256 and we conclude that @xmath257 . note that @xmath258 and then @xmath242 for @xmath259 for part ( i ) and we conclude the proof . for @xmath196 and @xmath230 , we define the application @xmath260 given by @xmath261 note that for @xmath106 the above application corresponds to the usual norm in @xmath262 . in the case @xmath263 , we write @xmath264 instead of @xmath265 and @xmath266 for @xmath267 . by , the norm @xmath268 is equivalent to the norm @xmath269 given by @xmath270 this expression was considered for the case @xmath271 in ( * ? ? ? * definition 4.2 ) . part of the following result extends ( * ? ? ? * theorem 4.5 ) and the proof is similar to the proof of ( * ? ? ? * proposition 1.4 ) . we include the proof to give a complete view of this result . [ th3.1 ] let @xmath272 and @xmath230 . the application @xmath273 defines a norm in @xmath42 and @xmath274 with @xmath275 independent of @xmath117 and @xmath276 we denote by @xmath41 the banach algebra obtained as the completion of @xmath42 in the norm @xmath277 in the case that @xmath278 then * the operator @xmath279 is linear and bounded on @xmath41 , @xmath280 . * @xmath281 and @xmath282 , for @xmath283 . * for @xmath284 , @xmath285 . * for @xmath286 , @xmath287 it is clear that @xmath268 is a norm in @xmath288 now , applying lemma [ lemmatech ] we have @xmath289 where we use fubini s theorem twice and the inequality ( [ inte ] ) to show the first inequality . now take @xmath290 . ( i ) it is clear that @xmath279 is a linear operator and @xmath291 for @xmath292 . ( ii ) it is clear that @xmath293 by the monotone convergence theorem and proposition [ weylsumprop ] ( ii ) , @xmath294 ( iii ) let @xmath295 and @xmath296 , then @xmath297 where we have applied proposition [ weylsumprop ] ( v ) and the semigroup property of @xmath298 ( iv ) this inequality follows from lemma ( 2.8 ) . [ normequiv ] note that sequence @xmath299 with @xmath230 : by example [ ex2.3 ] ( ii ) , @xmath300 for @xmath10 . then the series @xmath301 converges on @xmath41 for every @xmath302 . by proposition [ pieces ] ( iii ) @xmath303 wherever @xmath91 or @xmath44 is non - decreasing functions , i.e. , for @xmath304 or @xmath278 for example . and then @xmath305 on @xmath41 . take @xmath278 such that @xmath306 for @xmath307 . then @xmath308 for @xmath309 , where sequences @xmath310 are defined in example [ ex2.3 ] ( i ) , and @xmath311 in the particular case @xmath312 , then @xmath313 for @xmath314 and @xmath315 @xmath316 where we have applied example [ ex2.3 ] ( i ) and the formula . in this section we present our main results . the algebra structure of cesro sums are presented in several ways : functional equation ( theorem [ theoremecfunc ] ) , algebra homomorphism ( theorem [ homomorphism ] ) and resolvent operators ( theorem [ th5.5 ] ) . note that these approach in fact characterizes the growth of cesro sums , as corollary [ reci ] and corollary [ cor5.7 ] for @xmath3-bounded operators show . we recall the following definition . [ cesarosum]given a bounded operator @xmath24 , the cesro sum of order @xmath11 of @xmath4 , @xmath317 , is defined by @xmath318 note that we keep the notation @xmath319 for @xmath10 . [ canoni ] the canonical example of a family of cesro sum of order @xmath6 in banach algebras @xmath41 ( in particular in @xmath67 ) is the family @xmath320 given in example [ ex2.3](ii ) . note that @xmath299 with @xmath230 , see example [ normequiv ] . we write @xmath321 to get @xmath322 for @xmath10 by equation ( [ cesarocano ] ) . the following theorem characterizes sequences of operators which are cesro sums of some order @xmath11 and a fixed operator @xmath4 . [ theoremecfunc ] let @xmath108 and @xmath323 . then the following assertions are equivalent . * @xmath324 for @xmath10 . * @xmath325 and the following functional equation holds : @xmath326 assume ( i ) . it is clear @xmath325 and we claim the identity . take @xmath327 then @xmath328 observe that @xmath329 and the equality is proven . conversely , assume ( ii ) . define @xmath330 and @xmath331 it is clear that @xmath332 and @xmath333 inductively , we suppose that @xmath334 then using that @xmath335 satisfies , we have that @xmath336 then we conclude that @xmath337 and consequently @xmath338 for all @xmath339 [ generador]given @xmath340 a sequence of bounded operators which verify the equality ( [ eq4.2 ] ) . then the operator defined by @xmath341 is called the generator of @xmath342 by theorem [ theoremecfunc ] , @xmath338 where @xmath343 for @xmath10 . in particular , note that @xmath344 satisfies in @xmath345 see example [ canoni ] , and the generator is the element @xmath346 . the following is one of the main results of this paper . [ homomorphism ] let @xmath272 and @xmath24 such that @xmath347 for @xmath10 with @xmath202 and @xmath240 . then there exists a bounded algebra homomorphism @xmath49 given by @xmath348 furthermore , the following identities hold . * for @xmath245 , @xmath349 , in particular @xmath350 and @xmath351 . * for @xmath302 such that @xmath352 and @xmath353 , @xmath354 * in the case that @xmath355 , for @xmath284 and @xmath356 , then @xmath357 and @xmath358 * if @xmath359 for some @xmath236 , then @xmath360 for @xmath361 in particular @xmath362 for @xmath363 . note that the map @xmath364 is well - defined , lineal and continuous , @xmath365 for @xmath302 and @xmath366 to see that @xmath364 is algebra homomorphism is sufficient to prove that @xmath367 for @xmath368 by lemma [ lemmatech ] , we get that@xmath369 we apply fubini theorem to get that @xmath370 where we have used the identity ( [ eq4.2 ] ) . \(i ) note that @xmath371 , see example [ ex2.3 ] ( ii ) , and then @xmath349 for @xmath10 . as @xmath372 and @xmath373 , it is clear that @xmath374 and @xmath375 . ( ii ) now , for @xmath376 such that @xmath377 and @xmath353 , we have that @xmath378 where we have applied that @xmath379 and @xmath380 for @xmath381 ( iii ) suppose that @xmath355 , with @xmath284 and @xmath356 , then it is straightforward to check that @xmath357 and @xmath382 where we have applied proposition [ sempro ] ( v ) and remark [ duality ] . ( iv ) now take @xmath236 such that @xmath359 and then @xmath383 . for @xmath361 we apply remark [ duality ] to get @xmath384 in particular @xmath385 for @xmath309 and @xmath386 for @xmath353 . [ reci ] let @xmath11 , @xmath290 and @xmath387 be an algebra homomorphism . then there exists @xmath388 such that @xmath389 in particular @xmath390 for @xmath10 and @xmath391 for @xmath392 take @xmath393 . note that @xmath373 , see example [ ex2.3 ] ( ii ) , and @xmath322 for @xmath10 where @xmath321 , see example [ canoni ] . by example [ normequiv ] , @xmath394 for @xmath395 , we apply the continuity of @xmath364 to get @xmath396 for @xmath353 . by theorem [ homomorphism ] ( iv ) , we conclude the proof . by theorem [ homomorphism ] and corollary [ reci ] , we obtain the following characterizations of @xmath3-bounded and power - bounded operators . [ cor5.7 ] let @xmath24 and @xmath397 be given . the following assertions are equivalent : * @xmath4 is @xmath3-bounded operator . * there exists a bounded algebra homomorphism @xmath32 such that @xmath33 in the limit case , the following assertions are equivalent : * @xmath4 is power bounded . * there exists a bounded algebra homomorphism @xmath34 such that @xmath35 * for any @xmath36 , there exist bounded algebra homomorphisms @xmath37 such that @xmath38 and @xmath39 due to previous results , we only have to check that ( c ) implies ( b ) . since the map @xmath398 is an algebra homomorphism then @xmath399 , @xmath400 is well defined for @xmath283 and is independent of @xmath6 . take @xmath240 such that @xmath401 . we define @xmath402 for @xmath403 and some given @xmath404 . then @xmath405 for @xmath406 by theorem [ th3.1 ] ( ii ) , we get that @xmath407 for @xmath283 and we conclude the result by density . let @xmath408 be a scalar sequence on a banach space @xmath0 . we also recall that the @xmath23-transform of a given sequence @xmath409 is defined by @xmath410 for all @xmath411 such that this series converges . the set of numbers @xmath411 in the complex plane for which series converges is called the region of convergence of @xmath412 . the uniqueness of the inverse @xmath23-transform may be established as follows : suppose that there are two sequences @xmath117 , and @xmath413 with the same @xmath23-transform , that is , @xmath414 it follows from laurent s theorem that @xmath415 for @xmath10 . let @xmath416 be a sequence such that @xmath417 for some @xmath240 and @xmath418 . to follow the notation given in @xcite , we write @xmath419 and @xmath420 is a bound for the counting measure supported on @xmath421 , i.e. , @xmath422 for @xmath423 where @xmath424 and @xmath10 . let @xmath425 be the space of @xmath0-valued functions on @xmath426 infinitely differentiable in the norm topology of @xmath0 . for @xmath427 , set @xmath428 where @xmath429 for @xmath10 and @xmath423 . the widder space @xmath430 is defined by @xmath431 endowed with the norm @xmath432 , the space @xmath433 is a banach space , see more details in ( * ? ? ? * section 1 ) . a direct consequence of ( * ? * theorem 1.2 ) is the following result . [ widder ] let @xmath416 be a sequence such that @xmath417 for some @xmath240 and @xmath418 . take now @xmath408 a vector - valued sequence . then the following assertions are equivalent . * @xmath434 * there exists @xmath435 such that @xmath436 for @xmath437 . * @xmath438 to show that ( i ) implies ( ii ) , we define @xmath439 for @xmath440 . now consider the part ( ii ) . we define @xmath441 for @xmath10 . it is clear that @xmath442 and @xmath443 where we conclude that @xmath444 for @xmath10 and part ( i ) is proved . now take again part ( ii ) . due to ( * ? ? ? * theorem 1.2 ) , @xmath445 and we conclude the part ( iii ) . finally suppose that @xmath438 again by ( * ? ? ? * theorem 1.2 ) , there exists a bounded homomorphism @xmath435 such that @xmath446 for @xmath447 . since @xmath448 , we conclude that @xmath436 for @xmath437 . note that theorem [ widder ] is closely connected to ( * ? ? ? * theorem 4.2 ) , where the banach space @xmath0 has the radon - nikodym property , rnp , to may identity the widder space @xmath52 and @xmath449 . the rnp is a well - known property in the theory of function spaces . this property passes to closed subspaces ( hereditary property ) and is enjoyed by any reflexive space , any separable dual space , and any @xmath450 space , where @xmath451 is a set , see definitions and more details in ( * ? ? ? * section 1.2 ) . in the well - known scalar version , @xmath65 , the following @xmath23-transforms are obtained directly : @xmath452 it is also well - known that @xmath453 wherever these @xmath23-transforms converge on @xmath454 , see these results and many other properties of the @xmath23-transform in , for example ( * ? ? ? * chapter 6 ) . in particular , given @xmath11 and @xmath408 such that @xmath455 converges for @xmath456 , then @xmath457 we denote by @xmath458 for all @xmath459 next technical lemma for the @xmath23-transform is applied in theorem [ th5.5 ] . similar results hold for the laplace transform , see for example ( * ? ? ? * proposition 4.1 ) . [ rt ] let @xmath0 be a banach space , @xmath69 a scalar sequence and @xmath460 a vector - operator valued sequence . then @xmath461 for @xmath462 sufficiently large where the double @xmath23-transform converge and @xmath353 . to show the first equality , note that , @xmath463 for @xmath353 and @xmath464 . then we get that @xmath465 where we have applied the equality ( [ convo ] ) . finally , as @xmath466 we conclude that @xmath467 for @xmath462 sufficiently large and @xmath353 . following these ideas , the second equality is also shown . [ th5.5 ] let @xmath173 , @xmath0 a banach space , @xmath468 such that @xmath469 , @xmath470 ( @xmath471 and @xmath307 ) for all @xmath145 with @xmath472 . the following statements are equivalent : * the operator - valued sequence @xmath473 satisfies the equation . * there exists a bounded algebra homomorphism @xmath474 such that @xmath475 for @xmath10 . * the family @xmath476 defined by @xmath477 is a pseudo - resolvent . in these cases the generator of @xmath473 , defined by @xmath341 in remark [ generador ] , satisfies that @xmath324 for @xmath10 , @xmath351 , @xmath478 and @xmath479 the proof ( i)@xmath480(ii ) is a direct consequence of theorem [ theoremecfunc ] and theorem [ homomorphism ] . to show that ( ii)@xmath480(iii ) , we use that corollary [ reci ] . finally we prove ( iii)@xmath480(i ) . it is clear that @xmath481 where @xmath482 and @xmath483 is given by ( [ zeta ] ) . since @xmath476 is a pseudo - resolvent , then @xmath484 so @xmath485 on the other hand , note that the condition ( [ eq4.2 ] ) is expressed by @xmath486 for @xmath487 and @xmath488 we apply lemma [ rt ] and do some simple operations to get that @xmath489 for @xmath490 and @xmath491 . then we conclude that @xmath473 satisfies , as consequence of the injectivity of the double @xmath23-transform . finally , by corollary [ reci ] @xmath492 and we finish the proof . in this last section , we present some applications , comments , examples and counterexamples of some results presented in this paper . given @xmath388 and @xmath493 the abel mean of order @xmath494 of operator @xmath4 , @xmath495 is defined by @xmath496 when this series converges for some @xmath497 , see for example @xcite . note that for @xmath498 then @xmath499 and @xmath500 where @xmath501 denotes the spectral radius of @xmath502 in the case that @xmath507 for @xmath241 and @xmath508 , there exists a bounded algebra homomorphism @xmath517 by theorem [ homomorphism ] . note that @xmath518 and @xmath519 for @xmath520 by formula ( [ normass ] ) , we obtain that @xmath521 and we conclude the proof . if we consider @xmath522 with @xmath523 using that @xmath524 which follows easily from , we get that @xmath525 which improves the bound of ( * ? ? ? * proposition 2.1 ( i ) ( 2.3 ) ) . use similar arguments to improve the bound of ( * ? ? ? * proposition 2.1 ( i ) ( 2.4 ) ) . an inverse result exists on banach lattices , see ( * ? ? ? * corollary 3.2 ) , which proves that for any @xmath526 and a positive bounded operator @xmath527 @xmath528 is bounded if only if @xmath529 @xmath164 in particular , @xmath4 is abel - mean bounded if only if is @xmath530-bounded . note that there are examples of positive @xmath530-bounded operators in banach lattices which are not power bounded , see remarks following ( * ? ? ? * corollary 3.2 ) . now , let @xmath531 be a closed linear operator on @xmath532 @xmath272 and @xmath533 an @xmath6-times integrated semigroup generated by @xmath531 , that is , @xmath534 , the map @xmath535 , @xmath536 is strongly continuous and @xmath537 for @xmath538 ; for @xmath539 @xmath540 is an usual @xmath541-semigroup , @xmath542 and @xmath543 for @xmath544 . in the case that @xmath545 is a non - degenerate family and @xmath546 for @xmath240 , @xmath547 , then there exists a closed operator , @xmath548 , called the generator of @xmath545 , such that @xmath549 moreover the following integral equality holds @xmath550 [ resolventinte]suppose that @xmath545 is an @xmath6-times integrated semigroup generated by @xmath548 such that @xmath546 with @xmath551 . then @xmath552 , @xmath553 , @xmath554 and @xmath555 in particular if @xmath545 has temperated growth , i.e. @xmath556 for @xmath557 , then @xmath558 is a @xmath3-bounded operator . take @xmath559 such that @xmath560 and then @xmath561 in other hand , for @xmath562 such that @xmath563 , we apply formula ( [ resolvent ] ) to get that @xmath564 finally we take @xmath565 and write @xmath553 , @xmath554 to conclude the first equality for @xmath10 . now for @xmath241 , we have that @xmath566 where we have apply the equality ( [ integral ] ) . classical examples of generators of temperated @xmath6-times integrated semigroup are differential operators @xmath531 such that their symbol @xmath569 is of the form @xmath570 where @xmath571 is a real elliptic homogeneous polynomial on @xmath572 or @xmath573 is a real homogeneous function on @xmath572 such that if @xmath574 then @xmath575 see ( * ? ? ? * theorem 4.2 ) , and other different examples in ( * ? ? ? * section 6 ) . in the case of uniformly bounded @xmath541-semigroups , i.e. @xmath576 such that @xmath577 , the resolvent @xmath578 is power - bounded due to @xmath579 note that theorem [ resolventinte ] includes a natural extension of this fact : the resolvent @xmath578 is a @xmath3-bounded operator when @xmath531 generates a temperated @xmath6-times integrated semigroup . in ( * ? * section 2 ) there is an example of a positive , cesro bounded but not power bounded operator @xmath4 on the space @xmath67 . as the author comments in ( * ? ? ? * section 4 . examples ) , @xmath581 where @xmath582 is the uniform bound of the cesro averages of @xmath4 . in this example @xmath4 is also a contraction in @xmath583 . in ( * section ( vi ) ) , it is proven that @xmath584 for any @xmath585 and @xmath586 . we conclude that @xmath4 is not power bounded in @xmath66 @xmath587 and @xmath4 is a cesro bounded in @xmath66 @xmath588 . by corollary [ cor5.7 ] , there exists a bounded homomorphism @xmath589 such that @xmath351 and extends to @xmath590 if and only @xmath591 . in @xcite , a simple matrix construction , which unifies different approaches to the ritt condition and ergodicity of matrix semigroups , is studied in detail . consider the banach space @xmath592 with norm @xmath593 let the bounded linear operator @xmath594 on @xmath595 be defined by the operator matrix @xmath596 where @xmath388 . in ( * ? ? ? * lemma 2.1 ) , some connected properties between @xmath4 and @xmath594 are given . now we consider as @xmath597 and the backward shift operator @xmath598 defined by @xmath599 by ( * ? ? ? * example 3.1 ) , @xmath600 and @xmath601 is a @xmath602-bounded operator . we apply corollary [ cor5.7 ] to conclude that there exists an algebra homomorphisms @xmath603 such @xmath604 and it is not extended continuously to @xmath67 . in ( * remark 3.2 ) , the growth @xmath600 is pointed at as the fastest possible for a cesro bounded operator . in ( * proposition 4.3 ) , the following example is given . for any @xmath605 with @xmath606 , there exists a positive linear operator @xmath4 on an @xmath607-space such that @xmath608 by corollary [ cor5.7 ] , we conclude that there exists a bounded algebra homomorphism @xmath364 such that @xmath609 for all @xmath610 , @xmath351 , and the homomorphism @xmath364 is not extended continuously to the algebra @xmath611 with @xmath606 . in ( * ? ? ? * proposition 4.4 ( i ) ) , the following operator is constructed . let @xmath612 . for any integer @xmath613 , there exists a bounded linear operator @xmath4 on @xmath0 such that @xmath614 by corollary [ cor5.7 ] , we conclude that there exists a bounded algebra homomorphism @xmath364 such that @xmath615 , @xmath351 , and the homomorphism @xmath364 is not continuously extended to the algebra @xmath611 with @xmath616 . in ( * ? ? ? * proposition 4.4 ( ii ) ) , the following operator is constructed . let @xmath612 . there exists a bounded linear operator @xmath4 on @xmath0 with @xmath617 , @xmath618 and @xmath619 since @xmath620 for @xmath207 , we also conclude that @xmath621 for @xmath622 and the converse of theorem [ abels ] does not hold for @xmath623 . let @xmath624 be the regular convolution wiener algebra formed by all continuous periodic functions @xmath625,$ ] where @xmath626 are the fourier coefficients of @xmath627 that is @xmath628 with the norm @xmath629 and @xmath630 be the convolution closed subalgebra of @xmath624 where the functions satisfies that @xmath631 for @xmath632 note that both @xmath624 and @xmath633 and @xmath630 and @xmath67 are isometrically isomorphic , where @xmath634 denotes the complex summable sequences indexed in @xmath635 katznelson and tzafriri proved in 1986 the following well known theorem : if @xmath505 is power - bounded and @xmath636 is of spectral synthesis in @xmath624 with respect to @xmath637 then @xmath638 see ( * ? ? ? * theorem 5 ) . moreover , for @xmath505 a power - bounded operator , @xmath639 if and only if @xmath640 see ( * ? ? * theorem 1 ) . the authors have got some similar results for @xmath5-bounded operators , which will appear in a forthcoming paper . we define @xmath641 a new regular wiener algebra contained in @xmath642 and @xmath643 a convolution closed subalgebra of @xmath644 which is isometrically isomorphic to @xmath645 the result prove that if @xmath646 @xmath505 is a @xmath5-bounded operator and @xmath647 is of spectral synthesis in @xmath641 with respect to @xmath637 then @xmath648

arxiv

in a remarkable recent report , t. haxton and a. liu ( hl ) @xcite have described molecular - dynamics simulations of a simple , sheared , two - dimensional , glass - forming material over three decades of steady - state strain rates @xmath0 , and for bath temperatures @xmath1 ranging from about one tenth of the glass transition temperature @xmath2 to about twice @xmath2 . most importantly , by measuring pressure fluctuations , hl have determined values of the effective disorder temperature @xmath3 for each value of @xmath0 , @xmath1 , and the shear stress @xmath4 . this extensive data set tests the applicability of any theory of amorphous plasticity such as the shear - transformation - zone ( stz ) theory discussed here , and also probes the limits of validity of the effective - temperature concept . @xcite we find that the main features of the stz theory presented in earlier papers @xcite nicely survive these tests . moreover , several of the theory s specific ingredients , which had not been tightly constrained by earlier experiments or simulations , can be refined and extended in light of the hl data . our most surprising conclusion is that , for @xmath5 , the relation between @xmath0 and @xmath3 is a direct analog of the relation between the @xmath6 relaxation rate and the bath temperature @xmath1 near a conventional glass transition . it is well - known ( e.g. see @xcite ) that , for unstressed glass - forming materials in a range of temperatures above some @xmath7 , the viscosity @xmath8 is at least to a first approximation a simple activated process with a temperature - independent energy barrier . below @xmath7 , @xmath8 depends super - arrheniusly on @xmath1 , diverging as @xmath1 decreases toward the glass transition temperature ( or kauzmann temperature ) @xmath2 . figure [ arr1](a ) shows that the hl data for the viscosity in the limit of vanishing strain rate can be fit by a function of the form @xmath9,\ ] ] where @xmath10 and @xmath11 is an arrhenius activation energy that we interpret as the energy of formation for an stz . @xmath12 is a model - dependent function , to be specified later , that diverges as @xmath13 and vanishes for @xmath14 . the prefactor @xmath15 is a relatively slowly varying function of @xmath16 that appears prominently in our data analysis in section [ hldata ] . ( a ) logarithm of the hl viscosity ( open triangles ) as a function of the inverse temperature @xmath17 . the solid line is the stz - theory fit to these data points . the dashed extension of this line indicates a region where the temperatures are so high that the theory becomes incorrect . ( b ) logarithm of the hl strain rate as a function of the inverse effective temperature @xmath18 at temperatures below the glass transition temperature @xmath19 . the data points correspond to temperatures @xmath20 ( stars),@xmath21 ( squares ) and @xmath22 ( triangles ) . the solid line is the theoretical fit . see section [ hldata ] for details of the theoretical analysis and an evaluation of @xmath23.,height=359 ] our key hypothesis is that , below the glass transition temperature @xmath24 , there is a relationship analogous to eq.([eta - t ] ) between the steady - state effective temperature and the strain rate @xmath0 . in analogy to the definition of @xmath16 , and consistent with earlier notation @xcite , we write @xmath25 . we also define @xmath26 , where @xmath27 is the fundamental time scale that appears in the dynamical stz equations of motion . thus , @xmath28 is a dimensionless rate of molecular rearrangements or , equivalently , a stirring rate . the hl results are expressed in terms of a molecular time scale , @xmath29 , which is derived from their molecular interactions and is not necessarily the same as @xmath27 although the two times should have about the same order of magnitude . we find it convenient to set @xmath30 , and to incorporate any difference between these time scales into the parameter @xmath31 defined below in eq . ( [ f - s ] ) . for clarity , however , we occasionally retain explicit factors @xmath27 . we propose that the rate @xmath28 be interpreted as a purely kinetic quantity , independent of the specific mechanism by which the rearrangements occur . we then define @xmath32 to be the dimensionless , steady - state , effective temperature at stirring rate @xmath28 . to a first approximation , we assume that @xmath32 is independent of @xmath16 for @xmath33 . as we shall see later , the temperature dependence of @xmath32 becomes more interesting for larger @xmath16 . in the limit @xmath34 , the number of rearrangements depends only on the extent of the deformation and not its duration ; thus the condition for steady - state equilibrium is that , with high probability , each molecule has changed its neighbors at least a few times . it follows that @xmath35 is a nonzero constant , also independent of the rearrangement mechanism . we then postulate that the inverse function @xmath36 is the rate at which rearrangements occur when the system is driven so that its steady - state effective temperature is @xmath37 . then , in analogy with eq.([eta - t ] ) , we write @xmath38,\ ] ] where @xmath39 and @xmath40 are constants to be determined , and @xmath41 is a super - arrhenius function that diverges at the effective kauzmann temperature @xmath42 and vanishes above some @xmath43 . this hypothesis is supported by the hl data . [ arr1](b ) is an arrhenius plot of the hl results for the strain rate versus the effective temperature for three values of @xmath16 , all almost certainly below @xmath24 , and the solid curve is a fit to those points using eq . ( [ q - chi ] ) . there are large uncertainties in the data at small strain rates ( large @xmath18 ) , but the existence of arrhenius and super - arrhenius regions is apparent . note that the arrhenius region , i.e. the section of the curve that is linear in @xmath18 , seems to extend all the way to infinite @xmath44 . ordinarily we do not think of arrhenius formulas remaining valid out to high temperatures . the difference here may be that the effective temperature pertains only to a fraction of the degrees of freedom in this system ; so , perhaps in analogy to magnetic spin temperatures , the maximally disordered state at infinite @xmath44 is realistic . one of the most interesting features of eq.([q - chi ] ) is that @xmath44 diverges at a finite strain rate , @xmath45 as seen from the extrapolation shown in fig . [ arr1](b ) . for molecular systems where @xmath27 is of order femtoseconds , @xmath46 is an impossibly large rate ; but it is accessible in numerical simulations and perhaps also in granular systems or the like . the system must liquify in some sense when driven faster than @xmath39 ; and the stz theory must break down near that point . in order to use eq.([q - chi ] ) to compute stresses , strain rates and effective temperatures for @xmath16 both below and above @xmath24 , we need a complete set of dynamical equations of the kind provided by the stz theory . in this section , we summarize the version of that theory that was presented in @xcite , specializing to steady - state motion but otherwise retaining the generality needed to describe plasticity over the wide range of driving conditions studied by hl . we need one structural modification of this theory , which we explain following eq.([m - s ] ) below ; and our analysis requires model dependent rate factors that differ from those used in earlier papers . we start by writing the stz equations in a form determined by the basic structure of the theory . then , in the following subsection , we specify our choice of the model dependent ingredients of these equations . in keeping with the emphasis of hl and the results of recent stz analyses such as @xcite , we write this theory in a form in which the effective temperature @xmath44 is the single , dynamically relevant , internal state variable . accordingly , we need just one equation for the dimensionless strain rate @xmath28 as a function of the shear stress @xmath4 and the effective temperature @xmath44 , supplemented by the steady - state version of an equation of motion for @xmath44 . the equation for the strain rate has the form @xmath47 where @xmath48 is a model - dependent function ( to be specified shortly ) , and @xmath49 is proportional to the stz density . this clean separation between the stress - dependent and @xmath44-dependent parts of the plastic strain rate is an important characteristic feature of the stz theory that has been emphasized recently by shi et . al . @xcite . the equation for @xmath44 is @xmath50=k(\chi)\,\rho(\theta)\,\left({\chi\over\theta}-1\right).\ ] ] this is essentially the steady - state version of eq.(3.5 ) in @xcite ; but here we have written it in a form that is more appropriate for situations in which @xmath32 can become large . according to eq.([chi1 ] ) , @xmath44 finds its steady - state value when the rate at which it is being driven mechanically toward its kinetically optimal value @xmath32 , on the left - hand side , is balanced by the rate at which @xmath44 relaxes toward the bath temperature on the right . @xmath51 , another model - dependent function , is proportional to the rate at which the work done by the driving force is dissipated as configurational entropy ; thus @xmath51 vanishes at @xmath52 . the function @xmath53&for $ \theta > \theta_0$\cr 0 & for $ \theta < \theta_0$}\ ] ] is the super - arrhenius part of the @xmath6 relaxation rate . because @xmath54 vanishes for @xmath55 , eq.([chi1 ] ) implies that the low - temperature , steady - state value of @xmath44 is @xmath32 as anticipated in eq.([q - chi ] ) . the function @xmath56 appearing in eq.([chi1 ] ) is proportional to the density of sites at which thermal equilibration events as opposed to shear - transformations take place . we assume here , as in @xcite , that @xmath57 with @xmath58 , which means that both kinds of sites are comparably populated . the parameter @xmath59 remains to be determined from the data . in the general stz equations as developed in @xcite , the function @xmath48 in eq.([q - s ] ) has the form @xmath60,\ ] ] where @xmath31 is a dimensionless constant , @xmath61,\ ] ] @xmath62 and @xmath63 is the rate at which individual stz s undergo forward shear transitions driven by the stress @xmath4 . the function @xmath64 is the orientational variable that emerges in the role of a back stress in the stz theory . it satisfies the steady - state relation : @xmath65\bigl[1-m(s)\,s / s_0 \bigr ] = m(s)\,\rho(\theta).\ ] ] here , and in the equation for @xmath51 that follows , we depart slightly from the equations derived in @xcite . in that paper , the yield stress @xmath66 was assumed to be approximately equal to a temperature - independent constant @xmath67 , and the stress was everywhere written in units of that constant . here , on the other hand , it is obvious most visibly in the hl graphs of stress versus strain rate at low - temperatures that @xmath66 must be a function of @xmath16 . examination of the derivation of the stz equations in @xcite indicates that the factor of proportionality between @xmath51 and the energy dissipation rate per stz , which was set equal to @xmath67 there primarily for dimensional reasons , should have been a possibly temperature - dependent stress that we now call @xmath68 . the result of this change is that a factor @xmath4 , which multiplies the strain rate in the expression for the rate at which plastic work is done on the system , is replaced by @xmath69 , and the explicit @xmath4 that appears in eq.([m - s ] ) now becomes @xmath69 . this change in the analysis removes an ambiguity in the older stz theories ; e.g. see @xcite details will be published elsewhere . @xcite the significance of the quantity @xmath68 is that below the glass transition temperature it is closely related to the dynamical yield stress @xmath66 . for @xmath55 and @xmath70 , @xmath66 is the value of @xmath4 for which the two factors on the left - hand side of eq.([m - s ] ) vanish simultaneously ; therefore it is the solution of the equation @xmath71 because @xmath72 in all cases and is approximately equal to unity at low temperatures , @xmath73 . if @xmath68 is a function of @xmath16 in eq.([sy ] ) , then @xmath66 also is temperature dependent . although there is no yield stress for @xmath74 , @xmath48 still changes abruptly at @xmath75 for @xmath16 not too much larger than @xmath24 . this implies that at stresses close to @xmath68 , the stress vs. strain rate curve exhibits an abrupt change in slope . the stz formula for the dissipation rate @xmath51 appearing in eq . ( [ chi1 ] ) is @xmath76\bigl[s / s_0-\xi(m)\bigr]+ m\,\xi(m)\,\rho(\theta)\over 1- m\,\xi(m)},\ ] ] where @xmath77 as given by eq.([m - s ] ) , and @xmath78 is the inverse of the function @xmath79 ; that is , @xmath80=m$ ] . it is not difficult to show that @xmath81 for @xmath55 , confirming that the energy dissipated is equal to the work done on the system when configurational relaxation can not occur via thermal fluctuations alone . above the glass transition , on the other hand , the external work is not the same as the dissipation , and the use of eq.([gamma ] ) is necessary for accurate calculations . we turn now to the stz forward transition rate @xmath82 . here we depart from the choices made in earlier papers @xcite , where we were concerned with experiments and simulations performed only at relatively small driving forces , and which therefore did not sharply constrain our choice of @xmath82 . hl have provided a data set that goes up to stresses more than ten times the yield stress , at temperatures both well above and well below the glass transition , and thus have made it necessary for us to consider this rate factor in a broader context than before . we need a function @xmath82 that interpolates between eyring - like behavior at very small stresses and power - law growth at very large ones . in choosing such an @xmath82 , we find that we must depart from our earlier , purely phenomenological procedure of choosing simple functions with very few adjustable parameters , in the expectation that whatever data we had available would not justify additional theoretical complications . here we are facing a very different situation . in order to interpret the hl data , we find it better to start with a physically motivated model containing an uncomfortably large number of parameters . determining the values of these parameters is made easier in places by the fact that we can fit some parts of the data independently of other parts , and then see how these initially separate pieces of the puzzle fit together , for example , in connecting our predictions of behaviors at very small strain rates to those at very large ones . another advantage of this more nearly first - principles procedure is that we can guess the magnitudes of many parameters on physical grounds , and also know the limits of validity of physics - based approximations . for example , we know that the eyring - like formula that we use for the stz transition rate breaks down at the highest temperatures simulated by hl ; and thus we know to assign less weight to our theory at those temperatures in fitting the hl viscosity curve . our proposed @xmath82 is @xmath83\left[1 + \left({s\over s_1}\right)^{2 } \right]^{n/2}.\ ] ] the first factor on the right - hand side of eq.([r - s ] ) is the eyring rate in a form similar to that used in @xcite , where the exponential function of @xmath84 causes the rate to saturate at large @xmath4 . here , @xmath85 is the height of the eyring activation barrier in units of @xmath23 . we expect @xmath86 , because the barrier opposing stz transitions from one state to the other should be less than the barrier opposing creation of new stz s . the parameter @xmath87 is related to the curvature of this barrier at its peak . it appears here ostensibly in the same place where @xmath67 appeared in @xcite , but now it has no direct connection to the yield stress . in the limit of small stress , we recover an eyring rate factor in the form @xmath88;\ ] ] therefore @xmath89 and @xmath90 the second factor on the right - hand side of eq.([r - s ] ) converts the saturated eyring function at large @xmath4 to a power law : @xmath91 here , @xmath92 is a temperature independent stress scale . without loss of generality , we normalize the nominal yield stress @xmath93 so that @xmath94 and measure stresses @xmath4 in units of this zero - temperature yield stress . the crossover stress @xmath92 determines when the system departs from eyering stress - activated behavior . the exponent @xmath95 in eq.([r - s ] ) is especially interesting . in strongly dissipative systems , we expect @xmath96 , indicating that the stz transition rate is controlled at large stresses by some linear dissipative mechanism such as friction or viscosity . in the opposite limit , where rates are controlled by collisions between primarily hard - core objects and the detailed molecular interactions are relatively unimportant , we expect to find bagnold scaling.@xcite that is , if there is no natural energy or stress scale in the problem , then dimensional analysis requires that the stress be proportional to the square of a rate . since @xmath63 is the only available quantity with dimensions of inverse time , we must have @xmath97 and @xmath98 . it appears that the latter case is more consistent with the hl viscosity data . other model - dependent ingredients that we must specify are the super - arrhenius function @xmath12 and its analog @xmath41 . here we adopt formulas motivated by the excitation - chain theory of the glass transition @xcite proposed recently by one of us . for present purposes , these formulas need not be interpreted as anything more than phenomenological fits to experimental data . we write @xmath99,\ ] ] where @xmath100 produces a reasonably accurate description of the transition from an inverse power - law divergence near @xmath24 to simple arrhenius behavior above @xmath101 in analyses of experimental data.@xcite the excitation - chain theory predicts @xmath102 ( vogel - fulcher ) in three dimensions and @xmath103 in two , but the hl data is not accurate enough to distinguish between these possibilities . since hl fit their two dimensional viscosity data with a vogel - fulcher function , we have chosen to be conservative and use @xmath102 in our analyses . however , we point out in section [ hldata ] that @xmath103 remains an interesting possibility . the effective - temperature analog of eq.([alpha - t ] ) is @xmath104.\ ] ] we turn now to a detailed numerical comparison between these theoretical predictions and the hl data . we start by deducing values of the parameters @xmath23 and @xmath40 in eq.([q - chi ] ) and the exponent @xmath95 in eqs.([r - s ] ) and ( [ csn ] ) , using primarily the data in the extreme arrhenius region at low temperatures @xmath16 and large values of @xmath44 . effective temperature @xmath44 as a function of @xmath105 for hl results both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the smooth curves are the predictions of the stz theory at the same temperatures @xmath16 . , height=5 ] figure [ arr1](b ) shows the hl data for @xmath106 as a function of @xmath18 , for the three lowest hl temperatures , @xmath107 , all of which are comfortably below the glass transition temperature @xmath108 . therefore , @xmath109 and @xmath110 . from eq.([q - chi ] ) and the observed slope of this graph in the arrhenius region , i.e. from the data shown in hl fig . 1b , we find that @xmath111 ( in hl units ) . a second piece of information is obtained by looking at the hl results for stress as a function of @xmath18 , shown here in fig . [ hl : schi ] . again , we look only in the large-@xmath44 , small @xmath16 limit . equations ( [ q - chi ] ) and ( [ q - s ] ) , plus our large-@xmath4 estimate for the rate factor , combine to give @xmath112 from which we find @xmath113 the observed slope in fig . [ hl : schi ] , i.e. in the original hl figure in which @xmath114 is plotted as a function of @xmath115 , tells us that @xmath116 . a third relation , equivalent to the first two but useful for data analysis , is @xmath117 the observed asymptotic slope of the graph of @xmath118 versus @xmath119 shown in fig . [ hl : sq ] is @xmath120 . if we assumed @xmath121 , we would find @xmath122 and @xmath123 , a value of @xmath23 that is too small to be consistent with the hl viscosity data . however , @xmath98 ( the bagnold prediction ) implies that @xmath124 and @xmath125 , which fits the viscosity quite well . the same data as shown in fig.[hl : qchi ] but in the form of an arrhenius plot of @xmath105 as a function of @xmath18 , for hl results both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the smooth curves are the predictions of the stz theory at the same temperatures @xmath16 . , height=5 ] we then use the last two graphs to evaluate the @xmath28-independent terms on the right - hand sides of eqs.([s - chi - asymptote ] ) and ( [ s - q - asymptote ] ) , with @xmath126 . in this way we check for consistency of the estimates we have obtained from a noisy data set , and find a relation between @xmath92 and @xmath31 : @xmath127 several other parameters can be determined by direct examination of the hl data . hl measure their stresses @xmath128 in units related to their interatomic forces . because our values of @xmath4 are expressed in units of the zero - temperature yield stress , the ratio of @xmath128 to @xmath4 is approximately the value of @xmath128 at the lowest strain rate and the lowest temperature shown in hl fig.1a , i.e. approximately @xmath129 in hl stress units . thus , the stress - conversion relation is @xmath130 similarly , we deduce from the small-@xmath28 limits of the stress in hl fig.1a ( shown here in fig . [ hl : sq ] ) that , for @xmath55 , @xmath73 is roughly a linearly decreasing function of @xmath16 . there is no comparably systematic way to evaluate @xmath93 for @xmath74 ; but we see no structure in these curves that might indicate a further decrease of the stress scale @xmath93 at temperatures above @xmath24 . accordingly , we choose @xmath131 where @xmath132 . the parameter @xmath31 , in our notation , is proportional to the number density of stz s in the limit of infinite @xmath44 , modified by a time - scale conversion factor of order unity . we have found no independent estimate of @xmath31 comparable to the preceding estimates of @xmath23 , @xmath40 , @xmath95 , etc . ; but we expect it to be small if the stz theory is to remain valid at large values of @xmath44 . ( [ s1 ] ) provides an additional constraint . as discussed in the next section , the stress crossover behavior for the full set of hl data provides an estimate of @xmath133 , and this implies that @xmath134 . our next step is to use the parameters determined so far to compare the hl viscosity shown in fig . [ arr1]a with the stz predictions and thereby evaluate the parameters that occur in eqs . ( [ csmall ] ) , ( [ tsmall ] ) , and ( [ alpha - t ] ) . figure [ hl : etaq ] shows the hl data for @xmath135 as a function of @xmath136 at temperatures above and below the glass transition . by definition , the hl viscosity is @xmath137 in the limit @xmath138 , and the hl viscosity data in fig . [ arr1]a are based on extrapolation of the data in fig . [ hl : etaq ] to @xmath52 using the cross equation . logarithm of the stress @xmath4 divided by @xmath28 as a function of @xmath136 for hl results at temperatures both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the curves are the predictions of the stz theory at the same temperatures . for temperatures below the glass transition , the limit as @xmath139 of @xmath140 is the newtonian viscosity , @xmath8.,height=5 ] to evaluate @xmath8 , we use eqs.([q - s ] ) , ( [ f - s ] ) , and ( [ m - s ] ) with @xmath141 , and , after some algebra , find that @xmath142\cr & = & { \sigma_{hl}\,\tilde\mu\,\theta\over \epsilon_0\,\theta_e}\,\,\left[1 + { 1\over 2}\rho(\theta)\,e^{\theta_e/\theta}\right].\end{aligned}\ ] ] the second version of this equation makes explicit use of eqs.([csmall ] ) and ( [ tsmall ] ) . obviously there are too many parameters here for us to obtain more than a very rough estimate of their range of values . none of the six hl data points for @xmath8 are close enough to the transition temperature @xmath24 to provide an accurate picture of the super - arrhenius singularity . to make matters worse , the highest reported temperature is approximately equal to @xmath23 , well above any reasonable value for @xmath85 and thus far too high for the eyring formula to be valid . nevertheless , we find some interesting information by exploring the ways in which we can fit the theory to the data . our procedure has been simply to use eq.([eta0 ] ) in conjunction with eq.([eta - t ] ) to plot the logarithm of @xmath143 and compare the results with the hl data points . to start , we accept the values @xmath125 ( in hl units ) , obtained from the large - stress behavior , and @xmath144 estimated by hl . we also fix @xmath102 and @xmath145 in eq.([alpha - t ] ) . then our best - fit parameters are @xmath146 , @xmath147 , @xmath148 , and @xmath149 . our fit to the hl viscosity measurements is shown in fig . [ arr1](a ) . the dashed part of that curve indicates the region where , given the above value of @xmath85 , we know that the eyring formula in eq.([r - s ] ) can not be valid . in contrast to the uncertainties that complicate the theoretical fit to the hl viscosity data , the analogous relation between the strain rate and the effective temperature shown in fig . [ arr1](b ) seems relatively easy to understand . whereas the viscosity is an intrinsically dynamic quantity , involving material - specific relations between stress and plastic response , the function @xmath150 appears to be , as we have postulated , a purely kinetic relationship . the solid curve shown in fig . [ arr1](b ) is a fit to eq.([q - chi ] ) with the following parameters defined in eq . ( [ alpha - chi ] ) ; @xmath151 , @xmath152 , @xmath153 , @xmath102 , and @xmath154 . we emphasize that there are still substantial uncertainties in these numbers . within these uncertainities , it appears that @xmath155 . logarithm of the stress @xmath4 as a function of @xmath18 for hl results at temperatures both above ( open symbols ) and below ( filled - in symbols ) the glass transition . the curves are the predictions of the stz theory at the same temperatures.,height=5 ] at the outset , it might seem plausible to set @xmath156 and thereby assume that there is only one energy scale that determines both the thermal and effective glass temperatures . this simplification can not always be correct , however , because we know from the ubiquitous appearance of transient stress peaks in stress - strain curves measured at high strain rates that slow thermal quenches can bring glasses into states where @xmath157 . the conventional interpretation of these stress peaks is that the as - quenched state of the system has a low fictive temperature @xmath44 with a correspondingly small population of stz s , and that plastic flow can not begin until enough deformation has occurred to increase @xmath44 to a value of order @xmath42 . the fictive temperature can not be below @xmath24 , so stress peaks could not be produced by this process if @xmath156 . in this situation , therefore , we expect that the hl model would not exhibit stress peaks except , possibly , at very high strain rates where @xmath32 is substantially larger than @xmath42 . in exploring fits to the viscosity data , however , we find one intriguingly different possibility . we can fit the hl viscosity data with @xmath103 in eq.([alpha - t ] ) the prediction of the excitation - chain theory but this fit looks best if we reduce @xmath24 to about @xmath158 , i.e. half the previous estimate . this lowered transition temperature would mean , for example , that the hl curves of stress versus strain rate shown in fig.[hl : sq ] for values of @xmath16 down to @xmath158 , would bend over and exhibit viscous behavior at strain rates much smaller than those measured by hl . if that were the case , then @xmath42 would be substantially higher than @xmath24 , and the transient behavior of the hl model might be more interesting than predicted at the end of the last paragraph . in order to extend our analysis to temperatures above the glass transition ( kauzmann ) temperature @xmath24 and to arbitrary strain rates , we must reexamine our assumption that the effective kauzmann temperature @xmath42 is independent of the bath temperature @xmath16 . to see what is happening here , we take advantage of our simplifying assumption that @xmath159 in eq.([k - chi ] ) and solve this equation for @xmath44 : @xmath160 note that , for @xmath74 , we can take the limits @xmath161 and @xmath162 in different orders and get different answers . if we take the limit of vanishing @xmath28 first , so that @xmath51 vanishes , then @xmath163 . however , if we let @xmath16 go to @xmath24 first , so that @xmath54 vanishes , then @xmath164 for sufficiently small @xmath28 . we see no _ a priori _ reason why the crossover between these limiting behaviors described by eq.([chiss ] ) can not be physically correct for a temperature independent @xmath42 ; but that assumption is qualitatively inconsistent with the hl data . equation ( [ chiss ] ) implies that @xmath44 always must lie between @xmath16 and @xmath32 ; but we have found ( in a calculation not shown here ) that , if we choose @xmath165 to be a @xmath16-independent constant , then the hl data in fig.[hl : qchi ] for @xmath166 and @xmath167 lie above the allowed range in the transition region between the small-@xmath28 and large-@xmath28 limits . a physically plausible alternative is to assume first that @xmath168 ( the inequality being consistent with the existence of transient stress peaks ) , and then that @xmath169 whenever @xmath16 exceeds @xmath42 . that is , @xmath170 with this assumption , @xmath171 is a continuous function of @xmath16 across the glass transition and , for @xmath172 , there are no small-@xmath28 steady - state solutions other than @xmath173 . nothing in this hypothesis precludes @xmath42 itself from being a function of temperature . in fact , we think we see a hint in the hl data that @xmath42 may be a decreasing function of @xmath16 up to the point where @xmath174 , beyond which @xmath169 . the assumption in eq.([hatchi0 ] ) accurately fits the hl data . in implementing eq.([hatchi0 ] ) , we have simply rescaled the parameters @xmath43 and @xmath175 in eq.([alpha - chi ] ) so that the ratios @xmath176 and @xmath177 remain the same in both low and high temperature regions . we also have chosen @xmath178 in eq.([k - chi ] ) and @xmath179 in eq.([r - s ] ) . our results are shown in figs . [ hl : qchi ] , [ hl : qchiall ] , [ hl : schi ] , and [ hl : sq ] . figure [ hl : qchi ] shows @xmath44 as a function of strain rate @xmath28 for a set of temperatures @xmath16 both above and below @xmath24 . as expected , the hl data and stz curves collapse to roughly a single curve for temperatures below @xmath24 . above @xmath24 , as predicted by eq.([chiss ] ) , @xmath163 in the limit of small @xmath28 ; and the crossover to large-@xmath28 behavior is correctly predicted by the theory . figure [ hl : qchiall ] shows the same data as in fig . [ hl : qchi ] but here as the arrhenius plot , fig . [ arr1]b , with the high - temperature data included . we show this different view of the data to emphasize that even the high - temperature values of @xmath44 collapse to a single arrhenius line , extrapolating to a single `` melting '' strain rate @xmath39 , in the limit of infinite @xmath44 . similarly , the graphs of stress @xmath4 as functions of @xmath18 in fig . [ hl : schi ] , and those for @xmath4 as functions of strain rate in figs . [ hl : sq](a ) and ( b ) , show good agreement between theory and simulations at all temperatures and stresses . as in the preceding figures , these curves and the corresponding hl data points are shown at a selection of temperatures above and below @xmath24 . note , in fig . [ hl : sq ] , that the curves for @xmath74 make smooth transitions to linear viscous behavior at small strain rates . as expected , the curves for @xmath55 level off at temperature - dependent yield stresses . the short - dashed lines in fig . [ hl : sq](a ) illustrate the bifurcation at @xmath24 . at temperatures just above @xmath24 , the material appears to exhibit a yield stress down to very small strain rates , but eventually flows even in the limit of arbitrarily small stress , thus showing how hard it is to make an accurate estimate of @xmath24 by going to smaller and smaller strain rates . ( a ) theoretical log - log plots of stress @xmath4 as a function of strain rate @xmath28 for a range of temperatures above and below the glass transition . the short - dashed curves are for @xmath180 and @xmath181 , both just above the glass transition temperature @xmath182 . ( b ) the same as ( a ) but for a smaller range of strain rates and including hl data at the selected temperatures , height=9 ] two material - specific parameters , @xmath87 and @xmath92 , are best constrained using the hl data for @xmath135 vs. @xmath136 , shown in fig . [ hl : etaq ] . the small strain - rate asymptote of these curves for temperatures above the glass transition is @xmath183 , and the way in which the stress crosses over from its power - law dependence at large @xmath28 to the yield stress or newtonian viscosity at small @xmath28 is strongly sensitive to stz transition rate parameters @xmath87 and @xmath92 . we find that @xmath148 and @xmath133 fit the crossover behavior quite well . the curves in fig . [ hl : etaq ] show the stz solutions for @xmath135 vs. @xmath136 at temperatures above and below the glass transition . for temperatures above the glass transition , @xmath184 is very similar to the cross form used by hl to extrapolate their data . however , the stz solutions for @xmath185 asymptote to a slightly smaller value of @xmath8 as @xmath161 than the one specified by hl . it is unclear how to best extrapolate this stress / strain rate data to @xmath52 , and this uncertainty explains why the hl viscosity values in fig . [ arr1]a are slightly larger than the stz fit . the natural way in which the stz theory accounts for the wealth of data provided by the haxton - liu simulations lends credibility to major elements of that theory , especially the form of the expression for the plastic strain rate in eq.([q - s ] ) and the central role played by the effective disorder temperature . the self - consistent evaluation of parameters in section [ hldata ] depends directly on the first of these elements ; and the remarkable appearance of an effective glass transition in the nonequilibrum glassy state seems to confirm the second . nevertheless , unanswered questions abound . we conclude by listing some of them . _ how close is the analogy between the thermal and effective - thermal glass transitions ? _ the analogy does seem surprisingly close , but there are interesting and potentially very important differences . we think that the near equality of the transition temperatures @xmath24 and @xmath42 , if correct at all , must be an artifact of the hl model . we have argued here that @xmath24 must be substantially smaller than @xmath42 in many realistic circumstances ; and we suspect that this inequality might even turn out to be true in the hl model if measurements could be made at appreciably smaller strain rates . it already is apparent that the effective arrhenius activation energy @xmath186 in eq.([q - chi ] ) is larger than the thermal activation energy @xmath11 by a factor of about @xmath187 ; thus there is no universality in the energy scales . why not ? we see an even deeper question in this regard . as discussed in the paragraph preceding eq.([q - chi ] ) , the fact that @xmath32 goes to a nonzero value @xmath42 in the limit of small @xmath28 seems to have a robust explanation in purely kinetic terms . is a similar argument relevant to the thermal glass transition ? would it imply that the viscosity the analog of @xmath188 rigorously does diverge at @xmath24 ? _ what should the stz transition rate @xmath82 really look like ? which features of it are model dependent ? which have some degree of universality ? _ in eq.([r - s ] ) , we have tried to go part of the way toward deducing @xmath82 from first - principles , many - body physics . doing this correctly would be analogous to using statistical mechanics to compute the viscosity in the navier stokes equations . the problem here is harder , of course , because we do not yet have a precise definition of an stz . nevertheless , this problem needs to be given more thought in view of the new information we have obtained from the hl results . one especially intriguing aspect of this question emerges from our observation that @xmath82 exhibits bagnold scaling at large @xmath4 . under what circumstances may we expect this to happen ? is it special to the hl model ? ordinarily , we think of bagnold scaling as being relevant to the large - stress behavior of the strain rate as a whole , i.e. to @xmath189 in present notation ; whereas our @xmath189 behaves quite differently . the special feature here is that the bagnold behavior is modified by the stz density , i.e. the factor @xmath190 in eq.([q - s ] ) , which is strongly @xmath28 dependent . we suspect that the full bagnold behavior would occur at strain rates larger than @xmath39 , where the stz density is not a meaningful quantity , but where the hl model might look like a rapidly flowing granular material . a better understanding of this large-@xmath28 situation might provide insight regarding the applicability of stz theory to granular systems . _ will the present version of the stz theory accurately predict the time - dependent transient behavior of the hl model ? _ one of the principal successes of earlier applications of the stz theory has been that it correctly accounts for response times observed , for example , in transient stress - strain experiments . the key idea here is that there is a separation of time scales between slow processes , i.e. relaxation of plastic flow or disorder temperature , as opposed to fast processes like the response to perturbations of the stz orientation variable @xmath191 that appears in eq.([m - s ] ) . that separation seems problematic at the upper end of the scale of strain rates used by hl . we have no problem with it here because we consider only steady - state behavior . it will be interesting to look at transient behavior in the hl model to see where the fully dynamic version of the stz theory may break down . before doing that , however , it will be important to look at less esoteric behavior , e.g. transient responses to changes in driving forces of systems initially quenched at different rates to temperatures near the glass transition . do such systems exhibit stress peaks ? the model that we have used for interpreting the hl data , in which @xmath165 , implies that they should not occur here . might transient experiments reveal that , as we suspect , @xmath192 ? _ what are the implications for strain localization ? _ the effective temperature provides a mechanism for strain localization in amorphous materials regions with a higher effective temperature are more likely to undergo plastic deformation , which generates heat that increases the local effective temperature . although previous studies assumed a constant value for @xmath193 @xcite , eq . ( [ q - chi ] ) shows that this assumption is only valid near the effective glass transition . the fact that @xmath193 increases with increasing strain rate is likely to enhance localization and may permit steady state localized solutions . _ what role do thermal fluctuations play in determining the properties of the effective glass transition ? _ we already have concluded that @xmath171 must be equal to @xmath16 at high temperatures , @xmath172 ; but we have little knowledge about what happens to the corresponding @xmath42 when @xmath194 , and have simply assumed that it is a constant . more detailed information about this quantity might help us understand the molecular mechanisms that are at work here . we thank t. haxton and a. liu for allowing us to use their data and for extensive discussions about this project . m.l.m . acknowledges an nsf graduate research fellowship and support from james s. mcdonnell foundation , the david and lucile packard foundation , and nsf grant number dmr-0606092 . j.s.l . was supported by doe grant number de - fg03 - 99er45762 . g. tarjus and d. kivelson , `` the viscous slowing down of supercooled liquids and the glass transition : phenomenology , concepts , and models , '' in _ jamming and rheology _ , a.j . liu and s. r. nagel eds . ( taylor and francis inc . , new york , 2001 ) .

arxiv

EUPHORIA "MADE YOU LOOK" Episode 103 Written by Sam Levinson Directed by Sam Levinson Pre-Production Draft 9.10.18 Concept Meeting Draft 9.20.18 Table Read Draft 10.01.18 White Production Draft 10.08.18 Blue Production Draft 11.12.18 Pink Production Draft 01.31.19 Yellow Production Draft 04.02.19 Green Production Draft 04.08.19 Goldenrod Production Draft 04.25.19 RUE BENNETT JULES VAUGHN LESLIE BENNETT FEZCO NATE JACOBS CHRISTOPHER McKAY CASSIE HOWARD MADDY PEREZ KAT HERNAND EZ LEXI BOWARD GIA BENNETT BB BROOKES ASHTRAY SUZE BOWARD ALI MUHAMMAD ETHAN DALEY DANIEL DIMARCO JOHNNY UNITE USA 11-YEAR-OLD KAT DAVID VAUGHN 11-YEAR-OLD DANIEL 11-YEAR-OLD RUE EUPHORIA "MADE YOU LOOK" CAST LIST TREVOR (FKA LIP RING DUDE) KAT'S MOM CAFETERIA WOMAN CHAPTER PREZ MISS MARSHA SUPER HOT WARRIOR MAN SOME DUDE PLEDGE #1 CUNTY CLASSMATE OTHER STUDENT GUYS TEASING KAT zendaya Hunter Schafer Nika King Angus Cloud Jacob Elordi Algee Smith Sydney Sweeney Alexa Demie Barbie Ferreira Maude Apatow Storm Reid ii. Sophia Rose Wilson Javon Walton Alanna Ubach Colman Domingo Austin Abrams Keean Johnson Jeff Pope Johanna Colon John Ales Isaac Arellanes McKenna Roberts Shiloh Fernandez Mercedes Colon Erika Bowman Peyton Clark Marsha Gambles Brock O'Hurn Seth Mcswain Brandon Knabe Briana Albrektsen Elizabeth Danielyan Lukas Mills Ray Benson EUPHORIA "MADE YOU LOOK" SET LIST INTERIORS MIDDLE SCHOOL -HALLWAY -CLASSROOM SCHOOL -HALLWAY CAFETERIA CAFETERIA (REGISTER AREA) BIOLOGY CLASS LOCKER ROOM NATE'S & JULES' CLASSROOMS KAT'S HOUSE -KAT'S BEDROOM -DINING ROOM -KITCHEN JULES' HOUSE -KITCHEN -STAIRS -JULES' BEDROOM -JULES' BATHROOM MADDY'S HOUSE JACOBS HOME -NATE'S BEDROOM -NATE'S BATHROO M -NATE'S SHOWER CASSIE & LEXI'S BEDROOM RUE'S HOUSE -HALLWAY -RUE'S BEDROOM -GIA'S BEDROOM NA MEETING MALL -FOREVER 21 DRESSING ROOM FEZCO'S CONVENIE NCE STORE -FREEZER iii. INTERIORS (CONT'D) FEZCO'S HOUSE FRAT HOUSE -PARTY -HALLWAY -BATHROOM MCKAY'S CAR CAL'S CAR JULES'DAD'S CAR NATE'S TRUCK EXTERIORS BEACH MIDDLE SCHOOL ALLEY BEHIND RUE'S HOUSE FEZCO'S HOUSE SUBURBAN STREETS -ALLEY WAY CASSIE & LEXI'S HOUSE FEZCO'S HOUSE JULES' HOUSE NA MEETING -PARKING LOT EUPHORIA "MADE YOO LOOK" SET LIST (CONT'D) iv. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY1 2 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 1. FADE IN: INT. JULES' BEDROOM -NIGHT 1 WE SLOW PUSH IN ON RUE'S SLEEPING FACE. Her eyelids flutter . WE HEAR the sound of waves crashing , the ebb and flow of the tide. RUE (V.O.) When Kat was 11 years old, she went on a family vacation to Sandals , Jamaica . EXT. BEACH -DAY CUT TO: TOP SHOT: Of 11-YEAR-OLD KAT, face down in the wet sand, screaming bloody murder as WE QUICKLY BOOM DOWN - And LAND ON: A JELLYFISH stuck to the back of her upper thigh. CLOSE ON: Her face as she wails. RUE (V.O.) She quickly discovered that she hated the ocean ... CUT TO: 2 3 ECU: AS AN UMBRELLA IS STABBED THROUGH A MARASCHINO CHERRY 3 AND A PIECE OF PINEAPPLE - And plopped into a TROPICAL DRINK as Kat wraps her lips around the straw. RUE (V.O.) ... but fucking loved virgin pina coladas . AS SHE TAKES A SIP, FAST DOLLY INTO CU as her eyes open wide, wild with excitement. RUE (V.O.) Up until that moment, Kat had a relatively good life. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY4A-E EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 2. KAT'S RELATIVELY GOOD LIFE: 4A-E Baby pictures . Posed family portraits . Home movies from Christmas . Birthday parties . Hanging out with friends . Etc. RUE (V.O.) I mean, life wasn't amazing but it's not like she fantasized about killing herself . It was good enough. She was popular enough. Smart enough. The only thing that was like actually amazing ... was Daniel. 4F CU: On the SWEET EXPRESSIO NLESS FACE of 11-YEAR-OLD DANIEL4F shaggy hair obscuring his eyes. RUE (V.O.) Daniel was like a dream. Like gorgeous . Like really nice. Like the kind of boy that would text her every night before bed and say: 5 CU: Kat, under her COVERS, illumina ted by her PHONE. A text5 Daniel: sweet dreams 6 And Kat just melts inside. RUE (V.O.) And the kind of boy that would meet her outside of school every morning , just to make sure he could hold her hand as they walked down the hall. INT. MIDDLE SCHOOL -HALLWAY -DAY 6 CLOSE ON: Daniel, who grabs her hand. WE FOLLOW THEM through the hallways. As Kat looks at Daniel while he walks her into school - RUE (V.O.) She could never figure out why Daniel chose her. What Daniel actually liked or loved about her. She just knew it felt really good. Whatever . It didn't matter. It's better not to jinx these things. CUT BACK TO: * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY7 8A-E 9 10 11 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 3. EXT. BEACH -DAY As Kat's STRAW vacuums the bottom of her PINA COLADA. She turns to her MOM. KAT Can I have another one? 7 RAPID CUTS (X 5): 11-YEAR-OLD KAT downing one VIRGIN PINA COLADA after another. 8A-E RUE (V .O.) During her eight day stay on that stupid island, Kat drank 72 virgin pina coladas . She was in heaven ... and then she got home. PRELAP AUDIO: THE SOUND OF KNOCKING. OMITTED INT. KAT'S BATHROOM -DAY ANGLE ON: THE METER OF A SCALE SWINGING WILDLY - RUE (V.O.) When she returned, she weighed in at a whopping 126. -Before landing on 126. Her jaw drops. INT. KAT'S BEDROOM -NIGHT 9 10 11 CLOSE ON: Kat's hands grabbing the waist of her JEANS as she pulls them over her calves, knees, until ... they come to a grinding halt mid-thigh. RUE (V.O.) Despite being 5' 2", which was tall for her age, her body was not prepared to house an extra 20 pounds ... It was noticeable . ANGLE ON: Kat, sitting in bed, shell-shocked. Her PHONE buzzes. It's Daniel: cant wait 2 cu tmrw. sweet dreams 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY12 13 14 15 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 4. Kat bursts into tears. CUT TO: INT. KAT'S BEDROOM -THE NEXT MORNING CLOSE ON: Kat, zipping up one of her DAD'S HOODIES . RUE (V .0.) Kat did her best to minimize the fallout. EXT. MIDDLE SCHOOL -THE NEXT MORNING Kat gets off the SCHOOL Bu·s to see Daniel waiting in the distance for her. 12 13 She takes a deep breath as she passes us, BOODIE zipped up, and WE REVEAL she has ANOTHER HOODIE tied around her waist to hide her ass. DANIEL LOOKS AT HER. DANIEL Are you wearing two sweatshirts? CU: On Kat, who swallows hard. KAT No. INT. MIDDLE SCHOOL -HALLWAY -CONTINUOUS 14 A beat. He tentatively grabs hold of her hand -as they WALK DOWN THE HALL. CLOSE ON: Kat, who breathes a deep sigh of relief. RUE (V .0.) At least Daniel didn't make a big deal out of it ... That's why she liked him. He didn't care what people thought. He liked her for whatever reasons he liked her and 20 stupid pounds would never change that. INT. MIDDLE SCHOOL -CLASSROOM -DAY ECU: A NOTE is slid onto Kat's DESK. 15 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY16A 16B 16C EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 5. RUE ( V. 0. ) Until fourth period. As Kat opens the NOTE. It reads: I'm breaking up with you. Love, Daniel RUE (V. 0.) It wasn't even in Daniel's handwriting. It was Kendra Sutherland 's. KAT LOOKS OVER HER SHOULDER AT KENDRA (11), who bitch-faces her from across the room. RUE (V. 0.) Whatever, fuck her, and fuck him. She didn't actually love Daniel. She was eleven. And when you're eleven you fall in love with like, everyone and everything . That's not real love. Real love is when you can't exist without someone. When you'd rather die than be apart. When the whole world goes dark and nothing else matters but the person standing in front of you. CHRIS MELONI. FULL SCREEN. CUT TO: 16A As Detective Stabler in LAW AND ORDER: SVU. The lights dim, his face to Olivia's ... STABLER (to Benson) Look, we both chose each other over the job - DAVID DOCHOVNY as Mulder in THE X-FILES : MULDER (to Scully) You're my constant , my touchstone - TONY GOLDWY N as Fitz in SCANDAL : FITZ (to Olivia) Just say you'll wait for me -16B 16C 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY17 18 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 6. INT. KAT'S BEDROOM -NIGHT ANGLE ON: Kat, transfi xed as she watches her COMPUTER . RUE (V .O.) That's real love. And those were real men. Men who'd never leave her. Disappoint her. Break her heart. Real men whose love would spark and ignite and inspire ... ECU: COMPUTER SCREEN. Words being typed: HOOK GRABS EMMA BY HER WAIST AS THEIR TONGUES BATTLE FOR DOMINANCE. REVERSE : 14-YEAR-OLD KAT, typing on her LAPTOP (X 4). RUE (V .O.) The summer before high school she started writing fan fiction. By the year's end she had become one of the most prolific smut writers on Tumblr. WE SEE HER PROFILE: THUNDER-KIT-KAT. RUE (V. O.) She was known for her AU crossovers and her consistent NC-17 ratings . But what made her famous was her story: THE FIRST NIGHT ..• a 7,000 word fie that was largely credited with starting the "Larry Stylinson" conspiracy theory ... that Harry Styles and Louis Tomlinson of One Direction were secretly fucking. THE NIGHT KAT WROTE HER INFAMOUS STORY CUT TO: CU: ON KAT. She cracks her knuckles. Pops a SUGAR-FREE REDBULL . Ties her hair up. Rolls her neck out. 17 18 As she slowly lowers her fingers to the KEYBOARD ... WE HEAR the GROWING ROAR of a STADIUM . And like machine gun fire, she types: It's the first night of the Take Me Home Tour ... CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY19A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 7. AN ANIME VERSION OF THE FIRST NIGHT BY THUNDER-KIT-KAT [THE FOLLOWING SEQUENCE will be ANIMATED a la EARLY SAILOR MOON, NARRATED BY ROE]. INT. 02 ARENA -LONDON -NIGHT (ANIMATE D) SUPER: February, 23rd, 2013 19A BACKSTAGE . "LOUIS TOMLINSON" waits in the wings watching SSOS play their set. RUE (V.O.) Louis was unusually nervous . His mouth was dry, palms sweating when suddenly he felt the press of Harry's body from behind. ANGLE ON: Our "HARRY STYLES" as he massages Louis' shoulders. RUE (V .0.) Harry can sense the nervous tension running through Louis' stiff body. CLOSE ON: "Harry" as he runs his hand down "Louis" shoulders, across his chest and over his belt buckle. "LOUIS" (RUE IN AN ENGLISH ACCENT) What are you doing? "HARRY" (RUE, AGAIN, ENGLISH ACCENT) To calm your nerves, you're my best mate and this is what mates do for one another ... As "Harry" guides "Louis" against the cement wall and drops to his knees. "LOUIS" (RUE IN ENGLISH ACCENT) But Harry .•. What if someone sees? Let them. "HARRY" (RUE IN ENGLISH ACCENT) "Harry" unzips "Louis'" fly and - RUE (V. O.) As Harry takes Louis into his mouth with surprising ease, he begins to suck his cock with torturous finesse . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY19B 20 21 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 8. ANGLE ON: OUR "LOUIS" as his head falls back, with a polite English squeak - SLAM CUT TO: ANIME STYLE FIREWORKS EXPLODING ACROSS THE NIGHT SKY 198 As "Louis" and "Harry" tumble through the universe, weightless, their silhouetted bodies sixty-nining. ANGLE ON: Kat, sitting on the BLEACHERS at school, looking up at the sky. Her mouth agape. As "LOUIS" and "HARRY" slowly fade into clear blue sky and O.S. WE HEAR A CUNTY CLASSMATE : CUNTY CLASSMATE (O.S.) Kat doesn't even have asthma ... EXT. SCHOOL -TRACK FIELD -DAY 20 ANGLE ON: CUNTY CLASSMATE, in front of the ENTIRE GYM CLASS: CUNTY CLASSMATE (CONT'D) She's just fat and doesn't want to exercise . The WHOLE CLASS bursts into laughter, as they look at 16-YEAR OLD KAT sitting alone on the bleachers . RUE (V. 0.) Within 72 hours of publishing The First Night, it had garnered 184,265 notes. And 3 weeks later, Kat had amassed 53,824 new followers . 48FPS: WE CUT between Kat, her body wilting, and THE WHOLE CLASS LAUGHING HYSTERICALLY AT HER. RUE (V .O.) She had become extremely popular ... Online. INT. SCHOOL -HALLWAY -DAY 21 Kat walks the halls as TWO GUYS follow in tow, mooing at her. RUE (V.O.) No one in real life knew that she was famous. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY22 23 24 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 9. INT. MADDY'S BEDROOM -NIGHT 22 A sleepover party. As the OTHER GIRLS hang out, Kat answers ANONYMOUS ASKS ON TUMBLR. RUE (V .0.) And no one online knew that her life was actually super depressing. Anon ask: whenever i imagine what u look like i just think of kaleesi lol ily slay kween Kat answers back: i wish lol <3 tyyy INT. SCHOOL -CAFETERIA -MORNING WE DOLLY PAST THE TABLES TO FIND KAT lost in thought. RUE (V .O.) She'd regularly fantasize about telling her followers how much she hated her school, her town, how everyone in it was full of shit and a fucking asshole. 23 A GASP FROM HER CLASSMATES as they all turn to look out the window. Kat faces us, a smile forming . RUE (V. O.) She'd tell them to surround the school, to show up right after the morning bell, prepared for war. INT. SCHOOL -CAFETERIA -MORNING (KAT'S FANTASY) 24 A MASSIVE FOG BANK blows across the perimeter of the cafeteria. TO REVEAL an ARMY of KAT'S FOLLOWERS, dressed in CHAIN MAIL and wielding SWORDS and SPEARS a la GoT. RUE (V .0.) They'd demand the release of their Queen. And if anyone even so hesitated-- ANGLE ON: A SWARM OF SPEARS FLYING THROUGH THE SKY. ANGLE ON: EVERY PERSON who ever talked shit to Kat running for their fucking lives as they're IMPALED , mid-dash, by THICK WOODEN SPEARS. RUE (V .O.) The scary thing is they'd actually do it. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY25 EUPHORIA 103 04/25/19 GOLDENROD PRODUCT ION DRAFT 10. As Kat, silhouetted, walks across the CAFETERIA , strewn with BODIES, and towards her ARMY, who all kneel in respect . RUE (V .0.) They'd do anything she asked. That's how much they loved her. (beat) Granted they didn't know who she was or what she looked like. As she comes into view ... a look of genuine confusion on the faces of her ARMY. Baffled whispers . A SUPER HOT WARRIOR MAN, covered in blood and wearing a SKIMPY BEARSKIN CLOTH - SUPER HOT WARRIOR MAN (FIN DOTH-ra-e JIN-ne) Fin dothrae jinne? (Who goes here?) Kat stops. And then, rather meekly: KAT (me AN-ha ... zhey THUN-der kit-kat) Me anha ... Zhey ThunderKitKat. (It's me ..• ThunderKitKat.) A tense beat ... SUPER BOT WARRIOR MAN (qo-sar-ve-NAK) Qosarvenak! (IMPOSTER! ) As he draws his SWORD and the entire ARMY comes charging forth to hack her to death - SLAM CUT TO: INT. KAT'S BEDROOM -THE NIGHT THE VIDEO GOT POSTED 25 Kat opens the Pornhub link of herself and sees the 86k views. RUE (V.O.) And then that video came out. And they did see what she looked like. And they still loved her. As Kat scrolls through every positive comment - RUE (V. 0.) And not only did they love her ... they wanted to fuck her. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY26 27 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 11. INT. KAT'S BATHROOM -NIGHT CLOSE ON: Kat, looking in the MIRROR. "NONSTOP" by DRAKE banging from outside . (*NOTE: Let's get body double and do mirror gag.) 26 She lifts her chin up, and pulls A SKI MASK down over her face. She turns and walks into her bedroom and we see she's wearing only a BRA AND PANTIES. She clicks her COMPUTER . The GREEN LIGHT of her iSight CAMERA blinks on. AS SHE BEGINS TO DANCE FOR THE CAMERA. TITLE CARD: EUPHORIA INT. NA MEETING -NIGHT AS RUE STANDS UP IN FRAME. CUT TO: CUT TO: 27 Her hair smashed by her GOLD HOODIE, circles under her eyes. RUE Hi, my name is Rue, I'm an addict, and I've been clean for 60 days. Rue stands at the front of the meeting room as EVERYONE applauds. ANGLE ON: Rue, grimacing - RUE (V.O.) For the record, I'm not not telling the truth. I've actually been doing really well. (beat) Because the morning after the whole drug dealer, face tattoo, Fentanyl excursion - 28A-C RAPID CUTS: 28A-C -MOUSE slices open a FENTANYL PATCH. -Rue licks the FENTANYL off the DEER SKINNER . -Rue's unconscious body is carried into Jules' house. * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY28D 29 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 12. RUE (V .0.) I got in a little bit of trouble ... CUT TO: MORE RAPID CUTS: -RUE'S PHONE SCREEN: 30 missed calls, 10 texts, all from MOM. RUE (V .O.) For disappear ing for like 16 hours. CUT TO: INT. RUE'S HOUSE -JUST BEFORE DAWN Rue opens the front door, all is quiet. She takes a beat. Winces anxiously and then, slams the front door loudly. As she starts to quickly tip-toe towards her room. Leslie catches her immediately . LESLIE Where have you been? RUE I'm so sorry, my phone died-- LESLIE Bullshit . You're doing drugs. RUE Mom, I'm not doing drugs. LESLIE Then where have you been? Why weren't you answering your phone? Why are you sneaking into the house? RUE Because I was with someone . LESLIE Who? RUE It doesn't matter, Mom. 28D 29 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY30 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 13. LESLIE It absolutely matters . You're either doing drugs or having sex or both, God knows. Gia opens up her door. GIA Rue? Is Rue home? LESLIE Yes. Go back to sleep, Gia. GIA Is she okay? RUE Everything's okay. Go back to sleep. As Gia goes back into her bedroom - LESLIE I will not allow you to walk into this house at 5:30 in the morning and lie to my face. So tell me the truth, right now. Where were you? Rue takes a deep breath and then calmly: A beat. RUE If you want to drug test me, drug test me ... but I don't want to have to tell you everything about my life. LESLIE In the bathroom, now. INT. BATHROO M -CONTINUO US CUT TO: Leslie opens up a DRUG TESTING KIT and hands Rue the CUP. Rue immediately sits down on the toilet. LESLIE Where's your underwear? 30 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY31 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 14. RUE (embarrassed ) Morn ... Leslie shakes her head - LESLIE Jesus Christ, Rue. As Rue places the CUP under her and pees. While still on the toilet she hands it to her Morn. RUE (V.O.) She wasn't the only person upset with me. INT. JULES' BEDROOM -AN HOUR EARLIER Jules sits in front of Rue, emotional . JULES I'm not kidding, Rue. I'm not trying to become best friends with someone who's gonna fucking kill thernself. RUE I'm sorry. I didn't - JULES I've had ... like enough ... traumatic shit happen in my life that I don't- Jules gets choked up. Rue reaches out and hugs Jules. RUE I get it. I get it. JULES I don't want to be around you if you don't stop using drugs. RUE I get it. JULES I mean it. 31 As Jules starts to really cry. CU: ON RUE'S FACE, trying to hold it together. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY32 33 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 15. RUE I didn't mean to scare you. (a beat) I promise I'll stop. I'll get clean. A long beat. RUE (CONT'D) I just need one favor though. Jules looks at her - RUE (CONT'D) You're not going to like it. BACK TO: INT. BATHROOM/ INT. RUE'S BEDROOM -JUST BEFORE DAWN 32 Leslie tests Rue's urine. It comes back NEGATIVE for all substances . We see Leslie breathe a heartbreaking sigh of relief as her eyes well up. LESLIE (under her breath) Thank god. RUE I told you I wasn't lying. LESLIE You're still grounded until ... I don't even fucking know. Leslie walks out of the bathroom, down the hall and slams her door shut. Rue walks into her bedroom and closes the door. She reaches under her SKIRT and RIPS OFF A TAPED NASAL SPRAY BOTTLE. She hides it in her desk drawer and collapses on her bed. RUE (V. 0.) So I decided to stay clean. And I have been. For a while. INT. NA MEETING -NIGBT As VARIOUS PEOPLE say hi and hug Rue. 33 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY34 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 16. RUE (V.O.) But I've also been coming to this meeting for longer. ANGLE ON: Sweet face of MISS MARSHA (who used to work at the church we shot at south of Slauson). MISS MARSHA Isn't it 60 days today? Rue nods. As Miss Marsha gets tears in her eyes. MISS MARSHA (CONT'D) God is good. As she hugs her. RUE (V. 0.) And I don't know, I just didn't want to depress anyone. Plus I really have been really trying. And that counts for something. INT. NA MEETING -LATER CUT TO: As Rue stands in front of the GROUP, holding her SOBRIETY CHIP. PAN ACROSS THE SMILING, APPLAUDING FACES of all the ADDICTS - RUE Two months ago, I woke up out of a coma. And I didn't really know what had happened. I just knew by the look on my mom and sister's faces' that whatever it was, whatever I did, it wasn't good. It scared them. Really scared them. And -um, from that moment, I made a decision, to at least try and change. I owed it to them •.. I owed it to everyone I love. And everyone that loves me. 34 ANGLE ON: ALI, in a KUFI and a FIRE DEPT POLO (whom we met in EPISODE 2). He watches Rue talk. RUE {CONT'D) {emotional) What's been harder is feeling like ... I uh, I owe it to myself. That's the struggle . (MORE) * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY35 36A-B EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 17. RUE {CONT'D) And maybe that'll get easier. I hope it will. Thanks. As Rue sits down and pulls her HOODIE lower. RUE (V.O.) (sighs) I don't know. It's been a really weird couple of weeks. INT. SCHOOL -HALLWAY - A COUPLE OF WEEKS AGO CLOSE ON: Rue, as she turns toward us - RUE (TO CAMERA) I didn't know it at the time, but Jules was falling in love. CUT TO: 35 As the BELL RINGS and the CAMERA QUICKLY DOLLIES BACK (and we hear the beginnin g of "WORK" by Charlotte Day Wilson ( <- It's a gorgeous song.) As the STUDENTS SPILL OUT INTO THE HALLWAYS , obscuring Rue and we LAND at the end of the hallway as - Nate walks from left to right, and Jules from right to left, and the CAMERA SPLITS SCREENS as WE FOLLOW BOTH OF THEM - (The following sequence will follow NATE and JULES in split screen as they text each other over the course of a couple of weeks. Their actions should essentially mirror one another and run the course of the song, 3:4Ss.) INT. NATE & JULES BEDROOMS, SPLIT SCREEN -MORNING As both Nate and Jules lay in bed on their PHONES, the morning sun corning through . SHYGUY118 Good morning [blushing face ernoji] JULES Ugh ur so sweet SHYGUY118 Only to u 36A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 18. 37A-B INT. NATE & JULES BATHROOMS, SPLIT SCREEN -MORNING AS JULES DOES HER MAKEUP/ NATE SHAVES . JULES Oh yeah? SHYGUY118 Yea i feel like no one irl would ever call me sweet JULES Thats cuz ur a jock. and jocks are all [side-eye) 38A-B INT. SCHOOL HALLWAY, SPLIT SCREEN -DAY AS THEY BOTH WALK THE HALLS OF SCHOOL. SHYGUY118 Lol JULES But ur diff 37A-B 38A-B Nate sees Maddy and kisses her. Jules sees Rue as they walk together . 39A-B INT. NATE & JULES CLASSROO MS, SPLIT SCREEN -DAY THEY BOTH TEXT UNDER THEIR DESKS. JULES Dou live w ur parents? SHYGUY118 Just my mom. Remember I told you. JULES Thats right. 40A-B INT. NATE & JULES BEDROOMS , SPLIT SCREEN -NIGHT IN THEIR BEDROOMS AT NIGHT. JULES Im sorry Sweet dreams. 39A-B 40A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 19. 41A-B INT. SCHOOL -HALLWAY , SPLIT SCREEN -DAY AGAINST THEIR LOCKERS. SHYGUY118 Where r u going to college? JULES Idk yet. but i hope parsons SHYGUY118 Whats that JULES Lol it's a school in manhattan fashion 42A-B INT. CAFETERIA , SPLIT SCREEN -DAY NATE SITS WITH MADDY/ JULES SITS WITH RUE. SHYGUY118 That's cool JULES Yea but it's super expensive SHYGUY118 u will be some huge designer, u have such cool style. JULES Fuck ur trying to make me blush [heart eyes) 43A-B INT. LOCKER ROOM/EX T. ROOF, SPLIT SCREEN -DAY NATE IN THE LOCKER ROOM/ JULES SITTING ON HER ROOF. SHYGUY118 When did u start transitioning? JULES Lol. SHYGOY118 I'm sorry. Didnt mean to be too persona l JULES No it's okay 41A-B 42A-B 43A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 20. 4 4A-B OMITTED 44A-B 45A-B INT. NATE & JULES BEDROOMS, SPLIT SCREEN -NIGHT 45A-B NATE IN HIS UNDERWEAR LOOKING IN THE MIRROR. JULES IN A CUTE BRA LOOKING AT HERSELF. SBYGUY118 I had a dream about u last night JULES A good one or a bad one? SHYGUY118 A very good one JULES Tell me tell me tell me 46A-B INT. NATE & JULES BEDROOMS, SPLIT SCREEN -NIGHT UNDER THE COVERS. SHYGUY118 We went on a camping trip JULES Ew. Lol u sure ur gay? SHYGUY118 Stfu it was hot. plus i'm not gay. JULES lol u do realize how we met? on a GAY dating app. SHYGUY1 18 Yea where i found a beautiful girl A beat. They both can't help smiling . JULES Fuck u SHYGUY118 What??? 46A-B 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 21. JULES Nothing. I just really like you. 47A-B INT. SCHOOL -CLASSROO M, SPLIT SCREEN -DAY 47A-B 48 AS THEY WALK INTO CLASS AND SIT DOWN AT THEIR DESKS. THE SPLIT SCREEN IMAGES CONNECT INTO ONE FRAME. AND WE HOLD as we watch them both text each other on opposite sides of the classroom . SHYGUY118 is this the part in the movie where we kiss? JULES i hope so. [blushing emoji] SHYGUY118 I wish I could see you. JULES That can be arranged. As NATE puts his PHONE away. He turns and looks at Jules, who's still looking at her PHONE, biting her lip with excitement . CUT TO: EXT. ALLEY BEHIND RUE'S HOUSE -DAY 48 CLOSE ON: Rue, as she eats a BAG OF DORITOS while Jules paces in front of her - JULES I'm not saying I'm in love ... I'm just saying I really really really like him. RUE Shyguy118? JULES His name is Tyler. RUE Doesn't matter. Both fuckboy names. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY49 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 22. JULES He's not, for real. He's super sweet. RUE And where does he go to school? JULES St. Mary's. RUE Ew. Private school. JULES You're just jealous - We can see how much this stings Rue. RUE (V. 0.) Aside from that just being a shitty thing to say ... It's also not true. She had just been acting weird all week. RUE I'm not jealous. JULES You've been acting weird like all week. RUE What? JULES Yeah, like every time I'm on my phone, you just stop talking. You're literally like my dad. RUE Sorry. JULES It's fine. It doesn't matter. (with a grin) You wanna see his dick? INT. KAT'S BEDROOM -EVENING MOUSE CLICK. CUT TO: 49 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY50 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 23. KAT'S SKI MASK DANCING VIDEO ON PORN HUB. ECU: Uploaded 14 days ago. 81 VIEWS. ANGLE: Kat, sitting in front of her COMPUTER . She sighs. KAT (quietly) Fuck. But then she notices she has a message from JOHNNY UNITE USA: i'm obsessed with u. Another message from him: can i pls see u.r feet??? Kat winces ... CLICKS ON HIS PROFILE . His profile pie is just AN 18-WHEELER WITH AN AMERICAN FLAG GRILL. The rest of his profile reads: 47/M ABOUT ME: I LOVE FOOTBALL , CLASSIC ROCK, MACK TRUCKS, AND BADASS WOMEN. INTERES TED IN: CFNM, DOMMES, FINDOM, and FEET, FEET, FEET! She clicks on "CFNM" A PAGE OF PORN VIDEOS under the headline of "CLOTHED FEMALE NAKED MALE." She clicks the first vid: THREE BRITISH WOMEN in SUNDRESSES stand in the middle of a forest, spitting and laughing at a NAKED GUY tied to a TREE. The video has 2.8 MILLION VIEWS. KAT (CONT'D) ... What the fuck? INT. KAT'S HOUSE -DINING ROOM -CONTINUOUS Her FAMILY sits together eating dinner. KAT'S MOM (yelling) Katherine! Dinner! CUT TO: 50 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY51 52 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 24. Frustrated, KAT'S MOM gets up from the table, walks down the hall, and OPENS KAT'S DOOR ... CUT TO: INT. KAT'S BEDROOM -CONTINUOUS 51 TO FIND KAT, HEADPHONES on, laying in bed, FULLY CLOTHED, filming her own feet as she wiggles her toes to the beat of the music. Kat sees her Mom in her periphery , and looks up as she says something Kat can't hear. She takes her headphones out: KAT What? KAT'S MOM I said you can take pictures of your toes later. Dinner's on the table. INT. NATE'S TRUCK -EVENING COT TO: Nate gets a text from Jules on SCRUFF: what r u doing tonight . Like l0ish? He writes back: hopefully alone, in bed, talking 2 u :) ANGLE ON: Maddy, as she splits off from CASSIE and BB and gets into Nate's truck. Nate puts his PHONE into the CUP-HOLDER. MADDY I can't believe I haven't even told you like, how insane my parents are being right now. All day, I've been getting non-stop texts from my Morn about how much she hates my Dad. And I'm just like, you can't do this to me, because he's like my Dad. I'm not objective, like I love him. And I know he's got issues, but so does she. • • And he's not texting me shit about her. NATE can I get a kiss? 52 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY53 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 25. She leans over and kisses him. As he starts to drive. MADDY Okay, but listen, because it's important . NATE It's not cool for your Morn to put you in that position - MADDY But if I say that, then she's gonna make me an enemy, too. ANGLE ON: Nate's PHONE, vibrating in the cup-holder. MADDY (CONT'D) -Which is literally the last thing I need because I'm so stressed with school, and college applications - His PHONE vibrates again - MADDY (CONT'D) -and like, cheer squad, and everything else in the world ... (his phone vibrates again) Who keeps texting you? NATE (without even looking) My dad. MADDY Well, do you want me to answer him? He's texted you like 15 times. NATE Nah, I'll answer him later. Maddy watches as Nate puts his PHONE in his pocket. She looks out the window - CUT TO: INT. SCHOOL - CAFETERIA -DAY 53 As Rue and Jules sit across from one another, and Rue really studies the DICK PIC on Jules' PHONE. JULES I mean, it's huge, right? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY54 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 26. Rue keeps looking at it. RUE Ehhh ... JULES Don't front. It's a big dick. RUE Look, it may be. I'm just saying, there's no way to tell. It's literally just floating in space. JULES So? RUE So, there's no way to like, compare scale. Like if his hand was in frame you could at least be like, "okay, it's the size of an adult male hand." Or "twice the size." Or "a fraction of the size." JULES Rue, he has an objectively big dick! Off Rue's look. INT. CLASSROOM -ANY TIME SLAM CUT TO: FAST DOLLY INTO THE LIGHT OF A SLIDE PROJECTO R. 54 (The following should feel as though it's a SEX-ED VIDEO from the LATE 70s, shot on super-16.) DOLLY IN ON: Rue, standing in front of a silhouetted classroom in a RED SWEATSUIT, talking to THE CLASS- RUE People say that the eyes are the window into the soul. I disagree. It's your dick, and how you photograph it. She raises the SLIDE PROJECTOR CLICKER as WE WHIP PAN AROUND TO: THE CAROUSEL OF A SLIDE PROJECTOR. AS TWO DICK PICS ARE PROJECTED ON THE WHITE BOARD BEHIND HER. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 27. (***Now I know this may seem like a bit much, but if it makes people more comfortable, we can blur out the actual dicks, because the dick itself is not our focus, it's the world around it***) AS RUE SNAPS A LONG POINTER - RUE (CONT'D) So there are two types of dick pies. Solicited and unsolicited. WE SEE A DICK ON SNAPCHAT with the CAPTION : u up? ON SCREEN, A BIG INFOMERCIAL X appears through the SNAPCHAT DICK. Rue paces in front of the Class - RUE (CONT'D) Unfortunately, the truth is, solicited dick pies account for about 1% of all dick pies, sent and received . And within that 1%, there are ... THE SLIDE PROJECTOR SPINS, revealing A FLOW CHART OF DICK PICS to illustrate Rue's point. RUE (CONT'D) Three different categories . Terrifying, horrifying, and acceptab le. Now terrifying and horrifying may seem similar, but to a keen eye it could be the difference between ... CUT TO: 55 Rue sits on the edge of SOME DUDE'S BED in a FILTHY ROOM. 55 RUE (V.O.) ... A basic hygiene issue ... SOME DUDE sprays a HALF A CAN OF FEBREEZE into the air as she watches, horrified . SOME DUDE Sorry about the mess. My morn's out of town. RUE (V.O.) Or ... CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY57 58 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT A 2-SECOND CLIP OF CHARLES MANSON TALKING NONSENSE. CHARLES MANSON Blabbity bla bla bla. BACK TO CLOSE UP: Rue. RUE ... A life or death issue. (beat) So here's what to look out for. 28. 57 She snaps her POINTER to the often overlooked details hidden within various DICK PICS. -A RIGHT GUARD DEODORANT WITHOUT A CAP LAYING ON THE CARPET IN THE BACKGROUND . RUE (CONT'D) Horrifying. -A COSTCO SIZED PUMP JUG OF JERGEN'S MOISTURIZER . RUE ( CONT I D) Terrifying. -A DIRTY FINGERNAIL . RUE (CONT'D) Horrifying . -A MEDIEVAL SWORD LEANING AGAINST THE WALL OF A BATHROOM RUE (CONT'D) ON RUE: Terrifying . RUE (CONT'D) So what constitutes that rarefied, sought after, acceptable dick pie? INT. SCHOOL -CAFETERIA -DAY CUT TO: 58 Jules slides her PHONE across the LUNCH TABLE toward Rue, who picks it up, looks at it. RUE Is that an Evian bottle? * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 29. JULES Yup. RUE The lighting's good. JULES Yup. RUE He's got a nice room. JULES I know. RUE And he's well groomed. JULES Right? RUE Okay, I'm beginning to understand the appeal. JULES But here's the thing, Like, I sent him a few pies from like, the bathroom during class because he asked me to - RUE Like nudes? JULES I can't talk about it. I just need your help. RUE With what? JULES I want like, good, professional partial nudes. Like classy, but not too arty. Like it needs to look like I took them with very little thought or effort, but also could be in MOMA. WE SLOW PUSH IN ON RUE ... trying to contain her unbridled excitement about this particular opportunity . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY59 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 30. RUE (V. 0.) (whispered) Be cool, Rue. And then, with forced casualness ... RUE Fine, that's like, easy. Whatever . INT. SCHOOL -CAFETERIA -REGISTER AREA -DAY CUT TO: Kat stands, waiting in line to pay for A SINGLE PLASTIC WRAPPED GRAPEFRUIT rolling around her TRAY. The CAFETERIA WOMAN is heavyset, middle aged. CAFETERIA WOMAN Look at you, still doing the grape fruit diet! KAT I wanna die. CAFETERIA WOMAN It's only bad for the first two weeks, and then your stomach shrinks so you adjust. KAT I can't wait. As she rings up her GRAPEFRUIT . CAFETERIA WOMAN In a month, you're gonna be 90 pounds, wet and wearing clothes . Kat rolls her eyes. CAFETERIA WOMAN (CONT'D) That's gonna be $3.25. She looks through her WALLET, pulls out a DOLLAR AND SOME QUARTERS . She's 75 cents short. OTHER STUDENT (the back of the line) Yo, hurry up! 59 * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY60 EUPHORI A 103 04/25/19 GOLDENROD PRODUCTION DRAFT 31. KAT (to Cafeteria Woman) Can I pay you the rest tomorro w? Before Cafeteria Woman has a chance to say no, ETHAN, who has been watching her the whole time, steps in. ETHAN Don't worry, I'll spot you. Kat looks up at him. KAT Thanks. ETHAN (re: the lone grapefruit) You want something else? Are you short that much, you wanna get some like, actual food? CAFETERIA WOMAN She's on the grapefruit diet. It's not easy. Don't tempt her. KAT (dying inside) No, I'm good. Thanks. ETHAN Okay, cool. See you in bio. As Kat heads over to ... INT. SCHOOL -CAFETERIA -TABLE SECTION -CONTINUOUS Kat passes Nate and HOT JUNIOR DANIEL, (the Guy who was checking out CASSIE in EPISODE 2). Kat averts her eyes and turns - ... and sits down with Cassie, BB, and Maddy. ANGLE ON CASSIE: CASSIE We literally FaceTirne every night. BB That's like the sweetest thing ever, you guys are full on in love. CUT TO: 60 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY61 62 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 32. INT. CASSIE & LEXI'S BEDROOM -NIGHT Cassie, under the COVERS, FACE TIMING with McKay. CASSIE I love you. MCKAY I love you more. CASSIE Well, I love you more than more. 61 ANGLE ON LEXI: on her bed, listening to the lump of BLANKETS that is Cassie. LEXI Ew. INT. SCHOOL -CAFETERIA -DAY Back to Cassie: CASSIE Oh my god, stop. We are not in love. But he did invite me up for the weekend . MADDY (over the moon) Like the whole weekend? CASSIE Like Friday and Saturday, so yeah. MADDY Wait, is your mom going to let you go? CASSIE (dead serious) CUT BACK TO: If she doesn't, I'm literally going to kill her in her sleep. BB That sounds like true love to me. CASSIE Besides, I'm 18. She can't stop me. 62 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY63 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 33. At the same time, Kat gets a NEW MESSAGE THROUGH HER PORN HUB ACCOUNT . Johnny_Unite_USA: that video of ur feet is amazing. Johnny Unite USA: skype session? Johnny=Unite=USA: i'll pay Kat hesitates . Responds : um idk Johnny_Unite_USA : $50 for 30min? Kat writes back: no thx Johnny_Unite_USA : $100??? Kat: how do u pay? Johnny Unite USA: Up front Johnny=Unite=USA : I'll wire it to u Kat: sorry i cant Kat: but thx She puts her PHONE away. Starts to eat her GRAPEFRUIT . A beat. She looks up at the Girls. KAT Do any of you know how Bitcoin works? Confused looks. And then: MADDY No -but you know who probably does? CUT TO: INT. FEZCO'S CONVENIENCE STORE -FREEZER -AFTERNOON Ashtray leans back in his chair and, totally monotone: ASHTRAY It's a worldwide cryptocurrency and digital payment system. REVERSE ON: Kat, totally confused . KAT I literally have no clue what you're talking about. 63 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY64 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 34. ASHTRAY Well, there's no easier way to explain it. A long beat. He just stares at her. ASHTRAY (CONT'D) How about you tell me what you're trying to do and I'll see if I can help you? KAT Um ... ASHTRAY Unless it's human trafficking . I don't fuck with human trafficking . KAT I'm not ..• human trafficking. ASHTRAY Me neither. KAT (a beat) Ok ... I was just wondering if it's like a good way to anonymously get money online. ASHTRAY That's literally what it's made for. As Kat smiles, WE HEAR the opening synths of "DOWN GIRL" by ROY WOODS. CUT TO: INT. JULES' BEDROOM -NIGHT 64 As Rue rises into frame, pointing an iPHONE AT US. ANGLE: AS JULES lays in bed and Rue moves into frame as she takes photos of her from above. RUE Here, put your arm out so it looks like you're holding it. Jules reaches out and wraps her hand around Rue's on the PHONE. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 35. ANGLE ON the iPHONE -Jules in focus on the screen. JULES Do I look hot? RUE Yeah, like, definitely. JULES Like, hot enough that you'd want to fuck me? RUE (a beat) Like me or like him? JULES Either. RUE ... Definite ly. JULES Should I like, show more? RUE ..• Yeah, sure. JULES Like how much more? RUE Um •.. Her PHONE rings. RUE (CONT'D) Shit. It's my mom. Okay, hold on. She walks away as she answers the PHONE, and Jules watches her from the bed. RUE (ON PHONE) (CONT'D) Hi Mom ... yeah no, sorry ... I'm at Jules' house. (a beat) Well, I have NA tonight so like nine-ish ... Okay. Love you too. Bye. Rue hangs up, and Jules watches her. JULES NA? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY65 66 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 36. RUE Narcotics Anonymous . JULES Wait, you've been clean for like two weeks, right? Rue gives her an exaggerated frown. JULES (CONT'D) Fuck you, come here. RUE What? JULES Corne here! As Rue walks over, Jules hugs her and pulls her into the bed. Jules kisses her face a bunch of times. A beat, as Rue looks up at her. A beat. RUE (V. 0.) I've never met anyone in my entire life like Jules. JULES I'm proud of you, Rue. RUE I have to get something to drink. JULES Whatever, bitch. She kisses Rue's face again, and falls to the side as Rue gets up. INT. JULES' HOUSE -STAIRS -CONTINUOUS 65 CLOSE ON: Rue, as she walks downstairs, her heart pounding ... INT. JULES' HOUSE -KITCHEN -CONTINUOUS As Rue fills up a GLASS OF WATER in the REFRIGERATOR DOOR, she notices an ASSORTMENT OF PRESCRIPTIONS sitting on the shelf above the counter. 66 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY67 68 69 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 37. RUE (V. 0.) (whispers) Oh fuck me. She leans closer. ECU ON: THE LABEL. VICODIN ES7.SMG. SLOW ZOOM between Rue's face, and the VICODIN BOTTLE. Suddenly the GLASS OF WATER OVERFLOWS . INT. JULES' BEDROOM -MOMENTS LATER Rue as she kisses Jules on the cheek. RUE I gotta run. I love you. JULES I love you too. EXT. JULES' HOUSE -EVENING As Rue walks out into the evening, she puts in her HEADPHONES . Picks up her BIKE. Sits on it. A beat. SHE DRY SWALLOWS TWO VICODIN and rides away. EXT. ALLEY WAY -NIGHT CUT TO: CUT TO: CUT TO: 67 68 69 Rue, feeling the effects of the painkillers, weaves through the streets on her BIKE. Up ahead, A CHURCH, lit up in the distance . PRE-LAP AUDIO: RUE (gets emotional ) What's been harder is feeling like ... I uh, I owe it to myself. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY70 71 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 38. INT. NA MEETING -NIGHT 70 RUE, high as a kite, but doing a damn good job at hiding it. RUE That's the struggle . And maybe that'll get easier. I hope it will. Thanks. A round of applause for Rue. ANGLE ON: Rue, SOBRIETY CHIP in hand as she sits down. Pulls her HOODIE even lower. CUT TO: I/E. NA MEETING -PARKING LOT -NIGHT 71 Rue gets her SLIP signed and walks outside . Begins to UNCHAIN HER BIKE. A beat. ALI Yo, 60 days. Ain't no small feat. RUE Thanks. ALI Very moving share. RUE Thank you. ALI I got a question though -how'd you survive that OD? RUE What do you mean? ALI Well, someone had to save your life. RUE My sister. ALI Older or younger? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 39. RUE Younger . Look, I gotta run, but like-- ALI What like 12, 13? RUE I don't really understand what the point of this is. ALI Curiosity . RUE She was 13. ALI That's heavy. RUE Yeah. ALI But look, we've all done some bad shit in our lives. It goes with the territory . But I was listening to you speak, and I was just thinking about what it must be like bein' a kid, like a 13 year old kid, finding your big sister overdosed . I started to think about what a moment like that does to someone. You know? How it'll affect the rest of their life. Probably fucks up their sense of trust. Makes it harder to get close to people. Relationships, with friends, guys. Certainly could make her afraid to fall in love, y'know? Just the fear that at any moment the rug's going to be ripped out from under her. That she could lose everything. Like that. (with a snap) Especially those she loves. Probably changed the course of her life. May have fucked her up for life. Rue stares at him. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY72 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 40. ALI (CONT'D) And then I was thinkin ' about that big sister of hers. About what kind of person she'd have to be to do something like that and then get up in front of a whole group of people, who are struggling with the same issues, and lie about being clean. That's some dark shit, wouldn't you agree? RUE I don't know what you're talking about. ALI Listen young blood, you're playin' pool with Minnesota Fats. RUE Who's Minneso ta Fats? ALI The greatest motherfuckin ' pool player of all time. RUE Ooohkay. ALI I'm Ali. Let me know if you wanna stop fucking your life up and go eat some pancakes . He hands her A CARD. She looks at it -it says EAST HIGHLAND FIRE DEPT. ALI MUHAMMAD. CHIEF. She looks back up as he walks away toward his TRUCK. CUT TO: INT. RUE'S HOUSE -HALLWAY -NIGHT LONG SHOT: Rue stands at the end of the hallway, a glow of light from Leslie's bedroom. LESLIE How was N.A. today ... ? RUE I celebrated 60 days today. 72 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY73 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 41. LESLIE I'm really proud of you, Rue. RUE Thanks. Rue walks down the hall, passes Gia's door ... INT. GIA'S BEDROOM -CONTINUOUS Gia lies in bed, watching TV on her COMPUTER . RUE Hey. GIA Hey. RUE What are you doing? GIA Watching My So Called Life. Rue smiles. RUE Fuckin' Jordan Catalano . GIA I know right? Rue walks in, climbs into bed beside Gia. 73 ON HER COMPUTE R: A scene where Jordan tries to kiss Angela in his car and she pushes him away. JORDAN CATALANO How old are you? ANGELA 15. JORDAN CATALANO You seem much younger . WIDE SHOT of the two of them in the glow of the COMPUTER SCREEN. Rue looks at Gia. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY74 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 42. RUE Promise me you won't fall for a Jordan Catalano . Gia winces ... GIA But he's so cute. INT. KAT'S BEDROOM -NIGHT CUT TO: Rat in silhouette, as WE DOLLY AROUND HER to REVEAL she's wearing a SKI MASK. She wears JEANS and a REVEALING TOP. The CLOCK READS 9:58. 74 She double checks that any identifiable stuff in the background has been cleared . A FRAMED PHOTO. A YEARBOOK . Etc. She takes a deep breath. Opens up SKYPE -signs in under a new name KittenKween . An incoming Skype call from Johnny_Unite_USA . She clicks ACCEPT. A WINDOW OPENS, pixelated at first -and then - A NEAR-NAKED HEAVYSET MAN with pale, clammy skin and a crew cut. (Think John Goodman in Big Lebowski, except in tighty whities) He sits on a PLAID COUCH, A COSTCO SIZED PUMP BOTTLE OF JERGENS tucked between the center cushions . JOHNNY UNITE USA KittenKween? Kat ekes out a hesitant - KAT Hi. -- JOHNNY UNITE USA I'm so excited tomeetyou . I've watched that video of you dancing at least a hundred times. KAT Really? 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 43. JOHNNY UNITE USA I just love your-confidence . And you're honest to god one of the most beautiful creatures I've ever seen. KAT {laughs) Uh ... I don't know about - JOHNNY UNITE USA (enthusiastically) -It's true. I'm not joshing you. There's a sweetness to him that puts Kat at ease. KAT Thank you. JOHNNY UNITE USA I was like, I got no problem forking over my hard earned coin to this princess. Kat laughs. A beat. JOHNNY UNITE USA (CONT'D) But can I see your face?. KAT I'm sorry but - JOHNNY UNITE USA What if I give you a hundred dollars ? KAT I'm sorry - JOHNNY UNITE USA For just a peek. KAT Uhhh - JOHNNY UNITE USA It's okay. Maybe-once we know each other better. KAT Yeah, definitely . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 44. A beat. KAT (CONT'D) I've actually never -can I be honest? JOHNNY UNITE USA Always. KAT I've never done this before - JOHNNY UNITE USA Oooh, a Skype virgin! - KAT I've never done this with a strange r before. JOHNNY UNITE USA Are you nervous, -KittenKween? KAT I mean, a little. JOHNNY UNITE USA Don't be. KAT I mean, do you want me to like - JOHNNY UNITE USA Just relax. I'll-tell you exactly what to do. I'll warn you though, I'm a bit of an odd duck ... He lets out a big laugh. JOHNNY UNITE USA (CONT'D) I got some pretty extreme kinks ... KAT (a nervous beat) Ok. JOHNNY UNITE USA You wanna see somethi ng? KAT Sure. JOHNNY UNITE USA It's kind of embarrassrng . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 45. KAT Why? WE SEE HIM stand up and begin to pull down his UNDERWEAR . CLOSE ON: Kat's face, as her eyes go wide and she instinctively starts to giggle. JOHNNY UNITE USA Why are you laughing? - KAT I'm so sorry. I didn't mean - JOHNNY UNITE USA Have you ever seen a penis that small? Kat can't help but laugh again. KAT It's not small. JOHNNY_UNITE_USA Don't lie. KAT I'm not. JOHNNY UNITE USA Tell me you'd never fuck me. KAT What? JOHNNY UNITE USA Tell me that you'd never fuck me. That my dick is so tiny and pathetic, it would never satisfy a big beautiful princess like you. Kat bursts out into nervous maniacal laughter. KAT I'm sooo sorry. I don't know why I'm laughing so hard. JOHNNY UNITE USA Keep laughing . It turnsme on. Kat literally can't stop laughing . KAT I can't help it. I'm sorry! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 46. JOHNNY UNITE USA Tell me you'd never fuck me. RAT (laughing & 100% honest) I wouldn't! He begins to moan as he continues to jerk off - JOHNNY UNITE USA Tell me I'm a loser. A-fat, lonely loser with a little baby dick. Kat is dying with laughter . As he moans with pleasure . JOHNNY_UNITE_USA (CONT'D) Keep making fun of me! We watch as the wheels begin to turn in Kat's head. She thinks about every single humiliating thing that anyone has ever said to her and then it just comes flooding out - KAT I mean, like it is ... Your dick is like actually really small. JOHNNY UNITE USA How small? KAT Like medically small. And no woman would ever want you .•. because you're a fucking fat disgusting pig. JOHNNY UNITE USA (whimpering) I know. I know. Tell me to stop touching it. KAT Seriously . Stop. Because you're literally gonna make me throw up. JOHNNY_UNITE_USA Ok. Ok. He raises his hands. KAT So you'd do anything I told you? JOHNNY_UNITE_USA Yes, Kitten. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 47. KAT It's KittenKween . JOHNNY UNITE_USA I'm sorry, KittenKween . Yes, I would do anything you asked. KAT Why? JOHNNY UNITE USA Because you're big and-beautiful and powerful and I need to be owned. KAT (confused) Whaaat? JOHNNY UNITE USA I have no control. KAT Over what? JOHNNY UNITE USA How pathetic I am. How-often I masturbate . I want you to take complete control of me. To own me. To tell me when I'm allowed to cum and when I'm not. And if I cheat, I want you to punish me. Kat bursts into laughter . KAT Like how? JOHNNY UNITE USA By fining me. KAT (a beat; serious) Money? JOHNNY UNITE USA I want you to turn me into your personal human piggy bank. A long beat. We see a big smile begin to form on Kat's face. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY75 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 48. RUE (V .O.) But Kat didn't like actually believe him ... until ... INT. CASSIE & LEXI'S BEDROOM -AFTERNOON CUT TO: As Maddy, BB, Kat, and Lexi help Cassie pick out an OUTFIT for a frat party that she's attending with McKay. RUE (V .O.) Three days later when she got a message - CLOSE ON: Kat, as she looks at her PHONE. Johnny_Unite _USA: im sorry kittenkween I lost control. Kat responds: ur pathetic . Johnny_Unite_USA: i know Kat: that'll be a $100 fine Johnny_Unite_ USA: yes kittenkween RUE (V.O.) And within minutes , $100 in bitcoin was transferred to her. Kat's eyes go wide. Lexi notices the look on her face. LEXI What are you looking at? KAT Nothing. Just this ... article ... LEXI About what? KAT um ... (a beat) The Holocaust. 75 Lexi looks at her, weirdly ... As Cassie turns around, wearing a CROP-TOP AND A HIGH WAISTED MINISKIRT . She looks unsure about it. BB Like perf - LEXI So cute -8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY76 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 49. MADDY Ugh, I wish I had your neck. WHIP TO Suze, holding a GLASS OF WINE, as she materiali zes in the doorway . SUZE I'm putting a lot of trust into you. KAT Yeah, Cassie don't get pregnant . The Girls burst out laughing. SUZE That's not funny, Kat. (turns back to Cassie) But don't you dare get pregnant . CASSIE God mom, he has a roommate . Relax. SUZE I want you to keep your phone on throughout the night. And you send me a photo when you get back to the dorm. With a clock in it. MADDY Like a ransom photo? CASSIE God I hate you. SUZE Well, I love you. CASSIE I love you too. EXT. CASSIE & LEXI'S HOUSE -CONTINUOUS 76 As Cassie goes running out the front door to MCKAY'S CAR. He opens the door for her. The Girls and Suze all watch. SUZE No funny business Christoph er! MCKAY Yeah no, I promise. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 50. SUZE Just be a gentleman . MCRAY Yes, Ma'am. As they drive off, Suze watches, as Kat and Maddy pretend to hump each other behind her back. SUZE (under her breath) And don't you dare get pregnant . CUT TO: 77-78 OMITTED 77-78 79 INT. NATE'S BEDROOM -LATER FROM ABOVE: Maddy's cheek pressed against the bed as Nate fucks her. 79 MADDY'S POV: Of Nate's PHONE on the night stand, screen down, as it VIBRATES. Again. And again. And again. PUSH IN ON: Maddy. As she studies the phone intently . o.s. Nate starts to groan as he collapses into frame as he cums. NATE That was amazing . MADDY I know. He kisses her cheek and immediately gets up to shower. She watches as he walks naked into his bathroom. Shuts the door. HOLD ON MADDY sitting in bed in her BRA. WE HEAR the sound of the SHOWER turn on. She doesn't move. THEN WE HEAR HIM GET INTO THE SHOWER. SHE IMMEDIATELY REACHES FOR THE PHONE, types in his PASSCODE, which is super complicated and 20 characters long ... And his PHONE has thousands of APPS, all compartmentalized neatly into subfolders . She goes for the obvious : * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY80 81 82 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 51. She opens his MESSAGES . Scrolls through his texts. NOTHING . SNAPCHAT. NOTHING. BROWSER HISTORY . CLEARED , She opens CAMERA ROLL. Scrolls through and then ... She finds something . WE SEE ROW AFTER ROW of DICK PICS. But none of them are his dick. Finally, she lands on ONE IN PARTICULAR: A PICTURE OF A DICK laid against an EVIAN BOTTLE for scale. MADDY (CONT'D) What the fuck .... ? INT. NATE'S BATHROO M -CONTINUOUS CUT TO: In the empty bathroom. Nate is hidden inside the shower. MADDY Hey, my mom just called, I gotta go ... NATE (O.S.) Okay, I love you, bae. MADDY I love you too. WE HEAR the door to his bedroom slam shut. INT. NATE'S SHOWER -CONTINUOUS 80 81 WE SEE NATE in the shower at 1000 FPS as water sluices over his face. WE HEAR "THE PURGE" by SCARLXRD as we - CRASH INTO: INT. FRAT PARTY -NIGHT Cassie and McKay enter the chaos of the FRAT PARTY -it should have a dark, agro, testoste rone edge. 82 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 52. MCKAY I just really wanna make it to initiation . CASSIE You will. GIRLS are lined up against a wall twerking as about 15 DUDES, some SHIRTLESS , FILM THEM and egg them on. CASSIE (CONT'D) This is like the craziest party I've ever been to. MCKAY I know right. These guys are so cool. ANGLE ON: FOUR SCARY FRAT BROS as they shove their way through the party and climb up onto a TABLE. CHAPTER PREZ (screaming out) KILL THE FUCKING MUSIC. KILL THE FUCKING MUSIC. The music stops. CHAPTER PREZ (CONT'D) LISTEN UP BITCHES! WE GOT SOME FRESH MEAT UP IN HERE! I WANT ALL YOU PLEDGIE FAGGOTS UP AGAINST THE WALL. Everyon e starts screaming as DUDES are shoved through the party and pushed up to the wall. McKay smiles at Cassie who cheers as he's handed a FOUR LOCO to shotgun . CHAPTER PREZ (CONT'D) LAST ONE TO FINISH GETS STRIPPED NAKED! They all chug as fast as they can, BLUE LIQUID streams down their faces, staining their SHIRTS. They throw their CRUSHED CANS DOWN one by one. McKay is still drinking his -it's between him and ONE OTHER BIG PLEDGE. CASSIE Drink! Drink it McKay! Finish it! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY83 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 53. McKay looks at the OTHER BIG PLEDGE, quickly finishes it, and throws it down with one second to spare. SIX FRAT GUYS rush the Other Big Pledge and immediately strip him naked. EVERYONE PULLS OUT THEIR PHONES as he covers his dick, and he screams and quickly runs out of the party. McKay gives Cassie a relieved look. CUT TO: INT. FRAT PARTY -LATER 83 THREE DOUBLE SHOT GLASSES LINED UP. FILLED WITH TEQUILA . Suddenly WE SEE A LIVE GOLDFISH dropped into EACH ONE. ANGLE ON: McKay and TWO OTHER PLEDGES standing in front of the shot glasses. PLEDGE #1 Fuck that, dude. McKay looks down at the SWEET, UNASSUMING GOLDFISH . MCKAY rs it still alive? CHAPTER PREZ Of course it's ~till fuckin' alive. Cassie watches McKay hesitate. MCKAY I don't know dude ... He looks at Cassie, and right as they make eye contact, she walks over, grabs the abandoned shot glass, raises it, toasts with McKay, and throws it back. McKay follows suit as the WHOLE PARTY GOES MENTAL WITH EXCITEME NT. Cassie turns to McKay and kisses him. EVERYONE GOES WILD. CHAPTER PREZ McKay brought the baddest bitch in the fuckin' game, yo! !l She pulls back from the kiss and whisper s in McKay's ear: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY84 85 86A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 54. CASSIE Follow my lead. She TURNS TO THE OTHER FRAT BROS: CASSIE (CONT'D) If you don't mind, I'm gonna borrow him for a second. WE WATCH AS SHE walks towards the dance floor, wraps her shirt into a bikini top, folds down the waist of her SKIRT. She starts to DANCE WITH MCKAY, who's a little bit hesitant. McKay looks back at all the FRAT BROS, who watch as CASSIE STARTS TO GRIND ON HIM. A BIG SMILE forms on his face. FAST DOLLY IN ON CASSIE AND MCKAY DANCING - WHIP AND FAST DOLLY IN TO - INT. FRAT PARTY -HALLWAY -LATER As Cassie and McKay make out against the wall - AND AS WE LAND, she looks at him. He looks at her. Kinda drunk. MCKAY I love you. She looks up at him - INT. FRAT HOUSE -BATHROOM -CONTINUOUS As Cassie and McKay fuck up against the sink. INT. RUE'S BEDROOM -NIGHT CUT TO: CUT TO: Rue lies in bed on her PHONE. She opens MESSAGES, texts Jules. What r u doing? ... NO RESPONSE . CUT TO: 84 85 86A 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY90 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 57. A beat. A beat. KAT Are you talking about Nate? MADDY Noo! He's like super straight . KAT Are you talking about your Dad? MADDY Noo! KAT Cause that would def explain why they're fighting . MADDY I'm not talking about any guy I know. KAT Look, all I know is most guys, generally ... are like gross, weird and fucking pathetic. Maddy taken aback: MADDY That seems a little harsh ... KAT (cooly) Trust me. It's true. INT. MCKAY'S CAR -DAY CUT TO: As McKay drives Cassie home, he looks at her as she sleeps against the window. MCKAY Hey, you're home. 90 She looks at him and smiles. As they pull up outside of her house, McKay parks. MCKAY (CONT'D) Thank you for this weekend . 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY91 92 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 58. They kiss. She smiles. CASSIE I love you. MCKAY I love you more. He watches as she runs to her house. She looks over her shoulder and waves goodbye . CUT TO: INT. FOREVER 21 -DRESSING ROOM -EVENING 91 * Kat walks into the dressing room towards a stall when... * She's approached by a DUDE in SKINNY JEANS and a GIRL'S T-* SHIRT with a LIP RING, TREVOR. * TREVOR Yo, sorry, we're about to close. KAT Oh, I just wanted to try a few things on. TREVOR Okay. I'm gonna have to start * closing up. As she walks to the stall, she LOOKS BACK AT HIM OVER HER * SHOULDER. CUT TO: INT. FOREVER 21 -DRESSING ROOM -A FEW MINUTES LATER 92 As Kat tries on a HARNESS BRA. She looks in the MIRROR. Takes a deep breath. She sees Trevor around the corner and calls out to him: KAT Hey. WE SEE Kat lean her head against the back wall, the CURTAIN DRAWN. KAT (CONT'D) I just wanna ask your opinion on something. * * * * * * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT TREVOR Yeah, sure. 59. * * He walks closer ... PUSH IN ON: Kat's face with a mischievous * grin. * KAT * How does this look? * SLAM CUT TO: * 93A-D INT. FOREVER 21 -DRESSING ROOM -EVENING 93A-D * 94 95 -They MAKE OUT against the MIRROR. * -She UNZIPS his PANTS. * -Straddles him. * -She grabs a fistful of his hair. * SLAM CUT BACK * OMITTED TREVOR STARING AT HER. A beat. TREVOR Yo did you hear me? I said we're about to close. KAT Oh yeah, okay. Sorry ... Um, I think I'm gonna buy these. TREVOR Cool. .. TREVOR (CONT'D) You live around here? KAT No. TREVOR Cool. This place sucks. TO: * 94 95 * * * * * * * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT KAT Yeah ... He looks at her. TREVOR I'll ring you up. Kat smiles . 60. CUT TO: 96A-F INT. KAT'S BEDROOM -THE NEXT MORNING 96A-F 97 98 99 -CLOSE ON A FISHNET STOCKING being pulled up. -THE SNAP of the HARNESS BRA. -THE CLASP of a PASTEL PINK HELLO KITTY CHOKER. -HER LIPS as she paints on a DARK RED. -HER SHOELACES as she tightens her PLATFORM DOC MARTENS . -SHE ZIPS UP the side of her SCHOOL GIRL MINI SKIRT. INT. KAT'S HOUSE -KITCHEN -CONTINUOUS 97 KAT passes her PARENTS and BROTHER , HEADPHONES in, as her Mom calls out to her: KAT'S MOM You want breakfast? Kat ignores her and walks out the front door ... EXT. SCHOOL -DAY 98 The SCHOOL BUS pulls up and Kat gets off first. AND WE BOOM UP as WE FOLLOW HER INTO ... INT. SCHOOL -HALLWAY -CONTINUOUS 99 She walks down the hallway giving zero fucks and looking hot as shit. WE SEE HEADS TURN, PEOPLE whisper, eyes trailing her ... As she turns into ... * * * * * * 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY100 101 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 61. INT. SCHOOL -BIOLOGY CLASS -CONTINUOUS And sits down next to Ethan, who checks her out. He says something but we can't hear it over the music. She pulls out an EARBUD - A beat. KAT What? ETHAN I said you look ... different . KAT Yeah. I changed. Kat smiles. EXT. SCHOOL -COURTYARD -DAY Rue is lying in the grass. JULES ( 0. S . ) Rue! Rue looks up as Jules comes running towards her. JULES (CONT'D) I have like the best news ever. RUE What? JULES First, you are the best soft core pornograp her in the game. Thank you. And second ... CUT TO: 100 101 As she sits down and falls back into the grass next to Rue. JULES (CONT'D) Tyler wants to meet. RUE Wait, really? Where? JULES The lake. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 62. RUE When? JULES After the carnival on Saturday . RUE Like, at night? JULES Of course. RUE That's weird. JULES You watch way too much Dateline . Relax, it's fine. He's our age. RUE I don't know, Jules. You should just meet at the carnival . Like in public. JULES But we can't. He's a jock and his mom's super conGervativc . It'G like a tough situation. RUE I don't care what the circumstances are ... It's not safe. JULES Trust me, I've been in situations that are way less safe. RUE It doesn't matter. It's dangerous . JULES This is the difference between you and me. I don't always get the privilege of meeting people in front of a fucking audience . RUE But that doesn't mean you have to meet someone at a deserted lake in the middle of the night. It just seems fucking insane. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY101A EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 63. JULES Out of all the people in the world, I wanted to tell you. Because I thought you'd be happy ... Jules walks off - CUT TO: INT. SCHOOL -CLASSROOM -DAY 101A WE FIND Rue in the back, depressed . She looks over at an EMPTY CHAIR where Jules normally sits. She takes an anxious breath, pulls out her phone, and texts. Rue: Hey? A beat. Rue: Where'd you go? A longer beat. NO RESPONSE. She gets increasingly more anxious. Rue types: I didn't mean to ... and then deletes it. Rue types: I'm sorry for ... deletes it. Rue types: I just wanted to ... deletes it. Rue: Did you leave school? Sends. NO RESPONSE. Rue: Are you ok? NO RESPONSE . Rue: I'm sorry. NO RESPONSE. Rue types: I love you ... deletes it. Rue types: love u ... deletes it. Rue types: heart you ... deletes it. A WIDE SHOT. STEADY PUSH IN TO C/U: as Rue begins to spiral. CUT TO: 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY102 A103 103 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 64. INT. SCHOOL -HALLWAY -AFTERNOON 102 Cassie walks alone after school, looking at her PHONE. She gets a TEXT FROM MCKAY -thinkin' of you [heart emoji]. She looks up and sees DANIEL (HOT JUNIOR) at the other end of the hall walking towards her ... She puts her PHONE away. And as they pass, they both make eye contact - Daniel stops -CAMERA TURNS: DANIEL Hey. Cassie stops -CAMERA TURNS: CASSIE Hey. DANIEL I've seen you around, but I don't think we've met. A beat. He walks closer. DANIEL (CONT'D) My name's Daniel. He extends his hand as she smiles. CASSIE Nice to meet you, Daniel. I'm Cassie. EXT. JULES' HOUSE -DAY CUT TO: A103 Rue paces anxiously as she tries to muster up the courage to knock on Jules' door. CUT TO: INT. JULES' BEDROOM -DAY 103 Jules lies in her bed, depressed, watching a MAKE UP TUTORIAL on YOUTUBE . DAVID (O.S.) Jules! Rue's here! 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTIO N DRAFT 65. Jules looks up -Rue enters and closes the door behind her. RUE Hey. JULES Hey. RUE I really don't want to fight with you. JULES I don't want to fight with you either. RUE You have to understand, I just want you to be safe. So like, please don't be angry at me for like ... wanting you to be okay. I don't want anything bad to happen. And you can say I'm just being anxious but just please don't be mad at me. (starts to cry) It hurts my heart too much. Because you're like the best thing that's happened in my life in like a really long time. And I know that sounds stupid but it's true. Jules can see that Rue is genuinely emotional. She gets up, walks over, and gives her a hug. JULES I'm sorry, Rue. I get it. I didn't mean to get angry. I love you. I really do. RUE I love you, too. Jules rests her forehead against Rue's for a long beat. JULES You're a mess, you know that? RUE (smiles) Yeah, I know. (beat) But you kinda are, too. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLY104 105 EUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 66. JULES (laughs) Go fuck yourself . RUE It's true. Jules pushes the hair out of Rue's face. JULES I hate everyone else in the world but you. A beat. And Rue kisses Jules. In a real way. A romantic way. Jules stiffens and in an instant, Rue realizes she's crossed a line. She's mortified . RUE I'm so sorry. I-I gotta ... Rue turns and bolts. CUT TO: EXT. SUBURBAN STREETS -MOMENTS LATER 104 Rue pedals her BIKE as fast as she can through the streets, getting more and more emotional. CUT TO: I/E. FEZCO'S HOUSE -DAY 105 Rue drops her BIKE in the front yard of Fezco's house. Walks up to the front door, knocks. INSIDE. WE SEE FEZCO, in bed, in his BOXERS, before he walks toward the front door. He looks through the peephole to see Rue. RUE ( 0. S.) Fez, it's me. Fezco sighs. RUE (CONT'D) Open the door. FEZCO I can't, Rue. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 67. OUTSIDE . RUE (laughs) Corne on, don't be a dick. FEZCO (O.S.) I'm serious , Rue. I'm not letting you in. RUE (emotional) Fezco, I really need you to open the door. FEZCO I told you, Rue. I'm done. RUE I've had a really fucked up day. You have no idea. Just please ... Open the door. FEZCO No. RUE I just need a few OC's. FEZCO Rue, you can't keep going on like this ... RUE Give me a fucking break. FEZCO I'm not gonna help you kill yourself, Rue. RUE What's that even mean? FEZCO That I'm done. I don't wanna be a part of this shit. A beat. INSIDE. ROLD ON FEZCO: FEZCO (CONT'D) Just go home, Rue. Silence . He goes to look through the peephole . As RUE STARTS TO POUND ON THE DOOR. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORI A 103 04/25/19 GOLDENROD PRODUCT ION DRAFT 68. RUE OPEN THE FUCKING DOOR! I'M BEGGING YOU, FEZCO. OPEN THE FUCKING DOOR. Fezco leans against the wall. FEZCO I can't. RUE You're full of shit. You make your living selling drugs to fucking teenagers. And now you wanna act like you got the moral high-ground? FEZCO You're right. RUE You're a fucking dropout drug dealer with about six functioning brain cells. OPEN THE FUCKING DOOR YOU PIECE OF SHIT. FEZCO I know I'm a piece of shit. So just go home. RUE Fuck you. You're doing this because you care about me? FEZCO Yes. RUE I don't believe you. If you ever gave a fuck about me, you'd never have sold me drugs in the first place. But guess what, you did. So open the GODDAMN DOOR. FEZCO Everything you're saying is true. RUE YOU'RE A FUCKING LIAR. (a beat) AND YOU DID THIS TO ME! FEZCO I know. 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 69. RUE YOU RUINED MY FUCKING LIFE. THE LEAST YOU CAN DO IS OPEN THE FUCKING DOOR AND FIX IT. FEZCO I can't, Rue. I'm sorry. I can't. Rue starts to pound on the door, violently. As Fezco just stands in the darkened hallway, listening as she hysterically sobs and pleads. ON RUE: RUE If you don't open this door, I will fucking hate you until the day I die. FEZCO (a long beat) Then hate me, Rue. Rue continues to kick and scream and bang on the door, until she physically and emotional ly can't continue. WE HOLD ON: Rue's face as she walks out into the street. She looks at her hand, BLOOD DRIPPING FROM HER CRACKED, BRUISED KNUCKLES. She sucks the blood off as she looks up at the sun setting, a violent red falling over the town. And she slowly begins to calm ... sapped of all emotion . A beat. She reaches into her pocket and pulls out the CARD that Ali gave her at the N.A. Meeting . She looks at it. As she decides to dial the number, the CAMERA DOLLIES BACK TO THE END OF THE STREET. Rue, in silhouette, a lone figure in the middle of the street. RUE Is this Ali? (a beat) It's me, Rue ... (a beat) Um ... (MORE) 8FLiX.com SCREENPLAY DATABASE FOR EDUCATIONAL USE ONLYEUPHORIA 103 04/25/19 GOLDENROD PRODUCTION DRAFT 70. RUE (CONT'D) I was wondering if you still wanted to like, maybe get pancakes or something? END OF EPISODE .

screenplays

Harry Potter Dreams to Dream Disclaimer: I don't own any of the characters. Just the plot. Author's note: A Short story written for the Random Writing Challenge. I apologize if the characters are a tad OCC. All was quiet in the castle when a brown mouse freed its self from a cat and scurried to the next hole. A woman in white quietly made her way through the castle trying not to make a sound. She picked up the sides of her dress to make the ends not brush against the cold floor. She panicked when the wooden door to the right of her opened and a man flung out. "DO not come back for I shall give you poison in your drink. I have had enough of you," the man said not paying attention to the woman in white. She sped quietly through the castle and found the teachers lounge completely puzzled by the scene she had witnessed. She had never seen either of the men before and did not know what room they had come out of. "Ahh Narcissa! How good of you to join the tea party." Albus Dumbledore, head of Hogwarts School Of Witch Craft and Wizardry spoke as she opened the door. She looked around the room. Tables and chairs decorated the room. 'Was this a party?' she thought. The room was lined with purple wall paper. A Purple bunny stood next to Dumbledore waving to her. Her sister Bellatrix was sitting in a chair holding a baby, rocking him to sleep. Wait, a baby? Since when does Bellatrix hold a baby? "Um Bella, is something wrong? Why are you holding a baby?" Narcissa asked her sister. "Don't you remember? You asked me to hold him. He's your baby. Come and look." Narcissa was scared to move. Something very strange was going on. When did she give birth to a baby? Narcissa didn't remember even getting married! She was only seventeen after all. "Sissy?" Bellatrix looked confused as she looked down at the baby. "Narcissa, don't you remember? You had a baby while at school. Professor Snape here helped you to the hospital room," Dumbledore said. "Wait, wait wait! What is going on?" Narcissa said as she sat down on the cold, hard floor. It was then that everything changed. Now she was standing in a room with her sister Bellatrix and Lucius Malfoy. Yet again there was Albus Dumbledore with the purple bunny only, they were in front of an alter. It looked like her sister was going to get married. "Come on Narcissa, it is your turn to marry Professor Snape," The purple life sized bunny said. "NO I DON'T WANT TO GET MARRIED!" She screamed. Suddenly Narcissa woke up in her own bed. Her husband of 20 years laying beside her. Black hair flowed out of his head resting on the pillow. Wait Brown hair? She turned the man over. NOOOOOOOO! She thought she did marry Professor Snape. "That's what you get for eating a month old muffin," someone said. She turned around and again, the giant purple bunny was sitting in front of the bed. "Why do you keep following me? And how are you real?" Narcissa asked. "I am a figment of your imagination. I am not real. I can turn into anything you want." The bunny replied. "NARCISSA. GET UP. YOU'LL BE LATE FOR SCHOOL." Bellatrix prodded Narcissa with her wand. Narcissa sat up and looked around. "Well it's about damn time you woke up,." Bellatrix said. "The bunny. Where did he go?" Narcissa asked. "Bunny? Narcissa ,what are you on? There is no bunny and there will never was one." Her sister walked out the door as Narcissa yawned. Rubbing her eyes, Narcissa blinked again. "Not again!" she screamed at the purple bunny, who was sitting on the edge of her bed eating the head off a giant chocolate Professor Snape.* Author's note: This is a short story and it was written for the Random Writing Challenge so if it doesn't make sense that's the whole point of the challenge! And I know the characters are a bit OCC, but it was my first attempt to write a Bellatrix and a Narcissa story. Please read and review! End file.

fanfiction

non - abelian monopoles are smooth , static , finite - energy solutions to the yang - mills - higgs equations with non - abelian gauge group . it was first noticed by t hooft and polyakov that to a distant observer they resemble dirac monopoles in an abelian gauge theory @xcite . thus the singularity of the dirac monopole can be smoothed out in non - abelian gauge theory . t hooft defined @xcite an asymptotic abelian magnetic field of a non - abelian monopole with gauge group su(2 ) . the flux of this magnetic field through the two - sphere at infinity is topologically quantised and non - zero . however , in the core of the monopole this magnetic field is singular @xcite , and the magnetic charge distribution which induces it typically has delta - function singularities . thus , while a non - abelian monopole is smooth , the magnetic charge distribution associated to t hooft s magnetic field is far from being smooth . as has been argued by coleman @xcite , there is no reason to expect the abelian magnetic field of a non - abelian monopole to be uniquely defined : any magnetic field which agrees with t hooft s asymptotically is an equally viable candidate . however , to date no definition of a magnetic field has been proposed which smoothes out the singularities in t hooft s field . in this article we remedy this situation : we propose a novel definition of the magnetic charge density of a non - abelian monopole which , unlike t hooft s charge density , is smooth . moreover , we show that the magnetic field induced by this charge density agrees with t hooft s asymptotically , at least in the case of bps monopoles . our charge density is evaluated by summing the squared norms of zero - modes of a dirac operator . in this way it resembles the trace of the bergman kernel used in khler geometry , which is a sum of squared norms of zero - modes of a cauchy - riemann operator . the proof that our charge density induces the correct asymptotic magnetic field is based on much of the mathematical formalism that has been developed to study bps monopoles , including the nahm transform and spectral curves . a prominent role is played by a function which we call the _ tail _ of the monopole . this function describes the asymptotics of the higgs field and was first studied by hurtubise @xcite . we have observed that this tail function can in many cases be calculated explicitly , which is remarkable given the paucity of explicit monopole solutions . another interesting consequence of our work is a proof of a conjecture @xcite relating conserved charges of the nahm equation to asymptotics of an associated greens function . this paper is structured as follows . in section [ sec2 ] we review standard results relating moments of electric ( or magnetic ) charge distributions to the asymptotics of the electric ( or magnetic ) fields that they induce . in section [ sec3 ] we introduce our charge density and show that its integral agrees with the magnetic flux through the two - sphere at infinity . the proof that the magnetic field induced by this charge density agrees asymptotically with t hooft s proceeds in two parts : in section [ sec4 ] we show that the moments of the charge density equal certain conserved quantities of the nahm equation , and section [ sec5 ] we show using hurtubise work on the tail function that these conserved quantities also prescribe the asymptotic expansion of t hooft s magnetic field . in section [ sec6 ] we present some explicit calculations of the tail function . we discuss promising extensions of this work in section [ sec7 ] . it is well - known that the moments of a distribution of electric charge determine the asymptotic expansion of the induced electric field @xcite . more precisely , let @xmath1 be a smooth function that decays exponentially as @xmath2 and let @xmath3 be a potential of the induced electric field @xmath4 . the functions @xmath5 and @xmath6 are related by @xmath7suppose that @xmath6 has an expansion in powers of @xmath0 of the form @xmath8 the functions @xmath9 must then be spherical harmonics of weight @xmath10 , as @xmath11 decays exponentially . the expansion is called the multipole expansion of @xmath6 . write @xmath12 and for each @xmath13 let @xmath14 be the polynomial @xmath15 the @xmath16 coefficients of @xmath14 are moments of the distribution @xmath5 . they determine , and are determined by , the spherical harmonics @xmath9 . more precisely : [ prop : moments asymptotics ] let @xmath5 be an exponentially decaying function and let @xmath6 solve @xmath17 , such that @xmath6 has an expansion in powers of @xmath0 of the form . then the coefficients of this expansion and the moments of @xmath5 satisfy the identities @xmath18 in which @xmath19 is a polynomial in @xmath20 whose coefficients are spherical functions , and @xmath21 is a small contour which circles the point @xmath22 although the equivalence of the moments and the spherical harmonics @xmath9 is a standard result , we present a brief proof of equations and , as our notation ( in particular our choice of parameterising the moments using a polynomial ) is non - standard . the proof of rests on the fact that the coefficents of @xmath23 solve the laplace equation this fact follows by induction from the following two identities , which are easily verified : @xmath24 integrating the right hand side of by parts twice and substituting the series expansion for @xmath6 then yields @xmath25 since @xmath26 , the coefficients of @xmath27 are spherical harmonics of weight @xmath10 . now spherical harmonics of different weights are @xmath28-orthogonal , so the integral over @xmath29 appearing in the preceding expression vanishes unless @xmath30 . thus the expression reduces to the stated result . the second identity follows from the first via representation theory . the space of spherical harmonics of weight @xmath10 and the space of degree @xmath31 polynomials both carry representations of @xmath32 : it is easily checked that the operators @xmath33 obey the @xmath32 commutation relations , @xmath34&=\pm{{\rm i}}l_\pm & [ l_+,l_-]&=2{{\rm i}}l_0 \\ [ j^{(\ell)}_0,j^{(\ell)}_\pm]&=\pm{{\rm i}}j^{(\ell)}_\pm & [ j^{(\ell)}_+,j^{(\ell)}_-]&=2{{\rm i}}j^{(\ell)}_0.\end{aligned}\ ] ] these representations are all irreducible . equations and define maps between the spaces of spherical harmonics of weight @xmath10 and the space of degree @xmath31 polynomials , and we aim to show that these maps are inverse to each other . the maps respect the action of @xmath32 , in the sense that @xmath35 their composition is a linear map from the space of spherical harmonics of weight @xmath10 to itself that commutes with the action of @xmath32 . by schur s lemma , this map is equivalent to multiplication by a constant , so we only need to show that this constant is 1 . we can do so by showing that the map fixes just one element . we choose the element @xmath36 . according to eq . the associated polynomial is @xmath37 we now evaluate the right hand side of eq . with this particular @xmath38 . in order to evaluate the contour integral we factorise the denominator : we find that @xmath39 and thus that @xmath40 only the @xmath41 term in this laurent series contributes to the integral , so @xmath42 this equals the original function @xmath9 , so eq . follows from eq . as claimed . the yang - mills higgs energy for an @xmath32 gauge field @xmath43 and adjoint scalar @xmath44 on euclidean @xmath45 is @xmath46 { { \rm d}}^3x,\ ] ] in which @xmath47 is a parameter and @xmath48 . a monopole is a finite - energy solution of its euler - lagrange equations satisfying the boundary condition @xmath49 the asymptotic scalar field of a monopole defines a map from the 2-sphere at infinity to the unit sphere in @xmath32 , and the topological charge of the monopole is the winding number @xmath50 of this map . the non - vanishing asymptotic value for @xmath51 breaks the gauge symmetry from su(2 ) to u(1 ) . motivated by this , t hooft proposed @xcite the following definition of the asymptotic abelian magnetic field of a monopole : @xmath52 another commonly accepted definition for the abelian magnetic field is @xcite @xmath53 the equations of motion imply that this magnetic field differs from t hooft s only by terms which decay exponentially , so these two magnetic fields share the same asymptotic expansion . both magnetic fields @xmath54 and @xmath55 have singularities at points where @xmath56 . the total magnetic charge @xmath57 of the monopole is defined to be the flux of @xmath54 ( or equivalently , of @xmath55 ) through the 2-sphere at infinity . it can be shown that @xmath58 , so the magnetic charge is topologically quantised . it is common in the study of monopoles to introduce two twisted dirac operators with real parameter @xmath59 : @xmath60 these act on @xmath28-normalisable spinors transforming in the fundamental representation of su(2 ) . let @xmath61 be a basis for the space of solutions to @xmath62 , let @xmath63 be a basis for the space of solutions to @xmath64 , and suppose that these bases are both orthonormal : @xmath65 we propose @xmath66 as a definition of the magnetic charge density of a monopole . note that this does not depend on the choice of orthonormal bases @xmath67 and @xmath68 . this density is not unique , as it depends on the parameter @xmath69 . it will be demonstrated below that , although the densities @xmath70 may differ , they induce the same asymptotic magnetic field , with the consequence that all values of @xmath59 yield equally viable charge densities @xmath70 . however , if a unique charge density was required then @xmath71 seems the most natural choice . note that all of the densities @xmath70 decay exponentially in @xmath72 . the first requirement of any putative magnetic charge density is that its integral should equal the total magnetic charge @xmath73 as viewed from infinity . our proposed density meets this requirement : the normalisation conditions above imply that @xmath74 and an index theorem guarantees that @xmath75 . thus the topological nature of the magnetic charge is made manifest through the index theorem . a more sophisticated requirement of a magnetic charge density is that the moments of the density agree with the multipole expansion of the magnetic field in the manner described in the previous section . the main result of this paper is that our proposed density meets this requirement , at least in the case of bps monopoles . bps monopoles with @xmath76 are solutions of the first order equation @xmath77 and the boundary condition @xmath78 they solve the second order euler - lagrange equations for the yang - mills - higgs energy in the limiting case where @xmath79 . the bps equation guarantees that @xmath80 this operator is negative and therefore @xmath81 has no zero - modes @xmath68 . therefore our definition of the magnetic charge density reduces in the case of bps monopoles to @xmath82 bps monopoles can be completely constructed through the formalism of the nahm transform @xcite . this transform associates to any monopole the matrix - valued functions @xmath83 it is a non - trivial but well - known result that these matrices solve the nahm equation , @xmath84 = \frac12\epsilon_{ijk}[t_j , t_k]\quad\mbox{for } i=1,2,3,\ ] ] and certain boundary conditions ( whose precise form does not concern us here ) . the nahm equation is equivalent to a lax equation @xmath85 = 0,\ ] ] in which @xmath86 it follows that the quantities @xmath87 are independent of @xmath88 , for @xmath13 . these conserved quantities are in fact equal to the moments of the density , as the following proposition shows : [ prop : moments charges ] the moments of the charge density of a bps monopole and the conserved charges of its associated nahm data satisfy @xmath89 before presenting the proof we note that this implies that the moments of the charge distribution @xmath70 are independent of @xmath59 . this is why we believe all of the densities @xmath70 are equally viable candidates for a magnetic charge density . for future reference , we denote these moments by @xmath90 the identity will be proved from standard identities for green s functions . let @xmath91 be the green s function for @xmath92 , i.e. the @xmath93 matrix - valued function which solves @xmath94 for convenience we introduce the notation @xmath95 the following identity is well - known ( cf . equation ( 4.35 ) , ( 4.36 ) in @xcite ) : @xmath96 we will use induction and this identity to prove the statement @xmath97 from which our main result follows . the case @xmath98 of follows directly from the normalisation of the fermion zero modes . suppose then that ( [ 2 ] ) holds in the case @xmath30 for some @xmath99 . we will show that it must also hold in the case @xmath100 . appealing to the greens function identity and integrating by parts yields : @xmath101 observe that @xmath102=\sigma(\zeta)=\left[d_s,\overline{x(\zeta)}\right]^\dagger$ ] , where @xmath103 since in addition @xmath104 , the unwanted second term on the right equates to @xmath105 this expression vanishes , because @xmath106 . therefore the identity holds in the case @xmath100 , and for all @xmath107 by the principle of mathematical induction . in the case of bps monopoles the norm of the scalar field @xmath44 provides a scalar potential for the asymptotic magnetic field : it is easily shown using that @xmath108 . hurturbise has derived @xcite an expression for the asymptotic behaviour of @xmath51 in terms of spectral curves . we recall that the spectral curve of a bps monopole is the vanishing set of the polynomial @xmath109 we note that , like the polynomials @xmath110 , this polynomial @xmath57 is independent of @xmath88 . the _ tail _ of a bps monopole is a real function on the complement of a compact subset of @xmath45 , defined by the following contour integral : @xmath111 for sufficiently large @xmath72 , half of the poles of the integrand cluster near the point @xmath112 on the riemann sphere corresponding to @xmath113 , and half near its antipode @xmath114 . the contour @xmath21 encloses the former and not the latter . the domain of @xmath115 is chosen such that none of the poles move from one cluster to another as @xmath116 moves through the domain [ thm : hurtubise ] the norm of the higgs field and tail of a bps monopole satisfy @xmath117 up to exponentially decaying terms . hurtubise result can be used to prove : [ thm : main ] let @xmath118 be a bps monopole , let @xmath59 , and let @xmath70 be the charge density defined in equation @xmath119 . let @xmath120 be a solution to @xmath121 and suppose that it admits an asymptotic expansion in powers of @xmath0 . then the asymptotic expansions of @xmath120 and @xmath122 agree to all orders . the physical interpretation of this theorem is that the multipole expansion of the magnetic field induced by @xmath70 agrees with that of the magnetic field @xmath54 defined in . the tail is automatically harmonic almost everywhere , as follows from the formalism of the penrose transform . therefore it admits an asymptotic expansion in powers of @xmath0 of the form @xmath123 in which @xmath124 are spherical harmonics of weight @xmath10 . by hurtubise theorem [ thm : hurtubise ] the function @xmath122 admits an expansion in powers of @xmath0 that agrees precisely with this expansion of @xmath115 . it is straightforward to derive expressions for these functions @xmath124 from the integral expression . first , note that @xmath125 therefore @xmath126 since @xmath127 , we conclude that @xmath128 suppose now that @xmath120 admits an expansion of the form @xmath129 . by propositions [ prop : moments asymptotics ] and [ prop : moments charges ] the coefficients @xmath9 satisfy @xmath130 thus the expansions of @xmath120 and @xmath122 coincide . in the next section we present some results concerning the explicit evaluation of the tail function @xmath115 . before doing so , we pause to point out that the nahm transform provides a natural definition of the potential function for the magnetic field induced by @xmath70 . we recall that the nahm data green s function @xmath131 is the @xmath132 matrix - valued solution to @xmath133 this green s function is related to the monopole zero - modes @xmath67 by the identity @xcite , @xmath134 it follows that @xmath135 therefore @xmath136 is a potential for the magnetic field induced by @xmath70 . in @xcite it was conjectured that the asymptotic expansion for @xmath137 is determined to all orders by the conserved quantities @xmath110 of the nahm equation . this conjecture provided the initial motivation for our investigations . it can be proved directly from propositions [ prop : moments asymptotics ] and [ prop : moments charges ] , as in the proof of theorem [ thm : main ] . in general reconstructing a monopole from its nahm data is a difficult problem . in this section we show that the tail , and hence the asymptotics , of a monopole can straightforwardly be evaluated from its spectral curve or the conserved tensors of the nahm equation . explicit formulae will be presented for examples with platonic symmetry . the first step in evaluating the tail is to determine the moments @xmath138 from the spectral curve . let @xmath139 be the coefficient of @xmath140 in the spectral curve , so that @xmath141 note in particular that @xmath142 . newton s identity states that @xmath143 rearranging this yields the formula @xmath144 in which it should be understood that @xmath145 for @xmath146 . from this formula the polynomials @xmath138 can be calculated recursively . the second step in evaluating the tail is to determine the spherical harmonics @xmath124 from the polynomials @xmath147 . in principle this can be achieved by evaluating the contour integral , but in practice it is useful to have explicit formulae in terms of the basis polynomials @xmath148 . the following lemma provides such formulae . [ lem : m to v basis ] let @xmath149 and let @xmath124 be the function on @xmath29 obtained from @xmath147 by the contour integral . let @xmath150 by the functions defined by @xmath151 then @xmath152 note that the functions @xmath153 agree up to normalisation and rotation with the standard spherical harmonics . we begin by noting that @xmath154 the case @xmath155 of this identity can be verified by direct calculation , and the cases with @xmath156 follow because @xmath157 obeys the leibniz rule . it follows that @xmath158 to evaluate the contour integral , we note the following identity ( which is easily proved ) : @xmath159 here @xmath160 is the operator defined in the proof of proposition [ prop : moments charges ] . it follows from this identity and equations and that @xmath161 the result follows . lemma [ lem : m to v basis ] provides a means to evaluate @xmath124 from @xmath147 which is easily implemented in standard algebraic software packages . below we present series expansions of @xmath115 for examples of monopoles with platonic symmetry , along with closed form expressions along certain symmetry axes . in figure [ figure ] we display isosurfaces for @xmath162 , which approximates the energy density of the monopole . these are created using series expansions for @xmath115 up to @xmath163 ( removing the last non - zero term from the series expansion did not alter the pictures ) . they closely resemble the pictures published in @xcite , so it seems that much of the structure of a monopole is captured by its abelian tail . for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] + for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] for the platonic monopoles with charges 3 ( top left ) , 4 ( top right ) , 5 ( bottom left ) , and 7 ( bottom right).,title="fig:",width=226 ] [ figure ] there is a unique monopole with topological charge @xmath164 and tetrahedral symmetry @xcite . its spectral curve is defined by the polynomial @xmath165 the first few terms in the expansion for @xmath115 are easily evaluated . in order to write them down in a concise manner , we make use of the fact that all tetrahedrally - symmetric polynomial functions on the two - sphere can be written in terms of the three polynomials @xmath166 , @xmath167 and @xmath168 . in these terms , we find that @xmath169 note that in general the terms @xmath124 vanish except when @xmath170 . this property does not follow from symmetry considerations alone : for example , there is a tetrahedrally - symmetric spherical harmonic with @xmath171 , but this spherical harmonic does not appear in the series expansion for @xmath115 . it seems difficult to sum the series expansion for @xmath115 in general . however , we have been able to find a closed form expression in some special cases , by working directly from the contour integral expression . restricting eq . to the @xmath172-axis @xmath173 yields the expression @xmath174 by change of variables @xmath175 , the contour integral becomes @xmath176 the denominator of the integrand has two roots , but only the root @xmath177 lies inside the contour @xmath178 . the contour @xmath178 circles this pole twice because @xmath175 . therefore the integral evaluates to @xmath179 it is straightforward to check that the asymptotic expansion of this function agrees with the restriction of the series expansion for @xmath115 to the @xmath172-axis . the reason why a closed form expression can be obtained on the @xmath172-axis is that this line has a high degree of symmetry . the symmetry group of the monopole fixes a tetrahedron , and the @xmath172-axis passes through opposite edges of this tetrahedron . rotations through @xmath180 about the @xmath172-axis fix both the axis and the monopole . this rotational symmetry allowed a simplification of the contour integral , so that the roots of the denominator could be easily found . there is another line with a high degree of symmetry , namely that passing through a vertex and the centre of the opposing face of the tetrahedron . this line has equation @xmath181 . a closed form expression for @xmath115 can also be obtained along this line . to obtain the expression for @xmath115 it is convenient to first rotate the monopole so that the desired line is again the @xmath172-axis . this is accomplished by making a mbius transform of the spectral curve of the form @xmath182 with @xmath183 and @xmath184 . after making this mbius transformation the spectral curve becomes @xmath185 with @xmath57 in this form and @xmath173 the contour integral becomes @xmath186 this integral is simplified by the substitution @xmath187 , and evaluates to @xmath188 we have checked that the expansion of this expression in powers of @xmath189 agrees with the restriction of the series expansion for @xmath115 to the line @xmath181 . the unique monopole with topological charge 4 and cubic symmetry has spectral curve @xcite @xmath190 the first few terms in its series expansion for @xmath115 are easily calculated , and can be written in terms of the octahedrally - symmetric polynomials @xmath191 , @xmath192 and @xmath193 as @xmath194 we have been able to evaluate @xmath115 in closed form along lines which pass through opposing vertices and opposing faces of the cube fixed by the symmetry group : @xmath195 the series expansions of these functions in powers of @xmath189 agree with the general series expansion quoted above . both of these expressions are obtained using a similar method to the one used for the 3-monopole . for the second , it is convenient to first make a mbius transformation with @xmath183 and @xmath196 , after which the spectral curve has the form @xmath197 and the desired line has moved to @xmath173 . the unique monopole with topological charge 5 and cubic symmetry has spectral curve @xmath198 note that this differs from the result quoted in @xcite in that the coefficient of the polynomial in @xmath20 is @xmath199 rather than @xmath200 in attempting to reproduce the calculation of @xcite we discovered a sign error . the first few terms in the series expansion for @xmath115 are @xmath201 we have been able to evaluate @xmath115 in closed form along lines which pass through opposing vertices and opposing faces of the octahedron fixed by the symmetry group : @xmath202 the series expansions of these functions in powers of @xmath189 agree with the general series expansion quoted above . both of these expressions are obtained using a similar method to the one used for the 3-monopole . for the second , it is convenient to first make a mbius transformation as for the 4-monopole , after which the spectral curve has the form @xmath203 the unique charge 7 monopole with dodecahedral symmetry has spectral curve , @xmath204 the first few terms in the series expansion for @xmath115 are @xmath205 the tail function @xmath115 has the following closed form expression along the line @xmath173 : @xmath206 the series expansion of this function in @xmath189 agrees with the general series expansion quoted above . the line on which we have evaluated @xmath115 passes through the centres of opposite faces of the dodecahedron fixed by the symmetry group . one might ask whether it is also possible to evaluate @xmath115 on a line passing through opposite vertices . in order to do so using the method above one would first need to move this line to the @xmath172-axis by mbius transformation and then to factor the denominator in the contour integral . on symmetry grounds this denominator is a quartic polynomial in @xmath207 , which could in principle be factorised , but we have not attempted to do so . in this paper we have proposed a novel definition for the magnetic charge density of a monopole with gauge group su(2 ) . this definition differs from standard definitions in that it is smooth and non - singular . we have shown that , in the case of bps monopoles , the abelian magnetic field which it induces agrees with the standard definitions and to all orders in the multipole expansion . this result can straightforwardly be extended to the case of su(@xmath208 ) monopoles . su(@xmath208 ) monopoles with maximal symmetry - breaking have @xmath209 asymptotic abelian magnetic fields . hurtubise and murray have proved in @xcite a result which relates the asymptotics of these magnetic fields to the spectral curves and which generalises the result of hurtubise employed in this paper . the definition of the magnetic charge densities @xmath70 generalises directly to the su(@xmath208 ) , as do our arguments relating these to the nahm data conserved quantities and the asymptotic magnetic fields . the chief novelty is that different values of @xmath88 must be chosen to source the different magnetic fields . it may be possible to generalise our result to apply to su(@xmath208 ) calorons also , however , the analogue of hurtubise result for calorons is not currently known . the tail function , which describes the asymptotics of the norm of the higgs field , played a key role in our analysis . while the fields of a monopole are in general difficult to construct in explicit form , the tail function is easily evaluated as a series given knowledge of the monopole s spectral curve . moreover , we have exhibited a number of examples in which this tail function can be evaluated in closed form when restricted to a well - chosen line with a high degree of symmetry . the problem of reconstructing a monopole field explicitly from its nahm data remains an important problem , and our observation suggests that more progress might be made if attention is restricted to these symmetric lines . our results have some consequence for the analysis of magnetic bags . one of us argued in @xcite that the nahm transform for monopoles should converge in a certain large @xmath50 limit to what was called the @xmath210 nahm transform . it seems that hurtubise result , together with our observation relating the tail function to the nahm data conserved charges , provides a more direct proof of this result . a final comment concerns other systems that support bps topological solitons . analogues to the charge density @xmath70 could conceivably written down for instantons , vortices , and other solitons . it would be interesting to investigate whether such densities , like the density for monopoles , carry any physical significance . + * acknowledgements . * we are grateful to falk bruckmann for providing the stimulus for this project . we also thank nick manton and bernd schroers for helpful suggestions . f. bruckmann , d. nogradi and p. van baal , `` constituent monopoles through the eyes of fermion zero modes , '' nucl . b * 666 * ( 2003 ) 197 [ arxiv : hep - th/0305063 ] . d. ngrdi , `` multi - calorons and their moduli , '' phd thesis , university of leiden , 2005 , [ arxiv : hep - th/0511125 ] . j. d. jackson , _ classical electrodynamics _ , john wiley and sons , 1962 .

arxiv

Different types of carbides [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/69853/edit). Closed 6 years ago. [Improve this question](/posts/69853/edit) I am confused between different types of carbides such as $\ce{CaC2}$, $\ce{Mg2C3}$, $\ce{Al4C3}$, $\ce{BaC2}$ or $\ce{BeC2}$. And if they are different, why they are called carbides? Carbides are a specific class of carbon-containing compound; there is not a single compound called "carbide". According to [this Wikipedia article](https://en.wikipedia.org/wiki/Carbide): > > In chemistry, a carbide is a compound composed of carbon and a less > electronegative element. Carbides can be generally classified by > chemical bonding type as follows: (i) salt-like, (ii) covalent > compounds, (iii) interstitial compounds, and (iv) "intermediate" > transition metal carbides. Examples include calcium carbide > ($\ce{CaC2}$), silicon carbide ($\ce{SiC}$), tungsten carbide > ($\ce{WC}$) (often called simply carbide when referring to machine > tooling), and cementite ($\ce{Fe3C}$), each used in key industrial > applications. The naming of ionic carbides is not systematic. > > >

stackexchange/chemistry

destruction of the hair follicle can result from a primary folliculo centric disease leading to primary cicatricial alopecia or a secondary insult causing secondary cicatricial alopecia . the north american hair research society ( nahrs)-sponsored workshop put forward a working classification of primary cicatricial alopecias in 2001 , which subdivides the primary cicatricial alopecias according to the predominant inflammatory cell type present and those cicatricial alopecia with inconclusive clinical and histopathological finding are placed under the non - specific category . various non - follicular conditions of the scalp can lead to secondary cicatricial alopecias , which include traumatic , infectious , inflammatory , neoplastic , and genetic conditions . cicatricial alopecias can be particularly challenging clinically , as patients tend to present late due to non - recognition at an early stage , and treatment options are poorly defined and often limited in effect . hair loss has a significant impact on the psychological status , quality of life , and social interaction of those suffering from it . while this is essentially true for all forms of cosmetically disturbing hair loss , the situation is more aggravated in cicatricial alopecias , as they are usually irreversible and often progressive in nature . although there are many studies.[713 ] addressing the psychosocial impact of non - cicatricial alopecias , the information on the psychosocial impact of cicatricial alopecias is sparse . the study was a descriptive study consisting of 30 consecutive patients of irrespective of their age and sex , attending the dermatology out - patient department of a tertiary care institute from september 2008 to june 2010 . data including patient 's age , gender , occupation , marital status , age of onset of disease , disease duration , and symptoms , morphology of the lesions , and site of involvement were recorded . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . potassium hydroxide mount ( koh ) , gram staining , culture sensitivity , and antinuclear antibody testing were undertaken whenever necessary . an elliptical scalp biopsy was taken from the lesional area ( centre / periphery ) , for histopathological evaluation in all cases except those with tinea capitis ( 8 cases ) , which were diagnosed mostly on the basis of clinical presentation , koh examination and/or therapeutic response to griseofulvin . all histopathologic slides were interpreted using defined systematic criteria , as defined by the north american hair research society guidelines . of the 30 patients , psychosocial assessment due to the disease was carried out in 23 patients who were capable of responding to the questionnaire . the psychosocial impact was assessed using an adopted and suitably modified version of women 's androgenetic alopecia quality of life questionnaire ( waa - qol ) . we modified the questionnaire to suit our population and resultant number of questions was 20 . furthermore , we simplified the scoring system to make the questionnaire more comprehensible by scoring each questions on a series of three answers . we also grouped these 20 questions into three sub - scales to measure the psychosocial impact of cicatricial alopecias on the emotional state , social life , and functioning of our patients . unlike the original questionnaire , the questions asked are shown in appendix i and its scoring system in appendix ii . scoring system for the evaluation of psychosocial impact of cicatricial alopecias the results were tabulated and analyzed using spss 15 software . comparison of group differences in gender , disease activity , marital status , in relation to psychosocial impact , was performed by mann - whitney 's test . the relationship between disease variables ( age , disease duration ) and the psychosocial impact were examined using spearman 's rho correlation coefficients . when comparing the scalp surface area involvement and the psychosocial impact , kruskal - wallis test was performed . the observations made in our study has been put under two categories : clinical and histopathological characteristics of cicatricial alopecias.of the 30 cases with cicatricial alopecias , 19 were females ( 63.3% ) and 11 were male ( 36.7% ) patients . according to the nahrs working classification of primary cicatricial alopecias , they were categorized into- lymphocytic , neutrophilic , mixed and non - specific cicatricial alopecias . the secondary cicatricial alopecias were classified as those caused by infections , sclerosing disorders , and vesiculo - bullous disorders . there were 19 patients ( 63.3% ) of primary cicatricial alopecias and 11 patients ( 36.7% ) of secondary cicatricial alopecias.psychosocial impact of cicatricial alopecias.for the evaluation of psychosocial impact 23 patients were included , which comprised of 9 males and 14 female patients . the mean total duration of disease was 3.1 ( range 0.07 - 20 ) years . it was seen that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . clinical and histopathological characteristics of cicatricial alopecias . of the 30 cases with cicatricial alopecias , according to the nahrs working classification of primary cicatricial alopecias , they were categorized into- lymphocytic , neutrophilic , mixed and non - specific cicatricial alopecias . the secondary cicatricial alopecias were classified as those caused by infections , sclerosing disorders , and vesiculo - bullous disorders . there were 19 patients ( 63.3% ) of primary cicatricial alopecias and 11 patients ( 36.7% ) of secondary cicatricial alopecias . psychosocial impact of cicatricial alopecias . for the evaluation of psychosocial impact 23 patients were included , which comprised of 9 males and 14 female patients . the mean total duration of disease was 3.1 ( range 0.07 - 20 ) years . it was seen that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . difference in mean scores of waa - qol and its domains and ssai the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . difference in mean scores of waa - qol and its domains and ssai the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . we observed no significant gender difference ( p=0.488 ) in the psychosocial impact of cicatricial alopecias . however , the social domain was found to be more affected in females compared to males , although the difference did not achieve statistical significance . although an inverse correlation of age of the patient with the modified waa - qol ( r=-0.055 , p=0.804 ) and its emotion ( r=-0.170 , p=0.438 ) and functioning ( r=-0.054 , p=0.807 ) domains was noted , it was not statistically significant . duration of the disease had no significant correlation with the modified waa - qol ( r=0.273 , p=0.207 ) , and its emotion ( r=0.079 , p=0.722 ) , social ( r=0.385 , p=0.07 ) , functioning ( r=0.12 , p=0.585 ) domains . patients with inactive disease did have a higher mean waa - qol score but the difference did not achieve statistical significance ( p=0.089 ) . we observed no significant difference in the mean scores of waa - qol ( p=0.789 ) between the married and unmarried groups . the surface area of scalp involvement was recorded according to the alopecia areata investigational guidelines . the mean of waa - qol and its domains in each of the ssai groups were compared . we observed no statistically significant difference in the mean scores of waa - qol and its domains , between the three ssai groups [ table 1 ] . the overall percentage of patients ticking each response and pattern of response in the waa - qol questionnaire are given in [ figure 1 ] . although cicatricial alopecias are not life threatening conditions , affected individuals may experience substantial psycho - social distress . we observed that that 73.9% of our patients had moderate to severe psychosocial impact due to their hair loss . this clearly reflects the negative impact of cicatricial alopecias on the patient 's psychosocial state . studies conducted previously on psychological effects of androgenetic alopecia ( aga ) , have found women with aga more psychosocially debilitated than other groups . it was probably because these studies dealt with androgenetic alopecia , which may be regarded as more we examined the relation of gender with the psychosocial impact of cicatricial alopecias in our patients . the social domain of the questionnaire was found to be more affected in females patients ( p=0.05 ) , as reflected by a higher mean ( 1.11 ) compared to males ( 0.58 ) . this could be partly due to the societal norms , which make women more conscious of their physical appearance , lack of which could lead to refrain from social activities . however , apart for the social domain both the sexes seemed to be equally affected by their hair loss . hence , this pathological form of hair loss can be very distressing psychosocially to those suffering from it , and no gender escapes from its impact . an inverse correlation of age of the patient and the modified waa - qol and its domains was seen in our study , though not statistically significant . lack of which can make them feel older and have a negative impact on their self - confidence , perception of physical unattractiveness , and cause embarrassment , and frustration . in a study by wells et al . on psychological correlates of hair loss in 182 balding men , it was found that lower self - esteem , higher introversion , and feeling of unattractiveness were more marked in younger men with aga , and they stated that socialization is again more affected with premature hair loss . the duration of cicatricial alopecias in our patients ranged from 25 days to 20 years . surprisingly , the duration of the disease had no significant impact on the modified waa - qol ( p=0.207 ) or its domains . our observation was similar to that made by williamson et al , who assessed the effect of hair loss on quality of life in 70 patients . we found no significant difference in the mean of modified waa - qol or its domains among the married and unmarried patients . despite the fact that one would expect more psychosocial impact among the unmarried patients , we observed almost an equal psychosocial impact among the married and unmarried groups with cicatricial alopecias . it could be due to the fact that most of our married subjects were females ( 12/16 cases ) , reflecting less perseverance and tolerance by their spouses , regarding their hair loss in a male dominant society . it is possible that individuals with limited hair loss are able to cover their loss with remaining hair and so are likely to experience less psychological problems . cash evaluated the psychological effects of aga in men and women , and found that patients with more extensive hair loss had significantly higher psychosocial distress . in a study , by schmidt et al , on- strategies of coping and quality of life in women with alopecia , identified a subset of patients in their study with no visible hair loss who also showed a significantly lower quality of life . we did not find any significant difference in the mean scores of waa - qol and its domain among patients with different degree of hair loss . the reason for obtaining similar scores among the different groups in our study could be due to the fact that majority of our patients 65.22% ( 15/23 cases ) fell into a single category of hair loss involving less than 25% of scalp surface , and another 30.43% ( 7/23 cases ) had hair loss involving 26 - 50% of the scalp . most of the patients in the second group had hair loss towards the lower side of the range . nevertheless , the fact that even patients with slight visible hair loss can have considerable psychological distress should be acknowledged . the results of our study bore some resemblance to results obtained during the developmental process of the original questionnaire in regard to the questions ranked by our patient . women with aga , ranked questions related to negative feelings about their appearance , feelings of unattractiveness , annoyance at the amount of time spent on hair , trying to cover bare spots ; high in their study . whereas , questions related to restriction of activities , or feeling older were not ranked highly important . it is evident from our study that cicatricial alopecias have an enormous amount of psychological impact on those suffering from it . in addition to laying an emphasis on early diagnosis aided by clinico - pathological correlation , to prevent irreversible hair loss , the psychosocial impact of the disease should also be taken into consideration and addressed by the treating dermatologist .

pubmed

Łukasz Krupiński born June 5, 1992 in Warsaw, Poland is the Polish pianist, winner of many piano contests in Poland and abroad. He has been a participant in the XVII International Chopin Piano Competition in Warsaw, Poland in October 2015, he performed until the semifinal of this competition stage 3. His genre is classical music. Krupiński has his own disc label, his disc label is Dux Records, and he also has his own album and his album now is Espressione...: From Bolzano to San Marino Biography Łukasz Krupiński is a famous Polish classical pianist. He was born on June 5, 1992 in Warsaw, Poland. He started to take piano lessons in his age of five. He attended and finished the Zenon Brzewski music school in Warsaw under professor Joanna Ławrynowicz. He finished his education at Fryderyk Chopin University of Music under Alicja Paleta-Bugaj and Dr Konrad Skolarski. As a participant in the XVII International Chopin Piano Competition 2015, he performed in the semifinals. In 2016 he was honoured with a Commemorative Medal of Frederic Chopin University of Music in recognition of his artistic achievements. Krupiński gives concerts in many Polish cities as well as in Germany, Belgium, Norway, Spain, Switzerland, Russia, Lithuania, Belarus, China, Australia and United States. In January 2017 the publishing house DUX issued the debut CD of Łukasz Krupiński Espression with works by Joseph Haydn, Frédéric Chopin and Alexander Scriabin. The CD was nominated for International Classical Music Awards. Awards and competitions Grand Prix on the 2nd Siberian International Chopin Piano Contest in Tomsk Russia 2013 Extra prize for the best performance of Frédéric Chopin works on the same competition Extra prize for the best performance of Alexander Scriabin works on the same competition Prize of the Polish Ministry of Culture and National Heritage for outstanding http://www.deutschlandfunk.de/gedichtband-von-josef-capek-hoelle-in-versform.700.de.html?dram:article_id=366559 on the field of the artistic creativeness 2013 and 2014 Scholarship of the 2014 Yamaha Music Foundation of Europe piano competition 2nd Prize on the 47th Polish Chopin-Competitions in Warsaw 2015 and right to participate in the XVII International Chopin Piano Competition Warsaw 2015. 1st Prize on the 15th International Piano Competitions of the Chopin Society in Hannover. 1st Prize on the ClaviCologne International Piano Competition 2016 in Aachen. 1st prize at the International Piano Competition in San Marino, September 18, 2016. In addition to the main prize, he received all the additional prices: from the critics, from the audience and from the orchestra of San Marino. Second prize went to Dmytro Choni from Ukraine, the third to Men Shen Sheng from Taiwan. 3rd prize at the Kissinger Klavierolymp Kissingen Piano Olympics 2018. Websites Official Website Chopin Society Poland Polish Music Centre Preludes by Edward Sielicki 2nd stage of the San Marino piano contest References Category:Polish classical pianists Category:1992 births Category:Living people Category:21st-century classical pianists

wikipedia

Robotech/Macross It's Not Easy Hi all! This is the Captain again. Another song-fic, only about my fellow Captain, Henry Gloval. In my opinion, there are simply _not_ enough fics about him out there, so I'm contributing to the cause. And I do apologize if my space terminology isn't correct, but it's been awhile since I've read the books. These are just some of the thoughts he might have had during the series. Before he died. Which was when I threw the book across the room. They ALWAYS kill my favorite characters! Disclaimers: Don't own Robotech, Jack McKinney does, and Five for Fighting owns "Superman" (the song, not the guy...DC comics owns the guy...an-yway...). _**It's Not Easy**_ _I can't stand to fly_ Captain Gloval looked at the wide expanse of stars from the bridge of the SDF-1 and sighed. Here I am, the captain of the greatest weapon Earth has ever seen, and I no longer find pleasure in flying. It was nice enough some days, but not now. It's too much right now. _I'm not that naïve_ Over the speaker, Minmei's voice provided a pleasant distraction from his disturbing thoughts. Not enough though, he amended somberly. She had to grow up fast, Gloval thought. We all did. And I'm just a tired old man, one old man in charge of a thousand people! "Sir?" Claudia said. "Sir, I've got those bearings you asked for." He nodded stiffly without turning his head. "Thank you, Claudia. Bring us around, please." _I'm just out to find_ _The better part of me_ Well, time to explain myself, I guess. Turning to face his crew, he smiled tiredly. "Ladies, these people have been traveling with us for quite some time. I think we owe it to them to show off some of the better sights of space. The bridge crew chuckled a little and got back to their jobs. _I'm more than a bird_ _I'm more than a plane_ "I hate it when he's like this!" Sammie whispered to Lisa. "It's like his blaming himself for everything that's gone wrong!" Lisa nodded. "I agree. It's something even more than that though, Sammie. As the Captain, he has to be bigger than us, the people, even the ship he's commanding." "And this is a really big ship, right?" "Right." _I'm more than some pretty face _ _Beside a train_ _And it's not easy to be me_ Gloval's face came over the various visual sets over the ship. "Ladies and gentleman of the SDF-1: we are approaching one of the many groups (A/N galaxies?) of stars in our universe. This also happens to be one of the prettiest. If we're lucky, we'll also see some of the "living cloud whales" Doctor Lang has mentioned before. Captain Gloval out. _I wish that I could cry_ _Fall upon my knees_ After Gloval turned the ship-wide visual system off, his already faint smile disappeared. Damn, he thought while rubbing his eyes, why do I fell so tired? "Lisa, Claudia, will you two take care of things? I'll be in my quarters if you need me." "Yessir," the two snapped quietly. After a long hot shower, Gloval sat on the edge of his bed in soft sweatpants, rubbing his salt-and-pepper hair. Noticing the rivulets of water running down his face, he vaguely wondered if they were tears or excess water. _Find a way to lie_ '_Bout a home I'll never see_ Getting up again, he wandered over to one of his few personal effects; a picture of Earth from outer space. Snorting derisively, he said "Outer space indeed!' Suddenly, the alarm sounded. Cursing fervently, he pulled on his discarded uniform pants and threw on his jacket, buttoning it as he ran down the hall to the bridge. _It may sound absurd,_ _But don't be naïve,_ _Even heroes have the right to bleed_ "Zentraedi warships approaching, Captain," Lisa said tightly. "VT fighters scrambled, sir." "Thank you Lisa. How many warships?" "Only two, sir." Gloval frowned. "Two? Why only..." his voice died as his eyes widened. "Lisa! Call them back immediately!" Before Lisa could reach the toggle, the warships exploded. Lisa blinked and looked back at the captain who had regained his mask of impassivity. "Sir?" "Call any survivors back, Lisa. We can't do anything else here. Claudia? Pull out immediately. Those were buoys-they'll be here anytime now." Pausing, he added "and get me the casualty list as soon as possible. Then you ladies go to bed-I'll stay here until the late crew is assembled." Slowly, "Gloval's Harem" filed off of the bridge. Lisa hesitated, and looked back to ask if he needed any help. Seeing Gloval's head shake, she continued off the bridge. You know, he almost looked like he wanted to cry. _I may be disturbed_ _But what you can see_ _Even heroes have the right to dream_ _And it's not easy to be me_ After the late crew had been assembled, Gloval trudged back to his room. Blearily unbuttoning his coat and collapsing on the bed, he rolled over and put an arm over his eyes. Please, he begged silently, no nightmares tonight. No nightmares tonight, please God. _Up, up, and away, away from me,_ _Well it's alright_ _You can all sleep sound tonight,_ _I'm not crazy or anything_ The next day saw Captain Gloval back on the bridge, rubbing bloodshot eyes. However, only Lisa was there to see anything. "Did you sleep well, sir?" she asked with false cheerfulness. Gloval grunted and took another sip of coffee. You didn't listen, he cursed silently, I asked for no nightmares! You didn't listen! _I can't stand to fly _ _I'm not that naïve_ _Men weren't meant to ride _ _With clouds between their knees_ _I'm only a man_ _In a silly red sheet_ _Looking for kryptonite on this one way street_ transport, on the way to conference with Admiral Hayes Some obnoxious rookie had seen to it that all his "cocktails" were on his uniform jacket the day the SDF-1 left earth. Now another one had seen to it that a red cape was on one of the hooks in the transport. "The Red Cape of Honor," it was called. Lisa held out the cape to Gloval expectantly. "Apparently they want you to wear this, sir." Gloval raise one bushy eyebrow. "Apparently." _Only a man _ _In a funny red sheet_ _Looking for special things inside of me_ _Inside of me_ _Inside of me_ _Inside of me_ _I'm only a man _ _In a funny red sheet_ after conference with Admiral Hayes Gloval looked at the cold fury on Commander Haye's Face and silently motioned for her to get in the transport. Inside, they sat in silence for quite some time before Lisa asked "What are we going to do now?" Gloval shook his head. "First of all, I'm going to remove this stupid cape. Second of all," then he said no more because he was busy ripping up the cape and wadding up the shreds. "Commander, we're going to march back to the ships with our heads held high. I will inform the bridge what happened. Then...then I will address the ship." _I'm only a man_ _Looking for a dream_ _I'm more than a man_ _In a funny red sheet_ _And it's not easy_ after Gloval addressed the ship and started crying As Gloval was wiping his eyes, he looked with fuzzy vision around the ship, and the thousands of people looking up at Minmei. (A/N: sorry to all you Minmei fans, but I HATE her!!!!--) "Captain," Lisa said quietly, "we can leave now, if you want." Hands still shaking, Gloval nodded. After shooing Lisa away, Gloval sat down heavily on his bed. His hopes of returning to Earth, of restoring these people to their homes, all of them were crushed. "Now what?" he asked the forlorn walls. Sighing, he continued mumbling out loud. "No more sunsets, no more ocean, no more flowers." Smiling grimly, he added well, I guess I can give the brass one last show then. Turning over, he slowly fell into a deep sleep, permeated only with dreams of a strange blue and green planet once called home. _It's not easy to be me_ End file.

fanfiction

By partnering long-term with an end-to-end branding specialist, Westpac has been able to streamline their procurement process from brand design and construction drawings through to manufacture and installation of national roll outs of the completed signage. Uniformity of the Westpac corporate identity is always of the utmost importance for us at Signcraft. All Westpac projects are jointly managed by our Key Account Manager and a national team of project managers, all experts in the industry and dedicated to Westpac. By utilising our long-running expertise from end-to-end, the cost and complexity of Westpac's branding journey continues to be significantly reduced and consistently delivered, enabling their vision to 'streamline and simplify' each and every project. Each and every Westpac site is assessed by our local Site Surveyor to identify the specific conditions of the site and address any structural challenges prior to design development. Conceptual designs are value engineered to guarantee buildability and reduce cost by eliminating risk by using the most appropriate materials to ensure sustainability and value. During our long standing partnership with Westpac, we have worked closely with their specialist team of ATM installers to ensure the company's corporate identity is carried across all facets of the business both internally and externally. Manufacturing specialty branding for Westpac ATM surrounds for multiple sites across the country, we then supply the product to the specialist team for installation. We have recently been appointed as the major signage partner for the financial institution. Manufacturing the hero 'W' of the brand, in freestanding units up to 2.7m high, as well as external signage in a 'branch pride' rollout nationwide. The branch pride project also included custom cladding in the corporate colours, a new product for us, and a valued benefit for our client. One supplier, one installer – Signcraft has helped streamline the process for Westpac by being a trusted manufacturer and installer of the total retail branding suite. Putting customer experience first, we have addressed wayfinding challenges to improve the navigation for their customers throughout each branch by developing the most effective layouts and ensuring continuity between each location. 2017 has seen the 200th anniversary of Westpac. To celebrate their bicentennial year, we have partnered with Westpac once again to deliver 10 historical totems in their heritage listed site at George St, Sydney, NSW. The freestanding totems depict the early days of Westpac, the long history of the bank and the impact it has had on the financial sector in the country since its inception. We congratulate Westpac on achieving 200 years as a trusted financial institution in Australia and look forward to continuing a partnership that will grow alongside the iconic brand for many years to come.

slim_pajama

Need to find series of equation products from given reagents I can balance equations but only if I already know both the sides. I am trying to find the following products: $$\begin{aligned} \ce{Na2S2O5 + O2 ->}\ ?\\ \ce{Na2S2O5 + KNO3 ->}\ ?\\ \ce{Na2S2O5 + KNO3 + Fe2O3 ->}\ ?\\ \ce{Na2S2O5 + KNO3 + C12H22O11 ->}\ ?\\ \ce{KNO3 + C12H22O11 ->}\ ?\\ \ce{KNO3 + C12H22O11 + Fe2O3 ->}\ ? \end{aligned}$$ I'm guessing that the sodium metabisulfate will produce sulfur dioxide and sodium oxide, but that would just be plain decomposition, so I'm not sure where the oxygen would fit. I know that $\ce{KNO3 + C12H22O11}$ produces carbon dioxide and water, but I'm not sure where the nitrogen and potassium go. Of course once I know the products, balancing and calculating specific energy is simple, if a touch laborious. I will assume that all of these reactions are happening in solution. Since we've established that all these reactions are redox reactions, we know the general structure of each reaction--- $$\text{reducing agent} + \text{oxidizing agent} \to \text{oxidized thing} + \text{reduced thing}$$ ---and we generally won't have to worry about other things (like what you've mentioned in your edit) happening. I will work out one reaction, and leave you with the rest. Let's look at reaction 4. We can ignore $\ce{Na+}$ and $\ce{K+}$, because we know from prior experience that these are relatively inert spectator ions that won't participate in most reactions. Then we have the three species $\ce{S2O5^2-}$, $\ce{NO3^-}$, and $\ce{C12H22O11}$. * $\ce{N}$ has its maximum oxidation state of $+5$ in $\ce{NO3^-}$, so we expect that $\ce{NO3^-}$ will be a good oxidizing agent. $\ce{NO3^-}$ is commonly reduced to $\ce{NO2^-}$ in solution. * On the other hand, $\ce{S}$ has an oxidation state of $+4$ in $\ce{S2O5^2-}$ and a maximum oxidation state of $+6$, so we might expect $\ce{S2O5^2-}$ to be a reducing agent. Fully oxidized $\ce{S}$ is usually present as $\ce{SO4^2-}$ in solution. * Finally, $\ce{C}$ also has its maximum oxidation state of $\ce{+4}$ in $\ce{C12H22O11}$, so $\ce{C12H22O11}$ is likely to also be a reducing agent. Fully oxidized $\ce{C}$ is commonly present as $\ce{CO2}$. This gets us the three half-reactions $$\begin{aligned} \ce{NO3^- + H2O + 2e- &-> NO2^- + 2OH-}\\ \ce{S2O5^2- + 6OH- &-> 2SO4^2- + 3H2O + 4e^-}\\ \ce{C12H22O11 + 48OH- &-> 12CO2 + 35H2O + 48e-} \end{aligned}$$ where we've also assumed basic conditions and hence added $\ce{H2O}$ and $\ce{OH-}$ as required to balance out charges and atoms on both sides of each equation. Now we simply need to take linear combinations of these half-reactions to cancel out electrons on both sides, and we're done. --- In response to your comment, everyone starts out bad at chemistry. You'll get better. the result really depends on reaction conditions. These products are believable: Na2S2O5 + O2 -> Na2SO4 + SO2 Na2S2O5 + KNO3 -> Na2SO4 + KNO2 +NO2 Na2S2O5 + KNO3 + Fe2O3 -> Na2SO4 + KNO2 + [Fe(NO3)3 + Fe(NO2)3] This one makes little sense. Two reducing agents and one oxydizer. Try making this: Na2S2O5 + KNO3 + C12H22O11 -> Na2SO4 + K2SO4 + CO2 + H2O KNO3 + C12H22O11 -> K2CO3 + N2 + CO2 + H2O KNO3 + C12H22O11 + Fe2O3-> K2CO3 + N2 + CO2 + H2O + FeO

stackexchange/chemistry

Babel Written by Guillermo Arriaga (April 9, 2005) 1 EXT. YUSSEF AND AHMED'S HOUSE -- MORNING Day breaks. Hassan (50) arrives at a solitary house made of adobe, in the southern deserts of Morocco, carrying a satchel and a large bundle wrapped in cloth. He walks past a corral made out of branches, where several goats bleat, and knocks on the front door. 2 EXT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Abdullah (40), opens. HASSAN (In Arabic) Good morning Abdullah... I brought you this... He holds up the bundle. 3 INT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER Abdullah's family is inside the house. There is a room, a small table and a simple kitchen. Yasira (38) is roasting some goat meat assisted by Yamil (16) and Zora (17), her daughters. Abdullah and his sons, Yussef (13) and Ahmed (14), are sitting on the floor around the small table, looking at a well- conserved .270 caliber Winchester 60 rifle. HASSAN (To Abdullah) It's almost new. He takes out several boxes of cartridges from his satchel. HASSAN (CONT'D) Three hundred cartridges... He opens a box and shows them one of the golden bullets. HASSAN (CONT'D) The hunter who gave it to me said you can hit up to three kilometers away. ABDULLAH How much do you want for everything? HASSAN One thousand dirhams . 2. ABDULLAH One thousand dirhams ? I'll give you one thousand and a goat. Abdullah and Hassan exchange a look and Hassan smiles. 4 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Hassan and Abdullah's family are behind the house. Hassan stands with the rifle in front of a rock some twenty yards away and he turns toward Abdullah. HASSAN With this rifle, your sons will be able to kill plenty of jackals. He aims at the rock and pulls the trigger without holding the rifle properly. It is clear that he doesn't know how to fire a weapon, and the shot cracks loudly. The rifle kicks and hits him roughly in the shoulder. The bullet flies far wide of the rock. The women laugh nervously. Rubbing his shoulder, Hassan turns to Abdullah. HASSAN (CONT'D) Let one of your sons shoot. Abdullah looks at his boys and points at the younger one. ABDULLAH Let Yussef shoot. When Hassan is about to hand Yussef the rifle, Ahmed cuts him off, upset. AHMED I want to shoot first. Father and son exchange an angry glance. Hassan, without realizing it, turns and gives the rifle to Ahmed. The boy grabs the gun: it is heavier than he thought. HASSAN Look, load it like this. Hassan opens the chamber, inserts the bullet and then closes it. Once it is loaded, he points at the safety. HASSAN (CONT'D) This is the safety. Push it in when you're ready. Ahmed nods. Unsure of himself, he raises the rifle and, almost without aiming, fires. The shot kicks up dust far from the rock. His sisters laugh. 3. HASSAN (CONT'D) If he doesn't hit the jackals, at least he'll scare the shit out of them. Ahmed lowers the rifle. His father grabs it and gives it to Yussef enthusiastically. ABDULLAH Your turn. Yussef grabs the rifle and loads it confidently. He lifts the rifle with ease and takes his time aiming. He seems innately skilled at the maneuver. He shoots and the bullet hits just below the rock. Abdullah celebrates the shot and mockingly turns to Hassan. ABDULLAH (CONT'D) Now this kid shoots a hell of a lot better than you. 5 EXT. GOAT CORRAL -- LATER Yussef takes one of the goats out, ties and ropes it and gives it to Hassan. Abdullah supervises. Yasira approaches and gives Abdullah a bag. YASIRA Your lunch. Abdullah takes it and turns to his sons. ABDULLAH You better kill at least three jackals. HASSAN And make sure no one sees you with the rifle, hide it if you see someone approach you. Ahmed nods. Abdullah and Hassan go on their way. 6 EXT. YUSSEF AND AHMED'S HOUSE -- LATER Yasira and Yamil are far from the house, cleaning some goatskins stretched out on some branches. Ahmed, with the rifle in his hands, opens the corral gate and enters to herd them out. He calls his brother. AHMED Yussef, Yussef...4. 7 EXT. SIDE WALL, YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Yussef is squatting on the other side of the house, spying through a crack, breathing excitedly. 8 INT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS Zora is inside, undressing. She has a long body and her cinnamon skin is soft and clean. Every now and then she aims a complicit glance at the crack through which Yussef is spying. AHMED (O.S.) Yussef... Zora turns around toward where the voice is coming from. 9 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef is still spying. Ahmed approaches. AHMED What are you doing? Yussef turns around and signals for him to lower his voice. AHMED (CONT'D) I told you not to spy on her again. Yussef pays no attention and keeps spying. Ahmed pulls him by the shoulder and makes him lose his balance. Yussef falls on his ass. AHMED (CONT'D) I said don't spy on her. Yussef gets up and dusts himself off. YUSSEF What the hell do you care? AHMED Come on, let's go. He turns around and leaves. 10 EXT. DESERT -- DAY The goats graze. Yussef and Ahmed watch them sitting on the side of a hill. They look hot and bored. They both throw stones at a small rusty can. Yussef throws one and misses. Ahmed throws his and does. He draws a line in the ground. AHMED Five to two. A jackal is stalking the goats. Yussef spots it.5. YUSSEF There's a jackal over there. Ahmed raises his head but cannot see it. Yussef points at it, but Ahmed still cannot locate it. Yussef despairs. YUSSEF (CONT'D) Over there. Ahmed finally spots it. He loads the rifle, but when he is about to aim, the rifle fires. The shot hits amidst the goats, lifting up a small cloud of dust. YUSSEF (CONT'D) What are you doing, you idiot? The jackal flees, terrified, while the goats scamper in different directions. 11 EXT. DESERT -- LATER Both brothers are sitting under a tree, eating bread and drinking water from a goatskin canteen. YUSSEF Zora doesn't mind. Ahmed keeps eating without turning to look at his brother. AHMED She doesn't, but I do. YUSSEF This is between her and me. AHMED You're both pigs. Next time I'm going to tell my dad. YUSSEF Stay out of this. AHMED If you want me to stay out of it, don't do it. Yussef gets annoyed, stand up and leaves. 12 EXT. DESERT -- DAY The brothers are sitting apart from each other. Ahmed guards the goats with the rifle on his lap. After a while, Yussef goes to sit behind a large rock. He makes sure his brother isn't watching and he pulls his pants down to start masturbating. 6. When he is at his most concentrated, a shot rings out and startles him. He quickly pulls his pants up and another shot rings out. Yussef gets up to see what his brother is doing. Ahmed is aiming the rifle at a rock some two hundred yards away. He fires a third time. Yussef runs up to him. YUSSEF What are you doing? Ahmed doesn't pay attention, and focuses on the rock in the distance. AHMED Hassan said that it could hit things three kilometers away, but it can't even reach that rock over there. YUSSEF That's because you don't know how to shoot. Give me the rifle. Ahmed looks at his brother defiantly, then hands the rifle over. Yussef aims and fires. The shot echoes through the vast desert; the frightened goats scamper a few yards away. AHMED See, it can't reach it. YUSSEF Give me another bullet. Yussef aims and fires. The bullet hits the rock and kicks up a lot of whitish dust. YUSSEF (CONT'D) See. AHMED Yeah, but that's not three kilometers. Ahmed remains pensive and suddenly starts climbing to the top of the hill. Once at the top, he looks around for a moment and then calls his brother. AHMED (CONT'D) Yussef, come here. Yussef climbs the slope. Ahmed signals a road that in the distance cuts across the great desert plain, and points out a traffic sign that indicates a curve ahead.7. AHMED (CONT'D) I bet you the bullet can't hit that far away. Ahmed loads the rifle and aims at the sign. He fires and nothing. AHMED (CONT'D) These fucking bullets aren't any good. YUSSEF You're not aiming right. Yussef points at a yellow car driving along the road. YUSSEF (CONT'D) What'll you give me if I hit that car? AHMED I'll shoot. Ahmed reloads. The empty cartridge falls to the ground. He fires again - the car keeps going. Yussef asks for the rifle. AHMED (CONT'D) You see? Nothing happens. YUSSEF Let me shoot. He also drops the used cartridge on the ground, reloads and shoots the traffic sign. He fires and nothing. AHMED I told you. Hassan's a liar. A bus approaches. Ahmed points at it. AHMED (CONT'D) Shoot at that one... Yussef loads the rifle parsimoniously, shuts the chamber, raises the weapon, aims and fires. The bus drives on. Ahmed turns to his brother. AHMED (CONT'D) See: nothing. The bus drives on another three hundred yards and suddenly stops in the middle of the road.8. 13 INT. T.V. ROOM, L.A. HOUSE -- NIGHT Amelia (54), a maternal, Mexican woman with a pleasant face, is playing Monopoly with Debbie (4) and Mike (5). They are both typically American kids. AMELIA (In Spanish) I won... MIKE No, I won. The phone rings and Amelia goes to answer it. AMELIA (In English) Yes... yes sir... yes sir, Mrs. Rachel told me...I'm very sorry. How is Mrs. Susan?... No sir, don't worry... Amelia turns to Mike. AMELIA (CONT'D) Your dad is calling. Mike runs to the phone and grabs it. MIKE Hi dad... dad, guess what? Today, at school, they brought some baby chickens...I held one in my hand. He was really little and he was all warm... (A beat) Dad, are you ok?...And Mariana wanted to take one home, but the teacher didn't let her... 14 INT. CHILDREN'S ROOM, L.A. HOUSE -- NIGHT Amelia is putting Debbie and Mike to sleep. They are both lying in bed. Amelia sits next to them. AMELIA (In Spanish) Did you brush your teeth? Mike shows her his teeth so she can see he did. MIKE Will you tell us a story? AMELIA One and then you're going to sleep. Both children nod.9. AMELIA (CONT'D) (Her entire story in Spanish) Once there was a hawk who wanted to fly higher than everyone else. He trained every day and hunted little birds so he could eat them and be strong. MIKE Pajaritos ? Little birds? AMELIA Of course, that's what hawks eat. So, one day the hawk flew so, so high that it crashed into an airplane. It fainted and started to fall. And when it was about to hit the ground, all the birds flew toward him and saved him. DEBBIE They saved him? AMELIA Yes, and when the hawk was healthy again he went to talk to the birds and said: I want to thank you for saving me, but I can't change and I'm going to keep hunting you. The little birds answered: we don't care that you hunt us, because that's who you are. But we will always save you, because that's who we are. The children are silent. AMELIA (CONT'D) (In English) Did you like it? DEBBIE No. Amelia moves to turn out the light. DEBBIE (CONT'D) Leave it on. Amelia stands still beside the switch. AMELIA Quedamos en que se iban a dormir con la luz apagada . DEBBIE But I'm scared.10. AMELIA No pasa nada. DEBBIE I'm scared that what happened to Pat is gonna happen to me. Amelia sits down next to her and caresses her. AMELIA A ti no te va a pasar eso... DEBBIE Pat died while she was sleeping. AMELIA That only happens to some babies when they're really little. MIKE Then why did daddy get so angry at mommy? AMELIA He wasn't angry, he was just very sad. DEBBIE He left. Amelia doesn't know what else to say. She pats Debbie's head. AMELIA Go to sleep. I'll sit here with you, but you can't talk anymore. They both nod and snuggle under their blankets. Amelia watches them silently. 15 INT. AMELIA'S ROOM, L.A. HOUSE -- DAY Amelia (54) sleeps. The sun is just starting to rise. A phone rings distantly. Amelia awakes. She sits up, listens intently and hears the ringing. She grabs a robe from a chair beside her, puts it on and gets up to answer the phone. 16 INT. KITCHEN, L.A. HOUSE -- CONTINUOUS Amelia enters the kitchen and answers a wall phone. AMELIA Yes...11. RICHARD (O.S.) Amelia, it's Richard. We're going to have to be here a few more days here in Morocco than we expected and Rachel wasn't able to find anyone to take care of the kids. AMELIA Your sister-in-law promised me to find someone. RICHARD (O.S.) Amelia, this is very serious. Amelia looks worried. AMELIA It's because... I told Mrs. Jones three months ago that today is my son's wedding. RICHARD (O.S.) Amelia, this is an emergency. Cancel your son's wedding. I'll pay for another one. AMELIA Sir, everything is ready. Can't anyone come take care of the kids? It's just one day. RICHARD (O.S.) We need you, Amelia... hold on. Richard stops talking. We hear voices in the background. RICHARD (O.S.) (CONT'D) Amelia, we're really counting on you. I have to go. Goodbye. He hangs up. Amelia stares into empty space. 17 INT. KITCHEN, L.A. HOUSE -- DAY Debbie (4) and Mike (5) are having breakfast while Amelia leans on the sink and looks at them, overwhelmed. AMELIA (To Debbie, in Spanish) Do you want another quesadilla ? DEBBIE Mhh. Amelia turns around to warm up a tortilla. Mike stops eating his cereal and looks at her. 12. MIKE How many little birds did the hawk eat? Amelia turns around and sees Mike, who is truly worried. AMELIA (In English) None, because he started to like quesadillas . Amelia strokes his hair. A car horn honks. Amelia looks out and sees a school bus parked outside the house. DEBBIE Is the bus here? AMELIA (In Spanish) Yes, but today you're not going to school. DEBBIE Why? AMELIA We have things to do. Amelia turns around and walks out to the street. Through the door we can see her saying something to the bus driver. The school bus leaves and Amelia walks back into the house. 18 INT. T.V. ROOM, L.A. HOUSE -- DAY Debbie and Mike are watching cartoons while Amelia talks on the phone. AMELIA (Both in Spanish) I just want you to take of them for today. WOMAN (O.S.) I can't, Mrs. Black is home. AMELIA And she won't go out? WOMAN (O.S.) No, I don't think so. AMELIA Ok, thanks. I'll call you tomorrow. She hangs up and remains pensive. 13. 19 EXT. STREET, LOS ANGELES -- DAY Amelia and the kids walk down a street in Santa Monica . 20 EXT. LUCIA'S HOUSE, LOS ANGELES -- DAY Amelia and the kids are standing in front of a house, talking with Lucia (22), who is dressed in a black and white uniform. LUCIA (Both in Spanish) I can't Amelia. AMELIA Please, it's my son's wedding. I helped you out with that thing with your boyfriend. LUCIA I really can't. AMELIA Just for the day, Lucia. I'll be back for them tonight. LUCIA And what do I tell Mrs. Black? AMELIA Tell her they're your nephews. Lucia looks down at the blonde-haired , blue-eyed children. LUCIA Yeah right, they look just like me...with this gringa look I have. 21 INT. CHILDREN'S ROOM, L.A. HOUSE -- DAY Amelia is packing the children's clothes in a small suitcase. Debbie and Mike, curious, watch her. MIKE Are we going to see your house? AMELIA Yes, you're going to see my house. MIKE Is it far? AMELIA (In Spanish) Not very.14. 22 EXT. LOS ANGELES HOUSE -- DAY A run-down '88 Ford Pinto parks in front of the house and honks its horn. The front door opens and Amelia walks out, carrying the small suitcase, with the two kids. Santiago (24), a young Mexican with light eyes. SANTIAGO (Both in Spanish) Good morning Aunt Amelia. AMELIA Good morning. Santiago, surprised, looks at the children. SANTIAGO Are they coming? AMELIA I couldn't find anyone to leave them with. Their parents aren't coming back today. SANTIAGO Why bring them, they're just going to make trouble. AMELIA They're good kids. SANTIAGO I know a woman who can take care of them. AMELIA Santiago, I have to take them. I can't leave them with just anybody. SANTIAGO What if you lose your job? AMELIA Come on, don't tempt the fates. Amelia opens the door for the children to get in. 23 EXT. CASBAH TAMNOUGALT , MOROCCO-- DAY Richard (45), tall, thin, weathered, and Susan (38), good- looking, with an athletic body, visit the impressive Casbah with a group of American, French and English tourists. Most of them are old, with a few couples in their forties or fifties. 15. Anwar (30), a man with a kind face, is the tour guide showing them around. ANWAR (In English, with an Arabic accent) The Berbers built these kasbahs . They made them like forts and here they would reside after finishing their caravans. Richard listens attentively. Susan looks hot. RICHARD This place is beautiful, don't you think? SUSAN (not very enthusiastically) Yeah, yeah it's very pretty... Anwar walks toward one end of the aisles and calls the group. ANWAR Now, I'd like to show you the materials that were used to build the walls... The herd moves docile toward Anwar's voice. 24 EXT. SMALL EATERY, MOROCCAN DESERT -- LATER The group of tourists spread about a small eatery with open air tables on a dusty terrace. A bus is parked behind them. At a table, on one end of the terrace with views to a cluster of mountains, Richard and Susan look through some menus. Richard seems at ease in this place. Susan appears to be bothered by the dust and otherness. A waiter brings a plate and some cutlery. WAITER (in broken English) You want to order? RICHARD I'll have a chicken cous-cous and a Coke, please. SUSAN What do you have that doesn't have fat in it? WAITER Everything is delicious.16. Susan reads the menu again. SUSAN I'll have the fried eggplant and a diet Coke. WAITER We don't have diet Coke. SUSAN Then a regular Coke. The waiter smiles and goes to place the order. Susan takes out a small bottle with antibacterial gel, cleans her hands and then starts wiping the plate and the cutlery thoroughly. Richard looks at the mountain range through a pair of binoculars. He spots a hawk flying over the plains. RICHARD Look, look: a hawk. Richard follows the hawk with his binoculars for a few seconds and then puts them down. RICHARD (CONT'D) This country is incredible. Susan remains silent and then turns to look at him. SUSAN Richard, why did we come here? RICHARD What d'you mean why? I thought you would like it. SUSAN Really: why are we here? Richard knows that Susan's answer implies something else. RICHARD To forget everything, to be alone. Susan, sardonically gestures toward the other tourists with her chin. SUSAN Alone? Richard sighs in disappointment. The waiter arrives with the Cokes and the food, which does not look particularly appetizing. He leaves everything on the table and goes. Richard is about to pour his drink when Susan stops him.17. SUSAN (CONT'D) Throw out the ice. RICHARD The Coke is warm. SUSAN Yeah, but you don't know what kind of water is in there. She grabs Richard's glass and tosses out the ice. Then she does the same thing with hers. They are quiet for a moment. RICHARD Why can't you ever relax. You're always stressed. SUSAN You're the one stressing me out. You're why I can't relax. RICHARD You could if you tried. SUSAN Tried? Don't you think I tried? RICHARD You're never going to forgive me, are you? SUSAN Do you even know what I'm talking about? RICHARD Susan, please; we didn't come all this way just to argue. Susan gets angry and faces him. SUSAN Oh, we didn't? Then when are we supposed to "argue"? Or are you planning on running away again? Richard sighs, defeated. They stop speaking and sit looking at the mountains. 25 EXT. BUS -- MOMENTS LATER The tourists crowd around to board the bus. Some boys in rags approach to sell them trinkets. BOYS Stilo...stilo...18. Some of the tourists buy them. They come to Susan, who becomes instantly uncomfortable. She gestures with her hand to say they have no money, but the kids insist. BOYS (CONT'D) Stilo...stilo... SUSAN I don't have any money... I don't have any... Richard takes off his binoculars and gives them to the youngest of the boys (7), who receives them with wide eyes. RICHARD Here. SUSAN What are you doing? Richard just gets in the bus. Susan stares at the boy with the binoculars for a moment and then gets in. 26 INT. BUS -- LATER Susan sits next to the window, in the middle of the bus. She looks hurt and sad. Richard walks over and sits next to her. The bus starts. Through the window, Richard can still see the boy with the binoculars. He smiles until he sees an older boy snatch the binoculars away and push the little boy. The bus drives away, but Richard can't take his eyes off the scene. The older boy walks away with the binoculars. 27 EXT. DESERT -- DAY The bus drives down a straight road that divides the desert. 28 INT. BUS -- MOMENTS LATER The bus drives on. Some of the old men sleep. Susan leans her head against the window and watches the landscape scroll past. Richard sits beside her silently. Susan holds out her hand and takes Richard's, as a sign of reconciliation. He holds hers and caresses it. Susan gets comfortable to try to sleep. She closes her eyes when suddenly something smashes the window and Susan collapses forward. Richard turns to look at the punctured glass and then Susan. RICHARD Susan, what's wrong?19. Susan doesn't answer, limp on her seat. RICHARD (CONT'D) What happened? Richard lifts her up and when he does he sees a thread of blood run down her neck. Richard yells at the driver. RICHARD (CONT'D) Stop the bus, stop, my wife's been hurt. 29 INT. VOLLEYBALL COURT -- DAY In an indoor volleyball court with bleachers, several Japanese girls play volleyball. They all compete intensely for the point. There is excitement, but everything occurs quietly. A player jumps and spikes the ball. Chieko (16), tall, beautiful, with strands of hair painted purple, volleys the ball back up. It reaches one of her teammates who sets up another to spike it. Chieko's team wins the point. The referee, instead of whistling, lifts up a red flag. The players congratulate each other silently, in sign language. The only sound we can here is the parents' clapping as they watch the game from the stands. Chieko's team serves. Again, the game is heated. A rival player spikes the ball, and it is barely out of bounds. However, the referee, with his red flag, calls the point. Chieko is upset and goes to argue with him. CHIEKO (In sign language) The ball was out. REFEREE (In sign language) No, it was good. Chieko gestures violently. One of her teammates goes to calm her down. TEAMMATE Let it go. Chieko breaks loose and approaches the referee. CHIEKO That was out. REFEREE It was on the line. 20. CHIEKO You're not just deaf, you're blind. REFEREE You're out. Chieko is furious. She starts to make obscene gestures. CHIEKO You're an asshole. The coach walks onto the court. He holds her to calm her down and then takes her away. Despite Chieko's violent reaction, everything is still silent. From the bleachers, Yasujiro (47), Chieko's father, dressed in a nice suit with the tie undone, with a sad pride about him, disapproves of his daughter's actions. 30 INT. LOCKER ROOM, VOLLEYBALL COURT -- DAY Chieko sits on a bench in her underwear. She looks aggravated and absorbed in her own thoughts. Her other teammates get dressed. Two of them walk past wrapped in towels, freshly showered, and stand in front of her. They talk to each other in sign language. TEAMMATE 1 You shouldn't have lost your temper. We lost the game. CHIEKO It wasn't my fault, it was the ref. TEAMMATE 2 If you hadn't been thrown out, we would've won the game. Chieko, angry, gets up and starts to rummage through her locker. Her teammate walks over and gets her attention. TEAMMATE 1 Why are you in a bad mood? Chieko doesn't answer. Teammate 2 approaches. TEAMMATE 2 She's always in a bad mood because nobody's fucked her yet. She caps this with an obscene gesture that bothers Chieko. CHIEKO I'm gonna fuck your dad to get rid of my mood. Teammate 1 laughs, amused. Teammate 2 gives Chieko a scornful look. Chieko smiles sardonically.21. 31 INT. YASUJIRO'S CAR -- DAY Yasujiro drives while Chieko looks at the swarming Tokyo streets. She is wearing a skirt revealing of her long volleyball legs. Her fathers speaks to her in sign language. YASUJIRO What do you want to eat? CHIEKO I said I'd meet my friends from the team at Eve's. YASUJIRO Weren't we going to have lunch together? CHIEKO Dad, I told you I was going to eat with them, but you never pay attention to me. Yasujiro shakes his head in disapproval. CHIEKO (CONT'D) My mother always paid attention to me. YASUJIRO Why do you want to fight? They don't say anything else. The traffic is chaotic. YASUJIRO (CONT'D) I miss your mother too. Chieko just looks at him. YASUJIRO (CONT'D) I'm doing what I can, sweetie. They don't say anything else. The traffic is chaos. 32 EXT. STREET, TOKYO -- DAY Yasujiro parks his car and Chieko gets out. YASUJIRO (in sign language) Don't forget you have the dentist at four. Chieko looks annoyed, and blows her father a kiss goodbye. As she is about to get out of the car, Yasujiro grabs her arm. She turns to look at him. 22. YASUJIRO (CONT'D) (In sign language) I love you very much. They exchange a glance. She nods, closes the door and leaves. 33 INT. EVE'S -- DAY Eve's is a restaurant full of t.v.'s, noise, video games. There is smoke, and people talking everywhere. Chieko moves through the crowd. A hostess intercepts her. HOSTESS Do you have a table? Chieko doesn't manage to read her lips. The hostess, smiling, awaits an answer. Chieko waits, expectant, for the hostess to repeat herself. HOSTESS (CONT'D) Do you have a table? Chieko nods and points at her group of girlfriends, who are sitting on the barstools next to the bar. The hostess smiles another stupid smile and lets Chieko by. Further off, her friends spot her and make silly faces. Chieko laughs, walks over to them. They are all dressed the same: short skirts, tight t-shirts . Some of them have piercings in their nose, lips and ears. They all exude hormones in their silence. Chieko goes to talk to them in sign language. CHIEKO Why all the way in the corner? Mitsu, with a good body, not very tall and with violet highlights in her hair, points at a pair of tables where a group of young men are drinking beer. MITSU Because of the view. Chieko turns around and stares at one of them wearing a Milan jersey. Their eyes meet. Chieko keeps her eyes on him, and the boy finally turns away. MITSU (CONT'D) Do you like him? Chieko nods without taking her eyes off him.23. 34 INT. EVE'S -- DAY Chieko, Mitsu and another of their friends are playing a pinball game that makes noises whenever the ball hits a wall. The young man in the Milan jersey approaches Chieko. YOUNG MAN Hello. Neither Chieko, nor her friends answer. The guy turns to look at one of his friends, who signals for him to insist. YOUNG MAN (CONT'D) Can I play with you? Chieko, obviously, cannot hear him. She keeps playing. Suddenly, Mitsu notices the young man's presence and taps Chieko on the shoulder. Chieko turns around and is surprised. The young man turns to look toward his friends as he speaks. YOUNG MAN (CONT'D) Do you want to come have a drink? Chieko gets frustrated; she cannot read his lips. He stops looking at his friends and awaits an answer, but all he sees is three silent girls staring at him stupefied. Chieko talks to Mitsu in sign language. CHIEKO Tell him I couldn't read his lips. The young man, upon seeing them communicate, is caught off guard. He turns around and walks toward his friends without saying a word. 35 INT. BATHROOM, EVE'S -- DAY Chieko leans on the sink while Mitsu pees in one of the stalls. Chieko is noticeably upset. Mitsu walks out of the stall, fixing her skirt. She sees Chieko is distressed. MITSU (In sign language) What's the matter? CHIEKO (In sign language) They look at us like we're monsters. MITSU Oh, come off it.24. Chieko is at a loss for words. Mitsu stares at her: it looks like another one of many tantrums. Chieko hikes up her skirt and starts to pull down her panties. MITSU (CONT'D) What are you doing? CHIEKO Now they're going to meet the real hairy monster. She makes the gesture of sticking her finger up a hole, then goes to the toilet, throws her panties in and flushes. She turns to look at Mitsu defiantly, who cannot help but laugh. 36 INT. EVE'S -- DAY Chieko sits on one of the restaurant's benches. Before her is a new group of young men. Mitsu and Chieko exchange a look. Provocatively, Chieko crosses her legs slowly revealing her pussy. One of the young men seems to notice, and is stunned. Chieko smiles and does it again. He watches Chieko again and discretely turns to one of his friends to tell him. Chieko turns her back to him and faces the bar. She looks over at Mitsu, who shakes her head, amused. A beeper rings on Chieko's skirt. She picks it up and reads: "Don't forget your appointment with the dentist. Papa." She puts the beeper away and turns toward Mitsu. CHIEKO I'll see you later at my place. She mischievously turns toward the table where the young man was, and as she gets off the bench she spreads her legs wide open, flashing him shamelessly. She struts out. 37 EXT. DESERT -- DAY Ahmed and Yussef run full speed, herding their goats as they go. Some of them get left behind and Yussef hurries back to them. As they climb a hill, he slips and falls, rolls downhill and drops the rifle, which slides a few meters away. Ahmed runs to help him. Yussef gets up, covered in dust and with a scratch on his forehead. Ahmed picks up the rifle. AHMED Hurry up, man, hurry...25. Ahmed runs off, hands flailing, to herd the straggling sheep. Yussef follows him, limping. 38 EXT. YUSSEF AND AHMED'S HOUSE -- LATER The brothers make it back home. Agitated, they put the goats back into their corral. Zora walks out and approaches them. ZORA What's wrong? Yussef, busy closing the corral gate, pays no attention. Ahmed, breathing agitatedly, doesn't answer. ZORA (CONT'D) I asked you what's wrong. Ahmed, full of adrenaline, glances angrily at her. AHMED What do you care, whore? Yussef gets in the way. YUSSEF Don't talk to her like that. Yussef steps up to defend her, but Ahmed spins around and goes into the house. Yussef turns to Zora. YUSSEF (CONT'D) Something we ate make us sick so we came back. Without another word, Yussef also goes into the house. 39 INT. YUSSEF AND AHMED'S HOUSE -- LATER Yussef and Ahmed are sitting on their mats, looking at each other, pale, scared and quiet. Yasira walks in to see them, followed by her daughters. She turns to Ahmed. YASIRA What are you doing here? Ahmed, livid, cannot answer. YUSSEF Something we ate gave us a stomach ache. Yasira stares harshly at Ahmed. YASIRA And is that why you're insulting your sister?26. Ahmed looks at Zora, then Yussef, and then is silent. YUSSEF We were feeling really ill. Yasira points toward the corral. YASIRA The goats are going to feel even worse if they don't eat. Take them out again. AHMED Our stomach really hurts. YASIRA Then start jerking the meat. Yasira walks out. Yussef and Zora exchange a look. 40 INT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef and Ahmed are jerking a couple of young goats with very sharp knives. They set the thin strips on newspaper. They look nervous. They talk in whispers. AHMED D'you think something happened? YUSSEF I don't know. AHMED People were screaming. They are silent for a long while. AHMED (CONT'D) It was your fault. Yussef stares at him in disbelief. YUSSEF It was both our faults. We both shot. (A beat) Swear to me you'll never say anything. Ahmed won't answer. Yussef looks around the room to make sure nobody is listening to them. YUSSEF (CONT'D) Swear. Nobody, never. Ahmed remains pensive. He sighs and answers. 27. AHMED I swear. Nobody. 41 EXT. YUSSEF AND AHMED'S HOUSE -- EVENING The brothers are hanging the strips of meat on ropes to dry them in the sun. An old Valiant packed with seven men parks in front of the house and Abdullah gets out. He raises his hand to say goodbye. ABDULLAH Thank you, I'll see you tomorrow. The driver also raises his hand and then drives off. Abdullah turns to Yussef. ABDULLAH (CONT'D) Tell your mother to prepare dinner. Abdullah turns towards the house. Yussef comes out running towards a little field below the house. Yasira is plowing with a manual plow. YUSSEF Mother, mother, father says he wants to have dinner now. 42 INT. YUSSEF AND AHMED'S HOUSE -- EVENING Abdullah and his children sit at the small table while the women prepare the food. A column of smoke rises from the fire where they are roasting goat meat and toasting bread. Yamil, the youngest of the daughters, sets some bread on the table. Abdullah takes it, tears some off and starts to eat. He turns to Yussef. ABDULLAH Did you kill any jackals? YUSSEF We shot at them, but didn't hit them. ABDULLAH You have to kill them. If not they're going to eat all the goats. Yasira sets the strips of goat meat on the table. Abdullah serves himself some. His children wait until he's done to serve themselves. YASIRA Why are you home so late? Abdullah starts talking with his mouth full. 28. ABDULLAH They closed the road, and we had to take the long way around. (He swallows) Apparently some terrorists killed an American tourist. Ahmed and Yussef shoot each other a nervous glance. YASIRA An American? ABDULLAH Yes, the terrorists attacked a tour bus on the road. YASIRA But there aren't any terrorists here. Abdullah finishes his mouthful. He wipes himself with his sleeve. Ahmed doesn't even dare raise his eyes. ABDULLAH You never know. Yussef, nervous, looks up. YUSSEF And how do you know the American died? ABDULLAH That's what they were saying. The police are looking for the culprits. Yussef and Ahmed again exchange a furtive glance. 43 INT. YUSSEF AND AHMED'S HOUSE -- NIGHT Night. An oil lamp in a Nescafe jar lights the house. The family sleeps in the only two rooms in the house. One of them is the parents room, the other the children's. We hear a goat bleating in the darkness. Abdullah's snoring. Yasira's breathing. The crunching of wood in the night cold. Neither Yussef, nor Ahmed can sleep. They both look at each other, anxious. 44 EXT. BORDER CROSSING -- DAY Santiago's car crosses the border between San Diego and Tijuana. They drive through a green light at the crossing, easily entering Mexico without being stopped by three Mexican customs officials. 29. 45 INT. SANTIAGO'S CAR -- DAY Debbie and Mike stare through the windows, amazed at the new world they are entering: other people, other architecture, other colors, other noises. Santiago turns towards them while he's driving. SANTIAGO See how easy it is to get into paradise? DEBBIE Is this Mexico? AMELIA (In Spanish) Yes, this is Mexico. MIKE My mom told us Mexico is really dangerous. Santiago turns toward the kids. SANTIAGO (In Spanish) Yes, it's full of Mexicans. Amelia and Santiago look at each other and smile. 46 EXT. TIJUANA -- DAY They drive through Tijuana. 47 INT. SANTIAGO'S CAR -- DAY Mike and Debbie continue to gaze awestruck through the windows. Santiago turns to them. SANTIAGO (In Spanish) Are you hungry? They both nod. SANTIAGO (CONT'D) Do you like popsicles ? Santiago pulls over next to some stalls, and the street vendors run out to offer them their products. 48 EXT. PARK, TIJUANA -- DAY The children eat their popsicles as they walk through the endless aisles of stalls, past the vendors and their incessant banter. 30. MIKE What's this flavor called? Santiago answers before Amelia. SANTIAGO (In Spanish) Cajeta ... it's called cajeta . MIKE (Mispronouncing) Cayeto ... Santiago laughs. SANTIAGO No, cajeta ... cajeta ... MIKE Cajeto , cajeta ... It's the best thing I've ever tasted in my life. (A beat) Can I buy some for my mom? She's gonna love them. Amelia smiles and nods. 49 EXT. TIJUANA -- DAY The car drives out of the city and gets on a highway. The desert rises in all its magnitude and severity. 50 EXT. DESERT HIGHWAY -- DAY Santiago parks the car next to a junkyard. Amelia and Debbie run out and hide behind a fence. Debbie pulls her underpants down to pee. Troubled, she looks at the mound of destroyed cars. DEBBIE Are they crashed cars? AMELIA Yes... DEBBIE Did lots of people die? AMELIA I guess so... DEBBIE I don't like Mexico.31. 51 EXT. DESERT HIGHWAY -- DAY They drive down the highway and then turn onto a path. They drive down the path at high speed, lifting up clouds of dust. 52 EXT. HAMLET "LOS LOBOS" -- DAY They arrive at a dusty hamlet in the middle of the desert; a few houses, no more than twenty, some adorned with multicolored paper. Several crates of soda are stacked up against a makeshift shed built out of yucca fronds. A group of musicians who play Norteña music are setting up their instruments. There are various pickup trucks and smuggled cars parked around the hamlet. The guests are wearing their best: fresh shirts, big buckles, almost new boots. Santiago parks. Amelia gets out first. A group of people sees her and comes over to greet her. COMADRE 1 (All in Spanish) Hey, so you finally made it. Amelia smiles. Her friends notices Mike and Debbie. COMADRE 1 (CONT'D) You brought them? Amelia nods. Luis (24), Amelia's son, a typical Norteño cowboy with long sideburns and moustache, his face tanned from days under the sun, wearing a pistachio-colored tuxedo with a cloth flower in the lapel, greets Amelia with a kiss. LUIS Hi mom, how're you doing? She looks him up and down. AMELIA Son, you look like Pedro Infante . COMADRE 1 More like Luis Miguel . AMELIA Where's the bride? LUIS She's not here yet. AMELIA What d'you mean she's not here yet?32. LUIS Well, she ain't here. Mike and Debbie, struck dumb by the language and the strangers, hide behind Amelia, who introduces them to Luis. AMELIA Look son, these are Mike and Debbie, the kids I take care of. Luis holds his hand out ceremoniously. LUIS Pleased to meet you Mike. Santiago calls out to some kids who are running around. SANTIAGO Psst. Lucio, come here. Lucio (10), the oldest of the gang, approaches. Santiago gestures toward the two American kids. SANTIAGO (CONT'D) These are Mike and Debbie. Keep an eye on them for me. Lucio gives them a scornful glance and calls them over half- heartedly. LUCIO Come with me. With her hand, Amelia signals to the kids that it's ok to go with him. Shyly, Debbie and Mike follow. 53 INT. ROOM, HAMLET "LOS LOBOS" -- DAY Amelia is in a room with her two daughters standing in front of a peeling and broken mirror putting on her violet gown. One of her daughters helps her and pulls the zipper all the way up. DAUGHTER 1 (All in Spanish) Oh ma, I don't know how you did it but it zipped up perfectly. AMELIA And it's been 15 years since I last wore this dress. DAUGHTER 1 You haven't changed a bit, ma.33. AMELIA Working, dear, working, that's what keeps one young. The two sisters realize that the dress has a hole just below the seat, exchange looks and smile, which doesn't please Amelia. AMELIA (CONT'D) What are you guys laughing about? DAUGHTER 2 Nothing ma, nothing. Amelia looks at them suspiciously, turns around and leaves the room with her dress elegantly torn. 54 EXT. DESERT ROAD, MOROCCO -- DAY The bus is in the middle of the road. Several of the tourists are hiding under their seats, frightened. The driver, still ducking, looks toward the mountains to try to piece together what happened. Richard holds Susan against his shoulder, blood gushing from her neck. Her eyes are open and staring at a fading world. Richard takes Susan from under her armpits and carefully lays her down on the aisle. Anwar runs over to help. RICHARD Take it easy honey, take it easy. Anwar takes his shirt off - left only in his undershirt - and puts it under Susan's neck. SUSAN (mumbling senselessly) I'm ok... I'm ok... Susan breathes in, and every time she does, blood flows from her wound. Richard turns toward the other passengers. RICHARD Is anybody a doctor? Nobody answers. Richard starts to lose his cool. RICHARD (CONT'D) Please: a doctor. The pensioners don't answer; they are too scared. Richard opens Susan's purse and sees a cell phone. He turns it on and tries to call, but there is no signal. He turns to Anwar.34. RICHARD (CONT'D) Where's the nearest hospital? ANWAR It's far away, about four hours. (a beat) There's a clinic that's a little closer, about an hour and a half to the south. By bus it'll take us about two hours and a half though. RICHARD Does that takes away from Marrakesh ? ANWAR Yes, but it's the closest thing we've got. Richard runs down the aisle and gets out of the bus. 55 EXT. DESERT HIGHWAY -- DAY No cars drive by. The road is almost deserted. In the distance, a run-down Renault approaches. Richard stands in the road to stop it. The car brakes and Richard runs toward the driver: an old peasant traveling with his eight year-old grandson. RICHARD I need your help. We were attacked. OLD MAN (In Arabic) I don't understand... Richard grows desperate. RICHARD Help... hospital... OLD MAN (In Arabic) I don't understand you sir. Richard sees that Anwar and the bus driver have gotten out of the bus and he starts shouting at them for help. RICHARD Tell him we need his help. With the distraction, the old man drives off. Richard watches helplessly as they drive away and he grabs Anwar by the arm. RICHARD (CONT'D) Let's take her to the clinic. 35. 56 EXT. DESERT HIGHWAY -- DAY The bus makes a U-turn and drives away at full speed. 57 INT. BUS -- DAY The bus rattles along. Richard huddles over Susan, trying to stop the blood flowing from her neck. Barth, an old man starts shouting. BARTH Marrakech isn't this way. They're going to shoot at us again. RICHARD We've got to get her to a hospital. BARTH They're going to kill us all. Turn back... turn the bus around... Richard gets exasperated at the old man's screaming. RICHARD Shut up, god damn it! Barth shuts up and the bus drives on. 58 EXT. DESERT HIGHWAY -- DAY The bus bounces its way down the straight highway. 59 INT. BUS -- DAY The passengers sit quietly. As the ride gets bumpier, Susan starts to cry out in pain. SUSAN It hurts, it hurts... Richard tries to calm her down. RICHARD Easy, sweetie, easy... SUSAN It hurts... it hurts so much... Richard turns her around and sees her shoulder has been shattered. She won't stop shouting. A pool of blood starts trickling down the aisle. RICHARD (A Anwar) Isn't there anywhere else we can take her?36. ANWAR We can take her to my town. It's near here and there's a doctor. In the meantime we can call Erfourd for an ambulance. Richard turns to look at Susan, who is writhing in pain. RICHARD Ok. ANWAR (To the driver, in Arabic) Make a right onto the next road. Richard and Anwar exchange a glance. 60 EXT. DESERT HIGHWAY -- DAY The bus leaves the main road and turns into a dirt road. 61 INT. BUS -- DAY The bus' poor suspension gives the passengers a jolt. Richard tries to protect Susan's head. 62 EXT. HAMLET -- DAY The bus pulls into a small group of houses. Several children run beside the bus, chasing it. Some gaunt dogs get out of the way to let the bus by. 63 EXT. ANWAR'S HOUSE -- DAY The bus pulls up in front of a modest house. 64 INT. BUS -- DAY Richard raises his head and sees the desolate environs. RICHARD Are we here? ANWAR Yes sir, this is my house. Richard tries to carry Susan, but she screams in pain. RICHARD Easy, darling, easy... He slips his hands under her and lifts her up. SUSAN Don't touch me there.37. Richard moves his hand, which is covered in blood. As he carries her, he turns into the aisle while Anwar and one of the passengers try to help him. 65 EXT. HAMLET -- DAY Richard carries her into the house through a crowd of curious children. 66 INT. ANWAR'S HOUSE -- DAY Anwar leads Richard down the hallways amidst Susan's screams. 67 EXT. PATIO, ANWAR'S HOUSE -- DAY They walk through a dusty patio and Anwar points at some stairs. Richard climbs them with difficulty and Anwar opens the door to a room. ANWAR Here... here... 68 INT. ROOM, ANWAR'S HOUSE -- DAY An old woman (87), Anwar's grandmother, who has centuries of desert in her expression, lets them in and points at a rug on the floor. ANWAR'S GRANDMOTHER (In Arabic) Put her there... Richard understands and softly lays Susan on the rug. Susan looks around horrified: adobe walls, dirt floor: the epitome of the third world. RICHARD I need to call an ambulance and contact my embassy. ANWAR If you have the number of the embassy, I can go call. Obviously, Richard does not have it. RICHARD I need to make a phone call. ANWAR Of course, come with me. They get ready to leave and Susan starts imploring. SUSAN Don't leave me here alone...38. RICHARD Don't worry, I'll be right back. Susan looks desperate. To set Richard somewhat at ease, Anwar points at his Grandmother. ANWAR She can take care of her. Richard leans over Susan. RICHARD You're going to be ok. Anwar kneels down next to her, takes a cloth and improvises a tourniquet that he adjusts near her shoulder. He turns towards the grandmother. ANWAR (In Arabic) Hold and release the tourniquet every once in a while. The grandmother nods. She sees the swarm of kids looking into the place and she shoos them away. ANWAR'S GRANDMOTHER (In Arabic) Get out of here... out... The kids obey, except for one or two who take one last look before they go. Susan's terrified eyes watch Anwar and Richard leave the room. 69 EXT. ANWAR'S HOUSE -- DAY The bus is still parked in front of the house. As soon as Richard walks out, the pensioners approach him. DOUGLAS How is your wife? RICHARD Bad. Very bad. Tom (51), a fat English passenger, faces him. TOM Get her outta there and let's go. RICHARD And where should I take her? TOM In Egypt, in a town like this, they slit thirty German tourists' throats. They might do the same to us.39. Anwar listens and intervenes. ANWAR No, not here. TOM (Aggressively) What do you know? We have to get out of here as soon as possible. Lilly (79), an old woman, approaches. LILLY It's very hot, sir, and the driver turned off the air conditioning. I'm feeling sick. RICHARD You can't leave us here. James (82), Lilly's husband, steps forward. JAMES What's the use in staying? RICHARD In case I need the bus. JAMES They can go drop us off and then come back for you. Douglas (75), a tall old man with good posture, interjects. DOUGLAS I'll stay with you if you need me. Elyse (73), his wife, scolds him. ELYSE And why would you stay? RICHARD Please wait. Let me try to deal with this. TOM We're not going to risk our lives, so hurry. Douglas looks defiantly at Tom. DOUGLAS You do what you have to do, we'll wait. 40. 70 EXT. HAMLET -- DAY Richard and Anwar walk down the streets of the small hamlet before the people's inquisitive gaze. They arrive at a general store with all sorts of roots and grains displayed outside. Anwar walks over to the owner. ANWAR (in Arabic) We need your phone. I'll pay for the call. 71 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying on the floor, desolate. It seems as if the pain is diminishing. The grandmother leans over her and softly caresses her with her dirty, wrinkled hands. This startles Susan. ANWAR'S GRANDMOTHER (In Arabic) How do you feel? Susan is a little bit uncomfortable with her this close. SUSAN Can I have some water? The old woman doesn't seem to understand. She grabs a basket of dates and offers them to her. Susan shakes her head. SUSAN (CONT'D) No, water... With her hand, Susan mimes drinking a glass of water. The old woman seems to understand. She pours some water from a jar, leans over her and helps her drink in small sips. SUSAN (CONT'D) Thanks. The grandmother bows her head as if to say "your welcome." SUSAN (CONT'D) Where's my husband? The old woman just smiles. Susan makes a gesture of desperation. The grandmother leans over her, unfurls her index finger and points at her heart. ANWAR'S GRANDMOTHER (In Arabic) Trust in god. Susan keeps looking at her as she slowly gets up and goes to sit in a chair. 41. 72 INT. GENERAL STORE -- DAY Richard is in a small cubicle dialing on an old cream-colored rotary phone while Anwar waits discretely in a corner. Dozens of people watch from outside. Richard turns to look at them while the call connects. RICHARD Yes... Rachel? It's Richard... RACHEL (O.S.) ¿Are you still in Moroccco ? RICHARD Yes, we're still in Morocco...Rachel, there was an accident, your sister was shot... RACHEL (O.S.) (Surprised) What? Who shot her? RICHARD I don't know... We were shot at from some hills. RACHEL Is she ok? RICHARD She was hit in her neck and shoulder. Rachel, she's not doing well... I need you to tell the embassy as soon as possible... wait... and call Mark... RACHEL (O.S.) Where are you? He turns to Anwar. RICHARD Anwar, where are we? ANWAR In Tazarine , three hours southwest of Erfoud . RICHARD Were in Tazarine , T-a-z-a-r-I-n-e Three hours southwest of Erfoud ... in the desert... it's a town... there's no hospital... There's nothing here at all... RACHEL (O.S.) Where are you calling me from?42. RICHARD From a shop. Rachel, this is urgent... urgent... call the embassy... They have to help us... call James too... RACHEL (O.S.) Why did they shoot her? RICHARD I don't know... Rachel, you're sister's badly hurt... do you understand? Call for help... now... He hangs up. As soon as he does, he turns to Anwar. RICHARD (CONT'D) Call an ambulance... ANWAR I'll call Erfoud so they send one over. Anwar, clumsy and stressed at Richard's desperation, takes the phone and starts dialing. RICHARD And find a doctor... As he finishes dialing, Anwar turns to Richard. ANWAR They've already gone to look for him. 73 INT. ROOM, ANWAR'S HOUSE -- DAY Richard returns to the room. Susan, weak, lies with her eyes open. The grandmother is tending to the wound, which won't stop bleeding. She gets up and goes to Anwar. ANWAR'S GRANDMOTHER (in Arabic) Anwar, bring me some water. 74 EXT. PATIO, ANWAR'S HOUSE -- DAY Anwar goes out to the patio and fetches a metal basin full of soil. He goes to a well, scoops out some water with a gourd and washes out the basin. Anwar is walking back when he is stopped by Mohammed, his brother, a fat man (32) with curly hair and a tanned face. MOHAMMED (the entire dialogue in Arabic) Why did you bring them here?43. Anwar doesn't pay attention to him and keeps walking toward the room. His brother catches up to him. MOHAMMED (CONT'D) You should have consulted with us. Anwar stops and looks at him fixedly. ANWAR She's hurt, we had to take care of her. MOHAMMED In town they're saying she was shot by terrorists. Do you know what they're going to do to us when they find out she's here? ANWAR Don't be paranoid and go help find the doctor. Anwar pays no more attention to him and carries the basin into the room. 75 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying down. A small pool of blood has collected under her neck. She looks restless. She whispers weakly. SUSAN Get me out of here... please... RICHARD I'm going to as soon as I can. I've already called Rachel; she's going to tell the embassy. SUSAN I told you we shouldn't have come. Just then Anwar enters. The grandmother takes the basin and sets it in a corner. She gets some pieces of cloth and starts to soak them. RICHARD How long until the ambulance gets here? ANWAR About an hour and a half. It's coming from Alnif. RICHARD That much? Isn't there anyone here who could take her?44. Anwar shakes his head. RICHARD (CONT'D) We've got to get her out of here. There's no one to tend to her. ANWAR My brother already called a doctor, he's coming. Richard is going to say something, but holds back. His despair and confusion are evident. ANWAR (CONT'D) Trust my grandmother; she knows a lot about remedies. The grandmother wrings out the rags and puts them on a table. She takes some herbs, a fistful of earth from the floor and she tosses them into the basin. She stirs it and pulls out a clump of mud which she lays out on one of the pieces of cloth. Susan looks horrified at the dirt. The grandmother leans over her and tries to clean the wound with the other moistened rags. Susan resists. ANWAR'S GRANDMOTHER (In Arabic) I have to clean you. ANWAR (To Susan) Miss, my grandmother is going to help you. The grandmother finishes cleaning her with the damp cloths and grabs the clump of mud. She tries to put it on the wound, but Susan flinches. SUSAN No, not that. ANWAR'S GRANDMOTHER (In Arabic) It will stop the bleeding. SUSAN No, no... not that... Richard intervenes. RICHARD (To Anwar) Let's wait for the doctor.45. 76 EXT. HAMLET -- DAY Two old men walk through the streets. 77 INT. ROOM, ANWAR'S HOUSE -- DAY Mohammed walks into the room and calls him. MOHAMMED (In Arabic) The sheik and the moukadem are here. 78 EXT. ANWAR'S HOUSE -- DAY The two men walk past the tourists and head inside without knocking or asking for permission. 79 EXT. PATIO, ANWAR'S HOUSE -- DAY Richard and Anwar have walked out into the patio to wait for them. The sheik approaches. SHEIK (In Arabic) Allah be with you. ANWAR (In Arabic) Allah be with you. He turns to Richard and speaks to him in very bad French. SHEIK (In bad French) I am Atallah the sheik and this is Walid, the moukadem . I'm very sorry about your wife. RICHARD I don't understand French. ANWAR He says he is very sorry about your wife. Richard thanks him with a nod. SHEIK (To Anwar, in Arabic) Tell him that I want to ask him some questions. ANWAR (To Richard) Can he ask you some questions? Richard nods. The sheik continues in Arabic.46. SHEIK (In Arabic) Do you have any enemies in this country? ANWAR He asks if you have any enemies in this country. Richard shakes his head. RICHARD Of course not. SHEIK (In Arabic) Then why were you shot at? ANWAR Why did you come to Morocco? RICHARD Vacation. ANWAR (In Arabic) He has no idea. SHEIK (In Arabic) What does he do for a living? ANWAR What do you do for a living? RICHARD I'm a magazine editor. ANWAR (In Arabic) He edits magazines. SHEIK (In Arabic) Anti-muslim magazines? ANWAR Anti-muslim magazines? RICHARD No, magazine magazines. ANWAR (In Arabic) No, normal magazines.47. RICHARD Tell him we need to get my wife out of here. Ask him if the ambulance is on its way. ANWAR (In Arabic) He wants to get his wife out of here. He wants to know if the ambulance is on its way. SHEIK (In Arabic) Tell him the federal police are in charge of this, that they are going to send the ambulance. ANWAR He says the federal police are already in charge, that they are going to send the ambulance. The sheik looks at the house. SHEIK (In Arabic) Hey, did your cousin finally end up getting married? ANWAR (In Arabic) Yep, she's married, she doesn't live here anymore. Richard, anxious, questions Anwar. RICHARD What did he say? ANWAR He gives you his blessing. RICHARD Thank you. The sheik and the moukadem turn and exit the house. 80 INT. DENTIST'S OFFICE -- DAY Chieko is sitting in the reception area, waiting her turn. There is a woman with a twelve year-old son listening to a walkman and an old couple. The receptionist (50) will not stop talking to the old lady.48. RECEPTIONIST My niece sells these creams. And just look at my skin now. I'm going to turn fifty-two and look, almost no wrinkles... The woman continues her banal chatter. Chieko observes her grotesque mouth. She then looks at the old man's bored face, the old woman's feigned interest, the mother's annoyed expression, and the boy, who rocks his head to the music. A man walks out and the receptionist gestures at Chieko and points toward the door. 81 INT. DENTIST'S OFFICE -- DAY The dentist (47) - tall and, unlike the receptionist, with impeccable skin covering his hardened, attractive face - examines Chieko's mouth. His face comes very close to hers as he looks at her, making her nervous. The fat receptionist walks in without knocking. RECEPTIONIST Here are the sterilized drill bits. The dentist looks up at her. She leaves the drill bits on a table and leaves. The dentist turns back to Chieko and speaks face to face with her so she can read his lips. DENTIST I-think-you-have-two-cavities-in- your-molars . She smiles. The dentist moves closer to Chieko's mouth again; she cannot stop looking at him. Suddenly, Chieko licks his cheek. He is surprised, but continues his checkup. She licks him again, this time on the lips. He pulls away, flustered. DENTIST (CONT'D) What are you doing? She grabs his hand, puts it on her inner thigh and rubs it against her pubis. He, confused, tries to pull his hand away, but she prevents him from doing so. The scene starts to turn slightly grotesque. After a slight struggle, he pulls his hand back. DENTIST (CONT'D) What's the matter with you? She grabs his hand again and, again, pulls it toward her pubis. He gets angry and moves back. The fat woman enters again without knocking, sees they are agitated and, without a word, walks out and closes the door. 49. The dentist turns toward Chieko. DENTIST (CONT'D) Get out. She shakes her head. She is excited, anxious, scared, fragile. He pulls her by her wrist out of the chair. DENTIST (CONT'D) Get out right now. He walks to the door and opens it. Just before she walks out, Chieko draws out a slight smile, which is almost a grin. 82 EXT. TOKYO STREETS -- DAY Chieko walks down crowded Tokyo streets. She walks with a lost gaze, unsettled. 83 EXT. APARTMENT BUILDING, TOKYO -- DAY Chieko arrives at an upper class apartment complex. The architecture is cutting edge, but impersonal and cold. 84 INT. LOBBY, TOKYO APARTMENT BUILDING -- DAY Chieko enters the lobby. Beside the doorman are two men dressed in suits: Kenji (31) and Hamano (50). The janitor gestures at Chieko with his chin. The men walk over toward her and cut her off. HAMANO Are you Yasujiro Wataya's daughter? Chieko doesn't manage to read his lips. She is silent. The doorman notices the situation, walks out from behind his small desk and shouts at the men. DOORMAN She's deaf mute. Face her when you speak so she can read your lips. Kenji and Hamano are disconcerted. Hamano stands squarely in front of her and speaks slowly, emphasizing every word. HAMANO Are-you-Yasujiro-Wataya's-daughter ? She nods. HAMANO (CONT'D) We-are-sargeants-Kenji-Mamiya-and- Hamano-Kanoo-of-the-Tokyo-police . We-need-to-find-your-father. She pulls out a pen and a piece of paper from her bag. She scrawls a few lines and hands them over. 50. Hamano reads it and turns his face toward hers. HAMANO (CONT'D) No, he didn't do anything wrong. We just want to talk to him. Do you know where he is? She shrugs her shoulders. Kenji gives her his card. Upon receiving it, Chieko turns to look at him. Their eyes meet and she looks down. She then looks up again, blushing. KENJI Tell him to call us. And don't be scared, we're not going to do anything bad to him. HAMANO Thank you. Chieko can't stop staring at Kenji. The two cops leave. As soon as they do, Chieko heads toward the elevator. 85 INT. CHIEKO'S APARTMENT -- DAY Chieko walks into the apartment. It is a large apartment, elegantly furnished. Although decoration is scant, some hunting trophies stand out: a scimitar-horned Oryx, sheep, and others. There are also photographs of Yasujiro hunting. A wall is dedicated to family photos. Among them is a picture of Chieko as a little girl with her father and her mother. Chieko sees a note on the table at the entrance. She puts the policeman's card down and picks up a note from her father that says: "I waited until five and you didn't make it. I've got a meeting and I'll be back late. I left you some soup and some chicken for dinner. Kisses. Papa." 86 INT. CHIEKO'S ROOM -- DAY Chieko sits in front of a mute T.V., channel surfing. She stops at a fashion show, then some cartoons. Suddenly, on a news program, we see the photographs of Ahmed and Yussef. Chieko looks at them for a moment and then changes the channel. She is watching T.V. when a red bulb, set between a yellow bulb and a blue one, starts to light up insistently as the doorbell rings. Chieko notices and shuts off the T.V. 87 INT. LIVING ROOM, CHIEKO'S APARTMENT -- DAY Chieko opens the door and Mitsu walks in. They greet each other with a handshake where they end up touching their index fingers to each other's hearts. 51. MITSU Are you ready? CHIEKO Yeah, I'm just going to get my bag. Chieko goes to get her bag. Mitsu sees the policeman's card on the entrance table and looks at it. Chieko comes back and Mitsu asks her about it in sign language. MITSU The cops came again? CHIEKO Yeah. They hadn't come in nine months. But these were different cops. MITSU Did they come to ask about your mothers' death? CHIEKO No, but they're probably going to ask my dad about the same things. MITSU They're just not convinced, are they? Chieko shakes her head, remains pensive and then smiles. CHIEKO Believe it or not, I liked one of the cops. Chieko puts Kenji's card in her purse. MITSU Did you put on some panties? Chieko smiles, lifts up her skirt and exposes her naked pubis. Mitsu lifts hers up as well and is also without panties. They laugh and leave the apartment. 88 EXT. YUSSEF AND AHMED'S HOUSE -- MOMENTS LATER Dawn. The desert is a rose plain softly lit by the sun's first rays. Yussef and Ahmed are digging a hole with their bare hands. Once they're finished, they clean up around the hole and mark it with three stones. 89 EXT. HIGHWAY, DESERT -- MORNING Alarid (40), a federal cop, tall, in an impeccable uniform with numerous rank badges, stands on the highway examining the site of the shot with the old man who was driving. 52. In the distance we can see a police checkpoint stopping some cars and, after checking them, letting them go. ALARID (To the old man, the entire dialogue in Arabic) Are you sure it was here? OLD MAN Sure. I drive down this road every day. The American tried to stop me right here. He stands more or less where Richard tried to stop him. OLD MAN (CONT'D) I was scared. He was covered in blood and I was coming from picking up my grandson from his work. ALARID Where was the bus? The old man points some twenty yards behind him. OLD MAN Over there. Alarid walks toward where the old man said and looks out at the mountains. Some of his men are visible at the tops. Alarid talks to them by radio. ALARID Look further to the right. We can see some men exploring the terrain. ALARID (CONT'D) (To the old man) Why did you wait so long to contact the police? OLD MAN I had to drive my grandson home. The radio crackles. POLICEMAN VOICE Captain Alarid, Captain Alarid... We found the cartridges. 90 EXT. MOUNTAIN RANGE -- MORNING Alarid squats, scrutinizing the four empty cartridges lying on the earth. One of his men approaches and Alarid signals with his hand for him to stop immediately.53. ALARID Stop right there... The man remains motionless. Alarid follows the prints that lead away from the cartridges. He reaches the mess of goat hoof-prints. He picks up a ball of shit and feels it. ALARID (CONT'D) They're from around here. Find out who has a .270 caliber rifle. 91 EXT. DESERT -- MORNING Yussef and Ahmed walk back home, lost in their own thoughts. Suddenly a jackal trots out and stares at them. Yussef picks up a rock and throws it. The jackal runs off. 92 EXT. HASSAN'S HOUSE -- MORNING Hassan and his wife are listening to the radio and playing cards at a table placed outside the house. As they play, Hassan whittles a stake with a small knife. Hassan's wife lowers her hand and Hassan follows. HASSAN I won... His wife pushes two chips from her pile toward him. In the distance, several trucks approach, kicking up a dust cloud. Hassan's wife gets up to better see them. WIFE Are you expecting anyone? Hassan stands up and watches the vehicles come closer. HASSAN No. Five trucks pull up in a semicircle around the house. A dozen police officers get out armed and aim at Hassan and his wife. Alarid gets out and stands next to his car door. ALARID Hassan Ibrahim ? Hassan paralyzed by fear, answers in a broken voice. HASSAN Yes. One of the police officers approaches him aiming directly at his head, while another one aims at his wife. 54. POLICE OFFICER Drop your weapon. Hassan lifts up his knife and shows it to them. HASSAN It's not a weapon, it's my knife. POLICE OFFICER Drop it, now... Hassan drops the knife in the dust. POLICE OFFICER (CONT'D) Get down on the floor... face down... Hassan and his wife look at each other before they obey. HASSAN What did we do? The cop readies himself to fire, and Hassan drops to the ground. His wife follows and also lies on her stomach. 93 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Abdullah takes two goats out of the corral, ties a rope to their neck and drags them over to a rock. The goats bleat desperately trying to break free. Abdullah turns to look at his children. ABDULLAH Hold them. Yussef and Ahmed hold their legs. Abdullah pulls out a knife and slits the goat's throat. 94 EXT. HASSAN'S HOUSE -- DAY Hassan lies on the floor, cuffed, with a broken mouth, surrounded by cops. Alarid is carrying out the interrogation, squatting next to Hassan's face. ALARID Why did you shoot at the bus? HASSAN I didn't shoot at anyone. ALARID Then who, you idiot? Hassan remains silent and turns to look at his wife who is sitting on a chair, cuffed, a few yards away.55. HASSAN It wasn't me. Alarid punches him in the face. ALARID That was your rifle. HASSAN No, not anymore, I sold it today. ALARID Oh yeah? To who? 95 EXT. YUSSEF AND AHMED'S HOUSE -- LATER Abdullah gives Yussef and Ahmed some goat skins. ABDULLAH Take these goat skins to Naguib and see if he wants to buy them. The two brothers bundle up the skins, tie them up with some cord and they leave down the path away from the house. 96 EXT. DESERT -- DAY As they climb a hill, they encounter a convoy of Moroccan police trucks. They are terrified. The vehicles screech to a dramatic halt before them, lifting up much dust. Alarid opens the passenger window. ALARID Hey, do you know where Abdullah Adboum lives? Ahmed and Yussef exchange a glance. Yussef nods. YUSSEF Yes. Ahmed gets very nervous. Yussef points the wrong way with an air of certainty. YUSSEF (CONT'D) Over there, you have to cross those mountains. ALARID They told us he lived around here. YUSSEF No, we just live here with our mother. Abdullah lives over there. Alarid scrutinizes the brothers' faces. 56. ALARID If you're lying to me I'm going to come back and cut your balls off. Ahmed breathes nervously. Yussef continues in cold blood. YUSSEF You can come back whenever you like. Alarid smiles and gestures at the driver with his head that they should go on. The police vehicles drive off in the direction Yussef pointed them in. 97 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Ahmed and Yussef run home. Their mother and sisters are milking some goats into a tin bucket. When they fill, Abdullah empties the milk out into a barrel. AHMED Papa... papa... Abdullah puts the bucket down on the floor and turns to look at his kids, who stop before him, panting, exhilarated. ABDULLAH What happened? Ahmed can barely control his gasping. AHMED The police... they're looking for you... ABDULLAH Me? Why? YUSSEF No, they're not looking for you... they're looking for us... ABDULLAH You? Why? YUSSEF Because of what happened to the tourist... Yasira and her two daughters stop milking and approach. Abdullah can't seem to understand what their talking about. ABDULLAH What tourist? AHMED The American... Yussef killed her...57. YUSSEF That's not true, we both did. YASIRA What are you saying? Ahmed fires his words out. AHMED Yussef started shooting at the cars because Hassan said that the bullet could go really far... YUSSEF That's a lie, you started shooting at the cars. AHMED Yes, but you killed her. Abdullah loses his patience and grabs Ahmed by the shoulders. ABDULLAH What the hell are you talking about? Ahmed looks at his father straight in the eyes. AHMED Yussef killed the American and he spies on Zora naked and Zora lets him watch her... Abdullah turns toward Zora. In his mind, everything is confusion. ABDULLAH What is your brother talking about? ZORA That's bullshit. AHMED It's not bullshit; she's a whore and my brother spies on her... As soon as the words leave Ahmed's mouth, Yussef decks him and leaves him sprawled on the dust. Ahmed shoots right back up and runs at Yussef kicking, until they're both entangled in the fight and end up rolling on the ground. Abdullah tries to get between them. 98 EXT. HAMLET "LOS LOBOS" -- DAY Debbie and Mike are almost like spectators at a soccer match between the other kids, as they play in the dirt with an orange plastic ball.58. Nobody passes to them. Mike just runs from side to side without saying a word. Frustrated, Debbie just watches. 99 INT. HOUSE, HAMLET "LOS LOBOS" -- DAY Inside the house, Amelia is checking on the food. AMELIA (All in Spanish) How many pots of rice did you make? DAUGHTER 1 I made two. Amelia looks out the window and sees the vast amount of guests that have arrived and which have transformed the hamlet into a large parking lot of trucks, horses, carts, etc. AMELIA Too many people have come, that's not going to be enough. Make two more pots. She turns to another of her daughters. AMELIA (CONT'D) And you Maria Eugenia , warm up more tortillas. She sees Santiago walk past the window. AMELIA (CONT'D) Santiago... please go kill another six chickens, or there won't be enough food. Santiago stops and looks through the window. SANTIAGO Sure thing. Out back, Santiago sees a car arrive. A priest steps out. 100 EXT. HAMLET "LOS LOBOS" -- DAY Luis is standing under a shack drinking beer with some friends. Amelia, worried, approaches him. AMELIA (Both in Spanish) Luis, the priest is here and Patricia hasn't arrived. Where is she? LUIS No idea.59. AMELIA Fifteen minutes left before the wedding and you have no idea? LUIS What if she doesn't want to get married? Shut up and come help me look for her. 101 EXT. HAMLET "LOS LOBOS" -- DAY Santiago arrives at where the children are playing. He calls out to them. SANTIAGO (In Spanish) Who wants to help me with the chickens? Everyone raises their hand and go toward him. Mike and Debbie stand still without knowing what to do. Santiago calls them. SANTIAGO (CONT'D) Mike and Debbie. Come with me. 102 EXT. CHICKEN COOP -- DAY The chickens walk around a rustic chicken coop made with wire mesh and mesquite posts. Santiago opens the door to the coop and lets the kids in, Mike and Debbie among them. Once inside, Santiago tells them to catch the chickens. SANTIAGO (In Spanish) I'll give ten pesos to the first one of you who catches a chicken. The kids start chasing the chickens, which scamper as soon as they feel hands trying to grab them. At first, Mike and Debbie don't know what to do, but they are soon amused and run to catch them. After a while, Debbie catches one and holds it up. Santiago applauds her. SANTIAGO (CONT'D) Debbie is the winner. Now we need another five. The kids get back to their game of catching chickens. 103 EXT. DESERT ROAD -- DAY Santiago's car drives down the road, with a terrible sun beating down on it. 60. 104 INT. SANTIAGO'S CAR -- DAY Luis drives while Amelia looks out the window. AMELIA (Both in Spanish) Did you get into a fight with Patricia? LUIS No, not at all. AMELIA I didn't bust my hump to pay for this wedding for Patricia not to show. So she's either coming or she's coming. 105 EXT. CHICKEN COOP -- DAY Santiago has several chickens tied up. One of the kids catches the last one and hands it to Santiago. SANTIAGO (In Spanish) Ready. Now who's going to help me? Several children raise their hands. Mike and Debbie raise theirs as well, excited. Santiago picks Mike. SANTIAGO (CONT'D) Let's see, Mike, you can help me. Proud, Mike walks toward Santiago and stands next to him. Santiago unties a chicken and gives it to Mike. SANTIAGO (CONT'D) Hold it tight, like this. He shows him how to hold it. Mike grabs it and holds it between his arms, smiling, oblivious to what will happen. Santiago grabs the chicken by the head and pulls it off. The chicken starts to shake, spurting blood everywhere. Mike, stunned, lets the animal fall to the ground and the chicken starts its mad race. The Mexican kids start screaming excitedly, chasing the headless chicken. Nobody notices that Debbie and Mike, completely shocked, are about to cry. 106 EXT. PATRICIA'S HOUSE -- DAY They arrive at the bride's house. A car adorned with ribbons is parked outside. There is no one to be seen.61. 107 INT. SANTIAGO'S CAR -- DAY Luis honks the horn. Nobody shows. AMELIA I'm going to see if they're inside. 108 EXT. PATRICIA'S HOUSE -- DAY As Amelia gets out, Patricia's mother appears, upset. AMELIA What's the matter? MOTHER Patricia's not feeling well. 109 EXT. CHICKEN COOP -- DAY Santiago and the other kids are plucking the chicken's feathers. Mike and Debbie stare, horrified. SANTIAGO (In Spanish) Aren't you going to help? Mike and Debbie shake their heads. SANTIAGO (CONT'D) Why? MIKE It's not good to kill animals. Santiago smiles to himself. SANTIAGO (In English) Have you ever been to Kentucky Fried Chicken? They both nod. SANTIAGO (CONT'D) What? Did you think that Colonel Sanders kept them as pets? He hands Mike a headless chicken, and he slowly starts to pluck it. 110 INT. PATRICIA'S ROOM -- DAY Patricia, in her bridal dress and clearly six months pregnant, is sitting on her bed with her hands around her belly, with her mother, father and entire family around her.62. PATRICIA (Both in Spanish) My belly's been hard since the morning. AMELIA That happens when you're nervous. MADRE D'you think the baby's coming? AMELIA There's no way the baby's coming; she's only six months pregnant. PATRICIA But my belly feels hard, really hard. AMELIA D'you want to get married? PATRICIA Yes. AMELIA Well, let's go then. MADRE And what if the baby comes out? AMELIA Well, we'll have the wedding and baptize the kid while we're at it. 111 EXT. HAMLET -- DAY A bearded man (50) on an old bicycle rides down the hamlet's narrow streets. He is carrying a briefcase on the bike. He is escorted by dozens of children. 112 INT. ROOM, ANWAR'S HOUSE -- DAY Susan is lying on the floor, moaning softly. Flies hover around the pool of blood under her neck. Richard, worried, strokes her hair. The grandmother brings them a pot of tea with two cups and sets them on the floor beside them. RICHARD Thank you. The grandmother goes to sit in a chair. Mohammed walks in and whispers something to him. Anwar turns to Richard.63. ANWAR The doctor's here. 113 EXT. PATIO, ANWAR'S HOUSE -- DAY The doctor walks across the patio, through the tumult of children and before the scrutiny of two police officers. 114 INT. ROOM, ANWAR'S HOUSE -- DAY The doctor enters the room. DOCTOR (In Arabic) Allah be with you. ANWAR'S GRANDMOTHER (In Arabic) Allah be with you. Richard just bows his head slightly. The doctor walks over to Susan, shoos the flies away and examines the wound. She looks at him, anxious. DOCTOR (In Arabic) The bullet didn't hit her spine or split her jugular. But it did shatter her clavicle and she could bleed to death. Anwar looks worried. RICHARD What did he say? ANWAR He says she will be fine. RICHARD Stop lying to me god damn it, and tell me what the fuck he said! The doctor addresses Richard in terrible English. DOCTOR Hospital... need hospital... RICHARD Yes, we know that. What can you do in the meantime? DOCTOR (In Arabic, to Anwar) Tell him I have to stitch up the wound to stop the bleeding.64. Anwar draws close to Richard and whispers. ANWAR He has to sew up her wounds. Susan turns to look at them, suspicious. SUSAN What did he say? Richard gets nervous. RICHARD You need some stitches. SUSAN What do you mean stitches? The doctor opens his kit and takes out a rudimentary needle and thread. He gets ready to sew. Richard questions him, also in whispers. RICHARD You're not going to give her any anesthetic? The doctor and Anwar exchange a look. ANWAR (To Richard) No, he doesn't use anesthetic. RICHARD What kind of doctor is he? Anwar answers naively, in a low voice. ANWAR He's a veterinarian, but he is good. Richard looks at him, surprised and angry. RICHARD He can't take care of her. SUSAN Richard, he might infect the wound... Richard can't answer as he focuses on what the doctor says. DOCTOR (In Arabic) Tell him that if I don't stitch up her wound she may bleed to death.65. ANWAR If he doesn't sew up the wound, she may bleed to death. DOCTOR (In Arabic, to Anwar) And tell him her clavicle is broken. We have to fasten a splint to it. ANWAR He says she has a broken bone and he has to put a splint on it. Richard remains pensive for a moment. He looks at Susan, then at the doctor and assents tentatively. DOCTOR (In Arabic) We're going to have to hold her down. He mimes holding her down with his hands. Richard leans over Susan, who weakly languishes on the rug. RICHARD Honey, this is going to hurt a little. She stares at him. Richard turns to Anwar and signals that he can begin. Anwar holds her hands. Susan, stupefied, to Richard. SUSAN Richard, don't let him... The doctor lifts Susan's neck and starts to stitch. She howls in pain and tries to move away. Anwar and Richard hold Susan down. The doctor sticks the needle in again. Susan shakes her head from side to side trying to pull away. SUSAN (CONT'D) Don't let him, don't let him. RICHARD Calm down... calm down... Susan, they have to sew you up... relax... Richard holds her head to keep her still. She resists. SUSAN No, no...no.. RICHARD Honey, please try to relax...66. The doctor rubs alcohol on the wound and starts to stitch. She moans in pain. Richard puts a rag in her mouth, on which she bites down. 115 EXT. TINY SHOP -- DAY Mohammed sits outside with three friends drinking coffee. From where they are we see the bus and the American tourists. A battery powered radio plays Moroccan music and commercials in the background. MOHAMMED I don't understand why Anwar brought them here. FRIEND 1 Well he spends all his time with them, what do you expect. FRIEND 2 The woman is hurt, he had to help her. MOHAMMED Yeah? And when have they helped us? FRIEND 1 I liked one of those tourists. FRIEND 2 Really? They're all skin and bones. Suddenly Mohammed focuses on the radio. MOHAMMED Shh... sh... listen. The friends are quiet. NEWSCASTER (V.O.) Today, near Tazarine , there was an incident where an American was shot... One of the friends interrupts. FRIEND 3 Hey look, it's the story. FRIEND 2 They said Tazarine , did you hear? We were on the radio... MOHAMMED Shh, shut up.67. NEWSCASTER (V.O.) Although authorities say it could have been a foiled robbery, the American government claims they are certain it was a terrorist attack. Minister Hassef Hazal has said that in our country, terrorist cells have been eradicated, that Morocco is a peaceful country and that one act of vulgar banditry followed by superficial evaluations such as the U.S. intends to place upon it cannot ruin the image, the economy and the pacifist reputation of our country. American Ambassador Ken Jones, however, insists that it was a terrorist attack on American citizens, that it merits a full investigation, and that the guilty should be punished. So far, the attack has not been attributed to any known terrorist organizations... Mohammed shouts. MOHAMMED I fucking told Anwar, I told him he was only going to get us in trouble... he never comes and when he does he always brings trouble...god damn it... FRIEND 1 Are the Americans going to invade our country? MOHAMMED I don't know. 116 INT. ANWAR'S HOUSE -- DAY Susan lies on the floor with her neck shoddily stitched and a splint on her shoulder made out of a few sticks and some dirty bandages. She moans in pain and mumbles curses. SUSAN I hate you... I hate you... She tries to stand, but the doctor impedes it. DOCTOR (To Anwar in Arabic) Tell her not to move; the bullet's still inside. 68. ANWAR (To Susan) Don't move, miss. The bullet is still inside you. SUSAN I don't give a shit... RICHARD My love, don't move. SUSAN I want to call the kids. RICHARD You can't move, calm down. SUSAN I want to talk to them. RICHARD You can't; there's only one phone in town. I'll call them later. She seems obsessed by the idea. SUSAN I want to talk to them... She tries to stand again. As they struggle, the grandmother takes out a hash pipe form a drawer and lights it. She gives it two drags and squats next to Susan. She shows her how to smoke it and hands it over. The old woman's serenity is such that Susan acquiesces. She takes four drags and slowly starts to relax. Susan smokes another three times, relaxes and closes her eyes. The old woman goes to get the clump of mud and starts to spread it on Susan's neck. Susan does not protest. Richard watches the scene in awe. 117 EXT. ANWAR'S HOUSE -- DAY The bus is still parked outside Anwar's house. Some of the passengers sit leaning against the wall, scrutinized by some of the town's children and women who have offered them tea and dates. 118 INT. BUS -- DAY The driver sits in the driver's seat and stares out at the desolate landscape through the windshield. Several of the tourists nap in their seats. One of them, a French tourist, Robert (70), starts to breathe with difficulty. Jane (65), his wife, is alarmed. 69. JANE (In French) Are you ok? Robert nods, but it is clear that he is not. Jane shouts at the driver. JANE (CONT'D) (In French) Could you please turn on the air conditioning? The driver shakes his head regretfully. DRIVER (In broken French) No air condition, no gasoline near. I'm sorry. Robert inhales, he can barely breathe. JANE (In French) My husband is feeling ill. You have to turn it on. DRIVER (In French) No possible. No gasoline near. I'm sorry. LILLY (In French) Please, it's too hot. We can get dehydrated. DRIVER (In French) I'm really sorry, forgive me, but gasoline finish with air conditioner. Tom turns to Jane. TOM What is he saying? JANE That he can't turn on the air conditioning, that it's not possible. Tom stands up and goes to yell at the driver. TOM Fuck you. We're gettin' out of here.70. 119 EXT. PATIO, ANWAR'S HOUSE -- DAY Tom resolutely walks up the stairs followed by James. 120 INT. ROOM, ANWAR'S HOUSE -- DAY Richard is looking out the window while Susan, relaxed, sleeps. Tom and James walk in making noise. TOM We've gotta talk to you. Richard, with his index finger, signals for him to shut up and points at Susan. He gestures for them to leave the room. 121 EXT. ANWAR'S HOUSE -- DAY Tom, James and others are gathered by the door. TOM We're leaving. RICHARD You can't leave us like this. TOM There are old people here and the heat is getting to them. RICHARD At least wait until an ambulance comes. TOM One man almost fainted in the bus and there's a woman who needs to get back in time to take her medication. Richard turns to Anwar. RICHARD Is there anyone around here who can take them in? TOM It's not about that. LILLY Sir, we can't wait anymore. Walter an English man, one of the older men, defends him. WALTER We can't leave him here alone. TOM Well let him come, then.71. DOUGLAS His wife is in no condition to ride a bus. TOM And lots of other people aren't in any condition to keep waiting, can't you see? RICHARD Just wait, the ambulance should be here any minute now. TOM We're giving you an hour... one hour... Richard breathes, relieved. 122 EXT. STREET, TOKYO -- DAY Chieko walks down the street with Mitsu. They are good- looking and attract attention. They know this and look back out of the corners of their eyes. 123 EXT. PARK, TOKYO -- DAY They arrive at a park with a playground: swings, see-saws, slides. Several of their deaf-mute volleyball friends are there. With them are two young men with hair dyed blond. One of them, Takeshi (18), has an earring, and the other, Haruki (19), has several tattoos. Mitsu and Chieko greet them in sign language. Chieko asks the slightly chubby Kumiko who they are. KUMIKO They're my cousins. Chieko turns to look at them, curious. Haruki, the guy with tattoos, exchanges a look with her. Chieko suddenly feels intimidated and looks down. CHIEKO Is he deaf-mute like us? KUMIKO No, but he understands some. Haruki seems to understand what they're saying and leans in to whisper something to Takeshi, his brother. They both laugh. Haruki approaches Chieko and talks to her face to face so she can read his lips.72. HARUKI What's your name? Chieko and her friend smile. Chieko takes out her notebook and pen and writes her name. Haruki reads it out loud. HARUKI (CONT'D) Chieko? Chieko nods. HARUKI (CONT'D) My name's Haruki. Chieko nods, trying to show she's understood. Haruki takes out a flask and holds it out to her. Chieko opens it and smells it. Haruki stands in front of her. HARUKI (CONT'D) It's whisky. Chieko smiles and gives a long swig. Mitsu asks for some and also gives it a long drink. HARUKI (CONT'D) Do the cops come around here? MITSU (Gutturally) Sometimes. Haruki takes out some ecstasy and gives it to them. Mitsu and Chieko look at each other and down the pills with a gulp of whisky. 124 EXT. PARK, TOKYO -- LATER Half-drunk and rushing from the pills, Chieko, her friends, and Haruki and Takeshi, play on the swings and see-saw. They laugh at almost anything. Haruki and Chieko are on the see-saw and every time Chieko rises, Haruki looks at her bush. Chieko knows this sometimes opens her legs even more so he can look to his heart's content. Hormones float in the air. Mitsu also takes advantage of the occasion. She flirts with Haruki whenever she can. Haruki looks happy to be the object of their attention. Takeshi, who has started to make out with one of Chieko's friends, turns to the group and speaks slowly. TAKESHI Why- don't- we- go- to- Montana?73. 125 INT. TAXI, TOKYO -- EVENING Night begins to fall. Haruki sits between Mitsu and Chieko. He strokes Chieko's knee with his hand; she seems turned on. 126 EXT. NIGHTCLUB STRIP, TOKYO -- NIGHT The taxi parks outside the Montana. Chieko, Mitsu and Haruki get out of the car and meet with the others at the door. 127 INT. HALLWAY, NIGHTCLUB -- NIGHT They enter. The music, the light, the crowd, it is almost hallucinatory. For Chieko, it is a silent concert of movement and chaos. She and her friends push their way through the place. Haruki grabs Chieko by the hand, pulls her toward the floor and starts dancing. Chieko looks at the other dancers' rhythm and follows. She slowly manages to follow. The other deaf-mutes also dance. Some do better than others, lost in the sea of lights and people. For Chieko, the dance turns into something hypnotic. She dances with her eyes closed, concentrated on her own rhythm. When she opens her eyes, she sees that Mitsu, a little drunk, is grinding against Haruki, feeling him up. Chieko seems annoyed by this and goes to defend her territory. She starts dancing next to Haruki, but she is constantly interrupted by the surrounding crowd. The struggle between Chieko and Mitsu is a little bit ridiculous. It is finally resolved when Mitsu takes Haruki by the face and starts to kiss him. Chieko doesn't know what to do. Mitsu and Haruki start to make out intensely. Suddenly Chieko is left standing in the middle of the club, motionless, while her friends dance awkwardly and Mitsu and Haruki are having the time of their lives. Chieko, defeated by her friend, decides to leave. Mitsu spots her out of the corner of her eye and waves goodbye. Chieko smiles back and walks away from her friends as they dance. 128 INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT Chieko enters her building and goes straight to the doorman. DOORMAN Good evening, how may I help you? Chieko takes out a piece of paper and a pen from her purse and writes a note. She gives it to the doorman together with Kenji's card. He reads it carefully, and when he's done he turns to her. 74. DOORMAN (CONT'D) Very well miss, I'll call him now. The doorman picks up a cordless phone and dials. DOORMAN (CONT'D) Lieutenant Kenji Mamiya , please? There is a pause. The doorman gestures to Chieko that the lieutenant will answer in a moment. DOORMAN (CONT'D) Lieutenant? Yes, look, I'm with the deaf-mute girl you saw in the afternoon, and she asked me to call you... Yes, her... She says she needs to talk to you, alone... about her father... If it's possible, in her apartment, tonight. Chieko watches attentively. 129 EXT. YUSSEF AND AHMED'S HOUSE -- DAY Yussef and Ahmed are sitting against the wall of the house. Yussef's lip is split. Ahmed's nose is bleeding. Abdullah paces desperately, while his wife and daughters watch the scene, silent. Abdullah stops to look at Yussef. ABDULLAH Why did you do this? They don't answer. Abdullah leans over and slaps Ahmed. ABDULLAH (CONT'D) Answer me, god damn it! Ahmed won't answer and he turns to Yussef again. YUSSEF We were testing the rifle. Abdullah turns and gives Yussef a powerful slap, which he endures with silent dignity. ABDULLAH Are you idiots? You killed a woman, (He turns to Zora) And you, you got naked so your brother would see you? AHMED Yes, she got naked lots of times. I saw how Yussef spied on her. 75. ZORA That's not true. Abdullah turns to Yussef. ABDULLAH Is it true or not? Yussef is silent. Abdullah walks two steps forward and slaps Zora. He looks furious, scared, indignant. ABDULLAH (CONT'D) Why did you do this to us? He can barely hold in his tears. Zora brings her hand to her face tearily. Abdullah turns to Ahmed. ABDULLAH (CONT'D) Where's the rifle? 130 EXT. HASSAN'S HOUSE -- DAY A cop interrogates Hassan. His face is badly bruised and his hands are cuffed behind his back. COP What organization gave you the weapon? HASSAN I've told you it wasn't an organization; I got it from a hunter. COP What hunter? HASSAN A Japanese hunter gave it to me many years ago. I've got a picture inside. She can get it. He turns to look at his wife. She has also been beaten and is guarded by two cops. The interrogating cop authorizes her. She walks in and comes out with a photograph of Hassan with Yasujiro, posing with the scimitar-horned oryx. He hands it over and the cop examines it. HASSAN (CONT'D) He's holding the rifle he gave me. 131 EXT. DESERT -- DAY Yussef and Ahmed dig up the rifle and the bullets in front of their parents and sisters. Abdullah grabs the rifle, dusts it off and puts the bullets in his bag. He turns to Yasira. 76. ABDULLAH We're going to hide out at Naguib's house. If the cops come, tell them we went south. With the rifle in hand, Abdullah runs off, followed by Yussef and Ahmed. The women watch them get lost on the horizon. 132 EXT. HASSAN'S HOUSE -- DAY Alarid's truck parks in front of Hassan's house again. Hassan is still cuffed and being interrogated. Furious, Alarid gets out of the truck and goes toward him. ALARID This Abdullah doesn't live where you said he did. He walks over to kick him. The wife intervenes from where she is, some ten yards away. WIFE They live where he said they do. Alarid turns to her. ALARID You're going to take us. With a gesture, he orders his subordinates to put her in the truck. She obeys, docile. ALARID (CONT'D) And if they're not there, I'll cut your tongue out and I'll kill your husband. 133 EXT. DESERT -- DAY The Moroccan police trucks drive down the dusty roads. The landscape is harsh and barren. 134 INT. POLICE TRUCK -- DAY Hassan's wife gives directions. WIFE Make a right here. Alarid, with his hand, signals the driver to follow her directions. Suddenly, in the distance, over the hills, she signals three tiny dots running up a slope. WIFE (CONT'D) That's them.77. ALARID (To the driver) Stop... The trucks stop and Alarid takes out his binoculars. 135 P.O.V. ALARID'S BINOCULARS -- CONTINUOUS In the distance, we can still see Abdullah, Yussef and Ahmed run across the hills. Abdullah is clearly carrying the rifle. 136 EXT. DESERT -- DAY Alarid quickly gets out. ALARID There they are. All the cops get out with their high powered rifles. 137 EXT. DESERT HILLS -- DAY Abdullah and his sons run full speed. Yussef sees the trucks in the distance. YUSSEF The police, the police... They run up a hill to try to lose them, but shots start to ring out. YUSSEF (CONT'D) They're shooting at us. Abdullah stands before his sons and lifts up the rifle as a sign of surrender. The shots cease for a few seconds, but they suddenly start again. ABDULLAH Get down. Run. The three shepherds run, huddling as low as they can. More shots. They desperately climb between the rocks. Bullets whiz past everywhere. Abdullah makes one last attempt at surrender. He lifts up the rifle again, sets it on the ground and backs away. But the gesture is in vain, as the bullets still rush past. They begin to run again when Ahmed is hit in one of his calves. He collapses and rolls downhill. Abdullah hurries to rescue him and drags him behind a rock. Ahmed won't stop screaming from the pain. AHMED They shot me, they shot me...78. Yussef dives on his belly and snakes his way through the rocks. He gets the rifle, loads it and aims at the trucks. He shoots without hitting anything. Abdullah turns to him. ABDULLAH Don't shoot, don't shoot! Yussef doesn't pay attention. He loads again and aims. 138 P.O.V. RIFLE SIGHTS -- DAY Yussef aims carefully. He picks out one of the cops who has been shooting barely protected by one of the trucks' fenders. Yussef shoots and the policeman collapses. 139 EXT. HAMLET "LOS LOBOS" -- LATER The religious ceremony has ended and everyone throws rice at the bride and groom. Debbie and Mike enjoy doing it. Several cowboys, among them Santiago, have gone to their trucks and are loudly honking their horns. Music begins to blare. 140 EXT. HAMLET "LOS LOBOS" -- DAY The band plays various Norteño songs. Everyone waits for the music to start. After a while a couple starts to timidly dance. Then another, and another, until the dance floor becomes a sway of heads moving to the same rhythm. Amelia dances with Mike and Debbie with Santiago; both Amelia and Santiago show them a few steps. SANTIAGO (To Debbie, in Spanish) Like this, look... He kicks his heel back, then forward. Debbie watches, entertained. Jacinto (55), overweight and with a good-natured face, moves closer to Amelia and watches her dance for a while, she notices and stops, embarrassed. JACINTO (Both in Spanish) Amelia, will you let me dance with you? Amelia remains unperturbed, without answering him. JACINTO (CONT'D) I've been asking you for a dance for 30 years. Does it really cost you that much?79. Amelia stares at him. AMELIA I don't think your wife would have liked that. JACINTO C'mon Amelia, she's been dead for 10 years. Amelia looks around and then turns to him. AMELIA Okay, just one. Jacinto chivalrously takes her by the waist and they begin to dance. Santiago watches them, amused, and continues to dance with Mike and Debbie. Jacinto draws Amelia closer and they kiss gently. 141 EXT. HAMLET "LOS LOBOS" -- NIGHT Beer starts to flow and some of the guests get overbearing. There is a small scuffle at the edge of the dance floor, but order is soon restored. The guitarist in the band stops the music. GUITAR PLAYER (All in Spanish) Now, Luis and Patricia, come forward. Everyone makes way for the bride and groom. GUITAR PLAYER (CONT'D) We-want-cake, we-want-cake... The audience and the band sing the little cake song. A giant, tacky wedding cake, covered in cream, arrives. The bride grabs the knife and gets ready to cut it. GUITAR PLAYER (CONT'D) Take- a- bite, take- a- bite... The bride gives into the ritual. She tries to take a bite out of the cake without using her hands and someone pushes her face into the cream. Debbie and Mike laugh. A cowboy pulls out a gun and, festively, fires. Debbie is frightened and goes to hide behind Amelia. AMELIA Don't worry, it's ok. The man puts the gun away and walks back onto the dance floor as if nothing had happened. 80. Luis asks the band to stop the music for a little bit and he takes the microphone. LUIS Good evening everyone... Hey... I want to say something. Love came today, it came here all pretty... (he taps his heart) It's kind of like a little mouse is crawling inside of me. Because that's what love is, it's like your insides get all twisted into knots... and that, baby, is what you've taught me. And because you've shown me, I want to tell everyone that hopefully love will get inside them too...because it feels so good, really...Thanks a lot and keep havin' a good time... Everybody applauds and Luis steps down from the dais, proud of his speech. He goes to Amelia and gives her a very long and loving hug. 142 EXT. HAMLET "LOS LOBOS" -- NIGHT Night has fallen. The music plays full blast. Everyone dances, people start to make out, the drunk collapse. Patricia breathes regularly with her hands on her belly. Luis drinks beer beside her while he watches the guests dance. Debbie falls asleep on Amelia's lap while Mike watches the party, overwhelmed. MIKE When are my parents getting back? The question catches Amelia off guard. AMELIA Pronto... muy pronto... MIKE They told me they were coming back today. AMELIA Se quedaron más rato. The answer seem to makes Mike anxious. MIKE My dad's coming back with my mom. AMELIA Yes. Yes he is. 81. MIKE I don't want him to leave again. AMELIA He won't. He starts crying. MIKE I miss Pat. Amelia embraces him and kisses his head. AMELIA Yo también hijito , yo también . The boy, tired and sleepy, leans his head on Amelia. 143 EXT. HAMLET "LOS LOBOS" -- NIGHT Santiago, a little bit drunk, and Amelia, carrying Debbie who has passed out, say goodbye to Luis and Patricia. Sleepy, Mike leans on the hood of the car. LUIS (All in Spanish) Stay the night. AMELIA I can't. I have to take these kids home and it's almost dawn. LUIS But Santiago's pretty drunk. SANTIAGO Drunk my ass. I'm fine. I'll go and come back in an hour. PATRICIA Stay for another while, the party's just getting started. AMELIA I wish, but these kids have to go to school. Santiago opens the door for Amelia, who carefully sets Debbie on the back seat. Mike gets in and as soon as he does he nestles in to go to sleep. AMELIA (CONT'D) See you soon, son. Luis and Amelia hug each other. Then Amelia hugs her daughter- in-law.82. AMELIA (CONT'D) Congratulations, dear. (She points at her belly) Take care of my grandson 'cause I'm dying to be a grandmother. She gives her a kiss and gets in the car. Luis turns to Santiago. LUIS You sure you're not too drunk? SANTIAGO Drunk my ass. I'm fine. I'll be back soon. Santiago stumbles to the driver's side and opens the door. 144 EXT. DESERT HIGHWAY -- NIGHT The night spreads over the highway that cuts across the desert. Santiago's car drives along, illuminating the cacti. 145 INT. SANTIAGO'S CAR -- NIGHT Santiago drives the car, nodding off every now and then. In the back, Debbie and Mike have surrendered to sleep. Santiago jerks the wheel. AMELIA (In Spanish) Hey... be careful... Santiago corrects the vehicles trajectory and goes back to his careless driving. 146 EXT. BORDER CROSSING -- NIGHT Santiago decides to cross through Mesa de Otay. Since it's nighttime, there are very few cars. They drive across the bridge and stop before the immigration officer. 147 EXT. IMMIGRATION STALL, BORDER CROSSING -- CONTINUOUS The officer walks up to the window. OFFICER Your papers... Santiago and Amelia take out their passports and their Green cards. The officer compares the documents to their faces again and again. OFFICER (CONT'D) Where you comin' from?83. SANTIAGO (In bad English) From a wedding. The officer looks through the window and sees Debbie and Mike sleeping in the back. OFFICER Who are they? Santiago rushes to answer. SANTIAGO They're her nephews. Amelia freezes at Santiago's answer. The officer won't stop looking at the children. OFFICER They don't look like you. AMELIA (bewildered) I'm in charge of them. OFFICER Do you have their passports? Amelia takes out their American passports and shows them to the cop. He looks them over very carefully. Santiago starts to get nervous. SANTIAGO Is there a problem? The officer turns to look at them suspiciously. He obviously smells the alcohol. OFFICER Should there be one? Santiago shakes his head. Debbie wakes up and looks at the officer sleepily. DEBBIE Hi. OFFICER Hey there, sweetie. Debbie rubs her eyes. OFFICER (CONT'D) Tell me, is this lady your aunty? Debbie innocently shakes her head.84. DEBBIE No, she's not my aunty. The officer stares at them harshly. He says something incomprehensible over his radio and asks Santiago. OFFICER Are you drunk? SANTIAGO Me, sir? No. OFFICER Get out of the car. SANTIAGO Why, officer? OFFICER I'm countin' to three... He brings his hand to his gun. 148 INT. SANTIAGO'S CAR -- NIGHT Nervous, Santiago glances ahead and looks at the border crossing through his rear-view mirror. He puts the car in reverse and accelerates, trying to escape back to Mexico, but he crashes into an arriving car. AMELIA (In Spanish) What are you doing? 149 EXT. IMMIGRATION DESK, BORDER CROSSING -- NIGHT The immigration officers take out their guns and run to stop him. Santiago sees that the road ahead is clear and he drives away full speed, barely swerving around some customs officers who are searching another vehicle. The officer shouts urgently. OFFICER They've kidnapped some kids... He starts a police chase. 150 EXT. DESERT HIGHWAY -- NIGHT Santiago's car drives full speed down the highway. He sometimes looks as if he is going to lose control. 151 INT. SANTIAGO'S CAR -- NIGHT Santiago drives madly. Frightened, Amelia holds onto the dashboard. Debbie and Mike start to cry.85. SANTIAGO (In Spanish) See, I told you you shouldn't have brought them. I told you. I told you.. A trailer drives slowly. Santiago decides to drive around it blindly, and almost drives off the other side of the road. AMELIA (In Spanish) Santiago, stop acting crazy and stop the car... Santiago, stop... Santiago ignores her, concentrated on his driving. He looks through the rear-view mirror. There is nobody behind him, only the dark highway. Santiago steps on the gas. Amelia tries to comfort the kids. AMELIA (CONT'D) (In English) Everything's all right sweeties... The children won't stop crying, terrified by the speed. Through one of his mirrors, Santiago sees two patrol cars following him with their turrets flashing. SANTIAGO (In Spanish) Fucking asshole gringo mother-fuckers , here they come... Santiago accelerates. The car seems to be out of control. The children scream. Amelia tries to stop Santiago. AMELIA (In Spanish) Stop... Stop... Santiago reaches a path and heads toward it. 152 EXT. DESERT PATH -- NIGHT The car drives quickly down the path, raising up a cloud of dust. The patrol cars are no longer visible. The car drives on for a mile and then stops. 153 INT. SANTIAGO'S CAR -- NIGHT Santiago turns to Amelia. SANTIAGO (Their entire dialogue in Spanish) Get out...86. Amelia looks at the dark desert surrounding them. AMELIA Are you crazy? Where? SANTIAGO Get out. I'll lose these bastards and then I'll come back for you. AMELIA Santiago, calm down... SANTIAGO Aunt Amelia, they're going to get us, get out god damn it... 154 EXT. SANTIAGO'S CAR -- NIGHT Amelia gets out and opens the door for the kids. AMELIA (In English) Come with me, dears. The kids get out and Amelia holds their hand. Santiago closes the doors and drives off in a cloud of dust. They start to walk through the darkness. Amelia leads the way, avoiding cacti and thorny branches. The go on like this for a long stretch. The children are quiet and scared. Amelia goes toward the highway and realizes the patrol cars have turned into the path. She runs into the desert with the kids. She can barely see with the light of the early dawn. The three frequently trip on thorny plants. DEBBIE I want to go home now. MIKE Me too. Both of them, scared, start to cry. AMELIA (In English) Don't cry. We're going home now. She looks back worried at where the patrol cars were; they are approaching quickly. Then she turns to where Santiago ran. The headlights are soon lost on the horizon. Amelia holds them by the hand and pulls them as she runs. AMELIA (CONT'D) (In Spanish) Let's go.87. She leads them further and further away from the path, snaking through the brush. The patrol cars come even closer. Amelia ducks and hides behind one of the bushes. AMELIA (CONT'D) Get down. The children hide with her. The patrol cars tear past her, some five hundred yards away, chasing after Santiago. We suddenly hear sirens. Then, the sound of doors slamming and unintelligible voices over a loudspeaker. POLICE OFFICER (O.S.) Do not get out of the car...don't get out...wait...stop...stop...don't run... After a few seconds, we hear distant gunshots, three, four. Amelia listens, frozen. 155 INT. ROOM, ANWAR'S HOUSE -- AFTERNOON Dusk. Susan sleeps and Richard looks at the vast desert through the window. Anwar, sitting on a chair, with a fan clears away the flies hovering around Susan. We can hear the call to prayer and Anwar prostrates himself toward Mecca. Richard observes Anwar's prayer and then looks at Susan who moans in her sleep. 156 INT. ANWAR'S HOUSE -- AFTERNOON Richard and Anwar are sitting in silence while Susan lies unconsciously on the floor. Yamilé (9), a beautiful girl with large brown eyes, enters carrying a tray with cookies and tea. She greets Richard with a nod and offers him tea. Richard takes the tea. RICHARD Thank you. The girl gets up to offer tea to Anwar, who takes it. ANWAR (In Arabic) Thank you, Yamilé . Yamilé smiles and leaves the room. RICHARD Is that your daughter?88. ANWAR The fourth of eight. RICHARD Eight? Anwar affirms, smiling. ANWAR Do you have kids? Richard takes out his wallet and pulls out a photo of him, Susan, Mike and Debbie. He shows it to him. Anwar takes it and looks at it. ANWAR (CONT'D) Just two? RICHARD Three... (He remains pensive) Yes, just two. ANWAR You should have more. Anwar returns the photo. Richard looks at it for a moment before putting it back into his wallet. RICHARD What about you? How many wives do you have? ANWAR (Smiling) I can only afford one. RICHARD And is this where you live? ANWAR No, this is where my family lives. I live in Marrakesh . But I come whenever I can... They exchange a look. We hear a car engine. 157 EXT. STREET, HAMLET -- AFTERNOON An old, run-down Peugeot driven by a policeman pulls up in front of the house. The policeman gets out. The tourists, leaning on the wall, get up to see what's happening. Mohammed comes out to talk to him. 89. MOHAMMED (in Arabic) What happened? POLICEMAN (In Arabic) I need to talk to the American. Tom interrogates Mohammed. TOM What did he say? MOHAMMED No English... 158 EXT. PATIO, ANWAR'S HOUSE -- AFTERNOON The policeman, Anwar and Richard are chatting in the patio. RICHARD (To Anwar) When did he find out? ANWAR (In Arabic) When did you know? POLICEMAN (In Arabic) A while ago... they said the ambulance isn't coming anymore. ANWAR A while ago... he says the ambulance broke down. RICHARD What? Tell him to call another one. He has to get another one. ANWAR (In Arabic, to the Policeman) He wants you to call another ambulance. POLICEMAN (In Arabic) You know there isn't another one. ANWAR (To Richard) There isn't another ambulance.90. RICHARD What the hell do you mean there isn't another ambulance? You've got to get her out of here... He faces the police officer. RICHARD (CONT'D) She can't stay here or she'll die. Call another fucking ambulance... The policeman cannot understand and remains expressionless. RICHARD (CONT'D) Come on, move... call another ambulance... ANWAR (In Arabic) He asks how we're going to get the woman out of here. POLICEMAN (In Arabic) Tell him that they told me that his embassy is going to deal with it. ANWAR He says your embassy will deal with the matter. Richard now shouts at Anwar. RICHARD How the fuck are they going to deal with it? It's your shitty fucking country's responsibility. POLICEMAN (In Arabic) The Americans want to send one of their helicopters but I think there are some problems. Anwar mulls over his answer. He seems to want to lie again. ANWAR They're going to try to send a helicopter. RICHARD (incredulous) A helicopter?... Let's get out of here... He starts walking. Anwar catches up to him.91. ANWAR Where? Richard turns to him, desperate. RICHARD I need to make a phone call. They turn towards the exit leaving the cop behind, who doesn't seem to understand. Tom and James take advantage of the situation to go talk to Richard. TOM We can't stay here any longer. It's going to get dark soon. Lots of people aren't feeling well and its dangerous to stay here. Richard explodes and pushes Tom. RICHARD Stop fucking with me. TOM Don't you dare push me. RICHARD Oh no? He pushes him again, angrily. TOM What are you doing, you stupid fuck? RICHARD Leave asshole. Tom shoves him. TOM Fuck you. Richard becomes furious and loses it, hitting him over and over again. Some of the tourists get involved. James manages to grab him with Anwar. JAMES Hey, take it easy. RICHARD I'm fed up with that asshole. James pulls him away while other tourists pull Tom away. JAMES Try to calm down.92. RICHARD Calm down? My wife is dying up there. JAMES Come with us. RICHARD Where the fuck do you want me to take her? JAMES Try to understand, many of them can't go on. Tell me, honestly, is there any point in us staying? Richard threatens him. RICHARD You leave and I'll kill you... James is going to say something, but Richard turns around and walks away as he is about to say something. Anwar follows. 159 INT. GENERAL STORE -- EVENING Richard is in the phone booth with telephone in hand. A woman's voice answers. RACHEL (O.S.) Hello... RICHARD Rachel... What's going on? Nobody's come... Who have you talked to... we need help...she's dying... RACHEL (O.S.) What d'you mean dying? RICHARD She's very weak, please, you've got to do something. RACHEL (O.S.) Mark, your business partner, already called someone in the Secretary of State, they're going to help you... RICHARD You can't just make these stupid fucking calls, you've got to do something... RACHEL (O.S.) Richard calm down, we're doing everything we can.93. RICHARD How the fuck do you expect me to calm down? Susan is dying... RACHEL (O.S.) I'm flying over there tonight. RICHARD There's no time. I need to get Susan out of here now! Put Mark on the phone... RACHEL (O.S.) I don't know if I can find him. RICHARD God damn it, connect the fucking call. A few seconds go by. Desperate, Richard looks at the town as it goes about its daily business, oblivious to his tragedy. MARK (O.S.) Richard, it's Mark. RICHARD Mark, help me... Susan is dying and there are no ambulances, there's no hospital, there's nothing. MARK (O.S.) Richard, the news is all over the place. They're going to go help you, soon, but there have been some political problems that are being resolved. RICHARD I don't give a shit about political problems... Do something, now, please... Through the window, Richard, astonished, watches the bus drive away, kicking up dust as it disappears in the distance. RICHARD (CONT'D) Son of a bitch... He throws the phone away and runs after the bus. We hear Mark's desperate voice over the receiver. MARK (O.S.) Richard... what happened? Richard, answer me...94. 160 EXT. HAMLET -- EVENING Richard runs after the bus as it drives away down the side streets. RICHARD Stop... Stop... Stop you mother- fuckers stop... The bus vanishes into the distance. Richard picks up a stone and hurls it impotently. 161 INT. CHIEKO'S ROOM -- NIGHT Chieko is in her room, sitting on her bed, staring into space. The doorbell light goes on. She remains motionless for a few moments. The light goes on again. Chieko breathes in and goes to open the door. 162 INT. ENTRANCE TO CHIEKO'S APARTMENT -- NIGHT Chieko opens the door and runs into Kenji, who greets her as if she were just anybody. KENJI Hello. She bows. KENJI (CONT'D) They told me you wanted to talk to me. Chieko, who has been unable to read his lips, asks him with her hands that he speak slowly and face her. Kenji is embarrassed by his tactlessness and tries to be more considerate. KENJI (CONT'D) I'm sorry. Is there something you wanted to tell me? Chieko nods and asks him in with her hand. Kenji takes off his shoes and leaves them at the door. Chieko leads him to the living room and with a gesture asks if he wants anything to drink. KENJI (CONT'D) Do you have tea? Chieko nods and goes into the kitchen. Kenji glances over the apartment. Chieko comes back from the kitchen holding a strange gadget which she puts on the living room table. A small bulb lights. Kenji just watches her. Chieko gestures for him to sit down. Kenji and Chieko sit across from each other. 95. Chieko takes out her notebook and pen, writes something down and hands it over to Kenji. Kenji reads, seems surprised and reads again slowly. KENJI (CONT'D) "My father had nothing to do with my mother's death," what's this? Chieko is disconcerted at the question. She takes her notebook and starts writing. Kenji reads and turns to her. KENJI (CONT'D) Your father was asleep when she jumped off the balcony? She nods. She gets up, asks Kenji to go with her and walks toward the balcony. 163 EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT She opens the door to the balcony and points at the void: it's over twelve floors. Kenji looks over; the distance is dizzying. Chieko writes in her notebook and shows him the piece of paper. KENJI You saw her jump? She nods and writes again. She looks perturbed. KENJI (CONT'D) You've already told the other officers? She nods again. Kenji holds her by her arms. KENJI (CONT'D) I don't know what you're talking about. Chieko remains motionless for a few seconds. She scrawls in her notebook "Then why do you want to talk to my father?" Kenji reads and then turns to her. KENJI (CONT'D) It's about a hunting rifle in his name. The red bulb on the gadget starts to blink. Chieko spots it from the balcony and signals to Kenji that she has to go to the kitchen. She runs off. 164 INT. LIVING ROOM, CHIEKO'S APARTMENT -- NIGHT Kenji stands and looks at the photographs of Yasujiro hunting all over the world: with a kudu in Africa, a black bear in Kamchatka , Hassan and the Oryx in Morocco. 96. Chieko comes back with a cup of steaming tea. KENJI Does your father still hunt? She shakes her head. She writes something and hands it over. KENJI (CONT'D) There was an incident with a rifle in your father's name. That's why we want to talk to him. The news weighs on Chieko; she looks away. The sounds of Tokyo come in through the living room: its car horns, its voices. Suddenly a rush of wind comes in. Chieko sees the balcony doors are open and goes to close them. She then comes back to the living room and sits down, dejected. Kenji sits down beside her and leaves the tea on the table. He doesn't know what to do and looks uncomfortable. She picks up the notebook and writes. Kenji reads. KENJI (CONT'D) No, your father isn't going to jail. We just need to talk to him. There is a long silence. Chieko seems immersed in a remote, inaccessible world. Kenji turns his face to hers so that she can read his lips. KENJI (CONT'D) I have to go now. Thank you. Chieko grabs his arm and shakes her head, urging him to stay. They exchange a look for an instant and Kenji insists. KENJI (CONT'D) I have to go. He gets up to leave. Chieko signals for him to wait for a moment and goes to her room. Kenji stands in the middle of the room, waiting. Chieko comes back completely naked. Her skin bristles. She walks toward him, breathing through her mouth. Kenji is disconcerted when he sees the quiet teenager approach. She walks all the way up to Kenji and when she is about to take another step, he holds her back with both hands. KENJI (CONT'D) What are you doing?97. She doesn't pay attention, breaks free and stands a few inches away from him. She is almost panting. She holds out her hand and caresses Kenji's ear. He stands there, immobile, without taking his eyes off Chieko's. She takes his hand and puts it on one of her breasts. Kenji strokes her breast and then pulls his hand away. She grabs it again and puts it back on. KENJI (CONT'D) No, no, no... this is wrong. Kenji looks turned on and confused: Chieko is beautiful, but he knows he cannot go on and takes his hand away. KENJI (CONT'D) No, I can't. You're just a girl. She walks up to his face and licks it. He is confused. KENJI (CONT'D) Enough, please. He grabs her by her arms and moves her away. She grabs the sleeve of his jacket and pulls him back. She hugs him and suddenly Chieko starts crying, disconsolate. Kenji, bewildered, first does nothing, but upon seeing Chieko's despair, holds her. She buries her face in his shoulder. Her nakedness becomes increasingly fragile. 165 EXT. DESERT -- DAY Abdullah, afraid, watches his son shoot. The police have stopped firing and run for cover. Yussef loads the rifle again and aims carefully. He shoots and, in the distance, we can see one of the headlights on a police truck shatter. Abdullah shouts at Yussef desperately. ABDULLAH Yussef, stop shooting! Furious, Yussef loads the rifle again and starts shooting at the cops. Ahmed won't stop screaming from the pain. Confused, Abdullah doesn't know if he should console his wounded son or stop the enraged Yussef. In the distance, the cops reorganize. We hear the faraway shots of Alarid giving orders. ALARID Move that truck... god damn it... One of the cops gets onto a truck and uses it as a parapet. Yussef aims again, but this time the policemen are well covered. Abdullah drags himself all the way to Yussef. 98. ABDULLAH Give me that rifle... Yussef turns to his father. YUSSEF They're going to kill us. ABDULLAH Give me that rifle. He tries to wrest it away, but Yussef resists. The struggle and Abdullah finally pulls it away. When Yussef tries to snatch it back, the police fire a round of shots and the two barely have time to hide. The air is thick with gunshots. Yussef and Abdullah, terrified, stick to the stones. The bullets strike very close to them, and they can't even raise their heads. Ahmed won't stop complaining. Abdullah shouts at him. ABDULLAH (CONT'D) Ahmed, don't move. The gunshots rain down for over a minute. When they stop, Abdullah turns to look at Ahmed, who is lying motionless on the rocks with bullet in his back. ABDULLAH (CONT'D) Ahmed! Ahmed! Oblivious of the police, he gets up and runs toward him. Motionless, Ahmed just moans. With every breath, his shirt grows bloodier. ABDULLAH (CONT'D) Ahmed! Ahmed! He rolls Ahmed over and lays his head on his lap. Abdullah cannot stop crying. Yussef, ducking, runs toward his brother. Abdullah laments nervously. ABDULLAH (CONT'D) Don't die, don't die. Yussef is shocked upon seeing his dead brother. He stands up and, without caring whether anyone fires at him or not, he raises the rifle up in the air for the police to see that he is not aiming, and starts to break it against the rocks. When he's finished breaking it he opens his arms and walks toward the police. One of them policemen looks at him through a pair of binoculars. Alarid interrogates him. ALARID What's happening?99. POLICE OFFICER A boy is walking this way. ALARID Is he armed? The officer takes a careful look. POLICE OFFICER It doesn't look like it. ALARID What are the others doing? The officer watches Abdullah carrying his wounded son. POLICE OFFICER A man is holding somebody injured. ALARID Is the other one still walking this way? POLICE OFFICER Yes. Alarid turns to the other officers. ALARID Aim. The police aim and hold Yussef in their sights. He keeps walking resolutely toward his aggressors. He is crying softly, keeping his arms open. Yussef walks until his is 10 meters away from the police and he kneels with his arms open. YUSSEF I killed the American, I was the only one who shot at you... Cautious, the police still aim at his chest. Yussef proceeds with his confession, babbling it through his nerves, his pain and his attempt to control his sobbing. YUSSEF (CONT'D) They did nothing... nothing... He turns to his father and his brother and points at them. YUSSEF (CONT'D) Kill me, but save my brother, he did nothing... nothing... Alarid moves in, aiming at him with a rifle. Behind him are five other cops, also ready to shoot. 100. ALARID On the ground... Yussef does not obey. YUSSEF Save my brother... ALARID On the ground... Yussef turns his face toward Alarid looks him in the eye. YUSSEF Save my brother... please... He lies on the floor, crying. Alarid puts his gun down and looks at him: his enemy is a disconsolate child. Then he looks up at Abdullah who is screaming his lamentations. He turns to one of his subordinates. ALARID Go help them. One of the officers goes to help Abdullah and Ahmed. Yussef lies on the floor, crying. 166 EXT. DESERT -- NIGHT The sun rises. Amelia and the children keep walking. They sweat. MIKE I can't walk anymore. AMELIA We have to keep walking. MIKE Why is the air so hot? Amelia stops and tries to distract them. AMELIA (the entire dialogue in English) Because coyotes and snakes and quails have already breathed that air. Mike remains pensive. MIKE We're breathing the same air animals breathe? AMELIA Yes.101. MIKE And it doesn't rot? AMELIA No, it doesn't rot. We all breathe this air. 167 EXT. DESERT -- MORNING Dawn. The three walk through the desert. Debbie walks mechanically, tired and exhausted. DEBBIE I can't anymore. I'm thirsty. MIKE So am I. Amelia looks around her: no sign of civilization. AMELIA (In Spanish) Just a little further and we'll go look for water. 168 EXT. DESERT -- LATER Amelia lumbers heavily, carrying Debbie asleep on her arm. Mike drags his feet a few yards behind. They walk for a long stretch through the thorny brush until they reach a small mound where a leafy mesquite grows. Amelia lays a limp Debbie down on the ground and sits on the mound of earth. AMELIA (In Spanish) We're going to rest here for a while. MIKE What if there are snakes? AMELIA No, there aren't any. Come, lie down. The boy, exhausted and docile, obeys and lies on her chest. Amelia leans against the trunk with Debbie on her legs. The children sleep while Amelia, nodding off, tries to keep watch. 169 EXT. DESERT -- LATER It is well into the morning. Amelia and the children sleep deeply. There is a noise and Amelia opens her eyes. She sees a border patrol truck driving around near them. 102. Looking through the branches, she spies on the truck and watches another one join it. Mike awakes and sits up. MIKE What happening? Amelia ducks and lays Mike face down. The two trucks slowly approach. AMELIA (To Mike, in a low voice, in Spanish) Stay still. A truck drives by about eighty yards away and then passes. The other one cuts diagonally across its path and then gets lost in the desert. Amelia gets up and shakes off the dust. She looks out of place, wearing her best clothes torn by the bramble. She makes sure the trucks are leaving. MIKE Why are we hiding if we didn't do anything wrong? AMELIA (In English) Because they think we did something wrong. MIKE That's not true: you're bad. Amelia freezes upon hearing the boy's words. AMELIA No, sweetie, I'm not bad. I just did something stupid. She pulls him toward her and hugs him tenderly. AMELIA (CONT'D) (In Spanish) I love you very much, sweetie. Amelia turns and tries to wake Debbie. AMELIA (CONT'D) (In English) Debbie, we've got to go. The girl opens her eyes, but doesn't answer. AMELIA (CONT'D) Debbie, sweetheart, wake up.103. She closes her eyes again. Amelia notices her lips are dry and her breath is irregular: she is visibly dehydrated. Upon seeing that she doesn't react, Amelia looks for the trucks: they're far away. 170 EXT. DESERT -- LATER Amelia carries Debbie in her arms under the burning sun, following a cattle trail. Mike walk behind, pale, sweaty. Amelia looks to the horizon: there is no sign of the trucks. 171 EXT. DESERT -- DAY They are still walking. Amelia can barely go on. She stops to rest. She is sweating copiously. Mike also looks weak. 172 EXT. DESERT -- LATER The heat is strong and Amelia is beaten. She looks for the shade of a cluster of mesquites and lays Debbie down. Then she turns to Mike. AMELIA Sweetie, I'm going to go look for help. Stay here and don't move. MIKE I'm not staying here alone. AMELIA Honey, you have to take care of Debbie. MIKE I'm going with you. Mike looks at her with imploring eyes. Amelia caresses him. AMELIA I won't be long. I promise. 173 EXT. DESERT -- DAY Amelia desperately looks through the desert. She also looks dehydrated. She drifts. 174 EXT. DESERT -- DAY Amelia drags her feet as she walks. She can go no further. 175 EXT. DESERT -- DAY Amelia sees a small hillock and climbs it with difficulty. She surveys the environs from the top. In the distance she sees a Border Patrol truck driving down a path. 104. With great effort, Amelia runs down the hill. AMELIA (In Spanish) Stop, stop... The truck doesn't stop. Amelia keeps running, flailing her arms and screaming wildly. AMELIA (CONT'D) Sir... sir... stop... The truck stops and backs up. Amelia keeps going, tripping over stones. John (29), a thoroughly Mexican officer, gets out and she runs up, panting, to him. AMELIA (CONT'D) Please help me. John stares at her suspiciously. AMELIA (CONT'D) I have to go get two kids I left behind in the desert. John looks at her suspiciously. JOHN (In Spanish, with a terrible accent) Are they illegal immigrants? AMELIA No, they're American. JOHN When did you cross? AMELIA (In English) I didn't cross, I live here. Please, help me find these kids. John keeps staring at her. He points to a mesquite. JOHN Stand there and don't move. Amelia obeys. John goes back to the vehicle, opens the door and sits down and grabs the radio. JOHN (CONT'D) Attention base, I have a 4533...I have the suspect.105. Amelia doesn't manage to hear what the radio says. She looks attentively at what the agent is doing. John stops and runs back to her. JOHN (CONT'D) You're under arrest. Turn around and put your hands behind your head. Amelia despairs. AMELIA I left those kids in the desert, I swear. John pushes her forcefully against the truck. JOHN Turn around, now. She turns around with her hands over her head. John handcuffs her and leads her to the vehicle. 176 INT. BORDER PATROL VEHICLE -- DAY Amelia, cuffed, and John, drive down a path in the desert. JOHN Which way are they? Amelia studies the terrain. She points at some mesquites in the distance. AMELIA (In Spanish) Over there. 177 EXT. DESERT -- DAY The truck parks and they both get out. JOHN Where are they? Amelia explores the landscape, anguished. AMELIA They must be around here. Another border patrol truck arrives and pulls up next to them. Eliseo (34), looks out the window. ELISEO What happened? JOHN This lady said they were here, but there's nobody.106. ELISEO (In Spanish) Ma'am, you're not lying to us, are you? AMELIA (In Spanish) I swear they're around here somewhere. She sees another cluster of mesquites and points toward them. AMELIA (CONT'D) They must be over that way. 178 EXT. CLUSTER OF MESQUITES -- DAY They arrive at the cluster. The two trucks park and the three get out. She is still cuffed. A helicopter hovers above them. They walk around: nothing. JOHN There's nobody here. AMELIA (To Eliseo, in Spanish) I left them about a kilometer in from the road. ELISEO (In Spanish) Which road? She doesn't know what to say. John grabs her by the arm and drags her toward the vehicle. JOHN I don't believe you. Amelia looks at him desperately. AMELIA (In English) I swear they're around here. John is not affected. He keeps pulling her. ELISEO (In English) John, wait, maybe she's telling the truth. JOHN Maybe she's not, let's go.107. AMELIA Please sir, believe me. John pays no attention. She turns to Eliseo. AMELIA (CONT'D) (In Spanish) I swear, they're lost, they're going to die. I have to find them. John keeps pulling her. He puts her in the truck and closes the door before Eliseo's passive gaze. AMELIA (CONT'D) (In English) Please no... please... 179 INT. ROOM, ANWAR'S HOUSE -- AFTERNOON Night begins to fall. From the window we can hear the noises of the town: voices, goats bleating, camels moaning, music from a radio. Susan wakes from her slumber and turns to Richard, who is leaning on a wall, tired, sweaty, with his eyes closed. SUSAN Richard. RICHARD What do you need? SUSAN Richard... if I die, take care of the kids. Especially Mike, he really needs you. RICHARD You're not going to die. You can't die. You just can't. SUSAN Don't ever leave them again. RICHARD No, I'm not going to leave them and don't you even think about leaving me, because I'll kill you like nobody's killed you before. She smiles. He caresses her. SUSAN I peed my pants. RICHARD What?108. SUSAN I couldn't hold it in and I peed. Richard touches between her legs and feels the moisture. RICHARD I'm going to tell Mike on you, so you never scold him again. They both laugh. She grimaces in pain when she does. SUSAN I need to pee again. RICHARD (To Anwar) Do you have a pot I can borrow? Anwar looks in a corner and hands it over. RICHARD (CONT'D) (To Anwar) Can you leave us alone for a moment? The grandmother and Anwar exit. RICHARD (CONT'D) Come, try it like this. He lifts up her dress, pulls down her underpants and sets the basin under her. She puts her arm around him to pull herself up, but can't move her right arm. SUSAN I can't. They laugh. He kisses her. We start to hear the stream. SUSAN (CONT'D) Now I can. While she pees, they kiss painfully. She starts to cry. RICHARD Forgive me my love. When Pat died I didn't know what to do, the pain drove me crazy... I was scared, that's why I left... forgive me. SUSAN I was scared too... when I saw Pat lying still in his crib... Her voice breaks up and she can barely go on.109. SUSAN (CONT'D) It wasn't my fault, it wasn't... I couldn't do anything for him... RICHARD No, it wasn't your fault. I was wrong... He strokes her head. RICHARD (CONT'D) Shhh... it wasn't your fault my love, it wasn't anybody's fault... Pat just left... (A beat) Forgive me, please. SUSAN Forgive me for not forgiving you. Richard hugs her and starts to laugh. RICHARD You missed; you got my leg. They both laugh, and as they do, the blanket covering Susan's wound slips off. Richard sees her swollen, bruised arm. He touches it. RICHARD (CONT'D) Does it hurt? SUSAN So much... so much... Richard looks worried and leaves the room. 180 EXT. STAIRS, ANWAR'S HOUSE -- DAY He walks out onto the stairs and calls Anwar. RICHARD Anwar...Anwar... Anwar runs into the room. ANWAR What happened? RICHARD We've got to get her out of here. Where's the clinic? ANWAR In Alnif, an hour and a half away from here.110. RICHARD Can you get us a car we can take her in? Anwar remains pensive for a moment and then nods. 181 INT. ANWAR'S HOUSE -- DAY Richard is squatting next to Susan. RICHARD My love... I'm going to get you out of here. We're going to try to take you to a clinic an hour and a half away from here. Do you think you can make it? She thinks for a moment and then nods. SUSAN Yeah. RICHARD I need you to be strong. Really strong. Susan sighs: the effort required seems as if it will be too much, but she nods again. Richard hugs and kisses her. 182 EXT. ANWAR'S HOUSE -- DAY Richard and the vet carry Susan out on a wheelbarrow. It is very difficult to move her. She is clearly in pain and groans quietly. Outside the house is the policeman with his Peugeot . Anwar is talking to him. Richard and the vet carry Susan all the way to the car. Richard stands before the policeman he humiliated earlier. RICHARD Thank you for lending us the car. Anwar translates. ANWAR (In Arabic) He thanks you for lending us the car. The policeman nods kindly. Dozens of girls and boys and a few adults stare at the scene. Gingerly, Richard, Anwar and the vet lift her into the car and softly lay her on the back seat. 111. Even so, she screams in pain. SUSAN Ahhh... Ahhh... Richard holds her hand and squeezes it. RICHARD Sweetie, you've got to hold on. Richard gets into the car, and as they're about to drive off, the shopkeeper runs up to them. TENDERO (In Arabic) Stop... Stop... The shopkeeper catches up to them. TENDERO (CONT'D) (In Arabic) They're calling from the American Embassy. 183 INT. GENERAL STORE -- AFTERNOON Richard walks into the cubicle. The phone is off the hook and Richard answers. RICHARD Hello... SECRETARY (O.S.) Just a moment, I'm going to put you through to ambassador Ken Clifford . Richard awaits. In the corner of the room, he sees a goat's head covered with flies. KEN Hello, Richard Jones? RICHARD Yes, speaking. KEN (O.S.) I'm very sorry about what happened to your wife, but you can be sure that the culprits will be punished. RICHARD My wife is dying. She's in urgent need of medical attention. KEN (O.S.) We're working on it...112. Richard interrupts angrily. RICHARD We've been here for five hours. What the fuck are you waiting for? KEN (O.S.) The Moroccan government won't let us use their airspace. They refused to acknowledge that this was an act of terrorism... RICHARD I can't wait anymore... I'm taking my wife to a clinic in Tinerhir right now... KEN (O.S.) Stay put... we've settled the matter. A helicopter should arrive soon... RICHARD We can't wait any longer. KEN (O.S.) The helicopter is on its way. Don't move. RICHARD My wife is in critical condition. How long is the chopper going to take? KEN (O.S.) Soon... it'll be there soon... Be patient, it won't be long. 184 INT. INTERROGATION ROOM, POLICE HEADQUARTERS -- EVENING Amelia sits in a room painted white. An American, his hair slicked back, dressed in a shirt and tie, sits before her. POLICE OFFICER (In Spanish) Is your full name Amelia Gloria Jordán Susilla ? AMELIA (In Spanish) Yes sir. POLICE OFFICER Do you understand English? AMELIA (In English) Yes sir.113. POLICE OFFICER (In English) Ma'am, it was a miracle that we found those kids. I don't know how you could leave them alone in the desert. AMELIA I had to look for help. POLICE OFFICER Your reckless behavior endangered their lives. Amelia stops arguing. She looks worried. AMELIA How are they? POLICE OFFICER That's none of your business, ma'am. The man's words hurt Amelia, who looks away to avoid crying. POLICE OFFICER (CONT'D) You've committed serious crimes. AMELIA I just took the kids to my son's wedding. POLICE OFFICER No ma'am, you did not just do that. You took them to another country without their parents' permission and you put them in danger. AMELIA Sir, I raised these kids since they were born. I take care of them day and night. I feed them breakfast, lunch and dinner. I play with them. Mike and Debbie are like my own children. POLICE OFFICER (sternly) But they are not your kids, ma'am. AMELIA What about my nephew, Santiago? POLICE OFFICER I don't have any information on him. Amelia looks destitute. 114. POLICE OFFICER (CONT'D) We located the parents in Morocco. They're very angry, but they've decided not to raise charges. Amelia exhales, relieved. The policeman leans toward her. POLICE OFFICER (CONT'D) Nevertheless, the government of the United States has deemed you were seriously breaking the law and has decided to immediately and definitively deport you. Amelia loses her breath. AMELIA I've been living here for fifteen years. My things are here, I rent a house, I made my life here. POLICE OFFICER You should've thought of that beforehand. AMELIA I want to talk to a lawyer. POLICE OFFICER If you attempt to take this to court, I assure you you will end up in jail. If you want my advice, accept the deportation and never come back. 185 EXT. BORDER CROSSING -- EVENING A bus parks in front of the border. Several border patrol agents have formed a wall for the illegal immigrants to pass directly through. The illegal immigrants get out and walk toward Mexico. As Amelia crosses, she keeps looking back. 186 EXT. BORDER CROSSING, MEXICO -- EVENING The illegal immigrants cross into Mexico, where they disband into small groups. Amelia walks alone. Before she walks away she turns to one of the other deported Mexicans. AMELIA (In Spanish) Do you have a cigarette? He acquiesces. He rummages through his pant pockets and pulls out a pack of cigarettes. He offers one to Amelia, who takes it. He also pulls out some matches and lights one. 115. AMELIA (CONT'D) Thank you. 187 EXT. STREET, TIJUANA -- EVENING Amelia smokes, drifting. After a while she sits on a sidewalk and leans on a post. She looks into the street at the people passing by and starts crying softly. A dusty and battered pick up truck arrives. Inside are her son and her comadre . Her son steps down and hugs her in silence as she cries. Her comadre observes them from a distance. 188 EXT. HAMLET -- EVENING The truck is parked in front of Anwar's house. Richard and Susan wait in the back while the boy, Anwar and the vet lean on the hood. Suddenly a helicopter with American insignia flies over them and goes to land in an empty lot. Anwar looks up and watches the helicopter descend. The helicopter kicks up a cloud of dust before the stunned gaze of dozens of children. Some camels are frightened. Some starving dogs bark at it. 189 EXT. TOWN -- EVENING They carry Susan to the helicopter in a stretcher. They load her in carefully. Richard follows her through the wind generated by the helicopter. Anwar catches up to them to say goodbye. ANWAR Good luck, mister... RICHARD Thank you for everything. Richard gives Anwar a hug which he responds to affectionately. Richard takes out his wallet and holds out three hundred- dollar bills, which Anwar rejects. ANWAR No sir, no... Allah be with you. They look each other in the eye and then Richard gets into the chopper. It takes off. 190 EXT. DESERT -- EVENING The helicopter silently flies over the Moroccan desert. 116. 191 EXT. PARKING LOT, MOROCCAN HOSPITAL -- EVENING The hospital's perimeter is guarded by dozens of soldiers. The security is impressive. A group of doctors and nurses with a stretcher wait in the parking lot. Several journalists and cameras observe. Ken and his entourage await the helicopter's landing. The helicopter approaches. The cameramen hurry to position themselves for a better shot. A reporter speaks to the camera. REPORTER In this helicopter is Susan Jones, an American mother of two who was seriously injured in a terrorist attack. It appears fundamentalist organizations planned the attack... The helicopter settles softly in the parking lot. It is immediately surrounded by several Moroccan soldiers. The doctors on the ground prepare the stretcher. Ken walks hurriedly toward the chopper, guarding himself from the wind. Susan is immediately placed on the stretcher and quickly taken to the emergency room. Richard follows close behind until his is intercepted by Ken. KEN Mr. Jones, I'm Ken Clifford , Ambassador to the United States. Richard keeps running behind the stretcher. Ken stops him. KEN (CONT'D) A first rate medical team is going to tend to her, but if you want we can take her to a hospital in Italy as soon as she's stable... RICHARD Thank you... KEN There are lots of reporters waiting. Is there anything you want to say to the press? A statement against terrorism? Richard looks at him as if he doesn't know what he's talking about.117. RICHARD The last thing I'm worried about right now is the fucking press. He pulls away from Ken and follows Susan toward the E.R. 192 INT. HALLWAY, E.R., MOROCCAN HOSPITAL -- NIGHT Several Moroccan doctors are examining Susan. Richard observes worriedly from a window. One of the doctors comes out. MOROCCAN DOCTOR (In good English) We're going to have to operate immediately. RICHARD Is she going to be ok? MOROCCAN DOCTOR It's probable. We're going to try to save her arm. She's been bleeding internally, and there's been some clotting so there's a high risk of gangrene. RICHARD (insistently, as if he hadn't heard the doctor) But she's going to be ok? The Moroccan doctor puts his hand on Richard's shoulder and thinks about his answer. MOROCCAN DOCTOR Yes, she's going to be ok. The doctor leaves and Richard goes back to looking at his wife through the glass. The doctors are still prepping her. Richard walks in. 193 INT. EMERGENCY ROOM -- NIGHT He stands next to Susan, who is unconscious. He looks at a doctor and she moves to one side. Richard leans over and kisses her. He walks away and the nurses start to wheel her to the O.R. 194 INT. HALLWAY, MOROCCAN HOSPITAL -- NIGHT Richard is talking on the phone from an office. 118. RICHARD Amelia? AMELIA (O.S.) Yes sir. RICHARD How is everything? AMELIA (O.S.) Ok sir, Mrs. Rachel told me. I'm very sorry. How is Mrs. Susan? RICHARD They're going to operate now... Amelia... take good care of the kids, and don't tell them anything... AMELIA (O.S.) No sir, don't worry. RICHARD Put Mike on please. A few seconds pass and Mike answers. This is the phone call from the beginning. MIKE (O.S.) Hi dad. RICHARD Hey sweetie, how are you? MIKE (O.S.) Dad, guess what? Today, at school, they brought some baby chickens. RICHARD Oh really? MIKE (O.S.) I held one in my hand. He was really little and he was all warm. Richard starts to cry for the first time. MIKE (O.S.) (CONT'D) Dad, are you ok? Richard tries to hold back his sobbing. RICHARD Yeah, I'm ok. Everything's fine. The boy keeps talking while Richard cries.119. MIKE (O.S.) And Mariana wanted to take one home, but the teacher didn't let her... 195 INT. CHIEKO'S APARTMENT -- NIGHT Chieko, naked, sits in an armchair, again submerged in the remote world of her silence. Before her, Kenji observes her nakedness, her sadness, her pained beauty. For a while they remain motionless. She seems to return from the long journey to herself and turns to look at him. Their eyes meet. There are still tears in Chieko's eyes. They hold each other's gaze until Chieko gets up, gets her notebook, scribbles down some words and gives them to him. Kenji reads them and looks at her. KENJI You don't have to apologize for anything. She sits down beside him. They look at each other again for a few, long seconds. Chieko takes his hand, strokes it for a moment, kisses it, sucks one of his fingers and then puts it back in its place. She grabs her notebook and starts writing a long note. It takes her almost a minute to do so. Kenji, nervous because of her proximity, watches her write feverishly. Chieko finishes writing, folds the note and hands it to Kenji. Kenji starts unfolding it, but Chieko stops him. She takes it away from him, folds it again and puts it in his breast pocket. She signals for him to read it later. Kenji gets up to go. She stands next to him. Her nakedness contrasts with Kenji's toughness. He bows his head to say goodbye and she moves aside for him to pass. Kenji walks past her as she watches. Kenji reaches the door. He opens it and turns to look at Chieko again, who has been left in the middle of the hall. He bows his head again and leaves. Chieko watches him leave and closes her eyes painfully. 196 INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT Kenji rides the elevator down, touched, barely able to contain his emotion. The elevator doors open and he walks out. 197 INT. LOBBY, TOKYO APARTMENT BUILDING -- NIGHT Kenji walks past the doorman. 120. KENJI Good night. He keeps walking. On the other end of the lobby, at the parking lot entrance, Yasujiro walks in. The doorman calls Kenji as he is about to leave. DOORMAN Officer... officer... Kenji stops. Beside him is Yasujiro. DOORMAN (CONT'D) This is the man you were looking for. Kenji approaches him while the doorman discretely moves away to leave them alone in the lobby. KENJI Good evening, I'm lieutenant Mamiya . YASUJIRO Good evening, how can I help you? KENJI Sir, there was an incident and... Yasujiro looks at him attentively. Kenji, still moved by Chieko, looks distracted, confused. KENJI (CONT'D) I don't mean to bother you, but... (a beat) Do you own a .270 caliber Winchester 70 rifle with the registration number... Kenji looks through his pockets, takes out a small notebook and looks up the missing number. KENJI (CONT'D) UK-9023? YASUJIRO I don't remember the license, but I did have a rifle like the one you described. KENJI Is it true that you gave it to a Mr. Hassan Ibrahim , who lives in southern Morocco? YASUJIRO Hassan Ibrahim ?121. KENJI He says he was your guide in a hunt. YASUJIRO Hassan? Of course. He was a very good guide and I gave him the rifle. Hassan is a very kind man. Did anything happen? KENJI There was an attempted murder with that rifle, and the Moroccan police want to confirm it's not off the black market. YASUJIRO No, I gave it to him. (a beat) Is Hassan ok? KENJI I don't know. Yasujiro remains silent for a moment. YASUJIRO Am I legally involved? KENJI Not for the moment. You may have to go testify for your friend. YASUJIRO Can I leave now? KENJI Good night. They both bow to say goodbye. Yasujiro walks toward the elevator. Kenji calls out to him. KENJI (CONT'D) Excuse me. Kenji approaches and Yasujiro awaits, expectant. KENJI (CONT'D) Your daughter told me about your wife on the balcony. I'm very sorry. YASUJIRO What balcony? KENJI About how your wife killed herself by jumping off the balcony.122. YASUJIRO My wife never jumped off a balcony. She shot herself in the head. My daughter was the first to find her. Kenji is left speechless. YASUJIRO (CONT'D) I've explained it to the police several times. Don't bother us with that anymore, please. KENJI I'm very sorry sir, we won't bother you anymore. Good night. He turns around and leaves the building. 198 EXT. TOKYO STREETS -- NIGHT Kenji walks down the streets immersed in his thoughts. 199 INT. BAR -- NIGHT Kenji sits in a half-empty bar. He turns to the bartender. KENJI Another whisky. The T.V. has been turned on to a Japanese newscast. Kenji takes out Chieko's note, reads it and, as soon as he is done, closes his eyes. He looks around. Everybody seems to be immersed in a world far from his own. A reporter appears on T.V. REPORTER Susan Jones, the American woman wounded in an attack in Morocco ten days ago, left the hospital today, heading to the United States... Susan appears on screen in a wheelchair pushed by a male nurse and followed by Richard. The bartender leans over to Kenji. BARTENDER Do you want something to eat? I could make you a sandwich. KENJI No thank you. When he looks back at the news, the story has changed. Kenji drinks his whisky parsimoniously.123. 200 INT. ELEVATOR, CHIEKO'S BUILDING -- NIGHT Yasujiro rides the elevator up, lost in thought. 201 EXT. BALCONY, CHIEKO'S APARTMENT -- NIGHT From the balcony, naked, Chieko observes the city stretching before her. Yasujiro walks in and encounters his daughter completely naked. There are still traces of Chieko's tears in her eyes. Yasujiro is affected when he sees his daughter like this, but says nothing. He slowly walks toward her. Chieko looks hurt, but whole. Yasujiro stands beside her. They look at each other. Chieko holds out her hand and takes his. Chieko squeezes. She looks at the city and then looks at her father's eyes. He strokes her hair and they both stand on the balcony, with the massive city sprawling under them.

screenplays

Join Louisa Ellis, Professional MasterChef finalist for a day full of fine dining techniques, flavour combinations and presentation skills to take your own dinner party cooking to the next level. The day will be fun and action packed as we aim to teach a variety of chef skills and techniques that can be used again at home. Skills include sauce making, pickling and use of water baths to create dinner party style dishes. The recipes taught on the day will represent some of the highlights of Louisa's time on MasterChef and her time spent in professional kitchens and private dining afterwards. The dishes will be ones that you can re create at home using all the skills & chef tips that Louisa will teach throughout the day. During the day you'll enjoy these dishes in our dining room. A chance to share your experiences in creating the dishes as well as enjoying great food and a glass of wine. This day long course is designed to show you the intricate techniques that chefs use to plate and present fine dining dishes. We hope that you will use some of the skills again at home. Louisa Ellis is a MasterChef Professionals finalist, praised by judges for her immaculate presentation, creative dishes and flavour combinations. Louisa worked at the Michelin Starred restaurant Adam's in Birmingham and then in 'The Wilderness' restaurant, a restaurant renowned for it's experimental approach to flavours & foraged ingredients. Following BBC MasterChef the Professionals, Louisa has worked for Sat Bains in Nottingham and is now a private chef, doing pop up events throughout the UK and private dining in people's homes. We are delighted to welcome her to Seasoned. Louisa will demo her focaccia dough and how to salt & cure salmon before it is cooked. The Salmon will be cured before it is cooked in the water bath for 20 minutes. Louisa will demonstrate the citrus mayonnaise and the pickled cucumber which will accompany this dish, before guests make this in pairs. The focaccia bread will be baked whilst we spend time to plate our Salmon starter beautifully before enjoying it alongside a glass of wine in our dining room. Chef Louisa will demonstrate making Sorbet, before we make salted caramel custard, brandy snap & begin the mis en place for the dessert so it is ready to be plated later. Learning to prepare & cook lamb to perfection, alongside the Pommes Anna potatoes to be made in pairs. We'll focus on making a delicious sauce vierge & all the garnishes, so when the lamb is rested it is ready to be calved and presented for lunch. With all your mis en place in place, we will plate the final dish after the lamb has rested & then enjoy a well deserved rest! Hopefully, the techniques shown in todays course will leave you inspired to recreate these dishes again at home. With all the elements in place we will enjoy plating up the banana sorbet with all of the garnishes & enjoy this as one last treat, before leaving with your focaccia to take home with you. Please note places on this day are limited to 12. Book online or call us on 01283 711681 to secure your place.

slim_pajama

one of the most significant aim of all large redshift surveys is to determine the spatial distribution of galaxies in the universe . over the last few decades redshift surveys have revealed the large scale structures in the universe in it s full glory ( e.g. , cfa , @xcite ; lcrs , @xcite ; 2dfgrs , @xcite and sdss , @xcite , @xcite , @xcite ) . it is found that the vast majority of galaxies preferentially reside in an intricate network of interconnected filaments and walls surrounded by voids . the filaments have a dimension of many tens of mpc in length ( @xcite ) and 1 - 2 @xmath1 in thickness ( @xcite , @xcite ) . in fact the local group in which the milky way resides , is believed to lie along an extended filament that originates near the ursa major and includes both the ic342 and m81 groups and connects with another primary filament which originates from the virgo cluster and includes the sculpture group ( @xcite ) . the complex filamentary network of galaxies , the so called cosmic web is possibly the most striking visible feature in the large scale structure of the universe . quantifying the cosmic web and tracing it s origin has remained one of the central issues in cosmology . the analysis of filamentary patterns in the galaxy distribution has a long history dating back to a few papers in the mid - eighties by @xcite , @xcite and @xcite . more recently , extensive studies of the lcrs reveal a rich network of interconnected filaments surrounding voids ( eg . @xcite ; @xcite ; @xcite ; @xcite ; @xcite ; @xcite ; @xcite ) . @xcite have compared the filamentarity in the lcrs galaxy distribution with @xmath2cdm dark matter n - body simulations to show that the two are consistent provided a mild galaxy bias is included . @xcite has used a technique surfgen ( @xcite ) to study the geometry , topology and morphology of the superclusters in mock sdss catalogues . @xcite and @xcite have studied the super - cluster void network in the pscz and the abell / aco cluster catalogue respectively , finding filamentarity to be the dominant feature . @xcite have studied the intercluster galaxy filaments in the 2dfgrs . the sloan digital sky survey ( sdss ) @xcite is currently the largest galaxy redshift survey . in a recent paper @xcite we have analyzed the filamentarity in the two equatorial strips of the first data release of the sdss ( sdss dr1 ) . these strips are nearly two dimensional ( 2-d ) . we have projected the data onto a plane and analyzed the resulting 2-d galaxy distribution . the large volume and dense sampling of the sdss allows us to construct volume limited subsamples extending over lengthscales which are substantially larger than possible with earlier surveys . we find evidence for connectivity and filamentarity in excess of that of a random point distribution , indicating the existence of an interconnected network of filaments . the filamentarity is found to be statistically significant up to length - scales @xmath3 and not beyond @xcite . further , we show that the degree of filamentarity exhibits a luminosity dependence with the brighter galaxies having a more concentrated and less filamentary distribution . it is now quite well accepted that galaxies with different physical properties are differently distributed in space . studies over several decades have established that ellipticals and spirals are not distributed in the same way . the ellipticals are found predominantly inside regular , rich clusters whereas the field galaxies are mostly spirals . this effect is referred to as `` morphological segregation '' which has been studied extensively in the literature ( eg . @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . further , ellipticals exhibit a stronger clustering as compared to spirals ( @xcite ) . the analysis of the two - point correlation function of galaxies with different colours shows the red galaxies , which are mainly ellipticals with old stellar populations , to have a stronger clustering as compared to the blue galaxies which are mostly spirals ( e.g. @xcite , @xcite , @xcite ) . studies of the topology using the genus statistics show that red galaxies exhibit a shift towards a meatball topology ( @xcite , sdss edr , @xcite , sdss dr3 ) implying that they prefer to inhabit the high density environments . it is found that luminous galaxies exhibit a stronger clustering than their fainter counterparts ( e.g. @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . the difference increase markedly above the characteristic magnitude @xmath4 ( @xcite , 2dfgrs , @xcite , sdss dr2 ) of the schecter luminosity function ( @xcite ) . the detailed luminosity dependence has been difficult to establish because of the limited dynamic range of even the largest redshift surveys . @xcite have studied the luminosity distribution of galaxies in high and low density regions of the sdss to show that brighter galaxies are preferentially distributed in the high density environments . @xcite have studied the morphology density relation in the sdss(edr ) and found that this relation is less noticeable in the sparsest regions indicating the need for a denser environment for fostering the physical mechanisms responsible for the galaxy morphological changes . @xcite and @xcite find a strong environment dependence for both the colour and luminosity for the sdss galaxies . the dependence of clustering on galaxy properties like the luminosity , colour and morphology provides very important inputs for theories of galaxy formation . it is a natural prediction of hierarchical structure formation that the rarer objects which correspond to peaks in the density field should be more strongly clustered than the population itself ( @xcite , @xcite , @xcite ) . a possible interpretation of the observations is that the more luminous galaxies are hosted in higher density peaks as compared to the fainter galaxies . in this scenario the properties of a galaxy are largely decided by the initial conditions at the location where the galaxy is formed . this idea is implemented in the halo model ( @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) where it is postulated that all galaxies lie in virialised halos and the number and type of galaxies in a halo is entirely determined by the halo mass . @xcite provide a detailed review of the halo model . it is well known that galaxy - galaxy interactions and environmental effects are also important in determining the physical properties of a galaxy . for example , ram pressure stripping in galaxy clusters is a possible mechanism for the transformation of a spiral galaxy into an elliptical . galaxy - galaxy interactions could also provide a mechanism for morphological transformation . in the classical picture galaxies evolve in isolation and morphology is determined at birth , while in the hierarchical model galaxies have no fixed morphology and they can evolve depending on the nature of their mergers . a study of the spatial distribution of different kind of galaxies holds the potential to probe the factors responsible in determining galaxy luminosity , colour and morphology . much of the research on the luminosity , morphology and colour dependence of the galaxy distribution has focused either on the morphology segregation in clusters or has studied the behaviour of the two point correlation as a function of these galaxy properties . filaments are the largest known statistically significant coherent features . they have been shown to be statistically significant to scales as large as @xmath5 . in this paper we study the luminosity , colour and morphology dependence of filaments in the sloan digital sky survey data release four ( sdss dr4 ) . this allows us to study the distribution of different types of galaxies on the largest length - scales possible . such a study will enable us to estimate the length - scale over which the factors responsible for the galaxy segregation operate . while the two - point correlation function completely characterizes the statistical properties of a gaussian random field , it is well known that the galaxy distribution is significantly non - gaussian . in fact the presence of large - scale coherent features like filaments is a clear indication of non - gaussianity . there have been studies of how the three point correlation function depends on galaxy properties @xcite . while the first two papers do not find any statistically significant effects , @xcite find statistically significant colour and luminosity dependence . the present work studies how the largest known non - gaussian features , the filaments , depend on galaxy properties . this paper presents progress on many counts compared to our earlier work @xcite based on the sdss dr1 . the earlier work was restricted to single volume limited subsamples from each of the two equatorial strips . the absolute magnitude range was divided into two equal halves , and these were analyzed to test for a luminosity dependence in the filamentarity . for a statistically significant conclusion it is necessary to also estimate the cosmic variance ( sample to sample variation ) of the filamentarity which was done by bootstrap resampling . we found that the difference in filamentarity between the two magnitude bins was in excess of the fluctuations expected from cosmic variance , thereby establishing the statistical significance . the sdss dr4 covers a large contiguous region in the northern galactic cap with a few gaps still to be covered . the sdss has been carried out in overlapping strips of @xmath6 width oriented along great circles . since the detection of coherent large - scale features requires a completely sampled region with no gaps , we have extracted seven non - overlapping strips of width @xmath7 each . the volume corresponding to each strip is nearly two dimensional and we have collapsed the thickness and analysed the resulting 2-d galaxy distribution . the increased number of strips provide a better estimate of the cosmic variance leading to more robust conclusions . the analysis has been carried out on five overlapping bins in absolute magnitude . we have extracted separate volume limited subsamples corresponding to each magnitude bin and compared the filamentarity across them . the earlier analysis has been extended here to also consider the colour and morphology dependence , which has been tested in each of the volume limited subsamples . here we would like to mention that the statistics that we are using to quantify the filamentarity is not absolute in the sense that it is sensitive to the volume and galaxy number density of the sample . it is thus only meaningful to compare different galaxy samples provided they have the same volume ( identical shape and size ) and number density . this is an important consideration when constructing the galaxy samples for which we test the luminosity , colour and morphology dependence . a brief outline of our paper follows . section 2 describes the data and section 3 the method of analysis . our results for the sdss data are presented in section 4 , in section 5 we compare our results with the predictions of a semi analytic model of galaxy formation and finally we present our conclusions in section 6 . it may be noted that we have used a @xmath2cdm cosmological model with @xmath8 , @xmath9 and @xmath10 throughout . the sdss is an imaging and spectroscopic survey of the sky ( @xcite ) in five photometric bandpasses , u , g , r , i , z with effective wavelengths of @xmath11 , @xmath12 , @xmath13 , @xmath14 and @xmath15 respectively ( @xcite , @xcite ) to a limiting r band magnitude @xmath16 with @xmath17 completeness . a series of pipelines that perform astrometric calibration ( @xcite ) , photometric reduction ( @xcite ) and photometric calibration ( @xcite ) are used to process the imaging data and then objects are selected from the imaging data for spectroscopy . in the sdss dr4 ( @xcite ) the imaging data covers 6670 @xmath18 of the sky whereas the spectroscopy covers a total area of 4783 @xmath18 . the spectroscopic data includes 673,280 spectra with approximately 480,000 galaxies , 64,000 quasars and 89,000 stars . the survey area covers a single contiguous region in the northern galactic cap and three non - contiguous region in the southern galactic cap . our analysis is restricted to the northern galactic cap region only . the samples analyzed here were obtained from the sdss dr4 skyserver . this is a web interface to the sdss data archive server . the sdss surveys the sky in overlapping stripes of width @xmath6 which form great circles on the sky . the stripes are most conveniently described using survey co - ordinates ( @xmath19 ) defined in @xcite . lines of constant @xmath20 are great circles aligned with the stripes and lines of constant @xmath21 are are small circles along the width of the stripes . each stripe is centered along a line of constant @xmath20 separated from the adjoining stripe by @xmath22 . we have downloaded data from seven overlapping stripes which form a nearly contiguous region shown in figure [ fig:1 ] . we have selected all objects identified as galaxies with extinction corrected r band petrosian magnitude @xmath23 over the redshift range @xmath24 . the primary data is not contiguous and has a few gaps . since our analysis requires contiguous regions , we have extracted seven non - overlapping strips each of width @xmath25 in @xmath20 and spanning @xmath26 in @xmath21 ( figure [ fig:1 ] and table 1 ) . only galaxies with extinction corrected petrosian r band magnitude in the range @xmath27 were used . for each galaxy the absolute magnitude was computed using its redshift , apparent magnitude , k correction and reddening correction ( @xcite ) . we adopt a polynomial fit ( @xcite ) for the mean k - correction , @xmath28 . we construct volume limited sub - samples using the absolute magnitude bins listed in table 2 . the five overlapping absolute magnitude bins are referred to as `` bin 1 '' , `` bin 2 '' , ... `` bin 5 '' in order of increasing luminosity . each bin extends over a different redshift range . the thickness of the volume corresponding to each bin increases with redshift . we have extracted regions of uniform thickness @xmath29 . this corresponds to @xmath7 at redshift @xmath30 , and for some bins it was necessary to discard the range @xmath31 where the thickness was less than @xmath29 . the redshift range which we use for final galaxy samples that were analyzed are shown in table 2 . the faintest luminosity bin has the smallest area ( table 2 ) , and the area of the other bins increases monotonically with luminosity . a smaller magnitude range was chosen for the faintest bin so as to ensure that it covers a reasonably large area while maintaining a number density comparable to the other bins . the galaxy number density is maximum for bin 2 ( table 2 ) which is centered at @xmath32 which has a value @xmath33 @xcite for the sdss . the number density falls for the other bins . the number of galaxies for all the strips in each bin are also tabulated in table 1 . [ cols="^,^,^,^,^,^,^,^",options="header " , ] studies using n - body simulations show that the statistics that we use to characterize the filamentarity in the galaxy distribution is sensitive to the number density as well as the shape and size of the volume of the sample . to test for luminosity dependence it is necessary to compare different luminosity bins which as seen in table 2 have different number densities and cover different areas . to ensure that these factors do not influence our results , we extract regions of identical shape and size as bin 1 from the other bins and use these to test for luminosity dependence . tests using dark matter @xmath2cdm n - body simulations show that galaxy number density variations of @xmath34 do not produce statistically significant effect on the filamentarity ( figure [ fig:11 ] ) . we have discarded randomly chosen galaxies from bins 2 and 3 so as to make the galaxy number density of each strip of these bins exactly equal to the mean density of bin 1 . the galaxy number density of bin 4 is within @xmath35 of that of bin 1 while it is @xmath36 lower in bin 5 . since these are lower than bin 1 , and as they are within the permissible range of variation we do not dilute the galaxy number density in bins 4 and 5 . figure [ fig:2 ] shows the galaxy distribution in two different luminosity bins drawn from the same strip . it is to be noted that the samples with reduced area and diluted galaxy number density are used only for testing luminosity dependence . we separately study the colour and morphology dependence in each of the magnitude bins listed in table 1 and table 2 . we do not compare the colour and morphology dependence across different luminosity bins . when testing for colour dependence in a fixed luminosity bin , all the galaxies ( table 1 ) in the entire area of the bin ( table 2 ) are classified as either red or blue galaxies . the galaxy @xmath37 colours are known to have a bimodal distribution @xcite . in our analysis we determine a value @xmath38 for the colour such that it divides each magnitude bin into equal number of red ( i.e. @xmath39 ) and blue ( i.e. @xmath40 ) galaxies . as a consequence the number density of red and blue galaxies in each luminosity bin are exactly equal and have a value half that of the density shown in table 2 . the value of @xmath38 varies slightly across the luminosity bins , and the values are listed in table 2 . it may be noted that @xcite finds that a color selection criteria @xmath41 ensures that the red galaxies are ellipticals with @xmath42 completeness . figure [ fig:3 ] shows the distribution of red and blue galaxies in one of the subsamples . the morphological classification was carried out using the concentration index defined as @xmath43 where @xmath44 and @xmath45 are the radii containing @xmath42 and @xmath46 of the petrosian flux respectively . this has been found to be one of the best parameter to classify galaxy morphology ( @xcite ) . ellipticals are expected to have a larger concentration indices than spirals . it was found that @xmath47 for a pure de - vaucouleurs profile ( @xcite ) while @xmath48 for a pure exponential profile ( @xcite ) . @xcite show that using a cutoff @xmath49 divides the sample into ellipticals and spirals at @xmath50 completeness . for each luminosity bin we have chosen a cutoff @xmath51 that partitions the galaxies into two equal halves , one predominantly ellipticals and the other spirals . the values of @xmath51 varies across luminosity bins and are listed in table 2 . figure [ fig:4 ] shows the distribution of early and late type galaxies in one of the subsamples . finally we note that there is an incompleteness in the sdss survey arising from a restriction which prevents the redshift of two galaxies at a very small angular separation to be measured . this incompleteness is not expected to introduce a luminosity , colour or morphology dependence and hence we do not take this into account . each of the subsamples described in the previous subsection have a much greater ( 16 - 35 times ) linear dimension compared to their thickness and so can be reasonably treated as two dimensional . the 2d galaxy distribution was embedded in a @xmath52 2d rectangular grid . the galaxy distribution was represented as a set of 1s and 0s on a 2-d rectangular grid by assigning the values 1 and 0 to the filled and empty cells respectively . note that @xmath53 of the filled cells have 2 galaxies while the number is substantially smaller for 3 galaxies or more , and hence the 1s and 0s provide a fair representation of the galaxy distribution on the length - scales of interest . the grid cells which are beyond the boundaries of the survey were assigned a negative value in order to distinguish them from the empty cells within the survey area . the next step is to use an objective criteria to identify the coherent large - scale structures visible in the galaxy distribution . we use a `` friends - of - friends''(fof ) algorithm to identify interconnected regions of filled cells which we refer to as clusters . in this algorithm any two adjacent filled cells are referred to as friends . clusters are defined through the stipulation that any friend of my friend is my friend . the distribution of 1s on the grid is very sparse with only @xmath54 of the cells being filled . also , the filled cells are mostly isolated , and the clusters identified using fof , which contain only a few cells each , do not resemble the large - scale coherent structures seen in the sdss strips . it is necessary to coarse - grain the galaxy distribution so that the large scale structures may be objectively identified . in every iteration of coarse - graining we fill up all the empty cells adjacent to every filled cells ( i.e. cells at the 4 sides and 4 corners of a filled cell ) , causing every filled cell to grow fatter . the size of an isolated filled cell is @xmath55 after @xmath56 iterations of coarse - graining and for example it is @xmath57 after @xmath58 iterations . this causes clusters to grow , first because of the growth of filled cells , and then by the merger of adjacent clusters as they overlap . increasing the coarse - graining further induces the percolation transition when a large fraction of the clusters connect up into a single , multiply connected network of filaments encircling voids . as coarse - graining proceeds even further the network grows to some extent , and eventually the elements become very thick filling up the entire survey region washing away any visible pattern . the filling factor @xmath59 , defined as the fraction of cells within the survey area that are filled , _ ie . _ @xmath60 increases from @xmath61 0.01 to @xmath62 1 as the coarse - graining is increased . the filling factor is around @xmath63 after @xmath58 rounds of coarse - graining ( figure [ fig:5 ] ) . so as to not restrict our analysis to an arbitrarily chosen level of coarse - graining , we analyze the clusters identified in the pattern of 1s and 0s after each iteration of coarse - graining . earlier studies using the sdss dr1 @xcite show that the percolation transition occurs in the @xmath64 range @xmath65 . the geometry and topology of a two dimensional cluster can be described by the three minkowski functionals , namely its area @xmath66 , perimeter @xmath67 , and number of holes or genus @xmath68 . we have tested that the cluster area @xmath66 is proportional to the actual number of galaxies within the cluster boundary . this holds at each level of coarse - graining , with the proportionality constant increasing with coarse - graining . the ratio @xmath69 characterizes the thickness of the cluster , and @xmath67 the extent of its boundary . since the clusters are largely filamentary ( as we shall see later ) , we may interpret @xmath67 as an estimate of the length of the cluster . the ratio @xmath70 has dimensions of length and it is particularly significant after the onset of percolation @xcite as it characterizes the length of the cluster boundary per void . it is possible to quantify the shape of the cluster using a single 2d `` shapefinder '' statistic ( bharadwaj et al . 2000 ) which is defined as the dimensionless ratio @xmath71 which by construction has values in the range @xmath72 . it can be verified that @xmath73 for an ideal filament which has a finite length and zero width , whereby it subtends no area ( @xmath74 ) but has a finite perimeter ( @xmath75 ) . it can be further checked that @xmath76 for a circular disk , and intermediate values of @xmath77 quantifies the degree of filamentarity with the value increasing as a cluster is deformed from a circular disk to a thin filament . the definition of @xmath77 needs to be modified when working on a rectangular grid of spacing @xmath78 . an ideal filament , represented on a grid , has the minimum possible width _ i.e. _ @xmath78 , and its perimeter @xmath67 and area @xmath66 are related as @xmath79 . at the other extreme we have @xmath80 for a square shaped cluster on the grid . we introduce the 2d shapefinder statistic @xmath81 to quantify the shape of clusters on a grid . by definition 0@xmath82 1 . @xmath77 quantifies the degree of filamentarity of the cluster , with @xmath77 = 1 indicating a filament and @xmath77 = 0 , a square , and @xmath77 changes from @xmath83 to @xmath84 as a square is deformed to a filament . at every stage of coarse - graining we have a number of clusters , each of which is characterized by its shape @xmath85 and size @xmath86 . it is desirable to identify a single statistical quantity to capture the filamentarity of the entire set of clusters . we have considered two possibilities @xmath87 and @xmath88 , respectively the first and second area weighted moments of the filamentarity . our aim being to quantitatively compare the filamentarity of different galaxy samples and draw statistically significant conclusions , we find that it is more advantageous to use @xmath88 as a statistical discriminator . though both @xmath87 and @xmath88 show similar behaviour , the differences in @xmath88 between point distributions with different clustering properties is more pronounced as compared to @xmath87 @xcite . the average filamentarity @xmath88 is defined as the mean filamentarity of all the clusters in a slice weighted by the square of the area of each clusters @xmath89 in the current analysis , we study the average filamentarity @xmath88 as a function of @xmath64 to quantify the degree of filamentarity in each of the sdss subsamples and investigate how the average filamentarity @xmath88 changes with intrinsic galaxy properties like luminosity , color and morphology . we also use the area weighted second moment ( defined analogous to eq . ( [ eq : a6 ] ) ) of @xmath90 , @xmath67 and @xmath70 to quantify the average cluster thickness , length and length per void respectively . at a specified level of coarse - graining the value of the filling factor ( @xmath64 ) has small differences from sample to sample as seen in figure [ fig:5 ] . this makes it difficult to compare the filamentarity in different samples using the values of the average filamentarity ( @xmath88 ) as a function of @xmath64 ( figure [ fig:6 ] ) . we overcome this by interpolating the values of @xmath88 as a function of @xmath64 at uniformly chosen values which are same for all the samples . the average thickness and length are also interpolated and analyzed in a similar fashion . further , since the later stages of coarse graining tend to wash out the features of the galaxy distribution , we have restricted our analysis to the range of filling factor @xmath91 . we first study how the average filamentarity varies across the different luminosity bins discussed in section 2 . for each luminosity bin we have seven realisations of the galaxy distributions from the seven non - overlapping strips . the results from all the individual strips in luminosity bin 1 are shown together in figure [ fig:6 ] . for each bin we use the results from these seven samples to determine the mean and variance of @xmath88 at uniformly chosen values of @xmath64 . the results are shown in the left panel of figure [ fig:7 ] . we find that for a fixed value of @xmath64 , the value of @xmath88 decreases with increasing luminosity . we note that there is some deviation from this behaviour at @xmath92 between bins 3 and 4 , but the overall trend is still valid when we compare these bins with fainter or brighter samples . further , the luminosity dependence is enhanced with increasing luminosity . at each values of @xmath64 we use the student s t - test to quantify the statistical significance of the difference in the mean @xmath88 between different luminosity bins . the variance of @xmath88 is very similar in the different luminosity bins and we estimate the standard error for the difference in the means using @xmath93 where the sum is over the points in the two samples a and b which are being compared . here @xmath94 and @xmath95 referes to the mean , and @xmath96 and @xmath97 refers to the number of data points . in our case @xmath98 . we use @xmath99 to estimate the significance of the differences in the means . this is expected to follow a student s t - distribution with @xmath100 degrees of freedom . we accept the difference in the means as being statistically significant if the probability of its occurring by chance is less than @xmath101 . we find that there are no statistically significant differences between adjacent luminosity bins except the two brightest ones ( bins 4 and 5 ) . all the non - adjacent bins ( eg . bin 1 and bin 3 , etc . ) show statistically significant differences at most values of @xmath64 . as noted earlier , the @xmath88 curves are sensitive to the galaxy number density . while bins 2 and 3 have been culled so that they have the same number density as bin 1 , bins 4 and 5 have number densities which are @xmath35 and @xmath102 lower respectively . figure [ fig:11 ] shows the effect of varying the number density by @xmath46 in 18 independent realizations of mock galaxy samples identical to bin 1 in thickness , area and number density ( table 2 ) drawn from dark matter @xmath2cdm n - body simulations @xcite . the test shows that @xmath46 variations in the number density do not introduce a statistically significant effect on the filamentarity except at @xmath103 . this is quite distinct from the luminosity dependence seen in the left panel of figure [ fig:7 ] where there are statistically significant differences among the different luminosity bins at all @xmath64 except for @xmath103 . this clearly establishes the luminosity dependence to be genuine and not an artifact due to number density variations . we have separately analyzed the filamentarity of the red and blue galaxies in each luminosity bin . the results for bin 4 are shown in the middle panel of figure [ fig:7 ] . we find that there is a statistically significant colour dependence . at the smallest value of @xmath64 the red galaxies exhibit a higher filamentarity than the blue ones . there is a cross - over at @xmath104 , and the blue galaxies have a higher filamentarity than the red ones at larger values of @xmath64 . a similar trend is found in all the other luminosity bins , results for which are not shown here . the morphology dependence has been studied separately for each luminosity bin . the results for bin 4 are shown in the right panel of figure [ fig:7 ] . the ellipticals have a higher @xmath88 as compared to spirals for @xmath105 whereas the spirals have a higher @xmath88 at larger values of @xmath64 . we find that the differences are statistically significant for @xmath106 and @xmath107 . the results are similar for the other luminosity bins not shown here . figure [ fig:9 ] shows the average cluster length , length per void and thickness as a function of @xmath64 for two different luminosity bins , and also the colour and morphology dependence for a fixed luminosity bin ( bin 4 ) . we see that the clusters are longer for the faint galaxies , blues galaxies and the spirals as compared to the bright galaxies , red galaxies and ellipticals respectively . unlike the length which increases nearly monotonically with coarse - graining , the cluster length per void is found to be quite stable to coarse - graining after the onset of percolation . the luminosity , colour and morphology dependence found in the cluster length is exactly reversed when the length per void is considered . we also note that the luminosity , colour and morphology dependence of the length and the length per void are not at a high level of statistical significance , except at a few points where the data are seen to lie outside the @xmath108 errorbars . the average cluster thickness , on the other hand , shows statistically significant differences at all values of the filling factor . at the same value of @xmath64 , the clusters are thicker for the bright galaxies , red galaxies and elliptical galaxies as compared to their faint , blue and spiral counterparts respectively semi analytic models have , over the last two decades emerged as a very powerful tool for studying galaxy formation ( @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite , @xcite ) . these models describe the evolution of galaxies in a hierarchical clustering scenario incorporating all relevant physics of galaxy formation processes ( eg . gas cooling , star formation , supernovea feedback , metal enrichment , merging etc ) often in an approximate and adhoc fashion . the detailed physics of star formation and it s regulation by different feedback mechanisms is still poorly understood . these models serve as simplified simulations of the galaxy formation processes . the output of the semi analytic models are statistical predictions of galaxy properties at some epoch and the precision of these predictions are directly related to the accuracy of the input physics . in this section we investigate the luminosity , and colour dependence of galaxy filaments in a particular semi - analytic model and compare the findings with those from the sdss . we have used the semi analytic galaxy catalogs from the millennium run simulation ( @xcite ) , one of the largest simulation of the growth and evolution of cosmic structures in the universe . the details of the simulation can be found in @xcite . the physical treatment of the galaxy formation processes in this model are described in @xcite . the spectra and magnitude of the model galaxies were computed using population synthesis models of @xcite and we use the catalog where the galaxy magnitudes are available in sdss u , g , r , i , z filters . the catalog contains about 9 million galaxies in the full simulation box . we use these to construct mock strips from the simulation which are otherwise identical to the sdss strips which were analyzed . the luminosity dependence in the semi - analytic model is shown in the left panel of figure [ fig:8 ] . this is found to exhibit a strong luminosity dependence . although the behaviour is qualitatively similar to the actual data , the luminosity dependence is noticeably less pronounced for the brighter galaxies in the semi - analytic model . the differences between the behaviour in the actual data and the semi - analytic model are clearly seen in the middle panel of figure [ fig:8 ] which , for two luminosity bins , shows the results for the actual data and the semi - analytic model together . note that while there is a reasonable agreement for the faint luminosity bins , there are sharp differences between the data and the simulations in the filamentarity of the high luminosity galaxies . the right panel of figure [ fig:8 ] shows the colour dependence of the filamentarity in the semi - analytic model . here again , although the model is qualitatively similar to the data , the colour dependence predicted in the model is substantially in excess of those seen in the actual data . the differences between the data and the simulation is particularly noticeable at low @xmath64 where the filamentarity of the blue galaxies in the model is found to be substantially below that of the actual data . the simulation results for the red galaxies are in rough agreement with the sdss data . the concentration index ( @xmath109 ) was not directly available in the particular simulated catalogue which we have used and hence we did not study the morphology dependence for the semi - analytic model . filaments are the largest known statistically significant coherent features visible in the galaxy distribution . we test if the degree of filamentarity depends on the galaxy properties . we find evidence for statistically significant luminosity , colour and morphology dependence in the average filamentarity @xmath88 studied as a function of the filling factor @xmath64 . comparing the average filamentarity @xmath88 of different luminosity bins ( figure [ fig:7 ] ) , we find that the fainter galaxies have a more filamentary distribution as compared to the brighter ones . these differences exist at nearly all values of @xmath64 . the drop in filamentarity with increasing luminosity is found to be particularly more pronounced in the two brightest luminosity bins which we have considered , both of which are brighter than @xmath32 . comparing the thickness and length ( figure [ fig:9 ] ) , we find that at a fixed value of @xmath64 structures traced by the bright galaxies are thicker and shorter than those traced by the faint ones . while the differences in the length are statistically significant only at large @xmath64 , the differences in the thickness are statistically significant at all values of the filling factor . with increasing coarse - graining there is a percolation transition at @xmath110 beyond which there is an interconnected network of filaments encircling voids . after the onset of percolation the length per void gives an estimate of the circumference of the filaments encircling the voids and dividing this by @xmath111 gives an estimate of the average void diameter . we find that the faint galaxy distribution is more porous ( larger number of holes or voids ) and has smaller voids with a typical void diameter @xmath112 as compared to the bright galaxy distribution which has a typical void diameter @xmath113 . note that these estimates of the void diameter could be somewhat flawed because the estimated void diameters exceed the radial extent ( @xmath114 ) of the samples which we have used to test luminosity dependence ( figure [ fig:2 ] ) , but they serve the purpose of demonstrating the luminosity dependence of the void size . our findings indicate that galaxies of different luminosity are not uniformly distributed along the cosmic web . the brighter galaxies are preferentially distributed in more compact and thicker regions with large voids in between whereas the fainter galaxies inhabit thin , elongated regions with more numerous voids of smaller diameter . we note that studies using the projected two - point correlation function ( eg . @xcite ; @xcite ) show an increase in correlation amplitude with increasing luminosity , the effect being pronounced beyond @xmath115 . these earlier results are consistent with our findings but they do not have any information about the shapes of the clustering patterns . recent studies ( eg . @xcite ; @xcite ) also show evidence for luminosity dependence at higher redshifts ( @xmath116 ) . the results for the colour and morphology dependence of the average filamentarity are somewhat different from those for the luminosity dependence . we find that the red galaxies and the ellipticals have a higher filamentarity as compared to the blue galaxies and spirals respectively at low filling factors ( figure [ fig:9 ] ) . there is a cross - over at @xmath117 for the colour dependence and @xmath118 for the morphology dependence . the blue galaxies and the spirals have a higher filamentarity as compared to the red galaxies and the ellipticals respectively at large filling factors . considering the length and the thickness ( figure [ fig:9 ] ) , we find that the length shows a statistically significant colour and morphology dependence only at large @xmath64 ( beyond percolation ) where the distribution of blue galaxies and the spirals has a greater length as compared to red galaxies and ellipticals respectively . the red galaxies and ellipticals have a thicker distribution , the differences being statistically significant at all @xmath64 . considering the voids , we find that the distribution of red galaxies has fewer voids which are larger ( diameter @xmath119 ) whereas the distribution of blue galaxies has more voids which are smaller ( diameter @xmath120 ) . the ellipticals and spirals show similar differences with void diameters @xmath121 and @xmath122 respectively . these estimates of the void diameter are quite reliable as the sample size ( bin 4 ) is larger than the void diameter ( figure [ fig:3 ] and [ fig:4 ] ) . we note that our estimates are somewhat larger compared to results using other methods . for example , @xcite have found that the voids have a scale of around @xmath123 in iras 1.2 jy redshift survey . a similar conclusion is reached by @xcite from their analysis of the northern local void . a recent analysis of voids in the 2dfgrs by @xcite find that voids have typical diameters of @xmath124 . most of these estimates use the area or volume to determine the void diameter whereas we use the void perimeter . substructures in the void perimeter is possibly the dominant reason why we get a larger estimate of the diameter . further , the large variance in the void diameter seems to indicate that they have a large spread in sizes . the colour and morphology are very strongly correlated galaxy properties , the red galaxies being predominantly ellipticals and the blue ones spirals . it is well known that elliptical are found primarily in dense groups and clusters @xcite whereas the spirals are distributed in the field . our finding that at large length - scales the structures traced by the ellipticals are thicker , and less filamentary as compared to the spirals is consistent with a picture where the entire galaxy population is distributed along an interconnected network of filaments encircling voids , the cosmic web . the ellipticals preferentially inhabit the dense groups and clusters which can be identified with the nodes of the cosmic web , the places where filaments intersect . the spirals , on the other hand , are sparsely distributed along the filaments . the colour and morphology are also known to be correlated with the luminosity . the more luminous galaxies are predominantly ellitpicals and the fainter ones spirals . the fact that at small filling factors ( which we may associate with small length - scales ) the eliipticals have a more filamentary distribution as compared to spirals , whereas the opposite is found at large length - scales is quite intriguing . we discuss below a possible interpretation of this finding . the higher filamentarity of the ellipticals at low @xmath64 seem to indicate that in addition to residing in the clusters at the intersection of filaments , the ellipticals also extend a little along the filaments which originate from the clusters . the spirals on the other hand , are distributed along the entire extent of the filaments . this is shown schematically in figure [ fig:10 ] . in this picture the ellipticals have a more compact distribution , and as a consequence they connect up to form filamentary clusters at the initial stages of coarse graining . since these structures are localized near the nodes of the filaments and they do not extend along the entire length of the filaments , their filamentarity increases slowly during the later stages of coarse graining . the spirals , on the other hand , are sparsely distributed along the entire length of the filaments . they connect up only at a later stage of coarse graining to define the entire filamentary network of the cosmic web . this is a possible explanation why at low filling factors the ellipticals have a higher filamentarity than the spirals . further , it also indicates that with increasing filling factor ( later stages of coarse graining ) the filamentarity of the spirals should grow faster than that of the ellipticals as seen in ( figure [ fig:7 ] ) . finally we note that the qualitative picture presented here is a plausible model which is consistent with the quantitative findings of this paper . we do not claim that it is the only possible explanation , and it is presented here more in the spirit of a hypothesis rather than a conclusion . further work is required to establish or refute this picture . as already mentioned several times , it should be noted , that the curves showing @xmath125 as a function of @xmath64 are not absolute . they depend on the geometry of the volume ( both shape and size ) and the galaxy number density . it is only meaningful to compare different galaxy samples for which these quantities are the same . once these are fixed , we can attribute changes in the filamentarity to factors like luminosity , colour or morphology which we are testing for . observational findings indicate a close connection between the local density and galaxy type @xcite with an increase in the elliptical and s0 population and a decrease in the spirals in galaxy clusters . our findings are consistent with this , and it indicates that there is an excess of ellipticals on scales larger than the clusters extending to some extent into the filaments . in the zeldovich pancake scenario filaments form at the intersection of sheets and clusters form at the nodes of the filaments . structure formation occurs in a hierarchical fashion with sheets forming first , matter flows along the sheets into the filaments which in turn drain into the clusters . the higher galaxy density and a denser hot gas environment are possibly the factors leading to a higher elliptical fraction in the vicinity of the nodes . the relation between our findings and the various theories for galaxy formation is an important issue . we have compared our findings against the millennium run @xcite which is one of the largest simulated galaxy catalogues that incorporates the theory of galaxy formation in a semi - analytic fashion . the semi - analytic model has a number of parameters which have been tuned to match various observed properties of the local galaxy distribution like the luminosity functions and the tully - fisher relation . in this paper we have compared the filamentarity of the galaxy distribution in the semi - analytic model against the actual data from the sdss dr4 . studying this in different luminosity bins we find that the two are consistent for @xmath126 galaxies , while the brighter galaxies show significant differences . for the brighter galaxies , at large filling factors the semi - analytic model predicts a substantially higher filamentarity as compared to the actual data , whereas it underpredicts the same at small @xmath64 . though the semi - analytic model correctly predicts the number density of very luminous galaxies as reflected in the luminosity function , it fails to correctly reproduce the geometry of their spatial distribution . for these galaxies the model does not predict a sufficiently filamentary distribution at small length - scales whereas there is an excess filamentarity predicted at large scales . comparing the filamentarity predicted by the model against the actual data for galaxies of different colours , we find that the two are consistent for red galaxies whereas the distribution of the blue galaxies are quite different . for these galaxies the model markedly underpredicts the filamentarity at small length - scales or filling factors . we speculate that the discrepancy may be a consequence of two possible ingredients of the model , the first being a radio mode feedback from agns in massive halos introduced to stop cooling flows . this effectively quenches star formation in the galaxies in these halos thereby transforming them into red galaxies . the second possibility is the prescription ( plane parallel slab model ) of @xcite to include the effects of dust when calculating the galaxy luminosities and colours . it may be noted that @xcite have found discrepancies in the colour dependence of the two point correlation function . they find that the differences in the correlation amplitudes of the red and blue galaxies predicted by the model are in excess of that seen in the 2dfgrs and sdss . in conclusion we note that the filamentary pattern seen in the galaxy distribution exhibits statistically significant luminosity , colour and morphology dependence . we have speculated on a geometrical picture which can explain some features of the colour and morphology dependence of the filamentarity . explaining the origin of the observed luminosity , colour and morphology dependence in terms of the theories of galaxy formation is an important issue which needs to be addressed in the future . sb would like to acknowledge financial support from the govt . of india , department of science and technology ( sp / s2/k-05/2001 ) . bp would like to thank the csir , govt . of india for financial support through a senior research fellowship . bp acknowledges darren croton for his help in analyzing the millennium catalouge . the authors thank an anonymous referee for the constructive comments and the comprehensive and detailed review of the paper . funding for the creation and distribution of the sdss archive has been provided by the alfred p. sloan foundation , the participating institutions , the national aeronautics and space administration , the national science foundation , the u.s . department of energy , the japanese monbukagakusho , and the max planck society . the sdss web site is http://www.sdss.org/. the sdss is managed by the astrophysical research consortium ( arc ) for the participating institutions . the participating institutions are the university of chicago , fermilab , the institute for advanced study , the japan participation group , the johns hopkins university , the korean scientist group , los alamos national laboratory , the max - planck - institute for astronomy ( mpia ) , the max - planck - institute for astrophysics ( mpa ) , new mexico state university , university of pittsburgh , princeton university , the united states naval observatory , and the university of washington . the millennium run simulation used in this paper was carried out by the virgo supercomputing consortium at the computing centre of the max - planck society in garching . the semi - analytic galaxy catalogue is publicly available at http://www.mpa-garching.mpg.de/galform/agnpaper

arxiv

rheumatoid arthritis ( ra ) is a chronic inflammatory disease characterized by joint swelling , weakness , fragility , and progressive synovial membrane damage , leading to a high degree of disability . the disease evolution is not easily predictable and , if not promptly and adequately treated , can cause severe worsening in joint mobility and function , leading to various levels of disability , significant reduction in quality of life , and increased mortality.15 ra etiopathogenesis is still only partially known . nowadays it seems possible that chronic inflammation localized in joint tissues can be the result of autoimmune reactions that firstly affects synovial tissue , and then may extend to cartilage and bone tissues.6,7 for a prompt and correct diagnosis , currently we refer to american college of rheumatology they suggest starting a pharmacological treatment based on disease - modifying anti - rheumatic drugs ( dmards ) as soon as possible.8 currently , hydroxychloroquine ( hcq ) represents the most commonly used molecule , mainly because of its lower toxicity compared to chloroquine ( cq).9 nevertheless , it can also have harmful effects on retinal pigment epithelium ( rpe ) cells , and consequently on photoreceptor cells.10 this occurs most frequently in prolonged use because of the characteristic dose - dependent relationship of toxic retinopathy,11,12 and early identification is very important because a progression in retinal damage is possible even after therapy discontinuation.12 american academy of ophthalmology ( aao ) recommends the following examinations as follow - up for patients taking hcq : 10 - 2 pattern automated visual field analysis , spectral - domain optical coherence tomography ( sd - oct ) , fundus autofluorescence ( faf ) , and multifocal electroretinogram ( mferg).12 sensitivity of these diagnostic tests in detecting any early sign of retinal toxicity is still under discussion , but in the last years mferg has been increasingly gaining evidence as a very sensitive objective test.13 following these evaluations , we set out to evaluate mferg and subclinical aqueous humor flare and cellularity using a laser flare - cell meter in a group of patients taking hcq for treatment of ra . the current study was approved by the local ethics committee of the university of bologna and adhered to the tenets of the declaration of helsinki . written informed consent was obtained from all participants before any procedure . ten patients ( seven females and three males ; mean age 64.811.7 years ) with a diagnosis of ra followed - up in the outpatient rheumatology service of santorsola - malpighi university hospital of bologna and receiving treatment with hcq ( plaquenil , sanofi s.p.a . , milano , italy ) at a dose of 400 mg per day , were enrolled in this study . average treatment time was 46.715.2 months , with mean cumulative dose ( cd ) of 625.6167.44 g. there were no patient complaints of any visual or ophthalmic symptoms . all patients underwent a comprehensive ophthalmological examination including best - corrected visual acuity for distant and near vision , intraocular pressure measurement with goldmann applanation tonometry , anterior segment slit lamp biomicroscopy ( haag - streit bm 900 , haag - streit , koeniz , switzerland ) , posterior segment slit lamp indirect ophthalmoscopy conducted with volk + 78d non - contact lens ( volk optical inc . , mentor , oh , usa ) , sd - oct and faf ( spectralis hra - oct , heidelberg engineering , heidelberg , germany ) , and 10 - 2 pattern automated visual field analysis ( humphrey 640 , carl zeiss meditec ag , jena , germany ) . after that , since previous examinations yielded results within normal limits , we extended the evaluation performing mferg to evaluate retinal sensitivity and laser flare - cell photometry to assess aqueous humor subclinical flare and cellularity . mferg was recorded using retimax plus ( cso , firenze , italy ) with the following technique . after pupillary dilation with 1% tropicamide eye drops and corneal topical anesthesia with 0.4% oxybuprocaine hydrochloride eye drops , erg hk - loop electrodes were applied on the inferior conjunctival fornix with ground and reference electrodes positioned on forehead and temporal regions respectively . mferg was recorded monocularly using a 61-hexagon stimulus according to international society for the clinical electrophysiology of vision guidelines,14 with 21 inches video stimulating display ( crt monitor , 75 hz frame rate , cut - offs 10100 hz ) , subtending 30 on either side of fixation . the room light was on during stimulation and the screen - patient distance was 28 cm . the radius of the central hexagon was 2 and a red central - fixation cross 2 mm in diameter was used . during stimulation , each element was either black or white ( 93% contrast ) and mean luminance was 51.8 cd / m . mean responses , as assessed by the analysis of five concentric stimulus rings , were passed through a band - pass filter set to 10300 hz . the standard measurement for amplitude was the trough - to - peak amplitude measured from the trough of n1-wave to the peak of p1-wave and was expressed in v , while the standard measurement for timing was the implicit time of p1-wave peak and was expressed in ms.14 aqueous humor proteins and cells were quantified by a laser flare - cell meter fc-500 ( kowa company ltd . , electronics and optics division , tokyo , japan ) , which consists of a helium - neon laser beam system and a photomultiplier mounted on a slit lamp biomicroscope , all connected with a computer . the laser scans the aqueous humor across a sampling window ( 0.30.5 mm ) in 0.5 sec using an optical scanner . light scattered by protein particles and inflammatory cells in the aqueous humor is proportional to their concentration and size , and is detected by a photon - counting multiplier and processed by a computer . given that cells are larger than proteins , the amount of light scattered by cells is greater than that reflected by fine protein particles . at the end of the measurement , flare is expressed in photon counts per ms ( ph / ms ) . a total of seven measurements were obtained for each eye , the highest and the lowest values were eliminated , and the computer calculated the mean and standard deviation automatically . ten healthy patients ( eight females and two males ; mean age 61.310.4 years ) were enrolled as control group . statistical analysis was performed using medcalc 12.3.0 statistical program ( medcalc software , ostend , belgium ) . mferg values of density , p1-wave amplitude and latency in rings 1 , 2 , 3 , 4 , 5 and laser flare - cell photometry values were analyzed applying mann whitney u test and spearman s correlation test to assess differences between groups , considering p<0.05 as significant . furthermore , receiver operating characteristic ( roc ) curve and area under the curve ( auc ) for mferg and laser flare - cell photometry were measured to evaluate their sensitivity and specificity in detecting early retinal toxic damage . regarding mferg p1-wave in ring 2 , data analysis showed a significant reduction in amplitude values for patients receiving treatment with hcq compared to control patients , results are respectively 1.1430.361 v vs 1.3160.236 v ( p=0.040 ) ( table 1 ) , also with a significant increase in latency , results are respectively 38.6112.857 ms vs 36.3342.212 ms ( p=0.024 ) ( table 2 ) . these statistically significant changes in ring 2 amplitude and latency values are highly related to hcq cd ( table 3 ) . no statistically significant changes were found regarding mferg photoreceptor density values ( table 4 ) . because we had no basal mferg and laser flare - cell photometry values for these patients , we divided our patients into two subgroups according to the cd to evaluate possible changes correlated with this parameter . the first group presents cds higher than 500 g ( six patients ; mean value 740.66106.39 g ) , while the second group presents cds lower than 500 g ( four patients ; mean value 45330.6 g ) . analyzing these two subgroups , laser flare - cell photometry values are significantly higher in the group of patients with cd higher than 500 g compared to patients with cd lower than 500 g , results are respectively 14.46.3 ph / ms vs 8.12.9 ph / ms ( p=0.029 ) ( table 5 ) . this increase is found highly related to the cd of the drug ( r=0.899 ; p=0.001 ) ( figure 1 ) . furthermore , mferg data analyzed regarding these two subgroups , show a statistically significant reduction in p1-wave amplitude in ring 2 ( 0.9740.261 v vs 1.3960.352 v ; p=0.006 ) ( table 6 ) and a statistically significant increase in p1-wave latency in ring 1 ( 42.3322.94 ms vs 37.5133.191 ms ; p=0.008 ) and 2 ( 40.1422.442 ms vs 36.3142.442 ms ; p=0.031 ) in patients with cd higher than 500 g ( table 7 ) . this increase in latencies in ring 1 and 2 , and this reduction in amplitude in ring 2 is highly related to the increase in laser flare - cell photometry values ( for latencies in ring 1 : r=0.838 , p=0.0007 ; and in ring 2 , r=0.628 , p=0.029 ; for amplitude in ring 2 : r=0.619 , p=0.032 ) ( table 8 and figures 24 ) . no statistically significant changes were found regarding mferg photoreceptor density values comparing the two subgroups ( table 9 ) . finally , roc curve analysis demonstrates that the most sensitive test in detecting early retinal toxicity was mferg p1-wave amplitude in ring 2 ( auc = 0.931 ) , followed by mferg p1-wave latency in ring 2 ( auc = 0.810 ) , and then laser flare - cell photometry ( auc = 0.791 ) ( table 10 and figure 5 ) . hcq is an anti - malarial drug still commonly used for its anti - inflammatory activity to favorably modulate the clinical course of ra . its use has been associated with various adverse side effects , particularly progressive toxic retinopathy . major risk factors for the development of retinopathy seem to be : the duration of treatment ( > 5 years ) , a high daily dose ( > 6.5 mg / kg ) , a high cd ( > 1,000 g ) , concurrent kidney or liver diseases , and age over 60 years old.1517 how hcq and cq can lead to the development of retinopathy still remains to be elucidated . in vitro experimental studies showed that these molecules could bind to pigmented cells containing melanin , particularly in iris and rpe cells.18 moreover , hcq causes the inhibition of some enzymes essential for rpe metabolic function,19 leading to progressive photoreceptor functional damage.16 recently it has been described that hcq , in addition to altering rpe function , can also alter blood - retinal barrier ( brb ) stability20 provoking a marked increase in permeability of arpe-19 monostratified cells.21 this increase in permeability seems to be related to a subsequent increase in tight junction molecules ( zo-1 , occludin and claudin ) production , which seems to disrupt rpe integrity , regardless of the direct drug action on rpe cells.22,23 therefore , it is necessary to perform a thorough ophthalmological evaluation and follow these patients up with periodical screening exams , in order to detect any possible damage to photoreceptor function early on . actually , the aao recommends the following screening exams : 10 - 2 pattern automated visual field analysis , macular sd - oct , faf , and mferg.12 based on mferg analysis , our study shows that the most frequent finding in patients treated with hcq was p1-wave amplitude reduction in ring 2 , followed by amplitude reduction in rings 3 , 4 , and 1 ( table 11 ) . these results are consistent with previously reported data in literature , although many authors described mferg damages as central , paracentral , pericentral , and peripheral , according to the following criteria : ring 1 to the fovea ( 02 ) , ring 2 to the parafovea ( 27 ) , ring 3 to the perifovea ( 713 ) , ring 4 to the near periphery ( 322 ) , and ring 5 to the central part of the middle periphery ( 22.030.5).2426 regarding p1-wave latency , the most frequent finding seems to be an increase in ring 2 followed by an increase in ring 1 . these data are consistent with previous reports in the literature,24,27,28 and only one study found an increased latency without reduction in amplitude.29 p1-wave amplitude reduction seems to be an expression of histological and morphological rpe damage,10 while increased p1-wave latency appears to be an inconstant parameter that is not always found in toxic retinopathy.30 our findings differ from those reported in the literature about damage onset timing , a previous study described damage starting after 5 years of therapy.27 in this study we divided patients into two subgroups depending on whether cd values were higher or lower than 500 g. in the cd > 500 g group , we found a significant decrease of p1-wave amplitude in ring 2 , and a significant increase in p1-wave latencies in rings 1 and 2 . these data appear to differ from reports by other authors,26,27 who assert that hcq - related damage leads mainly to reduced p1-wave amplitude , and only rarely to an increase in latency in p1-wave analysis . finally , roc curve analysis shows that mferg sensitivity is extremely high regarding p1-wave amplitude decrease and latency increase , partially confirming previously described findings of some authors,13 who indicate amplitude as the most sensitive value in detecting hcq toxic retinopathy . we believe that this partial discordance could be ascribed to the different cds of the drug in our group of patients compared to other clinical records . laser flare - cell photometry has rarely been used for the study of patients with ra without any sign of uveal involvement , and not yet in treatment with dmards . nevertheless , a previous study described a significant increase of aqueous humor flare and cellularity values in these patients , compared to healthy control subjects.31 in this study , we found higher laser flare - cell photometry values in the patient group with cd higher than 500 g compared to the patient group with cd lower than 500 g. also in this case , the increase in flare values seemed to be correlated to higher hcq cd . to our knowledge , no previous clinical studies have described this correlation , however , it can be very interesting because we can find various possibilities to explain our results . our first hypothesis is that hcq , binding to melanin in iris pigmented cells , can lead to their disruption , as occurs in rpe cells , with following pigment release in aqueous humor.32 a second interesting hypothesis is that the observed increase in flare values may be due to a breakdown in brb , as previously reported by some authors using fluorophotometry,20 and caused by the increased permeability of arpe-19 monostratified pigmented cells . this can be induced by hcq21 not only directly , but also stimulating the production of enzymes such as zo-1 , claudin , and occludin.22,23 thus , it appears possible to explain the correlation between increased flare values and increased p1-wave latencies in rings 1 and 2 observed in the group of patients with cds higher than 500 g. moreover , this brb breakdown with the increase in circulating et-1 levels found in patients with ra,33 could justify the significant retinal functional changes localized particularly in ring 2 of mferg , but also found in ring 3 by other authors.25,30 this could be due to the particular anatomical distribution of bipolar cells in the macular region , which is smaller in the fovea and becomes more dense toward the parafovea and perifovea regions,34 where a proper choroidal blood supply is essential for neuronal function . in conclusion , we believe that mferg is a very sensitive test in detecting early retinal dysfunction caused by hcq toxicity in patients with no ophthalmologic symptoms and normal fundus appearance , visual acuity , and 10 - 2 pattern automated visual field analysis . in agreement with aao recommendations , we suggest that mferg should be used instead of automated visual field analysis as objective functional test for the screening of patients treated with hcq . future studies on hcq retinal toxicity with mferg should be directed at the determination of the earliest point at which mferg can detect retinopathy . another interesting future evaluation could be to use laser flare - cell photometry to better understand the importance of vascular permeability deterioration and brb integrity breakdown in the development of toxic damage .

pubmed

Nanny I love you, goodbye **I only own the idea to this story :)** **Sorry if my english isn´t perfect, but it´s not my native language and I tried my best :)** **So now I say enjoy the story and don´t forget to review :)** I´m sitting in front of my mirror to put some make-up on. Today, I want to look beautiful for a man who never thought I was anything like that. But not today. I´m hoping that he would find me and regret all the things he said. He would sit down next to my bed and hold my hand, whispering that I am everything he ever wanted, put a kiss on my forehead and say that he loves me. But is that true? Is it true that he loves me? There are moments when I think it could be possible, like when we´re dancing together or the way he takes care of me when something is wrong with me. But there are also moments when I think it´s so impossible like when he says that I look like a man or something like that, I act like I would´t care but it´s breaking me inside. And it nearly kills me that I don´t know the answer if he loves me. The only thing I know is that I am in love with him. That I want to fall asleep and wake up next to him, that I want to spend every minute of the day with him and that I want to help him in the kitchen. And that´s the problem. A Babcock woman fell in love with a butler. I choose my red lipstick, my dark-grey-eyeshadow, mascara and a little bit rosé- red rouge, that I won´t look so pale. I think that it would look better if my hair is opened and so I´m only using my hairbrush. I put on my black Dolce&Gabbana dress, which stops over my knees and shows my curves perfectly. Then I´m using my parfum that I usually use, Channel no.5. I´m slipping into my black pumps and walk to the big mirror in my bedroom. I´m looking like I would go to a funeral, but isn´t it something like that? I think I should write a letter to say goodbye. So I´m taking a piece of paper and a pen and start to write: _Dear Niles,_ _I want you to know that I never felt something like love until I walked in to the Sheffield residence. I know that you think I mean Maxwell but the truth is that I fell in love with you. Since the first time you took my jacket, I feel it every day. It hurts me to see you every day and I can´t do anything and can´t say how much I need you. And so I decided to end it. To end the pain and the loneliness._ _When you read this I would be glad if you could say Maxwell that I enjoyed to work with him. I think that Chester would like to live near to Nanny Fine._ _Even tough it hurts, I know when it´s time to go and now the time has come._ _Goodbye_ _Your loving CaCa_ I feel the tears running down my cheeks and one dripped down on the paper. I know that I can´t stay longer and so I walk into the kitchen, take out a glass and fill it with the best scotch I have. Next I take the letter and the full glass and walk back into my bedroom and put them down on the small table beside my bed. I´m opening one of the small drawers and grab a little box of sleeping pills. There aren´t much in it, but enough to send me to a better place. My eyes are slowly looking through the room, as I suddenly see a photo, of me and the Sheffield Family, lying on the floor. I take it and realize that I´m the only one who´s not smiling. I lay it down beside me and put the pills in my hand. I´ve never been so frightened in my entire life. I lay down, put the pills in my mouth and throw them down with the scotch. Suddenly I hear Niles voice:"Miss Babcock? Miss Babcock are you in there? I came here because the whole family is really worried about you since you didn´t come to work today." Why does he care? He ever wished that I am dead and now his dream is going to come true. My eyelids become heavier and I can´t hold my eyes open any longer. „Miss Babcock if you don´t answer I have to come in!" I try to shout that he should stay outside, but only a whisper is coming out of my mouth. I´m hearing the key in the door and seconds later Niles is standing in my bedroom. „CC?! Why?! Why did you do this?" I can´t see his face but I can hear that he´s crying. I feel how he slowly grabs my hand and sits down next to me. „CC, please! You can´t left me! Not now, before I say the truth to you! CC please be awake! I´m so sorry for the things I said and did to you. I always saw you as a good friend, maybe the best I ever had. But now I´m here to say that I love you CC. I love you more than anything on this world. Please don´t leave me! I love you!" A small tear is running down my cheek and I take all the power I have left and whisper:"I love you too Niles. And now kiss me goodbye" „You´re the most beautiful woman on this earth. Will you wait for me infront of the door to hell?" A small chuckle comes out of his mouth and if I could I would too. „Yes" I´m feeling his soft lips on mine and slowly I`m drifting away... End file.

fanfiction

Pill Hill is a three-act play by American dramatist Sam Kelley. Set in a neighborhood on the South Side of Chicago known informally as Pill Hill, the play examines the failures, successes, and relationships of six African American steel mill workers as they transition from blue-collar jobs to white-collar professions between 1973 and 1983. The play is regarded as an allegory of economic progress related to the American Dream. Pill Hill debuted at the 1990 Yale Repertory Theatre Winterfest series of plays in progress, and was subsequently performed in several venues across the United States. The play was published by Dramatic Publishing Company in 1995. Characters Charlie, a 20-year steel mill veteran who seeks a promotion to machine operator, maintains a perfect attendance record and eventually lives on his steel mill pension. Eddie, a full-time student who has surrendered his job at the mill and becomes a lawyer Al, a night school student working at the mill to provide for his family who becomes a real estate agent Tony, an encyclopedias salesman who is exploited by his company but becomes engaged to a professor and attempts to buy a house in Pill Hill. Scott, a worker at the mill who was dismissed from college who becomes a Chicago Transit Authority employee before pursuing other career opportunities. Joe, a steel mill worker who plans to leave the mill when his car note is paid, but ends up out of work, homeless and penniless. Plot The Pill Hill neighborhood was a popular residence for successful white physicians resulting in the nickname for the neighborhood. In the 1960s and 1970s, it was a symbol of affluence that represented the American Dream. For young blacks, this symbol was especially poignant, which provides for a subtext in this play. The three-act play examines the failures, successes, and relationships of six black steel mill workers in Chicago as they transition from blue-collar jobs to the white-collar professions. The time is 1973, 1978, and 1983, and the scene is a Chicago basement apartment where the characters meet to socialize over cards and drinks. Racial themes relating to the disparity of life at the steel mill are presented, and dreams about possibilities represented by the upscale Pill Hill neighborhood in Chicago are examined. The conflicts are painful as the characters deal with leaving the comfortable life of the mill to embark on a road of uncertainty while pursuing professional aspirations. Performance and publication history The play debuted in the 1990 Yale Repertory Theatre Winterfest series of plays in progress. It was mounted as a full production in another Connecticut theater, before travelling as productions of the Philadelphia Theatre Company and the Penumbra Theatre Company in St. Paul, Minnesota. The play had a late-1992 production by the Hartford Stage Company, and a 2010 production at Coppin State University. Dramatic Publishing Company published the play on February 23, 1995. The publisher lists it as a full-length drama intended for both high school and college/adult audiences. Critical reception John Beer of Time Out Chicago attended a performance in 2009 and wrote, At its best, Pill Hill draws a corrosive picture of individual lives caught within merciless social systems. Racism haunts the men's periodic get-togethers, most pointedly in a monologue about a Southern excursion gone terribly wrong. [...] [W]riting at the height of the Reagan-Bush years, Kelley saw clearly the impact of right-wing policies on the urban working class. He thought the individuality of the characters was undeveloped, but the play was neatly structured to a fault. He criticized what he perceived as a heavy authorial hand in the repetition of a conversation about one character's self-doubts throughout the play. Analysis Pill Hill is an allegory of economic progress told as tales of various pursuits of the American Dream. Kelley uses a spectrum of sociological types that he develops into complex, recognizable personalities in order to deliver his message in natural idioms. When the play was performed in 2005 at North Carolina Agricultural and Technical State University, the website description noted that a good life in Pill Hill was a common goal that was difficult to reach and when achieved, it was at a cost that could be one's soul. The conflicts range from economic difficulties to the proverbial glass ceiling common to blacks climbing the ladder of success. The changing professional situations coincide with relationship transitions that occurred in America as the hippie generation transformed into the yuppie generation. Four of the six characters become successful by 1983: Al is a real estate dealer, Tony is Mercedes Benz salesman, Ed is a groundbreaking black lawyer and Scott has achieved financial success in a suspicious and mysterious way. The other characters are less successful with Charlie, who is the oldest of the characters, having stayed in the mill without progressing up the ranks, but earning a secure life through hard and dangerous work. Joe's troubles at the mill lead to unemployment and a destiny with the homeless shelter. A 1994 Chicago performance elicited the following character descriptions from the Chicago Reader: Joe is boisterous; Charlie is fatherly; Al is the eternal runner-up; Tony is ingenuously amoral; Scott is innocent and Eddie is the play's spokesman. Notes External links Publisher website Category:1990 plays Category:American plays Category:Chicago in fiction Category:Postmodern plays Category:Plays about race and ethnicity Category:Plays set in Illinois Category:Fiction set in the 1970s

wikipedia

glioblastoma multiforme ( gbm ) is one of the most common primary malignant brain tumors in adults . surgical excision combined with radiotherapy and chemotherapy is the choice of treatment ; however , the overall prognosis remains poor , and the median survival rate of gbm patients is less than 18 months [ 3 - 5 ] . currently , gbm is treated with surgical resection with concurrent radiotherapy and daily temozolomide ( tmz , 75 mg / m ) . tmz is an oral agent used for the treatment of gbm and melanoma ; however , its therapeutic action depends on its ability to alkylate / methylate dna . because this methylation induces dna damage and triggers the death of tumor cells , overexpression of a dna repair enzyme known as o-6-methylguanine - dna methyltransferase ( mgmt ) can diminish the therapeutic efficacy of tmz . other mechanisms including deregulation of cellular enzymes and membrane transporting proteins , genomic aberrations , and altered susceptibility to apoptosis may also be responsible for the higher incidence of chemo - resistance in gbm patients . mitogen - activated protein kinase phosphatases ( mkps ) belong to the family of dual - specificity protein phosphatases , which dephosphorylate both tyrosine and serine / threonine residues of mitogen - activated protein kinases ( mapks ) . mkps are subdivided into three distinct groups based on gene structure , sequence similarity , substrate specificity , and subcellular localization . mkp-1 is localized to the nucleus , and has a high specificity to mapks including p38 mapk and c - jun n - terminal kinase ( jnk ) , but a relatively low specificity to extracellular signal - regulated kinase . mkp-1 is induced by various chemotherapeutics and has been shown to inhibit drug - induced jnk activation and subsequent apoptotic cell death in breast cancers . reduction of mkp-1 expression levels using small interfering rna ( sirna ) increases chemosensitivity and jnk activity in lung and ovarian cancers . in this study , we investigated whether highly expressed mkp-1 in human gbm cells is responsible for the chemo - resistance observed in these cells . rabbit polyclonal antibodies against jnk , phospho - jnk , caspase-3 , and cleaved caspase-3 were purchased from cell signaling technologies ( beverly , ma ) . cisplatin , cyclophosphoamide , doxorubicin , epirubicin , etoposide , 5-fluorouracil , gemcitabine , irinotecan , mitomycin c , and vincristine were purchased from sigma - aldrich ( st . louis , mo ) . rabbit polyclonal anti - human mkp-1 and mkp-2 antibody were purchased from santa cruz biotechnology ( santa cruz , ca ) . jnk inhibitor ( sp600125 ) was purchased from calbiochem ( la jolla , ca ) . human gbm cell lines ( u251-mg and ln215-mg ) were maintained at 37 under an atmosphere of 5% co2 and 95% air in dulbecco 's modified eagle 's medium ( welgene , seoul , korea ) supplemented with 10% fetal bovine serum ( gibco , gaithersburg , md ) , 100 u / ml penicillin , 100 g / ml streptomycin , and minimum essential medium ( mem ) nonessential amino acids ( invitrogen , carlsbad , ca ) . u373-mg and crt - mg were maintained at 37 under an atmosphere of 5% co2 and 95% air in rpmi 1640 medium ( welgene ) supplemented with 10% fetal bovine serum ( gibco ) , 100 u / ml penicillin , 100 g / ml streptomycin , and mem nonessential amino acids ( invitrogen ) . sirna for mkp-1 ( 5'-cucagugugugauccgguu-3 ' ) and a random sequence ( control , 5'-ccuacgccaauuucgu-3 ' ) sirna were synthesized by bioneer ( daejeon , korea ) and used for transfection , which was performed using lipofectamine 2000 ( invitrogen ) according to the manufacturer 's protocols . for transient transfection , cells were plated at 510 cells per well in six - well plates or 610 cells per well in 60 mm dishes . the next day , cells were transfected with mkp-1 sirna oligonucleotides or control sirna using lipofectamine 2000 ( invitrogen ) . after 48 hours of transfection , cells were treated in the presence or absence of various anti - cancer drugs . transfection efficiency was then assessed using both quantitative real - time polymerase chain reaction ( qrt - pcr ) and western blotting of mkp-1 . total rna was isolated using an rneasy mini kit ( qiagen , hilden , germany ) . complementary dna ( cdna ) synthesis was performed with the superscript first - strand synthesis system ( invitrogen ) according to the manufacturer 's instructions , and qrt - pcr was performed using a lightcycler faststart dna kit ( roche applied science , mannheim , germany ) with the lightcycler 2.0 system . the mkp-1 primer sequences were 5'-cctgtccactccacgaacagt-3 ' for the forward primer and 5'-gctgggagaggtcgtaatgg-3 ' for the reverse primer . cell viability was determined using wst-1 reagent ( nalgene , rochester , ny ) with a microplate reader ( bio - rad , richmond , ca ) to measure the absorbance at 450 nm . cell death was confirmed by staining with 100 nmol / l tetramethylrhodamine ethyl ester ( sigma , taufkirchen , germany ) . a total of 10,000 cells were analyzed using an lsrii flow cytometer ( bd bioscience , san jose , ca ) . cell lysates were electrophoresed through 10% or 15% polyacrylamide gels and then transferred to polyvinylidene difluoride membranes ( millipore , bedford , ma ) . the membranes were subsequently probed with the antibodies listed above , after which bound antibody was detected using the eclplus reagent ( amersham pharmacia biotech , little chalfont , uk ) according to the manufacturer 's protocols . a microarray dataset was obtained from gene expression omnibus ( geo ) series ( gse ) , and gse i d gse2223 ; probes 5382 , 40027 , and 40883 were used for mkp-1 . because the probe intensities were recorded on a log2 scale , the intensities were converted to a log10 scale [ 2^(probe intensity recorded in the dataset ) ] , and averaged to give the final mkp-1 expression level . statistical analyses of two independent samples were performed using a student 's t - test . groups were compared by one - way anova with tukey 's post - hoc test , which determines the significance of differences between means . a p < 0.05 was considered to be significant . rabbit polyclonal antibodies against jnk , phospho - jnk , caspase-3 , and cleaved caspase-3 were purchased from cell signaling technologies ( beverly , ma ) . cisplatin , cyclophosphoamide , doxorubicin , epirubicin , etoposide , 5-fluorouracil , gemcitabine , irinotecan , mitomycin c , and vincristine were purchased from sigma - aldrich ( st . louis , mo ) . rabbit polyclonal anti - human mkp-1 and mkp-2 antibody were purchased from santa cruz biotechnology ( santa cruz , ca ) . jnk inhibitor ( sp600125 ) was purchased from calbiochem ( la jolla , ca ) . human gbm cell lines ( u251-mg and ln215-mg ) were maintained at 37 under an atmosphere of 5% co2 and 95% air in dulbecco 's modified eagle 's medium ( welgene , seoul , korea ) supplemented with 10% fetal bovine serum ( gibco , gaithersburg , md ) , 100 u / ml penicillin , 100 g / ml streptomycin , and minimum essential medium ( mem ) nonessential amino acids ( invitrogen , carlsbad , ca ) . u373-mg and crt - mg were maintained at 37 under an atmosphere of 5% co2 and 95% air in rpmi 1640 medium ( welgene ) supplemented with 10% fetal bovine serum ( gibco ) , 100 u / ml penicillin , 100 g / ml streptomycin , and mem nonessential amino acids ( invitrogen ) . sirna for mkp-1 ( 5'-cucagugugugauccgguu-3 ' ) and a random sequence ( control , 5'-ccuacgccaauuucgu-3 ' ) sirna were synthesized by bioneer ( daejeon , korea ) and used for transfection , which was performed using lipofectamine 2000 ( invitrogen ) according to the manufacturer 's protocols . for transient transfection , cells were plated at 510 cells per well in six - well plates or 610 cells per well in 60 mm dishes . the next day , cells were transfected with mkp-1 sirna oligonucleotides or control sirna using lipofectamine 2000 ( invitrogen ) . after 48 hours of transfection , cells were treated in the presence or absence of various anti - cancer drugs . transfection efficiency was then assessed using both quantitative real - time polymerase chain reaction ( qrt - pcr ) and western blotting of mkp-1 . total rna was isolated using an rneasy mini kit ( qiagen , hilden , germany ) . complementary dna ( cdna ) synthesis was performed with the superscript first - strand synthesis system ( invitrogen ) according to the manufacturer 's instructions , and qrt - pcr was performed using a lightcycler faststart dna kit ( roche applied science , mannheim , germany ) with the lightcycler 2.0 system . the mkp-1 primer sequences were 5'-cctgtccactccacgaacagt-3 ' for the forward primer and 5'-gctgggagaggtcgtaatgg-3 ' for the reverse primer . cell viability was determined using wst-1 reagent ( nalgene , rochester , ny ) with a microplate reader ( bio - rad , richmond , ca ) to measure the absorbance at 450 nm . cell death was confirmed by staining with 100 nmol / l tetramethylrhodamine ethyl ester ( sigma , taufkirchen , germany ) . a total of 10,000 cells were analyzed using an lsrii flow cytometer ( bd bioscience , san jose , ca ) . cell lysates were electrophoresed through 10% or 15% polyacrylamide gels and then transferred to polyvinylidene difluoride membranes ( millipore , bedford , ma ) . the membranes were subsequently probed with the antibodies listed above , after which bound antibody was detected using the eclplus reagent ( amersham pharmacia biotech , little chalfont , uk ) according to the manufacturer 's protocols . a microarray dataset was obtained from gene expression omnibus ( geo ) series ( gse ) , and gse i d gse2223 ; probes 5382 , 40027 , and 40883 were used for mkp-1 . because the probe intensities were recorded on a log2 scale , the intensities were converted to a log10 scale [ 2^(probe intensity recorded in the dataset ) ] , and averaged to give the final mkp-1 expression level . statistical analyses of two independent samples were performed using a student 's t - test . groups were compared by one - way anova with tukey 's post - hoc test , which determines the significance of differences between means . a p < 0.05 was considered to be significant . analysis of the cdna microarray data provided by the geo databases ( gse i d gse2223 ) revealed that the mkp-1 mrna expression levels were higher in brain tumor samples than normal samples , and that the amount of the increase was correlated with the grade of the tumor . specifically , mkp-1 levels were only higher in gbm samples ( grade iv ) when compared to normal brain samples ( fig . we tested whether mkp-1 was also highly expressed in human gbm cell lines using immunoblot analysis ( fig . when compared to other cell types and human primary cultured astrocytes , mkp-1 was highly expressed in human gbm cell lines in the absence of any external stimulation . because mkp-2 has a similar intracellular localization and substrate specificity as mkp-1 , we examined the mkp-2 protein levels in the same cell type . interestingly , there were no differences in the expression levels of mkp-2 between various tumor cell types . however , in two of the cell lines ( crt - mg and hepg2 ) , mkp-2 was expressed at relatively higher levels than in the other cell types ( fig . induced expression of mkp-1 has been identified as one of the cancer resistance mechanisms in human breast , lung , and ovarian cancers . therefore , we tested whether highly expressed mkp-1 plays a role in the high incidence of chemo - resistance in gbms . to accomplish this , cells were transiently transfected with control or mkp-1-specific sirna and then tested for drug - induced cytotoxicity . the knockdown efficiency of mkp-1 sirna was confirmed by qrt - pcr and western blot analysis ( fig . the reduction of mkp-1 expression significantly enhanced drug - induced cytotoxicity in u251-mg cells for all of the drugs tested except doxorubicin , epirubicin , and cisplatin ( fig . although the differences were not statistically significant , there were considerable increases in the cytotoxicity of these drugs against cells transfected with mkp-1 sirna . similar results were obtained using ln215 cells ; however , mkp-1 knockdown did not significantly increase vincristine - induced cell death ( data not shown ) . because the effect of mkp-1 knockdown was most pronounced with irinotecan- and etoposide - induced cytotoxicity , we further examined the effect of mkp-1 sirna transfection on drug - induced cell death under these conditions . twenty four hours after transfection with control or mkp-1 sirnas , cells were incubated in the presence or absence of varying doses of irinotecan or etoposide ( fig . these results clearly indicate that mkp-1 may act as a mechanism of chemo - resistance in human gbm cells . anti - cancer drugs are thought to kill cancer cells via sustained activation of the jnk pathway . thus , we tested whether the jnk pathway is also involved in mkp-1-mediated resistance to chemotherapeutic agents . treatment with irinotecan or etoposide increased the phosphorylation of jnk , and this increase was dramatically enhanced by transient transfection with mkp-1 sirna ( fig . 4a ) . cleavage of caspase-3 into active fragments was also induced by treatment with irinotecan or etoposide , while mkp-1 knockdown markedly increased the cleavage of procaspase-3 . consistent with these results , the decrease in viability induced by concomitant treatment with irinotecan and mkp-1 sirna was reversed by pre - incubation with a jnk inhibitor , sp600125 ( fig . 4b and c ) . analysis of the cdna microarray data provided by the geo databases ( gse i d gse2223 ) revealed that the mkp-1 mrna expression levels were higher in brain tumor samples than normal samples , and that the amount of the increase was correlated with the grade of the tumor . specifically , mkp-1 levels were only higher in gbm samples ( grade iv ) when compared to normal brain samples ( fig . we tested whether mkp-1 was also highly expressed in human gbm cell lines using immunoblot analysis ( fig . when compared to other cell types and human primary cultured astrocytes , mkp-1 was highly expressed in human gbm cell lines in the absence of any external stimulation . because mkp-2 has a similar intracellular localization and substrate specificity as mkp-1 , we examined the mkp-2 protein levels in the same cell type . interestingly , there were no differences in the expression levels of mkp-2 between various tumor cell types . however , in two of the cell lines ( crt - mg and hepg2 ) , mkp-2 was expressed at relatively higher levels than in the other cell types ( fig . induced expression of mkp-1 has been identified as one of the cancer resistance mechanisms in human breast , lung , and ovarian cancers . therefore , we tested whether highly expressed mkp-1 plays a role in the high incidence of chemo - resistance in gbms . to accomplish this , cells were transiently transfected with control or mkp-1-specific sirna and then tested for drug - induced cytotoxicity . the knockdown efficiency of mkp-1 sirna was confirmed by qrt - pcr and western blot analysis ( fig . the reduction of mkp-1 expression significantly enhanced drug - induced cytotoxicity in u251-mg cells for all of the drugs tested except doxorubicin , epirubicin , and cisplatin ( fig . 2c ) . although the differences were not statistically significant , there were considerable increases in the cytotoxicity of these drugs against cells transfected with mkp-1 sirna . similar results were obtained using ln215 cells ; however , mkp-1 knockdown did not significantly increase vincristine - induced cell death ( data not shown ) . because the effect of mkp-1 knockdown was most pronounced with irinotecan- and etoposide - induced cytotoxicity , we further examined the effect of mkp-1 sirna transfection on drug - induced cell death under these conditions . twenty four hours after transfection with control or mkp-1 sirnas , cells were incubated in the presence or absence of varying doses of irinotecan or etoposide ( fig . these results clearly indicate that mkp-1 may act as a mechanism of chemo - resistance in human gbm cells . anti - cancer drugs are thought to kill cancer cells via sustained activation of the jnk pathway . thus , we tested whether the jnk pathway is also involved in mkp-1-mediated resistance to chemotherapeutic agents . treatment with irinotecan or etoposide increased the phosphorylation of jnk , and this increase was dramatically enhanced by transient transfection with mkp-1 sirna ( fig . 4a ) . cleavage of caspase-3 into active fragments was also induced by treatment with irinotecan or etoposide , while mkp-1 knockdown markedly increased the cleavage of procaspase-3 . consistent with these results , the decrease in viability induced by concomitant treatment with irinotecan and mkp-1 sirna was reversed by pre - incubation with a jnk inhibitor , sp600125 ( fig . 4b and c ) . we found that mkp-1 is highly expressed in human gbms and transformed gbm cell lines in the absence of external stimulation . we also found that high levels of mkp-1 are responsible for drug - resistance in a jnk - dependent manner . it has been reported that mkp-1 can be induced by various chemotherapeutic agents and can act as an anti - apoptotic mechanism in certain types of human malignancies . in contrast , our results clearly indicate that mkp-1 is constitutively expressed at relatively high levels in human gbm cells and confers resistance to a variety of chemotherapeutic agents in a jnk - dependent manner . due to diverse stimulations triggered by the tumor microenvironment , expression patterns of mkp-1 vary according to tumor types . in human breast cancer , the expression level of mkp-1 is constitutive in tissue surrounding the tumor and greater in tumor lesions . low - grade human colon cancer showed robust mkp-1 expression , but mkp-1 was down regulated in high - grade tumors . as shown in fig . 1 , mkp-1 expression is higher in glioblastoma cell lines than in human primary astrocytes . these results imply that mkp-1 is highly correlated with tumor progression and contributes to subsequent drug resistance in glioblastoma . while multiple mechanisms for multi - drug resistance ( mdr ) have been proposed , there are only a few considered to be primarily responsible for mdr in many human malignancies . first , cancer cells decrease the uptake of water - soluble drugs by downregulating specific transporters . second , mdr can arise from mechanisms involving the increased activity of dna damage repair enzymes , reduced apoptosis , and changes in the cell cycle and drug metabolism . third , the induction of energy - dependent efflux of hydrophobic drugs can cause mdr via increased diffusion through the plasma membrane . unlike previous studies of mdr that address drug acceptability , we investigated the cell signaling associated with mdr . because jnk and p38 mapk are largely responsible for drug - induced apoptosis and are effective downstream targets of mkp-1 , we considered mkp-1 as a potential mechanism for mdr . we observed increased drug sensitivity after mkp-1 knockdown in human gbm cells , found the effect of this knockdown to be most pronounced in irinotecan- and etoposide - induced cytotoxicity . irinotecan , in combination with bevacizumab was tested in a phase 2 clinical study for recurrent glioblastoma . although combination therapy provides impressive response rates , the mechanisms responsible for the clinical benefits in gbm patients remain unclear . etoposide is also being studied in a phase 2 clinical trial and is commonly used in combination with carboplatin in recurrent gbm patients . mkp-1 is highly expressed in the glioblastoma in the basal state , but not in normal brain cells . overexpressed mkp-1 increases the resistance to anti - cancer drugs through inhibition of jnk phosphorylation . therefore , mkp-1 is an attractive target for overcoming drug resistance in this highly refractory malignancy .

pubmed

Koloman von Pataky, real name Kálmán Pataky de Déstalva 14 November 1896 3 March 1964 was a Hungarian opera singer tenor. Life and career Pataky was born in Lendava, Austria-Hungary. After a short period of training he made his debut in Budapest as the Duke of Mantua. In 1926 he went to Vienna and took part in the first performance of Die ägyptische Helena by Richard Strauss. His focus was on Italian and French music, and he made a name for himself as a Mozart singer. In 1931 he made his debut at the Salzburg Festival in Der Rosenkavalier. In 1939, Pataky sang the role of Huon in Oberon in Milan Teatro alla Scala under Tullio Serafin. His Mozart interpretations are said to have been among the best of the 20th century. After a leg amputation he had to end his career in the 1940s. Filmography 1943: Egér a palotában. Bibliography Jürgen Kesting: Die großen Sänger des 20. Jahrhunderts. CormoranVerlag, 1993, Christian Fastl: Pataky de Désfalva, Kálmán Koloman von. Online-Ausgabe, Vienna 2002, ; Druckausgabe: volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, . References External links Koloman von Pataky in: Österreichischer Bibliothekenverbund Category:1896 births Category:1964 deaths Category:People from Lendava Category:Hungarian operatic tenors Category:20th-century Hungarian singers

wikipedia

clinical manifestations of camptodactyly - arthropathy - coxa vara - pericarditis syndrome ( cacp ) include congenital or early - onset camptodactyly , noninflammatory arthropathy with synovial hyperplasia , progressive coxa vara deformity , and noninflammatory pericardial effusion . a cacp locus has been assigned to human chromosome region 1q25 - 31 by homozygosity mapping ( 1 ) , and the syndrome is an autosomal recessive condition ( 2 ) . we report a case of cacp in a 10-yr - old boy with early - onset camptodactyly , noninflammatory arthropathy , coxa vara deformity , pericardial effusion , and without familial aggregation . a 10-yr - old boy was admitted due to deformity of fingers and toes in august 2003 . in july 1999 , he was referred to our hospital because of joint swelling , pericardial effusion . fluid finding did not show inflammatory nature , and synovial biopsy revealed synovial hyperplasia without significant inflammation ( fig . months prior to admission , camptodactyly of fingers and toes was developed and gradually progressed , and he was referred to our hospital again . physical examination showed a blood pressure 100/60 mmhg , pulse rate 90/min , temperature 36.0 , and normal respiration pattern . swelling of both knees , ankles , elbows and wrists and deformity of fingers and toes were observed ( fig . laboratory findings revealed a white blood cell 5,500/l ; hemoglobin 10.9 g / dl ; platelet 194,000/l ; erythrocyte sedimentation rate 9 mm / hr , c - reactive protein 0.1 mg / dl ( reference range 0.1 - 0.8 ) . synovial fluid analysis from knee joints showed a white blood cell 400/l , red blood cell 2,450/l , protein 2.5 g / dl , ldh 432 u / l . chest radiography showed cardiomegaly , and pelvis ap revealed broad short femoral neck and coxa vara ( fig . the plain radiography of both hands and both feet showed flexion deformity of fingers and toes ( fig . 4 ) . knee mri showed large amount joint fluid and thin rim - like enhancement of the fluid filled bursae ( fig . he was diagnosed as having cacp and would be followed up whether camptodactyly and pericardial effusion would progress or not . cacp is characterized by congenital or early - onset camptodactyly , childhood - onset noninflammatory arthropathy associated with synovial hyperplasia , progressive coxa vara deformity and noninflammatory pericardial or pleural effusion . the definition of camptodactyly is a congenital or acquired nontraumatic flexion deformity of the proximal interphalangeal ( pip ) joint of one or several fingers ( 3 ) . camptodactyly in cacp is usually bilateral and congenital , but in some cases , it develops in early childhood . the degree of contracture need not be equal in both and the deformity may progress or not improve 3 ) . camptodactyly may be present as an isolated entity or part of a spectrum of congenital anomalies . camptodactyly may be present in congenital anomalies such as trisomy 13 , oculo - dental - digital , oro - facial - digital , cerebro - hepato - renal , catel manzke , pena - shokeir i syndromes ( 3 - 5 ) , and must be differentiated from a boutonniere deformity , dupuytren 's contracture , a trigger finger , congenital absence of the extensor mechanism ( 3 ) . arthropathy principally involves large joint such as elbows , hips , knees , and ankles . histopathologic analysis of synovial tissue reveals pronounced hyperplasia of synovium without evidence of inflammatory cell infiltration or vasculitis , while synovial hyperplasia in rheumatoid arthritis is associated with chronic inflammation . mri finding of involved joints showed only prominence of cartilage with normal menisci and cruciate ligaments in one study ( 8) , and rim - like enhancement of the fluid filled bursae at t1 weighted image before and after contrast enhancement ( 9 ) . enhancement is related to the presence of inflammatory tissue , but the presence of rimlike enhancement means the noninflammatory features of cacp . the rim - like enhancement can distinguish between cacp and juvenile rheumatoid arthritis ( jra ) based on the homogenous or multinucleated enhancement in jra ( 10 , 11 ) . therefore , mri is regarded as a useful diagnostic tool which differentiates the cacp from other childhood connective tissue disease such as jra ( 9 ) . the presence of coxa vara is noted in 50% of published cacp cases ( 1 ) , and in one study , 90% of cases have cova vara deformity ( 9 ) . the long - term follow - up of cacp patients revealed the hip and spine involvement in some cases ( 12 ) . noninflammatory pericarditis has been reported in up to 30% of cacp ( 1 ) , and it may be mild and self - limited . but it may be necessary to perform a pericardiocentesis or pericardiectomy in life - threatening cases ( 2 , 13 - 15 ) . cacp is a genetically homogenous condition despite clinical variability and differences in ethnic and geographic origins ( 12 ) , and it has autosomal recessive mode of inheritance ( 2 ) . a cacp locus is assigned to a 1.9-cm interval on human chromosome 1q25 - 31 by homozygosity mapping ( 1 ) . marcelino et al . identified mutations in a gene ( cacp ) encoding a secreted proteoglycan as the cause of cacp ( 16 ) . although some cases of cacp were reported in caucasian , egyptian , saudi arabian , but there has been no report in korea . the reason why cacp is rare in korea may be due to rarity of consanguineous marriage , which increases the incidence of autosomal recessive disease . in this case , sporadic gene mutation might be responsible for the disease , because his family has no arthropathy or joint deformity . whenever we see juvenile patients with noninflammatory arthropathy , congenital musculoskeletal disease such as cacp should be considered .

pubmed

How to remove salt from powdered soup mix? Sometimes I carry powdered soup mix (Knorr/Maggi) when I travel but they are way too salty. Is there an efficient and simple chemical process to lower the salt content? I know sodium is super soluble and is hard to remove by precipitation, but is there a work around to perhaps only dissolving the salt and take them out? Thanks! Peel and thickly slice several potatoes and cook these in your soup. Remove them when they have softened. They will absorb the salt while cooking. You can use this method if you accidently add too much salt to stews or sauces (normally this becomes apparent when reducing.) The removed potatoes can be discarded or used in another meal, maybe mashed. I think that using chemistry is the hard way to solve this problem. In my country, all foods have nutrition information which includes sodium levels. So either select low sodium dried mixes or take dried food to make your own soup. Is there an easy way? Yes. But it will make the soup toxic, so I will not explain the details. I'm sure there are some ion exchange columns which have been manufactured so that they are suitable for pharmaceutical or food use. So, what you'd have to do is first filter the soup to remove particulates and colloids (such as oil globules) and then pass the clear liquid through the ion exchange bed(s). I'd estimate it would cost less than 100 $ per bowl of soup. As far as potatoes, they do have a water content. Perhaps cooking them with your soup would eventually decrease the salt in the soup and increase it in the potato, that sounds reasonable. I'd suggest you try low-sodium powdered mashed potato mix (if you can find it) and you could also try rice or pasta to absorb some of the salt water and improve the taste. Just some wild guesses. You really don't want to stray from various cooking or food additive processes when it comes to stuff you eat (or drink).

stackexchange/chemistry

discovered in 1972 by the sas-2 satellite @xcite , geminga is the second brightest @xmath0-ray source in the sky above 100 mev @xcite . it was known only as a @xmath0-ray source until a promising candidate was detected in x - rays by the einstein observatory @xcite , and associated with an optical counterpart @xcite . subsequently , geminga was found to be a rotation - powered pulsar with a period of 237 ms in x - rays by @xcite , and in @xmath0-rays by the energetic gamma ray experiment telescope ( egret ) on the _ compton gamma - ray observatory _ @xcite . prior to the discovery of the 237 ms spin period of geminga , claims had been made for various periods in the range 5960 s in @xmath0-rays and in x - rays @xcite , but no such detections have been made in high quality x - ray and @xmath0-ray observations during the past decade . the optical spectrum of geminga is predominantly non - thermal , with possible ion cyclotron features @xcite . @xcite reported optical modulation from geminga that resembles its @xmath0-ray light curve . geminga is unusual as a rotation - powered pulsar because it is not a strong radio source . in 1997 , three groups @xcite claimed detection of pulsed radio emission at 102 mhz , but observations at other radio frequencies have so far been negative @xcite . a phase - connected ephemeris covering the first 27 years of @xmath0-ray observations of geminga was presented and updated by mattox , halpern , & caraveo ( 1998 , 2000 ) . in this paper we present the results of a long observation with the _ advanced satellite for cosmology and astrophysics _ ( ) , which allows us to better constrain the hard x - ray spectrum of geminga and perform pulse - phase spectroscopy . x - ray pulse times of arrival are compared with the latest ephemeris from egret . additional constraints on the hard x - ray emission are derived from an observation by the _ rossi x - ray timing explorer _ proportional counter array ( _ rxte _ pca ) . a log of the observations used in this paper is given in table [ tbl-1 ] . a six - day observation of geminga was obtained by in 1999 october 511 . observations by _ rxte _ were made in 1996 april and may . egret made many @xmath0-ray observations of geminga since 1991 , until _ cgro _ was de - orbited in 2000 . we also make brief use of a 1993 observation of geminga and a 1994 observation by , both of which were described in detail in @xcite . the satellite @xcite incorporates four co - aligned focal plane detectors , two gas imaging spectrometers ( gis ) and two solid - state imaging spectrometers ( sis ) . each instrument is positioned at the focus of a conical foil mirror . the sis instrument is sensitive to x - rays with energies between 0.4 and 10 kev and the gis detects x - rays between 0.7 and 10 kev . only the gis has time resolution sufficient to study the pulsations of geminga . the 1999 observation was designed with bit assignments such that the time resolution was 0.49 ms in high bit rate telemetry mode , and 3.91 ms at medium bit rate . this required the sacrifice of two bits from the pulse - height analyzer resulting in 256 energy channels instead of the default 1024 , and elimination of the five bits of rise - time information ; both of these have negligible effect on the quality of the data . the gis high and medium bit rate data were combined for the timing and spectral analysis . the small amount of low bit rate data in the gis were not used . for the spectral analysis , data from both the gis and sis instruments were used . the sis observations were conducted in 1-ccd mode . _ rxte _ @xcite consists of the proportional counter array ( pca ) , high energy x - ray timing experiment ( hexte ) , and the all sky monitor ( asm ) . the pca consists of five xenon filled proportional counters , coaligned and collimated , that observe a roughly circular field with @xmath8 fwhm response @xcite . the rxte data analyzed here are exclusively from the pca , because of its large collecting area ( @xmath9 @xmath10 at 10 kev ) . the pca data are of interest to search for pulsed emission at higher x - ray energies than , since the pca is sensitive to x - rays with energies between 2 and 60 kev . egret is a high - energy @xmath0-ray telescope which is sensitive in the energy range from about 30 mev to 30 gev . it measures the energy of incoming @xmath0-rays with a nai(tl ) crystal , and their direction with a multilevel thin - plate spark chamber system which converts the gamma - rays and determines the trajectories of the resulting @xmath11 pair , and a triggering telescope that detects the presence of a pair having the correct direction of the motion . an anti - coincidence scintillation dome discriminates against charged particles . egret s effective area is @xmath12 @xmath13 at 150 mev , 1500 @xmath13 around @xmath14 gev , decreasing gradually at higher energies . we used all of the @xmath15 mev photons detected by egret from geminga between 1991 and 1997 to make a mean light curve . the event selection is described in @xcite . gamma - ray timing provides the most precise and continuous rotational ephemeris of geminga because of the sharpness of its @xmath0-ray peaks and the large number of observations that have been performed over the years . combined analysis of egret data up to 1997 , and earlier data from the _ cos b _ satellite , yielded a phase - connected , cubic ephemeris @xcite that fitted the rotational phase of geminga for 24 years with residuals smaller than 0.05 cycles ( the `` 1997 ephemeris '' ) . we reproduce this ephemeris in table [ tbl-2 ] . the residuals from this timing solution were fitted by @xcite to a sinusoidal term of semiamplitude 0.026 cycles , possibly attributable to an orbiting planet , but it is now apparent that this was simply a manifestation of timing noise . beginning in 1997 , the phase measured by egret began to deviate systematically from the pre-1997 ephemeris in the sense that the peaks arrive earlier than expected @xcite . figure [ phaseplot ] shows the phase residuals of all of the egret observations relative to the 1997 ephemeris . the points in figure [ phaseplot ] correspond to the numbered egret epochs in table [ tbl-1 ] , some of which were grouped together . according to a fit of the light curves to lorentzians , described in @xcite , in 1998 july , the gamma - ray peaks were observed to arrive @xmath16 of a cycle earlier than predicted ; in 1999 may they arrived @xmath17 cycles early ; in 1999 september they arrived @xmath18 cycles early ; and during the final egret observation in 2000 april may , the gamma - ray peaks arrived @xmath19 cycles early . this departure from the phase predicted by the 1997 ephemeris is consistent with a minor glitch ( discontinuous change in frequency ) shortly after the time of the 1996 measurement , mjd @xmath20 ( 1996 oct . 26 ) , by an amount @xmath1 . by fitting the phase residuals in figure [ phaseplot ] , we derive an approximate post - glitch ephemeris , also given in table [ tbl-2 ] . hereafter , we refer to the `` egret ephemeris '' as the two cubic segments covering the years 19912000 in table [ tbl-2 ] , plus the residuals from the cubic terms that are illustrated in figure [ phaseplot ] . in the following analysis , we interpolate the egret ephemeris , including its phase residuals , in order to phase - align and compare pulse profiles from x - ray wavelengths . all of the event times in the gis observation of 1999 october were first converted to barycentric dynamical time ( tdb ) using the position and proper motion of geminga listed in table [ tbl-2 ] . this was done using the `` timeconv '' program , which is part of the ftools software package . we determined optimal radii for the source extraction and background annulus in the gis by maximizing the signal - to - noise ratio in the resulting light curve . as shown in figure [ point1 ] , the radius of the source circle was chosen to be @xmath21 , and a concentric annulus of inner and outer radii of @xmath22 and @xmath23 , respectively gave a good estimate of the background . we confirm that , as found by @xcite using previous and images , there is no evidence for diffuse emission ( synchrotron nebulosity ) associated with geminga . in figure [ pulse1 ] we compare the resulting @xmath24 kev light curve with the only previous hard x - ray light curve of geminga made with the same instrument in 1994 march and described by @xcite . the curves have been aligned according to the egret ephemeris , and the resulting agreement in phase confirms the drifting egret ephemeris shown in figure [ phaseplot ] . to evaluate whether the pulse shape experienced any change between the 1994 and 1999 observations , the two light curves in figure [ pulse1 ] were compared using @xmath25 test , after accounting for the difference in the exposure times . it was determined that the light curves do not differ significantly . the stability of the light curve , and its large pulsed fraction and strong main peak allow the possibility of continuing the rotational ephemeris of geminga using hard x - ray observations , e.g. , with _ xmm - newton _ and _ chandra _ , during the current epoch in which there are no high - energy @xmath0-ray instruments in orbit . figure [ pulse2 ] shows the folded light curves for the 1999 gis data divided into three energy bands , @xmath26 kev , @xmath27 kev , and @xmath28 kev . for comparison , we also reproduce soft x - ray pulse profiles from a 1993 september observation with the pspc that was published by @xcite , in energy bands @xmath29 kev , @xmath30 kev , and @xmath31 kev . the summed egret light curve above 100 mev is also shown . for cgro viewing period 1 , comparing the number of events selected with e@xmath32100 mev to the likelihood estimate of geminga flux @xcite 63% of the events selected are estimated to be from geminga . the remaining 37% would be primarily diffuse galactic gamma - ray emission . this is the estimated background for the egret lightcurve . it is statistically consistent with the claim in @xcite that there is negligible unpulsed emission from geminga in that energy band . these light curves resemble closely those given in figure 9 of @xcite . because the 1999 gis observation had 2.5 times more exposure time than the 1994 observation , the gis light curves could be split into smaller energy bands , yielding more information about the change in pulse profile from low to medium x - ray energies than was available before . it was clear from the analysis of @xcite that thermal surface emission , fitted with @xmath33 k , dominates the x - ray emission below 0.7 kev , whereas the gis , which is sensitive above 0.7 kev , sees primarily non - thermal emission ( see also 4 ) . the large pulsed fractions of the light curves above 0.7 kev bear out this interpretation . in addition , it was noted in @xcite that the non - thermal pulse component itself has energy dependent structure , in particular , an offset of 0.1 cycles between the @xmath26 kev pspc and @xmath34 kev gis light curves . figures [ pulse1 ] and [ pulse2 ] confirm that the gis light curve leads the hardest pspc band ( @xmath31 kev ) by approximately 0.1 cycles . however , since the energy resolution of the pspc is so poor , it is possible that some soft photons of thermal origin bias this light curve s peak toward later times . the non - thermal x - ray pulse as illustrated in figures [ pulse1 ] and [ pulse2 ] is best described as a single broad peak centered at phase 0.63 , approximately coinciding with the smaller of the two egret peaks , with a possible minor peak at phase 0.97 . at the highest energy ( @xmath35 kev ) , the gis light curve may begin to resemble the egret peaks in having two peaks separated by 0.5 cycles , but the statistics are poor and , even if real , the gis peaks lead the egret peaks by @xmath36 cycles . on balance , the differences between the gis and egret light curves seem greater than their similarities , and we regard this as evidence that the hard x - rays are not simply an extension of the @xmath0-ray spectrum ( see also 4 ) . the pca instrument on rxte was used to search for pulsed emission from @xmath37 kev . the data were recorded in good xenon mode and processed using standard methods . the time resolution for the observation of @xmath38s and absolute clock precision of @xmath39s are more than adequate to distinguish pulsations from geminga . the energy information was stored in eight bits in the event word , and the energy - channel conversion table for cycle 3 was used to convert to energy in kev . the barycenter - corrected pca data in the energy ranges @xmath40 kev and @xmath41 kev were folded using the egret ephemeris . the fasebin routine , an epoch folding test , a fourier transform pulse search , a rayleigh test @xcite , and the @xmath42 test of orders 2 and 3 @xcite were performed on the data . no significant pulsations were detected using any of these techniques in the energy range in which pulsations were detected by , nor at higher energies , with a flux upper limit of @xmath43 ergs @xmath4 s@xmath5 in the @xmath40 kev energy range . this negative result is undoubtedly due to the high background that dominates in this non - imaging instrument , in combination with spectral shape of geminga s non - thermal emission , as will be discussed in the next section . the ftools / xselect software package was used to prepare the data for spectral analysis . source spectra were extracted from a circle @xmath44 in radius for the sis data , and @xmath45 in radius for the gis data . the source was at a suitable location for background spectra to be extracted from annuli concentric with the source circle for both sis and gis . it is important to choose an annulus close enough to the source circle to acquire a fair sample of the background sky at the point of the source , but not close enough to contain a significant number of source counts , which would oversubtract the source spectrum . to obtain response matrices , the latest gis `` rmf '' files were downloaded and rebinned to match the reduced number of energy channels in the data . the `` sisrmg '' program was used to generate response matrices ( rmfs ) for the sis spectral files . ancillary response ( arf ) files were created from the rmf files using the program `` ascaarf '' . the spectral data were rebinned , using the program `` grppha '' so that there were 40 counts or more in each bin . this reduces the noise , especially at higher energies where the instrument has less sensitivity , and allows gaussian statistics to be used in the evaluation of the fit . guided by the combined / results of @xcite , we fitted simple power - law models to each of the instruments using xspec . the soft blackbody component that dominates the spectrum does not contribute significantly in the band , and was neglected . in this analysis , the intervening column density @xmath46 was held fixed at the best fitted value of @xmath47 given in @xcite . uncertainties in this small @xmath46 do not affect the results . the energy limits of the fit for the sis data were set at @xmath48 kev for sis0 , and @xmath49 kev for sis1 data because of its poorer signal - to - noise at higher energy . the gis spectra were fitted from @xmath50 kev to avoid calibration uncertainties at the lowest energies . in addition to fits of the individual instruments , combined fits were made . the combined sis and gis fits are shown in figures [ sisspect ] and [ gisspect ] . results of the fits are given in table [ tbl-3 ] for the combined sis and gis as well as for all instruments combined . all fits are acceptable , with @xmath51 per degree of freedom . although not all of the instruments are consistent with each other at the @xmath52 confidence level , three out of four are consistent with the combined sis+gis fit , which yields photon index @xmath53 . this compares favorably with the lower - quality results of @xcite , who found @xmath54 for sis0 and @xmath55 for gis3 in the 1994 observation . we also performed crude pulse - phase spectroscopy by separating the gis events into two phase bins , 0.280.88 in figures [ pulse1 ] and [ pulse2 ] ( which includes most of the main peak ) , and the remainder ( 0.880.28 ) . power - law fits in the range @xmath56 kev were performed for both sets , and the results are also listed in table [ tbl-3 ] . while the spectrum of the main peak is slightly softer than that of the interpeak region ( @xmath57 vs. @xmath58 ) , the difference is only marginally significant . table [ tbl-3 ] also gives the modeled fluxes in the range @xmath59 kev , normalized to a full cycle . the fluxes for the full data sets are similar to those for the pspc+sis0 fit given in @xcite , but are more than twice the flux in the pspc+gis3 fit given there . the fluxes for the individual instruments in our 1999 observation agree with each other quite well , with the gis tending to show a slightly higher flux than the sis . we conclude that the discrepancies between sis and gis spectra in the 1994 observation noted by @xcite were largely due to the shorter exposure and non - optimal mode of that observation , while the current results from the 1999 observation are more internally consistent and precise . an updated broad - band spectrum of geminga , including the new data presented in this paper , is shown in figure [ fullspect ] . the previous sources for data and upper limits are given in the figure caption . we derived upper limits from _ rxte _ for the pulsed flux by determining the minimum pulsed detection threshold for the @xmath60 test ( which should provide the greatest sensitivity of all @xmath42 tests , for a pulse shape similar to the hard x - ray or @xmath0-ray pulse profile in figure [ pulse2 ] ) and the epoch folding test . the frequency at the epoch of the observation is well - defined by the egret ephemeris ( i.e. , a search over frequency is not required , although we nevertheless performed a search in a small frequency range immediately surrounding the expected value ) , and the pulse shape can be approximated by a sine wave . using the appropriate parameters similar to those in @xcite for the epoch folding test ( which , for a pulse shape like that at the highest energy observed by has the lowest pulsed detection threshold ) , we derived upper limits for 10 and 60 kev corresponding to the collecting area of the pca under the assumption of a power - law of @xmath61 as measured by . it is apparent from figure [ fullspect ] that , given its flux and spectral index , geminga is too faint for its pulsed flux to have been detected at any energy by the _ rxte _ pca instrument . it is clear from figure [ fullspect ] that the @xmath0-ray emission from geminga represents the energetically dominant component of the total emission of the pulsar , while an extrapolation of the nonthermal x - ray spectrum falls well below the egret flux . the hard x - rays therefore represent a physically distinct emission mechanism from the primary @xmath0-rays . a general theory of x - ray emission from rotation - powered pulsars @xcite predicted that any strong @xmath0-ray pulsar will also have a hard x - ray spectrum with photon index @xmath62 . in this model , an outer - gap accelerator will send @xmath11 pairs flowing inward and outward along open magnetic field lines . these particles continuously radiate @xmath0-rays by the curvature mechanism . when the inward flowing particles approach the surface of the star , the @xmath15 mev @xmath0-rays that they emit convert into secondary @xmath11 pairs in the inner magnetosphere wherever @xmath63 g , where @xmath64 is the angle between the photon and the * b * field . those secondary pairs must radiate away their energy instantaneously in the strong local * b * field . such a synchrotron decay spectrum has @xmath62 between @xmath650.2 kev and 5 mev . the luminosity of such a component in the bandpass is estimated theoretically from the goldreich - julian current in the outer - gap accelerator , and is found to be @xmath66 ergs s@xmath5 , in agreement with the observed flux from geminga . a three - dimensional magnetosphere model of geminga with a thick outer gap is presented by @xcite , who explain the phasing of the soft and hard x - ray emission with respect to the the @xmath0-ray pulse profile as observed by @xcite . their modeled hard x - ray peak coincides with the first @xmath0-ray peak as a result of the inward motion of the x - ray synchrotron emitting particles , while the soft , thermal x - ray peak coming from near the polar cap coincides with the second @xmath0-ray peak . @xcite fitted the @xmath0-ray pulse profiles with a magnetic inclination angle of @xmath67 and a viewing angle of @xmath68 , which would also be compatible with the pulse modulation of the soft x - rays . while the fitted spectral index of @xmath2 does not strongly support or refute this theory , it can be noted that a power - law fit is merely a parameterization of the shape of the x - ray spectrum that does not allow for possible complications due to additional processes that may be occurring . for example , the cyclotron energy for electrons in the pulsar s inner magnetosphere is in the bandpass , which means that the cyclo - synchrotron spectrum must deviate from a power law there . the nonthermal spectrum must turn down at low energies , both from theoretical arguments , and empirically in order not to exceed the observed ultraviolet and visible flux . furthermore , it is possible that there is an additional , hotter thermal component around 1 kev which would arise from the polar caps heated by the impacting charged particles flowing in along the open field lines , such as in the model of @xcite . the latter model was based on double - blackbody fits to the spectrum alone , taken from @xcite , but since superseded by evidence from that the harder component is non - thermal @xcite . nevertheless , it is still possible that a fainter , hot thermal component is present that is not easily distinguished from the dominant non - thermal spectrum and pulse profiles , but that contaminates the power - law fit . our pulse - phase spectroscopy , even in the long observation of 1999 , is not sensitive enough to meaningfully constrain such a complex model . the detection of x - rays above 10 kev from geminga is an unmet challenge , but one that might be necessary to better measure the the predicted power - law spectrum . we were startled to see a recent report of detection of a 62 s period from geminga in tev @xmath0-rays @xcite . that paper cited nine other detections of periods in the range 5960 s ( see 1 for references ) , going all the way back to analyses of _ sas 2 _ , _ cos b _ , _ einstein _ , and _ exosat _ data , none of which was ever considered convincing @xcite . we have searched and data in this range of periods without detecting significant modulation . for example , there is no signal at a period of 62.4 s that would fit the linear extrapolation of previous claims to the observation of 1999 . we regard the case of the moving 60 s period as closed a decade ago , notwithstanding this recent attempt at revival . although there is no @xmath0-ray telescope currently in orbit , it will be possible to maintain a phase - connected ephemeris and monitor geminga s glitch activity using x - ray instruments such as _ chandra _ and _ xmm - newton _ , now that we have confirmed the precise phase relationship between the hard x - ray and @xmath0-ray pulse in two observations . the standard dipole braking index @xmath69 would correspond to @xmath70 smaller than the observed value by a factor of 5.5 . despite the existence of a 27 yr long phase - connected @xmath0-ray ephemeris of geminga , it has not been possible to measure a true braking index because @xmath70 is apparently dominated by timing noise , even apart from the observed glitch , which is among the smallest ever detected in a pulsar . more sensitive hard x - ray observations , such as are possible with _ xmm - newton _ , also have the potential to disentangle any additional spectral and pulse components that may be present , such as cyclotron features , hot polar cap emission , and even atomic spectral lines from the neutron star photosphere . akerlof , c. w. , et al . 1993 , a&a , 274 , l17 becker , w. , kawai , n. , brinkmann , w. , & mignani , r. 1999 , a&a , 352 , 532 bertch , d. l. , et al . 1992 , nature 357 , 306 bignami , g. f. , caraveo , p. a. , & lamb , r. c. 1983 , , 272 , l9 bignami , g. f. , caraveo , p. a. , & paul , j. a. 1984 , nature , 310 , 464 bignami , g. f. et al . 1987 , 319 , 358 bignami , g. f. , caraveo , p. a. , & paul , j. a. 1988 , a&a , 202 , l1 bignami , g. f. , et al . 1996 , , 456 , l111 bradt , h. v. , rothschild , r. e. , & swank , j. h. 1993 , a&as , 97 , 355 buccheri , r. , et al . 1983 , a&a , 128 , 245 buccheri , r. , damico , n. , hermsen , w. , & sacco , b. 1985 , nature , 316 , 131 burderi , l. , fauci , f. , & boriakoff , v. 1999 , , 512 , l59 caraveo , p. a. , lattanzi , m. g. , massone , g. , mignani , r. p. , makarov , v.v . , perryman , m. a. c. , & bignami , g. f. 1998 , a&a , 329 , l1 fichtel , c. e. et al . 1975 , , 198 , 163 fierro , j. m. , et al . 1998 , , 494 , 794 halpern , j. p. , & holt , s. s. 1992 , nature , 357 , 222 halpern , j. p. , & ruderman , m. 1993 , , 415 , 286 halpern , j. p. , & tytler , d. 1988 , , 330 , 201 halpern , j. p. , & wang , f. y .- h . 1997 , , 477 , 905 jahoda , k. , et al . 1996 , proc . spie , 2808 , 59 kassim , n. e. , & lazio , t. w. 1999 , 527 , l101 kaul , r. k. , et al . 1985 , in proc . cosmic ray conf . ( la jolla ) , 1 , 165 kuiper , l. , et al . 1996 , a&a , 120 , 73 kuzmin , a. d. , & losovskii , b. ya . 1997 , astronomy letters , 23 , 323 leahy , d. a. , elsner , r. f. , & weisskopf , m. c. 1983 , , 272 , 256 malofeev , v. m. , & malov , o. i. 1997 , nature , 389 , 697 martin , c. , halpern , j. p. , & schiminovich , d. 1998 , 494 , l211 masnou , j. l. , et al . 1977 , proc . 12th eslab sym . ( frascati ) , p. 33 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 2000 , a&as , 120 , 77 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 1998 , , 493 , 891 mattox , j. r. , halpern , j. p. , & caraveo , p. a. 2000 , baas , 197 , # 130.05 mayer - hasselwander , h. a. , et al . 1994 , , 421 , 276 mclaughlin , m. a. , cordes , j. m. , hankins , t. h. , & moffett , d. a. 1999 , , 512 , 929 mignani , r. p. , caraveo , p. a. , & bignami , g. f. 1998 , a&a , 332 , l37 neshpor , yu . i. , & stepanyan , a. a. 2001 , astronomy letters , 27 , 794 perna , r. , heyl , j. , & hernquist , l. 2001 , apj , 553 , 809 ramachandran , r. , deshpande , a. a. , & indrani , c. 1998 , a&a , 339 , 787 schroeder , p. c. , et al . 1995 , , 450 , 784 shearer , a. , et al . 1998 , a&a , 335 , 21 shitov , yu . p. , & pugachev , v. d. 1997 , new astronomy 3 ( 2 ) , 101 swanenburg , b. n. et al . 1981 , 243 , l69 tanaka , y. , inoue , h. , & holt , s.s . 1994 , pasj , 46 , l37 thompson , d. j. , fichtel , c. e. , hartman , r. c. , kniffen , d. a. , & lamb , r. c. 1977 , , 213 , 252 wang , f. y .- h . , ruderman , m. , halpern , j. p. , & zhu , t. 1998 , apj , 498 , 373 zhang , l. , & cheng , k. s. 2001 , mnras , 320 , 477 zyskin , y. i. , & mukanov , d. b. 1983 , sov . lett , 9 , 117 zyskin , y. i. 1988 , space sci . , 49 , 49 llrr egret ( 1 ) & 1991 apr 22may 7 & 1209.6 & 1.8@xmath71 + egret ( 1 ) & 1991 may 1630 & 1209.6 & 1.6@xmath71 + egret ( 1 ) & 1991 jun 815 & 604.8 & 1.5@xmath71 + egret ( 2 ) & 1992 jun 1125 & 1209.6 & 2.2@xmath72 + egret ( 2 ) & 1992 aug 1120 & 777.6 & 1.9@xmath72 + egret ( 2 ) & 1992 sep 117 & 1382.4 & 1.7@xmath72 + egret ( 2 ) & 1992 oct 815 & 604.8 & 1.4@xmath72 + egret ( 2 ) & 1992 nov 317 & 1209.6 & 1.0@xmath72 + egret ( 3 ) & 1993 mar 2329 & 604.8 & 3.2@xmath72 + egret ( 3 ) & 1993 may 1324 & 950.4 & 4.1@xmath72 + egret ( 4 ) & 1993 dec 113 & 1036.8 & 3.5@xmath72 + egret ( 4 ) & 1994 feb 817 & 777.6 & 7.7@xmath72 + egret ( 5 ) & 1994 aug 929 & 1814.4 & 3.7@xmath72 + egret ( 6 ) & 1995 feb 28mar 21 & 1814.4 & 4.0@xmath72 + egret ( 6 ) & 1995 apr 411 & 604.8 & 2.5@xmath72 + egret ( 6 ) & 1995 may 9jun 6 & 2419.2 & 1.8@xmath72 + egret ( 7 ) & 1995 aug 822 & 1209.6 & 2.4@xmath72 + egret ( 8) & 1995 oct 1731 & 1209.6 & 2.7@xmath72 + egret ( 9 ) & 1996 jul 30aug 27 & 2419.2 & 3.4@xmath72 + egret ( 10 ) & 1997 feb 18mar 18 & 2419.2 & 1.5@xmath72 + egret ( 11 ) & 1998 jul 721 & 1209.6 & 2.0@xmath72 + egret ( 12 ) & 1999 may 1125 & 1209.6 & 2.1@xmath72 + egret ( 13 ) & 1999 sep 1428 & 1209.6 & 4.7@xmath73 + egret ( 14 ) & 2000 apr 25may 9 & 1209.6 & 2.6@xmath72 + rosat pspc & 1993 sep 1620 & 36.9 & 0.503 + asca sis & 1994 mar 2831 & 49.2 & 1.7@xmath74 + asca gis & 1994 mar 2831 & 75.3 & 1.2@xmath74 + asca sis & 1999 oct 511 & 194.0 & 1.4@xmath74 + asca gis & 1999 oct 511 & 207.8 & 1.0@xmath74 + rxte pca & 1996 apr 27may 8 & 142.7 & + lll epoch of ephemeris @xmath75 ( mjd ) & 46599.5 & 50381.999999364 + range of valid dates ( mjd ) & @xmath76 & @xmath77 + frequency @xmath78 ( hz ) & @xmath79 & @xmath80 + frequency derivative @xmath81 ( hz s@xmath5 ) & @xmath82 & @xmath83 + frequency second derivative , @xmath70 ( hz s@xmath84 ) & @xmath85 & @xmath85 + & & + epoch of position ( mjd ) & 49793.5 & + r.a . ( j2000 ) & @xmath86 & + decl . ( j2000 ) & @xmath87 & + r.a . proper motion @xmath88 ( mas yr@xmath5 ) & 138 & + decl . proper motion @xmath89 ( mas yr@xmath5 ) & 97 & + lrr sis & 1.68 ( @xmath900.13 , @xmath910.12 ) & 2.29@xmath92 + gis & 1.99 ( @xmath900.14 , @xmath910.14 ) & 2.78@xmath92 + gis+sis & 1.72 ( @xmath900.10 , @xmath910.09 ) & 2.62@xmath92 + gis & 2.00 ( @xmath900.24 , @xmath910.24 ) & 3.30@xmath92 + gis & 1.74 ( @xmath900.24 , @xmath910.23 ) & 2.71@xmath92 +

arxiv

What exactly are UV lenses? Edmund Optics has [these UV lenses](https://www.edmundoptics.co.uk/c/uv-lenses/784/#) listed on their site but I'm not quite sure what it means for a lens to be 'UV'. Do glass lenses have significant issues transferring UV (I would also appreciate the correct terminology for this behaviour) or is this simply about avoiding aberration? Yes, a lot of "regular" glasses absorb in the UV, meaning you can't use them as lenses without suffering losses. In addition, They probably have coatings to make them anti-reflective, making the loss due to reflection decrease as well (as absorption loss)

stackexchange/physics

Solution to heat equation with changing boundary conditions I am attempting to solve a homogeneous heat equation \begin{equation} u\_t = \alpha^2 u\_{xx}, \end{equation} with an initial temperature $u\_0$, and time-varying boundary conditions $u(0,t) = u(L,t) = u\_s(t)$. The challenge is that the function $u\_s (t)$ isn't a continuous function that can be expressed neatly, but rather a series of temperatures given for every minute. I followed the method laid out here [Solution methods for heat equation with time-dependent boundary conditions](https://physics.stackexchange.com/questions/281997/solution-methods-for-heat-equation-with-time-dependent-boundary-conditions), and got the result \begin{equation} u\_c(t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s (0) - u\_0 \right), \end{equation} hoping that I could still approximate the integral with a sum like so \begin{equation} u\_c(t) \approx u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- 60 (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \sum\_{m=0}^{t - 1} e^{60(2n + 1)^2 \pi^2 \alpha^2 / L^2 m} \Delta u\_s^m + u\_s (0) - u\_0 \right), \quad \Delta u\_s^m \equiv u\_s^{m+1} - u\_s^m. \end{equation} ($m$ represents minutes, and in any real calculation $t$ would be floored down to the nearest integer) I am able to compare the above result to measured values for the temperature, and it does not hold up at all. My question is then, do anyone know of a better way to handle boundary conditions that are put in by hand every minute? Ultimately, I would like to be able to extract the size $L$, which is why I am not doing this numerically. If you would like to see my derivation, I post it below: We have \begin{equation} u\_t = \alpha^2 u\_{xx}, \end{equation} with boundary and initial conditions \begin{align\*} u(x,0) & = f(x), \quad u(0,t) = u(L,t) = u\_s (t)\\ f(0) & = f(L) = u\_s(0), \quad f(0<x<L) = u\_0, \end{align\*} and assume \begin{equation} s\_{xx}(x,t) = 0, \end{equation} so that \begin{equation} s(x,t) = u\_s (t). \end{equation} Then we get the inhomogenous equation \begin{equation} v\_t = \alpha^2 v\_{xx} - u\_s'. \end{equation} The homogeneous equation is solved by \begin{equation} v(x,t) = \sum\_{n=1}^\infty T\_n (t) X\_n (x), \quad X\_n (x) = \sin \left( \frac{n \pi x}{L} \right). \end{equation} For the inhomogeneous equation, we make the ansatz \begin{equation} u'\_s (t) = - \sum\_{n=1}^\infty Q\_n (t) X\_n (x), \end{equation} so that the heat equation becomes \begin{equation} \sum\_{n=1}^\infty \left( T\_n' (t) + \lambda\_n T\_n (t) - Q\_n (t) \right) X\_n (x) = 0, \quad \lambda\_n = \left( \frac{n \pi \alpha}{L} \right)^2, \end{equation} which means that \begin{equation} T\_n (t) = e^{-\lambda\_n t} \int\_0^t e^{\lambda\_n \tau} Q\_n (\tau) d \tau + C\_n e^{-\lambda\_n t}. \end{equation} The $C\_n$'s are found by checking the initial conditions \begin{equation} v(x,0) = u(x,0) - s(x,0) = u\_0 - u\_s (0) = \sum\_{n=1}^\infty T\_n (0) X\_n (x) = \sum\_{n=1}^\infty C\_n X\_n (x), \end{equation} so \begin{equation} C\_n = \frac{2 \left( 1 - (-1)^n \right) \left( u\_0 - u\_s (0) \right)}{n \pi}. \end{equation} $Q\_n (t)$ is found from the orthogonality of the $X\_n (x)$'s \begin{equation} Q\_n (t) = 2 \frac{(-1)^n - 1}{n \pi} u\_s' (t), \end{equation} or, since only terms with $n$ odd are non-zero, \begin{align\*} C\_n & = \frac{4}{(2n+1) \pi} \left( u\_0 - u\_s (0) \right),\\ Q\_n (t) & = - \frac{4}{(2 n + 1) \pi} u\_s ' (t). \end{align\*} Then \begin{equation} T\_n (t) = - \frac{4}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \end{equation} and \begin{equation} v(x,t) = - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{1}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \sin \left( \frac{(2n+1) \pi x}{L} \right). \end{equation} The temperature is then \begin{equation} u(x,t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{1}{(2 n + 1) \pi} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s(0) - u\_0 \right) \sin \left( \frac{(2n+1) \pi x}{L} \right). \end{equation} In the core the temperature is \begin{equation} u\_c(t) = u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \int\_0^t e^{(2n + 1)^2 \pi^2 \alpha^2 / L^2 \tau} u\_s ' (\tau) d\tau + u\_s (0) - u\_0 \right). \end{equation} Numerically, this is \begin{equation} u\_c(t) \approx u\_s (t) - \frac{4}{\pi} \sum\_{n=0}^\infty \frac{(-1)^n}{2 n + 1} e^{- 60 (2n + 1)^2 \pi^2 \alpha^2 / L^2 t} \left( \sum\_{m=0}^{t - 1} e^{60(2n + 1)^2 \pi^2 \alpha^2 / L^2 m} \Delta u\_s^m + u\_s (0) - u\_0 \right), \quad \Delta u\_s^m \equiv u\_s^{m+1} - u\_s^m. \end{equation} If the temperature is changes in steps, then you can obtain the solution by linear superposition. Let the solution for a unit step temperature change at time zero (with 0 internal initial temperature) be U(x,t), and let the boundary temperature change at time $t\_j$ be $\Delta u\_{sj}$, then the solution for your situation will be $$u(x,t)=u\_0+\sum\_j{\Delta u\_{sj}U(x,t-t\_j)}$$This is essentially the solution you have written for step changes in temperature.

stackexchange/physics

Frost & Sutcliffe v Tuiara [2004] 1 NZLR 782; 2003 10 TCLR 912 is a cited case in New Zealand regarding whether a party owes another party concurrent duties in contract and in tort. Background Frost & Sutcliffe were a law firm that represented the Tuiara's in a buyback agreement on their Mangere home, for which they also acted as the legal representatives of the finance company involved. The law firm gave them the following legal advice: 19 March 1999 Re: Sale of your property at 21 Ashley Avenue, Mangere. To Richmond Thornby Holdings Limited and Repurchase. You have been asked to sell your property to Richmond Thornby Holdings Limited which will pay you only $8,000.00 now and will resell it to you in 6 weeks. We note our advices to you as to our concern at advising family as regards to transaction of this type. This is especially the case when their own home is placed at risk. My initial advice to you would be dont. I record however, that you have decided that you do wish to proceed with the arrangement. The effect of registration of the sale will mean that you have lost your home if anything goes wrong. As advised, if for any reason Richmond Thornby Holdings Limited can't get a release of the mortgage it will take on the property, effectively you will have lost your house and have to start again. You will have a right against the security the Company grants but this would be likely to be of no value. We note that at this stage you have satisfied yourselves the Company will be in a position to repurchase the property from you in 6 weeks. To summarise, our advice simply is it is better not to proceed with the transaction. We note however that you wish to assist your family, and you have done so in the full knowledge that the transaction is a financial risk to you and you may suffer financially in the event the Company being unable to complete the resale of the house for you. We note we have strongly recommended you consult an independent Solicitor in respect of the matter but you have declined to so. Yours faithfully'' FROST & SUTCLIFFE At trial, the Tuiara's denied they had ever received this letter, but the court disagreed with them on this. The Tuiara's eventually followed through on the deal, accepting an $8,000 payment in return for temporarily transferring title of their house to a 3rd party. Soon after entering into the agreement, the finance company involved went into liquidation, resulting in the Tuiara's losing their house. They later sued the law firm for breach of contract, as well as for negligence in tort, with the Tuiara's claiming that Sutcliffe had encouraged them to proceed on the deal. The High Court ruled that whilst they did not breach their fiduciary duty owed under contract, they did breach the duty of care they owed in tort. Held The Court of Appeal allowed the law firms appeal. References Category:New Zealand contract case law Category:New Zealand tort case law Category:2003 in New Zealand law Category:Court of Appeal of New Zealand cases Category:2003 in case law

wikipedia

Screenplays Mission Failed! **Title : Mission Failed** **Rating : PG-17** **Genre : Humor, GAJE!** **Warning! : Gaje, YAOI, yang gak suka mendingan gak usah baca.** **This Fanfiction special for uri Yoochunnie** **Saengil Chukkae :*** **.** **.** "Jadi, bisa kau jelaskan yang tadi itu, eoh?" Suara desisan Junsu terdengar mengerikan di telinga Yoochun. Kentara sekali laki-laki berpantat montok itu tengah meredam emosi yang sudah akan meledak. Oh, God. Junsu bukanlah tipe yang suka marah akan tetapi sekalinya ia marah maka habislah sudah apa yang ada di sekitarnya. Yoochun menelan ludahnya pelan, lalu meringis merasakan tangan dan kakinya kebas karena di ikat erat oleh tali di ranjangnya. "Istriku, kau hanya salah paham dengan kejadian itu." Yoochun berusaha menjelaskan dengan Junsu yang sudah dua tahun berstatus sebagai istrinya. Junsu mengerucutkan bibirnya imut, "Salah paham,eoh? Tapi kau senang sekali kelihatannya menggendong Jaejoong. Apalagi dada-nya yang montok itu menempel di punggungmu, iya kan?" Junsu menyeringai sambil menoel pipi Yoochun dengan tongkat penggaruk berbentuk tangan-nya (readers tau kan?) Yoochun menghela nafasnya, "Aniyo, tidak seperti itu." "Apanya yang tidak seperti itu! Aku melihatnya dengan mata kepalaku sendiri, Park Jidat! Aku pikir sifat playboy-mu itu sudah berubah, tapi kau malah seperti ini! Walaupun kita hanya seorang guru dan murid di sekolah tapi aku tetap istrimu! Oh, Tuhan kasihan sekali Changminnie mempunyai Daddy sepertimu!" suara Junsu mulai bergetar menahan tangis, matanya mulai berkaca-kaca. Yoochun mulai mendecih sebal, tahu akan jadi begini ia tidak akan membantu guru Matematika-nya itu. Haau, demi apapun sewaktu ia di sekolah tadi ia hanya membantu Jaejoong yang saat itu keseleo karena terpeleset dari tangga. Ya, sebagai murid yang baik ia hanya membantu gurunya ke unit kesehatan sekolah. Hell, adakah yang salah dengan itu? Junsu hanya melihat dari sisi negatifnya saja. Haaah…. "Su-ie, aku minta maaf. Tapi sungguh aku hanya membantu Jaejoong soensaengnim yang terpeleset dari tangga." Yoochun mencoba untuk meyakinkan istrinya, "Sekarang buka ikatan ini, rasanya perih." "Andwae!" Junsu memekik keras, lalu mulai menelusuri tubuh Yoochun dengan tongkat jarinya. Meraba-raba tubuh Yoochun mulai dari nipple sampai junior yang berada di balik boxer-nya. "Murid yang nakal harus di hukum, eoh?" Yoochun merinding demi sentuhan nakal yang diberikan Junsu, "Jangan main-main, chagi." desis Yoochun mencoba memperingatkan Junsu. Junsu memicing tajam, "Tidak, sampai aku selesai dengan ini. Aku kecewa padamu yang tidak pernah berubah. Setelah kita punya Changmin-pun kau masih seperti ini. Aku lelah, Chun! Apa kau juga mulai lelah denganku!? Apa kau sudah bosan dengan pernikahan ini, eoh!?" Junsu menjerit lantas beberapa saat kemudian menitikkan air matanya. "Kita bercerai saja." Yoochun menggeram kesal demi mendengar perkataan terakhir yang keluar dari mulut Junsu. "Tarik kembali kata-katamu, Park Junsu!" Junsu mulai ketakutan saat mendengar desisan Yoochun yang seketika membuat bulu kuduknya berdiri. "Sekarang lepaskan ikatan ini." Titah Yoochun. Junsu menggelengkan kepalanya takut, "S-shirreo." "Lepaskan sekarang atau aku akan mematahkan ranjang ini." Junsu bergidik ngeri, tiba-tiba saja nyalinya menciut dan air mata mulai membanjiri pipi chubby-nya saking ketakutan dengan aura membunuh Yoochun. Lantas laki-laki berpantat montok itu mulai melepaskan ikatan di tangan dan kaki suaminya. "AAH!" Junsu memekik keras saat tubuhnya langsung ditarik dan dihempaskan Yoochun di ranjang mereka. "C-Chunnie…" Yoochun menatap lama ke dalam mata bulat Junsu, "Dengar, jangan sekali-kali meminta hal yang tidak masuk akal begitu lagi, arra!" Junsu mulai menangis sesenggukan mendengar bentakan Yoochun, "Chunnie mianhae, huks… Yang tadi itu hanya bercanda." Junsu menghapus dengan cepat air mata di pipinya, "H-happy birthday, Chunnie." Isaknya. Yoochun menghela nafasnya, "Aku tahu semua ini untuk mengerjaiku, sayang." Junsu membulatkan matanya, "M-mwo?" "Kelakuanmu itu tidak mencerminkan umurmu, eoh? Lihat, kau menangis seperti anak playgroup." Yoochun menjulurkan lidahnya mengejek Junsu yang sudah mencebilkan bibirnya, "Tentu saja aku tahu semua gerak-gerikmu yang mengerjaiku, kau tidak pandai ber-acting." "Chunnie!" protes Junsu sambil memukul dada bidang Yoochun. Yoochun tertawa renyah, "Yang kalian lakukan itu kuno sekali, istriku~ Jaejoong seonsaengnim juga pasti berada dalam masalah besar sekarang." "Eh?" "Kau seharusnya memikirkan beruang kutubnya yang posesif itu." Laki-laki berpipi chubby itu lantas merapikan poni istrinya yang berantakan, lantas terkikik pelan saat melihat wajah Junsu yang terlihat khawatir memikirkan nasib sahabat dekatnya itu, "Tapi, aku benar-benar marah saat kau mengatakan ingin bercerai. Berjanjilah, kau tidak akan mengucapkannya lagi." Junsu mengangguk, "Ne, yaksoke." Yoochun tersenyum, "Sekarang, katakan dengan benar ucapan-nya." Junsu terkikik, lantas dengan kilat ia mengecup bibir suaminya, "Happy birthday, suamiku. I will always love you." Yoochun terkekeh pelan, lalu menggesekkan hidungnya dengan hidung Junsu, "Lalu, apa hadiahku?" Semburat merah jambu muncul di pipi tembem Junsu, "Hadiahmu ada di depanmu, Chunnie." Yoochun menyeringai, "Kalau begitu, boleh kubuka sekarang?" . . Kyuhyun-Baby sitter yang bekerja untuk keluarga Park- mengumpat dalam hatinya sambil menimang-nimang Changmin yang berusia satu tahun di gendongannya, "Mereka itu benar-benar. Setidaknya pasang peredam suara agar suara mereka tidak membangunkan Changmin, huh!" . . Sementara di kediaman Jung … "A-aniyo, Yunnie. Bukan seperti itu!" Jaejoong mulai berjalan mundur ke ranjangnya saat melihat Yunho yang terus melangkah mendekatinya. Yunho menyeringai sambil membuka satu persatu seragam kantornya, "Benarkah begitu, Jung Jaejoong?" Jaejoong semakin memucat saat ia sudah tidak bisa mundur karena di belakangnya adalah ranjang mereka, sementara Yunho kini tengah membuka belt-nya dan sudah half-naked. "A-aku hanya membantu Junsu, Yunnie." Yunho meletakkan belt-nya, dan kini laki-laki bermata musang itu sudah berada di hadapan Jaejoong, "Jeongmal?" desis Yunho, lantas pria bermarga Jung itu memelintir nipple Jaejoong. "Aah!" Dan Jaejoong hanya bisa berdoa dalam hati agar hole-nya selamat dari terjangan big junior suaminya. Haau… **.** **.** **-END DENGAN INDAHNYA-** **Hahahahahah maaf ini gaje dan pendek sekali XD** **saya hanya iseng ngetik ini judul juga gak tw nyambung apa kagak sm isinya, semoga yang nemu suka** **dan Happy birthday untuk abang jidaaaaat :*** **Pokok nya doa gua yang baik2 buat lu bang!** **Jaga kesehatan dan sukses untuk karir dan wamilnya~** **Wish you all the best~** **God Bless You~** **berminat ninggalin jejak? /kitty eyes/** End file.

fanfiction

Weinberg QFT Chapter 5: gamma matrices consistency Currently reading through Weinberg's QFT book (Vol. 1) [readable in parts [here](http://goo.gl/ZTME3q)]. In his derivation of the causal Dirac field in Ch. 5, he chooses his gamma matrices as (5.4.17) \begin{align} \gamma^0&=-i\left[\begin{array}{cc}0&1\\1&0\end{array}\right]\\ \gamma^i&=-i\left[\begin{array}{cc}0&\sigma^i\\\sigma^i&0\end{array}\right] \end{align} As far as I can see this is just the Weyl basis as I know it from other sources (Peskin & Schroeder, Schwartz) but with an extra factor $-i$ here because of Weinberg's choice of metric $\eta^{\mu\nu}$=diag(-1,1,1,1) in the anticommutation relations for the gamma matrices $$\{\gamma^\mu,\gamma^\nu\}=2\eta^{\mu\nu}.$$ He then goes on to define the matrix $$\beta=i\gamma^0=\left[\begin{array}{cc}0&1\\ 1&0 \end{array} \right] \,(i)$$ (both on p218 and pxxv) and uses this form of $\beta$ *explicitly* to derive the zero momentum spinors (5.5.17),(5.5.18). Then, however, on the next page in front of Eq. (5.5.26), he states $\beta=-i\gamma^0$ and uses *that* in (5.5.26) and what follows to construct the causal field and spin sums. The form these equations take does seem to depend on the sign chosen for $\beta$ in (i). If I translate his spin sums back to the (more familiar to me) notation of P&S ($\gamma^\mu \rightarrow -i\gamma^\mu,a^\mu b\_\mu \rightarrow -a^\mu b\_\mu, \beta \rightarrow \gamma^0$) Eqs. (5.5.37),(5.5.38) have the familiar form they take in P&S. So I'm wondering where the inconsistency went, because using both $\beta=\pm i \gamma^0$ in the same derivation should lead to one...? [On a sidenote, in that section in Eqs. (5.5.20)-(5.5.23) the factors $(2\pi)^3$ are also all over the place and not consistent] Ok, tracked the 2005 paperback edition down and indeed those parts have been corrected. In front of Eq. (5.5.26) he now states $\beta=i\gamma^0$ and Eq. (5.5.26) has now changed to [2005 Paperback] $$D(L(p))\beta D^{-1}(L(p)) = i{L\_\mu}^0(p)\gamma^0=-ip\_\mu \gamma^\mu /m,$$ with the sign change in the last step because of his $\eta^{00}=-1$ convention. The previous edition [199x hardcover] reads $$D(L(p))\beta D^{-1}(L(p)) = -i{L\_\mu}^0(p)\gamma^0=-ip\_\mu \gamma^\mu /m,$$ with an extra mistake in the last step giving the same answer so all the derivations after that remain correct. So this mistake in the last step was the inconsistency I was looking for and hadn't spotted. The corrected edition of 1996 does not have such inconsistencies with the sign. Take the + sign and be sure to check the errata before continuing.

stackexchange/physics

Niall Bruton born 27 October 1971 is a former Irish runner who specialized in the 1500 metres, retiring around 2000. From Dublin Niall went to Larkhill National School and then St. Aidan's C.B.S. in Whitehall, he ran with Clonliffe Harriers. Bruton ran collegiately in the US for the University of Arkansas where he won the mile at the NCAA Indoor Championships in 1993 and 1994. He was named most outstanding performer among college men at the 1992 Penn Relays. His personal best 1500 time was 3:35.67 minutes, achieved in August 1995 in Cologne. Bruton's best time in the mile was 3:53 run in Oslo in 1994. His career was cut short, however, as he developed arthritis in his right hip, causing him to retire. Achievements References External links Category:1971 births Category:Living people Category:Irish male middle-distance runners Category:Athletes track and field at the 1996 Summer Olympics Category:Olympic athletes of Ireland Category:Arkansas Razorbacks men's track and field athletes Category:University of Arkansas people Category:World Athletics Championships athletes for Ireland Category:Universiade medalists in athletics track and field Category:Universiade gold medalists for Ireland

wikipedia

Meals on Wheels America, is the community based organization dedicated to providing nutrition and helping to eliminate isolation to the elderly. It supports more than 5,000 communities across the United States. Situated in Arlington, Virginia the Meals on Wheels America is headed by President and CEO Ellie Hollander. It is the oldest and largest national organization supporting community-based senior nutrition programs across the country. Meals on Wheels America is a non-profit organization which works towards improving information and services provided to senior citizens. Vision The vision of Meals on Wheels of America is to see no senior go hungry. Approximately 10,000 people in the United States turn 65 each day. One quarter will live to the age of 90. Many will not be able to keep up with daily tasks. According to the website, These seniors already represent the fastest growing population segment in the U.S. A major factor in living longer is that cost of living increases and funds do not. This becomes a contributing factor for seniors in the decision to sell their homes to move into a nursing facility. Meals on wheels provides a solution to this issue by providing meals to seniors at a fraction of the cost of living in a senior facility. Through this program, billions of dollars are saved everyday in Medicare and Medicaid costs annually. The greatest benefit of the Meals on Wheels program is that it provides seniors with improved health, security, and independence. References External links Retirement Research Foundsation Awards Meals on Wheels America Grant to Uncover and Debunk Older Americans Act Policy Barriers https://www.acl.gov/news-and-events/latest-news/join-us-celebrating-50th-anniversary-older-americans-act http://alliancetoendhunger.org/advocacy-playbook/ http://bestpractices.nokidhungry.org/free-summer-meals-kids#dialog_1125 http://www.mealsonwheelsamerica.org/docs/default-source/membership/resources-tools/advocacy/fa_mowa_seniorhunger.pdf?sfvrsn=2 Category:Charities based in Virginia Category:Organizations based in Arlington County, Virginia Category:Social welfare charities based in the United States

wikipedia

Questions about spacetime curvature and gravity These are some further important queries regarding the question here [Why would spacetime curvature cause gravity?](https://physics.stackexchange.com/questions/102910/why-would-spacetime-curvature-cause-gravity) Q1. Explain the statement “Everything in spacetime moves at the speed of light”. Is this statement even true or false? My naïve understanding is as follows: If an object is stationary in space (relative to an observer?) then it will be moving in time, so, it will, say, move from (x=0,t=0) to (x=0,t=10). The velocity is the space interval / time interval, which from above coordinates is still zero. So it is moving through spacetime, but at zero velocity. So velocity will just determine the angle of its path to the time axis. If this angle is zero, ie it is moving parallel to the time axis, then velocity = zero, and it can really move in time from one time point to the other at zero velocity. Where am I wrong, and what is the real explanation? Q2. Suppose there are two objects (see fig), an apple A above the earth at x=0, and the earth E at x=10 as shown in the fig. If there is no earth and just the apple in open space, then the spacetime is not curved due to the gravity of the earth, and the apple stays at x=0 but moves in time from A to B (fig a). Now the earth is at x=10 and presumably the spacetime curves and the axes tilt as in fig b. Then the apple moves from A to C, just following the geodesic. But if we assume this, then the apple has not moved at all, because, due to the tilt of the axis, point C is also at x=0. So fig b cannot be the correct situation, otherwise the apple will arrive at point C which is still on the x=0 axis. So I assume that in fact the apple has not moved from A to C in fig b, but has moved from A to D in fig. a, where D is really at x=10. But if I assume this, then it is not spacetime itself that has curved. The spacetime is still straight, but the apple has moved from (x=0,t=0) to (x=10,t=10). Again, where am I wrong, and what is the correct explanation? How exactly has the spacetime curved or tilted for the apple at A due to the presence of the Earth at E, and how does the apple move to the earth by following the geodesic in free fall? (assume only one spatial dimention) ![spacetime curved by gravity?](https://i.stack.imgur.com/9QQXe.png) Q3: We say that gravity is not just a “force of attraction” between two pieces of mass, and it does not “pull” the two pieces of mass towards each other. Instead, acceleration is manifested because the two pieces of mass are simply following their now curved geodesics. But it can be shown that there really is an attractive force due to gravity. E.g. Take the apple in the earth’s gravity and suspend it on a spring balance. The spring will extend. Yes, you can say that since it is suspended motionless, so it is no longer in free fall, and since the spring balance exerts an external force upwards on the apple, so it no longer follows its free fall geodesic. But it is not only the spring balance which is exerting an upward force on the apple. The apple is also exerting a downward force on the spring, which causes the spring to extend. Surely it is too naïve to say that the downward force which the earth exerts on the apple and in turn the apple exerts on the spring suddenly vanishes if the apple is released into free fall. If two masses were remotely attracting each other with a force, why would they cease to attract each other with a force when in free fall? It is logically a much more satisfying explanation that the gravitational attraction force which was there at rest remains in free fall too and it is this gravitational attraction force which causes the freefall acceleration by F=ma, just like any force on any object would cause an acceleration. Also, it is the net force on the object which causes the acceleration. When the object was suspended, the net force was zero, so acceleration was zero. When in free fall, the net force IS THE GRAVITATIONAL ATTRACTION FORCE, so acceleration is accordingly. This seems totally opposite to the statement that there is no gravitational force in free fall. The reason why the spring of the spring balance does not extend when in free fall is that there IS a gravitational force downwards, but there is no force exerted by the spring upwards, so the net force on the object is downwards due to gravity, which causes the acceleration F=ma. Where am I wrong? What is the correct explanation? Re (1): the relativistic extension of velocity is [four velocity](http://en.wikipedia.org/wiki/Four-velocity). Pre relativity we separate the spatial and time coordinates, then define velocity as $dx/dt$ etc. In relativity this no longer makes sense because $x$ and $t$ are both spacetime coordinates and indeed the Lorentz transformations will mix them up. So we define the four velocity $U$ as the vector: $$ U = \left(\frac{cdt}{d\tau}, \frac{dx}{d\tau}, \frac{dy}{d\tau}, \frac{dz}{d\tau}\right) $$ where $\tau$ is the [proper time](http://en.wikipedia.org/wiki/Proper_time). In your example of a stationary object $dx$, $dy$ and $dz$ are all zero, and $dt/d\tau = 1$ (because in the rest frame of an object the coordinate time is equal to the proper time). So the four velocity is: $$ U = \left(c, 0, 0, 0\right) $$ and hence the claim that a stationary object has a four velocity equal to $c$. Lorentz transformations to other frames will change the components of the four vector, but its magnitude will always be $c$. Re (2): your drawing isn't a good description of the spacetime near a spherically symmetric object like the Earth. In these circumstances the curvature is given by the [Schwarzschild metric](http://en.wikipedia.org/wiki/Schwarzschild_metric). Calculating the trajectory of your apple in this metric is far from trivial. As it happens this issue is addressed on the recent question [Naive visualization of space-time curvature](https://physics.stackexchange.com/questions/102409/naive-visualization-of-space-time-curvature). Sadly, the answer to this question is that there is no reliable naive visualisation of spacetime curvature. The only way to calculate the trajectory is to bite the bullet and use the [geodesic equation](http://en.wikipedia.org/wiki/Schwarzschild_geodesics#Geodesic_equation). Re (3): the stationary apple attached to the spring is accelerating, and therefore a force is being applied to it. The procedure for calculating this acceleration is described in the question [What is the weight equation through general relativity?](https://physics.stackexchange.com/questions/47379/what-is-the-weight-equation-through-general-relativity), as is the force required to be exerted by the spring to keep the apple accelerating. You object that the apple is also exerting a force on the spring. Well yes, this is just Newton's third law. The spring in turn exerts a force on whatever is supporting the upper end of the spring, and so on. Since no one has answered the second question, and since I discovered the answer subsequently, so I will post it. I only hope that it is correct. The spacetime bends backwards, so that if the the apple takes the shortest path, ie vertical, it reaches the point C where x=10 (in fig b) due to the backward tilt of the axis. Actually, these lines are curves to allow for parabolic nature of acceleration. I have drawn them as straight lines, just to show approximately which way they will bend. Remember, the apple started out at A, where x=0, and the earth was at x=10. Compare with the fig in the question which did not make sense due to the tilt of the axes in the wrong direction. The vertical line followed by the apple in fig b shows that the apple thinks that it is at rest and the earth is accelerating towards it. ![enter image description here](https://i.stack.imgur.com/NY7Wh.png) > > How exactly has the spacetime curved or tilted for the apple at A due > to the presence of the Earth at E, and how does the apple move to the > earth by following the geodesic in free fall? (assume only one spatial > dimention) > > > Spacetime is not "tilted", like you show it, because the two dimension must be orthogonal everywhere. This is shown here: <http://www.youtube.com/watch?v=DdC0QN6f3G4>

stackexchange/physics

during the study period , beth israel deaconess medical center , west campus , was a 320-bed , urban , tertiary - care teaching hospital , with 24 intensive care unit beds and approximately 12,000 admissions annually ; the hospital serves a nonobstetric adult population in boston , massachusetts . data were collected from administrative , laboratory , and pharmacy databases within this hospital by using relational database software ( access97 , microsoft , redmond , wa ) . the microbiology database was searched to identify all cultures positive for nosocomial third - generation cephalosporin - resistant enterobacter spp . , p. aeruginosa , and k. pneumoniae in hospitalized patients from october 1 , 1993 , to june 1 , 1998 . to qualify for inclusion , an isolate had to grow from a culture taken no earlier than the host patient s second hospital day . for enterobacter spp . and k. pneumoniae , third - generation cephalosporin resistance was defined as an mic of ceftriaxone or ceftazidime of > 16 g / ml ; resistance in p. aeruginosa was defined as an mic of ceftazidime of > 16 g / ml . patients whose clinical culture data demonstrated an isolate with the above criteria were considered case - patients . a patient could be included only once . to meet the criteria of appropriate selection of the reference group , which require that controls be derived from the same source population that gives rise to the cases ( 7 ) , controls were selected randomly from hospitalized patients who did not have a positive culture for the studied organisms . controls were matched to the cases in a 2:1 ratio on the basis of length of hospital stay until the positive culture was taken ; thus at the time of matching , each control had been hospitalized as long as his or her index case - patient . variables studied included patient demographics ( age and sex ) , coexisting conditions ( number of conditions , aids , diabetes mellitus , cardiovascular disease , hepatic disease , pulmonary disease , renal disease , and malignancy ) , hospital events during the risk period ( surgery , intensive care unit stay ) , and receipt before the day of culture , for at least 24 hours , of an agent from any of the following antimicrobial drug classes : -lactam/-lactamase inhibitor combinations ( mostly ampicillin / sulbactam and piperacillin / tazobactam ) , aminoglycosides ( mostly gentamicin and tobramycin ) , first- or second - generation cephalosporins , third - generation cephalosporins ( mostly ceftriaxone and ceftazidime ) , imipenem , ureidopenicillins ( mostly piperacillin ) , and fluoroquinolones ( mostly ciprofloxacin and ofloxacin ) . the route of administration of the antimicrobial agents was not considered , since the route was parenteral for all classes studied except fluoroquinolones . for fluoroquinolones , the nearly equivalent bioavailability between the oral and parenteral routes obviated the need to distinguish patients who received agents from this class orally from those who received them parenterally . cary , nc , version 8e ) . matched analyses were conducted by using a conditional logistic regression model . variables with a p value of < 0.05 on univariate matched analysis were included in a multiple conditional logistic regression model . effect modification between factors was searched for by testing appropriate interaction terms for statistical significance . effect estimates in the regression model were reported as hazard ratios ; p values of < 0.05 were considered significant . during the study period , beth israel deaconess medical center , west campus , was a 320-bed , urban , tertiary - care teaching hospital , with 24 intensive care unit beds and approximately 12,000 admissions annually ; the hospital serves a nonobstetric adult population in boston , massachusetts . data were collected from administrative , laboratory , and pharmacy databases within this hospital by using relational database software ( access97 , microsoft , redmond , wa ) . the microbiology database was searched to identify all cultures positive for nosocomial third - generation cephalosporin - resistant enterobacter spp . , p. aeruginosa , and k. pneumoniae in hospitalized patients from october 1 , 1993 , to june 1 , 1998 . to qualify for inclusion , an isolate had to grow from a culture taken no earlier than the host patient s second hospital day . for enterobacter spp . and k. pneumoniae , third - generation cephalosporin resistance was defined as an mic of ceftriaxone or ceftazidime of > 16 g / ml ; resistance in p. aeruginosa was defined as an mic of ceftazidime of > 16 g / ml . patients whose clinical culture data demonstrated an isolate with the above criteria were considered case - patients . a patient could be included only once . to meet the criteria of appropriate selection of the reference group , which require that controls be derived from the same source population that gives rise to the cases ( 7 ) , controls were selected randomly from hospitalized patients who did not have a positive culture for the studied organisms . controls were matched to the cases in a 2:1 ratio on the basis of length of hospital stay until the positive culture was taken ; thus at the time of matching , each control had been hospitalized as long as his or her index case - patient . variables studied included patient demographics ( age and sex ) , coexisting conditions ( number of conditions , aids , diabetes mellitus , cardiovascular disease , hepatic disease , pulmonary disease , renal disease , and malignancy ) , hospital events during the risk period ( surgery , intensive care unit stay ) , and receipt before the day of culture , for at least 24 hours , of an agent from any of the following antimicrobial drug classes : -lactam/-lactamase inhibitor combinations ( mostly ampicillin / sulbactam and piperacillin / tazobactam ) , aminoglycosides ( mostly gentamicin and tobramycin ) , first- or second - generation cephalosporins , third - generation cephalosporins ( mostly ceftriaxone and ceftazidime ) , imipenem , ureidopenicillins ( mostly piperacillin ) , and fluoroquinolones ( mostly ciprofloxacin and ofloxacin ) . the route of administration of the antimicrobial agents was not considered , since the route was parenteral for all classes studied except fluoroquinolones . for fluoroquinolones , the nearly equivalent bioavailability between the oral and parenteral routes obviated the need to distinguish patients who received agents from this class orally from those who received them parenterally . statistical analyses were performed by using sas software ( sas institute , inc . , cary , nc , version 8e ) . variables with a p value of < 0.05 on univariate matched analysis were included in a multiple conditional logistic regression model . effect modification between factors was searched for by testing appropriate interaction terms for statistical significance . effect estimates in the regression model were reported as hazard ratios ; p values of < 0.05 were considered significant . two hundred eighty - two patients with third - generation cephalosporin - resistant nosocomial target pathogens were enrolled in the study : enterobacter spp . were isolated from 203 patients , p. aeruginosa from 50 , and k. pneumoniae from 29 . for all but two of these case - patients , two matched controls were enrolled per case ; for each of the remaining two , one control was enrolled . case - patients and controls were similar in age ( mean 62.4 vs. 62.1 years ; p = 0.82 ) and sex distribution ( 55.3% vs. 52.7% male ; p = 0.44 ) . characteristics of the study patients and the matched univariate comparisons for case - patients and controls are summarized in table 1 . case - patients had a significantly higher number of coexisting conditions than controls ( hazard ratio [ hr ] 1.22 ; p = 0.01 ) ; specifically , case - patients had a higher prevalence of hepatic disease ( hr 1.70 ; p = 0.004 ) , pulmonary disease ( hr 1.52 ; p = 0.04 ) , and renal disease ( hr 1.71 ; p = 0.003 ) . case - patients were significantly more likely than controls to have been in an intensive care unit ( hr 2.65 ; p < 0.001 ) and to have had surgery ( hr 2.03 ; p < 0.001 ) during the risk period . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . case - patients were significantly less likely than controls to have received a fluoroquinolone ( hr 0.48 ; p = 0.008 ) . case - patients were significantly more likely than controls to have received a -lactam/-lactamase inhibitor ( hr 2.48 ; p < 0.001 ) , a first- or second - generation cephalosporin ( hr 1.39 ; p = 0.04 ) , a third - generation cephalosporin ( hr 2.98 , p < 0.001 ) , or a ureidopenicillin ( hr 2.91 , p < 0.001 ) . there was also a trend toward greater use of aminoglycosides ( hr 1.39 ; p = 0.09 ) and imipenem ( hr 1.51 ; p = 0.14 ) in case - patients , but these associations did not achieve significance . results of the multivariable analysis are summarized in table 2 . neither the total number of coexisting conditions nor the frequency of any individual condition was significantly different between cases and controls . after controlling for confounding variables , however , both hospital events examined ( surgery and intensive care unit exposure ) remained significantly associated with the isolation of a resistant gram - negative organism ( hr 1.62 ; p = 0.005 , and hr , 2.17 ; p < 0.001 , respectively ) . three antimicrobial drug classes remained significantly associated with isolation of a resistant pathogen : -lactam/-lactamase inhibitor combinations ( hr , 2.52 ; p < 0.001 ) , ureidopenicillins ( hr , 2.55 ; p = 0.002 ) , and third - generation cephalosporins ( hr , 2.84 ; p < 0.001 ) . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . the only factor protective against isolation of a third - generation cephalosporin - resistant gram - negative pathogen was exposure to a fluoroquinolone . after controlling for confounding , the protective effect was even more pronounced than on univariate analysis ( hr , 0.4 ; p = 0.005 ) . subgroup analyses that used the same multivariable model showed a similar protective effect for fluoroquinolones against isolation of each of the three pathogens considered individually , though in the smaller two subgroups the results did not achieve significance . confounding by severity of illness was controlled for in the analysis by the inclusion in the final model of intensive care unit stay and surgery before culture , as both of these hospital events , particularly the former , are markers of disease severity . none of the individual coexisting conditions analyzed , nor the total number of such conditions , differed significantly between cases and controls on univariate analysis , and thus they were not included in the final model . moreover , forcing the term for total coexisting conditions into the multivariable model expressly to control for confounding did not change the results for any of the significant terms . interaction terms between the following factors were analyzed : fluoroquinolone use and cephalosporin use , surgery and intensive care unit exposure , fluoroquinolone use and diabetes mellitus , and fluoroquinolone use and renal disease . none of these interaction terms achieved significance , and thus they were not included in the final model . two hundred eighty - two patients with third - generation cephalosporin - resistant nosocomial target pathogens were enrolled in the study : enterobacter spp . were isolated from 203 patients , p. aeruginosa from 50 , and k. pneumoniae from 29 . for all but two of these case - patients , two matched controls were enrolled per case ; for each of the remaining two , one control was enrolled . case - patients and controls were similar in age ( mean 62.4 vs. 62.1 years ; p = 0.82 ) and sex distribution ( 55.3% vs. 52.7% male ; p = 0.44 ) . characteristics of the study patients and the matched univariate comparisons for case - patients and controls are summarized in table 1 . case - patients had a significantly higher number of coexisting conditions than controls ( hazard ratio [ hr ] 1.22 ; p = 0.01 ) ; specifically , case - patients had a higher prevalence of hepatic disease ( hr 1.70 ; p = 0.004 ) , pulmonary disease ( hr 1.52 ; p = 0.04 ) , and renal disease ( hr 1.71 ; p = 0.003 ) . case - patients were significantly more likely than controls to have been in an intensive care unit ( hr 2.65 ; p < 0.001 ) and to have had surgery ( hr 2.03 ; p < 0.001 ) during the risk period . outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . in the univariate analysis , case - patients were significantly less likely than controls to have received a fluoroquinolone ( hr 0.48 ; p = 0.008 ) . case - patients were significantly more likely than controls to have received a -lactam/-lactamase inhibitor ( hr 2.48 ; p < 0.001 ) , a first- or second - generation cephalosporin ( hr 1.39 ; p = 0.04 ) , a third - generation cephalosporin ( hr 2.98 , p < 0.001 ) , or a ureidopenicillin ( hr 2.91 , p < 0.001 ) . there was also a trend toward greater use of aminoglycosides ( hr 1.39 ; p = 0.09 ) and imipenem ( hr 1.51 ; p = 0.14 ) in case - patients , but these associations did not achieve significance . results of the multivariable analysis are summarized in table 2 . neither the total number of coexisting conditions nor the frequency of any individual condition was significantly different between cases and controls . after controlling for confounding variables , however , both hospital events examined ( surgery and intensive care unit exposure ) remained significantly associated with the isolation of a resistant gram - negative organism ( hr 1.62 ; p = 0.005 , and hr , 2.17 ; p < 0.001 , respectively ) . three antimicrobial drug classes remained significantly associated with isolation of a resistant pathogen : -lactam/-lactamase inhibitor combinations ( hr , 2.52 ; p < 0.001 ) , ureidopenicillins ( hr , 2.55 ; p = 0.002 ) , and third - generation cephalosporins ( hr , 2.84 ; p outcome refers to the isolation of third - generation cephalosporin - resistant enterobacter spp . , pseudomonas aeruginosa , or klebsiella pneumoniae from a clinical specimen . the only factor protective against isolation of a third - generation cephalosporin - resistant gram - negative pathogen was exposure to a fluoroquinolone . after controlling for confounding , the protective effect was even more pronounced than on univariate analysis ( hr , 0.4 ; p = 0.005 ) . subgroup analyses that used the same multivariable model showed a similar protective effect for fluoroquinolones against isolation of each of the three pathogens considered individually , though in the smaller two subgroups the results did not achieve significance . confounding by severity of illness was controlled for in the analysis by the inclusion in the final model of intensive care unit stay and surgery before culture , as both of these hospital events , particularly the former , are markers of disease severity . none of the individual coexisting conditions analyzed , nor the total number of such conditions , differed significantly between cases and controls on univariate analysis , and thus they were not included in the final model . moreover , forcing the term for total coexisting conditions into the multivariable model expressly to control for confounding did not change the results for any of the significant terms . interaction terms between the following factors were analyzed : fluoroquinolone use and cephalosporin use , surgery and intensive care unit exposure , fluoroquinolone use and diabetes mellitus , and fluoroquinolone use and renal disease . none of these interaction terms achieved significance , and thus they were not included in the final model . resistance to third - generation cephalosporins among gram - negative nosocomial pathogens is associated with increased mortality , length of stay , and hospital costs ( 14 ) . this study was designed to test the hypothesis that recipients of fluoroquinolones are protected against infection and colonization with the three most common third - generation cephalosporin - resistant gram - negative nosocomial pathogens , enterobacter spp . we have demonstrated a protective effect of fluoroquinolone use on infection or colonization with these resistant organisms both in crude analysis and after control for confounding variables . moreover , subgroup analysis demonstrated this protective effect for each genus individually , though small numbers of patients with cultures positive for p. aeruginosa and k. pneumoniae precluded statistical significance in these groups , due to the limited power associated with subgroup analysis . other notable findings are that surgery , intensive care unit stay , and receipt of a -lactam/-lactamase inhibitor combination , a ureidopenicillin , or a third - generation cephalosporin increase the likelihood of recovery of these resistant pathogens . although we did not match case - patients and controls based on date of admission , division of the entire study period into three time intervals showed the ratio of cases to controls to be approximately the same in each . the likelihood of spurious associations resulting from disparity between the year of hospitalization of cases and controls is therefore minimal . since the focus of the study was the occurrence of third - generation cephalosporin - resistant nosocomial organisms in the population we studied , this distinction was not necessary . the organisms we studied are capable of causing infection in a given patient at any point after colonization . moreover , once they have colonized a patient , they are capable of transmission to other hospitalized patients , in whom they can cause infection . our objective , then , was not to compare rates of active disease between hospitalized groups , but rather to use the recovery of these organisms as a marker for actual or potential disease in the populations we examined . in addition to infection control measures , such as active surveillance , hygiene , and isolation precautions , the other important strategy in checking the emergence and spread of antimicrobial resistance is the manipulation of selective antimicrobial pressure through changes in use of antimicrobial drugs ( 5 ) . previous studies exploring the effect of antibiotics on third - generation cephalosporin resistance focused on replacement of cephalosporins with other -lactam containing agents ( 811 ) . two main categories of -lactamases mediate resistance to third - generation cephalosporins among the common gram - negative nosocomial pathogens : chromosomal -lactamases and plasmid - associated extended - spectrum -lactamases ( esbls ) ( 12 ) . enzymes that can confer resistance to most penicillins , cephalosporins , and monobactams , esbls belong to bush - jacoby - medeiros functional group 2 , whose enzymes are generally inhibited in vitro by -lactamase inhibitors . by contrast , the chromosomal -lactamases present in enterobacter and pseudomonas ( which constitute 90% of the resistant isolates in our study ) belong to group 1 , whose enzymes are not inhibited by -lactamase inhibitors ( 13 ) . earlier studies described interventions carried out when plasmid - associated esbls were the main mechanism of resistance , so it is not surprising that replacing cephalosporins with a -lactam/-lactamase inhibitor combination , as was done in some of these studies ( 8,9,11 ) , resulted in reduced rates of cephalosporin resistance . our study , by contrast , found both ureidopenicillins and -lactam/-lactamase inhibitor combinations to be risk factors for the isolation of gram - negative organisms resistant to third - generation cephalosporins . we believe that this discrepancy relates to the fact that the predominant cause of resistance in our hospital during the study period was group 1 chromosomal -lactamases ( against which -lactamase inhibitors are not active ) and that plasmid - mediated esbls played only a minimal role ( 14 ) . our findings expand on the observations of kaye et al . regarding the protective effect of fluoroquinolones on the emergence of third - generation cephalosporin - resistant enterobacter spp ( 6 ) . they diverge , however , regarding risk factors . although kaye et al . found third - generation cephalosporin exposure to be an independent risk factor for emergence of resistance ; no other antimicrobial exposure or hospital event was independently associated with this finding . we propose that the suggested discrepancy between these results and our findings that certain hospital events and antimicrobial classes confer enhanced risk for initial isolation of resistant organisms can be attributed to the difference in the design of the two studies . kaye et al . , in examining emergence of resistance , identified clinical isolates for which -lactamase production was induced or derepressed mutants were selected . our study design , by contrast , detected those patients colonized or infected by an organism with preexisting third - generation cephalosporin resistance , a phenomenon made more likely by certain hospital events or antimicrobial drug exposures . whereas kaye s case - patients began with susceptible isolates that developed resistance after a specific exposure , our case - patients were enrolled with already resistant strains . thus , while a particular hospital event or antimicrobial drug exposure may not induce -lactamase production or select derepressed mutants , it may well confer enhanced susceptibility to the acquisition of a strain in which resistance mechanisms are already expressed . although we do not include molecular typing or epidemiologic data regarding patterns of antimicrobial drug use and colonization with resistant organisms , earlier studies conducted during our study period at the same institution have answered many of these questions ( 14,15 ) . these studies showed that colonization with ceftazidime - resistant gram - negative bacilli in intensive care units during a nonoutbreak period was common , was probably acquired before admission to the unit , involved diverse strains , and was associated with prior exposure to a variety of -lactam antimicrobial drugs . when one generalizes from the interventional studies performed to date , replacing third - generation cephalosporins with other agents is difficult because they are prone to several possible biases : 1 ) they are before / after studies and are therefore prone to time effect bias ; 2 ) they describe a group - level analysis and are therefore prone to ecologic bias ( 16 ) ; 3 ) the formulary intervention is usually coupled with improved infection control measures , causing difficulty in determining which measure is responsible for the noted effect ; and 4 ) these studies are more likely to be reported and published when a positive effect is noted , i.e. , publication bias . our data as well as those of kaye et al . suggest that fluoroquinolones could be substituted for certain types of -lactam antimicrobial drugs to prevent the emergence and lower the rates of isolation of the most common third - generation cephalosporin - resistant gram - negative nosocomial pathogens . the potential advantages of adding fluoroquinolones to the armamentarium of agents that can be used to combat third - generation cephalosporin resistance are several : they can be administered orally ; they are relatively nontoxic and inexpensive ; and they may allow the replacement of earlier generation cephalosporins , receipt of which has previously been identified as a risk factor for isolation of third - generation cephalosporin - resistant gram - negative organisms ( 15 ) . a limitation of retrospective analyses is the inability to prove what appear to be causal relationships . proof that fluoroquinolones are in fact protective against the isolation of nosocomial third - generation cephalosporin - resistant gram - negative pathogens , as suggested by the inverse association demonstrated here , will require animal models or prospective interventional studies . such studies will also be required to determine whether reduced third - generation cephalosporin resistance will come at the cost of increased levels of fluoroquinolone resistance , a phenomenon to which burke has referred as squeezing the balloon ( 17 ) . fluoroquinolone resistance , not addressed in our study , occurs primarily by means of chromosomal mutation ( 18 ) , and resistant mutants could potentially be selected for by increased use of this class of antimicrobial agent . our data , then , provide the impetus for further studies , including a prospective interventional trial to explore the overall protective efficacy of fluoroquinolones against multiresistant gram - negative pathogens .

pubmed

Wicked What is it like? **hi! I know I'm supposed to be writing Learning to Love again. I literally have so many ideas for this and now I need to sift through them and cut some out, cuz it would be like eighty chapters if I had my way, and I don't think people will follow it for that long. But this popped into my head, so here you go!** **disclaimer; not that girl.** * * * "What is it like, Fabala?" Nessarose asked. "What is what like, Nessie?" Her sister, Elphaba, returned. "Being able to walk," the seven year old said bluntly. Elphaba flinched, realizing that just the fact that she was standing was enough to rub her sister's face in her disability. She immediately went to kneel beside Nessa's chair. "I've never really thought about it," the girl said. Nessarose nodded, disappointed, and Elphaba winced. "I suppose it's rather a lot like flying," said Elphaba. "Not that I've flown before. But walking is like... Like reaching up to touch a sky that is just out of reach, knowing that you'll get there someday." Nessa's hazel eyes gleamed. "Yes. Tell me more," she said, her voice ringing with longing. "Well," said her sister, "it's rather fun to run down a hill into the wind." "Yes, yes I can picture it." And silence reigned again. Until Elphaba said, "Nessie?" "Hmm?" "What is it like?" "What is what like?" "Not being green." "Oh." Nessa bit her lip."Well, I suppose I've never really thought about it, either. It's just... Normal. It doesn't feel any different. But then, I've never been you. Do you see?" "Yes, and it suppose it doesn't feel like anything to be green, either. It's more... The way people look at you... It's... It's just... What does it feel like, Nessa, to come into a room and see a friend? A smiling face? Someone who wants to talk to you, who isn't..." She groped for a word. "Repulsed by you?" "Well," said Nessarose, "It is very nice to know people care about you." The girl smiled. "But you know it just feels natural. I mean, I've always had you, and you care about me, don't you care about me, Fabala?" "Yes, Nessie. I care about you." Another silence. "Nessie?" "Hmm?" "What does it feel like... To be loved?" Nessarose didn't answer that. End file.

fanfiction

a total of 34 patients were involved in this study at the eye and ent hospital of fudan university from december 2013 to july 2015 . seventeen eyes of 17 patients ( 10 male and 7 female , with ages between 22.4 and 31.4 years ) diagnosed with progressive keratoconus ( kc ) ( kc group ) and 17 eyes of 17 myopic patients ( control group ) with matching age and gender were examined . this study was approved by the ethics committee of the eye and ent hospital of fudan university ( ethical approval number : ky2012 - 017 ) and was carried out following the tenets of the declaration of helsinki . written informed consent for the treatment was obtained from each patient before the procedures . progressive kc was defined as 1 diopter ( d ) increase in the steepest keratometry ( k ) value , 1 d increase in the manifest cylinder , or 0.5 d increase in the manifest refraction spherical equivalent ( mrse ) over the past 2 years . exclusion criteria of the procedure were corneal thickness of less than 340 m at the thinnest point ( evaluated by a 3-dimensional anterior segment analyzer , pentacam hr , type 70900 ; pentacam , oculus , germany ) , endothelial cell density of less than 2000 cells per square millimeter ( specular microscope , sp-2000p ; topcon corporation , japan ) , corneal scarring , severe dry eye , autoimmune diseases , or pregnancy . before their operations , the eyes of the kc patients underwent mrse , best spectacle - corrected distant visual acuity ( bscdva ) , and slit - lamp anterior segment and fundus examinations . corneal topography , including central corneal thickness ( cct ) , thinnest point pachymetry ( tpp ) , flat k value ( k1 ) , steep k value ( k2 ) , mean k value ( km ) , and corneal densitometry were obtained by using a pentacam hr in a sitting position . for the kc group , mrse and bscdva were assessed again 12 months after the procedure . in addition , their cct , tpp , k1 , k2 , km , and corneal densitometry values were postoperatively remeasured at 1 , 6 , and 12 months . densitometry is expressed in gray scale units and ranges from 0 ( 100% transparent ) to 100 ( completely opaque , 0% transparent ) . in this study , corneal densitometry values were analyzed using the cornea densitometry average table ( version 1.20r29 ) , which refers to the average densitometry values in different annuli around the apex and in 4 different layers of the cornea . anterior layer and the posterior layer represent the first 120 m and the last 60 m of the complete corneal thickness . the central layer , which has no fixed thickness value , refers to the volume between the 2 boundary layers . the total layer refers to the volume between the epithelium and endothelium of a cornea . for each eye , the measurements on the central annuli of diameters from 0 to 2 mm ( 02 mm ) and from 2 to 6 mm ( 26 mm ) of the corneas ' anterior layer , central layer , posterior layer , and the total layer were analyzed . this is because densitometry value measurements were much more accurate and repeatable in the central areas compared with the peripheral . all procedures were performed by 1 surgeon ( x.z . ) . before each procedure , 3 drops of 0.4% oxybuprocaine hydrochloride ( santen pharmaceutical co , ltd , osaka , japan ) were applied on the cornea for topical anesthesia . after a lid speculum was applied to keep the whole cornea fully exposed , a trephine with an inner diameter of 8.5 mm ( model 52503b ; 66 vision tech co , ltd , suzhou , china ) was placed in the center of the cornea . paracel solution ( riboflavin 0.25% , hydroxyl - propyl - methyl - cellulose , nacl , ethylene - diamine - tetra - acetic acid , tris , and benzalkonium chloride ; medio - haus - medizinprodukte gmbh , kiel , germany ) was then instilled into the trephine to increase the permeability of the corneal epithelium for 240 seconds and removed immediately with a cellulose sponge . subsequently , vibex - xtra solution ( riboflavin phosphate 2.80 mg / ml and nacl , avedro , inc . ) was continually dripped into the trephine for 6 minutes to saturate the total layer of the corneal tissue . then , the trephine was removed and ate - cxl was performed using a 365-nm uv - a light ( avedro 's kxl system ; avedro , inc ) with 45-mw / cm irradiation in pulsed mode ( 0.5-hertz flash rate , ie , one second on , next second off ) for a total of 320 seconds ( total energy : 7.2 j / cm ) . balanced salt solution was administered every 40 seconds to protect ocular surface from dehydration during irradiation . finally , a bandage contact lens ( acuvue oasys , inc , jacksonville , fl ) was placed on the cornea for 3 days postoperation . topical antibiotics ( ofloxacin ophthalmic solution 0.5% ; santen pharmaceutical co , ltd ) were used 4 times per day for 7 days . artificial tears ( tears naturale ; alcon laboratories , inc , fort worth , tx ) were applied 4 times per day for 20 days . topical steroids ( fluorometholone 0.1% ; santen pharmaceutical co , ltd ) were applied 8 times per day initially , with gradually reduced frequencies for a period of 20 days . test was performed to assess the differences in the baseline of refraction and topographic parameters between the kc group and the control group . repeated measures analyses of variance ( rm - anova ) with bonferroni - adjusted post hoc comparisons were performed to evaluate the changes in corneal densitometry values and topographic parameters obtained preoperation , and at 1 , 6 , and 12 months postoperations . multifactor anovas with bonferroni - adjusted post hoc comparisons were performed to assess the differences between the densitometry values of the control group and those obtained before and at 12 months after ate - cxl of the kc group . a total of 34 patients were involved in this study at the eye and ent hospital of fudan university from december 2013 to july 2015 . seventeen eyes of 17 patients ( 10 male and 7 female , with ages between 22.4 and 31.4 years ) diagnosed with progressive keratoconus ( kc ) ( kc group ) and 17 eyes of 17 myopic patients ( control group ) with matching age and gender were examined . this study was approved by the ethics committee of the eye and ent hospital of fudan university ( ethical approval number : ky2012 - 017 ) and was carried out following the tenets of the declaration of helsinki . written informed consent for the treatment was obtained from each patient before the procedures . progressive kc was defined as 1 diopter ( d ) increase in the steepest keratometry ( k ) value , 1 d increase in the manifest cylinder , or 0.5 d increase in the manifest refraction spherical equivalent ( mrse ) over the past 2 years . exclusion criteria of the procedure were corneal thickness of less than 340 m at the thinnest point ( evaluated by a 3-dimensional anterior segment analyzer , pentacam hr , type 70900 ; pentacam , oculus , germany ) , endothelial cell density of less than 2000 cells per square millimeter ( specular microscope , sp-2000p ; topcon corporation , japan ) , corneal scarring , severe dry eye , autoimmune diseases , or pregnancy . before their operations , the eyes of the kc patients underwent mrse , best spectacle - corrected distant visual acuity ( bscdva ) , and slit - lamp anterior segment and fundus examinations . corneal topography , including central corneal thickness ( cct ) , thinnest point pachymetry ( tpp ) , flat k value ( k1 ) , steep k value ( k2 ) , mean k value ( km ) , and corneal densitometry were obtained by using a pentacam hr in a sitting position . images with acceptable quality were analyzed . for the kc group , mrse and bscdva were assessed again 12 months after the procedure . in addition , their cct , tpp , k1 , k2 , km , and corneal densitometry values were postoperatively remeasured at 1 , 6 , and 12 months . densitometry is expressed in gray scale units and ranges from 0 ( 100% transparent ) to 100 ( completely opaque , 0% transparent ) . in this study , corneal densitometry values were analyzed using the cornea densitometry average table ( version 1.20r29 ) , which refers to the average densitometry values in different annuli around the apex and in 4 different layers of the cornea . anterior layer and the posterior layer represent the first 120 m and the last 60 m of the complete corneal thickness . the central layer , which has no fixed thickness value , refers to the volume between the 2 boundary layers . the total layer refers to the volume between the epithelium and endothelium of a cornea . for each eye , the measurements on the central annuli of diameters from 0 to 2 mm ( 02 mm ) and from 2 to 6 mm ( 26 mm ) of the corneas ' anterior layer , central layer , posterior layer , and the total layer were analyzed . this is because densitometry value measurements were much more accurate and repeatable in the central areas compared with the peripheral . all procedures were performed by 1 surgeon ( x.z . ) . before each procedure , 3 drops of 0.4% oxybuprocaine hydrochloride ( santen pharmaceutical co , ltd , osaka , japan ) were applied on the cornea for topical anesthesia . after a lid speculum was applied to keep the whole cornea fully exposed , a trephine with an inner diameter of 8.5 mm ( model 52503b ; 66 vision tech co , ltd , suzhou , china ) was placed in the center of the cornea . paracel solution ( riboflavin 0.25% , hydroxyl - propyl - methyl - cellulose , nacl , ethylene - diamine - tetra - acetic acid , tris , and benzalkonium chloride ; medio - haus - medizinprodukte gmbh , kiel , germany ) was then instilled into the trephine to increase the permeability of the corneal epithelium for 240 seconds and removed immediately with a cellulose sponge . subsequently , vibex - xtra solution ( riboflavin phosphate 2.80 mg / ml and nacl , avedro , inc . ) was continually dripped into the trephine for 6 minutes to saturate the total layer of the corneal tissue . then , the trephine was removed and ate - cxl was performed using a 365-nm uv - a light ( avedro 's kxl system ; avedro , inc ) with 45-mw / cm irradiation in pulsed mode ( 0.5-hertz flash rate , ie , one second on , next second off ) for a total of 320 seconds ( total energy : 7.2 j / cm ) . balanced salt solution was administered every 40 seconds to protect ocular surface from dehydration during irradiation . finally , a bandage contact lens ( acuvue oasys , inc , jacksonville , fl ) was placed on the cornea for 3 days postoperation . topical antibiotics ( ofloxacin ophthalmic solution 0.5% ; santen pharmaceutical co , ltd ) were used 4 times per day for 7 days . artificial tears ( tears naturale ; alcon laboratories , inc , fort worth , tx ) were applied 4 times per day for 20 days . topical steroids ( fluorometholone 0.1% ; santen pharmaceutical co , ltd ) were applied 8 times per day initially , with gradually reduced frequencies for a period of 20 days . test was performed to assess the differences in the baseline of refraction and topographic parameters between the kc group and the control group . repeated measures analyses of variance ( rm - anova ) with bonferroni - adjusted post hoc comparisons were performed to evaluate the changes in corneal densitometry values and topographic parameters obtained preoperation , and at 1 , 6 , and 12 months postoperations . multifactor anovas with bonferroni - adjusted post hoc comparisons were performed to assess the differences between the densitometry values of the control group and those obtained before and at 12 months after ate - cxl of the kc group . baseline data of patient demographics are shown in table 1 . paired t test revealed that the values of mrse , k1 , k2 , and km in the kc group were significantly higher than those in the control group ( t = 2.188 , p = 0.044 ; t = 3.559 , p = 0.003 ; t = 5.307 , p < 0.001 ; t = 4.439 , p < 0.001 , respectively ) , whereas the mean values of cct and tpp were lower ( t = 3.273 , p = 0.005 and t = 4.642 , p < 0.001 ) . no postoperative complications ( eg , severe dry eye , corneal haze , edema , or infection ) were detected at the 1- , 6- , and 12-month marks . baseline data of main topographic parameters and patient demographics ( n = 34 ) before the procedure , 6 kc patients ' eyes ( 35.3% ) had a bscdva of equal to or better than 20/25 ; 8 ( 47.1% ) had a bdcva between 20/25 and 6/20 . twelve - month postoperative results showed that the postoperative bscdva improved significantly ( z = 2.634 , p = 0.008 ) as 9 kc patients ' eyes ( 52.9% ) had a bscdva of equal to or better than 20/25 ; 5 ( 29.4% ) had a bdcva between 20/25 and 6/20 ; and the remaining 3 ( 17.6% ) were less than 6/20 . the mean values of topographic parameters before and after ate - cxl were listed in table 2 . rm - anova revealed that the mean values of k1 , k2 , km , cct , and tpp remained stable ( f = 2.352 , p = 0.084 ; f = 0.848 , p = 0.474 ; f = 0.938 , p = 0.430 ; f = 0.694 , p = 0.560 ; f = 0.801 , p = 0.471 , respectively ) after the procedure . however , as demonstrated in table 3 , the densitometry values of the anterior layer ( f = 4.186 , p = 0.010 ) , the central layer ( f = 6.438 , p = 0.001 ) , the posterior layer ( f = 6.109 , p = 0.001 ) , and the total layer ( f = 5.590 , p = 0.002 ) over 0 to 2 mm , and the values obtained at 2 to 6 mm of the anterior layer ( f = 3.738 , p = 0.017 ) , the central layer ( f = 7.611 , p < 0.001 ) , the posterior layer ( f = 6.293 , p = 0.001 ) , and the total layer ( f = 5.570 , p = 0.002 ) changed significantly after the ate - cxl procedure . as illustrated in figures 1a , b , a bonferroni post hoc comparison test detected that the mean densitometry values of the anterior layer over 0 to 2 mm and 2 to 6 mm areas remained unchanged at the 1-month mark ( 02 mm post hoc p = 1.000 ; 26 mm post hoc p = 1.000 ) and the 6-month mark ( 02 mm post hoc p = 0.093 ; 26 mm post hoc p = 0.089 ) , but decreased significantly after 12 months ( 02 mm post hoc p = 0.011 ; 26 mm post hoc p = 0.012 ) when compared with the preoperative values . the mean densitometry values decreased significantly after 6 months in the central layer ( 02 mm post hoc p = 0.024 ; 26 mm post hoc p = 0.020 ) , the posterior layer ( 02 mm post hoc p = 0.025 ; 26 mm post hoc p = 0.027 ) , and the total layer ( 02 mm post hoc p = 0.035 ; 26 mm post hoc p = 0.033 ) . those parameters , obtained 12 months postoperations , were still significantly lower than preoperative ones ( central layer 02 mm : post hoc p = 0.006 ; central layer 26 mm : post hoc p = 0.016 ; posterior layer 02 mm : post hoc p = 0.010 ; posterior layer 26 mm : post hoc p = 0.013 ; the total layer 02 mm : post hoc p = 0.007 and the total layer 26 mm : post hoc p = 0.011 ) . changes in topographic parameters after ate - cxl ( n = 17 ) changes in densitometry values of each position of a cornea after ate - cxl ( n = 17 ) a , the densitometry values over 0 to 2 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) b , the densitometry values over 2 to 6 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) the mean densitometry values of each layer in the control group were listed in table 4 . multifactor anova and bonferroni post hoc comparisons tests revealed that the densitometry values of the myopes were significantly lower than those of the kc patients in each location of the cornea over 0 to 2 mm and 2 to 6 mm ( all post hoc p values were less than 0.001 ) . moreover , except for the densitometry value of anterior layer over 2 to 6 mm ( post hoc p = 0.062 ) , the densitometry values of the anterior layer over 0 to 2 mm ( post hoc p = 0.036 ) , the central layer over 0 to 2 mm ( post hoc p < 0.001 ) , the central layer over 2 to 6 mm ( post hoc p < 0.001 ) , the posterior layer over 0 to 2 mm ( post hoc p = 0.049 ) , the posterior layer over 2 to 6 mm ( post hoc p < 0.001 ) , the total layer over 0 to 2 mm ( post hoc p = 0.002 ) , and the total layer over 2 to 6 mm ( post hoc p = 0.001 ) of the kc group were still significantly higher than those of the control group 12 months after the ate - cxl procedure ( figs . corneal densitometry average table ( n = 34 ) a , the mean densitometry values over 0 to 2 mm of preoperation , 12-month postoperation , and control group . b , the mean densitometry values over 2 to 6 mm of preoperation , 12-month postoperation , and control group . baseline data of patient demographics are shown in table 1 . paired t test revealed that the values of mrse , k1 , k2 , and km in the kc group were significantly higher than those in the control group ( t = 2.188 , p = 0.044 ; t = 3.559 , p = 0.003 ; t = 5.307 , p < 0.001 ; t = 4.439 , p < 0.001 , respectively ) , whereas the mean values of cct and tpp were lower ( t = 3.273 , p = 0.005 and t = 4.642 , p < 0.001 ) . no postoperative complications ( eg , severe dry eye , corneal haze , edema , or infection ) were detected at the 1- , 6- , and 12-month marks . before the procedure , 6 kc patients ' eyes ( 35.3% ) had a bscdva of equal to or better than 20/25 ; 8 ( 47.1% ) had a bdcva between 20/25 and 6/20 . twelve - month postoperative results showed that the postoperative bscdva improved significantly ( z = 2.634 , p = 0.008 ) as 9 kc patients ' eyes ( 52.9% ) had a bscdva of equal to or better than 20/25 ; 5 ( 29.4% ) had a bdcva between 20/25 and 6/20 ; and the remaining 3 ( 17.6% ) were less than 6/20 . the mean values of topographic parameters before and after ate - cxl were listed in table 2 . rm - anova revealed that the mean values of k1 , k2 , km , cct , and tpp remained stable ( f = 2.352 , p = 0.084 ; f = 0.848 , p = 0.474 ; f = 0.938 , p = 0.430 ; f = 0.694 , p = 0.560 ; f = 0.801 , p = 0.471 , respectively ) after the procedure . however , as demonstrated in table 3 , the densitometry values of the anterior layer ( f = 4.186 , p = 0.010 ) , the central layer ( f = 6.438 , p = 0.001 ) , the posterior layer ( f = 6.109 , p = 0.001 ) , and the total layer ( f = 5.590 , p = 0.002 ) over 0 to 2 mm , and the values obtained at 2 to 6 mm of the anterior layer ( f = 3.738 , p = 0.017 ) , the central layer ( f = 7.611 , p < 0.001 ) , the posterior layer ( f = 6.293 , p = 0.001 ) , and the total layer ( f = 5.570 , p = 0.002 ) changed significantly after the ate - cxl procedure . as illustrated in figures 1a , b , a bonferroni post hoc comparison test detected that the mean densitometry values of the anterior layer over 0 to 2 mm and 2 to 6 mm areas remained unchanged at the 1-month mark ( 02 mm post hoc p = 1.000 ; 26 mm post hoc p = 1.000 ) and the 6-month mark ( 02 mm post hoc p = 0.093 ; 26 mm post hoc p = 0.089 ) , but decreased significantly after 12 months ( 02 mm post hoc p = 0.011 ; 26 mm post hoc p = 0.012 ) when compared with the preoperative values . the mean densitometry values decreased significantly after 6 months in the central layer ( 02 mm post hoc p = 0.024 ; 26 mm post hoc p = 0.020 ) , the posterior layer ( 02 mm post hoc p = 0.025 ; 26 mm post hoc p = 0.027 ) , and the total layer ( 02 mm post hoc p = 0.035 ; those parameters , obtained 12 months postoperations , were still significantly lower than preoperative ones ( central layer 02 mm : post hoc p = 0.006 ; central layer 26 mm : post hoc p = 0.016 ; posterior layer 02 mm : post hoc p = 0.010 ; posterior layer 26 mm : post hoc p = 0.013 ; the total layer 02 mm : post hoc p = 0.007 and the total layer 26 mm : post hoc p = 0.011 ) . changes in topographic parameters after ate - cxl ( n = 17 ) changes in densitometry values of each position of a cornea after ate - cxl ( n = 17 ) a , the densitometry values over 0 to 2 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) b , the densitometry values over 2 to 6 mm of the anterior layer , central layer , posterior layer , and total layer of the corneas measured before and at 1 , 6 , and 12 months after ate - cxl . ( the asterisk refers to a significant difference that was detected when compared with the preoperative value . ) the mean densitometry values of each layer in the control group were listed in table 4 . multifactor anova and bonferroni post hoc comparisons tests revealed that the densitometry values of the myopes were significantly lower than those of the kc patients in each location of the cornea over 0 to 2 mm and 2 to 6 mm ( all post hoc p values were less than 0.001 ) . moreover , except for the densitometry value of anterior layer over 2 to 6 mm ( post hoc p = 0.062 ) , the densitometry values of the anterior layer over 0 to 2 mm ( post hoc p = 0.036 ) , the central layer over 0 to 2 mm ( post hoc p < 0.001 ) , the central layer over 2 to 6 mm ( post hoc p < 0.001 ) , the posterior layer over 0 to 2 mm ( post hoc p = 0.049 ) , the posterior layer over 2 to 6 mm ( post hoc p < 0.001 ) , the total layer over 0 to 2 mm ( post hoc p = 0.002 ) , and the total layer over 2 to 6 mm ( post hoc p = 0.001 ) of the kc group were still significantly higher than those of the control group 12 months after the ate - cxl procedure ( figs . corneal densitometry average table ( n = 34 ) a , the mean densitometry values over 0 to 2 mm of preoperation , 12-month postoperation , and control group . b , the mean densitometry values over 2 to 6 mm of preoperation , 12-month postoperation , and control group . disarrangement in corneal histology ( such as changes in the corneal lamellar array and spacing , inflammation , haze clouding , and scarring formation ) , which may compromise corneal transparency , is considered as the most probable cause of corneal densitometry elevation . several in vivo studies have also reported a significant negative correlation between the severity of kc and the mean epithelial cell density , and the mean anterior and posterior stromal keratocyte densities . in the present study , we found that the mean corneal densitometry values in the kc group were significantly higher than those in the control group , which is similar to the findings of lopes et al . we hypothesize that the decrease in the density and quantity of epithelial cells and keratocytes in the kc corneas compromised the regularity in corneal histology , thus increasing the densitometry values of these sick corneas . furthermore , we found that the mean values of mrse , k1 , k2 , km , and cct remain stable after ate - cxl , which is consistent with the reports of elbaz et al and waszczykowska and jurowski . however , the densitometry values dramatically decreased postoperation , indicating that the change in densitometry measurements may be independent of those topographic parameters . greenstein et al 's study has shown that densitometry values peak 1 month after the c - cxl procedure , decrease between 3 and 12 months , but do not completely return to the baseline 12 months postoperation . alnawaiseh et al found that densitometry measurements were stable at 12 months after epithelium - off accelerated cxl , whereas decreasing below the preoperative baseline after another 12 months . we originally studied the changes in corneal densitometry after ate - cxl and found that the mean densitometry measurements of these kc corneas ( over 06 mm areas ) steadily decreased within the first year after ate - cxl , in contrast with the results of greenstein et al and alnawaiseh et al . a possible explanation is that the epithelial removal and the long duration of uv - a exposure of the epithelium - off cxl technique may trigger more severe inflammatory responses and activate more keratocytes . instead of debriding the epithelium , ate - cxl uses infiltration agents to facilitate the photosensitizer saturating the entire cornea . as a result , the corneal epithelial barrier is maximally maintained and the anterior stromal tissue is minimally invaded . moreover , mrse and topographic parameters kept stable after ate - cxl , whereas bscdva improved significantly 12 months postoperation . although densitometry significantly decreased after ate - cxl , the mean values were still statistically higher than those of the myopes . this implies that although the ate - cxl procedure may significantly ameliorate the arrangement and transparency of the corneal histology in progressive kc patients , they are still compromised when compared with the myopes without kc . one limitation of our study is the potential bias because of the relatively small sample size in each group . however , we mainly investigated the changes in densitometry values before and after the ate - cxl procedure . in addition , age and gender of the 2 groups were strictly paired , thus minimizing the bias . another limitation is that we did not evaluate in vivo corneal morphology and biomechanical properties in this study . the potential relations between the altered densitometry and the pathophysiologic process or biomechanical change after ate - cxl should be clarified in further studies . in conclusion , although the densitometry values decrease significantly at 12 months postoperation , they still remain higher than those of the myopes .

pubmed

Huge Corpse Flower's 'Water Broke', But It Still Hasn't Bloomed By Kyla Gardner | August 22, 2015 8:26am | Updated on August 31, 2015 7:54am @gardnerkyla The Chicago Botanic Garden's corpse flower could bloom any day now, according to the garden. CHICAGO — The Chicago Botanic Garden's biggest new star will put on a smelly show any day now, according to the garden. The Botanic Garden said the "corpse flower" plant named Spike still hadn't bloomed as of Saturday afternoon. #CBGSpike update: Not open late tonight. Giving Spike another night off. Titan Tim & our scientists are carefully monitoring progress. — ChicagoBotanicGarden (@chicagobotanic) August 28, 2015 Outside "leaves" on the Amorphophallus titanum specimen fell away late last week, the equivalent of its water breaking, according to the garden. Spike was said to be likely to bloom Monday or Tuesday, but it hadn't bloomed as of Saturday afternoon. When it does eventually bloom, the flower will emit a stench that's described as a combination of "limburger cheese, garlic, rotting fish, and smelly feet." The blooming of corpse flowers is rare, only happening every seven to 10 years. Spike has been in the care of the Chicago Botanic Garden for 12 years. On the night that the plant blooms, the garden will stay open until 2 a.m. and offer free parking after 9 p.m. Regular hours are from 7 a.m. to 9 p.m. daily through Sept. 7. Check in on Spike with the live feed below: For more neighborhood news, listen to DNAinfo Radio here: 42 Percent More Vacant Buildings Torn Down In 2017 Than 2016; Here's Where How Much Will Obama Library Cost, Who's Paying and What Will Be In There? Beverly » 'Wonder' Movie Gets Two Thumbs Up From Mary Cate's Mom, Beverly Classmates

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RESIDENT EVIL ORIGINAL SCREENPLAY BY GEORGE A. ROMERO BASED ON THE GAME BY CAPCOM SCREEN STORY BY GEORGE A. ROMERO & PETER GRUNWALD CONSTANTIN FILM ROMERO-GRUNWALD PRODUCTIONS FIRST DRAFT OCTOBER 7, 1998 --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. --- Pg-1 RESIDENT EVIL PRESENTATION CREDITS appear... then FADE... Out of BLACK... SHOCK CUT TO: INT LAB "A" LEVEL TIMELESS A MAN'S FACE, filling the screen. MARCUS (filter) Stay away from here! We're watching A VIDEO MONITOR. A pre-recorded tape shows a view of what is obviously a pristine-RESEARCH LABORATORY. DR. JOHN MARCUS, in a lab coat, faces THE CAMERA, disheveled and looking like a madman. MARCUS (cont. filter) This lab must remain sealed! INT CONFERENCE ROOM TIMELESS Overhead lamps cast pools of LIGHT down onto A CONFERENCE TABLE, onto THE HANDS of PEOPLE assembled to observe the video. We see NO FACES. But expensive WATCHES, sleeves with high-ranking STRIPES, indicate wealth, power, and a military presence. THE VIDEO: On the wall behind MARCUS, we see SHADOWS darting frantically. We hear VOICES rising in panic. MARCUS (cont. Filter) For God's sake, don't come in! The CAMERA is SWATTED by A HAND that lurches suddenly into the foreground. We only see it for a few video frames, but we might subliminally notice LESIONS on the flesh. The IMAGE SWIRLS wildly. The next clear picture we see... is of the same laboratory...topsy-turvy. THE CAMERA is lying on its side on the floor. VOICE IN THE ROOM (o.s.) Look. Here. A LASER POINTER casts a RED DOT on a corner of the video screen, indicating A HUNCHED FIGURE, leaning over A HUMAN BODY, apparently ...feeding! With a GRUNT, the figure turns. and LUNGES, it's face covered with BLOOD, at the CAMERA. The image SWIRLS again, and the SCREEN GOES BLACK. With a MUSIC STING, a single TITLE appears, full across the blackness... RESIDENT EVIL Pg-2 EXT FOREST LAND PRE-DAWN A DARK SKY ...and in the foreground, profiled against a FULL MOON, A DARK FACE ...watching the heavens with piercing black eyes, alert, though not predatory. This is CHRIS REDFIELD, young, handsome. More than simply an outdoor type, he seems perfectly in place, almost part of the environment. A band of purple tints the horizon, outlining the tops of magnificent uncorrupted hills that extend for miles. Sitting on a ridge, squinting into that band of light, Chris sees ... ...AN EAGLE coasting on a channel of wind that cuts through the hilltops. As the bird moves swiftly closer, it becomes recognizable. Chris smiles and jots a note on a pad. The regal bird lands on a high rock where ...unexpectedly... a freshwater trout lies flapping, three-thousand feet above the highest water. CHRIS Take it, Goliath. It's yours. "Goliath" snaps up the fish and flies away with it. CHRIS (cont.) See ya next year, guy. Chris reaches into a water-filled bucket, pulls out another trout, climbs efficiently, unerringly, across a precarious Cliffside, and deposits the fresh fish on the-same high rock. ANOTHER EAGLE, smaller, a female, appears in the sky. CHRIS (cont.) Cleopatra. Chris scrambles back to his place and jots another note. "Cleopatra" spots the fish, pumps her wings, and swoops down. She's about to snap up the prize, but at the last minute, she recoils and climbs again, hovering. CHRIS (cont.) Come on. Come on down. The eagle circles, its sharp eyes scanning. It makes another dive, but stops short again. CHRIS (cont.) What's the matter, beautiful? The bird seems frightened. Of what? It makes one more dive. Gets very close to the fish... but suddenly SHRIEKS and peels, away from the rock. Chris sees its eyes, looking crazed, as it soars right past him, its wings brushing his hair. Pg-3 CLOSE ON: CHRIS, concerned, as he watches the eagle disappear over the hills. Over his shoulder, we can see the high rock that holds the fish. It's out of focus in the background, but the moonlight catches SOMETHING MOVING there. Something that lets out a sharp INHUMAN SOUND. Chris whirls around. There's nothing on the rock. Nothing at all. The fish has been taken. INT JILL'S APARTMENT DAWN CHRIS walks into a characterless apartment. He quietly sheds his clothes. Even in silhouette, we can see that his body is in perfect shape, not pumped, but lean and tight. Moving lithely, with the natural grace of a cat, he eases himself into a bed where... ...a beautiful young girl, JILL VALENTINE, seems to be fast asleep. As Chris nestles in beside her, we see that her eyes, facing away, are open. Chris gently drapes an arm around her and lets his body relax. CHRIS (A whisper) Glad you're still here, lady JILL It's my apartment. CHRIS (Surprised) You're awake. JILL I've been awake. Since you left. CHRIS Sorry. His apology goes no further. He's still troubled by what happened in the hills. CHRIS (cont.) There was... something wrong. JILL What, with my dinner? I never had a mother. I'll learn. Chris smiles politely. He offers... CHRIS I'll do the cooking. Pg-4 ...but he can't switch focus. CHRIS (cont.) On the mountain...there...must have been something... prowling around up there. JILL There are probably all kinds of things prowling around up there. In the middle of the night. Chris apologizes again, this time more sincerely. CHRIS I'm sorry. Really. You...have to be there at dawn. They ride the wind over the ridge. JILL Dawn? You left at one A.M. CHRIS I had to go fishing. It's the fish that bring them down, so I can get a close look at them. (Enthused) I've tracked a dozen of them, Jill. Twelve of those big bruisers. I can actually recognize them. I've even given them names, over the years. JILL You've been doing this for years? CHRIS Only in the early Autumn. When they're' migrating. JILL I'II set the alarm for next. October. Jill rolls over and faces him. JILL (cont.) I wish I could get excited. Really. That's the truth. As excited as you, over such... simple things. CHRIS Beauty... isn't simple. If it was... I'd be beautiful. JILL You are. Pg-5 CHRIS No, no, no. I'm simple. You, on the other hand...(nuzzling closer)...have all that... stuff... hiding underneath somewhere. That's what fascinates me. JILL Fascination. Not love? Jill is being playful. Chris, taking her question to heart, becomes introspective. CHRIS I... honestly don't know. I guess I've been... living alone too long. You're the first, the only woman I've ever thought of as... a real partner. Now Jill becomes introspective. JILL I've always been...afraid of living alone. I've always had... people... talking at me... knowing they could wind me up and I'd do... (shrug) ... whatever they wanted. Chris looks into her eyes. She kisses him gently. JILL (cont.) We all have... something hidden... underneath. Beauty may not be simple. But it's not all that complicated, Either. Most of the time, you find It... right in the middle of all the... confusion. CHRIS I'm part Mohawk. Indians are never confused. At least, they never let it show. They kiss again, this time more passionately. Rolling over, they begin to make love. EXT FARM DAWN The purple horizon is turning orange, but it's still quite dark when a crusty old farm-hand, RAKE, opens the creaking door of a stable and, with a flashlight, leads THREE HORSES out into the morning breeze. Two dogs, A LAB and A SPANIEL, romp at his heels as Rake opens a log gate. Pg-6 - Two of the untethered horses trot obediently into a large corral. The third, a beautiful stallion, resists, snorting, tossing its head in high spirit. RAKE Get in there, Lucky. Quit horsin' around. Get in. "LUCKY" moves into the corral, strutting proudly. RAKE (cont.) Swear. If I didn't know you was just an animal, I'd say you was all full of yourself. GET IN THERE! Rake waves his flashlight, not meanly, there is clearly a great deal of affection here. Rake shuts the gate behind the stallion, who begins to gallop around happily inside the fence. All seems lovely, until... ...the dogs suddenly go on point. Their ears perk. They sniff the air...and begin to WHINE. RAKE (cont.) What's wrong with you two? KER-RAAKK! A startling SOUND. Rake turns to find Lucky and the other horses, their eyes flaring, trying to KICK their way out of the fencing. They seem terrified. CUT TO : A WIDE SHOT: of RAKE, and the frightened ANIMALS, from two hundred yards away. THE CAMERA MOVES IN, slowly at first, then gaining speed... extraordinary SPEED. We are seeing THROUGH THE EYES OF... whatever it is that's running, charging, SLATHERING HUNGRILY... ...reaching the corral, DARTING through the fence, past the KICKING HORSES, and LEAPING at Rake, who whirls around...and CRIES OUT in pain as his flashlight BLINDS us with WHITENESS. EXT AIR BASE DAWN The WHITENESS becomes the GLARE of HALOGEN LIGHTS. We are overwhelmed by the SOUND of AIRCRAFT ENGINES. We see MEN, armed SOLDIERS, scrambling into combat HELICOPTERS. A RADIO MAN runs right toward THE CAMERA, holding out an open receiver. RADIO MAN Top brass, sir! Pg-7 ANOTHER MAN, in the foreground, takes the radio-phone. We can't see his face. Only his forearm, which bears A TATTOO of a grinning SKULL. MAN WITH TATTOO Alpha Leader. VOICE ON PHONE (o.s. filter) How long before you get in there? MAN WITH TATTOO Fifteen minutes. INT AN OFFICE DAWN A SUIT talks on a red telephone. Once again, we see no face. An ostentatious diamond RING kicks light as the man snips off the end off a Monte Cristo. MAN WITH RING You're good, soldier. But not that good. It's five hundred miles away. In the backwoods of Pennsylvania. MAN WITH TATTOO (o.s. filter) We have troopers on site. A first- strike force. Under cover. The flame from a wooden match lights the Monte Cristo. MAN WITH RING Very resourceful. You have my permission activate them. EXT AIR BASE DAWN MAN WITH TATTOO I've already done that. You have my permission... to say that you gave me permission. THE TATTOOED MAN runs off to join the other SOLDIERS. INT JILL'S APARTMENT MORNING CHRIS sleeps. JILL is awake, deep in thought, when... ...BRRRRT! It's not a ring, it's a vibration. Jill reaches down and extracts something small and black, the size of a box of Tic-Tacs, from one of her shoes. She gets out of bed, checking to see that Chris is still asleep, and moves into... Pg-8 INT JILL'S APARTMENT BATHROOM MORNING ...a bathroom. Closing the door behind her, she puts the small box to her ear, extracts a wire from it, with a tiny microphone on its tip, and... JILL (Softly) Valentine. We can't hear the voice that speaks to her. JILL (cont.) If this is just another a drill, I'll strangle you. (She listens) Shit. Give me the activation code. JILL pulls a small ENVELOPE from a toiletry bag. She breaks open a wax seal...and takes out a thick paper on which is printed... 29-RC-6735. JILL (cont.) (Gaping, not believing) Th-that's a match. (Beat) I'm on my way. Jill clicks off. She dumps something else from the envelope into her hand... A BLUE PLASTIC CARD, the size of a Visa, blank except for a mag-stripe. There's a small hole in one corner, through which a chain is strung. Jill slings the chain over head, wearing the blue card like a pendant. INT JILL'S APARTMENT MORNING CHRIS is still asleep. JILL comes out of the bathroom and looks down at him longingly. Should she wake him? Tell him what's happening? She wants to, but duty prevents it. She pulls herself away. INT JILL'S APARTMENT CLOSET MORNING TCHIK TCHIK TCHIK...JILL pushes aside hangers which hold her clothes. She types numbers into a hidden KEYPAD. A SECRET PANEL OPENS, revealing a CLOSET WITHIN THE CLOSET, packed with COMBAT UNIFORMS and WEAPONS. INT JILL'S APARTMENT MORNING The sound... TCHUNG... of the front door closing snaps CHRIS awake. His first thought is for his lover. He reaches out and finds that... she's not in bed. He jumps up, rushes to a window, looks down, from the second story, and sees... Pg-9 EXT JILL'S APARTMENT MORNING ...JILL, heavily ARMED, in UNIFORM, wearing a beret that has an insignia... S.T.A.R.S. She rushes down the front path and jumps into A HUMMER with THREE OTHER TROOPERS on board. The vehicle pulls instantly away... ...leaving Chris, looking through the window, puzzled, angry, and very much wounded. INT/EXT HUMMER MORNING RUSSO drives. WILLIAMS and DISIMONE sit in the back, all tough Special-Forces types. JILL, in the front passenger seat, though the only female, ranks the highest. DISIMONE Another practice run, right? RUSSO We been practicin' six months! For what? JILL For this. This is the real deal. WILLIAMS Honest to God? JILL Based on my experience, Williams, God isn't always honest DISIMONE Where we goin'? JILL In there. Jill points into THE ARKLEY FOREST which lies ahead. Miles of old growth-trees shrouded in a ghostly morning mist. DISSOLVE TO: EXT THE FOREST MORNING DEEP IN THE HEART OF THE MIST... THE HUMMER bounces over non-roads and stops fifty yards from... ...A PAIR OF IRON GATES, each wrought with the letter "A". Beyond, the shifting fog offers momentary glimpses of... A MANSION. Huge. Like Xandau. THE TROOPERS, amazed, climb out and approach the gates. Pg-10 RUSSO If you had the jing to build a place like this, would you build it in the middle of fuckin' nowhere? WILLIAMS Paris. DISIMONE Manhattan. Upper west. JILL (Wistfully) Some people prefer... a quiet life. (Back to business) Our orders are to secure the area. DISIMONE From what? This area's been 'secure' since the French and Indian War! A deep, animal SNARL comes from the woods. The troopers raise their weapons as they peer into the underbrush. The fog keeps sunlight from penetrating. The forest is a maze of dark shadows. Leaves flutter. Limbs SNAP. Then... DARK SHAPES can be seen moving, circling. A half-dozen of them. Maybe more. Jill whips out a transmitter and quickly types an access code. JILL (Into radio) This is Valentine, Bravo Team. We, er... we might be in trouble, here. KRITCH! Something LEAPS out of the brush. Automatic WEAPONS SPIT reflexively. KRITCH KRITCH KRITCH...more lunging SHAES appear. The troopers scatter, firing, as they are attacked from all sides. Jill dives for the shrubbery, shouting into her transmitter. JILL (cont.) WE ARE IN TROUBLE! CUT TO : INT HUEY MORNING JILL'S VOICE stutters over a headset which is pressed against A MAN'S EAR. JILL (o.s. filter) Under attack... by.. .assailants... Unidentifi... Pg-11 Static. Hissing air. The SHOT WIDENS as the man lowers his headset. First we see the TATTOO on his arm... a grinning SKULL which we recognize. Then, gradually, we see his face. Lean and mean, wearing dark sunglasses, this is ALBERT WESKER, a hard-assed career officer. WESKER Can you get a trace? The pilot, LAGUARDIA, responds. LAGUARDIA Lost the beacon. It just cut out. Like it was...swallowed by something. Oddly, Wesker smiles. WESKER I do believe, gentlemen...that we're gonna be earning some combat pay. There are three other MEN on board. The closest to Wesker is BARRY BURTON, a muscular black man, as big as a grizzly, with the heart of a Teddy. BARRY Damn, if you don't love a fight. WESKER Hey, if I didn't... you'd be a dead man. (To the pilot) Call in a nine- nine. I want Raccoon City e-vacked. Wesker and the men fly from the lens. THE CAMERA passes Out through one of the helicopter's windows as the chopper soars away. When the SHOT WIDENS, we see OTHER HUEYS...black, unmarked, keeping formation. Three... six...ten of them. EXT FOREST MORNING GUNS BLAZE. THE TROOPERS are under assault by thrashing, inhuman SHAPES...GROWLING, SNAPPING. JILL rolls into a natural trench. DISIMONE is behind her, WILLIAMS is crawling just ahead, his legs pumping. Jill scoots past him and sees that... ...those legs aren't moving on their own. They've been RIPPED AWAY FROM WILLIAMS' TORSO and are being dragged into the underbrush by some... BEAST... concealed in the thick brush, so we never get a clear look at it. OTHER BEASTS attack DiSimone. Then Russo. We see only details. Jill fires her pistol, point blank... to no avail. RED-RIMMED EYES, SNARLING JAWS, DROOLING TEETH descend on her as we CUT TO: Pg-12 EXT JILL'S APARTMENT BUILDING MORNING CHRIS steps out of Jill's building. Suddenly, incongruously, camo-painted HUEYS swoop down out of the sky. EXT RACCOON CITY MAIN STREET MORNING THE CHOPPERS land where they can. COMMANDOS leap out and begin to cordon off the town. Bullhorns blare. BULLHORN There's been an accident in the hills nearby. A military aircraft, carrying live weapons, has crashed... EXT RACCOON CITY SIDE STREET MORNING CHRIS runs down a side-street into AN ALLEY, where he's trapped by COMMANDOS, both in front and behind. SOLDIER Let's go, hayseed. (Aiming his M-16) You gonna be a good boy? Chris swallows his fury. Gritting his teeth, he goes along with the soldiers, prodded, by rifle barrels, out onto... EXT RACCOON CITY MAIN STREET MORNING ...Main Street, where there is CHAOS... an Orwellian sight, as CITIZENS find themselves horded into helicopters and TRUCKS from the local National Guard Post. A sweating man, still in his pajamas, rushes up to the SOLDIERS that are escorting CHRIS. MAN Look here, I'm the Sheriff of this... SOLDIER Step aside. SHERIFF But, I'm the Sheriff! An ex-Army man, like you. BULLHORN (o.s.) There is no immediate danger, but as a precaution, we are evacuating the area. You will be provided shelter until the weapons have been removed from the crash site. Pg-13 SHERRIFF That's a worn-out scenario. If a plane crashed nearby, don't you think somebody would have heard it go down? Tell us the truth, guys. What's this really about? SOLDIER I said, STEP ASIDE! The soldier lifts his rifle. He's about to CLUB the sheriff when Chris lunges, grabbing his arm. WHOOMPH! Chris kicks the soldier in the balls. The man buckles. Chris bolts. One of the other commandos FIRES at him, a loud BURST which misses Chris but SHATTERS a shop window, setting off wild PANIC on the street. Chris ducks into a building... EXT RACCOON CITY BACK STREET MORNING ...and out a rear door. He runs through a warren of back alleyways, arriving at... ...A JEEP SAHARA which is parked behind Jill's apartment building. He jumps in without opening the door, jams the key into the ignition, and ROARS off. INT HUEY MORNING Still airborne, in one of the black helicopters that have yet to reach the site, WESKER barks orders into a radio. WESKER Charlie, David, Edward, proceed to Raccoon City. Assist the e-vack. I'm going on target with Alpha Team. All forces stand ready to support. EXT FARM MORNING CHRIS rumbles his jeep onto a picturesque FARM, secluded deep in the forest. We don't recognize it immediately. It was dark when we last saw the place. Jumping out, Chris sees three large SHAPES lying in the grass of a corral. Rushing over, Chris realizes... ...they're HORSES. One of them is LUCKY, his prize stallion... DEAD, in a pool of BLOOD, with its belly torn open and a huge chunk out of its neck. CHRIS Aw, no... (Devastated) ...L-Lucky. Pg-14 Chris hears a weak, MOANING SOUND. He turns and sees... RAKE, lying near a water pump. Chris rushes to the man's side and finds him brutally SLASHED, barely clinging to life. RAKE (Coughing blood) They... they come outta the trees, Reddy. Don't... don't know what they was. Figure... maybe some kinda... wolves, or somethin' ... Examining the man's wounds, Chris realizes they're fatal. RAKE I... I never seen 'em comin'. CHRIS Don't try to talk, Rake. RAKE (cont.) I... ain't... never left this farm... untended... since yer daddy first took it over. CHRIS I know. You... kept the place runnin'... better than me. RAKE I just...never seen 'em comin', Reddy. Never even...had a chance to...turn a gun on 'em. There's a THUNDER in the sky. Chris looks up. Wesker's Fleet of black HUEYS appears on the horizon. They split up, Seven banking off toward Raccoon City, the remaining three grinding ahead over the forest, slowing down, dropping in altitude. CHRIS Where are they going? There's nothing in there... except... RAKE Y'oughta... remember it... real good. I do. From... when you was a kid. CHRIS The... the old Arkley place? RAKE I remember them days. I surely do... Remember them... them old days. Chris looks back down at the old man, who is drifting, starting to lose it. Pg-15 CHRIS (cont.) I'm not gonna bullshit you, Rake. You're...in a bad time. If there's any way to save you, I'll find it, I swear. You just... hang in there, old guy. I'll be right back. Chris jumps to his feet and runs into... INT FARMHOUSE MORNING ...the great-room of the FARMHOUSE. Rustic. Cozy. CHRIS snatches up a telephone. There's no dial-tone. The line is dead. Chris rushes to a gun cabinet and pulls out an old WINCHESTER rifle. He scoops ammo from a drawer into a shoulder bag and runs back outside... EXT FARM MORNING ...where his eyes catch MOVEMENT in the corral. LUCKY, entrails spilling, is trying to stand. CHRIS Oh, God, Rake. Oh, Jesus, the poor thing's still alive. Chris shoulders his ammo bag, reaches inside, and quickly reloads the Winchester. Stepping forward, he aims carefully. CHRIS (cont.) Sorry, old hoss. BLAM! A clean shot to the horse's brain drops the animal. It takes Chris a long moment to recover... then, he looks into the trees. The helicopters are no longer in sight, but their THUNDER remains. They haven't landed yet. Chris turns and rushes back to Rake's side, only to find... ...he has died. Chris' jaws tighten, but he has no time to mourn. He closes Rake's eyes. Digs through the grass. Pulls up a handful of dirt. Stuffs it into the old man's hand, and closes his stiffening fingers over it. CHRIS (cont.) The earth keeps us. Conquering his emotions, Chris runs to his jeep and jumps in. He shifts into four-wheel-drive and, ignoring the road, heads straight over the field for the trees. As the jeep disappears, THE CAMERA CRANES DOWN, ZOOMING IN ON... Pg-16 ...one of the farm dogs. The SPANIEL. Not the entire animal, but one of its three SEPARATE PARTS... it's front end... CRUSHED head, BLOODY neck, and a single BROKEN paw... ...which is trying to CRAWL. Fifty yards away, RAKE'S HAND relaxes. The earth spills out through his fingers as the dead man's eyes... POP OPEN. EXT ARKLEY FOREST MORNING THE FIRST OF THE BLACK HUEYS drops, hazardously, into a small clearing with barely enough space. Unable to land on the scrub-brush, it hovers ten feet off the ground. Its rotors CLIP TREE LEAVES as WESKER, BARRY, and TWO OTHER S.T.A.R.S. COMMANDOS jump out, heavily armed. The chopper lifts off, placed by HUEY NUMBER TWO. NOT FAR AWAY, CHRIS navigates through undergrowth until he can see THE HELICOPTERS through the trees. The THUNDER from their rotors masks the grinding of Chris' jeep. He pulls within a hundred yards and, leaving his vehicle in the bush, moves closer, cautiously, on foot. THE THIRD HUEY air-drops TWO MEN and TWO WOMEN in S.T.A.R.S. uniforms. There are TWELVE COMMANDOS in all... ALPHA TEAM. Wesker looks up at the Huey's PILOT, using his radio to speak to the man. WESKER You'll have to rotate or you'll run out of fuel, but I want one chopper to remain in the air at all times. We might need help in a hurry. A "Roger that", squaks back as the Huey banks away. Barry looks worried. His instincts are asking... "We might need... 'help'". Against what? We only see this in his eyes, he says nothing as... ...Wesker leads the team through the woods, unaware of... ...CHRIS, following behind, crouching around trees and bushes, not a trained commando, but comfortable with the land, a natural warrior using ancestral instincts. THE CAMERA TRACKS COMBAT BOOTS as they CRUNCH through the low-Lying MIST.. .stopping abruptly when they encounter... ...WEAPONS, AMMO BELTS, bits of SHRDDED UNIFORMS... and HUMAN BODY PARTS... strewn all through the surrounding brush, remnants of what was obviously a feeding-frenzy. Pg-17 VICKERS Holy... Goh... gaah... BRAD VICKERS vomits. Unarmed, he's Alpha Team's computer- techie. Not a combat soldier, he's a bit of a coward. Another non-combatant, REBECCA CHAMBERS, is the team's medical officer. She digs an ammonia capsule from her pack and holds it under Vickers' nose. RICHARD AIKEN and KENNETH SULLIVAN are buddies, regular G.I. Joes, right out of every war movie. Aiken stares at the carnage, calmly chewing a wad of gum. AIKEN You ever eat road-kill, Sullivan? SULLIVAN Aiken... a guy with a brain your size would be better off dead. RODRIGUEZ (o.s.) Want me to shoot ya, Aiken? ROSIE RODRIGUEZ, a tough, body-built babe steps in. RODRIGUEZ (cont.) I'm ready ta shoot somebody. ALKEN I'll pass. Shoot Sullivan. FOREST SPEYER, a wiry Willem Defoe type, finds a bloody BERET and brings it to Wesker. There's an I.D. tag on the brim... WESKER (Reading the tag) 'Valentine'. (Beat) Radio Washington. Bravo Team found on site. No survivors. In the bushes, Chris overhears, not wanting to believe. He sees Wesker angrily pitch Jill's beret into the brush. WESKER We're goin' in. Watch your backs. Wesker advances his troops. When the coast is clear, Chris rushes in, picks up the beret, and sees the name tag for himself. "Valentine ". After what happened at the farm... now this... feeling sucker- punched, defeated, Chris hangs his head. One of the HUEYS dips in low. Pg-18 Chris looks up. The sight of the war machine lifts him from defeat... to rage. His eyes are soft, for the last time, as he tucks Jill's beret into his pack. When he looks up again, those eyes have become newly predatory. He ducks out of sight as the helicopter swings lower. Downdraft from the rotors makes the bushes rustle, catching Chris' attention. He realizes that... it's not just the wind. The shrubs are being disturbed by... SOMETHING DARK which is moving through them. It pokes its head out. A WOLF! Rake was right. Chris readies his Winchester as the animal stalks forward. It's not a wolf. It's A DOG. Mottled, its flesh gray, covered with rotting lesions... and it has three bleeding BULLET HOLES in its belly, chest, neck. GROWRRR! It LEAPS at Chris... who fires... BLAM! Up ahead, Wesker and his commandos freeze. WESKER Who fired? WHO FIRED? Before anyone can answer, the team is ATTACKED by MORE DOGS which BURST out of the surrounding woods...DOBERMANS and SHEPHERDS... but something is seriously wrong with all of them. Their EYES are DEAD, their FLESH decaying. Automatics piss streams of lead. Hot rounds TEAR through the animals, many of the slugs accidentally blowing out brains. of his bullets hits its target... one of the dogs' heads. The commandos are backed up against... the IRON GATES we saw earlier. The Arkley Mansion stands beyond. RODRIGUEZ Let's get inside. WESKER (cont.) NO! (Shouting) I WANT 'EM ALL DEAD! YOU HEAR ME? STAND FAST... UNTIL THEY ARE ALL DEAD ! The dogs don't stand a chance. Alpha Team's firepower is overwhelming. But there is a human casualty. JOSEPH FROST trips and falls. One of the dogs POUNCES on him, chewing out his HEART... through his BACK. Wesker steps in, RIDDLING the dead man, and the dog, with forty rounds from his M-16. Pg-19 In the next instant, ANOTHER DOG LEAPS at Wesker from behind. He hears its snarl... too late. He dives into the grass... too late. The dog is about to land on him when... ...it's BLASTED out of mid air by... Barry. BARRY Even-Steven, boss. You saved my ass in the desert. I saved yours I in Pennsylvania. Wesker stand, straightening his ever-present sunglasses. WESKER I don't believe in being... 'Even- Steven' with anybody. A man saves my ass...I pay him back. Before this day is over, I'll pay you back, Barry. Just... stick with me, okay? Wesker checks his equipment belt. Something is missing. He looks to where he rolled in the grass. Using a FLASH- LIGHT, he finds... ...a small electronic unit the size of a cell-phone. But it's not a cell-phone. Whatever it is... Wesker clips it onto his belt. FROM THE BRUSH, Chris sees all this. The guns have gone silent. The attack seems to be over. Chris moves stealthily to the body of the animal that he shot. It's wearing a COLLAR which reads... SPIKE #26 Alongside the I.D., there's a corporate-looking logo... the symbol of an UMBRELLA. GRRROWWWLL! ANOTHER DOG is advancing on Chris. He aims his Winchester. CLICK! The magazine is empty. No time to reload. The dog is on him. Chris SCRAMBLES away. The dog BOUNDS after him. Chris drops to the ground. Did he trip? No. He pushes a TREE ROOT, which is FALSE. It swings open and he dives in, pulling the root shut over him. The dog arrives an instant later. It lets out an angry howl... and is BLOWN AWAY... by RODRIGUEZ, who neither saw Chris, nor where he went. The forest goes dead quiet. Too quiet. There's not even the chirping of morning birds Wesker is SLAPPED startlingly on the back... by Barry. Pg-20 BARRY Look here, man. I'd follow you into any kind of enemy fire. But these things ain't firin' at us. They want us for breakfast! When are you gonna tell us what the hell is goin' on here? WESKER When you need to know. Just do your job, soldier. That's what I'm doin'. My job. Wesker pulls a chain from under his shirt. It holds a card, the size of a Visa, like the one Jill found in her secret envelope, only Wesker's isn't blue, it's green. Stepping away from Barry, he slide the card through a slot in the iron gate-frame. BUZZZZ. The GATES SWING OPEN with a rusty SQUEAL. INT TUNNEL MORNING CHRIS crawls through a long, dark shaft with earthen walls, a man-made tunnel. EXT ARKLEY FOREST MANSION MORNING AT THE MANSION'S FRONT DOOR, a hand-carved monolith of solid oak, WESKER finds another hidden SLOT and swipes his card. The giant door CREAKS OPEN. INT MANSION CENTRAL HALL MORNING INSIDE, the place looks like a HAUNTED HOUSE, a glorious ruin, once spectacular, now mysterious and threatening. The chandeliers and furniture are covered with sheets that ripple on breezes from a thousand faults in the old walls. Indistinct NOISES echo within the ceiling, the floor, as ALPHA TEAM enters. AIKEN Old. They probably don't have cable. SULLIVAN They probably don't have radio. RODRIGUEZ Who's they? Who's place is this? WESKER shuts the front door. The BOOMING SOUND makes us wonder if we will ever see it opened again. Pg-21 WESKER Guy named Arkley. Bootlegger. Built this old fortress during prohibition. He figured nobody'd ever find him out here in the back woods. Nobody did. Till he died. Feds have had it ever since. Place has been here for eighty years... derelict... a safe-house. BARRY A safe-house... for who? For what? WESKER There's a... a secret installation. Below. A network of laboratories. REBECCA What kind of... laboratories? WESKER (Shrugging) They didn't issue us gas-masks, so I figure... it's okay to breathe. RODRIGUEZ Why send in a strike-force? SULLIVAN Yeah. What are we supposed to do? Polish the silver? WESKER (cont.) There's a man downstairs. A top- priority man. It's our job to... bring him out. Hopefully, there are others alive, as well. We'll Rescue them, too... if we can...but Dr. John Marcus... he comes out alive at any and all cost. INT MANSION CORRIDOR MORNING Though it's still morning, the windows are sealed over. No sunshine can enter. From this point on... there will be no indication of time... except as shown on clocks. A sense of dread takes hold of us as... ...dark SHADOWS LURCH...FEET SCRAPE sluggishly... not in combat boots, but in Nikes, loafers, Dr. Martens... past an accordion GATE of corroded bronze. A motor HUMS. Behind the gate, an old-fashioned service ELEVATOR rises... but stops just below floor level. EYES peer out, waiting for the shuffling feet to pass. Then the car rises the rest of the way, revealing its occupant... Pg-22 ...JILL VALENTINE! She's alive! She deactivates the elevator by pulling her blue ACCESS CARD out of an incon- gruously modern receptacle. Checking to be sure that the coast is clear, she slides the accordion gate aside and steps out into the corridor. With a ghostly MOAN, something LUNGES at her out of the shadows. It's A MAN in a lab coat. His skin is ROTTING, his teeth SNAPPING, like the dogs'. He tries to BITE Jill, not merely to do injury. He seems HUNGRY! Jill leaps aside, lifting her pistol and FIRING... once, twice, three times. The man is shot in the stomach, heart, neck...but he keeps coming! Finally, Jill shoots him in the head...and he falls. Jill quickly reloads, on instinct. But as she does it, she stares at the corpse, frowning, weighing life-long belief against the hideous facts of the moment. INT MANSION CENTRAL HALL MORNING WESKER and his troopers hear the GUNSHOTS. There are THREE DOORS nearby. Wesker selects one that seems to lead to the source of the gunshots. Using his card, he unlocks it. WESKER Three men stay here. Chambers... REBECCA I'm not a man. WESKER Rodriguez... RODRIGUEZ I'm better than a man. Wesker grins, but hardly skips a beat. WESKER Alright. you come with us. Aiken, Sullivan, stick here with Chambers. The troop moves out. Aiken and Sullivan remain in the central hall with Rebecca. AIKEN Why us? SULLIVAN I dunno why me. You? I guess the C.O. figures you're as worthless as a dame, Aiken. Pg-23 Sullivan catches Rebecca's eye. SULLIVAN (cont.) Er... sorry, ma' am. I... I didn't ... I meant Aiken... Not you. REBECCA Relax. I get it. INT MANSION LIBRARY TIMELESS WESKER leads his TROOP into an enormous, cobwebbed library lined with book shelves, but no books. There are doorways on all four walls. Wesker pulls out something that looks like a Game-Boy. He types on a keypad. A MAP of the mansion appears. Wesker scrolls with the arrow-keys. Barry looks on very impressed with the high-tech unit. BARRY That thing...tells you where to go? Wesker doesn't answer. He pockets the "Game Boy". WESKER One man stays here. Ridley. You're it. Shoot to kill. Just make sure it's not one of us. The rest of you... this way. Wesker, leads his squad through one of the doorways. RIDLEY, a young rookie, remains. INT UNDERGROUND CAVERN TIMELESS CHRIS reaches the end of the earthen tunnel. There are signs that children once played here... TOY SOLDIERS. GRAFFITI. Chris finds his nickname... Christopher Reddy... etched in hardened mud. After a moment of reflection, he moves on, into... INT ENTRY CHAMBER TIMELESS ...a small, sheet-rock chamber. CHRIS rushes to a DOOR that looks like it's been there since the beginning of time. As soon as he touches the knob... AN ALARM SOUNDS! INT MANSION KITCHEN TIMELESS RIDLEY, standing guard, hears THE ALARM. He hears Chris JIGGLING the knob. But he sees NO DOOR. The walls around him seem to be solid slabs. Pg-24 INT ENTRY CHAMBER TIMELESS CHRIS can't get the doorknob to turn. Behind him, a dusty ORIENTAL CARPET BULGES upward. One corner flops aside. INT MANSION KITCHEN TIMELESS RIDLEY is spooked by the sound. Frightened, trembling, he un-slings his rifle. RIDLEY Who... who's there? INT ENTRY CHAMBER TIMELESS CHRIS doesn't hear the trooper. Behind him, A Decomposed HAND pokes out of a drainage ditch beneath the carpet. It gropes. Finds purchase on the floor. Chris is unaware of the danger. He HURLS himself against the door. He can't break through. The thing that climbs out of the ditch was once a man, once a SCIENTIST. It's wearing a lab coat and a pair of thick EYEGLASSES. But it's long dead. It's... A ZOMBIE. As it pulls itself up, its eyeglasses strike the side of the ditch. They fall, CLATTERING, the rims scraping the zombie's cheek, which peels away like onion skin. Chris hears the noise. Turns and sees... ...the dead man, reaching out hungrily. Chris is trapped. He aims his Winchester. CLICK! He forgot. It's empty. The zombie pulls itself fully up onto the floor. Chris digs in his shoulder bag. Pulls out a handful of bullets and with them, accidentally, Jill's BERET. Rising emotion stops him for a moment. The dead man crawls toward him. Chris might not have time to load. As he tries to jam a bullet into his rifle, the zombie SWATS at him. Catches the beret. Looks at it. Sniffs it. The bullet pops out of Chris' nervous fingers. He tries to load another. INT MANSION KITCHEN TIMELESS RIDLEY spots A BLUE ACCESS SLOT in the wall. He levels his automatic and CHEWS the thing up with a short burst. A PANEL SWINGS OPEN! CHRIS dives out... with the ZOMBIE inches behind him. Ridley FIRES off another BURST OF ROUNDS. Pg-25 Stray bullets PIERCE the zombie's head. It drops back into the chamber...with Ridley never knowing why. Ridley and Chris look at each other, asking rapid-fire questions, none of them answered. RIDLEY Who are you? CHRIS Who are YOU? What the hell is S.T.A.R.S.? RIDLEY How'd you get in here? CHRIS Who sealed the door? RIDLEY Who knew there a door? WHAM! ANOTHER ZOMBIE appears suddenly behind Ridley, BITING out the muscle between his shoulder and neck. The trooper stands, stunned, for a moment... RIDLEY Who... who... ? ...then he drops.. The zombie, in a uniform, once a security guard, gazes dully at Chris. A wet sound comes from inside its gullet as it calmly chews on Ridley's flesh. Swallowing, it reaches out. Chris grabs its arms, FLINGS it into the chamber. Then FIRES his Winchester, once, putting a HOLE in the thing's head. Chris slams the door. INT MANSION DINING ROOM TIMELESS In a Hearst-sized dining room with draped furniture, WESKER and the OTHER TROOPERS have heard the new gunfire. SPEYER Where'd that come from? BARRY Back...where we just were. SPEYER Shit, man, we're chasin' our tails! Pg-26 INT MANSION KITCHEN TIMELESS CHRIS hears the CLATTERING of the troopers heading his way. What he doesn't hear is... a slight CRACKLING... in the walls. INT MANSION CORRIDOR TIMELESS WESKER and his TEAM burst into the corridor with the old- fashioned ELEVATOR. FLASHLIGHTS find... the body of the ZOMBIE that was shot by Jill, bullet HOLES allover its body. SPEYER Damn. Surnbitch took a lotta lead. BARRY That's not what killed him. Blood's still running. Wounds are fresh. But look at his skin. This guy's been dead for a couple of days. RODRIGUEZ He was dead... before he was shot? INT MANSION KITCHEN TIMELESS CHRIS checks Ridley. No pulse. His own rustling movements prevent him from hearing... that soft CRACKLING SOUND. The kitchen is lined with fifty-year-old IVY-PATTERNED WALLPAPER. The printed VINES seem to be MOVING! Chris doesn't notice until the vines begin to WIGGLE furiously... and RIP THROUGH the paper. They're REAL. Sprouts from some sort of exotic plant, that have climbed up the walls... with INTELLIGENCE! They seem aware of Chris' presence. REBECCA (O.S.) Ridley? REBECCA has appeared in an open doorway. Chris looks at her, with the tips of the vines beginning to brush his shoulders. REBECCA (cont.) Who... who are... CHRIS I... I'm one of the good guys, okay I'm just trying to... REBECCA (Calling) SULLIVAN! AIKEN! CHRIS Shit. Pg-27 Chris, familiar with the room, opens a SMALL DOOR in the wall, barely man-sized, and almost invisible because it's covered in matching wallpaper. Chris dives in. AIKEN and SULLIVAN pop up behind Rebecca, having barely caught a glimpse of Chris. AIKEN Who was that? SULLIVAN Forget him. What are they? Sullivan points at the vines... which are swirling, groping, as if alive, making their way toward Ridley's body. INT MANSION CHUTE TIMELESS In a LAUNDRY CHUTE, propping himself against the sides, CHRIS descends...down...down... as he did as a child... and comes out onto... INT CRAWL SPACE TIMELESS ...a DROP-CEILING, newly installed. Iron frames support AIR-FILTRATION SYSTEMS and other heavy MACHINERY. Sheet- metal walls have replaced the old soffit and fascia. LIGHT, from somewhere below, knifes through gridded iron vents. CHRIS Somebody did some major remodeling. INT MANSION KITCHEN TIMELESS The VINES continue to advance. REBECCA We gotta get him out! THE TROOPERS rush to retrieve RIDLEY'S BODY. The VINES hover around them, occasionally DARTING, then pulling back, as if they were timid animals, hungry, but afraid of anew food- dish. When AIKEN brandishing his M-16, the VINES RECOIL and RETRACT fully... THWIP THWIP THWIP... behind the wallpaper and down... somewhere into the bowels of the house. AIKEN What? Smart fuckin' plants? SULLIVAN No big deal. Most-plants are smarter than you, Aiken. Pg-28 INT MANSION CORRIDOR TIMELESS THE OTHERS are still puzzling over the DOWNED ZOMBIE. SPEYER Why would anyone shoot a dead man? RODRIGUEZ Lemme guess. Maybe 'cause he was... walkin' around? Barry steps closer to the corpse, notes its collapsed skull. BARRY Head-shot. We were sprayin' those dogs outside... but think about it. Were any of 'em brought down without a head-shot. Wesker has been exploring the corridor. Stopping in front of the elevator, he shines his light into the car. We expect someone... or some-thing... to be lurking inside. An attack comes from the opposite direction. A FIGURE BURSTS- out of the shadows behind Weasker. Another Zombie? No. It's JILL! In a rage, she holds her pistol to Wesker's head. JILL I lost three me. You killed them, Wesker. You did... and I did. Because I didn't know what to expect... because you... didn't tell me! WESKER (Calmly) Tell you what? JILL Anything! I wasn't told anything! WESKER Put down the gun. Instead, Jill CLICKS the hammer back. WESKER (cont.) Put down the gun. JILL Not until... WESKER RELEASE! THAT'S AN ORDER, SOLDIER! Jill blinks. Slowly, reluctantly, she lowers her gun. Pg-29 Wesker turns... and recognizes her. WESKER (cont.) How... did you get in here? JILL (Sarcastic) How ya doin' , Valentine? Good to see ya. Glad you're still alive. Same here, colonel, I'm... WESKER How did you get in here? JILL (Exploding) The same way those fuckin' dogs got out! Through their pens! (Relaxing some) I... locked them off. WESKER Good thinking. A VOICE interrupts, from the end of the corridor. VOICE (o.s.) MAN DOWN! The voice is SULLIVAN'S. The troopers run to join him. Last to leave the corridor are Wesker and Jill. Wesker gestures gallantly. WESKER Ladies first. JILL Fuck you. INT MANSION KITCHEN TIMELESS The TROOPERS trickle into the kitchen to find... REBECCA, kneeling over RIDLEY'S CORPSE, examining the ragged bite on its neck. RODRIGUEZ Maybe... they're in the house. More of them dogs. REBECCA Diameter's too small. It... almost looks as if... it was done by a... JILL (Arriving) A human? Rebecca looks up. The two women make sisterly eye-contact. Pg-30 REBECCA Yes, but... what kind of... human... would do something like this? AIKEN Not a vegetarian, that's for sure. SULLIVAN Aiken, you'd be better off... REBECCA There was a guy. Not part of the team. And there was... some kind of... plant... that seemed... alive. RODRIGUEZ Gimme a fuckin' break. AIKEN No shit. It disappeared... right into the wall. Rodriguez cringes when she finds a ragged hole in the wall- paper near where she's standing. WESKER I guess it's... time to spill it. WESKER pulls off his dark glasses for the first time. WESKER (cont.) I don't know... much more than I already told you. I'll tell you the rest now. The labs hare are... were...working on special apps for bio-eng1neered materials. RODRIGUEZ Speak English, hombre. WESKER Marcus has been experimenting with an artificial... man-made... virus. Coded...the 'T'-virus. Financing came from a private corporation, you may have heard the name... Umbrella. JILL They're... multi-national. Huge. WESKER So huge that they have... connections... in high places. That's why we're here. Pg-31 BARRY This virus... it jumped, right? SPEYER Shit! We're all dead! We got the bug, and we're all dead! WESKER It's not airborne. It was spread... in the water supply. Lab animals and... the researchers themselves... passed it on... by... JILL By... biting. Wesker hangs his head. It's an affirmation. BARRY You catch this virus and... what? WESKER You die. But... not for long. The chemical...revives the brain, and... RODRIGUEZ You stand back up... and chew on the first guy you see. SPEYER Christ, this is like... Night of the Living Dead! BARRY Why, in the name of Jesus, would anybody wanna mess with shit... that does that shit? WESKER Victory, friend. Civilization has come a long way, but we still have... war. Imagine... a soldier who can't die. That... was the concept. JILL But the virus... jumped. WESKER Hopefully... if we got all the dogs... we've contained it. JILL Hopefully? Jesus... why didn't you tell us? Pg-32 WESKER By telling you NOW, I've put your lives in jeopardy. Nobody has this information. Except a few high-and- mightys. Me. And now, you. The troopers fall silent as all this sinks in. WESKER (cont.) We have to get Marcus out of here. He developed this thing. He's the only one who... understands it. REBECCA I don't know, this all sounds pretty shaky to me... With a lightning move, Wesker draws his pistol and...BLAM! FIRES... at Rebecca. She flinches. The bullet flies past her and SHATTERS the skull of RIDLEY, the dead trooper who, having stood up, was about to attack Rebecca from behind. Ridley drops... dead again. RODRIGUEZ Guess that proves it. A head-shot knocks 'em down. Rebecca turns and looks at the blood-splattered body. REBECCA Th-that man.. .was dead. (Freaking) I... I'm a doctor! I should know! That man was dead! Vickers reaches in Rebecca's bag, pulls out an ammonia capsule, cracks it, and holds it under her nose. VICKERS I hope you have a lot of these. INT CRAWL-SPACE TIMELESS CHRIS crawls across the drop-ceiling, into the up-rising light from one of the vents. He looks down through the grid work and sees... ...the same LABORATORY that was behind Marcus in the opening video. No longer pristine, it's wrecked, torn apart. Files are scattered everywhere along with smashed fragments of furniture and computer hardware. CAGES that line the walls are filled with LAB ANIMALS making NERVOUS CHATTER. Chris watches a MONKEY sip water from a dish. Like the other animals, its skin is rotting. Pg-33 Chris is about to move on, when his eye catches... ...MOVEMENT... outside the cages. There's A MAN, in a lab coat, sitting at a desk, writing on a note pad. CHRIS (Calling) Hey. CLOSE ON: the man's HAND... flaking, decomposing. The pen it holds is making only random, erratic marks. CHRIS (cont.) HEY! The man turns his head, slowly, to look up toward the voice. There's NOTHING left of his FACE. RAW TISSUE seeps odd- colored fluids. A single eyeball is nested tenuously in the ooze. Something like a mouth, recognizable only because of its position, opens... and GROANS. Chris, pumping his Winchester, hears... KRANG! A NOISE from below. He looks down again, just as... ...the lab door BURSTS open. WESKER and ALPHA TEAM stream into the lab. The thing with. the destroyed face turns toward the invaders, stands, and shuffles toward them. Without hesitation, Wesker, on point, FIRES a quick burst into the thing's brain. It drops like a sack. The lab animals SHRIEK. The team files in, not noticing... ANOTHER ZOMBIE... crawling across the floor...heading directly for SPEYER. Chris shouts CHRIS (cont. ) HEADS UP! He punches out the grate with the barrels of his rifle and... BLAM!...punches a sure-fire HOLE in the zombie's head. BRAD VICKERS, his nerves badly frayed, thinks the team is being attacked. He SPRAYS the ceiling with his automatic. Chris ducks and rolls, narrowly escaping the initial barrage, but bullets keep coming, punching a dotted line up through the ceiling panels. Chris scrambles, as fast as he can, his feet barely escaping the punch holes. He finds himself on top of an enormous checkerboard of vents and Plexiglas panels. Bullets weaken the framework. It sags... then CRACKS, dropping away. Chris is plunged into... Pg-34 INT LAB LEVEL "A" TIMELESS ...WATER! CHRIS kicks, paddles with his rifle, righting himself, getting his bearings. He's in a huge AQUARIUM that's built into one of the laboratory's walls... and he's not alone. There are SIX SHARKS in the tank. ZOMBIE SHARKS, their flesh rotting, leaking pus. The largest of them SNAPS at Chris, but its jaws catch only a clump of his swirling hair. Chris kicks with his feet, remaining upright, and FIRES his wet Winchester. The bullet wimps-out, restrained by the water. It penetrates the shark, but barely. We can see the casing lodged in the animal's flesh. Chris gets an idea. He kicks forward. Plants the barrel of his Winchester directly against the aquarium glass... only to find himself aiming directly at... ...JILL, who is aiming back at him with her M-16. They're both stunned. They stare at each other for a moment, like gunfighters, until... ...another shark circles in for an attack. Chris swings the Winchester away from Jill and FIRES underwater. The aquarium glass CRACKS... but holds. JILL (cont.) Hang on! We're gonna get wet! Jill FIRES. More CRACKS, but the glass is resistant. Chris out. Water SURGES into the lab, knocking Wesker and some of his squad down. They stand up again, only to find themselves knee-high in a dark pool...with SHARK FINS slicing the surface. Everybody opens fire. The dead fish keep coming. AIKEN Where the fuck is a shark's brain? SULLIVAN In it's head! I swear, Aiken, you would be better off dead. In a bizarre frenzy, the sharks KICK their tails, making startlingly quick turns, darting every which way, SNAPPING at the scent of warm flesh. The troopers, hampered by the water, SPLASH around wildly, many of them nearly getting bitten. The air above thickens with a fog of graphite from ten spitting automatics. Pg-35 The water gets darker as it becomes clouded with BLOOD. But thankfully, the level is dropping. The water is seeping out through GRATES in the floor. The sharks become more visible, moving slower as their bellies scrape the floor. The troopers pick them off, one by one. The immediate threat passes...but as the water drains away, the troopers become aware of... a KLAXON-LIKE SOUND. ANOTHER ALARM. The entry door glides shut with a BOOOMMM! WESKER Nice. Very NICE, Valentine! You set off a containment breach! JILL It must have been the water. God, the water! (She turns to Chris} Did you swallow any? SPEYER I did. SULLIVAN A bunch of us did, man. WESKER Separate systems. Salt water. No germs. But.. .it breached! Wesker, looking crazed, his sunglasses gone, is typing on his "Game-Boy"... getting no response. WESKER (cont.) We can go in deeper. But we can't get out. Not with my card-key. RODRIGUEZ So...we live here now. Rosie finds Sullivan looking at her curiously. RODRIGUEZ (cont.} Landlords. Shit hills. Kicked my family out of six apartments. I got use to sayin'...'So...we live here now'. WESKER There are override exits... but I can't find them without THIS! Wesker FLINGS his "Game-Boy" angrily against a wall. It shatters into bits. Pg-36 CHRIS That was a smart move. Wesker bristles. He's about to confront Chris, but he spots his sunglasses where they were deposited on a floor grate by the water. He walks over and picks them up, wiping the lenses on his shirt. Without looking at Chris, he asks... WESKER And... you are? CHRIS Nobody. Just a...a local guy... Chris spots a dry lab-coat hanging on a wall hook. He takes it down and uses it to dry his rifle. CHRIS (cont.) ...who gets pissed-off when he finds... his farm animals... and his father's oldest friend... dead. And the only woman he ever cared about turns out to be a goddam METAL HEAD! Wesker, while seeming to understand, still doesn't look up. WESKER Valentine...who is this asshole? JILL His name is Chris Redfield. He was... part of my cover, sir. CHRIS Cover? A snappy argument develops, a lover's quarrel, with higher- than-normal stakes. JILL This is not the time to mouth off, Chris! You're in deep shit here! CHRIS Why didn't you let me in on this? JILL Why did you have to come after me? How did you get in here, anyway? CHRIS I used to play here, when this was a fucking laundry room! And what makes you think I came after YOU? Pg-37 BARRY (Interrupting) Whoa! Look here. Barry is stooped over the faceless zombie that Wesker shot. He rips an I.D. badge from the corpse's coat. He tosses it to Wesker, who reads the I.D... "DR. J. MARCUS" BARRY (cont.) Is this the pile of shit we're supposed to bring out of here? WESKER It...it once was. VICKERS (o.s.) I got something here. BRAD has been quietly working at one of the lab's computers. Barry rushes over and looks at the monitor screen. BARRY A map. Same as on your gizmo. Exits marked...blue and green. Wesker steps in for a look. WESKER The greens are the overrides. (To Brad) Can you print this out? VICKERS I can try. Chris calmly retrieves his wet shoulder bag from the floor. He wrings out the cloth and, using the lab coat, wipes the bullets dry. VICKERS (cont.) (Off the screen) We're on level 'A'. WESKER We have to get down to level 'D'. BARRY Hold on. Marcus is dead. If this mission was about bringin' him out, we're outta here, right? WESKER I wish we were, but no. We have a potential outbreak here. We might be the only ones who can stop it. Pg-38 SPEYER Stop it? How? WESKER There's... an antidote. Everyone's ears perk. WESKER (cont.) We can't bring Marcus out, but we can bring out the serum. Maybe somebody...can analyze it... and figure how to beat the virus. Jill looks at Chris. Catches him weighing options. JILL (Privately) Not simple. CHRIS (Privately) Not complicated, either. We only have to decide... what's right... and what's wrong. JILL (Privately) I forgot. You're never confused. So...what's right, Mohawk? And what's wrong? VICKERS Shit. (At the computer) There are no green exits on this level. Why... why would that be? CHRIS They don't want anybody up here to go snoopin' ...upstairs or down. Wesker looks at Chris with that odd, confident smile. WESKER Pretty good guess. You must have been in the military, son. CHRIS Native American. Exempted. VICKERS (Typing, starting to panic) Fuck! There... there's no way out! CHRIS Yes there is. Chris points at the broken grid above the shattered aquarium. Pg-39 Wesker looks up. Then looks back at Chris. WESKER Not a bad idea. (Turning to Vickers) See if you can call up... service charts, schematics. Brad's fingers fly. He scrolls through menus. VICKERS Got it. Ceiling grids, ladders. The whole infrastructure. WESKER Print it. Print all of it. The young man types a command. Wesker rushes over to the H. P. and grabs the first chart that rolls out. Rebecca steps over to Brad. She points at his leg. Seated at the computer, his trousers hiked, BLOOD can be seen on his sock, just above his boot. REBECCA What's that from? VICKERS (Nervous) I...snagged it. On the desk. When we were scrambling. REBECCA Lemme look at it. VICKERS (Adamant) No. It's just a scratch! Chris watches Wesker as he studies the printed charts. CHRIS There's a... part of an old laundry chute. It might not show on there. It runs up to the kitchen. WESKER I'm not going up. I'm going down. Wesker, grim-faced, looks at his team. WESKER (cont.) I'd like to let you guys off the hook. But I can't. I need back up. You're comin' with me. Any objections? The troopers exchange glances. Jill is first to speak. Pg-40 JILL No objections. We'll back you up. CHRIS (Disappointed) You said... people wind you up and you do whatever they want you to do. WESKER Stay out of this, son. You're the only one who doesn't have a choice in this. There's no place to lock you up. I can't let you go, you're a security risk. I could shoot you. Legally. But your lady-friend would probably get all over my ass. So... I'm afraid you're comin' with us... whether you like it or not. (To Jill, pointedly) He's your responsibility, Valentine. See that he doesn't make trouble. Jill looks at Chris. CHRIS You up to the challenge? JILL Try me. CHRIS (Snappy) I already have. INT CRAWL-SPACE TIMELESS One by one, the members of ALPHA TEAM wiggle up into the crawl space above the ceiling. CHRIS climbs up behind JILL. OTHER TROOPERS are already away, following WESKER, who guides them with the help of his chart. Jill starts after them. Chris grabs her arm. CHRIS Jill, I... I'm sorry. I'm just... angry. When I... thought you were gone, I... Then... when I saw you. Alive. I realized that... JILL That you were still... fascinated. CHRIS Stop. Stop! He pulls her into an embrace. She goes willingly. Pg-41 CHRIS (cont.) Come with me. We can get out of here. JILL (Tempted) I...I want to. I want... nothing more. But... I can't. When I'm in this uniform, I'm more than... just me. Try to understand...there's no "I" in Team, Chris. CHRIS There's no "I" in DEAD, either. Chris pulls away from the embrace and looks at her. CHRIS (cont.) I should order you to come with me. You'd never refuse an order. JILL You go. You're not part of this. CHRIS I'm part of it as. long as you are. BARRY (o.s.) This is very uncomfortable. Barry, having overheard, is halfway up through the grate. CHRIS For me, too, brother. BARRY I mean this... (indicating the iron that's pressing his belly.) It's very uncomfortable. Chris and Jill help Barry up into the crawl space. start off after the troop. THE CAMERA TRACKS them. BARRY (cont.) This is gettin' old, Man, I swear. I been in this Army eighteen years. CHRIS Eighteen years? BARRY Yep. Two away from the big re-ti. JILL Desk job, right? Nobody lasts that long if they've seen action. Pg-42 BARRY I've seen action in Granada. And Desert Storm. Would have lost it all there... if my buddy didn't bring in a team, against orders, to pull my ass out. Buddy named... Wesker. CHRIS You've been with this asshole since... ? BARRY Since before that. We were... kids together. Macon, Georgia. He's... only an asshole some of the time... UP AHEAD : WESKER reaches a service ladder. He waves his troop on. They start to climb down. VICKERS Who knows what we'll find down there? AIKEN Think positive. The farther down we go, the worse it's gonna get. So... until we hit bottom, we're in good shape... relatively speaking. GRRRAAAAWWWLr.! Distant... but distinct... it sounds like the MGM lion. SPEYER What the fuck? Again .GRRRRRAAAAAWWWWLLLL ! VICKERS Whatever it is.. .it can't get us. We're in the ceiling! AIKEN Maybe it's like... really tall. SULLIVAN Aiken... INT CRAWL SPACE LAB LEVEL "B" TIMELESS The lead TROOPERS reach another section of the ceiling. Clustering around a vent, they look down into... ...the "B"-level lab, more streamlined, more high-tech than the one upstairs. There are large COMPUTERS, linked by metal-shielded conduits to jacks in the walls. Pg-43 WESKER Main-frame. Might have some data we could use. (A quick decision) Fox, Marini, Vickers. Down. WESKER kicks out the vent. He jumps first, through the opening, down into the lab. CHRIS watches from behind. CHRIS The man has balls, I'll say that. Wesker grabs a desk and pushes it under the vent. MARINI climbs down, followed by FOX. BRAD is last. WESKER Hustle it, Vickers. You're the guy we need. To cut into the network. INT LAB LEVEL "B" TIMELESS WESKER looks around. There are THREE Doorways...open wide with only darkness beyond. Wesker runs around closing them. WESKER Watch these entrances, guys. FOX and MARINI take up posts. Brad lowers himself gingerly. He drops the last two feet onto the desk, landing on his bloody leg. VICKERS AAAAH ! Shit. He topples, falling to the floor, but pops up instantly. VICKERS (cont. ) I'm alright. I'm alright. He limps over and attacks the computer keys. GRRRRRAAAAAWWWWWLLLL! Another distant snarl. WESKER Hold tight. It doesn't sound like it's on this level. VICKERS (At the computer) Shit. I'm locked out. Any clues for a password? WESKER Try... Umbrella. Brad types rapidly, nervously. Flubs. Types again. Pg-44 VICKERS Nothing. Wait. I'm into... No. No data. Just some kind of video feed. Time-coded. Yesterday. It's a play-back. (Watching the screen) Holy shit! We HEAR it before we see it. The sound of absolute PANIC. People SHOUTING! SCREAMING! THUDS and CRASHES! GLASS BREAKING! Then A WOMAN'S VOICE . WOMAN'S VOICE (o.s.) Please...please.. .if anyone is receiving this... Brad limps around the desk and spins the monitor for the others to see. The WOMAN is an ORIENTAL. She's standing in the foreground, as Marcus was in the opening video. Behind her is a lab we haven't seen yet... with white- coated FIGURES... RUNNING... FIRING GUNS. WOMAN (cont.) the situation is completely. out of control. We... W HAM ! The woman is pushed out of the way by A MAN who is trying to protect her from... ...SOMETHING that BLURS past the lens, like a pendulum, from ABOVE. In the next instant... SPLAT... the lens is COATED WITH BLOOD! As it oozes down, we see a partial image of the same MAN. His HEAD is OUT OF FRAME at the top of the screen. The thing above must have a hold on it... because the man is DANGLING, his arms witching. His back has three GOUGES in it, long and so deep that they might have been made by piece of heavy machinery. We only see this for an instant... before the man is LIFTED, straight UP, with amazing SPEED. Wesker clicks off the monitor. The other men instinctively look up above their heads. FOX Maybe the ceiling's not such a safe place, after all. CRASH! The door behind Fox BURSTS open. Before he has time to react A ZOMBIE is on him, BITING his cheek, neck, shoulder. The two figures fall to the floor, grappling. Wesker can't get a clean shot. WESKER Scram! SCRAM! Pg-45 Marini is first to reach the desk, but he helps the limping Brad up ahead of him. TWO MORE ZOMBIES lurch in through the open doorway. Wesker shoots them, but he sees MORE... can't tell how many...shambling toward the open doorway from the darkness beyond. Wesker focuses on Fox, who is still being MAULED, BITTEN. Fox SCREAMS. Wesker still has no safe shot. Brad is YANKED up into ceiling by SULLIVAN and AIKEN. CHRIS leans out of the opening, reaching for Marini. Wesker KICKS the mauling zombie in the head. It takes three hard BOOTS to attract the thing's attention. When it finally looks up at him, Wesker BLOWS out its skull. Fox is lying on his stomach, writhing, BLEEDING profusely from a half-dozen bites. Wesker stoops down, trying to roll him over, lift him up. Fox resists. He's gone insane. Chris pulls Marini up to safety. BARRY leans down through the opening. BARRY Haul ass, boss! The zombies are heading for Wesker. There are three of them. Barry shoots at the one in front. Misses. His second shot hits the thing's brain. Wesker again tries to hoist Fox who, this time rolls over on his own. He has drawn his pistol. Before Wesker can stop him, he eats the barrel and BLOWS out the back of his head. One zombie is dangerously close. Barry fires two more rounds. No head shot, but the zombie staggers and, though not dead, FALLS...directly toward Wesker. The colonel rolls on his back, kicking himself away, managing to get clear. He uses his own pistol to BLAST the zombie. He scrambles to his feet, darts toward the desk, and jumps up. The third zombie grabs his legs. From above, Barry risks a dangerous shot. BLAM! Wesker hears the bullet WHIZZZ past his head like a mosquito. The zombie is hit in the skull. It drops. There are MORE of them coming out of the darkness. Barry takes hold of Wesker and, with a single strong arm, pulls him up into... INT CRAWL SPACE LAB LEVEL "B" TIMELESS ...the crawl space, where WESKER breathes heavily for a moment... then looks up at his old friend. Pg-46 WESKER That's...two I owe ya. BARRY One. We were all... 'Even-Steven' . WESKER Two. Remember? 'Even-Steven' ... is not in my vocabulary. A horrible MOANING SOUND comes from below, in the lab. THREE MORE ZOMBIES can be seen clustering around the desk, dumbly trying to climb up, sensing the "food" above. WESKER (cont.) Let's move. Wesker takes off. SPEYER, RODRIGUEZ, AIKEN and SULLIVAN are quick to follow. The others lag behind when CHRIS says... CHRIS Those things could get up here. We can't let that happen. This is our way out... Chris swings his legs through the grate and JUMPS down... INT LAB LEVEL "B" TIMELESS ...ONTO THE DESK. He BOOTS one of the ZOMBIES away and tries to LEAP over the others. One of them catches his foot in mid air. CHRIS isn't hurt, but he TOPPLES to the floor, sprawling, losing his Winchester. The zombies have him cornered. He crawls toward his rifle. Reaches it. Pumps a shell into the firing chamber. Aims at the closest of the walking dead... ...which was once a young man, a simple laborer, wearing overalls, with a name tag... CHRIS (Reading) Caruso. Chris looks empathetically into the thing's dead eyes. CHRIS (cont.) Can you hear me? The zombie lumbers forward hungrily. CHRIS (cont.) Caruso! Can you hear me? Pg-47 Chris has come late to the realization that these things were once human. Now he comes late to the realization... that they are human no longer. The zombie grabs the barrel of the Winchester, pushing it aside. Chris can't bring it back to bear on the monster's head. He BLASTS a round through the thing's belly. It has no effect. The zombie reaches for Chris' throat. Starts to lean in to bite him. BLAM! The thing's skull explodes. JILL has jumped down onto the desk. She FIRES another accurate pistol round. The SECOND ZOMBIE falls. Jill leaps to the floor and starts to push the desk. Chris gets to his feet, rushing in to help her. Together, they shove the desk out from under the open ceiling grate. CHRIS Thank you. JILL Any time. How do we get back UP? CHRIS Shit, if you didn't have a plan, you shouldn't have jumped down here. JILL We have a real problem here, Chris. Jill nods toward the open doorway. There are more stuttering FIGURES approaching out of the dark. CHRIS How big is this place? How many people were down here? How... JILL HOW DO WE GET UP? With a startling SOUND, A DARK SHAPE swing down from above and GRABS Jill! Is it the thing we saw on the video? No. It's BARRY! His mighty arms lift Jill. She's caught by Aiken and Sullivan and pulled up to safety. Barry grabs Chris and lifts him as well. INT CRAWL SPACE LAB LEVEL "B" TIMELESS CHRIS grabs the edge of the grate and pulls himself up. He reaches back down through the opening. Below, BARRY squats... and makes a mighty leap-with his muscular legs. Chris grabs his arms... and is nearly pulled back down. Pg-48 CHRIS (Straining) Big. Heavy. Jill grabs on, then Sullivan. But one of the ZOMBIES has reached Barry. It GRABS his kicking legs. It's TEETH SNAP! And CATCH! The commandos lift Barry clear, but the zombie ends up with a CHUNK of something in its mouth. JILL It got you! Barry checks his leg. His trousers are torn, but... BARRY No skin broken. I'm alright. CHRIS We owe you a pair of pants. They crawl away. The zombies below reach up, their fingers clutching, at the ceiling, but with the desk gone, there's no way they can get up. DISSOLVE TO: INT STORAGE AREA TIMELESS THE COMMANDOS climb down a steel access ladder into a storage room stacked with CRATES and CARTONS. There's only one door. The place seems secure. WESKER Stand down. Five minutes. WESKER sits on a crate and pulls out his printed charts. Gradually the whole troop makes it down into the room. They relax. A few light cigarettes. But not SPEYER. SPEYER I'm through, Wesker. MARINI Me too, man. This ain't nothin' I signed on for. WESKER (Calm) You want to wait here, fine. MARINI Wait here? No. We're gettin' out! WESKER You can't. (He flashes his access card.) Not without this. Pg-49 SPEYER Fuck you! And your fancy doors and your green key! The choppers have rockets. They can blow out a wall if they have to. I'm callin' 'em in. Speyer pulls out his radio and starts to punch a code. WESKER You wanna see a wall blow, I'll blow all of 'em for ya. Wesker reaches down to the electronic unit that he lost and retrieved in the woods. He pulls a long wire out of it, with a small sensor on the end. WESKER (cont.) I'll put a crater in this forest that takes out Racoon City and everything else for twenty miles... with this. He jams the little sensor into his ear and pushes a button on the belt unit. Small red LIGHTS blink. WESKER (cont.) It's a radio detonator...to set off explosives that are...buried under neath us somewhere. The ultimate containment measure. Incinerate the place. (Smiling again) It has a... dead-man mechanism... .(he taps the ear-piece) ...that reads my pulse. My heart stops, and... boom. CHRIS You...lunatic! That damn thing can slip out of your ear by accident! WESKER That's right. It's your job...all of your jobs...to see that it doesn't. And to see that my heart... doesn't skip any beats. Wesker looks over the tops of his sunglasses... at Speyer WESKER (cont.) Give me the radio, soldier. Speyer hesitates. Wesker explodes, for the first time. WESKER (cont.) GIMME THE FUCKIN' RADIO, OR WE ALL GO UP! --- This text orginiated from www.New-Blood.com, please check us out for Resident Evil coverage. --- Pg-50 Shocked silence. Sullivan is the first to speak. SULLIVAN Sumbitch might do it, Speyer. WESKER I'II be obliged to do it! If I don't get that antidote, I'll have to burn this place out! (Beat) Valentine. The radio. Jill steps over to Speyer and takes the radio from him. CHRIS (To Jill) What are you, this guy's flunky? He just threatened to blow us all up, for Christ's sake! JILL That's what I'm trying to prevent! EXT ARKLEY FOREST IN THE AIR DAY WHAP WHAP WHAP... one HUEY is in the air..., THE CAMERA MOVES IN on a window. LAGUARDIA is flying, his RADIO MAN beside him. LAGUARDIA How many digits did you receive? RADIO MAN Six. The beginning of an air- support code, but... it just went dead on me. LAGUARDIA Call S.T.A.R.S. in Washington. I want... RADIO MAN Hold it... The radio man presses his headset to his ear. LaGuardia looks on apprehensively. RADIO MAN (cont.) It's Wesker. (Into mike) Yes, sir. We got the signal sir. (He clicks off) He says it was... a mistake. LAGUARDIA Call Washington anyway. I want the authority to take action if necessary. Pg-51 INT OFFICE TIMELESS BRRRING! The hand with the ostentatious RING snatches a red telephone receiver from of a desk drawer. MAN WITH RING (o.s.) Holden. He listens. Once again, we don't see his face. Just his free hand, with another Monte Cristo burning. HOLDEN (Man with ring, cont.) Denied. This is Wesker's show. If he was in real trouble, we'd have lost half of Pennsylvania by now. As the hand flicks ash, we see a sheet of paper on the desk with a letterhead that bears... an UMBRELLA LOGO. HOLDEN (cont.) No authorization. EXT ARKLEY FOREST IN THE AIR DAY In the HUEY, the RADIO MAN clicks off an incoming call. RADIO MAN No independent action. LAGUARDIA Damn. I feel so fuckin'... helpless! The huey over flies THE MANSION which, from the air, looks as stable as the Rock of Gibraltar. INT STORAGE AREA TIMELESS WESKER has come down off his rampage. He looks exhausted. He also looks staunchly heroic as he speaks to his TROOP. WESKER You guys were hand-picked. A Special Unit. Most of you have been sitting on your asses, drawing pay checks for more than two years. Well... it's time to repay those... Government loans. SPEYER Bull shit. I'm not... Wesker lifts his automatic. Speyer flinches. The action wasn't meant as a threat. Wesker is just checking his ammo. Pg-52 WESKER Pitch your empties. Put all your loaded clips on that crate there. I want a count. Then I want the rounds divvied up... evenly. The troopers deposit their loaded clips, reloading the ones that are half-used. WESKER (cont.) Alright. We're on.. .(checking the maps) ...level "C"... AIKEN Lingerie. Notions. WESKER GOD DAMMIT, NO MORE JOKES! We have men dead upstairs! This hell-hole is full of people who died... because of this stinkin' ...BUG! Jill has been counting the ammo clips. JILL Forty two. SPEYER That's all we have? WESKER We weren't expecting a war, Speyer. (To Jill) I'll take three. Three to your boyfriend... CHRIS Don't need 'em. Got my own loads. Wesker's eyes dart angrily toward Chris. But he notices Jill watching him...and he calms himself. WESKER Good. Then... we all get four clips. SPEYER They must have... weapons down here, somewhere. A powder magazine. WESKER No more side trips. It was a mistake to go into that lab upstairs. My mistake. And I'm not makin' another one. From now on it's straight ahead. In and out. Pg-53 Wesker stands and opens the door. Outside is a SERVICE CORRIDOR with unfinished walls. Spaces between raw metal beams are stuffed with insulation. Wesker checks the jamb outside. It's got a lock mechanism. Blue. WESKER (cont.) Not an override. My key won't work here on the way out. Prop the door. The troopers drag a heavy crate over to hold the door open. Wesker moves out. The commandos trickle after him. Chris holds Jill behind for a moment. CHRIS Jill...this guy is a Loony-Toon. JILL He's just... trying to get the job done. Doing what he has to do. CHRIS Yeah, well...I hope you'll say the same about me... when I do... what I have to do. Chris turns and walks off. Jill follows him out into... INT SERVICE CORRIDOR TIMELESS ...the corridor. They catch up with the TROOP which is clustered at a blind alley which has two doors. WESKER (Checking his map) It's not clear... which way to go. RODRIGUEZ Want me to flip a coin? WESKER is annoyed by the remark. Decisively, he selects one of the doors and uses his green key card. With a BZZZZ, the lock releases. The troop enters... INT SYSTEMS CENTER TIMELESS ...a vast ROOM, fifty-by-fifty yards. It's filled with HEATERS, AIR CONDITIONERS, WATER PUMPS. MAIN FRAMES for the internal computer network line one wall, FUSE BOXES and SWITCHER PANELS another. This is the systems center for the entire facility. There's an attendant's desk just inside the door. AIKEN and SULLIVAN drag it over to prop the door open. It makes Pg-54 a frightening SOUND as it scrapes the floor, echoing, bouncing around in the large space. It prompts a response... another of those animal-like SNARLS from somewhere in the distance. SULLIVAN What's that sound like to you? AlKEN A meat-eater. There are thick columns, floor to ceiling, every ten feet. The spaces between them are very dark. It's hard to see. WESKER and some of the OTHERS click on their FLASHLIGHTS . Beams cut through dust. There are ELECTRONIC HUMS.. CLICKS and CHATTERS emit from the switchers, PINGS from the heaters, all combining to fray everyone's nerves. Light beams dance nervously as the commandos start out across the dark and frightening space. CHRIS (Softly to Jill) This is the heart of the whole place. They've got to have it... protected somehow. Two things happen, almost at once. First.. .CHRIS notices ELECTRIC EYES... on all of the columns. CHRIS (cont.) DUCK! HIT THE DECK! Second. A ZOMBIE lurches around a corner and BITES a chunk out of MARINI'S face. JILL whirls around to shoot at the zombie, but Chris grabs her and FLATTENS her on the floor. Marini, staggering, screaming in pain, triggers the first electric eye. LASER BEAMS shoot in all directions, forming a tight NET. Chris and Jill are barely beneath them. Many of the other troopers are hit by the beams... which do no immediate harm... but wherever they make contact, small CYLINDERS above the electric eyes begin to HISS. CHRIS (cont.) FOR CHRISSAKE, GET DOWN! The commandos duck under the laser beams... just in time. Jets of STEAM spout from the cylinders. It's not just hot steam. It's ACIDIC, deadly. Marini is hit by it. His clothes IGNITE. His flesh BOILS. It's a horrible sight, but for the moment, the jets stop. Pg-55 Marini is dead on his feet. When he falls, he trips another of the laser beams. The steam jets SPOUT again. The troop is beneath them, though many are burned by liquid drops that spit from the nozzles. Amazingly, the zombie has avoided contact. But as it begins to stumble after commandos, we realize it's going to activate the sensors again. SULLIVAN There's no way outta this mousetrap! RODRIGUEZ So we live here now? SPEYER We gotta run for it. The zombie hits one of the laser beams. The steam HISSES out again. The zombie is MELTED. AIKEN Bad idea, Speyer. CHRIS Down. Through these. Chris has noticed a series of hinged panels in the floor. VICKERS Where do they go? SULLIVAN Does it matter? Sullivan whips out a Swiss Army knife and goes to work on the screws that hold down one of the panels. Other troopers do the same. Another ZOMBIE lurches out of the darkness. And ANOTHER. Human hands work furiously, loosening screws. Panels come up, Troopers begin to duck through the openings. A second zombie hits a red beam. STEAM again. Chris and Jill are spattered. Burned. But Jill bravely keeps working with her own issued knife. She gets a panel open. As she drops through, a third zombie triggers a burst of steam. Chris ducks and covers. When the jets stop, Chris begins to climb into the opening, but one of his legs is GRABBED from behind by... ...one of the dead things which has already been MELTED! Pg-56 Its flesh is bubbling. Bone is beginning to show. But the acid hasn't reached its brain yet. The creature is still alive. Chris CRIES out. Acid from the zombie's hands is burning his leg. The thing's lips have been eaten away, making its teeth look frighteningly skeletal as it leans forward for a bite of flesh. Chris jams the stock of his Winchester into the zombie's mouth. He's able to hold the thing's head back, but he's stuck. He can't let go. Jill pops up out of the floor. She presses the barrel of her own weapon into the zombie's forehead. JILL On three... CHRIS One... two... Chris pulls his rifle away. At the same instant, Jill FIRES. The zombie is PROPELLED through the air. One of its flailing arms triggers another laser beam. Chris throws himself in on top of Jill as STEAM HISSES over them. Twenty yards away, Wesker crawls under the cloud of acid. Just as he climbs down through one of the openings, he feels pressure...on his ear. A groping zombie has accidentally hooked its fingers onto the wire that runs from the detonator to Wesker's ear-piece. For a breathless moment, it seems like the sensor will be popped loose. Holding the pulse-reader in place, Wesker twists his body, lifts his hand gun, and PUMPS THREE into the dead thing's brain. The zombie flops over, but its fingers cling, entangled, in the wire. Wesker plants his pistol barrel on the knuckles of the thing's dead hand. THREE MORE SHOTS cut through bone, removing the fingers from the hand. The wire is freed. Wesker dives into the opening in the floor. INT AIR DUCT TIMELESS The COMMANDOS find themselves in an AIR DUCT. No room to stand. Hardly room to sit. Chris looks at his rifle stock. It's corroded from the acid in the zombie's mouth. Jill notices. JILL God...and it doesn't even stop them... Pg-57 CHRIS It's not meant to stop them. It's meant to stop...something else. That distant SNARLING SOUND comes again, making Jill shiver. The troop is strung out along the metal shaft. REBECCA crawls among them, treating the worst burns. WESKER checks his maps. SPEYER confronts him again. SPEYER We damn near got turned into Rice Krispies by that gizmo of yours. If you don't want me to nail that fuckin' thing into your ear, you deactivate it. Right now. WESKER I can't. They.. .fixed it... so you can't chicken out. The system can only be turned off at the main panel. BARRY Where the hell is that? WESKER Where the explosives are. Down... farther than we need to go. We only have to make it down one more level. If... when... we make it back up to the choppers... we can fly out of the detonator's signal range. Chris calls out from the far end of the shaft CHRIS I'm not willing to rely on that. I live here, this is my town! WESKER The town's been evacuated. Just... just in case. CHRIS That explains the lie. About the plane crash. An airplane down... with weapons on board... would nicely explain a big explosion, wouldn't it? You figured all along you might have to blow this place! WESKER I don't want to do it. I... I hope I don't have to. Pg-58 Chris looks down the dim air-shaft, unable to see Wesker's eyes, hidden by distance.. .and by his dark glasses. WESKER (cont.) That's the best I can do for you, kid. Good faith. Now... let's knock on it. Wesker moves out. The troop follows. CHRIS I...I can't let this happen. I've got to find that bomb. JILL I'll help. Once Wesker gets what he wants, my obligation is over. Chris looks at her with appreciative eyes . CHRIS No. I want you out. With the rest of them. Wesker won't push the button until you're clear. JILL He doesn't want to push the button. CHRIS He has to. Don't you see? He can't leave these labs here. And, Jesus... walking corpses! He's gotta get rid of the evidence. INT AIR SHAFT TIMELESS The light is dim at its best. Long stretches of the shaft are pitch black, and there's a constant stream of air that MOANS eerily. This whole mission has been like a descent into Hell, darker and more frightening with each level down. There are turn-offs, "T"s and "Y"s. At one point, when JILL looks back, she finds ROSIE behind her. Chris is gone. Did he leave to deal with the bomb? No, but he's about to. He's at the rear of the pack, pressed against the side-wall, waving others past. JILL Chris, no! CHRIS I've got to try and stop this. Pg-59 Jill starts back toward Chris, but freezes.. .everyone freezes when... the duct-work starts to PING. RODRIGUEZ Shit. One thing after another. BOOM! The air shaft is ROCKED, as if punched by a giant fist. Then...the whole structure begins to SHIMMY. What is it, an earthquake? WESKER Sit tight. Ride it out. GRONK! A sheet-metal panel BUCKLES! Others do the same. All along the shaft, panels begin to FOLD INWARD. Something outside is CRUSHING the duct as if it were a giant tube of toothpaste. And the troopers are being SQUEEZED inside. RIVETS POP! The panels begin to SEPARATE...and large, pulsing bits of FLESH appear! Not animal flesh. But the flesh of A PLANT! The things that press in through the openings are larger versions of the vines we saw in the kitchen. Those were its fingertips. These are its ARMS. Strong arms that are RIPPING the ductwork apart. Chris, Rebecca, Aiken and Sullivan end up in one part of the shaft. The rest in another... including Jill, who calls out. JILL CHRIS! The section that holds Chris' group FALLS AWAY... with a monstrous, CRUNCHING sound. INT ARBORETUM TIMELESS CHRIS' GROUP spills out of the dangling metal, with cables from the torn ceiling...TZZZZZT...SPARKING around them. The troopers drop out of Hell, into...PARADISE. An enormous HOT HOUSE, a lush, indoor JUNGLE of PLANTS, IVIES, GRASSES. It's like a RAIN FOREST, complete with a thick, damp MIST that makes it difficult to see. We might be on another planet. None of the foliage seems indigenous to Earth. There are LEAVES the size of bed sheets, FLOWERS , the size of armchairs. And at the center of it all, is the mother of the deadly vines... ...PLANT 42, a monstrous schefflera, twenty times normal size. Most of its limbs reach upward, where they have opened CRACKS in the ceiling and walls, to stretch on into the facility above. There are also dozens of shorter, beefier "arms", each of which act independently, like tentacles on an octopus... and each has a large, drooling POD at its tip. Pg-60 INT RUNWAY TIMELESS BURSTS OF GUNFIRE from three M-16s shatter our ears... and a ceiling VENT. WESKER and THE OTHERS jump down into... ...a very unusual CORRIDOR. It seems to stretch forever, in both directions. It has no doors, no visible means of exit or entry. The walls are made-up of multi-colored polymer TILES, whose irregular shapes fit together like a JIGSAW PUZZLE. The floor is HEAVY STEEL, though faceted. It seem designed to shift. The whole corridor looks like it might be able to bend, to change position, like an airport jet way. There are disconcerting signs of damage...claw-like GOUGES on the tiles, clean cut HOLES punched through the metal ceiling, larger in diameter than any that might have been caused by bullets. And there are smears of BLOOD everywhere, as if some terrible battle... or battles...took place here. WESKER This way. (He starts off.) JILL No. That way. Chris and the others... WESKER If they're dead, they're dead. If they're alive, they'll still be alive in twenty minutes. When we get back. JILL Maybe not. And how do we know it's only going to be twenty minutes? How do we know we'll be able to come back this way? WESKER We don't. But we'll do our damndest to try. This is it, guys. The home stretch. Let's go. Wesker trots off. Vickers and Rodriguez follow. Speyer and Barry hang back... with Jill, who remains torn. WESKER (cont.) (Looking back) Valentine. You're on the clock! Fall in! Jill wrestles with her emotions but, in the end, dutifully, she "falls in". As the troopers move off, we hear odd SCRATCHING SOUNDS... with the high-pitched SQUEAL of metal-on-metal. Pg-61 INT ARBORETUM TIMELESS The beefy "ARMS" of PLANT 42 undulate overhead as CHRIS and his COMPANIONS look for an exit. REBECCA Th-this thing was no accident. It was cultivated! CHRIS And it didn't rip out the ceiling for the fun of it. Stay alert. The plant seems to behave intelligently, with caution. The pods on its "arms" dart, almost as if sniffing... then pull back...like the vines in the kitchen, like timid animals. Chris spots A DOORWAY. CHRIS (cont.) Here. As the others follow him, one of the pods swoops down in front of REBECCA, and doesn't withdraw. It hovers there. Its follicle's open like jaws, which display serrated daggers of cartilage that look like teeth. Inside, a pulsing calyx emits a pistil that twitches and swells. AIKEN My mother made me eat vegetables. I know 'em all. This ain't one of 'em. SULLIVAN Aiken... ANOTHER POD swoops down on Sullivan's back. Its BEAK clamps onto the flesh between his shoulder blades. It's PISTIL shoots out like a hypodermic needle, stabs him and, within the blink of an eye, SUCKS out every ounce of the man's blood. His skin turns the color of PARCHMENT, FLAKING OFF HIM like powder, as he dies. AIKEN Sullivan! JESUS, SULLIVAN! Aiken rushes to his buddy's side. CHRIS Get out of the away! Chris launches himself off a stone retaining wall around one of the gardens. Leaping up, he grabs one of the SPARKING CONDUITS and pulls it down. Pg-62 CHRIS (cont.) Get OUTA THERE, AIKEN! Chris ends up having to shoulder Aiken out of the way. Tendrils from the plant very nearly get both of them, but Chris manages to JAM the semi-rigid conduit into a pool of sprinkler-fed WATER around the plant's roots. A BRIGHT CURRENT stutters through every vine. The plant SHRIEKS, hideously, as electricity causes fluids to SQUIRT from boils that develop on its flesh, down along its "arms", and into its blood-sucking pods...which FLOP, lifeless, to the floor, with the same sort of liquid SMACKS that human skulls might make. AIKEN They.. .they killed Sullivan. The bastards... whoever did this shit... they KILLED SULLIVAN! Enraged, Aiken draws a long-bladed KNIFE and wildly attacks the remains of Plant 42, slashing at the thing's dead limbs, not stopping until he cuts into... ...something that looks like a vine...but BLEEDS RED! Aiken traces the thing with his eyes, up to where it's coiled in high tree branches. It's the oversized body... ...of A COPPERHEAD, with a belly SIX FEET in diameter. As Aiken gasps, spellbound, he's STUCK from behind. The snake is so long, its body is draped on one side of the greenhouse, but its head is on the other. With the power of a dozer-shovel..JAWS like the open hood of a Cadillac... TEETH the size of windows...CLAMP onto Aiken's mid-section, instantly CRUSHING his ribs. Chris finds a skein of ROPE. He throws the long end over a ceiling beam, then instantly makes a LASSO out of the piece in _is hand and tosses the loop at the snake's head . Aiken's body, in the serpent's jaws, makes the rope miss. Chris throws again. In the seconds between tosses, the snake has SLURPED Aiken into its mouth. The rope encircles the beast's head. Chris pulls. The noose slips down over the snake's maxillaries and tightens around its neck. Chris uses all his strength. With the ceiling beam as a pulley, the snake's head is SLAMMED against the rafters. CHRIS (To Rebecca) Hold this. Rebecca is, understandably, not quick to respond. Pg-63 CHRIS (cont.) GET IN HERE, SOLDIER! In this crisis, Chris finds himself sounding a lot like Wesker. It sobers him. It sobers Rebecca, as well. She rushes in and takes hold of the rope. Moving fast, Chris rushes to where Aiken's knife dropped on the floor. He grabs it, turns back, and sees... ...something MOVING inside the snake's beaded torso. It's Aiken... still alive. Chris charges, PLUNGES the knife into the beast, hacking through layers of fat until he reaches a bloody CAVITY. Aiken is curled within, like Jonah in the Whale. His chest has been crushed to half its normal size. Acids from the monster's intestine have begun to eat through flesh on his hands, his face, but he's still conscious, able to wheeze-out words. AIKEN K-kill me. S-Sullvan said...I'd be.. .better off dead. That...ain't never been truer than now. Kill me! The snake uses all its strength to lower its head from the ceiling. Rebecca hangs bravely onto the rope, but she's LIFTED, bodily, off the floor. The rope SNAPS, cut by the steel beam. Rebecca falls. The trailing edge of the noose catches on twisted debris. It delays the snake for two seconds. Those fragile seconds give Chris just enough time to reach into the open belly of the monster...and pull the PINS on TWO GRENADES that dangle from Aiken's vest. The giant copperhead SNAPS at Chris from behind, missing him by inches. He dives, like a wide-receiver reaching for a pass. What he catches is... ...Rebecca's arm. His momentum carries her down to the floor. They roll behind another STONE WALL that contains tons of earth, which protects them from... ...BOO-BOOOOOM!... the explosions of the grenades... which blow Aiken... and yards of the snake's mid-section...into eternity. INT CONFERENCE ROOM TIMELESS The same nervous HANDS that we saw in the opening fidget on the polished surface of the conference table. A distorted VOICE scratches over a speaker-phone. Pg-64 VOICE ON THE PHONE (o.s. filter) We're close. I think I'll be able to get the package. It's been... very interesting. VOICE IN THE ROOM Anything you can't handle? VOICE ON THE PHONE (o.s. filter) (Chuckling) There's nothing I can't handle. A hand with an ostentatious RING flicks cigar ash. HOLDEN Keep us appraised. Holden's hand clicks off the speaker-phone. HOLDEN (cont.) (To the others in the room) I'm reassured, gentlemen...that every- thing is...under control. INT RUNWAY TIMELESS WESKER, alone in the strange, faceted corridor, packs away his radio. He hears... FOOTSTEPS. JILL appears. WESKER Where are the others? JILL Right behind me. Were you... talking to someone? WESKER To Washington. To my... superiors. They're your superiors too, Valentine. Don't forget that. Jill wonders. Should she challenge Wesker? She has no time to think. More FOOTSTEPS come CLACKING at her back. It's RODRIGUEZ and SPEYER. A moment later, BARRY and VICKERS appear from the opposite direction. BARRY Nothin'. man. No doors. Nothin'. We hit a dead end. SPEYER Us too. Cement wall. VICKERS We're never gonna get to that lab. Pg-65 TCHUNG TCHUNG TCHUNG... a sound like a rivet gun resounds in the corridor, repetitive, but random, not rhythmic. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA are crawling through a two-foot high feeder-passage for electric cables, their bellies scraping the floor, their backs the ceiling. They hear the sound... ...TCHUNG TCHUNG TCHUNG! Then suddenly...it stops. REBECCA (Crying quietly) I... can't take this any more. CHRIS We take what comes. That's the secret of our genius. He looks back. Rebecca sniffles. CHRIS (cont.) How old are you? REBECCA Not very old at all. Not nearly old enough to...to... CHRIS None of us is old enough for that. Rebecca nods, forcing a smile meant to be appreciative. REBECCA Jill... told me... you were nice . CHRIS She did? She never told me. That sound returns... TCHUNG TCHUNG TCHUNG...getting louder. INT RUNWAY TIMELESS Down in the corridor, the other TROOPERS see... ...faintly in the dusty reaches of the dark... AGILE SHAPES advancing... not along the floor, but along the CEILING! They look like apes, swinging from... What could they be swinging from? The ceiling is solid metal. CLOSE ON: A MONSTROUS HAND, both hairy, and scaly. It's fingers have ten-inch claws.. .more like horns... which PUNCH upward, penetrating the ceiling metal, and clamping on. Pg-66 THE SHOT WIDENS to reveal A BEAST, unlike any we've seen, dangling from the ceiling. It is ape-like... and lizard- like. With ferocious eyes that glare from beneath an insect- like carapace. This thing is an amalgam of all the nasty creatures that have pursued us in our nightmares. It's called... A HUNTER. There are SIX OF THEM... as far as we can see, there might be more coming from behind. Their three-toed feet also have claws that can pierce the ceiling, enabling them to move forward... hand over foot, foot over hand. One of them lets out a GRRROWLLLL! The same sound we've been hearing through the walls. Now it echos in the corridor, up close and personal. The troopers open fire, even before the creatures get in range. INT ELECTRIC TUNNEL TIMELESS CHRIS and REBECCA hear the gunfire. CHRIS Hurry. Chris crawls on. Rebecca is stopped when... TCHUNNNNGGG ! One of the HUNTERS' CLAWS PUNCHES up through the floor , almost stabbing her. Rebecca SCREAMS. In the tight space, Chris is barely able to reach back and take her hand. TCHUNNNNGG! TGG! More CLAWS penetrate the metal. The couple plunge ahead of them, the way Chris plunged ahead of the bullets on Level "A". INT RUNWAY TIMELESS WESKER, JILL and the OTHERS spit lead at the advancing creatures. Bullets THUNK into their bodies. Blood flows, but the creatures seem to feel no pain. Even when they're hit squarely in their skulls. BARRY Head shots. Ain't doin' nothin'! WESKER That was the idea. BARRY What idea? WESKER To win. The idea was... to win. Pg-67 Jill aims at one of the hunters, pressing the trigger of her M-16, and not letting go until her clip runs out. The creature's head is turned RAGGED by the barrage... revealing an iron SUPERSTRUCTURE beneath the skin. VOICE (o.s.) Now that... is a metal-head. Jill looks up. CHRIS jumps out of the open grate in the ceiling. REBECCA jumps down after him. CHRIS (cont.) What d'ya think? Should I wait for orders, or just wing it? JILL Wing it! CHRIS You know...that just might be the ticket. Wing the fuckers. Chris takes a careful SHOT with-his Winchester. He hits one of the Hunters squarely on its WRIST...which SNAPS. The creature drops to the floor. CHRIS (cont.) Forget the head shots. They're useless. Shoot for the joints. The JOINTS! Rebecca opens FIRE with Aiken's M-16, giving the others time to reload. Barry is the first to resume firing...at the closest of the Hunters... at its wrists, which are SNAPPED by the bullets. The creature drops to the floor. The troopers fire at KNEES, ANKLES, ELBOWS, which seem to be the weakest spots. More of the hunters drop from the ceiling...but they continue to advance, crawling, pushing themselves forward with whatever limbs remain intact. SPEYER Run! We slowed 'em down. Run! BARRY Where? As far as we'll get, either way, is a cement wall. There are two hunters left on the ceiling. One of them makes a mighty, impossible LUNGE... and hits Speyer like a battering ram, slashing his CHEST OPEN with its claws. Two of the hunters on the floor rush forward, not attacking, but wanting to feed on Speyer's remains. Pg-68 Brad, trembling, completely crazed, drops his weapon and backs away. He sees...one of those jigsaw tiles, a RED one, GLOW from within. He thinks he's hallucinating until... ...the floor JERKS, in a tight spasm. Its steel facets begin to separate, sliding away from each other. The troopers narrowly escape as.. . ...the floor behind them GRINDS, in and out, left and right, as if it were CHEWING. Speyer's body, and those of the hunters on the floor, are EATEN by the powerful steel blades. But one hunter remains above it all. TCHUNG TCHUNG TCHUNG, it continues to advance along the ceiling. An invisible, JIGSAWED DOOR glides open twenty yards down the hall. The troopers run for it, and are met by a beautiful Asian scientist... the woman we saw on the video playback... ADA WONG. ADA You lost a man. If I had only been faster. I was unfamiliar with the mechanism. TCHUNG TCHUNG... the Hunter approaches . ADA (cont.) God. One of them... is still .. Quickly. Inside. Quickly! The troopers rush into... INT CUBICLE TIMELESS ...a security cubicle. CHRIS is the last to enter, barely making it before the door begins to slide shut. KA-TCHUNK! CLAWS penetrate the opening. ADA Don't worry, it's mindless. It doesn't realize that it's strong enough to push the door open. BARRY (cont.) Sometimes the dumb get lucky. RODRIGUEZ Hasn't happened to me, yet. The Hunter GROWLS. Its snout darkens the space between door and wall. Mucous from its nostrils spits through. Pg-69 After a terrifying moment, the claw recedes. The dark snout disappears. The snorting fades away. Followed by a distant...TCHUNG TCHUNG TCHUNG...as the hunter departs. Everyone relaxes, visibly. The troopers turn and, for the first time, notice two haggard SCIENTISTS standing across the room. ADA My... colleagues. Benjamin. Toshiro. As far as we know, we are the...only ones.. .left alive. We worked on "C" level. One of the biologists saved us. Brought us down here. He knew that... he didn't have long to live. He... started the mechanism... out there, in the corridor.. .and he let it... take him. Ada stares at a complicated control panel. ADA (cont.) I only saw it used that one time. Or perhaps...I could have been faster. The man...you lost... RODRIGUEZ You did fine, lady. We're obliged. ADA As are we. (Sighing) We believed... we would die here. Believed...the bomb would destroy us. JILL You knew.. .about the bomb? ADA The end for a place like this, when it fails... must be a bomb, yes? Jill looks at Chris. His point has been proven. ADA (cont.) But now... that you are here... the bomb will not come. CHRIS It... already came. ma'am. We brought it. The colonel, here... he's wearing it. Ada looks at the detonator on Wesker's belt, at the sequence of blinking lights. 70 ADA (To Wesker) Is it true? Are you here to... rescue? Or destroy? WESKER Both. (With that odd smile of his) If I have to pick only one... I'll pick destroy. ADA You're not S.T.A.R.S. You're Umbrella. WESKER Once again. Both. (Still smiling) Two salaries. Three if you count combat pay. Ada looks at him with disgust. ADA The man I loved, John Marcus... developed the organism that caused all this. He... he did it for humanitarian purposes. It was taken away from him...for in-human purposes...by men like you! WESKER No, ma'am. Men like me... are just errand boys. Sent in to do the wet-work. All of the glory. None of the benefits. ADA After what you've seen down here, do you think any of it could be turned into... benefit? WESKER Yes. I think it could be turned into five or ten million dollars. How do we get into "D" lab? ADA Death lab. (She slumps) John was killed...never even knowing it existed. They kept him... isolated, upstairs, while a separate team was down here...corrupting his research. Using it to build B.O.W.s. CHRIS B.O.W.s? Pg-71 ADA Bio-organic weapons. REBECCA The sharks. The plant. ADA Early experiments. CHRIS The snake. ADA A failure. Its behavior remained reptilian. All they could ever get it to do was... grow in size. RODRIGUEZ Those dogs. They were weapons. ADA No. They... simply became infected. As did... everyone else. Janitors. The cook. Electricians. Guards. People who believed they were serving their flag. Scientists. Great minds... turned into mindless.. .ghouls! CHRIS Before the outbreak, the experiments went further, didn't they? Those... ceiling-crawlers out there.. . ADA The product of human DNA spliced with the DNA of vicious carnivores... animals, even insects. Plated with armor, beneath newly cultivated skin. Then... injected with poison, so their biological components would die. JILL Die. ADA The "T"-virus reactivates them in a matter of minutes, but... in battle, lost minutes are... inconvenient. So, the B.O.W.s had to die... and be allowed to revive before they could be used to... full advantage. They were murdered... by their own people... so they could never be murdered again... by the enemy. Pg-72 CHRIS Were any more of these...weapons... developed? Ada is about to answer, but Wesker interrupts. WESKER HOW DO WE GET INTO "D" LAB? ADA You don't. Ada glances at an innocuous wall panel. Wesker notices a key-slot. Green. ADA (cont.) It can't be opened. Thank God. None of us is cleared for that level of security. WESKER How fortunate... that I am. Wesker steps over to the wall and inserts his green card into the slot. The panel slides open. Beyond it is a steel door with another green slot. Wesker uses his card again. A lock CLICKS. Wesker pushes the door open. WESKER (cont.) Barry. Come with me. The rest of you.. .make sure this door doesn't close. Remember... Wesker taps his ear-piece. Everyone gets his meaning. He and Barry disappear through the opening. The steel door begins to close. Rodriguez lunges, and catches it. ADA Have...you been leaving doors open? JILL Yes. ADA This place is going to be overrun by... REBECCA Brad's in really bad shape. Brad is leaning against a wall, sweating, shivering. Rebecca looks at his wounded leg. REBECCA (cont.) That's not just a scrape. You were bitten, weren't you? Pg-73 VICKERS One...of the sharks. Its teeth. I Just...brushed up against its teeth...after it was dead. ADA (Alert) Shoot him. Somebody, shoot him! JILL No! We're so close. The antidote. INT STAIRWELL TIMELESS WESKER and BARRY trot down a flight of metal stairs. BARRY What's got into you man? This... this isn't like you. WESKER Oh, yes, this is exactly like me. Until now, Wesker has been steadfast. He suddenly seems nervous, anxious. Some of it is fear. Most of it is anticipation of the goal which is suddenly within reach. WESKER (cont.) This is...what I've been all my life. A guy... suckin' up to the honchos. Wipin' the shit off their asses... all the while lookin' for a break. A way to get some of my own! Well this it, friend. I'm myself, alright. And I know exactly what I'm doing. I told you...before this day was over... I'd pay you back. INT CUBICLE TIMELESS CHRIS and JILL step past RODRIGUEZ. They take off down the stairs. As they leave, ADA opens a desk drawer and pulls out a .45. RODRIGUEZ (Looking at the gun) You know how to use that thing, chica? ADA Of course I do. I'm a scientist. Pg-74 Ada CLICKS back the bolt, whips up the .45, and aims it at BRAD'S head. REBECCA dives in front of the man. REBECCA No! You can't! Not while there's still a chance to save him! INT SAFETY CHAMBER "D" LAB TIMELESS WESKER and BARRY arrive at a set of PLEXIGLASS DOORS. They can't see through them, they're FOGGED. Wesker finds a key slot, inserts his access card, and... ...WHOOSH... the doors open. A CLOUD OF HYPER-COLD MIST rushes out, instantly coating the men in FROST. Wesker doesn't feel the cold. He doesn't feel anything, except a surge of triumph. He steps through the opening into... INT "D" LAB TIMELESS ...a laboratory that looks like-the cockpit of a Concorde... only a hundred times larger.. Nothing is, recognizable, except desks that hold futuristic-Ibokin computers. A befuddling array of BUTTONS, SWITCHES, stuttering LIGHTS, covers every inch of wall space. And at the center of it all stands a tall, cylindrical TANK, a stasis tube, filled with ICE. It's mounted on a six-foot tall platform, like an altar, with cables and flexible tubes running out of it. Wesker squints, and through the freeze, sees the thing that stands sedated within the cylinder... ...THE TYRANT. It's nine feet tall. Like the hunters, it has more or less human form, though it's musculature is more defined than Superman's. One of its arms is scaled to size, but the other is much longer. Its hand dangles at knee- level. Monstrous steel CLAWS depend from its fingers, nearly touching the floor. WESKER (In awe) It's called... the Tyrant. Nobody knows it exists. Except us... and Holden. BARRY Holden? WESKER Umbrella's man in D.C. We need him. He signs the checks. (Excited) We've got it, Barry! Our fortune! Pg-75 BARRY You're not gonna try to get this big mother outta here ? WESKER Don't have to. All we need is the data. Then.. .these things can be cranked out on an assembly line! Laying down his automatic, WESKER hits computer keys until a DISK pops out of a master-feed. WESKER (cont.) YES! This is it! BARRY What about the antidote? WESKER Antidote? (Laughing) There is no antidote. That was just happy horse shit, to keep the team going. Neither man notices... that the removal of the master disk has caused certain systems to fail... indicated by red lights, and by the fact that... the walls of the Tyrant's cylinder are beginning to run liquid sweat. The ice... is MELTING. BARRY You're gonna give this to Umbrella? WESKER No. I'm gonna sell it to them. Then I'm gonna open a Swiss bank account... right next to yours. JILL (o.s.) God...damn! JILL has appeared in the doorway with CHRIS. They both at the monster with awe...and terror. JILL (cont.) That thing... can't be real! WESKER It's real, alright. And it's worth... more than gold. More than uranium! RODRIGUEZ Do we get a piece of that action? ROSIE has arrived. So have REBECCA, ADA, and the two surviving SCIENTISTS. Pg-76 WESKER All of you do. Anyone who comes out of this alive... gets a taste. RODRIGUEZ (o.s.) I'm in. I been eatin' shit all my life. I'm happy to eat some more... as long as it's got some gravy on it. Rosie steps into the lab, her weapon ready. WESKER Anybody else see it my way? One of the scientists, TOSHIRO, rushes to join. ADA (To Toshiro) You disgrace yourself! TOSHIRO I...I want to live. WESKER Smart. Anyone else? Valentine? Jill looks at Chris. Then she steps through the doorway and takes a defensive post beside her c.o. CHRIS And I was gonna try to disarm the bomb. This place should be destroyed! It needs to be destroyed! Chris lifts his rifle. Wesker is faster with his pistol, aiming it at Chris' belly. WESKER Gotcha, son. It's only because of Valentine, here, that I didn't squeeze the trigger. Chris and Jill exchange dagger eyes. CHRIS If she's on your side... she doesn't mean shit to me. And I don't mean shit to her. JILL Chris, please. There's only... one way to go, here . WESKER That's right. My way! Pg-77 JILL Yes, sir. Your way! Jill presses in close to Wesker, as if completely allied. JILL (cont.) I...can't yell you, Chris...how much I wanted...things to have turned out differently. (Beat) Goodbye. Swiftly, unexpectedly, Jill snatches the detonator wire and pulls the sensor out of Wesker's ear. Everyone shuts their eyes, expecting to be blown sky-high. Nothing happens. Jill pulls the detonator off Wesker's belt. She stares small LED screen which reads... 14:42:16... 15... 14... JILL (cont.) Shit. I got all my courage up... and we still have fifteen minutes! Jill tosses the detonator to Chris. Wesker turns on her, lifting his M-16... BARRY You shoot. I shoot, boss. Wesker turns to find Barry's weapon aiming at his belly. BARRY (cont.) Shit.. here I am still callin' you 'boss'. Wesker is holding the data-disk. Suddenly, he feels it snatched away...by Ada, who has rushed into the room. He aims his weapon at her back as she darts away. Before he can fire, he's KICKED in the head... by Jill. Buckling, dazed, he looks up at her. JILL We believed in you. I believed in you. Boy, was I a sucker. She kicks him again, just for the hell of it. He flops on the floor, his eye-socket swollen. He's dropped his gun. He gropes for it. Barry steps in and boots it away. A KLAXON SOUNDS! Emergency! The ice in the Tyrant's tank has melted down to a critical level. The monster... is beginning to MOVE. Pg-78 Reaching the doorway, Ada hears a mechanism TRIP in the jamb. The Plexiglas doors begin to slide shut. Ada strains to hold them back. ADA Get out! Now! Or you never will! RODRIGUEZ So... we'll live here! (Glancing at the Tyrant) No. The landlord looks like a sonuvabitch. Rosie rushes in to help Ada hold the doors. So does BENJAMIN, the second of the surviving scientists, who is... ...MAULED from behind by a ZOMBIE. It's not just any zombie. It's BRAD VICKERS, back from death, who BITES out the artery in Benjamin's neck. ADA I TOLD YOU... TO SHOOT HIM! Ada lifts her .45 and blows Vickers way. She looks down at Benjamin, writhing on the floor, aims at his head... and FIRES again. Rodriguez is the only one holding the doors. Jill rushes to help her. JILL Everybody! OUT! CHRIS (Off the LED) Thirteen minutes. Inside the lab, Barry turns to Toshiro, the other scientist. BARRY Go. Toshiro hesitates... a second too long. KRAAASSSH! The stasis tube BURSTS open. WATER and bits of ICE fly out... along with an enormous, bionic HAND. Big-enough to grab Toshiro's head as if it were a cantaloupe. Powerful enough to CRUSH that head as if it were... well, a cantaloupe. Wesker, still searching for his pistol, sees all this. The Tyrant is not completely free. Much of the cylinder wall has cracked away, but sections of it cling to a now misshapen mass of ice that still holds the monster bound. Though it won1t for much longer. Wesker starts toward the door. Barry grabs the back of his shirt and pitches him across the lab. Pg-79 BARRY (cont.) You and me... we ain't goin' nowhere. Not just now, boss. Barry turns to the others clustered at the doorway. BARRY (cont.) This thing gets loose, it's gonna be pissed. Somebody's gotta hold it back. Give you guys a fair chance. JILL LOOK OUT! Wesker has found his pistol. He FIRES at Barry who, ducking, is only GRAZED. Wesker aims at the group in the doorway. Barry pops out from behind a desk and shoots back at him. Ada and Rebecca duck away from the doors, pulling Rodriguez and a reluctant Jill after them. The doors begin to slide closed. Chris valiantly tries to prevent them from shutting. Wesker CRAWLS lke a dog. He manages to fling an arm out through the opening. Steel bumpers press on the meat of his forearm. Wesker looks up. Through the Plexiglas, his eyes meet Chris'. WESKER Get me outta here, Redfield. Or so help me God, you're a dead man. With his free hand, Wesker aims his pistol at Chris. The gun barrel is an intimidating sight, even though it's on the other side of the plexi. Chris glances at the others. CHRIS Get going. JILL Not without... CHRIS MOVE! Ada, Rebecca and Rodriguez wrestle Jill away bodily, and start up the metal stairway. WESKER COME BACK! RODRIGUEZ! VALENTINE! THAT'S AN ORDER ! CHRIS Orders don't mean shit any more, Wesker. Especially when they come from sell-out bastards like you. Pg-80 Chris lets go. The doors squeeze tighter. Wesker SCREAMS. Through the plexi, Chris catches a glimpse of Barry, who stands and gives him a military salute. Chris salutes back. BLAM BLAM BLAM... Wesker FIRES three rounds. Dusty blemishes appear on the bulletproof glass. The slugs ricochet back into the lab. One of them CHIPS away at the ICE which is less and less able to contain the Tyrant. Chris makes a break for the stairs. Wesker twists his body in an attempt to push his pistol through the opening, but his fist, around the stock, is too thick. Nonetheless, Wesker FIRES .BLAM BLAM BLAM... bullets SCREAM off the banister rails, but none of them contact Chris' legs which disappear up the stairs. The ice in the stasis tube is turning to slush. The Tyrant is about to break loose. Wesker looks pleadingly at Barry. WESKER B-buddy. You gotta get us out. BARRY Not sure I know how, boss. Do you? Is there some other...'need-to-know' secret for shutting down the Big Bopper, here? WESKER No. It.. it can't be shut down. BARRY The ultimate warrior. The ultimate soldier. We'll see. How it does against a couple of hard-ass career guys, like you and me. WESKER swings his free arm and aims his pistol at BARRY. CLICK! The gun is empty. INT CUBICLE TIMELESS The ESCAPEES arrive in the security cubicle. ADA The corridor outside... can be moved. Ada rushes over to the instrument panel. Her hands go to work on an array of buttons and switches. Pg-81 INT RUNWAY TIMELESS The multi-faceted CORRIDOR TWISTS into a new configuration with the RUMBLE of an "eight" on the Richter. INT CUBICLE TIMELESS ADA You won't come out in the same place. But you'll find a freight loader that can be accessed with... JILL ...a blue key. I hope. ADA No. Pot blue or green. Red. Ada pulls a RED KEY from under her lab coat, snaps the chain on her neck, and holds it out to Chris. ADA (cont.) I took it from an Umbrella agent assigned to us here. He died... like all the rest. CHRIS Red... overrides green. ADA Yes. CHRIS So... you could have unlocked "D" lab. ADA I was hoping it would never be un- locked again. Go. I will see that this.. .(she holds up the data disk) ... is destroyed. Chris grabs Ada's arm and holds it tight while he wrenches the disk away from her. He folds it over onto itself, drops it to the floor, and pumps three Winchester rounds into it. CHRIS It's destroyed. It's worthless But you're not. ADA I helped develop it! Pg-82 CHRIS Unwittingly. They lied to you. They lied to Marcus. They made you believe you were doing a good thing when it wasn't good at all. It was evil! Ada looks deeply into Chris' eyes. CHRIS (cont.) The kind of evil that... resides in all of us. Makes us... greedy, uncaring. The kind of evil that will... wipe us out, in the end. Unless we stand up against it. ADA Stand up? Against powers that have... ruled the world since before we were born? We will only be...eliminated. Or locked away someplace else. I'd rather die here. Knowing that the virus has died with me . Jill takes a step toward Ada. JILL What if it's already spread? You're the only one...who knew anything about it. ADA (The thought penetrating) But, I... know so little. CHRIS More than anyone else. You have... a responsibility. JILL To a higher command. The highest. She and Chris touch eyes again, this time with understanding. INT "D" LAB TIMELESS THE TYRANT flexes its monumental muscles. The ice around it CRACKS... but clings. The giant HEART dangling outside its chest PUMPS rapidly...sending fluids through exposed synthetic veins that run to the creature's brain. BARRY That's one helluva big pump. Pg-83 WESKER An implant. BARRY From what? A fuckin' elephant? WESKER Rhinoceros. BARRY Shit. I figured you knew more than you were telling. Barry FIRES at the encased organ. His bullets bounce off the shielding with no effect. BARRY (cont.) How do we kill this thing? WESKER I told you, we don't. W-we can't. It's unstoppable! More ICE pops off the monster's pectorals. INT RUNWAY TIMELESS CLOSE ON: ADA'S face. ADA I don't know if I can face this. She and the ESCAPEES are no longer in the Cubicle. They're in the runway. CHRIS Just get us upstairs. I'll take care of it from there. ADA Alright. (With a sigh) Come. They break out, at the run, klacking along the faceted steel floor of the movable... and still moving.. .corridor. KRUNNNGGG! They're nearly knocked off their feet when the system suddenly STOPS DEAD. Ada slams her fist into one of those JIGSAW TILES on the wall. Another RED one, which glows from within. A PANEL grinds open, revealing... Pg-84 INT FREIGHT CORRIDOR TIMELESS ...a more natural-looking corridor. Half-way along, there are STEEL PRONGS that protrude from a wall. The group starts toward them...but stops when a soul-shriveling SOUND fills the passageway...the hungry MOANING of things that are dead. ADA Doors... were left open. INT "D" LAB TIMELESS The TYRANT BREAKS free of the last bit of restricting ice. WESKER FREAKS. Whimpering, he gropes with his hand that's outside the Plexiglas doors. He grabs something. A BOOT. Brad Vickers' boot. Wesker tugs on it. BARRY opens fire on the Tyrant, full bore, with his M-16. The stream of bullets does nothing except make the monster notice the big man. INT FREIGHT CORRIDOR TIMELESS THE ESCAPEES run down the corridor. SHAPES appear at the far end. ZOMBIES! Twenty. Thirty. Forty. More. The walking remains of humans who were infected in the labs, crawling over each other, hungry for living flesh. The humans reach the FREIGHT LOADER. Prongs, like those on a fork lift, extend from a heavy chain-drive that runs up and down through openings in the floor and ceiling. ADA swipes her red key through a slot and pushes a button. The chain-drive Grinds upward, hoisting the prongs. ADA Step on. Ada pushes REBECCA onto the next set of prongs that come up out of the floor. The footing is precarious. Rebecca has to hold on to the chain as she is hoisted. The lift moves slowly, eight feet separating each set of prongs. The ghouls continue to press in. JILL I don't know if it's gonna happen. RODRIGUEZ Come on. I been waitin' all day for somthin. like this. Pg-85 Rosie opens FIRE. Chris and Jill follow suit as Ada steps onto the next set of prongs. Blood FLIES. Skulls SHATTER. Front ranks drop. Zombies from behind push their fallen comrades ahead of them. The corridor is like a syringe filled with corrupted bodies, pushing inexorably forward. Rosie, teeth gritted, keeps firing while Chris forces Jill onto the next set of prongs. As she rises, she hands her M-16 to Chris. He slings it on his arm while levering his old Winchester, making each of his shots count, until the next set of prongs rises out of the floor. CHRIS (To Rosie) You're up. RODRIGUEZ I'm havin' too much fun. You got a lady. I just got me. Anyway... I ain't gonna die in this rat hole. I'll make it. Get outta here. Chris hands Jill's rifle to Rosie, who fires with both hands as Chris jumps onto the lift. Zombies are MOWED DOWN. But more come. The syringe keeps pressing. The next prongs rise. Rosie steps on, still blasting.. The first zombies reach her. Shooting down, she blows them away. But more come, grabbing her legs, grabbing the chains, ROCKING the prongs. Rosie nearly falls. She drops one of the rifles in order to hold on. She carefully picks off the most threatening zombies. Miraculously, she rises out of their reach, and into... INT FREIGHT SHAFT TIMELESS ...a very tight, very dark SPACE with sheet metal walls that have been bruised by loads of freight. The rumble of the chain-drive ECHOES frighteningly. ABOVE ROSIE, THE OTHERS rise slowly... very slowly... feeling apprehensive, vulnerable. REBECCA, at the top, looks up and sees LIGHT spilling through an opening through which she is about to pass. ADA (Calling up to her) Level "C". Have your weapons ready. RODRIGUEZ (From below) Whoop-de-doo. Pg-86 Rebecca's eyes rise above the floor of Level "C". All seems quiet... but who knows what might be lurking. INT "D" LAB TIMELESS THE TYRANT, still a bit sluggish, steps down from the platform that supported its tank. BARRY jams in a fresh clip and keeps firing at the thing. The Tyrant, impervious, stalks after the big trooper. Wesker is still on the floor, his arm through the doors, tugging on Vickers' boot. The flesh on Wesker's forearm is PEELED by the bumpers as he uses all his strength to drag Vickers' body closer... until the boot winds up in the opening, preventing the doors from closing. Wesker manages to pull his bloody arm free. He rushes to a computer console and types a request for the "T"-virus. BARRY Get under a desk, man. I'm gonna feed this thing a pineapple. Barry pulls a GRENADE from his belt. WESKER NO! It might damage the system! I've got to get this data! Wesker's M-16 has been lying, where he left it, on the console. He picks it up. BARRY Forget it. Bullets don't work! Barry is about to pull the pin on the grenade when Wesker triggers off A BURST...into BARRY'S GUT! WESKER They seem to work just fine. Barry is BLASTED across the lab. The Tyrant makes its first quick move... making us appreciate how fast and powerful it really is. It swipes at Barry's body as it flies through the air, catching it in it's steel claw. We hears BONES SNAP as Barry goes limp. WESKER (cont.) That's it. Take a little lunch break, Mr. "T". I just need a few more seconds. Pg-87 The Tyrant lifts Barry's body, as if it were as light as a feather, up to its snout. Recognizing that the man is dead, the monster FLINGS him aside like so much garbage... and begins to lumber toward Wesker. WESKER (cont.) (To the computer) Come on, come on.. . A monitor reads: 90% COMPLETE...95%...98%. Wesker rests a finger on the button to eject a floppy. The Tyrant is getting closer by the second. Wesker FIRES a burst at it which only slows it for a heartbeat. 100%.. .TRANSFER COMPLETED. Wesker ejects the floppy, jams it into his flack-jacket, and, FIRING another burst, runs for the door. The Tyrant has to move around desks and computer consoles to catch him. Wesker shoves his M-16 through the space that's being held open by Vickers' boot. He begins to pry the opening wider. A WARNING BUZZER goes off. The Tyrant dimly registers the sound. Its eyes dilate, like camera shutters, with a CLI-CLICK. It strides forward at top peed, PITCHING DESKS easily aside, SMASHING through a CONSOLE as if it were made of balsa. Wesker has pried the doors wide. The Tyrant is coming at him FAST. It's going to be very close. Wesker MAKES IT. He gets outside. The doors begin to glide shut. He LAUGHS! WESKER (cont.) EAT SHIT, YOU... THLANNG! The Tyrant's long, bionic CLAWS SHOOT, with the speed of switch-blades, through the opening, just before the doors meet. FOUR of the claws SKEWER WESKER, passing clean through him. He doesn't die instantly. He's still alive and SCREAMING when the Tyrant uses the same hand, with Wesker impaled on it, to PUSH the doors open wide again. The action causes WESKER'S HEAD to be SLICED OFF by one of the steel bumpers. The Tyrant steps out of the lab. As the doors glide shut, the monster holds the remainder of Wesker's body inside their path. The bumpers are stopped by the Tyrant's iron hand... which it extracts, letting the doors scrape the dead meat from its claws. Pg-88 INT FREIGHT SHAFT TIMELESS REBECCA is approaching another OPENING. ADA Level "B". INT FREIGHT CORRIDOR LEVEL "B" TIMELESS THE CORRIDOR on Level "B" is long and narrow, with only occasional pools of LIGHT from bare, overhanging bulbs. REBECCA rises, like a spirit, out of the floor. She lifts her weapon. Her eyes dart, looking for dangers. There are none. The corridor, while very spooky, is quiet. REBECCA Don't see anything. ADA Good. INT FREIGHT SHAFT TIMELESS REBECCA rises through the ceiling. ADA We're almost there. You'll have to jump off. The belt won't stop. As the ECHO of Ada's voice rings off, Rebecca looks up and... ...SCREEEE... SOMETHING dives down on her out of the darkness. She ducks, almost losing her balance. She clings to the chain as OTHER THINGS...black, relatively small.. .WHIP past her head. REBECCA Bats! There are bats in here! ADA No. They're crows! Infected! Don't let them bite you! Rebecca dodges with new urgency as the black birds dive past her. Looking up, she sees more coming. She aims her M-16 and fires up the shaft. TWO BIRDS are HIT. They plummet. One hits ADA. She swats it aside. It drops all the way down to ROSIE, who JUMPS, gasping, when it hits her. RODRIGUEZ Rats. FLYING RATS! Pg-89 Beneath her, Rosie sees the crows hovering in the light from Level "B"... They circle, then start to fly up again. Rosie opens fire, filling the shaft with ribbons of lead. Another BIRD dives from above and... SKIT... takes a chunk out of Rosie's cheek. RODRIGUEZ (cont.) AAAH ! YOU FUCKER ! CHRIS (From above) You alright? RODRIGUEZ Yeah. I'm cool. I'm... cool. Rosie keeps FIRING. The deafening SOUND of her M-16 keeps her from hearing a... ...KRATTCH...in the sheet-metal wall. A second later... ...RRRRRIPPP! The metal is torn open like tissue-paper. SOMETHING dark lunges from the opening. It's the surviving HUNTER! One of its steel claws GRABS the chain-drive. The mechanism stops dead. QUICK CUTS: of THE ESCAPEES slipping, nearly falling, as they hang on to the chain. REBECCA I thought it wasn't supposed to stop. ADA Climb out. OUT! Rebecca has nearly reached Level "A"... She's able to hoist herself up, and roll to safety. Ada tries to climb. The chain is GREASY. Her hands slip. BELOW, the Hunter lets go of the mechanism. The chain JERKS. The escapees nearly lose their balance again. Rosie, at the bottom, is being lifted toward the Hunter's free hand. She JUMPS down. Barely catching the next set of prongs beneath her. AT THE TOP, Ada reaches Level "A". Rebecca catches her and pulls her up onto Level "A.. Jill is next, rising slowly. Rebecca and Ada reach down and grab her arms just as... TCHUNG... the mechanism stops again. The Hunter has grabbed the chain again. Its free hand swings, clutching at Rosie, who crouches, avoiding capture. Pg-90 Jill is pulled to safety. She turns and reaches down for Chris, who starts to climb the chain, his hands slipping on the grease. CHRIS ROSIE!? RODRIGUEZ I'M ALRIGHT! She's not alright. She's trapped. She can't get up past the Hunter. She FIRES at the thing. Bullets BOUNCE off its protective steel under-hide. Chris climbs three feet. Slides back two. The others reach down from above. Their hands come within inches, but can't quite catch hold of him. RODRIGUEZ (cont.) Here! Here, you... lizard. You fuckin' cockroach, HERE! Straining to reach Rosie, the hunter lets go of the chain for a second, then latches on again. That second lifts Chris to within reach of Jill and the others. They grab his arms. Lift him up. That second has also brought Rosie within reach of the Hunter. Its claws COMB her hair as she tries to duck lower while keeping her balance on the prongs. THWAKK! SOMETHING crashes through the wall. A MONSTROUS CLAW that IMPALES the Hunter. It's the claw of THE TYRANT! The chain mechanism begins to rise again. Rosie, cringing, is lifted past the monster just as it leans its head and shoulders into the shaft to examine what it has caught. Disappointed, the Tyrant SCRAPES the Hunter off its claw. It drops away down the shaft. The Tyrant turns its CLICKING, dilating eyes up at Rosie, and...TCHUNNNGG...purposely STOPS the rising chain. RODRIGUEZ (cont.) (Calling up) BAD NEWS, GUYS. THIS THING'S NOT SO STUPID! CHRIS (From above) Climb, Rosie! ROSIE No. I'm finished. I live here now. CHRIS ROSIE, NOOOOO! Pg-91 Rosie DIVES off the prongs...directly at the Tyrant. With another lightning move, the monster catches her in its bionic claw, crushing her ribs. With BLOOD spurting from her mouth, she utters her last words... ROSIE EAT ME, YOU PILE OF SHIT! INT LEVEL "A" TIMELESS ADA is the most pragmatic. ADA Come. CHRIS ROSIE ... ADA COME! You convinced me that there were...larger matters. We're at the top. You said you'd get us out. Ada's words snap Chris back into the urgency of their situation. He struggles to his feet. CHRIS Th-this way. They are in the MANSION, which Chris knows well. He leads his small troop into... INT POWDER ROOM TIMELESS ...a small powder room, decorated garishly in an East Indian motif. A ceramic TIGER'S HEAD sits atop a vanity. CHRIS grabs it...and TWISTS it on a pivot. A PANEL spins. The COMMODE disappears into the wall, opening a SECRET PASSAGE. REBECCA Hell of a shit-house. JILL The guy was a bootlegger... with a sense of humor. Chris leads the other into... INT CLOCK ROOM TIMELESS ...a small, blank CHAMBER. The only thing it holds is a GRANDFATHER CLOCK . Pg-92 CHRIS I hope they haven't disabled this. CHRIS opens the door that covers the clock face. He quickly spins the hands until they hit... HIGH NOON. GRONNNK! A WALL begins to GRIND open, straining against rust, dirt, from years of idleness. Cobwebs are pulled apart and...DAYLIGHT APPEARS! CHRIS (cont.) Alright. We made it. Chris urges the OTHERS out through the opening. At the same time he checks the detonator. The LED is down to SIX MINUTES and counting. INT HUEY DAY At the controls of his helicopter, LAGUARDIA spots something. EXT MANSION HUEY'S POV DAY REBECCA, then ADA, then JILL climbing onto the lawn. INT HUEY DAY LAGUARDIA I'm goin' in. RADIO MAN You don't have authority. LAGUARDIA Fuck authority. EXT MANSION YARD DAY ...CHRIS climbs out of the secret exit. THE OTHERS, having spotted the incoming chopper, are waving at it. There's a sense of relief, of salvation. Only Chris notices... ...a bit of PLASTER falling away from one of the mansion's stone walls. CHRIS Watch it. WATCH IIIIT! KER-AAAASSSSHHH! THE TYRANT BURSTS through the wall. With superhuman speed, it ATTACKS the escapees, who run, dodge, barely escaping the WHISHING SWIPE of its iron claw. Pg-93 INT HUEY DAY RADIO What in God's name is that thing! LAGUARDIA Somethin' we weren't supposed to see. Drop the ladder. And drop the Stinger. EXT MANSION YARD DAY THE HUEY swoops down as low as safety will allow. A faceted aluminum LADDER unfurls. CHRIS GET UP! CHRIS pushes JILL toward the ladder. She pulls on Ada's arm and sends her up first. ADA begins to climb. Then REBECCA. The Tyrant closes in, SWIPING at Chris, who just manages to avoid the SLICE of its mighty claw. The RADIO MAN leans out of the door above, holding something. RADIO MAN Catch this! Chris doesn't hear. Jill does. JILL Toss it to me! The radio man drops the Stinger...a rocket with a shoulder- launcher.. .down into Jill's hands. Chris hits the dirt. The Tyrant tries to crush him by stepping on him. Chris rolls away. The ladder is too wobbly. Jill can't be sure of launching an accurate shot. JILL (cont.) CHRIS! Chris looks up. Sees Jill holding the rocket launcher. He RUNS past the Tyrant, okey-doking, left, right, then dodging left again. The monster SWIPES at him with its elongated claw. Chris' flack-jacket is caught. Protective fibers fly. But Chris escapes without injury. Pg-94 Jill pitches the weapon. Chris catches it. The Tyrant is on him, about to STOMP him with a bionic FOOT when... ...Chris aims at the monster's rhinoceros heart and FIRES! The rocket CONNECTS, on target. The casing around the animal heart EXPLODES... and the Tyrant drops like a giant Redwood... ...on top of Chris's legs. As Chris tries to free himself, he checks the detonator. THREE MINUTES. TWO-FIFTY-NINE. EIGHT. SEVEN. SIX. LaGuardia drops his chopper a bit lower. The bottom of the ladder hits the ground, coming within Chris' reach. He grabs on. The helicopter rises again. Chris is pulled out from under the Tyrant's steel body and is LIFTED into the air. He climbs frantically. Above him, Jill is still on the ladder as well. Ada and Rebecca pull her up. Chris DANGLES as the Huey banks away over the forest. The tops of TREES whip his legs, but he hangs on, climbing up... up... until the others catch his hands and hoist him into the chopper. Chris checks the LED. ONE MINUTE, FORTY-FIVE SECONDS. JILL (Reading over Chris' shoulder) We have to get out of range. CHRIS No. (To the pilot) Circle around. LAGUARDIA Are there more survivors? CHRIS No. Just...circle, okay? I want to...take a last look. The Huey banks into a circle. Chris looks down at... EXT AERIAL POV DAY ...the MANSION. And just over the hills...HIS FARM. INT HUEY DAY JILL It's... your home. CHRIS looks at her, with a resigned smile. Pg-95 CHRIS I hoped... it would be our home. JILL I guess... we're gonna be moving. Chris checks the LED. THIRTY-EIGHT SECONDS. CHRIS (To the pilot) Full throttle. Out of here, man! LaGuardia pushes his stick. The Huey LUNGES forward at top speed. REBECCA, ADA and JILL are pressed back by inertia. Chris holds himself erect. Through the window, in the receding sky, he spots... ...AN EAGLE, riding the wind. CUT TO: EXT THE ARKLEY FOREST THE MANSION DAY PLOOOOMMMMM! The GROUND ERUPTS from an enormous under- ground explosion. The MANSION is reduced to particulate as the shock-wave spreads outward. EXT FARM DAY Chris' farm hand, RAKE, is shambling out of the house, a ZOMBIE... when the EXPLOSIVE FORCE HITS, tearing him APART. EXT RACCOON CITY DAY The TOWN is EMPTY...except for NINE LONELY FIGURES, lumbering down Main Street. They, too...are ZOMBIES. The hot wave HITS. Two are VAPORIZED. FIRE engulfs two more. The BRAINS of two others are DESTROYED by flying debris.. . ...which catches the remaining three, as well. Arms are torn off. Iron shafts from shattered plumbing, shards of window glass, slats from picket fences... PUNCH through necks, chests, bellies... ...but the dead things, their skulls undamaged, through billows of dust... drooling hungrily. THE SCREEN GOES BLACK. --- This text orginiated from www.New-Blood.com, please check them out for Resident Evil coverage. ---

screenplays

studies of the nuclear reaction cross sections induced by neutrons provide information on the properties of excited states of atomic nuclei and nuclear reaction mechanisms @xcite . data on nuclear reaction cross section are also needed in applications , specifically , such as the design of fusion reactor protection and modernization of existing nuclear power plants @xcite . despite of a large amount of information @xcite on observed characteristics of neutron interactions with nuclei , there are disagreements between existing experimental data and evaluated data both within different systematics and calculations by the different codes . in this contribution , experimental and theoretical cross sections of reactions ( n , p ) , ( n , @xmath1 ) , ( n , 2n ) on dy , er and yb isotopes at neutron energies near 14.6 mev are determined and compared . neutron generator ( ng-300 ) , installed in nuclear physics department of taras shevchenko national university of kyiv , was used as a source of neutrons with @xmath0= 14.6 @xmath2 0.2 mev . the neutron activation method was applied for measurements of the cross - sections(see @xcite for details ) . theoretical calculations were performed by the empire 3.0 and talys 1.2 codes@xcite . the experimental cross - sections were also compared with data from the latest versions of evaluated nuclear data libraries : endf / b - vii , tendl-2010 , jendl-4.0 . the reliability of the different systematics @xcite-@xcite for estimation of the nuclear reaction cross sections on isotopes of dy , er and yb was analyzed . ) reactions on the isotopes of dysprosium . ] figure [ fig1 ] shows cross sections of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions on the isotopes of dy as a function of the number of neutrons in comparison with theoretical calculations and evaluated data . for reactions with transitions on ground ( g ) and metastable ( m ) states , the residual nuclei are additionally indicated on this and next figures . calculations of the nuclear reaction cross sections by the empire 3.0 code were performed with and without including pre - equilibrium processes ( pcross = 1.5 and 0 ) . for nuclear level density , the generalized superfluid model was taken . the global optical potential of koning - delaroche @xcite was used . in calculations by the talys 1.2 code default parameters were set . it can be seen , that the measured ( n,2n ) cross section on the @xmath4dy ( n=92 ) with allowance for uncertainties coincides with the available experimental data . the measured ( n,2n ) cross section on the @xmath5dy ( n=90 ) is less than previous ones , but it coincides with evaluated value from the tendl-2010 library . the ( n , 2n ) cross sections on dy isotopes increase with the neutron number increasing . the allowance for pre - equilibrium processes leads to strong increasing the ( n , p ) cross sections ( approximately in five times ) . a behavior of the ( n , 2n ) cross sections is opposite , and pre - equilibrium emission reduce the values of these cross sections mainly due to increase cross - sections of competing binary reactions with emission of charge particles . ) reactions on the isotopes of erbium . ] on the whole , the results of calculations by empire 3.0 code with allowance for pre - equilibrium processes are in best agreement with experimental data . for calculations using different systematics , the results according to @xcite are more suited for description of the experimental data . cross sections of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions on the er isotopes are given on figure [ fig2 ] . cross sections of ( n , 2n ) reaction on the er isotopes have the similar peculiarities as on dy . there is a rather good agreement between presented measurements and the results of other authors . figures [ fig3]-[fig5 ] show cross section of the ( n , 2n ) , ( n , p ) , ( n , @xmath3 ) reactions the isotopes of yb . rather good agreement between experimental data for the @xmath6yb and @xmath7yb isotopes ( n = 98 and 100 ) is observed for ( n,2n ) reaction , but presented cross section on @xmath8yb ( n = 106 ) is placed higher . the cross section of the reaction @xmath9yb(n , p)@xmath9tm ( n=102 ) calculated by the empire 3.0 with pre - equilibrium processes is agree better with measured value . the results of calculation using systematics from @xcite is also closer to measured one . the cross sections of the ( n,@xmath3 ) reaction were measured with higher precision and they agree better with calculation by systematics from @xcite . ) reaction on the isotopes of ytterbium . ] the results of measurements of the cross sections of the nuclear reactions ( n , p ) , ( n , @xmath1 ) , ( n , 2n ) on isotopes of dy , er and yb at the neutron energy 14.6 @xmath2 0.2 mev are presented . they were compared with available experimental data , evaluated nuclear data and the theoretical calculations by the empire and talys codes . in the most cases , the presented data correlate well with available experimental data . on the whole , the cross sections calculated by the empire 3.0 code with pre - equilibrium processes agree better with experimental data than the results obtained by talys 1.2 code with default set of parameters . amongst the systematics , the cross section values calculated by expressions from @xcite are more consistent with measured cross - sections . et al . _ , book of abstract of the 20th int . sem . on inter . of neutrons with nuclei : isinn-20 , dubna , 52 ( 2012 ) ; proc . of the 20th int . on inter . of neutrons with nuclei : isinn-20 , dubna ( in press ) ( 2013 ) .

arxiv

the effective meson lagrangians obtained on the basis of the local four - quark interaction of the nambu jona - lasinio(njl ) type satisfactorily describe low - energy meson physics @xcite . however , these models contain ultraviolet(uv ) divergences and do not describe quark confinement . therefore , additional regularization is necessary in these models . besides , it is impossible to take into account the dependence of the amplitude of different processes on large external momentum in order to provide quark confinement . this situation restricts the predictive power of these models . satisfactory results in these models can be obtained only for light mesons and interactions at low energies in the range of @xmath8 gev . in order to overcome these restrictions , it is necessary to consider nonlocal versions of these models which allow us to remove uv divergences and describe the quark confinement . a lot of models of this type were proposed in the last few years . unfortunately , we can not give here the full list of references concerning this activity . therefore , we will concentrate only on the direction connected with the nonlocal quark interaction motivated by the instanton theories @xcite . recently , a few nonlocal models of the this type were proposed @xcite . in these models the nonlocal kernel is taken in the separable form where each quark line contain form factor following from instanton theories . these form factors naturally remove uv divergences in quark loops . thus , in @xcite a nonlocal form factor was chosen in the gaussian form @xmath9 where @xmath3 is the cut - off parameter . in @xcite it was proposed to use an additional condition for the form factor @xmath10 ( quark mass function @xmath1 , respectively ) which lead to the absence of the poles in the quark propagator . namely , it is supposed that the scalar part of the quark propagator is expressed through the entire function @xmath11 where @xmath12 is an additional arbitrary parameter . the similar condition providing confinement was used in @xcite . in this work an analogous condition will be used . however , we will take into account that each quark line contain square of the form factor which is expressed through the quark mass @xmath13 as a result , we obtain a simpler solution for the mass function than in @xcite . in our model @xmath2 and the cut - off parameter @xmath3 have a simple connection in the chiral limit @xmath14 ; the function @xmath1 contains only one arbitrary parameter . we fix this parameter by weak pion decay . then , for @xmath15 mev we have @xmath4 mev . this leads to reasonable predictions for the scalar meson mass , width of the decay @xmath16 and @xmath6 ratio in the decay @xmath17 , where @xmath18,@xmath19 are the partial waves of this decay . the paper is organized as follows . in sect.[mod ] , we consider a nonlocal four - quark interaction and after bosonization derive the gap equation for dynamical quark mass . the additional condition for this mass allows us to provide the quark confinement . in sect.[pseudoscalar ] , the masses and couplings of the scalar and pseudoscalar mesons are obtained and the main parameters of the model are fixed . the decay width @xmath20 is calculated . in sect.[axialvector ] , the vector and axial - vector sectors of the model are considered . the @xmath21 meson mass , decay widths @xmath16 , @xmath22 are calculated . @xmath6 ratio in the decay @xmath22 is estimated . the @xmath23 mixing is studied . the discussion of the obtained results and comparison with others models is given in the last section . the @xmath24 symmetric action with the nonlocal four - quark interaction has the form @xmath25 where @xmath26 are the @xmath27 and @xmath28 quark fields , @xmath29 is the diagonal matrix of the current quark masses , @xmath30 is the coupling constant of the scalar and pseudoscalar quark currents , @xmath31 is the coupling constant of the vector and axial - vector quark currents . the nonlocal quark currents @xmath32 are expressed as @xmath33 where @xmath34 are the nonlocal functions . in ( [ j ] ) the matrices @xmath35 are defined as @xmath36 where @xmath37 are the pauli matrices and @xmath38 are the dirac matrices . in this article , we mainly consider the strong interactions . the electroweak fields may be introduced by gauging the quark field by the schwinger phase factors ( see , c.f . @xcite ) . after bosonization the action becomes @xmath39 where @xmath40 are the @xmath41 , @xmath42 , @xmath43 , @xmath21 meson fields , respectively . the field @xmath44 has a nonzero vacuum expectation value @xmath45 . in order to obtain a physical scalar field with zero vacuum expectation value , it is necessary to shift the scalar field as @xmath46 . this leads to the appearance of the quark mass function @xmath1 instead of the current quark mass @xmath29 @xmath47 where @xmath48 is the dynamical quark mass . from the action , eq . ( [ acti ] ) , by using @xmath49 one can obtain the gap equation for the dynamical quark mass @xmath50 the right - hand side of this equation is the tadpole of the quark propagator taken in the euclidean domain . equations ( [ gap1]),([gap ] ) have the following solution : @xmath51 where @xmath52 . in order to provide quark confinement we propose the following anzatz for the quark mass function @xmath1 . we suppose that mass satisfies the following condition in the chiral limit @xmath53 the form of the left - hand side of this equation coincides with the integrand in the gap equation ( [ gap ] ) . from eq.([neqq1 ] ) we obtain the following solution : @xmath54 here we have only one free parameter @xmath3 ; @xmath1 does not have any singularities in the whole real axis and exponentially drops as @xmath55 in the euclidean domain . from eq.([gap2 ] ) follows that the form factors have a similar behavior that provides the absence of uv divergences in our model . at @xmath56 the mass function is equal to the cut - off parameter @xmath3 , @xmath14 . the pole part of the quark propagator also does not contain singularities that provide quark confinement @xmath57 when taking into account the current quark mass eq.([neqq1 ] ) can be modified as follows : @xmath58 here @xmath59 is introduced in the form that conserves the analytical properties of the mass function @xmath1 . then the mass function takes the form @xmath60 let us consider the scalar and pseudoscalar mesons . the meson propagators are given by @xmath61 where @xmath62 are the meson masses , @xmath63 are the functions describing renormalization of the meson fields and @xmath64 are the polarization operators defined by @xmath65 , \label{poloper}\end{aligned}\ ] ] where @xmath66 . for calculation of these integrals it is necessary to rewrite these expressions in the euclidean space where the form - factors(and quark masses ) are the exponentially decreasing functions . then eq.([poloper ] ) takes the form : @xmath67 the functions @xmath68 are the dirac trace multiplied by @xmath69,@xmath70 . in eq.([polopere ] ) all momenta are euclidean . in the description of the meson properties it is necessary to make the analytical continuation of this expression over external momenta @xmath71 to the minkowski space let us emphasize that at our anzatz for a quark mass function only the functions @xmath68 contains nonanalytical root cuts , whereas there is no problems with analytical continuation of the denominator . the meson masses @xmath62 are found from the position of the pole in the meson propagator @xmath72 and the constants @xmath73 are given by @xmath74 firstly , let us consider this model in the chiral limit . the pion constant @xmath75 is not depend on parameter @xmath3 and takes the form @xmath76 here @xmath77 is the riemann zeta function . the gap equation has the simple form @xmath78 the quark condensate is @xmath79 the goldberger - treiman relation is fulfilled in the model of this kind @xcite @xmath80 from eqs.([gpi]),([ffpi ] ) the value @xmath81 mev is obtained for @xmath15 mev . then , from eqs.([g ] ) , ( [ cond ] ) we obtain @xmath82 in the description of pion mass it is necessary to introduce the nonzero current quark mass @xmath29 . in our model @xmath83 . therefore , we can consider only the lowest order of the expansion in small @xmath84 . then , one gets from eq.([mesonprop ] ) @xmath85 by using the expression for @xmath30 from the gap equation ( [ gap ] ) , the gell - mann oakes renner relation can be reproduced @xmath86 from eq.([mpi ] ) with @xmath87 mev we can estimate the value of the current quark mass @xmath88 mev . other model parameters in this case change very little @xmath89 therefore , in calculations of the amplitudes of various processes we can use the values of parameters taken in the chiral limit . with the help of the parameters ( [ par1 ] ) we get for sigma meson @xmath90 mev and @xmath91 . the amplitude of the decay @xmath92 is equal to @xmath93 gev . then , the total decay width is @xmath94 mev . comparing these results with experimental data one finds that @xmath95 is in satisfactory agreement with experiment @xmath96 ; however , the decay width is very small @xmath97 . the propagators of the vector and axial - vector mesons have the transversal and longitudinal parts @xmath98 where @xmath99 and @xmath100 here , @xmath101 and @xmath102 are the transversal and longitudinal parts of the polarization operator @xmath103 @xmath104.\nonumber\end{aligned}\ ] ] the constant @xmath31 is fixed by the @xmath43-meson mass @xmath105 and @xmath106 gev@xmath107 . then the @xmath21-meson mass is equal to @xmath108 mev . the constants @xmath109 are equal to @xmath110 from eq.([gm2 ] ) we obtain @xmath111 , @xmath112 . at @xmath56 we have @xmath113 , @xmath114 . ( see also fig.[g ] ) . the decay @xmath16 is described by the triangle quark diagram . the amplitude for the process is @xmath115 where @xmath116 are momenta of the pions . we obtain @xmath117 and the decay width @xmath118 which is in qualitative agreement with the experimental value @xmath119 mev @xcite . the decay @xmath17 is described in a similar manner . the amplitude for the process @xmath17 is @xmath120 where @xmath121 are momenta of @xmath21,@xmath43 mesons , respectively . we obtain @xmath122 gev , @xmath123 gev@xmath124 . amplitude of the decay @xmath7 contains d and s waves . the ratio of these waves has the form(see @xcite ) : @xmath125 this ratio is in satisfactory agreement with experimental data @xmath126 . the decay width equals @xmath127 mev . this value is noticeably smaller than experiment @xmath128 mev @xcite . the longitudinal component of the @xmath21-meson field is mixed with the pion . the amplitude describing this mixing has the form @xmath129 where @xmath71 is the momentum of the pion , and @xmath130 in the chiral limit is equal to @xmath131 mev . the additional pion kinetic term from the @xmath23 mixing is @xmath132 . in the chiral limit @xmath133 is equal to @xmath134 @xmath133 is small ; therefore , the effect of the @xmath23 mixing can be neglected . in this work we have considered a possibility of constructing the @xmath0 symmetric nonlocal chiral quark model providing the absence of uv divergences and quark confinement . these features of the model are specified by the nonlocal kernel which appears in the four - quark interaction . such a structure of the four - quark interaction can be motivated by the instanton interactions @xcite . the pseudoscalar , scalar , vector and axial - vector mesons have been considered in the framework of this model . the masses and strong coupling constants of the mesons were described . it was shown that the functions describing renormalization of the meson fields noticeably decreased at large @xmath84 in the physical domain(see fig.[g ] ) . however , in the description of the @xmath21 meson mass and decay widths @xmath92 , @xmath7 our results are noticeably smaller than experimental data . note that the width of the decay @xmath7 strongly depends on mass of the @xmath21 meson . indeed , for @xmath135 gev we have @xmath136 mev that is in qualitative agreement with experiment . remind that in the local njl model the cut - off parameter @xmath137 gev and the constituent quark mass @xmath138 mev are used . these parameters are fixed by the decays @xmath139(@xmath140 mev ) and @xmath141(@xmath142 ) . these parameters lead to the quark condensate @xmath143 and current quark mass @xmath144 mev . in the present model @xmath145 mev plays the role of the constituent quark mass , whereas our parameter @xmath146 mev corresponds to the effective cut - off parameter @xmath147 mev . as a result , we obtain @xmath148 and @xmath149 . remind that these values correspond to the physical pion mass . let us consider @xmath150 mixing in these models . in the local njl model the amplitude describing the @xmath23 mixing equals @xmath151 . therefore , the coefficient @xmath152 in the equals @xmath153 mev . this value is @xmath154 times larger than in the present model . as a result , it leads to the noticeable additional renormalization of the pion field in the local njl model @xmath155 , where @xmath156 and @xmath157 , in our model @xmath158 . therefore , in the local njl model the @xmath23 mixing plays a more important role . let us compare also the amplitude of the decay width @xmath159 in these models . in the local njl model without taking into account the @xmath150 mixing in the external pion legs this amplitude equals @xmath160 gev . this amplitude is @xmath161 times larger than in the present model . however , after taking into account the @xmath23 mixing this amplitude takes the form @xmath162 gev . this is close to the amplitude obtained in our work . this leads to a noticeable decrease in the decay width @xmath163 mev which also becomes smaller than experimental data and is in qualitative agreement with the result of our model . the mass of the @xmath41 meson in njl is @xmath164 mev and approximately 30 % larger than the result obtained here . both the values do not contradict the experimental data . the decay @xmath16 in @xcite is used for fitting model parameters while in our model we predict it . the mass of the @xmath21 meson obtained in our model practically coincides with the mass predicted in the local njl model , @xmath165 gev . in what follows we would like to compare our result with the nonlocal model @xcite . in this model a similar separable instanton - motivated form of the interaction is also used . the main difference of our model with that of @xcite is connected with an additional requirement on a quark propagator providing quark confinement . the quark mass function in our model contains only one arbitrary parameter instead of two parameters in @xcite . in spite of less freedom in choosing model parameters , our results is close to the results obtained in @xcite(see table 1 ) . it is interesting also to compare our results with those obtained in @xcite , where the quark propagator is expressed through the entire functions which are similar to the function used in our work ( see eq.([neqq1 ] ) ) . the quark interaction in this work has a separable type which is obtained from the quark - gluon interaction with the help of a modified gluon propagator . in this work , the decays @xmath5 and @xmath7 also have been calculated . the decay ratio @xmath6 is close to ours while the decay widths strongly differs ( see table 1 ) . the failure of the local njl model and its nonlocal extensions to describe the @xmath41-meson is expectable . similar problems appeared in the qcd sum rule method . in the scalar channel with vacuum quantum numbers the corrections from different sources may be valuable . indeed , it has recently been shown that the @xmath166 corrections in this channel are rather big@xcite , and the hartree - fock approximation may be inadequate in this case . moreover , for a correct description of the scalar meson it is necessary to take into account the mixing with the four - quark state @xcite and the scalar glueball @xcite . in future , we plan to describe electromagnetic interactions in the framework of this model , calculate the e.m . pion radius , polarizability of the pion and consider the processes @xmath167 , @xmath168 in a wide domain of photon virtuality . we also plan to generalize this model to the @xmath169 chiral group by introducing new parameters : mass of the strange quark @xmath170 and the cut - off @xmath171 which allows us to describe intrinsic properties and interactions of strange mesons . the authors thank a. e. dorokhov for fruitful collaboration , and d. blaschke , c. d. roberts and v. l. yudichev for useful discussions . the work is supported by rfbr grant no . 02 - 02 - 16194 and the heisenberg landau program . 99 d. ebert and m. k. volkov , z. phys . c * 16 * 205 ( 1983 ) ; m. k. volkov , annals phys . * 157 * , 282 ( 1984 ) ; d. ebert and h. reinhardt , nucl . b * 271 * , 188 ( 1986 ) ; d. ebert , h. reinhardt and m. k. volkov , prog . part . phys . * 33 * , 1 ( 1994 ) . m. k. volkov , sov . j. part . nuclei * 17 * , 186 ( 1986 ) . u. vogl and w. weise , prog . * 27 * , 195 ( 1991 ) . s. p. klevansky , rev . phys . * 64 * , 649 ( 1992 ) . e. v. shuryak , nucl . b * 203 * , 93 ( 1982 ) . d. diakonov and v. y. petrov , nucl . b * 245 * , 259 ( 1984 ) ; nucl . b * 272 * , ( 1986 ) 457 . a. e. dorokhov and l. tomio , phys . d * 62 * , 014016 ( 2000 ) . i. v. anikin , a. e. dorokhov and l. tomio , phys . part . nucl . * 31 * , 509 ( 2000 ) . r. d. bowler and m. c. birse , nucl . a * 582 * , 655 ( 1995 ) . r. s. plant and m. c. birse , nucl . a * 628 * , 607 ( 1998 ) . a. e. dorokhov and w. broniowski , phys . d * 65 * , 094007 ( 2002 ) . a. e. dorokhov , a. e. radzhabov , m. k. volkov , jinr e2 - 2003 - 51,2003 , to be published in phys.at.nucl * 67 * ( 2004 ) . g. v. efimov and m. a. ivanov , _ the quark confinement model of hadrons _ ( iop , bristol , 1993 ) ; g. v. efimov and s. n. nedelko , phys . rev . d * 51 * , 176 ( 1995 ) . c. d. roberts and a. g. williams , prog . part . nucl . phys . * 33 * , 477 ( 1994 ) ; c. j. burden , c. d. roberts and m. j. thomson , phys . lett . b * 371 * , 163 ( 1996 ) . j. c. bloch , y. l. kalinovsky , c. d. roberts and s. m. schmidt , phys . d * 60 * , 111502 ( 1999 ) . g. v. efimov and g. ganbold , phys . d * 65 * , 054012 ( 2002 ) . k. hagiwara _ et al . _ [ particle data group collaboration ] , phys . rev . d * 66 * , 010001 ( 2002 ) . r. s. plant and m. c. birse , nucl . a * 703 * , 717 ( 2002 ) . r. l. jaffe , phys . d * 15 * , 267,281 ( 1977 ) . m. k. volkov and v. l. yudichev , eur . j. a * 10 * , 109 ( 2001 ) . the comparison of the physical results are obtained in local and nonlocal quark models . in local njl model the decay width @xmath16 is used for fitting of the model parameters . two set of values corresponding to the different choice of model parameters are given in column 4 , 5 ( see table 4 in @xcite and table i in @xcite ) .

arxiv

The zebra tick or yellow back tick Rhipicephalus pulchellus is a species of hard tick. It is common in the Horn of Africa, with a habitat of the Rift Valley and eastward. It feeds upon a wide variety of species, including livestock, wild mammals, and humans, and can be a vector for various pathogens. The adult male has a distinctive black and ivory ornamentation on its scutum. Taxonomy and names Rhipicephalus pulchellus was described by Carl Eduard Adolph Gerstaecker, who initially placed it in the genus Dermacentor due to the ornamentation; all Dermacentor ticks are ornate. Its syntypes are at the Museum für Naturkunde. transferred this species to Rhipicephalus in 1897. R. I. Pocock described a junior synonym, R. marmoreus, in 1900; its holotype was deposited at the Natural History Museum, London. By 1901, Neumann had synonymized it with R. pulchellus. In 1926, Maria Tonelli-Rondelli described a subspecies R. p. humeralis, but in 1949, Fritz Konrad Ernst Zumpt reclassified it as its own species, R. humeralis. In 1904, Neumann circumscribed a new subgenus, Eurhipicephalus, and included among its species R. E. pulchellus. Aldo Castellani and Albert J. Chalmers then referred to this species as Eurhipicephalus pulchellus, treating Neumann's subgenus as its own genus. [[B. I. Pomerantsev circumscribed a new Rhipicephalus subgenus Lamellicauda in 1936, which included R. L. pulchellus. J. A. T. Santos Dias circumscribed a subgenus, Tendeirodes including R. T. pulchellus and the three other rhipicephalids with ornamentation, i.e., R. T. dux, R. T. humeralis, and R. T. maculatus, but this subgenus is not recognized by Jane Brotherton Walker and colleagues. In 1998, Pierre-Claude Morel created a pulchellus species group within the nominate subgenus Rhipicephalus consisting of these four species. Based on the larval and nymphal forms of Rhipicephalus species, Walker and colleagues placed R. pulchellus in the R. appendiculatus species group, consisting of R. appendiculatus, R. armatus, R. carnivoralis, R. duttoni, R. humeralis, R. maculatus, R. muehlensi, R. nitens, R. pulchellus, R. sculptus, and R. zambeziensis. In Neumann's 1901 description of R. maculatus, he mistakenly described female specimens of R. pulchellus as representing the female of this new species. The specific epithets pulchellus and marmoreus are Latin adjectives meaning beautiful little and made or consisting of marble, respectively; the word is a diminutive of beautiful. These refer to the male scutal pattern. It is also known by the common name zebra tick both due to its black and white ornamentation and having the zebra as a frequent host. It is also sometimes known as the yellow-backed tick. Description Adult male The males have ivory ornamentation surrounding the edge of the conscutum and much of its center. The male gnathosoma is significantly longer than it is broad, with dimensions of to . Its conscutum measures to . Adult female The female gnathosoma is slightly longer than it is broad, with dimensions of to . Its scutum measure to . Its scutum is mostly ivory colored and its alloscutum is dark brown. Hosts This tick has been found on many species, including both livestock and wild animals, particularly ungulates; common hosts include Burchell's and Grevy's zebras, the black rhinoceros, and antelopes such as the gemsbok, eland, and hartebeest. In one study conducted in Kenya, hundreds of specimens were found on Masai giraffes. They have been found on baboons in the Amboseli region of Kenya near Mount Kilimanjaro, although they only made up 1.8 of all ticks recorded in this study. These ticks have also been known to have elephants as their hosts. Although they far less frequently parasitize birds than they do mammals, examples exist of the ostrich and the yellow-necked francolin as hosts for this species, as well. It is a very common tick of cattle; in some parts of Ethiopia, 90 of all ticks collected from cattle and camels are R. pulchellus. This tick is present on 80 of cattle, and individuals are hosts to over 1000 of this tick each. In one study, adult ticks were found on their hosts' neck and belly 45, head 36, forelegs 7, hump region 13, and hing legs 3, with immature ticks found on the head and forelegs. Humans Immatures have been known to host on legs of humans. The tick has been described as having a strong affinity for human being; ulcers generally form where larvae and nymphs feed on humans, and adults have also been found feeding on humans. Disease transmission Many pathogens harmful to humans and other animals can be transmitted by this tick. The Dugbe virus has been isolated from R. pulchellus collected from sheep in Ethiopia. There is also evidence that this tick can transmit Rickettsia conorii as guinea pigs tested positive for its antibodies after being fed on. One study suggested a possible link between this tick and typhus due to a similar distribution in Kenya, although transmission was unsuccessful in laboratory settings. The CrimeanCongo hemorrhagic fever virus has been extracted from this tick. The West Nile virus has also been extracted from R. pulchellus. It has also been shown to transmit Nairobi sheep disease, and is likely its main vector in northern Somalia. It is the main vector for the Kismayo virus. The piroplasm Theileria taurotragi has R. pulchellus as one of its main vectors. Predators The red-billed oxpecker regularly eats this tick. Habitat and distribution This tick inhabits the Afrotropical biogeographic realm. It has been reported in the Palearctic, namely in the Giza Governorate, Egypt, but some researchers are hesitant about listing the Palearctic in its distribution based on just that report. Adult ticks looking for hosts inhabit scrub and long-grass areas. It occurs in the Horn of Africa, particularly in the Rift Valley and eastward. It lives between elevations of in semiarid bushlands and plains with an annual rainfall of . One study predicted that its habitat range will increase throughout 2100 due to climate change. It is most active during the rainy season. Population It was the most common tick in one study conducted in Haller Park, Kenya. In the early 1900s, it was very common in Kenya's Athi Plains, and also found near Nairobi, Kiambu, and Ruiru, and is the predominant tick collected from grass in the Kilimani area of Nairobi in a 1935 study. One long-term study conducted in Laikipia, Kenya involved people walking for and counting the number of ticks found on their clothing; the average number of R. pulchellus adults peaked at three. As introduced species R. pulchellus has been reported as being found on animals such as giraffes, zebras, rhinoceroses, and others that were imported into the United States, but it does not seem to have become established anywhere in the Nearctic realm. References Further reading External links Category:Ticks Category:Taxa named by Carl Eduard Adolph Gerstaecker Category:Animals described in 1873 Category:Parasitic arthropods of mammals Category:Arachnids of Africa Category:Ixodidae

wikipedia

the survival of gastric cancer has steadily improved in the past decade along with advanced diagnostics and screening programs and improvement of chemotherapy . however , the prognosis of unresectable gastric cancer is still poor , with peritoneal seeding , distant metastasis , and distant lymph node metastasis . para - aortic lymph node ( pan ) metastasis is considered a distant lymph node metastasis . the prognosis of gastric cancer with pan metastasis is quite poor even after prophylactic para - aortic lymphadenectomy . for this reason , systemic chemotherapy is commonly preferred as a primary mode of treatment in these patients . various kinds of chemotherapeutic regiments including 5-fluorouracil , cisplatin , irinotecan , taxans , and capecitabine were widely used in the past decades . the clinical response ratio of palliative chemotherapy in gastric cancer with pan metastasis was reported up to 68.8% . recently several cases of therapeutic gastrectomy with para - aortic lymphadenectomy after chemotherapy were reported [ 2 - 4 ] , but the efficacy of gastrectomy with para - aortic lymphadenectomy after chemotherapy remains still unclear . laparoscopy - assisted gastrectomy is an option in the treatment of gastric cancer , and the indication for this procedure has extended to locally advanced gastric cancer . however , there was no report of laparoscopic para - aortic lymphadenectomy in gastric cancer except laparoscopic biopsy of pan for the staging . herein , we report three cases of laparoscopy - assisted gastrectomy with para - aortic lymphadenectomy after palliative chemotherapy for far advanced gastric cancer for the first time in korea . a 45 year - old man was diagnosed with a poorly differentiated adenocarcinoma in the gastric angle by gastroscopy . a positron emission tomography - computed tomography ( pet - ct ) suggested left para - aortic and aortocaval lymph node metastasis . after completing 4 cycles of xelox , the patient showed partial response to the chemotherapy with decreased extent of primary cancer and retroperitoneal lymph nodes . after the confirmation of no evidence of seeding in the diagnostic laparoscopy , he underwent a successful laparoscopic extended total gastrectomy with para - aortic lymphadenectomy with the usual 5-port system without additional port insertion . the total operative time was 370 minutes and para - aortic lymphadenectomy took 100 minutes . the pathologic results revealed no residual primary tumor and no lymph node metastasis in harvested 77 lymph nodes ( lns ; 16a2 [ 0/3 ] , 16b1 [ 0/5 ] ) . a 46 year - old woman was diagnosed with a poorly differentiated adenocarcinoma in the gastric body , and ct suggested bulky perigastric lymph nodes ( station 3 and 7 , 2.0 cm and 1.0 cm ) and left pan metastasis ( 2.2 cm ) . after completing 4 cycles of xp , she showed partial response to the chemotherapy with decreased sizes of perigastric ( 0.9 cm and 0.6 cm ) and left pans ( 0.8 cm ) . she underwent laparoscopic subtotal gastrectomy with para - aortic lymphadenectomy , but the small branch of the left renal vein was injured at the end of para - aortic lymphadenectomy , so bleeding control was performed via minilaparotomy . the total operative time was 415 minutes and para - aortic lymphadenectomy took 97 minutes . the ebl was 200 ml . the pathologic results revealed submucosa tumor and 6 lns metastases in 58 harvested lns ( 16a2 [ 0/0 ] , 16b1 [ 0/11 ] ) . she was discharged at 11 days postoperatively after conservative management due to a large amount of ascites . a 63 year - old man was diagnosed with a poorly cohesive adenocarcinoma in the gastric lower body , and a pet - ct suggested multiple perigastric and left pan metastases . after completing 7 cycles of xp and 5 cycles of xeloda , he showed a partial response to the chemotherapy with decreased sizes of perigastric and left pans . the total operative time was 310 minutes and para - aortic lymphadenectomy was performed during 93 minutes . the pathologic results revealed subserosa tumor and 3 lns metastases in harvested 35 lns ( 16a2 [ 0/0 ] , 16b1 [ 0/8 ] ) . all laparoscopic para - aortic lymphadenectomies were performed with the standard 5-port system used in laparoscopy - assisted total gastrectomy without any additional port insertion ( fig . 1 ) . an ultrasonic cutting device ( sonosurg , olympus , tokyo , japan ) and ligasure ( valleylab , boulder , co , usa ) was used to minimize postoperative bleeding and ascites after lymphadenectomy . after laparoscopy - assisted subtotal or total gastrectomy with complete omentectomy and d2 lymphadenectomy , pan dissection proceeded from 16b1 area to 16a2 area . after exposure of gerota 's fascia of left kidney , splenic flexure was mobilized to take down transverse colon and mesocolon toward the lower abdomen . following identification of the left renal vein ( superior border ) , left gonadal vein ( left side border ) , treitz ligament ( right side border ) , and inferior mesenteric artery ( i m a ) ( inferior border ) , 16b1 pan including lateroaortic , preaortic , and interaortocaval area were dissected from i m a to left renal vein . for 16a2 lymph node dissection the supra - left renal area was dissected first , and the dissection proceeded up to celiac ganglion . 2 . bowel reconstruction such as uncut roux en y g - j stomy and roux en y e - j stomy was performed after surgical hemostasis and irrigation of para - aortic lymphadenectomy area . a 45 year - old man was diagnosed with a poorly differentiated adenocarcinoma in the gastric angle by gastroscopy . a positron emission tomography - computed tomography ( pet - ct ) suggested left para - aortic and aortocaval lymph node metastasis . after completing 4 cycles of xelox , the patient showed partial response to the chemotherapy with decreased extent of primary cancer and retroperitoneal lymph nodes . after the confirmation of no evidence of seeding in the diagnostic laparoscopy , he underwent a successful laparoscopic extended total gastrectomy with para - aortic lymphadenectomy with the usual 5-port system without additional port insertion . the total operative time was 370 minutes and para - aortic lymphadenectomy took 100 minutes . the pathologic results revealed no residual primary tumor and no lymph node metastasis in harvested 77 lymph nodes ( lns ; 16a2 [ 0/3 ] , 16b1 [ 0/5 ] ) . a 46 year - old woman was diagnosed with a poorly differentiated adenocarcinoma in the gastric body , and ct suggested bulky perigastric lymph nodes ( station 3 and 7 , 2.0 cm and 1.0 cm ) and left pan metastasis ( 2.2 cm ) . after completing 4 cycles of xp , she showed partial response to the chemotherapy with decreased sizes of perigastric ( 0.9 cm and 0.6 cm ) and left pans ( 0.8 cm ) . she underwent laparoscopic subtotal gastrectomy with para - aortic lymphadenectomy , but the small branch of the left renal vein was injured at the end of para - aortic lymphadenectomy , so bleeding control was performed via minilaparotomy . the total operative time was 415 minutes and para - aortic lymphadenectomy took 97 minutes . the ebl was 200 ml . the pathologic results revealed submucosa tumor and 6 lns metastases in 58 harvested lns ( 16a2 [ 0/0 ] , 16b1 [ 0/11 ] ) . she was discharged at 11 days postoperatively after conservative management due to a large amount of ascites . a 63 year - old man was diagnosed with a poorly cohesive adenocarcinoma in the gastric lower body , and a pet - ct suggested multiple perigastric and left pan metastases . after completing 7 cycles of xp and 5 cycles of xeloda , he showed a partial response to the chemotherapy with decreased sizes of perigastric and left pans . the total operative time was 310 minutes and para - aortic lymphadenectomy was performed during 93 minutes . the pathologic results revealed subserosa tumor and 3 lns metastases in harvested 35 lns ( 16a2 [ 0/0 ] , 16b1 [ 0/8 ] ) . all laparoscopic para - aortic lymphadenectomies were performed with the standard 5-port system used in laparoscopy - assisted total gastrectomy without any additional port insertion ( fig . 1 ) . an ultrasonic cutting device ( sonosurg , olympus , tokyo , japan ) and ligasure ( valleylab , boulder , co , usa ) was used to minimize postoperative bleeding and ascites after lymphadenectomy . after laparoscopy - assisted subtotal or total gastrectomy with complete omentectomy and d2 lymphadenectomy , pan dissection proceeded from 16b1 area to 16a2 area . the infra - pancreas mesocolon was first dissected to enter the retroperitoneal space . after exposure of gerota 's fascia of left kidney , splenic flexure was mobilized to take down transverse colon and mesocolon toward the lower abdomen . following identification of the left renal vein ( superior border ) , left gonadal vein ( left side border ) , treitz ligament ( right side border ) , and inferior mesenteric artery ( i m a ) ( inferior border ) , 16b1 pan including lateroaortic , preaortic , and interaortocaval area were dissected from i m a to left renal vein . for 16a2 lymph node dissection , the supra - left renal area was dissected first , and the dissection proceeded up to celiac ganglion . 2 . bowel reconstruction such as uncut roux en y g - j stomy and roux en y e - j stomy was performed after surgical hemostasis and irrigation of para - aortic lymphadenectomy area . in advanced gastric cancer , the prevalence of microscopic metastases in the para - aortic region is 10% to 30% . because the 5-year overall survival rate of patients with pan metastases is less than 20% even after prophylactic dissection , d2 lymphadenectomy plus pan dissection pan involvement is now considered m1 in tumor - node - metastasis ( tnm ) classification system ( 7th edition ) as reported by the american joint committee on cancer . in unresectable gastric cancer park et al . reported that pan - only metastasis showed better survival and longer time to other organ metastasis compared with single or multiple organ metastases , and oyama et al . reported high clinical response ratio of preoperative chemotherapy in gastric cancer with pathologically positive pan . however , the clinical characteristics of isolated pan metastasis have not been comprehensively described . as various chemotherapeutic agents and regimens have been developed , several studies reported that short - term outcome of curative gastrectomy after neoadjuvant chemotherapy in unresectable gastric cancer including pan metastasis . reported that r0 resection was possible in 71% after neoadjuvant chemotherapy with docetaxel , cisplatin and capecitabine . reported that combination preoperative chemotherapy with docetaxel , cisplatin , and s-1 and gastrectomy with pan dissection was extremely effective and feasible for advanced gastric cancer with pan metastasis , and reported 2-year overall survival at 93.8% . however , a consensus of neoadjuvant chemotherapeutic regimen was not established and there were few prospective studies in gastric cancer with pan metastasis . therefore , the efficacy of gastrectomy with pan lymphadenectomy after palliative chemotherapy remains unclear , especially for advanced gastric cancer with isolated pan metastasis . in the present cases , all patients had isolated pan metastasis and showed partial response to capecitabine - based chemotherapy . in case 2 , preoperative advanced gastric cancer was changed to early cancer after chemotherapy , and even in case 1 , the pathologic result showed complete regression . furthermore there was no metastasis of pan in the final pathologic results , so we could achieve r0 resection in all cases and tnm stages of the patients migrated to lower stages eventually compared with preoperative stage . long - term follow - up will be needed to evaluate whether this downstaging effect could influence the actual survival or not . most importantly , the present case series report is the first report of laparoscopic para - aortic lymphadenectomy in korea . laparoscopic surgery is a well - established minimally invasive surgical alternative to open surgery and has advantages of reduced postoperative pain , shorter hospital stays , and less complications . despite its advantages , laparoscopic para - aortic lymphadenectomy the present cases report showed that laparoscopic para - aortic lymphadenectomy could be performed without additional port insertion , and that the mean operation time and mean ebl were acceptable compared with open surgery . considering the number of retrieved lymph nodes in para - aortic region , laparoscopic it was also significant that all patients were recovered and discharged without any significant complications . there was 1 case of intraoperative bleeding due to injury of small branch of left renal vein during 16b1 area dissection . the left renal vein was clamped with two endo bulldogs under laparoscopic view before laparotomy , so it was possible to prevent massive bleeding and to control the bleeding via minilaparotomy . in conclusion , however a multi - institutional clinical phase ii study is needed to quantify the short - term benefit and long - term oncologic outcome of laparoscopy - assisted gastrectomy with para - aortic lymphadenectomy after chemotherapy for advanced gastric cancer with isolated pan metastasis .

pubmed

Digimon, Naruto Lion Heart **I've been in a bit of a funk lately.** **Damn writer's block, ugh!** **So I went to reading other fanfics that had been updated and such, mostly Naruto x-overs lately, and I found this one Digimon/Naruto fic and thought it was a little weird but still interesting so I started reading other Digimon/Naruto x-overs and that got me to watching some Digimon on youtube and **_**viola**_**! Yet another random thought for a story that I couldn't get rid of until I started typing and writing down notes.** **Geez...** **I sometimes curse my creative mind because what's sad is that my creativity truly shows when a random thought pops into my head and I can't stop writing until another episode of severe writers block hits!** **IT DRIVES ME **_**OUT **_**OF MY MIND IN **_**INTO **_**THE LOONY BIN!** **But whatevs.** **Random works I guess... Anywho, this fanfiction takes place in the **_**Digimon Tamers**_** series and I doubt there will be any romance. **_**If**_** there is any chance of romance happening in future chapters of this fic, it will most likely happen between Naruto and Rika. But again, I doubt I will be putting romance in this fic.** **Enjoy.** **x** **XD** Chapter 1 The Truth Pt.1 It was an average day in Konoha, the Village Hidden in the Leaves. The dirt streets were lively with the regular hustle and bustle of the villagers and there were several adults chasing after a blonde boy, who they were surprised they couldn't keep up with, yelling obscenities while the boy was grinning and laughing all the way and anyone he passed sneered and debated joining the chase. Yup, an average day for the Leaf Village. The boy in question was eight-year-old Naruto Uzumaki. The reason he was being chased right now was because he'd set off a stink bomb in the grocery store, a paint bomb that colored the clothing shop in a continuous rainbow, made all the books in Konoha's library/bookstore disappear, and put itching powder in the uniforms of all the teachers of the ninja academy except Iruka-sensei... and made it so all these pranks would happen at the same time. With another snicker after looking over his shoulder at the itching teachers, rainbow-painted clothing shop keeper, angry librarian, and grocery store manager who was still holding his nose, Naruto turned a corner, making his pursuers lose sight of him for a moment before continuing their chase after the blonde. In their hurry, none of them noticed the smirking blonde sitting on the roof of the building they'd passed to turn the corner waving to their backs. "They never seem to learn do they?" "Nope." Naruto said in answer giving giving a grin over his shoulder at the weasel masked ANBU who'd appeared. "But it's their fault for seeing the kunai as the storage scroll." "It is indeed." The ANBU said with a nod and, by his tone, Naruto could tell he was smiling behind his mask. "If I didn't know you better, with the way they treat you just for entering their public welcoming doors, I'd be surprised you retaliate with silly pranks rather than show your true shinobi skills." "To each his own Itachi-nii." "Ah ah, remember, I'm in uniform." "It's not like I can call you Itchai-nii when you're _out _of uniform." Naruto said flatly before raising an eyebrow. "And I only refer to you and the team as family when in uniform." "And you're not in uniform at the moment now are you?" The weasel-mask ANBU said crossing his arms. "Fine, _Itachi_." Naruto slightly whined. "So what's up?" "Hokage-sama wishes to go over the details of our mission tonight." Naruto's eyes narrowed slightly. "And the start of my long term mission at your request no doubt." The Itachi gave a nod making the blonde sigh once more before standing, the moment the boy stood, gone was the whisker-marked blue-eyed blonde in blue shorts, a black T-shirt, and an orange vest with a white color and in his place suddenly stood a whisker-marked blue-eyed black-haired boy with his hair cut like the Yondaime's in ANBU garb with a tanto sheathed behind each shoulder and two folded windmill shurikan hanging from either side of his belt, just before he slipped an ANBU crow mask over his face. In an instant, both ANBU disappeared, heading to Hokage tower. Upon reaching the Hokage's office, they found that the rest of the team was already there. "Jeeze, for a minute there, I thought you two were going to start taking after Dog when he's not in uniform." Said the snake masked female ANBU. "Who wants to bet he'll be late for his own funeral unless we put him in is ANBU gear to be buried?" The crow-masked child ANBU said raising his hand while everyone, even the Hokage, but the ANBU in question raised their hands in amusement. "Har-har." The dog-masked ANBU said sarcastically making everyone in the chuckle, giggle, or snicker. "Team Nine-tails." The Hokage said after clearing his throat, making the nine ANBU in the room immediately stand at attention. "This will be the last mission, team Nine-tails will ever be going on again. You nine made yourselves a team, a team most legendary over the past two and a half years. A team with no true captain, just several individuals coming together only for the most serious of missions, and there hasn't been a single mission you have failed. Unmask yourselves here and now as a final good-bye to the title of team Nine-tails when I call on you. SNAKE; Anko Mitarashi." A woman with her slightly spiky purple hair tied back in a pony-tail unmasked her grinning face with light brown eyes. "CAT; Yugao Uzuki." Another woman with her purple hair down unmasked her somewhat serious face and black eyes. "GECKO; Hayate Gekko." A man with slightly shaggy brown hair, black eyes, and dark circles under his eyes, looking a bit sickly along with a cough that came from his lips from time to time unmasked himself. "RAT; Izumo Kamizuki." A young man with dark brown hair and some of his bangs hiding one of his black eyes with a slightly amused smile. "MONKEY; Kotetsu Hagane." Another young man also wearing a slightly amused smile with long black spikes for hair, black eyes, a trimmed beard to look flat on his chin, and a a white cloth tied around his head going over the bridge of his nose and under her ears. "TORTOISE; Gai Maito." A man with his black hair cut into a bowl shape and abnormally large eyes wearing a nice-guy pose smile unmasked himself. "DOG; Kakashi Hatake." A man with silver hair that defied gravity took off his ANBU mask only to reveal he was still masked from the nose down and he had an eye closed with a scar going through it. "WEASEL; Itachi Uchiha." A boy with long black hair tied back in a low pony-tail and diagonal lines on his cheeks from the inner corners of their eyes, looking to be about thirteen, unmasked himself. "And CROW; Naruto Uzumaki." Naruto unmasked himself, his black Yondaime-haircut gone back to his normal wild blonde spikes. "This is Team Nine-tails' last mission... or at least it will be for a very long time." The old man said. "You're mission is to dispose of the coup forming in the Uchiha clan..." Everyone gained a serious expression, ready to hear the details as they were already told of this mission ahead of time. x * * * >x Crow and Snake were running towards training grounds 44, Forest of Death. Team Nine-tails had finished their last mission together and split up into pairs while Itachi stayed behind to face his little brother and make him think Itachi killed the clan alone. As part of a last request to the Hokage, which the old man allowed, Itachi was going to take the role of the bad guy to protect his precious little brother and the old Hokage suggested Naruto watch over Sasuke as a genin when team placements arrived under Kakashi's also watchful eye. It was Naruto's choice how to accomplish this mission. The mission wasn't to truly start until until team placements anyway and would go on until Sasuke made chuunin, when he would hopefully be mature enough to learn the truth, or if something happens to jeopardize the mission, in which case, Naruto would be forced to tell Sasuke everything. Anko lived in a hut just outside the Forest of Death and after missions Team Nine-tails went on and other serious ANBU missions, she allowed Naruto to spend however much time he'd need to shake of the affects the mission had on his person. There were plenty of reasons it was called Forest of Death but, sadly, Naruto felt safer there than he did in the apartment he lived in thanks to the villagers constantly breaking in and the stupid landlord Naruto was forced to live by. The landlord constantly threatened to kick Naruto out for not paying him rent. Naruto was always on time with his rent, the landlord was just pissed Naruto refused to pay more the the money required once a week rather than once a month. Naruto never had to worry about anything he cared about getting damaged because he never trusted anyone but the old man, the others of Team Nine-tails, and Iruka-sensei so he always kept his things in either the Hokage's office or on his person sealed up in a couple storage scrolls. That included the food, clothes, and books the old man allowed him to steal earlier today seeing as no one would ever sell him anything and whenever they did it was three or four times the original price for something of the lowest quality. They reached the Forest of Death and Anko handed him a blanket and pillow saying, "It's getting a bit chilly this time of year and remember to tell me or leave a note when you leave." "Always." Naruto answered, still masked before taking the offered blanket and pillow and hopping over the fence and headed into the dark wood. After running deep into the forest and finding a nice place to sleep, Naruto finally unmasked himself, bathed in the stream close by, and dressed for sleep. He was out like a light as soon as his head hit the pillow. x * * * >x Naruto's eyes snapped open as soon as he heard the first signs of battle. He could sleep through most sounds the Forest of Death gave off but fights were one of the few things he couldn't especially if they were near by. Another thing he couldn't sleep through was when someone was either watching him or someone was near by or at least in the same room as him. The only one he could really find himself sleeping in front of was the old man Hokage. But, moving on... The was a crashing sound of sorts and a tree suddenly fell just a few feet from where he was sleeping. It was still dark out. If Naruto had to guess, it was a little after midnight. He sat up, kunai in hand, and peeked out from the slightly underground tree cave he'd been sleeping in and could hardly believe what he was seeing. There, just several feet from where he was hiding, were two of the strangest creatures he'd ever seen. One was this disfigured green thing a long white mane and burn mark-like scars all over it, it had a long pointy silver horn on either side of it head with four orange rings around each horn, it had three more shorter white horns sticking out of each shoulder, all it's teeth were pointed but it still had larger fangs at the top along with a pair of tusk-looking fangs, it's pointed cow-like ears had two silver hoop rings hanging from each, it's left forearm and right shin were wrapped in strange orange bandage-tape while it's right forearm and left shin had belts and bolted guarding, it wore this dark gray loincloth type thing with a black belt, it's carried this big bone-club with metal spikes at the end, and it looked to be about three times the height of the old man Hokage. The other creature, which seemed to be losing badly judging by the injuries Naruto could see, was red and blue on all fours with nine tails fanned out like a peacock's tail feathers. It was a beautiful crimson color with light and dark blue in stripes and blotches all over. A couple stripes on either side of it's face and on each of it's limbs as well, it had a couple spikes of blue over it's forehead with the blue spread down it's back to it's tails. The end of each tail and it's long pointy ears had darker blue. It looked to be standing about a foot in height on all fours, about two if it were on it's hind legs, and each foot had three white talon toes. It was covered in cuts, scratches, and already forming bruises, and it's left eye seemed to be missing, a slanted x-like cut in it's place. Sort of reminded Naruto of Kakashi. "**SUPER THUNDER STRIKE!**" The red and blue creature shouted tiredly as it's tails sparked with lighting before the lightning shot towards the green creature. The green creature was able to dodge it though before charging towards the red and blue one with a shout of, "**STRONG MAUL!**" and started mauling the smaller of the two savagely. Naruto leaped out from his hiding place before throwing two of his four windmill shurikan at the green beast's back. The two windmill shurikan slashed it's targets back with a satisfying shriek of pain before turning to the small blonde boy who threw them just as said boy caught the windmill shurikan that had returned to him. In rage, the green beast charged at the blonde boy who stood ready. "**BONE CLUB!**" Naruto jumped to the side and leaped up over the green monster's head slashing away with his windmill shurikan on the way to the other side of it. The monster let out a shout of pain as Naruto landed behind it. As soon as the blonde's feet touched the ground, he turned to the beast making a cross sign with his hands and three clones suddenly appeared before hurrying in different directions in the trees. The green monster turned to the blonde more enraged than before and raising fist up as dark energy swarmed around it before hauling it down to the blonde's head. "**PUMMEL WHACK!**" Naruto jumped back to avoid it but had to put his arms up to keep the flying pieces of earth from hitting him, he jumped back twice before throwing kunai in seemingly random directions. Holding his fists out on either side of him, Naruto waited, staring coldly at the green monster as it regained it's baring and found it had missed it's target. It looked up at the blonde and growled before charging. "**STRONG-**" Just before the green monster could finish, Naruto yanked his fists over to the opposite sides of his build and it was only with a lucky glint in the sunlight, the downed blue and red creature was able to see twelve pieces of ninja wire going off in the seemingly "random" directions the blonde had thrown the kunai. The green monster was too focused on his own anger ridden attack to notice much of anything. At the end of each ninja wire was one of twelve windmill shurikan that all came flying towards the green monster from all directions as Naruto ducked nearly stomach flat on the ground when all twelve shurikan hit and the green monster screamed in pain and dismay as his body disappeared in red flakes on some kind of energy. Naruto stood as the clones hiding in the trees hopped down around him and the twelve windmill shurikan disappeared in a puff of smoke. He stood there, still in his sleeping white T-shirt and grey sweatpants before looking to the downed red and blue creature before slowly and cautiously approaching it. It growled and tried to edge back as it's tails fanned out again but with it's current condition of exhaustion and pain, it didn't get very far. "I'm not going to hurt you." Naruto said quietly as he slowly knelt down beside it. It didn't stop growling but it did hold back a bit. Naruto made two more clones and had one go get the storage scroll with food and medical supplies and the other go fill up a canister of water from the stream near by as he an the fist three clones he made carefully picked up the red and blue creature, much to it's protest, and brought it over to the slightly underground tree cave. "Quit carrying me like a digi-egg human, I can walk!" The creature said frustratedly. "Not in your condition you can't." Naruto said. "I don't know what a digi-egg is but it sounds defenseless and, by that last attack with the lightning I saw you make before that green monster started mauling you, I can see your far from defenseless. But that doesn't mean you shouldn't accept help when you need it. Now quit complaining, I'm helping you whether you like it or not and you're lucky it was me that found you rather than one of the many idiots in this village. They probably would've killed you just for having nine tails." The creature made something akin to a pout but stopped arguing as Naruto and his three clones carefully brought it down to the blanket on soft soil of the tree cave before the three clones disappeared in a puff of smoke. "What ability is that human?" It asked. "There are few digimon I know of that can make clones but those are simply illusions. How did you make them real?" "My name is Naruto and it's called shadow clone jutsu. I'm a ninja, it's what I do." Naruto said as he carefully slipped his pillow under the front half of the creatures body before the clone who'd taken out the medical supplies and food disappeared along with the clone that got the water when it got back. "And digimon? Is that what you are?" "Yes. I am Elecmon. The one you defeated just know was Ogremon. You never heard of digimon?" It asked slightly confused. "Nope." Naruto said soaking a cloth with the water and started carefully cleaning Elecmon's wounds. "What did that thing do? That was a strange way to escape." "Escape?" "Didn't it?" "No. Digimon are made up of data. What you saw were Ogremon's data particles scattering when you killed it." "Oh. Strange... Is that what happens to all digimon when they die?" Naruto asked. "Yes. Unless a digimon's data particles are absorbed by the digimon that defeated it, it's data goes back to the digital world and it is reborn into, hopefully, a better digimon." "Digital world? Is that like the summoning world?" "Summoning world?" Naruto and Elecmon got to more talking and before they realized it, they were telling each other everything about there home worlds and a bit about themselves as well. Naruto learned that the digital world has a strong connection to the "real" world. Elecmon and his brethren were stopping a group of Goblimon from transporting through what they'd thought was a portal to the "real" world and took care of all but one Goblimon that suddenly digivolved into an Ogremon. It'd killed Elecmon's brethren and got through the portal but didn't escape without Elecmon fallowing. "Well the fight is over and you need to rest so I'll feed you a sandwich or two and then you sleep." Naruto said in a don't-bother-arguing-with-me tone as he put away the medical supplies he'd finished using after bandaging up Elecmon's more serious injuries. Elecmon sighed and rested his head on the pillow as Naruto picked up a ham and cheese sandwich and brought it to Elecmon's mouth who ate it gratefully. He hadn't realized how hungry he was until he took that first bite. Naruto couldn't help letting out a little laugh when Elecmon hurried to eat. The digimon ended up eating four sandwiches, six onigiri, and some friend chicken before finally feeling full and went to sleep. Naruto stayed awake the rest of the night to watch over Elecmon, protecting him from the hungry predators of the training grounds that smelled his blood. x * * * >x Naruto sighed at the many, now dead, predators that had come during the last few hours of the night. He was glad the sun was up now because was dead tired, but he knew he could fall asleep just yet, not with Elecmon still in such a bad condition. He was nodding off but he refused to completely shut his eyes. Elecmon's eyes fluttered open and he noticed Naruto sitting up with his back against a wall of the tree cave looking like it took all his little human body's strength to keep his eyes open and head from falling forward. Taking a closer look, he saw Naruto's sleepwear was filthy and he had a smudge of dirt here and there on his face. Feet and hands were filthy as well and Naruto had a dirtied kunai gripped loosely in his hand. '_...He stayed up to watch over me...and made sure I stayed safe..._' Elecmon noted with a slight smile. Suddenly, he felt... warm. Noticing a light glowing from the corner of his eye and hearing the ripping of cloth, Naruto looked over to see Elecmon's body aglow and shape changing as he grew. Naruto's eyes widened in surprise when the light died down and in Elecmon's place sat an orange humanoid lion man with a golden mane, the slanted X shaped cut in place of his left eye now a scar. He was as tall as the Ogremon Naruto beat hours before. He had a piercing blue eye, the ends of his ears were black, he wore black pants sewn with brown leather up the side and a black belt as well as a black studded belt wrapped around his left forearm and over the knuckles. And resting horizontally on the back of his waste was a wakizashi that was man for a digimon his size. "Whoa..." Naruto said in awe. "Elecmon?... Is this that digivolve thing you told me about?" The lion man smiled and chuckled with a nod. "Yes Naruto." He said with his deep voice. "But I'm no longer Elecmon. I'm Leomon now." "Leomon..." Another light glowed and Naruto found a glowing shape a foot in front of him and a foot above him slowly floating down to his face. The light didn't stop glowing until he reached up and took the floating object in his hands. There in his hands now lay an electronic of sorts, slightly bigger than the size of his eight-year-old hand. It was bright orange with two dark blue buttons, a dark blue ring going around a small screen looking thing, and a dark blue strap with a black clip to hook onto a belt loop like a watch. "What's this?" Naruto asked. "That, Naruto, is a digivice." Leomon said smiling. "The physical sign that we are partners. You're my tamer." Naruto looked up at him in surprise before smiling brightly, a smile, which if compared to the one he uses as a mask in the village, would be easy to tell is true. "Cool." Then Naruto passes out from exhaustion. Leomon chuckled and lifted Naruto from the soil to his lap after wrapping the blanket around the little whisker-faced blonde boy. Back in the Hokage's office a certain old man smiled at the glass ball with Leomon and Naruto in the image, having watched these events the whole time. x * * * >x **The next day** Naruto walked into the classroom in his usual blue shorts, black T-shirt attire with the orange vest, but this time he had his digivice hanging from the front left belt loop of his pants. He was reading an advanced book on seals as he walked in before sitting down, half not-really-noticing and half ignoring the whispers and stares from the classmates towards the "cool new watch". It was sometime during lunch break now and Naruto walked the halls still reading his book util the last couple hours of class started up again. Class went by in a snap that morning for Naruto, mainly because he secretly read his book on seals through the lessons he already knew. "Hey, dead-last." Naruto stopped his walk and looked back over his shoulder at the three smirking boys in his class coming towards him. The one to call out "dead-last" was a guy who was "big-boned" like Choji but taller and stronger while the two on either side of him were practically toothpicks. This was Jinjo Koteko, a councilman's son and his two goons Ruki and Bonta. These three were the bullies of ninja academy. They were pretty in the middle skill-wise between dead-last and top-of-the-class. Ruki and Bonta grew up spoiled with their rich clans and Jinjo was even worse being treated like royalty everywhere he went for being a councilman's son. When Jinjo wasn't given something he wanted he would do anything to get it himself. "That's a nice watch." Jinjo said smirking in a way that said give-me-my-new-watch. "Color's weird for a ninja but I'm sure I can take care of that." Naruto couldn't honestly say he was surprised. He gave Jinjo a flat half-lidded-eyes look before facing forwards once again and walked while reading his book, ignoring Jinjo and his goons completely. "Hey, where do you think you're going?" Jinjo demanded as Ruki and and Bonta ran past Naruto and stopped in front of him to keep him from getting any further. "I said that was a nice watch." "Thank you. I'll be going now." Naruto said stepping forwards only for Ruki and Bonta to put their arms up to stop him. "I didn't think you could get any stupider dead-last." Jinjo said approaching. "Give me my watch." Feeling irritated, still not really cleared of his angst over killing the Uchiha clan with his from-time-to-time team two days before, Naruto turned to face Jinjo and said without looking up from his book, "And you must be a complete moron if you don't get from my body language that this isn't your watch and I'm not giving it to you." He could feel Ruki and Bonta's surprised and confused is-this-kid-crazy-or-just-plain-mental? stares at his back, but he ignored them. Jinjo was angry in an instant and made a grabbed at Naruto with his other fist already ready to punch the blonde. Naruto ducked to the floor, still without looking up from his book, and sweep-kicked Jijno's feet from underneath him. Naruto was on his feet and Jinjo was on his back before anyone could blink. Ruki and Bonta tried to grab at his shoulders from behind at the same time but, again, it happened before anyone could blink. Naruto tossed his open book a foot in the air, grabbed Ruki and Bonta's offending wrists and flipped them over his shoulders to land on top of Jinjo with a pained "oof!". Naruto stood straight and lifted a hand somewhat lazily, catching his book and turning a page as he turned back around and continued his walk once again. He didn't notice the two pair of eyes on him before the owner of said eyes on him fallowed. Naruto brought himself back to the empty classroom and decided to wait the last few minutes before class started again. Before he could sit down though, the door slid open again and he turned to see Shikamaru and Choji staring at him in question. "What was that just now?" Choji blurted. "You're not really a dead-last are you?" Shikamaru asked. Naruto blinked in surprise before frowning somewhat embarrassed. '_They saw what I did to Jinjo and his goons. How did I not sense them? I must be more irritated than I thought if I was so distracted I didn't sense a couple of academy students._' Naruto sighed. '_Old man, if you're not watching this right now through that orb, I'll have to tell you as soon as class is over._' In the Hokage's office, the old man Sandaime was doing just that. "No. I'm actually not even an academy student." Naruto said honestly, closing his book on seals and placing it on the nearest desk and lifting the right sleeve of his T-shirt to show them his tattoo. "I'm ANBU. I've been ANBU since I was six. The only real reason I'm in the academy is to make friends but with all the people who hate me for no real reason, that planning went down the drain. Now I have a mission that will take a few years to complete and I need to be academy dead last to do that... Well, that and if I'm the dead-last, people won't hate me as me as much as they already do if that's possible. I can't tell you what my mission is thought. Sorry." Both just nodded somewhat absently. "Want to play a card game with us?" Choji suddenly asked. Naruto blinked surprised before smiling, "Sure!" Back in the Hokage's office, Sandaime Hokage smiles a the orb in front of him showing him Naruto playing a card game with his first pair of friends his age. A couple hours later, after class was finished, Naruto sent a shadow clone to the Hokage's office to tell the old man what he already knew while he Shikamaru, and Choji went to the park. "Wait, so kids make fun of your structure and say Akimichi are a clan of fat asses?" Naruto asked confused while hanging upside down from the monkey bars. "Yeah." Choji said feeling down sitting on the swing and Shikamaru just standing off to the side. "They never let me play 'ninja' with them because I'll slow them down. They wouldn't let me play even though there were an odd number of people for teams." "... That's just stupid." Naruto said making Choji and Shikamaru look to him in surprise. The blonde dropped from the monkey bars and flipped in mid air to land on his feet and continued, "Any ninja will tell you there's strength in numbers and having the power those kids seem to want means zip if you don't have the control for it. And the Akimichi are one of the strongest clans to exist and not just by Konoha standards, even with all the clans with bloodlines in our village." Choji looked to him in surprise before smiling a little embarrassed. "Besides, I'd like so see an idiot like Jinjo turn all the built-up fat in his body and in his head into muscle in an instant like an Akimichi can." Naruto added. "Although, for Jinjo, I can't be sure if it's fat or just a bunch of hot air. Haha. Seeing Jinjo float away like a hot air balloon would sure be amusing." Shikamaru and Choji couldn't help laughing at that comment and image in their heads. '_Although I do find playing 'ninja' rather silly too._' Naruto thought. '_Being a ninja isn't a game but that's something these guys have to learn on their own._' Naruto paused in thought before remembering something. '_I haven't seen Leomon since this morning. Those there's plenty of thing for him to eat in the forest and he's not any way defenseless now that he's healed, but..._'"You know guy's I just remembered I have something I need to take care of. And it's getting pretty late." "Hey, yeah!" Choji agreed. "I'm gonna be late for supper!" Naruto and Shikamaru laughed a little when Choji started running off and Shikamaru sent Naruto a nod before heading home as well. While Choji and Shikamaru went home, Naruto headed for training grounds 44. When he got to the fence in front of the Forest of Death, he stiffened as the shadow clone he'd sent to the Hokage's office finally dispelled. Naruto couldn't help scoffing at the memory he gained from the clone as he made his way through the Forest of Death to Leomon. (Shadow clone's memory) _Just after Naruto confirmed the old man had been watching his confrontation with Shikamaru and Choji about being an ANBU, there was a knock._ _"Enter." Sandaime said._ _The door opens and in walks Jinjo's father, Councilman Koteko, with a smug looking Jinjo right behind him._ _"Ah, good." Councilman Koteko said looking at Naruto with a sneer. "Saves us the trouble of looking for him."_ _"Is there something wrong Councilman Koteko?" Sandaime asked, though he was inwardly sighing tiredly._ _"That... __**boy**__... stole something of my son's today after attacking him and his friends in the hallway at the academy." The councilman said pointing at Naruto._ _Naruto narrowed his eyes at Jinjo who was smirking now._ _"Really?" Sandaime said in a disbelieving tone. "And what did he steal?"_ _"My watch." Jinjo said pointing at Naruto's digivice. "He has it on his belt loop right there."_ _"Hmm." Sandaime looked to Naruto with a raised eyebrow while Naruto continued glaring at Jinjo. "And what proof do you have that it's yours?"_ _"Ruki and Bonta can vouch for me." Jinjo said still smugly smirking at Naruto._ _"Really? And they wouldn't be just saying that as your lackies?" Naruto said angrily._ _"Insolent little brat!" Councilman Koteko hissed at the blonde before looking to the Hokage once more. "Lord Hokage, I demand you have that __**thing**__ locked up."_ _"You should get all the facts before start demanding __**anything**__ Councilman." Sandaime said firmly. "Naruto, may I see this watch?"_ _Naruto glanced to the old man before sending another glare at Jinjo and his father before unhooking his digivice from his belt loop and handing it to his grandfather figure._ _The Sandaime looked it over a moment and held it up by the strap before asking Jinjo, "You're saying this is the watch Naruto attacked you and your friends in the hallway for to steal?"_ _"Yes Lord Hokage." Jinjo said smiling._ _"And where did you get this watch?" Sandaime asked._ _"I bought it yesterday in the marketplace." Jinjo said._ _"I see... That's funny. You see, Naruto is turning nine in a couple weeks and I gave him this exact same watch as an early birthday present two days ago." Sandaime said looking over the watch again._ _Councilman Koteko's eyes furrowed in confusion before looking down to his son who's smile dropped and complexion gone pale._ _"Would you like to tell me, again, why Naruto __**attacked**__ you and your friends in the hallway to steal a watch he already had?" Sandaime said handing Naruto back his digivice to put back on his belt loop where it belonged._ _"W-Well he __**did**__ attack us!" Jinjo said._ _"Really? Hmm." Sandaime opened one of his drawers and took out a red velvet pillow and an antique wooden box. He placed the pillow on the desk in front of him and opened the box to reveal a crystal ball. He then placed the crystal ball on the pillow before applying his chakra to it. "This crystal ball is special. Only one with the title of Hokage can use it and it's used for watching over anything going on within Fire Country. What few people know is that the Hokage can also display his memories and the crystal ball will not allow him to lie through it either. As it just so happens, I was watching over the academy today through my crystal ball, just to see how things were coming along with the students and imagine my surprise to the scene I'd come across."_ _Over the next couple of minutes, Jinjo grew paler and paler while his father grew more humiliated with each passing second watching the scene that took place in the academy earlier that day between Naruto, Jinjo and Jinjo's goons. Naruto just stood there with his arms crossed and a flat expression. Sandaime ended the show just after the image of Naruto in the crystal ball turned the corner at the end of the hallway to go back to the classroom._ _"As you can see, Councilman, the only __**attacking**__ on Naruto's part was in self-defense." Sandaime said twining his fingers together. "And it would seem your son hasn't yet learned two very important things. One being that you cannot always get what you want and the other being that you should never mess with a shinobi that has something to protect. Dismissed."_ _Councilman Koteko didn't waste another minute leaving the office and pulling Jinjo out by the ear behind him._ _"I take it you saw my encounter with my new partner as well seeing as you helped me?" Naruto questioned his grandfather figure._ _The old man chuckled. "Yes. From the time he was Elecom to the point where your exhaustion finally caught up with you. I'd like to meet Leomon. Not today, of course, but soon. I still have to take care of an undying enemy."_ _"Paperwork?" Naruto questioned with a raised eyebrow and a smile._ _"Yes..." Sandaime said with a depressed sigh making Naruto laugh a little._ (End of Shadow clone's memory) Naruto shook his head before looking around and finding Leomon sitting in the stream catching fish and putting several on a pointed stick about three feet long, each stick holding ten fish, and three sticks already sticking out of the ground around a large fire. Leomon was working on a forth stick and already had six fish on it and over the fire were two large skinned boars and six skinned rabbits. "Hungry?" Naruto questioned quietly with a light and airy laugh. "I bet you are too." Leomon said without taking his eyes off a fish in the water. Naruto's stomach rumbled before he could retort, making Leomon chuckle as he stuck a seventh fish on the stick. Naruto sighed and gathered twelve sticks about two feet long before sitting by the fire and opening his food and medical supply scroll. He took out carrots, onions, mushrooms, peppers, potatoes, tomatoes, apples, pears, pineapples, strawberries, grapes, and lemons on sticks and stuck them in the ground around the fire with the fish. It wasn't long when he and Leomon were eatting plentifully and more than satisfied. Naruto fell asleep that night in the Forest of Death listening to stories Leomon told about the digital world and the digidestined. x x * * * >x x **Four years later...** An average day in Konoha. The sun shining, the regular hustle and bustle of the villagers, and an orange clad blonde running while laughing his head off with a couple jounin chasing after him for painting Hokage Mountain. Yep. The average day for Konoha. Naruto escaped easily with a camoflage sheet to match the fence behind him... only to be just as easily caught by Iruka-sensei and brought back to the academy. Iruka made the class repeat the transformation technique and Naruto did his Sexy Jutsu instead making Iruka's head shoot back with blood splatter. After class Iruka made Naruto start cleaning his graffiti all over Hokage Mountain and after thinking a bit, Iruka offered to take Naruto to Ichiraku's for ramen, before Naruto could answer though, a black haired ANBU looking to be Naruto's age in a Crow mask appeared beside Iruka looking down at the blonde. "Uzumaki-san, Hokage-sama wishes to see you. Now." Crow said. "Okay... I'll be right back to clean the rest of this up and then we'll go to Ichiraku's." Naruto said. Iruka nodded and the ANBU Crow hopped down next to Naruto on the platform he was standing on the clean the mountain before putting a hand on Naruto's shoulder and leaf shunshined to the Hokage's building. They appeared just a few feet down the hall from the Hokage's office doors before going in finding the old man at his desk waiting and smiled when he saw who walked in. As soon as Crow closed the door behind him, the blonde clad in orange disappeared in a puff of smoke and Crow took off his mask, black hair immediately shortening and turned blonde before he approached the Hokage's desk. "I don't want to take too long." Naruto said placing his mask on the desk. "I gotta finish cleaning up the graffiti and then go to Ichiraku's for a ramen bowl with my name on it." The old man Sandaime chuckled before asking, "How was the mission?" "The Fire Daimyo thanks you for sending one of your strongest ninja to take care of his roach problem." Naruto said with a smile. "His words, not mine, I promise. He couldn't believe that three of his greatest adversities were the spies but as soon as I showed him their map of Fire Country with a few landmark changes and such as well as the documents proving they were stealing from his treasure fault and making the people try to revolt against him, no more question was asked of me. My full report of the mission." Naruto said handing the old man a scroll. "Ah, good." Sandaime nodded taking the scroll. "And how goes the mission involving traitors _inside_ the village?" "Well, the act of inability to make a regular bunshin, which of course is not _really_ an act," Naruto said making the old man chuckle, "is proving useful. The traitor tries to make it seem like he likes me more than Iruka by being less strict and all but happy to give me second chances. Iruka's a good teacher. He's tough but fair. The traitor just wants to get closer to his target. I still can't be sure what he's up to, but it obviously involves me." The old man nodded, "Be sure to tell me as soon as you know." "Yes, Lord Hokage." Naruto said with a bow before making a clone of him in his ANBU wear with the Crow mask on and left while he himself changed into the orange jumpsuit. "I'm going to have my clone get me more clothes. A guy can only take wearing the only clothes the villagers were willing to sell him for so long. Don't get me wrong, orange looks good on Leomon, but that's his fur." The old man chuckled again. "How is your partner by the way?" "Happily living in the Forest of Death but wishes a portal would open up here already." Naruto said with a slight sigh. "It's been four years and the only digital field to appear was the time I first met him as Elecmon. I wouldn't mind seeing this real world either... And I get the feeling I'll be seeing it soon." "Well we both know how you are with your gut feelings... How long would you say you have?" The old man asked. "I'm not too sure." Naruto said honestly. "I know it's some time around of the next chuunin exam but not if it's before, after, or during it. There's a reason I'm Leomon's partner, I just have to wait and fufil that reason. When I do we'll be back... Maybe." The old man nodded understanding before sitting up, "Alright, dismissed." "See you Old Man." x * * * >x The next morning, around four, Naruto dressed in his "real" clothes. The ones he couldn't wear in public without the villagers bugging him about it. He no longer had to worry about anyone breaking into his apartment, as of three years ago, thanks to the security seals he made. Now no one can get in without his permission. He slipped on a black wife-beater, grey cargo pants, black ninja sandals, and a dark grey zip-up hoodie. His digivice in the pocket of his hoodie so no one wood see it if they say him, just in case. This _is_ a ninja village after all. He pulled his hood up and hurried to the Forest of Death. When he got there, he found it was quiet... Much too quite. He cautiously wandered farther into the forest, looking from left to right under his hood from time to time. The wind whistles as he turns to a scuffling sort of sound, not noticing the glowing blue eyes above him from behind in the trees... Suddenly, a giant shadowed figure jumped down right on top of him and wrestled the blonde to the ground. Naruto elbowed his attacker in the gut before jumping to his feet. His attacker on his feet as well, but Naruto jumped to the giant figure's shoulders and grabbed his hair and, by the hair, flipped his attacker to the ground... Or at least he tried to. When that didn't work, Naruto sent a high kick to his attacker's head. That worked for a moment before a giant hand grabbed his ankle and held him up off the ground in a streak moonlight peaking through the trees. His hood slipped revealing his face as well as the giant orange furred and black clawed hand holding him up by the ankle. "Damn!" Naruto cursed crossing his arms. "I feel like a kid in these spars." The figure chuckled before bringing his head in the moonlight revealing Leomon. "You _are_ a kid. And you forgot to take of your weights." "I didn't forget." Naruto said to the digimon. "I wanted to see how I could do against you with them on." Leomon chuckled. "And you're progress is like that of your mask." "Hey, I wasn't _that_ bad!" Leomon laughed and put Naruto to the ground saying, "Maybe, but isn't the point of us sparring supposed to test _your_ limits and not that of your mask?" Naruto sighed, "Yes." With that, Naruto focused chakra into the gravity seals on his wrists and ankles, deactivating them and disappeared in the wisp of air. The real sparring began. x * * * >x Four hours of sparring and eating a large Forest of Death breakfast later, Naruto was rushing back to his apartment, his gravity seals activated again and his hood back up. He got back and spent the next half hour showering, brushing his teeth, and getting dressed for his last graduation exam and hurrying to class. The day went by quick and Naruto one again failed for tying to do a regular bunshin... and Mizuki offered the solution. That night Naruto snuck into Hokage tower and didn't allow himself to be seen by anyone but the Sandaime when he broke into the Hokage vault to steal the Sacred Scroll and explained things to the old man. "So Mizuki's plan was to have you steal the scroll for him by telling you it was the alternative way to pass the genin exams?" The old man questioned before sighing tiredly. "It's the _Idate Morino _incident all over again." "That's what I thought." Naruto told him as he slipped the Sacred Scroll on his back before facing the old man with a grin. "Now, sorry Old Man, but I got to make this believable for my mask." "What?" "Sexy Jutsu!" "Aaahhhh!" x * * * >x "You are the Nine Tailed Fox!" Mizuki shouted with a smirk. However, instead of crying in denial or shouting, much like both he and Iruka expected, Naruto started laughing. "Wh-What's so funny!" Mizuki demanded. Naruto needed a minute to calm down, but he was still smiling. No, he was smirking. The blonde shook his head and reached into his weapons pouch. Mizuki didn't bother to put up his guard, because everyone knows how poor Naruto's aim was... or so they thought. But what neither chuunin expected was the _weapon_ Naruto took out was an ANBU mask. A crow mask. Still smirking, Naruto slipped the mask over his face, his hair instantly growing out in the front and turned black before he said, "Mizuki... you are hereby under arrest for breaking the Third's law in revealing the sealing of Kyuubi no Yoko to one Naruto Uzumaki... Even though he already knew." Naruto added with a chuckle. "ANBU?" Mizuki shouted. "No! Impossible!" Naruto made a familiar hand-sign and hundreds of clones surrounded them... before beating Mizuki half to death. "So... you're ANBU?" Iruka questioned in the Hokage's office. "Yeah..." Naruto said rubbing the back of his head, slightly nervous. "I've been ANBU since I was six. The only real reason I went to the academy was to make friends my own age and later fulfill a mission. Though I am a prankster... and I love having ramen at Ichiraku's with you, this is the real me. I'm not an idiot, that's just a mask to both fufill my mission and keep me safe from the villagers who hate me for what I hold. They're less fearful if they see me as an idiot. Less beatings, ambushes, breaking into my apartment. Most of the shops have always rufused to sell me anything and when they do, the merchandise is always low quality and they try to make me pay three to four times the real price. I can only imagine what they would do if they knew the real me." Iruka nodded in understanding before suddenly hugging Naruto, much to the blonde's surprise before the blonde hugged back. "At least you can finally graduate." The chuunin said. Naruto couldn't help laughing. x x **XP** **You guys may hate me for this, but I'm not going to be writing in the wave mission, chuunin exams, or finding Tsunade in this fic, although they **_**do**_** happen.** **The only real reason I'm skipping out on those event in **_**Naruto **_**is because I would be making this chapter too long and I wanted to finish it so I could get started on the next chapter and put Naruto in the world of the _Digimon Tamers_.** **Sorry.** **x** End file.

fanfiction

Grignards and anhydrous ethanol > > I remember using both 95% ethanol and absolute ethanol quite a few times. You'd need absolute ethanol for a reaction that would fail if water was present, such as a Grignard reaction. I can't remember whether the absolute ethanol was in an ordinary bottle or the type with a rubber septum (where you keep the liquid under nitrogen to avoid contact with air). If the ethanol was to be used as a reagent, a septum bottle would be more appropriate. > > > <http://boards.straightdope.com/sdmb/showpost.php?p=5314683&postcount=10> First, why would one use ethanol for a Grignard reaction? If a Grignard is destroyed by water (as suggested by the poster) then wouldn't a Grignard also be destroyed by ethanol? I'm guessing that the poster just forgot all his chemistry. Ironic for someone posting on a message board that proclaims to be "fighting ignorance since 1973." --- Second (assuming that one could somehow run a Grignard reaction in ethanol), do you really *need* anhydrous ethanol for Grignard reactions to work? Why not just use a slight excess of Grignard to account for the water present in 95% ethanol? Seems to me that anhydrous ethanol would be pretty expensive given that the usual distillation methods wouldn't get you from 95% ethanol to 100% ethanol. *Finally, is there a reaction in which using excess Grignard to account for acidic protons wouldn't chemically work in some way?* > > First, why would one use ethanol for a Grignard reaction? If a Grignard is destroyed by water (as suggested by the poster) then wouldn't a Grignard also be destroyed by ethanol? > > > As well as being excellent nucleophiles, Grignard reagents are also very strong bases because they essentially function as alkyl anions. Therefore they will react with ethanol to form magnesium ethoxide, the alkane, and magnesium bromide. Grignard reactions are usually carried out in ether solvents such as diethylether and tetrahydrofuran because they are unreactive towards the reagent and they actually stabilize it by coordinating to the magnesium ion to form a tetrahedral complex. ![enter image description here](https://i.stack.imgur.com/SqhQU.gif) ([image source](http://employees.csbsju.edu/cschaller/Reactivity/carbonyl/COsemianion.htm))

stackexchange/chemistry

Characteristic curve of a solar panel I have trouble understanding the $I(U)$-plot of a solar panel: [![enter image description here](https://i.stack.imgur.com/YzmQA.png)](https://i.stack.imgur.com/YzmQA.png) So without any light it should probably just be the characteristic curve of a diode, right? Which means that at some point, when the voltage is high enough, we have a current. And what about the lighted part? Why is it negative? Is it because the diode is still in reverse direction and the photo current $I\_{ph}$ is "coming out" of the panel? And if we increase the voltage, at some point ($V\_{OC}$ we have an opposite current of the diode that evens out the photo current? So technically speaking it is (assuming the lighting is constant) a constant current $I\_{ph}$ which overlaps with the exponential current $I\_D\propto\exp(U)$ from the diode? And how does one "change the voltage" on a solar panel? I will try to answer your questions one at a time: 1. So without any light it should probably just be the characteristic curve of a diode, right? Correct. In principle, a simple solar panel is just a big pn-junction. 2. When the voltage is high enough, we have a current. Right. In the sense that the current follows the simple equation $$I(V) = I\_S (e^{V/V\_t} -1)$$ for a perfect pn-junction. 3. Why is it negative? Is it because the diode is still in reverse direction and the photo current Iph is "coming out" of the panel? I guess the best way to understand the direction of the current is to look at the band diagram of a pn-junction. [![ A p–n junction in thermal equilibrium with zero-bias voltage applied. (from Wikipedia)](https://i.stack.imgur.com/UE4zO.png)](https://i.stack.imgur.com/UE4zO.png) If you apply a positive bias, electrons (holes) start to flow from the p (n) region to the n (p) region. In contrast to that, if you have a solar panel, you use your pn-junction in the other direction. As the free carriers in your device, generated by the absorbed photons, follow the electric field in the device (see picture), the electrons (holes) flow from the n (p) region to the p (n) region (if they are close enough to the junction). 1. And if we increase the voltage, at some point (VOC we have an opposite current of the diode that evens out the photocurrent? So technically speaking it is (assuming the lighting is constant) a constant current Iph which overlaps with the exponential current ID∝exp(U) from the diode? The point of the solar panel is that you control the voltage by the load you apply to it. I am not sure what you mean with applying voltage to the diode, as there is no external voltage source. You are right, that in principle you could apply a voltage to you solar panel and you could control the current, as it follows the current law described above (hence exponentially) but this is not what you do. What you do is to impose a current which defines your $$I(V=0) = I\_{ph}$$ and then the current-voltage characteristics of your solar panel (pn-junction) define which voltage corresponds to which current (that is why the curve shown in your figure is always the same and is just shifted in y-direction) 2. And how does one "change the voltage" on a solar panel? As described in 4., the voltage is controled by the load you apply. For example, the red line indicates, that the maximal voltage is 0.45 V and between 0 V and 0.35 V the current is nearly constant, no matter of voltage. That is why you should consider the solar panel more like a current source than a voltage source.

stackexchange/physics

Giving kids a sporting chance. In-school curriculum, after school academy programmes, school sports days. Education outside of the classroom. Before and after-school care holiday programmes. We are looking for people who have a passion for kids and sport. Established 1996 and now in over 100 schools offering before school, after school and holiday programmes for primary school children. Would suit people who are looking for a change in lifestyle and who enjoy the company of children. We offer you an opportunity to own your own business and make a real difference in children's lives. Running before and after-school care, and holiday programmes kids just love. Our simple franchise model is easy to understand and we provide full training and support. Leading edge, fun, early childhood physical activity and skills classes for under 5's. The Seasons Art Class is the UK's premier adult art class provider. Now seeking new franchisees nationwide for our exciting expansion into New Zealand. High return franchise opportunity from part-time, flexible hours. No artistic talent needed, and full training and support will be provided. Expert Maths Tuition has provided outstanding maths tuition to thousands of students. Pre-school quality early childhood education and care. Education and care from 0-6 years of age. Qualified, registered ECE teachers. Affordable child care with purpose built, fully resourced centres. Kiwikrane franchisees operate amusement claw machines on a revenue share basis with hospitality and retail locations in their exclusive territory. A successful NZ franchise which has exported to Australia as Koalakrane. Opportunities available primarily in Bay of Plenty in 2016. A unique business opportunity for frequent travellers with entrepreneurial spirit. An annual fee entitles agents to earn a percentage of commission rebates on personal and referral travel bookings made under contract. See www.championtravel.co.nz for more information. "It pays to book Champion Travel!" Flip Out is one of the world's largest and most successful trampoline arenas. Business is thriving in New Zealand and we are seeking active individuals to join the hugely successful franchise and enjoy the benefits of a proven and effective business. NumberWorks'nWords is looking for exceptional people to join our expanding network of after-school tutoring centres. If you are a great communicator, and real people person, looking for a business that offers financial success, work/life balance and the feel-good factor, call today for a chat. Join Bark Busters, the largest, most trusted in-home dog training company globally. Seeking people with a passion for photography and a warm personality. A fantastic opportunity for those passionate about music education and who want a work/life balance. Pegasus Rental Cars offers the best value for money car hire in New Zealand.

slim_pajama

Friv Games April 25, 2015 Fun game friv Frozen Kristoff Stable Cleaning, this game is in the category Action Friv Frozen Kristoff loves horse riding and hence he has a fine collection of horses in his own stable. He takes time to feed and groom the horses but he is not able to keep the stable clean as he is alone. Clean up the stable for Kristoff who will take you on his horse back for a thrilling ride. Arrange the things and throw the wastes in the bin. Enjoy playing this cleaning game! Use your mouse to play this game.

slim_pajama

Sci-Fi Lullabies is a two-disc compilation album by English alternative rock band Suede released by Nude Records on 6 October 1997, consisting of B-sides from the singles that were released from the group's first three albums. It reached no. 9 on the UK Albums Chart, and received universal acclaim on release. In subsequent years, the record has been hailed as one of the finest B-side compilations in popular music. Background The album spans two discs and displays the band in its most prolific era. The first disc is dominated by tracks written by the Brett Anderson/Bernard Butler songwriting partnership the exceptions are Together, Bentswood Boys and Europe is Our Playground while the second showcases the various intra-band songwriting variations Anderson/Richard Oakes and Anderson/Neil Codling, plus Anderson solo and compositions contributed to by the whole band that emerged following Butler's departure and the subsequent recruitment of a new guitarist, Richard Oakes and keyboardist Neil Codling. The album is not quite comprehensive, missing out around half a dozen exclusive songs released as B-sides by the band during the period it covers. Missing Anderson/Butler B-sides are Painted People from Animal Nitrate, Dolly from So Young and This World Needs a Father from The Wild Ones Disc 1, which was the last B-side of the Butler era. Omitted Anderson solo compositions include Asda Town from The Wild Ones Disc 2 and Sam from Beautiful Ones. Codling's Digging a Hole and the band's group effort Feel, both from Lazy, were omitted from the collection. Live performances released as B-sides on New Generation Disc 2 and Filmstar Disc 2 are also not included, neither is Suede's cover of the Pet Shop Boys' Rent. The track Eno's Introducing The Band from The Wild Ones Disc 2 is also not included. Bassist Mat Osman outlined the band's reasons for the release of the collection, saying: We had the tracks, we liked them and wanted people to hear them... We were going to release them before our last album Coming Up in April, but that would have been backwards. Also, a load of bootlegs have begun appearing in Europe, and they cost a sum of money. These are songs we want people to hear. This tends to tie up all the loose ends. The album is considered an important one for fans of the band, partially because of the wealth of material and partially as many of the songs on the compilation are considered to be as strong as or even stronger than the singles from which they came. In Hindsight, in a 2016 interview with Canadian magazine Vice, Anderson revealed some regrets over the content of the collection, which he felt could have been better and possibly his favourite of all Suede albums. Reception The collection was released to universal acclaim, with some of the best reviews coming from the American music press. Tom Lanham of Entertainment Weekly said that Anderson is a tireless diarist, judging from this anthology of 27 U.K.-single B sides, each onelike the grim concert staple 'Killing of a Flash Boy'as fey, somber, and solid as any album track. David Daley of the Hartford Courant felt the album was akin to a best of release, writing: Far from an assortment of throwaways that didn't make the albums, this essential double-disc, 27-song set contains some of Suede's strongest material... the perfect antidote to Oasis' cartoonish 'Best Band' claims. Likewise, also comparing Suede to Oasis, Ed Masley of the Pittsburgh Post-Gazette admitted that Suede would always be the underdog to their Britpop rivals. However, he said that the songs on Sci-Fi Lullabies could outshine most of their better-known UK rivals' finest gems. Kurt B. Reighley of CMJ New Music Monthly found the compilation to be overlong and, in contrast to other writers, pointed to the second disc as the strongest. He conceded, however, that there's nary a track among these 27 that wouldn't have made a worthwhile album cut, and a few that merit A-side status. In a retrospective review, Stephen Thomas Erlewine of AllMusic noted that CD1 is as strong as any of their albums, and that several tracks are strong enough to be A-sides. Overall he said, this is absolutely essential material, confirming the group's status as one of the '90s' greatest bands. The collection was widely praised by several notable music critics of the UK press. Mark Beaumont of NME said that while the second disc resembles a typical B-sides album, the first stakes a formidable claim as the fourth Suede album in its own right and is arguably superior to three acclaimed studio albums of the period: Radiohead's OK Computer, Spiritualized's Ladies and Gentlemen We Are Floating in Space, and Suede's own Coming Up. John Harris of Select said the album plays like a retelling of the entire Suede movie script and is truly as good as most Greatest Hits albums. Writing for Vox, Simon Price felt that Anderson wrote some of his funniest lyrics on CD2, on the tracks Young Men and Jumble Sale Mums. Aside from Duchess, which he called lazy rubbish, he had strong praise for both discs. The album continued Suede's run of consecutive top ten albums, peaking at no. 9 in October 1997. Despite never placing on any of Billboards charts, Sci-Fi Lullabies had sold 19,000 units in the US by 2008, according to Nielsen SoundScan. Legacy Keith Phipps of The A.V. Club and Scott Plagenhoef of Stylus Magazine spoke of the effort invested in Suede's B-sides, with the band discarding failed ideas or experiments in favour of high quality tracks. Plagenhoef asserted: Those early B-sidescollected on disc one of Sci-Fi Lullabies remain Suede's strongest collection of songs. The album has been named as one of the finest in the B-side/rarity genre. Independent critic Simon Price hailed it as the greatest B-sides album ever made. Kevin Courtney of The Irish Times expressed similar views of the album's quality, while admitting that only The Smiths' Hatful Of Hollow could supersede it. Another Irish Times writer Brian Boyd felt that a compressed version of the collection would be a hit record, writing: if this was a single 12-track album, it would be pushing for inclusion in the album of the year lists. In 2017, Pitchfork ranked the record at number thirty in its list, The 50 Best Britpop Albums. The A.V. Club included the compilation in its list of 35 essential B-side/rarity/outtakes collections. The article described Sci-Fi Lullabies as being as good as any of Suede's proper albums. NME featured the compilation in their list of 30 Killer B-Side And Rarities Albums You Might've Missed, noting that Suede's B-sides were as exciting as anything Britpop could muster. The record was also included in a 2013 NME poll of the 500 greatest albums of all time, where it placed at number 448. The 1995 book, Spin Alternative Record Guide wrote: Like the Smiths, Suede littered many of its best songs on its B-sides, a case in point being the fine 'My Insatiable One'. The song was covered by former Smiths singer Morrissey during his 1992 solo world tour. Live performances The Suede B-sides have been an integral part of Suede's live shows as well as Anderson's solo performances. Favourites from disc one include The Living Dead and Killing of a Flash Boy, which were performed at Suede's March 2010 reunion shows in London.Suede Concert at Royal Albert Hall, London, England. setlist.fm Anderson and Butler made their last TV appearance on MTV's Most Wanted in March 1994, where they performed the popular Stay Together B-sides The Living Dead and My Dark Star. In April 1997, Suede played an entire set of B-sides at a fanclub gig at the Kentish Town Forum. Title and artwork The title of the album was a phrase considered as a title for the band's second album, Dog Man Star, and is a phrase used in the lyrics of the song Introducing the Band from that album. The collection is accompanied by a 32-page, full-color lyric booklet designed by Peter Saville. The front cover, whose artistic similarities to J. G. Ballard were noted by the BBC's Stephen Dowling, features a destroyed English Electric Lightning aircraft abandoned and used for target practice at the Otterburn Training Area in Northumberland. It was taken by North East photographer John Kippin. Track listing PersonnelSuede Brett Anderson vocals Richard Oakes guitars Bernard Butler guitars, keyboards Simon Gilbert drums Mat Osman electric bass Neil Codling keyboards Production' Ed Buller production , mixing Bruce Lampcov production Ian Caple production Miti Adhikari recording References External links Sci-Fi Lullabies at YouTube streamed copy where licensed Category:B-side compilation albums Category:Suede band compilation albums Category:Albums produced by Ed Buller Category:1997 compilation albums

wikipedia

Pride and Prejudice 1. Travel and Questions _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley._ * * * "Oh, Kitty, you shall meet some of the highest gentlemen in society! Make sure you always look your best! Give our love to Lizzie and Mr. Darcy!!" called Mrs. Bennet as Kitty boarded the coach that would take her to Lambton to meet the Darcy's carriage. "Bye, Mama, bye Papa, bye Mary!" she called, waving as the coachmen loaded her trunk in the boot, "I'll write you when I arrive!" "Goodbye, Kitty, dear, behave yourself," said Mr. Bennet as he kissed his daughter's brow, "I'll look forward to your letter." "Oh, Papa, you needn't worry! I'm not as much like Lydia as everyone thinks, and Lizzie and Mr. Darcy will keep an eye on me," she said smiling as she boarded the coach. "I'm sure they will," he said with a smile. "All aboard?" called the Coachman, "Next stop, Bedfordshire!" he called as the coach lurched forward. Kitty sighed as the rolling countryside of her childhood rolled past the windows of the coach. She had spent nearly her entire life under the influence of Lydia, and much as she loved her sister, she was glad that Lydia was gone and she could become her own person. Lydia had been her closest companion for a long time. Mary was always reading or playing the piano, and Jane and Lizzie were older and much more mature. However, at eighteen, Kitty realized that Lydia had been foolish to run away with Wickham. She still loved her sister and still flirted with officers, but she wasn't looking for her future spouse among the militia anymore. She didn't want a man to fall for her because she was pretty and silly. She realized that she couldn't be silly, little Kitty forever. * * * "Lizzie, when can we expect the arrival of your sister?" asked Georgiana at supper that night. She'd just arrived from London the day before. "Kitty should be here by the end of the week," replied Lizzie. "Oh. She is eighteen, correct?" asked Georgiana. "Yes, I believe so. She's two years younger than Mary, who is twenty, and two years older than Lydia, who is sixteen," Elizabeth replied. "Does she play?" asked Georgiana inquisitively. "No, I don't believe so. Mary does, but not well, though she won't admit that," Lizzie replied. "Does Kitty draw or paint?" "Again, I don't believe so. She and Lydia spent most of their time fawning over the militia in Meryton, dancing, and buying ribbons," Lizzie replied with a sigh, "Although I hope that with the removal of Lydia's influence, Kitty has grown up a bit. Papa said she has been spending more time in the garden rather than in Meryton with the officers." Georgiana was puzzled. She had never in her life met any young lady who couldn't at least play the pianoforte. She had a sudden realization that her questions were very much like something Lady Catherine would ask. She could tell that her brother was a little taken aback at this sudden drilling by his sister on his new wife. "Oh," said Georgiana quietly, "Maybe I'll show Miss Bennet the gardens of Pemberley when she arrives," she offered. "I'm sure Kitty would enjoy that," said Elizabeth slightly relieved, "She loves taking walks." She gave her new sister a reassuring smile. Georgiana was still very shy around her. "Well," said Mr. Darcy, "Shall we retire to the drawing room for the evening?" "Oh, I was hoping Georgiana would play for us," replied Elizabeth. "Oh, Georgiana, would you oblige us with you lovely music?" has asked kindly. "Of course brother, if Elizabeth will accompany me with her lovely voice," replied Georgiana. "Of course, Georgiana. I would be happy to," replied Elizabeth as she rose from the table. With that, they spent the evening in the music room with Georgiana playing and Elizabeth singing. Eventually, Georgiana excused herself to go to bed, and Mr. Darcy offered his wife his arm for them to retire for the night. "Shall we retire to bed, Elizabeth?" has asked offering his arm. "Yes, I am ready to retire for the night," she replied sleepily. With that he led her to their private quarters where her maid, Sarah, was waiting to help her mistress out of her attire. Once in her nightgown, Lizzie made her way to their bed room and settled herself in the warm bed. Darcy soon joined her. "Elizabeth," he said with a sigh, "I apologize for my sister's behavior at supper. It was inappropriate of her to ask such questions of your sister. "Oh, Fitzwilliam," she replied using his Christian name, "You needn't apologize. It's understandable that she would be curious about her new relatives. Most of the ladies she knows must be quite accomplished." "I was just worried about Lady Catherine's influence on her," he answered bringing up a touchy subject at the mention of his aunt. "I think Georgiana cares about you too much to take anything that old hag says seriously," Lizzie replied with a laugh. "I do hope so. I do hope so," he said as he stroked Elizabeth's hair and drifted of to sleep. She soon followed him into dream land. * * * _A/N: So? Like it so far? I'm hoping to make Kitty less like a carbon copy of Lydia and more her own character. Poor Georgiana. I promise she'll become all sweetness and light in the next chapters. She sounded more like Lady Catherine or Caroline Bingley back there. BTW, does anyone know if Kitty is Catherine or Katherine?_ * * * 2. Arrival and Growing Up _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley. _ _Disclaimer: Everything you recognize is the property of Jane Austen. I own nothing except the plot and any characters and places you don't recognize._ * * * "Next stop, Lambton in Derbyshire," called the coachman. Kitty sat up and looked out the window. She recalled that she was supposed to get off the coach at Lambton and there she could stop in the inn and wait for the Darcys' carriage to take her to Pemberley. About ten minutes later the coach came to a halt and the coachman came around to open the door. Kitty exited and went around to await her luggage. "Where am I to take this, Miss Bennet," asked the coachman's assistant who held her trunk. "Oh, I'm to wait at the Rose and Crown for my sister's carriage to arrive," answered Kitty. Fifteen minutes later, Kitty was settled at a table in the inn. She'd asked the Innkeeper to send one of his men with a note to Pemberley, and he had complied. The note read: _Dear Lizzie,_ _The coach has arrived at Lambton, and at your request, I have sent you a note that a carriage might be sent to take me to Pemberley. The roads were a little bumpy, but in otherwise good condition, and the coach made good time. The Innkeeper is very amiable here. I will await the carriage at the Rose and Crown. I cannot tell you how I long to see you and Mr. Darcy again. _ _Yours,_ _Kitty_ * * * "Darcy," asked Elizabeth, peeking her head into Mr. Darcy's study, "Kitty's arrived in Lambton. Might we send a carriage to retrieve her?" "Mm. Burns, go to the stables and alert Mr. Hardin that a carriage needs to be sent to Lambton to retrieve Miss Bennet," Mr. Darcy said offhand to a servant, as he looked over some paperwork. "She's at the Rose and Crown, I believe," called Elizabeth as Burns left, "Lucy, could you make sure Miss Bennet's room is ready for her?" "Yes, Ma'm," said Lucy, a servant, as she left the study to head to the upper levels. "Did your sister have a pleasant trip?" asked Mr. Darcy. "I believe so. She said the roads were in good condition, but didn't say much else. I expect she'll give us a complete tale when she arrives," answered Elizabeth. "I wouldn't expect anything less," answered Mr. Darcy going back to his work. * * * "There, Miss Bennet, ye can see Pemberley through those trees there," called the driver. "Oh, it's lovely!" Kitty answered putting her head to the glass, "how much further?" "Eh, I'd say another ten to fifteen minutes," the driver answered. Kitty let out a sigh. Would Lizzie still see her as the silly younger sister who followed after Lydia? She'd hoped that in the year than Lydia had been gone, she'd started to become her own person. She was almost nineteen after all. Whenever she ventured into Meryton with Maria Lucas, the townspeople looked at her differently. Kitty wasn't as beautiful as Jane or Lizzie, but she certainly wasn't plain either. What constituted this change in attitude? Well, Kitty finally realized that Lydia has been really foolish to think that Wickham actually loved her. Her letters to Kitty revealed that after only being married a year, Wickham was already breaking his marriage vows. Kitty knew her chances of marrying for love would be slim. As the second youngest, her inheritance and dowry were small. Mr. Darcy had refused Lizzie's dowry which had increased Kitty's and Mary's by a small sum, but not enough to attract many more suitors. Kitty could only assume that Lizzie would allow her to visit because she hoped to instill some sense in her or to see the rumored change for herself (Kitty had a feeling that Jane would have written to Lizzie about it). * * * Elizabeth Darcy stood awkwardly in the entrance hall of Pemberley, waiting for the carriage that would bring Kitty. Was she thrilled to see her sister? Well, that would depend on if the change in her disposition that Jane had talked about was true. Lizzie heard the crunch of the gravel outside as the large front doors were opened. The carriage door opened and out came a young woman that she thought she recognized to be Kitty. The long sausage curls of Kitty's childhood were replaced with cascading chestnut tresses tied back with a ribbon. "Lizzie!" called Kitty as soon as her feet found firm ground, "oh, how I've missed you!" "Kitty," answered Elizabeth, pulling her sister into a hug, "how was the trip?" "Not terrible. None of the other passengers were very social, so I stared out the window most of the way," Kitty answered, "but how have you been? We've received your letters, but I haven't seen you since the wedding!" "Oh, I'm quite well. Just getting used to the idea of being the Mistress of Pemberley," Elizabeth said with a smile, "well, shall I have someone take you to your room and then we can continue in the drawing room with Mr. Darcy and his sister?" "Oh, of course. I should probably go and make myself more presentable," said Kitty, eyeing her wrinkled dress. "Lucy, kindly show Miss Bennet where she will be staying," said Elizabeth. Yes, ma'am," answered Lucy, beckoning Kitty and the footman holding her luggage. * * * _A/N: So I hope you enjoyed it! Sorry for the large gap in updating and the fact that it's a short one. I know what the end result is going to be, I just have to figure out how to get there. Anyway, marching band just started again, and I'm leaving for band camp on Sunday! Feel free to be mad at me though. I've been dividing my time between my online summer health class, band, and reading other people's fan fiction to get ideas. Oh, and finally getting around to reading _Pride and Prejudice_ for myself (I'm a huge fan of the 2005 movie, but I'd never read the novel up until now). Reviews would be amazing! I'm an ignorant American who's only understanding of British customs is through the geniuses of Jane Austen, J.K. Rowling, Tolkien, and Shakespeare. _ _Okay. I'm making some assumptions here, but I believe that because Jane's and Lydia's dowries had already been decided upon (Bingley would probably refuse the extra money and Wickham isn't worthy of it), that would leave Kitty and Mary's to be increased. I'm not sure how dowries all work though. That'll probably come up later in the story, so if someone would be willing to explain 19__th__ century engagement, marriage, etc., that'd be lovely! _ 3. Settling In and News _Marriage for Love: A Tale of Kitty Bennet and Colonel Fitzwilliam_ _Summary: Colonel Geoffrey Fitzwilliam always knew that he must marry a woman of fortune since he was not to inherit a large fortune like his cousin, Fitzwilliam Darcy. That is, until he meets Miss Catherine 'Kitty' Bennet. Companion story to Double Trouble at Pemberley. _ _Disclaimer: Everything you recognize is the property of Jane Austen. I own nothing except the plot and any characters and places you don't recognize._ * * * _A/N: Apologies for the long delay! I got really busy with marching band and online health class which I'm done with now, so I should be able to update more often until school starts and then I'll unfortunately get busy again. Keep up the awesome reviews and favoriting!!_ * * * "This will be your room, Miss Bennet," said Lucy, one of the Darcys' servants. "Oh, it's beautiful! Is that the lake?" asked Kitty with excitement. "Yes, it is. I will allow you to be settled and then take you to the drawing room to meet Mr. and Mrs. Darcy, and I believe Miss Georgiana, Mr. Darcy's sister is there too," said Lucy, as she started for the door. "Oh, is she here for the season?" asked Kitty. "I believe so. She will leave for Town after the New Year," answered Lucy. "Ah," said Kitty, as she started opening her luggage in search of a gown appropriate for the Darcys' drawing room. With that, Kitty decided to get acquainted with her surroundings. Her windows faced the lake. It was a large room, much larger than the room she shared with Mary at Longbourn, but it had a cozy feeling. She liked it very much. Mary would say it was too large, but she wasn't there to voice her opinion. Poor Mary. She'd been most unhappy that Kitty was leaving her and Papa to suffer Mama's nerves. She would take solace in her room or in the garden, Mr. Bennet in his study. Finally, Kitty decided that she'd spent enough time fussing over her gown and her hair. * * * "A Miss Catherine Bennet for you, Sir," said a very dignified butler. "Thank you, Jenkins," said Mr. Darcy, rising from a chair, "Miss Bennet, how was your trip?" "Oh, the roads were a little bumpy, but I believe we made good time," said Kitty nervously. "Miss Bennet, of course you know Mrs. Darcy, and this is my sister, Miss Georgiana," he said. "A pleasure, Miss Darcy," said Kitty, curtsying. "And the same to you, Miss Bennet," said Georgiana, also curtsying. "Oh, call me Kitty. Everyone does," said Kitty, smiling. "Oh," said Georgiana, nervously, "then you may call me Georgiana." "Do sit down, Kitty, I'm sure you must be tired," said Elizabeth, kindly. "Oh, thank you, Lizzie," she said taking a seat near her sister. "So how are Papa and Mama?" asked Elizabeth. "Well, Mama is always complaining about her nerves, and Papa retreats to his study. Mary often joins him," said Kitty. "So what do you do?" asked Lizzie. "Walk with Maria Lucas to Meryton, but there isn't much to entertain there anymore except for our Aunt and Uncle Phillips," answered Kitty with a sigh. "What, Mr. Bingley and Jane haven't had a ball at Netherfield yet?" asked Lizzie, smiling. "Mmm, not since the wedding breakfast," said Kitty. "Well that is a shame," said Lizzie, now Mama can never hope to marry you and Mary off." "Yes, Mama is quite distraught over it. She writes Jane about it telling her than Mary and I can never hope to marry well if we're not among society," said Kitty, mocking her mother's shrill voice. "And what does Jane say about it?" asked Lizzie with interest. "She says that Bingley wanted privacy so soon after the wedding. "Mmm. I don't blame the poor man," said Darcy, "He wrote that Caroline and the Hursts are staying at Netherfield. He and Jane can never hope to have any peace." "Now, Mr. Darcy," chided Elizabeth, "I thought we decided that we wouldn't gossip about poor Miss Caroline anymore." "Apologies, my darling," he answered kindly, "I am just so glad that I married you instead of her." "Yes, imagine how boring your life would be, Mr. Darcy," teased Elizabeth in Caroline Bingley's monotone. Kitty and Georgiana giggled and exchanged glances. It was clear that they had an understanding about the detestable Caroline Bingley. "Kitty," said Elizabeth, "is your room to your liking?" "Oh yes!" exclaimed Kitty, "the view of the lake is absolutely breathtaking! If only I had the skill to capture it on paper!" "That room does have quite a view. I could sit in there and draw for hours," said Georgiana. "I wish I could do that. Unfortunately, I lack the talent for drawing and the patience to stay in one spot for a long period of time," said Kitty. "Maybe I could help you learn to draw," offered Georgiana. "Oh, that would be wonderful!" exclaimed Kitty, "Mrs. Long, one of the ladies in Hertfordshire, as always pressing Mama to take us to the masters, but Papa hates Town, so we never went." "Mrs. Long is always trying to show Mama how superior her nieces are to us. Only Mary and Jane come close to those standards of 'accomplishment,'" said Elizabeth with a laugh. "And why do you note meet those standards, Darling?" asked Mr. Darcy with a smile. "I have too quick of a tongue and too sharp a wit for a proper young lady," answered Elizabeth. "And I am too 'silly,'" said Kitty, "but I hope they don't see me as that anymore." "Mmm… I would say that you aren't nearly as silly as you were two years ago," said Elizabeth, "Lydia being married and gone and the influence of Mary have been good for you." "Yes, Papa thinks so. He gave me quite the lecture after Lydia left. I am not allowed to marry an officer unless he is at least a captain in the regulars," Kitty answered with a laugh, "Mama was quite upset and thinks that such a rule will only allow me to marry an old man." "Being a captain or colonel has nothing to do with age," said Elizabeth, "Colonel Fitzwilliam is still young and fit. "Speaking of the Colonel," said Mr. Darcy, "He wrote today to say that he will be returning from Plymouth quite soon and hopes to stay at Pemberley for a time." "Wonderful!" exclaimed Elizabeth, "I shall have Lucy prepare his usual room. Did he give a date of arrival?" "No," said Darcy, "he said he'd write again when he received more information from his commanding officer." "Lizzie, would it be terribly rude if I retired early. I'm rather worn out from traveling all day," said Kitty. "No, no, do feel rude, Kitty. I was just thinking I might retire as well," said Elizabeth, stifling a yawn. "Well, good night, Lizzie, Mr. Darcy, Georgiana," said Kitty as she left for her room. "I think I will follow Kitty's lead and retire as well," said Georgiana, "good night, Brother, Elizabeth." "Good night Georgiana," said Elizabeth. "Come, my dear," said Darcy, offering his arm to his wife. * * * "Any particular reason why you are so elated by my cousin's arrival?" asked Mr. Darcy as he readied for bed. "Mmm… I think it will be good for Kitty to meet a real gentleman who isn't married to me or Jane," Elizabeth answered, "I don't want her to end up in the same situation as Lydia. Kitty doesn't deserve that." "Colonel Fitzwilliam is highly respected among his peers and quite the gentleman among the ladies," said Mr. Darcy, "but he must marry a woman of means if he wishes to be well off." "Mmm… We shall see, Mr. Darcy. We shall see," said Elizabeth. * * * _A/N: So? You like it? Hate it? How's the length? Longer? Shorter? Not sure when I can update next. Hopefully soon!_ _Laura_ End file.

fanfiction

immune cells utilize toll - like receptors ( tlrs ) to sense pathogen associated molecular patterns ( pamps ) , which represents the starting point of the innate immune response . plasmacytoid dendritic cells ( pdcs ) are at the nexus between innate and adaptive immunity and are thereby key contributors to the host 's response to various pathogens . furthermore , pdcs are the major source of type 1 interferon ( ifn ) in humans and are , thus , of particular importance for antiviral immunity and autoimmune diseases . in human beings , pdcs and , to a lesser extent , b cells constitutively express tlr7 and tlr9 , both of which sense nucleic acids [ 35 ] . tlr7 , originally known to recognize imidazoquinoline derivatives ( e.g. , imiquimod and resiquimod / r 848 ) and guanine analogs ( e.g. , loxoribine ) , recognizes single - stranded ( ss ) rna derived from rna viruses such as influenza a virus , vesicular stomatitis virus , and human immunodeficiency virus . in pdcs , tlr7 recognizes these ligands in specialized endolysosomes , resulting in the subsequent activation of nf-b and interferon regulatory factor ( irf ) 7 via myd88 , and induces production of inflammatory cytokines and type 1 ifn , respectively . preclinical studies utilizing tlr7 ligation revealed promising results in the treatment of cancer , allergy , and infectious diseases [ 6 , 7 ] . however , clinical studies using tlr7 ligands systemically are problematic , as they have been associated with severe side effects such as hematological toxicity . , we hypothesized that the simultaneous use of two structurally and chemically different tlr7 ligands unfolds synergistic effects on human pdcs . to test this hypothesis , we coadministered the adenine analog cl264 , a potent and highly specific tlr7 ligand , together with the natural ssrna 9.2s rna to the human pdc line cal-1 . our data may broaden our understanding of tlr7 activation and could impact future strategies optimizing tlr7-targeted drug design . pbs ( ph 7.4 ) and rpmi 1640 were purchased from life technologies ( ca , usa ) . the latter was supplemented with 10% heat inactivated fetal bovine serum ( fbs superior , biochrom ag , berlin , germany ) and 2 mmol / l glutamine ( life technologies ) . cell culture flasks and 24- and 96-well flat - bottom plates were obtained from greiner bio - one ( frickenhausen , germany ) . cl264 ( tlrl - c264e ) and fitc - labeled cl264 ( tlrl - fc264 ) were purchased from invivogen ( ca , usa ) and dissolved in sterile , rnase - free water ( sigma - aldrich , mo , usa ) containing 10% dmso ( sigma - aldrich ) and further diluted in culture medium . cl264 ( formula c47h73n13o7s , molecular weight 413.43 ) is a 9-benzyl-8-hydroxyadenine derivative containing a glycine on the benzyl group ( in para ) . according to the manufacturer specification , the substance we used is highly pure ( endotoxin level < 0.001 eu/g ) . the oligoribonucleotides ( orns ) 9.2s rna and the nonstimulatory control poly - a rna were individually designed and obtained from biomers ( ulm , germany ) and also dissolved in sterile , rnase - free water . poly - l - arginine hydrochloride ( p7762 ) and fitc ( f7250 ) were provided by sigma - aldrich . reagents for fluorescent activated cell sorting ( facs ) were purchased from miltenyi biotec ( bergisch gladbach , germany ) and bd biosciences ( ca , usa ) , respectively . assay buffer for facs was prepared by adding 0.5% fbs and 2 mm edta ( 0.5 m , ph 8.0 , merck kgaa , germany ) to pbs . maeda and kamihira ) was grown in complete medium ( rpmi 1640 ) supplemented with 2 mmol / l glutamine and 10% heat inactivated fbs and cultured as previously described . for gene expression studies , cells were plated in a 24-well plate ( 3 10 cells in 3 ml per well ) , and , for elisa studies , cells were plated in a 96-well plate ( 2 10 cells in 0.2 ml per well ) . after overnight resting in serum reduced ( 1% fbs ) medium , cal-1 cells were stimulated with the tlr7 ligand cl264 ( 5 g / ml ) , with 9.2s rna ( 2 g / ml ) , or with the combination of both . the reagents were diluted in culture medium and added to the cell suspension in the wells of the 96- or 24-well plates , respectively . vehicle and nonstimulatory poly - a rna ( 2 g / ml ) were used as control . before stimulation , orns were complexed with the polycationic polypeptide poly - l - arginine hydrochloride ( plarg , 2 mg / ml ) to facilitate rna delivery . orns were incubated with plarg for 2 minutes at room temperature before adjusting to the desired concentration by adding culture medium and incubating for another 15 minutes . plarg alone or 9.2s rnas not complexed to plarg were used in control conditions , respectively . after addition of the ligands , the cell density was adjusted to 1 10 cells / ml by adding fresh , prewarmed cell culture medium . after incubating for the indicated periods of time , the supernatant from the 96-well plates was collected and stored at 80c for later analysis of proinflammatory cytokines and type 1 interferon . from 24-well plates , the cell suspension the supernatant was discarded and the cell pellet was resuspended in 2 ml trizol reagent and stored at 80c for subsequent extraction of total rna . for some secretion experiments , ligands were added sequentially instead of simultaneously with an intermediary wash step . after incubation with a first ligand for 2 hrs , the plate was centrifuged , followed by careful aspiration of the medium . cells were washed 3 times with prewarmed pbs , each with an intermediary centrifugation step . subsequently , the other ligand was added in prewarmed cell culture medium , and cells were incubated for additional 6 hrs . tnf- , il-6 , and ifn- levels in the cell culture supernatant were quantified using commercially available elisa kits ( bd biosciences ( ca , usa ) and pbl assay science ( nj , usa ) , resp . ) according to manufacturer instructions . after thawing cells suspended in trizol reagent , they were left at room temperature for another 5 minutes and well pipetted up and down to lyse the cell membrane . 400 l chloroform was added and the suspension was shaken vigorously , followed by incubation at room temperature for 3 minutes . after centrifugation for 15 minutes at 12.000 rpm and + 4c , the upper aqueous phase was carefully aspired and transferred into an rnase - free tube . the rna was precipitated using 1 ml isopropanol and incubating at room temperature for 10 minutes . the air - dried rna pellet was resuspended in rnase - free water , and the concentration was determined spectrophotometrically ( nanodrop , thermo scientific , germany ) . total rna was incubated with anchored oligo - dt primers at + 70c and subsequently chilled on ice . cdna synthesis was performed using a mastermix containing first - strand buffer , 20x aminoallyl - dntp labeling mix , dithiothreitol ( dtt ) , rnase inhibitor , and reverse transcriptase enzyme ( promega , germany ) . following incubation , resulting cdna was purified using the qiagen minelute kit ( qiagen , germany ) and was coupled to cy3 and cy5 dyes , respectively , by incubation for 90 min . cy3-labeled reference and cy5-labeled sample cdnas ( 10 l each ) were combined , denatured by heating for 2 minutes at 98c , and mixed with 36 l of hybridization solution at + 42c ( ambion , austin , tx , usa ) . murine microarrays ( nimblegen , roche , basel , switzerland ) were overlaid with this solution and hybridized for 18 hours at + 42c using an actively mixing maui hybridization system ( biomicro systems , salt lake city , ut , usa ) . after hybridization , the arrays were washed in 1x ssc/0.05% sds and 0.1x ssc , centrifuged to remove remaining liquid with unbound cdna , and air - dried . data were uploaded to the madb database ( microarray database , a collaboration of cit / bimas and nci / ccr at the nih ; url : http://nciarray.nci.nih.gov/ ) and formatted via the export function for use with brb arraytools ( biometric research branch , nci , frederick , my , usa ) . cal-1 cells were seeded in 24-well plates one day prior to the experiment and incubated under standard conditions as described above . fresh cold medium was added together with fitc ( 5.5 m ) , plarg - complexed 9.2s rna ( 2 g / ml ) , or fitc - labeled cl264 ( 5 g / ml , equaling 5.5 m ) or a combination , respectively ( figure 4(a ) ) . cells suspension was aspired and washed three times with cold pbs , fixed with pfa for 15 minutes at + 4c , and washed another two times with pbs and once with facs buffer . cells were then resuspended in 250 l facs buffer , followed by readout on a bd facscanto ii flow cytometer . facs data was acquired using bd facsdiva ( version 6.1.2 ) and analyzed using flowjo ( version 10.0.5 ) software . statistical analysis was performed by two - sided unpaired student 's t - test using graphpad prism ( la jolla , ca , usa ) . for the analysis of microarray experiments , data from three independent experiments and three untreated controls was used for statistical analyses . data were background corrected , flagged values were removed , spots in which both signals were < 100 were filtered out , ratios were log base 2-transformed , and lowest intensity - dependent normalization was used to adjust for differences in labeling intensities of cy3 and cy5 dyes . the gene expression profile of all treatment groups was compared to that of the control groups . a p value cutoff of 0.001 was used to identify genes whose expression was significantly upregulated after tlr7 ligand stimulation when compared to controls . ipa maps each gene within a global molecular network , pathways , and functional groups developed from information contained in the ingenuity pathways knowledge base ( see url : https://analysis.ingenuity.com/pa/info/help/ingenuity_network_algorithm_whitepaper_final(2 ) ) . cal-1 cells were stimulated with the specific tlr7 ligand cl264 ( adenine analog ) and the tlr7/8 ligand 9.2s rna complexed to plarg . cal-1 cells do not express tlr8 , so response to 9.2s rna is limited to tlr7 stimulation . dose titration experiments determined optimal conditions : using concentrations from 0.5 to 10 g / ml , stimulation with cl264 resulted in a dose - dependent secretion of tnf- after 6 hours ( figure 1(a ) ) . for further experiments , a submaximal stimulatory concentration of cl264 was used ( 5 g / ml ) . using this concentration , stimulation with cl264 for up to 12 hours led to a robust , time - dependent release of tnf- reaching absolute levels of 1347 pg / ml tnf- into the supernatant ( figure 1(b ) ) . the kinetics of il-6 secretion was comparable to that of tnf- with lower absolute cytokine levels ( 526 pg / ml ) after stimulation for 12 hours ( figure 1(c ) ) . in contrast , upon stimulation solely with 9.2s rna ( 2 g / ml ) , no notable secretion of proinflammatory cytokines was measured . however , the addition of 9.2s rna to cl264 considerably increased the secretion of tnf- and il-6 compared to the monostimulation only with cl264 ( figures 1(b ) and 1(c ) ; p < 0.001 ) . we previously demonstrated that activation of cal-1 cells with tlr9 ligands induces detectable amounts of type 1 ifn . accordingly , we assessed a possible synergism of tlr7 stimulation on ifn- release under the same experimental conditions using cl264 and 9.2s rna . again , costimulation with cl264 and 9.2s rna for 12 hours resulted in a marked and significant increase of ifn- protein compared to monostimulatory conditions ( p < 0.001 ) ( figure 1(d ) ) . of note , the synergistic effect of cl264 and 9.2s rna on cal-1 cells could be abolished by stimulating the cells sequentially instead of simultaneously . more specifically , no enhanced cytokine secretion could be detected when cl264 was the first stimulus , followed by washing and then ligation with 9.2s rna . on the other hand , switching the order of stimulation preserved the supra - additive activation even when cells were washed between the ligation steps ( figure 1(e ) ) . for control experiments , nonstimulatory poly - a rna similarly , the use of plarg alone or 9.2s rna not complexed with plarg prior to stimulation had no additive effect ( figure 1(f ) ) . to gain more insights into the present findings , microarray experiments were performed on cal-1 cells after stimulation either with cl264 , 9.2s rna , or the combination of both . an early time point for this analysis ( 4 hrs ) was chosen to minimize secondary effects , such as autocrine / paracrine cytokine stimulation . all treatment groups were normalized to untreated controls . beside the characterization of genes significantly upregulated by either treatment , main goal was the identification of underlying regulatory genes that play a central role for synergistic effects . using a statistical cutoff of p < 0.001 , treatment with 9.2s rna significantly increased expression of 17 genes in cal-1 cells , while treatment with cl264 resulted in an upregulation of 111 genes ( figure 2(a ) ) . however , costimulation with both tlr7 ligands resulted in a synergistic upregulation of 388 genes , thereby upregulating significantly more genes than the sum of genes upregulated by either ligand alone . interestingly , the majority of the upregulated genes in the monostimulatory groups ( n = 112 , 92% ) were also present in the costimulatory group . furthermore , we addressed the question whether the unique genes significantly upregulated solely by costimulation ( n = 276 , 71% ) were also increased in the monostimulatory groups when the statistical cutoff was lowered by one magnitude ( p < 0.01 ) . in this case , 96 additional genes could be ascribed to either of the monostimulatory groups . altogether , 208 genes ( 54% out of 388 genes ; p < 0.01 ) in the costimulatory group were significantly upregulated in either of the monostimulatory groups . overall , these results indicate that the synergistic effect found in the costimulatory group is partially due to a stronger stimulation of already regulated genes but furthermore an effect of the upregulation of so far unregulated genes . we next addressed the question whether costimulation with cl264 and 9.2s rna also resulted in a significant increase of gene activation in terms of magnitude . therefore , we analyzed the expression levels of the 50 most significantly upregulated genes in each treatment group . results show that the average fold change increased from 1.11 ( 9.2s rna ) and 7.17 ( cl264 ) to 19.6 ( 9.2s rna / cl264 ) ( figure 2(b ) ) compared to untreated cells . together , these results indicate that costimulation with 9.2s rna and cl264 resulted in a synergistic effect on gene expression in terms of both number and magnitude of upregulated genes compared to monostimulation . top scoring canonical pathways were activation of irf by cytosolic pattern recognition receptors ( p < 4.31e 13 ) , dendritic cell maturation ( p < 1.08e 10 ) , and top scoring functional groups were , for example , cellular development , growth , and proliferation ( p < 7.26e 34 ) , cell death and survival ( p < 5.72e 29 ) , infectious disease ( p < 1.6e 24 ) , and inflammatory response ( p < 1.2e 20 ) ( for more see tables 1 and 2 ) . furthermore , ipa was used to identify the pattern of regulatory interactions underlying synergistic gene activation after costimulation with 9.2s rna and cl264 . major regulators were previously defined as regulatory nodes that trigger more than 30% of the costimulatory network , while minor regulators were defined as regulating 10% to < 30% of the network [ 13 , 14 ] . applying this analysis revealed il-1 , il-6 , and ifn- as major regulatory nodes , while several minor regulatory nodes were also identified ( nf-b-1 , rel , stat1 , csf2 , irf1 , and jun ) ( figure 3 ) . together , the major regulators ( il-1 , il-6 , tnf , and ifn- ) impacted the expression of around 95% of all genes within the network of the costimulatory group , while the minor regulators only had modulatory properties on the induced gene expression network . evidence that the combination of cl264 and 9.2s rna synergistically enhanced the secretion of certain cytokines and induced broader networks of gene regulation led us to examine which specific genes were synergistically upregulated by the combination of 9.2s rna and cl264 . therefore , genes in the costimulated group with expressions being upregulated 1.5-fold of the sum induced by the ligands 9.2s rna and cl264 alone were defined as being synergistically regulated . 62 genes were identified to be synergistically regulated by this criterion ( table 3 ) . out of these genes , 65% immune response regulation and 60% were related to cellular growth and proliferation . furthermore , three out of four major regulators ( see above , figure 3 ) belonged to the synergistically regulated genes . other synergistically regulated genes included the cytokines il-1b , il-6 , il-18r , and il-23a , the chemokines ccl1 , ccl2 , cxcl8 , and cxcl10 , and the cd genes cd40 , cd44 , cd69 , cd70 , and cd83 ( table 3 ) , again confirming that the synergistic effect especially refers to immune - related processes . to gain a more functional insight into the synergistic effect of cl294 and 9.2s rna , we finally performed surface binding studies , since microarray analysis suggested that cl264 had a stronger impact on cal-1 cells when being coadministered with 9.2s rna . therefore , cal-1 cells were incubated with fitc - labeled cl264 alone or in combination with 9.2s rna . the binding to the cell surface was determined by facs analysis ( figure 4(a ) ) . cells being incubated with 9.2s rna and fitc as control showed no increase in fluorescence signaling compared to the incubation with fitc alone . however , the combination of 9.2s rna significantly enhanced the binding of fitc - labeled cl264 to the surface of the cells after a 10-minute stimulation period compared to the fitc control ( 221% , p < 0.001 , figure 4(b ) ) . rna not being complexed to plarg or plarg alone used as controls had no enhancing effect on the binding of labeled cl264 . tlrs are essential for host immunity by recognizing conserved structures in pathogens which trigger innate immune responses and prime antigen - specific adaptive immunity . among the nucleic acid - sensing tlrs 3 , 7 , and 9 , all being located intracellularly , tlr7 and tlr9 share many common characteristics [ 1517 ] . tlr7 and tlr9 ligands have shown promise in clinical trials as immunotherapeutics for the treatment of cancer , allergy , and infectious diseases [ 6 , 18 , 19 ] . by utilizing the human pdc line cal-1 , we were able to demonstrate a so far undescribed synergistic immune activation by the simultaneous use of cl264 and 9.2s rna . in particular , costimulation with both ligands resulted in a supra - additive induction of proinflammatory cytokines ( il-6 and tnf- ) as well as type 1 ifn ( figure 1 ) . microarray analysis showed that simultaneous use of both ligands synergistically activated genes primarily associated with immune processes ( figure 3 ) . mechanistically , surface binding studies revealed the enhanced uptake of cl264 in the presence of 9.2s rna ( figure 4 ) , which could account for the observed synergism . pdcs were chosen for this study because they respond to tlr7 and are key players linking the innate and adaptive immune response . of note , the use of human primary pdcs is inherently difficult for two reasons ; first , pdcs are present in very low frequency in human peripheral blood and lymphoid tissue , accounting for approximately 0.20.5% of pbmc ; second , any efforts in purifying pdcs are likely to activate ( prime ) the cells , which contorts pattern of subsequent stimulation . as an alternative , this cell line shares many of the phenotypic and functional properties of freshly isolated human pdcs and mirrors their response to tlr stimulation [ 9 , 11 , 21 ] . similarly to the substituted 8-hydroxyadenine derivative sm360320 , cl264 induces the activation of nf-b and the secretion of type 1 ifn in tlr7-expressing cells . cl264 ligand activity is tlr7-specific , it does not stimulate tlr8 even at high concentrations ( > 10 g / ml ) . the immunostimulatory properties of the single - stranded rna 9.2s were first described in 2005 , when hornung et al . originally intended to design different sirnas ( named 9.1 to 9.4 ) downregulating the human tlr9 to avoid effects of non - target - related ifn induction in human pdcs . however , when the authors of that study transfected human pdcs using these sirnas , they surprisingly noted a consistent pattern of type 1 ifn production , with sirna 9.2 being the strongest inducer of ifn production . additional analyses revealed that a specific sequence of nine bases at the 3 end ( 5-guccuucaa-3 ) of the sense strand of sirna9.2 ( termed rna 9.2s , in contrast to 9.2a , which stands for the antisense strand ) was responsible for the immunostimulatory activity . injection of 9.2 rna into tlr7-deficient mice elicited , in contrast to the injection into wild - type mice , no detectable ifn serum levels . microarrays facilitate the evaluation of global changes in gene expression induced by immune stimuli [ 2325 ] . this has led others to use microarray approaches to monitor global changes of gene expression induced by the combination of several inflammatory stimuli [ 2629 ] . in general , almost all studies observed synergistic upregulation of immune - related genes when combining ligands for different tlrs [ 27 , 29 ] . rationale is always the simultaneous activation of different pathways inducing a supra - additive immune activation . however , we opted for a slightly different approach by creating synergistic effects using structurally different ligands targeting the same receptor . we observed a more than 3-fold increase in the number of genes upregulated by the combination of cl264 and 9.2s rna compared to cl264 alone ( figure 2(a ) ) . additionally , the overall magnitude of gene upregulation was increased by more than 2.5-fold when comparing the top 50 genes induced upon combination of both ligands versus cl264 alone ( figure 2(b ) ) . studies of protein production by elisa confirmed the synergistic activation of regulatory members such as il-6 , tnf , and ifn- ( figure 1 ) . these findings suggest that simultaneous exposure to both ligands magnified and accelerated the response elicited by each individual ligand . importantly , the vast majority of genes upregulated by stimulating with either ligand alone were also induced in the costimulatory setting ( 92% ) . investigating the genes upregulated in the combined cl264/9.2s rna group , nearly 54% of them were also upregulated in the monostimulatory settings ( although at a lower p value ) . taken together , this indicates a stronger stimulation of genes yet upregulated upon stimulation by either ligand . on the other hand , this finding also delineates the upregulation of new or rather so far unregulated genes by the combination of cl264/9.2s rna ( 46% of the genes ) . these synergistic effects primarily broaden the existing immune response , rather than creating a new one . this observation is supported by the fact that the functional groups ( analyzed by ipa ) induced by the combinatory versus single stimulation did not alter qualitatively ( innate immune function such as irf signaling or dc maturation ( table 2 ) ) . finally , exclusive ipa analysis of the 62 synergistically upregulated genes ( defined as upregulated 1.5-fold of the sum induced by the ligands 9.2s rna and cl264 alone ; see table 3 ) revealed that 65% were immune - related . indeed , more than 35% of all synergistically upregulated genes , including the most highly upregulated , coded for cytokines , chemokines , or transcription regulators ( such as il-1b , il-6 , il-18r , il-23a , ccl1 , ccl2 , rel , and nfkbiz ) . these findings support the hypothesis that stimulation via different tlr7 ligands synergistically broadens and increases the magnitude of the host 's protective immune response . , who showed that the combination of small phosphothioate odns with the tlr7/8 agonist cl075 ( a chemical base analog comparable to cl264 ) induced a synergistic response in murine glial cells with substantially higher levels of proinflammatory cytokines and chemokines compared to cl075 . , we showed increased cell surface binding ( > 2-fold ) of cl264 upon combination with 9.2s rna compared to cl264 alone ( figure 4 ) . by stimulating the cells sequentially , 9.2s rna could be identified as being accountable for this phenomenon ( figure 1(f ) ) . although the mechanistic background remains to be elucidated , this finding suggests an optimized surface binding and subsequent cellular uptake into the endolysosomal compartment as one explanation for the observed synergistic effects of cl264 and 9.2s rna . of note , this effect is not due to the use of the cationic polypeptide plarg together with 9.2s rna , since synergy was not observed when cl264 was administered with plarg alone . further investigations are necessary to clarify whether binding is limited at the cell surface or leads to enhanced localization of cl264 within the endosomes in the presence of 9.2s rna , maybe using confocal microscopy . we can not rule out further additive effects on the receptor level using both types of ligands . with regard to the abovementioned properties of 9.2s rna , our microarray data do not show any evidence for a specific influence of 9.2s rna on the closely related tlr9 pathway ( data not shown ) . since cal-1 cells do not express the tlr8 , costimulatory effects of tlr7 and tlr8 by the use of ssrna and cl264 are highly improbable . however , tanji et al . very recently showed two distinct binding sites of ssrna fragments and chemical ligands at tlr8 leading to synergistic effects when being simultaneously activated . since tlr7 and tlr8 are closely related and recognize the same ligands , it is conceivable that the same phenomenon also accounts for tlr7 . thus , optimal stimulation of tlr7 at different binding sites by ssrna and base analogs could also contribute to the observed synergistic effects of this study . upcoming experiments are designed to gain more mechanistic insights into the intracellular level underlying these effects by combining different ssrna motifs and cl264 . although various synthetic tlr7/8 agonists have been used as adjuvants during preclinical trials , not many of them are approved for use in humans . the tlr7/8 agonist r837 is used for the topical treatment of genital warts , basal cell carcinoma , and bladder cancer . however , systemic application of imidazoquinolines causes adverse side effects , and the development of other tlr7 agonists suitable for nontopical use as adjuvants is desirable [ 6 , 33 ] . our study has some limitations . despite the fact that cal-1 cells share many of the phenotypic and functional properties of human pdcs , maeda et al . have described some significant differences between this cell line and freshly isolated primary human pdcs including little ifn- secretion in response to tlr stimulation . it is well accepted that working with purified human pdcs is challenging , since they are extremely sensible to any kind of physical manipulation ( such as purifying them using different sorting techniques ) , resulting in significant cytokine release acting in a paracrine and autocrine fashion [ 20 , 34 ] . kim et al . recently demonstrated that low levels of background ifn- ( so - called primed pdcs ) resulted in a strong feedforward regulation of their tlr - triggered type 1 ifn production in vitro and concluded that the in vitro activity of a tlr ligand on primary pdcs does not necessarily correspond to its in vivo activity . however , we and many other groups have meanwhile shown that cal-1 cells are suitable surrogates to study specific aspects of human pdc physiology and tlr7 and tlr9 [ 9 , 12 , 3638 ] . for the herein presented study , we chose to focus on ifn- ( instead of ifn- ) since we studied early time point effects up to 12 hours to minimize the mentioned auto- and paracrine cytokine effects , which is essential when studying synergism of different tlr ligands . we previously demonstrated that , in contrast to ifn- , ifn- expression peaks rather late ( > 24 hours ) in response to tlr stimulation , which is likewise influenced by a type 1 ifn feedback loop . a number of studies analyzed synergistic effects activating different tlrs [ 2629 ] . however , to our knowledge , the present study is the first to provide fundamental new insights into the simultaneous activation of a single toll - like receptor . using the human pdc - like cell line cal-1 , we demonstrated that structurally different tlr7 ligands act synergistically on gene expression patterns of the inflammatory response . this phenomenon may be explained in part by an enhanced binding of cl264 in the presence of 9.2s rna . however , future studies will need to further elucidate intracellular mechanisms , as suggested by recent studies . taken together , our data could impact future strategies optimizing tlr7-targeted drug design and provide new insights into the synergistic interactions of structurally different tlr7 ligands .

pubmed

Teen Voted To Homecoming Court Learns It's A Cruel Joke — Turns Tables A Michigan teen was excited when her classmates nominated her for homecoming court. But, her joy was quickly destroyed when she was told it was just a cruel prank. Unfortunately for her bullies, however, the tables were about to get turned. Whitney Kropp (Photo Credit: Facebook) Whitney Kropp was both stunned and excited to be nominated for her school's homecoming court. Being voted the female representative of the sophomore class certainly came as a shock for the self-described outcast with just a handful of friends. That joy quickly turned to devastation, however, when she was told the nomination was nothing more than a cruel prank. Whitney's classmates voted for her as a joke. It was like something straight out of a teen drama movie, and it left the 16-year-old feeling destroyed. The Ogemaw Heights High School sophomore went from being over-the-moon to feeling suicidal as a result of the mean-spirited prank. She was left in tears, feeling hurt. Whitney was plagued by depression and suicidal thoughts as she seriously considered taking her own life. "I'm like, 'Wow, I feel like trash,'" she admitted. "I feel like I'm a little thing that no one really cares about." But, her family and friends stepped up to lend encouragement, pushing Whitney to embrace what happened and have fun, which would fly in the face of what her bullies had wanted. Whitney's sister Alivia was the first person to spread the word about what had happened and encourage the bullied sophomore to speak out. "It's very hard to see someone hurt and upset, and you want to do everything in your power to make sure they're not that way," Alivia said, admitting that watching her sister spend an entire night crying was horrible. "You've got the courage, you've got the strength to go do it, so go do it and have fun," Alivia told Whitney. "I can just prove all these kids wrong," Whitney decided. "I'm not the joke everyone thinks I am," she said, and she was going to use this opportunity to prove it. But, opting to stay on the homecoming court wasn't an easy decision, especially after the teen's self-esteem had been so deeply shaken. Luckily, as news of the prank spread, plenty of people were ready to rally around Whitney and help her regain the confidence the cruel bullies had stripped away. Local businesses stepped up to donate her homecoming gown, shoes, and jewelry, and a salon even gave her a makeover. Whitney Kropp, sporting her new "do" (Photo Credit: YouTube) Whitney not only became the focus of many local headlines, but she also made national ones as well, and she began to see that she had far more supporters than she did haters. Students from her own district stood up for her, and Facebook support groups, garnering tens of thousands of likes, popped up, thrusting the teen even further into the spotlight. Seeing how many people had her back, Whitney was able to hold her head high with a new sense of confidence, CNN reported. "It is absolutely awesome to see her stand up," Bernice Kropp said. The beaming mom added that it was "cool" to see the emails they got from people all over, telling their stories and how Whitney's helped and touched them. "My daughter is out there as an inspiration to a lot of people, and it's a really cool thing," Bernice said. "I thought before, 'Oh, no one cares about me,"' Whitney said, admitting that the outpouring of support came as a surprise. "I thought not even my own brother and sister care. But they're proving me they do care. The world is proving they do, well not really care about me, but they care about the situation. So I'm happy. I'm really honored." As the night of homecoming approached, Whitney was still reluctant to attend despite her newfound fame and support. But, instead of staying home, she went out, and it was totally worth it. Whitney got the last laugh, turning the tables on the bullies who wanted this to be a bad time for the teen. Instead, it was a night she will never forget for all the right reasons. Sophomore Class Reps: Whitney Kropp & Josh Awrey (Photo Credit: Facebook) Whitney's smile was front and center during the homecoming coronation as family, friends, the entire community, and many others cheered her on. It was a whirlwind weekend, complete with a Hummer limo ride, banners and signs of support, a standing ovation, and even media coverage. When asked where she got the courage to stand up, unashamed in front of not just her bullies but the entire whole world, Whitney Kropp sent an important message to anyone who's ever bullied. She pointed to her heart and said, "Right here." Indeed, courage, self-esteem, confidence, and joy comes from within — and no bully can strip that away unless you let them. Whitney decided not to, and she's happier because of it.

slim_pajama

in this article , we consider the connection problem of the kz equation on the moduli space @xmath0 , and show that the connection matrices are expressed in terms of the drinfeld associators . as the compatibility condition on the connection problem , we have the pentagon relation for the drinfeld associators . this story was already proved by drinfeld in his famous paper @xcite ( see also wojtkowiak s paper @xcite ) , but our proof is completely different from theirs . our proof is based upon the decomposition theorem for fundamental solutions of the kz equation . as an application of the connection problem , we derive the five term relation for dilogarithms . this paper is organized as follows : in section 2 , we introduce the kz equation on the moduli space @xmath1 . in the cubic coordinate system of the space , it is represented as the kz equation of @xmath2 variables . in section 3 , we particularly consider the kz equation of one variable which is denoted by @xmath3 , and show that the drinfeld associator @xmath4 gives the connection matrix between @xmath5 , which is the fundamental solution of normalized at @xmath6 of the equation , and @xmath7 , which is the fundamental solution normalized at @xmath8 of the equation ; @xmath9 in section 4 , the kz equation of two variables , which are denoted by @xmath10 , will be considered . the fundamental solution @xmath11 normalized at @xmath12 of the equation is shown to decompose as follows : @xmath13 where @xmath14 is the fundamental solution normalized at @xmath15 of the kz equation of the one variable @xmath16 , and @xmath17 is the fundamental solution normalized at @xmath18 of the schlesinger type equation of the variable @xmath19 . we will refer to as `` the decomposition theorem '' . in section 5 , we will consider the connection problem of solutions of the kz equation on @xmath0 . we fix a pentagon in @xmath20 , which denotes the real points of a certain compactification @xmath21 of @xmath0 , as below : ( 0,4.5)(0,-0.5 ) ( 0,0 ) ( 1.2,0.3)@xmath22 ( 2.7,1.0)@xmath23 ( 2.4,2.7)@xmath24 ( 0.7,3.0)@xmath25 ( -0.1,1.4)@xmath26 ( 0.7,0.7)@xmath27 ( 2.1,0.6)@xmath28 ( 2.6,2.0)@xmath29 ( 1.6,2.8)@xmath30 ( 0.5,2.1)@xmath31 to each vertex @xmath32 , we associate the cubic coordinate @xmath33 , and the kz equation of the two variable @xmath33 . let @xmath34 be the fundamental solution normalized at the vertex @xmath32 of the equation . then one can show that @xmath35 where @xmath36 is the drinfeld associator attached to the vertex @xmath32 . the relation is proved by applying the decomposition theorem . as the compatibility condition for @xmath37 , we obtain the pentagon relation of the drinfeld associators @xmath38 in section 6 , as an application of the connection problem , we derive the five term relation for dilogarithms @xmath39 in @xcite , we show that the decomposition theorem @xmath40 is equivalent to the generalized harmonic product relations of hyperlogarithms of the type @xmath0 , which contain the harmonic product of multiple polylogarithms . [ [ acknowledgment ] ] acknowledgment + + + + + + + + + + + + + + the first author is partially supported by waseda university grant for special research projects no . 2010b-200 , 2011b-095 . the second author is partially supported by jsps grant - in - aid no . 19540056 , 22540035 . the moduli space @xmath1 is by definition @xcite @xmath41 here @xmath42 is the configuration space of @xmath43 points on @xmath44 , @xmath45 where @xmath46 is the thick diagonal of @xmath47 , @xmath48 the kz equation(kze ) on @xmath1 is a pfaffian system defined by @xmath49 here @xmath50 are generators of the lie algebra @xmath51 of the fundamental group of @xmath52 , @xmath53 this lie algebra is defined through the lower central series of @xmath52 , @xmath54 we set @xmath55 we should note that the fundamental group @xmath56 of the configuration space @xmath42 is isomorphic to @xmath57 so that @xmath58 is isomorphic to @xmath59 . the generators @xmath60 of @xmath51 satisfy the following relations @xcite : @xmath61=0 \quad ( \{i , j\ } \cap \{k , l\ } = \emptyset ) . \tag{ih3}\label{ih3}\end{aligned}\ ] ] these relations are referred to as the ihara relations . @xmath51 is a lie algebra generated by @xmath60 with the fundamental relations @xmath62 . the relation is rather convention of notations . from and , we have @xmath63=0 \quad ( \#\{i , j , k\}=3).\end{aligned}\ ] ] the one forms @xmath64 satisfy the arnold relations @xcite : @xmath65 for @xmath66 . it is known that @xmath67 are unique nontrivial relations of degree 2 which hold among these one forms . from the ihara relations and the arnold relations , we can deduce that 1 . the system is regular as @xmath68 . the system is integrable , namely @xmath69 satisfy @xmath70 3 . the system is @xmath71 invariant . hence the system can be regarded as an integrable system on @xmath1 . let @xmath72 be a cross ratio . put @xmath73 for @xmath74 . this defines a coordinate system which we call the simplicial coordinate system on @xmath1 . now we introduce @xmath75 by @xmath76 this is also a coordinate system on @xmath1 which we call the cubic coordinate system . these two coordinate system were introduced by f. brown in @xcite . in the cubic coordinate system on @xmath1 , is represented as follows : @xmath77 where @xmath78 and @xmath79 we refer to this system as the kz equation of @xmath2 variables . by the cubic coordinate system @xmath80 , the moduli space @xmath81 is homeomorphic to @xmath82 ; @xmath83 \mapsto z\end{aligned}\ ] ] where @xmath84 $ ] stands for the @xmath71 orbit of @xmath85 . the kz equation on @xmath81 is represented as @xmath86 where @xmath87 . this is the kz equation of one variable . in this case , @xmath51 is a free lie algebra generated by @xmath88 , which we denote by @xmath89 and the universal enveloping algebra @xmath90 is a non - commutative polynomial algebra of @xmath91 ; @xmath92 put @xmath93 they satisfy the arnold relation @xmath94 . we set @xmath95 where @xmath96 stands for the empty word in s and @xmath97 denotes the shuffle product , which is recursively defined by @xmath98 @xmath99 is an associative commutative algebra with the unit elemnt @xmath96 . this is called a shuffle algebra generated by @xmath100 . @xmath101 is a non - commutative and cocomutative hopf algebra , and @xmath99 is a commutative hopf algebra . as hopf algebras , @xmath101 and @xmath99 are dual to each other . to a word @xmath102 , we can associate an iterated integral @xmath103 as follows @xcite : @xmath104 then we have @xmath105 for @xmath106 , we can put an iterated integral @xmath107 , which defines the multiple polylogarithm of one variable ( mpl ) : @xmath108 this is a many - valued function on @xmath81 and has a taylor expansion @xmath109 in particular if @xmath110 , we can define an iterated integral @xmath111 . this is the multiple zeta value ( mzv ) : @xmath112 let us introduce shuffle subalgebras such as @xmath113 @xmath114 is a subalgebra spanned by words ending with other than @xmath115 , and @xmath116 is a subalgebra spanned by words beginning with other than @xmath117 and ending with other than @xmath115 . [ prop : reutanuer ] we have @xmath118=s^{10}[\xi_1,\xi_0].\end{aligned}\ ] ] let us define the regularization maps as follows : @xmath119 \to s^0 , \quad u=\sum w_j\sh \xi_0^j \mapsto w_0 \ ( w_j \in s^0 ) \\ & { \operatorname{reg}}^{10 } : s = s^{10}[\xi_1,\xi_0 ] \to s^{10 } , \quad u=\sum \xi_1^i\sh w_{ij}\sh \xi_0^j \mapsto w_{00 } \ ( w_{ij } \in s^{10}).\end{aligned}\ ] ] from proposition [ prop : reutanuer ] , these maps turn out to be well - defined and homomorphisms . furthermore we can also define the mpl map and the mzv map as follows : * mpl map @xmath120 : for @xmath121 , we put @xmath122 here for a word @xmath123 , @xmath124 is the mpl @xmath125 . * mzv map @xmath126 : for @xmath127 ( i.e. @xmath110 ) , we put @xmath128 [ prop : kze1 ] the equation [ kze1 ] @xmath129 has a unique solution @xmath5 satisfying the following asymptotic condition ; @xmath130 let us express @xmath131 such as @xmath132 where @xmath133 is the homogeneous component of the degree @xmath134 . then it is easy to show that @xmath135 satisfies the following recursive relation ; @xmath136+\frac{1}{1-z}x_1{{\widehat{\mathcal l}}}_s(z).\ ] ] hence we have @xmath137 and for @xmath138 , @xmath139 where @xmath140,\ ; \mu(x_1)(a)=x_1a$ ] for @xmath141 . hence @xmath5 exists and is unique . we call @xmath5 a fundamental solution normalized at @xmath6 of . we should observe that @xmath5 and @xmath131 are grouplike elements of @xmath142 ( a non - commutative formal power series ring of @xmath91 ) , and that @xmath131 is single valued and holomorphic in @xmath143 . let us find out another representation of @xmath5 . we set @xmath144 where in the sum of the right hand side , @xmath145 ranges over the set of words in @xmath99 , and for @xmath146 , we put @xmath147 . they are dual basis to each other . we can show the following lemma @xcite , @xcite . for any @xmath148 , one has @xmath149 hence @xmath150 is a solution of . putting @xmath151 , we prove by induction on @xmath152 . if @xmath153 , then @xmath154 . this case is already proved because we have @xmath155 now assume that , for @xmath156 , holds . since @xmath157 applying @xmath158 to this relation , we have @xmath159 by the assumption of induction , the right hand side above reads @xmath160 since @xmath161 , we have already proved for @xmath162 . hence we have @xmath163 this proves for @xmath164 . in @xcite , the following proposition is implicitly written : we put @xmath165 where @xmath166 denotes the topological tensor product . then @xmath167 decomposes as follows : @xmath168 where @xmath169 . furthermore we have @xmath170 since , by using and , we have @xmath171 @xmath150 satisfies the same asymptotic condition as @xmath5 . hence @xmath172 moreover we obtain the following proposition . [ prop : fundamental0 ] the fundamental solution @xmath5 normalized at @xmath6 can be written as follows : @xmath173 we consider @xmath7 , the fundamental solution normalized at @xmath8 of . by the coordinate transformation @xmath174 , is transformed to @xmath175 hence we can show that @xmath7 which satisfies @xmath176 where @xmath177 is holomorphic at @xmath8 and @xmath178 , uniquely exists . @xmath177 is expressed as follows : @xmath179 from proposition [ prop : fundamental0 ] , we obtain @xmath180 where @xmath181 is an automorphism defined by @xmath182 , @xmath183 . we set @xmath184 which is referred to as the drinfeld associator . this is also a grouplike element of @xmath185 . [ prop : connection1 ] we have 1 . the relation @xmath187 is equivalent to @xmath188 here @xmath189 is an anti - automorphism defined by @xmath190 . 1 . note that @xmath191 is holomorphic in @xmath192 , and @xmath193 is holomorphic in @xmath194 . from @xmath195 and @xmath196 , @xmath197 is holomorphic in a simply connected domain @xmath198 . since @xmath199 , @xmath200 is constant . from @xmath201 , taking the limit @xmath202 , we have @xmath203 2 . since @xmath7 is a grouplike element of @xmath185 , from , we have @xmath204 where @xmath205 is an anti - homomorphism defined by @xmath206 , @xmath207 , which is the antipode of @xmath101 as a hopf algebra . hence , introducing an anti - homomorphism @xmath189 defined by @xmath208 , we have @xmath209 therefore we have @xmath210 this proves . the relation is called the generalized inversion formula . [ prop : duality ] we have 1 . @xmath211 ( the duality relation of @xmath4 ) . [ prop : duality:1 ] 2 . from , we obtain the duality relation of mzv : @xmath212 taking the limit @xmath213 of @xmath214 , we have @xmath215 since the drinfeld associator is grouplike , we have @xmath216 this completes the proof . for examples of proposition [ prop : connection1 ] and proposition [ prop : duality ] , we present the following : 1 . @xmath217 . ( euler s inversion formula @xcite ) 2 . @xmath218 . ( indeed , @xmath219 . ) consideration on generalizes to the case of the schlesinger type equation . @xmath220 where @xmath221 are distinct points . the coefficients @xmath222 are generators of a free lie algebra @xmath223 the universal enveloping algebra @xmath224 is a non - commutative polynomial ring and a completion @xmath225 is a non - commutative formal power series ring . the one forms @xmath226 are defined by @xmath227 and let @xmath228 be a shuffle algebra generated by @xmath226 . [ prop : se1 ] the schlesinger type equation has a unique solution @xmath5 satisfying the asymptotic condition @xmath229 similarly as in the case of , @xmath230 are expressed as @xmath231 here @xmath232 stands for a hyperlogarithm which is by definition @xmath233 this taylor expansion is absolutely convergent for @xmath234 . the solution @xmath5 in proposition [ prop : se1 ] is referred to as the fundamental solution normalized at @xmath6 of . @xmath5 , @xmath131 are grouplike elements of @xmath185 . by the cubic coordinate on @xmath235 , kze on @xmath0 is represented as the kz equation of two variables ( kze2 ) : @xmath236 \xi_1=\frac{dz_1}{z_1},\;\ ; \xi_{11}=\frac{dz_1}{1-z_1},\;\ ; \xi_2=\frac{dz_2}{z_2},\;\ ; \xi_{22}=\frac{dz_2}{1-z_2},\;\ ; \xi_{12}=\frac{d(z_1z_2)}{1-z_1z_2}. \notag \\[-6ex ] \notag\end{gathered}\ ] ] the singular divisors @xmath237 of are @xmath238 the coefficients @xmath239 are given by @xmath240 which satisfy @xmath241=[x_{11},x_2]=[x_1,x_{22}]=0 , \\ [ x_{11},x_{22}]=[-x_{11},x_{12}]=[x_{22},x_{12}]=[-x_1+x_2,x_{12 } ] . \end{cases}\end{aligned}\ ] ] @xmath51 is the lie algebra generated by @xmath242 with as the fundamental relations . note that for this case is @xmath243 ( 0,0)(0,4 ) ( 3,-0.3 ) ( 2.4,-0.3)@xmath244 ( 6.1,-0.3)@xmath245 ( 2.4,2.9)@xmath246 ( 6.1,2.9)@xmath247 ( 7.5,0.0)@xmath248 ( 3.2,4.2)@xmath249 ( 9.0,2 ) consider the projection @xmath250 \mapsto [ x_1,x_3,x_4,x_5].\end{aligned}\ ] ] ( 0,4)(-8.5,-1.5 ) ( 1,-1.2)@xmath251 ( 0,0)(1,0)5 ( 0.5,0 ) ( 0.4,-0.5)0 ( 2.0,0 ) ( 1.9,-0.5)1 ( 3.5,0 ) ( 3.3,-0.5)@xmath252 ( 1.0,2.5)@xmath0 ( 1.6,2.3)(0,-1)1 ( 1.8,1.7)@xmath253 ( 2.65,0 ) ( 2.55,-0.5)@xmath248 ( 2.65,0.3)(0,1)2.5 ( 2.75,1.7 ) from this , we obtain the semi - direct product of the fundamental groups ; @xmath254 taking lie algebras , we have @xmath255 ( @xmath256 is a lie ideal ) . we have similar decomposition @xmath257 ( @xmath258 is a lie ideal ) . [ prop : decompo_x ] the following decomposition holds : @xmath259 moreover , @xmath258 , @xmath256 are lie ideals of @xmath51 . now let @xmath260 be a shuffle algebra generated by @xmath261 . we say that an element @xmath262 ( @xmath263 ) satisfies chen s integrability condition ( cic ) if and only if , for @xmath264 , @xmath265 holds as a multiple differential form @xcite . let @xmath266 be a subalgebra of @xmath99 of elements satisfying : @xmath267 we refer to @xmath266 as the reduced bar algebra . for @xmath268 , the iterated integral @xmath269 depends only on the homotopy class of the integral contour and defines a many - valued analytic function on @xmath270 . as hopf algebras , @xmath101 and @xmath266 are dual to each other . [ prop : bar ] there exist isomorphisms of shuffle algebras @xmath271 where @xmath272 . the isomorphism @xmath273 is defined through the following procedure : + @xmath274 for @xmath268 , pick up the terms @xmath275 . + @xmath276 change each term @xmath277 to @xmath278 . + @xmath279 replace @xmath280 to @xmath281 . + @xmath282 is similarly defined . let @xmath283 be a subalgebra of elements ending with other than @xmath284 : @xmath285 for @xmath286 , we can put an iterated integral @xmath287 . + [ prop : bar0 ] we have isomorphisms of shuffle algebras @xmath288 where @xmath289 . let @xmath290 ( the singular part of @xmath69 at @xmath244 ) and @xmath291 ( the regular part of @xmath69 at @xmath244 ) . [ prop : kze2 ] [ kze2 ] has a unique solution @xmath11 satisfying the asymptotic condition : @xmath292 since the fundamental relations of @xmath51 is homogeneous , @xmath101 has the canonical gradation : @xmath293 . similarly , the reduced bar algebra @xmath266 and the subalgebra @xmath283 are graded : @xmath294 . let @xmath295 . then we have the following recursive relation : @xmath296+\varomega'{{\widehat{\mathcal l}}}_s.\end{aligned}\ ] ] we have @xmath297 where we set @xmath298 $ ] , @xmath299 . hence we have @xmath137 , and for @xmath300 @xmath301 this shows that the fundamental solution @xmath11 exists and is unique . the solution @xmath11 is called the fundamental solution normalized at @xmath244 of . we should observe that @xmath11 and @xmath302 are grouplike elements of @xmath303 which is the completion of @xmath101 with respect to the gradation , and that @xmath302 is single valued and holomorphic in @xmath304 . [ prop : decomposition ] the fundamental solution @xmath11 normalized at @xmath244 decomposes as @xmath305 here @xmath306 is the fundamental solution normalized at @xmath15 of @xmath307 @xmath308 is the fundamental solution normalized at @xmath18 of @xmath309 the holomorphic part @xmath302 has similar decomposition as follows : @xmath310 from the asymptotic condition of @xmath311 , it follows that @xmath312 is the fundamental solution of ( @xmath313 ) . hence @xmath314 . put @xmath315 then @xmath316 is a solution of ( @xmath317 ) . since @xmath318=[x_2,x_{11}]=0 $ ] , it has the asymptotic condition as follows : @xmath319 therefore @xmath320 . we call this proposition `` decomposition theorem for the fundamental solution '' . a smooth compactification of @xmath0 is given as follows @xcite : @xmath321 then @xmath322\;|\ ; x_i = x_j\}.\end{gathered}\ ] ] the divisors @xmath323 s are rational curves in @xmath21 and satisfy @xmath324 let @xmath20 be the real points of @xmath21 : @xmath325 then @xmath326 has 12 connected components , and each component is a pentagon surrounded by five curves @xmath327 : ( 0,8)(0,0 ) ( 0,0 ) ( 9.1,2.5)@xmath22 ( 2.6,-0.2)@xmath26 ( 9.3,4.1)@xmath24 ( 5.6,0.3)@xmath23 ( -0.2,4.5)@xmath25 ( -0.6,3.4)@xmath328 ( -0.1,0.7)@xmath329 ( 0.9,-0.2)@xmath330 ( -0.2,1.6)@xmath331 ( 8,0.7)@xmath332 ( 3.6,3.8)@xmath333 ( 3.6,1.6)@xmath334 ( 2,3.6)@xmath335 ( 2,1.6)@xmath336 ( 6,3.5)@xmath337 ( 6,1.9)@xmath338 ( 1.5,5.4)@xmath339 ( 2.5,5.8)@xmath340 ( 6.2,5.5)@xmath341 ( 4.6,5.8)@xmath342 ( 3.5,6.7)@xmath343 ( 8,5.8)@xmath344 ( 8.7,2.2)@xmath335 ( 8.7,3)@xmath336 ( 0.6,2.1)@xmath337 ( 0.6,2.9)@xmath338 ( 3.2,0.2)@xmath339 ( 2.2,0.2)@xmath340 ( 4.6,0.6)@xmath341 ( 5.9,0.9)@xmath342 ( 8.5,3.8)@xmath343 ( 4,0)@xmath344 ( 8.5,4.5)@xmath340 ( 7.2,0.7)@xmath339 ( 7.7,1.3)@xmath344 ( 8.6,1.75)@xmath343 ( 1.5,0)@xmath341 ( 0.9,0.7)@xmath344 ( 0.3,1.2)@xmath343 ( 0,3.6)@xmath344 ( 0.4,4.1)@xmath343 ( 0.4,4.7)@xmath342 ( 0.3,5.2)@xmath338 ( 0.5,5.7)@xmath344 ( 0.5,6.3)@xmath341 ( 1,6.6)@xmath334 ( 1.4,7)@xmath336 ( 1.4,7.5)@xmath344 ( 2.05,7.4)@xmath341 ( 2.7,7.6)@xmath337 ( 3.05,8.1)@xmath336 ( 3.6,7.9)@xmath344 ( 4.4,8.3)@xmath338 ( 4.7,7.8)@xmath335 ( 5.4,7.7)@xmath339 ( 6.1,7.8)@xmath344 ( 6.2,7.3)@xmath338 ( 6.5,6.9)@xmath334 ( 7.2,6.7)@xmath339 ( 8,7)@xmath342 ( 8.6,6.6)@xmath338 ( 9.5,6.7)@xmath335 ( 9.7,6.2)@xmath343 ( 10.1,5.6)@xmath337 ( 9.1,5.2)@xmath336 ( 9.1,3.4 ) @xmath344 ( 1.5,2.8)@xmath345 ( 1.5,2.3)@xmath346 ( 8.2,2.3)@xmath345 ( 8.2,2.8)@xmath346 in the above figure , pentagons with the same number should be identified . let us fix the pentagon 1 : ( 0,4.5)(0,-0.5 ) ( 0,0 ) ( 1.2,0.3)@xmath22 ( 2.7,1.0)@xmath23 ( 2.4,2.7)@xmath24 ( 0.7,3.0)@xmath25 ( -0.1,1.4)@xmath26 ( 0.7,0.7)@xmath27 ( 2.1,0.6)@xmath28 ( 2.6,2.0)@xmath29 ( 1.6,2.8)@xmath30 ( 0.5,2.1)@xmath31 ( 4.3,2.2)blow down ( 4.1,2)(1,0)2 ( 6.5,0 ) ( 10.5,0.3)@xmath248 ( 9.2,4)@xmath249 ( 8.9,-0.1)@xmath347 ( 5.9,2.6)@xmath348 ( 10.5,1.8)@xmath349 ( 6.7,0.1)@xmath350 each vertex of this pentagon is given as follows : @xmath351,\quad p_1=[0,\infty,\infty,1,0],\quad p_2=[\infty,0,1,\infty,1],\\ p_3&=[1,1,\infty,0,\infty],\quad p_4=[\infty,\infty,0,1,1].\end{aligned}\ ] ] the cubic coordinate system @xmath352 is a local coordinate system around @xmath27 , and via the map @xmath353 \ \mapsto \ ( z_1,z_2)\end{aligned}\ ] ] the pentagon 1 blows down to the square @xmath354 as follows : @xmath355 we should observe that @xmath11 , the fundamental solution normalized at @xmath12 of , is a fundamental solution of which is single valued and holomorphic in a certain domain containing the pentagon 1 . put @xmath356 . define @xmath357 as follows : for a point @xmath358 $ ] , we set @xmath359\\ & \hspace{7mm}(=[a_3,a_5,a_4,a_2,a_1]).\nonumber \end{aligned}\ ] ] then @xmath360 is an automorphism ( attached to the pentagon 1 ) of @xmath21 satisfying @xmath361 and @xmath362 let @xmath363 which induces an automorphism of the rational function field of @xmath21 . put @xmath364 . then @xmath365 are local coordinates around @xmath28 . in general , we set @xmath366 then @xmath33 is a local coordinate system around @xmath32 , and is called the cubic coordinate system attached to @xmath32 . define the pull - back of @xmath367 by @xmath368 and let @xmath369 be an induced automorphism defined through @xmath370 namely , @xmath371 then we have @xmath372 we represent @xmath69 by the cubic coordinate system attached to @xmath32 : let @xmath373 then @xmath69 reads @xmath374 where @xmath375 let @xmath376 be the fundamental solution normalized at @xmath32 of @xmath377 @xmath378 we should observe that each @xmath34 is a fundamental solution of which is single valued and holomorphic in a certain domain containing the pentagon 1 . let us find the connection matrix @xmath379 ; @xmath380 to this equation , we substitute the decomposition for @xmath381 @xmath382 where @xmath383 is the fundamental solution normalized at @xmath384 of @xmath385 @xmath386 and @xmath387 is the fundamental solution normalized at @xmath388 of @xmath389 @xmath390 then we have @xmath391 note that @xmath392 and @xmath393 . since the left hand side of is independent of the variable @xmath394 , first taking the limit of @xmath395 , we have @xmath396 hence rhs is the fundamental solution normalized at @xmath397 of @xmath398 . this implies @xmath399 . put @xmath400 . 1 . we have @xmath401 2 . as the compatibility condition for the connection relation , we obtain the pentagon relation of the drinfeld associator @xmath402 [ thm : connection_pentagon:2 ] we show . since the connection relations hold in a certain domain containing the pentagon 1 , we have @xmath403 from this we obtain the pentagon relation . ( 0,5)(0,0 ) ( 0,0 ) ( -0.4,0.1)@xmath244 ( 3.2,0.1)@xmath245 ( -0.4,3.2)@xmath246 ( 3.2,3.2)@xmath247 ( 4.8,0.35)@xmath248 ( 0.3,4.6)@xmath249 ( 2.7,2.4)@xmath10 ( 0.9,2.7)@xmath405 ( 2.8,1.7)@xmath406 ( 0.65,0.5)(1,0)2 ( 2.65,0.5)(0,1)2 ( 0.65,0.5)(0,1)2 ( 0.65,2.5)(1,0)2 we call a generalized harmonic product relation . this provides a relation of hyperlogarithms of the type @xmath413 which is defined as follows : for @xmath414 , we set @xmath415 where @xmath416 . this is called hyperlogarithms of the type @xmath413 of the main variable @xmath248 . if @xmath417 , it reduces to a mpl of one variable ; @xmath418 if @xmath419 , it is a mpl of two variables ; @xmath420 1 . we have @xmath428 where @xmath429 runs over the set @xmath430 , and @xmath431 runs over the set @xmath432 . ( @xmath433 , and @xmath434 stands for the set of words of the letters @xmath435 ending with other than @xmath436 . ) @xmath437 is an algebra homomorphism @xmath438 and @xmath439 are linear maps defined by replacing @xmath440 2 . similarly we have @xmath441 where @xmath429 runs over the set @xmath442 , and @xmath431 runs over the set @xmath443 , and @xmath444 are linear maps defined by replacing @xmath445 in this proposition , we should observe that the iterated integral @xmath446 is a hyperlogarithm of the type @xmath0 of the main variable @xmath248 , and the iterated integral @xmath447 is a multiple polylogarithm of the variable @xmath249 . let @xmath448 . define an automorphism @xmath449 as follows : for a point @xmath358 $ ] , set @xmath450 . \end{aligned}\ ] ] by this automorphism , the pentagon 1 is transformed to the pentagon 4 like as in the following figure . ( 0,5)(0,-2 ) ( 0,0 ) ( 4.2,1.7)@xmath22 ( 1.7,-0.3)@xmath26 ( 4.3,2.7)@xmath24 ( 3.5,4)@xmath23 ( 2.7,4.4)@xmath25 ( 0,4)@xmath328 ( -0.5,2.7)@xmath329 ( 3.1,-0.1)@xmath330 ( -0.4,1.1)@xmath331 ( 4.3,0.9)@xmath332 ( 2.5,2,7)@xmath333 ( 1.1,1.1)@xmath336 ( 1.2,2.4)@xmath451 ( 2.4,1.1)@xmath451 let @xmath452 , which induces an automorphism of the rational function field of @xmath21 , in particular , the cubic coordinates are transformed as follows : @xmath453 define the pull - back of @xmath367 by @xmath454 , and let @xmath455 be an automorphism defined by @xmath456 namely , @xmath457 . then we have @xmath458 since @xmath463 , @xmath464 is also a fundamental solution of which has the asymptotic condition @xmath465 therefore the connection relation of @xmath11 and @xmath466 is @xmath467 it is convenient to rewrite this formula as follows : @xmath468 using and in proposition [ prop : itls ] , we have the following proposition . aa , the cohomology ring of the colored braid group , mat . zametki * 5 * ( 1969 ) , pp . 227 - 231 : math . notes * 5 * ( 1969 ) , pp . 138 - 140 . , multiple zeta values and periods of moduli spaces @xmath478 , ann . ( 4 ) 42 ( 2009 ) , no . 3 , 371 - 489 . , algebras of iterated path integrals and fundamental groups , transaction of the american math . * 156 * ( 1971 ) , 359379 . , reduced bar constructions on de rham complexes , algebra , topology , and category theory ( a collection of papers in honor of samuel eilenberg ) , pp . 1932 . academic press , new york , 1976 . , on quasitriangular quasi - hopf algebras and on a group that is closely connected with @xmath479 , algebra i analiz 2 ( 1990 ) , no . 4 , 149181 ; translation in leningrad math . j. * 2 * ( 1991 ) , no . 4 , 829860 . , on a generalization of hilbert s 21st problem , ann . scient.c . norm . , @xmath480 srie , t. 19 , ( 1986 ) , 609627 . , lalgbre des polylogarithmes par les sries gnratrices . proc . of fpsac99 , 11-th international conference of formal power series and algebraic combinatrics , barcelona , june 1999 . , automorphisms of pure sphere braid groups and galois representations , the grothendieck festschrift , vol . ii , 353373 , progr . , 87 , birkhuser boston , boston , ma , 1990 . , derivation and double shuffle relations for multiple zeta values , compos . math . 142 ( 2006 ) , no . 2 , 307338 . , the evolution of the ladder concept , structural properties of polylogarithms ( ed . by l.lewin ) , math . surveys and monographs , * 37 * , amer . math ( 1991),123 . , duality formulas of special values of multiple polylogarithms , bull . london math . ( 2004 ) , the sum formula for multiple zeta values , zeta functions , topology and quantum physics , developments in mathematics 14 , ed . by t. aoki et al . , springer - verlag ( 2005 ) , 145 - 170 . , kz equation on the moduli space @xmath481 and the harmonic product of multiple polylogarithms , preprint ( 2011 ) arxiv : math.qa/0910.0718v3 . , free lie algebras , oxford science publications,1993 . , hypergeomtric functions , my love , aspects of mathematics , e 32 , vieweg , 1997 . , monodromy of iterated integrals and non - abelian unipotent periods , geometric galois actions , 2 , 219289 , london math . lecture note ser . , 243 , cambridge univ . press , cambridge , 1997 .

arxiv

in wireless networks , automatic repeat request ( arq ) techniques have been applied to improve the transmission reliability above the physical layer ( phy ) . prior work ( e.g. , in @xcite and @xcite ) has shown that in the phy of coded or uncoded systems , a higher transmission rate @xmath1 results in higher packet error rates , leading to more arq retransmissions , while a lower @xmath1 leads to reduced packet error rates and therefore less arq retransmissions . hence , choosing to transmit at very high rates can lead to low average successful throughput ( i.e. , goodput ) due to increased number of retransmissions . on the other hand , transmitting at very low rates leads to more reliable communication but the goodput is also low due to low rates . consequently , it is of significant interest to jointly optimize the transmission rates ( at the physical layer ) and the number of arq retransmissions ( at the data - link layer ) by adopting a cross - layer framework so that the goodput of the system is maximized . in recent years , cooperative operation through relaying has attracted much interest due its promise to improve the link reliability @xcite . for instance , when the source - destination link suffers severe fading , information can be sent to the destination through a relay node more reliably if the source - relay and relay - destination channels experience more favorable fading conditions . note that such diversity achieved through cooperation can also lead to increased goodput . hence , cooperation is another important tool that can improve the performance . in this paper , we consider a 3-node cooperative network and investigate the maximization of the goodput in both amplify - and - forward ( af ) and decode - and - forward ( df ) relaying scenarios . in particular , we investigate the tradeoffs and interactions between the goodput , transmission rates , different arq mechanisms , different relaying schemes and relay locations . in both af and df modes , we first quantify the link error probabilities through the capacity outage formulation in a coded system in rayleigh fading channels . then , we analytically identify the average number of transmissions required for successful delivery , and formulate the goodput of the system . through numerical results , we study the tradeoffs between the different parameters of the network . the remainder of this paper is organized as follows . section ii introduces the network model and channel assumptions . section iii presents the goodput analysis in af and df cooperative networks with arq . numerical results are given in section iv . finally , section v provides the conclusions . we consider a 3-node cooperative network in which the source sends information to the destination with the aid of the relay node . we assume that the source - destination ( s - d ) , source - relay ( s - r ) , and relay - destination ( r - d ) links experience independent rayleigh fading . we have the following key assumptions : 1 ) channel codes support communication at the instantaneous channel capacity levels , and outages , which occur if transmission rate exceeds the instantaneous channel capacity , lead to packet errors and are perfectly detected at the receivers ; 2 ) depending on whether packets are successfully received or not , ack or nack control frames are sent and overheard ; 3 ) ack / nack is received reliably with no errors ; 4 ) each codeword contains a certain number of data packets and the transmission of data packets begins when source broadcasts to both relay and destination ; 5 ) the relay mechanism is assumed to be incremental relaying in which the relay node does nt need to engage in transmission whenever the s - d link is successful @xcite,@xcite . the arq process differs in af and df modes . in the af mode , destination sends ack when packets are successfully received from the source to notify the source to schedule the next codeword transmission . otherwise , if source - destination ( s - d ) link fails , an nack is sent and relay amplifies and forwards the packets to the destination via the source - relay - destination ( s - r - d ) cooperative link . if the transmission through the s - r - d link fails as well , destination sends a second nack and source retransmits the codeword . in the df mode , similarly as in af , it is initially checked whether the transmission through the s - d link is successful . if not , nack is sent and it is checked whether the relay , which also has to decode the incoming packets and send ack / nack frames upon its correct / erronous reception of packets , has received the packets successfully through the source - relay ( s - r ) link . if the s - r link has also failed , retransmission from the source is requested . if , on the other hand , relay has decoded the packets correctly , relay forwards the packet to the destination . in cases of failure in the relay - destination ( r - d ) link , retransmissions are requested from the relay . therefore , retransmissions can be confined only to the r - d link when the relay already has the correct codeword . the network states will be further elaborated in section iii . the introduction of a relay node definitely adds more energy overhead and system complexity , but it creates more reliability from the auxiliary r - d link when s - d channel fails . if we assume the signal transmitted from the source is @xmath2 with unit energy , the received signals at the relay and destination can be represented by @xmath3 where @xmath4 is the transmit power of the source . @xmath5 and @xmath6 are channel fading coefficients in the s - r and s - d links , respectively . the fading coefficients are assumed to be zero - mean circularly symmetric gaussian complex random variables , modeling rayleigh fading . path loss is also incorporated into the model through the variance of the fading coefficients . @xmath7 and @xmath8 are the additive gaussian noise components ( with variance @xmath9 ) at the destination and relay . we define the snr at the transmitter side by @xmath10 suppose that the source has @xmath11 codewords to transmit to the destination and the transmission rate is @xmath1 bits per second . each codeword has @xmath12 bits and codeword(i ) needs @xmath13 number of transmissions before being successfully received at the destination . the long - term effective throughput on this single link can be formulated by the total transmitted bits over total transmission time @xcite . in the limit as @xmath14 , we have @xmath15 @xmath16 is a geometric random variable @xcite , @xcite and @xmath17 where @xmath18 is the link error probability . the link error probability is defined as the probability associated with the outage event on a specific link @xcite . for a rayleigh fading channel , the fading coefficient @xmath19 is modeled as a zero - mean complex gaussian random variable with variance @xmath20 . so @xmath21 is exponential distributed with mean @xmath22 . therefore , the link error probability for given snr @xmath23 and transmission rate @xmath1 is @xmath24 in the af mode , relay amplifies and forwards the packets to the destination only if the s - d link is in outage . hence , there are totally 3 mutually exclusive working states in af : 1 ) s - d link is successful ; 2 ) s - d link is in outage , but s - r - d link is successful ; 3 ) both s - d link and s - r - d link are in outage . the source schedules the transmission of the next codeword only after the destination sends back an ack to announce that the codeword has been successfully received through either state 1 or 2 . in state 3 , destination sends back an nack to have the source to retransmit the codeword , triggering arq . consequently , a new transmission round is started all over . this procedure is repeated until a successful codeword delivery is achieved at the destination . the transmission flow is illustrated in fig . [ fig : af - routing ] where the red branch denotes the arq process . we normalize the variance on the s - d link as @xmath25 . from ( 4 ) , we know the outage probability on the s - d link is @xmath26 the variances of the other links are assumed to be proportional to @xmath27 where @xmath28 is the path loss coefficient @xcite . as for the s - r - d cooperative link , by using a generalized distance factor @xmath29 , the received snr via this link can be formulated as @xmath30 where @xmath31 and @xmath32 are independent random variables with the same distribution as @xmath33 . note that we implicitly assume with the above formulation that the we have a linear 3-node network where the relay lies in between the source and destination . a more general scenario in which the relay has a certain vertical distance to the line that connects the source and destination can be treated by normalizing @xmath34 with the cosine of the angle between the source and relay . from @xcite , we know that @xmath35 has a cdf given by @xmath36 where @xmath37 and @xmath38 is the first order modified bessel function of the second type . hence , the outage probability on the s - r - d link is @xmath39 where @xmath40 . now , the probabilities of the 3 network states of the af mode are @xmath41 we define @xmath42 as the time required to transmit one codeword over any link . in state 1 , a duration of @xmath43 is needed . at the end of this period , successful transmission is achieved . in both states 2 and 3 , a duration of @xmath44 is needed . in the first @xmath43 seconds , source transmits . since the s - d link fails in these two states , the relay engages in transmission in the following @xmath43 seconds . as demonstrated in ( [ eq : goodput - singlechannel ] ) , goodput is obtained by first determining the average number of transmissions or equivalently the average time required to send one codeword to the destination successfully . next result provides the average time in the af scenario . [ prop : af ] in af relaying under the arq retransmission scheme with 3 states described in this section , the average time needed to successfully transmit one codeword from the source to the destination is given by @xmath45 where @xmath46 and @xmath47 are given in ( [ eq : p_1af ] ) ( [ eq : p_3af ] ) , and @xmath43 is the time needed to transmit one codeword in one attempt over any link . _ proof _ see appendix [ app : af ] . the goodput in af networks is defined as the ratio of @xmath12 bits ( i.e. , the number of information bits in each codeword ) to the average time required to successfully send one codeword : @xmath48 where @xmath1 is the transmission rate in bits / s . the following result identifies the optimal @xmath34 that maximizes the goodput , and shows that the relay should be located halfway between the source and destination . [ prop : optimal_k ] for any given transmission rate @xmath1 and snr @xmath23 , the af goodput @xmath49 is maximized at @xmath50 . _ proof : _ we first note that @xmath51 is a monotonically decreasing positive function of @xmath52 , and @xmath52 monotonically increases as @xmath53 increases where @xmath54 . hence , @xmath51 is minimized when @xmath53 is maximized at @xmath55 . moreover , @xmath56 monotonically decreases as @xmath57 decreases . the function @xmath58 with @xmath59 is minimized at @xmath55 . therefore , @xmath56 is minimized at @xmath55 . hence , @xmath60 is minimized and @xmath49 is maximized at @xmath55 regardless of the values of @xmath1 and @xmath23 . @xmath61 in the df mode , relay forwards the packets to the destination only if the s - d link is in outage and s - r link is successful . so , there are 4 mutually exclusive working states in the df mode with the following ack / nack feedback schemes : 1 ) s - d link is successful and destination sends back ack to have the source to send the next codeword ; 2 ) both the s - d and s - r links are in outage and both send back nacks to request the source to retransmit the codeword ; 3 ) s - d link is in outage , but s - r and r - d links are successful , and source transmits the next codeword in the next block after receiving ack from the destination ; 4 . s - d link is in outage , s - r link is successful , but r - d link is in outage . in this state , destination sends an nack but requests retransmissions from the relay since the relay has successfully decoded the codeword . hereby , we see two different types of arq retransmissions . in state 2 , source receives nacks from both relay and destination and then retransmits , which could be considered as an outer - loop arq . in state 4 , relay retransmits to the destination , and this could be considered as an inner - loop arq . the inner - loop is beneficial when the relay is closer to the destination than the source is . the transmission flow can be seen in fig . [ fig : df - routing ] . again we normalize the variance on the s - d link as @xmath25 and by using a generalized distance factor @xmath62 , we have the following outage probabilities on the s - d , s - r and r - d links , respectively , @xmath63 now , the probabilities of the 4 states are given by @xmath64 similarly as in the af case , we first determine the average time needed to successfully transmit one codeword . [ prop : df ] in df relaying under the arq retransmission scheme with 4 above - described states , the average time needed for the successful transmission of one codeword is @xmath65 _ proof _ : see appendix [ app : df ] . hence , the goodput is @xmath66 in this section , we present the numerical results . in particular , we compute the goodput in af and df relaying scenarios by using the expressions in ( [ eq : eta - af ] ) and ( [ eq : eta - df ] ) and investigate the network performance as the transmission rate @xmath1 , normalized relay location @xmath34 , and snr @xmath23 vary . we first look at @xmath49 ( goodput in the af mode ) as a function of @xmath1 with @xmath67 and @xmath68 @xcite . the upper subplot in fig . [ fig : af / df - r ] clearly shows for any given normalized relay location @xmath34 , goodput is maximized at a certain unique optimal rate @xmath69 . at rates below @xmath69 , even though the link reliabilities are comparatively high , @xmath49 is low due to small @xmath1 . at rates higher than @xmath69 , the decrease in link reliability and increased number of retransmissions counteracts the increased rate , resulting again in lower @xmath49 . similar results are also observed in the lower subplot , which plots the goodput @xmath70 in the df mode with respect to transmission rate @xmath1 . in fig . [ fig : rate - location ] , we fix the transmission rate @xmath1 at different values and plot the goodput @xmath71 for both af and df as a function of the normalized relay location @xmath34 . verifying the result of proposition [ prop : optimal_k ] , we observe that the af goodput @xmath49 is optimized at @xmath72 regardless of the value of @xmath1 . in df , the optimal relay location is close to @xmath55 for large values of @xmath1 . however , we see that when @xmath1 is relatively low ( i.e. , when @xmath73 bits / s ) , @xmath34 is slightly larger than 0.5 meaning that relay should be placed farther away from the source and closer to the destination . note also that a higher goodput is achieved when @xmath73 bits / s . finally , we observe that at the optimal relay location , df relaying provides higher goodput than af relaying for the same transmission rate . in fig . [ fig : snr - rate ] , we plot @xmath71 as a function of @xmath1 at different snr values in both af and df when the generalized relay location is set at @xmath74 . when snr is maintained at a moderate level , df outperforms af in terms of providing higher goodput at any transmission rate . at very high snr , af and df modes have almost identical performance curves . since the link reliability is so high that very few arq rounds are needed to achieve the successful packet delivery , the goodput is actually approaching the transmission rate @xmath1 . secondly , in either mode , we see as @xmath23 increases , the optimal goodput @xmath75 and @xmath76 which maximizes @xmath71 are both increasing . in fig . [ fig : af - location - r ] and fig . [ fig : df - location - r ] , the goodput is plotted as both the relay location and transmission rate are varied . it is assumed that snr @xmath67 . as is shown in the contours , the goodput surface is nt ideally concave , but there is always a pair of optimal relay location @xmath77 and transmission rate @xmath76 that maximizes the goodput . in fig . [ fig : location - goodput ] , we assume @xmath67 and plot the optimal @xmath78 and the optimal goodput @xmath75 as a function of the transmission rate @xmath1 in both af and df . the upper subplot confirms again the result in proposition [ prop : optimal_k ] and shows that @xmath79 in af . in the df mode , we see that @xmath77 decreases from 1 and approaches 0.5 asymptotically as @xmath1 increases , which is in compliance with our observation in fig . [ fig : rate - location ] . in the lower subplot , the optimal goodput @xmath75 achieved at the optimal @xmath77 is shown , where we see that df outperforms af and provides higher goodput for any given transmission rate @xmath1 . in this paper , we have performed a cross - layer optimization to maximize the goodput of cooperative networks that employ arq schemes and work in either af or df relaying mode . for both af and df schemes , we have described the retransmission mechanisms and determined the average time required to send the information correctly from the source to the destination . subsequently , we have formulated the goodput achieved in both relaying modes . we investigated the impact of transmission rates and relay location on the goodput . we have shown that having the relay halfway between the source and destination maximizes the goodput . through numerical results , we have identified the optimal transmission rates that maximize the goodput . we have also numerically analyzed the optimal relay location in df . we have shown that df generally provides superior performance . in the af mode , we have three networks states and the arq is triggered when both s - d and s - r - d links fail . therefore , the transmission flow can be illustrated as a tree structure as depicted in fig . [ fig : af - tree ] as the arq round progresses . each branch corresponds to a time consumption with a certain probability . we model the time required to successfully transmit one codeword as a random variable and denote it as @xmath16 . it can be easily seen that @xmath16 has the following distribution by @xmath80 for odd number of time slots , the probability distribution is @xmath81 for even number of time slots , the probability distribution is @xmath82 so , the average time @xmath83 is @xmath84\nonumber\\ & = \frac{(p_{1}+2p_{2}+2p_{3})t}{1-p_{3}}.\end{aligned}\ ] ] @xmath61 in the df mode , the transmission flow can be illustrated as in fig . [ fig : df - tree ] , where the long branches occurring with probability @xmath85 and extending to the right are generated when the outer arq round is triggered . recall that the outer arq is triggered when both s - r and s - d links fail , requiring the source to retransmit . note that there is also a downward progression starting initially with probability @xmath86 . this progression occurs when the inner arq rounds are triggered , in which relay , having received the packets successfully from the source , retransmits when the r - d link fails . in df relaying , the random variable @xmath16 , which is time required to one codeword successfully , can be expressed as @xmath87 where @xmath88 and @xmath89 are also random variables whose distributions are as follows : @xmath90 above , we have defined @xmath91 @xmath92 can be defined similarly as @xmath93 but now in terms of @xmath94 and @xmath95 . repeating this procedure , we have random variables defined in a nested fashion with a certain pattern . by examining the characteristics of @xmath96 , we can easily find its mean value as @xmath97 now , the expected value of @xmath16 is @xmath98\nonumber\\ = & \sum_{k=0}^{\infty}(\varepsilon_{1}\varepsilon_{2})^k(1-\varepsilon_{1})(k+1)t+\sum_{k=0}^{\infty}(\varepsilon_{1}\varepsilon_{2})^k\varepsilon_{1}(1-\varepsilon_{2})e(y_{k+1})\nonumber\\ = & \frac{t(1-\varepsilon_{1}\varepsilon_{2})(1+\varepsilon_{1}-\varepsilon_{3}-\varepsilon_{1}\varepsilon_{2})}{(1-\varepsilon_{1}\varepsilon_{2})^2(1-\varepsilon_{3})}\nonumber\\ = & \frac{tp_{1}+tp_{2}+2tp_{3}+(2+\frac{1}{1-\varepsilon_{3}})tp_{4}}{1-p_{2}}.\end{aligned}\ ] ] @xmath61 t. h. himsoon , w. p. siriwongpairat , z. han , k. j. ray liu , `` lifetime maximization via cooperative nodes and relay deployment in wireless networks '' , ieee journal on selected areas in communications , vol.25 , no . 2007 t. renk , h. jakel , f. k. jondral , d. gunduz , a. goldsmith , `` outage capacity of incremental relaying at low signal - to - noise ratios '' , ieee vehicular technology conference ( vtc ) , anchorage , ak , sep . 2009 . v. erceg , l. j. greenstein , s. y. tjandra , s. r. parkoff , a. gupta , b. kulic , a. a. julius , and r. bianchi , `` an emperically based path loss model for wireless channels in suburban environments , '' ieee _ j.select . areas commun , _ vol . 17 , no . 7 , pp.1205 - 1211 , jul .

arxiv

pubmed

Why doesn't an aliphatic acyl chloride react with cyanide ions in aqueous sulphuric acid undergo nucleophilic addition elimination? [closed] **Closed.** This question is [off-topic](/help/closed-questions). It is not currently accepting answers. --- **Homework questions** must demonstrate some effort to understand the underlying concepts. For help asking a good homework question, see: [How do I ask homework questions on Chemistry Stack Exchange?](https://chemistry.meta.stackexchange.com/questions/141/how-do-i-ask-homework-questions-on-chemistry-stack-exchange) Closed 3 years ago. [Improve this question](/posts/128342/edit) I'm asking this because im proving a friend wrong. I get how cyanide ions won't react in an ethanol solvent because the solvent is too reactive but why won't this?![enter image description here](https://i.stack.imgur.com/PnczV.jpg) Cyanide ions in aq. sulfuric acid don't stay as ions very long, they get protonated to give HCN so cannot act as nucleophiles. Also aliphatic acyl cyanides are about as reactive as aliphatic acyl chlorides, both will readily hydolyse to the carboxylic acid in aq. soln.

stackexchange/chemistry

Argoed railway station served the village of Argoed in the County Borough of Caerphilly, Wales. it succeeded the first Argoed station built by the Sirhowy Tramroad, which operated from 1822 to 1855. History The station was opened on 19 June 1865 by the Sirhowy Railway, upon completion of the work to convert the former Sirhowy Tramroad a plateway of gauge into a standard-gauge railway. The company got into financial difficulties, and was leased to the London and North Western Railway in 1875. Therefore, it became part of the London, Midland and Scottish Railway during the Grouping of 1923. It was renamed Argoed Halt on 29 September 1941. Passing on to the Western Region of British Railways on nationalisation in 1948, it was then closed by the British Transport Commission on 13 June 1960. Notes References RailBrit: Sirhowy Tramroad Station on navigable O.S. map Category:Disused railway stations in Caerphilly County Borough Category:Former London and North Western Railway stations Category:Railway stations opened in 1865 Category:Railway stations closed in 1960 Category:History of Monmouthshire Category:1865 establishments in Wales Category:1960 disestablishments in Wales

wikipedia

quantum phase transitions between two fermi liquids , one of which spontaneously breaks translational symmetry and so reconstructs its fermi surface , have been of longstanding theoretical and experimental interest . important new examples of experimental realizations have emerged in the past few years,@xcite and so a full theoretical understanding is of some urgency . next to immediate relevance for a class of strongly correlated electron materials , the spin - fermion model has evolved into a minimal model for itinerant lattice electrons with strong , commensurate magnetic fluctuations that are believed to destroy the fermi liquid behavior when tuned to the critical point . how the compressible electron liquid , without lorentz symmetry and without particle - hole symmetry , behaves when its correlations become singular , could provide some direction in the search for new universality classes beyond , for example , the better - known gross - neveu model of dirac fermions which enjoys more symmetries . however , despite several decades of theoretical work , key questions remain open especially in the important case of two spatial dimensions . early theories @xcite for such quantum phase transitions focused on effective models for the quantum fluctuations of the order parameter , while treating the fermi surface reconstruction as an ancillary phenomenon . however , it has since become clear @xcite that such an approach is inadequate , and the fermi surface excitations are primary actors in the critical theory . reference postulated a critical theory for fermi surface reconstruction , in which the fermi surface excitations and the bosonic order parameter were equally important and both acquired anomalous dimensions . these excitations were strongly coupled to each other by a `` yukawa '' coupling of universal strength , and their correlators scaled with a common dynamic critical exponent , @xmath0 . explicit computations were performed in the context of a @xmath1 expansion , where the physical number of fermion flavors is generalized to @xmath2 . taking @xmath2 large , one can formally reorganize wick s theorem in powers of @xmath1 and then extrapolate results to the physical number of fermion flavors . for the hot - spot field theory at the onset of spin - density wave order , no such critical theory appeared at the two - loop level . indeed , it was pointed out that at higher loops @xcite there is a breakdown of the @xmath1 expansion , and so it remained unclear whether the postulated fixed point existed . here we address the problem of fermi surface reconstruction at the onset of spin - density wave order by an analysis based on a formally exact functional renormalization group ( frg ) approach.@xcite this rg approach allows a computation of correlation function as a function of a continuous cutoff scale @xmath3 ; from the `` uv '' at energies of the order of the bandwidth down to `` infrared '' excitations at and in the vicinity of the fermi surface . nonuniversal quantities and crossover scales can be extracted from the same solution which also yields the critical exponents in the limit @xmath4 . combined with the potential to resolve the momentum ( and frequency ) dependence or correlators along the fermi surface , the frg offers much more than the field theoretic rg or conventional @xmath5 expansion which is typically used to extract the leading singularities only . in this paper , we solve a set of coupled flow equations which treats the electrons on equal footing to the collective , order - parameter fluctuations . we truncate the flow equations to a set of discrete points on the fermi surface . when projecting our correlators onto the hot spot as a function of momenta , we establish the existence of a fixed point with the scaling structure postulated in ref . , describing the quantum phase transition between two fermi liquids : from the metal with preserved @xmath6 spin symmetry to the metallic antiferromagnet which spontaneously breaks spin symmetry . a significant feature of our truncation is that it ties the parameters controlling the order parameter fluctuations to those associated with the fermion excitations , and this is important for a proper description of the scaling structure . we present numerical estimates for the critical exponents of the boson and fermion spectral functions , and for the variation in the fermionic quasiparticle residue around the fermi surface . during our computations , we keep the shape of the fermi surface fixed . in principle , one would have to allow for a flowing fermi surface and consequently a flowing hot spot . in such a truncation , the singular manifold becomes a `` moving target '' and this significantly complicates the analysis . the rest of our results are presented in sec . [ result ] . in sec . [ model ] , we introduce the recently developed two - band spin - fermion model that has the additional appealing feature that it does not suffer from the sign problem in quantum monte carlo simulations.@xcite in sec . [ rg ] , we present the functional rg setup , the truncation , and the cutoff functions . in sec . [ conc ] , we conclude and suggest interesting future directions resulting from this paper . our computation will be carried in the context of the `` spin - fermion '' model of antiferromagnetic fluctuations in a fermi liquid.@xcite this involves a spin - density wave order parameter @xmath7 at wave vector @xmath8 coupled to fermions @xmath9 moving on a square lattice . the analytic analyses have focused on the vicinity of the `` hot spots '' on the fermi surface : these are the eight points on the fermi surface which can generically be connected to each other by @xmath10 . the fermion dispersions were linearized and truncated around the hot spots . however a complete analysis requires that we avoid the spurious singularities associated with truncated fermi surfaces and deal only with continuous fermi surfaces . here , we choose the fermi surface configurations of a recent analysis @xcite which allowed monte carlo studies without a sign problem . the present work may be seen as complementary to ref . : here we especially focus on the universality class and critical properties . this paves the way for an eventual comparison of our renormalization group results with monte carlo . our present method applies also to general fermi surfaces and provides access to real - time spectral functions which are not easily obtainable from imaginary - time monte carlo . the model of ref . contains fermions in two bands , or two flavors , @xmath11 , @xmath12 ( although our present method can also be applied to single band models ) , coupled to @xmath7 in the effective action @xmath13&=\int_k \sum_{\alpha=1,2 } \overline{\psi}_{\alpha}(k ) \left ( \begin{array}{cc } -i k_0+\xi_{\mathbf{k},\alpha } & 0 \\ 0 & -i k_0+\xi_{\mathbf{k},\alpha } \end{array } \right ) % \psi_{\alpha}(k)\nonumber\\ & + \int_q \frac{1}{2 } \vec{\phi}(-q)\ , \left(\mathbf{q}^2 + r\right ) \ , \vec{\phi}(q ) \label{eq : fermi_bose}\\ & + \int_{k , q } \lambda\ , \vec{\phi}(q ) \left(\overline{\psi}_1(k+q ) { \vec{\sigma}}\ , \psi_2(k ) + \overline{\psi}_2(k+q ) { \vec{\sigma } } \psi_1(k ) \right)\nonumber\end{aligned}\ ] ] where @xmath14 represents integrals over spatial momenta @xmath15 over the brillouin zone , and over frequencies @xmath16 . the fermion spinors are defined by @xmath17 , @xmath18 . we already introduce here the cutoff @xmath3 along which we later integrate our renormalization group flow toward @xmath4 . with @xmath19 we have the bare lattice action . the boson quadratic term consists of the control parameter @xmath20 and a spatial gradient squared to account for spatial variations of the order parameter field @xmath7 . the quantum dynamics of @xmath7 will be generated in the rg flow ; putting a @xmath21 term into eq . ( [ eq : fermi_bose ] ) does not change our results . the fermion dispersions for nearest - neighbor hopping are @xmath22 a consistent mapping to `` physical '' fermions can be achieved with an anisotropic choice of hoppings,@xcite @xmath23 , @xmath24 , @xmath25 , and @xmath26 , @xmath27 , @xmath28 , @xmath29 yielding the fermi surfaces shown in fig . [ fig : fermisurface ] . an important distinction of this paper compared to the previous work ( refs . ) is that we do not truncate the fermi surface as patch models around hot spots . , black dashed line ; @xmath30 , blue solid line for eq . ( [ eq : fermion_dispersions ] ) ] from the paramagnetic phase ( a ) to the zeros of the quasiparticle energies in the antiferromagnetic ( sdw ) phase ( b ) . gaps open at the `` hot spots , '' that is , where the fermi surfaces of the two flavors intersect . in this paper , we focus on the sdw transition that is the singular point right when the fermi surfaces reconstruct . the @xmath31 lattice symmetry of the original fermions is preserved.,title="fig:",width=236 ] + , black dashed line ; @xmath30 , blue solid line for eq . ( [ eq : fermion_dispersions ] ) ] from the paramagnetic phase ( a ) to the zeros of the quasiparticle energies in the antiferromagnetic ( sdw ) phase ( b ) . gaps open at the `` hot spots , '' that is , where the fermi surfaces of the two flavors intersect . in this paper , we focus on the sdw transition that is the singular point right when the fermi surfaces reconstruct . the @xmath31 lattice symmetry of the original fermions is preserved.,title="fig:",width=236 ] a mean - field analysis of eq . ( [ eq : fermi_bose ] ) predicts an antiferromagnetic spin - density wave ( sdw ) ground state at @xmath32 which spontaneously breaks the spin su(2 ) symmetry of eq . ( [ eq : fermi_bose ] ) . the fermi surface topology `` reconstructs '' and gaps open at the hot spots , as shown in fig . [ fig : fermisurface ] . on a mean - field level , the sdw transition at zero temperature of eq . ( [ eq : fermi_bose ] ) is first order , as was also found in related single - band models for electronic antiferromagnets.@xcite at present , it is not clear which effects such as fluctuations or competing instabilities could potentially drive the transitions continuous or even change the ground state . the same is true for the formation of sdws with periods incommensurate with the underlying lattice . in the present paper , we ignore these complications and focus our attention on continuous sdw transitions at zero temperature . our rg analysis is based on the ( formally exact ) flow equation for the effective action @xmath33 $ ] , the generating functional for one - particle irreducible correlation functions in the form derived by wetterich.@xcite the regulator @xmath34 introduces a cutoff dependence into the effective action so that @xmath35 smoothly interpolates between the bare action [ eq . ( [ eq : fermi_bose ] ) ] at the ultraviolet scale @xmath36 = \gamma^{\lambda_{\text{uv } } } \left[\bar{\psi},\psi,\vec{\phi}\right]$ ] and the fully renormalized effective action in the limit of vanishing cutoff : @xmath37 = \gamma\left[\bar{\psi},\psi,\vec{\phi}\right]$ ] . the wetterich equation has a one - loop structure and in a vertex expansion the @xmath38 functions for the @xmath39-point correlators are determined by ( cutoff derivatives of ) one - particle irreducible one - loop diagrams with fully dressed propagators and vertices . upon self - consistent integration of the coupled set of @xmath38 functions , contributions of arbitrary high loop order are generated . as we explain below , we truncate the effective action to the full fermion two - point function [ including a fermion self - energy @xmath40 , the full bosonic two - point function [ including a bosonic self - energy @xmath41 , and the yukawa coupling @xmath42 . our results are obtained from the renormalization group flow of the action eq . ( [ eq : fermi_bose ] ) at the quantum - critical point ( @xmath43 ) under the formally exact evolution equation @xcite @xmath44= \frac{1}{2 } \text{str } \left\ { \dot{r}^{\lambda } \left [ \gamma_r^{(2)\lambda}\left[\chi,\bar{\chi}\right ] + r^{\lambda } \right]^{-1 } \right\ } % = % \frac{1}{2}\text{str}\ , % \left\ { % \dot{r}^{\lambda } \partial_{r^\lambda } \ln \left [ \gamma_{r}^{(2)\lambda}\left[\chi,\bar{\chi}\right ] % + % r^{\lambda}\right ] % \right\ } \;. \label{eq : wetterich_equation}\end{aligned}\ ] ] @xmath45 is the second derivative with respect to the fields defined below . @xmath46 is a matrix containing @xmath3-dependent cutoff functions that regularizes the infrared singularities of the fermion and boson propagators . the dot is shorthand notation for a scale derivative @xmath47 . both sides of this equation are projected onto a `` super''-field basis @xmath48 , @xmath49 containing fermionic and bosonic entries : @xmath50 and its conjugate - transposed @xmath51 . str is a `` super '' trace over frequency , momenta , and internal indices and installs an additional factor of @xmath52 for contributions from the purely fermionic sector of the trace of grassmann - valued matrices . we solve eq . ( [ eq : wetterich_equation ] ) in a vertex expansion truncating any generated vertices beyond the yukawa vertex . the flowing fermion self - energy @xmath53 and the boson self - energy @xmath54 are parametrized in a derivative expansion keeping the fermi surfaces fixed . the cutoff matrix in eq . ( [ eq : wetterich_equation ] ) is given by @xmath55 where one is , in principle , free to choose the fermion and boson cutoff scales @xmath56 and @xmath57 and associated regulator functions @xmath58 independently.@xcite the corresponding `` flow trajectories '' in cutoff space ( in the plane of fig . [ fig : cutoff_space ] ) from the bare action ( red dot ) to renormalized , effective action ( green dot ) will be different . we choose the trajectory along the arrows illustrated in fig . [ fig : cutoff_space ] ; that is , we take @xmath59 and @xmath60 before integrating out order parameter fluctuations which are excluded for momenta smaller than @xmath56 . the fermions are , however , not discarded as in the hertz theory,@xcite but coupled self - consistently into the flow for all @xmath61 , thereby imposing important boundary conditions for the integration of order parameter fluctuations down the vertical axis in fig . [ fig : cutoff_space ] . this makes the flow nonlocal in the cutoff scale in that the purely fermionic contractions with yukawa vertices are treated as a total scale derivative that also acts on the self - energy on the internal lines and the yukawa vertices . this is similar in spirit to the katanin scheme , where this can be shown to lead to the inclusion of higher @xmath39-point vertices in the flow.@xcite of the integration over bosonic momenta along the vertical axis the entire range of fermionic momenta is swept over ( gray - striped box).,width=302 ] for the bosons , we use a litim cutoff for momenta , @xmath62 where @xmath63 is bosonic momentum renormalization factor to be specified below . in the following , we set @xmath64 . the fermionic entries in eq . ( [ eq : cutoffmatrix ] ) are zero . the fermionic matrix elements of the generalized matrix propagator @xmath65 + r^{\lambda } \right]^{-1}$ ] occurring in eq . ( [ eq : wetterich_equation ] ) become @xmath66 \frac { \overleftarrow{\delta}}{\delta \chi ( k_2 ) } + r^{\lambda } \right ] _ { \substack { f1,\sigma \\ \overline{\chi}=\chi = 0 \\ k_1=k_2=k } } ^{-1 } \nonumber\\ & = \frac{-1}{- ik_0+\xi_{\mathbf{k},1 } + \sigma^{\lambda}_{f1}(k_0,\mathbf{k})}\ ; , \label{eq : ferm_propagator}\end{aligned}\ ] ] and analogously for the other flavor and spin components . the explicitly cutoff - dependent boson spin fluctuation propagators are @xmath67 \frac { \overleftarrow{\delta}}{\delta \chi ( q_2 ) } + r^{\lambda } \right]_{\substack { b , x\\ \overline{\chi}=\chi = 0 \\ q_1=q_2=q}}^{-1 } \nonumber\\ & = \frac{-1 } { \mathbf{q}^2 + r + \sigma^{\lambda}_{b}(q_0,\mathbf{q})+ r^{\lambda}_{b } } \nonumber\\ & = \left\ { \begin{array}{cl } \frac{-1 } { \mathbf{q}^2 + r + \sigma^{\lambda}_{b}(q_0,\mathbf{q } ) } & |\mathbf{q}| > \lambda \\[2 mm ] \frac{-1}{\lambda^2 + r + \sigma^{\lambda}_{b}(q_0,\lambda ) } & |\mathbf{q}| < \lambda \end{array } \right . \ ; , \label{eq : bose_prop}\end{aligned}\ ] ] and analogously for the other spin projections @xmath68 , @xmath0 . the functional derivatives are evaluated at zero fields here , as we approach the qcp from the paramagnetic phase . the flow equation for the fermion self - energy [ depicted diagrammatically in fig . [ fig : flow_ferm ] ( a ) ] is @xmath69 = % 3\left(\lambda^{\lambda}\right)^2 \int_{q , r } g^\lambda_{f2}(k+q ) d^{r}_b(q)\ ; , \label{eq : flow_ferm}\end{aligned}\ ] ] and similarly for flavor @xmath70 upon interchanging @xmath71 . we use a shorthand notation encapsulating frequency , momentum integrations , and a cutoff derivative with respect to the bosonic cutoff function : @xmath72 $ ] . ( a ) and the yukawa coupling ( b ) . straight lines denote fermi propagators of flavors 1 and 2 ; wiggly line boson propagators are endowed with a regulator @xmath73 . intersections of wiggly with straight lines represent the yukawa coupling . the cutoff derivative with respect to @xmath73 is implicit . all propagators and vertices are `` dressed '' self - consistently and are functions of @xmath3.,title="fig:",width=188 ] ( a ) and the yukawa coupling ( b ) . straight lines denote fermi propagators of flavors 1 and 2 ; wiggly line boson propagators are endowed with a regulator @xmath73 . intersections of wiggly with straight lines represent the yukawa coupling . the cutoff derivative with respect to @xmath73 is implicit . all propagators and vertices are `` dressed '' self - consistently and are functions of @xmath3.,title="fig:",width=188 ] the prefactors and signs of the flow equations are computed by comparing coefficients between the left- and right - hand sides of eq . ( [ eq : wetterich_equation ] ) as outlined in sec.ii of ref . . the 11@xmath7411 grassmann - valued ( super- ) matrices are evaluated using the grassmannops.m package in mathematica . how to take a supertrace can be found in ref . . the boson self - energy is determined self - consistently from the particle - hole bubble ( fig . [ fig : boson_self ] ) at all stages of the flow : @xmath75 . \nonumber \label{eq : sigma_b}\end{aligned}\ ] ] the following ansatz captures the leading frequency and momentum - dependence of the particle - hole bubble : @xmath76 at the yellow dot in fig . [ fig : cutoff_space ] , the fermi propagators are still fermi - liquid like ( @xmath77 ) because we have not yet integrated out any order parameter fluctuations which , by fig . [ fig : flow_ferm ] ( a ) , generate a finite fermion self - energy . at that point , the coefficients @xmath78 , @xmath79 take finite numerical values . at all stages of the flow , when integrating the flow down the vertical axis of fig . [ fig : cutoff_space ] , the bosonic @xmath80 and @xmath81 factor are determined self - consistently according to the prescription @xmath82 this allows them to pick up potentially singular renormalizations during the flow . the boson momentum factor is isotropic in momentum space ; interchanging @xmath83 delivers the same value for @xmath84 . ) . all propagators and vertices are `` dressed '' self - consistently and depend on @xmath3.,width=245 ] the flow equation as per fig . [ fig : flow_ferm ] ( b ) for the yukawa coupling is @xmath85 the explicit expressions of the flow equations and the numerical parameter used are given in the appendix . we now describe the key results obtained from a solution of the flow equations . ( i ) we find an infrared strong - coupling fixed point for the yukawa - coupling @xmath42 which governs the rg flow of the coupled fermi - bose action down to the lowest scales @xmath4 . this induces scaling relations among the anomalous exponents for the fermi velocity , the quasiparticle weight , and the yukawa vertex . ( ii ) both the quasiparticle weight and the fermi velocity vanish as a power law when scaling the momenta toward the hot spot ; the fermi velocity slower than the quasiparticle weight . ( iii ) the ( quantum ) dynamical scaling of the electronic single - particle and collective spin fluctuations follows from an emergent dynamical exponent , attaining the same ( fractional ) value for both fermions and bosons . the centerpiece of our analysis is the flow equation for the yukawa coupling : @xmath86 where @xmath87 is rescaled by the frequency ( @xmath88 ) and momentum ( @xmath89 ) derivatives of the fermion self - energy generated under the rg flow as per fig . [ fig : flow_ferm ] ( a ) . the power - law divergences as well as all other nonuniversal contributions to the flow of the two fermion self - energy factors and the yukawa coupling itself are absorbed into the anomalous exponents : @xmath90 @xmath91 is driven by the direct contribution to the flow of @xmath42 exhibited in fig . [ fig : flow_ferm ] ( b ) . all couplings are projected to zero fermionic frequency , a discrete set of fermionic momenta on the fermi surfaces , and zero bosonic frequency and momenta . this is where the most singular renormalizations occur . specifically , the inverse quasi - particle weight is computed from the flowing self - energy by @xcite @xmath92 = 1-\frac{\partial}{\partial i k_0 } \sigma^{\lambda}_{f1}(k_0,\mathbf{k})|_{k_0=0 , \mathbf{k}=\mathbf{k}_{\text{f } } } , \label{eq : z_ferm}\end{aligned}\ ] ] where @xmath93 is a momentum on the fermi surface and the initial condition is @xmath94 . the momentum renormalization factor is obtained from a momentum gradient of the fermion self - energy , @xmath95 = 1+\frac{|\mathbf{n}_{\mathbf{k},1}\cdot \nabla \sigma^{\lambda}_{f1}(k_0,\mathbf{k})| } { \label{eq : fs_normals}\end{aligned}\ ] ] with the initial condition @xmath96 . here , @xmath97 and @xmath98 is unit normal vector onto the fermi surface of flavor @xmath99 . we see below that the momentum gradient scales differently than the frequency derivative at the quantum critical point . in a different context , for fermi systems with van hove singularities , this asymmetry was established to all orders in perturbation theory by feldman and salmhofer.@xcite necessary conditions to discover this are ( i ) the codimension of the fermi surface manifold is greater than zero ( it is zero in a one - dimensional fermi systems ) and ( ii ) one includes the additional , relevant transversal momentum direction parallel to the fermi surface into the analysis . . the fixed - point values are @xmath100 , @xmath101 , @xmath102 , and @xmath103 . the scaling plateaus for @xmath104 depicted over @xmath105 4 orders of magnitude would be attained indefinitely but are limited by the numerics only . the infrared is to the right of the plot ( @xmath106).,width=321 ] with these definitions , the scale - dependent `` dressed '' fermion propagator which occurs self - consistently in all rg equations becomes @xmath107 with @xmath108 resembling the quasiparticle weight at low energies and the effective modulus of the fermi velocity @xmath109 . a self - consistent numerical solution of the flow equations for the yukawa vertex @xmath42 , the fermion self - energy @xmath110 , and the boson self - energy @xmath111 is attracted toward an infrared strong - coupling fixed point . as can be read off from fig . [ fig : new_etas_yuk ] , the @xmath38 function for the yukawa coupling [ eq . ( [ eq : flow_yuk_rescaled ] ) ] vanishes for @xmath112 , resulting in a scaling relation for the fermion and yukawa anomalous exponents : @xmath113 where we dropped the flavor index as they become degenerate at the hot spot . similar strong - coupling fixed - point and scaling relations ( without singular vertex corrections ) have recently been obtained at the qcp of a dirac cone toy model between a semimetal and a superfluid.@xcite $ ] non - self - consistently computed from eq . ( [ eq : z_ferm ] ) along the fermi surface . figure [ fig : grid_etas ] exhibits flows of the corresponding exponents for the six data points closest to the maximum / hot spot on the right flank . here the hot spot is located at @xmath114 and @xmath115.,width=340 ] the numerical values of the exponents ( see fig . [ fig : new_etas_yuk ] ) determine the scaling behavior of the fermion propagator [ eq . ( [ eq : ferm_prop ] ) ] and the associated dynamical exponent @xmath116 . the yukawa vertex diverges as a power law , @xmath117 @xmath3 can be associated with the momentum distance from the hot spot ; at @xmath118 the hot spots are resonantly connected by the ordering wave vector @xmath10 of the incipient sdw . at the hot spot , the fermionic quasiparticle weight vanishes as a power law , @xmath119 destroying the fermi liquid character of fermionic quasiparticle excitations . in a non - self - consistent calculation we can also compute the fermion self - energy from eq . ( [ eq : z_ferm ] ) away from the hot spot by solving the flow equations evaluated at general fermionic momenta @xmath120 . the result for a momentum cut along the fermi surface is exhibited in fig . [ fig : zf_grid ] . the renormalization of the quasiparticle weight is strongly peaked around the intersection of the fermi surfaces at the hotspot . away from the hot spot , the suppression of the quasiparticle weight is less pronounced , leading to asymptotically vanishing anomalous exponents in the infrared @xmath4 ( fig . [ fig : grid_etas ] ) . nevertheless , in the vicinity of the hot spot , magnetic fluctuations are still very strong , leading to sizable non - fermi liquid scaling regimes at intermediate scales with the maximum progressively approaching the hot - spot value @xmath121=0.78 $ ] for momenta closer to it . in the numerics for fig . [ fig : zf_grid ] , we stopped the flow at @xmath122 ( recall that @xmath123 ) , leading to finite ( but very large ) values of @xmath124 even at the hot spot . we used a momentum cut of 100 points producing for each grid point in fig . [ fig : zf_grid ] the scale - resolved flows shown in fig . [ fig : grid_etas ] . $ ] for six choices of momenta progressively approaching the hot spot ( corresponding to the six data points closest to the maximum / hot spot on the right flank of fig . [ fig : zf_grid ] ) . the momentum @xmath125 is furthest from the hot spot and @xmath126 is closest to it . the infrared is to the right of the plot ( @xmath106).,width=340 ] the fermi velocity vanishes as well but with a smaller exponent , @xmath127 so that the dynamical exponent for the fermions is @xmath128 an important ingredient to the scaling laws above is the self - consistently flowing boson propagator [ eqs . ( [ eq : bose_prop ] ) and ( [ eq : sigma_b ] ) ] . the asymptotic static and dynamic scaling of the spin fluctuation propagator is given by @xmath129^{-1 } & \sim \lambda^{\eta_{z_b } } |q_0| + \mathbf{q}^2 \sim @xmath130 . remarkably , the boson dynamical exponent , @xmath131 takes the same value as the fermion dynamical exponent . it is a distinguishing feature of this infrared fixed - point of electrons in metals at a sdw transition that the dynamical exponent attains fractional value different from @xmath99 ( which is the exact value for quantum - critical fermion systems with lorentz - symmetry ; see ref . and references therein ) and different from @xmath70 ( which is the mean - field value of the hertz theory @xcite ) . our fermion anomalous dimensions and @xmath0 can be mapped to those of ref . for values of the fermi velocity - anisotropy in a range around @xmath132 and upon ignoring the marginal rg flow of @xmath133 [ which is implicitly assumed in ( [ eq : fs_normals ] ) ] ; our boson anomalous dimension renormalizing the @xmath134 term in the propagator is essentially zero , and we trace this to differences in the rg scheme from ref . . this paper was dedicated to the critical behavior of compressible , electronic quantum matter in two - dimensional lattices interacting with self - generated , singular antiferromagnetic fluctuations . we generalized previous hot - spot theories to full `` uv - completed '' fermi surfaces free of spurious edge singularities in a model that can also be analyzed with quantum monte carlo . this should enable a cross - fertilizing comparison of results obtained with different methods for this problem . we provided first quantitative estimates for the critical exponents of the single - particle and spin fluctuations correlators which deviate strongly from the hertz - millis values . the solution of our rg equations was attracted toward a stable , strong - coupling fixed point , resulting in a common dynamic exponent for the fermions and the bosons . it would be interesting to classify all relevant operators to our fixed point and investigate the stability of our strong - coupling fixed point further . as a first simple step in this direction , we have extended the truncation for the fermion dispersions to allow for changes in the fermi surface curvature ( keeping the position of the hot spot fixed ) . a scale - dependent @xmath135 that modifies the hoppings , @xmath136 and @xmath137 , does the job . we found only relatively small , finite renormalizations of @xmath135 . however , a proper self - consistent investigation of a flowing fermi surface with the full dispersion used in this paper requires an advanced truncation and likely also a self - consistent determination also of the position of the fermi surfaces and the hot spots as a function of @xmath3 . potential tendencies toward magnetic ordering at incommensurate wave vectors might also be captured that way . such a state - of - the - art truncation was recently presented for self - energy flows in the repulsive hubbard model close to van hove filling.@xcite other promising future directions are the inclusion of ( @xmath138-wave ) superconductivity,@xcite an extension to the quantum - critical regime at finite temperatures , and the exploration of the antiferromagnetic phase with broken symmetry close to the quantum critical point . case to the staggered @xmath139 case for the spin - fermion model . ] we thank e. berg , c. honerkamp , e. g. moon , and m. punk for useful discussions . this research was supported by the dfg under grant str 1176/1 - 1 , by the nsf under grant dmr-1103860 , and by the army research office award w911nf-12 - 1 - 0227 . jl is also supported by the stx foundation . we here give the explicit expressions of the flow equations ( [ eq : flow_ferm ] ) , ( [ eq : flow_bos ] ) , ( [ eq : flow_yuk ] ) . to that end , it is convenient to use the rescaled variables @xmath140 , @xmath141 as well as rescaled momenta : @xmath142 , @xmath143 , @xmath144 , and @xmath145 . for the the fermionic frequency exponent , there is @xmath146 and similarly ( @xmath71 ) for flavor 2 . the frequency integral over @xmath147 can be performed analytically so that at each step of the flow , two - dimensional integrations over @xmath148 and @xmath149 have to be performed numerically . the yukawa anomalous exponent contains fermion propagators of both flavors : @xmath150 for the flow of the fermionic momentum factors we use the projected @xmath151 and @xmath152 derivatives of eq . ( [ eq : flow_ferm ] ) , @xmath153\big|_{k_0=0,\mathbf{k}=\mathbf{k}_{\text{hs } } } , \nonumber\\ \partial_\lambda a^{\lambda}_{f1,y}&= % \frac{1}{2t_{1,y}\sin(k_y ) } n_{k_{y},1 } \partial_{k_y}\partial_{\lambda}\sigma_{f1}^{\lambda}[k_0,\mathbf{k}]\big|_{k_0=0,\mathbf{k}=\mathbf{k}_{\text{hs}}},\end{aligned}\ ] ] with the initial conditions @xmath154 . the fermi surface normal projector is ( similarly for flavor 2 ) @xmath155 the flow equations for the rescaled variables are @xmath156 , @xmath157 . with @xmath158 given in eq . ( [ eq : eta_zf1 ] ) , these take the form @xmath159 with the exponents @xmath160 , @xmath161.at every step of the flow , we compute then per eq . ( 6 ) @xmath162 expressions for the exponents : @xmath163 finally , the ( rescaled ) boson frequency factor and momentum factor are self - consistently determined from @xmath164 , \nonumber\\ % \tilde{a}^\lambda_{b}&= 2 \left(\tilde{\lambda}^{\lambda}\right)^2\sqrt{|\upsilonup^{\lambda}_{f1}|\ , |\upsilonup^{\lambda}_{f2}| } \int^\pi_{-\pi } \frac{d k_x}{2\pi } \int^\pi_{-\pi } \frac{d k_y}{2\pi } \frac{1}{\lambda^2 } \int ^\infty_{-\infty } \frac { d \tilde{k}_0}{2\pi } \left [ \left ( \frac{1}{i\tilde{k}_0 - |\upsilonup^{\lambda}_{f1}| \xi_{\mathbf{k}+q_x,1 } } - \frac{1}{i\tilde{k}_0- + \left(1 \leftrightarrow 2\right ) \right]_{q_x=\lambda}\;. \label{eq : za_b}\end{aligned}\ ] ] equations ( [ eq : flow_yuk_rescaled ] ) , ( [ eq : eta_zf1 ] ) , ( [ eq : eta_yuk ] ) , and ( [ eq : afxy_tilde])([eq : za_b ] ) are solved numerically as a function of flow parameter @xmath165 so that @xmath166 corresponds to the uv ( @xmath167 ) . the hot spot coordinates are @xmath168 , @xmath169 . as initial conditions , we choose @xmath170 , @xmath171 , and @xmath172 . the initial values for the boson propagator are @xmath173 and @xmath174 .

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