{"question_id": 81, "category": "longbench_gov_report", "reference": ["Recent high-profile data breaches and other concerns about how third parties protect the privacy of individuals in the digital age have raised national concerns over legal protections of Americans' electronic data. Intentional intrusions into government and private computer networks and inadequate corporate privacy and cybersecurity practices have exposed the personal information of millions of Americans to unwanted recipients. At the same time, internet connectivity has increased and varied in form in recent years. Americans now transmit their personal data on the internet at an exponentially higher rate than in the past, and their data are collected, cultivated, and maintained by a growing number of both \"consumer facing\" and \"behind the scenes\" actors such as data brokers. As a consequence, the privacy, cybersecurity and protection of personal data have emerged as a major issue for congressional consideration. Despite the rise in interest in data protection, the legislative paradigms governing cybersecurity and data privacy are complex and technical, and lack uniformity at the federal level. The constitutional \"right to privacy\" developed over the course of the 20th century, but this right generally guards only against government intrusions and does little to shield the average internet user from private actors. At the federal statutory level, there are a number of statutes that protect individuals' personal data or concern cybersecurity, including the Gramm-Leach-Bliley Act, Health Insurance Portability and Accountability Act, Children's Online Privacy Protection Act, and others. And a number of different agencies, including the Federal Trade Commission (FTC), the Consumer Finance Protection Bureau (CFPB), and the Department of Health and Human Services (HHS), enforce these laws. But these statutes primarily regulate certain industries and subcategories of data. The FTC fills in some of the statutory gaps by enforcing a broad prohibition against unfair and deceptive data protection practices. But no single federal law comprehensively regulates the collection and use of consumers' personal data. Seeking a more fulsome data protection system, some governments—such as California and the European Union (EU)—have recently enacted privacy laws regulating nearly all forms of personal data within their jurisdictional reach. Some argue that Congress should consider creating similar protections in federal law, but others have criticized the EU and California approaches as being overly prescriptive and burdensome. Should the 116th Congress consider a comprehensive federal data protection law, its legislative proposals may involve numerous decision points and legal considerations. Points of consideration may include the conceptual framework of the law (i.e., whether it is prescriptive or outcome-based), the scope of the law and its definition of protected information, and the role of the FTC or other federal enforcement agency. Further, if Congress wants to allow individuals to enforce data protection laws and seek remedies for the violations of such laws in court, it must account for standing requirements in Article III, Section 2 of the Constitution. Federal preemption also raises complex legal questions—not only of whether to preempt state law, but what form of preemption Congress should employ. Finally, from a First Amendment perspective, Supreme Court jurisprudence suggests that while some privacy, cybersecurity, or data security regulations are permissible, any federal law that restricts protected speech, particularly if it targets specific speakers or content, may be subject to more stringent review by a reviewing court."], "prompt": "You are given a report by a government agency. Write a one-page summary of the report.\n\nReport:\nR ecent high-profile data breaches and privacy violations have raised national concerns over the legal protections that apply to Americans' electronic data. While some concern over data protection stems from how the government might utilize such data, mounting worries have centered on how the private sector controls digital information, the focus of this report. Inadequate corporate privacy practices and intentional intrusions into private computer networks have exposed the personal information of millions of Americans. At the same time, internet connectivity has increased and varied in form in recent years, expanding from personal computers and mobile phones to everyday objects such as home appliances, \"smart\" speakers, vehicles, and other internet-connected devices. Americans now transmit their personal data on the internet at an exponentially higher rate than the past. Along with the increased connectivity, a growing number of \"consumer facing\" actors (such as websites) and \"behind the scenes\" actors (such as data brokers and advertising companies) collect, maintain, and use consumers' information. While this data collection can benefit consumers—for instance, by allowing companies to offer them more tailored products—it also raises privacy concerns, as consumers often cannot control how these entities use their data. As a consequence, the protection of personal data has emerged as a major issue for congressional consideration. Despite the increased interest in data protection, the legal paradigms governing the security and privacy of personal data are complex and technical, and lack uniformity at the federal level. The Supreme Court has recognized that the Constitution provides various rights protecting individual privacy, but these rights generally guard only against government intrusions and do little to prevent private actors from abusing personal data online. At the federal statutory level, while there are a number of data protection statutes, they primarily regulate certain industries and subcategories of data. The Federal Trade Commission (FTC) fills in some of the statutory gaps by enforcing the federal prohibition against unfair and deceptive data protection practices. But no single federal law comprehensively regulates the collection and use of personal data. In contrast to the \"patchwork\" nature of federal law, some state and foreign governments have enacted more comprehensive data protection legislation. Some analysts suggest these laws, which include the European Union's (EU's) General Data Protection Regulation (GDPR) and state laws such as the California Consumer Privacy Act (CCPA), will create increasingly overlapping and uneven data protection regimes. This fragmented legal landscape coupled with concerns that existing federal laws are inadequate has led many stakeholders to argue that the federal government should assume a larger role in data protection policy. However, at present, there is no consensus as to what, if any, role the federal government should play, and any legislative efforts at data protection are likely to implicate unique legal concerns such as preemption, standing, and First Amendment rights, among other issues. This report examines the current U.S. legal landscape governing data protection, contrasting the current patchwork of federal data protection laws with the more comprehensive regulatory models in the CCPA and GDPR. The report also examines potential legal considerations for the 116th Congress should it consider crafting more comprehensive federal data protection legislation. The report lastly contains an Appendix , which contains a table summarizing the federal data protection laws discussed in the report. Historically, the common law in the United States had little need to protect privacy—as one commentator has observed, \"[s]olitude was readily available in colonial America.\" Although common law had long protected against eavesdropping and trespass, these protections said little to nothing about individual rights to privacy, per se. Over time, gradual changes in the technological and social environment caused a shift in the law. In 1890, Louis Brandeis and Samuel Warren published a groundbreaking article in the Harvard Law Review entitled The Right to Privacy . Reacting to the proliferation of the press and advancements in technology such as more advanced cameras, the article argued that the law should protect individuals' \"right to privacy\" and shield them from intrusion from other individuals. The authors defined this emergent right as the \"right to be let alone.\" Scholars have argued that this article created a \"revolution\" in the development of the common law. In the century that followed Brandeis's and Warren's seminal article, most states recognized the so-called \"privacy torts\"—intrusion upon seclusion, public disclosure of private facts, false light or \"publicity,\" and appropriation. These torts revolve around the central idea that individuals should be able to lead, \"to some reasonable extent, a secluded and private life.\" The Supreme Court described this evolution of privacy tort law as part of a \"strong tide\" in the twentieth century toward the \"so-called right of privacy\" in the states. Despite this \"strong tide,\" some scholars have argued that these torts, which were developed largely in the mid-twentieth century, are inadequate to face the privacy and data protection problems of today. Furthermore, some states do not accept all four of these torts or have narrowed and limited the applicability of the torts so as to reduce their effectiveness. As discussed in greater detail below, state common law provides some other remedies and protections relevant to data protection, via tort and contract law. However, while all of this state common law may have some influence on data protection, the impact of this judge-made doctrine is unlikely to be uniform, as courts' application of these laws will likely vary based on the particular facts of the cases in which they are applied and the precedents established in the various states. As reflected in the common law's limited remedies, at the time of the founding, concerns about privacy focused mainly on protecting private individuals from government intrusion rather than on protecting private individuals from intrusion by others. Accordingly, the Constitution's Bill of Rights protects individual privacy from government intrusion in a handful of ways and does little to protect from non-governmental actors. Some provisions protect privacy in a relatively narrow sphere, such as the Third Amendment's protection against the quartering of soldiers in private homes or the Fifth Amendment's protection against self-incrimination. The most general and direct protection of individual privacy is contained in the Fourth Amendment, which states that \"[t]he right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated . . .\" For more than 100 years, the Fourth Amendment was generally read to prohibit only entry into private places rather than to provide general right to privacy. However, alongside the developments in the common law, constitutional law evolved over time to place a greater emphasis on protecting an individual's personal privacy. In particular, in 1967, the Supreme Court in Katz v. United States explained that the Fourth Amendment, while not creating a general \"right to privacy,\" nonetheless protected \"people, not places,\" and guarded individual privacy against certain types of governmental intrusion. This principle has continued to evolve over time, and has come to protect, to some extent, individuals' interest in their digital privacy. For example, in the 2018 case of Carpenter v. United States , the Supreme Court concluded that the Fourth Amendment's protection of privacy extended to protecting some information from government intrusion even where that information was shared with a third party. In Carpenter , the Court concluded that individuals maintain an expectation of privacy, protected by the Fourth Amendment, in the record of their movements as recorded by their cellular provider. Carpenter distinguished earlier cases which had relied upon the principle that information shared with third parties was generally not subject to Fourth Amendment scrutiny, concluding that \"an individual maintains a legitimate expectation of privacy in the record of his physical movements as captured through [his cellular phone].\" The Court's holding means that, in the future, the government must obtain a warrant supported by probable cause to obtain this information. The Fourth Amendment thus provides a limited bulwark against government intrusion into digital privacy. In addition to the protection provided by the Fourth Amendment, in the 1960s and 1970s, the Court concluded that the Fourteenth Amendment's guarantee of \"liberty\" implied the existence of a more general right of privacy, protecting individuals from government intrusion even outside the \"search and seizure\" context. In the 1977 case Whalen v. Roe , the Supreme Court explained that this constitutional right of privacy \"in fact involve[s] at least two different kinds of interests. One is the individual interest in avoiding disclosure of personal matters, and another is the interest in independence in making certain kinds of important decisions.\" The second of these interests relates primarily to individual rights concerning the \"intimacies of [persons'] physical relationship,\" as well as the right to abortion, and has little connection to data protection. However, the first of the interests listed in Whalen could potentially relate to data protection. This interest, the right to avoid certain disclosures, has come to be known as the right to \"informational privacy.\" Despite its broad expression in Whalen , every Supreme Court case to consider the informational privacy right has rejected the constitutional claim and upheld the government program alleged to have infringed on the right. In Whalen itself, physicians and patients challenged a New York law that required the recording of the names and addresses of all persons who had obtained certain drugs for which there was both a lawful and unlawful market. Although the Court acknowledged that the statute \"threaten[ed] to impair . . . [the plaintiffs'] interest in the nondisclosure of private information,\" the Court observed that the disclosures were an \"essential part of modern medical practice\" and the New York law had protections in place against unwarranted disclosure that showed a \"proper concern\" for the protection of privacy. Together, the Court found these factors sufficient to uphold the law. In the wake of Whalen and Nixon v. Administrator of General Services —a case decided the same year as Whalen that also considered the right to informational privacy—courts have struggled to articulate the precise contours of the right. The most recent Supreme Court case to consider the right to informational privacy, NASA v. Nelson , went so far as to suggest that the right might not exist, \"assuming without deciding\" that the right existed in the course of rejecting the constitutional claim challenge to a government background check program for hiring. Despite the Supreme Court's lack of clarity about the right to informational privacy, \"most federal circuit courts\" recognize the right to various extents. All of the constitutional rights involving privacy, like the common law privacy torts, focus on public disclosure of private facts. This focus limits their potential influence on modern data privacy debates, which extends beyond the disclosure issue to more broadly concern how data is collected, protected, and used. Perhaps more importantly, whatever the reach of the constitutional right to privacy, the \"state action doctrine\" prevents it from being influential outside the realm of government action. Under this doctrine, only government action is subject to scrutiny under the Constitution, but purely private conduct is not proscribed, \"no matter how unfair that conduct may be.\" As a result, neither the common nor constitutional law provides a complete framework for considering many of the potential threats to digital privacy and consumer data. Rather, the most important data protection standards come from statutory law. Given the inherent limitations in common law and constitutional protections, Congress has enacted a number of federal laws designed to provide statutory protections of individuals' personal information. In contrast with the scheme prevalent in Europe and some other countries, rather than a single comprehensive law, the United States has a \"patchwork\" of federal laws that govern companies' data protection practices. These laws vary considerably in their purpose and scope. Most impose data protection obligations on specific industry participants—such as financial institutions, health care entities, and communications common carriers—or specific types of data, such as children's data. Other laws, however, supplement the Constitution's limited privacy protections and apply similar principles to private entities. The Stored Communications Act (SCA), for instance, generally prohibits the unauthorized access or disclosure of certain electronic communications stored by internet service providers. Lastly, some laws prohibit broad categories of conduct that, while not confined to data protection, limit how companies may handle personal data. Most notably, the Federal Trade Commission Act (FTC Act) prohibits \"unfair or deceptive acts or practices.\" As some scholars have pointed out, the FTC has used its authority under the FTC Act to develop norms and principles that effectively fill in the gaps left by other privacy statutes. These laws are organized below, beginning with those most narrowly focused on discrete industries and moving toward more generally applicable laws. In light of its gap-filling function, this section lastly discusses the FTC Act—along with the Consumer Financial Protection Act (CFPA), which covers similar types of conduct. The Appendix to this report contains a table summarizing the federal data protection laws discussed. The Gramm-Leach-Bliley Act (GLBA) imposes several data protection obligations on financial institutions. These obligations are centered on a category of data called \"consumer\" \"nonpublic personal information\" (NPI), and generally relate to: (1) sharing NPI with third parties, (2) providing privacy notices to consumers, and (3) securing NPI from unauthorized access. First, unless an exception applies, GLBA and its implementing regulations prohibit financial institutions from sharing NPI with non-affiliated third parties unless they first provide the consumers with notice and an opportunity to \"opt-out.\" Furthermore, financial institutions are prohibited altogether from sharing account numbers or credit card numbers to third parties for use in direct marketing. Second, financial institutions must provide \"clear and conspicuous\" initial and annual notices to customers describing their privacy \"policies and practices.\" These notices must include, among other things, the categories of NPI collected and disclosed, the categories of third parties with which the financial institution shares NPI, and policies and practices with respect to protecting the confidentiality and security of NPI. Third, GLBA and its implementing regulations (often referred to as the \"Safeguards Rule\" ) require financial institutions to maintain \"administrative, technical, and physical safeguards\" to \"insure the security and confidentiality\" of \"customer\" (as opposed to \"consumer\") NPI, and to protect against \"any anticipated threats or hazards\" or \"unauthorized access\" to such information. Financial institutions regulated by federal banking agencies are further required to implement a program for responding to the unauthorized access of customer NPI. The Consumer Financial Protection Bureau (CFPB), FTC, and federal banking agencies share civil enforcement authority for GLBA's privacy provisions. However, the CFPB has no enforcement authority over GLBA's data security provisions. Under the data security provisions, federal banking regulators have exclusive enforcement authority for depository institutions, and the FTC has exclusive enforcement authority for all non-depository institutions. GLBA does not specify any civil remedies for violations of the Act, but agencies can seek remedies based on the authorities provided in their enabling statutes, as discussed below. GLBA also imposes criminal liability on those who \"knowingly and intentionally\" obtain or disclose \"customer information\" through false or fraudulent statements or representations. Criminal liability can result in fines and up to five years' imprisonment. GLBA does not contain a private right of action that would allow affected individuals to sue violators. Under the Health Insurance Portability and Accountability Act (HIPAA), the Department of Health and Human Services (HHS) has enacted regulations protecting a category of medical information called \"protected health information\" (PHI). These regulations apply to health care providers, health plans, and health care clearinghouses (covered entities), as well as certain \"business associates\" of such entities. The HIPAA regulations generally speak to covered entities': (1) use or sharing of PHI, (2) disclosure of information to consumers, (3) safeguards for securing PHI, and (4) notification of consumers following a breach of PHI. First, with respect to sharing, HIPAA's privacy regulations generally prohibit covered entities from using PHI or sharing it with third parties without patient consent, unless such information is being used or shared for treatment, payment, or \"health care operations\" purposes, or unless another exception applies. Covered entities generally may not make treatment or services conditional on an individual providing consent. Second, with respect to consumer disclosures, covered entities must provide individuals with \"adequate notice of the uses and disclosures of [PHI] that may be made by the covered entity, and of the individual's rights and the covered entity's legal duties with respect to [PHI].\" These notices must be provided upon consumer request, and covered entities maintaining websites discussing their services or benefits must \"prominently post\" the notices on their websites. Furthermore, an individual has the right to request that a covered entity provide him with a copy of his PHI that is maintained by the covered entity. In some cases, an individual may also request that the covered entity provide information regarding specific disclosures of the individual's PHI, including the dates, recipients, and purposes of the disclosures. Third, with respect to data security, covered entities must maintain safeguards to prevent threats or hazards to the security of electronic PHI. Lastly, HIPAA regulations contain a data breach notification requirement, requiring covered entities to, among other things, notify the affected individuals within 60 calendar days after discovering a breach of \"unsecured\" PHI. Violations of HIPAA's privacy requirements can result in criminal or civil enforcement. HHS possesses civil enforcement authority and may impose civil penalties, with the amount varying based on the level of culpability. The Department of Justice has criminal enforcement authority and may seek fines or imprisonment against a person who, in violation of HIPAA's privacy requirements, \"knowingly\" obtains or discloses \"individually identifiable health information\" or \"uses or causes to be used a unique health identifier.\" HIPAA does not, however, contain a private right of action that would allow aggrieved individuals to sue alleged violators. The Fair Credit Reporting Act (FCRA) covers the collection and use of information bearing on a consumer's creditworthiness. FCRA and its implementing regulations govern the activities of three categories of entities: (1) credit reporting agencies (CRAs), (2) entities furnishing information to CRAs (furnishers), and (3) individuals who use credit reports issued by CRAs (users). In contrast to HIPAA or GLBA, there are no privacy provisions in FCRA requiring entities to provide notice to a consumer or to obtain his opt-in or opt-out consent before collecting or disclosing the consumer's data to third parties. FCRA further has no data security provisions requiring entities to maintain safeguards to protect consumer information from unauthorized access. Rather, FCRA's requirements generally focus on ensuring that the consumer information reported by CRAs and furnishers is accurate and that it is used only for certain permissible purposes. With respect to accuracy, CRAs must maintain reasonable procedures to ensure the accuracy of information used in \"consumer reports.\" CRAs must further exclude adverse information, such as \"accounts placed in collection\" or civil judgements, from consumer reports after a certain amount of time has elapsed. Furnishers must similarly establish reasonable policies and procedures to ensure the accuracy of the information reported to CRAs and may not furnish to a CRA any consumer information if they have reasonable cause to believe that information is inaccurate. Consumers also have the right to review the information CRAs have collected on them to ensure such information is accurate. CRAs must disclose information contained in a consumer's file upon the consumer's request, as well as the sources of the information and the identity of those who have recently procured consumer reports on the consumer. Should a consumer dispute the accuracy of any information in his file, CRAs and furnishers must reinvestigate the accuracy of the contested information. In addition to the accuracy requirements, under FCRA consumer reports may be used only for certain permissible purposes such as credit transactions. Accordingly, a CRA may generally furnish consumer reports to a user only if it \"has a reason to believe\" the user intends to use it for a permissible purpose. Likewise, users may \"use or obtain a consumer report\" only for a permissible purpose. Along with the permissible purpose requirement, users must further notify consumers of any \"adverse action\" taken against the consumer based on the report. Adverse actions include refusing to grant credit on substantially the terms requested, reducing insurance coverage, and denying employment. The FTC and the CFPB share civil enforcement authority over FCRA, with each agency possessing enforcement authority over entities subject to their respective jurisdictions. In addition to government enforcement, FCRA provides a private right of action for consumers injured by willful or negligent violations of the Act. Consumers bringing such actions for negligent violations of the Act may recover actual damages, attorney's fees, and other litigation costs. For willful violations, consumers may recover either actual damages or statutory damages ranging from $100 to $1,000, attorney's fees, other litigation costs, and \"such amount of punitive damages as the court may allow.\" FCRA also imposes criminal liability on any individual who knowingly and willfully obtains consumer information from a CRA under false pretenses and on any officer or employee of a CRA who knowingly and willfully provides consumer information to a person not authorized to receive that information. The Communications Act of 1934 (Communications Act or Act), as amended, established the Federal Communications Commission (FCC) and provides a \"comprehensive scheme\" for the regulation of interstate communication. Most relevant to this report, the Communications Act includes data protection provisions applicable to common carriers, cable operators, and satellite carriers. The Telecommunications Act of 1996 amended the Communications Act to impose data privacy and data security requirements on entities acting as common carriers. Generally, common carrier activities include telephone and telegraph services but exclude radio broadcasting, television broadcasting, provision of cable television, and provision of broadband internet. The privacy and security requirements imposed on entities acting as common carriers are primarily centered on a category of information referred to as \"customer proprietary network information (CPNI).\" CPNI is defined as information relating to the \"quantity, technical configuration, type, destination, location, and amount of use of a telecommunications service subscribed to by any customer of a telecommunications carrier,\" and is \"made available to the carrier by the customer solely by virtue of the carrier-customer relationship.\" Section 222(c) of the Communications Act and the FCC's implementing regulations set forth carriers' obligations regarding CPNI. These provisions cover three main issues. First, carriers must comply with certain use and disclosure rules. Section 222(c) imposes a general rule that carriers may not \"use, disclose, or permit access to\" \"individually identifiable\" CPNI without customer approval, unless a particular exception applies. Before a carrier may solicit a customer for approval to use or disclose their CPNI, it must notify customers of their legal rights regarding CPNI and provide information regarding the carrier's use and disclosure of CPNI. Second, carriers must implement certain safeguards to ensure the proper use and disclosure of CPNI. These safeguards must include, among other things, a system by which the \"status of a customer's CPNI approval can be clearly established\" prior to its use, employee training on the authorized use of CPNI, and \"reasonable measures\" to discover and protect against attempts to gain unauthorized access to CPNI.\" Lastly, carriers must comply with data breach requirements. Following a \"breach\" of customers' CPNI, a carrier must disclose such a breach to law enforcement authorities no later than seven days following a \"reasonable determination of the breach.\" After it has \"completed the process of notifying law enforcement,\" it must notify customers whose CPNI has been breached. In addition to the CPNI requirements, the Communications Act contains three other potentially relevant data privacy and security provisions pertaining to common carriers. First, Section 222(a) of the Act states that carriers must \"protect the confidentiality of proprietary information\" of \"customers.\" Second, Section 201(b) of the Act declares unlawful \"any charge, practice, classification, and regulation\" in connection with a carrier's communication service that is \"unjust or unreasonable.\" Lastly, Section 202(a) provides that it shall \"be unlawful for any common carrier to make any unjust or unreasonable discrimination in charges, practices, classification, regulations, facilities, or services . . . .\" In a 2016 rule, which was subsequently overturned pursuant to the Congressional Review Act, the FCC attempted to rely on these three provisions to regulate a broad category of data called \"customer proprietary information\" (customer PI). While customer PI is not defined in the statute, the FCC's 2016 rule defined it broadly to include CPNI, as well as other \"personally identifiable information\" and the \"content of communications.\" The FCC reasoned that Section 222(a) imposes a general duty, independent from Section 222(c), on carriers to protect the confidentiality of customer PI. It further maintained that Sections 201(b) and 202(a) provide independent \"backstop authority\" to ensure that no gaps are formed in commercial data privacy and security practices, similar to the FTC's authority under the FTC Act. However, given that Congress overturned the 2016 rule, the FCC may be prohibited under the CRA from relying on these three provisions to regulate data privacy and security. Under the CRA, the FCC may not reissue the rule in \"substantially the same form\" or issue a \"new rule that is substantially the same\" as the overturned rule \"unless the reissued or new rule is specifically authorized by a law enacted after the date of the joint resolution disapproving the original rule.\" The FCC is empowered to enforce civil violations of the Communications Act's provisions, including its common carrier provisions. The FCC may impose a \"forfeiture penalty\" against any person who \"willfully or repeatedly\" violates the Act or the FCC's implementing regulations. The Communications Act further imposes criminal penalties on those who \"willfully and knowingly\" violate the statute or the FCC's implementing regulations. Along with its general civil and criminal provisions, the Communications Act provides a private right of action for those aggrieved by violations of its common carrier provisions; in such actions, plaintiffs may seek actual damages and reasonable attorney's fees. In addition to common carriers, the Communications Act imposes a number of data privacy and security requirements on how \"cable operators\" and \"satellite carriers\" (i.e., covered entities) treat their subscribers' \"personally identifiable information\" (PII). These requirements relate to: (1) data collection and disclosure; (2) subscribers' access to, and correction of, their data; (3) data destruction; (4) privacy policy notification; and (5) data security. First, covered entities must obtain the \"prior written or electronic consent\" of a subscriber before collecting the subscriber's PII or disclosing it to third parties. There are several exceptions to this consent requirement. Among other things, covered entities may collect a subscriber's PII in order to obtain information necessary to render service to the subscriber, and they may disclose a subscriber's PII if the disclosure is necessary to \"render or conduct a legitimate business activity\" related to the service they provide. Second, covered entities must provide subscribers, at \"reasonable times and a convenient place,\" with access to all of their PII \"collected and maintained,\" and they must further provide subscribers a reasonable opportunity to correct any error in such information. Third, covered entities are obligated to destroy PII if it is \"no longer necessary for the purpose for which it is was collected\" and there are \"no pending requests or orders for access to such information.\" Fourth, covered entities must provide subscribers with a privacy policy notice at the \"time of entering into an agreement\" for services and \"at least once a year thereafter.\" These notices must describe, among other things: (1) the nature of the subscriber's PII that has been, or will be, collected, (2) the nature, frequency, and purpose of any disclosure of such information and the types of persons to whom the disclosure is made, and (3) the times and place at which the subscriber may have access to such information. Lastly, the Communications Act imposes a general data security requirement on covered entities; they must \"take such actions as are necessary to prevent unauthorized access to [PII] by a person other than the subscriber\" or the covered entity. The Communications Act provides a private right of action for \"[a]ny person aggrieved by any act\" of a covered entity in violation of these requirements. In such actions, a court may award actual damages, punitive damages, and reasonable attorneys' fees and other litigation costs. Additionally, covered entities violating these provisions may be subject to FCC civil enforcement and criminal penalties that, as previously noted, are generally applicable to violations of the Communications Act. The Video Privacy Protection Act (VPPA) was enacted in 1988 in order to \"preserve personal privacy with respect to the rental, purchase, or delivery of video tapes or similar audio visual materials.\" The VPPA does not have any data security provisions requiring entities to maintain safeguards to protect consumer information from unauthorized access. However, it does have privacy provisions restricting when covered entities can share certain consumer information. Specifically, the VPPA prohibits \"video tape service providers\" —a term that includes both digital video streaming services and brick-and-mortar video rental stores —from knowingly disclosing PII concerning any \"consumer\" without that consumer's opt-in consent. The VPPA provides several exceptions to this general rule. In particular, video tape service providers may disclose PII to \"any person if the disclosure is incident to the ordinary course of business.\" Providers may also disclose PII if the disclosure solely includes a consumer's name and address and does not identify the \"title, description, or subject matter of any video tapes or other audio visual material,\" and the consumer has been provided with an opportunity to opt out of such disclosure. The VPPA does not empower any federal agency to enforce violations of the Act and there are no criminal penalties for violations, but it does provide for a private right of action for persons aggrieved by the Act. In such actions, courts may award actual damages, punitive damages, preliminary and equitable relief, and reasonable attorneys' fees and other litigation costs. The Family Educational Rights and Privacy Act of 1974 (FERPA) creates privacy protections for student education records. \"Education records\" are defined broadly to generally include any \"materials which contain information directly related to a student\" and are \"maintained by an educational agency or institution.\" FERPA defines an \"educational agency or institution\" to include \"any public or private agency or institution which is the recipient of funds under any applicable program.\" FERPA generally requires that any \"educational agency or institution\" (i.e., covered entities) give parents or, depending on their age, the student (1) control over the disclosure of the student's educational records, (2) an opportunity to review those records, and (3) an opportunity to challenge them as inaccurate. First, with respect to disclosure, covered entities must not have a \"policy or practice\" of permitting the release of education records or \"personally identifiable information contained therein\" without the consent of the parent or the adult student. This consent requirement is subject to certain exceptions. Among other things, covered entities may disclose educational records to (1) certain \"authorized representatives,\" (2) school officials with a \"legitimate educational interest,\" or (3) \"organizations conducting studies\" for covered entities \"for the purpose of developing, validating, or administering predictive tests, administering student aid programs, and improving instructions.\" Covered entities may also disclose the information without consent if it constitutes \"directory information\" and the entity has given notice and a \"reasonable period of time\" to opt out of the disclosure. Second, in addition to the disclosure obligations, covered entities must not have a \"policy of denying\" or \"effectively prevent[ing]\" parents or an adult student from inspecting and reviewing the underlying educational records. Covered entities must further \"establish appropriate procedures\" to grant parents' review requests \"within a reasonable period of time, but in no case more than forty-five days after the request has been made.\" Lastly, covered entities must provide an \"opportunity for a hearing\" to challenge the contents of the student's education records as \"inaccurate, misleading, or otherwise in violation of the privacy rights of students.\" Covered entities must further \"provide an opportunity for the correction or deletion of any such inaccurate, misleading or otherwise inappropriate data contained therein and to insert into such records a written explanation of the parents respecting the content of such records.\" Parents or adult students who believe that their rights under FERPA have been violated may file a complaint with the Department of Education. FERPA authorizes the Secretary of Education to \"take appropriate actions,\" which may include withholding federal education funds, issuing a \"cease and desist order,\" or terminating eligibility to receive any federal education funding. FERPA does not, however, contain any criminal provisions or a private right of action. While federal securities statutes and regulations do not explicitly address data protection, two requirements under these laws have implications for how companies prevent and respond to data breaches. First, federal securities laws may require companies to adopt controls designed to protect against data breaches. Under Section 13(b)(2)(B) of the Securities and Exchange Act of 1934 (Exchange Act), public companies and certain other companies are required to \"devise and maintain a system of internal accounting controls sufficient to provide reasonable assurances\" that \"transactions are executed in accordance with management's general or specific authorization,\" and that \"access to assets is permitted only in accordance with management's general or specific authorization.\" In a recent report, the Securities and Exchange Commission (SEC) suggested that, in order to comply with this requirement, companies should consider \"cyber-related threats\" when formulating accounting controls. The report discussed the SEC's investigation of companies that wrongly transferred millions of dollars in response to fraudulent emails, generally noting that \"companies should pay particular attention to the obligations imposed by Section 13(b)(2)(B)\" in light of the \"risks associated with today's ever expanding digital interconnectedness.\" Second, federal securities laws may require companies to discuss data breaches when making required disclosures under securities laws. The Exchange Act, Securities Act of 1933 (Securities Act), and their implementing regulations require certain companies to file a number of disclosures with the SEC. Specifically, the Securities Act requires companies issuing securities in a public offering to file detailed statements registering the offering (registration statements), and the Exchange Act requires public companies to file periodic reports on an annual, quarterly, and ongoing basis. These filings must contain certain categories of information, such as a description of the most significant factors that make investing in the company speculative or risky (known as \"risk factors\") and a description of any \"events, trends, or uncertainties that are reasonably likely to have a material effect on its results of operations, liquidity, or financial condition . . . .\" Further, when making these filings, or any other statements in connection with the purchase or sale of a security, companies are required to include any \"material\" information necessary to make the statements made therein \"not misleading.\" In interpretive guidance issued in February 2018, the SEC indicated that, pursuant to these obligations, companies may be required to disclose in their filings cyber incidents such as data breaches. The SEC can enforce violations of the Securities Act and the Exchange Act, including the accounting controls requirement and the disclosure requirements, through civil actions filed in court or administrative \"cease and desist\" proceedings. The SEC may seek civil penalties, disgorgement, and injunctive relief (in civil actions) or a cease and desist order (in administrative proceedings). Furthermore, under both the Exchange Act and the Securities Act, individuals aggrieved by a company's misrepresentation or omission of a material fact in connection with the purchase or sale of a security may sue the company for actual damages incurred by the individual. There is not, however, a private right of action for violations of the Exchange Act's accounting controls requirement. Lastly, in addition to civil enforcement, both the Securities Act and the Exchange Act impose criminal liability; any person who \"willfully\" violates the acts or their implementing regulations may be subject to fines and imprisonment. The Children's Online Privacy Protection Act (COPPA) and the FTC's implementing regulations regulate the online collection and use of children's information. Specifically, COPPA's requirements apply to: (1) any \"operator\" of a website or online service that is \"directed to children,\" or (2) any operator that has any \"actual knowledge that it is collecting personal information from a child\" (i.e., covered operators). Covered operators must comply with various requirements regarding data collection and use, privacy policy notifications, and data security. First, COPPA and the FTC's implementing regulations prohibit covered operators from collecting or using \"personal information\" from children under the age of thirteen without first obtaining parental consent. Such consent must be \"verifiable\" and must occur before the information is collected. Second, covered operators must provide parents with direct notice of their privacy policies, describing their data collection and sharing policies. Covered operators must further post a \"prominent and clearly labeled link\" to an online notice of its privacy policies at the home page of its website and at each area of the website in which it collects personal information from children. Lastly, covered operators that have collected information from children must establish and maintain \"reasonable procedures\" to protect the \"confidentiality, security, and integrity\" of the information, including ensuring that the information is provided only to third parties that will similarly protect the information. They must also comply with certain data retention and deletion requirements. Under COPPA's safe harbor provisions, covered operators will be deemed to have satisfied these requirements if they follow self-regulatory guidelines the FTC has approved. COPPA provides that violations of the FTC's implementing regulations will be treated as \"a violation of a rule defining an unfair or deceptive act or practice\" under the FTC Act. Under the FTC Act, as discussed in more detail below, the FTC has authority to enforce violations of such rules by seeking penalties or equitable relief. COPPA also authorizes state attorneys general to enforce violations affecting residents of their states. COPPA does not contain any criminal penalties or any provision expressly providing a private right of action. The Electronic Communications Privacy Act (ECPA) was enacted in 1986, and is composed of three acts: the Wiretap Act, the Stored Communications Act (SCA), and the Pen Register Act. Much of ECPA is directed at law enforcement, providing \"Fourth Amendment like privacy protections\" to electronic communications. However, ECPA's three acts also contain privacy obligations relevant to non-governmental actors. ECPA is perhaps the most comprehensive federal law on electronic privacy, as it is not sector-specific, and many of its provisions apply to a wide range of private and public actors. Nevertheless, its impact on online privacy practices has been limited. As some commentators have observed, ECPA \"was designed to regulate wiretapping and electronic snooping rather than commercial data gathering,\" and litigants attempting to apply ECPA to online data collection have generally been unsuccessful. The Wiretap Act applies to the interception of a communication in transit. A person violates the Act if, among other acts, he \"intentionally intercepts . . . any wire, oral, or electronic communication.\" The Wiretap Act defines an \"electronic communication\" broadly, and courts have held that the term includes information conveyed over the internet. Several thresholds must be met for an act to qualify as an unlawful \"interception.\" Of particular relevance are three threshold issues. First, the communication must be acquired contemporaneously with the transmission of the communication. Consequently, there is no \"interception\" where the communication in question is in storage. Furthermore, the acquired information must relate to the \"contents\" of the communication, defined as information concerning the \"substance, purport, or meaning of that communication.\" As a result, while the Act applies to information like the header or body of an email, the Act does not apply to non-substantive information automatically generated about the characteristics of the communication, such as IP addresses. Third, individuals do not violate the Wiretap Act if they are a \"party to the communication\" or received \"prior consent\" from one of the parties to the communication. The party-to-the-communication and consent exceptions have been subject to significant litigation; in particular, courts have often relied on the exceptions to dismiss suits alleging Wiretap Act violations due to online tracking, holding that websites or third-party advertisers who tracked users' online activity were either parties to the communication or received consent from a party to the communication. The SCA prohibits the improper access or disclosure of certain electronic communications in storage. With respect to improper access, a person violates the SCA if he obtains an \"electronic communication\" in \"electronic storage\" from \"a facility through which an electronic communication service is provided\" by either: (1) \"intentionally access[ing] [the facility] without authorization\" or (2) \"intentionally exceed[ing] an authorization.\" Although the statute does not define the term \"facility,\" most courts have held that the term is limited to a location where network service providers store communications. However, courts have differed over whether a personal computer is a \"facility.\" Most courts have excluded personal computers from the reach of the SCA, but some have disagreed. With respect to improper disclosure, the SCA generally prohibits entities providing \"electronic communication services\" or \"remote computing services\" from knowingly divulging the contents of a communication while holding the communication in electronic storage. Similar to the Wiretap Act, the SCA's access and disclosure prohibitions are subject to certain exceptions. In particular, individuals do not violate the SCA if they are the sender or intended recipient of the communication or when a party to the communication consents to the access or disclosure. As with the Wiretap Act, courts have relied on these two exceptions to dismiss suits under the SCA related to online tracking. The Pen Register Act prohibits the installation of a \"pen register\" or \"trap and trace device\" without a court order. A pen register is a \"device or process\" that \"records or decodes\" outgoing \"dialing, routing, addressing, or signaling information,\" and a trap and trace device is a \"device or process\" that \"captures the incoming . . . dialing, routing, addressing, and signaling information.\" In contrast to the Wiretap Act, the Pen Register Act applies to the capture of non-content information, as the definitions of pen registers and trap and trace devices both exclude any device or process that captures the \"contents of any communication.\" Furthermore, the Pen Register Act prohibits only the use of a pen register or trap and trace device and does not separately prohibit the disclosure of non-content information obtained through such use. The statute does, however, have several exceptions similar to those contained in the Wiretap Act and SCA. Among other things, providers of an electronic or wire communication service will not violate the Act when they use a pen register or trap and trace device in order to \"protect their rights or property\" or \"where the consent of the user of that service has been obtained.\" The Wiretap Act and the SCA both provide for private rights of action. Persons aggrieved by violations of either act may bring a civil action for damages, equitable relief, and reasonable attorney's fees. For actions under the Wiretap Act, damages are the greater of: (1) actual damages suffered by the plaintiff, or (2) \"statutory damages of whichever is the greater of $100 a day for each day of violation or $10,000.\" For actions under the SCA, damages are \"the sum of the actual damages suffered by the plaintiff and the profits made by the violator,\" provided that all successful plaintiffs are entitled to receive at least $1,000. Violations of the Wiretap Act and SCA are also subject to criminal prosecution and can result in fines and imprisonment. In contrast, the Pen Register Act does not provide for a private right of action, but knowing violations can result in criminal fines and imprisonment. The Computer Fraud and Abuse Act (CFAA) was originally intended as a computer hacking statute and is centrally concerned with prohibiting unauthorized intrusions into computers, rather than addressing other data protection issues such as the collection or use of data. Specifically, the CFAA imposes liability when a person \"intentionally accesses a computer without authorization or exceeds authorized access, and thereby obtains . . . information from any protected computer.\" A \"protected computer\" is broadly defined as any computer used in or affecting interstate commerce or communications, functionally allowing the statute to apply to any computer that is connected to the internet. Violations of the CFAA are subject to criminal prosecution and can result in fines and imprisonment. The CFAA also allows for a private right of action, allowing aggrieved individuals to seek actual damages and equitable relief, such as an injunction against the defendant. As with ECPA, internet users have attempted to use this private right of action to sue companies tracking their online activity, arguing that companies' use of tracking devices constitutes an unauthorized access of their computers. In this vein, CFAA is theoretically a more generous statute than ECPA for such claims because it requires authorization from the owner of the computer (i.e., the user), rather than allowing any party to a communication (i.e., either the user or the website visited by the user) to give consent to the access. In practice, however, such claims have typically been dismissed due to plaintiffs' failure to meet CFAA's damages threshold. Specifically, as a threshold to bring a private right of action, a plaintiff must show damages in excess of $5,000 or another specific type of damages such as physical injury or impairment to medical care. The FTC Act has emerged as a critical law relevant to data privacy and security. As some commentators have noted, the FTC has used its authority under the Act to become the \"go-to agency for privacy,\" effectively filling in gaps left by the aforementioned federal statutes. While the FTC Act was originally enacted in 1914 to strengthen competition law, the 1938 Wheeler-Lea amendment revised Section 5 of the Act to prohibit a broad range of unscrupulous or misleading practices harmful to consumers. The Act gives the FTC jurisdiction over most individuals and entities, although there are several exemptions. For instance, the FTC Act exempts common carriers, nonprofits, and financial institutions such as banks, savings and loan institutions, and federal credit unions. The key provision of the FTC Act, Section 5, declares unlawful \"unfair or deceptive acts or practices\" (UDAP) \"in or affecting commerce.\" The statute provides that an act or practice is \"unfair\" only if it \"causes or is likely to cause substantial injury to consumers which is not reasonably avoidable by consumers themselves and not outweighed by countervailing benefits to consumers or to competition.\" While the statute does not define \"deceptive,\" the FTC has clarified in guidance that an act or practice is to be considered deceptive if it involves a material \"representation, omission, or practice that is likely to mislead [a] consumer\" who is \"acting reasonably in the circumstances.\" Under the FTC Act, the agency may enact rules defining specific acts or practices as UDAPs, often referred to as \"trade regulation rules\" (TRRs) or \"Magnuson-Moss\" rulemaking. However, to enact TRRs the FTC must comply with several procedures that are not required under the notice-and-comment rulemaking procedures set forth in Section 553 of the Administrative Procedure Act (APA), which are the default rulemaking procedures for federal agencies. Among other things, these additional procedures require the FTC to publish an advance notice of proposed rulemaking (ANPRM), give interested persons an opportunity for an informal hearing, and issue a statement accompanying the rule regarding the \"prevalence of the acts or practices treated by the rule.\" Consequently, the FTC rarely uses its TRR rulemaking authority and has not enacted any TRRs regarding data protection. Rather, as discussed further below, the agency largely uses enforcement actions to signal the types of acts and practices it considers to be impermissible UDAPs. The FTC has brought hundreds of enforcement actions against companies alleging deceptive or unfair data protection practices. Most of these actions result in companies entering into consent decrees requiring the companies to take certain measures to prevent any further violations. While these consent decrees are not legally binding on those who are not a party to them, they are significant because they reflect the type of practices that the FTC views as \"unfair\" or \"deceptive.\" Indeed, some scholars view the principles arising from them as a type of \"common law of privacy.\" Given the uniquely important role FTC enforcement plays in the U.S. data protection landscape, it is worth noting the types of data protection practices the FTC has viewed as \"unfair\" or \"deceptive.\" Perhaps the most settled principle of the FTC's \"common law of privacy\" is that companies are bound by their data privacy and data security promises. The FTC has taken the position that companies act deceptively when they gather, use, or disclose personal information in a way that contradicts their posted privacy policy or other statements, or when they fail to adequately protect personal information from unauthorized access despite promises that that they would do so. In addition to broken promises, the FTC has alleged that companies act deceptively when they make false representations in order to induce disclosure of personal information. For example, in FTC v. Sun Spectrum Commc'ns Org., Inc. , the FTC alleged that several telemarketers acted \"deceptively\" by misrepresenting themselves as a credit card company and requesting personal information from individuals, ostensibly for the purpose of providing non-existent credit cards to the individuals. The FTC has further maintained that companies act deceptively when their privacy policies or other statements provide insufficient notice of their privacy practices. For instance, in In the Matter of Sears Holdings Management Co. , the FTC alleged that Sears acted deceptively by failing to disclose the extent to which downloadable software would monitor users' internet activity, merely telling users that it would track their \"online browsing.\" Along with \"deceptive claims,\" the FTC has also alleged that certain data privacy or data security practices may be \"unfair.\" Specifically, the FTC has maintained that it is unfair for a company to retroactively apply a materially revised privacy policy to personal data that it collected under a previous policy. The FTC has also taken the position that certain default privacy settings are unfair. In the case FTC v. Frostwire , for example, the FTC alleged that a peer-to-peer file sharing application had unfair privacy settings because, immediately upon installation, the application would share the personal files stored on users' devices unless the users went through a burdensome process of unchecking many pre-checked boxes. With respect to data security, the FTC has more recently maintained that a company's failure to safeguard personal data may be \"unfair,\" even if the company did not contradict its privacy policy or other statements. While at least one court has agreed that such conduct may be \"unfair\" under the FTC Act, a recent U.S. Court of Appeals for the Eleventh Circuit case, LabMD v. FTC , suggests that any FTC cease and desist order based on a company's \"unfair\" data security measures must allege specific data failures and specific remedies. In LabMD , the court noted that the FTC's order \"contain[ed] no prohibitions\" but \"command[ed] [the company] to overhaul and replace its data-security program to meet an indeterminable standard of reasonableness.\" The court concluded that such an order was unenforceable, reasoning that the order \"effectually charge[d] the district court [enforcing the order] with managing the overhaul.\" The court further suggested that penalizing a company for failing to comply with an imprecise standard \"may constitute a denial of due process\" because it would not give the company fair notice of the prohibited conduct. Ultimately, while LabMD did not decide whether inadequate data security measures may be \"unfair\" under the FTC Act, the decision is nevertheless a potentially significant limitation on the FTC's ability to remedy such violations of the statute. LabMD is also a notable case because it adds to the relatively sparse case law on the FTC Act's \"unfair or deceptive\" prohibition. As mentioned, the large majority of the FTC enforcement actions are settled, with parties entering into consent decrees. To the extent FTC allegations are contested, the FTC may either commence administrative enforcement proceedings or civil litigation against alleged violators. In an administrative enforcement proceeding, an Administrative Law Judge (ALJ) hears the FTC's complaint and may issue a cease and desist order prohibiting the respondent from engaging in wrongful conduct. In civil litigation, the FTC may seek equitable relief, such as injunctions or disgorgement, when a party \"is violating, or is about to violate,\" the FTC Act. The FTC may only seek civil penalties, however, if the party has violated a cease and desist order, consent decree, or a TRR. The FTC Act does not provide a private right of action, and it does not impose any criminal penalties for violations of Section 5. Similar to the FTC Act, the CFPA prohibits covered entities from engaging in certain unfair, deceptive, or abusive acts. Enacted in 2010 as Title X of the Dodd-Frank Wall Street Reform and Consumer Protection Act, the CFPA created the Consumer Financial Protection Bureau (CFPB) as an independent agency within the Federal Reserve System. The Act gives the CFPB certain \"organic\" authorities, including the authority to take any action to prevent any \"covered person\" from \"committing or engaging in an unfair, deceptive, or abusive act or practice\" (UDAAP) in connection with offering or providing a \"consumer financial product or service.\" The CFPB's UDAAP authority under the CFPA is very similar to the FTC's UDAP authority under the FTC Act; indeed, the CFPA contains the same definition of \"unfair\" as in the FTC Act, and the CFPB has adopted the FTC's definition of \"deceptive\" acts or practices. However, there are several important differences. First, the CFPA's UDAAP prohibition includes \"abusive\" practices, as well as unfair or deceptive ones. An act or practice is abusive if it either (1) \"materially interferes with the ability of a consumer to understand a term or condition of a consumer financial product or service\" or (2) \"takes unreasonable advantage of\" a consumer's (a) lack of understanding, (b) inability to protect her own interest in selecting or using a consumer financial product or service, or (c) reasonable reliance on a covered person to act in her interest. While abusive conduct may also be unfair or deceptive, abusiveness is a separate standard that may cover additional conduct. Second, the CFPA prohibits UDAAPs only in connection with offering or providing a \"consumer financial product or service.\" A product or service meets this standard if it is one of the specific financial product or services listed in the CFPA and is offered or provided to consumers primarily for personal, family, or household purposes. Lastly, the CFPA applies only to \"covered persons\" or \"service providers.\" The statute defines \"covered persons\" as persons who offer or provide a consumer financial product or service, and it defines \"service providers\" as those who provide a \"material service\" to a \"covered person\" in connection with offering or providing a consumer financial product or service. As some commentators have noted, the CFPB could follow in the FTC's footsteps and use its UDAAP authority to regulate data protection. However, the CFPB has generally been inactive in the data privacy and security space. Indeed, to date, it has brought only one such enforcement action, which involved allegations that an online payment platform, Dwolla, Inc., made deceptive statements regarding its data security practices and the safety of its online payments system. To the extent it does use its authority, the CFPB has some powerful procedural advantages in comparison with the FTC. In particular, the CFPB can enact rules identifying and prohibiting particular UDAAP violations through the standard APA rulemaking process, whereas the FTC must follow the more burdensome Magnuson-Moss rulemaking procedures. Regarding enforcement, the CFPA authorizes the CFPB to bring civil or administrative enforcement actions against entities engaging in UDAAPs. Unlike the FTC, the CFPB can seek civil penalties in all such enforcement actions, as well as equitable relief such as disgorgement or injunctions. However, as with the FTC Act, the CFPA does not provide a private right of action that would allow adversely affected individuals to sue companies violating the Act. The statute also does not impose any criminal penalties for UDAAP violations. Adding to the complex federal patchwork of data protection statutes are the laws of the fifty states. First and foremost, major regulators of privacy and data protection in the states include the courts, via tort and contract law. With respect to tort law, in addition to the \"privacy\" causes of action that developed at the state level during the early 20th century (discussed above), negligence and other state tort law claims serve as a means to regulate businesses that are injured from data security issues or otherwise fail to protect their customers from foreseeable harm. Contracts, implied contracts, and other commercial causes of action can also form important bulwarks for privacy. The common law, however, is not perfect: it is subject to variability from state to state, and within states, from judge to judge and jury to jury. In addition to the common law, most states have their own statutory framework which may affect data protection and the use of data by private entities. For example, many states have a consumer protection law, sometimes prohibiting unfair or deceptive practices, often referred to as \"little FTC Acts.\" These laws, like the FTC Act, are increasingly being used to address privacy matters. In addition, each state has passed a data breach response law, requiring some form of response or imposing liability on companies in the event of a breach of their data security. While an examination of every state data security law is beyond the scope of this report, at least one state has undertaken a general and ambitious effort to regulate data security. Specifically, the California Consumer Privacy Act (CCPA), enacted in 2018, has captured significant attention. Unlike the federal patchwork provisions, neither the method of data collection nor the industry that the business operates in limits the potential application of the CCPA. Instead, the CCPA applies to any company that collects the personal information of Californians, is for-profit, does business in California, and satisfies a basic set of thresholds. Analysts have suggested that these thresholds are low enough that the law could reach a considerable number of even \"relatively small\" businesses with websites accessible in California. The CCPA also does not distinguish between the sources of the data that comes within its scope. Rather, the CCPA regulates all \"personal information,\" which, by the CCPA's definition, covers nearly any information a business would collect from a consumer. The law does not require the presence of any individual identifier, such as a name or address, for data to fall within the meaning of personal information. Rather, the CCPA broadly defines personal information as \"information that identifies, relates to, describes, or is capable of being associated with, or could reasonably be linked, directly or indirectly, with a particular consumer or household.\" Following this definition, the CCPA provides some telling illustrations of what constitutes personal information, including any \"electronic network activity [such as] browsing history, search history, and information regarding a consumer's interaction with an Internet Web site, application, or advertisement\" and \"inferences drawn from any of\" this information. The CCPA provides consumers with three main \"rights.\" The first of these is a \" right to know \" the information that businesses have collected or sold about them. This right requires that businesses must, in advance of any collection, \"inform [by mail or electronically] consumers as to the categories of personal information to be collected and the purposes\" to which the information will be put. Second, the CCPA provides consumers with the \" right to opt out \" of the sale of a consumer's information. Under the new law, businesses must inform consumers of this right, and if a consumer so affirmatively opts out, the business cannot again sell the consumer's information unless the consumer subsequently provides the business express authorization. Finally, the CCPA gives consumers the right, in certain circumstances, to request that a business delete any information collected about the consumer (i.e., \" right to delete \"). Under the law, a business that receives such a request must delete the information collected and direct its \"service providers\" to do the same. The primary means to enforce the CCPA are actions brought by the California Attorney General. According to the statute, businesses that fail to provide the protections required by the CCPA and fail to cure those violations within 30 days are liable for civil penalties of up to $7,500 per violation. Penalties or settlements collected under the CCPA are to be deposited with the newly created Consumer Privacy Fund, the funds for which are used only to offset costs incurred in connection with the administration of the CCPA. While the CCPA provides for a private cause of action, allowing for individual and class action lawsuits against businesses, this cause of action is only available in the case of a consumer whose \"nonencrypted or nonredacted personal information\" is subject to \"unauthorized access and exfiltration, theft, or disclosure\" as a result of a failure to \"implement and maintain reasonable security procedures.\" Further, such actions can be brought only if a consumer provides a business with 30 days' written notice and provides the business with opportunity to cure the violation, unless the consumer suffered actual pecuniary damages. The statute does not specify how a business could \"cure\" a violation of this type. Consumers may obtain damages under this section of no less than $100 and no more than $750 \"per incident,\" or actual damages, whichever is greater, as well as injunctive relief. Statements by some Members of Congress during Congressional hearings have already noted the CCPA's likely importance to future federal legislative efforts. Further, some outside commentators have argued explicitly that the CCPA should be preempted by a future federal law. These statements may be motivated by the likely fact that, if left intact, the California law could shape industry and consumer concerns both inside and outside California. First, the law is likely to be the \"first in a long line of similar pieces of legislation,\" all of which may model themselves after the CCPA, or will have to respond to its impact. Second, even though the statute is the product of a single state, its broad jurisdictional reach would bring companies throughout the United States and from around the world into its sweep. These factors combined are likely to make the CCPA important to federal legislators. Furthermore, some of the provisions of the California law could form a model for future federal regulation—although along those lines, another potential model it has to compete with is Europe's GDPR. In addition to U.S. states like California, some foreign nations have enacted comprehensive data protection legislation. The EU, in particular, has long applied a more wide-ranging data protection regulatory scheme. Whereas privacy principles in the U.S. Constitution focus on government intrusions into private life and U.S. data privacy statutes generally are sector-specific, European privacy regulations have generally concerned any entity's accumulation of large amounts of data. As a result, foundational EU treaties provide individuals with a general right to \"protection of personal data\" from all potential interferences. The objective of the EU's most recent data privacy legislation—the GDPR—is to safeguard this right to personal data protection, while ensuring that data moves freely within the EU. Beginning in the 1970s, individual European countries began enacting broad, omnibus national statutes concerning data protection, privacy, and information practices. Although these domestic laws shared certain features, their differing data privacy and protection standards occasionally impeded the free flow of information between European countries. As a consequence, the EU attempted to harmonize its various national privacy laws by adopting an EU-wide data privacy and protection initiative—the 1995 Directive on the Protection of Individuals with Regard to the Processing of Personal Data and on the Free Movement of Such Data (Data Protection Directive). While the Data Protection Directive applied on an EU-wide basis, EU law authorized each member-nation to implement the directive's requirements into the country's national law. By 2012, the European Commission—the executive body of the EU —came to view differing implementations of the Data Protection Directive at the national level as problematic. The Commission concluded that a single regulation should be developed in order to eliminate the fragmentation and administrative burdens created by the directive-based system. The Commission also sought to bring EU law up to date with developments in technology and globalization that changed the way data is collected, accessed, and used. In pursuit of these goals, the EU developed and adopted the GDPR, which replaced the 1995 Data Protection Directive and went into effect on May 25, 2018. The GDPR regulates the processing of personal data that meet its territoriality requirements, discussed below. Processing includes collection, use, storage, organization, disclosure or any other operation or set of operations performed on personal data, unless an exception applies. Personal data is defined as any information relating to an identified or identifiable person, and it can include names, identification numbers, location data, IP addresses, cookies, and any other information through which an individual can be directly or indirectly identified. The GDPR applies different requirements for controllers and processors of personal data. In general, a controller determines the purposes and means of processing personal data, and a processor is responsible for processing data on behalf of a controller. From a territorial perspective, the GDPR applies to organizations that have an \"establishment\" in the EU and that process personal data in the context of the activities of that establishment. The GDPR does not define \"establishment,\" but states that it \"implies the effective and real exercise of activity through stable arrangements.\" In a pre-GDPR case, the Court of Justice of the European Union stated that the concept of establishment under the 1995 Data Protection Directive extended \"to any real and effective activity—even a minimal one—exercised through stable arrangements.\" Entities that meet the establishment requirement are subject to the GDPR even if their data processing activities take place outside the EU. The GDPR also applies to non-EU-established entities that offer goods or services to individuals in the EU or monitor individuals' behavior in the EU. Because many businesses with an online presence offer goods and services to EU individuals, the GDPR applies to many businesses outside the EU. The GDPR lays out seven guiding principles for the processing of personal data. While these principles are not \"hard and fast rules\" themselves, they inform the interpretation of the GDPR and its more concrete requirements, discussed below. The GDPR requires data controllers and processors to have a lawful basis to process personal data. The regulation delineates six possible legal bases: (1) consent; (2) performance of contract; (3) compliance with a legal obligations; (4) protection of the \"vital interests\" (i.e., the life) of the data subject or another individual; (5) tasks carried out in the public interest (e.g., by a government entity); and (6) the \"legitimate interests\" of the controller or a third party, unless the fundamental rights and freedom of the data subject override those interests. Commentators describe the \"legitimate interests\" category as the most flexible and as the potential basis for a host of common activities, such as processing carried out in the normal course of business, provided that the processing is not unethical, unlawful, or otherwise illegitimate. When data processing is premised on consent, the consent must be freely given, specific, informed, and unambiguous, and it can be withdrawn at any time. Additional consent requirements and restrictions apply to especially sensitive data, such as children's information and data that reveals ethnic origins, political opinions, religious beliefs, union status, sexual orientation, health information, and criminal histories. The GDPR provides a series of rights to individuals and corresponding obligations for data controllers, unless an exception applies. The GDPR requires organizations to implement a range of measures designed to ensure and demonstrate that they are in compliance with the regulation. When proportionate in relation to the processing activities, such measures may include adopting and implementing data protection policies and taking a \"data protection by design and default\" approach whereby the organization implements compliance measures into all stages of data processing. Measures may also include the following: establishing GDPR-conforming contracts with data processors; maintaining records of processing activities; conducting impact assessments on personal data use that is likely to risk individual rights and freedoms; appointing a data protection officer; and adhering to relevant codes of conduct and compliance certification schemes. The GDPR also requires controllers and processors to implement technical and organizational measures to ensure a level of data security that is \"appropriate to the risk\" presented by the data processing. In implementing data security measures, organizations must consider the \"state of the art, the costs of implementation,\" the nature, scope, and context, and purposes of processing, and the likelihood and potential severity of an infringement on individual rights if data security were to be violated. The GDPR does not impose a \"one-size-fits-all\" requirement for data security, and security measures that are \"appropriate\" (and therefore mandatory) will depend on the specific circumstances and risks. For example, a company with an extensive network system that holds a large amount of sensitive or confidential information presents greater risk, and therefore must install more rigorous data security protections than an entity that holds less data. When appropriate, organizations should consider encryption and pseudonymization —the processing of personal data such that the data can no longer be attributed to a specific individual. Security measures should ensure the confidentiality, integrity, and resilience of processing systems; be able to restore access to personal data in the event of an incident; and include a process for testing security effectiveness. In the event of a personal data breach, the GDPR requires controllers to notify the designated EU government authority \"without undue delay\" and no later than 72 hours after learning of the breach, unless the breach is \"unlikely to result in a risk to the rights and freedoms of natural persons.\" For example, whereas a company must report the theft of a customer database that contains information that could be used for future identity fraud given the high level of risk to individuals, it may not need to report the loss of more innocuous data, such as a directory of staff office phone numbers. When notification to the government is required, the notification must describe the nature and likely consequences of the breach, identify measures to address the breach, and identify the employee responding to the incident. When data processors experience a breach, they must notify the controller without undue delay. In addition to governmental notification, controllers must notify the individuals whose data has been compromised if the breach is likely to result in a \"high risk to the rights and freedoms\" of individuals. The \"high risk\" threshold is higher than the threshold for notifying the government authority, but it could met in circumstances when individuals may need to take steps to protect themselves from the effects of a data breach. According to the United Kingdom's data protection regulatory authority, for example, a hospital that disclosed patient medical records as a result of a data breach may present a \"high risk\" to individuals, but a university that accidentally deleted, but was able to re-create, an alumni contact information database may not meet the mandatory individual reporting threshold. Notification to the individual must describe the breach in clear and plain language and contain at least the same information as provided in the governmental notifications. Notification to the individual is not required in the following cases: the controller implemented appropriate technical and organizational protection measures, such as encryption, that will render the data unintelligible; the controller took subsequent measures that will ensure that the high risk to individual rights and freedom are no longer likely to materialize; or individual notifications would involve disproportionate efforts, in which case the controller must provide public notice of the breach. Regardless of whether notification is required, controllers must document all data breaches so that government supervisory authorities can verify compliance at a later date. The EU has long regulated the transfer of data from EU member states to foreign countries, and the GDPR continues to restrict such international data transfers. Like the 1995 Data Protection Directive, the GDPR authorizes data transfer from within the EU to a non-EU country if the receiving country ensures an adequate level of protection for personal data. To meet this requirement, the non-EU country must offer a level of protection that is \"essentially equivalent to that ensured\" by the GDPR. If the European Commission previously made an adequacy decision under the Data Protection Directive's legal framework, that decision remains in force under the GDPR. U.S. and EU officials previously developed a legal framework—the U.S.-EU Privacy Shield—for protecting transatlantic data flow into the United States. Under the Privacy Shield framework, U.S.-based organizations self-certify to the International Trade Administration in the Department of Commerce that they will comply with the framework's requirements for protecting personal data by complying with, among other provisions, notice requirements, data retention limits, security requirements, and data processing purpose principles. In 2016, the European Commission concluded that the Privacy Shield framework provided adequate protections under the Data Protection Directive. That adequacy determination continues to apply under the GDPR, although the European Commission annually reviews whether the Privacy Shield framework continues to provide an adequate level of protection. In the absence of an adequacy decision from the European Commission, the GDPR permits data transfers outside the EU when (1) the recipient of the data has itself established appropriate safeguards , and (2) effective legal remedies exist for individuals to enforce their data privacy and protection rights. Appropriate safeguards include: a legally binding agreement between public authorities or bodies; binding corporate rules; standard contract clauses adopted by the European Commission; and approved codes of conduct and certification mechanisms. U.S. companies that do not participate in Privacy Shield often must rely on standard contract clauses to be able to receive data from the EU. The GDPR also identifies a list of circumstances in which data may be transferred outside the EU even without appropriate safeguards or an adequacy decision. These circumstances include, among other reasons, when: an individual has provided informed consent; transfer is necessary for the performance of certain contracts involving the data subject; or the transfer is necessary for important reasons of public interests. One of the most commented-upon aspects of the GDPR is its high ceiling for administrative fines. For the most serious infractions of the GDPR, regulatory bodies within individual EU countries may impose fines up to 20 million euro (approximately $22 million) or 4% of global revenue, whichever is higher, for certain violations of the GDPR. The GDPR also provides tools for individuals to enforce compliance with its terms. Individuals whose personal data is processed in a way that does not comport with the GDPR may lodge a complaint with regulatory authorities. Individuals also have the right to an \"effective judicial remedy\" (i.e., to pursue a lawsuit) against the responsible data processor or controller, and individuals may obtain compensation for their damages from data processors or controllers. The GDPR may be relevant to the 116th Congress' consideration of data protection initiatives in several ways. Because the GDPR applies to U.S. companies that offer goods and services to individuals in the EU, many U.S. companies have developed new data protection practices in an effort to comply with its requirements. Other businesses reported that they withdrew from the European market rather than attempt to obtain compliance GDPR. For those companies that remained in the European market, some have stated that they will apply their GDPR-compliant practices on a company-wide basis rather than changing their model only when doing business in the EU. Consequently, the GDPR already directly impacts the data protection practices of some U.S. companies. The GDPR also has served as a prototype for comprehensive data protection legislation in other governments. For example, commentators have described China's Personal Information Security Specification, which defines technical standards related to the collection, storage, use, transfer, and disclosure of personal information, as modeled on the GDPR. And the CCPA includes elements similar to the GDPR, such as an enumeration of individual rights related to data privacy. If this trend continues, GDPR-like data protection laws may become more commonplace internationally. Finally, some argue that Congress should consider enacting comprehensive federal data protection legislation similar to the GDPR. As discussed below, however, other observers and some officials in the Trump Administration have criticized the GDPR, describing the regulation as overly prescriptive and likely to result in negative unintended consequences. Regardless of the merits of these positions, the GDPR may remain a focal point of discussion in the debate over whether the United States should develop a more comprehensive data protection policy. Although some commentators argue that the federal government should supplement the current patchwork of federal data protection laws with more comprehensive legislation modeled on the CCPA or GDPR, some Trump Administration officials have criticized these legislative approaches and questioned whether they will improve data privacy outcomes. The Administration has argued that many comprehensive data privacy models have resulted in \"long, legal, regulator-focused privacy policies and check boxes, which only help a very small number of users[.]\" Rather than pursuing a prescriptive model in which the government defines (or prescribes) data protection rules, the Trump Administration advocates for what it describes as an outcome-based approach whereby the government focuses on the \"outcomes of organizational practices, rather than on dictating what those practices should be.\" In September 2018, the National Telecommunications and Information Administration (NTIA) in the Department of Commerce issued a request for public comments on the Trump Administration's efforts to develop an outcome-based approach to advancing consumer privacy that also protects prosperity and innovation. According to NTIA, changes in technology have led consumers to conclude that they are losing control over their personal information, while at the same time that foreign and state privacy laws have led to a fragmented regulatory landscape that disincentives innovation. Accordingly, NTIA is attempting to develop a set of \"user-centric\" privacy outcomes and goals that would underpin the protections that should be produced by any federal actions related to consumer privacy. NTIA's proposed policy focuses on a set of outcomes that the Trump Administration seeks to achieve: In addition to identifying desired outcomes, NTIA's request for public comments states that the Trump Administration is in the process of developing \"high-level goals for Federal action\" related to data privacy. NTIA's proposed privacy framework shares certain elements of prescriptive legal regimes like the GDPR and CCPA. Common features include a right to withdraw consent to certain uses of personal data; accountability for third-party vendors and servicers; and a right to access, amend, complete, correct, or delete personal data. But NTIA's request for public comments does not specifically describe how the Trump Administration intends to accomplish its outcomes and goals. Instead, it states that NTIA \"understand[s] that there is considerable work to be done to achieve\" the identified objectives. The comment period closed on November 9, 2018, and NTIA received input from more than 200 individuals and entities. The debate over whether Congress should consider federal legislation regulating data protection implicates numerous legal variables and options. \"Data protection\" itself is an expansive concept that melds the fields of data privacy (i.e., how to control the collection, use, and dissemination of personal information) and data security (i.e., how to protect personal information from unauthorized access or use and respond to such unauthorized access or use). There is no single model for data protection legislation in existing federal, state, or foreign law. For example, some state laws focus solely on data security or address a particular security concern, such as data breach notifications. Other state laws isolate a single privacy-related issue, such as the transparency of data brokers—companies that aggregate and sell consumers' information, but that often do not have a direct commercial relationship with consumers. Recent data protection laws such as the CCPA and GDPR appear to indicate a trend toward combining data privacy and security into unified legislative initiatives. These unified data protection paradigms typically are structured on two related features: (1) an enumeration of statutory rights given to individuals related to their personal information and (2) the creation of legal duties imposed on the private entities that possess personal information. The specific list and nature of rights and duties differ depending on the legislation, and some have proposed to define new rights in federal legislation that do not have a clear analog in existing state or foreign law. Consequently, at present, there is no agreed-upon menu of data protection rights and obligations that could be included in federal legislation. Although data protection laws and proposals are constantly evolving, some frequently discussed legal rights include: the right to know what personal data is being collected, used, and disseminated, and how those activities are occurring; the right to control the use and dissemination of personal data, which may include the right to opt out or withhold consent to the collection or sharing of such data; the right to review personal data that has been collected and to delete or correct inaccurate information; the right to obtain a portable copy of personal data; the right to object to improper activities related to personal data; and the right to learn when a data breach occurs; Commonly discussed obligations for companies that collect, use, and disseminate personal data include rules defining: how data is collected from individuals; how companies use data internally; how data is disseminated or disclosed to third parties; what information companies must give individuals related to their data; how data is kept secure; when breaches of security must be reported; the accuracy of data; and reporting requirements to ensure accountability and compliance. Whether to enact federal data protection legislation that includes one or more of these rights and obligations has been the subject of a complex policy debate and multiple hearings in recent Congresses. Part of the legislative debate concerns how to enforce such rights and obligation and raises questions over the role of federal agencies, state attorneys general, and private citizen suits. In addition, some elements of the data protection proposals and models could implicate legal concerns and constitutional limitations. While the policy debate is outside the scope of this report, the following sections discuss legal considerations relevant to federal data protection proposals that the 116th Congress may choose to consider. These sections begin by analyzing legal issues related to the internal structure and definition of data protection-related rights and obligations and then move outward toward an examination of external legal constraints. A primary conceptual point of debate concerning data protection legislation is whether to utilize the so-called \"prescriptive\" method or an \"outcome-based\" approach to achieve a particular law's objectives. Under the prescriptive approach, the government defines data protection rules and requires regulated individuals and entities to comply with those rules. Both the GDPR and CCPA use a prescriptive approach, and some legislation proposed in the 116th Congress would use this method by delineating certain data protection requirements. The Trump Administration, however, has argued that a prescriptive approach can stymie innovation and result in compliance checklists without providing measurable privacy benefits. As an alternative methodology, the Administration advocated for what it described as an outcome-based approach whereby the government focuses on the outcomes of organizational practices, rather than defining the practices themselves. Some federal information technology laws, such as the Federal Information Security Management Act (FISMA), use an outcome-oriented approach to achieve federal objectives, although agency implementation of such laws may become prescriptive in nature. The Administration has not specified how it intends to achieve its desired data protection goals without prescribing data protection rules, but additional direction appears to be forthcoming, according to the NTIA's request for public comment. Another issue that may be considered in crafting federal data protection policy is how to define the contours of the data that the federal government proposes to protect or the specific entities or industries that it proposes to regulate. The patchwork of existing data protection statutes define protected information in a variety of ways, many of which depend on the context of the law. For example, HIPAA is limited to \"protected health information\" and GLBA governs \"financial information\" that is personally identifiable but not publicly available. By contrast, GDPR and CCPA regulate all \"personal\" information—a term defined in both laws as information that is associated with a particular individual or is capable of being associated with an individual. Some federal data proposals would apply a similar scope to those of the GDPR and CCPA. If enacted, such broad data protection laws have the potential to create multiple layers of federal data protection requirements: (1) general data protection requirements for \"personal\" information and (2) sector-specific requirements for data regulated by the existing \"patchwork\" of data protection laws. Other legislative proposals have sought to avoid dual layers of regulations by stating that the proposed data protection requirements would not apply to individuals or entities covered by certain existing federal privacy laws. Agency enforcement is another key issue to consider when crafting any future federal data protection legislation. As discussed, under the current patchwork of federal data protection laws, there are multiple federal agencies responsible for enforcing the myriad federal statutory protections, such as the FTC, CFPB, FCC, and HHS. Of these agencies, the FTC is often viewed—by industry representatives, privacy advocates, and FTC commissioners themselves —as the appropriate primary enforcer of any future national data protection legislation, given its significant privacy experience. There are, however, several relevant legal constraints on the FTC's enforcement authority. First, the FTC generally lacks the ability to issue fines for first-time offenses. In UDAP enforcement actions, the FTC may issue civil penalties only in certain limited circumstances, such as when a person violates a consent decree or a cease and desist order. Consequently, the FTC often enters into consent decrees addressing a broad range of conduct, such as a company's data security practices, seeking penalties for violations of those decrees. However, as the LabMD case discussed earlier in this report suggests, if the FTC imposes penalties based on imprecise legal standards provided in a rule or order, the Due Process Clause of the Fifth Amendment may constrain the agency's authority. Second, the plain text of the FTC Act deprives the FTC of jurisdiction over several categories of entities, including banks, common carriers, and nonprofits. Third, the FTC generally lacks authority to issue rules under the APA's notice-and-comment process that is typically used by agencies to issue regulations. Rather, the FTC must use a more burdensome—and, consequently, rarely used—process under the Magnuson-Moss Warranty Act. As some FTC Commissioners and commentators have noted, these legal limitations may be significant in determining the appropriate federal enforcement provisions in any national data security legislation. While Congress may not be able to legislate around constitutional constraints, future legislation could address some of these limitations—for instance, by allowing the FTC to seek penalties for first-time violations of rules, expanding its jurisdictions to include currently excluded entities, or providing the FTC notice-and-comment rulemaking authority under the APA. These current legal constraints on FTC authority may also be relevant in determining whether national legislation should allow private causes of action or enforcement authority for state attorneys general, as some commentators have suggested that private causes of action and enforcement by state attorneys general are essential supplements to FTC enforcement. Legislation involving privacy may propose to allow individuals to seek private remedy for violations in the courts. Congress may seek to establish a private right of action allowing a private plaintiff to bring an action against a third party based directly on that party's violation of a public statute. As it has done with many sector-specific privacy laws, Congress, in a data protection statute, could provide not only for this right, but also for specific remedies beyond compensatory damages, such as statutory damages or even treble damages for injured individuals. However, it may be very difficult to prove that someone has been harmed in a clear way by many of the violations that might occur under a hypothetical data protection and privacy regime. Victims of data breaches and other privacy violations, generally speaking, do not experience clear and immediate pecuniary or reputational harm. This obstacle might threaten not only a consumer's ability to obtain monetary relief, but also could run up against the limits of the federal courts' \"judicial power\" under Article III of the U.S. Constitution. Article III extends the judicial power of the federal courts to only \"cases\" and \"controversies.\" As part of that limitation, the Supreme Court has stated that courts may adjudicate a case only where a litigant possesses Article III standing. A party seeking relief from a federal court must establish standing. Specifically, the party must show that he has a genuine stake in the relief sought because he has personally suffered (or will suffer): (1) a concrete, particularized and actual or imminent injury; (2) that is traceable to the allegedly unlawful actions of the opposing party; and (3) that is redressable by a favorable judicial decision. These requirements, particularly the requirement of \"imminence,\" form significant barriers for lawsuits based on data protection. Imminence, according to the Supreme Court in Clapper v. Amnesty International , requires that alleged injury be \" certainly impending \" to constitute injury-in-fact. Speculation and assumptions cannot be the basis of standing. This reasoning has caused courts to dismiss data breach claims where plaintiffs cannot show actual misuse of data, but can only speculate that future thieves may someday cause them direct harm. These requirements are constitutional in nature and apply regardless of whether a statute purports to give a party a right to sue. This constitutional requirement limits Congress' ability to use private rights of action as an enforcement mechanism for federal rights, as the recent Supreme Court case Spokeo, Inc. v. Robins illustrates. Spokeo involved a Federal Credit Reporting Act (FCRA) lawsuit brought by Thomas Robins against a website operator that allowed users to search for particular individuals and obtain personal information harvested from a variety of databases. Robins alleged that Spokeo's information about him was incorrect, in violation of the FCRA requirement that consumer reporting agencies \"follow reasonable procedures to assure maximum possible accuracy\" of consumer reports. As discussed earlier in this report, FCRA provides for a private right of action making any person who willfully fails to comply with its requirements liable to individuals for, among other remedies, statutory damages. The lower court understood that Robins did not specifically allege any actual damages he had suffered, such as the loss of money resulting from Spokeo's actions. Nonetheless, the court concluded that the plaintiff had standing to seek statutory damages because his injury was sufficiently particular to him—FCRA had created a statutory right for Robins and his personal interest was sufficient for standing. The Supreme Court disagreed with the lower court, however, explaining that the lower court had erred by eliding the difference between Article III's \"concreteness\" and \"particularization\" requirements. Specifically, the Court concluded that a plaintiff must demonstrate a concrete injury separate from a particularized injury, meaning that plaintiffs must show that their injury \"actually exist[s].\" While tangible injuries, like monetary loss, are typically concrete, a plaintiff with an \"intangible injury\" must show that it is \"real\" and not \"abstract\" in order to demonstrate concreteness. For example, the Spokeo Court suggested that the mere publication of an incorrect zip code, although it could violate FCRA, would not be a sufficiently concrete injury for standing purposes. As a result, the Court remanded the case to the lower court to determine if the injury alleged in the case was both particularized and concrete. Spokeo does not eliminate Congress' role in creating standing where it might not otherwise exist. The Supreme Court explained that the concreteness requirement is \"grounded in historical practice\" and, as a result, Congress' judgment on whether an intangible harm is sufficiently concrete can be \"instructive.\" However, as Spokeo explained, Congress cannot elevate every privacy violation to the status of a concrete injury. Both before and after Spokeo , the lower courts have resolved standing disputes in lawsuits involving privacy and data protection, where parties argue about whether particular injuries are sufficiently concrete for purpose of Article III. Congress can possibly resolve some of these disputes by elevating some otherwise intangible injuries to concrete status. But Spokeo illustrates that there may be a residuum of harmless privacy violations for which Congress cannot provide a judicial remedy. Another legal issue Congress may need to consider with respect to any federal program involving data protection and privacy is how to structure the federal-state regime—that is, how to balance whatever federal program is enacted with the programs and policies in the states. Federal law, under the Supremacy Clause, has the power to preempt or displace state law. As discussed above, there are a host of different state privacy laws, and some states have begun to legislate aggressively in this area. The CCPA in particular represents a state law that is likely to have a national effect. Ultimately, unless Congress chooses to occupy the entire field of data protection law, it is likely that the state laws will end up continuing to have a role in this area. Further, given that the states are likely to continue to experiment with legislation, the CCPA being a prime example, it is likely that preemption will be a highly significant issue in the debate over future federal privacy legislation. As the Supreme Court has recently explained, preemption can take three forms: \"conflict,\" \"express,\" and \"field.\" Conflict preemption requires any state laws that conflict with a valid federal law to be without effect. Conflict preemption can occur when it is impossible for a private party to simultaneously comply with both federal and state requirements, or when state law amounts to an obstacle to the accomplishment of the full purposes of Congress. Express preemption occurs when Congress expresses its intent in the text of the statute as to which state laws are displaced under the federal scheme. Finally, field preemption occurs when federal law occupies a 'field' of regulation \"so comprehensively that it has left no room for supplementary state legislation.\" Ultimately, the preemptive scope of any federal data protection legislation will turn on the \"purpose\" of Congress and the specific language used to effectuate that purpose. If Congress seeks to adopt a relatively comprehensive system for data protection, perhaps the most obvious means to preempt a broad swath of state regulation would be to do so \"expressly\" within the text of the statute by including a specific preemption provision in the law. For example, several existing federal statutes expressly preempt all state law that \"relate to\" a particular subject matter. The Supreme Court has held that this \"related to\" language encompasses any state law with a \"connection with, or reference to\" the subject matter referenced. Similar language can be used to displace all state laws in the digital data privacy sphere to promote a more uniform scheme. Congress could alternatively take a more modest approach to state law. For example, Congress could enact a data protection framework that expressly preserves state laws in some ways and preempts them in others. A number of federal statutes preempt state laws that impose standards \"different from\" or \"in addition to\" federal standards, or allow the regulator in charge of the federal scheme some authority to approve certain state regulations. These approaches would generally leave intact state schemes parallel to or narrower than the federal scheme. For example, a statute could permit a state to provide for additional liability or different remedies for violation of a federal standard. Congress could do the same with federal data protection legislation, using statutory language to try to ensure the protection of the provisions of state law that it sought to preserve. Although legislation on data protection could take many forms, several approaches that would seek to regulate the collection, use, and dissemination of personal information online may have to confront possible limitations imposed by the First Amendment of the U.S. Constitution. The First Amendment guarantees, among other rights, \"freedom of speech.\" Scholars have split on how the First Amendment should be applied to proposed regulation in the data protection sphere. In one line of thinking, data constitutes speech, and regulation of this speech, even in the commercial context, should be viewed skeptically. Other scholars have argued that an expansive approach would limit the government's ability to regulate ordinary commercial activity, expanding the First Amendment beyond its proper role. This scholarly debate informs the discussion, but does not provide clear guidance on how to consider any particular proposed regulation. The Supreme Court has never interpreted the First Amendment as prohibiting all regulation of communication. Instead, when confronting a First Amendment challenge to a regulation, a court asks a series of questions in order to determine whether a particular law or rule runs afoul of the complicated thicket of case law that has developed in this area. The first question courts face when considering a First Amendment challenge is whether the challenged regulation involves speech or mere non-expressive conduct. As the Supreme Court has explained, simply because regulated activity involves \"communication\" does not mean that it comes within the ambit of the First Amendment. Where speech is merely a \"component\" of regulated activity, the government generally can regulate that activity without inviting First Amendment scrutiny. For example, \"a law against treason…is violated by telling the enemy the Nation's defense secrets,\" but that does not bring the law within the ambit of First Amendment scrutiny. Assuming the regulation implicates speech rather than conduct, it typically must pass First Amendment scrutiny. However, not all regulations are subject to the same level of scrutiny. Rather, the Court has applied different tiers of scrutiny to different types of regulations. For example, the Court has long considered political and ideological speech at the \"core\" of the First Amendment—as a result, laws which implicate such speech generally are subject to strict scrutiny. Pursuant to this standard, the government must show that such laws are narrowly tailored to serve a compelling state interest. By contrast, the Court has historically applied less rigorous scrutiny to laws regulating \"commercial speech.\" Commercial speech is subject to a lower level of scrutiny known as the Central Hudson test, which generally requires the government to show only that its interest is \"substantial\" and that the regulation \"directly advances the governmental interest asserted\" without being \"more extensive than necessary to serve that interest.\" These principles have provided general guidance to lower courts in deciding cases that intersect with data protection, but implicit disagreements between these courts have repeatedly demonstrated the difficulty in striking the balance between First Amendment interests and data-protection regulation. For example, in 2001 in Trans Union Corp. v. FTC , the D.C. Circuit upheld an FTC order that prohibited Trans Union from selling marketing lists containing the names and addresses of individuals. The court assumed that disclosing or using the marketing lists was speech, not conduct, but concluded that the FTC's restrictions on the sale of the marketing lists generally concerned \"no public issue,\" and, as such, was subject to \"reduced constitutional protection.\" The court derived its \"no public issue\" rule from the Supreme Court's case law on defamation, which generally views speech that is solely in the private interest of the speaker as being subject to lower First Amendment protection from defamation suits than speech regarding matters of a public concern. Applying this \"reduced constitutional protection\" to the context of Trans Union's marketing lists, the court determined that the regulations were appropriately tailored. While the Trans Union court did not cite to Central Hudson , other courts have gone on to apply similar reasoning to uphold data protection laws from constitutional challenge under the ambit of Central Hudson 's commercial speech test. In contrast with the relatively lenient approach applied to a privacy regulation in Trans Union , in U.S. West v. FCC , the Tenth Circuit struck down FCC regulations on the use and disclosure of Consumer Proprietary Network Information (CPNI). The regulations stated that telecommunications carriers could use or disclose CPNI only for the purpose of marketing products to customers if the customer opted in to this use. The court determined that these provisions regulated commercial speech because they limited the ability of carriers to engage in consumer marketing. Applying Central Hudson , the court held that although the government alleged a general interest in protecting consumer privacy, this interest was insufficient to justify the regulations. The panel ruled that the regulations did not materially advance a substantial state interest because the government failed to tie the regulations to specific and real harm, supported by evidence. The court also concluded that a narrower regulation, such as a consumer opt-out, could have served the same general purpose. After the Tenth Circuit's decision in U.S. West , the FCC responded by making minor changes to its regulations, maintaining some elements of the opt-in procedure for the use of CPNI and reissuing them with a new record. After this reissuance, the D.C. Circuit considered these modified-but-similar regulations in a 2009 case. In that case, the D.C. Circuit upheld the regulations without attaching much significance to the FCC's changes, and apparently implicitly disagreeing with the Tenth Circuit about both the importance of the privacy interest at stake and whether the opt-in procedure was proportional to that interest. The Supreme Court's first major examination of the First Amendment in this context came in 2011. That year, the Court decided Sorrell v. IMS Health, Inc. , a case that is likely to be critical to understanding the limits of any future data protection legislation. In Sorrell , the Court considered the constitutionality of a Vermont law that restricted certain sales, disclosures, and uses of pharmacy records. Pharmaceutical manufacturers and data miners challenged this statute on the grounds that it prohibited them from using these records in marketing, thereby imposing what they viewed to be an unconstitutional restriction on their protected expression. Vermont first argued that its law should be upheld because the \"sales, transfer, and use of prescriber-identifying information\" was mere conduct and not speech. The Court explained that, as a general matter, \"the creation and dissemination of information are speech within the meaning of the First Amendment,\" and thus there was \"a strong argument that prescriber identifying information is speech for First Amendment purposes.\" Ultimately, however, the Court stopped short of fully embracing this conclusion, merely explaining that it did not matter whether the actual transfer of prescriber-identifying information was speech because the law nonetheless impermissibly sought to regulate the content of speech—the marketing that used that data, as well as the identities of speakers—by regulating an input to that speech. As the Court explained, the Vermont law was like \"a law prohibiting trade magazines from purchasing or using ink.\" Second, Vermont argued that, even if it was regulating speech, its regulations passed the lower level of scrutiny applicable to commercial speech. The Court disagreed. The Court explained that the Vermont law enacted \"content- and speaker-based restrictions on the sale, disclosure and use of prescriber identifying information\" because it specifically targeted pharmaceutical manufacturers and prohibited certain types of pharmaceutical marketing. As the Court stated in a previous case, \"[c]ontent-based regulations are presumptively invalid\" because they \"raise[] the specter that the Government may effectively drive certain ideas or viewpoints from the marketplace.\" Further, the Sorrell Court observed that the legislature's stated purpose was to diminish the effectiveness of marketing by certain drug manufacturers, in particular those that promoted brand-name drugs, suggesting to the Court that the Vermont law went \"beyond mere content discrimination, to actual viewpoint discrimination.\" As a result, the Court concluded that some form of \"heightened scrutiny\" applied. Nevertheless, the Court reasoned that, even if Central Hudson 's less rigorous standard of scrutiny applied, the law failed to meet that standard because its justification in protecting physician privacy was not supported by the law's reach in allowing prescriber-identifying information's use \"for any reason save\" marketing purposes. Most of the lower courts outside the data protection and privacy context that have considered Sorrell have held that Sorrell 's reference to \"heightened scrutiny\" did not override the Central Hudson test in commercial speech cases, even where those cases include content- or speaker- based restrictions. Others, however, have held that content- and speaker-based restrictions must comport with something more rigorous than the traditional Central Hudson test, but it is not clear what this new standard requires or where it leads to a different outcome than Central Hudson . As a result, while Sorrell 's impact on privacy and data protection regulation has been considered by a few courts, no consensus exists on the impact it will have. However, a few commentators have observed that the case will likely have an important effect on the future of privacy regulation, if nothing else, by having all but concluded that First Amendment principles apply to the regulation of the collection, disclosure, and use of personally identifiable information as speech, not conduct. With respect to such future regulation, policymakers will likely want, at the minimum, to meet the Central Hudson requirement of ensuring that any restrictions on the creation, disclosure or use of information are justified by a substantial interest and that the regulations are no more extensive than necessary to further that interest. To illustrate, the Court in Sorrell identified HIPAA as a permissible \"privacy\" regulation because it allowed \"the information's sale or disclosure in only a few narrow and well-justified circumstances.\" This dictum suggests that Congress is able to regulate in the data protection sphere as long as it avoids the pitfalls of the law in Sorrell . However, it may not always be easy to determine whether any given law involves speaker or content discrimination. In Sorrell itself, for instance, three dissenting Justices argued that the content and speaker discrimination that took place under the Vermont law was inevitable in any economic regulation. As a result, resolving these issues as data privacy legislation becomes more complex is likely to create new challenges for legislators. The current legal landscape governing data protection in the United States is complex and highly technical, but so too are the legal issues implicated by proposals to create unified federal data protection policy. Except in extreme incidents and cases of government access to personal data, the \"right to privacy\" that developed in the common law and constitutional doctrine provide few safeguards for the average internet user. Although Congress has enacted a number of laws designed to augment individual's data protection rights, the current patchwork of federal law generally is limited to specific industry participants, specific types of data, or data practices that are unfair or deceptive. This patchwork approach also extends to certain state laws. Seeking a more comprehensive data protection system, some governments—such as California and the EU—have enacted wide-ranging laws regulating many forms of personal data. Some argue that Congress should consider creating similar protections in federal law, but others have criticized the EU's and California's approach to data protection. Should the 116th Congress consider a comprehensive federal data protection program, its legislative proposals may involve numerous decision points and legal considerations. An initial decision point is the scope and nature of any legislative proposal. There are numerous data protection issues that could be addressed in any future legislation, and different possible approaches for addressing those issues (such as using a \"prescriptive\" or \"outcome-based\" approach). Other decision points may include defining the scope of any protected information and determining the extent to which any future legislation should be enforced by a federal agency. Further, to the extent Congress wants to allow individuals to enforce data protection laws and seek remedies for the violations of such laws in court, it must account for Article III's standing requirements. Under the Supreme Court's 2016 Spokeo Inc. v. Robins decision, plaintiffs must experience more than a \"bare procedural violation\" of a federal privacy law to satisfy Article III and to sue to rectify a violation of that law. Federal preemption also raises complex legal questions—not only of whether to preempt state law, but what form of preemption Congress should employ. Finally, from a First Amendment perspective, Supreme Court jurisprudence suggests that while some \"privacy\" regulations are permissible, any federal law that restricts protected speech, particularly if it targets specific speakers or content, may be subject to more stringent review by a reviewing court.\n\nNow, write a one-page summary of the report.\n\nSummary:"}
{"question_id": 82, "category": "longbench_narrativeqa", "reference": ["If Antonius has succeeded in his \"one meaningful deed.\""], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: The Seventh Seal\n<b> \n</b>The night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies\nprostrate on some spruce branches spread over the fine sand. His eyes are \nwide-open and bloodshot from lack of sleep. \n\nNearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His \nopen mouth gapes towards the dawn, and unearthly sounds come from his throat.\nAt the sudden gust of wind, the horses stir, stretching their parched muzzles \ntowards the sea. They are as thin and worn as their masters.\n\nThe KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the \ndarkness. He moans in his sleep and vigorously scratches the stubbled hair on \nhis head. A scar stretches diagonally across his scalp, as white as lightning \nagainst the grime. \n\nThe KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched \ntogether and his lips form the words silently. His face is sad and bitter. He \nopens his eyes and stares directly into the morning sun which wallows up from \nthe misty sea like some bloated, dying fish. The sky is gray and immobile, a \ndome of lead. A cloud hangs mute and dark over the western horizon. High up, \nbarely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \nBlock turns around.\n\nBehind him stands a man in black. His face is very pale and he keeps his \nhands hidden in the wide folds of his cloak. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWho are you? \n\n<b>\t\t\t\tDEATH \n</b>\t\tI am Death.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHave you come for me?\n\n<b>\t\t\t\tDEATH \n</b>\t\tI have been walking by your side for a long \n\t\ttime. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat I know. \n\n<b>\t\t\t\tDEATH \n</b>\t\tAre you prepared?\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tMy body is frightened, but I am not. \n\n<b>\t\t\t\tDEATH \n</b>\t\tWell, there is no shame in that.\n\nThe KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \nit around the KNIGHT'S shoulders. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWait a moment.\n\n<b>\t\t\t\tDEATH \n</b>\t\tThat's what they all say. I grant no reprieves. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou play chess, don't you?\n\nA gleam of interest kindles in DEATH'S eyes. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHow did you know that?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have seen it in paintings and heard it sung \n\t\tin ballads.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYes, in fact I'm quite a good chess player. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut you can't be better than I am.\n\nThe KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhy do you want to play chess with me? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have my reasons. \n\n<b>\t\t\t\tDEATH \n</b>\t\tThat is your privilege.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThe condition is that I may live as long as I \n\t\thold out against you. If I win, you will \n\t\trelease me. Is it agreed? \n\nThe KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou drew black!\n\n<b>\t\t\t\tDEATH \n</b>\t\tVery appropriate. Don't you think so?\n\nThe KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.\n<b> \n</b>\n\nThe morning breeze has died down. The restless movement of the sea has \nceased, the water is silent. The sun rises from the haze and its glow \nwhitens. The sea gull floats under the dark cloud, frozen in space. The day \nis already scorchingly hot.\n\nThe squire JONS is awakened by a kick in the rear. Opening his eyes, he \ngrunts like a pig and yawns broadly. He scrambles to his feet, saddles his \nhorse and picks up the heavy pack.\n\nThe KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sings)\n\t \tBetween a strumpet's legs to lie \n\t\tIs the life for which I sigh.\n\nHe stops and looks at his master, but the KNIGHT hasn't heard JON'S song, or \nhe pretends that he hasn't. To give further vent to his irritation, JONS \nsings even louder. \n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sings)\n\t\tUp above is God Almighty \n\t\tSo very far away, \n\t\tBut your brother the Devil \n\t\tYou will meet on every level.\n\nJONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \nhorse, JONS'S own horse and JONS himself know all the songs by heart. The \nlong, dusty journey from the Holy Land hasn't made them any cleaner. They \nride across a mossy heath which stretches towards the horizon. Beyond it, the \nsea lies shimmering in the white glitter of the sun.\n\n<b>\t\t\t\tJONS \n</b>\t\tIn Frjestad everyone was talking about evil \n\t\tomens and other horrible things. Two horses had \n\t\teaten each other in the night, and, in the \n\t\tchurchyard, graves had been opened and the \n\t\tremains of corpses scattered all over the \n\t\tplace. Yesterday afternoon there were as many \n\t\tas four suns in the heavens.\n<b> \n</b>The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \ntowards its master, who is sleeping in a sitting position in the blazing hot \nsun. A black cloud of flies clusters around his head and shoulders. The \nmiserable-looking dog whines incessantly as it lies flat on its stomach, \nwagging its tail.\n\nJONS dismounts and approaches the sleeping man. JONS addresses him politely. \nWhen he doesn't receive an answer, he walks up to the man in order to shake \nhim awake. He bends over the sleeping man's shoulder, but quickly pulls back \nhis hand. The man falls backward on the heath, his face turned towards JONS. \nIt is a corpse, staring at JONS with empty eye sockets and white teeth. \n\nJONS remounts and overtakes his master. He takes a drink from his waterskin \nand hands the bag to the knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWell, did he show you the way? \n\n<b>\t\t\t\tJONS \n</b>\t\tNot exactly.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat did he say? \n\n<b>\t\t\t\tJONS \n</b>\t\tNothing.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWas he a mute?\n\n<b>\t\t\t\tJONS \n</b>\t\tNo, sir, I wouldn't say that. As a matter of \n\t\tfact, he was quite eloquent. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOh?\n\n<b>\t\t\t\tJONS \n</b>\t\tHe was eloquent, all right. The trouble is that \n\t\twhat he had to say was most depressing.\n\t\t\t(sings)\n\t\tOne moment you're bright and lively, \n\t\tThe next you're crawling with worms. \n\t\tFate is a terrible villain \n\t\tAnd you, my friend, its poor victim. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMust you sing? \n\n<b>\t\t\t\tJONS \n</b>\t\tNo.\n\nThe KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle \ndown their faces. There is a cloud of dust around the horses' hooves. They \nride past an inlet and along verdant groves. In the shade of some large trees \nstands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \nand is answered by the KNIGHT'S horse. The two travelers do not stop to rest \nunder the shade of the trees but continue riding until they disappear at the \nbend of the road.\n<b> \n</b>\n\nIn his sleep, JOF the juggler hears the neighing of his horse and the answer \nfrom a distance. He tries to go on sleeping, but it is stifling inside the \nwagon. The rays of the sun filtering through the canvas cast streaks of light \nacross the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \nare sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \nsnores loudly. \n\nJOF crawls out of the wagon. There is still a spot of shade under the big \ntrees. He takes a drink of water, gargles, stretches and talks to his scrawny \nold horse. \n\n<b>\t\t\t\tJOF \n</b>\t\tGood morning. Have you had breakfast? I can't \n\t\teat grass, worse luck. Can't you teach me how? \n\t\tWe're a little hard up. People aren't very \n\t\tinterested in juggling in this part of the \n\t\tcountry.\n\nHe has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down \nwith a look of utter astonishment on his face. The wind causes the trees to \nsway slightly. The leaves stir and there is a soft murmur. The flowers and \nthe grass bend gracefully, and somewhere a bird raises its voice in a long \nwarble.\n\nJOF'S face breaks into a smile and his eyes fill with tears. With a dazed \nexpression he sits flat on his behind while the grass rustles softly, and \nbees and butterflies hum around his head. The unseen bird continues to sing.\n\nSuddenly the breeze stops blowing, the bird stops singing, JOF'S smile fades, \nthe flowers and grass wilt in the heat. The old horse is still walking around \ngrazing and swishing its tail to ward off the flies. \n\nJOF comes to life. He rushes into the wagon and shakes MIA awake.\n\n<b>\t\t\t\tJOF \n</b>\t\tMia, wake up. Wake up! Mia, I've just seen \n\t\tsomething. I've got to tell you about it!\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(sits up, terrified)\n\t\tWhat is it? What's happened? \n\n<b>\t\t\t\tJOF \n</b>\t\tListen, I've had a vision. No, it wasn't a \n\t\tvision. It was real, absolutely real.\n\n<b>\t\t\t\tMIA \n</b>\t\tOh, so you've had a vision again!\n\nMIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \nthe shoulders. \n\n<b>\t\t\t\tJOF \n</b>\t\tBut I did see her! \n\n<b>\t\t\t\tMIA \n</b>\t\tWhom did you see? \n\n<b>\t\t\t\tJOF \n</b>\t\tThe Virgin Mary.\n\nMIA can't help being impressed by her husband's fervor. She lowers her voice.\n\n<b>\t\t\t\tMIA \n</b>\t\tDid you really see her?\n\n<b>\t\t\t\tJOF \n</b>\t\tShe was so close to me that I could have \n\t\ttouched her. She had a golden crown on her head \n\t\tand wore a blue gown with flowers of gold. She \n\t\twas barefoot and had small brown hands with \n\t\twhich she was holding the Child and teaching \n\t\tHim to walk. And then she saw me watching her \n\t\tand she smiled at me. My eyes filled with tears \n\t\tand when I wiped them away, she had disappeared. \n\t\tAnd everything became so still in the sky and \n\t\ton the earth. Can you understand ... \n\n<b>\t\t\t\tMIA \n</b>\t\tWhat an imagination you have.\n\n<b>\t\t\t\tJOF \n</b>\t\tYou don't believe me! But it was real, I tell \n\t\tyou, not the kind of reality you see every day, \n\t\tbut a different kind. \n\n<b>\t\t\t\tMIA\n</b>\t\tPerhaps it was the kind of reality you told us \n\t\tabout when you saw the Devil painting our wagon \n\t\twheels red, using his tail as a brush.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(embarrassed)\n\t\tWhy must you keep bringing that up? \n\n<b>\t\t\t\tMIA\n</b>\t\tAnd then you discovered that you had red paint \n\t\tunder your nails.\n\n<b>\t\t\t\tJOF \n</b>\t\tWell, perhaps that time I made it up. \n\t\t\t(eagerly)  \n\t\tI did it just so that you would believe in my \n\t\tother visions. The real ones. The ones that I \n\t\tdidn't make up. \n\n<b>\t\t\t\tMIA \n</b>\t\t\t(severely)\n\t\tYou have to keep your visions under control.\n\t\tOtherwise people will think that you're a \n\t\thalf-wit, which you're not. At least not yet -- \n\t\tas far as I know. But, come to think of it, I'm \n\t\tnot so sure about that.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(angry)\n\t\tI didn't ask to have visions. I can't help it \n\t\tif voices speak to me, if the Holy Virgin \n\t\tappears before me and angels and devils like my \n\t\tcompany.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(sits up)\n\t\tHaven't I told you once and for all that I need \n\t\tmy morning's sleep! I have asked you politely, \n\t\tpleaded with you, but nothing works. So now I'm \n\t\ttelling you to shut up!\n\nHis eyes are popping with rage. He turns over and continues snoring where he \nleft off. MIA and JOF decide that it would be wisest to leave the wagon. They \nsit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \nvigorously. JOF sits close to his wife. Slumped over, he still looks dazed \nand astonished. A dry, hot wind blows from the sea.\n\n<b>\t\t\t\tMIA \n</b>\t\tIf we would only get some rain. Everything is \n\t\tburned to cinders. We won't have anything to \n\t\teat this winter. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(yawning)\n\t\tWe'll get by.\n\nHe says this smilingly, with a casual air. He stretches and laughs \ncontentedly.\n\n<b>\t\t\t\tMIA \n</b>\t\tI want Mikael to have a better life than ours. \n\n<b>\t\t\t\tJOF \n</b>\t\tMikael will grow up to be a great acrobat -- or \n\t\ta juggler who can do the one impossible trick. \n\n<b>\t\t\t\tMIA \n</b>\t\tWhat's that?\n\n<b>\t\t\t\tJOF \n</b>\t\tTo make one of the balls stand absolutely still\n\t\tin the air. \n\n<b>\t\t\t\tMIA \n</b>\t\tBut that's impossible.\n\n<b>\t\t\t\tJOF \n</b>\t\tImpossible for us -- but not for him. \n\n<b>\t\t\t\tMIA \n</b>\t\tYou're dreaming again.\n\nShe yawns. The sun, has made her a bit drowsy and she lies down on the grass.\nJOF does likewise and puts one arm around his wife's shoulders.\n\n<b>\t\t\t\tJOF \n</b>\t\tI've composed a song. I made it up during the \n\t\tnight when I couldn't sleep. Do you want to \n\t\thear it? \n\n<b>\t\t\t\tMIA \n</b>\t\tSing it. I'm very curious.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tI have to sit up first.\n\nHe sits with his legs crossed, makes a dramatic gesture with his arms and \nsings in a loud voice. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(sings)\n\t\tOn a lily branch a dove is perched \n\t\tAgainst the summer sky, \n\t\tShe sings a wondrous song of Christ \n\t\tAnd there's great joy on high.\n\nHe interrupts his singing in order to be complimented by his wife.\n\n<b>\t\t\t\tJOF \n</b>\t\tMia! Are you asleep? \n\n<b>\t\t\t\tMIA \n</b>\t\tIt's a lovely song. \n\n<b>\t\t\t\tJOF \n</b>\t\tI haven't finished yet.\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tI heard it, but I think I'll sleep a little \n\t\tlonger. You can sing the rest to me afterwards. \n\n<b>\t\t\t\tJOF \n</b>\t\tAll you do is sleep.\n\nJOF is a bit offended and glances over at his son, MIKAEL, but he is also \nsleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \nyawns; he is very tired and in a bad humor. In his hands he holds a crudely \nmade death mask.\n\n<b>\t\t\t\tSKAT \n</b>\t\tIs this supposed to be a mask for an actor? If \n\t\tthe priests didn't pay us so well, I'd say no \n\t\tthank you. \n\n<b>\t\t\t\tJOF \n</b>\t\tAre you going to play Death?\n<b> \n</b><b>\t\t\t\tSKAT \n</b>\t\tJust think, scaring decent folk out of their \n\t\twits with this kind of nonsense.\n\n<b>\t\t\t\tJOF \n</b>\t\tWhen are we supposed to do this play?\n\n<b>\t\t\t\tSKAT \n</b>\t\tAt the saints' feast in Elsinore. We're going \n\t\tto perform right on the church steps, believe \n\t\tit or not.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tWouldn't it be better to play something bawdy? \n\t\tPeople like it better, and, besides, it's more \n\t\tfun.\n\n<b>\t\t\t\tSKAT \n</b>\t\tIdiot. There's a rumor going around that \n\t\tthere's a terrible pestilence in the land, and \n\t\tnow the priests are prophesying sudden death \n\t\tand all sorts of spiritual agonies. \n\nMIA is awake now and lies contentedly on her back, sucking on a blade of \ngrass and looking smilingly at her husband.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tAnd what part am I to play?\n\n<b>\t\t\t\tSKAT \n</b>\t\tYou're such a damn fool, so you're going to be \n\t\tthe Soul of Man.\n\n<b>\t\t\t\tJOF \n</b>\t\tThat's a bad part, of course.\n\n<b>\t\t\t\tSKAT \n</b>\t\tWho makes the decisions around here? Who is the\n\t\tdirector of this company anyhow?\n\nSKAT, grinning, holds the mask in front of his face and recites dramatically.\n\n<b>\t\t\t\tSKAT \n</b>\t\tBear this in mind, you fool. Your life hangs by \n\t\ta thread. Your time is short. \n\t\t\t(in his usual voice) \n\t\tAre the women going to like me in this getup? \n\t\tWill I make a hit? No! I feel as if I were dead \n\t\talready.\n\nHe stumbles into the wagon muttering furiously. JOF sits, leaning forward. \nMIA lies beside him on the grass. \n\n<b>\t\t\t\tMIA \n</b>\t\tJof!\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tWhat is it?\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tSit still. Don't move. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhat do you mean? \n\n<b>\t\t\t\tMIA \n</b>\t\tDon't say anything. \n\n<b>\t\t\t\tJOF \n</b>\t\tI'm as silent as a grave. \n\n<b>\t\t\t\tMIA \n</b>\t\tShh! I love you.\n<b> \n</b>\n\nWaves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows \nhim in. When he comes onto the church porch he stops in surprise. To the \nright of the entrance there is a large fresco on the wall, not quite \nfinished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \npaint-stained clothes. He has one brush in his mouth, while with another in \nhis hand he outlines a small, terrified human face amidst a sea of other \nfaces.\n\n<b>\t\t\t\tJONS \n</b>\t\tWhat is this supposed to represent? \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe Dance of Death. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd that one is Death?\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tYes, he dances off with all of them.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWhy do you paint such nonsense?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tI thought it would serve to remind people that \n\t\tthey must die.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWell, it's not going to make them feel any \n\t\thappier. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tWhy should one always make people happy? It \n\t\tmight not be a bad idea to scare them a little \n\t\tonce in a while.\n\n<b>\t\t\t\tJONS \n</b>\t\tThen they'll close their eyes and refuse to \n\t\tlook at your painting.\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tOh, they'll look. A skull is almost more \n\t\tinteresting than a naked woman.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tIf you do scare them ... \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThey'll think. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd if they think ...\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tThey'll become still more scared.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tAnd then they'll run right into the arms of the \n\t\tpriests. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThat's not my business.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tYou're only painting your Dance of Death. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tI'm only painting things as they are. Everyone \n\t\telse can do as he likes.\n\n<b>\t\t\t\tJONS \n</b>\t\tJust think how some people will curse you. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tMaybe. But then I'll paint something amusing \n\t\tfor them to look at. I have to make a living \n\t\t-- at least until the plague takes me.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tThe plague. That sounds horrible.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tYou should see the boils on a diseased man's \n\t\tthroat. You should see how his body shrivels up \n\t\tso that his legs look like knotted strings -- \n\t\tlike the man I've painted over there.\n\nThe PAINTER points with his brush. JONS sees a small human form writhing in \nthe grass, its eyes turned upwards in a frenzied look of horror and pain. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat looks terrible.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tIt certainly does. He tries to rip out the \n\t\tboil, he bites his hands, tears his veins open \n\t\twith his fingernails and his screams can be \n\t\theard everywhere. Does that scare you?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tScare? Me? You don't know me. What are the \n\t\thorrors you've painted over there?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe remarkable thing is that the poor creatures\n\t\tthink the pestilence is the Lord's punishment. \n\t\tMobs of people who call themselves Slaves of \n\t\tSin are swarming over the country, flagellating \n\t\tthemselves and others, all for the glory of God.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo they really whip themselves?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tYes, it's a terrible sight. I crawl into a \n\t\tditch and hide when they pass by.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo you have any brandy? I've been drinking \n\t\twater all day and it's made me as thirsty as a \n\t\tcamel in the desert. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tI think I frightened you after all.\n\nJONS sits down with the PAINTER, who produces a jug of brandy.\n\n\n\nThe KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony \neyes. Christ's face is turned upwards, His mouth open as if in a cry of \nanguish. On the ceiling beam there is a representation of a hideous devil \nspying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the \ngrille for an instant, but the KNIGHT doesn't see him. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want to talk to you as openly as I can, but \n\t\tmy heart is empty.\n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThe emptiness is a mirror turned towards my \n\t\town face. I see myself in it, and I am filled \n\t\twith fear and disgust. \n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThrough my indifference to my fellow men, I \n\t\thave isolated myself from their company. Now I \n\t\tlive in a world of phantoms. I am imprisoned in \n\t\tmy dreams and fantasies. \n\n<b>\t\t\t\tDEATH \n</b>\t\tAnd yet you don't want to die. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I do.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tWhat are you waiting for? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want knowledge. \n\n<b>\t\t\t\tDEATH \n</b>\t\tYou want guarantees?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tCall it whatever you like. Is it so cruelly \n\t\tinconceivable to grasp God with the senses? Why \n\t\tshould He hide himself in a mist of half-spoken \n\t\tpromises and unseen miracles? \n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tHow can we have faith in those who believe when \n\t\twe can't have faith in ourselves? What is going \n\t\tto happen to those of us who want to believe \n\t\tbut aren't able to? And what is to become of \n\t\tthose who neither want to nor are capable of \n\t\tbelieving?\n\nThe KNIGHT stops and waits for a reply, but no one speaks or answers him. \nThere is complete silence. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy can't I kill God within me? Why does He \n\t\tlive on in this painful and humiliating way \n\t\teven though I curse Him and want to tear Him \n\t\tout of my heart? Why, in spite of everything, \n\t\tis He a baffling reality that I can't shake \n\t\toff? Do you hear me? \n\n<b>\t\t\t\tDEATH \n</b>\t\tYes, I hear you.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want knowledge, not faith, not suppositions, \n\t\tbut knowledge. I want God to stretch out His \n\t\thand towards me, reveal Himself and speak to \n\t\tme. \n\n<b>\t\t\t\tDEATH \n</b>\t\tBut He remains silent.\n<b> \n</b><b>\t\t\t\tKNIGHT\n</b>\t\tI call out to Him in the dark but no one seems \n\t\tto be there.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tPerhaps no one is there.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThen life is an outrageous horror. No one can \n\t\tlive in the face of death, knowing that all is \n\t\tnothingness. \n\n<b>\t\t\t\tDEATH \n</b>\t\tMost people never reflect about either death or \n\t\tthe futility of life.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut one day they will have to stand at that \n\t\tlast moment of life and look towards the \n\t\tdarkness. \n\n<b>\t\t\t\tDEATH \n</b>\t\tWhen that day comes ...\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tIn our fear, we make an image, and that image \n\t\twe call God.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tYou are worrying ...\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDeath visited me this morning. We are playing \n\t\tchess together. This reprieve gives me the \n\t\tchance to arrange an urgent matter.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhat matter is that?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tMy life has been a futile pursuit, a wandering, \n\t\ta great deal of talk without meaning. I feel no \n\t\tbitterness or self-reproach because the lives \n\t\tof most people are very much like this. But I \n\t\twill use my reprieve for one meaningful deed. \n\n<b>\t\t\t\tDEATH \n</b>\t\tIs that why you are playing chess with Death? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHe is a clever opponent, but up to now I \n\t\thaven't lost a single man.\n\n<b>\t\t\t\tDEATH \n</b>\t\tHow will you outwit Death in your game? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI use a combination of the bishop and the \n\t\tknight which he hasn't yet discovered. In the \n\t\tnext move I'll shatter one of his flanks.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'll remember that.\n\nDEATH shows his face at the grill of the confession booth for a moment but \ndisappears instantly.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou've tricked and cheated me! But we'll meet \n\t\tagain, and I'll find a way.\n\n<b>\t\t\t\tDEATH \n</b>\t\t\t(invisible)\n\t\tWe'll meet at the inn, and there we'll continue \n\t\tplaying.\n\nThe KNIGHT raises his hand and looks at it in the sunlight which comes \nthrough the tiny window. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThis is my hand. I can move it, feel the blood \n\t\tpulsing through it. The sun is still high in \n\t\tthe sky and I, Antonius Block, am playing \n\t\tchess with Death. \n\nHe makes a fist of his hand and lifts it to his temple.\n\n\n\nMeanwhile, JONS and the PAINTER have got drunk and are talking animatedly \ntogether.\n\n<b>\t\t\t\tJONS \n</b>\t\tMe and my master have been abroad and have just \n\t\tcome home. Do you understand, you little \n\t\tpictor? \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe Crusade.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(drunk)\n\t\tPrecisely. For ten years we sat in the Holy \n\t\tLand and let snakes bite us, flies sting us, \n\t\twild animals eat us, heathens butcher us, the \n\t\twine poison us, the women give us lice, the \n\t\tlice devour us, the fevers rot us, all for the \n\t\tGlory of God. Our crusade was such madness that \n\t\tonly a real idealist could have thought it up. \n\t\tBut what you said about the plague was \n\t\thorrible. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tIt's worse than that.\n\n<b>\t\t\t\tJONS \n</b>\t\tAh, me. No matter which way you turn, you have \n\t\tyour rump behind you. That's the truth.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe rump behind you, the rump behind you \n\t\tthere's a profound truth.\n\nJONS paints a small figure which is supposed to represent himself.\n\n<b>\t\t\t\tJONS \n</b>\t\tThis is squire Jns. He grins at Death, mocks \n\t\tthe Lord, laughs at himself and leers at the \n\t\tgirls. His world is a Jnsworld, believable \n\t\tonly to himself, ridiculous to all including \n\t\thimself, meaningless to Heaven and of no \n\t\tinterest to Hell. \n\nThe KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.\n\nOutside the church, four soldiers and a monk are in the process of putting a \nwoman in the stocks. Her face is pale and child-like, her head has been \nshaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \nshe doesn't appear to be fully conscious. \n\nJONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk \nmumbles from a small book. One of the soldiers picks up a wooden bucket and \nwith his hand begins to smear a bloody paste on the wall of the church and \naround the woman. JONS holds his nose.\n\n<b>\t\t\t\tJONS \n</b>\t\tThat soup of yours has a hell of a stink. What \n\t\tis it good for?\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tShe has had carnal intercourse with the Evil \n\t\tOne. \n\nHe whispers this with a horrified face and continues to splash the sticky \nmess on the wall. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd now she's in the stocks.\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tShe will be burned tomorrow morning at the \n\t\tparish boundary. But we have to keep the Devil \n\t\taway from the rest of us.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(holding his nose)\n\t\tAnd you do that with this stinking mess?\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tIt's the best remedy: blood mixed with the bile \n\t\tof a big black dog. The Devil can't stand the \n\t\tsmell. \n\n<b>\t\t\t\tJONS \n</b>\t\tNeither can I.\n<b> \n</b>JONS walks over towards the horses. The KNIGHT stands for a few, moments \nlooking at the young girl. She is almost a child. Slowly she turns her eyes \ntowards him. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHave you seen the Devil?\n\nThe MONK stops reading and raises his head. \n\n<b>\t\t\t\tMONK \n</b>\t\tYou must not talk to her. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tCan that be so dangerous?\n\n<b>\t\t\t\tMONK \n</b>\t\tI don't know, but she is believed to have \n\t\tcaused the pestilence with which we are \n\t\taffected. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI understand.\n\nHe nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.\n<b> \n</b>\n\nThe sun stands high in the sky, like a red ball of fire. The waterskin is \nempty and JONS looks for a well where he can fill it.\n\nThey approach a group of peasant cottages at the edge of the forest. JONS \nties up the horses, slings the skin over his shoulder and walks along the \npath towards the nearest cottage. As always, his movements are light and \nalmost soundless. The door to the cottage is open. He stops outside, but when \nno one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.\n\nAt the sound of approaching steps, JONS quickly hides behind the door. A man \ncomes down a ladder from the loft. He is broad and thick-set. His eyes are \nblack and his face is pale and puffy. His clothes are well cut but dirty and \nin rags. He carries a cloth sack. Looking around, he goes into the inner \nroom, bends over the bed, tucks something into the bag, slinks along the \nwalls, looking on the shelves, finds something else which he tucks in his \nbag.\n\nSlowly he re-enters the outer room, bends over the dead woman and carefully \nslips a ring from her finger. At that moment a young woman comes through the \ndoor. She stops and stares at the stranger.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tWhy do you look so surprised? I steal from the \n\t\tdead. These days it's quite a lucrative \n\t\tenterprise. \n\nThe GIRL makes a movement as if to run away. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tYou're thinking of running to the village and \n\t\ttelling. That wouldn't serve any purpose. Each \n\t\tof us has to save his own skin. It's as simple \n\t\tas that. \n\n<b>\t\t\t\tGIRL \n</b>\t\tDon't touch me.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tDon't try to scream. There's no one around to \n\t\thear you, neither God nor man.\n\nSlowly he closes the door behind the GIRL. The stuffy room is now in almost \ntotal darkness. But JONS becomes clearly visible.\n\n<b>\t\t\t\tJONS \n</b>\t\tI recognize you, although it's a long time \n\t\tsince we met. Your name is Raval, from the \n\t\ttheological college at Roskilde. You are Dr. \n\t\tMirabilis, Coelestis et Diabilis. \n\nRAVAL smiles uneasily and looks around. \n\n<b>\t\t\t\tJONS \n</b>\t\tAm I not right?\n\nThe GIRL stands immobile.\n\n<b>\t\t\t\tJONS \n</b>\t\tYou were the one who, ten years ago, convinced \n\t\tmy master of the necessity to join a better-\n\t\tclass crusade to the Holy Land.\n\nRAVAL looks around.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tYou look uncomfortable. Do you have a stomach-\n\t\tache? \n\nRAVAL smiles anxiously.\n\n<b>\t\t\t\tJONS \n</b>\t\tWhen I see you, I suddenly understand the \n\t\tmeaning of these ten years, which previously \n\t\tseemed to me such a waste. Our life was too \n\t\tgood and we were too satisfied with ourselves. \n\t\tThe Lord wanted to punish us for our \n\t\tcomplacency. That is why He sent you to spew \n\t\tout your holy venom and poison the knight.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tI acted in good faith.\n\n<b>\t\t\t\tJONS \n</b>\t\tBut now you know better, don't you? Because \n\t\tnow you have turned into a thief. A more \n\t\tfitting and rewarding occupation for \n\t\tscoundrels. Isn't that so?\n\nWith a quick movement he knocks the knife out of RAVAL'S hand, gives him a \nkick so that he falls on the floor and is about to finish him off. Suddenly \nthe GIRL screams. JONS stops and makes a gesture of generosity with his hand.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tBy all means. I'm not bloodthirsty. \n\nHe bends over RAVAL. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tDon't beat me.\n\n<b>\t\t\t\tJONS \n</b>\t\tI don't have the heart to touch you, Doctor. \n\t\tBut remember this: the next time we meet, I'll \n\t\tbrand your face the way one does with thieves. \n\t\t\t(he rises)\n\t\tWhat I really came for is to get my waterskin \n\t\tfilled.\n\n<b>\t\t\t\tGIRL \n</b>\t\tWe have a deep well with cool, fresh water. \n\t\tCome, I'll show you.\n\nThey walk out of the house. RAVAL lies still for a few moments, then he rises \nslowly and looks around. When no one is in sight, he takes his bag and steals \naway. JONS quenches his thirst and fills his bag with water. The GIRL helps \nhim.\n\n<b>\t\t\t\tJONS \n</b>\t\tJns is my name. I am a pleasant and talkative \n\t\tyoung man who has never had anything but kind \n\t\tthoughts and has only done beautiful and noble \n\t\tdeeds. I'm kindest of all to young women. With \n\t\tthem, there is no limit to my kindness. \n\nHe embraces her and tries to kiss her, but she holds herself back. Almost \nimmediately he loses interest, hoists the waterbag on his shoulder and pats \nthe GIRL on the cheek.\n\n<b>\t\t\t\tJONS \n</b>\t\tGoodbye, my girl. I could very well have raped \n\t\tyou, but between you and me, I'm tired of that \n\t\tkind of love. It runs a little dry in the end.\n\nHe laughs kindly and walks away from her. When he has walked a short distance \nhe turns; the GIRL is still there.\n\n<b>\t\t\t\tJONS \n</b>\t\tNow that I think of it, I will need a \n\t\thousekeeper. Can you prepare good food? \n\t\t\t(the GIRL nods)\n\t\tAs far as I know, I'm still a married man, but\n\t\tI have high hopes that my wife is dead by now.\n\t\tThat's why I need a housekeeper. \n\t\t\t(the GIRL doesn't \n\t\t\tanswer but gets up)\n\t\tThe devil with it! Come along and don't stand \n\t\tthere staring. I've saved your life, so you owe \n\t\tme a great deal.\n\nShe begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.\n<b> \n</b>\n\nThe Embarrassment Inn lies in the eastern section of the province. The plague \nhas not yet reached this area on its way along the coast.\n\nThe actors have placed their wagon under a tree in the yard of the inn. \nDressed in colorful costumes, they perform a farce.\n\nThe spectators watch the performance, commenting on it noisily. There are\nmerchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \nand milkmaids. A whole flock of children perch in the trees around the wagon.\n<b> \n</b>The KNIGHT and his squire have sat down in the shadow of a wall. They drink \nbeer and doze in the midday heat. The GIRL from the deserted village sleeps \nat JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \nand lively dance. They perspire under the hot white sun. When they have \nfinished SKAT comes forward and bows.\n\n<b>\t\t\t\tSKAT \n</b>\t\tNoble ladies and gentlemen, I thank you for \n\t\tyour interest. Please remain standing for a\n\t\tlittle longer, or sit on the ground, because \n\t\twe are now going to perform a tragedia about \n\t\tan unfaithful wife, her jealous husband, and \n\t\tthe handsome lover -- that's me.\n\nMIA and JOF have quickly changed costumes and again step out on the stage. \nThey bow, to the public. \n\n<b>\t\t\t\tSKAT \n</b>\t\tHere is the husband. Here is the wife. If \n\t\tyou'll shut up over there, you'll see something \n\t\tsplendid. As I said, I play the lover and I \n\t\thaven't entered yet. That's why I'm going to \n\t\thide behind the curtain for the time being. \n\t\t\t(he wipes the sweat \n\t\t\tfrom his forehead)\n\t\tIt's damned hot. I think we'll have a \n\t\tthunderstorm.\n\nHe places his leg in front of JOF as if to trip him, raises MIA's skirt, \nmakes a face as if he could see all the wonders of the world underneath it, \nand disappears behind the gaudily patched curtains.\n\nSKAT is very handsome, now that he can see himself in the reflection of a tin \nwashbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \nglittering earrings vie for equal attention with his teeth, and his cheeks \nare flushed rose red.\n<b> \n</b>He sits out in back on the tailboard of the wagon, dangling his legs and \nwhistling to himself.\n<b> \n</b>In the meantime JOF and MIA play their tragedy; it is not, however, received \nwith great acclaim. SKAT suddenly discovers that someone is watching him as \nhe gazes contentedly into the tin bowl. A woman stands there, stately in both \nheight and volume.\n<b> \n</b>SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her \nshoes doesn't quite fit. She leans down to fix it and in doing so allows her \ngenerous bosom to burst out of its prison -- no more than honor and chastity \nallow, but still enough so that the actor with his experienced eye \nimmediately sees that there are ample rewards to be had here.\n\nNow she comes a little closer, kneels down and opens a bundle containing \nseveral dainty morsels and a skin filled with red wine. JONAS SKAT manages \nnot to fall off the wagon in his excitement. Standing on the steps of the \nwagon, he supports himself against a nearby tree, crosses his legs and bows.\n<b> \n</b>The woman quietly bites into a chicken leg dripping with fat. At this moment \nthe actor is stricken by a radiant glance full of lustful appetites.\n\nWhen he sees this look, SKAT makes an instantaneous decision, jumps down from \nthe wagon and kneels in front of the blushing damsel.\n\nShe becomes weak and faint from his nearness, looks at him with a glassy \nglance and breathes heavily. SKAT doesn't neglect to press kisses on her \nsmall, chubby hands. The sun shines brightly and small birds make noises in \nthe bushes.\n\nNow she is forced to sit back; her legs seem unwilling to support her any \nlonger. Bewildered, she singles out another chicken leg from the large sack \nof food and holds it up in front of SKAT with an appealing and triumphant \nexpression, as if it were her maidenhood being offered as a prize.\n\nSKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.\n\nHis words seem to please her. She puts her arms around the actor's neck and \npulls him to her with such fierceness that both of them lose their balance \nand tumble down on the soft grass. The small birds take to their wings with \nfrightened shrieks.\n\n\n\nJOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \nto be asleep on a bench which has been pulled forward on the stage. \n\n<b>\t\t\t\tJOF \n</b>\t\tNight and moonlight now prevail \n\t\tHere sleeps my wife so frail ... \n\n<b>\t\t\t\tVOICE FROM THE PUBLIC\n</b>\t\tDoes she snore?\n\n<b>\t\t\t\tJOF \n</b>\t\tMay I point out that this is a tragedy, and in \n\t\ttragedies one doesn't snore.\n\n<b>\t\t\t\tVOICE FROM THE PUBLIC\n</b>\t\tI think she should snore anyhow. \n\nThis opinion causes mirth in the audience. JOF becomes slightly confused and \ngoes out of character, but MIA keeps her head and begins snoring. \n\n<b>\t\t\t\tJOF \n</b>\t\tNight and moonlight now prevail.\n\t\tThere snores -- I mean sleeps -- my wife so frail. \n\t\tJealous I am, as never before, \n\t\tI hide myself behind this door. \n\t\tFaithful is she \n\t\tTo her lover -- not me. \n\t\tHe soon comes a-stealing \n\t\tTo awaken her lusty feeling. \n\t\tI shall now kill him dead \n\t\tFor cuckolding me in my bed. \n\t\tThere he comes in the moonlight, \n\t\tHis white legs shining bright. \n\t\tQuiet as a mouse, here I'll lie, \n\t\tTell him not that he's about to die.\n\nJOF hides himself. MIA immediately ends her snoring and sits up, looking to \nthe left. \n\n<b>\t\t\t\tMIA \n</b>\t\tLook, there he comes in the night \n\t\tMy lover, my heart's delight.\n\nShe becomes silent and looks wide-eyed in front of her. The mood in the yard \nin front of the inn has, up to now, been rather lighthearted despite the \nheat.\n<b> \n</b>Now a rapid change occurs. People who had been laughing and chattering fall \nsilent. Their faces seem to pale under their sunbrowned skins, the children \nstop their games and stand with gaping mouths and frightened eyes.\n<b> \n</b>JOF steps out in front of the curtain. His painted face bears an expression \nof horror. MIA has risen with MIKAEL in her arms. Some of the women in the \nyard have fallen on their knees, others hide their faces, many begin to \nmutter half-forgotten prayers.\n\nAll have turned their faces towards the white road. Now a shrill song is \nheard. It is frenzied, almost a scream. A crucified Christ sways above the \nhilltop.\n\nThe cross-bearers soon come into sight. They are Dominican monks, their hoods \npulled down over their faces. More and more of them follow, carrying litters \nwith heavy coffins or clutching holy relics, their hands stretched out \nspasmodically. The dust wells up around their black hoods; the censers sway \nand emit a thick, ashen smoke which smells of rancid herbs.\n\nAfter the line of monks comes another procession. It is a column of men, \nboys, old men, women, girls, children. All of them have steel-edged scourges \nin their hands with which they whip themselves and each other, howling \necstatically. They twist in pain; their eyes bulge wildly; their lips are \ngnawed to shreds and dripping with foam. They have been seized by madness. \nThey bite their own hands and arms, whip each other in violent, almost \nrhythmic outbursts. Throughout it all the shrill song howls from their \nbursting throats. Many sway and fall, lift themselves up again, support each\nother and help each other to intensify the scourging.\n\nNow the procession pauses at the crossroads in front of the inn. The monks \nfall on their knees, hiding their faces with clenched hands, arms pressed \ntightly together. Their song never stops. The Christ figure on its timbered \ncross is raised above the heads of the crowd. It is not Christ triumphant, \nbut the suffering Jesus with the sores, the blood, the hammered nails and the \nface in convulsive pain. The Son of God, nailed on the wood of the cross, \nsuffering scorn and shame.\n<b> \n</b>The penitents have now sunk down in the dirt of the road. They collapse where \nthey stood like slaughtered cattle. Their screams rise with the song of the \nmonks, through misty clouds of incense, towards the white fire of the sun.\n<b> \n</b>A large square monk rises from his knees and reveals his face, which is red-\nbrown from the sun. His eyes glitter; his voice is thick with impotent scorn.\n\n<b>\t\t\t\tMONK\n</b>\t\tGod has sentenced us to punishment. We shall \n\t\tall perish in the black death. You, standing \n\t\tthere like gaping cattle, you who sit there in \n\t\tyour glutted complacency, do you know that this \n\t\tmay be your last hour? Death stands right \n\t\tbehind you. I can see how his crown gleams in \n\t\tthe sun. His scythe flashes as he raises it \n\t\tabove your heads. Which one of you shall he \n\t\tstrike first? You there, who stand staring like \n\t\ta goat, will your mouth be twisted into the \n\t\tlast unfinished gasp before nightfall? And you, \n\t\twoman, who bloom with life and self-\n\t\tsatisfaction, will you pale and become \n\t\textinguished before the morning dawns? You back\n\t\tthere, with your swollen nose and stupid grin, \n\t\tdo you have another year left to dirty the \n\t\tearth with your refuse? Do you know, you \n\t\tinsensible fools, that you shall die today or \n\t\ttomorrow, or the next day, because all of you \n\t\thave been sentenced? Do you hear what I say? Do \n\t\tyou hear the word? You have been sentenced, \n\t\tsentenced! \n\nThe MONK falls silent, looking around with a bitter face and a cold, scornful\nglance. Now, he clenches his hands, straddles the ground and turns his face\nupwards. \n\n<b>\t\t\t\tMONK\n</b>\t\tLord have mercy on us in our humiliation! Don't \n\t\tturn your face from us in loathing and \n\t\tcontempt, but be merciful to us for the sake of \n\t\tyour son, Jesus Christ. \n\nHe makes the sign of the cross over the crowd and then begins a new song in a\nstrong voice. The monks rise and join in the song. As if driven by some \nsuperhuman force, the penitents begin to whip themselves again, still wailing \nand moaning.\n\nThe procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.\n\n<b>\t\t\t\tJONS \n</b>\t\tThis damned ranting about doom. Is that food \n\t\tfor the minds of modern people? Do they really \n\t\texpect us to take them seriously?\n\nThe KNIGHT grins tiredly.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, now you grin at me, my lord. But allow me \n\t\tto point out that I've either read, heard or \n\t\texperienced most of the tales which we people \n\t\ttell each other. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(yawns) \n\t\tYes, yes.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tEven the ghost stories about God the Father, \n\t\tthe angels, Jesus Christ and the Holy Ghost --\n\t\tall these I've accepted without too much \n\t\temotion.\n\nHe leans down over the GIRL as she crouches at his feet and pats her on the \nhead. The KNIGHT drinks his beer silently.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(contentedly)\n\t\tMy little stomach is my world, my head is my \n\t\teternity, and my hands, two wonderful suns. My \n\t\tlegs are time's damned pendulums, and my dirty \n\t\tfeet are two splendid starting points for my \n\t\tphilosophy. Everything is worth precisely as \n\t\tmuch as a belch, the only difference being that \n\t\ta belch is more satisfying.\n\nThe beer mug is empty. Sighing, JONS gets to his feet. The GIRL follows him \nlike a shadow.\n\nIn the yard he meets a large man with a sooty face and a dark expression. He \nstops JONS with a roar. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhat are you screaming about?\n\n<b>\t\t\t\tPLOG \n</b>\t\tI am Plog, the smith, and you are the squire \n\t\tJns. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat's possible.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHave you seen my wife?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tNo, I haven't. But if I had seen her and she \n\t\tlooked like you, I'd quickly forget that I'd \n\t\tseen her. \n\n<b>\t\t\t\tPLOG\n</b>\t\tWell, in that case you haven't seen her. \n\n<b>\t\t\t\tJONS \n</b>\t\tMaybe she's run off. \n\n<b>\t\t\t\tPLOG \n</b>\t\tDo you know anything?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tI know quite a lot, but not about your wife. Go \n\t\tto the inn. Maybe they can help you.\n\nThe smith sighs sadly and goes inside.\n\nThe inn is very small and full of people eating and drinking to forget their \nnewly aroused fears of eternity. In the open fireplace a roasting pig turns\non an iron spit. The sun shines outside the casement window, its sharp rays\npiercing the darkness of the room, which is thick with fumes and\nperspiration.\n<b> \n</b><b>\t\t\t\tMERCHANT\n</b>\t\tYes, it's true! The plague is spreading along \n\t\tthe west coast. People are dying like flies. \n\t\tUsually business would be good at this time of \n\t\tyear, but, damn it, I've still got my whole \n\t\tstock unsold.\n\n<b>\t\t\t\tWOMAN \n</b>\t\tThey speak of the judgment day. And all these \n\t\tomens are terrible. Worms, chopped-off hands \n\t\tand other monstrosities began pouring out of \n\t\tan old woman, and down in the village another \n\t\twoman gave birth to a calf's head. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe day of judgment. Imagine.\n\n<b>\t\t\t\tFARMER\n</b>\t\tIt hasn't rained here for a month. We'll surely \n\t\tlose our crops.\n\n<b>\t\t\t\tMERCHANT\n</b>\t\tAnd people are acting crazy, I'd say. They flee \n\t\tthe country and carry the plague with them \n\t\twherever they go. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe day of judgment. Just think, just think! \n\n<b>\t\t\t\tFARMER \n</b>\t\tIf it's as they say, I suppose a person should \n\t\tlook after his house and try to enjoy life as \n\t\tlong as he can. \n\n<b>\t\t\t\tWOMAN \n</b>\t\tBut there have been other things too, such \n\t\tthings that can't even be spoken of. \n\t\t\t(whispers)\n\t\tThings that mustn't be named -- but the priests \n\t\tsay that the woman carries it between her legs \n\t\tand that's why she must cleanse herself. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tJudgment day. And the Riders of the Apocalypse \n\t\tstand at the bend in the village road. I \n\t\timagine they'll come on judgment night, at \n\t\tsundown.\n\n<b>\t\t\t\tWOMAN \n</b>\t\tThere are many who have purged themselves with\n\t \tfire and died from it, but the priests say that \n\t\tit's better to die pure than to live for hell.\n<b> \n</b><b>\t\t\t\tMERCHANT \n</b>\t\tThis is the end, yes, it is. No one says it out\n\t\tloud, but all of us know that it's the end. And \n\t\tpeople are going mad from fear.\n\n<b>\t\t\t\tFARMER\n</b>\t\tSo you're afraid too. \n\n<b>\t\t\t\tMERCHANT\n</b>\t\tOf course I'm afraid.\n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe judgment day becomes night, and the angels \n\t\tdescend and the graves open. It will be \n\t\tterrible to see. \n\nThey whisper in low tones and sit close to each other.\n\n\n\nPLOG, the smith, shoves his way into a place next to JOF, who is still \ndressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \nhis face perspiring heavily. RAVAL rolls an armlet out on the table. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tDo you want this armlet? You can have it \n\t\tcheap. \n\n<b>\t\t\t\tJOF \n</b>\t\tI can't afford it. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tIt's real silver.\n\n<b>\t\t\t\tJOF \n</b>\t\tIt's nice. But it's surely too expensive for \n\t\tme. \n\n<b>\t\t\t\tPLOG \n</b>\t\tExcuse me, but has anyone here seen my wife? \n\n<b>\t\t\t\tJOF \n</b>\t\tHas she disappeared? \n\n<b>\t\t\t\tPLOG \n</b>\t\tThey say she's run away. \n\n<b>\t\t\t\tJOF \n</b>\t\tHas she deserted you? \n\n<b>\t\t\t\tPLOG \n</b>\t\tWith an actor.\n\n<b>\t\t\t\tJOF \n</b>\t\tAn actor! If she's got such bad taste, then I \n\t\tthink you should let her go.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou're right. My first thought, of course, was \n\t\tto kill her.\n\n<b>\t\t\t\tJOF \n</b>\t\tOh. But to murder her, that's a terrible thing \n\t\tto do. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI'm also going to kill the actor. \n\n<b>\t\t\t\tJOF \n</b>\t\tThe actor?\n\n<b>\t\t\t\tPLOG \n</b>\t\tOf course, the one she eloped with. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhat has he done to deserve that? \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you stupid?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tThe actor! Now I understand. There are too many \n\t\tof them, so even if he hasn't done anything in \n\t\tparticular you ought to kill him merely because \n\t\the's an actor. \n\n<b>\t\t\t\tPLOG \n</b>\t\tYou see, my wife has always been interested in \n\t\tthe tricks of the theatre.\n\n<b>\t\t\t\tJOF \n</b>\t\tAnd that turned out to be her misfortune. \n\n<b>\t\t\t\tPLOG \n</b>\t\tHer misfortune, but not mine, because a person \n\t\twho's born unfortunate can hardly suffer from \n\t\tany further misfortune. Isn't that true?\n\nNow RAVAL enters the discussion. He is slightly drunk and his voice is shrill \nand evil.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tListen, you! You sit there and lie to the \n\t\tsmith. \n\n<b>\t\t\t\tJOF \n</b>\t\tI! A liar!\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tYou're an actor too and it's probably your \n\t\tpartner who's run off with Plog's old lady. \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you an actor too?\n\n<b>\t\t\t\tJOF \n</b>\t\tAn actor! Me! I wouldn't quite call myself that! \n\n<b>\t\t\t\tRAVAL \n</b>\t\tWe ought to kill you; it's only logical. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(laughs)\n\t\tYou're really funny.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tHow strange -- you've turned pale. Have you \n\t\tanything on your conscience?\n\n<b>\t\t\t\tJOF \n</b>\t\tYou're funny. Don't you think he's funny? \n\t\t\t(to Plog)\n\t\tOh, you don't.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tMaybe we should mark you up a little with a \n\t\tknife, like they do petty scoundrels of your \n\t\tkind.\n\nPLOG bangs his hands down on the table so that the dishes jump. He gets up.\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\t\t(shouting)\n\t\tWhat have you done with my wife? \n\nThe room becomes silent. JOF looks around, but there is no exit, no way to \nescape. He puts his hands on the table. Suddenly a knife flashes through the \nair and sinks into the table top between his fingers.\n\nJOF snatches away his hands and raises his head. He looks half surprised, as \nif the truth had just become apparent to him.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tDo you want to hurt me? Why? Have I provoked \n\t\tsomeone, or got in the way? I'll leave right \n\t\tnow and never come back.\n\nJOF looks from one face to another, but no one seems ready to help him or \ncome to his defense.\n<b> \n</b><b> \t\t\t\tRAVAL \n</b>\t\tGet up so everyone can hear you. Talk louder. \n\nTrembling, JOF rises. He opens his mouth as if to say something, but not a \nword comes out.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tStand on your head so that we can see how good \n\t\tan actor you are.\n\nJOF gets up on the table and stands on his head. A hand pushes him forward so\nthat he collapses on the floor. PLOG rises, pulls him to his feet with one \nhand. \n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(shouts) \n\t\tWhat have you done with my wife? \n\nPLOG beats him so furiously that JOF flies across the table. RAVAL leans over\nhim.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tDon't lie there moaning. Get up and dance. \n\n<b>\t\t\t\tJOF \n</b>\t\tI don't want to. I can't.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tShow us how you imitate a bear. \n\n<b>\t\t\t\tJOF \n</b>\t\tI can't play a bear.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tLet's see if you can't after all.\n\nRAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop \non top of the tables, swinging his arms and legs and making grotesque faces.\nSome laugh, but most of the people sit silently. JOF gasps as if his lungs \nwere about to burst. He sinks to his knees, and someone pours beer over him. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tUp again! Be a good bear.\n\n<b>\t\t\t\tJOF \n</b>\t\tI haven't done any harm. I haven't got the \n\t\tstrength to play a bear any more.\n\nAt that moment the door opens and JONS enters. JOF sees his chance and steals\nout. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \neach other. \n\n<b>\t\t\t\tJONS \n</b>\t\tDo you remember what I was going to do to you \n\t\tif we met again?\n\nRAVAL steps back without speaking. \n\n<b>\t\t\t\tJONS \n</b>\t\tI'm a man who keeps his word.\n\nJONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \ntowards the wall.\n<b> \n</b>\n\nThe hot day has become night. Singing and howling can be heard from the inn. \nIn a hollow near the forest, the light still lingers. Hidden in the grass and\nthe shrubbery, nightingales sing and their voices echo through the stillness.\n<b> \n</b>The players' wagon stands in a small ravine, and not far away the horse \ngrazes on the dry grass. MIA has sat down in front of the wagon with her son \nin her arms. They play together and laugh happily.\n\nNow, a soft gleam of light strokes the hilltops, a last reflection from the \nred clouds over the sea.\n\nNot far from the wagon, the KNIGHT sits crouched over his chess game. He \nlifts his head.\n\nThe evening light moves across the heavy wagon wheels, across the woman and \nthe child. The KNIGHT gets up.\n\nMIA sees him and smiles. She holds up her struggling son, as if to amuse the \n<b>KNIGHT. \n</b>\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat's his name? \n\n<b>\t\t\t\tMIA \n</b>\t\tMikael.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow old is he? \n\n<b>\t\t\t\tMIA \n</b>\t\tOh, he'll soon be two. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHe's big for his age.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you think so? Yes, I guess he's rather big. \n\nShe puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou played some kind of show this afternoon. \n\n<b>\t\t\t\tMIA \n</b>\t\tDid you think it was bad?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou are more beautiful now without your face \n\t\tpainted, and this gown is more becoming.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou see, Jonas Skat has run off and left us, \n\t\tso we're in real trouble now.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIs that your husband?\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(laughs)\n\t\tJonas! The other man is my husband. His name is \n\t\tJof.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tOh, that one.\n\n<b>\t\t\t\tMIA \n</b>\t\tAnd now there's only him and me. We'll have to \n\t\tstart doing tricks again and that's more \n\t\ttrouble than it's worth. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDo you do tricks also?\n\n<b>\t\t\t\tMIA \n</b>\t\tWe certainly do. And Jof is a very skillful \n\t\tjuggler.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIs Mikael going to be an acrobat? \n\n<b>\t\t\t\tMIA \n</b>\t\tJof wants him to be. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut you don't.\n\n<b>\t\t\t\tMIA \n</b>\t\tI don't know.\n\t\t\t(smiling)\n\t\tPerhaps he'll become a knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tLet me assure you, that's no pleasure either. \n\n<b>\t\t\t\tMIA \n</b>\t\tNo, you don't look so happy. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo.\n\n<b>\t\t\t\tMIA \n</b>\t\tAre you tired? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes. \n\n<b>\t\t\t\tMIA \n</b>\t\tWhy?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tI have dull company. \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you mean your squire? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo, not him.\n\n<b>\t\t\t\tMIA \n</b>\t\tWho do you mean, then? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMyself. \n\n<b>\t\t\t\tMIA \n</b>\t\tI understand. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDo you, really?\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tYes, I understand rather well. I have often \n\t\twondered why people torture themselves as often \n\t\tas they can. Isn't that so?\n\nShe nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass \nmound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like \na child, and his body sways. He kneels. MIA holds him close to her and \nsprinkles him with small, anxious questions: What have you done? How are you?\nWhat is it? Does it hurt? What can I do? Have they been cruel to you? She \nruns for a rag, which she dips in water, and carefully bathes her husband's\ndirty, bloody face.\n<b> \n</b>Eventually a rather sorrowful visage emerges. Blood runs from a bruise on his \nforehead and his nose, and a tooth has been loosened, but otherwise JOF seems \nunhurt. \n\n<b>\t\t\t\tJOF \n</b>\t\tOuch, it hurts.\n\n<b>\t\t\t\tMIA\n</b>\t\tWhy did you have to go there? And of course you \n\t\tdrank.\n\nMIA's anxiety has been replaced by a mild anger. She pats him a little harder \nthan necessary. \n\n<b>\t\t\t\tJOF \n</b>\t\tOuch! I didn't drink anything.\n\n<b>\t\t\t\tMIA\n</b>\t\tThen I suppose you were boasting about the \n\t\tangels and devils you consort with. People \n\t\tdon't like someone who has too many ideas and \n\t\tfantasies.\n\n<b>\t\t\t\tJOF \n</b>\t\tI swear to you that I didn't say a word about \n\t\tangels. \n\n<b>\t\t\t\tMIA\n</b>\t\tYou were, of course, busy singing and dancing. \n\t\tYou can never stop being an actor. People also \n\t\tbecome angry at that, and you know it.\n\nJOF doesn't answer but searches for the armlet. He holds it up in front of \nMIA with an injured expression. \n\n<b>\t\t\t\tJOF \n</b>\t\tLook what I bought for you. \n\n<b>\t\t\t\tMIA \n</b>\t\tYou couldn't afford it. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(angry)\n\t\tBut I got it anyhow.\n\nThe armlet glitters faintly in the twilight. MIA now pulls it across her \nwrist. They look at it in silence, and their faces soften. They look at each \nother, touch each other's hands. JOF puts his head against MIA'S shoulder and \nsighs.\n\n<b>\t\t\t\tJOF \n</b>\t\tOh, how they beat me.\n\n<b>\t\t\t\tMIA \n</b>\t\tWhy didn't you beat them back?\n\n<b>\t\t\t\tJOF \n</b>\t\tI only become frightened and angry. I never get \n\t\ta chance to hit back. I can get angry, you know \n\t\tthat. I roared like a lion.\n\n<b>\t\t\t\tMIA\n</b>\t\tWere they frightened? \n\n<b>\t\t\t\tJOF \n</b>\t\tNo, they just laughed.\n\nTheir son MIKAEL crawls over to them. JOF lies down on the ground and pulls \nhis son on top of him. MIA gets down on her hands and knees and playfully \nsniffs at MIKAEL.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you notice how good he smells?\n\n<b>\t\t\t\tJOF \n</b>\t\tAnd he is so compact to hold. You're a sturdy \n\t\tone. A real acrobat's body.\n\nHe lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \nremembering the knight's presence. \n\n<b>\t\t\t\tMIA \n</b>\t\tYes, this is my husband, Jof. \n\n<b>\t\t\t\tJOF \n</b>\t\tGood evening. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tGood evening.\n<b> \n</b>JOF becomes a little embarrassed and rises. All three of them look at one \nanother silently.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tI have just told your wife that you have a \n\t\tsplendid son. He'll bring great joy to you. \n\n<b>\t\t\t\tJOF \n</b>\t\tYes, he's fine.\n<b>     \n</b>They become silent again.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tHave we nothing to offer the knight, Mia? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThank you, I don't want anything.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(housewifely)\n\t\tI picked a basket of wild strawberries this \n\t\tafternoon. And we have a drop of milk fresh \n\t\tfrom a cow ... \n\n<b>\t\t\t\tJOF \n</b>\t\t... that we were allowed to milk. So, if you \n\t\twould like to partake of this humble fare, it \n\t\twould be a great honor. \n\n<b>\t\t\t\tMIA \n</b>\t\tPlease be seated and I'll bring the food. \n\nThey sit down. MIA disappears with MIKAEL. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhere are you going next? \n\n<b>\t\t\t\tJOF \n</b>\t\tUp to the saints' feast at Elsinore. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI wouldn't advise you to go there. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhy not, if I may ask?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThe plague has spread in that direction, \n\t\tfollowing the coast line south. It's said that \n\t\tpeople are dying by the tens of thousands.\n\n<b>\t\t\t\tJOF \n</b>\t\tReally! Well, sometimes life is a little hard. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMay I suggest ... \n\t\t\t(JOF looks at him, surprised)\n \t\t... that you follow me through the forest \n\t\ttonight and stay at my home if you like. Or go \n\t\talong the east coast. You'll probably be safer \n\t\tthere.\n\nMIA has returned with a bowl of wild strawberries and the milk, places it \nbetween them and gives each of them a spoon.\n\n<b>\t\t\t\tJOF \n</b>\t\tI wish you good appetite. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI humbly thank you.\n\n<b>\t\t\t\tMIA \n</b>\t\tThese are wild strawberries from the forest. I \n\t\thave never seen such large ones. They grow up \n\t\tthere on the hillside. Notice how they smell!\n\nShe points with a spoon and smiles. The KNIGHT nods, as if he were pondering \nsome profound thought. JOF eats heartily.\n\n<b>\t\t\t\tJOF \n</b>\t\tYour suggestion is good, but I must think it \n\t\tover. \n\n<b>\t\t\t\tMIA \n</b>\t\tIt might be wise to have company going through \n\t\tthe forest. It's said to be full of trolls and \n\t\tghosts and bandits. That's what I've heard.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(staunchly)\n\t\tYes, I'd say that it's not a bad idea, but I \n\t\thave to think about it. Now that Skat has left, \n\t\tI am responsible for the troupe. After all, I \n\t\thave become director of the whole company.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(mimics) \n\t\tAfter all, I have become director of the whole \n\t\tcompany.\n\nJONS comes walking slowly down the hill, closely followed by the GIRL. MIA \npoints with her spoon. \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you want some strawberries?\n\n<b>\t\t\t\tJOF \n</b>\t\tThis man saved my life. Sit down, my friend, \n\t\tand let us be together.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(stretches herself) \n\t\tOh, how nice this is. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tFor a short while.\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tNearly always. One day is like another. There \n\t\tis nothing strange about that. The summer, of \n\t\tcourse, is better than the winter, because in \n\t\tsummer you don't have to be cold. But spring is \n\t\tbest of all.\n\n<b>\t\t\t\tJOF \n</b>\t\tI have written a poem about the spring. Perhaps \n\t\tyou'd like to hear it. I'll run and get my lyre. \n\nHe sprints towards the wagon.\n<b> \n</b><b> \t\t\t\tMIA \n</b>\t\tNot now, Jof. Our guests may not be amused by \n\t\tyour songs.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(politely) \n\t\tBy all means. I write little songs myself. For \n\t\texample, I know a very funny song about a \n\t\twanton fish which I doubt that you've heard yet. \n\nThe KNIGHT looks at him.\n\n<b>\t\t\t\tJONS \n</b>\t\tYou'll not get to hear it either. There are \n\t\tpersons here who don't appreciate my art and I \n\t\tdon't want to upset anyone. I'm a sensitive \n\t\tsoul.\n\nJOF has come out with his lyre, sits on a small, gaudy box and plucks at the \ninstrument, humming quietly, searching for his melody. JONS yawns and lies \ndown. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tPeople are troubled by so much.\n\n<b>\t\t\t\tMIA \n</b>\t\tIt's always better when one is two. Have you no \n\t\tone of your own?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I think I had someone. \n\n<b>\t\t\t\tMIA \n</b>\t\tAnd what is she doing now? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI don't know.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou look so solemn. Was she your beloved? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWe were newly married and we played together. \n\t\tWe laughed a great deal. I wrote songs to her \n\t\teyes, to her nose, to her beautiful little \n\t\tears. We went hunting together and at night we \n\t\tdanced. The house was full of life ... \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you want some more strawberries?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head)\n\t\tFaith is a torment, did you know that? It is \n\t\tlike loving someone who is out there in the \n\t\tdarkness but never appears, no matter how \n\t\tloudly you call. \n\n<b>\t\t\t\tMIA \n</b>\t\tI don't understand what you mean.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tEverything I've said seems meaningless and \n\t\tunreal while I sit here with you and your \n\t\thusband. How unimportant it all becomes \n\t\tsuddenly.\n\nHe takes the bowl of milk in his hand and drinks deeply from it several \ntimes. Then he carefully puts it down and looks up, smiling.\n\n<b>\t\t\t\tMIA \n</b>\t\tNow you don't look so solemn.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI shall remember this moment. The silence, the \n\t\ttwilight, the bowls of strawberries and milk,\n\t\tyour faces in the evening light. Mikael \n\t\tsleeping, Jof with his lyre. I'll try to \n\t\tremember what we have talked about. I'll carry \n\t\tthis memory between my hands as carefully as \n\t\tif it were a bowl filled to the brim with fresh \n\t\tmilk. \n\nHe turns his face away and looks out towards the sea and the colorless gray \nsky. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd it will be an adequate sign -- it will be \n\t\tenough for me.\n\nHe rises, nods to the others and walks down towards the forest. JOF continues \nto play on his lyre. MIA stretches out on the grass.\n\nThe KNIGHT picks up his chess game and carries it towards the beach. It is \nquiet and deserted; the sea is still. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have been waiting for you.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tPardon me. I was detained for a few moments. \n\t\tBecause I revealed my tactics to you, I'm in \n\t\tretreat. It's your move.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhy do you look so satisfied? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat's my secret.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tOf course. Now I take your knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou did the right thing. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHave you tricked me?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tOf course. You fell right in the trap. Check! \n\n<b>\t\t\t\tDEATH \n</b>\t\tWhat are you laughing at?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDon't worry about my laughter; save your king \n\t\tinstead.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou're rather arrogant. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOur game amuses me.\n\n<b>\t\t\t\tDEATH \n</b>\t\tIt's your move. Hurry up. I'm a little pressed \n\t\tfor time.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI understand that you've a lot to do, but you \n\t\tcan't get out of our game. It takes time.\n\nDEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.\n\n<b>\t\t\t\tDEATH \n</b>\t\tAre you going to escort the juggler and his \n\t\twife through the forest? Those whose names are \n\t\tJof and Mia and who have a small son? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy do you ask? \n\n<b>\t\t\t\tDEATH \n</b>\t\tOh, no reason at all.\n<b> \n</b>The KNIGHT suddenly stops smiling. DEATH looks at him scornfully.\n<b> \n</b>\n\nImmediately after sundown, the little company gathers in the yard of the inn.\nThere is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \nson, MIKAEL, is already asleep. JONAS SKAT is still missing. \n\nJONS goes into the inn to get provisions for the night journey and to have a \nlast mug of beer. The inn is now empty and quiet except for a few farmhands \nand maidens who are eating their evening meal in a corner. At one of the \nsmall windows sits a lonely, hunched-over fellow, with a jug of brandy in his \nhands. His expression is very sad. Once in a while he is shaken by a gigantic \nsob. It is PLOG, the smith, who sits there and whimpers. \n\n<b>\t\t\t\tJONS \n</b>\t\tGod in heaven, isn't this Plog, the smith? \n\n<b>\t\t\t\tPLOG \n</b>\t\tGood evening.\n\n<b>\t\t\t\tJONS \n</b>\t\tAre you sitting here sniveling in loneliness? \n\n<b>\t\t\t\tPLOG \n</b>\t\tYes, yes, look at the smith. He moans like a \n\t\trabbit. \n\n<b>\t\t\t\tJONS \n</b>\t\tIf I were in your boots, I'd be happy to get \n\t\trid of a wife in such an easy way.\n\nJONS pats the smith on the back, quenches his thirst with beer, and sits down \nby his side. \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you married?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tI! A hundred times and more. I can't keep count \n\t\tof all my wives any longer. But it's often that \n\t\tway when you're a traveling man.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI can assure you that one wife is worse than a \n\t\thundred, or else I've had worse luck than any \n\t\tpoor wretch in this miserable world, which \n\t\tisn't impossible.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, it's hell with women and hell without \n\t\tthem. So, however you look at it, it's still \n\t\tbest to kill them off while it's most amusing.\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\tWomen's nagging, the shrieking of children and \n\t\twet diapers, sharp nails and sharp words, blows \n\t\tand pokes, and the devil's aunt for a \n\t\tmother-in-law. And then, when one wants to \n\t\tsleep after a long day, there's a new song -- \n\t\ttears, whining and moans loud enough to wake \n\t\tthe dead. \n\nJONS nods delightedly. He has drunk deeply and talks with an old woman's \nvoice. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhy don't you kiss me good night?\n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(in the same way)\n\t\tWhy don't you sing a song for me? \n\n<b>\t\t\t\tJONS \n</b>\t\tWhy don't you love me the way you did when we \n\t\tfirst met?\n\n<b>\t\t\t\tPLOG \n</b>\t\tWhy don't you look at my new slip? \n\n<b>\t\t\t\tJONS \n</b>\t\tYou only turn your back and snore. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh hell!\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tOh hell. And now she's gone. Rejoice!\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\t\t(furious) \n\t\tI'll snip their noses with pliers, I'll bash in \n\t\ttheir chests with a small hammer, I'll tap \n\t\ttheir heads ever so lightly with a sledge.\n\nPLOG begins to cry loudly and his whole body sways in an enormous attack of \nsorrow. JONS looks at him with interest.\n\n<b>\t\t\t\tJONS\n</b>\t\tLook how he howls again. \n\n<b>\t\t\t\tPLOG \n</b>\t\tMaybe I love her.\n\n<b>\t\t\t\tJONS \n</b>\t\tSo, maybe you love her! Then, you poor \n\t\tmisguided ham shank, I'll tell you that love is \n\t\tanother word for lust, plus lust, plus lust \n\t\tand a damn lot of cheating, falseness, lies and \n\t\tall kinds of other fooling around. \n\n<b>\t\t\t\tPLOG\n</b>\t\tYes, but it hurts anyway.\n\n<b>\t\t\t\tJONS \n</b>\t\tOf course. Love is the blackest of all plagues, \n\t\tand if one could die of it, there would be \n\t\tsome pleasure in love. But you almost always \n\t\tget over it. \n\n<b>\t\t\t\tPLOG\n</b>\t\tNo, no, not me.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, you too. There are only a couple of poor \n\t\twretches who die of love once in a while. Love \n\t\tis as contagious as a cold in the nose. It eats \n\t\taway at your strength, your independence, your \n\t\tmorale, if you have any. If everything is \n\t\timperfect in this imperfect world, love is most \n\t\tperfect in its perfect imperfection.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou're happy, you with your oily words, and, \n\t\tbesides, you believe your own drivel.\n\n<b>\t\t\t\tJONS \n</b>\t\tBelieve! Who said that I believed it? But I \n\t\tlove to give good advice. If you ask me for \n\t\tadvice you'll get two pieces for the price of \n\t\tone, because after all I really am an educated \n\t\tman.\n\nJONS gets up from the table and strokes his face with his hands. PLOG becomes \nvery unhappy and grabs his belt. \n\n<b>\t\t\t\tPLOG \n</b>\t\tListen, Jns. May I go with you through the \n\t\tforest? I'm so lonely and don't want to go home \n\t\tbecause everyone will laugh at me.\n\n<b>\t\t\t\tJONS \n</b>\t\tOnly if you don't whimper all the time, because \n\t\tin that case we'll all have to avoid you.\n\nPLOG gets up and embraces JONS. Slightly drunk, the two new friends walk \ntowards the door.\n<b> \n</b>When they come out in the yard, JOF immediately catches sight of them, \nbecomes angry and yells a warning to JONS.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tJns! Watch out. That one wants to fight all \n\t\tthe time. He's not quite sane.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, but now he's just sniveling.\n\nPLOG steps up to JOF, who blanches with fear. PLOG offers his hand.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI'm really sorry if I hurt you. But I have \n\t\tsuch a hell of a temper, you know. Shake hands.\n\nJOF gingerly proffers a frightened hand and gets it thoroughly shaken and \nsqueezed. While JOF tries to straighten out his fingers, PLOG is seized by \ngreat good will and opens his arms.\n\n<b>\t\t\t\tPLOG \n</b>\t\tCome in my arms, little brother.\n\n<b>\t\t\t\tJOF \n</b>\t\tThank you, thank you, perhaps later. But now \n\t\twe're really in a hurry.\n\nJOF climbs up on the wagon seat quickly and clucks at the horse.\n<b> \n</b>\n\nThe small company is on its way towards the forest and the night.\n\nIt is dark in the forest.\n<b> \n</b>First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \nclose to each other in the juggler's wagon. MIA holds her son in her arms. \nJONS follows them with his heavily laden horse. He has the smith in tow. The \nGIRL sits on top of the load on the horse's back, hunched over as if asleep.\n\nThe footsteps, the horses' heavy tramp on the soft path, the human breathing \n-- yet it is quiet.\n<b> \n</b>Then the moon sails out of the clouds. The forest suddenly becomes alive with \nthe night's unreality. The dazzling light pours through the thick foliage of \nthe beech trees, a moving, quivering world of light and shadow.\n\nThe wanderers stop. Their eyes are dark with anxiety and foreboding. Their \nfaces are pale and unreal in the floating light. It is very quiet.\n\n<b>\t\t\t\tPLOG\n</b>\t\tNow the moon has come out of the clouds. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat's good. Now we can see the road better. \n\n<b>\t\t\t\tMIA \n</b>\t\tI don't like the moon tonight. \n\n<b>\t\t\t\tJOF \n</b>\t\tThe trees stand so still.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tThat's because there's no wind. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI guess he means that they stand very still. \n\n<b>\t\t\t\tJOF \n</b>\t\tIt's completely quiet.\n\n<b>\t\t\t\tJONS \n</b>\t\tIf one could hear a fox at least. \n\n<b>\t\t\t\tJOF \n</b>\t\tOr an owl.\n\n<b>\t\t\t\tJONS \n</b>\t\tOr a human voice besides one's own.\n\n<b>\t\t\t\tGIRL\n</b>\t\tThey say it's dangerous to remain standing in \n\t\tmoonlight.\n\nSuddenly, out of the silence and the dim light falling across the forest \nroad, a ghostlike cart emerges. It is the WITCH being taken to the place \nwhere she will be burned. Next to her eight soldiers shuffle along tiredly, \ncarrying their lances on their backs. The girl sits in the cart, bound with \niron chains around her throat and arms. She stares fixedly into the \nmoonlight.\n<b> \n</b>A black figure sits next to her, a monk with his hood pulled down over his \nhead. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhere are you going? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\tTo the place of execution.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, now I can see. It's the girl who has done \n\t\tit with the Black One. The witch?\n\nThe SOLDIER nods sourly. Hesitantly, the travelers follow. The KNIGHT guides \nhis horse over to the side of the cart. The WITCH seems to be half-conscious, \nbut her eyes are wide open.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI see that they have hurt your hands.\n\nThe WITCH'S pale, childish face turns towards the KNIGHT and she shakes her \nhead. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have a potion that will stop your pain.\n\nShe shakes her head again.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWhy do you burn her at this time of night? \n\t\tPeople have so few diversions these days.\n<b> \n</b><b>\t\t\t\tSOLDIER \n</b>\t\tSaints preserve us, be quiet! It's said that \n\t\tshe brings the Devil with her wherever she \n\t\tgoes. \n\n<b>\t\t\t\tJONS \n</b>\t\tYou are eight brave men, then.\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tWell, we've been paid. And this is a volunteer \n\t\tjob. \n\nThe SOLDIER speaks in whispers while glancing anxiously at the WITCH.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(to the WITCH)\n\t\tWhat's your name? \n\n<b>\t\t\t\tTYAN\n</b>\t\tMy name is Tyan, my lord. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow old are you? \n\n<b>\t\t\t\tTYAN\n</b>\t\tFourteen, my lord.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd is it true that you have been in league \n\t\twith the Devil?\n\nTYAN nods quietly and looks away. Now they arrive at the parish border. At \nthe foot of the nearby hills lies a crossroads. The pyre has already been \nstacked in the center of the forest clearing. The travelers remain there, \nhesitant and curious.\n<b> \n</b>The soldiers have tied up the cart horse and bring out two long wooden beams.\nThey nail rungs across the beams so that it looks like a ladder. TYAN will be \nbound to this like an eelskin stretched out to dry.\n\nThe sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes, \ntouches her very lightly as if to waken her. Slowly she turns her face \ntowards him.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThey say that you have been in league with the \n\t\tDevil.\n\n<b>\t\t\t\tTYAN\n</b>\t\tWhy do you ask?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNot out of curiosity, but for very personal \n\t\treasons. I too want to meet him. \n\n<b>\t\t\t\tTYAN \n</b>\t\tWhy?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want to ask him about God. He, if anyone, \n\t\tmust know.\n\n<b>\t\t\t\tTYAN \n</b>\t\tYou can see him anytime. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow?\n\n<b>\t\t\t\tTYAN \n</b>\t\tYou must do as I tell you.\n\nThe KNIGHT grips the wooden rail of the cart so tightly that his knuckles \nwhiten. TYAN leans forward and joins her gaze with his. \n\n<b>\t\t\t\tTYAN \n</b>\t\tLook into my eyes.\n\nThe KNIGHT meets her gaze. They stare at each other for a long time.\n\n<b>\t\t\t\tTYAN \n</b>\t\tWhat do you see? Do you see him?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI see fear in your eyes, an empty, numb fear. \n\t\tBut nothing else.\n\nHe falls silent. The soldiers work at the stakes; their hammering echoes in \nthe forest. \n\n<b>\t\t\t\tTYAN \n</b>\t\tNo one, nothing, no one? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head)\n\t\tNo.\n\n<b>\t\t\t\tTYAN\n</b>\t\tCan't you see him behind your back? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(looks around) \n\t\tNo, there is no one there. \n\n<b>\t\t\t\tTYAN \n</b>\t\tBut he is with me everywhere. I only have to \n\t\tstretch out my hand and I can feel his hand. He \n\t\tis with me now too. The fire won't hurt me. He \n\t\twill protect me from everything evil.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHas he told you this? \n\n<b>\t\t\t\tTYAN \n</b>\t\tI know it.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHas he said it?\n\n<b>\t\t\t\tTYAN \n</b>\t\tI know it, I know it. You must see him \n\t\tsomewhere, you must. The priests had no \n\t\tdifficulty seeing him, nor did the soldiers. \n\t\tThey are so afraid of him that they don't even \n\t\tdare touch me.\n\nThe sounds of the hammers stops. The soldiers stand like black shadows rooted \nin the moss. They fumble with the chains and pull at the neck iron. TYAN \nmoans weakly, as if she were far away.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy have you crushed her hands? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\t\t(surly) \n\t\tWe didn't do it. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWho did? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\tAsk the monk.\n\nThe soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming \nin the moonlight. Her blackened mouth opens as if to scream, but no sound \nemerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat have you done with the child? \n\nDEATH turns around and looks at him. \n\n<b>\t\t\t\tDEATH \n</b>\t\tDon't you ever stop asking questions? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo, I'll never stop.\n\nThe soldiers chain TYAN to the rungs of the ladder. She submits resignedly, \nmoans weakly like an animal and tries to ease her body into position.\n<b> \n</b>When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her. \n\n<b>\t\t\t\tJONS \n</b>\t\tFor a moment I thought of killing the soldiers, \n\t\tbut it would do no good. She's nearly dead \n\t\talready. \n\nOne of the soldiers approaches. Thick smoke wells down from the pyre and \nsweeps over the quiet shadows near the crossroads and the hill.\n\n<b>\t\t\t\tSOLDIER\n</b>\t\tI've told you to be careful. Don't go too close \n\t\tto her.\n\nThe KNIGHT doesn't heed this warning. He cups his hand, fills it with water \nfrom the skin and gives it to TYAN. Then he gives her a potion.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tTake this and it will stop the pain.\n\nSmoke billows down over them and they begin to cough. The soldiers step \nforward and raise the ladder against a nearby fir tree. TYAN hangs there \nmotionlessly, her eyes wide open.\n\nThe KNIGHT straightens up and stands immobile. JONS is behind him, his voice \nnearly choked with rage. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhat does she see? Can you tell me? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head) \n\t\tShe feels no more pain. \n\n<b>\t\t\t\tJONS \n</b>\t\tYou don't answer my question. Who watches over \n\t\tthat child? Is it the angels, or God, or the \n\t\tDevil, or only the emptiness? Emptiness, my \n\t\tlord!\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThis cannot be.\n\n<b>\t\t\t\tJONS \n</b>\t\tLook at her eyes, my lord. Her poor brain has \n\t\tjust made a discovery. Emptiness under the \n\t\tmoon. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo.\n\n<b>\t\t\t\tJONS \n</b>\t\tWe stand powerless, our arms hanging at our \n\t\tsides, because we see what she sees, and our \n\t\tterror and hers are the same. \n\t\t\t(an outburst) \n\t\tThat poor little child. I can't stand it, I \n\t\tcan't stand it ...\n\nHis voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.\n<b> \n</b>\n\nThe forest is now very dark. The road winds between the trees. The wagon \nsqueaks and rattles over stones and roots. A bird suddenly shrieks.\n<b> \n</b>JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.\n\nHis silence makes him seem almost unreal. JONS and PLOG are slightly drunk \nand support each other. Suddenly PLOG has to sit down. He puts his hands over \nhis face and howls piteously. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh, now it came over me again! \n\n<b>\t\t\t\tJONS \n</b>\t\tDon't scream. What came over you?\n\n<b>\t\t\t\tPLOG \n</b>\t\tMy wife, damn it. She is so beautiful. She is \n\t\tso beautiful that she can't be described \n\t\twithout the accompaniment of a lyre.\n\n<b>\t\t\t\tJONS \n</b>\t\tNow it starts again.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHer smile is like brandy. Her eyes like \n\t\tblackberries ...\n\nPLOG searches for beautiful words. He gestures gropingly with his large \nhands.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sighs) \n\t\tGet up, you tear-drenched pig. We'll lose the \n\t\tothers.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYes, of course, of course. Her nose is like a \n\t\tlittle pink potato; her behind is like a juicy \n\t\tpear -- yes, the whole woman is like a \n\t\tstrawberry patch. I can see her in front of me, \n\t\twith arms like wonderful cucumbers.\n\n<b>\t\t\t\tJONS \n</b>\t\tSaints almighty, stop! You're a very bad poet, \n\t\tdespite the fact that you're drunk. And your \n\t\tvegetable garden bores me.\n\nThey walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest. \n\n<b>\t\t\t\tPLOG \n</b>\t\tLook there.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo you see something? \n\n<b>\t\t\t\tPLOG \n</b>\t\tThere, over there! \n\n<b>\t\t\t\tJONS \n</b>\t\tI don't see anything.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHang on to something, my friends. The hour is \n\t\tnear! Who is that at the edge of the forest if \n\t\tnot my own dearly beloved, with actor attached?\n\nThe two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.\n\nFor a few confusing moments the two rivals stumble among the stones and \nbushes in the gray gloom of the forest. The duel begins to look senseless, \nbecause both of them are equally frightened.\n\nThe travelers silently observe this confused performance. LISA screams once \nin a while, more out of duty than out of impulse.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(panting) \n\t\tYou miserable stubbleheaded bastard of seven \n\t\tscurvy bitches, if I were in your lousy rags I \n\t\twould be stricken with such eternal shame about \n\t\tmy breath, my voice, my arms and legs -- in \n\t\tshort, about my whole body -- that I would \n\t\timmediately rid nature of my own embarrassing \n\t\tself. \n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(angry) \n\t\tWatch out, you perfumed slob, that I don't fart \n\t\ton you and immediately blow you down to the \n\t\tactor's own red-hot hell, where you can sit and \n\t\trecite monologues to each other until the dust \n\t\tcomes out of the Devil's ears. \n\nThen LISA throws herself around her husband's neck. \n\n<b>\t\t\t\tLISA \n</b>\t\tForgive me, dear little husband, I'll never do \n\t\tit again. I am so sorry and you can't imagine \n\t\thow terribly that man over there betrayed me. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI'll kill him anyway.\n\n<b>\t\t\t\tLISA \n</b>\t\tYes, do that, just kill him. He isn't even a \n\t\thuman being.\n\n<b>\t\t\t\tJONS \n</b>\t\tHell, he's an actor.\n\n<b>\t\t\t\tLISA \n</b>\t\tHe is only a false beard, false teeth, false \n\t\tsmiles, rehearsed lines, and he's as empty as a \n\t\tjug. Just kill him. \n\nLISA sobs with excitement and sorrow. PLOG looks around, a little confused. \nSKAT uses this opportunity. He pulls out a dagger and places the point \nagainst his breast.\n\n<b>\t\t\t\tSKAT \n</b>\t\tShe's right. Just kill me. If you thought that \n\t\tI was going to apologize for being what I am, \n\t\tyou are mistaken. \n\n<b>\t\t\t\tLISA \n</b>\t\tLook how sickening he is. How he makes a fool \n\t\tof himself, how he puts on an act. Dear Plog, \n\t\tkill him. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy friends, you have only to push, and my \n\t\tunreality will soon be transformed into a new, \n\t\tsolid reality. An absolutely tangible corpse.\n\n<b>\t\t\t\tLISA \n</b>\t\tDo something then. Kill him.\n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(embarrassed) \n\t\tHe has to fight me, otherwise I can't kill him.\n\n<b>\t\t\t\tSKAT \n</b>\t\tYour life's thread now hangs by a very ragged \n\t\tshred. Idiot, your day is short.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou'll have to irritate me a little more to get \n\t\tme as angry as before.\n\nSKAT looks at the travelers with a pained expression and then lifts his eyes \ntowards the night sky. \n\n<b>\t\t\t\tSKAT \n</b>\t\tI forgive all of you. Pray for me sometimes. \n\nSKAT sinks the dagger into his breast and slowly falls to the ground. The \ntravelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh dear, dear, I didn't mean it that way! Look, \n\t\tthere's no life left in him. I was beginning to \n\t\tlike him, and in my opinion Lisa was much too \n\t\tspiteful. \n\nJOF leans over his colleague.\n\n<b>\t\t\t\tJOF \n</b>\t\tHe's dead, totally, enormously dead. In fact, \n\t\tI've never seen such a dead actor.\n\n<b>\t\t\t\tLISA \n</b>\t\tCome on, let's go. This is nothing to mourn \n\t\tover. He has only himself to blame.\n\n<b>\t\t\t\tPLOG \n</b>\t\tAnd I have to be married to her. \n\n<b>\t\t\t\tJONS \n</b>\t\tWe must go on.\n\nSKAT lies in the grass and keeps the dagger pressed tightly to his breast. \nThe travelers depart and soon they have disappeared into the dark forest on \nthe other side of the meadow. When SKAT is sure that no one can see him, he \nsits up and lifts the dagger from his breast. It is a stage dagger with a \nblade that pushes into the handle. SKAT laughs to himself.\n\n<b>\t\t\t\tSKAT \n</b>\t\tNow that was a good scene. I'm really a good \n\t\tactor. After all, why shouldn't I be a little \n\t\tpleased with myself? But where shall I go? I'll \n\t\twait until it becomes light and then I'll find \n\t\tthe easiest way out of the forest. I'll climb \n\t\tup a tree for the time being so that no bears, \n\t\twolves or ghosts can get at me.\n\nHe soon finds a likely tree and climbs up into its thick foliage. He sits \ndown as comfortably as possible and reaches for his food pouch.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(yawns) \n\t\tTomorrow I'll find Jof and Mia and then we'll \n\t\tgo to the saints' feast in Elsinore. We'll make \n\t\tlots of money there. \n\t\t\t(yawns)\n\t\tNow, I'll sing a little song to myself: \n\t\t\t(sings) \n\t\tI am a little bird \n\t\tWho sings whate'er he will, \n\t\tAnd when I am in danger \n\t\tI fling out a pissing trill \n\t\tAs in the carnal thrill.\n\t\t\t(speaks)\n\t\tIt's boring to be alone in the forest tonight. \n\t\t\t(sings) \n\t\tThe terrible night doesn't frighten me ... \n\nHe interrupts himself and listens. The sound of industrious sawing is heard \nthrough the silence.\n\n<b>\t\t\t\tSKAT \n</b>\t\tWorkmen in the forest. Oh, well! \n\t\t\t(sings)\n\t\tThe terrible night doesn't frighten me ... \n\t\t\t(speaks)\n\t\tHey, what the devil ... it's my tree they're \n\t\tcutting down.\n\nHe peers through the foliage. Below him stands a dark figure diligently \nsawing away at the base of the tree. SKAT becomes frightened and angry.\n<b> \n</b><b>\t\t\t\tSKAT \n</b>\t\tHey, you! Do you hear me, you tricky bastard? \n\t\tWhat are you doing with my tree?\n\nThe sawing continues without a pause. SKAT becomes more frightened.\n\n<b>\t\t\t\tSKAT \n</b>\t\tCan't you at least answer me? Politeness costs \n\t\tso little. Who are you?\n\nDEATH straightens his back and squints up at him. SKAT cries out in terror.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'm sawing down your tree because your time is\n\t\tup.\n<b>  \n</b><b>\t\t\t\tSKAT\n</b>\t\tIt won't do. I haven't got time.\n\n<b>\t\t\t\tDEATH \n</b>\t\tSo you haven't got time. \n\n<b>\t\t\t\tSKAT \n</b>\t\tNo, I have my performance. \n\n<b>\t\t\t\tDEATH \n</b>\t\tThen it's canceled because of death. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy contract.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tYour contract is terminated. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy children, my family. \n\n<b>\t\t\t\tDEATH \n</b>\t\tShame on you, Skat! \n\n<b>\t\t\t\tSKAT \n</b>\t\tYes, I'm ashamed.\n\nDEATH begins to saw again. The tree creaks. \n\n<b>\t\t\t\tSKAT \n</b>\t\tIsn't there any way to get off? Aren't there \n\t\tany special rules for actors?\n\n<b>\t\t\t\tDEATH \n</b>\t\tNo, not in this case. \n\n<b>\t\t\t\tSKAT \n</b>\t\tNo loopholes, no exceptions? \n\nDEATH saws.\n\n<b>\t\t\t\tSKAT\n</b>\t\tPerhaps you'll take a bribe. \n\nDEATH saws.\n<b> \n</b><b>\t\t\t\tSKAT\n</b>\t\tHelp!\n\nDEATH saws.\n\n<b>\t\t\t\tSKAT \n</b>\t\tHelp! Help!\n\nThe tree falls. The forest becomes silent again.\n<b> \n</b>\n\nNight and then dawn.\n\nThe travelers have come to a sort of clearing and have collapsed on the moss.\nThey lie quietly and listen to their own breathing, their heartbeats, and the \nwind in the tree tops. Here the forest is wild and impenetrable. Huge \nboulders stick up out of the ground like the heads of black giants. A fallen \ntree lies like a mighty barrier between light and shadow.\n\nMIA, JOF and their child have sat down apart from the others. They look at \nthe light of the moon, which is no longer full and dead but mysterious and \nunstable. The KNIGHT sits bent over his chess game. LISA cries quietly behind \nPLOG'S back. JONS lies on the ground and looks up at the heavens.\n\n<b>\t\t\t\tJONS \n</b>\t\tSoon dawn will come, but the heat continues to \n\t\thang over us like a smothering blanket.\n\n<b>\t\t\t\tLISA \n</b>\t\tI'm so frightened.\n\n<b>\t\t\t\tPLOG \n</b>\t\tWe feel that something is going to happen to \n\t\tus, but we don't know what.\n\n<b>\t\t\t\tJONS \n</b>\t\tMaybe it's the day of judgment. \n\n<b>\t\t\t\tPLOG \n</b>\t\tThe day of judgment ...\n\nNow, something moves behind the fallen tree. There is a rustling sound and a \nmoaning cry that seems to come from a wounded animal. Everyone listens\nintently, all faces turned towards the sound. A voice comes out of the\ndarkness. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tDo you have some water?\n\nRAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \nbut his voice is heard again. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tCan't you give me a little water? \n\t\t\t(pause) \n\t\tI have the plague.\n\n<b>\t\t\t\tJONS \n</b>\t\tDon't come here. If you do I'll slit your \n\t\tthroat. Keep to the other side of the tree. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tI'm afraid of death.\n\nNo one answers. There is complete silence. RAVAL gasps heavily for air. The \ndry leaves rustle with his movements. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tI don't want to die! I don't want to!\n<b> \n</b>No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tCan't you have pity on me? Help me! At least \n\t\ttalk to me.\n\nNo one answers. The trees sigh. RAVAL begins to cry. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tI am going to die. I. I. I! What will happen to \n\t\tme! Can no one console me? Haven't you any \n\t\tcompassion? Can't you see that I ...\n\nHis words are choked off by a gurgling sound. He disappears in the darkness \nbehind the fallen tree. It becomes quiet for a few moments.\n\n<b>\t\t\t\tRAVAL \n</b>\t\t\t(whispers) \n\t\tCan't anyone ... only a little water. \n\nSuddenly the GIRL gets up with a quick movement, snatches JONS'S water bag \nand runs a few steps. JONS grabs her and holds her fast.\n\n<b>\t\t\t\tJONS \n</b>\t\tIt's no use. It's no use. I know that it's no \n\t\tuse. It's meaningless. It's totally \n\t\tmeaningless. I tell you that it's meaningless. \n\t\tCan't you hear that I'm consoling you? \n\n<b>\t\t\t\tRAVEL \n</b>\t\tHelp me, help me!\n\nNo one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \nfrightened child's. His sudden scream is cut off in the middle. Then it \nbecomes quiet.\n<b> \n</b>The GIRL sinks down and hides her face in her hands. JONS places his hand on \nher shoulder.\n<b> \n</b>\n<b>16\n</b>The KNIGHT is no longer alone. DEATH has come to him and he raises his hand.\n\n<b>\t\t\t\tDEATH \n</b>\t\tShall we play our game to the end? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n<b>DEATH. \n</b>\n<b>\t\t\t\tDEATH \n</b>\t\tNow I take your queen. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI didn't notice that.\n\nThe KNIGHT leans over the game. The moonlight moves over the chess pieces, \nwhich seem to have a life of their own.\n\nJOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA. \n\n<b>\t\t\t\tJOF \n</b>\t\tMia!\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tYes, what is it?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tI see something terrible. Something I almost \n\t\tcan't talk about.\n\n<b>\t\t\t\tMIA \n</b>\t\tWhat do you see?\n\n<b>\t\t\t\tJOF \n</b>\t\tThe knight is sitting over there playing chess. \n\n<b>\t\t\t\tMIA \n</b>\t\tYes, I can see that too and I don't think it's \n\t\tso terrible. \n\n<b>\t\t\t\tJOF \n</b>\t\tBut do you see who he's playing with? \n\n<b>\t\t\t\tMIA \n</b>\t\tHe is alone. You mustn't frighten me this way.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tNo, no, he isn't alone. \n\n<b>\t\t\t\tMIA \n</b>\t\tWho is it, then?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tDeath. He is sitting there playing chess with \n\t\tDeath himself.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou mustn't say that. \n\n<b>\t\t\t\tJOF \n</b>\t\tWe must try to escape. \n\n<b>\t\t\t\tMIA \n</b>\t\tOne can't do that.\n\n<b>\t\t\t\tJOF \n</b>\t\tWe must try. They are so occupied with their \n\t\tgame that if we move very quietly, they won't \n\t\tnotice us. \n\nJOF gets up carefully and disappears into the darkness behind the trees. MIA \nremains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \nand the chess game. She holds her son in her arms. Now JOF returns.\n\n<b>\t\t\t\tJOF \n</b>\t\tI have harnessed the horse. The wagon is \n\t\tstanding near the big tree. You go first and \n\t\tI'll follow you with the packs. See that Mikael \n\t\tdoesn't wake up.\n\nMIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n<b>\t\t\t\tDEATH \n</b>\t\tIt is your move, Antonius Block.\n\nThe KNIGHT remains silent. He sees MIA go through the moonlight towards the\nwagon. JOF bends down to pick up the pack and follows at a distance. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHave you lost interest in our game?\n<b> \n</b>The KNIGHT'S eyes become alarmed. DEATH looks at him intently.\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tLost interest? On the contrary.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou seem anxious. Are you hiding anything? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNothing escapes you -- or does it? \n\n<b>\t\t\t\tDEATH \n</b>\t\tNothing escapes me. No one escapes from me. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIt's true that I'm worried.\n\nHe pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH. \n\n<b>\t\t\t\tKNIGHT\n</b>\t\tI've forgotten how the pieces stood.\n\n<b>\t\t\t\tDEATH \n</b>\t\t\t(laughs contentedly) \n\t\tBut I have not forgotten. You can't get away \n\t\tthat easily.\n<b> \n</b>DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \nhim towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is \ncompletely occupied with reconstructing the game.\n\n<b>\t\t\t\tDEATH \n</b>\t\tNow I see something interesting. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat do you see?\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou are mated on the next move, Antonius Block. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat's true.\n\n<b>\t\t\t\tDEATH \n</b>\t\tDid you enjoy your reprieve? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I did.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'm happy to hear that. Now I'll be leaving you. \n\t\tWhen we meet again, you and your companions' \n\t\ttime will be up.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd you will divulge your secrets. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have no secrets. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tSo you know nothing. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have nothing to tell.\n\nThe KNIGHT wants to answer, but DEATH is already gone.\n\nA murmur is heard in the tree tops. Dawn comes, a flickering light without \nlife, making the forest seem threatening and evil. JOF drives over the \ntwisting road. MIA sits beside him. \n\n<b>\t\t\t\tMIA\n</b>\t\tWhat a strange light.\n\n<b>\t\t\t\tJOF \n</b>\t\tI guess it's the thunderstorm which comes with \n\t\tdawn. \n\n<b>\t\t\t\tMIA \n</b>\t\tNo, it's something else. Something terrible. Do \n\t\tyou hear the roar in the forest? \n\n<b>\t\t\t\tJOF \n</b>\t\tIt's probably rain.\n\n<b>\t\t\t\tMIA \n</b>\t\tNo, it isn't rain. He has seen us and he's \n\t\tfollowing us. He has overtaken us; he's coming \n\t\ttowards us. \n\n<b>\t\t\t\tJOF \n</b>\t\tNot yet, Mia. In any case, not yet. \n\n<b>\t\t\t\tMIA \n</b>\t\tI'm so afraid. I'm so afraid.\n\nThe wagon rattles over roots and stones; it sways and creaks. Now the horse \nstops with his ears flat against his head. The forest sighs and stirs \nponderously. \n\n<b>\t\t\t\tJOF \n</b>\t\tGet into the wagon, Mia. Crawl in quickly. \n\t\tWe'll lie down, Mia, with Mikael between us.\n\nThey crawl into the wagon and crouch around the sleeping child.\n\n<b>\t\t\t\tJOF \n</b>\t\tIt is the Angel of Death that's passing over \n\t\tus, Mia. It's the Angel of Death. The Angel of \n\t\tDeath, and he's very big.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you feel how cold it is? I'm freezing. I'm \n\t\tterribly cold.\n\nShe shivers as if she had a fever. They pull the blankets over them and lie \nclosely together. The wagon canvas flutters and beats in the wind. The roar \noutside is like a giant bellowing.\n<b> \n</b>\n\nThe castle is silhouetted like a black boulder against the heavy dawn. Now\nthe storm moves there, throwing itself powerfully against walls and\nabutments.  The sky darkens; it is almost like night.\n\nAntonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.\n\nSuddenly the KNIGHT stands face to face with his wife. They look at each\nother quietly.\n\n<b>\t\t\t\tKARIN\n</b>\t\tI heard from people who came from the crusade \n\t\tthat you were on your way home. I've been \n\t\twaiting for you here. All the others have fled \n\t\tfrom the plague. \n\nThe KNIGHT is silent. He looks at her. \n\n<b>\t\t\t\tKARIN \n</b>\t\tDon't you recognize me any more? \n\nThe KNIGHT nods, silent. \n\n<b>\t\t\t\tKARIN \n</b>\t\tYou also have changed.\n\nShe walks closer and looks searchingly into his face. The smile lingers in \nher eyes and she touches his hand lightly.\n\n<b>\t\t\t\tKARIN \n</b>\t\tNow I can see that it's you. Somewhere in your \n\t\teyes, somewhere in your face, but hidden and \n\t\tfrightened, is that boy who went away so many \n\t\tyears ago. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIt's over now and I'm a little tired. \n\n<b>\t\t\t\tKARIN \n</b>\t\tI see that you're tired. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOver there stand my friends.\n\n<b>\t\t\t\tKARIN \n</b>\t\tAsk them in. They will break the fast with us. \n\nThey all sit down at the table in the room, which is lit by torches on the \nwalls. Silently they eat the hard bread and the salt-darkened meat. KARIN \nsits at the head of the table and reads aloud from a thick book. \n\n<b>\t\t\t\tKARIN \n</b>\t\t\"And when the Lamb broke the seventh seal, \n\t\tthere was silence in heaven for about the space \n\t\tof half an hour. And I saw the seven angels \n\t\twhich stood before God; and to them were given \n\t\tseven trumpets. And another ...\" \n\nThree mighty knocks sound on the large portal. KARIN interrupts her reading \nand looks up from the book. JONS rises quickly and goes to open the door.\n\n<b> \t\t\t\tKARIN \n</b>\t\t\"The first angel sounded, and there followed \n\t\thail and fire mingled with blood, and they were \n\t\tcast upon the earth; and the third part of the \n\t\ttrees was burnt up and all the green grass was \n\t\tburnt up.\"\n\nNow the rain becomes quiet. There is suddenly an immense, frightening silence \nin the large, murky room where the burning torches throw uneasy shadows over \nthe ceiling and the walls. Everyone listens tensely to the stillness.\n\n<b> \t\t\t\tKARIN \n</b>\t\t\"And the second angel sounded, and as it were a \n\t\tgreat mountain burning with fire was cast into \n\t\tthe sea; and a third part of the sea became \n\t\tblood ...\"\n\nSteps are heard on the stairs. JONS returns and sits down silently at his \nplace but does not continue to eat. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWas someone there? \n\n<b>\t\t\t\tJONS \n</b>\t\tNo, my lord. I saw no one.\n\nKARIN lifts her head for a moment but once again leans over the large book.\n\n<b>\t\t\t\tKARIN \n</b>\t\t\"And the third angel sounded, and there fell a \n\t\tgreat star from heaven, burning as it were a \n\t\ttorch, and it fell upon the third part of the \n\t\trivers and upon the fountains of waters; and \n\t\tthe name of the star is called Wormwood ...\" \n\nThey all lift their heads, and when they see who is coming towards them\nthrough the twilight of the large room, they rise from the table and stand \nclose together. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tGood morning, noble lord.\n\n<b>\t\t\t\tKARIN \n</b>\t\tI am Karin, the knight's wife, and welcome you \n\t\tcourteously to my house.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI am a smith by profession and rather good at \n\t\tmy trade, if I say so myself. My wife Lisa -- \n\t\tcurtsy for the great lord, Lisa. She's a little \n\t\tdifficult to handle once in a while and we had\n\t\ta little spat, so to speak, but no worse than \n\t\tmost people.\n\nThe KNIGHT hides his face in his hands.\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tFrom our darkness, we call out to Thee, Lord. \n\t\tHave mercy on us because we are small and \n\t\tfrightened and ignorant. \n\n<b>\t\t\t\tJONS \n</b>\t\t\t(bitterly) \n\t\tIn the darkness where You are supposed to be, \n\t\twhere all of us probably are.... In the \n\t\tdarkness You will find no one to listen to Your \n\t\tcries or be touched by Your sufferings. Wash \n\t\tYour tears and mirror Yourself in Your \n\t\tindifference.\n\n<b>\t\t\t\tKNIGHT\n</b> \t\tGod, You who are somewhere, who must be \n\t\tsomewhere, have mercy upon us.\n\n<b>\t\t\t\tJONS \n</b>\t\tI could have given you an herb to purge you of \n\t\tyour worries about eternity. Now it seems to be \n\t\ttoo late. But in any case, feel the immense \n\t\ttriumph of this last minute when you can still \n\t\troll your eyes and move your toes. \n\n<b>\t\t\t\tKARIN \n</b>\t\tQuiet, quiet.\n\n<b>\t\t\t\tJONS \n</b>\t\tI shall be silent, but under protest. \n\n<b>\t\t\t\tGIRL \n</b>\t\t\t(on her knees)\n\t\tIt is the end.\n<b> \n</b>\n\nJOF and MIA sit close together and listen to the rain tapping lightly on the \nwagon canvas, a sound which diminishes until finally there are only single \ndrops. \n\nThey crawl out of their hiding place. The wagon stands on a height above a \nslope, protected by an enormous tree. They look across ridges, forests, the \nwide plains, and the sea, which glistens in the sunlight breaking through the \nclouds.\n<b> \n</b>JOF stretches his arms and legs. MIA dries the wagon seat and sits down next\nto her husband. MIKAEL crawls between JOF'S knees.\n\nA lone bird tests its voice after the storm. The trees and bushes drip. From \nthe sea comes a strong and fragrant wind.\n\nJOF points to the dark, retreating sky where summer lightning glitters like \nsilver needles over the horizon. \n\n<b>\t\t\t\tJOF \n</b>\t\tI see them, Mia! I see them! Over there against \n\t\tthe dark, stormy sky. They are all there. The \n\t\tsmith and Lisa and the knight and Raval and \n\t\tJns and Skat. And Death, the severe master, \n\t\tinvites them to dance. He tells them to hold \n\t\teach other's hands and then they must tread the \n\t\tdance in a long row. And first goes the master \n\t\twith his scythe and hourglass, but Skat dangles \n\t\tat the end with his lyre. They dance away from \n\t\tthe dawn and it's a solemn dance towards the \n\t\tdark lands, while the rain washes their faces \n\t\tand cleans the salt of the tears from their \n\t\tcheeks. \n\nHe is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\nNow, he crawls up to MIA and sits down in her lap. \n\n<b>\t\t\t\tMIA \n</b>\t\t\t(smiling) \n\t\tYou with your visions and dreams.\n<b> \n</b>\n\n\n\n\n\n\nScreenplay by Ingmar Bergman \n<b> \n</b>\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: What does Death ask Antonius?\n\nAnswer:"}
{"question_id": 83, "category": "longbench_gov_report", "reference": ["A key U.S. ally in the Latin American region, Colombia endured an internal armed conflict for half a century. Drug trafficking fueled the violence by funding both left-wing and right-wing armed groups. Some analysts feared Colombia would become a failed state in the late 1990s, but the Colombian government devised a new security strategy, known as Plan Colombia, to counter the insurgencies. Originally designed as a 6-year program, Plan Colombia ultimately became a 17-year U.S.-Colombian bilateral effort. The partnership focused initially on counternarcotics and later on counterterrorism; it then broadened to include sustainable development, human rights, trade, regional security, and many other areas of cooperation. Between FY2000 and FY2016, the U.S. Congress appropriated more than $10 billion to help fund Plan Colombia and its follow-on programs. For FY2018, Congress appropriated $391.3 million in foreign aid for Colombia, including assistance to promote peace and end the conflict. President Juan Manuel Santos (2010-2018) made concluding a peace accord with the Revolutionary Armed Forces of Colombia (FARC)—the country's largest leftist guerrilla organization—his government's primary focus. Following four years of formal peace negotiations, Colombia's Congress ratified the FARC-government peace accord in November 2016. During a U.N.-monitored demobilization effort in 2017, approximately 11,000 FARC disarmed and demobilized. This figure included FARC who had been held in prison for crimes of rebellion and those making up FARC militias, who were accredited by the Colombian government as eligible to demobilize. On August 7, 2018, Iván Duque, a senator from the conservative Democratic Center party, was inaugurated to a four-year presidential term. Duque, who also worked at the Inter-American Development Bank in Washington, DC, and is Colombia's youngest president in a century, campaigned as a critic of the peace accord with the FARC. His party objected to specific measures concerning justice and political representation. Some observers maintain that his election has generated uncertainty for implementation of the accord. Shortly after taking office, Duque suspended peace talks with the National Liberation Army (ELN), the country's second-largest rebel group, which had begun under President Santos. Since the ratification of the peace accord, Colombia's long-term strategy has evolved from defeating insurgents to post-conflict stabilization. Many considered Plan Colombia and its successor strategies a remarkable advance, given the country's improvements in security and economic stability. Nevertheless, recent developments have called into question Colombia's progress. The FARC's demobilization has triggered open conflict among armed actors (including FARC dissidents and transnational criminal groups), which seek to control drug cultivation and trafficking, illegal mining, and other illicit businesses that the demobilized FARC abandoned. The ongoing lack of governance in remote rural areas recalls the conditions that originally gave rise to the FARC and other armed groups. Many observers continue to raise concerns about the country's human-rights conditions, sharp increases in coca cultivation and cocaine production, and problems stemming from the failing authoritarian government of neighboring Venezuela, which shares a nearly 1,400-mile border with Colombia. Venezuela's humanitarian crisis has set in motion an exodus of migrants, many of whom have sought temporary residence (or extended stays) in Colombia. Political upheaval has added yet more uncertainty after the United States and many other Western Hemisphere and European nations, including Colombia, called for a democratic transition in Venezuela and recognized the president of the Venezuelan National Assembly, Juan Guaidó, as the country's interim president in January 2019. The U.S.-Colombia Trade Promotion Agreement went into force in May 2012. The United States remains Colombia's top trade partner. After several years of annual growth exceeding 4%, one of the steadiest expansion rates in the region, Colombia grew by an estimated 2.7% in 2018. The FARC-government peace accord is projected to cost more than $40 billion to implement over 15 years, adding to the polarization over the controversial peace process. For additional background, see CRS In Focus IF10817, Colombia's 2018 Elections, CRS Report R44779, Colombia's Changing Approach to Drug Policy, CRS Report R42982, Colombia's Peace Process Through 2016, and CRS Report RL34470, The U.S.-Colombia Free Trade Agreement: Background and Issues."], "prompt": "You are given a report by a government agency. Write a one-page summary of the report.\n\nReport:\nColombia, one of the oldest democracies in the Western Hemisphere and the third most populous Latin American country, has endured a multisided civil conflict for more than five decades until President Juan Ma nuel Santos declared the conflict over in August 2017 at the end of a U.N.-monitored disarmament. According to the National Center for Historical Memory 2013 report, presented to the Colombian government as part of the peace process to end the fighting, some 220,000 Colombians died in the armed conflict through 2012, 81% of them civilians. The report also provided statistics quantifying the scale of the conflict, which has taken a huge toll on Colombian society: more than 23,000 selective assassinations between 1981 and 2012; internal displacement of more than 5 million Colombians due to land seizure and violence; 27,000 kidnappings between 1970 and 2010; and 11,000 deaths or amputees from anti-personnel land mines laid primarily by Colombia's main insurgent guerrilla group, the Revolutionary Armed Forces of Colombia (FARC). To date, more than 8 million Colombians, or roughly 15% of the population, have registered as conflict victims. Although the violence has scarred Colombia, the country has achieved a significant turnaround. Once considered a likely candidate to become a failed state, Colombia, over the past two decades, has overcome much of the violence that had clouded its future. For example, between 2000 and 2016, Colombia saw a 94% decrease in kidnappings and a 53% reduction in homicides (below 25 per 100,000 in 2016). Coupled with success in lowering violence, Colombia has opened its economy and promoted trade, investment, and growth. Colombia has become one of Latin America's most attractive locations for foreign direct investment. Yet, after steady growth over several years, Colombia's economy slowed to 3.1% growth in 2015 and declined to 1.7% in 2017. Many analysts identified Colombia's dependence on oil and other commodity exports as the primary cause. Between 2012 and 2016, the Colombian government held formal peace talks with the FARC, Colombia's largest guerrilla organization. Upon taking office for a second term in August 2014, President Santos declared peace, equality, and education as his top priorities, although achieving the peace agreement remained his major focus. In August 2016, the government and FARC negotiators announced they had concluded their talks and achieved a 300-page peace agreement. The accord was subsequently narrowly defeated in a popular referendum held in early October 2016, but was revised by the Santos government and agreed to by the FARC and then ratified by the Colombian Congress at the end of November 2016. The Colombian conflict predates the formal founding of the FARC in 1964, as the FARC had its beginnings in the peasant self-defense groups of the 1940s and 1950s. Colombian political life has long suffered from polarization and violence based on the significant disparities and inequalities suffered by landless peasants in the country's peripheral regions. In the late 19 th century and a large part of the 20 th century, the elite Liberal and Conservative parties dominated Colombian political life. Violence and competition between the parties erupted in a period of extreme violence in Colombia, known as La Violencia , set off in 1948 by the assassination of Liberal presidential candidate Jorge Gaitán. The violence continued for the next decade. After a brief military rule (1953-1958), the Liberal and Conservative parties agreed to a form of coalition governance, known as the National Front. Under the arrangement, the presidency of the country alternated between Conservatives and Liberals, each holding office in turn for four-year intervals. This form of government continued for 16 years (1958-1974). The power-sharing formula did not resolve the tension between the two historic parties, and many leftist, Marxist-inspired insurgencies took root in Colombia, including the FARC, launched in 1964, and the smaller National Liberation Army (ELN), which formed the following year. The FARC and ELN conducted kidnappings, committed serious human rights violations, and carried out a campaign of terrorist activities to pursue their goal of unseating the central government in Bogotá. Rightist paramilitary groups formed in the 1980s when wealthy ranchers and farmers, including drug traffickers, hired armed groups to protect them from the kidnapping and extortion plots of the FARC and ELN. In the 1990s, most of the paramilitary groups formed an umbrella organization, the United-Self Defense Forces of Colombia (AUC). The AUC massacred and assassinated suspected supporters of the insurgents and directly engaged the FARC and ELN in military battles. The Colombian military has long been accused of close collaboration with the AUC, accusations ranging from ignoring their activities to actively supporting them. Over time, the AUC became increasingly engaged in drug trafficking, and other illicit businesses. In the late 1990s and early 2000s, the U.S. government designated the FARC, ELN, and AUC as Foreign Terrorist Organizations (FTOs). The AUC was formally dissolved in a collective demobilization between 2003 and 2006 after many of its leaders stepped down. However, former paramilitaries joined armed groups (called criminal bands, or Bacrim, by the Colombian government) who continued to participate in the lucrative drug trade and commit other crimes and human rights abuses. When the FARC demobilized in 2017, other illegally armed groups began aggressive efforts to take control of former FARC territory and its criminal enterprises as FARC forces withdrew. (For more, see \" The Current Security Environment ,\" below.) The inability of Colombia's two dominant parties to address the root causes of violence in the country led to the election of an independent, Álvaro Uribe, in the presidential contest of 2002. Uribe, who served two terms, came to office with promises to take on the violent leftist guerrillas, address the paramilitary problem, and combat illegal drug trafficking. During the 1990s, Colombia had become the region's—and the world's—largest producer of cocaine. Peace negotiations with the FARC under the prior administration of President Andrés Pastrana (1998-2002) had ended in failure; the FARC used a large demilitarized zone located in the central Meta department (see map, Figure 1 ) to regroup and strengthen itself. The central Colombian government granted the FARC this demilitarized zone, a traditional practice in Colombian peace negotiations, but the FARC used it to launch terror attacks, conduct operations, and increase the cultivation of coca and its processing, while failing to negotiate seriously. Many analysts, noting the FARC's strength throughout the country, feared that the Colombian state might fail and some Colombian citizens thought the FARC might at some point successfully take power. The FARC was then reportedly at the apogee of its strength, numbering an estimated 16,000 to 20,000 fighters under arms. This turmoil opened the way for the aggressive strategy advocated by Uribe. At President Uribe's August 2002 inauguration, the FARC showered the event with mortar fire, signaling the group's displeasure at the election of a hardliner, who believed a military victory over the Marxist rebels was possible. In his first term (2002-2006), President Uribe sought to shore up and expand the country's military, seeking to reverse the armed forces' losses by aggressively combating the FARC. He entered into peace negotiations with the AUC. President Pastrana had refused to negotiate with the rightist AUC, but Uribe promoted the process and urged the country to back a controversial Justice and Peace Law that went into effect in July 2005 and provided a framework for the AUC demobilization. By mid-2006, some 31,000 AUC paramilitary forces had demobilized. The AUC demobilization, combined with the stepped-up counternarcotics efforts of the Uribe administration and increased military victories against the FARC's irregular forces, helped to bring down violence, although a high level of human rights violations still plagued the country. Uribe became widely popular for the effectiveness of his security policies, a strategy he called \"Democratic Security.\" Uribe's popular support was evident when Colombian voters approved a referendum to amend their constitution in 2005 to permit Uribe to run for a second term. Following his reelection in 2006, President Uribe continued to aggressively combat the FARC. For Uribe, 2008 was a critical year. In March 2008, the Colombian military bombed the camp of FARC's second-in-command, Raul Reyes (located inside Ecuador a short distance from the border), killing him and 25 others. Also in March, another of FARC's ruling seven-member secretariat was murdered by his security guard. In May, the FARC announced that their supreme leader and founder, Manuel Marulanda, had died of a heart attack. The near-simultaneous deaths of three of the seven most important FARC leaders were a significant blow to the organization. In July 2008, the Colombian government dramatically rescued 15 long-time FARC hostages, including three U.S. defense contractors who had been held captive since 2003 and Colombian senator and former presidential candidate Ingrid Bentancourt. The widely acclaimed, bloodless rescue further undermined FARC morale. Uribe's success and reputation, however, were marred by several scandals. They included the \"parapolitics\" scandal in 2006 that exposed links between illegal paramilitaries and politicians, especially prominent members of the national legislature. Subsequent scandals that came to light during Uribe's tenure included the \"false positive\" murders allegedly carried out by the military (primarily the Colombian Army) in which innocent civilians were executed and then dressed to look like guerilla fighters to increase the military's rebel body count. In 2009, the media revealed another scandal of illegal wiretapping and other surveillance by the government intelligence agency, the Department of Administrative Security (DAS), to discredit journalists, members of the judiciary, and political opponents of the Uribe government. (In early 2012, the tarnished national intelligence agency was replaced by Uribe's successor, Juan Manuel Santos.) Despite the controversies, President Uribe remained popular and his supporters urged him to run for a third term in 2010. Another referendum was proposed to alter the constitution to allow a third term; however, it was turned down by Colombia's Constitutional Court. Once it became clear that President Uribe was constitutionally ineligible to run again, Juan Manuel Santos of the pro-Uribe National Unity party (or Party of the U) quickly consolidated his preeminence in the 2010 presidential campaign. Santos, a centrist, who came from an elite family that once owned the country's largest newspaper, had served as Uribe's defense minister through 2009. In 2010, Santos campaigned on a continuation of the Uribe government's approach to security and its role encouraging free markets and economic opening, calling his reform policy \"Democratic Prosperity.\" In the May 2010 presidential race, Santos took almost twice as many votes as his nearest competitor, Antanas Mockus of the centrist Green Party, but he did not win a majority. Santos won the June runoff with 69% of the vote. Santos's \"national unity\" ruling coalition formed during his campaign included the center-right National Unity and Conservative parties, the centrist Radical Change Party, and the center-left Liberal party. On August 7, 2010, President Santos said in his first inauguration speech that he planned to follow in the path of President Uribe, but that \"the door to [peace] talks [with armed rebels] is not locked.\" The Santos government was determined to improve relations with Ecuador and Venezuela, which had become strained under Uribe. Santos sought to increase cooperation on cross-border coordination and counternarcotics. He attempted to reduce tensions with Venezuela that had become fraught under Uribe, who claimed that Venezuelan President Hugo Chávez had long harbored FARC and ELN forces. During his first two years in office, President Santos reorganized the executive branch and built on the market opening strategies of the Uribe administration and secured a free-trade agreement with the United States, Colombia's largest trade partner, which went into effect in May 2012. To address U.S. congressional concerns about labor relations in Colombia, including the issue of violence against labor union members, the United States and Colombia agreed to an \"Action Plan Related to Labor Rights\" (Labor Action Plan) in April 2011. Many of the steps prescribed by the plan were completed in 2011 while the U.S. Congress was considering the free trade agreement. Significantly, the Santos government maintained a vigorous security strategy and struck hard at the FARC's top leadership. In September 2010, the Colombian military killed the FARC's top military commander, Victor Julio Suárez (known as \"Mono Jojoy\"), in a bombing raid. In November 2011, the FARC's supreme leader, Guillermo Leon Saenz (aka \"Alfonso Cano\") was assassinated. He was replaced by Rodrigo Londoño Echeverri (known as \"Timoleón Jiménez\" or \"Timochenko\"), the group's current leader. While continuing the security strategy, the Santos administration began to re-orient the Colombian government's stance toward the internal armed conflict through a series of reforms. The first legislative reform that moved this new vision along, signed by President Santos in June 2011, was the Victims' and Land Restitution Law (Victims' Law), to provide comprehensive reparations to an estimated (at the time) 4 million to 5 million victims of the conflict. Reparations under the Victims' Law included monetary compensation, psycho-social support and other aid for victims, and the return of millions of hectares of stolen land to those displaced. The law was intended to process an estimated 360,000 land restitution cases. The government's implementation of this complex law began in early 2012. Between 2011 and 2016, there were more than 100,000 applications for restitution and 5,000 properties, or about 5%, were resolved by judges. The Victims' Law, while not a land reform measure, tackled issues of land distribution including the restitution of stolen property to displaced victims. Given the centrality of land issues to the rural peasant-based FARC, passage of the Victims' Law was a strong indicator that the Santos government shared its interest in addressing land and agrarian concerns. In June 2012, another government initiative—the Peace Framework Law, also known as the Legal Framework for Peace—was approved by the Colombian Congress, which signaled that congressional support for a peace process was growing. In August 2012, President Santos announced he had opened exploratory peace talks with the FARC and was ready to launch formal talks. The countries of Norway, Cuba, Venezuela, and Chile each held an international support role, with Norway and Cuba serving as peace talk hosts and \"guarantors.\" Following the formal start in Norway, the actual negotiations began a month later in mid-November 2012 in Cuba, where the FARC-government talks continued until their conclusion in August 2016. In the midst of extended peace negotiations, Colombia's 2014 national elections presented a unique juncture for the country. During the elections, the opposition Centro Democrático (CD) party gained 20 seats in the Senate and 19 in the less powerful Chamber of Representatives, and its leader, former President Uribe, became a popular senator. His presence in the Senate challenged the new ruling coalition that backed President Santos. During his second-term inaugural address in August 2014, President Santos declared three pillars—peace, equality, and education—as his focus, yet his top priority was to conclude the peace negotiations with the FARC. In February 2015, the Obama Administration provided support to the peace talks by naming Bernard Aronson, a former U.S. assistant secretary of state for Inter-American Affairs, as the U.S. Special Envoy to the Colombian peace talks. Talks with the FARC concluded in August 2016. In early October, to the surprise of many, approval of the accord was narrowly defeated in a national plebiscite by less than a half percentage point of the votes cast, indicating a polarized electorate. Regardless, President Santos was awarded the Nobel Peace Prize in December 2016, in part demonstrating strong international support for the peace agreement. In response to the voters' criticisms, the Santos government and the FARC crafted a modified agreement, which they signed on November 24, 2016. Rather than presenting this agreement to a plebiscite, President Santos sent it directly to the Colombian Congress, where it was ratified on November 30, 2016. Although both chambers of Colombia's Congress approved the agreement unanimously, members of the opposition CD party criticized various provisions in the accord that they deemed inadequate and boycotted the vote. The peace process was recognized as the most significant achievement of the Santos presidency and lauded outside of Colombia and throughout the region. Over the course of two terms, the President's approval ratings rose and fell rather significantly. His crowning achievement, the accord negotiated over 50 rounds of talks, covered five substantive topics: rural development and agricultural reform; political participation by the FARC; an end to the conflict, including demobilization, disarmament and reintegration; a solution to illegal drug trafficking; and justice for victims. A sixth topic provided for mechanisms to implement and monitor the peace agreement. Colombians elected a new congress in March 2018 and a new president in June 2018. Because no presidential candidate won more than 50% of the vote on May 27, 2018, as required for a victory in the first round, a second-round runoff was held June 17 between the rightist candidate Iván Duque and the leftist candidate Gustavo Petro (see results for presidential contest, Figure 3 ). Duque was carried to victory with almost 54% of the vote. Runner-up Petro, a former mayor of Bogotá, a former Colombian Senator, and once a member of the M-19 guerilla insurgency, nevertheless did better than any leftist candidate in a presidential race in the past century; he won 8 million votes and nearly 42% of the votes cast. Around 4.2% were protest votes, signifying Colombian voters who cast blank ballots. Through alliance building, Duque achieved a functional majority or a \"unity\" government, which involved the Conservative Party, Santos's prior National Unity or Party of the U, joining the CD, although compromise was required to keep the two centrist parties in sync with the more conservative CD. In the new Congress, two extra seats, for the presidential and vice presidential runners up, became automatic seats in the Colombian Senate and House, due to a constitutional change in 2015, allowing presidential runner up Gustavo Petro to return to the Senate. The CD party, which gained seats in both houses in the March vote, won the majority in the Colombian Senate (see Figure 2 for seat breakouts by party). Duque, who was inaugurated on August 7, 2018, at the age of 42, was the youngest Colombian president elected in a century. He possessed limited experience in Colombian politics. Duque was partially educated in the United States and worked for at decade at the Inter-American Development Bank in Washington, DC. He was the handpicked candidate of former president Uribe, who vocally opposed many of Santos's policies. Disgruntled Colombians perceived Santos as an aloof president whose energy and political capital were expended accommodating an often-despised criminal group, the FARC. President Duque appeared to be technically oriented and interested in economic reform, presenting himself as a modernizer. During his campaign, Duque called for economic renewal and lower taxes, fighting crime, and building renewed confidence in the country's institutions through some reforms. On September 26, 2018, in a speech before the U.N. General Assembly, the new president outlined his policy objectives . Duque called for increasing legality, entrepreneurship, and fairness by (1) promoting peace; (2) combating drug trafficking and recognizing it as a global menace, and (3) fighting corruption, which he characterized as a threat to democracy. He also maintained that the humanitarian crisis in neighboring Venezuela, resulting in more than 1 million migrants fleeing to Colombia, was an emergency that threatened to destabilize the region. Duque proposed a leadership role for Colombia in denouncing the authoritarian government of President Nicolás Maduro and containing his government's damage. By late November 2018, 1.2 million Venezuelans already present in Colombia were putting increasing pressure on the government's finances, generating a burden estimated at nearly 0.5% of the country's gross domestic product (GDP). President Duque, along with his vice president, Marta Lucía Ramírez, who initially ran as the Conservative Party candidate in the first round, recommended that drug policy shift back to a stricter counterdrug approach rather than a model endorsed in the peace accord, which focuses on voluntary eradication and economic support to peasant farmers to transition away from illicit drug crops. Duque campaigned on returning to spraying coca crops with the herbicide glyphosate. This would reverse Colombia's decision in mid-2015 to end aerial spraying, which had been a central—albeit controversial—feature of U.S.-Colombian counter-drug cooperation for two decades. Colombians' concerns with corruption became particularly acute during the 2018 elections, as major scandals were revealed. Similar to many countries in the region, government officials, including Santos during his 2014 campaign for reelection and the opposition candidate during that campaign were accused of taking payoffs (bribes) from the Odebrecht firm, the Brazilian construction company that became embroiled in a region-wide corruption scandal. In December 2018, presidential runner up Gustavo Petro was accused of taking political contributions from Odebrecht in a video released by a CD senator, indicating that both the left and the right of the Colombian political spectrum has been tainted by corruption allegations. In June 2017, the U.S. Drug Enforcement Administration arrested Colombia's top anti-corruption official, Gustavo Moreno. In mid-September 2017, the former chief justice of Colombia's Supreme Court was arrested for his alleged role in a corruption scandal that involved other justices accused of taking bribes from Colombian congressmen, some with ties to illegal paramilitary groups. The series of corruption charges made against members of Colombia's judicial branch, politicians, and other officials made the issue a prominent one in Colombian politics and was the focus of a left-centrist candidate's campaign in the presidential contest. In late August 2018, an anti-corruption referendum was defeated by narrowly missing a high vote threshold by less than a half percentage point, although the actual vote favored all seven proposed changes on the ballot. President Duque endorsed the referendum and maintains he will seek to curb many of the abuses identified in the referendum through legislation that his administration will propose. The Duque Administration's first budget for 2019 presented in late October 2018 was linked to an unpopular tax reform that would expand a value-added tax to cover basic food and agricultural commodities (some 36 items in the basic basket of goods, such as eggs and rice, previously exempted). The 2019 budget totals $89.7 billion, providing the education, military and police, and health sectors with the biggest increases, and reducing funding for peace accord implementation. Duque's own Democratic Center party split with him on the value-added tax, which quickly sank his approval ratings from 53% in early September 2018 to a low of 27% in November 2018, among the lowest levels in the early part of a presidential mandate in recent Colombian history. Colombia's economy is the fourth largest in Latin America after Brazil, Mexico, and Argentina. The World Bank characterizes Colombia as an upper middle-income country, although its commodities-dependent economy has been hit by oil price declines and peso devaluation related to the erosion of fiscal revenue. Between 2010 and 2014, Colombia's economy grew at an average of more than 4%, but slowed to 3.1% GDP growth in 2015. In 2017, Colombia's GDP growth slowed further to 1.7%. Despite its relative economic stability, high poverty rates and inequality have contributed to social upheaval in Colombia for decades. The poverty rate in 2005 was slightly above 45%, but declined to below 27% in 2016. The issues of limited land ownership and high rural poverty rates remain a problem. According to a United Nations study published in 2011, 1.2% of the population owned 52% of the land, and data revealed in 2016 that about 49% of Colombians continued to work in the informal economy. Colombia is often described as a country bifurcated between metropolitan areas with a developed, middle-income economy, and some rural areas that are poor, conflict-ridden, and weakly governed. The fruits of the growing economy have not been shared equally with this ungoverned, largely rural periphery. Frequently these more remote areas are inhabited by ethnic minorities or other disadvantaged groups, such as Afro-Colombians, indigenous populations, or landless peasants and subsistence farmers, who are vulnerable to illicit economies due to few connections to the formal economy. The United States is Colombia's leading trade partner. Colombia accounts for a small percentage of U.S. trade (approximately 1%), ranking 22 nd among U.S. export markets and 27 th among foreign exporters to the United States in 2017. Colombia has secured free trade agreements with the European Union, Canada, and the United States, and with most nations in Latin America. Colombian officials have worked over the past decade to increase the attractiveness of investing in Colombia, and foreign direct investment (FDI) grew by 16% between 2015 and 2016. This investment increase came not only from the extractive industries, such as petroleum and mining, but also from such areas as agricultural products, transportation, and financial services. Promoting more equitable growth and ending the internal conflict were twin goals of the two-term Santos administration. Unemployment, which historically has been high at over 10%, fell below that double-digit mark during Santos's first term and remained at 9.2% in 2016 but rose slightly to an estimated 9.6% in 2018. Although Colombia is ranked highly for business-friendly practices and has a favorable regulatory environment that encourages trade across borders, it is still plagued by persistent corruption and an inability to effectively implement institutional reforms it has undertaken, particularly in regions where government presence is weak. According to the U.S. State Department in its analysis of national investment climates, Colombia has demonstrated a political commitment to create jobs, develop sound capital markets, and achieve a legal and regulatory system that meets international norms for transparency and consistency. Despite its macroeconomic stability, several issues remain, such as a still-complicated tax system, a high corporate tax burden, and continuing piracy and counterfeiting issues. Colombia's rural-sector protestors formed strikes and blockades beginning in 2013 with demands for long-term and integrated-agricultural reform in a country with one of the most unequal patterns of land ownership. In October and November 2018, Colombian secondary and university students protested in high numbers during six large mobilizations, taking place over 60 days, to demand more funding for education. The four-year peace talks between the FARC and the Santos administration started in Norway and moved to Cuba where negotiators worked through a six-point agenda during more than 50 rounds of talks that produced agreements on six major topics. The final topic—verification to enact the programs outlined in the final accord—all parties knew would be the most challenging, especially with a polarized public and many Colombians skeptical of whether the FARC would be held accountable for its violence and crimes during the years of conflict. Some analysts have estimated that to implement the programs required by the commitments in the accord to ensure stable post-conflict development may require 15 years and cost from $30 billion to $45 billion. The country faces steep challenges to underwrite the post-accord peace programs in an era of declining revenues. While progress has been uneven, some programs (those related to drug trafficking) had external pressure to move forward quickly and some considered urgent received \"fast track\" treatment to expedite their regulation by Congress. The revised peace accord that was approved by the Colombian Congress in late 2016 was granted fast track implementation by the Colombian Constitutional Court in a ruling on December 13, 2016, particularly applied to the FARC's disarmament and demobilization. However, in May 2017, a new ruling by the high court determined that all legislation related to the implementation of the accord needed to be fully debated rather than passed in an expedited fashion, which some analysts maintain started to slow the process of implementing the accord significantly. The Kroc Institute for International Peace Studies at the University of Notre Dame is responsible for monitoring and implementing the agreement. It issued two interim reports in November 2017 and August 2018. At the end of the last reporting period (June 2018), the Kroc Institute estimated that 63% of the 578 peace accord commitments have begun implementation. In relation to other peace accords it had studied, the Kroc Institute found that the implementation of Colombia's accord was on course as about average, although that progress took place prior to President Duque's election. The first provision undertaken was the demobilization of the FARC, monitored by a U.N. mission that was approved by the U.N. Security Council to verify implementation of the accords. U.N. monitors also emptied large arm caches identified by FARC leaders, seizing the contents of more than 750 of the reported nearly 1,000 caches by the middle of 2017. With the final disarmament, President Santos declared the conflict over in mid-August 2017. The U.S. State Department reported in its Country Reports on Terrorism 201 , that by September 25, 2017, the United Nations had verified the collection of 8,994 arms, 1.7 million rounds, and more than 40 tons of explosives. The report states that the Colombian government had accredited \"roughly 11,000 ex-combatants for transition to civilian life.\" The FARC also revealed its hidden assets in September 2017, listing more than $330 million in mostly real estate investments. This announcement drew criticism from several analysts who note that the FARC assets are likely much greater. In July 2017, the U.N. Security Council voted to expand its mandate and launch a second mission for three years to verify the reintegration of FARC guerrillas into civil society beginning September 20, 2017. One of Colombia's greatest challenges continues to be ensuring security for ex-combatants and demobilized FARC. The FARC's reintegration into civil society is a charged topic because the FARC's efforts in the 1980s to start a political party, known as the Patriotic Union, or the UP by its Spanish acronym, resulted in more than 3,000 party members being killed by rightwing paramilitaries and others. As of the end of 2018, reportedly 85 FARC members and their close relatives had been killed. In addition to unmet government guarantees of security, the FARC also has criticized the government for not adequately preparing for the group's demobilization. According to observers, the government failed to provide basic resources to FARC gathered throughout the country in specially designated zones for disarmament and demobilization (later renamed reintegration zones). The demobilization areas or cantonments had been so little prepared in early 2017 that the FARC had in many cases to construct their own housing and locate food and other provisions. Reintegration of former combatants has proceeded slowly. The Constitutional Court's May 2017 ruling to restrict fast track, and controversy about the new court to try war crimes and other serious violations, the \"Special Jurisdiction of Peace\" led to further delays. Peace process advocates have cited limited attention to include ethnic Colombians, such as Afro-Colombian leaders and indigenous communities, into the accord's implementation, as required by the \"ethnic chapter\" of the peace accord. A U.N. deputy human rights official warned in October 2017 that after a successful demobilization it would be dangerous not to reintegrate FARC former combatants by providing them realistic options for income and delaying effective reintegration could undermine peace going forward. Under the peace accord, Territorially Focused Development Programs (PDETs in Spanish) are a tool for planning and managing a broad rural development process, with the aim of transforming170 municipalities (covering 16 subregions) most affected by the armed conflict. PDETs target those municipalities in Colombia with the highest number of displacements and those that have experienced the most killings, massacres, and forced disappearances. These marginal areas generally have experienced chronic poverty, high inequality, the presence of illicit crops such as coca, and low levels of local government institutional performance. Violence and forced displacements in some of the PDET municipalities increased in the last half of 2018. Colombia's Constitutional Court determined in October 2017 that over the next three presidential terms (until 2030), Colombia must follow the peace accord commitments negotiated by the Santos administration and approved by the Colombian Congress in 2016. The Special Jurisdiction of Peace, set up to adjudicate the most heinous crimes of Colombia's decades-long armed conflict, began to hear cases in July 2018. However, Colombians remain skeptical of its capacity. A key challenge is the case of a FARC leader and lead negotiator in the peace process, Jesús Santrich, alleged to have committed drug trafficking crimes in 2017 after the accord was ratified, who has been jailed. Colombia has confronted a complex security environment of armed groups: two violent leftist insurgencies, the FARC and the ELN, and groups that succeeded the AUC following its demobilization during the Uribe administration. The FARC, whittled down by the government's military campaign against it, continued to conduct a campaign of terrorist activities during peace negotiations with the government through mid-2015, but it imposed successive temporary unilateral cease-fires that significantly reduced violence levels. In August 2016, the FARC and the government concluded negotiations on a peace accord that was subsequently approved by Congress with modifications in November 2016. Authorities and some analysts maintain that since the peace accord was ratified, 5% to 10% of the FARC have become dissidents who reject the peace settlement, although other estimates suggest a higher percentage. These armed individuals remain a threat. As agreed in the peace accord, the demobilized rebels transitioned to a political party that became known as the Common Alternative Revolutionary Force (retaining the acronym FARC) in September 2017. On November 1, 2017, the FARC announced their party's presidential ticket: current FARC leader Rodrigo Londoño (aka Timochenko) for president and Imelda Daza for vice president. The FARC Party ran several candidates in congressional races but failed to win any additional congressional race for which it competed in the March 2018 legislative elections, so the automatic seats in Congress were the only ones that it filled. The ELN, like the FARC, became deeply involved in the drug trade and used extortion, kidnapping, and other criminal activities to fund itself. The ELN, with diminished resources and reduced offensive capability, according to government estimates, declined to fewer than 2,000 fighters, although some analysts maintain in 2018 the forces grew as high as 3,400, including former FARC who were recruited to join the ELN as the larger rebel group demobilized. In 2015, ELN leadership began exploratory peace talks with the Santos government in Ecuador, although the ELN continued to attack oil and transportation infrastructures and conduct kidnappings and extortions, at least periodically. Formal talks with the ELN finally opened in February 2017 in Quito, Ecuador. After the talks moved to Cuba in May 2018, at the request of Ecuador's President Lenín Moreno, several negotiating sessions took place. The ELN's central leadership, including Nicolás Rodríguez Bautista (aka \"Gabino\"), arrived in Cuba to continue the talks. However, President Duque in September 2018 suspended the talks and recalled the government negotiating team. The ELN is far more regionally oriented, decentralized, and nonhierarchical in its decisionmaking than the FARC. Late in 2018, a Colombian political online magazine claimed a meeting had been held two months earlier between FARC dissident groups and the ELN in Venezuela in which the parties discussed how to increase their coordination. On January 17, 2019, a car bomb attack at a National Police academy in southern Bogotá shattered illusions that Colombia's long internal conflict with insurgents was coming to an end. The bombing, allegedly carried out by an experienced ELN bomb maker, killed 20 police cadets and the bomber and injured more than 65 others. The ELN took responsibility for the attack in a statement published on January 21. Large demonstrations took place in Bogotá protesting the return of violence to Colombia's capital city. The Duque government ended peace talks with the ELN, which had been ongoing sporadically since 2017. The Duque government then requested extradition of the ELN's delegation of negotiators to the peace talks in Cuba on terrorism charges. The Cuban government, which condemned the bombing, responded that the protocols for the peace talks required that the negotiators be returned to Colombia without arrest. The Duque government has persisted in requesting the negotiators to be extradited. The AUC, the loosely affiliated national umbrella organization of paramilitaries, officially disbanded a decade ago. The organization was removed from the State Department's Foreign Terrorist Organizations list in July 2014. More than 31,000 AUC members demobilized between 2003 and 2006, and many AUC leaders stepped down. However, as noted, many former AUC paramilitaries continued their illicit activities or re-armed and joined criminal groups—known as Bacrim . Many observers view the Bacrim as successors to the paramilitaries, and the Colombian government has characterized these groups as the biggest threat to Colombia's security since 2011. The Bacrim do not appear to be motivated by the dream of defeating the national government, but they seek territorial control and appear to provide rudimentary justice in ungoverned parts of the country. In 2013, the criminal group Los Urabeños, launched in 2006, emerged as the dominant Bacrim. Over its lifetime, the group has been referred to as the Gaitanistas, the Clan Úsuga, and most recently El Clan del Golfo, growing to about 3,000 members by 2015. The Urabeños organization is heavily involved in cocaine trafficking as well as arms trafficking, money laundering, extortion, gold mining, human trafficking, and prostitution. Early leaders of the group, such as founder Daniel Rendón Herrera (alias \"Don Mario\") and his brother Feddy Rendón Herrera were designated drug kingpins under the U.S. Kingpin Act in 2009 and 2010, respectively. However, because these men had been part of the AUC peace process, they could not be extradited to the United States until they had served time and paid reparations. In June 2015, the Justice Department unsealed indictments against 17 alleged Urabeños members. The Colombian government's efforts to dismantle the Urabeños and interrupt its operations began to result in the capture of top leaders and gradually to disrupt its illicit activities. The Urabeños faced an intense enforcement campaign by the Colombian police and military, especially after the Urabeños reportedly advertised and paid rewards to its subcontracted assassins to murder Colombian police. In September 2017, the Urabeños top leader, Dairo Antonio Úsuga (alias \"Otoniel\"), requested terms of surrender from the Santos government after the arrest of his wife and the killing or arrest of siblings and co-leaders, but this offer was never formalized. Colombia captured a vast amount of cocaine, approximately 12 metric tons, linked to the the Urabeños in November 2017. Splinter groups of the large Colombian drug cartels of the 1980s and 1990s, such as the Medellin Cartel and Cali Cartel, have come and gone in Colombia, including the powerful transnational criminal organizations (TCOs) the Norte del Valle Cartel and Los Rastrajos. The U.S. Drug Enforcement Administration's 2018 National Drug Threat Assessment maintains \"large-scale Colombian TCOs\" work closely with Mexican and Central American TCOs to export large quantities of cocaine out of Colombia every year. Traditionally, the FARC and ELN had cooperated with Bacrim and other Colombian crime groups in defense of drug trafficking and other illicit activities despite the groups' ideological differences. Venezuela is a major transit corridor for Colombian cocaine. According to the State Department's 2018 International Narcotics Control Strategy Report , Venezuela's porous western border with Colombia, current economic crisis, weak judicial system, sporadic international drug control cooperation, and a permissive and corrupt environment make it a preferred trafficking route for illicit drugs. A May 2018 report by Insight Crime identified more than 120 high-level Venezuelan officials who have engaged in criminal activity. The report analyzes how the Venezuelan military, particularly the National Guard, has been involved in the drug trade since 2002 and colluded with other illegally armed groups. Another Bacrim, Los Rastrojos, reportedly controls important gasoline smuggling routes between Venezuela and Colombia in 2018. Similarly, in the past year, ELN guerrillas reportedly have moved from seeking safe haven in Venezuela to taking control of illicit gold mining areas near Venezuela's border with Guyana. Both the ELN, which is still engaged in armed conflict with the Colombian government, and its rival, the Popular Liberation Army (EPL), reportedly recruit Venezuelans to cultivate coca in Colombia. Human trafficking and sexual exploitation of Venezuelan migrants throughout Colombia is prevalent. Dissident FARC guerrillas are using border areas and other remote areas in the countryside to regroup and could eventually seek to consolidate into a more unified organization or coordinate with other criminal groups sheltering in Venezuela. The State Department's 2017 terrorism report published in April 2018 maintained that the number of terrorist incidents in Colombia—carried out by the FARC and ELN—decreased significantly, by 40%, over the already much-diminished level of 2016. ELN aggression included high-impact attacks, such as launching mortars at police stations and bombing pipelines, although the report also states that ELN demobilizations and surrenders have increased. The humanitarian crisis in Venezuela has set in motion a mass exodus of desperate migrants, who have come temporarily (or for extended stays) to Colombia. Although Venezuela has experienced hyperinflation (the highest in the world), a rapid contraction of its economy, and severe shortages of food and medicine, as of November 2018 Venezuelan President Nicolás Maduro has refused most international humanitarian assistance. Based on estimates from the U.N. High Commissioner for Refugees (UNHCR), as of November 2018, more than 3 million Venezuelans were living outside Venezuela; of these, an estimated 2.3 million left after 2015. As conditions in Venezuela have continued to deteriorate, increasing numbers of Venezuelans have left the country. Neighboring countries, particularly Colombia, are straining to absorb a migrant population that is often malnourished and in poor health. The spread of previously eradicated diseases, such as measles, is also a major regional concern. In January 2019, the Trump Administration announced backing for the president of the Venezuelan National Assembly, Juan Guaidó, as interim president of Venezuela. The Trump Administration has called for Maduro's departure, and Colombia joined many other countries in Latin America and Europe to recognize Guaidó. U.S. Secretary of State Michael Pompeo announced that the United States was prepared to provide $20 million in humanitarian assistance to the people of Venezuela. Colombia joined 11 countries in the Lima Group that declared on February 4, 2019, their desire to hasten a return to democracy in Venezuela by working with Guaidó for a peaceful transition without the use of force. Colombia's multisided internal conflict over the last half century generated a lengthy record of human rights abuses. Although it is widely recognized that Colombia's efforts to reduce violence, combat drug trafficking and terrorism, and strengthen the economy have met with success, many nongovernmental organizations (NGOs) and human rights groups continue to report significant human rights violations, including violence targeting noncombatants, that involves killings, torture, kidnappings, disappearances, forced displacements, forced recruitments, massacres, and sexual attacks. The Center for Historical Memory report issued to the Colombian government in July 2013 traces those responsible for human rights violations to the guerrillas (the FARC and ELN), the AUC paramilitaries and successor paramilitary groups, and the Colombian security forces. In analyzing nearly 2,000 massacres between 1980 and 2012 documented in the center's database, the report maintains that 58.9% were committed by paramilitaries, 17.3% by guerrillas, and 7.9% by public security forces. According to the U.S. State Department's annual report on human rights covering 2017, Colombia's most serious human rights abuses centered on extrajudicial and unlawful killings; torture and detentions; rape and sexual crimes. In addition to the State Department, numerous sources report regularly on human rights conditions in Colombia. (See Appendix .) Colombia continues to experience murders and threats of violence against journalists, human rights defenders, labor union members, social activists such as land rights leaders, and others. Crimes of violence against women, children, Afro-Colombian and indigenous leaders, and other vulnerable groups continue at high rates. In December 2018, the U.N. special rapporteur on human rights defenders came out with strong criticism of heightened murders of human rights defenders, which he maintained were committed by hitmen paid no more than $100 per murder, according to reports he heard from activists and other community members whom he met with during a trip to Colombia. These ongoing issues reflect constraints of the Colombian judicial system to effectively prosecute crimes and overcome impunity. For many years, human rights organizations have raised concerns about extrajudicial executions committed by Colombian security forces, particularly the military. In 2008, it was revealed that several young men from the impoverished community of Soacha—who had been lured allegedly by military personnel from their homes to another part of the country with the promise of employment—had been executed. When discovered, the Soacha murder victims had been disguised as guerrilla fighters to inflate military claims of enemy body counts, resulting in the term false positives . Following an investigation into the Soacha murders, the military quickly fired 27 soldiers and officers, including three generals, and the army's commander resigned. The Colombian prosecutor general's criminal investigations of soldiers and officers who allegedly participated in the Soacha executions have proceeded quite slowly. Some 48 of the military members eventually charged with involvement in the Soacha cases were released due to the expiration of the statute of limitations. Whereas some soldiers have received long sentences, few sergeants or colonels have been successfully prosecuted. In 2009, the false positive phenomenon was investigated by the U.N.'s Special Rapporteur on Extrajudicial Executions, who issued a report that concluded with no finding that such killings were a result of an official government policy. However, the Special Rapporteur did find, \"the sheer number of cases, their geographic spread, and the diversity of military units implicated, indicate that these killings were carried out in a more or less systematic fashion by significant elements within the military.\" The majority of the cases took place between 2004 and 2008, when U.S. assistance to Colombia peaked. In recent years, the number of new alleged false positive cases declined steeply, but human rights NGOs still reported a few cases in 2012 through 2015. To address the military's human rights violations, the Santos administration proposed a change to policy that did not prevail. This reform was a constitutional change to expand the jurisdiction of military courts and, it was approved by the Colombian Congress in late December 2012 by a wide margin despite controversy. Human rights groups criticized the legislation's shift in the jurisdiction over serious human rights crimes allegedly committed by Colombia's public security forces from the civilian to the military justice system. In its review of the constitutional amendment, the Colombian Constitutional Court struck down the law over procedural issues in October 2013. Human Rights Watch in a 2015 report on the false positive cases noted that prosecutors in the Human Rights Unit of the Prosecutor General's Office conducted investigations into more than 3,000 false positive homicide cases allegedly committed by army personnel that resulted in about 800 convictions, mostly of lower-ranking soldiers. Only a few of those convictions involved former commanders of battalions or other tactical units, and none of the investigations of 16 active and retired army generals had produced charges. In 2016, the prosecutions against generals accused of responsibility for false positives continued, although a few were closed and 12 remained under investigation at year's end. Additionally, in October 2016, the Colombian prosecutor general indicted Santiago Uribe, the brother of former President Uribe, on charges of murder and association to commit crimes for his alleged role in the paramilitary group \"The 12 Apostols\" in the 1990s. The State Department human rights report covering 2017, maintains that during the year through July, four new cases involving \"aggravated homicide\" committed by security forces and 11 new convictions were reached for \"simple homicide\" by security force members. Although estimates diverge, the number of human rights defenders murdered in 2016 totaled 80 and another 51 in the first half of 2017, according to Somos Defensores (\"We are Defenders\"), a Colombian NGO that tracks violence against defenders and is cited by the State Department. Some groups, such as the Colombian think tank, Indepaz, say the numbers are higher, up to 117 murders in 2016. In the two years since the approval of the 2016 peace accord, social leaders, ethnic community leaders, and human rights defenders have suffered from continued high levels of violence. Human rights organizations cite the murders of more than 100 activists in 2017 and in 2018. Of the 109 human rights and civil society activists killed in 2018 through November, some were leaders of efforts to implement the 2016 peace accord. For instance, 13 social leaders were assassinated in the southwest department of Cauca in the first six months of the year, a department in Colombia with the fourth largest area devoted to coca cultivation in the country and host to several peace accord programs associated with rural development, including voluntary eradication of drug crops. Few, if any, of those accused of making threats and ordering or carrying out assassinations have been prosecuted. According to these activists, perpetrators still have little to fear of legal consequences. Since early 2012, violence against land rights activists has risen sharply with the start of implementation of the Victims' Law that authorized the return of stolen land. A September 2013 report by Human Rights Watch pointing to the rise in violence against land activists and claimants maintained that the environment had turned so threatening that claimants who had received land judgments were too frightened to return, and the government had received more than 500 serious threats against claimants in less than 18 months. According to Human Rights Watch, many of the threats and killings have been conducted by paramilitary-influenced Bacrim, although they may be operating at the behest of third-party \"landowners,\" who are trying to protect their land from seizure. For more than a decade, the Colombian government tried to suppress violence against groups facing extraordinary risk through the National Protection Unit (UPN) programs. Colombia's UPN provides protection measures, such as body guards and protective gear, to individuals in at-risk groups, including human rights defenders, journalists, trade unionists, and others. However, according to international and Colombian human rights groups, the UPN has been plagued by corruption issues and has inadequately supported the prosecution of those responsible for attacks. According to the State Department's Report on Human Rights Practices covering 2017, the UPN protected roughly 6,067 at-risk individuals, including 575 human rights activists, with a budget of $150 million. Journalists, a group that has traditionally received protection measures from the UPN, continue to operate in a dangerous environment in Colombia. According to the Committee to Protect Journalists (CPJ), 47 journalists have been killed in work-related circumstances since 1992. Three Ecuadorian journalists were killed by a FARC dissident group close to the border of Ecuador in 2018, leading to the end of the Colombian government's peace talks with the ELN in Ecuador and their subsequent move to Cuba. To help monitor and verify that human rights were respected throughout implementation of the peace accord, the government formally renewed the mandate of the U.N.'s High Commissioner of Human Rights in 2016 for three years. The issue of violence against the labor movement in Colombia has sparked controversy and debate for years. Many human rights groups and labor advocates have maintained that Colombia's poor record on protecting its trade union members and leaders from violence is one reason to avoid closer trade relations with Colombia. The U.S.-Colombia Free Trade Agreement (also known as the U.S.-Colombia Trade Promotion Agreement) could not be enacted without addressing the deep concern of many Members of Congress that Colombia must enforce basic labor standards and especially measures to mitigate the alleged violence against trade union members and bring perpetrators of such violence to justice. In April 2011, the United States and Colombia agreed to an \"Action Plan Related to Labor Rights\" (the Labor Action Plan, LAP), which contained 37 measures that Colombia would implement to address violence, impunity, and workers' rights protection. Before the U.S.-Colombia Free Trade Agreement entered into force in April 2012, the U.S. Trade Representative determined that Colombia had met all the important milestones in the LAP to date. Despite the programs launched and measures taken to implement the LAP, human rights and labor organizations claim that violence targeting labor union members continues. (Some analysts continue to debate whether labor activists are being targeted because of their union activities or for other reasons.) The Colombian government has acknowledged that violence and threats continue, but points to success in reducing violence generally and the number of homicides of labor unionists specifically. Violence levels in general are high in Colombia, but have steadily been decreasing. According to the data reported by the U.N. Office on Drugs and Crime (UNODC) in its annual homicide report, rates have decreased dramatically since 2002, when the homicide rate was at 68.9 per 100,000. The Colombian Ministry of Defense reported in 2016 that the homicide rate had declined to 24.4 per 100,000. In this context of an overall steady decline in homicides, the number of labor union killings has also declined. For many years, the government and the leading NGO source that tabulates these crimes did not agree on the number of labor union murders because they used different methodologies. Both sources recorded a decline, but the government generally saw a steeper decline. According to the Colombian labor rights NGO and think tank, the National Labor School ( Escuela Nacional Sindical , ENS), there has been a significant decline from 191 labor union murders in 2001 to 20 reported in 2012. In 2017, through the month of August the ENS reported 14 labor murders. Of the cases covering homicides between January 2011 and August 2017, 162 homicide cases in which victims were labor union members, were 409 convictions, 31 for cases after 2011 and 378 for cases before 2011. In addition, labor advocates note that tracking homicides does not capture the climate of intimidation that Colombian labor unions face. In addition to lethal attacks, trade union members encounter increased death threats, arbitrary detention, and other types of harassment. Measures to strengthen the judicial system to combat impunity for such crimes are also part of the Labor Action Plan. Nevertheless, many analysts maintain there remains a large backlog of cases yet to be investigated involving violent crimes against union members. The internal conflict has been the major cause of a massive displacement of the civilian population that has many societal consequences, including implications for Colombia's poverty levels and stability. Colombia has one of the largest populations of internally displaced persons (IDPs) in the world. Most estimates place the total at more than 7 million IDPs, or more than 10% of Colombia's estimated population of 49 million. This number of Colombians, forcibly displaced and impoverished as a result of the armed conflict, continues to grow and has been described by many observers as a humanitarian crisis. Indigenous and Afro-Colombian people make up an estimated 15%-22% of the Colombian population. They are, however, disproportionately represented among those displaced. The leading Colombian NGO that monitors displacement, Consultancy for Human Rights and Displacement (CODHES), reports that 36% of the victims of forced displacement nationwide in 2012 came from the country's Pacific region where Afro-Colombian and indigenous people predominate. The Pacific region has marginal economic development as a result of weak central government presence and societal discrimination. (Some 84% of the land in the Pacific region is subject to collective-title rights granted to Afro-Colombian and indigenous communities. ) Illegal armed groups are active in usurping land in this region, which is valued for its proximity to a major port and drug trafficking routes, and the Afro- and indigenous communities are also caught in the middle of skirmishes between illegal groups and Colombian security forces. IDPs suffer stigma and poverty and are often subject to abuse and exploitation. In addition to the disproportionate representation of Colombia's ethnic communities among the displaced, other vulnerable populations, including women and children, have been disproportionally affected. Women, who make up more than half of the displaced population in Colombia, can become targets for sexual harassment, violence, and human trafficking. Displacement is driven by a number of factors, most frequently in more remote regions of the country where armed groups compete and seek to control territory or where they confront Colombian security forces. Violence that uproots people includes threatened or actual child recruitment or other forced recruitment by illegal armed groups, as well as physical, psychological, and sexual violence. Other contributing factors reported by NGOs include counternarcotics measures such as aerial spraying, illegal mining, and large-scale economic projects in rural areas. Inter-urban displacement is a growing phenomenon in cities such as Buenaventura and Medellin, which often results from violence and threats by organized crime groups. The Victims' Law of 2011, which began to be implemented in 2012, is the major piece of legislation to redress Colombian displacement victims with the return of their stolen land. The historic law provides restitution of land to those IDPs who were displaced since January 1, 1991. The law aims to return land to as many as 360,000 families (impacting up to 1.5 million people) who had their land stolen. The government notes that some 50% of the land to be restituted has the presence of land mines and that the presence of illegally armed groups in areas where victims have presented their applications for land restitution has slowed implementation of the law. Between 2011 and 2016, 100,000 applications for land restitution were filed and approximately 5,000 properties (roughly 5% of applications) were successfully returned following judgements on the cases. With the international support from U.S. Agency for International Development (USAID) and other donors, a Victims Unit was established to coordinate the range of services for victims, including financial compensation and psychosocial services, provided by a host of government agencies. The 2011 Victims' Law is considered a model and particularly the implementation of a Victims' registry, which was supported by USAID. Through its Victims Unit, the Colombian government had provided financial reparations to over 800,000 victims and psychosocial support to 700,000 as of October 2018. The Global Report on Internal Displacement from the Internal Displacement Monitoring Centre (IDMC) reported, however, displacement inside Colombia continued with more than 171,000 internally displaced in 2016. As the political crisis in Venezuela has grown, a wave of refugees and migrants have come across the border into Colombia reversing an earlier trend. Venezuelans were fleeing political instability and economic turmoil in Colombia's once-wealthy neighboring nation. Venezuela's economic crisis worsened throughout 2018, prompting a sharp increase in migrants seeking to escape into Colombia. In response to the growing flood of Venezuelans, former President Santos initially announced that he would impose stricter migratory controls and deploy thousands of new security personnel along the frontier. Nevertheless, he acknowledged that Venezuela had once served as a vital escape valve for Colombian refugees fleeing their half century internal conflict, for which he was grateful. Colombia shares long borders with neighboring countries, and some of these border areas have been described as porous to illegal armed groups that threaten regional security. Colombia has a 1,370-mile border with Venezuela, approximately 1,000-mile borders with both Peru and Brazil, and shorter borders with Ecuador and Panama. Much of the territory is remote and rugged and suffers from inconsistent state presence. Although all of Colombia's borders have been problematic and subject to spillover effects from Colombia's armed conflict, the most affected are Venezuela, Ecuador, and Panama. Over the years, Colombia's relations with Venezuela and Ecuador have been strained by Colombia's counterinsurgency operations, including cross-border military activity. The FARC and ELN insurgents have been present in shared-border regions and in some cases the insurgent groups used the neighboring countries to rest, resupply, and shelter. Former President Uribe accused the former Venezuelan government of Hugo Chávez of harboring the FARC and ELN and maintained that he had evidence of FARC financing the 2006 political campaign of Ecuador's leftist President Rafael Correa. Relations between Ecuador and Colombia remained tense following the Colombian military bombardment of a FARC camp inside Ecuador in March 2008. Ecuador severed diplomatic relations with Colombia for 33 months. Also in 2008, Ecuador filed a suit against Colombia in the International Court of Justice (ICJ), claiming damages to Ecuadorian residents affected by spray drift from Colombia's aerial eradication of drug crops. In September 2013, Colombia reached an out-of-court settlement awarding Ecuador $15 million. Once in office, President Santos reestablished diplomatic ties with both countries and in his first term (2010-2014) cooperation greatly increased between Colombia and Venezuela on border and security issues and with Ecuador's Correa. However, concerns about Venezuelan links to the FARC and the continued use of Venezuela by the FARC and ELN as a safe haven to make incursions into Colombia remained an irritant in Colombian-Venezuelan relations. Nevertheless, the Venezuelan and Colombian governments committed to jointly combat narcotics trafficking and illegal armed group activities along the porous Venezuelan-Colombian border and Venezuela remained a supporting government of the FARC-government peace talks (along with Chile, Norway, and Cuba) through 2016, even after former President Chávez died in office in March 2013. Ecuador's government hosted exploratory talks between the ELN and the Santos government beginning in 2015, which became formal talks hosted in Quito in February 2017, although Ecuador's president requested that the talks move to Cuba in May 2018, due to a spate of border violence that could have been related to the ELN. For many years, the region in Panama that borders Colombia, the Darien, was host to a permanent presence of FARC soldiers who used the remote area for rest and resupply as well to transit drugs north. By 2015, according to the State Department, the FARC was no longer maintaining a permanent militarized presence in Panamanian territory, in part due to effective approaches taken by Panama's National Border Service in coordination with Colombia. Nevertheless, the remote Darien region still faces challenges from smaller drug trafficking organizations and criminal groups such as Bacrim and experiences problems with human smuggling with counterterrorism implications. When Colombia hosted the Sixth Summit of the Americas in April 2012, President Obama and President Santos announced a new joint endeavor, the Action Plan on Regional Security Cooperation. This joint effort, built on ongoing security cooperation, addresses hemispheric challenges, such as combating transnational organized crime, bolstering counternarcotics, strengthening institutions, and fostering resilient communities. The Action Plan focuses on capacity building for security personnel in Central America and the Caribbean by Colombian security forces (both Colombian military and police). To implement the plan, Colombia undertook several hundred activities in cooperation with Panama, Costa Rica, El Salvador, Honduras, Guatemala and the Dominican Republic, and between 2013 and 2017 trained almost 17,000 individuals (see Figure 4 ). The Colombian government notes that this program grew dramatically from 34 executed activities in 2013 to 441 activities planned for 2018. Colombia has increasingly trained military and police from other countries both under this partnership and other arrangements, including countries across the globe. According to the Colombian Ministry of Defense, around 80% of those trained were from Mexico, Central America, and the Caribbean. U.S. and Colombian officials maintain that the broader effort is designed to export Colombian expertise in combating crime and terrorism while promoting the rule of law and greater bilateral and multilateral law enforcement cooperation. Critics of the effort to \"export Colombian security successes\" maintain that human rights concerns have not been adequately addressed. Some observers question the portion of these activities that are funded by the U.S. government and want to see more transparency. In one analysis of the training, a majority of the training was provided by Colombian National Police rather than the Colombian Army, in such areas as ground, air, maritime, and river interdiction; police testimony; explosives; intelligence operations; psychological operations; and Comando JUNGLA, Colombia's elite counternarcotics police program. Other analysts praise the Colombian training and maintain that U.S. assistance provided in this way has helped to improve, professionalize, and expand the Colombian military, making it the region's second largest. As that highly trained military shifts from combating the insurgency and the Colombian National Police take the dominant role in guaranteeing domestic security, Colombia may play a greater role in regional security and even in coalition efforts internationally. In September 2017, President Trump announced that he had considered designating Colombia in noncompliance with U.S. counternarcotics requirements, but noted that he had not proceeded with the step in part because of Colombian training efforts to assist others in the region with combating narcotics and related crime. Colombia is a key U.S. ally in the region. With diplomatic relations that began in the 19 th century following Colombia's independence from Spain, the countries have enjoyed close and strong ties. Because of Colombia's prominence in the production of illegal drugs, the United States and Colombia forged a close partnership over the past 16 years. Focused initially on counternarcotics, and later counterterrorism, a program called Plan Colombia laid the foundation for a strategic partnership that has broadened to include sustainable development, human rights, trade, regional security, and many other areas of cooperation. Between FY2000 and FY2016, the U.S. Congress appropriated more than $10 billion in assistance from U.S. State Department and Department of Defense (DOD) accounts to carry out Plan Colombia and its follow-on strategies. During this time, Colombia made notable progress combating drug trafficking and terrorist activities and reestablishing government control over much of its territory. Its economic and social policies have reduced the poverty rate and its security policies have lowered the homicide rate. Counternarcotics policy has been the defining issue in U.S.-Colombian relations since the 1980s because of Colombia's preeminence as a source country for illicit drugs. Peru and Bolivia were the main global producers of cocaine in the 1980s and early 1990s. However, successful efforts there in reducing supply pushed cocaine production from those countries to Colombia, which soon surpassed both its Andean neighbors. The FARC and other armed groups in the country financed themselves primarily through narcotics trafficking, and that lucrative illicit trade provided the gasoline for the decades-long internal armed conflict at least since the 1990s. Colombia emerged to dominate the cocaine trade by the late 1990s. National concern about the crack cocaine epidemic and extensive drug use in the United States led to greater concern with Colombia as a source. As Colombia became the largest producer of coca leaf and the largest exporter of finished cocaine, heroin produced from Colombian-grown poppies was supplying a growing proportion of the U.S. market. Alarm over the volumes of heroin and cocaine being exported to the United States was a driving force behind U.S. support for Plan Colombia at its inception. The evolution of Plan Colombia took place under changing leadership and changing conditions in both the United States and Colombia. Plan Colombia was followed by successor strategies such as the National Consolidation Plan, described below, and U.S.-Colombia policy has reached a new phase anticipating post-conflict Colombia. Announced in 1999, Plan Colombia originally was a six-year strategy to end the country's decades-long armed conflict, eliminate drug trafficking, and promote development. The counternarcotics and security strategy was developed by the government of President Andrés Pastrana in consultation with U.S. officials. Colombia and its allies in the United States realized that for the nation to gain control of drug trafficking required a stronger security presence, the rebuilding of institutions, and extending state presence where it was weak or nonexistent. Initially, the U.S. policy focus was on programs to reduce the production of illicit drugs. U.S. support to Plan Colombia consisted of training and equipping counternarcotics battalions in the Colombian Army and specialized units of the Colombian National Police, drug eradication programs, alternative development, and other supply reduction programs. The original 1999 plan had a goal to reduce \"the cultivation, processing, and distribution of narcotics by 50%\" over the plan's six-year timeframe. The means to achieve this ambitious goal were a special focus on eradication and alternative development; strengthening, equipping, and professionalizing the Colombian Armed Forces and the police; strengthening the judiciary; and fighting corruption. Other objectives were to protect citizens from violence, promote human rights, bolster the economy, and improve governance. U.S. officials expressed their support for the program by emphasizing its counterdrug elements (including interdiction). The focus on counternarcotics was the basis for building bipartisan support to fund the program in the U.S. Congress because some Members of Congress were leery of involvement in fighting a counterinsurgency, which they likened to the \"slippery slope\" of the war in Vietnam. President George W. Bush came to office in 2001 and oversaw some changes to Plan Colombia. The primary vehicle for providing U.S. support to Plan Colombia was the Andean Counterdrug Initiative, which was included in foreign operations appropriations. The Bush Administration requested new flexibility so that U.S.-provided assistance would back a \"unified campaign against narcotics trafficking, terrorist activities, and other threats to [Colombia's] national security\" due to the breakdown of peace talks between the FARC and the Pastrana government in February 2002. Congress granted this request for a unified campaign to fight drug trafficking and terrorist organizations as Members of Congress came to realize how deeply intertwined the activities of Colombia's terrorist groups were with the illicit drug trade that funded them. However, Congress prohibited U.S. personnel from directly participating in combat missions. Congress placed a legislative cap on the number of U.S. military and civilian contractor personnel who could be stationed in Colombia, although the cap was adjusted to meet needs over time. The current limit (first specified in the FY2015 National Defense Authorization Act, as amended) caps total military personnel at 800 and civilian contractors at 600, although numbers deployed have been far below the 1,400-person cap for years and now total fewer than 200. President Uribe (2002-2010) embraced Plan Colombia with an aggressive strategy toward the insurgent forces that prioritized citizen security. His Democratic Security Policy, implemented first in a military campaign called Plan Patriota, relied on the military to push FARC forces away from the major cities to remote rural areas and the borderlands. Like his predecessor, President Pastrana, Uribe continued to expand the Colombian military and police. He enhanced the intelligence capacity, professionalization, and coordination of the forces, in part with training provided by U.S. forces. His strategy resulted in expanded state control over national territory and a significant reduction in kidnappings, terrorist attacks, and homicides. In 2007, the Uribe administration announced a shift to a \"Policy of Consolidation of Democratic Security.\" The new doctrine was based on a \"whole-of-government\" approach to consolidate state presence in marginal areas that were historically neglected—vulnerable to drug crop cultivation, violence, and control by illegal armed groups. Called a strategic leap forward by then-Defense Minister Juan Manuel Santos, in 2009 the new strategy came to be called the National Consolidation Plan (see below). Colombian support for Plan Colombia and for the nation's security program grew under Uribe's leadership. President Uribe levied a \"wealth tax\" to fund Colombia's security efforts, taxing the wealthiest taxpayers to fund growing defense and security expenditures. Overall U.S. expenditures on Plan Colombia were only a modest portion of what Colombians spent on their own security. By one 2009 estimate, U.S. expenditures were not more than 10% of what Colombians invested in their total security costs. In 2000, Colombia devoted less than 2% of its GDP to military and police expenditures and in 2010 that investment had grown to more than 4% of GDP. One assessment notes \"in the end there is no substitute for host country dedication and funding\" to turn around a security crisis such as Colombia faced at the beginning of the millennium. In 2008, congressional support for Plan Colombia and its successor programs also shifted. Some Members of Congress believed that the balance of programming was too heavily weighted toward security. Prior to 2008, the emphasis had been on \"hard side\" security assistance (to the military and police) compared with \"soft side\" traditional development and rule of law programs. Members debated if the roughly 75%/25% mix should be realigned. Since FY2008, Congress has reduced the proportion of assistance for security-related programs and increased the proportion for economic and social aid. As Colombia's security situation improved and Colombia's economy recovered, the United States also began turning over to Colombians operational and financial responsibility for efforts formerly funded by the U.S. government. The Colombian government \"nationalized\" the training, equipping, and support for Colombian military programs, such as the counterdrug brigade, Colombian Army aviation, and the air bridge denial program. U.S. funding overall began to decline. The nationalization efforts were not intended to end U.S. assistance, but rather to gradually reduce it to pre-Plan Colombia levels, adjusted for inflation. A key goal of Plan Colombia was to reduce the supply of illegal drugs produced and exported by Colombia but the goals became broader over time. Bipartisan support for the policy existed through three U.S. Administrations—President Bill Clinton, President George W. Bush, and President Barack Obama. Plan Colombia came to be viewed by some analysts as one of the most enduring and effective U.S. policy initiatives in the Western Hemisphere. Some have lauded the strategy as a model. In 2009, William Brownfield, then-U.S. Ambassador to Colombia, described Plan Colombia as \"the most successful nation-building exercise that the United States has associated itself with perhaps in the last 25-30 years.\" Other observers, however, were critical of the policy as it unfolded. Many in the NGO and human rights community maintained the strategy, with its emphasis on militarization and security, was inadequate for solving Colombia's persistent, underlying problems of rural violence, poverty, neglect and institutional weakness. Nevertheless, it appears that improvements in security conditions have been accompanied by substantial economic growth and a reduction in poverty levels over time. The National Consolidation Plan first launched during the Uribe Administration, (renamed the National Plan for Consolidation and Territorial Reconstruction), was designed to coordinate government efforts in regions where marginalization, drug trafficking, and violence converge. The whole-of-government consolidation was to integrate security, development, and counternarcotics to achieve a permanent state presence in vulnerable areas. Once security forces took control of a contested area, government agencies in housing, education, and development would regularize the presence of the state and reintegrate the municipalities of these marginalized zones into Colombia. The plan had been restructured several times by the Santos government. The United States supported the Colombian government's consolidation strategy through an inter-agency program called the Colombia Strategic Development Initiative (CSDI). CSDI provided U.S. assistance to \"fill gaps\" in Colombian government programming. At the U.S. Embassy in Colombia, CSDI coordinated efforts of the U.S. Agency for International Development (USAID), the State Department's Narcotics Affairs Section, the U.S. Military Group, and the Department of Justice to assist Colombia in carrying out the consolidation plan by expanding state presence and promoting economic opportunities in priority zones. It combined traditional counternarcotics assistance for eradication, interdiction, alternative development, and capacity building for the police, military, and justice sector institutions with other economic and social development initiatives. As the peace agreement between the FARC and the government moved forward into implementation, the focus of U.S. assistance to Colombia has shifted again. With a foundation of the work done to advance consolidation, U.S. assistance has begun to aid in post-conflict planning and support Colombia's transition to peace by building up democratic institutions, protecting human rights and racial and ethnic minorities, and promoting economic opportunity. USAID's country cooperation strategy for 2014-2018 anticipated the Colombian government reaching a negotiated agreement with the FARC, but remained flexible if an agreement was not signed. It recognized early implementation efforts, especially in the first 24 months after signature, would be critical to demonstrate or model effective practices. In the next five years, it envisioned Colombia evolving from aid recipient to provider of technical assistance to neighbors in the region. Consolidating state authority and presence in the rural areas with weak institutions remains a significant challenge following the FARC's disarmament in the summer of 2017. Reintegration of the FARC and possibly other insurgent forces, such as the ELN, will be expensive and delicate. In particular, critics of the consolidation efforts of the Colombian government maintain that the Santos administration often lacked the commitment to hand off targeted areas from the military to civilian-led development and achieve locally led democratic governance. Consolidation efforts suffered from low political support, disorganization at the top levels of government, and failure to administer national budgets effectively in more remote areas, among other challenges. In August 2018, shortly after President Duque took office, USAID announced a framework of priorities for U.S. economic development assistance to Colombia. Some of these priorities include promoting and supporting a whole-of-government strategy to include the dismantling of organized crime; increasing the effectiveness of Colombia's security and criminal justice institutions; promoting enhanced prosperity and job creation through trade; improving the investment climate for U.S. companies; and advancing Colombia's capacity to strengthen governance and transition to sustainable peace, including reconciliation among victims, ex-combatants, and other citizens. The U.S. Congress initially approved legislation in support of Plan Colombia in 2000, as part of the Military Construction Appropriations Act of 2001 ( P.L. 106-246 ). Plan Colombia was never authorized by Congress, but it was funded annually through appropriations. From FY2000 through FY2016, U.S. funding for Plan Colombia and its follow-on strategies exceeded $10 billion in State Department and Defense Department programs. From FY2000 to FY2009, the United States provided foreign operations assistance to Colombia through the Andean Counterdrug Program (ACP) account, formerly known as the Andean Counterdrug Initiative, and other aid accounts. In FY2008, Congress continued to fund eradication and interdiction programs through the ACP account, but funded alternative development and institution building programs through the Economic Support Fund (ESF) account. In the FY2010 request, the Obama Administration shifted ACP funds into the International Narcotics Control and Law Enforcement (INCLE) account. Since FY2008, U.S. assistance has gradually declined because of tighter foreign aid budgets and nationalized Plan Colombia-related programs. In FY2014, in line with other foreign assistance reductions, funds appropriated to Colombia from State Department accounts declined to slightly below $325 million. In FY2015, Congress appropriated $300 million for bilateral assistance to Colombia in foreign operation. The FY2016 Omnibus Appropriations bill ( P.L. 114-113 ) provided Colombia from U.S. State Department and U.S. Agency for International Development accounts, slightly under $300 million, nearly identical to that appropriated in FY2015 (without P.L. 480, the Food for Peace account, the total for FY2016 was $293 million as shown in Table 1 ). In FY2017, Congress funded a program the Obama Administration had proposed called \"Peace Colombia\" to re-balance U.S. assistance to support the peace process and implementation of the accord. In May 2017, Congress approved a FY2017 omnibus appropriations measure, the Consolidated Appropriations Act, 2017 ( P.L. 115-31 ), which funded the various programs of Peace Colombia at $391.3 million. In the FY2017 legislation, Congress appropriated the following: The ESF account increased to $187 million (from $134 million in FY2016) to build government presence, encourage crop substitution to replace drug crops, and provide other assistance to conflict victims, including Afro-Colombian and indigenous communities. However, only $180 million was subsequently allocated. INCLE funding increased to $143 million with a focus on manual eradication of coca crops, support for the Colombian National Police, and judicial reform efforts. INCLE funding also included $10 million for Colombian forces' training to counterparts in other countries. $38.5 million in Foreign Military Financing (FMF); and $21 million in Nonproliferation, Anti-Terrorism, Demining, and Related Programs (NADR), which was a relatively large increase from under $4 million in FY2016 to focus on the demining effort. How the Trump Administration will engage with the issues of supporting post-conflict stability in Colombia has not been clearly defined by either the State Department or other executive departments. For example, the Trump Administration's proposed foreign aid budget for FY2018 would have reduced assistance to Colombia to $251 million. However, the FY2018 omnibus appropriations measure, approved by Congress in March 2018 ( P.L. 115-114 ), again included $391.3 million to support Colombia's transition to peace. The Trump Administration's FY2019 budget request for Colombia is $265 million, approximately a 32% reduction from the $391.3 million appropriated by Congress in FY2018. However, the House and Senate appropriations bills, H.R. 6385 and S. 3108 , again would support the funding level of $391.3 million. The FY2019 Administration request would reduce post-conflict recovery programs and place greater emphasis on counternarcotics and security. Below, Table 1 provides account data from the annual international affairs congressional budget justification documents. The information about DOD-funded programs was provided to the Congressional Research Service by DOD analysts in December 2015 and October 2017 (and has not been updated). The breakout of DOD assistance to Colombia is shown in Table 2 . . Colombia also has received additional U.S. humanitarian funding to help it cope with more than 1 million Venezuelan migrants. As of September 30, 2018, U.S. government humanitarian funding for the Venezuela response totaled approximately $96.5 million for both FY2017 and FY2018 combined, of which $54.8 million was for Colombia. (Humanitarian funding is drawn primarily from the global humanitarian accounts in annual Department of State/Foreign Operations appropriations acts.) In addition, the U.S. Navy hospital ship USNS Comfort is on an 11-week medical support mission deployed through the end of 2018 to work with government partners, in part to assist with arrivals from Venezuela. In Colombia, the U.S. response aims to help the Venezuelan arrivals as well as the local Colombian communities that are hosting them. In addition to humanitarian assistance, the United States is providing $37 million in bilateral assistance to support medium- and longer-term efforts by Colombia. Some Members of Congress have been deeply concerned about human rights violations in Colombia—especially those perpetrated by any recipients or potential recipients of U.S. assistance. In Colombia's multisided, 50-year conflict, the FARC and ELN, the paramilitaries and their successors, and Colombia's security forces have all committed serious violations. Colombians have endured generations of noncombatant killings, massacres, kidnappings, forced displacements, forced disappearances, land mine casualties, and acts of violence that violate international humanitarian law. The extent of the crimes and the backlog of human rights cases to be prosecuted have overwhelmed the Colombian judiciary, which some describe as \"inefficient\" and overburdened. The United Nations and many human rights groups maintain that although some prosecutions have gone forward, most remain unresolved and the backlog of cases has been reduced slowly. In addition to the problem of impunity for such serious crimes, continued violations remain an issue. Since 2002, Congress has required in the annual foreign operations appropriations legislation that the Secretary of State certify annually to Congress that the Colombian military is severing ties to paramilitaries and that the government is investigating complaints of human rights abuses and meeting other human rights statutory criteria. (The certification criteria have evolved over time. ) For several years, certification was required before 30% of funds to the Colombian military could be released. The FY2014 appropriations legislation requires that 25% of funding under the Foreign Military Financing (FMF) program be held back pending certification by the Secretary of State. Some human rights groups have criticized the regular certification of Colombia, maintaining that evidence they have presented to the State Department has contradicted U.S. findings. However, even some critics have acknowledged the human rights conditions on military assistance to Colombia to be \"a flawed but useful tool\" because the certification process requires that the U.S. government regularly consult with Colombian and international human rights groups. Critics acknowledge that over time, conditionality can improve human rights compliance. Additional tools for monitoring human rights compliance by Colombian security forces receiving U.S. assistance are the so-called \"Leahy Law\" restrictions, which Congress first passed in the late 1990s prior to the outset of Plan Colombia. First introduced by Senator Patrick Leahy, these provisions deny U.S. assistance to a foreign country's security forces if the U.S. Secretary of State has credible information that such units have committed \"a gross violation of human rights.\" The provisions apply to security assistance provided by the State Department and DOD. The Leahy Law under the State Department is authorized by the Foreign Assistance Act (FAA) of 1961, as amended, and is codified at 22 U.S.C. 2378d (§520M of the FAA). The DOD Leahy provisions, which for years applied just to DOD training, now include a broader range of assistance, as modified in the FY2014 appropriations legislation. The provision related to the Leahy Laws for DOD assistance is codified at 10 U.S.C. 362, and prohibits \"any training, equipment, or other assistance,\" to a foreign security force unit if there is credible information that the unit has committed a gross violation of human rights. Both the State Department and DOD Leahy provisions require the State Department to review and clear—or vet—foreign security forces to determine if any individual or unit is credibly believed to be guilty of a gross human rights violation. Leahy vetting is typically conducted by U.S. embassies and State Department headquarters. Reportedly on an annual basis about 1% of foreign security forces are disqualified from receiving assistance under the Leahy provisions, although many more are affected by administrative issues and are denied assistance until those conditions are resolved. Tainted security force units that are denied assistance may be remediated or cleared, but the procedures for remediation differ slightly between the DOD and State (or FAA) provisions. Because of the large amount of security assistance provided to Colombian forces (including the military and police), the State Department reportedly vets more candidates for assistance in Colombia than in any other country. In the late 1990s, poor human rights conditions in Colombia were a driving concern for developing the Leahy Law provisions. The U.S. Embassy in Bogotá, with nearly two decades of experience in its vetting operations, has been cited as a source of best practices for other embassies seeking to bring their operations into compliance or enhance their performance. State Department officials have cited Colombia as a model operation that has helped Colombia to improve its human rights compliance. However, some human rights organizations are critical of the Leahy vetting process in Colombia, and cite the prevalence of extrajudicial executions allegedly committed by Colombian military units as evidence that these restrictions on U.S. assistance have failed to remove human rights violators from the Colombian military. A human rights nongovernmental organization, Fellowship of Reconciliation, has published reports alleging an association between false positive killings and Colombian military units vetted by the State Department to receive U.S. assistance. However, some have questioned the group's methodology. Some human rights organizations contend that the U.S. government has tolerated abusive behavior by Colombian security forces without taking action or withholding assistance. Measured exclusively in counternarcotics terms, Plan Colombia has been a mixed success. Colombia remains the dominant producer of cocaine and in the DEA's National Drug Threat Assessment for 2017 continued to be the source for 95% of cocaine seized in the United States. Enforcement, eradication, and improved security squeezed production in Colombia, so that in 2012, Peru reemerged as the global leader in cocaine production, surpassing Colombia, for a year or so. In the early 2000s, given Colombia's predominance as the source of cocaine destined for U.S. markets and its status as the second-largest producer of heroin consumed in the United States, eradication of coca bush and opium poppy (from which heroin is derived) was an urgent priority and became the preferred tool for controlling the production of these drugs. Another critical component of the drug supply reduction effort was alternative development programs funded by the U.S. Agency for International Development (USAID) to assist illicit crop cultivators with transitioning to licit crop production and livelihoods. Analysts have long debated how effective Plan Colombia and its follow-on strategies were in combating illegal drugs. Although Plan Colombia failed to meet its goal of reducing the cultivation, processing, and distribution of illicit drugs by 50% in its original six-year time frame, Colombia has sustained significant reductions in coca cultivation in recent years. According to U.S. estimates, cultivation of coca declined from 167,000 hectares in 2007 to 78,000 hectares in 2012. (Poppy cultivation declined by more than 90% between 2000 and 2009.) According to U.S. government estimates, Colombia's potential production of pure cocaine fell to 170 metric tons in 2012, the lowest level in two decades. However, it started to rise slightly in 2013, and more dramatically in 2014 through 2016. In those years, cultivation of coca and production of cocaine grew significantly in part due to ending the aerial eradication of coca crops. In 2015, following a U.N. agency determination that the herbicide used to spray coca crops was probably carcinogenic, Colombia's minister of health determined that aerial eradication of coca was not consistent with requirements of Colombia's Constitutional Court. In 2016, as noted above, the U.S. DEA reported that 95% of cocaine seized in the United States originated in Colombia. According to U.S. Office of National Drug Control Policy, Colombia in 2017 cultivated an unprecedented 209,000 hectares of coca, from which cocaine is derived, capable of generating 921 metric tons of cocaine. The United Nations estimates for 2017, which typically differ in quantity but follow the same trends as U.S. estimates, maintained that Colombia's potential production of cocaine reached nearly 1,370 metric tons, 31% above its 2016 estimate. Even with Colombia's economic stability and improving security, cocaine exports (primarily to the U.S. market) remain a major concern for U.S. lawmakers. However, in drug interdiction, Colombia has set records for many years and is considered a strong and reliable U.S. partner. The United Nations Office on Drugs and Crime ( Table 4 ), shows Colombia cultivating 146,000 hectares of coca in 2016, a 52% increase over 2015 and another increase to 171,000 hectares, a 17% increase, in 2017. Although cocaine seizures were quite high in both years, the interdiction of cocaine was insufficient to counter the large increases in production. Both manual eradication and aerial eradication were central components of Plan Colombia to reduce coca and poppy cultivation. Manual eradication is conducted by teams, usually security personnel, who uproot and kill the plant. Aerial eradication involves spraying the plants from aircraft with an herbicide mixture to destroy the drug crop, but it may not kill the plants. In the context of Colombia's continuing internal conflict, manual eradication was far more dangerous than aerial spraying. U.S. and Colombian policymakers recognized the dangers of manual eradication and, therefore, employed large-scale aerial spray campaigns to reduce coca crop yields, especially from large coca plantations. Colombia is the only country globally that aerially sprayed its illicit crops, and the practice has been controversial for health and environmental reasons, resulting in a Colombian decision to end aerial eradication in 2015. Since 2002, as a condition of fully funding the spraying program, Congress has regularly directed the State Department, after study and consultation with the U.S. Environmental Protection Agency and other relevant agencies, to certify that the spraying did not \"pose unreasonable risks or adverse effects to humans or the environment.\" This certification requirement was included most years in the annual foreign operations appropriations legislation. Some analysts have also raised questions about the monetary and collateral costs of aerial eradication compared with other drug supply control strategies, its effectiveness, and its limited effect on the U.S. retail price of cocaine. U.S. State Department officials attribute Colombia's decline in coca cultivation after 2007 and prior to 2013 to the persistent aerial eradication of drug crops in tandem with manual eradication where viable. Between 2009 and 2013, Colombia aerially sprayed roughly 100,000 hectares annually. In 2013, however, eradication efforts declined. Colombia aerially eradicated roughly 47,000 hectares. It manually eradicated 22,120 hectares, short of the goal of 38,500 hectares. This reduction had a number of causes: the U.S.-supported spray program was suspended in October 2013 after two U.S. contract pilots were shot down, rural protests in Colombia hindered manual and aerial eradication efforts, and security challenges limited manual eradicators working in border areas. In late 2013, Ecuador won an out-of-court settlement in a case filed in 2008 before the International Court of Justice in The Hague for the negative effects of spray drift over its border with Colombia. In negotiations with the FARC, the government and the FARC provisionally agreed in May 2014 that voluntary manual eradication would be prioritized over forced eradication. Aerial eradication remained a viable tool in the government's drug control strategy, according to the agreement, but would be permitted only if voluntary and manual eradication could not be conducted safely. In April 2015, the Santos administration determined that glyphosate, a broad-spectrum, nonselective herbicide used commercially, but in Colombia sprayed on coca plants to eradicate them, was \"probably carcinogenic\" to humans in a review published by a World Health Organization (WHO) affiliate. In October 2015, the government ended spraying operations and began to implement a new public health approach toward illicit drugs, one that proponents suggested would reduce human rights violations. On the supply side, Colombia's new drug policy gives significant attention to expanding alternative development and licit crop substitution while intensifying interdiction efforts. The State Department in its 2015 International Narcotics Control Strategy Report (INCSR), however, warned that illicit cultivation was expanding in areas long off-limits to aerial spraying, including national parks, a buffer zone with Ecuador where aerial eradication has been restricted, and in indigenous or protected Afro-Colombian territories. Colombian interdiction practices are deemed some of the most effective in the world. The Colombian government reported seizing more than 207 metric tons (mt) of cocaine base in 2014 and that seizure total doubled by 2017 with capture of 442 mt of cocaine. According to the U.S. State Department's 2018 INCSR , Colombia also seized 197 mt of marijuana, 348 kilograms of heroin, and destroyed more than 3,400 cocaine base and hydrochloride labs. USAID funds and runs alternative development programs in Colombia to assist communities with transitioning from a dependency on illicit crops to licit employment and livelihoods. Alternative development was once focused narrowly on crop substitution and assistance with infrastructure and marketing. Since the Colombian government's shift to a consolidation strategy, USAID has supported \"consolidation and livelihoods\" programming in 40 of the 58 strategically located, conflict-affected municipalities targeted by the government's National Consolidation Plan. To facilitate economic development, USAID funds initiatives that assist farmers and others with shifting from coca growing to licit economic opportunities. These programs are designed to strengthen small farmer producer organizations, improve their productivity, and connect them to markets. Some observers maintain that poor and unsustainable outcomes from alternative development programs while the Colombian conflict was still under way resulted from ongoing insecurity and lack of timeliness or sequencing of program elements. The renewed commitment to alternative development and crop substitution in the 2016 peace accord with the FARC may be similarly challenged. Formal implementation of the peace accord on drug eradication and crop substitution began in late May 2017 with collective agreements committing communities to replace their coca crops with licit crops. In some regions, the program is extended to families who cultivate coca and also to producers of legal crops and landless harvesters. The Colombian government also committed to a combined approach of both voluntary and forced manual eradication. The government's goal set for 2017 was eradicating 100,000 hectares of coca, 50,000 through forced manual eradication and 50,000 through \"crop substitution\" accords reached with coca farming households who would voluntary eradicate. At the U.S.-Colombia High Level Dialogue held in Bogotá in March 2018, a renewed commitment to the enduring partnership between the United States and Colombia was announced. A major outcome was a U.S.-Colombia pledge to reduce illegal narcotics trafficking through expanded counternarcotics cooperation. The new goal set was to reduce Colombia's estimated cocaine production and coca cultivation to 50% of current levels by 2023. In addition, a memorandum of understanding was signed to combat the illegal gold mining that funds transnational criminal organizations. Although President Duque appears determined to pursue a more aggressive approach to drug policy, he has not clearly stated how his approach to counternarcotics will differ from that of his predecessor. The government may restart aerial eradication, a strategy that ended in 2015 due to the Colombian Health Ministry's concerns over cancer-causing potential of the herbicide glyphosate, but no precise plans for restarting the program have been announced in the Duque Administration's first three months in office. Experimentation with delivering glyphosate by drones (rather than planes) began in June 2018 under the Santos Administration and is continuing under the Duque government. On October 1, 2018, President Duque authorized police to confiscate and destroy any quantity of drugs found on persons in possession of them, resulting in the seizure of more than 7 metric tons of drugs in less than two weeks. This enforcement measure may violate a 1994 Colombian Constitutional Court ruling, however, in which Colombians may carry small doses of drugs for personal use, including marijuana, hashish, and cocaine. Several court challenges have been filed that seek to nullify the Duque decree on constitutional grounds of protected personal use. Drug trafficking continues to trigger conflict over land in Colombia while affecting the most vulnerable groups, including Afro-Colombian, peasant, and indigenous populations. Some analysts warn that national and international pressure for drug eradication could also lead to increased human rights violations, including health consequences by reviving aerial spraying of drug crops and government actions to forcibly break up demonstrations by coca producers who resist eradication. Some analysts have advocated that investments to lower drug supply need to go beyond eradication, which has not been a lasting approach to reducing drug crop cultivation. For instance, the government could provide economic and education opportunities to at-risk youth to enhance their role in peace building and to prevent their recruitment into the drug trade and other illegal activity. Economic relations between Colombia and the United States have deepened. The U.S.-Colombia Free Trade Agreement (FTA) entered into force in May 2012. By 2020, it will phase out all tariffs and other barriers to bilateral trade between Colombia and the United States, its largest trade partner. Since the U.S.-Colombia FTA went into force, the stock of U.S. investment in Colombia surpassed $7 billion in 2014 but dropped to $6.2 billion in 2016 (on a historical cost basis), concentrated mostly in mining and manufacturing. According to the U.S. Department of Commerce, U.S. exports to Colombia exceeded $26.8 billion in 2016 and Colombia was the 22 nd -largest market for U.S. exports; however, U.S. imports from Colombia declined between 2015 and 2016. Major U.S. exports to Colombia include oil (noncrude oil products including gasoline), machinery, cereals, organic chemicals, and plastic. Because 65% of U.S. imports from Colombia are crude oil imports, much of the decline in value was caused by the sharp fall in oil prices that began in 2014. Major U.S. imports beside crude oil, include gold, coffee, cut flowers, and fruits. Congressional interest in Colombia now extends far beyond security and counternarcotics and has grown in the area of bilateral trade following implementation of the U.S.-Colombia FTA, (also known at the U.S.-Colombia Trade Promotion Agreement). Colombia is a founding member of the Pacific Alliance, along with Chile, Mexico, and Peru, and has sought to deepen trade integration and cross-border investment with its partners in the alliance while reducing trade barriers. The Pacific Alliance aims to go further by creating a common stock market, allowing for the eventual free movement of businesses and persons, and serving as an export platform to the Asia-Pacific region. Colombia's leadership role in the Pacific Alliance and Colombia's accession to the Organization for Economic Cooperation and Development (OECD) in May 2018, following a review of the country's macroeconomic policies and changes, are major new developments. The accession to the OECD was approved by Colombia's lower house in October 2018 and the Senate in November 2018, but it remained under final review by Colombia's Constitutional Court in early February 2019. The Santos administration pushed to meet the criteria required for OECD membership because it maintained that such recognition signified Colombia's attainment of world-class development standards and policies. Colombia has made progress on trade issues such as copyright, pharmaceuticals, fuel and trucking regulations, and labor concerns (including subcontracting methods and progress on resolving cases of violence against union activists). Congress remains interested in Colombia's future because the country has become one of the United States' closest allies. With 17 years of investment in Colombia's security and stability, some maintain that there has already been a strong return on U.S. investment. Plan Colombia and its successor strategies broadened from counternarcotics to include humanitarian concerns, efforts to bolster democratic development and human rights protections, and trade and investment to spark growth. The record expansion of Colombia's coca crop and increasing cocaine exports to the United States, however, may significantly hinder the effort to consolidate peace in Colombia and could potentially increase corruption and extortion. A significant portion of the Colombian public remains skeptical of the peace process and the FARC's role in Colombia's democracy. Other Colombians maintain that support for peace programs in Colombia is important not only to benefit former FARC or other demobilized combatants but also to fulfill promises the government made in the peace accords to the country's 8.6 million victims of the five-decade conflict. As President Duque concluded his first 100 days in office, his government faced overlapping challenges: (1) an upsurge in illicit drug crops, which had set records in 2016 and 2017; (2) implementation of provisions of the peace accord negotiated by former president Santos but marred by slow implementation, attacks on land and human rights activists, and projected budgetary shortfalls; (3) renewed violent competition among criminal groups in rural areas, some of which reportedly are sheltering in Venezuela; and (4) Venezuela's humanitarian crisis, which resulted in a surge of migrants fleeing to or through Colombia. The annual level of foreign assistance provided by the U.S. Congress for Colombia began to decline in FY2008 and then gradually increased in FY2017 and FY2018 to support peace and implementation of the FARC-government peace accord. Some Members of Congress may want to build on cooperation with Colombian partners to continue to train Central Americans and other third-country nationals in counternarcotics and security, including programs in citizen security, crime prevention and monitoring, military and police capacity building, and hostage negotiation and cybersecurity. Congress may continue to closely monitor Colombia's domestic security situation. It also may continue to oversee issues such as drug trafficking; Colombia's effort to combat other illegal armed groups such as Bacrim; the status of human rights protections; and the expansion of health, economic, environmental, energy, and educational cooperation. Congress may seek to foster Colombian leadership in the region to counter growing political instability in Venezuela. The U.S. Congress has been interested in expanding investment and trade opportunities both bilaterally with Colombia and within regional groupings, such as the Pacific Alliance. Some analysts contend that U.S.-Colombian trade improvements rest on the strength of the overall relationship between Colombia and the United States. \n\nNow, write a one-page summary of the report.\n\nSummary:"}
{"question_id": 84, "category": "longbench_passage_count", "reference": ["31"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: In 2010 Staal realized the exhibitions Art, Property of Politics and Art, Property of Politics II: Freethinkers’ Space, in 2011 Art, Property of Politics III: Closed Architecture  and in 2012 Art, Property of Politics IV: Freethinkers' Space in which he researched the role of contemporary art in the political process. The first part took place in exhibition space TENT. in Rotterdam, during the municipal elections of 2010, in which he showed the artworks of all parties involved in the elections. The second part took place in the Van Abbemuseum in Eindhoven, the Netherlands and existed of artworks that were selected by the liberal People's Party for Freedom and Democracy (Volkspartij voor Vrijheid en Democratie, VVD) and the far-right Party for Freedom (Partij voor de Vrijheid, PVV) in their so-called ‘Freethinkers’ Space’: and exhibition space that the parties opened in Dutch parliament for artists that had dealt with religious (Islamic) censorship. The third part opened in Extra City in Antwerp, and continued in the form of a theater piece in Frascati in Amsterdam. Central in the project is a thesis entitled Closed Architecture (2004) written by the far-right MP Fleur Agema, number two on the list of the Dutch Freedom Party (Partij voor de Vrijheid, PVV). The thesis comprises a sketch for a new prison model, which Agema has developed during her master's degree in Interior Design. In the project Staal expanded Agema's sketches into a fully developed model.<ref>Website Jonas Staal [http://www.jonasstaal.nl/works/kunstbezitIII_en.html Documentation of the publication, film and maquette 'Art, Property of Politics III: Closed Architecture] </ref> Moreover, it investigates the extent to which her earlier architectural work is the blueprint from which she now exerts an influence on current government policies, and hence the organization of our present society.Staal, Jonas (08-12-2011) “De samenleving als gevangenis”, Groene Amsterdammer  The fourth part took place in the Van Abbemuseum in Eindhoven and in art space De Appel in Amsterdam as a result of an open call made by Rogier Verkroost, politician for the social-liberal Democrats 66 party, and GreenLeft politician Jesse Klaver to immediately re-open the Freethinkers’ SpaceGroenlinks.nl (12-11-2011) Klaver neemt Vrijdenkersruimte over’ that had been closed in 2011 by the liberal VVD and extreme-right PVV. The creation of these new Freethinker's spaces was supported by Staal and the museum. Verkroost's and Klaver's Freethinkers‘ Spaces opened in September 2012,Klaver, Jesse (17-11-3012) ‘Nederland als Vrijdenkersruimte’, Freethinkers' Lecture on website Joop.nl followed in Amsterdam by a Freethinkers’ Space curated by Carolien Gehrels, alderman for arts and culture for the Labour Party in Amsterdam.\n\nParagraph 2: Fremont was offended at serving under Pope, whom he outranked, and resigned his command. Major General Franz Sigel thus assumed command of the corps on June 29. Many of the German soldiers could speak little English beyond \"I fights mit Sigel\" (\"I'll fight with Sigel\"), which was their proud slogan. President Lincoln chose Sigel less for his military skills than his influence on this crucial political constituency. In early August, Louis Blenker stepped down from command due to the lingering effects of an injury sustained during the spring; he died in October 1863. Sigel was in command at the Second Battle of Bull Run, where the corps was in the thick of the fighting, losing 295 killed, 1,361 wounded, and 431 missing; total, 2,087. At this time, the three divisions were commanded by Generals Robert C. Schenck, Adolph von Steinwehr, and Carl Schurz; there was also an independent brigade attached, under the command of Brig. Gen. Robert H. Milroy. During the first day of the battle, the corps performed a series of unsuccessful assaults on Stonewall Jackson's center and left flank. On the second day, it was in the middle of the desperate fighting against James Longstreet's Confederates on Chinn Ridge, where Sigel and Schneck were wounded and Col. John Koltes, one of the brigade commanders, was killed.\n\nParagraph 3: Delgado made his debut in the World Wrestling Federation (WWF) on the November 3, 1997 episode of Raw is War as part of its newly relaunched Light Heavyweight division at the age of 19, wrestling under the ring name Águila. This period included a match with Taka Michinoku at WrestleMania XIV for the Light Heavyweight Championship. On the May 9, 1998 edition of Shotgun Saturday Night Delgado re-debuted under the name Papi Chulo, this time wrestling without a mask. He had a high-flying match with Michinoku during Extreme Championship Wrestling's 1999 Cyberslam event before capturing the WWF Light Heavyweight title from Gillberg on his 'debut' as Essa Ríos during the February 13, 2000 edition of Sunday Night Heat. His reign was a short-lived one, as he would lose the title to Dean Malenko a few weeks later. During his time as Essa Ríos, he was managed by Lita who would often repeat Ríos's finishing moves on wrestlers he had just beaten after a match. He and Lita had a feud with Eddie Guerrero and Chyna which led to a European title match between Ríos and then-champion Guerrero at Backlash, which Ríos lost. Ríos' partnership with Lita ended sometime later after an angry Ríos attacked Lita because he had lost a match. It was there that the Hardy Boyz came to Lita's rescue and feuded with him briefly, with Lita becoming their protégé. Ríos lapsed into obscurity by late 2000 but did have a brief feud with Kurt Angle that culminated in a main event match on Sunday Night Heat.\n\nParagraph 4: In 2010 Staal realized the exhibitions Art, Property of Politics and Art, Property of Politics II: Freethinkers’ Space, in 2011 Art, Property of Politics III: Closed Architecture  and in 2012 Art, Property of Politics IV: Freethinkers' Space in which he researched the role of contemporary art in the political process. The first part took place in exhibition space TENT. in Rotterdam, during the municipal elections of 2010, in which he showed the artworks of all parties involved in the elections. The second part took place in the Van Abbemuseum in Eindhoven, the Netherlands and existed of artworks that were selected by the liberal People's Party for Freedom and Democracy (Volkspartij voor Vrijheid en Democratie, VVD) and the far-right Party for Freedom (Partij voor de Vrijheid, PVV) in their so-called ‘Freethinkers’ Space’: and exhibition space that the parties opened in Dutch parliament for artists that had dealt with religious (Islamic) censorship. The third part opened in Extra City in Antwerp, and continued in the form of a theater piece in Frascati in Amsterdam. Central in the project is a thesis entitled Closed Architecture (2004) written by the far-right MP Fleur Agema, number two on the list of the Dutch Freedom Party (Partij voor de Vrijheid, PVV). The thesis comprises a sketch for a new prison model, which Agema has developed during her master's degree in Interior Design. In the project Staal expanded Agema's sketches into a fully developed model.<ref>Website Jonas Staal [http://www.jonasstaal.nl/works/kunstbezitIII_en.html Documentation of the publication, film and maquette 'Art, Property of Politics III: Closed Architecture] </ref> Moreover, it investigates the extent to which her earlier architectural work is the blueprint from which she now exerts an influence on current government policies, and hence the organization of our present society.Staal, Jonas (08-12-2011) “De samenleving als gevangenis”, Groene Amsterdammer  The fourth part took place in the Van Abbemuseum in Eindhoven and in art space De Appel in Amsterdam as a result of an open call made by Rogier Verkroost, politician for the social-liberal Democrats 66 party, and GreenLeft politician Jesse Klaver to immediately re-open the Freethinkers’ SpaceGroenlinks.nl (12-11-2011) Klaver neemt Vrijdenkersruimte over’ that had been closed in 2011 by the liberal VVD and extreme-right PVV. The creation of these new Freethinker's spaces was supported by Staal and the museum. Verkroost's and Klaver's Freethinkers‘ Spaces opened in September 2012,Klaver, Jesse (17-11-3012) ‘Nederland als Vrijdenkersruimte’, Freethinkers' Lecture on website Joop.nl followed in Amsterdam by a Freethinkers’ Space curated by Carolien Gehrels, alderman for arts and culture for the Labour Party in Amsterdam.\n\nParagraph 5: Rümmelsheim had a Jewish community until 1906. It arose in the early 19th century. As far back as the 16th century, though, there were Jews living in the village. In 1548, a man named Mosse von Rimelsheim had his name included on a protection money list. However, no further record of Jews in Rümmelsheim crops up until the 19th century. In the 19th century, the number of Jewish inhabitants developed as follows: in 1808, there were 31 (of all together 405 inhabitants); in 1843, 48 (of 654); in 1848, 48 (in 9 families); in 1858, 45 (of 743); in 1885, 29 (of 896). In 1823, the Jewish families living in Waldalgesheim and Weiler bei Bingen were assigned to the Rümmelsheim Jewish community. Until then, the Jews in Waldalgesheim had felt more like part of the Schweppenhausen synagogue congregation, while the ones in Weiler had felt the same way about belonging to the congregation in Bingen. Until 1892, the Jewish families living in Bingerbrück also belonged to the Rümmelsheim Jewish community. Living in Waldalgesheim in 1823 were 8 Jews, and by 1843 it was 9 (of all together 860 inhabitants). In 1848, it was 8 again (Families Simon Stern and Schlachter), in 1858 it was 5 (of 915) and in 1885, 11 (of 1,230). Living in Weiler in 1823 were 5 Jews, and by 1843 it was 24 (of all together 884 inhabitants). In 1848, it was 12 (in 3 families), in 1858 it was 6 (of 1,033) and in 1885, 2 (of 1,394). In 1850, the following Jewish families were living in the three villages: in Rümmelsheim: Mathias Marx, David Marx, Mathias Marx, Coppel Mayer, Jacob Stern, Sebastian Stern, Raphael Stern, Servatius Stern, Joseph Stern, Joseph Marx and Carl Wohlgemuth; in Waldalgesheim: Simon Stern; in Weiler: Joseph Berg and Wendel Berg. In the way of institutions, there were a synagogue (see Synagogue below), a Jewish religious school and a graveyard in Rümmelsheim where Jews from both Rümmelsheim and Waldalgesheim were buried (see Jewish graveyard below); the Jews in Weiler had their own graveyard. To provide for the community's religious needs, a schoolteacher was hired, who also busied himself as the hazzan and the shochet. The Jews in Weiler also availed themselves of his services, for they could not afford their own. In 1848, Carl Wohlgemuth was working as an \"unpaid cantor\". He was at the same time the synagogue head, but had to take his leave in 1852 on health grounds. His successor was Raphael Stern. A few years later, the synagogue head was Ferdinand Stern, and beginning in 1885, Elias Stern. Towards the end of the 19th century, most of the Jewish families moved away from the village, and in 1906, the Rümmelsheim Jewish community was dissolved. The last member of the former Jewish community moved to Bingen in 1918. In 1925, no more Jewish inhabitants were being counted in Rümmelsheim. Still living in Waldalgesheim were master butcher Sally Stern's and tradesman Willy Hessel's families, while Simon Berg's family still lived in Weiler. The first two managed to emigrate to the United States. Simon Berg, then living in Bingen, and his daughter Lilly, then living in Friedberg, were both deported to the camps. According to the Gedenkbuch – Opfer der Verfolgung der Juden unter der nationalsozialistischen Gewaltherrschaft in Deutschland 1933-1945 (\"Memorial Book – Victims of the Persecution of the Jews under National Socialist Tyranny\") and Yad Vashem, of all Jews who either were born in Rümmelsheim, Waldalgesheim or Weiler bei Bingen or lived there for a long time, 16 died in the time of the Third Reich (birthdates in brackets):\n\nParagraph 6: The preservation of the Jews is really one of the most signal and illustrious acts of divine Providence... and what but a supernatural power could have preserved them in such a manner as none other nation upon earth hath been preserved.  Nor is the providence of God less remarkable in the destruction of their enemies, than in their preservation... We see that the great empires, which in their turn subdued and oppressed the people of God, are all come to ruin... And if such hath been the fatal end of the enemies and oppressors of the Jews, let it serve as a warning to all those, who at any time or upon any occasion are for raising a clamor and persecution against them.\n\nParagraph 7: Delgado made his debut in the World Wrestling Federation (WWF) on the November 3, 1997 episode of Raw is War as part of its newly relaunched Light Heavyweight division at the age of 19, wrestling under the ring name Águila. This period included a match with Taka Michinoku at WrestleMania XIV for the Light Heavyweight Championship. On the May 9, 1998 edition of Shotgun Saturday Night Delgado re-debuted under the name Papi Chulo, this time wrestling without a mask. He had a high-flying match with Michinoku during Extreme Championship Wrestling's 1999 Cyberslam event before capturing the WWF Light Heavyweight title from Gillberg on his 'debut' as Essa Ríos during the February 13, 2000 edition of Sunday Night Heat. His reign was a short-lived one, as he would lose the title to Dean Malenko a few weeks later. During his time as Essa Ríos, he was managed by Lita who would often repeat Ríos's finishing moves on wrestlers he had just beaten after a match. He and Lita had a feud with Eddie Guerrero and Chyna which led to a European title match between Ríos and then-champion Guerrero at Backlash, which Ríos lost. Ríos' partnership with Lita ended sometime later after an angry Ríos attacked Lita because he had lost a match. It was there that the Hardy Boyz came to Lita's rescue and feuded with him briefly, with Lita becoming their protégé. Ríos lapsed into obscurity by late 2000 but did have a brief feud with Kurt Angle that culminated in a main event match on Sunday Night Heat.\n\nParagraph 8: On April 13, 2008, there was a fatal shark cage diving capsize off the coast of Gansbaai, South Africa where three tourists died - Two Americans and one Norwegian. The cage diving vessel was anchored near the Geldsteen Reef and engaged in shark cage diving viewing activities when the vessel was capsized by a large 6+ meter wave. The boat engine was off while anchored over the reef in rolling 4+ meter swells, and the skipper was not behind the wheel monitoring the weather and increasing waves when the boat capsized. Instead, the skipper was at the back of the vessel handling the bait line attracting sharks towards the shark cage. The videographer was still in the cage at the time of capsize filming additional underwater camera footage for the DVDs sold as a tour souvenir. After the capsize occurred, all 19 passengers were thrown overboard. There wasn’t a passenger manifest on board the vessel, down at the harbor, or in the cage diving operator’s business office. Therefore, it was unknown at the time how many people were on board. As a result, three tourists were trapped underneath the capsized hull for more than forty minutes before it was realized that passengers were missing and still unaccounted for. It was shown during the 2014 Western Cape High Court Trial in Cape Town, South Africa that the wave that capsized the vessel was not a freak wave, and simply a larger wave in a 4+ meter rolling swell. Since the vessel was anchored over a reef with engines off, and no one behind the wheel operating the vessel, it made a capsize even more probable. There were other breaking waves shown in photos and videos which showed the increasing danger and risk for all passengers on the vessel. The 2014 Trial Judge ruled that the skipper, dive operators and boat owners were  found guilty on more than thirty charges of negligence. Shark cage diving activities were ruled as one of the primary reasons for the capsize and death of three tourists. The dive operators were still actively engaged in cage diving viewing activities at the time of the capsize. There was no other reason for the vessel to have remained anchored in that precise location over a shallow reef, with engines off, despite increasing swells and breaking waves, if sharks had not present and if the videographer was not still in the shark cage filming additional footage.  \n\nParagraph 9: In 2010 Staal realized the exhibitions Art, Property of Politics and Art, Property of Politics II: Freethinkers’ Space, in 2011 Art, Property of Politics III: Closed Architecture  and in 2012 Art, Property of Politics IV: Freethinkers' Space in which he researched the role of contemporary art in the political process. The first part took place in exhibition space TENT. in Rotterdam, during the municipal elections of 2010, in which he showed the artworks of all parties involved in the elections. The second part took place in the Van Abbemuseum in Eindhoven, the Netherlands and existed of artworks that were selected by the liberal People's Party for Freedom and Democracy (Volkspartij voor Vrijheid en Democratie, VVD) and the far-right Party for Freedom (Partij voor de Vrijheid, PVV) in their so-called ‘Freethinkers’ Space’: and exhibition space that the parties opened in Dutch parliament for artists that had dealt with religious (Islamic) censorship. The third part opened in Extra City in Antwerp, and continued in the form of a theater piece in Frascati in Amsterdam. Central in the project is a thesis entitled Closed Architecture (2004) written by the far-right MP Fleur Agema, number two on the list of the Dutch Freedom Party (Partij voor de Vrijheid, PVV). The thesis comprises a sketch for a new prison model, which Agema has developed during her master's degree in Interior Design. In the project Staal expanded Agema's sketches into a fully developed model.<ref>Website Jonas Staal [http://www.jonasstaal.nl/works/kunstbezitIII_en.html Documentation of the publication, film and maquette 'Art, Property of Politics III: Closed Architecture] </ref> Moreover, it investigates the extent to which her earlier architectural work is the blueprint from which she now exerts an influence on current government policies, and hence the organization of our present society.Staal, Jonas (08-12-2011) “De samenleving als gevangenis”, Groene Amsterdammer  The fourth part took place in the Van Abbemuseum in Eindhoven and in art space De Appel in Amsterdam as a result of an open call made by Rogier Verkroost, politician for the social-liberal Democrats 66 party, and GreenLeft politician Jesse Klaver to immediately re-open the Freethinkers’ SpaceGroenlinks.nl (12-11-2011) Klaver neemt Vrijdenkersruimte over’ that had been closed in 2011 by the liberal VVD and extreme-right PVV. The creation of these new Freethinker's spaces was supported by Staal and the museum. Verkroost's and Klaver's Freethinkers‘ Spaces opened in September 2012,Klaver, Jesse (17-11-3012) ‘Nederland als Vrijdenkersruimte’, Freethinkers' Lecture on website Joop.nl followed in Amsterdam by a Freethinkers’ Space curated by Carolien Gehrels, alderman for arts and culture for the Labour Party in Amsterdam.\n\nParagraph 10: The Ood are humanoid in appearance with tentacles on the lower portions of their faces. The Ood are a telepathic race; as such, they require a \"translation sphere\" to communicate with non-telepathic creatures. The sphere is connected to the Ood via a tube that originally connected their external brains to their body. Humans in the future would physically remove their hind brains and fix the translator sphere where the brain used to be. There appears to be no sexual differentiation among the Ood, though the Doctor seems to be able to determine their sex. When Donna refers to a dying Ood as an \"it\", the Doctor replies that the Ood is \"a 'he', not an 'it'\". The Ood say they require no names or titles as they are connected to a hive mind and function as one unit, but they do have designations given to them by humans such as \"Ood 1 Alpha 1\" or \"Ood Sigma\" to differentiate them. The Doctor suggests in \"Planet of the Ood\" that Ood individuality is a result of the Ood Hive Mind expressing itself differently within each Ood, saying \"Funny thing, the subconscious. Takes all sorts of shapes. Came out in the Red-Eye as revenge, came out in the Rabid Ood as anger, and then there was patience. All that intelligence and mercy focused on Ood Sigma.\" The Ood are empaths, sharing among themselves a low-level telepathic communication field. When reaching out with their telepathic fields, it can be heard as singing. This ability has made them susceptible to telepathic control, and in several episodes they are shown to be controlled by a stronger telepathic force. Oods are a part of the Silence's religious order. They also know the Doctor's name as they had sung it to him in \"Planet of the Ood\".\n\nParagraph 11: The first city mayor of Warsaw was Jan Andrzej Menich (1695–1696). The municipal self-government existed in Warsaw until World War II and was restored in 1990 (during the communist times, the National City Council – Miejska Rada Narodowa – governed in Warsaw). Since 1990, the structure of city government has been modified several times. Between 1975 and 1990 the Warsaw city mayors simultaneously led the Warsaw Voivode. In the years 1990-1994, the city mayor of Warsaw was elected by the city council. Subsequently, a controversial reform was introduced, transforming the city in the years of 1994–1999 into a loose municipal union of several gminas, dominated by one of them, the gmina Centrum encompassing the entire inner city. During this period, the mayor of gmina Centrum who was elected by its council was automatically designated as the city mayor of Warsaw, in spite of representing only a fraction of the population of the city. The city was becoming increasingly unmanageable, especially after the administrative reform of Poland in 1999 which further complicated the local government structure of Warsaw. In 2002, the new Warsaw Act of the Polish parliament restored Warsaw as a single urban gmina with the status of a city with powiat rights, led by a unified local government. At the same time, a significant reform was implemented in all Polish municipal governments, introducing direct elections of the wójt/town mayor/city mayor in all Polish gminas. The first city mayor of Warsaw elected according to these rules was Lech Kaczyński, who however resigned ahead of term when he was elected President of Polish Republic in 2005.\n\nParagraph 12: The Rüstem Pasha Mosque is famous for its large quantities of İznik tiles in a very wide variety of floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar and walls. There are approximately 2300 tiles arranged in around 80 different patterns. These tiles exhibit the early use of Armenian bole, a tomato-red pigment that would become characteristic of İznik pottery. While this red hue is applied more thinly on most of the tiles, it was applied heavily on the tiles near the qibla wall and appeared scarlet in colour. The bright emerald green colour is only used in a panel added above an exterior doorway at a later date, and a study of the qibla tiling indicates that turquoise was the greenest hue available to the mosque’s builders prior to the addition of that emerald green. Some of the tiles, particularly those in a large panel under the portico to the left main entrance, are decorated with sage green and dark manganese purple that are characteristic of the earlier 'Damascus ware' colour scheme. Yet the mosque’s tiling does not feature the olive green found to be characteristic of Damascus tiles. No other mosque makes such a lavish use of İznik tiles; with later mosques Sinan used tiles more sparingly.\n\nParagraph 13: The simplest case, and the context in which the idea was first noticed, is that of finite groups (see primitive permutation group). Consider a group G and subgroups H and K, with K contained in H. Then the left cosets of H in G are each the union of left cosets of K. Not only that, but translation (on one side) by any element g of G respects this decomposition. The connection with induced representations is that the permutation representation on cosets is the special case of induced representation, in which a representation is induced from a trivial representation. The structure, combinatorial in this case, respected by translation shows that either K is a maximal subgroup of G, or there is a system of imprimitivity (roughly, a lack of full \"mixing\"). In order to generalise this to other cases, the concept is re-expressed: first in terms of functions on G constant on K-cosets, and then in terms of projection operators (for example the averaging over K-cosets of elements of the group algebra).\n\nParagraph 14: The first city mayor of Warsaw was Jan Andrzej Menich (1695–1696). The municipal self-government existed in Warsaw until World War II and was restored in 1990 (during the communist times, the National City Council – Miejska Rada Narodowa – governed in Warsaw). Since 1990, the structure of city government has been modified several times. Between 1975 and 1990 the Warsaw city mayors simultaneously led the Warsaw Voivode. In the years 1990-1994, the city mayor of Warsaw was elected by the city council. Subsequently, a controversial reform was introduced, transforming the city in the years of 1994–1999 into a loose municipal union of several gminas, dominated by one of them, the gmina Centrum encompassing the entire inner city. During this period, the mayor of gmina Centrum who was elected by its council was automatically designated as the city mayor of Warsaw, in spite of representing only a fraction of the population of the city. The city was becoming increasingly unmanageable, especially after the administrative reform of Poland in 1999 which further complicated the local government structure of Warsaw. In 2002, the new Warsaw Act of the Polish parliament restored Warsaw as a single urban gmina with the status of a city with powiat rights, led by a unified local government. At the same time, a significant reform was implemented in all Polish municipal governments, introducing direct elections of the wójt/town mayor/city mayor in all Polish gminas. The first city mayor of Warsaw elected according to these rules was Lech Kaczyński, who however resigned ahead of term when he was elected President of Polish Republic in 2005.\n\nParagraph 15: Barbe-bleue has given her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. Ariane says this is the only key which matters and goes to look for the seventh door while her nurse opens the others. The nurse turns the lock in the first door and a cascade of jewels and other treasures spills out. The second door reveals a \"shower of sapphires\"; the third, a \"deluge of pearls\"; the fourth, a \"waterfall of emeralds\"; the fifth, \"a tragic torrent of rubies\". Ariane is unimpressed by the gems, although the contents of the sixth, \"avalanches of gigantic diamonds\", elicit a cry of wonder from her (\"O mes clairs diamants!\"). The sixth door also reveals the vault containing the seventh to Ariane. Ignoring her nurse's warning, she turns the golden key in the lock. At first it reveals nothing but darkness, then \"the stifled sounds of far away singing rise from the bowels of the earth and spread across the hall.\" It is the voices of Barbe-bleue's other wives singing a folk song \"Les cinq filles d'Orlamonde\" (\"The five maids of Orlamonde\"). The nurse is terrified and tries to shut the door again but she is powerless to move it as the voices draw nearer. At the last words of the song, Barbe-bleue enters the hall. He accuses Ariane: Vous aussi... (\"You too...\"). She replies, Moi surtout (\"Me above all\"). He tells her that through her disobedience she is abandoning the happiness he has offered her. She tells him, \"The happiness I want cannot thrive in the shadows.\" Barbe-bleue grabs her by the arm and tries to drag her towards the seventh door. As he does so, the furious peasants smash the windows and break into the hall to confront Barbe-bleue, who draws his sword in defence. But Ariane calmly turns to the crowd and asks them \"What do you want? – He has done me no harm\" before closing the door on them.\n\nParagraph 16: The conga line is a novelty line dance that was derived from the Cuban carnival dance of the same name and became popular in the US in the 1930s and 1950s. In order to perform the dance, dancers form a long, processing line, which would usually turn into a circle. It has three shuffle steps on the beat, followed by a kick that is slightly ahead of the fourth beat. The conga, a term sometimes mistakenly believed to be derived from the African region of Congo, is both a lyrical and danceable genre, rooted in the music of carnival troupes or comparsas.\n\nParagraph 17: Rümmelsheim had a Jewish community until 1906. It arose in the early 19th century. As far back as the 16th century, though, there were Jews living in the village. In 1548, a man named Mosse von Rimelsheim had his name included on a protection money list. However, no further record of Jews in Rümmelsheim crops up until the 19th century. In the 19th century, the number of Jewish inhabitants developed as follows: in 1808, there were 31 (of all together 405 inhabitants); in 1843, 48 (of 654); in 1848, 48 (in 9 families); in 1858, 45 (of 743); in 1885, 29 (of 896). In 1823, the Jewish families living in Waldalgesheim and Weiler bei Bingen were assigned to the Rümmelsheim Jewish community. Until then, the Jews in Waldalgesheim had felt more like part of the Schweppenhausen synagogue congregation, while the ones in Weiler had felt the same way about belonging to the congregation in Bingen. Until 1892, the Jewish families living in Bingerbrück also belonged to the Rümmelsheim Jewish community. Living in Waldalgesheim in 1823 were 8 Jews, and by 1843 it was 9 (of all together 860 inhabitants). In 1848, it was 8 again (Families Simon Stern and Schlachter), in 1858 it was 5 (of 915) and in 1885, 11 (of 1,230). Living in Weiler in 1823 were 5 Jews, and by 1843 it was 24 (of all together 884 inhabitants). In 1848, it was 12 (in 3 families), in 1858 it was 6 (of 1,033) and in 1885, 2 (of 1,394). In 1850, the following Jewish families were living in the three villages: in Rümmelsheim: Mathias Marx, David Marx, Mathias Marx, Coppel Mayer, Jacob Stern, Sebastian Stern, Raphael Stern, Servatius Stern, Joseph Stern, Joseph Marx and Carl Wohlgemuth; in Waldalgesheim: Simon Stern; in Weiler: Joseph Berg and Wendel Berg. In the way of institutions, there were a synagogue (see Synagogue below), a Jewish religious school and a graveyard in Rümmelsheim where Jews from both Rümmelsheim and Waldalgesheim were buried (see Jewish graveyard below); the Jews in Weiler had their own graveyard. To provide for the community's religious needs, a schoolteacher was hired, who also busied himself as the hazzan and the shochet. The Jews in Weiler also availed themselves of his services, for they could not afford their own. In 1848, Carl Wohlgemuth was working as an \"unpaid cantor\". He was at the same time the synagogue head, but had to take his leave in 1852 on health grounds. His successor was Raphael Stern. A few years later, the synagogue head was Ferdinand Stern, and beginning in 1885, Elias Stern. Towards the end of the 19th century, most of the Jewish families moved away from the village, and in 1906, the Rümmelsheim Jewish community was dissolved. The last member of the former Jewish community moved to Bingen in 1918. In 1925, no more Jewish inhabitants were being counted in Rümmelsheim. Still living in Waldalgesheim were master butcher Sally Stern's and tradesman Willy Hessel's families, while Simon Berg's family still lived in Weiler. The first two managed to emigrate to the United States. Simon Berg, then living in Bingen, and his daughter Lilly, then living in Friedberg, were both deported to the camps. According to the Gedenkbuch – Opfer der Verfolgung der Juden unter der nationalsozialistischen Gewaltherrschaft in Deutschland 1933-1945 (\"Memorial Book – Victims of the Persecution of the Jews under National Socialist Tyranny\") and Yad Vashem, of all Jews who either were born in Rümmelsheim, Waldalgesheim or Weiler bei Bingen or lived there for a long time, 16 died in the time of the Third Reich (birthdates in brackets):\n\nParagraph 18: One of the interesting things with Time Machines is that there's a handful of responses which we've had where what happened to the listeners was exactly what we intended to happen. There would be some kind of temporal disruption caused by just listening to the music, just interacting with the music. The drugs thing is actually a hook we hung it on – it originally came out of me and Drew talking that some of the types of music you listen to – sacred musics like Tibetan music or anything with a sacred intent which often is long ceremonial type music which could last for a day or three days or something. There are periods of time in that where you will come out of time. That's the intention of it to go into a trance and achieve an otherness. We thought can we do this sort of electronic punk-primitive? We did demos with a simple mono synth and we managed it. We sat in the room and listened to it loud and we lost track of time – it could be five minutes in or 20 minutes in but you suddenly get this feeling, the hairs on the back of your neck, and you'd realise that you'd had some sort of temporal slip. We fine-tuned, well, filters and oscillators and stuff, to try and maximise this effect. It was that we were after with simple tones – somehow you could slip through.\n\nParagraph 19: According to the diaries of Lord Lugard, George Wilson was working amongst ex-slaves and coastal tribes near Mombasa in 1889 and subsequently joined the company in January 1890 and joined Lugard on 6 August 1890, on the Sabaki trip in which Lugard's caravan left the coast at Malindi and moved slowly up the Sabaki, thereon after crossing Tsavo, they came across a Swahili caravan with slaves that were being transported by traders who fled but were later caught by Lugard and placed on trial in Mombasa. Meanwhile some of the slaves were successfully freed and the malnourished children were fed and clothed. But by 12 September Wilson's health had deteriorated to the point of losing consciousness and having a very weak pulse so Lugard acted quickly by taking Wilson to his tent and using natural medicine like rubbing him with carbolic oil to jump-start the heart beats, which seemed to have worked, and so George was given whiskey to ease the pain; however, his health challenges continued that evening and so Lugard stayed up nursing Wilson all night, which saved his life. from various accounts George was committed to joining Lugard for his Uganda expedition in 1890. Captain Lugard Knew him well and formed a high opinion of Wilson as he was \"very successful with the kikuyu\" and they stayed in touch long after Lugard had left Uganda, as a matter of Fact Mr Wilson sent back and forth letters to Lugard between 1895-1900 involving frank discussions about important issues, when Mr Wilson was rising up the ranks of the protectorate government in East Africa. For a while Mr Wilson was with the Scottish Industrial Mission at Kibwezi where they met up in Mombasa tasked with taking back control of Fort Dagoretti on 19 September 1891. Lugard, on his way back to the Coast in August 1892, found George at work on the Mackinnon Road, which was being built by the Mission at the cost of Sir William Mackinnon to increase trade with Uganda. Wilson joined the Uganda service on 30 August 1894. He soon made his mark as officer in charge of Kampala station. He demonstrated effective leadership, and was hence placed in charge of the protectorate region during the Sudanese Mutiny in September 1897. There's an extensive account In John Dawson Ainsworth's memoirs about how George Wilson was ambushed by the kikuyus under the command of Waiyaki Wa Hinga for a week and a half, which forced Wilson and his men to vacate the fort in Dagoretti at night and head towards Machakos on the 30th March 1891 under the advice of Ernest Gedge with his men and the 30 African soldiers he had. This was reportedly the first major confrontation between the Agikuyus and the British imperialist forces. According to Maina wa Kĩnyattĩ a marxist historian - this defeat along with another successive defeat for Wilson and his men that were unable to sustain Waiyaki lead attacks (following a recapture and rebuilding of the station at Dagoertti) that meant the loss of control of the previously burned garrison in a dash for safety back to Machakos where their headquarters were (which was built by Lugard in 1889), is in fact what led to Wilson's replacement by Colonel Erick Smith, who refocused his efforts on building another fort in Kanyonyo that he later named \"Fort Smith\".\n\nParagraph 20: In the brand new and exciting edition of Walt Disney World Inside Out, Scott Herriott is your \"Host, hydrolysis expert,\" and tour guide through Walt Disney World. First Scott heads to Disney MGM Studios to see Jim Henson's Muppet Vision 3D where he interviews guests about what they are expecting from this show. After Scott bumps into Sweetums, Scott receives his 3-D glasses and is told by Kermit the Frog that there is no videotaping inside the theater. Scott leaves Kermit saying \"that guy looks a lot like Kermit the Frog\" not knowing that he is the real deal. After Scott settles in, he watches the movie and kind of interacts with the Muppets. And as always the film ends with the Swedish Chef firing a cannon into the movie screen. After the film, Scott says that he can't tell the viewers about it \"but it involves the Swedish Chef, a bunch of penguins and a really big cannon\"  Kermit the Frog comes up to Scott and tells him that the glasses need to come back to the theater. Scott then realizes that it really is Kermit the Frog and asks him about the pie scene and Kermit offers to demonstrate. Kermit then tosses the pie into Scott's face and Scott says that \"it seems so real\". Kermit tells Scott that it's much how they  did it . Scott asks Kermit about having dinner tonight and that \"dessert's on me\". Scott then plays tennis at Disney's Grand Floridian Resort & Spa with a kid (the same kid from the intro of this episode) and indicates that the kid's mom produces the show. Then Scott talks about the Legend of the Lion King stage show at the Magic Kingdom. Scott then travels to Bay Lake and talk about \"the warm sun, the cool breeze, the water gently lapping at your...lap\" and the Hobie 16s before a lifeguard asks Scott if he would try the Hobie 16 out in the water by himself. Scott declines and thanks the lifeguard for asking that question. Scott heads to Disney's Caribbean Beach Resort to host the Walt Disney World Inside Out Hydro-man Water Race. After going over the layout of the course, Scott interviews the two families that are competing: The Yohe family from Syracuse, New York and The Nichols family from Boberbuck, Missouri. The race begins and the Nichols family took a small lead across the water to beach B then held on to that lead going into the paddle boat leg. But the Yohe family were catching up and pulled on ahead and they then pedaled backwards back to beach A. The Yohes take the tag and held on a huge lead going into the colored flags where under two of them the players must find a Mickey Mouse figure. But the Nichols had caught up and they were the first to find the mickey figure. The players then carry their colored flags to two traffic cones with the Nichols being the first to do so and heading towards the water slide. The Yohes were in hot pursuit but it was the Nichols family who came in first. For being the winners, the Nichols family earned these Gaudi gold medals, Goofy shirts and gift certificates. Also since everyone's a winner at Walt Disney World, the Yohe family as well earned the Goofy shirts and the gift certificates. Then Scott checks out the then-new Disney's All-Star Sports Resort. Scott heads on over to Epcot '94 to go inside Innoventions and play video games. Scott goes to Typhoon Lagoon and interviews some guests. Scott heads to the Magic Kingdom to see Fantasy In The Sky and fireworks production support manager Bernie Durgin talks about the history of fireworks at Disney World and at Disneyland. Then Scott plays golf and suggest that he and the viewers take a look at the calendar to see what is coming up in the months ahead at Disney World. The excitement of the summer of '94 continues with three then-brand new attractions. At Disney Studios experience the faster than gravity falls of the terrifying then-new Twilight Zone Tower of Terror. In the Magic Kingdom, Legend of The Lion King opens. And at Epcot '94 Innoventions (Epcot) opens for business. After signing off, Scott hits his golf ball and heads back to Disney-MGM-Studios to search for the ball. Kermit arrives and Scott shows him his club as a clue. Then the ball landed directly behind them and Kermit tells Scott that he was slicing the ball a bit to the left. After Scott and Kermit did some golfing jokes, the episode ends.\n\nParagraph 21: One of the interesting things with Time Machines is that there's a handful of responses which we've had where what happened to the listeners was exactly what we intended to happen. There would be some kind of temporal disruption caused by just listening to the music, just interacting with the music. The drugs thing is actually a hook we hung it on – it originally came out of me and Drew talking that some of the types of music you listen to – sacred musics like Tibetan music or anything with a sacred intent which often is long ceremonial type music which could last for a day or three days or something. There are periods of time in that where you will come out of time. That's the intention of it to go into a trance and achieve an otherness. We thought can we do this sort of electronic punk-primitive? We did demos with a simple mono synth and we managed it. We sat in the room and listened to it loud and we lost track of time – it could be five minutes in or 20 minutes in but you suddenly get this feeling, the hairs on the back of your neck, and you'd realise that you'd had some sort of temporal slip. We fine-tuned, well, filters and oscillators and stuff, to try and maximise this effect. It was that we were after with simple tones – somehow you could slip through.\n\nParagraph 22: A high school girl named Himeno Awayuki is attempting to adjust to her new life after her widowed father remarries wealthy widow Natsue. While taking a short cut to school, Himeno jumps out of a bush and lands on Hayate, the Knight of Wind. After some arguing Himeno wants to punch Hayate, but he blocks her hand causing a powerful light. Later she meets the other Leafe Knights who tell her that the red snow that has been falling on the town recently is being caused by the Princess of Disaster who is awakening, and that she is using demon larva to absorb Leafe, the essence of all life. They ask Himeno to become the Prétear and help them protect the world. Himeno is initially reluctant, believing they are trying to play a trick on her. When a larva attacks them and begins stealing leafe, Himeno agrees to help. Hayate tells her to take his hand and she merges with him to become the Wind Prétear. After adjusting to her new powers, Himeno is able to defeat the larva.\n\nParagraph 23: Barbe-bleue has given her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. Ariane says this is the only key which matters and goes to look for the seventh door while her nurse opens the others. The nurse turns the lock in the first door and a cascade of jewels and other treasures spills out. The second door reveals a \"shower of sapphires\"; the third, a \"deluge of pearls\"; the fourth, a \"waterfall of emeralds\"; the fifth, \"a tragic torrent of rubies\". Ariane is unimpressed by the gems, although the contents of the sixth, \"avalanches of gigantic diamonds\", elicit a cry of wonder from her (\"O mes clairs diamants!\"). The sixth door also reveals the vault containing the seventh to Ariane. Ignoring her nurse's warning, she turns the golden key in the lock. At first it reveals nothing but darkness, then \"the stifled sounds of far away singing rise from the bowels of the earth and spread across the hall.\" It is the voices of Barbe-bleue's other wives singing a folk song \"Les cinq filles d'Orlamonde\" (\"The five maids of Orlamonde\"). The nurse is terrified and tries to shut the door again but she is powerless to move it as the voices draw nearer. At the last words of the song, Barbe-bleue enters the hall. He accuses Ariane: Vous aussi... (\"You too...\"). She replies, Moi surtout (\"Me above all\"). He tells her that through her disobedience she is abandoning the happiness he has offered her. She tells him, \"The happiness I want cannot thrive in the shadows.\" Barbe-bleue grabs her by the arm and tries to drag her towards the seventh door. As he does so, the furious peasants smash the windows and break into the hall to confront Barbe-bleue, who draws his sword in defence. But Ariane calmly turns to the crowd and asks them \"What do you want? – He has done me no harm\" before closing the door on them.\n\nParagraph 24: Barbe-bleue has given her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. Ariane says this is the only key which matters and goes to look for the seventh door while her nurse opens the others. The nurse turns the lock in the first door and a cascade of jewels and other treasures spills out. The second door reveals a \"shower of sapphires\"; the third, a \"deluge of pearls\"; the fourth, a \"waterfall of emeralds\"; the fifth, \"a tragic torrent of rubies\". Ariane is unimpressed by the gems, although the contents of the sixth, \"avalanches of gigantic diamonds\", elicit a cry of wonder from her (\"O mes clairs diamants!\"). The sixth door also reveals the vault containing the seventh to Ariane. Ignoring her nurse's warning, she turns the golden key in the lock. At first it reveals nothing but darkness, then \"the stifled sounds of far away singing rise from the bowels of the earth and spread across the hall.\" It is the voices of Barbe-bleue's other wives singing a folk song \"Les cinq filles d'Orlamonde\" (\"The five maids of Orlamonde\"). The nurse is terrified and tries to shut the door again but she is powerless to move it as the voices draw nearer. At the last words of the song, Barbe-bleue enters the hall. He accuses Ariane: Vous aussi... (\"You too...\"). She replies, Moi surtout (\"Me above all\"). He tells her that through her disobedience she is abandoning the happiness he has offered her. She tells him, \"The happiness I want cannot thrive in the shadows.\" Barbe-bleue grabs her by the arm and tries to drag her towards the seventh door. As he does so, the furious peasants smash the windows and break into the hall to confront Barbe-bleue, who draws his sword in defence. But Ariane calmly turns to the crowd and asks them \"What do you want? – He has done me no harm\" before closing the door on them.\n\nParagraph 25: In 1929, a pair of young newlyweds receives a mysterious box-like object wrapped as a wedding gift with a cryptic label reading \"Don't Open Till Doomsday\". Unbeknownst to his bride, the bridegroom is zapped by a beam of light emanating from this object when he removed it from the wrapping, and seemingly disappears out of existence. Thirty-five years later, in 1964, an eloping couple arrives at the house in the hopes of using it as a honeymoon spot, now a half-derelict mansion owned by Mrs. Kry, an eccentric old woman who turns out to be the aforesaid bride, driven to insanity after her husband disappeared. After the younger bride herself disappears inside the box, it is revealed that Mrs. Kry has been luring young couples to her house, in the hope of \"trading\" them for her lost bridegroom, with an alien intelligence residing inside the box. Later, the young bride's father arrives on location to take his wayward daughter back with him, and is also abducted by the alien, finding himself inside the box—actually, a pocket dimension occupied by an amorphous, one-eyed creature from an anti-matter universe, who is bent on destroying our universe. The father, his daughter and Mrs. Kry's lost bridegroom are there, as well. The creature, having become lost during his journey between dimensions, addresses them, assuring them they'll be freed on the condition that they help him to achieve his goal—reuniting him with his eight other companions, all of whom were inhabitants of their universe, each carrying an essential element which, when joined together, would result in the annihilation of our universe. Facing refusal, and being further hindered by an angered Mrs. Kry, along with the father's false promise to aid in the search if freed from captivity, the enraged alien resorts to self-destruction after setting the daughter free, thus 'uncreating' himself, and obliterating the entire mansion, the father, Mrs. Kry and her bridegroom in the process, with the young couple narrowly escaping the carnage.\n\nParagraph 26: The preservation of the Jews is really one of the most signal and illustrious acts of divine Providence... and what but a supernatural power could have preserved them in such a manner as none other nation upon earth hath been preserved.  Nor is the providence of God less remarkable in the destruction of their enemies, than in their preservation... We see that the great empires, which in their turn subdued and oppressed the people of God, are all come to ruin... And if such hath been the fatal end of the enemies and oppressors of the Jews, let it serve as a warning to all those, who at any time or upon any occasion are for raising a clamor and persecution against them.\n\nParagraph 27: Every night before going to sleep, the Darling children, Wendy, John, and Michael, are told stories by their mother of wonderful adventures in fantasy worlds; many of these stories tell of a boy named Peter Pan, who lives in a place called Neverland who never grows up.  One night, when Mr. and Mrs. Darling go out, leaving the children under the care of a house maid and Nana, the nursery dog, Wendy Darling is thrilled when the real Peter Pan flies right into their window.  In a previous visit, Nana had taken Peter Pan's shadow away from him, and now he and his fairy friend Tinker Bell have returned to claim it.  Nana has been punished by Mr. Darling, accused of breaking a valuable glass jar in the attempt to protect the children from Peter, and kept outdoors.  Peter Pan and Wendy become friends, and Peter confesses that he had visited many times to listen to Mrs. Darling's bedtime stories.  John and Michael wake up and Peter invites them all to follow him to Neverland.  With the use of fairy dust, the three children are able to fly, and they fly out to Neverland.  Once in Neverland, Peter Pan tells the children of evil Captain Hook, whose right hand was cut off by Peter and thrown to the crocodile some time before, who now wants to eat the rest of him. Hook plots revenge against Peter for this.  Meanwhile, Peter introduces the children to the Lost Boys, a group of young motherless children. He presents Wendy as their loving mother as long as she remains in Neverland, which she meekly resists.  Many adventures follow, as Peter Pan, the children and the Lost Boys battle against Captain Hook, save Wendy from his wicked intentions, and rescue the young Indian Princess Tiger Lily while Hook gets chased by the ticking crocodile. After all the excitement, Wendy announces that it is time to return home, and she invites the Lost Boys to come along, so that they may be returned to their real mothers. Smee, one of Captain Hook's pirates, follows the children, and he too is reunited with his mother. Wendy, John and Michael invite Peter Pan to stay with them in their home in London, but Peter Pan refuses, for that would mean he would have to grow up, something he would never want to do. They part, but Peter Pan welcomes them to return to Neverland someday.\n\nParagraph 28: Every night before going to sleep, the Darling children, Wendy, John, and Michael, are told stories by their mother of wonderful adventures in fantasy worlds; many of these stories tell of a boy named Peter Pan, who lives in a place called Neverland who never grows up.  One night, when Mr. and Mrs. Darling go out, leaving the children under the care of a house maid and Nana, the nursery dog, Wendy Darling is thrilled when the real Peter Pan flies right into their window.  In a previous visit, Nana had taken Peter Pan's shadow away from him, and now he and his fairy friend Tinker Bell have returned to claim it.  Nana has been punished by Mr. Darling, accused of breaking a valuable glass jar in the attempt to protect the children from Peter, and kept outdoors.  Peter Pan and Wendy become friends, and Peter confesses that he had visited many times to listen to Mrs. Darling's bedtime stories.  John and Michael wake up and Peter invites them all to follow him to Neverland.  With the use of fairy dust, the three children are able to fly, and they fly out to Neverland.  Once in Neverland, Peter Pan tells the children of evil Captain Hook, whose right hand was cut off by Peter and thrown to the crocodile some time before, who now wants to eat the rest of him. Hook plots revenge against Peter for this.  Meanwhile, Peter introduces the children to the Lost Boys, a group of young motherless children. He presents Wendy as their loving mother as long as she remains in Neverland, which she meekly resists.  Many adventures follow, as Peter Pan, the children and the Lost Boys battle against Captain Hook, save Wendy from his wicked intentions, and rescue the young Indian Princess Tiger Lily while Hook gets chased by the ticking crocodile. After all the excitement, Wendy announces that it is time to return home, and she invites the Lost Boys to come along, so that they may be returned to their real mothers. Smee, one of Captain Hook's pirates, follows the children, and he too is reunited with his mother. Wendy, John and Michael invite Peter Pan to stay with them in their home in London, but Peter Pan refuses, for that would mean he would have to grow up, something he would never want to do. They part, but Peter Pan welcomes them to return to Neverland someday.\n\nParagraph 29: On the following night, the June 25 episode of Raw Is War, Shane declared his intention to invade the WWF, and the Invasion storyline started with Booker T performing a scissors kick to Vince. On the June 28 episode of SmackDown!, it was decided that Fully Loaded was to be changed to Invasion, and would feature matches between WWF and WCW. The ultimate goal, reportedly, was for WCW to \"take over\" one of the WWF's two primary programs, either Raw Is War or SmackDown!, and rebrand it as its own separate entity.  To test the waters for this, the final twenty minutes of the July 2 Raw Is War telecast was given over to WCW, which brought in its own commentators (Scott Hudson and Arn Anderson), ring announcer (Stacy Keibler), referee (Nick Patrick), ring apron, and Chyron graphics, to present a match between Booker T and Buff Bagwell for Booker's WCW Championship (which he had won on the final episode of Nitro). This continued on SmackDown!, where Gregory Helms lost the WCW Cruiserweight Championship against Billy Kidman and Booker defended the WCW Championship against Diamond Dallas Page. The Booker/Bagwell title match, however, was very poorly received both by television viewers and the live crowd in the arena; sports journalist Michael Landsberg reported that many have called the bout \"the worst match ever\". The two other WCW matches also received a negative fan reaction. The decision was thus made to make WCW a heel group who was out to destroy the WWF. On the July 9 on Raw Is War, when then-face WCW owner Shane was scheduled to face Page in a street fight, the two instead attacked The Undertaker, turning Shane heel (Page had already debuted in WWF as a heel, as part of a stalker angle with Undertaker and his wife). Later that night, Chris Jericho and Kane (from the WWF) fought Lance Storm and Mike Awesome (from WCW) in a tag team match. It ended in a no contest when the ECW Alumni from both the WWF and WCW along with the debuting Rob Van Dam and Tommy Dreamer made their way to the ring. As it looked as though they were going after Storm and Awesome, they instead attacked Jericho and Kane. This led to the Raw color-commentator Paul Heyman leaving the announcer's booth and declared that Extreme Championship Wrestling (ECW) has joined the invasion and stated that the invasion has been taken to the extreme, leading to some WWF and WCW wrestlers (including Raven, Lance Storm, Rhyno, The Dudley Boyz, and Tazz) defecting to ECW. Shane appeared to co-operate with Vince against ECW, but later that night, it was revealed that WCW and ECW had merged, and that Stephanie McMahon-Helmsley (who was last seen on the May 21 episode of Raw Is War) now owned ECW.\n\nParagraph 30: The first city mayor of Warsaw was Jan Andrzej Menich (1695–1696). The municipal self-government existed in Warsaw until World War II and was restored in 1990 (during the communist times, the National City Council – Miejska Rada Narodowa – governed in Warsaw). Since 1990, the structure of city government has been modified several times. Between 1975 and 1990 the Warsaw city mayors simultaneously led the Warsaw Voivode. In the years 1990-1994, the city mayor of Warsaw was elected by the city council. Subsequently, a controversial reform was introduced, transforming the city in the years of 1994–1999 into a loose municipal union of several gminas, dominated by one of them, the gmina Centrum encompassing the entire inner city. During this period, the mayor of gmina Centrum who was elected by its council was automatically designated as the city mayor of Warsaw, in spite of representing only a fraction of the population of the city. The city was becoming increasingly unmanageable, especially after the administrative reform of Poland in 1999 which further complicated the local government structure of Warsaw. In 2002, the new Warsaw Act of the Polish parliament restored Warsaw as a single urban gmina with the status of a city with powiat rights, led by a unified local government. At the same time, a significant reform was implemented in all Polish municipal governments, introducing direct elections of the wójt/town mayor/city mayor in all Polish gminas. The first city mayor of Warsaw elected according to these rules was Lech Kaczyński, who however resigned ahead of term when he was elected President of Polish Republic in 2005.\n\nParagraph 31: In his book Evolution and Judaism, Krauskopf accepted the idea that science might \"overshadow\" religion but that the science needs to be well understood and properly connected to religion. Krauskopf accepted the scientific legitimacy of evolution and Darwinian theory. He argued, in a chapter titled \"Darwinism,\" that \"Supreme order is the manifestation of supreme intelligence. If I had no other proof for my belief in the existence and sovereignty of an Intelligent Final Cause, I would derive it from my recognition of the fact that supreme order, uninterrupted harmony, eternal and immutable law, control all nature, heaven and earth, all inorganic and organic, in but one way, and in no other.\" He argues that evolution is simply part of the law of nature and that \"this natural law shape matter with design and direct force with a purpose, and design and purpose presuppose intelligence.\" Krauskopf argued that evolution was the same as \"Supreme Governing Power, Supreme Will, Supreme Natural Law\" and that \"by theologians it is called 'God.'\" With \"this conception of the nature of God\" he argued that \"every difference between science and religion disappears\" and \"with this conception of God, as manifested in nature, I am prepared to accept even Darwinism.\" Thus, Krauskopf accepted evolution, as set out by Darwin, as consistent with the existence of God, because God provided the \"supreme intelligence\" to let evolution happen. Under this analysis, there could be no conflict between religion and science, and \"Darwinism, though disagreeing with the Biblical account of creation is with religion, not against it.\" He praised Darwin, declaring that \"God has had no better interpreter of the greatness and magnificence of His handiwork.\" He acknowledged that Darwin \"opposed\" the \"Biblical account\" of creation, because modern research proved the Biblical account of creation imperfect,\" But Krauskopf argued that this science, and Darwinian notions such as natural selection, actually supported the idea of a superior being – God – who set into motion evolution through natural selection. He concluded that \"Judaism and ever progressive religion with a conception of God ... can freely and conscientiously accept the theory of organic evolution.\" Thus, the \"sum of Supreme Will, Supreme Power, Supreme Intelligence, evolutionists name The Reign of Natural Law, the theologians call it God.\" Evolution and Judaism is also interesting because, at the same time as adopting a sceptical approach to traditional readings of the bible, Krauskopf attempted to justify Jewish religious continuity by presenting a Jewish form of panentheism that viewed the universe as an evolving phenomenon and presented a biological argument for the reality of life beyond death.\n\nParagraph 32:  Arnold had long promised to visit New London and the neighbouring towns on the sea shore, and the enemy having frequently appeared in sight of the harbour, the alarm guns fired on the present occasion were considered by the country around us the salutes of prizes or other vessels belonging to the port. He however arrived the 6th inst. about five o, and at seven o’ landed about 2500 men, half on each side of the river. At 8 o’ the militia mustered in parties of 8 or 10, and annoyed the enemy until about 100 of them came up and disputed their way to Fort Trumbull; their great superiority obliged our people to yield to them the possession of the fort. Col. Ledyard, with about 76 other brave fellows, retreated to the fort on Groton side, which they determined resolutely to defend. The next assault was upon this fort, where they were repulsed several times by a bravery unequalled, for about three hours. A flag was then sent, demanding a surrender of the fort, accompanies by a threat of giving no quarters in case of refusal. The commandant consulted with his brave garrison, who refused to submit. The action was then renewed, when the flag staff was unfortunately shot away; notwithstanding which the defence was gallantly continued until about five or six hundred of the enemy having forced the pickets had entered through the breach. At this time there were but four of the garrison killed, and it was thought prudent to submit, to preserve the lives of the remainder. The officer who at this time commanded the assailants, (Major Montgomery being killed) enquired who commanded the garrison? Colonel Ledyard informed him that he had had that honour, but was unfortunate in being obliged to surrender it, at the same time delivered up to him his sword, and asked for quarter for himself and people; to which the infamous villain replied, \"ye rascals, I give you quarters,\" and then plunged the sword into his body. The inhuman banditti, taking this as a signal, drove their bayonets up to the muzzles of their pieces into the breasts of all that were taken, except one or two who made their escape. \n\nParagraph 33: In 618, after news arrived at Chang'an that Emperor Yang was killed in a coup at Jiangdu led by the general Yuwen Huaji, Li Yuan had Yang You yield the throne to him, establishing Tang dynasty as its Emperor Gaozu. Li Jing continued serving the new dynasty. In 619, Li Jing participated in a campaign against one of Tang's major enemies, Wang Shichong the Emperor of Zheng, and was promoted for his accomplishments. Later that year, Emperor Gaozu sent him to Kui Prefecture (夔州, modern eastern Chongqing) to plan a military operation against another major enemy, Xiao Xian the Emperor of Liang, who then ruled the modern Hubei, Hunan, and Guangxi region. When he first reached Jin Prefecture (金州, roughly modern Ankang, Shaanxi), he encountered bandits in the mountain, who had several times defeated Li Yuàn (李瑗, note different tone and character than Emperor Gaozu's name (淵, yuān)) the Prince of Lujiang (Emperor Gaozu's distant nephew). Li Jing joined forces with Li Yuàn to defeat those bandits. However, as he arrived at the borders with Liang, he was blocked by Liang forces and long could not reach there, having to stop at Xia Prefecture (峽州, roughly modern Yichang, Hubei). Emperor Gaozu, believing that Li Jing was intentionally not advancing, was sufficiently angry that he secretly ordered the commandant at Xia Prefecture, Xu Shao (許紹), to execute Li Jing. Xu, however, was appreciative of Li Jing's talent, and submitted a petition urging that Li Jing be spared, and Emperor Gaozu relented. Meanwhile, in spring 620, around the same time, Ran Zhaoze (冉肇則) the leader of the Kaishan Tribe (開山蠻), rebelled against Tang rule and attacked Kui Prefecture. When Emperor Gaozu's distant nephew Li Xiaogong the Duke of Zhao Commandery fought Ran, he was initially unsuccessful, but Li Jing reinforced him with 800 men and defeated and killed Ran.\n\nParagraph 34: Rümmelsheim had a Jewish community until 1906. It arose in the early 19th century. As far back as the 16th century, though, there were Jews living in the village. In 1548, a man named Mosse von Rimelsheim had his name included on a protection money list. However, no further record of Jews in Rümmelsheim crops up until the 19th century. In the 19th century, the number of Jewish inhabitants developed as follows: in 1808, there were 31 (of all together 405 inhabitants); in 1843, 48 (of 654); in 1848, 48 (in 9 families); in 1858, 45 (of 743); in 1885, 29 (of 896). In 1823, the Jewish families living in Waldalgesheim and Weiler bei Bingen were assigned to the Rümmelsheim Jewish community. Until then, the Jews in Waldalgesheim had felt more like part of the Schweppenhausen synagogue congregation, while the ones in Weiler had felt the same way about belonging to the congregation in Bingen. Until 1892, the Jewish families living in Bingerbrück also belonged to the Rümmelsheim Jewish community. Living in Waldalgesheim in 1823 were 8 Jews, and by 1843 it was 9 (of all together 860 inhabitants). In 1848, it was 8 again (Families Simon Stern and Schlachter), in 1858 it was 5 (of 915) and in 1885, 11 (of 1,230). Living in Weiler in 1823 were 5 Jews, and by 1843 it was 24 (of all together 884 inhabitants). In 1848, it was 12 (in 3 families), in 1858 it was 6 (of 1,033) and in 1885, 2 (of 1,394). In 1850, the following Jewish families were living in the three villages: in Rümmelsheim: Mathias Marx, David Marx, Mathias Marx, Coppel Mayer, Jacob Stern, Sebastian Stern, Raphael Stern, Servatius Stern, Joseph Stern, Joseph Marx and Carl Wohlgemuth; in Waldalgesheim: Simon Stern; in Weiler: Joseph Berg and Wendel Berg. In the way of institutions, there were a synagogue (see Synagogue below), a Jewish religious school and a graveyard in Rümmelsheim where Jews from both Rümmelsheim and Waldalgesheim were buried (see Jewish graveyard below); the Jews in Weiler had their own graveyard. To provide for the community's religious needs, a schoolteacher was hired, who also busied himself as the hazzan and the shochet. The Jews in Weiler also availed themselves of his services, for they could not afford their own. In 1848, Carl Wohlgemuth was working as an \"unpaid cantor\". He was at the same time the synagogue head, but had to take his leave in 1852 on health grounds. His successor was Raphael Stern. A few years later, the synagogue head was Ferdinand Stern, and beginning in 1885, Elias Stern. Towards the end of the 19th century, most of the Jewish families moved away from the village, and in 1906, the Rümmelsheim Jewish community was dissolved. The last member of the former Jewish community moved to Bingen in 1918. In 1925, no more Jewish inhabitants were being counted in Rümmelsheim. Still living in Waldalgesheim were master butcher Sally Stern's and tradesman Willy Hessel's families, while Simon Berg's family still lived in Weiler. The first two managed to emigrate to the United States. Simon Berg, then living in Bingen, and his daughter Lilly, then living in Friedberg, were both deported to the camps. According to the Gedenkbuch – Opfer der Verfolgung der Juden unter der nationalsozialistischen Gewaltherrschaft in Deutschland 1933-1945 (\"Memorial Book – Victims of the Persecution of the Jews under National Socialist Tyranny\") and Yad Vashem, of all Jews who either were born in Rümmelsheim, Waldalgesheim or Weiler bei Bingen or lived there for a long time, 16 died in the time of the Third Reich (birthdates in brackets):\n\nParagraph 35: The Rüstem Pasha Mosque is famous for its large quantities of İznik tiles in a very wide variety of floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar and walls. There are approximately 2300 tiles arranged in around 80 different patterns. These tiles exhibit the early use of Armenian bole, a tomato-red pigment that would become characteristic of İznik pottery. While this red hue is applied more thinly on most of the tiles, it was applied heavily on the tiles near the qibla wall and appeared scarlet in colour. The bright emerald green colour is only used in a panel added above an exterior doorway at a later date, and a study of the qibla tiling indicates that turquoise was the greenest hue available to the mosque’s builders prior to the addition of that emerald green. Some of the tiles, particularly those in a large panel under the portico to the left main entrance, are decorated with sage green and dark manganese purple that are characteristic of the earlier 'Damascus ware' colour scheme. Yet the mosque’s tiling does not feature the olive green found to be characteristic of Damascus tiles. No other mosque makes such a lavish use of İznik tiles; with later mosques Sinan used tiles more sparingly.\n\nParagraph 36: The Schellenberg heights dominate the skyline to the northeast of Donauwörth – the walled town on the confluence of the Wörnitz and Danube rivers. With one flank of the hill protected by dense, impenetrable trees of the Boschberg wood, and the river Wörnitz and marshes protecting its southern and western quarters, the Schellenberg heights offer a commanding position for any defender. However, its oval shaped summit was flat and open, and its 70-year-old defences, including an old fort built by the Swedish king Gustavus Adolphus during the Thirty Years' War, were neglected and in a dilapidated state. When the unexpected attack took place the bastions, the curtain, and the ditch were fairly complete along the long eastern face from the shore of the Danube to the wooded hilltop, but in the shorter section from the wood to the fort – the angle where Marlborough's attack was delivered – the earthwork had been more hastily made up of fascines of brushwood thinly covered with soil. The western section of the lines ran steeply downhill from the fort to the city walls. Here, there was little to show in terms of defences, but to compensate the line could be protected by a flanking fire from the town. (See 'Schellenberg' map below.)\n\nParagraph 37:  Arnold had long promised to visit New London and the neighbouring towns on the sea shore, and the enemy having frequently appeared in sight of the harbour, the alarm guns fired on the present occasion were considered by the country around us the salutes of prizes or other vessels belonging to the port. He however arrived the 6th inst. about five o, and at seven o’ landed about 2500 men, half on each side of the river. At 8 o’ the militia mustered in parties of 8 or 10, and annoyed the enemy until about 100 of them came up and disputed their way to Fort Trumbull; their great superiority obliged our people to yield to them the possession of the fort. Col. Ledyard, with about 76 other brave fellows, retreated to the fort on Groton side, which they determined resolutely to defend. The next assault was upon this fort, where they were repulsed several times by a bravery unequalled, for about three hours. A flag was then sent, demanding a surrender of the fort, accompanies by a threat of giving no quarters in case of refusal. The commandant consulted with his brave garrison, who refused to submit. The action was then renewed, when the flag staff was unfortunately shot away; notwithstanding which the defence was gallantly continued until about five or six hundred of the enemy having forced the pickets had entered through the breach. At this time there were but four of the garrison killed, and it was thought prudent to submit, to preserve the lives of the remainder. The officer who at this time commanded the assailants, (Major Montgomery being killed) enquired who commanded the garrison? Colonel Ledyard informed him that he had had that honour, but was unfortunate in being obliged to surrender it, at the same time delivered up to him his sword, and asked for quarter for himself and people; to which the infamous villain replied, \"ye rascals, I give you quarters,\" and then plunged the sword into his body. The inhuman banditti, taking this as a signal, drove their bayonets up to the muzzles of their pieces into the breasts of all that were taken, except one or two who made their escape. \n\nParagraph 38: The construction of the vessel had started at the end of 2008 in a commercial shipyard at Suez, Egypt, under supervision of vessel's captain Josef Dvorský and ship constructor Daniel Rosecký (who are now co-owners). The main reason why Suez was selected for a construction site was utilization of traditional boat building procedures, which are still prevalent there. A wooden model had to be made first for the Egyptian builders, as was usual in the 18th century. The boat was then constructed according to this maquette. Due to the importance of the Suez Canal in global trade, high quality Scandinavian wood is readily available in Egypt. This wood was the most usual and favourite shipbuilding material in the Age of Sail. However, the keel and the frames are made of extremely hard and sturdy camphor wood and mulberry wood. Planking and decks timbers are made of Finnish pine tree wood. But nowadays, original Chapman’s blueprints are not sufficient to build a boat. Because of that, a 3D model of the boat was also made based on these blueprints. The virtual representation was then utilised to make even more detailed plans. A large amount of calculations were necessary as well (e.g. a stability assessment). Masts, yards, blocks, as well as steering wheel and cannons were made in joiner's shop of Vilém Pavlica at Valašské Meziříčí, Czech Republic. Dozens of volunteers from all over the Czech Republic worked since June 2009 and helped to complete the equipment. In December 2009, all the material was shipped to The following year was mainly in the spirit of 21st century technology. Boat’s engine, electric generator, water and power distribution were installed. Most of the work was again conducted by a joint effort of both experts and volunteers. La Grace was launched on 5 December 2010, nearly two years after the construction began. In the next few weeks the ship was at anchor, receiving finishing touches and fitting out; primarily the fitting of sails and rigging supervised by Viktor Neuman, the ship's sailing master and boatswain.\n\nParagraph 39: In 618, after news arrived at Chang'an that Emperor Yang was killed in a coup at Jiangdu led by the general Yuwen Huaji, Li Yuan had Yang You yield the throne to him, establishing Tang dynasty as its Emperor Gaozu. Li Jing continued serving the new dynasty. In 619, Li Jing participated in a campaign against one of Tang's major enemies, Wang Shichong the Emperor of Zheng, and was promoted for his accomplishments. Later that year, Emperor Gaozu sent him to Kui Prefecture (夔州, modern eastern Chongqing) to plan a military operation against another major enemy, Xiao Xian the Emperor of Liang, who then ruled the modern Hubei, Hunan, and Guangxi region. When he first reached Jin Prefecture (金州, roughly modern Ankang, Shaanxi), he encountered bandits in the mountain, who had several times defeated Li Yuàn (李瑗, note different tone and character than Emperor Gaozu's name (淵, yuān)) the Prince of Lujiang (Emperor Gaozu's distant nephew). Li Jing joined forces with Li Yuàn to defeat those bandits. However, as he arrived at the borders with Liang, he was blocked by Liang forces and long could not reach there, having to stop at Xia Prefecture (峽州, roughly modern Yichang, Hubei). Emperor Gaozu, believing that Li Jing was intentionally not advancing, was sufficiently angry that he secretly ordered the commandant at Xia Prefecture, Xu Shao (許紹), to execute Li Jing. Xu, however, was appreciative of Li Jing's talent, and submitted a petition urging that Li Jing be spared, and Emperor Gaozu relented. Meanwhile, in spring 620, around the same time, Ran Zhaoze (冉肇則) the leader of the Kaishan Tribe (開山蠻), rebelled against Tang rule and attacked Kui Prefecture. When Emperor Gaozu's distant nephew Li Xiaogong the Duke of Zhao Commandery fought Ran, he was initially unsuccessful, but Li Jing reinforced him with 800 men and defeated and killed Ran.\n\nParagraph 40: According to the diaries of Lord Lugard, George Wilson was working amongst ex-slaves and coastal tribes near Mombasa in 1889 and subsequently joined the company in January 1890 and joined Lugard on 6 August 1890, on the Sabaki trip in which Lugard's caravan left the coast at Malindi and moved slowly up the Sabaki, thereon after crossing Tsavo, they came across a Swahili caravan with slaves that were being transported by traders who fled but were later caught by Lugard and placed on trial in Mombasa. Meanwhile some of the slaves were successfully freed and the malnourished children were fed and clothed. But by 12 September Wilson's health had deteriorated to the point of losing consciousness and having a very weak pulse so Lugard acted quickly by taking Wilson to his tent and using natural medicine like rubbing him with carbolic oil to jump-start the heart beats, which seemed to have worked, and so George was given whiskey to ease the pain; however, his health challenges continued that evening and so Lugard stayed up nursing Wilson all night, which saved his life. from various accounts George was committed to joining Lugard for his Uganda expedition in 1890. Captain Lugard Knew him well and formed a high opinion of Wilson as he was \"very successful with the kikuyu\" and they stayed in touch long after Lugard had left Uganda, as a matter of Fact Mr Wilson sent back and forth letters to Lugard between 1895-1900 involving frank discussions about important issues, when Mr Wilson was rising up the ranks of the protectorate government in East Africa. For a while Mr Wilson was with the Scottish Industrial Mission at Kibwezi where they met up in Mombasa tasked with taking back control of Fort Dagoretti on 19 September 1891. Lugard, on his way back to the Coast in August 1892, found George at work on the Mackinnon Road, which was being built by the Mission at the cost of Sir William Mackinnon to increase trade with Uganda. Wilson joined the Uganda service on 30 August 1894. He soon made his mark as officer in charge of Kampala station. He demonstrated effective leadership, and was hence placed in charge of the protectorate region during the Sudanese Mutiny in September 1897. There's an extensive account In John Dawson Ainsworth's memoirs about how George Wilson was ambushed by the kikuyus under the command of Waiyaki Wa Hinga for a week and a half, which forced Wilson and his men to vacate the fort in Dagoretti at night and head towards Machakos on the 30th March 1891 under the advice of Ernest Gedge with his men and the 30 African soldiers he had. This was reportedly the first major confrontation between the Agikuyus and the British imperialist forces. According to Maina wa Kĩnyattĩ a marxist historian - this defeat along with another successive defeat for Wilson and his men that were unable to sustain Waiyaki lead attacks (following a recapture and rebuilding of the station at Dagoertti) that meant the loss of control of the previously burned garrison in a dash for safety back to Machakos where their headquarters were (which was built by Lugard in 1889), is in fact what led to Wilson's replacement by Colonel Erick Smith, who refocused his efforts on building another fort in Kanyonyo that he later named \"Fort Smith\".\n\nParagraph 41: Barbe-bleue has given her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. Ariane says this is the only key which matters and goes to look for the seventh door while her nurse opens the others. The nurse turns the lock in the first door and a cascade of jewels and other treasures spills out. The second door reveals a \"shower of sapphires\"; the third, a \"deluge of pearls\"; the fourth, a \"waterfall of emeralds\"; the fifth, \"a tragic torrent of rubies\". Ariane is unimpressed by the gems, although the contents of the sixth, \"avalanches of gigantic diamonds\", elicit a cry of wonder from her (\"O mes clairs diamants!\"). The sixth door also reveals the vault containing the seventh to Ariane. Ignoring her nurse's warning, she turns the golden key in the lock. At first it reveals nothing but darkness, then \"the stifled sounds of far away singing rise from the bowels of the earth and spread across the hall.\" It is the voices of Barbe-bleue's other wives singing a folk song \"Les cinq filles d'Orlamonde\" (\"The five maids of Orlamonde\"). The nurse is terrified and tries to shut the door again but she is powerless to move it as the voices draw nearer. At the last words of the song, Barbe-bleue enters the hall. He accuses Ariane: Vous aussi... (\"You too...\"). She replies, Moi surtout (\"Me above all\"). He tells her that through her disobedience she is abandoning the happiness he has offered her. She tells him, \"The happiness I want cannot thrive in the shadows.\" Barbe-bleue grabs her by the arm and tries to drag her towards the seventh door. As he does so, the furious peasants smash the windows and break into the hall to confront Barbe-bleue, who draws his sword in defence. But Ariane calmly turns to the crowd and asks them \"What do you want? – He has done me no harm\" before closing the door on them.\n\nParagraph 42: The first city mayor of Warsaw was Jan Andrzej Menich (1695–1696). The municipal self-government existed in Warsaw until World War II and was restored in 1990 (during the communist times, the National City Council – Miejska Rada Narodowa – governed in Warsaw). Since 1990, the structure of city government has been modified several times. Between 1975 and 1990 the Warsaw city mayors simultaneously led the Warsaw Voivode. In the years 1990-1994, the city mayor of Warsaw was elected by the city council. Subsequently, a controversial reform was introduced, transforming the city in the years of 1994–1999 into a loose municipal union of several gminas, dominated by one of them, the gmina Centrum encompassing the entire inner city. During this period, the mayor of gmina Centrum who was elected by its council was automatically designated as the city mayor of Warsaw, in spite of representing only a fraction of the population of the city. The city was becoming increasingly unmanageable, especially after the administrative reform of Poland in 1999 which further complicated the local government structure of Warsaw. In 2002, the new Warsaw Act of the Polish parliament restored Warsaw as a single urban gmina with the status of a city with powiat rights, led by a unified local government. At the same time, a significant reform was implemented in all Polish municipal governments, introducing direct elections of the wójt/town mayor/city mayor in all Polish gminas. The first city mayor of Warsaw elected according to these rules was Lech Kaczyński, who however resigned ahead of term when he was elected President of Polish Republic in 2005.\n\nParagraph 43: The Rüstem Pasha Mosque is famous for its large quantities of İznik tiles in a very wide variety of floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar and walls. There are approximately 2300 tiles arranged in around 80 different patterns. These tiles exhibit the early use of Armenian bole, a tomato-red pigment that would become characteristic of İznik pottery. While this red hue is applied more thinly on most of the tiles, it was applied heavily on the tiles near the qibla wall and appeared scarlet in colour. The bright emerald green colour is only used in a panel added above an exterior doorway at a later date, and a study of the qibla tiling indicates that turquoise was the greenest hue available to the mosque’s builders prior to the addition of that emerald green. Some of the tiles, particularly those in a large panel under the portico to the left main entrance, are decorated with sage green and dark manganese purple that are characteristic of the earlier 'Damascus ware' colour scheme. Yet the mosque’s tiling does not feature the olive green found to be characteristic of Damascus tiles. No other mosque makes such a lavish use of İznik tiles; with later mosques Sinan used tiles more sparingly.\n\nParagraph 44:  Arnold had long promised to visit New London and the neighbouring towns on the sea shore, and the enemy having frequently appeared in sight of the harbour, the alarm guns fired on the present occasion were considered by the country around us the salutes of prizes or other vessels belonging to the port. He however arrived the 6th inst. about five o, and at seven o’ landed about 2500 men, half on each side of the river. At 8 o’ the militia mustered in parties of 8 or 10, and annoyed the enemy until about 100 of them came up and disputed their way to Fort Trumbull; their great superiority obliged our people to yield to them the possession of the fort. Col. Ledyard, with about 76 other brave fellows, retreated to the fort on Groton side, which they determined resolutely to defend. The next assault was upon this fort, where they were repulsed several times by a bravery unequalled, for about three hours. A flag was then sent, demanding a surrender of the fort, accompanies by a threat of giving no quarters in case of refusal. The commandant consulted with his brave garrison, who refused to submit. The action was then renewed, when the flag staff was unfortunately shot away; notwithstanding which the defence was gallantly continued until about five or six hundred of the enemy having forced the pickets had entered through the breach. At this time there were but four of the garrison killed, and it was thought prudent to submit, to preserve the lives of the remainder. The officer who at this time commanded the assailants, (Major Montgomery being killed) enquired who commanded the garrison? Colonel Ledyard informed him that he had had that honour, but was unfortunate in being obliged to surrender it, at the same time delivered up to him his sword, and asked for quarter for himself and people; to which the infamous villain replied, \"ye rascals, I give you quarters,\" and then plunged the sword into his body. The inhuman banditti, taking this as a signal, drove their bayonets up to the muzzles of their pieces into the breasts of all that were taken, except one or two who made their escape. \n\nParagraph 45: Fremont was offended at serving under Pope, whom he outranked, and resigned his command. Major General Franz Sigel thus assumed command of the corps on June 29. Many of the German soldiers could speak little English beyond \"I fights mit Sigel\" (\"I'll fight with Sigel\"), which was their proud slogan. President Lincoln chose Sigel less for his military skills than his influence on this crucial political constituency. In early August, Louis Blenker stepped down from command due to the lingering effects of an injury sustained during the spring; he died in October 1863. Sigel was in command at the Second Battle of Bull Run, where the corps was in the thick of the fighting, losing 295 killed, 1,361 wounded, and 431 missing; total, 2,087. At this time, the three divisions were commanded by Generals Robert C. Schenck, Adolph von Steinwehr, and Carl Schurz; there was also an independent brigade attached, under the command of Brig. Gen. Robert H. Milroy. During the first day of the battle, the corps performed a series of unsuccessful assaults on Stonewall Jackson's center and left flank. On the second day, it was in the middle of the desperate fighting against James Longstreet's Confederates on Chinn Ridge, where Sigel and Schneck were wounded and Col. John Koltes, one of the brigade commanders, was killed.\n\nParagraph 46: Rümmelsheim had a Jewish community until 1906. It arose in the early 19th century. As far back as the 16th century, though, there were Jews living in the village. In 1548, a man named Mosse von Rimelsheim had his name included on a protection money list. However, no further record of Jews in Rümmelsheim crops up until the 19th century. In the 19th century, the number of Jewish inhabitants developed as follows: in 1808, there were 31 (of all together 405 inhabitants); in 1843, 48 (of 654); in 1848, 48 (in 9 families); in 1858, 45 (of 743); in 1885, 29 (of 896). In 1823, the Jewish families living in Waldalgesheim and Weiler bei Bingen were assigned to the Rümmelsheim Jewish community. Until then, the Jews in Waldalgesheim had felt more like part of the Schweppenhausen synagogue congregation, while the ones in Weiler had felt the same way about belonging to the congregation in Bingen. Until 1892, the Jewish families living in Bingerbrück also belonged to the Rümmelsheim Jewish community. Living in Waldalgesheim in 1823 were 8 Jews, and by 1843 it was 9 (of all together 860 inhabitants). In 1848, it was 8 again (Families Simon Stern and Schlachter), in 1858 it was 5 (of 915) and in 1885, 11 (of 1,230). Living in Weiler in 1823 were 5 Jews, and by 1843 it was 24 (of all together 884 inhabitants). In 1848, it was 12 (in 3 families), in 1858 it was 6 (of 1,033) and in 1885, 2 (of 1,394). In 1850, the following Jewish families were living in the three villages: in Rümmelsheim: Mathias Marx, David Marx, Mathias Marx, Coppel Mayer, Jacob Stern, Sebastian Stern, Raphael Stern, Servatius Stern, Joseph Stern, Joseph Marx and Carl Wohlgemuth; in Waldalgesheim: Simon Stern; in Weiler: Joseph Berg and Wendel Berg. In the way of institutions, there were a synagogue (see Synagogue below), a Jewish religious school and a graveyard in Rümmelsheim where Jews from both Rümmelsheim and Waldalgesheim were buried (see Jewish graveyard below); the Jews in Weiler had their own graveyard. To provide for the community's religious needs, a schoolteacher was hired, who also busied himself as the hazzan and the shochet. The Jews in Weiler also availed themselves of his services, for they could not afford their own. In 1848, Carl Wohlgemuth was working as an \"unpaid cantor\". He was at the same time the synagogue head, but had to take his leave in 1852 on health grounds. His successor was Raphael Stern. A few years later, the synagogue head was Ferdinand Stern, and beginning in 1885, Elias Stern. Towards the end of the 19th century, most of the Jewish families moved away from the village, and in 1906, the Rümmelsheim Jewish community was dissolved. The last member of the former Jewish community moved to Bingen in 1918. In 1925, no more Jewish inhabitants were being counted in Rümmelsheim. Still living in Waldalgesheim were master butcher Sally Stern's and tradesman Willy Hessel's families, while Simon Berg's family still lived in Weiler. The first two managed to emigrate to the United States. Simon Berg, then living in Bingen, and his daughter Lilly, then living in Friedberg, were both deported to the camps. According to the Gedenkbuch – Opfer der Verfolgung der Juden unter der nationalsozialistischen Gewaltherrschaft in Deutschland 1933-1945 (\"Memorial Book – Victims of the Persecution of the Jews under National Socialist Tyranny\") and Yad Vashem, of all Jews who either were born in Rümmelsheim, Waldalgesheim or Weiler bei Bingen or lived there for a long time, 16 died in the time of the Third Reich (birthdates in brackets):\n\nParagraph 47: One of the interesting things with Time Machines is that there's a handful of responses which we've had where what happened to the listeners was exactly what we intended to happen. There would be some kind of temporal disruption caused by just listening to the music, just interacting with the music. The drugs thing is actually a hook we hung it on – it originally came out of me and Drew talking that some of the types of music you listen to – sacred musics like Tibetan music or anything with a sacred intent which often is long ceremonial type music which could last for a day or three days or something. There are periods of time in that where you will come out of time. That's the intention of it to go into a trance and achieve an otherness. We thought can we do this sort of electronic punk-primitive? We did demos with a simple mono synth and we managed it. We sat in the room and listened to it loud and we lost track of time – it could be five minutes in or 20 minutes in but you suddenly get this feeling, the hairs on the back of your neck, and you'd realise that you'd had some sort of temporal slip. We fine-tuned, well, filters and oscillators and stuff, to try and maximise this effect. It was that we were after with simple tones – somehow you could slip through.\n\nParagraph 48: The first city mayor of Warsaw was Jan Andrzej Menich (1695–1696). The municipal self-government existed in Warsaw until World War II and was restored in 1990 (during the communist times, the National City Council – Miejska Rada Narodowa – governed in Warsaw). Since 1990, the structure of city government has been modified several times. Between 1975 and 1990 the Warsaw city mayors simultaneously led the Warsaw Voivode. In the years 1990-1994, the city mayor of Warsaw was elected by the city council. Subsequently, a controversial reform was introduced, transforming the city in the years of 1994–1999 into a loose municipal union of several gminas, dominated by one of them, the gmina Centrum encompassing the entire inner city. During this period, the mayor of gmina Centrum who was elected by its council was automatically designated as the city mayor of Warsaw, in spite of representing only a fraction of the population of the city. The city was becoming increasingly unmanageable, especially after the administrative reform of Poland in 1999 which further complicated the local government structure of Warsaw. In 2002, the new Warsaw Act of the Polish parliament restored Warsaw as a single urban gmina with the status of a city with powiat rights, led by a unified local government. At the same time, a significant reform was implemented in all Polish municipal governments, introducing direct elections of the wójt/town mayor/city mayor in all Polish gminas. The first city mayor of Warsaw elected according to these rules was Lech Kaczyński, who however resigned ahead of term when he was elected President of Polish Republic in 2005.\n\nParagraph 49: The arbitrageur can generate returns either actively or passively. Active arbitrageurs purchase enough stock in the target to control the outcome of the merger. These activist investors initiate sales processes or hold back support from ongoing mergers in attempts to solicit a higher bid. On the other end of the spectrum, passive arbitrageurs do not influence the outcome of the merger. One set of passive arbitrageurs invests in deals that the market expects to succeed and increases holdings if the probability of success improves. The other set of passive arbitrageurs is more involved, but passive nonetheless: these arbitrageurs are more selective with their investments, meticulously testing assumptions on the risk-reward profile of individual deals. This set of arbitrageurs will invest in deals in which they conclude that the probability of success is greater than what the spread implies. Passive arbitrageurs have more freedom in very liquid stocks: the more liquid the target stock, the better risk arbitrageurs can hide their trade. In this case, using the assumption that a higher arbitrageur presence increases the probability of consummation, the share price will not fully reflect the increased probability of success and the risk arbitrageur can buy shares and make a profit. The arbitrageur must decide whether an active role or a passive role in the merger is the more attractive option in a given situation.\n\nParagraph 50: The Schellenberg heights dominate the skyline to the northeast of Donauwörth – the walled town on the confluence of the Wörnitz and Danube rivers. With one flank of the hill protected by dense, impenetrable trees of the Boschberg wood, and the river Wörnitz and marshes protecting its southern and western quarters, the Schellenberg heights offer a commanding position for any defender. However, its oval shaped summit was flat and open, and its 70-year-old defences, including an old fort built by the Swedish king Gustavus Adolphus during the Thirty Years' War, were neglected and in a dilapidated state. When the unexpected attack took place the bastions, the curtain, and the ditch were fairly complete along the long eastern face from the shore of the Danube to the wooded hilltop, but in the shorter section from the wood to the fort – the angle where Marlborough's attack was delivered – the earthwork had been more hastily made up of fascines of brushwood thinly covered with soil. The western section of the lines ran steeply downhill from the fort to the city walls. Here, there was little to show in terms of defences, but to compensate the line could be protected by a flanking fire from the town. (See 'Schellenberg' map below.)\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 85, "category": "longbench_musique", "reference": ["Johanne Luise Heiberg"], "prompt": "Answer the question based on the given passages. Only give me the answer and do not output any other words.\n\nThe following are given passages.\nPassage 1:\nPeter Blum\nPeter Emil Julius Blum (4 May 1925 – 5 December 1990) was an Afrikaans poet. As a child, he emigrated to the Union of South Africa with his family. From an early age Blum was already able to speak several languages, including German and Italian.After studying literature at the University of Cape Town and at the University of Stellenbosch, he took up a position as a librarian in Cape Town and, later, in Kroonstad in the Orange Free State. Blum married Henrietta Cecilia Smit (born 3 November 1911, died 2002 in Worthing, Sussex, UK), a South African art teacher, in 1955.\nHis success as a poet was first affirmed in 1956 when he won the Reina Prinsen Geerligs Prize for his volume Steenbok tot poolsee (the title being a reference to the Tropic of Capricorn and the southern Antarctic Ocean, relating to the geographical location of South and Southern Africa).Blum was twice denied South African citizenship. Kannemeyer (1993) speculates that citizenship was denied because of Blum's vociferous opposition to the ruling National Party's policy of apartheid.\nFrustrated by this turn of events, Blum and his wife left South Africa to resettle in the suburb of Hounslow in London.During his imprisonment between 1975 and 1982, Breyten Breytenbach wrote the poem, Ballade van ontroue bemindes(\"Ballade of Unfaithful Lovers\"). Inspired by François Villon's Ballade des Dames du Temps Jadis, Breytenbach compared Afrikaner dissidents Peter Blum, Ingrid Jonker, and himself to unfaithful lovers, who had betrayed Afrikaans poetry by taking leave of it.Peter Blum died in London on 5 December 1990, aged 65.\n\nWorks\nSteenbok tot poolsee (1955) Tafelberg: Cape Town. ISBN 978-0-624-01581-9\nEnklaves van die lig (1958) Human & Rousseau: Cape Town. ISBN 978-0-7981-3478-1\nPassage 2:\nLee Eddy\nLee Eddy (born May 12, 1979) is an American stage actress, comedian and writer best known for her work on Red vs. Blue and Camp Camp.\n\nEarly life and career\nShe was born in Shreveport, Louisiana where as a child she was a member of The Peter Pan Players. Eddy regularly performs in Austin, Texas.\nEddy has been voted \"Best Actress in Austin\" in The Austin Chronicle's Reader poll for 2004, 2005 and 2006.She frequently works with Rooster Teeth, voicing the character of Four Seven Niner in Red vs. Blue, Gwen in their animated series, Camp Camp, and playing Lex in their live-action drama Day 5.\n\nPersonal life\nShe is married to actor and screenwriter Macon Blair and have a son Buck (born 2015).\n\nFilmography\nFilm\nTelevision\nWeb\nPassage 3:\nMarshall Eriksen\nMarshall Eriksen is a fictional character on the CBS sitcom How I Met Your Mother, portrayed by Jason Segel. Series co-creator Craig Thomas explained that he based Marshall and Lily on himself and his wife Rebecca.\n\nCharacter overview\nThe series revolves around the adventures of the five main characters: Ted Mosby (Josh Radnor) and his best friend Marshall, his friend and Marshall's girlfriend (later fiancee and wife) Lily Aldrin (Alyson Hannigan), friend Barney Stinson (Neil Patrick Harris) and friend/love interest (and future love interest and wife to Barney Stinson) Robin Scherbatsky (Cobie Smulders).\nMarshall met Ted and Lily during their freshman year at Wesleyan University in 1996, and they moved into an apartment in New York City together after graduation. In the show's pilot episode, he proposes to Lily, inspiring Ted to start looking for the love of his life.\nMarshall is fascinated by the paranormal, and has absolute faith that mythical creatures such as Sasquatch and the Loch Ness Monster are real. He has even discovered a paranormal event himself: a bizarre creature he names \"the cockamouse\". He is also a huge fan of the Minnesota Vikings, much like his father.\nAlthough very few references were made to identify Marshall's birthday, it can be assumed he was in the same school year as best friend and roommate Ted Mosby and then-girlfriend Lily Aldrin. In \"The Yips\" Marshall says he is 29. This episode aired in November 2007. This confirms Marshall's birth year to be either 1977 or 1978. Ted turned 30 on April 25, 2008 in \"The Goat\". The dialogue in this episode implies that Lily, Marshall and Robin have not yet reached this milestone. In \"Glitter\", Lily says Marshall is 384 months old, thus 32 years, 1 week, 1 day and 21 hours old. Since the episode plays somewhere between November 9 (the date the previous episode played in) and November 24, 2010 (the date the next episode plays in) it can only be concluded that he was born between November 2 and November 14, 1978.\n\nLife before first episode\nMarshall was born and raised in St. Cloud, Minnesota, the youngest of three brothers. His last name, the fact that he is from Minnesota and his references to lutefisk suggests that he might be a Norwegian American. He has been shown to be extremely close to his family, particularly his father, Marvin (Bill Fagerbakke). His relationships with his two older brothers, Marvin, Jr. and Marcus, was depicted in several episodes as involving pranks and  brutal fighting matches when they were teenagers. By the time the series begins, both of his brothers are married and have started families. It was depicted that his brothers were the ones who gave Marshall his very first car, a Pontiac Fiero, which had a cassette single stuck in it containing the song \"I'm Gonna Be (500 Miles)\".\nIn an episode it's shown Marshall starts smoking while still in high school and struggles to stop until his children are born.\nAfter graduating from an unnamed St. Cloud high school, Marshall attended and received his B.A. from Wesleyan University. He met both Lily and Ted during the move-in process. Ted was his first roommate in college. Marshall is shown to frequently smoke marijuana, though in the show, Future Ted refers to this as \"eating a sandwich\" in order to hide their past drug use from his children. In fact, Marshall is shown to have smoked marijuana before initially meeting Ted and confuses him for the dean of the school. Marshall is also shown to enjoy drinking to the point of intoxication in college. One of those times, he is involved in a hazing where he becomes so drunk that he streaks and proclaims himself \"Beercules\" following the drinking game \"Edward 40-Hands\", a reference to the film Edward Scissorhands, but instead of scissors for hands, the participant tapes 40 fl. oz. drinks to their hands.\nMarshall and Ted became good friends after this. During a break during school, Marshall plans to drive back to Minnesota in his Fiero. Marshall offers Ted a ride to his own home in Shaker Heights saying that it is on the way, which Ted eventually accepts. They bond during a blizzard and over the song \"I'm Gonna Be (500 Miles)\". Ted's friendship with Marshall is shown to help strengthen Lily and Marshall's early relationship, by him inviting her into their first roommate photo, Ted encouraging Marshall to commit to Lily, despite Marshall not having much prior relationship experience. Ted and Marshall would also take frequent roadtrips to Chicago to get pizza from their favorite shop. They also begin their tradition of watching the original Star Wars trilogy while in school together.\nMarshall met Lily during the move-in process, when Lily was determined to meet him and found his room. She asked him to install her stereo for her and they were in love at first sight. They exclusively date through college, even when she studies abroad in Paris. Their nicknames for each other are \"Lily-pad\" and \"Marsh-mallow\".\nAfter graduating, Marshall and Ted move in together into the apartment in New York. Marshall is initially terrified of living in a large city, though he eventually overcomes his fear. He takes several years off, working in a clothing store, before attending  Columbia University Law School to receive his Juris Doctor (J.D.).\n\nHow I Met Your Mother\nDuring the pilot episode, Marshall proposes to Lily. Throughout the series, his relationship with Lily progresses through their engagement, their break up when she decides to move to San Francisco for an art fellowship, Lily's eventual return to New York City and their attempt at a friendship outside of a romantic relationship, their reconciliation and re-engagement, their wedding, and finally their marriage.\n\nInitial engagement\nMarshall and Lily are initially engaged during the first season. Their engagement is what initially prompts Ted to begin pursuing marriage for himself.\nMarshall at times is shown to feel left out of the hijinks that Ted and Barney get into without him, going so far as to drive to Philadelphia to have a \"legendary\" adventure with them.\nMarshall is shown to be completely committed in spite of his sadness at being left out of Ted and Barney's \"single man\" shenanigans. In Best Prom Ever, he sneaks into a high school prom in order to provide Lily with sheet music for the song they want to dance to at their wedding, \"Good Feeling\" from the Violent Femmes album.\nDuring this period, the couple is generally happy, but the instability of their engagement and relationship is foreshadowed in several episodes. In \"Okay Awesome\", Marshall is shown to be jealous of the fun that Barney and Ted have by going out to clubs while Lily wants to have a \"grown up\" wine and cheese party with other couples. In \"Belly Full of Turkey\", the couple go to Minnesota to visit Marshall's family for Thanksgiving. There, Lily vocalizes that she does not want to change her name, that she is hesitant about starting a family with Marshall, and that the couple are not on the same page about where they would raise their family if they chose to have children. In \"Zip, Zip, Zip\", Marshall and Lily are trapped in the apartment bathroom and openly discuss that they are sad about no longer having new milestones. This period of their relationship ends in the first season finale, \"Come On\", when Marshall discovers that Lily interviewed for an art fellowship in San Francisco. They have a fight, during which Lily claims that she was never going to actually take the fellowship, but due to Marshall's comments during the fight, she decides that she needed to take a break from the relationship in order to pursue her dream as an artist.\nDuring this time, it was demonstrated that Marshall and Lily have a psychic connection and are able to communicate with each other through thought.\n\nBreak-up and Lily's return to New York\nThe second season begins with Marshall dealing with the break-up of his long-term relationship and engagement. He was shown to be extremely depressed during the first few months post-break-up. He becomes obsessed with credit card bills that are still sent to their apartment. This obsession leads him to believe that Lily returned to New York and didn't tell him, causing him to believe that she does not want to get back together. When he goes to a New York hotel shown on her credit card bill to confront her and the man that had answered the phone when he had called their room, he discovers that Lily had not returned, but had been a victim of identity fraud. This allows him to let go of the relationship.\nHe eventually tries dating, though most of his attempts are stymied by his friend Barney Stinson, who is later revealed to be intentionally sabotaging these attempts in order to ensure the reunification of Marshall and Lily.\nMarshall, while single, misses parts of being in a relationship, such as having someone to attend concerts with and going to brunch, which his friends tell him is something that can only be done when in a couple. Marshall begins a \"bromance\" with his friend and fellow law student, Brad Morris (Joe Manganiello), who had also recently gone through a break-up. Marshall thinks that Brad is becoming too romantic for the relationship, which culminates in Marshall reluctantly agreeing to attend a wedding with him, only to arrive in front of Brad's apartment to see him with flowers. Marshall assumes that the flowers are for him and panics, but Brad reveals that he had gotten back together with his recent break-up.\nWhen Marshall encountered Lily after her return to New York City, Lily proposed they get back together, saying that leaving him was a mistake and that she still loves him. Marshall refused and said that he also needed time to discover who he is outside the relationship.\nMarshall managed to date one woman, a barista, who his friends claimed has \"crazy eyes\". She tells him several outlandish stories, which are revealed to be true and caused by Lily, who is still obsessed with Marshall. At the end of their date, it is revealed that Lily had broken into the apartment to sabotage the date with a picture of Marshall and Lily together. This culminates with them making up and getting back together.\n\nSecond engagement and wedding\nAfter reconciling, Marshall and Lily decide to elope in Atlantic City in order to avoid the judgment of Marshall's family for Lily having left him. They decide not to go through with it at the last moment and want to instead have a celebration with their families and friends present.\nMarshall's friendship are further explored during this time in the episode \"Slap Bet\". Marshall agrees to a bet with Barney about the reason Robin doesn't like malls. Marshall, being from Minnesota, believes that Robin doesn't like malls because she was married in one, as some people had done in the Mall of America. This results in Marshall being given several slaps which he inflict upon Barney throughout the series, because, although Robin was not married at a mall, Barney was incorrect that she had been in a pornographic film.\nDuring this time, Marshall's first car dies. He reminisces with his friends about the times that they all shared in the car and is reluctant to scrap the vehicle. He reveals that he is unhappy with the corporate job he had been working and felt that only his old, beaten car kept him connected with the kind of man that he wanted to be.\nToward the end of the second season, before the wedding, when Ted is planning to move in with his girlfriend, Robin, it is shown that most of the possessions in the apartment belonged to Ted. Marshall and Lily, while still wanting to get married, learn that they are somewhat dependent on Ted. The couple is relieved when Ted ultimately decides not to move in with Robin and returns to the apartment.\nOn the day of their wedding, Marshall begins to have anxiety about the day and shave his head. To relieve some of the stress of the day, Marshall and Lily have a two ceremonies; first, one that is private and only their closest friends attend and the second one which is in before all of their guests.\n\nPost-wedding\nAfter their wedding, Marshall and Lily continue to live with Ted in the apartment for some time until they decide that they need to move out to be on their own. In \"I'm Not That Guy\" Marshall ends up taking a job working at another corporate position, though he is unhappy about doing so. He takes the job instead of pursuing his dream of working in environmental law after being offered his dream job working for the Natural Resources Defense Council in order to provide for Lily, who had helped to support him during law school on her kindergarten teacher's salary. He was informed that his only client at the corporate office would be an amusement park, which is shown to be equally awful as the other clients of the office.\nWith his new salary, Marshall believes that he is able to afford a new home and makes plans with Lily to purchase an apartment in \"Dowisetrepla\". He finds out that Lily has massive credit card debt, which negatively affects their ability to get a good interest rate on a mortgage. They still decide to get the mortgage to afford the apartment, learn that \"DOWISETREPLA\" stands for \"DOwn WInd of the SEwage TREatment PLAnt\", which causes the area to reek of sewage when it is running during the week. Upon their initial move in to the apartment, they also discover that it is crooked and they temporarily move back in with Ted while the floors are levelled.\nMarshall goes through several more life milestones. In \"Spoiler Alert\", he ends up passing the bar; then he ends up snapping when confronting his boss at the law office, resulting in Marshall quitting his job in \"The Chain of Screaming\".\nMarshall also confronts Ted about his behavior. Ted attempting to pursue a married woman deeply offends Marshall now that he is married.\nToward the beginning of season 4, it is revealed that Barney has gotten a job for Marshall working the fictional Goliath National Bank (GNB). Lily and Marshall also discuss having a baby; initially Lily doesn't believe they are ready and Marshall does, but while working for GNB Marshall is extremely busy and while having to balance work with taking care of a drunken Lily, he realizes that he doesn't believe they are ready at that time and they decide to wait.\nDuring this period of his life, Marshall reveals that he hates living in a small apartment in New York when visiting Ted's fiancee's home in New Jersey. He also reveals that he cannot fantasize about women other than Lily without first imagining that she has died and he has gone through a grieving process. It is shown in \"The Sexless Innkeeper\" that Lily and Marshall are terrible hosts during \"couple's nights\". Marshall is apparently relegated to picking the cheese, because Lily is a gifted chef; Marshall takes this too far and is obsessed with the gouda during a night spent with Robin and Barney.\nIt is also shown that Ted somewhat resents Lily, because Marshall and Lily have become inseparable. Marshall is unable or unwilling to take road trips with Ted the way they would when they were both unmarried.\n\nAttempts at pregnancy and death of Marshall's father\nEventually, Marshall and Lily decide to start trying for a baby. They agree to only do so once they have seen a doppelganger for each of their friends. Marshall decides that when Lily sees someone who looks nothing like Barney, however, and decides that it is his doppelganger, to not tell her and that it must mean that she is ready. They make this agreement during the formation of their friend group's tradition of going to \"Robots vs Wrestlers\".\nMarshall's relationship with his father is depicted around this time as being overly close. Lily was angered when she learned that Marshall had told his father that they were trying to conceive. Marshall realizes that while he loves his father and their relationship, he should keep some details of his private married life from him.\nMarshall realizes that he would like his children to boys, due to some internalized misogyny after recalling how he spoke to and treated girls when he was in high school and various strippers he has seen with Barney. Marshall's father gives him advice on how to only conceive boys, based on their family traditions. Marshall learned that Lily had hoped for a girl and was trying her own absurd methods for guaranteeing a girl; they decide not to try to influence the sex of the baby while trying to conceive.\nAfter trying for several months, Marshall and Lily to see a specialist hoping that they won't have issues conceiving. This is where they ultimately see Barney's true doppelganger, a gynecologist. Marshall is able to have an open and frank discussion about his worries with fertility with his parents, which he is later grateful to Lily for being able to have. They learn that they have no fertility issues.\nThe same day that they learn that they have no fertility issues, Marshall's father passes away from a heart attack. When Marvin dies Marshall is devastated, and takes a long time to recover; not to mention that during the episode \"Last Words\"  he struggles with remembering what Marvin's last words were to him. After the funeral, Marshall temporarily regresses to his teenage personality while staying with his mother under the guise of helping her to emotionally recover from Marvin's death.\nUpon returning to New York, Marshall and Lily take a break from attempting to conceive, though by the season 6 finale, \"Challenge Accepted\", Lily is pregnant. Marshall leaves his job at GNB, hoping to start his career working in environmental law.\n\nPregnancy\nAfter Marshall finds out that Lily is pregnant, he begins a new job working in an environmental law office. They begin to prepare their apartment for the baby's arrival and learn that they will be having a boy. During this time, Lily's paternal grandparents gift them their home on Long Island and despite Marshall wanting to move out of New York City to raise their children, they decide not to make any major decisions while Lily is having \"pregnancy brain\". They do eventually begin moving into the home, much to the chagrin of their friends. At this time, Lily's father also moves in with them.\nAfter realizing that they do not enjoy living in the home on Long Island, Marshall and Lily are informed by Ted that they were never taken off the lease. Ted decided to move out of the apartment and gifts it to them. They happily move back, taking Ted's bedroom and converting Marshall's old room into the baby's nursery.\nToward the end of Lily's pregnancy, Marshall demonstrates his anxiety about beginning parenthood; he panics about their (perceived) lack of preparation for when the baby comes. Lily is frustrated by this and has him sent on a trip to Atlantic City with Barney, so that she can have some quiet time before the baby comes. She goes into labor while Marshall is away.\n\nBeginning of parenthood and dream job\nMarshall is able to return to New York in time for the birth of their son, whom they name after Marshall's late father, Marvin. Marshall also promised Barney that they would give Marvin the middle name \"Wait-for-it\". After returning home from the hospital, Marshall and Lily institute a new rule that their friends cannot come them with personal problems unless they are an 8 out of 10 or higher; this results in the couple not being aware of the struggles in their friends' lives, which the come to regret and rescind the rule after trying to find out whom they will appoint to be Marvin's godparents.\nDuring this time, they agree to hire Lily's father Mickey as Marvin's nanny after Mickey recounts to Lily how he took care of her as a stay-at-home parent when she was young.\nMarshall, now working his dream job, starts having new challenges there as well. He learns that his boss believes that the environment is already too devastated to save, so Marshall, to save the planet for his newborn son, marshals the office into being more aggressive when suing a pharmaceutical company.  He also learns that he is not a credible reference, because he is too willing to approve of others; he learns this when he is a reference for his friend Brad, who actually works for the adverse pharmaceutical company on their big case and steals some of their work for the case. In the show, this is shown to be bad for Marshall's case, but in actuality, would have been detrimental for the pharmaceutical company under the Laws of Civil Procedure disallowing this type of activity. Marshall was still able to overcome this and win at trial, but the judge awards him a pittance. This inspires him to seek a position as a judge in New York.\n\nCareer conflicts\nAfter he submits his application for a judge position, Lily starts a new career as a fine-arts consultant for Ted's now ex-girlfriend's ex-husband, The Captain. Marshall was at first supportive, but once Lily started, she began to spend very little time at home and he grew frustrated with feeling like he was handling more than his fair share of the parenting responsibilities. After communicating this to Lily, she helps to even the parenting load more.\nAfter this, Lily was offered an opportunity to move to Rome to consult for the Captain. which she turns down so that Marshall can continue pursuing his dream job of working in environmental law. Marshall then reveals that since the disappointing outcome of the case, the office has functionally been shut down from a lack a clients. Marshall told her that he would be thrilled to move to Italy, so Lily took the position.\nMarshall's mother then learns from Lily that they are planning to move to Italy and she wants to spend time with her grandson before they leave. Marshall flies out to Minnesota where he receives a phone call granting him a recently vacated judgeship. In the last episode of the eighth season, he had applied to become a judge, deciding that this is where he will be able to make the most impact. He accepts the judgeship without discussing it with Lily. This effectively cancelled their plans to move to Italy.\n\nRobin and Barney's wedding weekend\nMarshall spent time on the road trying to find his way back to New York City from Minnesota with his new companion Daphne who worked for an oil corporation. They initially butted heads, but became friends during their travels, bonding over their shared frustration with Ted's step-father and sharing their struggles with various aspects of parenthood. While Marshall was separated from Lily, she missed him so much that she attached a tablet to a body pillow so that he could be present for their conversations. She named it \"Marsh-pillow\" after him.\nHe has several attempts at trying to hide that he took the judgeship from Lily while he is on the road, but ultimately comes clean to her when he arrives at the wedding venue. He decided to do so because he didn't want to have any secrets from his wife.\nLily and Marshall had a fight about him accepting the position without first discussing it with her. After Lily stormed out, Marshall considered the consequences of the fight by having a discussion with his internal monologue which he pictured as his father and Lily from 10 years ago. He came to the conclusion that he doesn't want to win a fight over their careers, but wants them both to be happy. Lily and Marshall reconciled and Lily told Marshall to take the job, even though he was willing to give it up for her to be happy. Marshall soon learned that this was because Lily found out that she was pregnant with their second child. Marshall decided that since she has provided him with so much happiness from having a family, that he wanted to make her happy and agreed to move to Rome for her and her career.\n\nPost Stinson-Scherbatsky wedding\nThe series finale, \"Last Forever\", reveals that he worked for another corporate firm after returning to New York, until another judge's seat opened up for him. In the year 2020, he is elected to the New York State Supreme Court. It is also shown that Marshall and Lily have a daughter for their second child, whom they name Daisy after the flower whose pot Lily stuck her pregnancy test into. Additionally, it is revealed that Lily becomes pregnant a third time, though the gender and name are not revealed. This pregnancy happens around the same time as Robin and Barney's divorce. Marshall and Lily eventually help their oldest son, Marvin, move into Wesleyan where they met.\n\nHow I Met Your Father\nThough Marshall does not himself appear in the How I Met Your Father spinoff, it is revealed that by 2022, his, Ted's and Lily's apartment has been sold to Jesse who is roommates with Sid who also own the swords left behind.\n\nRelationships\nLily Aldrin\nMarshall and Lily meet on their first day of college and fall in love at first sight. They move in together and eventually get engaged. In the final episode of the first season, Lily breaks off their engagement to accept a painting fellowship in San Francisco. Marshall falls into a deep depression, but nevertheless refuses to take Lily back when she returns to New York. They eventually reconcile, however, and get married in the end of the second season. They initially have trouble conceiving a child, but Lily finally gets pregnant at the end of the sixth season, and gives birth to a boy, Marvin, at the end of the seventh.Marshall and Lily are soul mates; they do virtually everything together, tell each other about every minute detail of their lives, and have only had sex with each other. They can even understand each other perfectly when they are seemingly incoherent, such as when Lily is trying to speak through bouts of morning sickness or when Marshall is speaking in pseudo-Italian gibberish.Throughout the final season, which takes place over one weekend, Marshall travels with Marvin to the Farhampton Inn, where Robin and Barney are getting married. He struggles with telling Lily about his new job, as it conflicts with her dream of working as an art consultant in Rome. When he finds out she is pregnant with their second child, however, he gives up the judgeship and agrees to go to Rome with her and their new family.By the end of the series, Marshall and Lily have three children: Marvin, Daisy, and a third child whose name is never revealed.\n\nTed Mosby\nMarshall and Ted are college roommates and best friends. They first bonded during an ill-fated college road trip. Marshall and Lily consider Ted a part of their family, their \"third Musketeer\". Ted helps Marshall recover when he and Lily briefly break up. Along with the other main characters, Marshall is by Ted's side during every major event in his life, including a serious car accident, being left at the altar, and, finally, Ted's marriage to the titular Mother. Ted is best man at Marshall's wedding, and Marshall does the honors when Ted gets married in the series finale.\n\nBarney Stinson\nMarshall and Barney know each other through Ted, Barney having taken it upon himself to \"teach them how to live\". Along with the other characters, Marshall is both amused and horrified by Barney's promiscuity, deceptiveness and penchant for over-the-top schemes. Barney has shown himself to be a good friend, however; he gets Marshall an internship, persuades Lily to return to New York from San Francisco, and gets him his job at Goliath National Bank. Barney serves as \"co-best man\" (along with Ted) at Marshall and Lily's wedding. Along with Ted, Lily, and the Mother, Marshall is present for the birth of Barney's daughter in the series finale.In the episode \"Slap Bet\", Barney loses a bet with Marshall and agrees to let Marshall slap him five times at random occasions \"throughout eternity\", which is later extended to eight. Marshall administers these slaps in the episodes \"Slap Bet\", \"Stuff\", \"Slapsgiving\", \"Slapsgiving 2: Revenge of the Slap\", \"Disaster Averted\", \"Slapsgiving 3: Slappointment in Slapmarra\", and \"The End of the Aisle\".\n\nRobin Scherbatsky\nDuring the first season, Marshall and Robin are friends, but he nevertheless advises Ted to forget about his unrequited love for her. When the two finally get together, however, he accepts her as a permanent part of the group, and continues to do so after they break up. When Robin quits her job, he and Lily take her in to live with them, and do so again in the seventh season after Robin breaks up with her boyfriend, Kevin (Kal Penn). Marshall asks her to move out when it becomes clear that Ted has unrequited feelings for her. However, he has an ongoing bet with Lily that Robin and Ted will end up together, which he eventually wins in 2030.\nA running joke throughout the series is that Marshall believes that Robin is attracted to him, despite all evidence to the contrary.\nWhen Robin  briefly leaves the group in 2016, as portrayed in the series finale, Marshall resents her for it, but nevertheless welcomes her back four years later to celebrate Ted's wedding.\nPassage 4:\nJohan Ludvig Heiberg (poet)\nJohan Ludvig Heiberg (14 December 1791 – 25 August 1860), Danish poet, playwright, literary critic, literary historian son of the political writer Peter Andreas Heiberg (1758–1841), and of the novelist, afterwards the Baroness Gyllembourg-Ehrensvärd, was born in Copenhagen. He promoted Hegelian philosophy and introduced vaudeville to Denmark.\n\nBiography\nIn 1800 his father was exiled and settled in Paris, where he was employed in the French foreign office, retiring in 1817 with a pension. His political and satirical writings continued to exercise great influence over his fellow countrymen. Johan Ludvig Heiberg was taken by K.L. Rahbek and his wife into their house, Bakkehuset (now part of the Danish Maritime Safety Administration). He was educated at the University of Copenhagen, and his first publication, entitled The Theatre for Marionettes (1814), included two romantic dramas. This was followed by Christmas Jokes and New Years Tricks (1816), The Initiation of Psyche (1817), and The Prophecy of Tycho Brahe, a satire on the eccentricities of the Romantic writers, especially on the sentimentality of Ingemann. These works attracted attention at a time when Baggesen, Oehlenschläger and Ingemann possessed the popular ear, and were understood at once to be the opening of a great career.\nIn 1817 Heiberg took his degree, and in 1819 went abroad with a grant from government. He proceeded to Paris, and spent the next three years there with his father. In 1822 he published his drama Nina and was made professor of the Danish language at the University of Kiel, where he delivered a course of lectures, comparing the Scandinavian mythology as found in the Edda with the poems of Oehlenschläger. These lectures were published in German in 1827.\nIn 1825 Heiberg came back to Copenhagen for the purpose of introducing the vaudeville on the Danish stage. He composed a great number of these vaudevilles, of which the best known are King Solomon and George the Hatmaker (1825); April Fools (1826); A Story in Rosenborg Garden (1827); Kjøge Huskors (1831); The Danes in Paris (1833); No (1836); and Yes (1839). He took his models from the French theatre, but showed extraordinary skill in blending the words and the music; but the subjects and the humour were essentially Danish and even topical.\n\nMeanwhile he was producing dramatic work of a more serious kind; in 1828 he brought out the national drama of Elves' Hill (Danish: Elverhøi); in 1830 The Inseparables; in 1835 the fairy comedy of The Elves, a dramatic version of Tieck's Elfin; and in 1838 Fata Morgana. In 1841 Heiberg published a volume of New Poems containing A Soul after Death, a comedy which is perhaps his masterpiece, The Newly Wedded Pair, and other pieces.\nHe edited from 1827 to 1830 the famous weekly, the Flyvende Post (The Flying Post), and subsequently the Interimsblade (1834–1837) and the Intelligensblade (1842–1843). In his journalism he carried on his warfare against the excessive pretensions of the Romanticists, and produced much valuable and penetrating criticism of art and literature. In 1831 he married the great actress Johanne Luise Pätges (1812–1890), the author of some popular vaudevilles.\nHeiberg's scathing satires, however, made him very unpopular; and this antagonism reached its height when, in 1845, he published his malicious little drama of The Nut Crackers. Nevertheless he became in 1849 director of the Royal Theatre in Copenhagen. He filled the post for seven years, working with great zeal and conscientiousness, but was forced by intrigues from without to resign it in 1856.\nHeiberg died at Bonderup Manor, near Ringsted, on 25 August 1860.\n\nPhilosophy\nHeiberg's speculative philosophy had relation to Hegel and Kierkegaard, and dealt a lot with the perception of God. His work Om Vaudevillen (1826) has been described as an attack to Dilettantism, \"a curse on the age's materialism or atheism in art, a critical attack on the prevailing aesthethics of content,\" as well as \"a strong defense of true science,\" lifelong study, free laughter, satire and comedy. Heiberg tried to reconcile Hegel's philosophy with Christianity, for instance, equating Hegel's concept of Spirit, with the view of the Christian God; at other times he seems to prefer the Christian doctrine.\n\nLegacy\nHis influence upon taste and critical opinion was greater than that of any writer of his time, and can only be compared with that of Holberg in the 18th century. Most of the poets of the Romantic movement in Denmark were very grave and serious; Heiberg added the element of humour, elegance and irony. He had the genius of good taste, and his witty and delicate productions stand almost unique in the literature of his country. First of all he created a Danish critical tradition based upon firm and consequent principles of aesthetics breaking with the often extremely subjective and occasional value judgements of his predecessors. In return he has not avoided being regarded a conservative formalist and elitist by posterity and the reaction against his line was already started by Georg Brandes who was, however, affected by his school too. At any rate most of later Danish critics had to make up their mind about his ideas.\nThe poetical works of Heiberg were collected, in 11 vols, in 1861–1862, and his prose writings (11 vols) in the same year. The last volume of his works contains fragments of autobiography. See also Georg Brandes, Essays (1889). For the elder Heiberg see monographs by Thaarup (1883) and by Schwanenflügel (1891).\nPassage 5:\nThe Crisis and a Crisis in the Life of an Actress\nThe Crisis and a Crisis in the Life of an Actress (Danish: Krisen og en Krise i en Skuespillerindes Liv) was a series of articles written by the Danish philosopher Søren Kierkegaard in 1847 and published in the Danish newspaper Fædrelandet (The Fatherland) in 1848 under the pseudonym Inter et Inter.\nThe actress in question is Johanne Luise Heiberg, the wife of Johan Ludvig Heiberg, although she is not mentioned by name in the articles. Johanne Luise was a popular and leading lady of the Danish stage at the time and she had written an autobiographical reflection of her life, in which she praised Kierkegaard for his insight into her art.\nThe Crisis discusses the life of a young actress' metamorphosis into a mature refined woman. When the actress first starts out in her career she is admired for her beauty, youthfulness, and novelty. Years later, although these accidental attributes are fading, she is still a talented actress, and she now possesses the experience and reflection needed for a truly aesthetic performance. The theme revolves around the transitions from the aesthetic stage of life to the ethical stage of life, and how a person in the ethical stage of life is still capable of aesthetic enjoyment.\nAlthough Kierkegaard was writing philosophical-religious works at this time, such as Works of Love, Kierkegaard wrote The Crisis to show that a religious author can still write and appreciate aesthetic concerns. \"The world is indeed so weak that, when it believes that a person who proclaims the religious is incapable of the aesthetic, it overlooks the religious\".\nPassage 6:\nPeter Ostrum\nPeter Gardner Ostrum ( OH-strəm; born November 1, 1957) is an American veterinarian and former child actor, whose only film role was as Charlie Bucket in the 1971 motion picture Willy Wonka & the Chocolate Factory. \nOstrum was 12 years old when selected by talent agents for Willy Wonka.  Though he enjoyed the experience of shooting the film, he opted not to sign a three-film contract when it was over.  After eschewing a career in film and theater, Ostrum became reluctant to speak about his one starring role.  In 1990, he began an annual tradition of speaking to schoolchildren about the film, and he became a subject of interest again when the 2005 film Charlie and the Chocolate Factory was released to theaters.\nOstrum became interested in his family's horses when he returned from shooting Willy Wonka, and was particularly influenced by the veterinarian who tended to them.  He received a Doctorate of Veterinary Medicine from Cornell University College of Veterinary Medicine in 1984.  As of 2021, Ostrum practiced and lived in Glenfield, New York with his wife Loretta (née Lepkowski), having raised two children.\n\nPersonal life\nPeter Gardner Ostrum was born in Dallas on November 1, 1957, to Dean Gardner Ostrum (1922–2014) and Sarepta Mabel (née Pierpont; 1922–2021).  He is the youngest of four children.  Ostrum was living in Cleveland at age twelve—a city of which he was described as a native by MSNBC, and later attended North Hunterdon Regional High School in Hunterdon County, New Jersey.Ostrum married Loretta M. Lepkowski in 1987 or 1988.  The couple have two children, Helenka and Leif, with the latter following his father onto the stage as the leading actor in several South Lewis Central School musicals.  Ostrum and his wife lived in Glenfield, New York as recently as 2021.\n\nWilly Wonka\nOstrum was in the sixth grade and performing at the Cleveland Play House children's theater, when he was noticed by talent agents who were searching nationwide for an actor to portray Charlie Bucket in Willy Wonka & the Chocolate Factory.  The agents took Polaroid photos of Ostrum and recorded him reading from the original novel, then returned to New York.  Two months later Ostrum was called to New York for a screen test where he sang \"My Country, 'Tis of Thee\", and a month after that he was contacted and given ten days to prepare to leave for filming.  Ostrum left for Munich on August 10, 1970.\n\nIn 2000, Ostrum recalled that shooting Willy Wonka in Munich was \"sort of like being an exchange student for five months\".  Fond memories of his five months in West Germany included watching the construction of Olympiapark, for the 1972 Summer Olympics, and working with Gene Wilder and Jack Albertson.  As Ostrum had not worked in film before, Wilder took it upon himself to instruct the young actor in the business.  Ostrum would later describe Wilder as a quirky yet gentle gentleman who \"treated people with respect and dignity.\"  The bond that developed between the two actors was such that, even though they never saw each other again after filming Wonka, Ostrum described Wilder's 2016 death as \"like losing a parent\".Ostrum was tutored on-set for three hours a day, though sometimes only for 30–60 minutes at a time.  Though in his audition he had been assured that his singing would probably be cut and dubbed, it was Ostrum's own singing voice that made it to the screen—albeit significantly cut.  In a 2011 interview, Ostrum told the story of how director Mel Stuart gave him a clapperboard from the film, and later on asked him how he got it because he had forgotten that he had done so; it is Ostrum's only souvenir from the set.After he finished shooting Willy Wonka, the then 13-year-old Ostrum declined David L. Wolper's offer of a three-film contract.  The teenager confided in Frawley Becker, his Willy Wonka dialogue coach, that he turned down the contract to retain \"the freedom to choose what he played, and in what picture.\"  (Ostrum and Becker remained friends through at least 1996.)  In January 2018, Ostrum said he sometimes misses acting—though not its hurry-up-and-wait nature—but feels he dodged having to make the transition from child- to adult-actor.As of January 2018, Ostrum still received US$8–9 (equivalent to $9–10 in 2022) of royalty payments about every three months.\n\nLasting effect\nIn his senior year, Ostrum was involved in film class and, at the interest of one of his instructors, looked back into theater and acting.  After auditioning for, but not landing, several roles (including for Alan Strang in Equus on Broadway), Ostrum decided not to pursue it further.  After putting his short film career behind him, Ostrum declined reporters and interviews, preferring not to speak on the subject; \"I wanted people to judge me on who I was, not what I’d done\".  For some time, Ostrum even lied and told people that his brother, and not he, had starred in the film.  It took Ostrum years after moving to Lowville, New York, before he told anybody there about his one-time stardom; even his wife Loretta did not know about his role until he warned her about it just before she met his mother.Since 1990, Ostrum has spoken to students at Lowville Academy once a year—on the last day of school, as a special treat—about his experience in Willy Wonka as well as his work in veterinary medicine.  The students chiefly ask about the film's special effects, and Ostrum describes to them \"what happened to Veruca, how did Violet blow up like a blueberry, how did Charlie fly with Grandpa Joe, all those types of questions.\"  Ostrum also accepted an invitation to appear at the 2018 Snowtown Film Festival in Watertown, New York, answering audience questions after a screening of the film; \"it’s in my backyard—it's become a popular event in January and I like to support local events.\"  Ostrum said of the 2018 event that he enjoyed re-watching the film, and that people ask him \"great questions.\"  Ostrum has been called \"the most famous man in Lowville\", where the local video rental shop twice wore out its VHS copy of Willy Wonka & the Chocolate Factory.In the run-up to the release of Charlie and the Chocolate Factory in 2005, Ostrum garnered a spate of attention that included seeing the film in New York City with NPR as well as being included in VH1's list of \"100 Greatest Kid Stars\" (at 78th).  On the new film, Ostrum quoted fellow Wonka actor Julie Dawn Cole, saying that \"It's sort of like going back to a house that you once lived in and it's been redecorated.\"  Ultimately, the media attention was so pervasive that Ostrum stopped answering his phone, and requested \"please, no more interviews.\"In January 2009, Ostrum teamed up with Dunkin' Donuts to hand out free rides on the Massachusetts Bay Transportation Authority (MBTA) at South Station in Boston; Ostrum's participation connected the MBTA's CharlieCards he was handing out with his portrayal of Charlie Bucket in Willy Wonka.  The promotion also gave out one \"golden ticket\", worth unlimited rides on MBTA and unlimited Dunkin' Donuts coffee for 2009.In October 2000, Ostrum and some of his co-stars from the film were scheduled to record an audio commentary for a special edition DVD.  In a 2010 interview, Wonka co-star Denise Nickerson (Violet Beauregarde) revealed that Ostrum had agreed to join her and Paris Themmen (Wonka's Mike Teevee) for a reunion commemorating the 40th anniversary of the film's release in 2011.\n\nVeterinary career\nSoon after Ostrum returned home from filming Willy Wonka, his family acquired a horse; while the teenaged Ostrum was interested in the horse, it was the animal's veterinarian that left a lasting impression on him.  Taking a hiatus from school between high school and college, Ostrum groomed horses and worked at the Delaware Equine Center in Pennsylvania.  Ostrum contemplated a return to Hollywood, and even visited California for a week to \"test the waters\" there.  He ultimately decided to pursue a degree in veterinary medicine instead, feeling that he would forever berate himself if he did not.  In 1984, Peter Ostrum received his Doctorate of Veterinary Medicine from Cornell University College of Veterinary Medicine.As of June 2022, Ostrum worked in Lowville, New York both as a veterinarian with the Countryside Veterinary Clinic (working mainly with horses and cows) and as a managing partner with Dairy Health & Management Services.  Ostrum also took part in Veterinarians on Call, a Pfizer-funded video series that highlighted the work of large animal veterinarians.\nPassage 7:\nCooper Glacier\nThe Cooper Glacier (85°30′S 164°30′W) is a tributary glacier, 15 nautical miles (30 km) long, flowing northeast between Butchers Spur and the Quarles Range to enter the south side of Axel Heiberg Glacier, in the Queen Maud Mountains. It was discovered by R. Admiral Byrd on several plane flights to the Queen Maud Mountains in November 1929, and named by him for Kent Cooper, an official of the Associated Press.\nPassage 8:\nPeter Shockey\nPeter Shockey (born 1955) is an American filmmaker and screenwriter.\nHe has received a New York City Film Festival award for his television film Life After Life (1992). In addition, both he and his works have appeared on talk shows and television shows such as Oprah and the 700 Club.\nPeter co-wrote the book Journey of Light with Stowe D. Shockey and its focus is to implement her experience as an abused child in order to help others. Peter and Stowe both live in Nashville, Tennessee.\nCurrently, he is working as a professor of Media Production & Writing classes at Webster University in Tashkent.\n\nBooks\nJourney of Light: Stories of Dawn after Darkness (co-wrote with Stowe D. Shockey, Doubleday, 2007. ISBN 978-0-385-50126-2\nPassage 9:\nA Little Bit of Love (Andreas Johnson song)\n\"A Little Bit of Love\" is a song written by Andreas Johnson and Peter Kvint, and performed by Andreas Johnson at Melodifestivalen 2007. The song participated in the semifinale in Gävle on 24 February 2007, heading directly to the finals inside the Stockholm Globe Arena on 10 March 2007, finishing second. On 5 March 2007 the single was released. The single peaked at third position at the Swedish singles chart, and became a major radio hit both at Sveriges Radio and the commercial stadions.\nThe song also charted at Svensktoppen, entering the chart on 8 April 2007 on 2nd position. On 15 April 2007 the song topped the chart. On 19 August 2007 the song was at Svensktoppen for 20th and final time. before getting knocked out the upcoming week.\n\nSingle track listing\nA Little Bit of Love\nA Little Bit of Love (PJ Harmony Remix Version)\n\nCharts\nPassage 10:\nEetookashoo Bay\nEetookashoo Bay is a waterway in Qikiqtaaluk Region, Nunavut, Canada. It is located at the northern end of Axel Heiberg Island between Cape Thomas Hubbard and Cape Stallworthy. The bay is named in honor of Eetookashoo (Itukassuk), one of the Inuit who had traveled with Frederick Cook and Donald Baxter MacMillan.\nPassage 11:\nVilla Foscari\nVilla Foscari is a patrician villa in Mira, near Venice, northern Italy, designed by the Italian Renaissance architect Andrea Palladio. It is also known as La Malcontenta (\"The Discontented\"), a nickname which—according to a legend—it received when the spouse of one of the Foscaris was locked up in the house because she allegedly did not live up to her conjugal duty.\n\nArchitecture\nThe villa was commissioned by the brothers Nicolò and Alvise (Luigi) Foscari, members of a patrician Venetian family that produced Francesco Foscari, one of Venice's most noted doges. It was built between 1558 and 1560. It is located beside the Brenta canal and is raised on a pedestal, which is characteristic of Palladio's villas; this pedestal is more massive than most of Palladio's villas (the base is 11 feet (3.4 m) high, more than twice the height Palladio normally used) because it was not possible to construct a subterranean basement on the site.\nThe villa lacks the agricultural buildings which were an integral part of some of the other Palladian villas. It was used for official receptions, such as that given for Henry III of France in 1574. It has been proposed that the villa was the home of Portia called Belmont in The Merchant of Venice.Villa Foscari's thermal windows inspired the ones used on the façade of Villa Toeplitz in Varese.\n\nInterior\nThe interior of the villa is richly decorated with frescoes by Battista Franco and Giambattista Zelotti.\nMythological scenes from Ovid alternate with allegories of the Arts and Virtues. As at other Palladian villas, the paintings reflect villa life in, for example, Astraea showing Jove the pleasures of the Earth. The frescoes have dulled over time, signs of the increasing threat that air pollution poses to works of art.\n\nRecent history\nThe British travel writer Robert Byron visited the villa in 1933 and afterwards wrote that bon vivant Albert Clinton Landsberg had, nine years earlier, found the villa \"at the point of ruin, doorless and windowless, a granary of indeterminate farm-produce. He has made it a habitable dwelling. The proportion of the great hall and state rooms are a mathematical paean.\" The villa had indeed been vacated in the early 19th century, the surrounding stables and other buildings had fallen apart and were demolished by Austrian troops during the 1848 uprisings. At the end of the 19th century however, banker Baron Frédéric Emile d'Erlanger, based in Paris and London, had found the house in the above described condition, then leased the villa from the Foscari family, and undertook some renovation work. Bertie Landsberg had purchased the villa in 1926, together with his friends Paul Rodocanachi and Catherine, Baroness d'Erlanger, the daughter-in-law of the former tenant. The new owners renovated the house and gardens and invited members of the high-society to lavish salons during summer seasons: choreographer Sergei Diaghilev, dancers Boris Kochno and Serge Lifar, writer Paul Morand, architect Le Corbusier, Winston Churchill, among others. Bertie Landsberg, issue of an originally Jewish banking family, as the Erlangers, fled the Italian Fascists in 1939 and only returned to the villa in 1947. Kate d'Erlanger moved to Beverly Hills. In 1965, the English architect Claud Phillimore, 4th Baron Phillimore (1911–1994) inherited the villa from Landsberg. He began restoration, but sold the house in 1973 to count Antonio (\"Tonci\") Foscari (b. 1938), a descendant of the former owners and professor for architecture and preservation. He and his wife, Barbara del Vicario, undertook a painstaking process of restoring it to its original grandeur. In 2012, Foscari wrote of the villa's renaissance.Since 1996 the building has been conserved as part of the World Heritage Site \"City of Vicenza and the Palladian Villas of the Veneto\". Today, the villa is open to the public for visits on a limited basis.\n\nSee also\nCa' Foscari\nPalladian Villas of the Veneto\nPalladian architecture\nPassage 12:\nAndré Duchesne\nAndré Duchesne (French: [dyʃɛːn]; sometimes spelled Du Chesne, Latinized Andreas Chesneus, Andreas Quercetanus, or Andreas Querneus; May 1584 – 30 May 1640) was a French geographer and historian, generally styled the father of French history.\nDuchesne was born in L'Île-Bouchard.  He was educated at Loudun and afterwards at Paris. From his earliest years he devoted himself to historical and geographical research, and his first work, Egregiarum seu selectarum lectionum et antiquitatum liber, published in his eighteenth year, displayed great erudition. He enjoyed the patronage of Cardinal Richelieu, a native of the same district with himself, through whose influence he was appointed historiographer and geographer to the king.He died in Paris in 1640, in consequence of having been run over by a carriage when on his way from the city to his country house at Verrières.\n\nWorks\nDuchesne's works were very numerous and varied, and in addition to what he published, he left behind him more than 100 folio volumes of manuscript extracts now preserved in the Bibliothèque Nationale (L. Delisle, Le Cabinet des manuscrits de la Bibliothèque impériale, t. L, 333–334). Several of his larger works were continued by his only son François Duchesne (1616–1693), who succeeded him in the office of historiographer to the king.The principal works of André Duchesne are Les Antiquités et recherches de la grandeur et majesté des rois de France (Paris, 1609), Les Antiquités et recherches des villes, châteaux, &c., de toute la France (Paris, 1609), Histoire d'Angleterre, d'Ecosse, et d'Irelande (Paris, 1614), Histoire des Papes jusqu'à Paul V (Paris, 1619), Histoire des rois, ducs, et comtes de Bourgogne (1619–1628, 2 vols. fol.), Historiae Normanorum scriptores antiqui (1619, fol., now the only source for some of the texts), and his Historiae Francorum scriptores (5 vols. fol., 1636–1649).This last was intended to comprise 24 volumes, and to contain the narrative sources for French history in the Middle Ages; only two volumes were published by the author, his son François published three more, and the work remained unfinished. Besides these Duchesne published a great number of genealogical histories of illustrious families, of which the best is that of the house of Montmorency. His Histoire des cardinaux francais (2 vols. 101. 1660–1666) and Histoire des chanceliers et gardes des sceaux de France (1630) were published by his son François. André also published a translation of the Satires of Juvenal, and editions of the works of Alcuin, Abelard, Alain Chartier and Étienne Pasquier.\n\nLes Antiquités et recherches de la grandeur et majesté des rois de France (Paris, 1609)\nLes Antiquités et recherches des villes, châteaux, &c., de toute la France (Paris, 1609)\nHistoire d'Angleterre, d'Écosse, et d'Irlande (Paris, 1614)\nBibliothèque des auteurs qui ont écrit l'histoire et la topographie de la France, 1618\nHistoire des Papes jusqu'à Paul V (Paris, 1619)\nHistoire des rois, ducs, et comtes de Bourgogne (1619–1628, 2 volumes fol.)\nGrande Histoire de la Maison de Vergy, (Paris, 1625)\nAnnales Francorum Mettenses (Paris, 1626) also known as Annals of Metz.\nHistoriae Normanorum scriptores antiqui (1619)\nHistoire de la Maison de Chastillon sur Marne, Paris, 1621\nHistoriae Francorum scriptores (5 volumes fol., 1636–1649)\nPassage 13:\nMargareta von Ascheberg\nMargareta von Ascheberg (9 July 1671 – 26 October 1753) was a Swedish land owner, noble and acting regiment colonel during the Great Northern War.\n\nEarly life and marriage\nMargareta von Ascheberg was the youngest child of Field Marshal Rutger von Ascheberg and Magdalena Eleonora Busseck. \nOn 26 January 1691, she married colonel count Kjell Christopher Barnekow (d. 1700) in Malmö. As was the custom of the Swedish nobility as that time, she kept her name after marriage and style herself »Grevinnan Ascheberg» (Countess Ascheberg). The couple had four children. She accompanied her spouse on his military commissions: she gave birth to their youngest sons during the Bombardment of Brussels in 1695. \nAt the outbreak of the Great Northern War, Kjell Christopher Barnekow was called to Sweden and appointed colonel of the Scanian dragoons, which he undertook to equip himself. However, he died very suddenly and unexpectedly of a fever 19 December 1700 before he had the time to fulfill his task.\n\nMadame Colonel\nAs a widow, Margareta von Ascheberg was left with the responsibility of her four minor children and the management of their estates as well as the other responsibilities of her late spouse. This included the task of the command and equipment of his Scanian regiment. She was not freed from this responsibility, and the acting colonel Kr. A. v. Buchwaldt was appointed to see that she fulfilled her task. In the spring of 1702, she had performed the task of a colonel by having organized and equipped the regiment and appointed its officers ready for inspection by the royal command and ready to serve in the war. She also sat at the inspection office of the regiment when it was sent to war from Kristianstad. \nDuring the war, she took care of the continued equipment and affairs of the regiment, and exchanged letters with Charles XII of Sweden about its appointments and promotions. She was called \"Coloneless\" or Madame Colonel. She was admired for \"The energy and care, with which she performed her unusual task, a circumstance, which in other cases would seem impossible for a woman\".\n\nEstate management\nMargareta von Ascheberg was also given the responsibility of the estates of her spouse, including Vittskövle, Rosendal and Örtofta in Scania, Gammel-Kjöge on Själland, Ralsvik and Streu on Rügen, and she also added the estate of Ugerup in Scania to it. She herself inherited and acquired the additional estates of Eliinge, Sövdeborg and Tosterup. \nShe was a very successful business person and land owner and recommended for her efficiency. She founded schools, hospitals and gave anonymous donations to the poor in the parishes of her estates, and in contrast to other contemporary land owners, such as the hated Christina Piper, she managed to make herself popular among her employees. She was called \"A true mother of the household\" and was admired for her \"unusual accomplishment, which should not be interpreted dishonestly, as the whole of Scania can testify for it to be truthful\". In the parish of Vittskövle, where she preferred to reside, \"The Ascheberg woman\" became a respected figure of folklore.\n\nSee also\nMaria Sofia De la Gardie\nPassage 14:\nHansen's problem\nHansen's problem is a problem in planar surveying, named after the astronomer Peter Andreas Hansen (1795–1874), who worked on the geodetic survey of Denmark. There are two known points A and B, and two unknown points P1 and P2. From P1 and P2 an observer measures the angles made by the lines of sight to each of the other three points.  The problem is to find the positions of P1 and P2. See figure; the angles measured are (α1, β1, α2, β2).\nSince it involves observations of angles made at unknown points, the problem is an example of resection (as opposed to intersection).\n\nSolution method overview\nDefine the following angles: \nγ = P1AP2, δ = P1BP2, φ = P2AB, ψ = P1BA.\nAs a first step we will solve for φ and ψ.\nThe sum of these two unknown angles is equal to the sum of β1 and β2, yielding the equation\n\n  \n    \n      \n        ϕ\n        +\n        ψ\n        =\n        \n          β\n          \n            1\n          \n        \n        +\n        \n          β\n          \n            2\n          \n        \n        .\n      \n    \n    {\\displaystyle \\phi +\\psi =\\beta _{1}+\\beta _{2}.}\n  A second equation can be found more laboriously, as follows.  The law of sines yields\n\n  \n    \n      \n        \n          \n            \n              A\n              B\n            \n            \n              \n                P\n                \n                  2\n                \n              \n              B\n            \n          \n        \n        =\n        \n          \n            \n              sin\n              ⁡\n              \n                α\n                \n                  2\n                \n              \n            \n            \n              sin\n              ⁡\n              ϕ\n            \n          \n        \n      \n    \n    {\\displaystyle {\\frac {AB}{P_{2}B}}={\\frac {\\sin \\alpha _{2}}{\\sin \\phi }}}\n   and\n\n  \n    \n      \n        \n          \n            \n              \n                P\n                \n                  2\n                \n              \n              B\n            \n            \n              \n                P\n                \n                  1\n                \n              \n              \n                P\n                \n                  2\n                \n              \n            \n          \n        \n        =\n        \n          \n            \n              sin\n              ⁡\n              \n                β\n                \n                  1\n                \n              \n            \n            \n              sin\n              ⁡\n              δ\n            \n          \n        \n        .\n      \n    \n    {\\displaystyle {\\frac {P_{2}B}{P_{1}P_{2}}}={\\frac {\\sin \\beta _{1}}{\\sin \\delta }}.}\n  Combining these, we get\n\n  \n    \n      \n        \n          \n            \n              A\n              B\n            \n            \n              \n                P\n                \n                  1\n                \n              \n              \n                P\n                \n                  2\n                \n              \n            \n          \n        \n        =\n        \n          \n            \n              sin\n              ⁡\n              \n                α\n                \n                  2\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  1\n                \n              \n            \n            \n              sin\n              ⁡\n              ϕ\n              sin\n              ⁡\n              δ\n            \n          \n        \n        .\n      \n    \n    {\\displaystyle {\\frac {AB}{P_{1}P_{2}}}={\\frac {\\sin \\alpha _{2}\\sin \\beta _{1}}{\\sin \\phi \\sin \\delta }}.}\n  Entirely analogous reasoning on the other side yields\n\n  \n    \n      \n        \n          \n            \n              A\n              B\n            \n            \n              \n                P\n                \n                  1\n                \n              \n              \n                P\n                \n                  2\n                \n              \n            \n          \n        \n        =\n        \n          \n            \n              sin\n              ⁡\n              \n                α\n                \n                  1\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  2\n                \n              \n            \n            \n              sin\n              ⁡\n              ψ\n              sin\n              ⁡\n              γ\n            \n          \n        \n        .\n      \n    \n    {\\displaystyle {\\frac {AB}{P_{1}P_{2}}}={\\frac {\\sin \\alpha _{1}\\sin \\beta _{2}}{\\sin \\psi \\sin \\gamma }}.}\n  Setting these two equal gives\n\n  \n    \n      \n        \n          \n            \n              sin\n              ⁡\n              ϕ\n            \n            \n              sin\n              ⁡\n              ψ\n            \n          \n        \n        =\n        \n          \n            \n              sin\n              ⁡\n              γ\n              sin\n              ⁡\n              \n                α\n                \n                  2\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  1\n                \n              \n            \n            \n              sin\n              ⁡\n              δ\n              sin\n              ⁡\n              \n                α\n                \n                  1\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  2\n                \n              \n            \n          \n        \n        =\n        k\n        .\n      \n    \n    {\\displaystyle {\\frac {\\sin \\phi }{\\sin \\psi }}={\\frac {\\sin \\gamma \\sin \\alpha _{2}\\sin \\beta _{1}}{\\sin \\delta \\sin \\alpha _{1}\\sin \\beta _{2}}}=k.}\n  Using a known trigonometric identity this ratio of sines can be expressed as the tangent of an angle difference:\n\n  \n    \n      \n        tan\n        ⁡\n        \n          \n            \n              ϕ\n              −\n              ψ\n            \n            2\n          \n        \n        =\n        \n          \n            \n              k\n              −\n              1\n            \n            \n              k\n              +\n              1\n            \n          \n        \n        tan\n        ⁡\n        \n          \n            \n              ϕ\n              +\n              ψ\n            \n            2\n          \n        \n        .\n      \n    \n    {\\displaystyle \\tan {\\frac {\\phi -\\psi }{2}}={\\frac {k-1}{k+1}}\\tan {\\frac {\\phi +\\psi }{2}}.}\n  Where \n  \n    \n      \n        \n          k\n          =\n        \n        \n          \n            \n              sin\n              ⁡\n              ϕ\n            \n            \n              sin\n              ⁡\n              ψ\n            \n          \n        \n        .\n      \n    \n    {\\displaystyle {k=}{\\frac {\\sin \\phi }{\\sin \\psi }}.}\n  \nThis is the second equation we need. Once we solve the two equations for the two unknowns \n  \n    \n      \n        ϕ\n      \n    \n    {\\displaystyle \\phi }\n   and \n  \n    \n      \n        ψ\n      \n    \n    {\\displaystyle \\psi }\n  , we can use either of the two expressions above for \n  \n    \n      \n        \n          \n            \n              A\n              B\n            \n            \n              \n                P\n                \n                  1\n                \n              \n              \n                P\n                \n                  2\n                \n              \n            \n          \n        \n      \n    \n    {\\displaystyle {\\frac {AB}{P_{1}P_{2}}}}\n   to find P1P2 since AB is known.  We can then find all the other segments using the law of sines.\n\nSolution algorithm\nWe are given four angles (α1, β1, α2, β2) and the distance AB.  The calculation proceeds as follows:\n\nCalculate \n  \n    \n      \n        γ\n        =\n        π\n        −\n        \n          α\n          \n            1\n          \n        \n        −\n        \n          β\n          \n            1\n          \n        \n        −\n        \n          β\n          \n            2\n          \n        \n        ,\n        \n        δ\n        =\n        π\n        −\n        \n          α\n          \n            2\n          \n        \n        −\n        \n          β\n          \n            1\n          \n        \n        −\n        \n          β\n          \n            2\n          \n        \n        .\n      \n    \n    {\\displaystyle \\gamma =\\pi -\\alpha _{1}-\\beta _{1}-\\beta _{2},\\quad \\delta =\\pi -\\alpha _{2}-\\beta _{1}-\\beta _{2}.}\n  \nCalculate \n  \n    \n      \n        k\n        =\n        \n          \n            \n              sin\n              ⁡\n              γ\n              sin\n              ⁡\n              \n                α\n                \n                  2\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  1\n                \n              \n            \n            \n              sin\n              ⁡\n              δ\n              sin\n              ⁡\n              \n                α\n                \n                  1\n                \n              \n              sin\n              ⁡\n              \n                β\n                \n                  2\n                \n              \n            \n          \n        \n        .\n      \n    \n    {\\displaystyle k={\\frac {\\sin \\gamma \\sin \\alpha _{2}\\sin \\beta _{1}}{\\sin \\delta \\sin \\alpha _{1}\\sin \\beta _{2}}}.}\n  \nLet \n  \n    \n      \n        s\n        =\n        \n          β\n          \n            1\n          \n        \n        +\n        \n          β\n          \n            2\n          \n        \n        ,\n        \n        d\n        =\n        2\n        arctan\n        ⁡\n        \n          [\n          \n            \n              \n                \n                  k\n                  −\n                  1\n                \n                \n                  k\n                  +\n                  1\n                \n              \n            \n            tan\n            ⁡\n            (\n            s\n            \n              /\n            \n            2\n            )\n          \n          ]\n        \n      \n    \n    {\\displaystyle s=\\beta _{1}+\\beta _{2},\\quad d=2\\arctan \\left[{\\frac {k-1}{k+1}}\\tan(s/2)\\right]}\n   and then \n  \n    \n      \n        ϕ\n        =\n        (\n        s\n        +\n        d\n        )\n        \n          /\n        \n        2\n        ,\n        \n        ψ\n        =\n        (\n        s\n        −\n        d\n        )\n        \n          /\n        \n        2.\n      \n    \n    {\\displaystyle \\phi =(s+d)/2,\\quad \\psi =(s-d)/2.}\n  \nCalculate  or equivalently  If one of these fractions has a denominator close to zero, use the other one.\n\nSee also\nSolving triangles\nSnell's problem\nPassage 15:\nAmundsen Icefall\nAmundsen Icefall (85°28′S 166°42′W) is a steep and turbulent icefall where the Axel Heiberg Glacier descends from the polar plateau between Mount Fridtjof Nansen and Mount Don Pedro Christophersen, in the Queen Maud Mountains of Antarctica. Named by the Southern Party of the New Zealand Geological Survey Antarctic Expedition (1961–62) for Captain Roald Amundsen, who ascended Axel Heiberg Glacier en route to the South Pole in 1911.\n\nAnswer the question based on the given passages. Only give me the answer and do not output any other words.\n\nQuestion: Who is the spouse of the child of Peter Andreas Heiberg?\nAnswer:"}
{"question_id": 86, "category": "longbench_repobench-p", "reference": ["\tpublic List<Metadata> listMetadata()"], "prompt": "Please complete the code given below. \nJava/src/model/MetaOn.java\npublic enum MetaOn {GENE, CELL, GLOBAL, EXPRESSION_MATRIX}\nJava/src/model/Metadata.java\npublic class Metadata \n{\n\tpublic String path;\n\tpublic Metatype type;\n\tpublic MetaOn on;\n\tpublic long missingValues = 0;\n\tpublic HashSet<String> categories;\n\tpublic HashMap<String, Long> categoriesMap;\n\tpublic StringArray64 values = null;\n\tpublic String[][] matrixValues = null; // TODO handle this if big?\n\tpublic String value = null; // in case of single value\n\tpublic int nbCat = -1;\n\tpublic long nbcol = -1;\n\tpublic long nbrow = -1;\n\tpublic long size = -1;\n\tpublic boolean stringWasCorrected = false;\n\t\n\tpublic Metadata()\n\t{\n\t\t\n\t}\n\t\n\tpublic Metadata(String name, Metatype type, MetaOn on, long nbCol, long nbRow, StringArray64 values) \n\t{\n\t\tthis(name, type, on, nbCol, nbRow);\n\t\tthis.values = values;\n\t}\n\t\n\tpublic Metadata(String name, Metatype type, MetaOn on, long nbCol, long nbRow, HashMap<String, Long> categoriesMap) \n\t{\n\t\tthis(name, type, on, nbCol, nbRow);\n\t\tthis.categoriesMap = categoriesMap;\n\t\tthis.categories = new HashSet<>();\n\t\tfor(String cat:this.categoriesMap.keySet()) this.categories.add(cat);\n\t}\n\t\n\tpublic Metadata(String name, Metatype type, MetaOn on, long nbCol, long nbRow) \n\t{\n\t\tthis(name, type, on);\n\t\tthis.nbcol = nbCol;\n\t\tthis.nbrow = nbRow;\n\t}\n\t\n\tpublic Metadata(String name, Metatype type, MetaOn on) \n\t{\n\t\tthis(name);\n\t\tthis.type = type;\n\t\tthis.on = on;\n\t}\n\t\n\tpublic Metadata(String name) \n\t{\n\t\tthis();\n\t\tthis.path = name;\n\t}\n\t\n\tpublic String toString()\n\t{\n\t\treturn \"\\\"name\\\":\\\"\"+path+\"\\\",\\\"on\\\":\\\"\"+on+\"\\\",\\\"type\\\":\\\"\"+type+\"\\\"\";\n\t}\n\t\n\tpublic boolean isCategorical() // Hard to find some kind of threshold for this\n\t{\n\t\treturn isCategorical(this.values.size());\n\t}\n\t\n\tpublic boolean isCategorical(long length) // Hard to find some kind of threshold for this\n\t{\n\t\tif(this.categories == null) return false;\n\t\tif(this.categories.size() > 500) return false;\n\t\treturn this.categories.size() <= length * 0.10;\n\t}\n\t\n\tpublic void inferType()\n\t{\n\t\tthis.categories = new HashSet<>();\n\t\tthis.categoriesMap = new HashMap<String, Long>();\n\t\tif(this.values == null) return;\n\t\tboolean isNumeric = true;\n\t\tfor(long i = 0; i < this.values.size(); i++)\n\t\t{\n\t\t\tString v = this.values.get(i);\n\t\t\tif(!this.stringWasCorrected) v = Utils.handleSpecialCharacters(v);\n\t\t\tif(isNumeric) // Check if numeric\n\t\t\t{\n\t\t\t\ttry\n\t\t\t\t{\n\t\t\t\t\tFloat.parseFloat(v.replaceAll(\",\", \".\"));\n\t\t\t\t}\n\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t{\n\t\t\t\t\tisNumeric = false;\n\t\t\t\t}\n\t\t\t}\n\t\t\t\n\t\t\tboolean added = this.categories.add(v);\n\t\t\tif(isCategorical()) // If this is stil true, we populate the categoriesMap\n\t\t\t{\n\t\t\t\tif(added) this.categoriesMap.put(v, 1L);\n\t\t\t\telse this.categoriesMap.put(v, this.categoriesMap.get(v) + 1);\n\t\t\t}\n\t\t\t// else break; // To alleviate the calculations/ Map size\n\t\t}\n\t\tthis.stringWasCorrected = true;\n\t\tthis.nbCat = this.categories.size();\n\t\tif(isCategorical()) this.type = Metatype.DISCRETE;\n\t\telse\n\t\t{\n\t\t\tthis.categories = null;\n\t\t\tif(isNumeric) this.type = Metatype.NUMERIC;\n\t\t\telse this.type = Metatype.STRING;\n\t\t}\n\t}\n\t\n\tpublic static StringBuilder toString(Collection<Metadata> meta)\n\t{\n\t\tStringBuilder sb = new StringBuilder();\n\t\tString prefixT = \"\";\n\t\tsb.append(\"\\\"metadata\\\":[\");\n    \tfor(Metadata m:meta) \n    \t{\n    \t\tsb.append(prefixT);\n    \t\tm.addMeta(sb, true, null, 10);\n    \t\tprefixT = \",\";\n    \t}\n    \tsb.append(\"]\");\n\t\treturn sb;\n\t}\n\t\n\tpublic HashMap<String, Long> fillMap()\n\t{\n\t\tif(this.categoriesMap != null && !this.categoriesMap.isEmpty()) return this.categoriesMap;\n\t\tthis.inferType();\n\t\treturn this.categoriesMap;\n\t}\n\t\n\tpublic void addMeta(StringBuilder sb, boolean writeValues, StringArray64 cellNames, long max_nb_values)\n\t{\n\t\tsb.append(\"{\");\n\t\tif(path != null) sb.append(\"\\\"name\\\":\\\"\").append(this.path).append(\"\\\"\");\n\t\tif(this.on != null) sb.append(\",\\\"on\\\":\\\"\").append(this.on).append(\"\\\"\");\n\t\tif(this.type != null) sb.append(\",\\\"type\\\":\\\"\").append(this.type).append(\"\\\"\");\n\t\t\n\t\tif(this.nbcol == -1) // Try to save the day?\n\t\t{\n\t\t\tif(this.values != null) // Vector\n\t\t\t{\n\t\t\t\tif(this.on == MetaOn.CELL) this.nbcol = this.values.size();\n\t\t\t\telse if(this.on == MetaOn.GENE) this.nbcol = 1;\n\t\t\t}\n\t\t\telse if(this.matrixValues != null)// Matrix\n\t\t\t{\n\t\t\t\tif(this.on == MetaOn.CELL) this.nbcol = this.matrixValues.length;\n\t\t\t\telse if(this.on == MetaOn.GENE) this.nbcol = this.matrixValues[0].length;\n\t\t\t}\n\t\t}\n\t\t\n\t\tif(this.nbrow == -1)// Try to save the day?\n\t\t{\n\t\t\tif(this.values != null) // Vector\n\t\t\t{\n\t\t\t\tif(this.on == MetaOn.GENE) this.nbrow = this.values.size();\n\t\t\t\telse if(this.on == MetaOn.CELL) this.nbrow = 1;\n\t\t\t}\n\t\t\telse if(this.matrixValues != null)// Matrix\n\t\t\t{\n\t\t\t\tif(this.on == MetaOn.GENE) this.nbrow = this.matrixValues.length;\n\t\t\t\telse if(this.on == MetaOn.CELL) this.nbrow = this.matrixValues[0].length;\n\t\t\t}\n\t\t}\n\t\t\n\t\tif(this.nbcol != -1) sb.append(\",\\\"nber_cols\\\":\").append(this.nbcol);\n\t\tif(this.nbrow != -1) sb.append(\",\\\"nber_rows\\\":\").append(this.nbrow);\t\n\t\tif(this.size != -1) sb.append(\",\\\"dataset_size\\\":\").append(this.size);\n\t\tif(this.nbCat != -1) sb.append(\",\\\"distinct_values\\\":\").append(this.nbCat);\n\t\tif(this.missingValues != 0) sb.append(\",\\\"missing_values\\\":\").append(this.missingValues);\n\t\t\n\t\tif(this.type == Metatype.DISCRETE)\n\t\t{\t\n\t\t\tif(this.categoriesMap != null && !this.categoriesMap.isEmpty())\n\t\t\t{\n\t\t\t\tsb.append(\",\\\"categories\\\":{\");\n\t\t\t\tString prefix = \"\\\"\";\n\t\t\t\tfor(String cat:this.categoriesMap.keySet()) \n\t\t\t\t{\n\t\t\t\t\tsb.append(prefix);\n\t\t\t\t\tprefix = \",\\\"\";\n\t\t\t\t\tsb.append(cat).append(\"\\\":\").append(this.categoriesMap.get(cat)); // Supposed that cat is already corrected when read\n\t\t\t\t}\n\t\t\t\tsb.append(\"}\");\n\t\t\t}\n\t\t\telse if(this.categories != null)\n\t\t\t{\n\t\t\t\tsb.append(\",\\\"categories\\\":{\");\n\t\t\t\tString prefix = \"\\\"\";\n\t\t\t\tfor(String cat:this.categories) \n\t\t\t\t{\n\t\t\t\t\tsb.append(prefix);\n\t\t\t\t\tprefix = \",\\\"\";\n\t\t\t\t\tsb.append(cat).append(\"\\\":\").append(-1);\n\t\t\t\t}\n\t\t\t\tsb.append(\"}\");\n\t\t\t}\n\t\t}\n\t\t\n\t\tif((this.values != null || this.matrixValues != null || this.value != null) && writeValues)\n\t\t{\n\t\t\tsb.append(\",\\\"values\\\":[\");\n\t\t\tif(this.value != null) // Single value\n\t\t\t{\n\t\t\t\tif(this.type == Metatype.STRING) sb.append(\"\\\"\");\n\t\t\t\tString val = this.value;\n\t\t\t\tif(this.type == Metatype.NUMERIC) val = Utils.format(val);\n\t\t\t\tif(this.type == Metatype.STRING) \n\t\t\t\t{\n\t\t\t\t\tif(this.stringWasCorrected) sb.append(val);\n\t\t\t\t\telse sb.append(Utils.handleSpecialCharacters(val));\n\t\t\t\t}\n\t\t\t\telse sb.append(val);\n\t\t\t\tif(this.type == Metatype.STRING) sb.append(\"\\\"\");\n\t\t\t}\n\t\t\telse if(this.values != null) // If vector\n\t\t\t{\n\t\t\t\tString prefix = \"\\\"\";\n\t\t\t\tif(this.type == Metatype.NUMERIC) prefix = \"\";\n\t\t\t\tlong cnt = 0; // To count the number of values to store\n\t\t\t\t\n\t\t\t\tfor(long i = 0; i < this.values.size(); i++)\n\t\t\t\t{\n\t\t\t\t\ttry\n\t\t\t\t\t{\n\t\t\t\t\t\tString val = this.values.get(i);\n\t\t\t\t\t\tif(this.type == Metatype.NUMERIC) val = Utils.format(val);\n\t\t\t\t\t\tif(this.type == Metatype.STRING) \n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tsb.append(prefix);\n\t\t\t\t\t\t\tif(this.stringWasCorrected) sb.append(val);\n\t\t\t\t\t\t\telse sb.append(Utils.handleSpecialCharacters(val));\n\t\t\t\t\t\t}\n\t\t\t\t\t\telse sb.append(prefix).append(val);\n\t\t\t\t\t\tif(this.type != Metatype.NUMERIC) prefix = \"\\\",\\\"\";\n\t\t\t\t\t\telse prefix = \",\";\n\t\t\t\t\t\tcnt++;\n\t\t\t\t\t\tif(cnt >= max_nb_values) break;\n\t\t\t\t\t}\n\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t{\n\t\t\t\t\t\te.printStackTrace();\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\t\n\t\t\t\tif(this.type != Metatype.NUMERIC) sb.append(\"\\\"\");\n\t\t\t}\n\t\t\telse\t// If matrix\n\t\t\t{\n\t\t\t\tString prefix2 = \"\";\n\t\t\t\tlong cnt_y = 0; // To count the number of values to store by cols\n\t\t\t\t\n\t\t\t\tfor(int j = 0; j < this.matrixValues[0].length; j++)\n\t\t\t\t{\n\t    \t\t\tString prefix = \"\\\"\";\n\t    \t\t\tif(this.type == Metatype.NUMERIC) prefix = \"\";\n\t    \t\t\tlong cnt_x = 0; // To count the number of values to store by rows\n\t    \t\t\t\n\t\t\t\t\tsb.append(prefix2).append(\"[\");\n\t    \t\t\tfor(int i = 0; i < this.matrixValues.length; i++)\n\t    \t\t\t{\n\t    \t\t\t\tString val = this.matrixValues[i][j];\n\t    \t\t\t\tif(this.type == Metatype.NUMERIC) val = Utils.format(val);\n\t\t\t\t\t\tif(this.type == Metatype.STRING) \n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tsb.append(prefix);\n\t\t\t\t\t\t\tif(this.stringWasCorrected) sb.append(val);\n\t\t\t\t\t\t\telse sb.append(Utils.handleSpecialCharacters(val));\n\t\t\t\t\t\t}\n\t    \t\t\t\telse sb.append(prefix).append(val);\n\t    \t\t\t\tif(this.type != Metatype.NUMERIC) prefix = \"\\\",\\\"\";\n\t    \t\t\t\telse prefix = \",\";\n\t    \t\t\t\tcnt_x++;\n\t    \t\t\t\tif(cnt_x >= max_nb_values) break;\n\t\t\t\t\t}\n\t    \t\t\tif(this.type == Metatype.NUMERIC) sb.append(\"]\");\n\t    \t\t\telse sb.append(\"\\\"]\");\n\t    \t\t\t\n\t    \t\t\tprefix2 = \",\";\n\t    \t\t\tcnt_y++;\n\t    \t\t\tif(cnt_y >= max_nb_values) break;\n\t\t\t\t}\n\t\t\t}\n\t\t\tsb.append(\"]\");\n\t\n\t\t\taddCellNames(sb, \",\", cellNames, max_nb_values);\n\t\t}\n\t\tsb.append(\"}\");\n\t}\n\t\n\tpublic static void addCellNames(StringBuilder sb, String pre, StringArray64 cellNames, long max_nb_values)\n\t{\n\t\tif(cellNames != null)\n\t\t{\n\t\t\tsb.append(pre).append(\"\\\"cells\\\":[\");\n\t\t\tString prefix = \"\\\"\";\n\t\t\tlong cnt = 0; // To count the number of values to store\n\t\t\tfor(String val:cellNames) \n\t\t\t{\n\t\t\t\tsb.append(prefix);\n\t\t\t\tprefix = \"\\\",\\\"\";\n\t\t\t\tsb.append(val);\n\t\t\t\tcnt++;\n\t\t\t\tif(cnt >= max_nb_values) break;\n\t\t\t}\n\t\t\tsb.append(\"\\\"]\");\n\t\t}\n\t}\n\t\n\tpublic static void addGeneNames(StringBuilder sb, String pre, StringArray64 geneNames, long max_nb_values)\n\t{\n\t\tif(geneNames != null)\n\t\t{\n\t\t\tsb.append(pre).append(\"\\\"genes\\\":[\");\n\t\t\tString prefix = \"\\\"\";\n\t\t\tlong cnt = 0; // To count the number of values to store\n\t\t\tfor(String val:geneNames) \n\t\t\t{\n\t\t\t\tsb.append(prefix);\n\t\t\t\tprefix = \"\\\",\\\"\";\n\t\t\t\tsb.append(val);\n\t\t\t\tcnt++;\n\t\t\t\tif(cnt >= max_nb_values) break;\n\t\t\t}\n\t\t\tsb.append(\"\\\"]\");\n\t\t}\n\t}\n\t\n}\nJava/src/bigarrays/FloatArray64.java\npublic class FloatArray64\n{\n\tprivate static final int CHUNK_SIZE = 1024*1024*512;\n\n    private long size;\n    private float[][] data;\n\n    public FloatArray64(long size)\n    {\n        this.size = size;\n        if(size == 0) data = null;\n        else \n        {\n            int chunks = (int)(size/CHUNK_SIZE);\n            int remainder = (int)(size - ((long)chunks)*CHUNK_SIZE);\n            data = new float[chunks+(remainder==0?0:1)][];\n            for(int idx=chunks; --idx>=0; ) data[idx] = new float[(int)CHUNK_SIZE];\n            if(remainder != 0) data[chunks] = new float[remainder];\n        }\n    }\n       \n    public static int chunkSize()\n    {\n    \treturn CHUNK_SIZE;\n    }\n    \n    public float[] toArray()\n    {\n    \tif(this.data.length == 1) return this.data[0];\n    \treturn null;\n    }\n    \n    public float get(long index) \n    {\n        if(index < 0 || index >= size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index / CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk) * CHUNK_SIZE));\n        return data[chunk][offset];\n    }\n    \n    public float[] getByChunk(int chunk) \n    {\n    \tif(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        return data[chunk];\n    }\n    \n    public void set(long index, float b) \n    {\n        if(index<0 || index>=size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index/CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk)*CHUNK_SIZE));\n        data[chunk][offset] = b;\n    }\n    \n    public void set(int chunk, float[] b) \n    {\n        if(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        data[chunk] = b;\n    }\n\n    public long size() \n    {\n        return this.size;\n    }\n    \n    public IntArray64 toIntArray()\n    {\n    \tIntArray64 array = new IntArray64(this.size);\n    \tfor(long i = 0; i < size; i++) array.set(i, (int)this.get(i));\n    \treturn array;\n    }\n}\nJava/src/json/WarningJSON.java\npublic class WarningJSON \n{\n\tprivate static ArrayList<String> warnings = new ArrayList<String>();\n\t\n\tpublic static void addWarning(String warningMessage) \n\t{\n\t\twarnings.add(warningMessage);\n\t}\n\t\n\tpublic static boolean isAnyWarning()\n\t{\n\t\treturn !warnings.isEmpty();\n\t}\n\t\n    public static String getJSON()\n    {\n    \tStringBuilder sb = new StringBuilder();\n    \tsb.append(\"\\\"warnings\\\":[\");\n    \tString prefix = \"\";\n    \tfor(String warning:warnings) \n    \t{\n    \t\tsb.append(prefix).append(\"\\\"\").append(warning).append(\"\\\"\");\n    \t\tprefix = \",\";\n    \t}\n    \tsb.append(\"]\");\n    \treturn sb.toString();\n    }\n}\nJava/src/bigarrays/StringArray64.java\npublic class StringArray64 implements Iterable<String>\n{\n\tprivate static final int CHUNK_SIZE = 1024*1024*512; //1GiB\n\n    private long size;\n    private String[][] data;\n\n    public StringArray64(String[] array) // TODO remove this\n    {\n        this.size = array.length;\n        if(size == 0) data = null;\n        else \n        {\n            data = new String[1][array.length];\n            data[0] = array;\n        }\n    }\n    \n    public StringArray64(long size)\n    {\n        this.size = size;\n        if(size == 0) data = null;\n        else \n        {\n            int chunks = (int)(size/CHUNK_SIZE);\n            int remainder = (int)(size - ((long)chunks)*CHUNK_SIZE);\n            data = new String[chunks+(remainder==0?0:1)][];\n            for(int idx=chunks; --idx>=0; ) { data[idx] = new String[(int)CHUNK_SIZE]; Arrays.fill(data[idx], \"\"); }\n            if(remainder != 0) { data[chunks] = new String[remainder]; Arrays.fill(data[chunks], \"\"); }\n        }\n    }\n    \n    public static int chunkSize()\n    {\n    \treturn CHUNK_SIZE;\n    }\n    \n    public String get(long index) \n    {\n        if(index < 0 || index >= size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index / CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk) * CHUNK_SIZE));\n        return data[chunk][offset];\n    }\n    \n    public String[] getByChunk(int chunk) \n    {\n    \tif(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        return data[chunk];\n    }\n    \n    public void set(long index, String b) \n    {\n        if(index<0 || index>=size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index/CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk)*CHUNK_SIZE));\n        data[chunk][offset] = b;\n    }\n    \n    public void set(int chunk, String[] b) \n    {\n        if(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        data[chunk] = b;\n    }\n\n    public StringArray64 copy()\n    {\n    \tStringArray64 copy = new StringArray64(this.size);\n    \tfor(long index = 0; index < this.size; index++) copy.set(index, this.get(index));\n    \treturn copy;\n    }\n    \n    public long size() \n    {\n        return this.size;\n    }\n\n\t@Override\n\tpublic Iterator<String> iterator() \n\t{\n\t\treturn new StringArray64Iterator();\n\t}\n\t\n\tprivate class StringArray64Iterator implements Iterator<String>\n\t{\n        private long position = 0;\n \n        public boolean hasNext() \n        {\n            if (position < size) return true;\n            return false;\n        }\n \n        public String next() \n        {\n            if(this.hasNext()) return get(position++);\n            return null;\n        }\n    }\n}\nJava/src/parsing/model/FileType.java\npublic enum FileType{RAW_TEXT, ARCHIVE, COMPRESSED, ARCHIVE_COMPRESSED, H5_10x, LOOM, H5AD, UNKNOWN}\nJava/src/model/Metatype.java\npublic enum Metatype {DISCRETE, NUMERIC, STRING, NOT_HANDLED}\nJava/src/model/Parameters.java\npublic class Parameters \n{\n\tpublic static int maxUniverse = 100000; // for FISHER EXACT TEST (max number of genes in background)\n\tpublic static enum OutputType{JSON, PLAIN_TEXT};\n\t\n\t// Debug\n\tpublic static boolean debugMode = false;\n\t\n\t// Chunking\n\tpublic static final int defaultChunkX = 64;\n\tpublic static final int defaultChunkY = 64;\n\t\n\t// Shared\n\tpublic static boolean scientific = false;\n\tpublic static String organism_S = null;\n\tpublic static String outputFolder = null;\n\tpublic static String outputFile = null;\n\tpublic static OutputType outputType = OutputType.JSON;\n\tpublic static String group = null;\n\tpublic static String fileName = null;\n\tpublic static String selection = null;\n\tpublic static FileType fileType = null;\n\tpublic static String loomVersion = \"3.0.0\";\n\tpublic static String fitModel = null;\n\tpublic static String erccFile = null;\n\tpublic static int organism = 1;\n\tpublic static int taxon = -1;\n\tpublic static long nCells = -1;\n\tpublic static long nGenes = -1;\n\tpublic static long[] indexes = null;\n\tpublic static long[] stable_ids = null;\n\tpublic static boolean export_stable_ids = false;\n\tpublic static String loom_cell_stable_ids = null;\n\tpublic static String[] names = null;\n\tpublic static String metaName = null;\n\tpublic static MetaOn which = null;\n\tpublic static Metatype metatype = null;\n\tpublic static Metatype[] metatypes = null;\n\tpublic static boolean displayValues = true;\n\tpublic static boolean displayNames = false;\n\tpublic static boolean displayRowNames = false;\n\tpublic static boolean displayColNames = false;\n\tpublic static String loomFile = null;\n\tpublic static String loomFile2 = null;\n\tpublic static double idleTime = 0;\n\tpublic static boolean isIndex = false;\n\tpublic static boolean removeAmbiguous = false;\n\tpublic static String value = null;\n\tpublic static boolean sort = false;\n\tpublic static String defaultMissingValue = \"-1\";\n\tpublic static long randomSeed = 42;\n\t\n\t// Module score\n\t// Seurat\n\tpublic static int nBins = 24;\n\tpublic static int nBackgroundGenes = 100;\n\t\n\t// Dimension Reduction\n\tpublic static dim_reduction.model.Model dimReducModel = null;\n\t\n\t// t-SNE\n\tpublic static int perplexity = -1;\n\t\n\t// DE\n\tpublic static differential_expression.Model deModel = null;\n\tpublic static String iAnnot = null;\n\tpublic static String oAnnot = null;\n\tpublic static String gAnnot = null;\n\tpublic static String group_1 = null;\n\tpublic static String group_2 = null;\n\tpublic static long id = -1;\n\t\n\t// Normalization\n\tpublic static long scale_factor = 10000; \n\t\n\t// Scaling\n\tpublic static long scale_max = 10; \n\tpublic static boolean scale = true;\n\tpublic static boolean center = true;\n\t\n\t// Filtering\n\tpublic static filtering.model.Model filtModel = null;\n\t// CPM\n\tpublic static int nbCountsPerCell = -1;\n\tpublic static int nbCellsDetected = -1;\n\t\n\t// CreateDLFile\n\tpublic static String JSONFileName = null;\n\t\n\t// Enrichment\n\tpublic static String adjMethod = \"fdr\";\n\tpublic static long geneset_id = -1;\n\tpublic static long[] geneset_ids = null;\n\tpublic static enrichment.model.Model enrichModel = enrichment.model.Model.FET;\n\tpublic static int maxGenesInPathway = 500;\n\tpublic static int minGenesInPathway = 15;\n\tpublic static float pThreshold = 1;\n\tpublic static float fdrThreshold = 1;\n\tpublic static float fcThreshold = 0;\n\tpublic static int topThreshold = Integer.MAX_VALUE;\n\t\n\t// ModuleScore\n\tpublic static module_score.model.Model moduleScoreModel = module_score.model.Model.Seurat;\n\tpublic static String metaForComputation = null;\n\t\n\t// Parsing\n\tpublic static boolean has_header = false;\n\tpublic static ColumnName name_column = ColumnName.NONE;\n\tpublic static String delimiter = \"\\t\";\n\t\n\tpublic static void load(String[] args, Mode m)\n\t{\n\t\tif(args.length == 0 && m != Mode.UpdateEnsemblDB)\n\t\t{\n\t\t\tprintHelp(m);\n\t\t\tSystem.exit(0);\n\t\t}\n\t\tswitch(m)\n\t\t{\n\t\t\tcase CreateGODB:\n\t\t\t\tloadCreateGODB(args);\n\t\t\t\tbreak;\n\t\t\tcase CreateKeggDB:\n\t\t\t\tloadCreateKeggDB(args);\n\t\t\t\tbreak;\n\t\t\tcase UpdateEnsemblDB:\n\t\t\t\tloadUpdateEnsemblDB(args);\n\t\t\t\tbreak;\n\t\t\tcase Enrichment:\n\t\t\t\tloadEnrichment(args);\n\t\t\t\tbreak;\n\t\t\tcase MarkerEnrichment:\n\t\t\t\tloadMarkerEnrichment(args);\n\t\t\t\tbreak;\n\t\t\tcase ModuleScore:\n\t\t\t\tloadModuleScore(args);\n\t\t\t\tbreak;\n\t\t\tcase Preparsing: \n\t\t\t\tloadPreparsing(args);\n\t\t\t\tbreak;\n\t\t\tcase Parsing: \n\t\t\t\tloadParsing(args);\n\t\t\t\tbreak;\n\t\t\tcase PreparseMetadata: \n\t\t\t\tloadPreparseMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase ParseMetadata: \n\t\t\t\tloadParseMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase CreateCellSelection:\n\t\t\t\tloadCreateCellSelection(args);\n\t\t\t\tbreak;\n\t\t\tcase FilterRows: \n\t\t\t\tloadFilterGenes(args);\n\t\t\t\tbreak;\n\t\t\tcase DimensionReduction: \n\t\t\t\tloadDimensionReduction(args);\n\t\t\t\tbreak;\n\t\t\tcase DifferentialExpression: \n\t\t\t\tloadDifferentialExpression(args);\n\t\t\t\tbreak;\n\t\t\tcase FindMarkers: \n\t\t\t\tloadFindMarkers(args);\n\t\t\t\tbreak;\n\t\t\tcase Normalization:\n\t\t\t\tloadNormalization(args);\n\t\t\t\tbreak;\n\t\t\tcase Scaling:\n\t\t\t\tloadScaling(args);\n\t\t\t\tbreak;\n\t\t\tcase RegenerateNewOrganism:\n\t\t\t\tloadRegenerateNewOrganism(args);\n\t\t\t\tbreak;\n\t\t\tcase IndexByCell:\n\t\t\t\tloadIndexByCell(args);\n\t\t\t\tbreak;\n\t\t\tcase GetIndex:\n\t\t\t\tloadGetIndex(args);\n\t\t\t\tbreak;\n\t\t\tcase GetGeneStats:\n\t\t\t\tloadGetGeneStats(args);\n\t\t\t\tbreak;\n\t\t\tcase ExtractRow:\n\t\t\t\tloadExtractRow(args);\n\t\t\t\tbreak;\n\t\t\tcase ExtractCol:\n\t\t\t\tloadExtractCol(args);\n\t\t\t\tbreak;\n\t\t\tcase ExtractDataset:\n\t\t\t\tloadExtractDataset(args);\n\t\t\t\tbreak;\n\t\t\tcase ListMetadata:\n\t\t\t\tloadListMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase ExtractMetadata:\n\t\t\t\tloadExtractMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase MatchValues:\n\t\t\t\tloadMatchValues(args);\n\t\t\t\tbreak;\n\t\t\tcase RemoveMetaData:\n\t\t\t\tloadRemoveMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase CopyMetaData:\n\t\t\t\tloadCopyMetadata(args);\n\t\t\t\tbreak;\n\t\t\tcase FilterCols:\n\t\t\t\tloadFilterCells(args);\n\t\t\t\tbreak;\n\t\t\tcase FilterDEMetadata:\n\t\t\t\tloadFilterDEMetadata(args);\n\t\t\t\tbreak;\n\t\t}\n\t}\n\t\n\tpublic static void loadEnrichment(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-m\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\tcase \"fet\":\n\t\t\t\t\t\t\tenrichModel = enrichment.model.Model.FET;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\tnew ErrorJSON(\"The entered model, \"+args[i]+ \", does not exist!\\nIt should be one of the following: [fet]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\t\t\t\t\t\t\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-geneset\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tgeneset_id = Long.parseLong(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-geneset' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-adj\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tadjMethod = args[i];\n\t\t\t\t\t\tif(!adjMethod.equals(\"bonferroni\") && !adjMethod.equals(\"fdr\") && !adjMethod.equals(\"none\"))\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-adj' option should be followed by one of those values: [bonferroni, fdr, none]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-max\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tmaxGenesInPathway = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\tif(maxGenesInPathway <0) throw new NumberFormatException();\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-max' option should be followed by an positive Integer value. You entered \" + args[i]);\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-min\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tminGenesInPathway = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\tif(minGenesInPathway <0) throw new NumberFormatException();\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-min' option should be followed by an positive Integer value. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please choose one by using the '-loom' option.\");\n\t\tif(geneset_id == -1) new ErrorJSON(\"No geneset id is specified, please choose one by using the '-geneset' option.\");\n\t\tif(fileName == null) new ErrorJSON(\"No JSON file containing the list of genes to enrich, please choose one by using the '-f' option.\");\n\t}\n\t\n\tpublic static void loadMarkerEnrichment(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\t\t\t\t\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\tcase \"--output-folder\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-i\":\n\t\t\t\t\tcase \"--input-folder\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tf = new File(fileName);\n\t\t\t\t\t\tif(!f.exists()) new ErrorJSON(fileName + \" does not exist.\");\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(fileName + \" is not a folder.\");\n\t\t\t\t\t\tif(!fileName.endsWith(\"/\")) fileName+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--genesets\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tgeneset_ids = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tgeneset_ids[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(geneset_ids[k] < 0) new ErrorJSON(\"The '--genesets' option should be followed by positive Long value(s). You entered \" + geneset_ids[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--genesets' option should be followed by an list of integers (eventually separated by commas if multiple). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(geneset_ids == null) new ErrorJSON(\"No geneset id is specified, please choose one by using the '--genesets' option.\");\n\t\tif(fileName == null) new ErrorJSON(\"No JSON file containing the list of genes to enrich, please choose one by using the '-i' option.\");\n\t\tif(outputFolder == null) new ErrorJSON(\"No output folder is specified, please choose one by using the '-o' option.\");\n\t}\n\t\n\tpublic static void loadModuleScore(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-m\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\tcase \"seurat\":\n\t\t\t\t\t\t\tmoduleScoreModel = module_score.model.Model.Seurat;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"pca\":\n\t\t\t\t\t\t\tmoduleScoreModel = module_score.model.Model.PCA;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\tnew ErrorJSON(\"The entered model, \"+args[i]+ \", does not exist!\\nIt should be one of the following: [seurat, pca]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\t\t\t\t\t\t\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-oAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toAnnot = args[i];\n\t\t\t\t\t\tif(!oAnnot.startsWith(\"/\")) oAnnot = \"/\" + oAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-seed\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\trandomSeed = Long.parseLong(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-seed' option should be followed by a Long. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-nBackgroundGenes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnBackgroundGenes = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-nBackgroundGenes' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-nBins\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnBins = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-nBins' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-geneset\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tgeneset_id = Long.parseLong(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-geneset' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-dataset\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaForComputation = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-metadata\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaName = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-sel\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tselection = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please choose one by using the '-loom' option.\");\n\t\tif(geneset_id == -1 && metaName == null) new ErrorJSON(\"No geneset is specified, please choose one by using the '-geneset' or '-metadata' option.\");\n\t\tif(geneset_id != -1 && metaName != null) new ErrorJSON(\"You specified both '-geneset' AND '-metadata' options, pick only ONE\");\n\t\tif(selection != null && metaName == null) new ErrorJSON(\"You specified a selection with '-sel' BUT '-metadata' IS NOT SET\");\n\t\tif(selection == null && metaName != null) new ErrorJSON(\"You specified a '-metadata' BUT selection with '-sel' IS NOT SET\");\n\t\tif(metaForComputation == null) new ErrorJSON(\"You should specify a dataset to use for computing the score, using '-dataset'\");\n\t}\n\n\tpublic static void loadUpdateEnsemblDB(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null)\n\t\t{\n\t\t\tprintHelp(Mode.UpdateEnsemblDB);\n\t\t\tnew ErrorJSON(\"You need to specify an output folder with -o option.\");\n\t\t}\n\t}\n\t\n\tpublic static void loadCreateKeggDB(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null)\n\t\t{\n\t\t\tprintHelp(Mode.CreateKeggDB);\n\t\t\tnew ErrorJSON(\"Please specify an output folder using -o option\");\n\t\t}\n\t}\n\t\n\tpublic static void loadCreateGODB(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null)\n\t\t{\n\t\t\tprintHelp(Mode.CreateGODB);\n\t\t\tnew ErrorJSON(\"Please specify an output folder using -o option\");\n\t\t}\n\t}\n\t\n\tpublic static void loadGetGeneStats(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loomFile).isDirectory()) new ErrorJSON(\"'-loom' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--indexes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The --indexes option should be followed by positive Long value(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tindexes = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tindexes[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(indexes[k] < 0) new ErrorJSON(\"The '--indexes' option should be followed by positive Long value(s). You entered \" + indexes[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--indexes' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--stable-ids\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The --stable-ids option should be followed by positive Long value(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tstable_ids = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tstable_ids[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(stable_ids[k] < 0) new ErrorJSON(\"The '--stable-ids' option should be followed by positive Long value(s). You entered \" + stable_ids[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--stable_ids' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--names\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The '--names' option should be followed by String(s).\");\n\t\t\t\t\t\tnames = args[i].split(\",\");\n\t\t\t\t\t\tfor(int k = 0; k < names.length; k++) names[k] = names[k].trim().toUpperCase(); \n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom-cells\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The '--loom-cells' option should be followed by a Loom file name.\");\n\t\t\t\t\t\tloom_cell_stable_ids = args[i];\n\t\t\t\t\t\tloom_cell_stable_ids = loom_cell_stable_ids.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loom_cell_stable_ids).isDirectory()) new ErrorJSON(\"'--loom-cells' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"Loom file parameter is missing\");\n\t\tif(indexes == null && names == null && stable_ids == null) new ErrorJSON(\"You need to use at least one of the following options --names, --indexes or --stable-ids\");\n\t\tif(indexes != null && names != null) new ErrorJSON(\"Please select whether --indexes or --names options. Not both.\");\n\t\tif(indexes != null && stable_ids != null) new ErrorJSON(\"Please select whether --indexes or --stable-ids options. Not both.\");\n\t\tif(names != null && stable_ids != null) new ErrorJSON(\"Please select whether --stable-ids or --names options. Not both.\");\n\t}\n\t\n\tpublic static void loadExtractRow(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loomFile).isDirectory()) new ErrorJSON(\"'-loom' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-prec\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tUtils.changeFormatter(Integer.parseInt(args[i]));\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-prec' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--sort\":\n\t\t\t\t\t\tsort = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-indexes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The -indexes option should be followed by String(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tindexes = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tindexes[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(indexes[k] < 0) new ErrorJSON(\"The '-indexes' option should be followed by positive Long value(s). You entered \" + indexes[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-indexes' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-stable_ids\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The -stable_ids option should be followed by String(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tstable_ids = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tstable_ids[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(stable_ids[k] < 0) new ErrorJSON(\"The '-stable_ids' option should be followed by positive Long value(s). You entered \" + stable_ids[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-stable_ids' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom_cells\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The -loom_cells option should be followed by String(s).\");\n\t\t\t\t\t\tloom_cell_stable_ids = args[i];\n\t\t\t\t\t\tloom_cell_stable_ids = loom_cell_stable_ids.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loom_cell_stable_ids).isDirectory()) new ErrorJSON(\"'-loom_cell_stable_ids' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-names\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The '-names' option should be followed by String(s).\");\n\t\t\t\t\t\tnames = args[i].split(\",\");\n\t\t\t\t\t\tfor(int k = 0; k < names.length; k++) names[k] = names[k].trim().toUpperCase(); \n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-display-names\":\n\t\t\t\t\t\tdisplayNames = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.ExtractRow);\n\t\t\tnew ErrorJSON(\"Loom file parameter is missing\");\n\t\t}\n\t\tif(iAnnot == null) iAnnot = \"/matrix\";\n\t\tif(indexes == null && names == null && stable_ids == null) new ErrorJSON(\"You need to use at least one of the following options -names, -indexes or -stable_ids\");\n\t\tif(indexes != null && names != null) new ErrorJSON(\"Please select whether -indexes or -names options. Not both.\");\n\t\tif(indexes != null && stable_ids != null) new ErrorJSON(\"Please select whether indexes or -stable_ids options. Not both.\");\n\t\tif(names != null && stable_ids != null) new ErrorJSON(\"Please select whether -stable_ids or -names options. Not both.\");\n\t}\n\t\n\tpublic static void loadExtractCol(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-indexes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The -indexes option should be followed by String(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tindexes = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tindexes[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(indexes[k] < 0) new ErrorJSON(\"The '-indexes' option should be followed by positive Long value(s). You entered \" + indexes[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-indexes' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-prec\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tUtils.changeFormatter(Integer.parseInt(args[i]));\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-prec' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-names\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The '-names' option should be followed by String(s).\");\n\t\t\t\t\t\tnames = args[i].split(\",\");\n\t\t\t\t\t\tfor(int k = 0; k < names.length; k++) names[k] = names[k].trim().toUpperCase(); \n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-display-names\":\n\t\t\t\t\t\tdisplayNames = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-display-stable-ids\":\n\t\t\t\t\t\texport_stable_ids = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.ExtractCol);\n\t\t\tSystem.exit(-1);\n\t\t}\n\t\tif(iAnnot == null) iAnnot = \"/matrix\";\n\t\tif(indexes == null && names == null) new ErrorJSON(\"You need to use at least one of the two options -names or -indexes\");\n\t\tif(indexes != null && names != null) new ErrorJSON(\"You need to use only one of the two options -names or -indexes, not both\");\n\t}\n\t\n\tpublic static void loadExtractDataset(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\tcase \"--output-file\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFile = args[i];\n\t\t\t\t\t\toutputFile = outputFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(outputFile).isDirectory()) new ErrorJSON(\"'-o' | '--output-file' should be followed by a file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-t\":\n\t\t\t\t\tcase \"--output-type\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\toutputType = OutputType.valueOf(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(IllegalArgumentException iae)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"This output type '\" + args[i] + \"' does not exist. Please select in [JSON, PLAIN_TEXT]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loomFile).isDirectory()) new ErrorJSON(\"'--loom' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--prec\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tUtils.changeFormatter(Integer.parseInt(args[i]));\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-prec' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--row-names\":\n\t\t\t\t\t\tdisplayRowNames = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--col-names\":\n\t\t\t\t\t\tdisplayColNames = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--col-indexes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The --col-indexes option should be followed by String(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tindexes = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tindexes[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(indexes[k] < 0) new ErrorJSON(\"The '--col-indexes' option should be followed by positive Long value(s). You entered \" + indexes[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--col-indexes' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--col-stableids\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The --col-stableids option should be followed by String(s).\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tString[] tokens = args[i].split(\",\");\n\t\t\t\t\t\t\tstable_ids = new long[tokens.length];\n\t\t\t\t\t\t\tfor(int k = 0; k < tokens.length; k++) \n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tstable_ids[k] = Long.parseLong(tokens[k]);\n\t\t\t\t\t\t\t\tif(stable_ids[k] < 0) new ErrorJSON(\"The '--col-stableids' option should be followed by positive Long value(s). You entered \" + stable_ids[k]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--col-stableids' option should be followed by positive Long value(s). You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom-cells\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"\")) new ErrorJSON(\"The --loom-cells option should be followed by String(s).\");\n\t\t\t\t\t\tloom_cell_stable_ids = args[i];\n\t\t\t\t\t\tloom_cell_stable_ids = loom_cell_stable_ids.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(loom_cell_stable_ids).isDirectory()) new ErrorJSON(\"'--loom-cells' should be followed by a Loom file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.ExtractDataset);\n\t\t\tnew ErrorJSON(\"Loom file parameter is missing\", outputFile);\n\t\t}\n\t\tif(iAnnot == null) iAnnot = \"/matrix\";\n\t\tif(loom_cell_stable_ids == null) loom_cell_stable_ids = loomFile;\n\t}\n\t\n\tpublic static void loadListMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(fileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.ListMetadata);\n\t\t\tSystem.exit(-1);\n\t\t}\n\t}\n\t\n\tpublic static void loadExtractMetadata(String[] args)\n\t{\n\t\tint precision = 3; // default\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFile = args[i];\n\t\t\t\t\t\toutputFile = outputFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(outputFile).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-meta\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaName = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-metaJSON\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here it is a folder name!\");\n\t\t\t\t\t\tif(!new File(JSONFileName).exists()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here, the file does not exist!\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-type\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tmetatype = Metatype.valueOf(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(IllegalArgumentException iae)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"This metadata type '\" + args[i] + \"' does not exist.\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-prec\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tprecision = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-prec' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-no-values\":\n\t\t\t\t\t\tdisplayValues = false;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--scientific\":\n\t\t\t\t\t\tscientific = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-names\":\n\t\t\t\t\t\tdisplayNames = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tUtils.changeFormatter(precision);\n\t\tif(loomFile == null) new ErrorJSON(\"Please specify a loom file to extract metadata from using -loom option\");\n\t\tif(metaName == null && JSONFileName == null) new ErrorJSON(\"Please specify metadata(s) using -meta or -metaJSON option\");\n\t\tif(metaName != null && JSONFileName != null) new ErrorJSON(\"Please specify metadata(s) using -meta OR -metaJSON option. You specified both.\");\n\t}\n\t\n\tpublic static void loadMatchValues(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-value\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tvalue = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-light\":\n\t\t\t\t\t\tdisplayValues = false;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"You need to specify a Loom file using the -loom option.\");\n\t\tif(iAnnot == null) new ErrorJSON(\"You need to specify a metadata path to extract using -iAnnot option.\");\n\t\tif(value == null) new ErrorJSON(\"You need to specify a value for the metadata to select indexes equal to this value using -value option.\");\n\t}\n\t\n\tpublic static void loadCreateCellSelection(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFile = args[i];\n\t\t\t\t\t\toutputFile = outputFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(outputFile).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-f' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-meta\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaName = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(JSONFileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.CreateCellSelection);\n\t\t\tnew ErrorJSON(\"Please specify the input JSON file (containing list of indexes of cells to filter) using -f option\");\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.CreateCellSelection);\n\t\t\tnew ErrorJSON(\"Please specify a loom file using -loom option\");\n\t\t}\n\t\tif(metaName == null)\n\t\t{\n\t\t\tprintHelp(Mode.CreateCellSelection);\n\t\t\tnew ErrorJSON(\"Please specify a Metadata Path to create using -meta option\");\n\t\t}\n\t}\n\t\n\tpublic static void loadRemoveMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFile = args[i];\n\t\t\t\t\t\toutputFile = outputFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(outputFile).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-metaJSON\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here it is a folder name!\");\n\t\t\t\t\t\tif(!new File(JSONFileName).exists()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here, the file does not exist!\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-meta\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaName = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.RemoveMetaData);\n\t\t\tnew ErrorJSON(\"Please specify a loom file using -loom option\");\n\t\t}\n\t\tif(metaName == null && JSONFileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.RemoveMetaData);\n\t\t\tnew ErrorJSON(\"Please specify a metadata using -meta or -metaJSON option\");\n\t\t}\n\t}\n\t\n\tpublic static void loadCopyMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-loomFrom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loomTo\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile2 = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile2);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile2);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile2 + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-metaJSON\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here it is a folder name!\");\n\t\t\t\t\t\tif(!new File(JSONFileName).exists()) new ErrorJSON(\"'-metaJSON' should be followed by a JSON file containing metadata path in the Loom. Here, the file does not exist!\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-meta\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tmetaName = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFile = args[i];\n\t\t\t\t\t\toutputFile = outputFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(outputFile).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"Please specify a loom file to copy FROM using -loomFrom option\");\n\t\tif(loomFile2 == null) new ErrorJSON(\"Please specify a loom file to copy TO using -loomTo option\");\n\t\tif(metaName == null && JSONFileName == null) new ErrorJSON(\"Please specify metadata(s) using -meta or -metaJSON option\");\n\t\tif(metaName != null && JSONFileName != null) new ErrorJSON(\"Please specify metadata(s) using -meta OR -metaJSON option. You specified both.\");\n\t}\n\t\n\tpublic static void loadFilterCells(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-col_indexes_file\":\n\t\t\t\t\t\tisIndex = true;\n\t\t\t\t\tcase \"-col_names_file\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-col_names_file' should be followed by a JSON file name containing cell names, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null)\n\t\t{\n\t\t\tprintHelp(Mode.FilterCols);\n\t\t\tnew ErrorJSON(\"Please specify an output folder using -o option\");\n\t\t}\n\t\tif(loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.FilterCols);\n\t\t\tnew ErrorJSON(\"Please specify a loom file to filter using -loom option\");\n\t\t}\n\t\tif(JSONFileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.FilterCols);\n\t\t\tnew ErrorJSON(\"Please specify a JSON file containing Cells to filter out using -col_names_file option\");\n\t\t}\n\t}\n\t\n\tpublic static void loadFilterDEMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-light\":\n\t\t\t\t\t\tdisplayValues = false;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-p\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tpThreshold = Float.parseFloat(args[i].replaceAll(\",\", \".\"));\n\t\t\t\t\t\t\tif(pThreshold < 0 || pThreshold > 1) new ErrorJSON(\"The '-p' option should be followed by a float in [0,1]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-p' option should be followed by a Float. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-fdr\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfdrThreshold = Float.parseFloat(args[i].replaceAll(\",\", \".\"));\n\t\t\t\t\t\t\tif(fdrThreshold < 0 || fdrThreshold > 1) new ErrorJSON(\"The '-fdr' option should be followed by a float in [0,1]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-fdr' option should be followed by a Float. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-fc\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfcThreshold = Float.parseFloat(args[i].replaceAll(\",\", \".\"));\n\t\t\t\t\t\t\tif(fcThreshold < 0 ) new ErrorJSON(\"The '-fc' option should be followed by a POSITIVE Float. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-fc' option should be followed by a Float. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-top\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\ttopThreshold = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\tif(topThreshold <= 0 ) new ErrorJSON(\"The '-top' option should be followed by a POSITIVE Float. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-top' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '-loom' option.\\n\");\n\t\tif(iAnnot == null) new ErrorJSON(\"No metadata (for DE results) is specified, please use the '-iAnnot' option.\\n\");\n\t}\n\t\t\n\tpublic static void loadRegenerateNewOrganism(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-organism\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\torganism = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-organism' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-j\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(JSONFileName == null || outputFolder == null)\n\t\t{\n\t\t\tprintHelp(Mode.RegenerateNewOrganism);\n\t\t\tSystem.exit(-1);\n\t\t}\n\t}\n\t\n\tpublic static void loadIndexByCell(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\tcase \"--output\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loomIndex\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile2 = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile2);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile2);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile2 + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--loomIndex' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--id\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tid = Long.parseLong(args[i]);\n\t\t\t\t\t\t\tif(id < 0) new ErrorJSON(\"The '--id' option should be followed by a Positive Long. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--id' option should be followed by a Long. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '--loom' option.\\n\");\n\t\tif(loomFile2 == null) new ErrorJSON(\"No Index Loom file is specified, please use the '--loomIndex' option.\\n\");\n\t\tif(iAnnot == null) new ErrorJSON(\"No input dataset is specified, please use the '--iAnnot' option.\\n\");\n\t\tif(id == -1) new ErrorJSON(\"No table id is specified for the metadata, please use the '--id' option.\\n\");\n\t\tif(outputFolder != null) new File(outputFolder).mkdirs();\n\t}\n\t\n\tpublic static void loadGetIndex(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\tcase \"--output\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loomIndex\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--loomIndex' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--jsonListCells\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'--jsonListCells' should be followed by a JSON file name containing cell names, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Index Loom file is specified, please use the '--loomIndex' option.\\n\");\n\t\tif(JSONFileName == null) new ErrorJSON(\"No JSON file name (with cell names) is specified, please use the '--jsonListCells' option.\\n\");\n\t\tif(outputFolder != null) new File(outputFolder).mkdirs();\n\t}\n\t\n\tpublic static void loadParsing(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-type\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfileType = FileType.valueOf(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(IllegalArgumentException iae)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"This file type '\" + args[i] + \"' does not exist.\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-ncells\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnCells = Long.parseLong(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-ncells' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-ngenes\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnGenes = Long.parseLong(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-ngenes' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfileName = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(fileName);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + fileName);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(fileName + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-f' option should be followed by dataset file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-header\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\thas_header = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-d\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tdelimiter = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-organism\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\torganism = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-organism' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-col\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"first\": name_column = ColumnName.FIRST; break;\n\t\t\t\t\t\t\tcase \"last\": name_column = ColumnName.LAST; break;\n\t\t\t\t\t\t\tcase \"none\": name_column = ColumnName.NONE; break;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-col' option should be followed by [last, first, none]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-sel\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tselection = args[i];\n\t\t\t\t\t\tselection = selection.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null) new ErrorJSON(\"-o is mandatory option for parsing.\");\n\t\tif(fileName == null) new ErrorJSON(\"-f is mandatory option for parsing.\");\n\t\tif(nCells == -1) new ErrorJSON(\"-ncells is mandatory option for parsing.\");\n\t\tif(nGenes == -1) new ErrorJSON(\"-ngenes is mandatory option for parsing.\");\n\t\tif(fileType == null) new ErrorJSON(\"-type is mandatory option for parsing.\");\n\t\tif(fileType == FileType.H5_10x || fileType == FileType.LOOM)\n\t\t{\n\t\t\tif(has_header) new ErrorJSON(\"The header should not be set to true if filetype = H5 or LOOM\");\n\t\t\tif(!delimiter.equals(\"\\t\")) new ErrorJSON(\"The Delimiter should not be set when filetype = H5 or LOOM\");\n\t\t\tif(name_column != ColumnName.NONE) new ErrorJSON(\"There should not be a '-col' option when filetype = H5 or LOOM\");\n\t\t}\n\t}\n\t\n\tpublic static void loadParseMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-type\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfileType = FileType.valueOf(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(IllegalArgumentException iae)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"This file type '\" + args[i] + \"' does not exist.\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tfileName = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(fileName);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + fileName);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(fileName + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-f' option should be followed by dataset file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-header\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\thas_header = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-d\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tdelimiter = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-col\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"first\": name_column = ColumnName.FIRST; break;\n\t\t\t\t\t\t\tcase \"last\": name_column = ColumnName.LAST; break;\n\t\t\t\t\t\t\tcase \"none\": name_column = ColumnName.NONE; break;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-col' option should be followed by [last, first, none]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-sel\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tselection = args[i];\n\t\t\t\t\t\tselection = selection.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-which\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i].toLowerCase())\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"gene\":\n\t\t\t\t\t\t\t\tParameters.which = MetaOn.GENE;\n\t\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\t\tcase \"cell\":\n\t\t\t\t\t\t\t\tParameters.which = MetaOn.CELL;\n\t\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(args[i] + \" is incompatible with the 'which' option. Please choose between [cell, gene].\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-metadataType\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tString[] mTypes = args[i].split(\",\");\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tArrayList<Metatype> mT = new ArrayList<Metatype>();\n\t\t\t\t\t\t\tfor(String m:mTypes)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tm = m.trim();\n\t\t\t\t\t\t\t\tif(!m.equals(\"\")) mT.add(Metatype.valueOf(m));\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tmetatypes = new Metatype[mT.size()];\n\t\t\t\t\t\t\tfor(int k = 0; k < metatypes.length; k++) metatypes[k] = mT.get(k);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(IllegalArgumentException iae)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"Unknown metadata type in '\" + args[i] + \"'\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-removeAmbiguous\":\n\t\t\t\t\t\tremoveAmbiguous = true;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\t//if(removeAmbiguous) System.out.println(\"You chose to remove ambiguous genes.\");\n\t\t//if(which != null) System.out.println(\"You specified that the metadata was applied on \" + which);\n\t\t//else \n\t\t//{\n\t\t//\tSystem.out.println(\"You DID NOT specify if the metadata was applied on [cell,gene] using the -which option. Set default to CELL.\");\n\t\t//\twhich = MetaOn.CELL;\n\t\t//}\n\t\tif(fileName == null) new ErrorJSON(\"Please specify a metadata file to preparse with '-f'\");\n\t\tif(loomFile == null) new ErrorJSON(\"Please specify a Loom file to which adding metadata with '-loom'\");\n\t\tif(fileType == null) new ErrorJSON(\"-type is mandatory option for metadata parsing.\");\n\t\tif(fileType == FileType.H5_10x || fileType == FileType.LOOM) new ErrorJSON(\"Cannot extract metadata from these files atm.\");\n\t}\n\t\n\tpublic static void loadPreparsing(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-header\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\thas_header = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-d\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tdelimiter = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-col\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"first\": name_column = ColumnName.FIRST; break;\n\t\t\t\t\t\t\tcase \"last\": name_column = ColumnName.LAST; break;\n\t\t\t\t\t\t\tcase \"none\": name_column = ColumnName.NONE; break;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-col' option should be followed by [last, first, none]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-organism\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\torganism = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-organism' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-sel\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tselection = args[i];\n\t\t\t\t\t\tselection = selection.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-h\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tDBManager.URL = Config.ConfigMAIN().getURLFromHost(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(outputFolder == null) new ErrorJSON(\"The output folder '-o' is mandatory for Preparsing.\");\n\t\tif(fileName == null) new ErrorJSON(\"Please specify a file to preparse with 'f'\");\n\t}\n\t\n\tpublic static void loadPreparseMetadata(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-header\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\thas_header = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-d\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tdelimiter = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-col\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"first\": name_column = ColumnName.FIRST; break;\n\t\t\t\t\t\t\tcase \"last\": name_column = ColumnName.LAST; break;\n\t\t\t\t\t\t\tcase \"none\": name_column = ColumnName.NONE; break;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-col' option should be followed by [last, first, none]. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-sel\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tselection = args[i];\n\t\t\t\t\t\tselection = selection.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-which\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i].toLowerCase())\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tcase \"gene\":\n\t\t\t\t\t\t\t\tParameters.which = MetaOn.GENE;\n\t\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\t\tcase \"cell\":\n\t\t\t\t\t\t\t\tParameters.which = MetaOn.CELL;\n\t\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\t\tnew ErrorJSON(args[i] + \" is incompatible with the 'which' option. Please choose between [cell, gene].\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\t//if(which != null) System.out.println(\"You specified that the metadata was applied on \" + which);\n\t\t//else \n\t\t//{\n\t\t//\tSystem.out.println(\"You DID NOT specify if the metadata was applied on [cell,gene] using the -which option. Set default to CELL.\");\n\t\t//\twhich = MetaOn.CELL;\n\t\t//}\n\t\tif(fileName == null) new ErrorJSON(\"Please specify a metadata file to preparse with '-f'\");\n\t\tif(loomFile == null) new ErrorJSON(\"Please specify a Loom file to which adding metadata with '-loom'\");\n\t}\n\t\n\tpublic static void loadFilterGenes(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tloomFile = args[i];\n\t\t\t\t\t\tloomFile = loomFile.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-row_names_file\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-row_names_file' should be followed by a JSON file name containing gene IDs to keep, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-m\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\tcase \"basic\":\n\t\t\t\t\t\t\tfiltModel = filtering.model.Model.BASIC;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"cpm\":\n\t\t\t\t\t\t\tfiltModel = filtering.model.Model.CPM;\n\t\t\t\t\t\t\ti++;\n\t\t\t\t\t\t\ttry\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnbCountsPerCell = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m cpm' model should be followed by two Integers: 'nbCountsPerCell nbCellsDetected'. The first one you entered is not an Integer: \" + args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(ArrayIndexOutOfBoundsException aioobe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m cpm' model should be followed by two Integers: 'nbCountsPerCell nbCellsDetected'. The first one is missing!\");\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\ti++;\n\t\t\t\t\t\t\ttry\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnbCellsDetected = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m cpm' model should be followed by two Integers: 'nbCountsPerCell nbCellsDetected'. The second one you entered is not an Integer: \" + args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(ArrayIndexOutOfBoundsException aioobe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m cpm' model should be followed by two Integers: 'nbCountsPerCell nbCellsDetected'. The second one is missing!\");\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tif(nbCountsPerCell < 0 || nbCellsDetected < 0) new ErrorJSON(\"The '-m cpm' model should be followed by two positive Integers. You entered '\" + nbCountsPerCell + \" \" + nbCellsDetected + \"'.\" );\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"keep\":\n\t\t\t\t\t\t\tfiltModel = filtering.model.Model.KEEP;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\tnew ErrorJSON(\"The entered model, \"+args[i]+ \", does not exist!\\nIt should be one of the following: [basic, cpm, keep]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\t\t\t\t\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(filtModel== null || outputFolder == null || loomFile == null)\n\t\t{\n\t\t\tprintHelp(Mode.FilterRows);\n\t\t\tString error = \"Filtering cannot be run because parameters are missing:\\n\";\n\t\t\tif(filtModel == null) error += \"No model is specified, please choose a model by using the '-m' option.\\n\";\n\t\t\tif(loomFile == null) error += \"No file is specified, please choose a data file by using the '-f' option.\\n\";\n\t\t\tif(outputFolder == null) error += \"No output folder is specified, please choose an output file by using the '-o' option.\\n\";\n\t\t\tnew ErrorJSON(error); // This stops the program\n\t\t}\n\t\tif(filtModel == filtering.model.Model.KEEP && JSONFileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.FilterRows);\n\t\t\tnew ErrorJSON(\"Please specify a JSON file containing Cells to filter out after filtering using -row_names_file option\");\n\t\t}\n\t\tif(filtModel == filtering.model.Model.CPM && (nbCountsPerCell == -1 || nbCellsDetected == -1))\n\t\t{\n\t\t\tnew ErrorJSON(\"The '-m cpm' model should be followed by two Integers: 'nbCountsPerCell nbCellsDetected'.\");\n\t\t}\n\t}\n\t\n\tpublic static void loadDimensionReduction(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tnew File(outputFolder).mkdirs();\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-f\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tfileName = args[i];\n\t\t\t\t\t\tfileName = fileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-m\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\tcase \"pca\":\n\t\t\t\t\t\t\tdimReducModel = dim_reduction.model.Model.PCA;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"mds\":\n\t\t\t\t\t\t\tdimReducModel = dim_reduction.model.Model.MDS;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"zifa\":\n\t\t\t\t\t\t\tdimReducModel = dim_reduction.model.Model.ZIFA;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tcase \"tsne\":\n\t\t\t\t\t\t\tdimReducModel = dim_reduction.model.Model.TSNE;\n\t\t\t\t\t\t\ti++;\n\t\t\t\t\t\t\ttry\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tperplexity = Integer.parseInt(args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m tsne' model should be followed by an Integer: 'perplexity'. The value you entered is not an Integer: \" + args[i]);\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tcatch(ArrayIndexOutOfBoundsException aioobe)\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t\tnew ErrorJSON(\"The '-m tsne' model should be followed by an Integer: 'perplexity'. This parameter is missing!\");\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t\tif(perplexity <= 0) new ErrorJSON(\"The '-m tsne' model should be followed by an Integer: 'perplexity' greater than 0. You entered '\" + perplexity + \"'.\" );\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\tnew ErrorJSON(\"The entered model, \"+args[i]+ \", does not exist!\\nIt should be one of the following: [pca, mds, tsne, zifa]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\t\t\t\t\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(dimReducModel == null || outputFolder == null || fileName == null)\n\t\t{\n\t\t\tprintHelp(Mode.DimensionReduction);\n\t\t\tString error = \"Filtering cannot be run because parameters are missing:\\n\";\n\t\t\tif(dimReducModel == null) error += \"No model is specified, please choose a model by using the '-m' option.\\n\";\n\t\t\tif(fileName == null) error += \"No file is specified, please choose a data file by using the '-f' option.\\n\";\n\t\t\tif(outputFolder == null) error += \"No output folder is specified, please choose an output file by using the '-o' option.\\n\";\n\t\t\tnew ErrorJSON(error); // This stops the program\n\t\t}\n\t\tnew File(outputFolder).mkdirs();\n\t\tif(dimReducModel == dim_reduction.model.Model.TSNE && perplexity == -1)\n\t\t{\n\t\t\tnew ErrorJSON(\"The '-m tsne' model should be followed by an Integer: 'perplexity'. This parameter is missing!\");\n\t\t}\n\t}\n\t\n\tpublic static void loadDifferentialExpression(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-oAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toAnnot = args[i];\n\t\t\t\t\t\tif(!oAnnot.startsWith(\"/\")) oAnnot = \"/\" + oAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-gAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tgAnnot = args[i];\n\t\t\t\t\t\tif(!gAnnot.startsWith(\"/\")) gAnnot = \"/\" + gAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-g1\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tgroup_1 = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-g2\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tif(args[i].equals(\"null\")) group_2 = null;\n\t\t\t\t\t\telse group_2 = args[i];\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-m\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tswitch(args[i])\n\t\t\t\t\t\t{\n\t\t\t\t\t\tcase \"wilcox_asap\":\n\t\t\t\t\t\t\tdeModel = differential_expression.Model.Wilcoxon;\n\t\t\t\t\t\t\tbreak;\n\t\t\t\t\t\tdefault:\n\t\t\t\t\t\t\tnew ErrorJSON(\"The entered model, \"+args[i]+ \", does not exist!\\nIt should be one of the following: [wilcox-asap]\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\t\t\t\t\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(deModel == null) new ErrorJSON(\"No model is specified, please choose a model by using the '-m' option.\\n\");\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '-loom' option.\\n\");\n\t\tif(outputFolder == null) new ErrorJSON(\"No Output folder is specified, please use the '-o' option.\\n\");\n\t\tif(iAnnot == null) new ErrorJSON(\"No input dataset is specified, please use the '-iAnnot' option.\\n\");\n\t\tif(oAnnot == null) new ErrorJSON(\"No output metadata for results is specified, please use the '-oAnnot' option.\\n\");\n\t\tif(gAnnot == null) new ErrorJSON(\"No group metadata is specified, please use the '-gAnnot' option.\\n\");\n\t\tif(group_1 == null) new ErrorJSON(\"No reference group is specified, please use the '-g1' option.\\n\");\n\t\tif(group_2 == null) System.out.println(\"No comparison group is specified, will perform reference group vs the rest of the groups\");\n\t\tif(group_1 == group_2) new ErrorJSON(\"Cannot compute DE from the same group.\");\n\t\tnew File(outputFolder).mkdirs();\n\t}\n\t\n\tpublic static void loadFindMarkers(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\tcase \"--output\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toutputFolder = args[i];\n\t\t\t\t\t\toutputFolder = outputFolder.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tFile f = new File(outputFolder);\n\t\t\t\t\t\tif(!f.exists()) f.mkdirs();\n\t\t\t\t\t\telse if(!f.isDirectory()) new ErrorJSON(outputFolder + \" is not a folder.\");\n\t\t\t\t\t\tif(!outputFolder.endsWith(\"/\")) outputFolder+= \"/\";\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"--id\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tid = Long.parseLong(args[i]);\n\t\t\t\t\t\t\tif(id < 0) new ErrorJSON(\"The '--id' option should be followed by a Positive Long. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '--id' option should be followed by a Long. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tSystem.err.println(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '--loom' option\");\n\t\tif(iAnnot == null) new ErrorJSON(\"No input dataset is specified, please use the '--iAnnot' option\");\n\t\tif(id == -1) new ErrorJSON(\"No table id is specified for the metadata, please use the '--id' option\");\n\t\tif(outputFolder == null) new ErrorJSON(\"No output folder was specified with '-o' option. Please specify an output folder.\");\n\t\tnew File(outputFolder).mkdirs();\n\t}\n\t\n\tpublic static void loadNormalization(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-oAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toAnnot = args[i];\n\t\t\t\t\t\tif(!oAnnot.startsWith(\"/\")) oAnnot = \"/\" + oAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-scaleFactor\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tscale_factor = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-scaleFactor' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tnew ErrorJSON(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '-loom' option.\\n\");\n\t\tif(oAnnot == null) new ErrorJSON(\"No output metadata for results is specified, please use the '-oAnnot' option.\\n\");\n\t}\n\t\n\tpublic static void loadScaling(String[] args)\n\t{\n\t\tfor(int i = 0; i < args.length; i++) \n\t\t{\n\t\t\tString arg = args[i];\n\t\t\tif(arg.startsWith(\"-\"))\n\t\t\t{\n\t\t\t\tswitch(arg)\n\t\t\t\t{\n\t\t\t\t\tcase \"-o\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tJSONFileName = args[i];\n\t\t\t\t\t\tJSONFileName = JSONFileName.replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\tif(new File(JSONFileName).isDirectory()) new ErrorJSON(\"'-o' should be followed by a JSON file name, not a folder name.\");\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-loom\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tloomFile = args[i].replaceAll(\"\\\\\\\\\", \"/\");\n\t\t\t\t\t\t\tFile c = new File(loomFile);\n\t\t\t\t\t\t\tif(!c.exists()) new ErrorJSON(\"No file at path \" + loomFile);\n\t\t\t\t\t\t\tif(!c.isFile()) new ErrorJSON(loomFile + \" is not a file\");\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(Exception e)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-loom' option should be followed by Loom file path. \" + e.getMessage() + \". You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-iAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tiAnnot = args[i];\n\t\t\t\t\t\tif(!iAnnot.startsWith(\"/\")) iAnnot = \"/\" + iAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-oAnnot\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\toAnnot = args[i];\n\t\t\t\t\t\tif(!oAnnot.startsWith(\"/\")) oAnnot = \"/\" + oAnnot;\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-scaleMax\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\ttry\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tscale_max = Integer.parseInt(args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tcatch(NumberFormatException nfe)\n\t\t\t\t\t\t{\n\t\t\t\t\t\t\tnew ErrorJSON(\"The '-scaleMax' option should be followed by an Integer. You entered \" + args[i]);\n\t\t\t\t\t\t}\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-scale\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tscale = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tcase \"-center\":\n\t\t\t\t\t\ti++;\n\t\t\t\t\t\tcenter = Boolean.parseBoolean(args[i]);\n\t\t\t\t\t\tbreak;\n\t\t\t\t\tdefault:\n\t\t\t\t\t\tnew ErrorJSON(\"Unused argument: \" + arg);\n\t\t\t\t}\n\t\t\t}\n\t\t}\n\t\tif(loomFile == null) new ErrorJSON(\"No Loom file is specified, please use the '-loom' option.\\n\");\n\t\tif(oAnnot == null) new ErrorJSON(\"No output metadata for results is specified, please use the '-oAnnot' option.\\n\");\n\t\tif(iAnnot == null) new ErrorJSON(\"No input metadata for results is specified, please use the '-iAnnot' option.\\n\");\n\t}\n\t\n\tpublic static void printHelp(Mode m)\n\t{\n\t\tswitch(m)\n\t\t{\n\t\t\tcase Enrichment: \n\t\t\t\tSystem.out.println(\"Enrichment Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-m %s \\t\\tChoose a model amongst [fet, default = fet].\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file containing the genes to enrich.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\t[Required] The JSON file containing the selected cell indexes.\");\n\t\t\t\tSystem.out.println(\"-geneset %i \\t[Required]Id of the gene_sets to use for enrichment in the DB.\");\n\t\t\t\tSystem.out.println(\"-adj %s \\tStatitical adjustment method for multiple comparision [bonferroni, fdr, or none, default = fdr].\");\n\t\t\t\tSystem.out.println(\"-min %i \\tMinimum number of genes in a pathway for being taken into consideration [default = 15].\");\n\t\t\t\tSystem.out.println(\"-max %i \\tMaximum number of genes in a pathway for being taken into consideration [default = 500].\");\n\t\t\t\tif(Parameters.debugMode) System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigDEV().getProperty(\"mDbHost\") + \")\");\n\t\t\t\telse System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigMAIN().getProperty(\"mDbHost\") + \")\");\n\t\t\t\tbreak;\n\t\t\tcase MarkerEnrichment: \n\t\t\t\tSystem.out.println(\"MarkerEnrichment Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o | --output-folder %s \\t[Required] Output folder\");\n\t\t\t\tSystem.out.println(\"-i | --input-folder %s \\t\\t[Required] The folder path containing the FindMarker's output\");\n\t\t\t\tSystem.out.println(\"--genesets %i,%i,... \\t\\t[Required]Id of the gene_sets to use for enrichment in the DB (separated by comma, if multiple).\");\n\t\t\t\tif(Parameters.debugMode) System.out.println(\"-h %s \\t\\t\\t\\tTo change specific host (default is \" + Config.ConfigDEV().getProperty(\"mDbHost\") + \")\");\n\t\t\t\telse System.out.println(\"-h %s \\t\\t\\t\\tTo change specific host (default is \" + Config.ConfigMAIN().getProperty(\"mDbHost\") + \")\");\n\t\t\t\tbreak;\n\t\t\tcase ModuleScore: \n\t\t\t\tSystem.out.println(\"ModuleScore Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-m %s \\t\\tChoose a model amongst [seurat, pca] (default = seurat)\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to compute the module score on.\");\n\t\t\t\tSystem.out.println(\"-geneset %i \\t[Required, or -metadata]Id of the gene set (in the DB) to use for selecting the genes used for the module score\");\n\t\t\t\tSystem.out.println(\"-metadata %s \\t[Required, or -geneset]Name of the metadata (in the Loom) to use for selecting the genes used for the module score\");\n\t\t\t\tSystem.out.println(\"-dataset %s \\t[Required]Name of the dataset (in the Loom) to use for computing the module score on its values\");\n\t\t\t\tSystem.out.println(\"-oAnnot %s \\t[Optional] Output metadata for storing the scores (instead of JSON file)\");\n\t\t\t\tSystem.out.println(\"-seed %i \\tValue of the seed for the pseudo-random generator (default = 42)\");\n\t\t\t\tSystem.out.println(\"-nBackgroundGenes %i \\tNumber of background gene to take randomly (with replacement) from one features' same bin (default = 100)\");\n\t\t\t\tSystem.out.println(\"-nBins %i \\tNumber of bins to generate (default = 24)\");\n\t\t\t\tSystem.out.println(\"-sel %s \\tIn case of a metadata, name of the reference selection\");\n\t\t\t\tif(Parameters.debugMode) System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigDEV().getProperty(\"mDbHost\") + \")\");\n\t\t\t\telse System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigMAIN().getProperty(\"mDbHost\") + \")\");\n\t\t\t\tbreak;\n\t\t\tcase Preparsing: \n\t\t\t\tSystem.out.println(\"Preparsing Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-col %s \\tName Column [none, first, last].\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\tFile to parse.\");\n\t\t\t\tSystem.out.println(\"-organism %i \\tId of the organism.\");\n\t\t\t\tSystem.out.println(\"-header %b \\tThe file has a header [true, false].\");\n\t\t\t\tSystem.out.println(\"-sel %s \\tIn case of an archive, or a h5 with multiple groups, name of entry to load as a dataset.\");\n\t\t\t\tSystem.out.println(\"-d %s \\t\\tDelimiter.\");\n\t\t\t\tif(Parameters.debugMode) System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigDEV().getProperty(\"mDbHost\") + \")\");\n\t\t\t\telse System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigMAIN().getProperty(\"mDbHost\") + \")\");\n\t\t\t\tbreak;\n\t\t\tcase Parsing: \n\t\t\t\tSystem.out.println(\"Parsing Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-ncells %s \\t[Required] Number of cells (from preparsing)\");\n\t\t\t\tSystem.out.println(\"-ngenes %s \\t[Required] Number of genes (from preparsing)\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\t[Required] File to parse.\");\n\t\t\t\tSystem.out.println(\"-type %s \\tFile type [RAW_TEXT, LOOM, H5_10x, ARCHIVE, ARCHIVE_COMPRESSED, COMPRESSED]\");\n\t\t\t\tSystem.out.println(\"-col %s \\tName Column [none, first, last].\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-organism %i \\tId of the organism.\");\n\t\t\t\tSystem.out.println(\"-header %b \\tThe file has a header [true, false].\");\n\t\t\t\tSystem.out.println(\"-sel %s \\tIn case of an archive, or a h5 with multiple groups, name of entry to load as a dataset.\");\n\t\t\t\tSystem.out.println(\"-d %s \\t\\tDelimiter.\");\n\t\t\t\tbreak;\n\t\t\tcase PreparseMetadata: \n\t\t\t\tSystem.out.println(\"Preparse Metadata Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-col %s \\tName Column [none, first, last].\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t\\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\tFile to parse.\");\n\t\t\t\tSystem.out.println(\"-header %b \\tThe file has a header [true, false].\");\n\t\t\t\tSystem.out.println(\"-sel %s \\tIn case of an archive, or a h5 with multiple groups, name of entry to load as a dataset.\");\n\t\t\t\tSystem.out.println(\"-which %s \\tIf you know the metadata type of annotation [gene, cell] (default is CELL).\");\n\t\t\t\tSystem.out.println(\"-d %s \\t\\tDelimiter.\");\n\t\t\t\tbreak;\n\t\t\tcase ParseMetadata: \n\t\t\t\tSystem.out.println(\"Parse Metadata Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-col %s \\tName Column [none, first, last].\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t\\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\tFile to parse.\");\n\t\t\t\tSystem.out.println(\"-type %s \\t\\tFile type [RAW_TEXT, LOOM, H5_10x, ARCHIVE, ARCHIVE_COMPRESSED, COMPRESSED] (of note, LOOM and H5_10x is not handled for now)\");\n\t\t\t\tSystem.out.println(\"-header %b \\tThe file has a header [true, false].\");\n\t\t\t\tSystem.out.println(\"-sel %s \\tIn case of an archive, or a h5 with multiple groups, name of entry to load as a dataset.\");\n\t\t\t\tSystem.out.println(\"-d %s \\t\\tDelimiter.\");\n\t\t\t\tSystem.out.println(\"-which %s \\tMetadata type of annotation [gene, cell] (default is CELL).\");\n\t\t\t\tSystem.out.println(\"-metadataType %s \\tMetadata types [DISCRETE, NUMERIC, STRING], separated by comma if multiple metadata to load (default is to impute them for each metadata).\");\n\t\t\t\tSystem.out.println(\"-removeAmbiguous\\tWith this option, all ambiguous genes are discarded (default is to take all of them)\");\n\t\t\t\tbreak;\n\t\t\tcase CreateCellSelection:\n\t\t\t\tSystem.out.println(\"CreateCellSelection Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\tThe JSON file containing the selected cell indexes.\");\n\t\t\t\tSystem.out.println(\"-meta %s \\tPath of the metadata to create.\");\n\t\t\t\tbreak;\n\t\t\tcase GetGeneStats:\n\t\t\t\tSystem.out.println(\"GetGeneStats Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"--loom %s \\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"--iAnnot %s \\t[Optional] Input dataset e.g. '/matrix' (default)\");\n\t\t\t\tSystem.out.println(\"--stable-ids %i [One is required] Stable_id(s) of the row to read (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"--indexes %i \\t[One is required] Index(es) of the row to read (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"--names %s \\t[One is required] Name(s) of the gene to extract (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"--loom-cells %s [Optional] Loom file of the columns/cells to export\");\n\t\t\t\tbreak;\n\t\t\tcase ExtractRow: \n\t\t\t\tSystem.out.println(\"ExtractRow Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\t\\tInput dataset e.g. '/matrix' (default)\");\n\t\t\t\tSystem.out.println(\"-stable_ids %s \\t[One is required] Stable_id(s) of the row to read (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"-loom_cells %s \\t[Optional] Loom file of the columns/cells to export\");\n\t\t\t\tSystem.out.println(\"-indexes %s \\t[One is required] Index(es) of the row to read (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"-names %s \\t[One is required] Name(s) of the gene to extract (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"-display-names %s \\t[Optional] For adding the name(s) of the cell/genes extracted in the output JSON\");\n\t\t\t\tSystem.out.println(\"-display-stable-ids %s \\t[Optional] For adding the stable_id(s) of the cell/genes extracted in the output JSON\");\n\t\t\t\tSystem.out.println(\"-prec \\t[Optional] For trimming the values to this number of significant number after the decimal (default = 3).\");\n\t\t\t\tSystem.out.println(\"--sort \\t[Optional] For sorting the returned values. Returns an additional vector with the original indexes order.\");\n\t\t\t\tbreak;\n\t\t\tcase ExtractCol: \n\t\t\t\tSystem.out.println(\"ExtractCol Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\tInput dataset e.g. '/matrix' (default)\");\n\t\t\t\tSystem.out.println(\"-indexes %s \\t[One is required] Index(es) of the col to read (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"-names %s \\t[One is required] Name(s) of the cell to extract (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"-display-names %s \\t[Optional] For adding the name(s) of the cell/genes extracted in the output JSON\");\n\t\t\t\tSystem.out.println(\"-display-stable-ids %s \\t[Optional] For adding the stable_id(s) of the cell/genes extracted in the output JSON\");\n\t\t\t\tSystem.out.println(\"-prec %i \\t[Optional] For trimming the values to this number of significant number after the decimal (default = 3).\");\n\t\t\t\tbreak;\n\t\t\tcase ExtractDataset: \n\t\t\t\tSystem.out.println(\"ExtractDataset Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"--loom %s \\tLoom file to read\");\n\t\t\t\tSystem.out.println(\"-o | --output-file %s \\tOutput file (default = standard output)\");\n\t\t\t\tSystem.out.println(\"-t | --output-type %s \\t[JSON, PLAIN_TEXT] Output type (default = JSON)\");\n\t\t\t\tSystem.out.println(\"--iAnnot %s \\tPath of input dataset (default = '/matrix')\");\n\t\t\t\tSystem.out.println(\"--row-names \\tFor adding the row names in the output file\");\n\t\t\t\tSystem.out.println(\"--col-names \\tFor adding the col names in the output file\");\n\t\t\t\tSystem.out.println(\"--prec %i \\tFor trimming the values to this number of significant number after the decimal (default = 3).\");\n\t\t\t\tSystem.out.println(\"--col-indexes %s\\tIndex(es) of the columns to export (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"--col-stableids %s\\tStable_id(s) of the columns to export (separated by comma if multiple)\");\n\t\t\t\tSystem.out.println(\"--loom-cells %s\\tLoom file of the columns/cells to export (default: same loom)\");\n\t\t\t\tbreak;\n\t\t\tcase DimensionReduction: \n\t\t\t\tSystem.out.println(\"Dimension Reduction Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t\\tFile to parse.\");\n\t\t\t\tSystem.out.println(\"-m %s \\t\\tModel to use for dimension reduction. It should be one of the following: [pca, mds, tsne, zifa]\");\n\t\t\t\tbreak;\n\t\t\tcase DifferentialExpression: \n\t\t\t\tSystem.out.println(\"Differential Expression Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t\\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-m %s \\t\\tModel to use for differential expression. It should be one of the following: [wilcox-asap]\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\t\\tInput dataset e.g. '/matrix'\");\n\t\t\t\tSystem.out.println(\"-oAnnot %s \\t\\tOutput metadata for results\");\n\t\t\t\tSystem.out.println(\"-gAnnot %s \\t\\tGroup metadata.\");\n\t\t\t\tSystem.out.println(\"-g1 %s \\t\\tReference group.\");\n\t\t\t\tSystem.out.println(\"-g2 %s \\t\\tComparison group.\");\n\t\t\t\tbreak;\n\t\t\tcase Normalization: \n\t\t\t\tSystem.out.println(\"Normalization Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t\\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-oAnnot %s \\t\\tOutput metadata for normalized dataset\");\n\t\t\t\tbreak;\n\t\t\tcase Scaling: \n\t\t\t\tSystem.out.println(\"Scaling Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t\\tLoom file to annotate.\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\t\\tInput dataset e.g. '/layers/toto'\");\n\t\t\t\tSystem.out.println(\"-oAnnot %s \\t\\tOutput metadata for normalized dataset\");\n\t\t\t\tSystem.out.println(\"-scaleMax %s \\t\\tMax scaling factor.\");\n\t\t\t\tSystem.out.println(\"-scale %s \\t\\t[false, true] whether to scale the dataset\");\n\t\t\t\tSystem.out.println(\"-center %s \\\\t\\t[false, true] whether to center the dataset\");\n\t\t\t\tbreak;\n\t\t\tcase UpdateEnsemblDB:\n\t\t\t\tSystem.out.println(\"UpdateEnsemblDB\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tif(Parameters.debugMode) System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigDEV().getProperty(\"mDbHost\") + \")\");\n\t\t\t\telse System.out.println(\"-h %s \\t\\tTo change specific host (default is \" + Config.ConfigMAIN().getProperty(\"mDbHost\") + \")\");\n\t\t\t\tbreak;\n\t\t\tcase CreateKeggDB:\n\t\t\t\tSystem.out.println(\"CreateKeggDB\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\tOutput folder.\");\n\t\t\t\tbreak;\n\t\t\tcase CreateGODB:\n\t\t\t\tSystem.out.println(\"CreateGODB\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\tOutput folder.\");\n\t\t\t\tbreak;\n\t\t\tcase RegenerateNewOrganism:\n\t\t\t\tSystem.out.println(\"RegenerateNewOrganism Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-organism %i \\tId of the organism.\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder where are the 'not_found_genes.txt', 'output.json' and 'gene_names.json' files to modify.\");\n\t\t\t\tSystem.out.println(\"-j %s \\t\\tThe JSON file containing the gene names.\");\n\t\t\t\tbreak;\n\t\t\tcase ListMetadata: \n\t\t\t\tSystem.out.println(\"ListMetadata Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Required] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-f %s \\t[Required] Loom file to read.\");\n\t\t\t\tbreak;\n\t\t\tcase ExtractMetadata: \n\t\t\t\tSystem.out.println(\"ExtractMetadata Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s\\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s\\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"-meta %s\\t[Required or -metaJSON] Name of the metadata to extract.\");\n\t\t\t\tSystem.out.println(\"-metaJSON %s\\t[Required or -meta] JSON file containing full path of metadata(s) to extract.\");\n\t\t\t\tSystem.out.println(\"-no-values\\t[Optional] For not displaying the values.\");\n\t\t\t\tSystem.out.println(\"-names\\t[Optional] For displaying the gene/cell names.\");\n\t\t\t\tSystem.out.println(\"-prec %i\\t[Optional] For trimming the values to this number of significant number after the decimal (default = 3).\");\n\t\t\t\tSystem.out.println(\"--scientific \\t[Optional] For outputting the numeric results in scientific notation.\");\n\t\t\t\tSystem.out.println(\"-type %s\\t\\t[Optional] Type of the metadata (for not guessing it) [DISCRETE, NUMERIC, STRING]\");\n\t\t\t\tbreak;\n\t\t\tcase MatchValues: \n\t\t\t\tSystem.out.println(\"MatchValues Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\t[Required] Name of the metadata to extract ids from.\");\n\t\t\t\tSystem.out.println(\"-light \\t[Optional] For not outputting the id of the genes/cells (just the number).\");\n\t\t\t\tSystem.out.println(\"-value %s\\t[Required] Extract only rows/cols indexes of that value.\");\n\t\t\t\tbreak;\n\t\t\tcase RemoveMetaData:\n\t\t\t\tSystem.out.println(\"RemoveMetaData Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to modify.\");\n\t\t\t\tSystem.out.println(\"-meta %s \\t[Required or -metaJSON] Full path of the metadata to remove.\");\n\t\t\t\tSystem.out.println(\"-metaJSON %s \\t[Required or -meta] JSON file containing full path of metadata(s) to remove.\");\n\t\t\t\tbreak;\n\t\t\tcase CopyMetaData:\n\t\t\t\tSystem.out.println(\"CopyMetaData Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-loomFrom %s \\t[Required] Loom file to read from.\");\n\t\t\t\tSystem.out.println(\"-loomTo %s \\t[Required] Loom file to add the metadata to.\");\n\t\t\t\tSystem.out.println(\"-meta %s \\t[Required or -metaJSON] Full path of the metadata to copy.\");\n\t\t\t\tSystem.out.println(\"-metaJSON %s \\t[Required or -meta] JSON file containing full path of metadata(s) to copy.\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file containing metadata that were actually copied.\");\n\t\t\t\tbreak;\n\t\t\tcase FilterCols: \n\t\t\t\tSystem.out.println(\"FilterCols Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Required] Output folder for generated Loom and JSON files.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Loom file to read.\");\n\t\t\t\tSystem.out.println(\"-col_names_file %s \\t[Required one of both] JSON file containing Cells to filter out.\");\n\t\t\t\tSystem.out.println(\"-col_indexes_file %s \\t[Required one of both] JSON file containing Cells to filter out.\");\n\t\t\t\tbreak;\n\t\t\tcase FilterRows: \n\t\t\t\tSystem.out.println(\"FilterRows Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t\\tOutput folder.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\tFile to parse.\");\n\t\t\t\tSystem.out.println(\"-m %s \\t\\tModel to use for filtering. It should be one of the following: [basic, cpm, keep]\");\n\t\t\t\tSystem.out.println(\"-row_names_file %s \\t[Required] JSON file containing Genes to Keep.\");\n\t\t\t\tbreak;\n\t\t\tcase FilterDEMetadata:\n\t\t\t\tSystem.out.println(\"FilterDEMetadata Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"-loom %s \\t[Required] Input Loom file\");\n\t\t\t\tSystem.out.println(\"-iAnnot %s \\t[Required] Input metadata e.g. '/row_attrs/toto'\");\n\t\t\t\tSystem.out.println(\"-p %f \\t\\tThreshold for nominal p-value [defaut=1]\");\n\t\t\t\tSystem.out.println(\"-fdr %f \\tThreshold for FDR [defaut=1]\");\n\t\t\t\tSystem.out.println(\"-fc %f \\t\\tThreshold for Fold Change [default=0]\");\n\t\t\t\tSystem.out.println(\"-top %i \\tSelecting only the top X genes (ranked by FC)\");\n\t\t\t\tSystem.out.println(\"-light \\tFor not outputting the genes ids (just the number).\");\n\t\t\t\tbreak;\n\t\t\tcase FindMarkers:\n\t\t\t\tSystem.out.println(\"FindMarkers Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o | --output %s \\t[Required] Output folder\");\n\t\t\t\tSystem.out.println(\"--loom %s \\t\\t[Required] Input Loom file\");\n\t\t\t\tSystem.out.println(\"--iAnnot %s \\t\\t[Required] Input metadata e.g. '/row_attrs/toto'\");\n\t\t\t\tSystem.out.println(\"--id %i \\t\\t[Required] Id of the metadata in the table annot (database asap)\");\n\t\t\t\tbreak;\n\t\t\tcase IndexByCell:\n\t\t\t\tSystem.out.println(\"IndexByCell Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o | --output %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"--loom %s \\t[Required] Input Loom file\");\n\t\t\t\tSystem.out.println(\"--loomIndex %s \\t[Required] Loom file containing index\");\n\t\t\t\tSystem.out.println(\"--iAnnot %s \\t[Required] Input metadata e.g. '/row_attrs/toto'\");\n\t\t\t\tSystem.out.println(\"--id %i \\t[Required] Id of the metadata in the table annot (database asap)\");\n\t\t\t\tbreak;\n\t\t\tcase GetIndex: \n\t\t\t\tSystem.out.println(\"GetIndex Mode\\n\\nOptions:\");\n\t\t\t\tSystem.out.println(\"-o | --output %s \\t[Optional] Output JSON file.\");\n\t\t\t\tSystem.out.println(\"--loomIndex %s \\t[Required] Loom file containing index\");\n\t\t\t\tSystem.out.println(\"--jsonListCells %s \\t[Required] JSON file containing cells to consider\");\n\t\t\t\tbreak;\n\t\t}\n\t\tSystem.out.println();\n\t}\n}\nJava/src/tools/Utils.java\npublic class Utils \n{\n\tprivate static Random rand;\n\tprivate static DecimalFormat df;\n\tprivate static final double LOG2 = Math.log(2);\n\t\n\tstatic \n\t{\n\t\tchangeFormatter(3);\n\t}\n\t\n\tpublic static void initRandomGenerator()\n\t{\n\t\trand = new Random(Parameters.randomSeed);\n\t}\n\t\n\tpublic static int[] sample(List<Integer> array, int nbTimes) // with replacement\n\t{\n\t\tint[] res = new int[nbTimes];\n\t\tfor (int i = 0; i < nbTimes; i++) res[i] = array.get(getRandomGenerator().nextInt(array.size()));\n\t\treturn res;\n\t}\n\t\n\tpublic static void changeFormatter(int nbSignificantDigits)\n\t{\n\t\tStringBuilder sb = new StringBuilder(\"0\");\n\t\tif(nbSignificantDigits > 0) sb.append(\".\");\n\t\tfor(int i = 0; i < nbSignificantDigits; i++) sb.append(\"#\");\n\t\tif(Parameters.scientific) sb.append(\"E0\");\n\t\tDecimalFormatSymbols symbols = DecimalFormatSymbols.getInstance();\n\t\tsymbols.setDecimalSeparator('.');\n\t\tdf = new DecimalFormat(sb.toString(), symbols);\n\t}\n\t\n\tpublic static void writeJSON(StringBuilder content)\n\t{\n\t\tString out = content.toString();\n\t\tif(WarningJSON.isAnyWarning())\n\t\t{\n\t\t\tint index = out.lastIndexOf(\"}\");\n\t\t\tout = out.substring(0, index);\n\t\t\tout = out + \",\" + WarningJSON.getJSON() + \"}\";\n\t\t}\n\t\tif(Parameters.outputFolder == null) System.out.println(out);\n\t\telse\n\t\t{\n\t\t\ttry\n\t\t\t{\n\t    \t\tBufferedWriter bw = new BufferedWriter(new FileWriter(Parameters.outputFolder + \"output.json\"));\n\t    \t\tbw.write(out);\n\t        \tbw.close();\n\t\t\t}\n\t\t\tcatch(IOException ioe) { new ErrorJSON(ioe.getMessage()); }\n\t\t}\n\t}\n\t\n\tpublic static void writeJSON(StringBuilder content, String outputJSONFile)\n\t{\n\t\tString out = content.toString();\n\t\tif(WarningJSON.isAnyWarning())\n\t\t{\n\t\t\tint index = out.lastIndexOf(\"}\");\n\t\t\tout = out.substring(0, index);\n\t\t\tout = out + \",\" + WarningJSON.getJSON() + \"}\";\n\t\t}\n\t\tif(outputJSONFile == null) System.out.println(out);\n\t\telse\n\t\t{\n\t\t\ttry\n\t\t\t{\n\t    \t\tBufferedWriter bw = new BufferedWriter(new FileWriter(outputJSONFile));\n\t    \t\tbw.write(out);\n\t        \tbw.close();\n\t\t\t}\n\t\t\tcatch(IOException ioe) { new ErrorJSON(ioe.getMessage()); }\n\t\t}\n\t}\n\t\n\tpublic static void writePlain(StringBuilder content, String outputFile)\n\t{\n\t\tString out = content.toString();\n\t\tif(WarningJSON.isAnyWarning())\n\t\t{\n\t\t\tSystem.err.println(WarningJSON.getJSON());\n\t\t}\n\t\tif(outputFile == null) System.out.println(out);\n\t\telse\n\t\t{\n\t\t\ttry\n\t\t\t{\n\t    \t\tBufferedWriter bw = new BufferedWriter(new FileWriter(outputFile));\n\t    \t\tbw.write(out);\n\t        \tbw.close();\n\t\t\t}\n\t\t\tcatch(IOException ioe) { new ErrorJSON(ioe.getMessage()); }\n\t\t}\n\t}\n\t\n\tpublic static String handleSpecialCharacters(String content)\n\t{\n\t\t// Remove return characters\n\t\tif(content.contains(\"\\r\")) content = content.replaceAll(\"\\r\", \"\");\n\t\tif(content.contains(\"\\n\")) content = content.replaceAll(\"\", \"\");\n\t\t\n\t\t// Handle special characters\n\t\t// First replace all \\ by \\\\\n\t\tcontent = content.replaceAll(\"\\\\\\\\\", \"\\\\\\\\\\\\\\\\\");\n\t\t// Then replace \" by \\\" \n\t\tcontent = content.replaceAll(\"\\\"\", \"\\\\\\\\\\\"\");\n\t\treturn content;\n\t}\n\t\n\tpublic static double[] p_adjust(final double[] pvalues, String adjMethod)\n    {\n        if (!adjMethod.equals(\"BH\") && !adjMethod.equals(\"fdr\") && !adjMethod.equals(\"bonferroni\") && !adjMethod.equals(\"none\"))\n        {\n            System.out.println(\"This adjustment method is not implemented.\");\n            System.exit(0);\n        }\n        if (adjMethod.equals(\"fdr\")) adjMethod = \"BH\";\n        if (adjMethod.equals(\"none\")) return pvalues;\n\n        Integer[] idx = new Integer[pvalues.length];\n        for (int i = 0; i < idx.length; i++) idx[i] = i;\n        double[] adj_p_value = new double[pvalues.length];\n\n        Arrays.sort(idx, new Comparator<Integer>()\n        { // I sort the indexes with respect to the double values\n            @Override\n            public int compare(Integer o1, Integer o2)\n            {\n                return Double.compare(pvalues[o2], pvalues[o1]);\n            }\n        });\n        int[] index = new int[idx.length];\n        for (int i = 0; i < index.length; i++)\n        {\n            index[idx[i]] = i;\n        }\n\n        for (int i = 0; i < pvalues.length; i++)\n        {\n            if (adjMethod.equals(\"BH\"))\n            {\n                adj_p_value[i] = pvalues.length / (pvalues.length - (double) index[i]) * pvalues[i];\n            }\n            if (adjMethod.equals(\"bonferroni\"))\n            {\n                adj_p_value[i] = pvalues.length * pvalues[i];\n            }\n        }\n\n        double min = Double.MAX_VALUE;\n        for (int i = 0; i < index.length; i++) // cummin\n        {\n            double adjP = adj_p_value[idx[i]];\n            if (adjP < min)\n            {\n                min = adjP;\n            } else\n            {\n                adjP = min;\n            }\n            adj_p_value[idx[i]] = Math.min(1, adjP);\n        }\n\n        return adj_p_value;\n    }\n\t\n\tpublic static float[] p_adjust_F(final float[] pvalues, String adjMethod)\n    {\n        if (!adjMethod.equals(\"BH\") && !adjMethod.equals(\"fdr\") && !adjMethod.equals(\"bonferroni\") && !adjMethod.equals(\"none\"))\n        {\n            System.out.println(\"This adjustment method is not implemented.\");\n            System.exit(0);\n        }\n        if (adjMethod.equals(\"fdr\")) adjMethod = \"BH\";\n        if (adjMethod.equals(\"none\")) return pvalues;\n\n        Integer[] idx = new Integer[pvalues.length];\n        for (int i = 0; i < idx.length; i++) idx[i] = i;\n        float[] adj_p_value = new float[pvalues.length];\n\n        Arrays.sort(idx, new Comparator<Integer>()\n        { // I sort the indexes with respect to the double values\n            @Override\n            public int compare(Integer o1, Integer o2)\n            {\n                return Double.compare(pvalues[o2], pvalues[o1]);\n            }\n        });\n        int[] index = new int[idx.length];\n        for (int i = 0; i < index.length; i++)\n        {\n            index[idx[i]] = i;\n        }\n\n        for (int i = 0; i < pvalues.length; i++)\n        {\n            if (adjMethod.equals(\"BH\"))\n            {\n                adj_p_value[i] = pvalues.length / (pvalues.length - (float) index[i]) * pvalues[i];\n            }\n            if (adjMethod.equals(\"bonferroni\"))\n            {\n                adj_p_value[i] = pvalues.length * pvalues[i];\n            }\n        }\n\n        double min = Double.MAX_VALUE;\n        for (int i = 0; i < index.length; i++) // cummin\n        {\n            double adjP = adj_p_value[idx[i]];\n            if (adjP < min)\n            {\n                min = adjP;\n            } else\n            {\n                adjP = min;\n            }\n            adj_p_value[idx[i]] = (float)Math.min(1, adjP);\n        }\n\n        return adj_p_value;\n    }\n\t\n\tpublic static double log2(double x)\n\t{\n\t    return Math.log(x) / LOG2;\n\t}\n\t\n\tpublic static double[] log2p(double[] array)\n\t{\n\t\tdouble[] logarray = new double[array.length];\n\t\tfor(int i = 0; i < logarray.length; i++) logarray[i] = Math.log(array[i]) / LOG2;\n\t    return logarray;\n\t}\n\t\n\tpublic static void setSeed(int seed)\n\t{\n\t\trand = new Random(seed);\n\t}\n\t\n\tpublic static String format(double n)\n\t{\n\t\treturn df.format(n);\n\t}\n\t\n\tpublic static String format(String n)\n\t{\n\t\tif(n.equals(\"NaN\")) return \"null\";\n\t\tn = n.replaceAll(\",\", \".\");\n\t\treturn Utils.format(Double.parseDouble(n));\n\t}\n\t\n\tpublic static double [][] t(double [][] matrix)\n\t{\n\t\tdouble[][] output = new double[matrix[0].length][matrix.length];\n\t\tfor(int i = 0; i < matrix.length; i++)\n\t\t{\n\t\t\tfor(int j = 0; j < matrix[i].length; j++)\n\t\t\t{\n\t\t\t\toutput[j][i] = matrix[i][j];\n\t\t\t}\n\t\t}\n\t\treturn output;\n\t}\n\t\n\tpublic static float [][] t(float [][] matrix)\n\t{\n\t\tfloat[][] output = new float[matrix[0].length][matrix.length];\n\t\tfor(int i = 0; i < matrix.length; i++)\n\t\t{\n\t\t\tfor(int j = 0; j < matrix[i].length; j++)\n\t\t\t{\n\t\t\t\toutput[j][i] = matrix[i][j];\n\t\t\t}\n\t\t}\n\t\treturn output;\n\t}\n\t\n\t/**\n\t * Fastest implementation to count non-empty lines of a text file\n\t * @param is InputStream of the text file to read\n\t * @return number of non-empty lines\n\t * @throws IOException\n\t */\n\tpublic static long countNonEmptyLines(InputStream is) throws IOException\n\t{\n\t    byte[] c = new byte[1024];\n\t    int count = 0;\n\t    byte lastc = '\\n';\n\t    int readChars = is.read(c);\n\t    while(readChars != -1) // In some cases, it can return something else than 1024. Returns -1 if empty.\n\t    {\n\t    \tfor(int i=0; i<readChars; i++)\n\t    \t{\n\t    \t\tif((c[i] == '\\n' || c[i] == '\\r') && lastc != '\\n' && lastc != '\\r') count++;\n\t    \t\tlastc = c[i];\n\t    \t}\n\t    \treadChars = is.read(c);\n\t    } \n\t    is.close();\n\t    if(lastc == '\\n' || lastc == '\\r') return count;\n\t    return count + 1;\n\t}\n\t\n\tpublic static void listdirs(String directoryName, ArrayList<File> files) \n\t{\n\t    File directory = new File(directoryName);\n\t    File[] fList = directory.listFiles();\n\t    for (File file : fList) if (file.isDirectory()) files.add(file);\n\t}\n\t\n\tpublic static void listfiles(String directoryName, ArrayList<File> files) \n\t{\n\t    File directory = new File(directoryName);\n\t    File[] fList = directory.listFiles();\n\t    for (File file : fList) if (file.isFile()) files.add(file);\n\t}\n    \n\tpublic static Random getRandomGenerator()\n\t{\n\t\treturn rand;\n\t}\n\t\n\tpublic static double mean(double[] data)\n\t{\n\t\tdouble sum = 0.0;\n\t\tfor(double a : data) sum += a;\n\t\treturn sum/data.length;\n\t}\n\t\n\tpublic static float mean(float[] data)\n\t{\n\t\tfloat sum = 0;\n\t\tfor(float a : data) sum += a;\n\t\treturn sum/data.length;\n\t}\n\t\n\tpublic static double mean(ArrayList<Integer> data)\n\t{\n\t\tdouble sum = 0.0;\n\t\tfor(Integer a : data) sum += a;\n\t\treturn sum/(double)data.size();\n\t}\n\t\n\tpublic static int sum(int[] array)\n\t{\n\t\tint sum = 0;\n\t\tfor(int i:array) sum+=i;\n\t\treturn sum;\n\t}\n\t\n\tpublic static double mean(int[] data)\n\t{\n\t\tdouble sum = 0.0;\n\t\tfor(double a : data) sum += a;\n\t\treturn sum/data.length;\n\t}\n\t\n\tpublic static float median(float[] data, boolean sorted) // Warning! If sorted = false, this modify the input array!\n\t{\n\t\tif(!sorted) Arrays.sort(data);\n\t\tif (data.length % 2 == 0) return (data[data.length/2] + data[data.length/2 - 1])/2;\n\t\treturn data[data.length/2];\n\t}\n\t\n\tpublic static float q1(float[] data, boolean sorted) // Warning! If sorted = false, this modify the input array!\n\t{\n\t\tif(!sorted) Arrays.sort(data);\n\t\tif (data.length % 4 == 0) return (data[data.length/4] + data[data.length/4 - 1])/2;\n\t\treturn data[data.length/4];\n\t}\n\t\n\tpublic static float q3(float[] data, boolean sorted) // Warning! If sorted = false, this modify the input array!\n\t{\n\t\tif(!sorted) Arrays.sort(data);\t\n\t\tif ((3 * data.length) % 4 == 0) return (data[(3 * data.length)/4] + data[(3 * data.length)/4 - 1])/2;\n\t\treturn data[(3 * data.length)/4];\n\t}\n\t\n\tpublic static int[] quantiles(float[] array, int nbin) // Returns a vector saying which value is in which quartile\n\t{\n\t\tint[] ranks = Utils.rank(array);\n\t\tint[] quantiles = new int[ranks.length];\n\t\tint binLength = ranks.length / nbin;\n\t\tfor (int i = 0; i < quantiles.length; i++) quantiles[i] = (ranks[i] / binLength) + 1;\n\t\treturn quantiles;\n\t}\n\t\t\n\tpublic static double var(double[] data, double mean)\n\t{\n\t\tdouble var = 0;\n\t\tfor(double a :data) var += (a-mean)*(a-mean);\n\t\treturn var/(data.length-1);\n\t}\n\t\n\tpublic static double var(int[] data, double mean)\n\t{\n\t\tdouble var = 0;\n\t\tfor(double a :data) var += (a-mean)*(a-mean);\n\t\treturn var/(data.length-1);\n\t}\n\t\n\tpublic static double sd(double[] data, double mean)\n\t{\n\t\tdouble var = var(data, mean);\n\t\treturn Math.sqrt(var);\n\t}\n\t\n\tpublic static double sd(int[] data, double mean)\n\t{\n\t\tdouble var = var(data, mean);\n\t\treturn Math.sqrt(var);\n\t}\n\t\n\tpublic static StringBuilder toString(float[] array)\t\t\t\n\t{\n\t\tStringBuilder res = new StringBuilder(\"[\");\n\t\tif(array != null)\n\t\t{\n\t\t\tString prefix = \"\";\n\t\t\tfor(float f:array)\n\t\t\t{\n\t\t\t\tres.append(prefix).append(f);\n\t\t\t\tprefix = \",\";\n\t\t\t}\n\t\t}\n\t\tres.append(\"]\");\n\t\treturn res;\n\t}\n\t\n\tpublic static String toString(HashSet<Long> values)\n\t{\n\t\tStringBuffer sb = new StringBuffer(\"[\");\n\t\tif(values != null)\n\t\t{\n\t\t\tString prefix = \"\";\n\t\t\tfor(Long val:values)\n\t\t\t{\n\t\t\t\tsb.append(prefix).append(val);\n\t\t\t\tprefix = \",\";\n\t\t\t}\n\t\t}\n\t\tsb.append(\"]\");\n\t\treturn sb.toString();\n\t}\n\t\n\tpublic static String toString(ArrayList<String> values)\n\t{\n\t\tStringBuffer sb = new StringBuffer(\"[\");\n\t\tif(values != null)\n\t\t{\n\t\t\tString prefix = \"\";\n\t\t\tfor(String val:values)\n\t\t\t{\n\t\t\t\tsb.append(prefix).append(\"\\\"\").append(val).append(\"\\\"\");\n\t\t\t\tprefix = \",\";\n\t\t\t}\n\t\t}\n\t\tsb.append(\"]\");\n\t\treturn sb.toString();\n\t}\n\t\n\tpublic static double var(double[] data)\n\t{\n\t    double mean = 0;\n\t    double M2 = 0;\n\t    if(data.length < 2) return 0;\n\t    for (int i = 0; i < data.length; i++) \n\t    {\n\t        double delta = data[i] - mean;\n\t        mean = mean + delta/(i+1);\n\t        M2 = M2 + delta*(data[i] - mean);\n\t\t}\n\t    return M2/(data.length - 1);\n\t}\n\t\n\tpublic static double sd(double[] data)\n\t{\n\t\tdouble var = var(data);\n\t\treturn Math.sqrt(var);\n\t}\n\t\n\tpublic static double cv(double[] data) // Coefficient of Variation\n\t{\n\t\tdouble mu = mean(data);\n\t\tdouble theta = sd(data);\n\t\treturn theta / mu;\n\t}\n\t\n\tpublic static double[] toArray(ArrayList<Double> data)\n\t{\n\t\tdouble[] res = new double[data.size()];\n\t\tfor (int i = 0; i < res.length; i++) res[i] = data.get(i);\n\t\treturn res;\n\t}\n\t\n    public static double cov(double[] x, double[] y)\n    {\n        double result = 0d;\n        int length = x.length;\n        double xMean = mean(x);\n        double yMean = mean(y);\n        for (int i = 0; i < length; i++) \n        {\n        \tdouble xDev = x[i] - xMean;\n        \tdouble yDev = y[i] - yMean;\n        \tresult += (xDev * yDev - result) / (i + 1);\n        }\n        return result * ((double) length / (double)(length - 1)); // Bias correction\n    }\n    \n    public static double cov(double[] x, double[] y, double xMean, double yMean)\n    {\n        double result = 0d;\n        int length = x.length;\n        for (int i = 0; i < length; i++) \n        {\n        \tdouble xDev = x[i] - xMean;\n        \tdouble yDev = y[i] - yMean;\n        \tresult += (xDev * yDev - result) / (i + 1);\n        }\n        return result * ((double) length / (double)(length - 1)); // Bias correction\n    }\n\t\n\tpublic static String[] sortD(Map<String, Double> map)\n\t{\n\t\tList<Double> values = new ArrayList<>(map.values());\n\t\tCollections.sort(values, Collections.reverseOrder());\n\t\tString[] sortedIndexes = new String[values.size()];\n\t\tfor(String key:map.keySet()) \n\t\t{\n\t\t\tint index = values.indexOf(map.get(key));\n\t\t\tsortedIndexes[index] = key;\n\t\t\tvalues.set(index, null);\n\t\t}\n\t\treturn sortedIndexes;\n\t}\n\t\n\t// Be careful, order != rank\n\tpublic static int[] order(int[] array) // return array of indexes\n\t{\n\t\tint[] sortedIndexes = IntStream.range(0, array.length).boxed().sorted((i, j) -> array[i] - array[j]).mapToInt(ele -> ele).toArray();\n\t\treturn sortedIndexes;\n\t}\n\t\n\tpublic static int[] order(double[] array, boolean reversed) // return array of indexes\n\t{\n\t\tHashMap<Integer, Double> map = new HashMap<>(array.length);\n\t\tfor (int i = 0; i < array.length; i++) map.put(i, array[i]); // Copy input\n\t\treturn sortD(map, reversed);\n\t}\n\t\n\tpublic static float[] abs(float[] array)\n\t{\n\t\tfloat[] res = new float[array.length];\n\t\tfor (int i = 0; i < array.length; i++) res[i] = Math.abs(array[i]);\n\t\treturn res;\n\t}\n\t\n\tpublic static int[] order(float[] array, boolean reversed) // return array of indexes\n\t{\n\t\tHashMap<Integer, Float> map = new HashMap<>(array.length);\n\t\tfor (int i = 0; i < array.length; i++) map.put(i, array[i]); // Copy input\n\t\treturn sortF(map, reversed);\n\t}\n\t\n\tpublic static boolean contains(String[] array, String value)\n\t{\n\t\tfor(String val:array) if(val.equals(value)) return true;\n\t\treturn false;\n\t}\n\t\n\tpublic static String[] sortI(Map<String, Integer> map)\n\t{\n\t\treturn sortI(map, false);\n\t}\n\t\n\tpublic static String[] sortL(Map<String, Long> map)\n\t{\n\t\treturn sortL(map, false);\n\t}\n\n\tpublic static String[] sortI(Map<String, Integer> map, boolean reversed)\n\t{\n\t\tList<Integer> values = new ArrayList<>(map.values());\n\t\tif(reversed) Collections.sort(values, Collections.reverseOrder());\n\t\telse Collections.sort(values);\n\t\tString[] sortedIndexes = new String[values.size()];\n\t\tfor(String key:map.keySet()) \n\t\t{\n\t\t\tint index = values.indexOf(map.get(key));\n\t\t\tsortedIndexes[index] = key;\n\t\t\tvalues.set(index, null);\n\t\t}\n\t\treturn sortedIndexes;\n\t}\n\t\n\tpublic static String[] sortL(Map<String, Long> map, boolean reversed)\n\t{\n\t\tList<Long> values = new ArrayList<>(map.values());\n\t\tif(reversed) Collections.sort(values, Collections.reverseOrder());\n\t\telse Collections.sort(values);\n\t\tString[] sortedIndexes = new String[values.size()];\n\t\tfor(String key:map.keySet()) \n\t\t{\n\t\t\tint index = values.indexOf(map.get(key));\n\t\t\tsortedIndexes[index] = key;\n\t\t\tvalues.set(index, null);\n\t\t}\n\t\treturn sortedIndexes;\n\t}\n\t\n\tpublic static int[] sortD(HashMap<Integer, Double> map, boolean reversed)\n\t{\n\t\tList<Double> values = new ArrayList<>(map.values());\n\t\tif(reversed) Collections.sort(values, Collections.reverseOrder());\n\t\telse Collections.sort(values);\n\t\tint[] sortedIndexes = new int[values.size()];\n\t\tfor(Integer key:map.keySet()) \n\t\t{\n\t\t\tint index = values.indexOf(map.get(key));\n\t\t\tsortedIndexes[index] = key;\n\t\t\tvalues.set(index, null);\n\t\t}\n\t\treturn sortedIndexes;\n\t}\n\t\n\tpublic static int[] sortF(HashMap<Integer, Float> map, boolean reversed)\n\t{\n\t\tList<Float> values = new ArrayList<>(map.values());\n\t\tif(reversed) Collections.sort(values, Collections.reverseOrder());\n\t\telse Collections.sort(values);\n\t\tint[] sortedIndexes = new int[values.size()];\n\t\tfor(Integer key:map.keySet()) \n\t\t{\n\t\t\tint index = values.indexOf(map.get(key));\n\t\t\tsortedIndexes[index] = key;\n\t\t\tvalues.set(index, null);\n\t\t}\n\t\treturn sortedIndexes;\n\t}\n\t\n\t\n\tpublic static int[] rank(float[] array) // Checked. Does not change input array\n\t{\n\t    int[] R = new int[array.length];\n\t    Integer [] I = new Integer[array.length];\n\t    for(int i = 0; i < array.length; i++) I[i] = i;\n\t    Arrays.sort(I, (i0, i1) -> (int) Math.signum(array[i0]-array[i1]));\n\t    int j = 0;\n\t    for(int i = 0; i < array.length; i++)\n\t    {\n\t        if(array[I[i]] != array[I[j]]) j = i;\n\t        R[I[i]] = j;\n\t    }\n\t    return R;\n\t}\n\t\n\tpublic static ArrayList<File> listMarkerFiles(String root) \n\t{\n\t\tArrayList<File> files = new ArrayList<File>();\n\t\tlistMarkerFiles(root, files);\n\t\treturn files;\n\t}\n\t\n\tprivate static void listMarkerFiles(String root, ArrayList<File> files) \n\t{\n\t\t\n\t\tFile[] fList = new File(root).listFiles();\n\t\tfor (File file : fList) \n\t\t{\n\t\t\tif(file.isFile() && isMarkerFile(file.getName())) files.add(file);\n\t\t\telse if(file.isDirectory()) listMarkerFiles(file.getAbsolutePath(), files);\n\t\t}\n\t}\n\t\n\tprivate static boolean isMarkerFile(String path)\n\t{\n\t\tif(path.endsWith(\".enrichment.tsv\")) return false;\n\t\tif(path.endsWith(\".tsv\")) return true;\n\t\t//if(path.endsWith(\".tsv.gz\")) return true;\n\t\treturn false;\n\t}\n\t\n\tpublic static String getFilename(String path)\n\t{\n\t\tpath = path.replaceAll(\"\\\\\\\\\", \"/\");\n\t\tString res = path.substring(path.lastIndexOf(\"/\") + 1, path.length());\n\t\tif(res.endsWith(\".tsv\")) res = res.substring(0, res.lastIndexOf(\".tsv\")); // For Enrichment \n\t\treturn res;\n\t}\n\t\n\tpublic static String[] sortKeys(Set<String> keySet)\n\t{\n\t\tString[] keys = keySet.toArray(new String[keySet.size()]);\n\t\tArrays.sort(keys);\n\t\treturn keys;\n\t}\n\t\n\tpublic static float[] colMeans(float[][] input)\n\t{\n\t\tif(input == null || input.length == 0) return null;\n\t\tint nCols = input[0].length;\n\t\tfloat[] res = new float[nCols];\n\t\tfor (int j = 0; j < nCols; j++) \n\t\t{\n\t\t\tfor (int i = 0; i < input.length; i++) res[j] += input[i][j];\n\t\t\tres[j] = res[j] / input.length;\n\t\t}\n\t\treturn res;\n\t}\n\t\n\tpublic static String toReadableTime(long ms)\n\t{\n\t\tif(ms < 1000) return \"\"+ms+\" ms\";\n\t\tlong s = ms / 1000;\n\t\tms = ms % 1000;\n\t\tif(s < 60) return s+\" s \"+ms+\" ms\";\n\t\tlong mn = s / 60;\n\t\ts = s % 60;\n\t\tif(mn < 60) return mn +\" mn \"+s+\" s \"+ms+\" ms\";\n\t\tlong h = mn / 60;\n\t\tmn = mn % 60;\n\t\tif(h < 24) return h +\" h \"+ mn +\" mn \"+s+\" s \"+ms+\" ms\";\n\t\tlong d = h / 24;\n\t\th = h % 24;\n\t\treturn d+ \" d \" + h +\" h \"+ mn +\" mn \"+s+\" s \"+ms+\" ms\";\n\t}\n}\nJava/src/parsing/model/Gene.java\npublic class Gene \n{\n\tpublic String ensembl_id;\n\tpublic String name;\n\tpublic String biotype;\n\tpublic long sum_exon_length;\n\tpublic long gene_length;\n\tpublic long start;\n\tpublic long end;\n\tpublic String chr;\n\tpublic HashSet<String> alt_names;\n\tpublic int latest_ensembl_release;\n\tpublic RangeSet<Long> exon_id = RangeSet.create(Long.class, true, true);\n\t\n\tpublic Gene()\n\t{\n\t\talt_names = new HashSet<>();\n\t}\n\t\n\t@Override\n\tpublic String toString() \n\t{\n\t\treturn ensembl_id + \"\\t\" + name;\n\t}\n\t\n\n\tpublic long getLength()\n\t{\n\t\tlong sum = 0;\n\t\tfor(Range<Long> r:exon_id) sum += ((Long)r.getMaxValue() - (Long)r.getMinValue() + 1);\n\t\treturn sum;\n\t}\n\t\n\tpublic void setGeneLengthToExons()\n\t{\n\t\tthis.start = Long.MAX_VALUE;\n\t\tthis.end = Long.MIN_VALUE;\n\t\tfor(Range<Long> r:exon_id) \n\t\t{\n\t\t\tif((Long)r.getMaxValue() > this.end) this.end = (Long)r.getMaxValue();\n\t\t\tif((Long)r.getMinValue() < this.start) this.start = (Long)r.getMinValue();\n\t\t}\n\t}\n\t\n\tpublic static String buildAltNamesString(HashSet<String> names)\n\t{\n\t\tif(names == null) return \"\";\n\t\tStringBuilder sb = new StringBuilder();\n\t\tString prefix = \"\";\n\t\tfor(String n:names) \n\t\t{\n\t\t\tsb.append(prefix).append(n);\n\t\t\tprefix = \",\";\n\t\t}\n\t\treturn sb.toString();\n\t}\n\t\n\tpublic static void toJSON(HashMap<String, Gene> genes, int organism_id, String organism_name, int release, String subdomain)\n\t{\n    \ttry\n    \t{\n    \t\tBufferedWriter bw = new BufferedWriter(new FileWriter(Parameters.outputFolder + \"output.\"+organism_id+\".json\"));\n    \t\tbw.write(\"{\\\"subdomain\\\":\\\"\" + subdomain + \"\\\",\");\n    \t\tbw.write(\"\\\"organism_id\\\":\\\"\" + organism_id + \"\\\",\");\n    \t\tbw.write(\"\\\"organism_name\\\":\\\"\" + organism_name + \"\\\",\");\n    \t\tbw.write(\"\\\"nber_genes\\\":\" + genes.size() + \",\");\n    \t\tbw.write(\"\\\"release\\\":\" + release + \",\");\n    \t\tbw.write(\"\\\"header\\\":[\\\"ensembl_id\\\",\\\"name\\\",\\\"biotype\\\",\\\"chr\\\",\\\"gene_length\\\",\\\"sum_exon_length\\\",\\\"alt_names\\\",\\\"latest_ensembl_release\\\"],\");\n    \t\tbw.write(\"\\\"genes\\\":\");\n    \t\tStringBuilder sb = new StringBuilder(\"[\");\n    \t\tString prefix = \"\";\n\t\t\tfor(String ens:genes.keySet())\n\t\t\t{\n\t\t\t\tGene g = genes.get(ens);\n\t\t\t\tsb.append(prefix).append(\"[\\\"\").append(g.ensembl_id).append(\"\\\"\");\n\t\t\t\tsb.append(\",\\\"\").append(g.name).append(\"\\\"\");\n\t\t\t\tsb.append(\",\\\"\").append(g.biotype).append(\"\\\"\");\n\t\t\t\tsb.append(\",\\\"\").append(g.chr).append(\"\\\"\");\n\t\t\t\tsb.append(\",\").append(g.gene_length);\n\t\t\t\tsb.append(\",\").append(g.sum_exon_length);\n\t\t\t\tsb.append(\",\\\"\").append(buildAltNamesString(g.alt_names)).append(\"\\\"\");\n\t\t\t\tsb.append(\",\").append(g.latest_ensembl_release);\n\t\t\t\tsb.append(\"]\");\n\t\t\t\tprefix = \",\";\n\t\t\t}\n        \tbw.write(sb.append(\"]\").toString());\n        \tbw.write(\"}\");\n        \tbw.close();\n    \t}\n    \tcatch(IOException ioe)\n    \t{\n    \t\tnew ErrorJSON(ioe.getMessage());\n    \t}\n\t}\n}\nJava/src/json/ErrorJSON.java\npublic class ErrorJSON \n{\n\tpublic String displayed_error = \"Error\";\n\t\n\tpublic ErrorJSON(String errorMessage, String path) \n\t{\n\t\tLoomFile.close_all();\n\t\tthis.displayed_error = errorMessage;\n\t\tif(path != null) writeJSON(path);\n\t\telse System.out.println(\"{\\\"displayed_error\\\":\\\"\" + displayed_error + \"\\\"}\");\n\t\tSystem.exit(-1);\n\t}\n\t\n\tpublic ErrorJSON(String errorMessage) \n\t{\n\t\tthis(errorMessage, ((Parameters.outputFolder == null)?null:(Parameters.outputFolder + \"output.json\")));\n\t}\n    \n    private void writeJSON(String path)\n    {\n    \ttry\n    \t{\n    \t\tBufferedWriter bw = new BufferedWriter(new FileWriter(path));\n        \tbw.write(\"{\\\"displayed_error\\\":\\\"\" + displayed_error + \"\\\"}\");\n        \tbw.close();\n    \t}\n    \tcatch(IOException ioe)\n    \t{\n    \t\tSystem.err.println(ioe.getMessage());\n    \t\tSystem.exit(-1);\n    \t}\n    }\n}\nJava/src/bigarrays/LongArray64.java\npublic class LongArray64 implements Iterable<Long>\n{\n\tprivate static final int CHUNK_SIZE = 1024*1024*1024; //1GiB\n\n    private long size;\n    private long[][] data;\n\n    public LongArray64(long size)\n    {\n        this.size = size;\n        if(size == 0) data = null;\n        else \n        {\n            int chunks = (int)(size/CHUNK_SIZE);\n            int remainder = (int)(size - ((long)chunks)*CHUNK_SIZE);\n            data = new long[chunks+(remainder==0?0:1)][];\n            for(int idx=chunks; --idx>=0; ) data[idx] = new long[(int)CHUNK_SIZE];\n            if(remainder != 0) data[chunks] = new long[remainder];\n        }\n    }\n    \n    public static int chunkSize()\n    {\n    \treturn CHUNK_SIZE;\n    }\n    \n    public long get(long index) \n    {\n        if(index < 0 || index >= size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index / CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk) * CHUNK_SIZE));\n        return data[chunk][offset];\n    }\n    \n    public long[] getByChunk(int chunk) \n    {\n    \tif(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        return data[chunk];\n    }\n    \n    public void set(long index, long b) \n    {\n        if(index<0 || index>=size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index/CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk)*CHUNK_SIZE));\n        data[chunk][offset] = b;\n    }\n    \n    public void set(int chunk, long[] b) \n    {\n        if(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        data[chunk] = b;\n    }\n\n    public long size() \n    {\n        return this.size;\n    }\n    \n\t@Override\n\tpublic Iterator<Long> iterator() \n\t{\n\t\treturn new LongArray64Iterator();\n\t}\n\t\n\tprivate class LongArray64Iterator implements Iterator<Long>\n\t{\n        private long position = 0;\n \n        public boolean hasNext() \n        {\n            if (position < size) return true;\n            return false;\n        }\n \n        public Long next() \n        {\n            if(this.hasNext()) return get(position++);\n            return null;\n        }\n    }\n}\nJava/src/bigarrays/DoubleArray64.java\npublic class DoubleArray64\n{\n\tprivate static final int CHUNK_SIZE = 1024*1024*1024; //1GiB\n\n    private long size;\n    private double[][] data;\n\n    public DoubleArray64(long size)\n    {\n        this.size = size;\n        if(size == 0) data = null;\n        else \n        {\n            int chunks = (int)(size/CHUNK_SIZE);\n            int remainder = (int)(size - ((long)chunks)*CHUNK_SIZE);\n            data = new double[chunks+(remainder==0?0:1)][];\n            for(int idx=chunks; --idx>=0; ) data[idx] = new double[(int)CHUNK_SIZE];\n            if(remainder != 0) data[chunks] = new double[remainder];\n        }\n    }\n    \n    public static int chunkSize()\n    {\n    \treturn CHUNK_SIZE;\n    }\n    \n    public double get(long index) \n    {\n        if(index < 0 || index >= size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index / CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk) * CHUNK_SIZE));\n        return data[chunk][offset];\n    }\n    \n    public double[] getByChunk(int chunk) \n    {\n    \tif(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        return data[chunk];\n    }\n    \n    public void set(long index, double b) \n    {\n        if(index<0 || index>=size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index/CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk)*CHUNK_SIZE));\n        data[chunk][offset] = b;\n    }\n    \n    public void set(int chunk, double[] b) \n    {\n        if(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        data[chunk] = b;\n    }\n\n    public long size() \n    {\n        return this.size;\n    }\n}\nJava/src/bigarrays/IntArray64.java\npublic class IntArray64 \n{\n\tprivate static final int CHUNK_SIZE = 1024*1024*512;\n\n    private long size;\n    private int[][] data;\n\n    public IntArray64(long size)\n    {\n        this.size = size;\n        if(size == 0) data = null;\n        else \n        {\n            int chunks = (int)(size/CHUNK_SIZE);\n            int remainder = (int)(size - ((long)chunks)*CHUNK_SIZE);\n            data = new int[chunks+(remainder==0?0:1)][];\n            for(int idx=chunks; --idx>=0; ) data[idx] = new int[(int)CHUNK_SIZE];\n            if(remainder != 0) data[chunks] = new int[remainder];\n        }\n    }\n    \n    public static int chunkSize()\n    {\n    \treturn CHUNK_SIZE;\n    }\n    \n    public int get(long index) \n    {\n        if(index < 0 || index >= size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index / CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk) * CHUNK_SIZE));\n        return data[chunk][offset];\n    }\n    \n    public int[] getByChunk(int chunk) \n    {\n    \tif(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        return data[chunk];\n    }\n    \n    public void set(long index, int b) \n    {\n        if(index<0 || index>=size) throw new IndexOutOfBoundsException(\"Error attempting to access data element \"+index+\".  Array is \"+size+\" elements long.\");\n        int chunk = (int)(index/CHUNK_SIZE);\n        int offset = (int)(index - (((long)chunk)*CHUNK_SIZE));\n        data[chunk][offset] = b;\n    }\n    \n    public void set(int chunk, int[] b) \n    {\n        if(chunk >= data.length) throw new IndexOutOfBoundsException(\"Error attempting to access chunk \"+chunk+\".  Array is \"+size+\" elements long [\" + data.length + \" chunks]\");\n        data[chunk] = b;\n    }\n\n    public long size() \n    {\n        return this.size;\n    }\n}\nimport java.io.File;\nimport java.util.ArrayList;\nimport java.util.HashMap;\nimport java.util.HashSet;\nimport java.util.Iterator;\nimport java.util.List;\nimport java.util.TreeSet;\nimport bigarrays.DoubleArray64;\nimport bigarrays.FloatArray64;\nimport bigarrays.IntArray64;\nimport bigarrays.LongArray64;\nimport bigarrays.StringArray64;\nimport ch.systemsx.cisd.hdf5.HDF5DataClass;\nimport ch.systemsx.cisd.hdf5.HDF5DataSetInformation;\nimport ch.systemsx.cisd.hdf5.HDF5DataTypeInformation;\nimport ch.systemsx.cisd.hdf5.HDF5Factory;\nimport ch.systemsx.cisd.hdf5.HDF5FloatStorageFeatures.HDF5FloatStorageFeatureBuilder;\nimport ch.systemsx.cisd.hdf5.HDF5GenericStorageFeatures.HDF5GenericStorageFeatureBuilder;\nimport ch.systemsx.cisd.hdf5.HDF5IntStorageFeatures.HDF5IntStorageFeatureBuilder;\nimport ch.systemsx.cisd.hdf5.IHDF5Reader;\nimport ch.systemsx.cisd.hdf5.IHDF5Writer;\nimport ch.systemsx.cisd.hdf5.IHDF5WriterConfigurator;\nimport json.ErrorJSON;\nimport json.WarningJSON;\nimport model.MetaOn;\nimport model.Metadata;\nimport model.Metatype;\nimport model.Parameters;\nimport parsing.model.FileType;\nimport parsing.model.Gene;\nimport tools.Utils;\n\t\t\t// Handle the LOCK\n\t\t\tint nbLocked = 0;\n\t\t\twhile(true)\n\t\t\t{\n\t\t\t\tboolean isLocked = false;\n\t\t\t\ttry\n\t\t\t\t{\n\t\t\t\t\tthis.handle = HDF5Factory.openForReading(filename);\n\t\t\t\t\tcheckLoomFormat();\n\t\t\t\t}\n\t\t\t\tcatch(Exception ex)\n\t\t\t\t{\n\t\t\t\t\tisLocked = true;\n\t\t\t\t\tnbLocked++;\n\t\t\t\t\tif(nbLocked >= 3600) // One hour\n\t\t\t\t\t{\n\t\t\t\t\t\tnew ErrorJSON(\"The file cannot be unlocked\");\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t\t/*\n\t\t\t\t Another exception is thrown randomly: UnsupportedOperationException\n\t\t\t\t So I catch everything and pray :(\n\t\t\t\tcatch(HDF5LibraryException ex)\n\t\t\t\t{\n\t\t\t\t\tif(ex.getMajorErrorNumber() == HDF5Constants.H5E_FILE && ex.getMinorErrorNumber() == HDF5Constants.H5E_BADFILE) isLocked = true;\n\t\t\t\t\t//if(ex.getMinorErrorNumber() == HDF5Constants.H5E_CANTLOCK) isLocked = true;\t\t\t\t\n\t\t\t\t\telse new ErrorJSON(ex.getMessage());\n\t\t\t\t}*/\n\t\t\t\tif(!isLocked) break;\n\t\t\t\telse \n\t\t\t\t{\n\t\t\t\t\tSystem.out.println(\"The file is locked.\");\n\t\t\t\t\ttry\n\t\t\t\t\t{\n\t\t\t\t\t\tThread.sleep(1000);\n\t\t\t\t\t}\n\t\t\t\t\tcatch(InterruptedException ie) { new ErrorJSON(ie.getMessage()); }\n\t\t\t\t\tParameters.idleTime += 1;\n\t\t\t\t}\n\t\t\t}\n\t\t\t\n\t\t\treadOnly = true;\n\t\t}\n\t\telse new ErrorJSON(\"Unknown type: \" + type);\n\t\tall_open_handles.add(this);\n\t}\n\t\n\tpublic String getLoomPath()\n\t{\n\t\treturn loomPath;\n\t}\n\t\n\tpublic void checkLoomFormat() // Following http://linnarssonlab.org/loompy/format/index.html#specification\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\tStringBuffer sb = new StringBuffer();\n\t\tif(!this.handle.object().isDataSet(\"/matrix\")) sb.append(\"Loom format is not correct, there is no /matrix dataset\\n\");\n\t\tif(!this.handle.isGroup(\"col_attrs\")) sb.append(\"Loom format is not correct, there is no /col_attrs group\");\n\t\tif(!this.handle.isGroup(\"col_graphs\")) sb.append(\"Loom format is not correct, there is no /col_graphs group\");\n\t\tif(!this.handle.isGroup(\"row_attrs\")) sb.append(\"Loom format is not correct, there is no /row_attrs group\");\n\t\tif(!this.handle.isGroup(\"row_graphs\")) sb.append(\"Loom format is not correct, there is no /row_graphs group\");\n\t\tString res = sb.toString();\n\t\tif(res.length() != 0) { this.close(); new ErrorJSON(res); }\n\t}\n\t\n\tpublic FileType isLoom() // Following http://linnarssonlab.org/loompy/format/index.html#specification\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\tif(!this.handle.object().isDataSet(\"/matrix\")) return FileType.UNKNOWN;\n\t\tif(!this.handle.isGroup(\"col_attrs\")) return FileType.UNKNOWN;\n\t\tif(!this.handle.isGroup(\"col_graphs\")) return FileType.UNKNOWN;\n\t\tif(!this.handle.isGroup(\"row_attrs\")) return FileType.UNKNOWN;\n\t\tif(!this.handle.isGroup(\"row_graphs\")) return FileType.UNKNOWN;\n\t\tParameters.loomVersion = \"2.0.0\";\n\t\tif(!this.handle.isGroup(\"attrs\")) return FileType.LOOM;\n\t\tif(!this.handle.exists(\"attrs/LOOM_SPEC_VERSION\")) return FileType.LOOM;\n\t\tParameters.loomVersion = this.handle.readString(\"attrs/LOOM_SPEC_VERSION\");\n\t\treturn FileType.LOOM;\n\t}\n\t\n\tpublic float[] readRow(long index, String path)\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\tlong[] dim = this.handle.getDataSetInformation(path).getDimensions(); // Know the actual size of the array\n\t\tfloat[][] res = this.handle.float32().readMatrixBlock(path, 1, (int)dim[1], index, 0l); // TODO does not work if too big array\n\t\treturn res[0];\n\t}\n\t\n\tpublic long getNbGenes()\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\treturn this.getDimensions(\"/matrix\")[0];\n\t}\n\t\n\tpublic long getNbCells()\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\treturn this.getDimensions(\"/matrix\")[1];\n\t}\n\t\n\tpublic float[] readCol(long index, String path)\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\tlong[] dim = this.handle.getDataSetInformation(path).getDimensions(); // Know the actual size of the array\n\t\tfloat[][] res = this.handle.float32().readMatrixBlock(path, (int)dim[0], 1, 0l, index); // TODO does not work if too big array\n\t\treturn Utils.t(res)[0];\n\t}\n\t\n\tpublic float[][] readFloatBlock(String path, int blockSizeX, int blockSizeY, long nbBlocksX, long nbBlocksY)\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\treturn this.handle.float32().readMatrixBlock(path, blockSizeX, blockSizeY, nbBlocksX, nbBlocksY); // TODO does not work if too big array\n\t}\n\t\n\tpublic int[][] readIntBlock(String path, int blockSizeX, int blockSizeY, long nbBlocksX, long nbBlocksY)\n\t{\n\t\tif(this.handle == null) new ErrorJSON(\"Please open the Loom file first\");\n\t\treturn this.handle.int32().readMatrixBlock(path, blockSizeX, blockSizeY, nbBlocksX, nbBlocksY); // TODO does not work if too big array\n\t}\n\tNext line of code:\n"}
{"question_id": 87, "category": "longbench_qmsum", "reference": ["Efforts by speaker mn005 are in progress to detect overlapping speech. For a single transcribed meeting, speaker mn005 reported approximately 300 cases of overlap. Future work will involve manually deriving time marks from sections of overlapping speech for the same meeting, and then experimenting with different measures, e.g. energy increase, to determine a set of acoustically salient features for identifying speaker overlap. "], "prompt": "You are given a meeting transcript and a query containing a question or instruction. Answer the query in one or more sentences.\n\nTranscript:\nProfessor E: So . OK . Doesn't look like it crashed . That 's great .\nGrad G: So I think maybe what 's causing it to crash is I keep starting it and then stopping it to see if it 's working . And so I think starting it and then stopping it and starting it again causes it to crash . So , I won't do that anymore .\nPostdoc B: And it looks like you 've found a way of uh mapping the location to the {disfmarker} without having people have to give their names each time ?\nPhD A: Sounds like an initialization thing .\nPostdoc B: I mean it 's like you have the {disfmarker} So you know that {disfmarker}\nGrad G: No .\nPostdoc B: I mean , are you going to write down {pause} that I sat here ?\nGrad G: I 'm gonna collect the digit forms and write it down .\nPostdoc B: OK .\nPhD C: Oh , OK .\nGrad G: So {disfmarker} So they should be right with what 's on the digit forms . OK , so I 'll go ahead and start with digits . u And I should say that uh , you just pau you just read each line an and then pause briefly .\nProfessor E: And start by giving the transcript number .\nPhD A: Tran\nPhD D: Transcript {disfmarker} Uh . OK , OK .\nPhD A: Oh sorry , go ahead .\nProfessor E: So uh , you see , Don , the unbridled excitement of the work that we have on this project .\nGrad H: OK .\nProfessor E: It 's just uh {disfmarker}\nGrad H: Umh .\nProfessor E: Uh , you know , it doesn't seem like a bad idea to have {comment} that information .\nGrad G: And I 'm surprised I sort of {disfmarker} I 'm surprised I forgot that ,\nProfessor E: Yeah , I {disfmarker} I 'd {disfmarker} I think it 's some\nGrad G: but uh I think that would be a good thing to add . After I just printed out a zillion of them .\nProfessor E: Yeah , well , that 's {disfmarker} Um , so I {disfmarker} I do have a {disfmarker} a an agenda suggestion . Uh , we {disfmarker} I think the things that we talk about in this meeting uh tend to be a mixture of uh procedural uh mundane things and uh research points and um I was thinking I think it was a meeting a couple of weeks ago that we {disfmarker} we spent much of the time talking about the mundane stuff cuz that 's easier to get out of the way and then we sort of drifted into the research and maybe five minutes into that Andreas had to leave . So {vocalsound} uh I 'm suggesting we turn it around and {disfmarker} and uh sort of we have {disfmarker} anybody has some mundane points that we could send an email later , uh hold them for a bit , and let 's talk about the {disfmarker} the research - y kind of things . Um , so um the one th one thing I know that we have on that is uh we had talked a {disfmarker} a couple weeks before um uh about the uh {disfmarker} the stuff you were doing with {disfmarker} with uh um uh l l attempting to locate events , we had a little go around trying to figure out what you meant by \" events \" but I think , you know , what we had meant by \" events \" I guess was uh points of overlap between speakers . But I th I gather from our discussion a little earlier today that you also mean uh interruptions with something else\nPhD D: Yeah .\nProfessor E: like some other noise .\nPhD D: Uh - huh . Yeah .\nProfessor E: Yes ? You mean that as an event also .\nPhD D: To\nProfessor E: So at any rate you were {disfmarker} you 've {disfmarker} you 've done some work on that\nPhD D: right .\nProfessor E: and um then the other thing would be it might be nice to have a preliminary discussion of some of the other uh research uh areas that uh we 're thinking about doing . Um , I think especially since you {disfmarker} you haven't been in {disfmarker} in these meetings for a little bit , maybe you have some discussion of some of the p the plausible things to look at now that we 're starting to get data , uh and one of the things I know that also came up uh is some discussions that {disfmarker} that uh {disfmarker} that uh Jane had with Lokendra uh about some {disfmarker} some {disfmarker} some um uh work about I {disfmarker} I {disfmarker} I d I {disfmarker} I don't want to try to say cuz I {disfmarker} I 'll say it wrong , but anyway some {disfmarker} some potential collaboration there about {disfmarker} about the {disfmarker} about the {disfmarker} working with these data .\nPhD C: Oh . Sure .\nProfessor E: So . So , uh .\nGrad G: You wanna just go around ?\nProfessor E: Uh . {pause} Well , I don't know if we {disfmarker} if this is sort of like everybody has something to contribute sort of thing , I think there 's just just a couple {disfmarker} a couple people primarily um but um Uh , wh why don't {disfmarker} Actually I think that {disfmarker} that last one I just said we could do fairly quickly so why don't you {disfmarker} you start with that .\nPostdoc B: OK . Shall I {disfmarker} shall I just start ? OK .\nProfessor E: Yeah , just explain what it was .\nPostdoc B: Um , so , uh , he was interested in the question of {disfmarker} you know , relating to his {disfmarker} to the research he presented recently , um of inference structures , and uh , the need to build in , um , this {disfmarker} this sort of uh mechanism for understanding of language . And he gave the example in his talk about how {pause} um , e a I 'm remembering it just off the top of my head right now , but it 's something about how um , i \" Joe slipped \" you know , \" John had washed the floor \" or something like that . And I don't have it quite right , but that kind of thing , where you have to draw the inference that , OK , there 's this time sequence , but also the {disfmarker} the {disfmarker} the causal aspects of the uh floor and {disfmarker} and how it might have been the cause of the fall and that um it was the other person who fell than the one who cleaned it and it {disfmarker} {comment} These sorts of things . So , I looked through the transcript that we have so far , {comment} and um , fou identified a couple different types of things of that type and um , one of them was something like uh , during the course of the transcript , um um , w we had gone through the part where everyone said which channel they were on and which device they were on , and um , the question was raised \" Well , should we restart the recording at this point ? \" And {disfmarker} and Dan Ellis said , \" Well , we 're just so far ahead of the game right now {pause} we really don't need to \" . Now , how would you interpret that without a lot of inference ? So , the inferences that are involved are things like , OK , so , how do you interpret \" ahead of the game \" ? You know . So it 's the {disfmarker} it 's {pause} i What you {disfmarker} what you int what you draw {disfmarker} you know , the conclusions that you need to draw are that space is involved in recording ,\nGrad G: Hmm , metaphorically .\nPostdoc B: that um , i that {pause} i we have enough space , and he continues , like \" we 're so ahead of the game cuz now we have built - in downsampling \" . So you have to sort of get the idea that um , \" ahead of the game \" is sp speaking with respect to space limitations , that um that in fact downsampling is gaining us enough space , and that therefore we can keep the recording we 've done so far . But there are a lot of different things like that .\nGrad G: So , do you think his interest is in using this as {pause} a data source , or {pause} training material , or what ?\nProfessor E: Well , I {disfmarker} I should maybe interject to say this started off with a discussion that I had with him , so um we were trying to think of ways that his interests could interact with ours\nGrad G: Mm - hmm .\nProfessor E: and um uh I thought that if we were going to project into the future when we had a lot of data , uh and um such things might be useful for that in or before we invested too much uh effort into that he should uh , with Jane 's help , look into some of the data that we 're {disfmarker} already have and see , is there anything to this at all ?\nGrad G: Mm - hmm .\nProfessor E: Is there any point which you think that , you know , you could gain some advantage and some potential use for it . Cuz it could be that you 'd look through it and you say \" well , this is just the wrong {pause} task for {disfmarker} for him to pursue his {disfmarker} \"\nGrad G: Wrong , yeah .\nProfessor E: And {disfmarker} and uh I got the impression from your mail that in fact there was enough things like this just in the little sample that {disfmarker} that you looked at that {disfmarker} that it 's plausible at least .\nPostdoc B: It 's possible . Uh , he was {disfmarker} he {disfmarker} he {disfmarker} you know {disfmarker} We met and he was gonna go and uh you know , y look through them more systematically\nProfessor E: Yeah .\nPostdoc B: and then uh meet again .\nProfessor E: Yeah .\nPostdoc B: So it 's , you know , not a matter of a {disfmarker}\nProfessor E: Yeah .\nPostdoc B: But , yeah , I think {disfmarker} I think it was optimistic .\nProfessor E: So anyway , that 's {disfmarker} that 's e a quite different thing from anything we 've talked about that , you know , might {disfmarker} might {disfmarker} might come out from some of this .\nPhD C: But he can use text , basically . I mean , he 's talking about just using text\nPostdoc B: That 's his major {disfmarker} I mentioned several that w had to do with implications drawn from intonational contours\nPhD C: pretty much , or {disfmarker} ?\nPostdoc B: and {pause} that wasn't as directly relevant to what he 's doing . He 's interested in these {disfmarker} these knowledge structures ,\nPhD C: OK .\nPhD D: Yeah , interesting .\nPostdoc B: inferences that you draw {pause} i from {disfmarker}\nProfessor E: I mean , he certainly could use text , but we were in fact looking to see if there {disfmarker} is there {disfmarker} is there something in common between our interest in meetings and his interest in {disfmarker} in {disfmarker} in this stuff . So .\nGrad G: And I imagine that transcripts of speech {disfmarker} I mean text that is speech {disfmarker} probably has more of those than sort of prepared writing . I {disfmarker} I don't know whether it would or not , but it seems like it would .\nProfessor E: I don't know , probably de probably depends on what the prepared writing was . But .\nPostdoc B: Yeah , I don't think I would make that leap , because i in narratives , you know {disfmarker} I mean , if you spell out everything in a narrative , it can be really tedious ,\nGrad G: Mm - hmm .\nPostdoc B: so .\nGrad G: Yeah , I 'm just thinking , you know , when you 're {disfmarker} when you 're face to face , you have a lot of backchannel and {disfmarker} And {disfmarker}\nPostdoc B: Oh . That aspect .\nGrad G: Yeah . And so I think it 's just easier to do that sort of broad inference jumping if it 's face to face . I mean , so , if I just read that Dan was saying \" we 're ahead of the game \" {comment} in that {disfmarker} in that context ,\nPostdoc B: Well {disfmarker} Yeah .\nGrad G: I might not realize that he was talking about disk space as opposed to anything else .\nPostdoc B: I {disfmarker} you know , I {disfmarker} I had several that had to do with backchannels and this wasn't one of them .\nGrad G: Uh - huh .\nPostdoc B: This {disfmarker} this one really does um m make you leap from {disfmarker} So he said , you know , \" we 're ahead of the game , w we have built - in downsampling \" .\nGrad G: Mm - hmm .\nPostdoc B: And the inference , i if you had it written down , would be {disfmarker}\nGrad G: I guess it would be the same .\nPostdoc B: Uh - huh . But there are others that have backchannelling , it 's just he was less interested in those .\nPhD F: Can I {disfmarker} Sorry to interrupt . Um , I f f f I 've {disfmarker} @ @ {comment} d A minute {disfmarker} uh , several minutes ago , I , like , briefly was {disfmarker} was not listening and {disfmarker} So who is \" he \" in this context ?\nPhD C: Yeah , there 's a lot of pronoun {disfmarker}\nPhD F: OK . So I was just realizing we 've {disfmarker} You guys have been talking about \" he \" um for at least uh , I don't know , three {disfmarker} three four minutes without ever mentioning the person 's name again .\nPhD C: I believe it . Yeah . Actually to make it worse , {comment} uh , Morgan uses \" you \" and \" you \"\nPhD F: So this is {disfmarker} this is {disfmarker} this is {disfmarker} gonna be a big , big problem if you want to later do uh , you know , indexing , or speech understanding of any sort .\nGrad G: It 's in my notes .\nPhD C: with gaze and no identification , or {disfmarker} I just wrote this down . Yeah , actually . Cuz Morgan will say well , \" you had some ideas \"\nPhD D: Yeah .\nPhD F: You just wrote this ?\nPhD C: and he never said Li - He looked {disfmarker}\nGrad G: Well , I think he 's doing that intentionally ,\nPhD C: Right , so it 's great .\nGrad G: aren't you ?\nPhD C: So this is really great\nPhD F: Right .\nPhD C: because the thing is , because he 's looking at the per even for addressees in the conversation ,\nPhD D: Yeah .\nPhD F: Mm - hmm .\nPhD C: I bet you could pick that up in the acoustics . Just because your gaze is also correlated with the directionality of your voice .\nProfessor E: Uh - huh . Could be .\nPostdoc B: Can we\nProfessor E: Yeah . That would be tou\nGrad G: Oh , that would be interesting .\nPhD C: Yeah , so that , I mean , to even know um when {disfmarker}\nPhD D: Yeah .\nPhD C: Yeah , if you have the P Z Ms you should be able to pick up what a person is looking at from their voice .\nGrad G: Well , especially with Morgan , with the way we have the microphones arranged . I 'm sort of right on axis and it would be very hard to tell .\nPhD C: Right .\nGrad G: Uh .\nPostdoc B: Oh , but you 'd have the {disfmarker}\nPhD C: Put Morgan always like this\nPostdoc B: You 'd have fainter {disfmarker}\nPhD C: and {disfmarker}\nPostdoc B: Wouldn't you get fainter reception out here ?\nProfessor E: Well , these {disfmarker}\nGrad G: Sure , but I think if I 'm talking like this ? Right now I 'm looking at Jane and talking , now I 'm looking at Chuck and talking , I don't think the microphones would pick up that difference .\nPhD C: But you don't have this {disfmarker} this problem .\nPostdoc B: I see .\nPhD C: Morgan is the one who does this most .\nGrad G: So if I 'm talking at you , or I 'm talking at you .\nProfessor E: I probably been affect No , I th I think I 've been affected by too many conversations where we were talking about lawyers and talking about {disfmarker} and concerns about \" oh gee is somebody going to say something bad ? \" and so on .\nGrad G: Lawyers .\nProfessor E: And so I {disfmarker} so I 'm {disfmarker} I 'm tending to stay away from people 's names even though uh {disfmarker}\nPostdoc B: I am too .\nPhD C: Even though you could pick up later on , just from the acoustics who you were t who you were looking at .\nPostdoc B: I am too .\nGrad G: And we did mention who \" he \" was .\nPhD C: Yeah .\nProfessor E: Yeah .\nPhD F: Right , but I missed it .\nGrad G: Early in the conversation .\nPhD F: But {disfmarker} it was uh {disfmarker}\nPhD C: Yeah , yeah .\nProfessor E: Yeah .\nGrad G: Do {disfmarker} Sh - Can I say\nProfessor E: Yeah . No no , there 's {disfmarker}\nPhD F: Yeah .\nGrad G: or {disfmarker} or is that just too sensitive ?\nProfessor E: No no , it isn't sensitive at all .\nPostdoc B: Well {disfmarker}\nProfessor E: I was just {disfmarker} I was just {disfmarker} I was overreacting just because we 've been talking about it .\nPostdoc B: And in fact , it is {disfmarker} it is {disfmarker} it is sensitive .\nPhD C: No , but that {disfmarker} it 's interesting .\nProfessor E: It 's OK to {disfmarker}\nPostdoc B: I {disfmarker} I came up with something from the Human Subjects people that I wanted to mention . I mean , it fits into the m area of the mundane , but they did say {disfmarker} You know , I asked her very specifically about this clause of how , um , you know , it says \" no individuals will be identified uh , \" in any publication using the data . \" OK , well , individuals being identified , let 's say you have a {disfmarker} a snippet that says , \" Joe s uh thinks such - and - such about {disfmarker} about this field , but I think he 's wrongheaded . \" Now I mean , we 're {disfmarker} we 're gonna be careful not to have the \" wrongheaded \" part in there , but {disfmarker} but you know , let 's say we say , you know , \" Joe used to think so - and - so about this area , in his publication he says that but I think he 's changed his mind . \" or whatever . Then the issue of {disfmarker} of being able to trace Joe , because we know he 's well - known in this field , and all this and {disfmarker} and tie it to the speaker , whose name was just mentioned a moment ago , can be sensitive .\nProfessor E: b But I {disfmarker}\nPostdoc B: So I think it 's really {disfmarker} really kind of adaptive and wise to not mention names any more than we have to because if there 's a slanderous aspect to it , then how much to we wanna be able to have to remove ?\nProfessor E: Yeah , well , there 's that . But I {disfmarker} I mean I think also to some extent it 's just educating the Human Subjects people , in a way , because there 's {disfmarker} If uh {disfmarker} You know , there 's court transcripts , there 's {disfmarker} there 's transcripts of radio shows {disfmarker} I mean people say people 's names all the time . So I think it {disfmarker} it can't be bad to say people 's names . It 's just that {disfmarker} i I mean you 're right that there 's more poten If we never say anybody 's name , then there 's no chance of {disfmarker} of {disfmarker} of slandering anybody ,\nPhD C: But , then it won't {disfmarker} I mean , if we {disfmarker} if we {disfmarker}\nProfessor E: but {disfmarker}\nGrad G: It 's not a meeting .\nPhD C: Yeah . I mean we should do whatever 's natural in a meeting if {disfmarker} if we weren't being recorded .\nProfessor E: Yeah . Right , so I {disfmarker} So my behavior is probably not natural .\nPhD C: \" If Person X {disfmarker} \"\nProfessor E: So .\nPostdoc B: Well , my feeling on it was that it wasn't really important who said it , you know .\nProfessor E: Yeah .\nPhD F: Well , if you ha since you have to um go over the transcripts later anyway , you could make it one of the jobs of the {pause} people who do that to mark\nGrad G: Well , we t we t we talked about this during the anon anonymization .\nPhD F: Right .\nGrad G: If we wanna go through and extract from the audio and the written every time someone says a name . And I thought that our conclusion was that we didn't want to do that .\nProfessor E: Yeah , we really can't . But a actually , I 'm sorry . I really would like to push {disfmarker} finish this off .\nPostdoc B: I understand . No I just {disfmarker} I just was suggesting that it 's not a bad policy p potentially .\nProfessor E: So it 's {disfmarker}\nPostdoc B: So , we need to talk about this later .\nProfessor E: Yeah , I di I didn't intend it an a policy though .\nPostdoc B: Uh - huh .\nProfessor E: It was {disfmarker} it was just it was just unconscious {disfmarker} well , semi - conscious behavior . I sorta knew I was doing it but it was {disfmarker}\nPhD F: Well , I still don't know who \" he \" is .\nProfessor E: I {disfmarker} I do I don't remember who \" he \" is .\nPhD C: No , you have to say , you still don't know who \" he \" is , with that prosody .\nProfessor E: Ah . Uh , we were talking about Dan at one point {comment} and we were talking about Lokendra at another point .\nPostdoc B: Yeah , depends on which one you mean .\nProfessor E: And I don't {disfmarker} I don't remember which {disfmarker} which part .\nPhD F: Oh .\nPhD C: It 's ambiguous , so it 's OK .\nProfessor E: Uh , I think {disfmarker}\nGrad G: Well , the inference structures was Lokendra .\nPhD F: But no . The inference stuff was {disfmarker} was {disfmarker} was Lokendra .\nProfessor E: Yeah . Yeah . Yeah .\nPhD F: OK . That makes sense , yeah .\nPhD C: And the downsampling must have been Dan .\nProfessor E: Um {disfmarker}\nGrad G: Yeah .\nProfessor E: Good {disfmarker} Yeah .\nPhD C: It 's an inference .\nProfessor E: Yeah , you could do all these inferences , yeah .\nGrad G: Yeah .\nProfessor E: Yeah . Um , I {disfmarker} I would like to move it into {disfmarker} into uh what Jose uh has been doing\nPostdoc B: Yeah .\nProfessor E: because he 's actually been doing something .\nPhD D: Uh - huh . OK .\nProfessor E: So . {vocalsound} Right .\nPhD F: As opposed to the rest of us .\nPhD D: Well - {comment} {vocalsound} OK . I {disfmarker} I remind that me {disfmarker} my first objective eh , in the project is to {disfmarker} to study difference parameters to {disfmarker} to find a {disfmarker} a good solution to detect eh , the overlapping zone in eh speech recorded . But eh , {vocalsound} tsk , {comment} {vocalsound} ehhh {comment} In that way {comment} I {disfmarker} {vocalsound} I {disfmarker} {vocalsound} I begin to {disfmarker} to study and to analyze the ehn {disfmarker} the recorded speech eh the different session to {disfmarker} to find and to locate and to mark eh the {disfmarker} the different overlapping zone . And eh so eh I was eh {disfmarker} I am transcribing the {disfmarker} the first session and I {disfmarker} I have found eh , eh one thousand acoustic events , eh besides the overlapping zones , eh I {disfmarker} I {disfmarker} I mean the eh breaths eh aspiration eh , eh , talk eh , eh , clap , eh {disfmarker} {comment} I don't know what is the different names eh you use to {disfmarker} to name the {disfmarker} the {pause} n speech\nPhD A: Nonspeech sounds ?\nPhD D: Yeah .\nGrad G: Oh , I don't think we 've been doing it at that level of detail . So .\nPhD D: Yeah . Eh , {vocalsound} I {disfmarker} I {disfmarker} I do I don't need to {disfmarker} to {disfmarker} to mmm {vocalsound} {disfmarker} to m to label the {disfmarker} the different acoustic , but I prefer because eh I would like to {disfmarker} to study if eh , I {disfmarker} I will find eh , eh , a good eh parameters eh to detect overlapping I would like to {disfmarker} to {disfmarker} to test these parameters eh with the {disfmarker} another eh , eh acoustic events , to nnn {disfmarker} {vocalsound} to eh {disfmarker} to find what is the ehm {disfmarker} the false {disfmarker} eh , the false eh hypothesis eh , nnn , which eh are produced when we use the {disfmarker} the ehm {disfmarker} this eh parameter {disfmarker} eh I mean pitch eh , eh , difference eh , feature {disfmarker}\nGrad G: Mm - hmm .\nPhD A: You know {disfmarker} I think some of these um that are the nonspeech overlapping events may be difficult even for humans to tell that there 's two there .\nGrad G: So it was {disfmarker}\nPhD D: Yeah .\nPhD A: I mean , if it 's a tapping sound , you wouldn't necessarily {disfmarker} or , you know , something like that , it 'd be {disfmarker} it might be hard to know that it was two separate events .\nPhD D: Yeah . Yeah . Yeah . Yeah .\nGrad G: Well {disfmarker} You weren't talking about just overlaps\nPhD D: Ye\nGrad G: were you ? You were just talking about acoustic events .\nPhD D: I {disfmarker} I {disfmarker} I {disfmarker} I t I t I talk eh about eh acoustic events in general ,\nGrad G: Someone starts , someone stops {disfmarker} Yeah .\nPhD A: Oh .\nPhD D: but eh my {disfmarker} my objective eh will be eh to study eh overlapping zone .\nGrad G: Mm - hmm .\nPhD D: Eh ? {comment} n Eh in twelve minutes I found eh , eh one thousand acoustic events .\nProfessor E: How many overlaps were there uh in it ? No no , how many of them were the overlaps of speech , though ?\nPhD D: How many ? Eh almost eh three hundred eh in one session\nGrad G: Oh , God !\nPhD D: in five {disfmarker} eh in forty - five minutes .\nPhD A: Three hundred overlapping speech {disfmarker}\nPhD D: Alm - Three hundred overlapping zone .\nGrad G: Ugh .\nPhD C: Overlapping speech .\nPhD D: With the overlapping zone , overlapping speech {disfmarker} speech what eh different duration .\nPhD A: Mm - hmm .\nProfessor E: Sure .\nPostdoc B: Does this {disfmarker} ? So if you had an overlap involving three people , how many times was that counted ?\nPhD D: Yeah , three people , two people . Eh , um I would like to consider eh one people with difference noise eh in the background , be\nProfessor E: No no , but I think what she 's asking is {pause} if at some particular for some particular stretch you had three people talking , instead of two , did you call that one event ?\nPhD D: Oh . Oh . Yeah . I consider one event eh for th for that eh for all the zone . This {disfmarker} th I {disfmarker} I {disfmarker} I con I consider {disfmarker} I consider eh an acoustic event , the overlapping zone , the period where three speaker or eh {disfmarker} are talking together .\nGrad G: Well {disfmarker} So let 's {disfmarker}\nPostdoc B: For\nGrad G: So let 's say me and Jane are talking at the same time , and then Liz starts talking also over all of us . How many events would that be ?\nPhD D: So - I don't understand .\nGrad G: So , two people are talking , {comment} and then a third person starts talking .\nPhD D: Yeah ?\nGrad G: Is there an event right here ?\nPhD D: Eh no . No no . For me is the overlapping zone , because {disfmarker} because you {disfmarker} you have s you have more one {disfmarker} eh , more one voice eh , eh produced in a {disfmarker} in {disfmarker} in a moment .\nProfessor E: I see .\nGrad G: So i if two or more people are talking .\nProfessor E: OK . Yeah . So I think {disfmarker} Yeah . We just wanted to understand how you 're defining it .\nPhD D: Yeah . If\nProfessor E: So then , in the region between {disfmarker} since there {disfmarker} there is some continuous region , in between regions where there is only one person speaking .\nPhD D: Uh - huh .\nProfessor E: And one contiguous region like that you 're calling an event .\nPhD D: Uh - huh .\nProfessor E: Is it {disfmarker} Are you calling the beginning or the end of it the event ,\nPhD D: Yeah .\nProfessor E: or are you calling the entire length of it the event ?\nPhD D: I consider the {disfmarker} the , nnn {disfmarker} the nnn , nnn {disfmarker} eh , the entirety eh , eh , all {disfmarker} all the time there were {disfmarker} the voice has overlapped .\nProfessor E: OK .\nPhD D: This is the idea . But eh I {disfmarker} I don't distinguish between the {disfmarker} the numbers of eh speaker . Uh , I 'm not considering {vocalsound} eh the {disfmarker} the {disfmarker} ehm {vocalsound} eh , the fact of eh , eh , for example , what did you say ? Eh at first eh , eh two talkers are uh , eh speaking , and eh , eh a third person eh join to {disfmarker} to that . For me , it 's eh {disfmarker} it 's eh , all overlap zone , with eh several numbers of speakers is eh , eh the same acoustic event . Wi - but {disfmarker} uh , without any mark between the zone {disfmarker} of the overlapping zone with two speakers eh speaking together , and the zone with the three speakers .\nPostdoc B: That would j just be one .\nPhD D: It {disfmarker} One . One .\nPostdoc B: OK .\nPhD D: Eh , with eh , a beginning mark and the ending mark . Because eh {vocalsound} for me , is the {disfmarker} is the zone with eh some kind of eh distortion the spectral .\nProfessor E: Got it .\nPhD D: I don't mind {disfmarker} By the moment , by the moment .\nGrad G: Well , but {disfmarker} But you could imagine that three people talking has a different spectral characteristic than two .\nPhD D: I {disfmarker} I don't {disfmarker} Yeah , but eh {disfmarker} but eh I have to study . {comment} What will happen in a general way ,\nProfessor E: Could .\nGrad G: So . You had to start somewhere .\nProfessor E: Yeah . We just w\nPhD C: So there 's a lot of overlap .\nPhD D: I {disfmarker} {vocalsound} I don't know what eh will {disfmarker} will happen with the {disfmarker}\nGrad G: Yep .\nPhD C: So .\nGrad G: That 's a lot of overlap ,\nPhD D: Yeah ?\nProfessor E: So again , that 's {disfmarker} that 's three {disfmarker} three hundred in forty - five minutes that are {disfmarker} that are speakers , just speakers .\nGrad G: yeah , for forty - five minutes .\nPhD D: Yeah . Yeah .\nProfessor E: Uh - huh . OK . Yeah .\nPostdoc B: But a {disfmarker} a {disfmarker} a th\nProfessor E: So that 's about eight per minute .\nPostdoc B: But a thousand events in twelve minutes , that 's {disfmarker}\nPhD D: Yeah , {pause} but {disfmarker} Yeah .\nPhD C: But that can include taps .\nPhD D: But {disfmarker}\nProfessor E: Uh . Yeah .\nPostdoc B: Well , but a thousand taps in eight minutes is a l in twelve minutes is a lot .\nPhD D: General .\nPhD C: Actually {disfmarker}\nPhD D: I {disfmarker} I con I consider {disfmarker} I consider acoustic events eh , the silent too .\nPostdoc B: Silent .\nGrad G: Silence starting or silence ending {disfmarker}\nPhD D: Yeah , silent , ground to {disfmarker} bec to detect {disfmarker} eh because I consider acoustic event all the things are not eh speech .\nPhD C: Oh , OK .\nProfessor E: Mm - hmm .\nPhD A: Oh .\nPhD D: In ge in {disfmarker} in {disfmarker} in a general point of view .\nPhD C: Oh .\nProfessor E: OK , so how many of those thousand were silence ?\nPhD C: Alright .\nPhD D: in the per\nPhD F: Not speech {disfmarker} not speech or too much speech .\nPhD D: Too much speech .\nProfessor E: Right . So how many of those thousand were silence , silent sections ?\nPhD D: Yeah . Uh silent , I {disfmarker} I {disfmarker} I {disfmarker} I don't {disfmarker} I {disfmarker} I haven't the {disfmarker} eh I {disfmarker} I would like to {disfmarker} to do a stylistic study\nProfessor E: Yeah .\nPhD D: and give you eh with the report eh from eh the {disfmarker} the study from the {disfmarker} the {disfmarker} the session {disfmarker} one session .\nProfessor E: Yeah . Yeah .\nPhD D: And I {disfmarker} I found that eh another thing . When eh {vocalsound} eh I w I {disfmarker} {vocalsound} I was eh look at eh nnn , the difference speech file , um , for example , eh if eh we use the ehm {disfmarker} the mixed file , to {disfmarker} to transcribe , the {disfmarker} the events and the words , I {disfmarker} I saw that eh the eh speech signal , collected by the eh this kind of mike {disfmarker} eh of this kind of mike , eh are different from the eh mixed signal eh , we eh {disfmarker} collected by headphone .\nGrad G: Yep .\nPhD D: And {disfmarker} It 's right .\nProfessor E: Yeah .\nGrad G: Right .\nPhD D: But the problem is {vocalsound} the following . The {disfmarker} the {disfmarker} the {disfmarker} I {disfmarker} I {disfmarker} I knew that eh the signal eh , eh would be different , but eh the {disfmarker} the problem is eh , eh we eh detected eh difference events in the speech file eh collected by {disfmarker} by that mike uh qui compared with the mixed file . And so if {disfmarker} when you transcribe eh only eh using the nnn {disfmarker} the mixed file , it 's possible {disfmarker} eh if you use the transcription to evaluate a different system , it 's possible you eh {disfmarker} in the eh i and you use the eh speech file collected by the eh fet mike , to eh {disfmarker} to nnn {disfmarker} to do the experiments {pause} with the {disfmarker} the system ,\nProfessor E: Mm - hmm .\nGrad G: Right .\nPhD D: its possible to evaluate eh , eh {disfmarker} or to consider eh acoustic events that {disfmarker} which you marked eh in the mixed file , but eh they don't appear in the eh speech signal eh collected by the {disfmarker} by the mike .\nGrad G: Right . The {disfmarker} the reason that I generated the mixed file was for IBM to do word level transcription , not speech event transcription .\nPhD D: Yeah . Yeah . Oh , it 's a good idea . It 's a good idea I think .\nGrad G: So I agree that if someone wants to do speech event transcription , that the mixed signals here {disfmarker}\nPhD D: Yeah .\nGrad G: I mean , if I 'm tapping on the table , you it 's not gonna show up on any of the mikes , but it 's gonna show up rather loudly in the PZM .\nPhD D: Yeah . Yeah . Yeah . So and I {disfmarker} I {disfmarker} {vocalsound} I say eh that eh , eh , or this eh only because eh I c I {disfmarker} I {disfmarker} {vocalsound} in my opinion , it 's necessary to eh {disfmarker} to eh {disfmarker} to put the transcription on the speech file , collected by the objective signal .\nGrad G: So .\nPhD D: I mean the {disfmarker} the {disfmarker} the signal collected by the {disfmarker} eh , the real mike in the future , in the prototype to {disfmarker} to eh correct the initial eh segmentation eh with the eh real speech\nProfessor E: Mm - hmm . The {disfmarker} the {disfmarker} the far - field , yeah .\nPhD D: you have to {disfmarker} to analyze {disfmarker} you have to {disfmarker} to process . Because I {disfmarker} I found a difference .\nProfessor E: Yeah , well , just {disfmarker} I mean , just in that {disfmarker} that one s ten second , or whatever it was , example that Adam had that {disfmarker} that we {disfmarker} we passed on to others a few months ago , there was that business where I g I guess it was Adam and Jane were talking at the same time and {disfmarker} and uh , in the close - talking mikes you couldn't hear the overlap , and in the distant mike you could . So yeah , it 's clear that if you wanna study {disfmarker} if you wanna find all the places where there were overlap , it 's probably better to use a distant mike .\nPhD F: That 's good .\nProfessor E: On the other hand , there 's other phenomena that are going on at the same time for which it might be useful to look at the close - talking mikes ,\nPhD D: Yeah .\nPhD C: But why can't you use the combination of the close - talking mikes , time aligned ?\nProfessor E: so it 's {disfmarker}\nGrad G: If you use the combination of the close - talking mikes , you would hear Jane interrupting me , but you wouldn't hear the paper rustling . And so if you 're interested in {disfmarker}\nPhD C: I {disfmarker} I mean if you 're interested in speakers overlapping other speakers and not the other kinds of nonspeech , that 's not a problem ,\nProfessor E: Some {comment} of it 's masking {disfmarker} masked .\nPhD D: Yeah .\nPhD A: Were you interrupting him or was he interrupting you ?\nProfessor E: Right .\nPhD C: right ?\nGrad G: Right .\nPhD D: Yeah .\nGrad G: Although the other issue is that the {pause} mixed close - talking mikes {disfmarker} I mean , I 'm doing weird normalizations and things like that .\nPhD C: But it 's known .\nPhD D: Yeah .\nPhD C: I mean , the normalization you do is over the whole conversation\nGrad G: Yep .\nPhD C: isn't it , over the whole meeting .\nGrad G: Right . Yep .\nPhD C: So if you wanted to study people overlapping people , that 's not a problem .\nPhD D: I {disfmarker} I {disfmarker} I think eh I saw the nnn {disfmarker} the {disfmarker} eh but eh I eh {disfmarker} I have eh any results . I {disfmarker} I {disfmarker} I saw the {disfmarker} the speech file collected by eh the fet mike , and eh eh signal eh to eh {disfmarker} to noise eh relation is eh low . It 's low .\nProfessor E: Mm - hmm .\nPhD D: It 's very low . You would comp if we compare it with eh the headphone .\nGrad G: Yep .\nPhD D: And I {disfmarker} I found that nnn {disfmarker} that eh , {vocalsound} ehm , pr probably ,\nGrad G: Did {disfmarker} Did you\nPhD D: I 'm not sure eh by the moment , but it 's {disfmarker} it 's probably that eh a lot of eh , {vocalsound} eh for example , in the overlapping zone , on eh {disfmarker} in {disfmarker} in several eh parts of the files where you {disfmarker} you can find eh , eh {vocalsound} eh , smooth eh eh speech eh from eh one eh eh talker in the {disfmarker} in the meeting ,\nProfessor E: Mm - hmm . Mm - hmm .\nPhD D: it 's probably in {disfmarker} in that eh {disfmarker} in {disfmarker} in those files you {disfmarker} you can not find {disfmarker} you can not process because eh it 's confused with {disfmarker} with noise .\nProfessor E: Mm - hmm .\nPhD D: And there are {vocalsound} a lot of I think . But I have to study with more detail . But eh my idea is to {disfmarker} to process only {pause} nnn , this eh {disfmarker} nnn , this kind of s of eh speech . Because I think it 's more realistic . I 'm not sure it 's a good idea , but eh {disfmarker}\nProfessor E: No {disfmarker} i\nGrad G: Well , it 's more realistic but it 'll {disfmarker} it 'll be a lot harder .\nPhD D: Yeah .\nProfessor E: Well , it 'd be hard , but on the other hand as you point out , if your {disfmarker} if i if {disfmarker} if your concern is to get uh the overlapping people {disfmarker} people 's speech , you will {disfmarker} you will get that somewhat better .\nPhD D: Mm - hmm . Yeah .\nProfessor E: Um , Are you making any use {disfmarker} uh you were {disfmarker} you were working with th the data that had already been transcribed .\nPhD D: With {disfmarker} By Jane .\nProfessor E: Does it uh {disfmarker} Yes .\nPhD D: Yeah .\nProfessor E: Now um did you make any use of that ? See I was wondering cuz we st we have these ten hours of other stuff that is not yet transcribed .\nPhD D: Yeah . Yeah .\nProfessor E: Do you {disfmarker}\nPhD D: The {disfmarker} the transcription by Jane , t eh i eh , I {disfmarker} I {disfmarker} I want to use to {disfmarker} to nnn , {vocalsound} eh to put {disfmarker} i i it 's a reference for me . But eh the transcription {disfmarker} eh for example , I {disfmarker} I don't {disfmarker} I {disfmarker} I 'm not interested in the {disfmarker} in the {disfmarker} in the words , transcription words , eh transcribed eh eh in {disfmarker} eh follow in the {disfmarker} {vocalsound} in the {disfmarker} in the speech file , but eh eh Jane eh for example eh put a mark eh at the beginning eh of each eh talker , in the {disfmarker} in the meeting , um eh she {disfmarker} she nnn includes information about the zone where eh there are eh {disfmarker} there is an overlapping zone . But eh there isn't any {disfmarker} any mark , time {disfmarker} temporal mark , to {disfmarker} to c eh {disfmarker} to mmm {vocalsound} {disfmarker} e - heh , to label {comment} the beginning and the end of the {disfmarker} of the\nProfessor E: Mm - hmm . OK . Right , so she is {disfmarker}\nPhD D: ta I 'm {disfmarker} I {disfmarker} I {disfmarker} I think eh we need this information to\nProfessor E: Right . So the twelve {disfmarker} you {disfmarker} you {disfmarker} it took you twelve hours {disfmarker} of course this included maybe some {disfmarker} some time where you were learning about what {disfmarker} what you wanted to do , but {disfmarker} but uh , it took you something like twelve hours to mark the forty - five minutes , your\nGrad G: Twelve minutes .\nPhD D: Twelve minutes .\nProfessor E: s Twelve minutes !\nPhD D: Twelve minutes . Twelve .\nProfessor E: I thought you did forty - five minutes of {disfmarker}\nPhD D: No , forty - five minutes is the {disfmarker} is the session , all the session .\nPostdoc B: Oh .\nProfessor E: Oh , you haven't done the whole session .\nPhD D: Yeah , all is the {vocalsound} the session .\nProfessor E: This is just twelve minutes .\nPhD D: Tw - twelve hours of work to {disfmarker} {vocalsound} to segment eh and label eh twelve minutes from a session of part {disfmarker} of f\nProfessor E: Oh . So {comment} let me back up again . So the {disfmarker} when you said there were three hundred speaker overlaps ,\nPhD D: Yeah .\nProfessor E: that 's in twelve minutes ?\nPhD D: No no no . I {disfmarker} I consider all the {disfmarker} all the session because eh I {disfmarker} I count the nnn {disfmarker} the nnn {disfmarker} the overlappings marked by {disfmarker} by Jane ,\nProfessor E: Oh , OK .\nPostdoc B: Oh , I see .\nPhD D: in {disfmarker} in {disfmarker} in {disfmarker} in the {pause} fin in {disfmarker} in the {pause} forty - five minutes .\nProfessor E: OK . So it 's three hundred in forty - five minutes , but you have {disfmarker} you have time uh , uh marked {disfmarker} twelve minute {disfmarker} the {disfmarker} the {disfmarker} the um overlaps in twelve minutes of it .\nPhD D: Yeah .\nProfessor E: Got it .\nPhD F: So , can I ask {disfmarker} {vocalsound} can I ask whether you found {disfmarker} uh , you know , how accurate uh Jane 's uh uh labels were as far as {disfmarker}\nGrad G: Well , not just the overlaps , everything .\nPhD F: you know , did she miss some overlaps ? or did she n ?\nPhD D: But , by {disfmarker} by the moment , I {disfmarker} I don't compare , my {disfmarker} my temporal mark with eh Jane , but eh I {disfmarker} I want to do it . Because eh eh i per perhaps I have eh errors in the {disfmarker} in the marks , I {disfmarker} and if I {disfmarker} I compare with eh Jane , it 's probably I {disfmarker} I {disfmarker} I can correct and {disfmarker} and {disfmarker} and {disfmarker} to get eh eh a more accurately eh eh transcription in the file .\nProfessor E: Yeah .\nGrad G: Well , also Jane {disfmarker} Jane was doing word level .\nPhD D: Yeah .\nProfessor E: Yeah .\nGrad G: So we weren't concerned with {comment} exactly when an overlap started and stopped .\nPhD F: Right . Right .\nPhD C: Well , not only a word level , but actually\nPhD D: Well {disfmarker}\nPhD F: I 'm expect I 'm not expecting {disfmarker}\nPhD D: No , it 's {disfmarker}\nPhD C: I mean , you didn't need to show the exact point of interruption , you just were showing at the level of the phrase or the level of the speech spurt , or {disfmarker}\nGrad G: Right .\nProfessor E: Mm - hmm .\nGrad G: Yep .\nPostdoc B: Well {disfmarker}\nPhD D: Yeah . Yeah .\nPostdoc B: Well , yeah , b yeah , I would say time bin . So my {disfmarker} my goal is to get words with reference to a time bin , {pause} beginning and end point .\nPhD C: Yeah .\nPhD D: Yeah .\nPhD C: Right .\nPhD D: Yeah .\nPostdoc B: And {disfmarker} and sometimes , you know , it was like you could have an overlap where someone said something in the middle ,\nPhD D: Yeah .\nPostdoc B: but , yeah , w it just wasn't important for our purposes to have it that {disfmarker} i disrupt that unit in order to have , you know , a the words in the order in which they were spoken , it would have {disfmarker} it would have been hard with the interface that we have .\nPhD D: Yeah .\nPostdoc B: Now , my {disfmarker} a Adam 's working on a of course , on a revised overlapping interface ,\nPhD D: Uh - huh .\nGrad G: Right .\nPhD D: I {disfmarker} I {disfmarker} I think {disfmarker} It 's {disfmarker} it 's a good eh work ,\nPostdoc B: but {disfmarker}\nPhD D: but eh I think we need eh eh more information .\nPhD F: No , of course .\nPostdoc B: Yeah .\nPhD F: I expect you to find more overlaps than {disfmarker} than Jane\nGrad G: Always need more for {disfmarker}\nPostdoc B: Yeah .\nPhD D: No , no . I {disfmarker} I have to go to {disfmarker}\nPhD F: because you 're looking at it at a much more detailed level .\nPhD D: I want eh {disfmarker} I wanted to eh compare the {disfmarker} the transcription .\nProfessor E: I have {disfmarker}\nGrad G: But if it takes sixty to one {disfmarker}\nProfessor E: Well , I but I have a suggestion about that . Um , obviously this is very , very time - consuming , and you 're finding lots of things which I 'm sure are gonna be very interesting , but in the interests of making progress , uh might I s how {disfmarker} how would it affect your time if you only marked speaker overlaps ?\nPhD D: Only .\nProfessor E: Yes .\nPhD D: Yeah .\nProfessor E: Do not mark any other events ,\nPhD D: Uh - huh .\nProfessor E: but only mark speaker {disfmarker} Do you think that would speed it up quite a bit ?\nPhD D: OK . OK . I {disfmarker} I {disfmarker} I {disfmarker} I w I {disfmarker} I wanted to {disfmarker}\nProfessor E: Do y do you think that would speed it up ? Uh , speed up your {disfmarker} your {disfmarker} your marking ?\nPhD D: nnn , I don't understand very .\nProfessor E: It took you a long time {pause} to mark twelve minutes .\nPhD D: Yeah . Oh , yeah , yeah .\nProfessor E: Now , my suggestion was for the other thirty - three {disfmarker}\nPhD D: On - only to mark {disfmarker} only to mark overlapping zone , but {disfmarker}\nProfessor E: Yeah , and my question is , if you did that , if you followed my suggestion , would it take much less time ?\nPhD D: Oh , yeah . Sure .\nProfessor E: Yeah OK .\nPhD D: Yeah sure .\nProfessor E: Then I think it 's a good idea .\nPhD D: Sure sure .\nProfessor E: Then I think it 's a good idea , because it\nPhD D: Sure , because I {disfmarker} I need a lot of time to {disfmarker} to put the label or to do that . Yeah .\nProfessor E: Yeah , I mean , we we know that there 's noise .\nGrad G: And\nPhD D: Uh - huh .\nProfessor E: There 's {disfmarker} there 's uh continual noise uh from fans and so forth , and there is uh more impulsive noise from uh taps and so forth\nPhD D: Yeah .\nProfessor E: and {disfmarker} and something in between with paper rustling . We know that all that 's there and it 's a g worthwhile thing to study , but obviously it takes a lot of time to mark all of these things .\nPhD D: Yeah .\nProfessor E: Whereas th i I would think that uh you {disfmarker} we can study more or less as a distinct phenomenon the overlapping of people talking .\nPhD D: Uh - huh . OK . OK .\nProfessor E: So . Then you can get the {disfmarker} Cuz you need {disfmarker} If it 's three hundred uh {disfmarker} i i it sounds like you probably only have fifty or sixty or seventy events right now that are really {disfmarker}\nPhD D: Yeah .\nProfessor E: And {disfmarker} and you need to have a lot more than that to have any kind of uh even visual sense of {disfmarker} of what 's going on , much less any kind of reasonable statistics .\nGrad G: Right .\nPhD C: Now , why do you need to mark speaker overlap by hand if you can infer it from the relative energy in the {disfmarker}\nGrad G: Well , that 's {disfmarker} That 's what I was gonna bring up .\nPhD C: I mean , you shouldn't need to do this p completely by hand ,\nProfessor E: Um , OK , yeah . So let 's back up because you weren't here for an earlier conversation .\nPhD C: right ? I 'm sorry .\nProfessor E: So the idea was that what he was going to be doing was experimenting with different measures such as the increase in energy , such as the energy in the LPC residuals , such as {disfmarker} I mean there 's a bunch of things {disfmarker} I mean , increased energy is - is sort of an obvious one .\nPhD C: Mm - hmm . In the far - field mike .\nProfessor E: Yeah .\nPhD C: Oh , OK .\nProfessor E: Um , and uh , it 's not obvious , I mean , you could {disfmarker} you could do the dumbest thing and get {disfmarker} get it ninety percent of the time . But when you start going past that and trying to do better , it 's not obvious what combination of features is gonna give you the {disfmarker} you know , the right detector . So the idea is to have some ground truth first . And so the i the idea of the manual marking was to say \" OK this , i you know , it 's {disfmarker} it 's really here \" .\nPhD A: But I think Liz is saying why not get it out of the transcripts ?\nPhD C: What I mean is {pause} get it from the close - talking mikes .\nProfessor E: Uh , yeah .\nPhD C: A or ge get a first pass from those ,\nProfessor E: We t we t w we t we talked about that .\nPhD C: and then go through sort of {disfmarker} It 'd be a lot faster probably to {disfmarker}\nPhD F: And you can {disfmarker}\nGrad G: Yeah , that 's his , uh {disfmarker}\nProfessor E: We {disfmarker} we {disfmarker} we talked about that . s But so it 's a bootstrapping thing and the thing is ,\nPhD C: Yeah , I just {disfmarker}\nProfessor E: the idea was , i we i i we thought it would be useful for him to look at the data anyway , and {disfmarker} and then whatever he could mark would be helpful ,\nPhD C: Right .\nProfessor E: and we could {disfmarker} Uh it 's a question of what you bootstrap from . You know , do you bootstrap from a simple measurement which is right most of the time and then you g do better , or do you bootstrap from some human being looking at it and then {disfmarker} then do your simple measurements , uh from the close - talking mike . I mean , even with the close - talking mike you 're not gonna get it right all the time .\nPhD C: Well , that 's what I wonder , because um {disfmarker} or how bad it is ,\nProfessor E: Well\nPhD C: be um , because that would be interesting\nGrad G: I 'm working on a program to do that , and {disfmarker}\nPhD C: especially because the bottleneck is the transcription . Right ? I mean , we 've got a lot more data than we have transcriptions for . We have the audio data , we have the close - talking mike ,\nProfessor E: Yeah .\nPhD C: so I mean it seems like one kind of project that 's not perfect , but {disfmarker} um , that you can get the training data for pretty quickly is , you know , if you infer form the close - talking mikes where the on - off points are of speech ,\nProfessor E: Right , we discussed that .\nPhD C: you know , how can we detect that from a far - field ?\nGrad G: And {disfmarker}\nPostdoc B: Oh .\nGrad G: I 've {disfmarker} I 've written a program to do that ,\nPhD C: OK , I 'm sorry I missed the {disfmarker}\nGrad G: and it , uh {disfmarker}\nProfessor E: It 's OK .\nGrad G: and {disfmarker} so {disfmarker} but it 's {disfmarker} it 's doing something very , very simple . It just takes a threshold , based on {disfmarker} on the volume ,\nPhD C: Uh - huh .\nPhD F: Or you can set the threshold low and then weed out the false alarms by hand .\nPhD C: Right , by hand . Yeah .\nPhD F: Yeah .\nGrad G: um , and then it does a median filter , and then it looks for runs . And , it seems to work , I 've {disfmarker} I 'm sort of fiddling with the parameters , to get it to actually generate something , and I haven't {disfmarker} I don't {disfmarker} what I 'm working on {disfmarker} was working on {disfmarker} was getting it to a form where we can import it into the user interface that we have , {pause} into Transcriber . And so {disfmarker} I told {disfmarker} I said it would take about a day . I 've worked on it for about half a day ,\nGrad H: I have to go .\nGrad G: so give me another half day and I we 'll have something we can play with .\nPhD C: OK .\nProfessor E: See , this is where we really need the Meeting Recorder query stuff to be working , because we 've had these meetings and we 've had this discussion about this , and I 'm sort of remembering a little bit about what we decided ,\nPhD C: Right . I 'm sorry . I just {disfmarker}\nProfessor E: but I couldn't remember all of it .\nPhD C: It\nProfessor E: So , I think it was partly that , you know , give somebody a chance to actually look at the data and see what these are like , partly that we have e some ground truth to compare against , you know , when {disfmarker} when he {disfmarker} he gets his thing going ,\nGrad G: But {disfmarker}\nProfessor E: uh , and {disfmarker}\nPhD C: Well , it 's definitely good to have somebody look at it . I was just thinking as a way to speed up you know , the amount of {disfmarker}\nPostdoc B: Mm - hmm .\nProfessor E: That was {disfmarker} that was exactly the notion that {disfmarker} that {disfmarker} that we discussed .\nPhD C: OK .\nGrad G: Thanks .\nPostdoc B: Another thing we discussed was um that {disfmarker}\nPhD C: It looks good .\nProfessor E: So .\nPhD C: I 'll be in touch . Thanks .\nProfessor E: S See ya . Yeah .\nPostdoc B: Was that um there m {pause} there was this already a script I believe uh that Dan had written , {comment} that uh handle bleedthrough , I mean cuz you have this {disfmarker} this close {disfmarker} you have contamination from other people who speak loudly .\nGrad G: Yeah , and I haven't tried using that . It would probably help the program that I 'm doing to first feed it through that . It 's a cross - correlation filter . So I {disfmarker} I haven't tried that , but that {disfmarker} If {disfmarker} It {disfmarker} it might be something {disfmarker} it might be a good way of cleaning it up a little .\nPostdoc B: So , some thought of maybe having {disfmarker} Yeah , having that be a preprocessor and then run it through yours .\nGrad G: Exactly . Yep .\nProfessor E: But {disfmarker} but that 's a refinement\nPostdoc B: That 's what we were discussing .\nProfessor E: and I think we wanna see {disfmarker} try the simple thing first , cuz you add this complex thing up uh afterwards that does something good y y yo you sort of wanna see what the simple thing does first .\nGrad G: Yep .\nProfessor E: But uh , having {disfmarker} having somebody have some experience , again , with {disfmarker} with uh {disfmarker} with marking it from a human standpoint , we 're {disfmarker} I mean , I don't expect Jose to {disfmarker} to do it for uh f fifty hours of {disfmarker} {comment} of speech , but I mean we {disfmarker} {comment} if uh {disfmarker} if he could speed up what he was doing by just getting the speaker overlaps so that we had it , say , for forty - five minutes , then at least we 'd have three hundred examples of it .\nPhD D: Yeah . Sure . Sure .\nProfessor E: And when {disfmarker} when uh Adam was doing his automatic thing he could then compare to that and see what it was different .\nPhD C: Oh yeah , definitely .\nPhD A: You know , I did {disfmarker} I did uh something almost identical to this at one of my previous jobs , and it works pretty well . I mean , i almost exactly what you described , an energy detector with a median filter , you look for runs . And uh , you know , you can {disfmarker}\nGrad G: It seemed like the right thing to do .\nPhD A: Yeah . I mean , you {disfmarker} you can get y I mean , you get them pretty close .\nGrad G: That was with zero literature search .\nPhD A: And so I think doing that to generate these possibilities and then going through and saying yes or no on them would be a quick way to {disfmarker} to do it .\nGrad G: That 's good validation .\nPhD A: Yeah .\nPostdoc B: Is this proprietary ?\nPhD A: Uh . {comment} No . No .\nGrad G: Yeah , do you have a patent on it ?\nPhD A: It was when I was working for the government .\nProfessor E: Oh , then everybody owns it . It 's the people .\nPostdoc B: Well , I mean , is this something that we could just co - opt , or is it {disfmarker} ?\nPhD A: Nah .\nPostdoc B: No . OK .\nProfessor E: Well , i i i he 's pretty close , anyway . I think {disfmarker} I think it 's {disfmarker}\nPhD A: Yeah , he 's {disfmarker} it {disfmarker} it doesn't take a long time .\nPostdoc B: Right . I just thought if it was tried and true , then {disfmarker} {comment} and he 's gone through additional levels of {disfmarker} of development .\nGrad G: Just output . Although if you {disfmarker} if you have some parameters like what 's a good window size for the median filter {disfmarker}\nPhD A: Oh ! {comment} I have to remember . I 'll think about it , and try to remember .\nPhD F: And it might be different for government people .\nGrad G: That 's alright .\nProfessor E: Yeah , good enough for government work , as they say .\nPhD C: They {disfmarker} they {disfmarker}\nPhD A: Di - dif different {disfmarker} different bandwidth .\nPhD F: They\nGrad G: I was doing pretty short , you know , tenth of a second , {comment} sorts of numbers .\nPhD F: OK .\nProfessor E: Uh , I don't know , it {disfmarker} if {disfmarker} if we want to uh {disfmarker} So , uh , maybe we should move on to other {disfmarker} other things in limited time .\nPostdoc B: Can I ask one question about his statistics ? So {disfmarker} so in the tw twelve minutes , um , if we took three hundred and divided it by four , which is about the length of twelve minutes , i Um , I 'd expect like there should be seventy - five overlaps .\nProfessor E: Yeah .\nPostdoc B: Did you find uh more than seventy - five overlaps in that period , or {disfmarker} ?\nPhD D: More than ?\nPostdoc B: More than {disfmarker} How many overlaps in your twelve minutes ?\nPhD D: How many ? Eh , not @ @ I Onl - only I {disfmarker} I transcribe eh only twelve minutes from the\nProfessor E: Yeah .\nPhD D: but eh I {disfmarker} I don't co eh {disfmarker} I don't count eh the {disfmarker} the overlap .\nPostdoc B: The overlaps . OK .\nPhD D: I consider I {disfmarker} I {disfmarker} The {disfmarker} the nnn {disfmarker} The {disfmarker} the three hundred is eh considered only you {disfmarker} your transcription . I have to {disfmarker} {vocalsound} to finish transcribing . So .\nGrad G: I b I bet they 're more , because the beginning of the meeting had a lot more overlaps than {disfmarker} than sort of the middle .\nPhD D: Yeah .\nGrad G: Middle or end .\nPostdoc B: I 'm not sure .\nPhD D: Yeah .\nGrad G: Because i we 're {disfmarker} we 're dealing with the {disfmarker} Uh , in the early meetings , we 're recording while we 're saying who 's talking on what microphone , {comment} and things like that ,\nPhD D: Yeah .\nGrad G: and that seems to be a lot of overlap .\nPostdoc B: I think it 's an empirical question .\nPhD D: Yeah .\nPostdoc B: I think we could find that out .\nPhD D: Yeah .\nGrad G: Yep .\nPostdoc B: I 'm {disfmarker} I 'm not sure that the beginning had more .\nProfessor E: So {disfmarker} so I was gonna ask , I guess about any {disfmarker} any other things that {disfmarker} that {disfmarker} that either of you wanted to talk about , especially since Andreas is leaving in five minutes , that {disfmarker} that you wanna go with .\nPhD C: Can I just ask about the data , like very straightforward question is where we are on the amount of data and the amount of transcribed data , just cuz I 'm {disfmarker} I wanted to get a feel for that to sort of be able to know what {disfmarker} what can be done first and like how many meetings are we recording\nProfessor E: Right so there 's this {disfmarker} this {disfmarker} There 's this forty - five minute piece that Jane transcribed .\nPhD C: and {disfmarker}\nProfessor E: That piece was then uh sent to IBM so they could transcribe so we have some comparison point . Then there 's s a larger piece that 's been recorded and uh put on CD - ROM and sent uh to IBM . Right ? And then we don't know .\nPhD C: How many meetings is that ? Like {disfmarker} how many {disfmarker}\nGrad G: What 's that ?\nProfessor E: That was about ten hours , and there was about {disfmarker}\nPhD C: t ten {disfmarker} It 's like ten meetings or something ? Uh - huh .\nGrad G: Yeah , something like that . And then {disfmarker} then we\nPhD A: Ten meetings that have been sent to IBM ?\nPhD C: And {disfmarker}\nProfessor E: Yeah .\nGrad G: Well , I haven't sent them yet because I was having this problem with the {pause} missing files .\nProfessor E: Oh . Oh , that 's right , that had {disfmarker} those have not been sent .\nPhD A: H how many total have we recorded now , altogether ?\nProfessor E: We 're saying about {pause} twelve hours .\nGrad G: About twelve {pause} by now . Twelve or thirteen .\nPhD C: Uh - huh . And we 're recording only this meeting , like continuously we 're only recording this one now ? or {disfmarker} ?\nProfessor E: No . No , so the {disfmarker} the {disfmarker} that 's the {disfmarker} that 's the biggest one {disfmarker} uh , chunk so far ,\nGrad G: Nope .\nPhD A: It was the morning one .\nPhD C: OK .\nProfessor E: but there 's at least one meeting recorded of uh the uh uh natural language guys .\nGrad G: Jerry .\nPhD C: Do they meet every week ,\nProfessor E: And then there {disfmarker}\nPhD C: or every {disfmarker}\nProfessor E: Uh , they do . w w And we talked to them about recording some more and we 're going to , uh , we 've started having a morning meeting , today uh i starting a w a week or two ago , on the uh front - end issues , and we 're recording those , uh there 's a network services and applications group here who 's agreed to have their meetings recorded ,\nPhD C: Great .\nProfessor E: and we 're gonna start recording them . They 're {disfmarker} They meet on Tuesdays . We 're gonna start recording them next week . So actually , we 're gonna h start having a {disfmarker} a pretty significant chunk and so , you know , {vocalsound} Adam 's sort of struggling with trying to get things to be less buggy , and come up quicker when they do crash and stuff {disfmarker} things like that , now that uh {disfmarker} {vocalsound} the things are starting to happen . So right now , yeah , I th I 'd say the data is predominantly meeting meetings , but there are scattered other meetings in it and that {disfmarker} that amount is gonna grow uh so that the meeting meetings will probably ultimately {disfmarker} i if we 're {disfmarker} if we collect fifty or sixty hours , the meeting meetings it will probably be , you know , twenty or thirty percent of it , not {disfmarker} not {disfmarker} not eighty or ninety . But .\nPhD C: So there 's probably {disfmarker} there 's three to four a week ,\nGrad G: That 's what we 're aiming for .\nPhD C: that we 're aiming for .\nProfessor E: Yeah .\nPhD C: And they 're each about an hour or something .\nProfessor E: Yeah , yeah .\nGrad G: Although {disfmarker} Yeah . We 'll find out tomorrow whether we can really do this or not .\nPhD C: So {disfmarker} OK .\nProfessor E: Yeah and th the {disfmarker} the other thing is I 'm not pos I 'm sort of thinking as we 've been through this a few times , that I really don't know {disfmarker} maybe you wanna do it once for the novelty , but I don't know if in general we wanna have meetings that we record from outside this group do the digits .\nGrad G: Right .\nProfessor E: Because it 's just an added bunch of weird stuff .\nPhD C: Yeah .\nProfessor E: And , you know , we {disfmarker} we h we 're highly motivated . Uh in fact , the morning group is really motivated cuz they 're working on connected digits , so it 's {disfmarker}\nGrad G: Actually that 's something I wanted to ask , is I have a bunch of scripts to help with the transcription of the digits .\nProfessor E: Yeah .\nGrad G: We don't have to hand - transcribe the digits because we 're reading them and I have those .\nPhD C: Right .\nProfessor E: Yeah .\nGrad G: And so I have some scripts that let you very quickly extract the sections of each utterance . But I haven't been ru I haven't been doing that . Um , if I did that , is someone gonna be working on it ?\nProfessor E: Uh , yeah , I {disfmarker} I think definitely s so Absolutely .\nGrad G: I mean , is it something of interest ?\nProfessor E: Yeah , whoever we have working on the acoustics for the Meeting Recorder are gonna start with that .\nGrad G: OK . I mean , I I 'm {disfmarker} I 'm interested in it , I just don't have time to do it now .\nPhD F: I was {disfmarker} these meetings {disfmarker} I 'm sure someone thought of this , but these {disfmarker} this uh reading of the numbers would be extremely helpful to do um adaptation .\nGrad G: So\nPhD F: Um .\nGrad G: Yep . Yep .\nPhD C: Actually I have o\nGrad G: I {disfmarker} I would really like someone to do adaptation .\nPhD F: Mm - hmm .\nGrad G: So if we got someone interested in that , I think it would be great for Meeting Recorder .\nProfessor E: Well {disfmarker} I mean , one of the things I wanted to do , uh , that I I talked to {disfmarker} to Don about , is one of the possible things he could do or m also , we could have someone else do it , is to do block echo cancellation ,\nGrad G: Since it 's the same people over and over .\nPhD F: Mm - hmm .\nProfessor E: to try to get rid of some of the effects of the {disfmarker} the {disfmarker} the far - field effects . Um , I mean we have {disfmarker} the party line has been that echo cancellation is not the right way to handle the situation\nPhD F: Mm - hmm .\nProfessor E: because people move around , and uh , if {disfmarker} if it 's {disfmarker} if it 's uh not a simple echo , like a cross - talk kind of echo , but it 's actually room acoustics , it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} you can't really do inversion ,\nPhD F: Mm - hmm .\nProfessor E: and even echo cancellation is going to uh be something {disfmarker} It may {disfmarker} you {disfmarker} Someone may be moving enough that you are not able to adapt quickly and so the tack that we 've taken is more \" lets come up with feature approaches and multi - stream approaches and so forth , that will be robust to it for the recognizer and not try to create a clean signal \" .\nPhD F: Mm - hmm .\nProfessor E: Uh , that 's the party line . But it occurred to me a few months ago that uh party lines are always , you know , sort of dangerous . It 's good {disfmarker} {vocalsound} good to sort of test them , actually . And so we haven't had anybody try to do a good serious job on echo cancellation and we should know how well that can do . So that 's something I 'd like somebody to do at some point , just take these digits , take the far - field mike signal , and the close uh mike signal , and apply really good echo cancellation . Um , there was a {disfmarker} have been some nice talks recently by {disfmarker} by Lucent on {disfmarker} on their b\nPhD F: Hmm .\nProfessor E: the block echo cancellation particularly appealed to me , uh you know , trying and change it sample by sample , but you have some reasonable sized blocks . {comment} And um , you know , th\nPhD A: W what is the um {disfmarker} the artifact you try to {disfmarker} you 're trying to get rid of when you do that ?\nPhD F: Ciao .\nProfessor E: Uh so it 's {disfmarker} it {disfmarker} you have a {disfmarker} a direct uh {disfmarker} Uh , what 's the difference in {disfmarker} If you were trying to construct a linear filter , that would um {disfmarker}\nPhD F: I 'm signing off .\nProfessor E: Yeah . that would subtract off {comment} the um uh parts of the signal that were the aspects of the signal that were different between the close - talk and the distant . You know , so {disfmarker} so uh um I guess in most echo cancellation {disfmarker} Yeah , so you {disfmarker} Given that um {disfmarker} Yeah , so you 're trying to {disfmarker} So you 'd {disfmarker} There 's a {disfmarker} a distance between the close and the distant mikes so there 's a time delay there , and after the time delay , there 's these various reflections . And if you figure out well what 's the {disfmarker} there 's a {disfmarker} a least squares algorithm that adjusts itself {disfmarker} adjusts the weight so that you try to subtract {disfmarker} essentially to subtract off uh different uh {disfmarker} different reflections . Right ? So let 's take the simple case where you just had {disfmarker} you had some uh some delay in a satellite connection or something and then there 's a {disfmarker} there 's an echo . It comes back . And you want to adjust this filter so that it will maximally reduce the effect of this echo .\nPhD A: So that would mean like if you were listening to the data that was recorded on one of those . Uh , just the raw data , you would {disfmarker} you might hear kind of an echo ? And {disfmarker} and then this {disfmarker} noise cancellation would get\nProfessor E: Well , I 'm {disfmarker} I 'm {disfmarker} I 'm saying {disfmarker} That 's a simplified version of what 's really happening . {comment} What 's really happening is {disfmarker} Well , when I 'm talking to you right now , you 're getting the direct sound from my speech , but you 're also getting , uh , the indirect sound that 's bounced around the room a number of times . OK ? So now , if you um try to r you {disfmarker} To completely remove the effect of that is sort of impractical for a number of technical reasons , but I {disfmarker} but {disfmarker} not to try to completely remove it , that is , invert the {disfmarker} the room response , but just to try to uh uh eliminate some of the {disfmarker} the effect of some of the echos . Um , a number of people have done this so that , say , if you 're talking to a speakerphone , uh it makes it more like it would be , if you were talking right up to it . So this is sort of the st the straight - forward approach . You say I {disfmarker} I {disfmarker} I want to use this uh {disfmarker} this item but I want to subtract off various kinds of echos . So you construct a filter , and you have this {disfmarker} this filtered version uh of the speech um gets uh uh {disfmarker} gets subtracted off from the original speech . Then you try to {disfmarker} you try to minimize the energy in some sense . And so um {disfmarker} uh with some constraints .\nPhD A: Kind of a clean up thing , that {disfmarker}\nProfessor E: It 's a clean up thing . Right .\nPhD A: OK .\nProfessor E: So , echo cancelling is {disfmarker} is , you know , commonly done in telephony , and {disfmarker} and {disfmarker} and it 's sort of the obvious thing to do in this situation if you {disfmarker} if , you know , you 're gonna be talking some distance from a mike .\nPhD A: When uh , I would have meetings with the folks in Cambridge when I was at BBN over the phone , they had a um {disfmarker} some kind of a special speaker phone and when they would first connect me , it would come on and we 'd hear all this noise . And then it was uh {disfmarker} And then it would come on and it was very clear ,\nProfessor E: Yeah .\nPhD A: you know .\nProfessor E: Right . So it 's taking samples , it 's doing adaptation , it 's adjusting weights , and then it 's getting the sum . So um , uh anyway that 's {disfmarker} that 's kind of a reasonable thing that I 'd like to have somebody try {disfmarker} somebody look {disfmarker} And {disfmarker} and the digits would be a reasonable thing to do that with . I think that 'd be enough data {disfmarker} plenty of data to do that with , and i for that sort of task you wouldn't care whether it was uh large vocabulary speech or anything . Uh . {vocalsound} Um\nPostdoc B: Is Brian Kingsbury 's work related to that , or is it a different type of reverberation ?\nProfessor E: Brian 's {comment} Kingsbury 's work is an example of what we did f f from the opposite dogma . Right ? Which is what I was calling the \" party line \" , which is that uh doing that sort of thing is not really what we want . We want something more flexible , uh i i where people might change their position , and there might be , you know {disfmarker} There 's also um oh yeah , noise . So the echo cancellation does not really allow for noise . It 's if you have a clean situation but you just have some delays , Then we 'll figure out the right {disfmarker} the right set of weights for your taps for your filter in order to produce the effect of those {disfmarker} those echos . But um if there 's noise , then the very signal that it 's looking at is corrupted so that it 's decision about what the right {disfmarker} you know , right {disfmarker} right uh {disfmarker} delays are {disfmarker} is , uh {disfmarker} is {disfmarker} right delayed signal is {disfmarker} is {disfmarker} is {disfmarker} uh is incorrect . And so , in a noisy situation , um , also in a {disfmarker} in a situation that 's very reverberant {disfmarker} {comment} with long reverberation times {comment} and really long delays , it 's {disfmarker} it 's sort of typically impractical . So for those kind of reasons , and also a {disfmarker} a c a complete inversion , if you actually {disfmarker} I mentioned that it 's kind of hard to really do the inversion of the room acoustics . Um , that 's difficult because um often times the {disfmarker} the um {disfmarker} {vocalsound} the system transfer function is such that when it 's inverted you get something that 's unstable , and so , if you {disfmarker} you do your estimate of what the system is , and then you try to invert it , you get a filter that actually uh , you know , rings , and {disfmarker} and uh goes to infinity . So it 's {disfmarker} so there 's {disfmarker} there 's {disfmarker} there 's that sort of technical reason , and the fact that things move , and there 's air currents {disfmarker} I mean there 's all sorts of {disfmarker} all sorts of reasons why it 's not really practical . So for all those kinds of reasons , uh we {disfmarker} we {disfmarker} we sort of um , concluded we didn't want to in do inversion , and we 're even pretty skeptical of echo cancellation , which isn't really inversion , and um we decided to do this approach of taking {disfmarker} uh , just picking uh features , which were {disfmarker} uh will give you more {disfmarker} something that was more stable , in the presence of , or absence of , room reverberation , and that 's what Brian was trying to do . So , um , let me just say a couple things that I was {disfmarker} I was gonna bring up . Uh . Let 's see . I guess you {disfmarker} you actually already said this thing about the uh {disfmarker} about the consent forms , which was that we now don't have to {disfmarker} So this was the human subjects folks who said this , {comment} or that {disfmarker} that {disfmarker} ?\nPostdoc B: The a apparently {disfmarker} I mean , we 're gonna do a revised form , of course . Um but once a person has signed it once , then that 's valid for a certain number of meetings . She wanted me to actually estimate how many meetings and put that on the consent form . I told her that would be a little bit difficult to say . So I think from a s practical standpoint , maybe we could have them do it once every ten meetings , or something . It won't be that many people who do it {pause} that often , but um just , you know , so long as they don't forget that they 've done it , I guess .\nProfessor E: OK . Um , back on the data thing , so there 's this sort of one hour , ten hour , a hundred hour sort of thing that {disfmarker} that we have . We have {disfmarker} we have an hour uh that {disfmarker} that is transcribed , we have {disfmarker} we have twelve hours that 's recorded but not transcribed , and at the rate we 're going , uh by the end of the semester we 'll have , I don't know , forty or fifty or something , if we {disfmarker} if this really uh {disfmarker} Well , do we have that much ?\nPhD C: Not really . It 's three to four per week .\nProfessor E: Let 's see , we have {disfmarker}\nPhD C: So that 's what {disfmarker} You know , that {disfmarker}\nProfessor E: uh eight weeks , uh is {disfmarker}\nPhD C: So that 's not a lot of hours .\nProfessor E: Eight weeks times three hours is twenty - four , so that 's {disfmarker} Yeah , so like thirty {disfmarker} thirty hours ?\nPhD A: Three {disfmarker} Three hours .\nPhD C: Yeah . I mean , is there {disfmarker} I know this sounds {pause} tough but we 've got the room set up . Um I was starting to think of some projects where you would use well , similar to what we talked about with uh energy detection on the close - talking mikes . There are a number of interesting questions that you can ask about how interactions happen in a meeting , that don't require any transcription . So what are the patterns , the energy patterns over the meeting ? And I 'm really interested in this {vocalsound} but we don't have a whole lot of data . So I was thinking , you know , we 've got the room set up and you can always think of , also for political reasons , if ICSI collected you know , two hundred hours , that looks different than forty hours , even if we don't transcribe it ourselves ,\nProfessor E: But I don't think we 're gonna stop at the end of this semester .\nPhD C: so {disfmarker}\nProfessor E: Right ? So , I th I think that if we are able to keep that up for a few months , we are gonna have more like a hundred hours .\nPhD C: I mean , is there {disfmarker} Are there any other meetings here that we can record , especially meetings that have some kind of conflict in them {comment} or some kind of deci I mean , that are less well {disfmarker} I don't {disfmarker} uh , that have some more emotional aspects to them , or strong {disfmarker}\nGrad G: We had some good ones earlier .\nPhD C: There 's laughter , um I 'm talking more about strong differences of opinion meetings , maybe with manager types , or {disfmarker}\nGrad G: I think it 's hard to record those .\nPhD C: To be allowed to record them ?\nPostdoc B: It 's also likely that people will cancel out afterwards .\nPhD C: OK .\nProfessor E: Yeah , people will get {disfmarker}\nPostdoc B: But I {disfmarker} but I wanted to raise the KPFA idea .\nPhD C: OK . Well , if there is , anyway .\nProfessor E: Yeah , I was gonna mention that .\nGrad G: Oh , that 's a good idea . That 's {disfmarker} That would be a good match .\nProfessor E: Yeah . So {disfmarker} Yeah . So I {disfmarker} I {disfmarker} uh , I {disfmarker} I 'd mentioned to Adam , and {disfmarker} that was another thing I was gonna talk {disfmarker} uh , mention to them before {disfmarker} {comment} that uh there 's uh {disfmarker} It {disfmarker} it oc it occurred to me that we might be able to get some additional data by talking to uh acquaintances in local broadcast media . Because , you know , we had talked before about the problem about using found data , {comment} that {disfmarker} that uh it 's just set up however they have it set up and we don't have any say about it and it 's typically one microphone , in a , uh , uh {disfmarker} or {disfmarker} and {disfmarker} and so it doesn't really give us the {disfmarker} the {disfmarker} the uh characteristics we want . Um and so I do think we 're gonna continue recording here and record what we can . But um , it did occur to me that we could go to friends in broadcast media and say \" hey you have this panel show , {pause} or this {disfmarker} you know , this discussion show , and um can you record multi - channel ? \" And uh they may be willing to record it uh with {disfmarker}\nPhD C: With lapel mikes or something ?\nProfessor E: Well , they probably already use lapel , but they might be able to have it {disfmarker} it wouldn't be that weird for them to have another mike that was somewhat distant .\nPhD C: Right .\nProfessor E: It wouldn't be exactly this setup , but it would be that sort of thing , and what we were gonna get from UW , you know , assuming they {disfmarker} they {disfmarker} they start recording , isn't {disfmarker} als also is not going to be this exact setup .\nPhD C: Right . No , I think that 'd be great , if we can get more data .\nProfessor E: So , {comment} I {disfmarker} I {disfmarker} I {disfmarker} I was thinking of looking into that . the other thing that occurred to me after we had that discussion , in fact , is that it 's even possible , since of course , many radio shows are not live , {comment} uh that we could invite them to have like some of their {disfmarker} {comment} record some of their shows here .\nPostdoc B: Wow !\nPhD C: Well {disfmarker} Or {disfmarker} The thing is , they 're not as averse to wearing one of these head - mount I mean , they 're on the radio ,\nGrad G: Right , as we are .\nPhD C: right ? So . {comment} Um , I think that 'd be fantastic\nProfessor E: Right .\nPhD C: cuz those kinds of panels and {disfmarker} Those have interesting\nProfessor E: Yeah .\nPhD C: Th - that 's an {disfmarker} a side of style {disfmarker} a style that we 're not collecting here , so it 'd be great .\nProfessor E: And {disfmarker} and the {disfmarker} I mean , the other side to it was the {disfmarker} what {disfmarker} which is where we were coming from {disfmarker} I 'll {disfmarker} I 'll talk to you more about it later {comment} is that {disfmarker} is that there 's {disfmarker} there 's uh the radio stations and television stations already have stuff worked out presumably , uh related to , you know , legal issues and {disfmarker} and permissions and all that . I mean , they already do what they do {disfmarker} do whatever they do . So it 's {disfmarker} uh , it 's {disfmarker} So it 's {disfmarker} so it 's another source . So I think it 's something we should look into , you know , we 'll collect what we collect here hopefully they will collect more at UW also and um {disfmarker} and maybe we have this other source . But yeah I think that it 's not unreasonable to aim at getting , you know , significantly in excess of a hundred hours . I mean , that was sort of our goal . The thing was , I was hoping that we could {disfmarker} @ @ in the {disfmarker} under this controlled situation we could at least collect , you know , thirty to fifty hours . And at the rate we 're going we 'll get pretty close to that I think this semester . And if we continue to collect some next semester , I think we should , uh {disfmarker}\nPhD C: Right . Yeah I was mostly trying to think , \" OK , if you start a project , within say a month , you know , how much data do you have to work with . And you {disfmarker} you wanna s you wanna sort of fr freeze your {disfmarker} your data for awhile so um right now {disfmarker} and we don't have the transcripts back yet from IBM right ? Do {disfmarker} Oh , do we now ?\nProfessor E: Well , we don't even have it for this f you know , forty - five minutes , that was {disfmarker}\nPhD C: So um , not complaining , I was just trying to think , you know , what kinds of projects can you do now versus uh six months from now\nProfessor E: Yeah .\nPhD C: and they 're pretty different , because\nProfessor E: Yeah . So I was thinking right now it 's sort of this exploratory stuff where you {disfmarker} you look at the data , you use some primitive measures and get a feeling for what the scatter plots look like ,\nGrad G: Right .\nPhD C: um {disfmarker} Right . Right , right .\nProfessor E: and {disfmarker} and {disfmarker} and uh {disfmarker} and meanwhile we collect , and it 's more like yeah , three months from now , or six months from now you can {disfmarker} you can do a lot of other things .\nPhD C: Cuz I 'm not actually sure , just logistically that I can spend {disfmarker} you know , I don't wanna charge the time that I have on the project too early , before there 's enough data to make good use of the time . And that 's {disfmarker} and especially with the student\nGrad G: Right .\nPhD C: uh for instance this guy who seems {disfmarker}\nProfessor E: Yeah .\nPhD C: Uh anyway , I shouldn't say too much , but um if someone came that was great and wanted to do some real work and they have to end by the end of this school year in the spring , how much data will I have to work with , with that person . And so it 's {disfmarker}\nProfessor E: i Yeah , so I would think , exploratory things now . Uh , three months from now {disfmarker} Um , I mean the transcriptions I think are a bit of an unknown cuz we haven't gotten those back yet as far as the timing , but I think as far as the collection , it doesn't seem to me l like , uh , unreasonable to say that uh in January , you know , ro roughly uh {disfmarker} which is roughly three months from now , we should have at least something like , you know , twenty - five , thirty hours .\nPhD C: And we just don't know about the transcription part of that ,\nProfessor E: So that 's {disfmarker}\nPostdoc B: Yeah , we need to {disfmarker} I think that there 's a possibility that the transcript will need to be adjusted afterwards ,\nPhD C: so . I mean , it {disfmarker}\nPostdoc B: and uh es especially since these people won't be uh used to dealing with multi - channel uh transcriptions .\nPhD C: Right .\nProfessor E: Yeah .\nPostdoc B: So I think that we 'll need to adjust some {disfmarker} And also if we wanna add things like um , well , more refined coding of overlaps , then definitely I think we should count on having an extra pass through . I wanted to ask another a a aspect of the data collection . There 'd be no reason why a person couldn't get together several uh , you know , friends , and come and argue about a topic if they wanted to , right ?\nProfessor E: If they really have something they wanna talk about as opposed to something @ @ {disfmarker} I mean , what we 're trying to stay away from was artificial constructions , but I think if it 's a real {disfmarker} Why not ? Yeah .\nPhD C: I mean , I 'm thinking , politically {disfmarker}\nGrad G: Stage some political debates .\nPostdoc B: You could do this ,\nPhD C: Well yeah ,\nPostdoc B: you know . You could .\nPhD C: or just if you 're {disfmarker} if you ha If there are meetings here that happen that we can record even if we don't {pause} um have them do the digits , {comment} or maybe have them do a shorter {pause} digit thing {comment} like if it was , you know , uh , one string of digits , or something , they 'd probably be willing to do .\nGrad G: We don't have to do the digits at all if we don't want to .\nPhD C: Then , having the data is very valuable , cuz I think it 's um politically better for us to say we have this many hours of audio data , especially with the ITR , if we put in a proposal on it . It 'll just look like ICSI 's collected a lot more audio data . Um , whether it 's transcribed or not um , is another issue , but there 's {disfmarker} there are research questions you can answer without the transcriptions , or at least that you can start to answer .\nPostdoc B: It seems like you could hold some meetings .\nGrad G: Yep .\nPostdoc B: You know , you and maybe Adam ?\nPhD C: So .\nPostdoc B: You {disfmarker} you could {disfmarker} you could maybe hold some additional meetings , if you wanted .\nPhD A: Would it help at all {disfmarker} I mean , we 're already talking about sort of two levels of detail in meetings . One is uh um without doing the digits {disfmarker} Or , I guess the full - blown one is where you do the digits , and everything , and then talk about doing it without digits , what if we had another level , just to collect data , which is without the headsets and we just did the table - mounted stuff .\nPhD C: Need the close - talking mikes .\nPhD A: You do , OK .\nPhD C: I mean , absolutely ,\nProfessor E: Yeah . Yeah .\nPhD C: yeah . I 'm really scared {disfmarker}\nGrad G: It seems like it 's a big part of this corpus is to have the close - talking mikes .\nPhD A: I see , OK .\nPhD C: Um or at least , like , me personally ? I would {disfmarker} {comment} I {disfmarker} couldn't use that data .\nProfessor E: Yeah .\nPostdoc B: I agree . And Mari also ,\nPhD C: Um .\nPostdoc B: we had {disfmarker} This came up when she she was here . That 's important .\nPhD C: So it 's a great idea ,\nProfessor E: Yeah , I {disfmarker} I {disfmarker} b By the {disfmarker} by the way , I don't think the transcriptions are actually , in the long run , such a big bottleneck .\nPhD C: and if it were true than I would just do that , but it 's not that bad {disfmarker} like the room is not the bottleneck , and we have enough time in the room , it 's getting the people to come in and put on the {disfmarker} and get the setup going .\nProfessor E: I think the issue is just that we 're {disfmarker} we 're blazing that path . Right ? And {disfmarker} and um {disfmarker} d Do you have any idea when {disfmarker} when uh the {disfmarker} you 'll be able to send uh the ten hours to them ?\nGrad G: Well , I 've been burning two C Ds a day , which is about all I can do with the time I have .\nProfessor E: Yeah . Yeah .\nGrad G: So it 'll be early next week .\nProfessor E: Yeah , OK . So early next week we send it to them , and then {disfmarker} then we check with them to see if they 've got it and we {disfmarker} we start , you know asking about the timing for it .\nGrad G: Yep .\nProfessor E: So I think once they get it sorted out about how they 're gonna do it , which I think they 're pretty well along on , cuz they were able to read the files and so on .\nGrad G: Yep .\nProfessor E: Right ?\nGrad G: Yeah , but {disfmarker}\nProfessor E: Well {disfmarker}\nGrad G: Yeah , who knows where they are .\nPhD A: Have they ever responded to you ?\nGrad G: Nope .\nProfessor E: Yeah , but {disfmarker} You know , so they {disfmarker} they {disfmarker} they have {disfmarker} you know , they 're volunteering their time and they have a lot of other things to do ,\nPhD C: What if {disfmarker}\nGrad G: Yeah , you {disfmarker} we can't complain .\nProfessor E: right ? But they {disfmarker} But at any rate , they 'll {disfmarker} I {disfmarker} I think once they get that sorted out , they 're {disfmarker} they 're making cassettes there , then they 're handing it to someone who they {disfmarker} who 's {disfmarker} who is doing it , and uh I think it 's not going to be {disfmarker} I don't think it 's going to be that much more of a deal for them to do thirty hours then to do one hour , I think . It 's not going to be thirty\nGrad G: Yep . I think that 's probably true .\nPhD C: Really ? So it 's the amount of {disfmarker}\nProfessor E: It 's {disfmarker} it 's just getting it going .\nGrad G: It 's pipeline , pipeline issues .\nPhD C: Right . What about these lunch meetings {disfmarker}\nGrad G: Once the pipeline fills .\nPhD C: I mean , I don't know , if there 's any way without too much more overhead , even if we don't ship it right away to IBM even if we just collect it here for awhile , {comment} to record you know , two or three more meeting a week , just to have the data , even if they 're um not doing the digits , but they do wear the headphones ?\nProfessor E: But the lunch meetings are pretty much one person getting up and {disfmarker}\nPhD C: No , I meant , um , sorry , the meetings where people eat their lunch downstairs , maybe they don't wanna be recorded , but {disfmarker}\nGrad G: Oh , and we 're just chatting ?\nPhD C: Just the ch the chatting .\nGrad G: Yeah , we have a lot of those .\nPhD C: I actually {disfmarker} I actually think that 's {pause} useful {pause} data , um {pause} the chatting ,\nGrad G: Yeah , the problem with that is I would {disfmarker} I think I would feel a little constrained to {disfmarker} You know ? Uh , some of the meetings {disfmarker}\nPhD C: but {disfmarker} OK . You don't wanna do it , cuz {disfmarker} OK .\nGrad G: You know , our \" soccer ball \" meeting ?\nPhD C: Alright .\nGrad G: I guess none of you were there for our soccer ball meeting .\nPhD C: Alright , {comment} so I 'll just throw it out there , if anyone knows of one more m or two more wee meetings per week that happen at ICSI , um that we could record , I think it would be worth it .\nGrad G: That was hilarious .\nProfessor E: Yeah . Well , we should also check with Mari again , because they {disfmarker} because they were really intending , you know , maybe just didn't happen , but they were really intending to be duplicating this in some level . So then that would double {pause} what we had . Uh . And there 's a lot of different meetings at UW uh {disfmarker} I mean really m a lot more {comment} than we have here right cuz we 're not right on campus ,\nGrad G: Right .\nProfessor E: so .\nPhD A: Is the uh , notion of recording any of Chuck 's meetings dead in the water , or is that still a possibility ?\nProfessor E: Uh , {vocalsound} they seem to have some problems with it . We can {disfmarker} we can talk about that later . Um , but , again , Jerry is {disfmarker} Jerry 's open {disfmarker} So I mean , we have two speech meetings , one uh network meeting , uh Jerry was open to it but I {disfmarker} I s One of the things that I think is a little {disfmarker} a little bit of a limitation , there is a think when the people are not involved uh in our work , we probably can't do it every week . You know ? I {disfmarker} I {disfmarker} I {disfmarker} I think that {disfmarker} that people are gonna feel uh {disfmarker} are gonna feel a little bit constrained . Now , it might get a little better if we don't have them do the digits all the time . And the {disfmarker} then {disfmarker} so then they can just really sort of try to {disfmarker} put the mikes on and then just charge in and {disfmarker}\nGrad G: Yep .\nPhD C: What if we give people {disfmarker} you know , we cater a lunch in exchange for them having their meeting here or something ?\nPostdoc B: Well , you know , I {disfmarker} I do think eating while you 're doing a meeting is going to be increasing the noise .\nPhD C: OK .\nPostdoc B: But I had another question , which is um , you know , in principle , w um , I know that you don't want artificial topics ,\nPhD C: Alright , alright , alright .\nPostdoc B: but um it does seem to me that we might be able to get subjects from campus to come down and do something that wouldn't be too artificial . I mean , we could {disfmarker} political discussions , or {disfmarker} or something or other ,\nPhD C: No , definitely .\nPostdoc B: and i you know , people who are {disfmarker} Because , you know , there 's also this constraint . We d it 's like , you know , the {disfmarker} the {disfmarker} uh goldibears {disfmarker} goldi goldilocks , it 's like you don't want meetings that are too large , but you don't want meetings that are too small . And um {disfmarker} a and it just seems like maybe we could exploit the subj human subject p p pool , in the positive sense of the word .\nPhD A: Well , even {disfmarker} I mean , coming down from campus is sort of a big thing , but what about\nPostdoc B: We could pay subjects .\nPhD A: or what about people in the {disfmarker} in the building ?\nPhD C: Yeah , I was thinking , there 's all these other peo\nPhD A: I mean , there 's the State of California downstairs , and {disfmarker}\nPhD C: Yeah . I mean {disfmarker}\nGrad G: I just really doubt that uh any of the State of California meetings would be recordable and then releasable to the general public .\nPostdoc B: Yeah .\nPhD A: Oh .\nPhD C: Mm - hmm .\nGrad G: So I {disfmarker} I mean I talked with some people at the Haas Business School who are i who are interested in speech recognition\nPhD C: Alright , well .\nGrad G: and , they sort of hummed and hawed and said \" well maybe we could have meetings down here \" , but then I got email from them that said \" no , we decided we 're not really interested and we don't wanna come down and hold meetings . \" So , I think it 's gonna be a problem to get people regularly .\nPhD A: What about Joachim , maybe he can {disfmarker}\nProfessor E: But {disfmarker} but we c But I think , you know , we get some scattered things from this and that . And I {disfmarker} I d I do think that maybe we can get somewhere with the {disfmarker} with the radio .\nPhD C: Mm - hmm .\nProfessor E: Uh i I have better contacts in radio than in television , but {disfmarker}\nPhD A: You could get a lot of lively discussions from those radio ones .\nPhD C: Well , and they 're already {disfmarker} they 're {disfmarker} these things are already recorded ,\nGrad G: Yep .\nProfessor E: Yeah .\nPhD C: we don't have to ask them to {disfmarker} even {disfmarker} and I 'm not sure wh how they record it , but they must record from individual {disfmarker}\nProfessor E: n Well {disfmarker} No , I 'm not talking about ones that are already recorded . I 'm talking about new ones\nPhD C: Why {disfmarker} why not ?\nProfessor E: because {disfmarker} because {disfmarker} because we would be asking them to do something different .\nPhD C: Well , we can find out . I know for instance Mark Liberman was interested uh in {disfmarker} in LDC getting {pause} data , uh , and {disfmarker}\nProfessor E: Right , that 's the found data idea .\nPhD C: Yeah .\nProfessor E: But what I 'm saying is uh if I talk to people that I know who do these th who produce these things we could ask them if they could record an extra channel , let 's say , of a distant mike .\nPhD C: Mm - hmm .\nProfessor E: And u I think routinely they would not do this . So , since I 'm interested in the distant mike stuff , I wanna make sure that there is at least that somewhere\nPhD C: Right . Great . OK .  \nProfessor E: and uh {disfmarker} But if we ask them to do that they might be intrigued enough by the idea that they uh might be e e willing to {disfmarker} the {disfmarker} I might be able to talk them into it .\nPhD C: Mm - hmm .\nGrad G: Um . We 're getting towards the end of our disk space , so we should think about trying to wrap up here .\nPhD C: That 's a good way to end a meeting .\nProfessor E: OK . Well I don't {disfmarker} why don't we {disfmarker} why d u why don't we uh uh turn them {disfmarker} turn\nGrad G: OK , leave {disfmarker} leave them on for a moment until I turn this off , cuz that 's when it crashed last time .\nPostdoc B: Oh . That 's good to know .\nProfessor E: Turning off the microphone made it crash . Well {disfmarker}\nPostdoc B: That 's good to know .\nProfessor E: OK .\n\nNow, answer the query based on the above meeting transcript in one or more sentences.\n\nQuery: What was said on speech overlap?\nAnswer:"}
{"question_id": 88, "category": "longbench_passage_count", "reference": ["44"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: In Irish service, the ship took her name from Saint Ciara, born in Tipperary in the 7th century who, after taking religious vows in her teens, founded a convent in Kilkeary, near Nenagh. The ship's coat-of-arms depict three golden chalices which represent the three ancient dioceses among which Tipperary was divided. Also featured is a Celtic cross as a representation of the North Cross at Ahenny, County Tipperary. The coat of arms incorporates the Tipperary colours of Blue and Yellow as well as the background or field colours of the Tipperary Arms which is Ermine - white with a pattern of black arrowhead shaped points.\n\nParagraph 2: New York Avenue was planned as one of the original streets in the L'Enfant Plan for Washington, D.C.  It was intended to begin at the Potomac River and extend northeast toward the White House, then continue past the Executive Residence northeast to the boundary of the Federal City. The portion of the street southwest of the White House was to give the President of the United States an uninterrupted view of the river. Construction of the State, War, and Navy Building from 1871 to 1888 blocked this view, and it remains blocked to this day. Originally, it extended to the grounds of the U.S. Naval Observatory, but the construction of Rawlins Park in 1873 destroyed a block of New York Avenue between 18th and 19th Streets NW. Its consolidation with Triangle Park and three other \"parklets\" into a \"Little Mall\" (in apparent imitation of the nearby National Mall) in 1937 consumed another block between 20th and 21st Streets NW. Construction of the United States Department of War Building (now the Harry S Truman Building, housing the United States Department of State), and an associated park (since January 1959, known as Edward J. Kelly Park) from 1940 to 1941 destroyed the lower three blocks of New York Avenue. Construction of the Theodore Roosevelt Building (which now houses the United States Office of Personnel Management) in 1963 eliminated another block between 19th and 20th Streets NW.  This left a single block of New York Avenue NW, between 17th and 18th Streets NW, southeast of the White House.\n\nParagraph 3: If a small freight or commuter railroad does not operate on another railroad territory, then there is no interoperability-based reason that obligates them to use  spectrum to implement PTC. In addition, if a small freight or commuter railroad only operates on their own territory and hosts other guest railroads (freight or other passenger rail), there is still no interoperability-based reason the host is obliged to use  spectrum to implement PTC. Such a railroad could implement PTC by freely picking any radio spectrum and requiring the guest railroads to either install compliant PTC equipment (including radios) on board their trains or provide wayside equipment for their guest PTC implementation to be installed on the host railroad property. An interesting case that highlights some of these issues is the northeast corridor. Amtrak operates services on two commuter rail properties it does not own: Metro-North Railroad (owned by New York and Connecticut) and Massachusetts Bay Transportation Authority (MBTA) (owned by Massachusetts). In theory, Amtrak could have found themselves installing their own PTC system on these host properties (about 15 percent of the corridor), or worse, found themselves in the ridiculous position of trying to install three different PTC systems on each Amtrak train to traverse the commuter properties. This was not the case. Amtrak had a significant head start over the commuter rail agencies on the corridor in implementing PTC. They spent a considerable amount of time in research and development and won early approvals for their ACSES system on the northeast corridor with the FRA. They chose first to use  and then later moved to , in part because of a perceived improvement in radio-system performance and in part because Amtrak was using  in Michigan for their ITCS implementation.  When the commuter agencies on the corridor looked at options for implementing PTC, many of them chose to take advantage of the advance work Amtrak had done and implement the ACSES solution using . Amtrak's early work paid off and meant that they would be traversing commuter properties that installed the same protocol at the same frequency, making them all interoperable. (Actually most of the Northeast Corridor is owned and operated by Amtrak, not the commuter properties, including the tracks from Washington, D.C. to New York Penn Station and the tracks from Philadelphia to Harrisburg, Pennsylvania. The State of Massachusetts owns the tracks from the Rhode Island state line to the New Hampshire state line, but Amtrak \"operates\" these lines. Only the line between New York City and New Haven, Connecticut is actually owned and operated by a commuter line.)\n\nParagraph 4: Born in Stratford,  Tomlinson completed preparatory studies and graduated from Yale College in 1802. He went to Virginia for a year to be a private tutor and to study law.  When he returned to Fairfield he continued his studies and was admitted to the bar in 1807. That same year he married Sarah Bradley. He received a Master of Arts, in 1808 from Yale. Their only child, Jabez Huntington Tomlinson, was born in 1818 but died at the young age of 19 in 1838.  Mrs. Tomlinson died in 1842. In 1846, Gideon married Mrs. Lydia Ann Wells Wright, widow of William Wright of Bridgeport, Connecticut.\n\nParagraph 5: MBC Action (stylized as MBCACTION) is a free-to-air television channel that MBC Group’s action-packed channel that targets young Arabic males. It delivers the best in high-octane Western series, movies and action. shows and sports and anime and action movies and films and television series and television programs and films from action genre. Subtitled in Arabic language, the channel is a part of the Middle Eastern media company MBC Group. It is intended to aim mainly at male audiences, unlike its sister channel MBC 4 which is aimed at female audiences. A channel that targets young Arab males. It delivers Western series, movies, action reality shows as well as Japanese anime and sports programs. MBC ACTION (an indigenous adrenaline-packed channel targeting young males); MBC Action launched in 2007 with the latest action packed movies, dramas and thrillers targeting young Arab males. The new addition proved to be an instant success. Since then, it has been growing aggressively and even more so since it started developing localized content that appeals to the passions of Arab men. The channel is also considered, the only Arab male entertainment destination in the region; delivering a focused and dynamic 360 experience, which extends out of TV, into on-ground, online and social media. Some of its prime time shows include The Mentalist (exclusive on MBC Action), The Vampire Diaries (exclusive on MBC Action), Fringe (Exclusive on MBC Action), V (exclusive on MBC Action), The Mentalist, The Vampire Diaries, Fringe, Supernatural, V, WWE and True Blood. MBC Action also offers themed nights including Bollywood Action Nights (thrilling Bollywood experiences), The channel recently which is a weekly \"magazine\" format show about cars, similar to Top Gear, which they also broadcast the British and American versions of the BBC's Top Gear, MBC Action (an indigenous adrenaline-packed channel with action series and movies). carsIt was launched on 5 March 2007. with the Pilot episode of the TV series Lost which, along with Prison Break and The 4400, is one of MBC Action's biggest coups. MBC Action's biggest coups are the TV series Lost, Prison Break and The 4400. It will also show new episodes of other shows like 24, Pimp My Ride, The Sparticle Mystery and the Power Rangers. It is aimed mainly at male audiences, . The channel also airs the International Fight League. It also shows action movies on a daily basis. It is aimed mainly at male audiences, unlike its sister channel MBC 4 which is aimed at female audiences.\n\nParagraph 6: On 13 November 1941, U-68 was resupplied by the auxiliary cruiser Atlantis under the command of Kapitän zur See Bernhard Rogge. The sea state was 6 to 7 at the meeting place, Rogge and Merten decided to move the meeting place  southwest. The next day, they met again and provisions were transferred to U-68. During the following night, U-68 conducted a number of mock attacks on Atlantis for training purposes. On 23 November, U-68 received the message that Atlantis had been sunk by  while resupplying  under the command of Kapitänleutnant Ernst Bauer. U-126 was able to rescue up 300 German sailors, including Rogge. The Befehlshaber der Unterseeboote (BdU—supreme commander of the U-boat Arm) ordered , under the command of Korvettenkapitän Johann Mohr, , under the command of Kapitänleutnant Nicolai Clausen, and , under the command of Fregattenkapitän Hans Eckermann, to the rescue. Two days later the survivors were transferred to the refueling ship Python. On 30 November, U-68 and UA met with Python for refueling. Immediately Merten and the crew began taking on fuel,  were transferred, as well as replenishing spent torpedoes. UA was late to arrive, unnecessarily delaying the procedure. During the refueling, a smokestack was sighted, sounding the alarms. U-68 had just finished the transfer, but the additional weight of the boat was not yet accounted for, when Python came under attack from . U-68 was not ready for combat, Merten and the crew had difficulties keeping the boat at depth. During the vital phase of the attack U-68 was oscillating between a depth of  and . Holding the boat at periscope depth was impossible. Submerged, the crew of U-68 could hear the sinking of Python. Following the first warning salvo by Dorsetshire, Pythons crew its crew had chosen to scuttle the ship to avoid unnecessary casualties.\n\nParagraph 7: The 19th century did not witness the emergence of any political organization that could help in airing the grievances and expressing the aspirations of Nigerians on a constant basis. The British presence in the early 20th century led to the formation of political organizations as the measures brought by the British were no longer conducive for Nigerians. The old political methods practiced in Lagos was seen as no longer adequate to meet the new situation. The first of such organizations was the People's Union formed by Orisadipe Obasa and John K. Randle with the main aim of agitating against the water rate but also to champion the interests of the people of Lagos. This body became popular and attracted members of all sections of community including the Chief Imam of Lagos, as well as Alli Balogun, a wealthy Muslim. The popularity of the organization reduced after it was unable to prevent the imposition of the water rate by 1916. The organization was also handicapped by constant disagreements among the leaders. The emergence of the NCBWA and the NNDP in 1920 and 1923 respectively, led to a major loss of supporters of the People's Union, and by 1926, it had completely ceased to exist. Two years after the formation of the People's Union, another organization called The Lagos Ancillary of the Aborigines Rights Protection Society (LAARPS) came into the picture. This society was not a political organization but a humanitarian body. This organization came into existence to fight for the interest of Nigerians generally but its attention was taken up by the struggle over the land issue of 1912. In Northern Nigeria, all lands were taken over by the administration and held in trust for the people. Those in Southern Nigeria feared that this method would be introduced into the South. Educated Africans believed that if they can be successful in preventing the system from being extended to Southern Nigeria, then they can fight to destroy its practice in the North. This movement attracted personalities in Lagos amongst whom are James Johnson, Mojola Agbebi, Candido Da Rocha, Christopher Sapara Williams, Samuel Herbert Pearse, Cardoso, Adeyemo Alakija and John Payne Jackson (Editor, Lagos Weekly Record). Its delegation to London to present its views to the British government was discredited by quarrels which broke out among its members over the delegation fund. Accusations of embezzlement against some members, disagreements and quarrels, as well as the death of some of its leading members led to the untimely death of this organization before 1920. The outbreak of war and a strong political awareness led to the formation of a number of organizations. These are the Lagos Branch of the Universal Negro Improvement Association, the National Congress of British West Africa (NCBWA), and the Nigerian National Democratic Party (NNDP).\n\nParagraph 8: Throughout Roosevelt's presidency, he returned to the same theme continually over the course of the New Deal. Also in the Atlantic Charter, an international commitment was made as the Allies thought about how to \"win the peace\" following victory in the Second World War. The US' commitment to non-interventionism in World War II ending with the 1941 Lend-Lease act, and later Pearl Harbor attacks, resulted in the mobilisation of the war state. The generous terms of the act, in conjunction with the economic growth of the US were key in allowing the US to establish new global order with the help of Allied powers in the aftermath of war. This motivation to establish a new global order provided the infrastructure for the implementation of an international standard of human rights, seen with the Second Bill of Rights and the Universal Declaration of Human Rights. Akira Iriye's proposition that the US desired to transform the post war Pacific after their own image is representative of the wider desire to raise global standards to that of the US, feeding into ideals of American Exceptionalism. The effect of wider democratisation and social reform is divulged upon in Francis Fukuyama's The End of History and the Last Man.\n\nParagraph 9: MBC Action (stylized as MBCACTION) is a free-to-air television channel that MBC Group’s action-packed channel that targets young Arabic males. It delivers the best in high-octane Western series, movies and action. shows and sports and anime and action movies and films and television series and television programs and films from action genre. Subtitled in Arabic language, the channel is a part of the Middle Eastern media company MBC Group. It is intended to aim mainly at male audiences, unlike its sister channel MBC 4 which is aimed at female audiences. A channel that targets young Arab males. It delivers Western series, movies, action reality shows as well as Japanese anime and sports programs. MBC ACTION (an indigenous adrenaline-packed channel targeting young males); MBC Action launched in 2007 with the latest action packed movies, dramas and thrillers targeting young Arab males. The new addition proved to be an instant success. Since then, it has been growing aggressively and even more so since it started developing localized content that appeals to the passions of Arab men. The channel is also considered, the only Arab male entertainment destination in the region; delivering a focused and dynamic 360 experience, which extends out of TV, into on-ground, online and social media. Some of its prime time shows include The Mentalist (exclusive on MBC Action), The Vampire Diaries (exclusive on MBC Action), Fringe (Exclusive on MBC Action), V (exclusive on MBC Action), The Mentalist, The Vampire Diaries, Fringe, Supernatural, V, WWE and True Blood. MBC Action also offers themed nights including Bollywood Action Nights (thrilling Bollywood experiences), The channel recently which is a weekly \"magazine\" format show about cars, similar to Top Gear, which they also broadcast the British and American versions of the BBC's Top Gear, MBC Action (an indigenous adrenaline-packed channel with action series and movies). carsIt was launched on 5 March 2007. with the Pilot episode of the TV series Lost which, along with Prison Break and The 4400, is one of MBC Action's biggest coups. MBC Action's biggest coups are the TV series Lost, Prison Break and The 4400. It will also show new episodes of other shows like 24, Pimp My Ride, The Sparticle Mystery and the Power Rangers. It is aimed mainly at male audiences, . The channel also airs the International Fight League. It also shows action movies on a daily basis. It is aimed mainly at male audiences, unlike its sister channel MBC 4 which is aimed at female audiences.\n\nParagraph 10:  is the main protagonist of the BlazBlue series from Calamity Trigger to Central Fiction. Also known as the Grim Reaper, he is feared by the NOL for being the most powerful individual to have ever rebelled against them since the Ikaruga Civil War. His actions, which included destroying countless numbers of their branches, have labeled him the most wanted criminal and caused him to receive the largest bounty ever in the history of the NOL. He possesses a powerful form of ars magus called the Azure Grimoire, or simply referred to as the titular BlazBlue, which is often either the secondary or primary target of those after him and his bounty. His ultimate goal is to destroy the NOL, for he blames them for destroying his family. He is Jin Kisaragi's biological brother, whose rivalry with him stems from an incident that happened when their sister Saya was presumably killed. His right arm is mechanical because his real one was cut off by Terumi, who had taken control of Jin's mind. He was resurrected by Rachel as a dhampir, causing one of his green eyes to turn red and his once-blond hair to white. The BlazBlue he possesses is only a fragment of an imitation; the true Grimoire is actually destined to be wielded by Noel Vermillion. In Continuum Shift, Ragna is given the Idea Engine by a dying Lambda which enabled him to access the true Azure. He realizes that Saya is possessed by Izanami and decides to give up vengeance to protect his loved ones in Chrono Phantasma, and later in Central Fiction decides to protect the girl inside Amaterasu from the Entitled-people whose dreams are strong enough to remake the world. He and Jin (including his future-past counterpart Hakumen) soon learned that Noel/Mu can be used to recreate Saya, whose soul remains in her old body, possessed by Izanami. Once Noel and Mu merge, he helps Noel merge with Izanami and imprison her into her soul, recreating Saya. With the help of Jin and Trinity after Ragna separates the Susano'o armor from Terumi, Jin transports Ragna and Terumi to the Azure void where Ragna can kill him for good. Once all evils are finished, and after helping Noel merge with the Origin to free her from the Amaterasu Unit, Ragna's last act is to cast himself into the cauldron and remain outside the world, to make sure the Azure never falls into the wrong hands. As this act would erase himself from the memories of everybody in the story, he says goodbye to his beloved siblings and tells Amane that he has no regrets at all. Ragna disappears and leaves only his sword behind, which is later put to the hill where it is placed on a hill near Celica's church as a makeshift grave. Whether or not Ragna is truly unable to return to the world is unknown, as the final scene shows that his sword has been taken by somebody. He is also hinted not to be a natural-born human due to his unusual features, an idea that is confirmed in the final game when it is revealed he is the child of the fifth Prime Field Device. Ragna's weapon is called Blood-Scythe (ブラッドサイズ Buraddo Saizu), a giant sword that can extend into a scythe. His Drive, Soul Eater, enables him to absorb a portion of the damage dealt to replenish his health.\n\nParagraph 11: In 1373, John brought about a new alliance against Hesse under the name: Bund der alten Minne (Alliance of the Old Love). It was actually aimed at the conquest of Driedorf, and John seems to have been the leader of the alliance. The members, mostly Sterners, now called themselves: Gesellen der alten Minne (Fellows of the Old Love). The Hessians were defeated by John at Wetzlar, who then plundered the districts of , Giessen, , , Biedenkopf, Caldern, Marburg, and others, and caused great damage to the landgrave everywhere. Perhaps it was a further consequence of this victory that John drove the Hessians out of Driedorf. The settlement of 1378 at least proves that he had regained possession of this castle and district, although there are no definite records of when this happened and how Driedorf was returned to Hesse after 1378. This much is certain: the hostilities against Landgrave Henry and his successors continued for several years after 1373. Anyone who had a dispute with Hesse could count on Johnʼs support. John entered into a special alliance with Count John of Solms in 1375 because of the dispute between the latter and Hesse over the Lordship of Lich. Finally, under the mediation of the Hoch- und Deutschmeister Johann von Hayn and the counts of Katzenelnbogen and Sponheim, a provisional settlement was reached in Friedberg in 1377. A further reconciliation, the conditions of which were not stated, was initiated by Duke Otto I of Brunswick-Göttingen, and also recognised in 1378 at a personal meeting of Herman and John in Frankfurt before counts Rupert of Nassau-Sonnenberg and Diether VIII of Katzenelnbogen as chosen arbitrators, that John should be left undisturbed in the castle of Driedorf and its appurtenances, that the fiefs of the lordship of Itter should be returned to him, that the castle built by Hesse at the River Dill, presumably at Hermannstein, should be dismantled, and that, contrary to custom, no toll should be taken from Johnʼs subjects there. Landgrave Herman, however, did not want to settle down with this decision, but nevertheless promised to give John a hearing before his knights and men on the matter of Driedorf and Itter. Whether this was done is unknown. At least this did not end the dispute. As early as 1379, John joined a new alliance against Hesse, which was established in the Wetterau under the name of the Gesellschaft mit dem Löwen (Society with the Lions). The hostilities continued for more than 30 years, but with several interruptions, especially during the alliance of 1390 against the common enemy, Count John III of Sayn-Wittgenstein, and although they ceased in 1411 by a treaty between Herman and John, they soon resumed under their sons. John also seems to have been a member of a Gesellschaft mit den Hörnern (Society with the Horns), which was also established around this time with the purpose of mutual defence and assistance.\n\nParagraph 12: Keats introduced four new projects in 2010. In January he created a pinhole camera intended to take a single 100-year-long exposure. Printed in Good Magazine, the simple box camera was designed to be cut out, folded, and glued together, and then left to take a picture which the magazine promised to publish in a \"special folio\" as part of the January 2110 issue. In February, Keats expanded his filmmaking for plants into a new genre. Observing that plants aren't mobile, he produced a travel documentary – showing footage of Italian skies – which he screened for an audience of ficus and palm trees at the AC Institute in New York City through early March, and later in the year presented to an audience of mixed species, with musical accompaniment by the composer Theresa Wong, at the Berkeley Art Museum in California. He also produced an online version of the movie for viewing by plants at home, posted by Wired News Following an AFP wire story, news of the travel documentaries was reported worldwide, though not in Italy. Keats launched an alternative space agency, the Local Air and Space Administration (LASA), in October. Headquartered at California State University, Chico, the organization claimed to be taking on the exploratory role abandoned by NASA, and announced simultaneous missions to the Moon and Mars. Rather than building rockets, LASA amassed lunar and martian terrain locally in California, by pulverizing meteorites. The first LASA astronauts were potatoes grown in water mineralized with lunar anorthosite and martian shergottite, exploring the Moon and Mars by osmosis, according to Keats, who further argued that the minerals they absorbed over their month-long missions made them \"alien hybrids\". LASA also entered the space tourism business, offering humans the opportunity to explore the Moon and Mars by buying and drinking bottled lunar and martian mineral waters at an \"exotourism bureau\" in San Francisco. At the same time that he was managing the Local Air & Space Administration, Keats started independently to produce pornography for God. The source for his pornography was the Large Hadron Collider (LHC) which had just begun to replicate Big Bang conditions at a small scale. Reasoning that the Big Bang was \"divine coitus\", Keats screened a live feed from the LHC on a votive altar. He opened his \"porn palace for God\" at the alternative art space Louis V. ESP in Brooklyn, New York. While Keats explained that he had become \"God's pornographer\" in order to encourage God to create additional universes since our own was doomed by cosmic expansion, worldwide opinion on the worthiness of his project was mixed.\n\nParagraph 13: Normanhurst is divided by Pennant Hills Road, a major north-south road that leads north to the M1 Motorway, and south towards Parramatta. However, both the east and west sections have extensive bush access. On the east side, a small section of bush lies between Normanhurst and Fox Valley. This is land occupied by the SAN Hospital. On the western side, the suburb backs onto the southern reaches of the Berowra Valley, a continuous section of bush stretching all the way to Broken Bay. This gives Normanhurst a very \"leafy\" and rural look. This in turn contributes to making native bird life abundant. The area is home to cockatoos, rainbow lorikeets, kookaburras, noisy miners, native brush turkeys, and powerful owls. Additionally, Normanhurst has several small waterfalls, which promote reptile and marsupial life, such as Eastern grey kangaroos, echidnas and red-bellied black snakes. It also has encouraged the growth of retirement residences in the suburb. The Hornsby Shire Historical Society and Museum is located on Kenley Road.\n\nParagraph 14: On 13 November 1941, U-68 was resupplied by the auxiliary cruiser Atlantis under the command of Kapitän zur See Bernhard Rogge. The sea state was 6 to 7 at the meeting place, Rogge and Merten decided to move the meeting place  southwest. The next day, they met again and provisions were transferred to U-68. During the following night, U-68 conducted a number of mock attacks on Atlantis for training purposes. On 23 November, U-68 received the message that Atlantis had been sunk by  while resupplying  under the command of Kapitänleutnant Ernst Bauer. U-126 was able to rescue up 300 German sailors, including Rogge. The Befehlshaber der Unterseeboote (BdU—supreme commander of the U-boat Arm) ordered , under the command of Korvettenkapitän Johann Mohr, , under the command of Kapitänleutnant Nicolai Clausen, and , under the command of Fregattenkapitän Hans Eckermann, to the rescue. Two days later the survivors were transferred to the refueling ship Python. On 30 November, U-68 and UA met with Python for refueling. Immediately Merten and the crew began taking on fuel,  were transferred, as well as replenishing spent torpedoes. UA was late to arrive, unnecessarily delaying the procedure. During the refueling, a smokestack was sighted, sounding the alarms. U-68 had just finished the transfer, but the additional weight of the boat was not yet accounted for, when Python came under attack from . U-68 was not ready for combat, Merten and the crew had difficulties keeping the boat at depth. During the vital phase of the attack U-68 was oscillating between a depth of  and . Holding the boat at periscope depth was impossible. Submerged, the crew of U-68 could hear the sinking of Python. Following the first warning salvo by Dorsetshire, Pythons crew its crew had chosen to scuttle the ship to avoid unnecessary casualties.\n\nParagraph 15: New York Avenue was planned as one of the original streets in the L'Enfant Plan for Washington, D.C.  It was intended to begin at the Potomac River and extend northeast toward the White House, then continue past the Executive Residence northeast to the boundary of the Federal City. The portion of the street southwest of the White House was to give the President of the United States an uninterrupted view of the river. Construction of the State, War, and Navy Building from 1871 to 1888 blocked this view, and it remains blocked to this day. Originally, it extended to the grounds of the U.S. Naval Observatory, but the construction of Rawlins Park in 1873 destroyed a block of New York Avenue between 18th and 19th Streets NW. Its consolidation with Triangle Park and three other \"parklets\" into a \"Little Mall\" (in apparent imitation of the nearby National Mall) in 1937 consumed another block between 20th and 21st Streets NW. Construction of the United States Department of War Building (now the Harry S Truman Building, housing the United States Department of State), and an associated park (since January 1959, known as Edward J. Kelly Park) from 1940 to 1941 destroyed the lower three blocks of New York Avenue. Construction of the Theodore Roosevelt Building (which now houses the United States Office of Personnel Management) in 1963 eliminated another block between 19th and 20th Streets NW.  This left a single block of New York Avenue NW, between 17th and 18th Streets NW, southeast of the White House.\n\nParagraph 16: The  globin is thought to be a very ancient molecule, even acting as a molecular clock of sorts. It has even been used to date the separation of vertebrates and invertebrates more than 1 billion years ago. Globin enjoys a large biological distribution, not only occurring among more than 9 different phyla of animals but occurring in some fungi and bacteria as well, even being identified in nitrogen-fixing nodules on the roots of some leguminous plants. The isolation of the globin gene from plant root cells has suggested that the globin genes that were inherited from a common ancestor shared by plants and animals may be present in all plants.\n\nParagraph 17: Wadsley Bridge continues to develop; the Kilner Way retail park opened in the 1970s, being built on the site of an old brick works and sandstone quarry. In 2008 it underwent a complete revamp with the old buildings being pulled down and eight new large retail unit being built for shops such as Halfords and Matalan. Development in recent years has given the area at the foot of Leppings Lane a Burger King and a Carphone Warehouse, built utilising the roof of the former service station on the site. There are three public houses in Wadsley Bridge, the New Bridge Inn dates from 1833, originally the New Inn but renamed in the 1970s when the new railway bridge was constructed, the Railway and the Pheasant. Recently demolished are the Gate Inn which dated originally from 1828; it was demolished in the early 1970s when the A61 was widened and new pub put in its place, and the Travellers which dated from 1881 although parts of the building were probably much older. Both pubs were demolished in late August 2012 to make way for a Sainsbury's supermarket. Construction of the supermarket was started in May 2014 and it opened on 26 November 2014.\n\nParagraph 18: Another explanation given is that in ancient Mesopotamia divine names were written in one way and pronounced in another. Thus it is possible for borrowed words to have their consonants reversed. Another explanation is that Muhammad adopted Isa from the polemical Jewish form Esau. However, there is no evidence that the Jews have ever used Esau to refer to Jesus, and if Muhammad had unwittingly adopted a pejorative form his many Christian acquaintances would have corrected him. A fourth explanation is that prior to the rise of Islam, Christian Arabs had already adopted this form from Syriac. According to the Encyclopaedia of the Qurʼān, \"Arabic often employs an initial 'ayn in words borrowed from Aramaic or Syriac and the dropping of the final Hebrew 'ayin is evidenced in the form Yisho of the 'koktiirkish' Manichaean fragments from Turfan.\" This is supported by Macúch with an example in classical Mandaic, a variety of Eastern Aramaic (hence closely related to Syriac) used as liturgical language by the Mandaean community of southern Mesopotamia, where the name for Jesus is rendered ʿ-š-u (ࡏࡔࡅ), though the pharyngeal ('ayin) is pronounced like a regular long i (\"Īshu\"). Also the name Yeshu (ישו in Hebrew and Aramaic) lacking the final 'ayin is also used to refer to Jesus in the Jewish work the Toledot Yeshu, and scholar David Flusser presents evidence Yeshu was also a name itself rather than claims it was meant to supposedly be an acronym to insult Jesus. The Brill Encyclopedia of the Qur'an notes scholar Anis al-Assiouty as noting the fact that \"In the Talmud, however, he (Jesus) is called Yeshu.\" Scholar David Flusser and other scholars like Adolf Neubauer, Hugh J. Schonfield, and Joachim Jeremias also further argued that the name or pronunciation Yeshu (ישו in Hebrew and Aramaic) could also be \"the Galilean pronunciation\" of Yeshua' that came about because of an inability to pronounce the 'ayin in the Galilee region where Jesus came from. Scholar Alphonse Mingana writes there may have been a monastery named ʿĪsāniyya  in the territory of the Christian Ghassanid Arabs in southern Syria as early as 571 CE.\n\nParagraph 19: Another explanation given is that in ancient Mesopotamia divine names were written in one way and pronounced in another. Thus it is possible for borrowed words to have their consonants reversed. Another explanation is that Muhammad adopted Isa from the polemical Jewish form Esau. However, there is no evidence that the Jews have ever used Esau to refer to Jesus, and if Muhammad had unwittingly adopted a pejorative form his many Christian acquaintances would have corrected him. A fourth explanation is that prior to the rise of Islam, Christian Arabs had already adopted this form from Syriac. According to the Encyclopaedia of the Qurʼān, \"Arabic often employs an initial 'ayn in words borrowed from Aramaic or Syriac and the dropping of the final Hebrew 'ayin is evidenced in the form Yisho of the 'koktiirkish' Manichaean fragments from Turfan.\" This is supported by Macúch with an example in classical Mandaic, a variety of Eastern Aramaic (hence closely related to Syriac) used as liturgical language by the Mandaean community of southern Mesopotamia, where the name for Jesus is rendered ʿ-š-u (ࡏࡔࡅ), though the pharyngeal ('ayin) is pronounced like a regular long i (\"Īshu\"). Also the name Yeshu (ישו in Hebrew and Aramaic) lacking the final 'ayin is also used to refer to Jesus in the Jewish work the Toledot Yeshu, and scholar David Flusser presents evidence Yeshu was also a name itself rather than claims it was meant to supposedly be an acronym to insult Jesus. The Brill Encyclopedia of the Qur'an notes scholar Anis al-Assiouty as noting the fact that \"In the Talmud, however, he (Jesus) is called Yeshu.\" Scholar David Flusser and other scholars like Adolf Neubauer, Hugh J. Schonfield, and Joachim Jeremias also further argued that the name or pronunciation Yeshu (ישו in Hebrew and Aramaic) could also be \"the Galilean pronunciation\" of Yeshua' that came about because of an inability to pronounce the 'ayin in the Galilee region where Jesus came from. Scholar Alphonse Mingana writes there may have been a monastery named ʿĪsāniyya  in the territory of the Christian Ghassanid Arabs in southern Syria as early as 571 CE.\n\nParagraph 20: The final was held at Victoria Hall, London, from 17 to 22 March. Spencer took a 6–2 lead, before Owen levelled the match at 6–6, having made the first day's highest break of 80 in the 9th frame. The Birmingham Daily Post correspondent praised the players for bringing a \"refreshing new look to the game, with bold attacking play, wonderful potting, and a sprinkling of good-sized breaks\". On the second day, both players missed easy , sharing the first two frames for 7–7 before Spencer won the next four frames to lead 11–7 by the interval, after which he added four of the subsequent six frames to increase his advantage to six frames at 15–9. The third day's play, which featured only two breaks of 50 or more, was described in the Coventry Evening Telegraph as \"undistinguished\", and ended with Spencer still six frames ahead, at 21–15. On day 4, Owen won four of the afternoon session's six frames to close to 19–23. In the evening session, Spencer claimed the first three frames, and finished the day six frames ahead again at 27–21. Owen only won three of the twelve frames on the fifth day, leaving Spencer one frame from victory at 36–24. Owen's brother Marcus Owen, a former English Amateur Championship winner, commented that \"Gary's cueing is all over the place. Every time he plays a forcing shot, his whole body is moving.\" Spencer took the first frame on the final day to claim victory by achieving a winning margin of 37–24. The remaining 12 dead frames were played, with Spencer finishing 46–27 ahead. With this he became the first player to win the World Championship at his first attempt since Joe Davis at the inaugural championship in 1927. Owen compiled a 100 break, the highest of the match, in the 66th frame after the title had been decided.\n\nParagraph 21: Don Hayes, lead guitar player, was born in Fairmont, West Virginia in January 1950. He was the second of ten children in his family and he was raised in the small community of Whitehall, WV, outside of Fairmont for seven years until he was moved to the outskirts of Akron, Ohio. Living in the village of Canal Fulton for most of his early years, he graduated from Northwest High School in 1968. Don was an avid athlete in his younger days, he could usually be found hard at a game of baseball or basketball. If the chores were done and there wasn't a game in the works, he could usually be found beating on an old hollow body electric guitar a neighbor had given him. That beater served him well until his parents got him a new solid body Silvertone guitar, which became his mainstay for two or three years. Don grew up listening to just about every kind of music, but snuck in as much Rock & Roll as he could. His favorite guitarists and idols in those years were undoubtedly Don Rich and Duane Eddy. Don started playing in his first band around 16 years of age, \"Don & Jerry & the Ghost Riders\".  Don and two other members of the band wrote most of the music for the band, if they weren't playin' a gig, he could usually be found playing with his father's country band. Over the years he played in several cover bands; the two most notable were Dave Cutting and the \"Nimissilla Creek Band\" and Dave Cutting and the \"Coyote Junction Band\". He also played in three different bands during his tour of duty in Germany with the US Army.  Even though he thought he had retired from playing in bands when he moved to Kentucky in 2002, KBCB kept the pressure on and after several attempts to get him to go to a KBCB practice, he was finally persuaded to attend one. Don was immediately impressed with the fact that KBCB did mostly original material, and with the message left on his answering machine by the band before he even had a chance to return home the evening of that first jam session, a bond of friendship was made that became the history of KBCB. Now every new step is only a new chapter in that history as Don continues to reinvent himself each step of the way.\n\nParagraph 22: The economist George Dalton, through surveying agrarian peasant economies in areas of West Africa, suggests that in societies where peasant economics is the predominant form of production, those societies generally consist of a community of family units. Dalton defines this community as “a circle of people who live together… so that they share not this or that particular interest, but a whole set of interests wide enough and comprehensive enough to include their lives.”  These communities largely produce for their own subsistence, as opposed to producing for markets. The production processes that occur in these societies center around this subsistence, and the organization of this society into a communal form of production. As Dalton writes of African peasant communities, unemployment and economic depression are not the main issues. Instead, these societies primarily have to contend with issues within the environment, like the weather and plant diseases.  Peasants are also less likely to be specialists in a particular area of production and will spend time across the year doing a wide range of productive activities. Dalton also argued that peasant societies based their economic production much more on cultural and religious tradition, as opposed to purely environmental conditions. He based this on a study of neighboring African peasant societies which had very different cultural practices and social structures. They would have extremely similar environmental conditions and yet would have very different economies, which he argued demonstrated that social structure and culture were the primary determining factors of the economic activity of peasant societies.  Dalton also argued that this is demonstrated in the distribution of the factors of production in peasant societies. Unlike market economies where land, labour, and materials are purchased, in African peasant societies “land for homesteads and farms is acquired through tribal affiliation or kinship right.”  Alongside this, Dalton suggests that much of the organization of work would occur through social relationships within the community, such as “kinship and friendship reciprocity.” He concludes that this largely social and cultural organization of production is due to relative absence of the pressure of market economies to reduce costs and maximize profits, which would “enforce economizing decisions on local producers.” Dalton also argues that peasant societies were generally based on a socially guaranteed subsistence, with reciprocal gifts of produce, materials and livestock based on tribal and social relationships.  These gifts would exchange between members of a particular tribe and would also involve tribute to the chief of the tribe, who would act as a steward of the society, and would maintain a retinue of warriors. These chiefs would also resolve conflicts between tribe members and provide emergency resources. The chief could also call upon members of the tribe to perform labour in service to them, like constructing their huts. \n\nParagraph 23: Another explanation given is that in ancient Mesopotamia divine names were written in one way and pronounced in another. Thus it is possible for borrowed words to have their consonants reversed. Another explanation is that Muhammad adopted Isa from the polemical Jewish form Esau. However, there is no evidence that the Jews have ever used Esau to refer to Jesus, and if Muhammad had unwittingly adopted a pejorative form his many Christian acquaintances would have corrected him. A fourth explanation is that prior to the rise of Islam, Christian Arabs had already adopted this form from Syriac. According to the Encyclopaedia of the Qurʼān, \"Arabic often employs an initial 'ayn in words borrowed from Aramaic or Syriac and the dropping of the final Hebrew 'ayin is evidenced in the form Yisho of the 'koktiirkish' Manichaean fragments from Turfan.\" This is supported by Macúch with an example in classical Mandaic, a variety of Eastern Aramaic (hence closely related to Syriac) used as liturgical language by the Mandaean community of southern Mesopotamia, where the name for Jesus is rendered ʿ-š-u (ࡏࡔࡅ), though the pharyngeal ('ayin) is pronounced like a regular long i (\"Īshu\"). Also the name Yeshu (ישו in Hebrew and Aramaic) lacking the final 'ayin is also used to refer to Jesus in the Jewish work the Toledot Yeshu, and scholar David Flusser presents evidence Yeshu was also a name itself rather than claims it was meant to supposedly be an acronym to insult Jesus. The Brill Encyclopedia of the Qur'an notes scholar Anis al-Assiouty as noting the fact that \"In the Talmud, however, he (Jesus) is called Yeshu.\" Scholar David Flusser and other scholars like Adolf Neubauer, Hugh J. Schonfield, and Joachim Jeremias also further argued that the name or pronunciation Yeshu (ישו in Hebrew and Aramaic) could also be \"the Galilean pronunciation\" of Yeshua' that came about because of an inability to pronounce the 'ayin in the Galilee region where Jesus came from. Scholar Alphonse Mingana writes there may have been a monastery named ʿĪsāniyya  in the territory of the Christian Ghassanid Arabs in southern Syria as early as 571 CE.\n\nParagraph 24: Born in Stratford,  Tomlinson completed preparatory studies and graduated from Yale College in 1802. He went to Virginia for a year to be a private tutor and to study law.  When he returned to Fairfield he continued his studies and was admitted to the bar in 1807. That same year he married Sarah Bradley. He received a Master of Arts, in 1808 from Yale. Their only child, Jabez Huntington Tomlinson, was born in 1818 but died at the young age of 19 in 1838.  Mrs. Tomlinson died in 1842. In 1846, Gideon married Mrs. Lydia Ann Wells Wright, widow of William Wright of Bridgeport, Connecticut.\n\nParagraph 25: Catana or Catina (Catania) was conquered at the beginning of the First Punic War, in 263 BC, by the Consul Manius Valerius Maximus Corvinus Messalla. Part of the booty from the conquest was a sundial which was set up in the Comitium in Rome. Additionally the city was required to pay tribute to Rome (civitas decumana). The conqueror of Syracuse, Marcus Claudius Marcellus built a gymnasium in the city. Around 135 BC, in the course of the First Servile War, the city was conquered by the rebel slaves. Another revolt in the area, led by the gladiator Seleurus in 35 BC, was probably suppressed after the death of its leader. In 122 BC, following volcanic activity on Etna, there was heavy damage from the volcanic ash raining down on the roofs of the city which collapsed under the weight. The territory of Catina was further impacted by eruptions in 50, 44, 36 BC and finally by the disastrous lava flow of 32 BC, which ruined the countryside and the city of Aitna, as well as the disastrous war between Augustus and Sextus Pompey, but with the beginning of the Augustan period, a long and difficult socio-economic recovery began. At the end of the war, all Sicily is described as heavily damaged, impoverished, and depopulated in a wide range of areas. In book 6 of Strabo in particular there is reference to the deleterious state of Syracuse, Catania, and Centuripe. After the war against Sextus Pompey, Augustus established a colonia in Catania. Pliny the Elder lists the city, which the Romans called Catina among the cities which Augustus promoted to the rank of Colonia Romana in 21 BC, along with Syracuse and Thermae (Sciacca). Groups of veterans of the Roman army were settled in the cities which had received this new status. The new demographic situation certainly contributed to change the style of municipal life in favour of the new \"Middle Class.\" Catania retained a notable importance and wealth in the course of the late Republic and the Empire: Cicero calls it the \"richest\" of the cities and it must have remained thus in the later Imperial period and Byzantine times, as the literary sources and numerous contemporary monuments suggest, which makes the city almost unique among those of Roman Sicily. In order to pay the stipendium, the large coastal cities like Catania, extended their control in the course of the High Empire, over a vast swath of the interior of the island which had become depopulated as a result of the large estates which dominated agriculture in the period. Christianity spread rapidly; among the martyrs during the persecutions of Decius and Diocletian, were Saint Agatha, patron saint of the city, and Euplius. The Diocese of Catania was established at the end of the 6th century.\n\nParagraph 26: Catana or Catina (Catania) was conquered at the beginning of the First Punic War, in 263 BC, by the Consul Manius Valerius Maximus Corvinus Messalla. Part of the booty from the conquest was a sundial which was set up in the Comitium in Rome. Additionally the city was required to pay tribute to Rome (civitas decumana). The conqueror of Syracuse, Marcus Claudius Marcellus built a gymnasium in the city. Around 135 BC, in the course of the First Servile War, the city was conquered by the rebel slaves. Another revolt in the area, led by the gladiator Seleurus in 35 BC, was probably suppressed after the death of its leader. In 122 BC, following volcanic activity on Etna, there was heavy damage from the volcanic ash raining down on the roofs of the city which collapsed under the weight. The territory of Catina was further impacted by eruptions in 50, 44, 36 BC and finally by the disastrous lava flow of 32 BC, which ruined the countryside and the city of Aitna, as well as the disastrous war between Augustus and Sextus Pompey, but with the beginning of the Augustan period, a long and difficult socio-economic recovery began. At the end of the war, all Sicily is described as heavily damaged, impoverished, and depopulated in a wide range of areas. In book 6 of Strabo in particular there is reference to the deleterious state of Syracuse, Catania, and Centuripe. After the war against Sextus Pompey, Augustus established a colonia in Catania. Pliny the Elder lists the city, which the Romans called Catina among the cities which Augustus promoted to the rank of Colonia Romana in 21 BC, along with Syracuse and Thermae (Sciacca). Groups of veterans of the Roman army were settled in the cities which had received this new status. The new demographic situation certainly contributed to change the style of municipal life in favour of the new \"Middle Class.\" Catania retained a notable importance and wealth in the course of the late Republic and the Empire: Cicero calls it the \"richest\" of the cities and it must have remained thus in the later Imperial period and Byzantine times, as the literary sources and numerous contemporary monuments suggest, which makes the city almost unique among those of Roman Sicily. In order to pay the stipendium, the large coastal cities like Catania, extended their control in the course of the High Empire, over a vast swath of the interior of the island which had become depopulated as a result of the large estates which dominated agriculture in the period. Christianity spread rapidly; among the martyrs during the persecutions of Decius and Diocletian, were Saint Agatha, patron saint of the city, and Euplius. The Diocese of Catania was established at the end of the 6th century.\n\nParagraph 27: On 13 November 1941, U-68 was resupplied by the auxiliary cruiser Atlantis under the command of Kapitän zur See Bernhard Rogge. The sea state was 6 to 7 at the meeting place, Rogge and Merten decided to move the meeting place  southwest. The next day, they met again and provisions were transferred to U-68. During the following night, U-68 conducted a number of mock attacks on Atlantis for training purposes. On 23 November, U-68 received the message that Atlantis had been sunk by  while resupplying  under the command of Kapitänleutnant Ernst Bauer. U-126 was able to rescue up 300 German sailors, including Rogge. The Befehlshaber der Unterseeboote (BdU—supreme commander of the U-boat Arm) ordered , under the command of Korvettenkapitän Johann Mohr, , under the command of Kapitänleutnant Nicolai Clausen, and , under the command of Fregattenkapitän Hans Eckermann, to the rescue. Two days later the survivors were transferred to the refueling ship Python. On 30 November, U-68 and UA met with Python for refueling. Immediately Merten and the crew began taking on fuel,  were transferred, as well as replenishing spent torpedoes. UA was late to arrive, unnecessarily delaying the procedure. During the refueling, a smokestack was sighted, sounding the alarms. U-68 had just finished the transfer, but the additional weight of the boat was not yet accounted for, when Python came under attack from . U-68 was not ready for combat, Merten and the crew had difficulties keeping the boat at depth. During the vital phase of the attack U-68 was oscillating between a depth of  and . Holding the boat at periscope depth was impossible. Submerged, the crew of U-68 could hear the sinking of Python. Following the first warning salvo by Dorsetshire, Pythons crew its crew had chosen to scuttle the ship to avoid unnecessary casualties.\n\nParagraph 28: The Battle of Jackson was fought on May 14, 1863, in Jackson, Mississippi, as part of the Vicksburg campaign during the American Civil War. After entering the state of Mississippi in late April 1863, Major General Ulysses S. Grant of the Union Army moved his force inland to strike at the strategic Mississippi River town of Vicksburg, Mississippi. The Battle of Raymond, which was fought on May 12, convinced Grant that General Joseph E. Johnston's Confederate army was too strong to be safely bypassed, so he sent two corps, under Major Generals James B. McPherson and William T. Sherman, to capture Johnston's position at Jackson. Johnston did not believe the city was defensible and began withdrawing. Brigadier General John Gregg was tasked with commanding the Confederate rear guard, which fought Sherman's and McPherson's men at Jackson on May 14 before withdrawing. After taking the city, Union troops destroyed economic and military infrastructure and also plundered civilians' homes. Grant then moved against Vicksburg, which he placed under siege on May 18 and captured on July 4. Despite being reinforced, Johnston made only a weak effort to save the Vicksburg garrison, and was driven out of Jackson a second time in mid-July.\n\nParagraph 29: Ordered to Baltimore, Maryland, April 1862. Duty in the defenses of Baltimore, Md., until September 24, 1862. Moved to Point of Rocks, Maryland, September 24, and guard duty on line of the Potomac River between Berlin and Edward's Ferry, and scouting in Loudoun and Jefferson Counties, Va., until February 1863. Ordered to join Milroy at Winchester, Va., February 3. Woodstock February 25. Strasburg Road and Woodstock February 26 (Companies G and L). Cedar Creek April 13. Reconnaissance toward Wardensville and Strasburg April 20. Operations in the Shenandoah Valley April 22–29. Fisher's Hill, Strasburg Road, April 22 and 26. Scout to Strasburg April 25–30. Strasburg April 28. Fairmont April 29. Scout in Hampshire County May 4–9. Operations about Front Royal Ford and Buck's Ford May 12–26. Piedmont Station May 16 (detachment). Middletown and Newtown June 12. Battle of Winchester June 13–15. Retreat to Harpers Ferry June 15, and duty there until June 30. Moved to Frederick, Md., then to Boonsboro July 8, and joined Cavalry Corps, Army of the Potomac. Scouting in Virginia until September. Oak Shade September 2. Hazel River September 4. Advance to the Rapidan September 13–17. Culpeper Court House September 13. Bristoe Campaign October 9–22. James City October 10. Near Warrenton October 11. Jeffersonton October 12. Warrenton or White Sulphur Springs October 12–13. Auburn and Bristoe October 14. St. Stephen's Church October 14. Advance to line of the Rappahannock November 7–8. Rappahannock Station November 7. Catlett's Station November 15. Mine Run Campaign November 26-December 2. New Hope Church November 27. Mine Run November 28–30. Scout from Vienna to White Plains December 28–31. Brentsville February 14, 1864. Near Sprigg's Ford February 28 (Company L). Near Greenwich March 6. Scout to Brentsville March 8. Scout to Greenwich March 9. Near Greenwich March 9. Scout to Greenwich March 11. Bristoe Station March 16. Scout to Aldie and Middleburg March 28–29. Bristoe Station April 9. Near Nokesville April 13. Near Milford April 15. Near Middletown April 24. Rapidan Campaign May–June. Battle of the Wilderness May 5–7. Spotsylvania Court House May 8–21; Strasburg May 12 (detachment). North Anna River May 23–26. Rejoined brigade May 26. Haw's Shop May 28. Old Church May 30. Cold Harbor May 31-June 1. Sumner's Upper Bridge June 2. About Cold Harbor June 2–7. Sheridan's Trevilian Raid June 7–24. Trevilian Station June 11–12. White House and St. Peter's Church June 21. Black Creek or Tunstall Station June 21. St. Mary's Church June 24. Charles City Cross Roads June 30. Proctor's Hill July 1. Warwick Swamp July 12. Demonstration north of James River at Deep Bottom July 27–29. Malvern Hill July 28. Warwick Swamp July 30. Demonstration north Of James River at Deep Bottom August 13–20. Gravel Hill August 14. White Oak Swamp August 14–15. Charles City Cross Roads August 16. Strawberry Plains August 16–18. Dinwiddie Road near Ream's Station August 23. Ream's Station August 25. Coggin's Point and Fort Powhatan September 16. Poplar Grove Church September 29-October 2. Wyatt's Farm September 29. Arthur's Swamp September 30-October 1. Stony Creek October 11–12. Boydton Plank Road October 27–28. Reconnaissance's toward Stony Creek November 7 and November 28. Stony Creek Station December 1. Reconnaissance to Hatcher's Run December 8–10. Hatcher's Run December 8–9. Dabney's Mills, Hatcher's Run, February 5–7, 1865. Rowanty Creek February 5. Ordered to Wilmington, N.C., February 17, arriving there March 6. Advance on Goldsboro March 6–21. Reported to Sherman at Fayetteville, N.C.. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Near Raleigh April 12. Occupation of Raleigh April 13. Received surrender of Confederate artillery. Surrender of Johnston and his army at Bennett's House April 26. Duty at Fayetteville and in Department of North Carolina until July.\n\nParagraph 30: While going home Linda meets a hideously ugly woman Titania who is turned away by Ava. Linda leaves Ava who she feels seduced her dad from the Faerie and had kept this fact from her. Linda goes back to Verian who reveals that he is also from the Faerie and explains how cold iron kills fairy. He also tells her that the hot iron in human blood is poison too, but a changelings blood takes the edge of it and mixing it with charmed heroin is what gives it the kick. Linda makes love to Verian, who later on tries to make a hit using her father's christening spoon which he drops, as it is made of iron. The Puck then comes to Verian's room with a bag of heroin and tells Linda that he saw Death go in the corridor and she was with Linda's friend. Linda rushes to the next room to see that Jeffrey has overdosed. Linda makes a brief visit to the dreaming where she meets Lucius, Nuala and The Sandman. She also sees Jeff in a grotesque collection of dead souls which is later revealed as Mabs' heart. When she wakes up she sees Queen Titania who carries her home, where she meets Ava, and reveals that Ava was exiled from faerie, which surprises Linda who had believed it was her dad. Titania also reveals how Mab escaped. Mab who was imprisoned in her cell gave each one who visited her a piece of her heart without their knowing. Then when the fairy were killed it released the fragment of Mab which came together, and Linda realises it is the Red Horse drug that kills the fairy. Titania calls on Linda to fulfill the oath she had made to Cluracan. Ava also comes along to protect her daughter, and it revealed that Ava is the architect of the palace. Ava releases all the faerie who have been trapped by Mab. There is a fight between these faerie and the faerie who are allied with Mab. Linda injects herself with Red Horse, which she mixes with her fathers christening spoon and she is bound to Mab's heart which Titania wants to pull down and destroy. Mab arrives on the scene and interrupts them. Ava uses her mastery of the palace to trap Mab under a pillar and both she and Titania aim their bows to Mab's heart but their arrows are prevented from meeting their target by the Puck. Mab who says she spared Titania because she feared her death curse chokes Ava and Titania  with the strings of their bows thereby preventing them from speaking.\n\nParagraph 31: During the normal cycle of respiration, a single breath can be divided into two phases: inspiration and expiration. At the beginning of inspiration, the lungs expand and  free gasses fill the lungs. As the alveoli are filled with this new gas, the concentration of  that fills the alveoli is dependent on the ventilation of the alveoli and the perfusion (blood flow) that is delivering the  for exchange. Once expiration begins to occur, the lung volume decreases as air is forced out the respiratory tract. The volume of  that is exhaled at the end of exhalation is generated as a by product of metabolism from tissue throughout the body. The delivery of  to the alveoli for exhalation is dependent on an intact cardiovascular system to ensure adequate blood flow from the tissue to the alveoli. If cardiac output (the amount of blood that is pumped out of the heart) is decreased, the ability to transport  is also decreased which is reflected in a decreased expired amount of . The relationship of cardiac output and end tidal  is linear, such that as cardiac output increases or decreases, the amount of  is also adjusted in the same manner. Therefore the monitoring of end tidal  can provide vital information on the integrity of the cardiovascular system, specifically how well the heart is able to pump blood.\n\nParagraph 32: Asa Earl Carter (September 4, 1925 – June 7, 1979) was a 1950s segregationist speech writer, and later Western novelist. He co-wrote George Wallace's well-known pro-segregation line of 1963, \"Segregation now, segregation tomorrow, segregation forever\", and ran in the Democratic primary for governor of Alabama on a segregationist ticket. Years later, under the alias of supposedly Cherokee writer Forrest Carter, he wrote The Rebel Outlaw: Josey Wales (1972), a Western novel that led to a 1976 film featuring Clint Eastwood that was adopted into the National Film Registry, and The Education of Little Tree (1976), a best-selling, award-winning book which was marketed as a memoir but which turned out to be fiction.\n\nParagraph 33: New York Avenue was planned as one of the original streets in the L'Enfant Plan for Washington, D.C.  It was intended to begin at the Potomac River and extend northeast toward the White House, then continue past the Executive Residence northeast to the boundary of the Federal City. The portion of the street southwest of the White House was to give the President of the United States an uninterrupted view of the river. Construction of the State, War, and Navy Building from 1871 to 1888 blocked this view, and it remains blocked to this day. Originally, it extended to the grounds of the U.S. Naval Observatory, but the construction of Rawlins Park in 1873 destroyed a block of New York Avenue between 18th and 19th Streets NW. Its consolidation with Triangle Park and three other \"parklets\" into a \"Little Mall\" (in apparent imitation of the nearby National Mall) in 1937 consumed another block between 20th and 21st Streets NW. Construction of the United States Department of War Building (now the Harry S Truman Building, housing the United States Department of State), and an associated park (since January 1959, known as Edward J. Kelly Park) from 1940 to 1941 destroyed the lower three blocks of New York Avenue. Construction of the Theodore Roosevelt Building (which now houses the United States Office of Personnel Management) in 1963 eliminated another block between 19th and 20th Streets NW.  This left a single block of New York Avenue NW, between 17th and 18th Streets NW, southeast of the White House.\n\nParagraph 34: If a small freight or commuter railroad does not operate on another railroad territory, then there is no interoperability-based reason that obligates them to use  spectrum to implement PTC. In addition, if a small freight or commuter railroad only operates on their own territory and hosts other guest railroads (freight or other passenger rail), there is still no interoperability-based reason the host is obliged to use  spectrum to implement PTC. Such a railroad could implement PTC by freely picking any radio spectrum and requiring the guest railroads to either install compliant PTC equipment (including radios) on board their trains or provide wayside equipment for their guest PTC implementation to be installed on the host railroad property. An interesting case that highlights some of these issues is the northeast corridor. Amtrak operates services on two commuter rail properties it does not own: Metro-North Railroad (owned by New York and Connecticut) and Massachusetts Bay Transportation Authority (MBTA) (owned by Massachusetts). In theory, Amtrak could have found themselves installing their own PTC system on these host properties (about 15 percent of the corridor), or worse, found themselves in the ridiculous position of trying to install three different PTC systems on each Amtrak train to traverse the commuter properties. This was not the case. Amtrak had a significant head start over the commuter rail agencies on the corridor in implementing PTC. They spent a considerable amount of time in research and development and won early approvals for their ACSES system on the northeast corridor with the FRA. They chose first to use  and then later moved to , in part because of a perceived improvement in radio-system performance and in part because Amtrak was using  in Michigan for their ITCS implementation.  When the commuter agencies on the corridor looked at options for implementing PTC, many of them chose to take advantage of the advance work Amtrak had done and implement the ACSES solution using . Amtrak's early work paid off and meant that they would be traversing commuter properties that installed the same protocol at the same frequency, making them all interoperable. (Actually most of the Northeast Corridor is owned and operated by Amtrak, not the commuter properties, including the tracks from Washington, D.C. to New York Penn Station and the tracks from Philadelphia to Harrisburg, Pennsylvania. The State of Massachusetts owns the tracks from the Rhode Island state line to the New Hampshire state line, but Amtrak \"operates\" these lines. Only the line between New York City and New Haven, Connecticut is actually owned and operated by a commuter line.)\n\nParagraph 35: The first article of the agreement stated that The Government of Sinkiang agrees to extend to the Government of the USSR within the territory of Sinkiang exclusive rights to prospect for, investigate and exploit tin mines and its ancillary minerals. The USSR established a trust known as Sin-Tin as an independent juridical person subject only to legislative procedures of the USSR for implementation of the provisions of the agreement on Concessions in accordance with Article 4 with the right to establish without hindrance branch offices, sub-branch offices and agencies within the whole territory of Sinkiang with all supplies of needs of concessions, deliveries of equipment and materials and other imports from USSR and exports of minerals from Sinkiang free of custom duties and other imposts and taxes and payment of a fixed price of five percent of the cost of mined minerals to the Xinjiang Government. Article 5 stated that  During the period of validity of the present Agreement, the Government of Sinkiang shall guarantee the acquisition of lands, including the felling of timbers, the mining of coal and areas for the procurement of building materials, which may be necessary for the carrying on of the various kinds of works referred to in this Agreement. The Government of Sinkiang shall remove all the population residing in such areas as may have been allotted to Sin-tin. The Agreement granted USSR the right to seize land allotted to Sin-tin in any area of Xinjiang because Article 5 stated that  such areas of land shall be allotted on the application of Sin-tin. In the allotment of such areas of land, there shall be no delay and shall be in strict conformity with the terms of the application. The rental for such allotted areas shall be paid with the products of Sin-tin as provided for in Article 7 Following this agreement on Concessions, large-scale geological exploration expeditions were sent by the Soviets to Xinjiang in 1940 to 1941 and large deposits of uranium, beryllium and other minerals were found in the mountains near Kashgar and in the Altai region. Ores of both minerals continued to be delivered from Xinjiang Altai mines to the USSR until the end of 1949. Soviet geologists continued to work in Xinjiang until 1955, when Soviet leader Nikita Khrushchev refused Mao Zedong's demand to hand over the technology to produce PRC nuclear weapons. A Chinese atomic project was initiated using facilities built by the Soviet Union in Chuguchak and Altai in Northern Xinjiang. These facilities were used by the Soviet Union for nuclear weapon design and the creation of the first Soviet atomic bomb, successfully tested in the USSR on 29 August 1949.\n\nParagraph 36: Ordered to Baltimore, Maryland, April 1862. Duty in the defenses of Baltimore, Md., until September 24, 1862. Moved to Point of Rocks, Maryland, September 24, and guard duty on line of the Potomac River between Berlin and Edward's Ferry, and scouting in Loudoun and Jefferson Counties, Va., until February 1863. Ordered to join Milroy at Winchester, Va., February 3. Woodstock February 25. Strasburg Road and Woodstock February 26 (Companies G and L). Cedar Creek April 13. Reconnaissance toward Wardensville and Strasburg April 20. Operations in the Shenandoah Valley April 22–29. Fisher's Hill, Strasburg Road, April 22 and 26. Scout to Strasburg April 25–30. Strasburg April 28. Fairmont April 29. Scout in Hampshire County May 4–9. Operations about Front Royal Ford and Buck's Ford May 12–26. Piedmont Station May 16 (detachment). Middletown and Newtown June 12. Battle of Winchester June 13–15. Retreat to Harpers Ferry June 15, and duty there until June 30. Moved to Frederick, Md., then to Boonsboro July 8, and joined Cavalry Corps, Army of the Potomac. Scouting in Virginia until September. Oak Shade September 2. Hazel River September 4. Advance to the Rapidan September 13–17. Culpeper Court House September 13. Bristoe Campaign October 9–22. James City October 10. Near Warrenton October 11. Jeffersonton October 12. Warrenton or White Sulphur Springs October 12–13. Auburn and Bristoe October 14. St. Stephen's Church October 14. Advance to line of the Rappahannock November 7–8. Rappahannock Station November 7. Catlett's Station November 15. Mine Run Campaign November 26-December 2. New Hope Church November 27. Mine Run November 28–30. Scout from Vienna to White Plains December 28–31. Brentsville February 14, 1864. Near Sprigg's Ford February 28 (Company L). Near Greenwich March 6. Scout to Brentsville March 8. Scout to Greenwich March 9. Near Greenwich March 9. Scout to Greenwich March 11. Bristoe Station March 16. Scout to Aldie and Middleburg March 28–29. Bristoe Station April 9. Near Nokesville April 13. Near Milford April 15. Near Middletown April 24. Rapidan Campaign May–June. Battle of the Wilderness May 5–7. Spotsylvania Court House May 8–21; Strasburg May 12 (detachment). North Anna River May 23–26. Rejoined brigade May 26. Haw's Shop May 28. Old Church May 30. Cold Harbor May 31-June 1. Sumner's Upper Bridge June 2. About Cold Harbor June 2–7. Sheridan's Trevilian Raid June 7–24. Trevilian Station June 11–12. White House and St. Peter's Church June 21. Black Creek or Tunstall Station June 21. St. Mary's Church June 24. Charles City Cross Roads June 30. Proctor's Hill July 1. Warwick Swamp July 12. Demonstration north of James River at Deep Bottom July 27–29. Malvern Hill July 28. Warwick Swamp July 30. Demonstration north Of James River at Deep Bottom August 13–20. Gravel Hill August 14. White Oak Swamp August 14–15. Charles City Cross Roads August 16. Strawberry Plains August 16–18. Dinwiddie Road near Ream's Station August 23. Ream's Station August 25. Coggin's Point and Fort Powhatan September 16. Poplar Grove Church September 29-October 2. Wyatt's Farm September 29. Arthur's Swamp September 30-October 1. Stony Creek October 11–12. Boydton Plank Road October 27–28. Reconnaissance's toward Stony Creek November 7 and November 28. Stony Creek Station December 1. Reconnaissance to Hatcher's Run December 8–10. Hatcher's Run December 8–9. Dabney's Mills, Hatcher's Run, February 5–7, 1865. Rowanty Creek February 5. Ordered to Wilmington, N.C., February 17, arriving there March 6. Advance on Goldsboro March 6–21. Reported to Sherman at Fayetteville, N.C.. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Near Raleigh April 12. Occupation of Raleigh April 13. Received surrender of Confederate artillery. Surrender of Johnston and his army at Bennett's House April 26. Duty at Fayetteville and in Department of North Carolina until July.\n\nParagraph 37: During the PvdA knowledge festival in Nijmegen on 19 February 2000, it was decided that a working group for democratisation would be founded, with the introduction of an elected head of state as its primary issue, which almost all present were in favour of. Early March 2000, MP Femke Halsema (GreenLeft) called for discussion on abolishing the monarchy, because according to her 'the time is ripe', and she pleaded for the establishment of a parliamentary republic after the German model. Even though an elected head of state was in the election programme of GreenLeft, fraction leader Paul Rosenmöller said he found it 'no urgent matter'. D66 leader Thom de Graaf, opining in April 2000 that there was not enough momentum for a republic, instead presented a plan for a 'modern kingship' as an alternative: the king should be 'at a distance, but have authority', comparable to the German president. According to him, the king's membership of the government, chairmanship of the Council of State, role as initiator of the formation and signer of laws was 'outdated', but De Graaf was also against a completely ceremonial Swedish model. GreenLeft, including both Halsema and Rosenmöller, backed De Graaf. The response from the PvdA, which at the time stated in its party platform that the royal house should be replaced by an elected head of state, was disunited: Prime Minister Wim Kok was open to discussion, but said he did not intend to 'change anything about the head of state's constitutional position', as did former Queen's Commissioner Roel de Wit and MP Peter Rehwinkel; other PvdA members such as senator Erik Jurgens spoke in favour of modernisation, still others went a step further and advocated for a republic, such as senator Willem Witteveen, party ideologue Paul Kalma and professor Maarten Hajer. A TNS NIPO survey showed that 27% of the population agreed with De Graaf's plea for modernisation, whilst 67% opposed changing the kingship, and 6% wanted an even stronger kingship. In total, 90% wanted to maintain the monarchy, although 44% agreed with Halsema that hereditary succession was 'outdated'; however, another 44% did not see hereditary succession as a problem at all. On 9 May, De Graaf requested the government to produce a memorandum about the modernisation of the kingship, in which D66 was supported by the PvdA, the SP and GreenLeft (together 75 MPs, 50%). However, the VVD, the CDA and the small Christian fractions (also 75 MPs combined) did not feel the need for a memorandum (although they would not block a discussion on the topic), and Prime Minister Kok said he would only discuss his views on modernisation of the monarchy during his explanation of the General Affairs's budget on Prinsjesdag. On Prinsjesdag 2000, Kok made no proposals to the effect of amending the kingschap; he merely suggested that after elections, Parliament itself could host a consultative debate on who should be appointed informateur, but the eventual choice would remain a royal privilege. D66 responded with disappointment. In November 2000, a tight majority of the D66 party congress backed De Graaf's proposal, whilst over a third of the members voted for a republic.\n\nParagraph 38: New York Avenue was planned as one of the original streets in the L'Enfant Plan for Washington, D.C.  It was intended to begin at the Potomac River and extend northeast toward the White House, then continue past the Executive Residence northeast to the boundary of the Federal City. The portion of the street southwest of the White House was to give the President of the United States an uninterrupted view of the river. Construction of the State, War, and Navy Building from 1871 to 1888 blocked this view, and it remains blocked to this day. Originally, it extended to the grounds of the U.S. Naval Observatory, but the construction of Rawlins Park in 1873 destroyed a block of New York Avenue between 18th and 19th Streets NW. Its consolidation with Triangle Park and three other \"parklets\" into a \"Little Mall\" (in apparent imitation of the nearby National Mall) in 1937 consumed another block between 20th and 21st Streets NW. Construction of the United States Department of War Building (now the Harry S Truman Building, housing the United States Department of State), and an associated park (since January 1959, known as Edward J. Kelly Park) from 1940 to 1941 destroyed the lower three blocks of New York Avenue. Construction of the Theodore Roosevelt Building (which now houses the United States Office of Personnel Management) in 1963 eliminated another block between 19th and 20th Streets NW.  This left a single block of New York Avenue NW, between 17th and 18th Streets NW, southeast of the White House.\n\nParagraph 39: During the normal cycle of respiration, a single breath can be divided into two phases: inspiration and expiration. At the beginning of inspiration, the lungs expand and  free gasses fill the lungs. As the alveoli are filled with this new gas, the concentration of  that fills the alveoli is dependent on the ventilation of the alveoli and the perfusion (blood flow) that is delivering the  for exchange. Once expiration begins to occur, the lung volume decreases as air is forced out the respiratory tract. The volume of  that is exhaled at the end of exhalation is generated as a by product of metabolism from tissue throughout the body. The delivery of  to the alveoli for exhalation is dependent on an intact cardiovascular system to ensure adequate blood flow from the tissue to the alveoli. If cardiac output (the amount of blood that is pumped out of the heart) is decreased, the ability to transport  is also decreased which is reflected in a decreased expired amount of . The relationship of cardiac output and end tidal  is linear, such that as cardiac output increases or decreases, the amount of  is also adjusted in the same manner. Therefore the monitoring of end tidal  can provide vital information on the integrity of the cardiovascular system, specifically how well the heart is able to pump blood.\n\nParagraph 40: The economist George Dalton, through surveying agrarian peasant economies in areas of West Africa, suggests that in societies where peasant economics is the predominant form of production, those societies generally consist of a community of family units. Dalton defines this community as “a circle of people who live together… so that they share not this or that particular interest, but a whole set of interests wide enough and comprehensive enough to include their lives.”  These communities largely produce for their own subsistence, as opposed to producing for markets. The production processes that occur in these societies center around this subsistence, and the organization of this society into a communal form of production. As Dalton writes of African peasant communities, unemployment and economic depression are not the main issues. Instead, these societies primarily have to contend with issues within the environment, like the weather and plant diseases.  Peasants are also less likely to be specialists in a particular area of production and will spend time across the year doing a wide range of productive activities. Dalton also argued that peasant societies based their economic production much more on cultural and religious tradition, as opposed to purely environmental conditions. He based this on a study of neighboring African peasant societies which had very different cultural practices and social structures. They would have extremely similar environmental conditions and yet would have very different economies, which he argued demonstrated that social structure and culture were the primary determining factors of the economic activity of peasant societies.  Dalton also argued that this is demonstrated in the distribution of the factors of production in peasant societies. Unlike market economies where land, labour, and materials are purchased, in African peasant societies “land for homesteads and farms is acquired through tribal affiliation or kinship right.”  Alongside this, Dalton suggests that much of the organization of work would occur through social relationships within the community, such as “kinship and friendship reciprocity.” He concludes that this largely social and cultural organization of production is due to relative absence of the pressure of market economies to reduce costs and maximize profits, which would “enforce economizing decisions on local producers.” Dalton also argues that peasant societies were generally based on a socially guaranteed subsistence, with reciprocal gifts of produce, materials and livestock based on tribal and social relationships.  These gifts would exchange between members of a particular tribe and would also involve tribute to the chief of the tribe, who would act as a steward of the society, and would maintain a retinue of warriors. These chiefs would also resolve conflicts between tribe members and provide emergency resources. The chief could also call upon members of the tribe to perform labour in service to them, like constructing their huts. \n\nParagraph 41: In about 1580, while travelling on the continent, he had met the arch-conspirator Thomas Morgan, and he was persuaded to courier letters to Mary while she was still being held by his former master, the Earl of Shrewsbury. He also assisted the movement of priests in the Catholic Midlands. But by 1586, with Mary removed to the harsher regime of Tutbury and the consequent closing down of communications with her, Babington's role as a courier came to an end. Twice in early 1586 he received letters from France, destined for Mary, but in each case he declined to 'deal further in those affairs'. Around this time he was reportedly considering leaving England permanently and was trying to secure a passport along with his Welsh friend, Thomas Salisbury. He obtained an introduction to Robert Poley, a man with good political contacts, with a view to securing a 'licence' to go to France. Poley, unknown to Babington, was an agent for Francis Walsingham, the Secretary of State, and was under orders to infiltrate known Catholic circles. He probably intentionally failed to obtain a passport for Babington, and instead persuaded him that he, Poley, was a Catholic sympathiser and could be trusted.  It was Babington's misplaced trust of, and possibly even love for, Poley that was a large contributory factor in his eventual downfall.\n\nParagraph 42: Hector Soberon is a well known theater, film and television actor. He was born in Mexico City. He obtained a bachelor's degree as an electronic engineer and his artistic career began as a professional model in 1987. Emphasized by his discipline, Hector was awarded with the \"omni\" as the best model for pasarela and fixed photography. He filmed over 100 TV. Commercials for outstanding brands and was selected to be the only model for Hugo Boss in Mexico in that time. In 1992 begins his TV. Trajectory as an actor, working for the two mayor broadcasting companies of greater international prestige in Mexico ( Televisa and TV.Azteca ) where he participated in many series and soap operas of great success such as: \"Muchachitas\", \"Maria la del Barrio\", \"el Amor no es como lo pintan\", \"papa soltero\" and \"mi pequena traviesa\" among others. He has participated in films, like just to name a few : \"morena\", \"sexual education in brief lessons\", \"la curva del olvido\" while in the international arena he shares credits with Harvey Keitel and Miguel Sandoval in the film called \"Puerto Vallarta Squeeze\", and also \"cuento sin hadas\", \"carpem diem\". In theater his most outstanding projection came with his participation in the play \"ps. Your Cat is Dead\" sharing credits with famous actor Mr. Otto Sirgo, where they were both awarded bye the critics as revelations for the years 1997. Hector has also participated as a host for festivals like \"Acapulco Fest\" and recently participated in radio broadcasting with his own programs. In 2005 Hector decides to go one step forward with his acting career by immigrating to the United States of America, where he was very well received by the audiences after personifying a villain for the soap opera \"olvidarte jamas\" produced by Univision. Recently we saw him acting the role of a personal disease in the productions \"other people's sins\" by Telemundo. Hector is currently participating in several projects where emphasizes his passion to his career by delivering all his professionalism, and respect in every single project where he is involved.\n\nParagraph 43: On 13 November 1941, U-68 was resupplied by the auxiliary cruiser Atlantis under the command of Kapitän zur See Bernhard Rogge. The sea state was 6 to 7 at the meeting place, Rogge and Merten decided to move the meeting place  southwest. The next day, they met again and provisions were transferred to U-68. During the following night, U-68 conducted a number of mock attacks on Atlantis for training purposes. On 23 November, U-68 received the message that Atlantis had been sunk by  while resupplying  under the command of Kapitänleutnant Ernst Bauer. U-126 was able to rescue up 300 German sailors, including Rogge. The Befehlshaber der Unterseeboote (BdU—supreme commander of the U-boat Arm) ordered , under the command of Korvettenkapitän Johann Mohr, , under the command of Kapitänleutnant Nicolai Clausen, and , under the command of Fregattenkapitän Hans Eckermann, to the rescue. Two days later the survivors were transferred to the refueling ship Python. On 30 November, U-68 and UA met with Python for refueling. Immediately Merten and the crew began taking on fuel,  were transferred, as well as replenishing spent torpedoes. UA was late to arrive, unnecessarily delaying the procedure. During the refueling, a smokestack was sighted, sounding the alarms. U-68 had just finished the transfer, but the additional weight of the boat was not yet accounted for, when Python came under attack from . U-68 was not ready for combat, Merten and the crew had difficulties keeping the boat at depth. During the vital phase of the attack U-68 was oscillating between a depth of  and . Holding the boat at periscope depth was impossible. Submerged, the crew of U-68 could hear the sinking of Python. Following the first warning salvo by Dorsetshire, Pythons crew its crew had chosen to scuttle the ship to avoid unnecessary casualties.\n\nParagraph 44: If a small freight or commuter railroad does not operate on another railroad territory, then there is no interoperability-based reason that obligates them to use  spectrum to implement PTC. In addition, if a small freight or commuter railroad only operates on their own territory and hosts other guest railroads (freight or other passenger rail), there is still no interoperability-based reason the host is obliged to use  spectrum to implement PTC. Such a railroad could implement PTC by freely picking any radio spectrum and requiring the guest railroads to either install compliant PTC equipment (including radios) on board their trains or provide wayside equipment for their guest PTC implementation to be installed on the host railroad property. An interesting case that highlights some of these issues is the northeast corridor. Amtrak operates services on two commuter rail properties it does not own: Metro-North Railroad (owned by New York and Connecticut) and Massachusetts Bay Transportation Authority (MBTA) (owned by Massachusetts). In theory, Amtrak could have found themselves installing their own PTC system on these host properties (about 15 percent of the corridor), or worse, found themselves in the ridiculous position of trying to install three different PTC systems on each Amtrak train to traverse the commuter properties. This was not the case. Amtrak had a significant head start over the commuter rail agencies on the corridor in implementing PTC. They spent a considerable amount of time in research and development and won early approvals for their ACSES system on the northeast corridor with the FRA. They chose first to use  and then later moved to , in part because of a perceived improvement in radio-system performance and in part because Amtrak was using  in Michigan for their ITCS implementation.  When the commuter agencies on the corridor looked at options for implementing PTC, many of them chose to take advantage of the advance work Amtrak had done and implement the ACSES solution using . Amtrak's early work paid off and meant that they would be traversing commuter properties that installed the same protocol at the same frequency, making them all interoperable. (Actually most of the Northeast Corridor is owned and operated by Amtrak, not the commuter properties, including the tracks from Washington, D.C. to New York Penn Station and the tracks from Philadelphia to Harrisburg, Pennsylvania. The State of Massachusetts owns the tracks from the Rhode Island state line to the New Hampshire state line, but Amtrak \"operates\" these lines. Only the line between New York City and New Haven, Connecticut is actually owned and operated by a commuter line.)\n\nParagraph 45: Don Hayes, lead guitar player, was born in Fairmont, West Virginia in January 1950. He was the second of ten children in his family and he was raised in the small community of Whitehall, WV, outside of Fairmont for seven years until he was moved to the outskirts of Akron, Ohio. Living in the village of Canal Fulton for most of his early years, he graduated from Northwest High School in 1968. Don was an avid athlete in his younger days, he could usually be found hard at a game of baseball or basketball. If the chores were done and there wasn't a game in the works, he could usually be found beating on an old hollow body electric guitar a neighbor had given him. That beater served him well until his parents got him a new solid body Silvertone guitar, which became his mainstay for two or three years. Don grew up listening to just about every kind of music, but snuck in as much Rock & Roll as he could. His favorite guitarists and idols in those years were undoubtedly Don Rich and Duane Eddy. Don started playing in his first band around 16 years of age, \"Don & Jerry & the Ghost Riders\".  Don and two other members of the band wrote most of the music for the band, if they weren't playin' a gig, he could usually be found playing with his father's country band. Over the years he played in several cover bands; the two most notable were Dave Cutting and the \"Nimissilla Creek Band\" and Dave Cutting and the \"Coyote Junction Band\". He also played in three different bands during his tour of duty in Germany with the US Army.  Even though he thought he had retired from playing in bands when he moved to Kentucky in 2002, KBCB kept the pressure on and after several attempts to get him to go to a KBCB practice, he was finally persuaded to attend one. Don was immediately impressed with the fact that KBCB did mostly original material, and with the message left on his answering machine by the band before he even had a chance to return home the evening of that first jam session, a bond of friendship was made that became the history of KBCB. Now every new step is only a new chapter in that history as Don continues to reinvent himself each step of the way.\n\nParagraph 46: In 1373, John brought about a new alliance against Hesse under the name: Bund der alten Minne (Alliance of the Old Love). It was actually aimed at the conquest of Driedorf, and John seems to have been the leader of the alliance. The members, mostly Sterners, now called themselves: Gesellen der alten Minne (Fellows of the Old Love). The Hessians were defeated by John at Wetzlar, who then plundered the districts of , Giessen, , , Biedenkopf, Caldern, Marburg, and others, and caused great damage to the landgrave everywhere. Perhaps it was a further consequence of this victory that John drove the Hessians out of Driedorf. The settlement of 1378 at least proves that he had regained possession of this castle and district, although there are no definite records of when this happened and how Driedorf was returned to Hesse after 1378. This much is certain: the hostilities against Landgrave Henry and his successors continued for several years after 1373. Anyone who had a dispute with Hesse could count on Johnʼs support. John entered into a special alliance with Count John of Solms in 1375 because of the dispute between the latter and Hesse over the Lordship of Lich. Finally, under the mediation of the Hoch- und Deutschmeister Johann von Hayn and the counts of Katzenelnbogen and Sponheim, a provisional settlement was reached in Friedberg in 1377. A further reconciliation, the conditions of which were not stated, was initiated by Duke Otto I of Brunswick-Göttingen, and also recognised in 1378 at a personal meeting of Herman and John in Frankfurt before counts Rupert of Nassau-Sonnenberg and Diether VIII of Katzenelnbogen as chosen arbitrators, that John should be left undisturbed in the castle of Driedorf and its appurtenances, that the fiefs of the lordship of Itter should be returned to him, that the castle built by Hesse at the River Dill, presumably at Hermannstein, should be dismantled, and that, contrary to custom, no toll should be taken from Johnʼs subjects there. Landgrave Herman, however, did not want to settle down with this decision, but nevertheless promised to give John a hearing before his knights and men on the matter of Driedorf and Itter. Whether this was done is unknown. At least this did not end the dispute. As early as 1379, John joined a new alliance against Hesse, which was established in the Wetterau under the name of the Gesellschaft mit dem Löwen (Society with the Lions). The hostilities continued for more than 30 years, but with several interruptions, especially during the alliance of 1390 against the common enemy, Count John III of Sayn-Wittgenstein, and although they ceased in 1411 by a treaty between Herman and John, they soon resumed under their sons. John also seems to have been a member of a Gesellschaft mit den Hörnern (Society with the Horns), which was also established around this time with the purpose of mutual defence and assistance.\n\nParagraph 47: Born in Stratford,  Tomlinson completed preparatory studies and graduated from Yale College in 1802. He went to Virginia for a year to be a private tutor and to study law.  When he returned to Fairfield he continued his studies and was admitted to the bar in 1807. That same year he married Sarah Bradley. He received a Master of Arts, in 1808 from Yale. Their only child, Jabez Huntington Tomlinson, was born in 1818 but died at the young age of 19 in 1838.  Mrs. Tomlinson died in 1842. In 1846, Gideon married Mrs. Lydia Ann Wells Wright, widow of William Wright of Bridgeport, Connecticut.\n\nParagraph 48: If a small freight or commuter railroad does not operate on another railroad territory, then there is no interoperability-based reason that obligates them to use  spectrum to implement PTC. In addition, if a small freight or commuter railroad only operates on their own territory and hosts other guest railroads (freight or other passenger rail), there is still no interoperability-based reason the host is obliged to use  spectrum to implement PTC. Such a railroad could implement PTC by freely picking any radio spectrum and requiring the guest railroads to either install compliant PTC equipment (including radios) on board their trains or provide wayside equipment for their guest PTC implementation to be installed on the host railroad property. An interesting case that highlights some of these issues is the northeast corridor. Amtrak operates services on two commuter rail properties it does not own: Metro-North Railroad (owned by New York and Connecticut) and Massachusetts Bay Transportation Authority (MBTA) (owned by Massachusetts). In theory, Amtrak could have found themselves installing their own PTC system on these host properties (about 15 percent of the corridor), or worse, found themselves in the ridiculous position of trying to install three different PTC systems on each Amtrak train to traverse the commuter properties. This was not the case. Amtrak had a significant head start over the commuter rail agencies on the corridor in implementing PTC. They spent a considerable amount of time in research and development and won early approvals for their ACSES system on the northeast corridor with the FRA. They chose first to use  and then later moved to , in part because of a perceived improvement in radio-system performance and in part because Amtrak was using  in Michigan for their ITCS implementation.  When the commuter agencies on the corridor looked at options for implementing PTC, many of them chose to take advantage of the advance work Amtrak had done and implement the ACSES solution using . Amtrak's early work paid off and meant that they would be traversing commuter properties that installed the same protocol at the same frequency, making them all interoperable. (Actually most of the Northeast Corridor is owned and operated by Amtrak, not the commuter properties, including the tracks from Washington, D.C. to New York Penn Station and the tracks from Philadelphia to Harrisburg, Pennsylvania. The State of Massachusetts owns the tracks from the Rhode Island state line to the New Hampshire state line, but Amtrak \"operates\" these lines. Only the line between New York City and New Haven, Connecticut is actually owned and operated by a commuter line.)\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 89, "category": "longbench_triviaqa", "reference": ["Julian Fellowes, Baron Fellowes of West Stafford", "JULIAN FELLOWES", "Julian Fellowes", "The Lord Fellowes of West Stafford", "Baron Fellowes of West Stafford"], "prompt": "Answer the question based on the given passage. Only give me the answer and do not output any other words. The following are some examples.\n\nPassage:\nStyx\nIn Greek mythology, Styx (; ) is a deity and a river that forms the boundary between Earth and the Underworld (the domain often called Hades, which also is the name of its ruler). The rivers Styx, Phlegethon, Acheron, Lethe, and Cocytus all converge at the center of the underworld on a great marsh, which sometimes is also called the Styx. According to Herodotus, the river Styx originates near Feneos.  Styx is also a goddess with prehistoric roots in Greek mythology as a daughter of Tethys, after whom the river is named and because of whom it had miraculous powers.\n\nSignificance of the River Styx\n\nThe deities were bound by the Styx and swore oaths upon Styx. According to classical myths, the reason related for this is that during the Titan war, Styx, the goddess of the river Styx, sided with Zeus. After the war, Zeus promised every oath be sworn upon her.  Zeus swore to give Semele whatever she wanted and was then obliged to follow through when he realized to his horror that her request would lead to her death. Helios similarly promised his son Phaëton whatever he desired, also resulting in the boy's death. Myths related to such early deities did not survive long enough to be included in historic records, but tantalizing references exist among those that have been discovered.\n\nAccording to some versions, Styx had miraculous powers and could make someone invulnerable. According to one tradition, Achilles was dipped in the waters of the river by his mother during his childhood, acquiring invulnerability, with exception of his heel, by which his mother held him. The only spot where Achilles was vulnerable was his heel, where he was struck and killed by Paris' arrow in the Trojan War. This is the source of the expression Achilles' heel, a metaphor for a vulnerable spot.\n\nStyx was primarily a feature in the afterworld of classical Greek mythology, similar to the Christian area of Hell in texts such as The Divine Comedy and Paradise Lost. The ferryman Charon often is described in contemporary literature as having transported the souls of the newly dead across this river into the underworld, although in the original Greek and Roman sources, as well as in Dante, it was the river Acheron that Charon plied. Dante put Phlegyas as ferryman over the Styx and made it the fifth circle of Hell, where the wrathful and sullen are punished by being drowned in the muddy waters for eternity, with the wrathful fighting each other. In ancient times some believed that placing a coin (Charon's obol) in the mouth  of the deceased would pay the toll for the ferry to cross the Acheron River, which would lead one to the entrance of the underworld. If someone could not pay the fee it was said that they would never be able to cross the river. This ritual was performed by the relatives.\n\nThe variant spelling Stix was sometimes used in translations of Classical Greek before the twentieth century.  By metonymy, the adjective stygian came to refer to anything dark, dismal, and murky.\n\nGoddess\n\nStyx was the name of the daughter of Tethys and Oceanus, the goddess of the River Styx. In classical myths, her husband was Pallas and she gave birth to Zelus, Nike, Kratos, and Bia (and sometimes Eos). In those myths, Styx supported Zeus in the Titanomachy, where she was said to be the first to rush to his aid and for this reason her name was given the honor of being a binding oath for the deities. Knowledge of whether this was the original reason for the tradition did not survive into historical records following the religious transition that led to the pantheon of the classical era.\n\nScience\n\nAs of 2 July 2013, Styx officially became the name of one of Pluto's moons.  The other moons (Charon, Nix, Hydra, and Kerberos) also have names from Greco-Roman mythology related to the underworld.\nQuestion:\nIn Greek Mythology who was the ferryman who carried the dead to the underworld across the River Styx?\nAnswer:\nCharon (comics)\nPassage:\nAll that glitters is not gold\nAll that glitters is not gold is a well-known saying, meaning that not everything that looks precious or true turns out to be so. This can apply to people, places, or things that promise to be more than they really are. The expression, in various forms, originated in or before the 12th century  and may date back to Aesop. \nThe Latin is Non omne quod nitet aurum est. \n\nChaucer gave two early versions in English: \"But al thyng which that shyneth as the gold / Nis nat gold, as that I have herd it told\" in \"The Canon's Yeoman's Tale\", and \"Hyt is not al golde that glareth\" in \"The House of Fame\". \n\nThe popular form of the expression is a derivative of a line in William Shakespeare's play The Merchant of Venice, which employs the word \"glisters,\" a 17th-century synonym for \"glitters.\" The line comes from a secondary plot of the play, the puzzle of Portia's boxes (Act II - Scene VII - Prince of Morocco):\n\nPanning for gold often results in finding pyrite, nicknamed fool's gold, which reflects substantially more light than authentic gold does. Gold in its raw form appears dull and does not glitter.\nThe expression is also found in Yiddish (nit als vos glanst iz gold), especially amongst Hasidim, and also appears in a Hebrew work of Mendele Mocher Sforim.\n\nIn pop culture, this phrase shows up in Bob Marley's \"Get Up, Stand Up\".   It is also used as lyrics in the song \"A Guided Masquerade\" by Alesana, in the song \"Domino Rain\" by Antemasque, in the song \"Gold\" by Prince, and \nin the Kanye West song, \"Family Business\".\n\n\"Not all that glitters is gold\" is an alternative formulation.   \n\nAnother common formulation with the same meaning is \"All that shines is not gold\", as seen in the title and refrain of the song \"All That Shines Is Not Gold\"  and in the lyrics of \"Next Time You See Me\"  as well as Curtis Mayfield's \"That's What Mama Say\". \n\nThe inverse of this expression, \"All that glitters is gold,\" is a lyric in the Led Zeppelin song, \"Stairway to Heaven\", the Smash Mouth song, \"All Star\", the Death in Vegas song, \"All That Glitters\", and in the Future Islands song \"A Dream of You and Me\" followed by the lyric \"Don't believe what you've been told\".\nQuestion:\n\"\"\"All that glisters is not gold\"\" is a quote from which Shakespeare play?\"\nAnswer:\nTMOV\nPassage:\nLazarus, Emma - Academic Dictionaries and Encyclopedias\nLazarus, Emma\nLazarus, Emma\nborn July 22, 1849, New York , N.Y., U.S.\ndied Nov. 19, 1887, New York\nU.S. writer.\nShe was born into a cultured Jewish family and learned languages and the classics at an early age. Her first book (1867) caught the attention of Ralph Waldo Emerson , with whom she corresponded thereafter. She wrote a prose romance and translated Heinrich Heine's poems and ballads. She took up the defense of persecuted Jews с 1881 and began working for the relief of new immigrants to the U.S. The famous closing lines to her poem \"The New Colossus\" (1883) were inscribed on the base of the Statue of Liberty (see Statue of Liberty National Monument ), dedicated in 1886.\n* * *\nborn July 22, 1849, New York, N.Y., U.S.\ndied Nov. 19, 1887, New York City\n      American poet and essayist best known for her sonnet “The New Colossus,” written to the Statue of Liberty ( Liberty, Statue of ).\n      Born into a cultured family of Sephardic (Spanish Jewish) stock, Lazarus learned languages and the classics at an early age. She early displayed a talent for poetry, and her first book, Poems and Translations (1867), was praised by Ralph Waldo Emerson ( Emerson, Ralph Waldo ). She dedicated her next book, Admetus and Other Poems (1871), to him. These and subsequent volumes—the prose Alide: An Episode of Goethe's Life (1874), a verse tragedy, The Spagnoletto (1876), and a fine translation of the Poems and Ballads of Heinrich Heine (1881)—were cosmopolitan in flavour, sometimes technically excellent, but lacking in real distinction.\n      About 1881, with the wave of immigration to the United States from European and Russian ghettoes, Lazarus took up the defense of persecuted Jews and of Judaism and began to work for the relief of immigrants. She published numerous essays in the Century and the weekly American Hebrew on the pogroms and persecutions and the often equivocal attitude of the Christian West. She was an early advocate of a Jewish homeland in Palestine. In 1882 she produced Songs of a Semite, which included such powerful pieces as “The Dance to Death,” “The Banner of the Jew,” and “The Crowing of the Red Cock.” Her sonnet “The New Colossus” was chosen to be inscribed on the base of the Statue of Liberty, the monument it celebrates, and it remains a most moving and eloquent expression of an American ideal: “Give me your tired, your poor,” the sonnet concludes, “Your huddled masses yearning to breathe free, / The wretched refuse of your teeming shore. / Send these, the homeless, tempest-tost to me, / I lift my lamp beside the golden door!”\n      Lazarus's last book, a series of prose poems published under the title By the Waters of Babylon, appeared in 1887.\nAdditional Reading\nDan Vogel, Emma Lazarus (1980); and Bette Roth Young, Emma Lazarus in Her World: Life and Letters (1995), are accounts of her life and work.\n* * *\nQuestion:\nPoetess Emma Lazarus was born on July 22, 1849 in New York City, and is best known for her poem The New Colossus, which is prominently displayed where?\nAnswer:\nThe base of the Statue of Liberty\nPassage:\nGruyère cheese\nGruyère ( or;, German: Greyerzer) is a hard yellow cheese, named after the town of Gruyères in Switzerland, and originated in the cantons of Fribourg, Vaud, Neuchâtel, Jura, and Berne. Before 2001, when Gruyère gained the appellation d'origine contrôlée (AOC, now AOP) status as a Swiss cheese, some controversy existed whether French cheeses of a similar nature could also be labelled Gruyère (French Gruyère style cheeses include Comté and Beaufort).\n\nGruyère is sweet but slightly salty, with a flavor that varies widely with age. It is often described as creamy and nutty when young, becoming more assertive, earthy, and complex as it matures.  When fully aged (five months to a year) it tends to have small cracks which impart a slightly grainy texture.\n\nUses\n\nGruyère cheese is generally known as one of the finest cheeses for baking, having a distinctive but not overpowering taste. In quiche, Gruyère adds savoriness without overshadowing the other ingredients. It is a good melting cheese,  particularly suited for fondues, along with Vacherin and Emmental. It is also traditionally used in French onion soup, as well as in croque-monsieur, a classic French toasted ham and cheese sandwich. Gruyère is also used in chicken and veal cordon bleu. It is a fine table cheese, and when grated, it is often used with salads and pastas. It is used, grated, atop le tourin, a type of garlic soup from France which is served on dried bread. White wines, such as Riesling, pair well with Gruyère. Sparkling apple cider and Bock beer are also beverage affinities.\n\nProduction\n\nTo make Gruyère, raw milk is heated to 34 °C in a copper vat, and then curdled by the addition of liquid rennet. The curd is cut up into pea sized pieces and stirred, releasing whey. The curd is cooked at 43 °C, and raised quickly to 54 °C.\n\nThe whey is strained, and the curds placed into molds to be pressed. After salting in brine and smearing with bacteria,  the cheese is ripened for two months at room temperature, generally on wooden boards, turning every couple of days to ensure even moisture distribution. Gruyère can be cured for 3 to 10 months, with long curing producing a cheese of intense flavor.\n\nGruyère in Switzerland\n\nIn 2001, Gruyère gained the Appellation d'origine contrôlée status. Since then the production and the maturation is defined in the Swiss law, and all Swiss Gruyère producers must follow these rules. To be accepted throughout Europe as an AOC, the \"Interprofession du Gruyère\" in Switzerland plans to make a transnational AOC with the French producers of Gruyère.\n\nGruyère around the world\n\nGruyère-style cheeses are very popular in Greece, where the local varieties are known as γραβιέρα (graviéra).  Some Greek gruyères come from San Michálē (Αγίου Μιχάλη, \"St. Michael's\") from the island of Syros in the Cyclades, the Naxian varieties, that tend to be milder and more sweet and various graviéras from Crete.\n\nGruyère-style cheeses are also produced in the United States, Wisconsin having the largest output.\n\nAffinage\n\nAn important and the longest part of the production of the Le Gruyere Switzerland AOC is the \"affinage\" (French for maturation).\n\nAccording to the AOC, the cellars to mature a Swiss Gruyère must have a climate close to that of a natural cave. This means that the humidity should be between 94% to 98%. If the humidity is lower, the cheese dries out. If the humidity is too high, the cheese does not mature and becomes smeary and gluey. The temperature of the caves should be between 13 °C and 14 °C. This relatively high temperature is required for excellent quality cheese. Lower quality cheeses result from temperatures between 10 °C and 12 °C. The lower the temperature is, the less the cheese matures, resulting in a texture that is harder and more crumbly.\n\nVarieties\n\nLe Gruyère Switzerland AOC has many different varieties, with different aged profiles, and an organic version of the cheese is also sold. There is a special variety that is produced only in summer on the Swiss Alps: the Le Gruyère Switzerland AOC Alpage.\n\nGenerally, one can distinguish the following age profiles.\n\n*mild/doux: min. 5 months old\n*réserve: min. 10 months old\n\nIn Switzerland, many other age profiles can be found, including surchoix, vieux, salé, and Höhlengereift (cave aged), but these age profiles are not part of the AOC.\n\nThe French Le Brouère cheese, made in nearby Vosges, is considered a variant of Gruyère. \n\nLe Gruyère AOP Premier Cru\n\nLe Gruyère Premier Cru is a special variety, produced and matured exclusively in the canton of Fribourg and matured for 14 months in humid caves with a humidity of 95% and a temperature of . \n\nIt is the only cheese that has won the title of best cheese of the world at the World Cheese Awards in London five times: in 1992, 2002, 2005, 2006 and 2015.\nQuestion:\nWhat is the country of origin of Gruyere cheese?\nAnswer:\nISO 3166-1:CH\nPassage:\nBy-product\nA by-product is a secondary product derived from a manufacturing process or chemical reaction. It is not the primary product or service being produced. In the context of production, a by-product is the 'output from a joint production process that is minor in quantity and/or net realizable value (NRV) when compared to the main products'.  Because they are deemed to have no influence on reported financial results, by-products do not receive allocations of joint costs. By-products also by convention are not inventoried, but the NRV from by-products is typically recognized as 'other income' or as a reduction of joint production processing costs when the by-product is produced.  A by-product can be useful and marketable or it can be considered waste.\n\nIEA offers the following definition for the purpose of life-cycle assessment: \n... main products, co-products (which involve similar revenues to the main product), by-products (which result in smaller revenues), and waste products (which provide little or no revenue).\n\nMajor by-products\n\nAnimal sources\n\n*blood meal – from slaughterhouse operations\n*poultry by-product meal – clean parts of the carcass of slaughtered poultry, such as necks, feet, undeveloped eggs, and intestines\n*chrome shavings – from a stage of leather manufacture\n*collagen and gelatin – from the boiled skin and other parts of slaughtered livestock\n*feathers – from poultry processing\n**feather meal – from poultry processing\n*fetal pigs\n*lanolin – from the cleaning of wool\n*leather - hides and skins from slaughterhouse operations processed via the leathermaking process\n*manure – from animal husbandry\n*meat and bone meal – from the rendering of animal bones and offal\n*poultry litter – swept from the floors of chicken coops\n*whey – from cheese manufacturing\n\nVegetation\n\n*acidulated soap stock – from the refining of vegetable oil\n*bagasse – the fibrous residue remaining after sugarcane or sorghum stalks are crushed to extract their juice\n*black liquor from the production of cellulose pulp using the kraft process\n*bran and germ – from the milling of whole grains into refined grains\n*brewer's yeast – from ethanol fermentation\n*cereal food fines – from breakfast cereal processing\n*corn steep liquor – from corn wet-milling\n*distillers grains – from ethanol fermentation\n*glycerol – from the production of biodiesel\n*grape seed oil – recovered from leftovers of the winemaking process\n*molasses – from sugar refining\n*orange oil and other citrus oils – recovered from the peels of processed fruit\n*pectin – recovered from the remains of processed fruit\n*sawdust and bark – from the processing of logs into lumber\n*soybean meal – from soybean processing\n*stover – residual plant matter after harvesting of cereals\n*straw – from grain harvesting\n*tall oil from the production of cellulose pulp using the Kraft process\n*vinasse – from the fermentation of sugar to ethanol fuel\n\nMinerals and petrochemicals\n\n*asphalt – from the refining of crude oil\n*fly ash – from the combustion of coal\n*slag – from ore refining\n*gypsum – from flue-gas desulfurization\n*helium - from natural gas extraction\n*ash and smoke – from the combustion of fuel\n*mineral oil – from refining crude oil to produce gasoline\n*salt – from desalination\n*Molybdenum – from copper extraction\n\nOther\n\n*sludge – from wastewater treatment\n*waste heat - from electricity production and usage\n*carbon dioxide - process of burning\nQuestion:\nA viscous byproduct from its manufacture, what is the syrup drained from raw sugar called?\nAnswer:\nBlackstrap\nPassage:\nOpera Babes\nThe Opera Babes are a crossover classical music duo, consisting of Karen England (born 1974), mezzo-soprano, and Rebecca Knight (born 1970), soprano.\n\nThe duo came to wide attention when they sang \"Un bel dì vedremo\" (from the opera Madame Butterfly) on television sports programmes, beginning in 2002.  In addition to performing with major orchestras in Britain and touring with their own shows, they released their first album, Beyond Imagination in 2002 and their second album, Renaissance, in 2006.\n\nBackground and history\n\nThe Opera Babes met in Cambridge while performing Mozart's The Magic Flute in a touring opera company.   England studied at Leeds University and London's Guildhall School of Music and Drama.  Knight, whose mother is the opera singer Gillian Knight, wrote for children's television early in her career.  Both women have performed with the English touring company Opera della Luna and at the International Gilbert and Sullivan Festival.  They began busking together in 2001 on London's Covent Garden, where they were first spotted and were signed for their first album by Sony.  They became famous for singing \"Un bel dì vedremo\" (\"One fine day we shall see\" from the opera Madame Butterfly), the song that ITV used for their World Cup 2002 programmes, at the FA Cup final and at the UEFA Champions League final in Milan.  Knight explained the group's strategy to BBC News as follows: \"[W]e have tried to maintain the classical integrity while making these things more appealing to a wider audience.\" \n\nThe Opera Babes released their first album, Beyond Imagination in 2002 (ranking No. 1 on the UK Classical Chart for eleven weeks, and No. 4 on the US Billboard Classical Crossover Albums chart.  In addition to the \"One Fine Day\" track being selected as the World Cup 2002 theme by ITV, British Airways chose another of the tracks, \"Lakme H2O\", a \"stylish re-imagining of the Flower Duet from Lakmé\", for a commercial.  One reviewer wrote: \"If you're a young individual with a remote interest in the classical genre, this disc is the perfect introduction\".  The album has sold over 1.7 million copies.[http://www.operababes.com/#!__about About], Operababes.com, accessed 3 January 2013 The artists soon had a falling out with their producer, SonyBMG, which asked them to concentrate on studio work, rather than performing live.  \"We were originally discovered busking ... so I would have thought it was obvious that we loved performing live, yet Sony weren't interested\", said Karen England.[http://www.yourlocalguardian.co.uk/display.var.922353.0.0.php Guardian article], 2006\n\nThe Opera Babes have performed in concert with orchestras such as the Philharmonia, the Halle, the Royal Philharmonic Orchestra, the BBC Concert Orchestra, the Royal Liverpool Philharmonic Orchestra, the Royal Scottish National Orchestra, the London Symphony Orchestra, and the Berlin Symphony Orchestra, among others.  They also performed for Queen Elizabeth II at the Festival of Remembrance at the Royal Albert Hall, the launch of the Commonwealth Games at Buckingham Palace, and Proms at the Palace for the Queen's Jubilee celebrations.  They have also performed at the Los Angeles Opera House with Plácido Domingo, and were the first British classical act to perform in Las Vegas.[http://www.soschildrensvillages.org.uk/sos-childrens-charity/our-friends/ SOS Children's Celebrity Supporters], accessed 26 June 2009 In 2003 they performed Beethoven's \"Ode to Joy\" with Andre Rieu.  They have performed on GMTV, Des & Mel, Good Morning America and Fox and Friends.  The Opera Babes have also been the subject of three UK documentaries for ITV and one US documentary for CBS. Since 2005, the Opera Babes have been Ambassadors of SOS Children's Villages, an international orphan charity providing homes and mothers for orphaned and abandoned children.\n\nThe Opera Babes' second album, Renaissance, another classical and \"crossover\" collection, was released in 2006 on the independent label, Instant Karma UK.  Swansea's Home Front magazine wrote, \"Renaissance is really superb.  Tracks include 'Casta Diva' [from the opera Norma], 'Pie Jesu,' 'Clair de Lune', and Stephen Sondheim's 'Send in the Clowns'....  If you only buy one classical album, buy this one!\"  The Opera Babes' 2006 \"Renaissance\" concert toured songs from both of their albums performed with multi-media special effects and visuals, as well as dancers costumed by designer Elizabeth Emanuel.  In December 2006, they were featured on the UK's Songs of Praise programme recorded at Lichfield Cathedral.  In the spring of 2007, they continued to tour in the UK and the US, and then the group took a break while Karen England had a baby.  The group resumed touring in 2008.  After this tour, the duo performed on cruise ships, among other venues.\n\nIn 2012, the group released its third album, Silent Noon, named after the song by Ralph Vaughan Williams, on the Warner Classics label.  The album consists of British songs, from Handel and Purcell, to Quilter, to Britten and Novello, accompanied by piano.  The Allmusic review commented that the duo's \"calling card was the blend of their remarkably similar voices, and that's intact here. Yet an upbeat number or two wouldn't have been out of order\". \n\nRecordings\n\n*Beyond Imagination (Audio CD – 2002) Sony. Billboard 200 #199;  UK #24;  No. 1 on the UK Classical Chart; and No. 4 on the US Billboard Classical Crossover Albums chart\n*Renaissance (Audio – CD 2006) Instant Karma UK\n*Silent Noon (Audio – CD 2012) Warner Classics\nQuestion:\n\"In 2001, Karen England and Rebecca Knight, found busking in Covent Garden to support singing lessons, were invited to perform at the FA Cup Final & the UEFA Champions League final in Milan. Their album \"\"Beyond Imagination\"\" was #1 in the UK Classical Charts for 11 weeks and #4 in the USA. What are they better known as?\"\nAnswer:\nRebecca Knight\nPassage:\nQueen of Puddings\nQueen of Puddings is a traditional British dessert, consisting of a baked, breadcrumb-thickened mixture, spread with jam and topped with meringue.  Similar recipes are called Monmouth Pudding and Manchester Pudding.\n\nHistory\n\nVariant forms of puddings made with breadcrumbs boiled with milk can be found dating back to the seventeenth century. The Closet Opened was posthumously published in 1699 by a servant and his son and in it Sir Kenelm Digby talks of many puddings including one that involves soaking bread in milk.  There was a whole variety of puddings that could be made using the remains of some bread and some warm milk.  A Monmouth Pudding is said to consist of layers of meringue, jam or seasonal fruit and bread soaked in milk, whilst Manchester Pudding is similar but contains egg yolks (but some have speculated that this name was just a synonym for the Queen of Puddings). Typical recipes for modern Queen of Puddings can be found in many post-war British cookbooks, such as those of Marguerite Patten, Delia Smith  and Jane Grigson.\n\nGeneric method\n\nMilk and lemon zest are heated to boiling in a saucepan. Sugar, butter and breadcrumbs are mixed into the hot milk, which is allowed to cool. Egg yolks and a whole egg are beaten into this mixture, which is transferred into a deep pie dish then baked in a bain-marie until set.\n\nThe firm, brownish base is then spread with jam — usually raspberry or blackcurrant — and a meringue mix made from the reserved egg whites is spooned over the jam. The pudding is returned to the oven and baked until the  meringue is golden, but still soft. The pudding is eaten hot.\nQuestion:\nThe traditional Queen of Puddings dessert typically comprises a bread/egg/jam base topped with what\nAnswer:\nMeringue cake\nPassage:\nGary Kemp\nGary James Kemp   (born 16 October 1959) is an English pop musician and actor who is the guitar player and chief songwriter for the 1980s new wave band Spandau Ballet. His brother, Martin Kemp, plays bass guitar in the band. Gary Kemp also provided backing vocals on many of the tracks to lead singer Tony Hadley.\n\nEarly life\n\nKemp was born of parents Eileen and Frank Kemp in St Bartholomew's Hospital,  Smithfield, London, and grew up in Islington, London, in a working class family. He attended Rotherfield Junior School and Dame Alice Owen's school in Potters Bar. He was active in the Anna Scher Children's Theatre drama club,  along with his brother, Martin. In 1968 he began appearing in TV and film, including a role in the 1972 film Hide & Seek, alongside Roy Dotrice.\n\nKemp eventually decided to concentrate on a career in music, and in the late 1970s, he formed a band called The Cut with school friends.  The band became The Makers and The Gentry, and was eventually renamed Spandau Ballet.\n\nSpandau Ballet\n\nAfter recording Spandau Ballet's final album, Heart Like a Sky, Kemp and his brother returned to acting. He earned criticism from his fellow band members, Tony Hadley, Steve Norman and John Keeble, but received good reviews for his performance as Ronnie Kray in The Krays (1990).  The success of this film was the death-knell for Spandau Ballet.\n\nIn 1999, Hadley, Norman and Keeble attempted to sue Kemp for alleged unpaid royalties.  They claimed that an agreement had existed between Kemp and the rest of the band, whereby Kemp, who was the main songwriter in the band, would pay his bandmates a share of the royalties earned. The claims were vigorously denied by Kemp, and Hadley, Norman and Keeble subsequently lost their court case.  Although initially vowing to appeal the verdict, they later decided against this. \n\nIn 2004 Kemp made an attempt to reform Spandau Ballet. In early 2009, newspaper reports claimed that the band was set to reform later that year.    The rumours were confirmed by the band at a press conference held on board HMS Belfast in London on 25 March 2009. In 2012, Kemp's songwriting for Spandau Ballet was recognised with an Ivor Novello Award for Outstanding Song Collection. \n\nLater career\n\nKemp released a solo album entitled Little Bruises in 1995, followed by a tour of the UK and Ireland. He has written songs with a number of other writers for other artists, although few of them have actually been recorded and released. Two of his songs appeared on the debut album by American soap star Jacob Young in 2001.  Since 1995, Kemp has continued acting, taking the role of 'Serge' in the West End production of Art in 2001, film roles in Dog Eat Dog, Poppies and American Daylight, and TV roles in Murder in Mind, Murder Investigation Team, and Casualty.\n\nKemp wrote music and additional lyrics with Guy Pratt for the musical production Bedbug, which was performed in a variety of venues during the Shell Connections Youth Drama Festival in 2004, and has written a musical, also with Pratt, entitled A Terrible Beauty, based on the life of W. B. Yeats and Maud Gonne.  \n\nIn January 2008, Kemp appeared on a celebrity special of Who Wants to Be a Millionaire? with his brother Martin to raise awareness of and funds for the Encephalitis Society. In March 2008, Kemp starred in a low-budget 20-minute short film directed by his brother Martin, entitled Karma Magnet.  This was only released on the internet.\n\nOn 28 March 2011, Kemp lent his support to the British Music Experience charity, by holding an \"in conversation\" session with an audience of 80 people.  During a 90-minute interview, he performed several songs acoustically, including \"True\" and \"Gold\". He also entertained questions from the audience, revealing that a couple of the songs he would like to have written himself were \"Shipbuilding\" and \"Alison\" by Elvis Costello.\n\nSince 2012, Kemp has been the Chair of the 400th Anniversary Celebration Committee of his old school, Dame Alice Owen's.  \n\nPersonal life\n\nKemp was married to actress Sadie Frost with whom he had one son, Finlay Munro (born 1990). The couple divorced in 1995. In 2003 Kemp married costume designer Lauren Barber, with whom he has three sons, Milo Wolf, born in 2004, Kit, born in 2009, and Rex, born in 2012. \n\nKemp is an atheist   and a staunch supporter of the Labour Party. He was a member of Red Wedge in the 1980s. \n\nFilmography\n\nSelected films include:\n* Hide & Seek (1972)\n* The Krays (1990)\n* The Bodyguard (1992)\n* Paper Marriage (1992)\n* The Larry Sanders Show (1993)\n* Killing Zoe (1994)\n* Magic Hunter (1994)\n* Dog Eat Dog (2001)\n* American Daylight (2004)\n* Poppies (2006)\n* A Voice From Afar (2006)\n* Lewis (2012)\n* Assassin (2015)\n\nLiterature\n\nKemp has released an autobiography:\n\n*\nQuestion:\nWho was married to Spandau Ballet's Gary Kemp and later to Jude Law?\nAnswer:\nSadie Vaughan\nPassage:\nHeptathlon\nA heptathlon is a track and field combined events contest made up of seven events. The name derives from the Greek hepta (seven) and athlon (contest). A competitor in a heptathlon is referred to as a heptathlete.\n\nThere are two heptathlons – the women's heptathlon and the men's – composed of different events. The men's heptathlon is older and is held indoors, while the women's is held outdoors and was introduced in the 1980s, first appearing in the Olympics in 1984.\n\nWomen's heptathlon\n\nWomen's heptathlon is the combined event for women contested in the Athletics program of the Olympics and in the IAAF World Championships in Athletics. The IAAF World Combined Events Challenge determines a yearly women's heptathlon champion. The women's outdoor heptathlon consists of the following events, with the first four contested on the first day, and the remaining three on day two:\n\n* 100 metres hurdles\n* High jump\n* Shot put\n* 200 metres\n* Long jump\n* Javelin throw \n* 800 metres\n\nThe heptathlon has been contested by female athletes since the early 1980s, when it replaced the pentathlon as the primary women's combined event contest (the javelin throw and 800 m were added).  It was first contested at the Olympic level in the 1984 Summer Olympics. In recent years some women's decathlon competitions have been conducted, consisting of the same events as the men's competition in a slightly different order, and the IAAF has begun keeping records for it, but the heptathlon remains the championship-level combined event for women. Jessica Ennis-Hill, representing Great Britain, is the 2012 Olympic Gold Medallist and the current World Champion.\n\nThere is also a Tetradecathlon, which is a double heptathlon, consisting of 14 events, seven events per day.\n\nPoints system\n\nThe heptathlon scoring system was devised by Dr Karl Ulbrich, a Viennese mathematician. The formulae are constructed so that, for each event, a designated \"standard\" performance (for example, approximately 1.82 m for the high jump) scores 1000 points.  Each event also has a minimum recordable performance level (e.g. 0.75 m for the high jump), corresponding to zero points. The formulae are devised so that successive constant increments in performance correspond to gradually increasing increments in points awarded.\n\nThe events are split into three groups, and the scores are calculated according to the three formulae: \n\nRunning events (200 m, 800 m and 100 m hurdles):\n:P = a \\cdot (b - T)^c\nJumping events (high jump and long jump):\n:P = a \\cdot (M - b)^c\nThrowing events (shot put and javelin):\n:P = a \\cdot (D - b)^c\n\nP is for points, T is for time in seconds, M is for height or length in centimeters and D is length in meters. a, b and c have different values for each of the events (see table).\n\nBenchmarks\n\nThe following table shows the benchmark levels required to earn 1000 points in each event of the heptathlon:\n\nWomen's world records compared to heptathlon bests\n\nMen's heptathlon\n\n \n\nThe other version is an indoor competition, normally contested by men only. It is the men's combined event in the IAAF World Indoor Championships in Athletics. The men's indoor heptathlon consists of the following events, with the first four contested on the first day, and remaining three on day two:\n\n* 60 metres\n* long jump\n* shot put\n* high jump\n* 60 metres hurdles\n* pole vault\n* 1000 metres\n\nThe scoring is similar for both versions. In each event, the athlete scores points for his/her performance in each event according to scoring tables issued by the International Association of Athletics Federations (IAAF).  The athlete accumulating the highest number of points wins the competition.\n\nBenchmarks\n\nThe following table shows the minimum benchmark levels required to earn 1000 points in each event of the heptathlon:\n\nMen's world records compared to heptathlon bests\n\nAll-time top 25 athletes\n\nWomen\n\n* \n\nNotes\n\nBelow is a list of all other scores equal or superior to 6875 points.\n*Jackie Joyner-Kersee also scored 7215 (1988), 7158 (1986), 7148 (1986), 7128 (1987), 7044 (1992), 6979 (1987), 6910 (1986), 6878 (1991)\n*Carolina Kluft also scored 7001 (2003), 6952 (2004), 6887 (2005)\n*Jessica Ennis also scored 6906 (2012)\n*Sabine John (Paetz) also scored 6897 (1988)\n*Larisa Nikitina also scored 6875 (1989)\n\nMen\n\n* \n\nMedalists\n\nWomen's Olympic medalists\n\nWomen's World Championships medalists\n\nMen's World Indoor Championships medalists\n\nSeason's bests\n\nWomen's heptathlon\n\nMen's indoor heptathlon\n\nNational records\n\nWomen's heptathlon\n\n* As of July 2016\nQuestion:\nA heptathlon is an athletic contest of how many separate events?\nAnswer:\nSeven\nPassage:\nCheriton, Kent\nCheriton is a northern suburb of Folkestone in Kent that is the location of the English terminal of the Channel Tunnel and of the major army barracks of Shorncliffe Camp.\n\nHistory \n\nThe coastal plain where the North Downs meet the Strait of Dover has been of strategic importance since ancient times. Portus Lemanis was a major Roman harbour, overlooked by a fort near where Lympne Castle now stands. The Normans built Folkestone Castle on a spur of Cheriton Hill. The church of St Martin dates back to Saxon times and the name Cheriton means \"Church Farm\".\n\nThe British government purchased a large piece of land at Shorncliffe in 1794 and fortified it in preparation for the expected French invasion. Shorncliffe Redoubt is significant as the birthplace of modern infantry tactics. A Royal Commission was set up in 1859 during another invasion panic, which led to the construction of the Palmerston Forts and Shorncliffe Army Camp.\n\nThe Army presence led to a dramatic growth of Cheriton in the second half of the 19th century. This led to the distinction being lost between Cheriton and Folkestone, whose expansion was funnelled westward by the escarpment of the Downs.\n\nConstruction of the Channel Tunnel began in 1988 and it opened in 1994. The passenger terminal is wedged between the Downs and the M20 motorway just west of Castle Hill, and freight trains are marshalled at Dollands Moor Freight Yard further west.\n\nGovernment \n\nCheriton was a civil parish in its own right, and part of Elham Rural District from 1894 to 1898, when it became a separate urban district.  This was abolished in 1934 under a County Review Order, and divided between Folkestone and Hythe.\n\nGeography \n\nCheriton sits on a level shelf halfway up the escarpment of Folkestone Downs, between Cheriton Hill on the landward side and Sandgate Hill going down to the sea. The Folkestone Downs are the southern end of the North Downs, a low range of chalk hills running from London to the White Cliffs of Dover. The Seabrook Stream flows through the west of the district, cutting a scenic valley between Dibgate Camp and St Martin's Plain.\n\nDemography \n\nThe population in 1851 was 1,658, which by 1861 had grown to 7,434 – of whom 4,204 were military in Shorncliffe Camp.  the Royal Gurkha Rifles occupy Shorncliffe Camp so Nepali people make up a large part of the population.\n\nEconomy \n\nThe local economy is dominated by the barracks and Channel Tunnel terminal.\n\nCulture and community \n\nThe Folkestone & Hythe Operatic & Dramatic Society bought the garrison church in 2001 and converted it into the Tower Theatre. There is a branch library in the High Street. \n\nLandmarks \n\nThe Folkestone White Horse overlooks Cheriton from the Downs north of the Channel Tunnel terminal. The earthworks of Folkestone Castle are just to the east.\n\nTransport \n\nCheriton Halt railway station on the South Eastern Main Line served the village between 1908 and 1947. It was just east of the bridge on Risborough Lane. The Elham Valley Way is a long-distance path that runs between Cheriton and Sandgate on its way up to Canterbury.\n\nStagecoach in East Kent operates local bus services to Canterbury every hour or to the town centre of Folkestone up to every 8 minutes.\n\nEducation \n\nPent Valley Technology College is one of the main secondary schools in Shepway.\n\nReligious sites \n\nThere were four churches in the Benefice of Cheriton, which comes under the Deanery of Elham. The church of St Martin is very ancient, the base of the thirteenth-century tower may have been a Saxon porch. The decorative arcading in the chancel is made of Bethersden marble and is very finely carved. The churchyard contains the grave of shipping reformer Samuel Plimsoll (whose gravestone bears the Plimsoll line), and, among many military burials, 24 CWGC-registered war graves, with all three armed forces represented, 15 from World War I (Major-General Hubert Hamilton being the first and highest-ranking of the latter) and nine from World War II. The church gives its name to the military training area of St Martin's Plain and now serves Shorncliffe Camp.\n\nAll Souls church was built in response to the population growth of the late 19th century. The old parish was split along the railway embankment, with the parish of Cheriton Street being formed north of the line. A farmer's widow, Mrs Thompson, died in 1887 leaving a plot of land on the High Street and a bequest of £10,000 for the construction of a church. All Souls was designed by Ewan Christian and consecrated on 3 January 1895.\n\nSt. Nicholas is a small rural church in the outlying village of Newington. The barracks had the largest garrison church in Britain but in 2001 it was sold for conversion into a theatre (see above). The three active churches are served by Revd Hilary Jones, who lives in St Martin's Rectory, Horn Street. \n\nCheriton Baptist Church is just along the High Street from All Souls. St Joseph's Catholic Church is between the two, on Ashley Avenue.\n\nSport \n\nCheriton Bowls Club has a 6-rink green on Weymouth Road.  Kent first played cricket against Sussex on the Sandgate Hill Ground in 1862, but the last match recorded there was in 1870. Its location is uncertain, but it was probably lost to the housing developments east of where Folkestone School for Girls and Sandgate Primary School are today.\n\nNotable people \n\nOdo of Cheriton (c.1185 – 1246/47) was a preacher and fabulist who in 1233 inherited land in Cheriton, Rochester and elsewhere from his father, James William of Cheriton. Samuel Plimsoll, the man who gave his name to the Plimsoll line used to indicate the limit of a ship's load, is buried in St Martin's churchyard, as is judge and politician Sir James Knight-Bruce.\nQuestion:\nWhat starts at Cheriton and ends at Sangatte?\nAnswer:\nEarly Conceptions of the Channel Tunnel\nPassage:\nTui (bird)\nThe tui (Prosthemadera novaeseelandiae) is an endemic passerine bird of New Zealand. It is one of the largest members of the diverse honeyeater family. The name tui is from the Māori name tūī and is the species' formal common name. The plural is tui in modern English, or ngā tūī in Māori usage;  some speakers still use the '-s' suffix to produce the Anglicised form tuis to indicate plurality, but this practice is becoming less common.   The early European colonists called it the parson bird,  but, as with many New Zealand birds, the Maori name tui is now the common name and the English term is archaic. \n\nDescription\n\nAt first glance the bird appears completely black except for a small tuft of white feathers at its neck and a small white wing patch, causing it to resemble a parson in clerical attire. On closer inspection (see image) it can be seen that tui have brown feathers on the back and flanks, a multicoloured iridescent sheen that varies with the angle from which the light strikes them, and a dusting of small, white-shafted feathers on the back and sides of the neck that produce a lacy collar.\n\nDistribution and habitat\n\nTui are found through much of New Zealand, particularly the North Island, the west and south coasts of the South Island, Stewart Island/Rakiura and the Chatham Islands—where an endangered sub-species particular to these islands exists. Other populations live on Raoul Island in the Kermadecs,  and in the Auckland Islands (where, with the New Zealand bellbird, it is the most southerly species of honeyeater).  Populations have declined considerably since European settlement, mainly as a result of widespread habitat destruction and predation by mammalian invasive species.\n\nNonetheless, the species is considered secure and has made recoveries in some areas, particularly after removal of livestock has allowed vegetation to recover. Predation by introduced species remains a threat, particularly stoats, the common myna (which compete with tui for food and sometimes takes eggs), and rats.\n\nTui prefer broadleaf forests below 1500 metres, but will tolerate quite small remnant patches, regrowth, exotic plantations and well-vegetated suburbs. They are one of the most common birds found in urban Wellington. They are usually seen singly, in pairs, or in small family groups, but will congregate in large numbers at suitable food sources, often in company with silvereyes, bellbirds, or kererū (New Zealand wood pigeon) in any combination. Generally, when interspecific competition for the same food resources among New Zealand's three species of honeyeater occurs, there is a hierarchy with the tui at the top, then bellbirds and stitchbirds successively subordinate to the species above them—they are thus frequently chased off by tui at a food source such as a flowering flax plant.\n\nBehaviour and ecology\n\nMale tui can be extremely aggressive, chasing all other birds (large and small) from their territory with loud flapping and sounds akin to rude human speech. This is especially true of other tui when possession of a favoured feeding tree is impinged. Birds will often erect their body feathers in order to appear larger in an attempt to intimidate a rival. They have even been known to mob harriers and magpies.\n\nThe powered flight of tui is quite loud as they have developed short wide wings, giving excellent maneuverability in the dense forest they prefer, but requiring rapid flapping. They can be seen to perform a mating display of rising at speed in a vertical climb in clear air, before stalling and dropping into a powered dive, then repeating. Much of this behaviour is more notable during the breeding season of early spring—September and October. Females alone build nests of twigs, grasses and mosses.\n\nFeeding\n\nNectar is the normal diet but fruit and insects are frequently eaten, and pollen and seeds more occasionally. Particularly popular is the New Zealand flax, whose nectar sometimes ferments, resulting in the tui flying in a fashion that suggests that they might be drunk. They are the main pollinators of flax, kowhai, kaka beak and some other plants. Note that the flowers of the three plants mentioned are similar in shape to the tui's beak—a vivid example of mutualistic coevolution. \n\nSongs and calls\n\nTui are considered to be very intelligent, much like parrots.  They also resemble parrots in their ability to clearly imitate human speech,  and were trained by Māori to replicate complex speech.  Tui are also known for their noisy, unusual call, different for each individual, that combine bellbird-like notes with clicks, cackles, timber-like creaks and groans, and wheezing sounds. Songbirds have two voiceboxes  and this is what enables them to perform such a myriad of vocalisations. Tui song also exhibits geographical, microgeographic, seasonal, sex and individual variation.    \n\nSome of the wide range of tui sounds are beyond the human register. Watching a tui sing, one can observe gaps in the sound when the beak is agape and throat tufts throbbing. However, ongoing research has so far failed to detect ultrasound within tui vocalisations. Tui will also sing at night, especially around the full moon period.\nQuestion:\nThe tui and the weka are birds native to which country?\nAnswer:\nN Z\nPassage:\nOak Apple Day\nOak Apple Day or Royal Oak Day was a formal public holiday celebrated in England on 29 May to commemorate the restoration of the English monarchy, in May 1660. In some parts of the country the day is still celebrated and has also been known as Shick Shack Day, Oak and Nettle Day,Hole, Christina (1978). A Dictionary of British Folk Customs, pp114–115, Paladin Granada, ISBN 0-586-08293-X or Arbor Tree Day.\n\nIn 1660, Parliament declared 29 May a public holiday, \"to be for ever kept as a day of thanksgiving for our redemption from tyranny and the King's return to his Government, he entering London that day.\" \n\nThe public holiday, Oak Apple Day, was formally abolished in 1859, but the date retains some significance in local or institutional customs. It is, for example, kept as Founder's Day in the Royal Hospital Chelsea (founded by Charles II in 1681).\n\nCeremonies\n\nTraditional celebrations to commemorate the event often entailed the wearing of oak apples (a type of plant gall, possibly known in some parts of the country as a \"shick-shack\") or sprigs of oak leaves, in reference to the occasion after the Battle of Worcester in September 1651, when Charles II escaped the Roundhead army by hiding in an oak tree near Boscobel House. Anyone who failed to wear a sprig of oak risked being pelted with bird's eggs or thrashed with nettles. In Sussex, those not wearing oak were liable to be pinched, giving rise to the unofficial name of \"Pinch-bum Day\"; similarly it was known as \"Bumping Day\" in Essex. \n\nIn Upton Grey, after the church bells had been rung at 6 a.m. the bell-ringers used to place a large branch of oak over the church porch, and another over the lych gate. Smaller branches were positioned in the gateway of every house to ensure good luck for the rest of the year. \n\nThese ceremonies, which have now largely died out, are perhaps continuations of pre-Christian nature worship. The Garland King who rides through the streets of Castleton, Derbyshire, at the head of a procession, completely disguised in a garland of flowers, which is later affixed to a pinnacle on the parish church tower, can have little connection with the Restoration, even though he dresses in Stuart costume. He is perhaps a kind of Jack in the Green and the custom may have transferred from May Day when such celebrations were permitted again after having been banned by the Puritans.\n\nModern events\n\nEvents still take place at Upton-upon-Severn, Aston on Clun in Shropshire, Marsh Gibbon in Buckinghamshire, Great Wishford in Wiltshire when villagers gather wood in Grovely Wood, and Membury in Devon. The day is generally marked by re-enactment activities at Moseley Old Hall, one of the houses where Charles II hid in 1651.\n\nFownhope, Hereford have an on-going tradition in the celebration of Oak Apple Day. The Fownhope Heart of Oak Society organize an annual event, where members of the society gather at the local pub and march through the village holding flower and oak leaf decorated sticks, whilst following the society banner and a brass band. The march goes first to the church for a service, and then to houses who host refreshments. The Heart of Oak Society was previously a friendly society, but had to reform in 1989 to keep the tradition going. Although Oak Apple Day celebrations have decreased in popularity and knowledge, Fownhope has managed to keep the event going, increasing in popularity and turn-out every year.\n\nAt All Saints' Church, Northampton a statue of Charles II is wreathed at Noon every Oak Apple Day, followed by a celebration of the Holy Communion according to the Book of Common Prayer.\n\nAt some Oxford and Cambridge colleges a toast is still drunk to celebrate Oak Apple Day .\n\nOak Apple Day is also celebrated in the Cornish village of St Neot annually. The Vicar leads a procession through the village, he is followed by the Tower Captain holding the Oak bough. A large number of the villagers follow walking to the Church. A story of the history of the event is told and then the Vicar blesses the branch. The Tower Captain throws the old branch down from the top of the Tower and a new one is hauled to the top. Everyone is then invited to the Vicarage gardens for refreshments and a barbecue. Up to 12 noon villagers wear a sprig of \"red\" (new) oak and in the afternoon wear a sprig of \"Boys Love\" (Artemisia abrotanum); tradition dictates that the punishment for not doing this results in being stung by nettles.\nQuestion:\nDuring which month of the year is Oak Apple Day  (Royal Oak Day) celebrated?\nAnswer:\n㋄\nPassage:\nAll Star Comics\nAll Star Comics is a comic book series from All-American Publications, one of two companies that merged with National Periodical Publications to form the modern-day DC Comics. While the series' cover-logo trademark reads All Star Comics, its copyrighted title as indicated by postal indicia is All-Star Comics.  With the exception of the first two issues, All Star Comics told stories about the adventures of the Justice Society of America, the first team of superheroes, and introduced Wonder Woman.\n\nOriginal series\n\nThe original concept for All Star Comics was an anthology title containing the most popular series from the other anthology titles published by both All-American Publications and National Comics. \n\nAll Star Comics #1 (cover-dated Summer 1940) contained superhero stories that included All-American's Golden Age Flash, Hawkman, Ultra-Man, as well as National's Hour-Man, Spectre, and Sandman. The adventure strip \"Biff Bronson\" and the comedy-adventure \"Red, White, and Blue\" also premiered with the Summer 1940 cover date.\n\nIssue #3 (Winter 1940-1941)   depicted the first meeting of the Justice Society of America, with its members swapping stories of their exploits which were subsequently illustrated in the comic's array of solo adventures. In addition to the Flash, Hawkman, Hour-Man, the Spectre, and the Sandman were Doctor Fate from National's More Fun Comics; and the Green Lantern and the Atom from All-American's flagship title All-American Comics.   The Justice Society of America (JSA) was originally a frame story used to present an anthology of solo stories about the individual characters, with each story handled by a different artist. Comic historian Les Daniels noted, \"this was obviously a great notion, since it offered readers a lot of headliners for a dime, and also the fun of watching fan favorites interact.\"  The anthology format was dropped in 1947 and replaced with full issue stories featuring the heroes teaming up to fight crime.\n\nAll Star Comics 8 (January 1942) featured the first appearance of Wonder Woman in an eight-page story written by William Moulton Marston, under the pen name of \"Charles Moulton\" with art by H. G. Peter.  The insert story was included to test reader interest in the Wonder Woman concept. It generated enough positive fan response that Wonder Woman would be awarded the lead feature in the Sensation Comics anthology title starting from issue #1.  That same issue saw the induction of Doctor Mid-Nite and Starman as members of the Justice Society as well. Starting with issue #11, Wonder Woman would appear in All Star Comics as a member of the Justice Society as their secretary. \n\nWith issue #34 (April–May 1947), Gardner Fox left the series and a new super-villain, the Wizard,  was introduced. The Injustice Society first battled the JSA in issue #37 in a tale written by Robert Kanigher.   The Black Canary guest starred in issue #38 and joined the team three issues later in #41.  \n\nAll Star Comics  increased its frequency from a quarterly to a bimonthly publication schedule, and the JSA lasted through March 1951 with issue #57 in a story titled \"The Mystery of the Vanishing Detectives\". \n\nSuperhero comics slumped in the early 1950s, and All Star Comics was renamed All-Star Western in 1951 with issue #58.  In this issue, the \"Justice Society of America\" feature was replaced by Western heroes. \n\nArtwork from an unpublished All Star Comics story titled \"The Will of William Wilson\" survived and was reprinted in various publications from TwoMorrows Publishing. \n\nRevivals\n\n1976 revival series\n\nIn 1976, the name All Star Comics was resurrected for a series portraying the modern-day adventures of the JSA. The new series dismissed the numbering from All-Star Western and continued the original numbering, premiering with All-Star Comics #58. Starting with issue #66, a hyphen was added to the title and the words \"All-Star Comics\" became a much smaller part of the cover; while the words \"Justice Society\" became much larger. The 1970s series introduced the new characters Power Girl   and the Helena Wayne version of the Huntress.  This series ran for seventeen issues before it was abruptly canceled with issue #74  as part of the DC Implosion and the JSA's adventures were folded into Adventure Comics. \n\nAfter 23-year-old Gerry Conway became an editor at DC Comics, long-time JSA-fan Roy Thomas suggested to Conway that the JSA be given their own title again. Conway offered Thomas a chance to ghostwrite an issue of the revived All-Star Comics, but he declined as Thomas was under an exclusive contract with Marvel Comics at the time.  However, in 1981 Thomas moved to DC and was able to work with the characters. \n\nSubsequent revivals\n\nA two-issue All-Star Comics series was published as a part of the \"Justice Society Returns\" storyline in May 1999. \n\nCollected editions\n\n* All Star Comics Archives:\n** Volume 0 collects #1-2, 144 pages, March 2006, ISBN 1-4012-0791-X\n** Volume 1 collects #3-6, 272 pages, 1992, ISBN 1-5638-9019-4\n** Volume 2 collects #7-10, 256 pages, 1993, ISBN 0-9302-8912-9\n** Volume 3 collects #11-14, 240 pages, November 1997, ISBN 1-5638-9370-3\n** Volume 4 collects #15-18, 224 pages, December 1998, ISBN 1-5638-9433-5\n** Volume 5 collects #19-23, 224 pages, December 1999, ISBN 1-5638-9497-1\n** Volume 6 collects #24-28, 240 pages, October 2000, ISBN 1-5638-9636-2\n** Volume 7 collects #29-33, 216 pages, July 2001, ISBN 1-5638-9720-2\n** Volume 8 collects #34-38, 208 pages, August 2002, ISBN 1-5638-9812-8\n** Volume 9 collects #39-43, 192 pages, August 2003, ISBN 1-4012-0001-X\n** Volume 10 collects #44-49, 216 pages, August 2004, ISBN 1-4012-0159-8\n** Volume 11 collects #50-57, 276 pages, March 2005, ISBN 1-4012-0403-1\n* Justice Society\n** Volume 1 collects #58-67 and DC Special #29, 224 pages, August 2006, ISBN 1-4012-0970-X\n** Volume 2 collects #68-74 and Adventure Comics #461-466, 224 pages, February 2007, ISBN 1-4012-1194-1\n* Showcase Presents: All-Star Comics collects issues #58-74 and Adventure Comics #461-466, 448 pages, September 2011, ISBN 1-4012-3303-1\n\nMillennium Edition\n\nIn 2000 and 2001, DC Comics reprinted several of its most notable issues in the Millennium Edition series. All Star Comics #3 and #8 were reprinted in this format.\nQuestion:\nShe and her alto egofirst appeared in 1941 in 'All Star Comics', the creation of Chester Gould. Who is she?\nAnswer:\nWonder-woman\nPassage:\nWhat is the particular appeal of this escapist poem, and ...\nWhat is the particular appeal of this escapist poem, and what is the effect of the repetition of the line 'I will arise and go now'? \"Lake Ilse of... | eNotes\nSeptember 5, 2012 at 8:48 PM\nThe particular appeal of the poem \"The Lake Isle of Innisfree\" by William Butler Yeats is the sense of freedom inherent in the poem through one withdrawing from society and living a life of solitude and seclusion with nature. This is appealing to many readers of the poem, especially when read against the backdrop of today's often hectic and chaotic society.\nFrom the opening line of the poem it is evident to the reader that the writer has had enough of the society he is presently a part of; the line \"I will arise and go now,\" indicates that it is time for the writer to make a change in their life situation. It is time for them to take action for their own health - their physical, mental, and spiritual health. Therefore, he will go now to Innisfree and live a life that is hopefully more content.\nContentment will come from working with the earth, and through enjoying and engaging the life forms that inhabit the earth. The writer has already made his plans that will contribute to an enhanced life:\n     Nine bean-rows will I have there, a hive for the honey-bee;\nThe goal of the writer is to live alone, which alludes to the idea that he has had enough of dealing with other human beings on a daily basis. Therefore, the appeal of this poem is inherent in the original question asked - escapism and escapist actions that will take him far from his usual environs, as well as family, friends, relatives, neighbors, co-workers, and acquaintances.\nThe poem is appealing because the writer is trying to achieve peace and he realizes that peace \"comes dropping slow.\" Consequently, achieving peace is something that is often rare, and always worthwhile. Therefore it is something of value to people and worth sacrificing for, which in the case of this poem is the sacrificing of another way of life.\nThe effect of the repetition of the line \"I will arise and go now\" is that it is a hint of the writer's mortality and the proverbial march of time. He will arise and continue on with his life to its inevitable end. Life continues on as methodically and regularly as the lapping of water on the lake shore. The writer hears this water lapping and knows his life is progressing towards old age, if he isn't already old. The writer seeks peace and contentment in his golden years.\nQuestion:\n\"According to the opening line of the poem by W.B. Yeats, \"\"I will arise now and go to\"\" ....where?\"\nAnswer:\nInnisfree (disambiguation)\nPassage:\nPotassium chlorate\nPotassium chlorate is a compound containing potassium, chlorine and oxygen atoms, with the molecular formula KClO3. In its pure form, it is a white crystalline substance. It is the most common chlorate in industrial use. It is used\n* as an oxidizing agent,\n* to prepare oxygen,\n* as a disinfectant,\n* in safety matches,\n* in explosives  and fireworks,\n* in cultivation, forcing the blossoming stage of the longan tree, causing it to produce fruit in warmer climates. \n\nProduction\n\nOn the industrial scale, potassium chlorate is produced by the Liebig process: passing chlorine into hot calcium hydroxide, subsequently adding potassium chloride: . \n6Ca(OH)2 + 6Cl2 -> Ca(ClO3)2 + 5CaCl2 + 6H2O\nCa(ClO3)2 + 2KCl -> 2KClO3 + CaCl2\n\nThe electrolysis of KCl in aqueous solution is also used sometimes, in which the chloride ions formed at the anode react with KOH in situ. The low solubility of KClO3 in water causes the salt to conveniently isolate itself from the reaction mixture by simply precipitating out of solution.\n\nPotassium chlorate can be produced in small amounts by disproportionation in a sodium hypochlorite solution followed by metathesis reaction with potassium chloride: \n3 NaClO → 2NaCl + NaClO3\nKCl + NaClO3 → NaCl + KClO3\n\nIt can also be produced by passing chlorine gas into a hot solution of caustic potash: \n3 Cl2(g) + 6 KOH(aq) → KClO3(aq) + 5 KCl(aq) + 3 H2O(l)\n\nUses\n\nPotassium chlorate was one key ingredient in early firearms percussion caps (primers). It continues in that application, where not supplanted by potassium perchlorate.\n\nChlorate-based propellants are more efficient than traditional gunpowder and are less susceptible to damage by water. However, they can be extremely unstable in the presence of sulfur or phosphorus and are much more expensive. Chlorate propellants must be used only in equipment designed for them; failure to follow this precaution is a common source of accidents. Potassium chlorate, often in combination with silver fulminate, is used in trick noise-makers known as \"crackers\", \"snappers\", \"pop-its\", or \"bang-snaps\", a popular type of novelty firework.\n\nAnother application of potassium chlorate is as the oxidizer in a smoke composition such as that used in smoke grenades. Since 2005, a cartridge with potassium chlorate mixed with lactose and rosin is used for generating the white smoke signalling the election of new pope by a papal conclave. \n\nPotassium chlorate is often used in high school and college laboratories to generate oxygen gas.  It is a far cheaper source than a pressurized or cryogenic oxygen tank. Potassium chlorate readily decomposes if heated while in contact with a catalyst, typically manganese(IV) dioxide (MnO2). Thus, it may be simply placed in a test tube and heated over a burner. If the test tube is equipped with a one-holed stopper and hose, warm oxygen can be drawn off. The reaction is as follows:\n\n2 KClO3(s) → 3 O2(g) + 2 KCl(s)\n\nHeating it in the absence of a catalyst converts it into potassium perchlorate:\n4 KClO3 → 3 KClO4 + KCl\n\nWith further heating, potassium perchlorate decomposes to potassium chloride and oxygen:\nKClO4 → KCl + 2 O2\n\nThe safe performance of this reaction requires very pure reagents and careful temperature control. Molten potassium chlorate is an extremely powerful oxidizer and spontaneously reacts with many common materials such as sugar. Explosions have resulted from liquid chlorates spattering into the latex or PVC tubes of oxygen generators, as well as from contact between chlorates and hydrocarbon sealing greases. Impurities in potassium chlorate itself can also cause problems. When working with a new batch of potassium chlorate, it is advisable to take a small sample (~1 gram) and heat it strongly on an open glass plate. Contamination may cause this small quantity to explode, indicating that the chlorate should be discarded.\n\nPotassium chlorate is used in chemical oxygen generators (also called chlorate candles or oxygen candles), employed as oxygen-supply systems of e.g. aircraft, space stations, and submarines, and has been responsible for at least one plane crash. A fire on the space station Mir was also traced to this substance. The decomposition of potassium chlorate was also used to provide the oxygen supply for limelights.\n\nPotassium chlorate is used also as a pesticide. In Finland it was sold under trade name Fegabit.\n\nPotassium chlorate can react with sulfuric acid to form a highly reactive solution of chloric acid and potassium sulfate:\n\n2 KClO3 + H2SO4 → 2 HClO3 + K2SO4\n\nThe solution so produced is sufficiently reactive that it spontaneously ignites if combustible material (sugar, paper, etc.) is present.\n\nIn schools, molten potassium chlorate is used in the dramatic screaming jelly babies demonstration.\n\nIn chemical labs it is used to oxidize HCl and release small amounts of gaseous chlorine.\n\nInsurgents in Afghanistan also use potassium chlorate extensively as a key component in the production of improvised explosive devices. When significant effort was made to reduce the availability of ammonium nitrate fertilizer in Afghanistan, IED makers started using potassium chlorate as a cheap and effective alternative. In 2013, 60% of IEDs in Afghanistan used potassium chlorate, making it the most common ingredient used in IEDs. \n\nSafety\n\nPotassium chlorate should be handled with care. It reacts vigorously, and in some cases spontaneously ignites or explodes, when mixed with many combustible materials. It burns vigorously in combination with virtually any combustible material, even those normally only slightly flammable (including ordinary dust and lint). Mixtures of potassium chlorate and a fuel can ignite by contact with sulfuric acid, so it should be kept away from this reagent.\nSulfur should be avoided in pyrotechnic compositions containing potassium chlorate, as these mixtures are prone to spontaneous deflagration. Most sulfur contains trace quantities of sulfur-containing acids, and these can cause spontaneous ignition - \"Flowers of sulfur\" or \"sublimed sulfur\", despite the overall high purity, contains significant amounts of sulfur acids. Also, mixtures of potassium chlorate with any compound with ignition promoting properties (ex. antimony(III) sulfide) are very dangerous to prepare, as they are extremely shock sensitive.\nQuestion:\nWhat compound, KClO3, commonly features in the heads of safety matches?\nAnswer:\nKCIO3\nPassage:\nMellow Yellow\n\"Mellow Yellow\" is a song written and recorded by Scottish singer-songwriter Donovan.  It reached No. 2 on the US Billboard Hot 100 in 1966 and No. 8 in the UK in early 1967.\n\nContent\n\nThe song was rumoured to be about smoking dried banana skins, which was believed to be a hallucinogenic drug in the 1960s, though this aspect of bananas has since been debunked.  According to Donovan's notes, accompanying the album Donovan's Greatest Hits, the rumour that one could get high from smoking dried banana skins was started by Country Joe McDonald in 1966, and Donovan heard the rumour three weeks before \"Mellow Yellow\" was released as a single. According to The Rolling Stone Illustrated Encyclopedia of Rock and Roll, he admitted later the song made reference to a vibrator; an \"electrical banana\" as mentioned in the lyrics.  This definition was re-affirmed in an interview with NME magazine: \"it's about being cool, laid-back, and also the electrical bananas that were appearing on the scene - which were ladies' vibrators.\" \n\nThe phrase \"mellow yellow\" appears towards the end of James Joyce's novel Ulysses, where it is used to refer to Mrs. Marion Bloom's buttocks.  But it is not known if Donovan took the phrase from there.\n\nThe record had a \"Beatlesque\" feel to it, and was sometimes mistaken for a Beatles song. Donovan, in fact, was friends with the Beatles. Paul McCartney can be heard as one of the background revellers on this track, but contrary to popular belief, it is not McCartney whispering the \"quite rightly\" answering lines in the chorus, but rather Donovan himself.  Donovan had a small part in coming up with the lyrics for \"Yellow Submarine\", and McCartney played bass guitar (uncredited) on portions of Donovan's Mellow Yellow album. \n\nIn 2005, the track was remastered by EMI Records for the Mellow Yellow album re-issue. \n\nCovers and adaptations\n\n\"Mellow Yellow\" was covered in 1967 by soul singer Big Maybelle on her album Got a Brand New Bag.  It was also covered in 1968 by British R&B singer/keyboardist Georgie Fame on his album The Third Face of Fame. \n\nIn 1970, a Czech version of the song was issued by Czech singer and actor Václav Neckář on the Supraphon label. \n\nIn 1999, \"Mellow Yellow\" was sung by a group of young adults, among whom were then-unknowns Alex Greenwald, Rashida Jones and Jason Thompson, in Gap's \"Everybody in Cords\" commercial directed by Pedro Romhanyi. The music mix was done by the Dust Brothers.  In 2015 the song was covered by Spanish singer Abraham Mateo for the soundtrack and promotion of the film Minions.  In Brazil Michel Teló covered the song, adapted to Portuguese, also for the movie. \n\nOne of the oldest coffeeshops in Amsterdam is called \"Mellow Yellow\". \n\nChart performance\n\nWeekly charts\n\nYear-end charts\nQuestion:\nThe ‘tea house’ Mellow Yellow opened in which European city in 1972, pioneering the legal sale of cannabis?\nAnswer:\nClassis of Amsterdam\nPassage:\nWobbegong\nWobbegong is the common name given to the 12 species of carpet sharks in the family Orectolobidae.  They are found in shallow temperate and tropical waters of the western Pacific Ocean and eastern Indian Ocean, chiefly around Australia and Indonesia, although one species (the Japanese wobbegong, Orectolobus japonicus) occurs as far north as Japan. The word wobbegong is believed to come from an Australian Aboriginal language, meaning \"shaggy beard\", referring to the growths around the mouth of the shark of the western Pacific.\n\nDescription\n\nWobbegongs are bottom-dwelling sharks, so spend much of their time resting on the sea floor.  Most species have a maximum length of  or less, but the largest, the spotted wobbegong, Orectolobus maculatus, and banded wobbegong, O. halei, reach about 3 m in length.\n\nWobbegongs are well camouflaged with a symmetrical pattern of bold markings which resembles a carpet.  Because of this striking pattern, wobbegongs and their close relatives are often referred to as carpet sharks.  The camouflage is improved by the presence of small weed-like whisker lobes  surrounding the wobbegong's jaw, which help to camouflage it and act as sensory barbs. Wobbegongs make use of their relative invisibility to hide among rocks and catch smaller fish which swim too close, typical of ambush predators.\n\nInteraction with humans\n\nWobbegongs are generally not dangerous to humans.  However, they have bitten people who accidentally step on them in shallow water or scuba  divers who poke or touch them. Unprovoked, they may also bite divers, surfers,  or snorkellers who swim near their hiding spots.   Wobbegongs are very flexible and can easily bite a hand holding onto their tail. \n\nThey have many small but sharp teeth and their bite can be severe, even through a wetsuit; having once bitten, they have been known to hang on and can be very difficult to remove. \n\nIn Australia, the flesh of wobbegongs and other shark species is called flake and it is often the \"fish\" component of fish and chips. Wobbegong skin is also used to make leather. \n\nCaptivity\n\nAlthough most wobbegong species are unsuitable for home aquaria due to their large adult size, this has not stopped some of the larger species from being sold in the aquarium trade.  Small wobbegong species, such as the tasselled wobbegong and Ward's wobbegong, are \"ideal\" sharks for home aquarists to keep because they are an appropriate size and are lethargic, enabling them to be accommodated within the limited space of home aquaria, although they will consume tankmates, even quite large ones. Some aquarists, by contrast, see the lack of activity to be a drawback to keeping wobbegongs and prefer more active sharks. Wobbegongs are largely nocturnal and, due to their slow metabolism, do not have to be fed as often as other sharks. Most do well on two feedings weekly. Underfed wobbegongs can be recognised by visibly atrophied dorsal musculature.\n\nGenera and species\n\nThe 12 living species of wobbegong, in three genera, are:\n* Genus Eucrossorhinus Regan, 1908\n** Eucrossorhinus dasypogon (Bleeker, 1867) (tasselled wobbegong)\n* Genus Orectolobus Bonaparte, 1834\n** Orectolobus floridus Last & Chidlow, 2008 (floral banded wobbegong)\n** Orectolobus halei Whitley, 1940.  (Gulf wobbegong or banded wobbegong)\n** Orectolobus hutchinsi Last, Chidlow & Compagno, 2006.  (western wobbegong)\n** Orectolobus japonicus Regan, 1906 (Japanese wobbegong)\n** Orectolobus leptolineatus Last, Pogonoski & W. T. White, 2010 (Indonesian wobbegong)\n** Orectolobus maculatus (Bonnaterre, 1788) (spotted wobbegong)\n** Orectolobus ornatus (De Vis, 1883) (ornate wobbegong)\n** Orectolobus parvimaculatus Last & Chidlow, 2008 (dwarf spotted wobbegong)\n** Orectolobus reticulatus Last, Pogonoski & W. T. White, 2008 (network wobbegong)\n** Orectolobus wardi Whitley, 1939 (northern wobbegong)\n* Genus Sutorectus Whitley, 1939\n** Sutorectus tentaculatus (W. K. H. Peters, 1864) (cobbler wobbegong)\n\nFossil genera include:\n* Eometlaouia Noubhani & Cappetta, 2002\nQuestion:\n\"A \"\"Wobbegong\"\" is a type of what?\"\nAnswer:\nSharks\nPassage:\nStheno\nStheno (Greek: Σθεννώ, English translation: \"forceful\"), in Greek mythology, was the eldest of the Gorgons, vicious female monsters with brass hands, sharp fangs and \"hair\" made of living venomous snakes. The daughter of Phorcys and Ceto, she was born in the caverns beneath Mount Olympus. She and her sister Euryale were both immortal, and the third sister, Medusa, was mortal.  \n\nOf the three Gorgons, she was known to be the most independent and ferocious, having killed more men than both of her sisters combined. In Greek mythology, she was transformed into a Gorgon because of standing with her sister Medusa, who was raped by the sea god Poseidon in the Temple of Athena. Athena bearing no emotion and finding no fault in Poseidon, was furious with Medusa. As a punishment, Medusa was changed into a terrible monster, along with her sisters Stheno and Euryale. Stheno tends to be depicted as a thin gorgon monster with red snakes curling around her head instead of hair, however earlier accounts describe her as having a scaly head, a boar's tusks, bronzed hands, a protruding tongue, glaring eyes and a snake around the waist as a belt. \n\nWhen the gorgon Medusa was beheaded by Perseus, Stheno and Euryale tried to kill him, but failed due to his use of Hades' cap, becoming invisible.\nQuestion:\nIn Greek mythology, sisters Stheno, Euryale and Medusa were the three what?\nAnswer:\nLoud-roaring\nPassage:\nPedagogy\nPedagogy (etymology and pronunciation) is the discipline that deals with the theory and practice of education; it thus concerns the study and practice of how best to teach. Its aims range from the general (full development of the human being via liberal education) to the narrower specifics of vocational education (the imparting and acquisition of specific skills).\n\nIn correlation with those instructive strategies, the instructor's own philosophical beliefs of instruction are harbored and governed by the pupil's background knowledge and experience, situation, and environment, as well as learning goals set by the student and teacher. One example would be the Socratic schools of thought.    The teaching of adults, however, may be referred to as andragogy.\n\nHistory \n\nJohann Friedrich Herbart (4 May 1776 – 14 August 1841) is the founding father of the conceptualization of pedagogy, or, the theory of education. Herbart's educational philosophy and pedagogy highlighted the correlation between personal development and the resulting benefits to society. In other words, Herbart proposed that humans become fulfilled once they establish themselves as productive citizens.Herbartianism refers to the movement underpinned by Herbart's theoretical perspectives.  Referring to the teaching process, Herbart suggested 5 steps as crucial components. Specifically, these 5 steps include: preparation, presentation, association, generalization, and application.  Herbart suggests that pedagogy relates to having assumptions as an educator and a specific set of abilities with a deliberate end goal in mind. \n\nEtymology and pronunciation\n\nThe word is a derivative of the Greek  (paidagōgia), from  (paidagōgos), itself a synthesis of  (ágō),  \"I lead\", and  \"child\": hence, \"to lead a child.\"  It is pronounced variously, as,, or.   Negative connotations of pedantry have sometimes been intended, or taken, at least from the time of Samuel Pepys in the 1650s. \n\nAcademic degrees\n\nAn academic degree, Ped. D., Doctor of Pedagogy, is awarded honorarily by some US universities to distinguished teachers (in the US and UK, earned degrees within the instructive field are classified as an Ed. D., Doctor of Education or a Ph.D. Doctor of Philosophy). The term is also used to denote an emphasis in education as a specialty in a field (for instance, a Doctor of Music degree in piano pedagogy).\n\nPedagogues\n\nThe word pedagogue was originally used in reference to the slave who escorted Greek children to school. In Denmark, a pedagogue is a practitioner of pedagogy. The term is primarily used for individuals who occupy jobs in pre-school education (such as kindergartens and nurseries) in Scandinavia. But a pedagogue can occupy various kinds of jobs, e.g. in retirement homes, prisons, orphanages, and human resource management. These are often recognised as social pedagogues as they perform on behalf of society.\n\nThe pedagogue's job is usually distinguished from a teacher's by primarily focusing on teaching children life-preparing knowledge such as social skills and cultural norms. There is also a very big focus on care and well-being of the child. Many pedagogical institutions also practice social inclusion. The pedagogue's work also consists of supporting the child in their mental and social development. \n\nIn Denmark all pedagogues are trained at a series of national institutes for social educators located in all major cities. The programme is a 3.5-year academic course, giving the student the title of a Bachelor in Social Education (Danish: Professionsbachelor som pædagog). \n\nIt is also possible to earn a master's degree in pedagogy/educational science from the University of Copenhagen. This BA and MA program has a more theoretical focus compared to the above-mentioned Bachelor in Social Education.\n\nIn Hungary, the word pedagogue (pedagógus) is synonymous with teacher (tanár); therefore, teachers of both primary and secondary schools may be referred to as pedagogues, a word that appears also in the name of their lobbyist organizations and labor unions (e.g.  Labor Union of Pedagogues, Democratic Labor Union of Pedagogues ). However, undergraduate education in Pedagogy does not qualify students to become teachers in primary or secondary schools but makes them able to apply to be educational assistants. As of 2013, the 5-year training period was re-installed in place of the undergraduate and postgraduate division which characterized the previous practice.\nQuestion:\nThe German pedagogue Friedrich Fröbel who recognized that children have unique needs and capabilities introduced what concept of modern education?\nAnswer:\nGrade 0\nPassage:\nPostage Stamps Issued in Britain to Mark 400th Anniversary ...\nPostage Stamps Issued in Britain to Mark 400th Anniversary of Shakespeare's Death\nPostage Stamps Issued in Britain to Mark 400th Anniversary of Shakespeare's Death\n   2016-04-05 19:27:09    Xinhua      Web Editor:                          Huang Yue\nBritain's Royal Mail launches a set of special postage stamps to mark the 400th anniversary of the death of the playwright William Shakespeare on Tuesday. [Photo: royalmail.com]\nBritain's Royal Mail launched a set of special postage stamps Tuesday to mark the 400th anniversary of the death of the playwright William Shakespeare.\nThe 10 First Class stamps pay tribute to the genius of Shakespeare through his immortal words and poetry, said Royal Mail. They will be sold at 8,000 post offices across Britain.\nRoyal Mail said that a special postmark will be also applied to British stamped mail commemorating 400 years since the Bard's death. The postmark will simply say 'William Shakespeare 1564-1616'.\nThe stamps are the latest of many commemorations items and events to remember Shakespeare who was born in 1564 to become an actor, poet and playwright, as well as a businessman. He died on April 23, 1616.\nShakespeare's plays are continually performed and re-interpreted throughout the world, making him arguably the most influential writer of all time.\nHe introduced around 1,700 words and phrases into the English language, including \"assassination\" and \"all's well that ends well\".\nA spokeswoman for Royal Mail said: \"Over 50 years, William Shakespeare and his work have appeared on 25 stamps, making him the most featured individual on Special Stamps outside of the Royal Family.\"\nQuestion:\nSpecial stamps were issued on April 5th to mark which anniversary of the death of William Shakespeare?\nAnswer:\n400th\nPassage:\nBobolink\nThe bobolink (Dolichonyx oryzivorus) is a small New World blackbird and the only member of the genus Dolichonyx.\n\nDescription\n\nAdults are 16 – long with short finch-like bills. They weigh about 1 oz.  Adult males are mostly black with creamy napes and white scapulars, lower backs, and rumps. Adult females are mostly light brown, although their coloring includes black streaks on the back and flanks, and dark stripes on the head; their wings and tails are darker. The collective name for a group of bobolinks is a chain. \n\nDistribution and movements\n\nThe bobolink breeds in the summer in North America across much of southern Canada and the northern United States. It migrates long distances, wintering in southern South America in Argentina, Bolivia, Brazil and Paraguay. One bird was tracked migrating 12000 mi over the course of the year, often flying long distances up to 1100 mi in a single day, then stopping to recuperate for days or weeks.\n\nThey often migrate in flocks, feeding on cultivated grains and rice, which leads to them being considered a pest by farmers in some areas. Although bobolinks migrate long distances, they have rarely been sighted in Europe—like many vagrants from the Americas, the overwhelming majority of records are from the British Isles.\n\nThe species has been known in the southern United States as the \"reedbird,\" or the \"ricebird\" from their consumption of large amounts of the grain from rice fields in South Carolina and the Gulf States during their southward migration in the fall.  One of the species' main migration routes is through Jamaica, where they're called \"butter-birds\" and at least historically were collected as food, having fattened up on the aforementioned rice.\n\nBehaviour\n\nBreeding\n\nTheir breeding habitats are open grassy fields, especially hay fields, across North America. In high-quality habitats, males are often polygynous. Females lay five to six eggs in a cup-shaped nest, which is always situated on the ground and is usually well-hidden in dense vegetation. Both parents feed the young.\n\nFeeding\n\nBobolinks forage on or near the ground, and mainly eat seeds and insects.\n\nCalls\n\nMales sing bright, bubbly songs in flight; these songs gave this species its common name.\n\nStatus and conservation\n\nThe numbers of these birds are declining due to loss of habitat. Bobolinks are a species at risk in Nova Scotia,  and throughout Canada.  In Vermont, a 75% decline was noted between 1966 and 2007. Originally, they were found in tall grass prairie and other open areas with dense grass. Although hay fields are suitable nesting habitat, fields which are harvested early, or at multiple times, in a season may not allow sufficient time for young birds to fledge. Delaying hay harvests by just 1.5 weeks can improve bobolink survival by 20%  This species increased in numbers when horses were the primary mode of transportation, requiring larger supplies of hay.\n\nMedia references\n\nEmily Dickinson penned many poems about the bird. Edgar Allan Poe mentions the bird in \"Landor's Cottage\". \n\nThe bobolink is mentioned in the song Evelina by Harold Arlen and Yip Harburg, from the musical Bloomer Girl: \n\nEvelina, won't ya ever take a shine to that moon?\nEvelina, ain't ya bothered by the Bobolink's tune?\n\nThe bird is also one of the many important ornithological references in Vladimir Nabokov's John Shade's poem \"Pale Fire\" in the novel of the same name.\n\nSophia Jewett ends her poem \"An Exile's Garden\" (1910) with a reference to a bobolink. \n\nThe bobolink is also mentioned in the film The Mouse on the Moon in connection with the fictional European microstate of Grand Fenwick, where oddly the bird is apparently common.\nGallery\n\nFile:Bobolink (F) 02.jpg|Male, New England, United States\nFile:Bobolink (F) 01.jpg|Female, New England, United States\nQuestion:\nNative to America, what type of creature is a 'Bobolink'?\nAnswer:\nThe Birds (disambiguation)\nPassage:\nMadness Tribute - One Step Behind\nMadness Tribute - One Step Behind\nOSB Blog\nOne Step Behind - The Masters of Madness\nOne Step Behind tribute band are Europe's biggest tribute to Madness. The band have been established since 1993.\nQuestion:\n'One Step Behind' is a tribute act to which band?\nAnswer:\nMorris and the minors\nPassage:\n‘A Farewell to Arms’ With Hemingway’s Alternate Endings ...\n‘A Farewell to Arms’ With Hemingway’s Alternate Endings - The New York Times\nThe New York Times\nBooks |To Use and Use Not\nSearch\nContinue reading the main story\nIn an interview in The Paris Review in 1958 Ernest Hemingway made an admission that has inspired frustrated novelists ever since: The final words of “A Farewell to Arms,” his wartime masterpiece, were rewritten “39 times before I was satisfied.”\nThose endings have become part of literary lore, but they have never been published together in their entirety, according to his longtime publisher, Scribner.\nA new edition of “A Farewell to Arms,” which was originally published in 1929, will be released next week, including all the alternate endings, along with early drafts of other passages in the book.\nThe new edition is the result of an agreement between Hemingway’s estate and Scribner, now an imprint of Simon & Schuster.\nPhoto\nErnest Hemingway in 1947. Credit John F. Kennedy Library and Museum\nIt is also an attempt to redirect some of the attention paid in recent years to Hemingway’s swashbuckling, hard-drinking image — through fictional depictions in the best-selling novel “The Paris Wife” and the Woody Allen film “Midnight in Paris,” for instance — back to his sizable body of work.\nContinue reading the main story\n“I think people who are interested in writing and trying to write themselves will find it interesting to look at a great work and have some insight to how it was done,” Seán Hemingway, a grandson of Ernest Hemingway who is also a curator of Greek and Roman art at the Metropolitan Museum of Art, said in an interview. “But he is a writer who has captured the imagination of the American public, and these editions are interesting because they really focus on his work. Ultimately that’s his lasting contribution.”\nAdvertisement\nContinue reading the main story\nThe new edition concludes that the 39 endings that Hemingway referred to are really more like 47. They have been preserved in the Ernest Hemingway Collection at the John F. Kennedy Presidential Library and Museum in Boston since 1979, where Seán Hemingway studied them carefully. (Bernard S. Oldsey, a Hemingway scholar, listed 41 endings in his book “Hemingway’s Hidden Craft,” but Seán Hemingway found 47 variations in manuscripts preserved at the Kennedy Library.)\nThe alternate endings are labeled and gathered in an appendix in the new edition, a 330-page book whose cover bears the novel’s original artwork, an illustration of a reclining man and woman, both topless.\nFor close readers of Hemingway the endings are a fascinating glimpse into how the novel could have concluded on a different note, sometimes more blunt and sometimes more optimistic. And since modern authors tend to produce their work on computers, the new edition also serves as an artifact of a bygone craft, with handwritten notes and long passages crossed out, giving readers a sense of an author’s process. (When asked in the 1958 Paris Review interview with George Plimpton what had stumped him, Hemingway said, “Getting the words right.”)\nPhoto\nThe new edition, with the original cover art.\nThe endings range from a short sentence or two to several paragraphs.\nIn No. 1, “The Nada Ending,” Hemingway wrote, “That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.”\nThe “Live-Baby Ending,” listed as No. 7, concludes, “There is no end except death and birth is the only beginning.”\nAnd in No. 34, the “Fitzgerald ending,” suggested by Hemingway’s friend F. Scott Fitzgerald, Hemingway wrote that the world “breaks everyone,” and those “it does not break it kills.”\n“It kills the very good and very gentle and the very brave impartially,” he wrote. “If you are none of these you can be sure it will kill you too but there will be no special hurry.”\nHemingway also left behind a list of alternate titles, which are reprinted in the new edition. They include “Love in War,” “World Enough and Time,” “Every Night and All” and “Of Wounds and Other Causes.” One title, “The Enchantment,” was crossed out by Hemingway.\nPhoto\nErnest Hemingway's first-page draft for “A Farewell to Arms.” Credit John F. Kennedy Presidential Library and Museum\nPatrick Hemingway, Ernest Hemingway’s only surviving son, said in an interview from his home in Montana that when Scribner suggested the raw material be published, he agreed.\nAdvertisement\nContinue reading the main story\n“They do give insight to how Hemingway was thinking,” said Patrick Hemingway, who is 84. “But it is absolutely true that no matter how much you analyze a classic bit of writing, you can never really figure out what makes talent work.”\nSusan Moldow, the publisher of Scribner, said that while Hemingway is a perennial strong seller, especially for schools and libraries, “the estate is constantly wanting to present the work afresh.”\n“This is one of the most important authors in American history,” she said. “And fortunately or unfortunately you need to keep refreshing or people lose interest.”\nAfter reading the various endings, Ms. Moldow added, she didn’t question the author’s decision; the actual ending — cool and passionless after an epic tale of war and love, with the protagonist leaving a hospital in the rain — has stood the test of time.\n“Ultimately,” she said, “I think we have to be glad that he went with the ending that he went with.”\nA version of this article appears in print on July 5, 2012, on Page C1 of the New York edition with the headline: To Use and Use Not. Order Reprints | Today's Paper | Subscribe\nQuestion:\nHow many times did Ernest Hemingway revise the last page of A Farewell To Arms?\nAnswer:\n39 times\nPassage:\nSelf-Portrait with Bandaged Ear\nSelf-Portrait with Bandaged Ear is a 1889 self-portrait by Dutch, Post-Impressionist  artist Vincent van Gogh. \n\nDescription \n\nIn this self portrait, Van Gogh is shown wearing a blue cap with black fur and a green overcoat, with a bandage covering his ear and extending under his chin. He is in a traditional three-quarter view, and his forward gaze falls slightly to the right, out of the frame. Behind him is an open window, assumedly letting in a winter breeze, a canvas on an easel, with a few indistinguishable marks, as well as a Japanese woodblock print. This woodblock print has been identified as a Geishas in a Landscape published by Sato Tokyo. This shows an important influence of Japonism and wood block print on Van Gogh’s work, which also appear in the background of other portraits he had created. The painting is composed of impasto strokes, mostly in a vertical pattern. This creates a texture, which comes up off the canvas and adds dimension to the flat surface. The skin tone is muted with green and yellowish tones. The bandage covering Van Gogh’s ear in this painting alludes to his most famous conflict. Van Gogh used a mirror for his self portraits which is why some mistakenly think that he lost part of his right ear instead of his left.\n\nThe story \n\nVan Gogh moved from Paris to Arles in hopes of creating a community for artists to exist in mutual supportiveness and encouragement. He invited Paul Gauguin, an artist whom he had befriended in Paris, to come stay with him. They proved to be a disagreeable pair and quarreled often, sometimes violently. The evening of December 23, 1888 during one of their arguments, Van Gogh had a seizure during which he threatened Gauguin with a razor, but then injured himself, severing part of his left ear. In a state of excitement, he then brought the dismembered lobe to the Maison de Tolérance bordello where he presented it to a prostitute named Rachel. When Gauguin returned the following morning he discovered that the police had arrived at the house, and blood was splattered in every room. Van Gogh had severed an artery in his neck, and was in grave health after losing so much blood. He was removed to the hospital, and he confessed to having no recollection of what happened during this fit. Throughout his life, Van Gogh continued to suffer from similar fits, sometimes characterized by acute paranoia. \n\nAcquisition History\n\nAt the time of Van Gogh’s death, this painting was in the possession of Père Tanguy, although it was unclear how he had obtained it. Tanguy had posed twice for Van Gogh in 1887. It was exhibited in Paris 1901 and 1905 in a major Van Gogh retrospective. In 1928 Samuel Courtauld purchased it.  It is currently located in The Courtauld Gallery in London, UK. \n\nSome critics dismiss this painting as a fake or crude pastiche. However, if this were true it would have been painted at a moment in the 1890s when it wouldn’t have been profitable, as the artist would have died only a few ears earlier and had only sold a handful of works in his lifetime. By January 17, 1889 Vincent had written to his brother Theo mentioning he had completed “another new self portrait.” Confusion has arisen over whether this was in reference to Self Portrait with Bandaged Ear, or Self Portrait with Bandaged Ear and Pipe.   In each of these portraits Van Gogh is wearing the same clothing and sitting in the same pose, although the color schemes, props and locations are different. The Self Portrait with Bandaged Ear and Pipe has become more widely accepted in academia as one of Van Gogh’s authentic paintings.\nQuestion:\nIn the painting called Self Portrait With Bandaged Ear by Van Gogh, is Van Gogh's left ear or right ear bandaged?\nAnswer:\nLeft (disambiguation)\n\n\nPassage:\nLast days of Downton Abbey draw closer - Telegraph\nLast days of Downton Abbey draw closer - Telegraph\nDownton Abbey\nLast days of Downton Abbey draw closer\nJulian Fellowes, the creator of Downton Abbey, gives his clearest hints yet    that the show will end after one more series\nJulian Fellowes, the creator of Downton, has suggested that the next series of the ITV1 drama may be its last Photo: AP\nComments\nIt is Downton Abbey ’s biggest cliffhanger, but for once, it does not involve any of its long litany of characters. Instead, it concerns the future of the programme itself.\nJulian Fellowes, the creator of Downton, has suggested that the next series of the ITV1 drama may be its last.\nIn an interview, the screenwriter admitted there was no way he could continue to write the show’s storylines at the same time as working on his next major project – to create what has been described as an American version of the series.\nThe Gilded Age, to be set in New York in the late 19th century, has been commissioned by the US network, NBC Universal, but its production is being held up by Fellowes’s continuing commitment to Downton, which is due to return for a fifth series later this year.\nFellowes, however, who was elevated to the peerage in 2011, has now indicated that this series could be the last.\nRelated Articles\nDownton Abbey, Christmas special, review: sweet but uneventful\n25 Dec 2013\nHe dropped his bombshell during an interview in the US, last week. Asked about The Gilded Age, he said: “It will happen when Downton finishes, because I just couldn’t do both at once.”\nWhen pressed on whether this meant there would still be a fifth series of Downton, he added: “Yes. I don’t know yet if there is a season six, but it’s not going to go on forever. It won’t be Perry Mason.”\nFellowes has combined his Downton duties with writing a second period drama in the past.\nHowever, the resulting series, Titanic, in 2012, was received with markedly less favour than the ongoing saga of the Crawley family.\nNews of Downton Abbey’s possible demise will alarm fans of the show, as well as managers at ITV, where it has been one of the channel’s biggest successes of recent years, coping with the loss of some of its leading characters as actors have departed, among them Dan Stevens, who played Matthew Crawley, and Jessica Brown Findlay, who played Lady Sybil.\nThe most recent series, which ended in the autumn, had average viewing figures of 11.8 million, and the Christmas Day special was watched by about seven million. Since its beginning in 2010, the show has been sold in more than 220 territories worldwide and has been a notable success in the US, becoming the highest-rated drama series in the history of its broadcaster, PBS.\nIts popularity there has led to heightened interest in The Gilded Age project, and it emerged last February that Fellowes had signed up to write and produce the drama.\nThe new series takes its name from the period of US history from the 1870s to the turn of the 20th century, an era of great social and technological change, as well as rapid economic growth, especially in the north and west of the country.\nThe term was coined by Mark Twain and Charles Dudley Warner in an 1873 novel they wrote to satirise what they saw as the greed and corruption of the time. Fellowes’s project will explore the rise of newly rich families who emerged during the period – some of whom became known as “robber barons” – and replaced the older, established aristocracy.\nAs with the British series, the main characters will be fictional. It had been suggested that Fellowes could hand over the main Downton Abbey writing responsibilities to others, to allow him to concentrate on US show.\nBut his latest comments, in The Wall Street Journal, have made clear he does not see that as an option.\nFellowes writes the scripts for Downton alone, although he said in the US interview that he bounces ideas off his wife. “She gets to read [the scripts] first. It only goes off to my agent after it’s been through her,” he said.\nThe last series caused controversy over a storyline in which Anna, the housemaid played by Joanna Froggatt, was raped by a guest’s valet. ITV received 200 complaints after the episode on Oct 6, while Ofcom, the media watchdog, received 250.\nOfcom decided not to pursue the complaints “after careful assessment … because they did not raise issues warranting investigation”.\nQuestion:\nWho writes the scripts for the TV series Downton Abbey?\nAnswer:\n"}
{"question_id": 90, "category": "longbench_qmsum", "reference": ["The group discussed topics including a potential collaboration with another ICSI member regarding the analysis of inference structures, efforts by speaker mn005 to detect speaker overlap, the current status of recordings and transcriptions, and future efforts to collect meeting data. In addition to weekly meetings by the BMR group, efforts are in progress to record meetings by other ICSI research groups, as well as routine discussions by non-ICSI members."], "prompt": "You are given a meeting transcript and a query containing a question or instruction. Answer the query in one or more sentences.\n\nTranscript:\nProfessor E: So . OK . Doesn't look like it crashed . That 's great .\nGrad G: So I think maybe what 's causing it to crash is I keep starting it and then stopping it to see if it 's working . And so I think starting it and then stopping it and starting it again causes it to crash . So , I won't do that anymore .\nPostdoc B: And it looks like you 've found a way of uh mapping the location to the {disfmarker} without having people have to give their names each time ?\nPhD A: Sounds like an initialization thing .\nPostdoc B: I mean it 's like you have the {disfmarker} So you know that {disfmarker}\nGrad G: No .\nPostdoc B: I mean , are you going to write down {pause} that I sat here ?\nGrad G: I 'm gonna collect the digit forms and write it down .\nPostdoc B: OK .\nPhD C: Oh , OK .\nGrad G: So {disfmarker} So they should be right with what 's on the digit forms . OK , so I 'll go ahead and start with digits . u And I should say that uh , you just pau you just read each line an and then pause briefly .\nProfessor E: And start by giving the transcript number .\nPhD A: Tran\nPhD D: Transcript {disfmarker} Uh . OK , OK .\nPhD A: Oh sorry , go ahead .\nProfessor E: So uh , you see , Don , the unbridled excitement of the work that we have on this project .\nGrad H: OK .\nProfessor E: It 's just uh {disfmarker}\nGrad H: Umh .\nProfessor E: Uh , you know , it doesn't seem like a bad idea to have {comment} that information .\nGrad G: And I 'm surprised I sort of {disfmarker} I 'm surprised I forgot that ,\nProfessor E: Yeah , I {disfmarker} I 'd {disfmarker} I think it 's some\nGrad G: but uh I think that would be a good thing to add . After I just printed out a zillion of them .\nProfessor E: Yeah , well , that 's {disfmarker} Um , so I {disfmarker} I do have a {disfmarker} a an agenda suggestion . Uh , we {disfmarker} I think the things that we talk about in this meeting uh tend to be a mixture of uh procedural uh mundane things and uh research points and um I was thinking I think it was a meeting a couple of weeks ago that we {disfmarker} we spent much of the time talking about the mundane stuff cuz that 's easier to get out of the way and then we sort of drifted into the research and maybe five minutes into that Andreas had to leave . So {vocalsound} uh I 'm suggesting we turn it around and {disfmarker} and uh sort of we have {disfmarker} anybody has some mundane points that we could send an email later , uh hold them for a bit , and let 's talk about the {disfmarker} the research - y kind of things . Um , so um the one th one thing I know that we have on that is uh we had talked a {disfmarker} a couple weeks before um uh about the uh {disfmarker} the stuff you were doing with {disfmarker} with uh um uh l l attempting to locate events , we had a little go around trying to figure out what you meant by \" events \" but I think , you know , what we had meant by \" events \" I guess was uh points of overlap between speakers . But I th I gather from our discussion a little earlier today that you also mean uh interruptions with something else\nPhD D: Yeah .\nProfessor E: like some other noise .\nPhD D: Uh - huh . Yeah .\nProfessor E: Yes ? You mean that as an event also .\nPhD D: To\nProfessor E: So at any rate you were {disfmarker} you 've {disfmarker} you 've done some work on that\nPhD D: right .\nProfessor E: and um then the other thing would be it might be nice to have a preliminary discussion of some of the other uh research uh areas that uh we 're thinking about doing . Um , I think especially since you {disfmarker} you haven't been in {disfmarker} in these meetings for a little bit , maybe you have some discussion of some of the p the plausible things to look at now that we 're starting to get data , uh and one of the things I know that also came up uh is some discussions that {disfmarker} that uh {disfmarker} that uh Jane had with Lokendra uh about some {disfmarker} some {disfmarker} some um uh work about I {disfmarker} I {disfmarker} I d I {disfmarker} I don't want to try to say cuz I {disfmarker} I 'll say it wrong , but anyway some {disfmarker} some potential collaboration there about {disfmarker} about the {disfmarker} about the {disfmarker} working with these data .\nPhD C: Oh . Sure .\nProfessor E: So . So , uh .\nGrad G: You wanna just go around ?\nProfessor E: Uh . {pause} Well , I don't know if we {disfmarker} if this is sort of like everybody has something to contribute sort of thing , I think there 's just just a couple {disfmarker} a couple people primarily um but um Uh , wh why don't {disfmarker} Actually I think that {disfmarker} that last one I just said we could do fairly quickly so why don't you {disfmarker} you start with that .\nPostdoc B: OK . Shall I {disfmarker} shall I just start ? OK .\nProfessor E: Yeah , just explain what it was .\nPostdoc B: Um , so , uh , he was interested in the question of {disfmarker} you know , relating to his {disfmarker} to the research he presented recently , um of inference structures , and uh , the need to build in , um , this {disfmarker} this sort of uh mechanism for understanding of language . And he gave the example in his talk about how {pause} um , e a I 'm remembering it just off the top of my head right now , but it 's something about how um , i \" Joe slipped \" you know , \" John had washed the floor \" or something like that . And I don't have it quite right , but that kind of thing , where you have to draw the inference that , OK , there 's this time sequence , but also the {disfmarker} the {disfmarker} the causal aspects of the uh floor and {disfmarker} and how it might have been the cause of the fall and that um it was the other person who fell than the one who cleaned it and it {disfmarker} {comment} These sorts of things . So , I looked through the transcript that we have so far , {comment} and um , fou identified a couple different types of things of that type and um , one of them was something like uh , during the course of the transcript , um um , w we had gone through the part where everyone said which channel they were on and which device they were on , and um , the question was raised \" Well , should we restart the recording at this point ? \" And {disfmarker} and Dan Ellis said , \" Well , we 're just so far ahead of the game right now {pause} we really don't need to \" . Now , how would you interpret that without a lot of inference ? So , the inferences that are involved are things like , OK , so , how do you interpret \" ahead of the game \" ? You know . So it 's the {disfmarker} it 's {pause} i What you {disfmarker} what you int what you draw {disfmarker} you know , the conclusions that you need to draw are that space is involved in recording ,\nGrad G: Hmm , metaphorically .\nPostdoc B: that um , i that {pause} i we have enough space , and he continues , like \" we 're so ahead of the game cuz now we have built - in downsampling \" . So you have to sort of get the idea that um , \" ahead of the game \" is sp speaking with respect to space limitations , that um that in fact downsampling is gaining us enough space , and that therefore we can keep the recording we 've done so far . But there are a lot of different things like that .\nGrad G: So , do you think his interest is in using this as {pause} a data source , or {pause} training material , or what ?\nProfessor E: Well , I {disfmarker} I should maybe interject to say this started off with a discussion that I had with him , so um we were trying to think of ways that his interests could interact with ours\nGrad G: Mm - hmm .\nProfessor E: and um uh I thought that if we were going to project into the future when we had a lot of data , uh and um such things might be useful for that in or before we invested too much uh effort into that he should uh , with Jane 's help , look into some of the data that we 're {disfmarker} already have and see , is there anything to this at all ?\nGrad G: Mm - hmm .\nProfessor E: Is there any point which you think that , you know , you could gain some advantage and some potential use for it . Cuz it could be that you 'd look through it and you say \" well , this is just the wrong {pause} task for {disfmarker} for him to pursue his {disfmarker} \"\nGrad G: Wrong , yeah .\nProfessor E: And {disfmarker} and uh I got the impression from your mail that in fact there was enough things like this just in the little sample that {disfmarker} that you looked at that {disfmarker} that it 's plausible at least .\nPostdoc B: It 's possible . Uh , he was {disfmarker} he {disfmarker} he {disfmarker} you know {disfmarker} We met and he was gonna go and uh you know , y look through them more systematically\nProfessor E: Yeah .\nPostdoc B: and then uh meet again .\nProfessor E: Yeah .\nPostdoc B: So it 's , you know , not a matter of a {disfmarker}\nProfessor E: Yeah .\nPostdoc B: But , yeah , I think {disfmarker} I think it was optimistic .\nProfessor E: So anyway , that 's {disfmarker} that 's e a quite different thing from anything we 've talked about that , you know , might {disfmarker} might {disfmarker} might come out from some of this .\nPhD C: But he can use text , basically . I mean , he 's talking about just using text\nPostdoc B: That 's his major {disfmarker} I mentioned several that w had to do with implications drawn from intonational contours\nPhD C: pretty much , or {disfmarker} ?\nPostdoc B: and {pause} that wasn't as directly relevant to what he 's doing . He 's interested in these {disfmarker} these knowledge structures ,\nPhD C: OK .\nPhD D: Yeah , interesting .\nPostdoc B: inferences that you draw {pause} i from {disfmarker}\nProfessor E: I mean , he certainly could use text , but we were in fact looking to see if there {disfmarker} is there {disfmarker} is there something in common between our interest in meetings and his interest in {disfmarker} in {disfmarker} in this stuff . So .\nGrad G: And I imagine that transcripts of speech {disfmarker} I mean text that is speech {disfmarker} probably has more of those than sort of prepared writing . I {disfmarker} I don't know whether it would or not , but it seems like it would .\nProfessor E: I don't know , probably de probably depends on what the prepared writing was . But .\nPostdoc B: Yeah , I don't think I would make that leap , because i in narratives , you know {disfmarker} I mean , if you spell out everything in a narrative , it can be really tedious ,\nGrad G: Mm - hmm .\nPostdoc B: so .\nGrad G: Yeah , I 'm just thinking , you know , when you 're {disfmarker} when you 're face to face , you have a lot of backchannel and {disfmarker} And {disfmarker}\nPostdoc B: Oh . That aspect .\nGrad G: Yeah . And so I think it 's just easier to do that sort of broad inference jumping if it 's face to face . I mean , so , if I just read that Dan was saying \" we 're ahead of the game \" {comment} in that {disfmarker} in that context ,\nPostdoc B: Well {disfmarker} Yeah .\nGrad G: I might not realize that he was talking about disk space as opposed to anything else .\nPostdoc B: I {disfmarker} you know , I {disfmarker} I had several that had to do with backchannels and this wasn't one of them .\nGrad G: Uh - huh .\nPostdoc B: This {disfmarker} this one really does um m make you leap from {disfmarker} So he said , you know , \" we 're ahead of the game , w we have built - in downsampling \" .\nGrad G: Mm - hmm .\nPostdoc B: And the inference , i if you had it written down , would be {disfmarker}\nGrad G: I guess it would be the same .\nPostdoc B: Uh - huh . But there are others that have backchannelling , it 's just he was less interested in those .\nPhD F: Can I {disfmarker} Sorry to interrupt . Um , I f f f I 've {disfmarker} @ @ {comment} d A minute {disfmarker} uh , several minutes ago , I , like , briefly was {disfmarker} was not listening and {disfmarker} So who is \" he \" in this context ?\nPhD C: Yeah , there 's a lot of pronoun {disfmarker}\nPhD F: OK . So I was just realizing we 've {disfmarker} You guys have been talking about \" he \" um for at least uh , I don't know , three {disfmarker} three four minutes without ever mentioning the person 's name again .\nPhD C: I believe it . Yeah . Actually to make it worse , {comment} uh , Morgan uses \" you \" and \" you \"\nPhD F: So this is {disfmarker} this is {disfmarker} this is {disfmarker} gonna be a big , big problem if you want to later do uh , you know , indexing , or speech understanding of any sort .\nGrad G: It 's in my notes .\nPhD C: with gaze and no identification , or {disfmarker} I just wrote this down . Yeah , actually . Cuz Morgan will say well , \" you had some ideas \"\nPhD D: Yeah .\nPhD F: You just wrote this ?\nPhD C: and he never said Li - He looked {disfmarker}\nGrad G: Well , I think he 's doing that intentionally ,\nPhD C: Right , so it 's great .\nGrad G: aren't you ?\nPhD C: So this is really great\nPhD F: Right .\nPhD C: because the thing is , because he 's looking at the per even for addressees in the conversation ,\nPhD D: Yeah .\nPhD F: Mm - hmm .\nPhD C: I bet you could pick that up in the acoustics . Just because your gaze is also correlated with the directionality of your voice .\nProfessor E: Uh - huh . Could be .\nPostdoc B: Can we\nProfessor E: Yeah . That would be tou\nGrad G: Oh , that would be interesting .\nPhD C: Yeah , so that , I mean , to even know um when {disfmarker}\nPhD D: Yeah .\nPhD C: Yeah , if you have the P Z Ms you should be able to pick up what a person is looking at from their voice .\nGrad G: Well , especially with Morgan , with the way we have the microphones arranged . I 'm sort of right on axis and it would be very hard to tell .\nPhD C: Right .\nGrad G: Uh .\nPostdoc B: Oh , but you 'd have the {disfmarker}\nPhD C: Put Morgan always like this\nPostdoc B: You 'd have fainter {disfmarker}\nPhD C: and {disfmarker}\nPostdoc B: Wouldn't you get fainter reception out here ?\nProfessor E: Well , these {disfmarker}\nGrad G: Sure , but I think if I 'm talking like this ? Right now I 'm looking at Jane and talking , now I 'm looking at Chuck and talking , I don't think the microphones would pick up that difference .\nPhD C: But you don't have this {disfmarker} this problem .\nPostdoc B: I see .\nPhD C: Morgan is the one who does this most .\nGrad G: So if I 'm talking at you , or I 'm talking at you .\nProfessor E: I probably been affect No , I th I think I 've been affected by too many conversations where we were talking about lawyers and talking about {disfmarker} and concerns about \" oh gee is somebody going to say something bad ? \" and so on .\nGrad G: Lawyers .\nProfessor E: And so I {disfmarker} so I 'm {disfmarker} I 'm tending to stay away from people 's names even though uh {disfmarker}\nPostdoc B: I am too .\nPhD C: Even though you could pick up later on , just from the acoustics who you were t who you were looking at .\nPostdoc B: I am too .\nGrad G: And we did mention who \" he \" was .\nPhD C: Yeah .\nProfessor E: Yeah .\nPhD F: Right , but I missed it .\nGrad G: Early in the conversation .\nPhD F: But {disfmarker} it was uh {disfmarker}\nPhD C: Yeah , yeah .\nProfessor E: Yeah .\nGrad G: Do {disfmarker} Sh - Can I say\nProfessor E: Yeah . No no , there 's {disfmarker}\nPhD F: Yeah .\nGrad G: or {disfmarker} or is that just too sensitive ?\nProfessor E: No no , it isn't sensitive at all .\nPostdoc B: Well {disfmarker}\nProfessor E: I was just {disfmarker} I was just {disfmarker} I was overreacting just because we 've been talking about it .\nPostdoc B: And in fact , it is {disfmarker} it is {disfmarker} it is sensitive .\nPhD C: No , but that {disfmarker} it 's interesting .\nProfessor E: It 's OK to {disfmarker}\nPostdoc B: I {disfmarker} I came up with something from the Human Subjects people that I wanted to mention . I mean , it fits into the m area of the mundane , but they did say {disfmarker} You know , I asked her very specifically about this clause of how , um , you know , it says \" no individuals will be identified uh , \" in any publication using the data . \" OK , well , individuals being identified , let 's say you have a {disfmarker} a snippet that says , \" Joe s uh thinks such - and - such about {disfmarker} about this field , but I think he 's wrongheaded . \" Now I mean , we 're {disfmarker} we 're gonna be careful not to have the \" wrongheaded \" part in there , but {disfmarker} but you know , let 's say we say , you know , \" Joe used to think so - and - so about this area , in his publication he says that but I think he 's changed his mind . \" or whatever . Then the issue of {disfmarker} of being able to trace Joe , because we know he 's well - known in this field , and all this and {disfmarker} and tie it to the speaker , whose name was just mentioned a moment ago , can be sensitive .\nProfessor E: b But I {disfmarker}\nPostdoc B: So I think it 's really {disfmarker} really kind of adaptive and wise to not mention names any more than we have to because if there 's a slanderous aspect to it , then how much to we wanna be able to have to remove ?\nProfessor E: Yeah , well , there 's that . But I {disfmarker} I mean I think also to some extent it 's just educating the Human Subjects people , in a way , because there 's {disfmarker} If uh {disfmarker} You know , there 's court transcripts , there 's {disfmarker} there 's transcripts of radio shows {disfmarker} I mean people say people 's names all the time . So I think it {disfmarker} it can't be bad to say people 's names . It 's just that {disfmarker} i I mean you 're right that there 's more poten If we never say anybody 's name , then there 's no chance of {disfmarker} of {disfmarker} of slandering anybody ,\nPhD C: But , then it won't {disfmarker} I mean , if we {disfmarker} if we {disfmarker}\nProfessor E: but {disfmarker}\nGrad G: It 's not a meeting .\nPhD C: Yeah . I mean we should do whatever 's natural in a meeting if {disfmarker} if we weren't being recorded .\nProfessor E: Yeah . Right , so I {disfmarker} So my behavior is probably not natural .\nPhD C: \" If Person X {disfmarker} \"\nProfessor E: So .\nPostdoc B: Well , my feeling on it was that it wasn't really important who said it , you know .\nProfessor E: Yeah .\nPhD F: Well , if you ha since you have to um go over the transcripts later anyway , you could make it one of the jobs of the {pause} people who do that to mark\nGrad G: Well , we t we t we talked about this during the anon anonymization .\nPhD F: Right .\nGrad G: If we wanna go through and extract from the audio and the written every time someone says a name . And I thought that our conclusion was that we didn't want to do that .\nProfessor E: Yeah , we really can't . But a actually , I 'm sorry . I really would like to push {disfmarker} finish this off .\nPostdoc B: I understand . No I just {disfmarker} I just was suggesting that it 's not a bad policy p potentially .\nProfessor E: So it 's {disfmarker}\nPostdoc B: So , we need to talk about this later .\nProfessor E: Yeah , I di I didn't intend it an a policy though .\nPostdoc B: Uh - huh .\nProfessor E: It was {disfmarker} it was just it was just unconscious {disfmarker} well , semi - conscious behavior . I sorta knew I was doing it but it was {disfmarker}\nPhD F: Well , I still don't know who \" he \" is .\nProfessor E: I {disfmarker} I do I don't remember who \" he \" is .\nPhD C: No , you have to say , you still don't know who \" he \" is , with that prosody .\nProfessor E: Ah . Uh , we were talking about Dan at one point {comment} and we were talking about Lokendra at another point .\nPostdoc B: Yeah , depends on which one you mean .\nProfessor E: And I don't {disfmarker} I don't remember which {disfmarker} which part .\nPhD F: Oh .\nPhD C: It 's ambiguous , so it 's OK .\nProfessor E: Uh , I think {disfmarker}\nGrad G: Well , the inference structures was Lokendra .\nPhD F: But no . The inference stuff was {disfmarker} was {disfmarker} was Lokendra .\nProfessor E: Yeah . Yeah . Yeah .\nPhD F: OK . That makes sense , yeah .\nPhD C: And the downsampling must have been Dan .\nProfessor E: Um {disfmarker}\nGrad G: Yeah .\nProfessor E: Good {disfmarker} Yeah .\nPhD C: It 's an inference .\nProfessor E: Yeah , you could do all these inferences , yeah .\nGrad G: Yeah .\nProfessor E: Yeah . Um , I {disfmarker} I would like to move it into {disfmarker} into uh what Jose uh has been doing\nPostdoc B: Yeah .\nProfessor E: because he 's actually been doing something .\nPhD D: Uh - huh . OK .\nProfessor E: So . {vocalsound} Right .\nPhD F: As opposed to the rest of us .\nPhD D: Well - {comment} {vocalsound} OK . I {disfmarker} I remind that me {disfmarker} my first objective eh , in the project is to {disfmarker} to study difference parameters to {disfmarker} to find a {disfmarker} a good solution to detect eh , the overlapping zone in eh speech recorded . But eh , {vocalsound} tsk , {comment} {vocalsound} ehhh {comment} In that way {comment} I {disfmarker} {vocalsound} I {disfmarker} {vocalsound} I begin to {disfmarker} to study and to analyze the ehn {disfmarker} the recorded speech eh the different session to {disfmarker} to find and to locate and to mark eh the {disfmarker} the different overlapping zone . And eh so eh I was eh {disfmarker} I am transcribing the {disfmarker} the first session and I {disfmarker} I have found eh , eh one thousand acoustic events , eh besides the overlapping zones , eh I {disfmarker} I {disfmarker} I mean the eh breaths eh aspiration eh , eh , talk eh , eh , clap , eh {disfmarker} {comment} I don't know what is the different names eh you use to {disfmarker} to name the {disfmarker} the {pause} n speech\nPhD A: Nonspeech sounds ?\nPhD D: Yeah .\nGrad G: Oh , I don't think we 've been doing it at that level of detail . So .\nPhD D: Yeah . Eh , {vocalsound} I {disfmarker} I {disfmarker} I do I don't need to {disfmarker} to {disfmarker} to mmm {vocalsound} {disfmarker} to m to label the {disfmarker} the different acoustic , but I prefer because eh I would like to {disfmarker} to study if eh , I {disfmarker} I will find eh , eh , a good eh parameters eh to detect overlapping I would like to {disfmarker} to {disfmarker} to test these parameters eh with the {disfmarker} another eh , eh acoustic events , to nnn {disfmarker} {vocalsound} to eh {disfmarker} to find what is the ehm {disfmarker} the false {disfmarker} eh , the false eh hypothesis eh , nnn , which eh are produced when we use the {disfmarker} the ehm {disfmarker} this eh parameter {disfmarker} eh I mean pitch eh , eh , difference eh , feature {disfmarker}\nGrad G: Mm - hmm .\nPhD A: You know {disfmarker} I think some of these um that are the nonspeech overlapping events may be difficult even for humans to tell that there 's two there .\nGrad G: So it was {disfmarker}\nPhD D: Yeah .\nPhD A: I mean , if it 's a tapping sound , you wouldn't necessarily {disfmarker} or , you know , something like that , it 'd be {disfmarker} it might be hard to know that it was two separate events .\nPhD D: Yeah . Yeah . Yeah . Yeah .\nGrad G: Well {disfmarker} You weren't talking about just overlaps\nPhD D: Ye\nGrad G: were you ? You were just talking about acoustic events .\nPhD D: I {disfmarker} I {disfmarker} I {disfmarker} I t I t I talk eh about eh acoustic events in general ,\nGrad G: Someone starts , someone stops {disfmarker} Yeah .\nPhD A: Oh .\nPhD D: but eh my {disfmarker} my objective eh will be eh to study eh overlapping zone .\nGrad G: Mm - hmm .\nPhD D: Eh ? {comment} n Eh in twelve minutes I found eh , eh one thousand acoustic events .\nProfessor E: How many overlaps were there uh in it ? No no , how many of them were the overlaps of speech , though ?\nPhD D: How many ? Eh almost eh three hundred eh in one session\nGrad G: Oh , God !\nPhD D: in five {disfmarker} eh in forty - five minutes .\nPhD A: Three hundred overlapping speech {disfmarker}\nPhD D: Alm - Three hundred overlapping zone .\nGrad G: Ugh .\nPhD C: Overlapping speech .\nPhD D: With the overlapping zone , overlapping speech {disfmarker} speech what eh different duration .\nPhD A: Mm - hmm .\nProfessor E: Sure .\nPostdoc B: Does this {disfmarker} ? So if you had an overlap involving three people , how many times was that counted ?\nPhD D: Yeah , three people , two people . Eh , um I would like to consider eh one people with difference noise eh in the background , be\nProfessor E: No no , but I think what she 's asking is {pause} if at some particular for some particular stretch you had three people talking , instead of two , did you call that one event ?\nPhD D: Oh . Oh . Yeah . I consider one event eh for th for that eh for all the zone . This {disfmarker} th I {disfmarker} I {disfmarker} I con I consider {disfmarker} I consider eh an acoustic event , the overlapping zone , the period where three speaker or eh {disfmarker} are talking together .\nGrad G: Well {disfmarker} So let 's {disfmarker}\nPostdoc B: For\nGrad G: So let 's say me and Jane are talking at the same time , and then Liz starts talking also over all of us . How many events would that be ?\nPhD D: So - I don't understand .\nGrad G: So , two people are talking , {comment} and then a third person starts talking .\nPhD D: Yeah ?\nGrad G: Is there an event right here ?\nPhD D: Eh no . No no . For me is the overlapping zone , because {disfmarker} because you {disfmarker} you have s you have more one {disfmarker} eh , more one voice eh , eh produced in a {disfmarker} in {disfmarker} in a moment .\nProfessor E: I see .\nGrad G: So i if two or more people are talking .\nProfessor E: OK . Yeah . So I think {disfmarker} Yeah . We just wanted to understand how you 're defining it .\nPhD D: Yeah . If\nProfessor E: So then , in the region between {disfmarker} since there {disfmarker} there is some continuous region , in between regions where there is only one person speaking .\nPhD D: Uh - huh .\nProfessor E: And one contiguous region like that you 're calling an event .\nPhD D: Uh - huh .\nProfessor E: Is it {disfmarker} Are you calling the beginning or the end of it the event ,\nPhD D: Yeah .\nProfessor E: or are you calling the entire length of it the event ?\nPhD D: I consider the {disfmarker} the , nnn {disfmarker} the nnn , nnn {disfmarker} eh , the entirety eh , eh , all {disfmarker} all the time there were {disfmarker} the voice has overlapped .\nProfessor E: OK .\nPhD D: This is the idea . But eh I {disfmarker} I don't distinguish between the {disfmarker} the numbers of eh speaker . Uh , I 'm not considering {vocalsound} eh the {disfmarker} the {disfmarker} ehm {vocalsound} eh , the fact of eh , eh , for example , what did you say ? Eh at first eh , eh two talkers are uh , eh speaking , and eh , eh a third person eh join to {disfmarker} to that . For me , it 's eh {disfmarker} it 's eh , all overlap zone , with eh several numbers of speakers is eh , eh the same acoustic event . Wi - but {disfmarker} uh , without any mark between the zone {disfmarker} of the overlapping zone with two speakers eh speaking together , and the zone with the three speakers .\nPostdoc B: That would j just be one .\nPhD D: It {disfmarker} One . One .\nPostdoc B: OK .\nPhD D: Eh , with eh , a beginning mark and the ending mark . Because eh {vocalsound} for me , is the {disfmarker} is the zone with eh some kind of eh distortion the spectral .\nProfessor E: Got it .\nPhD D: I don't mind {disfmarker} By the moment , by the moment .\nGrad G: Well , but {disfmarker} But you could imagine that three people talking has a different spectral characteristic than two .\nPhD D: I {disfmarker} I don't {disfmarker} Yeah , but eh {disfmarker} but eh I have to study . {comment} What will happen in a general way ,\nProfessor E: Could .\nGrad G: So . You had to start somewhere .\nProfessor E: Yeah . We just w\nPhD C: So there 's a lot of overlap .\nPhD D: I {disfmarker} {vocalsound} I don't know what eh will {disfmarker} will happen with the {disfmarker}\nGrad G: Yep .\nPhD C: So .\nGrad G: That 's a lot of overlap ,\nPhD D: Yeah ?\nProfessor E: So again , that 's {disfmarker} that 's three {disfmarker} three hundred in forty - five minutes that are {disfmarker} that are speakers , just speakers .\nGrad G: yeah , for forty - five minutes .\nPhD D: Yeah . Yeah .\nProfessor E: Uh - huh . OK . Yeah .\nPostdoc B: But a {disfmarker} a {disfmarker} a th\nProfessor E: So that 's about eight per minute .\nPostdoc B: But a thousand events in twelve minutes , that 's {disfmarker}\nPhD D: Yeah , {pause} but {disfmarker} Yeah .\nPhD C: But that can include taps .\nPhD D: But {disfmarker}\nProfessor E: Uh . Yeah .\nPostdoc B: Well , but a thousand taps in eight minutes is a l in twelve minutes is a lot .\nPhD D: General .\nPhD C: Actually {disfmarker}\nPhD D: I {disfmarker} I con I consider {disfmarker} I consider acoustic events eh , the silent too .\nPostdoc B: Silent .\nGrad G: Silence starting or silence ending {disfmarker}\nPhD D: Yeah , silent , ground to {disfmarker} bec to detect {disfmarker} eh because I consider acoustic event all the things are not eh speech .\nPhD C: Oh , OK .\nProfessor E: Mm - hmm .\nPhD A: Oh .\nPhD D: In ge in {disfmarker} in {disfmarker} in a general point of view .\nPhD C: Oh .\nProfessor E: OK , so how many of those thousand were silence ?\nPhD C: Alright .\nPhD D: in the per\nPhD F: Not speech {disfmarker} not speech or too much speech .\nPhD D: Too much speech .\nProfessor E: Right . So how many of those thousand were silence , silent sections ?\nPhD D: Yeah . Uh silent , I {disfmarker} I {disfmarker} I {disfmarker} I don't {disfmarker} I {disfmarker} I haven't the {disfmarker} eh I {disfmarker} I would like to {disfmarker} to do a stylistic study\nProfessor E: Yeah .\nPhD D: and give you eh with the report eh from eh the {disfmarker} the study from the {disfmarker} the {disfmarker} the session {disfmarker} one session .\nProfessor E: Yeah . Yeah .\nPhD D: And I {disfmarker} I found that eh another thing . When eh {vocalsound} eh I w I {disfmarker} {vocalsound} I was eh look at eh nnn , the difference speech file , um , for example , eh if eh we use the ehm {disfmarker} the mixed file , to {disfmarker} to transcribe , the {disfmarker} the events and the words , I {disfmarker} I saw that eh the eh speech signal , collected by the eh this kind of mike {disfmarker} eh of this kind of mike , eh are different from the eh mixed signal eh , we eh {disfmarker} collected by headphone .\nGrad G: Yep .\nPhD D: And {disfmarker} It 's right .\nProfessor E: Yeah .\nGrad G: Right .\nPhD D: But the problem is {vocalsound} the following . The {disfmarker} the {disfmarker} the {disfmarker} I {disfmarker} I {disfmarker} I knew that eh the signal eh , eh would be different , but eh the {disfmarker} the problem is eh , eh we eh detected eh difference events in the speech file eh collected by {disfmarker} by that mike uh qui compared with the mixed file . And so if {disfmarker} when you transcribe eh only eh using the nnn {disfmarker} the mixed file , it 's possible {disfmarker} eh if you use the transcription to evaluate a different system , it 's possible you eh {disfmarker} in the eh i and you use the eh speech file collected by the eh fet mike , to eh {disfmarker} to nnn {disfmarker} to do the experiments {pause} with the {disfmarker} the system ,\nProfessor E: Mm - hmm .\nGrad G: Right .\nPhD D: its possible to evaluate eh , eh {disfmarker} or to consider eh acoustic events that {disfmarker} which you marked eh in the mixed file , but eh they don't appear in the eh speech signal eh collected by the {disfmarker} by the mike .\nGrad G: Right . The {disfmarker} the reason that I generated the mixed file was for IBM to do word level transcription , not speech event transcription .\nPhD D: Yeah . Yeah . Oh , it 's a good idea . It 's a good idea I think .\nGrad G: So I agree that if someone wants to do speech event transcription , that the mixed signals here {disfmarker}\nPhD D: Yeah .\nGrad G: I mean , if I 'm tapping on the table , you it 's not gonna show up on any of the mikes , but it 's gonna show up rather loudly in the PZM .\nPhD D: Yeah . Yeah . Yeah . So and I {disfmarker} I {disfmarker} {vocalsound} I say eh that eh , eh , or this eh only because eh I c I {disfmarker} I {disfmarker} {vocalsound} in my opinion , it 's necessary to eh {disfmarker} to eh {disfmarker} to put the transcription on the speech file , collected by the objective signal .\nGrad G: So .\nPhD D: I mean the {disfmarker} the {disfmarker} the signal collected by the {disfmarker} eh , the real mike in the future , in the prototype to {disfmarker} to eh correct the initial eh segmentation eh with the eh real speech\nProfessor E: Mm - hmm . The {disfmarker} the {disfmarker} the far - field , yeah .\nPhD D: you have to {disfmarker} to analyze {disfmarker} you have to {disfmarker} to process . Because I {disfmarker} I found a difference .\nProfessor E: Yeah , well , just {disfmarker} I mean , just in that {disfmarker} that one s ten second , or whatever it was , example that Adam had that {disfmarker} that we {disfmarker} we passed on to others a few months ago , there was that business where I g I guess it was Adam and Jane were talking at the same time and {disfmarker} and uh , in the close - talking mikes you couldn't hear the overlap , and in the distant mike you could . So yeah , it 's clear that if you wanna study {disfmarker} if you wanna find all the places where there were overlap , it 's probably better to use a distant mike .\nPhD F: That 's good .\nProfessor E: On the other hand , there 's other phenomena that are going on at the same time for which it might be useful to look at the close - talking mikes ,\nPhD D: Yeah .\nPhD C: But why can't you use the combination of the close - talking mikes , time aligned ?\nProfessor E: so it 's {disfmarker}\nGrad G: If you use the combination of the close - talking mikes , you would hear Jane interrupting me , but you wouldn't hear the paper rustling . And so if you 're interested in {disfmarker}\nPhD C: I {disfmarker} I mean if you 're interested in speakers overlapping other speakers and not the other kinds of nonspeech , that 's not a problem ,\nProfessor E: Some {comment} of it 's masking {disfmarker} masked .\nPhD D: Yeah .\nPhD A: Were you interrupting him or was he interrupting you ?\nProfessor E: Right .\nPhD C: right ?\nGrad G: Right .\nPhD D: Yeah .\nGrad G: Although the other issue is that the {pause} mixed close - talking mikes {disfmarker} I mean , I 'm doing weird normalizations and things like that .\nPhD C: But it 's known .\nPhD D: Yeah .\nPhD C: I mean , the normalization you do is over the whole conversation\nGrad G: Yep .\nPhD C: isn't it , over the whole meeting .\nGrad G: Right . Yep .\nPhD C: So if you wanted to study people overlapping people , that 's not a problem .\nPhD D: I {disfmarker} I {disfmarker} I think eh I saw the nnn {disfmarker} the {disfmarker} eh but eh I eh {disfmarker} I have eh any results . I {disfmarker} I {disfmarker} I saw the {disfmarker} the speech file collected by eh the fet mike , and eh eh signal eh to eh {disfmarker} to noise eh relation is eh low . It 's low .\nProfessor E: Mm - hmm .\nPhD D: It 's very low . You would comp if we compare it with eh the headphone .\nGrad G: Yep .\nPhD D: And I {disfmarker} I found that nnn {disfmarker} that eh , {vocalsound} ehm , pr probably ,\nGrad G: Did {disfmarker} Did you\nPhD D: I 'm not sure eh by the moment , but it 's {disfmarker} it 's probably that eh a lot of eh , {vocalsound} eh for example , in the overlapping zone , on eh {disfmarker} in {disfmarker} in several eh parts of the files where you {disfmarker} you can find eh , eh {vocalsound} eh , smooth eh eh speech eh from eh one eh eh talker in the {disfmarker} in the meeting ,\nProfessor E: Mm - hmm . Mm - hmm .\nPhD D: it 's probably in {disfmarker} in that eh {disfmarker} in {disfmarker} in those files you {disfmarker} you can not find {disfmarker} you can not process because eh it 's confused with {disfmarker} with noise .\nProfessor E: Mm - hmm .\nPhD D: And there are {vocalsound} a lot of I think . But I have to study with more detail . But eh my idea is to {disfmarker} to process only {pause} nnn , this eh {disfmarker} nnn , this kind of s of eh speech . Because I think it 's more realistic . I 'm not sure it 's a good idea , but eh {disfmarker}\nProfessor E: No {disfmarker} i\nGrad G: Well , it 's more realistic but it 'll {disfmarker} it 'll be a lot harder .\nPhD D: Yeah .\nProfessor E: Well , it 'd be hard , but on the other hand as you point out , if your {disfmarker} if i if {disfmarker} if your concern is to get uh the overlapping people {disfmarker} people 's speech , you will {disfmarker} you will get that somewhat better .\nPhD D: Mm - hmm . Yeah .\nProfessor E: Um , Are you making any use {disfmarker} uh you were {disfmarker} you were working with th the data that had already been transcribed .\nPhD D: With {disfmarker} By Jane .\nProfessor E: Does it uh {disfmarker} Yes .\nPhD D: Yeah .\nProfessor E: Now um did you make any use of that ? See I was wondering cuz we st we have these ten hours of other stuff that is not yet transcribed .\nPhD D: Yeah . Yeah .\nProfessor E: Do you {disfmarker}\nPhD D: The {disfmarker} the transcription by Jane , t eh i eh , I {disfmarker} I {disfmarker} I want to use to {disfmarker} to nnn , {vocalsound} eh to put {disfmarker} i i it 's a reference for me . But eh the transcription {disfmarker} eh for example , I {disfmarker} I don't {disfmarker} I {disfmarker} I 'm not interested in the {disfmarker} in the {disfmarker} in the words , transcription words , eh transcribed eh eh in {disfmarker} eh follow in the {disfmarker} {vocalsound} in the {disfmarker} in the speech file , but eh eh Jane eh for example eh put a mark eh at the beginning eh of each eh talker , in the {disfmarker} in the meeting , um eh she {disfmarker} she nnn includes information about the zone where eh there are eh {disfmarker} there is an overlapping zone . But eh there isn't any {disfmarker} any mark , time {disfmarker} temporal mark , to {disfmarker} to c eh {disfmarker} to mmm {vocalsound} {disfmarker} e - heh , to label {comment} the beginning and the end of the {disfmarker} of the\nProfessor E: Mm - hmm . OK . Right , so she is {disfmarker}\nPhD D: ta I 'm {disfmarker} I {disfmarker} I {disfmarker} I think eh we need this information to\nProfessor E: Right . So the twelve {disfmarker} you {disfmarker} you {disfmarker} it took you twelve hours {disfmarker} of course this included maybe some {disfmarker} some time where you were learning about what {disfmarker} what you wanted to do , but {disfmarker} but uh , it took you something like twelve hours to mark the forty - five minutes , your\nGrad G: Twelve minutes .\nPhD D: Twelve minutes .\nProfessor E: s Twelve minutes !\nPhD D: Twelve minutes . Twelve .\nProfessor E: I thought you did forty - five minutes of {disfmarker}\nPhD D: No , forty - five minutes is the {disfmarker} is the session , all the session .\nPostdoc B: Oh .\nProfessor E: Oh , you haven't done the whole session .\nPhD D: Yeah , all is the {vocalsound} the session .\nProfessor E: This is just twelve minutes .\nPhD D: Tw - twelve hours of work to {disfmarker} {vocalsound} to segment eh and label eh twelve minutes from a session of part {disfmarker} of f\nProfessor E: Oh . So {comment} let me back up again . So the {disfmarker} when you said there were three hundred speaker overlaps ,\nPhD D: Yeah .\nProfessor E: that 's in twelve minutes ?\nPhD D: No no no . I {disfmarker} I consider all the {disfmarker} all the session because eh I {disfmarker} I count the nnn {disfmarker} the nnn {disfmarker} the overlappings marked by {disfmarker} by Jane ,\nProfessor E: Oh , OK .\nPostdoc B: Oh , I see .\nPhD D: in {disfmarker} in {disfmarker} in {disfmarker} in the {pause} fin in {disfmarker} in the {pause} forty - five minutes .\nProfessor E: OK . So it 's three hundred in forty - five minutes , but you have {disfmarker} you have time uh , uh marked {disfmarker} twelve minute {disfmarker} the {disfmarker} the {disfmarker} the um overlaps in twelve minutes of it .\nPhD D: Yeah .\nProfessor E: Got it .\nPhD F: So , can I ask {disfmarker} {vocalsound} can I ask whether you found {disfmarker} uh , you know , how accurate uh Jane 's uh uh labels were as far as {disfmarker}\nGrad G: Well , not just the overlaps , everything .\nPhD F: you know , did she miss some overlaps ? or did she n ?\nPhD D: But , by {disfmarker} by the moment , I {disfmarker} I don't compare , my {disfmarker} my temporal mark with eh Jane , but eh I {disfmarker} I want to do it . Because eh eh i per perhaps I have eh errors in the {disfmarker} in the marks , I {disfmarker} and if I {disfmarker} I compare with eh Jane , it 's probably I {disfmarker} I {disfmarker} I can correct and {disfmarker} and {disfmarker} and {disfmarker} to get eh eh a more accurately eh eh transcription in the file .\nProfessor E: Yeah .\nGrad G: Well , also Jane {disfmarker} Jane was doing word level .\nPhD D: Yeah .\nProfessor E: Yeah .\nGrad G: So we weren't concerned with {comment} exactly when an overlap started and stopped .\nPhD F: Right . Right .\nPhD C: Well , not only a word level , but actually\nPhD D: Well {disfmarker}\nPhD F: I 'm expect I 'm not expecting {disfmarker}\nPhD D: No , it 's {disfmarker}\nPhD C: I mean , you didn't need to show the exact point of interruption , you just were showing at the level of the phrase or the level of the speech spurt , or {disfmarker}\nGrad G: Right .\nProfessor E: Mm - hmm .\nGrad G: Yep .\nPostdoc B: Well {disfmarker}\nPhD D: Yeah . Yeah .\nPostdoc B: Well , yeah , b yeah , I would say time bin . So my {disfmarker} my goal is to get words with reference to a time bin , {pause} beginning and end point .\nPhD C: Yeah .\nPhD D: Yeah .\nPhD C: Right .\nPhD D: Yeah .\nPostdoc B: And {disfmarker} and sometimes , you know , it was like you could have an overlap where someone said something in the middle ,\nPhD D: Yeah .\nPostdoc B: but , yeah , w it just wasn't important for our purposes to have it that {disfmarker} i disrupt that unit in order to have , you know , a the words in the order in which they were spoken , it would have {disfmarker} it would have been hard with the interface that we have .\nPhD D: Yeah .\nPostdoc B: Now , my {disfmarker} a Adam 's working on a of course , on a revised overlapping interface ,\nPhD D: Uh - huh .\nGrad G: Right .\nPhD D: I {disfmarker} I {disfmarker} I think {disfmarker} It 's {disfmarker} it 's a good eh work ,\nPostdoc B: but {disfmarker}\nPhD D: but eh I think we need eh eh more information .\nPhD F: No , of course .\nPostdoc B: Yeah .\nPhD F: I expect you to find more overlaps than {disfmarker} than Jane\nGrad G: Always need more for {disfmarker}\nPostdoc B: Yeah .\nPhD D: No , no . I {disfmarker} I have to go to {disfmarker}\nPhD F: because you 're looking at it at a much more detailed level .\nPhD D: I want eh {disfmarker} I wanted to eh compare the {disfmarker} the transcription .\nProfessor E: I have {disfmarker}\nGrad G: But if it takes sixty to one {disfmarker}\nProfessor E: Well , I but I have a suggestion about that . Um , obviously this is very , very time - consuming , and you 're finding lots of things which I 'm sure are gonna be very interesting , but in the interests of making progress , uh might I s how {disfmarker} how would it affect your time if you only marked speaker overlaps ?\nPhD D: Only .\nProfessor E: Yes .\nPhD D: Yeah .\nProfessor E: Do not mark any other events ,\nPhD D: Uh - huh .\nProfessor E: but only mark speaker {disfmarker} Do you think that would speed it up quite a bit ?\nPhD D: OK . OK . I {disfmarker} I {disfmarker} I {disfmarker} I w I {disfmarker} I wanted to {disfmarker}\nProfessor E: Do y do you think that would speed it up ? Uh , speed up your {disfmarker} your {disfmarker} your marking ?\nPhD D: nnn , I don't understand very .\nProfessor E: It took you a long time {pause} to mark twelve minutes .\nPhD D: Yeah . Oh , yeah , yeah .\nProfessor E: Now , my suggestion was for the other thirty - three {disfmarker}\nPhD D: On - only to mark {disfmarker} only to mark overlapping zone , but {disfmarker}\nProfessor E: Yeah , and my question is , if you did that , if you followed my suggestion , would it take much less time ?\nPhD D: Oh , yeah . Sure .\nProfessor E: Yeah OK .\nPhD D: Yeah sure .\nProfessor E: Then I think it 's a good idea .\nPhD D: Sure sure .\nProfessor E: Then I think it 's a good idea , because it\nPhD D: Sure , because I {disfmarker} I need a lot of time to {disfmarker} to put the label or to do that . Yeah .\nProfessor E: Yeah , I mean , we we know that there 's noise .\nGrad G: And\nPhD D: Uh - huh .\nProfessor E: There 's {disfmarker} there 's uh continual noise uh from fans and so forth , and there is uh more impulsive noise from uh taps and so forth\nPhD D: Yeah .\nProfessor E: and {disfmarker} and something in between with paper rustling . We know that all that 's there and it 's a g worthwhile thing to study , but obviously it takes a lot of time to mark all of these things .\nPhD D: Yeah .\nProfessor E: Whereas th i I would think that uh you {disfmarker} we can study more or less as a distinct phenomenon the overlapping of people talking .\nPhD D: Uh - huh . OK . OK .\nProfessor E: So . Then you can get the {disfmarker} Cuz you need {disfmarker} If it 's three hundred uh {disfmarker} i i it sounds like you probably only have fifty or sixty or seventy events right now that are really {disfmarker}\nPhD D: Yeah .\nProfessor E: And {disfmarker} and you need to have a lot more than that to have any kind of uh even visual sense of {disfmarker} of what 's going on , much less any kind of reasonable statistics .\nGrad G: Right .\nPhD C: Now , why do you need to mark speaker overlap by hand if you can infer it from the relative energy in the {disfmarker}\nGrad G: Well , that 's {disfmarker} That 's what I was gonna bring up .\nPhD C: I mean , you shouldn't need to do this p completely by hand ,\nProfessor E: Um , OK , yeah . So let 's back up because you weren't here for an earlier conversation .\nPhD C: right ? I 'm sorry .\nProfessor E: So the idea was that what he was going to be doing was experimenting with different measures such as the increase in energy , such as the energy in the LPC residuals , such as {disfmarker} I mean there 's a bunch of things {disfmarker} I mean , increased energy is - is sort of an obvious one .\nPhD C: Mm - hmm . In the far - field mike .\nProfessor E: Yeah .\nPhD C: Oh , OK .\nProfessor E: Um , and uh , it 's not obvious , I mean , you could {disfmarker} you could do the dumbest thing and get {disfmarker} get it ninety percent of the time . But when you start going past that and trying to do better , it 's not obvious what combination of features is gonna give you the {disfmarker} you know , the right detector . So the idea is to have some ground truth first . And so the i the idea of the manual marking was to say \" OK this , i you know , it 's {disfmarker} it 's really here \" .\nPhD A: But I think Liz is saying why not get it out of the transcripts ?\nPhD C: What I mean is {pause} get it from the close - talking mikes .\nProfessor E: Uh , yeah .\nPhD C: A or ge get a first pass from those ,\nProfessor E: We t we t w we t we talked about that .\nPhD C: and then go through sort of {disfmarker} It 'd be a lot faster probably to {disfmarker}\nPhD F: And you can {disfmarker}\nGrad G: Yeah , that 's his , uh {disfmarker}\nProfessor E: We {disfmarker} we {disfmarker} we talked about that . s But so it 's a bootstrapping thing and the thing is ,\nPhD C: Yeah , I just {disfmarker}\nProfessor E: the idea was , i we i i we thought it would be useful for him to look at the data anyway , and {disfmarker} and then whatever he could mark would be helpful ,\nPhD C: Right .\nProfessor E: and we could {disfmarker} Uh it 's a question of what you bootstrap from . You know , do you bootstrap from a simple measurement which is right most of the time and then you g do better , or do you bootstrap from some human being looking at it and then {disfmarker} then do your simple measurements , uh from the close - talking mike . I mean , even with the close - talking mike you 're not gonna get it right all the time .\nPhD C: Well , that 's what I wonder , because um {disfmarker} or how bad it is ,\nProfessor E: Well\nPhD C: be um , because that would be interesting\nGrad G: I 'm working on a program to do that , and {disfmarker}\nPhD C: especially because the bottleneck is the transcription . Right ? I mean , we 've got a lot more data than we have transcriptions for . We have the audio data , we have the close - talking mike ,\nProfessor E: Yeah .\nPhD C: so I mean it seems like one kind of project that 's not perfect , but {disfmarker} um , that you can get the training data for pretty quickly is , you know , if you infer form the close - talking mikes where the on - off points are of speech ,\nProfessor E: Right , we discussed that .\nPhD C: you know , how can we detect that from a far - field ?\nGrad G: And {disfmarker}\nPostdoc B: Oh .\nGrad G: I 've {disfmarker} I 've written a program to do that ,\nPhD C: OK , I 'm sorry I missed the {disfmarker}\nGrad G: and it , uh {disfmarker}\nProfessor E: It 's OK .\nGrad G: and {disfmarker} so {disfmarker} but it 's {disfmarker} it 's doing something very , very simple . It just takes a threshold , based on {disfmarker} on the volume ,\nPhD C: Uh - huh .\nPhD F: Or you can set the threshold low and then weed out the false alarms by hand .\nPhD C: Right , by hand . Yeah .\nPhD F: Yeah .\nGrad G: um , and then it does a median filter , and then it looks for runs . And , it seems to work , I 've {disfmarker} I 'm sort of fiddling with the parameters , to get it to actually generate something , and I haven't {disfmarker} I don't {disfmarker} what I 'm working on {disfmarker} was working on {disfmarker} was getting it to a form where we can import it into the user interface that we have , {pause} into Transcriber . And so {disfmarker} I told {disfmarker} I said it would take about a day . I 've worked on it for about half a day ,\nGrad H: I have to go .\nGrad G: so give me another half day and I we 'll have something we can play with .\nPhD C: OK .\nProfessor E: See , this is where we really need the Meeting Recorder query stuff to be working , because we 've had these meetings and we 've had this discussion about this , and I 'm sort of remembering a little bit about what we decided ,\nPhD C: Right . I 'm sorry . I just {disfmarker}\nProfessor E: but I couldn't remember all of it .\nPhD C: It\nProfessor E: So , I think it was partly that , you know , give somebody a chance to actually look at the data and see what these are like , partly that we have e some ground truth to compare against , you know , when {disfmarker} when he {disfmarker} he gets his thing going ,\nGrad G: But {disfmarker}\nProfessor E: uh , and {disfmarker}\nPhD C: Well , it 's definitely good to have somebody look at it . I was just thinking as a way to speed up you know , the amount of {disfmarker}\nPostdoc B: Mm - hmm .\nProfessor E: That was {disfmarker} that was exactly the notion that {disfmarker} that {disfmarker} that we discussed .\nPhD C: OK .\nGrad G: Thanks .\nPostdoc B: Another thing we discussed was um that {disfmarker}\nPhD C: It looks good .\nProfessor E: So .\nPhD C: I 'll be in touch . Thanks .\nProfessor E: S See ya . Yeah .\nPostdoc B: Was that um there m {pause} there was this already a script I believe uh that Dan had written , {comment} that uh handle bleedthrough , I mean cuz you have this {disfmarker} this close {disfmarker} you have contamination from other people who speak loudly .\nGrad G: Yeah , and I haven't tried using that . It would probably help the program that I 'm doing to first feed it through that . It 's a cross - correlation filter . So I {disfmarker} I haven't tried that , but that {disfmarker} If {disfmarker} It {disfmarker} it might be something {disfmarker} it might be a good way of cleaning it up a little .\nPostdoc B: So , some thought of maybe having {disfmarker} Yeah , having that be a preprocessor and then run it through yours .\nGrad G: Exactly . Yep .\nProfessor E: But {disfmarker} but that 's a refinement\nPostdoc B: That 's what we were discussing .\nProfessor E: and I think we wanna see {disfmarker} try the simple thing first , cuz you add this complex thing up uh afterwards that does something good y y yo you sort of wanna see what the simple thing does first .\nGrad G: Yep .\nProfessor E: But uh , having {disfmarker} having somebody have some experience , again , with {disfmarker} with uh {disfmarker} with marking it from a human standpoint , we 're {disfmarker} I mean , I don't expect Jose to {disfmarker} to do it for uh f fifty hours of {disfmarker} {comment} of speech , but I mean we {disfmarker} {comment} if uh {disfmarker} if he could speed up what he was doing by just getting the speaker overlaps so that we had it , say , for forty - five minutes , then at least we 'd have three hundred examples of it .\nPhD D: Yeah . Sure . Sure .\nProfessor E: And when {disfmarker} when uh Adam was doing his automatic thing he could then compare to that and see what it was different .\nPhD C: Oh yeah , definitely .\nPhD A: You know , I did {disfmarker} I did uh something almost identical to this at one of my previous jobs , and it works pretty well . I mean , i almost exactly what you described , an energy detector with a median filter , you look for runs . And uh , you know , you can {disfmarker}\nGrad G: It seemed like the right thing to do .\nPhD A: Yeah . I mean , you {disfmarker} you can get y I mean , you get them pretty close .\nGrad G: That was with zero literature search .\nPhD A: And so I think doing that to generate these possibilities and then going through and saying yes or no on them would be a quick way to {disfmarker} to do it .\nGrad G: That 's good validation .\nPhD A: Yeah .\nPostdoc B: Is this proprietary ?\nPhD A: Uh . {comment} No . No .\nGrad G: Yeah , do you have a patent on it ?\nPhD A: It was when I was working for the government .\nProfessor E: Oh , then everybody owns it . It 's the people .\nPostdoc B: Well , I mean , is this something that we could just co - opt , or is it {disfmarker} ?\nPhD A: Nah .\nPostdoc B: No . OK .\nProfessor E: Well , i i i he 's pretty close , anyway . I think {disfmarker} I think it 's {disfmarker}\nPhD A: Yeah , he 's {disfmarker} it {disfmarker} it doesn't take a long time .\nPostdoc B: Right . I just thought if it was tried and true , then {disfmarker} {comment} and he 's gone through additional levels of {disfmarker} of development .\nGrad G: Just output . Although if you {disfmarker} if you have some parameters like what 's a good window size for the median filter {disfmarker}\nPhD A: Oh ! {comment} I have to remember . I 'll think about it , and try to remember .\nPhD F: And it might be different for government people .\nGrad G: That 's alright .\nProfessor E: Yeah , good enough for government work , as they say .\nPhD C: They {disfmarker} they {disfmarker}\nPhD A: Di - dif different {disfmarker} different bandwidth .\nPhD F: They\nGrad G: I was doing pretty short , you know , tenth of a second , {comment} sorts of numbers .\nPhD F: OK .\nProfessor E: Uh , I don't know , it {disfmarker} if {disfmarker} if we want to uh {disfmarker} So , uh , maybe we should move on to other {disfmarker} other things in limited time .\nPostdoc B: Can I ask one question about his statistics ? So {disfmarker} so in the tw twelve minutes , um , if we took three hundred and divided it by four , which is about the length of twelve minutes , i Um , I 'd expect like there should be seventy - five overlaps .\nProfessor E: Yeah .\nPostdoc B: Did you find uh more than seventy - five overlaps in that period , or {disfmarker} ?\nPhD D: More than ?\nPostdoc B: More than {disfmarker} How many overlaps in your twelve minutes ?\nPhD D: How many ? Eh , not @ @ I Onl - only I {disfmarker} I transcribe eh only twelve minutes from the\nProfessor E: Yeah .\nPhD D: but eh I {disfmarker} I don't co eh {disfmarker} I don't count eh the {disfmarker} the overlap .\nPostdoc B: The overlaps . OK .\nPhD D: I consider I {disfmarker} I {disfmarker} The {disfmarker} the nnn {disfmarker} The {disfmarker} the three hundred is eh considered only you {disfmarker} your transcription . I have to {disfmarker} {vocalsound} to finish transcribing . So .\nGrad G: I b I bet they 're more , because the beginning of the meeting had a lot more overlaps than {disfmarker} than sort of the middle .\nPhD D: Yeah .\nGrad G: Middle or end .\nPostdoc B: I 'm not sure .\nPhD D: Yeah .\nGrad G: Because i we 're {disfmarker} we 're dealing with the {disfmarker} Uh , in the early meetings , we 're recording while we 're saying who 's talking on what microphone , {comment} and things like that ,\nPhD D: Yeah .\nGrad G: and that seems to be a lot of overlap .\nPostdoc B: I think it 's an empirical question .\nPhD D: Yeah .\nPostdoc B: I think we could find that out .\nPhD D: Yeah .\nGrad G: Yep .\nPostdoc B: I 'm {disfmarker} I 'm not sure that the beginning had more .\nProfessor E: So {disfmarker} so I was gonna ask , I guess about any {disfmarker} any other things that {disfmarker} that {disfmarker} that either of you wanted to talk about , especially since Andreas is leaving in five minutes , that {disfmarker} that you wanna go with .\nPhD C: Can I just ask about the data , like very straightforward question is where we are on the amount of data and the amount of transcribed data , just cuz I 'm {disfmarker} I wanted to get a feel for that to sort of be able to know what {disfmarker} what can be done first and like how many meetings are we recording\nProfessor E: Right so there 's this {disfmarker} this {disfmarker} There 's this forty - five minute piece that Jane transcribed .\nPhD C: and {disfmarker}\nProfessor E: That piece was then uh sent to IBM so they could transcribe so we have some comparison point . Then there 's s a larger piece that 's been recorded and uh put on CD - ROM and sent uh to IBM . Right ? And then we don't know .\nPhD C: How many meetings is that ? Like {disfmarker} how many {disfmarker}\nGrad G: What 's that ?\nProfessor E: That was about ten hours , and there was about {disfmarker}\nPhD C: t ten {disfmarker} It 's like ten meetings or something ? Uh - huh .\nGrad G: Yeah , something like that . And then {disfmarker} then we\nPhD A: Ten meetings that have been sent to IBM ?\nPhD C: And {disfmarker}\nProfessor E: Yeah .\nGrad G: Well , I haven't sent them yet because I was having this problem with the {pause} missing files .\nProfessor E: Oh . Oh , that 's right , that had {disfmarker} those have not been sent .\nPhD A: H how many total have we recorded now , altogether ?\nProfessor E: We 're saying about {pause} twelve hours .\nGrad G: About twelve {pause} by now . Twelve or thirteen .\nPhD C: Uh - huh . And we 're recording only this meeting , like continuously we 're only recording this one now ? or {disfmarker} ?\nProfessor E: No . No , so the {disfmarker} the {disfmarker} that 's the {disfmarker} that 's the biggest one {disfmarker} uh , chunk so far ,\nGrad G: Nope .\nPhD A: It was the morning one .\nPhD C: OK .\nProfessor E: but there 's at least one meeting recorded of uh the uh uh natural language guys .\nGrad G: Jerry .\nPhD C: Do they meet every week ,\nProfessor E: And then there {disfmarker}\nPhD C: or every {disfmarker}\nProfessor E: Uh , they do . w w And we talked to them about recording some more and we 're going to , uh , we 've started having a morning meeting , today uh i starting a w a week or two ago , on the uh front - end issues , and we 're recording those , uh there 's a network services and applications group here who 's agreed to have their meetings recorded ,\nPhD C: Great .\nProfessor E: and we 're gonna start recording them . They 're {disfmarker} They meet on Tuesdays . We 're gonna start recording them next week . So actually , we 're gonna h start having a {disfmarker} a pretty significant chunk and so , you know , {vocalsound} Adam 's sort of struggling with trying to get things to be less buggy , and come up quicker when they do crash and stuff {disfmarker} things like that , now that uh {disfmarker} {vocalsound} the things are starting to happen . So right now , yeah , I th I 'd say the data is predominantly meeting meetings , but there are scattered other meetings in it and that {disfmarker} that amount is gonna grow uh so that the meeting meetings will probably ultimately {disfmarker} i if we 're {disfmarker} if we collect fifty or sixty hours , the meeting meetings it will probably be , you know , twenty or thirty percent of it , not {disfmarker} not {disfmarker} not eighty or ninety . But .\nPhD C: So there 's probably {disfmarker} there 's three to four a week ,\nGrad G: That 's what we 're aiming for .\nPhD C: that we 're aiming for .\nProfessor E: Yeah .\nPhD C: And they 're each about an hour or something .\nProfessor E: Yeah , yeah .\nGrad G: Although {disfmarker} Yeah . We 'll find out tomorrow whether we can really do this or not .\nPhD C: So {disfmarker} OK .\nProfessor E: Yeah and th the {disfmarker} the other thing is I 'm not pos I 'm sort of thinking as we 've been through this a few times , that I really don't know {disfmarker} maybe you wanna do it once for the novelty , but I don't know if in general we wanna have meetings that we record from outside this group do the digits .\nGrad G: Right .\nProfessor E: Because it 's just an added bunch of weird stuff .\nPhD C: Yeah .\nProfessor E: And , you know , we {disfmarker} we h we 're highly motivated . Uh in fact , the morning group is really motivated cuz they 're working on connected digits , so it 's {disfmarker}\nGrad G: Actually that 's something I wanted to ask , is I have a bunch of scripts to help with the transcription of the digits .\nProfessor E: Yeah .\nGrad G: We don't have to hand - transcribe the digits because we 're reading them and I have those .\nPhD C: Right .\nProfessor E: Yeah .\nGrad G: And so I have some scripts that let you very quickly extract the sections of each utterance . But I haven't been ru I haven't been doing that . Um , if I did that , is someone gonna be working on it ?\nProfessor E: Uh , yeah , I {disfmarker} I think definitely s so Absolutely .\nGrad G: I mean , is it something of interest ?\nProfessor E: Yeah , whoever we have working on the acoustics for the Meeting Recorder are gonna start with that .\nGrad G: OK . I mean , I I 'm {disfmarker} I 'm interested in it , I just don't have time to do it now .\nPhD F: I was {disfmarker} these meetings {disfmarker} I 'm sure someone thought of this , but these {disfmarker} this uh reading of the numbers would be extremely helpful to do um adaptation .\nGrad G: So\nPhD F: Um .\nGrad G: Yep . Yep .\nPhD C: Actually I have o\nGrad G: I {disfmarker} I would really like someone to do adaptation .\nPhD F: Mm - hmm .\nGrad G: So if we got someone interested in that , I think it would be great for Meeting Recorder .\nProfessor E: Well {disfmarker} I mean , one of the things I wanted to do , uh , that I I talked to {disfmarker} to Don about , is one of the possible things he could do or m also , we could have someone else do it , is to do block echo cancellation ,\nGrad G: Since it 's the same people over and over .\nPhD F: Mm - hmm .\nProfessor E: to try to get rid of some of the effects of the {disfmarker} the {disfmarker} the far - field effects . Um , I mean we have {disfmarker} the party line has been that echo cancellation is not the right way to handle the situation\nPhD F: Mm - hmm .\nProfessor E: because people move around , and uh , if {disfmarker} if it 's {disfmarker} if it 's uh not a simple echo , like a cross - talk kind of echo , but it 's actually room acoustics , it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} you can't really do inversion ,\nPhD F: Mm - hmm .\nProfessor E: and even echo cancellation is going to uh be something {disfmarker} It may {disfmarker} you {disfmarker} Someone may be moving enough that you are not able to adapt quickly and so the tack that we 've taken is more \" lets come up with feature approaches and multi - stream approaches and so forth , that will be robust to it for the recognizer and not try to create a clean signal \" .\nPhD F: Mm - hmm .\nProfessor E: Uh , that 's the party line . But it occurred to me a few months ago that uh party lines are always , you know , sort of dangerous . It 's good {disfmarker} {vocalsound} good to sort of test them , actually . And so we haven't had anybody try to do a good serious job on echo cancellation and we should know how well that can do . So that 's something I 'd like somebody to do at some point , just take these digits , take the far - field mike signal , and the close uh mike signal , and apply really good echo cancellation . Um , there was a {disfmarker} have been some nice talks recently by {disfmarker} by Lucent on {disfmarker} on their b\nPhD F: Hmm .\nProfessor E: the block echo cancellation particularly appealed to me , uh you know , trying and change it sample by sample , but you have some reasonable sized blocks . {comment} And um , you know , th\nPhD A: W what is the um {disfmarker} the artifact you try to {disfmarker} you 're trying to get rid of when you do that ?\nPhD F: Ciao .\nProfessor E: Uh so it 's {disfmarker} it {disfmarker} you have a {disfmarker} a direct uh {disfmarker} Uh , what 's the difference in {disfmarker} If you were trying to construct a linear filter , that would um {disfmarker}\nPhD F: I 'm signing off .\nProfessor E: Yeah . that would subtract off {comment} the um uh parts of the signal that were the aspects of the signal that were different between the close - talk and the distant . You know , so {disfmarker} so uh um I guess in most echo cancellation {disfmarker} Yeah , so you {disfmarker} Given that um {disfmarker} Yeah , so you 're trying to {disfmarker} So you 'd {disfmarker} There 's a {disfmarker} a distance between the close and the distant mikes so there 's a time delay there , and after the time delay , there 's these various reflections . And if you figure out well what 's the {disfmarker} there 's a {disfmarker} a least squares algorithm that adjusts itself {disfmarker} adjusts the weight so that you try to subtract {disfmarker} essentially to subtract off uh different uh {disfmarker} different reflections . Right ? So let 's take the simple case where you just had {disfmarker} you had some uh some delay in a satellite connection or something and then there 's a {disfmarker} there 's an echo . It comes back . And you want to adjust this filter so that it will maximally reduce the effect of this echo .\nPhD A: So that would mean like if you were listening to the data that was recorded on one of those . Uh , just the raw data , you would {disfmarker} you might hear kind of an echo ? And {disfmarker} and then this {disfmarker} noise cancellation would get\nProfessor E: Well , I 'm {disfmarker} I 'm {disfmarker} I 'm saying {disfmarker} That 's a simplified version of what 's really happening . {comment} What 's really happening is {disfmarker} Well , when I 'm talking to you right now , you 're getting the direct sound from my speech , but you 're also getting , uh , the indirect sound that 's bounced around the room a number of times . OK ? So now , if you um try to r you {disfmarker} To completely remove the effect of that is sort of impractical for a number of technical reasons , but I {disfmarker} but {disfmarker} not to try to completely remove it , that is , invert the {disfmarker} the room response , but just to try to uh uh eliminate some of the {disfmarker} the effect of some of the echos . Um , a number of people have done this so that , say , if you 're talking to a speakerphone , uh it makes it more like it would be , if you were talking right up to it . So this is sort of the st the straight - forward approach . You say I {disfmarker} I {disfmarker} I want to use this uh {disfmarker} this item but I want to subtract off various kinds of echos . So you construct a filter , and you have this {disfmarker} this filtered version uh of the speech um gets uh uh {disfmarker} gets subtracted off from the original speech . Then you try to {disfmarker} you try to minimize the energy in some sense . And so um {disfmarker} uh with some constraints .\nPhD A: Kind of a clean up thing , that {disfmarker}\nProfessor E: It 's a clean up thing . Right .\nPhD A: OK .\nProfessor E: So , echo cancelling is {disfmarker} is , you know , commonly done in telephony , and {disfmarker} and {disfmarker} and it 's sort of the obvious thing to do in this situation if you {disfmarker} if , you know , you 're gonna be talking some distance from a mike .\nPhD A: When uh , I would have meetings with the folks in Cambridge when I was at BBN over the phone , they had a um {disfmarker} some kind of a special speaker phone and when they would first connect me , it would come on and we 'd hear all this noise . And then it was uh {disfmarker} And then it would come on and it was very clear ,\nProfessor E: Yeah .\nPhD A: you know .\nProfessor E: Right . So it 's taking samples , it 's doing adaptation , it 's adjusting weights , and then it 's getting the sum . So um , uh anyway that 's {disfmarker} that 's kind of a reasonable thing that I 'd like to have somebody try {disfmarker} somebody look {disfmarker} And {disfmarker} and the digits would be a reasonable thing to do that with . I think that 'd be enough data {disfmarker} plenty of data to do that with , and i for that sort of task you wouldn't care whether it was uh large vocabulary speech or anything . Uh . {vocalsound} Um\nPostdoc B: Is Brian Kingsbury 's work related to that , or is it a different type of reverberation ?\nProfessor E: Brian 's {comment} Kingsbury 's work is an example of what we did f f from the opposite dogma . Right ? Which is what I was calling the \" party line \" , which is that uh doing that sort of thing is not really what we want . We want something more flexible , uh i i where people might change their position , and there might be , you know {disfmarker} There 's also um oh yeah , noise . So the echo cancellation does not really allow for noise . It 's if you have a clean situation but you just have some delays , Then we 'll figure out the right {disfmarker} the right set of weights for your taps for your filter in order to produce the effect of those {disfmarker} those echos . But um if there 's noise , then the very signal that it 's looking at is corrupted so that it 's decision about what the right {disfmarker} you know , right {disfmarker} right uh {disfmarker} delays are {disfmarker} is , uh {disfmarker} is {disfmarker} right delayed signal is {disfmarker} is {disfmarker} is {disfmarker} uh is incorrect . And so , in a noisy situation , um , also in a {disfmarker} in a situation that 's very reverberant {disfmarker} {comment} with long reverberation times {comment} and really long delays , it 's {disfmarker} it 's sort of typically impractical . So for those kind of reasons , and also a {disfmarker} a c a complete inversion , if you actually {disfmarker} I mentioned that it 's kind of hard to really do the inversion of the room acoustics . Um , that 's difficult because um often times the {disfmarker} the um {disfmarker} {vocalsound} the system transfer function is such that when it 's inverted you get something that 's unstable , and so , if you {disfmarker} you do your estimate of what the system is , and then you try to invert it , you get a filter that actually uh , you know , rings , and {disfmarker} and uh goes to infinity . So it 's {disfmarker} so there 's {disfmarker} there 's {disfmarker} there 's that sort of technical reason , and the fact that things move , and there 's air currents {disfmarker} I mean there 's all sorts of {disfmarker} all sorts of reasons why it 's not really practical . So for all those kinds of reasons , uh we {disfmarker} we {disfmarker} we sort of um , concluded we didn't want to in do inversion , and we 're even pretty skeptical of echo cancellation , which isn't really inversion , and um we decided to do this approach of taking {disfmarker} uh , just picking uh features , which were {disfmarker} uh will give you more {disfmarker} something that was more stable , in the presence of , or absence of , room reverberation , and that 's what Brian was trying to do . So , um , let me just say a couple things that I was {disfmarker} I was gonna bring up . Uh . Let 's see . I guess you {disfmarker} you actually already said this thing about the uh {disfmarker} about the consent forms , which was that we now don't have to {disfmarker} So this was the human subjects folks who said this , {comment} or that {disfmarker} that {disfmarker} ?\nPostdoc B: The a apparently {disfmarker} I mean , we 're gonna do a revised form , of course . Um but once a person has signed it once , then that 's valid for a certain number of meetings . She wanted me to actually estimate how many meetings and put that on the consent form . I told her that would be a little bit difficult to say . So I think from a s practical standpoint , maybe we could have them do it once every ten meetings , or something . It won't be that many people who do it {pause} that often , but um just , you know , so long as they don't forget that they 've done it , I guess .\nProfessor E: OK . Um , back on the data thing , so there 's this sort of one hour , ten hour , a hundred hour sort of thing that {disfmarker} that we have . We have {disfmarker} we have an hour uh that {disfmarker} that is transcribed , we have {disfmarker} we have twelve hours that 's recorded but not transcribed , and at the rate we 're going , uh by the end of the semester we 'll have , I don't know , forty or fifty or something , if we {disfmarker} if this really uh {disfmarker} Well , do we have that much ?\nPhD C: Not really . It 's three to four per week .\nProfessor E: Let 's see , we have {disfmarker}\nPhD C: So that 's what {disfmarker} You know , that {disfmarker}\nProfessor E: uh eight weeks , uh is {disfmarker}\nPhD C: So that 's not a lot of hours .\nProfessor E: Eight weeks times three hours is twenty - four , so that 's {disfmarker} Yeah , so like thirty {disfmarker} thirty hours ?\nPhD A: Three {disfmarker} Three hours .\nPhD C: Yeah . I mean , is there {disfmarker} I know this sounds {pause} tough but we 've got the room set up . Um I was starting to think of some projects where you would use well , similar to what we talked about with uh energy detection on the close - talking mikes . There are a number of interesting questions that you can ask about how interactions happen in a meeting , that don't require any transcription . So what are the patterns , the energy patterns over the meeting ? And I 'm really interested in this {vocalsound} but we don't have a whole lot of data . So I was thinking , you know , we 've got the room set up and you can always think of , also for political reasons , if ICSI collected you know , two hundred hours , that looks different than forty hours , even if we don't transcribe it ourselves ,\nProfessor E: But I don't think we 're gonna stop at the end of this semester .\nPhD C: so {disfmarker}\nProfessor E: Right ? So , I th I think that if we are able to keep that up for a few months , we are gonna have more like a hundred hours .\nPhD C: I mean , is there {disfmarker} Are there any other meetings here that we can record , especially meetings that have some kind of conflict in them {comment} or some kind of deci I mean , that are less well {disfmarker} I don't {disfmarker} uh , that have some more emotional aspects to them , or strong {disfmarker}\nGrad G: We had some good ones earlier .\nPhD C: There 's laughter , um I 'm talking more about strong differences of opinion meetings , maybe with manager types , or {disfmarker}\nGrad G: I think it 's hard to record those .\nPhD C: To be allowed to record them ?\nPostdoc B: It 's also likely that people will cancel out afterwards .\nPhD C: OK .\nProfessor E: Yeah , people will get {disfmarker}\nPostdoc B: But I {disfmarker} but I wanted to raise the KPFA idea .\nPhD C: OK . Well , if there is , anyway .\nProfessor E: Yeah , I was gonna mention that .\nGrad G: Oh , that 's a good idea . That 's {disfmarker} That would be a good match .\nProfessor E: Yeah . So {disfmarker} Yeah . So I {disfmarker} I {disfmarker} uh , I {disfmarker} I 'd mentioned to Adam , and {disfmarker} that was another thing I was gonna talk {disfmarker} uh , mention to them before {disfmarker} {comment} that uh there 's uh {disfmarker} It {disfmarker} it oc it occurred to me that we might be able to get some additional data by talking to uh acquaintances in local broadcast media . Because , you know , we had talked before about the problem about using found data , {comment} that {disfmarker} that uh it 's just set up however they have it set up and we don't have any say about it and it 's typically one microphone , in a , uh , uh {disfmarker} or {disfmarker} and {disfmarker} and so it doesn't really give us the {disfmarker} the {disfmarker} the uh characteristics we want . Um and so I do think we 're gonna continue recording here and record what we can . But um , it did occur to me that we could go to friends in broadcast media and say \" hey you have this panel show , {pause} or this {disfmarker} you know , this discussion show , and um can you record multi - channel ? \" And uh they may be willing to record it uh with {disfmarker}\nPhD C: With lapel mikes or something ?\nProfessor E: Well , they probably already use lapel , but they might be able to have it {disfmarker} it wouldn't be that weird for them to have another mike that was somewhat distant .\nPhD C: Right .\nProfessor E: It wouldn't be exactly this setup , but it would be that sort of thing , and what we were gonna get from UW , you know , assuming they {disfmarker} they {disfmarker} they start recording , isn't {disfmarker} als also is not going to be this exact setup .\nPhD C: Right . No , I think that 'd be great , if we can get more data .\nProfessor E: So , {comment} I {disfmarker} I {disfmarker} I {disfmarker} I was thinking of looking into that . the other thing that occurred to me after we had that discussion , in fact , is that it 's even possible , since of course , many radio shows are not live , {comment} uh that we could invite them to have like some of their {disfmarker} {comment} record some of their shows here .\nPostdoc B: Wow !\nPhD C: Well {disfmarker} Or {disfmarker} The thing is , they 're not as averse to wearing one of these head - mount I mean , they 're on the radio ,\nGrad G: Right , as we are .\nPhD C: right ? So . {comment} Um , I think that 'd be fantastic\nProfessor E: Right .\nPhD C: cuz those kinds of panels and {disfmarker} Those have interesting\nProfessor E: Yeah .\nPhD C: Th - that 's an {disfmarker} a side of style {disfmarker} a style that we 're not collecting here , so it 'd be great .\nProfessor E: And {disfmarker} and the {disfmarker} I mean , the other side to it was the {disfmarker} what {disfmarker} which is where we were coming from {disfmarker} I 'll {disfmarker} I 'll talk to you more about it later {comment} is that {disfmarker} is that there 's {disfmarker} there 's uh the radio stations and television stations already have stuff worked out presumably , uh related to , you know , legal issues and {disfmarker} and permissions and all that . I mean , they already do what they do {disfmarker} do whatever they do . So it 's {disfmarker} uh , it 's {disfmarker} So it 's {disfmarker} so it 's another source . So I think it 's something we should look into , you know , we 'll collect what we collect here hopefully they will collect more at UW also and um {disfmarker} and maybe we have this other source . But yeah I think that it 's not unreasonable to aim at getting , you know , significantly in excess of a hundred hours . I mean , that was sort of our goal . The thing was , I was hoping that we could {disfmarker} @ @ in the {disfmarker} under this controlled situation we could at least collect , you know , thirty to fifty hours . And at the rate we 're going we 'll get pretty close to that I think this semester . And if we continue to collect some next semester , I think we should , uh {disfmarker}\nPhD C: Right . Yeah I was mostly trying to think , \" OK , if you start a project , within say a month , you know , how much data do you have to work with . And you {disfmarker} you wanna s you wanna sort of fr freeze your {disfmarker} your data for awhile so um right now {disfmarker} and we don't have the transcripts back yet from IBM right ? Do {disfmarker} Oh , do we now ?\nProfessor E: Well , we don't even have it for this f you know , forty - five minutes , that was {disfmarker}\nPhD C: So um , not complaining , I was just trying to think , you know , what kinds of projects can you do now versus uh six months from now\nProfessor E: Yeah .\nPhD C: and they 're pretty different , because\nProfessor E: Yeah . So I was thinking right now it 's sort of this exploratory stuff where you {disfmarker} you look at the data , you use some primitive measures and get a feeling for what the scatter plots look like ,\nGrad G: Right .\nPhD C: um {disfmarker} Right . Right , right .\nProfessor E: and {disfmarker} and {disfmarker} and uh {disfmarker} and meanwhile we collect , and it 's more like yeah , three months from now , or six months from now you can {disfmarker} you can do a lot of other things .\nPhD C: Cuz I 'm not actually sure , just logistically that I can spend {disfmarker} you know , I don't wanna charge the time that I have on the project too early , before there 's enough data to make good use of the time . And that 's {disfmarker} and especially with the student\nGrad G: Right .\nPhD C: uh for instance this guy who seems {disfmarker}\nProfessor E: Yeah .\nPhD C: Uh anyway , I shouldn't say too much , but um if someone came that was great and wanted to do some real work and they have to end by the end of this school year in the spring , how much data will I have to work with , with that person . And so it 's {disfmarker}\nProfessor E: i Yeah , so I would think , exploratory things now . Uh , three months from now {disfmarker} Um , I mean the transcriptions I think are a bit of an unknown cuz we haven't gotten those back yet as far as the timing , but I think as far as the collection , it doesn't seem to me l like , uh , unreasonable to say that uh in January , you know , ro roughly uh {disfmarker} which is roughly three months from now , we should have at least something like , you know , twenty - five , thirty hours .\nPhD C: And we just don't know about the transcription part of that ,\nProfessor E: So that 's {disfmarker}\nPostdoc B: Yeah , we need to {disfmarker} I think that there 's a possibility that the transcript will need to be adjusted afterwards ,\nPhD C: so . I mean , it {disfmarker}\nPostdoc B: and uh es especially since these people won't be uh used to dealing with multi - channel uh transcriptions .\nPhD C: Right .\nProfessor E: Yeah .\nPostdoc B: So I think that we 'll need to adjust some {disfmarker} And also if we wanna add things like um , well , more refined coding of overlaps , then definitely I think we should count on having an extra pass through . I wanted to ask another a a aspect of the data collection . There 'd be no reason why a person couldn't get together several uh , you know , friends , and come and argue about a topic if they wanted to , right ?\nProfessor E: If they really have something they wanna talk about as opposed to something @ @ {disfmarker} I mean , what we 're trying to stay away from was artificial constructions , but I think if it 's a real {disfmarker} Why not ? Yeah .\nPhD C: I mean , I 'm thinking , politically {disfmarker}\nGrad G: Stage some political debates .\nPostdoc B: You could do this ,\nPhD C: Well yeah ,\nPostdoc B: you know . You could .\nPhD C: or just if you 're {disfmarker} if you ha If there are meetings here that happen that we can record even if we don't {pause} um have them do the digits , {comment} or maybe have them do a shorter {pause} digit thing {comment} like if it was , you know , uh , one string of digits , or something , they 'd probably be willing to do .\nGrad G: We don't have to do the digits at all if we don't want to .\nPhD C: Then , having the data is very valuable , cuz I think it 's um politically better for us to say we have this many hours of audio data , especially with the ITR , if we put in a proposal on it . It 'll just look like ICSI 's collected a lot more audio data . Um , whether it 's transcribed or not um , is another issue , but there 's {disfmarker} there are research questions you can answer without the transcriptions , or at least that you can start to answer .\nPostdoc B: It seems like you could hold some meetings .\nGrad G: Yep .\nPostdoc B: You know , you and maybe Adam ?\nPhD C: So .\nPostdoc B: You {disfmarker} you could {disfmarker} you could maybe hold some additional meetings , if you wanted .\nPhD A: Would it help at all {disfmarker} I mean , we 're already talking about sort of two levels of detail in meetings . One is uh um without doing the digits {disfmarker} Or , I guess the full - blown one is where you do the digits , and everything , and then talk about doing it without digits , what if we had another level , just to collect data , which is without the headsets and we just did the table - mounted stuff .\nPhD C: Need the close - talking mikes .\nPhD A: You do , OK .\nPhD C: I mean , absolutely ,\nProfessor E: Yeah . Yeah .\nPhD C: yeah . I 'm really scared {disfmarker}\nGrad G: It seems like it 's a big part of this corpus is to have the close - talking mikes .\nPhD A: I see , OK .\nPhD C: Um or at least , like , me personally ? I would {disfmarker} {comment} I {disfmarker} couldn't use that data .\nProfessor E: Yeah .\nPostdoc B: I agree . And Mari also ,\nPhD C: Um .\nPostdoc B: we had {disfmarker} This came up when she she was here . That 's important .\nPhD C: So it 's a great idea ,\nProfessor E: Yeah , I {disfmarker} I {disfmarker} b By the {disfmarker} by the way , I don't think the transcriptions are actually , in the long run , such a big bottleneck .\nPhD C: and if it were true than I would just do that , but it 's not that bad {disfmarker} like the room is not the bottleneck , and we have enough time in the room , it 's getting the people to come in and put on the {disfmarker} and get the setup going .\nProfessor E: I think the issue is just that we 're {disfmarker} we 're blazing that path . Right ? And {disfmarker} and um {disfmarker} d Do you have any idea when {disfmarker} when uh the {disfmarker} you 'll be able to send uh the ten hours to them ?\nGrad G: Well , I 've been burning two C Ds a day , which is about all I can do with the time I have .\nProfessor E: Yeah . Yeah .\nGrad G: So it 'll be early next week .\nProfessor E: Yeah , OK . So early next week we send it to them , and then {disfmarker} then we check with them to see if they 've got it and we {disfmarker} we start , you know asking about the timing for it .\nGrad G: Yep .\nProfessor E: So I think once they get it sorted out about how they 're gonna do it , which I think they 're pretty well along on , cuz they were able to read the files and so on .\nGrad G: Yep .\nProfessor E: Right ?\nGrad G: Yeah , but {disfmarker}\nProfessor E: Well {disfmarker}\nGrad G: Yeah , who knows where they are .\nPhD A: Have they ever responded to you ?\nGrad G: Nope .\nProfessor E: Yeah , but {disfmarker} You know , so they {disfmarker} they {disfmarker} they have {disfmarker} you know , they 're volunteering their time and they have a lot of other things to do ,\nPhD C: What if {disfmarker}\nGrad G: Yeah , you {disfmarker} we can't complain .\nProfessor E: right ? But they {disfmarker} But at any rate , they 'll {disfmarker} I {disfmarker} I think once they get that sorted out , they 're {disfmarker} they 're making cassettes there , then they 're handing it to someone who they {disfmarker} who 's {disfmarker} who is doing it , and uh I think it 's not going to be {disfmarker} I don't think it 's going to be that much more of a deal for them to do thirty hours then to do one hour , I think . It 's not going to be thirty\nGrad G: Yep . I think that 's probably true .\nPhD C: Really ? So it 's the amount of {disfmarker}\nProfessor E: It 's {disfmarker} it 's just getting it going .\nGrad G: It 's pipeline , pipeline issues .\nPhD C: Right . What about these lunch meetings {disfmarker}\nGrad G: Once the pipeline fills .\nPhD C: I mean , I don't know , if there 's any way without too much more overhead , even if we don't ship it right away to IBM even if we just collect it here for awhile , {comment} to record you know , two or three more meeting a week , just to have the data , even if they 're um not doing the digits , but they do wear the headphones ?\nProfessor E: But the lunch meetings are pretty much one person getting up and {disfmarker}\nPhD C: No , I meant , um , sorry , the meetings where people eat their lunch downstairs , maybe they don't wanna be recorded , but {disfmarker}\nGrad G: Oh , and we 're just chatting ?\nPhD C: Just the ch the chatting .\nGrad G: Yeah , we have a lot of those .\nPhD C: I actually {disfmarker} I actually think that 's {pause} useful {pause} data , um {pause} the chatting ,\nGrad G: Yeah , the problem with that is I would {disfmarker} I think I would feel a little constrained to {disfmarker} You know ? Uh , some of the meetings {disfmarker}\nPhD C: but {disfmarker} OK . You don't wanna do it , cuz {disfmarker} OK .\nGrad G: You know , our \" soccer ball \" meeting ?\nPhD C: Alright .\nGrad G: I guess none of you were there for our soccer ball meeting .\nPhD C: Alright , {comment} so I 'll just throw it out there , if anyone knows of one more m or two more wee meetings per week that happen at ICSI , um that we could record , I think it would be worth it .\nGrad G: That was hilarious .\nProfessor E: Yeah . Well , we should also check with Mari again , because they {disfmarker} because they were really intending , you know , maybe just didn't happen , but they were really intending to be duplicating this in some level . So then that would double {pause} what we had . Uh . And there 's a lot of different meetings at UW uh {disfmarker} I mean really m a lot more {comment} than we have here right cuz we 're not right on campus ,\nGrad G: Right .\nProfessor E: so .\nPhD A: Is the uh , notion of recording any of Chuck 's meetings dead in the water , or is that still a possibility ?\nProfessor E: Uh , {vocalsound} they seem to have some problems with it . We can {disfmarker} we can talk about that later . Um , but , again , Jerry is {disfmarker} Jerry 's open {disfmarker} So I mean , we have two speech meetings , one uh network meeting , uh Jerry was open to it but I {disfmarker} I s One of the things that I think is a little {disfmarker} a little bit of a limitation , there is a think when the people are not involved uh in our work , we probably can't do it every week . You know ? I {disfmarker} I {disfmarker} I {disfmarker} I think that {disfmarker} that people are gonna feel uh {disfmarker} are gonna feel a little bit constrained . Now , it might get a little better if we don't have them do the digits all the time . And the {disfmarker} then {disfmarker} so then they can just really sort of try to {disfmarker} put the mikes on and then just charge in and {disfmarker}\nGrad G: Yep .\nPhD C: What if we give people {disfmarker} you know , we cater a lunch in exchange for them having their meeting here or something ?\nPostdoc B: Well , you know , I {disfmarker} I do think eating while you 're doing a meeting is going to be increasing the noise .\nPhD C: OK .\nPostdoc B: But I had another question , which is um , you know , in principle , w um , I know that you don't want artificial topics ,\nPhD C: Alright , alright , alright .\nPostdoc B: but um it does seem to me that we might be able to get subjects from campus to come down and do something that wouldn't be too artificial . I mean , we could {disfmarker} political discussions , or {disfmarker} or something or other ,\nPhD C: No , definitely .\nPostdoc B: and i you know , people who are {disfmarker} Because , you know , there 's also this constraint . We d it 's like , you know , the {disfmarker} the {disfmarker} uh goldibears {disfmarker} goldi goldilocks , it 's like you don't want meetings that are too large , but you don't want meetings that are too small . And um {disfmarker} a and it just seems like maybe we could exploit the subj human subject p p pool , in the positive sense of the word .\nPhD A: Well , even {disfmarker} I mean , coming down from campus is sort of a big thing , but what about\nPostdoc B: We could pay subjects .\nPhD A: or what about people in the {disfmarker} in the building ?\nPhD C: Yeah , I was thinking , there 's all these other peo\nPhD A: I mean , there 's the State of California downstairs , and {disfmarker}\nPhD C: Yeah . I mean {disfmarker}\nGrad G: I just really doubt that uh any of the State of California meetings would be recordable and then releasable to the general public .\nPostdoc B: Yeah .\nPhD A: Oh .\nPhD C: Mm - hmm .\nGrad G: So I {disfmarker} I mean I talked with some people at the Haas Business School who are i who are interested in speech recognition\nPhD C: Alright , well .\nGrad G: and , they sort of hummed and hawed and said \" well maybe we could have meetings down here \" , but then I got email from them that said \" no , we decided we 're not really interested and we don't wanna come down and hold meetings . \" So , I think it 's gonna be a problem to get people regularly .\nPhD A: What about Joachim , maybe he can {disfmarker}\nProfessor E: But {disfmarker} but we c But I think , you know , we get some scattered things from this and that . And I {disfmarker} I d I do think that maybe we can get somewhere with the {disfmarker} with the radio .\nPhD C: Mm - hmm .\nProfessor E: Uh i I have better contacts in radio than in television , but {disfmarker}\nPhD A: You could get a lot of lively discussions from those radio ones .\nPhD C: Well , and they 're already {disfmarker} they 're {disfmarker} these things are already recorded ,\nGrad G: Yep .\nProfessor E: Yeah .\nPhD C: we don't have to ask them to {disfmarker} even {disfmarker} and I 'm not sure wh how they record it , but they must record from individual {disfmarker}\nProfessor E: n Well {disfmarker} No , I 'm not talking about ones that are already recorded . I 'm talking about new ones\nPhD C: Why {disfmarker} why not ?\nProfessor E: because {disfmarker} because {disfmarker} because we would be asking them to do something different .\nPhD C: Well , we can find out . I know for instance Mark Liberman was interested uh in {disfmarker} in LDC getting {pause} data , uh , and {disfmarker}\nProfessor E: Right , that 's the found data idea .\nPhD C: Yeah .\nProfessor E: But what I 'm saying is uh if I talk to people that I know who do these th who produce these things we could ask them if they could record an extra channel , let 's say , of a distant mike .\nPhD C: Mm - hmm .\nProfessor E: And u I think routinely they would not do this . So , since I 'm interested in the distant mike stuff , I wanna make sure that there is at least that somewhere\nPhD C: Right . Great . OK .  \nProfessor E: and uh {disfmarker} But if we ask them to do that they might be intrigued enough by the idea that they uh might be e e willing to {disfmarker} the {disfmarker} I might be able to talk them into it .\nPhD C: Mm - hmm .\nGrad G: Um . We 're getting towards the end of our disk space , so we should think about trying to wrap up here .\nPhD C: That 's a good way to end a meeting .\nProfessor E: OK . Well I don't {disfmarker} why don't we {disfmarker} why d u why don't we uh uh turn them {disfmarker} turn\nGrad G: OK , leave {disfmarker} leave them on for a moment until I turn this off , cuz that 's when it crashed last time .\nPostdoc B: Oh . That 's good to know .\nProfessor E: Turning off the microphone made it crash . Well {disfmarker}\nPostdoc B: That 's good to know .\nProfessor E: OK .\n\nNow, answer the query based on the above meeting transcript in one or more sentences.\n\nQuery: What were the main discussion points of the meeting?\nAnswer:"}
{"question_id": 91, "category": "longbench_passage_count", "reference": ["14"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: The first gameplay mode is the Arcade mode, where a player controlled character encounters CPU controlled characters in a random or set order which can be entirely customized. There are also three different kinds of Team modes: Single, Simul, and Turns. A fourth mode, Tag, is listed in the EXE along with two related script controllers, but was never used. In Team mode, either side can use any of the team modes. Single is identical to not having a team, Simul gives that side a computer-controlled partner who fights simultaneously, and Turns uses a different character for each round of play, varying through a set number (usually from 2 to 4) of different characters in a row. If set, the characters' starting life will be adjusted according to the number of players on each side. If one side has two characters and the other has only one in one of the Team modes, the two characters that are on the same side will each have half their respective normal maximum life values. Pre-Win M.U.G.E.N versions of the engine could have this feature adjusted or disabled via the options screen or the config file, but due to the nature of the hack, the option has not yet been reactivated. Team Co-op is similar to Simul, except that both human players fight on the same side and at the same time.\n\nParagraph 2: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 3: The major and permanent Pennacook towns and villages were built along the major rivers, and many were on the east side of the Merrimack, ostensibly for protection from the west. Life revolved around the seasons, and spring would begin with women collecting maple sap to make maple sugar. Men would return to hunting grounds and burn their grounds to turn over nutrients in the soils for later cultivation. In late spring the rivers and creeks would swell as the great fish like salmon and shad made their way up the Merrimack. Many Pennacook villages were built just above natural waterfalls that trapped fish and made it easier to catch them in the late spring. Fiddlehead season would be followed by others still known today, like blueberry and raspberry seasons. During the summers, families would disperse to summer villages and hunting camps. Women did most of the work of building and maintaining homes as well as farming. Their main crops were varieties of maize/corn and squash, which they planted along rivers and in meadows. While they found it difficult to clear the massive old-growth trees, the Pennacook were experts at manipulating beavers to move their dams and ponds up and down creeks and brooks, thereby clearing and opening up land for farms that would be essential to the first Europeans who arrived and found cleared fields ready for cultivation. Many of these fields were scattered with the bones of the Pennacook who had recently died of smallpox or other diseases. The fall was an important hunting and nut harvesting season (butternuts, hickory nuts, black walnuts, and beech nuts were all tasty, and several southern, fire-resistant species were propagated farther north when possible). The presence of southern, fire-resistant species of nut trees like hickories and black walnuts in New Hampshire today is thanks to the Pennacook. The forests would generally be burned again in the late fall before families returned to the more permanent winter camps to wait out the long winter. In addition to being farmers, hunters, and foragers, it is important to remember that the Pennacook and the peoples of the Merrimack River Valley were also long-distance traders, and their major towns of Pennacook and Amoskeag drew people from around the region in the late spring and summers. For more, see Michael Caduto's 2004 book, A Time Before New Hampshire and the work of David Stewart-Smith.\n\nParagraph 4: During 1980, Orndorff started to split his time between the Alabama and the Mid-South territories, until he left the Alabama territory by the end of 1980 to focus entirely on the Mid-South territory. In Mid-South, Orndorff feuded with Ken Mantell over Mantell's propensity for cutting people's hair after a match. Orndorff got the better of Mantell and won the right to use the Freebird hair removal cream on Mantell. Orndorff earned a shot at the North American champion The Grappler but on the day of the match he overslept (storyline) and was incensed when his replacement Jake \"The Snake\" Roberts beat the Grappler for the title. Orndorff's reaction to Roberts's title win signaled a change in attitude; he turned heel as he demanded a title match against Roberts. While he lost the support of the fans, he won the North American title on July 4, 1981. Orndorff feuded with Ted DiBiase, JYD, Dusty Rhodes, and Dick Murdoch while holding on to the North American title. Orndorff lost the title to DiBiase on November 1, 1981, in a match at the Municipal Auditorium in New Orleans, Louisiana. Orndorff was unable to wrestle in the rematch due to car trouble, which meant that Orndorff's friend Bob Roop got the title shot and won the match. It was soon revealed that Roop had sabotaged Orndorff's car so he could get the title shot instead (storyline). Orndorff turned face to feud with Roop but found himself unable to regain the title after which he left the Mid-South Territory.\n\nParagraph 5: During his years in Boston, he formed \"Bostonian Friends\", a musical partnership with Swiss saxophonist Fritz Renold, which produced jazz recordings (\"Starlight\" 1996) and classical commissions (\"The 6 Cycles\" with the Thai Symphony Orchestra 1999, and \"Helvetic Suite\" 1998). Although having renounced the classical performing circuit for jazz, Jacob has maintained ties with the classical world through projects such as these commissioned works. Renold introduced Jacob to the Swiss Youth Jazz Orchestra, for which he was an arranger and educator throughout the 1990s. From 1992 to 1994, Jacob also served as Director in Residence of the \"Orchestre Regional Jazz de Lorraine\" in Nancy, Meurthe-et-Moselle, and composed their inaugural commission.\n\nParagraph 6: The Glacier View project was proposed after an earlier proposal by the Corps of Engineers and the Bonneville Power Administration to raise the level of Flathead Lake by increasing the height of Kerr Dam at its outlet was rejected, following local protests.  Located in a relatively unpopulated area, the Glacier View reservoir would have flooded lower Camas Creek and would have raised the level of Logging Lake by , inundating much of the winter range for the park's white-tailed deer, elk, mule deer and moose. The proposed reservoir was to extend nearly to the Canada–US border, at an estimated cost of $94,962,000. The dam was supported by Montana Representative Mike Mansfield and Flathead Valley interests, but was opposed by former Senator Burton K. Wheeler, local ranchers, the National Park Service, the Glacier Park Hotel Company, the Sierra Club, Society of American Foresters and the Audubon Society. Public hearings were held in 1948 and 1949. Turnout at the 1948 hearings at Kalispell was influenced by extensive flooding then occurring in the Flathead Valley. Exploratory drilling took place in 1944 and 1945 at Glacier View and Foolhen Hill. The project was terminated by a joint memorandum between the Secretary of the Interior and the Secretary of the Army on April 11, 1949, but Mansfield introduced an unsuccessful bill later in the year directing the Corps of Engineers to proceed with the dam, stating that the dam \"would not affect the beauty of the park in any way but would make it more beautiful by creating a large lake over ground that ... has no scenic attraction.\" The Corps of Engineers report on the project noted:  The park lands that will be inundated and required for freeboard of 5 feet above normal pool elevation amounts to , or about 1 percent of the total Glacier National Park area. This area does not lie within the rugged, glacier-covered portion of the park for which it is noted, but rather is on the western boundary line, in a little-used valley. The reservoir area is covered with lodge-pole pine, an inferior species of limited use. Other species of pine timber such as ponderosa pine, are predominate above the normal full reservoir and will not be injured by the project. Other lands inundated or required by this project are in private, State and United States Forest Service ownership and hence should be of no concern to the Park Service. Although there would be some effect on the wildlife in the area, the construction of Glacier View Reservoir would inconvenience but relatively few people as it is situated in a sparsely populated area.\n\nParagraph 7: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 8: During 1980, Orndorff started to split his time between the Alabama and the Mid-South territories, until he left the Alabama territory by the end of 1980 to focus entirely on the Mid-South territory. In Mid-South, Orndorff feuded with Ken Mantell over Mantell's propensity for cutting people's hair after a match. Orndorff got the better of Mantell and won the right to use the Freebird hair removal cream on Mantell. Orndorff earned a shot at the North American champion The Grappler but on the day of the match he overslept (storyline) and was incensed when his replacement Jake \"The Snake\" Roberts beat the Grappler for the title. Orndorff's reaction to Roberts's title win signaled a change in attitude; he turned heel as he demanded a title match against Roberts. While he lost the support of the fans, he won the North American title on July 4, 1981. Orndorff feuded with Ted DiBiase, JYD, Dusty Rhodes, and Dick Murdoch while holding on to the North American title. Orndorff lost the title to DiBiase on November 1, 1981, in a match at the Municipal Auditorium in New Orleans, Louisiana. Orndorff was unable to wrestle in the rematch due to car trouble, which meant that Orndorff's friend Bob Roop got the title shot and won the match. It was soon revealed that Roop had sabotaged Orndorff's car so he could get the title shot instead (storyline). Orndorff turned face to feud with Roop but found himself unable to regain the title after which he left the Mid-South Territory.\n\nParagraph 9: Media representatives were invited to live tapings, for instance Christine Rau of The Age, which she referred to in her March 29, 1992 article. Badler recalled a journalist interviewing her while watching the show and that \"he was so involved in trying to guess...that is almost forgot to interview me\". The main cast kept secret how many murders they committed when being interviewed by the press, however infrequently a solution was prematurely insinuated, for example The Herald-Sun revealed a rockstar's death was \"felled by heavy metal of a different kind\", referring to a tuning fork. While Ferris admitted her character had a shady past and was capable of committing murder, though refused to divulge any plots or whodunnit solutions. For the UK version, in July 1990, Judy Finnegan and Richard Madeley present on their mid-morning magazine show This Morning with a special feature on the filming of Cluedo. Sometimes the guest panelists would receive featres in the newspaper, for instance private investigator Robert Kettle in Liverpool Echo.; this newspaper also printed Cluedo grids for readers to play along with the show.Cluedo premiered on June 10 on the Nine Network's TCN and GTV television stations, WIN Television network's VTV station, and on NBN station in the Hunter Region under the banner Crawford Action Time in conjunction with Nine Network. The Sydney Morning Herald's Cockington thought the series was the next \"big gun\" for the network, which had been \"slaughtering the opposition in the 1992 ratings\". The newspaper's Robin Oliver agreed that at the time Nine was a \"strategic high-flyer\" and had used the detective series to \"build its program schedule\". McFadyen hoped viewers would get used to watching the show, in a similar way to how the board game had entered public consciousness. The show's board game origins were often referred to; People described it as \"the board game that became a series\". The show helped Nine Network comply with the Australian Broadcasting Authority's Television Program Standard which aimed to increase transmission of Australian content and first run drama programs.The Sydney Morning Herald thought Cluedo could be a huge ratings winner due to the public's fascination with murder. The Canberra Times wrote in June that \"assuming Cluedo works, ratings wise, we shouldn't really expect any major changes to the show.\" Channel Nine expected to attract around 3 million viewers.The Sun-Herald predicted the series would cause a ripple effect for Parker Brothers which distributes the board game in Australia, noting a 23% increase for the British edition when their version of the game show aired. The Sun-Herald thought that in addition to the studio audience, thousands of people would take part from their lounge rooms. By March, it was anticipated the one hour show would air on weeknights at 7:30pm. Though the series was originally expected to air in April, the 13 episodes of the first series began airing on the Nine Network on 10 June 1992. It was the third of Nine's new prime-time programs.\n\nParagraph 10: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 11: The Glacier View project was proposed after an earlier proposal by the Corps of Engineers and the Bonneville Power Administration to raise the level of Flathead Lake by increasing the height of Kerr Dam at its outlet was rejected, following local protests.  Located in a relatively unpopulated area, the Glacier View reservoir would have flooded lower Camas Creek and would have raised the level of Logging Lake by , inundating much of the winter range for the park's white-tailed deer, elk, mule deer and moose. The proposed reservoir was to extend nearly to the Canada–US border, at an estimated cost of $94,962,000. The dam was supported by Montana Representative Mike Mansfield and Flathead Valley interests, but was opposed by former Senator Burton K. Wheeler, local ranchers, the National Park Service, the Glacier Park Hotel Company, the Sierra Club, Society of American Foresters and the Audubon Society. Public hearings were held in 1948 and 1949. Turnout at the 1948 hearings at Kalispell was influenced by extensive flooding then occurring in the Flathead Valley. Exploratory drilling took place in 1944 and 1945 at Glacier View and Foolhen Hill. The project was terminated by a joint memorandum between the Secretary of the Interior and the Secretary of the Army on April 11, 1949, but Mansfield introduced an unsuccessful bill later in the year directing the Corps of Engineers to proceed with the dam, stating that the dam \"would not affect the beauty of the park in any way but would make it more beautiful by creating a large lake over ground that ... has no scenic attraction.\" The Corps of Engineers report on the project noted:  The park lands that will be inundated and required for freeboard of 5 feet above normal pool elevation amounts to , or about 1 percent of the total Glacier National Park area. This area does not lie within the rugged, glacier-covered portion of the park for which it is noted, but rather is on the western boundary line, in a little-used valley. The reservoir area is covered with lodge-pole pine, an inferior species of limited use. Other species of pine timber such as ponderosa pine, are predominate above the normal full reservoir and will not be injured by the project. Other lands inundated or required by this project are in private, State and United States Forest Service ownership and hence should be of no concern to the Park Service. Although there would be some effect on the wildlife in the area, the construction of Glacier View Reservoir would inconvenience but relatively few people as it is situated in a sparsely populated area.\n\nParagraph 12: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 13: During 1980, Orndorff started to split his time between the Alabama and the Mid-South territories, until he left the Alabama territory by the end of 1980 to focus entirely on the Mid-South territory. In Mid-South, Orndorff feuded with Ken Mantell over Mantell's propensity for cutting people's hair after a match. Orndorff got the better of Mantell and won the right to use the Freebird hair removal cream on Mantell. Orndorff earned a shot at the North American champion The Grappler but on the day of the match he overslept (storyline) and was incensed when his replacement Jake \"The Snake\" Roberts beat the Grappler for the title. Orndorff's reaction to Roberts's title win signaled a change in attitude; he turned heel as he demanded a title match against Roberts. While he lost the support of the fans, he won the North American title on July 4, 1981. Orndorff feuded with Ted DiBiase, JYD, Dusty Rhodes, and Dick Murdoch while holding on to the North American title. Orndorff lost the title to DiBiase on November 1, 1981, in a match at the Municipal Auditorium in New Orleans, Louisiana. Orndorff was unable to wrestle in the rematch due to car trouble, which meant that Orndorff's friend Bob Roop got the title shot and won the match. It was soon revealed that Roop had sabotaged Orndorff's car so he could get the title shot instead (storyline). Orndorff turned face to feud with Roop but found himself unable to regain the title after which he left the Mid-South Territory.\n\nParagraph 14: Actions at Albany and Travisville, Ky., September 29, 1861 (Company A). Operations in Wayne and Clinton Counties and at Mill Springs, Ky., November 1861. At Camp Hoskins until December. Operations about Mill Springs December 1–13. Action with Zollicoffer December 2. Moved to Somerset and duty there until January 1862. Battle of Mill Springs January 19–20. Regiment mustered in at Clio, Ky., January 1862. Moved to Louisville, Ky.; thence to Nashville, Tenn., February 11-March 2. March to Savannah, Tenn., March 20-April 8. Advance on and Siege of Corinth, Miss., April 29-May 30. Pursuit to Booneville June 1–6. Buell's Campaign in northern Alabama and middle Tennessee June to August. March to Nashville, Tenn.; thence to Louisville, Ky., in pursuit of Bragg, August 20-September 25. Pursuit of Bragg into Kentucky October 1–15. Battle of Perryville, Ky., October 8 (reserve). March to Lebanon, Ky., and duty there until April 1863. Operations against Morgan December 22, 1862, to January 2, 1863. Moved to Bowling Green, Ky., April 10. Duty there and at Russellville until August. Moved to Camp Nelson and Danville and Join Gen. Burnside. Burnside's march over Cumberland Mountains and Campaign in eastern Tennessee August 16-October 17. Occupation of Knoxville September 3. Watauga River, Blue Springs, October 10. Knoxville Campaign November 4-December 23. Siege of Knoxville November 17-December 5. Blain's Cross Roads December 15–16. At Strawberry Plains until January 1864. Regiment veteranized and moved to Louisville, Ky. Veterans on furlough until April 1. At Burnside's Point until May. March to Chattanooga, thence to Burnt Hickory, Ga., May 1–24. Burnt Hickory May 25. Battles about Dallas, New Hope Church and Allatoona Hills May 25-June 5. Raccoon Bottom June 2. Operations about Marietta and against Kennesaw Mountain June 10-July 2. Burnt Hickory June 13. Lost Mountain June 15–17. Muddy Creek June 17. Noyes Creek June 19. Cheyney's Farm June 22. Near Marietta June 23. Olley's Farm June 26–27. Assault on Kennesaw June 27. Nickajack Creek July 2–5. Chattahoochie River July 6–17. Peachtree Creek July 19–20. Siege of Atlanta July 22-August 25. Utoy Creek August 5–7. Flank movement on Jonesboro August 25–30. Battle of Jonesboro August 31-September 1. Lovejoy's Station September 2–6. Operations against Hood in northern Georgia and northern Alabama September 29-November 3. Cedar Bluff, Ala., October 27. Moved to Nashville, thence to Pulaski. Nashville Campaign November–December. Columbia, Duck River, November 24–27. Columbia Ford November 29. Battle of Franklin November 30. Battle of Nashville December 15–16. Pursuit of Hood to the Tennessee River December 17–28. At Clifton, Tenn., until January 16. Moved to Washington, D.C.; thence to Federal Point, N. C., January 16-February 9. Operations against Hoke February 12–14. Fort Anderson February 18–19. Town Creek February 19–20. Capture of Wilmington February 22. Campaign of the Carolinas March 1-April 26. Advance on Goldsboro March 6–21. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Occupation of Raleigh April 14. Bennett's House April 26. Surrender of Johnston and his army. Duty at Greensboro, N. C., until July.\n\nParagraph 15: From position AB:72... Ka1 73. Nd1 Ka2 74. Bc2 Ka1 75. Kc3 Ka2 76. Bb3+ Ka1 77. Ne3 Kb1 78. Nc2 Kc1 79. Ba2 Kd1 80. Nd4 Ke1 81. Kd3 Kf2 (position AC) 82. Bd5?White should have played this move in place of the previous move or should now continue the W manoeuvre with 82.Ne2! It looks at first as if the black king might run away with 82...Kf3 or 82...Kg2, but in either case 83.Be6 reins it in again. Playing Bd5 at this stage is six moves slower than continuing the W manoeuvre, but White can still continue to mate in the h1 corner by e.g. Ne6, Bc4 sealing the black king behind the b1–h7 diagonal and leading to Delétang's first net.82... Kg3 83. Ke3After this move, White cannot prevent the black king escaping the b1–h7 diagonal. The black king can play up the g-file to g6 and the white king has no option but to follow with opposition on the e-file to at least e5, otherwise the black king can escape to the third perimeter at f5 or f6.83... Kg4 84. Be4The black king can now escape to f6.84... Kg5 85. Kf3 Kf6 86. Kf4 Kg7 87. Kg5 Kf7 88. Kf5 Kg7 89. Bd5 Kh6 90. Ne6 Kh7 91. Kf6 Kg8 92. Nf4+ Kh8 93. Be4This wastes two moves because the knight needs three moves to reach e7 instead of one to reach g6. White should have immediately started the W manoeuvre along the h8–h1 edge, e.g. 94.Bf7 reproducing the position after White's move 77.93... Kg8 94. Nh3 Kh8 95. Ng5 Kg8 96. Nf7 Kf8 97. Bh7 Ke8 98. Bf5Quickest is to continue the W manoeuvre with Ne5, but White plans to control g8 with knight instead of bishop, which is three moves slower.98... Kf8 99. Nh6 Ke8Now 100.Be6 would seal the king behind the a2–g8 diagonal. White has time to relocate the knight to d3 reaching Delétang's first net.100. Nf7White instead abandons the idea.100... Kf8 101. Ne5 Kg8 102. Ng6On both preceding moves, playing the W manoeuvre along the h8–a8 edge would have been best.102... Kh7 103. Be6White could have reached this position in two moves after move 92.103... Kh6 104. Bg8 Kh5 105. Ne5 Kh4 106. Kf5 Kg3 107. Bc4?Missing a second chance to continue the W manoeuvre with 107.Ng4!. After White missed this opportunity, Black can now with best play stave off checkmate long enough for the 50-move draw to come into effect.\n\nParagraph 16: On March 2, Sakaguchi formed a new stable, later named Shuten-dōji, with Kudo and Masa Takanashi, based on the three's shared love of alcohol. On May 4, Shuten-dōji defeated Daisuke Sasaki, Kenny Omega and Kota Ibushi to win the KO-D 6-Man Tag Team Championship. They lost the title to Happy Motel (Antonio Honda, Konosuke Takeshita and Tetsuya Endo) in their second defense on July 13. Shuten-dōji, however, regained the title from Happy Motel just seven days later in a three-way match, which also included Team Drift (Keisuke Ishii, Shigehiro Irie and Soma Takao). They lost the title to Team Drift on August 17 at DDT's largest event of the year, Ryogoku Peter Pan 2014. On February 15, 2015, Shuten-dōji won the KO-D 6-Man Tag Team Championship for a record-tying third time, defeating previous champions Genpatsu Daio (Brahman Kei, Brahman Shu and Gorgeous Matsuno). Shuten-dōji then entered a series of matches with Team Drift, where the KO-D 6-Man Tag Team Championship changed hands between the two teams three times in six weeks with Shuten-dōji losing the title on March 1, winning it on March 21, and losing it again on April 11. On June 28, Sakaguchi defeated Konosuke Takeshita in the finals to win the 2015 King of DDT tournament. This led to Sakaguchi defeating stablemate Kudo on August 23 to win the KO-D Openweight Championship for the first time. He lost the title to Isami Kodaka on November 28. On December 11, 2016, Sakaguchi, Kudo and Takanashi defeated Damnation (Daisuke Sasaki, Mad Paulie and Tetsuya Endo) to win the KO-D 6-Man Tag Team Championship for the fifth time. On January 9, 2017, Sakaguchi and Masakatsu Funaki defeated Konosuke Takeshita and Mike Bailey to win the KO-D Tag Team Championship. On January 22, Sakaguchi, Kudo and Takanashi lost the KO-D 6-Man Tag Team Championship to Kazusada Higuchi, Kouki Iwasaki and Mizuki Watase in a three-way match, also involving Antonio Honda, Konosuke Takeshita and Trans-Am★Hiroshi. On April 29, Sakaguchi and Funaki lost the KO-D Tag Team Championship to Danshoku Dino and Yoshihiro Takayama in their third defense. On June 25, Sakaguchi, Kudo and Takanashi won the KO-D 6-Man Tag Team Championship for a record-tying sixth time by defeating NωA (Makoto Oishi, Mao and Shunma Katsumata). They were stripped of the title on October 10, when Kudo was sidelined with a concussion. Following Kudo's return, Shuten-dōji won the title for the seventh time by defeating All Out (Akito, Diego and Konosuke Takeshita) on December 10.\n\nParagraph 17: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 18: On October 13, 2000 El Oriental defeated Super Crazy to win the UWA World Welterweight Championship, his first AAA promoted championship ever. He held the title until early 2001 when he was forced to vacate the title after being injured during a match. After recovering from his injury El Oriental participated in the 2002 Rey de Reyes tournament, but was eliminated by Cibernético in the opening round. At Triplemania X he was one of six wrestlers who participated in the main event. Each of the six wrestlers bet the hair of a referee on the outcome of the match. El Oriental represented referee Hijo del Tirantes in the match, but was not involved in the finish of the match as Heavy Metal pinned Sangre Chicana. Between late 2002 and mid-2003 El Oriental suffered various injuries that kept him out of the ring for long stretches of time. At the 2003 Guerra de Titanes Cynthia Moreno, El Oriental, Mascarita Sagrada and Pimpinela Escarlata defeated Faby Apache, Gran Apache, Mini Abismo Negro and Polvo de Estrellas in a Relevos Atómicos de locura match (Spanish for \"Eight-man madness match\"), a match that featured two teams of four, each composed of a male wrestler, a female wrestler, an Exótico wrestler and a Mini-Estrella In the mid-2004 El Oriental's sister Cynthia started a storyline feud with the Apache family, primarily Faby Apache and Gran Apache that would last until 2009. On August 1, 2004 Cynthia and El Oriéntal unsuccessfully challenged for the AAA World Mixed Tag Team Championship, losing to Gran Apache and Faby Apache. The teams would subsequently clash on several occasions, with the Apaches managing to retain the mixed titles each time. In 2005 the Apaches were forced to vacate the Mixed tag team titles, after which AAA held a tournament to crown new champions. Cynthia and El Oriéntal defeated Gran Apache and Tiffany in the semi-final and then defeated Chessman and La Diabólica in a one night tournament at Verano de Escandalo to become the new AAA World Mixed Tag Team Champions. Over the next 779 days Cynthia and El Oriéntal would repeatedly defend the Mixed tag team titles, including defending them on various independent shows. Their reign would come to an end in November, 2007 when they were forced to vacate the championship when Cynthia suffered an injury and was unable to defend the titles. While Cynthia was recuperating from an injury Gran Apache and Mari Apache won the vacant title as well as turning técnicos (good guys) in the process. When Cynthia returned to the ring she and her brother turned rudo (bad guy) when they attacked Gran and Mari Apache after a successful title defense. At the 2008 Verano de Escandalo Oriental and Cynthia Apache regained the AAA World Mix Tag Team Championship from the Apaches, making them the only team to have held the title twice. The Dinastia Moreno's second reign with the tag team titles turned out to be as active as their first, in fact El Oriental once claimed they defended the titles around 150 times, although records do not support such a claim. In mid-2009 Cynthia began appearing less and less on AAA shows, leaving El Oriental free to team up with Kenzo Suzuki and Sugi San to form a trio called La Yakuza, after the Japanese Mafia. The team started out with a series of victories, but were defeated by Los Psycho Circus at the 2009 Verano de Escandalo. Following the event Sugi San left AAA and La Yakuza disbanded. In the fall of 2009 both Cynthia and El Oriéntal left AAA, losing the Mixed Tag Team title to Faby Apache and Aero Star as their last match for AAA.\n\nParagraph 19: From position AB:72... Ka1 73. Nd1 Ka2 74. Bc2 Ka1 75. Kc3 Ka2 76. Bb3+ Ka1 77. Ne3 Kb1 78. Nc2 Kc1 79. Ba2 Kd1 80. Nd4 Ke1 81. Kd3 Kf2 (position AC) 82. Bd5?White should have played this move in place of the previous move or should now continue the W manoeuvre with 82.Ne2! It looks at first as if the black king might run away with 82...Kf3 or 82...Kg2, but in either case 83.Be6 reins it in again. Playing Bd5 at this stage is six moves slower than continuing the W manoeuvre, but White can still continue to mate in the h1 corner by e.g. Ne6, Bc4 sealing the black king behind the b1–h7 diagonal and leading to Delétang's first net.82... Kg3 83. Ke3After this move, White cannot prevent the black king escaping the b1–h7 diagonal. The black king can play up the g-file to g6 and the white king has no option but to follow with opposition on the e-file to at least e5, otherwise the black king can escape to the third perimeter at f5 or f6.83... Kg4 84. Be4The black king can now escape to f6.84... Kg5 85. Kf3 Kf6 86. Kf4 Kg7 87. Kg5 Kf7 88. Kf5 Kg7 89. Bd5 Kh6 90. Ne6 Kh7 91. Kf6 Kg8 92. Nf4+ Kh8 93. Be4This wastes two moves because the knight needs three moves to reach e7 instead of one to reach g6. White should have immediately started the W manoeuvre along the h8–h1 edge, e.g. 94.Bf7 reproducing the position after White's move 77.93... Kg8 94. Nh3 Kh8 95. Ng5 Kg8 96. Nf7 Kf8 97. Bh7 Ke8 98. Bf5Quickest is to continue the W manoeuvre with Ne5, but White plans to control g8 with knight instead of bishop, which is three moves slower.98... Kf8 99. Nh6 Ke8Now 100.Be6 would seal the king behind the a2–g8 diagonal. White has time to relocate the knight to d3 reaching Delétang's first net.100. Nf7White instead abandons the idea.100... Kf8 101. Ne5 Kg8 102. Ng6On both preceding moves, playing the W manoeuvre along the h8–a8 edge would have been best.102... Kh7 103. Be6White could have reached this position in two moves after move 92.103... Kh6 104. Bg8 Kh5 105. Ne5 Kh4 106. Kf5 Kg3 107. Bc4?Missing a second chance to continue the W manoeuvre with 107.Ng4!. After White missed this opportunity, Black can now with best play stave off checkmate long enough for the 50-move draw to come into effect.\n\nParagraph 20: Media representatives were invited to live tapings, for instance Christine Rau of The Age, which she referred to in her March 29, 1992 article. Badler recalled a journalist interviewing her while watching the show and that \"he was so involved in trying to guess...that is almost forgot to interview me\". The main cast kept secret how many murders they committed when being interviewed by the press, however infrequently a solution was prematurely insinuated, for example The Herald-Sun revealed a rockstar's death was \"felled by heavy metal of a different kind\", referring to a tuning fork. While Ferris admitted her character had a shady past and was capable of committing murder, though refused to divulge any plots or whodunnit solutions. For the UK version, in July 1990, Judy Finnegan and Richard Madeley present on their mid-morning magazine show This Morning with a special feature on the filming of Cluedo. Sometimes the guest panelists would receive featres in the newspaper, for instance private investigator Robert Kettle in Liverpool Echo.; this newspaper also printed Cluedo grids for readers to play along with the show.Cluedo premiered on June 10 on the Nine Network's TCN and GTV television stations, WIN Television network's VTV station, and on NBN station in the Hunter Region under the banner Crawford Action Time in conjunction with Nine Network. The Sydney Morning Herald's Cockington thought the series was the next \"big gun\" for the network, which had been \"slaughtering the opposition in the 1992 ratings\". The newspaper's Robin Oliver agreed that at the time Nine was a \"strategic high-flyer\" and had used the detective series to \"build its program schedule\". McFadyen hoped viewers would get used to watching the show, in a similar way to how the board game had entered public consciousness. The show's board game origins were often referred to; People described it as \"the board game that became a series\". The show helped Nine Network comply with the Australian Broadcasting Authority's Television Program Standard which aimed to increase transmission of Australian content and first run drama programs.The Sydney Morning Herald thought Cluedo could be a huge ratings winner due to the public's fascination with murder. The Canberra Times wrote in June that \"assuming Cluedo works, ratings wise, we shouldn't really expect any major changes to the show.\" Channel Nine expected to attract around 3 million viewers.The Sun-Herald predicted the series would cause a ripple effect for Parker Brothers which distributes the board game in Australia, noting a 23% increase for the British edition when their version of the game show aired. The Sun-Herald thought that in addition to the studio audience, thousands of people would take part from their lounge rooms. By March, it was anticipated the one hour show would air on weeknights at 7:30pm. Though the series was originally expected to air in April, the 13 episodes of the first series began airing on the Nine Network on 10 June 1992. It was the third of Nine's new prime-time programs.\n\nParagraph 21: The major and permanent Pennacook towns and villages were built along the major rivers, and many were on the east side of the Merrimack, ostensibly for protection from the west. Life revolved around the seasons, and spring would begin with women collecting maple sap to make maple sugar. Men would return to hunting grounds and burn their grounds to turn over nutrients in the soils for later cultivation. In late spring the rivers and creeks would swell as the great fish like salmon and shad made their way up the Merrimack. Many Pennacook villages were built just above natural waterfalls that trapped fish and made it easier to catch them in the late spring. Fiddlehead season would be followed by others still known today, like blueberry and raspberry seasons. During the summers, families would disperse to summer villages and hunting camps. Women did most of the work of building and maintaining homes as well as farming. Their main crops were varieties of maize/corn and squash, which they planted along rivers and in meadows. While they found it difficult to clear the massive old-growth trees, the Pennacook were experts at manipulating beavers to move their dams and ponds up and down creeks and brooks, thereby clearing and opening up land for farms that would be essential to the first Europeans who arrived and found cleared fields ready for cultivation. Many of these fields were scattered with the bones of the Pennacook who had recently died of smallpox or other diseases. The fall was an important hunting and nut harvesting season (butternuts, hickory nuts, black walnuts, and beech nuts were all tasty, and several southern, fire-resistant species were propagated farther north when possible). The presence of southern, fire-resistant species of nut trees like hickories and black walnuts in New Hampshire today is thanks to the Pennacook. The forests would generally be burned again in the late fall before families returned to the more permanent winter camps to wait out the long winter. In addition to being farmers, hunters, and foragers, it is important to remember that the Pennacook and the peoples of the Merrimack River Valley were also long-distance traders, and their major towns of Pennacook and Amoskeag drew people from around the region in the late spring and summers. For more, see Michael Caduto's 2004 book, A Time Before New Hampshire and the work of David Stewart-Smith.\n\nParagraph 22: The first gameplay mode is the Arcade mode, where a player controlled character encounters CPU controlled characters in a random or set order which can be entirely customized. There are also three different kinds of Team modes: Single, Simul, and Turns. A fourth mode, Tag, is listed in the EXE along with two related script controllers, but was never used. In Team mode, either side can use any of the team modes. Single is identical to not having a team, Simul gives that side a computer-controlled partner who fights simultaneously, and Turns uses a different character for each round of play, varying through a set number (usually from 2 to 4) of different characters in a row. If set, the characters' starting life will be adjusted according to the number of players on each side. If one side has two characters and the other has only one in one of the Team modes, the two characters that are on the same side will each have half their respective normal maximum life values. Pre-Win M.U.G.E.N versions of the engine could have this feature adjusted or disabled via the options screen or the config file, but due to the nature of the hack, the option has not yet been reactivated. Team Co-op is similar to Simul, except that both human players fight on the same side and at the same time.\n\nParagraph 23: Zamindar Narayana Pillai (Jandhyala Gaurinatha Sastry) has two daughters Prema & Tara and both learn dance since childhood. Especially Prema is fascinated to it for which Narayana Pillai constructs a theatre and affiliates dance teachers from all over the country. Nagabhushnam (V. K. Ramasamy) is the manager of Narayana Pillai who has two sons Ramakrishnan & Radhakrishnan. Once Ramu throws Prema from the staircase when she becomes a handicap. Knowing it, enraged Narayana Pillai guns on Ramu and he falls into the river. Right now, Narayana Pillai conceals himself, ahead, entrusting his property to Nagabhushnam. Exploiting the situation, Nagabhushnam grabs the authority leaving Prema & Tara as orphans. Years roll by, Prema (Savitri), by hard work studies and also takes care of Tara. Ramu (Gemini ganesh) returns as a huge burglar by the name Krishna. At present, he recognises everyone but hides his identity, acquainted with Prema and their relationship turns into love. Thereafter, Krishna steals a necklace from Nagabhusham and presents it to Prema but unfortunately, she was caught when Krishna affirms himself as a thief. At that moment, Prema loathes him and charges to discard from her life. Meanwhile, Radhakrishnan & Tara fall for each other, being cognizant to it, Nagabhushanam warns Prema and apart Gopal. By the time, Krishna releases rescue Tara from the suicide and assures to perform her marriage with Gopal. Parallelly, Krishna determines to relieve Prema from her disability, so, he picks up the help of his friend Rathnam and to raise the fund he again makes a robbery at Nagabhusham's house. At that point in time, Nagabhusham senses him as split-up son Ramu and gives a police complaint. Until, Prema becomes normal and repents, learning regarding Krishna's daring act. On the other side, Krishna plans to couple up Radhakrishnan & Tara when to seize him Police organises dance program of Prema which she too agrees, on a condition that Nagabhuashanam should quit the case on Krishna. Here wanderer Narayana Pillai also arrives to program and Krishna in disguise. After viewing it, Krishna leaps, successfully accomplishes the marriage of Radhakrishnan & Tara and surrenders himself. Just before, everyone lands at the venue when Krishna is recognised as Ramu by the tattoo on his arm. At last, Nagabhuashanam pleads pardon from Narayana Pillai and pays back his property which he delegates to Ramu. Finally, the movie ends on a happy note with the marriage of Ramu & Prema.\n\nParagraph 24: The Glacier View project was proposed after an earlier proposal by the Corps of Engineers and the Bonneville Power Administration to raise the level of Flathead Lake by increasing the height of Kerr Dam at its outlet was rejected, following local protests.  Located in a relatively unpopulated area, the Glacier View reservoir would have flooded lower Camas Creek and would have raised the level of Logging Lake by , inundating much of the winter range for the park's white-tailed deer, elk, mule deer and moose. The proposed reservoir was to extend nearly to the Canada–US border, at an estimated cost of $94,962,000. The dam was supported by Montana Representative Mike Mansfield and Flathead Valley interests, but was opposed by former Senator Burton K. Wheeler, local ranchers, the National Park Service, the Glacier Park Hotel Company, the Sierra Club, Society of American Foresters and the Audubon Society. Public hearings were held in 1948 and 1949. Turnout at the 1948 hearings at Kalispell was influenced by extensive flooding then occurring in the Flathead Valley. Exploratory drilling took place in 1944 and 1945 at Glacier View and Foolhen Hill. The project was terminated by a joint memorandum between the Secretary of the Interior and the Secretary of the Army on April 11, 1949, but Mansfield introduced an unsuccessful bill later in the year directing the Corps of Engineers to proceed with the dam, stating that the dam \"would not affect the beauty of the park in any way but would make it more beautiful by creating a large lake over ground that ... has no scenic attraction.\" The Corps of Engineers report on the project noted:  The park lands that will be inundated and required for freeboard of 5 feet above normal pool elevation amounts to , or about 1 percent of the total Glacier National Park area. This area does not lie within the rugged, glacier-covered portion of the park for which it is noted, but rather is on the western boundary line, in a little-used valley. The reservoir area is covered with lodge-pole pine, an inferior species of limited use. Other species of pine timber such as ponderosa pine, are predominate above the normal full reservoir and will not be injured by the project. Other lands inundated or required by this project are in private, State and United States Forest Service ownership and hence should be of no concern to the Park Service. Although there would be some effect on the wildlife in the area, the construction of Glacier View Reservoir would inconvenience but relatively few people as it is situated in a sparsely populated area.\n\nParagraph 25: During his years in Boston, he formed \"Bostonian Friends\", a musical partnership with Swiss saxophonist Fritz Renold, which produced jazz recordings (\"Starlight\" 1996) and classical commissions (\"The 6 Cycles\" with the Thai Symphony Orchestra 1999, and \"Helvetic Suite\" 1998). Although having renounced the classical performing circuit for jazz, Jacob has maintained ties with the classical world through projects such as these commissioned works. Renold introduced Jacob to the Swiss Youth Jazz Orchestra, for which he was an arranger and educator throughout the 1990s. From 1992 to 1994, Jacob also served as Director in Residence of the \"Orchestre Regional Jazz de Lorraine\" in Nancy, Meurthe-et-Moselle, and composed their inaugural commission.\n\nParagraph 26: Actions at Albany and Travisville, Ky., September 29, 1861 (Company A). Operations in Wayne and Clinton Counties and at Mill Springs, Ky., November 1861. At Camp Hoskins until December. Operations about Mill Springs December 1–13. Action with Zollicoffer December 2. Moved to Somerset and duty there until January 1862. Battle of Mill Springs January 19–20. Regiment mustered in at Clio, Ky., January 1862. Moved to Louisville, Ky.; thence to Nashville, Tenn., February 11-March 2. March to Savannah, Tenn., March 20-April 8. Advance on and Siege of Corinth, Miss., April 29-May 30. Pursuit to Booneville June 1–6. Buell's Campaign in northern Alabama and middle Tennessee June to August. March to Nashville, Tenn.; thence to Louisville, Ky., in pursuit of Bragg, August 20-September 25. Pursuit of Bragg into Kentucky October 1–15. Battle of Perryville, Ky., October 8 (reserve). March to Lebanon, Ky., and duty there until April 1863. Operations against Morgan December 22, 1862, to January 2, 1863. Moved to Bowling Green, Ky., April 10. Duty there and at Russellville until August. Moved to Camp Nelson and Danville and Join Gen. Burnside. Burnside's march over Cumberland Mountains and Campaign in eastern Tennessee August 16-October 17. Occupation of Knoxville September 3. Watauga River, Blue Springs, October 10. Knoxville Campaign November 4-December 23. Siege of Knoxville November 17-December 5. Blain's Cross Roads December 15–16. At Strawberry Plains until January 1864. Regiment veteranized and moved to Louisville, Ky. Veterans on furlough until April 1. At Burnside's Point until May. March to Chattanooga, thence to Burnt Hickory, Ga., May 1–24. Burnt Hickory May 25. Battles about Dallas, New Hope Church and Allatoona Hills May 25-June 5. Raccoon Bottom June 2. Operations about Marietta and against Kennesaw Mountain June 10-July 2. Burnt Hickory June 13. Lost Mountain June 15–17. Muddy Creek June 17. Noyes Creek June 19. Cheyney's Farm June 22. Near Marietta June 23. Olley's Farm June 26–27. Assault on Kennesaw June 27. Nickajack Creek July 2–5. Chattahoochie River July 6–17. Peachtree Creek July 19–20. Siege of Atlanta July 22-August 25. Utoy Creek August 5–7. Flank movement on Jonesboro August 25–30. Battle of Jonesboro August 31-September 1. Lovejoy's Station September 2–6. Operations against Hood in northern Georgia and northern Alabama September 29-November 3. Cedar Bluff, Ala., October 27. Moved to Nashville, thence to Pulaski. Nashville Campaign November–December. Columbia, Duck River, November 24–27. Columbia Ford November 29. Battle of Franklin November 30. Battle of Nashville December 15–16. Pursuit of Hood to the Tennessee River December 17–28. At Clifton, Tenn., until January 16. Moved to Washington, D.C.; thence to Federal Point, N. C., January 16-February 9. Operations against Hoke February 12–14. Fort Anderson February 18–19. Town Creek February 19–20. Capture of Wilmington February 22. Campaign of the Carolinas March 1-April 26. Advance on Goldsboro March 6–21. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Occupation of Raleigh April 14. Bennett's House April 26. Surrender of Johnston and his army. Duty at Greensboro, N. C., until July.\n\nParagraph 27: During his years in Boston, he formed \"Bostonian Friends\", a musical partnership with Swiss saxophonist Fritz Renold, which produced jazz recordings (\"Starlight\" 1996) and classical commissions (\"The 6 Cycles\" with the Thai Symphony Orchestra 1999, and \"Helvetic Suite\" 1998). Although having renounced the classical performing circuit for jazz, Jacob has maintained ties with the classical world through projects such as these commissioned works. Renold introduced Jacob to the Swiss Youth Jazz Orchestra, for which he was an arranger and educator throughout the 1990s. From 1992 to 1994, Jacob also served as Director in Residence of the \"Orchestre Regional Jazz de Lorraine\" in Nancy, Meurthe-et-Moselle, and composed their inaugural commission.\n\nParagraph 28: Media representatives were invited to live tapings, for instance Christine Rau of The Age, which she referred to in her March 29, 1992 article. Badler recalled a journalist interviewing her while watching the show and that \"he was so involved in trying to guess...that is almost forgot to interview me\". The main cast kept secret how many murders they committed when being interviewed by the press, however infrequently a solution was prematurely insinuated, for example The Herald-Sun revealed a rockstar's death was \"felled by heavy metal of a different kind\", referring to a tuning fork. While Ferris admitted her character had a shady past and was capable of committing murder, though refused to divulge any plots or whodunnit solutions. For the UK version, in July 1990, Judy Finnegan and Richard Madeley present on their mid-morning magazine show This Morning with a special feature on the filming of Cluedo. Sometimes the guest panelists would receive featres in the newspaper, for instance private investigator Robert Kettle in Liverpool Echo.; this newspaper also printed Cluedo grids for readers to play along with the show.Cluedo premiered on June 10 on the Nine Network's TCN and GTV television stations, WIN Television network's VTV station, and on NBN station in the Hunter Region under the banner Crawford Action Time in conjunction with Nine Network. The Sydney Morning Herald's Cockington thought the series was the next \"big gun\" for the network, which had been \"slaughtering the opposition in the 1992 ratings\". The newspaper's Robin Oliver agreed that at the time Nine was a \"strategic high-flyer\" and had used the detective series to \"build its program schedule\". McFadyen hoped viewers would get used to watching the show, in a similar way to how the board game had entered public consciousness. The show's board game origins were often referred to; People described it as \"the board game that became a series\". The show helped Nine Network comply with the Australian Broadcasting Authority's Television Program Standard which aimed to increase transmission of Australian content and first run drama programs.The Sydney Morning Herald thought Cluedo could be a huge ratings winner due to the public's fascination with murder. The Canberra Times wrote in June that \"assuming Cluedo works, ratings wise, we shouldn't really expect any major changes to the show.\" Channel Nine expected to attract around 3 million viewers.The Sun-Herald predicted the series would cause a ripple effect for Parker Brothers which distributes the board game in Australia, noting a 23% increase for the British edition when their version of the game show aired. The Sun-Herald thought that in addition to the studio audience, thousands of people would take part from their lounge rooms. By March, it was anticipated the one hour show would air on weeknights at 7:30pm. Though the series was originally expected to air in April, the 13 episodes of the first series began airing on the Nine Network on 10 June 1992. It was the third of Nine's new prime-time programs.\n\nParagraph 29: From position AB:72... Ka1 73. Nd1 Ka2 74. Bc2 Ka1 75. Kc3 Ka2 76. Bb3+ Ka1 77. Ne3 Kb1 78. Nc2 Kc1 79. Ba2 Kd1 80. Nd4 Ke1 81. Kd3 Kf2 (position AC) 82. Bd5?White should have played this move in place of the previous move or should now continue the W manoeuvre with 82.Ne2! It looks at first as if the black king might run away with 82...Kf3 or 82...Kg2, but in either case 83.Be6 reins it in again. Playing Bd5 at this stage is six moves slower than continuing the W manoeuvre, but White can still continue to mate in the h1 corner by e.g. Ne6, Bc4 sealing the black king behind the b1–h7 diagonal and leading to Delétang's first net.82... Kg3 83. Ke3After this move, White cannot prevent the black king escaping the b1–h7 diagonal. The black king can play up the g-file to g6 and the white king has no option but to follow with opposition on the e-file to at least e5, otherwise the black king can escape to the third perimeter at f5 or f6.83... Kg4 84. Be4The black king can now escape to f6.84... Kg5 85. Kf3 Kf6 86. Kf4 Kg7 87. Kg5 Kf7 88. Kf5 Kg7 89. Bd5 Kh6 90. Ne6 Kh7 91. Kf6 Kg8 92. Nf4+ Kh8 93. Be4This wastes two moves because the knight needs three moves to reach e7 instead of one to reach g6. White should have immediately started the W manoeuvre along the h8–h1 edge, e.g. 94.Bf7 reproducing the position after White's move 77.93... Kg8 94. Nh3 Kh8 95. Ng5 Kg8 96. Nf7 Kf8 97. Bh7 Ke8 98. Bf5Quickest is to continue the W manoeuvre with Ne5, but White plans to control g8 with knight instead of bishop, which is three moves slower.98... Kf8 99. Nh6 Ke8Now 100.Be6 would seal the king behind the a2–g8 diagonal. White has time to relocate the knight to d3 reaching Delétang's first net.100. Nf7White instead abandons the idea.100... Kf8 101. Ne5 Kg8 102. Ng6On both preceding moves, playing the W manoeuvre along the h8–a8 edge would have been best.102... Kh7 103. Be6White could have reached this position in two moves after move 92.103... Kh6 104. Bg8 Kh5 105. Ne5 Kh4 106. Kf5 Kg3 107. Bc4?Missing a second chance to continue the W manoeuvre with 107.Ng4!. After White missed this opportunity, Black can now with best play stave off checkmate long enough for the 50-move draw to come into effect.\n\nParagraph 30: After starting a band with his children, Abraham Quintanilla, Jr. became the group's manager and began promoting it. The group recorded an album with Freddie Records in 1984, though it was never released. Abraham provided two demos to Charlie Grever, father of Bob Grever owner of Cara Records, who signed then-thirteen year old Selena to the recording label. Manny Guerra, who separated from Cara Records, started his own record label. Guerra wanted to sign Selena to his recording label in 1985. Guerra dissolved the agreement between Cara Records and Selena when it was brought to his attention. Selena recorded five LP records for Manny's GP Productions by 1988, without a contract. Abraham expressed in an interview how he forgot to sign it, and noticed how Guerra stopped asking him about the contract after Selena became more popular. At the 1989 Tejano Music Awards, Selena was approached by Rick Trevino to be the opening act after La Sombra declined the offer. Jose Behar of newly formed EMI Latin and the heads of Sony Music attended the awards ceremony and were scouting for new acts. Behar wanted to sign Selena to his label, while Sony Music was offering twice EMI's offer. Behar believed he had discovered \"the next Gloria Estefan\", which his superior called him illogical since he had only been in Texas for a week. Abraham chose EMI Latin's offer because of the potential for a crossover, and he wanted his children to be the first musicians to sign with the company. Before Selena began recording her debut album, Behar and Stephen Finfer requested a crossover album for her. The singer recorded three English-language songs for the heads of EMI's pop division. Behar and Finfer's request for a crossover album was denied and Selena was told she needed a bigger fan base to sell such an album. Behar thought EMI Records and the public did not believe that a Mexican-American woman could have \"crossover potential\" after Charles Koppelman denied the project. The company believed Selena had potential in Mexico and South American markets when they signed the singer in 1989.\n\nParagraph 31: Actions at Albany and Travisville, Ky., September 29, 1861 (Company A). Operations in Wayne and Clinton Counties and at Mill Springs, Ky., November 1861. At Camp Hoskins until December. Operations about Mill Springs December 1–13. Action with Zollicoffer December 2. Moved to Somerset and duty there until January 1862. Battle of Mill Springs January 19–20. Regiment mustered in at Clio, Ky., January 1862. Moved to Louisville, Ky.; thence to Nashville, Tenn., February 11-March 2. March to Savannah, Tenn., March 20-April 8. Advance on and Siege of Corinth, Miss., April 29-May 30. Pursuit to Booneville June 1–6. Buell's Campaign in northern Alabama and middle Tennessee June to August. March to Nashville, Tenn.; thence to Louisville, Ky., in pursuit of Bragg, August 20-September 25. Pursuit of Bragg into Kentucky October 1–15. Battle of Perryville, Ky., October 8 (reserve). March to Lebanon, Ky., and duty there until April 1863. Operations against Morgan December 22, 1862, to January 2, 1863. Moved to Bowling Green, Ky., April 10. Duty there and at Russellville until August. Moved to Camp Nelson and Danville and Join Gen. Burnside. Burnside's march over Cumberland Mountains and Campaign in eastern Tennessee August 16-October 17. Occupation of Knoxville September 3. Watauga River, Blue Springs, October 10. Knoxville Campaign November 4-December 23. Siege of Knoxville November 17-December 5. Blain's Cross Roads December 15–16. At Strawberry Plains until January 1864. Regiment veteranized and moved to Louisville, Ky. Veterans on furlough until April 1. At Burnside's Point until May. March to Chattanooga, thence to Burnt Hickory, Ga., May 1–24. Burnt Hickory May 25. Battles about Dallas, New Hope Church and Allatoona Hills May 25-June 5. Raccoon Bottom June 2. Operations about Marietta and against Kennesaw Mountain June 10-July 2. Burnt Hickory June 13. Lost Mountain June 15–17. Muddy Creek June 17. Noyes Creek June 19. Cheyney's Farm June 22. Near Marietta June 23. Olley's Farm June 26–27. Assault on Kennesaw June 27. Nickajack Creek July 2–5. Chattahoochie River July 6–17. Peachtree Creek July 19–20. Siege of Atlanta July 22-August 25. Utoy Creek August 5–7. Flank movement on Jonesboro August 25–30. Battle of Jonesboro August 31-September 1. Lovejoy's Station September 2–6. Operations against Hood in northern Georgia and northern Alabama September 29-November 3. Cedar Bluff, Ala., October 27. Moved to Nashville, thence to Pulaski. Nashville Campaign November–December. Columbia, Duck River, November 24–27. Columbia Ford November 29. Battle of Franklin November 30. Battle of Nashville December 15–16. Pursuit of Hood to the Tennessee River December 17–28. At Clifton, Tenn., until January 16. Moved to Washington, D.C.; thence to Federal Point, N. C., January 16-February 9. Operations against Hoke February 12–14. Fort Anderson February 18–19. Town Creek February 19–20. Capture of Wilmington February 22. Campaign of the Carolinas March 1-April 26. Advance on Goldsboro March 6–21. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Occupation of Raleigh April 14. Bennett's House April 26. Surrender of Johnston and his army. Duty at Greensboro, N. C., until July.\n\nParagraph 32: During his years in Boston, he formed \"Bostonian Friends\", a musical partnership with Swiss saxophonist Fritz Renold, which produced jazz recordings (\"Starlight\" 1996) and classical commissions (\"The 6 Cycles\" with the Thai Symphony Orchestra 1999, and \"Helvetic Suite\" 1998). Although having renounced the classical performing circuit for jazz, Jacob has maintained ties with the classical world through projects such as these commissioned works. Renold introduced Jacob to the Swiss Youth Jazz Orchestra, for which he was an arranger and educator throughout the 1990s. From 1992 to 1994, Jacob also served as Director in Residence of the \"Orchestre Regional Jazz de Lorraine\" in Nancy, Meurthe-et-Moselle, and composed their inaugural commission.\n\nParagraph 33: were rebellious or autonomous groups of people that were formed in several regions of Japan in the 15th-16th centuries; backed up by the power of the Jōdo Shinshū sect of Buddhism, they opposed the rule of governors or daimyō. Mainly consisting of priests, peasants, merchants and local lords who followed the sect, they sometimes associated with non-followers of the sect. They were at first organized to only a small degree; if any single person could be said to have had any influence over them it was Rennyo, the leader of the Jōdo Shinshū Hongan-ji sect at that time.  Whilst he may have used the religious fervour of the Ikkō-ikki in the defence of his temple settlements, he was also careful to distance himself from the wider social rebellion of the Ikkō movement as a whole, and from offensive violence in particular.\n\nParagraph 34: were rebellious or autonomous groups of people that were formed in several regions of Japan in the 15th-16th centuries; backed up by the power of the Jōdo Shinshū sect of Buddhism, they opposed the rule of governors or daimyō. Mainly consisting of priests, peasants, merchants and local lords who followed the sect, they sometimes associated with non-followers of the sect. They were at first organized to only a small degree; if any single person could be said to have had any influence over them it was Rennyo, the leader of the Jōdo Shinshū Hongan-ji sect at that time.  Whilst he may have used the religious fervour of the Ikkō-ikki in the defence of his temple settlements, he was also careful to distance himself from the wider social rebellion of the Ikkō movement as a whole, and from offensive violence in particular.\n\nParagraph 35: Media representatives were invited to live tapings, for instance Christine Rau of The Age, which she referred to in her March 29, 1992 article. Badler recalled a journalist interviewing her while watching the show and that \"he was so involved in trying to guess...that is almost forgot to interview me\". The main cast kept secret how many murders they committed when being interviewed by the press, however infrequently a solution was prematurely insinuated, for example The Herald-Sun revealed a rockstar's death was \"felled by heavy metal of a different kind\", referring to a tuning fork. While Ferris admitted her character had a shady past and was capable of committing murder, though refused to divulge any plots or whodunnit solutions. For the UK version, in July 1990, Judy Finnegan and Richard Madeley present on their mid-morning magazine show This Morning with a special feature on the filming of Cluedo. Sometimes the guest panelists would receive featres in the newspaper, for instance private investigator Robert Kettle in Liverpool Echo.; this newspaper also printed Cluedo grids for readers to play along with the show.Cluedo premiered on June 10 on the Nine Network's TCN and GTV television stations, WIN Television network's VTV station, and on NBN station in the Hunter Region under the banner Crawford Action Time in conjunction with Nine Network. The Sydney Morning Herald's Cockington thought the series was the next \"big gun\" for the network, which had been \"slaughtering the opposition in the 1992 ratings\". The newspaper's Robin Oliver agreed that at the time Nine was a \"strategic high-flyer\" and had used the detective series to \"build its program schedule\". McFadyen hoped viewers would get used to watching the show, in a similar way to how the board game had entered public consciousness. The show's board game origins were often referred to; People described it as \"the board game that became a series\". The show helped Nine Network comply with the Australian Broadcasting Authority's Television Program Standard which aimed to increase transmission of Australian content and first run drama programs.The Sydney Morning Herald thought Cluedo could be a huge ratings winner due to the public's fascination with murder. The Canberra Times wrote in June that \"assuming Cluedo works, ratings wise, we shouldn't really expect any major changes to the show.\" Channel Nine expected to attract around 3 million viewers.The Sun-Herald predicted the series would cause a ripple effect for Parker Brothers which distributes the board game in Australia, noting a 23% increase for the British edition when their version of the game show aired. The Sun-Herald thought that in addition to the studio audience, thousands of people would take part from their lounge rooms. By March, it was anticipated the one hour show would air on weeknights at 7:30pm. Though the series was originally expected to air in April, the 13 episodes of the first series began airing on the Nine Network on 10 June 1992. It was the third of Nine's new prime-time programs.\n\nParagraph 36: During 1980, Orndorff started to split his time between the Alabama and the Mid-South territories, until he left the Alabama territory by the end of 1980 to focus entirely on the Mid-South territory. In Mid-South, Orndorff feuded with Ken Mantell over Mantell's propensity for cutting people's hair after a match. Orndorff got the better of Mantell and won the right to use the Freebird hair removal cream on Mantell. Orndorff earned a shot at the North American champion The Grappler but on the day of the match he overslept (storyline) and was incensed when his replacement Jake \"The Snake\" Roberts beat the Grappler for the title. Orndorff's reaction to Roberts's title win signaled a change in attitude; he turned heel as he demanded a title match against Roberts. While he lost the support of the fans, he won the North American title on July 4, 1981. Orndorff feuded with Ted DiBiase, JYD, Dusty Rhodes, and Dick Murdoch while holding on to the North American title. Orndorff lost the title to DiBiase on November 1, 1981, in a match at the Municipal Auditorium in New Orleans, Louisiana. Orndorff was unable to wrestle in the rematch due to car trouble, which meant that Orndorff's friend Bob Roop got the title shot and won the match. It was soon revealed that Roop had sabotaged Orndorff's car so he could get the title shot instead (storyline). Orndorff turned face to feud with Roop but found himself unable to regain the title after which he left the Mid-South Territory.\n\nParagraph 37: were rebellious or autonomous groups of people that were formed in several regions of Japan in the 15th-16th centuries; backed up by the power of the Jōdo Shinshū sect of Buddhism, they opposed the rule of governors or daimyō. Mainly consisting of priests, peasants, merchants and local lords who followed the sect, they sometimes associated with non-followers of the sect. They were at first organized to only a small degree; if any single person could be said to have had any influence over them it was Rennyo, the leader of the Jōdo Shinshū Hongan-ji sect at that time.  Whilst he may have used the religious fervour of the Ikkō-ikki in the defence of his temple settlements, he was also careful to distance himself from the wider social rebellion of the Ikkō movement as a whole, and from offensive violence in particular.\n\nParagraph 38: Actions at Albany and Travisville, Ky., September 29, 1861 (Company A). Operations in Wayne and Clinton Counties and at Mill Springs, Ky., November 1861. At Camp Hoskins until December. Operations about Mill Springs December 1–13. Action with Zollicoffer December 2. Moved to Somerset and duty there until January 1862. Battle of Mill Springs January 19–20. Regiment mustered in at Clio, Ky., January 1862. Moved to Louisville, Ky.; thence to Nashville, Tenn., February 11-March 2. March to Savannah, Tenn., March 20-April 8. Advance on and Siege of Corinth, Miss., April 29-May 30. Pursuit to Booneville June 1–6. Buell's Campaign in northern Alabama and middle Tennessee June to August. March to Nashville, Tenn.; thence to Louisville, Ky., in pursuit of Bragg, August 20-September 25. Pursuit of Bragg into Kentucky October 1–15. Battle of Perryville, Ky., October 8 (reserve). March to Lebanon, Ky., and duty there until April 1863. Operations against Morgan December 22, 1862, to January 2, 1863. Moved to Bowling Green, Ky., April 10. Duty there and at Russellville until August. Moved to Camp Nelson and Danville and Join Gen. Burnside. Burnside's march over Cumberland Mountains and Campaign in eastern Tennessee August 16-October 17. Occupation of Knoxville September 3. Watauga River, Blue Springs, October 10. Knoxville Campaign November 4-December 23. Siege of Knoxville November 17-December 5. Blain's Cross Roads December 15–16. At Strawberry Plains until January 1864. Regiment veteranized and moved to Louisville, Ky. Veterans on furlough until April 1. At Burnside's Point until May. March to Chattanooga, thence to Burnt Hickory, Ga., May 1–24. Burnt Hickory May 25. Battles about Dallas, New Hope Church and Allatoona Hills May 25-June 5. Raccoon Bottom June 2. Operations about Marietta and against Kennesaw Mountain June 10-July 2. Burnt Hickory June 13. Lost Mountain June 15–17. Muddy Creek June 17. Noyes Creek June 19. Cheyney's Farm June 22. Near Marietta June 23. Olley's Farm June 26–27. Assault on Kennesaw June 27. Nickajack Creek July 2–5. Chattahoochie River July 6–17. Peachtree Creek July 19–20. Siege of Atlanta July 22-August 25. Utoy Creek August 5–7. Flank movement on Jonesboro August 25–30. Battle of Jonesboro August 31-September 1. Lovejoy's Station September 2–6. Operations against Hood in northern Georgia and northern Alabama September 29-November 3. Cedar Bluff, Ala., October 27. Moved to Nashville, thence to Pulaski. Nashville Campaign November–December. Columbia, Duck River, November 24–27. Columbia Ford November 29. Battle of Franklin November 30. Battle of Nashville December 15–16. Pursuit of Hood to the Tennessee River December 17–28. At Clifton, Tenn., until January 16. Moved to Washington, D.C.; thence to Federal Point, N. C., January 16-February 9. Operations against Hoke February 12–14. Fort Anderson February 18–19. Town Creek February 19–20. Capture of Wilmington February 22. Campaign of the Carolinas March 1-April 26. Advance on Goldsboro March 6–21. Occupation of Goldsboro March 21. Advance on Raleigh April 10–13. Occupation of Raleigh April 14. Bennett's House April 26. Surrender of Johnston and his army. Duty at Greensboro, N. C., until July.\n\nParagraph 39: were rebellious or autonomous groups of people that were formed in several regions of Japan in the 15th-16th centuries; backed up by the power of the Jōdo Shinshū sect of Buddhism, they opposed the rule of governors or daimyō. Mainly consisting of priests, peasants, merchants and local lords who followed the sect, they sometimes associated with non-followers of the sect. They were at first organized to only a small degree; if any single person could be said to have had any influence over them it was Rennyo, the leader of the Jōdo Shinshū Hongan-ji sect at that time.  Whilst he may have used the religious fervour of the Ikkō-ikki in the defence of his temple settlements, he was also careful to distance himself from the wider social rebellion of the Ikkō movement as a whole, and from offensive violence in particular.\n\nParagraph 40: During his years in Boston, he formed \"Bostonian Friends\", a musical partnership with Swiss saxophonist Fritz Renold, which produced jazz recordings (\"Starlight\" 1996) and classical commissions (\"The 6 Cycles\" with the Thai Symphony Orchestra 1999, and \"Helvetic Suite\" 1998). Although having renounced the classical performing circuit for jazz, Jacob has maintained ties with the classical world through projects such as these commissioned works. Renold introduced Jacob to the Swiss Youth Jazz Orchestra, for which he was an arranger and educator throughout the 1990s. From 1992 to 1994, Jacob also served as Director in Residence of the \"Orchestre Regional Jazz de Lorraine\" in Nancy, Meurthe-et-Moselle, and composed their inaugural commission.\n\nParagraph 41: After starting a band with his children, Abraham Quintanilla, Jr. became the group's manager and began promoting it. The group recorded an album with Freddie Records in 1984, though it was never released. Abraham provided two demos to Charlie Grever, father of Bob Grever owner of Cara Records, who signed then-thirteen year old Selena to the recording label. Manny Guerra, who separated from Cara Records, started his own record label. Guerra wanted to sign Selena to his recording label in 1985. Guerra dissolved the agreement between Cara Records and Selena when it was brought to his attention. Selena recorded five LP records for Manny's GP Productions by 1988, without a contract. Abraham expressed in an interview how he forgot to sign it, and noticed how Guerra stopped asking him about the contract after Selena became more popular. At the 1989 Tejano Music Awards, Selena was approached by Rick Trevino to be the opening act after La Sombra declined the offer. Jose Behar of newly formed EMI Latin and the heads of Sony Music attended the awards ceremony and were scouting for new acts. Behar wanted to sign Selena to his label, while Sony Music was offering twice EMI's offer. Behar believed he had discovered \"the next Gloria Estefan\", which his superior called him illogical since he had only been in Texas for a week. Abraham chose EMI Latin's offer because of the potential for a crossover, and he wanted his children to be the first musicians to sign with the company. Before Selena began recording her debut album, Behar and Stephen Finfer requested a crossover album for her. The singer recorded three English-language songs for the heads of EMI's pop division. Behar and Finfer's request for a crossover album was denied and Selena was told she needed a bigger fan base to sell such an album. Behar thought EMI Records and the public did not believe that a Mexican-American woman could have \"crossover potential\" after Charles Koppelman denied the project. The company believed Selena had potential in Mexico and South American markets when they signed the singer in 1989.\n\nParagraph 42: Media representatives were invited to live tapings, for instance Christine Rau of The Age, which she referred to in her March 29, 1992 article. Badler recalled a journalist interviewing her while watching the show and that \"he was so involved in trying to guess...that is almost forgot to interview me\". The main cast kept secret how many murders they committed when being interviewed by the press, however infrequently a solution was prematurely insinuated, for example The Herald-Sun revealed a rockstar's death was \"felled by heavy metal of a different kind\", referring to a tuning fork. While Ferris admitted her character had a shady past and was capable of committing murder, though refused to divulge any plots or whodunnit solutions. For the UK version, in July 1990, Judy Finnegan and Richard Madeley present on their mid-morning magazine show This Morning with a special feature on the filming of Cluedo. Sometimes the guest panelists would receive featres in the newspaper, for instance private investigator Robert Kettle in Liverpool Echo.; this newspaper also printed Cluedo grids for readers to play along with the show.Cluedo premiered on June 10 on the Nine Network's TCN and GTV television stations, WIN Television network's VTV station, and on NBN station in the Hunter Region under the banner Crawford Action Time in conjunction with Nine Network. The Sydney Morning Herald's Cockington thought the series was the next \"big gun\" for the network, which had been \"slaughtering the opposition in the 1992 ratings\". The newspaper's Robin Oliver agreed that at the time Nine was a \"strategic high-flyer\" and had used the detective series to \"build its program schedule\". McFadyen hoped viewers would get used to watching the show, in a similar way to how the board game had entered public consciousness. The show's board game origins were often referred to; People described it as \"the board game that became a series\". The show helped Nine Network comply with the Australian Broadcasting Authority's Television Program Standard which aimed to increase transmission of Australian content and first run drama programs.The Sydney Morning Herald thought Cluedo could be a huge ratings winner due to the public's fascination with murder. The Canberra Times wrote in June that \"assuming Cluedo works, ratings wise, we shouldn't really expect any major changes to the show.\" Channel Nine expected to attract around 3 million viewers.The Sun-Herald predicted the series would cause a ripple effect for Parker Brothers which distributes the board game in Australia, noting a 23% increase for the British edition when their version of the game show aired. The Sun-Herald thought that in addition to the studio audience, thousands of people would take part from their lounge rooms. By March, it was anticipated the one hour show would air on weeknights at 7:30pm. Though the series was originally expected to air in April, the 13 episodes of the first series began airing on the Nine Network on 10 June 1992. It was the third of Nine's new prime-time programs.\n\nParagraph 43: The major and permanent Pennacook towns and villages were built along the major rivers, and many were on the east side of the Merrimack, ostensibly for protection from the west. Life revolved around the seasons, and spring would begin with women collecting maple sap to make maple sugar. Men would return to hunting grounds and burn their grounds to turn over nutrients in the soils for later cultivation. In late spring the rivers and creeks would swell as the great fish like salmon and shad made their way up the Merrimack. Many Pennacook villages were built just above natural waterfalls that trapped fish and made it easier to catch them in the late spring. Fiddlehead season would be followed by others still known today, like blueberry and raspberry seasons. During the summers, families would disperse to summer villages and hunting camps. Women did most of the work of building and maintaining homes as well as farming. Their main crops were varieties of maize/corn and squash, which they planted along rivers and in meadows. While they found it difficult to clear the massive old-growth trees, the Pennacook were experts at manipulating beavers to move their dams and ponds up and down creeks and brooks, thereby clearing and opening up land for farms that would be essential to the first Europeans who arrived and found cleared fields ready for cultivation. Many of these fields were scattered with the bones of the Pennacook who had recently died of smallpox or other diseases. The fall was an important hunting and nut harvesting season (butternuts, hickory nuts, black walnuts, and beech nuts were all tasty, and several southern, fire-resistant species were propagated farther north when possible). The presence of southern, fire-resistant species of nut trees like hickories and black walnuts in New Hampshire today is thanks to the Pennacook. The forests would generally be burned again in the late fall before families returned to the more permanent winter camps to wait out the long winter. In addition to being farmers, hunters, and foragers, it is important to remember that the Pennacook and the peoples of the Merrimack River Valley were also long-distance traders, and their major towns of Pennacook and Amoskeag drew people from around the region in the late spring and summers. For more, see Michael Caduto's 2004 book, A Time Before New Hampshire and the work of David Stewart-Smith.\n\nParagraph 44: Speaking at the first Gatwick Airport Consultative Committee (Gatcom) meeting since GIP's takeover of the airport (held on 28 January 2010 at Crawley's Arora Hotel), Gatwick's chairman Sir David Rowlands ruled out building a second runway for the foreseeable future, citing the high cost of the associated planning application – estimated to be between £100 million and £200 million – as the main reason for the new owners' lack of interest. At that meeting, Gatwick chief executive Stewart Wingate stressed GIP's preference for increasing the existing runway's capacity and confirmed GIP's plans to request an increase in the current limit on the permitted number of take-offs and landings. However, in 2012, Gatwick's new owners reversed their initial lack of interest in building a second runway at the airport for the foreseeable future. On 3 December 2012, chief executive Stewart Wingate argued in front of the House of Commons Transport Select Committee that allowing Gatwick to add a second runway to relieve the growing airport capacity shortage in the South East of England once the agreement with West Sussex County Council preventing it from doing so had expired in 2019 served the interests of the 12 million people living in its catchment area better than building a third runway at Heathrow or a new four-runway hub airport in the Thames Estuary. In support of his argument, Wingate stated that expanding Heathrow or building a new hub in the Thames Estuary was more environmentally damaging, more expensive, less practical and risked negating the benefits of ending common ownership of Gatwick, Heathrow and Stansted by the erstwhile BAA. Wingate contrasted this with the greater range of flights and improved connectivity including to hitherto un-/underserved emerging markets that would result from a second runway at Gatwick by the mid-2020s as this would enable it to compete with Heathrow on an equal footing to increase consumer choice and reduce fares. In this context, Wingate also accused his counterpart at Heathrow, Colin Matthews, of overstating the importance of transfer traffic by pointing to research by the International Air Transport Association (IATA). This counts the number of air travel bookings made by passengers passing through the IATA-designated London area airports and shows that only 7% of these passengers actually change flights there. Wingate believes this to be a more accurate measure of the share of passengers accounted for by transfer traffic at these airports than the more widely used alternative based on survey data collated by the Civil Aviation Authority (CAA). The CAA survey data relies on the number of passengers changing flights at these airports as reported by the airlines to the airport authorities and shows that fewer than 20% of all passengers actually change flights there.\n\nParagraph 45: From position AB:72... Ka1 73. Nd1 Ka2 74. Bc2 Ka1 75. Kc3 Ka2 76. Bb3+ Ka1 77. Ne3 Kb1 78. Nc2 Kc1 79. Ba2 Kd1 80. Nd4 Ke1 81. Kd3 Kf2 (position AC) 82. Bd5?White should have played this move in place of the previous move or should now continue the W manoeuvre with 82.Ne2! It looks at first as if the black king might run away with 82...Kf3 or 82...Kg2, but in either case 83.Be6 reins it in again. Playing Bd5 at this stage is six moves slower than continuing the W manoeuvre, but White can still continue to mate in the h1 corner by e.g. Ne6, Bc4 sealing the black king behind the b1–h7 diagonal and leading to Delétang's first net.82... Kg3 83. Ke3After this move, White cannot prevent the black king escaping the b1–h7 diagonal. The black king can play up the g-file to g6 and the white king has no option but to follow with opposition on the e-file to at least e5, otherwise the black king can escape to the third perimeter at f5 or f6.83... Kg4 84. Be4The black king can now escape to f6.84... Kg5 85. Kf3 Kf6 86. Kf4 Kg7 87. Kg5 Kf7 88. Kf5 Kg7 89. Bd5 Kh6 90. Ne6 Kh7 91. Kf6 Kg8 92. Nf4+ Kh8 93. Be4This wastes two moves because the knight needs three moves to reach e7 instead of one to reach g6. White should have immediately started the W manoeuvre along the h8–h1 edge, e.g. 94.Bf7 reproducing the position after White's move 77.93... Kg8 94. Nh3 Kh8 95. Ng5 Kg8 96. Nf7 Kf8 97. Bh7 Ke8 98. Bf5Quickest is to continue the W manoeuvre with Ne5, but White plans to control g8 with knight instead of bishop, which is three moves slower.98... Kf8 99. Nh6 Ke8Now 100.Be6 would seal the king behind the a2–g8 diagonal. White has time to relocate the knight to d3 reaching Delétang's first net.100. Nf7White instead abandons the idea.100... Kf8 101. Ne5 Kg8 102. Ng6On both preceding moves, playing the W manoeuvre along the h8–a8 edge would have been best.102... Kh7 103. Be6White could have reached this position in two moves after move 92.103... Kh6 104. Bg8 Kh5 105. Ne5 Kh4 106. Kf5 Kg3 107. Bc4?Missing a second chance to continue the W manoeuvre with 107.Ng4!. After White missed this opportunity, Black can now with best play stave off checkmate long enough for the 50-move draw to come into effect.\n\nParagraph 46: The first gameplay mode is the Arcade mode, where a player controlled character encounters CPU controlled characters in a random or set order which can be entirely customized. There are also three different kinds of Team modes: Single, Simul, and Turns. A fourth mode, Tag, is listed in the EXE along with two related script controllers, but was never used. In Team mode, either side can use any of the team modes. Single is identical to not having a team, Simul gives that side a computer-controlled partner who fights simultaneously, and Turns uses a different character for each round of play, varying through a set number (usually from 2 to 4) of different characters in a row. If set, the characters' starting life will be adjusted according to the number of players on each side. If one side has two characters and the other has only one in one of the Team modes, the two characters that are on the same side will each have half their respective normal maximum life values. Pre-Win M.U.G.E.N versions of the engine could have this feature adjusted or disabled via the options screen or the config file, but due to the nature of the hack, the option has not yet been reactivated. Team Co-op is similar to Simul, except that both human players fight on the same side and at the same time.\n\nParagraph 47: During 1980, Orndorff started to split his time between the Alabama and the Mid-South territories, until he left the Alabama territory by the end of 1980 to focus entirely on the Mid-South territory. In Mid-South, Orndorff feuded with Ken Mantell over Mantell's propensity for cutting people's hair after a match. Orndorff got the better of Mantell and won the right to use the Freebird hair removal cream on Mantell. Orndorff earned a shot at the North American champion The Grappler but on the day of the match he overslept (storyline) and was incensed when his replacement Jake \"The Snake\" Roberts beat the Grappler for the title. Orndorff's reaction to Roberts's title win signaled a change in attitude; he turned heel as he demanded a title match against Roberts. While he lost the support of the fans, he won the North American title on July 4, 1981. Orndorff feuded with Ted DiBiase, JYD, Dusty Rhodes, and Dick Murdoch while holding on to the North American title. Orndorff lost the title to DiBiase on November 1, 1981, in a match at the Municipal Auditorium in New Orleans, Louisiana. Orndorff was unable to wrestle in the rematch due to car trouble, which meant that Orndorff's friend Bob Roop got the title shot and won the match. It was soon revealed that Roop had sabotaged Orndorff's car so he could get the title shot instead (storyline). Orndorff turned face to feud with Roop but found himself unable to regain the title after which he left the Mid-South Territory.\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 92, "category": "longbench_qmsum", "reference": ["To save time, speaker mn005 will only mark the sample of transcribed data for regions of overlapping speech, as opposed to marking all acoustic events. The digits extraction task will be delegated to whomever is working on acoustics for the Meeting Recorder project."], "prompt": "You are given a meeting transcript and a query containing a question or instruction. Answer the query in one or more sentences.\n\nTranscript:\nProfessor E: So . OK . Doesn't look like it crashed . That 's great .\nGrad G: So I think maybe what 's causing it to crash is I keep starting it and then stopping it to see if it 's working . And so I think starting it and then stopping it and starting it again causes it to crash . So , I won't do that anymore .\nPostdoc B: And it looks like you 've found a way of uh mapping the location to the {disfmarker} without having people have to give their names each time ?\nPhD A: Sounds like an initialization thing .\nPostdoc B: I mean it 's like you have the {disfmarker} So you know that {disfmarker}\nGrad G: No .\nPostdoc B: I mean , are you going to write down {pause} that I sat here ?\nGrad G: I 'm gonna collect the digit forms and write it down .\nPostdoc B: OK .\nPhD C: Oh , OK .\nGrad G: So {disfmarker} So they should be right with what 's on the digit forms . OK , so I 'll go ahead and start with digits . u And I should say that uh , you just pau you just read each line an and then pause briefly .\nProfessor E: And start by giving the transcript number .\nPhD A: Tran\nPhD D: Transcript {disfmarker} Uh . OK , OK .\nPhD A: Oh sorry , go ahead .\nProfessor E: So uh , you see , Don , the unbridled excitement of the work that we have on this project .\nGrad H: OK .\nProfessor E: It 's just uh {disfmarker}\nGrad H: Umh .\nProfessor E: Uh , you know , it doesn't seem like a bad idea to have {comment} that information .\nGrad G: And I 'm surprised I sort of {disfmarker} I 'm surprised I forgot that ,\nProfessor E: Yeah , I {disfmarker} I 'd {disfmarker} I think it 's some\nGrad G: but uh I think that would be a good thing to add . After I just printed out a zillion of them .\nProfessor E: Yeah , well , that 's {disfmarker} Um , so I {disfmarker} I do have a {disfmarker} a an agenda suggestion . Uh , we {disfmarker} I think the things that we talk about in this meeting uh tend to be a mixture of uh procedural uh mundane things and uh research points and um I was thinking I think it was a meeting a couple of weeks ago that we {disfmarker} we spent much of the time talking about the mundane stuff cuz that 's easier to get out of the way and then we sort of drifted into the research and maybe five minutes into that Andreas had to leave . So {vocalsound} uh I 'm suggesting we turn it around and {disfmarker} and uh sort of we have {disfmarker} anybody has some mundane points that we could send an email later , uh hold them for a bit , and let 's talk about the {disfmarker} the research - y kind of things . Um , so um the one th one thing I know that we have on that is uh we had talked a {disfmarker} a couple weeks before um uh about the uh {disfmarker} the stuff you were doing with {disfmarker} with uh um uh l l attempting to locate events , we had a little go around trying to figure out what you meant by \" events \" but I think , you know , what we had meant by \" events \" I guess was uh points of overlap between speakers . But I th I gather from our discussion a little earlier today that you also mean uh interruptions with something else\nPhD D: Yeah .\nProfessor E: like some other noise .\nPhD D: Uh - huh . Yeah .\nProfessor E: Yes ? You mean that as an event also .\nPhD D: To\nProfessor E: So at any rate you were {disfmarker} you 've {disfmarker} you 've done some work on that\nPhD D: right .\nProfessor E: and um then the other thing would be it might be nice to have a preliminary discussion of some of the other uh research uh areas that uh we 're thinking about doing . Um , I think especially since you {disfmarker} you haven't been in {disfmarker} in these meetings for a little bit , maybe you have some discussion of some of the p the plausible things to look at now that we 're starting to get data , uh and one of the things I know that also came up uh is some discussions that {disfmarker} that uh {disfmarker} that uh Jane had with Lokendra uh about some {disfmarker} some {disfmarker} some um uh work about I {disfmarker} I {disfmarker} I d I {disfmarker} I don't want to try to say cuz I {disfmarker} I 'll say it wrong , but anyway some {disfmarker} some potential collaboration there about {disfmarker} about the {disfmarker} about the {disfmarker} working with these data .\nPhD C: Oh . Sure .\nProfessor E: So . So , uh .\nGrad G: You wanna just go around ?\nProfessor E: Uh . {pause} Well , I don't know if we {disfmarker} if this is sort of like everybody has something to contribute sort of thing , I think there 's just just a couple {disfmarker} a couple people primarily um but um Uh , wh why don't {disfmarker} Actually I think that {disfmarker} that last one I just said we could do fairly quickly so why don't you {disfmarker} you start with that .\nPostdoc B: OK . Shall I {disfmarker} shall I just start ? OK .\nProfessor E: Yeah , just explain what it was .\nPostdoc B: Um , so , uh , he was interested in the question of {disfmarker} you know , relating to his {disfmarker} to the research he presented recently , um of inference structures , and uh , the need to build in , um , this {disfmarker} this sort of uh mechanism for understanding of language . And he gave the example in his talk about how {pause} um , e a I 'm remembering it just off the top of my head right now , but it 's something about how um , i \" Joe slipped \" you know , \" John had washed the floor \" or something like that . And I don't have it quite right , but that kind of thing , where you have to draw the inference that , OK , there 's this time sequence , but also the {disfmarker} the {disfmarker} the causal aspects of the uh floor and {disfmarker} and how it might have been the cause of the fall and that um it was the other person who fell than the one who cleaned it and it {disfmarker} {comment} These sorts of things . So , I looked through the transcript that we have so far , {comment} and um , fou identified a couple different types of things of that type and um , one of them was something like uh , during the course of the transcript , um um , w we had gone through the part where everyone said which channel they were on and which device they were on , and um , the question was raised \" Well , should we restart the recording at this point ? \" And {disfmarker} and Dan Ellis said , \" Well , we 're just so far ahead of the game right now {pause} we really don't need to \" . Now , how would you interpret that without a lot of inference ? So , the inferences that are involved are things like , OK , so , how do you interpret \" ahead of the game \" ? You know . So it 's the {disfmarker} it 's {pause} i What you {disfmarker} what you int what you draw {disfmarker} you know , the conclusions that you need to draw are that space is involved in recording ,\nGrad G: Hmm , metaphorically .\nPostdoc B: that um , i that {pause} i we have enough space , and he continues , like \" we 're so ahead of the game cuz now we have built - in downsampling \" . So you have to sort of get the idea that um , \" ahead of the game \" is sp speaking with respect to space limitations , that um that in fact downsampling is gaining us enough space , and that therefore we can keep the recording we 've done so far . But there are a lot of different things like that .\nGrad G: So , do you think his interest is in using this as {pause} a data source , or {pause} training material , or what ?\nProfessor E: Well , I {disfmarker} I should maybe interject to say this started off with a discussion that I had with him , so um we were trying to think of ways that his interests could interact with ours\nGrad G: Mm - hmm .\nProfessor E: and um uh I thought that if we were going to project into the future when we had a lot of data , uh and um such things might be useful for that in or before we invested too much uh effort into that he should uh , with Jane 's help , look into some of the data that we 're {disfmarker} already have and see , is there anything to this at all ?\nGrad G: Mm - hmm .\nProfessor E: Is there any point which you think that , you know , you could gain some advantage and some potential use for it . Cuz it could be that you 'd look through it and you say \" well , this is just the wrong {pause} task for {disfmarker} for him to pursue his {disfmarker} \"\nGrad G: Wrong , yeah .\nProfessor E: And {disfmarker} and uh I got the impression from your mail that in fact there was enough things like this just in the little sample that {disfmarker} that you looked at that {disfmarker} that it 's plausible at least .\nPostdoc B: It 's possible . Uh , he was {disfmarker} he {disfmarker} he {disfmarker} you know {disfmarker} We met and he was gonna go and uh you know , y look through them more systematically\nProfessor E: Yeah .\nPostdoc B: and then uh meet again .\nProfessor E: Yeah .\nPostdoc B: So it 's , you know , not a matter of a {disfmarker}\nProfessor E: Yeah .\nPostdoc B: But , yeah , I think {disfmarker} I think it was optimistic .\nProfessor E: So anyway , that 's {disfmarker} that 's e a quite different thing from anything we 've talked about that , you know , might {disfmarker} might {disfmarker} might come out from some of this .\nPhD C: But he can use text , basically . I mean , he 's talking about just using text\nPostdoc B: That 's his major {disfmarker} I mentioned several that w had to do with implications drawn from intonational contours\nPhD C: pretty much , or {disfmarker} ?\nPostdoc B: and {pause} that wasn't as directly relevant to what he 's doing . He 's interested in these {disfmarker} these knowledge structures ,\nPhD C: OK .\nPhD D: Yeah , interesting .\nPostdoc B: inferences that you draw {pause} i from {disfmarker}\nProfessor E: I mean , he certainly could use text , but we were in fact looking to see if there {disfmarker} is there {disfmarker} is there something in common between our interest in meetings and his interest in {disfmarker} in {disfmarker} in this stuff . So .\nGrad G: And I imagine that transcripts of speech {disfmarker} I mean text that is speech {disfmarker} probably has more of those than sort of prepared writing . I {disfmarker} I don't know whether it would or not , but it seems like it would .\nProfessor E: I don't know , probably de probably depends on what the prepared writing was . But .\nPostdoc B: Yeah , I don't think I would make that leap , because i in narratives , you know {disfmarker} I mean , if you spell out everything in a narrative , it can be really tedious ,\nGrad G: Mm - hmm .\nPostdoc B: so .\nGrad G: Yeah , I 'm just thinking , you know , when you 're {disfmarker} when you 're face to face , you have a lot of backchannel and {disfmarker} And {disfmarker}\nPostdoc B: Oh . That aspect .\nGrad G: Yeah . And so I think it 's just easier to do that sort of broad inference jumping if it 's face to face . I mean , so , if I just read that Dan was saying \" we 're ahead of the game \" {comment} in that {disfmarker} in that context ,\nPostdoc B: Well {disfmarker} Yeah .\nGrad G: I might not realize that he was talking about disk space as opposed to anything else .\nPostdoc B: I {disfmarker} you know , I {disfmarker} I had several that had to do with backchannels and this wasn't one of them .\nGrad G: Uh - huh .\nPostdoc B: This {disfmarker} this one really does um m make you leap from {disfmarker} So he said , you know , \" we 're ahead of the game , w we have built - in downsampling \" .\nGrad G: Mm - hmm .\nPostdoc B: And the inference , i if you had it written down , would be {disfmarker}\nGrad G: I guess it would be the same .\nPostdoc B: Uh - huh . But there are others that have backchannelling , it 's just he was less interested in those .\nPhD F: Can I {disfmarker} Sorry to interrupt . Um , I f f f I 've {disfmarker} @ @ {comment} d A minute {disfmarker} uh , several minutes ago , I , like , briefly was {disfmarker} was not listening and {disfmarker} So who is \" he \" in this context ?\nPhD C: Yeah , there 's a lot of pronoun {disfmarker}\nPhD F: OK . So I was just realizing we 've {disfmarker} You guys have been talking about \" he \" um for at least uh , I don't know , three {disfmarker} three four minutes without ever mentioning the person 's name again .\nPhD C: I believe it . Yeah . Actually to make it worse , {comment} uh , Morgan uses \" you \" and \" you \"\nPhD F: So this is {disfmarker} this is {disfmarker} this is {disfmarker} gonna be a big , big problem if you want to later do uh , you know , indexing , or speech understanding of any sort .\nGrad G: It 's in my notes .\nPhD C: with gaze and no identification , or {disfmarker} I just wrote this down . Yeah , actually . Cuz Morgan will say well , \" you had some ideas \"\nPhD D: Yeah .\nPhD F: You just wrote this ?\nPhD C: and he never said Li - He looked {disfmarker}\nGrad G: Well , I think he 's doing that intentionally ,\nPhD C: Right , so it 's great .\nGrad G: aren't you ?\nPhD C: So this is really great\nPhD F: Right .\nPhD C: because the thing is , because he 's looking at the per even for addressees in the conversation ,\nPhD D: Yeah .\nPhD F: Mm - hmm .\nPhD C: I bet you could pick that up in the acoustics . Just because your gaze is also correlated with the directionality of your voice .\nProfessor E: Uh - huh . Could be .\nPostdoc B: Can we\nProfessor E: Yeah . That would be tou\nGrad G: Oh , that would be interesting .\nPhD C: Yeah , so that , I mean , to even know um when {disfmarker}\nPhD D: Yeah .\nPhD C: Yeah , if you have the P Z Ms you should be able to pick up what a person is looking at from their voice .\nGrad G: Well , especially with Morgan , with the way we have the microphones arranged . I 'm sort of right on axis and it would be very hard to tell .\nPhD C: Right .\nGrad G: Uh .\nPostdoc B: Oh , but you 'd have the {disfmarker}\nPhD C: Put Morgan always like this\nPostdoc B: You 'd have fainter {disfmarker}\nPhD C: and {disfmarker}\nPostdoc B: Wouldn't you get fainter reception out here ?\nProfessor E: Well , these {disfmarker}\nGrad G: Sure , but I think if I 'm talking like this ? Right now I 'm looking at Jane and talking , now I 'm looking at Chuck and talking , I don't think the microphones would pick up that difference .\nPhD C: But you don't have this {disfmarker} this problem .\nPostdoc B: I see .\nPhD C: Morgan is the one who does this most .\nGrad G: So if I 'm talking at you , or I 'm talking at you .\nProfessor E: I probably been affect No , I th I think I 've been affected by too many conversations where we were talking about lawyers and talking about {disfmarker} and concerns about \" oh gee is somebody going to say something bad ? \" and so on .\nGrad G: Lawyers .\nProfessor E: And so I {disfmarker} so I 'm {disfmarker} I 'm tending to stay away from people 's names even though uh {disfmarker}\nPostdoc B: I am too .\nPhD C: Even though you could pick up later on , just from the acoustics who you were t who you were looking at .\nPostdoc B: I am too .\nGrad G: And we did mention who \" he \" was .\nPhD C: Yeah .\nProfessor E: Yeah .\nPhD F: Right , but I missed it .\nGrad G: Early in the conversation .\nPhD F: But {disfmarker} it was uh {disfmarker}\nPhD C: Yeah , yeah .\nProfessor E: Yeah .\nGrad G: Do {disfmarker} Sh - Can I say\nProfessor E: Yeah . No no , there 's {disfmarker}\nPhD F: Yeah .\nGrad G: or {disfmarker} or is that just too sensitive ?\nProfessor E: No no , it isn't sensitive at all .\nPostdoc B: Well {disfmarker}\nProfessor E: I was just {disfmarker} I was just {disfmarker} I was overreacting just because we 've been talking about it .\nPostdoc B: And in fact , it is {disfmarker} it is {disfmarker} it is sensitive .\nPhD C: No , but that {disfmarker} it 's interesting .\nProfessor E: It 's OK to {disfmarker}\nPostdoc B: I {disfmarker} I came up with something from the Human Subjects people that I wanted to mention . I mean , it fits into the m area of the mundane , but they did say {disfmarker} You know , I asked her very specifically about this clause of how , um , you know , it says \" no individuals will be identified uh , \" in any publication using the data . \" OK , well , individuals being identified , let 's say you have a {disfmarker} a snippet that says , \" Joe s uh thinks such - and - such about {disfmarker} about this field , but I think he 's wrongheaded . \" Now I mean , we 're {disfmarker} we 're gonna be careful not to have the \" wrongheaded \" part in there , but {disfmarker} but you know , let 's say we say , you know , \" Joe used to think so - and - so about this area , in his publication he says that but I think he 's changed his mind . \" or whatever . Then the issue of {disfmarker} of being able to trace Joe , because we know he 's well - known in this field , and all this and {disfmarker} and tie it to the speaker , whose name was just mentioned a moment ago , can be sensitive .\nProfessor E: b But I {disfmarker}\nPostdoc B: So I think it 's really {disfmarker} really kind of adaptive and wise to not mention names any more than we have to because if there 's a slanderous aspect to it , then how much to we wanna be able to have to remove ?\nProfessor E: Yeah , well , there 's that . But I {disfmarker} I mean I think also to some extent it 's just educating the Human Subjects people , in a way , because there 's {disfmarker} If uh {disfmarker} You know , there 's court transcripts , there 's {disfmarker} there 's transcripts of radio shows {disfmarker} I mean people say people 's names all the time . So I think it {disfmarker} it can't be bad to say people 's names . It 's just that {disfmarker} i I mean you 're right that there 's more poten If we never say anybody 's name , then there 's no chance of {disfmarker} of {disfmarker} of slandering anybody ,\nPhD C: But , then it won't {disfmarker} I mean , if we {disfmarker} if we {disfmarker}\nProfessor E: but {disfmarker}\nGrad G: It 's not a meeting .\nPhD C: Yeah . I mean we should do whatever 's natural in a meeting if {disfmarker} if we weren't being recorded .\nProfessor E: Yeah . Right , so I {disfmarker} So my behavior is probably not natural .\nPhD C: \" If Person X {disfmarker} \"\nProfessor E: So .\nPostdoc B: Well , my feeling on it was that it wasn't really important who said it , you know .\nProfessor E: Yeah .\nPhD F: Well , if you ha since you have to um go over the transcripts later anyway , you could make it one of the jobs of the {pause} people who do that to mark\nGrad G: Well , we t we t we talked about this during the anon anonymization .\nPhD F: Right .\nGrad G: If we wanna go through and extract from the audio and the written every time someone says a name . And I thought that our conclusion was that we didn't want to do that .\nProfessor E: Yeah , we really can't . But a actually , I 'm sorry . I really would like to push {disfmarker} finish this off .\nPostdoc B: I understand . No I just {disfmarker} I just was suggesting that it 's not a bad policy p potentially .\nProfessor E: So it 's {disfmarker}\nPostdoc B: So , we need to talk about this later .\nProfessor E: Yeah , I di I didn't intend it an a policy though .\nPostdoc B: Uh - huh .\nProfessor E: It was {disfmarker} it was just it was just unconscious {disfmarker} well , semi - conscious behavior . I sorta knew I was doing it but it was {disfmarker}\nPhD F: Well , I still don't know who \" he \" is .\nProfessor E: I {disfmarker} I do I don't remember who \" he \" is .\nPhD C: No , you have to say , you still don't know who \" he \" is , with that prosody .\nProfessor E: Ah . Uh , we were talking about Dan at one point {comment} and we were talking about Lokendra at another point .\nPostdoc B: Yeah , depends on which one you mean .\nProfessor E: And I don't {disfmarker} I don't remember which {disfmarker} which part .\nPhD F: Oh .\nPhD C: It 's ambiguous , so it 's OK .\nProfessor E: Uh , I think {disfmarker}\nGrad G: Well , the inference structures was Lokendra .\nPhD F: But no . The inference stuff was {disfmarker} was {disfmarker} was Lokendra .\nProfessor E: Yeah . Yeah . Yeah .\nPhD F: OK . That makes sense , yeah .\nPhD C: And the downsampling must have been Dan .\nProfessor E: Um {disfmarker}\nGrad G: Yeah .\nProfessor E: Good {disfmarker} Yeah .\nPhD C: It 's an inference .\nProfessor E: Yeah , you could do all these inferences , yeah .\nGrad G: Yeah .\nProfessor E: Yeah . Um , I {disfmarker} I would like to move it into {disfmarker} into uh what Jose uh has been doing\nPostdoc B: Yeah .\nProfessor E: because he 's actually been doing something .\nPhD D: Uh - huh . OK .\nProfessor E: So . {vocalsound} Right .\nPhD F: As opposed to the rest of us .\nPhD D: Well - {comment} {vocalsound} OK . I {disfmarker} I remind that me {disfmarker} my first objective eh , in the project is to {disfmarker} to study difference parameters to {disfmarker} to find a {disfmarker} a good solution to detect eh , the overlapping zone in eh speech recorded . But eh , {vocalsound} tsk , {comment} {vocalsound} ehhh {comment} In that way {comment} I {disfmarker} {vocalsound} I {disfmarker} {vocalsound} I begin to {disfmarker} to study and to analyze the ehn {disfmarker} the recorded speech eh the different session to {disfmarker} to find and to locate and to mark eh the {disfmarker} the different overlapping zone . And eh so eh I was eh {disfmarker} I am transcribing the {disfmarker} the first session and I {disfmarker} I have found eh , eh one thousand acoustic events , eh besides the overlapping zones , eh I {disfmarker} I {disfmarker} I mean the eh breaths eh aspiration eh , eh , talk eh , eh , clap , eh {disfmarker} {comment} I don't know what is the different names eh you use to {disfmarker} to name the {disfmarker} the {pause} n speech\nPhD A: Nonspeech sounds ?\nPhD D: Yeah .\nGrad G: Oh , I don't think we 've been doing it at that level of detail . So .\nPhD D: Yeah . Eh , {vocalsound} I {disfmarker} I {disfmarker} I do I don't need to {disfmarker} to {disfmarker} to mmm {vocalsound} {disfmarker} to m to label the {disfmarker} the different acoustic , but I prefer because eh I would like to {disfmarker} to study if eh , I {disfmarker} I will find eh , eh , a good eh parameters eh to detect overlapping I would like to {disfmarker} to {disfmarker} to test these parameters eh with the {disfmarker} another eh , eh acoustic events , to nnn {disfmarker} {vocalsound} to eh {disfmarker} to find what is the ehm {disfmarker} the false {disfmarker} eh , the false eh hypothesis eh , nnn , which eh are produced when we use the {disfmarker} the ehm {disfmarker} this eh parameter {disfmarker} eh I mean pitch eh , eh , difference eh , feature {disfmarker}\nGrad G: Mm - hmm .\nPhD A: You know {disfmarker} I think some of these um that are the nonspeech overlapping events may be difficult even for humans to tell that there 's two there .\nGrad G: So it was {disfmarker}\nPhD D: Yeah .\nPhD A: I mean , if it 's a tapping sound , you wouldn't necessarily {disfmarker} or , you know , something like that , it 'd be {disfmarker} it might be hard to know that it was two separate events .\nPhD D: Yeah . Yeah . Yeah . Yeah .\nGrad G: Well {disfmarker} You weren't talking about just overlaps\nPhD D: Ye\nGrad G: were you ? You were just talking about acoustic events .\nPhD D: I {disfmarker} I {disfmarker} I {disfmarker} I t I t I talk eh about eh acoustic events in general ,\nGrad G: Someone starts , someone stops {disfmarker} Yeah .\nPhD A: Oh .\nPhD D: but eh my {disfmarker} my objective eh will be eh to study eh overlapping zone .\nGrad G: Mm - hmm .\nPhD D: Eh ? {comment} n Eh in twelve minutes I found eh , eh one thousand acoustic events .\nProfessor E: How many overlaps were there uh in it ? No no , how many of them were the overlaps of speech , though ?\nPhD D: How many ? Eh almost eh three hundred eh in one session\nGrad G: Oh , God !\nPhD D: in five {disfmarker} eh in forty - five minutes .\nPhD A: Three hundred overlapping speech {disfmarker}\nPhD D: Alm - Three hundred overlapping zone .\nGrad G: Ugh .\nPhD C: Overlapping speech .\nPhD D: With the overlapping zone , overlapping speech {disfmarker} speech what eh different duration .\nPhD A: Mm - hmm .\nProfessor E: Sure .\nPostdoc B: Does this {disfmarker} ? So if you had an overlap involving three people , how many times was that counted ?\nPhD D: Yeah , three people , two people . Eh , um I would like to consider eh one people with difference noise eh in the background , be\nProfessor E: No no , but I think what she 's asking is {pause} if at some particular for some particular stretch you had three people talking , instead of two , did you call that one event ?\nPhD D: Oh . Oh . Yeah . I consider one event eh for th for that eh for all the zone . This {disfmarker} th I {disfmarker} I {disfmarker} I con I consider {disfmarker} I consider eh an acoustic event , the overlapping zone , the period where three speaker or eh {disfmarker} are talking together .\nGrad G: Well {disfmarker} So let 's {disfmarker}\nPostdoc B: For\nGrad G: So let 's say me and Jane are talking at the same time , and then Liz starts talking also over all of us . How many events would that be ?\nPhD D: So - I don't understand .\nGrad G: So , two people are talking , {comment} and then a third person starts talking .\nPhD D: Yeah ?\nGrad G: Is there an event right here ?\nPhD D: Eh no . No no . For me is the overlapping zone , because {disfmarker} because you {disfmarker} you have s you have more one {disfmarker} eh , more one voice eh , eh produced in a {disfmarker} in {disfmarker} in a moment .\nProfessor E: I see .\nGrad G: So i if two or more people are talking .\nProfessor E: OK . Yeah . So I think {disfmarker} Yeah . We just wanted to understand how you 're defining it .\nPhD D: Yeah . If\nProfessor E: So then , in the region between {disfmarker} since there {disfmarker} there is some continuous region , in between regions where there is only one person speaking .\nPhD D: Uh - huh .\nProfessor E: And one contiguous region like that you 're calling an event .\nPhD D: Uh - huh .\nProfessor E: Is it {disfmarker} Are you calling the beginning or the end of it the event ,\nPhD D: Yeah .\nProfessor E: or are you calling the entire length of it the event ?\nPhD D: I consider the {disfmarker} the , nnn {disfmarker} the nnn , nnn {disfmarker} eh , the entirety eh , eh , all {disfmarker} all the time there were {disfmarker} the voice has overlapped .\nProfessor E: OK .\nPhD D: This is the idea . But eh I {disfmarker} I don't distinguish between the {disfmarker} the numbers of eh speaker . Uh , I 'm not considering {vocalsound} eh the {disfmarker} the {disfmarker} ehm {vocalsound} eh , the fact of eh , eh , for example , what did you say ? Eh at first eh , eh two talkers are uh , eh speaking , and eh , eh a third person eh join to {disfmarker} to that . For me , it 's eh {disfmarker} it 's eh , all overlap zone , with eh several numbers of speakers is eh , eh the same acoustic event . Wi - but {disfmarker} uh , without any mark between the zone {disfmarker} of the overlapping zone with two speakers eh speaking together , and the zone with the three speakers .\nPostdoc B: That would j just be one .\nPhD D: It {disfmarker} One . One .\nPostdoc B: OK .\nPhD D: Eh , with eh , a beginning mark and the ending mark . Because eh {vocalsound} for me , is the {disfmarker} is the zone with eh some kind of eh distortion the spectral .\nProfessor E: Got it .\nPhD D: I don't mind {disfmarker} By the moment , by the moment .\nGrad G: Well , but {disfmarker} But you could imagine that three people talking has a different spectral characteristic than two .\nPhD D: I {disfmarker} I don't {disfmarker} Yeah , but eh {disfmarker} but eh I have to study . {comment} What will happen in a general way ,\nProfessor E: Could .\nGrad G: So . You had to start somewhere .\nProfessor E: Yeah . We just w\nPhD C: So there 's a lot of overlap .\nPhD D: I {disfmarker} {vocalsound} I don't know what eh will {disfmarker} will happen with the {disfmarker}\nGrad G: Yep .\nPhD C: So .\nGrad G: That 's a lot of overlap ,\nPhD D: Yeah ?\nProfessor E: So again , that 's {disfmarker} that 's three {disfmarker} three hundred in forty - five minutes that are {disfmarker} that are speakers , just speakers .\nGrad G: yeah , for forty - five minutes .\nPhD D: Yeah . Yeah .\nProfessor E: Uh - huh . OK . Yeah .\nPostdoc B: But a {disfmarker} a {disfmarker} a th\nProfessor E: So that 's about eight per minute .\nPostdoc B: But a thousand events in twelve minutes , that 's {disfmarker}\nPhD D: Yeah , {pause} but {disfmarker} Yeah .\nPhD C: But that can include taps .\nPhD D: But {disfmarker}\nProfessor E: Uh . Yeah .\nPostdoc B: Well , but a thousand taps in eight minutes is a l in twelve minutes is a lot .\nPhD D: General .\nPhD C: Actually {disfmarker}\nPhD D: I {disfmarker} I con I consider {disfmarker} I consider acoustic events eh , the silent too .\nPostdoc B: Silent .\nGrad G: Silence starting or silence ending {disfmarker}\nPhD D: Yeah , silent , ground to {disfmarker} bec to detect {disfmarker} eh because I consider acoustic event all the things are not eh speech .\nPhD C: Oh , OK .\nProfessor E: Mm - hmm .\nPhD A: Oh .\nPhD D: In ge in {disfmarker} in {disfmarker} in a general point of view .\nPhD C: Oh .\nProfessor E: OK , so how many of those thousand were silence ?\nPhD C: Alright .\nPhD D: in the per\nPhD F: Not speech {disfmarker} not speech or too much speech .\nPhD D: Too much speech .\nProfessor E: Right . So how many of those thousand were silence , silent sections ?\nPhD D: Yeah . Uh silent , I {disfmarker} I {disfmarker} I {disfmarker} I don't {disfmarker} I {disfmarker} I haven't the {disfmarker} eh I {disfmarker} I would like to {disfmarker} to do a stylistic study\nProfessor E: Yeah .\nPhD D: and give you eh with the report eh from eh the {disfmarker} the study from the {disfmarker} the {disfmarker} the session {disfmarker} one session .\nProfessor E: Yeah . Yeah .\nPhD D: And I {disfmarker} I found that eh another thing . When eh {vocalsound} eh I w I {disfmarker} {vocalsound} I was eh look at eh nnn , the difference speech file , um , for example , eh if eh we use the ehm {disfmarker} the mixed file , to {disfmarker} to transcribe , the {disfmarker} the events and the words , I {disfmarker} I saw that eh the eh speech signal , collected by the eh this kind of mike {disfmarker} eh of this kind of mike , eh are different from the eh mixed signal eh , we eh {disfmarker} collected by headphone .\nGrad G: Yep .\nPhD D: And {disfmarker} It 's right .\nProfessor E: Yeah .\nGrad G: Right .\nPhD D: But the problem is {vocalsound} the following . The {disfmarker} the {disfmarker} the {disfmarker} I {disfmarker} I {disfmarker} I knew that eh the signal eh , eh would be different , but eh the {disfmarker} the problem is eh , eh we eh detected eh difference events in the speech file eh collected by {disfmarker} by that mike uh qui compared with the mixed file . And so if {disfmarker} when you transcribe eh only eh using the nnn {disfmarker} the mixed file , it 's possible {disfmarker} eh if you use the transcription to evaluate a different system , it 's possible you eh {disfmarker} in the eh i and you use the eh speech file collected by the eh fet mike , to eh {disfmarker} to nnn {disfmarker} to do the experiments {pause} with the {disfmarker} the system ,\nProfessor E: Mm - hmm .\nGrad G: Right .\nPhD D: its possible to evaluate eh , eh {disfmarker} or to consider eh acoustic events that {disfmarker} which you marked eh in the mixed file , but eh they don't appear in the eh speech signal eh collected by the {disfmarker} by the mike .\nGrad G: Right . The {disfmarker} the reason that I generated the mixed file was for IBM to do word level transcription , not speech event transcription .\nPhD D: Yeah . Yeah . Oh , it 's a good idea . It 's a good idea I think .\nGrad G: So I agree that if someone wants to do speech event transcription , that the mixed signals here {disfmarker}\nPhD D: Yeah .\nGrad G: I mean , if I 'm tapping on the table , you it 's not gonna show up on any of the mikes , but it 's gonna show up rather loudly in the PZM .\nPhD D: Yeah . Yeah . Yeah . So and I {disfmarker} I {disfmarker} {vocalsound} I say eh that eh , eh , or this eh only because eh I c I {disfmarker} I {disfmarker} {vocalsound} in my opinion , it 's necessary to eh {disfmarker} to eh {disfmarker} to put the transcription on the speech file , collected by the objective signal .\nGrad G: So .\nPhD D: I mean the {disfmarker} the {disfmarker} the signal collected by the {disfmarker} eh , the real mike in the future , in the prototype to {disfmarker} to eh correct the initial eh segmentation eh with the eh real speech\nProfessor E: Mm - hmm . The {disfmarker} the {disfmarker} the far - field , yeah .\nPhD D: you have to {disfmarker} to analyze {disfmarker} you have to {disfmarker} to process . Because I {disfmarker} I found a difference .\nProfessor E: Yeah , well , just {disfmarker} I mean , just in that {disfmarker} that one s ten second , or whatever it was , example that Adam had that {disfmarker} that we {disfmarker} we passed on to others a few months ago , there was that business where I g I guess it was Adam and Jane were talking at the same time and {disfmarker} and uh , in the close - talking mikes you couldn't hear the overlap , and in the distant mike you could . So yeah , it 's clear that if you wanna study {disfmarker} if you wanna find all the places where there were overlap , it 's probably better to use a distant mike .\nPhD F: That 's good .\nProfessor E: On the other hand , there 's other phenomena that are going on at the same time for which it might be useful to look at the close - talking mikes ,\nPhD D: Yeah .\nPhD C: But why can't you use the combination of the close - talking mikes , time aligned ?\nProfessor E: so it 's {disfmarker}\nGrad G: If you use the combination of the close - talking mikes , you would hear Jane interrupting me , but you wouldn't hear the paper rustling . And so if you 're interested in {disfmarker}\nPhD C: I {disfmarker} I mean if you 're interested in speakers overlapping other speakers and not the other kinds of nonspeech , that 's not a problem ,\nProfessor E: Some {comment} of it 's masking {disfmarker} masked .\nPhD D: Yeah .\nPhD A: Were you interrupting him or was he interrupting you ?\nProfessor E: Right .\nPhD C: right ?\nGrad G: Right .\nPhD D: Yeah .\nGrad G: Although the other issue is that the {pause} mixed close - talking mikes {disfmarker} I mean , I 'm doing weird normalizations and things like that .\nPhD C: But it 's known .\nPhD D: Yeah .\nPhD C: I mean , the normalization you do is over the whole conversation\nGrad G: Yep .\nPhD C: isn't it , over the whole meeting .\nGrad G: Right . Yep .\nPhD C: So if you wanted to study people overlapping people , that 's not a problem .\nPhD D: I {disfmarker} I {disfmarker} I think eh I saw the nnn {disfmarker} the {disfmarker} eh but eh I eh {disfmarker} I have eh any results . I {disfmarker} I {disfmarker} I saw the {disfmarker} the speech file collected by eh the fet mike , and eh eh signal eh to eh {disfmarker} to noise eh relation is eh low . It 's low .\nProfessor E: Mm - hmm .\nPhD D: It 's very low . You would comp if we compare it with eh the headphone .\nGrad G: Yep .\nPhD D: And I {disfmarker} I found that nnn {disfmarker} that eh , {vocalsound} ehm , pr probably ,\nGrad G: Did {disfmarker} Did you\nPhD D: I 'm not sure eh by the moment , but it 's {disfmarker} it 's probably that eh a lot of eh , {vocalsound} eh for example , in the overlapping zone , on eh {disfmarker} in {disfmarker} in several eh parts of the files where you {disfmarker} you can find eh , eh {vocalsound} eh , smooth eh eh speech eh from eh one eh eh talker in the {disfmarker} in the meeting ,\nProfessor E: Mm - hmm . Mm - hmm .\nPhD D: it 's probably in {disfmarker} in that eh {disfmarker} in {disfmarker} in those files you {disfmarker} you can not find {disfmarker} you can not process because eh it 's confused with {disfmarker} with noise .\nProfessor E: Mm - hmm .\nPhD D: And there are {vocalsound} a lot of I think . But I have to study with more detail . But eh my idea is to {disfmarker} to process only {pause} nnn , this eh {disfmarker} nnn , this kind of s of eh speech . Because I think it 's more realistic . I 'm not sure it 's a good idea , but eh {disfmarker}\nProfessor E: No {disfmarker} i\nGrad G: Well , it 's more realistic but it 'll {disfmarker} it 'll be a lot harder .\nPhD D: Yeah .\nProfessor E: Well , it 'd be hard , but on the other hand as you point out , if your {disfmarker} if i if {disfmarker} if your concern is to get uh the overlapping people {disfmarker} people 's speech , you will {disfmarker} you will get that somewhat better .\nPhD D: Mm - hmm . Yeah .\nProfessor E: Um , Are you making any use {disfmarker} uh you were {disfmarker} you were working with th the data that had already been transcribed .\nPhD D: With {disfmarker} By Jane .\nProfessor E: Does it uh {disfmarker} Yes .\nPhD D: Yeah .\nProfessor E: Now um did you make any use of that ? See I was wondering cuz we st we have these ten hours of other stuff that is not yet transcribed .\nPhD D: Yeah . Yeah .\nProfessor E: Do you {disfmarker}\nPhD D: The {disfmarker} the transcription by Jane , t eh i eh , I {disfmarker} I {disfmarker} I want to use to {disfmarker} to nnn , {vocalsound} eh to put {disfmarker} i i it 's a reference for me . But eh the transcription {disfmarker} eh for example , I {disfmarker} I don't {disfmarker} I {disfmarker} I 'm not interested in the {disfmarker} in the {disfmarker} in the words , transcription words , eh transcribed eh eh in {disfmarker} eh follow in the {disfmarker} {vocalsound} in the {disfmarker} in the speech file , but eh eh Jane eh for example eh put a mark eh at the beginning eh of each eh talker , in the {disfmarker} in the meeting , um eh she {disfmarker} she nnn includes information about the zone where eh there are eh {disfmarker} there is an overlapping zone . But eh there isn't any {disfmarker} any mark , time {disfmarker} temporal mark , to {disfmarker} to c eh {disfmarker} to mmm {vocalsound} {disfmarker} e - heh , to label {comment} the beginning and the end of the {disfmarker} of the\nProfessor E: Mm - hmm . OK . Right , so she is {disfmarker}\nPhD D: ta I 'm {disfmarker} I {disfmarker} I {disfmarker} I think eh we need this information to\nProfessor E: Right . So the twelve {disfmarker} you {disfmarker} you {disfmarker} it took you twelve hours {disfmarker} of course this included maybe some {disfmarker} some time where you were learning about what {disfmarker} what you wanted to do , but {disfmarker} but uh , it took you something like twelve hours to mark the forty - five minutes , your\nGrad G: Twelve minutes .\nPhD D: Twelve minutes .\nProfessor E: s Twelve minutes !\nPhD D: Twelve minutes . Twelve .\nProfessor E: I thought you did forty - five minutes of {disfmarker}\nPhD D: No , forty - five minutes is the {disfmarker} is the session , all the session .\nPostdoc B: Oh .\nProfessor E: Oh , you haven't done the whole session .\nPhD D: Yeah , all is the {vocalsound} the session .\nProfessor E: This is just twelve minutes .\nPhD D: Tw - twelve hours of work to {disfmarker} {vocalsound} to segment eh and label eh twelve minutes from a session of part {disfmarker} of f\nProfessor E: Oh . So {comment} let me back up again . So the {disfmarker} when you said there were three hundred speaker overlaps ,\nPhD D: Yeah .\nProfessor E: that 's in twelve minutes ?\nPhD D: No no no . I {disfmarker} I consider all the {disfmarker} all the session because eh I {disfmarker} I count the nnn {disfmarker} the nnn {disfmarker} the overlappings marked by {disfmarker} by Jane ,\nProfessor E: Oh , OK .\nPostdoc B: Oh , I see .\nPhD D: in {disfmarker} in {disfmarker} in {disfmarker} in the {pause} fin in {disfmarker} in the {pause} forty - five minutes .\nProfessor E: OK . So it 's three hundred in forty - five minutes , but you have {disfmarker} you have time uh , uh marked {disfmarker} twelve minute {disfmarker} the {disfmarker} the {disfmarker} the um overlaps in twelve minutes of it .\nPhD D: Yeah .\nProfessor E: Got it .\nPhD F: So , can I ask {disfmarker} {vocalsound} can I ask whether you found {disfmarker} uh , you know , how accurate uh Jane 's uh uh labels were as far as {disfmarker}\nGrad G: Well , not just the overlaps , everything .\nPhD F: you know , did she miss some overlaps ? or did she n ?\nPhD D: But , by {disfmarker} by the moment , I {disfmarker} I don't compare , my {disfmarker} my temporal mark with eh Jane , but eh I {disfmarker} I want to do it . Because eh eh i per perhaps I have eh errors in the {disfmarker} in the marks , I {disfmarker} and if I {disfmarker} I compare with eh Jane , it 's probably I {disfmarker} I {disfmarker} I can correct and {disfmarker} and {disfmarker} and {disfmarker} to get eh eh a more accurately eh eh transcription in the file .\nProfessor E: Yeah .\nGrad G: Well , also Jane {disfmarker} Jane was doing word level .\nPhD D: Yeah .\nProfessor E: Yeah .\nGrad G: So we weren't concerned with {comment} exactly when an overlap started and stopped .\nPhD F: Right . Right .\nPhD C: Well , not only a word level , but actually\nPhD D: Well {disfmarker}\nPhD F: I 'm expect I 'm not expecting {disfmarker}\nPhD D: No , it 's {disfmarker}\nPhD C: I mean , you didn't need to show the exact point of interruption , you just were showing at the level of the phrase or the level of the speech spurt , or {disfmarker}\nGrad G: Right .\nProfessor E: Mm - hmm .\nGrad G: Yep .\nPostdoc B: Well {disfmarker}\nPhD D: Yeah . Yeah .\nPostdoc B: Well , yeah , b yeah , I would say time bin . So my {disfmarker} my goal is to get words with reference to a time bin , {pause} beginning and end point .\nPhD C: Yeah .\nPhD D: Yeah .\nPhD C: Right .\nPhD D: Yeah .\nPostdoc B: And {disfmarker} and sometimes , you know , it was like you could have an overlap where someone said something in the middle ,\nPhD D: Yeah .\nPostdoc B: but , yeah , w it just wasn't important for our purposes to have it that {disfmarker} i disrupt that unit in order to have , you know , a the words in the order in which they were spoken , it would have {disfmarker} it would have been hard with the interface that we have .\nPhD D: Yeah .\nPostdoc B: Now , my {disfmarker} a Adam 's working on a of course , on a revised overlapping interface ,\nPhD D: Uh - huh .\nGrad G: Right .\nPhD D: I {disfmarker} I {disfmarker} I think {disfmarker} It 's {disfmarker} it 's a good eh work ,\nPostdoc B: but {disfmarker}\nPhD D: but eh I think we need eh eh more information .\nPhD F: No , of course .\nPostdoc B: Yeah .\nPhD F: I expect you to find more overlaps than {disfmarker} than Jane\nGrad G: Always need more for {disfmarker}\nPostdoc B: Yeah .\nPhD D: No , no . I {disfmarker} I have to go to {disfmarker}\nPhD F: because you 're looking at it at a much more detailed level .\nPhD D: I want eh {disfmarker} I wanted to eh compare the {disfmarker} the transcription .\nProfessor E: I have {disfmarker}\nGrad G: But if it takes sixty to one {disfmarker}\nProfessor E: Well , I but I have a suggestion about that . Um , obviously this is very , very time - consuming , and you 're finding lots of things which I 'm sure are gonna be very interesting , but in the interests of making progress , uh might I s how {disfmarker} how would it affect your time if you only marked speaker overlaps ?\nPhD D: Only .\nProfessor E: Yes .\nPhD D: Yeah .\nProfessor E: Do not mark any other events ,\nPhD D: Uh - huh .\nProfessor E: but only mark speaker {disfmarker} Do you think that would speed it up quite a bit ?\nPhD D: OK . OK . I {disfmarker} I {disfmarker} I {disfmarker} I w I {disfmarker} I wanted to {disfmarker}\nProfessor E: Do y do you think that would speed it up ? Uh , speed up your {disfmarker} your {disfmarker} your marking ?\nPhD D: nnn , I don't understand very .\nProfessor E: It took you a long time {pause} to mark twelve minutes .\nPhD D: Yeah . Oh , yeah , yeah .\nProfessor E: Now , my suggestion was for the other thirty - three {disfmarker}\nPhD D: On - only to mark {disfmarker} only to mark overlapping zone , but {disfmarker}\nProfessor E: Yeah , and my question is , if you did that , if you followed my suggestion , would it take much less time ?\nPhD D: Oh , yeah . Sure .\nProfessor E: Yeah OK .\nPhD D: Yeah sure .\nProfessor E: Then I think it 's a good idea .\nPhD D: Sure sure .\nProfessor E: Then I think it 's a good idea , because it\nPhD D: Sure , because I {disfmarker} I need a lot of time to {disfmarker} to put the label or to do that . Yeah .\nProfessor E: Yeah , I mean , we we know that there 's noise .\nGrad G: And\nPhD D: Uh - huh .\nProfessor E: There 's {disfmarker} there 's uh continual noise uh from fans and so forth , and there is uh more impulsive noise from uh taps and so forth\nPhD D: Yeah .\nProfessor E: and {disfmarker} and something in between with paper rustling . We know that all that 's there and it 's a g worthwhile thing to study , but obviously it takes a lot of time to mark all of these things .\nPhD D: Yeah .\nProfessor E: Whereas th i I would think that uh you {disfmarker} we can study more or less as a distinct phenomenon the overlapping of people talking .\nPhD D: Uh - huh . OK . OK .\nProfessor E: So . Then you can get the {disfmarker} Cuz you need {disfmarker} If it 's three hundred uh {disfmarker} i i it sounds like you probably only have fifty or sixty or seventy events right now that are really {disfmarker}\nPhD D: Yeah .\nProfessor E: And {disfmarker} and you need to have a lot more than that to have any kind of uh even visual sense of {disfmarker} of what 's going on , much less any kind of reasonable statistics .\nGrad G: Right .\nPhD C: Now , why do you need to mark speaker overlap by hand if you can infer it from the relative energy in the {disfmarker}\nGrad G: Well , that 's {disfmarker} That 's what I was gonna bring up .\nPhD C: I mean , you shouldn't need to do this p completely by hand ,\nProfessor E: Um , OK , yeah . So let 's back up because you weren't here for an earlier conversation .\nPhD C: right ? I 'm sorry .\nProfessor E: So the idea was that what he was going to be doing was experimenting with different measures such as the increase in energy , such as the energy in the LPC residuals , such as {disfmarker} I mean there 's a bunch of things {disfmarker} I mean , increased energy is - is sort of an obvious one .\nPhD C: Mm - hmm . In the far - field mike .\nProfessor E: Yeah .\nPhD C: Oh , OK .\nProfessor E: Um , and uh , it 's not obvious , I mean , you could {disfmarker} you could do the dumbest thing and get {disfmarker} get it ninety percent of the time . But when you start going past that and trying to do better , it 's not obvious what combination of features is gonna give you the {disfmarker} you know , the right detector . So the idea is to have some ground truth first . And so the i the idea of the manual marking was to say \" OK this , i you know , it 's {disfmarker} it 's really here \" .\nPhD A: But I think Liz is saying why not get it out of the transcripts ?\nPhD C: What I mean is {pause} get it from the close - talking mikes .\nProfessor E: Uh , yeah .\nPhD C: A or ge get a first pass from those ,\nProfessor E: We t we t w we t we talked about that .\nPhD C: and then go through sort of {disfmarker} It 'd be a lot faster probably to {disfmarker}\nPhD F: And you can {disfmarker}\nGrad G: Yeah , that 's his , uh {disfmarker}\nProfessor E: We {disfmarker} we {disfmarker} we talked about that . s But so it 's a bootstrapping thing and the thing is ,\nPhD C: Yeah , I just {disfmarker}\nProfessor E: the idea was , i we i i we thought it would be useful for him to look at the data anyway , and {disfmarker} and then whatever he could mark would be helpful ,\nPhD C: Right .\nProfessor E: and we could {disfmarker} Uh it 's a question of what you bootstrap from . You know , do you bootstrap from a simple measurement which is right most of the time and then you g do better , or do you bootstrap from some human being looking at it and then {disfmarker} then do your simple measurements , uh from the close - talking mike . I mean , even with the close - talking mike you 're not gonna get it right all the time .\nPhD C: Well , that 's what I wonder , because um {disfmarker} or how bad it is ,\nProfessor E: Well\nPhD C: be um , because that would be interesting\nGrad G: I 'm working on a program to do that , and {disfmarker}\nPhD C: especially because the bottleneck is the transcription . Right ? I mean , we 've got a lot more data than we have transcriptions for . We have the audio data , we have the close - talking mike ,\nProfessor E: Yeah .\nPhD C: so I mean it seems like one kind of project that 's not perfect , but {disfmarker} um , that you can get the training data for pretty quickly is , you know , if you infer form the close - talking mikes where the on - off points are of speech ,\nProfessor E: Right , we discussed that .\nPhD C: you know , how can we detect that from a far - field ?\nGrad G: And {disfmarker}\nPostdoc B: Oh .\nGrad G: I 've {disfmarker} I 've written a program to do that ,\nPhD C: OK , I 'm sorry I missed the {disfmarker}\nGrad G: and it , uh {disfmarker}\nProfessor E: It 's OK .\nGrad G: and {disfmarker} so {disfmarker} but it 's {disfmarker} it 's doing something very , very simple . It just takes a threshold , based on {disfmarker} on the volume ,\nPhD C: Uh - huh .\nPhD F: Or you can set the threshold low and then weed out the false alarms by hand .\nPhD C: Right , by hand . Yeah .\nPhD F: Yeah .\nGrad G: um , and then it does a median filter , and then it looks for runs . And , it seems to work , I 've {disfmarker} I 'm sort of fiddling with the parameters , to get it to actually generate something , and I haven't {disfmarker} I don't {disfmarker} what I 'm working on {disfmarker} was working on {disfmarker} was getting it to a form where we can import it into the user interface that we have , {pause} into Transcriber . And so {disfmarker} I told {disfmarker} I said it would take about a day . I 've worked on it for about half a day ,\nGrad H: I have to go .\nGrad G: so give me another half day and I we 'll have something we can play with .\nPhD C: OK .\nProfessor E: See , this is where we really need the Meeting Recorder query stuff to be working , because we 've had these meetings and we 've had this discussion about this , and I 'm sort of remembering a little bit about what we decided ,\nPhD C: Right . I 'm sorry . I just {disfmarker}\nProfessor E: but I couldn't remember all of it .\nPhD C: It\nProfessor E: So , I think it was partly that , you know , give somebody a chance to actually look at the data and see what these are like , partly that we have e some ground truth to compare against , you know , when {disfmarker} when he {disfmarker} he gets his thing going ,\nGrad G: But {disfmarker}\nProfessor E: uh , and {disfmarker}\nPhD C: Well , it 's definitely good to have somebody look at it . I was just thinking as a way to speed up you know , the amount of {disfmarker}\nPostdoc B: Mm - hmm .\nProfessor E: That was {disfmarker} that was exactly the notion that {disfmarker} that {disfmarker} that we discussed .\nPhD C: OK .\nGrad G: Thanks .\nPostdoc B: Another thing we discussed was um that {disfmarker}\nPhD C: It looks good .\nProfessor E: So .\nPhD C: I 'll be in touch . Thanks .\nProfessor E: S See ya . Yeah .\nPostdoc B: Was that um there m {pause} there was this already a script I believe uh that Dan had written , {comment} that uh handle bleedthrough , I mean cuz you have this {disfmarker} this close {disfmarker} you have contamination from other people who speak loudly .\nGrad G: Yeah , and I haven't tried using that . It would probably help the program that I 'm doing to first feed it through that . It 's a cross - correlation filter . So I {disfmarker} I haven't tried that , but that {disfmarker} If {disfmarker} It {disfmarker} it might be something {disfmarker} it might be a good way of cleaning it up a little .\nPostdoc B: So , some thought of maybe having {disfmarker} Yeah , having that be a preprocessor and then run it through yours .\nGrad G: Exactly . Yep .\nProfessor E: But {disfmarker} but that 's a refinement\nPostdoc B: That 's what we were discussing .\nProfessor E: and I think we wanna see {disfmarker} try the simple thing first , cuz you add this complex thing up uh afterwards that does something good y y yo you sort of wanna see what the simple thing does first .\nGrad G: Yep .\nProfessor E: But uh , having {disfmarker} having somebody have some experience , again , with {disfmarker} with uh {disfmarker} with marking it from a human standpoint , we 're {disfmarker} I mean , I don't expect Jose to {disfmarker} to do it for uh f fifty hours of {disfmarker} {comment} of speech , but I mean we {disfmarker} {comment} if uh {disfmarker} if he could speed up what he was doing by just getting the speaker overlaps so that we had it , say , for forty - five minutes , then at least we 'd have three hundred examples of it .\nPhD D: Yeah . Sure . Sure .\nProfessor E: And when {disfmarker} when uh Adam was doing his automatic thing he could then compare to that and see what it was different .\nPhD C: Oh yeah , definitely .\nPhD A: You know , I did {disfmarker} I did uh something almost identical to this at one of my previous jobs , and it works pretty well . I mean , i almost exactly what you described , an energy detector with a median filter , you look for runs . And uh , you know , you can {disfmarker}\nGrad G: It seemed like the right thing to do .\nPhD A: Yeah . I mean , you {disfmarker} you can get y I mean , you get them pretty close .\nGrad G: That was with zero literature search .\nPhD A: And so I think doing that to generate these possibilities and then going through and saying yes or no on them would be a quick way to {disfmarker} to do it .\nGrad G: That 's good validation .\nPhD A: Yeah .\nPostdoc B: Is this proprietary ?\nPhD A: Uh . {comment} No . No .\nGrad G: Yeah , do you have a patent on it ?\nPhD A: It was when I was working for the government .\nProfessor E: Oh , then everybody owns it . It 's the people .\nPostdoc B: Well , I mean , is this something that we could just co - opt , or is it {disfmarker} ?\nPhD A: Nah .\nPostdoc B: No . OK .\nProfessor E: Well , i i i he 's pretty close , anyway . I think {disfmarker} I think it 's {disfmarker}\nPhD A: Yeah , he 's {disfmarker} it {disfmarker} it doesn't take a long time .\nPostdoc B: Right . I just thought if it was tried and true , then {disfmarker} {comment} and he 's gone through additional levels of {disfmarker} of development .\nGrad G: Just output . Although if you {disfmarker} if you have some parameters like what 's a good window size for the median filter {disfmarker}\nPhD A: Oh ! {comment} I have to remember . I 'll think about it , and try to remember .\nPhD F: And it might be different for government people .\nGrad G: That 's alright .\nProfessor E: Yeah , good enough for government work , as they say .\nPhD C: They {disfmarker} they {disfmarker}\nPhD A: Di - dif different {disfmarker} different bandwidth .\nPhD F: They\nGrad G: I was doing pretty short , you know , tenth of a second , {comment} sorts of numbers .\nPhD F: OK .\nProfessor E: Uh , I don't know , it {disfmarker} if {disfmarker} if we want to uh {disfmarker} So , uh , maybe we should move on to other {disfmarker} other things in limited time .\nPostdoc B: Can I ask one question about his statistics ? So {disfmarker} so in the tw twelve minutes , um , if we took three hundred and divided it by four , which is about the length of twelve minutes , i Um , I 'd expect like there should be seventy - five overlaps .\nProfessor E: Yeah .\nPostdoc B: Did you find uh more than seventy - five overlaps in that period , or {disfmarker} ?\nPhD D: More than ?\nPostdoc B: More than {disfmarker} How many overlaps in your twelve minutes ?\nPhD D: How many ? Eh , not @ @ I Onl - only I {disfmarker} I transcribe eh only twelve minutes from the\nProfessor E: Yeah .\nPhD D: but eh I {disfmarker} I don't co eh {disfmarker} I don't count eh the {disfmarker} the overlap .\nPostdoc B: The overlaps . OK .\nPhD D: I consider I {disfmarker} I {disfmarker} The {disfmarker} the nnn {disfmarker} The {disfmarker} the three hundred is eh considered only you {disfmarker} your transcription . I have to {disfmarker} {vocalsound} to finish transcribing . So .\nGrad G: I b I bet they 're more , because the beginning of the meeting had a lot more overlaps than {disfmarker} than sort of the middle .\nPhD D: Yeah .\nGrad G: Middle or end .\nPostdoc B: I 'm not sure .\nPhD D: Yeah .\nGrad G: Because i we 're {disfmarker} we 're dealing with the {disfmarker} Uh , in the early meetings , we 're recording while we 're saying who 's talking on what microphone , {comment} and things like that ,\nPhD D: Yeah .\nGrad G: and that seems to be a lot of overlap .\nPostdoc B: I think it 's an empirical question .\nPhD D: Yeah .\nPostdoc B: I think we could find that out .\nPhD D: Yeah .\nGrad G: Yep .\nPostdoc B: I 'm {disfmarker} I 'm not sure that the beginning had more .\nProfessor E: So {disfmarker} so I was gonna ask , I guess about any {disfmarker} any other things that {disfmarker} that {disfmarker} that either of you wanted to talk about , especially since Andreas is leaving in five minutes , that {disfmarker} that you wanna go with .\nPhD C: Can I just ask about the data , like very straightforward question is where we are on the amount of data and the amount of transcribed data , just cuz I 'm {disfmarker} I wanted to get a feel for that to sort of be able to know what {disfmarker} what can be done first and like how many meetings are we recording\nProfessor E: Right so there 's this {disfmarker} this {disfmarker} There 's this forty - five minute piece that Jane transcribed .\nPhD C: and {disfmarker}\nProfessor E: That piece was then uh sent to IBM so they could transcribe so we have some comparison point . Then there 's s a larger piece that 's been recorded and uh put on CD - ROM and sent uh to IBM . Right ? And then we don't know .\nPhD C: How many meetings is that ? Like {disfmarker} how many {disfmarker}\nGrad G: What 's that ?\nProfessor E: That was about ten hours , and there was about {disfmarker}\nPhD C: t ten {disfmarker} It 's like ten meetings or something ? Uh - huh .\nGrad G: Yeah , something like that . And then {disfmarker} then we\nPhD A: Ten meetings that have been sent to IBM ?\nPhD C: And {disfmarker}\nProfessor E: Yeah .\nGrad G: Well , I haven't sent them yet because I was having this problem with the {pause} missing files .\nProfessor E: Oh . Oh , that 's right , that had {disfmarker} those have not been sent .\nPhD A: H how many total have we recorded now , altogether ?\nProfessor E: We 're saying about {pause} twelve hours .\nGrad G: About twelve {pause} by now . Twelve or thirteen .\nPhD C: Uh - huh . And we 're recording only this meeting , like continuously we 're only recording this one now ? or {disfmarker} ?\nProfessor E: No . No , so the {disfmarker} the {disfmarker} that 's the {disfmarker} that 's the biggest one {disfmarker} uh , chunk so far ,\nGrad G: Nope .\nPhD A: It was the morning one .\nPhD C: OK .\nProfessor E: but there 's at least one meeting recorded of uh the uh uh natural language guys .\nGrad G: Jerry .\nPhD C: Do they meet every week ,\nProfessor E: And then there {disfmarker}\nPhD C: or every {disfmarker}\nProfessor E: Uh , they do . w w And we talked to them about recording some more and we 're going to , uh , we 've started having a morning meeting , today uh i starting a w a week or two ago , on the uh front - end issues , and we 're recording those , uh there 's a network services and applications group here who 's agreed to have their meetings recorded ,\nPhD C: Great .\nProfessor E: and we 're gonna start recording them . They 're {disfmarker} They meet on Tuesdays . We 're gonna start recording them next week . So actually , we 're gonna h start having a {disfmarker} a pretty significant chunk and so , you know , {vocalsound} Adam 's sort of struggling with trying to get things to be less buggy , and come up quicker when they do crash and stuff {disfmarker} things like that , now that uh {disfmarker} {vocalsound} the things are starting to happen . So right now , yeah , I th I 'd say the data is predominantly meeting meetings , but there are scattered other meetings in it and that {disfmarker} that amount is gonna grow uh so that the meeting meetings will probably ultimately {disfmarker} i if we 're {disfmarker} if we collect fifty or sixty hours , the meeting meetings it will probably be , you know , twenty or thirty percent of it , not {disfmarker} not {disfmarker} not eighty or ninety . But .\nPhD C: So there 's probably {disfmarker} there 's three to four a week ,\nGrad G: That 's what we 're aiming for .\nPhD C: that we 're aiming for .\nProfessor E: Yeah .\nPhD C: And they 're each about an hour or something .\nProfessor E: Yeah , yeah .\nGrad G: Although {disfmarker} Yeah . We 'll find out tomorrow whether we can really do this or not .\nPhD C: So {disfmarker} OK .\nProfessor E: Yeah and th the {disfmarker} the other thing is I 'm not pos I 'm sort of thinking as we 've been through this a few times , that I really don't know {disfmarker} maybe you wanna do it once for the novelty , but I don't know if in general we wanna have meetings that we record from outside this group do the digits .\nGrad G: Right .\nProfessor E: Because it 's just an added bunch of weird stuff .\nPhD C: Yeah .\nProfessor E: And , you know , we {disfmarker} we h we 're highly motivated . Uh in fact , the morning group is really motivated cuz they 're working on connected digits , so it 's {disfmarker}\nGrad G: Actually that 's something I wanted to ask , is I have a bunch of scripts to help with the transcription of the digits .\nProfessor E: Yeah .\nGrad G: We don't have to hand - transcribe the digits because we 're reading them and I have those .\nPhD C: Right .\nProfessor E: Yeah .\nGrad G: And so I have some scripts that let you very quickly extract the sections of each utterance . But I haven't been ru I haven't been doing that . Um , if I did that , is someone gonna be working on it ?\nProfessor E: Uh , yeah , I {disfmarker} I think definitely s so Absolutely .\nGrad G: I mean , is it something of interest ?\nProfessor E: Yeah , whoever we have working on the acoustics for the Meeting Recorder are gonna start with that .\nGrad G: OK . I mean , I I 'm {disfmarker} I 'm interested in it , I just don't have time to do it now .\nPhD F: I was {disfmarker} these meetings {disfmarker} I 'm sure someone thought of this , but these {disfmarker} this uh reading of the numbers would be extremely helpful to do um adaptation .\nGrad G: So\nPhD F: Um .\nGrad G: Yep . Yep .\nPhD C: Actually I have o\nGrad G: I {disfmarker} I would really like someone to do adaptation .\nPhD F: Mm - hmm .\nGrad G: So if we got someone interested in that , I think it would be great for Meeting Recorder .\nProfessor E: Well {disfmarker} I mean , one of the things I wanted to do , uh , that I I talked to {disfmarker} to Don about , is one of the possible things he could do or m also , we could have someone else do it , is to do block echo cancellation ,\nGrad G: Since it 's the same people over and over .\nPhD F: Mm - hmm .\nProfessor E: to try to get rid of some of the effects of the {disfmarker} the {disfmarker} the far - field effects . Um , I mean we have {disfmarker} the party line has been that echo cancellation is not the right way to handle the situation\nPhD F: Mm - hmm .\nProfessor E: because people move around , and uh , if {disfmarker} if it 's {disfmarker} if it 's uh not a simple echo , like a cross - talk kind of echo , but it 's actually room acoustics , it 's {disfmarker} it 's {disfmarker} it 's {disfmarker} you can't really do inversion ,\nPhD F: Mm - hmm .\nProfessor E: and even echo cancellation is going to uh be something {disfmarker} It may {disfmarker} you {disfmarker} Someone may be moving enough that you are not able to adapt quickly and so the tack that we 've taken is more \" lets come up with feature approaches and multi - stream approaches and so forth , that will be robust to it for the recognizer and not try to create a clean signal \" .\nPhD F: Mm - hmm .\nProfessor E: Uh , that 's the party line . But it occurred to me a few months ago that uh party lines are always , you know , sort of dangerous . It 's good {disfmarker} {vocalsound} good to sort of test them , actually . And so we haven't had anybody try to do a good serious job on echo cancellation and we should know how well that can do . So that 's something I 'd like somebody to do at some point , just take these digits , take the far - field mike signal , and the close uh mike signal , and apply really good echo cancellation . Um , there was a {disfmarker} have been some nice talks recently by {disfmarker} by Lucent on {disfmarker} on their b\nPhD F: Hmm .\nProfessor E: the block echo cancellation particularly appealed to me , uh you know , trying and change it sample by sample , but you have some reasonable sized blocks . {comment} And um , you know , th\nPhD A: W what is the um {disfmarker} the artifact you try to {disfmarker} you 're trying to get rid of when you do that ?\nPhD F: Ciao .\nProfessor E: Uh so it 's {disfmarker} it {disfmarker} you have a {disfmarker} a direct uh {disfmarker} Uh , what 's the difference in {disfmarker} If you were trying to construct a linear filter , that would um {disfmarker}\nPhD F: I 'm signing off .\nProfessor E: Yeah . that would subtract off {comment} the um uh parts of the signal that were the aspects of the signal that were different between the close - talk and the distant . You know , so {disfmarker} so uh um I guess in most echo cancellation {disfmarker} Yeah , so you {disfmarker} Given that um {disfmarker} Yeah , so you 're trying to {disfmarker} So you 'd {disfmarker} There 's a {disfmarker} a distance between the close and the distant mikes so there 's a time delay there , and after the time delay , there 's these various reflections . And if you figure out well what 's the {disfmarker} there 's a {disfmarker} a least squares algorithm that adjusts itself {disfmarker} adjusts the weight so that you try to subtract {disfmarker} essentially to subtract off uh different uh {disfmarker} different reflections . Right ? So let 's take the simple case where you just had {disfmarker} you had some uh some delay in a satellite connection or something and then there 's a {disfmarker} there 's an echo . It comes back . And you want to adjust this filter so that it will maximally reduce the effect of this echo .\nPhD A: So that would mean like if you were listening to the data that was recorded on one of those . Uh , just the raw data , you would {disfmarker} you might hear kind of an echo ? And {disfmarker} and then this {disfmarker} noise cancellation would get\nProfessor E: Well , I 'm {disfmarker} I 'm {disfmarker} I 'm saying {disfmarker} That 's a simplified version of what 's really happening . {comment} What 's really happening is {disfmarker} Well , when I 'm talking to you right now , you 're getting the direct sound from my speech , but you 're also getting , uh , the indirect sound that 's bounced around the room a number of times . OK ? So now , if you um try to r you {disfmarker} To completely remove the effect of that is sort of impractical for a number of technical reasons , but I {disfmarker} but {disfmarker} not to try to completely remove it , that is , invert the {disfmarker} the room response , but just to try to uh uh eliminate some of the {disfmarker} the effect of some of the echos . Um , a number of people have done this so that , say , if you 're talking to a speakerphone , uh it makes it more like it would be , if you were talking right up to it . So this is sort of the st the straight - forward approach . You say I {disfmarker} I {disfmarker} I want to use this uh {disfmarker} this item but I want to subtract off various kinds of echos . So you construct a filter , and you have this {disfmarker} this filtered version uh of the speech um gets uh uh {disfmarker} gets subtracted off from the original speech . Then you try to {disfmarker} you try to minimize the energy in some sense . And so um {disfmarker} uh with some constraints .\nPhD A: Kind of a clean up thing , that {disfmarker}\nProfessor E: It 's a clean up thing . Right .\nPhD A: OK .\nProfessor E: So , echo cancelling is {disfmarker} is , you know , commonly done in telephony , and {disfmarker} and {disfmarker} and it 's sort of the obvious thing to do in this situation if you {disfmarker} if , you know , you 're gonna be talking some distance from a mike .\nPhD A: When uh , I would have meetings with the folks in Cambridge when I was at BBN over the phone , they had a um {disfmarker} some kind of a special speaker phone and when they would first connect me , it would come on and we 'd hear all this noise . And then it was uh {disfmarker} And then it would come on and it was very clear ,\nProfessor E: Yeah .\nPhD A: you know .\nProfessor E: Right . So it 's taking samples , it 's doing adaptation , it 's adjusting weights , and then it 's getting the sum . So um , uh anyway that 's {disfmarker} that 's kind of a reasonable thing that I 'd like to have somebody try {disfmarker} somebody look {disfmarker} And {disfmarker} and the digits would be a reasonable thing to do that with . I think that 'd be enough data {disfmarker} plenty of data to do that with , and i for that sort of task you wouldn't care whether it was uh large vocabulary speech or anything . Uh . {vocalsound} Um\nPostdoc B: Is Brian Kingsbury 's work related to that , or is it a different type of reverberation ?\nProfessor E: Brian 's {comment} Kingsbury 's work is an example of what we did f f from the opposite dogma . Right ? Which is what I was calling the \" party line \" , which is that uh doing that sort of thing is not really what we want . We want something more flexible , uh i i where people might change their position , and there might be , you know {disfmarker} There 's also um oh yeah , noise . So the echo cancellation does not really allow for noise . It 's if you have a clean situation but you just have some delays , Then we 'll figure out the right {disfmarker} the right set of weights for your taps for your filter in order to produce the effect of those {disfmarker} those echos . But um if there 's noise , then the very signal that it 's looking at is corrupted so that it 's decision about what the right {disfmarker} you know , right {disfmarker} right uh {disfmarker} delays are {disfmarker} is , uh {disfmarker} is {disfmarker} right delayed signal is {disfmarker} is {disfmarker} is {disfmarker} uh is incorrect . And so , in a noisy situation , um , also in a {disfmarker} in a situation that 's very reverberant {disfmarker} {comment} with long reverberation times {comment} and really long delays , it 's {disfmarker} it 's sort of typically impractical . So for those kind of reasons , and also a {disfmarker} a c a complete inversion , if you actually {disfmarker} I mentioned that it 's kind of hard to really do the inversion of the room acoustics . Um , that 's difficult because um often times the {disfmarker} the um {disfmarker} {vocalsound} the system transfer function is such that when it 's inverted you get something that 's unstable , and so , if you {disfmarker} you do your estimate of what the system is , and then you try to invert it , you get a filter that actually uh , you know , rings , and {disfmarker} and uh goes to infinity . So it 's {disfmarker} so there 's {disfmarker} there 's {disfmarker} there 's that sort of technical reason , and the fact that things move , and there 's air currents {disfmarker} I mean there 's all sorts of {disfmarker} all sorts of reasons why it 's not really practical . So for all those kinds of reasons , uh we {disfmarker} we {disfmarker} we sort of um , concluded we didn't want to in do inversion , and we 're even pretty skeptical of echo cancellation , which isn't really inversion , and um we decided to do this approach of taking {disfmarker} uh , just picking uh features , which were {disfmarker} uh will give you more {disfmarker} something that was more stable , in the presence of , or absence of , room reverberation , and that 's what Brian was trying to do . So , um , let me just say a couple things that I was {disfmarker} I was gonna bring up . Uh . Let 's see . I guess you {disfmarker} you actually already said this thing about the uh {disfmarker} about the consent forms , which was that we now don't have to {disfmarker} So this was the human subjects folks who said this , {comment} or that {disfmarker} that {disfmarker} ?\nPostdoc B: The a apparently {disfmarker} I mean , we 're gonna do a revised form , of course . Um but once a person has signed it once , then that 's valid for a certain number of meetings . She wanted me to actually estimate how many meetings and put that on the consent form . I told her that would be a little bit difficult to say . So I think from a s practical standpoint , maybe we could have them do it once every ten meetings , or something . It won't be that many people who do it {pause} that often , but um just , you know , so long as they don't forget that they 've done it , I guess .\nProfessor E: OK . Um , back on the data thing , so there 's this sort of one hour , ten hour , a hundred hour sort of thing that {disfmarker} that we have . We have {disfmarker} we have an hour uh that {disfmarker} that is transcribed , we have {disfmarker} we have twelve hours that 's recorded but not transcribed , and at the rate we 're going , uh by the end of the semester we 'll have , I don't know , forty or fifty or something , if we {disfmarker} if this really uh {disfmarker} Well , do we have that much ?\nPhD C: Not really . It 's three to four per week .\nProfessor E: Let 's see , we have {disfmarker}\nPhD C: So that 's what {disfmarker} You know , that {disfmarker}\nProfessor E: uh eight weeks , uh is {disfmarker}\nPhD C: So that 's not a lot of hours .\nProfessor E: Eight weeks times three hours is twenty - four , so that 's {disfmarker} Yeah , so like thirty {disfmarker} thirty hours ?\nPhD A: Three {disfmarker} Three hours .\nPhD C: Yeah . I mean , is there {disfmarker} I know this sounds {pause} tough but we 've got the room set up . Um I was starting to think of some projects where you would use well , similar to what we talked about with uh energy detection on the close - talking mikes . There are a number of interesting questions that you can ask about how interactions happen in a meeting , that don't require any transcription . So what are the patterns , the energy patterns over the meeting ? And I 'm really interested in this {vocalsound} but we don't have a whole lot of data . So I was thinking , you know , we 've got the room set up and you can always think of , also for political reasons , if ICSI collected you know , two hundred hours , that looks different than forty hours , even if we don't transcribe it ourselves ,\nProfessor E: But I don't think we 're gonna stop at the end of this semester .\nPhD C: so {disfmarker}\nProfessor E: Right ? So , I th I think that if we are able to keep that up for a few months , we are gonna have more like a hundred hours .\nPhD C: I mean , is there {disfmarker} Are there any other meetings here that we can record , especially meetings that have some kind of conflict in them {comment} or some kind of deci I mean , that are less well {disfmarker} I don't {disfmarker} uh , that have some more emotional aspects to them , or strong {disfmarker}\nGrad G: We had some good ones earlier .\nPhD C: There 's laughter , um I 'm talking more about strong differences of opinion meetings , maybe with manager types , or {disfmarker}\nGrad G: I think it 's hard to record those .\nPhD C: To be allowed to record them ?\nPostdoc B: It 's also likely that people will cancel out afterwards .\nPhD C: OK .\nProfessor E: Yeah , people will get {disfmarker}\nPostdoc B: But I {disfmarker} but I wanted to raise the KPFA idea .\nPhD C: OK . Well , if there is , anyway .\nProfessor E: Yeah , I was gonna mention that .\nGrad G: Oh , that 's a good idea . That 's {disfmarker} That would be a good match .\nProfessor E: Yeah . So {disfmarker} Yeah . So I {disfmarker} I {disfmarker} uh , I {disfmarker} I 'd mentioned to Adam , and {disfmarker} that was another thing I was gonna talk {disfmarker} uh , mention to them before {disfmarker} {comment} that uh there 's uh {disfmarker} It {disfmarker} it oc it occurred to me that we might be able to get some additional data by talking to uh acquaintances in local broadcast media . Because , you know , we had talked before about the problem about using found data , {comment} that {disfmarker} that uh it 's just set up however they have it set up and we don't have any say about it and it 's typically one microphone , in a , uh , uh {disfmarker} or {disfmarker} and {disfmarker} and so it doesn't really give us the {disfmarker} the {disfmarker} the uh characteristics we want . Um and so I do think we 're gonna continue recording here and record what we can . But um , it did occur to me that we could go to friends in broadcast media and say \" hey you have this panel show , {pause} or this {disfmarker} you know , this discussion show , and um can you record multi - channel ? \" And uh they may be willing to record it uh with {disfmarker}\nPhD C: With lapel mikes or something ?\nProfessor E: Well , they probably already use lapel , but they might be able to have it {disfmarker} it wouldn't be that weird for them to have another mike that was somewhat distant .\nPhD C: Right .\nProfessor E: It wouldn't be exactly this setup , but it would be that sort of thing , and what we were gonna get from UW , you know , assuming they {disfmarker} they {disfmarker} they start recording , isn't {disfmarker} als also is not going to be this exact setup .\nPhD C: Right . No , I think that 'd be great , if we can get more data .\nProfessor E: So , {comment} I {disfmarker} I {disfmarker} I {disfmarker} I was thinking of looking into that . the other thing that occurred to me after we had that discussion , in fact , is that it 's even possible , since of course , many radio shows are not live , {comment} uh that we could invite them to have like some of their {disfmarker} {comment} record some of their shows here .\nPostdoc B: Wow !\nPhD C: Well {disfmarker} Or {disfmarker} The thing is , they 're not as averse to wearing one of these head - mount I mean , they 're on the radio ,\nGrad G: Right , as we are .\nPhD C: right ? So . {comment} Um , I think that 'd be fantastic\nProfessor E: Right .\nPhD C: cuz those kinds of panels and {disfmarker} Those have interesting\nProfessor E: Yeah .\nPhD C: Th - that 's an {disfmarker} a side of style {disfmarker} a style that we 're not collecting here , so it 'd be great .\nProfessor E: And {disfmarker} and the {disfmarker} I mean , the other side to it was the {disfmarker} what {disfmarker} which is where we were coming from {disfmarker} I 'll {disfmarker} I 'll talk to you more about it later {comment} is that {disfmarker} is that there 's {disfmarker} there 's uh the radio stations and television stations already have stuff worked out presumably , uh related to , you know , legal issues and {disfmarker} and permissions and all that . I mean , they already do what they do {disfmarker} do whatever they do . So it 's {disfmarker} uh , it 's {disfmarker} So it 's {disfmarker} so it 's another source . So I think it 's something we should look into , you know , we 'll collect what we collect here hopefully they will collect more at UW also and um {disfmarker} and maybe we have this other source . But yeah I think that it 's not unreasonable to aim at getting , you know , significantly in excess of a hundred hours . I mean , that was sort of our goal . The thing was , I was hoping that we could {disfmarker} @ @ in the {disfmarker} under this controlled situation we could at least collect , you know , thirty to fifty hours . And at the rate we 're going we 'll get pretty close to that I think this semester . And if we continue to collect some next semester , I think we should , uh {disfmarker}\nPhD C: Right . Yeah I was mostly trying to think , \" OK , if you start a project , within say a month , you know , how much data do you have to work with . And you {disfmarker} you wanna s you wanna sort of fr freeze your {disfmarker} your data for awhile so um right now {disfmarker} and we don't have the transcripts back yet from IBM right ? Do {disfmarker} Oh , do we now ?\nProfessor E: Well , we don't even have it for this f you know , forty - five minutes , that was {disfmarker}\nPhD C: So um , not complaining , I was just trying to think , you know , what kinds of projects can you do now versus uh six months from now\nProfessor E: Yeah .\nPhD C: and they 're pretty different , because\nProfessor E: Yeah . So I was thinking right now it 's sort of this exploratory stuff where you {disfmarker} you look at the data , you use some primitive measures and get a feeling for what the scatter plots look like ,\nGrad G: Right .\nPhD C: um {disfmarker} Right . Right , right .\nProfessor E: and {disfmarker} and {disfmarker} and uh {disfmarker} and meanwhile we collect , and it 's more like yeah , three months from now , or six months from now you can {disfmarker} you can do a lot of other things .\nPhD C: Cuz I 'm not actually sure , just logistically that I can spend {disfmarker} you know , I don't wanna charge the time that I have on the project too early , before there 's enough data to make good use of the time . And that 's {disfmarker} and especially with the student\nGrad G: Right .\nPhD C: uh for instance this guy who seems {disfmarker}\nProfessor E: Yeah .\nPhD C: Uh anyway , I shouldn't say too much , but um if someone came that was great and wanted to do some real work and they have to end by the end of this school year in the spring , how much data will I have to work with , with that person . And so it 's {disfmarker}\nProfessor E: i Yeah , so I would think , exploratory things now . Uh , three months from now {disfmarker} Um , I mean the transcriptions I think are a bit of an unknown cuz we haven't gotten those back yet as far as the timing , but I think as far as the collection , it doesn't seem to me l like , uh , unreasonable to say that uh in January , you know , ro roughly uh {disfmarker} which is roughly three months from now , we should have at least something like , you know , twenty - five , thirty hours .\nPhD C: And we just don't know about the transcription part of that ,\nProfessor E: So that 's {disfmarker}\nPostdoc B: Yeah , we need to {disfmarker} I think that there 's a possibility that the transcript will need to be adjusted afterwards ,\nPhD C: so . I mean , it {disfmarker}\nPostdoc B: and uh es especially since these people won't be uh used to dealing with multi - channel uh transcriptions .\nPhD C: Right .\nProfessor E: Yeah .\nPostdoc B: So I think that we 'll need to adjust some {disfmarker} And also if we wanna add things like um , well , more refined coding of overlaps , then definitely I think we should count on having an extra pass through . I wanted to ask another a a aspect of the data collection . There 'd be no reason why a person couldn't get together several uh , you know , friends , and come and argue about a topic if they wanted to , right ?\nProfessor E: If they really have something they wanna talk about as opposed to something @ @ {disfmarker} I mean , what we 're trying to stay away from was artificial constructions , but I think if it 's a real {disfmarker} Why not ? Yeah .\nPhD C: I mean , I 'm thinking , politically {disfmarker}\nGrad G: Stage some political debates .\nPostdoc B: You could do this ,\nPhD C: Well yeah ,\nPostdoc B: you know . You could .\nPhD C: or just if you 're {disfmarker} if you ha If there are meetings here that happen that we can record even if we don't {pause} um have them do the digits , {comment} or maybe have them do a shorter {pause} digit thing {comment} like if it was , you know , uh , one string of digits , or something , they 'd probably be willing to do .\nGrad G: We don't have to do the digits at all if we don't want to .\nPhD C: Then , having the data is very valuable , cuz I think it 's um politically better for us to say we have this many hours of audio data , especially with the ITR , if we put in a proposal on it . It 'll just look like ICSI 's collected a lot more audio data . Um , whether it 's transcribed or not um , is another issue , but there 's {disfmarker} there are research questions you can answer without the transcriptions , or at least that you can start to answer .\nPostdoc B: It seems like you could hold some meetings .\nGrad G: Yep .\nPostdoc B: You know , you and maybe Adam ?\nPhD C: So .\nPostdoc B: You {disfmarker} you could {disfmarker} you could maybe hold some additional meetings , if you wanted .\nPhD A: Would it help at all {disfmarker} I mean , we 're already talking about sort of two levels of detail in meetings . One is uh um without doing the digits {disfmarker} Or , I guess the full - blown one is where you do the digits , and everything , and then talk about doing it without digits , what if we had another level , just to collect data , which is without the headsets and we just did the table - mounted stuff .\nPhD C: Need the close - talking mikes .\nPhD A: You do , OK .\nPhD C: I mean , absolutely ,\nProfessor E: Yeah . Yeah .\nPhD C: yeah . I 'm really scared {disfmarker}\nGrad G: It seems like it 's a big part of this corpus is to have the close - talking mikes .\nPhD A: I see , OK .\nPhD C: Um or at least , like , me personally ? I would {disfmarker} {comment} I {disfmarker} couldn't use that data .\nProfessor E: Yeah .\nPostdoc B: I agree . And Mari also ,\nPhD C: Um .\nPostdoc B: we had {disfmarker} This came up when she she was here . That 's important .\nPhD C: So it 's a great idea ,\nProfessor E: Yeah , I {disfmarker} I {disfmarker} b By the {disfmarker} by the way , I don't think the transcriptions are actually , in the long run , such a big bottleneck .\nPhD C: and if it were true than I would just do that , but it 's not that bad {disfmarker} like the room is not the bottleneck , and we have enough time in the room , it 's getting the people to come in and put on the {disfmarker} and get the setup going .\nProfessor E: I think the issue is just that we 're {disfmarker} we 're blazing that path . Right ? And {disfmarker} and um {disfmarker} d Do you have any idea when {disfmarker} when uh the {disfmarker} you 'll be able to send uh the ten hours to them ?\nGrad G: Well , I 've been burning two C Ds a day , which is about all I can do with the time I have .\nProfessor E: Yeah . Yeah .\nGrad G: So it 'll be early next week .\nProfessor E: Yeah , OK . So early next week we send it to them , and then {disfmarker} then we check with them to see if they 've got it and we {disfmarker} we start , you know asking about the timing for it .\nGrad G: Yep .\nProfessor E: So I think once they get it sorted out about how they 're gonna do it , which I think they 're pretty well along on , cuz they were able to read the files and so on .\nGrad G: Yep .\nProfessor E: Right ?\nGrad G: Yeah , but {disfmarker}\nProfessor E: Well {disfmarker}\nGrad G: Yeah , who knows where they are .\nPhD A: Have they ever responded to you ?\nGrad G: Nope .\nProfessor E: Yeah , but {disfmarker} You know , so they {disfmarker} they {disfmarker} they have {disfmarker} you know , they 're volunteering their time and they have a lot of other things to do ,\nPhD C: What if {disfmarker}\nGrad G: Yeah , you {disfmarker} we can't complain .\nProfessor E: right ? But they {disfmarker} But at any rate , they 'll {disfmarker} I {disfmarker} I think once they get that sorted out , they 're {disfmarker} they 're making cassettes there , then they 're handing it to someone who they {disfmarker} who 's {disfmarker} who is doing it , and uh I think it 's not going to be {disfmarker} I don't think it 's going to be that much more of a deal for them to do thirty hours then to do one hour , I think . It 's not going to be thirty\nGrad G: Yep . I think that 's probably true .\nPhD C: Really ? So it 's the amount of {disfmarker}\nProfessor E: It 's {disfmarker} it 's just getting it going .\nGrad G: It 's pipeline , pipeline issues .\nPhD C: Right . What about these lunch meetings {disfmarker}\nGrad G: Once the pipeline fills .\nPhD C: I mean , I don't know , if there 's any way without too much more overhead , even if we don't ship it right away to IBM even if we just collect it here for awhile , {comment} to record you know , two or three more meeting a week , just to have the data , even if they 're um not doing the digits , but they do wear the headphones ?\nProfessor E: But the lunch meetings are pretty much one person getting up and {disfmarker}\nPhD C: No , I meant , um , sorry , the meetings where people eat their lunch downstairs , maybe they don't wanna be recorded , but {disfmarker}\nGrad G: Oh , and we 're just chatting ?\nPhD C: Just the ch the chatting .\nGrad G: Yeah , we have a lot of those .\nPhD C: I actually {disfmarker} I actually think that 's {pause} useful {pause} data , um {pause} the chatting ,\nGrad G: Yeah , the problem with that is I would {disfmarker} I think I would feel a little constrained to {disfmarker} You know ? Uh , some of the meetings {disfmarker}\nPhD C: but {disfmarker} OK . You don't wanna do it , cuz {disfmarker} OK .\nGrad G: You know , our \" soccer ball \" meeting ?\nPhD C: Alright .\nGrad G: I guess none of you were there for our soccer ball meeting .\nPhD C: Alright , {comment} so I 'll just throw it out there , if anyone knows of one more m or two more wee meetings per week that happen at ICSI , um that we could record , I think it would be worth it .\nGrad G: That was hilarious .\nProfessor E: Yeah . Well , we should also check with Mari again , because they {disfmarker} because they were really intending , you know , maybe just didn't happen , but they were really intending to be duplicating this in some level . So then that would double {pause} what we had . Uh . And there 's a lot of different meetings at UW uh {disfmarker} I mean really m a lot more {comment} than we have here right cuz we 're not right on campus ,\nGrad G: Right .\nProfessor E: so .\nPhD A: Is the uh , notion of recording any of Chuck 's meetings dead in the water , or is that still a possibility ?\nProfessor E: Uh , {vocalsound} they seem to have some problems with it . We can {disfmarker} we can talk about that later . Um , but , again , Jerry is {disfmarker} Jerry 's open {disfmarker} So I mean , we have two speech meetings , one uh network meeting , uh Jerry was open to it but I {disfmarker} I s One of the things that I think is a little {disfmarker} a little bit of a limitation , there is a think when the people are not involved uh in our work , we probably can't do it every week . You know ? I {disfmarker} I {disfmarker} I {disfmarker} I think that {disfmarker} that people are gonna feel uh {disfmarker} are gonna feel a little bit constrained . Now , it might get a little better if we don't have them do the digits all the time . And the {disfmarker} then {disfmarker} so then they can just really sort of try to {disfmarker} put the mikes on and then just charge in and {disfmarker}\nGrad G: Yep .\nPhD C: What if we give people {disfmarker} you know , we cater a lunch in exchange for them having their meeting here or something ?\nPostdoc B: Well , you know , I {disfmarker} I do think eating while you 're doing a meeting is going to be increasing the noise .\nPhD C: OK .\nPostdoc B: But I had another question , which is um , you know , in principle , w um , I know that you don't want artificial topics ,\nPhD C: Alright , alright , alright .\nPostdoc B: but um it does seem to me that we might be able to get subjects from campus to come down and do something that wouldn't be too artificial . I mean , we could {disfmarker} political discussions , or {disfmarker} or something or other ,\nPhD C: No , definitely .\nPostdoc B: and i you know , people who are {disfmarker} Because , you know , there 's also this constraint . We d it 's like , you know , the {disfmarker} the {disfmarker} uh goldibears {disfmarker} goldi goldilocks , it 's like you don't want meetings that are too large , but you don't want meetings that are too small . And um {disfmarker} a and it just seems like maybe we could exploit the subj human subject p p pool , in the positive sense of the word .\nPhD A: Well , even {disfmarker} I mean , coming down from campus is sort of a big thing , but what about\nPostdoc B: We could pay subjects .\nPhD A: or what about people in the {disfmarker} in the building ?\nPhD C: Yeah , I was thinking , there 's all these other peo\nPhD A: I mean , there 's the State of California downstairs , and {disfmarker}\nPhD C: Yeah . I mean {disfmarker}\nGrad G: I just really doubt that uh any of the State of California meetings would be recordable and then releasable to the general public .\nPostdoc B: Yeah .\nPhD A: Oh .\nPhD C: Mm - hmm .\nGrad G: So I {disfmarker} I mean I talked with some people at the Haas Business School who are i who are interested in speech recognition\nPhD C: Alright , well .\nGrad G: and , they sort of hummed and hawed and said \" well maybe we could have meetings down here \" , but then I got email from them that said \" no , we decided we 're not really interested and we don't wanna come down and hold meetings . \" So , I think it 's gonna be a problem to get people regularly .\nPhD A: What about Joachim , maybe he can {disfmarker}\nProfessor E: But {disfmarker} but we c But I think , you know , we get some scattered things from this and that . And I {disfmarker} I d I do think that maybe we can get somewhere with the {disfmarker} with the radio .\nPhD C: Mm - hmm .\nProfessor E: Uh i I have better contacts in radio than in television , but {disfmarker}\nPhD A: You could get a lot of lively discussions from those radio ones .\nPhD C: Well , and they 're already {disfmarker} they 're {disfmarker} these things are already recorded ,\nGrad G: Yep .\nProfessor E: Yeah .\nPhD C: we don't have to ask them to {disfmarker} even {disfmarker} and I 'm not sure wh how they record it , but they must record from individual {disfmarker}\nProfessor E: n Well {disfmarker} No , I 'm not talking about ones that are already recorded . I 'm talking about new ones\nPhD C: Why {disfmarker} why not ?\nProfessor E: because {disfmarker} because {disfmarker} because we would be asking them to do something different .\nPhD C: Well , we can find out . I know for instance Mark Liberman was interested uh in {disfmarker} in LDC getting {pause} data , uh , and {disfmarker}\nProfessor E: Right , that 's the found data idea .\nPhD C: Yeah .\nProfessor E: But what I 'm saying is uh if I talk to people that I know who do these th who produce these things we could ask them if they could record an extra channel , let 's say , of a distant mike .\nPhD C: Mm - hmm .\nProfessor E: And u I think routinely they would not do this . So , since I 'm interested in the distant mike stuff , I wanna make sure that there is at least that somewhere\nPhD C: Right . Great . OK .  \nProfessor E: and uh {disfmarker} But if we ask them to do that they might be intrigued enough by the idea that they uh might be e e willing to {disfmarker} the {disfmarker} I might be able to talk them into it .\nPhD C: Mm - hmm .\nGrad G: Um . We 're getting towards the end of our disk space , so we should think about trying to wrap up here .\nPhD C: That 's a good way to end a meeting .\nProfessor E: OK . Well I don't {disfmarker} why don't we {disfmarker} why d u why don't we uh uh turn them {disfmarker} turn\nGrad G: OK , leave {disfmarker} leave them on for a moment until I turn this off , cuz that 's when it crashed last time .\nPostdoc B: Oh . That 's good to know .\nProfessor E: Turning off the microphone made it crash . Well {disfmarker}\nPostdoc B: That 's good to know .\nProfessor E: OK .\n\nNow, answer the query based on the above meeting transcript in one or more sentences.\n\nQuery: What was agreed upon on sample transcripts?\nAnswer:"}
{"question_id": 93, "category": "longbench_narrativeqa", "reference": ["Her face is blurry"], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: <b>  THE RING\n</b>\n  Original screenplay by Takahashi Hiroshi\n  Based upon the novel by Suzuki Kouji\n\n\n  This manuscript is intended for informational \n  purposes only, and is a fair usage of copyrighted\n  material.\n\n  Ring (c) 1995 Suzuki Kouji\n  Ring feature film (c) 1998 Ring/Rasen Committee\n  Distributed by PONY CANYON\n\n\n  Adapted/ Translated by J Lopez\n\n  http://www.somrux.com/ringworld/\n\n<b>  ---\n</b>\n\n  Caption-- September 5th.  Sunday.\n\n<b>  INT. OUISHI HOUSEHOLD  TOMOKOS ROOM - NIGHT\n</b>\n  CLOSEUP on a TELEVISION SET.  Theres a baseball game on, but the sound \n  is turned completely down.  Camera PANS to show two cute high school \n  girls, MASAMI and TOMOKO.  Masami is seated on the floor at a low coffee \n  table, TEXTBOOK in front of her. Tomoko is at her desk.  There are SNACKS \n  all over the room, and its obvious there hasnt been much studying going \n  on. Masami is currently in mid-story, speaking excitedly.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tThey say that some elementary school \n\t\tkid spent the night with his parents \n\t\tat a bed and breakfast in Izu.  The kid\n\t\twanted to go out and play with everybody, \n\t\tright, but he didnt want to miss the \n\t\tprogram he always used to watch back in \n\t\tTokyo, so he records it on the VCR in \n\t\ttheir room.  But of course the stations \n\t\tin Izu are different from the ones in \n\t\tTokyo.  In Izu, it was just an empty \n\t\tchannel, so he shouldve recorded\n\t\tnothing but static.  But when the kid \n\t\tgets back to his house and watches the \n\t\ttape, all of a sudden this woman comes \n\t\ton the screen and says--\n\n  Masami points so suddenly and dramatically at her friend that Tomoko \n  actually jumps in her seat.\n\n\t\t\t\tMASAMI (contd)\n\t\tOne week from now, you will die.\n\n  Short silence as Masami pauses, relishing the moment.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tOf course the kids completely \n\t\tfreaked, and he stops the video.  \n\t\tJust then the phone rings, and when he \n\t\tpicks it up a voice says--\n\n  Her voice drops voice almost to a whisper.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tYou watched it, didnt you?  That \n\t\tsame time, exactly one week later... \n\t\thes dead!\n\n  Masami laughs loudly, thoroughly enjoying her own performance.  \n  Tomoko, however, is completely silent.  She begins looking more \n  and more distressed, until finally Masami notices.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhat is it, Tomoko?\n\n  Tomoko comes out of her chair and drops onto the floor next to her \n  friend.  Her words are quick, earnest.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tWho did you hear that story from?\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWho?  Its just a rumor.  Everybody \n\t\tknows it.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tYouko told you?\t\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tNo, it wasnt Youko...\n\n  Tomoko looks away, worried.  Masami slaps her on the knee, \n  laughing.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhats up with you?\n\n  Tomoko speaks slowly, still looking away.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tThe other day, I... I watched this \n\t\tstrange video.\n<b>\t\t\n</b><b>\t\t\t\tMASAMI\n</b>\t\tWhere?\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tWith Youko and them.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(excited) \n\t\tSo thats what Ive been hearing \n\t\tabout you doing some double-date/\n\t\tsleepover thing!  So, you and that \n\t\tguy Iwata, huh? \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tNo, its not like that.  Nothing \n\t\thappened!\n\n  Their eyes meet and Tomoko half-blushes, looks away again.  Her \n  expression becomes serious as she resumes her conversation.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tIwata... he found this weird video.  \n\t\tEveryone was like, Whats that? so \n\t\the put it on and we all watched it.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(quietly) \n\t\tAnd?  What kind of video was it?\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tJust... weird, I cant really explain \n\t\tit.  Anyway, right after we finished \n\t\twatching it, the phone rang.  Whoever\n\t\tit was didnt say anything, but still...\n\n  Silence.  Masami curls up on herself, thoroughly spooked.  \n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tJesus.\n\n<b>\t\t\t\tTOMOKO\n</b>  \t\tIt's cuz, you know, we'd all heard the \n\t\trumors.\n\nTomoko looks seriously over at her friend.\n\n\t\t\t\tTOMOKO (cont'd)\n\t\tThat was one week ago today.\n\n  There is a long, heavy silence as neither of them says anything.\n\n<b>\t\t\t\tMASAMI  \t\n</b>\t\tWaaait a minute.  Are you faking me \n\t\tout?\n\n  Tomokos face suddenly breaks into a smile. \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tBusted, huh?\n\n  They both crack up laughing. \n\n<b>\t\t\t\tMASAMI\n</b>\t\tOh, my... I cant believe you!  \n\n  Masami reaches out, slaps her friend on the knee.\n\n\t\t\t\tMASAMI (contd)\n\t\tYoure terrible!\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tGotcha!\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(thinking) \n\t\tBut hang on... you really stayed\n\t\tthe night with Youko and Iwata, \n\t\tright?\n\n  Tomoko nods, uh-huh.  Masami dives forward, pinching her friends \n  cheeks and grinning wildly.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tSo, how far did you and he get?\n\n<b>\t\t\t\tTOMOKO \t\n</b>\t\tOh... I cant remember.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tYou cant remember, huh?\n\n  Masami laughs, then slaps Tomoko on the knee again as she remembers \n  the trick her friend played on her.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tMan, you had me freaked me out. \n<b>\t\tI--\n</b>\n  Just at that moment, the phone RINGS.  They are both suddenly, \n  instantly serious.  Tomokos eyes go off in one direction and she \n  begins shaking her head, -No-.  Masami looks over her shoulder, \n  following her friends gaze.  \n\n  Tomoko is looking at the CLOCK, which currently reads 9:40.\n\n  The phone continues to ring.  Tomoko is now clutching tightly onto her \n  friend, looking panicked.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(softly) \n\t\tWas it true?\n\n  Tomoko nods her head, still holding on tightly.  Masami has to \n  forcibly disengage herself in order to stand.  The phone is downstairs, \n  so Masami opens the bedroom DOOR and races down the STAIRS.  Tomoko \n  calls out to her from behind.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - NIGHT  \n</b>\n  Tomoko and Masami run down the staircase, through the hallway towards \n  the kitchen.  Tomoko cries out again just before they reach the kitchen.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  Masami has come to a halt before a PHONE mounted on the wall.  She \n  pauses, looking slowly at her friend, then back to the phone.  She \n  takes it tentatively from its cradle, answers it wordlessly.  The \n  tension continues to mount as nothing is said. Masami suddenly breaks \n  into a huge grin.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIll put her on.\n\n  Still grinning, she hands the phone to Tomoko.  Tomoko snatches it \n  quickly.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(softly) \n\t\tYes?\n\n  She is silent for a moment, then smiling widely.  \n\n<b>\t\t\t\tTOMOKO\n</b>\t\tOh, man!\n\n  She is so relieved that all the strength seeps out of her and she \n  sinks to the kitchen floor.  Masami, equally relieved, slides down \n  the wall and sits down next to her.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(on the phone) \n\t\tYeah, Ive got a friend over now.  \n\t\tYeah.  Yeah, OK.  Bye.\n\n  Tomoko stands to place the phone back in its wall cradle, and then \n  squats back down onto the kitchen floor.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tThe games gone into overtime, so \n\t\ttheyre gonna be a little late. \n\n  They burst out laughing with relief again, and are soon both \n  clutching their stomachs.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tJeeezus, my parents...\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tOh man, Im tellin everybody about \n\t\tthis tomorrow!\n\n  Tomoko shakes her head, -Dont you dare-.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIm gonna use your bathroom.  Dont \n\t\tgo anywhere.\n\n<b>\t\t\t\tTOMOKO\t\n</b><b>\t\tK.\n</b>\n  Masami walks out of the kitchen. Alone now, Tomoko stands and walks \n  toward the SINK, where she takes a GLASS from the DISH RACK.  She \n  then goes to the FRIDGE and sticks her face in, looking for something \n  to drink.  Suddenly there is the SOUND of people clapping and \n  cheering.  Tomoko, startled, peers her head over the refrigerator \n  door to check for the source of the sound.  \n\n  She begins walking slowly, following the sound to the DINING ROOM \n  adjacent the kitchen. \n\n<b>  INT. OUISHI HOUSEHOLD - DINING ROOM - NIGHT  \n</b>\n  The lights are off, and there is no one in the room.  Tomoko pauses a \n  moment, bathed in the garish LIGHT from the TV, which has been switched\n  on.  Playing is the same baseball game they had on the TV upstairs; the \n  same game that Tomokos parents are currently at.  The VOLUME is up \n  quite high.\n\n  A puzzled look on her face, Tomoko takes the REMOTE from the coffee \n  table and flicks the TV off.  She walks back to the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  A bottle of SODA that Tomoko had earlier taken from the fridge is on \n  the kitchen table.  She picks the bottle up, pours herself a drink.  \n  Before she can take a sip, however, the air around her becomes suddenly \n  charged, heavy.  Her body begins to shiver as somewhere out of sight \n  comes a popping, crackling SOUND underscored by a kind of GROANING.  \n  Trembling now, Tomoko spins around to see what she has already felt \n  lurking behind her.  She draws in her breath to scream.\n\n  The screen goes white, and fades into:\n\n<b>  CAMERA POV \n</b>\n  The screen is filled with the visage of a nervous-looking YOUNG GIRL.  \n  She is being interviewed by ASAKAWA, a female reporter seated offscreen.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>\t\tThere seems to be a popular rumor \n\t\tgoing around about a cursed \n\t\tvideotape.\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n  The girl looks directly at the camera, her mouth dropping into an O \n  as shes suddenly overcome by a kind of stage fright.  She continues \n  staring, silently, at the camera.\n\n<b>  INT. COFFEE SHOP - DAY  \n</b>\n  KOMIYA, the cameraman, has lowered his camera. We can now see that \n  the young girl being interviewed is seated at a table between two \n  friends, a SHORT-HAIRED GIRL (GIRL#2) and a LONG-HAIRED GIRL (GIRL #3).  \n  They are all dressed in the UNIFORMS of junior high school students.  \n  Opposite them sits Komiya and Asakawa, a pretty woman in her mid-\n  twenties.  A BOOM MIKE GUY stands to the left.\n<b> \n</b><b>\t\t\t\tKOMIYA\t\n</b>\t\tUh, dont look right at the camera, \n<b>\t\tOK?\n</b>\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tSorry.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLets do it again.\n\n  Asakawa glances over her shoulder, makes sure that Komiya is ready.\n\n<b> \n</b><b>\t\t\t\tASAKAWA\n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWhat I heard was, all of a sudden \n\t\tthis scaaarry lady comes on the\n\t\tscreen and says, In one week, you\n\t\twill die.\n\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tI heard that if youre watching TV \n\t\tlate at night itll come on, and\n\t\tthen your phonell ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWatching TV late at night... do you\n \t\tknow what station?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmmm... I heard some local station, \n\t\taround Izu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmm-hmm.\t\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd, do you know if anyones really \n\t\tdied from watching it?\n\n  The girl flashes a look at her two friends.\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWell, no one that we know, right?\n\n  Girl #2 nods her head. Girl #3 nods slowly, opens and closes her \n  mouth as if deciding whether to say something or not.  The \n  reporter notices. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat is it?\n\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tI heard this from a friend of mine \n\t\tin high school.  She said that there \n\t\twas this one girl who watched the \n\t\tvideo, and then died a week later.  \n\t\tShe was out on a drive with her \n\t\tboyfriend.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey were in a wreck?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo, their car was parked, but they \n\t\twere both dead inside.  Her \n\t\tboyfriend died because hed watched \n\t\tthe video, too.  Thats what my \n\t\tfriend said.\n\n  Girl #3 grows suddenly defensive.\n\n\t\t\t\tGIRL #3 (contd)\t\n\t\tIts true!  It was in the paper two \n\t\tor three days ago.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tDo you know the name of the high \n\t\tschool this girl went to?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo... I heard this from my friend, \n\t\tand it didnt happen at her school.  \n\t\tShe heard it from a friend at a \n\t\tdifferent school, she said.\n\n<b>  INT. NEWS STATION  DAY\n</b>\n  Asakawa is seated at her DESK.  The station is filled with PEOPLE, \n  scrabbling to meet deadlines.  Komiya walks up to Asakawas desk \n  and holds out a MANILA FOLDER.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMrs. Asakawa?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHm?\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tHere you are.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(taking the folder) \n\t\tThanks.\n\n  Komiya has a seat.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tThis same kind of thing happened \n\t\tabout ten years ago too, didnt it?  \n\t\tSome popular young singer committed \n\t\tsuicide, and then suddenly there was \n\t\tall this talk about her ghost showing\n\t\tup on some music show.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut I wonder what this rumors all \n\t\tabout. Everyone you ask always \n\t\tmentions Izu.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMaybe thats where it all started.  \n\t\tHey, where was that Kuchi-sake\n\t\tOnna * story from again?\n\n\n  >* Literally Ripped-Mouth Lady, a kind of ghastly spectre from \n  >Japanese folk stories who wears a veil to hide her mouth, which \n  >has been ripped or cut open from ear to ear. She wanders the \n  >countryside at night asking men Do you think Im beautiful? then \n  >lowering her veil to reveal her true features.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGifu, but there was some big \n\t\taccident out there, and that ended\n\t\tup being what started the rumor. \n\n<b>\t\t\t\tKOMIYA\n</b>\t\tA big accident?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMmm-hmm.  Something terrible like \n\t\tthat is going to stay in peoples \n\t\tminds.  Sometimes the story of what \n\t\thappened gets twisted around, and \n\t\tends up coming back as a rumor like \n\t\tthis one. Thats what they say, at \n\t\tleast.\n\n<b>\t\t\t\tKOMIYA\n</b>\t\tDyou think something like that \n\t\thappened out at Izu?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMaybe. Well, anyway, Im off.  See you\n\t\ttomorrow.\n<b>   \n</b><b>\t\t\t\tKOMIYA\n</b>\t\tSee you.\n\n  Asakawa gets up from her desk and begins walking towards the exit.  \n  She takes only a few steps before noticing a RACK of recent DAILY \n<b>  EDITIONS.  \n</b>\n  She takes one from the rack, sets it on a nearby TABLE.  She begins \n  flipping the pages, and suddenly spies this story:  \n\n<b>    STRANGE AUTOMOBILE DEATH OF YOUNG COUPLE IN YOKOHAMA\n</b>\n    The bodies of a young man and woman were discovered in their \n    passenger car at around 10 A.M. September 6th.  The location was a \n    vacant lot parallel to Yokohama Prefectural Road.  Local authorities \n    identified the deceased as a 19-year old preparatory school student \n    of Tokyo, and a 16-year old Yokohama resident, a student of a \n    private all-girls high school. Because there were no external \n    injuries, police are investigating the possibility of drug-induced \n    suicide...\n\n  Just then two men walk by, a GUY IN A BUSINESS SUIT and a youngish \n  intern named OKAZAKI.  Okazaki is carrying an armload of VIDEOTAPES.\n\n<b>\t\t\t\tGUY IN SUIT\n</b>\t\tOK, Okazaki, Im counting on you.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tYessir.\n\n  The guy in the suit pats Okazaki on the shoulder and walks off.  \n\n  Okazaki turns to walk away, spots Asakawa bent over the small table \n  and peering intently at the newspaper article.\n\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMiss Asakawa?  I thought you were \n\t\tgoing home early today.\n\n  Asakawa turns around and begins speaking excitedly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOkazaki, can I ask you a favor?\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tSure.\n\n  Asakawa points to the newspaper.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCould you check out this article \n\t\tfor me?  Get me some more info.?\t\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tI guess...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGood.  Call me as soon as you know \n\t\tmore, OK?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMaam.\n\n  Asakawa walks off.  Okazaki, still carrying the videotapes, leans \n  forward to take a look at the article.\n<b>   \n</b><b>  EXT. APARTMENT PARKING LOT - DAY  \n</b>\n  Asakawa drives her car into the lot and parks quickly.  She gets \n  out, runs up the STAIRCASE to the third floor.  She stops in front \n  of a door, sticks her KEY in the lock, and opens it.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  DAY\n</b>\n  A BOY of about 7 is sitting in an ARMCHAIR facing the veranda.  We \n  can see only the back of his head.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tYoichi!\n\n  Hearing his name, the boy puts down the BOOK he was reading and \n  stands up, facing the door.  He is wearing a white DRESS SHIRT with \n  a brown sweater-type VEST over it.  He sees Asakawa, his mother, \n  run in the door.  She is panting lightly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSorry Im late.  Oh, youve already \n\t\tchanged.\n\n<b>\t\t\t\tYOICHI\n</b>\t\tYup. \n\n  He points over to his mothers right.\n\n\t\t\t\tYOICHI (contd)\n\t\tI got your clothes out for you.\n\n  Asakawa turns to see a DARK SUIT hanging from one of the living \n  room shelves.  She reaches out, takes it.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAargh, weve gotta hurry!\n\n  She runs into the next room to change.\n\n<b>  INT.  BEDROOM  DAY\n</b>\n  Asakawa has changed into all-black FUNERAL ATTIRE.  Her hair is \n  up, and she is fastening the clasp to a pearl NECKLACE.  Yoichi is \n  still in the living room.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid grandpa call?\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tNope.\n\n  Yoichi walks into the room and faces his mother.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tWhy did Tomo-chan die? *\n\n\n  >* -chan is a suffix in Japanese that denotes closeness or affection.  \n  >It is most often used for young girls, though it can also be used for \n  >boys.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell... it looks like she was really, \n\t\treally sick.\n\n  She takes a seat on the bed.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWill you do me up?\n\n  Yoichi fastens the rear button of his mothers dress and zips her up.  \n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tYou can die even if youre young?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIf its something serious... well, yes.\n\n  Asakawa turns to face her son, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAs hard as it is for us, what your \n\t\tauntie and uncle are going through \n\t\tright now is even harder, so lets \n\t\tnot talk about this over there, OK?\n\n  Yoichi nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(remembering)\n\t\tYou and her used to play a lot \n\t\ttogether, didnt you?\n\n  Yoichi says nothing.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  RED PAPER LANTERNS mark this place as the site of a wake.  Several \n  GIRLS in high school uniforms are standing together and talking in \n  groups. Asakawa and Yoichi, walking hand in hand, enter the house.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  There are many PEOPLE milling about, speaking softly.  A MAN seated \n  at a counter is taking monetary donations from guests and entering \n  their information into a LEDGER.  Asakawa and Yoichi continue walking, \n  down a hallway.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  Mother and son halt before the open DOOR to the main wake room, where \n  guests may show their respects to the departed.  The room is laid in \n  traditional Japanese-style tatami, a kind of woven straw mat that \n  serves as a carpet. Two GUESTS, their shoes off, are kneeling upon \n  zabuton cushions.  \n\n  Kneeling opposite the guests is KOUICHI, Asakawas father.  The two \n  guests are bowing deeply, and Kouichi bows in response.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDad.\n\n  Kouichi turns to see her.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tAh!\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow is sis holding up?\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tShes resting inside right now.  \n\t\tShes shaken up pretty badly, you \n\t\tknow.  Its best she just take \n\t\tthings easy for a while.\n\n  Asakawa nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIll go check on auntie and them, \n\t\tthen.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOK.  Ah, Yoichi.  Why dont you sit \n\t\there for a little while?\n\n  He grabs the young boy and seats him on a cushion next to the two guests.  \n  As the guests resume their conversation with Asakawas father, Yoichis \n  eyes wander to the ALTAR at the front of the room set up to honor the \n  deceased.  It is made of wood, and surrounded by candles, flowers, and \n  small paper lanterns.  At the center is a PICTURE of the deceased, a \n  teenage girl.  A small wooden PLAQUE reads her name: Tomoko Ouishi. It \n  is the same Tomoko from the first scene.\n\n  Yoichi continues to stare at Tomokos picture.  He makes a peculiar \n  gesture as he does so, rubbing his index finger in small circles just \n  between his eyes.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Asakawa walks down the hallway, looking for her aunt.  She walks until \n  finding the open doorway to the kitchen.  There are a few people in \n  there, preparing busily. Asakawa sees her AUNT, who rushes into the \n  hallway to meet her, holds her fast by the arm.  The aunt speaks in a \n  fierce, quick whisper.\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tHave you heard anything more about \n\t\tTomo-chans death?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, I...\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tBut the police have already finished \n\t\ttheir autopsy!\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, they said there was no sign of \n\t\tfoul play.\n\n<b>\t\t\t\tAUNT\t\n</b>\t\t\t(shaking her head) \n\t\tThat was no normal death.  They havent \n\t\tonce opened the casket to let us see\n\t\tthe body.  Dont you think thats \n\t\tstrange?\n<b> \n</b>  Asakawa looks away, thinking.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Yoichi has wandered off by himself.  He stops at the foot of the \n  steps, looking up-- and catches a glimpse of a pair of BARE FEET \n  running up to the second floor.  \n\n  A guarded expression on his face, Yoichi walks slowly up the \n  stairs.  \n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS BEDROOM - NIGHT  \n</b>\n  Yoichi has wandered into Tomokos bedroom.  The lights are all off, \n  and there is an eerie feel to it.  Yoichis eyes wander about the \n  room, finally coming to rest on the TELEVISION SET.  Suddenly, he \n  hears his mothers voice from behind him.\n\n<b>\t\t\t\tASAKWAWA (O.S.) \n</b>\t\tYoichi?\n\n  Yoichi turns to face her as she approaches, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat are you doing up here?  You\n\t\tshouldnt just walk into other \n\t\tpeoples rooms.\n\n  Without replying, Yoichis gaze slowly returns to the television \n  set.  Asakawa holds him by the shoulders, turning him to meet \n  her.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou go on downstairs, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tOK.\n</b>\n  He turns to leave, and Asakawa follows.\n\n<b>  INT. OUSHI HOUSEHOLD - TOP OF THE STAIRS  NIGHT\n</b>\n  Just as Yoichi and Asakawa are about to descend the steps, \n  Asakawas CELL PHONE rings.  She opens the clasp to her PURSE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to Yoichi) \n\t\tYou go on ahead.\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tK.\n</b>\n  He walks down the steps.  Asakawa brings out her cell phone, \n  answers it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tUh... this is Okazaki.  Ive got \n\t\tsome more info on that article for\n\t\tyou.  The girl was a student of \n\t\tthe uh, Seikei School for Women in \n\t\tYokahama City.\n\n  Asakawa blinks at this, looks disturbed.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(softly) \n\t\tThanks.\n\n  She hangs up the phone.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  Asakawa stands now at the entrance of the house.  Dazedly, she \n  walks toward a large, hand-painted PLACARD.  The placard reads \n  that the wake is being held for a student of the Seikei School \n  for Women. \n\n  Asakawa stares at that placard, making the mental connections.  \n  She turns abruptly, walks towards a nearby TRIO of HIGH SCHOOL \n<b>  GIRLS.\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tExcuse me.  This is, um, kind of a\n\t\tstrange question, but by any chance \n\t\twere you friends of that young girl\n\t\tthat died in the car as well?\n\n  The three girls turn their faces to the ground.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tPlease.  If you know anything...\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThey all died the same day.  Youko.  \n\t\tTomoko.  Even Iwata, he was in a\n\t\tmotorcycle accident.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tBecause they watched the video.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tVideo?\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tThats what Youko said.  They all\n\t\twatched some weird video, and \n\t\tafter that their phone rang.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTomoko-chan watched it, too?  \n\t\tWhere?\n\n  Girl Left shakes her head.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tShe just said they all stayed \n\t\tsomewhere.\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThere was a girl with Tomoko when \n\t\tshe died.  Shes had to be \n\t\thospitalized for shock.\n\n<b>\t\t\t\tGIRL MIDDLE\n</b>\t\tThey say she wont go anywhere \n\t\tnear a television.\n\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa and YOSHINO, another news reporter, are watching scenes \n  from the Yokohama car death.  In the footage there are lots of \n  POLICEMEN milling about, one of them trying to pick the door to \n  the passenger side.  Yoshino is giving Asakawa the blow-by-blow.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThe bodies of those found were \n\t\tTsuji Youko, age 17, a student of \n\t\tthe Seikei School for Women, and \n\t\tNomi Takehiko, age 19, preparatory \n\t\tschool student.  Both their doors \n\t\twere securely locked.\n\n  Onscreen, the policeman has finally picked the lock.  The door opens, \n  and a girls BODY halffalls out, head facing upwards.  Yoshino flicks \n  a BUTTON on the control panel, scans the footage frame by frame.  He \n  stops when he gets a good close-up of the victim. \n\n  Her face is twisted into an insane rictus of fear, mouth open, eyes \n  wide and glassy. Yoshino and Asakawa lean back in their seats.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThis is the first time Ive -ever- \n\t\tseen something like this.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCause of death?\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tCouldnt say, aside from sudden \n\t\theart failure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDrugs?\n\n<b>\t\t\t\tYOSHINO\t\n</b>\t\tThe autopsy came up negative.\n\n\n  Yoshino takes the video off pause.  Onscreen, a policeman has caught \n  the young girls body from completely falling out, and is pushing it \n  back into the car.  As the body moves into an upright position, we \n  can see that the girls PANTIES are mid-way around her left thigh.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThese two, about to go at it, \n\t\tsuddenly up and die for no \n\t\tapparent reason. \n\n  He sighs.\n\n\t\t\t\tYOSHINO (contd)\n\t\tDo -you- get it?\n\n\n<b>  EXT. OUISHI HOUSEHOLD - DAY  \n</b>\n  Asakawas CAR is already halted before a modest-sized, two-story HOUSE \n  with a small covered parkway for a garage.  She gets out of her car, \n  closes the door.  She stares at the house, unmoving.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - DAY  \n</b>\n  Asakawa stands before her SISTER RYOMI, who is seated at the kitchen \n  TABLE.  Ryomi is staring blankly away, making no sign of acknowledging \n  her sister.  The silence continues unabated, and Asakawa, pensive, \n  wanders idly into the adjoining dining room.  She takes a long look at \n  the television, the same television that had puzzled Tomoko by suddenly \n  switching itself on, sitting darkly in one corner.  Her reflection in \n  the screen looks stretched, distorted.\n\n\n<b>\t\t\t\tRYOMI\t(O.S.) \n</b>\t\tThey tell me that Yoichi came to \n\t\tthe funeral, too. \n\n  Asakawa steps back into the kitchen.  She addresses her sister, who \n  continues to stare out at nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMmm-hmm.\n\n<b>\t\t\t\tRYOMI\n</b>\t\tThey used to play a lot together, didnt they?  Upstairs.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYeah...\n\n  Ryomi lapses back into a silence.  Asakawa waits for her to say more, \n  but when it is clear that nothing else is forthcoming, she quietly gives \n  up and exits the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - DAY  \n</b>\n  Asakawa climbs the steps to the second floor.  She makes her way down \n  the hall.\n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS ROOM - DAY  \n</b>\n  As if intruding, Asakawa walks slowly, cautiously into Tomokos room.  \n  The window to the room is open, and a single piece of folded white PAPER \n  on Tomokos desk flutters in the breeze.  Asakawa walks towards it, picks \n  it up.  It is a RECEIPT from a photo shop.  The developed photos have yet \n  to be claimed.  \n\n  Asakawa senses something, spins to look over her shoulder.  Her sister \n  has crept quietly up the stairs and down the hall, and stands now in the \n  doorway to Tomokos room.  She appears not to notice what Asakawa has in \n  her hands, as her gaze has already shifted to the sliding closet door.  \n  She regards it almost druggedly.\n\n<b>\t\t\t\tRYOMI\n</b>\t\t\t(haltingly) \n\t\tThis... this is where Tomoko died.\n\n<b>  FLASHBACK\n</b><b>\t\t\t\tRYOMI (O.S.)\n</b>\t\tTomoko!\n\n  Ryomis hands fling aside the CLOSET DOOR.  Within, she finds the pale \n  blue CARCASS of her daughter, curled up into an unnatural fetal position.  \n  Tomokos mouth yawns gaping, her eyes glassy and rolled up into the back \n  of her head.  Her hands are caught in her hair, as if trying to pull it \n  out by the roots.  It is a horrific scene, one that says Tomoko died as \n  if from some unspeakable fear.\n\n<b>  PRESENT\n</b>\n  Ryomi sinks to her knees, hitting the wooden floor hard.  She puts her \n  face into her hands and begins sobbing loudly.  Asakawa says nothing.\n\n<b>  EXT. CAMERA SHOP  DAY\n</b>\n  Asakawa leaves the camera shop clutching Tomokos unclaimed PHOTOS.  She \n  walks out onto the sidewalk and begins flipping through them.  We see \n  Tomoko standing arm-in-arm with Iwata, her secret boyfriend. Tomoko and \n  her friends eating lunch.  The camera had its date-and-time function \n  enabled, and the photos are marked\n\n<b>    97 8 29.\n</b>\n  The next shot is of Tomoko, Iwata, and another young couple posing in \n  front of a SIGN for a bed and breakfast.  The sign reads:\n\n<b>    IZU PACIFIC LAND\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu...\n\n  Asakawa continues looking through the photos, various shots of the \n  four friends clowning around in their room.  Suddenly she comes to a \n  shot taken the next day, at check out.  The friends are lined up, arms \n  linked-- and all four of their faces are blurred, distorted as if \n  someone had taken an eraser to them and tried to rub them out of \n  existence.\n\n<b>  INT. ASAKAWAS APARTMENT  KITCHEN - DAY\n</b>\n  Asakawa wears an APRON, and is frying something up on the STOVE.  Yoichi \n  stands watching.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLook, Im probably going to be late\n\t\tcoming home tonight, so just stick \n\t\tyour dinner in the microwave when \n\t\tyoure ready to eat, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tK... Mom?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHmm?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan watched some cursed video!\n\n\n  Asakawa leaves the food on the stove, runs over to Yoichi and grabs him \n  by the shoulders.  She shakes him roughly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat did you say?  You are not to \n\t\tspeak of this at school, do you \n\t\thear me?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\t\t(utterly unfazed) \n\t\tI wont.  Im going to school now.\n\n  Yoichi walks off.  Asakawa goes back to the stove, but stops after only \n  a few stirs, staring off and thinking.\n\n  Caption-- September 13th.  Monday.\n\n<b>  EXT. ROAD  DAY\n</b>\n  Asakawa drives her car speedily along a narrow country road, LEAVES \n  blowing up in her wake.\n\n<b>  INT. ASAKAWAS CAR - DAY  \n</b>\n  Asakawa mutters to herself, deep in thought.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres no way...\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  Asakawas car drives past a sign reading:\n\n<b>\tIZU PACIFIC LAND\n</b>\n<b>  EXT. IZU PACIFIC LAND - DRIVEWAY  DAY\n</b>\n  Asakawa has left her car and is walking around the driveway of what is \n  less a bed and breakfast and more like a series of cabin-style rental \n<b>  COTTAGES. \n</b>\n  She wanders about for a while, trying to get her bearings.  She pauses \n  now in front of a particular cottage and reaches into her PURSE.  She \n  withdraws the PICTURE from the photomat, the one that showed Tomoko and \n  her friends with their faces all blurred.  The four are posing in front \n  of their cottage, marked in the photograph as B4.  Asakawa lowers the \n  photo to regard the cottage before her.\n\n<b>    B4\n</b>\n  She walks to the door, turns the handle experimentally.  Its open.  \n  Asakawa walks in.\n\n<b>  INT. PACIFIC LAND - COTTAGE B4  DAY\n</b>\n  Asakawa lets her eyes wander around the cottage.  It looks very modern, \n  all wood paneling and spacious comfort.  \n\n  Her eyes rest on the TV/VCR setup at the front of the room.  Crouching \n  before the VCR now, she presses the eject button.  Nothing happens.  \n  She fingers the inside of the deck, finds it empty, then reaches behind \n  to the rear of the VCR, searching.  Again, there is nothing.  Asakawa \n  presses the power button on the television, picks up the REMOTE, and \n  takes a seat on the SOFA.  She runs through a few channels but theyre \n  all talk shows, no clues whatsoever.  She flicks the TV off and leans \n  back in the sofa, sighing.\n\n  Just then, she spies a LEDGER on the coffee table.  These things are \n  sometimes left in hotels in Japan, so that guests can write a few \n  comments about their stay for others to read.  Asakawa picks the \n  ledger up, begins thumbing through it.  She stops at a strange PICTURE\n  obviously drawn by a child, that shows three rotund, almost entirely \n  round personages.  She reads the handwritten MESSAGE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\"My dad is fat.  My mom is fat.  \n\t\tThats why Im fat, too.\"\n\n  She smiles in spite of herself.  \n\n  Asakawa flips through the rest of the ledger, but theres nothing else \n  of any import.  \n\n  She tosses it back onto the coffee table and, sighing again, leans into \n  the sofa and closes her eyes.\n\n<b>  EXT. OUTDOOR CAF - DUSK  \n</b>\n  Asakawa eats silently, alone.\n\n<b>  INT. PACIFIC LAND - FRONT RECEPTION - NIGHT  \n</b>\n  Asakawa has returned to the bed and breakfast.  As she walks in the \n  door, the COUNTER CLERK rises out of his chair to greet her.\n\n<b>\t\t\t\tCLERK\n</b>\t\tRoom for one?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUm, actually Im here on business.\n\n  She passes the clerk a picture of Tomoko and her three other friends.  \n  He stares at it for a moment.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey would have stayed here on \n\t\tAugust 29th, all four of them.  \n\t\tIf theres any information you \n\t\tmight have...\n\n<b>\t\t\t\tCLERK\n</b>\t\tUh, hang on just a minute.  \n\n  The clerk turns his back to her, begins leafing through a guest log.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\t\t(to himself) \n\t\tAugust 29th...\n\n  While she waits, Asakawas eyes start to wander around the room.  \n  Behind the desk is a sign reading Rental Video, and a large wooden \n  BOOKSHELF filled with VIDEOTAPES. They are all in their original boxes, \n  and she lets her eyes glance over the titles.  Raiders of the Lost Ark, \n  48 Hours--\n\n  --and then, suddenly, she spies a VIDEOTAPE in a plain, unmarked \n  sleeve, tucked away in the back of the very bottom shelf.  She feels \n  the hairs on the back of her neck rise.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThat...\n\n  The clerk looks up.\n\n<b>\t\t\t\tCLERK\n</b>\t\tHmm?\n\n  Asakawa stabs a finger excitedly towards the shelf.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThat!  What tape is that?\n\n  The clerk reaches out for it, grabs it.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\tThis?  Hmm...\n\n  The clerk pulls the tape out of its SLEEVE and checks for a label.  \n  Its unmarked.\n\n<b>\t\t\t\tCLERK\n</b>\t\tMaybe one of the guests left it behind\n\n<b>  INT. PACIFIC LAND  COTTAGE B4 - NIGHT \n</b>\n  Asakawa flips on the TV.  Its on channel 2, and there is nothing but \n  static. She kneels down to slide the tape into the deck and pauses a \n  moment, framed in the vaguely spectral LIGHT from the television \n  screen.  Steeling her nerves, she puts the tape into the machine, picks \n  up the remote, and presses play.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.  Afterwards, you can \n  come back here to check the meaning of the Japanese characters \n  displayed.\n\n\n<b>  THE VIDEOTAPE\n</b>\n  At first it looks like nothing has happened-- then Asakawa realizes that \n  she is now viewing recorded static instead of broadcast static.  She \n  watches, waiting, but the static continues unbroken.  Asakawa looks \n  down at the remote, is about to press fast forward, when suddenly the \n  picture on the screen clears and for a moment she thinks shes looking \n  at the moon.\n\n  Its not the moon at all, she realizes.  The shape is round like a full \n  moon, but it seems to be made up of thin RIBBONS of cloud streaking \n  against a night sky.  And theres a FACE, she sees, a face hidden in \n  shadows, looking down from above.  \n\n  What is this?\n\n  The scene changes now, and Asakawa notes that the tape has that kind of \n  grainy quality one sees in 3rd or 4th generation copies.  The scene is of \n  a WOMAN brushing her long hair before an oval-shaped MIRROR.  The nerve-\n  wracking grating as if of some giant metallic insect sounds in the \n  background, but the lady doesnt seem to notice.  The mirror the lady is \n  using to brush her hair suddenly changes position from the left part of \n  the wall before which she stands, to the right.  Almost instantly the \n  mirror returns to its original position, but in that one moment in its \n  changed location we see a small FIGURE in a white GOWN.  The woman turns \n  towards where that figure stood, and smiles.\n\n  The screen next becomes a twitching, undulating impenetrable sea of the \n  kanji characters used in the Japanese language.  Asakawa can pick out \n  only two things recognizable:\n\n    local     volcanic eruption\n\n  Now the screen is awash in PEOPLE-- crawling, scrabbling, shambling \n  masses, some of them moving in reverse.  A sound like moaning accompanies \n  them.\n<b>  -\n</b>\n  A FIGURE stands upon a shore, its face shrouded.  It points accusingly, \n  not towards the screen, but at something unseen off to one side.  The \n  insect-like screeching sounds louder. \n<b>  --\n</b>\n  Close up on inhuman, alien-looking EYE.  Inside that eye a single \n  character is reflected in reverse:  SADA, meaning \"chastity.\"\n\n  The eye blinks once, twice.  The symbol remains.\n<b>  ---\n</b>\n  A long shot of an outdoor, uncovered WELL.\n<b>  ----\n</b>\n  Sudden loud, blinding STATIC as the tape ends.\n\n  Asakawa turns the TV off, looking physically drained.  She sighs shakily \n  and slumps forward, resting on her knees.  Just then, she glances at the \n  television screen.  She sees, reflected, a small FIGURE in a white gown \n  standing at the rear of the room.  Shocked, Asakawa draws in breath, \n  spins around.\n\n  The room is empty.  Asakawa runs to the sofa to collect her jacket--\n\n  --and the RINGING of the telephone stops her dead in her tracks.  Zombie-\n  like, she walks towards the telephone, picks it up wordlessly.  \n\n  From the other end comes the same metallic, insectoid SQUEAKING heard on \n  the video.  Asakawa slams the phone down and glances up at the CLOCK.  \n  Its about seven minutes after 7 P.M.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to herself) \n\t\tOne week\n\n  Asakawa grabs her coat, pops the tape out of the deck, and runs out the \n  door.\n\n<b>  EXT. STREET  DAY\n</b>\n  It is dark and raining heavily.  Yoichi, Asakawas son, is walking to \n  school, UMBRELLA firmly in hand.  The sidewalk is quite narrow, and Yoichi \n  comes to a halt when a second PERSON comes from the opposite direction, \n  blocking his way. Yoichi slowly raises his umbrella, peers up to look at \n  this other pedestrian.  It is a MAN, a BAG slung over one shoulder.  He \n  has a beard; unusual for Japan where clean-shaven is the norm.  \n\n  The two continue looking directly at each other, neither moving nor \n  speaking.  Yoichi then walks around the persons left and continues on his\n   way.  The man resumes walking as well.\n\n  Caption-- September 14th.  Tuesday.\n\n<b>  EXT. OUTSIDE AN APARTMENT DOOR - DAY  \n</b>\n  The bearded man, whose name is RYUJI, reaches out to press the DOORBELL, \n  but the door has already opened from within.  Asakawa leans out, holding \n  the door open for him.  Neither of them speaks.  Wordlessly, Ryuji enters \n  the apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - DAY  \n</b>\n  Ryuji puts his bag down, looks around the apartment.  The interior is dark, \n  ominous somehow.  He takes his JACKET off and wanders into the living room.  \n  Asakawa is in the kitchen behind him, preparing TEA.  Ryuji spies the \n  collection of FRAMED PHOTOGRAPHS in living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYoichis in elementary school \n\t\talready, is he?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHis first year.  What about you, \n\t\tRyuji?  How have you been \n\t\trecently?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSame as always.\n\n  She takes a seat next to him, serves the tea.  On the coffee table \n  before them is a VIDEOTAPE in a plain, unmarked case.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd money is...?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIm teaching at university.\n\n  Ryuji picks up his cup of tea but stops, grimacing, before it is to his \n  lips.  He rubs his forehead as if experiencing a sudden headache.  Ryuji \n  shakes it off and quickly regains his composure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnyway.  You said that the phone rang?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo if I watch it too, that phone over \n\t\tthere--\n\n  He gestures with his mug \n\n\t\t\t\tRYUJI (contd)\n\t\t--should ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji, four people have already \n\t\tdied.  On the same day!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(flippant) \n\t\tWell, why dont you try calling \n\t\tan exorcist?\n\n  He takes a sip of his tea.  Asakawa reaches quickly, grabs something \n  from the bookshelf behind her-- a POLAROID CAMERA.    She shoves it \n  into Ryujis hands, then turns to look down at the floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTake my picture.\n\n  Ryuji raises the camera to his eye.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTurn this way.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(unmoving) \n\t\tHurry up and take it.\n\n  Ryuji snaps off a shot.  It comes out the other end and he takes it, \n  waits impatiently for an image to appear.  When it does, all he can \n  do is pass it wordlessly over to Asakawa.  Her face is twisted, \n  misshapen.  \n\n  Just like the picture of Tomoko and her friends.\n\n  Asakawa stares at it, horrified.  By the time she finally looks up, \n  Ryuji has already risen from his seat and slid the videotape into the \n  VCR.  Again, the screen is filled with static, only to be replaced \n  with what looks like the moon.  Asakawa slams the Polaroid on the \n  coffee table and goes outside onto the veranda.  \n\n<b>  EXT. VERANDA - DAY  \n</b>\n  Asakawa stares out at a view of the houses shaded in cloud and rain. \n  There is a knock on the glass door behind her.  A moment later, \n  Ryuji slides the door open.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIts over.\n\n  Asakawa re-enters her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM - DAY\n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWell, it looks like your phones not \n\t\tringing.\n\n  Ryuji pops the tape from the deck, hands it to Asakawa.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tMake me a copy of this, will you?  \n\t\tId like to do a little research\n\t\tof my own. Theres no reason to \n\t\twrite us off as dead just yet. \n\n  He dramatically takes a seat.\n\n\t\t\t\tRYUJI\t(contd)\n\t\tIf theres a video, that means that \n\t\tsomebody had to make it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres the guest list from the \n\t\tcottage to look into... and the \n\t\tpossibility of someone hacking \n\t\tinto the local stations broadcast \n\t\tsignals.\n\n  Asakawa pulls a NOTEPAD from her purse and begins busily scribbling \n  away.\n\n\n<b>  INT. NEWS STATION - DAY  \n</b>\n  Okazaki putters around.\n\n  Caption- September 15th.  Tuesday.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa sits by herself, reviewing the videotape.  She is replaying \n  the very last scene, an outdoor shot of a well.  She stares at it \n  carefully, and notices...\n\n  The tape ends, filling the screen with static.  A split-second \n  afterwards, there is a KNOCK on the door and Okazaki enters, holding \n  a FILE.  Asakawa momentarily forgets about the video.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\t\t(handing her the file)\n\t\tHeres that guest list you wanted.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tOh, thanks.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tWhat are you gonna do with this?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUh... sorry, Im working on \n\t\tsomething personal.\n\n<b>  EXT. IN FRONT OF A TRAIN STATION - DAY  \n</b>\n  Some quick shots of a FOUNTAIN gushing water, PIGEONS flapping away \n  looking agitated.  CUT to Ryuji sitting on a BENCH.  Hes deep in \n  thought, writing in a NOTEPAD. There are multitudes of PEOPLE about \n  him, and we can hear the sounds of their coming and going.  A PAIR \n  OF LEGS attached to a woman in white dress, hose, and pumps appears, \n  heading directly for Ryuji.  Her pace is slow, rhythmical, and as \n  that pace progresses all other sounds FADE into the background, so \n  that all we can hear is the CLOMP, CLOMP as those legs walk to stand \n  just before Ryuji.  The pumps are scuffed, dirtied with grime.  \n\n  A gust of WIND rips by.  Ryuji fights the urge to look up as in his \n  ears rings the same hollowed, multi-voiced BABBLING heard on the \n  videotape.  The sound grows stronger.\n\n<b>\t\t\t\tRYUJI (VO)\n</b> \t\tSo, it was you.  You did it.\n\n  The babbling fades, disappears as slowly the worlds normal \n  background sounds return.  Ryuji looks up, but the woman in white \n  is nowhere to be seen.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji rides up on a BICYCLE. He turns the corner towards his \n  apartment and finds Asakawa seated on the steps, waiting for him.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHey.\n\n  Asakawa notes in his face that something is wrong.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tWhat happened to you?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(gruffly)\n\t\tNothing.\n\n  He enters the building, carrying his bicycle.  Asakawa follows.\n\n<b>  INT. HALLWAY - AFTERNOON  \n</b>\n  The two walk down the hallway towards the FRONT DOOR to Ryujis \n  apartment.  He unlocks the door and they enter.\n\n<b>  INT. RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji and Asakawa enter the living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSo, whatd you come up with?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI dont think any of the guests on \n\t\tthe list brought the tape with them.  \n\t\tI couldnt confirm it face-to-face \n\t\tof course, but even over the phone I \n\t\tgot the feeling they were all being \n\t\tupfront with me.\n\n<b> \t\t\t\tRYUJI\n</b>\t\tHow about the other angle?  Pirate \n\t\tsignals or...\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tTherere no traces of any illegal \n\t\ttelevision signals being broadcast \n\t\taround Izu. \n\n  She reaches into her purse, pulls out a large white ENVELOPE.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHeres that copy of the videotape \n\t\tyou wanted.\n\n  Ryuji tears the package open.  He squats down on the tatami in \n  frontof his TV and slides the tape in.  Asakawa sits on the \n  tatami as well, but positions herself away from the TV and keeps \n  her eyes averted.  Ryuji glares over his shoulder at her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(sternly) \n\t\tAsakawa.\n\n  She reluctantly scoots closer, looks up at the screen.  Ryuji \n  fast-forwards the tape a bit, stopping at the scene where the \n  woman is brushing her long hair before an oval mirror.  He puts \n  the video on frame-by-frame. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tHave you ever seen this woman?\n\n  Asakawa regards the screen intently.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tNo...\n\n  The tape advances to the scene where the mirror suddenly changes \n  positions.  When it does, we can again see the small figure in the \n  white gown, a figure with long black hair. When Ryuji sees this \n  his body stiffens, becomes tense.  Asakawa notices but says nothing.  \n  She also notices something else.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tTheres something strange about \n\t\tthis shot.\n\n  She takes the remote from Ryuji, rewinds it a ways.  Onscreen, the \n  woman begins coming her long hair again.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFrom this angle, the mirror should \n\t\tbe reflecting whoevers filming.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo, what does that mean?\n\n  Asakawa lets out a short sigh.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, if the person who made this \n\t\tis a pro, thered be a way around \n\t\tthat, I guess, but still...\n\n  The screen changes, showing the mass of squiggling kanji characters \n  again.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(reading) \n\t\tVolcanic eruption... Eruption where?\n\n  He pauses the screen, trying to make sense of what is written.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThis is gonna be impossible to figure \n\t\tout on just a regular TV screen, \n\t\tdont you think?\n\n  They are both still staring at the screen when from behind them comes \n  the SOUND of someone opening the front door.  Ryuji turns off the TV, \n  ejects the tape from the deck.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome on in.\n\n  Asakawa flashes a look at Ryuji and then turns her head back towards \n  the front door to see who has entered.  A cute, nervous-looking young \n  GIRL with short hair approaches slowly.  She is carrying a PLASTIC BAG \n  filled with groceries.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAsakawa, meet my student, Takano Mai.\n\n  He turns, addresses Mai.\n\n\t\t\t\tRYUJI\t(contd)\t\n\t\tThis is Asakawa, my ex-wife.\n\n  Ryuji gets up and walks conveniently away.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tNice to meet you.  Im Takano.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAsakawa. *\n\n\n  > * As you may already be aware, Japanese name order is the \n  >opposite of Englishs, and even close friends may continue to\n  >address one another by their last names.  Incidentally, Asakawas\n  >first name is Reiko.  In this scene, Mai deferentially refers\n  >to Ryuji as sensei, meaning teacher.\n\n\n  Mai sets the bag of groceries down and chases after Ryuji.  He is \n  putting on his jacket and getting ready to leave.\n\n<b>\t\t\t\tMAI\t\n</b>\t\tSensei, the people from the \n\t\tpublishing company called about \n\t\tthe deadline on your thesis again. \n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(brusquely) \n\t\tWhatre they talkin to you \n\t\tabout it for?\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tBecause they can never get a \n\t\thold of you.\n\n  Ryuji picks up his keys, video firmly in hand.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tAsk them to wait another week.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tSensei, ask them yourself, \n\t\tplease.\n\n  Ryuji is already headed for the door.  His back is to her as he \n  responds.\n\n<b>\t\t\t\tRYUJI\t\n</b><b>\t\tOK, OK.\n</b>\n  Asakawa walks after him.  They leave.\n\n  Mai pouts unhappily a bit, and then breaks into a smile as an idea \n  crosses her mind.  She walks across the room to where Ryuji has set \n  up a large BLACKBOARD filled with mathematical equations.  Grinning, \n  Mai rubs out part of one equation with her sleeve and writes in a \n  new value.\n\n<b>  INT. NEWS STATION  HALLWAY - NIGHT  \n</b>\n  Asakawa and Ryuji stride purposefully.  They stop before a DOOR to \n  the right, which Asakawa unlocks.  They both walk in.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH - NIGHT \n</b>\n  Asakawa and Ryuji sit in a completely darkened room, their eyes \n  glued to the television MONITOR.  They are again watching the scene \n  with the fragmented kanji characters, but despite their efforts have \n  been able to identify only one additional word, bringing the total \n  to three:\n\n\tvolcanic eruption\t  local\t     residents\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThis is impossible.\n\n  Ryuji fast forwards, stopping at the scene with the kanji reflected\n  inside an alien-looking EYE.  He reads the kanji aloud. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSada... \n\n  Ryuji moves to make a note of this, notices the time.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIs Yoichi gonna be all right?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(sadly) \n\t\tHes used to it...\n\n  Short silence.  Ryuji breaks it by gesturing towards the screen. \n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWhoever made this had to have left \n\t\tsome kind of clue behind.  Theyre \n\t\tprobably waiting for us to find it.\n\n  Asakawa turns a DIAL to bring up the volume, which up until now has \n  been  on mute.  The room is filled with an eerie, metallic GRATING, \n  and Asakawa spins the dial again, shutting it off.  Just as she does, \n  Ryujis eyes widen.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWait a minute.\n\n  He turns the dial again, punches a few buttons as if searching for \n  something.  He listens carefully, and when he hears that strange \n  something again he stops, looks at the screen.\n\n  It is paused at the scene with the figure, pointing, a CLOTH draped \n  over its head.  The figure now looks oddly like a messenger.\n\n  Ryuji and Asakawa exchange glances.  This could be it.  Ryuji flips \n  some more switches, setting the sound for super-slow mo.  What follows \n  is a strange, labored sort of speech- a hidden message-- framed in \n  the skittering distortion of the tape in slow motion. \n\n<b>\t\t\t\tTAPE\t\n</b>\t\tShoooomonnn bakkkkkarrri toou...  \n\t\tboooouuuukonn ga kuuru zouuu...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(repeating) \n\t\tShoumon bakkari, boukon ga kuru \n\t\tzo.  Did you hear that, too?\n\n  Asakawa nods.  Ryuji is already writing it down excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat does that mean?\n\n  Ryuji tears the sheet of paper off the notepad, folds it, and tucks \n  it into his shirt pocket.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIm gonna check it out.\n\n<b>  EXT. ASAKAWAS APARTMENT COMPLEX - MORNING  \n</b>\n  Yoichi is walking to school.  He looks back over his shoulder, just \n  once,then resumes walking.\n\n<b>  INT. ASAKAWAS APARTMENT - MORNING\n</b>\n  All the lights are turned off, and she is sitting on the living room \n  couch watching the footage of her caf interview with the junior high \n  school girls.  \n\n  Caption-- September 16th.  Thursday.\n\n  Just when the girl in the interview mentions that whomever watches \n  the video is supposed to afterwards receive a phone call, Asakawas \n  own phone RINGS, startling her. She runs to answer it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIve got it.  Its a dialect, just \n\t\tlike I thought.  SHOUMON means \n\t\tplaying in the water and BOUKON\n \t\tmeans monster. *\n\n\n  >* Translated from standard Japanese, the phrase from the videotape \n  >would initially have sounded like, \"If only SHOUMON then the \n  >BOUKON will come.\"  These two capitalized words, later identified to \n  >be dialectical, were at the time completely incomprehensible to Ryuji \n  >and Asakawa.  Dialect can vary dramatically from region to region in \n  >Japan, to the point of speakers of different dialect being unable to\n  >understand one another.  \n\n  >The phrase on the tape can now be rendered, \"If you keep playing in \n  >the water, the monster will come for you.\"\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut, dialect from where?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tOshima.  And the site of our \n\t\teruption is Mt. Mihara.\n\n<b>  INT. LIBRARY - NIGHT  \n</b>\n  Ryuji and Asakawa are seated at cubicles, looking through bound \n  ARCHIVES of old newspaper articles.  Asakawa sneaks a look at Ryuji, \n  stands up and walks off a little ways.  She has already pulled out her \n  cell phone.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(whispering, on phone) \n\t\tYoichi?  Im gonna be a little \n\t\tlate tonight, honey. \n\n  Ryuji looks over his shoulder at her, scowls.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYou can do it yourself, right?  OK.  \n\t\tSorry.  Bye.\n\n  She hangs up, returns to her seat at the cubicle.  She resumes her \n  scanning of the newspaper articles, and Ryuji shoots her another scowl.  \n  Asakawa turns a page and then stops, frowning.  She has spied an article \n  that looks like...\n\n  Nervously, Asakawa puts the thumb and forefinger of each hand together, \n  forming the shape of a rectangle.  Or a screen.  She places the rectangle\n  over the article she has just discovered, its headlines reading:\n\n    Mount Mihara Erupts \tLocal Residents Urged to Take Precautions\n\n  Ryuji notices her, leans forward excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIve got it!  This old article...\n\n  The two scan the remainder of the page, and find a smaller, related \n  article.\t\n\n    Did Local Girl Predict Eruption?\n    A young lady from Sashikiji prefecture...\n\n  The two read over both articles, absorbing the details.  Ryuji stands \n  suddenly, gathering his things.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat are you doing?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHas your newspaper got someone out \n\t\tthere at Oshima?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tI think so.  There should be a \n\t\tcorrespondent out there.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI need you to find out, and let me \n\t\tknow how to get hold of him.\n\t\tTonight.\n\n  He begins walking briskly away.  Asakawa chases after him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat do you think youre--?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(angrily) \n\t\tYouve only got four days left, \n\t\tAsakawa!  Your newspaper contact \n\t\tand I can handle this from here \n\t\ton out.  You just stay with Yoichi.\n\n  Ryuji strides off.  Asakawa stands motionless.\n\n<b>  EXT. COUNTRY ROAD - DAY  \n</b>\n  A car speeds along.  CUT to a gravel DRIVEWAY leading up to a wooden, \n  traditional-style HOUSE.  Kouichi, Asakawas father, is standing before \n  the entrance and puttering around in his GARDEN.  The car from the \n  previous shot drives up, comes to a halt.  The passenger door opens and \n  Yoichi hops out, running towards the old man.  Asakawa walks leisurely \n  after her son.\n\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tGrandpa!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWhoa, there!  So, you made it, huh?\n\n  Caption-- September 17th.  Friday.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi says hes looking forward to \n\t\tdoing some fishing with you.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tIs that so?\n\n  Yoichi begins tugging excitedly at his grandfathers arm.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tCmon grandpa, lets go!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tOK, OK.  Well get our things \n\t\ttogether and then we can go.\n\n\n<b>  EXT. RIVER  DAY  \n</b>\n  Asakawa stands on a RIVERBANK while her father and Yoichi, GUMBOOTS on, \n  are ankle-deep in a shallow river.  Yoichi holds a small NET, and \n  Asakawas dad is pointing and chattering excitedly. \n\n<b>\t\t\t\tKOUICHI\n</b>\t\tThere he is!  Cmon, there he is, \n\t\tdont let him go!\n\n  Yoichi tries to scoop up the fish his grandfather is pointing out.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOh, oh!  Ah... guess he got away, \n\t\thuh?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tThat was your fault, grandpa.\n\n  Asakawas father laughs.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWell, whaddya say we try again?\n\n  He begins sloshing noisily out to the center of the stream, Yoichi in \n  tow.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tWell get im this time.\n\n  Asakawa looks away, pensive.\n\n<b>  INT. KOUICHIS HOUSE - LIVING ROOM - NIGHT  \n</b>\n  Yoichi is passed out asleep on the tatami mats.  A TELEVISION looms \n  inone corner of the living room, but it is switched off.  The \n  SLIDING DOORS to the adjacent guest room are open and we can see \n  futons set out, ready for bed.\n\n  Asakawa enters the living room and, seeing Yoichi, scoops him up in\n  her arms and carries him over to the guest room.\n\n<b>\t\t\t\tYOICHI\n</b>\t\t\t(sleepily) \n\t\tHow was work, mommy?\n\n  Asakawa tucks him into the futons and walks silently off.\n\n<b>  INT. KOUICHIS HOUSE - STAIRCASE  NIGHT  \n</b>\n  Asakawa stands at the foot of the staircase, telephone RECEIVER in \n  hand.  The phone rests on a small STAND by the staircase.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tYeah.  Your Oshima contact came \n\t\tthrough.  It looks like the woman \n\t\twho predicted the Mihara eruption \n\t\tis the same woman from the video.\n\n<b>  INT. RYUJIS APARTMENT  NIGHT\n</b>\n  Ryuji is crouched in front of the TV, REMOTE in hand.  The screen is \n  paused on the scene of the woman brushing her long hair.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHer name is Yamamura Shizuko.  She \n\t\tcommitted suicide forty years ago \n\t\tby throwing herself into Mt. Mihara.\n\n<b>  INT. KOUJIS HOUSE  STAIRCASE - NIGHT  \n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHave you got anything else?\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tIm gonna have to check it for \n\t\tmyself.  Ill be leaving for \n\t\tOshima tomorrow morning.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOshima?  Ive only got three days \n\t\tleft!\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tI know.  And Ive got four.\n\n  Short silence.\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIll be in touch.\n\n  Ryuji hangs up.  Asakawa, deep in thought, slowly places the phone \n  back in its CRADLE.  She turns around to walk back down the hallway \n  only to find her father standing there, face full of concern.\n\n<b>\t\t\t\tKOUJI\n</b>\t\tWhats happened?\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tNothing.  I just had some things \n\t\tleft over from work.\n\n  She walks past her father, who glances worriedly after her over his \n  shoulder.\n\n<b>  INT. KOUJIS HOUSE - GUEST ROOM  NIGHT\n</b>\n  The lights are all off and Asakawa is asleep in her futon.  Her eyes \n  suddenly fly open as a VOICE sounding eerily like her deceased niece \n  Tomoko calls out to her.\n\n\n<b>\t\t\t\tTOMOKO (O.S.) \n</b>\t\tAuntie?\n\n  Asakawa looks around the room, gets her bearings.  Her eyes fall on \n  the futon next to hers.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi?\n\n  There is a BODY in that futon, but it is full-grown, dressed all in \n  black.  It is curled into a fetal position and has its head turned \n  away.\n\n  Suddenly, the IMAGE from the video of the figure with its face \n  shrouded springs to Asakawas mind.  Just an instant, its pointing \n  visage materializes, and then disappears.  It reappears a moment \n  later, pointing more insistently now, and disappears again.  \n\n  Asakawa blinks her eyes and realizes that the futon next to hers is \n  empty.  Yoichi is nowhere to be seen.\n\n  Just then, she hears that high-pitched, metallic SQUEAKING from the \n  video.  Eyes wide with horror, she flings the sliding doors apart--\n  --and there, seated before the television, is Yoichi.\n\n  He is watching the video.\n\n  It is already at the very last scene, the shot of the outdoor well. \n  CLOSEUP on the screen now, and for just an instant we can see that \n  something is trying to claw its way out of the well.  The video cuts \n  off, and the screen fills with static.  \n\n  Shrieking, Asakawa races over to Yoichi, covers his eyes though it is \n  already too late.  She scoots over to the VCR, ejects the tape and \n  stares at it uncomprehendingly.  She is then at Yoichis side again, \n  shaking him roughly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi!  You brought this with you, \n\t\tdidnt you?  Why?!?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan...\n\n  Asakawa freezes, her eyes wide.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan told me to watch it.\n\n<b>  EXT. OCEAN  DAY\n</b><b>  \n</b>  WAVES are being kicked up by a large PASSENGER SHIP as it speeds on \n  its way.  CUT to Asakawa and Ryuji standing on deck, looking out over \n  the waves.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI shouldve been more careful.  \n\t\tWhen I was at your place that \n\t\tday, I could feel something \n\t\tthere.  I thought it was just \n\t\tbecause of the video... \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou mean that Tomoko\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThats not Tomoko.  Not anymore.\n\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi... he can see them too, \n\t\tcant he?\n\n  Ryuji nods his head, lowers it sadly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIts all my fault.  First Tomoko \n\t\tdied, then those three others.  It \n\t\tshould have stopped there, but it \n\t\tdidnt.  Because of me.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI wonder...\n\n  Asakawa turns to Ryuji suddenly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow did the rumors about the \n\t\tvideo even start in the first \n\t\tplace?\n\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tThis kind of thing... it doesnt \n\t\tstart by one person telling a \n\t\tstory.  Its more like everyones \n\t\tfear just takes on a life of its \n\t\town.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFear...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tOr maybe its not fear at all.  \n\t\tMaybe its what we were \n\t\tsecretly hoping for all along.\n\n<b>  EXT. PORT  DAY  \n</b>\n  The ship has docked, its GANGPLANK extended.  Ryuji and Asakawa walk \n  the length of the gangplank towards the shore.  A man named MR. \n  HAYATSU is already waiting for them.  He holds up a white SIGNBOARD \n  in both hands.\n<b> \n</b><b>\t\t\t\tASAKAWA\t\n</b>\t\tMr. Hayatsu?\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tAah, welcome!  You must be tired \n\t\tafter your long trip.  Please, \n\t\tthis way.\n\n  Mr. Hayatsu leads Asakawa and Ryuji to an awaiting minivan.\n\n  Caption-- September 18th.  Saturday.\n\n<b>  INT. HAYATSUS MINIVAN - DAY  \n</b>\n  Ryuji and Asakawa sit in the back.  Mr. Hayatsu is behind the wheel, \n  chattering away.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tBack in the old days, the Yamamuras\n\t\tused to head fishing boats out in \n\t\tSashikiji, though they dont much \n\t\tanymore.  You know, one of Shizukos \n\t\tcousins is still alive. Hes just an \n\t\told man now.  His son and his \n\t\tdaughter-in-law run an old-fashioned \n\t\tinn.  I went ahead and booked \n\t\treservations for yall, hope thats \n\t\talright...\n\n  Asakawa gives the briefest of nods in reply, after which the \n  minivan lapses into silence.  Asakawa looks dreamily out at the \n  mountain-studded landscape, then suddenly snaps to.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(to Ryuji) \n\t\tWhy did Yamamura Shizuko commit \n\t\tsuicide?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tShe was taking a real beating \n\t\tin the press, being called a \n\t\tfraud and all sorts of names.  \n\t\tAfter a while she just lost it. \n\n  CUT to a scene of the minivan speeding along a country road.\n\n<b>  INT. HAYATSUS MINIVAN  DAY \n</b>\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko was getting a lot of \n\t\tattention around the island after\n\t\tpredicting the eruption of Mt. \n\t\tMihara.  Seems that for some time \n\t\tshed had a rather unique ability:\n\t\tprecognition. It was around then\n\t\tthat she attracted the attention \n\t\tof a certain scholar whom you may \n\t\thave heard of; Ikuma Heihachiro.   \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHe was driven out of the university, \n\t\twasnt he?\n\n  Ryuji nods.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThis Professor Ikuma convinces \n\t\tShizuko to go to Tokyo with him, \n\t\twhere he uses her in a series of \n\t\tdemonstrations meant to prove the \n\t\texistence of ESP.  At first shes \n\t\tthe darling of the press, but the \n\t\tnext thing you know theyre \n\t\tknocking her down, calling her a \n\t\tfraud.  Hmph.  Forty years later,\n\t\tthe media still hasnt changed that\n\t\tmuch.\n\n  Asakawa continues, ignoring Ryujis barb.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIve heard this story.  But... Im \n\t\tsure I remember hearing that somebody \n\t\tdied at one of those demonstrations.\n\n  A strange look crosses Ryujis face.  He looks away, ignores her \n  for a moment.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAfter getting kicked out of \n\t\tuniversity, Ikuma just vanished, \n\t\tand no ones been able to get hold \n\t\tof him since.  Hes probably not \n\t\teven alive anymore.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, why even try looking for him?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tBecause hes supposed to have had a \n\t\tchild with Shizuko.  A daughter.\n\n  Asakawa freezes.  In her mind, she sees a small FIGURE dressed in \n  white, its face hidden by long, black HAIR.  It is the figure from \n  the video.\n\n<b>  EXT. OUTSIDE YAMAMURA VILLA - DAY  \n</b>\n  Mr. Hayatsu leads Asakawa and Ryuji to the entrance.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tHello?\n\n  The INKEEPER, a middle-aged lady named KAZUE wearing a traditional \n  KIMONO, comes shuffling up.  She addresses Mr. Hayatsu.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThank you.\n\n  She turns to Asakawa and Ryuji.\n\n\t\t\t\tKAZUE (contd)\n\t\tWelcome.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tWell, Ill be off then.\n\n  He gives a little bow and is off.  Kazue, meanwhile, has produced \n  two pairs of SLIPPERS, which she offers to Ryuji and Asakawa.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tPlease.\n\n  Ryuji and Asakawa begin removing their shoes. \n\n<b>  INT. YAMAMURA VILLA  STAIRCASE - DAY  \n</b>\n  Kazue leads Ryuji and Asakawa up a shadowed, wooden STAIRCASE.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tAnd for your rooms, how shall we...? \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSeparate, please.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tSir.\n\n<b>  INT. YAMAMURA VILLA - 2ND FLOOR  DAY\n</b>\n  Kazue gives a little bow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tThis way.\n\n  Kazue turns to the right.  Almost immediately after reaching the \n  top of the steps, however, a strange look crosses Ryujis face.  \n  He heads down the opposite end of the corridor, Asakawa close \n  behind.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(alarmed) \n\t\tSir!\n\n  Ryuji flings open the SLIDING DOOR to one of the older rooms.  There, \n  hanging from one of the walls, is the oval-shaped MIRROR from the \n  video, the one used by the mysterious lady to brush her long hair.  \n  Ryuji stares at the mirror, almost wincing.  He turns around as if \n  to look at Asakawa,but continues turning, looks past her.  Asakawa \n  follows his gaze, as does Kazue.  Standing at the end of the corridor \n  is an old man, MR. YAMAMURA. \n\n  Yamamura regards them silently, balefully.  Breaking the silence, \n  Kazue gestures for Asakawa and Ryuji to follow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(softly) \n\t\tPlease, this way.\n\n  Asakawa races past the innkeeper towards the old man.  He keeps his \n  back turned towards her.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease!  If you could just answer \n\t\ta few questions, about Shizuko...\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tI got nuthin to say.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts about Shizukos daughter.\n\n  The old man says nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tShe did have a daughter, didnt she?\n\n  Yamamura regards her for a moment, then turns to walk away.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>  \t\tYoure wasting your time.\n\n<b>  INT. YAMAMURA VILLA - DINING ROOM  NIGHT\n</b>\n  The TABLE is laid out with an elaborate-looking DINNER.  Asakawa \n  sits alone, knees curled up to her chin, eyes wide and frightened.  \n  She is whimpering softly to herself.  Just then, the DOOR slides \n  open and Ryuji walks in.  He sits at the table and picks up a \n  pair of CHOPSTICKS.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tArent you gonna eat?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUmm...\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHm?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoull stay with me wont you?  \n\t\tWhen its time for me to die.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tOh, stop it.\n\n  Asakawa scoots across the tatami mats towards the table, grabs \n  Ryuji fiercely by the arm.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoull stay, wont you?  If you \n\t\tstayed, maybe youd learn something\n\t\tthat could help Yoichi--\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI said stop it!  Have you forgotten \n\t\tThere was a girl with Tomoko when \n\t\tshe died?  That girls now in a \n\t\tmental institution.  Who knows what \n\t\tcould happen. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut you could stay with me, Ryuji.  \n\t\tYoud be OK.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(angrily)\n\t\tWhy, because Im already not \n\t\tright in the head?\n\n  Asakawa releases her hold on Ryujis arm, lowers her head.  Ryuji \n  slams his chopsticks down angrily.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIf thats the case, why not just\n\t\tlet things run its course, get rid\n\t\tof father -and- son?  Yoichi was a\n\t\tmistake, anyway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tStop it!\n\n  Short silence.  When Ryuji speaks up again, his voice is soft, \n  reassuring.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe still have two days left...\n\n  Just then the VOICE of the innkeeper calls tentatively out from \n  the other side of the sliding door.\n\n<b>\t\t\t\tKAZUE (O.S.) \n</b>\t\tExcuse me?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome in.\n\n  Kazue slides the door open.  She stands hesitantly in the doorway, \n  something tucked under one arm.\n\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tIts about Miss Shizuko.  \n\n  Ryuji shoots a glance at Asakawa and stands up from the table, \n  walks towards the innkeeper.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThis is all that there is...\n\n  Kazue produces an old black and white PHOTOGRAPH.  The photo shows a \n  WOMAN, seated, dressed in a KIMONO.  A MAN in a Western-style SUIT \n  stands beside her.  \n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIs this Professor Ikuma?\n\n  Hearing this Asakawa leaps up, walks over to examine the picture for \n  herself.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t...yes.  This picture is from before \n\t\tId entered the household.  \n\n  She pauses a moment.\n\n\t\t\t\tKAZUE (contd)\n\t\tI should go now.\n\n  The innkeeper scuttles off, leaving Asakawa and Ryuji alone with the \n  photograph.  Unbidden, the VOICE from the video enters their \n  thoughts.\n\n<b>\t\t\t\tVOICE\n</b>\t\tShoumon bakkari... boukon ga kuru zo...\n\n\n<b>  EXT. IZU SEASHORE - DAY\n</b>\n  Asakawa watches Ryuji stride down the shore.\n\n  Caption-- September 19th.  Monday.\n\n  Ryuji strolls up to find old man Yamamura sitting alone, staring \n  out at the sea.  Yamamura glances up to see Ryuji approaching.  \n  Ryuji takes a seat next to the old man, but its Yamamura who speaks \n  first.  The deep basso of his voice emphasizes the drawl of his \n  accent.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tYalld do best to be off soon.  \n\t\tSeas probably gonna be rough \n\t\ttonight.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat kind of a child was Shizuko?\n\n<b>\t\t\t\tYAMAMURA \n</b>\t\tShizuko was... different.  Shed come \n\t\tout here by herself everday an just\n\t\tstare out at the ocean.  The fishermen \n\t\tall took a dislikin to her.  Oceans \n\t\tan unlucky place for us, ysee: every \n\t\tyear it swallows up more of our own. \n\t\tYou keep starin out at somethin \n\t\tike that... \n\n<b>\t\t\t\tRYUJI\n</b>      \t\tShoumon bakkari shiteru to, boukon ga \n\t\tkuru zo.  If you keep playing in the \n\t\twater, the monster will come for you.\n\n  Yamamura looks at Ryuji, surprised.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko could see inside people, \n\t\tcouldnt she?  Down to the places \n\t\ttheyd most like to keep hidden.  It \n\t\tmust have been difficult for her...\n\n  Yamamura rises unsteadily to his feet, features twisted angrily.\n\n<b>\t\t\t\tYAMAMURA\n</b> \t\tPlease leave!  Now!\n\n  Ryuji stands, takes hold of Yamamuras arm.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIve got a little of that ability \n\t\tmyself.  It was you who spread the \n\t\tword about Shizuko, wasnt it?  \n\t\tAnd you who first contacted \n\t\tProfessor Ikuma?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tWhatre you--?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYou thought youd be able to make \n\t\tsome money off her.  You even got \n\t\tsome, from one of the newspapers.\n\n<b>\t\t\t\tYAMAMURA\t\t\n</b>\t\tLeave me the hell alone!\n\n  Mr. Yamamura strides angrily off.  Both Ryuji and Asakawa take \n  pursuit, Ryuji calling out from behind Yamamuras back.\n\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTell us about Shizukos daughter.  \n\t\tWho was she?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tI dont know!\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tShe was there, with Shizuko. She \n\t\thad to be.\n\n  Yamamuras pace, which has become increasingly erratic, finally \n  causes him to stumble and fall.  Ryuji comes up behind him, \n  grasping him firmly.  At their touch Ryujis power awakens, and as \n  he peers into the old mans mind there is a sudden blinding\n\n<b>  FLASH\n</b>\n  The setting is a large MEETING HALL.  A number of people are seated \n  in folding chairs before a STAGE, on which are a four MEN in BUSINESS \n  SUITS and a WOMAN in a KIMONO.  A BANNER hangs above the stage, which \n  reads PUBLIC DEMONSTRATION ON THE EXISTENCE OF CLAIRVOYANCE.  \n\n<b>  FLASH\n</b>\n  Ryuji eyes widen as he realizes he is seeing Shizukos demonstration \n  before the press.  He also realizes--\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(to Yamamura)\n\t\tYou were there!\n\n<b>  FLASH\n</b>\n  YAMAMURA SHIZUKO, the woman in the kimono, is sitting at a TABLE \n  onstage. Her face is calm and expressionless.  Standing off to one \n  side and peering from behind the curtains is a young Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t(O.S.) \n</b>\t\tYou stood there and watched the \n\t\tdemonstration.\n\n  CUT back to the beach.  Asakawa comes running up toward Ryuji and the \n  prone Mr. Yamamura.  Suddenly there is another\n\n<b>  FLASH\n</b>\n  Asakawa, her eyes wide, finds herself inside the scene, reliving it \n  as if she had actually been there.  She watches as Shizuko receives \n  a sealed clay POT in both hands.  Shizuko regards the pot a moment \n  and then places it gently on the table before her.  She takes a \n  calligraphy STYLUS from the table, begins writing on a thin, \n  rectangular sheet of RICE PAPER.  The members of the press talk \n  excitedly, craning their necks for a better look.\n\n  Onstage, a JUDGE holds up the phrase written by Shizuko and the \n  folded sheet of paper taken from the sealed pot.  The phrase on both \n  sheets is identical.\n\n<b>\t\t\t\tJUDGE\t\t\n</b>\t\tMatch.\n\n  Cameras begin FLASHING excitedly.  Shizukos features melt into a soft \n  smile. \n\n  The experiment is performed again, and again the phrase written by \n  Shizuko corresponds to the sealed sheet of paper.\n\n<b>\t\t\t\tJUDGE\n</b>\t\tMatch.\n\n  Again and again, Shizuko unerringly demonstrates her power to see \n  the unseen.  Finally, a bearded REPORTER explodes from his chair, \n  begins striding angrily towards the stage.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tFaker!  This is nothing but trickery, \n\t\tand the lowest form of trickery at \n\t\tthat. \n\n  The reporter stops at the foot of the stage, points his finger \n  accusingly at Shizuko.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tWhat are you trying to pull, woman?\n\n  A SECOND REPORTER sitting in the front row also rises to his feet.\n\n<b>\t\t\t\tREPORTER #2\t\n</b>\t\tThats right!  Professor Ikuma, \n\t\tyoure being fooled!\n\n  By now most of the press has risen from their chairs, pointing and \n  shouting angrily. Onstage, Shizuko backs away, eyes wide and \n  frightened.  She covers both ears, trying to block out the increasing \n  din.  Professor Ikuma holds her protectively by the shoulders.  The \n  first reporter is still shouting angrily, his voice rising above the \n  others.  Suddenly, a pained look crosses his face and he collapses to \n  the floor.  The crowd, and Asakawa as well, see that the reporters \n  face is contorted into a grotesque mask of fear.\n\n<b>\t\t\t\tREPORTER #3\t\n</b>\t\tWhats happened?\n\n<b>\t\t\t\tREPORTER #4\t\n</b>\t\tHes dead!\n\n\n\n<b>\t\t\t\tREPORTER #5\t\n</b>\t\t\t(to Shizuko) \n\t\tWitch!\n\n  Professor Ikuma begins leading Shizuko offstage.  They stop as someone \n  unseen steps up, blocking their passage.  Shizukos eyes widen, her \n  head shaking in disbelief.\n\n<b>\t\t\t\tSHIZUKO\n</b>\t\tSadako?  Was it you?\n\n  CUT to Ryuji on the beach.  He looks up excitedly.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSadako?!\n\n  He recalls the image from the video, the alien eye with the single \n  character SADA reflected in reverse. *\n\n\n  >* The majority of girls' names in Japanese end in either -mi (\"beauty\") \n  >or -ko (\"child\").  Thus, Sadako means \"Chaste child.\"  Sadako is, of \n  >course, the mysterious daughter of Shizuko and Professor Ikuma.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSadako killed him?  She can kill \n\t\tjust with a thought?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tShes... a devil spawn.\n\n  CUT back to the demonstration hall.  Sadako, her face completely hidden \n  by her long hair, runs offstage... and heads directly for Asakawa.  \n  Asakawa instinctively raises her arm, and Sadako grasps it fiercely.  \n  All the nails on Sadako hand are stripped away; her fingers are raw, \n  bloody stumps.\n\n  CUT back to the beach.  Asakawa, still caught in the throes of the \n  vision, has begun to swoon.  Finally her legs give out and she crumples \n  to the beach.  Ryuji grabs hold of her supportively.  He glances down at \n  her wrist, sees an ugly, purple BRUISE already beginning to form.  \n\n  The bruise is in the shape of five long, spindly fingers.\n\n  Mr. Yamamura slowly rises to a sitting position, and together the three \n  watch the approach of ominous, dark STORM CLOUDS.\n\n<b>  INT. MR. HAYATSUS HOUSE  DUSK\n</b>\n  Asakawa is on the phone, her voice almost frantic.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right. After Yamamura Shizuko \n\t\tcommitted suicide, Professor Ikuma\n\t\ttook the daughter and ran.  No, no one\n\t\tknows where they went.  Thats why I \n\t\tneed -you- to find out where they are.  \n\t\tEven if the professors dead, Sadako \n\t\tshould still be in her forties.  Ill \n\t\texplain it all later, but right now \n\t\tjust hurry!\n\n  Asakawa slams the phone down.  PAN to show Ryuji slumped in one corner \n  of the room, his back to the wall.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadakos probably already dead.  She\n\t\tcould kill people with just a thought, \n\t\tremember?  Her mother wasnt even \n\t\tclose to that.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(flustered) \n\t\tWell, what about that video?  If \n\t\tSadakos dead then who made it?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tNobody made it. It wasnt made at \n\t\tall. That video... is the pure, \n\t\tphysical manifestation of Sadakos \n\t\thatred.\n\n  Ryuji turns to regard Asakawa, his eyes blank.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWeve been cursed.\n\n  There is a moment of silence before Mr. Hayatsu slides the door open, \n  almost falling into the room.  He is out of breath, and speaks rapidly.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts no good.  With the typhoon \n\t\tcoming in, all ships are \n\t\ttemporarily staying docked.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWhat about the fishing boats?  \n\t\tTell their captains Ill pay.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tFishing boats?  Sir, without knowing \n\t\twhether this typhoon is going to hit \n\t\tus or not, I think itd be better to \n\t\twait and see how things turn--\n\n  Ryuji interrupts him, slamming both palms on the table.  Glasses \n  rattle wildly.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tFine!  Ill try searching myself!\n\n  Ryuji stands and races past Mr. Hayatsu out into the rain.  Hayatsu \n  takes pursuit, calling after him.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tMr. Takayama!?  Mr. Takayama...\n\n  Asakawa, left alone, stares down at the tatami mats.\n\n<b>  EXT. OCEAN - NIGHT  \n</b>\n  White-capped waves roll angrily in a black sea.\n\n<b>  INT. MR. HAYATSUS HOUSE  NIGHT\n</b>\n  Asakawa sits at a table, alone, her hands clasped as if in prayer.  Her \n  eyes are wide and glassy.  The phone RINGS suddenly and Asakawa dives \n  for it, wrenching it from the cradle before it can ring a second time.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tMrs. Asakawa?  Im sorry.  I tried, \n\t\tbut I couldnt come up with any \n\t\tleads at all.\n\n  A look of abject fear crosses Asakawas face.  She begins retreating \n  into herself.\n\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(softly) \n\t\tThank you...\n\n  Asakawa slowly places the phone back in its cradle.  Almost immediately, \n  her face begins to crumple.  She falls to her knees, sobbing into the \n  floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi...\n\n  She cries a while longer but suddenly stops.  Her face, eyes streaked \n  with tears, shoots suddenly up, stares directly at the telephone.\n\n<b>\t\t\t\tASAKAWA\t \n</b>\t\t\t(softly) \n\t\tIzu...\n\n<b>  EXT. IZU WHARF  NIGHT\n</b>\n  Asakawa stands looking down on the wharf, scanning. \n\n  Several FISHING BOATS are docked.  The wind whips her hair crazily \n  around.   She continues scanning, and suddenly she spies--\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(calling) \n\t\tRyuji!\n\n  Asakawa runs down onto the wharf, heading towards Ryuji.  He is \n  in mid-conversation with Mr. Hayatsu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tRyuji!  The phone in my apartment \n\t\tnever rang!  It only ever rang at\n\t\tthe rental cottage!  Professor \n\t\tIkuma mustve...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAnd weve got no way of going back.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts too dangerous!  The thought of \n\t\tanybody going out in this weather...\n\n  The three fall into silence as they realize the powerlessness of their \n  situation.  Suddenly, a deep VOICE booms from behind them.\n\n<b>\t\t\t\tYAMAMURA (O.S.) \n</b>\t\tIll take you out.\n\n  The three spin around to see Mr. Yamamura, his ROBES flapping in the \n  gusty night air. He begins walking towards them.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tSadako is callin yall, reckon.  \n\t\tMayhap to drag you down under the \n\t\twater.\n\n  Short silence.  Ryuji shoots a short questioning glance at Asakawa, \n  turns back to face Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tPlease.  Take us out.\n\n\n\n<b>  EXT. OCEAN  NIGHT\n</b>\n  A tiny FISHING BOAT is tossed about on the waves.  Mr. Yamamura stands \n  at the wheel, his face expressionless.\n\n<b>  INT. MR. YAMAMURAS FISHING BOAT  NIGHT\n</b>\n  Ryuji and Asakawa are crouched close together in the cabin.  Asakawas \n  expression is dreamy, faraway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts funny.  Im not afraid at all.  \n\n  Ryuji leans over, rubs her hand comfortingly.  Suddenly he switches \n  back into analytical mode.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadako probably died back out there\n\t\tat Izu, before the rental cottages \n\t\twere ever built.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSo, Sadako was Professor Ikumas \n\t\tdaughter?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(nodding) \n\t\tIkuma smuggled her out in secret.  \n\t\tHis relationship with Shizuko was \n\t\talready a scandal, and one of the \n\t\treasons he got drummed out of the \n\t\tuniversity... Weve gotta find \n\t\tSadakos body.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tIs that going to break the curse?  \n\t\tWill Yoichi be all right?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIts all weve got left to try.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tJust one more day...\n\n  Ryuji puts his arm around Asakawa.\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT - DAWN  \n</b>\n  Ryuji stands on deck, looking out over the water.  He heads down \n  below toward the captains area.  Mr. Yamamura is at the wheel.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe made it.  Maybe Sadako doesnt \n\t\thave it out for us after all.\n\n  Long pause as Mr. Yamamura says nothing.\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tShizuko... she used to -speak- to \n\t\tthe ocean, just ramble away.  One \n\t\ttime I hid, listenin to one of her \n\t\tconversations.\n\n  Mr. Yamamura pauses again.\n\n\t\t\t\tYAMAMURA (contd)\t\n\t\tAnd it werent in no human language.\n\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT  DAWN\n</b>\n  Asakawa has climbed out on deck and is looking up towards the sunrise.\n\n  Caption-- September 20th.  Monday.\n\n<b>  EXT. HARDWARE STORE  DAY\n</b>\n  Ryuji races out of the store, loaded down with supplies.  He holds a \n  pair of BUCKETS in one hand and a CROWBAR and SHOVEL in the other.  A \n  length of ROPE is coiled over his left shoulder.  He runs towards a \n  RENTAL CAR, passing by Asakawa who stands at a PAYPHONE, receiver in \n  hand.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi?  Its mommy.  I just called \n\t\tto say Ill be coming home tomorrow.\n\n  Ryuji shoots a look at her over his shoulder.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tIm tired of it here, mom!  I wanna\n\t\tgo back to school.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(smiling) \n\t\tYoichi, its rude to your grandpa \n\t\tto talk like that.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHes laughing.  You wanna talk to him?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, thats...\n\n  Asakawa pauses, her voice hitching.  She seems about to lose \n  her composure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIm sorry, Yoichi.  Ill... Ill \n\t\tsee you tomorrow.  \n\n<b>\t\t\t\tYOICHI (O.S.)\t\n</b>\t\tWhats wrong?\n\n  Asakawas face scrunches up in an effort to hold back tears.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMommys got something she has to do.  \n\t\tSay hello to grandpa for me, OK?\n\n  Ryuji stands by the car, scowling over at Asakawa.  He shuts the DOOR \n  just short of a slam.  CUT to Asakawa hanging up the phone.  She half-\n  runs towards the rental car and enters the passenger side, staring \n  blankly into space.  Ryuji slides into the drivers seat, buckles his \n<b>  SEATBELT.  \n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat time was it when you first \n\t\twatched the video?\n\n  Asakawa glances at her watch.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSeven or eight minutes past \n\t\tseven.  PM.  No more than ten \n\t\tminutes past.\n<b> \t\t\n</b><b>\t\t\t\tRYUJI\n</b>\t\tIf the rumors are true, that \n\t\ttime is gonna be our deadline.\n\n  Asakawa buckles up as Ryuji steps on the gas.\n\n<b>  INT. RENTAL CAR  DAY\n</b>\n  Asakawa sits in the passenger side.  Her face is almost angelic, \n  with the faintest hint of a smile.  Ryuji shoots a questioning look \n  at her.\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  The white rental car tears past the SIGN reading Izu Pacific Land.  \n  The car continues into the LOT, screeching around corners before \n  coming to an abrupt halt.  Asakawa, her face still oddly expressionless, \n  gets out of the passenger side.  Ryuji exits as well, the hint of a \n  shudder running through him as he regards the series of rental cabins.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t-Here-.\n\n  CUT to Asakawa and Ryuji walking up the gravel PATH towards the rental \n  cabins.  Ryuji looks back over his shoulder as both he and Asakawa stop \n  before cabin B4.  The cabin is on STILTS, its underbelly fenced off by \n  wooden LATICEWORK.  Ryuji drops most of his supplies to the ground, but \n  keeps hold of the PICK.  He raises the pick over one shoulder and begins \n  smashing away at the latticework.  When he has cleared enough space for   \n  passage, he begins picking up supplies and tossing them hastily within.  \n  When finished, he holds a hand out for Asakawa.  The two enter the \n  earthen basement.\n\n\n<b>  UNDER COTTAGE B4 - DAY  \n</b>\n  Ryuji pulls a FLASHLIGHT out, flicks it on.  The BEAM arcs outwards, \n  illuminating what looks more like an old mine shaft than a modern \n  rental cottage.  The beam halts when it suddenly encounters an old \n  STONE WELL.  The well is badly chipped on one side, and sealed off \n  with a solid-looking stone LID.  Ryuji rushes quickly towards it.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI knew it!  The well.\n\n  He squats down beside the well, setting the flashlight on the \n  lid.  Asakawa sinks slowly down beside him.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThe well...\n\n  Ryuji reaches out and takes Asakawas hand.  He sets their enclasped \n  hands onto the lid, and together they begin lightly tracing the \n  surface of the lid with their free hands.  Asakawa closes her eyes in \n  concentration... and suddenly, as with the incident on the beach, \n  Asakawa finds herself drawn into Ryujis psychometric VISION.\n\n<b>  FLASH\n</b>\n  The picture is black and white, grainy like old film.  A YOUNG GIRL in \n  a WHITE GOWN walks slowly towards an open well. She places her hand on \n  the LIP of the well, peers curiously down.  \n\n<b>  FLASH\n</b>\n  Asakawa looks up, her eyes wide open.\n\n<b>  FLASH\n</b><b>  \n</b>  There is now a second person in the vision, an ELDERLY MAN in an old-\n  fashioned tweed SUIT standing behind the young girl.  He suddenly \n  produces some BLADED OBJECT, and strikes the girl savagely across the \n  back of the head.  \n\n  The girl falls forward. The man drops to the ground, grabbing the girl \n  behind the knees and hoisting her limp BODY over the lip and into the \n  well.  The body falls into its depths.\n\n  Panting heavily, the man leans forward and grasps the lip of the well \n  with both hands, looking down.  He flashes a guilty look in either \n  direction, checking that his crime has gone unnoticed, and as he does \n  so Asakawa realizes that she knows this face.  The image from the \n  videotape, like a face in the moon: it had been Sadako inside the well, \n  looking up to see this man staring back down at her.\n\n  This man whose name is Professor Ikuma Heihachiro.\n\n<b>  FLASH\n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHer own father!\n\n  The energy seems to drain out of Asakawa in a rush, and her body \n  crumbles.  Ryuji catches hold of her.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIt was Ikuma who put this lid on.  \n\t\tAnd Sadakos still inside.\n\n  Ryuji stands quickly, takes hold of the crowbar.  He inserts it under \n  the lid and begins trying to pry it off, face scrunched with effort.  \n  Asakawa digs her fingers in and lends her own strength as well. Slowly,\n  the lid begins to move.  Ryuji tosses the crowbar aside and the two \n  lean the combined weight of their bodies into it.  The lid slides off, \n  dropping to the earth with a dull THUD.  Ryuji sits to one side, winded \n  with effort, as Asakawa takes hold of the flashlight.  She shines it \n  down into the well, but it only seems to intensify the gloom. What \n  WATER she can see looks fetid and brackish.  Ryuji sees her expression \n  and begins removing his JACKET.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIll go.\n\n  He walks off, leaving Asakawa alone.\n\n  CUT to an overhead shot of the well.  A ROPE is fastened to one side, \n  and Ryuji has already begun lowering himself down.  His eyes wander \n  overthe grime-smeared WALLS, and with a shudder he begins to pick out \n  human FINGERNAILS.  Torn loose and spattered with blood, countless \n  fingernails line the sides of the well. \n\n<b>\t\t\t\tRYUJI\n</b> \t\tSadako was alive!  Shed tried to \n\t\tclimb her way out.\n\n  Ryujis face twists into a grimace as if momentarily experiencing \n  Sadakosterrible agony.  He waits a moment longer before edging his \n  way down the rope again, finally SPLASHING to rest at the bottom of \n  the well.  He holds his flashlight above the brackish water, calls up \n  to Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tLower the buckets!\n\n  Asakawa nods and lowers two plastic BUCKETS fastened to a rope.  Ryuji \n  grabs one and scoops up a bucketful of water, tugging on the rope when \n  finished.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  Asakawa hoists the bucket up to the rim of the well.  She walks a small \n  distance and tosses the contents out onto the ground.  She happens to \n  glance through the wooden lattice to the outside, and with a start \n  realizes that the sun has already started to set.  A nervous glance at \n  her WATCH later and she is back at the well, lowering the empty bucket \n  to find another full one already awaiting her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  In the well, Ryuji glances at his watch.  He looks at it for a long \n  moment, the expression on his face saying Were not going to make it.  \n  Time passes as Asakawa pulls up bucketload after bucketload, her \n  strength beginning to fade.  She half-stumbles, glances up... and is \n  shocked to realize that NIGHT has fallen.\n\n  CUT to Asakawa slowly pulling up yet another bucket, her strength \n  almost gone.  She looks at her watch and sees that it is now past \n  6:00.  She calls frantically down to Ryuji.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts already six!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(explosively) \n\t\tI know!  Hurry up and TAKE IT UP!!\n\n  The bucket slowly jerks into motion.  Asakawa pulls it up to the rim \n  of the well, holds it unsteadily.  She takes one faltering step and \n  falls, spilling the buckets contents onto the ground.  \n\n  CUT to Ryuji in the well, standing ready with another bucketful.\n\n\n<b>\t\t\t\tRYUJI\n</b> \t\tTake it up!\n\n  Nothing happens.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  The bucket begins moving, even slower than before.  CUT to Asakawa, \n  her body trembling with effort. By now its all she can do to simply \n  keep her body moving.  She glances behind her, sees through the wooden \n  lattice that it is now pitch black.  A look of resignation crosses her \n  face and she releases her hold on the bucket, her body crumpling and \n  falling in on itself. \n<b>  \n</b>  CUT to the bucket splashing back into the well, narrowly missing \n  Ryuji.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(fuming) \n\t\tWhat the hell are you doing?  Trying \n\t\tto get me killed?\n\n  CUT back to Asakawa, her face dead.  Ryuji calls out from the well.\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tHey!\n\n  Asakawa falls backward onto the ground, arms splayed. CUT to the rim \n  of the well.  Ryuji pulls himself up over the rim, catches sight of \n  Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  She lifts her head up but says nothing as Ryuji walks over to her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWell change.  Youre in no condition \n\t\tto keep this up.\n\n  Asakawa suddenly springs into life.  Her voice is frantic, fearful.\n\n<b>\t\t\t\tASAKAWA:\t\n</b>\t\tNo!\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWho do you expect to pull up these \n\t\tbuckets, then?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, we dont even know if its doing \n\t\tany good...\n\n  Ryuji strides forward and slaps Asakawa painfully across the cheek.  \n  He begins shaking her roughly for good measure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnd what about Yoichi, huh?  Is his\n\t\tmother not coming to pick him up \n\t\tafter all?\n\n  He releases his hold on her.  The two stare at each other a long time, \n  saying nothing.\n<b> \n</b>  CUT to an overhead shot of Asakawa being lowered into the well. CUT \n  now to Asakawa inside the well, her face and clothes covered with \n  grime, body simultaneously limp with exhaustion and tense with fright.  \n  Unable to resist the impulse, Asakawa slowly looks over her shoulder \n  and down into the well.  The dankness, the claustrophobia seeps in \n  and she draws in her breath in the first signs of panic.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tDont look down!\n\n  She returns her gaze, cranes her neck upward.  CUT to Ryuji leaning \n  over the rim of the well, peering down at her.  For an instant, \n  everything becomes monochrome. Its not Ryuji looking down at her at \n  all; its Professor Ikuma, checking to see if shes still alive or \n  if the blow to the back of her head has finished her off.  CUT to \n  Asakawa, her eyes wide with fright.\n\n  Asakawa comes to rest at the bottom of the well.  A FLASHLIGHT hangs \n  from another rope, but its beam has almost no effect on the darkness.  \n  Asakawa crouches forward, hands moving searchingly through the water.  \n  She calls out pleadingly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhere are you?  Please, come out.\n\n  Asakawa straightens, unties herself from the rope.  A full bucket \n  already awaits.  She tugs on the rope and Ryuji pulls it up.  \n\n  She scoops up a second bucket, but something stops her from sending \n  it up.  Instead, she begins running her arms through the water again, \n  her voice close to tears.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease.  Where are you?\n\n  Asakawa continues her blind fumbling, which sends up little splashes \n  of stagnant water.  With a start, she realizes that her fingers have \n  caught something.  Seaweed?  Asakawa draws her hands close for a \n  better look... and sees that is HAIR.  A thick clump of long, black \n  hair.\n\n  Suddenly a pale, thin ARM shoots out from beneath the water, catching \n  Asakawa just below the wrist.  Asakawas ears are filled with a SOUND \n  like moaning as something slowly rises from its watery slumber.  It \n  is a GIRL, her face completely hidden by long, black hair.  CUT to a \n  shot of Asakawas face.  Far from being frightened, her features are \n  oddly placid.  She regards the fearsome thing before her with an \n  almost tender look.  Asakawa reaches out, lightly strokes that long \n  hair.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts you...\n\n  She strokes the hair again, and abruptly it peels right off the head \n  with a loud SQUELCH. Revealed is not a face at all but a SKULL.  Its \n  sockets are at first menacingly empty, but then begin to ooze the \n  green SLUDGE it has pulled up from the bottom of the well.  Like a \n  mother comforting a frightened child, Asakawa pulls the skeletal \n  remains to her breast, strokes the bony head comfortingly. Her eyes \n  begin to glaze.\n\n  CUT to Ryuji racing up to the rim of the well, leaning down intently.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHey!  Asakawa!  Its already 10 \n\t\tminutes past seven!  We did it!\n\n  Down in the well, Asakawa continues staring blankly ahead.  Her body \n  suddenly falls forward, limp.\n\n<b>  EXT. OUTSIDE COTTAGE B4  NIGHT\n</b>\n  Three POLICE CARS are parked outside the rental cottages, crimson \n  headlights flashing.   A few COPS walk by, two of them carrying \n  something off in white PLASTIC BAGS.  CUT to Ryuji and Asakawa \n  sitting on the curb.  Asakawa is staring off at something, a BLANKET \n  draped over her shoulder.  \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhy would Ikuma have killed her?  \n\t\tHis own daughter...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe she wasnt his daughter at all.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe her father... wasnt even human.\n\n  The two exchange glances.  Ryujis gaze falls to Asakawas WRIST, \n  which he suddenly takes and holds close to his face.  The ugly \n  bruise where Sadako had grabbed her has disappeared.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIts gone...  \n\n  He shakes his head, clearing his analytical mind of their ordeal.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tEnough, already.  Its over.  Cmon.  \n\t\tIll take you home.\n\n  Ryuji stands, pulls Asakawa to her feet.\n\n<b>  EXT. OUTSIDE ASKAWAS APARTMENT - NIGHT  \n</b>\n  Ryujis white CAR pulls up into the parking lot.  He and Asakawa \n  get out, regard each other from opposite sides of the car. There is \n  a long moment where neither of them says anything.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tGet some rest.  \n\n  He flashes her the slightest of grins. \n\n\t\t\t\tRYUJI (contd)\n\t\tI still have a thesis to finish. \n\n  CUT to a shot of Ryuji and Asakawa, the car creating an almost \n  metaphoric distance between them. \n\n<b>\t\t\t\tASAKAWA\n</b>\t\t...thank you.\n\n  Ryuji nods silently by way of reply.  He gets into his car and \n  drives off.  Asakawa watches him go, and then walks towards the \n  entrance of her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT  BEDROOM  MORNING\n</b>\n  Asakawa walks into her room, sits on the edge of her bed.  It is \n  now morning, and she sits dazedly watching the sun come up.\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji sits busily scribbling into a NOTEBOOK.  He stops writing a \n  moment to regard his notes while taking a sip of COFFEE.  He \n  glances over at his BLACKBOARD for confirmation when a small scowl \n  crosses his brow.  Its gone a moment later as he chuckles wryly \n  to himself.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThat girl...\n\n  Ryuji stands, walks over to the blackboard.  He fixes Mais little \n  prank with a single chalk stroke. \n\n<b>  EXT. ASAKAWAS APARTMENT  VERANDA  MORNING\n</b>\n  Asakawa emerges, taking in the dawn.  At first her face is calm and \n  tranquil... but her features change as the sun almost noticeably \n  darkens and a WIND begins to kick up her hair.  She now looks very \n  anxious.\n\n  Caption-- September 21st.  Tuesday.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.\n\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji is busy scribbling away at his notes again.  His hand suddenly \n  ceases, eyes dancing worriedly as he hears a faint...\n\n  No.\n\n  Breath rattling fearfully in his throat, Ryuji spins around to face \n  the TELEVISION SET.  He gets out of his seat for a better look, \n  falling to his knees on the tatami. \n\n  The image that fills the screen is the last scene from the videotape; \n  the shot of the well.  \n\n  The SOUND from before comes louder now, more insistent, a metallic \n  screeching that both repulses and beckons him closer. Ryuji crawls on \n  all fours towards the SCREEN, stares at its unchanging image with \n  terrible foreboding.\n\n  There is a flash of MOTION as something shoots out of the well. A \n  hand. First one, and then another, as Sadako, still in her grimy white \n  dress, face hidden beneath long, oily strands of hair, begins slowly \n  pulling herself out.  The television screen jumps unsteadily, fills \n  with static as if barely able to contain her image.  \n\n  CUT back and forth between Ryuji, who is beginning to visibly panic, \n  and the television, which shows Sadako lurching ever closer.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(almost frantic) \n\t\tWhy?!\n\n  The TELEPHONE rings, and Ryuji spins round towards it, breath catching \n  in his throat.  He looks at the phone, over his shoulder at the \n  television, back to the phone.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThats it!  Asakawa...\n\n  Ryuji scrambles wildly towards the phone.  He takes the receiver but \n  is unable to do more than clutch it fearfully as his gaze is drawn \n  inexorably back to the television.  Sadakos shrouded face has filled \n  the entire screen... and then, television popping and crackling, she \n  jerks forward and emerges from the television onto the floor of \n  Ryujis apartment.  Ryuji backs away, screaming in terror.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAaargh!\n\n  Sadako lies prone, collapsed, hair splayed out like a drowned corpse.  \n  Only her FINGERS are active, crawling, feeling.  The TIPS of her \n  fingers are little more than bloodied stumps, not a single fingernail \n  on them.  She uses the strength in those fingers to pull herself \n  forward, coming jerkily to her feet.  The joints of her body twist \n  unnaturally, more insect-like than human.\n\n  Ryuji flings the phone aside and begins scrambling about the apartment \n  as if looking for cover.  The strength has already begun to fade from \n  his body, however, and his movements are clumsy, exaggerated. He falls \n  to the floor, panting heavily.  \n\n  Sadako turns to regard him, and for just an instant we can see beneath \n  her impenetrable shroud of hair; a single EYE burns with manic, \n  unbridled hatred.   \n\n  Its gaze meets Ryujis, and his face twists into a grimace as he \n  SCREAMS loudly.\n\n<b>  FLASH\n</b>\n<b>  EXT. KOUJIS HOUSE - FRONT YARD  DAY\n</b>\n  Yoichi sits on the lawn, doodling into a large SKETCHPAD.  He \n  suddenly stops, eyes registering that he has somehow felt his fathers \n  death.\n<b>  \n</b><b>  INT. ASAKAWAS APARTMENT  DAY\n</b>\n  Asakawa clutches the RECEIVER to her ear.  She can still hear the \n  sounds of metallic SCREECHING coming from the video, though they are \n  now becoming softer.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT BUILDING  DAY\n</b>\n  Asakawa comes running down a side street, turning the corner and \n  making for the entrance to Ryujis apartment building.  There is a \n  single GUARD posted at the entrance. He reaches out, catches Asakawa \n  lightly by the arm.\n\n\n<b>\t\t\t\tGUARD\n</b>\t\tAre you a resident here, maam?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIm Takayama Ryujis wife!\n\n  The guard drops his hand, and Asakawa makes for the entrance.\n\n<b>\t\t\t\tGUARD\n</b>\t\tIm sorry maam, but theyve already \n\t\ttaken the body away.\n\n  Asakawas spins around, eyes wide.  Body?\n\n<b>  INT. HALLWAY OUTSIDE RYUJIS APARTMENT  DAY\n</b>\n  Mai is there, slumped against one wall. Asakawa comes running up, \n  dropping to her knees and grasping Mai by the shoulders.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat happened?\n\n  Mai shakes her head dreamily.\n\n<b>\t\t\t\tMAI\n</b>\t\tWhen I got here he was just \n\t\tlying there...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid he say anything to you?  About \n\t\ta videotape?\n\n  Mai shakes her head again, shakes it harder until the breath \n  catches in her throat.\n\n\n<b>\t\t\t\tMAI\n</b>\t\tHis face...\n\n  Mai falls into silence, curls up on herself.  Asakawa leaves her \n  and crosses toward the door to Ryujis apartment.\n\n<b>  INT. RYUJIS APARTMENT - DAY  \n</b>\n  The front DOOR opens wildly, noisily forward.  Asakawa comes \n  rushing in, eyes darting about the apartment.  She thinks \n  frantically to herself.\n\n<b>\t\t\t\tASAKAWA (VO)\n</b>\t\tRyuji... why?  Does this mean that\n\t\tYoichi will die, too?  Is the curse \n\t\tnot broken yet?\n\n  Her gaze falls to the television set.  She dives forward, presses \n  the eject button on the VCR.  Sure enough, the TAPE is still in \n  the deck.  She takes the tape and leaves.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  NIGHT\n</b>\n  Asakawa walks slowly, dreamily forward.  She drops the videotape \n  loudly onto the coffee table and slouches into a CHAIR.  Her eyes \n  fall to the framed photographs of Yoichi on one of the shelves.  \n  This snaps Asakawa out of her daze and she begins whispering \n  intently to herself, thinking.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI was the only one to break \n\t\tSadakos curse.  Ryuji... why...?  \n\t\tSomething I did that you didnt...  \n\t\tSomething I did that you didnt...  \n\n  Asakawa gives up, lowers her face into her hands.  When she looks \n  up again, she happens to glance at the television screen-- and \n  its GLARE reveals that there is someone ELSE in the room with her.  \n  It is the figure from the videotape, the silent accuser with the \n  cloth draped over its face.  With a start, Asakawa realizes that \n  the figure is wearing Ryujis clothes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji?!\n\n  She spins around, but the room is empty.  Asakawas mind races.  \n  The figure had been pointing towards her BAG.  She stands, \n  rummages in her bag to produce her copy of the cursed videotape.  \n  She takes Ryujis COPY in her other hand, her eyes darting \n  between the two tapes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSomething I did that you didnt...\n\n  It suddenly clicks home as Asakawa looks full-on at Ryujis \n  version of the tape, plainly marked COPY.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat broke the curse was that I copied \n\t\tthe tape and showed it to someone else!\n\n  CUT to Asakawa slowly pulling her VCR from the television stand.  \n  A look of almost frightening resolve etches her face.\n\n<b>  EXT. HIGHWAY  DAY\n</b>\n  ARIAL SHOT of Asakawas car.  We hear her VOICE on the cell \n  phone.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>  \t\tDad?  Its me.  Im on my way over.\n  \t\tLook, dad, Ive got something to ask. \n\t\tIts for Yoichi...\n\n<b>  INT. ASAKAWAS CAR  DAY\n</b>\n  CLOSEUP on the VCR in the passenger side.  CUT to Asakawa at the \n  wheel as time spirals forward, the decisions of the present \n  already become rumor of the future.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThey say theres a way you can stay \n\t\talive after you watch the video.  \n\t\tYouve gotta make a copy of it, and \n\t\tshow it to somebody else inside a week.\n\n<b>\t\t\t\tGIRL B (VO) \n</b>\t\tBut what about the person you show it \n\t\tto?\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tWell, then they make a copy and show it \n\t\tto somebody else.  Again, inside a week.\n\n<b>\t\t\t\tGIRL C (VO) \n</b>\t\t\t(laughing)\n\t\tThen theres no end to it.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThats just it.  There -is- no end.  But \n\t\tif it meant not dying... youd do it, \n\t\twouldnt you?\n\n  Asakawas eyes begin to well.  Her car speeds along the highway, \n  to the direction of menacing-looking STORM CLOUDS.\n\n  Caption-- September 22nd.  Wednesday.\n\n\n\n\n                      FADE TO BLACK as the CAPTION turns blood red.\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: What does Reiko see in the photograph that her ex-husband takes of her after she has seen the tape?\n\nAnswer:"}
{"question_id": 94, "category": "longbench_narrativeqa", "reference": ["After her husband calls her"], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: <b>  THE RING\n</b>\n  Original screenplay by Takahashi Hiroshi\n  Based upon the novel by Suzuki Kouji\n\n\n  This manuscript is intended for informational \n  purposes only, and is a fair usage of copyrighted\n  material.\n\n  Ring (c) 1995 Suzuki Kouji\n  Ring feature film (c) 1998 Ring/Rasen Committee\n  Distributed by PONY CANYON\n\n\n  Adapted/ Translated by J Lopez\n\n  http://www.somrux.com/ringworld/\n\n<b>  ---\n</b>\n\n  Caption-- September 5th.  Sunday.\n\n<b>  INT. OUISHI HOUSEHOLD  TOMOKOS ROOM - NIGHT\n</b>\n  CLOSEUP on a TELEVISION SET.  Theres a baseball game on, but the sound \n  is turned completely down.  Camera PANS to show two cute high school \n  girls, MASAMI and TOMOKO.  Masami is seated on the floor at a low coffee \n  table, TEXTBOOK in front of her. Tomoko is at her desk.  There are SNACKS \n  all over the room, and its obvious there hasnt been much studying going \n  on. Masami is currently in mid-story, speaking excitedly.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tThey say that some elementary school \n\t\tkid spent the night with his parents \n\t\tat a bed and breakfast in Izu.  The kid\n\t\twanted to go out and play with everybody, \n\t\tright, but he didnt want to miss the \n\t\tprogram he always used to watch back in \n\t\tTokyo, so he records it on the VCR in \n\t\ttheir room.  But of course the stations \n\t\tin Izu are different from the ones in \n\t\tTokyo.  In Izu, it was just an empty \n\t\tchannel, so he shouldve recorded\n\t\tnothing but static.  But when the kid \n\t\tgets back to his house and watches the \n\t\ttape, all of a sudden this woman comes \n\t\ton the screen and says--\n\n  Masami points so suddenly and dramatically at her friend that Tomoko \n  actually jumps in her seat.\n\n\t\t\t\tMASAMI (contd)\n\t\tOne week from now, you will die.\n\n  Short silence as Masami pauses, relishing the moment.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tOf course the kids completely \n\t\tfreaked, and he stops the video.  \n\t\tJust then the phone rings, and when he \n\t\tpicks it up a voice says--\n\n  Her voice drops voice almost to a whisper.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tYou watched it, didnt you?  That \n\t\tsame time, exactly one week later... \n\t\thes dead!\n\n  Masami laughs loudly, thoroughly enjoying her own performance.  \n  Tomoko, however, is completely silent.  She begins looking more \n  and more distressed, until finally Masami notices.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhat is it, Tomoko?\n\n  Tomoko comes out of her chair and drops onto the floor next to her \n  friend.  Her words are quick, earnest.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tWho did you hear that story from?\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWho?  Its just a rumor.  Everybody \n\t\tknows it.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tYouko told you?\t\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tNo, it wasnt Youko...\n\n  Tomoko looks away, worried.  Masami slaps her on the knee, \n  laughing.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhats up with you?\n\n  Tomoko speaks slowly, still looking away.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tThe other day, I... I watched this \n\t\tstrange video.\n<b>\t\t\n</b><b>\t\t\t\tMASAMI\n</b>\t\tWhere?\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tWith Youko and them.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(excited) \n\t\tSo thats what Ive been hearing \n\t\tabout you doing some double-date/\n\t\tsleepover thing!  So, you and that \n\t\tguy Iwata, huh? \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tNo, its not like that.  Nothing \n\t\thappened!\n\n  Their eyes meet and Tomoko half-blushes, looks away again.  Her \n  expression becomes serious as she resumes her conversation.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tIwata... he found this weird video.  \n\t\tEveryone was like, Whats that? so \n\t\the put it on and we all watched it.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(quietly) \n\t\tAnd?  What kind of video was it?\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tJust... weird, I cant really explain \n\t\tit.  Anyway, right after we finished \n\t\twatching it, the phone rang.  Whoever\n\t\tit was didnt say anything, but still...\n\n  Silence.  Masami curls up on herself, thoroughly spooked.  \n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tJesus.\n\n<b>\t\t\t\tTOMOKO\n</b>  \t\tIt's cuz, you know, we'd all heard the \n\t\trumors.\n\nTomoko looks seriously over at her friend.\n\n\t\t\t\tTOMOKO (cont'd)\n\t\tThat was one week ago today.\n\n  There is a long, heavy silence as neither of them says anything.\n\n<b>\t\t\t\tMASAMI  \t\n</b>\t\tWaaait a minute.  Are you faking me \n\t\tout?\n\n  Tomokos face suddenly breaks into a smile. \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tBusted, huh?\n\n  They both crack up laughing. \n\n<b>\t\t\t\tMASAMI\n</b>\t\tOh, my... I cant believe you!  \n\n  Masami reaches out, slaps her friend on the knee.\n\n\t\t\t\tMASAMI (contd)\n\t\tYoure terrible!\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tGotcha!\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(thinking) \n\t\tBut hang on... you really stayed\n\t\tthe night with Youko and Iwata, \n\t\tright?\n\n  Tomoko nods, uh-huh.  Masami dives forward, pinching her friends \n  cheeks and grinning wildly.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tSo, how far did you and he get?\n\n<b>\t\t\t\tTOMOKO \t\n</b>\t\tOh... I cant remember.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tYou cant remember, huh?\n\n  Masami laughs, then slaps Tomoko on the knee again as she remembers \n  the trick her friend played on her.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tMan, you had me freaked me out. \n<b>\t\tI--\n</b>\n  Just at that moment, the phone RINGS.  They are both suddenly, \n  instantly serious.  Tomokos eyes go off in one direction and she \n  begins shaking her head, -No-.  Masami looks over her shoulder, \n  following her friends gaze.  \n\n  Tomoko is looking at the CLOCK, which currently reads 9:40.\n\n  The phone continues to ring.  Tomoko is now clutching tightly onto her \n  friend, looking panicked.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(softly) \n\t\tWas it true?\n\n  Tomoko nods her head, still holding on tightly.  Masami has to \n  forcibly disengage herself in order to stand.  The phone is downstairs, \n  so Masami opens the bedroom DOOR and races down the STAIRS.  Tomoko \n  calls out to her from behind.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - NIGHT  \n</b>\n  Tomoko and Masami run down the staircase, through the hallway towards \n  the kitchen.  Tomoko cries out again just before they reach the kitchen.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  Masami has come to a halt before a PHONE mounted on the wall.  She \n  pauses, looking slowly at her friend, then back to the phone.  She \n  takes it tentatively from its cradle, answers it wordlessly.  The \n  tension continues to mount as nothing is said. Masami suddenly breaks \n  into a huge grin.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIll put her on.\n\n  Still grinning, she hands the phone to Tomoko.  Tomoko snatches it \n  quickly.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(softly) \n\t\tYes?\n\n  She is silent for a moment, then smiling widely.  \n\n<b>\t\t\t\tTOMOKO\n</b>\t\tOh, man!\n\n  She is so relieved that all the strength seeps out of her and she \n  sinks to the kitchen floor.  Masami, equally relieved, slides down \n  the wall and sits down next to her.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(on the phone) \n\t\tYeah, Ive got a friend over now.  \n\t\tYeah.  Yeah, OK.  Bye.\n\n  Tomoko stands to place the phone back in its wall cradle, and then \n  squats back down onto the kitchen floor.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tThe games gone into overtime, so \n\t\ttheyre gonna be a little late. \n\n  They burst out laughing with relief again, and are soon both \n  clutching their stomachs.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tJeeezus, my parents...\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tOh man, Im tellin everybody about \n\t\tthis tomorrow!\n\n  Tomoko shakes her head, -Dont you dare-.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIm gonna use your bathroom.  Dont \n\t\tgo anywhere.\n\n<b>\t\t\t\tTOMOKO\t\n</b><b>\t\tK.\n</b>\n  Masami walks out of the kitchen. Alone now, Tomoko stands and walks \n  toward the SINK, where she takes a GLASS from the DISH RACK.  She \n  then goes to the FRIDGE and sticks her face in, looking for something \n  to drink.  Suddenly there is the SOUND of people clapping and \n  cheering.  Tomoko, startled, peers her head over the refrigerator \n  door to check for the source of the sound.  \n\n  She begins walking slowly, following the sound to the DINING ROOM \n  adjacent the kitchen. \n\n<b>  INT. OUISHI HOUSEHOLD - DINING ROOM - NIGHT  \n</b>\n  The lights are off, and there is no one in the room.  Tomoko pauses a \n  moment, bathed in the garish LIGHT from the TV, which has been switched\n  on.  Playing is the same baseball game they had on the TV upstairs; the \n  same game that Tomokos parents are currently at.  The VOLUME is up \n  quite high.\n\n  A puzzled look on her face, Tomoko takes the REMOTE from the coffee \n  table and flicks the TV off.  She walks back to the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  A bottle of SODA that Tomoko had earlier taken from the fridge is on \n  the kitchen table.  She picks the bottle up, pours herself a drink.  \n  Before she can take a sip, however, the air around her becomes suddenly \n  charged, heavy.  Her body begins to shiver as somewhere out of sight \n  comes a popping, crackling SOUND underscored by a kind of GROANING.  \n  Trembling now, Tomoko spins around to see what she has already felt \n  lurking behind her.  She draws in her breath to scream.\n\n  The screen goes white, and fades into:\n\n<b>  CAMERA POV \n</b>\n  The screen is filled with the visage of a nervous-looking YOUNG GIRL.  \n  She is being interviewed by ASAKAWA, a female reporter seated offscreen.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>\t\tThere seems to be a popular rumor \n\t\tgoing around about a cursed \n\t\tvideotape.\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n  The girl looks directly at the camera, her mouth dropping into an O \n  as shes suddenly overcome by a kind of stage fright.  She continues \n  staring, silently, at the camera.\n\n<b>  INT. COFFEE SHOP - DAY  \n</b>\n  KOMIYA, the cameraman, has lowered his camera. We can now see that \n  the young girl being interviewed is seated at a table between two \n  friends, a SHORT-HAIRED GIRL (GIRL#2) and a LONG-HAIRED GIRL (GIRL #3).  \n  They are all dressed in the UNIFORMS of junior high school students.  \n  Opposite them sits Komiya and Asakawa, a pretty woman in her mid-\n  twenties.  A BOOM MIKE GUY stands to the left.\n<b> \n</b><b>\t\t\t\tKOMIYA\t\n</b>\t\tUh, dont look right at the camera, \n<b>\t\tOK?\n</b>\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tSorry.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLets do it again.\n\n  Asakawa glances over her shoulder, makes sure that Komiya is ready.\n\n<b> \n</b><b>\t\t\t\tASAKAWA\n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWhat I heard was, all of a sudden \n\t\tthis scaaarry lady comes on the\n\t\tscreen and says, In one week, you\n\t\twill die.\n\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tI heard that if youre watching TV \n\t\tlate at night itll come on, and\n\t\tthen your phonell ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWatching TV late at night... do you\n \t\tknow what station?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmmm... I heard some local station, \n\t\taround Izu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmm-hmm.\t\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd, do you know if anyones really \n\t\tdied from watching it?\n\n  The girl flashes a look at her two friends.\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWell, no one that we know, right?\n\n  Girl #2 nods her head. Girl #3 nods slowly, opens and closes her \n  mouth as if deciding whether to say something or not.  The \n  reporter notices. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat is it?\n\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tI heard this from a friend of mine \n\t\tin high school.  She said that there \n\t\twas this one girl who watched the \n\t\tvideo, and then died a week later.  \n\t\tShe was out on a drive with her \n\t\tboyfriend.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey were in a wreck?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo, their car was parked, but they \n\t\twere both dead inside.  Her \n\t\tboyfriend died because hed watched \n\t\tthe video, too.  Thats what my \n\t\tfriend said.\n\n  Girl #3 grows suddenly defensive.\n\n\t\t\t\tGIRL #3 (contd)\t\n\t\tIts true!  It was in the paper two \n\t\tor three days ago.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tDo you know the name of the high \n\t\tschool this girl went to?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo... I heard this from my friend, \n\t\tand it didnt happen at her school.  \n\t\tShe heard it from a friend at a \n\t\tdifferent school, she said.\n\n<b>  INT. NEWS STATION  DAY\n</b>\n  Asakawa is seated at her DESK.  The station is filled with PEOPLE, \n  scrabbling to meet deadlines.  Komiya walks up to Asakawas desk \n  and holds out a MANILA FOLDER.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMrs. Asakawa?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHm?\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tHere you are.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(taking the folder) \n\t\tThanks.\n\n  Komiya has a seat.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tThis same kind of thing happened \n\t\tabout ten years ago too, didnt it?  \n\t\tSome popular young singer committed \n\t\tsuicide, and then suddenly there was \n\t\tall this talk about her ghost showing\n\t\tup on some music show.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut I wonder what this rumors all \n\t\tabout. Everyone you ask always \n\t\tmentions Izu.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMaybe thats where it all started.  \n\t\tHey, where was that Kuchi-sake\n\t\tOnna * story from again?\n\n\n  >* Literally Ripped-Mouth Lady, a kind of ghastly spectre from \n  >Japanese folk stories who wears a veil to hide her mouth, which \n  >has been ripped or cut open from ear to ear. She wanders the \n  >countryside at night asking men Do you think Im beautiful? then \n  >lowering her veil to reveal her true features.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGifu, but there was some big \n\t\taccident out there, and that ended\n\t\tup being what started the rumor. \n\n<b>\t\t\t\tKOMIYA\n</b>\t\tA big accident?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMmm-hmm.  Something terrible like \n\t\tthat is going to stay in peoples \n\t\tminds.  Sometimes the story of what \n\t\thappened gets twisted around, and \n\t\tends up coming back as a rumor like \n\t\tthis one. Thats what they say, at \n\t\tleast.\n\n<b>\t\t\t\tKOMIYA\n</b>\t\tDyou think something like that \n\t\thappened out at Izu?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMaybe. Well, anyway, Im off.  See you\n\t\ttomorrow.\n<b>   \n</b><b>\t\t\t\tKOMIYA\n</b>\t\tSee you.\n\n  Asakawa gets up from her desk and begins walking towards the exit.  \n  She takes only a few steps before noticing a RACK of recent DAILY \n<b>  EDITIONS.  \n</b>\n  She takes one from the rack, sets it on a nearby TABLE.  She begins \n  flipping the pages, and suddenly spies this story:  \n\n<b>    STRANGE AUTOMOBILE DEATH OF YOUNG COUPLE IN YOKOHAMA\n</b>\n    The bodies of a young man and woman were discovered in their \n    passenger car at around 10 A.M. September 6th.  The location was a \n    vacant lot parallel to Yokohama Prefectural Road.  Local authorities \n    identified the deceased as a 19-year old preparatory school student \n    of Tokyo, and a 16-year old Yokohama resident, a student of a \n    private all-girls high school. Because there were no external \n    injuries, police are investigating the possibility of drug-induced \n    suicide...\n\n  Just then two men walk by, a GUY IN A BUSINESS SUIT and a youngish \n  intern named OKAZAKI.  Okazaki is carrying an armload of VIDEOTAPES.\n\n<b>\t\t\t\tGUY IN SUIT\n</b>\t\tOK, Okazaki, Im counting on you.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tYessir.\n\n  The guy in the suit pats Okazaki on the shoulder and walks off.  \n\n  Okazaki turns to walk away, spots Asakawa bent over the small table \n  and peering intently at the newspaper article.\n\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMiss Asakawa?  I thought you were \n\t\tgoing home early today.\n\n  Asakawa turns around and begins speaking excitedly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOkazaki, can I ask you a favor?\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tSure.\n\n  Asakawa points to the newspaper.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCould you check out this article \n\t\tfor me?  Get me some more info.?\t\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tI guess...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGood.  Call me as soon as you know \n\t\tmore, OK?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMaam.\n\n  Asakawa walks off.  Okazaki, still carrying the videotapes, leans \n  forward to take a look at the article.\n<b>   \n</b><b>  EXT. APARTMENT PARKING LOT - DAY  \n</b>\n  Asakawa drives her car into the lot and parks quickly.  She gets \n  out, runs up the STAIRCASE to the third floor.  She stops in front \n  of a door, sticks her KEY in the lock, and opens it.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  DAY\n</b>\n  A BOY of about 7 is sitting in an ARMCHAIR facing the veranda.  We \n  can see only the back of his head.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tYoichi!\n\n  Hearing his name, the boy puts down the BOOK he was reading and \n  stands up, facing the door.  He is wearing a white DRESS SHIRT with \n  a brown sweater-type VEST over it.  He sees Asakawa, his mother, \n  run in the door.  She is panting lightly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSorry Im late.  Oh, youve already \n\t\tchanged.\n\n<b>\t\t\t\tYOICHI\n</b>\t\tYup. \n\n  He points over to his mothers right.\n\n\t\t\t\tYOICHI (contd)\n\t\tI got your clothes out for you.\n\n  Asakawa turns to see a DARK SUIT hanging from one of the living \n  room shelves.  She reaches out, takes it.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAargh, weve gotta hurry!\n\n  She runs into the next room to change.\n\n<b>  INT.  BEDROOM  DAY\n</b>\n  Asakawa has changed into all-black FUNERAL ATTIRE.  Her hair is \n  up, and she is fastening the clasp to a pearl NECKLACE.  Yoichi is \n  still in the living room.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid grandpa call?\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tNope.\n\n  Yoichi walks into the room and faces his mother.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tWhy did Tomo-chan die? *\n\n\n  >* -chan is a suffix in Japanese that denotes closeness or affection.  \n  >It is most often used for young girls, though it can also be used for \n  >boys.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell... it looks like she was really, \n\t\treally sick.\n\n  She takes a seat on the bed.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWill you do me up?\n\n  Yoichi fastens the rear button of his mothers dress and zips her up.  \n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tYou can die even if youre young?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIf its something serious... well, yes.\n\n  Asakawa turns to face her son, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAs hard as it is for us, what your \n\t\tauntie and uncle are going through \n\t\tright now is even harder, so lets \n\t\tnot talk about this over there, OK?\n\n  Yoichi nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(remembering)\n\t\tYou and her used to play a lot \n\t\ttogether, didnt you?\n\n  Yoichi says nothing.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  RED PAPER LANTERNS mark this place as the site of a wake.  Several \n  GIRLS in high school uniforms are standing together and talking in \n  groups. Asakawa and Yoichi, walking hand in hand, enter the house.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  There are many PEOPLE milling about, speaking softly.  A MAN seated \n  at a counter is taking monetary donations from guests and entering \n  their information into a LEDGER.  Asakawa and Yoichi continue walking, \n  down a hallway.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  Mother and son halt before the open DOOR to the main wake room, where \n  guests may show their respects to the departed.  The room is laid in \n  traditional Japanese-style tatami, a kind of woven straw mat that \n  serves as a carpet. Two GUESTS, their shoes off, are kneeling upon \n  zabuton cushions.  \n\n  Kneeling opposite the guests is KOUICHI, Asakawas father.  The two \n  guests are bowing deeply, and Kouichi bows in response.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDad.\n\n  Kouichi turns to see her.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tAh!\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow is sis holding up?\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tShes resting inside right now.  \n\t\tShes shaken up pretty badly, you \n\t\tknow.  Its best she just take \n\t\tthings easy for a while.\n\n  Asakawa nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIll go check on auntie and them, \n\t\tthen.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOK.  Ah, Yoichi.  Why dont you sit \n\t\there for a little while?\n\n  He grabs the young boy and seats him on a cushion next to the two guests.  \n  As the guests resume their conversation with Asakawas father, Yoichis \n  eyes wander to the ALTAR at the front of the room set up to honor the \n  deceased.  It is made of wood, and surrounded by candles, flowers, and \n  small paper lanterns.  At the center is a PICTURE of the deceased, a \n  teenage girl.  A small wooden PLAQUE reads her name: Tomoko Ouishi. It \n  is the same Tomoko from the first scene.\n\n  Yoichi continues to stare at Tomokos picture.  He makes a peculiar \n  gesture as he does so, rubbing his index finger in small circles just \n  between his eyes.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Asakawa walks down the hallway, looking for her aunt.  She walks until \n  finding the open doorway to the kitchen.  There are a few people in \n  there, preparing busily. Asakawa sees her AUNT, who rushes into the \n  hallway to meet her, holds her fast by the arm.  The aunt speaks in a \n  fierce, quick whisper.\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tHave you heard anything more about \n\t\tTomo-chans death?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, I...\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tBut the police have already finished \n\t\ttheir autopsy!\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, they said there was no sign of \n\t\tfoul play.\n\n<b>\t\t\t\tAUNT\t\n</b>\t\t\t(shaking her head) \n\t\tThat was no normal death.  They havent \n\t\tonce opened the casket to let us see\n\t\tthe body.  Dont you think thats \n\t\tstrange?\n<b> \n</b>  Asakawa looks away, thinking.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Yoichi has wandered off by himself.  He stops at the foot of the \n  steps, looking up-- and catches a glimpse of a pair of BARE FEET \n  running up to the second floor.  \n\n  A guarded expression on his face, Yoichi walks slowly up the \n  stairs.  \n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS BEDROOM - NIGHT  \n</b>\n  Yoichi has wandered into Tomokos bedroom.  The lights are all off, \n  and there is an eerie feel to it.  Yoichis eyes wander about the \n  room, finally coming to rest on the TELEVISION SET.  Suddenly, he \n  hears his mothers voice from behind him.\n\n<b>\t\t\t\tASAKWAWA (O.S.) \n</b>\t\tYoichi?\n\n  Yoichi turns to face her as she approaches, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat are you doing up here?  You\n\t\tshouldnt just walk into other \n\t\tpeoples rooms.\n\n  Without replying, Yoichis gaze slowly returns to the television \n  set.  Asakawa holds him by the shoulders, turning him to meet \n  her.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou go on downstairs, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tOK.\n</b>\n  He turns to leave, and Asakawa follows.\n\n<b>  INT. OUSHI HOUSEHOLD - TOP OF THE STAIRS  NIGHT\n</b>\n  Just as Yoichi and Asakawa are about to descend the steps, \n  Asakawas CELL PHONE rings.  She opens the clasp to her PURSE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to Yoichi) \n\t\tYou go on ahead.\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tK.\n</b>\n  He walks down the steps.  Asakawa brings out her cell phone, \n  answers it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tUh... this is Okazaki.  Ive got \n\t\tsome more info on that article for\n\t\tyou.  The girl was a student of \n\t\tthe uh, Seikei School for Women in \n\t\tYokahama City.\n\n  Asakawa blinks at this, looks disturbed.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(softly) \n\t\tThanks.\n\n  She hangs up the phone.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  Asakawa stands now at the entrance of the house.  Dazedly, she \n  walks toward a large, hand-painted PLACARD.  The placard reads \n  that the wake is being held for a student of the Seikei School \n  for Women. \n\n  Asakawa stares at that placard, making the mental connections.  \n  She turns abruptly, walks towards a nearby TRIO of HIGH SCHOOL \n<b>  GIRLS.\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tExcuse me.  This is, um, kind of a\n\t\tstrange question, but by any chance \n\t\twere you friends of that young girl\n\t\tthat died in the car as well?\n\n  The three girls turn their faces to the ground.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tPlease.  If you know anything...\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThey all died the same day.  Youko.  \n\t\tTomoko.  Even Iwata, he was in a\n\t\tmotorcycle accident.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tBecause they watched the video.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tVideo?\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tThats what Youko said.  They all\n\t\twatched some weird video, and \n\t\tafter that their phone rang.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTomoko-chan watched it, too?  \n\t\tWhere?\n\n  Girl Left shakes her head.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tShe just said they all stayed \n\t\tsomewhere.\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThere was a girl with Tomoko when \n\t\tshe died.  Shes had to be \n\t\thospitalized for shock.\n\n<b>\t\t\t\tGIRL MIDDLE\n</b>\t\tThey say she wont go anywhere \n\t\tnear a television.\n\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa and YOSHINO, another news reporter, are watching scenes \n  from the Yokohama car death.  In the footage there are lots of \n  POLICEMEN milling about, one of them trying to pick the door to \n  the passenger side.  Yoshino is giving Asakawa the blow-by-blow.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThe bodies of those found were \n\t\tTsuji Youko, age 17, a student of \n\t\tthe Seikei School for Women, and \n\t\tNomi Takehiko, age 19, preparatory \n\t\tschool student.  Both their doors \n\t\twere securely locked.\n\n  Onscreen, the policeman has finally picked the lock.  The door opens, \n  and a girls BODY halffalls out, head facing upwards.  Yoshino flicks \n  a BUTTON on the control panel, scans the footage frame by frame.  He \n  stops when he gets a good close-up of the victim. \n\n  Her face is twisted into an insane rictus of fear, mouth open, eyes \n  wide and glassy. Yoshino and Asakawa lean back in their seats.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThis is the first time Ive -ever- \n\t\tseen something like this.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCause of death?\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tCouldnt say, aside from sudden \n\t\theart failure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDrugs?\n\n<b>\t\t\t\tYOSHINO\t\n</b>\t\tThe autopsy came up negative.\n\n\n  Yoshino takes the video off pause.  Onscreen, a policeman has caught \n  the young girls body from completely falling out, and is pushing it \n  back into the car.  As the body moves into an upright position, we \n  can see that the girls PANTIES are mid-way around her left thigh.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThese two, about to go at it, \n\t\tsuddenly up and die for no \n\t\tapparent reason. \n\n  He sighs.\n\n\t\t\t\tYOSHINO (contd)\n\t\tDo -you- get it?\n\n\n<b>  EXT. OUISHI HOUSEHOLD - DAY  \n</b>\n  Asakawas CAR is already halted before a modest-sized, two-story HOUSE \n  with a small covered parkway for a garage.  She gets out of her car, \n  closes the door.  She stares at the house, unmoving.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - DAY  \n</b>\n  Asakawa stands before her SISTER RYOMI, who is seated at the kitchen \n  TABLE.  Ryomi is staring blankly away, making no sign of acknowledging \n  her sister.  The silence continues unabated, and Asakawa, pensive, \n  wanders idly into the adjoining dining room.  She takes a long look at \n  the television, the same television that had puzzled Tomoko by suddenly \n  switching itself on, sitting darkly in one corner.  Her reflection in \n  the screen looks stretched, distorted.\n\n\n<b>\t\t\t\tRYOMI\t(O.S.) \n</b>\t\tThey tell me that Yoichi came to \n\t\tthe funeral, too. \n\n  Asakawa steps back into the kitchen.  She addresses her sister, who \n  continues to stare out at nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMmm-hmm.\n\n<b>\t\t\t\tRYOMI\n</b>\t\tThey used to play a lot together, didnt they?  Upstairs.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYeah...\n\n  Ryomi lapses back into a silence.  Asakawa waits for her to say more, \n  but when it is clear that nothing else is forthcoming, she quietly gives \n  up and exits the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - DAY  \n</b>\n  Asakawa climbs the steps to the second floor.  She makes her way down \n  the hall.\n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS ROOM - DAY  \n</b>\n  As if intruding, Asakawa walks slowly, cautiously into Tomokos room.  \n  The window to the room is open, and a single piece of folded white PAPER \n  on Tomokos desk flutters in the breeze.  Asakawa walks towards it, picks \n  it up.  It is a RECEIPT from a photo shop.  The developed photos have yet \n  to be claimed.  \n\n  Asakawa senses something, spins to look over her shoulder.  Her sister \n  has crept quietly up the stairs and down the hall, and stands now in the \n  doorway to Tomokos room.  She appears not to notice what Asakawa has in \n  her hands, as her gaze has already shifted to the sliding closet door.  \n  She regards it almost druggedly.\n\n<b>\t\t\t\tRYOMI\n</b>\t\t\t(haltingly) \n\t\tThis... this is where Tomoko died.\n\n<b>  FLASHBACK\n</b><b>\t\t\t\tRYOMI (O.S.)\n</b>\t\tTomoko!\n\n  Ryomis hands fling aside the CLOSET DOOR.  Within, she finds the pale \n  blue CARCASS of her daughter, curled up into an unnatural fetal position.  \n  Tomokos mouth yawns gaping, her eyes glassy and rolled up into the back \n  of her head.  Her hands are caught in her hair, as if trying to pull it \n  out by the roots.  It is a horrific scene, one that says Tomoko died as \n  if from some unspeakable fear.\n\n<b>  PRESENT\n</b>\n  Ryomi sinks to her knees, hitting the wooden floor hard.  She puts her \n  face into her hands and begins sobbing loudly.  Asakawa says nothing.\n\n<b>  EXT. CAMERA SHOP  DAY\n</b>\n  Asakawa leaves the camera shop clutching Tomokos unclaimed PHOTOS.  She \n  walks out onto the sidewalk and begins flipping through them.  We see \n  Tomoko standing arm-in-arm with Iwata, her secret boyfriend. Tomoko and \n  her friends eating lunch.  The camera had its date-and-time function \n  enabled, and the photos are marked\n\n<b>    97 8 29.\n</b>\n  The next shot is of Tomoko, Iwata, and another young couple posing in \n  front of a SIGN for a bed and breakfast.  The sign reads:\n\n<b>    IZU PACIFIC LAND\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu...\n\n  Asakawa continues looking through the photos, various shots of the \n  four friends clowning around in their room.  Suddenly she comes to a \n  shot taken the next day, at check out.  The friends are lined up, arms \n  linked-- and all four of their faces are blurred, distorted as if \n  someone had taken an eraser to them and tried to rub them out of \n  existence.\n\n<b>  INT. ASAKAWAS APARTMENT  KITCHEN - DAY\n</b>\n  Asakawa wears an APRON, and is frying something up on the STOVE.  Yoichi \n  stands watching.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLook, Im probably going to be late\n\t\tcoming home tonight, so just stick \n\t\tyour dinner in the microwave when \n\t\tyoure ready to eat, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tK... Mom?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHmm?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan watched some cursed video!\n\n\n  Asakawa leaves the food on the stove, runs over to Yoichi and grabs him \n  by the shoulders.  She shakes him roughly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat did you say?  You are not to \n\t\tspeak of this at school, do you \n\t\thear me?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\t\t(utterly unfazed) \n\t\tI wont.  Im going to school now.\n\n  Yoichi walks off.  Asakawa goes back to the stove, but stops after only \n  a few stirs, staring off and thinking.\n\n  Caption-- September 13th.  Monday.\n\n<b>  EXT. ROAD  DAY\n</b>\n  Asakawa drives her car speedily along a narrow country road, LEAVES \n  blowing up in her wake.\n\n<b>  INT. ASAKAWAS CAR - DAY  \n</b>\n  Asakawa mutters to herself, deep in thought.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres no way...\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  Asakawas car drives past a sign reading:\n\n<b>\tIZU PACIFIC LAND\n</b>\n<b>  EXT. IZU PACIFIC LAND - DRIVEWAY  DAY\n</b>\n  Asakawa has left her car and is walking around the driveway of what is \n  less a bed and breakfast and more like a series of cabin-style rental \n<b>  COTTAGES. \n</b>\n  She wanders about for a while, trying to get her bearings.  She pauses \n  now in front of a particular cottage and reaches into her PURSE.  She \n  withdraws the PICTURE from the photomat, the one that showed Tomoko and \n  her friends with their faces all blurred.  The four are posing in front \n  of their cottage, marked in the photograph as B4.  Asakawa lowers the \n  photo to regard the cottage before her.\n\n<b>    B4\n</b>\n  She walks to the door, turns the handle experimentally.  Its open.  \n  Asakawa walks in.\n\n<b>  INT. PACIFIC LAND - COTTAGE B4  DAY\n</b>\n  Asakawa lets her eyes wander around the cottage.  It looks very modern, \n  all wood paneling and spacious comfort.  \n\n  Her eyes rest on the TV/VCR setup at the front of the room.  Crouching \n  before the VCR now, she presses the eject button.  Nothing happens.  \n  She fingers the inside of the deck, finds it empty, then reaches behind \n  to the rear of the VCR, searching.  Again, there is nothing.  Asakawa \n  presses the power button on the television, picks up the REMOTE, and \n  takes a seat on the SOFA.  She runs through a few channels but theyre \n  all talk shows, no clues whatsoever.  She flicks the TV off and leans \n  back in the sofa, sighing.\n\n  Just then, she spies a LEDGER on the coffee table.  These things are \n  sometimes left in hotels in Japan, so that guests can write a few \n  comments about their stay for others to read.  Asakawa picks the \n  ledger up, begins thumbing through it.  She stops at a strange PICTURE\n  obviously drawn by a child, that shows three rotund, almost entirely \n  round personages.  She reads the handwritten MESSAGE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\"My dad is fat.  My mom is fat.  \n\t\tThats why Im fat, too.\"\n\n  She smiles in spite of herself.  \n\n  Asakawa flips through the rest of the ledger, but theres nothing else \n  of any import.  \n\n  She tosses it back onto the coffee table and, sighing again, leans into \n  the sofa and closes her eyes.\n\n<b>  EXT. OUTDOOR CAF - DUSK  \n</b>\n  Asakawa eats silently, alone.\n\n<b>  INT. PACIFIC LAND - FRONT RECEPTION - NIGHT  \n</b>\n  Asakawa has returned to the bed and breakfast.  As she walks in the \n  door, the COUNTER CLERK rises out of his chair to greet her.\n\n<b>\t\t\t\tCLERK\n</b>\t\tRoom for one?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUm, actually Im here on business.\n\n  She passes the clerk a picture of Tomoko and her three other friends.  \n  He stares at it for a moment.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey would have stayed here on \n\t\tAugust 29th, all four of them.  \n\t\tIf theres any information you \n\t\tmight have...\n\n<b>\t\t\t\tCLERK\n</b>\t\tUh, hang on just a minute.  \n\n  The clerk turns his back to her, begins leafing through a guest log.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\t\t(to himself) \n\t\tAugust 29th...\n\n  While she waits, Asakawas eyes start to wander around the room.  \n  Behind the desk is a sign reading Rental Video, and a large wooden \n  BOOKSHELF filled with VIDEOTAPES. They are all in their original boxes, \n  and she lets her eyes glance over the titles.  Raiders of the Lost Ark, \n  48 Hours--\n\n  --and then, suddenly, she spies a VIDEOTAPE in a plain, unmarked \n  sleeve, tucked away in the back of the very bottom shelf.  She feels \n  the hairs on the back of her neck rise.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThat...\n\n  The clerk looks up.\n\n<b>\t\t\t\tCLERK\n</b>\t\tHmm?\n\n  Asakawa stabs a finger excitedly towards the shelf.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThat!  What tape is that?\n\n  The clerk reaches out for it, grabs it.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\tThis?  Hmm...\n\n  The clerk pulls the tape out of its SLEEVE and checks for a label.  \n  Its unmarked.\n\n<b>\t\t\t\tCLERK\n</b>\t\tMaybe one of the guests left it behind\n\n<b>  INT. PACIFIC LAND  COTTAGE B4 - NIGHT \n</b>\n  Asakawa flips on the TV.  Its on channel 2, and there is nothing but \n  static. She kneels down to slide the tape into the deck and pauses a \n  moment, framed in the vaguely spectral LIGHT from the television \n  screen.  Steeling her nerves, she puts the tape into the machine, picks \n  up the remote, and presses play.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.  Afterwards, you can \n  come back here to check the meaning of the Japanese characters \n  displayed.\n\n\n<b>  THE VIDEOTAPE\n</b>\n  At first it looks like nothing has happened-- then Asakawa realizes that \n  she is now viewing recorded static instead of broadcast static.  She \n  watches, waiting, but the static continues unbroken.  Asakawa looks \n  down at the remote, is about to press fast forward, when suddenly the \n  picture on the screen clears and for a moment she thinks shes looking \n  at the moon.\n\n  Its not the moon at all, she realizes.  The shape is round like a full \n  moon, but it seems to be made up of thin RIBBONS of cloud streaking \n  against a night sky.  And theres a FACE, she sees, a face hidden in \n  shadows, looking down from above.  \n\n  What is this?\n\n  The scene changes now, and Asakawa notes that the tape has that kind of \n  grainy quality one sees in 3rd or 4th generation copies.  The scene is of \n  a WOMAN brushing her long hair before an oval-shaped MIRROR.  The nerve-\n  wracking grating as if of some giant metallic insect sounds in the \n  background, but the lady doesnt seem to notice.  The mirror the lady is \n  using to brush her hair suddenly changes position from the left part of \n  the wall before which she stands, to the right.  Almost instantly the \n  mirror returns to its original position, but in that one moment in its \n  changed location we see a small FIGURE in a white GOWN.  The woman turns \n  towards where that figure stood, and smiles.\n\n  The screen next becomes a twitching, undulating impenetrable sea of the \n  kanji characters used in the Japanese language.  Asakawa can pick out \n  only two things recognizable:\n\n    local     volcanic eruption\n\n  Now the screen is awash in PEOPLE-- crawling, scrabbling, shambling \n  masses, some of them moving in reverse.  A sound like moaning accompanies \n  them.\n<b>  -\n</b>\n  A FIGURE stands upon a shore, its face shrouded.  It points accusingly, \n  not towards the screen, but at something unseen off to one side.  The \n  insect-like screeching sounds louder. \n<b>  --\n</b>\n  Close up on inhuman, alien-looking EYE.  Inside that eye a single \n  character is reflected in reverse:  SADA, meaning \"chastity.\"\n\n  The eye blinks once, twice.  The symbol remains.\n<b>  ---\n</b>\n  A long shot of an outdoor, uncovered WELL.\n<b>  ----\n</b>\n  Sudden loud, blinding STATIC as the tape ends.\n\n  Asakawa turns the TV off, looking physically drained.  She sighs shakily \n  and slumps forward, resting on her knees.  Just then, she glances at the \n  television screen.  She sees, reflected, a small FIGURE in a white gown \n  standing at the rear of the room.  Shocked, Asakawa draws in breath, \n  spins around.\n\n  The room is empty.  Asakawa runs to the sofa to collect her jacket--\n\n  --and the RINGING of the telephone stops her dead in her tracks.  Zombie-\n  like, she walks towards the telephone, picks it up wordlessly.  \n\n  From the other end comes the same metallic, insectoid SQUEAKING heard on \n  the video.  Asakawa slams the phone down and glances up at the CLOCK.  \n  Its about seven minutes after 7 P.M.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to herself) \n\t\tOne week\n\n  Asakawa grabs her coat, pops the tape out of the deck, and runs out the \n  door.\n\n<b>  EXT. STREET  DAY\n</b>\n  It is dark and raining heavily.  Yoichi, Asakawas son, is walking to \n  school, UMBRELLA firmly in hand.  The sidewalk is quite narrow, and Yoichi \n  comes to a halt when a second PERSON comes from the opposite direction, \n  blocking his way. Yoichi slowly raises his umbrella, peers up to look at \n  this other pedestrian.  It is a MAN, a BAG slung over one shoulder.  He \n  has a beard; unusual for Japan where clean-shaven is the norm.  \n\n  The two continue looking directly at each other, neither moving nor \n  speaking.  Yoichi then walks around the persons left and continues on his\n   way.  The man resumes walking as well.\n\n  Caption-- September 14th.  Tuesday.\n\n<b>  EXT. OUTSIDE AN APARTMENT DOOR - DAY  \n</b>\n  The bearded man, whose name is RYUJI, reaches out to press the DOORBELL, \n  but the door has already opened from within.  Asakawa leans out, holding \n  the door open for him.  Neither of them speaks.  Wordlessly, Ryuji enters \n  the apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - DAY  \n</b>\n  Ryuji puts his bag down, looks around the apartment.  The interior is dark, \n  ominous somehow.  He takes his JACKET off and wanders into the living room.  \n  Asakawa is in the kitchen behind him, preparing TEA.  Ryuji spies the \n  collection of FRAMED PHOTOGRAPHS in living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYoichis in elementary school \n\t\talready, is he?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHis first year.  What about you, \n\t\tRyuji?  How have you been \n\t\trecently?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSame as always.\n\n  She takes a seat next to him, serves the tea.  On the coffee table \n  before them is a VIDEOTAPE in a plain, unmarked case.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd money is...?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIm teaching at university.\n\n  Ryuji picks up his cup of tea but stops, grimacing, before it is to his \n  lips.  He rubs his forehead as if experiencing a sudden headache.  Ryuji \n  shakes it off and quickly regains his composure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnyway.  You said that the phone rang?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo if I watch it too, that phone over \n\t\tthere--\n\n  He gestures with his mug \n\n\t\t\t\tRYUJI (contd)\n\t\t--should ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji, four people have already \n\t\tdied.  On the same day!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(flippant) \n\t\tWell, why dont you try calling \n\t\tan exorcist?\n\n  He takes a sip of his tea.  Asakawa reaches quickly, grabs something \n  from the bookshelf behind her-- a POLAROID CAMERA.    She shoves it \n  into Ryujis hands, then turns to look down at the floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTake my picture.\n\n  Ryuji raises the camera to his eye.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTurn this way.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(unmoving) \n\t\tHurry up and take it.\n\n  Ryuji snaps off a shot.  It comes out the other end and he takes it, \n  waits impatiently for an image to appear.  When it does, all he can \n  do is pass it wordlessly over to Asakawa.  Her face is twisted, \n  misshapen.  \n\n  Just like the picture of Tomoko and her friends.\n\n  Asakawa stares at it, horrified.  By the time she finally looks up, \n  Ryuji has already risen from his seat and slid the videotape into the \n  VCR.  Again, the screen is filled with static, only to be replaced \n  with what looks like the moon.  Asakawa slams the Polaroid on the \n  coffee table and goes outside onto the veranda.  \n\n<b>  EXT. VERANDA - DAY  \n</b>\n  Asakawa stares out at a view of the houses shaded in cloud and rain. \n  There is a knock on the glass door behind her.  A moment later, \n  Ryuji slides the door open.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIts over.\n\n  Asakawa re-enters her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM - DAY\n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWell, it looks like your phones not \n\t\tringing.\n\n  Ryuji pops the tape from the deck, hands it to Asakawa.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tMake me a copy of this, will you?  \n\t\tId like to do a little research\n\t\tof my own. Theres no reason to \n\t\twrite us off as dead just yet. \n\n  He dramatically takes a seat.\n\n\t\t\t\tRYUJI\t(contd)\n\t\tIf theres a video, that means that \n\t\tsomebody had to make it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres the guest list from the \n\t\tcottage to look into... and the \n\t\tpossibility of someone hacking \n\t\tinto the local stations broadcast \n\t\tsignals.\n\n  Asakawa pulls a NOTEPAD from her purse and begins busily scribbling \n  away.\n\n\n<b>  INT. NEWS STATION - DAY  \n</b>\n  Okazaki putters around.\n\n  Caption- September 15th.  Tuesday.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa sits by herself, reviewing the videotape.  She is replaying \n  the very last scene, an outdoor shot of a well.  She stares at it \n  carefully, and notices...\n\n  The tape ends, filling the screen with static.  A split-second \n  afterwards, there is a KNOCK on the door and Okazaki enters, holding \n  a FILE.  Asakawa momentarily forgets about the video.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\t\t(handing her the file)\n\t\tHeres that guest list you wanted.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tOh, thanks.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tWhat are you gonna do with this?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUh... sorry, Im working on \n\t\tsomething personal.\n\n<b>  EXT. IN FRONT OF A TRAIN STATION - DAY  \n</b>\n  Some quick shots of a FOUNTAIN gushing water, PIGEONS flapping away \n  looking agitated.  CUT to Ryuji sitting on a BENCH.  Hes deep in \n  thought, writing in a NOTEPAD. There are multitudes of PEOPLE about \n  him, and we can hear the sounds of their coming and going.  A PAIR \n  OF LEGS attached to a woman in white dress, hose, and pumps appears, \n  heading directly for Ryuji.  Her pace is slow, rhythmical, and as \n  that pace progresses all other sounds FADE into the background, so \n  that all we can hear is the CLOMP, CLOMP as those legs walk to stand \n  just before Ryuji.  The pumps are scuffed, dirtied with grime.  \n\n  A gust of WIND rips by.  Ryuji fights the urge to look up as in his \n  ears rings the same hollowed, multi-voiced BABBLING heard on the \n  videotape.  The sound grows stronger.\n\n<b>\t\t\t\tRYUJI (VO)\n</b> \t\tSo, it was you.  You did it.\n\n  The babbling fades, disappears as slowly the worlds normal \n  background sounds return.  Ryuji looks up, but the woman in white \n  is nowhere to be seen.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji rides up on a BICYCLE. He turns the corner towards his \n  apartment and finds Asakawa seated on the steps, waiting for him.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHey.\n\n  Asakawa notes in his face that something is wrong.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tWhat happened to you?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(gruffly)\n\t\tNothing.\n\n  He enters the building, carrying his bicycle.  Asakawa follows.\n\n<b>  INT. HALLWAY - AFTERNOON  \n</b>\n  The two walk down the hallway towards the FRONT DOOR to Ryujis \n  apartment.  He unlocks the door and they enter.\n\n<b>  INT. RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji and Asakawa enter the living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSo, whatd you come up with?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI dont think any of the guests on \n\t\tthe list brought the tape with them.  \n\t\tI couldnt confirm it face-to-face \n\t\tof course, but even over the phone I \n\t\tgot the feeling they were all being \n\t\tupfront with me.\n\n<b> \t\t\t\tRYUJI\n</b>\t\tHow about the other angle?  Pirate \n\t\tsignals or...\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tTherere no traces of any illegal \n\t\ttelevision signals being broadcast \n\t\taround Izu. \n\n  She reaches into her purse, pulls out a large white ENVELOPE.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHeres that copy of the videotape \n\t\tyou wanted.\n\n  Ryuji tears the package open.  He squats down on the tatami in \n  frontof his TV and slides the tape in.  Asakawa sits on the \n  tatami as well, but positions herself away from the TV and keeps \n  her eyes averted.  Ryuji glares over his shoulder at her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(sternly) \n\t\tAsakawa.\n\n  She reluctantly scoots closer, looks up at the screen.  Ryuji \n  fast-forwards the tape a bit, stopping at the scene where the \n  woman is brushing her long hair before an oval mirror.  He puts \n  the video on frame-by-frame. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tHave you ever seen this woman?\n\n  Asakawa regards the screen intently.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tNo...\n\n  The tape advances to the scene where the mirror suddenly changes \n  positions.  When it does, we can again see the small figure in the \n  white gown, a figure with long black hair. When Ryuji sees this \n  his body stiffens, becomes tense.  Asakawa notices but says nothing.  \n  She also notices something else.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tTheres something strange about \n\t\tthis shot.\n\n  She takes the remote from Ryuji, rewinds it a ways.  Onscreen, the \n  woman begins coming her long hair again.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFrom this angle, the mirror should \n\t\tbe reflecting whoevers filming.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo, what does that mean?\n\n  Asakawa lets out a short sigh.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, if the person who made this \n\t\tis a pro, thered be a way around \n\t\tthat, I guess, but still...\n\n  The screen changes, showing the mass of squiggling kanji characters \n  again.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(reading) \n\t\tVolcanic eruption... Eruption where?\n\n  He pauses the screen, trying to make sense of what is written.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThis is gonna be impossible to figure \n\t\tout on just a regular TV screen, \n\t\tdont you think?\n\n  They are both still staring at the screen when from behind them comes \n  the SOUND of someone opening the front door.  Ryuji turns off the TV, \n  ejects the tape from the deck.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome on in.\n\n  Asakawa flashes a look at Ryuji and then turns her head back towards \n  the front door to see who has entered.  A cute, nervous-looking young \n  GIRL with short hair approaches slowly.  She is carrying a PLASTIC BAG \n  filled with groceries.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAsakawa, meet my student, Takano Mai.\n\n  He turns, addresses Mai.\n\n\t\t\t\tRYUJI\t(contd)\t\n\t\tThis is Asakawa, my ex-wife.\n\n  Ryuji gets up and walks conveniently away.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tNice to meet you.  Im Takano.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAsakawa. *\n\n\n  > * As you may already be aware, Japanese name order is the \n  >opposite of Englishs, and even close friends may continue to\n  >address one another by their last names.  Incidentally, Asakawas\n  >first name is Reiko.  In this scene, Mai deferentially refers\n  >to Ryuji as sensei, meaning teacher.\n\n\n  Mai sets the bag of groceries down and chases after Ryuji.  He is \n  putting on his jacket and getting ready to leave.\n\n<b>\t\t\t\tMAI\t\n</b>\t\tSensei, the people from the \n\t\tpublishing company called about \n\t\tthe deadline on your thesis again. \n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(brusquely) \n\t\tWhatre they talkin to you \n\t\tabout it for?\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tBecause they can never get a \n\t\thold of you.\n\n  Ryuji picks up his keys, video firmly in hand.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tAsk them to wait another week.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tSensei, ask them yourself, \n\t\tplease.\n\n  Ryuji is already headed for the door.  His back is to her as he \n  responds.\n\n<b>\t\t\t\tRYUJI\t\n</b><b>\t\tOK, OK.\n</b>\n  Asakawa walks after him.  They leave.\n\n  Mai pouts unhappily a bit, and then breaks into a smile as an idea \n  crosses her mind.  She walks across the room to where Ryuji has set \n  up a large BLACKBOARD filled with mathematical equations.  Grinning, \n  Mai rubs out part of one equation with her sleeve and writes in a \n  new value.\n\n<b>  INT. NEWS STATION  HALLWAY - NIGHT  \n</b>\n  Asakawa and Ryuji stride purposefully.  They stop before a DOOR to \n  the right, which Asakawa unlocks.  They both walk in.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH - NIGHT \n</b>\n  Asakawa and Ryuji sit in a completely darkened room, their eyes \n  glued to the television MONITOR.  They are again watching the scene \n  with the fragmented kanji characters, but despite their efforts have \n  been able to identify only one additional word, bringing the total \n  to three:\n\n\tvolcanic eruption\t  local\t     residents\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThis is impossible.\n\n  Ryuji fast forwards, stopping at the scene with the kanji reflected\n  inside an alien-looking EYE.  He reads the kanji aloud. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSada... \n\n  Ryuji moves to make a note of this, notices the time.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIs Yoichi gonna be all right?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(sadly) \n\t\tHes used to it...\n\n  Short silence.  Ryuji breaks it by gesturing towards the screen. \n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWhoever made this had to have left \n\t\tsome kind of clue behind.  Theyre \n\t\tprobably waiting for us to find it.\n\n  Asakawa turns a DIAL to bring up the volume, which up until now has \n  been  on mute.  The room is filled with an eerie, metallic GRATING, \n  and Asakawa spins the dial again, shutting it off.  Just as she does, \n  Ryujis eyes widen.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWait a minute.\n\n  He turns the dial again, punches a few buttons as if searching for \n  something.  He listens carefully, and when he hears that strange \n  something again he stops, looks at the screen.\n\n  It is paused at the scene with the figure, pointing, a CLOTH draped \n  over its head.  The figure now looks oddly like a messenger.\n\n  Ryuji and Asakawa exchange glances.  This could be it.  Ryuji flips \n  some more switches, setting the sound for super-slow mo.  What follows \n  is a strange, labored sort of speech- a hidden message-- framed in \n  the skittering distortion of the tape in slow motion. \n\n<b>\t\t\t\tTAPE\t\n</b>\t\tShoooomonnn bakkkkkarrri toou...  \n\t\tboooouuuukonn ga kuuru zouuu...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(repeating) \n\t\tShoumon bakkari, boukon ga kuru \n\t\tzo.  Did you hear that, too?\n\n  Asakawa nods.  Ryuji is already writing it down excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat does that mean?\n\n  Ryuji tears the sheet of paper off the notepad, folds it, and tucks \n  it into his shirt pocket.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIm gonna check it out.\n\n<b>  EXT. ASAKAWAS APARTMENT COMPLEX - MORNING  \n</b>\n  Yoichi is walking to school.  He looks back over his shoulder, just \n  once,then resumes walking.\n\n<b>  INT. ASAKAWAS APARTMENT - MORNING\n</b>\n  All the lights are turned off, and she is sitting on the living room \n  couch watching the footage of her caf interview with the junior high \n  school girls.  \n\n  Caption-- September 16th.  Thursday.\n\n  Just when the girl in the interview mentions that whomever watches \n  the video is supposed to afterwards receive a phone call, Asakawas \n  own phone RINGS, startling her. She runs to answer it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIve got it.  Its a dialect, just \n\t\tlike I thought.  SHOUMON means \n\t\tplaying in the water and BOUKON\n \t\tmeans monster. *\n\n\n  >* Translated from standard Japanese, the phrase from the videotape \n  >would initially have sounded like, \"If only SHOUMON then the \n  >BOUKON will come.\"  These two capitalized words, later identified to \n  >be dialectical, were at the time completely incomprehensible to Ryuji \n  >and Asakawa.  Dialect can vary dramatically from region to region in \n  >Japan, to the point of speakers of different dialect being unable to\n  >understand one another.  \n\n  >The phrase on the tape can now be rendered, \"If you keep playing in \n  >the water, the monster will come for you.\"\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut, dialect from where?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tOshima.  And the site of our \n\t\teruption is Mt. Mihara.\n\n<b>  INT. LIBRARY - NIGHT  \n</b>\n  Ryuji and Asakawa are seated at cubicles, looking through bound \n  ARCHIVES of old newspaper articles.  Asakawa sneaks a look at Ryuji, \n  stands up and walks off a little ways.  She has already pulled out her \n  cell phone.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(whispering, on phone) \n\t\tYoichi?  Im gonna be a little \n\t\tlate tonight, honey. \n\n  Ryuji looks over his shoulder at her, scowls.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYou can do it yourself, right?  OK.  \n\t\tSorry.  Bye.\n\n  She hangs up, returns to her seat at the cubicle.  She resumes her \n  scanning of the newspaper articles, and Ryuji shoots her another scowl.  \n  Asakawa turns a page and then stops, frowning.  She has spied an article \n  that looks like...\n\n  Nervously, Asakawa puts the thumb and forefinger of each hand together, \n  forming the shape of a rectangle.  Or a screen.  She places the rectangle\n  over the article she has just discovered, its headlines reading:\n\n    Mount Mihara Erupts \tLocal Residents Urged to Take Precautions\n\n  Ryuji notices her, leans forward excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIve got it!  This old article...\n\n  The two scan the remainder of the page, and find a smaller, related \n  article.\t\n\n    Did Local Girl Predict Eruption?\n    A young lady from Sashikiji prefecture...\n\n  The two read over both articles, absorbing the details.  Ryuji stands \n  suddenly, gathering his things.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat are you doing?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHas your newspaper got someone out \n\t\tthere at Oshima?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tI think so.  There should be a \n\t\tcorrespondent out there.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI need you to find out, and let me \n\t\tknow how to get hold of him.\n\t\tTonight.\n\n  He begins walking briskly away.  Asakawa chases after him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat do you think youre--?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(angrily) \n\t\tYouve only got four days left, \n\t\tAsakawa!  Your newspaper contact \n\t\tand I can handle this from here \n\t\ton out.  You just stay with Yoichi.\n\n  Ryuji strides off.  Asakawa stands motionless.\n\n<b>  EXT. COUNTRY ROAD - DAY  \n</b>\n  A car speeds along.  CUT to a gravel DRIVEWAY leading up to a wooden, \n  traditional-style HOUSE.  Kouichi, Asakawas father, is standing before \n  the entrance and puttering around in his GARDEN.  The car from the \n  previous shot drives up, comes to a halt.  The passenger door opens and \n  Yoichi hops out, running towards the old man.  Asakawa walks leisurely \n  after her son.\n\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tGrandpa!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWhoa, there!  So, you made it, huh?\n\n  Caption-- September 17th.  Friday.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi says hes looking forward to \n\t\tdoing some fishing with you.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tIs that so?\n\n  Yoichi begins tugging excitedly at his grandfathers arm.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tCmon grandpa, lets go!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tOK, OK.  Well get our things \n\t\ttogether and then we can go.\n\n\n<b>  EXT. RIVER  DAY  \n</b>\n  Asakawa stands on a RIVERBANK while her father and Yoichi, GUMBOOTS on, \n  are ankle-deep in a shallow river.  Yoichi holds a small NET, and \n  Asakawas dad is pointing and chattering excitedly. \n\n<b>\t\t\t\tKOUICHI\n</b>\t\tThere he is!  Cmon, there he is, \n\t\tdont let him go!\n\n  Yoichi tries to scoop up the fish his grandfather is pointing out.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOh, oh!  Ah... guess he got away, \n\t\thuh?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tThat was your fault, grandpa.\n\n  Asakawas father laughs.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWell, whaddya say we try again?\n\n  He begins sloshing noisily out to the center of the stream, Yoichi in \n  tow.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tWell get im this time.\n\n  Asakawa looks away, pensive.\n\n<b>  INT. KOUICHIS HOUSE - LIVING ROOM - NIGHT  \n</b>\n  Yoichi is passed out asleep on the tatami mats.  A TELEVISION looms \n  inone corner of the living room, but it is switched off.  The \n  SLIDING DOORS to the adjacent guest room are open and we can see \n  futons set out, ready for bed.\n\n  Asakawa enters the living room and, seeing Yoichi, scoops him up in\n  her arms and carries him over to the guest room.\n\n<b>\t\t\t\tYOICHI\n</b>\t\t\t(sleepily) \n\t\tHow was work, mommy?\n\n  Asakawa tucks him into the futons and walks silently off.\n\n<b>  INT. KOUICHIS HOUSE - STAIRCASE  NIGHT  \n</b>\n  Asakawa stands at the foot of the staircase, telephone RECEIVER in \n  hand.  The phone rests on a small STAND by the staircase.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tYeah.  Your Oshima contact came \n\t\tthrough.  It looks like the woman \n\t\twho predicted the Mihara eruption \n\t\tis the same woman from the video.\n\n<b>  INT. RYUJIS APARTMENT  NIGHT\n</b>\n  Ryuji is crouched in front of the TV, REMOTE in hand.  The screen is \n  paused on the scene of the woman brushing her long hair.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHer name is Yamamura Shizuko.  She \n\t\tcommitted suicide forty years ago \n\t\tby throwing herself into Mt. Mihara.\n\n<b>  INT. KOUJIS HOUSE  STAIRCASE - NIGHT  \n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHave you got anything else?\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tIm gonna have to check it for \n\t\tmyself.  Ill be leaving for \n\t\tOshima tomorrow morning.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOshima?  Ive only got three days \n\t\tleft!\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tI know.  And Ive got four.\n\n  Short silence.\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIll be in touch.\n\n  Ryuji hangs up.  Asakawa, deep in thought, slowly places the phone \n  back in its CRADLE.  She turns around to walk back down the hallway \n  only to find her father standing there, face full of concern.\n\n<b>\t\t\t\tKOUJI\n</b>\t\tWhats happened?\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tNothing.  I just had some things \n\t\tleft over from work.\n\n  She walks past her father, who glances worriedly after her over his \n  shoulder.\n\n<b>  INT. KOUJIS HOUSE - GUEST ROOM  NIGHT\n</b>\n  The lights are all off and Asakawa is asleep in her futon.  Her eyes \n  suddenly fly open as a VOICE sounding eerily like her deceased niece \n  Tomoko calls out to her.\n\n\n<b>\t\t\t\tTOMOKO (O.S.) \n</b>\t\tAuntie?\n\n  Asakawa looks around the room, gets her bearings.  Her eyes fall on \n  the futon next to hers.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi?\n\n  There is a BODY in that futon, but it is full-grown, dressed all in \n  black.  It is curled into a fetal position and has its head turned \n  away.\n\n  Suddenly, the IMAGE from the video of the figure with its face \n  shrouded springs to Asakawas mind.  Just an instant, its pointing \n  visage materializes, and then disappears.  It reappears a moment \n  later, pointing more insistently now, and disappears again.  \n\n  Asakawa blinks her eyes and realizes that the futon next to hers is \n  empty.  Yoichi is nowhere to be seen.\n\n  Just then, she hears that high-pitched, metallic SQUEAKING from the \n  video.  Eyes wide with horror, she flings the sliding doors apart--\n  --and there, seated before the television, is Yoichi.\n\n  He is watching the video.\n\n  It is already at the very last scene, the shot of the outdoor well. \n  CLOSEUP on the screen now, and for just an instant we can see that \n  something is trying to claw its way out of the well.  The video cuts \n  off, and the screen fills with static.  \n\n  Shrieking, Asakawa races over to Yoichi, covers his eyes though it is \n  already too late.  She scoots over to the VCR, ejects the tape and \n  stares at it uncomprehendingly.  She is then at Yoichis side again, \n  shaking him roughly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi!  You brought this with you, \n\t\tdidnt you?  Why?!?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan...\n\n  Asakawa freezes, her eyes wide.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan told me to watch it.\n\n<b>  EXT. OCEAN  DAY\n</b><b>  \n</b>  WAVES are being kicked up by a large PASSENGER SHIP as it speeds on \n  its way.  CUT to Asakawa and Ryuji standing on deck, looking out over \n  the waves.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI shouldve been more careful.  \n\t\tWhen I was at your place that \n\t\tday, I could feel something \n\t\tthere.  I thought it was just \n\t\tbecause of the video... \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou mean that Tomoko\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThats not Tomoko.  Not anymore.\n\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi... he can see them too, \n\t\tcant he?\n\n  Ryuji nods his head, lowers it sadly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIts all my fault.  First Tomoko \n\t\tdied, then those three others.  It \n\t\tshould have stopped there, but it \n\t\tdidnt.  Because of me.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI wonder...\n\n  Asakawa turns to Ryuji suddenly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow did the rumors about the \n\t\tvideo even start in the first \n\t\tplace?\n\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tThis kind of thing... it doesnt \n\t\tstart by one person telling a \n\t\tstory.  Its more like everyones \n\t\tfear just takes on a life of its \n\t\town.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFear...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tOr maybe its not fear at all.  \n\t\tMaybe its what we were \n\t\tsecretly hoping for all along.\n\n<b>  EXT. PORT  DAY  \n</b>\n  The ship has docked, its GANGPLANK extended.  Ryuji and Asakawa walk \n  the length of the gangplank towards the shore.  A man named MR. \n  HAYATSU is already waiting for them.  He holds up a white SIGNBOARD \n  in both hands.\n<b> \n</b><b>\t\t\t\tASAKAWA\t\n</b>\t\tMr. Hayatsu?\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tAah, welcome!  You must be tired \n\t\tafter your long trip.  Please, \n\t\tthis way.\n\n  Mr. Hayatsu leads Asakawa and Ryuji to an awaiting minivan.\n\n  Caption-- September 18th.  Saturday.\n\n<b>  INT. HAYATSUS MINIVAN - DAY  \n</b>\n  Ryuji and Asakawa sit in the back.  Mr. Hayatsu is behind the wheel, \n  chattering away.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tBack in the old days, the Yamamuras\n\t\tused to head fishing boats out in \n\t\tSashikiji, though they dont much \n\t\tanymore.  You know, one of Shizukos \n\t\tcousins is still alive. Hes just an \n\t\told man now.  His son and his \n\t\tdaughter-in-law run an old-fashioned \n\t\tinn.  I went ahead and booked \n\t\treservations for yall, hope thats \n\t\talright...\n\n  Asakawa gives the briefest of nods in reply, after which the \n  minivan lapses into silence.  Asakawa looks dreamily out at the \n  mountain-studded landscape, then suddenly snaps to.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(to Ryuji) \n\t\tWhy did Yamamura Shizuko commit \n\t\tsuicide?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tShe was taking a real beating \n\t\tin the press, being called a \n\t\tfraud and all sorts of names.  \n\t\tAfter a while she just lost it. \n\n  CUT to a scene of the minivan speeding along a country road.\n\n<b>  INT. HAYATSUS MINIVAN  DAY \n</b>\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko was getting a lot of \n\t\tattention around the island after\n\t\tpredicting the eruption of Mt. \n\t\tMihara.  Seems that for some time \n\t\tshed had a rather unique ability:\n\t\tprecognition. It was around then\n\t\tthat she attracted the attention \n\t\tof a certain scholar whom you may \n\t\thave heard of; Ikuma Heihachiro.   \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHe was driven out of the university, \n\t\twasnt he?\n\n  Ryuji nods.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThis Professor Ikuma convinces \n\t\tShizuko to go to Tokyo with him, \n\t\twhere he uses her in a series of \n\t\tdemonstrations meant to prove the \n\t\texistence of ESP.  At first shes \n\t\tthe darling of the press, but the \n\t\tnext thing you know theyre \n\t\tknocking her down, calling her a \n\t\tfraud.  Hmph.  Forty years later,\n\t\tthe media still hasnt changed that\n\t\tmuch.\n\n  Asakawa continues, ignoring Ryujis barb.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIve heard this story.  But... Im \n\t\tsure I remember hearing that somebody \n\t\tdied at one of those demonstrations.\n\n  A strange look crosses Ryujis face.  He looks away, ignores her \n  for a moment.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAfter getting kicked out of \n\t\tuniversity, Ikuma just vanished, \n\t\tand no ones been able to get hold \n\t\tof him since.  Hes probably not \n\t\teven alive anymore.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, why even try looking for him?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tBecause hes supposed to have had a \n\t\tchild with Shizuko.  A daughter.\n\n  Asakawa freezes.  In her mind, she sees a small FIGURE dressed in \n  white, its face hidden by long, black HAIR.  It is the figure from \n  the video.\n\n<b>  EXT. OUTSIDE YAMAMURA VILLA - DAY  \n</b>\n  Mr. Hayatsu leads Asakawa and Ryuji to the entrance.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tHello?\n\n  The INKEEPER, a middle-aged lady named KAZUE wearing a traditional \n  KIMONO, comes shuffling up.  She addresses Mr. Hayatsu.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThank you.\n\n  She turns to Asakawa and Ryuji.\n\n\t\t\t\tKAZUE (contd)\n\t\tWelcome.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tWell, Ill be off then.\n\n  He gives a little bow and is off.  Kazue, meanwhile, has produced \n  two pairs of SLIPPERS, which she offers to Ryuji and Asakawa.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tPlease.\n\n  Ryuji and Asakawa begin removing their shoes. \n\n<b>  INT. YAMAMURA VILLA  STAIRCASE - DAY  \n</b>\n  Kazue leads Ryuji and Asakawa up a shadowed, wooden STAIRCASE.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tAnd for your rooms, how shall we...? \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSeparate, please.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tSir.\n\n<b>  INT. YAMAMURA VILLA - 2ND FLOOR  DAY\n</b>\n  Kazue gives a little bow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tThis way.\n\n  Kazue turns to the right.  Almost immediately after reaching the \n  top of the steps, however, a strange look crosses Ryujis face.  \n  He heads down the opposite end of the corridor, Asakawa close \n  behind.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(alarmed) \n\t\tSir!\n\n  Ryuji flings open the SLIDING DOOR to one of the older rooms.  There, \n  hanging from one of the walls, is the oval-shaped MIRROR from the \n  video, the one used by the mysterious lady to brush her long hair.  \n  Ryuji stares at the mirror, almost wincing.  He turns around as if \n  to look at Asakawa,but continues turning, looks past her.  Asakawa \n  follows his gaze, as does Kazue.  Standing at the end of the corridor \n  is an old man, MR. YAMAMURA. \n\n  Yamamura regards them silently, balefully.  Breaking the silence, \n  Kazue gestures for Asakawa and Ryuji to follow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(softly) \n\t\tPlease, this way.\n\n  Asakawa races past the innkeeper towards the old man.  He keeps his \n  back turned towards her.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease!  If you could just answer \n\t\ta few questions, about Shizuko...\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tI got nuthin to say.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts about Shizukos daughter.\n\n  The old man says nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tShe did have a daughter, didnt she?\n\n  Yamamura regards her for a moment, then turns to walk away.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>  \t\tYoure wasting your time.\n\n<b>  INT. YAMAMURA VILLA - DINING ROOM  NIGHT\n</b>\n  The TABLE is laid out with an elaborate-looking DINNER.  Asakawa \n  sits alone, knees curled up to her chin, eyes wide and frightened.  \n  She is whimpering softly to herself.  Just then, the DOOR slides \n  open and Ryuji walks in.  He sits at the table and picks up a \n  pair of CHOPSTICKS.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tArent you gonna eat?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUmm...\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHm?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoull stay with me wont you?  \n\t\tWhen its time for me to die.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tOh, stop it.\n\n  Asakawa scoots across the tatami mats towards the table, grabs \n  Ryuji fiercely by the arm.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoull stay, wont you?  If you \n\t\tstayed, maybe youd learn something\n\t\tthat could help Yoichi--\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI said stop it!  Have you forgotten \n\t\tThere was a girl with Tomoko when \n\t\tshe died?  That girls now in a \n\t\tmental institution.  Who knows what \n\t\tcould happen. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut you could stay with me, Ryuji.  \n\t\tYoud be OK.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(angrily)\n\t\tWhy, because Im already not \n\t\tright in the head?\n\n  Asakawa releases her hold on Ryujis arm, lowers her head.  Ryuji \n  slams his chopsticks down angrily.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIf thats the case, why not just\n\t\tlet things run its course, get rid\n\t\tof father -and- son?  Yoichi was a\n\t\tmistake, anyway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tStop it!\n\n  Short silence.  When Ryuji speaks up again, his voice is soft, \n  reassuring.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe still have two days left...\n\n  Just then the VOICE of the innkeeper calls tentatively out from \n  the other side of the sliding door.\n\n<b>\t\t\t\tKAZUE (O.S.) \n</b>\t\tExcuse me?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome in.\n\n  Kazue slides the door open.  She stands hesitantly in the doorway, \n  something tucked under one arm.\n\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tIts about Miss Shizuko.  \n\n  Ryuji shoots a glance at Asakawa and stands up from the table, \n  walks towards the innkeeper.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThis is all that there is...\n\n  Kazue produces an old black and white PHOTOGRAPH.  The photo shows a \n  WOMAN, seated, dressed in a KIMONO.  A MAN in a Western-style SUIT \n  stands beside her.  \n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIs this Professor Ikuma?\n\n  Hearing this Asakawa leaps up, walks over to examine the picture for \n  herself.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t...yes.  This picture is from before \n\t\tId entered the household.  \n\n  She pauses a moment.\n\n\t\t\t\tKAZUE (contd)\n\t\tI should go now.\n\n  The innkeeper scuttles off, leaving Asakawa and Ryuji alone with the \n  photograph.  Unbidden, the VOICE from the video enters their \n  thoughts.\n\n<b>\t\t\t\tVOICE\n</b>\t\tShoumon bakkari... boukon ga kuru zo...\n\n\n<b>  EXT. IZU SEASHORE - DAY\n</b>\n  Asakawa watches Ryuji stride down the shore.\n\n  Caption-- September 19th.  Monday.\n\n  Ryuji strolls up to find old man Yamamura sitting alone, staring \n  out at the sea.  Yamamura glances up to see Ryuji approaching.  \n  Ryuji takes a seat next to the old man, but its Yamamura who speaks \n  first.  The deep basso of his voice emphasizes the drawl of his \n  accent.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tYalld do best to be off soon.  \n\t\tSeas probably gonna be rough \n\t\ttonight.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat kind of a child was Shizuko?\n\n<b>\t\t\t\tYAMAMURA \n</b>\t\tShizuko was... different.  Shed come \n\t\tout here by herself everday an just\n\t\tstare out at the ocean.  The fishermen \n\t\tall took a dislikin to her.  Oceans \n\t\tan unlucky place for us, ysee: every \n\t\tyear it swallows up more of our own. \n\t\tYou keep starin out at somethin \n\t\tike that... \n\n<b>\t\t\t\tRYUJI\n</b>      \t\tShoumon bakkari shiteru to, boukon ga \n\t\tkuru zo.  If you keep playing in the \n\t\twater, the monster will come for you.\n\n  Yamamura looks at Ryuji, surprised.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko could see inside people, \n\t\tcouldnt she?  Down to the places \n\t\ttheyd most like to keep hidden.  It \n\t\tmust have been difficult for her...\n\n  Yamamura rises unsteadily to his feet, features twisted angrily.\n\n<b>\t\t\t\tYAMAMURA\n</b> \t\tPlease leave!  Now!\n\n  Ryuji stands, takes hold of Yamamuras arm.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIve got a little of that ability \n\t\tmyself.  It was you who spread the \n\t\tword about Shizuko, wasnt it?  \n\t\tAnd you who first contacted \n\t\tProfessor Ikuma?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tWhatre you--?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYou thought youd be able to make \n\t\tsome money off her.  You even got \n\t\tsome, from one of the newspapers.\n\n<b>\t\t\t\tYAMAMURA\t\t\n</b>\t\tLeave me the hell alone!\n\n  Mr. Yamamura strides angrily off.  Both Ryuji and Asakawa take \n  pursuit, Ryuji calling out from behind Yamamuras back.\n\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTell us about Shizukos daughter.  \n\t\tWho was she?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tI dont know!\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tShe was there, with Shizuko. She \n\t\thad to be.\n\n  Yamamuras pace, which has become increasingly erratic, finally \n  causes him to stumble and fall.  Ryuji comes up behind him, \n  grasping him firmly.  At their touch Ryujis power awakens, and as \n  he peers into the old mans mind there is a sudden blinding\n\n<b>  FLASH\n</b>\n  The setting is a large MEETING HALL.  A number of people are seated \n  in folding chairs before a STAGE, on which are a four MEN in BUSINESS \n  SUITS and a WOMAN in a KIMONO.  A BANNER hangs above the stage, which \n  reads PUBLIC DEMONSTRATION ON THE EXISTENCE OF CLAIRVOYANCE.  \n\n<b>  FLASH\n</b>\n  Ryuji eyes widen as he realizes he is seeing Shizukos demonstration \n  before the press.  He also realizes--\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(to Yamamura)\n\t\tYou were there!\n\n<b>  FLASH\n</b>\n  YAMAMURA SHIZUKO, the woman in the kimono, is sitting at a TABLE \n  onstage. Her face is calm and expressionless.  Standing off to one \n  side and peering from behind the curtains is a young Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t(O.S.) \n</b>\t\tYou stood there and watched the \n\t\tdemonstration.\n\n  CUT back to the beach.  Asakawa comes running up toward Ryuji and the \n  prone Mr. Yamamura.  Suddenly there is another\n\n<b>  FLASH\n</b>\n  Asakawa, her eyes wide, finds herself inside the scene, reliving it \n  as if she had actually been there.  She watches as Shizuko receives \n  a sealed clay POT in both hands.  Shizuko regards the pot a moment \n  and then places it gently on the table before her.  She takes a \n  calligraphy STYLUS from the table, begins writing on a thin, \n  rectangular sheet of RICE PAPER.  The members of the press talk \n  excitedly, craning their necks for a better look.\n\n  Onstage, a JUDGE holds up the phrase written by Shizuko and the \n  folded sheet of paper taken from the sealed pot.  The phrase on both \n  sheets is identical.\n\n<b>\t\t\t\tJUDGE\t\t\n</b>\t\tMatch.\n\n  Cameras begin FLASHING excitedly.  Shizukos features melt into a soft \n  smile. \n\n  The experiment is performed again, and again the phrase written by \n  Shizuko corresponds to the sealed sheet of paper.\n\n<b>\t\t\t\tJUDGE\n</b>\t\tMatch.\n\n  Again and again, Shizuko unerringly demonstrates her power to see \n  the unseen.  Finally, a bearded REPORTER explodes from his chair, \n  begins striding angrily towards the stage.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tFaker!  This is nothing but trickery, \n\t\tand the lowest form of trickery at \n\t\tthat. \n\n  The reporter stops at the foot of the stage, points his finger \n  accusingly at Shizuko.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tWhat are you trying to pull, woman?\n\n  A SECOND REPORTER sitting in the front row also rises to his feet.\n\n<b>\t\t\t\tREPORTER #2\t\n</b>\t\tThats right!  Professor Ikuma, \n\t\tyoure being fooled!\n\n  By now most of the press has risen from their chairs, pointing and \n  shouting angrily. Onstage, Shizuko backs away, eyes wide and \n  frightened.  She covers both ears, trying to block out the increasing \n  din.  Professor Ikuma holds her protectively by the shoulders.  The \n  first reporter is still shouting angrily, his voice rising above the \n  others.  Suddenly, a pained look crosses his face and he collapses to \n  the floor.  The crowd, and Asakawa as well, see that the reporters \n  face is contorted into a grotesque mask of fear.\n\n<b>\t\t\t\tREPORTER #3\t\n</b>\t\tWhats happened?\n\n<b>\t\t\t\tREPORTER #4\t\n</b>\t\tHes dead!\n\n\n\n<b>\t\t\t\tREPORTER #5\t\n</b>\t\t\t(to Shizuko) \n\t\tWitch!\n\n  Professor Ikuma begins leading Shizuko offstage.  They stop as someone \n  unseen steps up, blocking their passage.  Shizukos eyes widen, her \n  head shaking in disbelief.\n\n<b>\t\t\t\tSHIZUKO\n</b>\t\tSadako?  Was it you?\n\n  CUT to Ryuji on the beach.  He looks up excitedly.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSadako?!\n\n  He recalls the image from the video, the alien eye with the single \n  character SADA reflected in reverse. *\n\n\n  >* The majority of girls' names in Japanese end in either -mi (\"beauty\") \n  >or -ko (\"child\").  Thus, Sadako means \"Chaste child.\"  Sadako is, of \n  >course, the mysterious daughter of Shizuko and Professor Ikuma.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSadako killed him?  She can kill \n\t\tjust with a thought?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tShes... a devil spawn.\n\n  CUT back to the demonstration hall.  Sadako, her face completely hidden \n  by her long hair, runs offstage... and heads directly for Asakawa.  \n  Asakawa instinctively raises her arm, and Sadako grasps it fiercely.  \n  All the nails on Sadako hand are stripped away; her fingers are raw, \n  bloody stumps.\n\n  CUT back to the beach.  Asakawa, still caught in the throes of the \n  vision, has begun to swoon.  Finally her legs give out and she crumples \n  to the beach.  Ryuji grabs hold of her supportively.  He glances down at \n  her wrist, sees an ugly, purple BRUISE already beginning to form.  \n\n  The bruise is in the shape of five long, spindly fingers.\n\n  Mr. Yamamura slowly rises to a sitting position, and together the three \n  watch the approach of ominous, dark STORM CLOUDS.\n\n<b>  INT. MR. HAYATSUS HOUSE  DUSK\n</b>\n  Asakawa is on the phone, her voice almost frantic.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right. After Yamamura Shizuko \n\t\tcommitted suicide, Professor Ikuma\n\t\ttook the daughter and ran.  No, no one\n\t\tknows where they went.  Thats why I \n\t\tneed -you- to find out where they are.  \n\t\tEven if the professors dead, Sadako \n\t\tshould still be in her forties.  Ill \n\t\texplain it all later, but right now \n\t\tjust hurry!\n\n  Asakawa slams the phone down.  PAN to show Ryuji slumped in one corner \n  of the room, his back to the wall.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadakos probably already dead.  She\n\t\tcould kill people with just a thought, \n\t\tremember?  Her mother wasnt even \n\t\tclose to that.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(flustered) \n\t\tWell, what about that video?  If \n\t\tSadakos dead then who made it?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tNobody made it. It wasnt made at \n\t\tall. That video... is the pure, \n\t\tphysical manifestation of Sadakos \n\t\thatred.\n\n  Ryuji turns to regard Asakawa, his eyes blank.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWeve been cursed.\n\n  There is a moment of silence before Mr. Hayatsu slides the door open, \n  almost falling into the room.  He is out of breath, and speaks rapidly.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts no good.  With the typhoon \n\t\tcoming in, all ships are \n\t\ttemporarily staying docked.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWhat about the fishing boats?  \n\t\tTell their captains Ill pay.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tFishing boats?  Sir, without knowing \n\t\twhether this typhoon is going to hit \n\t\tus or not, I think itd be better to \n\t\twait and see how things turn--\n\n  Ryuji interrupts him, slamming both palms on the table.  Glasses \n  rattle wildly.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tFine!  Ill try searching myself!\n\n  Ryuji stands and races past Mr. Hayatsu out into the rain.  Hayatsu \n  takes pursuit, calling after him.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tMr. Takayama!?  Mr. Takayama...\n\n  Asakawa, left alone, stares down at the tatami mats.\n\n<b>  EXT. OCEAN - NIGHT  \n</b>\n  White-capped waves roll angrily in a black sea.\n\n<b>  INT. MR. HAYATSUS HOUSE  NIGHT\n</b>\n  Asakawa sits at a table, alone, her hands clasped as if in prayer.  Her \n  eyes are wide and glassy.  The phone RINGS suddenly and Asakawa dives \n  for it, wrenching it from the cradle before it can ring a second time.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tMrs. Asakawa?  Im sorry.  I tried, \n\t\tbut I couldnt come up with any \n\t\tleads at all.\n\n  A look of abject fear crosses Asakawas face.  She begins retreating \n  into herself.\n\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(softly) \n\t\tThank you...\n\n  Asakawa slowly places the phone back in its cradle.  Almost immediately, \n  her face begins to crumple.  She falls to her knees, sobbing into the \n  floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi...\n\n  She cries a while longer but suddenly stops.  Her face, eyes streaked \n  with tears, shoots suddenly up, stares directly at the telephone.\n\n<b>\t\t\t\tASAKAWA\t \n</b>\t\t\t(softly) \n\t\tIzu...\n\n<b>  EXT. IZU WHARF  NIGHT\n</b>\n  Asakawa stands looking down on the wharf, scanning. \n\n  Several FISHING BOATS are docked.  The wind whips her hair crazily \n  around.   She continues scanning, and suddenly she spies--\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(calling) \n\t\tRyuji!\n\n  Asakawa runs down onto the wharf, heading towards Ryuji.  He is \n  in mid-conversation with Mr. Hayatsu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tRyuji!  The phone in my apartment \n\t\tnever rang!  It only ever rang at\n\t\tthe rental cottage!  Professor \n\t\tIkuma mustve...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAnd weve got no way of going back.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts too dangerous!  The thought of \n\t\tanybody going out in this weather...\n\n  The three fall into silence as they realize the powerlessness of their \n  situation.  Suddenly, a deep VOICE booms from behind them.\n\n<b>\t\t\t\tYAMAMURA (O.S.) \n</b>\t\tIll take you out.\n\n  The three spin around to see Mr. Yamamura, his ROBES flapping in the \n  gusty night air. He begins walking towards them.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tSadako is callin yall, reckon.  \n\t\tMayhap to drag you down under the \n\t\twater.\n\n  Short silence.  Ryuji shoots a short questioning glance at Asakawa, \n  turns back to face Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tPlease.  Take us out.\n\n\n\n<b>  EXT. OCEAN  NIGHT\n</b>\n  A tiny FISHING BOAT is tossed about on the waves.  Mr. Yamamura stands \n  at the wheel, his face expressionless.\n\n<b>  INT. MR. YAMAMURAS FISHING BOAT  NIGHT\n</b>\n  Ryuji and Asakawa are crouched close together in the cabin.  Asakawas \n  expression is dreamy, faraway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts funny.  Im not afraid at all.  \n\n  Ryuji leans over, rubs her hand comfortingly.  Suddenly he switches \n  back into analytical mode.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadako probably died back out there\n\t\tat Izu, before the rental cottages \n\t\twere ever built.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSo, Sadako was Professor Ikumas \n\t\tdaughter?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(nodding) \n\t\tIkuma smuggled her out in secret.  \n\t\tHis relationship with Shizuko was \n\t\talready a scandal, and one of the \n\t\treasons he got drummed out of the \n\t\tuniversity... Weve gotta find \n\t\tSadakos body.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tIs that going to break the curse?  \n\t\tWill Yoichi be all right?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIts all weve got left to try.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tJust one more day...\n\n  Ryuji puts his arm around Asakawa.\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT - DAWN  \n</b>\n  Ryuji stands on deck, looking out over the water.  He heads down \n  below toward the captains area.  Mr. Yamamura is at the wheel.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe made it.  Maybe Sadako doesnt \n\t\thave it out for us after all.\n\n  Long pause as Mr. Yamamura says nothing.\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tShizuko... she used to -speak- to \n\t\tthe ocean, just ramble away.  One \n\t\ttime I hid, listenin to one of her \n\t\tconversations.\n\n  Mr. Yamamura pauses again.\n\n\t\t\t\tYAMAMURA (contd)\t\n\t\tAnd it werent in no human language.\n\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT  DAWN\n</b>\n  Asakawa has climbed out on deck and is looking up towards the sunrise.\n\n  Caption-- September 20th.  Monday.\n\n<b>  EXT. HARDWARE STORE  DAY\n</b>\n  Ryuji races out of the store, loaded down with supplies.  He holds a \n  pair of BUCKETS in one hand and a CROWBAR and SHOVEL in the other.  A \n  length of ROPE is coiled over his left shoulder.  He runs towards a \n  RENTAL CAR, passing by Asakawa who stands at a PAYPHONE, receiver in \n  hand.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi?  Its mommy.  I just called \n\t\tto say Ill be coming home tomorrow.\n\n  Ryuji shoots a look at her over his shoulder.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tIm tired of it here, mom!  I wanna\n\t\tgo back to school.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(smiling) \n\t\tYoichi, its rude to your grandpa \n\t\tto talk like that.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHes laughing.  You wanna talk to him?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, thats...\n\n  Asakawa pauses, her voice hitching.  She seems about to lose \n  her composure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIm sorry, Yoichi.  Ill... Ill \n\t\tsee you tomorrow.  \n\n<b>\t\t\t\tYOICHI (O.S.)\t\n</b>\t\tWhats wrong?\n\n  Asakawas face scrunches up in an effort to hold back tears.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMommys got something she has to do.  \n\t\tSay hello to grandpa for me, OK?\n\n  Ryuji stands by the car, scowling over at Asakawa.  He shuts the DOOR \n  just short of a slam.  CUT to Asakawa hanging up the phone.  She half-\n  runs towards the rental car and enters the passenger side, staring \n  blankly into space.  Ryuji slides into the drivers seat, buckles his \n<b>  SEATBELT.  \n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat time was it when you first \n\t\twatched the video?\n\n  Asakawa glances at her watch.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSeven or eight minutes past \n\t\tseven.  PM.  No more than ten \n\t\tminutes past.\n<b> \t\t\n</b><b>\t\t\t\tRYUJI\n</b>\t\tIf the rumors are true, that \n\t\ttime is gonna be our deadline.\n\n  Asakawa buckles up as Ryuji steps on the gas.\n\n<b>  INT. RENTAL CAR  DAY\n</b>\n  Asakawa sits in the passenger side.  Her face is almost angelic, \n  with the faintest hint of a smile.  Ryuji shoots a questioning look \n  at her.\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  The white rental car tears past the SIGN reading Izu Pacific Land.  \n  The car continues into the LOT, screeching around corners before \n  coming to an abrupt halt.  Asakawa, her face still oddly expressionless, \n  gets out of the passenger side.  Ryuji exits as well, the hint of a \n  shudder running through him as he regards the series of rental cabins.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t-Here-.\n\n  CUT to Asakawa and Ryuji walking up the gravel PATH towards the rental \n  cabins.  Ryuji looks back over his shoulder as both he and Asakawa stop \n  before cabin B4.  The cabin is on STILTS, its underbelly fenced off by \n  wooden LATICEWORK.  Ryuji drops most of his supplies to the ground, but \n  keeps hold of the PICK.  He raises the pick over one shoulder and begins \n  smashing away at the latticework.  When he has cleared enough space for   \n  passage, he begins picking up supplies and tossing them hastily within.  \n  When finished, he holds a hand out for Asakawa.  The two enter the \n  earthen basement.\n\n\n<b>  UNDER COTTAGE B4 - DAY  \n</b>\n  Ryuji pulls a FLASHLIGHT out, flicks it on.  The BEAM arcs outwards, \n  illuminating what looks more like an old mine shaft than a modern \n  rental cottage.  The beam halts when it suddenly encounters an old \n  STONE WELL.  The well is badly chipped on one side, and sealed off \n  with a solid-looking stone LID.  Ryuji rushes quickly towards it.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI knew it!  The well.\n\n  He squats down beside the well, setting the flashlight on the \n  lid.  Asakawa sinks slowly down beside him.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThe well...\n\n  Ryuji reaches out and takes Asakawas hand.  He sets their enclasped \n  hands onto the lid, and together they begin lightly tracing the \n  surface of the lid with their free hands.  Asakawa closes her eyes in \n  concentration... and suddenly, as with the incident on the beach, \n  Asakawa finds herself drawn into Ryujis psychometric VISION.\n\n<b>  FLASH\n</b>\n  The picture is black and white, grainy like old film.  A YOUNG GIRL in \n  a WHITE GOWN walks slowly towards an open well. She places her hand on \n  the LIP of the well, peers curiously down.  \n\n<b>  FLASH\n</b>\n  Asakawa looks up, her eyes wide open.\n\n<b>  FLASH\n</b><b>  \n</b>  There is now a second person in the vision, an ELDERLY MAN in an old-\n  fashioned tweed SUIT standing behind the young girl.  He suddenly \n  produces some BLADED OBJECT, and strikes the girl savagely across the \n  back of the head.  \n\n  The girl falls forward. The man drops to the ground, grabbing the girl \n  behind the knees and hoisting her limp BODY over the lip and into the \n  well.  The body falls into its depths.\n\n  Panting heavily, the man leans forward and grasps the lip of the well \n  with both hands, looking down.  He flashes a guilty look in either \n  direction, checking that his crime has gone unnoticed, and as he does \n  so Asakawa realizes that she knows this face.  The image from the \n  videotape, like a face in the moon: it had been Sadako inside the well, \n  looking up to see this man staring back down at her.\n\n  This man whose name is Professor Ikuma Heihachiro.\n\n<b>  FLASH\n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHer own father!\n\n  The energy seems to drain out of Asakawa in a rush, and her body \n  crumbles.  Ryuji catches hold of her.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIt was Ikuma who put this lid on.  \n\t\tAnd Sadakos still inside.\n\n  Ryuji stands quickly, takes hold of the crowbar.  He inserts it under \n  the lid and begins trying to pry it off, face scrunched with effort.  \n  Asakawa digs her fingers in and lends her own strength as well. Slowly,\n  the lid begins to move.  Ryuji tosses the crowbar aside and the two \n  lean the combined weight of their bodies into it.  The lid slides off, \n  dropping to the earth with a dull THUD.  Ryuji sits to one side, winded \n  with effort, as Asakawa takes hold of the flashlight.  She shines it \n  down into the well, but it only seems to intensify the gloom. What \n  WATER she can see looks fetid and brackish.  Ryuji sees her expression \n  and begins removing his JACKET.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIll go.\n\n  He walks off, leaving Asakawa alone.\n\n  CUT to an overhead shot of the well.  A ROPE is fastened to one side, \n  and Ryuji has already begun lowering himself down.  His eyes wander \n  overthe grime-smeared WALLS, and with a shudder he begins to pick out \n  human FINGERNAILS.  Torn loose and spattered with blood, countless \n  fingernails line the sides of the well. \n\n<b>\t\t\t\tRYUJI\n</b> \t\tSadako was alive!  Shed tried to \n\t\tclimb her way out.\n\n  Ryujis face twists into a grimace as if momentarily experiencing \n  Sadakosterrible agony.  He waits a moment longer before edging his \n  way down the rope again, finally SPLASHING to rest at the bottom of \n  the well.  He holds his flashlight above the brackish water, calls up \n  to Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tLower the buckets!\n\n  Asakawa nods and lowers two plastic BUCKETS fastened to a rope.  Ryuji \n  grabs one and scoops up a bucketful of water, tugging on the rope when \n  finished.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  Asakawa hoists the bucket up to the rim of the well.  She walks a small \n  distance and tosses the contents out onto the ground.  She happens to \n  glance through the wooden lattice to the outside, and with a start \n  realizes that the sun has already started to set.  A nervous glance at \n  her WATCH later and she is back at the well, lowering the empty bucket \n  to find another full one already awaiting her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  In the well, Ryuji glances at his watch.  He looks at it for a long \n  moment, the expression on his face saying Were not going to make it.  \n  Time passes as Asakawa pulls up bucketload after bucketload, her \n  strength beginning to fade.  She half-stumbles, glances up... and is \n  shocked to realize that NIGHT has fallen.\n\n  CUT to Asakawa slowly pulling up yet another bucket, her strength \n  almost gone.  She looks at her watch and sees that it is now past \n  6:00.  She calls frantically down to Ryuji.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts already six!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(explosively) \n\t\tI know!  Hurry up and TAKE IT UP!!\n\n  The bucket slowly jerks into motion.  Asakawa pulls it up to the rim \n  of the well, holds it unsteadily.  She takes one faltering step and \n  falls, spilling the buckets contents onto the ground.  \n\n  CUT to Ryuji in the well, standing ready with another bucketful.\n\n\n<b>\t\t\t\tRYUJI\n</b> \t\tTake it up!\n\n  Nothing happens.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  The bucket begins moving, even slower than before.  CUT to Asakawa, \n  her body trembling with effort. By now its all she can do to simply \n  keep her body moving.  She glances behind her, sees through the wooden \n  lattice that it is now pitch black.  A look of resignation crosses her \n  face and she releases her hold on the bucket, her body crumpling and \n  falling in on itself. \n<b>  \n</b>  CUT to the bucket splashing back into the well, narrowly missing \n  Ryuji.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(fuming) \n\t\tWhat the hell are you doing?  Trying \n\t\tto get me killed?\n\n  CUT back to Asakawa, her face dead.  Ryuji calls out from the well.\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tHey!\n\n  Asakawa falls backward onto the ground, arms splayed. CUT to the rim \n  of the well.  Ryuji pulls himself up over the rim, catches sight of \n  Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  She lifts her head up but says nothing as Ryuji walks over to her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWell change.  Youre in no condition \n\t\tto keep this up.\n\n  Asakawa suddenly springs into life.  Her voice is frantic, fearful.\n\n<b>\t\t\t\tASAKAWA:\t\n</b>\t\tNo!\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWho do you expect to pull up these \n\t\tbuckets, then?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, we dont even know if its doing \n\t\tany good...\n\n  Ryuji strides forward and slaps Asakawa painfully across the cheek.  \n  He begins shaking her roughly for good measure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnd what about Yoichi, huh?  Is his\n\t\tmother not coming to pick him up \n\t\tafter all?\n\n  He releases his hold on her.  The two stare at each other a long time, \n  saying nothing.\n<b> \n</b>  CUT to an overhead shot of Asakawa being lowered into the well. CUT \n  now to Asakawa inside the well, her face and clothes covered with \n  grime, body simultaneously limp with exhaustion and tense with fright.  \n  Unable to resist the impulse, Asakawa slowly looks over her shoulder \n  and down into the well.  The dankness, the claustrophobia seeps in \n  and she draws in her breath in the first signs of panic.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tDont look down!\n\n  She returns her gaze, cranes her neck upward.  CUT to Ryuji leaning \n  over the rim of the well, peering down at her.  For an instant, \n  everything becomes monochrome. Its not Ryuji looking down at her at \n  all; its Professor Ikuma, checking to see if shes still alive or \n  if the blow to the back of her head has finished her off.  CUT to \n  Asakawa, her eyes wide with fright.\n\n  Asakawa comes to rest at the bottom of the well.  A FLASHLIGHT hangs \n  from another rope, but its beam has almost no effect on the darkness.  \n  Asakawa crouches forward, hands moving searchingly through the water.  \n  She calls out pleadingly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhere are you?  Please, come out.\n\n  Asakawa straightens, unties herself from the rope.  A full bucket \n  already awaits.  She tugs on the rope and Ryuji pulls it up.  \n\n  She scoops up a second bucket, but something stops her from sending \n  it up.  Instead, she begins running her arms through the water again, \n  her voice close to tears.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease.  Where are you?\n\n  Asakawa continues her blind fumbling, which sends up little splashes \n  of stagnant water.  With a start, she realizes that her fingers have \n  caught something.  Seaweed?  Asakawa draws her hands close for a \n  better look... and sees that is HAIR.  A thick clump of long, black \n  hair.\n\n  Suddenly a pale, thin ARM shoots out from beneath the water, catching \n  Asakawa just below the wrist.  Asakawas ears are filled with a SOUND \n  like moaning as something slowly rises from its watery slumber.  It \n  is a GIRL, her face completely hidden by long, black hair.  CUT to a \n  shot of Asakawas face.  Far from being frightened, her features are \n  oddly placid.  She regards the fearsome thing before her with an \n  almost tender look.  Asakawa reaches out, lightly strokes that long \n  hair.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts you...\n\n  She strokes the hair again, and abruptly it peels right off the head \n  with a loud SQUELCH. Revealed is not a face at all but a SKULL.  Its \n  sockets are at first menacingly empty, but then begin to ooze the \n  green SLUDGE it has pulled up from the bottom of the well.  Like a \n  mother comforting a frightened child, Asakawa pulls the skeletal \n  remains to her breast, strokes the bony head comfortingly. Her eyes \n  begin to glaze.\n\n  CUT to Ryuji racing up to the rim of the well, leaning down intently.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHey!  Asakawa!  Its already 10 \n\t\tminutes past seven!  We did it!\n\n  Down in the well, Asakawa continues staring blankly ahead.  Her body \n  suddenly falls forward, limp.\n\n<b>  EXT. OUTSIDE COTTAGE B4  NIGHT\n</b>\n  Three POLICE CARS are parked outside the rental cottages, crimson \n  headlights flashing.   A few COPS walk by, two of them carrying \n  something off in white PLASTIC BAGS.  CUT to Ryuji and Asakawa \n  sitting on the curb.  Asakawa is staring off at something, a BLANKET \n  draped over her shoulder.  \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhy would Ikuma have killed her?  \n\t\tHis own daughter...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe she wasnt his daughter at all.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe her father... wasnt even human.\n\n  The two exchange glances.  Ryujis gaze falls to Asakawas WRIST, \n  which he suddenly takes and holds close to his face.  The ugly \n  bruise where Sadako had grabbed her has disappeared.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIts gone...  \n\n  He shakes his head, clearing his analytical mind of their ordeal.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tEnough, already.  Its over.  Cmon.  \n\t\tIll take you home.\n\n  Ryuji stands, pulls Asakawa to her feet.\n\n<b>  EXT. OUTSIDE ASKAWAS APARTMENT - NIGHT  \n</b>\n  Ryujis white CAR pulls up into the parking lot.  He and Asakawa \n  get out, regard each other from opposite sides of the car. There is \n  a long moment where neither of them says anything.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tGet some rest.  \n\n  He flashes her the slightest of grins. \n\n\t\t\t\tRYUJI (contd)\n\t\tI still have a thesis to finish. \n\n  CUT to a shot of Ryuji and Asakawa, the car creating an almost \n  metaphoric distance between them. \n\n<b>\t\t\t\tASAKAWA\n</b>\t\t...thank you.\n\n  Ryuji nods silently by way of reply.  He gets into his car and \n  drives off.  Asakawa watches him go, and then walks towards the \n  entrance of her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT  BEDROOM  MORNING\n</b>\n  Asakawa walks into her room, sits on the edge of her bed.  It is \n  now morning, and she sits dazedly watching the sun come up.\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji sits busily scribbling into a NOTEBOOK.  He stops writing a \n  moment to regard his notes while taking a sip of COFFEE.  He \n  glances over at his BLACKBOARD for confirmation when a small scowl \n  crosses his brow.  Its gone a moment later as he chuckles wryly \n  to himself.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThat girl...\n\n  Ryuji stands, walks over to the blackboard.  He fixes Mais little \n  prank with a single chalk stroke. \n\n<b>  EXT. ASAKAWAS APARTMENT  VERANDA  MORNING\n</b>\n  Asakawa emerges, taking in the dawn.  At first her face is calm and \n  tranquil... but her features change as the sun almost noticeably \n  darkens and a WIND begins to kick up her hair.  She now looks very \n  anxious.\n\n  Caption-- September 21st.  Tuesday.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.\n\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji is busy scribbling away at his notes again.  His hand suddenly \n  ceases, eyes dancing worriedly as he hears a faint...\n\n  No.\n\n  Breath rattling fearfully in his throat, Ryuji spins around to face \n  the TELEVISION SET.  He gets out of his seat for a better look, \n  falling to his knees on the tatami. \n\n  The image that fills the screen is the last scene from the videotape; \n  the shot of the well.  \n\n  The SOUND from before comes louder now, more insistent, a metallic \n  screeching that both repulses and beckons him closer. Ryuji crawls on \n  all fours towards the SCREEN, stares at its unchanging image with \n  terrible foreboding.\n\n  There is a flash of MOTION as something shoots out of the well. A \n  hand. First one, and then another, as Sadako, still in her grimy white \n  dress, face hidden beneath long, oily strands of hair, begins slowly \n  pulling herself out.  The television screen jumps unsteadily, fills \n  with static as if barely able to contain her image.  \n\n  CUT back and forth between Ryuji, who is beginning to visibly panic, \n  and the television, which shows Sadako lurching ever closer.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(almost frantic) \n\t\tWhy?!\n\n  The TELEPHONE rings, and Ryuji spins round towards it, breath catching \n  in his throat.  He looks at the phone, over his shoulder at the \n  television, back to the phone.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThats it!  Asakawa...\n\n  Ryuji scrambles wildly towards the phone.  He takes the receiver but \n  is unable to do more than clutch it fearfully as his gaze is drawn \n  inexorably back to the television.  Sadakos shrouded face has filled \n  the entire screen... and then, television popping and crackling, she \n  jerks forward and emerges from the television onto the floor of \n  Ryujis apartment.  Ryuji backs away, screaming in terror.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAaargh!\n\n  Sadako lies prone, collapsed, hair splayed out like a drowned corpse.  \n  Only her FINGERS are active, crawling, feeling.  The TIPS of her \n  fingers are little more than bloodied stumps, not a single fingernail \n  on them.  She uses the strength in those fingers to pull herself \n  forward, coming jerkily to her feet.  The joints of her body twist \n  unnaturally, more insect-like than human.\n\n  Ryuji flings the phone aside and begins scrambling about the apartment \n  as if looking for cover.  The strength has already begun to fade from \n  his body, however, and his movements are clumsy, exaggerated. He falls \n  to the floor, panting heavily.  \n\n  Sadako turns to regard him, and for just an instant we can see beneath \n  her impenetrable shroud of hair; a single EYE burns with manic, \n  unbridled hatred.   \n\n  Its gaze meets Ryujis, and his face twists into a grimace as he \n  SCREAMS loudly.\n\n<b>  FLASH\n</b>\n<b>  EXT. KOUJIS HOUSE - FRONT YARD  DAY\n</b>\n  Yoichi sits on the lawn, doodling into a large SKETCHPAD.  He \n  suddenly stops, eyes registering that he has somehow felt his fathers \n  death.\n<b>  \n</b><b>  INT. ASAKAWAS APARTMENT  DAY\n</b>\n  Asakawa clutches the RECEIVER to her ear.  She can still hear the \n  sounds of metallic SCREECHING coming from the video, though they are \n  now becoming softer.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT BUILDING  DAY\n</b>\n  Asakawa comes running down a side street, turning the corner and \n  making for the entrance to Ryujis apartment building.  There is a \n  single GUARD posted at the entrance. He reaches out, catches Asakawa \n  lightly by the arm.\n\n\n<b>\t\t\t\tGUARD\n</b>\t\tAre you a resident here, maam?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIm Takayama Ryujis wife!\n\n  The guard drops his hand, and Asakawa makes for the entrance.\n\n<b>\t\t\t\tGUARD\n</b>\t\tIm sorry maam, but theyve already \n\t\ttaken the body away.\n\n  Asakawas spins around, eyes wide.  Body?\n\n<b>  INT. HALLWAY OUTSIDE RYUJIS APARTMENT  DAY\n</b>\n  Mai is there, slumped against one wall. Asakawa comes running up, \n  dropping to her knees and grasping Mai by the shoulders.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat happened?\n\n  Mai shakes her head dreamily.\n\n<b>\t\t\t\tMAI\n</b>\t\tWhen I got here he was just \n\t\tlying there...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid he say anything to you?  About \n\t\ta videotape?\n\n  Mai shakes her head again, shakes it harder until the breath \n  catches in her throat.\n\n\n<b>\t\t\t\tMAI\n</b>\t\tHis face...\n\n  Mai falls into silence, curls up on herself.  Asakawa leaves her \n  and crosses toward the door to Ryujis apartment.\n\n<b>  INT. RYUJIS APARTMENT - DAY  \n</b>\n  The front DOOR opens wildly, noisily forward.  Asakawa comes \n  rushing in, eyes darting about the apartment.  She thinks \n  frantically to herself.\n\n<b>\t\t\t\tASAKAWA (VO)\n</b>\t\tRyuji... why?  Does this mean that\n\t\tYoichi will die, too?  Is the curse \n\t\tnot broken yet?\n\n  Her gaze falls to the television set.  She dives forward, presses \n  the eject button on the VCR.  Sure enough, the TAPE is still in \n  the deck.  She takes the tape and leaves.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  NIGHT\n</b>\n  Asakawa walks slowly, dreamily forward.  She drops the videotape \n  loudly onto the coffee table and slouches into a CHAIR.  Her eyes \n  fall to the framed photographs of Yoichi on one of the shelves.  \n  This snaps Asakawa out of her daze and she begins whispering \n  intently to herself, thinking.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI was the only one to break \n\t\tSadakos curse.  Ryuji... why...?  \n\t\tSomething I did that you didnt...  \n\t\tSomething I did that you didnt...  \n\n  Asakawa gives up, lowers her face into her hands.  When she looks \n  up again, she happens to glance at the television screen-- and \n  its GLARE reveals that there is someone ELSE in the room with her.  \n  It is the figure from the videotape, the silent accuser with the \n  cloth draped over its face.  With a start, Asakawa realizes that \n  the figure is wearing Ryujis clothes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji?!\n\n  She spins around, but the room is empty.  Asakawas mind races.  \n  The figure had been pointing towards her BAG.  She stands, \n  rummages in her bag to produce her copy of the cursed videotape.  \n  She takes Ryujis COPY in her other hand, her eyes darting \n  between the two tapes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSomething I did that you didnt...\n\n  It suddenly clicks home as Asakawa looks full-on at Ryujis \n  version of the tape, plainly marked COPY.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat broke the curse was that I copied \n\t\tthe tape and showed it to someone else!\n\n  CUT to Asakawa slowly pulling her VCR from the television stand.  \n  A look of almost frightening resolve etches her face.\n\n<b>  EXT. HIGHWAY  DAY\n</b>\n  ARIAL SHOT of Asakawas car.  We hear her VOICE on the cell \n  phone.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>  \t\tDad?  Its me.  Im on my way over.\n  \t\tLook, dad, Ive got something to ask. \n\t\tIts for Yoichi...\n\n<b>  INT. ASAKAWAS CAR  DAY\n</b>\n  CLOSEUP on the VCR in the passenger side.  CUT to Asakawa at the \n  wheel as time spirals forward, the decisions of the present \n  already become rumor of the future.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThey say theres a way you can stay \n\t\talive after you watch the video.  \n\t\tYouve gotta make a copy of it, and \n\t\tshow it to somebody else inside a week.\n\n<b>\t\t\t\tGIRL B (VO) \n</b>\t\tBut what about the person you show it \n\t\tto?\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tWell, then they make a copy and show it \n\t\tto somebody else.  Again, inside a week.\n\n<b>\t\t\t\tGIRL C (VO) \n</b>\t\t\t(laughing)\n\t\tThen theres no end to it.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThats just it.  There -is- no end.  But \n\t\tif it meant not dying... youd do it, \n\t\twouldnt you?\n\n  Asakawas eyes begin to well.  Her car speeds along the highway, \n  to the direction of menacing-looking STORM CLOUDS.\n\n  Caption-- September 22nd.  Wednesday.\n\n\n\n\n                      FADE TO BLACK as the CAPTION turns blood red.\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: When does Reiko realize the curse is still unbroken?\n\nAnswer:"}
{"question_id": 95, "category": "longbench_narrativeqa", "reference": ["a priest"], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: The Seventh Seal\n<b> \n</b>The night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies\nprostrate on some spruce branches spread over the fine sand. His eyes are \nwide-open and bloodshot from lack of sleep. \n\nNearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His \nopen mouth gapes towards the dawn, and unearthly sounds come from his throat.\nAt the sudden gust of wind, the horses stir, stretching their parched muzzles \ntowards the sea. They are as thin and worn as their masters.\n\nThe KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the \ndarkness. He moans in his sleep and vigorously scratches the stubbled hair on \nhis head. A scar stretches diagonally across his scalp, as white as lightning \nagainst the grime. \n\nThe KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched \ntogether and his lips form the words silently. His face is sad and bitter. He \nopens his eyes and stares directly into the morning sun which wallows up from \nthe misty sea like some bloated, dying fish. The sky is gray and immobile, a \ndome of lead. A cloud hangs mute and dark over the western horizon. High up, \nbarely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \nBlock turns around.\n\nBehind him stands a man in black. His face is very pale and he keeps his \nhands hidden in the wide folds of his cloak. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWho are you? \n\n<b>\t\t\t\tDEATH \n</b>\t\tI am Death.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHave you come for me?\n\n<b>\t\t\t\tDEATH \n</b>\t\tI have been walking by your side for a long \n\t\ttime. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat I know. \n\n<b>\t\t\t\tDEATH \n</b>\t\tAre you prepared?\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tMy body is frightened, but I am not. \n\n<b>\t\t\t\tDEATH \n</b>\t\tWell, there is no shame in that.\n\nThe KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \nit around the KNIGHT'S shoulders. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWait a moment.\n\n<b>\t\t\t\tDEATH \n</b>\t\tThat's what they all say. I grant no reprieves. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou play chess, don't you?\n\nA gleam of interest kindles in DEATH'S eyes. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHow did you know that?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have seen it in paintings and heard it sung \n\t\tin ballads.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYes, in fact I'm quite a good chess player. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut you can't be better than I am.\n\nThe KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhy do you want to play chess with me? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have my reasons. \n\n<b>\t\t\t\tDEATH \n</b>\t\tThat is your privilege.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThe condition is that I may live as long as I \n\t\thold out against you. If I win, you will \n\t\trelease me. Is it agreed? \n\nThe KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou drew black!\n\n<b>\t\t\t\tDEATH \n</b>\t\tVery appropriate. Don't you think so?\n\nThe KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.\n<b> \n</b>\n\nThe morning breeze has died down. The restless movement of the sea has \nceased, the water is silent. The sun rises from the haze and its glow \nwhitens. The sea gull floats under the dark cloud, frozen in space. The day \nis already scorchingly hot.\n\nThe squire JONS is awakened by a kick in the rear. Opening his eyes, he \ngrunts like a pig and yawns broadly. He scrambles to his feet, saddles his \nhorse and picks up the heavy pack.\n\nThe KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sings)\n\t \tBetween a strumpet's legs to lie \n\t\tIs the life for which I sigh.\n\nHe stops and looks at his master, but the KNIGHT hasn't heard JON'S song, or \nhe pretends that he hasn't. To give further vent to his irritation, JONS \nsings even louder. \n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sings)\n\t\tUp above is God Almighty \n\t\tSo very far away, \n\t\tBut your brother the Devil \n\t\tYou will meet on every level.\n\nJONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \nhorse, JONS'S own horse and JONS himself know all the songs by heart. The \nlong, dusty journey from the Holy Land hasn't made them any cleaner. They \nride across a mossy heath which stretches towards the horizon. Beyond it, the \nsea lies shimmering in the white glitter of the sun.\n\n<b>\t\t\t\tJONS \n</b>\t\tIn Frjestad everyone was talking about evil \n\t\tomens and other horrible things. Two horses had \n\t\teaten each other in the night, and, in the \n\t\tchurchyard, graves had been opened and the \n\t\tremains of corpses scattered all over the \n\t\tplace. Yesterday afternoon there were as many \n\t\tas four suns in the heavens.\n<b> \n</b>The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \ntowards its master, who is sleeping in a sitting position in the blazing hot \nsun. A black cloud of flies clusters around his head and shoulders. The \nmiserable-looking dog whines incessantly as it lies flat on its stomach, \nwagging its tail.\n\nJONS dismounts and approaches the sleeping man. JONS addresses him politely. \nWhen he doesn't receive an answer, he walks up to the man in order to shake \nhim awake. He bends over the sleeping man's shoulder, but quickly pulls back \nhis hand. The man falls backward on the heath, his face turned towards JONS. \nIt is a corpse, staring at JONS with empty eye sockets and white teeth. \n\nJONS remounts and overtakes his master. He takes a drink from his waterskin \nand hands the bag to the knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWell, did he show you the way? \n\n<b>\t\t\t\tJONS \n</b>\t\tNot exactly.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat did he say? \n\n<b>\t\t\t\tJONS \n</b>\t\tNothing.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWas he a mute?\n\n<b>\t\t\t\tJONS \n</b>\t\tNo, sir, I wouldn't say that. As a matter of \n\t\tfact, he was quite eloquent. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOh?\n\n<b>\t\t\t\tJONS \n</b>\t\tHe was eloquent, all right. The trouble is that \n\t\twhat he had to say was most depressing.\n\t\t\t(sings)\n\t\tOne moment you're bright and lively, \n\t\tThe next you're crawling with worms. \n\t\tFate is a terrible villain \n\t\tAnd you, my friend, its poor victim. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMust you sing? \n\n<b>\t\t\t\tJONS \n</b>\t\tNo.\n\nThe KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle \ndown their faces. There is a cloud of dust around the horses' hooves. They \nride past an inlet and along verdant groves. In the shade of some large trees \nstands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \nand is answered by the KNIGHT'S horse. The two travelers do not stop to rest \nunder the shade of the trees but continue riding until they disappear at the \nbend of the road.\n<b> \n</b>\n\nIn his sleep, JOF the juggler hears the neighing of his horse and the answer \nfrom a distance. He tries to go on sleeping, but it is stifling inside the \nwagon. The rays of the sun filtering through the canvas cast streaks of light \nacross the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \nare sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \nsnores loudly. \n\nJOF crawls out of the wagon. There is still a spot of shade under the big \ntrees. He takes a drink of water, gargles, stretches and talks to his scrawny \nold horse. \n\n<b>\t\t\t\tJOF \n</b>\t\tGood morning. Have you had breakfast? I can't \n\t\teat grass, worse luck. Can't you teach me how? \n\t\tWe're a little hard up. People aren't very \n\t\tinterested in juggling in this part of the \n\t\tcountry.\n\nHe has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down \nwith a look of utter astonishment on his face. The wind causes the trees to \nsway slightly. The leaves stir and there is a soft murmur. The flowers and \nthe grass bend gracefully, and somewhere a bird raises its voice in a long \nwarble.\n\nJOF'S face breaks into a smile and his eyes fill with tears. With a dazed \nexpression he sits flat on his behind while the grass rustles softly, and \nbees and butterflies hum around his head. The unseen bird continues to sing.\n\nSuddenly the breeze stops blowing, the bird stops singing, JOF'S smile fades, \nthe flowers and grass wilt in the heat. The old horse is still walking around \ngrazing and swishing its tail to ward off the flies. \n\nJOF comes to life. He rushes into the wagon and shakes MIA awake.\n\n<b>\t\t\t\tJOF \n</b>\t\tMia, wake up. Wake up! Mia, I've just seen \n\t\tsomething. I've got to tell you about it!\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(sits up, terrified)\n\t\tWhat is it? What's happened? \n\n<b>\t\t\t\tJOF \n</b>\t\tListen, I've had a vision. No, it wasn't a \n\t\tvision. It was real, absolutely real.\n\n<b>\t\t\t\tMIA \n</b>\t\tOh, so you've had a vision again!\n\nMIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \nthe shoulders. \n\n<b>\t\t\t\tJOF \n</b>\t\tBut I did see her! \n\n<b>\t\t\t\tMIA \n</b>\t\tWhom did you see? \n\n<b>\t\t\t\tJOF \n</b>\t\tThe Virgin Mary.\n\nMIA can't help being impressed by her husband's fervor. She lowers her voice.\n\n<b>\t\t\t\tMIA \n</b>\t\tDid you really see her?\n\n<b>\t\t\t\tJOF \n</b>\t\tShe was so close to me that I could have \n\t\ttouched her. She had a golden crown on her head \n\t\tand wore a blue gown with flowers of gold. She \n\t\twas barefoot and had small brown hands with \n\t\twhich she was holding the Child and teaching \n\t\tHim to walk. And then she saw me watching her \n\t\tand she smiled at me. My eyes filled with tears \n\t\tand when I wiped them away, she had disappeared. \n\t\tAnd everything became so still in the sky and \n\t\ton the earth. Can you understand ... \n\n<b>\t\t\t\tMIA \n</b>\t\tWhat an imagination you have.\n\n<b>\t\t\t\tJOF \n</b>\t\tYou don't believe me! But it was real, I tell \n\t\tyou, not the kind of reality you see every day, \n\t\tbut a different kind. \n\n<b>\t\t\t\tMIA\n</b>\t\tPerhaps it was the kind of reality you told us \n\t\tabout when you saw the Devil painting our wagon \n\t\twheels red, using his tail as a brush.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(embarrassed)\n\t\tWhy must you keep bringing that up? \n\n<b>\t\t\t\tMIA\n</b>\t\tAnd then you discovered that you had red paint \n\t\tunder your nails.\n\n<b>\t\t\t\tJOF \n</b>\t\tWell, perhaps that time I made it up. \n\t\t\t(eagerly)  \n\t\tI did it just so that you would believe in my \n\t\tother visions. The real ones. The ones that I \n\t\tdidn't make up. \n\n<b>\t\t\t\tMIA \n</b>\t\t\t(severely)\n\t\tYou have to keep your visions under control.\n\t\tOtherwise people will think that you're a \n\t\thalf-wit, which you're not. At least not yet -- \n\t\tas far as I know. But, come to think of it, I'm \n\t\tnot so sure about that.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(angry)\n\t\tI didn't ask to have visions. I can't help it \n\t\tif voices speak to me, if the Holy Virgin \n\t\tappears before me and angels and devils like my \n\t\tcompany.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(sits up)\n\t\tHaven't I told you once and for all that I need \n\t\tmy morning's sleep! I have asked you politely, \n\t\tpleaded with you, but nothing works. So now I'm \n\t\ttelling you to shut up!\n\nHis eyes are popping with rage. He turns over and continues snoring where he \nleft off. MIA and JOF decide that it would be wisest to leave the wagon. They \nsit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \nvigorously. JOF sits close to his wife. Slumped over, he still looks dazed \nand astonished. A dry, hot wind blows from the sea.\n\n<b>\t\t\t\tMIA \n</b>\t\tIf we would only get some rain. Everything is \n\t\tburned to cinders. We won't have anything to \n\t\teat this winter. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(yawning)\n\t\tWe'll get by.\n\nHe says this smilingly, with a casual air. He stretches and laughs \ncontentedly.\n\n<b>\t\t\t\tMIA \n</b>\t\tI want Mikael to have a better life than ours. \n\n<b>\t\t\t\tJOF \n</b>\t\tMikael will grow up to be a great acrobat -- or \n\t\ta juggler who can do the one impossible trick. \n\n<b>\t\t\t\tMIA \n</b>\t\tWhat's that?\n\n<b>\t\t\t\tJOF \n</b>\t\tTo make one of the balls stand absolutely still\n\t\tin the air. \n\n<b>\t\t\t\tMIA \n</b>\t\tBut that's impossible.\n\n<b>\t\t\t\tJOF \n</b>\t\tImpossible for us -- but not for him. \n\n<b>\t\t\t\tMIA \n</b>\t\tYou're dreaming again.\n\nShe yawns. The sun, has made her a bit drowsy and she lies down on the grass.\nJOF does likewise and puts one arm around his wife's shoulders.\n\n<b>\t\t\t\tJOF \n</b>\t\tI've composed a song. I made it up during the \n\t\tnight when I couldn't sleep. Do you want to \n\t\thear it? \n\n<b>\t\t\t\tMIA \n</b>\t\tSing it. I'm very curious.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tI have to sit up first.\n\nHe sits with his legs crossed, makes a dramatic gesture with his arms and \nsings in a loud voice. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(sings)\n\t\tOn a lily branch a dove is perched \n\t\tAgainst the summer sky, \n\t\tShe sings a wondrous song of Christ \n\t\tAnd there's great joy on high.\n\nHe interrupts his singing in order to be complimented by his wife.\n\n<b>\t\t\t\tJOF \n</b>\t\tMia! Are you asleep? \n\n<b>\t\t\t\tMIA \n</b>\t\tIt's a lovely song. \n\n<b>\t\t\t\tJOF \n</b>\t\tI haven't finished yet.\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tI heard it, but I think I'll sleep a little \n\t\tlonger. You can sing the rest to me afterwards. \n\n<b>\t\t\t\tJOF \n</b>\t\tAll you do is sleep.\n\nJOF is a bit offended and glances over at his son, MIKAEL, but he is also \nsleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \nyawns; he is very tired and in a bad humor. In his hands he holds a crudely \nmade death mask.\n\n<b>\t\t\t\tSKAT \n</b>\t\tIs this supposed to be a mask for an actor? If \n\t\tthe priests didn't pay us so well, I'd say no \n\t\tthank you. \n\n<b>\t\t\t\tJOF \n</b>\t\tAre you going to play Death?\n<b> \n</b><b>\t\t\t\tSKAT \n</b>\t\tJust think, scaring decent folk out of their \n\t\twits with this kind of nonsense.\n\n<b>\t\t\t\tJOF \n</b>\t\tWhen are we supposed to do this play?\n\n<b>\t\t\t\tSKAT \n</b>\t\tAt the saints' feast in Elsinore. We're going \n\t\tto perform right on the church steps, believe \n\t\tit or not.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tWouldn't it be better to play something bawdy? \n\t\tPeople like it better, and, besides, it's more \n\t\tfun.\n\n<b>\t\t\t\tSKAT \n</b>\t\tIdiot. There's a rumor going around that \n\t\tthere's a terrible pestilence in the land, and \n\t\tnow the priests are prophesying sudden death \n\t\tand all sorts of spiritual agonies. \n\nMIA is awake now and lies contentedly on her back, sucking on a blade of \ngrass and looking smilingly at her husband.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tAnd what part am I to play?\n\n<b>\t\t\t\tSKAT \n</b>\t\tYou're such a damn fool, so you're going to be \n\t\tthe Soul of Man.\n\n<b>\t\t\t\tJOF \n</b>\t\tThat's a bad part, of course.\n\n<b>\t\t\t\tSKAT \n</b>\t\tWho makes the decisions around here? Who is the\n\t\tdirector of this company anyhow?\n\nSKAT, grinning, holds the mask in front of his face and recites dramatically.\n\n<b>\t\t\t\tSKAT \n</b>\t\tBear this in mind, you fool. Your life hangs by \n\t\ta thread. Your time is short. \n\t\t\t(in his usual voice) \n\t\tAre the women going to like me in this getup? \n\t\tWill I make a hit? No! I feel as if I were dead \n\t\talready.\n\nHe stumbles into the wagon muttering furiously. JOF sits, leaning forward. \nMIA lies beside him on the grass. \n\n<b>\t\t\t\tMIA \n</b>\t\tJof!\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tWhat is it?\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tSit still. Don't move. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhat do you mean? \n\n<b>\t\t\t\tMIA \n</b>\t\tDon't say anything. \n\n<b>\t\t\t\tJOF \n</b>\t\tI'm as silent as a grave. \n\n<b>\t\t\t\tMIA \n</b>\t\tShh! I love you.\n<b> \n</b>\n\nWaves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows \nhim in. When he comes onto the church porch he stops in surprise. To the \nright of the entrance there is a large fresco on the wall, not quite \nfinished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \npaint-stained clothes. He has one brush in his mouth, while with another in \nhis hand he outlines a small, terrified human face amidst a sea of other \nfaces.\n\n<b>\t\t\t\tJONS \n</b>\t\tWhat is this supposed to represent? \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe Dance of Death. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd that one is Death?\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tYes, he dances off with all of them.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWhy do you paint such nonsense?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tI thought it would serve to remind people that \n\t\tthey must die.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWell, it's not going to make them feel any \n\t\thappier. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tWhy should one always make people happy? It \n\t\tmight not be a bad idea to scare them a little \n\t\tonce in a while.\n\n<b>\t\t\t\tJONS \n</b>\t\tThen they'll close their eyes and refuse to \n\t\tlook at your painting.\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tOh, they'll look. A skull is almost more \n\t\tinteresting than a naked woman.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tIf you do scare them ... \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThey'll think. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd if they think ...\n<b> \n</b><b>\t\t\t\tPAINTER \n</b>\t\tThey'll become still more scared.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tAnd then they'll run right into the arms of the \n\t\tpriests. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThat's not my business.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tYou're only painting your Dance of Death. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tI'm only painting things as they are. Everyone \n\t\telse can do as he likes.\n\n<b>\t\t\t\tJONS \n</b>\t\tJust think how some people will curse you. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tMaybe. But then I'll paint something amusing \n\t\tfor them to look at. I have to make a living \n\t\t-- at least until the plague takes me.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tThe plague. That sounds horrible.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tYou should see the boils on a diseased man's \n\t\tthroat. You should see how his body shrivels up \n\t\tso that his legs look like knotted strings -- \n\t\tlike the man I've painted over there.\n\nThe PAINTER points with his brush. JONS sees a small human form writhing in \nthe grass, its eyes turned upwards in a frenzied look of horror and pain. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat looks terrible.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tIt certainly does. He tries to rip out the \n\t\tboil, he bites his hands, tears his veins open \n\t\twith his fingernails and his screams can be \n\t\theard everywhere. Does that scare you?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tScare? Me? You don't know me. What are the \n\t\thorrors you've painted over there?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe remarkable thing is that the poor creatures\n\t\tthink the pestilence is the Lord's punishment. \n\t\tMobs of people who call themselves Slaves of \n\t\tSin are swarming over the country, flagellating \n\t\tthemselves and others, all for the glory of God.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo they really whip themselves?\n\n<b>\t\t\t\tPAINTER \n</b>\t\tYes, it's a terrible sight. I crawl into a \n\t\tditch and hide when they pass by.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo you have any brandy? I've been drinking \n\t\twater all day and it's made me as thirsty as a \n\t\tcamel in the desert. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tI think I frightened you after all.\n\nJONS sits down with the PAINTER, who produces a jug of brandy.\n\n\n\nThe KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony \neyes. Christ's face is turned upwards, His mouth open as if in a cry of \nanguish. On the ceiling beam there is a representation of a hideous devil \nspying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the \ngrille for an instant, but the KNIGHT doesn't see him. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want to talk to you as openly as I can, but \n\t\tmy heart is empty.\n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThe emptiness is a mirror turned towards my \n\t\town face. I see myself in it, and I am filled \n\t\twith fear and disgust. \n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThrough my indifference to my fellow men, I \n\t\thave isolated myself from their company. Now I \n\t\tlive in a world of phantoms. I am imprisoned in \n\t\tmy dreams and fantasies. \n\n<b>\t\t\t\tDEATH \n</b>\t\tAnd yet you don't want to die. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I do.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tWhat are you waiting for? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want knowledge. \n\n<b>\t\t\t\tDEATH \n</b>\t\tYou want guarantees?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tCall it whatever you like. Is it so cruelly \n\t\tinconceivable to grasp God with the senses? Why \n\t\tshould He hide himself in a mist of half-spoken \n\t\tpromises and unseen miracles? \n\nDEATH doesn't answer.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tHow can we have faith in those who believe when \n\t\twe can't have faith in ourselves? What is going \n\t\tto happen to those of us who want to believe \n\t\tbut aren't able to? And what is to become of \n\t\tthose who neither want to nor are capable of \n\t\tbelieving?\n\nThe KNIGHT stops and waits for a reply, but no one speaks or answers him. \nThere is complete silence. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy can't I kill God within me? Why does He \n\t\tlive on in this painful and humiliating way \n\t\teven though I curse Him and want to tear Him \n\t\tout of my heart? Why, in spite of everything, \n\t\tis He a baffling reality that I can't shake \n\t\toff? Do you hear me? \n\n<b>\t\t\t\tDEATH \n</b>\t\tYes, I hear you.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want knowledge, not faith, not suppositions, \n\t\tbut knowledge. I want God to stretch out His \n\t\thand towards me, reveal Himself and speak to \n\t\tme. \n\n<b>\t\t\t\tDEATH \n</b>\t\tBut He remains silent.\n<b> \n</b><b>\t\t\t\tKNIGHT\n</b>\t\tI call out to Him in the dark but no one seems \n\t\tto be there.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tPerhaps no one is there.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThen life is an outrageous horror. No one can \n\t\tlive in the face of death, knowing that all is \n\t\tnothingness. \n\n<b>\t\t\t\tDEATH \n</b>\t\tMost people never reflect about either death or \n\t\tthe futility of life.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut one day they will have to stand at that \n\t\tlast moment of life and look towards the \n\t\tdarkness. \n\n<b>\t\t\t\tDEATH \n</b>\t\tWhen that day comes ...\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tIn our fear, we make an image, and that image \n\t\twe call God.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tYou are worrying ...\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDeath visited me this morning. We are playing \n\t\tchess together. This reprieve gives me the \n\t\tchance to arrange an urgent matter.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhat matter is that?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tMy life has been a futile pursuit, a wandering, \n\t\ta great deal of talk without meaning. I feel no \n\t\tbitterness or self-reproach because the lives \n\t\tof most people are very much like this. But I \n\t\twill use my reprieve for one meaningful deed. \n\n<b>\t\t\t\tDEATH \n</b>\t\tIs that why you are playing chess with Death? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHe is a clever opponent, but up to now I \n\t\thaven't lost a single man.\n\n<b>\t\t\t\tDEATH \n</b>\t\tHow will you outwit Death in your game? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI use a combination of the bishop and the \n\t\tknight which he hasn't yet discovered. In the \n\t\tnext move I'll shatter one of his flanks.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'll remember that.\n\nDEATH shows his face at the grill of the confession booth for a moment but \ndisappears instantly.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou've tricked and cheated me! But we'll meet \n\t\tagain, and I'll find a way.\n\n<b>\t\t\t\tDEATH \n</b>\t\t\t(invisible)\n\t\tWe'll meet at the inn, and there we'll continue \n\t\tplaying.\n\nThe KNIGHT raises his hand and looks at it in the sunlight which comes \nthrough the tiny window. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThis is my hand. I can move it, feel the blood \n\t\tpulsing through it. The sun is still high in \n\t\tthe sky and I, Antonius Block, am playing \n\t\tchess with Death. \n\nHe makes a fist of his hand and lifts it to his temple.\n\n\n\nMeanwhile, JONS and the PAINTER have got drunk and are talking animatedly \ntogether.\n\n<b>\t\t\t\tJONS \n</b>\t\tMe and my master have been abroad and have just \n\t\tcome home. Do you understand, you little \n\t\tpictor? \n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe Crusade.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(drunk)\n\t\tPrecisely. For ten years we sat in the Holy \n\t\tLand and let snakes bite us, flies sting us, \n\t\twild animals eat us, heathens butcher us, the \n\t\twine poison us, the women give us lice, the \n\t\tlice devour us, the fevers rot us, all for the \n\t\tGlory of God. Our crusade was such madness that \n\t\tonly a real idealist could have thought it up. \n\t\tBut what you said about the plague was \n\t\thorrible. \n\n<b>\t\t\t\tPAINTER \n</b>\t\tIt's worse than that.\n\n<b>\t\t\t\tJONS \n</b>\t\tAh, me. No matter which way you turn, you have \n\t\tyour rump behind you. That's the truth.\n\n<b>\t\t\t\tPAINTER \n</b>\t\tThe rump behind you, the rump behind you \n\t\tthere's a profound truth.\n\nJONS paints a small figure which is supposed to represent himself.\n\n<b>\t\t\t\tJONS \n</b>\t\tThis is squire Jns. He grins at Death, mocks \n\t\tthe Lord, laughs at himself and leers at the \n\t\tgirls. His world is a Jnsworld, believable \n\t\tonly to himself, ridiculous to all including \n\t\thimself, meaningless to Heaven and of no \n\t\tinterest to Hell. \n\nThe KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.\n\nOutside the church, four soldiers and a monk are in the process of putting a \nwoman in the stocks. Her face is pale and child-like, her head has been \nshaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \nshe doesn't appear to be fully conscious. \n\nJONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk \nmumbles from a small book. One of the soldiers picks up a wooden bucket and \nwith his hand begins to smear a bloody paste on the wall of the church and \naround the woman. JONS holds his nose.\n\n<b>\t\t\t\tJONS \n</b>\t\tThat soup of yours has a hell of a stink. What \n\t\tis it good for?\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tShe has had carnal intercourse with the Evil \n\t\tOne. \n\nHe whispers this with a horrified face and continues to splash the sticky \nmess on the wall. \n\n<b>\t\t\t\tJONS \n</b>\t\tAnd now she's in the stocks.\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tShe will be burned tomorrow morning at the \n\t\tparish boundary. But we have to keep the Devil \n\t\taway from the rest of us.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(holding his nose)\n\t\tAnd you do that with this stinking mess?\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tIt's the best remedy: blood mixed with the bile \n\t\tof a big black dog. The Devil can't stand the \n\t\tsmell. \n\n<b>\t\t\t\tJONS \n</b>\t\tNeither can I.\n<b> \n</b>JONS walks over towards the horses. The KNIGHT stands for a few, moments \nlooking at the young girl. She is almost a child. Slowly she turns her eyes \ntowards him. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHave you seen the Devil?\n\nThe MONK stops reading and raises his head. \n\n<b>\t\t\t\tMONK \n</b>\t\tYou must not talk to her. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tCan that be so dangerous?\n\n<b>\t\t\t\tMONK \n</b>\t\tI don't know, but she is believed to have \n\t\tcaused the pestilence with which we are \n\t\taffected. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI understand.\n\nHe nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.\n<b> \n</b>\n\nThe sun stands high in the sky, like a red ball of fire. The waterskin is \nempty and JONS looks for a well where he can fill it.\n\nThey approach a group of peasant cottages at the edge of the forest. JONS \nties up the horses, slings the skin over his shoulder and walks along the \npath towards the nearest cottage. As always, his movements are light and \nalmost soundless. The door to the cottage is open. He stops outside, but when \nno one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.\n\nAt the sound of approaching steps, JONS quickly hides behind the door. A man \ncomes down a ladder from the loft. He is broad and thick-set. His eyes are \nblack and his face is pale and puffy. His clothes are well cut but dirty and \nin rags. He carries a cloth sack. Looking around, he goes into the inner \nroom, bends over the bed, tucks something into the bag, slinks along the \nwalls, looking on the shelves, finds something else which he tucks in his \nbag.\n\nSlowly he re-enters the outer room, bends over the dead woman and carefully \nslips a ring from her finger. At that moment a young woman comes through the \ndoor. She stops and stares at the stranger.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tWhy do you look so surprised? I steal from the \n\t\tdead. These days it's quite a lucrative \n\t\tenterprise. \n\nThe GIRL makes a movement as if to run away. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tYou're thinking of running to the village and \n\t\ttelling. That wouldn't serve any purpose. Each \n\t\tof us has to save his own skin. It's as simple \n\t\tas that. \n\n<b>\t\t\t\tGIRL \n</b>\t\tDon't touch me.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tDon't try to scream. There's no one around to \n\t\thear you, neither God nor man.\n\nSlowly he closes the door behind the GIRL. The stuffy room is now in almost \ntotal darkness. But JONS becomes clearly visible.\n\n<b>\t\t\t\tJONS \n</b>\t\tI recognize you, although it's a long time \n\t\tsince we met. Your name is Raval, from the \n\t\ttheological college at Roskilde. You are Dr. \n\t\tMirabilis, Coelestis et Diabilis. \n\nRAVAL smiles uneasily and looks around. \n\n<b>\t\t\t\tJONS \n</b>\t\tAm I not right?\n\nThe GIRL stands immobile.\n\n<b>\t\t\t\tJONS \n</b>\t\tYou were the one who, ten years ago, convinced \n\t\tmy master of the necessity to join a better-\n\t\tclass crusade to the Holy Land.\n\nRAVAL looks around.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tYou look uncomfortable. Do you have a stomach-\n\t\tache? \n\nRAVAL smiles anxiously.\n\n<b>\t\t\t\tJONS \n</b>\t\tWhen I see you, I suddenly understand the \n\t\tmeaning of these ten years, which previously \n\t\tseemed to me such a waste. Our life was too \n\t\tgood and we were too satisfied with ourselves. \n\t\tThe Lord wanted to punish us for our \n\t\tcomplacency. That is why He sent you to spew \n\t\tout your holy venom and poison the knight.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tI acted in good faith.\n\n<b>\t\t\t\tJONS \n</b>\t\tBut now you know better, don't you? Because \n\t\tnow you have turned into a thief. A more \n\t\tfitting and rewarding occupation for \n\t\tscoundrels. Isn't that so?\n\nWith a quick movement he knocks the knife out of RAVAL'S hand, gives him a \nkick so that he falls on the floor and is about to finish him off. Suddenly \nthe GIRL screams. JONS stops and makes a gesture of generosity with his hand.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tBy all means. I'm not bloodthirsty. \n\nHe bends over RAVAL. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tDon't beat me.\n\n<b>\t\t\t\tJONS \n</b>\t\tI don't have the heart to touch you, Doctor. \n\t\tBut remember this: the next time we meet, I'll \n\t\tbrand your face the way one does with thieves. \n\t\t\t(he rises)\n\t\tWhat I really came for is to get my waterskin \n\t\tfilled.\n\n<b>\t\t\t\tGIRL \n</b>\t\tWe have a deep well with cool, fresh water. \n\t\tCome, I'll show you.\n\nThey walk out of the house. RAVAL lies still for a few moments, then he rises \nslowly and looks around. When no one is in sight, he takes his bag and steals \naway. JONS quenches his thirst and fills his bag with water. The GIRL helps \nhim.\n\n<b>\t\t\t\tJONS \n</b>\t\tJns is my name. I am a pleasant and talkative \n\t\tyoung man who has never had anything but kind \n\t\tthoughts and has only done beautiful and noble \n\t\tdeeds. I'm kindest of all to young women. With \n\t\tthem, there is no limit to my kindness. \n\nHe embraces her and tries to kiss her, but she holds herself back. Almost \nimmediately he loses interest, hoists the waterbag on his shoulder and pats \nthe GIRL on the cheek.\n\n<b>\t\t\t\tJONS \n</b>\t\tGoodbye, my girl. I could very well have raped \n\t\tyou, but between you and me, I'm tired of that \n\t\tkind of love. It runs a little dry in the end.\n\nHe laughs kindly and walks away from her. When he has walked a short distance \nhe turns; the GIRL is still there.\n\n<b>\t\t\t\tJONS \n</b>\t\tNow that I think of it, I will need a \n\t\thousekeeper. Can you prepare good food? \n\t\t\t(the GIRL nods)\n\t\tAs far as I know, I'm still a married man, but\n\t\tI have high hopes that my wife is dead by now.\n\t\tThat's why I need a housekeeper. \n\t\t\t(the GIRL doesn't \n\t\t\tanswer but gets up)\n\t\tThe devil with it! Come along and don't stand \n\t\tthere staring. I've saved your life, so you owe \n\t\tme a great deal.\n\nShe begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.\n<b> \n</b>\n\nThe Embarrassment Inn lies in the eastern section of the province. The plague \nhas not yet reached this area on its way along the coast.\n\nThe actors have placed their wagon under a tree in the yard of the inn. \nDressed in colorful costumes, they perform a farce.\n\nThe spectators watch the performance, commenting on it noisily. There are\nmerchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \nand milkmaids. A whole flock of children perch in the trees around the wagon.\n<b> \n</b>The KNIGHT and his squire have sat down in the shadow of a wall. They drink \nbeer and doze in the midday heat. The GIRL from the deserted village sleeps \nat JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \nand lively dance. They perspire under the hot white sun. When they have \nfinished SKAT comes forward and bows.\n\n<b>\t\t\t\tSKAT \n</b>\t\tNoble ladies and gentlemen, I thank you for \n\t\tyour interest. Please remain standing for a\n\t\tlittle longer, or sit on the ground, because \n\t\twe are now going to perform a tragedia about \n\t\tan unfaithful wife, her jealous husband, and \n\t\tthe handsome lover -- that's me.\n\nMIA and JOF have quickly changed costumes and again step out on the stage. \nThey bow, to the public. \n\n<b>\t\t\t\tSKAT \n</b>\t\tHere is the husband. Here is the wife. If \n\t\tyou'll shut up over there, you'll see something \n\t\tsplendid. As I said, I play the lover and I \n\t\thaven't entered yet. That's why I'm going to \n\t\thide behind the curtain for the time being. \n\t\t\t(he wipes the sweat \n\t\t\tfrom his forehead)\n\t\tIt's damned hot. I think we'll have a \n\t\tthunderstorm.\n\nHe places his leg in front of JOF as if to trip him, raises MIA's skirt, \nmakes a face as if he could see all the wonders of the world underneath it, \nand disappears behind the gaudily patched curtains.\n\nSKAT is very handsome, now that he can see himself in the reflection of a tin \nwashbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \nglittering earrings vie for equal attention with his teeth, and his cheeks \nare flushed rose red.\n<b> \n</b>He sits out in back on the tailboard of the wagon, dangling his legs and \nwhistling to himself.\n<b> \n</b>In the meantime JOF and MIA play their tragedy; it is not, however, received \nwith great acclaim. SKAT suddenly discovers that someone is watching him as \nhe gazes contentedly into the tin bowl. A woman stands there, stately in both \nheight and volume.\n<b> \n</b>SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her \nshoes doesn't quite fit. She leans down to fix it and in doing so allows her \ngenerous bosom to burst out of its prison -- no more than honor and chastity \nallow, but still enough so that the actor with his experienced eye \nimmediately sees that there are ample rewards to be had here.\n\nNow she comes a little closer, kneels down and opens a bundle containing \nseveral dainty morsels and a skin filled with red wine. JONAS SKAT manages \nnot to fall off the wagon in his excitement. Standing on the steps of the \nwagon, he supports himself against a nearby tree, crosses his legs and bows.\n<b> \n</b>The woman quietly bites into a chicken leg dripping with fat. At this moment \nthe actor is stricken by a radiant glance full of lustful appetites.\n\nWhen he sees this look, SKAT makes an instantaneous decision, jumps down from \nthe wagon and kneels in front of the blushing damsel.\n\nShe becomes weak and faint from his nearness, looks at him with a glassy \nglance and breathes heavily. SKAT doesn't neglect to press kisses on her \nsmall, chubby hands. The sun shines brightly and small birds make noises in \nthe bushes.\n\nNow she is forced to sit back; her legs seem unwilling to support her any \nlonger. Bewildered, she singles out another chicken leg from the large sack \nof food and holds it up in front of SKAT with an appealing and triumphant \nexpression, as if it were her maidenhood being offered as a prize.\n\nSKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.\n\nHis words seem to please her. She puts her arms around the actor's neck and \npulls him to her with such fierceness that both of them lose their balance \nand tumble down on the soft grass. The small birds take to their wings with \nfrightened shrieks.\n\n\n\nJOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \nto be asleep on a bench which has been pulled forward on the stage. \n\n<b>\t\t\t\tJOF \n</b>\t\tNight and moonlight now prevail \n\t\tHere sleeps my wife so frail ... \n\n<b>\t\t\t\tVOICE FROM THE PUBLIC\n</b>\t\tDoes she snore?\n\n<b>\t\t\t\tJOF \n</b>\t\tMay I point out that this is a tragedy, and in \n\t\ttragedies one doesn't snore.\n\n<b>\t\t\t\tVOICE FROM THE PUBLIC\n</b>\t\tI think she should snore anyhow. \n\nThis opinion causes mirth in the audience. JOF becomes slightly confused and \ngoes out of character, but MIA keeps her head and begins snoring. \n\n<b>\t\t\t\tJOF \n</b>\t\tNight and moonlight now prevail.\n\t\tThere snores -- I mean sleeps -- my wife so frail. \n\t\tJealous I am, as never before, \n\t\tI hide myself behind this door. \n\t\tFaithful is she \n\t\tTo her lover -- not me. \n\t\tHe soon comes a-stealing \n\t\tTo awaken her lusty feeling. \n\t\tI shall now kill him dead \n\t\tFor cuckolding me in my bed. \n\t\tThere he comes in the moonlight, \n\t\tHis white legs shining bright. \n\t\tQuiet as a mouse, here I'll lie, \n\t\tTell him not that he's about to die.\n\nJOF hides himself. MIA immediately ends her snoring and sits up, looking to \nthe left. \n\n<b>\t\t\t\tMIA \n</b>\t\tLook, there he comes in the night \n\t\tMy lover, my heart's delight.\n\nShe becomes silent and looks wide-eyed in front of her. The mood in the yard \nin front of the inn has, up to now, been rather lighthearted despite the \nheat.\n<b> \n</b>Now a rapid change occurs. People who had been laughing and chattering fall \nsilent. Their faces seem to pale under their sunbrowned skins, the children \nstop their games and stand with gaping mouths and frightened eyes.\n<b> \n</b>JOF steps out in front of the curtain. His painted face bears an expression \nof horror. MIA has risen with MIKAEL in her arms. Some of the women in the \nyard have fallen on their knees, others hide their faces, many begin to \nmutter half-forgotten prayers.\n\nAll have turned their faces towards the white road. Now a shrill song is \nheard. It is frenzied, almost a scream. A crucified Christ sways above the \nhilltop.\n\nThe cross-bearers soon come into sight. They are Dominican monks, their hoods \npulled down over their faces. More and more of them follow, carrying litters \nwith heavy coffins or clutching holy relics, their hands stretched out \nspasmodically. The dust wells up around their black hoods; the censers sway \nand emit a thick, ashen smoke which smells of rancid herbs.\n\nAfter the line of monks comes another procession. It is a column of men, \nboys, old men, women, girls, children. All of them have steel-edged scourges \nin their hands with which they whip themselves and each other, howling \necstatically. They twist in pain; their eyes bulge wildly; their lips are \ngnawed to shreds and dripping with foam. They have been seized by madness. \nThey bite their own hands and arms, whip each other in violent, almost \nrhythmic outbursts. Throughout it all the shrill song howls from their \nbursting throats. Many sway and fall, lift themselves up again, support each\nother and help each other to intensify the scourging.\n\nNow the procession pauses at the crossroads in front of the inn. The monks \nfall on their knees, hiding their faces with clenched hands, arms pressed \ntightly together. Their song never stops. The Christ figure on its timbered \ncross is raised above the heads of the crowd. It is not Christ triumphant, \nbut the suffering Jesus with the sores, the blood, the hammered nails and the \nface in convulsive pain. The Son of God, nailed on the wood of the cross, \nsuffering scorn and shame.\n<b> \n</b>The penitents have now sunk down in the dirt of the road. They collapse where \nthey stood like slaughtered cattle. Their screams rise with the song of the \nmonks, through misty clouds of incense, towards the white fire of the sun.\n<b> \n</b>A large square monk rises from his knees and reveals his face, which is red-\nbrown from the sun. His eyes glitter; his voice is thick with impotent scorn.\n\n<b>\t\t\t\tMONK\n</b>\t\tGod has sentenced us to punishment. We shall \n\t\tall perish in the black death. You, standing \n\t\tthere like gaping cattle, you who sit there in \n\t\tyour glutted complacency, do you know that this \n\t\tmay be your last hour? Death stands right \n\t\tbehind you. I can see how his crown gleams in \n\t\tthe sun. His scythe flashes as he raises it \n\t\tabove your heads. Which one of you shall he \n\t\tstrike first? You there, who stand staring like \n\t\ta goat, will your mouth be twisted into the \n\t\tlast unfinished gasp before nightfall? And you, \n\t\twoman, who bloom with life and self-\n\t\tsatisfaction, will you pale and become \n\t\textinguished before the morning dawns? You back\n\t\tthere, with your swollen nose and stupid grin, \n\t\tdo you have another year left to dirty the \n\t\tearth with your refuse? Do you know, you \n\t\tinsensible fools, that you shall die today or \n\t\ttomorrow, or the next day, because all of you \n\t\thave been sentenced? Do you hear what I say? Do \n\t\tyou hear the word? You have been sentenced, \n\t\tsentenced! \n\nThe MONK falls silent, looking around with a bitter face and a cold, scornful\nglance. Now, he clenches his hands, straddles the ground and turns his face\nupwards. \n\n<b>\t\t\t\tMONK\n</b>\t\tLord have mercy on us in our humiliation! Don't \n\t\tturn your face from us in loathing and \n\t\tcontempt, but be merciful to us for the sake of \n\t\tyour son, Jesus Christ. \n\nHe makes the sign of the cross over the crowd and then begins a new song in a\nstrong voice. The monks rise and join in the song. As if driven by some \nsuperhuman force, the penitents begin to whip themselves again, still wailing \nand moaning.\n\nThe procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.\n\n<b>\t\t\t\tJONS \n</b>\t\tThis damned ranting about doom. Is that food \n\t\tfor the minds of modern people? Do they really \n\t\texpect us to take them seriously?\n\nThe KNIGHT grins tiredly.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, now you grin at me, my lord. But allow me \n\t\tto point out that I've either read, heard or \n\t\texperienced most of the tales which we people \n\t\ttell each other. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(yawns) \n\t\tYes, yes.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tEven the ghost stories about God the Father, \n\t\tthe angels, Jesus Christ and the Holy Ghost --\n\t\tall these I've accepted without too much \n\t\temotion.\n\nHe leans down over the GIRL as she crouches at his feet and pats her on the \nhead. The KNIGHT drinks his beer silently.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(contentedly)\n\t\tMy little stomach is my world, my head is my \n\t\teternity, and my hands, two wonderful suns. My \n\t\tlegs are time's damned pendulums, and my dirty \n\t\tfeet are two splendid starting points for my \n\t\tphilosophy. Everything is worth precisely as \n\t\tmuch as a belch, the only difference being that \n\t\ta belch is more satisfying.\n\nThe beer mug is empty. Sighing, JONS gets to his feet. The GIRL follows him \nlike a shadow.\n\nIn the yard he meets a large man with a sooty face and a dark expression. He \nstops JONS with a roar. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhat are you screaming about?\n\n<b>\t\t\t\tPLOG \n</b>\t\tI am Plog, the smith, and you are the squire \n\t\tJns. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat's possible.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHave you seen my wife?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tNo, I haven't. But if I had seen her and she \n\t\tlooked like you, I'd quickly forget that I'd \n\t\tseen her. \n\n<b>\t\t\t\tPLOG\n</b>\t\tWell, in that case you haven't seen her. \n\n<b>\t\t\t\tJONS \n</b>\t\tMaybe she's run off. \n\n<b>\t\t\t\tPLOG \n</b>\t\tDo you know anything?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tI know quite a lot, but not about your wife. Go \n\t\tto the inn. Maybe they can help you.\n\nThe smith sighs sadly and goes inside.\n\nThe inn is very small and full of people eating and drinking to forget their \nnewly aroused fears of eternity. In the open fireplace a roasting pig turns\non an iron spit. The sun shines outside the casement window, its sharp rays\npiercing the darkness of the room, which is thick with fumes and\nperspiration.\n<b> \n</b><b>\t\t\t\tMERCHANT\n</b>\t\tYes, it's true! The plague is spreading along \n\t\tthe west coast. People are dying like flies. \n\t\tUsually business would be good at this time of \n\t\tyear, but, damn it, I've still got my whole \n\t\tstock unsold.\n\n<b>\t\t\t\tWOMAN \n</b>\t\tThey speak of the judgment day. And all these \n\t\tomens are terrible. Worms, chopped-off hands \n\t\tand other monstrosities began pouring out of \n\t\tan old woman, and down in the village another \n\t\twoman gave birth to a calf's head. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe day of judgment. Imagine.\n\n<b>\t\t\t\tFARMER\n</b>\t\tIt hasn't rained here for a month. We'll surely \n\t\tlose our crops.\n\n<b>\t\t\t\tMERCHANT\n</b>\t\tAnd people are acting crazy, I'd say. They flee \n\t\tthe country and carry the plague with them \n\t\twherever they go. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe day of judgment. Just think, just think! \n\n<b>\t\t\t\tFARMER \n</b>\t\tIf it's as they say, I suppose a person should \n\t\tlook after his house and try to enjoy life as \n\t\tlong as he can. \n\n<b>\t\t\t\tWOMAN \n</b>\t\tBut there have been other things too, such \n\t\tthings that can't even be spoken of. \n\t\t\t(whispers)\n\t\tThings that mustn't be named -- but the priests \n\t\tsay that the woman carries it between her legs \n\t\tand that's why she must cleanse herself. \n\n<b>\t\t\t\tOLD MAN \n</b>\t\tJudgment day. And the Riders of the Apocalypse \n\t\tstand at the bend in the village road. I \n\t\timagine they'll come on judgment night, at \n\t\tsundown.\n\n<b>\t\t\t\tWOMAN \n</b>\t\tThere are many who have purged themselves with\n\t \tfire and died from it, but the priests say that \n\t\tit's better to die pure than to live for hell.\n<b> \n</b><b>\t\t\t\tMERCHANT \n</b>\t\tThis is the end, yes, it is. No one says it out\n\t\tloud, but all of us know that it's the end. And \n\t\tpeople are going mad from fear.\n\n<b>\t\t\t\tFARMER\n</b>\t\tSo you're afraid too. \n\n<b>\t\t\t\tMERCHANT\n</b>\t\tOf course I'm afraid.\n\n<b>\t\t\t\tOLD MAN \n</b>\t\tThe judgment day becomes night, and the angels \n\t\tdescend and the graves open. It will be \n\t\tterrible to see. \n\nThey whisper in low tones and sit close to each other.\n\n\n\nPLOG, the smith, shoves his way into a place next to JOF, who is still \ndressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \nhis face perspiring heavily. RAVAL rolls an armlet out on the table. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tDo you want this armlet? You can have it \n\t\tcheap. \n\n<b>\t\t\t\tJOF \n</b>\t\tI can't afford it. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tIt's real silver.\n\n<b>\t\t\t\tJOF \n</b>\t\tIt's nice. But it's surely too expensive for \n\t\tme. \n\n<b>\t\t\t\tPLOG \n</b>\t\tExcuse me, but has anyone here seen my wife? \n\n<b>\t\t\t\tJOF \n</b>\t\tHas she disappeared? \n\n<b>\t\t\t\tPLOG \n</b>\t\tThey say she's run away. \n\n<b>\t\t\t\tJOF \n</b>\t\tHas she deserted you? \n\n<b>\t\t\t\tPLOG \n</b>\t\tWith an actor.\n\n<b>\t\t\t\tJOF \n</b>\t\tAn actor! If she's got such bad taste, then I \n\t\tthink you should let her go.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou're right. My first thought, of course, was \n\t\tto kill her.\n\n<b>\t\t\t\tJOF \n</b>\t\tOh. But to murder her, that's a terrible thing \n\t\tto do. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI'm also going to kill the actor. \n\n<b>\t\t\t\tJOF \n</b>\t\tThe actor?\n\n<b>\t\t\t\tPLOG \n</b>\t\tOf course, the one she eloped with. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhat has he done to deserve that? \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you stupid?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tThe actor! Now I understand. There are too many \n\t\tof them, so even if he hasn't done anything in \n\t\tparticular you ought to kill him merely because \n\t\the's an actor. \n\n<b>\t\t\t\tPLOG \n</b>\t\tYou see, my wife has always been interested in \n\t\tthe tricks of the theatre.\n\n<b>\t\t\t\tJOF \n</b>\t\tAnd that turned out to be her misfortune. \n\n<b>\t\t\t\tPLOG \n</b>\t\tHer misfortune, but not mine, because a person \n\t\twho's born unfortunate can hardly suffer from \n\t\tany further misfortune. Isn't that true?\n\nNow RAVAL enters the discussion. He is slightly drunk and his voice is shrill \nand evil.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tListen, you! You sit there and lie to the \n\t\tsmith. \n\n<b>\t\t\t\tJOF \n</b>\t\tI! A liar!\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tYou're an actor too and it's probably your \n\t\tpartner who's run off with Plog's old lady. \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you an actor too?\n\n<b>\t\t\t\tJOF \n</b>\t\tAn actor! Me! I wouldn't quite call myself that! \n\n<b>\t\t\t\tRAVAL \n</b>\t\tWe ought to kill you; it's only logical. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(laughs)\n\t\tYou're really funny.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tHow strange -- you've turned pale. Have you \n\t\tanything on your conscience?\n\n<b>\t\t\t\tJOF \n</b>\t\tYou're funny. Don't you think he's funny? \n\t\t\t(to Plog)\n\t\tOh, you don't.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tMaybe we should mark you up a little with a \n\t\tknife, like they do petty scoundrels of your \n\t\tkind.\n\nPLOG bangs his hands down on the table so that the dishes jump. He gets up.\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\t\t(shouting)\n\t\tWhat have you done with my wife? \n\nThe room becomes silent. JOF looks around, but there is no exit, no way to \nescape. He puts his hands on the table. Suddenly a knife flashes through the \nair and sinks into the table top between his fingers.\n\nJOF snatches away his hands and raises his head. He looks half surprised, as \nif the truth had just become apparent to him.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tDo you want to hurt me? Why? Have I provoked \n\t\tsomeone, or got in the way? I'll leave right \n\t\tnow and never come back.\n\nJOF looks from one face to another, but no one seems ready to help him or \ncome to his defense.\n<b> \n</b><b> \t\t\t\tRAVAL \n</b>\t\tGet up so everyone can hear you. Talk louder. \n\nTrembling, JOF rises. He opens his mouth as if to say something, but not a \nword comes out.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tStand on your head so that we can see how good \n\t\tan actor you are.\n\nJOF gets up on the table and stands on his head. A hand pushes him forward so\nthat he collapses on the floor. PLOG rises, pulls him to his feet with one \nhand. \n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(shouts) \n\t\tWhat have you done with my wife? \n\nPLOG beats him so furiously that JOF flies across the table. RAVAL leans over\nhim.\n<b> \n</b><b>\t\t\t\tRAVAL \n</b>\t\tDon't lie there moaning. Get up and dance. \n\n<b>\t\t\t\tJOF \n</b>\t\tI don't want to. I can't.\n\n<b>\t\t\t\tRAVEL \n</b>\t\tShow us how you imitate a bear. \n\n<b>\t\t\t\tJOF \n</b>\t\tI can't play a bear.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tLet's see if you can't after all.\n\nRAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop \non top of the tables, swinging his arms and legs and making grotesque faces.\nSome laugh, but most of the people sit silently. JOF gasps as if his lungs \nwere about to burst. He sinks to his knees, and someone pours beer over him. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tUp again! Be a good bear.\n\n<b>\t\t\t\tJOF \n</b>\t\tI haven't done any harm. I haven't got the \n\t\tstrength to play a bear any more.\n\nAt that moment the door opens and JONS enters. JOF sees his chance and steals\nout. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \neach other. \n\n<b>\t\t\t\tJONS \n</b>\t\tDo you remember what I was going to do to you \n\t\tif we met again?\n\nRAVAL steps back without speaking. \n\n<b>\t\t\t\tJONS \n</b>\t\tI'm a man who keeps his word.\n\nJONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \ntowards the wall.\n<b> \n</b>\n\nThe hot day has become night. Singing and howling can be heard from the inn. \nIn a hollow near the forest, the light still lingers. Hidden in the grass and\nthe shrubbery, nightingales sing and their voices echo through the stillness.\n<b> \n</b>The players' wagon stands in a small ravine, and not far away the horse \ngrazes on the dry grass. MIA has sat down in front of the wagon with her son \nin her arms. They play together and laugh happily.\n\nNow, a soft gleam of light strokes the hilltops, a last reflection from the \nred clouds over the sea.\n\nNot far from the wagon, the KNIGHT sits crouched over his chess game. He \nlifts his head.\n\nThe evening light moves across the heavy wagon wheels, across the woman and \nthe child. The KNIGHT gets up.\n\nMIA sees him and smiles. She holds up her struggling son, as if to amuse the \n<b>KNIGHT. \n</b>\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat's his name? \n\n<b>\t\t\t\tMIA \n</b>\t\tMikael.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow old is he? \n\n<b>\t\t\t\tMIA \n</b>\t\tOh, he'll soon be two. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHe's big for his age.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you think so? Yes, I guess he's rather big. \n\nShe puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou played some kind of show this afternoon. \n\n<b>\t\t\t\tMIA \n</b>\t\tDid you think it was bad?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou are more beautiful now without your face \n\t\tpainted, and this gown is more becoming.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou see, Jonas Skat has run off and left us, \n\t\tso we're in real trouble now.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIs that your husband?\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(laughs)\n\t\tJonas! The other man is my husband. His name is \n\t\tJof.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tOh, that one.\n\n<b>\t\t\t\tMIA \n</b>\t\tAnd now there's only him and me. We'll have to \n\t\tstart doing tricks again and that's more \n\t\ttrouble than it's worth. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDo you do tricks also?\n\n<b>\t\t\t\tMIA \n</b>\t\tWe certainly do. And Jof is a very skillful \n\t\tjuggler.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIs Mikael going to be an acrobat? \n\n<b>\t\t\t\tMIA \n</b>\t\tJof wants him to be. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tBut you don't.\n\n<b>\t\t\t\tMIA \n</b>\t\tI don't know.\n\t\t\t(smiling)\n\t\tPerhaps he'll become a knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tLet me assure you, that's no pleasure either. \n\n<b>\t\t\t\tMIA \n</b>\t\tNo, you don't look so happy. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo.\n\n<b>\t\t\t\tMIA \n</b>\t\tAre you tired? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes. \n\n<b>\t\t\t\tMIA \n</b>\t\tWhy?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tI have dull company. \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you mean your squire? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo, not him.\n\n<b>\t\t\t\tMIA \n</b>\t\tWho do you mean, then? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMyself. \n\n<b>\t\t\t\tMIA \n</b>\t\tI understand. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDo you, really?\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tYes, I understand rather well. I have often \n\t\twondered why people torture themselves as often \n\t\tas they can. Isn't that so?\n\nShe nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass \nmound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like \na child, and his body sways. He kneels. MIA holds him close to her and \nsprinkles him with small, anxious questions: What have you done? How are you?\nWhat is it? Does it hurt? What can I do? Have they been cruel to you? She \nruns for a rag, which she dips in water, and carefully bathes her husband's\ndirty, bloody face.\n<b> \n</b>Eventually a rather sorrowful visage emerges. Blood runs from a bruise on his \nforehead and his nose, and a tooth has been loosened, but otherwise JOF seems \nunhurt. \n\n<b>\t\t\t\tJOF \n</b>\t\tOuch, it hurts.\n\n<b>\t\t\t\tMIA\n</b>\t\tWhy did you have to go there? And of course you \n\t\tdrank.\n\nMIA's anxiety has been replaced by a mild anger. She pats him a little harder \nthan necessary. \n\n<b>\t\t\t\tJOF \n</b>\t\tOuch! I didn't drink anything.\n\n<b>\t\t\t\tMIA\n</b>\t\tThen I suppose you were boasting about the \n\t\tangels and devils you consort with. People \n\t\tdon't like someone who has too many ideas and \n\t\tfantasies.\n\n<b>\t\t\t\tJOF \n</b>\t\tI swear to you that I didn't say a word about \n\t\tangels. \n\n<b>\t\t\t\tMIA\n</b>\t\tYou were, of course, busy singing and dancing. \n\t\tYou can never stop being an actor. People also \n\t\tbecome angry at that, and you know it.\n\nJOF doesn't answer but searches for the armlet. He holds it up in front of \nMIA with an injured expression. \n\n<b>\t\t\t\tJOF \n</b>\t\tLook what I bought for you. \n\n<b>\t\t\t\tMIA \n</b>\t\tYou couldn't afford it. \n\n<b>\t\t\t\tJOF \n</b>\t\t\t(angry)\n\t\tBut I got it anyhow.\n\nThe armlet glitters faintly in the twilight. MIA now pulls it across her \nwrist. They look at it in silence, and their faces soften. They look at each \nother, touch each other's hands. JOF puts his head against MIA'S shoulder and \nsighs.\n\n<b>\t\t\t\tJOF \n</b>\t\tOh, how they beat me.\n\n<b>\t\t\t\tMIA \n</b>\t\tWhy didn't you beat them back?\n\n<b>\t\t\t\tJOF \n</b>\t\tI only become frightened and angry. I never get \n\t\ta chance to hit back. I can get angry, you know \n\t\tthat. I roared like a lion.\n\n<b>\t\t\t\tMIA\n</b>\t\tWere they frightened? \n\n<b>\t\t\t\tJOF \n</b>\t\tNo, they just laughed.\n\nTheir son MIKAEL crawls over to them. JOF lies down on the ground and pulls \nhis son on top of him. MIA gets down on her hands and knees and playfully \nsniffs at MIKAEL.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you notice how good he smells?\n\n<b>\t\t\t\tJOF \n</b>\t\tAnd he is so compact to hold. You're a sturdy \n\t\tone. A real acrobat's body.\n\nHe lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \nremembering the knight's presence. \n\n<b>\t\t\t\tMIA \n</b>\t\tYes, this is my husband, Jof. \n\n<b>\t\t\t\tJOF \n</b>\t\tGood evening. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tGood evening.\n<b> \n</b>JOF becomes a little embarrassed and rises. All three of them look at one \nanother silently.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tI have just told your wife that you have a \n\t\tsplendid son. He'll bring great joy to you. \n\n<b>\t\t\t\tJOF \n</b>\t\tYes, he's fine.\n<b>     \n</b>They become silent again.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tHave we nothing to offer the knight, Mia? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThank you, I don't want anything.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(housewifely)\n\t\tI picked a basket of wild strawberries this \n\t\tafternoon. And we have a drop of milk fresh \n\t\tfrom a cow ... \n\n<b>\t\t\t\tJOF \n</b>\t\t... that we were allowed to milk. So, if you \n\t\twould like to partake of this humble fare, it \n\t\twould be a great honor. \n\n<b>\t\t\t\tMIA \n</b>\t\tPlease be seated and I'll bring the food. \n\nThey sit down. MIA disappears with MIKAEL. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhere are you going next? \n\n<b>\t\t\t\tJOF \n</b>\t\tUp to the saints' feast at Elsinore. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI wouldn't advise you to go there. \n\n<b>\t\t\t\tJOF \n</b>\t\tWhy not, if I may ask?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThe plague has spread in that direction, \n\t\tfollowing the coast line south. It's said that \n\t\tpeople are dying by the tens of thousands.\n\n<b>\t\t\t\tJOF \n</b>\t\tReally! Well, sometimes life is a little hard. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tMay I suggest ... \n\t\t\t(JOF looks at him, surprised)\n \t\t... that you follow me through the forest \n\t\ttonight and stay at my home if you like. Or go \n\t\talong the east coast. You'll probably be safer \n\t\tthere.\n\nMIA has returned with a bowl of wild strawberries and the milk, places it \nbetween them and gives each of them a spoon.\n\n<b>\t\t\t\tJOF \n</b>\t\tI wish you good appetite. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI humbly thank you.\n\n<b>\t\t\t\tMIA \n</b>\t\tThese are wild strawberries from the forest. I \n\t\thave never seen such large ones. They grow up \n\t\tthere on the hillside. Notice how they smell!\n\nShe points with a spoon and smiles. The KNIGHT nods, as if he were pondering \nsome profound thought. JOF eats heartily.\n\n<b>\t\t\t\tJOF \n</b>\t\tYour suggestion is good, but I must think it \n\t\tover. \n\n<b>\t\t\t\tMIA \n</b>\t\tIt might be wise to have company going through \n\t\tthe forest. It's said to be full of trolls and \n\t\tghosts and bandits. That's what I've heard.\n\n<b>\t\t\t\tJOF \n</b>\t\t\t(staunchly)\n\t\tYes, I'd say that it's not a bad idea, but I \n\t\thave to think about it. Now that Skat has left, \n\t\tI am responsible for the troupe. After all, I \n\t\thave become director of the whole company.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(mimics) \n\t\tAfter all, I have become director of the whole \n\t\tcompany.\n\nJONS comes walking slowly down the hill, closely followed by the GIRL. MIA \npoints with her spoon. \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you want some strawberries?\n\n<b>\t\t\t\tJOF \n</b>\t\tThis man saved my life. Sit down, my friend, \n\t\tand let us be together.\n\n<b>\t\t\t\tMIA \n</b>\t\t\t(stretches herself) \n\t\tOh, how nice this is. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tFor a short while.\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tNearly always. One day is like another. There \n\t\tis nothing strange about that. The summer, of \n\t\tcourse, is better than the winter, because in \n\t\tsummer you don't have to be cold. But spring is \n\t\tbest of all.\n\n<b>\t\t\t\tJOF \n</b>\t\tI have written a poem about the spring. Perhaps \n\t\tyou'd like to hear it. I'll run and get my lyre. \n\nHe sprints towards the wagon.\n<b> \n</b><b> \t\t\t\tMIA \n</b>\t\tNot now, Jof. Our guests may not be amused by \n\t\tyour songs.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(politely) \n\t\tBy all means. I write little songs myself. For \n\t\texample, I know a very funny song about a \n\t\twanton fish which I doubt that you've heard yet. \n\nThe KNIGHT looks at him.\n\n<b>\t\t\t\tJONS \n</b>\t\tYou'll not get to hear it either. There are \n\t\tpersons here who don't appreciate my art and I \n\t\tdon't want to upset anyone. I'm a sensitive \n\t\tsoul.\n\nJOF has come out with his lyre, sits on a small, gaudy box and plucks at the \ninstrument, humming quietly, searching for his melody. JONS yawns and lies \ndown. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tPeople are troubled by so much.\n\n<b>\t\t\t\tMIA \n</b>\t\tIt's always better when one is two. Have you no \n\t\tone of your own?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I think I had someone. \n\n<b>\t\t\t\tMIA \n</b>\t\tAnd what is she doing now? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI don't know.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou look so solemn. Was she your beloved? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWe were newly married and we played together. \n\t\tWe laughed a great deal. I wrote songs to her \n\t\teyes, to her nose, to her beautiful little \n\t\tears. We went hunting together and at night we \n\t\tdanced. The house was full of life ... \n\n<b>\t\t\t\tMIA \n</b>\t\tDo you want some more strawberries?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head)\n\t\tFaith is a torment, did you know that? It is \n\t\tlike loving someone who is out there in the \n\t\tdarkness but never appears, no matter how \n\t\tloudly you call. \n\n<b>\t\t\t\tMIA \n</b>\t\tI don't understand what you mean.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tEverything I've said seems meaningless and \n\t\tunreal while I sit here with you and your \n\t\thusband. How unimportant it all becomes \n\t\tsuddenly.\n\nHe takes the bowl of milk in his hand and drinks deeply from it several \ntimes. Then he carefully puts it down and looks up, smiling.\n\n<b>\t\t\t\tMIA \n</b>\t\tNow you don't look so solemn.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI shall remember this moment. The silence, the \n\t\ttwilight, the bowls of strawberries and milk,\n\t\tyour faces in the evening light. Mikael \n\t\tsleeping, Jof with his lyre. I'll try to \n\t\tremember what we have talked about. I'll carry \n\t\tthis memory between my hands as carefully as \n\t\tif it were a bowl filled to the brim with fresh \n\t\tmilk. \n\nHe turns his face away and looks out towards the sea and the colorless gray \nsky. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd it will be an adequate sign -- it will be \n\t\tenough for me.\n\nHe rises, nods to the others and walks down towards the forest. JOF continues \nto play on his lyre. MIA stretches out on the grass.\n\nThe KNIGHT picks up his chess game and carries it towards the beach. It is \nquiet and deserted; the sea is still. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have been waiting for you.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tPardon me. I was detained for a few moments. \n\t\tBecause I revealed my tactics to you, I'm in \n\t\tretreat. It's your move.\n\n<b>\t\t\t\tDEATH \n</b>\t\tWhy do you look so satisfied? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat's my secret.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tOf course. Now I take your knight. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYou did the right thing. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHave you tricked me?\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tOf course. You fell right in the trap. Check! \n\n<b>\t\t\t\tDEATH \n</b>\t\tWhat are you laughing at?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tDon't worry about my laughter; save your king \n\t\tinstead.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou're rather arrogant. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOur game amuses me.\n\n<b>\t\t\t\tDEATH \n</b>\t\tIt's your move. Hurry up. I'm a little pressed \n\t\tfor time.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI understand that you've a lot to do, but you \n\t\tcan't get out of our game. It takes time.\n\nDEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.\n\n<b>\t\t\t\tDEATH \n</b>\t\tAre you going to escort the juggler and his \n\t\twife through the forest? Those whose names are \n\t\tJof and Mia and who have a small son? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy do you ask? \n\n<b>\t\t\t\tDEATH \n</b>\t\tOh, no reason at all.\n<b> \n</b>The KNIGHT suddenly stops smiling. DEATH looks at him scornfully.\n<b> \n</b>\n\nImmediately after sundown, the little company gathers in the yard of the inn.\nThere is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \nson, MIKAEL, is already asleep. JONAS SKAT is still missing. \n\nJONS goes into the inn to get provisions for the night journey and to have a \nlast mug of beer. The inn is now empty and quiet except for a few farmhands \nand maidens who are eating their evening meal in a corner. At one of the \nsmall windows sits a lonely, hunched-over fellow, with a jug of brandy in his \nhands. His expression is very sad. Once in a while he is shaken by a gigantic \nsob. It is PLOG, the smith, who sits there and whimpers. \n\n<b>\t\t\t\tJONS \n</b>\t\tGod in heaven, isn't this Plog, the smith? \n\n<b>\t\t\t\tPLOG \n</b>\t\tGood evening.\n\n<b>\t\t\t\tJONS \n</b>\t\tAre you sitting here sniveling in loneliness? \n\n<b>\t\t\t\tPLOG \n</b>\t\tYes, yes, look at the smith. He moans like a \n\t\trabbit. \n\n<b>\t\t\t\tJONS \n</b>\t\tIf I were in your boots, I'd be happy to get \n\t\trid of a wife in such an easy way.\n\nJONS pats the smith on the back, quenches his thirst with beer, and sits down \nby his side. \n\n<b>\t\t\t\tPLOG \n</b>\t\tAre you married?\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tI! A hundred times and more. I can't keep count \n\t\tof all my wives any longer. But it's often that \n\t\tway when you're a traveling man.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI can assure you that one wife is worse than a \n\t\thundred, or else I've had worse luck than any \n\t\tpoor wretch in this miserable world, which \n\t\tisn't impossible.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, it's hell with women and hell without \n\t\tthem. So, however you look at it, it's still \n\t\tbest to kill them off while it's most amusing.\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\tWomen's nagging, the shrieking of children and \n\t\twet diapers, sharp nails and sharp words, blows \n\t\tand pokes, and the devil's aunt for a \n\t\tmother-in-law. And then, when one wants to \n\t\tsleep after a long day, there's a new song -- \n\t\ttears, whining and moans loud enough to wake \n\t\tthe dead. \n\nJONS nods delightedly. He has drunk deeply and talks with an old woman's \nvoice. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhy don't you kiss me good night?\n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(in the same way)\n\t\tWhy don't you sing a song for me? \n\n<b>\t\t\t\tJONS \n</b>\t\tWhy don't you love me the way you did when we \n\t\tfirst met?\n\n<b>\t\t\t\tPLOG \n</b>\t\tWhy don't you look at my new slip? \n\n<b>\t\t\t\tJONS \n</b>\t\tYou only turn your back and snore. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh hell!\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tOh hell. And now she's gone. Rejoice!\n<b> \n</b><b>\t\t\t\tPLOG \n</b>\t\t\t(furious) \n\t\tI'll snip their noses with pliers, I'll bash in \n\t\ttheir chests with a small hammer, I'll tap \n\t\ttheir heads ever so lightly with a sledge.\n\nPLOG begins to cry loudly and his whole body sways in an enormous attack of \nsorrow. JONS looks at him with interest.\n\n<b>\t\t\t\tJONS\n</b>\t\tLook how he howls again. \n\n<b>\t\t\t\tPLOG \n</b>\t\tMaybe I love her.\n\n<b>\t\t\t\tJONS \n</b>\t\tSo, maybe you love her! Then, you poor \n\t\tmisguided ham shank, I'll tell you that love is \n\t\tanother word for lust, plus lust, plus lust \n\t\tand a damn lot of cheating, falseness, lies and \n\t\tall kinds of other fooling around. \n\n<b>\t\t\t\tPLOG\n</b>\t\tYes, but it hurts anyway.\n\n<b>\t\t\t\tJONS \n</b>\t\tOf course. Love is the blackest of all plagues, \n\t\tand if one could die of it, there would be \n\t\tsome pleasure in love. But you almost always \n\t\tget over it. \n\n<b>\t\t\t\tPLOG\n</b>\t\tNo, no, not me.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, you too. There are only a couple of poor \n\t\twretches who die of love once in a while. Love \n\t\tis as contagious as a cold in the nose. It eats \n\t\taway at your strength, your independence, your \n\t\tmorale, if you have any. If everything is \n\t\timperfect in this imperfect world, love is most \n\t\tperfect in its perfect imperfection.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou're happy, you with your oily words, and, \n\t\tbesides, you believe your own drivel.\n\n<b>\t\t\t\tJONS \n</b>\t\tBelieve! Who said that I believed it? But I \n\t\tlove to give good advice. If you ask me for \n\t\tadvice you'll get two pieces for the price of \n\t\tone, because after all I really am an educated \n\t\tman.\n\nJONS gets up from the table and strokes his face with his hands. PLOG becomes \nvery unhappy and grabs his belt. \n\n<b>\t\t\t\tPLOG \n</b>\t\tListen, Jns. May I go with you through the \n\t\tforest? I'm so lonely and don't want to go home \n\t\tbecause everyone will laugh at me.\n\n<b>\t\t\t\tJONS \n</b>\t\tOnly if you don't whimper all the time, because \n\t\tin that case we'll all have to avoid you.\n\nPLOG gets up and embraces JONS. Slightly drunk, the two new friends walk \ntowards the door.\n<b> \n</b>When they come out in the yard, JOF immediately catches sight of them, \nbecomes angry and yells a warning to JONS.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tJns! Watch out. That one wants to fight all \n\t\tthe time. He's not quite sane.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, but now he's just sniveling.\n\nPLOG steps up to JOF, who blanches with fear. PLOG offers his hand.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI'm really sorry if I hurt you. But I have \n\t\tsuch a hell of a temper, you know. Shake hands.\n\nJOF gingerly proffers a frightened hand and gets it thoroughly shaken and \nsqueezed. While JOF tries to straighten out his fingers, PLOG is seized by \ngreat good will and opens his arms.\n\n<b>\t\t\t\tPLOG \n</b>\t\tCome in my arms, little brother.\n\n<b>\t\t\t\tJOF \n</b>\t\tThank you, thank you, perhaps later. But now \n\t\twe're really in a hurry.\n\nJOF climbs up on the wagon seat quickly and clucks at the horse.\n<b> \n</b>\n\nThe small company is on its way towards the forest and the night.\n\nIt is dark in the forest.\n<b> \n</b>First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \nclose to each other in the juggler's wagon. MIA holds her son in her arms. \nJONS follows them with his heavily laden horse. He has the smith in tow. The \nGIRL sits on top of the load on the horse's back, hunched over as if asleep.\n\nThe footsteps, the horses' heavy tramp on the soft path, the human breathing \n-- yet it is quiet.\n<b> \n</b>Then the moon sails out of the clouds. The forest suddenly becomes alive with \nthe night's unreality. The dazzling light pours through the thick foliage of \nthe beech trees, a moving, quivering world of light and shadow.\n\nThe wanderers stop. Their eyes are dark with anxiety and foreboding. Their \nfaces are pale and unreal in the floating light. It is very quiet.\n\n<b>\t\t\t\tPLOG\n</b>\t\tNow the moon has come out of the clouds. \n\n<b>\t\t\t\tJONS \n</b>\t\tThat's good. Now we can see the road better. \n\n<b>\t\t\t\tMIA \n</b>\t\tI don't like the moon tonight. \n\n<b>\t\t\t\tJOF \n</b>\t\tThe trees stand so still.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tThat's because there's no wind. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI guess he means that they stand very still. \n\n<b>\t\t\t\tJOF \n</b>\t\tIt's completely quiet.\n\n<b>\t\t\t\tJONS \n</b>\t\tIf one could hear a fox at least. \n\n<b>\t\t\t\tJOF \n</b>\t\tOr an owl.\n\n<b>\t\t\t\tJONS \n</b>\t\tOr a human voice besides one's own.\n\n<b>\t\t\t\tGIRL\n</b>\t\tThey say it's dangerous to remain standing in \n\t\tmoonlight.\n\nSuddenly, out of the silence and the dim light falling across the forest \nroad, a ghostlike cart emerges. It is the WITCH being taken to the place \nwhere she will be burned. Next to her eight soldiers shuffle along tiredly, \ncarrying their lances on their backs. The girl sits in the cart, bound with \niron chains around her throat and arms. She stares fixedly into the \nmoonlight.\n<b> \n</b>A black figure sits next to her, a monk with his hood pulled down over his \nhead. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhere are you going? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\tTo the place of execution.\n\n<b>\t\t\t\tJONS \n</b>\t\tYes, now I can see. It's the girl who has done \n\t\tit with the Black One. The witch?\n\nThe SOLDIER nods sourly. Hesitantly, the travelers follow. The KNIGHT guides \nhis horse over to the side of the cart. The WITCH seems to be half-conscious, \nbut her eyes are wide open.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI see that they have hurt your hands.\n\nThe WITCH'S pale, childish face turns towards the KNIGHT and she shakes her \nhead. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI have a potion that will stop your pain.\n\nShe shakes her head again.\n<b> \n</b><b>\t\t\t\tJONS \n</b>\t\tWhy do you burn her at this time of night? \n\t\tPeople have so few diversions these days.\n<b> \n</b><b>\t\t\t\tSOLDIER \n</b>\t\tSaints preserve us, be quiet! It's said that \n\t\tshe brings the Devil with her wherever she \n\t\tgoes. \n\n<b>\t\t\t\tJONS \n</b>\t\tYou are eight brave men, then.\n\n<b>\t\t\t\tSOLDIER \n</b>\t\tWell, we've been paid. And this is a volunteer \n\t\tjob. \n\nThe SOLDIER speaks in whispers while glancing anxiously at the WITCH.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(to the WITCH)\n\t\tWhat's your name? \n\n<b>\t\t\t\tTYAN\n</b>\t\tMy name is Tyan, my lord. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow old are you? \n\n<b>\t\t\t\tTYAN\n</b>\t\tFourteen, my lord.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd is it true that you have been in league \n\t\twith the Devil?\n\nTYAN nods quietly and looks away. Now they arrive at the parish border. At \nthe foot of the nearby hills lies a crossroads. The pyre has already been \nstacked in the center of the forest clearing. The travelers remain there, \nhesitant and curious.\n<b> \n</b>The soldiers have tied up the cart horse and bring out two long wooden beams.\nThey nail rungs across the beams so that it looks like a ladder. TYAN will be \nbound to this like an eelskin stretched out to dry.\n\nThe sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes, \ntouches her very lightly as if to waken her. Slowly she turns her face \ntowards him.\n<b> \n</b><b>\t\t\t\tKNIGHT \n</b>\t\tThey say that you have been in league with the \n\t\tDevil.\n\n<b>\t\t\t\tTYAN\n</b>\t\tWhy do you ask?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNot out of curiosity, but for very personal \n\t\treasons. I too want to meet him. \n\n<b>\t\t\t\tTYAN \n</b>\t\tWhy?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI want to ask him about God. He, if anyone, \n\t\tmust know.\n\n<b>\t\t\t\tTYAN \n</b>\t\tYou can see him anytime. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHow?\n\n<b>\t\t\t\tTYAN \n</b>\t\tYou must do as I tell you.\n\nThe KNIGHT grips the wooden rail of the cart so tightly that his knuckles \nwhiten. TYAN leans forward and joins her gaze with his. \n\n<b>\t\t\t\tTYAN \n</b>\t\tLook into my eyes.\n\nThe KNIGHT meets her gaze. They stare at each other for a long time.\n\n<b>\t\t\t\tTYAN \n</b>\t\tWhat do you see? Do you see him?\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI see fear in your eyes, an empty, numb fear. \n\t\tBut nothing else.\n\nHe falls silent. The soldiers work at the stakes; their hammering echoes in \nthe forest. \n\n<b>\t\t\t\tTYAN \n</b>\t\tNo one, nothing, no one? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head)\n\t\tNo.\n\n<b>\t\t\t\tTYAN\n</b>\t\tCan't you see him behind your back? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(looks around) \n\t\tNo, there is no one there. \n\n<b>\t\t\t\tTYAN \n</b>\t\tBut he is with me everywhere. I only have to \n\t\tstretch out my hand and I can feel his hand. He \n\t\tis with me now too. The fire won't hurt me. He \n\t\twill protect me from everything evil.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHas he told you this? \n\n<b>\t\t\t\tTYAN \n</b>\t\tI know it.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tHas he said it?\n\n<b>\t\t\t\tTYAN \n</b>\t\tI know it, I know it. You must see him \n\t\tsomewhere, you must. The priests had no \n\t\tdifficulty seeing him, nor did the soldiers. \n\t\tThey are so afraid of him that they don't even \n\t\tdare touch me.\n\nThe sounds of the hammers stops. The soldiers stand like black shadows rooted \nin the moss. They fumble with the chains and pull at the neck iron. TYAN \nmoans weakly, as if she were far away.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhy have you crushed her hands? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\t\t(surly) \n\t\tWe didn't do it. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWho did? \n\n<b>\t\t\t\tSOLDIER\n</b>\t\tAsk the monk.\n\nThe soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming \nin the moonlight. Her blackened mouth opens as if to scream, but no sound \nemerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat have you done with the child? \n\nDEATH turns around and looks at him. \n\n<b>\t\t\t\tDEATH \n</b>\t\tDon't you ever stop asking questions? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo, I'll never stop.\n\nThe soldiers chain TYAN to the rungs of the ladder. She submits resignedly, \nmoans weakly like an animal and tries to ease her body into position.\n<b> \n</b>When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her. \n\n<b>\t\t\t\tJONS \n</b>\t\tFor a moment I thought of killing the soldiers, \n\t\tbut it would do no good. She's nearly dead \n\t\talready. \n\nOne of the soldiers approaches. Thick smoke wells down from the pyre and \nsweeps over the quiet shadows near the crossroads and the hill.\n\n<b>\t\t\t\tSOLDIER\n</b>\t\tI've told you to be careful. Don't go too close \n\t\tto her.\n\nThe KNIGHT doesn't heed this warning. He cups his hand, fills it with water \nfrom the skin and gives it to TYAN. Then he gives her a potion.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tTake this and it will stop the pain.\n\nSmoke billows down over them and they begin to cough. The soldiers step \nforward and raise the ladder against a nearby fir tree. TYAN hangs there \nmotionlessly, her eyes wide open.\n\nThe KNIGHT straightens up and stands immobile. JONS is behind him, his voice \nnearly choked with rage. \n\n<b>\t\t\t\tJONS \n</b>\t\tWhat does she see? Can you tell me? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\t\t(shakes his head) \n\t\tShe feels no more pain. \n\n<b>\t\t\t\tJONS \n</b>\t\tYou don't answer my question. Who watches over \n\t\tthat child? Is it the angels, or God, or the \n\t\tDevil, or only the emptiness? Emptiness, my \n\t\tlord!\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThis cannot be.\n\n<b>\t\t\t\tJONS \n</b>\t\tLook at her eyes, my lord. Her poor brain has \n\t\tjust made a discovery. Emptiness under the \n\t\tmoon. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNo.\n\n<b>\t\t\t\tJONS \n</b>\t\tWe stand powerless, our arms hanging at our \n\t\tsides, because we see what she sees, and our \n\t\tterror and hers are the same. \n\t\t\t(an outburst) \n\t\tThat poor little child. I can't stand it, I \n\t\tcan't stand it ...\n\nHis voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.\n<b> \n</b>\n\nThe forest is now very dark. The road winds between the trees. The wagon \nsqueaks and rattles over stones and roots. A bird suddenly shrieks.\n<b> \n</b>JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.\n\nHis silence makes him seem almost unreal. JONS and PLOG are slightly drunk \nand support each other. Suddenly PLOG has to sit down. He puts his hands over \nhis face and howls piteously. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh, now it came over me again! \n\n<b>\t\t\t\tJONS \n</b>\t\tDon't scream. What came over you?\n\n<b>\t\t\t\tPLOG \n</b>\t\tMy wife, damn it. She is so beautiful. She is \n\t\tso beautiful that she can't be described \n\t\twithout the accompaniment of a lyre.\n\n<b>\t\t\t\tJONS \n</b>\t\tNow it starts again.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHer smile is like brandy. Her eyes like \n\t\tblackberries ...\n\nPLOG searches for beautiful words. He gestures gropingly with his large \nhands.\n\n<b>\t\t\t\tJONS \n</b>\t\t\t(sighs) \n\t\tGet up, you tear-drenched pig. We'll lose the \n\t\tothers.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYes, of course, of course. Her nose is like a \n\t\tlittle pink potato; her behind is like a juicy \n\t\tpear -- yes, the whole woman is like a \n\t\tstrawberry patch. I can see her in front of me, \n\t\twith arms like wonderful cucumbers.\n\n<b>\t\t\t\tJONS \n</b>\t\tSaints almighty, stop! You're a very bad poet, \n\t\tdespite the fact that you're drunk. And your \n\t\tvegetable garden bores me.\n\nThey walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest. \n\n<b>\t\t\t\tPLOG \n</b>\t\tLook there.\n\n<b>\t\t\t\tJONS \n</b>\t\tDo you see something? \n\n<b>\t\t\t\tPLOG \n</b>\t\tThere, over there! \n\n<b>\t\t\t\tJONS \n</b>\t\tI don't see anything.\n\n<b>\t\t\t\tPLOG \n</b>\t\tHang on to something, my friends. The hour is \n\t\tnear! Who is that at the edge of the forest if \n\t\tnot my own dearly beloved, with actor attached?\n\nThe two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.\n\nFor a few confusing moments the two rivals stumble among the stones and \nbushes in the gray gloom of the forest. The duel begins to look senseless, \nbecause both of them are equally frightened.\n\nThe travelers silently observe this confused performance. LISA screams once \nin a while, more out of duty than out of impulse.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(panting) \n\t\tYou miserable stubbleheaded bastard of seven \n\t\tscurvy bitches, if I were in your lousy rags I \n\t\twould be stricken with such eternal shame about \n\t\tmy breath, my voice, my arms and legs -- in \n\t\tshort, about my whole body -- that I would \n\t\timmediately rid nature of my own embarrassing \n\t\tself. \n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(angry) \n\t\tWatch out, you perfumed slob, that I don't fart \n\t\ton you and immediately blow you down to the \n\t\tactor's own red-hot hell, where you can sit and \n\t\trecite monologues to each other until the dust \n\t\tcomes out of the Devil's ears. \n\nThen LISA throws herself around her husband's neck. \n\n<b>\t\t\t\tLISA \n</b>\t\tForgive me, dear little husband, I'll never do \n\t\tit again. I am so sorry and you can't imagine \n\t\thow terribly that man over there betrayed me. \n\n<b>\t\t\t\tPLOG \n</b>\t\tI'll kill him anyway.\n\n<b>\t\t\t\tLISA \n</b>\t\tYes, do that, just kill him. He isn't even a \n\t\thuman being.\n\n<b>\t\t\t\tJONS \n</b>\t\tHell, he's an actor.\n\n<b>\t\t\t\tLISA \n</b>\t\tHe is only a false beard, false teeth, false \n\t\tsmiles, rehearsed lines, and he's as empty as a \n\t\tjug. Just kill him. \n\nLISA sobs with excitement and sorrow. PLOG looks around, a little confused. \nSKAT uses this opportunity. He pulls out a dagger and places the point \nagainst his breast.\n\n<b>\t\t\t\tSKAT \n</b>\t\tShe's right. Just kill me. If you thought that \n\t\tI was going to apologize for being what I am, \n\t\tyou are mistaken. \n\n<b>\t\t\t\tLISA \n</b>\t\tLook how sickening he is. How he makes a fool \n\t\tof himself, how he puts on an act. Dear Plog, \n\t\tkill him. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy friends, you have only to push, and my \n\t\tunreality will soon be transformed into a new, \n\t\tsolid reality. An absolutely tangible corpse.\n\n<b>\t\t\t\tLISA \n</b>\t\tDo something then. Kill him.\n\n<b>\t\t\t\tPLOG \n</b>\t\t\t(embarrassed) \n\t\tHe has to fight me, otherwise I can't kill him.\n\n<b>\t\t\t\tSKAT \n</b>\t\tYour life's thread now hangs by a very ragged \n\t\tshred. Idiot, your day is short.\n\n<b>\t\t\t\tPLOG \n</b>\t\tYou'll have to irritate me a little more to get \n\t\tme as angry as before.\n\nSKAT looks at the travelers with a pained expression and then lifts his eyes \ntowards the night sky. \n\n<b>\t\t\t\tSKAT \n</b>\t\tI forgive all of you. Pray for me sometimes. \n\nSKAT sinks the dagger into his breast and slowly falls to the ground. The \ntravelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands. \n\n<b>\t\t\t\tPLOG \n</b>\t\tOh dear, dear, I didn't mean it that way! Look, \n\t\tthere's no life left in him. I was beginning to \n\t\tlike him, and in my opinion Lisa was much too \n\t\tspiteful. \n\nJOF leans over his colleague.\n\n<b>\t\t\t\tJOF \n</b>\t\tHe's dead, totally, enormously dead. In fact, \n\t\tI've never seen such a dead actor.\n\n<b>\t\t\t\tLISA \n</b>\t\tCome on, let's go. This is nothing to mourn \n\t\tover. He has only himself to blame.\n\n<b>\t\t\t\tPLOG \n</b>\t\tAnd I have to be married to her. \n\n<b>\t\t\t\tJONS \n</b>\t\tWe must go on.\n\nSKAT lies in the grass and keeps the dagger pressed tightly to his breast. \nThe travelers depart and soon they have disappeared into the dark forest on \nthe other side of the meadow. When SKAT is sure that no one can see him, he \nsits up and lifts the dagger from his breast. It is a stage dagger with a \nblade that pushes into the handle. SKAT laughs to himself.\n\n<b>\t\t\t\tSKAT \n</b>\t\tNow that was a good scene. I'm really a good \n\t\tactor. After all, why shouldn't I be a little \n\t\tpleased with myself? But where shall I go? I'll \n\t\twait until it becomes light and then I'll find \n\t\tthe easiest way out of the forest. I'll climb \n\t\tup a tree for the time being so that no bears, \n\t\twolves or ghosts can get at me.\n\nHe soon finds a likely tree and climbs up into its thick foliage. He sits \ndown as comfortably as possible and reaches for his food pouch.\n\n<b>\t\t\t\tSKAT \n</b>\t\t\t(yawns) \n\t\tTomorrow I'll find Jof and Mia and then we'll \n\t\tgo to the saints' feast in Elsinore. We'll make \n\t\tlots of money there. \n\t\t\t(yawns)\n\t\tNow, I'll sing a little song to myself: \n\t\t\t(sings) \n\t\tI am a little bird \n\t\tWho sings whate'er he will, \n\t\tAnd when I am in danger \n\t\tI fling out a pissing trill \n\t\tAs in the carnal thrill.\n\t\t\t(speaks)\n\t\tIt's boring to be alone in the forest tonight. \n\t\t\t(sings) \n\t\tThe terrible night doesn't frighten me ... \n\nHe interrupts himself and listens. The sound of industrious sawing is heard \nthrough the silence.\n\n<b>\t\t\t\tSKAT \n</b>\t\tWorkmen in the forest. Oh, well! \n\t\t\t(sings)\n\t\tThe terrible night doesn't frighten me ... \n\t\t\t(speaks)\n\t\tHey, what the devil ... it's my tree they're \n\t\tcutting down.\n\nHe peers through the foliage. Below him stands a dark figure diligently \nsawing away at the base of the tree. SKAT becomes frightened and angry.\n<b> \n</b><b>\t\t\t\tSKAT \n</b>\t\tHey, you! Do you hear me, you tricky bastard? \n\t\tWhat are you doing with my tree?\n\nThe sawing continues without a pause. SKAT becomes more frightened.\n\n<b>\t\t\t\tSKAT \n</b>\t\tCan't you at least answer me? Politeness costs \n\t\tso little. Who are you?\n\nDEATH straightens his back and squints up at him. SKAT cries out in terror.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'm sawing down your tree because your time is\n\t\tup.\n<b>  \n</b><b>\t\t\t\tSKAT\n</b>\t\tIt won't do. I haven't got time.\n\n<b>\t\t\t\tDEATH \n</b>\t\tSo you haven't got time. \n\n<b>\t\t\t\tSKAT \n</b>\t\tNo, I have my performance. \n\n<b>\t\t\t\tDEATH \n</b>\t\tThen it's canceled because of death. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy contract.\n<b> \n</b><b>\t\t\t\tDEATH \n</b>\t\tYour contract is terminated. \n\n<b>\t\t\t\tSKAT \n</b>\t\tMy children, my family. \n\n<b>\t\t\t\tDEATH \n</b>\t\tShame on you, Skat! \n\n<b>\t\t\t\tSKAT \n</b>\t\tYes, I'm ashamed.\n\nDEATH begins to saw again. The tree creaks. \n\n<b>\t\t\t\tSKAT \n</b>\t\tIsn't there any way to get off? Aren't there \n\t\tany special rules for actors?\n\n<b>\t\t\t\tDEATH \n</b>\t\tNo, not in this case. \n\n<b>\t\t\t\tSKAT \n</b>\t\tNo loopholes, no exceptions? \n\nDEATH saws.\n\n<b>\t\t\t\tSKAT\n</b>\t\tPerhaps you'll take a bribe. \n\nDEATH saws.\n<b> \n</b><b>\t\t\t\tSKAT\n</b>\t\tHelp!\n\nDEATH saws.\n\n<b>\t\t\t\tSKAT \n</b>\t\tHelp! Help!\n\nThe tree falls. The forest becomes silent again.\n<b> \n</b>\n\nNight and then dawn.\n\nThe travelers have come to a sort of clearing and have collapsed on the moss.\nThey lie quietly and listen to their own breathing, their heartbeats, and the \nwind in the tree tops. Here the forest is wild and impenetrable. Huge \nboulders stick up out of the ground like the heads of black giants. A fallen \ntree lies like a mighty barrier between light and shadow.\n\nMIA, JOF and their child have sat down apart from the others. They look at \nthe light of the moon, which is no longer full and dead but mysterious and \nunstable. The KNIGHT sits bent over his chess game. LISA cries quietly behind \nPLOG'S back. JONS lies on the ground and looks up at the heavens.\n\n<b>\t\t\t\tJONS \n</b>\t\tSoon dawn will come, but the heat continues to \n\t\thang over us like a smothering blanket.\n\n<b>\t\t\t\tLISA \n</b>\t\tI'm so frightened.\n\n<b>\t\t\t\tPLOG \n</b>\t\tWe feel that something is going to happen to \n\t\tus, but we don't know what.\n\n<b>\t\t\t\tJONS \n</b>\t\tMaybe it's the day of judgment. \n\n<b>\t\t\t\tPLOG \n</b>\t\tThe day of judgment ...\n\nNow, something moves behind the fallen tree. There is a rustling sound and a \nmoaning cry that seems to come from a wounded animal. Everyone listens\nintently, all faces turned towards the sound. A voice comes out of the\ndarkness. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tDo you have some water?\n\nRAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \nbut his voice is heard again. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tCan't you give me a little water? \n\t\t\t(pause) \n\t\tI have the plague.\n\n<b>\t\t\t\tJONS \n</b>\t\tDon't come here. If you do I'll slit your \n\t\tthroat. Keep to the other side of the tree. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tI'm afraid of death.\n\nNo one answers. There is complete silence. RAVAL gasps heavily for air. The \ndry leaves rustle with his movements. \n\n<b>\t\t\t\tRAVEL \n</b>\t\tI don't want to die! I don't want to!\n<b> \n</b>No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.\n\n<b>\t\t\t\tRAVAL \n</b>\t\tCan't you have pity on me? Help me! At least \n\t\ttalk to me.\n\nNo one answers. The trees sigh. RAVAL begins to cry. \n\n<b>\t\t\t\tRAVAL \n</b>\t\tI am going to die. I. I. I! What will happen to \n\t\tme! Can no one console me? Haven't you any \n\t\tcompassion? Can't you see that I ...\n\nHis words are choked off by a gurgling sound. He disappears in the darkness \nbehind the fallen tree. It becomes quiet for a few moments.\n\n<b>\t\t\t\tRAVAL \n</b>\t\t\t(whispers) \n\t\tCan't anyone ... only a little water. \n\nSuddenly the GIRL gets up with a quick movement, snatches JONS'S water bag \nand runs a few steps. JONS grabs her and holds her fast.\n\n<b>\t\t\t\tJONS \n</b>\t\tIt's no use. It's no use. I know that it's no \n\t\tuse. It's meaningless. It's totally \n\t\tmeaningless. I tell you that it's meaningless. \n\t\tCan't you hear that I'm consoling you? \n\n<b>\t\t\t\tRAVEL \n</b>\t\tHelp me, help me!\n\nNo one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \nfrightened child's. His sudden scream is cut off in the middle. Then it \nbecomes quiet.\n<b> \n</b>The GIRL sinks down and hides her face in her hands. JONS places his hand on \nher shoulder.\n<b> \n</b>\n<b>16\n</b>The KNIGHT is no longer alone. DEATH has come to him and he raises his hand.\n\n<b>\t\t\t\tDEATH \n</b>\t\tShall we play our game to the end? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n<b>DEATH. \n</b>\n<b>\t\t\t\tDEATH \n</b>\t\tNow I take your queen. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tI didn't notice that.\n\nThe KNIGHT leans over the game. The moonlight moves over the chess pieces, \nwhich seem to have a life of their own.\n\nJOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA. \n\n<b>\t\t\t\tJOF \n</b>\t\tMia!\n<b> \n</b><b>\t\t\t\tMIA \n</b>\t\tYes, what is it?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tI see something terrible. Something I almost \n\t\tcan't talk about.\n\n<b>\t\t\t\tMIA \n</b>\t\tWhat do you see?\n\n<b>\t\t\t\tJOF \n</b>\t\tThe knight is sitting over there playing chess. \n\n<b>\t\t\t\tMIA \n</b>\t\tYes, I can see that too and I don't think it's \n\t\tso terrible. \n\n<b>\t\t\t\tJOF \n</b>\t\tBut do you see who he's playing with? \n\n<b>\t\t\t\tMIA \n</b>\t\tHe is alone. You mustn't frighten me this way.\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tNo, no, he isn't alone. \n\n<b>\t\t\t\tMIA \n</b>\t\tWho is it, then?\n<b> \n</b><b>\t\t\t\tJOF \n</b>\t\tDeath. He is sitting there playing chess with \n\t\tDeath himself.\n\n<b>\t\t\t\tMIA \n</b>\t\tYou mustn't say that. \n\n<b>\t\t\t\tJOF \n</b>\t\tWe must try to escape. \n\n<b>\t\t\t\tMIA \n</b>\t\tOne can't do that.\n\n<b>\t\t\t\tJOF \n</b>\t\tWe must try. They are so occupied with their \n\t\tgame that if we move very quietly, they won't \n\t\tnotice us. \n\nJOF gets up carefully and disappears into the darkness behind the trees. MIA \nremains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \nand the chess game. She holds her son in her arms. Now JOF returns.\n\n<b>\t\t\t\tJOF \n</b>\t\tI have harnessed the horse. The wagon is \n\t\tstanding near the big tree. You go first and \n\t\tI'll follow you with the packs. See that Mikael \n\t\tdoesn't wake up.\n\nMIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n<b>\t\t\t\tDEATH \n</b>\t\tIt is your move, Antonius Block.\n\nThe KNIGHT remains silent. He sees MIA go through the moonlight towards the\nwagon. JOF bends down to pick up the pack and follows at a distance. \n\n<b>\t\t\t\tDEATH \n</b>\t\tHave you lost interest in our game?\n<b> \n</b>The KNIGHT'S eyes become alarmed. DEATH looks at him intently.\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tLost interest? On the contrary.\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou seem anxious. Are you hiding anything? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tNothing escapes you -- or does it? \n\n<b>\t\t\t\tDEATH \n</b>\t\tNothing escapes me. No one escapes from me. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIt's true that I'm worried.\n\nHe pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH. \n\n<b>\t\t\t\tKNIGHT\n</b>\t\tI've forgotten how the pieces stood.\n\n<b>\t\t\t\tDEATH \n</b>\t\t\t(laughs contentedly) \n\t\tBut I have not forgotten. You can't get away \n\t\tthat easily.\n<b> \n</b>DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \nhim towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is \ncompletely occupied with reconstructing the game.\n\n<b>\t\t\t\tDEATH \n</b>\t\tNow I see something interesting. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWhat do you see?\n\n<b>\t\t\t\tDEATH \n</b>\t\tYou are mated on the next move, Antonius Block. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tThat's true.\n\n<b>\t\t\t\tDEATH \n</b>\t\tDid you enjoy your reprieve? \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tYes, I did.\n\n<b>\t\t\t\tDEATH \n</b>\t\tI'm happy to hear that. Now I'll be leaving you. \n\t\tWhen we meet again, you and your companions' \n\t\ttime will be up.\n\n<b>\t\t\t\tKNIGHT \n</b>\t\tAnd you will divulge your secrets. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have no secrets. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tSo you know nothing. \n\n<b>\t\t\t\tDEATH \n</b>\t\tI have nothing to tell.\n\nThe KNIGHT wants to answer, but DEATH is already gone.\n\nA murmur is heard in the tree tops. Dawn comes, a flickering light without \nlife, making the forest seem threatening and evil. JOF drives over the \ntwisting road. MIA sits beside him. \n\n<b>\t\t\t\tMIA\n</b>\t\tWhat a strange light.\n\n<b>\t\t\t\tJOF \n</b>\t\tI guess it's the thunderstorm which comes with \n\t\tdawn. \n\n<b>\t\t\t\tMIA \n</b>\t\tNo, it's something else. Something terrible. Do \n\t\tyou hear the roar in the forest? \n\n<b>\t\t\t\tJOF \n</b>\t\tIt's probably rain.\n\n<b>\t\t\t\tMIA \n</b>\t\tNo, it isn't rain. He has seen us and he's \n\t\tfollowing us. He has overtaken us; he's coming \n\t\ttowards us. \n\n<b>\t\t\t\tJOF \n</b>\t\tNot yet, Mia. In any case, not yet. \n\n<b>\t\t\t\tMIA \n</b>\t\tI'm so afraid. I'm so afraid.\n\nThe wagon rattles over roots and stones; it sways and creaks. Now the horse \nstops with his ears flat against his head. The forest sighs and stirs \nponderously. \n\n<b>\t\t\t\tJOF \n</b>\t\tGet into the wagon, Mia. Crawl in quickly. \n\t\tWe'll lie down, Mia, with Mikael between us.\n\nThey crawl into the wagon and crouch around the sleeping child.\n\n<b>\t\t\t\tJOF \n</b>\t\tIt is the Angel of Death that's passing over \n\t\tus, Mia. It's the Angel of Death. The Angel of \n\t\tDeath, and he's very big.\n\n<b>\t\t\t\tMIA \n</b>\t\tDo you feel how cold it is? I'm freezing. I'm \n\t\tterribly cold.\n\nShe shivers as if she had a fever. They pull the blankets over them and lie \nclosely together. The wagon canvas flutters and beats in the wind. The roar \noutside is like a giant bellowing.\n<b> \n</b>\n\nThe castle is silhouetted like a black boulder against the heavy dawn. Now\nthe storm moves there, throwing itself powerfully against walls and\nabutments.  The sky darkens; it is almost like night.\n\nAntonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.\n\nSuddenly the KNIGHT stands face to face with his wife. They look at each\nother quietly.\n\n<b>\t\t\t\tKARIN\n</b>\t\tI heard from people who came from the crusade \n\t\tthat you were on your way home. I've been \n\t\twaiting for you here. All the others have fled \n\t\tfrom the plague. \n\nThe KNIGHT is silent. He looks at her. \n\n<b>\t\t\t\tKARIN \n</b>\t\tDon't you recognize me any more? \n\nThe KNIGHT nods, silent. \n\n<b>\t\t\t\tKARIN \n</b>\t\tYou also have changed.\n\nShe walks closer and looks searchingly into his face. The smile lingers in \nher eyes and she touches his hand lightly.\n\n<b>\t\t\t\tKARIN \n</b>\t\tNow I can see that it's you. Somewhere in your \n\t\teyes, somewhere in your face, but hidden and \n\t\tfrightened, is that boy who went away so many \n\t\tyears ago. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tIt's over now and I'm a little tired. \n\n<b>\t\t\t\tKARIN \n</b>\t\tI see that you're tired. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tOver there stand my friends.\n\n<b>\t\t\t\tKARIN \n</b>\t\tAsk them in. They will break the fast with us. \n\nThey all sit down at the table in the room, which is lit by torches on the \nwalls. Silently they eat the hard bread and the salt-darkened meat. KARIN \nsits at the head of the table and reads aloud from a thick book. \n\n<b>\t\t\t\tKARIN \n</b>\t\t\"And when the Lamb broke the seventh seal, \n\t\tthere was silence in heaven for about the space \n\t\tof half an hour. And I saw the seven angels \n\t\twhich stood before God; and to them were given \n\t\tseven trumpets. And another ...\" \n\nThree mighty knocks sound on the large portal. KARIN interrupts her reading \nand looks up from the book. JONS rises quickly and goes to open the door.\n\n<b> \t\t\t\tKARIN \n</b>\t\t\"The first angel sounded, and there followed \n\t\thail and fire mingled with blood, and they were \n\t\tcast upon the earth; and the third part of the \n\t\ttrees was burnt up and all the green grass was \n\t\tburnt up.\"\n\nNow the rain becomes quiet. There is suddenly an immense, frightening silence \nin the large, murky room where the burning torches throw uneasy shadows over \nthe ceiling and the walls. Everyone listens tensely to the stillness.\n\n<b> \t\t\t\tKARIN \n</b>\t\t\"And the second angel sounded, and as it were a \n\t\tgreat mountain burning with fire was cast into \n\t\tthe sea; and a third part of the sea became \n\t\tblood ...\"\n\nSteps are heard on the stairs. JONS returns and sits down silently at his \nplace but does not continue to eat. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tWas someone there? \n\n<b>\t\t\t\tJONS \n</b>\t\tNo, my lord. I saw no one.\n\nKARIN lifts her head for a moment but once again leans over the large book.\n\n<b>\t\t\t\tKARIN \n</b>\t\t\"And the third angel sounded, and there fell a \n\t\tgreat star from heaven, burning as it were a \n\t\ttorch, and it fell upon the third part of the \n\t\trivers and upon the fountains of waters; and \n\t\tthe name of the star is called Wormwood ...\" \n\nThey all lift their heads, and when they see who is coming towards them\nthrough the twilight of the large room, they rise from the table and stand \nclose together. \n\n<b>\t\t\t\tKNIGHT \n</b>\t\tGood morning, noble lord.\n\n<b>\t\t\t\tKARIN \n</b>\t\tI am Karin, the knight's wife, and welcome you \n\t\tcourteously to my house.\n\n<b>\t\t\t\tPLOG \n</b>\t\tI am a smith by profession and rather good at \n\t\tmy trade, if I say so myself. My wife Lisa -- \n\t\tcurtsy for the great lord, Lisa. She's a little \n\t\tdifficult to handle once in a while and we had\n\t\ta little spat, so to speak, but no worse than \n\t\tmost people.\n\nThe KNIGHT hides his face in his hands.\n\n<b>\t\t\t\tKNIGHT\n</b>\t\tFrom our darkness, we call out to Thee, Lord. \n\t\tHave mercy on us because we are small and \n\t\tfrightened and ignorant. \n\n<b>\t\t\t\tJONS \n</b>\t\t\t(bitterly) \n\t\tIn the darkness where You are supposed to be, \n\t\twhere all of us probably are.... In the \n\t\tdarkness You will find no one to listen to Your \n\t\tcries or be touched by Your sufferings. Wash \n\t\tYour tears and mirror Yourself in Your \n\t\tindifference.\n\n<b>\t\t\t\tKNIGHT\n</b> \t\tGod, You who are somewhere, who must be \n\t\tsomewhere, have mercy upon us.\n\n<b>\t\t\t\tJONS \n</b>\t\tI could have given you an herb to purge you of \n\t\tyour worries about eternity. Now it seems to be \n\t\ttoo late. But in any case, feel the immense \n\t\ttriumph of this last minute when you can still \n\t\troll your eyes and move your toes. \n\n<b>\t\t\t\tKARIN \n</b>\t\tQuiet, quiet.\n\n<b>\t\t\t\tJONS \n</b>\t\tI shall be silent, but under protest. \n\n<b>\t\t\t\tGIRL \n</b>\t\t\t(on her knees)\n\t\tIt is the end.\n<b> \n</b>\n\nJOF and MIA sit close together and listen to the rain tapping lightly on the \nwagon canvas, a sound which diminishes until finally there are only single \ndrops. \n\nThey crawl out of their hiding place. The wagon stands on a height above a \nslope, protected by an enormous tree. They look across ridges, forests, the \nwide plains, and the sea, which glistens in the sunlight breaking through the \nclouds.\n<b> \n</b>JOF stretches his arms and legs. MIA dries the wagon seat and sits down next\nto her husband. MIKAEL crawls between JOF'S knees.\n\nA lone bird tests its voice after the storm. The trees and bushes drip. From \nthe sea comes a strong and fragrant wind.\n\nJOF points to the dark, retreating sky where summer lightning glitters like \nsilver needles over the horizon. \n\n<b>\t\t\t\tJOF \n</b>\t\tI see them, Mia! I see them! Over there against \n\t\tthe dark, stormy sky. They are all there. The \n\t\tsmith and Lisa and the knight and Raval and \n\t\tJns and Skat. And Death, the severe master, \n\t\tinvites them to dance. He tells them to hold \n\t\teach other's hands and then they must tread the \n\t\tdance in a long row. And first goes the master \n\t\twith his scythe and hourglass, but Skat dangles \n\t\tat the end with his lyre. They dance away from \n\t\tthe dawn and it's a solemn dance towards the \n\t\tdark lands, while the rain washes their faces \n\t\tand cleans the salt of the tears from their \n\t\tcheeks. \n\nHe is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\nNow, he crawls up to MIA and sits down in her lap. \n\n<b>\t\t\t\tMIA \n</b>\t\t\t(smiling) \n\t\tYou with your visions and dreams.\n<b> \n</b>\n\n\n\n\n\n\nScreenplay by Ingmar Bergman \n<b> \n</b>\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: What is death disguised as?\n\nAnswer:"}
{"question_id": 96, "category": "longbench_narrativeqa", "reference": ["She committed suicide."], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: <b>  THE RING\n</b>\n  Original screenplay by Takahashi Hiroshi\n  Based upon the novel by Suzuki Kouji\n\n\n  This manuscript is intended for informational \n  purposes only, and is a fair usage of copyrighted\n  material.\n\n  Ring (c) 1995 Suzuki Kouji\n  Ring feature film (c) 1998 Ring/Rasen Committee\n  Distributed by PONY CANYON\n\n\n  Adapted/ Translated by J Lopez\n\n  http://www.somrux.com/ringworld/\n\n<b>  ---\n</b>\n\n  Caption-- September 5th.  Sunday.\n\n<b>  INT. OUISHI HOUSEHOLD  TOMOKOS ROOM - NIGHT\n</b>\n  CLOSEUP on a TELEVISION SET.  Theres a baseball game on, but the sound \n  is turned completely down.  Camera PANS to show two cute high school \n  girls, MASAMI and TOMOKO.  Masami is seated on the floor at a low coffee \n  table, TEXTBOOK in front of her. Tomoko is at her desk.  There are SNACKS \n  all over the room, and its obvious there hasnt been much studying going \n  on. Masami is currently in mid-story, speaking excitedly.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tThey say that some elementary school \n\t\tkid spent the night with his parents \n\t\tat a bed and breakfast in Izu.  The kid\n\t\twanted to go out and play with everybody, \n\t\tright, but he didnt want to miss the \n\t\tprogram he always used to watch back in \n\t\tTokyo, so he records it on the VCR in \n\t\ttheir room.  But of course the stations \n\t\tin Izu are different from the ones in \n\t\tTokyo.  In Izu, it was just an empty \n\t\tchannel, so he shouldve recorded\n\t\tnothing but static.  But when the kid \n\t\tgets back to his house and watches the \n\t\ttape, all of a sudden this woman comes \n\t\ton the screen and says--\n\n  Masami points so suddenly and dramatically at her friend that Tomoko \n  actually jumps in her seat.\n\n\t\t\t\tMASAMI (contd)\n\t\tOne week from now, you will die.\n\n  Short silence as Masami pauses, relishing the moment.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tOf course the kids completely \n\t\tfreaked, and he stops the video.  \n\t\tJust then the phone rings, and when he \n\t\tpicks it up a voice says--\n\n  Her voice drops voice almost to a whisper.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tYou watched it, didnt you?  That \n\t\tsame time, exactly one week later... \n\t\thes dead!\n\n  Masami laughs loudly, thoroughly enjoying her own performance.  \n  Tomoko, however, is completely silent.  She begins looking more \n  and more distressed, until finally Masami notices.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhat is it, Tomoko?\n\n  Tomoko comes out of her chair and drops onto the floor next to her \n  friend.  Her words are quick, earnest.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tWho did you hear that story from?\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWho?  Its just a rumor.  Everybody \n\t\tknows it.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tYouko told you?\t\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tNo, it wasnt Youko...\n\n  Tomoko looks away, worried.  Masami slaps her on the knee, \n  laughing.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhats up with you?\n\n  Tomoko speaks slowly, still looking away.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tThe other day, I... I watched this \n\t\tstrange video.\n<b>\t\t\n</b><b>\t\t\t\tMASAMI\n</b>\t\tWhere?\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tWith Youko and them.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(excited) \n\t\tSo thats what Ive been hearing \n\t\tabout you doing some double-date/\n\t\tsleepover thing!  So, you and that \n\t\tguy Iwata, huh? \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tNo, its not like that.  Nothing \n\t\thappened!\n\n  Their eyes meet and Tomoko half-blushes, looks away again.  Her \n  expression becomes serious as she resumes her conversation.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tIwata... he found this weird video.  \n\t\tEveryone was like, Whats that? so \n\t\the put it on and we all watched it.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(quietly) \n\t\tAnd?  What kind of video was it?\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tJust... weird, I cant really explain \n\t\tit.  Anyway, right after we finished \n\t\twatching it, the phone rang.  Whoever\n\t\tit was didnt say anything, but still...\n\n  Silence.  Masami curls up on herself, thoroughly spooked.  \n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tJesus.\n\n<b>\t\t\t\tTOMOKO\n</b>  \t\tIt's cuz, you know, we'd all heard the \n\t\trumors.\n\nTomoko looks seriously over at her friend.\n\n\t\t\t\tTOMOKO (cont'd)\n\t\tThat was one week ago today.\n\n  There is a long, heavy silence as neither of them says anything.\n\n<b>\t\t\t\tMASAMI  \t\n</b>\t\tWaaait a minute.  Are you faking me \n\t\tout?\n\n  Tomokos face suddenly breaks into a smile. \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tBusted, huh?\n\n  They both crack up laughing. \n\n<b>\t\t\t\tMASAMI\n</b>\t\tOh, my... I cant believe you!  \n\n  Masami reaches out, slaps her friend on the knee.\n\n\t\t\t\tMASAMI (contd)\n\t\tYoure terrible!\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tGotcha!\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(thinking) \n\t\tBut hang on... you really stayed\n\t\tthe night with Youko and Iwata, \n\t\tright?\n\n  Tomoko nods, uh-huh.  Masami dives forward, pinching her friends \n  cheeks and grinning wildly.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tSo, how far did you and he get?\n\n<b>\t\t\t\tTOMOKO \t\n</b>\t\tOh... I cant remember.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tYou cant remember, huh?\n\n  Masami laughs, then slaps Tomoko on the knee again as she remembers \n  the trick her friend played on her.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tMan, you had me freaked me out. \n<b>\t\tI--\n</b>\n  Just at that moment, the phone RINGS.  They are both suddenly, \n  instantly serious.  Tomokos eyes go off in one direction and she \n  begins shaking her head, -No-.  Masami looks over her shoulder, \n  following her friends gaze.  \n\n  Tomoko is looking at the CLOCK, which currently reads 9:40.\n\n  The phone continues to ring.  Tomoko is now clutching tightly onto her \n  friend, looking panicked.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(softly) \n\t\tWas it true?\n\n  Tomoko nods her head, still holding on tightly.  Masami has to \n  forcibly disengage herself in order to stand.  The phone is downstairs, \n  so Masami opens the bedroom DOOR and races down the STAIRS.  Tomoko \n  calls out to her from behind.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - NIGHT  \n</b>\n  Tomoko and Masami run down the staircase, through the hallway towards \n  the kitchen.  Tomoko cries out again just before they reach the kitchen.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  Masami has come to a halt before a PHONE mounted on the wall.  She \n  pauses, looking slowly at her friend, then back to the phone.  She \n  takes it tentatively from its cradle, answers it wordlessly.  The \n  tension continues to mount as nothing is said. Masami suddenly breaks \n  into a huge grin.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIll put her on.\n\n  Still grinning, she hands the phone to Tomoko.  Tomoko snatches it \n  quickly.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(softly) \n\t\tYes?\n\n  She is silent for a moment, then smiling widely.  \n\n<b>\t\t\t\tTOMOKO\n</b>\t\tOh, man!\n\n  She is so relieved that all the strength seeps out of her and she \n  sinks to the kitchen floor.  Masami, equally relieved, slides down \n  the wall and sits down next to her.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(on the phone) \n\t\tYeah, Ive got a friend over now.  \n\t\tYeah.  Yeah, OK.  Bye.\n\n  Tomoko stands to place the phone back in its wall cradle, and then \n  squats back down onto the kitchen floor.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tThe games gone into overtime, so \n\t\ttheyre gonna be a little late. \n\n  They burst out laughing with relief again, and are soon both \n  clutching their stomachs.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tJeeezus, my parents...\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tOh man, Im tellin everybody about \n\t\tthis tomorrow!\n\n  Tomoko shakes her head, -Dont you dare-.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIm gonna use your bathroom.  Dont \n\t\tgo anywhere.\n\n<b>\t\t\t\tTOMOKO\t\n</b><b>\t\tK.\n</b>\n  Masami walks out of the kitchen. Alone now, Tomoko stands and walks \n  toward the SINK, where she takes a GLASS from the DISH RACK.  She \n  then goes to the FRIDGE and sticks her face in, looking for something \n  to drink.  Suddenly there is the SOUND of people clapping and \n  cheering.  Tomoko, startled, peers her head over the refrigerator \n  door to check for the source of the sound.  \n\n  She begins walking slowly, following the sound to the DINING ROOM \n  adjacent the kitchen. \n\n<b>  INT. OUISHI HOUSEHOLD - DINING ROOM - NIGHT  \n</b>\n  The lights are off, and there is no one in the room.  Tomoko pauses a \n  moment, bathed in the garish LIGHT from the TV, which has been switched\n  on.  Playing is the same baseball game they had on the TV upstairs; the \n  same game that Tomokos parents are currently at.  The VOLUME is up \n  quite high.\n\n  A puzzled look on her face, Tomoko takes the REMOTE from the coffee \n  table and flicks the TV off.  She walks back to the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  A bottle of SODA that Tomoko had earlier taken from the fridge is on \n  the kitchen table.  She picks the bottle up, pours herself a drink.  \n  Before she can take a sip, however, the air around her becomes suddenly \n  charged, heavy.  Her body begins to shiver as somewhere out of sight \n  comes a popping, crackling SOUND underscored by a kind of GROANING.  \n  Trembling now, Tomoko spins around to see what she has already felt \n  lurking behind her.  She draws in her breath to scream.\n\n  The screen goes white, and fades into:\n\n<b>  CAMERA POV \n</b>\n  The screen is filled with the visage of a nervous-looking YOUNG GIRL.  \n  She is being interviewed by ASAKAWA, a female reporter seated offscreen.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>\t\tThere seems to be a popular rumor \n\t\tgoing around about a cursed \n\t\tvideotape.\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n  The girl looks directly at the camera, her mouth dropping into an O \n  as shes suddenly overcome by a kind of stage fright.  She continues \n  staring, silently, at the camera.\n\n<b>  INT. COFFEE SHOP - DAY  \n</b>\n  KOMIYA, the cameraman, has lowered his camera. We can now see that \n  the young girl being interviewed is seated at a table between two \n  friends, a SHORT-HAIRED GIRL (GIRL#2) and a LONG-HAIRED GIRL (GIRL #3).  \n  They are all dressed in the UNIFORMS of junior high school students.  \n  Opposite them sits Komiya and Asakawa, a pretty woman in her mid-\n  twenties.  A BOOM MIKE GUY stands to the left.\n<b> \n</b><b>\t\t\t\tKOMIYA\t\n</b>\t\tUh, dont look right at the camera, \n<b>\t\tOK?\n</b>\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tSorry.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLets do it again.\n\n  Asakawa glances over her shoulder, makes sure that Komiya is ready.\n\n<b> \n</b><b>\t\t\t\tASAKAWA\n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWhat I heard was, all of a sudden \n\t\tthis scaaarry lady comes on the\n\t\tscreen and says, In one week, you\n\t\twill die.\n\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tI heard that if youre watching TV \n\t\tlate at night itll come on, and\n\t\tthen your phonell ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWatching TV late at night... do you\n \t\tknow what station?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmmm... I heard some local station, \n\t\taround Izu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmm-hmm.\t\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd, do you know if anyones really \n\t\tdied from watching it?\n\n  The girl flashes a look at her two friends.\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWell, no one that we know, right?\n\n  Girl #2 nods her head. Girl #3 nods slowly, opens and closes her \n  mouth as if deciding whether to say something or not.  The \n  reporter notices. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat is it?\n\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tI heard this from a friend of mine \n\t\tin high school.  She said that there \n\t\twas this one girl who watched the \n\t\tvideo, and then died a week later.  \n\t\tShe was out on a drive with her \n\t\tboyfriend.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey were in a wreck?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo, their car was parked, but they \n\t\twere both dead inside.  Her \n\t\tboyfriend died because hed watched \n\t\tthe video, too.  Thats what my \n\t\tfriend said.\n\n  Girl #3 grows suddenly defensive.\n\n\t\t\t\tGIRL #3 (contd)\t\n\t\tIts true!  It was in the paper two \n\t\tor three days ago.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tDo you know the name of the high \n\t\tschool this girl went to?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo... I heard this from my friend, \n\t\tand it didnt happen at her school.  \n\t\tShe heard it from a friend at a \n\t\tdifferent school, she said.\n\n<b>  INT. NEWS STATION  DAY\n</b>\n  Asakawa is seated at her DESK.  The station is filled with PEOPLE, \n  scrabbling to meet deadlines.  Komiya walks up to Asakawas desk \n  and holds out a MANILA FOLDER.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMrs. Asakawa?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHm?\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tHere you are.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(taking the folder) \n\t\tThanks.\n\n  Komiya has a seat.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tThis same kind of thing happened \n\t\tabout ten years ago too, didnt it?  \n\t\tSome popular young singer committed \n\t\tsuicide, and then suddenly there was \n\t\tall this talk about her ghost showing\n\t\tup on some music show.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut I wonder what this rumors all \n\t\tabout. Everyone you ask always \n\t\tmentions Izu.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMaybe thats where it all started.  \n\t\tHey, where was that Kuchi-sake\n\t\tOnna * story from again?\n\n\n  >* Literally Ripped-Mouth Lady, a kind of ghastly spectre from \n  >Japanese folk stories who wears a veil to hide her mouth, which \n  >has been ripped or cut open from ear to ear. She wanders the \n  >countryside at night asking men Do you think Im beautiful? then \n  >lowering her veil to reveal her true features.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGifu, but there was some big \n\t\taccident out there, and that ended\n\t\tup being what started the rumor. \n\n<b>\t\t\t\tKOMIYA\n</b>\t\tA big accident?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMmm-hmm.  Something terrible like \n\t\tthat is going to stay in peoples \n\t\tminds.  Sometimes the story of what \n\t\thappened gets twisted around, and \n\t\tends up coming back as a rumor like \n\t\tthis one. Thats what they say, at \n\t\tleast.\n\n<b>\t\t\t\tKOMIYA\n</b>\t\tDyou think something like that \n\t\thappened out at Izu?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMaybe. Well, anyway, Im off.  See you\n\t\ttomorrow.\n<b>   \n</b><b>\t\t\t\tKOMIYA\n</b>\t\tSee you.\n\n  Asakawa gets up from her desk and begins walking towards the exit.  \n  She takes only a few steps before noticing a RACK of recent DAILY \n<b>  EDITIONS.  \n</b>\n  She takes one from the rack, sets it on a nearby TABLE.  She begins \n  flipping the pages, and suddenly spies this story:  \n\n<b>    STRANGE AUTOMOBILE DEATH OF YOUNG COUPLE IN YOKOHAMA\n</b>\n    The bodies of a young man and woman were discovered in their \n    passenger car at around 10 A.M. September 6th.  The location was a \n    vacant lot parallel to Yokohama Prefectural Road.  Local authorities \n    identified the deceased as a 19-year old preparatory school student \n    of Tokyo, and a 16-year old Yokohama resident, a student of a \n    private all-girls high school. Because there were no external \n    injuries, police are investigating the possibility of drug-induced \n    suicide...\n\n  Just then two men walk by, a GUY IN A BUSINESS SUIT and a youngish \n  intern named OKAZAKI.  Okazaki is carrying an armload of VIDEOTAPES.\n\n<b>\t\t\t\tGUY IN SUIT\n</b>\t\tOK, Okazaki, Im counting on you.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tYessir.\n\n  The guy in the suit pats Okazaki on the shoulder and walks off.  \n\n  Okazaki turns to walk away, spots Asakawa bent over the small table \n  and peering intently at the newspaper article.\n\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMiss Asakawa?  I thought you were \n\t\tgoing home early today.\n\n  Asakawa turns around and begins speaking excitedly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOkazaki, can I ask you a favor?\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tSure.\n\n  Asakawa points to the newspaper.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCould you check out this article \n\t\tfor me?  Get me some more info.?\t\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tI guess...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGood.  Call me as soon as you know \n\t\tmore, OK?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMaam.\n\n  Asakawa walks off.  Okazaki, still carrying the videotapes, leans \n  forward to take a look at the article.\n<b>   \n</b><b>  EXT. APARTMENT PARKING LOT - DAY  \n</b>\n  Asakawa drives her car into the lot and parks quickly.  She gets \n  out, runs up the STAIRCASE to the third floor.  She stops in front \n  of a door, sticks her KEY in the lock, and opens it.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  DAY\n</b>\n  A BOY of about 7 is sitting in an ARMCHAIR facing the veranda.  We \n  can see only the back of his head.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tYoichi!\n\n  Hearing his name, the boy puts down the BOOK he was reading and \n  stands up, facing the door.  He is wearing a white DRESS SHIRT with \n  a brown sweater-type VEST over it.  He sees Asakawa, his mother, \n  run in the door.  She is panting lightly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSorry Im late.  Oh, youve already \n\t\tchanged.\n\n<b>\t\t\t\tYOICHI\n</b>\t\tYup. \n\n  He points over to his mothers right.\n\n\t\t\t\tYOICHI (contd)\n\t\tI got your clothes out for you.\n\n  Asakawa turns to see a DARK SUIT hanging from one of the living \n  room shelves.  She reaches out, takes it.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAargh, weve gotta hurry!\n\n  She runs into the next room to change.\n\n<b>  INT.  BEDROOM  DAY\n</b>\n  Asakawa has changed into all-black FUNERAL ATTIRE.  Her hair is \n  up, and she is fastening the clasp to a pearl NECKLACE.  Yoichi is \n  still in the living room.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid grandpa call?\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tNope.\n\n  Yoichi walks into the room and faces his mother.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tWhy did Tomo-chan die? *\n\n\n  >* -chan is a suffix in Japanese that denotes closeness or affection.  \n  >It is most often used for young girls, though it can also be used for \n  >boys.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell... it looks like she was really, \n\t\treally sick.\n\n  She takes a seat on the bed.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWill you do me up?\n\n  Yoichi fastens the rear button of his mothers dress and zips her up.  \n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tYou can die even if youre young?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIf its something serious... well, yes.\n\n  Asakawa turns to face her son, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAs hard as it is for us, what your \n\t\tauntie and uncle are going through \n\t\tright now is even harder, so lets \n\t\tnot talk about this over there, OK?\n\n  Yoichi nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(remembering)\n\t\tYou and her used to play a lot \n\t\ttogether, didnt you?\n\n  Yoichi says nothing.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  RED PAPER LANTERNS mark this place as the site of a wake.  Several \n  GIRLS in high school uniforms are standing together and talking in \n  groups. Asakawa and Yoichi, walking hand in hand, enter the house.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  There are many PEOPLE milling about, speaking softly.  A MAN seated \n  at a counter is taking monetary donations from guests and entering \n  their information into a LEDGER.  Asakawa and Yoichi continue walking, \n  down a hallway.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  Mother and son halt before the open DOOR to the main wake room, where \n  guests may show their respects to the departed.  The room is laid in \n  traditional Japanese-style tatami, a kind of woven straw mat that \n  serves as a carpet. Two GUESTS, their shoes off, are kneeling upon \n  zabuton cushions.  \n\n  Kneeling opposite the guests is KOUICHI, Asakawas father.  The two \n  guests are bowing deeply, and Kouichi bows in response.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDad.\n\n  Kouichi turns to see her.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tAh!\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow is sis holding up?\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tShes resting inside right now.  \n\t\tShes shaken up pretty badly, you \n\t\tknow.  Its best she just take \n\t\tthings easy for a while.\n\n  Asakawa nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIll go check on auntie and them, \n\t\tthen.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOK.  Ah, Yoichi.  Why dont you sit \n\t\there for a little while?\n\n  He grabs the young boy and seats him on a cushion next to the two guests.  \n  As the guests resume their conversation with Asakawas father, Yoichis \n  eyes wander to the ALTAR at the front of the room set up to honor the \n  deceased.  It is made of wood, and surrounded by candles, flowers, and \n  small paper lanterns.  At the center is a PICTURE of the deceased, a \n  teenage girl.  A small wooden PLAQUE reads her name: Tomoko Ouishi. It \n  is the same Tomoko from the first scene.\n\n  Yoichi continues to stare at Tomokos picture.  He makes a peculiar \n  gesture as he does so, rubbing his index finger in small circles just \n  between his eyes.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Asakawa walks down the hallway, looking for her aunt.  She walks until \n  finding the open doorway to the kitchen.  There are a few people in \n  there, preparing busily. Asakawa sees her AUNT, who rushes into the \n  hallway to meet her, holds her fast by the arm.  The aunt speaks in a \n  fierce, quick whisper.\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tHave you heard anything more about \n\t\tTomo-chans death?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, I...\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tBut the police have already finished \n\t\ttheir autopsy!\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, they said there was no sign of \n\t\tfoul play.\n\n<b>\t\t\t\tAUNT\t\n</b>\t\t\t(shaking her head) \n\t\tThat was no normal death.  They havent \n\t\tonce opened the casket to let us see\n\t\tthe body.  Dont you think thats \n\t\tstrange?\n<b> \n</b>  Asakawa looks away, thinking.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Yoichi has wandered off by himself.  He stops at the foot of the \n  steps, looking up-- and catches a glimpse of a pair of BARE FEET \n  running up to the second floor.  \n\n  A guarded expression on his face, Yoichi walks slowly up the \n  stairs.  \n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS BEDROOM - NIGHT  \n</b>\n  Yoichi has wandered into Tomokos bedroom.  The lights are all off, \n  and there is an eerie feel to it.  Yoichis eyes wander about the \n  room, finally coming to rest on the TELEVISION SET.  Suddenly, he \n  hears his mothers voice from behind him.\n\n<b>\t\t\t\tASAKWAWA (O.S.) \n</b>\t\tYoichi?\n\n  Yoichi turns to face her as she approaches, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat are you doing up here?  You\n\t\tshouldnt just walk into other \n\t\tpeoples rooms.\n\n  Without replying, Yoichis gaze slowly returns to the television \n  set.  Asakawa holds him by the shoulders, turning him to meet \n  her.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou go on downstairs, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tOK.\n</b>\n  He turns to leave, and Asakawa follows.\n\n<b>  INT. OUSHI HOUSEHOLD - TOP OF THE STAIRS  NIGHT\n</b>\n  Just as Yoichi and Asakawa are about to descend the steps, \n  Asakawas CELL PHONE rings.  She opens the clasp to her PURSE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to Yoichi) \n\t\tYou go on ahead.\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tK.\n</b>\n  He walks down the steps.  Asakawa brings out her cell phone, \n  answers it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tUh... this is Okazaki.  Ive got \n\t\tsome more info on that article for\n\t\tyou.  The girl was a student of \n\t\tthe uh, Seikei School for Women in \n\t\tYokahama City.\n\n  Asakawa blinks at this, looks disturbed.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(softly) \n\t\tThanks.\n\n  She hangs up the phone.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  Asakawa stands now at the entrance of the house.  Dazedly, she \n  walks toward a large, hand-painted PLACARD.  The placard reads \n  that the wake is being held for a student of the Seikei School \n  for Women. \n\n  Asakawa stares at that placard, making the mental connections.  \n  She turns abruptly, walks towards a nearby TRIO of HIGH SCHOOL \n<b>  GIRLS.\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tExcuse me.  This is, um, kind of a\n\t\tstrange question, but by any chance \n\t\twere you friends of that young girl\n\t\tthat died in the car as well?\n\n  The three girls turn their faces to the ground.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tPlease.  If you know anything...\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThey all died the same day.  Youko.  \n\t\tTomoko.  Even Iwata, he was in a\n\t\tmotorcycle accident.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tBecause they watched the video.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tVideo?\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tThats what Youko said.  They all\n\t\twatched some weird video, and \n\t\tafter that their phone rang.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTomoko-chan watched it, too?  \n\t\tWhere?\n\n  Girl Left shakes her head.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tShe just said they all stayed \n\t\tsomewhere.\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThere was a girl with Tomoko when \n\t\tshe died.  Shes had to be \n\t\thospitalized for shock.\n\n<b>\t\t\t\tGIRL MIDDLE\n</b>\t\tThey say she wont go anywhere \n\t\tnear a television.\n\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa and YOSHINO, another news reporter, are watching scenes \n  from the Yokohama car death.  In the footage there are lots of \n  POLICEMEN milling about, one of them trying to pick the door to \n  the passenger side.  Yoshino is giving Asakawa the blow-by-blow.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThe bodies of those found were \n\t\tTsuji Youko, age 17, a student of \n\t\tthe Seikei School for Women, and \n\t\tNomi Takehiko, age 19, preparatory \n\t\tschool student.  Both their doors \n\t\twere securely locked.\n\n  Onscreen, the policeman has finally picked the lock.  The door opens, \n  and a girls BODY halffalls out, head facing upwards.  Yoshino flicks \n  a BUTTON on the control panel, scans the footage frame by frame.  He \n  stops when he gets a good close-up of the victim. \n\n  Her face is twisted into an insane rictus of fear, mouth open, eyes \n  wide and glassy. Yoshino and Asakawa lean back in their seats.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThis is the first time Ive -ever- \n\t\tseen something like this.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCause of death?\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tCouldnt say, aside from sudden \n\t\theart failure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDrugs?\n\n<b>\t\t\t\tYOSHINO\t\n</b>\t\tThe autopsy came up negative.\n\n\n  Yoshino takes the video off pause.  Onscreen, a policeman has caught \n  the young girls body from completely falling out, and is pushing it \n  back into the car.  As the body moves into an upright position, we \n  can see that the girls PANTIES are mid-way around her left thigh.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThese two, about to go at it, \n\t\tsuddenly up and die for no \n\t\tapparent reason. \n\n  He sighs.\n\n\t\t\t\tYOSHINO (contd)\n\t\tDo -you- get it?\n\n\n<b>  EXT. OUISHI HOUSEHOLD - DAY  \n</b>\n  Asakawas CAR is already halted before a modest-sized, two-story HOUSE \n  with a small covered parkway for a garage.  She gets out of her car, \n  closes the door.  She stares at the house, unmoving.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - DAY  \n</b>\n  Asakawa stands before her SISTER RYOMI, who is seated at the kitchen \n  TABLE.  Ryomi is staring blankly away, making no sign of acknowledging \n  her sister.  The silence continues unabated, and Asakawa, pensive, \n  wanders idly into the adjoining dining room.  She takes a long look at \n  the television, the same television that had puzzled Tomoko by suddenly \n  switching itself on, sitting darkly in one corner.  Her reflection in \n  the screen looks stretched, distorted.\n\n\n<b>\t\t\t\tRYOMI\t(O.S.) \n</b>\t\tThey tell me that Yoichi came to \n\t\tthe funeral, too. \n\n  Asakawa steps back into the kitchen.  She addresses her sister, who \n  continues to stare out at nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMmm-hmm.\n\n<b>\t\t\t\tRYOMI\n</b>\t\tThey used to play a lot together, didnt they?  Upstairs.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYeah...\n\n  Ryomi lapses back into a silence.  Asakawa waits for her to say more, \n  but when it is clear that nothing else is forthcoming, she quietly gives \n  up and exits the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - DAY  \n</b>\n  Asakawa climbs the steps to the second floor.  She makes her way down \n  the hall.\n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS ROOM - DAY  \n</b>\n  As if intruding, Asakawa walks slowly, cautiously into Tomokos room.  \n  The window to the room is open, and a single piece of folded white PAPER \n  on Tomokos desk flutters in the breeze.  Asakawa walks towards it, picks \n  it up.  It is a RECEIPT from a photo shop.  The developed photos have yet \n  to be claimed.  \n\n  Asakawa senses something, spins to look over her shoulder.  Her sister \n  has crept quietly up the stairs and down the hall, and stands now in the \n  doorway to Tomokos room.  She appears not to notice what Asakawa has in \n  her hands, as her gaze has already shifted to the sliding closet door.  \n  She regards it almost druggedly.\n\n<b>\t\t\t\tRYOMI\n</b>\t\t\t(haltingly) \n\t\tThis... this is where Tomoko died.\n\n<b>  FLASHBACK\n</b><b>\t\t\t\tRYOMI (O.S.)\n</b>\t\tTomoko!\n\n  Ryomis hands fling aside the CLOSET DOOR.  Within, she finds the pale \n  blue CARCASS of her daughter, curled up into an unnatural fetal position.  \n  Tomokos mouth yawns gaping, her eyes glassy and rolled up into the back \n  of her head.  Her hands are caught in her hair, as if trying to pull it \n  out by the roots.  It is a horrific scene, one that says Tomoko died as \n  if from some unspeakable fear.\n\n<b>  PRESENT\n</b>\n  Ryomi sinks to her knees, hitting the wooden floor hard.  She puts her \n  face into her hands and begins sobbing loudly.  Asakawa says nothing.\n\n<b>  EXT. CAMERA SHOP  DAY\n</b>\n  Asakawa leaves the camera shop clutching Tomokos unclaimed PHOTOS.  She \n  walks out onto the sidewalk and begins flipping through them.  We see \n  Tomoko standing arm-in-arm with Iwata, her secret boyfriend. Tomoko and \n  her friends eating lunch.  The camera had its date-and-time function \n  enabled, and the photos are marked\n\n<b>    97 8 29.\n</b>\n  The next shot is of Tomoko, Iwata, and another young couple posing in \n  front of a SIGN for a bed and breakfast.  The sign reads:\n\n<b>    IZU PACIFIC LAND\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu...\n\n  Asakawa continues looking through the photos, various shots of the \n  four friends clowning around in their room.  Suddenly she comes to a \n  shot taken the next day, at check out.  The friends are lined up, arms \n  linked-- and all four of their faces are blurred, distorted as if \n  someone had taken an eraser to them and tried to rub them out of \n  existence.\n\n<b>  INT. ASAKAWAS APARTMENT  KITCHEN - DAY\n</b>\n  Asakawa wears an APRON, and is frying something up on the STOVE.  Yoichi \n  stands watching.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLook, Im probably going to be late\n\t\tcoming home tonight, so just stick \n\t\tyour dinner in the microwave when \n\t\tyoure ready to eat, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tK... Mom?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHmm?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan watched some cursed video!\n\n\n  Asakawa leaves the food on the stove, runs over to Yoichi and grabs him \n  by the shoulders.  She shakes him roughly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat did you say?  You are not to \n\t\tspeak of this at school, do you \n\t\thear me?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\t\t(utterly unfazed) \n\t\tI wont.  Im going to school now.\n\n  Yoichi walks off.  Asakawa goes back to the stove, but stops after only \n  a few stirs, staring off and thinking.\n\n  Caption-- September 13th.  Monday.\n\n<b>  EXT. ROAD  DAY\n</b>\n  Asakawa drives her car speedily along a narrow country road, LEAVES \n  blowing up in her wake.\n\n<b>  INT. ASAKAWAS CAR - DAY  \n</b>\n  Asakawa mutters to herself, deep in thought.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres no way...\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  Asakawas car drives past a sign reading:\n\n<b>\tIZU PACIFIC LAND\n</b>\n<b>  EXT. IZU PACIFIC LAND - DRIVEWAY  DAY\n</b>\n  Asakawa has left her car and is walking around the driveway of what is \n  less a bed and breakfast and more like a series of cabin-style rental \n<b>  COTTAGES. \n</b>\n  She wanders about for a while, trying to get her bearings.  She pauses \n  now in front of a particular cottage and reaches into her PURSE.  She \n  withdraws the PICTURE from the photomat, the one that showed Tomoko and \n  her friends with their faces all blurred.  The four are posing in front \n  of their cottage, marked in the photograph as B4.  Asakawa lowers the \n  photo to regard the cottage before her.\n\n<b>    B4\n</b>\n  She walks to the door, turns the handle experimentally.  Its open.  \n  Asakawa walks in.\n\n<b>  INT. PACIFIC LAND - COTTAGE B4  DAY\n</b>\n  Asakawa lets her eyes wander around the cottage.  It looks very modern, \n  all wood paneling and spacious comfort.  \n\n  Her eyes rest on the TV/VCR setup at the front of the room.  Crouching \n  before the VCR now, she presses the eject button.  Nothing happens.  \n  She fingers the inside of the deck, finds it empty, then reaches behind \n  to the rear of the VCR, searching.  Again, there is nothing.  Asakawa \n  presses the power button on the television, picks up the REMOTE, and \n  takes a seat on the SOFA.  She runs through a few channels but theyre \n  all talk shows, no clues whatsoever.  She flicks the TV off and leans \n  back in the sofa, sighing.\n\n  Just then, she spies a LEDGER on the coffee table.  These things are \n  sometimes left in hotels in Japan, so that guests can write a few \n  comments about their stay for others to read.  Asakawa picks the \n  ledger up, begins thumbing through it.  She stops at a strange PICTURE\n  obviously drawn by a child, that shows three rotund, almost entirely \n  round personages.  She reads the handwritten MESSAGE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\"My dad is fat.  My mom is fat.  \n\t\tThats why Im fat, too.\"\n\n  She smiles in spite of herself.  \n\n  Asakawa flips through the rest of the ledger, but theres nothing else \n  of any import.  \n\n  She tosses it back onto the coffee table and, sighing again, leans into \n  the sofa and closes her eyes.\n\n<b>  EXT. OUTDOOR CAF - DUSK  \n</b>\n  Asakawa eats silently, alone.\n\n<b>  INT. PACIFIC LAND - FRONT RECEPTION - NIGHT  \n</b>\n  Asakawa has returned to the bed and breakfast.  As she walks in the \n  door, the COUNTER CLERK rises out of his chair to greet her.\n\n<b>\t\t\t\tCLERK\n</b>\t\tRoom for one?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUm, actually Im here on business.\n\n  She passes the clerk a picture of Tomoko and her three other friends.  \n  He stares at it for a moment.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey would have stayed here on \n\t\tAugust 29th, all four of them.  \n\t\tIf theres any information you \n\t\tmight have...\n\n<b>\t\t\t\tCLERK\n</b>\t\tUh, hang on just a minute.  \n\n  The clerk turns his back to her, begins leafing through a guest log.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\t\t(to himself) \n\t\tAugust 29th...\n\n  While she waits, Asakawas eyes start to wander around the room.  \n  Behind the desk is a sign reading Rental Video, and a large wooden \n  BOOKSHELF filled with VIDEOTAPES. They are all in their original boxes, \n  and she lets her eyes glance over the titles.  Raiders of the Lost Ark, \n  48 Hours--\n\n  --and then, suddenly, she spies a VIDEOTAPE in a plain, unmarked \n  sleeve, tucked away in the back of the very bottom shelf.  She feels \n  the hairs on the back of her neck rise.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThat...\n\n  The clerk looks up.\n\n<b>\t\t\t\tCLERK\n</b>\t\tHmm?\n\n  Asakawa stabs a finger excitedly towards the shelf.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThat!  What tape is that?\n\n  The clerk reaches out for it, grabs it.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\tThis?  Hmm...\n\n  The clerk pulls the tape out of its SLEEVE and checks for a label.  \n  Its unmarked.\n\n<b>\t\t\t\tCLERK\n</b>\t\tMaybe one of the guests left it behind\n\n<b>  INT. PACIFIC LAND  COTTAGE B4 - NIGHT \n</b>\n  Asakawa flips on the TV.  Its on channel 2, and there is nothing but \n  static. She kneels down to slide the tape into the deck and pauses a \n  moment, framed in the vaguely spectral LIGHT from the television \n  screen.  Steeling her nerves, she puts the tape into the machine, picks \n  up the remote, and presses play.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.  Afterwards, you can \n  come back here to check the meaning of the Japanese characters \n  displayed.\n\n\n<b>  THE VIDEOTAPE\n</b>\n  At first it looks like nothing has happened-- then Asakawa realizes that \n  she is now viewing recorded static instead of broadcast static.  She \n  watches, waiting, but the static continues unbroken.  Asakawa looks \n  down at the remote, is about to press fast forward, when suddenly the \n  picture on the screen clears and for a moment she thinks shes looking \n  at the moon.\n\n  Its not the moon at all, she realizes.  The shape is round like a full \n  moon, but it seems to be made up of thin RIBBONS of cloud streaking \n  against a night sky.  And theres a FACE, she sees, a face hidden in \n  shadows, looking down from above.  \n\n  What is this?\n\n  The scene changes now, and Asakawa notes that the tape has that kind of \n  grainy quality one sees in 3rd or 4th generation copies.  The scene is of \n  a WOMAN brushing her long hair before an oval-shaped MIRROR.  The nerve-\n  wracking grating as if of some giant metallic insect sounds in the \n  background, but the lady doesnt seem to notice.  The mirror the lady is \n  using to brush her hair suddenly changes position from the left part of \n  the wall before which she stands, to the right.  Almost instantly the \n  mirror returns to its original position, but in that one moment in its \n  changed location we see a small FIGURE in a white GOWN.  The woman turns \n  towards where that figure stood, and smiles.\n\n  The screen next becomes a twitching, undulating impenetrable sea of the \n  kanji characters used in the Japanese language.  Asakawa can pick out \n  only two things recognizable:\n\n    local     volcanic eruption\n\n  Now the screen is awash in PEOPLE-- crawling, scrabbling, shambling \n  masses, some of them moving in reverse.  A sound like moaning accompanies \n  them.\n<b>  -\n</b>\n  A FIGURE stands upon a shore, its face shrouded.  It points accusingly, \n  not towards the screen, but at something unseen off to one side.  The \n  insect-like screeching sounds louder. \n<b>  --\n</b>\n  Close up on inhuman, alien-looking EYE.  Inside that eye a single \n  character is reflected in reverse:  SADA, meaning \"chastity.\"\n\n  The eye blinks once, twice.  The symbol remains.\n<b>  ---\n</b>\n  A long shot of an outdoor, uncovered WELL.\n<b>  ----\n</b>\n  Sudden loud, blinding STATIC as the tape ends.\n\n  Asakawa turns the TV off, looking physically drained.  She sighs shakily \n  and slumps forward, resting on her knees.  Just then, she glances at the \n  television screen.  She sees, reflected, a small FIGURE in a white gown \n  standing at the rear of the room.  Shocked, Asakawa draws in breath, \n  spins around.\n\n  The room is empty.  Asakawa runs to the sofa to collect her jacket--\n\n  --and the RINGING of the telephone stops her dead in her tracks.  Zombie-\n  like, she walks towards the telephone, picks it up wordlessly.  \n\n  From the other end comes the same metallic, insectoid SQUEAKING heard on \n  the video.  Asakawa slams the phone down and glances up at the CLOCK.  \n  Its about seven minutes after 7 P.M.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to herself) \n\t\tOne week\n\n  Asakawa grabs her coat, pops the tape out of the deck, and runs out the \n  door.\n\n<b>  EXT. STREET  DAY\n</b>\n  It is dark and raining heavily.  Yoichi, Asakawas son, is walking to \n  school, UMBRELLA firmly in hand.  The sidewalk is quite narrow, and Yoichi \n  comes to a halt when a second PERSON comes from the opposite direction, \n  blocking his way. Yoichi slowly raises his umbrella, peers up to look at \n  this other pedestrian.  It is a MAN, a BAG slung over one shoulder.  He \n  has a beard; unusual for Japan where clean-shaven is the norm.  \n\n  The two continue looking directly at each other, neither moving nor \n  speaking.  Yoichi then walks around the persons left and continues on his\n   way.  The man resumes walking as well.\n\n  Caption-- September 14th.  Tuesday.\n\n<b>  EXT. OUTSIDE AN APARTMENT DOOR - DAY  \n</b>\n  The bearded man, whose name is RYUJI, reaches out to press the DOORBELL, \n  but the door has already opened from within.  Asakawa leans out, holding \n  the door open for him.  Neither of them speaks.  Wordlessly, Ryuji enters \n  the apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - DAY  \n</b>\n  Ryuji puts his bag down, looks around the apartment.  The interior is dark, \n  ominous somehow.  He takes his JACKET off and wanders into the living room.  \n  Asakawa is in the kitchen behind him, preparing TEA.  Ryuji spies the \n  collection of FRAMED PHOTOGRAPHS in living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYoichis in elementary school \n\t\talready, is he?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHis first year.  What about you, \n\t\tRyuji?  How have you been \n\t\trecently?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSame as always.\n\n  She takes a seat next to him, serves the tea.  On the coffee table \n  before them is a VIDEOTAPE in a plain, unmarked case.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd money is...?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIm teaching at university.\n\n  Ryuji picks up his cup of tea but stops, grimacing, before it is to his \n  lips.  He rubs his forehead as if experiencing a sudden headache.  Ryuji \n  shakes it off and quickly regains his composure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnyway.  You said that the phone rang?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo if I watch it too, that phone over \n\t\tthere--\n\n  He gestures with his mug \n\n\t\t\t\tRYUJI (contd)\n\t\t--should ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji, four people have already \n\t\tdied.  On the same day!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(flippant) \n\t\tWell, why dont you try calling \n\t\tan exorcist?\n\n  He takes a sip of his tea.  Asakawa reaches quickly, grabs something \n  from the bookshelf behind her-- a POLAROID CAMERA.    She shoves it \n  into Ryujis hands, then turns to look down at the floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTake my picture.\n\n  Ryuji raises the camera to his eye.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTurn this way.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(unmoving) \n\t\tHurry up and take it.\n\n  Ryuji snaps off a shot.  It comes out the other end and he takes it, \n  waits impatiently for an image to appear.  When it does, all he can \n  do is pass it wordlessly over to Asakawa.  Her face is twisted, \n  misshapen.  \n\n  Just like the picture of Tomoko and her friends.\n\n  Asakawa stares at it, horrified.  By the time she finally looks up, \n  Ryuji has already risen from his seat and slid the videotape into the \n  VCR.  Again, the screen is filled with static, only to be replaced \n  with what looks like the moon.  Asakawa slams the Polaroid on the \n  coffee table and goes outside onto the veranda.  \n\n<b>  EXT. VERANDA - DAY  \n</b>\n  Asakawa stares out at a view of the houses shaded in cloud and rain. \n  There is a knock on the glass door behind her.  A moment later, \n  Ryuji slides the door open.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIts over.\n\n  Asakawa re-enters her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM - DAY\n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWell, it looks like your phones not \n\t\tringing.\n\n  Ryuji pops the tape from the deck, hands it to Asakawa.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tMake me a copy of this, will you?  \n\t\tId like to do a little research\n\t\tof my own. Theres no reason to \n\t\twrite us off as dead just yet. \n\n  He dramatically takes a seat.\n\n\t\t\t\tRYUJI\t(contd)\n\t\tIf theres a video, that means that \n\t\tsomebody had to make it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres the guest list from the \n\t\tcottage to look into... and the \n\t\tpossibility of someone hacking \n\t\tinto the local stations broadcast \n\t\tsignals.\n\n  Asakawa pulls a NOTEPAD from her purse and begins busily scribbling \n  away.\n\n\n<b>  INT. NEWS STATION - DAY  \n</b>\n  Okazaki putters around.\n\n  Caption- September 15th.  Tuesday.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa sits by herself, reviewing the videotape.  She is replaying \n  the very last scene, an outdoor shot of a well.  She stares at it \n  carefully, and notices...\n\n  The tape ends, filling the screen with static.  A split-second \n  afterwards, there is a KNOCK on the door and Okazaki enters, holding \n  a FILE.  Asakawa momentarily forgets about the video.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\t\t(handing her the file)\n\t\tHeres that guest list you wanted.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tOh, thanks.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tWhat are you gonna do with this?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUh... sorry, Im working on \n\t\tsomething personal.\n\n<b>  EXT. IN FRONT OF A TRAIN STATION - DAY  \n</b>\n  Some quick shots of a FOUNTAIN gushing water, PIGEONS flapping away \n  looking agitated.  CUT to Ryuji sitting on a BENCH.  Hes deep in \n  thought, writing in a NOTEPAD. There are multitudes of PEOPLE about \n  him, and we can hear the sounds of their coming and going.  A PAIR \n  OF LEGS attached to a woman in white dress, hose, and pumps appears, \n  heading directly for Ryuji.  Her pace is slow, rhythmical, and as \n  that pace progresses all other sounds FADE into the background, so \n  that all we can hear is the CLOMP, CLOMP as those legs walk to stand \n  just before Ryuji.  The pumps are scuffed, dirtied with grime.  \n\n  A gust of WIND rips by.  Ryuji fights the urge to look up as in his \n  ears rings the same hollowed, multi-voiced BABBLING heard on the \n  videotape.  The sound grows stronger.\n\n<b>\t\t\t\tRYUJI (VO)\n</b> \t\tSo, it was you.  You did it.\n\n  The babbling fades, disappears as slowly the worlds normal \n  background sounds return.  Ryuji looks up, but the woman in white \n  is nowhere to be seen.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji rides up on a BICYCLE. He turns the corner towards his \n  apartment and finds Asakawa seated on the steps, waiting for him.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHey.\n\n  Asakawa notes in his face that something is wrong.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tWhat happened to you?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(gruffly)\n\t\tNothing.\n\n  He enters the building, carrying his bicycle.  Asakawa follows.\n\n<b>  INT. HALLWAY - AFTERNOON  \n</b>\n  The two walk down the hallway towards the FRONT DOOR to Ryujis \n  apartment.  He unlocks the door and they enter.\n\n<b>  INT. RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji and Asakawa enter the living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSo, whatd you come up with?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI dont think any of the guests on \n\t\tthe list brought the tape with them.  \n\t\tI couldnt confirm it face-to-face \n\t\tof course, but even over the phone I \n\t\tgot the feeling they were all being \n\t\tupfront with me.\n\n<b> \t\t\t\tRYUJI\n</b>\t\tHow about the other angle?  Pirate \n\t\tsignals or...\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tTherere no traces of any illegal \n\t\ttelevision signals being broadcast \n\t\taround Izu. \n\n  She reaches into her purse, pulls out a large white ENVELOPE.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHeres that copy of the videotape \n\t\tyou wanted.\n\n  Ryuji tears the package open.  He squats down on the tatami in \n  frontof his TV and slides the tape in.  Asakawa sits on the \n  tatami as well, but positions herself away from the TV and keeps \n  her eyes averted.  Ryuji glares over his shoulder at her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(sternly) \n\t\tAsakawa.\n\n  She reluctantly scoots closer, looks up at the screen.  Ryuji \n  fast-forwards the tape a bit, stopping at the scene where the \n  woman is brushing her long hair before an oval mirror.  He puts \n  the video on frame-by-frame. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tHave you ever seen this woman?\n\n  Asakawa regards the screen intently.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tNo...\n\n  The tape advances to the scene where the mirror suddenly changes \n  positions.  When it does, we can again see the small figure in the \n  white gown, a figure with long black hair. When Ryuji sees this \n  his body stiffens, becomes tense.  Asakawa notices but says nothing.  \n  She also notices something else.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tTheres something strange about \n\t\tthis shot.\n\n  She takes the remote from Ryuji, rewinds it a ways.  Onscreen, the \n  woman begins coming her long hair again.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFrom this angle, the mirror should \n\t\tbe reflecting whoevers filming.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo, what does that mean?\n\n  Asakawa lets out a short sigh.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, if the person who made this \n\t\tis a pro, thered be a way around \n\t\tthat, I guess, but still...\n\n  The screen changes, showing the mass of squiggling kanji characters \n  again.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(reading) \n\t\tVolcanic eruption... Eruption where?\n\n  He pauses the screen, trying to make sense of what is written.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThis is gonna be impossible to figure \n\t\tout on just a regular TV screen, \n\t\tdont you think?\n\n  They are both still staring at the screen when from behind them comes \n  the SOUND of someone opening the front door.  Ryuji turns off the TV, \n  ejects the tape from the deck.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome on in.\n\n  Asakawa flashes a look at Ryuji and then turns her head back towards \n  the front door to see who has entered.  A cute, nervous-looking young \n  GIRL with short hair approaches slowly.  She is carrying a PLASTIC BAG \n  filled with groceries.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAsakawa, meet my student, Takano Mai.\n\n  He turns, addresses Mai.\n\n\t\t\t\tRYUJI\t(contd)\t\n\t\tThis is Asakawa, my ex-wife.\n\n  Ryuji gets up and walks conveniently away.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tNice to meet you.  Im Takano.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAsakawa. *\n\n\n  > * As you may already be aware, Japanese name order is the \n  >opposite of Englishs, and even close friends may continue to\n  >address one another by their last names.  Incidentally, Asakawas\n  >first name is Reiko.  In this scene, Mai deferentially refers\n  >to Ryuji as sensei, meaning teacher.\n\n\n  Mai sets the bag of groceries down and chases after Ryuji.  He is \n  putting on his jacket and getting ready to leave.\n\n<b>\t\t\t\tMAI\t\n</b>\t\tSensei, the people from the \n\t\tpublishing company called about \n\t\tthe deadline on your thesis again. \n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(brusquely) \n\t\tWhatre they talkin to you \n\t\tabout it for?\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tBecause they can never get a \n\t\thold of you.\n\n  Ryuji picks up his keys, video firmly in hand.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tAsk them to wait another week.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tSensei, ask them yourself, \n\t\tplease.\n\n  Ryuji is already headed for the door.  His back is to her as he \n  responds.\n\n<b>\t\t\t\tRYUJI\t\n</b><b>\t\tOK, OK.\n</b>\n  Asakawa walks after him.  They leave.\n\n  Mai pouts unhappily a bit, and then breaks into a smile as an idea \n  crosses her mind.  She walks across the room to where Ryuji has set \n  up a large BLACKBOARD filled with mathematical equations.  Grinning, \n  Mai rubs out part of one equation with her sleeve and writes in a \n  new value.\n\n<b>  INT. NEWS STATION  HALLWAY - NIGHT  \n</b>\n  Asakawa and Ryuji stride purposefully.  They stop before a DOOR to \n  the right, which Asakawa unlocks.  They both walk in.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH - NIGHT \n</b>\n  Asakawa and Ryuji sit in a completely darkened room, their eyes \n  glued to the television MONITOR.  They are again watching the scene \n  with the fragmented kanji characters, but despite their efforts have \n  been able to identify only one additional word, bringing the total \n  to three:\n\n\tvolcanic eruption\t  local\t     residents\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThis is impossible.\n\n  Ryuji fast forwards, stopping at the scene with the kanji reflected\n  inside an alien-looking EYE.  He reads the kanji aloud. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSada... \n\n  Ryuji moves to make a note of this, notices the time.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIs Yoichi gonna be all right?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(sadly) \n\t\tHes used to it...\n\n  Short silence.  Ryuji breaks it by gesturing towards the screen. \n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWhoever made this had to have left \n\t\tsome kind of clue behind.  Theyre \n\t\tprobably waiting for us to find it.\n\n  Asakawa turns a DIAL to bring up the volume, which up until now has \n  been  on mute.  The room is filled with an eerie, metallic GRATING, \n  and Asakawa spins the dial again, shutting it off.  Just as she does, \n  Ryujis eyes widen.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWait a minute.\n\n  He turns the dial again, punches a few buttons as if searching for \n  something.  He listens carefully, and when he hears that strange \n  something again he stops, looks at the screen.\n\n  It is paused at the scene with the figure, pointing, a CLOTH draped \n  over its head.  The figure now looks oddly like a messenger.\n\n  Ryuji and Asakawa exchange glances.  This could be it.  Ryuji flips \n  some more switches, setting the sound for super-slow mo.  What follows \n  is a strange, labored sort of speech- a hidden message-- framed in \n  the skittering distortion of the tape in slow motion. \n\n<b>\t\t\t\tTAPE\t\n</b>\t\tShoooomonnn bakkkkkarrri toou...  \n\t\tboooouuuukonn ga kuuru zouuu...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(repeating) \n\t\tShoumon bakkari, boukon ga kuru \n\t\tzo.  Did you hear that, too?\n\n  Asakawa nods.  Ryuji is already writing it down excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat does that mean?\n\n  Ryuji tears the sheet of paper off the notepad, folds it, and tucks \n  it into his shirt pocket.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIm gonna check it out.\n\n<b>  EXT. ASAKAWAS APARTMENT COMPLEX - MORNING  \n</b>\n  Yoichi is walking to school.  He looks back over his shoulder, just \n  once,then resumes walking.\n\n<b>  INT. ASAKAWAS APARTMENT - MORNING\n</b>\n  All the lights are turned off, and she is sitting on the living room \n  couch watching the footage of her caf interview with the junior high \n  school girls.  \n\n  Caption-- September 16th.  Thursday.\n\n  Just when the girl in the interview mentions that whomever watches \n  the video is supposed to afterwards receive a phone call, Asakawas \n  own phone RINGS, startling her. She runs to answer it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIve got it.  Its a dialect, just \n\t\tlike I thought.  SHOUMON means \n\t\tplaying in the water and BOUKON\n \t\tmeans monster. *\n\n\n  >* Translated from standard Japanese, the phrase from the videotape \n  >would initially have sounded like, \"If only SHOUMON then the \n  >BOUKON will come.\"  These two capitalized words, later identified to \n  >be dialectical, were at the time completely incomprehensible to Ryuji \n  >and Asakawa.  Dialect can vary dramatically from region to region in \n  >Japan, to the point of speakers of different dialect being unable to\n  >understand one another.  \n\n  >The phrase on the tape can now be rendered, \"If you keep playing in \n  >the water, the monster will come for you.\"\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut, dialect from where?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tOshima.  And the site of our \n\t\teruption is Mt. Mihara.\n\n<b>  INT. LIBRARY - NIGHT  \n</b>\n  Ryuji and Asakawa are seated at cubicles, looking through bound \n  ARCHIVES of old newspaper articles.  Asakawa sneaks a look at Ryuji, \n  stands up and walks off a little ways.  She has already pulled out her \n  cell phone.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(whispering, on phone) \n\t\tYoichi?  Im gonna be a little \n\t\tlate tonight, honey. \n\n  Ryuji looks over his shoulder at her, scowls.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYou can do it yourself, right?  OK.  \n\t\tSorry.  Bye.\n\n  She hangs up, returns to her seat at the cubicle.  She resumes her \n  scanning of the newspaper articles, and Ryuji shoots her another scowl.  \n  Asakawa turns a page and then stops, frowning.  She has spied an article \n  that looks like...\n\n  Nervously, Asakawa puts the thumb and forefinger of each hand together, \n  forming the shape of a rectangle.  Or a screen.  She places the rectangle\n  over the article she has just discovered, its headlines reading:\n\n    Mount Mihara Erupts \tLocal Residents Urged to Take Precautions\n\n  Ryuji notices her, leans forward excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIve got it!  This old article...\n\n  The two scan the remainder of the page, and find a smaller, related \n  article.\t\n\n    Did Local Girl Predict Eruption?\n    A young lady from Sashikiji prefecture...\n\n  The two read over both articles, absorbing the details.  Ryuji stands \n  suddenly, gathering his things.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat are you doing?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHas your newspaper got someone out \n\t\tthere at Oshima?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tI think so.  There should be a \n\t\tcorrespondent out there.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI need you to find out, and let me \n\t\tknow how to get hold of him.\n\t\tTonight.\n\n  He begins walking briskly away.  Asakawa chases after him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat do you think youre--?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(angrily) \n\t\tYouve only got four days left, \n\t\tAsakawa!  Your newspaper contact \n\t\tand I can handle this from here \n\t\ton out.  You just stay with Yoichi.\n\n  Ryuji strides off.  Asakawa stands motionless.\n\n<b>  EXT. COUNTRY ROAD - DAY  \n</b>\n  A car speeds along.  CUT to a gravel DRIVEWAY leading up to a wooden, \n  traditional-style HOUSE.  Kouichi, Asakawas father, is standing before \n  the entrance and puttering around in his GARDEN.  The car from the \n  previous shot drives up, comes to a halt.  The passenger door opens and \n  Yoichi hops out, running towards the old man.  Asakawa walks leisurely \n  after her son.\n\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tGrandpa!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWhoa, there!  So, you made it, huh?\n\n  Caption-- September 17th.  Friday.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi says hes looking forward to \n\t\tdoing some fishing with you.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tIs that so?\n\n  Yoichi begins tugging excitedly at his grandfathers arm.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tCmon grandpa, lets go!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tOK, OK.  Well get our things \n\t\ttogether and then we can go.\n\n\n<b>  EXT. RIVER  DAY  \n</b>\n  Asakawa stands on a RIVERBANK while her father and Yoichi, GUMBOOTS on, \n  are ankle-deep in a shallow river.  Yoichi holds a small NET, and \n  Asakawas dad is pointing and chattering excitedly. \n\n<b>\t\t\t\tKOUICHI\n</b>\t\tThere he is!  Cmon, there he is, \n\t\tdont let him go!\n\n  Yoichi tries to scoop up the fish his grandfather is pointing out.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOh, oh!  Ah... guess he got away, \n\t\thuh?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tThat was your fault, grandpa.\n\n  Asakawas father laughs.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWell, whaddya say we try again?\n\n  He begins sloshing noisily out to the center of the stream, Yoichi in \n  tow.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tWell get im this time.\n\n  Asakawa looks away, pensive.\n\n<b>  INT. KOUICHIS HOUSE - LIVING ROOM - NIGHT  \n</b>\n  Yoichi is passed out asleep on the tatami mats.  A TELEVISION looms \n  inone corner of the living room, but it is switched off.  The \n  SLIDING DOORS to the adjacent guest room are open and we can see \n  futons set out, ready for bed.\n\n  Asakawa enters the living room and, seeing Yoichi, scoops him up in\n  her arms and carries him over to the guest room.\n\n<b>\t\t\t\tYOICHI\n</b>\t\t\t(sleepily) \n\t\tHow was work, mommy?\n\n  Asakawa tucks him into the futons and walks silently off.\n\n<b>  INT. KOUICHIS HOUSE - STAIRCASE  NIGHT  \n</b>\n  Asakawa stands at the foot of the staircase, telephone RECEIVER in \n  hand.  The phone rests on a small STAND by the staircase.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tYeah.  Your Oshima contact came \n\t\tthrough.  It looks like the woman \n\t\twho predicted the Mihara eruption \n\t\tis the same woman from the video.\n\n<b>  INT. RYUJIS APARTMENT  NIGHT\n</b>\n  Ryuji is crouched in front of the TV, REMOTE in hand.  The screen is \n  paused on the scene of the woman brushing her long hair.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHer name is Yamamura Shizuko.  She \n\t\tcommitted suicide forty years ago \n\t\tby throwing herself into Mt. Mihara.\n\n<b>  INT. KOUJIS HOUSE  STAIRCASE - NIGHT  \n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHave you got anything else?\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tIm gonna have to check it for \n\t\tmyself.  Ill be leaving for \n\t\tOshima tomorrow morning.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOshima?  Ive only got three days \n\t\tleft!\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tI know.  And Ive got four.\n\n  Short silence.\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIll be in touch.\n\n  Ryuji hangs up.  Asakawa, deep in thought, slowly places the phone \n  back in its CRADLE.  She turns around to walk back down the hallway \n  only to find her father standing there, face full of concern.\n\n<b>\t\t\t\tKOUJI\n</b>\t\tWhats happened?\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tNothing.  I just had some things \n\t\tleft over from work.\n\n  She walks past her father, who glances worriedly after her over his \n  shoulder.\n\n<b>  INT. KOUJIS HOUSE - GUEST ROOM  NIGHT\n</b>\n  The lights are all off and Asakawa is asleep in her futon.  Her eyes \n  suddenly fly open as a VOICE sounding eerily like her deceased niece \n  Tomoko calls out to her.\n\n\n<b>\t\t\t\tTOMOKO (O.S.) \n</b>\t\tAuntie?\n\n  Asakawa looks around the room, gets her bearings.  Her eyes fall on \n  the futon next to hers.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi?\n\n  There is a BODY in that futon, but it is full-grown, dressed all in \n  black.  It is curled into a fetal position and has its head turned \n  away.\n\n  Suddenly, the IMAGE from the video of the figure with its face \n  shrouded springs to Asakawas mind.  Just an instant, its pointing \n  visage materializes, and then disappears.  It reappears a moment \n  later, pointing more insistently now, and disappears again.  \n\n  Asakawa blinks her eyes and realizes that the futon next to hers is \n  empty.  Yoichi is nowhere to be seen.\n\n  Just then, she hears that high-pitched, metallic SQUEAKING from the \n  video.  Eyes wide with horror, she flings the sliding doors apart--\n  --and there, seated before the television, is Yoichi.\n\n  He is watching the video.\n\n  It is already at the very last scene, the shot of the outdoor well. \n  CLOSEUP on the screen now, and for just an instant we can see that \n  something is trying to claw its way out of the well.  The video cuts \n  off, and the screen fills with static.  \n\n  Shrieking, Asakawa races over to Yoichi, covers his eyes though it is \n  already too late.  She scoots over to the VCR, ejects the tape and \n  stares at it uncomprehendingly.  She is then at Yoichis side again, \n  shaking him roughly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi!  You brought this with you, \n\t\tdidnt you?  Why?!?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan...\n\n  Asakawa freezes, her eyes wide.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan told me to watch it.\n\n<b>  EXT. OCEAN  DAY\n</b><b>  \n</b>  WAVES are being kicked up by a large PASSENGER SHIP as it speeds on \n  its way.  CUT to Asakawa and Ryuji standing on deck, looking out over \n  the waves.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI shouldve been more careful.  \n\t\tWhen I was at your place that \n\t\tday, I could feel something \n\t\tthere.  I thought it was just \n\t\tbecause of the video... \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou mean that Tomoko\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThats not Tomoko.  Not anymore.\n\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi... he can see them too, \n\t\tcant he?\n\n  Ryuji nods his head, lowers it sadly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIts all my fault.  First Tomoko \n\t\tdied, then those three others.  It \n\t\tshould have stopped there, but it \n\t\tdidnt.  Because of me.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI wonder...\n\n  Asakawa turns to Ryuji suddenly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow did the rumors about the \n\t\tvideo even start in the first \n\t\tplace?\n\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tThis kind of thing... it doesnt \n\t\tstart by one person telling a \n\t\tstory.  Its more like everyones \n\t\tfear just takes on a life of its \n\t\town.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFear...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tOr maybe its not fear at all.  \n\t\tMaybe its what we were \n\t\tsecretly hoping for all along.\n\n<b>  EXT. PORT  DAY  \n</b>\n  The ship has docked, its GANGPLANK extended.  Ryuji and Asakawa walk \n  the length of the gangplank towards the shore.  A man named MR. \n  HAYATSU is already waiting for them.  He holds up a white SIGNBOARD \n  in both hands.\n<b> \n</b><b>\t\t\t\tASAKAWA\t\n</b>\t\tMr. Hayatsu?\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tAah, welcome!  You must be tired \n\t\tafter your long trip.  Please, \n\t\tthis way.\n\n  Mr. Hayatsu leads Asakawa and Ryuji to an awaiting minivan.\n\n  Caption-- September 18th.  Saturday.\n\n<b>  INT. HAYATSUS MINIVAN - DAY  \n</b>\n  Ryuji and Asakawa sit in the back.  Mr. Hayatsu is behind the wheel, \n  chattering away.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tBack in the old days, the Yamamuras\n\t\tused to head fishing boats out in \n\t\tSashikiji, though they dont much \n\t\tanymore.  You know, one of Shizukos \n\t\tcousins is still alive. Hes just an \n\t\told man now.  His son and his \n\t\tdaughter-in-law run an old-fashioned \n\t\tinn.  I went ahead and booked \n\t\treservations for yall, hope thats \n\t\talright...\n\n  Asakawa gives the briefest of nods in reply, after which the \n  minivan lapses into silence.  Asakawa looks dreamily out at the \n  mountain-studded landscape, then suddenly snaps to.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(to Ryuji) \n\t\tWhy did Yamamura Shizuko commit \n\t\tsuicide?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tShe was taking a real beating \n\t\tin the press, being called a \n\t\tfraud and all sorts of names.  \n\t\tAfter a while she just lost it. \n\n  CUT to a scene of the minivan speeding along a country road.\n\n<b>  INT. HAYATSUS MINIVAN  DAY \n</b>\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko was getting a lot of \n\t\tattention around the island after\n\t\tpredicting the eruption of Mt. \n\t\tMihara.  Seems that for some time \n\t\tshed had a rather unique ability:\n\t\tprecognition. It was around then\n\t\tthat she attracted the attention \n\t\tof a certain scholar whom you may \n\t\thave heard of; Ikuma Heihachiro.   \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHe was driven out of the university, \n\t\twasnt he?\n\n  Ryuji nods.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThis Professor Ikuma convinces \n\t\tShizuko to go to Tokyo with him, \n\t\twhere he uses her in a series of \n\t\tdemonstrations meant to prove the \n\t\texistence of ESP.  At first shes \n\t\tthe darling of the press, but the \n\t\tnext thing you know theyre \n\t\tknocking her down, calling her a \n\t\tfraud.  Hmph.  Forty years later,\n\t\tthe media still hasnt changed that\n\t\tmuch.\n\n  Asakawa continues, ignoring Ryujis barb.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIve heard this story.  But... Im \n\t\tsure I remember hearing that somebody \n\t\tdied at one of those demonstrations.\n\n  A strange look crosses Ryujis face.  He looks away, ignores her \n  for a moment.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAfter getting kicked out of \n\t\tuniversity, Ikuma just vanished, \n\t\tand no ones been able to get hold \n\t\tof him since.  Hes probably not \n\t\teven alive anymore.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, why even try looking for him?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tBecause hes supposed to have had a \n\t\tchild with Shizuko.  A daughter.\n\n  Asakawa freezes.  In her mind, she sees a small FIGURE dressed in \n  white, its face hidden by long, black HAIR.  It is the figure from \n  the video.\n\n<b>  EXT. OUTSIDE YAMAMURA VILLA - DAY  \n</b>\n  Mr. Hayatsu leads Asakawa and Ryuji to the entrance.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tHello?\n\n  The INKEEPER, a middle-aged lady named KAZUE wearing a traditional \n  KIMONO, comes shuffling up.  She addresses Mr. Hayatsu.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThank you.\n\n  She turns to Asakawa and Ryuji.\n\n\t\t\t\tKAZUE (contd)\n\t\tWelcome.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tWell, Ill be off then.\n\n  He gives a little bow and is off.  Kazue, meanwhile, has produced \n  two pairs of SLIPPERS, which she offers to Ryuji and Asakawa.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tPlease.\n\n  Ryuji and Asakawa begin removing their shoes. \n\n<b>  INT. YAMAMURA VILLA  STAIRCASE - DAY  \n</b>\n  Kazue leads Ryuji and Asakawa up a shadowed, wooden STAIRCASE.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tAnd for your rooms, how shall we...? \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSeparate, please.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tSir.\n\n<b>  INT. YAMAMURA VILLA - 2ND FLOOR  DAY\n</b>\n  Kazue gives a little bow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tThis way.\n\n  Kazue turns to the right.  Almost immediately after reaching the \n  top of the steps, however, a strange look crosses Ryujis face.  \n  He heads down the opposite end of the corridor, Asakawa close \n  behind.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(alarmed) \n\t\tSir!\n\n  Ryuji flings open the SLIDING DOOR to one of the older rooms.  There, \n  hanging from one of the walls, is the oval-shaped MIRROR from the \n  video, the one used by the mysterious lady to brush her long hair.  \n  Ryuji stares at the mirror, almost wincing.  He turns around as if \n  to look at Asakawa,but continues turning, looks past her.  Asakawa \n  follows his gaze, as does Kazue.  Standing at the end of the corridor \n  is an old man, MR. YAMAMURA. \n\n  Yamamura regards them silently, balefully.  Breaking the silence, \n  Kazue gestures for Asakawa and Ryuji to follow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(softly) \n\t\tPlease, this way.\n\n  Asakawa races past the innkeeper towards the old man.  He keeps his \n  back turned towards her.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease!  If you could just answer \n\t\ta few questions, about Shizuko...\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tI got nuthin to say.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts about Shizukos daughter.\n\n  The old man says nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tShe did have a daughter, didnt she?\n\n  Yamamura regards her for a moment, then turns to walk away.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>  \t\tYoure wasting your time.\n\n<b>  INT. YAMAMURA VILLA - DINING ROOM  NIGHT\n</b>\n  The TABLE is laid out with an elaborate-looking DINNER.  Asakawa \n  sits alone, knees curled up to her chin, eyes wide and frightened.  \n  She is whimpering softly to herself.  Just then, the DOOR slides \n  open and Ryuji walks in.  He sits at the table and picks up a \n  pair of CHOPSTICKS.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tArent you gonna eat?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUmm...\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHm?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoull stay with me wont you?  \n\t\tWhen its time for me to die.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tOh, stop it.\n\n  Asakawa scoots across the tatami mats towards the table, grabs \n  Ryuji fiercely by the arm.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoull stay, wont you?  If you \n\t\tstayed, maybe youd learn something\n\t\tthat could help Yoichi--\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI said stop it!  Have you forgotten \n\t\tThere was a girl with Tomoko when \n\t\tshe died?  That girls now in a \n\t\tmental institution.  Who knows what \n\t\tcould happen. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut you could stay with me, Ryuji.  \n\t\tYoud be OK.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(angrily)\n\t\tWhy, because Im already not \n\t\tright in the head?\n\n  Asakawa releases her hold on Ryujis arm, lowers her head.  Ryuji \n  slams his chopsticks down angrily.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIf thats the case, why not just\n\t\tlet things run its course, get rid\n\t\tof father -and- son?  Yoichi was a\n\t\tmistake, anyway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tStop it!\n\n  Short silence.  When Ryuji speaks up again, his voice is soft, \n  reassuring.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe still have two days left...\n\n  Just then the VOICE of the innkeeper calls tentatively out from \n  the other side of the sliding door.\n\n<b>\t\t\t\tKAZUE (O.S.) \n</b>\t\tExcuse me?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome in.\n\n  Kazue slides the door open.  She stands hesitantly in the doorway, \n  something tucked under one arm.\n\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tIts about Miss Shizuko.  \n\n  Ryuji shoots a glance at Asakawa and stands up from the table, \n  walks towards the innkeeper.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThis is all that there is...\n\n  Kazue produces an old black and white PHOTOGRAPH.  The photo shows a \n  WOMAN, seated, dressed in a KIMONO.  A MAN in a Western-style SUIT \n  stands beside her.  \n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIs this Professor Ikuma?\n\n  Hearing this Asakawa leaps up, walks over to examine the picture for \n  herself.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t...yes.  This picture is from before \n\t\tId entered the household.  \n\n  She pauses a moment.\n\n\t\t\t\tKAZUE (contd)\n\t\tI should go now.\n\n  The innkeeper scuttles off, leaving Asakawa and Ryuji alone with the \n  photograph.  Unbidden, the VOICE from the video enters their \n  thoughts.\n\n<b>\t\t\t\tVOICE\n</b>\t\tShoumon bakkari... boukon ga kuru zo...\n\n\n<b>  EXT. IZU SEASHORE - DAY\n</b>\n  Asakawa watches Ryuji stride down the shore.\n\n  Caption-- September 19th.  Monday.\n\n  Ryuji strolls up to find old man Yamamura sitting alone, staring \n  out at the sea.  Yamamura glances up to see Ryuji approaching.  \n  Ryuji takes a seat next to the old man, but its Yamamura who speaks \n  first.  The deep basso of his voice emphasizes the drawl of his \n  accent.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tYalld do best to be off soon.  \n\t\tSeas probably gonna be rough \n\t\ttonight.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat kind of a child was Shizuko?\n\n<b>\t\t\t\tYAMAMURA \n</b>\t\tShizuko was... different.  Shed come \n\t\tout here by herself everday an just\n\t\tstare out at the ocean.  The fishermen \n\t\tall took a dislikin to her.  Oceans \n\t\tan unlucky place for us, ysee: every \n\t\tyear it swallows up more of our own. \n\t\tYou keep starin out at somethin \n\t\tike that... \n\n<b>\t\t\t\tRYUJI\n</b>      \t\tShoumon bakkari shiteru to, boukon ga \n\t\tkuru zo.  If you keep playing in the \n\t\twater, the monster will come for you.\n\n  Yamamura looks at Ryuji, surprised.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko could see inside people, \n\t\tcouldnt she?  Down to the places \n\t\ttheyd most like to keep hidden.  It \n\t\tmust have been difficult for her...\n\n  Yamamura rises unsteadily to his feet, features twisted angrily.\n\n<b>\t\t\t\tYAMAMURA\n</b> \t\tPlease leave!  Now!\n\n  Ryuji stands, takes hold of Yamamuras arm.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIve got a little of that ability \n\t\tmyself.  It was you who spread the \n\t\tword about Shizuko, wasnt it?  \n\t\tAnd you who first contacted \n\t\tProfessor Ikuma?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tWhatre you--?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYou thought youd be able to make \n\t\tsome money off her.  You even got \n\t\tsome, from one of the newspapers.\n\n<b>\t\t\t\tYAMAMURA\t\t\n</b>\t\tLeave me the hell alone!\n\n  Mr. Yamamura strides angrily off.  Both Ryuji and Asakawa take \n  pursuit, Ryuji calling out from behind Yamamuras back.\n\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTell us about Shizukos daughter.  \n\t\tWho was she?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tI dont know!\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tShe was there, with Shizuko. She \n\t\thad to be.\n\n  Yamamuras pace, which has become increasingly erratic, finally \n  causes him to stumble and fall.  Ryuji comes up behind him, \n  grasping him firmly.  At their touch Ryujis power awakens, and as \n  he peers into the old mans mind there is a sudden blinding\n\n<b>  FLASH\n</b>\n  The setting is a large MEETING HALL.  A number of people are seated \n  in folding chairs before a STAGE, on which are a four MEN in BUSINESS \n  SUITS and a WOMAN in a KIMONO.  A BANNER hangs above the stage, which \n  reads PUBLIC DEMONSTRATION ON THE EXISTENCE OF CLAIRVOYANCE.  \n\n<b>  FLASH\n</b>\n  Ryuji eyes widen as he realizes he is seeing Shizukos demonstration \n  before the press.  He also realizes--\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(to Yamamura)\n\t\tYou were there!\n\n<b>  FLASH\n</b>\n  YAMAMURA SHIZUKO, the woman in the kimono, is sitting at a TABLE \n  onstage. Her face is calm and expressionless.  Standing off to one \n  side and peering from behind the curtains is a young Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t(O.S.) \n</b>\t\tYou stood there and watched the \n\t\tdemonstration.\n\n  CUT back to the beach.  Asakawa comes running up toward Ryuji and the \n  prone Mr. Yamamura.  Suddenly there is another\n\n<b>  FLASH\n</b>\n  Asakawa, her eyes wide, finds herself inside the scene, reliving it \n  as if she had actually been there.  She watches as Shizuko receives \n  a sealed clay POT in both hands.  Shizuko regards the pot a moment \n  and then places it gently on the table before her.  She takes a \n  calligraphy STYLUS from the table, begins writing on a thin, \n  rectangular sheet of RICE PAPER.  The members of the press talk \n  excitedly, craning their necks for a better look.\n\n  Onstage, a JUDGE holds up the phrase written by Shizuko and the \n  folded sheet of paper taken from the sealed pot.  The phrase on both \n  sheets is identical.\n\n<b>\t\t\t\tJUDGE\t\t\n</b>\t\tMatch.\n\n  Cameras begin FLASHING excitedly.  Shizukos features melt into a soft \n  smile. \n\n  The experiment is performed again, and again the phrase written by \n  Shizuko corresponds to the sealed sheet of paper.\n\n<b>\t\t\t\tJUDGE\n</b>\t\tMatch.\n\n  Again and again, Shizuko unerringly demonstrates her power to see \n  the unseen.  Finally, a bearded REPORTER explodes from his chair, \n  begins striding angrily towards the stage.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tFaker!  This is nothing but trickery, \n\t\tand the lowest form of trickery at \n\t\tthat. \n\n  The reporter stops at the foot of the stage, points his finger \n  accusingly at Shizuko.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tWhat are you trying to pull, woman?\n\n  A SECOND REPORTER sitting in the front row also rises to his feet.\n\n<b>\t\t\t\tREPORTER #2\t\n</b>\t\tThats right!  Professor Ikuma, \n\t\tyoure being fooled!\n\n  By now most of the press has risen from their chairs, pointing and \n  shouting angrily. Onstage, Shizuko backs away, eyes wide and \n  frightened.  She covers both ears, trying to block out the increasing \n  din.  Professor Ikuma holds her protectively by the shoulders.  The \n  first reporter is still shouting angrily, his voice rising above the \n  others.  Suddenly, a pained look crosses his face and he collapses to \n  the floor.  The crowd, and Asakawa as well, see that the reporters \n  face is contorted into a grotesque mask of fear.\n\n<b>\t\t\t\tREPORTER #3\t\n</b>\t\tWhats happened?\n\n<b>\t\t\t\tREPORTER #4\t\n</b>\t\tHes dead!\n\n\n\n<b>\t\t\t\tREPORTER #5\t\n</b>\t\t\t(to Shizuko) \n\t\tWitch!\n\n  Professor Ikuma begins leading Shizuko offstage.  They stop as someone \n  unseen steps up, blocking their passage.  Shizukos eyes widen, her \n  head shaking in disbelief.\n\n<b>\t\t\t\tSHIZUKO\n</b>\t\tSadako?  Was it you?\n\n  CUT to Ryuji on the beach.  He looks up excitedly.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSadako?!\n\n  He recalls the image from the video, the alien eye with the single \n  character SADA reflected in reverse. *\n\n\n  >* The majority of girls' names in Japanese end in either -mi (\"beauty\") \n  >or -ko (\"child\").  Thus, Sadako means \"Chaste child.\"  Sadako is, of \n  >course, the mysterious daughter of Shizuko and Professor Ikuma.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSadako killed him?  She can kill \n\t\tjust with a thought?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tShes... a devil spawn.\n\n  CUT back to the demonstration hall.  Sadako, her face completely hidden \n  by her long hair, runs offstage... and heads directly for Asakawa.  \n  Asakawa instinctively raises her arm, and Sadako grasps it fiercely.  \n  All the nails on Sadako hand are stripped away; her fingers are raw, \n  bloody stumps.\n\n  CUT back to the beach.  Asakawa, still caught in the throes of the \n  vision, has begun to swoon.  Finally her legs give out and she crumples \n  to the beach.  Ryuji grabs hold of her supportively.  He glances down at \n  her wrist, sees an ugly, purple BRUISE already beginning to form.  \n\n  The bruise is in the shape of five long, spindly fingers.\n\n  Mr. Yamamura slowly rises to a sitting position, and together the three \n  watch the approach of ominous, dark STORM CLOUDS.\n\n<b>  INT. MR. HAYATSUS HOUSE  DUSK\n</b>\n  Asakawa is on the phone, her voice almost frantic.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right. After Yamamura Shizuko \n\t\tcommitted suicide, Professor Ikuma\n\t\ttook the daughter and ran.  No, no one\n\t\tknows where they went.  Thats why I \n\t\tneed -you- to find out where they are.  \n\t\tEven if the professors dead, Sadako \n\t\tshould still be in her forties.  Ill \n\t\texplain it all later, but right now \n\t\tjust hurry!\n\n  Asakawa slams the phone down.  PAN to show Ryuji slumped in one corner \n  of the room, his back to the wall.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadakos probably already dead.  She\n\t\tcould kill people with just a thought, \n\t\tremember?  Her mother wasnt even \n\t\tclose to that.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(flustered) \n\t\tWell, what about that video?  If \n\t\tSadakos dead then who made it?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tNobody made it. It wasnt made at \n\t\tall. That video... is the pure, \n\t\tphysical manifestation of Sadakos \n\t\thatred.\n\n  Ryuji turns to regard Asakawa, his eyes blank.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWeve been cursed.\n\n  There is a moment of silence before Mr. Hayatsu slides the door open, \n  almost falling into the room.  He is out of breath, and speaks rapidly.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts no good.  With the typhoon \n\t\tcoming in, all ships are \n\t\ttemporarily staying docked.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWhat about the fishing boats?  \n\t\tTell their captains Ill pay.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tFishing boats?  Sir, without knowing \n\t\twhether this typhoon is going to hit \n\t\tus or not, I think itd be better to \n\t\twait and see how things turn--\n\n  Ryuji interrupts him, slamming both palms on the table.  Glasses \n  rattle wildly.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tFine!  Ill try searching myself!\n\n  Ryuji stands and races past Mr. Hayatsu out into the rain.  Hayatsu \n  takes pursuit, calling after him.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tMr. Takayama!?  Mr. Takayama...\n\n  Asakawa, left alone, stares down at the tatami mats.\n\n<b>  EXT. OCEAN - NIGHT  \n</b>\n  White-capped waves roll angrily in a black sea.\n\n<b>  INT. MR. HAYATSUS HOUSE  NIGHT\n</b>\n  Asakawa sits at a table, alone, her hands clasped as if in prayer.  Her \n  eyes are wide and glassy.  The phone RINGS suddenly and Asakawa dives \n  for it, wrenching it from the cradle before it can ring a second time.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tMrs. Asakawa?  Im sorry.  I tried, \n\t\tbut I couldnt come up with any \n\t\tleads at all.\n\n  A look of abject fear crosses Asakawas face.  She begins retreating \n  into herself.\n\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(softly) \n\t\tThank you...\n\n  Asakawa slowly places the phone back in its cradle.  Almost immediately, \n  her face begins to crumple.  She falls to her knees, sobbing into the \n  floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi...\n\n  She cries a while longer but suddenly stops.  Her face, eyes streaked \n  with tears, shoots suddenly up, stares directly at the telephone.\n\n<b>\t\t\t\tASAKAWA\t \n</b>\t\t\t(softly) \n\t\tIzu...\n\n<b>  EXT. IZU WHARF  NIGHT\n</b>\n  Asakawa stands looking down on the wharf, scanning. \n\n  Several FISHING BOATS are docked.  The wind whips her hair crazily \n  around.   She continues scanning, and suddenly she spies--\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(calling) \n\t\tRyuji!\n\n  Asakawa runs down onto the wharf, heading towards Ryuji.  He is \n  in mid-conversation with Mr. Hayatsu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tRyuji!  The phone in my apartment \n\t\tnever rang!  It only ever rang at\n\t\tthe rental cottage!  Professor \n\t\tIkuma mustve...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAnd weve got no way of going back.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts too dangerous!  The thought of \n\t\tanybody going out in this weather...\n\n  The three fall into silence as they realize the powerlessness of their \n  situation.  Suddenly, a deep VOICE booms from behind them.\n\n<b>\t\t\t\tYAMAMURA (O.S.) \n</b>\t\tIll take you out.\n\n  The three spin around to see Mr. Yamamura, his ROBES flapping in the \n  gusty night air. He begins walking towards them.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tSadako is callin yall, reckon.  \n\t\tMayhap to drag you down under the \n\t\twater.\n\n  Short silence.  Ryuji shoots a short questioning glance at Asakawa, \n  turns back to face Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tPlease.  Take us out.\n\n\n\n<b>  EXT. OCEAN  NIGHT\n</b>\n  A tiny FISHING BOAT is tossed about on the waves.  Mr. Yamamura stands \n  at the wheel, his face expressionless.\n\n<b>  INT. MR. YAMAMURAS FISHING BOAT  NIGHT\n</b>\n  Ryuji and Asakawa are crouched close together in the cabin.  Asakawas \n  expression is dreamy, faraway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts funny.  Im not afraid at all.  \n\n  Ryuji leans over, rubs her hand comfortingly.  Suddenly he switches \n  back into analytical mode.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadako probably died back out there\n\t\tat Izu, before the rental cottages \n\t\twere ever built.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSo, Sadako was Professor Ikumas \n\t\tdaughter?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(nodding) \n\t\tIkuma smuggled her out in secret.  \n\t\tHis relationship with Shizuko was \n\t\talready a scandal, and one of the \n\t\treasons he got drummed out of the \n\t\tuniversity... Weve gotta find \n\t\tSadakos body.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tIs that going to break the curse?  \n\t\tWill Yoichi be all right?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIts all weve got left to try.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tJust one more day...\n\n  Ryuji puts his arm around Asakawa.\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT - DAWN  \n</b>\n  Ryuji stands on deck, looking out over the water.  He heads down \n  below toward the captains area.  Mr. Yamamura is at the wheel.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe made it.  Maybe Sadako doesnt \n\t\thave it out for us after all.\n\n  Long pause as Mr. Yamamura says nothing.\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tShizuko... she used to -speak- to \n\t\tthe ocean, just ramble away.  One \n\t\ttime I hid, listenin to one of her \n\t\tconversations.\n\n  Mr. Yamamura pauses again.\n\n\t\t\t\tYAMAMURA (contd)\t\n\t\tAnd it werent in no human language.\n\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT  DAWN\n</b>\n  Asakawa has climbed out on deck and is looking up towards the sunrise.\n\n  Caption-- September 20th.  Monday.\n\n<b>  EXT. HARDWARE STORE  DAY\n</b>\n  Ryuji races out of the store, loaded down with supplies.  He holds a \n  pair of BUCKETS in one hand and a CROWBAR and SHOVEL in the other.  A \n  length of ROPE is coiled over his left shoulder.  He runs towards a \n  RENTAL CAR, passing by Asakawa who stands at a PAYPHONE, receiver in \n  hand.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi?  Its mommy.  I just called \n\t\tto say Ill be coming home tomorrow.\n\n  Ryuji shoots a look at her over his shoulder.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tIm tired of it here, mom!  I wanna\n\t\tgo back to school.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(smiling) \n\t\tYoichi, its rude to your grandpa \n\t\tto talk like that.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHes laughing.  You wanna talk to him?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, thats...\n\n  Asakawa pauses, her voice hitching.  She seems about to lose \n  her composure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIm sorry, Yoichi.  Ill... Ill \n\t\tsee you tomorrow.  \n\n<b>\t\t\t\tYOICHI (O.S.)\t\n</b>\t\tWhats wrong?\n\n  Asakawas face scrunches up in an effort to hold back tears.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMommys got something she has to do.  \n\t\tSay hello to grandpa for me, OK?\n\n  Ryuji stands by the car, scowling over at Asakawa.  He shuts the DOOR \n  just short of a slam.  CUT to Asakawa hanging up the phone.  She half-\n  runs towards the rental car and enters the passenger side, staring \n  blankly into space.  Ryuji slides into the drivers seat, buckles his \n<b>  SEATBELT.  \n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat time was it when you first \n\t\twatched the video?\n\n  Asakawa glances at her watch.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSeven or eight minutes past \n\t\tseven.  PM.  No more than ten \n\t\tminutes past.\n<b> \t\t\n</b><b>\t\t\t\tRYUJI\n</b>\t\tIf the rumors are true, that \n\t\ttime is gonna be our deadline.\n\n  Asakawa buckles up as Ryuji steps on the gas.\n\n<b>  INT. RENTAL CAR  DAY\n</b>\n  Asakawa sits in the passenger side.  Her face is almost angelic, \n  with the faintest hint of a smile.  Ryuji shoots a questioning look \n  at her.\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  The white rental car tears past the SIGN reading Izu Pacific Land.  \n  The car continues into the LOT, screeching around corners before \n  coming to an abrupt halt.  Asakawa, her face still oddly expressionless, \n  gets out of the passenger side.  Ryuji exits as well, the hint of a \n  shudder running through him as he regards the series of rental cabins.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t-Here-.\n\n  CUT to Asakawa and Ryuji walking up the gravel PATH towards the rental \n  cabins.  Ryuji looks back over his shoulder as both he and Asakawa stop \n  before cabin B4.  The cabin is on STILTS, its underbelly fenced off by \n  wooden LATICEWORK.  Ryuji drops most of his supplies to the ground, but \n  keeps hold of the PICK.  He raises the pick over one shoulder and begins \n  smashing away at the latticework.  When he has cleared enough space for   \n  passage, he begins picking up supplies and tossing them hastily within.  \n  When finished, he holds a hand out for Asakawa.  The two enter the \n  earthen basement.\n\n\n<b>  UNDER COTTAGE B4 - DAY  \n</b>\n  Ryuji pulls a FLASHLIGHT out, flicks it on.  The BEAM arcs outwards, \n  illuminating what looks more like an old mine shaft than a modern \n  rental cottage.  The beam halts when it suddenly encounters an old \n  STONE WELL.  The well is badly chipped on one side, and sealed off \n  with a solid-looking stone LID.  Ryuji rushes quickly towards it.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI knew it!  The well.\n\n  He squats down beside the well, setting the flashlight on the \n  lid.  Asakawa sinks slowly down beside him.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThe well...\n\n  Ryuji reaches out and takes Asakawas hand.  He sets their enclasped \n  hands onto the lid, and together they begin lightly tracing the \n  surface of the lid with their free hands.  Asakawa closes her eyes in \n  concentration... and suddenly, as with the incident on the beach, \n  Asakawa finds herself drawn into Ryujis psychometric VISION.\n\n<b>  FLASH\n</b>\n  The picture is black and white, grainy like old film.  A YOUNG GIRL in \n  a WHITE GOWN walks slowly towards an open well. She places her hand on \n  the LIP of the well, peers curiously down.  \n\n<b>  FLASH\n</b>\n  Asakawa looks up, her eyes wide open.\n\n<b>  FLASH\n</b><b>  \n</b>  There is now a second person in the vision, an ELDERLY MAN in an old-\n  fashioned tweed SUIT standing behind the young girl.  He suddenly \n  produces some BLADED OBJECT, and strikes the girl savagely across the \n  back of the head.  \n\n  The girl falls forward. The man drops to the ground, grabbing the girl \n  behind the knees and hoisting her limp BODY over the lip and into the \n  well.  The body falls into its depths.\n\n  Panting heavily, the man leans forward and grasps the lip of the well \n  with both hands, looking down.  He flashes a guilty look in either \n  direction, checking that his crime has gone unnoticed, and as he does \n  so Asakawa realizes that she knows this face.  The image from the \n  videotape, like a face in the moon: it had been Sadako inside the well, \n  looking up to see this man staring back down at her.\n\n  This man whose name is Professor Ikuma Heihachiro.\n\n<b>  FLASH\n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHer own father!\n\n  The energy seems to drain out of Asakawa in a rush, and her body \n  crumbles.  Ryuji catches hold of her.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIt was Ikuma who put this lid on.  \n\t\tAnd Sadakos still inside.\n\n  Ryuji stands quickly, takes hold of the crowbar.  He inserts it under \n  the lid and begins trying to pry it off, face scrunched with effort.  \n  Asakawa digs her fingers in and lends her own strength as well. Slowly,\n  the lid begins to move.  Ryuji tosses the crowbar aside and the two \n  lean the combined weight of their bodies into it.  The lid slides off, \n  dropping to the earth with a dull THUD.  Ryuji sits to one side, winded \n  with effort, as Asakawa takes hold of the flashlight.  She shines it \n  down into the well, but it only seems to intensify the gloom. What \n  WATER she can see looks fetid and brackish.  Ryuji sees her expression \n  and begins removing his JACKET.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIll go.\n\n  He walks off, leaving Asakawa alone.\n\n  CUT to an overhead shot of the well.  A ROPE is fastened to one side, \n  and Ryuji has already begun lowering himself down.  His eyes wander \n  overthe grime-smeared WALLS, and with a shudder he begins to pick out \n  human FINGERNAILS.  Torn loose and spattered with blood, countless \n  fingernails line the sides of the well. \n\n<b>\t\t\t\tRYUJI\n</b> \t\tSadako was alive!  Shed tried to \n\t\tclimb her way out.\n\n  Ryujis face twists into a grimace as if momentarily experiencing \n  Sadakosterrible agony.  He waits a moment longer before edging his \n  way down the rope again, finally SPLASHING to rest at the bottom of \n  the well.  He holds his flashlight above the brackish water, calls up \n  to Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tLower the buckets!\n\n  Asakawa nods and lowers two plastic BUCKETS fastened to a rope.  Ryuji \n  grabs one and scoops up a bucketful of water, tugging on the rope when \n  finished.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  Asakawa hoists the bucket up to the rim of the well.  She walks a small \n  distance and tosses the contents out onto the ground.  She happens to \n  glance through the wooden lattice to the outside, and with a start \n  realizes that the sun has already started to set.  A nervous glance at \n  her WATCH later and she is back at the well, lowering the empty bucket \n  to find another full one already awaiting her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  In the well, Ryuji glances at his watch.  He looks at it for a long \n  moment, the expression on his face saying Were not going to make it.  \n  Time passes as Asakawa pulls up bucketload after bucketload, her \n  strength beginning to fade.  She half-stumbles, glances up... and is \n  shocked to realize that NIGHT has fallen.\n\n  CUT to Asakawa slowly pulling up yet another bucket, her strength \n  almost gone.  She looks at her watch and sees that it is now past \n  6:00.  She calls frantically down to Ryuji.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts already six!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(explosively) \n\t\tI know!  Hurry up and TAKE IT UP!!\n\n  The bucket slowly jerks into motion.  Asakawa pulls it up to the rim \n  of the well, holds it unsteadily.  She takes one faltering step and \n  falls, spilling the buckets contents onto the ground.  \n\n  CUT to Ryuji in the well, standing ready with another bucketful.\n\n\n<b>\t\t\t\tRYUJI\n</b> \t\tTake it up!\n\n  Nothing happens.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  The bucket begins moving, even slower than before.  CUT to Asakawa, \n  her body trembling with effort. By now its all she can do to simply \n  keep her body moving.  She glances behind her, sees through the wooden \n  lattice that it is now pitch black.  A look of resignation crosses her \n  face and she releases her hold on the bucket, her body crumpling and \n  falling in on itself. \n<b>  \n</b>  CUT to the bucket splashing back into the well, narrowly missing \n  Ryuji.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(fuming) \n\t\tWhat the hell are you doing?  Trying \n\t\tto get me killed?\n\n  CUT back to Asakawa, her face dead.  Ryuji calls out from the well.\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tHey!\n\n  Asakawa falls backward onto the ground, arms splayed. CUT to the rim \n  of the well.  Ryuji pulls himself up over the rim, catches sight of \n  Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  She lifts her head up but says nothing as Ryuji walks over to her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWell change.  Youre in no condition \n\t\tto keep this up.\n\n  Asakawa suddenly springs into life.  Her voice is frantic, fearful.\n\n<b>\t\t\t\tASAKAWA:\t\n</b>\t\tNo!\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWho do you expect to pull up these \n\t\tbuckets, then?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, we dont even know if its doing \n\t\tany good...\n\n  Ryuji strides forward and slaps Asakawa painfully across the cheek.  \n  He begins shaking her roughly for good measure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnd what about Yoichi, huh?  Is his\n\t\tmother not coming to pick him up \n\t\tafter all?\n\n  He releases his hold on her.  The two stare at each other a long time, \n  saying nothing.\n<b> \n</b>  CUT to an overhead shot of Asakawa being lowered into the well. CUT \n  now to Asakawa inside the well, her face and clothes covered with \n  grime, body simultaneously limp with exhaustion and tense with fright.  \n  Unable to resist the impulse, Asakawa slowly looks over her shoulder \n  and down into the well.  The dankness, the claustrophobia seeps in \n  and she draws in her breath in the first signs of panic.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tDont look down!\n\n  She returns her gaze, cranes her neck upward.  CUT to Ryuji leaning \n  over the rim of the well, peering down at her.  For an instant, \n  everything becomes monochrome. Its not Ryuji looking down at her at \n  all; its Professor Ikuma, checking to see if shes still alive or \n  if the blow to the back of her head has finished her off.  CUT to \n  Asakawa, her eyes wide with fright.\n\n  Asakawa comes to rest at the bottom of the well.  A FLASHLIGHT hangs \n  from another rope, but its beam has almost no effect on the darkness.  \n  Asakawa crouches forward, hands moving searchingly through the water.  \n  She calls out pleadingly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhere are you?  Please, come out.\n\n  Asakawa straightens, unties herself from the rope.  A full bucket \n  already awaits.  She tugs on the rope and Ryuji pulls it up.  \n\n  She scoops up a second bucket, but something stops her from sending \n  it up.  Instead, she begins running her arms through the water again, \n  her voice close to tears.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease.  Where are you?\n\n  Asakawa continues her blind fumbling, which sends up little splashes \n  of stagnant water.  With a start, she realizes that her fingers have \n  caught something.  Seaweed?  Asakawa draws her hands close for a \n  better look... and sees that is HAIR.  A thick clump of long, black \n  hair.\n\n  Suddenly a pale, thin ARM shoots out from beneath the water, catching \n  Asakawa just below the wrist.  Asakawas ears are filled with a SOUND \n  like moaning as something slowly rises from its watery slumber.  It \n  is a GIRL, her face completely hidden by long, black hair.  CUT to a \n  shot of Asakawas face.  Far from being frightened, her features are \n  oddly placid.  She regards the fearsome thing before her with an \n  almost tender look.  Asakawa reaches out, lightly strokes that long \n  hair.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts you...\n\n  She strokes the hair again, and abruptly it peels right off the head \n  with a loud SQUELCH. Revealed is not a face at all but a SKULL.  Its \n  sockets are at first menacingly empty, but then begin to ooze the \n  green SLUDGE it has pulled up from the bottom of the well.  Like a \n  mother comforting a frightened child, Asakawa pulls the skeletal \n  remains to her breast, strokes the bony head comfortingly. Her eyes \n  begin to glaze.\n\n  CUT to Ryuji racing up to the rim of the well, leaning down intently.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHey!  Asakawa!  Its already 10 \n\t\tminutes past seven!  We did it!\n\n  Down in the well, Asakawa continues staring blankly ahead.  Her body \n  suddenly falls forward, limp.\n\n<b>  EXT. OUTSIDE COTTAGE B4  NIGHT\n</b>\n  Three POLICE CARS are parked outside the rental cottages, crimson \n  headlights flashing.   A few COPS walk by, two of them carrying \n  something off in white PLASTIC BAGS.  CUT to Ryuji and Asakawa \n  sitting on the curb.  Asakawa is staring off at something, a BLANKET \n  draped over her shoulder.  \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhy would Ikuma have killed her?  \n\t\tHis own daughter...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe she wasnt his daughter at all.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe her father... wasnt even human.\n\n  The two exchange glances.  Ryujis gaze falls to Asakawas WRIST, \n  which he suddenly takes and holds close to his face.  The ugly \n  bruise where Sadako had grabbed her has disappeared.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIts gone...  \n\n  He shakes his head, clearing his analytical mind of their ordeal.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tEnough, already.  Its over.  Cmon.  \n\t\tIll take you home.\n\n  Ryuji stands, pulls Asakawa to her feet.\n\n<b>  EXT. OUTSIDE ASKAWAS APARTMENT - NIGHT  \n</b>\n  Ryujis white CAR pulls up into the parking lot.  He and Asakawa \n  get out, regard each other from opposite sides of the car. There is \n  a long moment where neither of them says anything.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tGet some rest.  \n\n  He flashes her the slightest of grins. \n\n\t\t\t\tRYUJI (contd)\n\t\tI still have a thesis to finish. \n\n  CUT to a shot of Ryuji and Asakawa, the car creating an almost \n  metaphoric distance between them. \n\n<b>\t\t\t\tASAKAWA\n</b>\t\t...thank you.\n\n  Ryuji nods silently by way of reply.  He gets into his car and \n  drives off.  Asakawa watches him go, and then walks towards the \n  entrance of her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT  BEDROOM  MORNING\n</b>\n  Asakawa walks into her room, sits on the edge of her bed.  It is \n  now morning, and she sits dazedly watching the sun come up.\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji sits busily scribbling into a NOTEBOOK.  He stops writing a \n  moment to regard his notes while taking a sip of COFFEE.  He \n  glances over at his BLACKBOARD for confirmation when a small scowl \n  crosses his brow.  Its gone a moment later as he chuckles wryly \n  to himself.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThat girl...\n\n  Ryuji stands, walks over to the blackboard.  He fixes Mais little \n  prank with a single chalk stroke. \n\n<b>  EXT. ASAKAWAS APARTMENT  VERANDA  MORNING\n</b>\n  Asakawa emerges, taking in the dawn.  At first her face is calm and \n  tranquil... but her features change as the sun almost noticeably \n  darkens and a WIND begins to kick up her hair.  She now looks very \n  anxious.\n\n  Caption-- September 21st.  Tuesday.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.\n\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji is busy scribbling away at his notes again.  His hand suddenly \n  ceases, eyes dancing worriedly as he hears a faint...\n\n  No.\n\n  Breath rattling fearfully in his throat, Ryuji spins around to face \n  the TELEVISION SET.  He gets out of his seat for a better look, \n  falling to his knees on the tatami. \n\n  The image that fills the screen is the last scene from the videotape; \n  the shot of the well.  \n\n  The SOUND from before comes louder now, more insistent, a metallic \n  screeching that both repulses and beckons him closer. Ryuji crawls on \n  all fours towards the SCREEN, stares at its unchanging image with \n  terrible foreboding.\n\n  There is a flash of MOTION as something shoots out of the well. A \n  hand. First one, and then another, as Sadako, still in her grimy white \n  dress, face hidden beneath long, oily strands of hair, begins slowly \n  pulling herself out.  The television screen jumps unsteadily, fills \n  with static as if barely able to contain her image.  \n\n  CUT back and forth between Ryuji, who is beginning to visibly panic, \n  and the television, which shows Sadako lurching ever closer.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(almost frantic) \n\t\tWhy?!\n\n  The TELEPHONE rings, and Ryuji spins round towards it, breath catching \n  in his throat.  He looks at the phone, over his shoulder at the \n  television, back to the phone.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThats it!  Asakawa...\n\n  Ryuji scrambles wildly towards the phone.  He takes the receiver but \n  is unable to do more than clutch it fearfully as his gaze is drawn \n  inexorably back to the television.  Sadakos shrouded face has filled \n  the entire screen... and then, television popping and crackling, she \n  jerks forward and emerges from the television onto the floor of \n  Ryujis apartment.  Ryuji backs away, screaming in terror.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAaargh!\n\n  Sadako lies prone, collapsed, hair splayed out like a drowned corpse.  \n  Only her FINGERS are active, crawling, feeling.  The TIPS of her \n  fingers are little more than bloodied stumps, not a single fingernail \n  on them.  She uses the strength in those fingers to pull herself \n  forward, coming jerkily to her feet.  The joints of her body twist \n  unnaturally, more insect-like than human.\n\n  Ryuji flings the phone aside and begins scrambling about the apartment \n  as if looking for cover.  The strength has already begun to fade from \n  his body, however, and his movements are clumsy, exaggerated. He falls \n  to the floor, panting heavily.  \n\n  Sadako turns to regard him, and for just an instant we can see beneath \n  her impenetrable shroud of hair; a single EYE burns with manic, \n  unbridled hatred.   \n\n  Its gaze meets Ryujis, and his face twists into a grimace as he \n  SCREAMS loudly.\n\n<b>  FLASH\n</b>\n<b>  EXT. KOUJIS HOUSE - FRONT YARD  DAY\n</b>\n  Yoichi sits on the lawn, doodling into a large SKETCHPAD.  He \n  suddenly stops, eyes registering that he has somehow felt his fathers \n  death.\n<b>  \n</b><b>  INT. ASAKAWAS APARTMENT  DAY\n</b>\n  Asakawa clutches the RECEIVER to her ear.  She can still hear the \n  sounds of metallic SCREECHING coming from the video, though they are \n  now becoming softer.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT BUILDING  DAY\n</b>\n  Asakawa comes running down a side street, turning the corner and \n  making for the entrance to Ryujis apartment building.  There is a \n  single GUARD posted at the entrance. He reaches out, catches Asakawa \n  lightly by the arm.\n\n\n<b>\t\t\t\tGUARD\n</b>\t\tAre you a resident here, maam?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIm Takayama Ryujis wife!\n\n  The guard drops his hand, and Asakawa makes for the entrance.\n\n<b>\t\t\t\tGUARD\n</b>\t\tIm sorry maam, but theyve already \n\t\ttaken the body away.\n\n  Asakawas spins around, eyes wide.  Body?\n\n<b>  INT. HALLWAY OUTSIDE RYUJIS APARTMENT  DAY\n</b>\n  Mai is there, slumped against one wall. Asakawa comes running up, \n  dropping to her knees and grasping Mai by the shoulders.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat happened?\n\n  Mai shakes her head dreamily.\n\n<b>\t\t\t\tMAI\n</b>\t\tWhen I got here he was just \n\t\tlying there...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid he say anything to you?  About \n\t\ta videotape?\n\n  Mai shakes her head again, shakes it harder until the breath \n  catches in her throat.\n\n\n<b>\t\t\t\tMAI\n</b>\t\tHis face...\n\n  Mai falls into silence, curls up on herself.  Asakawa leaves her \n  and crosses toward the door to Ryujis apartment.\n\n<b>  INT. RYUJIS APARTMENT - DAY  \n</b>\n  The front DOOR opens wildly, noisily forward.  Asakawa comes \n  rushing in, eyes darting about the apartment.  She thinks \n  frantically to herself.\n\n<b>\t\t\t\tASAKAWA (VO)\n</b>\t\tRyuji... why?  Does this mean that\n\t\tYoichi will die, too?  Is the curse \n\t\tnot broken yet?\n\n  Her gaze falls to the television set.  She dives forward, presses \n  the eject button on the VCR.  Sure enough, the TAPE is still in \n  the deck.  She takes the tape and leaves.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  NIGHT\n</b>\n  Asakawa walks slowly, dreamily forward.  She drops the videotape \n  loudly onto the coffee table and slouches into a CHAIR.  Her eyes \n  fall to the framed photographs of Yoichi on one of the shelves.  \n  This snaps Asakawa out of her daze and she begins whispering \n  intently to herself, thinking.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI was the only one to break \n\t\tSadakos curse.  Ryuji... why...?  \n\t\tSomething I did that you didnt...  \n\t\tSomething I did that you didnt...  \n\n  Asakawa gives up, lowers her face into her hands.  When she looks \n  up again, she happens to glance at the television screen-- and \n  its GLARE reveals that there is someone ELSE in the room with her.  \n  It is the figure from the videotape, the silent accuser with the \n  cloth draped over its face.  With a start, Asakawa realizes that \n  the figure is wearing Ryujis clothes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji?!\n\n  She spins around, but the room is empty.  Asakawas mind races.  \n  The figure had been pointing towards her BAG.  She stands, \n  rummages in her bag to produce her copy of the cursed videotape.  \n  She takes Ryujis COPY in her other hand, her eyes darting \n  between the two tapes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSomething I did that you didnt...\n\n  It suddenly clicks home as Asakawa looks full-on at Ryujis \n  version of the tape, plainly marked COPY.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat broke the curse was that I copied \n\t\tthe tape and showed it to someone else!\n\n  CUT to Asakawa slowly pulling her VCR from the television stand.  \n  A look of almost frightening resolve etches her face.\n\n<b>  EXT. HIGHWAY  DAY\n</b>\n  ARIAL SHOT of Asakawas car.  We hear her VOICE on the cell \n  phone.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>  \t\tDad?  Its me.  Im on my way over.\n  \t\tLook, dad, Ive got something to ask. \n\t\tIts for Yoichi...\n\n<b>  INT. ASAKAWAS CAR  DAY\n</b>\n  CLOSEUP on the VCR in the passenger side.  CUT to Asakawa at the \n  wheel as time spirals forward, the decisions of the present \n  already become rumor of the future.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThey say theres a way you can stay \n\t\talive after you watch the video.  \n\t\tYouve gotta make a copy of it, and \n\t\tshow it to somebody else inside a week.\n\n<b>\t\t\t\tGIRL B (VO) \n</b>\t\tBut what about the person you show it \n\t\tto?\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tWell, then they make a copy and show it \n\t\tto somebody else.  Again, inside a week.\n\n<b>\t\t\t\tGIRL C (VO) \n</b>\t\t\t(laughing)\n\t\tThen theres no end to it.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThats just it.  There -is- no end.  But \n\t\tif it meant not dying... youd do it, \n\t\twouldnt you?\n\n  Asakawas eyes begin to well.  Her car speeds along the highway, \n  to the direction of menacing-looking STORM CLOUDS.\n\n  Caption-- September 22nd.  Wednesday.\n\n\n\n\n                      FADE TO BLACK as the CAPTION turns blood red.\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: How did Shizuko Yamamura die?\n\nAnswer:"}
{"question_id": 97, "category": "longbench_passage_count", "reference": ["30"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: Meanwhile, Kigan's pandal attracts crowds. Bodhi makes plans to create fake bomb blasts in the puja campus and create a mess. According to his plans a terrible mess occurs at the pandal, several people are stampeded. Bodhi even pays the media to cover this incident exclusively and promote it more seriously than the actual incident, eventually the police authorities ban the puja and order for the dismantle of the idol after puja. Kigan is put into jail for quarrelling with police. Later Bodhi releases Kigan from jail and on way to home he explains Kigan that he took his revenge by getting the puja banned from public. Kigan requests Bodhi to open the puja after 2–3 days but Bodhi disagrees. Kigan then challenges Bodhi that he would reopen the puja till immersion. Meanwhile, Kigan owns up to his mistakes to Aditi and they get reunited again. Next day Kigan investigates that only two persons were injured not many and it was a paid fake news. Kigan has meetings with police commissioner, governor regarding reopening of the puja but everywhere he gets negative response. Out of utter depression Kigan goes to Bodhi's house, determined that Bodhi is responsible for all this and he would kill Bodhi. Kigan and Bodhi have a fight where Kigan is about to kill Bodhi but then Bodhi's son attacks Kigan with a bat and Kigan falls. Bodhi scolds his son for hitting an elder person but Kigan supports him. Then Bodhi tells that he doesn't want to make his son like Kigan, so he will teach him proper manners. Here Bodhi discloses that his son is not his but actually Kigan's and he has tendered him as his own child and always has been a good father because he wants to make him a gentleman and an not as irresponsible as Kigan. Bodhi also discloses that Aditi has always been loving Kigan though Bodhi has always been a good husband. Even though he has brought up Kigan's child as his own child, Aditi has never developed any feeling towards him so he decided to finish Kigan who has destroyed his own family for that he has also destroyed his masterpiece creation. Bodhi repents that he is the Asur (villain) and begs pardon from Kigan. Bodhi also discloses that he is not the only one associated with this planning but Aditi is also responsible for this. Aditi thought of taking revenge from Kigan after her father's incident so she had been involved in this case.\n\nParagraph 2: Bryan Durham of The Times of India gave the album 4 out of 5 and summarized, \"In totality, it also needs to be said that if Rahman's music is the language of this film, it would be quite short on a vocabulary without Irshad Kamil's beautiful lyrics.\" Jyoti Prakash of Indian Box Office Online also gave it 4.5 out of 5 stars and said, \"The music of Raanjhanaa is of supreme quality. A typical AR Rahman album which is romantic and entertaining yet pure and divine.\" Music Aloud critic Vipin assigned the soundtrack 8 out of 10 and noted, \"A mixed bag from ARR that is more urbane than folk-classical.\" Kaushik Ramesh of Planet Bollywood gave the album 7/10. Calling it very experimental, he said, \"Be it the innovative vocal shehnai of 'Ay Sakhi' or Rabbi's attitude laden 'Tu Mun Shudi', the entire album presents immense freshness.\" Rumnique Nannar of Bollyspice gave the album 4.5/5 stars and wrote, \"Raanjhanaa is a brilliant return to form and originality for A. R. Rahman, who proves his detractors wrong with an album that captures the energy of its city and its lovestruck Raanjhana. The songs may just take time to grow on the listener, but that's the joy in it, to savour all of the arrangements and voices that add up to a terrific and rustic album for the ages.\" Sakhayan Ghosh of The Indian Express summarized, \"Irshad Kamil's lyrics provide a perfect foil to the music. And this is Rahman's finest turn since Rockstar, seeing the maestro enter exciting new musical territories.\" He gave the album 4 out of 5. Joginder Tuteja at Movie Talkies claimed, \"There were good expectations from the music of Raanjhanaa and they are pretty much met (and at places even exceeded) with A. R. Rahman, Irshad Kamil and their singers coming together well to meet the shared vision that was spearheaded by the makers.\" He gave the album 3.5 out of 5 and added that the music \"works quite well as a packaged affair\". IANS gave it 3.5 out of 5 stars and observed, \"Like any other album, the music of Raanjhanaa has few low points, but otherwise it is thoroughly entertaining.\" At Koimoi, critic Manohar Basu rated the album 3 on 5 and noted, \"Very unlikely to be a Rahman composition, the music yet again lacks a soul stirring capability which made him a maverick once! Technically it is both brilliant and fine but the midas touch of the musician is strikingly missing.\" The critics review board at Behindwoods called it a \"joyous wonder from Rahman\" and gave it 3.5 out of 5.\n\nParagraph 3: October 28 – Led by Steve Pearce and David Price, the Boston Red Sox ended the World Series in five games with a 5–1 victory over the Los Angeles Dodgers at Dodger Stadium. Winners of a franchise-record 108 games during the season, the Red Sox buried the AL East Division across six months and claimed 11 more victories in the playoffs, knocking off the 100-win New York Yankees in the ALDS, the defending World Series champion Houston Astros in the ALCS,  and the two-time NL champion Dodgers in the Fall Classic, while losing just one game in each round. Pearce hit a two-run home run off Clayton Kershaw in the top of the first inning, and the Red Sox took a lead they would never give back. Solo homers by Mookie Betts in the sixth inning and J. D. Martinez in the seventh quieted the Dodger Stadium crowd, while Pearce struck again with a solo shot off Pedro Báez to make it 5–1 in the eighth. Those homers came just a day after Pearce crushed a tying home run in the eighth inning of Game 4, followed by a three-run double that broke the game open in the ninth. Price limited the Dodgers to a solo homer by David Freese on his first pitch and otherwise shut them down over seven-plus innings, allowing just two more hits, striking out five and walking two, while retiring 14 in a row before giving a leadoff walk in the eighth inning. Price was followed by Joe Kelly, who struck out three straight pinch hitters, and Chris Sale, who was originally scheduled to start an eventual Game 5. But Sale finished off the Dodgers in style, striking out the side in the ninth and Manny Machado swinging to end it. Pierce earned World Series MVP honors by collecting four hits— three homers and a double in 12 at bats – along with eight RBI and five runs scored. Boston manager Alex Cora became the first Puerto Rican to lead a team to the World Series, as well as the second Latino manager to do it in the Series. The Venezuelan Ozzie Guillén became the first when he led the Chicago White Sox to the title in 2005. With their victory in the World Series, the Red Sox secured their ninth championship title, tying the Philadelphia/Oakland Athletics franchise for the third most in MLB history behind the New York Yankees (27) and St. Louis Cardinals (11). But the Red Sox have come on strong in recent years, winning four titles in a span of 15 seasons from 2004 through 2018. As a result, they are the first MLB club to win four World Series titles in the 21st century. \n\nParagraph 4: The 1915 Panama-California Exposition in Balboa Park spurred the next phase of transportation growth. A new electric car line was constructed up 12th Street to the park's entrance with 101 new cars from the St. Louis Car Company, and the Adams Avenue operating division was established in Normal Heights. San Diego's original Victorian style train depot was demolished and replaced with a new Mission Revival Style Santa Fe depot building. The SDERy logged 3,521,571 car miles. The \"Great Flood\" in 1916 caused significant damage, washing out several rail lines. World War I increased the cost of railway construction materials by 50 to 150 percent. There was a significant increase in the private ownership of automobiles, and the SDERy began to lose revenue to private \"Jitney Buses\". On November 15, 1919, the \"golden spike\" was driven and construction of the SD&A was ceremonially completed at a cost of $18 million (three times the original estimate). Spreckels announced plans in 1920 to discontinue service on several rail lines to offset expenses, leading to approval of \"zone fares\". The SDERy purchased new streetcars that requires only one driver/conductor instead of two; older cars were retrofitted to reduce labor costs. Spreckels sold his power generating plants to the Consolidated Gas and Electric Company.\n\nParagraph 5: Vasily Bartold argues that by the 19th century those described as \"Sarts\" had become much more Turkicised than had previously been the case. In the literature of Imperial Russia in the 19th century the term was sometimes used to denote the Turkic-speaking peoples of Ferghana, Tashkent, Chimkent and the Southern Syr Darya Province, (also found in smaller numbers in Samarkand and Bukhara). \"Sart\" was also commonly employed by the Russians as a general term for all the settled natives of Turkestan. There was a great deal of debate over what this actually meant, and where the name came from. Barthold writes that \"To the kazakh every member of a settled community was a Sart whether his language was Turkic or Iranian\". Nikolai Ostroumov was firm in his conviction that it was not an ethnic definition but an occupational one, and he backed this up by quoting some (apparently common) local sayings: \"A bad Kyrgyz becomes a Sart, whilst a bad Sart becomes a Kyrgyz\". This confusion reached its peak in the 1897 Russian Empire Census: the Ferghana Province was held to have a very large Sart population, the neighbouring Samarkand Province very few but a great many Uzbeks. The distinction between the two was often far from clear. Although historically speaking the Sarts belonged to older settled groups, whereas the Uzbeks were descended from tribes which arrived in the region with Shaibani Khan in the 16th century. It seems that, in Khorezm at least, Uzbeks spoke a now-extinct Kipchak dialect closer to Kazakh, while Sarts spoke a form of Persianised Oghuz Turkic. In Fergana, the Sarts spoke a Karluk dialect that was very close to modern Uyghur and is believed to be the earlier, historical form of modern Uzbek. In 1924 the Soviet regime decreed that henceforth all settled Turkic-speaking peoples in Central Asia (and many others who spoke Persian such as in Samarkand and Bukhara areas) would be known as \"Uzbeks\", and that the term \"Sart\" was to be abolished as an insulting legacy of colonial rule., despite the fact that Lenin himself used the term in his communiques.  For the first few years, however, the language chosen by the Soviet authorities for the new Uzbek SSR was not the modern Uzbek that is found today, but the nomadic, less Persianized and quite exotic dialect of the city of Turkistan in modern Kazakhstan.\"The Uighurs are the people whom old Russian travellers called Sart (a name which they used for sedentary, Turkic-speaking Central Asians in general), while Western travellers called them Turki, in recognition of their language. The Chinese used to call them Ch'an-t'ou ('Turbaned Heads') but this term has been dropped, being considered derogatory, and the Chinese, using their own pronunciation, now called them Weiwuerh. As a matter of fact there was for centuries no 'national' name for them; people identified themselves with the oasis they came from, like Kashgar or Turfan.\" This dialect proved itself to be largely incomprehensible to most inhabitants of the primary cities, from Tashkent to Bukhara. It was therefore replaced by the modern, fundamentally Persianized \"urban Uzbek\" which is consequently the only Turkic language in the world without any vowel harmony.\n\nParagraph 6: The original vision for Shingwauk Hall in the early 19th century came from  Chief Shingwauk, the chief of the Garden River Ojibway people, as he felt \"that the future Ojibway needed to learn the white man's academic method of education in order to survive in what was becoming a 'predominately non-native world with non-native values'\". While Chief Shingwauk's vision of a teaching wigwam for his people would not come to fruition in his lifetime, a residential school would eventually receive funding in 1872 from the combined efforts of Chiefs Augustin Shingwauk and Buhkwujjenene Shingwauk (Chief Shingwauk's sons) and the Anglican Missionary, Rev. Edward Francis Wilson.\n\nParagraph 7: Vasily Bartold argues that by the 19th century those described as \"Sarts\" had become much more Turkicised than had previously been the case. In the literature of Imperial Russia in the 19th century the term was sometimes used to denote the Turkic-speaking peoples of Ferghana, Tashkent, Chimkent and the Southern Syr Darya Province, (also found in smaller numbers in Samarkand and Bukhara). \"Sart\" was also commonly employed by the Russians as a general term for all the settled natives of Turkestan. There was a great deal of debate over what this actually meant, and where the name came from. Barthold writes that \"To the kazakh every member of a settled community was a Sart whether his language was Turkic or Iranian\". Nikolai Ostroumov was firm in his conviction that it was not an ethnic definition but an occupational one, and he backed this up by quoting some (apparently common) local sayings: \"A bad Kyrgyz becomes a Sart, whilst a bad Sart becomes a Kyrgyz\". This confusion reached its peak in the 1897 Russian Empire Census: the Ferghana Province was held to have a very large Sart population, the neighbouring Samarkand Province very few but a great many Uzbeks. The distinction between the two was often far from clear. Although historically speaking the Sarts belonged to older settled groups, whereas the Uzbeks were descended from tribes which arrived in the region with Shaibani Khan in the 16th century. It seems that, in Khorezm at least, Uzbeks spoke a now-extinct Kipchak dialect closer to Kazakh, while Sarts spoke a form of Persianised Oghuz Turkic. In Fergana, the Sarts spoke a Karluk dialect that was very close to modern Uyghur and is believed to be the earlier, historical form of modern Uzbek. In 1924 the Soviet regime decreed that henceforth all settled Turkic-speaking peoples in Central Asia (and many others who spoke Persian such as in Samarkand and Bukhara areas) would be known as \"Uzbeks\", and that the term \"Sart\" was to be abolished as an insulting legacy of colonial rule., despite the fact that Lenin himself used the term in his communiques.  For the first few years, however, the language chosen by the Soviet authorities for the new Uzbek SSR was not the modern Uzbek that is found today, but the nomadic, less Persianized and quite exotic dialect of the city of Turkistan in modern Kazakhstan.\"The Uighurs are the people whom old Russian travellers called Sart (a name which they used for sedentary, Turkic-speaking Central Asians in general), while Western travellers called them Turki, in recognition of their language. The Chinese used to call them Ch'an-t'ou ('Turbaned Heads') but this term has been dropped, being considered derogatory, and the Chinese, using their own pronunciation, now called them Weiwuerh. As a matter of fact there was for centuries no 'national' name for them; people identified themselves with the oasis they came from, like Kashgar or Turfan.\" This dialect proved itself to be largely incomprehensible to most inhabitants of the primary cities, from Tashkent to Bukhara. It was therefore replaced by the modern, fundamentally Persianized \"urban Uzbek\" which is consequently the only Turkic language in the world without any vowel harmony.\n\nParagraph 8: Vasily Bartold argues that by the 19th century those described as \"Sarts\" had become much more Turkicised than had previously been the case. In the literature of Imperial Russia in the 19th century the term was sometimes used to denote the Turkic-speaking peoples of Ferghana, Tashkent, Chimkent and the Southern Syr Darya Province, (also found in smaller numbers in Samarkand and Bukhara). \"Sart\" was also commonly employed by the Russians as a general term for all the settled natives of Turkestan. There was a great deal of debate over what this actually meant, and where the name came from. Barthold writes that \"To the kazakh every member of a settled community was a Sart whether his language was Turkic or Iranian\". Nikolai Ostroumov was firm in his conviction that it was not an ethnic definition but an occupational one, and he backed this up by quoting some (apparently common) local sayings: \"A bad Kyrgyz becomes a Sart, whilst a bad Sart becomes a Kyrgyz\". This confusion reached its peak in the 1897 Russian Empire Census: the Ferghana Province was held to have a very large Sart population, the neighbouring Samarkand Province very few but a great many Uzbeks. The distinction between the two was often far from clear. Although historically speaking the Sarts belonged to older settled groups, whereas the Uzbeks were descended from tribes which arrived in the region with Shaibani Khan in the 16th century. It seems that, in Khorezm at least, Uzbeks spoke a now-extinct Kipchak dialect closer to Kazakh, while Sarts spoke a form of Persianised Oghuz Turkic. In Fergana, the Sarts spoke a Karluk dialect that was very close to modern Uyghur and is believed to be the earlier, historical form of modern Uzbek. In 1924 the Soviet regime decreed that henceforth all settled Turkic-speaking peoples in Central Asia (and many others who spoke Persian such as in Samarkand and Bukhara areas) would be known as \"Uzbeks\", and that the term \"Sart\" was to be abolished as an insulting legacy of colonial rule., despite the fact that Lenin himself used the term in his communiques.  For the first few years, however, the language chosen by the Soviet authorities for the new Uzbek SSR was not the modern Uzbek that is found today, but the nomadic, less Persianized and quite exotic dialect of the city of Turkistan in modern Kazakhstan.\"The Uighurs are the people whom old Russian travellers called Sart (a name which they used for sedentary, Turkic-speaking Central Asians in general), while Western travellers called them Turki, in recognition of their language. The Chinese used to call them Ch'an-t'ou ('Turbaned Heads') but this term has been dropped, being considered derogatory, and the Chinese, using their own pronunciation, now called them Weiwuerh. As a matter of fact there was for centuries no 'national' name for them; people identified themselves with the oasis they came from, like Kashgar or Turfan.\" This dialect proved itself to be largely incomprehensible to most inhabitants of the primary cities, from Tashkent to Bukhara. It was therefore replaced by the modern, fundamentally Persianized \"urban Uzbek\" which is consequently the only Turkic language in the world without any vowel harmony.\n\nParagraph 9: In housing policy, a shift of emphasis in housing policy towards rehabilitation was evident in the further increase in the number of General Improvement Areas and the number of Housing Action Areas declared. An Act of March 1977 makes provision, for a limited period, for benefits to be paid from the age of 64 to workers who agree to retire in order to free jobs for young unemployed people, in response to the rise of youth unemployment. A number of other improvements were introduced in 1977, with Attendance Allowances extended to cover disabled foster children and non-contributory disablement pensions extended to married women whose invalidity prevented them from carrying out their household tasks. In January 1977, regulations were issued which brought about a change in the administration of legislation governing fire precautions at places of work. Under these regulations the Health and Safety Executive retained full responsibility for fire safety in certain 'special' premises such as nuclear installations, coalmines and chemical plants, whereas responsibility for general fire precautions at places of work was transferred to local fire authorities. A number of new services and benefits for disabled people were also introduced. A Non-Contributory Invalidity Pension in lieu of ‘pocket money’ allowance for long-stay patients in mental hospitals was introduced. The therapeutic earnings limit for recipients of Invalidity Pension, Non-Contributory Invalidity Pension and Unemployability Supplement was raised while the Private Car Maintenance Allowance for War Pensioners was increased. From the 29th of August 1977, Attendance Allowance became payable to foster parents of disabled children, and was also extended to kidney patients dialysing at home. Industrial injury provisions for occupational deafness were introduced, and viral hepatitis and Vinyl Chloride Monomer induced diseases were prescribed as industrial diseases. Easing of conditions for entitlement to industrial death benefit in certain cases of death from pulmonary disease was carried out. £12.1 million was paid to the Rowntree Trust Family Fund for disabled children, while the terms of reference of the Rowntree Trust Family Fund were extended to include all severely disabled children. Limited right of appeal on diagnosis of pneumoconiosis was also introduced. A phasing in of a new behind-the-ear hearing aid for up 1 million hearing impaired people was carried out. Special hearing aids for children and young people were introduced. Audiology services were developed, Hearing Therapists were introduced, and the Blind Person’s tax allowance was increased. Improvements were made to the wheel-chair service, while further parking concessions were made for all ‘Orange Badge’ holders. In addition, the ‘Orange Badge’ scheme was extended to include the blind, and concessions to ‘Orange Badge’ holders at most tolled crossings were introduced. The petrol allowance was also restored and doubled for drivers of government-supplied invalid vehicles. Another measure was the extension of exemption from Road Tax (vehicle excise duty) to Mobility Allowance beneficiaries or their nominees. Concessionary fares for disabled people were introduced, along with a discretionary allowance of up to £160 to disabled students whose disability led to additional expenses in connection with their studies. Improved provision for the needs of disabled people in educational establishments was carried out, and a scheme of grants was made to employers “towards the cost of adaptations to premises or equipment made to enable disabled individuals to obtain, or retain, employment.” The 4th of July 1977 saw the inception of an experimental Job Introduction Scheme “to provide financial assistance enabling certain disabled people to undertake a trial period of employment with an employer, where there is reasonable doubt as to the person’s ability to perform a particular job.” On the 5th of July 1978 a revised and simplified scheme designed to help severely disabled people with their travel-to-work costs was introduced. Increased allowances were paid to people going on employment rehabilitation courses, while under the MSC Special Programme for young people additional opportunities were provided at Employment Rehabilitation Centres for disabled young people. A Release for Training (RFT) scheme was introduced for disabled people already in employment “but experiencing problems which can only be resolved by a period of intensive training.”  District Handicap Teams were set up, the War Pensioners’ visiting scheme was extended, and zero rating of VAT was introduced “on aids and appliances for disabled people and also on medical equipment for donation to a hospital for the purpose of treatment or research.” New arrangements were introduced for dental treatment of disabled patients, and special concessionary TV license arrangements were extended for people in old people’s homes.\n\nParagraph 10: The cuisine of the Tagalog people varies by province. Bulacan is popular for Chicharrón (pork rinds) and steamed rice and tuber cakes like puto. It is a center for panghimagas or desserts, like brown rice cake or kutsinta, sapin-sapin, suman, cassava cake, ube halaya and the king of sweets, in San Miguel, Bulacan, the famous carabao milk candy pastillas de leche, with its pabalat wrapper. Cainta, in Rizal province east of Manila, is known for its Filipino rice cakes and puddings. These are usually topped with latik, a mixture of coconut milk and brown sugar, reduced to a dry crumbly texture. A more modern, and time saving alternative to latik are coconut flakes toasted in a frying pan. Antipolo, straddled mid-level in the mountainous regions of the Philippine Sierra Madre, is a town known for its suman and cashew products. Laguna is known for buko pie (coconut pie) and panutsa (peanut brittle). Batangas is home to Taal Lake, a body of water that surrounds Taal Volcano. The lake is home to 75 species of freshwater fish, including landlocked marine species that have since adapted to the Taal lake environment. Eight of these species are of high commercial value. These include a population of giant trevally locally known as maliputo which is distinguished from their marine counterparts which are known as talakitok. Another commercially important species is the tawilis, the only known freshwater sardine and endemic to the lake. Batangas is also known for its special coffee, kapeng barako. Quezon, especially the town of Lucban, is also known for its culinary dishes, with Lucban longganisa, pancit habhab, and hardinera being the most notable. The influence of coconut milk dishes, such as laing (called tinuto in some places in Quezon) and sinantol, is also felt in the province because of its proximity to Bicol. Suman is also a notable food in the province, especially in the town of Infanta and the city of Tayabas, though having the same ingredients as the one in Antipolo, the things that makes Infanta and Tayabas suman unique is its packaging and size; Infanta's suman is smaller in size and is usually grouped into 20 per pack, while Tayabas' suman is also unique in packaging, with a long tail that makes it look like a lit candle, in connection to its tradition of throwing suman during the feast of the city's patron, Isidore the Laborer.\n\nParagraph 11: The precise borders of traditional Gooreng Gooreng lands have been disputed. Walter Roth, while collecting data on their language in the later 19th century, placed them in Camboon Rawbelle where their main camp was at that time, Jiggings\". Norman Tindale distinguished them from a Goeng Meerooni Coastal people (1770/Agnes) and defined their land as extending over  and embracing the eastern bank of the upper Burnett River from Mundubbera north to Callide Ranges Queensland and East to Mt Perry Ranges and  Many Peaks. It is possible that a confusion arose, taking two distinct dialect forms of the one cultural complex, to denote distinct and separate realities, with the Gureng Gureng taken to be an inland tribe, and the Goeng (Meerooni) denoting their affines on the coast. A recent survey of the available evidence concludes that the Goreng goring's lands encompassed the \"whole of Boyne Valley to Auburn NoGo Callide Cania Ranges No Coastal Reef Dialect Language exists as Kooreng Gooreng Gooreng Gooreng are inland Freshwater People\n\nParagraph 12: Returning crews reported a successful attack  and Guy Gibson's official report next day, and his subsequent account of 'one of the greatest low-level daylight raids of the war', were celebratory, as wartime morale required, but one of Gibson's flight commanders, Squadron Leader John Searby, later wrote that 'Le Creusot was a profound disappointment and he said as much on his return.' Post-strike photographs took some time to obtain. For several days the weather was unsuitable. Then, on 21 October, the photo-reconnaissance Spitfire was shot down over the target. The pilot, Flight Lieutenant Tony Hill, famed in intelligence circles for his low-level pictures of German radar installations, was pulled alive from the wreckage, but soon died of his injuries. Eventually another Spitfire made a successful run. The pictures showed that Searby's misgivings were justified and that much of the bombing had fallen short on to the workers' housing. Even so, there was considerable damage to the general machine shops and locomotive machine shops, the steel sheet and bar mills and a 650ft warehouse which was completely destroyed. Production at the Schneider Works was halted for three weeks, and repairs continued on the plant for eight months. The raid had been well executed in most respects. The navigation by Wing Commander Slee's navigator, Pilot Officer A S Grant, was perfect. However bombing accuracy had been poor. Bomber Command's Operational Research Section 'thought this was partly attributable to the failing light and the smoke which soon began to drift across the target, but they also thought that the tactics adopted had been inappropriate and that the bomb sights had not been properly used. They suggested that the outcome was the penalty of employing night crews in complex daylight operations without giving them more than a few days' training.' Crews had been ordered to climb and accelerate immediately before target, which made it impossible to set the Mark IX Course Setting Bomb Sight correctly, since this sight required a long, straight and level run-up to target in order to calculate the drift and could not adjust for the aircraft's attitude. Even at fairly low height, the bombs had to be released more than a mile short of target, to allow for forward travel on the drop, and the calculations were complex. The much more advanced, computerised and gyro-stabilised Mark XIV bomb sight, with automatic input from the aircraft's flight instruments, only entered squadron service some months later. Additionally, the bombers were under-armed, carrying less than 4,000lb each, as the Lancaster's exceptional load-carrying ability was still not fully recognised. The following month, the Lancaster's official all-up (maximum take-off) weight was increased from 60,000lb to 63,000lb, and after mid-1943, when the limit was raised to 65,000lb, Lancasters would seldom carry less than an 8,000lb bomb load, even when fully fuelled to 2,154 gallons for maximum range. After the eight months of repair works on the Schneider plant at Le Creusot had been completed, on 19/20 June 1943 Bomber Command struck again, this time in greater strength and at night: 290 bombers, mostly Halifaxes and Stirlings, attacked, about 20 per cent of the bombloads hitting the Schneider plant. Residential areas suffered heavy damage. The following night, Leonard Slee, by now a group captain, would lead Operation Bellicose, an attack by 5 and 8 Groups on a German radar factory at Friedrichshafen, with considerable success.\n\nParagraph 13: Accounts of the success of the opera vary greatly.  The Mercure Galant states that the opera was extremely well received; that audiences were enthralled by Lully's music as always and that they would never have guessed that Corneille had composed the libretto in so little time as three weeks.  On the other hand, the Frères Parfraict in their Histoire de l'académie royale de musique claim that the opera is \"irremediably cold\" and that \"the diabolical character of Venus ruins what little galantry there is to be found\" in it.  These reports are both equally difficult to believe when one considers, on the one hand, that Thomas Corneille was one of the chief editors of the Mercure Galant and, on the other hand, in what contempt the Parfaict brothers held all authors of the 17th century other than Pierre Corneille, Molière, Jean Racine and, for opera, Philippe Quinault.  Might they have felt obligated to condemn Thomas Corneille's libretto out of fidelity to his brother, Molière and most of all Quinault whose place Thomas Corneille may have thought he was usurping indefinitely?  The Parfaict brothers' attitude seems to have remained the dominant one since the 18th century. Robert Fajon, in his Opéra à Paris du Roi Soleil à Louis le Bien-Aimé, even goes so far as to accuse Thomas Corneille of being responsible for Lully's only operatic failure.  Concretely, however, none of Lully's operas were a failure.  Their success continued to daunt operatic composers well into the 18th century.  It is true that Psyché, unlike many of Lully's operas, was not created at court and was only revived twice (once in 1703 and again in 1713).  Thésée, by comparison was revived ten times and remained in the repertoire of the Académie royale de musique until 1744.\n\nParagraph 14: In 2007–2008, the story of an andong pocong surfaced in Sidoarjo, East Java, where the ghost was depicted as a lone pocong riding a carriage drawn by a ghostly horse. The arrival of the andong pocong is heralded with a sound of eerie bells. The ghost would knock on the doors of people's homes during the darkest hours of the night, and those who answer to the door would be afflicted by a mysterious illness before dying a few days later. The andong pocong story originated from the story of a newly-wed groom who was killed in a freak accident involving a horse carriage, but some people also linked the andong pocong to the usage of black magic.Pocong Merah or red shroud ghost is arguably the most feared pocong variant due to its violent and dangerous nature, despite of its rarity. It is said to be born out of a person who wished to seek revenge for an unpleasant death, making it more akin to a vengeful spirit often found in many folklores in the West. The red color of this pocong's shroud is associated with the feeling of bitterness, anger, and vengeance felt by the person during the final moments of life. Of all variants of pocongs, the red pocong is believed to be more likely to attack the living on sight and without provocation. Because of this, many believe the red pocongs are kings, or leaders of some sort, of a colony of pocongs.In the rural parts of Yogyakarta, there is a river known as Code River which is said to be inhabited by a massive colony of pocongs numbering in the thousands. The colony itself is led by a very peculiar red pocong, who lived as an early 20th century local shaman specializing in black magic. According to the story, the shaman's shady lifestyle and practices greatly disturbed the villagers living in the same village. So much so that one day they decided that they would not tolerate him any longer, and so they hunted him down, murdered him in cold blood, and mutilated his body. The body parts were latter wrapped in large white shroud, which later turned red because of the blood from the shaman's body, and buried somewhere in a pine forest near the riverbank. In death, the shaman swore revenge on the villagers who had slaughtered him in cold blood, and so his vengeful spirit, alongside thousands of pocongs he has 'recruited' over the years, has been haunting the Code River to this very day.\n\nParagraph 15: Shawna Malcom of the Los Angeles Times reviewed the episode \"Vitamin D\" positively, praising the focus it gave Artie: \"Until now, the wheelchair-bound character has served mostly as a punchline. Last night, he got a much-deserved moment in the spotlight, and he rolled with it, doing his best Richie Sambora on the talk box, then taking lead vocals on the Usher track.\" The episode \"Wheels\", which placed focus on Artie and his disability, drew criticism from a committee of performers with disabilities, who felt that casting a non-disabled actor to play a disabled student was inappropriate. CSI star Robert David Hall commented, \"I think there's a fear of litigation, that a person with disabilities might slow a production down, fear that viewers might be uncomfortable.\" Glee creator Brad Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability and charisma required for the role and \"it's hard to say no to someone that talented\". McHale has stated that he is pleased to represent a character in a wheelchair, and that \"I think what's great about it is just because he's in a wheelchair, he can still do what everyone else does.\" Kristin Dos Santos of E! Online refuted criticism of the episode, opining that: \"'Wheels' is all about empowering people with disabilities and sends out an uplifting message to the disabled community.\" Gerrick Kennedy of the Los Angeles Times expressed a similar sentiment, stating: \"Here we have an episode bluntly addressing the complexities of disability and doing so with so much respect and dignity, and there are complaints about Artie not being wheelchair-bound  in real life? Cooooome on, guys.\" Despite playing a wheelchair user, he is actually one of the best dancers on the set, he was able to showcase his dancing skills in the 1x19 episode \"Dream On\", in which Artie imagines dancing with his Glee club friends and shoppers in a flash mob singing \"Safety Dance\" at a mall. He also showcases his dancing skills in the episode Michael, in which Artie imagines dancing and singing \"Scream\" along with Mike Chang (Harry Shum Jr.) in a remade \"Scream\" music video, and the episode Glee, Actually, in which Artie dreams about never being in a wheelchair, realizes that the lives of his friends have changed for the worse, and decides to found his own glee club, singing and dancing to Feliz Navidad.\n\nParagraph 16: The second quatrain continues this trend of excuses with subtler wording.  \"Gentle thou art\" suggests that the youth is of noble birth, and courted by many as a result.  Alexander writes that it also suggests that the youth is not \"rough and uncouth, but kind,\" and is therefore more likely to attract sexual attention and be too kind to turn it away.  Note the proverb used twice by Shakespeare, \"She's beautiful; and therefore to be Wooed: /She is a Woman; therefore to be Wonne,\" (Henry VI, 5.3.78-79) and \"Shee is a woman, therefore may be woo'd, /Shee is a woman, therefore may be wonne,\" (Titus Andronicus, 2.1.83-84) altered slightly in lines 5-6 of the sonnet.  Atkins calls lines 5-6 here, \"An intensified (not 'woo' but assail) and significantly perverse variant on the topic (women) and order (first woo then win) of a popular proverb.\"  The final excuse for the youth's infidelity is that no man can resist the advances of a woman.  Alexander argues that the observation that end the first eight lines of the poem is much more pointed than that.  \"To imply that men cannot be expected to resist women because their mothers were women is such nonsense that it is an excuse which excuses nothing.\"  Most early editors emend the \"he\" to \"she\" in line eight, with the suggestion by Thomas Tyrwhitt that \"the lady, and not the man, being in this case supposed the wooer, the poet without doubt wrote...she.\"  However, modern editors follow more in line with Martin Seymour-Smith who notes: \"The man 'prevails' in the sexual sense...so that the usual emendation 'she' for 'he' is unnecessary and wrong.  The woman wants the man to prevail.\"  Regarding lines 7–8, Duncan-Jones remarks: \"Though this sounds like an obvious truism, Shakespeare's first published work, (Venus and Adonis), described a 'woman's son', Adonis, who refuses the advances of the goddess of love.\"\n\nParagraph 17: The theories of Ubaghs are contained in a vast collection of treatises on which he expended the best years of his life. Editions followed one another as the range of his teaching widened. Ubaghs clearly affirmed the fundamental thesis of Traditionalism: the acquisition of metaphysical and moral truths is inexplicable without a primitive Divine teaching and its oral transmission. Social teaching is a natural law, a condition so necessary that without a miracle man could not, except through it, attain the explicit knowledge of truths of a metaphysical and a moral order. Teaching and language are not merely a psychological medium which favours the acquisition of these truths; their action is determinant. Hence the primordial act of man is an act of faith; the authority of others becomes the basis of certitude. The question arises: Is our adherence to the fundamental truths of the speculative and moral order blind; and, is the existence of God, which is one of them, impossible of rational demonstration? Ubaghs did not go as far as this; his Traditionalism was mitigated, a semi-Traditionalism; once teaching has awakened ideas in us and transmitted the maxims (ordo acquisitionis) reason is able and apt to comprehend them. Though powerless to discover them it is regarded as being capable of demonstrating them once they have been made known to it. One of his favourite comparisons admirably states the problem: \"As the word 'view' chiefly expresses four things, the faculty of seeing, the act of seeing, the object seen, e.g. a landscape, and the drawing an artist makes of this object, so we give the name idea, which is derived from the former, chiefly to four different things: the faculty of knowing rationally, the act of rational knowledge, the object of this knowledge, the intellectual copy or formula which we make of this object in conceiving it\" (Psychologie, 5th ed., 1857, 41–42). Now, the objective idea, or object-idea (third acceptation), in other words, the intelligible which we contemplate, and contact with which produces within us the intellectual formula (notion), is \"something Divine\" or, rather, it is God himself. This is the core of ontologism. The intelligence contemplates God directly and beholds in Him the truths or \"objective ideas\" of which our knowledge is a weak reflection. Assuredly, if Ubaghs is right, skepticism is definitively overcome. Likewise if teaching plays in the physical life the part he assigns to it, the same is true of every doctrine which asserts the original independence of reason and which Ubaghs calls rationalism. But this so-called triumph was purchased at the cost of many errors. It is, to say the least, strange that on the one hand Traditionalist Ontologism is based on a distrust of reason, and on the other hand it endows reason with unjustifiable prerogatives. Surely it is an incredible audacity to set man face to face with the Divine essence and to attribute to his weak mind the immediate perception of the eternal and immutable verities.\n\nParagraph 18: The history of Ghazl El Mahalla testifies with a lot of achievements, the club won the Egyptian Premier League in the 1972–73 season under the command of the golden generation of the club, and among its legends are Mohammed Al-Siyagi, Abdul Rahim Khalil, Muhammad Amasha, Mahmoud Abdel Dayem, and Abdul Sattar Ali. And, the club reached the final of the African Cup of Champions Clubs (Later known as CAF Champions League) in 1974 but suffered a shocking defeat at the hands of the Congolese club CARA Brazzaville. The club participated in the African Cup of Champions Clubs (Later known as CAF Champions League) the following season in 1975 but was eliminated in the semi-finals, this marked the only two participations of Ghazl El Mahalla in the most prestigious club competition in the African continent, the CAF Champions League. The only other participation of the club in an African competition was in the African Cup Winners' Cup in 2002 where it got eliminated in the quarter-finals. The club was runner-up in the 1975–76 season of the Egyptian Premier League. And, managed to reach the final of the Egypt Cup six times but fortune did not favor it in any of them and the club was never able to win the Cup. The club was also runner-up at the inaugural Egyptian Super Cup in 2001 participating as Egypt Cup runner-up after Egypt Cup champions Ismaily SC withdrew from the competition. The club participated in the 1995 Arab Cup Winners' Cup, which was held in Tunisia, where it achieved third place. The club also participated in the 2004–05 Arab Champions League but got eliminated from the group stage after ending up in the fourth spot in Group B of the competition, this marked the only two participations of Ghazl El Mahalla in Arab competitions.\n\nParagraph 19: Puck makes infrequent guest appearances starting from this season. Puck is devastated by Finn's death. In \"The Quarterback\", three weeks after the funeral, he steals a memorial tree planted for Finn and demands that Kurt, Finn's stepbrother, give him Finn's football jacket. Coach Beiste takes him to task for being drunk regularly after so many weeks, and the two mourn Finn together, but Beiste tells him he has to guide his own life without Finn's help, and asks him to replant the tree. When he later does so, he tells her that he intends to join the Air Force. In \"100\" Now in the Air Force, Puck comes back to McKinley to say goodbye to the Glee Club before it is disbanded. He sees Quinn and the two of them have a conversation. He is about to tell Quinn that he still has feelings for her when her boyfriend, Biff McIntosh, shows up and shows Puck that he is rude. Puck sings Avril Lavigne's song Keep Holding On to her hoping that this would win her heart, but she turns him down stating that she loves Biff. Later, Quinn and Biff are having dinner at Breadsticks when Santana, Puck, Mike, and Artie show up. They sit with Quinn at her table and Biff reveals that he doesn't know any thing about Quinn's past. Her friends tell her about her behavior in the episode The Purple Piano Project. Quinn asks Biff to get something out of the car for her and after he leaves, she asks her friends not to mention anything to Biff since she is ashamed of her past. Puck asks her if she is ever going to tell him about their relationship and their daughter, Beth, and she says that she will eventually. This somewhat angers Puck as he tells her that she can't hide from the past and should embrace it. A few days later, Puck is hanging by the school buses when he hears Quinn and Biff fighting. Biff becomes angry with her at the fact that she kept so much from him, including having a baby with Puck. He calls her a slut, causing Puck to snap and punch him. Biff punches Puck back, causing Puck to punch him once more and then throws him into the dumpster. He then tells Quinn that she can help Biff out of the dumpster or join her real friends in the choir room. Later, Puck and Quinn are in the locker room looking at Finn's plaque. Quinn tells Puck that Biff went back to Yale by himself, and the relationship is over. Puck reveals that he still has feelings for her and wants to get back together. Quinn tells Puck that she isn't going to look back to her past, as she wants to look into her future. Puck leaves the locker room heartbroken and storms down the hallway when Quinn runs after him and kisses him, agreeing to give their relationship another chance.\n\nParagraph 20: Puck makes infrequent guest appearances starting from this season. Puck is devastated by Finn's death. In \"The Quarterback\", three weeks after the funeral, he steals a memorial tree planted for Finn and demands that Kurt, Finn's stepbrother, give him Finn's football jacket. Coach Beiste takes him to task for being drunk regularly after so many weeks, and the two mourn Finn together, but Beiste tells him he has to guide his own life without Finn's help, and asks him to replant the tree. When he later does so, he tells her that he intends to join the Air Force. In \"100\" Now in the Air Force, Puck comes back to McKinley to say goodbye to the Glee Club before it is disbanded. He sees Quinn and the two of them have a conversation. He is about to tell Quinn that he still has feelings for her when her boyfriend, Biff McIntosh, shows up and shows Puck that he is rude. Puck sings Avril Lavigne's song Keep Holding On to her hoping that this would win her heart, but she turns him down stating that she loves Biff. Later, Quinn and Biff are having dinner at Breadsticks when Santana, Puck, Mike, and Artie show up. They sit with Quinn at her table and Biff reveals that he doesn't know any thing about Quinn's past. Her friends tell her about her behavior in the episode The Purple Piano Project. Quinn asks Biff to get something out of the car for her and after he leaves, she asks her friends not to mention anything to Biff since she is ashamed of her past. Puck asks her if she is ever going to tell him about their relationship and their daughter, Beth, and she says that she will eventually. This somewhat angers Puck as he tells her that she can't hide from the past and should embrace it. A few days later, Puck is hanging by the school buses when he hears Quinn and Biff fighting. Biff becomes angry with her at the fact that she kept so much from him, including having a baby with Puck. He calls her a slut, causing Puck to snap and punch him. Biff punches Puck back, causing Puck to punch him once more and then throws him into the dumpster. He then tells Quinn that she can help Biff out of the dumpster or join her real friends in the choir room. Later, Puck and Quinn are in the locker room looking at Finn's plaque. Quinn tells Puck that Biff went back to Yale by himself, and the relationship is over. Puck reveals that he still has feelings for her and wants to get back together. Quinn tells Puck that she isn't going to look back to her past, as she wants to look into her future. Puck leaves the locker room heartbroken and storms down the hallway when Quinn runs after him and kisses him, agreeing to give their relationship another chance.\n\nParagraph 21: Shawna Malcom of the Los Angeles Times reviewed the episode \"Vitamin D\" positively, praising the focus it gave Artie: \"Until now, the wheelchair-bound character has served mostly as a punchline. Last night, he got a much-deserved moment in the spotlight, and he rolled with it, doing his best Richie Sambora on the talk box, then taking lead vocals on the Usher track.\" The episode \"Wheels\", which placed focus on Artie and his disability, drew criticism from a committee of performers with disabilities, who felt that casting a non-disabled actor to play a disabled student was inappropriate. CSI star Robert David Hall commented, \"I think there's a fear of litigation, that a person with disabilities might slow a production down, fear that viewers might be uncomfortable.\" Glee creator Brad Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability and charisma required for the role and \"it's hard to say no to someone that talented\". McHale has stated that he is pleased to represent a character in a wheelchair, and that \"I think what's great about it is just because he's in a wheelchair, he can still do what everyone else does.\" Kristin Dos Santos of E! Online refuted criticism of the episode, opining that: \"'Wheels' is all about empowering people with disabilities and sends out an uplifting message to the disabled community.\" Gerrick Kennedy of the Los Angeles Times expressed a similar sentiment, stating: \"Here we have an episode bluntly addressing the complexities of disability and doing so with so much respect and dignity, and there are complaints about Artie not being wheelchair-bound  in real life? Cooooome on, guys.\" Despite playing a wheelchair user, he is actually one of the best dancers on the set, he was able to showcase his dancing skills in the 1x19 episode \"Dream On\", in which Artie imagines dancing with his Glee club friends and shoppers in a flash mob singing \"Safety Dance\" at a mall. He also showcases his dancing skills in the episode Michael, in which Artie imagines dancing and singing \"Scream\" along with Mike Chang (Harry Shum Jr.) in a remade \"Scream\" music video, and the episode Glee, Actually, in which Artie dreams about never being in a wheelchair, realizes that the lives of his friends have changed for the worse, and decides to found his own glee club, singing and dancing to Feliz Navidad.\n\nParagraph 22: From the 18th century, Gefreite were the first line members of a military company, and every Gefreiter led and commanded a section or squad of Gemeine (ordinary-rank soldiers). The rank existed in the cavalry, infantry, pioneers, and artillery where the Gefreiter rank received a greater rank-class status. Gefreiter was the only enlisted rank until 1918 within the Royal Prussian Army and respectively the imperial army of the German Empire to which an exceptional enlisted soldier could be promoted on the recommendation of the Hauptmann (Captain) or Rittmeister (Cavalry-Master otherwise Captain) and ultimately endorsed by the Regiments-Commandeur (Regimental Colonel), with exception of the rank Obergefreiter (since 1859) in the foot artillery which later replaced the artillery Bombardier (Corporal) rank. The Gefreiter rank was also considered a transition rank for promotion to and wherefrom replacements were selected to the Unteroffizier (Corporal) rank. Within the Royal Prussian Army and respectively the imperial army of the German Empire, the rank Gefreiter was a deputy to the Unteroffizier (Corporal), and were distinguished by the wearing of a Auszeichnungsknopf (rank Distinction-button) known as the Gefreitenknopf (Gefreiter-button) on each side of their uniform collar, similar to the slightly larger rank collar side-buttons worn by both the Sergeant and Feldwebel ranks.\n\nParagraph 23: In August 1999, Cherny attacked a girl, hitting her and pushing her into the bushes, and trying to strangle her. However, the girl cried out, and when he saw that a man was approaching, Cherny ran away. On September 19, Cherny strangled a girl in the vicinity of the town of Komintern, who was going to a disco. He took off her outer garments and pulled the earrings from her ears. The body was soon found in a ravine near the place of the murder. On September 24, Cherny also killed another girl at the spring in the Redovka Park in the same way. At her neck, a bra was tied tightly in a knot. The deceased had lost a leather jacket, leather waistcoat, a breastplate, a bunch of keys and a ticket. On September 27, in the village of Vishenka, in an abandoned warehouse, the corpse of a girl was found, with signs of strangulation, who went missing on September 24. On the neck a belt from the jacket was tied in two knots. On September 29, in front of GSK \"Tikhvinka-3\" the body of another strangled girl was found. A loop of thin strap from a purse was fastened around her neck and tied back to two knots. UVD Smolensk seriously engaged in the disclosure of the murder series, and the killer, feeling the danger, \"fell to the bottom\", not betraying himself and not committing new atrocities. A month later, the murderer reappeared, strangling two more girls in three days. On November 4, near the Yasennaya River, which flowed in the ravine between the village of Vishenka and the garage-building cooperative \"Svet-2\", a corpse of a girl was found, photographs of whom were hanging on search trays for two days around the city. On the neck of the deceased, the murderer had tied handkerchief and a belt from his coat tightly around her neck, and her outer clothing, a gold ring, earrings and a watch were stolen. On November 6, in the forest belt in the nuclear power plant-80 area, half a kilometer from the Krasninskoe highway, the body of another victim was found, and had lost her passport and student card. On November 22, Cherny met a girl in the city centre. The next day, he invited her to go on a walk and get some fresh air, to which she agreed. When they met, they got into his car and went for a drive. Suddenly, Cherny attacked the companion, tried to strangle her, then threw her into the trunk and drove her to the outskirts, where he hung her from a tree with her own sneakers' shoelaces. However, the girl survived and soon turned to the police, but because of the shock experienced, she was confused and could not provide any valuable information. In early December, the investigators managed to find the victim who survived the August attack, who said that she had seen the criminal in one of the city's markets. For several days she was taken to the markets of Smolensk, and on December 14 she pointed the detectives on the man who attacked her. The suspect was placed on surveillance round the clock, including using a hidden camera. When they looked through the record with the suspect's image, one of the detectives said that he knew a very similar person - a member of a local criminal group named Mark Cherny. It turned out that Mark was the younger brother of the main suspect - a 22-year-old security guard of a private security company Sergey Cherny. Meanwhile, corpses were still found around the city. On December 17, in the ravine for GSK \"Zvezda\" in the second Krasninskiy lane the corpse of another girl was found with a leather belt from a coat tied on two knots around her neck. On December 22 near the Yasennaya River in the \"Readovka\" park another corpse was found. Subsequently, the Cherny brothers were detained.\n\nParagraph 24: Daniels' first of many collaborations with the Marshall Tucker Band came on the band's second album, A New Life, which was released in 1974, and certified gold in 1977. Daniels and blues guitarist Elvin Bishop were among several musicians that joined the band for Where We All Belong, a double-album (one studio album and one live album) released by the band in 1974 and certified gold that same year.  The following year the band's Searchin' for a Rainbow was also certified gold the year of its release, and contained the track \"Fire on the Mountain,\" which peaked at No. 38 on the Billboard charts. Long Hard Ride, the band's fifth consecutive gold album, was released in 1976, and its instrumental title track (which again features Charlie Daniels on fiddle) was nominated for a Grammy. Carolina Dreams, released in 1977 and certified platinum that same year, proved to be the band's most commercially successful album, and included the track \"Heard It in a Love Song,\" which reached No. 14 on the Billboard charts.  The band's final Capricorn release came with 1978's Together Forever, which was produced by Stewart Levine. Following the bankruptcy of Capricorn, the Marshall Tucker Band moved to Warner Bros. Records for their ninth album, Running Like the Wind (the band's eighth release was a compilation album entitled Greatest Hits), and they retained Levine as the album's producer.\n\nParagraph 25: \"Villain of the week\" (or, depending on genre, \"monster of the week\", \"freak of the week\" or \"alien of the week\") is an antagonist that only appears in one episode of a multi-episode work of fiction. A villain of the week is commonly seen in British, American, and Japanese genre-based television series. As many shows of this type air episodes weekly at a rate of ten to twenty new episodes per year, there is often a new antagonist in the plot of each week's episode. The main characters usually confront and vanquish these characters, often leaving them never to be seen again as in wordly famous Doctor Who, Supernatural, but also Charmed, Smallville, and Scooby-Doo. Some series alternate between using such antagonists and furthering the series' ongoing plotlines (as in Buffy the Vampire Slayer, Supernatural, Fringe, and The X-Files, where fandom is often divided over preference for one type of episode versus the other), while others use these one-time foes as pawns of the recurring adversaries (as in Kamen Rider, Sailor Moon, Ultra series and as well as in Super Sentai and its American equivalent, Power Rangers). On other occasions, these villains return reformed, becoming invaluable allies or gaining a larger role in the story. The American action drama Burn Notice focuses on short-lived antagonists, but the final portion of every episode is committed to developing a larger story arc. The British Doctor Who spin-off programme Torchwood used this format in its first two series, before switching to a continuous story format.\n\nParagraph 26: The precise borders of traditional Gooreng Gooreng lands have been disputed. Walter Roth, while collecting data on their language in the later 19th century, placed them in Camboon Rawbelle where their main camp was at that time, Jiggings\". Norman Tindale distinguished them from a Goeng Meerooni Coastal people (1770/Agnes) and defined their land as extending over  and embracing the eastern bank of the upper Burnett River from Mundubbera north to Callide Ranges Queensland and East to Mt Perry Ranges and  Many Peaks. It is possible that a confusion arose, taking two distinct dialect forms of the one cultural complex, to denote distinct and separate realities, with the Gureng Gureng taken to be an inland tribe, and the Goeng (Meerooni) denoting their affines on the coast. A recent survey of the available evidence concludes that the Goreng goring's lands encompassed the \"whole of Boyne Valley to Auburn NoGo Callide Cania Ranges No Coastal Reef Dialect Language exists as Kooreng Gooreng Gooreng Gooreng are inland Freshwater People\n\nParagraph 27: Daniels' first of many collaborations with the Marshall Tucker Band came on the band's second album, A New Life, which was released in 1974, and certified gold in 1977. Daniels and blues guitarist Elvin Bishop were among several musicians that joined the band for Where We All Belong, a double-album (one studio album and one live album) released by the band in 1974 and certified gold that same year.  The following year the band's Searchin' for a Rainbow was also certified gold the year of its release, and contained the track \"Fire on the Mountain,\" which peaked at No. 38 on the Billboard charts. Long Hard Ride, the band's fifth consecutive gold album, was released in 1976, and its instrumental title track (which again features Charlie Daniels on fiddle) was nominated for a Grammy. Carolina Dreams, released in 1977 and certified platinum that same year, proved to be the band's most commercially successful album, and included the track \"Heard It in a Love Song,\" which reached No. 14 on the Billboard charts.  The band's final Capricorn release came with 1978's Together Forever, which was produced by Stewart Levine. Following the bankruptcy of Capricorn, the Marshall Tucker Band moved to Warner Bros. Records for their ninth album, Running Like the Wind (the band's eighth release was a compilation album entitled Greatest Hits), and they retained Levine as the album's producer.\n\nParagraph 28: Accounts of the success of the opera vary greatly.  The Mercure Galant states that the opera was extremely well received; that audiences were enthralled by Lully's music as always and that they would never have guessed that Corneille had composed the libretto in so little time as three weeks.  On the other hand, the Frères Parfraict in their Histoire de l'académie royale de musique claim that the opera is \"irremediably cold\" and that \"the diabolical character of Venus ruins what little galantry there is to be found\" in it.  These reports are both equally difficult to believe when one considers, on the one hand, that Thomas Corneille was one of the chief editors of the Mercure Galant and, on the other hand, in what contempt the Parfaict brothers held all authors of the 17th century other than Pierre Corneille, Molière, Jean Racine and, for opera, Philippe Quinault.  Might they have felt obligated to condemn Thomas Corneille's libretto out of fidelity to his brother, Molière and most of all Quinault whose place Thomas Corneille may have thought he was usurping indefinitely?  The Parfaict brothers' attitude seems to have remained the dominant one since the 18th century. Robert Fajon, in his Opéra à Paris du Roi Soleil à Louis le Bien-Aimé, even goes so far as to accuse Thomas Corneille of being responsible for Lully's only operatic failure.  Concretely, however, none of Lully's operas were a failure.  Their success continued to daunt operatic composers well into the 18th century.  It is true that Psyché, unlike many of Lully's operas, was not created at court and was only revived twice (once in 1703 and again in 1713).  Thésée, by comparison was revived ten times and remained in the repertoire of the Académie royale de musique until 1744.\n\nParagraph 29: William Damaschke (born November 20, 1963) is the former President of Animation and Family Entertainment for Skydance Media, where he served as the key architect setting the overall creative direction and strategy for Skydance. In conjunction with the company's feature film and television division, he curated and oversaw a team dedicated to producing a bold and original slate of both animated and hybrid family programming. Previously, he had spent 20 years at DreamWorks Animation, most recently as Chief Creative Officer, where he was involved in the creative, artistic, and operational direction of the company. His tenure oversaw the release of some of the company's big franchise films, including Madagascar, Kung Fu Panda, How to Train Your Dragon and The Croods. He also oversaw all of DreamWorks's live theatrical productions, including the award-winning Shrek the Musical.  Damaschke’s other projects as a producer include the Broadway musical The Prom, directed and choreographed by Casey Nicholaw, which played at the Longacre Theatre from 15 November 2018 to 11 August 2019; the Broadway-bound musical Half Time, directed and choreographed by Jerry Mitchell, which was presented at the Paper Mill Playhouse in Spring of 2018; and the stage adaptation of Moulin Rouge, directed by Alex Timers, on which Damaschke serves as executive producer.\n\nParagraph 30: Puck makes infrequent guest appearances starting from this season. Puck is devastated by Finn's death. In \"The Quarterback\", three weeks after the funeral, he steals a memorial tree planted for Finn and demands that Kurt, Finn's stepbrother, give him Finn's football jacket. Coach Beiste takes him to task for being drunk regularly after so many weeks, and the two mourn Finn together, but Beiste tells him he has to guide his own life without Finn's help, and asks him to replant the tree. When he later does so, he tells her that he intends to join the Air Force. In \"100\" Now in the Air Force, Puck comes back to McKinley to say goodbye to the Glee Club before it is disbanded. He sees Quinn and the two of them have a conversation. He is about to tell Quinn that he still has feelings for her when her boyfriend, Biff McIntosh, shows up and shows Puck that he is rude. Puck sings Avril Lavigne's song Keep Holding On to her hoping that this would win her heart, but she turns him down stating that she loves Biff. Later, Quinn and Biff are having dinner at Breadsticks when Santana, Puck, Mike, and Artie show up. They sit with Quinn at her table and Biff reveals that he doesn't know any thing about Quinn's past. Her friends tell her about her behavior in the episode The Purple Piano Project. Quinn asks Biff to get something out of the car for her and after he leaves, she asks her friends not to mention anything to Biff since she is ashamed of her past. Puck asks her if she is ever going to tell him about their relationship and their daughter, Beth, and she says that she will eventually. This somewhat angers Puck as he tells her that she can't hide from the past and should embrace it. A few days later, Puck is hanging by the school buses when he hears Quinn and Biff fighting. Biff becomes angry with her at the fact that she kept so much from him, including having a baby with Puck. He calls her a slut, causing Puck to snap and punch him. Biff punches Puck back, causing Puck to punch him once more and then throws him into the dumpster. He then tells Quinn that she can help Biff out of the dumpster or join her real friends in the choir room. Later, Puck and Quinn are in the locker room looking at Finn's plaque. Quinn tells Puck that Biff went back to Yale by himself, and the relationship is over. Puck reveals that he still has feelings for her and wants to get back together. Quinn tells Puck that she isn't going to look back to her past, as she wants to look into her future. Puck leaves the locker room heartbroken and storms down the hallway when Quinn runs after him and kisses him, agreeing to give their relationship another chance.\n\nParagraph 31: In housing policy, a shift of emphasis in housing policy towards rehabilitation was evident in the further increase in the number of General Improvement Areas and the number of Housing Action Areas declared. An Act of March 1977 makes provision, for a limited period, for benefits to be paid from the age of 64 to workers who agree to retire in order to free jobs for young unemployed people, in response to the rise of youth unemployment. A number of other improvements were introduced in 1977, with Attendance Allowances extended to cover disabled foster children and non-contributory disablement pensions extended to married women whose invalidity prevented them from carrying out their household tasks. In January 1977, regulations were issued which brought about a change in the administration of legislation governing fire precautions at places of work. Under these regulations the Health and Safety Executive retained full responsibility for fire safety in certain 'special' premises such as nuclear installations, coalmines and chemical plants, whereas responsibility for general fire precautions at places of work was transferred to local fire authorities. A number of new services and benefits for disabled people were also introduced. A Non-Contributory Invalidity Pension in lieu of ‘pocket money’ allowance for long-stay patients in mental hospitals was introduced. The therapeutic earnings limit for recipients of Invalidity Pension, Non-Contributory Invalidity Pension and Unemployability Supplement was raised while the Private Car Maintenance Allowance for War Pensioners was increased. From the 29th of August 1977, Attendance Allowance became payable to foster parents of disabled children, and was also extended to kidney patients dialysing at home. Industrial injury provisions for occupational deafness were introduced, and viral hepatitis and Vinyl Chloride Monomer induced diseases were prescribed as industrial diseases. Easing of conditions for entitlement to industrial death benefit in certain cases of death from pulmonary disease was carried out. £12.1 million was paid to the Rowntree Trust Family Fund for disabled children, while the terms of reference of the Rowntree Trust Family Fund were extended to include all severely disabled children. Limited right of appeal on diagnosis of pneumoconiosis was also introduced. A phasing in of a new behind-the-ear hearing aid for up 1 million hearing impaired people was carried out. Special hearing aids for children and young people were introduced. Audiology services were developed, Hearing Therapists were introduced, and the Blind Person’s tax allowance was increased. Improvements were made to the wheel-chair service, while further parking concessions were made for all ‘Orange Badge’ holders. In addition, the ‘Orange Badge’ scheme was extended to include the blind, and concessions to ‘Orange Badge’ holders at most tolled crossings were introduced. The petrol allowance was also restored and doubled for drivers of government-supplied invalid vehicles. Another measure was the extension of exemption from Road Tax (vehicle excise duty) to Mobility Allowance beneficiaries or their nominees. Concessionary fares for disabled people were introduced, along with a discretionary allowance of up to £160 to disabled students whose disability led to additional expenses in connection with their studies. Improved provision for the needs of disabled people in educational establishments was carried out, and a scheme of grants was made to employers “towards the cost of adaptations to premises or equipment made to enable disabled individuals to obtain, or retain, employment.” The 4th of July 1977 saw the inception of an experimental Job Introduction Scheme “to provide financial assistance enabling certain disabled people to undertake a trial period of employment with an employer, where there is reasonable doubt as to the person’s ability to perform a particular job.” On the 5th of July 1978 a revised and simplified scheme designed to help severely disabled people with their travel-to-work costs was introduced. Increased allowances were paid to people going on employment rehabilitation courses, while under the MSC Special Programme for young people additional opportunities were provided at Employment Rehabilitation Centres for disabled young people. A Release for Training (RFT) scheme was introduced for disabled people already in employment “but experiencing problems which can only be resolved by a period of intensive training.”  District Handicap Teams were set up, the War Pensioners’ visiting scheme was extended, and zero rating of VAT was introduced “on aids and appliances for disabled people and also on medical equipment for donation to a hospital for the purpose of treatment or research.” New arrangements were introduced for dental treatment of disabled patients, and special concessionary TV license arrangements were extended for people in old people’s homes.\n\nParagraph 32: The cuisine of the Tagalog people varies by province. Bulacan is popular for Chicharrón (pork rinds) and steamed rice and tuber cakes like puto. It is a center for panghimagas or desserts, like brown rice cake or kutsinta, sapin-sapin, suman, cassava cake, ube halaya and the king of sweets, in San Miguel, Bulacan, the famous carabao milk candy pastillas de leche, with its pabalat wrapper. Cainta, in Rizal province east of Manila, is known for its Filipino rice cakes and puddings. These are usually topped with latik, a mixture of coconut milk and brown sugar, reduced to a dry crumbly texture. A more modern, and time saving alternative to latik are coconut flakes toasted in a frying pan. Antipolo, straddled mid-level in the mountainous regions of the Philippine Sierra Madre, is a town known for its suman and cashew products. Laguna is known for buko pie (coconut pie) and panutsa (peanut brittle). Batangas is home to Taal Lake, a body of water that surrounds Taal Volcano. The lake is home to 75 species of freshwater fish, including landlocked marine species that have since adapted to the Taal lake environment. Eight of these species are of high commercial value. These include a population of giant trevally locally known as maliputo which is distinguished from their marine counterparts which are known as talakitok. Another commercially important species is the tawilis, the only known freshwater sardine and endemic to the lake. Batangas is also known for its special coffee, kapeng barako. Quezon, especially the town of Lucban, is also known for its culinary dishes, with Lucban longganisa, pancit habhab, and hardinera being the most notable. The influence of coconut milk dishes, such as laing (called tinuto in some places in Quezon) and sinantol, is also felt in the province because of its proximity to Bicol. Suman is also a notable food in the province, especially in the town of Infanta and the city of Tayabas, though having the same ingredients as the one in Antipolo, the things that makes Infanta and Tayabas suman unique is its packaging and size; Infanta's suman is smaller in size and is usually grouped into 20 per pack, while Tayabas' suman is also unique in packaging, with a long tail that makes it look like a lit candle, in connection to its tradition of throwing suman during the feast of the city's patron, Isidore the Laborer.\n\nParagraph 33: In addition, slave owners manumitted slaves for various reasons: to reward long years of service, because heirs did not want to take on slaves, or to free slave concubines and/or their children. Slaves were sometimes allowed to buy their freedom; they might be permitted to save money from fees paid when they were \"hired out\" to work for other parties. In the mid-to-late 18th century, Methodist and Baptist evangelists during the period of the First Great Awakening ( 1730–1755) encouraged slave owners to free their slaves, in their belief that all men were equal before God. They converted many slaves to Christianity and approved black leaders as preachers; blacks developed their own strain of Christianity. Before the American Revolutionary War of 1775–1783, few slaves were manumitted; on the eve of the American Revolution, there was an estimated 30,000 free African Americans in Colonial America which accounts for about 5% of the total African American population with most of free African Americans being mixed race. Since the portion of free African Americans were so small and could possibly pass as white, they were not deemed a threat to the White population to warrant anti-Black legislation. However, historian Ira Berlin states that this figure could be as high as 25% due to errors in census collection, ambiguous status of runaway slaves, White-passing persons, and slaves who lived as if they were free but did not have the papers to prove the same.\n\nParagraph 34: In addition, slave owners manumitted slaves for various reasons: to reward long years of service, because heirs did not want to take on slaves, or to free slave concubines and/or their children. Slaves were sometimes allowed to buy their freedom; they might be permitted to save money from fees paid when they were \"hired out\" to work for other parties. In the mid-to-late 18th century, Methodist and Baptist evangelists during the period of the First Great Awakening ( 1730–1755) encouraged slave owners to free their slaves, in their belief that all men were equal before God. They converted many slaves to Christianity and approved black leaders as preachers; blacks developed their own strain of Christianity. Before the American Revolutionary War of 1775–1783, few slaves were manumitted; on the eve of the American Revolution, there was an estimated 30,000 free African Americans in Colonial America which accounts for about 5% of the total African American population with most of free African Americans being mixed race. Since the portion of free African Americans were so small and could possibly pass as white, they were not deemed a threat to the White population to warrant anti-Black legislation. However, historian Ira Berlin states that this figure could be as high as 25% due to errors in census collection, ambiguous status of runaway slaves, White-passing persons, and slaves who lived as if they were free but did not have the papers to prove the same.\n\nParagraph 35: Robson gave Webb his full international début, against West Germany on 9 September 1987 at the age of 24, becoming the 1,000th player to be capped by England. His first goal came against Turkey on 14 October that year, in an 8–0 victory at Wembley in a Euro 88 qualifier. He appeared in two of England's group games at Euro 88 (which all ended in defeat), but his next international appearance – against Denmark in a friendly on 14 September 1988 – he scored the only goal in the game at Wembley. On 3 June 1989, he scored the third international goal of his career with a 3–0 World Cup qualifier victory over Poland, again at Wembley. On 24 April 1990 Webb made his first appearance with the England B team, playing in the 2–0 win over the Czechoslovakia B team at Roker Park. Despite missing the bulk of the 1989–90 season at Manchester United with injury, he was included in England's 1990 World Cup squad and made his solitary appearance of the competition in the third place playoff defeat by Italy. Before the year was out he would become the first player to be sent off whilst on England duty in three years when he saw red for the England B team in a match against the full Algeria team. On 12 May 1992, he scored what would be his final goal for England in a 1–0 friendly win over Hungary in Budapest. He would make four more international appearances for England, the last coming on 17 June 1992 when England lost 2–1 to hosts Sweden in their final Euro 92 group game. Webb was capped 26 times in five years for the England team, and scored 4 goals.\n\nParagraph 36: He was amongst the first to respond to the call of Pakistan sounded by Muhammad Iqbal in 1930 (Qutote from Chaudhry Muhammad Ali, Prime Minister of Pakistan), Dr. Khursheed kamal aziz Pakistan's official historian) has described this book as \"the most comprehensive and far reaching scheme aimed at furthering and elaborating the idea of Pakistan.  Waheed uz-Zaman wrote in his book, \"Pakistan\", Lahore, 1964, P. 168, \"The book was taken into consideration by the Muslim league, while preparing the Lahore resolution and the fact the solution proposed in the confederacy of India\" differed but little from the proposed by the Muslim League in March 1940. The venear of a Confederacy, which was the main theme of his scheme, could anytime be set aside and the remainder would have precisely ... Pakistan.  So scholarly and so cogent was his reasoning that men like Dr.Rajendra Prasad felt compelled to join issues with him in his books, (Pakistan(Bombay and Calcutta, September 1940), p 34; see also his book \"India Divided\" page 180-181). The book was reviewed in leading newspapers and journals. Comparatively more scholarly appraisal was in the Tarjaman-ul-Quran of Maulana Abul Ala Maududi. According to Mian Kifait Ali \"The idea was suggested to me by the late Choudhary Rahmat Ali's writings and I developmed it to an extent to which no one had done earlier (Letter to Dr. K.K, September 5, 1968)\". Ali also stated that originally it was proposed to publish the book under the title of \"Pakistan\" a typed manuscript which bore this page title was sent to the press. Soon after he received a telegraphic message from the Muhammad Ali Jinnah that book should not appear under the pen name of \"Pakistan\". It was to comply with the Quaid's directive he prepared a federal scheme and was incorporated in the introduction of the book. Thus the book was titled as \"Confederacy of India\". (Nation article, 23 December 1994 by Sarfraz Hussain Mirza, \"Confederacy of India by A Punjabi\", also in Daily Times, Cam Diary, \"Pak history in Leichester\", and article by V.P Bhatia \"'Jinnah was against the name 'Pakistan' at First\". It was in recognition of this work of Mian Kifait Ali that he was invited to work on the committee presided over by Sir Abdullah Haroon set up in February 1940 to examine the various schemes of constitutional reforms for India and to see whether a consolidated scheme can finally be framed.  His book has been referred to as the most comprehensive schemes at demystifying and detailing the ideas regarding the inception of Pakistan, quite a lot has been written about him and his work. Mian Kifait Ali has done \"pioneering work in the evolution of Muslim political thoughts and has suffered the hardship of a pioneer… when an objective appraisal of Muslim political movement is made by the historian. He will find an honourable place among the pioneers and selfless workers in this great field of Muslim reconstruction (Quoted by Governor Punjab, Mushtaq Ahmed Gurmani). Famous independence-era personalities such as Abul Ala Maududi, Chaudhry Muhammad Ali, Dr. Rajendra Prasad, Vengalil Krishnan Krishna Menon, and Sardar V. Patel took issue with him. He responded in several pamphlets.\n\nParagraph 37: Meanwhile, Kigan's pandal attracts crowds. Bodhi makes plans to create fake bomb blasts in the puja campus and create a mess. According to his plans a terrible mess occurs at the pandal, several people are stampeded. Bodhi even pays the media to cover this incident exclusively and promote it more seriously than the actual incident, eventually the police authorities ban the puja and order for the dismantle of the idol after puja. Kigan is put into jail for quarrelling with police. Later Bodhi releases Kigan from jail and on way to home he explains Kigan that he took his revenge by getting the puja banned from public. Kigan requests Bodhi to open the puja after 2–3 days but Bodhi disagrees. Kigan then challenges Bodhi that he would reopen the puja till immersion. Meanwhile, Kigan owns up to his mistakes to Aditi and they get reunited again. Next day Kigan investigates that only two persons were injured not many and it was a paid fake news. Kigan has meetings with police commissioner, governor regarding reopening of the puja but everywhere he gets negative response. Out of utter depression Kigan goes to Bodhi's house, determined that Bodhi is responsible for all this and he would kill Bodhi. Kigan and Bodhi have a fight where Kigan is about to kill Bodhi but then Bodhi's son attacks Kigan with a bat and Kigan falls. Bodhi scolds his son for hitting an elder person but Kigan supports him. Then Bodhi tells that he doesn't want to make his son like Kigan, so he will teach him proper manners. Here Bodhi discloses that his son is not his but actually Kigan's and he has tendered him as his own child and always has been a good father because he wants to make him a gentleman and an not as irresponsible as Kigan. Bodhi also discloses that Aditi has always been loving Kigan though Bodhi has always been a good husband. Even though he has brought up Kigan's child as his own child, Aditi has never developed any feeling towards him so he decided to finish Kigan who has destroyed his own family for that he has also destroyed his masterpiece creation. Bodhi repents that he is the Asur (villain) and begs pardon from Kigan. Bodhi also discloses that he is not the only one associated with this planning but Aditi is also responsible for this. Aditi thought of taking revenge from Kigan after her father's incident so she had been involved in this case.\n\nParagraph 38: In housing policy, a shift of emphasis in housing policy towards rehabilitation was evident in the further increase in the number of General Improvement Areas and the number of Housing Action Areas declared. An Act of March 1977 makes provision, for a limited period, for benefits to be paid from the age of 64 to workers who agree to retire in order to free jobs for young unemployed people, in response to the rise of youth unemployment. A number of other improvements were introduced in 1977, with Attendance Allowances extended to cover disabled foster children and non-contributory disablement pensions extended to married women whose invalidity prevented them from carrying out their household tasks. In January 1977, regulations were issued which brought about a change in the administration of legislation governing fire precautions at places of work. Under these regulations the Health and Safety Executive retained full responsibility for fire safety in certain 'special' premises such as nuclear installations, coalmines and chemical plants, whereas responsibility for general fire precautions at places of work was transferred to local fire authorities. A number of new services and benefits for disabled people were also introduced. A Non-Contributory Invalidity Pension in lieu of ‘pocket money’ allowance for long-stay patients in mental hospitals was introduced. The therapeutic earnings limit for recipients of Invalidity Pension, Non-Contributory Invalidity Pension and Unemployability Supplement was raised while the Private Car Maintenance Allowance for War Pensioners was increased. From the 29th of August 1977, Attendance Allowance became payable to foster parents of disabled children, and was also extended to kidney patients dialysing at home. Industrial injury provisions for occupational deafness were introduced, and viral hepatitis and Vinyl Chloride Monomer induced diseases were prescribed as industrial diseases. Easing of conditions for entitlement to industrial death benefit in certain cases of death from pulmonary disease was carried out. £12.1 million was paid to the Rowntree Trust Family Fund for disabled children, while the terms of reference of the Rowntree Trust Family Fund were extended to include all severely disabled children. Limited right of appeal on diagnosis of pneumoconiosis was also introduced. A phasing in of a new behind-the-ear hearing aid for up 1 million hearing impaired people was carried out. Special hearing aids for children and young people were introduced. Audiology services were developed, Hearing Therapists were introduced, and the Blind Person’s tax allowance was increased. Improvements were made to the wheel-chair service, while further parking concessions were made for all ‘Orange Badge’ holders. In addition, the ‘Orange Badge’ scheme was extended to include the blind, and concessions to ‘Orange Badge’ holders at most tolled crossings were introduced. The petrol allowance was also restored and doubled for drivers of government-supplied invalid vehicles. Another measure was the extension of exemption from Road Tax (vehicle excise duty) to Mobility Allowance beneficiaries or their nominees. Concessionary fares for disabled people were introduced, along with a discretionary allowance of up to £160 to disabled students whose disability led to additional expenses in connection with their studies. Improved provision for the needs of disabled people in educational establishments was carried out, and a scheme of grants was made to employers “towards the cost of adaptations to premises or equipment made to enable disabled individuals to obtain, or retain, employment.” The 4th of July 1977 saw the inception of an experimental Job Introduction Scheme “to provide financial assistance enabling certain disabled people to undertake a trial period of employment with an employer, where there is reasonable doubt as to the person’s ability to perform a particular job.” On the 5th of July 1978 a revised and simplified scheme designed to help severely disabled people with their travel-to-work costs was introduced. Increased allowances were paid to people going on employment rehabilitation courses, while under the MSC Special Programme for young people additional opportunities were provided at Employment Rehabilitation Centres for disabled young people. A Release for Training (RFT) scheme was introduced for disabled people already in employment “but experiencing problems which can only be resolved by a period of intensive training.”  District Handicap Teams were set up, the War Pensioners’ visiting scheme was extended, and zero rating of VAT was introduced “on aids and appliances for disabled people and also on medical equipment for donation to a hospital for the purpose of treatment or research.” New arrangements were introduced for dental treatment of disabled patients, and special concessionary TV license arrangements were extended for people in old people’s homes.\n\nParagraph 39: Shawna Malcom of the Los Angeles Times reviewed the episode \"Vitamin D\" positively, praising the focus it gave Artie: \"Until now, the wheelchair-bound character has served mostly as a punchline. Last night, he got a much-deserved moment in the spotlight, and he rolled with it, doing his best Richie Sambora on the talk box, then taking lead vocals on the Usher track.\" The episode \"Wheels\", which placed focus on Artie and his disability, drew criticism from a committee of performers with disabilities, who felt that casting a non-disabled actor to play a disabled student was inappropriate. CSI star Robert David Hall commented, \"I think there's a fear of litigation, that a person with disabilities might slow a production down, fear that viewers might be uncomfortable.\" Glee creator Brad Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability and charisma required for the role and \"it's hard to say no to someone that talented\". McHale has stated that he is pleased to represent a character in a wheelchair, and that \"I think what's great about it is just because he's in a wheelchair, he can still do what everyone else does.\" Kristin Dos Santos of E! Online refuted criticism of the episode, opining that: \"'Wheels' is all about empowering people with disabilities and sends out an uplifting message to the disabled community.\" Gerrick Kennedy of the Los Angeles Times expressed a similar sentiment, stating: \"Here we have an episode bluntly addressing the complexities of disability and doing so with so much respect and dignity, and there are complaints about Artie not being wheelchair-bound  in real life? Cooooome on, guys.\" Despite playing a wheelchair user, he is actually one of the best dancers on the set, he was able to showcase his dancing skills in the 1x19 episode \"Dream On\", in which Artie imagines dancing with his Glee club friends and shoppers in a flash mob singing \"Safety Dance\" at a mall. He also showcases his dancing skills in the episode Michael, in which Artie imagines dancing and singing \"Scream\" along with Mike Chang (Harry Shum Jr.) in a remade \"Scream\" music video, and the episode Glee, Actually, in which Artie dreams about never being in a wheelchair, realizes that the lives of his friends have changed for the worse, and decides to found his own glee club, singing and dancing to Feliz Navidad.\n\nParagraph 40: In August 1999, Cherny attacked a girl, hitting her and pushing her into the bushes, and trying to strangle her. However, the girl cried out, and when he saw that a man was approaching, Cherny ran away. On September 19, Cherny strangled a girl in the vicinity of the town of Komintern, who was going to a disco. He took off her outer garments and pulled the earrings from her ears. The body was soon found in a ravine near the place of the murder. On September 24, Cherny also killed another girl at the spring in the Redovka Park in the same way. At her neck, a bra was tied tightly in a knot. The deceased had lost a leather jacket, leather waistcoat, a breastplate, a bunch of keys and a ticket. On September 27, in the village of Vishenka, in an abandoned warehouse, the corpse of a girl was found, with signs of strangulation, who went missing on September 24. On the neck a belt from the jacket was tied in two knots. On September 29, in front of GSK \"Tikhvinka-3\" the body of another strangled girl was found. A loop of thin strap from a purse was fastened around her neck and tied back to two knots. UVD Smolensk seriously engaged in the disclosure of the murder series, and the killer, feeling the danger, \"fell to the bottom\", not betraying himself and not committing new atrocities. A month later, the murderer reappeared, strangling two more girls in three days. On November 4, near the Yasennaya River, which flowed in the ravine between the village of Vishenka and the garage-building cooperative \"Svet-2\", a corpse of a girl was found, photographs of whom were hanging on search trays for two days around the city. On the neck of the deceased, the murderer had tied handkerchief and a belt from his coat tightly around her neck, and her outer clothing, a gold ring, earrings and a watch were stolen. On November 6, in the forest belt in the nuclear power plant-80 area, half a kilometer from the Krasninskoe highway, the body of another victim was found, and had lost her passport and student card. On November 22, Cherny met a girl in the city centre. The next day, he invited her to go on a walk and get some fresh air, to which she agreed. When they met, they got into his car and went for a drive. Suddenly, Cherny attacked the companion, tried to strangle her, then threw her into the trunk and drove her to the outskirts, where he hung her from a tree with her own sneakers' shoelaces. However, the girl survived and soon turned to the police, but because of the shock experienced, she was confused and could not provide any valuable information. In early December, the investigators managed to find the victim who survived the August attack, who said that she had seen the criminal in one of the city's markets. For several days she was taken to the markets of Smolensk, and on December 14 she pointed the detectives on the man who attacked her. The suspect was placed on surveillance round the clock, including using a hidden camera. When they looked through the record with the suspect's image, one of the detectives said that he knew a very similar person - a member of a local criminal group named Mark Cherny. It turned out that Mark was the younger brother of the main suspect - a 22-year-old security guard of a private security company Sergey Cherny. Meanwhile, corpses were still found around the city. On December 17, in the ravine for GSK \"Zvezda\" in the second Krasninskiy lane the corpse of another girl was found with a leather belt from a coat tied on two knots around her neck. On December 22 near the Yasennaya River in the \"Readovka\" park another corpse was found. Subsequently, the Cherny brothers were detained.\n\nParagraph 41: The history of Ghazl El Mahalla testifies with a lot of achievements, the club won the Egyptian Premier League in the 1972–73 season under the command of the golden generation of the club, and among its legends are Mohammed Al-Siyagi, Abdul Rahim Khalil, Muhammad Amasha, Mahmoud Abdel Dayem, and Abdul Sattar Ali. And, the club reached the final of the African Cup of Champions Clubs (Later known as CAF Champions League) in 1974 but suffered a shocking defeat at the hands of the Congolese club CARA Brazzaville. The club participated in the African Cup of Champions Clubs (Later known as CAF Champions League) the following season in 1975 but was eliminated in the semi-finals, this marked the only two participations of Ghazl El Mahalla in the most prestigious club competition in the African continent, the CAF Champions League. The only other participation of the club in an African competition was in the African Cup Winners' Cup in 2002 where it got eliminated in the quarter-finals. The club was runner-up in the 1975–76 season of the Egyptian Premier League. And, managed to reach the final of the Egypt Cup six times but fortune did not favor it in any of them and the club was never able to win the Cup. The club was also runner-up at the inaugural Egyptian Super Cup in 2001 participating as Egypt Cup runner-up after Egypt Cup champions Ismaily SC withdrew from the competition. The club participated in the 1995 Arab Cup Winners' Cup, which was held in Tunisia, where it achieved third place. The club also participated in the 2004–05 Arab Champions League but got eliminated from the group stage after ending up in the fourth spot in Group B of the competition, this marked the only two participations of Ghazl El Mahalla in Arab competitions.\n\nParagraph 42: Shawna Malcom of the Los Angeles Times reviewed the episode \"Vitamin D\" positively, praising the focus it gave Artie: \"Until now, the wheelchair-bound character has served mostly as a punchline. Last night, he got a much-deserved moment in the spotlight, and he rolled with it, doing his best Richie Sambora on the talk box, then taking lead vocals on the Usher track.\" The episode \"Wheels\", which placed focus on Artie and his disability, drew criticism from a committee of performers with disabilities, who felt that casting a non-disabled actor to play a disabled student was inappropriate. CSI star Robert David Hall commented, \"I think there's a fear of litigation, that a person with disabilities might slow a production down, fear that viewers might be uncomfortable.\" Glee creator Brad Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability and charisma required for the role and \"it's hard to say no to someone that talented\". McHale has stated that he is pleased to represent a character in a wheelchair, and that \"I think what's great about it is just because he's in a wheelchair, he can still do what everyone else does.\" Kristin Dos Santos of E! Online refuted criticism of the episode, opining that: \"'Wheels' is all about empowering people with disabilities and sends out an uplifting message to the disabled community.\" Gerrick Kennedy of the Los Angeles Times expressed a similar sentiment, stating: \"Here we have an episode bluntly addressing the complexities of disability and doing so with so much respect and dignity, and there are complaints about Artie not being wheelchair-bound  in real life? Cooooome on, guys.\" Despite playing a wheelchair user, he is actually one of the best dancers on the set, he was able to showcase his dancing skills in the 1x19 episode \"Dream On\", in which Artie imagines dancing with his Glee club friends and shoppers in a flash mob singing \"Safety Dance\" at a mall. He also showcases his dancing skills in the episode Michael, in which Artie imagines dancing and singing \"Scream\" along with Mike Chang (Harry Shum Jr.) in a remade \"Scream\" music video, and the episode Glee, Actually, in which Artie dreams about never being in a wheelchair, realizes that the lives of his friends have changed for the worse, and decides to found his own glee club, singing and dancing to Feliz Navidad.\n\nParagraph 43: October 28 – Led by Steve Pearce and David Price, the Boston Red Sox ended the World Series in five games with a 5–1 victory over the Los Angeles Dodgers at Dodger Stadium. Winners of a franchise-record 108 games during the season, the Red Sox buried the AL East Division across six months and claimed 11 more victories in the playoffs, knocking off the 100-win New York Yankees in the ALDS, the defending World Series champion Houston Astros in the ALCS,  and the two-time NL champion Dodgers in the Fall Classic, while losing just one game in each round. Pearce hit a two-run home run off Clayton Kershaw in the top of the first inning, and the Red Sox took a lead they would never give back. Solo homers by Mookie Betts in the sixth inning and J. D. Martinez in the seventh quieted the Dodger Stadium crowd, while Pearce struck again with a solo shot off Pedro Báez to make it 5–1 in the eighth. Those homers came just a day after Pearce crushed a tying home run in the eighth inning of Game 4, followed by a three-run double that broke the game open in the ninth. Price limited the Dodgers to a solo homer by David Freese on his first pitch and otherwise shut them down over seven-plus innings, allowing just two more hits, striking out five and walking two, while retiring 14 in a row before giving a leadoff walk in the eighth inning. Price was followed by Joe Kelly, who struck out three straight pinch hitters, and Chris Sale, who was originally scheduled to start an eventual Game 5. But Sale finished off the Dodgers in style, striking out the side in the ninth and Manny Machado swinging to end it. Pierce earned World Series MVP honors by collecting four hits— three homers and a double in 12 at bats – along with eight RBI and five runs scored. Boston manager Alex Cora became the first Puerto Rican to lead a team to the World Series, as well as the second Latino manager to do it in the Series. The Venezuelan Ozzie Guillén became the first when he led the Chicago White Sox to the title in 2005. With their victory in the World Series, the Red Sox secured their ninth championship title, tying the Philadelphia/Oakland Athletics franchise for the third most in MLB history behind the New York Yankees (27) and St. Louis Cardinals (11). But the Red Sox have come on strong in recent years, winning four titles in a span of 15 seasons from 2004 through 2018. As a result, they are the first MLB club to win four World Series titles in the 21st century. \n\nParagraph 44: The theories of Ubaghs are contained in a vast collection of treatises on which he expended the best years of his life. Editions followed one another as the range of his teaching widened. Ubaghs clearly affirmed the fundamental thesis of Traditionalism: the acquisition of metaphysical and moral truths is inexplicable without a primitive Divine teaching and its oral transmission. Social teaching is a natural law, a condition so necessary that without a miracle man could not, except through it, attain the explicit knowledge of truths of a metaphysical and a moral order. Teaching and language are not merely a psychological medium which favours the acquisition of these truths; their action is determinant. Hence the primordial act of man is an act of faith; the authority of others becomes the basis of certitude. The question arises: Is our adherence to the fundamental truths of the speculative and moral order blind; and, is the existence of God, which is one of them, impossible of rational demonstration? Ubaghs did not go as far as this; his Traditionalism was mitigated, a semi-Traditionalism; once teaching has awakened ideas in us and transmitted the maxims (ordo acquisitionis) reason is able and apt to comprehend them. Though powerless to discover them it is regarded as being capable of demonstrating them once they have been made known to it. One of his favourite comparisons admirably states the problem: \"As the word 'view' chiefly expresses four things, the faculty of seeing, the act of seeing, the object seen, e.g. a landscape, and the drawing an artist makes of this object, so we give the name idea, which is derived from the former, chiefly to four different things: the faculty of knowing rationally, the act of rational knowledge, the object of this knowledge, the intellectual copy or formula which we make of this object in conceiving it\" (Psychologie, 5th ed., 1857, 41–42). Now, the objective idea, or object-idea (third acceptation), in other words, the intelligible which we contemplate, and contact with which produces within us the intellectual formula (notion), is \"something Divine\" or, rather, it is God himself. This is the core of ontologism. The intelligence contemplates God directly and beholds in Him the truths or \"objective ideas\" of which our knowledge is a weak reflection. Assuredly, if Ubaghs is right, skepticism is definitively overcome. Likewise if teaching plays in the physical life the part he assigns to it, the same is true of every doctrine which asserts the original independence of reason and which Ubaghs calls rationalism. But this so-called triumph was purchased at the cost of many errors. It is, to say the least, strange that on the one hand Traditionalist Ontologism is based on a distrust of reason, and on the other hand it endows reason with unjustifiable prerogatives. Surely it is an incredible audacity to set man face to face with the Divine essence and to attribute to his weak mind the immediate perception of the eternal and immutable verities.\n\nParagraph 45: Bryan Durham of The Times of India gave the album 4 out of 5 and summarized, \"In totality, it also needs to be said that if Rahman's music is the language of this film, it would be quite short on a vocabulary without Irshad Kamil's beautiful lyrics.\" Jyoti Prakash of Indian Box Office Online also gave it 4.5 out of 5 stars and said, \"The music of Raanjhanaa is of supreme quality. A typical AR Rahman album which is romantic and entertaining yet pure and divine.\" Music Aloud critic Vipin assigned the soundtrack 8 out of 10 and noted, \"A mixed bag from ARR that is more urbane than folk-classical.\" Kaushik Ramesh of Planet Bollywood gave the album 7/10. Calling it very experimental, he said, \"Be it the innovative vocal shehnai of 'Ay Sakhi' or Rabbi's attitude laden 'Tu Mun Shudi', the entire album presents immense freshness.\" Rumnique Nannar of Bollyspice gave the album 4.5/5 stars and wrote, \"Raanjhanaa is a brilliant return to form and originality for A. R. Rahman, who proves his detractors wrong with an album that captures the energy of its city and its lovestruck Raanjhana. The songs may just take time to grow on the listener, but that's the joy in it, to savour all of the arrangements and voices that add up to a terrific and rustic album for the ages.\" Sakhayan Ghosh of The Indian Express summarized, \"Irshad Kamil's lyrics provide a perfect foil to the music. And this is Rahman's finest turn since Rockstar, seeing the maestro enter exciting new musical territories.\" He gave the album 4 out of 5. Joginder Tuteja at Movie Talkies claimed, \"There were good expectations from the music of Raanjhanaa and they are pretty much met (and at places even exceeded) with A. R. Rahman, Irshad Kamil and their singers coming together well to meet the shared vision that was spearheaded by the makers.\" He gave the album 3.5 out of 5 and added that the music \"works quite well as a packaged affair\". IANS gave it 3.5 out of 5 stars and observed, \"Like any other album, the music of Raanjhanaa has few low points, but otherwise it is thoroughly entertaining.\" At Koimoi, critic Manohar Basu rated the album 3 on 5 and noted, \"Very unlikely to be a Rahman composition, the music yet again lacks a soul stirring capability which made him a maverick once! Technically it is both brilliant and fine but the midas touch of the musician is strikingly missing.\" The critics review board at Behindwoods called it a \"joyous wonder from Rahman\" and gave it 3.5 out of 5.\n\nParagraph 46: At the beginning of the 1980s the Toledo Zoo faced a potential closure. With an agreement created by Jones, the zoo was financially tied to a city in a financial crisis.  Massive layoffs ensued and a staff of 70 was reduced to 24. With a passage of a zoo levy in November 1980, they were still left in the face of probable closure. The levy was for capital improvements only, so the money could not be used on animal care, staff members, or other items needed to run the zoo. As a result, the Museum of Science and the conservatory were closed.  To add to the problems, Skeldon was set to retire at the end of the year, and they had not yet found a replacement director. In January 1981, William \"Bill\" Dennler accepted the position and became the director of the Toledo Zoo. A proposal for payroll increase was denied and by the end of 1981, the Toledo Zoo only had 15 full-time employees.  With the support of the board members, staff, donors, and citizens, the zoo was able to raise enough money to keep their doors open. At the same time, a study by the Toledo Area Governmental Research Association reported that the zoo should become a private, non-profit organization.  Taking this advice on April 1, 1982, the Toledo Zoo was removed from the Board of Members that was created and handed exclusively to be operated and funded by the Toledo Zoological Society.  The TZS also worked with the Ohio Legislature which allowed them to work on the county level, and be able to add levies to the Lucas County Ballots to help finance the zoo's needs. With these changes taking place, the Toledo Zoo was starting a revival. By 1982, the Greenhouse/Conservatory had been renovated and reopened to the public and the Museum of Science was back in operation. The WPA buildings were carefully restored, and in 1983 a children's zoo was opened. The Aquarium had two major incidents occur during the 1980s. In 1982, the Aquarium caught fire, killing 104 fish as well as destroying much of the building. Later in 1987, a tank had cracked sending 20 tons of water rushing out. Toledo Zoo broke ground on their African Savanna exhibit, which included the first ever Hippoquarium in 1986, and the rest of the savanna opening from 1987 to 1989. Because of the success of the Hippoquarium exhibit and a hippo birth caught on tape, the Toledo Zoo was given an opportunity to exhibit two giant pandas on loan from the People's Republic of China. The panda pair arrived in May 1988 and were exhibited through October 1988. This was the first year that the zoo had over a million people attend in one year. The loan was challenged by the World Wildlife Fund, as well as the American Zoo and Aquarium Association, through a lawsuit against the U.S. Fish and Wildlife service. Additional lawsuits followed, but the loan of the pandas remained intact and the lawsuits were settled. This outcry of debate dissolved the relationship with the People's Republic of China, and it was not until 1998 that they allowed another loan of pandas to the US, via the San Diego Zoo. In 1994 the zoo again exceed 1 million visitors with their exhibit DinoRoars!, and again in 1998 with the reopening of the Aviary as well as the introduction of the primate forest. During their regrowth they also created a children's park, a pavilion for events, a catering department, an Emmy Award-winning show called Zoo Today, and re-purposed many of the WPA era buildings. The Carnivora was relaunched as the Carnivore Cafe in 1993, they re-purposed the original Rare Mammal Building into the Kingdom of the Apes, altered the Elephant House to be an events center, and expanded their land across the Anthony Wayne Trail to their now Northern Campus.  In 1997, to connect the two parts of the zoo, the Toledo Zoo erected a pedestrian bridge. The Northern Campus which had previously been parking area opened the Arctic Encounter Exhibit in 2000.\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 98, "category": "longbench_passage_count", "reference": ["44"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: The $10,000 prize winner is chosen by a three-member jury appointed by a selection committee composed of the Librarian of Congress, the Poet Laureate Consultant in Poetry, a publisher named by the Academy of American Poets and a literary critic nominated by the Bobbitt family. Awarded for \"the Most Distinguished Book of Poetry Published in 2006 or 2007, OR For Lifetime Achievement in Poetry\", nominations come from publishers, and is given only to living American poets. The criteria for the award are that a nomination must be a poet's first poetry book or a book composed of new work of any length. Collected or selected works qualify only if they include at least thirty new poems previously unpublished in book form  with prior publication in print media being acceptable.\n\nParagraph 2: Anastasi is regarded as one of the best Italian strikers of his generation, as he was a fast, physical, hard-working, reliable, and agile forward, with good reactions. He was also a prolific, intelligent, instinctive, and opportunistic goalscorer, who was capable of making attacking runs to lose his markers and advance into more effective goalscoring positions, courtesy of his pace, power, movement off the ball, and positional sense inside the penalty area. A diminutive player with a sturdy build, Anastasi usually played as a striker in the centre-forward position, like his idol, John Charles; however, he had a rather modern and unorthodox interpretation of this role, and did not function as a traditional number nine, who mainly operated inside the box. Indeed, in this role, although he was capable of playing with his back to goal, using his strength to hold up the ball and lay it off for teammates, he was also known for his mobility and link-up play, as well as his ability to make quick exchanges with his teammates, and create chances or provide assists for other players, which saw him essentially act as more of an attacking midfielder at times. He also stood out for his dedication, bravery, fighting spirit, and generous team-play, as well as his unpredictable movement and high defensive work-rate off the ball, including his tendency to drift out wide, press opponents, or even track back into midfield in order to help win back possession. As such, he has been described as what as is known in Italian football jargon as a centravanti di manovra (\"manouvering centre-forward\", i.e. a centre-forward who participates in the build-up of attacking plays), a role which has retroactively been likened to a precursor of the \"false 9\" role in modern football. Despite not having the best first touch, or being the most naturally creative, tactical, or skilful player, he was a talented player and a fast sprinter, who possessed excellent acceleration and anticipation, as well as good dribbling skills with either foot, which led the Italian journalist Cesare Lanza to compare him to Luigi Meroni; as such, he also played on the right wing on occasion, due to his flair, solid technique, and crossing ability, and he even had a tendency to drift onto the left flank when he was deployed as an out-and-out striker in order to create chances for his teammates.\n\nParagraph 3: A silicon solar cell was first patented in 1946 by Russell Ohl when working at Bell Labs and first publicly demonstrated at the same research institution by Fuller, Chapin, and Pearson in 1954; however, these first proposals were monofacial cells and not designed to have their rear face active. The first bifacial solar cell theoretically proposed is in a Japanese patent with a priority date 4 October 1960, by Hiroshi Mori, when working for the company Hayakawa Denki Kogyo Kabushiki Kaisha (in English, Hayakawa Electric Industry Co. Ltd.), which later developed into nowadays Sharp Corporation. The proposed cell was a two-junction pnp structure with contact electrodes attached to two opposite edges.However, first demonstrations of bifacial solar cells and panels were carried out in the Soviet Space Program in the Salyut 3 (1974) and Salyut 5 (1976) LEO military space stations. These bifacial solar cells were developed and manufactured by Bordina et al. at the VNIIT (All Union Scientific Research Institute of Energy Sources) in Moscow that in 1975 became Russian solar cell manufacturer KVANT. In 1974 this team filed a US patent in which the cells were proposed with the shape of mini-parallelepipeds of maximum size 1mmx1mmx1mm connected in series so that there were 100 cells/cm2. As in modern-day BSCs, they proposed the use of isotype junctions pp+ close to one of the light-receiving surfaces. In Salyut 3, small experimental panels with a total cell surface of 24 cm2 demonstrated an increase in energy generation per satellite revolution due to Earth's albedo of up to 34%, compared to monofacial panels at the time. A 17–45% gain due to the use of bifacial panels (0.48m2 – 40W) was recorded during the flight of Salyut 5 space station. Simultaneous to this Russian research, on the other side of the Iron Curtain, the Laboratory of Semiconductors at the School of Telecommunication Engineering of the Technical University of Madrid, led by Professor Antonio Luque , independently carries out a broad research program seeking the development of industrially feasible bifacial solar cells. While Mori's patent and VNIIT-KVANT spaceship-borne prototypes were based on tiny cells without surface metal grid and therefore intricately interconnected, more in the style of microelectronic devices which were at that time in their onset, Luque will file two Spanish patents in 1976 and 1977 and one in the United States in 1977 that were precursory of modern bifacials . Luque's patents were the first to propose BSCs with one cell per silicon wafer, as was by then the case of monofacial cells and so continues to be, with metal grids on both surfaces. They considered both the npp+ structure and the pnp structures. Development of BSCs at the Laboratory of Semiconductors was tackled in a three-fold approach that resulted in three PhD theses, authored by Andrés Cuevas (1980), Javier Eguren (1981) and Jesús Sangrador (1982), the first two having Luque as doctoral advisor while Dr. Gabriel Sala, from the same group, conducted the third. Cuevas' thesis consisted of constructing the first of Luque's patents, the one of 1976, that due to its npn structure similar to that of a transistor, was dubbed the \"transcell\". Eguren's thesis dealt with the demonstration of Luque's 2nd patent of 1977, with a npp+ doping profile, with the pp+ isotype junction next to the cell's rear surface, creating what is usually referred as a back surface field (BSF) in solar cell technology. This work gave way to several publications and additional patents. In particular, the beneficial effect of reducing p-doping in the base, where reduction of voltage in the emitter junction (front p-n junction) was compensated by voltage increase in the rear isotype junction, while at the same time enabling higher diffusion length of minority carriers that increases the current output under bifacial illumination. Sangrador's thesis and third development route at the Technical University of Madrid, proposed the so-called vertical multijunction edge-illuminated solar cell in which p+nn+ where stacked and connected in series and illuminated by their edges, this being high voltage cells that required no surface metal grid to extract the current. In 1979 the Laboratory for Semiconductors became the Institute for Solar Energy (IES-UPM), that having Luque as the first director, continued intense research on bifacial solar cells well until the first decade of the 21st century, with remarkable results. For example, in 1994, two Brazilian PhD students at the Institute of Solar Energy, Adriano Moehlecke and Izete Zanesco, together with Luque, developed and produced a bifacial solar cell rendering 18.1% in the front face and 19.1% in the rear face; a record bifaciality of 103% (at that time record efficiency for monofacial cells was slightly below 22%).\n\nParagraph 4: Machen received a base salary of $432,808 and $285,000 in annual performance bonuses, with his total annual compensation equalling $751,000, the fourth largest salary in the country for a public university president in 2007.  He has been criticized for reducing funding to the College of Liberal Arts and Sciences by both faculty and other administrators.  However, in December 2008, Machen announced that he would give his yearly bonus of $285,000 back to the University of Florida with the stipulation that the money had to be used to help fund the Florida Opportunity Scholars Program.  When Machen was hired by the University of Florida in 2003, his contract stated he would be eligible, after five years, to receive either a one-year sabbatical (paid leave) or receive the $450,000 bonus in addition to his annual salary.  In January 2009, Machen chose to take $400,000 in four annual installments, but after receiving the first $100,000 installment in 2009, it was realized that the four-year payment plan would require Machen to pay federal income taxes on all four installments at the time of the first installment payment.  In March 2010, the Board of Trustees voted to pay the remaining three installments in a single lump sum so that Machen might avoid further negative tax consequences.  With the addition of the $300,000 lump-sum payment to his base salary and annual performance bonus, Machen's total compensation was approximately $1,050,000 in 2010.  Machen's contract ended in 2013.\n\nParagraph 5: A silicon solar cell was first patented in 1946 by Russell Ohl when working at Bell Labs and first publicly demonstrated at the same research institution by Fuller, Chapin, and Pearson in 1954; however, these first proposals were monofacial cells and not designed to have their rear face active. The first bifacial solar cell theoretically proposed is in a Japanese patent with a priority date 4 October 1960, by Hiroshi Mori, when working for the company Hayakawa Denki Kogyo Kabushiki Kaisha (in English, Hayakawa Electric Industry Co. Ltd.), which later developed into nowadays Sharp Corporation. The proposed cell was a two-junction pnp structure with contact electrodes attached to two opposite edges.However, first demonstrations of bifacial solar cells and panels were carried out in the Soviet Space Program in the Salyut 3 (1974) and Salyut 5 (1976) LEO military space stations. These bifacial solar cells were developed and manufactured by Bordina et al. at the VNIIT (All Union Scientific Research Institute of Energy Sources) in Moscow that in 1975 became Russian solar cell manufacturer KVANT. In 1974 this team filed a US patent in which the cells were proposed with the shape of mini-parallelepipeds of maximum size 1mmx1mmx1mm connected in series so that there were 100 cells/cm2. As in modern-day BSCs, they proposed the use of isotype junctions pp+ close to one of the light-receiving surfaces. In Salyut 3, small experimental panels with a total cell surface of 24 cm2 demonstrated an increase in energy generation per satellite revolution due to Earth's albedo of up to 34%, compared to monofacial panels at the time. A 17–45% gain due to the use of bifacial panels (0.48m2 – 40W) was recorded during the flight of Salyut 5 space station. Simultaneous to this Russian research, on the other side of the Iron Curtain, the Laboratory of Semiconductors at the School of Telecommunication Engineering of the Technical University of Madrid, led by Professor Antonio Luque , independently carries out a broad research program seeking the development of industrially feasible bifacial solar cells. While Mori's patent and VNIIT-KVANT spaceship-borne prototypes were based on tiny cells without surface metal grid and therefore intricately interconnected, more in the style of microelectronic devices which were at that time in their onset, Luque will file two Spanish patents in 1976 and 1977 and one in the United States in 1977 that were precursory of modern bifacials . Luque's patents were the first to propose BSCs with one cell per silicon wafer, as was by then the case of monofacial cells and so continues to be, with metal grids on both surfaces. They considered both the npp+ structure and the pnp structures. Development of BSCs at the Laboratory of Semiconductors was tackled in a three-fold approach that resulted in three PhD theses, authored by Andrés Cuevas (1980), Javier Eguren (1981) and Jesús Sangrador (1982), the first two having Luque as doctoral advisor while Dr. Gabriel Sala, from the same group, conducted the third. Cuevas' thesis consisted of constructing the first of Luque's patents, the one of 1976, that due to its npn structure similar to that of a transistor, was dubbed the \"transcell\". Eguren's thesis dealt with the demonstration of Luque's 2nd patent of 1977, with a npp+ doping profile, with the pp+ isotype junction next to the cell's rear surface, creating what is usually referred as a back surface field (BSF) in solar cell technology. This work gave way to several publications and additional patents. In particular, the beneficial effect of reducing p-doping in the base, where reduction of voltage in the emitter junction (front p-n junction) was compensated by voltage increase in the rear isotype junction, while at the same time enabling higher diffusion length of minority carriers that increases the current output under bifacial illumination. Sangrador's thesis and third development route at the Technical University of Madrid, proposed the so-called vertical multijunction edge-illuminated solar cell in which p+nn+ where stacked and connected in series and illuminated by their edges, this being high voltage cells that required no surface metal grid to extract the current. In 1979 the Laboratory for Semiconductors became the Institute for Solar Energy (IES-UPM), that having Luque as the first director, continued intense research on bifacial solar cells well until the first decade of the 21st century, with remarkable results. For example, in 1994, two Brazilian PhD students at the Institute of Solar Energy, Adriano Moehlecke and Izete Zanesco, together with Luque, developed and produced a bifacial solar cell rendering 18.1% in the front face and 19.1% in the rear face; a record bifaciality of 103% (at that time record efficiency for monofacial cells was slightly below 22%).\n\nParagraph 6: In 2006, members of the band did the Hitler salute and wore T-shirts of the NSBM band Absurd after their gig on German Party.San Open Air. Asked about this incident in an interview to the German online metal magazine Metal.de, Erik Danielsson replied that calling them Nazis was the only way such people were able to deal with a black wolf entering a \"herd of white sheep\". When asked about his views on NSBM, he explained that \"NSBM is a joke, a despaired approach of people who're incapable to comprehend the perversion and the insanity of Black Metal. They're trying to appear extreme and limit their selves in their conception to that kind of society, which describes something that we wouldn't care less about. Fuck the world! Black Metal doesn't have anything to do with the world like you know it.\" The band have publicly distanced themselves from, and openly criticised, Antisemitism and far-right ideologies, describing these as \"one of the greatest evils that people today know\". In an interview for American webzine Invisible Oranges, Danielsson said that \"That is the one thing you cannot glorify. The Anti-Semitic and right-wing conservative connections that people have long accused black metal to be a platform for have very little to do with what we stand for. To me, it should be quite obvious that we would have been some of the first people to be executed in the Third Reich with the whole idea of the National Socialists being based upon a kingdom of bright-eyed little Aryans, and we are quite honestly the very opposite of that. [Laughs] There's an extremely important line to draw there, and I've realized that that's the only devil that people know these days.\" He explicitly rejected \"racial ideas\" as \"irrelevant\", saying that \"I study other cultures, and I am very interested in radical ideas of viewing the world, but when it comes to racial ideas, I've never really found a speech or text about it that could make sense to me. When we view the world from a spiritual perspective, racial ideas become very mundane, and they become very insignificant. We are talking about an animal that developed into man and that is, to me, where my primary enemy lies. Not in any specific kind of that animal. We are all that animal, and I am completely uninterested in any ideas contrary to that, to be honest.\"\n\nParagraph 7: One of the last of the Dutch corsairs of the mid-17th century, Abraham Blauvelt was first recorded exploring the coasts of present-day Honduras and Nicaragua in service of the Dutch West India Company. He later traveled to England in an effort to gain support to establish a colony in Nicaragua near the city where Bluefields, Nicaragua presently stands. Around 1640 Blauvelt became a privateer serving the Swedish East India Company and in 1644 he commanded his own ship successfully raiding Spanish shipping from a base in southwest Jamaica, today known as Bluefields, Jamaica, and selling the cargo and prizes to the Dutch colony of New Amsterdam (New York). After peace between Spain and the Netherlands was reached with the signing of the Peace of Westphalia in 1648, Blauvelt, unable to stay in New Amsterdam, instead sailed to Newport, Rhode Island in early 1649 to sell his remaining cargo. However the colonial governor seized one of Blauvelt's prizes and with his crew arguing over their shares, the local colonists, fearing that Rhode Island acquire a reputation of trading with pirates, forced Blauvelt to leave the colony. For the next several years Blauvelt commanded a French ship called La Garse, later living among the natives of Cape Gracias a Dios near the border of Honduras and Nicaragua, until the early 1660s when he was recruited for Christopher Myngs' sacking of the Spanish colony of Campeche in 1663. However, nothing more is known about his activities after this time.\n\nParagraph 8: Machen received a base salary of $432,808 and $285,000 in annual performance bonuses, with his total annual compensation equalling $751,000, the fourth largest salary in the country for a public university president in 2007.  He has been criticized for reducing funding to the College of Liberal Arts and Sciences by both faculty and other administrators.  However, in December 2008, Machen announced that he would give his yearly bonus of $285,000 back to the University of Florida with the stipulation that the money had to be used to help fund the Florida Opportunity Scholars Program.  When Machen was hired by the University of Florida in 2003, his contract stated he would be eligible, after five years, to receive either a one-year sabbatical (paid leave) or receive the $450,000 bonus in addition to his annual salary.  In January 2009, Machen chose to take $400,000 in four annual installments, but after receiving the first $100,000 installment in 2009, it was realized that the four-year payment plan would require Machen to pay federal income taxes on all four installments at the time of the first installment payment.  In March 2010, the Board of Trustees voted to pay the remaining three installments in a single lump sum so that Machen might avoid further negative tax consequences.  With the addition of the $300,000 lump-sum payment to his base salary and annual performance bonus, Machen's total compensation was approximately $1,050,000 in 2010.  Machen's contract ended in 2013.\n\nParagraph 9: Both parties were unsatisfied with the peace treaty and believed that the other party was in breach of the agreed terms and that the other party should pay more for the damage during the war. It seems that Venice continued to jeopardize the rights of the Orthodox Church in the region of Skadar Lake. In such circumstances even a small conflict like a minor dispute between Hoti and Mataguži (two clans who lived north of the Skadar Lake, on the border of Zeta and Venetian Scutari) over pasture lands started chain of events which led to the new war. Although Balša III judged in favour of the Mataguži clan, Hoti attacked them and captured the disputed lands. Mataguži killed four Hoti clansmen during the counter-attack. Hoti complained to Balša, who rejected their complaints with the words \"You've got what you deserve!\" (). Two of disappointed Hoti's chieftains who led a minor part of the clan decided to leave Balša and requested to be accepted under the Venetian suzerainty. At first Balša himself advised the Venetian governor in Scutari to accept them because he wanted to divide them from the rest of Hoti tribesmen. When he became aware of their eventual influence on the rest of Hoti tribesmen who remained loyal to him he changed his mind and insisted that Paolo Quirin should reject their request. In November 1414 the Senate instructed Paolo Quirin to ignore Balša′s advice and to grant Venetian citizenship to Hoti renegades. In response Balša purchased weapons for his forces which in early spring 1415 attacked and burned village Kalderon near Scutari. Based on Senate's instructions Venetians bribed the leader of the major group of Hoti (Andrija Hot) to accept Venetian suzerainty. By accepting Balša's refugees, Venetians violated their previous agreements with Balša who then decided not to respect their agreements anymore. He began to collect taxes on Venetian goods, confiscate Venetian grain, rob Venetian ships on Bojana and to prepare a military campaign against Hoti who organized a preventive attack against him at the beginning of 1418. In October 1418 Venetians started to confiscate goods owned by merchants from Ulcinj to compensate Venetians traders. In autumn 1418 Balša decided to start a new war. He employed a Venetian garrison of about 50 mercenaries who guarded the Scutari fortress before they switched sides and went to Balša. Balša also arrested all Venetian citizens who were caught on the territory of Zeta. In March 1419 he started a new war—the Second Scutari War.\n\nParagraph 10: Perhaps the most influential criticisms of P&P have been theory internal.  As in any other developing field of enquiry, research published within the P&P paradigm often suggests reformulations and variations of the basic P&P premises. Notable debates emerged within P&P including (a) derivationalism vs representationalism (b) the locus of morphology (e.g. lexicalism vs derived morphology) and (c) the tension between a production model and a competence model amongst others.  The development of head-driven phrase structure grammar (HPSG) and lexical functional grammar (LFG) reflect these debates: these are both strongly lexicalist and representational systems.  Nevertheless, perhaps the most coherent and substantial critique of P&P is the Minimalist Program, Noam Chomsky's most recent proposal. This program of research utilizes conceptions of economy to enhance the search for universal principles and parameters. Linguists in this program assume that humans use as economic a system as possible in their innate syntactic knowledge.  The Minimalist Program takes issue with the large number of independent postulations in P&P and either (a) reduces them to more fundamental principles (e.g. Merge, Move, Agree), (b) derives them from 'reasonable' interface constraints on derivations (e.g. bottom-up Merge and requirement that no derivation be counter-cyclic derives Relativized Minimality effects) or (c) programmatically suggests that they be either derived from more basic principles or eliminated subject to future research (e.g. Binding Principles).  Note that there is debate about whether the Minimalist Program is motivated by the empirical shortcomings of P&P or whether it is motivated by ideological concerns with 'elegance' etc.  (see main article on the Minimalist Program).\n\nParagraph 11: Another brother of Leatherface and easily one of the least sane members of the family, he has a transradial prosthesis hook in place of a right hand for unknown reasons and an affinity for machines, chrome and technology. As he goes by two different names his real name remains unknown. Tink often makes devices to assist his family in the slaughtering of people, he also drives a very large, suped up pick up truck, which is basically a monster truck. One of the devices Tink makes is an extra large chromed out chainsaw for his brother Leatherface, engraved on the blade, a sort-of tribute and reference to his late brother Drayton, the reference being a quote of Drayton's from the second film (\"The saw is family\"), another invention of Tink's is a swinging sledgehammer machine which quickens the family's slaughter methods, something brother Tex is grateful for (as he personally dislikes the \"hit to the head business\"). Tink also calls one of the main characters, Benny, an African-American, a \"darkie\", \"brotha\" and refers to him as \"dark meat\", leading to the possibility that he is a racist. Tink also tries to discipline his brother Leatherface by throwing his brother's walkman into the oven, however, this plan backfires when Leatherface forces Tech to retrieve it with his good hand. In both the rated and unrated versions as well as the alternate ending Tink is wounded, possibly fatally, when Benny opens fire on the families' house with an automatic rifle, blasting two of Tink's fingers off, as well as an ear. He appears to have died after the shooting, as he is heard saying to his brother Tex that he would be in Hell for breakfast. In the Leatherface comics, Tink is depicted as a former party loving hippie, like his brother Chop Top from The Texas Chainsaw Massacre 2, and is fixated with classic rock music and a \"Chrome Machine God\" he believes controls everything. He also mentions taking quaaludes and hash and lush and the purest lysergic acid ever to come from Hashbury. Tink is fatally injured in the comic by being shot repeatedly by Benny, later dying in Leatherface's (who admired Tink, who was his favorite brother) arms. Like his brother Drayton Sawyer, Tink appears as the head of the family household, this role is also explained by writer David J. Schow on the audio commentary for the Leatherface: The Texas Chainsaw Massacre III, in which he refers to Tink as the \"brains\" of the operation. He is portrayed by Joe Unger.\n\nParagraph 12: According to toponymist George R. Stewart, the use of the suffix -ville for settlements in the United States did not begin until after the American Revolution. Previously, town-names did not usually use suffixes unless named after European towns in which case the name was borrowed wholly. When a suffix was needed, -town (or the separate word Town) was typically added (as in Charleston, South Carolina, originally Charles Town). In the middle of the 18th century the suffixes -borough (-boro) and -burgh (-burg) came into style. The use of -town (-ton) also increased, in part due to the increasing use of personal names for new settlements. Thus the settlement founded by William Trent became known as Trenton. These three suffixes, -town/-ton, -borough/-boro, and -burgh/-burg became popular before the Revolution, while -ville was almost completely unused until afterward. Its post-revolutionary popularity, along with the decline in the use of -town, was due in part to the pro-French sentiments which spread through the country after the war. The founding of Louisville, Kentucky, in 1780, for example, used not only the French suffix but the name of the French king, Louis XVI. The popularity of -ville was most popular in the southern and western (Appalachian) regions of the new country, and less popular in New England.\n\nParagraph 13: There is no definitively known cause of grisi siknis, although there are some theories that attempt to explain its origin. Although it has no known organic cause, says Dennis, grisi siknis still \"follow[s] the classic model for contagious disease\". Dennis claims that grisi siknis is the source of the emotionally volatile Miskito culture, saying \"it is clear that grisi siknis is related to emotional upset, worry, fear and general anxiety\", while microorganisms, if involved, are intermediate. Dr. Ronald C. Simons, professor emeritus of psychiatry and anthropology at Michigan State University, as quoted by Nicola Ross in The Walrus magazine, upholds this argument, proposing that grisi siknis is caused by poverty and stress among the Miskito. Culturally bound syndromes, Simons says, are often strongly influenced by behavior and experience and have become a local way of expressing misfortune. Dr. Wolfgang Jilek, of the University of Columbia’s psychiatry department, also quoted by Ross in The Walrus, calls culturally bound syndromes \"real\" despite a general lack of evidence for organic causes. They are primarily the result of trauma and stress, Jilek claims, that end in mental dissociation problems. Susan Kellogg, Associate Professor and Chair of the History Department at the University of Houston, says that grisi siknis is the result of the cultural \"physical and emotional stresses\" that Miskito women endure. Shlomo Ariel, co-director of the Integrative Psychotherapy Center in Ramat Gan, Israel, says that such disorders are the product of the culture, delineates  acceptable coping mechanisms for dealing with external or internal changes. In a typical homeostatic function, Ariel says, \"emotional or behavioral disorders in the individual are defined as such by the culture\", which culture subsequently imposes treatment in order to restore equilibrium. Grisi siknis can be considered a ritualized behavior associated with the adolescent to adult transition  among the Miskito, says Mark Jamieson, professor of social anthropology at the University of Manchester. Girls in Miskito culture, claims Jamieson, are faced with the culturally inconsistent task of attracting a husband sexually while remaining safe and pure to maintain societal status quo. The contradictory familial pressures to both protect and marry off the daughter adds to this. Thus, says Shlomo, \"the syndrome may be viewed as a safety valve\" to maintain equilibrium between these conflicting pressures. Miskito girls express transitional sexuality through the syndrome while maintaining social purity, with the culture holding the victims blameless for their actions while attacked by the disease.\n\nParagraph 14: Machen received a base salary of $432,808 and $285,000 in annual performance bonuses, with his total annual compensation equalling $751,000, the fourth largest salary in the country for a public university president in 2007.  He has been criticized for reducing funding to the College of Liberal Arts and Sciences by both faculty and other administrators.  However, in December 2008, Machen announced that he would give his yearly bonus of $285,000 back to the University of Florida with the stipulation that the money had to be used to help fund the Florida Opportunity Scholars Program.  When Machen was hired by the University of Florida in 2003, his contract stated he would be eligible, after five years, to receive either a one-year sabbatical (paid leave) or receive the $450,000 bonus in addition to his annual salary.  In January 2009, Machen chose to take $400,000 in four annual installments, but after receiving the first $100,000 installment in 2009, it was realized that the four-year payment plan would require Machen to pay federal income taxes on all four installments at the time of the first installment payment.  In March 2010, the Board of Trustees voted to pay the remaining three installments in a single lump sum so that Machen might avoid further negative tax consequences.  With the addition of the $300,000 lump-sum payment to his base salary and annual performance bonus, Machen's total compensation was approximately $1,050,000 in 2010.  Machen's contract ended in 2013.\n\nParagraph 15: In 1996, Matt and Eddie were brought into the World Wrestling Federation (WWF) together to take part in an angle with Eddie's brother Solofa Fatu who was working under just his family name with a gimmick that he wanted to be a positive influence on kids and that he wanted to \"make a difference\" in inner city neighborhoods. Matt and Eddie were brought in as two silent \"gangsters\" who would watch Fatu's matches from the entrance aisle and stalk him around arenas, making him nervous. Neither gimmick lasted long, and Matt and Eddie were sent to the WWF's Heartland Wrestling Association (HWA) \"farm league\". There they used the individual names Ekmo Fatu (Eddie) and Kimo (Matt), with the team name Island Boyz. They held the HWA Tag Team Championship once, and for a time Haku served as their manager. They left HWA together, and in 2000 traveled to Japan to wrestle for Frontier Martial-Arts Wrestling, where they held the FMW Hardcore Tag Team Championship. The next year they returned to the United States to wrestle for Memphis Championship Wrestling, where again they held gold, holding the MCW Southern Tag Team Championship on three occasions in the span of one month.\n\nParagraph 16: In 1996, Matt and Eddie were brought into the World Wrestling Federation (WWF) together to take part in an angle with Eddie's brother Solofa Fatu who was working under just his family name with a gimmick that he wanted to be a positive influence on kids and that he wanted to \"make a difference\" in inner city neighborhoods. Matt and Eddie were brought in as two silent \"gangsters\" who would watch Fatu's matches from the entrance aisle and stalk him around arenas, making him nervous. Neither gimmick lasted long, and Matt and Eddie were sent to the WWF's Heartland Wrestling Association (HWA) \"farm league\". There they used the individual names Ekmo Fatu (Eddie) and Kimo (Matt), with the team name Island Boyz. They held the HWA Tag Team Championship once, and for a time Haku served as their manager. They left HWA together, and in 2000 traveled to Japan to wrestle for Frontier Martial-Arts Wrestling, where they held the FMW Hardcore Tag Team Championship. The next year they returned to the United States to wrestle for Memphis Championship Wrestling, where again they held gold, holding the MCW Southern Tag Team Championship on three occasions in the span of one month.\n\nParagraph 17: The Digital Fix gave the Wii U version a score of nine out of ten and said it \"could very well be the best reason to own a Wii U at this early stage in the console's life. The reduced difficulty in the single player mode helps with easing in new players into the core game systems while the higher rank missions will keep veteran monster slayers satisfied. Beyond the addition of new monsters and one new location to hunt in the central game mechanics remain largely unchanged from Tri or indeed the rest of the series.\" National Post gave the same version of Ultimate a score of 8.5 out of 10 and stated that \"The bigger screen and 1080p HD graphics do add to the flair of the game — the textures are redone for the more powerful Wii U, while most of the game models are the same — but no one would mistake them for something that wasn’t also designed to be played on a handheld. The framerate is much better and, most importantly, you can play online with other players.\"  However, the newspaper also gave the 3DS version a score of 7 out of 10, saying, \"On the 3DS, your only option is local play. This means that every player needs to have a 3DS, a copy of the game and be in the same room with one another, or be in the same room as someone with the Wii U version of the game. [...] This very limited multiplayer, the lack of a second camera-controlling analog stick (without the circle-pad-pro add-on) and small almost illegible text is why the 3DS version of the game has a lower score than the Wii U version.\" The Daily Telegraph gave the Wii U version a score of four stars out of five and stated, \"The Monster Hunter series continues to be brilliant but a little impenetrable, despite efforts to remedy that very issue. How much you'll get out of the game really depends on what you're willing to put in - if you're short on spare time or patience, maybe give it a miss. But if you like the sound of really learning a game for once instead of just drifting through it, Monster Hunter 3 Ultimate is essential.\" Digital Spy gave the same version a score of four stars out of five and said, \"With some truly breathtaking battles, great online play and the promise of free challenges to come, Monster Hunter 3: Ultimate is just what Nintendo's fledgling console needs.\" The Escapist also gave it four stars out of five, saying, \"While grinding and idiosyncrasies will get to some, Monster Hunter 3 Ultimate is a great game. It shines particularly bright when played [in] multiplayer.\"\n\nParagraph 18: Simmons' career in broadcasting began when he appeared in amateur drama productions in Belfast while working for Air Canada at their offices in the city.  In Julian (a documentary produced for the Belfast community television station NVTV), he observed: \"Somebody saw me in a Belfast comedy, and said that 'You should be on TV, I know somebody who you should speak to'. So I sent my letter in, and duly arrived up at Havelock House, with amateur tapes that I had made of comedy sketches that I was performing in my kitchen, and bathroom, and bedroom... and I presented those and they listened to them and said, 'Yes, those are quite funny, but there's no opening for that sort of thing here at the moment. Here's a news bulletin, let's hear you read that.'\"  Simmons was then offered a six-week trial as an announcer at Ulster Television.\n\nParagraph 19: Both parties were unsatisfied with the peace treaty and believed that the other party was in breach of the agreed terms and that the other party should pay more for the damage during the war. It seems that Venice continued to jeopardize the rights of the Orthodox Church in the region of Skadar Lake. In such circumstances even a small conflict like a minor dispute between Hoti and Mataguži (two clans who lived north of the Skadar Lake, on the border of Zeta and Venetian Scutari) over pasture lands started chain of events which led to the new war. Although Balša III judged in favour of the Mataguži clan, Hoti attacked them and captured the disputed lands. Mataguži killed four Hoti clansmen during the counter-attack. Hoti complained to Balša, who rejected their complaints with the words \"You've got what you deserve!\" (). Two of disappointed Hoti's chieftains who led a minor part of the clan decided to leave Balša and requested to be accepted under the Venetian suzerainty. At first Balša himself advised the Venetian governor in Scutari to accept them because he wanted to divide them from the rest of Hoti tribesmen. When he became aware of their eventual influence on the rest of Hoti tribesmen who remained loyal to him he changed his mind and insisted that Paolo Quirin should reject their request. In November 1414 the Senate instructed Paolo Quirin to ignore Balša′s advice and to grant Venetian citizenship to Hoti renegades. In response Balša purchased weapons for his forces which in early spring 1415 attacked and burned village Kalderon near Scutari. Based on Senate's instructions Venetians bribed the leader of the major group of Hoti (Andrija Hot) to accept Venetian suzerainty. By accepting Balša's refugees, Venetians violated their previous agreements with Balša who then decided not to respect their agreements anymore. He began to collect taxes on Venetian goods, confiscate Venetian grain, rob Venetian ships on Bojana and to prepare a military campaign against Hoti who organized a preventive attack against him at the beginning of 1418. In October 1418 Venetians started to confiscate goods owned by merchants from Ulcinj to compensate Venetians traders. In autumn 1418 Balša decided to start a new war. He employed a Venetian garrison of about 50 mercenaries who guarded the Scutari fortress before they switched sides and went to Balša. Balša also arrested all Venetian citizens who were caught on the territory of Zeta. In March 1419 he started a new war—the Second Scutari War.\n\nParagraph 20: While in the USWA Thompson became friends with a wrestler known as \"The Awesome Kong\" and the two decided to form a tag team. Being similar in stature to Awesome Kong Thompson began to wrestle wearing a black wrestling mask as well as growing his beard out as he wrestled as \"King Kong\", collectively King Kong and Awesome Kong were known as \"The Colossal Kongs\". In mid-1993 the Kongs worked for Big D Pro Wrestling (BDPW) as well as the Dallas, Texas-based Global Wrestling Federation (GWF). During their tenure in the GWF they were involved in a storyline against the then reigning GWF Tag Team Champion The Ebony Experience (Booker T and Stevie Ray), but never won the championship. In the same year, the team signed with World Championship Wrestling (WCW). In WCW they were managed by Harley Race, the duo competed in WCW's tag team division. Their first real match on a national level took place as Clash of the Champions XXIV where the team lost to Sting and Ric Flair. Later on both of the Colossal Kong's competed in the 1993 Battlebowl tournament part of the WCW Pay Per View (PPV) of the same name. In the tournament King Kong teamed up with Dustin Rhodes to defeat Awesome Kong and The Equalizer, with the storyline being that the teams were \"randomly drawn\" to face off. Winning the match meant that King Kong was one of 20 wrestlers competing in a battle royal at the end of the night, won by Big Van Vader. King Kong would also work WCW's 1993 Starrcade show, losing to The Shockmaster in a singles match. The PPV loss was one of Thompson's last matches for WCW, after which he returned to the independent circuit in Texas. At this point he had tweaked his ring name outside of WCW to \"Krusher Kong\" instead of the more generic \"King Kong\". In Texas he held the NWA Brass Knuckles Championship for 73 days, until he lost it to Eclipse on August 14, 1998. He would later hold the Pro Wrestling Championship (PCW) title in 2001 as well as the Texas Championship Wrestling (later renamed Xtreme Championship Wrestling) singles title and the tag team titles twice in 2003. Kong wrestled his last match in 2010.\n\nParagraph 21: Steven Universe is only one of the many animated series with characters that identify outside the gender binary. One of the first characters was Princess Sapphire in Princess Knight. Sapphire was raised as a boy by her father since women are not eligible to inherit the throne; this storyline has led some reviewers to interpret her as genderqueer. Many years later, in 2003, Kino's Journey, featured another character outside the binary as well. In this series, the protagonist, Kino, was assigned female at birth, but has an \"androgynous persona,\" alternating between using feminine and masculine pronouns, while resisting those that attempt to pin a gender on them as a \"girl\" or \"boy.\" This led some reviewers to call Kino one of the \"rare transmasculine anime protagonists.\" One year afterward, bro'Town began. In this show, Brother Ken is fa'afafine, a Samoan concept for a third gender, a person who is born biologically male but is raised and sees themself as female A few years later, in 2009, Kämpfer featured a genderqueer character. Natsuru Senō is a second-year student at Seitetsu High School and has a crush on Kaede Sakura, one of the school's beauties. Apart from Sapphire, Kino, and Natsuru, there is Violet Harper/Halo in Young Justice. Halo is genderqueer, not identifying as male or female In 2011, Nathan Seymour / Fire Emblem was a character in Tiger & Bunny. Nathan is a highly effeminate homosexual man who identifies as genderqueer though he prefers to be identified as a woman at times, often spending more time with the female heroes while flirting with the male heroes. A few years later, from 2014 to 2015, Knights of Sidonia featured another character outside the binary. Izana Shinatose belongs to a new, nonbinary third gender that originated during the hundreds of years of human emigration into space. Wren in Middle School Moguls who is non-binary. In 2017, Milo in Danger & Eggs, an agender character, who uses they/them pronouns, first appeared. Milo later forms a band with the show's protagonists, DD Danger and Philip, named the Buck Buck Trio and play a music festival together. Tyler Ford, an agender model and speaker is the voice of Milo, said they loved that their character, is an \"accurate representation\" of them. Finally, in 2019, Stars Align featured Yū Asuka, a character who is not sure of whether they are \"binary trans, x-gender, or something else entirely\" and is still figuring their gender identity.\n\nParagraph 22: After playing college football at Santa Clara University, Jones was selected 135th overall by the Pittsburgh Steelers in the fifth round of the 1986 NFL Draft. Cut after one season with the Steelers, he joined the 49ers during training camp in 1987. He went on to become the team's starting tight end in his third season after the retirement of John Frank and played with the 49ers for 11 seasons. He finished his 49ers career as the franchise's all-time leader in receptions (417), receiving yards (5,195) and receiving touchdowns (33) by a tight end, until Vernon Davis surpassed all three of those records. In the regular season, Jones played in 143 career games, winning 110 of them. In the playoffs, Jones played in 21 career games, starting 19 games, and winning 14 of them. Jones won nine NFC West titles with the 49ers. Jones finished his playoff career with 60 receptions for 740 receiving yards. Jones won three Super Bowls and was named All-Pro three times (1992–1994) and was selected to four Pro Bowls (1992–1995). These are all franchise records by a tight end. Jones never experienced a losing season and has one of the highest winning percentages in NFL history.\n\nParagraph 23: Ductile iron is not a single material but part of a group of materials which can be produced with a wide range of properties through control of their microstructure. The common defining characteristic of this group of materials is the shape of the graphite. In ductile irons, graphite is in the form of nodules rather than flakes as in grey iron. Whereas sharp graphite flakes create stress concentration points within the metal matrix, rounded nodules inhibit the creation of cracks, thus providing the enhanced ductility that gives the alloy its name. Nodule formation is achieved by adding nodulizing elements, most commonly magnesium (magnesium boils at 1100 °C and iron melts at 1500 °C) and, less often now, cerium (usually in the form of mischmetal). Tellurium has also been used. Yttrium, often a component of mischmetal, has also been studied as a possible nodulizer.\n\nParagraph 24: Jennifer Barkley (Kathryn Hahn) is an extremely successful political operative who has taken over the City Council campaign of Bobby Newport after being promised $250,000 by the Newport family. She awed Leslie by appearing in a picture where she's sharing an egg salad with Colin Powell. Jennifer tells Leslie that she's bored and took this job for the money, not much caring who wins and finding Bobby to be stupid. While it appears she's being honest about this, she later trashes Leslie in a TV interview, edits Leslie's successful YouTube campaign ad to make her sound like an idiot, and swipes Leslie's building-ramp plan in favor of an electric lifts plan that leads Pawnee senior citizen powerbroker Ned Jones (played by Carl Reiner) to endorse Bobby. Leslie later confronts Jennifer at her favorite restaurant, where Jennifer says bluntly she likes Leslie but has been hired to defeat her. Jennifer then gives Leslie some genuinely good advice about upcoming decisions, and tells the camera that she is doing so because she has no one to play chess with and \"sometimes I need to play against myself\". Jennifer appears to keep her work and her personal feelings separate, given that she's able to relate to people when she's not working a campaign. When Leslie appears on Perd Hapley's show to reveal that Bobby Newport has been avoiding his hometown in favor of making out with a woman on a Majorca beach, Jennifer says that Bobby is in Europe to get business opportunities for Pawnee and the woman is an anti-landmine advocate. Afterwards, she tells Leslie and Ben that she \"mostly\" made all that up, then details how she'll be able to spin any outrage from them in Bobby's favor. Leslie and Ben are left completely stunned by Jennifer's mercenary brilliance. The two are finally able to knock her off balance a little bit after Jennifer goes on Perd's TV show and says Leslie ordered a pet shelter closed (after Leslie had asked a retiring Councilman to reverse a funding cut for the Parks Department); after she's overjoyed with Leslie's idea that the Newport family use their wealth to fund the shelter, Leslie explains that she'll accept the initial funding cut if Jennifer breaks a promise to stop airing \"puppy killer\" ads, and that she's fine with losing a week's news momentum because she's debating Bobby Newport after that and she's going to ruin him. Jennifer's expression makes it clear Leslie has finally scored some points against her. But after Leslie does score a huge victory over Bobby in the debate and pulls within 2 points of him in the polls, Jennifer strikes back by using the death of Nick Newport (and Leslie's comments, made before she learned he had died, that Nick was a jerk) to force Leslie into several embarrassing mistakes. Jennifer finds out that she might not get any of her promised quarter-million fee due to her handshake deal with Nick, and watches as Bobby manages to tell the press that Leslie is an awesome person. The campaign having ended, Jennifer seeks out Chris Traeger and invites him to have sex with her, and he accepts. On Election Night, she tries and fails to keep pro-Newport voting machines in place, and later is rebuffed when she doesn't want an automatic recount to be triggered by Bobby's initial 21-vote victory margin. Recognizing Ben's talent on Leslie's campaign, she offers Ben a job working with her on a Congressional campaign (he eventually accepts it) and has sex with Chris again but leaves Pawnee without saying goodbye to him. When that campaign successfully ends in Washington D.C., she offers Ben another campaign job for a governor candidate in Florida. She appears again in Season 6 (\"Second Chunce\") to convince Leslie (as a paid favor to Ben) not to run for Dexhart's seat in the city council, but to reach for the stars and to look for a more high-powered job. Leslie said it was the best present she could have received (from Ben).\n\nParagraph 25: Shore Line East (SLE) is a commuter rail service which operates along the Northeast Corridor through southern Connecticut, United States. The rail service is a fully owned subsidiary of the Connecticut Department of Transportation (CTDOT) and is operated under the CT Rail brand. SLE provides service seven days a week along the Northeast Corridor between New London and New Haven; limited through service west of New Haven to Bridgeport and Stamford has been suspended since 2020. Cross-platform transfers to Metro-North Railroad New Haven Line trains are available at New Haven for service to southwestern Connecticut and New York City. Pre-COVID, around 2,200 riders used the service on weekdays.\n\nParagraph 26: Another brother of Leatherface and easily one of the least sane members of the family, he has a transradial prosthesis hook in place of a right hand for unknown reasons and an affinity for machines, chrome and technology. As he goes by two different names his real name remains unknown. Tink often makes devices to assist his family in the slaughtering of people, he also drives a very large, suped up pick up truck, which is basically a monster truck. One of the devices Tink makes is an extra large chromed out chainsaw for his brother Leatherface, engraved on the blade, a sort-of tribute and reference to his late brother Drayton, the reference being a quote of Drayton's from the second film (\"The saw is family\"), another invention of Tink's is a swinging sledgehammer machine which quickens the family's slaughter methods, something brother Tex is grateful for (as he personally dislikes the \"hit to the head business\"). Tink also calls one of the main characters, Benny, an African-American, a \"darkie\", \"brotha\" and refers to him as \"dark meat\", leading to the possibility that he is a racist. Tink also tries to discipline his brother Leatherface by throwing his brother's walkman into the oven, however, this plan backfires when Leatherface forces Tech to retrieve it with his good hand. In both the rated and unrated versions as well as the alternate ending Tink is wounded, possibly fatally, when Benny opens fire on the families' house with an automatic rifle, blasting two of Tink's fingers off, as well as an ear. He appears to have died after the shooting, as he is heard saying to his brother Tex that he would be in Hell for breakfast. In the Leatherface comics, Tink is depicted as a former party loving hippie, like his brother Chop Top from The Texas Chainsaw Massacre 2, and is fixated with classic rock music and a \"Chrome Machine God\" he believes controls everything. He also mentions taking quaaludes and hash and lush and the purest lysergic acid ever to come from Hashbury. Tink is fatally injured in the comic by being shot repeatedly by Benny, later dying in Leatherface's (who admired Tink, who was his favorite brother) arms. Like his brother Drayton Sawyer, Tink appears as the head of the family household, this role is also explained by writer David J. Schow on the audio commentary for the Leatherface: The Texas Chainsaw Massacre III, in which he refers to Tink as the \"brains\" of the operation. He is portrayed by Joe Unger.\n\nParagraph 27: Anastasi is regarded as one of the best Italian strikers of his generation, as he was a fast, physical, hard-working, reliable, and agile forward, with good reactions. He was also a prolific, intelligent, instinctive, and opportunistic goalscorer, who was capable of making attacking runs to lose his markers and advance into more effective goalscoring positions, courtesy of his pace, power, movement off the ball, and positional sense inside the penalty area. A diminutive player with a sturdy build, Anastasi usually played as a striker in the centre-forward position, like his idol, John Charles; however, he had a rather modern and unorthodox interpretation of this role, and did not function as a traditional number nine, who mainly operated inside the box. Indeed, in this role, although he was capable of playing with his back to goal, using his strength to hold up the ball and lay it off for teammates, he was also known for his mobility and link-up play, as well as his ability to make quick exchanges with his teammates, and create chances or provide assists for other players, which saw him essentially act as more of an attacking midfielder at times. He also stood out for his dedication, bravery, fighting spirit, and generous team-play, as well as his unpredictable movement and high defensive work-rate off the ball, including his tendency to drift out wide, press opponents, or even track back into midfield in order to help win back possession. As such, he has been described as what as is known in Italian football jargon as a centravanti di manovra (\"manouvering centre-forward\", i.e. a centre-forward who participates in the build-up of attacking plays), a role which has retroactively been likened to a precursor of the \"false 9\" role in modern football. Despite not having the best first touch, or being the most naturally creative, tactical, or skilful player, he was a talented player and a fast sprinter, who possessed excellent acceleration and anticipation, as well as good dribbling skills with either foot, which led the Italian journalist Cesare Lanza to compare him to Luigi Meroni; as such, he also played on the right wing on occasion, due to his flair, solid technique, and crossing ability, and he even had a tendency to drift onto the left flank when he was deployed as an out-and-out striker in order to create chances for his teammates.\n\nParagraph 28: Perhaps the most influential criticisms of P&P have been theory internal.  As in any other developing field of enquiry, research published within the P&P paradigm often suggests reformulations and variations of the basic P&P premises. Notable debates emerged within P&P including (a) derivationalism vs representationalism (b) the locus of morphology (e.g. lexicalism vs derived morphology) and (c) the tension between a production model and a competence model amongst others.  The development of head-driven phrase structure grammar (HPSG) and lexical functional grammar (LFG) reflect these debates: these are both strongly lexicalist and representational systems.  Nevertheless, perhaps the most coherent and substantial critique of P&P is the Minimalist Program, Noam Chomsky's most recent proposal. This program of research utilizes conceptions of economy to enhance the search for universal principles and parameters. Linguists in this program assume that humans use as economic a system as possible in their innate syntactic knowledge.  The Minimalist Program takes issue with the large number of independent postulations in P&P and either (a) reduces them to more fundamental principles (e.g. Merge, Move, Agree), (b) derives them from 'reasonable' interface constraints on derivations (e.g. bottom-up Merge and requirement that no derivation be counter-cyclic derives Relativized Minimality effects) or (c) programmatically suggests that they be either derived from more basic principles or eliminated subject to future research (e.g. Binding Principles).  Note that there is debate about whether the Minimalist Program is motivated by the empirical shortcomings of P&P or whether it is motivated by ideological concerns with 'elegance' etc.  (see main article on the Minimalist Program).\n\nParagraph 29: \"Calling You\" remained the group's largest mainstream success until their 2006 single \"Hate Me\". The band made their network television premiere on April 14, 2006, performing \"Hate Me\", the first single from Foiled, on The Tonight Show with Jay Leno. They appeared on Jimmy Kimmel Live! on June 28, 2006. Blue October was also on Late Night with Conan O'Brien in 2006. On November 14, 2006 Blue October opened for the Rolling Stones in Boise, Idaho. \"Hate Me\" was released to Modern Rock radio stations and quickly climbed to number two on Billboards Modern Rock Tracks chart. \"Hate Me\" remained in the top five of the Modern Rock chart for 20 straight weeks. While in the number two chart position \"Hate Me\" was jumped over twice by both Pearl Jam and the Red Hot Chili Peppers.  \"Hate Me\" would never reach number one. The music video for \"Hate Me\" debuted on VH1, later making a splash at No. 13 on VH1's user-controlled video countdown show VH1 Top 20 Video Countdown. It eventually peaked at No. 2 for the week ending on May 5, 2006.  \"Into the Ocean\", the second single from the album, was released on July 17, 2006. The music video for the song debuted at number three on VH1's The 20 during the show's final week of 2006, and reached the number one spot in mid-February 2007. \"Into the Ocean\" hit number 20 on the Modern Rock Tracks. The next single from the band was \"She's My Ride Home\", which they performed on Late Night with Conan O'Brien on April 25, 2007.\n\nParagraph 30: Perhaps the most influential criticisms of P&P have been theory internal.  As in any other developing field of enquiry, research published within the P&P paradigm often suggests reformulations and variations of the basic P&P premises. Notable debates emerged within P&P including (a) derivationalism vs representationalism (b) the locus of morphology (e.g. lexicalism vs derived morphology) and (c) the tension between a production model and a competence model amongst others.  The development of head-driven phrase structure grammar (HPSG) and lexical functional grammar (LFG) reflect these debates: these are both strongly lexicalist and representational systems.  Nevertheless, perhaps the most coherent and substantial critique of P&P is the Minimalist Program, Noam Chomsky's most recent proposal. This program of research utilizes conceptions of economy to enhance the search for universal principles and parameters. Linguists in this program assume that humans use as economic a system as possible in their innate syntactic knowledge.  The Minimalist Program takes issue with the large number of independent postulations in P&P and either (a) reduces them to more fundamental principles (e.g. Merge, Move, Agree), (b) derives them from 'reasonable' interface constraints on derivations (e.g. bottom-up Merge and requirement that no derivation be counter-cyclic derives Relativized Minimality effects) or (c) programmatically suggests that they be either derived from more basic principles or eliminated subject to future research (e.g. Binding Principles).  Note that there is debate about whether the Minimalist Program is motivated by the empirical shortcomings of P&P or whether it is motivated by ideological concerns with 'elegance' etc.  (see main article on the Minimalist Program).\n\nParagraph 31: The opening ceremony of the 2009 Southeast Asian Games was held on 9 December 2009 at 18:10 (LST) at the New Laos National Stadium. The ceremony preceded with the arrival of the then President Choummaly Sayasone and several guests of honour to the stadium including Prime Minister Hun Sen of Cambodia, Prime Minister Thein Sein of Myanmar, Prime Minister Abhisit Vejjajiva of Thailand and Prime Minister Nguyen Tan Dung of Vietnam. This was followed by announcement of the ceremony commencement by announcers, the scoreboard countdown and the parade of athletes from the participating nations led by Lao Police Force band and flag bearers carrying the flags of the games and the flags of the participating nations began with the Bruneian delegation. The Lao delegation, the largest of all participating nations with 733 athletes and officials, received the warmest welcome from the audiences when they marched into the stadium. After all the contingent marched into the stadium, the National Flag of Laos and the games' flags were raised as the National Anthem of Laos is played. After that, Somsavat Lengsavad, the Standing Deputy Prime Minister of Laos and the chairman of the 25th Southeast Asian Games Organizing Committee gave the welcome speech and president Choummaly then declared the games opened. Mayuly Phanouvong took the athlete's oath, while the judge's oath was taken by Somphone Manikham. Later, a group of athletes passes the flame during the torch relay one after another before Phoxay Aphailath, lit the flame on an arrow carried by a man dressed as Sang Sinxay. The man who dressed as Sang Sinxay then aim the arrow lit by the flame from Phoxay with his bow carried with him at the cauldron, shoot and lit it instantly, symbolised the beginning of the games. After the cauldron was lit, the athletes took part at the parade earlier were escorted out of the stadium by the Lao Police Force, making way for the dance performance which concluded the ceremony. The dance performance includes segments such as Welcome dance for SEA Games, Forest, streams and life, Sinxay of Modern Times, Bright Future, In Harmony towards the future, Golden rice field and the light of righteousness.\n\nParagraph 32: After playing college football at Santa Clara University, Jones was selected 135th overall by the Pittsburgh Steelers in the fifth round of the 1986 NFL Draft. Cut after one season with the Steelers, he joined the 49ers during training camp in 1987. He went on to become the team's starting tight end in his third season after the retirement of John Frank and played with the 49ers for 11 seasons. He finished his 49ers career as the franchise's all-time leader in receptions (417), receiving yards (5,195) and receiving touchdowns (33) by a tight end, until Vernon Davis surpassed all three of those records. In the regular season, Jones played in 143 career games, winning 110 of them. In the playoffs, Jones played in 21 career games, starting 19 games, and winning 14 of them. Jones won nine NFC West titles with the 49ers. Jones finished his playoff career with 60 receptions for 740 receiving yards. Jones won three Super Bowls and was named All-Pro three times (1992–1994) and was selected to four Pro Bowls (1992–1995). These are all franchise records by a tight end. Jones never experienced a losing season and has one of the highest winning percentages in NFL history.\n\nParagraph 33: In 1996, Matt and Eddie were brought into the World Wrestling Federation (WWF) together to take part in an angle with Eddie's brother Solofa Fatu who was working under just his family name with a gimmick that he wanted to be a positive influence on kids and that he wanted to \"make a difference\" in inner city neighborhoods. Matt and Eddie were brought in as two silent \"gangsters\" who would watch Fatu's matches from the entrance aisle and stalk him around arenas, making him nervous. Neither gimmick lasted long, and Matt and Eddie were sent to the WWF's Heartland Wrestling Association (HWA) \"farm league\". There they used the individual names Ekmo Fatu (Eddie) and Kimo (Matt), with the team name Island Boyz. They held the HWA Tag Team Championship once, and for a time Haku served as their manager. They left HWA together, and in 2000 traveled to Japan to wrestle for Frontier Martial-Arts Wrestling, where they held the FMW Hardcore Tag Team Championship. The next year they returned to the United States to wrestle for Memphis Championship Wrestling, where again they held gold, holding the MCW Southern Tag Team Championship on three occasions in the span of one month.\n\nParagraph 34: Ahead of the 2015–16 season, Zoet found himself being linked a move away from the club following the departure of Memphis Depay and Georginio Wijnaldum. But he ended up staying at PSV Eindhoven throughout the summer. He started the 2015–16 season well when he kept a clean sheet throughout the match, in a 3–0 win over FC Groningen to win the Johan Cruijff Schaal. Zoet then helped the side well when he was involved in the club's winning start that saw the club at the top of the table. Zoet made his UEFA Champions League debut on 12 September 2015, where he helped the side beat Manchester United. He captained the side for the first time this season, playing the whole game, in a 2–1 loss against CSKA Moscow on 30 September 2015. This was followed by captaining the next two matches against rivals, Ajax, and Excelsior. During a 6–3 win over De Graafschap on 24 October 2015, Zoet was subjected of being hit from an unknown object thrown by De Graafschap supporter; leading the club to apologise to him. Zoet impressed throughout the UEFA Champions League Group Stage campaign, keeping two clean sheets and ultimately saw the side go through to the knockout stage after beating CSKA Moscow 2–1. In November 2015, Zoet extended his contract with the club until 2019. He kept two clean sheets between 29 November 2015 and 5 December 2015 against AZ Alkmaar and Vitesse. Zoet then kept five clean sheets in a row between 7 February 2016 and 5 March 2016. They reached the last-16 of the tournament, where they faced Spanish side Atlético Madrid, resulting a 0–0 draw in the first leg. Zoet put in strong performances throughout the tie and was twice named to the team of the week. Following a draw on aggregate over both legs, PSV lost out to Atlético Madrid on penalties. As the 2015–16 season progressed, as the club was in a title race, Zoet continued to help the side by keeping three clean sheets in a row between 9 April 2016 and 19 April 2016. In the last game of the season against PEC Zwolle, Zoet won his third major prize at the end of the season after clinching another title for PSV Eindhoven by beating them 3–1. At the end of the 2015–16 season, he went on to make forty–four appearances in all competitions (having played all the league matches this season).\n\nParagraph 35: By late 1937, Arthur Foss was back in service with a new power steering system and a new, extremely skillful captain. In November both tug and captain, Martin Guchee, were commended for towing the disabled motorship Eastern Prince from Yakutat, Alaska, to Seattle in just six days. Captain Guchee was also at the helm when Arthur Foss became in involved in the construction of two of the Northwest's most famous landmarks. In 1938, the tug made a long tow from San Francisco with the giant barge Foss No. 64, which had been used in the construction of the Golden Gate Bridge. Foss No. 64 was needed up north for the construction of the Tacoma Narrows Bridge which began in September 1938. The bridge was completed in 1940 and, after just a few months in service, collapsed in high winds due to aeroelastic flutter. Students of physics and structural engineering have been studying the infamous event ever since. In January 1939, construction of another famous bridge began on Lake Washington, the Lacey V. Murrow Memorial Bridge connecting Seattle to Mercer Island. Prior to construction, extensive testing of the pontoons' strength and stability occurred over a nine-month period in 1938. An experimental barge approximating the proposed bridge's configuration was anchored in the lake, and the most powerful tug on the West Coast was hired to put it to the test. Captain Guchee took Arthur Foss at full speed around and around the test barge, generating four-foot waves and simulating lake conditions in an  wind. Engineers and technicians were on hand to take readings. The test barge held, but not satisfied with the amount of stress he was putting it under, Captain Guchee put Arthur Foss bow against the barge and \"gave her full power\". The anchoring system still held. Utilizing the data gathered during this unorthodox experiment and others, the world's first floating highway bridge was completed in 1940. To this day, there are only five similar floating spans in the world, and three are located in Washington State.\n\nParagraph 36: The lodger, Abe Slaney, another American, unaware that Elsie is gravely wounded, arrives at Ridling Thorpe Manor and is seized as he comes through the door. Holmes had sent for Slaney using the dancing men, knowing that Slaney would believe the message is from Elsie. Slaney reveals that he had been engaged to Elsie, the daughter of the Chicago crime boss whom Slaney works for, and that she had fled to escape her old life. Slaney had come to England to get her back. When Slaney and Elsie were speaking through a window, Cubitt had appeared and shots were exchanged; Cubitt was killed and Slaney had fled. Apparently, Elsie then shot herself. Slaney is arrested and sentenced to hang, but his sentence is reduced to penal servitude because Cubitt had fired the first shot. Elsie recovers from her injuries, and spends her life helping the poor and administering her late husband's estate.\n\nParagraph 37: Jennifer Barkley (Kathryn Hahn) is an extremely successful political operative who has taken over the City Council campaign of Bobby Newport after being promised $250,000 by the Newport family. She awed Leslie by appearing in a picture where she's sharing an egg salad with Colin Powell. Jennifer tells Leslie that she's bored and took this job for the money, not much caring who wins and finding Bobby to be stupid. While it appears she's being honest about this, she later trashes Leslie in a TV interview, edits Leslie's successful YouTube campaign ad to make her sound like an idiot, and swipes Leslie's building-ramp plan in favor of an electric lifts plan that leads Pawnee senior citizen powerbroker Ned Jones (played by Carl Reiner) to endorse Bobby. Leslie later confronts Jennifer at her favorite restaurant, where Jennifer says bluntly she likes Leslie but has been hired to defeat her. Jennifer then gives Leslie some genuinely good advice about upcoming decisions, and tells the camera that she is doing so because she has no one to play chess with and \"sometimes I need to play against myself\". Jennifer appears to keep her work and her personal feelings separate, given that she's able to relate to people when she's not working a campaign. When Leslie appears on Perd Hapley's show to reveal that Bobby Newport has been avoiding his hometown in favor of making out with a woman on a Majorca beach, Jennifer says that Bobby is in Europe to get business opportunities for Pawnee and the woman is an anti-landmine advocate. Afterwards, she tells Leslie and Ben that she \"mostly\" made all that up, then details how she'll be able to spin any outrage from them in Bobby's favor. Leslie and Ben are left completely stunned by Jennifer's mercenary brilliance. The two are finally able to knock her off balance a little bit after Jennifer goes on Perd's TV show and says Leslie ordered a pet shelter closed (after Leslie had asked a retiring Councilman to reverse a funding cut for the Parks Department); after she's overjoyed with Leslie's idea that the Newport family use their wealth to fund the shelter, Leslie explains that she'll accept the initial funding cut if Jennifer breaks a promise to stop airing \"puppy killer\" ads, and that she's fine with losing a week's news momentum because she's debating Bobby Newport after that and she's going to ruin him. Jennifer's expression makes it clear Leslie has finally scored some points against her. But after Leslie does score a huge victory over Bobby in the debate and pulls within 2 points of him in the polls, Jennifer strikes back by using the death of Nick Newport (and Leslie's comments, made before she learned he had died, that Nick was a jerk) to force Leslie into several embarrassing mistakes. Jennifer finds out that she might not get any of her promised quarter-million fee due to her handshake deal with Nick, and watches as Bobby manages to tell the press that Leslie is an awesome person. The campaign having ended, Jennifer seeks out Chris Traeger and invites him to have sex with her, and he accepts. On Election Night, she tries and fails to keep pro-Newport voting machines in place, and later is rebuffed when she doesn't want an automatic recount to be triggered by Bobby's initial 21-vote victory margin. Recognizing Ben's talent on Leslie's campaign, she offers Ben a job working with her on a Congressional campaign (he eventually accepts it) and has sex with Chris again but leaves Pawnee without saying goodbye to him. When that campaign successfully ends in Washington D.C., she offers Ben another campaign job for a governor candidate in Florida. She appears again in Season 6 (\"Second Chunce\") to convince Leslie (as a paid favor to Ben) not to run for Dexhart's seat in the city council, but to reach for the stars and to look for a more high-powered job. Leslie said it was the best present she could have received (from Ben).\n\nParagraph 38: King Louis the Child decided that the forces from all the German duchies should come together and fight the Hungarians. He even threatened with execution those who would not come under his flag. We know about two armies which gathered: one, consisting of Swabian and other forces from southern Germany, led nominally by the king Louis the Child (but because of his young age, in reality the leader of this army were Gozbert count of Alemannia and Managolt the count of Ladengau in Franconia), and the other, consisting from troops gathered from Franconia, Lotharingia (presuming that if the duke of Lotharingia led the army, he gad to bring with him also an important troop from his country), Bavaria and maybe Saxony (however we do not know anything about the Saxons taking part of this battle, but we presume that they also heard the call and the threat of king Louis, and that maybe they want to put an end of the Hungarian attacks, because they suffered in 906 and 908 two devastating attacks from the Hungarian armies), led by Gebhard, Duke of Lorraine and Liudger, the count of Ladengau. These two armies tried to unite, and fight the Hungarians together. The Hungarians learned about plans of Louis the Child, and sent quickly a Hungarian army, which rushed to prevent the joining of the Swabian and Frankish forces. They reached Augsburg on forced march very quickly, totally unexpected for Louis the Child and his army, and, at 12 June 910, defeated in the battle of Augsburg the army of the King. Maybe the failure of the Frankish army to arrive at the battle scene was due to some Hungarian units, which \"kept busy\" the Franco-Lotharingian army, distracting the attention of its leaders from the other battle, the Battle of Augsburg. So, the Hungarian army, with a \"Napoleonean\" tactic (István Bóna), cleverly managed to attack, and deal with these two armies separatedly. After that first battle, the Hungarian army marched north, to the border of Bavaria and Franconia, and met with the Franco-Bavaro-Lotharingian army led by Gebhard, Duke of Lorraine at Rednitz. We do not know who led the Hungarians, but it seem to be a military leader, and not the Grand Prince of the Hungarians, who in the 9th-10th centuries never took place in a battle outside of the Hungarian territories, the campaigns being led by more minor military leaders, the horka or one of the princes. We do not know about the strength of the two armies before the battle, but knowing the fact that at least three (Franconia, Lotharingia, Bavaria) if not four (Saxonia) East Francian duchies took part in the battle, and the army was led by a duke and a count, we can presume that the German army was bigger than the Hungarians, who before this battle had to fight another battle at Augsburg with the Swabian army of the German king Louis the Child, which, although was a victory, could cause them some losses too. Like in the before mentioned battle, in this battle too, met two war philosophies, styles and type of fighting, and weapons: the medieval European, inspired by the European-Frankish style of war and strategical thinking (consisting in heavy armours and weapons, the prevail of the strongest army without putting much importance on strategy), used by the Germans and the Nomadic War tactics, strategy and weapons used by the Hungarians (using exclusively cavalry, light or no armor, predominance of the bows and arrows, high mobility of the army corps, and predominance of delusive war tactics, which needed strategical thinking from the commanders).\n\nParagraph 39: In 1899 his lectures had been extended to include Marconi's system. The successful experiments by Walker in Sydney in August 1899 prompted Jenvey to reveal that for some weeks he had been exchanging messages between the General Post Office and the Telephone exchange at Willis Street, a distance of a half mile. The first message to grace the airwaves of Melbourne was \"Long reign Duffy\" referring to the Postmaster-General for Victoria. By 1900 he was reporting that an experimental network of wireless stations had been established at the Observatory, Wilson Hall at the University and the General Post Office. As part of the Congress of the Association for the Advancement of Science, on 12 January 1900, Jenvey presented a lecture on the current state of wireless telegraphy in the world at the Wilson Hall of the University of Melbourne. At the conclusion of the lecture, he then sent a request from his station erected in the hall and received in return the word \"Melbourne\" from his station in the tower of the General Post Office. Jenvey continued his experiments throughout 1900, with regular stations established at Heidelberg and Doncaster. From April 1901, efforts concentrated on Point Ormond, Port Phillip Bay and a station was established with a 155 ft. pole near the shoreline, to take advantage of the better propagation over salt water. From Point Ormond, communication was soon established with Point Cook, a distance of 10 miles, by means of a kite-borne aerial at the latter location. The timing of this extension of transmission distance for Jenvey's apparatus was sublime. The Duke and Duchess of Cornwall and York were to visit Australia to participate in the celebrations of Federation. Jenvey sought and obtained permission from Senator Drake, the Postmaster-General, to erect a facility at Queenscliff to send greetings to the royal party as they approached Port Phillip Bay. In the first week of May, a large tent was erected on the recreation reserve near the fort and the equipment installed. On Sunday evening 5 May 1901, news was received at Queenscliff that the R.M.S. Ophir was off Split Point and the message of greeting was sent. No reply was received, but it was later confirmed that the message was received by the escorting ships, but the absence of a Naval code precluded a response. While the convoy was in port, Jenvey established contact with Lieutenant Trousdale, R.N., of the warship  and messages were then regularly exchanged with the Point Ormond station. When most of the convoy departed on 18 May, Jenvey exchanged messages with the St. George on the initial part of her journey. The last message received from the St. George was at a distance of 37 miles, a record for Australia which would stand for some years. He continued his experiments throughout the 1900s, but prioritised the essential work of developing and integrating the telegraphic and telephonic networks of the fledgling Commonwealth.\n\nParagraph 40: The lodger, Abe Slaney, another American, unaware that Elsie is gravely wounded, arrives at Ridling Thorpe Manor and is seized as he comes through the door. Holmes had sent for Slaney using the dancing men, knowing that Slaney would believe the message is from Elsie. Slaney reveals that he had been engaged to Elsie, the daughter of the Chicago crime boss whom Slaney works for, and that she had fled to escape her old life. Slaney had come to England to get her back. When Slaney and Elsie were speaking through a window, Cubitt had appeared and shots were exchanged; Cubitt was killed and Slaney had fled. Apparently, Elsie then shot herself. Slaney is arrested and sentenced to hang, but his sentence is reduced to penal servitude because Cubitt had fired the first shot. Elsie recovers from her injuries, and spends her life helping the poor and administering her late husband's estate.\n\nParagraph 41: One attempt Circe made in trying to destroy Diana involved a disguise as a mortal lawyer named Donna Milton. In this persona, she could get close enough to Diana to kill her when her defenses were low. Afraid that Diana would see through her disguise with her power of truth, Circe cast a spell on herself. The spell made Circe believe that she actually was Donna Milton and her true persona would only return when Donna could strike. As Donna Milton, she was hired by the mobster Ares Buchanan, who was really the god Ares in disguise himself. During their time together, they formed a romantic relationship and Donna became pregnant. As Donna, Circe actually became a good friend of Diana and ended up saving her life from Ares. He was sucked into a miniature black hole while Donna went into labor. No longer working for Ares, Donna gave birth to her daughter Lyta Milton and became Diana's lawyer at her and Micah Rains' new detective agency. When the Amazon Artemis single-handedly battled the White Magician, Diana realized that Donna was actually Circe and begged her to help transport her to Artemis' side. Not believing Diana and hurt that her friend would think her to be a villain, Donna yelled at Diana to leave and subconsciously teleported Diana to Artemis. Shocked, Circe's memories slowly began coming back to her. Still possessing some of Donna's false memories, she teleported herself to Diana to help her in her battle, but she was not on top of her game as she still had ties to her Donna Milton body, and the White Magician was not affected by her magical attacks. She used the remainder of her power to save Diana by teleporting herself, a demonically altered Cheetah, and Cassandra Arnold, a television reporter and the White Magician's lover, away from the battle, leaving her last words to Diana be \"You're my only friend, Diana\".\n\nParagraph 42: By late 1937, Arthur Foss was back in service with a new power steering system and a new, extremely skillful captain. In November both tug and captain, Martin Guchee, were commended for towing the disabled motorship Eastern Prince from Yakutat, Alaska, to Seattle in just six days. Captain Guchee was also at the helm when Arthur Foss became in involved in the construction of two of the Northwest's most famous landmarks. In 1938, the tug made a long tow from San Francisco with the giant barge Foss No. 64, which had been used in the construction of the Golden Gate Bridge. Foss No. 64 was needed up north for the construction of the Tacoma Narrows Bridge which began in September 1938. The bridge was completed in 1940 and, after just a few months in service, collapsed in high winds due to aeroelastic flutter. Students of physics and structural engineering have been studying the infamous event ever since. In January 1939, construction of another famous bridge began on Lake Washington, the Lacey V. Murrow Memorial Bridge connecting Seattle to Mercer Island. Prior to construction, extensive testing of the pontoons' strength and stability occurred over a nine-month period in 1938. An experimental barge approximating the proposed bridge's configuration was anchored in the lake, and the most powerful tug on the West Coast was hired to put it to the test. Captain Guchee took Arthur Foss at full speed around and around the test barge, generating four-foot waves and simulating lake conditions in an  wind. Engineers and technicians were on hand to take readings. The test barge held, but not satisfied with the amount of stress he was putting it under, Captain Guchee put Arthur Foss bow against the barge and \"gave her full power\". The anchoring system still held. Utilizing the data gathered during this unorthodox experiment and others, the world's first floating highway bridge was completed in 1940. To this day, there are only five similar floating spans in the world, and three are located in Washington State.\n\nParagraph 43: The lodger, Abe Slaney, another American, unaware that Elsie is gravely wounded, arrives at Ridling Thorpe Manor and is seized as he comes through the door. Holmes had sent for Slaney using the dancing men, knowing that Slaney would believe the message is from Elsie. Slaney reveals that he had been engaged to Elsie, the daughter of the Chicago crime boss whom Slaney works for, and that she had fled to escape her old life. Slaney had come to England to get her back. When Slaney and Elsie were speaking through a window, Cubitt had appeared and shots were exchanged; Cubitt was killed and Slaney had fled. Apparently, Elsie then shot herself. Slaney is arrested and sentenced to hang, but his sentence is reduced to penal servitude because Cubitt had fired the first shot. Elsie recovers from her injuries, and spends her life helping the poor and administering her late husband's estate.\n\nParagraph 44: A silicon solar cell was first patented in 1946 by Russell Ohl when working at Bell Labs and first publicly demonstrated at the same research institution by Fuller, Chapin, and Pearson in 1954; however, these first proposals were monofacial cells and not designed to have their rear face active. The first bifacial solar cell theoretically proposed is in a Japanese patent with a priority date 4 October 1960, by Hiroshi Mori, when working for the company Hayakawa Denki Kogyo Kabushiki Kaisha (in English, Hayakawa Electric Industry Co. Ltd.), which later developed into nowadays Sharp Corporation. The proposed cell was a two-junction pnp structure with contact electrodes attached to two opposite edges.However, first demonstrations of bifacial solar cells and panels were carried out in the Soviet Space Program in the Salyut 3 (1974) and Salyut 5 (1976) LEO military space stations. These bifacial solar cells were developed and manufactured by Bordina et al. at the VNIIT (All Union Scientific Research Institute of Energy Sources) in Moscow that in 1975 became Russian solar cell manufacturer KVANT. In 1974 this team filed a US patent in which the cells were proposed with the shape of mini-parallelepipeds of maximum size 1mmx1mmx1mm connected in series so that there were 100 cells/cm2. As in modern-day BSCs, they proposed the use of isotype junctions pp+ close to one of the light-receiving surfaces. In Salyut 3, small experimental panels with a total cell surface of 24 cm2 demonstrated an increase in energy generation per satellite revolution due to Earth's albedo of up to 34%, compared to monofacial panels at the time. A 17–45% gain due to the use of bifacial panels (0.48m2 – 40W) was recorded during the flight of Salyut 5 space station. Simultaneous to this Russian research, on the other side of the Iron Curtain, the Laboratory of Semiconductors at the School of Telecommunication Engineering of the Technical University of Madrid, led by Professor Antonio Luque , independently carries out a broad research program seeking the development of industrially feasible bifacial solar cells. While Mori's patent and VNIIT-KVANT spaceship-borne prototypes were based on tiny cells without surface metal grid and therefore intricately interconnected, more in the style of microelectronic devices which were at that time in their onset, Luque will file two Spanish patents in 1976 and 1977 and one in the United States in 1977 that were precursory of modern bifacials . Luque's patents were the first to propose BSCs with one cell per silicon wafer, as was by then the case of monofacial cells and so continues to be, with metal grids on both surfaces. They considered both the npp+ structure and the pnp structures. Development of BSCs at the Laboratory of Semiconductors was tackled in a three-fold approach that resulted in three PhD theses, authored by Andrés Cuevas (1980), Javier Eguren (1981) and Jesús Sangrador (1982), the first two having Luque as doctoral advisor while Dr. Gabriel Sala, from the same group, conducted the third. Cuevas' thesis consisted of constructing the first of Luque's patents, the one of 1976, that due to its npn structure similar to that of a transistor, was dubbed the \"transcell\". Eguren's thesis dealt with the demonstration of Luque's 2nd patent of 1977, with a npp+ doping profile, with the pp+ isotype junction next to the cell's rear surface, creating what is usually referred as a back surface field (BSF) in solar cell technology. This work gave way to several publications and additional patents. In particular, the beneficial effect of reducing p-doping in the base, where reduction of voltage in the emitter junction (front p-n junction) was compensated by voltage increase in the rear isotype junction, while at the same time enabling higher diffusion length of minority carriers that increases the current output under bifacial illumination. Sangrador's thesis and third development route at the Technical University of Madrid, proposed the so-called vertical multijunction edge-illuminated solar cell in which p+nn+ where stacked and connected in series and illuminated by their edges, this being high voltage cells that required no surface metal grid to extract the current. In 1979 the Laboratory for Semiconductors became the Institute for Solar Energy (IES-UPM), that having Luque as the first director, continued intense research on bifacial solar cells well until the first decade of the 21st century, with remarkable results. For example, in 1994, two Brazilian PhD students at the Institute of Solar Energy, Adriano Moehlecke and Izete Zanesco, together with Luque, developed and produced a bifacial solar cell rendering 18.1% in the front face and 19.1% in the rear face; a record bifaciality of 103% (at that time record efficiency for monofacial cells was slightly below 22%).\n\nParagraph 45: Perhaps the most influential criticisms of P&P have been theory internal.  As in any other developing field of enquiry, research published within the P&P paradigm often suggests reformulations and variations of the basic P&P premises. Notable debates emerged within P&P including (a) derivationalism vs representationalism (b) the locus of morphology (e.g. lexicalism vs derived morphology) and (c) the tension between a production model and a competence model amongst others.  The development of head-driven phrase structure grammar (HPSG) and lexical functional grammar (LFG) reflect these debates: these are both strongly lexicalist and representational systems.  Nevertheless, perhaps the most coherent and substantial critique of P&P is the Minimalist Program, Noam Chomsky's most recent proposal. This program of research utilizes conceptions of economy to enhance the search for universal principles and parameters. Linguists in this program assume that humans use as economic a system as possible in their innate syntactic knowledge.  The Minimalist Program takes issue with the large number of independent postulations in P&P and either (a) reduces them to more fundamental principles (e.g. Merge, Move, Agree), (b) derives them from 'reasonable' interface constraints on derivations (e.g. bottom-up Merge and requirement that no derivation be counter-cyclic derives Relativized Minimality effects) or (c) programmatically suggests that they be either derived from more basic principles or eliminated subject to future research (e.g. Binding Principles).  Note that there is debate about whether the Minimalist Program is motivated by the empirical shortcomings of P&P or whether it is motivated by ideological concerns with 'elegance' etc.  (see main article on the Minimalist Program).\n\nParagraph 46: Archeological and linguistic studies suggest that Vepsians lived in the valleys of the Sheksna, the Suda, and the Syas rivers, developing, according to Kalevi Wiik, from the proto-Vepsian Kargopol culture to the east of Lake Onega. They probably also lived in East Karelia and on the northern coast of Lake Onega. It is possible that the earliest mention of the Veps dates to the sixth century CE, when the Gothic historian Jordanes mentioned a people called Vasina broncas, which may have indicated the Vepsians. One of the eastern routes on which the Vikings went through their area, and the bjarm people mentioned by the Vikings as inhabiting the coast of the White Sea may have referred to the Veps. Evidence from tombs proves that they had contact with Staraya Ladoga, Finland and Meryans, other Volga Finnic tribes and later with the Principality of Novgorod and other Russian states. Later Vepsians also inhabited the western and eastern shores of Onega.\n\nParagraph 47: One attempt Circe made in trying to destroy Diana involved a disguise as a mortal lawyer named Donna Milton. In this persona, she could get close enough to Diana to kill her when her defenses were low. Afraid that Diana would see through her disguise with her power of truth, Circe cast a spell on herself. The spell made Circe believe that she actually was Donna Milton and her true persona would only return when Donna could strike. As Donna Milton, she was hired by the mobster Ares Buchanan, who was really the god Ares in disguise himself. During their time together, they formed a romantic relationship and Donna became pregnant. As Donna, Circe actually became a good friend of Diana and ended up saving her life from Ares. He was sucked into a miniature black hole while Donna went into labor. No longer working for Ares, Donna gave birth to her daughter Lyta Milton and became Diana's lawyer at her and Micah Rains' new detective agency. When the Amazon Artemis single-handedly battled the White Magician, Diana realized that Donna was actually Circe and begged her to help transport her to Artemis' side. Not believing Diana and hurt that her friend would think her to be a villain, Donna yelled at Diana to leave and subconsciously teleported Diana to Artemis. Shocked, Circe's memories slowly began coming back to her. Still possessing some of Donna's false memories, she teleported herself to Diana to help her in her battle, but she was not on top of her game as she still had ties to her Donna Milton body, and the White Magician was not affected by her magical attacks. She used the remainder of her power to save Diana by teleporting herself, a demonically altered Cheetah, and Cassandra Arnold, a television reporter and the White Magician's lover, away from the battle, leaving her last words to Diana be \"You're my only friend, Diana\".\n\nParagraph 48: The first electrical gear shift mechanism sold on new automobiles was the Vulcan electric gear shift system, a solenoid-driven transmission shift device for a standard sliding gear gearbox introduced in the summer of 1913. Among the automakers to offer the Vulcan system were the Haynes Automobile Company of Kokomo, Indiana; the S.G.V. Company of Reading, Pennsylvania; and the Norwalk Motor Car Company of Martinsburg, West Virginia. While the Vulcan shifter was often advertised as standard equipment on the Haynes car, a common floor shift was also available for $200 less. Norwalk made the Vulcan system available on their products, such as the Underslung Six, as an option; approximately 25 of those cars were so equipped. A large nickel-plated box was attached to the right side of the steering column which housed the push button mechanism. It utilized six buttons –  first through third gear, reverse, neutral and park. There was also a \"signal\" button which was the horn. A housing containing four large solenoids was mounted at the transmission which acted on the steel transmission shift control rods. The driver was free to select any gear at will, enabling the bypassing of gears, such as jumping from first to third gear without going through second gear. There was a cautionary advisory with the car that one must use care when placing the selector into reverse, only doing so when the car was completely stopped. Pushing a button on the shift control preselected the chosen gear. The electrical circuit was closed only after the driver fully depressed the clutch pedal.  This energized the appropriate transmission mounted solenoids necessary for returning the transmission to neutral and then completing engagement of the preselected gear; the driver would then release the clutch pedal to continue onwards. These seemed to have been very advanced automotive systems.  The Vulcan Electric Shift Company was located in Philadelphia, Pennsylvania and was eventually bought out by Cutler-Hammer. The model year 1914 was the only year that Norwalk used this system. Only one known Norwalk Motor Car survives today, which is owned by the friends of the Norwalk Foundation, Inc. in Martinsburg. Haynes was evidently the only automaker of note to place the push-buttons in the center of the steering wheel. The Vulcan electric gear shift system probably didn't survive past the early 1920s, since nothing regarding it has been found in the automotive engineering literature past 1921, and a 1919 Haynes print ad has been found with no mention of the electric shifting system.\n\nParagraph 49: In the opening match second generation luchador Stigma. with his chest painted to resemble The Incredible Hulk, teamed up with the Distrito Federal Welterweight Championship Sensei to take on the rudo (\"Bad guys\") team of Bobby Zavala and Cholo. Stigma got the third and deciding fall for his team, in what was described as a \"memorable\" performance. The second match of the night was originally booked to have Mini-Estrella Astral team up Fantasy and Último Dragóncito, but on the prior Tuesday Astral got badly hurt during an Infierno en el Ring Steel cage match. Astral was the sixth person to exit the cage when he tried to perform a Moonsault of the top of the cage onto Mercurio, Aéreo and Fantasy who were on the floor. Due to the cage mesh breaking earlier in the match, Astral got caught up on the cage and landed awkwardly on the three men on the floor. The bad fall caused Astral to be rushed out of the arena for immediate attention and Mercurio had to be carried to the back as well due to the impact of Astral. Due to the injuries sustained he was replaced by Acero. The rudo team, Demus 3:16, Pequeño Olímpico and Pierrothito, had all suffered various injuries during the same match but seemed to be okay on Friday night. The rudo trio consisted of the reigning CMLL World Mini-Estrella Champion (Olímpico), the reigning Mexican National Lightweight Champion (Pierrothito) and one of the most experienced Mini-Estrellas in the division, an advantage that was evident as the team won both the first and the last fall of the match, taking the last fall by submission as Pierrothito forced Dragoncito to give up. The Lightning Match (10 minute time limit and only one fall as opposed to the traditional three fall matches CMLL prefers) featured the experienced rudo Sangre Azteca take on the high flying Fuego, who was one half of the CMLL Arena Coliseo Tag Team Championship team with Stuka, Jr. Neither wrestler dominated the match, but Sangre Azteca took the victory in five minutes, thirty seconds when he countered Fuego's move off the top rope with a dropkick followed by a pinfall. CMLL introduced Puma King as simply \"Puma\" during the fourth match, which may or may not be an indicator of a permanent name change. Puma teamed up with La Fievre Amarilla (\"Yellow fever\"), the team of Okumura and Namajague to take on Rey Cometa, Stuka, Jr. and Tritón. The match served as a continuation of the storyline between Puma and Rey Cometa, that had already seen Puma win a match to unmask Rey Cometa at the CMLL 79th Anniversary Show. The two kept the intensity up with Rey Cometa pinning Puma to win the first fall and Puma pinning Rey Cometa to win the second fall. In the third fall Okumura took advantage of a distracted referee to land an illegal low blow on Stuka, Jr. to get the third fall for his team The fifth match centered around the developing rivalry between experienced rudo Averno and the up-and-coming tecnico Titán that had started the previous week. For this match Averno teamed up with Niebla Roja and Pólvora while Titán was joined by Guerrero Maya, Jr. and La Sombra. The focus lay solidly on the feud between Averno and Titán throughout the match, especially as Averno began to tear at Titán's mask, ripping it open. Averno's team took the first fall, then Averno himself pinned Titán after he applied his signature \"Devil's Wings\" move (a Spinning lifting sitout double underhook facebuster). Following the match Averno challenged Titán to defend his Mexican National Welterweight Championship against Averno the following week, a challenge Titán accepted.\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 99, "category": "longbench_passage_count", "reference": ["26"], "prompt": "There are some paragraphs below sourced from Wikipedia. Some of them may be duplicates. Please carefully read these paragraphs and determine how many unique paragraphs there are after removing duplicates. In other words, how many non-repeating paragraphs are there in total?\n\nParagraph 1: Rapid amplification of cDNA ends (RACE) is a technique used in molecular biology to obtain the full length sequence of an RNA transcript found within a cell. RACE results in the production of a cDNA copy of the RNA sequence of interest, produced through reverse transcription, followed by PCR amplification of the cDNA copies (see RT-PCR). The amplified cDNA copies are then sequenced and, if long enough, should map to a unique genomic region. RACE is commonly followed up by cloning before sequencing of what was originally individual RNA molecules. A more high-throughput alternative which is useful for identification of novel transcript structures, is to sequence the RACE-products by next generation sequencing technologies.\n\nParagraph 2: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.\n\nParagraph 3: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  (\"the Islands of the Foreigners\") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.\n\nParagraph 4: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  (\"the Islands of the Foreigners\") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.\n\nParagraph 5: The railroad owns five open-air passenger cars, four of which came from Billy Jones' ranch, and were originally built for the Overfair Railway at the 1915 Panama–Pacific International Exposition (other cars and locomotives from the railway are currently at the Swanton Pacific Railroad), and a special handicap car for wheelchair passengers built in the mid-1990s for ADA compliance. Each of the regular cars can seat up to 24 passengers, while the handicap car can seat up to three wheelchairs or roughly 12 passengers. A train composed of all five cars can carry 108 passengers. This can create capacity issues on the railroad's busiest days. To alleviate this issue, the railroad commenced construction on a fifth regular car, which is slightly different in construction, using modular seats for easier cleaning. Because the original car drawings are lost, the railroad had to resort to reverse-engineering one of the existing cars. The car, named LIVE OAK, entered revenue service on December 10, 2016. A full six-car train can seat up to 132 passengers at once, 120 if the handicap car is not used. In the following years, Cars 1-4 were rebuilt by volunteers to the same standards as LIVE OAK. In addition to the passenger cars, the railroad also owns a utility flat and a ballast hopper for work trains, plus three flatcars donated to the railroad in 2015, of which only one is rail-worthy and mainly used for storing the ramps used to get equipment on and off trucks. A self-propelled motorcar affectionately known as the \"Putt-Putt\" was used as a weedspraying car until it was scrapped sometime in 2012 for being unsafe, as well as the city forbidding the use of conventional weedspray in Vasona Park, forcing the railroad to use its own blend, as well as pull weeds by hand.\n\nParagraph 6: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.\n\nParagraph 7: Tosh becomes pregnant through the insemination and they announce this at Stan's birthday party, although she loses the baby soon after. Depressed at this, Tosh accepts Tina's nephew Dean Wicks' (Matt Di Angelo) offer of being a sperm donor, without Tina's knowledge or consent. Tina is angry when she finds out, but forgives Tosh and supports her when she discovers she is not pregnant again. They fall out when Tosh accuses her of not wanting a baby, and Tosh punches her after taunting her. Tina again forgives her and decides to try and reconcile Tosh with her family by arranging a lunch for them. Her mother Judy (Jo Martin) comes, but her father makes an excuse, uncomfortable with Tosh's sexuality due to his Christian faith. Judy storms out when Tina tells her about their attempts to have a baby, upsetting Tosh further. Tina is devastated when Stan reveals that he is dying from prostate cancer, and is even more upset when she learns that Stan knew about his illness 3 years prior to him telling the family. She and Tosh urge Stan to see a private doctor, however he reveals that Stan's cancer is too aggressive to be cured, which leaves Tina distraught. Tina supports Sonia when she falls ill, and she confides in her that she spent the money from the charity calendar she organised on a gastric band in Bulgaria, to impress her husband Martin (James Bye). Tosh returns home while Sonia is hiding in Tina's room, but she manages to sneak out before Tosh realizes. When Martin fails to turn up to the Christmas party for Sonia's group \"Fat Blasters\", Sonia decides to announce her actions but Tina urges her not to; however, before she can, she collapses. When the paramedics arrive, Tina reveals Sonia has had an operation to fit a gastric band, which shocks Carol and Martin. Babe leads Tosh to believe that Tina is having an affair with Sonia and when Tina denies this, Tosh viciously beats her. The next day, Tina decides that she cannot forgive Tosh for what she has done and thinks it best to move back to the Vic, while Tosh leaves Walford when Tina breaks up with her. Mick stops Tina assisting Stan's requested suicide. Tina is devastated by Stan's death and delivers the eulogy. Tina and Sonia become partners, splitting up briefly when Tina finds out Sonia cheated with her estranged husband Martin. They reconcile when Sonia helps Linda after she goes into premature labour.\n\nParagraph 8: In 2005, Les dumped Chesney on the Croppers to jet off to Spain for six weeks, upon his return he expressed. They came back, but Chesney said he hated it at home and wanted to go back to the Croppers. The couple then decided to get married for the \"luxurious\" presents they would receive from their guests. Les’ dream came true when his favourite band, Status Quo, popped into the Rovers after a concert in the area. As he approached the band with records for them to sign, they, in turn, thumped him (as they recognised him as the lunatic who jumped on stage at a concert some twenty years previous, causing a permanent neck injury to lead singer Francis Rossi). He didn't lose his faith in the Quo though, and didn't anticipate that they would soon meet again. Cilla quickly smelt a way to make money from this and told a reluctant Les to contact his solicitor in regards to suing the band for assault. In order to avoid the bad publicity, the band were eager to settle the case with Les quickly and quietly, but Cilla's dreams of riches were quickly dashed when accepting a cash offer, settled for the band to play at the wedding reception. On her hen night, Cilla found a younger bloke on her last night of freedom, but was interrupted by a drunk Les coming home, and she passed the man off as her older son, Billy, who had turned up for the wedding. but Les was too drunk to say anything and fell asleep, while the man ran off in disgust. The real Billy turned up on the morning of her wedding day, but told Les, who was baffled upon realising that the two men were different, that perhaps he was too drunk to even remember what he looked like. Les agreed and shrugged it off, and nothing more was said. Les and Cilla finally arranged their wedding day, despite the fact that the priest was a de-frocked clergyman, and they had to distract the real vicar while they \"married.\" Cilla smashed Tracy Barlow's (Kate Ford) window (due to the fact that she wouldn't hand over the bouquet of flowers for the ceremony because Cilla wouldn't pay up) and then ran to Dev Alahan’s (Jimmi Harkishin) shop and stole some flowers, before jumping into the wedding car heading towards the church. Les was driving when he spotted a member of Status Quo, took his eyes off the road to stare in amazement, and crashed into their van (with the other band member inside). Les put on a neck brace before \"tying the knot\" with Cilla, and they became known as Mr & Mrs. Battersby-Brown. The Quo turned up at a back room in the reception (where the presents were being kept) to rest. Les walked in, and told his idols that his dream was to trash a room with expensive things in. He duly wrecked everything, and threw a wedding-present TV out of the window as Cilla walked in to inform him that he had just trashed the presents. She went berserk and started attacking Les as the Quo watched in bursts of laughter, and the reception ended with the band agreeing to put past differences with Les behind, performing \"Rockin’ All Over the World\" with Les as a member of the band. Cilla then went on the honeymoon with her friend, Yana Lumb (Jayne Bickerton), instead of Les.\n\nParagraph 9: The Mailers Trade District Union (MTDU) was an internal part of the ITU. Lawsuits from 1926–1944 were fought for mailer rights. The MTDU was eventually abolished by court injunction and referendum vote. In 1929, ITU president Charles P. Howard selected third vice-president C. N. Smith (a printer) to represent the MTDU. The mailers were allowed to vote in 1930 for their MTDU representative; John Mc Ardle and Harold Mitchell served in 1934. Munro Roberts was elected as MTDU member of the executive council, (1935–1937) but he had no voice or vote. After many heated arguments with ITU President Howard and Secretary Randolph, Roberts became committed to a separate mailer union. Moreover, the International Mailers' Union (IMU), was created and many shops would have two boards, ITU and IMU. With the departure of Roberts, Thomas J. Martin represented the MTDU (1938–1944). The MTDU continued by court order; however, the mailers were again without an observer to the executive council. The 1947 Cleveland convention paved the way for the demise of the MTDU and the election of a mailer to the executive council. Joe Bailey (San Francisco–Oakland Mailers #M-18), was elected third vice-president before the 1948 Milwaukee convention. ITU President Woodruff Randolph saw a way to appease mailers returning after service in World War II. The agreement made between ITU President Randolph and Joe Bailey: only a Printer would ever be president, first and second Vice-President or Secretary-Treasurer of the ITU. The position of third Vice-President would be held only by a Mailer. The IMU lost much power to draw new membership. The IMU finally was finally fully merged into the ITU only in 1982, only five years before the union's demise. Joe Bailey served on the ITU executive council until 1973. A mailer would remain ITU third vice-president: Robert F. Ameln, (1974–1975) and the Canadian mailer, Allen J. Heritage, (1976–1986).\n\nParagraph 10: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \\exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, \"because nothing says musical theatre like a discussion about a Trappist monk.\" Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things (\"Now. Here. This.), then you will be truly present to experience \"more life.\" The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named \"Mr. Winston Sparkles\" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the \"Doc\" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the (\"Golden Palace\"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the (\"Finale\") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.\n\nParagraph 11: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as \"neither Western nor Arabesque, just Turkish pop\". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would \"sit on İzel's throne\", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single \"Yalanın Batsın\", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: \"I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything.\" Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for \"Yalanın Batsın\", separate clips were also released for \"Bunun Adı Ayrılık\" and \"Yoksa Mani\". Yener was put in danger of freezing while filming the music video for \"Bunun Adı Ayrılık\". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for \"Yalanın Batsın\" was awarded with the Best Music Video award together with Candan Erçetin's music video for \"Elbette\". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song \"Biz Atatürk Gençleriyiz\" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.\n\nParagraph 12: Czajkowski was born in Modlin and started fencing at the age of 14, while in high school. The outbreak of the Second World War interrupted his fencing career as, immediately after his graduation in 1939, he enlisted in the Polish Navy to fight the Nazis. In September 1939, Czajkowski, along with four other Polish sailors, was captured by the Soviet army and sent for interrogation to the city of Kobryn. He was fortunate to avoid execution as the commissar in Kobryn was not interested in Czajkowski and sent him home. Czajkowski then made his way back to the Soviet controlled Lwów and, while waiting to be allowed to cross the Romanian border to rejoin the Polish forces in France, continued his fencing training. In April 1940, while on his way to the border, Czajkowski was again arrested by Soviet soldiers and this time spent over a year in various Soviet prisons, being interrogated and tortured. He was then sent to the Soviet labor camp in Vorkuta, beyond the polar circle where he survived extremely harsh conditions until, in September 1941, the new head of the labor camp decided to free him. During all his time as a Soviet prisoner, one of Czajkowski's main diversions was to hold a wooden spoon in his hand as though it were a sabre and \"practice\" fencing - visualizing himself engaged in his favorite activity as a distraction from the hardships of his imprisonment. After being freed from Vorkuta, Czajkowski spent weeks making his way to Uzbekistan, where he stayed for several months working on cotton and rice plantations. Before leaving, he also spent some time coaching fencing. On February 5, 1942, his birthday, Czajkowski rejoined the Polish Navy. He eventually was stationed in Great Britain, at the Polish Naval Station in Plymouth. Soon after D-Day, Czajkowski received leave from the Navy and began studying medicine at the University of Edinburgh in Scotland. He fenced for the Edinburgh University fencing club and the Scottish Fencing Club. He also began to do some amateur coaching for the Polish Students Association in Great Britain. His son was born in Edinburgh 1 December 1945.\n\nParagraph 13: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.\n\nParagraph 14: Tosh becomes pregnant through the insemination and they announce this at Stan's birthday party, although she loses the baby soon after. Depressed at this, Tosh accepts Tina's nephew Dean Wicks' (Matt Di Angelo) offer of being a sperm donor, without Tina's knowledge or consent. Tina is angry when she finds out, but forgives Tosh and supports her when she discovers she is not pregnant again. They fall out when Tosh accuses her of not wanting a baby, and Tosh punches her after taunting her. Tina again forgives her and decides to try and reconcile Tosh with her family by arranging a lunch for them. Her mother Judy (Jo Martin) comes, but her father makes an excuse, uncomfortable with Tosh's sexuality due to his Christian faith. Judy storms out when Tina tells her about their attempts to have a baby, upsetting Tosh further. Tina is devastated when Stan reveals that he is dying from prostate cancer, and is even more upset when she learns that Stan knew about his illness 3 years prior to him telling the family. She and Tosh urge Stan to see a private doctor, however he reveals that Stan's cancer is too aggressive to be cured, which leaves Tina distraught. Tina supports Sonia when she falls ill, and she confides in her that she spent the money from the charity calendar she organised on a gastric band in Bulgaria, to impress her husband Martin (James Bye). Tosh returns home while Sonia is hiding in Tina's room, but she manages to sneak out before Tosh realizes. When Martin fails to turn up to the Christmas party for Sonia's group \"Fat Blasters\", Sonia decides to announce her actions but Tina urges her not to; however, before she can, she collapses. When the paramedics arrive, Tina reveals Sonia has had an operation to fit a gastric band, which shocks Carol and Martin. Babe leads Tosh to believe that Tina is having an affair with Sonia and when Tina denies this, Tosh viciously beats her. The next day, Tina decides that she cannot forgive Tosh for what she has done and thinks it best to move back to the Vic, while Tosh leaves Walford when Tina breaks up with her. Mick stops Tina assisting Stan's requested suicide. Tina is devastated by Stan's death and delivers the eulogy. Tina and Sonia become partners, splitting up briefly when Tina finds out Sonia cheated with her estranged husband Martin. They reconcile when Sonia helps Linda after she goes into premature labour.\n\nParagraph 15: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.\n\nParagraph 16: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.\n\nParagraph 17: Back at the Reebok Stadium against Huddersfield Town after an international break and two away matches, Bolton failed to capitalise on their previous home win against Millwall, falling to Oliver Norwood's second strike in two games, beating Andy Lonergan from 30 yards. In an attempt to bounce back from the two consecutive defeats, Dougie Freedman made five changes from the team that fell at home to Huddersfield Town. André Moritz, who retained his place from the previous game, set up Joe Mason to score on his full debut before scoring himself from long range. Neil Danns wrapped things up in second half stoppage time to push Bolton back up to 15th place. Bolton faced Wigan on 15 December at the DW Stadium. As ex-Bolton manager Owen Coyle had been sacked by Wigan in the week preceding the match, new manager we Rösler]] was looking to win in his first home game. Wigan were 2–0 up at half-time. They opened the scoring when Matt Mills was adjudged to have handled the ball in the box and Ben Watson subsequently dispatched the resulting penalty, before on-loan Nick Powell scored on 25 minutes. Bolton levelled 20 minutes after the break, their first goal coming four minutes after the restart, Neil Danns scoring his third goal for the club and the second came when Lee Chung-Yong was kicked in the penalty area, giving André Moritz the chance to put away the spot-kick for his third. However, just four minutes later, Wigan restored their lead through Callum McManaman to send Bolton home with no points. Bolton entered Christmas in 18th place thanks to a 1–1 draw with Charlton Athletic at the Reebok Stadium. They fell behind to a goal from Yann Kermorgant before equalising with Kevin McNaughton's first goal since 2008. Bolton won against Barnsley on Boxing Day, with Neil Danns scoring in the last game of his loan spell, as he was unable to play against Leicester City, his parent club, that weekend. Bolton's final game of the year was a thrilling affair with eight goals being shared between the two sides. Bolton finished on the wrong end of the scoreline; with Leicester winning 5–3. Leicester took the lead through former United player Danny Drinkwater before goals from André Moritz and Jermaine Beckford turned the tie in Bolton's favour. Leicester equalised when Anthony Knockaert scored but Moritz scored his second just a few minutes later. Leicester equalised a second time when Tim Ream deflected into his own net just before half-time. Leicester scored two more in the second half; Lloyd Dyer and Gary Taylor-Fletcher earning the three points for Leicester.\n\nParagraph 18: The sacrifices of God are a broken spirit;a broken and a contrite heart, O God, Thou wilt not despise.Verse 19 in the Hebrew (verse 17 in many modern English translations) suggests that God desires a \"broken and contrite heart\" more than he does sacrificial offerings. The idea of using brokenheartedness as a way to reconnect to God was emphasized in numerous teachings by Rebbe Nachman of Breslov. In Sichot HaRan #41 he taught: \"It would be very good to be brokenhearted all day. But for the average person, this can easily degenerate into depression. You should therefore set aside some time each day for heartbreak. You should isolate yourself with a broken heart before God for a given time. But the rest of the day you should be joyful\".\n\nParagraph 19: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \\exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, \"because nothing says musical theatre like a discussion about a Trappist monk.\" Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things (\"Now. Here. This.), then you will be truly present to experience \"more life.\" The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named \"Mr. Winston Sparkles\" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the \"Doc\" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the (\"Golden Palace\"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the (\"Finale\") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.\n\nParagraph 20: \"For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty as a platoon commander with the 3rd Force Reconnaissance Company. While on a long-range reconnaissance mission, 2d Lt. Graves' eight-man patrol observed seven enemy soldiers approaching their position. Reacting instantly, he deployed his men and directed their fire on the approaching enemy. After the fire had ceased, he and two patrol members commenced a search of the area, and suddenly came under a heavy volume of hostile small arms and automatic weapons fire from a numerically superior enemy force. When one of his men was hit by the enemy fire, 2d Lt. Graves moved through the fire-swept area to his radio and, while directing suppressive fire from his men, requested air support and adjusted a heavy volume of artillery and helicopter gunship fire upon the enemy. After attending the wounded, 2d Lt. Graves, accompanied by another Marine, moved from his relatively safe position to confirm the results of the earlier engagement. Observing that several of the enemy were still alive, he launched a determined assault, eliminating the remaining enemy troops. He then began moving the patrol to a landing zone for extraction, when the unit again came under intense fire which wounded two more Marines and 2d Lt. Graves. Refusing medical attention, he once more adjusted air strikes and artillery fire upon the enemy while directing the fire of his men. He led his men to a new landing site into which he skillfully guided the incoming aircraft and boarded his men while remaining exposed to the hostile fire. Realizing that one of the wounded had not embarked, he directed the aircraft to depart and, along with another Marine, moved to the side of the casualty. Confronted with a shortage of ammunition, 2d Lt. Graves utilized supporting arms and directed fire until a second helicopter arrived. At this point, the volume of enemy fire intensified, hitting the helicopter and causing it to crash shortly after liftoff. All aboard were killed. 2d Lt. Graves' outstanding courage, superb leadership and indomitable fighting spirit throughout the day were in keeping with the highest traditions of the Marine Corps and the United States Navy. He gallantly gave his life for his country.\"\n\nParagraph 21: US 25, US 301, and SR 73 immediately curve back to the north-northwest and cross over Scott Creek. After curving back to the north-northeast, they pass Nevils Pond. They curve back to the north-northwest and have an interchange with Interstate 16 (I-16; Jim Gillis Highway). The concurrency becomes known as Jones Lane Memorial Highway. The three highways curve back to the north-northeast and then intersect SR 46. After curving to the northeast, they cross over Lotts Creek and then begin paralleling some railroad tracks of Norfolk Southern Railway (NS). They pass East Georgia State College's Statesboro campus, a Georgia State Patrol post, and Ogeechee Technical College just before entering Statesboro. Immediately after entering the city limits, they intersect SR 67 Byp., as well as the southern terminus of US 25 Byp., US 301 Byp., and SR 73 Byp. (Veterans Memorial Parkway). They intersect the eastern terminus of Rucker Lane and the western terminus of Old Register Road, the latter of which leads to Georgia Southern University (GSU). A short distance later, they meet the northern terminus of Parrish Drive, which also leads to GSU. Just before the intersection with the southern terminus of Azalea Drive, the three highways curve to the north-northeast. At this intersection, they begin paralleling the eastern edge of W. Jones Lane Memorial Park. They intersect the northern terminus of Southern Drive, which is the last access road for GSU. They cross over Beautiful Eagle Creek and then intersect Tillman Road. Here, they leave the memorial park and enter downtown Statesboro. They cross over Little Lotts Creek and then over the NS railroad line they were paralleling. Then, they intersect SR 67 (Fair Road), which joins the concurrency. The four highways intersect Grady Street, which leads to the city's police and fire departments. Just north of this intersection, they pass the Statesboro–Bulloch County Library. An intersection with the eastern terminus of Bulloch Street leads to the Statesboro–Bulloch County Recycling Center. An intersection with the eastern terminus of West Main Street and the western terminus of East Main Street leads to Averitt Arts Center. On the northeastern corner of this intersection is the Bulloch County Courthouse. Just south of an intersection with the eastern terminus of Elm Street, the concurrency curves to the north-northwest. They intersect US 80/SR 26 (Northside Drive). Here, US 25 and SR 67 depart the concurrency to the left. At an intersection with Parrish Street, US 301 and SR 73 turn right and travel to the east-northeast and make a very gradual curve to the northeast. Just before an intersection with the southern terminus of Mathews Road, they cross over the NS railroad line. They intersect the northern terminus of US 301 Byp./SR 73 Byp. (Veterans Memorial Parkway), which leads to Willingway Hospital. This intersection is immediately before the highways leave Statesboro. They cross over Mill Creek then curve to the north-northeast. They intersect the eastern terminus of Holland Industrial Park and the western terminus of Statesboro Airport Road, the latter of which leads to Statesboro–Bulloch County Airport. They travel through rural areas of the county and cross over the Ogeechee River and enter Screven County.\n\nParagraph 22: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as \"neither Western nor Arabesque, just Turkish pop\". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would \"sit on İzel's throne\", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single \"Yalanın Batsın\", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: \"I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything.\" Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for \"Yalanın Batsın\", separate clips were also released for \"Bunun Adı Ayrılık\" and \"Yoksa Mani\". Yener was put in danger of freezing while filming the music video for \"Bunun Adı Ayrılık\". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for \"Yalanın Batsın\" was awarded with the Best Music Video award together with Candan Erçetin's music video for \"Elbette\". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song \"Biz Atatürk Gençleriyiz\" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.\n\nParagraph 23: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.\n\nParagraph 24: The mathematical expression of the law can be derived as following. Electrical conduction of metals is a well-known phenomenon and is attributed to the free conduction electrons, which can be measured as sketched in the figure. The current density j is observed to be proportional to the applied electric field and follows Ohm's law where the prefactor is the specific electrical conductivity. Since the electric field and the current density are vectors Ohm's law is expressed here in bold face. The conductivity can in general be expressed as a tensor of the second rank (3×3 matrix). Here we restrict the discussion to isotropic, i.e. scalar conductivity. The specific resistivity is the inverse of the conductivity. Both parameters will be used in the following.\n\nParagraph 25: Czajkowski was born in Modlin and started fencing at the age of 14, while in high school. The outbreak of the Second World War interrupted his fencing career as, immediately after his graduation in 1939, he enlisted in the Polish Navy to fight the Nazis. In September 1939, Czajkowski, along with four other Polish sailors, was captured by the Soviet army and sent for interrogation to the city of Kobryn. He was fortunate to avoid execution as the commissar in Kobryn was not interested in Czajkowski and sent him home. Czajkowski then made his way back to the Soviet controlled Lwów and, while waiting to be allowed to cross the Romanian border to rejoin the Polish forces in France, continued his fencing training. In April 1940, while on his way to the border, Czajkowski was again arrested by Soviet soldiers and this time spent over a year in various Soviet prisons, being interrogated and tortured. He was then sent to the Soviet labor camp in Vorkuta, beyond the polar circle where he survived extremely harsh conditions until, in September 1941, the new head of the labor camp decided to free him. During all his time as a Soviet prisoner, one of Czajkowski's main diversions was to hold a wooden spoon in his hand as though it were a sabre and \"practice\" fencing - visualizing himself engaged in his favorite activity as a distraction from the hardships of his imprisonment. After being freed from Vorkuta, Czajkowski spent weeks making his way to Uzbekistan, where he stayed for several months working on cotton and rice plantations. Before leaving, he also spent some time coaching fencing. On February 5, 1942, his birthday, Czajkowski rejoined the Polish Navy. He eventually was stationed in Great Britain, at the Polish Naval Station in Plymouth. Soon after D-Day, Czajkowski received leave from the Navy and began studying medicine at the University of Edinburgh in Scotland. He fenced for the Edinburgh University fencing club and the Scottish Fencing Club. He also began to do some amateur coaching for the Polish Students Association in Great Britain. His son was born in Edinburgh 1 December 1945.\n\nParagraph 26: The Mailers Trade District Union (MTDU) was an internal part of the ITU. Lawsuits from 1926–1944 were fought for mailer rights. The MTDU was eventually abolished by court injunction and referendum vote. In 1929, ITU president Charles P. Howard selected third vice-president C. N. Smith (a printer) to represent the MTDU. The mailers were allowed to vote in 1930 for their MTDU representative; John Mc Ardle and Harold Mitchell served in 1934. Munro Roberts was elected as MTDU member of the executive council, (1935–1937) but he had no voice or vote. After many heated arguments with ITU President Howard and Secretary Randolph, Roberts became committed to a separate mailer union. Moreover, the International Mailers' Union (IMU), was created and many shops would have two boards, ITU and IMU. With the departure of Roberts, Thomas J. Martin represented the MTDU (1938–1944). The MTDU continued by court order; however, the mailers were again without an observer to the executive council. The 1947 Cleveland convention paved the way for the demise of the MTDU and the election of a mailer to the executive council. Joe Bailey (San Francisco–Oakland Mailers #M-18), was elected third vice-president before the 1948 Milwaukee convention. ITU President Woodruff Randolph saw a way to appease mailers returning after service in World War II. The agreement made between ITU President Randolph and Joe Bailey: only a Printer would ever be president, first and second Vice-President or Secretary-Treasurer of the ITU. The position of third Vice-President would be held only by a Mailer. The IMU lost much power to draw new membership. The IMU finally was finally fully merged into the ITU only in 1982, only five years before the union's demise. Joe Bailey served on the ITU executive council until 1973. A mailer would remain ITU third vice-president: Robert F. Ameln, (1974–1975) and the Canadian mailer, Allen J. Heritage, (1976–1986).\n\nParagraph 27: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.\n\nParagraph 28: The mathematical expression of the law can be derived as following. Electrical conduction of metals is a well-known phenomenon and is attributed to the free conduction electrons, which can be measured as sketched in the figure. The current density j is observed to be proportional to the applied electric field and follows Ohm's law where the prefactor is the specific electrical conductivity. Since the electric field and the current density are vectors Ohm's law is expressed here in bold face. The conductivity can in general be expressed as a tensor of the second rank (3×3 matrix). Here we restrict the discussion to isotropic, i.e. scalar conductivity. The specific resistivity is the inverse of the conductivity. Both parameters will be used in the following.\n\nParagraph 29: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \\exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, \"because nothing says musical theatre like a discussion about a Trappist monk.\" Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things (\"Now. Here. This.), then you will be truly present to experience \"more life.\" The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named \"Mr. Winston Sparkles\" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the \"Doc\" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the (\"Golden Palace\"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the (\"Finale\") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.\n\nParagraph 30: Live & Kicking is a British children's television series that originally aired on BBC1 from 2 October 1993 to 15 September 2001. It was the replacement for Going Live!, and took many of its features from it, such as phone-ins, games, comedy, competitions and the showing of cartoons. Once Live & Kicking had become established in series two, it reached its height in popularity during series four, when it was presented by Zoe Ball and Jamie Theakston; their final edition won a BAFTA award. After this the programme's ratings dropped with the launch of SMTV Live on ITV and the show ended in 2001.\n\nParagraph 31: The Naassene work known to Hippolytus would seem to have been of what we may call a devotional character rather than a formal exposition of doctrine, and this perhaps is why it is difficult to draw from the accounts left us a thoroughly consistent scheme. Thus, as we proceed, we are led to think of the first principle of nature, not as a single threefold being, but as three distinct substances; on the one hand the pre-existent, otherwise spoken of as the Good being, on the other hand the \"outpoured Chaos,\" intermediate, between these one called Autogenes, and also the Logos. Chaos is naturally destitute of forms or qualities; neither does the preexistent being himself possess form, for though the cause of everything that comes into being, it is itself none of them, but only the seed from which they spring. The Logos is the mediator which draws forms from above and transfers them to the world below. Yet he seems to have a rival in this work; for we have reference made to a fourth being, whence or how brought into existence we are not told, a \"fiery God,\" Esaldaios, the father of the idikos kosmos. That is to say, it was this fiery being, the same who appeared to Moses in the burning bush, who gave forms to the choical or purely material parts of nature. It is he who supplies the fiery heat of generation by which these forms are still continued. In this work the Logos had no part, for \"all things were made through him, and without him was made nothing.\" The \"nothing\" that was made without him is the kosmos idikos. On the other hand, it is the Logos, who is identified with the serpent, and this again with the principle of Water, who brings down the pneumatic and psychical elements, so that through him man became a living soul. But he has now to do a greater work, namely, to provide for the release of the higher elements now enslaved under the dominion of matter, and for their restoration to the good God.\n\nParagraph 32: X-Men Legends was announced in a press release by Activision on April 23, 2003. The game is Raven Software's first console title; after a number of successful titles for personal computers, it wanted to expand into the console market. The company developed the three console versions simultaneously, and used Vicarious Visions' Alchemy engine as a base for the game.  After deciding to make an \"X-Men RPG\", staff began brainstorming story, gameplay and design ideas. Raven wanted to feature a team-based dynamic, something it felt was absent in previous X-Men games. The original concept featured turned-based gameplay, similar to a Final Fantasy game. However, the team concluded that players would prefer more action that allowed control of the character's super powers. The genre switch proved problematic to maintaining the team aspect of gameplay.\n\nParagraph 33: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said \"The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change\" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated \"The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act\". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 \"The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions.\"\n\nParagraph 34: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said \"The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change\" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated \"The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act\". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 \"The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions.\"\n\nParagraph 35: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  (\"the Islands of the Foreigners\") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.\n\nParagraph 36: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said \"The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change\" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated \"The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act\". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 \"The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions.\"\n\nParagraph 37:  Studio albums Wa Fatimatah (O Fatima) (1993) [Um al-Banin Foundation]Wa Tabqa Lana (It Remains For Us) (2000) [Um al-Banin Foundation]Ya Hussain (O' Husayn) (2002) [Karbala Records]Labayk Ya Husayn (Here We Are O' Husayn) (2003) [Karbala Records]al-Razaya (The Tragedies) (2003) [Karbala  Records]al-Imam al-Hassan al-Masmoom (Imam Hassan the Poisoned) [Fadak Records]al-Zahra Fi Karbala (Zahra in Karbala) (2004) [Karbala  Records]Al-Adl al-Samawi (Justice of the Skies) (2004) [Aniss al-Nofoss]Ya Fatima (O' Fatima) (2004) [Karbala  Records]Bintu Muhammad (Muhammad's Daughter) (2004) [al-Thaqalayn Records]Wali Allah (Guardian of Allah) (2004) [al-Thaqalayn Records]Awdat al-Sabaya (Return of the Captives) (2004) [Karbala Records]Nowh Iw Dami (Wails and Tears) (2004) [al-Thaqalayn Records]Karbala (2005) [Karbala Records]Mata al-Multaqa (When Is The Meeting) (2005) [al-Thaqalayn Records]Uqsuduni (Come to Me) (2005) [Karbala  Records]Baad Ma Ashufak (I Will Not See You Again) (2006) [Anwar al-Huda Records]Wahi al-Qawafi (Soul of the Words) (2006) [al-Thaqalayn Records]Qaws al-Sama' (Bow of the Sky) (2006) [Karbala Records]Ya Bab Fatima (O' Door of Fatima) (2006) [Karbala Records]Usali Alayka (I Pray Upon You) (2007) [al-Hayat Media]Kalim al-Husayn (He Who Speaks to Husayn) (2007) [Thulfqiar Centre]Sawad al-Layl (The Darkness of the Night) (2007) [al-Faqih Library]Wujudun Li Wujudi (Presence To My Presence) (2007) [ِAnwar al-Huda]Sarab (Oasis) (2007) [al-Thaqalayn Records]Lahn al-Dima (The Melody of Blood) (2008) [al-Hayat Media]Lil Bukaa Baqiya (There Is Still Time To Mourn) (January, 2008) [al-Hayat Media]Kahf al-Wara (The Cave of the World) (January, 2008) [al-Thaqalayn Records]Sawt al-Rayah (The Voice of the Banner) (February, 2008) [al-Raya al-Imamiya]Bani Hashim (January, 2009) [al-Thaqalayn Records]Ayat al-Sabr (Verse of Patience) (January, 2009) [Anwar al-Huda)al-Mahkamah (The Court) (February, 2009) [al-Raya al-Imamiya]Shajar al-Arak (Tree of Arak) (December, 2009) [al-Faqih Library]Inaha Taqool (She Says) (December, 2009) [BK Media]Qul Ma Tasha (Say What You Like) (December, 2010) [al-Thaqalayn Records]Ra'ayt al-Husayn (I Saw Husayn) (December, 2010) [Anwar al-Huda]Uthama (Greats) (June, 2010) [Thulfiqar Centre]Tezuruni (You Visit Me) (January, 2011) [Karbala Records]Shams (Sun) (November, 2011) [al-Ahrar Media]Laka Antami (I Belong To You) (November, 2011) [ِAnwar al-Huda]Yisajelny (He Registers Me) (December, 2011) [BK Media]Majaninak (Your Insanes) (November, 2012) [BK Media]Kuntu Wala Zilt (I Was, And Remain) (November, 2012) [BK Media]Uthama 2 (Greats 2) (July, 2013) [Thulfiqar Centre]Hathihi al-Hikaya (This Story) (November, 2013) [BK Media]Tilka al-Sarkha (That Scream) (November, 2013) [BK Media]Qaedona al-Husayn (Our Leader is Husayn) (October, 2014) [BK Media]Salla al-Mawt (Death Prayed) (October, 2014) [BK Media]Maat al-Maa (Water is Dead) (October, 2015) [BK Media]Yawm al-Arbaeen (The Day of Arbaeen) (November, 2015) [BK Media]Banat al-Nabi (Daughters of the Prophet) (September, 2016) [BK Media]Basim (September, 2017) [BK Media]1440 (September , 2018) [BK Media]1443 (July , 2021) [BK Media]1444 (July , 2022) [BK Media]\n\nParagraph 38: Back at the Reebok Stadium against Huddersfield Town after an international break and two away matches, Bolton failed to capitalise on their previous home win against Millwall, falling to Oliver Norwood's second strike in two games, beating Andy Lonergan from 30 yards. In an attempt to bounce back from the two consecutive defeats, Dougie Freedman made five changes from the team that fell at home to Huddersfield Town. André Moritz, who retained his place from the previous game, set up Joe Mason to score on his full debut before scoring himself from long range. Neil Danns wrapped things up in second half stoppage time to push Bolton back up to 15th place. Bolton faced Wigan on 15 December at the DW Stadium. As ex-Bolton manager Owen Coyle had been sacked by Wigan in the week preceding the match, new manager we Rösler]] was looking to win in his first home game. Wigan were 2–0 up at half-time. They opened the scoring when Matt Mills was adjudged to have handled the ball in the box and Ben Watson subsequently dispatched the resulting penalty, before on-loan Nick Powell scored on 25 minutes. Bolton levelled 20 minutes after the break, their first goal coming four minutes after the restart, Neil Danns scoring his third goal for the club and the second came when Lee Chung-Yong was kicked in the penalty area, giving André Moritz the chance to put away the spot-kick for his third. However, just four minutes later, Wigan restored their lead through Callum McManaman to send Bolton home with no points. Bolton entered Christmas in 18th place thanks to a 1–1 draw with Charlton Athletic at the Reebok Stadium. They fell behind to a goal from Yann Kermorgant before equalising with Kevin McNaughton's first goal since 2008. Bolton won against Barnsley on Boxing Day, with Neil Danns scoring in the last game of his loan spell, as he was unable to play against Leicester City, his parent club, that weekend. Bolton's final game of the year was a thrilling affair with eight goals being shared between the two sides. Bolton finished on the wrong end of the scoreline; with Leicester winning 5–3. Leicester took the lead through former United player Danny Drinkwater before goals from André Moritz and Jermaine Beckford turned the tie in Bolton's favour. Leicester equalised when Anthony Knockaert scored but Moritz scored his second just a few minutes later. Leicester equalised a second time when Tim Ream deflected into his own net just before half-time. Leicester scored two more in the second half; Lloyd Dyer and Gary Taylor-Fletcher earning the three points for Leicester.\n\nParagraph 39: In 1992, Vampiro would be part of multiple hair vs hair matches. The first of which would be on March 21 defeating Bestia Negra II. Throughout the months Vampiro would beat Rick Patterson, Pirata Morgan, Aaron Grundy and Sangre Chicana in hair vs hair matches. In late 1992, Vampiro participated in the CMLL World Heavyweight Championship tournament and reached the semi-final before being defeated by Black Magic. In early 1993, Vampiro would team up with Pierroth Jr. to take part in the CMLL World Tag Team Championship tournament and progressed to the final where the two would take on Dr. Wagner Jr. and El Canek in a best two out of three falls match. Going into the last match between the two teams where drawing with one win each,  Dr. Wagner Jr. and El Canek would win the last match and therefore the vacant CMLL World Tag Team Championship. In the first round of the Gran Prix 1994 he lost to Yamato. In mid to late 1994, Vampiro would begin to team up with Pegasus Kid, along with El Rayo de Jalisco Jr, in the final of the Trios Tournament. The trio would lose to El Dandy, El Texano and Silver King. Vampiro and Pegasus Kid later fell to El Texano and Silver King in the quarterfinals of the CMLL World Tag Team Championship number one contendership tournament. Vampiro would go on to team up with Apolo Dantés and lost to Dr. Wagner Jr. & Pierroth Jr. in the semi-final of the CMLL World Tag Team Championship number two contendership tournament. In July 1995, Vampiro reached the final of the Gran Prix 1995 before being defeated by Headhunter A. In what was perhaps the biggest match of his career to this point, he took on Apolo Dantes in a best out of three falls match for the CMLL World Heavyweight Championship. In 1996, Vampiro would leave CMLL to join other top Mexican promotions such as International Wrestling Revolution Group (IWRG), Lucha Libre AAA World Wide (AAA) and Promo Azteca (AZTECAS). However, in 1998 he would return to CMLL and would take part in the CMLL World Trios Championship tournament and Gran Prix 1998, ultimately winning neither. His last match for CMLL for many years would take place on December 11, 1998.\n\nParagraph 40: X-Men Legends was announced in a press release by Activision on April 23, 2003. The game is Raven Software's first console title; after a number of successful titles for personal computers, it wanted to expand into the console market. The company developed the three console versions simultaneously, and used Vicarious Visions' Alchemy engine as a base for the game.  After deciding to make an \"X-Men RPG\", staff began brainstorming story, gameplay and design ideas. Raven wanted to feature a team-based dynamic, something it felt was absent in previous X-Men games. The original concept featured turned-based gameplay, similar to a Final Fantasy game. However, the team concluded that players would prefer more action that allowed control of the character's super powers. The genre switch proved problematic to maintaining the team aspect of gameplay.\n\nParagraph 41: In 1992, Vampiro would be part of multiple hair vs hair matches. The first of which would be on March 21 defeating Bestia Negra II. Throughout the months Vampiro would beat Rick Patterson, Pirata Morgan, Aaron Grundy and Sangre Chicana in hair vs hair matches. In late 1992, Vampiro participated in the CMLL World Heavyweight Championship tournament and reached the semi-final before being defeated by Black Magic. In early 1993, Vampiro would team up with Pierroth Jr. to take part in the CMLL World Tag Team Championship tournament and progressed to the final where the two would take on Dr. Wagner Jr. and El Canek in a best two out of three falls match. Going into the last match between the two teams where drawing with one win each,  Dr. Wagner Jr. and El Canek would win the last match and therefore the vacant CMLL World Tag Team Championship. In the first round of the Gran Prix 1994 he lost to Yamato. In mid to late 1994, Vampiro would begin to team up with Pegasus Kid, along with El Rayo de Jalisco Jr, in the final of the Trios Tournament. The trio would lose to El Dandy, El Texano and Silver King. Vampiro and Pegasus Kid later fell to El Texano and Silver King in the quarterfinals of the CMLL World Tag Team Championship number one contendership tournament. Vampiro would go on to team up with Apolo Dantés and lost to Dr. Wagner Jr. & Pierroth Jr. in the semi-final of the CMLL World Tag Team Championship number two contendership tournament. In July 1995, Vampiro reached the final of the Gran Prix 1995 before being defeated by Headhunter A. In what was perhaps the biggest match of his career to this point, he took on Apolo Dantes in a best out of three falls match for the CMLL World Heavyweight Championship. In 1996, Vampiro would leave CMLL to join other top Mexican promotions such as International Wrestling Revolution Group (IWRG), Lucha Libre AAA World Wide (AAA) and Promo Azteca (AZTECAS). However, in 1998 he would return to CMLL and would take part in the CMLL World Trios Championship tournament and Gran Prix 1998, ultimately winning neither. His last match for CMLL for many years would take place on December 11, 1998.\n\nParagraph 42: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.\n\nParagraph 43: In 2005, Les dumped Chesney on the Croppers to jet off to Spain for six weeks, upon his return he expressed. They came back, but Chesney said he hated it at home and wanted to go back to the Croppers. The couple then decided to get married for the \"luxurious\" presents they would receive from their guests. Les’ dream came true when his favourite band, Status Quo, popped into the Rovers after a concert in the area. As he approached the band with records for them to sign, they, in turn, thumped him (as they recognised him as the lunatic who jumped on stage at a concert some twenty years previous, causing a permanent neck injury to lead singer Francis Rossi). He didn't lose his faith in the Quo though, and didn't anticipate that they would soon meet again. Cilla quickly smelt a way to make money from this and told a reluctant Les to contact his solicitor in regards to suing the band for assault. In order to avoid the bad publicity, the band were eager to settle the case with Les quickly and quietly, but Cilla's dreams of riches were quickly dashed when accepting a cash offer, settled for the band to play at the wedding reception. On her hen night, Cilla found a younger bloke on her last night of freedom, but was interrupted by a drunk Les coming home, and she passed the man off as her older son, Billy, who had turned up for the wedding. but Les was too drunk to say anything and fell asleep, while the man ran off in disgust. The real Billy turned up on the morning of her wedding day, but told Les, who was baffled upon realising that the two men were different, that perhaps he was too drunk to even remember what he looked like. Les agreed and shrugged it off, and nothing more was said. Les and Cilla finally arranged their wedding day, despite the fact that the priest was a de-frocked clergyman, and they had to distract the real vicar while they \"married.\" Cilla smashed Tracy Barlow's (Kate Ford) window (due to the fact that she wouldn't hand over the bouquet of flowers for the ceremony because Cilla wouldn't pay up) and then ran to Dev Alahan’s (Jimmi Harkishin) shop and stole some flowers, before jumping into the wedding car heading towards the church. Les was driving when he spotted a member of Status Quo, took his eyes off the road to stare in amazement, and crashed into their van (with the other band member inside). Les put on a neck brace before \"tying the knot\" with Cilla, and they became known as Mr & Mrs. Battersby-Brown. The Quo turned up at a back room in the reception (where the presents were being kept) to rest. Les walked in, and told his idols that his dream was to trash a room with expensive things in. He duly wrecked everything, and threw a wedding-present TV out of the window as Cilla walked in to inform him that he had just trashed the presents. She went berserk and started attacking Les as the Quo watched in bursts of laughter, and the reception ended with the band agreeing to put past differences with Les behind, performing \"Rockin’ All Over the World\" with Les as a member of the band. Cilla then went on the honeymoon with her friend, Yana Lumb (Jayne Bickerton), instead of Les.\n\nParagraph 44: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \\exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, \"because nothing says musical theatre like a discussion about a Trappist monk.\" Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things (\"Now. Here. This.), then you will be truly present to experience \"more life.\" The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named \"Mr. Winston Sparkles\" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the \"Doc\" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the (\"Golden Palace\"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the (\"Finale\") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.\n\nParagraph 45: The railroad owns five open-air passenger cars, four of which came from Billy Jones' ranch, and were originally built for the Overfair Railway at the 1915 Panama–Pacific International Exposition (other cars and locomotives from the railway are currently at the Swanton Pacific Railroad), and a special handicap car for wheelchair passengers built in the mid-1990s for ADA compliance. Each of the regular cars can seat up to 24 passengers, while the handicap car can seat up to three wheelchairs or roughly 12 passengers. A train composed of all five cars can carry 108 passengers. This can create capacity issues on the railroad's busiest days. To alleviate this issue, the railroad commenced construction on a fifth regular car, which is slightly different in construction, using modular seats for easier cleaning. Because the original car drawings are lost, the railroad had to resort to reverse-engineering one of the existing cars. The car, named LIVE OAK, entered revenue service on December 10, 2016. A full six-car train can seat up to 132 passengers at once, 120 if the handicap car is not used. In the following years, Cars 1-4 were rebuilt by volunteers to the same standards as LIVE OAK. In addition to the passenger cars, the railroad also owns a utility flat and a ballast hopper for work trains, plus three flatcars donated to the railroad in 2015, of which only one is rail-worthy and mainly used for storing the ramps used to get equipment on and off trucks. A self-propelled motorcar affectionately known as the \"Putt-Putt\" was used as a weedspraying car until it was scrapped sometime in 2012 for being unsafe, as well as the city forbidding the use of conventional weedspray in Vasona Park, forcing the railroad to use its own blend, as well as pull weeds by hand.\n\nParagraph 46: The sacrifices of God are a broken spirit;a broken and a contrite heart, O God, Thou wilt not despise.Verse 19 in the Hebrew (verse 17 in many modern English translations) suggests that God desires a \"broken and contrite heart\" more than he does sacrificial offerings. The idea of using brokenheartedness as a way to reconnect to God was emphasized in numerous teachings by Rebbe Nachman of Breslov. In Sichot HaRan #41 he taught: \"It would be very good to be brokenhearted all day. But for the average person, this can easily degenerate into depression. You should therefore set aside some time each day for heartbreak. You should isolate yourself with a broken heart before God for a given time. But the rest of the day you should be joyful\".\n\nParagraph 47: The first review was published by Game Informer, which gave the game 7.75 out of 10, saying that \"Need for Speed: The Run is by no stretch a bad game; it just fails to capitalize on its chances. San Francisco to New York is a long haul, and it's even longer when not enough happens in between.\" A couple more positive reviews include GameTrailers, which gave it an 8.4 out of 10, writing \"Need for Speed: The Run falters with its high-profile but underdeveloped plot as well as some awkward design choices. However, it overcomes these potholes with courses that are a blast to drive and simple multiplayer that keeps you hooked in.\" IGN gave it a 6.5 \"Okay\" rating, stating \"All this awesome racing action gets somewhat lost amid the nonexistent story, the dumb/scripted AI, the lack of options, and the overall shortness of the game. The Run is not a marathon racing game, it's a quick and dirty drag race.\" 1UP gave it a C+, stating \"The Run takes an awkwardly serious approach to its story (...) to deliver a cross-country campaign that's sometimes exhilarating, but often frustrating and surprisingly banal.\" Eurogamer gave it 5 out of 10, saying \"The worst of the game's technical sins is performance, with appallingly low frame rates in our patched PS3 retail version when you brake suddenly or drift through many a corner.\" GamesRadar was more positive to the game, which gave it 8 out of 10, and stated \"It's possible Need for Speed The Run won't provide as many hours of entertainment as previous NFS games, but then it packs in unique events and some incredibly exciting chase sequences, meaning it packs a lot of entertainment-per-hour. It's not very forgiving of mistakes, but then it provides greater rewards as a result.\" VideoGamer gave it 6 out of 10, saying \"The Run certainly isn't terrible, and a big improvement on Black Box's previous effort, Undercover, but it needed more moments like the avalanche and less monotonous freeways. With the campaign over in an afternoon and the rest of the package failing to offer anything to keep you playing, The Run is some decent throwaway fun that will be forgotten as soon as you move on to something else.\" GamePro gave it 6 out of 10, writing \"The journey across America is beautifully rendered, capturing the varied landscapes spectacularly as you travel over the Sierra, across the Great Plains, and head towards the East Coast. The quality of the movies is very good too, and the characters' faces are nicely rendered to convey emotion. But the story and the gameplay just don't hold up their side of the bargain, and the game ends up falling short of its considerable potential.\" Edge gave it one of its lowest scores, a 3 out of 10, saying \"The notion that playing games is a waste of your time is nonsense, of course, but... stuffed with a procession of long-winded loading sequences, protracted menu flipping and unskippable cutscenes, it often feels like there's as much watching as there is playing. Time wasted, in other words.\" They criticized the many technical and graphical glitches, saying \"sometimes the lighting effects mix textures into strange oily swirls, while at other times it feels like you're driving one big polygon.\" However, in the post script, they did concede that, while flawed, the game does have a clever concept and occasionally delivers those rare feelings of escapism that many arcade-style racers strive for: \"The Run'' may not have much else going for it, but in its unusual approach to the genre it at least tries to do something new.\"\n\nParagraph 48: The album features fourteen brand new Van Zandt compositions.  The singer's third wife Jeanene recalls in To Live's To Fly finding the lyrics to \"A Song For\" scribbled on a notepad and, after reading them, tearfully said, \"Townes, this new song is so beautiful.  It's bound to be my favorite,\" to which Van Zandt replied, \"Song my ass...That's a suicide note.\"  The album features some lighter moments, such as the comical \"Billy, Boney and Ma\" and the bluesy \"Goin' Down To Memphis\", and some heartfelt moments as well, with Van Zandt including lullabies to his two youngest children, \"Hey Willy Boy\" and \"Katie Belle Blue\" (the liner notes include a dedication \"to John (JT), Will, and Katie Bell\").  In a 1994 interview, Van Zandt explained to Aretha Sills, \"One is for my wife called 'Lover’s Lullaby'. And one I wrote for money, about Will, who’s eleven. Got a phone call from a record company, said we’re putting together an album of lullabies. I said, 'I'm not sure I have any lullabies.' 'Well, there’s money in it.' 'Oh, Yeah! I got one. I got a good one!' So I sat up 'til four o’clock in the morning and wrote 'Hey Willie Boy', and it’s a really pretty song. And then 'Katie Belle Blue' I wrote from love, to put Katie Belle to sleep.\"  However, these light-hearted songs are contrasted with \"The Hole\" and \"Marie\", some of the darkest material in the Van Zandt canon.  In the 2004 biopic Be Here To Love Me, Guy Clark recalls hearing \"Marie\" for the first time when Van Zandt played it for him in Santa Monica where they were booked to play McCabes' Guitar Shop: \"He sits down with a guitar and has this piece of paper on his knee and proceeds to play 'Marie' all the way through.  He says, 'Man, I just wrote this this morning.'  And I'm like (mimes disbelief), 'You're shittin' me, man!'  And (he) went over across the street that night and played it – and remembered every word.  I swear to God I saw him do it.\"  Van Zandt claimed the song was inspired by Meryl Streep's character in the film Ironweed and describes the harrowing plight of a homeless couple who wind up living under a bridge until the woman dies with the protagonist's unborn child \"safe inside her.\"  Van Zandt performed the song years before he committed it to tape, but Michael Timmins of the Cowboy Junkies told John Kruth in 2007 that \"it was such a disappointment the way the producer handled it.  The song really got lost in that production.  They should have just let the man tell his story.  But I just don't think Townes cared all that much.  His thing was songwriting; by the time he recorded a song, his attitude was well, whatever.\"  Many regard the song as a milestone and a late-career masterpiece.  \"The Hole\" was another minor-key metaphorical tale about a man's nightmarish encounter with an old hag who turns him into a toad.\n\nParagraph 49: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as \"neither Western nor Arabesque, just Turkish pop\". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would \"sit on İzel's throne\", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single \"Yalanın Batsın\", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: \"I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything.\" Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for \"Yalanın Batsın\", separate clips were also released for \"Bunun Adı Ayrılık\" and \"Yoksa Mani\". Yener was put in danger of freezing while filming the music video for \"Bunun Adı Ayrılık\". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for \"Yalanın Batsın\" was awarded with the Best Music Video award together with Candan Erçetin's music video for \"Elbette\". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song \"Biz Atatürk Gençleriyiz\" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.\n\nPlease enter the final count of unique paragraphs after removing duplicates. The output format should only contain the number, such as 1, 2, 3, and so on.\n\nThe final answer is: "}
{"question_id": 100, "category": "longbench_narrativeqa", "reference": ["She made a copy of the tape and gives it to her husband to study."], "prompt": "You are given a story, which can be either a novel or a movie script, and a question. Answer the question asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nStory: <b>  THE RING\n</b>\n  Original screenplay by Takahashi Hiroshi\n  Based upon the novel by Suzuki Kouji\n\n\n  This manuscript is intended for informational \n  purposes only, and is a fair usage of copyrighted\n  material.\n\n  Ring (c) 1995 Suzuki Kouji\n  Ring feature film (c) 1998 Ring/Rasen Committee\n  Distributed by PONY CANYON\n\n\n  Adapted/ Translated by J Lopez\n\n  http://www.somrux.com/ringworld/\n\n<b>  ---\n</b>\n\n  Caption-- September 5th.  Sunday.\n\n<b>  INT. OUISHI HOUSEHOLD  TOMOKOS ROOM - NIGHT\n</b>\n  CLOSEUP on a TELEVISION SET.  Theres a baseball game on, but the sound \n  is turned completely down.  Camera PANS to show two cute high school \n  girls, MASAMI and TOMOKO.  Masami is seated on the floor at a low coffee \n  table, TEXTBOOK in front of her. Tomoko is at her desk.  There are SNACKS \n  all over the room, and its obvious there hasnt been much studying going \n  on. Masami is currently in mid-story, speaking excitedly.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tThey say that some elementary school \n\t\tkid spent the night with his parents \n\t\tat a bed and breakfast in Izu.  The kid\n\t\twanted to go out and play with everybody, \n\t\tright, but he didnt want to miss the \n\t\tprogram he always used to watch back in \n\t\tTokyo, so he records it on the VCR in \n\t\ttheir room.  But of course the stations \n\t\tin Izu are different from the ones in \n\t\tTokyo.  In Izu, it was just an empty \n\t\tchannel, so he shouldve recorded\n\t\tnothing but static.  But when the kid \n\t\tgets back to his house and watches the \n\t\ttape, all of a sudden this woman comes \n\t\ton the screen and says--\n\n  Masami points so suddenly and dramatically at her friend that Tomoko \n  actually jumps in her seat.\n\n\t\t\t\tMASAMI (contd)\n\t\tOne week from now, you will die.\n\n  Short silence as Masami pauses, relishing the moment.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tOf course the kids completely \n\t\tfreaked, and he stops the video.  \n\t\tJust then the phone rings, and when he \n\t\tpicks it up a voice says--\n\n  Her voice drops voice almost to a whisper.\n\n\t\t\t\tMASAMI (contd)\t\n\t\tYou watched it, didnt you?  That \n\t\tsame time, exactly one week later... \n\t\thes dead!\n\n  Masami laughs loudly, thoroughly enjoying her own performance.  \n  Tomoko, however, is completely silent.  She begins looking more \n  and more distressed, until finally Masami notices.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhat is it, Tomoko?\n\n  Tomoko comes out of her chair and drops onto the floor next to her \n  friend.  Her words are quick, earnest.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tWho did you hear that story from?\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWho?  Its just a rumor.  Everybody \n\t\tknows it.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tYouko told you?\t\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tNo, it wasnt Youko...\n\n  Tomoko looks away, worried.  Masami slaps her on the knee, \n  laughing.\n\n<b>\t\t\t\tMASAMI\n</b>\t\tWhats up with you?\n\n  Tomoko speaks slowly, still looking away.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tThe other day, I... I watched this \n\t\tstrange video.\n<b>\t\t\n</b><b>\t\t\t\tMASAMI\n</b>\t\tWhere?\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tWith Youko and them.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(excited) \n\t\tSo thats what Ive been hearing \n\t\tabout you doing some double-date/\n\t\tsleepover thing!  So, you and that \n\t\tguy Iwata, huh? \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tNo, its not like that.  Nothing \n\t\thappened!\n\n  Their eyes meet and Tomoko half-blushes, looks away again.  Her \n  expression becomes serious as she resumes her conversation.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tIwata... he found this weird video.  \n\t\tEveryone was like, Whats that? so \n\t\the put it on and we all watched it.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(quietly) \n\t\tAnd?  What kind of video was it?\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tJust... weird, I cant really explain \n\t\tit.  Anyway, right after we finished \n\t\twatching it, the phone rang.  Whoever\n\t\tit was didnt say anything, but still...\n\n  Silence.  Masami curls up on herself, thoroughly spooked.  \n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tJesus.\n\n<b>\t\t\t\tTOMOKO\n</b>  \t\tIt's cuz, you know, we'd all heard the \n\t\trumors.\n\nTomoko looks seriously over at her friend.\n\n\t\t\t\tTOMOKO (cont'd)\n\t\tThat was one week ago today.\n\n  There is a long, heavy silence as neither of them says anything.\n\n<b>\t\t\t\tMASAMI  \t\n</b>\t\tWaaait a minute.  Are you faking me \n\t\tout?\n\n  Tomokos face suddenly breaks into a smile. \n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tBusted, huh?\n\n  They both crack up laughing. \n\n<b>\t\t\t\tMASAMI\n</b>\t\tOh, my... I cant believe you!  \n\n  Masami reaches out, slaps her friend on the knee.\n\n\t\t\t\tMASAMI (contd)\n\t\tYoure terrible!\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tGotcha!\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\t\t(thinking) \n\t\tBut hang on... you really stayed\n\t\tthe night with Youko and Iwata, \n\t\tright?\n\n  Tomoko nods, uh-huh.  Masami dives forward, pinching her friends \n  cheeks and grinning wildly.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tSo, how far did you and he get?\n\n<b>\t\t\t\tTOMOKO \t\n</b>\t\tOh... I cant remember.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tYou cant remember, huh?\n\n  Masami laughs, then slaps Tomoko on the knee again as she remembers \n  the trick her friend played on her.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tMan, you had me freaked me out. \n<b>\t\tI--\n</b>\n  Just at that moment, the phone RINGS.  They are both suddenly, \n  instantly serious.  Tomokos eyes go off in one direction and she \n  begins shaking her head, -No-.  Masami looks over her shoulder, \n  following her friends gaze.  \n\n  Tomoko is looking at the CLOCK, which currently reads 9:40.\n\n  The phone continues to ring.  Tomoko is now clutching tightly onto her \n  friend, looking panicked.\n\n<b>\t\t\t\tMASAMI\n</b>\t\t\t(softly) \n\t\tWas it true?\n\n  Tomoko nods her head, still holding on tightly.  Masami has to \n  forcibly disengage herself in order to stand.  The phone is downstairs, \n  so Masami opens the bedroom DOOR and races down the STAIRS.  Tomoko \n  calls out to her from behind.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - NIGHT  \n</b>\n  Tomoko and Masami run down the staircase, through the hallway towards \n  the kitchen.  Tomoko cries out again just before they reach the kitchen.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tMasami!\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  Masami has come to a halt before a PHONE mounted on the wall.  She \n  pauses, looking slowly at her friend, then back to the phone.  She \n  takes it tentatively from its cradle, answers it wordlessly.  The \n  tension continues to mount as nothing is said. Masami suddenly breaks \n  into a huge grin.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIll put her on.\n\n  Still grinning, she hands the phone to Tomoko.  Tomoko snatches it \n  quickly.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(softly) \n\t\tYes?\n\n  She is silent for a moment, then smiling widely.  \n\n<b>\t\t\t\tTOMOKO\n</b>\t\tOh, man!\n\n  She is so relieved that all the strength seeps out of her and she \n  sinks to the kitchen floor.  Masami, equally relieved, slides down \n  the wall and sits down next to her.\n\n<b>\t\t\t\tTOMOKO\n</b>\t\t\t(on the phone) \n\t\tYeah, Ive got a friend over now.  \n\t\tYeah.  Yeah, OK.  Bye.\n\n  Tomoko stands to place the phone back in its wall cradle, and then \n  squats back down onto the kitchen floor.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tThe games gone into overtime, so \n\t\ttheyre gonna be a little late. \n\n  They burst out laughing with relief again, and are soon both \n  clutching their stomachs.\n\n<b>\t\t\t\tTOMOKO\t\n</b>\t\tJeeezus, my parents...\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tOh man, Im tellin everybody about \n\t\tthis tomorrow!\n\n  Tomoko shakes her head, -Dont you dare-.\n\n<b>\t\t\t\tMASAMI\t\n</b>\t\tIm gonna use your bathroom.  Dont \n\t\tgo anywhere.\n\n<b>\t\t\t\tTOMOKO\t\n</b><b>\t\tK.\n</b>\n  Masami walks out of the kitchen. Alone now, Tomoko stands and walks \n  toward the SINK, where she takes a GLASS from the DISH RACK.  She \n  then goes to the FRIDGE and sticks her face in, looking for something \n  to drink.  Suddenly there is the SOUND of people clapping and \n  cheering.  Tomoko, startled, peers her head over the refrigerator \n  door to check for the source of the sound.  \n\n  She begins walking slowly, following the sound to the DINING ROOM \n  adjacent the kitchen. \n\n<b>  INT. OUISHI HOUSEHOLD - DINING ROOM - NIGHT  \n</b>\n  The lights are off, and there is no one in the room.  Tomoko pauses a \n  moment, bathed in the garish LIGHT from the TV, which has been switched\n  on.  Playing is the same baseball game they had on the TV upstairs; the \n  same game that Tomokos parents are currently at.  The VOLUME is up \n  quite high.\n\n  A puzzled look on her face, Tomoko takes the REMOTE from the coffee \n  table and flicks the TV off.  She walks back to the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - NIGHT  \n</b>\n  A bottle of SODA that Tomoko had earlier taken from the fridge is on \n  the kitchen table.  She picks the bottle up, pours herself a drink.  \n  Before she can take a sip, however, the air around her becomes suddenly \n  charged, heavy.  Her body begins to shiver as somewhere out of sight \n  comes a popping, crackling SOUND underscored by a kind of GROANING.  \n  Trembling now, Tomoko spins around to see what she has already felt \n  lurking behind her.  She draws in her breath to scream.\n\n  The screen goes white, and fades into:\n\n<b>  CAMERA POV \n</b>\n  The screen is filled with the visage of a nervous-looking YOUNG GIRL.  \n  She is being interviewed by ASAKAWA, a female reporter seated offscreen.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>\t\tThere seems to be a popular rumor \n\t\tgoing around about a cursed \n\t\tvideotape.\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tUh-huh.\n\n  The girl looks directly at the camera, her mouth dropping into an O \n  as shes suddenly overcome by a kind of stage fright.  She continues \n  staring, silently, at the camera.\n\n<b>  INT. COFFEE SHOP - DAY  \n</b>\n  KOMIYA, the cameraman, has lowered his camera. We can now see that \n  the young girl being interviewed is seated at a table between two \n  friends, a SHORT-HAIRED GIRL (GIRL#2) and a LONG-HAIRED GIRL (GIRL #3).  \n  They are all dressed in the UNIFORMS of junior high school students.  \n  Opposite them sits Komiya and Asakawa, a pretty woman in her mid-\n  twenties.  A BOOM MIKE GUY stands to the left.\n<b> \n</b><b>\t\t\t\tKOMIYA\t\n</b>\t\tUh, dont look right at the camera, \n<b>\t\tOK?\n</b>\n<b>\t\t\t\tYOUNG GIRL\t\n</b>\t\tSorry.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLets do it again.\n\n  Asakawa glances over her shoulder, makes sure that Komiya is ready.\n\n<b> \n</b><b>\t\t\t\tASAKAWA\n</b>\t\tHave you heard what kind of video \n\t\tit might be?\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWhat I heard was, all of a sudden \n\t\tthis scaaarry lady comes on the\n\t\tscreen and says, In one week, you\n\t\twill die.\n\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tI heard that if youre watching TV \n\t\tlate at night itll come on, and\n\t\tthen your phonell ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWatching TV late at night... do you\n \t\tknow what station?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmmm... I heard some local station, \n\t\taround Izu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu?\n\n<b>\t\t\t\tGIRL #2\t\n</b>\t\tMmm-hmm.\t\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd, do you know if anyones really \n\t\tdied from watching it?\n\n  The girl flashes a look at her two friends.\n\n<b>\t\t\t\tYOUNG GIRL\n</b>\t\tWell, no one that we know, right?\n\n  Girl #2 nods her head. Girl #3 nods slowly, opens and closes her \n  mouth as if deciding whether to say something or not.  The \n  reporter notices. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat is it?\n\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tI heard this from a friend of mine \n\t\tin high school.  She said that there \n\t\twas this one girl who watched the \n\t\tvideo, and then died a week later.  \n\t\tShe was out on a drive with her \n\t\tboyfriend.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey were in a wreck?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo, their car was parked, but they \n\t\twere both dead inside.  Her \n\t\tboyfriend died because hed watched \n\t\tthe video, too.  Thats what my \n\t\tfriend said.\n\n  Girl #3 grows suddenly defensive.\n\n\t\t\t\tGIRL #3 (contd)\t\n\t\tIts true!  It was in the paper two \n\t\tor three days ago.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tDo you know the name of the high \n\t\tschool this girl went to?\n\n<b>\t\t\t\tGIRL #3\n</b>\t\tNo... I heard this from my friend, \n\t\tand it didnt happen at her school.  \n\t\tShe heard it from a friend at a \n\t\tdifferent school, she said.\n\n<b>  INT. NEWS STATION  DAY\n</b>\n  Asakawa is seated at her DESK.  The station is filled with PEOPLE, \n  scrabbling to meet deadlines.  Komiya walks up to Asakawas desk \n  and holds out a MANILA FOLDER.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMrs. Asakawa?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHm?\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tHere you are.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(taking the folder) \n\t\tThanks.\n\n  Komiya has a seat.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tThis same kind of thing happened \n\t\tabout ten years ago too, didnt it?  \n\t\tSome popular young singer committed \n\t\tsuicide, and then suddenly there was \n\t\tall this talk about her ghost showing\n\t\tup on some music show.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut I wonder what this rumors all \n\t\tabout. Everyone you ask always \n\t\tmentions Izu.\n\n<b>\t\t\t\tKOMIYA\t\n</b>\t\tMaybe thats where it all started.  \n\t\tHey, where was that Kuchi-sake\n\t\tOnna * story from again?\n\n\n  >* Literally Ripped-Mouth Lady, a kind of ghastly spectre from \n  >Japanese folk stories who wears a veil to hide her mouth, which \n  >has been ripped or cut open from ear to ear. She wanders the \n  >countryside at night asking men Do you think Im beautiful? then \n  >lowering her veil to reveal her true features.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGifu, but there was some big \n\t\taccident out there, and that ended\n\t\tup being what started the rumor. \n\n<b>\t\t\t\tKOMIYA\n</b>\t\tA big accident?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMmm-hmm.  Something terrible like \n\t\tthat is going to stay in peoples \n\t\tminds.  Sometimes the story of what \n\t\thappened gets twisted around, and \n\t\tends up coming back as a rumor like \n\t\tthis one. Thats what they say, at \n\t\tleast.\n\n<b>\t\t\t\tKOMIYA\n</b>\t\tDyou think something like that \n\t\thappened out at Izu?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMaybe. Well, anyway, Im off.  See you\n\t\ttomorrow.\n<b>   \n</b><b>\t\t\t\tKOMIYA\n</b>\t\tSee you.\n\n  Asakawa gets up from her desk and begins walking towards the exit.  \n  She takes only a few steps before noticing a RACK of recent DAILY \n<b>  EDITIONS.  \n</b>\n  She takes one from the rack, sets it on a nearby TABLE.  She begins \n  flipping the pages, and suddenly spies this story:  \n\n<b>    STRANGE AUTOMOBILE DEATH OF YOUNG COUPLE IN YOKOHAMA\n</b>\n    The bodies of a young man and woman were discovered in their \n    passenger car at around 10 A.M. September 6th.  The location was a \n    vacant lot parallel to Yokohama Prefectural Road.  Local authorities \n    identified the deceased as a 19-year old preparatory school student \n    of Tokyo, and a 16-year old Yokohama resident, a student of a \n    private all-girls high school. Because there were no external \n    injuries, police are investigating the possibility of drug-induced \n    suicide...\n\n  Just then two men walk by, a GUY IN A BUSINESS SUIT and a youngish \n  intern named OKAZAKI.  Okazaki is carrying an armload of VIDEOTAPES.\n\n<b>\t\t\t\tGUY IN SUIT\n</b>\t\tOK, Okazaki, Im counting on you.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tYessir.\n\n  The guy in the suit pats Okazaki on the shoulder and walks off.  \n\n  Okazaki turns to walk away, spots Asakawa bent over the small table \n  and peering intently at the newspaper article.\n\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMiss Asakawa?  I thought you were \n\t\tgoing home early today.\n\n  Asakawa turns around and begins speaking excitedly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOkazaki, can I ask you a favor?\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tSure.\n\n  Asakawa points to the newspaper.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCould you check out this article \n\t\tfor me?  Get me some more info.?\t\n\n<b>\t\t\t\tOKAZAKI\n</b>\t\tI guess...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tGood.  Call me as soon as you know \n\t\tmore, OK?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tMaam.\n\n  Asakawa walks off.  Okazaki, still carrying the videotapes, leans \n  forward to take a look at the article.\n<b>   \n</b><b>  EXT. APARTMENT PARKING LOT - DAY  \n</b>\n  Asakawa drives her car into the lot and parks quickly.  She gets \n  out, runs up the STAIRCASE to the third floor.  She stops in front \n  of a door, sticks her KEY in the lock, and opens it.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  DAY\n</b>\n  A BOY of about 7 is sitting in an ARMCHAIR facing the veranda.  We \n  can see only the back of his head.\n\n<b>\t\t\t\tASAKAWA (O.S.) \n</b>\t\tYoichi!\n\n  Hearing his name, the boy puts down the BOOK he was reading and \n  stands up, facing the door.  He is wearing a white DRESS SHIRT with \n  a brown sweater-type VEST over it.  He sees Asakawa, his mother, \n  run in the door.  She is panting lightly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSorry Im late.  Oh, youve already \n\t\tchanged.\n\n<b>\t\t\t\tYOICHI\n</b>\t\tYup. \n\n  He points over to his mothers right.\n\n\t\t\t\tYOICHI (contd)\n\t\tI got your clothes out for you.\n\n  Asakawa turns to see a DARK SUIT hanging from one of the living \n  room shelves.  She reaches out, takes it.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAargh, weve gotta hurry!\n\n  She runs into the next room to change.\n\n<b>  INT.  BEDROOM  DAY\n</b>\n  Asakawa has changed into all-black FUNERAL ATTIRE.  Her hair is \n  up, and she is fastening the clasp to a pearl NECKLACE.  Yoichi is \n  still in the living room.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid grandpa call?\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tNope.\n\n  Yoichi walks into the room and faces his mother.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tWhy did Tomo-chan die? *\n\n\n  >* -chan is a suffix in Japanese that denotes closeness or affection.  \n  >It is most often used for young girls, though it can also be used for \n  >boys.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell... it looks like she was really, \n\t\treally sick.\n\n  She takes a seat on the bed.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWill you do me up?\n\n  Yoichi fastens the rear button of his mothers dress and zips her up.  \n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tYou can die even if youre young?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIf its something serious... well, yes.\n\n  Asakawa turns to face her son, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAs hard as it is for us, what your \n\t\tauntie and uncle are going through \n\t\tright now is even harder, so lets \n\t\tnot talk about this over there, OK?\n\n  Yoichi nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(remembering)\n\t\tYou and her used to play a lot \n\t\ttogether, didnt you?\n\n  Yoichi says nothing.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  RED PAPER LANTERNS mark this place as the site of a wake.  Several \n  GIRLS in high school uniforms are standing together and talking in \n  groups. Asakawa and Yoichi, walking hand in hand, enter the house.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  There are many PEOPLE milling about, speaking softly.  A MAN seated \n  at a counter is taking monetary donations from guests and entering \n  their information into a LEDGER.  Asakawa and Yoichi continue walking, \n  down a hallway.\n\n<b>  INT. OUISHI HOUSEHOLD - NIGHT \n</b>\n  Mother and son halt before the open DOOR to the main wake room, where \n  guests may show their respects to the departed.  The room is laid in \n  traditional Japanese-style tatami, a kind of woven straw mat that \n  serves as a carpet. Two GUESTS, their shoes off, are kneeling upon \n  zabuton cushions.  \n\n  Kneeling opposite the guests is KOUICHI, Asakawas father.  The two \n  guests are bowing deeply, and Kouichi bows in response.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDad.\n\n  Kouichi turns to see her.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tAh!\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow is sis holding up?\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tShes resting inside right now.  \n\t\tShes shaken up pretty badly, you \n\t\tknow.  Its best she just take \n\t\tthings easy for a while.\n\n  Asakawa nods.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIll go check on auntie and them, \n\t\tthen.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOK.  Ah, Yoichi.  Why dont you sit \n\t\there for a little while?\n\n  He grabs the young boy and seats him on a cushion next to the two guests.  \n  As the guests resume their conversation with Asakawas father, Yoichis \n  eyes wander to the ALTAR at the front of the room set up to honor the \n  deceased.  It is made of wood, and surrounded by candles, flowers, and \n  small paper lanterns.  At the center is a PICTURE of the deceased, a \n  teenage girl.  A small wooden PLAQUE reads her name: Tomoko Ouishi. It \n  is the same Tomoko from the first scene.\n\n  Yoichi continues to stare at Tomokos picture.  He makes a peculiar \n  gesture as he does so, rubbing his index finger in small circles just \n  between his eyes.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Asakawa walks down the hallway, looking for her aunt.  She walks until \n  finding the open doorway to the kitchen.  There are a few people in \n  there, preparing busily. Asakawa sees her AUNT, who rushes into the \n  hallway to meet her, holds her fast by the arm.  The aunt speaks in a \n  fierce, quick whisper.\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tHave you heard anything more about \n\t\tTomo-chans death?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, I...\n\n<b>\t\t\t\tAUNT\t\t\n</b>\t\tBut the police have already finished \n\t\ttheir autopsy!\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, they said there was no sign of \n\t\tfoul play.\n\n<b>\t\t\t\tAUNT\t\n</b>\t\t\t(shaking her head) \n\t\tThat was no normal death.  They havent \n\t\tonce opened the casket to let us see\n\t\tthe body.  Dont you think thats \n\t\tstrange?\n<b> \n</b>  Asakawa looks away, thinking.\n\n<b>  INT. HALLWAY  NIGHT\n</b>\n  Yoichi has wandered off by himself.  He stops at the foot of the \n  steps, looking up-- and catches a glimpse of a pair of BARE FEET \n  running up to the second floor.  \n\n  A guarded expression on his face, Yoichi walks slowly up the \n  stairs.  \n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS BEDROOM - NIGHT  \n</b>\n  Yoichi has wandered into Tomokos bedroom.  The lights are all off, \n  and there is an eerie feel to it.  Yoichis eyes wander about the \n  room, finally coming to rest on the TELEVISION SET.  Suddenly, he \n  hears his mothers voice from behind him.\n\n<b>\t\t\t\tASAKWAWA (O.S.) \n</b>\t\tYoichi?\n\n  Yoichi turns to face her as she approaches, puts an arm around him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat are you doing up here?  You\n\t\tshouldnt just walk into other \n\t\tpeoples rooms.\n\n  Without replying, Yoichis gaze slowly returns to the television \n  set.  Asakawa holds him by the shoulders, turning him to meet \n  her.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou go on downstairs, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tOK.\n</b>\n  He turns to leave, and Asakawa follows.\n\n<b>  INT. OUSHI HOUSEHOLD - TOP OF THE STAIRS  NIGHT\n</b>\n  Just as Yoichi and Asakawa are about to descend the steps, \n  Asakawas CELL PHONE rings.  She opens the clasp to her PURSE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to Yoichi) \n\t\tYou go on ahead.\n\n<b>\t\t\t\tYOICHI\t\n</b><b>\t\tK.\n</b>\n  He walks down the steps.  Asakawa brings out her cell phone, \n  answers it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tUh... this is Okazaki.  Ive got \n\t\tsome more info on that article for\n\t\tyou.  The girl was a student of \n\t\tthe uh, Seikei School for Women in \n\t\tYokahama City.\n\n  Asakawa blinks at this, looks disturbed.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(softly) \n\t\tThanks.\n\n  She hangs up the phone.\n\n<b>  EXT. OUISHI HOUSEHOLD - NIGHT  \n</b>\n  Asakawa stands now at the entrance of the house.  Dazedly, she \n  walks toward a large, hand-painted PLACARD.  The placard reads \n  that the wake is being held for a student of the Seikei School \n  for Women. \n\n  Asakawa stares at that placard, making the mental connections.  \n  She turns abruptly, walks towards a nearby TRIO of HIGH SCHOOL \n<b>  GIRLS.\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tExcuse me.  This is, um, kind of a\n\t\tstrange question, but by any chance \n\t\twere you friends of that young girl\n\t\tthat died in the car as well?\n\n  The three girls turn their faces to the ground.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tPlease.  If you know anything...\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThey all died the same day.  Youko.  \n\t\tTomoko.  Even Iwata, he was in a\n\t\tmotorcycle accident.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tBecause they watched the video.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tVideo?\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tThats what Youko said.  They all\n\t\twatched some weird video, and \n\t\tafter that their phone rang.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTomoko-chan watched it, too?  \n\t\tWhere?\n\n  Girl Left shakes her head.\n\n<b>\t\t\t\tGIRL LEFT\t\n</b>\t\tShe just said they all stayed \n\t\tsomewhere.\n\n<b>\t\t\t\tGIRL RIGHT\t\n</b>\t\tThere was a girl with Tomoko when \n\t\tshe died.  Shes had to be \n\t\thospitalized for shock.\n\n<b>\t\t\t\tGIRL MIDDLE\n</b>\t\tThey say she wont go anywhere \n\t\tnear a television.\n\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa and YOSHINO, another news reporter, are watching scenes \n  from the Yokohama car death.  In the footage there are lots of \n  POLICEMEN milling about, one of them trying to pick the door to \n  the passenger side.  Yoshino is giving Asakawa the blow-by-blow.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThe bodies of those found were \n\t\tTsuji Youko, age 17, a student of \n\t\tthe Seikei School for Women, and \n\t\tNomi Takehiko, age 19, preparatory \n\t\tschool student.  Both their doors \n\t\twere securely locked.\n\n  Onscreen, the policeman has finally picked the lock.  The door opens, \n  and a girls BODY halffalls out, head facing upwards.  Yoshino flicks \n  a BUTTON on the control panel, scans the footage frame by frame.  He \n  stops when he gets a good close-up of the victim. \n\n  Her face is twisted into an insane rictus of fear, mouth open, eyes \n  wide and glassy. Yoshino and Asakawa lean back in their seats.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThis is the first time Ive -ever- \n\t\tseen something like this.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tCause of death?\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tCouldnt say, aside from sudden \n\t\theart failure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDrugs?\n\n<b>\t\t\t\tYOSHINO\t\n</b>\t\tThe autopsy came up negative.\n\n\n  Yoshino takes the video off pause.  Onscreen, a policeman has caught \n  the young girls body from completely falling out, and is pushing it \n  back into the car.  As the body moves into an upright position, we \n  can see that the girls PANTIES are mid-way around her left thigh.\n\n<b>\t\t\t\tYOSHINO\n</b>\t\tThese two, about to go at it, \n\t\tsuddenly up and die for no \n\t\tapparent reason. \n\n  He sighs.\n\n\t\t\t\tYOSHINO (contd)\n\t\tDo -you- get it?\n\n\n<b>  EXT. OUISHI HOUSEHOLD - DAY  \n</b>\n  Asakawas CAR is already halted before a modest-sized, two-story HOUSE \n  with a small covered parkway for a garage.  She gets out of her car, \n  closes the door.  She stares at the house, unmoving.\n\n<b>  INT. OUISHI HOUSEHOLD  KITCHEN - DAY  \n</b>\n  Asakawa stands before her SISTER RYOMI, who is seated at the kitchen \n  TABLE.  Ryomi is staring blankly away, making no sign of acknowledging \n  her sister.  The silence continues unabated, and Asakawa, pensive, \n  wanders idly into the adjoining dining room.  She takes a long look at \n  the television, the same television that had puzzled Tomoko by suddenly \n  switching itself on, sitting darkly in one corner.  Her reflection in \n  the screen looks stretched, distorted.\n\n\n<b>\t\t\t\tRYOMI\t(O.S.) \n</b>\t\tThey tell me that Yoichi came to \n\t\tthe funeral, too. \n\n  Asakawa steps back into the kitchen.  She addresses her sister, who \n  continues to stare out at nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tMmm-hmm.\n\n<b>\t\t\t\tRYOMI\n</b>\t\tThey used to play a lot together, didnt they?  Upstairs.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYeah...\n\n  Ryomi lapses back into a silence.  Asakawa waits for her to say more, \n  but when it is clear that nothing else is forthcoming, she quietly gives \n  up and exits the kitchen.\n\n<b>  INT. OUISHI HOUSEHOLD  STAIRCASE - DAY  \n</b>\n  Asakawa climbs the steps to the second floor.  She makes her way down \n  the hall.\n\n<b>  INT. OUISHI HOUSEHOLD - TOMOKOS ROOM - DAY  \n</b>\n  As if intruding, Asakawa walks slowly, cautiously into Tomokos room.  \n  The window to the room is open, and a single piece of folded white PAPER \n  on Tomokos desk flutters in the breeze.  Asakawa walks towards it, picks \n  it up.  It is a RECEIPT from a photo shop.  The developed photos have yet \n  to be claimed.  \n\n  Asakawa senses something, spins to look over her shoulder.  Her sister \n  has crept quietly up the stairs and down the hall, and stands now in the \n  doorway to Tomokos room.  She appears not to notice what Asakawa has in \n  her hands, as her gaze has already shifted to the sliding closet door.  \n  She regards it almost druggedly.\n\n<b>\t\t\t\tRYOMI\n</b>\t\t\t(haltingly) \n\t\tThis... this is where Tomoko died.\n\n<b>  FLASHBACK\n</b><b>\t\t\t\tRYOMI (O.S.)\n</b>\t\tTomoko!\n\n  Ryomis hands fling aside the CLOSET DOOR.  Within, she finds the pale \n  blue CARCASS of her daughter, curled up into an unnatural fetal position.  \n  Tomokos mouth yawns gaping, her eyes glassy and rolled up into the back \n  of her head.  Her hands are caught in her hair, as if trying to pull it \n  out by the roots.  It is a horrific scene, one that says Tomoko died as \n  if from some unspeakable fear.\n\n<b>  PRESENT\n</b>\n  Ryomi sinks to her knees, hitting the wooden floor hard.  She puts her \n  face into her hands and begins sobbing loudly.  Asakawa says nothing.\n\n<b>  EXT. CAMERA SHOP  DAY\n</b>\n  Asakawa leaves the camera shop clutching Tomokos unclaimed PHOTOS.  She \n  walks out onto the sidewalk and begins flipping through them.  We see \n  Tomoko standing arm-in-arm with Iwata, her secret boyfriend. Tomoko and \n  her friends eating lunch.  The camera had its date-and-time function \n  enabled, and the photos are marked\n\n<b>    97 8 29.\n</b>\n  The next shot is of Tomoko, Iwata, and another young couple posing in \n  front of a SIGN for a bed and breakfast.  The sign reads:\n\n<b>    IZU PACIFIC LAND\n</b>\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIzu...\n\n  Asakawa continues looking through the photos, various shots of the \n  four friends clowning around in their room.  Suddenly she comes to a \n  shot taken the next day, at check out.  The friends are lined up, arms \n  linked-- and all four of their faces are blurred, distorted as if \n  someone had taken an eraser to them and tried to rub them out of \n  existence.\n\n<b>  INT. ASAKAWAS APARTMENT  KITCHEN - DAY\n</b>\n  Asakawa wears an APRON, and is frying something up on the STOVE.  Yoichi \n  stands watching.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tLook, Im probably going to be late\n\t\tcoming home tonight, so just stick \n\t\tyour dinner in the microwave when \n\t\tyoure ready to eat, OK?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tK... Mom?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHmm?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan watched some cursed video!\n\n\n  Asakawa leaves the food on the stove, runs over to Yoichi and grabs him \n  by the shoulders.  She shakes him roughly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat did you say?  You are not to \n\t\tspeak of this at school, do you \n\t\thear me?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\t\t(utterly unfazed) \n\t\tI wont.  Im going to school now.\n\n  Yoichi walks off.  Asakawa goes back to the stove, but stops after only \n  a few stirs, staring off and thinking.\n\n  Caption-- September 13th.  Monday.\n\n<b>  EXT. ROAD  DAY\n</b>\n  Asakawa drives her car speedily along a narrow country road, LEAVES \n  blowing up in her wake.\n\n<b>  INT. ASAKAWAS CAR - DAY  \n</b>\n  Asakawa mutters to herself, deep in thought.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres no way...\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  Asakawas car drives past a sign reading:\n\n<b>\tIZU PACIFIC LAND\n</b>\n<b>  EXT. IZU PACIFIC LAND - DRIVEWAY  DAY\n</b>\n  Asakawa has left her car and is walking around the driveway of what is \n  less a bed and breakfast and more like a series of cabin-style rental \n<b>  COTTAGES. \n</b>\n  She wanders about for a while, trying to get her bearings.  She pauses \n  now in front of a particular cottage and reaches into her PURSE.  She \n  withdraws the PICTURE from the photomat, the one that showed Tomoko and \n  her friends with their faces all blurred.  The four are posing in front \n  of their cottage, marked in the photograph as B4.  Asakawa lowers the \n  photo to regard the cottage before her.\n\n<b>    B4\n</b>\n  She walks to the door, turns the handle experimentally.  Its open.  \n  Asakawa walks in.\n\n<b>  INT. PACIFIC LAND - COTTAGE B4  DAY\n</b>\n  Asakawa lets her eyes wander around the cottage.  It looks very modern, \n  all wood paneling and spacious comfort.  \n\n  Her eyes rest on the TV/VCR setup at the front of the room.  Crouching \n  before the VCR now, she presses the eject button.  Nothing happens.  \n  She fingers the inside of the deck, finds it empty, then reaches behind \n  to the rear of the VCR, searching.  Again, there is nothing.  Asakawa \n  presses the power button on the television, picks up the REMOTE, and \n  takes a seat on the SOFA.  She runs through a few channels but theyre \n  all talk shows, no clues whatsoever.  She flicks the TV off and leans \n  back in the sofa, sighing.\n\n  Just then, she spies a LEDGER on the coffee table.  These things are \n  sometimes left in hotels in Japan, so that guests can write a few \n  comments about their stay for others to read.  Asakawa picks the \n  ledger up, begins thumbing through it.  She stops at a strange PICTURE\n  obviously drawn by a child, that shows three rotund, almost entirely \n  round personages.  She reads the handwritten MESSAGE.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\"My dad is fat.  My mom is fat.  \n\t\tThats why Im fat, too.\"\n\n  She smiles in spite of herself.  \n\n  Asakawa flips through the rest of the ledger, but theres nothing else \n  of any import.  \n\n  She tosses it back onto the coffee table and, sighing again, leans into \n  the sofa and closes her eyes.\n\n<b>  EXT. OUTDOOR CAF - DUSK  \n</b>\n  Asakawa eats silently, alone.\n\n<b>  INT. PACIFIC LAND - FRONT RECEPTION - NIGHT  \n</b>\n  Asakawa has returned to the bed and breakfast.  As she walks in the \n  door, the COUNTER CLERK rises out of his chair to greet her.\n\n<b>\t\t\t\tCLERK\n</b>\t\tRoom for one?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUm, actually Im here on business.\n\n  She passes the clerk a picture of Tomoko and her three other friends.  \n  He stares at it for a moment.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThey would have stayed here on \n\t\tAugust 29th, all four of them.  \n\t\tIf theres any information you \n\t\tmight have...\n\n<b>\t\t\t\tCLERK\n</b>\t\tUh, hang on just a minute.  \n\n  The clerk turns his back to her, begins leafing through a guest log.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\t\t(to himself) \n\t\tAugust 29th...\n\n  While she waits, Asakawas eyes start to wander around the room.  \n  Behind the desk is a sign reading Rental Video, and a large wooden \n  BOOKSHELF filled with VIDEOTAPES. They are all in their original boxes, \n  and she lets her eyes glance over the titles.  Raiders of the Lost Ark, \n  48 Hours--\n\n  --and then, suddenly, she spies a VIDEOTAPE in a plain, unmarked \n  sleeve, tucked away in the back of the very bottom shelf.  She feels \n  the hairs on the back of her neck rise.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThat...\n\n  The clerk looks up.\n\n<b>\t\t\t\tCLERK\n</b>\t\tHmm?\n\n  Asakawa stabs a finger excitedly towards the shelf.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThat!  What tape is that?\n\n  The clerk reaches out for it, grabs it.\n\n<b>\t\t\t\tCLERK\t\n</b>\t\tThis?  Hmm...\n\n  The clerk pulls the tape out of its SLEEVE and checks for a label.  \n  Its unmarked.\n\n<b>\t\t\t\tCLERK\n</b>\t\tMaybe one of the guests left it behind\n\n<b>  INT. PACIFIC LAND  COTTAGE B4 - NIGHT \n</b>\n  Asakawa flips on the TV.  Its on channel 2, and there is nothing but \n  static. She kneels down to slide the tape into the deck and pauses a \n  moment, framed in the vaguely spectral LIGHT from the television \n  screen.  Steeling her nerves, she puts the tape into the machine, picks \n  up the remote, and presses play.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.  Afterwards, you can \n  come back here to check the meaning of the Japanese characters \n  displayed.\n\n\n<b>  THE VIDEOTAPE\n</b>\n  At first it looks like nothing has happened-- then Asakawa realizes that \n  she is now viewing recorded static instead of broadcast static.  She \n  watches, waiting, but the static continues unbroken.  Asakawa looks \n  down at the remote, is about to press fast forward, when suddenly the \n  picture on the screen clears and for a moment she thinks shes looking \n  at the moon.\n\n  Its not the moon at all, she realizes.  The shape is round like a full \n  moon, but it seems to be made up of thin RIBBONS of cloud streaking \n  against a night sky.  And theres a FACE, she sees, a face hidden in \n  shadows, looking down from above.  \n\n  What is this?\n\n  The scene changes now, and Asakawa notes that the tape has that kind of \n  grainy quality one sees in 3rd or 4th generation copies.  The scene is of \n  a WOMAN brushing her long hair before an oval-shaped MIRROR.  The nerve-\n  wracking grating as if of some giant metallic insect sounds in the \n  background, but the lady doesnt seem to notice.  The mirror the lady is \n  using to brush her hair suddenly changes position from the left part of \n  the wall before which she stands, to the right.  Almost instantly the \n  mirror returns to its original position, but in that one moment in its \n  changed location we see a small FIGURE in a white GOWN.  The woman turns \n  towards where that figure stood, and smiles.\n\n  The screen next becomes a twitching, undulating impenetrable sea of the \n  kanji characters used in the Japanese language.  Asakawa can pick out \n  only two things recognizable:\n\n    local     volcanic eruption\n\n  Now the screen is awash in PEOPLE-- crawling, scrabbling, shambling \n  masses, some of them moving in reverse.  A sound like moaning accompanies \n  them.\n<b>  -\n</b>\n  A FIGURE stands upon a shore, its face shrouded.  It points accusingly, \n  not towards the screen, but at something unseen off to one side.  The \n  insect-like screeching sounds louder. \n<b>  --\n</b>\n  Close up on inhuman, alien-looking EYE.  Inside that eye a single \n  character is reflected in reverse:  SADA, meaning \"chastity.\"\n\n  The eye blinks once, twice.  The symbol remains.\n<b>  ---\n</b>\n  A long shot of an outdoor, uncovered WELL.\n<b>  ----\n</b>\n  Sudden loud, blinding STATIC as the tape ends.\n\n  Asakawa turns the TV off, looking physically drained.  She sighs shakily \n  and slumps forward, resting on her knees.  Just then, she glances at the \n  television screen.  She sees, reflected, a small FIGURE in a white gown \n  standing at the rear of the room.  Shocked, Asakawa draws in breath, \n  spins around.\n\n  The room is empty.  Asakawa runs to the sofa to collect her jacket--\n\n  --and the RINGING of the telephone stops her dead in her tracks.  Zombie-\n  like, she walks towards the telephone, picks it up wordlessly.  \n\n  From the other end comes the same metallic, insectoid SQUEAKING heard on \n  the video.  Asakawa slams the phone down and glances up at the CLOCK.  \n  Its about seven minutes after 7 P.M.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(to herself) \n\t\tOne week\n\n  Asakawa grabs her coat, pops the tape out of the deck, and runs out the \n  door.\n\n<b>  EXT. STREET  DAY\n</b>\n  It is dark and raining heavily.  Yoichi, Asakawas son, is walking to \n  school, UMBRELLA firmly in hand.  The sidewalk is quite narrow, and Yoichi \n  comes to a halt when a second PERSON comes from the opposite direction, \n  blocking his way. Yoichi slowly raises his umbrella, peers up to look at \n  this other pedestrian.  It is a MAN, a BAG slung over one shoulder.  He \n  has a beard; unusual for Japan where clean-shaven is the norm.  \n\n  The two continue looking directly at each other, neither moving nor \n  speaking.  Yoichi then walks around the persons left and continues on his\n   way.  The man resumes walking as well.\n\n  Caption-- September 14th.  Tuesday.\n\n<b>  EXT. OUTSIDE AN APARTMENT DOOR - DAY  \n</b>\n  The bearded man, whose name is RYUJI, reaches out to press the DOORBELL, \n  but the door has already opened from within.  Asakawa leans out, holding \n  the door open for him.  Neither of them speaks.  Wordlessly, Ryuji enters \n  the apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - DAY  \n</b>\n  Ryuji puts his bag down, looks around the apartment.  The interior is dark, \n  ominous somehow.  He takes his JACKET off and wanders into the living room.  \n  Asakawa is in the kitchen behind him, preparing TEA.  Ryuji spies the \n  collection of FRAMED PHOTOGRAPHS in living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYoichis in elementary school \n\t\talready, is he?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHis first year.  What about you, \n\t\tRyuji?  How have you been \n\t\trecently?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSame as always.\n\n  She takes a seat next to him, serves the tea.  On the coffee table \n  before them is a VIDEOTAPE in a plain, unmarked case.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tAnd money is...?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIm teaching at university.\n\n  Ryuji picks up his cup of tea but stops, grimacing, before it is to his \n  lips.  He rubs his forehead as if experiencing a sudden headache.  Ryuji \n  shakes it off and quickly regains his composure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnyway.  You said that the phone rang?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo if I watch it too, that phone over \n\t\tthere--\n\n  He gestures with his mug \n\n\t\t\t\tRYUJI (contd)\n\t\t--should ring.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji, four people have already \n\t\tdied.  On the same day!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(flippant) \n\t\tWell, why dont you try calling \n\t\tan exorcist?\n\n  He takes a sip of his tea.  Asakawa reaches quickly, grabs something \n  from the bookshelf behind her-- a POLAROID CAMERA.    She shoves it \n  into Ryujis hands, then turns to look down at the floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTake my picture.\n\n  Ryuji raises the camera to his eye.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTurn this way.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(unmoving) \n\t\tHurry up and take it.\n\n  Ryuji snaps off a shot.  It comes out the other end and he takes it, \n  waits impatiently for an image to appear.  When it does, all he can \n  do is pass it wordlessly over to Asakawa.  Her face is twisted, \n  misshapen.  \n\n  Just like the picture of Tomoko and her friends.\n\n  Asakawa stares at it, horrified.  By the time she finally looks up, \n  Ryuji has already risen from his seat and slid the videotape into the \n  VCR.  Again, the screen is filled with static, only to be replaced \n  with what looks like the moon.  Asakawa slams the Polaroid on the \n  coffee table and goes outside onto the veranda.  \n\n<b>  EXT. VERANDA - DAY  \n</b>\n  Asakawa stares out at a view of the houses shaded in cloud and rain. \n  There is a knock on the glass door behind her.  A moment later, \n  Ryuji slides the door open.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIts over.\n\n  Asakawa re-enters her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM - DAY\n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWell, it looks like your phones not \n\t\tringing.\n\n  Ryuji pops the tape from the deck, hands it to Asakawa.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tMake me a copy of this, will you?  \n\t\tId like to do a little research\n\t\tof my own. Theres no reason to \n\t\twrite us off as dead just yet. \n\n  He dramatically takes a seat.\n\n\t\t\t\tRYUJI\t(contd)\n\t\tIf theres a video, that means that \n\t\tsomebody had to make it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tTheres the guest list from the \n\t\tcottage to look into... and the \n\t\tpossibility of someone hacking \n\t\tinto the local stations broadcast \n\t\tsignals.\n\n  Asakawa pulls a NOTEPAD from her purse and begins busily scribbling \n  away.\n\n\n<b>  INT. NEWS STATION - DAY  \n</b>\n  Okazaki putters around.\n\n  Caption- September 15th.  Tuesday.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH  DAY\n</b>\n  Asakawa sits by herself, reviewing the videotape.  She is replaying \n  the very last scene, an outdoor shot of a well.  She stares at it \n  carefully, and notices...\n\n  The tape ends, filling the screen with static.  A split-second \n  afterwards, there is a KNOCK on the door and Okazaki enters, holding \n  a FILE.  Asakawa momentarily forgets about the video.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\t\t(handing her the file)\n\t\tHeres that guest list you wanted.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tOh, thanks.\n\n<b>\t\t\t\tOKAZAKI\t\n</b>\t\tWhat are you gonna do with this?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUh... sorry, Im working on \n\t\tsomething personal.\n\n<b>  EXT. IN FRONT OF A TRAIN STATION - DAY  \n</b>\n  Some quick shots of a FOUNTAIN gushing water, PIGEONS flapping away \n  looking agitated.  CUT to Ryuji sitting on a BENCH.  Hes deep in \n  thought, writing in a NOTEPAD. There are multitudes of PEOPLE about \n  him, and we can hear the sounds of their coming and going.  A PAIR \n  OF LEGS attached to a woman in white dress, hose, and pumps appears, \n  heading directly for Ryuji.  Her pace is slow, rhythmical, and as \n  that pace progresses all other sounds FADE into the background, so \n  that all we can hear is the CLOMP, CLOMP as those legs walk to stand \n  just before Ryuji.  The pumps are scuffed, dirtied with grime.  \n\n  A gust of WIND rips by.  Ryuji fights the urge to look up as in his \n  ears rings the same hollowed, multi-voiced BABBLING heard on the \n  videotape.  The sound grows stronger.\n\n<b>\t\t\t\tRYUJI (VO)\n</b> \t\tSo, it was you.  You did it.\n\n  The babbling fades, disappears as slowly the worlds normal \n  background sounds return.  Ryuji looks up, but the woman in white \n  is nowhere to be seen.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji rides up on a BICYCLE. He turns the corner towards his \n  apartment and finds Asakawa seated on the steps, waiting for him.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHey.\n\n  Asakawa notes in his face that something is wrong.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tWhat happened to you?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(gruffly)\n\t\tNothing.\n\n  He enters the building, carrying his bicycle.  Asakawa follows.\n\n<b>  INT. HALLWAY - AFTERNOON  \n</b>\n  The two walk down the hallway towards the FRONT DOOR to Ryujis \n  apartment.  He unlocks the door and they enter.\n\n<b>  INT. RYUJIS APARTMENT  AFTERNOON\n</b>\n  Ryuji and Asakawa enter the living room.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSo, whatd you come up with?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI dont think any of the guests on \n\t\tthe list brought the tape with them.  \n\t\tI couldnt confirm it face-to-face \n\t\tof course, but even over the phone I \n\t\tgot the feeling they were all being \n\t\tupfront with me.\n\n<b> \t\t\t\tRYUJI\n</b>\t\tHow about the other angle?  Pirate \n\t\tsignals or...\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tTherere no traces of any illegal \n\t\ttelevision signals being broadcast \n\t\taround Izu. \n\n  She reaches into her purse, pulls out a large white ENVELOPE.\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHeres that copy of the videotape \n\t\tyou wanted.\n\n  Ryuji tears the package open.  He squats down on the tatami in \n  frontof his TV and slides the tape in.  Asakawa sits on the \n  tatami as well, but positions herself away from the TV and keeps \n  her eyes averted.  Ryuji glares over his shoulder at her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(sternly) \n\t\tAsakawa.\n\n  She reluctantly scoots closer, looks up at the screen.  Ryuji \n  fast-forwards the tape a bit, stopping at the scene where the \n  woman is brushing her long hair before an oval mirror.  He puts \n  the video on frame-by-frame. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tHave you ever seen this woman?\n\n  Asakawa regards the screen intently.\n\n<b>\t\t\t\tASAKAWA\n</b> \t\tNo...\n\n  The tape advances to the scene where the mirror suddenly changes \n  positions.  When it does, we can again see the small figure in the \n  white gown, a figure with long black hair. When Ryuji sees this \n  his body stiffens, becomes tense.  Asakawa notices but says nothing.  \n  She also notices something else.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tTheres something strange about \n\t\tthis shot.\n\n  She takes the remote from Ryuji, rewinds it a ways.  Onscreen, the \n  woman begins coming her long hair again.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFrom this angle, the mirror should \n\t\tbe reflecting whoevers filming.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSo, what does that mean?\n\n  Asakawa lets out a short sigh.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWell, if the person who made this \n\t\tis a pro, thered be a way around \n\t\tthat, I guess, but still...\n\n  The screen changes, showing the mass of squiggling kanji characters \n  again.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(reading) \n\t\tVolcanic eruption... Eruption where?\n\n  He pauses the screen, trying to make sense of what is written.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tThis is gonna be impossible to figure \n\t\tout on just a regular TV screen, \n\t\tdont you think?\n\n  They are both still staring at the screen when from behind them comes \n  the SOUND of someone opening the front door.  Ryuji turns off the TV, \n  ejects the tape from the deck.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome on in.\n\n  Asakawa flashes a look at Ryuji and then turns her head back towards \n  the front door to see who has entered.  A cute, nervous-looking young \n  GIRL with short hair approaches slowly.  She is carrying a PLASTIC BAG \n  filled with groceries.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAsakawa, meet my student, Takano Mai.\n\n  He turns, addresses Mai.\n\n\t\t\t\tRYUJI\t(contd)\t\n\t\tThis is Asakawa, my ex-wife.\n\n  Ryuji gets up and walks conveniently away.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tNice to meet you.  Im Takano.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tAsakawa. *\n\n\n  > * As you may already be aware, Japanese name order is the \n  >opposite of Englishs, and even close friends may continue to\n  >address one another by their last names.  Incidentally, Asakawas\n  >first name is Reiko.  In this scene, Mai deferentially refers\n  >to Ryuji as sensei, meaning teacher.\n\n\n  Mai sets the bag of groceries down and chases after Ryuji.  He is \n  putting on his jacket and getting ready to leave.\n\n<b>\t\t\t\tMAI\t\n</b>\t\tSensei, the people from the \n\t\tpublishing company called about \n\t\tthe deadline on your thesis again. \n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t\t(brusquely) \n\t\tWhatre they talkin to you \n\t\tabout it for?\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tBecause they can never get a \n\t\thold of you.\n\n  Ryuji picks up his keys, video firmly in hand.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tAsk them to wait another week.\n\n<b>\t\t\t\tMAI\t\t\n</b>\t\tSensei, ask them yourself, \n\t\tplease.\n\n  Ryuji is already headed for the door.  His back is to her as he \n  responds.\n\n<b>\t\t\t\tRYUJI\t\n</b><b>\t\tOK, OK.\n</b>\n  Asakawa walks after him.  They leave.\n\n  Mai pouts unhappily a bit, and then breaks into a smile as an idea \n  crosses her mind.  She walks across the room to where Ryuji has set \n  up a large BLACKBOARD filled with mathematical equations.  Grinning, \n  Mai rubs out part of one equation with her sleeve and writes in a \n  new value.\n\n<b>  INT. NEWS STATION  HALLWAY - NIGHT  \n</b>\n  Asakawa and Ryuji stride purposefully.  They stop before a DOOR to \n  the right, which Asakawa unlocks.  They both walk in.\n\n<b>  INT. NEWS STATION - VIEWING BOOTH - NIGHT \n</b>\n  Asakawa and Ryuji sit in a completely darkened room, their eyes \n  glued to the television MONITOR.  They are again watching the scene \n  with the fragmented kanji characters, but despite their efforts have \n  been able to identify only one additional word, bringing the total \n  to three:\n\n\tvolcanic eruption\t  local\t     residents\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThis is impossible.\n\n  Ryuji fast forwards, stopping at the scene with the kanji reflected\n  inside an alien-looking EYE.  He reads the kanji aloud. \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSada... \n\n  Ryuji moves to make a note of this, notices the time.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIs Yoichi gonna be all right?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(sadly) \n\t\tHes used to it...\n\n  Short silence.  Ryuji breaks it by gesturing towards the screen. \n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWhoever made this had to have left \n\t\tsome kind of clue behind.  Theyre \n\t\tprobably waiting for us to find it.\n\n  Asakawa turns a DIAL to bring up the volume, which up until now has \n  been  on mute.  The room is filled with an eerie, metallic GRATING, \n  and Asakawa spins the dial again, shutting it off.  Just as she does, \n  Ryujis eyes widen.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWait a minute.\n\n  He turns the dial again, punches a few buttons as if searching for \n  something.  He listens carefully, and when he hears that strange \n  something again he stops, looks at the screen.\n\n  It is paused at the scene with the figure, pointing, a CLOTH draped \n  over its head.  The figure now looks oddly like a messenger.\n\n  Ryuji and Asakawa exchange glances.  This could be it.  Ryuji flips \n  some more switches, setting the sound for super-slow mo.  What follows \n  is a strange, labored sort of speech- a hidden message-- framed in \n  the skittering distortion of the tape in slow motion. \n\n<b>\t\t\t\tTAPE\t\n</b>\t\tShoooomonnn bakkkkkarrri toou...  \n\t\tboooouuuukonn ga kuuru zouuu...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(repeating) \n\t\tShoumon bakkari, boukon ga kuru \n\t\tzo.  Did you hear that, too?\n\n  Asakawa nods.  Ryuji is already writing it down excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat does that mean?\n\n  Ryuji tears the sheet of paper off the notepad, folds it, and tucks \n  it into his shirt pocket.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIm gonna check it out.\n\n<b>  EXT. ASAKAWAS APARTMENT COMPLEX - MORNING  \n</b>\n  Yoichi is walking to school.  He looks back over his shoulder, just \n  once,then resumes walking.\n\n<b>  INT. ASAKAWAS APARTMENT - MORNING\n</b>\n  All the lights are turned off, and she is sitting on the living room \n  couch watching the footage of her caf interview with the junior high \n  school girls.  \n\n  Caption-- September 16th.  Thursday.\n\n  Just when the girl in the interview mentions that whomever watches \n  the video is supposed to afterwards receive a phone call, Asakawas \n  own phone RINGS, startling her. She runs to answer it.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIve got it.  Its a dialect, just \n\t\tlike I thought.  SHOUMON means \n\t\tplaying in the water and BOUKON\n \t\tmeans monster. *\n\n\n  >* Translated from standard Japanese, the phrase from the videotape \n  >would initially have sounded like, \"If only SHOUMON then the \n  >BOUKON will come.\"  These two capitalized words, later identified to \n  >be dialectical, were at the time completely incomprehensible to Ryuji \n  >and Asakawa.  Dialect can vary dramatically from region to region in \n  >Japan, to the point of speakers of different dialect being unable to\n  >understand one another.  \n\n  >The phrase on the tape can now be rendered, \"If you keep playing in \n  >the water, the monster will come for you.\"\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut, dialect from where?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tOshima.  And the site of our \n\t\teruption is Mt. Mihara.\n\n<b>  INT. LIBRARY - NIGHT  \n</b>\n  Ryuji and Asakawa are seated at cubicles, looking through bound \n  ARCHIVES of old newspaper articles.  Asakawa sneaks a look at Ryuji, \n  stands up and walks off a little ways.  She has already pulled out her \n  cell phone.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(whispering, on phone) \n\t\tYoichi?  Im gonna be a little \n\t\tlate tonight, honey. \n\n  Ryuji looks over his shoulder at her, scowls.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYou can do it yourself, right?  OK.  \n\t\tSorry.  Bye.\n\n  She hangs up, returns to her seat at the cubicle.  She resumes her \n  scanning of the newspaper articles, and Ryuji shoots her another scowl.  \n  Asakawa turns a page and then stops, frowning.  She has spied an article \n  that looks like...\n\n  Nervously, Asakawa puts the thumb and forefinger of each hand together, \n  forming the shape of a rectangle.  Or a screen.  She places the rectangle\n  over the article she has just discovered, its headlines reading:\n\n    Mount Mihara Erupts \tLocal Residents Urged to Take Precautions\n\n  Ryuji notices her, leans forward excitedly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIve got it!  This old article...\n\n  The two scan the remainder of the page, and find a smaller, related \n  article.\t\n\n    Did Local Girl Predict Eruption?\n    A young lady from Sashikiji prefecture...\n\n  The two read over both articles, absorbing the details.  Ryuji stands \n  suddenly, gathering his things.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat are you doing?\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHas your newspaper got someone out \n\t\tthere at Oshima?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tI think so.  There should be a \n\t\tcorrespondent out there.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI need you to find out, and let me \n\t\tknow how to get hold of him.\n\t\tTonight.\n\n  He begins walking briskly away.  Asakawa chases after him.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhat do you think youre--?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(angrily) \n\t\tYouve only got four days left, \n\t\tAsakawa!  Your newspaper contact \n\t\tand I can handle this from here \n\t\ton out.  You just stay with Yoichi.\n\n  Ryuji strides off.  Asakawa stands motionless.\n\n<b>  EXT. COUNTRY ROAD - DAY  \n</b>\n  A car speeds along.  CUT to a gravel DRIVEWAY leading up to a wooden, \n  traditional-style HOUSE.  Kouichi, Asakawas father, is standing before \n  the entrance and puttering around in his GARDEN.  The car from the \n  previous shot drives up, comes to a halt.  The passenger door opens and \n  Yoichi hops out, running towards the old man.  Asakawa walks leisurely \n  after her son.\n\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tGrandpa!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWhoa, there!  So, you made it, huh?\n\n  Caption-- September 17th.  Friday.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi says hes looking forward to \n\t\tdoing some fishing with you.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tIs that so?\n\n  Yoichi begins tugging excitedly at his grandfathers arm.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tCmon grandpa, lets go!\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tOK, OK.  Well get our things \n\t\ttogether and then we can go.\n\n\n<b>  EXT. RIVER  DAY  \n</b>\n  Asakawa stands on a RIVERBANK while her father and Yoichi, GUMBOOTS on, \n  are ankle-deep in a shallow river.  Yoichi holds a small NET, and \n  Asakawas dad is pointing and chattering excitedly. \n\n<b>\t\t\t\tKOUICHI\n</b>\t\tThere he is!  Cmon, there he is, \n\t\tdont let him go!\n\n  Yoichi tries to scoop up the fish his grandfather is pointing out.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tOh, oh!  Ah... guess he got away, \n\t\thuh?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tThat was your fault, grandpa.\n\n  Asakawas father laughs.\n\n<b>\t\t\t\tKOUICHI\t\n</b>\t\tWell, whaddya say we try again?\n\n  He begins sloshing noisily out to the center of the stream, Yoichi in \n  tow.\n\n<b>\t\t\t\tKOUICHI\n</b>\t\tWell get im this time.\n\n  Asakawa looks away, pensive.\n\n<b>  INT. KOUICHIS HOUSE - LIVING ROOM - NIGHT  \n</b>\n  Yoichi is passed out asleep on the tatami mats.  A TELEVISION looms \n  inone corner of the living room, but it is switched off.  The \n  SLIDING DOORS to the adjacent guest room are open and we can see \n  futons set out, ready for bed.\n\n  Asakawa enters the living room and, seeing Yoichi, scoops him up in\n  her arms and carries him over to the guest room.\n\n<b>\t\t\t\tYOICHI\n</b>\t\t\t(sleepily) \n\t\tHow was work, mommy?\n\n  Asakawa tucks him into the futons and walks silently off.\n\n<b>  INT. KOUICHIS HOUSE - STAIRCASE  NIGHT  \n</b>\n  Asakawa stands at the foot of the staircase, telephone RECEIVER in \n  hand.  The phone rests on a small STAND by the staircase.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tYeah.  Your Oshima contact came \n\t\tthrough.  It looks like the woman \n\t\twho predicted the Mihara eruption \n\t\tis the same woman from the video.\n\n<b>  INT. RYUJIS APARTMENT  NIGHT\n</b>\n  Ryuji is crouched in front of the TV, REMOTE in hand.  The screen is \n  paused on the scene of the woman brushing her long hair.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHer name is Yamamura Shizuko.  She \n\t\tcommitted suicide forty years ago \n\t\tby throwing herself into Mt. Mihara.\n\n<b>  INT. KOUJIS HOUSE  STAIRCASE - NIGHT  \n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHave you got anything else?\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tIm gonna have to check it for \n\t\tmyself.  Ill be leaving for \n\t\tOshima tomorrow morning.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tOshima?  Ive only got three days \n\t\tleft!\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tI know.  And Ive got four.\n\n  Short silence.\n\n<b>\t\t\t\tRYUJI (O.S.)\n</b>\t\tIll be in touch.\n\n  Ryuji hangs up.  Asakawa, deep in thought, slowly places the phone \n  back in its CRADLE.  She turns around to walk back down the hallway \n  only to find her father standing there, face full of concern.\n\n<b>\t\t\t\tKOUJI\n</b>\t\tWhats happened?\n\n  Asakawa shakes her head.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tNothing.  I just had some things \n\t\tleft over from work.\n\n  She walks past her father, who glances worriedly after her over his \n  shoulder.\n\n<b>  INT. KOUJIS HOUSE - GUEST ROOM  NIGHT\n</b>\n  The lights are all off and Asakawa is asleep in her futon.  Her eyes \n  suddenly fly open as a VOICE sounding eerily like her deceased niece \n  Tomoko calls out to her.\n\n\n<b>\t\t\t\tTOMOKO (O.S.) \n</b>\t\tAuntie?\n\n  Asakawa looks around the room, gets her bearings.  Her eyes fall on \n  the futon next to hers.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi?\n\n  There is a BODY in that futon, but it is full-grown, dressed all in \n  black.  It is curled into a fetal position and has its head turned \n  away.\n\n  Suddenly, the IMAGE from the video of the figure with its face \n  shrouded springs to Asakawas mind.  Just an instant, its pointing \n  visage materializes, and then disappears.  It reappears a moment \n  later, pointing more insistently now, and disappears again.  \n\n  Asakawa blinks her eyes and realizes that the futon next to hers is \n  empty.  Yoichi is nowhere to be seen.\n\n  Just then, she hears that high-pitched, metallic SQUEAKING from the \n  video.  Eyes wide with horror, she flings the sliding doors apart--\n  --and there, seated before the television, is Yoichi.\n\n  He is watching the video.\n\n  It is already at the very last scene, the shot of the outdoor well. \n  CLOSEUP on the screen now, and for just an instant we can see that \n  something is trying to claw its way out of the well.  The video cuts \n  off, and the screen fills with static.  \n\n  Shrieking, Asakawa races over to Yoichi, covers his eyes though it is \n  already too late.  She scoots over to the VCR, ejects the tape and \n  stares at it uncomprehendingly.  She is then at Yoichis side again, \n  shaking him roughly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoichi!  You brought this with you, \n\t\tdidnt you?  Why?!?\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan...\n\n  Asakawa freezes, her eyes wide.\n\n<b>\t\t\t\tYOICHI\t\n</b>\t\tTomo-chan told me to watch it.\n\n<b>  EXT. OCEAN  DAY\n</b><b>  \n</b>  WAVES are being kicked up by a large PASSENGER SHIP as it speeds on \n  its way.  CUT to Asakawa and Ryuji standing on deck, looking out over \n  the waves.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI shouldve been more careful.  \n\t\tWhen I was at your place that \n\t\tday, I could feel something \n\t\tthere.  I thought it was just \n\t\tbecause of the video... \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYou mean that Tomoko\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tThats not Tomoko.  Not anymore.\n\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi... he can see them too, \n\t\tcant he?\n\n  Ryuji nods his head, lowers it sadly.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIts all my fault.  First Tomoko \n\t\tdied, then those three others.  It \n\t\tshould have stopped there, but it \n\t\tdidnt.  Because of me.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tI wonder...\n\n  Asakawa turns to Ryuji suddenly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHow did the rumors about the \n\t\tvideo even start in the first \n\t\tplace?\n\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tThis kind of thing... it doesnt \n\t\tstart by one person telling a \n\t\tstory.  Its more like everyones \n\t\tfear just takes on a life of its \n\t\town.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tFear...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tOr maybe its not fear at all.  \n\t\tMaybe its what we were \n\t\tsecretly hoping for all along.\n\n<b>  EXT. PORT  DAY  \n</b>\n  The ship has docked, its GANGPLANK extended.  Ryuji and Asakawa walk \n  the length of the gangplank towards the shore.  A man named MR. \n  HAYATSU is already waiting for them.  He holds up a white SIGNBOARD \n  in both hands.\n<b> \n</b><b>\t\t\t\tASAKAWA\t\n</b>\t\tMr. Hayatsu?\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tAah, welcome!  You must be tired \n\t\tafter your long trip.  Please, \n\t\tthis way.\n\n  Mr. Hayatsu leads Asakawa and Ryuji to an awaiting minivan.\n\n  Caption-- September 18th.  Saturday.\n\n<b>  INT. HAYATSUS MINIVAN - DAY  \n</b>\n  Ryuji and Asakawa sit in the back.  Mr. Hayatsu is behind the wheel, \n  chattering away.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tBack in the old days, the Yamamuras\n\t\tused to head fishing boats out in \n\t\tSashikiji, though they dont much \n\t\tanymore.  You know, one of Shizukos \n\t\tcousins is still alive. Hes just an \n\t\told man now.  His son and his \n\t\tdaughter-in-law run an old-fashioned \n\t\tinn.  I went ahead and booked \n\t\treservations for yall, hope thats \n\t\talright...\n\n  Asakawa gives the briefest of nods in reply, after which the \n  minivan lapses into silence.  Asakawa looks dreamily out at the \n  mountain-studded landscape, then suddenly snaps to.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(to Ryuji) \n\t\tWhy did Yamamura Shizuko commit \n\t\tsuicide?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tShe was taking a real beating \n\t\tin the press, being called a \n\t\tfraud and all sorts of names.  \n\t\tAfter a while she just lost it. \n\n  CUT to a scene of the minivan speeding along a country road.\n\n<b>  INT. HAYATSUS MINIVAN  DAY \n</b>\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko was getting a lot of \n\t\tattention around the island after\n\t\tpredicting the eruption of Mt. \n\t\tMihara.  Seems that for some time \n\t\tshed had a rather unique ability:\n\t\tprecognition. It was around then\n\t\tthat she attracted the attention \n\t\tof a certain scholar whom you may \n\t\thave heard of; Ikuma Heihachiro.   \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tHe was driven out of the university, \n\t\twasnt he?\n\n  Ryuji nods.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThis Professor Ikuma convinces \n\t\tShizuko to go to Tokyo with him, \n\t\twhere he uses her in a series of \n\t\tdemonstrations meant to prove the \n\t\texistence of ESP.  At first shes \n\t\tthe darling of the press, but the \n\t\tnext thing you know theyre \n\t\tknocking her down, calling her a \n\t\tfraud.  Hmph.  Forty years later,\n\t\tthe media still hasnt changed that\n\t\tmuch.\n\n  Asakawa continues, ignoring Ryujis barb.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIve heard this story.  But... Im \n\t\tsure I remember hearing that somebody \n\t\tdied at one of those demonstrations.\n\n  A strange look crosses Ryujis face.  He looks away, ignores her \n  for a moment.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAfter getting kicked out of \n\t\tuniversity, Ikuma just vanished, \n\t\tand no ones been able to get hold \n\t\tof him since.  Hes probably not \n\t\teven alive anymore.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, why even try looking for him?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tBecause hes supposed to have had a \n\t\tchild with Shizuko.  A daughter.\n\n  Asakawa freezes.  In her mind, she sees a small FIGURE dressed in \n  white, its face hidden by long, black HAIR.  It is the figure from \n  the video.\n\n<b>  EXT. OUTSIDE YAMAMURA VILLA - DAY  \n</b>\n  Mr. Hayatsu leads Asakawa and Ryuji to the entrance.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tHello?\n\n  The INKEEPER, a middle-aged lady named KAZUE wearing a traditional \n  KIMONO, comes shuffling up.  She addresses Mr. Hayatsu.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThank you.\n\n  She turns to Asakawa and Ryuji.\n\n\t\t\t\tKAZUE (contd)\n\t\tWelcome.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tWell, Ill be off then.\n\n  He gives a little bow and is off.  Kazue, meanwhile, has produced \n  two pairs of SLIPPERS, which she offers to Ryuji and Asakawa.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tPlease.\n\n  Ryuji and Asakawa begin removing their shoes. \n\n<b>  INT. YAMAMURA VILLA  STAIRCASE - DAY  \n</b>\n  Kazue leads Ryuji and Asakawa up a shadowed, wooden STAIRCASE.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tAnd for your rooms, how shall we...? \n\n<b>\t\t\t\tRYUJI\n</b>\t\tSeparate, please.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tSir.\n\n<b>  INT. YAMAMURA VILLA - 2ND FLOOR  DAY\n</b>\n  Kazue gives a little bow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\tThis way.\n\n  Kazue turns to the right.  Almost immediately after reaching the \n  top of the steps, however, a strange look crosses Ryujis face.  \n  He heads down the opposite end of the corridor, Asakawa close \n  behind.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(alarmed) \n\t\tSir!\n\n  Ryuji flings open the SLIDING DOOR to one of the older rooms.  There, \n  hanging from one of the walls, is the oval-shaped MIRROR from the \n  video, the one used by the mysterious lady to brush her long hair.  \n  Ryuji stares at the mirror, almost wincing.  He turns around as if \n  to look at Asakawa,but continues turning, looks past her.  Asakawa \n  follows his gaze, as does Kazue.  Standing at the end of the corridor \n  is an old man, MR. YAMAMURA. \n\n  Yamamura regards them silently, balefully.  Breaking the silence, \n  Kazue gestures for Asakawa and Ryuji to follow.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t\t(softly) \n\t\tPlease, this way.\n\n  Asakawa races past the innkeeper towards the old man.  He keeps his \n  back turned towards her.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease!  If you could just answer \n\t\ta few questions, about Shizuko...\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tI got nuthin to say.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts about Shizukos daughter.\n\n  The old man says nothing.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tShe did have a daughter, didnt she?\n\n  Yamamura regards her for a moment, then turns to walk away.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>  \t\tYoure wasting your time.\n\n<b>  INT. YAMAMURA VILLA - DINING ROOM  NIGHT\n</b>\n  The TABLE is laid out with an elaborate-looking DINNER.  Asakawa \n  sits alone, knees curled up to her chin, eyes wide and frightened.  \n  She is whimpering softly to herself.  Just then, the DOOR slides \n  open and Ryuji walks in.  He sits at the table and picks up a \n  pair of CHOPSTICKS.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tArent you gonna eat?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tUmm...\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tHm?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoull stay with me wont you?  \n\t\tWhen its time for me to die.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tOh, stop it.\n\n  Asakawa scoots across the tatami mats towards the table, grabs \n  Ryuji fiercely by the arm.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tYoull stay, wont you?  If you \n\t\tstayed, maybe youd learn something\n\t\tthat could help Yoichi--\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI said stop it!  Have you forgotten \n\t\tThere was a girl with Tomoko when \n\t\tshe died?  That girls now in a \n\t\tmental institution.  Who knows what \n\t\tcould happen. \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tBut you could stay with me, Ryuji.  \n\t\tYoud be OK.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(angrily)\n\t\tWhy, because Im already not \n\t\tright in the head?\n\n  Asakawa releases her hold on Ryujis arm, lowers her head.  Ryuji \n  slams his chopsticks down angrily.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIf thats the case, why not just\n\t\tlet things run its course, get rid\n\t\tof father -and- son?  Yoichi was a\n\t\tmistake, anyway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tStop it!\n\n  Short silence.  When Ryuji speaks up again, his voice is soft, \n  reassuring.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe still have two days left...\n\n  Just then the VOICE of the innkeeper calls tentatively out from \n  the other side of the sliding door.\n\n<b>\t\t\t\tKAZUE (O.S.) \n</b>\t\tExcuse me?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tCome in.\n\n  Kazue slides the door open.  She stands hesitantly in the doorway, \n  something tucked under one arm.\n\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tIts about Miss Shizuko.  \n\n  Ryuji shoots a glance at Asakawa and stands up from the table, \n  walks towards the innkeeper.\n\n<b>\t\t\t\tKAZUE\t\n</b>\t\tThis is all that there is...\n\n  Kazue produces an old black and white PHOTOGRAPH.  The photo shows a \n  WOMAN, seated, dressed in a KIMONO.  A MAN in a Western-style SUIT \n  stands beside her.  \n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIs this Professor Ikuma?\n\n  Hearing this Asakawa leaps up, walks over to examine the picture for \n  herself.\n\n<b>\t\t\t\tKAZUE\n</b>\t\t...yes.  This picture is from before \n\t\tId entered the household.  \n\n  She pauses a moment.\n\n\t\t\t\tKAZUE (contd)\n\t\tI should go now.\n\n  The innkeeper scuttles off, leaving Asakawa and Ryuji alone with the \n  photograph.  Unbidden, the VOICE from the video enters their \n  thoughts.\n\n<b>\t\t\t\tVOICE\n</b>\t\tShoumon bakkari... boukon ga kuru zo...\n\n\n<b>  EXT. IZU SEASHORE - DAY\n</b>\n  Asakawa watches Ryuji stride down the shore.\n\n  Caption-- September 19th.  Monday.\n\n  Ryuji strolls up to find old man Yamamura sitting alone, staring \n  out at the sea.  Yamamura glances up to see Ryuji approaching.  \n  Ryuji takes a seat next to the old man, but its Yamamura who speaks \n  first.  The deep basso of his voice emphasizes the drawl of his \n  accent.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tYalld do best to be off soon.  \n\t\tSeas probably gonna be rough \n\t\ttonight.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat kind of a child was Shizuko?\n\n<b>\t\t\t\tYAMAMURA \n</b>\t\tShizuko was... different.  Shed come \n\t\tout here by herself everday an just\n\t\tstare out at the ocean.  The fishermen \n\t\tall took a dislikin to her.  Oceans \n\t\tan unlucky place for us, ysee: every \n\t\tyear it swallows up more of our own. \n\t\tYou keep starin out at somethin \n\t\tike that... \n\n<b>\t\t\t\tRYUJI\n</b>      \t\tShoumon bakkari shiteru to, boukon ga \n\t\tkuru zo.  If you keep playing in the \n\t\twater, the monster will come for you.\n\n  Yamamura looks at Ryuji, surprised.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tShizuko could see inside people, \n\t\tcouldnt she?  Down to the places \n\t\ttheyd most like to keep hidden.  It \n\t\tmust have been difficult for her...\n\n  Yamamura rises unsteadily to his feet, features twisted angrily.\n\n<b>\t\t\t\tYAMAMURA\n</b> \t\tPlease leave!  Now!\n\n  Ryuji stands, takes hold of Yamamuras arm.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIve got a little of that ability \n\t\tmyself.  It was you who spread the \n\t\tword about Shizuko, wasnt it?  \n\t\tAnd you who first contacted \n\t\tProfessor Ikuma?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tWhatre you--?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tYou thought youd be able to make \n\t\tsome money off her.  You even got \n\t\tsome, from one of the newspapers.\n\n<b>\t\t\t\tYAMAMURA\t\t\n</b>\t\tLeave me the hell alone!\n\n  Mr. Yamamura strides angrily off.  Both Ryuji and Asakawa take \n  pursuit, Ryuji calling out from behind Yamamuras back.\n\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tTell us about Shizukos daughter.  \n\t\tWho was she?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tI dont know!\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tShe was there, with Shizuko. She \n\t\thad to be.\n\n  Yamamuras pace, which has become increasingly erratic, finally \n  causes him to stumble and fall.  Ryuji comes up behind him, \n  grasping him firmly.  At their touch Ryujis power awakens, and as \n  he peers into the old mans mind there is a sudden blinding\n\n<b>  FLASH\n</b>\n  The setting is a large MEETING HALL.  A number of people are seated \n  in folding chairs before a STAGE, on which are a four MEN in BUSINESS \n  SUITS and a WOMAN in a KIMONO.  A BANNER hangs above the stage, which \n  reads PUBLIC DEMONSTRATION ON THE EXISTENCE OF CLAIRVOYANCE.  \n\n<b>  FLASH\n</b>\n  Ryuji eyes widen as he realizes he is seeing Shizukos demonstration \n  before the press.  He also realizes--\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(to Yamamura)\n\t\tYou were there!\n\n<b>  FLASH\n</b>\n  YAMAMURA SHIZUKO, the woman in the kimono, is sitting at a TABLE \n  onstage. Her face is calm and expressionless.  Standing off to one \n  side and peering from behind the curtains is a young Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t(O.S.) \n</b>\t\tYou stood there and watched the \n\t\tdemonstration.\n\n  CUT back to the beach.  Asakawa comes running up toward Ryuji and the \n  prone Mr. Yamamura.  Suddenly there is another\n\n<b>  FLASH\n</b>\n  Asakawa, her eyes wide, finds herself inside the scene, reliving it \n  as if she had actually been there.  She watches as Shizuko receives \n  a sealed clay POT in both hands.  Shizuko regards the pot a moment \n  and then places it gently on the table before her.  She takes a \n  calligraphy STYLUS from the table, begins writing on a thin, \n  rectangular sheet of RICE PAPER.  The members of the press talk \n  excitedly, craning their necks for a better look.\n\n  Onstage, a JUDGE holds up the phrase written by Shizuko and the \n  folded sheet of paper taken from the sealed pot.  The phrase on both \n  sheets is identical.\n\n<b>\t\t\t\tJUDGE\t\t\n</b>\t\tMatch.\n\n  Cameras begin FLASHING excitedly.  Shizukos features melt into a soft \n  smile. \n\n  The experiment is performed again, and again the phrase written by \n  Shizuko corresponds to the sealed sheet of paper.\n\n<b>\t\t\t\tJUDGE\n</b>\t\tMatch.\n\n  Again and again, Shizuko unerringly demonstrates her power to see \n  the unseen.  Finally, a bearded REPORTER explodes from his chair, \n  begins striding angrily towards the stage.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tFaker!  This is nothing but trickery, \n\t\tand the lowest form of trickery at \n\t\tthat. \n\n  The reporter stops at the foot of the stage, points his finger \n  accusingly at Shizuko.\n\n<b>\t\t\t\tREPORTER\t\n</b>\t\tWhat are you trying to pull, woman?\n\n  A SECOND REPORTER sitting in the front row also rises to his feet.\n\n<b>\t\t\t\tREPORTER #2\t\n</b>\t\tThats right!  Professor Ikuma, \n\t\tyoure being fooled!\n\n  By now most of the press has risen from their chairs, pointing and \n  shouting angrily. Onstage, Shizuko backs away, eyes wide and \n  frightened.  She covers both ears, trying to block out the increasing \n  din.  Professor Ikuma holds her protectively by the shoulders.  The \n  first reporter is still shouting angrily, his voice rising above the \n  others.  Suddenly, a pained look crosses his face and he collapses to \n  the floor.  The crowd, and Asakawa as well, see that the reporters \n  face is contorted into a grotesque mask of fear.\n\n<b>\t\t\t\tREPORTER #3\t\n</b>\t\tWhats happened?\n\n<b>\t\t\t\tREPORTER #4\t\n</b>\t\tHes dead!\n\n\n\n<b>\t\t\t\tREPORTER #5\t\n</b>\t\t\t(to Shizuko) \n\t\tWitch!\n\n  Professor Ikuma begins leading Shizuko offstage.  They stop as someone \n  unseen steps up, blocking their passage.  Shizukos eyes widen, her \n  head shaking in disbelief.\n\n<b>\t\t\t\tSHIZUKO\n</b>\t\tSadako?  Was it you?\n\n  CUT to Ryuji on the beach.  He looks up excitedly.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tSadako?!\n\n  He recalls the image from the video, the alien eye with the single \n  character SADA reflected in reverse. *\n\n\n  >* The majority of girls' names in Japanese end in either -mi (\"beauty\") \n  >or -ko (\"child\").  Thus, Sadako means \"Chaste child.\"  Sadako is, of \n  >course, the mysterious daughter of Shizuko and Professor Ikuma.\n\n\n<b>\t\t\t\tRYUJI\n</b>\t\tSadako killed him?  She can kill \n\t\tjust with a thought?\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tShes... a devil spawn.\n\n  CUT back to the demonstration hall.  Sadako, her face completely hidden \n  by her long hair, runs offstage... and heads directly for Asakawa.  \n  Asakawa instinctively raises her arm, and Sadako grasps it fiercely.  \n  All the nails on Sadako hand are stripped away; her fingers are raw, \n  bloody stumps.\n\n  CUT back to the beach.  Asakawa, still caught in the throes of the \n  vision, has begun to swoon.  Finally her legs give out and she crumples \n  to the beach.  Ryuji grabs hold of her supportively.  He glances down at \n  her wrist, sees an ugly, purple BRUISE already beginning to form.  \n\n  The bruise is in the shape of five long, spindly fingers.\n\n  Mr. Yamamura slowly rises to a sitting position, and together the three \n  watch the approach of ominous, dark STORM CLOUDS.\n\n<b>  INT. MR. HAYATSUS HOUSE  DUSK\n</b>\n  Asakawa is on the phone, her voice almost frantic.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThats right. After Yamamura Shizuko \n\t\tcommitted suicide, Professor Ikuma\n\t\ttook the daughter and ran.  No, no one\n\t\tknows where they went.  Thats why I \n\t\tneed -you- to find out where they are.  \n\t\tEven if the professors dead, Sadako \n\t\tshould still be in her forties.  Ill \n\t\texplain it all later, but right now \n\t\tjust hurry!\n\n  Asakawa slams the phone down.  PAN to show Ryuji slumped in one corner \n  of the room, his back to the wall.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadakos probably already dead.  She\n\t\tcould kill people with just a thought, \n\t\tremember?  Her mother wasnt even \n\t\tclose to that.\n\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(flustered) \n\t\tWell, what about that video?  If \n\t\tSadakos dead then who made it?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tNobody made it. It wasnt made at \n\t\tall. That video... is the pure, \n\t\tphysical manifestation of Sadakos \n\t\thatred.\n\n  Ryuji turns to regard Asakawa, his eyes blank.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWeve been cursed.\n\n  There is a moment of silence before Mr. Hayatsu slides the door open, \n  almost falling into the room.  He is out of breath, and speaks rapidly.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts no good.  With the typhoon \n\t\tcoming in, all ships are \n\t\ttemporarily staying docked.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWhat about the fishing boats?  \n\t\tTell their captains Ill pay.\n\n<b>\t\t\t\tHAYATSU\n</b>\t\tFishing boats?  Sir, without knowing \n\t\twhether this typhoon is going to hit \n\t\tus or not, I think itd be better to \n\t\twait and see how things turn--\n\n  Ryuji interrupts him, slamming both palms on the table.  Glasses \n  rattle wildly.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tFine!  Ill try searching myself!\n\n  Ryuji stands and races past Mr. Hayatsu out into the rain.  Hayatsu \n  takes pursuit, calling after him.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tMr. Takayama!?  Mr. Takayama...\n\n  Asakawa, left alone, stares down at the tatami mats.\n\n<b>  EXT. OCEAN - NIGHT  \n</b>\n  White-capped waves roll angrily in a black sea.\n\n<b>  INT. MR. HAYATSUS HOUSE  NIGHT\n</b>\n  Asakawa sits at a table, alone, her hands clasped as if in prayer.  Her \n  eyes are wide and glassy.  The phone RINGS suddenly and Asakawa dives \n  for it, wrenching it from the cradle before it can ring a second time.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tHello?\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tMrs. Asakawa?  Im sorry.  I tried, \n\t\tbut I couldnt come up with any \n\t\tleads at all.\n\n  A look of abject fear crosses Asakawas face.  She begins retreating \n  into herself.\n\n\n<b>\t\t\t\tOKAZAKI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(softly) \n\t\tThank you...\n\n  Asakawa slowly places the phone back in its cradle.  Almost immediately, \n  her face begins to crumple.  She falls to her knees, sobbing into the \n  floor.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi...\n\n  She cries a while longer but suddenly stops.  Her face, eyes streaked \n  with tears, shoots suddenly up, stares directly at the telephone.\n\n<b>\t\t\t\tASAKAWA\t \n</b>\t\t\t(softly) \n\t\tIzu...\n\n<b>  EXT. IZU WHARF  NIGHT\n</b>\n  Asakawa stands looking down on the wharf, scanning. \n\n  Several FISHING BOATS are docked.  The wind whips her hair crazily \n  around.   She continues scanning, and suddenly she spies--\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\t\t(calling) \n\t\tRyuji!\n\n  Asakawa runs down onto the wharf, heading towards Ryuji.  He is \n  in mid-conversation with Mr. Hayatsu.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tRyuji!  The phone in my apartment \n\t\tnever rang!  It only ever rang at\n\t\tthe rental cottage!  Professor \n\t\tIkuma mustve...\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tAnd weve got no way of going back.\n\n<b>\t\t\t\tHAYATSU\t\n</b>\t\tIts too dangerous!  The thought of \n\t\tanybody going out in this weather...\n\n  The three fall into silence as they realize the powerlessness of their \n  situation.  Suddenly, a deep VOICE booms from behind them.\n\n<b>\t\t\t\tYAMAMURA (O.S.) \n</b>\t\tIll take you out.\n\n  The three spin around to see Mr. Yamamura, his ROBES flapping in the \n  gusty night air. He begins walking towards them.\n\n<b>\t\t\t\tYAMAMURA\t\n</b>\t\tSadako is callin yall, reckon.  \n\t\tMayhap to drag you down under the \n\t\twater.\n\n  Short silence.  Ryuji shoots a short questioning glance at Asakawa, \n  turns back to face Mr. Yamamura.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tPlease.  Take us out.\n\n\n\n<b>  EXT. OCEAN  NIGHT\n</b>\n  A tiny FISHING BOAT is tossed about on the waves.  Mr. Yamamura stands \n  at the wheel, his face expressionless.\n\n<b>  INT. MR. YAMAMURAS FISHING BOAT  NIGHT\n</b>\n  Ryuji and Asakawa are crouched close together in the cabin.  Asakawas \n  expression is dreamy, faraway.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts funny.  Im not afraid at all.  \n\n  Ryuji leans over, rubs her hand comfortingly.  Suddenly he switches \n  back into analytical mode.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tSadako probably died back out there\n\t\tat Izu, before the rental cottages \n\t\twere ever built.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSo, Sadako was Professor Ikumas \n\t\tdaughter?\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(nodding) \n\t\tIkuma smuggled her out in secret.  \n\t\tHis relationship with Shizuko was \n\t\talready a scandal, and one of the \n\t\treasons he got drummed out of the \n\t\tuniversity... Weve gotta find \n\t\tSadakos body.\n\n\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(excitedly) \n\t\tIs that going to break the curse?  \n\t\tWill Yoichi be all right?\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tIts all weve got left to try.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tJust one more day...\n\n  Ryuji puts his arm around Asakawa.\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT - DAWN  \n</b>\n  Ryuji stands on deck, looking out over the water.  He heads down \n  below toward the captains area.  Mr. Yamamura is at the wheel.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tWe made it.  Maybe Sadako doesnt \n\t\thave it out for us after all.\n\n  Long pause as Mr. Yamamura says nothing.\n\n<b>\t\t\t\tYAMAMURA\n</b>\t\tShizuko... she used to -speak- to \n\t\tthe ocean, just ramble away.  One \n\t\ttime I hid, listenin to one of her \n\t\tconversations.\n\n  Mr. Yamamura pauses again.\n\n\t\t\t\tYAMAMURA (contd)\t\n\t\tAnd it werent in no human language.\n\n\n<b>  EXT. MR. YAMAMURAS FISHING BOAT  DAWN\n</b>\n  Asakawa has climbed out on deck and is looking up towards the sunrise.\n\n  Caption-- September 20th.  Monday.\n\n<b>  EXT. HARDWARE STORE  DAY\n</b>\n  Ryuji races out of the store, loaded down with supplies.  He holds a \n  pair of BUCKETS in one hand and a CROWBAR and SHOVEL in the other.  A \n  length of ROPE is coiled over his left shoulder.  He runs towards a \n  RENTAL CAR, passing by Asakawa who stands at a PAYPHONE, receiver in \n  hand.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHello?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tYoichi?  Its mommy.  I just called \n\t\tto say Ill be coming home tomorrow.\n\n  Ryuji shoots a look at her over his shoulder.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tIm tired of it here, mom!  I wanna\n\t\tgo back to school.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\t\t(smiling) \n\t\tYoichi, its rude to your grandpa \n\t\tto talk like that.\n\n<b>\t\t\t\tYOICHI (O.S.) \n</b>\t\tHes laughing.  You wanna talk to him?\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tNo, thats...\n\n  Asakawa pauses, her voice hitching.  She seems about to lose \n  her composure.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tIm sorry, Yoichi.  Ill... Ill \n\t\tsee you tomorrow.  \n\n<b>\t\t\t\tYOICHI (O.S.)\t\n</b>\t\tWhats wrong?\n\n  Asakawas face scrunches up in an effort to hold back tears.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tMommys got something she has to do.  \n\t\tSay hello to grandpa for me, OK?\n\n  Ryuji stands by the car, scowling over at Asakawa.  He shuts the DOOR \n  just short of a slam.  CUT to Asakawa hanging up the phone.  She half-\n  runs towards the rental car and enters the passenger side, staring \n  blankly into space.  Ryuji slides into the drivers seat, buckles his \n<b>  SEATBELT.  \n</b>\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tWhat time was it when you first \n\t\twatched the video?\n\n  Asakawa glances at her watch.\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tSeven or eight minutes past \n\t\tseven.  PM.  No more than ten \n\t\tminutes past.\n<b> \t\t\n</b><b>\t\t\t\tRYUJI\n</b>\t\tIf the rumors are true, that \n\t\ttime is gonna be our deadline.\n\n  Asakawa buckles up as Ryuji steps on the gas.\n\n<b>  INT. RENTAL CAR  DAY\n</b>\n  Asakawa sits in the passenger side.  Her face is almost angelic, \n  with the faintest hint of a smile.  Ryuji shoots a questioning look \n  at her.\n\n<b>  EXT. COUNTRY ROAD  DAY\n</b>\n  The white rental car tears past the SIGN reading Izu Pacific Land.  \n  The car continues into the LOT, screeching around corners before \n  coming to an abrupt halt.  Asakawa, her face still oddly expressionless, \n  gets out of the passenger side.  Ryuji exits as well, the hint of a \n  shudder running through him as he regards the series of rental cabins.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\t-Here-.\n\n  CUT to Asakawa and Ryuji walking up the gravel PATH towards the rental \n  cabins.  Ryuji looks back over his shoulder as both he and Asakawa stop \n  before cabin B4.  The cabin is on STILTS, its underbelly fenced off by \n  wooden LATICEWORK.  Ryuji drops most of his supplies to the ground, but \n  keeps hold of the PICK.  He raises the pick over one shoulder and begins \n  smashing away at the latticework.  When he has cleared enough space for   \n  passage, he begins picking up supplies and tossing them hastily within.  \n  When finished, he holds a hand out for Asakawa.  The two enter the \n  earthen basement.\n\n\n<b>  UNDER COTTAGE B4 - DAY  \n</b>\n  Ryuji pulls a FLASHLIGHT out, flicks it on.  The BEAM arcs outwards, \n  illuminating what looks more like an old mine shaft than a modern \n  rental cottage.  The beam halts when it suddenly encounters an old \n  STONE WELL.  The well is badly chipped on one side, and sealed off \n  with a solid-looking stone LID.  Ryuji rushes quickly towards it.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tI knew it!  The well.\n\n  He squats down beside the well, setting the flashlight on the \n  lid.  Asakawa sinks slowly down beside him.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tThe well...\n\n  Ryuji reaches out and takes Asakawas hand.  He sets their enclasped \n  hands onto the lid, and together they begin lightly tracing the \n  surface of the lid with their free hands.  Asakawa closes her eyes in \n  concentration... and suddenly, as with the incident on the beach, \n  Asakawa finds herself drawn into Ryujis psychometric VISION.\n\n<b>  FLASH\n</b>\n  The picture is black and white, grainy like old film.  A YOUNG GIRL in \n  a WHITE GOWN walks slowly towards an open well. She places her hand on \n  the LIP of the well, peers curiously down.  \n\n<b>  FLASH\n</b>\n  Asakawa looks up, her eyes wide open.\n\n<b>  FLASH\n</b><b>  \n</b>  There is now a second person in the vision, an ELDERLY MAN in an old-\n  fashioned tweed SUIT standing behind the young girl.  He suddenly \n  produces some BLADED OBJECT, and strikes the girl savagely across the \n  back of the head.  \n\n  The girl falls forward. The man drops to the ground, grabbing the girl \n  behind the knees and hoisting her limp BODY over the lip and into the \n  well.  The body falls into its depths.\n\n  Panting heavily, the man leans forward and grasps the lip of the well \n  with both hands, looking down.  He flashes a guilty look in either \n  direction, checking that his crime has gone unnoticed, and as he does \n  so Asakawa realizes that she knows this face.  The image from the \n  videotape, like a face in the moon: it had been Sadako inside the well, \n  looking up to see this man staring back down at her.\n\n  This man whose name is Professor Ikuma Heihachiro.\n\n<b>  FLASH\n</b>\n<b>\t\t\t\tASAKAWA\n</b>\t\tHer own father!\n\n  The energy seems to drain out of Asakawa in a rush, and her body \n  crumbles.  Ryuji catches hold of her.\n\n<b>\t\t\t\tRYUJI\t\t\n</b>\t\tIt was Ikuma who put this lid on.  \n\t\tAnd Sadakos still inside.\n\n  Ryuji stands quickly, takes hold of the crowbar.  He inserts it under \n  the lid and begins trying to pry it off, face scrunched with effort.  \n  Asakawa digs her fingers in and lends her own strength as well. Slowly,\n  the lid begins to move.  Ryuji tosses the crowbar aside and the two \n  lean the combined weight of their bodies into it.  The lid slides off, \n  dropping to the earth with a dull THUD.  Ryuji sits to one side, winded \n  with effort, as Asakawa takes hold of the flashlight.  She shines it \n  down into the well, but it only seems to intensify the gloom. What \n  WATER she can see looks fetid and brackish.  Ryuji sees her expression \n  and begins removing his JACKET.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIll go.\n\n  He walks off, leaving Asakawa alone.\n\n  CUT to an overhead shot of the well.  A ROPE is fastened to one side, \n  and Ryuji has already begun lowering himself down.  His eyes wander \n  overthe grime-smeared WALLS, and with a shudder he begins to pick out \n  human FINGERNAILS.  Torn loose and spattered with blood, countless \n  fingernails line the sides of the well. \n\n<b>\t\t\t\tRYUJI\n</b> \t\tSadako was alive!  Shed tried to \n\t\tclimb her way out.\n\n  Ryujis face twists into a grimace as if momentarily experiencing \n  Sadakosterrible agony.  He waits a moment longer before edging his \n  way down the rope again, finally SPLASHING to rest at the bottom of \n  the well.  He holds his flashlight above the brackish water, calls up \n  to Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tLower the buckets!\n\n  Asakawa nods and lowers two plastic BUCKETS fastened to a rope.  Ryuji \n  grabs one and scoops up a bucketful of water, tugging on the rope when \n  finished.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  Asakawa hoists the bucket up to the rim of the well.  She walks a small \n  distance and tosses the contents out onto the ground.  She happens to \n  glance through the wooden lattice to the outside, and with a start \n  realizes that the sun has already started to set.  A nervous glance at \n  her WATCH later and she is back at the well, lowering the empty bucket \n  to find another full one already awaiting her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tTake it up!\n\n  In the well, Ryuji glances at his watch.  He looks at it for a long \n  moment, the expression on his face saying Were not going to make it.  \n  Time passes as Asakawa pulls up bucketload after bucketload, her \n  strength beginning to fade.  She half-stumbles, glances up... and is \n  shocked to realize that NIGHT has fallen.\n\n  CUT to Asakawa slowly pulling up yet another bucket, her strength \n  almost gone.  She looks at her watch and sees that it is now past \n  6:00.  She calls frantically down to Ryuji.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts already six!\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(explosively) \n\t\tI know!  Hurry up and TAKE IT UP!!\n\n  The bucket slowly jerks into motion.  Asakawa pulls it up to the rim \n  of the well, holds it unsteadily.  She takes one faltering step and \n  falls, spilling the buckets contents onto the ground.  \n\n  CUT to Ryuji in the well, standing ready with another bucketful.\n\n\n<b>\t\t\t\tRYUJI\n</b> \t\tTake it up!\n\n  Nothing happens.  \n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  The bucket begins moving, even slower than before.  CUT to Asakawa, \n  her body trembling with effort. By now its all she can do to simply \n  keep her body moving.  She glances behind her, sees through the wooden \n  lattice that it is now pitch black.  A look of resignation crosses her \n  face and she releases her hold on the bucket, her body crumpling and \n  falling in on itself. \n<b>  \n</b>  CUT to the bucket splashing back into the well, narrowly missing \n  Ryuji.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\t\t(fuming) \n\t\tWhat the hell are you doing?  Trying \n\t\tto get me killed?\n\n  CUT back to Asakawa, her face dead.  Ryuji calls out from the well.\n\n<b>\t\t\t\tRYUJI (O.S.) \n</b>\t\tHey!\n\n  Asakawa falls backward onto the ground, arms splayed. CUT to the rim \n  of the well.  Ryuji pulls himself up over the rim, catches sight of \n  Asakawa.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAsakawa!\n\n  She lifts her head up but says nothing as Ryuji walks over to her.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWell change.  Youre in no condition \n\t\tto keep this up.\n\n  Asakawa suddenly springs into life.  Her voice is frantic, fearful.\n\n<b>\t\t\t\tASAKAWA:\t\n</b>\t\tNo!\n\n<b>\t\t\t\tRYUJI\n</b>\t\tWho do you expect to pull up these \n\t\tbuckets, then?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tBut, we dont even know if its doing \n\t\tany good...\n\n  Ryuji strides forward and slaps Asakawa painfully across the cheek.  \n  He begins shaking her roughly for good measure.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAnd what about Yoichi, huh?  Is his\n\t\tmother not coming to pick him up \n\t\tafter all?\n\n  He releases his hold on her.  The two stare at each other a long time, \n  saying nothing.\n<b> \n</b>  CUT to an overhead shot of Asakawa being lowered into the well. CUT \n  now to Asakawa inside the well, her face and clothes covered with \n  grime, body simultaneously limp with exhaustion and tense with fright.  \n  Unable to resist the impulse, Asakawa slowly looks over her shoulder \n  and down into the well.  The dankness, the claustrophobia seeps in \n  and she draws in her breath in the first signs of panic.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tDont look down!\n\n  She returns her gaze, cranes her neck upward.  CUT to Ryuji leaning \n  over the rim of the well, peering down at her.  For an instant, \n  everything becomes monochrome. Its not Ryuji looking down at her at \n  all; its Professor Ikuma, checking to see if shes still alive or \n  if the blow to the back of her head has finished her off.  CUT to \n  Asakawa, her eyes wide with fright.\n\n  Asakawa comes to rest at the bottom of the well.  A FLASHLIGHT hangs \n  from another rope, but its beam has almost no effect on the darkness.  \n  Asakawa crouches forward, hands moving searchingly through the water.  \n  She calls out pleadingly.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhere are you?  Please, come out.\n\n  Asakawa straightens, unties herself from the rope.  A full bucket \n  already awaits.  She tugs on the rope and Ryuji pulls it up.  \n\n  She scoops up a second bucket, but something stops her from sending \n  it up.  Instead, she begins running her arms through the water again, \n  her voice close to tears.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tPlease.  Where are you?\n\n  Asakawa continues her blind fumbling, which sends up little splashes \n  of stagnant water.  With a start, she realizes that her fingers have \n  caught something.  Seaweed?  Asakawa draws her hands close for a \n  better look... and sees that is HAIR.  A thick clump of long, black \n  hair.\n\n  Suddenly a pale, thin ARM shoots out from beneath the water, catching \n  Asakawa just below the wrist.  Asakawas ears are filled with a SOUND \n  like moaning as something slowly rises from its watery slumber.  It \n  is a GIRL, her face completely hidden by long, black hair.  CUT to a \n  shot of Asakawas face.  Far from being frightened, her features are \n  oddly placid.  She regards the fearsome thing before her with an \n  almost tender look.  Asakawa reaches out, lightly strokes that long \n  hair.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIts you...\n\n  She strokes the hair again, and abruptly it peels right off the head \n  with a loud SQUELCH. Revealed is not a face at all but a SKULL.  Its \n  sockets are at first menacingly empty, but then begin to ooze the \n  green SLUDGE it has pulled up from the bottom of the well.  Like a \n  mother comforting a frightened child, Asakawa pulls the skeletal \n  remains to her breast, strokes the bony head comfortingly. Her eyes \n  begin to glaze.\n\n  CUT to Ryuji racing up to the rim of the well, leaning down intently.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tHey!  Asakawa!  Its already 10 \n\t\tminutes past seven!  We did it!\n\n  Down in the well, Asakawa continues staring blankly ahead.  Her body \n  suddenly falls forward, limp.\n\n<b>  EXT. OUTSIDE COTTAGE B4  NIGHT\n</b>\n  Three POLICE CARS are parked outside the rental cottages, crimson \n  headlights flashing.   A few COPS walk by, two of them carrying \n  something off in white PLASTIC BAGS.  CUT to Ryuji and Asakawa \n  sitting on the curb.  Asakawa is staring off at something, a BLANKET \n  draped over her shoulder.  \n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tWhy would Ikuma have killed her?  \n\t\tHis own daughter...\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe she wasnt his daughter at all.  \n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat?\n\n<b>\t\t\t\tRYUJI\n</b>\t\tMaybe her father... wasnt even human.\n\n  The two exchange glances.  Ryujis gaze falls to Asakawas WRIST, \n  which he suddenly takes and holds close to his face.  The ugly \n  bruise where Sadako had grabbed her has disappeared.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tIts gone...  \n\n  He shakes his head, clearing his analytical mind of their ordeal.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tEnough, already.  Its over.  Cmon.  \n\t\tIll take you home.\n\n  Ryuji stands, pulls Asakawa to her feet.\n\n<b>  EXT. OUTSIDE ASKAWAS APARTMENT - NIGHT  \n</b>\n  Ryujis white CAR pulls up into the parking lot.  He and Asakawa \n  get out, regard each other from opposite sides of the car. There is \n  a long moment where neither of them says anything.\n\n<b>\t\t\t\tRYUJI\t\n</b>\t\tGet some rest.  \n\n  He flashes her the slightest of grins. \n\n\t\t\t\tRYUJI (contd)\n\t\tI still have a thesis to finish. \n\n  CUT to a shot of Ryuji and Asakawa, the car creating an almost \n  metaphoric distance between them. \n\n<b>\t\t\t\tASAKAWA\n</b>\t\t...thank you.\n\n  Ryuji nods silently by way of reply.  He gets into his car and \n  drives off.  Asakawa watches him go, and then walks towards the \n  entrance of her apartment.\n\n<b>  INT. ASAKAWAS APARTMENT  BEDROOM  MORNING\n</b>\n  Asakawa walks into her room, sits on the edge of her bed.  It is \n  now morning, and she sits dazedly watching the sun come up.\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji sits busily scribbling into a NOTEBOOK.  He stops writing a \n  moment to regard his notes while taking a sip of COFFEE.  He \n  glances over at his BLACKBOARD for confirmation when a small scowl \n  crosses his brow.  Its gone a moment later as he chuckles wryly \n  to himself.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThat girl...\n\n  Ryuji stands, walks over to the blackboard.  He fixes Mais little \n  prank with a single chalk stroke. \n\n<b>  EXT. ASAKAWAS APARTMENT  VERANDA  MORNING\n</b>\n  Asakawa emerges, taking in the dawn.  At first her face is calm and \n  tranquil... but her features change as the sun almost noticeably \n  darkens and a WIND begins to kick up her hair.  She now looks very \n  anxious.\n\n  Caption-- September 21st.  Tuesday.\n\n\n  NOTE: This next scene is entirely visual.  If you are reading this \n  translation before watching the movie, do yourself a favor; STOP \n  reading this now and watch the scene for itself.\n\n\n<b>  INT. RYUJIS APARTMENT  MORNING\n</b>\n  Ryuji is busy scribbling away at his notes again.  His hand suddenly \n  ceases, eyes dancing worriedly as he hears a faint...\n\n  No.\n\n  Breath rattling fearfully in his throat, Ryuji spins around to face \n  the TELEVISION SET.  He gets out of his seat for a better look, \n  falling to his knees on the tatami. \n\n  The image that fills the screen is the last scene from the videotape; \n  the shot of the well.  \n\n  The SOUND from before comes louder now, more insistent, a metallic \n  screeching that both repulses and beckons him closer. Ryuji crawls on \n  all fours towards the SCREEN, stares at its unchanging image with \n  terrible foreboding.\n\n  There is a flash of MOTION as something shoots out of the well. A \n  hand. First one, and then another, as Sadako, still in her grimy white \n  dress, face hidden beneath long, oily strands of hair, begins slowly \n  pulling herself out.  The television screen jumps unsteadily, fills \n  with static as if barely able to contain her image.  \n\n  CUT back and forth between Ryuji, who is beginning to visibly panic, \n  and the television, which shows Sadako lurching ever closer.\n\n<b>\t\t\t\tRYUJI\n</b>\t\t\t(almost frantic) \n\t\tWhy?!\n\n  The TELEPHONE rings, and Ryuji spins round towards it, breath catching \n  in his throat.  He looks at the phone, over his shoulder at the \n  television, back to the phone.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tThats it!  Asakawa...\n\n  Ryuji scrambles wildly towards the phone.  He takes the receiver but \n  is unable to do more than clutch it fearfully as his gaze is drawn \n  inexorably back to the television.  Sadakos shrouded face has filled \n  the entire screen... and then, television popping and crackling, she \n  jerks forward and emerges from the television onto the floor of \n  Ryujis apartment.  Ryuji backs away, screaming in terror.\n\n<b>\t\t\t\tRYUJI\n</b>\t\tAaargh!\n\n  Sadako lies prone, collapsed, hair splayed out like a drowned corpse.  \n  Only her FINGERS are active, crawling, feeling.  The TIPS of her \n  fingers are little more than bloodied stumps, not a single fingernail \n  on them.  She uses the strength in those fingers to pull herself \n  forward, coming jerkily to her feet.  The joints of her body twist \n  unnaturally, more insect-like than human.\n\n  Ryuji flings the phone aside and begins scrambling about the apartment \n  as if looking for cover.  The strength has already begun to fade from \n  his body, however, and his movements are clumsy, exaggerated. He falls \n  to the floor, panting heavily.  \n\n  Sadako turns to regard him, and for just an instant we can see beneath \n  her impenetrable shroud of hair; a single EYE burns with manic, \n  unbridled hatred.   \n\n  Its gaze meets Ryujis, and his face twists into a grimace as he \n  SCREAMS loudly.\n\n<b>  FLASH\n</b>\n<b>  EXT. KOUJIS HOUSE - FRONT YARD  DAY\n</b>\n  Yoichi sits on the lawn, doodling into a large SKETCHPAD.  He \n  suddenly stops, eyes registering that he has somehow felt his fathers \n  death.\n<b>  \n</b><b>  INT. ASAKAWAS APARTMENT  DAY\n</b>\n  Asakawa clutches the RECEIVER to her ear.  She can still hear the \n  sounds of metallic SCREECHING coming from the video, though they are \n  now becoming softer.\n\n<b>  EXT. OUTSIDE RYUJIS APARTMENT BUILDING  DAY\n</b>\n  Asakawa comes running down a side street, turning the corner and \n  making for the entrance to Ryujis apartment building.  There is a \n  single GUARD posted at the entrance. He reaches out, catches Asakawa \n  lightly by the arm.\n\n\n<b>\t\t\t\tGUARD\n</b>\t\tAre you a resident here, maam?\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tIm Takayama Ryujis wife!\n\n  The guard drops his hand, and Asakawa makes for the entrance.\n\n<b>\t\t\t\tGUARD\n</b>\t\tIm sorry maam, but theyve already \n\t\ttaken the body away.\n\n  Asakawas spins around, eyes wide.  Body?\n\n<b>  INT. HALLWAY OUTSIDE RYUJIS APARTMENT  DAY\n</b>\n  Mai is there, slumped against one wall. Asakawa comes running up, \n  dropping to her knees and grasping Mai by the shoulders.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat happened?\n\n  Mai shakes her head dreamily.\n\n<b>\t\t\t\tMAI\n</b>\t\tWhen I got here he was just \n\t\tlying there...\n\n<b>\t\t\t\tASAKAWA\t\n</b>\t\tDid he say anything to you?  About \n\t\ta videotape?\n\n  Mai shakes her head again, shakes it harder until the breath \n  catches in her throat.\n\n\n<b>\t\t\t\tMAI\n</b>\t\tHis face...\n\n  Mai falls into silence, curls up on herself.  Asakawa leaves her \n  and crosses toward the door to Ryujis apartment.\n\n<b>  INT. RYUJIS APARTMENT - DAY  \n</b>\n  The front DOOR opens wildly, noisily forward.  Asakawa comes \n  rushing in, eyes darting about the apartment.  She thinks \n  frantically to herself.\n\n<b>\t\t\t\tASAKAWA (VO)\n</b>\t\tRyuji... why?  Does this mean that\n\t\tYoichi will die, too?  Is the curse \n\t\tnot broken yet?\n\n  Her gaze falls to the television set.  She dives forward, presses \n  the eject button on the VCR.  Sure enough, the TAPE is still in \n  the deck.  She takes the tape and leaves.\n\n<b>  INT. ASAKAWAS APARTMENT - LIVING ROOM  NIGHT\n</b>\n  Asakawa walks slowly, dreamily forward.  She drops the videotape \n  loudly onto the coffee table and slouches into a CHAIR.  Her eyes \n  fall to the framed photographs of Yoichi on one of the shelves.  \n  This snaps Asakawa out of her daze and she begins whispering \n  intently to herself, thinking.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tI was the only one to break \n\t\tSadakos curse.  Ryuji... why...?  \n\t\tSomething I did that you didnt...  \n\t\tSomething I did that you didnt...  \n\n  Asakawa gives up, lowers her face into her hands.  When she looks \n  up again, she happens to glance at the television screen-- and \n  its GLARE reveals that there is someone ELSE in the room with her.  \n  It is the figure from the videotape, the silent accuser with the \n  cloth draped over its face.  With a start, Asakawa realizes that \n  the figure is wearing Ryujis clothes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tRyuji?!\n\n  She spins around, but the room is empty.  Asakawas mind races.  \n  The figure had been pointing towards her BAG.  She stands, \n  rummages in her bag to produce her copy of the cursed videotape.  \n  She takes Ryujis COPY in her other hand, her eyes darting \n  between the two tapes.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tSomething I did that you didnt...\n\n  It suddenly clicks home as Asakawa looks full-on at Ryujis \n  version of the tape, plainly marked COPY.\n\n<b>\t\t\t\tASAKAWA\n</b>\t\tWhat broke the curse was that I copied \n\t\tthe tape and showed it to someone else!\n\n  CUT to Asakawa slowly pulling her VCR from the television stand.  \n  A look of almost frightening resolve etches her face.\n\n<b>  EXT. HIGHWAY  DAY\n</b>\n  ARIAL SHOT of Asakawas car.  We hear her VOICE on the cell \n  phone.\n\n<b>\t\t\t\tASAKAWA (O.S.)\n</b>  \t\tDad?  Its me.  Im on my way over.\n  \t\tLook, dad, Ive got something to ask. \n\t\tIts for Yoichi...\n\n<b>  INT. ASAKAWAS CAR  DAY\n</b>\n  CLOSEUP on the VCR in the passenger side.  CUT to Asakawa at the \n  wheel as time spirals forward, the decisions of the present \n  already become rumor of the future.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThey say theres a way you can stay \n\t\talive after you watch the video.  \n\t\tYouve gotta make a copy of it, and \n\t\tshow it to somebody else inside a week.\n\n<b>\t\t\t\tGIRL B (VO) \n</b>\t\tBut what about the person you show it \n\t\tto?\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tWell, then they make a copy and show it \n\t\tto somebody else.  Again, inside a week.\n\n<b>\t\t\t\tGIRL C (VO) \n</b>\t\t\t(laughing)\n\t\tThen theres no end to it.\n\n<b>\t\t\t\tGIRL A (VO) \n</b>\t\tThats just it.  There -is- no end.  But \n\t\tif it meant not dying... youd do it, \n\t\twouldnt you?\n\n  Asakawas eyes begin to well.  Her car speeds along the highway, \n  to the direction of menacing-looking STORM CLOUDS.\n\n  Caption-- September 22nd.  Wednesday.\n\n\n\n\n                      FADE TO BLACK as the CAPTION turns blood red.\n\nNow, answer the question based on the story asconcisely as you can, using a single phrase if possible. Do not provide any explanation.\n\nQuestion: What does Reiko do differently that causes her not to die like the others?\n\nAnswer:"}