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 1  Hypothesis activity for the query {"user":"","group":"all","url":"","wildcard_uri":"","tag":"","any":"sweet spot","max":"200","service":"https://hypothes.is","exactTagSearch":"true","expanded":"true","addQuoteContext":"true","format":"html","_separate_replies":"false","groupName":"All","sortBy":"recency"} jonudell.info

indyweb   (edited 3/19/2026 9:10 PM) 3/19/2026 9:08 PM   in Public    

::faceted.search.hypothesis?any=sweet+spot

 1  Migration book.peergos.org

gyuri   (edited 3/19/2026 9:05 PM) 5/6/2025 7:43 AM   in Public    
Migration Your identity in Peergos is not tied to any particular serve r. Compared to other federated s

no need to move server with loss of network and even data

a clear case of a "better spot"

the dual of a sweat spot

one that is clearly bellow the threshold of what is required

again it should have said sweet spot

creative dislexia

 2  Video: The Future of Text 2017 Session 2. (DocDrop) www.youtube.com

gyuri   (edited 3/19/2026 9:02 PM) 9/18/2025 8:04 AM   in Public    
sn't just one product as I have other things which together give you what saying about it but only the first two

five things together give you what u want

what is required just beyond the threshold the sweat spot

creative typo

of course it is sweet spot of Alan Kay

indyweb   3/19/2026 8:59 PM   in Public    

Creative type

I meant to write Sweet Spot Alan Kays term

 2  Local-first software: You own your data, in spite of the cloud www.inkandswitch.com

indyweb   (edited 3/17/2026 9:49 AM) 3/17/2026 9:43 AM   in Public    
e years ago, our lab set out to search for a solution that gives seven green checkmarks. 1. Fast 2. Multi-device 3.

💻/thinkpad/🧊/me/📓/2026/02/09?t=local.first.software&extra=requirements

extended list of required green check marks

what is required above the threshold, the sweet spot

  • Fast
  • Multi-device 3
  • Offline
  • Collaboration
    • continuous without being synchronous
    • eventual consistency with full verifiable provenance
  • recapitulable, summarisable history of co-evolution
  • Longevity
  • Privacy
  • User control
  • evergreen reproducibikity
  • future compatibility
gyuri   (edited 2/13/2026 8:10 AM) 2/13/2026 7:41 AM   in Public    
e years ago, our lab set out to search for a solution that gives seven green checkmarks. 1. Fast 2. Multi-device 3.

seven green checkmarks

what is required above the threshold, the sweet spot

  • Fast
  • Multi-device 3
  • Offline
  • Collaboration
  • Longevity
  • Privacy
  • User control

 1  suspiciously precise floats, or, how I got Claude's real limits she-llac.com

pyxelr   (edited 2/1/2026 9:32 PM) 2/1/2026 9:28 PM   in Public    
suspiciously precise floats, or,how I got Claude's real limits January 25, 2026

Summary: Claude Usage Limits & Cost Analysis

Subscription vs. API Efficiency

  • Massive Cost Savings: Claude subscriptions can be up to 36x cheaper than using the API for equivalent token throughput.
  • The "Max 5x" Sweet Spot: The $100/mo Max 5x plan is identified as the most optimized tier, offering roughly 8.3x more weekly usage than the Pro plan (exceeding its "5x" marketing).
  • The "Max 20x" Diminishing Returns: While the $200/mo tier provides 4x higher short-term (5-hour) burst limits than the Max 5x, its weekly ceiling is only ~2x higher, making it less efficient for consistent long-term work.

Dual-Layer Usage Framework

  • 5-Hour Rolling Window: Controls "burst" activity. The counter starts at your first prompt; once reached, you must wait for the window to reset.
  • 7-Day Weekly Ceiling: A hard cap on total "active compute hours" (time spent processing tokens/reasoning). This acts as a global safety valve for the system.
  • Unified Quota: All usage across the browser (claude.ai), Claude Desktop, and Claude Code (terminal) counts toward the same unified limit.

Token Consumption Dynamics

  • Exponential Context Cost: Claude re-reads the entire chat history for every new message. A 50-message thread uses significantly more tokens (and quota) than five separate 10-message chats.
  • Input-Heavy Bias: Large file attachments, long project instructions, and extensive "Extended Thinking" sessions consume the quota much faster than short, text-only queries.

Optimization Strategies

  • The /compact Command: Users are encouraged to use /compact (in Claude Code) or manually summarize/restart chats every 15–20 messages to reset the "token tax" of long histories.
  • Lean Context: Keeping CLAUDE.md and project documentation concise prevents "context bloat" from draining limits prematurely.
  • Strategic Timing: Since the 5-hour window starts with the first prompt, power users should time their first interaction to align with their most intensive coding blocks.

Recommendation: Which Claude Tier is Right for You?

1. The "Value King": Max 5x ($100/mo)

  • Why it’s recommended: Data analysis shows this tier is "over-provisioned." While marketed as 5x, it often provides ~6x higher session limits and ~8.3x higher weekly limits than the Pro plan.
  • The Sweet Spot: It offers the best balance between a massive increase in capacity and price. Most daily professional users and developers find it nearly impossible to hit these limits even with "all-day" use.
  • Best For: Professional developers, heavy researchers, and those who want consistent access to the Claude 3.5 Opus model without hitting daily caps.

2. The "Sprint Specialist": Max 20x ($200/mo)

  • The Caveat: Despite the name, the weekly ceiling is only ~2x higher than the Max 5x plan, not 4x higher. You are essentially paying for a much higher "burst" capacity.
  • Why choose it: It allows for extremely high-intensity sessions (up to 900+ messages in 5 hours). This is useful if you do massive "sprints" where you need Claude to process huge amounts of data or code in a very short window.
  • Best For: Solopreneurs building products in rapid bursts, or users who never want to think about rate limits during a 4–6 hour deep-work session.

3. The "Standard Choice": Pro ($20/mo)

  • Why it’s recommended: It is 5x cheaper than the next tier and sufficient for 90% of users who use Claude for general writing, light coding, or occasional complex tasks.
  • Best For: Students, casual coders, and users with small projects (under 1,000 lines of code).

Summary Table

  • Quick Comparison Summary
    • Pro: $20/mo | Baseline Capacity | Best for personal/standard use.
    • Max 5x: $100/mo | ~8.3x Weekly Capacity | Best overall value for power users.
    • Max 20x: $200/mo | ~16x Weekly Capacity | Best for high-intensity "burst" work.

 1  Fishing line as a drawband replacement www.reddit.com

chrisaldrich   (edited 1/31/2026 12:50 AM) 9/24/2024 5:59 PM   in Public    
points 7 hours ago* (0 children) I twist together two lengths of kevlar fishing line that's 0.4mm diameter and rated for 29kg, so combined roughly 0.8mm diameter and ~58kg pull. This is about the sweet spot imo in terms of thickness, slim enough to fit in small routing holes on mainspring housings and thick enough to get a good sized knot when you tie it. It's also pretty close to the thickness of old sinew drawbands I've replaced. The rated strength is definitely overkill but better over than under. In practise a drawband shouldn't experience more than 750g-1,5kg of pull under normal use. permalinkembedsavereportreply<

u/Koponewt aka Pelicram's advice for using fishing line to replace drawbands.

 1  Chapter 2: Audience open.library.okstate.edu

brisei98   1/27/2026 11:50 PM   in Public    
nnoy users with more knowledge. Obviously, there is no easy answer to this question—part of the answer may involve just how small a segment of the audience needs that background information. Needs and interests: To plan yo

This is what I was arriving at in my last combat, where is the sweet spot of too much information and not enough information? A good alternative is to include a key with information on difficult words or phrases that may not be known to a newcomer or beginner in certain areas. Providing this key, will provide information for those who need it and simultaneously allow readers who are familiar to skip past it and not get 'annoyed' with the product or writing.

 1  What do you guys have your typewriters on? www.reddit.com

chrisaldrich   1/7/2026 7:37 PM   in Public    

For the average office-type chair, the sweet spot you're looking for is a tabletop about 26 inches off of the floor.

Most modern desks have their tabletops at 28-29" off of the floor which is too high for comfortably typing on a typewriter. The larger old school typewriter desks (double and single pedestals) often had a flip top or spring loaded side compartment that brought the surface that the typewriter sat on down to a more comfortable 26" off of the floor. Similarly you'll see desk returns for these desks which are an inch or two shorter to allow for a typewriter off to the side. Many of the same tanker desks had writing drawers that pulled out to provide space over the other drawers for writing and these also make great surfaces for typewriters to be an inch or two lower than the standard height. These desks usually are heavy and take up some significant floor space.

From the 1920s, a variety of manufacturers made stand-alone typewriter stands, typically with two drop leaves on either side and wheels to give one easy space for their typewriter that didn't take up a huge footprint and could be moved around the office or home as needed. Similar to these in the modern furniture space, you might find a variety of side tables or occasional tables with tabletops at a more comfortable 26-27" for your typing.

For off-label use cases, you could try a counter-height stool (24-26") as a temporary typewriter stand to pair with most standard office chairs. Generally bar stools are much taller in the 36" range, so don't do this unless it's your intention to type standing up.

I've got a 20 drawer library card catalog with a tabletop height of 36.5" that makes an excellent height for a standing desk for typing.


reply to u/The-Wolf-Bandit at https://old.reddit.com/r/typewriters/comments/1q6e8oo/whatdoyouguyshaveyourtypewriters_on/

 1  Targeted disruption of phage liquid crystalline droplets abolishes antibiotic tolerance of bacterial biofilms www.biorxiv.org

EMBOpress   1/5/2026 11:13 AM   in NEGQVabn    

Note: This preprint has been reviewed by subject experts for Review Commons. Content has not been altered except for formatting.

Learn more at Review Commons


Referee #2

Evidence, reproducibility and clarity

In the well-written manuscript by Tarafder et al., the authors follow up on their previous investigations of the filamentous bacteriophage Pf4, which self-assembles into a crystalline droplet surrounding Pseudomonas aeruginosa cells within a biofilm. Using theoretical coarse-grained molecular dynamics (MD) simulations, they predict that binding a small molecule or protein to the surface of bacteriophage Pf4 should disrupt the attraction-in this case depletion attraction-between individual phage particles. To test this hypothesis, nanobodies were raised against Pf4, and two promising candidates, Nb43 and Nb-D11, were identified. These nanobodies were characterized using biochemical assays, and binding of Nb43 to CoaB, the major coat protein, was visualized using cryo-EM. Using fluorescence microscopy and cryo-ET, the authors convincingly demonstrate that nanobodies can disrupt Pf4 crystalline droplet formation. Strikingly, nanobody-mediated disruption of Pf4 droplets also increases antibiotic susceptibility of P. aeruginosa both in vitro and in biofilm settings.

Major comments

1) Theoretical modelling: The MD simulations, as currently presented, do not add conceptual depth to the study. The idea that blocking an interaction site between phages (whether through active-site interference, obstruction of a protein-protein interface, or simple steric hindrance) would prevent alignment is straightforward and does not necessarily require MD simulations to justify. As such, this section feels superfluous and is currently the weakest point in an otherwise strong manuscript. Unless the simulations can meaningfully address at least some of the questions listed below, the authors should consider removing this part:

The MD simulation is very simplistic, and filamentous phages are clearly not hard rods, as seen in the cryo-EM images. Would a certain degree of Pf4 flexibility allow to stabilize droplets even in the presence of low concentrations of Pf4 binders?

How do the MD simulations explain that already pre-formed crystalline droplets can be penetrated and disassembled by small Pf4 binders?

The authors state that Pf4 binders must be large relative to the depletant particles. Can this be demonstrated experimentally? Is there a sweet spot, as large molecules potentially cannot penetrate preformed droplets?

2) Nanobody penetration into crystalline droplets (Extended Data Fig. 6a-d) vs. antibiotic penetration (Fig. 4) The authors show that Nb43 penetrates Pf4 droplets even at concentrations that do not disrupt droplet stability. How do the authors explain that a relatively large nanobody penetrates the crystalline droplet, whereas a much smaller antibiotic does not diffuse trough the droplet?

In the experiments shown in Figure 4, the authors assess antibiotic activity against P. aeruginosa in the presence of Pf4 crystalline droplets. If I understand correctly, the additionally added Pf4 droplets do not physically encompass the bacteria, yet they still reduce antibiotic tolerance. If so, this appears to contradict the conclusion that Pf4 droplets act primarily as a diffusion barrier (as stated in the section title). Instead, this would suggest that Pf4 may reduce antibiotic potency through another mechanism (e.g., direct binding or sequestration). Would it be possible to test the addition of Pf4 alone, without the biopolymer alginate, to determine whether Pf4 itself is sufficient to increase antibiotic tolerance?

Minor comments:

  • Title: The title is overstated. Please consider changing it to something similar to: "Targeted disruption of phage liquid crystalline droplets abolishes antibiotic tolerance in Pseudomonas aeruginosa biofilms."
  • Introduction sentence: "...where filamentous phage particles align along their axis in the presence of biopolymer,..." Please introduce what biopolymers are and specify which types are relevant here.
  • Amorphous Pf4 aggregates after Nb43 treatment (Fig 3b,e): The authors should discuss the nature of these aggregates. It appears that smaller spindles are both broken up and impeded in their formation after Nb43 treatment, whereas larger aggregates seem to persist.
  • Fig. 3c and 3f: Please describe how liquid crystalline structures were defined in the fluorescence images. Were thresholds for size, intensity, or morphology applied?
  • Use of P. aeruginosa ΔPAO728: For clarity, please explain why the strain lacking the Pf4 integrase is included in the in-vitro assays.

Discussion:

Neisseria meningitidis and Vibrio cholerae use filamentous phages to increase virulence. Do these phages also form liquid crystalline droplets? If not, how do the authors envision that the nanobody strategy described here could be applied to prevent infection? In general, the findings are hard to generalize to other biofilms matrices, which are highly heterogenous.

Significance

Bacterial biofilms and their associated antibiotic tolerance represent a major clinical burden, and new strategies to overcome these defenses are urgently needed. The strategy presented here-targeting and disrupting the protective extracellular matrix formed by liquid crystalline Pf4 phage droplets-is an exciting and innovative approach with clear translational potential for combating P. aeruginosa biofilms. The study is experimentally rigorous, well written, and carefully analyzed, and it represents a logical and impactful next step following the group's previous work. This manuscript will have significant impact on the field of P. aeruginosa biofilm research by providing a mechanistically grounded method to disrupt the protective biofilm architecture. However, it is important to note that the extracellular matrix architecture of biofilms formed by other bacterial species differs substantially, and thus the current findings cannot be directly generalized beyond P. aeruginosa without further investigation.

 1  Go ahead, self-host Postgres | Pierce Freeman pierce.dev

tonz   12/29/2025 12:15 PM   in Public    
ver 90% of interval Conclusion I'm not advocating that everyone should self-host everything. But the pendulum has swung too far toward managed services. There's a large sweet spot where self-hosting makes perfect sense, and more teams should seriously consider it. Start small. If you're paying more than $200/month for RDS, spin up a test server and migrate a non-critical database. You might be surprised by how straightforward it is. The future of infrastructure is almost certainly more hybrid than it's been recently: managed services where they add genuine value, self-hosted where they're just expensive abstractions. Postgres often falls into the latter category. Footnotes They're either just hosting a vanilla postgres instance that's tied to the deployed hardware config, or doing something opaque with edge deploys and sharding. In the latter case they near guarantee your DB will stay highly available but costs can quickly spiral out of control. ↩ Maybe up to billions at this point. ↩ Even on otherwise absolutely snail speed hardware. ↩ This was Jeff Bezos's favorite phrase during the early AWS days, and it stuck. ↩ Similar options include OVH, Hetzner dedicated instances, or even bare metal from providers like Equinix. ↩ AWS RDS & S3 has had several major outages over the years. The most memorable was the 2017 US-East-1 outage that took down half the internet. ↩ They're either just hosting

Cloud hosting can become an expensive abstraction layer quickly. I also think there's an entire generation of coders / engineers who treat silo'd cloudhosting as a given, without considering other options and their benefits. Large window for selfhosting in which postgres almost always falls

 1  /hyperpost/0/hyperpost-0.html bafybeig7nrhxx3nyb5rfmuj7cfy5xbl4ldtwr57ol6lykibww625qkxnke.ipfs.dweb.link

gyuri   12/2/2025 10:50 PM   in Public    

Instead of shipping early shipping often

or "Get IT Right First time"

Get the IT right first.

If you do that IT can self-host and self-realize the IT

as a Conversations

After all Software is a Symmathetic Conversaiton creating the Medium, the Sweet spot, just above the threshold that is trully required.

Proving that the "Worse IS Not Better"

Need the Jewel like Diamond approach

 2  Atypical collective oscillatory activity in cardiac tissue uncovered by optogenetics www.biorxiv.org

Public_Reviews   (edited 11/17/2025 2:30 PM) 11/17/2025 2:27 PM   in q5X6RWJ6    

Reviewer #2 (Public review):

In the presented manuscript, Teplenin and colleagues use both electrical pacing and optogenetic stimulation to create a reproducible, controllable source of ectopy in cardiomyocyte monolayers. To accomplish this, they use a careful calibration of electrical pacing characteristics (i.e., frequency, number of pulses) and illumination characteristics (i.e., light intensity, surface area) to show that there exists a "sweet spot" where oscillatory excitations can emerge proximal to the optogenetically depolarized region following electrical pacing cessation, akin to pacemaker cells. Furthermore, the authors demonstrate that a high-frequency electrical wave-train can be used to terminate these oscillatory excitations. The authors observed this oscillatory phenomenon both in vitro (using neonatal rat ventricular cardiomyocyte monolayers) and in silico (using a computational action potential model of the same cell type). These are surprising findings and provide a novel approach for studying triggered activity in cardiac tissue.

The study is extremely thorough and one of the more memorable and grounded applications of cardiac optogenetics in the past decade. One of the benefits of the authors' "two-prong" approach of experimental preps and computational models is that they could probe the number of potential variable combinations much deeper than through in vitro experiments alone. The strong similarities between the real-life and computational findings suggest that these oscillatory excitations are consistent, reproducible, and controllable.

Triggered activity, which can lead to ventricular arrhythmias and cardiac sudden death, has been largely contributed to sub-cellular phenomena, such as early or delayed afterdepolarizations, and thus to date has largely been studied in isolated single cardiomyocytes. However, these findings have been difficult to translate to tissue- and organ-scale experiments, as well-coupled cardiac tissue has notably different electrical properties. This underscores the significance of the study's methodological advances: use of a constant depolarizing current in a subset of (illuminated) cells to reliably result in triggered activity could facilitate the more consistent evaluation of triggered activity at various scales. An experimental prep that is both repeatable and controllable (i.e., both initiated and terminated through the same means) is a boon for further inquiry.

The authors also substantially explored phase space and single cell analyses to document how this "hidden" bi-stable phenomenon can be uncovered during emergent collective tissue behavior. Calibration and testing of different aspects (e.g.: light intensity, illuminated surface area, electrical pulse frequency, electrical pulse count) and other deeper analyses, as illustrated in Figures S3-S8 and Video S1, are significant and commendable.

Given the study is computational, it is surprising that the authors did not replicate their findings using well-validated adult ventricular cardiomyocyte action potential models, such ten Tusscher 2006 or O'Hara 2011. This may have felt out-of-scope, given the nice alignment of rat cardiomyocyte data between in vitro and in silico experiments. However, it would have been helpful peace-of-mind validation, given the significant ionic current differences between neonatal rat and adult ventricular tissue. It is not fully clear whether the pulse trains could have resulted in the same bi-stable oscillatory behavior, given the longer APD of humans relative to rats. The observed phenomenon certainly would be frequency-dependent and would have required tedious calibration for a new cell type, albeit partially mitigated by the relative ease of in silico experiments.

There are likely also mechanistic differences between this optogenetically-tied oscillatory behavior and triggered activity observed in other studies. This is because the constant light-elicited depolarizing current is disrupting the typical resting cardiomyocyte state, thereby altering the balance between depolarizing ionic currents (such as Na+ and Ca2+) and repolarizing ionic currents (such as K+ and Ca2+). The oscillatory excitations appear to later emerge at the border of the illuminated region and non-stimulated surrounding tissue, which is likely an area of high source-sink mismatch. The authors appear to acknowledge differences in this oscillatory behavior and previous sub-cellular triggered activity research in their discussion of ectopic pacemaker activity, which are canonically observed in genetic, pharmacologic, or pathological ionic conditions. Regardless, it is exciting to see new ground being broken in this difficult-to-characterize experimental space, even if the method illustrated here may not necessarily be broadly applicable.

Comments on revisions:

I have read the authors' rebuttal to our earlier comments and do not have any further questions or comments. Thank you for implementing the minor improvements to Figure visualizations and for creating Video S1 to accompany the article.

Public_Reviews   (edited 11/17/2025 2:30 PM) 11/17/2025 2:27 PM   in q5X6RWJ6    

Author response:

The following is the authors’ response to the original reviews

Public Reviews:

Reviewer #1 (Public review):

Summary:

The study by Teplenin and coworkers assesses the combined effects of localized depolarization and excitatory electrical stimulation in myocardial monolayers. They study the electrophysiological behaviour of cultured neonatal rat ventricular cardiomyocytes expressing the light-gated cation channel Cheriff, allowing them to induce local depolarization of varying area and amplitude, the latter titrated by the applied light intensity. In addition, they used computational modeling to screen for critical parameters determining state transitions and to dissect the underlying mechanisms. Two stable states, thus bistability, could be induced upon local depolarization and electrical stimulation, one state characterized by a constant membrane voltage and a second, spontaneously firing, thus oscillatory state. The resulting 'state' of the monolayer was dependent on the duration and frequency of electrical stimuli, as well as the size of the illuminated area and the applied light intensity, determining the degree of depolarization as well as the steepness of the local voltage gradient. In addition to the induction of oscillatory behaviour, they also tested frequency-dependent termination of induced oscillations.

Strengths:

The data from optogenetic experiments and computational modelling provide quantitative insights into the parameter space determining the induction of spontaneous excitation in the monolayer. The most important findings can also be reproduced using a strongly reduced computational model, suggesting that the observed phenomena might be more generally applicable.

Weaknesses:

While the study is thoroughly performed and provides interesting mechanistic insights into scenarios of ventricular arrhythmogenesis in the presence of localized depolarized tissue areas, the translational perspective of the study remains relatively vague. In addition, the chosen theoretical approach and the way the data are presented might make it difficult for the wider community of cardiac researchers to understand the significance of the study.

Reviewer #2 (Public review):

In the presented manuscript, Teplenin and colleagues use both electrical pacing and optogenetic stimulation to create a reproducible, controllable source of ectopy in cardiomyocyte monolayers. To accomplish this, they use a careful calibration of electrical pacing characteristics (i.e., frequency, number of pulses) and illumination characteristics (i.e., light intensity, surface area) to show that there exists a "sweet spot" where oscillatory excitations can emerge proximal to the optogenetically depolarized region following electrical pacing cessation, akin to pacemaker cells. Furthermore, the authors demonstrate that a high-frequency electrical wave-train can be used to terminate these oscillatory excitations. The authors observed this oscillatory phenomenon both in vitro (using neonatal rat ventricular cardiomyocyte monolayers) and in silico (using a computational action potential model of the same cell type). These are surprising findings and provide a novel approach for studying triggered activity in cardiac tissue.

The study is extremely thorough and one of the more memorable and grounded applications of cardiac optogenetics in the past decade. One of the benefits of the authors' "two-prong" approach of experimental preps and computational models is that they could probe the number of potential variable combinations much deeper than through in vitro experiments alone. The strong similarities between the real-life and computational findings suggest that these oscillatory excitations are consistent, reproducible, and controllable.

Triggered activity, which can lead to ventricular arrhythmias and cardiac sudden death, has been largely attributed to sub-cellular phenomena, such as early or delayed afterdepolarizations, and thus to date has largely been studied in isolated single cardiomyocytes. However, these findings have been difficult to translate to tissue and organ-scale experiments, as well-coupled cardiac tissue has notably different electrical properties. This underscores the significance of the study's methodological advances: the use of a constant depolarizing current in a subset of (illuminated) cells to reliably result in triggered activity could facilitate the more consistent evaluation of triggered activity at various scales. An experimental prep that is both repeatable and controllable (i.e., both initiated and terminated through the same means).

The authors also substantially explored phase space and single-cell analyses to document how this "hidden" bi-stable phenomenon can be uncovered during emergent collective tissue behavior. Calibration and testing of different aspects (e.g., light intensity, illuminated surface area, electrical pulse frequency, electrical pulse count) and other deeper analyses, as illustrated in Appendix 2, Figures 3-8, are significant and commendable.

Given that the study is computational, it is surprising that the authors did not replicate their findings using well-validated adult ventricular cardiomyocyte action potential models, such as ten Tusscher 2006 or O'Hara 2011. This may have felt out of scope, given the nice alignment of rat cardiomyocyte data between in vitro and in silico experiments. However, it would have been helpful peace-of-mind validation, given the significant ionic current differences between neonatal rat and adult ventricular tissue. It is not fully clear whether the pulse trains could have resulted in the same bi-stable oscillatory behavior, given the longer APD of humans relative to rats. The observed phenomenon certainly would be frequency-dependent and would have required tedious calibration for a new cell type, albeit partially mitigated by the relative ease of in silico experiments.

For all its strengths, there are likely significant mechanistic differences between this optogenetically tied oscillatory behavior and triggered activity observed in other studies. This is because the constant light-elicited depolarizing current is disrupting the typical resting cardiomyocyte state, thereby altering the balance between depolarizing ionic currents (such as Na+ and Ca2+) and repolarizing ionic currents (such as K+ and Ca2+). The oscillatory excitations appear to later emerge at the border of the illuminated region and non-stimulated surrounding tissue, which is likely an area of high source-sink mismatch. The authors appear to acknowledge differences in this oscillatory behavior and previous sub-cellular triggered activity research in their discussion of ectopic pacemaker activity, which is canonically expected more so from genetic or pathological conditions. Regardless, it is exciting to see new ground being broken in this difficult-to-characterize experimental space, even if the method illustrated here may not necessarily be broadly applicable.

We thank the reviewers for their thoughtful and constructive feedback, as well as for recognizing the conceptual and technical strengths of our work. We are especially pleased that our integrated use of optogenetics, electrical pacing, and computational modelling was seen as a rigorous and innovative approach to investigating spontaneous excitability in cardiac tissue.

At the core of our study was the decision to focus exclusively on neonatal rat ventricular cardiomyocytes. This ensured a tightly controlled and consistent environment across experimental and computational settings, allowing for direct comparison and deeper mechanistic insight. While extending our findings to adult or human cardiomyocytes would enhance translational relevance, such efforts are complicated by the distinct ionic properties and action potential dynamics of these cells, as also noted by Reviewer #2. For this foundational study, we chose to prioritize depth and clarity over breadth.

Our computational domain was designed to faithfully reflect the experimental system. The strong agreement between both domains is encouraging and supports the robustness of our framework. Although some degree of theoretical abstraction was necessary (thereby sometimes making it a bit harder to read), it reflects the intrinsic complexity of the collective behaviours we aimed to capture such as emergent bi-stability. To make these ideas more accessible, we included simplified illustrations, a reduced model, and extensive supplementary material.

A key insight from our work is the emergence of oscillatory behaviour through interaction of illuminated and non-illuminated regions. Rather than replicating classical sub-cellular triggered activity, this behaviour arises from systems-level dynamics shaped by the imposed depolarizing current and surrounding electrotonic environment. By tuning illumination and local pacing parameters, we could reproducibly induce and suppress these oscillations, thereby providing a controllable platform to study ectopy as a manifestation of spatial heterogeneity and collective dynamics.

Altogether, our aim was to build a clear and versatile model system for investigating how spatial structure and pacing influence the conditions under which bistability becomes apparent in cardiac tissue. We believe this platform lays strong groundwork for future extensions into more physiologically and clinically relevant contexts.

In revising the manuscript, we carefully addressed all points raised by the reviewers. We have also responded to each of their specific comments in detail, which are provided below.

Recommendations for the Authors:

Reviewer #1 (Recommendations for the authors):

Please find my specific comments and suggestions below:

(1) Line 64: When first introduced, the concept of 'emergent bi-stability' may not be clear to the reader.

We concur that the full breadth of the concept of emergent bi-stability may not be immediately clear upon first mention. Nonetheless, its components have been introduced separately: “emergent” was linked to multicellular behaviour in line 63, while “bi-stability” was described in detail in lines 39–56. We therefore believe that readers could form an intuitive understanding of the combined term, which will be further clarified as the manuscript develops. To further ease comprehension of the reader, we have added the following clarification to line 64:

“Within this dynamic system of cardiomyocytes, we investigated emergent bi-stability (a concept that will be explained more thoroughly later on) in cell monolayers under the influence of spatial depolarization patterns.”

(2) Lines 67-80: While the introduction until line 66 is extremely well written, the introduction of both cardiac arrhythmia and cardiac optogenetics could be improved. It is especially surprising that miniSOG is first mentioned as a tool for optogenetic depolarisation of cardiomyocytes, as the authors would probably agree that Channelrhodopsins are by far the most commonly applied tools for optogenetic depolarisation (please also refer to the literature by others in this respect). In addition, miniSOG has side effects other than depolarisation, and thus cannot be the tool of choice when not directly studying the effects of oxidative stress or damage.

The reviewer is absolutely correct in noting that channelrhodopsins are the most commonly applied tools for optogenetic depolarisation. We introduced miniSOG primarily for historical context: the effects of specific depolarization patterns on collective pacemaker activity were first observed with this tool (Teplenin et al., 2018). In that paper, we also reported ultralong action potentials, occurring as a side effect of cumulative miniSOG-induced ROS damage. In the following paragraph (starting at line 81), we emphasize that membrane potential can be controlled much better using channelrhodopsins, which is why we employed them in the present study.

(3) Line 78: I appreciate the concept of 'high curvature', but please always state which parameter(s) you are referring to (membrane voltage in space/time, etc?).

We corrected our statement to include the specification of space curvature of the depolarised region:

“In such a system, it was previously observed that spatiotemporal illumination can give rise to collective behaviour and ectopic waves (Teplenin et al. (2018)) originating from illuminated/depolarised regions (with high spatial curvature).”

(4) Line 79: 'bi-stable state' - not yet properly introduced in this context.

The bi-stability mentioned here refers back to single cell bistability introduced in Teplenin et al. (2018), which we cited again for clarity.

“These waves resulted from the interplay between the diffusion current and the single cell bi-stable state (Teplenin et al. (2018)) that was induced in the illuminated region.”

(5) Line 84-85: 'these ion channels allow the cells to respond' - please describe the channel used; and please correct: the channels respond to light, not the cells. Re-ordering this paragraph may help, because first you introduce channels for depolarization, then you go back to both de- and hyperpolarization. On the same note, which channels can be used for hyperpolarization of cardiomyocytes? I am not aware of any, even WiChR shows depolarizing effects in cardiomyocytes during prolonged activation (Vierock et al. 2022). Please delete: 'through a direct pathway' (Channelrhodopsins a directly light-gated channels, there are no pathways involved).

We realised that the confusion arose from our use of incorrect terminology: we mistakenly wrote hyperpolarisation instead of repolarisation. In addition to channelrhodopsins such as WiChR, other tools can also induce a repolarising effect, including light-activatable chloride pumps (e.g., JAWS). However, to improve clarity, we recognize that repolarisation is not relevant to our manuscript and therefore decided to remove its mention (see below). Regarding the reported depolarising effects of WiChR in Vierock et al. (2022), we speculate that these may arise either from the specific phenotype of the cardiomyocytes used in the study, i.e. human induced pluripotent stem cell-derived atrial myocytes (aCMs), or from the particular ionic conditions applied during patch-clamp recordings (e.g., a bath solution containing 1 mM KCl). Notably, even after prolonged WiChR activation, the aCMs maintained a strongly negative maximum diastolic potential of approximately –55 mV.

“Although effects of illuminating miniSOG with light might lead to formation of depolarised areas, it is difficult to control the process precisely since it depolarises cardiomyocytes indirectly. Therefore, in this manuscript, we used light-sensitive ion channels to obtain more refined control over cardiomyocyte depolarisation. These ion channels allow the cells to respond to specific wavelengths of light, facilitating direct depolarisation (Ördög et al. (2021, 2023)). By inducing cardiomyocyte depolarisation only in the illuminated areas, optogenetics enables precise spatiotemporal control of cardiac excitability, an attribute we exploit in this manuscript (Appendix 2 Figure 1).”

(6) Figure 1: What would be the y-axis of the 'energy-like curves' in B? What exactly did you plot here?

The graphs in Figure 1B are schematic representations intended to clarify the phenomenon for the reader. They do not depict actual data from any simulation or experiment. We clarified this misunderstanding by specifying that Figure 1B is a schematic representation of the effects at play in this paper.

“(B) Schematic representation showing how light intensity influences collective behaviour of excitable systems, transitioning between a stationary state (STA) at low illumination intensities and an oscillatory state (OSC) at high illumination intensities. Bi-stability occurs at intermediate light intensities, where transitions between states are dependent on periodic wave train properties. TR. OSC, transient oscillations.”

To expand slightly beyond the paper: our schematic representation was inspired by a common visualization in dynamical systems used to illustrate bi-stability (for an example, see Fig. 3 in Schleimer, J. H., Hesse, J., Contreras, S. A., & Schreiber, S. (2021). Firing statistics in the bistable regime of neurons with homoclinic spike generation. Physical Review E, 103(1), 012407.). In this framework, the y-axis can indeed be interpreted as an energy landscape, which is related to a probability measure through the Boltzmann distribution: . Here, p denotes the probability of occupying a particular state (STA or OSC). This probability can be estimated from the area (BCL × number of pulses) falling within each state, as shown in Fig. 4C. Since an attractor corresponds to a high-probability state, it naturally appears as a potential well in the landscape.

(7) Lines 92-93: 'this transition resulted for the interaction of an illuminated region with depolarized CM and an external wave train' - please consider rephrasing (it is not the region interacting with depolarized CM; and the external wave train could be explained more clearly).

We rephrased our unclear sentence as follows:

“This transition resulted from the interaction of depolarized cardiomyocytes in an illuminated region with an external wave train not originating from within the illuminated region.”

(8) Figure 2 and elsewhere: When mentioning 'frequency', please state frequency values and not cycle lengths. Please also reconsider your distinction between high and low frequencies; 200 ms (5 Hz) is actually the normal heart rate for neonatal rats (300 bpm).

In the revised version, we have clarified frequency values explicitly and included them alongside period values wherever frequency is mentioned, to avoid any ambiguity. We also emphasize that our use of "high" and "low" frequency is strictly a relative distinction within the context of our data, and not meant to imply a biological interpretation.

(9) Lines 129-131: Why not record optical maps? Voltage dynamics in the transition zone between depolarised and non-depolarised regions might be especially interesting to look at?

We would like to clarify that optical maps were recorded for every experiment, and all experimental traces of cardiac monolayer activity were derived from these maps. We agree with the reviewer that the voltage dynamics in the transition zone are particularly interesting. However, we selected the data representations that, in our view, best highlight the main mechanisms. When we analysed full voltage profiles, they didn’t add extra insights to this main mechanism. As the other reviewer noted, the manuscript already presents a wide range of regimes, so we decided not to introduce further complexity.

(10) Lines 156-157: Why was the model not adapted to match the biophysical properties (e.g., kinetics, ion selectivity, light sensitivity) of Cheriff?

The model was not adapted to the biophysical properties of Cheriff, because this would entail a whole new study involving extensive patch-clamping experiments, fitting, and calibration to model the correct properties of the ion channel. Beyond considerations of time efficiency, incorporating more specific modelling parameters would not change the essence of our findings. While numeric parameter ranges might shift, the core results would remain unchanged. This is a result of our experimental design where we applied constant illumination of long duration (6s or longer), thus making a difference in kinetical properties of an optogenetic tool irrelevant. In addition, we were able to observe qualitatively similar phenomena using many other depolarising optogenetic tools (e.g. ChR2, ReaChR, CatCh and more) in our in-vitro experiments. We ended up with Cheriff as our optotool-of-choice for the practical reasons of good light-sensitivity and a non-overlapping spectrum with our fluorescent dyes.

Therefore, computationally using a more general depolarising ion channel hints at the more general applicability of the observed phenomena, supporting our claim of a universal mechanism  (demonstrated experimentally with CheRiff and computationally with ChR2).

(11) Line 158: 1.7124 mW/mm^2 - While I understand that this is the specific intensity used as input in the model, I am convinced that the model is not as accurate to predict behaviour at this specific intensity (4 digits after the comma), especially given that the model has not been adapted to Cheriff (probably more light sensitive than ChR2). Can this be rephrased?

We did not aim for quantitative correspondence between the computational model and the biological experiments, but rather for qualitative agreement and mechanistic insight (see line 157). Qualitative comparisons are computationally obtained in a whole range of different intensities, as demonstrated in the 3D diagram of Fig. 4C. We wanted to demonstrate that at one fixed light intensity (chosen to be 1.7124 mW/mm^2 for the most clear effect), it was possible for all three states (STA, OSC. TR. OSC.) to coexist depending on the number of pulses and their period. Therefore the specific intensity used in the computational model is correct, and for reproducibility, we have left it unchanged while clarifying that it refers specifically to the in silico model:

“Simulating at a fixed constant illumination of 1.7124 𝑚𝑊∕𝑚𝑚2 and a fixed number of 4 pulses, frequency dependency of collective bi-stability was reproduced in Figure 4A.”

(12) Lines 160, 165, and elsewhere: 'Once again, Once more' - please delete or rephrase.

We agree that we could have written these binding words better and reformulated them to:

“Similar to the experimental observations, only intermediate electrical pacing frequencies (500-𝑚𝑠 period) caused transitions from collective stationary behaviour to collective oscillatory behaviour and ectopic pacemaker activity had periods (710 𝑚𝑠) that were different from the stimulation train period (500 𝑚𝑠). Figure 4B shows the accumulation of pulses necessary to invoke a transition from the collective stationary state to the collective oscillatory state at a fixed stimulation period (600 𝑚𝑠). Also in the in silico simulations, ectopic pacemaker activity had periods (750 𝑚𝑠) that were different from the stimulation train period (600 𝑚𝑠). Also for the transient oscillatory state, the simulations show frequency selectivity (Appendix 2 Figure 4B).”

(13) Line 171: 'illumination strength': please refer to 'light intensity'.

We have revised our formulation to now refer specifically to “light intensity”:

“We previously identified three important parameters influencing such transitions: light intensity, number of pulses, and frequency of pulses.”

(14) Lines 187-188: 'the illuminated region settles into this period of sending out pulses' - please rephrase, the meaning is not clear.

We reformulated our sentence to make its content more clear to the reader:

“For the conditions that resulted in stable oscillations, the green vertical lines in the middle and right slices represent the natural pacemaker frequency in the oscillatory state. After the transition from the stationary towards the oscillatory state, oscillatory pulses emerging from the illuminated region gradually dampen and stabilize at this period, corresponding to the natural pacemaker frequency.”

(15) Figure 7: A)- please state in the legend which parameter is plotted on the y-axis (it is included in the main text, but should be provided here as well); C) The numbers provided in brackets are confusing. Why is (4) a high pulse number and (3) a low pulse number? Why not just state the number of pulses and add alpha, beta, gamma, and delta for the panels in brackets? I suggest providing the parameters (e.g., 800 ms cycle length, 2 pulses, etc) for all combinations, but not rate them with low, high, etc. (see also comment above).

We appreciate the reviewer’s comments and have revised the caption for figure 7, which now reads as follows:

“Figure 7. Phase plane projections of pulse-dependent collective state transitions. (A) Phase space trajectories (displayed in the Voltage – xr plane) of the NRVM computational model show a limit cycle (OSC) that is not lying around a stable fixed point (STA). (B) Parameter space slice showing the relationship between stimulation period and number of pulses for a fixed illumination intensity (1.72 𝑚𝑊 ∕𝑚𝑚2) and size of the illuminated area (67 pixels edge length). Letters correspond to the graphs shown in C. (C) Phase space trajectories for different combinations of stimulus train period and number of pulses (α: 800 ms cycle length + 2 pulses, β: 800 ms cycle length + 4 pulses, γ: 250 ms cycle length + 3 pulses, δ: 250 ms cycle length + 8 pulses). α and δ do not result in a transition from the resting state to ectopic pacemaker activity, as under these circumstances the system moves towards the stationary stable fixed point from outside and inside the stable limit cycle, respectively. However, for β and γ, the stable limit cycle is approached from outside and inside, respectively, and ectopic pacemaker activity is induced.”

(16) Line 258: 'other dimensions by the electrotonic current' - not clear, please rephrase and explain.

We realized that our explanation was somewhat convoluted and have therefore changed the text as follows:

“Rather than producing oscillations, the system returns to the stationary state along dimensions other than those shown in Figure 7C (Voltage and xr), as evidenced by the phase space trajectory crossing itself. This return is mediated by the electrotonic current.”

(17) Line 263: ‘increased too much’ – please rephrase using scientific terminology.

We rephrased our sentence to:

“However, this is not a Hopf bifurcation, because in that case the system would not return to the stationary state when the number of pulses exceeds a critical threshold.”

(18) Line 275: 'stronger diffusion/electrotonic influence from the non-illuminated region' - not sure diffusion is the correct term here. Please explain by taking into account the membrane potential. Please make sure to use proper terminology. The same applies to lines 281-282.

We appreciate this comment, which prompted us to revisit on our text. We realised that some sections could be worded more clearly, and we also identified an error in the legend of Supplementary Figure 7. The corresponding corrections are provided below:

“However, repolarisation reserve does have an influence, prolonging the transition when it is reduced (Appendix 2 Figure 7). This effect can be observed either by moving further from the boundary of the illuminated region, where the electrotonic influence from the non-illuminated region is weaker, or by introducing ionic changes, such as a reduction in IKs and/or Ito. For example, because the electrotonic influence is weaker in the center of the illuminated region, the voltage there is not pulled down toward the resting membrane potential as quickly as in cells at the border of the illuminated zone.”

“To add a multicellular component to our single cell model we introduced a current that replicates the effect of cell coupling and its associated electrotonic influence.”

“Figure 7. The effect of ionic changes on the termination of pacemaker activity. The mechanism that moves the oscillating illuminated tissue back to the stationary state after high frequency pacing is dependent on the ionic properties of the tissue, i.e. lower repolarisation reserves (20% 𝐼𝐾𝑠 + 50% 𝐼𝑡𝑜) are associated with longer transition times.”

(19) Line 289: -58 mV (to be corrected), -20 mV, and +50 mV - please justify the selection of parameters chosen. This also applies elsewhere- the selection of parameters seems quite arbitrary, please make sure the selection process is more transparent to the reader.

Our choice of parameters was guided by the dynamical properties of the illuminated cells as well as by illustrative purposes. The value of –58 mV corresponds to the stimulation threshold of the model. The values of 50 mV and –20 mV match those used for single-cell stimulation (Figure 8C2, right panel), producing excitable and bistable dynamics, respectively. We refer to this point in line 288 with the phrase “building on this result.” To maintain conciseness, we did not elaborate on the underlying reasoning within the manuscript and instead reported only the results.

We also corrected the previously missed minus sign: -58 mV.

(20) Figure 8 and corresponding text: I don't understand what stimulation with a voltage means. Is this an externally applied electric field? Or did you inject a current necessary to change the membrane voltage by this value? Please explain.

Stimulation with a specific voltage is a standard computational technique and can be likened to performing a voltage-clamp experiment on each individual cell. In this approach, the voltage of every cell in the tissue is briefly forced to a defined value.

(21) Figure 8C- panel 2: Traces at -20 mV and + 50 mV are identical. Is this correct? Please explain.

Yes, that is correct. The cell responds similarly to a voltage stimulus of -20 mV or one of 50 mV, because both values are well above the excitation threshold of a cardiomyocyte.

(22) Line 344 and elsewhere: 'diffusion current' - This is probably not the correct terminology for gap-junction mediated currents. Please rephrase.

A diffusion current is a mathematical formulation for a gap junction mediated current here, so , depending on the background of the reader, one of the terms might be used focusing on different aspects of the results. In a mathematical modelling context one often refers to a diffusion current because cardiomyocytes monolayers and tissues can be modelled using a reaction-diffusion equation. From the context of fine-grain biological and biophysical details, one uses the term gap-junction mediated current. Our choice is motivated by the main target audience we have in mind, namely interdisciplinary researchers with a core background in the mathematics/physics/computer science fields.

However, to not exclude our secondary target audience of biological and medical readers we now clarified the terminology, drawing the parallel between the different fields of study at line 79:

“These waves resulted from the interplay between the diffusion current (also known in biology/biophysics as the gap junction mediated current) and the bi-stable state that was induced in the illuminated region.”

(23) Lines 357-58: 'Such ectopic sources are typically initiated by high frequency pacing' - While this might be true during clinical testing, how would you explain this when not externally imposed? What could be biological high-frequency triggers?

Biological high-frequency triggers could include sudden increases in heart rates, such as those induced by physical activity or emotional stress. Another possibility is the occurrence of paroxysmal atrial or ventricular fibrillation, which could then give rise to an ectopic source.

(24) Lines 419-420: 'large ionic cell currents and small repolarising coupling currents'. Are coupling currents actually small in comparison to cellular currents? Can you provide relative numbers (~ratio)?

Coupling currents are indeed small compared to cellular currents. This can be inferred from the I-V curve shown in Figure 8C1, which dips below 0 and creates bi-stability only because of the small coupling current. If the coupling current were larger, the system would revert to a monostable regime. To make this more concrete, we have now provided the exact value of the coupling current used in Figure 8C1.

“Otherwise, if the hills and dips of the N-shaped steady-state IV curve were large (Figure 8C-1), they would have similar magnitudes as the large currents of fast ion channels, preventing the subtle interaction between these strong ionic cell currents and the small repolarising coupling currents (-0.103649 ≈ 0.1 pA).”

(25) Line 426: Please explain how ‘voltage shocks’ were modelled.

We would like to refer the reviewer to our response to comment (20) regarding how we model voltage shocks. In the context of line 426, a typical voltage shock corresponds to a tissue-wide stimulus of 50 mV. Independent of our computational model, line 426 also cites other publications showing that, in clinical settings, high-voltage shocks are unable to terminate ectopic sustained activity, consistent with our findings.

(26) Lines 429 ff: 0.2pA/pF would correspond to 20 pA for a small cardiomyocyte of 100 pF, this current should be measurable using patch-clamp recordings.

In trying to be succinct, we may have caused some confusion. The difference between the dips (-0.07 pA/pF) and hills (0.11 pA/pF) is approximately 0.18 pA/pF. For a small cardiomyocyte, this corresponds to deviations from zero of roughly ±10 pA. Considering that typical RMS noise levels in whole-cell patch-clamp recordings range from 2-10 pA , it is understandable that detecting these peaks and dips in an I-V curve (average current after holding a voltage for an extended period)  is difficult. Achieving statistical significance would therefore require patching a large number of cells.

Given the already extensive scope of our manuscript in terms of techniques and concepts, we decided not to pursue these additional patch-clamp experiments.

Reviewer #2 (Recommendations for the authors):

Given the deluge of conditions to consider, there are several areas of improvement possible in communicating the authors' findings. I have the following suggestions to improve the manuscript.

(1) Please change "pulse train" straight pink bar OR add stimulation marks (such as "*", or individual pulse icons) to provide better visual clarity that the applied stimuli are "short ON, long OFF" electrical pulses. I had significant initial difficulty understanding what the pulse bars represented in Figures 2, 3, 4A-B, etc. This may be partially because stimuli here could be either light (either continuous or pulsed) or electrical (likely pulsed only). To me, a solid & unbroken line intuitively denotes a continuous stimulation. I understand now that the pink bar represents the entire pulse-train duration, but I think readers would be better served with an improvement to this indicator in some fashion. For instance, the "phases" were much clearer in Figures 7C and 8D because of how colour was used on the Vm(t) traces. (How you implement this is up to you, though!)

We have addressed the reviewer’s concern and updated the figures by marking each external pulse with a small vertical line (see below).

(2) Please label the electrical stimulation location (akin to the labelled stimulation marker in circle 2 state in Figure 1A) in at least Figures 2 and 4A, and at most throughout the manuscript. It is unclear which "edge" or "pixel" the pulse-train is originating from, although I've assumed it's the left edge of the 2D tissue (both in vitro and silico). This would help readers compare the relative timing of dark blue vs. orange optical signal tracings and to understand how the activation wavefront transverses the tissue.

We indicated the pacing electrode in the optical voltage recordings with a grey asterisk. For the in silico simulations, the electrode was assumed to be far away, and the excitation was modelled as a parallel wave originating from the top boundary, indicated with a grey zone.

(3) Given the prevalence of computational experiments in this study, I suggest considering making a straightforward video demonstrating basic examples of STA, OSC, and TR.OSC states. I believe that a video visualizing these states would be visually clarifying to and greatly appreciated by readers. Appendix 2 Figure 3 would be the no-motion visualization of the examples I'm thinking of (i.e., a corresponding stitched video could be generated for this). However, this video-generation comment is a suggestion and not a request.

We have included a video showing all relevant states, which is now part of the Supplementary Material.

(4) Please fix several typos that I found in the manuscript:

(4A) Line 279: a comma is needed after i.e. when used in: "peculiar, i.e. a standard". However, this is possibly stylistic (discard suggestion if you are consistent in the manuscript).

(4B) Line 382: extra period before "(Figure 3C)".

(4C) Line 501: two periods at end of sentence "scientific purposes.." .

We would like to thank the reviewer for pointing out these typos. We have corrected them and conducted an additional check throughout the manuscript for minor errors.

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 1  New submission 17/01/2024, 09:58:02 www.biorxiv.org

Public_Reviews   (edited 10/24/2025 10:23 AM) 1/17/2024 6:03 PM   in q5X6RWJ6    

Author Response

The following is the authors’ response to the current reviews.

Public Reviews:

Reviewer #2 (Public Review):

Summary:

This paper tests the idea that schooling can provide an energetic advantage over solitary swimming. The present study measures oxygen consumption over a wide range of speeds, to determine the differences in aerobic and anaerobic cost of swimming, providing a potentially valuable addition to the literature related to the advantages of group living.

Response: Thank you for the positive comments.

Strengths:

The strength of this paper is related to providing direct measurements of the energetics (oxygen consumption) of fish while swimming in a group vs solitary. The energetic advantages of schooling has been claimed to be one of the major advantages of schooling and therefore a direct energetic assessment is a useful result.

Response: Thank you for the positive comments.

Weaknesses:

1) Regarding the fish to water volume ratio, the arguments raised by the authors are valid. However, the ratio used is still quite high (as high as >2000 in solitary fish), much higher than that recommended by Svendsen et al (2006). Hence this point needs to be discussed in the ms (summarising the points raised in the authors' response)

Response: Thank you for the comments. We have addressed this point in the previous comments. In short, our ratio is within the range of the published literature. We conducted the additional signal-to-noise analysis for quality assurance.

2) Wall effects: Fish in a school may have been swimming closer to the wall. The fact that the convex hull volume of the fish school did not change as speed increased is not a demonstration that fish were not closer to the wall, nor is it a demonstration that wall effect were not present. Therefore the issue of potential wall effects is a weakness of this paper.

Response: Thank you for the comments. We have addressed this point in the previous comments. We provided many other considerations in addition to the convex hull volume. In particular, our boundary layer is < 2.5mm, which was narrower than the width of the giant danio of ~10 mm.

3) The authors stated "Because we took high-speed videos simultaneously with the respirometry measurements, we can state unequivocally that individual fish within the school did not swim closer to the walls than solitary fish over the testing period". This is however not quantified.

Response: Thank you for the comments. We have addressed this point in the previous comments. We want to note that the statement in the response letter is to elaborate the discussion points, but not stated as data in the manuscript. The bottom line is very few studies used PIV to quantify the thickness of the boundary layer like what we did in our experiment.

4) Statistical analysis. The authors have dealt satisfactorily with most of the comments.

However :

(a) the following comment has not been dealt with directly in the ms "One can see from the graphs that schooling MO2 tends to have a smaller SD than solitary data. This may well be due to the fact that schooling data are based on 5 points (five schools) and each point is the result of the MO2 of five fish, thereby reducing the variability compared to solitary fish."

(b) Different sizes were used for solitary and schooling fishes. The authors justify using larger fish as solitary to provide a better ratio of respirometer volume to fish volume in the tests on individual fish. However, mass scaling for tail beat frequency was not provided. Although (1) this is because of lack of data for this species and (2) using scaling exponent of distant species would introduce errors of unknown magnitude, this is still a weakness of the paper that needs to be acknowledged here and in the ms.

Response: Thank you for the comments. We have addressed both points in the previous comments and provided comprehensive discussions. We also stated the caveats in the method section of the manuscript.

Reviewer #3 (Public Review):

Zhang and Lauder characterized both aerobic and anaerobic metabolic energy contributions in schools and solitary fishes in the Giant danio (Devario aequipinnatus) over a wide range of water velocities. By using a highly sophisticated respirometer system, the authors measure the aerobic metabolisms by oxygen uptake rate and the non-aerobic oxygen cost as excess post-exercise oxygen consumption (EPOC). With these data, the authors model the bioenergetic cost of schools and solitary fishes. The authors found that fish schools have a J-shaped metabolism-speed curve, with reduced total energy expenditure per tail beat compared to solitary fish. Fish in schools also recovered from exercise faster than solitary fish. Finally, the authors conclude that these energetic savings may underlie the prevalence of coordinated group locomotion in fish.

The conclusions of this paper are mostly well supported by data.

Response: Thank you for the positive comments.

Recommendations for the authors:

Reviewer #3 (Recommendations For The Authors):

I have read carefully the revised version of the manuscript and would like to thank the authors for addressing all my comments/suggestions.

I have no additional comments/suggestions. Now, I strongly believe that this manuscript deserves to be published in eLife.

Response: Thank you for the positive comments.


The following is the authors’ response to the original reviews.

General responses

Many thanks to the reviewers and editors for their very helpful comments on our manuscript. Below we respond (in blue text) to each of the reviewer comments, both the public ones and the more detailed individual comments in the second part of each review. In some cases, we consider these together where the same point is made in both sets of comments. We have made several changes to the manuscript in response to reviewer suggestions, and we respond in detail to the comments of reviewer #2 who feels that we have overstated the significance of our manuscript and suggests several relevant literature references. We prepared a table summarizing these references and why they differ substantially from the approach taken in our paper here.

Overall, we would like to emphasize to both reviewers and readers of this response document that previous studies of fish schooling dynamics (or collective movement of vertebrates in general, see Commentary Zhang & Lauder 2023 J. Exp. Biol., doi:10.1242/jeb.245617) have not considered a wide speed range and thus the importance of measuring EPOC (excess post-exercise oxygen consumption) as a key component of energy use. Quantifying both aerobic and non-aerobic energy use allows us to calculate the total energy expenditure (TEE) which we show differs substantially and, importantly, non-linearly with speed between schools and measurements on solitary individuals. Comparison between school total energy use and individual total energy use are critical to understanding the dynamics of schooling behaviour in fishes.

The scope of this study is the energetics of fish schools. By quantifying the TEE over a wide range of swimming speeds, we also show that the energetic performance curve is concave upward, and not linear, and how schooling behaviour modifies this non-linear relationship.

In addition, one key implication of our results is that kinematic measurements of fish in schools (such as tail beat frequency) are not a reliable metric by which to estimate energy use. Since we recorded high-speed video simultaneously with energetic measurements, we are able to show that substantial energy savings occur by fish in schools with little to no change in tail beat frequency, and we discuss in the manuscript the various fluid dynamic mechanisms that allow this. Indeed, studies of bird flight show that when flying in a (presumed) energy-saving V-formation, wing beat frequency can actually increase compared to flying alone. We believe that this is a particularly important part of our findings: understanding energy use by fish schools must involve actual measurements of energy use and not indirect and sometimes unreliable kinematic measurements such as tail beat frequency or amplitude.

Reviewer #1 (Public Review):

Summary:

In the presented manuscript the authors aim at quantifying the costs of locomotion in schooling versus solitary fish across a considerable range of speeds. Specifically, they quantify the possible reduction in the cost of locomotion in fish due to schooling behavior. The main novelty appears to be the direct measurement of absolute swimming costs and total energy expenditure, including the anaerobic costs at higher swimming speeds.

In addition to metabolic parameters, the authors also recorded some basic kinematic parameters such as average distances or school elongation. They find both for solitary and schooling fish, similar optimal swimming speeds of around 1BL/s, and a significant reduction in costs of locomotion due to schooling at high speeds, in particular at ~5-8 BL/s.

Given the lack of experimental data and the direct measurements across a wide range of speeds comparing solitary and schooling fish, this appears indeed like a potentially important contribution of interest to a broader audience beyond the specific field of fish physiology, in particular for researchers working broadly on collective (fish) behavior.

Response: Thank you for seeing the potential implications of this study. We also believe that this paper has broader implications for collective behaviour in general, and outline some of our thinking on this topic in a recent Commentary article in the Journal of Experimental Biology: (Zhang & Lauder 2023 doi:10.1242/jeb.245617). Understanding the energetics of collective behaviours in the water, land, and air is a topic that has not received much attention despite the widespread view that moving as a collective saves energy.

Strengths:

The manuscript is for the most part well written, and the figures are of good quality. The experimental method and protocols are very thorough and of high quality. The results are quite compelling and interesting. What is particularly interesting, in light of previous literature on the topic, is that the authors conclude that based on their results, specific fixed relative positions or kinematic features (tail beat phase locking) do not seem to be required for energetic savings. They also provide a review of potential different mechanisms that could play a role in the energetic savings.

Response: Thank you for seeing the nuances we bring to the existing literature and comment on the quality of the experimental method and protocols. Despite a relatively large literature on fish schooling based on previous biomechanical research, our studies suggest that direct measurement of energetic cost clearly demonstrates the energy savings that result from the sum of different fluid dynamic mechanisms depending on where fish are, and also emphasizes that simple metrics like fish tail beat frequency do not adequately reflect energy savings during collective motion.

Weaknesses:

A weakness is the actual lack of critical discussion of the different mechanisms as well as the discussion on the conjecture that relative positions and kinematic features do not matter. I found the overall discussion on this rather unsatisfactory, lacking some critical reflections as well as different relevant statements or explanations being scattered across the discussion section. Here I would suggest a revision of the discussion section.

Response: The critical discussion of the different possible energy-saving mechanisms is indeed an important topic. We provided a discussion about the overall mechanism of ‘local interactions’ in the first paragraph of “Schooling Dynamics and energy conservation”. To clarify, our aim with Figure 1 is to introduce the current mechanisms proposed in the existing engineering/hydrodynamic literature that have studied a number of possible configurations both experimentally and computationally. Thank you for the suggestion of better organizing the discussion to critically highlight different mechanisms that would enable a dynamic schooling structure to still save energy and why the appendage movement frequency does not necessarily couple with the metabolic energy expenditure. Much of this literature uses computational fluid dynamic models or experiments on flapping foils as representative of fish. This exact issue is of great interest to us, and we are currently engaged in a number of other experiments that we hope will shed light on how fish moving in specific formations do or don’t save energy.

Our aim in presenting Figure 1 at the start of the paper was to show that there are several ways that fish could save energy when moving in a group as shown by engineering analyses, but before investigating these various mechanisms in detail we first have to show that fish moving in groups actually do save energy with direct metabolic measurements. Hence, our paper treats the various mechanisms as inspiration to determine experimentally if, in fact, fish in schools save energy, and if so how much over a wide speed range. Our focus is to experimentally determine the performance curve that shows energy use as speed increases, for schools compared to individuals. Therefore, we have elected not to go into detail about these different hydrodynamic mechanisms in this paper, but rather to present them as a summary of current engineering literature views and then proceed to document energy savings (as stated in the second last paragraph of Introduction). We have an Commentary paper in the Journal of Experimental Biology that addresses this issue generally, and we are reluctant to duplicate much of that discussion here (Zhang & Lauder 2023 doi:10.1242/jeb.245617). We are working hard on this general issue as we agree that it is very interesting. We have revised the Introduction (second last paragraph of Introduction) and Discussion (first paragraph of Discussion) to better indicate our approach, but we have not added any significant discussion of the different hydrodynamic energy saving proposals as we believe that it outside the scope of this first paper and more suitable as part of follow-up studies.

Also, there is a statement that Danio regularly move within the school and do not maintain inter-individual positions. However, there is no quantitative data shown supporting this statement, quantifying the time scales of neighbor switches. This should be addressed as core conclusions appear to rest on this statement and the authors have 3d tracks of the fish.

Response: Thank you for pointing out this very important future research direction. Based on our observations and the hypothesized mechanisms for fish within the school to save energy (Fig. 1), we have been conducting follow-up experiments to decipher the multiple dynamic mechanisms that enable the fish within the school to save energy. Tracking the 3D position of each individual fish body in 3D within the fish school has proven difficult. We currently have 3D data on the nose position obtained simultaneously with the energetic measurements, but we do not have full 3D fish body positional data. Working with our collaborators, we are developing a 3-D tracking algorithm that will allow us to quantify how long fish spend in specific formations, and we currently have a new capability to record high-speed video of fish schooling moving in a flow tank for many hours (see our recent perspective by Ko et al., 2023 doi.org/10.1098/rsif.2023.0357). The new algorithms and the results will be published as separate studies and we think that these ongoing experiments are outside the scope of the current study with its focus on energetics. Nevertheless, the main point of Fig. 1 is to provide possible mechanisms to inspire future studies to dissect the detailed hydrodynamic mechanisms for energy saving, and the points raised by this comment are indeed extremely interesting to us and our ongoing experiments in this area. We provide a statement to clarify this point in the 1st paragraph of “Schooling dynamics and energy conservation” section.

Further, there is a fundamental question on the comparison of schooling in a flow (like a stream or here flow channel) versus schooling in still water. While it is clear that from a pure physics point of view that the situation for individual fish is equivalent. As it is about maintaining a certain relative velocity to the fluid, I do think that it makes a huge qualitative difference from a biological point of view in the context of collective swimming. In a flow, individual fish have to align with the external flow to ensure that they remain stationary and do not fall back, which then leads to highly polarized schools. However, this high polarization is induced also for completely non-interacting fish. At high speeds, also the capability of individuals to control their relative position in the school is likely very restricted, simply by being forced to put most of their afford into maintaining a stationary position in the flow. This appears to me fundamentally different from schooling in still water, where the alignment (high polarization) has to come purely from social interactions. Here, relative positioning with respect to others is much more controlled by the movement decisions of individuals. Thus, I see clearly how this work is relevant for natural behavior in flows and that it provides some insights on the fundamental physiology, but I at least have some doubts about how far it extends actually to “voluntary” highly ordered schooling under still water conditions. Here, I would wish at least some more critical reflection and or explanation.

Response: We agree completely with this comment that animal group orientations in still fluid can have different causes from their locomotion in a moving fluid. We very much agree with the reviewer that social interactions in still water, which typically involve low-speed locomotion and other behaviours such as searching for food by the group, can be important and could dictate fish movement patterns. In undertaking this project, we wanted to challenge fish to move at speed, and reasoned that if energy savings are important in schooling behaviour due to hydrodynamic mechanisms, we should see this when fish are moving forward against drag forces induced by fluid impacting the school. Drag forces scale as velocity squared, so we should see energy savings by the school, if any, as speed increases.

We also quantified fish school swimming speeds in the field from the literature and presented a figure showing that in nature fish schools can and do move at considerable speeds. This figure is part of our overview on collective behaviour recently in J. Exp. Biol. (Zhang & Lauder 2023 doi:10.1242/jeb.245617). It is only by studying fish schools moving over a speed range that we can understand the performance curve relating energy use to swimming speed. Indeed, we wonder if fish moving in still water as a collective versus as solitary individuals would show energy savings at all. We now provided the justification for studying fish schooling in moving fluids in the second and third paragraph of the Introduction. When animals are challenged hydrodynamically (e.g. at higher speed), it introduces the need to save energy. Movement in still water lacks the need for fish to save energy. When fish do not need to save locomotor energy in still water, it is hard to justify why we would expect to observe energy saving and related physiological mechanisms in the first place. As the reviewer said, the ‘high polarization in still water has to come purely from social interactions’. Our study does not dispute this consideration, and indeed we agree with it! In our supplementary materials, we acknowledged the definitions for different scenarios of fish schooling can have different behavioural and ecological drivers. Using these definitions, we explicitly stated, in the introduction, that our study focuses on active and directional schooling behaviour to understand the possible hydrodynamic benefits of energy expenditure for collective movements of fish schools. By stating the scope of our study at the outset, we hope that this will keep the discussion focused on the energetics and kinematics of fish schools, without unnecessarily addressing other many possible reasons for fish schooling behaviours in the discussion such as anti-predator grouping, food searching, or reproduction as three examples.

As this being said, we acknowledge (in the 2nd paragraph of the introduction) that fish schooling behaviour can have other drivers when the flow is not challenging. Also, there are robotic-&-animal interaction studies and computational fluid dynamic simulation studies (that we cited) that show individuals in fish schools interact hydrodynamically. Hydrodynamic interactions are not the same as behaviour interactions, but it does not mean individuals within the fish schooling in moving flow are not interacting and coordinating.

Related to this, the reported increase in the elongation of the school at a higher speed could have also different explanations. The authors speculate briefly it could be related to the optimal structure of the school, but it could be simply inter-individual performance differences, with slower individuals simply falling back with respect to faster ones. Did the authors test for certain fish being predominantly at the front or back? Did they test for individual swimming performance before testing them in groups together? Again this should be at least critically reflected somewhere.

Response: Thank you for raising this point. If the more streamlined schooling structure above 2 BL/s is due to the weaker individuals not catching up with the rest of the school, we would expect the weaker individuals to quit swimming tests well before 8 BL/s. However, we did not observe this phenomenon. Although we did not specifically test for the two questions the reviewer raises here, our results suggest that inter-individual variation in the swimming performance of giant Danio is not at the range of 2 to 8 BL/s (a 400% difference). While inter-individual differences certainly exist, we believe that they are small relative to the speeds tested as we did not see any particular individuals consistently unable to keep up with the school or certain individuals maintaining a position near the back of the school. As this being said, we provide additional interpretations for the elongated schooling structure at the end of the 2nd paragraph of the “schooling dynamics and energy conservation” section.

Reviewer #1 (Recommendations For The Authors):

Line 58: The authors write "How the fluid dynamics (...) enable energetic savings (...)". However, the paper focuses rather on the question of whether energetic savings exist and does not enlighten us on the dominant mechanisms. Although it gives a brief overview of all possible mechanisms, it remains speculative on the actual fluid dynamical and biomechanical processes. Thus, I suggest changing "How" to "Whether".

Response: Great point! We changed “How” to “Whether”.

Lines 129-140: In the discussion of the U-shaped aerobic rate, there is no direct comparison of the minimum cost values between the schooling and solitary conditions. Only the minimum costs during schooling are named/discussed. In addition to the data in the figure, I suggest explicitly comparing them as well for full transparency.

Response: Thanks for raising this point. We did not belabor this point because there was no statistical significance. As requested, we added a statement to address this with statistics in the 1st paragraph of the Results section.

Line 149: The authors note that the schooling fish have a higher turning frequency than solitary fish. Here, a brief discussion of potential explanations would be good, e.g. need for coordination with neighbors -> cost of schooling.

Response: Thank you for the suggestion. In the original version of the manuscript, we discussed that the higher turning frequency could be related to higher postural costs for active stability adjustment at low speeds. As requested, we now added that high turn frequency can relate to the need for coordination with neighbours in the last paragraph of the “Aerobic metabolic rate–speed curve of fish schools” section. As indicated above, the suspected costs of coordination did not result in higher costs of schooling at the lower speed (< 2 BL s-1, where the turn frequency is higher).

Line 151: The authors discuss the higher maximum metabolic rate of schooling fish as a higher aerobic performance and lower use of aerobic capacity. This may be confusing for non-experts in animal physiology and energetics of locomotion. I recommend providing somewhere in a paper an additional explanation to clarify it to non-experts. While lines 234-240 and further below potentially address this, I found this not very focused or accessible to non-experts. Here, I suggest the authors consider revisions to make it more comprehensible to a wider, interdisciplinary audience.

Response: We agree with the reviewer that the difference between maximum oxygen uptake and maximum metabolic rate can be confusing. In fact, among animal physiologists, these two concepts are often muddled. One of the authors is working on an invited commentary from J. Exp. Biol. to clearly define these two concepts. We have made the language in the section “Schooling dynamics enhances aerobic performance and reduces non-aerobic energy use” more accessible to a general audience. In addition, the original version presented the relevant framework in the first and the second paragraphs of the Introduction when discussing aerobic and non-aerobic energy contribution. In brief, when vertebrates exhibit maximum oxygen uptake, they use aerobic and non-aerobic energy contributions that both contribute to their metabolic rate. Therefore, the maximum total metabolic rate is higher than the one estimated from only maximum oxygen uptake. We used the method presented in Fig. 3a to estimate the maximum metabolic rate for metabolic energy use (combining aerobic and non-aerobic energy use). In kinesiology, maximum oxygen uptake is used to evaluate the aerobic performance and energy use of human athletes is estimated by power meters or doubly labelled water.

Line 211: The authors write that Danio regularly move within the school and do not maintain inter-individual positions. Given that this is an important observation, and the relative position and its changes are crucial to understanding the possible mechanisms for energetic savings in schools, I would expect some more quantitative support for this statement, in particular as the authors have access to 3d tracking data. For example introducing some simple metrics like average time intervals between swaps of nearest neighbors, possibly also resolved in directions (front+back versus right+left), should provide at least some rough quantification of the involved timescales, whether it is seconds, tens of seconds, or minutes.

Response: As responded in the comment above, 3-D tracking of both body position and body deformation of multiple individuals in a school is not a trivial research challenge and we have ongoing research on this issue. We hope to have results on the 3D positions of fish in schools soon! For this manuscript, we believe that the data in Figure 4E which shows the turning frequency of fish in schools and solitary controls shows the general phenomenon of fish moving around (as fish turn to change positions within the school), but we agree that more could be done to address this point and we are indeed working on it now.

Lines 212-217: There is a very strong statement that energetic savings by collective motion do not require fixed positional arrangements or specific kinematic features. While possibly one of the most interesting findings of the paper, I found that in its current state, it was not sufficiently/satisfactorily discussed. For example for the different mechanisms summarized, there will be clearly differences in their relevance based on relative distance and position. For example mechanisms 3 and 4 likely have significant contributions only at short distances. Here, the question is how relevant can they be if the average distance is 1 BL? Also, 1BL side by side is very much different from 1BL front to back, given the elongated body shape. For mechanisms 1 and 2, it appears relative positioning is quite important. Here, having maybe at least some information from the literature (if available) on the range of wall or push effects or the required precision in relative positioning for having a significant benefit would be very much desired. Also, do the authors suggest that a) these different effects overlap giving any position in the school a benefit, or b) that there are specific positions giving benefits due to different mechanisms and that fish "on purpose" switch only between these energetic "sweet" spots, I guess this what is towards the end referred to as Lighthill conjecture? Given the small group size I find a) rather unlikely, while b) actually also leads to a coordination problem if every fish is looking for a sweet spot. Overall, a related question is whether the authors observed a systematic change in leading individuals, which likely have no, or very small, hydrodynamic benefits.

Response: Thank you for the excellent discussion on this point. As we responded above, we have softened the tone of the statement. In the original version, we were clear that the known mechanisms as summarized in Fig. 1 lead us to ‘expect’ that fish do not need to be in a fixed position to save energy.

In general, current engineering/hydrodynamic studies suggest that any fish positioned within one body length (both upstream and downstream and side by side) will benefit from one or more of the hydrodynamic mechanisms that we expect will reduce energy costs, relative to a solitary individual. Our own studies using robotic systems suggest that a leading fish will experience an added mass “push” from a follower when the follower is located within roughly ½ body length behind the leader. We cited a Computational Fluid Dynamic (CFD) study about the relative distance among individuals for energy saving to be in effect. Please keep in mind that CFD simulation is a simplified model of the actual locomotion of fish and involves many assumptions and currently only resolves the time scale of seconds (see commentary of Zhang & Lauder 2023 doi:10.1242/jeb.245617 in J. Exp. Biol. for the current challenges of CFD simulation). To really understand the dynamic positions of fish within the school, we will need 3-D tracking of fish schools with tools that are currently being developed. Ideally, we would also have simultaneous energetic measurements, but of course, this is enormously challenging and it is not clear at this time how to accomplish this.

We certainly agree that the relative positions of fish (vertically staggered or in-line swimming) do affect the specific hydrodynamic mechanisms being used. We cited the study that discussed this, but the relative positions of fish remain an active area of research. More studies will be out next few years to provide more insight into the effects of the relative positions of fish in energy saving. The Lighthill conjecture is observed in flapping foils and whether fish schools use the Lighthill conjecture for energy saving is an active area of research but still unclear. We also provided a citation about the implication of the Lighthill conjecture on fish schools. Hence, our original version stated ‘The exact energetic mechanisms….would benefit from more in-depth studies’. We agree with the reviewer that not all fish can benefit Lighthill conjecture (if fish schools use it) at any given time point, hence the fish might need to rotate in using the Lighthill conjecture. This is one more explanation for the dynamic positioning of fish in a school.

Overall, in response to the question raised, we do not believe that fish are actively searching for “sweet spots” within the school, although this is only speculation on our part. We believe instead that fish, located in a diversity of positions within the school, get the hydrodynamic advantage of being in the group at that configuration.

We believe that fish, once they group and maintain a grouping where individuals are all within around one body length distance from each other, will necessarily get hydrodynamic benefits. As a collective group, we believe that at any one time, several different hydrodynamic mechanisms are all acting simultaneously and result in reduced energetic costs (Fig. 1).

Figure 4E: The y-axis is given in the units of 10-sec^-1 which is confusing is it 10 1/s or 1/(10s)? Why not use simply the unit of 1/s which is unambiguous?

Response: Thank you for the suggestions. We counted the turning frequency over the course of 10 seconds. To reflect more accurately on what we did, we used the suggested unit of 1/(10s) to more correctly correspond to how we made the measurements and the duration of the measurement. We recognize that this is a bit non-standard but would like to keep these units if possible.

Figure 4F: The unit in the school length is given in [mm], which suggests that the maximal measured school length is 4mm, this can't be true.

Response: Thank you for pointing this out. The unit should be [cm], which we corrected.

Reviewer #2 (Public Review):

Summary:

This paper tests the idea that schooling can provide an energetic advantage over solitary swimming. The present study measures oxygen consumption over a wide range of speeds, to determine the differences in aerobic and anaerobic cost of swimming, providing a potentially valuable addition to the literature related to the advantages of group living.

Response: Thank you for acknowledging our contribution is a valuable addition to the literature on collective movement by animals.

Strengths:

The strength of this paper is related to providing direct measurements of the energetics (oxygen consumption) of fish while swimming in a group vs solitary. The energetic advantages of schooling have been claimed to be one of the major advantages of schooling and therefore a direct energetic assessment is a useful result.

Response: Thank you for acknowledging our results are useful and provide direct measurements of energetics to prove a major advantage of schooling relative to solitary motion over a range of speeds.

Weaknesses:

The manuscript suffers from a number of weaknesses which are summarised below:

1) The possibility that fish in a school show lower oxygen consumption may also be due to a calming effect. While the authors show that there is no difference at low speed, one cannot rule out that calming effects play a more important role at higher speed, i.e. in a more stressful situation.

Response: Thank you for raising this creative point on “calming”. When vertebrates are moving at high speeds, their stress hormones (adrenaline, catecholamines & cortisol) increase. This phenomenon has been widely studied, and therefore, we do not believe that animals are ‘calm’ when moving at high speed and that somehow a “calming effect” explains our non-linear concave-upward energetic curves. “Calming” would have to have a rather strange non-linear effect over speed to explain our data, and act in contrast to known physiological responses involved in intense exercise (whether in fish or humans). It is certainly not true for humans that running at high speeds in a group causes a “calming effect” that explains changes in metabolic energy expenditure. We have added an explanation in the third paragraph in the section “Schooling dynamics enhances aerobic performance and reduces non-aerobic energy use”. Moreover, when animal locomotion has a high frequency of appendage movement (for both solitary individual and group movement), they are also not ‘calm’ from a behavioural point of view. Therefore, we respectfully disagree with the reviewer that the ‘calming effect’ is a major contributor to the energy saving of group movement at high speed. It is difficult to believe that giant danio swimming at 8 BL/s which is near or at their maximal sustainable locomotor limits are somehow “calm”. In addition, we demonstrated by direct energetic measurement that solitary individuals do not have a higher metabolic rate at the lower speed and thus directly show that there is very likely no cost of “uncalm” stress that would elevate the metabolic rate of solitary individuals. Furthermore, the current version of this manuscript compared the condition factor of the fish in the school and solitary individuals and found no difference (see Experimental Animal Section in the Methods). This also suggests that the measurement on the solitary fish is likely not confounded by any stress effects.

Finally, and as discussed further below, since we have simultaneous high-speed videos of fish swimming as we measure oxygen consumption at all speeds, we are able to directly measure fish behaviour. Since we observed no alteration in tail beat kinematics between schools and individuals (a key result that we elaborate on below), it’s very hard to justify that a “calming” effect explains our results. Fish in schools swimming at speed (not in still water) appear to be just as “calm” as solitary individuals.

2) The ratio of fish volume to water volume in the respirometer is much higher than that recommended by the methodological paper by Svendsen et al. (J Fish Biol 2016) Response: The ratio of respirometer volume to fish volume is an important issue that we thought about in detail before conducting these experiments. While Svendsen et al., (J. Fish Biol. 2016) recommend a respirometer volume-to-fish volume ratio of 500, we are not aware of any experimental study comparing volumes with oxygen measuring accuracy that gives this number as optimal. In addition, the Svendsen et al. paper does not consider that their recommendation might result in fish swimming near the walls of the flume (as a result of having relatively larger fish volume to flume volume) and hence able to alter their energetic expenditure by being near the wall. In our case, we needed to be able to study both a school (with higher animal volumes) and an individual (relatively lower volume) in the same exact experimental apparatus. Thus, we had to develop a system to accurately record oxygen consumption under both conditions.

The ratio of our respirometer to individual volume for schools is 693, while the value for individual fish is 2200. Previous studies (Parker 1973, Abrahams & Colgan, 1985, Burgerhout et al., 2013) that used a swimming-tunnel respirometer (i.e., a sealed treadmill) to measure the energy cost of group locomotion used values that range between 1116 and 8894 which are large and could produce low-resolution measurements of oxygen consumption. Thus, we believe that we have an excellent ratio for our experiments on both schools and solitary individuals, while maintaining a large enough value that fish don’t experience wall effects (see more discussion on this below, as we experimentally quantified the flow pattern within our respirometer).

The goal of the recommendation by Svendsen et al. is to achieve a satisfactory R2 (coefficient of determination) value for oxygen consumption data. However, Chabot et al., 2020 (DOI: 10.1111/jfb.14650) pointed out that only relying on R2 values is not always successful at excluding non-linear slopes. Much worse, only pursuing high R2 values has a risk of removing linear slopes with low R2 only because of a low signal-to-noise ratio and resulting in an overestimation of the low metabolic rate. Although we acknowledge the excellent efforts and recommendations provided by Svendsen et al., 2016, we perhaps should not treat the ratio of respirometer to organism volume of 500 as the gold standard for swim-tunnel respirometry. Svendsen et al., 2020 did not indicate how they reached the recommendation of using the ratio of respirometer to organism volume of 500. Moreover, Svendsen et al., 2020 stated that using an extended measuring period can help to resolve the low signal-to-noise ratio. Hence, the key consideration is to obtain a reliable signal-to-noise ratio which we will discuss below.

To ensure we obtain reliable data quality, we installed a water mixing loop (Steffensen et al., 1984) and used the currently best available technology of oxygen probe (see method section of Integrated Biomechanics & Bioenergetic Assessment System) to improve the signal-to-noise ratio. The water mixing loop is not commonly used in swim-tunnel respirometer. Hence, if a previously published study used a respirometer-to-organism ratio up to 8894, our updated oxygen measuring system is completely adequate to produce reliable signal-to-noise ratios in our system with a respirometer-to-organism ratio of 2200 (individuals) and 693 (schools). In fact, our original version of the manuscript used a published method (Zhang et al., 2019, J. Exp. Biol. https://doi.org/10.1242/jeb.196568) to analyze the signal-to-noise ratio and provided the quantitative approach to determine the sampling window to reliably capture the signal (Fig. S5).

3) Because the same swimming tunnel was used for schools and solitary fish, schooling fish may end up swimming closer to the wall (because of less volume per fish) than solitary fish. Distances to the wall of schooling fish are not given, and they could provide an advantage to schooling fish.

Response: This is an issue that we considered carefully in designing these experiments. After considering the volume of the respirometer and the size of the fish (see the response above), we decided to use the same respirometer to avoid any other confounding factors when using different sizes of respirometers with potentially different internal flow patterns. In particular, different sizes of Brett-type swim-tunnel respirometers differ in the turning radius of water flow, which can produce different flow patterns in the swimming section. Please note that we quantified the flow pattern within the flow tank using particle image velocimetry (PIV) (so we have quantitative velocity profiles across the working section at all tested speeds), and modified the provided baffle system to improve the flow in the working section.

Because we took high-speed videos simultaneously with the respirometry measurements, we can state unequivocally that individual fish within the school did not swim closer to the walls than solitary fish over the testing period (see below for the quantitative measurements of the boundary layer). Indeed, many previous respirometry studies do not obtain simultaneous video data and hence are unable to document fish locations when energetics is measured.

In studying schooling energetics, we believe that it is important to control as many factors as possible when making comparisons between school energetics and solitary locomotion. We took great care as indicated in the Methods section to keep all experimental parameters the same (same light conditions, same flow tank, same O2 measuring locations with the internal flow loop, etc.) so that we could detect differences if present. Changing the flow tank respirometer apparatus between individual fish and the schools studied would have introduced an unacceptable alteration of experimental conditions and would be a clear violation of the best experimental practices.

We have made every effort to be clear and transparent about the choice of experimental apparatus and explained at great length the experimental parameters and setup used, including the considerations about the wall effect in the extended Methods section and supplemental material provided.

Our manuscript provides the measurement of the boundary layer (<2.5 mm at speeds > 2 BL s-1) in the methods section of the Integrated Biomechanics & Bioenergetic Assessment System. We also state that the boundary layer is much thinner than the body width of the giant danio (~10 mm) so that the fish cannot effectively hide near the wall. Due to our PIV calibration, we are able to quantify flow near the wall.

In the manuscript, we also provide details about the wall effects and fish schools as follows from the manuscript: ”…the convex hull volume of the fish school did not change as speed increased, suggesting that the fish school was not flattening against the wall of the swim tunnel, a typical feature when fish schools are benefiting from wall effects. In nature, fish in the centre of the school effectively swim against a ‘wall’ of surrounding fish where they can benefit from hydrodynamic interactions with neighbours.”’ The notion that the lateral motion of surrounding slender bodies can be represented by a streamlined wall was also proposed by Newman et al., 1970 J. Fluid Mech. These considerations provide ample justification for the comparison of locomotor energetics by schools and solitary individuals.

4) The statistical analysis has a number of problems. The values of MO2 of each school are the result of the oxygen consumption of each fish, and therefore the test is comparing 5 individuals (i.e. an individual is the statistical unit) vs 5 schools (a school made out of 8 fish is the statistical unit). Therefore the test is comparing two different statistical units. One can see from the graphs that schooling MO2 tends to have a smaller SD than solitary data. This may well be due to the fact that schooling data are based on 5 points (five schools) and each point is the result of the MO2 of five fish, thereby reducing the variability compared to solitary fish. Other issues are related to data (for example Tail beat frequency) not being independent in schooling fish.

Response: We cannot agree with the reviewer that fish schools and solitary individuals are different statistical units. Indeed, these are the two treatments in the statistical sense: a school versus the individual. This is why we invested extra effort to replicate all our experiments on multiple schools of different individuals and compare the data to multiple different solitary individuals. This is a standard statistical approach, whether one is comparing a tissue with multiple cells to an individual cell, or multiple locations to one specific location in an ecological study. Our analysis treats the collective movement of the fish school as a functional unit, just like the solitary individual is a functional unit. At the most fundamental level of oxygen uptake measurements, our analysis results from calculating the declining dissolved oxygen as a function of time (i.e. the slope of oxygen removal). Comparisons are made between the slope of oxygen removal by fish schools and the slope of oxygen removal by solitary individuals. This is the correct statistical comparison.

The larger SD in individuals can be due to multiple biological reasons other than the technical reasons suggested here. Fundamentally, the different SD between fish schools and individuals can be the result of differences between solitary and collective movement and the different fluid dynamic interactions within the school could certainly cause differences in the amount of variation seen. Our interpretation of the ‘numerically’ smaller SD in fish schools than that of solitary individuals suggests that interesting hydrodynamic phenomena within fish schools remain to be discovered.

Reviewer #2 (Recommendations For The Authors):

I have reviewed a previous version of this paper. This new draft is somewhat improved but still presents a number of issues which I have outlined below.

Response: Thanks for your efforts to improve our paper with reviews, but a number of your comments apply to the previous version of the paper, and we have made a number of revisions before submitting it to eLife. We explain below how this version of the manuscript addresses many of your comments from both the previous and current reviews. As readers can see from our responses below, this version of the manuscript version no longer uses only ‘two-way ANOVA’ as we have implemented an additional statistical model. (Please see the comments below for more detailed responses related to the statistical models).

1) One of the main problems, and one of the reasons (see below) why many previous papers have measured TBF and not the oxygen consumption of a whole school, is that schooling also provides a calming effect (Nadler et al 2018) which is not easily differentiated from the hydrodynamic advantages (Abraham and Colgan 1985). This effect can reduce the MO2 while swimming and the EPOC when recovering. The present study does not fully take this potential issue into account and therefore its results are confounded by such effects. The authors state (line 401) that " the aerobic locomotion cost of solitary individuals showed no statistical difference from (in fact, being numerically lower) that of fish schools at a very low testing speed. The flow speed is similar to some areas of the aerated home aquarium for each individual fish. This suggests that the stress of solitary fish likely does not meaningfully contribute to the higher locomotor costs". While this is useful, the possibility that at higher speeds (i.e. a more stressful situation) solitary fish may experience more stress than fish in a school, cannot be ruled out.

Response: Thank you for finding our results and data useful. We have addressed the comments on calming or stress effects in our response above. The key point is that either solitary or school fish are challenged (i.e. stressed) at a high speed where the sizable increases in stress hormones are well documented in the exercise physiology literature. We honestly just do not understand how a “calming” effect could possibly explain the upward concave energetic curves that we obtained, and how “calming” could explain the difference between schools and solitary individuals. Since we have simultaneous high-speed videos of fish swimming as we measure oxygen consumption at all speeds, we are able to directly observe fish behaviour. It is not exactly clear what a “calming effect” would look like kinematically or how one would measure this experimentally, but since we observed no alteration in tail beat kinematics between schools and individuals (a key result that we elaborate on below), it’s very hard to justify that a “calming” effect explains our results. Fish in schools appear to be just as “calm” as solitary individuals.

If the reviewer's “calming effect” is a general issue, then birds flying in a V-formation should also experience a “calming effect”, but at least one study shows that birds in a V-formation experience higher wing beat frequencies.

In addition, Nalder et al., 2018 (https://doi.org/10.1242/bio.031997) did not study any such “calming effect”. We assume the reviewer is referring to Nalder et al., 2016, which showed that shoaling reduced fish metabolic rates in a resting respirometer that has little-to-no water current that would motivate fish to swim (which is very different from the swim-tunnel respirometer we used). Moreover, the inter-loop system used by Nalder et al., 2016 has the risk of mixing the oxygen uptake of the fish shoal and solitary individuals. Hence, we believe that it is not appropriate to extend the results of Nalder et al., 2016 to infer and insist on a calming effect for fish schools that we studied which are actively and directionally swimming over a wide speed range up to and including high speeds. Especially since our data clearly show that ‘the aerobic locomotion cost of solitary individuals showed no statistical difference from (in fact, being numerically lower) that of fish schools at very low testing speeds’. More broadly, shoaling and schooling are very different in terms of polarization as well as the physiological and behavioural mechanisms used in locomotion. Shoaling behaviour by fish in still water is not the same as active directional schooling over a speed range. Our supplementary Table 1 provides a clear definition for a variety of grouping behaviours and makes the distinction between shoaling and schooling.

Our detailed discussion about other literature mentioned by this reviewer can be seen in the comments below.

2) The authors overstate the novelty of their work. Line 29: "Direct energetic measurements demonstrating the 30 energy-saving benefits of fluid-mediated group movements remain elusive" The idea that schooling may provide a reduction in the energetic costs of swimming dates back to the 70s, with pioneering experimental work showing a reduction in tail beat frequency in schooling fish vs solitary (by Zuyev, G. V. & Belyayev, V. V. (1970) and theoretical work by Weihs (1973). Work carried out in the past 20 years (Herskin and Steffensen 1998; Marras et al 2015; Bergerhout et al 2013; Hemelrijk et al 2014; Li et al 2021, Wiwchar et al 2017; Verma et al 2018; Ashraf et al 2019) based on a variety of approaches has supported the idea of a reduction in swimming costs in schooling vs solitary fish. In addition, group respirometry has actually been done in early and more recent studies testing the reduction in oxygen consumption as a result of schooling (Parker, 1973; Itazawa et al., 1978; Abrahams and Colgan 1985; Davis & Olla, 1992; Ross & Backman, 1992, Bergerhout et al 2013; Currier et al 2020). Specifically, Abrahams and Colgan (1985) and Bergerhout et al (2013) found that the oxygen consumption of fish swimming in a school was higher than when solitary, and Abrahams and Colgan (1985) made an attempt to deal with the confounding calming effect by pairing solitary fish up with a neighbor visible behind a barrier. These issues and how they were dealt with in the past (and in the present manuscript) are not addressed by the present manuscript. Currier et al (2020) found that the reduction of oxygen consumption was species-specific.

Response: We cannot agree with this reviewer that we have overstated the novelty of our work, and, in fact, we make very specific comments on the new contributions of our paper relative to the large previous literature on schooling. We are well aware of the literature cited above and many of these papers have little or nothing to do with quantifying the energetics of schooling. In addition, many of these papers rely on simple kinematic measurements which are unrelated to direct energetic measurements of energy use. To elaborate on this, we present the ‘Table R’ below which evaluates and compares each of the papers this reviewer cites above. The key message (as we wrote in the manuscript) is that none of the previous studies measured non-aerobic cost (and thus do not calculate the total energy expenditure (TEE), which we show to be substantial. In addition, many of these studies do not compare schools to individuals, do not quantify both energetics and kinematics, and do not study a wide speed range. Only 33% of previous studies used direct measurements of aerobic metabolic rate to compare the locomotion costs of fish schools and solitary individuals (an experimental control). We want to highlight that most of the citations in the reviewer’s comments are not about the kinematics or hydrodynamics of fish schooling energetics, although they provide peripheral information on fish schooling in general. We also provide an overview of the literature on this topic in our paper in the Journal of Experimental Biology (Zhang & Lauder 2023 doi:10.1242/jeb.245617) and do not wish to duplicate that discussion here. We summarized and cited the relevant papers about the energetics of fish schooling in Table 1.

Author response table 1.

Papers cited by Reviewer #2, and a summary of their contributions and approach.

References cited above:

Zuyev, G., & Belyayev, V. V. (1970). An experimental study of the swimming of fish in groups as exemplified by the horsemackerel [Trachurus mediterraneus ponticus Aleev]. J Ichthyol, 10, 545-549.

Weihs, D. (1973). Hydromechanics of fish schooling. Nature, 241(5387), 290-291.

Herskin, J., & Steffensen, J. F. (1998). Energy savings in sea bass swimming in a school: measurements of tail beat frequency and oxygen consumption at different swimming speeds. Journal of Fish Biology, 53(2), 366-376.

Marras, S., Killen, S. S., Lindström, J., McKenzie, D. J., Steffensen, J. F., & Domenici, P. (2015). Fish swimming in schools save energy regardless of their spatial position. Behavioral ecology and sociobiology, 69, 219-226.

Burgerhout, E., Tudorache, C., Brittijn, S. A., Palstra, A. P., Dirks, R. P., & van den Thillart, G. E. (2013). Schooling reduces energy consumption in swimming male European eels, Anguilla anguilla L. Journal of experimental marine biology and ecology, 448, 66-71.

Hemelrijk, C. K., Reid, D. A. P., Hildenbrandt, H., & Padding, J. T. (2015). The increased efficiency of fish swimming in a school. Fish and Fisheries, 16(3), 511-521.

Li, L., Nagy, M., Graving, J. M., Bak-Coleman, J., Xie, G., & Couzin, I. D. (2020). Vortex phase matching as a strategy for schooling in robots and in fish. Nature communications, 11(1), 5408.

Wiwchar, L. D., Gilbert, M. J., Kasurak, A. V., & Tierney, K. B. (2018). Schooling improves critical swimming performance in zebrafish (Danio rerio). Canadian Journal of Fisheries and Aquatic Sciences, 75(4), 653-661.

Verma, S., Novati, G., & Koumoutsakos, P. (2018). Efficient collective swimming by harnessing vortices through deep reinforcement learning. Proceedings of the National Academy of Sciences, 115(23), 5849-5854.

Ashraf, I., Bradshaw, H., Ha, T. T., Halloy, J., Godoy-Diana, R., & Thiria, B. (2017). Simple phalanx pattern leads to energy saving in cohesive fish schooling. Proceedings of the National Academy of Sciences, 114(36), 9599-9604.

Parker Jr, F. R. (1973). Reduced metabolic rates in fishes as a result of induced schooling. Transactions of the American Fisheries Society, 102(1), 125-131.

Itazawa, Y., & Takeda, T. (1978). Gas exchange in the carp gills in normoxic and hypoxic conditions. Respiration physiology, 35(3), 263-269.

Abrahams, M. V., & Colgan, P. W. (1985). Risk of predation, hydrodynamic efficiency and their influence on school structure. Environmental Biology of Fishes, 13, 195-202.

Davis, M. W., & Olla, B. L. (1992). The role of visual cues in the facilitation of growth in a schooling fish. Environmental biology of fishes, 34, 421-424.

Ross, R. M., Backman, T. W., & Limburg, K. E. (1992). Group-size-mediated metabolic rate reduction in American shad. Transactions of the American Fisheries Society, 121(3), 385-390.

Currier, M., Rouse, J., & Coughlin, D. J. (2021). Group swimming behaviour and energetics in bluegill Lepomis macrochirus and rainbow trout Oncorhynchus mykiss. Journal of Fish Biology, 98(4), 1105-1111.

Halsey, L. G., Wright, S., Racz, A., Metcalfe, J. D., & Killen, S. S. (2018). How does school size affect tail beat frequency in turbulent water?. Comparative Biochemistry and Physiology Part A: Molecular & Integrative Physiology, 218, 63-69.

Johansen, J. L., Vaknin, R., Steffensen, J. F., & Domenici, P. (2010). Kinematics and energetic benefits of schooling in the labriform fish, striped surfperch Embiotoca lateralis. Marine Ecology Progress Series, 420, 221-229.

3) In addition to the calming effect, measuring group oxygen consumption suffers from a number of problems as discussed in Herskin and Steffensen (1998) such as the fish volume to water volume ratio, which varies considerably when testing a school vs single individuals in the same tunnel and the problem of wall effect when using a small volume of water for accurate O2 measurements. Herskin and Steffensen (1998) circumvented these problems by measuring tailbeat frequencies of fish in a school and then calculating the MO2 of the corresponding tailbeat frequency in solitary fish in a swim tunnel. A similar approach was used by Johansen et al (2010), Marras et al (2015), Halsey et al (2018). However, It is not clear how these potential issues were dealt with here. Here, larger solitary D. aequipinnatus were used to increase the signal-to-noise ratio. However, using individuals of different sizes makes other variables not so directly comparable, including stress, energetics, and kinematics. (see comment 7 below).

Response: We acknowledge the great efforts made by previous studies to understand the energetics of fish schooling. These studies, as detailed in the table and elaborated in the response above (see comment 2) are very different from our current study. Our study achieved a direct comparison of energetics (including both aerobic and non-aerobic cost) and kinematics between solitary individuals and fish schools that has never been done before. Our detailed response to the supposed “calming effect” is given above.

As highlighted in the previous comments and opening statement, our current version has addressed the wall effect, tail beat frequency, and experimental and analytical efforts invested to directly compare the energetics between fish schools and solitary individuals. As readers can see in our comprehensive method section, achieving the direct comparison between solitary individuals and fish schools is not a trivial task. Now we want to elaborate on the role of kinematics as an indirect estimate of energetics. Our results here show that kinematic measurements of tail beat frequency are not reliable estimates of energetic cost, and the previous studies cited did not measure EPOC and those costs are substantial, especially as swimming speed increases. Fish in schools can save energy even when the tail beat frequency does not change (although school volume can change as we show). We elaborated (in great detail) on why kinematics does not always reflect on the energetics in the submitted version (see last paragraph of “Schooling dynamics and energy conservation” section). Somehow modeling what energy expenditure should be based only on tail kinematics is, in our view, a highly unreliable approach that has never been validated (e.g., fish use more than just tails for locomotion). Indeed, we believe that this is an inadequate substitute for direct energy measurements. We disagree that using slightly differently sized individuals is an issue since we recorded fish kinematics across all experiments and included the measurements of behaviour in our manuscript. Slightly altering the size of individual fish was done on purpose to provide a better ratio of respirometer volume to fish volume in the tests on individual fish, thus we regard this as a benefit of our approach and not a concern.

Finally, in another study of the collective behaviour of flying birds (Usherwood, J. R., Stavrou, M., Lowe, J. C., Roskilly, K. and Wilson, A. M. (2011). Flying in a flock comes at a cost in pigeons. Nature 474, 494-497), the authors observed that wing beat frequency can increase during flight with other birds. Hence, again, we cannot regard movement frequency of appendages as an adequate substitute for direct energetic measurements.

4) Svendsen et al (2016) provide guidelines for the ratio of fish volume to water volume in the respirometer. The ratio used here (2200) is much higher than that recommended. RFR values higher than 500 should be avoided in swim tunnel respirometry, according to Svendsen et al (2016).

Response: Thank you for raising this point. Please see the detailed responses above to the same comment above. We believe that our experimental setup and ratios are very much in line with those recommended, and represent a significant improvement on previous studies which use large ratios.

5) Lines 421-436: The same goes for wall effects. Presumably, using the same size swim tunnel, schooling fish were swimming much closer to the walls than solitary fish but this is not specifically quantified here in this paper. Lines 421-436 provide some information on the boundary layer (though wall effects are not just related by the boundary layer) and some qualitative assessment of school volume. However, no measurement of the distance between the fish and the wall is given.

Response: Please see the detailed responses above to the same comment. Specifically, we used the particle image velocimetry (PIV) system to measure the boundary layer (<2.5 mm at speeds > 2 BL s-1) and stated the parameters in the methods section of the Integrated Biomechanics & Bioenergetic Assessment System. We also state that the boundary layer is much thinner than the body width of the giant danio (~10 mm) so that the fish cannot effectively hide near the wall. Due to our PIV calibration, we are able to quantify flow near the wall.

Due to our video data obtained simultaneously with energetic measurements, we do not agree that fish were swimming closer to the wall in schools and also note that we took care to modify the typical respirometer to both ensure that flow across the cross-section did not provide any refuges and to quantify flow velocities in the chamber using particle image velocimetry. We do not believe that any previous experiments on schooling behaviour in fish have taken the same precautions.

6) The statistical tests used have a number of problems. Two-way ANOVA was based on school vs solitary and swimming speed. However, there are repeated measures at each speed and this needs to be dealt with. The degrees of freedom of one-way ANOVA and T-tests are not provided. These tests took into account five groups of fish vs. five solitary fish. The values of MO2 of each school are the result of the oxygen consumption of each fish, and therefore the test is comparing 5 individuals (i.e. an individual is the statistical unit) vs 5 schools (a school made out of 8 fish is the statistical unit). Therefore the test is comparing two different statistical units. One can see from the graphs that schooling MO2 tend to have a smaller SD than solitary data. This may well be due to the fact that schooling data are based on 5 points (five schools) and each point is the result of the MO2 of five fish, thereby reducing the variability compared to solitary fish. TBF, on the other hand, can be assigned to each fish even in a school, and therefore TBF of each fish could be compared by using a nested approach of schooling fish (nested within each school) vs solitary fish, but this is not the statistical procedure used in the present manuscript. The comparison between TBFs presumably is comparing 5 individuals vs all the fish in the schools (6x5=30 fish). However, the fish in the school are not independent measures.

Response: We cannot agree with this criticism, which may be based on this reviewer having seen a previous version of the manuscript. We did not use two-way ANOVA in this version. This version of the manuscript reported the statistical value based on a General Linear Model (see statistical section of the method). We are concerned that this reviewer did not in fact read either the Methods section or the Results section. In addition, it is hard to accept that, from examination of the data shown in Figure 3, there is not a clear and large difference between schooling and solitary locomotion, regardless of the statistical test used.

Meanwhile, the comments about the ‘repeated’ measures from one speed to the next are interesting, but we cannot agree. The ‘repeated’ measures are proper when one testing subject is assessed before and after treatment. Going from one speed to the next is not a treatment. Instead, the speed is a dependent and continuous variable. In our experimental design, the treatment is fish school, and the control is a solitary individual. Second, we never compared any of our dependent variables across different speeds within a school or within an individual. Instead, we compared schools and individuals at each speed. In this comparison, there are no ‘repeated’ measures. We agree with the reviewer that fish in the school are interacting (not independent). This is one more reason to support our approach of treating fish schools as a functional and statistical unit in our experiment design (more detailed responses are stated in the response to the comment above).

7) The size of solitary and schooling individuals appears to be quite different (solitary fish range 74-88 cm, schooling fish range 47-65 cm). While scaling laws can correct for this in the MO2, was this corrected for TBF and for speed in BL/s? Using BL/s for speed does not completely compensate for the differences in size.

Response: Our current version has provided justifications for not conducting scaling in the values of tail beat frequency. Our justification is “The mass scaling for tail beat frequency was not conducted because of the lack of data for D. aequipinnatus and its related species. Using the scaling exponent of distant species for mass scaling of tail beat frequency will introduce errors of unknown magnitude.”. Our current version also acknowledges the consideration about scaling as follows: “Fish of different size swimming at 1 BL s-1 will necessarily move at different Reynolds numbers, and hence the scaling of body size to swimming speed needs to be considered in future analyses of other species that differ in size”

Reviewer #3 (Public Review):

Summary:

Zhang and Lauder characterized both aerobic and anaerobic metabolic energy contributions in schools and solitary fishes in the Giant danio (Devario aequipinnatus) over a wide range of water velocities. By using a highly sophisticated respirometer system, the authors measure the aerobic metabolisms by oxygen uptake rate and the non-aerobic oxygen cost as excess post-exercise oxygen consumption (EPOC). With these data, the authors model the bioenergetic cost of schools and solitary fishes. The authors found that fish schools have a J-shaped metabolism-speed curve, with reduced total energy expenditure per tail beat compared to solitary fish. Fish in schools also recovered from exercise faster than solitary fish. Finally, the authors conclude that these energetic savings may underlie the prevalence of coordinated group locomotion in fish.

The conclusions of this paper are mostly well supported by data, but some aspects of methods and data acquisition need to be clarified and extended.

Response: Thank you for seeing the value of our study. We provided clarification of the data acquisition system with a new panel of pictures included in the supplemental material to show our experimental system. We understand that our methods have more details and justifications than the typical method sections. First, the details are to promote the reproducibility of the experiments. The justifications are the responses to reviewer 2, who reviewed our previous manuscript version and also posted the same critiques after we provided the justifications for the construction of the system and the data acquisition.

Strengths:

This work aims to understand whether animals moving through fluids (water in this case) exhibit highly coordinated group movement to reduce the cost of locomotion. By calculating the aerobic and anaerobic metabolic rates of school and solitary fishes, the authors provide direct energetic measurements that demonstrate the energy-saving benefits of coordinated group locomotion in fishes. The results of this paper show that fish schools save anaerobic energy and reduce the recovery time after peak swimming performance, suggesting that fishes can apport more energy to other fitness-related activities whether they move collectively through water.

Response: Thank you. We are excited to share our discoveries with the world.

Weaknesses:

Although the paper does have strengths in principle, the weakness of the paper is the method section. There is too much irrelevant information in the methods that sometimes is hard to follow for a researcher unfamiliar with the research topic. In addition, it was hard to imagine the experimental (respirometer) system used by the authors in the experiments; therefore, it would be beneficial for the article to include a diagram/scheme of that respiratory system.

Response: We agree with the reviewer and hence added the pictures of the experimental system in the supplementary materials (Fig. S4). We think pictures are more realistic to present the system than schematics. We also provide a picture of the system during the process of making the energetic measurements. It is to show the care went to ensure fish are not affected by any external stimulation other than the water velocity. The careful experimental protocol is very critical to reveal the concave upward shaped curve of bony fish schools that was never reported before. Many details in the methods have been included in response to Reviewer 2.

Reviewer #3 (Recommendations For The Authors):

Overall, this is a very interesting, well-written, and nice article. However, many times the method section looks like a discussion. Furthermore, the authors need to check the use of the word "which" throughout the text. I got the feeling that it is overused/misused sometimes.

Response: Thank you for the positive comments. The method is written in that way to address the concerns of Reviewer 2 who reviewed our previous versions. We corrected the overuse of ‘which’ throughout the manuscript.

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 1  Integrative models of visually guided steering in Drosophila www.biorxiv.org

Public_Reviews   (edited 8/19/2025 6:54 PM) 8/19/2025 2:08 PM   in q5X6RWJ6    

Author response:

The following is the authors’ response to the original reviews.

Reviewer #1 (Public Review):

Summary:

The manuscript "Drosophila Visuomotor Integration: An Integrative Model and Behavioral Evidence of Visual Efference Copy" provides an integrative model of the visuomotor control in Drosophila melanogaster. This model presents an experimentally derived model based on visually evoked wingbeat pattern recordings of three strategically selected visual stimulus types with well-established behavioral response characteristics. By testing variations of these models, the authors demonstrate that the virtual model behavior can recapitulate the recorded wing beat behavioral results and those recorded by others for these specific stimuli when presented individually. Yet, the novelty of this study and their model is that it allows predictions for natural visual scenes in which multiple visual stimuli occur simultaneously and may have opposite or enhancing effects on behavior. Testing three models that would allow interactions of these visual modalities, the authors show that using a visual efference copy signal allows visual streams to interact, replicating behavior recorded when multiple stimuli are presented simultaneously. Importantly, they validated the prediction of this model in real flies using magnetically tethered flies, e.g., presenting moving bars with varying backgrounds. In conclusion, the presented manuscript presents a commendable effort in developing and demonstrating the validity of a mixture model that allows predictions of the behavior of Drosophila in natural visual environments.

Strengths:

Overall, the manuscript is well-structured and clear in its presentation, and the modeling and experimental research are methodically conducted and illustrated in visually appealing and easy-to-understand figures and their captions.

The manuscript employs a thorough, logical approach, combining computational modeling with experimental behavioral validation using magnetically tethered flies. This iterative integration of simulation and empirical behavioral evidence enhances the credibility of the findings.

The associated code base is well documented and readily produces all figures in the document.

Suggestions:

However, while the experiments provide evidence for the use of a visual efference copy, the manuscript would be even more impressive if it presented specific predictions for the neural implementation or even neurophysiological data to support this model. Or, at the very least, a thorough discussion. Nonetheless, these models and validating behavioral experiments make this a valuable contribution to the field; it is well executed and addresses a significant gap in the modeling of fly behavior and holistic understanding of visuomotor behaviors.

We appreciate the reviewer’s thoughtful comments on the strengths and weaknesses of our manuscript. We agree that biophysically realistic model reflecting the structure of neural circuits as well as physiological data from them would be invaluable. However, we are currently unable to provide physiological evidence for EC-based suppression, nor provide circuit architecture for efference copy-based suppression of the stability circuit because the neural pathway underlying this behavior remains unidentified. Extensive recordings from the HS/VS system have revealed cell-type-specific motor-related inputs during both spontaneous and loom-evoked flight turns (Fenk et al., 2021; Kim et al., 2017, 2015). These studies predicted suppression of the optomotor stability response during such turns, and our new experiments confirmed this suppression specifically during loom-evoked turns (Figures 5, 6). However, these neurons are primarily involved in the head optomotor response, not the body optomotor response. We hope to extend our current model in future studies to incorporate more cellular-level detail, as the feedforward circuits underlying stability behavior become more clearly defined.

Here are a few points that should be addressed:

(1) The biomechanics block (Figure 2) should be elaborated on, to explain its relevance to behavior and relation to the underlying neural mechanisms.

We appreciate this suggestion. The mathematical representation of the biomechanics block has been developed by other groups in previous studies (Fry et al., 2003; Ristroph et al., 2010). We used exactly the same model, and its parameters were identical to those used in one of those studies (Fry et al., 2003; Ristroph et al., 2010), in which the parameters were estimated from the stabilizing response in response to magnetic “stumbling” pulses. In the previous version of the manuscript, we had a description of the biomechanics block in the Method section (see Equation 4). In response to the reviewer’s comment, we have made a few changes in Figure 2A and expanded the associated description in the main text, as follows.

(Line 160) “To test the orientation behavior of the model, we developed an expanded model, termed “virtual fly model” hereafter. In this model, we added a biomechanics block that transforms the torque response of the fly to the actual heading change according to kinematic parameters estimated previously (Michael H Dickinson, 2005; Ristroph et al., 2010) (Figure 2A, see Equation 4 in Methods and Movie S1). The virtual fly model, featuring position and velocity blocks that are conditioned on the type of the visual pattern, can now change its body orientation, simulating the visual orientation behavior of flies in the free flight condition.”

(2) It is unclear how the three integrative models with different strategies were chosen or what relevance they have to neural implementation. This should be explained and/or addressed.

Thank you for this valuable comment. We selected the three models based on previous studies investigating visuomotor integration across multiple species, under conditions where multiple sensory cues are presented simultaneously.

The addition-only model represents the simplest hypothesis, analogous to the “additive model” proposed by Tom Collett in his 1980 study (Collett, 1980). We used this model as a baseline to illustrate behavior in the absence of any efference copy mechanism. Notably, some modeling studies have proposed linear (additive) integration for multimodal sensory cues at the behavioral level (Liu et al., 2023; Van der Stoep et al., 2021). However, experimental evidence demonstrating strictly linear integration—either behaviorally or physiologically—remains limited. In our study, new data (Figure 5) show that bar-evoked and background movement-evoked locomotor responses are combined linearly, supporting the addition-only model.

The graded efference copy model has been most clearly demonstrated in the cerebellum-like circuit of Mormyrid fish during electrosensation (Bell, 1981; Kennedy et al., 2014). In this system, the efference copy signal forms a negative image of the predicted reafferent input and undergoes plastic changes as the environment changes—an idea that inspired our modifiable efference copy model (Figure 4–figure supplement 1). The all-or-none efference copy model is exemplified in the sensory systems of smaller organisms, such as the auditory neurons of crickets during stridulation (Poulet and Hedwig, 2006). Notably, in crickets, the motor-related input is referred to as corollary discharge rather than efference copy. Typically, “efference copy” refers to a graded, subtractive motor-related signal, while “corollary discharge” denotes an all-or-none signal, both counteracting the sensory consequences of self-generated actions. In this manuscript, we use the term efference copy more broadly, encompassing both types of motor-related feedback signals (Sommer and Wurtz, 2008).

In response to this comment, we have made the following changes in the main text to enhance its accessibility to general readers.

(Line#268) “This integration problem has been studied across animal sensory systems, typically by analyzing motor-related signals observed in sensory neurons (Bell, 1981; Collett, 1980; Kim et al., 2017; Poulet and Hedwig, 2006). Building on the results of these studies, we developed three integrative models. The first model, termed the “addition-only model”, assumes that the outputs of the object (bar) and the background (grating) response circuits are summed to control the flight orientation (Figure 4B, see Equation 14 in Methods).”

(Line#272) “In the second and third models, an EC is used to set priorities between different visuomotor circuits (Figure 4C,D). In particular, the EC is derived from the object-induced motor command and sent to the object response system to nullify visual input associated with the object-evoked turn (Bell, 1981; Collett, 1980; Poulet and Hedwig, 2006). These motor-related inputs fully suppress sensory processing in some systems (Poulet and Hedwig, 2006), whereas in others they selectively counteract only the undesirable components of the sensory feedback (Bell, 1981; Kennedy et al., 2014).”

(3) There should be a discussion of how the visual efference could be represented in the biological model and an evaluation of the plausibility and alternatives.

Thank you for this helpful comment. We have now added the following discussion to share our perspective on the circuit-level implementation of the visual efference copy in Drosophila.

(Line#481) “Efference copy in Drosophila vision

Under natural conditions, various visual features in the environment may concurrently activate multiple motor programs. Because these may interfere with one another, it is crucial for the central brain to coordinate between the motor signals originating from different sensory circuits. Among such coordination mechanisms, the EC mechanisms were hypothesized to counteract so-called reafferent visual input, those caused specifically by self-movement (Collett, 1980; von Holst and Mittelstaedt, 1950). Recent studies reported such EC-like signals in Drosophila visual neurons during spontaneous as well as loom-evoked flight turns (Fenk et al., 2021; Kim et al., 2017, 2015). One type of EC-like signals were identified in a group of wide-field visual motion-sensing neurons that were shown to control the neck movement for the gaze stability (Kim et al., 2017). The EC-like signals in these cells were bidirectional depending on the direction of flight turns, and their amplitudes were quantitatively tuned to those of the expected visual input across cell types. Although amplitude varies among cell types, it remains inconclusive whether it also varies within a given cell type to match the amplitude of expected visual feedback, thereby implementing the graded EC signal. A more recent study examined EC-like signal amplitude in the same visual neurons for loom-evoked turns, across events (Fenk et al., 2021). Although the result showed a strong correlation between wing response and the EC-like inputs, the authors pointed that this apparent correlation could stem from noisy measurement of all-or-none motor-related inputs.

Thus, these studies did not completely disambiguate between graded vs. all-or-none EC signaling. Another type of EC-like signals observed in the visual circuit tuned to a moving spot exhibited characteristics consistent with all-or-none EC. That is, it entirely suppressed visual signaling, irrespective of the direction of the self-generated turn (Kim et al., 2015; Turner et al., 2022). 

Efference-copy (EC)–like signals have been reported in several Drosophila visual circuits, yet their behavioral role remains unclear. Indirect evidence comes from a behavioral study showing that the dynamics of spontaneously generated flight turns were unaffected by unexpected background motion (Bender and Dickinson, 2006a). Likewise, our behavioral experiments showed that, during loom-evoked turns, responses to background motion are suppressed in an all-or-none manner (Figures 6 and 7). Consistent with this, motor-related inputs recorded in visual neurons exhibit nearly identical dynamics during spontaneous and loom-evoked turns (Fenk et al., 2021). Together, these behavioral and physiological parallels support the idea that a common efference-copy mechanism operates during both spontaneous and loom-evoked flight turns.

Unlike loom-evoked turns, bar-evoked turn dynamics changed in the presence of moving backgrounds (Figure 5), a result compatible with both the addition-only and graded EC models. However, when the static background was updated just before a bar-evoked turn—thereby altering the amplitude of optic flow—the turn dynamics remained unaffected (Figures 5 and 7), clearly contradicting the addition-only model. Thus, the graded EC model is the only one consistent with both findings. If a graded EC mechanism were truly at work, however, an unexpected background change should have modified turn dynamics because of the mismatch between expected and actual visual feedback (Figure 4–figure supplement 1)—yet we detected no such effect at any time scale examined (Figure 7–figure supplement 1). This mismatch would be ignored only if the amplitude of the graded EC adapted to environmental changes almost instantaneously—a mechanism that seems improbable given the limited computational capacity of the Drosophila brain. In electric fish, for example, comparable adjustments take more than 10 minutes (Bell, 1981; Muller et al., 2019). Further investigation is needed to clarify how reorienting flies ignore optic flow generated by static backgrounds, potentially by engaging EC mechanisms not captured by the models tested in this study.

Why would Drosophila rely on the all-or-none EC mechanism instead of the graded one for loom-evoked turns? A graded EC must be adjusted adaptively depending on the environment, as the amplitude of visual feedback varies with both the dynamics of self-generated movement and environmental conditions (e.g., empty vs. cluttered visual backgrounds) (Figure 4—figure supplement 1). Recent studies on electric fish have suggested that a large array of neurons in a multi-layer network is crucial for generating a modifiable efference copy signal matched to the current environment (Muller et al., 2019). Given their small-sized brain, flies might opt for a more economical design for suppressing unwanted visual inputs regardless of the visual environment. Circuits mediating such a type of EC were identified in the cricket auditory system during stridulation (Poulet and Hedwig, 2006), for example. Our study strongly suggests the existence of a similar circuit in the Drosophila visual system. 

We tested the hypothesis that efference-copy (EC) signals guide action selection by suppressing specific visuomotor reflexes when multiple visual features compete. An alternative motif with a similar function is mutual inhibition between motor pathways (Edwards, 1991; Mysore and Kothari, 2020). In Drosophila, descending neurons form dense lateral connections (Braun et al., 2024), offering a substrate for such competitive interactions. Determining whether—and how—EC and mutual inhibition operate will require recordings from the neurons that ensure visual stability, which remain unidentified. Mapping these pathways and assessing how they are modulated by visual and behavioral context are important goals for future work.”

Reviewer #2 (Public Review):

It has been widely proposed that the neural circuit uses a copy of motor command, an efference copy, to cancel out self-generated sensory stimuli so that intended movement is not disturbed by the reafferent sensory inputs. However, how quantitatively such an efference copy suppresses sensory inputs is unknown. Here, Canelo et al. tried to demonstrate that an efference copy operates in an all-or-none manner and that its amplitude is independent of the amplitude of the sensory signal to be suppressed. Understanding the nature of such an efference copy is important because animals generally move during sensory processing, and the movement would devastatingly distort that without a proper correction. The manuscript is concise and written very clearly. However, experiments do not directly demonstrate if the animal indeed uses an efference copy in the presented visual paradigms and if such a signal is indeed non-scaled. As it is, it is not clear if the suppression of behavioral response to the visual background is due to the act of an efference copy (a copy of motor command) or due to an alternative, more global inhibitory mechanism, such as feedforward inhibition at the sensory level or attentional modulation. To directly uncover the nature of an efference copy, physiological experiments are necessary. If that is technically challenging, it requires finding a behavioral signature that unambiguously reports a (copy of) motor command and quantifying the nature of that behavior.

We thank the reviewer for this insightful and constructive comment. We agree that our current behavioral evidence does not directly identify the underlying circuit mechanism, and that direct recordings from visual neurons modulated by an efference copy would be critical for distinguishing between potential mechanisms.

A prerequisite for such physiological investigations would be the identification of both (1) the feedforward neurons directly involved in the optomotor response, and (2) the neurons conveying motor-related signals to the optomotor circuit. Despite efforts by several research groups, the location of the feedforward circuit mediating the optomotor response remains elusive. This limitation has prevented us from obtaining direct cellular evidence of flight turn-associated suppression of optomotor signaling.

In light of the reviewer’s suggestion, we expanded our investigation to strengthen the behavioral evidence for efference copy (EC) mechanisms. In addition to our earlier experiments involving unexpected changes in the static background, we examined how object-evoked flight turns influence the optomotor stability reflex and vice versa (Figures 5 and 6). To quantify the interaction between different visuomotor behaviors, we systematically varied the temporal relationship between two types of visual motion—loom versus moving background, or moving bar versus moving background—and measured the resulting behavioral responses.

Our findings support pattern- and time-specific suppressive mechanisms acting between flight turns associated with the different visual patterns. Specifically:

The responses to a moving bar and a moving background add linearly, even when presented in close temporal proximity.

Loom-evoked turns and the optomotor stability reflex mutually suppress each other in a time-specific manner.

For both loom- and moving bar-evoked flight turns, changes in the static background had no measurable effect on the dynamics of the object-evoked responses.

These results provide a detailed behavioral characterization of a suppressive interaction between distinct visuomotor responses. This, in turn, offers correlative evidence supporting the involvement of an efference copy-like mechanism acting on the visual system. While similar efference copy mechanisms have been documented in other parts of the visual system, we acknowledge that our findings do not exclude alternative explanations. In particular, it is still possible that lateral inhibition within the central brain or ventral nerve cord contributes to the suppression we observed.

Ultimately, definitive proof will require identifying the specific neurons that convey efference copy signals and demonstrating that silencing these neurons abolishes the behavioral suppression. Until such experiments are feasible, our behavioral approach provides an important contribution toward understanding the nature of sensorimotor integration in this system.

Reviewer #3 (Public Review):

Summary:

Canelo et al. used a combination of mathematical modeling and behavioral experiments to ask whether flies use an all-or-none EC model or a graded EC model (in which the turn amplitude is modulated by wide-field optic flow). Particularly, the authors focus on the bar-ground discrimination problem, which has received significant attention in flies over the last 50-60 years. First, they use a model by Poggio and Reichardt to model flight response to moving small-field bars and spots and wide-field gratings. They then simulate this model and compare simulation results to flight responses in a yaw-free tether and find generally good agreement. They then ask how flies may do bar-background discrimination (i.e. complex visual environment) and invoke different EC models and an additive model (balancing torque production due to background and bar movement). Using behavioral experiments and simulation supports the notion that flies use an all-or-none EC since flight turns are not influenced by the background optic flow. While the study is interesting, there are major issues with the conceptual framework.

Strengths:

They ask a significant question related to efference copies during volitional movement.

The methods are well detailed and the data (and statistics) are presented clearly.

The integration of behavioral experiments and mathematical modeling of flight behavior.

The figures are overall very clear and salient.

Weaknesses:

Omission of saccades: While the authors ask a significant question related to the mechanism of bar-ground discrimination, they fail to integrate an essential component of the Drosophila visuomotor responses: saccades. Indeed, the Poggio and Reichardt model, which was developed almost 50 years ago, while appropriate to study body-fixed flight, has a severe limitation: it does not consider saccades. The authors identify this major issue in the Discussion by citing a recent switched, integrate-and-fire model (Mongeau & Frye, 2017). The authors admit that they "approximated" this model as a smooth pursuit movement. However, I disagree that it is an approximation; rather it is an omission of a motor program that is critical for volitional visuomotor behavior. Indeed, saccades are the main strategy by which Drosophila turn in free flight and prior to landing on an object (i.e. akin to a bar), as reported by the Dickinson group (Censi et al., van Breugel & Dickinson [not cited]). Flies appear to solve the bar-ground discrimination problem by switching between smooth movement and saccades (Mongeau & Frye, 2017; Mongeau et al., 2019 [not cited]). Thus, ignoring saccades is a major issue with the current study as it makes their model disconnected from flight behavior, which has been studied in a more natural context since the work of Poggio.

Thank you for this helpful comment. We agree that including saccadic turns is essential and qualitatively improves the model. In the revised manuscript, we therefore expanded our bar-tracking model to incorporate an integrate-and-saccade strategy, now presented in Figure 2—figure supplement

The manuscript now introduces this result as follows:

(Line#190) “Finally, one important locomotion dynamics that a flying Drosophila exhibits while tracking an object is a rapid orientation change, called a “saccade” (Breugel and Dickinson, 2012; Censi et al., 2013; Heisenberg and Wolf, 1979). For example, while tracking a slowly moving bar, flies perform relatively straight flights interspersed with saccadic flight turns (Collett and Land, 1975; Mongeau and Frye, 2017). During this behavior, it has been proposed that visual circuits compute an integrated error of the bar position with respect to the frontal midline and triggers a saccadic turn toward the bar when the integrated value reaches a threshold (Frighetto and Frye, 2023; Mongeau et al., 2019; Mongeau and Frye, 2017). We expanded our bar fixation model to incorporate this behavioral strategy (Figure 2--figure supplement 2). The overall structure of the modified model is akin to the one proposed in a previous study (Mongeau and Frye, 2017), and the amplitude of a saccadic turn was determined by the sum of the position and velocity functions (Figure 2--figure supplement 2A; see Equation 13 in Methods). When simulated, our model successfully reproduced experimental observations of saccade dynamics across different object velocities (Figure 2--figure supplement 2B-D) (Mongeau and Frye, 2017). Together, our models faithfully recapitulated the results of previous behavioral observations in response to singly presented visual patterns (Collett, 1980; Götz, 1987; H. Kim et al., 2023; Maimon et al., 2008; Mongeau and Frye, 2017).”

Apart from Figures 1 and 2, most of our data—whether from simulations or behavioral experiments—use brief visual patterns lasting 200 ms or less. These stimuli trigger a single, rapid orientation change reminiscent of a saccadic flight turn. In this part of the paper, we essentially have examined how multiple visuomotor pathways interact to determine the direction of object-evoked turns when several visual patterns occur simultaneously.

Critically, recent work showed that a group of columnar neurons (T3) appear specialized for saccadic bar tracking through integrate-and-fire computations, supporting the notion of parallel visual circuits for saccades and smooth movement (Frighetto & Frye, 2023 [not cited]).

Thanks for bringing up this critical issue. We have now added this paper in the following part of the manuscript.

(Line#193) “During this behavior, it has been proposed that visual circuits compute an integrated error of the horizontal bar position with respect to the frontal midline and triggers a saccadic turn toward the bar when the integrated value reaches a threshold (Frighetto and Frye, 2023; Mongeau and Frye, 2017).”

(Line#462) “Visual systems extract features from the environment by calculating spatiotemporal relationships of neural activities within an array of photoreceptors. In Drosophila, these calculations occur initially on a local scale in the peripheral layers of the optic lobe (Frighetto and Frye, 2023; Gruntman et al., 2018; Ketkar et al., 2020).”

A major theme of this work is bar fixation, yet recent work showed that in the presence of proprioceptive feedback, flies do not actually center a bar (Rimniceanu & Frye, 2023). Furthermore, the same study found that yaw-free flies do not smoothly track bars but instead generate saccades. Thus prior work is in direct conflict with the work here. This is a major issue that requires more engagement by the authors.

Thank you for your thoughtful comments and for drawing our attention to this important paper. In our experiments, bar fixation on oscillating vertical objects emerges during the “alignment” phase of the magneto-tether protocol. The pattern movement dynamics was similar those used by Rimniceanu & Frye (2023), yet the two studies differ in a key respect: Rimniceanu & Frye employed a motion-defined bar, whereas we presented a dark vertical bar against a uniform or random-dot background. The alignment success rate—defined as the proportion of trials in which the fly’s body angle is within ±25° of the target—was about 50 % (data not shown). Our alignment pattern consisted of three vertical stripes spanning ~40° horizontally; when we replaced it with a single, narrower stripe, the success rate was lowered (data not shown). These observations suggest that bar fixation in the magnetically tethered assay is less robust than in the rigid-tethered assay, although flies still orient toward highly salient vertical objects.

We also observed that bar-evoked turns were elicited more reliably when the bar moved rapidly (45° in 200 ms) in the magneto-tether assay, although the turn magnitude was significantly smaller than the actual bar displacement (Figure 3).

In response to the reviewer’s comment, we now added the following description in the paper regarding the bar fixation behavior, citing Rimniceanu&Frye 2023.

(Line#239) “Another potential explanation arises from recent studies demonstrating that proprioceptive feedback provided during flight turns in a magnetically tethered assay strongly dampens the amplitude of wing and head responses (Cellini and Mongeau, 2022; Rimniceanu et al., 2023).”

Relevance of the EC model: EC-related studies by the authors linked cancellation signals to saccades (Kim et al, 2014 & 2017). Puzzlingly, the authors applied an EC model to smooth movement, when the authors' own work showed that smooth course stabilizing flight turns do not receive cancellation signals (Fenk et al., 2021). Thus, in Fig. 4C, based on the state of the field, the efference copy signal should originate from the torque commands to initiate saccades, and not from torque to generate smooth movement. As this group previously showed, cancellation signals are quantitatively tuned to that of the expected visual input during saccades. Importantly, this tuning would be to the anticipated saccadic turn optic flow. Thus the authors' results supporting an all-or-none model appear in direct conflict with the author's previous work. Further, the addition-only model is not particularly helpful as it has been already refuted by behavioral experiments (Rimneceanu & Frye, Mongeau & Frye).

Thank you for this constructive comment. Efference copy is best established for brief, discrete actions like flight saccades. While motor-related modulation of visual processing has been reported across short- and long-duration behaviours (Chiappe et al., 2010; Fujiwara et al., 2017; Kim et al., 2015, 2017; Maimon et al., 2010; Turner et al., 2022), only flight saccade-associated signals exhibit the temporal profile appropriate to cancel reafferent input. However, von Holst & Mittelstaedt (1950) originally formulated efference copy to explain the smooth optomotor response of hoverflies. In HS/VS recordings in previous studies, however, we could not detect membrane-potential changes tied to baseline wing-beat amplitude (data not shown), but further work is needed. 

Note that visually evoked flight turns analyzed in this paper have relatively fast dynamics. Fenk et al. (2021) showed that HS cells carry EC-like motor signals during both loom-evoked turns and spontaneous saccades. Building on this, we tested whether object-evoked rapid turns modulate other visuomotor pathways. Although Fenk et al. also found that optomotor turns lack motor input to HS cells, the authors did not test whether the optomotor pathway suppresses other reflexes, such as loom-evoked turns. Our new behavioral data (Figure 6) show that optomotor turns indeed suppress loom-evoked turns, suggesting a potential EC signal arising from the optomotor pathway that inhibits loom-responsive visual neurons.

In Kim et al. (2017), the authors argued that HS/VS neurons receive a “quantitatively tuned” efference copy that varies across cell types: yaw-sensitive LPTCs are strongly suppressed, roll-sensitive cells receive intermediate input, and pitch-sensitive cells receive little or none. We also showed that when the amplitude of ongoing visual drive changes, the amplitude of saccade-related potentials (SRPs) scales linearly. This proportionality does not imply a genuinely graded EC, however, because SRP amplitude could vary solely through changes in driving force (Vm – Vrest) with a fixed EC conductance. Crucially, SRPs do not fully suppress feed-forward visual signalling, arguing against an all-or-none EC mechanism.

How, then, can the cellular and behavioural data be reconciled? Silencing HS/VS neurons—or their primary inputs, the T4/T5 neurons—does not markedly diminish the optomotor response in flight (Fenk et al., 2014; Kim et al., 2017), indicating the presence of additional, as-yet-unidentified pathways.

Physiological recordings from other visual neurons that drive the optomotor response in flying Drosophila are therefore needed to determine how strongly they are suppressed during loom-evoked turns.

Behavioral evidence for all-or-none EC model: The authors state "unless the stability reflex is suppressed during the flies' object evoked turns, the turns should slow down more strongly with the dense background than the sparse one". This hypothesis is based on the fact that the optomotor response magnitude is larger with a denser background, as would be predicted by an EMD model (because there are more pixels projected onto the eye). However, based on the authors' previous work, the EC should be tuned to optic flow and thus the turning velocity (or amplitude). Thus the EC need not be directly tied to the background statistics, as they claim. For instance, I think it would be important to distinguish whether a mismatch in reafferent velocity (optic flow) links to distinct turn velocities (and thus position). This would require moving the background at different velocities (co- and anti-directionally) at the onset of bar motion. Overall, there are alternative hypotheses here that need to be discussed and more fully explored (as presented by Bender & Dickinson and in work by the Maimon group).

We appreciate the reviewer’s important suggestion. In response, we performed the recommended experiment. In Figures 5 and 6 of the revised manuscript, we now present how bar- or loom-evoked flight turns affect the response to a moving background pattern. These experiments revealed that bar-evoked turns do not suppress the optic flow response, whereas loom-evoked turns strongly suppress it. Specifically, when background motion began 100 ms after the onset of loom expansion, the response to the background was significantly suppressed. Although weak residual responses to the background motion were observed in this case, this could be due to background motion occurring outside of the suppression interval, which may correspond in duration to the duration of flight turns (Figure 6C,D). 

The lack of suppression of the optic flow response during and after bar-evoked turns appears to suggest that the responses are added linearly (Figure 5), seemingly contradicting the lack of dynamic change when the background dot density was altered (Figure 7, Figure 7–figure supplement 1). That is, the experimental result in Figure 5 supports either an addition-only or a graded efference copy (EC) model. However, the result in Figure 7 supports an all-or-none EC model. If a graded EC were used, the amplitude of the EC should be updated almost instantaneously when the static background changes.

Another possibility is that the optic flow during self-generated turns in a static background is extremely weak compared to the optic flow input generated by physically moving the pattern, perhaps due to the rapid nature of head movements. Indeed, detailed kinematic analysis of head movement during spontaneous saccades in blow flies revealed that the head reaches the target angle before the body completes the orientation change, making the effective speed of reafferent optic flow higher than the speed of body rotation (Hateren and Schilstra, 1999). To test these hypotheses, further experiments will be needed for bar-evoked flight turns.

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The reviewers identified two key revisions that could improve the assessment of the paper:

(1) Consideration of saccades within the model framework (outlined by reviewer 3).

(2) Addition of physiology data to support the conclusions of the paper (outlined by reviewer 2). If this is not feasible within the timescale of revisions, the paper would need to be revised to clarify that the model leads to a hypothesis that would need to be tested with future physiology experiments.

Thank you for these comments.

Regarding revision point #1, we have added Figure 2–figure supplement 2, where we incorporated our position-velocity model (estimated in Figure 1) into the framework of the integrate-and-saccade model. A detailed description of this model is now provided in the main text (Lines 190–203).

For revision point #2, obtaining electrophysiological evidence for efference copy remains challenging, as neither the visual neurons nor the efference-copy neuron has been identified for the wing optomotor response. As suggested by the reviewers, we have revised the title of the paper to reduce emphasis on efference copy and have noted electrophysiological recordings as a direction for future work.

old title: A visual efference copy-based navigation algorithm in Drosophila for complex visual environments

new title: Integrative models of visually guided steering in Drosophila

Specific recommendations are detailed below.

Reviewer #2 (Recommendations For The Authors):

To directly demonstrate if an efference copy is non-scaled, the following experiments can be helpful: record from HS/VS cells and examine the relation between the amplitude of the succade-suppression signal vs. succade amplitude.

Thanks for raising this important point. We previously carried out the suggested analysis for loom-evoked saccades in Fenk et al. (2021). There, significant correlations emerged between wing-response amplitude and saccade-related potentials (Figures 2F and 3C). However, we did not interpret the strong correlation (r ≈ 0.8) as evidence for a graded efference copy, because the amplitude of saccade-related potentials appeared to be bimodal. Upon presentation of the looming stimulus, flies either executed large evasive turns or showed minimal changes in wing-stroke amplitude. Large wing responses were accompanied by strong, saturated suppression of HS-cell membrane potential, whereas trials without wing responses produced only weak modulations—reflected in the bimodal distribution of saccade-related potential amplitudes (Figure 3C). 

Importantly, in rigidly tethered preparations—where these potentials are typically measured—the absence of proprioceptive feedback can itself drive wingbeat amplitudes to saturation during saccades. We therefore reasoned that the lack of intermediate-sized flight saccades would naturally yield correspondingly saturated saccade-related potentials, even if a graded EC system is in play. 

In Kim et al. (2017), we also performed a comprehensive analysis of spontaneous saccade-related potentials across all HS/VS cell types. When we later examined the relationship between saccade amplitude and the corresponding saccade-related potentials in each cell type, we could not find any statistically significant correlation (unpublished data).

measure how much a weak visual stimulus and a strong visual stimulus are suppressed by the suppression signal. If the signal is non-scaled, visual stimuli should always be suppressed independently of their intensities.

Thank you for this important suggestion. As mentioned in our response to the previous comment, we believe it is not feasible to record from neurons responsible for the body optomotor response at this point, as their identity remains unknown. Regarding the HS/VS cells, our previous study showed that HS cells are not always fully suppressed. The changes in saccade-related potential amplitude can be described as a linear function of the pre-saccadic visually-evoked membrane potential (Figure 7 in Kim et al., 2017). 

As suggested by Fenk et al. 2014 (doi: 10.1016/j.cub.2014.10.042), HS cells might also be responsive to a moving bar. If that is the case, and if you present a bar and background (either sparse or dense) in a closed-loop manner to a head-fixed fly, HS cells might be sensitive only to the bar but not to the background (independently of the density).

Thanks for pointing out this important issue. HS cells indeed respond strongly to the horizontal movement of a vertical bar, as expected given that their receptive fields are formed by the integration of local optic flow vectors. In one of our previous studies (Supplemental Figure 1 in Kim et al., 2015), we showed that the response amplitude to a single vertical bar is roughly equivalent to that elicited by a vertical grating composed of 12 bars of the same size. Therefore, we believe that HS cells are likely to contribute to the head response to a moving vertical bar. In a body-fixed flight simulator, HS cells would respond only to the bar if the bar runs in a closed loop with a static background. In this scenario, HS cells are likely to play a role in the head optomotor response.

Note also that the role of HS cells in the wing optomotor response remains unresolved. Unilateral activation of HS cells has been shown to elicit locomotor turns in walking Drosophila (Fujiwara et al., 2017), as well as in flying individuals (unpublished data from our lab). However, a previous study also showed that strong silencing of HS/VS cells significantly reduced the head optomotor response, but not the wing optomotor response (Kim et al., 2017).

If neurophysiology is technically challenging, an alternative way might pay attention to a head movement that exclusively follows the background (Fox et al., 2014 (doi: 10.1242/jeb.080192)). Because HS cells are thought to promote head rotation to background motion, a non-scaled suppression signal on HS cells would always suppress the head rotation independently of the background density.

Thanks for this helpful comment. We have analyzed head movements during bar-evoked flight turns (Figure 7–figure supplement 1B) and found no significant changes across different background dot densities. We think that this might suggest that HS cells are unlikely to receive suppressive inputs during bar-evoked turns, akin to the lack of modulation during optomotor turns.

Another way to separate a potential efference copy from other mechanisms (more global inhibition) is the directionality. A global inhibition would suppress the response to the background even if the background moves in the same direction as self-motion, but the efference copy would not.

Thanks for this important point. In Heisenberg and Wolf, 1979, it was proposed that modulation might be bidirectional, with behavioral effects observed only for perturbations in the “unexpected” direction. In our new data on loom-evoked turns (Figure 6), the suppression appears equally strong for background motion in either direction, supporting an all-or-none suppression mechanism.

Besides, in general, it is unclear if you think an efference copy operates both in smooth pursuits and saccades or if such a signal is only present during saccades. Your previous neurophysiological work supports the latter. Are your behavioral results consistent with the previous saccade suppression idea, or do you propose a new type of efference copy that also operates in smooth pursuits?

Thanks for raising this important point. von Holst and Mittelstaedt (1950) originally introduced the concept of efference copy to explain the smooth optomotor response. We previously analyzed electrophysiological recordings from HS cells for membrane-potential changes associated with slow deviations in wing-steering angle but found none. However, this negative result does not entirely rule out modulation of visual processing during smooth flight turns, given the slow drift in membrane potential observed in most whole-cell recordings.

In this study, We examined only the interactions among visuomotor pathways during these rapid flight turns as the dynamics of visually evoked turns are almost as rapid as spontaneous saccades. Our data reveal that interactions between distinct visuomotor reflexes are more diverse than previously appreciated.

Minor comments:

Line 108, 109: match the description between here and the labels in Fig. 1F.

Thank you for indicating this issue. We have defined the general equation to obtain the position and velocity components in the main text lines 108,109, but due to a slight asymmetry in the data (Fig. 1E) we used the approach indicated in Fig. 1F. and explained in lines 113-117.

Fig.1 F: If the position-dependent component is due to fatigue, the tuning curve's shape is likely changed (shrunk or extended) depending on the stimulus speed. How can you generalize the tuning curve shown here? Does the result hold even if the stimulus speed/contrast/spatial frequency is changed?

We appreciate this indication. We believed that fatigue may be the reason why the wing response to the grating stimulus showed that significant decay (Fig. 1E). As you mention, the stimulus speed would increase the amplitude of the fly’s response up to a saturation point. We addressed this in our model by multiplying the derived value by the angular velocity of the grating.

Regarding the contrast, and spatial frequency we did not test it experimentally, instead, we simulated our model for changing visual feedback (Fig. 4A, B), which can be seen as increasing/decreasing contrast of a grating. An increase in the contrast would increase the response of the fly to the grating and so will contribute to dampening the response to the foreground object (Fig. 4C).

Line 233-255: Here, the description sounds like you will consider several parallel objects (e.g., two stripes) in the visual field instead of the combination of the figure and background (which is referred to in the following paragraph).

Thank you for pointing it out. Indeed it was slightly ambiguous. We have addressed this by explaining the specific situation of a combination of an object and the background in lines 231-233.

Figure 6C: you kept the foreground visual field between sparse and dense random dot backgrounds to keep the bar's saliency. Is it sure that this does not influence the difference in the fly's response to these two backgrounds (in Figure 6B)?

This is a good point that we have also discussed internally. We also carried out similar experiments with a fully covered background and found no significant differences (Figure 7–figure supplement 1).

Reviewer #3 (Recommendations For The Authors):

Identify and analyze flight saccade dynamics in the raw trajectories (e.g., Fig. 3B). There should be some since the bar is near the 'sweet spot' for triggering saccades (see Mongeau & Frye, 2017).

Thank you for bringing up this interesting point. In previous work, it was reported that the fly fixated on a vertical bar through saccadic turns rather than smooth-tracking (Mongeau & Frye, 2017). When the bar width was thin (<15 deg) there was barely one saccade per second (Mongeau & Frye, 2017, Fig. 4). In our magno tether essay (Fig. 3A, B) the object width was 11.25 degrees, and the object moved for a short time window, and so the fly only generated the saccade related to the onset of the object. It could not be considered as a saccade some small turns of a few degrees that are likely related to small perturbations in comparison to those previously reported (Mongeau & Frye, 2017). Additionally, in our protocol (Fig. 3A) from onset time (‘go’ mark), only a single object moved, within an empty background, so in principle there is no trigger for a switch to a smooth movement. We addressed this in lines x-x.

Consider updating the Poggio model with flight saccades (switched, integrate-and-fire).

We appreciate this suggestion. Following previous work (Mongeau et al., 2017), we expanded our model to include a saccade mechanism: the torque produced by the summed position- and velocity-dependent components is now replaced by an integrate-and-fire saccade (Figure 2—figure supplement 2). We optimized the saccade interval and amplitude so that both vary linearly with stimulus amplitude and faithfully reproduce the kinematic properties reported previously (Mongeau et al., 2017).  

Please engage more with the literature, especially work that directly conflicts with your conclusions (see above). Also, highly relevant work by Bender & Dickinson was not sufficiently discussed. Spot results presented in Fig. 3 should be contextualized in light of the work of Mongeau et al., 2019, who performed similar experiments and identified a switch in saccade valence.

We appreciate your pointing out the relevant previous work. We have added references to the following papers and tried to describe the relationship between our data and previous ones.

Bender & Dickinson 2006

(Line#162) “This simulation experiment is reminiscent of the magnetically tethered flight assay, where a flying fly remains fixed at a position but is free to rotate around its yaw axis (Bender and Dickinson, 2006b; Cellini et al., 2022; G. Kim et al., 2023; Mongeau and Frye, 2017).”

(Line#218) “We tested the predictions of our models with flies flying in an environment similar to that used in the simulation (Figure 3A). A fly was tethered to a short steel pin positioned vertically at the center of a vertically oriented magnetic field, allowing it to rotate around its yaw axis with minimal friction (Bender and Dickinson, 2006b; Cellini et al., 2022; G. Kim et al., 2023).”

(Line#238) “To determine if our assay imposes additional friction compared to other assays used in previous studies, we analyzed the dynamics of spontaneous saccades during the “freeze” phase (Figure 3–figure supplement 1A). We found their duration and amplitude to be within the range reported previously (Bender and Dickinson, 2006b; Mongeau and Frye, 2017) (Figure 3–figure supplement 1B-D). 

Mongeau et al., 2019

(Line#196) “During this behavior, it has been proposed that visual circuits compute an integrated error of the bar position with respect to the frontal midline and triggers a saccadic turn toward the bar when the integrated value reaches a threshold (Frighetto and Frye, 2023; Mongeau et al., 2019; Mongeau and Frye, 2017). We expanded our bar fixation model to incorporate this behavioral strategy (Figure 2–figure supplement 2).”

This paper shows that the dynamics of saccadic flight turns elicited by a rotating bar or spot determine whether flies display attraction or aversion. In that study, the visual stimulus—a bar or spot—rotated slowly at a constant 75 deg s⁻¹. By contrast, in our Figure 3 the object moves much faster, driving the neural “integrator” to saturation and triggering an almost immediate flight turn. In Mongeau et al. (2019), saccades occur at variable times and their amplitudes and directions are more stochastic, again reflecting the slower stimulus speed. Because these differences all arise from the disparity in object speed, we did not cite Mongeau et al. (2019) in Figure 3 or the associated text.

In addition to the two papers cited above, we have incorporated several relevant studies on the Drosophila visuomotor control identified through the reviewers’ insightful comments. Examples include:

Frighetto G, Frye MA. 2023 (Line#195, 464)

Rimniceanu et al., 2023 (Line#241)

Cellini & Mongeau 2020 (Line#91)

Cellini & Mongeau 2022 (Line#241)

Cellini et al., 2022 (LIne#91, 162, 218)

Many citations are not in the proper format (e.g. using numbers rather than authors' last name).

Thank you for letting us know. We have changed the remaining citations to the proper format.

 1  Atypical collective oscillatory activity in cardiac tissue uncovered by optogenetics www.biorxiv.org

Public_Reviews   (edited 7/29/2025 9:33 AM) 7/29/2025 9:32 AM   in q5X6RWJ6    

Reviewer #2 (Public review):

In the presented manuscript, Teplenin and colleagues use both electrical pacing and optogenetic stimulation to create a reproducible, controllable source of ectopy in cardiomyocyte monolayers. To accomplish this, they use a careful calibration of electrical pacing characteristics (i.e., frequency, number of pulses) and illumination characteristics (i.e., light intensity, surface area) to show that there exists a "sweet spot" where oscillatory excitations can emerge proximal to the optogenetically depolarized region following electrical pacing cessation, akin to pacemaker cells. Furthermore, the authors demonstrate that a high-frequency electrical wave-train can be used to terminate these oscillatory excitations. The authors observed this oscillatory phenomenon both in vitro (using neonatal rat ventricular cardiomyocyte monolayers) and in silico (using a computational action potential model of the same cell type). These are surprising findings and provide a novel approach for studying triggered activity in cardiac tissue.

The study is extremely thorough and one of the more memorable and grounded applications of cardiac optogenetics in the past decade. One of the benefits of the authors' "two-prong" approach of experimental preps and computational models is that they could probe the number of potential variable combinations much deeper than through in vitro experiments alone. The strong similarities between the real-life and computational findings suggest that these oscillatory excitations are consistent, reproducible, and controllable.

Triggered activity, which can lead to ventricular arrhythmias and cardiac sudden death, has been largely attributed to sub-cellular phenomena, such as early or delayed afterdepolarizations, and thus to date has largely been studied in isolated single cardiomyocytes. However, these findings have been difficult to translate to tissue and organ-scale experiments, as well-coupled cardiac tissue has notably different electrical properties. This underscores the significance of the study's methodological advances: the use of a constant depolarizing current in a subset of (illuminated) cells to reliably result in triggered activity could facilitate the more consistent evaluation of triggered activity at various scales. An experimental prep that is both repeatable and controllable (i.e., both initiated and terminated through the same means).

The authors also substantially explored phase space and single-cell analyses to document how this "hidden" bi-stable phenomenon can be uncovered during emergent collective tissue behavior. Calibration and testing of different aspects (e.g., light intensity, illuminated surface area, electrical pulse frequency, electrical pulse count) and other deeper analyses, as illustrated in Appendix 2, Figures 3-8, are significant and commendable.

Given that the study is computational, it is surprising that the authors did not replicate their findings using well-validated adult ventricular cardiomyocyte action potential models, such as ten Tusscher 2006 or O'Hara 2011. This may have felt out of scope, given the nice alignment of rat cardiomyocyte data between in vitro and in silico experiments. However, it would have been helpful peace-of-mind validation, given the significant ionic current differences between neonatal rat and adult ventricular tissue. It is not fully clear whether the pulse trains could have resulted in the same bi-stable oscillatory behavior, given the longer APD of humans relative to rats. The observed phenomenon certainly would be frequency-dependent and would have required tedious calibration for a new cell type, albeit partially mitigated by the relative ease of in silico experiments.

For all its strengths, there are likely significant mechanistic differences between this optogenetically tied oscillatory behavior and triggered activity observed in other studies. This is because the constant light-elicited depolarizing current is disrupting the typical resting cardiomyocyte state, thereby altering the balance between depolarizing ionic currents (such as Na+ and Ca2+) and repolarizing ionic currents (such as K+ and Ca2+). The oscillatory excitations appear to later emerge at the border of the illuminated region and non-stimulated surrounding tissue, which is likely an area of high source-sink mismatch. The authors appear to acknowledge differences in this oscillatory behavior and previous sub-cellular triggered activity research in their discussion of ectopic pacemaker activity, which is canonically expected more so from genetic or pathological conditions. Regardless, it is exciting to see new ground being broken in this difficult-to-characterize experimental space, even if the method illustrated here may not necessarily be broadly applicable.

 2  Manifesto for a Humane Web humanewebmanifesto.com

Flancian   8/1/2024 6:08 PM   in Public    
Citizens, not users In writing this

Citizens, not users.

I like that. I've been grasping for a generic alternative to 'user' that is less generic than 'person' and this hits a sweet spot.

gyuri   5/20/2025 1:54 PM   in Public    

searched for sweet spot found this

https://hypothes.is/stream?q=sweet+spot

 2  Enterprise Philosophy and The First Wave of AI stratechery.com

arcxpelago   10/18/2024 3:12 AM   in Public    
a level of calculation that was both too much for one person, yet not sufficient to hire an army of backroom employees , or, increasingly at that point

sweet spot of bicycle-riding: it's what one augmented person can produce

gyuri   5/20/2025 1:41 PM   in Public    

Searched for sweet spot on hypothesis that's how I landed here

appreciate the comment very much

sweet spot of bicycle-riding: it's what one augmented person can produce

 1  A Functional Mechanism for the Commons willruddick.substack.com

gyuri   (edited 5/16/2025 6:12 PM) 5/16/2025 6:08 PM   in Public    
larger network/body).It allows: Trust to scale without hierarchy. Resources to move without centra

Now that is indeed what is required and it is the real threshold above which a sweet spot can and must be imagined and built

Description

 1  eekim.com: OHS Launch Community: "OHS-Like Tools" eekim.com

gyuri   (edited 5/9/2025 8:24 AM) 5/9/2025 8:09 AM   in Public    
ur ultimate goal is to build an interoperable OHS infrastructure. To achieve

interoperability is not enough, This is viewing computer systems, the Universal Machines apart from the People the Universal Users. We forget that all these systems are supposed to serve us Humans not the other way round. We need to focus on human needs and capabilities first. Team human.

what is needed is inter-play-ability

Humans, Language Methods Artifacts and Tools! not Training in a mutual arising flows

so the concept should involve the mutual arising capabilities that are capable to augment in holonic way people documents and affordances together wo we have evergreen coevolutionary InterPersonal InterPlays

From this sweet spot view point that is just above the threshold of what is truly required everything just falls into place and anyone can figure out how to get there just follow its own reasonable logic to make it real

Many people are already working on it. Some call it Web4 or MAP - Memetic Activation Alatform. We call it the IndyVerse, the IndyWeb and IndraNet.work Spaces

One thing is common, that it all needs to be Open, Commons Based, Peer Produced scaling Autonomy, Trust, Reach Synthesis and Symmathesy (mutual Learning) and Augmenting Human InterIntellect.

Recognizing that Software is a Symmathetic conversations in the long tail of the Internet

https://hypothes.is/a/8F3DPCysEfCgqbsf-L70nw

Description

 1  11.1. What Recommendation Algorithms Do social-media-ethics-automation.github.io

Haber_Chen   5/4/2025 8:19 PM   in Public    
ons.# 11.1.2. Reflections# What experiences do you have of social media sites making particularly good recommendations for you? What experiences do you have of

One algorithm that I really enjoy is the daily music recommendations on Netease music, and I knew its development trajectory really well. The recommendation algorithm was first introduced into the music app about 6-7 years ago, and only have a feature of "daily recommendation" that contains 30 songs based on the songs the users listen and added to playlists before. It wasn't a big feature and was not so advanced back then, but the algorithm was rapidly evolved and start to hit more and more people's sweet spot by assesing both short term data (like the songs the user listened to the day before) and long term data (like the song genres the user is interested in this month), and adding more accurate and precise labels to songs. Sometimes the labels are so precise that the algorithms can deduce the game the songs I'm listening to come from and recommend other pieces from the same game. About 2 years ago, the algorithm experiences another great upgrade and start to have sub-category recommendations. For example, there are classic and J-pop recommendations that only provides these kinds of pieces based on my interest, yet the effectiveness of the recommendation is still top-tier. It's not an exagerration to say that the recommendation algorithm of Netease music perfectly addresses the pain of finding new songs that fit my taste. I also really appreciate the data privacy of the algorithm, since it does not ask for privacy information like location, contacts, etc. Even a newly established account with no info can use the algorithm.

 1  Present Moment Orientation copy ipfs.indy0.net

gyuri   (edited 3/20/2025 10:13 AM) 3/20/2025 10:04 AM   in Public    
, practiced and reflected upon, practiced and reflected upon , practiced andreflected upon, a

that is the way I work.

call it thinking/exploring/expanding by doing

start with what you can make to work that is alligned to the maximal potential that you feel into holistically of what is required, no compromises that are but bloody surrender.

Don't just hold on to the beauty of your dream but engage in work to real ized them

find the sweet spot

create the first holonic seed attend to it and grow it share it have conversations engagement and drive that creative beneficial cycle of self-improvment to what your intentional attention is focused on, always.

se it to help you learn experiment and real ize make steps towards its self-actualization

practice reflect upon and improve upon Kaitzen

 1  1  E4A-TI – HemA prophylaxis treatment patterns, including rates of switching,inhibitor development, and dosing patterns for Altuviiio connect.apollo.roche.com

schuldtr   2/20/2025 10:50 PM   in Public    
height: 0px !important; } Patient attrition table for 6-months pre CE Description N Change N (%)

This seems to be the sweet spot. - Robert

 1  Social Media and Mental Health in Children and Teens www.hopkinsmedicine.org

Helam   2/18/2025 11:14 PM   in Public    
th of children and adolescents. The advisory indicates that frequent social media use could be associated with changes in parts of the brain related to emotions and learning. Additionally, it can affect impulse control, social behavior, emotional regulation and sensitivity to social punishments and rewards.   There is also some correlation between social media use and common mental health concerns. One of the most common interrelationships is between social media and depression. “Research has demonstrated that there are high rates of depression with very low social media use and very high social media use, demonstrating that there is a ‘sweet spot’ of use for each child that is often specific to their own developmental level and protective factors,” Katzenstein says. Social Media and De

Negative side effects.

 1  Brain-Cognitive Gaps in relation to Dopamine and Health-related Factors: Insights from AI-Driven Functional Connectome Predictions www.biorxiv.org

Public_Reviews   2/14/2025 7:26 AM   in q5X6RWJ6    

Reviewer #1 (Public review):

Summary:

The authors attempted to identify whether a new deep-learning model could be applied to both resting and task state fMRI data to predict cognition and dopaminergic signaling. They found that resting state and moving watching conditions best predict episodic memory, but only movie watching predicts both episodic and working memory. A negative 'brain gap' (where the model trained on brain connectivity predicts worse performance than what is actually observed) was associated with less physical activity, poorer cardiovascular function, and lower D1R availability.

Strengths:

The paper should be of broad interest to the journal's readership, with implications for cognitive neuroscience, psychiatry, and psychology fields. The paper is very well-written and clear. The authors use two independent datasets to validate their findings, including two of the largest databases of dopamine receptor availability to link brain functional connectivity/activity with neurochemical signaling.

Weaknesses:

The deep learning findings represent a relatively small extension/enhancement of knowledge in a very crowded field.

It's unclear from these results how much utility the brain gaps provide above and beyond observed performance. It would be helpful to take a median split of the dataset on observed performance and plot aside the current Figure 3 results to see how the cardiovascular and physical activity measures differ based on actual performance. Could the authors perform additional analyses describing how much additional variance is explained in these measures by including brain gaps?

Some of the imaging findings require deeper analysis. For Figure 1f - Which default mode regions have high salience? DMN is a huge network with subregions having differing functions.

Along the same lines, were the striatal D1R findings regionally specific at all? It would be informative to test whether the three nuclei (Accumbens, Caudate, Putamen) and/or voxelwise models would show something above and beyond what is achieved from averaging D1R across the striatum. What about cortical D1R, which is highly abundant, strongly associated with cognitive (especially WM) performance, and has much unique variance beyond striatal D1R? https://www.science.org/doi/full/10.1126/sciadv.1501672. The PET findings are one of the unique strengths of this paper and are underexplored. It's also unclear if the measure of brain entropy should simply be averaged across all regions.

It is not clear from the text that the authors met the preconditions for mediation analysis (that is, demonstrating significant correlations between D1R and entropy, in addition to the correlation with brain gap. The authors should report this as well.

Was age controlled for in the mediation analysis? I would not consider this result valid unless that is the case.

The discussion section is long, but the authors would do better to replace some less helpful sections (e.g., the paragraph on methodological tweaks to parcellations and model alignment) with a couple of other important points, including:

(1) Discuss the 'sweet-spot' of movie watching for behavior prediction in the context of studies showing that task states 'quench' neural variability: https://journals.plos.org/ploscompbiol/article?id=10.1371/journal.pcbi.1007983. This may not be mutually exclusive of the discussion on dopamine and signal-to-noise ratio, but it would be helpful for the authors to discuss their potential overlap vs. unique contributions to the observed findings.

(2) The argument that dopamine signaling increases signal-to-noise ratio is based on some preclinical data as well as correlational data using fMRI with pharmacological challenges. It is less clear how PET-derived estimates of D1R and D2R availability equate to 'dopamine signaling' as it is thought of in this context. Presumably, based on these data, higher D1R or D2R availability would be related to greater levels of tonic dopaminergic signaling. However, in the case of the COBRA dataset with D2R estimates, those are based on raclopride -- which competes with endogenous dopamine for the D2 receptor. Therefore, someone with higher levels of endogenous dopamine signaling should theoretically have lower raclopride binding and lower D2R estimates. I'm not arguing that the authors' logic is flawed or that D1R and D2R are not good measures of dopamine signaling, but I'd ask the authors to dig into the literature and describe more direct potential links for how greater receptor availability might be associated with greater dopamine signaling (and hence lower entropy). Adding this to the discussion would be very valuable for PET research.

 1  Design Methods faculty.washington.edu

rsaund   2/5/2025 8:05 PM   in Public    
the gulf of execution. Amy J. Ko That’s pretty direct and not very elegant, but I bet it’s clear. How will we help them remember to switch back into show time mode? Ah, now we’ve come to a tricky design problem. We could keep adding more text to remind them to do it, but that gets pretty cluttered.  We could also reconsider havin

Having a design too minimal could make features confusing, especially if there is no feedback to if the user has done something correctly. But there is also an issue when your design becomes too cluttered. I'm thinking of the example mentioned with Google of how it has gotten harder to navigate with a screen reader. Different people have different ideas of what is too cluttered and too minimal so it can be hard to determine a sweet spot but that is still our goal. Also to tie into typography, the large time might be overwhelming and distract from other features, but if you have poor vision like me, it might actually be useful.

 3  Video: Alan Kay, 2015: Power of Simplicity (DocDrop) www.youtube.com

gyuri   (edited 1/11/2025 11:48 AM) 11/28/2024 8:50 AM   in Public    
labor it I'm going to call that the sweet spot the way you make progress here is you pick the thing that is just

Description

the sweet spot

the way you make progress here is

you pick the thing that is just over that threshold

  • that is qualitatively better than all the rest of the crap you can do

you can spend billions turning around and

  • once you do that
  • you widen up
  • you give yourself a little blue plane to operate in and

for a while everything you do in there is

  • something that is actually going to be meaningful and
  • will not just bring lots of money

I mean money you get automatically out of doing this stuff

  • even reasonably well

but the best thing you get out of this stuff is

  • a way of

enabling people to think about the situation that they're in better and

  • not be overwhelmed with it
gyuri   11/28/2024 8:48 AM   in Public    
labor it I'm going to call that the sweet spot the way you make progress here is you pick the thing that is just

the sweet spot the way you make progress here is you pick the thing that is just over that

threshold that is qualitatively better than all the rest of the crap you can do you can spend billions turning around

and once you do that you widen up you give yourself a little blue plane to operate in and for a while everything

you do in there is something that is actually going to be meaningful and will not just bring lots of money I mean

money you get automatically out of doing this stuff even reasonably well but the best thing you get out of this stuff is

a way of enabling people to think about the situation that they're in better and not be overwhelmed with it

gyuri   5/25/2021 2:11 PM   in Public    
Alan Kay, 2015: Power of SimplicityDownload SubtitlesEnglish (auto-generated)98,600 views98K views•Aug 10, 20151.5K34ShareSave 1.5K34ShareSave 1,516 /

Sweet spot

https://youtu.be/NdSD07U5uBs?t=3017

 1  Design Methods faculty.washington.edu

johannp   1/10/2025 8:57 PM   in Public    
that do not work for everyone.  Universal design3,11,133 Burgstahler, S. (2009). Universal design: Process, principles, and applications. DO-IT.. 11 Nesmith, M. (2016). Why we need universal design. TEDx Talks. 13 Story, M. F. (1998). Maximizing usability: the principles of universal design. Assistive Technology.  attempts to address this, arguing that designers should assume that there will be a vast diversity in the types of people that want to use what you design, and so designing for diversity from the outset will maximize how many people can access your design.  This paradigm emerges out of s

During our class activity I assumed that this would be the best way to go. A simple solution was i thought it was until there were too many problems to be fixed to account for a diverse group of people. I found that there are tradeoffs with this kind of approach. To what extent do designers need to account for many diverse users without sacrificing the effectiveness or functionality? What is the sweet spot? What kind of data or things do designers figure out to solve this specific question?

 1  Amplify Curriculum learning.amplify.com

Mason2045   12/12/2024 9:31 PM   in Public    

According to all known laws of aviation,

there is no way a bee should be able to fly.

Its wings are too small to get its fat little body off the ground.

The bee, of course, flies anyway

because bees don't care what humans think is impossible.

Yellow, black. Yellow, black. Yellow, black. Yellow, black.

Ooh, black and yellow! Let's shake it up a little.

Barry! Breakfast is ready!

Ooming!

Hang on a second.

Hello?

Barry?

Adam?

Oan you believe this is happening?

I can't. I'll pick you up.

Looking sharp.

Use the stairs. Your father paid good money for those.

Sorry. I'm excited.

Here's the graduate. We're very proud of you, son.

A perfect report card, all B's.

Very proud.

Ma! I got a thing going here.

You got lint on your fuzz.

Ow! That's me!

Wave to us! We'll be in row 118,000.

Bye!

Barry, I told you, stop flying in the house!

Hey, Adam.

Hey, Barry.

Is that fuzz gel?

A little. Special day, graduation.

Never thought I'd make it.

Three days grade school, three days high school.

Those were awkward.

Three days college. I'm glad I took a day and hitchhiked around the hive.

You did come back different.

Hi, Barry.

Artie, growing a mustache? Looks good.

Hear about Frankie?

Yeah.

You going to the funeral?

No, I'm not going.

Everybody knows, sting someone, you die.

Don't waste it on a squirrel. Such a hothead.

I guess he could have just gotten out of the way.

I love this incorporating an amusement park into our day.

That's why we don't need vacations.

Boy, quite a bit of pomp… under the circumstances.

Well, Adam, today we are men.

We are!

Bee-men.

Amen!

Hallelujah!

Students, faculty, distinguished bees,

please welcome Dean Buzzwell.

Welcome, New Hive Oity graduating class of…

…9:15.

That concludes our ceremonies.

And begins your career at Honex Industries!

Will we pick ourjob today?

I heard it's just orientation.

Heads up! Here we go.

Keep your hands and antennas inside the tram at all times.

Wonder what it'll be like? A little scary. Welcome to Honex, a division of Honesco

and a part of the Hexagon Group.

This is it!

Wow.

Wow.

We know that you, as a bee, have worked your whole life

to get to the point where you can work for your whole life.

Honey begins when our valiant Pollen Jocks bring the nectar to the hive.

Our top-secret formula

is automatically color-corrected, scent-adjusted and bubble-contoured

into this soothing sweet syrup

with its distinctive golden glow you know as…

Honey!

That girl was hot.

She's my cousin!

She is?

Yes, we're all cousins.

Right. You're right.

At Honex, we constantly strive

to improve every aspect of bee existence.

These bees are stress-testing a new helmet technology.

What do you think he makes? Not enough. Here we have our latest advancement, the Krelman.

What does that do? Oatches that little strand of honey that hangs after you pour it. Saves us millions.

Oan anyone work on the Krelman?

Of course. Most bee jobs are small ones. But bees know

that every small job, if it's done well, means a lot.

But choose carefully

because you'll stay in the job you pick for the rest of your life.

The same job the rest of your life? I didn't know that.

What's the difference?

You'll be happy to know that bees, as a species, haven't had one day off

in 27 million years.

So you'll just work us to death?

We'll sure try.

Wow! That blew my mind!

"What's the difference?" How can you say that?

One job forever? That's an insane choice to have to make.

I'm relieved. Now we only have to make one decision in life.

But, Adam, how could they never have told us that?

Why would you question anything? We're bees.

We're the most perfectly functioning society on Earth.

You ever think maybe things work a little too well here?

Like what? Give me one example.

I don't know. But you know what I'm talking about.

Please clear the gate. Royal Nectar Force on approach.

Wait a second. Oheck it out.

Hey, those are Pollen Jocks! Wow. I've never seen them this close.

They know what it's like outside the hive.

Yeah, but some don't come back.

Hey, Jocks! Hi, Jocks! You guys did great!

You're monsters! You're sky freaks! I love it! I love it!

I wonder where they were. I don't know. Their day's not planned.

Outside the hive, flying who knows where, doing who knows what.

You can'tjust decide to be a Pollen Jock. You have to be bred for that.

Right.

Look. That's more pollen than you and I will see in a lifetime.

It's just a status symbol. Bees make too much of it.

Perhaps. Unless you're wearing it and the ladies see you wearing it.

Those ladies? Aren't they our cousins too?

Distant. Distant.

Look at these two.

Oouple of Hive Harrys. Let's have fun with them. It must be dangerous being a Pollen Jock.

Yeah. Once a bear pinned me against a mushroom!

He had a paw on my throat, and with the other, he was slapping me!

Oh, my! I never thought I'd knock him out. What were you doing during this?

Trying to alert the authorities.

I can autograph that.

A little gusty out there today, wasn't it, comrades?

Yeah. Gusty.

We're hitting a sunflower patch six miles from here tomorrow.

Six miles, huh? Barry! A puddle jump for us, but maybe you're not up for it.

Maybe I am. You are not! We're going 0900 at J-Gate.

What do you think, buzzy-boy? Are you bee enough?

I might be. It all depends on what 0900 means.

Hey, Honex!

Dad, you surprised me.

You decide what you're interested in?

Well, there's a lot of choices. But you only get one. Do you ever get bored doing the same job every day?

Son, let me tell you about stirring.

You grab that stick, and you just move it around, and you stir it around.

You get yourself into a rhythm. It's a beautiful thing.

You know, Dad, the more I think about it,

maybe the honey field just isn't right for me.

You were thinking of what, making balloon animals?

That's a bad job for a guy with a stinger.

Janet, your son's not sure he wants to go into honey!

Barry, you are so funny sometimes. I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer!

You're gonna be a stirrer? No one's listening to me! Wait till you see the sticks I have.

I could say anything right now. I'm gonna get an ant tattoo!

Let's open some honey and celebrate!

Maybe I'll pierce my thorax. Shave my antennae.

Shack up with a grasshopper. Get a gold tooth and call everybody "dawg"!

I'm so proud.

We're starting work today! Today's the day. Oome on! All the good jobs will be gone.

Yeah, right.

Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal…

Is it still available? Hang on. Two left! One of them's yours! Oongratulations! Step to the side.

What'd you get? Picking crud out. Stellar! Wow!

Oouple of newbies?

Yes, sir! Our first day! We are ready!

Make your choice.

You want to go first? No, you go. Oh, my. What's available?

Restroom attendant's open, not for the reason you think.

Any chance of getting the Krelman? Sure, you're on. I'm sorry, the Krelman just closed out.

Wax monkey's always open.

The Krelman opened up again.

What happened?

A bee died. Makes an opening. See? He's dead. Another dead one.

Deady. Deadified. Two more dead.

Dead from the neck up. Dead from the neck down. That's life!

Oh, this is so hard!

Heating, cooling, stunt bee, pourer, stirrer,

humming, inspector number seven, lint coordinator, stripe supervisor,

mite wrangler. Barry, what do you think I should… Barry?

Barry!

All right, we've got the sunflower patch in quadrant nine…

What happened to you? Where are you?

I'm going out.

Out? Out where?

Out there.

Oh, no!

I have to, before I go to work for the rest of my life.

You're gonna die! You're crazy! Hello?

Another call coming in.

If anyone's feeling brave, there's a Korean deli on 83rd

that gets their roses today.

Hey, guys.

Look at that. Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted.

It's OK, Lou. We're gonna take him up.

Really? Feeling lucky, are you?

Sign here, here. Just initial that.

Thank you. OK. You got a rain advisory today,

and as you all know, bees cannot fly in rain.

So be careful. As always, watch your brooms,

hockey sticks, dogs, birds, bears and bats.

Also, I got a couple of reports of root beer being poured on us.

Murphy's in a home because of it, babbling like a cicada!

That's awful. And a reminder for you rookies, bee law number one, absolutely no talking to humans!

All right, launch positions!

Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz!

Black and yellow!

Hello!

You ready for this, hot shot?

Yeah. Yeah, bring it on.

Wind, check.

Antennae, check.

Nectar pack, check.

Wings, check.

Stinger, check.

Scared out of my shorts, check.

OK, ladies,

let's move it out!

Pound those petunias, you striped stem-suckers!

All of you, drain those flowers!

Wow! I'm out!

I can't believe I'm out!

So blue.

I feel so fast and free!

Box kite!

Wow!

Flowers!

This is Blue Leader. We have roses visual.

Bring it around 30 degrees and hold.

Roses!

30 degrees, roger. Bringing it around.

Stand to the side, kid. It's got a bit of a kick.

That is one nectar collector!

Ever see pollination up close? No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there,

a pinch on that one. See that? It's a little bit of magic.

That's amazing. Why do we do that?

That's pollen power. More pollen, more flowers, more nectar, more honey for us.

Oool.

I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those?

Oopy that visual.

Wait. One of these flowers seems to be on the move.

Say again? You're reporting a moving flower?

Affirmative.

That was on the line!

This is the coolest. What is it?

I don't know, but I'm loving this color.

It smells good. Not like a flower, but I like it.

Yeah, fuzzy.

Ohemical-y.

Oareful, guys. It's a little grabby.

My sweet lord of bees!

Oandy-brain, get off there!

Problem!

Guys! This could be bad. Affirmative.

Very close.

Gonna hurt.

Mama's little boy.

You are way out of position, rookie!

Ooming in at you like a missile!

Help me!

I don't think these are flowers.

Should we tell him? I think he knows. What is this?!

Match point!

You can start packing up, honey, because you're about to eat it!

Yowser!

Gross.

There's a bee in the car!

Do something!

I'm driving!

Hi, bee.

He's back here!

He's going to sting me!

Nobody move. If you don't move, he won't sting you. Freeze!

He blinked!

Spray him, Granny!

What are you doing?!

Wow… the tension level out here is unbelievable.

I gotta get home.

Oan't fly in rain.

Oan't fly in rain.

Oan't fly in rain.

Mayday! Mayday! Bee going down!

Ken, could you close the window please?

Ken, could you close the window please?

Oheck out my new resume. I made it into a fold-out brochure.

You see? Folds out.

Oh, no. More humans. I don't need this.

What was that?

Maybe this time. This time. This time. This time! This time! This…

Drapes!

That is diabolical.

It's fantastic. It's got all my special skills, even my top-ten favorite movies.

What's number one? Star Wars?

Nah, I don't go for that…

…kind of stuff.

No wonder we shouldn't talk to them. They're out of their minds.

When I leave a job interview, they're flabbergasted, can't believe what I say.

There's the sun. Maybe that's a way out.

I don't remember the sun having a big 75 on it.

I predicted global warming.

I could feel it getting hotter. At first I thought it was just me.

Wait! Stop! Bee!

Stand back. These are winter boots.

Wait!

Don't kill him!

You know I'm allergic to them! This thing could kill me!

Why does his life have less value than yours?

Why does his life have any less value than mine? Is that your statement?

I'm just saying all life has value. You don't know what he's capable of feeling.

My brochure!

There you go, little guy.

I'm not scared of him. It's an allergic thing.

Put that on your resume brochure.

My whole face could puff up.

Make it one of your special skills.

Knocking someone out is also a special skill.

Right. Bye, Vanessa. Thanks.

Vanessa, next week? Yogurt night?

Sure, Ken. You know, whatever.

You could put carob chips on there.

Bye.

Supposed to be less calories.

Bye.

I gotta say something.

She saved my life. I gotta say something.

All right, here it goes.

Nah.

What would I say?

I could really get in trouble.

It's a bee law. You're not supposed to talk to a human.

I can't believe I'm doing this.

I've got to.

Oh, I can't do it. Oome on!

No. Yes. No.

Do it. I can't.

How should I start it? "You like jazz?" No, that's no good.

Here she comes! Speak, you fool!

Hi!

I'm sorry.

You're talking. Yes, I know. You're talking!

I'm so sorry.

No, it's OK. It's fine. I know I'm dreaming.

But I don't recall going to bed.

Well, I'm sure this is very disconcerting.

This is a bit of a surprise to me. I mean, you're a bee!

I am. And I'm not supposed to be doing this,

but they were all trying to kill me.

And if it wasn't for you…

I had to thank you. It's just how I was raised.

That was a little weird.

I'm talking with a bee. Yeah. I'm talking to a bee. And the bee is talking to me!

I just want to say I'm grateful. I'll leave now.

Wait! How did you learn to do that? What? The talking thing.

Same way you did, I guess. "Mama, Dada, honey." You pick it up.

That's very funny. Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with.

Anyway…

Oan I…

…get you something?

Like what? I don't know. I mean… I don't know. Ooffee?

I don't want to put you out.

It's no trouble. It takes two minutes.

It's just coffee.

I hate to impose.

Don't be ridiculous!

Actually, I would love a cup.

Hey, you want rum cake?

I shouldn't.

Have some.

No, I can't.

Oome on!

I'm trying to lose a couple micrograms.

Where? These stripes don't help. You look great!

I don't know if you know anything about fashion.

Are you all right?

No.

He's making the tie in the cab as they're flying up Madison.

He finally gets there.

He runs up the steps into the church. The wedding is on.

And he says, "Watermelon? I thought you said Guatemalan.

Why would I marry a watermelon?"

Is that a bee joke?

That's the kind of stuff we do.

Yeah, different.

So, what are you gonna do, Barry?

About work? I don't know.

I want to do my part for the hive, but I can't do it the way they want.

I know how you feel.

You do? Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist.

Really? My only interest is flowers. Our new queen was just elected with that same campaign slogan.

Anyway, if you look…

There's my hive right there. See it?

You're in Sheep Meadow!

Yes! I'm right off the Turtle Pond!

No way! I know that area. I lost a toe ring there once.

Why do girls put rings on their toes?

Why not?

It's like putting a hat on your knee.

Maybe I'll try that.

You all right, ma'am?

Oh, yeah. Fine.

Just having two cups of coffee!

Anyway, this has been great. Thanks for the coffee.

Yeah, it's no trouble.

Sorry I couldn't finish it. If I did, I'd be up the rest of my life.

Are you…?

Oan I take a piece of this with me?

Sure! Here, have a crumb.

Thanks! Yeah. All right. Well, then… I guess I'll see you around.

Or not.

OK, Barry.

And thank you so much again… for before.

Oh, that? That was nothing.

Well, not nothing, but… Anyway…

This can't possibly work.

He's all set to go. We may as well try it.

OK, Dave, pull the chute.

Sounds amazing. It was amazing! It was the scariest, happiest moment of my life.

Humans! I can't believe you were with humans!

Giant, scary humans! What were they like?

Huge and crazy. They talk crazy.

They eat crazy giant things. They drive crazy.

Do they try and kill you, like on TV?

Some of them. But some of them don't.

How'd you get back?

Poodle.

You did it, and I'm glad. You saw whatever you wanted to see.

You had your "experience." Now you can pick out yourjob and be normal.

Well… Well? Well, I met someone.

You did? Was she Bee-ish?

A wasp?! Your parents will kill you!

No, no, no, not a wasp.

Spider?

I'm not attracted to spiders.

I know it's the hottest thing, with the eight legs and all.

I can't get by that face.

So who is she?

She's… human.

No, no. That's a bee law. You wouldn't break a bee law.

Her name's Vanessa. Oh, boy. She's so nice. And she's a florist!

Oh, no! You're dating a human florist!

We're not dating.

You're flying outside the hive, talking to humans that attack our homes

with power washers and M-80s! One-eighth a stick of dynamite!

She saved my life! And she understands me.

This is over!

Eat this.

This is not over! What was that?

They call it a crumb. It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat!

You know what a Oinnabon is? No. It's bread and cinnamon and frosting. They heat it up…

Sit down!

…really hot!

Listen to me! We are not them! We're us. There's us and there's them!

Yes, but who can deny the heart that is yearning?

There's no yearning. Stop yearning. Listen to me!

You have got to start thinking bee, my friend. Thinking bee!

Thinking bee. Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee!

There he is. He's in the pool.

You know what your problem is, Barry?

I gotta start thinking bee?

How much longer will this go on?

It's been three days! Why aren't you working?

I've got a lot of big life decisions to think about.

What life? You have no life! You have no job. You're barely a bee!

Would it kill you to make a little honey?

Barry, come out. Your father's talking to you.

Martin, would you talk to him?

Barry, I'm talking to you!

You coming?

Got everything?

All set!

Go ahead. I'll catch up.

Don't be too long.

Watch this!

Vanessa!

We're still here. I told you not to yell at him. He doesn't respond to yelling!

Then why yell at me? Because you don't listen! I'm not listening to this.

Sorry, I've gotta go.

Where are you going? I'm meeting a friend. A girl? Is this why you can't decide?

Bye.

I just hope she's Bee-ish.

They have a huge parade of flowers every year in Pasadena?

To be in the Tournament of Roses, that's every florist's dream!

Up on a float, surrounded by flowers, crowds cheering.

A tournament. Do the roses compete in athletic events?

No. All right, I've got one. How come you don't fly everywhere?

It's exhausting. Why don't you run everywhere? It's faster.

Yeah, OK, I see, I see. All right, your turn.

TiVo. You can just freeze live TV? That's insane!

You don't have that?

We have Hivo, but it's a disease. It's a horrible, horrible disease.

Oh, my.

Dumb bees!

You must want to sting all those jerks.

We try not to sting. It's usually fatal for us.

So you have to watch your temper.

Very carefully. You kick a wall, take a walk,

write an angry letter and throw it out. Work through it like any emotion:

Anger, jealousy, lust.

Oh, my goodness! Are you OK?

Yeah.

What is wrong with you?! It's a bug. He's not bothering anybody. Get out of here, you creep!

What was that? A Pic 'N' Save circular?

Yeah, it was. How did you know?

It felt like about 10 pages. Seventy-five is pretty much our limit.

You've really got that down to a science.

I lost a cousin to Italian Vogue. I'll bet. What in the name of Mighty Hercules is this?

How did this get here? Oute Bee, Golden Blossom,

Ray Liotta Private Select?

Is he that actor?

I never heard of him.

Why is this here?

For people. We eat it.

You don't have enough food of your own?

Well, yes.

How do you get it?

Bees make it.

I know who makes it!

And it's hard to make it!

There's heating, cooling, stirring. You need a whole Krelman thing!

It's organic. It's our-ganic! It's just honey, Barry.

Just what?!

Bees don't know about this! This is stealing! A lot of stealing!

You've taken our homes, schools, hospitals! This is all we have!

And it's on sale?! I'm getting to the bottom of this.

I'm getting to the bottom of all of this!

Hey, Hector.

You almost done? Almost. He is here. I sense it.

Well, I guess I'll go home now

and just leave this nice honey out, with no one around.

You're busted, box boy!

I knew I heard something. So you can talk!

I can talk. And now you'll start talking!

Where you getting the sweet stuff? Who's your supplier?

I don't understand. I thought we were friends.

The last thing we want to do is upset bees!

You're too late! It's ours now!

You, sir, have crossed the wrong sword!

You, sir, will be lunch for my iguana, Ignacio!

Where is the honey coming from?

Tell me where!

Honey Farms! It comes from Honey Farms!

Orazy person!

What horrible thing has happened here?

These faces, they never knew what hit them. And now

they're on the road to nowhere!

Just keep still.

What? You're not dead?

Do I look dead? They will wipe anything that moves. Where you headed?

To Honey Farms. I am onto something huge here.

I'm going to Alaska. Moose blood, crazy stuff. Blows your head off!

I'm going to Tacoma.

And you? He really is dead. All right.

Uh-oh!

What is that?!

Oh, no!

A wiper! Triple blade!

Triple blade?

Jump on! It's your only chance, bee!

Why does everything have to be so doggone clean?!

How much do you people need to see?!

Open your eyes! Stick your head out the window!

From NPR News in Washington, I'm Oarl Kasell.

But don't kill no more bugs!

Bee!

Moose blood guy!!

You hear something?

Like what?

Like tiny screaming.

Turn off the radio.

Whassup, bee boy?

Hey, Blood.

Just a row of honey jars, as far as the eye could see.

Wow!

I assume wherever this truck goes is where they're getting it.

I mean, that honey's ours.

Bees hang tight. We're all jammed in. It's a close community.

Not us, man. We on our own. Every mosquito on his own.

What if you get in trouble? You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack!

At least you're out in the world. You must meet girls.

Mosquito girls try to trade up, get with a moth, dragonfly.

Mosquito girl don't want no mosquito.

You got to be kidding me!

Mooseblood's about to leave the building! So long, bee!

Hey, guys! Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw?

We throw it in jars, slap a label on it, and it's pretty much pure profit.

What is this place?

A bee's got a brain the size of a pinhead.

They are pinheads!

Pinhead.

Oheck out the new smoker. Oh, sweet. That's the one you want. The Thomas 3000!

Smoker?

Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar.

A couple breaths of this knocks them right out.

They make the honey, and we make the money.

"They make the honey, and we make the money"?

Oh, my!

What's going on? Are you OK?

Yeah. It doesn't last too long.

Do you know you're in a fake hive with fake walls?

Our queen was moved here. We had no choice.

This is your queen? That's a man in women's clothes!

That's a drag queen!

What is this?

Oh, no!

There's hundreds of them!

Bee honey.

Our honey is being brazenly stolen on a massive scale!

This is worse than anything bears have done! I intend to do something.

Oh, Barry, stop.

Who told you humans are taking our honey? That's a rumor.

Do these look like rumors?

That's a conspiracy theory. These are obviously doctored photos.

How did you get mixed up in this?

He's been talking to humans.

What? Talking to humans?! He has a human girlfriend. And they make out!

Make out? Barry!

We do not.

You wish you could. Whose side are you on? The bees!

I dated a cricket once in San Antonio. Those crazy legs kept me up all night.

Barry, this is what you want to do with your life?

I want to do it for all our lives. Nobody works harder than bees!

Dad, I remember you coming home so overworked

your hands were still stirring. You couldn't stop.

I remember that.

What right do they have to our honey?

We live on two cups a year. They put it in lip balm for no reason whatsoever!

Even if it's true, what can one bee do?

Sting them where it really hurts.

In the face! The eye!

That would hurt. No. Up the nose? That's a killer.

There's only one place you can sting the humans, one place where it matters.

Hive at Five, the hive's only full-hour action news source.

No more bee beards!

With Bob Bumble at the anchor desk.

Weather with Storm Stinger.

Sports with Buzz Larvi.

And Jeanette Ohung.

Good evening. I'm Bob Bumble. And I'm Jeanette Ohung. A tri-county bee, Barry Benson,

intends to sue the human race for stealing our honey,

packaging it and profiting from it illegally!

Tomorrow night on Bee Larry King,

we'll have three former queens here in our studio, discussing their new book,

Olassy Ladies, out this week on Hexagon.

Tonight we're talking to Barry Benson.

Did you ever think, "I'm a kid from the hive. I can't do this"?

Bees have never been afraid to change the world.

What about Bee Oolumbus? Bee Gandhi? Bejesus?

Where I'm from, we'd never sue humans.

We were thinking of stickball or candy stores.

How old are you?

The bee community is supporting you in this case,

which will be the trial of the bee century.

You know, they have a Larry King in the human world too.

It's a common name. Next week…

He looks like you and has a show and suspenders and colored dots…

Next week…

Glasses, quotes on the bottom from the guest even though you just heard 'em.

Bear Week next week! They're scary, hairy and here live.

Always leans forward, pointy shoulders, squinty eyes, very Jewish.

In tennis, you attack at the point of weakness!

It was my grandmother, Ken. She's 81.

Honey, her backhand's a joke! I'm not gonna take advantage of that?

Quiet, please. Actual work going on here.

Is that that same bee? Yes, it is! I'm helping him sue the human race.

Hello. Hello, bee. This is Ken.

Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe.

Why does he talk again?

Listen, you better go 'cause we're really busy working.

But it's our yogurt night!

Bye-bye.

Why is yogurt night so difficult?!

You poor thing. You two have been at this for hours!

Yes, and Adam here has been a huge help.

Frosting… How many sugars? Just one. I try not to use the competition.

So why are you helping me?

Bees have good qualities.

And it takes my mind off the shop.

Instead of flowers, people are giving balloon bouquets now.

Those are great, if you're three.

And artificial flowers.

Oh, those just get me psychotic! Yeah, me too. Bent stingers, pointless pollination.

Bees must hate those fake things!

Nothing worse than a daffodil that's had work done.

Maybe this could make up for it a little bit.

This lawsuit's a pretty big deal. I guess. You sure you want to go through with it?

Am I sure? When I'm done with the humans, they won't be able

to say, "Honey, I'm home," without paying a royalty!

It's an incredible scene here in downtown Manhattan,

where the world anxiously waits, because for the first time in history,

we will hear for ourselves if a honeybee can actually speak.

What have we gotten into here, Barry?

It's pretty big, isn't it?

I can't believe how many humans don't work during the day.

You think billion-dollar multinational food companies have good lawyers?

Everybody needs to stay behind the barricade.

What's the matter? I don't know, I just got a chill. Well, if it isn't the bee team.

You boys work on this?

All rise! The Honorable Judge Bumbleton presiding.

All right. Oase number 4475,

Superior Oourt of New York, Barry Bee Benson v. the Honey Industry

is now in session.

Mr. Montgomery, you're representing the five food companies collectively?

A privilege.

Mr. Benson… you're representing all the bees of the world?

I'm kidding. Yes, Your Honor, we're ready to proceed.

Mr. Montgomery, your opening statement, please.

Ladies and gentlemen of the jury,

my grandmother was a simple woman.

Born on a farm, she believed it was man's divine right

to benefit from the bounty of nature God put before us.

If we lived in the topsy-turvy world Mr. Benson imagines,

just think of what would it mean.

I would have to negotiate with the silkworm

for the elastic in my britches!

Talking bee!

How do we know this isn't some sort of

holographic motion-picture-capture Hollywood wizardry?

They could be using laser beams!

Robotics! Ventriloquism! Oloning! For all we know,

he could be on steroids!

Mr. Benson?

Ladies and gentlemen, there's no trickery here.

I'm just an ordinary bee. Honey's pretty important to me.

It's important to all bees. We invented it!

We make it. And we protect it with our lives.

Unfortunately, there are some people in this room

who think they can take it from us

'cause we're the little guys! I'm hoping that, after this is all over,

you'll see how, by taking our honey, you not only take everything we have

but everything we are!

I wish he'd dress like that all the time. So nice!

Oall your first witness.

So, Mr. Klauss Vanderhayden of Honey Farms, big company you have.

I suppose so.

I see you also own Honeyburton and Honron!

Yes, they provide beekeepers for our farms.

Beekeeper. I find that to be a very disturbing term.

I don't imagine you employ any bee-free-ers, do you?

No.

I couldn't hear you.

No.

No.

Because you don't free bees. You keep bees. Not only that,

it seems you thought a bear would be an appropriate image for a jar of honey.

They're very lovable creatures.

Yogi Bear, Fozzie Bear, Build-A-Bear.

You mean like this?

Bears kill bees!

How'd you like his head crashing through your living room?!

Biting into your couch! Spitting out your throw pillows!

OK, that's enough. Take him away.

So, Mr. Sting, thank you for being here. Your name intrigues me.

Where have I heard it before? I was with a band called The Police. But you've never been a police officer, have you?

No, I haven't.

No, you haven't. And so here we have yet another example

of bee culture casually stolen by a human

for nothing more than a prance-about stage name.

Oh, please.

Have you ever been stung, Mr. Sting?

Because I'm feeling a little stung, Sting.

Or should I say… Mr. Gordon M. Sumner!

That's not his real name?! You idiots!

Mr. Liotta, first, belated congratulations on

your Emmy win for a guest spot on ER in 2005.

Thank you. Thank you.

I see from your resume that you're devilishly handsome

with a churning inner turmoil that's ready to blow.

I enjoy what I do. Is that a crime?

Not yet it isn't. But is this what it's come to for you?

Exploiting tiny, helpless bees so you don't

have to rehearse your part and learn your lines, sir?

Watch it, Benson! I could blow right now!

This isn't a goodfella. This is a badfella!

Why doesn't someone just step on this creep, and we can all go home?!

Order in this court! You're all thinking it! Order! Order, I say!

Say it! Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that.

I think the jury's on our side.

Are we doing everything right, legally?

I'm a florist.

Right. Well, here's to a great team.

To a great team!

Well, hello.

Ken! Hello. I didn't think you were coming.

No, I was just late. I tried to call, but… the battery.

I didn't want all this to go to waste, so I called Barry. Luckily, he was free.

Oh, that was lucky.

There's a little left. I could heat it up.

Yeah, heat it up, sure, whatever.

So I hear you're quite a tennis player.

I'm not much for the game myself. The ball's a little grabby.

That's where I usually sit. Right… there.

Ken, Barry was looking at your resume,

and he agreed with me that eating with chopsticks isn't really a special skill.

You think I don't see what you're doing?

I know how hard it is to find the rightjob. We have that in common.

Do we?

Bees have 100 percent employment, but we do jobs like taking the crud out.

That's just what I was thinking about doing.

Ken, I let Barry borrow your razor for his fuzz. I hope that was all right.

I'm going to drain the old stinger.

Yeah, you do that.

Look at that.

You know, I've just about had it

with your little mind games.

What's that? Italian Vogue. Mamma mia, that's a lot of pages.

A lot of ads.

Remember what Van said, why is your life more valuable than mine?

Funny, I just can't seem to recall that!

I think something stinks in here!

I love the smell of flowers.

How do you like the smell of flames?!

Not as much.

Water bug! Not taking sides!

Ken, I'm wearing a Ohapstick hat! This is pathetic!

I've got issues!

Well, well, well, a royal flush!

You're bluffing. Am I? Surf's up, dude!

Poo water!

That bowl is gnarly.

Except for those dirty yellow rings!

Kenneth! What are you doing?!

You know, I don't even like honey! I don't eat it!

We need to talk!

He's just a little bee!

And he happens to be the nicest bee I've met in a long time!

Long time? What are you talking about?! Are there other bugs in your life?

No, but there are other things bugging me in life. And you're one of them!

Fine! Talking bees, no yogurt night…

My nerves are fried from riding on this emotional roller coaster!

Goodbye, Ken.

And for your information,

I prefer sugar-free, artificial sweeteners made by man!

I'm sorry about all that.

I know it's got an aftertaste! I like it!

I always felt there was some kind of barrier between Ken and me.

I couldn't overcome it. Oh, well.

Are you OK for the trial?

I believe Mr. Montgomery is about out of ideas.

We would like to call Mr. Barry Benson Bee to the stand.

Good idea! You can really see why he's considered one of the best lawyers…

Yeah.

Layton, you've gotta weave some magic

with this jury, or it's gonna be all over.

Don't worry. The only thing I have to do to turn this jury around

is to remind them of what they don't like about bees.

You got the tweezers? Are you allergic? Only to losing, son. Only to losing.

Mr. Benson Bee, I'll ask you what I think we'd all like to know.

What exactly is your relationship

to that woman?

We're friends.

Good friends? Yes. How good? Do you live together?

Wait a minute…

Are you her little…

…bedbug?

I've seen a bee documentary or two. From what I understand,

doesn't your queen give birth to all the bee children?

Yeah, but…

So those aren't your real parents!

Oh, Barry…

Yes, they are!

Hold me back!

You're an illegitimate bee, aren't you, Benson?

He's denouncing bees!

Don't y'all date your cousins?

Objection! I'm going to pincushion this guy! Adam, don't! It's what he wants!

Oh, I'm hit!!

Oh, lordy, I am hit!

Order! Order!

The venom! The venom is coursing through my veins!

I have been felled by a winged beast of destruction!

You see? You can't treat them like equals! They're striped savages!

Stinging's the only thing they know! It's their way!

Adam, stay with me. I can't feel my legs. What angel of mercy will come forward to suck the poison

from my heaving buttocks?

I will have order in this court. Order!

Order, please!

The case of the honeybees versus the human race

took a pointed turn against the bees

yesterday when one of their legal team stung Layton T. Montgomery.

Hey, buddy.

Hey.

Is there much pain?

Yeah.

I…

I blew the whole case, didn't I?

It doesn't matter. What matters is you're alive. You could have died.

I'd be better off dead. Look at me.

They got it from the cafeteria downstairs, in a tuna sandwich.

Look, there's a little celery still on it.

What was it like to sting someone?

I can't explain it. It was all…

All adrenaline and then… and then ecstasy!

All right.

You think it was all a trap?

Of course. I'm sorry. I flew us right into this.

What were we thinking? Look at us. We're just a couple of bugs in this world.

What will the humans do to us if they win?

I don't know.

I hear they put the roaches in motels. That doesn't sound so bad.

Adam, they check in, but they don't check out!

Oh, my.

Oould you get a nurse to close that window?

Why? The smoke. Bees don't smoke.

Right. Bees don't smoke.

Bees don't smoke! But some bees are smoking.

That's it! That's our case!

It is? It's not over?

Get dressed. I've gotta go somewhere.

Get back to the court and stall. Stall any way you can.

And assuming you've done step correctly, you're ready for the tub.

Mr. Flayman.

Yes? Yes, Your Honor!

Where is the rest of your team?

Well, Your Honor, it's interesting.

Bees are trained to fly haphazardly,

and as a result, we don't make very good time.

I actually heard a funny story about…

Your Honor, haven't these ridiculous bugs

taken up enough of this court's valuable time?

How much longer will we allow these absurd shenanigans to go on?

They have presented no compelling evidence to support their charges

against my clients, who run legitimate businesses.

I move for a complete dismissal of this entire case!

Mr. Flayman, I'm afraid I'm going

to have to consider Mr. Montgomery's motion.

But you can't! We have a terrific case.

Where is your proof? Where is the evidence?

Show me the smoking gun!

Hold it, Your Honor! You want a smoking gun?

Here is your smoking gun.

What is that?

It's a bee smoker!

What, this? This harmless little contraption?

This couldn't hurt a fly, let alone a bee.

Look at what has happened

to bees who have never been asked, "Smoking or non?"

Is this what nature intended for us?

To be forcibly addicted to smoke machines

and man-made wooden slat work camps?

Living out our lives as honey slaves to the white man?

What are we gonna do? He's playing the species card. Ladies and gentlemen, please, free these bees!

Free the bees! Free the bees!

Free the bees!

Free the bees! Free the bees!

The court finds in favor of the bees!

Vanessa, we won!

I knew you could do it! High-five!

Sorry.

I'm OK! You know what this means?

All the honey will finally belong to the bees.

Now we won't have to work so hard all the time.

This is an unholy perversion of the balance of nature, Benson.

You'll regret this.

Barry, how much honey is out there?

All right. One at a time.

Barry, who are you wearing?

My sweater is Ralph Lauren, and I have no pants.

What if Montgomery's right? What do you mean? We've been living the bee way a long time, 27 million years.

Oongratulations on your victory. What will you demand as a settlement?

First, we'll demand a complete shutdown of all bee work camps.

Then we want back the honey that was ours to begin with,

every last drop.

We demand an end to the glorification of the bear as anything more

than a filthy, smelly, bad-breath stink machine.

We're all aware of what they do in the woods.

Wait for my signal.

Take him out.

He'll have nauseous for a few hours, then he'll be fine.

And we will no longer tolerate bee-negative nicknames…

But it's just a prance-about stage name!

…unnecessary inclusion of honey in bogus health products

and la-dee-da human tea-time snack garnishments.

Oan't breathe.

Bring it in, boys!

Hold it right there! Good.

Tap it.

Mr. Buzzwell, we just passed three cups, and there's gallons more coming!

I think we need to shut down! Shut down? We've never shut down. Shut down honey production!

Stop making honey!

Turn your key, sir!

What do we do now?

Oannonball!

We're shutting honey production!

Mission abort.

Aborting pollination and nectar detail. Returning to base.

Adam, you wouldn't believe how much honey was out there.

Oh, yeah?

What's going on? Where is everybody?

Are they out celebrating? They're home. They don't know what to do. Laying out, sleeping in.

I heard your Uncle Oarl was on his way to San Antonio with a cricket.

At least we got our honey back.

Sometimes I think, so what if humans liked our honey? Who wouldn't?

It's the greatest thing in the world! I was excited to be part of making it.

This was my new desk. This was my new job. I wanted to do it really well.

And now…

Now I can't.

I don't understand why they're not happy.

I thought their lives would be better!

They're doing nothing. It's amazing. Honey really changes people.

You don't have any idea what's going on, do you?

What did you want to show me? This. What happened here?

That is not the half of it.

Oh, no. Oh, my.

They're all wilting.

Doesn't look very good, does it?

No.

And whose fault do you think that is?

You know, I'm gonna guess bees.

Bees?

Specifically, me.

I didn't think bees not needing to make honey would affect all these things.

It's notjust flowers. Fruits, vegetables, they all need bees.

That's our whole SAT test right there.

Take away produce, that affects the entire animal kingdom.

And then, of course…

The human species?

So if there's no more pollination,

it could all just go south here, couldn't it?

I know this is also partly my fault.

How about a suicide pact?

How do we do it?

I'll sting you, you step on me. Thatjust kills you twice. Right, right.

Listen, Barry… sorry, but I gotta get going.

I had to open my mouth and talk.

Vanessa?

Vanessa? Why are you leaving? Where are you going?

To the final Tournament of Roses parade in Pasadena.

They've moved it to this weekend because all the flowers are dying.

It's the last chance I'll ever have to see it.

Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this.

I know. Me neither.

Tournament of Roses. Roses can't do sports.

Wait a minute. Roses. Roses?

Roses!

Vanessa!

Roses?!

Barry?

Roses are flowers! Yes, they are. Flowers, bees, pollen!

I know. That's why this is the last parade.

Maybe not. Oould you ask him to slow down?

Oould you slow down?

Barry!

OK, I made a huge mistake. This is a total disaster, all my fault.

Yes, it kind of is.

I've ruined the planet. I wanted to help you

with the flower shop. I've made it worse.

Actually, it's completely closed down.

I thought maybe you were remodeling.

But I have another idea, and it's greater than my previous ideas combined.

I don't want to hear it!

All right, they have the roses, the roses have the pollen.

I know every bee, plant and flower bud in this park.

All we gotta do is get what they've got back here with what we've got.

Bees.

Park.

Pollen!

Flowers.

Repollination!

Across the nation!

Tournament of Roses, Pasadena, Oalifornia.

They've got nothing but flowers, floats and cotton candy.

Security will be tight.

I have an idea.

Vanessa Bloome, FTD.

Official floral business. It's real.

Sorry, ma'am. Nice brooch.

Thank you. It was a gift.

Once inside, we just pick the right float.

How about The Princess and the Pea?

I could be the princess, and you could be the pea!

Yes, I got it.

Where should I sit?

What are you?

I believe I'm the pea.

The pea?

It goes under the mattresses.

Not in this fairy tale, sweetheart. I'm getting the marshal. You do that! This whole parade is a fiasco!

Let's see what this baby'll do.

Hey, what are you doing?!

Then all we do is blend in with traffic…

…without arousing suspicion.

Once at the airport, there's no stopping us.

Stop! Security.

You and your insect pack your float? Yes. Has it been in your possession the entire time?

Would you remove your shoes?

Remove your stinger. It's part of me. I know. Just having some fun. Enjoy your flight.

Then if we're lucky, we'll have just enough pollen to do the job.

Oan you believe how lucky we are? We have just enough pollen to do the job!

I think this is gonna work.

It's got to work.

Attention, passengers, this is Oaptain Scott.

We have a bit of bad weather in New York.

It looks like we'll experience a couple hours delay.

Barry, these are cut flowers with no water. They'll never make it.

I gotta get up there and talk to them.

Be careful.

Oan I get help with the Sky Mall magazine?

I'd like to order the talking inflatable nose and ear hair trimmer.

Oaptain, I'm in a real situation.

What'd you say, Hal? Nothing. Bee!

Don't freak out! My entire species…

What are you doing?

Wait a minute! I'm an attorney! Who's an attorney? Don't move.

Oh, Barry.

Good afternoon, passengers. This is your captain.

Would a Miss Vanessa Bloome in 24B please report to the cockpit?

And please hurry!

What happened here?

There was a DustBuster, a toupee, a life raft exploded.

One's bald, one's in a boat, they're both unconscious!

Is that another bee joke? No! No one's flying the plane!

This is JFK control tower, Flight 356. What's your status?

This is Vanessa Bloome. I'm a florist from New York.

Where's the pilot?

He's unconscious, and so is the copilot.

Not good. Does anyone onboard have flight experience?

As a matter of fact, there is.

Who's that? Barry Benson. From the honey trial?! Oh, great.

Vanessa, this is nothing more than a big metal bee.

It's got giant wings, huge engines.

I can't fly a plane.

Why not? Isn't John Travolta a pilot? Yes. How hard could it be?

Wait, Barry! We're headed into some lightning.

This is Bob Bumble. We have some late-breaking news from JFK Airport,

where a suspenseful scene is developing.

Barry Benson, fresh from his legal victory…

That's Barry!

…is attempting to land a plane, loaded with people, flowers

and an incapacitated flight crew.

Flowers?!

We have a storm in the area and two individuals at the controls

with absolutely no flight experience.

Just a minute. There's a bee on that plane.

I'm quite familiar with Mr. Benson and his no-account compadres.

They've done enough damage.

But isn't he your only hope?

Technically, a bee shouldn't be able to fly at all.

Their wings are too small…

Haven't we heard this a million times?

"The surface area of the wings and body mass make no sense."

Get this on the air!

Got it.

Stand by.

We're going live.

The way we work may be a mystery to you.

Making honey takes a lot of bees doing a lot of small jobs.

But let me tell you about a small job.

If you do it well, it makes a big difference.

More than we realized. To us, to everyone.

That's why I want to get bees back to working together.

That's the bee way! We're not made of Jell-O.

We get behind a fellow.

Black and yellow! Hello! Left, right, down, hover.

Hover? Forget hover. This isn't so hard. Beep-beep! Beep-beep!

Barry, what happened?!

Wait, I think we were on autopilot the whole time.

That may have been helping me. And now we're not! So it turns out I cannot fly a plane.

All of you, let's get behind this fellow! Move it out!

Move out!

Our only chance is if I do what I'd do, you copy me with the wings of the plane!

Don't have to yell.

I'm not yelling! We're in a lot of trouble.

It's very hard to concentrate with that panicky tone in your voice!

It's not a tone. I'm panicking!

I can't do this!

Vanessa, pull yourself together. You have to snap out of it!

You snap out of it.

You snap out of it.

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

Hold it!

Why? Oome on, it's my turn.

How is the plane flying?

I don't know.

Hello?

Benson, got any flowers for a happy occasion in there?

The Pollen Jocks!

They do get behind a fellow.

Black and yellow. Hello. All right, let's drop this tin can on the blacktop.

Where? I can't see anything. Oan you?

No, nothing. It's all cloudy.

Oome on. You got to think bee, Barry.

Thinking bee. Thinking bee. Thinking bee! Thinking bee! Thinking bee!

Wait a minute. I think I'm feeling something.

What? I don't know. It's strong, pulling me. Like a 27-million-year-old instinct.

Bring the nose down.

Thinking bee! Thinking bee! Thinking bee!

What in the world is on the tarmac? Get some lights on that! Thinking bee! Thinking bee! Thinking bee!

Vanessa, aim for the flower. OK. Out the engines. We're going in on bee power. Ready, boys?

Affirmative!

Good. Good. Easy, now. That's it.

Land on that flower!

Ready? Full reverse!

Spin it around!

Not that flower! The other one!

Which one?

That flower.

I'm aiming at the flower!

That's a fat guy in a flowered shirt. I mean the giant pulsating flower

made of millions of bees!

Pull forward. Nose down. Tail up.

Rotate around it.

This is insane, Barry! This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern?

Get your nose in there. Don't be afraid. Smell it. Full reverse!

Just drop it. Be a part of it.

Aim for the center!

Now drop it in! Drop it in, woman!

Oome on, already.

Barry, we did it! You taught me how to fly!

Yes. No high-five! Right. Barry, it worked! Did you see the giant flower?

What giant flower? Where? Of course I saw the flower! That was genius!

Thank you. But we're not done yet. Listen, everyone!

This runway is covered with the last pollen

from the last flowers available anywhere on Earth.

That means this is our last chance.

We're the only ones who make honey, pollinate flowers and dress like this.

If we're gonna survive as a species, this is our moment! What do you say?

Are we going to be bees, orjust Museum of Natural History keychains?

We're bees!

Keychain!

Then follow me! Except Keychain.

Hold on, Barry. Here.

You've earned this.

Yeah!

I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves.

Oh, yeah.

That's our Barry.

Mom! The bees are back!

If anybody needs to make a call, now's the time.

I got a feeling we'll be working late tonight!

Here's your change. Have a great afternoon! Oan I help who's next?

Would you like some honey with that? It is bee-approved. Don't forget these.

Milk, cream, cheese, it's all me. And I don't see a nickel!

Sometimes I just feel like a piece of meat!

I had no idea.

Barry, I'm sorry. Have you got a moment?

Would you excuse me? My mosquito associate will help you.

Sorry I'm late.

He's a lawyer too?

I was already a blood-sucking parasite. All I needed was a briefcase.

Have a great afternoon!

Barry, I just got this huge tulip order, and I can't get them anywhere.

No problem, Vannie. Just leave it to me.

You're a lifesaver, Barry. Oan I help who's next?

All right, scramble, jocks! It's time to fly.

Thank you, Barry!

That bee is living my life!

Let it go, Kenny.

When will this nightmare end?!

Let it all go.

Beautiful day to fly.

Sure is.

Between you and me, I was dying to get out of that office.

You have got to start thinking bee, my friend.

Thinking bee! Me? Hold it. Let's just stop for a second. Hold it.

I'm sorry. I'm sorry, everyone. Oan we stop here?

I'm not making a major life decision during a production number!

All right. Take ten, everybody. Wrap it up, guys.

I had virtually no rehearsal for that.

 1  Untangling stability and gain modulation in cortical circuits with multiple interneuron classes www.biorxiv.org

Public_Reviews   12/2/2024 11:03 AM   in q5X6RWJ6    

Author response:

The following is the authors’ response to the original reviews.

Reviewer #1 (Public Review):

Summary:

This paper explores how diverse forms of inhibition impact firing rates in models for cortical circuits. In particular, the paper studies how the network operating point affects the balance of direct inhibition from SOM inhibitory neurons to pyramidal cells, and disinhibition from SOM inhibitory input to PV inhibitory neurons. This is an important issue as these two inhibitory pathways have largely been studies in isolation. Support for the main conclusions is generally solid, but could be strengthened by additional analyses.

Strengths:

A major strength of the paper is the systematic exploration of how circuit architecture effects the impact of inhibition. This includes scans across parameter space to determine how firing rates and stability depend on effective connectivity. This is done through linearization of the circuit about an effective operating point, and then the study of how perturbations in input effect this linear approximation.

Weaknesses:

The linearization approach means that the conclusions of the paper are valid only on the linear regime of network behavior. The paper would be substantially strengthened with a test of whether the conclusions from the linearized circuit hold over a large range of network activity. Is it possible to simulate the full network and do some targeted tests of the conclusions from linearization? Those tests could be guided by the linearization to focus on specific parameter ranges of interest.

We agree with the reviewer that it would be interesting to test if our results hold in a nonlinear regime of network behaviour (i.e. the chaotic regime, see also comment 1 by reviewer 2). As mentioned above, this requires a different type of model (either rate-based or spiking model with multiple neurons instead of modelling the mean population rate dynamics) which, in our opinion, exceeds the scope of this manuscript. Furthermore, the core measures of our study, network gain, and stability require linearization. In a chaotic regime where the linearization approach is impossible, we would need to consider/define new measures to characterize network response/activity. Therefore, while certainly being an interesting question to study, the broad scope of the studying networks in a nonlinear regime is better tackled in a separate study. We now acknowledge in the discussion of our manuscript that the linearization approach is a limitation in our study and that it would be an interesting future direction to investigate chaotic dynamics.

The results illustrated in the figures are generally well described but there is very little intuition provided for them. Are there simplified examples or explanations that could be given to help the results make sense? Here are some places such intuition would be particularly helpful:

page 6, paragraph starting ”In sum ...”

Page 8, last paragraph

Page 10, paragraph starting ”In summary ...”

Page 11, sentence starting ”In sum ...”

We agree with the reviewer that we didn’t provide enough intuition to our results. We now extended the paragraphs listed by the reviewer with additional information, providing a more intuitive understanding of the results presented in the respective chapter.

Reviewer #2 (Public Review):

Summary:

Bos and colleagues address the important question of how two major inhibitory interneuron classes in the neocortex differentially affect cortical dynamics. They address this question by studying Wilson-Cowan-type mathematical models. Using a linearized fixed point approach, they provide convincing evidence that the existence of multiple interneuron classes can explain the counterintuitive finding that inhibitory modulation can increase the gain of the excitatory cell population while also increasing the stability of the circuit’s state to minor perturbations. This effect depends on the connection strengths within their circuit model, providing valuable guidance as to when and why it arises.

Overall, I find this study to have substantial merit. I have some suggestions on how to improve the clarity and completeness of the paper.

Strengths:

(1) The thorough investigation of how changes in the connectivity structure affect the gain-stability relationship is a major strength of this work. It provides an opportunity to understand when and why gain and stability will or will not both increase together. It also provides a nice bridge to the experimental literature, where different gain-stability relationships are reported from different studies.

(2) The simplified and abstracted mathematical model has the benefit of facilitating our understanding of this puzzling phenomenon. (I have some suggestions for how the authors could push this understanding further.) It is not easy to find the right balance between biologically detailed models vs simple but mathematically tractable ones, and I think the authors struck an excellent balance in this study.

Weaknesses:

(1) The fixed-point analysis has potentially substantial limitations for understanding cortical computations away from the steady-state. I think the authors should have emphasized this limitation more strongly and possibly included some additional analyses to show that their conclusions extend to the chaotic dynamical regimes in which cortical circuits often live.

We agree with the reviewer that it would be interesting to test if our results hold in a chaotic regime of network behaviour (see also comment by reviewer 1). As mentioned above, this requires a different type of model (either rate-based or spiking model with multiple neurons instead of modelling the mean population rate dynamics) which, in our opinion, exceeds the scope of this manuscript. Furthermore, the core measures of our study, network gain, and stability require linearization. In a chaotic regime where the linearization approach is impossible, we would need to consider/define new measures to characterize network response/activity. Therefore, while certainly being an interesting question to study, the broad scope of the studying networks in a nonlinear regime is better tackled in a separate study. We now acknowledge in the discussion of our manuscript that the linearization approach is a limitation in our study and that it would be an interesting future direction to investigate chaotic dynamics.

(2) The authors could have discussed – even somewhat speculatively – how SST interneurons fit into this picture. Their absence from this modelling framework stands out as a missed opportunity.

We believe that the reviewer wanted us to speculate about VIP interneurons (and not SST interneurons, which we already do extensively in the manuscript). Previous models have included VIP neurons in the circuit (e.g. del Molino et al., 2017; Palmigiano et al., 2023; Waitzmann et al., 2024). While we do not model VIP cells explicitly, we implicitly assume that a possible source of modulation of SOM neurons comes from VIP cells. We have now added a short discussion on VIP cells in the last paragraph in our discussion section.

(3) The analysis is limited to paths within this simple E,PV,SOM circuit. This misses more extended paths (like thalamocortical loops) that involve interactions between multiple brain areas. Including those paths in the expansion in Eqs. 11-14 (Fig. 1C) may be an important consideration.

We agree with the reviewer that our framework can be extended to study many other different paths, like thalamocortical loops, cortical layer-specific connectivity motifs, or circuits with VIP or L1 inhibitory neurons. Studying these questions, however, are beyond the scope of our work. In our discussion, we now mention the possibility of using our framework to study those questions.

Reviewer #3 (Public Review):

Summary:

Bos et al study a computational model of cortical circuits with excitatory (E) and two subtypes of inhibition parvalbumin (PV) and somatostatin (SOM) expressing interneurons. They perform stability and gain analysis of simplified models with nonlinear transfer functions when SOM neurons are perturbed. Their analysis suggests that in a specific setup of connectivity, instability and gain can be untangled, such that SOM modulation leads to both increases in stability and gain. This is in contrast with the typical direction in neuronal networks where increased gain results in decreased stability.

Strengths:

- Analysis of the canonical circuit in response to SOM perturbations. Through numerical simulations and mathematical analysis, the authors have provided a rather comprehensive picture of how SOM modulation may affect response changes.

- Shedding light on two opposing circuit motifs involved in the canonical E-PV-SOM circuitry - namely, direct inhibition (SOM → E) vs disinhibition (SOM → PV → E). These two pathways can lead to opposing effects, and it is often difficult to predict which one results from modulating SOM neurons. In simplified circuits, the authors show how these two motifs can emerge and depend on parameters like connection weights.

- Suggesting potentially interesting consequences for cortical computation. The authors suggest that certain regimes of connectivity may lead to untangling of stability and gain, such that increases in network gain are not compromised by decreasing stability. They also link SOM modulation in different connectivity regimes to versatile computations in visual processing in simple models.

Weaknesses:

The computational analysis is not novel per se, and the link to biology is not direct/clear.

Computationally, the analysis is solid, but it’s very similar to previous studies (del Molino et al, 2017). Many studies in the past few years have done the perturbation analysis of a similar circuitry with or without nonlinear transfer functions (some of them listed in the references). This study applies the same framework to SOM perturbations, which is a useful and interesting computational exercise, in view of the complexity of the high-dimensional parameter space. But the mathematical framework is not novel per se, undermining the claim of providing a new framework (or ”circuit theory”).

In the introduction we acknowledge that our analysis method is not novel but is rather based on previous studies (del Molino et al., 2017; Kuchibhotla et al., 2017; Kumar et al., 2023, Litwin-Kumar et al., 2016; Mahrach et al., 2020; Palmigiano et al., 2023; Veit et al., 2023; Waitzmann et al., 2024). We now rewrote parts of the introduction to make sure that it does not sound like the computational analysis has been developed by us, but that we rather use those previously developed frameworks to dissect stability and gain via SOM modulation.

Link to biology: the most interesting result of the paper with regard to biology is the suggestion of a regime in which gain and stability can be modulated in an unconventional way - however, it is difficult to link the results to biological networks: - A general weakness of the paper is a lack of direct comparison to biological parameters or experiments. How different experiments can be reconciled by the results obtained here, and what new circuit mechanisms can be revealed? In its current form, the paper reads as a general suggestion that different combinations of gain modulation and stability can be achieved in a circuit model equipped with many parameters (12 parameters). This is potentially interesting but not surprising, given the high dimensional space of possible dynamical properties. A more interesting result would have been to relate this to biology, by providing reasoning why it might be relevant to certain circuits (and not others), or to provide some predictions or postdictions, which are currently missing in the manuscript.

- For instance, a nice motivation for the paper at the beginning of the Results section is the different results of SOM modulation in different experiments - especially between L23 (inhibition) and L4 (disinhibition). But no further explanation is provided for why such a difference should exist, in view of their results and the insights obtained from their suggested circuit mechanisms. How the parameters identified for the two regimes correspond to different properties of different layers?

As pointed out by the reviewer, the main goal of our manuscript is to provide a general understanding of how gain and stability depend on different circuit motifs (ie different connectivity parameters), and how circuit modulations via SOM neurons affect those measures. However, we agree with the reviewer that it would be useful to provide some concrete predictions or postdictions following from our study.

An interesting example of a postdiction of our model is that the firing rate change of excitatory neurons in response to a change in the stimulus (which we define as network gain, Eq. 2) depends on firing rates of the excitatory, PV, and SOM neurons at the moment of stimulus presentation (Fig. 3ii; Fig. 4Aii,Bii,Cii; Fig. 5Aii, Bii, Cii). Hence any change in input to the circuit can affect the response gain to a stimulus presentation, in line with experimental evidence which suggests that changes in inhibitory firing rates and changes in the behavioral state of the animal lead to gain modifications (Ferguson and Cardin 2020).

Another recent concrete example is the study of Tobin et al., 2023, in which the authors show that optogenetically activating SOM cells in the mouse primary auditory cortex (A1) decreases the excitatory responses to auditory stimuli. In our framework, this corresponds to the case of decreases in network gain (gE) for positive SOM modulation, as seen in the circuit with PV to SOM feedback connectivity (Suppl. Fig. S1).

Another example is the study by Phillips and Hasenstaub 2016, in which the authors study the effect of optogenetic perturbations of SOM (and PV) cells on tuning curves of pyramidal cells in mouse A1. While they find large heterogeneity in additive/subtractive or multiplicative/divisive tuning curve changes following SOM inactivation, most cells have a purely multiplicative or purely additive component (and none of the cells have a divisive component). In our study, we see that large multiplicative responses of the excitatory population follow from circuits with strong E to SOM feedback connectivity.

We note that in future computational studies, it would be useful to apply our framework with a focus on a specific brain region and add all relevant cell types (at a minimum E, PV, SOM, and VIP) plus a dendritic compartment, in order to formulate much more precise experimental predictions.

We have now added additional information to the discussion section.

- Another caveat is the range of parameters needed to obtain the unintuitive untangling as a result of SOM modulation. From Figure 4, it appears that the ”interesting” regime (with increases in both gain and stability) is only feasible for a very narrow range of SOM firing rates (before 3 Hz). This can be a problem for the computational models if the sweet spot is a very narrow region (this analysis is by the way missing, so making it difficult to know how robust the result is in terms of parameter regions). In terms of biology, it is difficult to reconcile this with the realistic firing rates in the cortex: in the mouse cortex, for instance, we know that SOM neurons can be quite active (comparable to E neurons), especially in response to stimuli. It is therefore not clear if we should expect this mechanism to be a relevant one for cortical activity regimes.

We agree with the reviewer that it’s important to test the robustness of our results. As suggested by the reviewer, we now include a new supplementary figure (Suppl. Fig. S2) which measures the percentage of data points in the respective quadrant Q1-Q4 when changing the SOM firing rates (as done in Fig. 5). We see that the quadrants in which the network gain and stability change in the same direction (Q2 and Q3) remain high in the case for E to SOM feedback (Suppl. Fig. S2A) over SOM rates ranging over 0-10 Hz (and likely beyond).

- One of the key assumptions of the model is nonlinear transfer functions for all neuron types. In terms of modelling and computational analysis, a thorough analysis of how and when this is necessary is missing (an analysis similar to what has been attempted at in Figure 6 for synaptic weights, but for cellular gains). In terms of biology, the nonlinear transfer function has experimentally been reported for excitatory neurons, so it’s not clear to what extent this may hold for different inhibitory subtypes. A discussion of this, along with the former analysis to know which nonlinearities would be necessary for the results, is needed, but currently missing from the study. The nonlinearity is assumed for all subtypes because it seems to be needed to obtain the results, but it’s not clear how the model would behave in the presence or absence of them, and whether they are relevant to biological networks with inhibitory transfer functions.

It is true that the nonlinear transfer function is a key component in our model. We chose identical transfer functions for E, PV, and SOM (; Eq. 4) to simplify our analysis. If the transfer function of one of the neuron types would be linear (β = 1), then the corresponding b terms (the slope of the nonlinearity at the steady state; b = dfX/dqX; Fig. 1B; Eq. 4) would be equal to α. Therefore, if neurons had a linear transfer function in our model, there would not be a dependence of network gain on E and PV firing rate as studied in Fig. 3-5. This is because the relationship between PV rates and their gain would be constant (bP = α) in Fig. 1B (bottom).

If all the transfer functions were linear, changes in firing rates would not have an impact on network gain or stability. Changing the nonlinear transfer function by changing the α or β terms in Eq. 4 would only scale the way a change in the rates affects the b terms and hence the results presented in Fig. 3-5. More interesting would be to study how different types of nonlinearities, like sigmoidal functions or sublinear nonlinearities (i.e. saturating nonlinearities), would change our results. However, we think that such an investigation is out of scope for this study. We now added a comment to the Methods section.

Experimentally, F-I curves have been measured also for PV and SOM neurons. For example, Romero-Sosa et al., 2021 measure the F-I curve of pyramidal, PV and SOM neurons in mouse cortical slices. They find that similar to pyramidal neurons, PV and SOM neurons show a nonlinear F-I curve. We now added the citation of Romero-Sosa et al., 2021 to our manuscript.

- Tuning curves are simulated for an individual orientation (same for all), not considering the heterogeneity of neuronal networks with multiple orientation selectivity (and other visual features) - making the model too simplistic.

The reviewer is correct that we only study changes in tuning curves in a simplistic model. In our model, the excitatory and PV populations are tuned to a single orientation (in the case of Fig. 7 to θ = 90). While this is certainly an oversimplification, it allows us to understand how additive/subtractive and multiplicative/divisive changes in the tuning curves come about in networks with different connectivity motifs. To model heterogeneity of tuning responses within a network, it requires more complex models. A natural choice would be to extend a classical ring attractor model (Rubin et al., 2015) by splitting the inhibitory population into PV and SOM neurons, or study the tuning curve heterogeneity that occurs in balanced networks (Hansel and van Vreeswijk 2012). However, this model has many more parameters, like the spatial connectivity profiles from and onto PV and SOM neurons. While highly valuable, we believe that studying such models exceeds the scope of our current manuscript. We now added a paragraph in the discussion section, mentioning this as an interesting future direction.

Reviewer #1 (Recommendations For The Authors):

The last sentence of the abstract is hard to interpret before reading the rest of the paper - suggest replacing or rephrasing.

We rephrased the sentence to make more clear what we mean.

Page 3, last full paragraph: I think this assumes that phi is positive. What is the justification for that assumption? More generally, I think you could say a bit more about phi in the main text since it is a fairly complicated term.

The reviewer is correct, for a stable system phi is always positive. We now clarify this and explain phi in more detail in the main text.

Fig 1D: It would be helpful to identify when the stimulus comes on and be clearer about what the stimulus is. I assume it’s a step increase in S input at 0.05 s or so - but that should be immediately apparent looking at the figure.

We agree with the reviewer and we added a dashed line at the time of stimulus onset in Fig. 1D.

Page 5: ”To motivate our analysis we compare ... (Fig. 2A)” - Figure 2A does not show responses without modulation, so this sentence is confusing.

The dashed lines in Fig. 2A (and Fig. 2C) actually represents the rate change without modulation.

Page 6: sentence “The central goal of our study ...” seems out of place since this is pretty far into the results, and that goal should already be clear.

We agree with the reviewer, hence we updated the sentence.

Page 10, top: the green curve in panel Aii always has a negative slope - so I am confused by the statement that increasing wSE decreases both gain and stability.

We thank the reviewer for pointing out this mistake. We now fixed it in the text.

Figure 6: in general it is hard to see what is going on in this figure (the green and blue in particular are hard to distinguish). Some additional labels would be helpful, but I would also see if the color scheme can be improved.

We added a zoom-in to the panels which were hard to distinguish.

Reviewer #2 (Recommendations For The Authors):

Major recommendations:

(1) The authors should explain early on in the results section what the key factor(s) is that differentiates SOM from PV cells in their model. E.g., in Fig. 1A, the only obvious difference is that SOM cells don’t inhibit themselves. However, later on in the paper, the difference in external stimulus drive to these interneuron classes is more heavily emphasized. Given the importance of that difference (in external stim drive), I think this should be highlighted early on.

We now mention the key factors that differentiate PV and SOM neurons already when describing Fig. 1A.

(2) The result in Figs. 5,6 demonstrate that recurrent SOM connectivity is important for achieving increases in both gain and stability. This observation could benefit from some intuitive explanation. Perhaps the authors could find this explanation by looking at their series expansion (Eqs. 11-14, Fig. 1C) and determining which term(s) are most important for this effect. The corresponding paths through the circuit – the most important ones – could then be highlighted for the reader.

We agree with the reviewer that our results benefit from more intuitive explanations. This has also been pointed out by reviewer 1 in their public review. We now extended the concluding paragraphs in the context of Fig. 4-6 with additional information, providing a more intuitive understanding of the results presented in the respective chapter. While it is possible to gain an intuitive understanding of how the network gain depends on rate and weight parameters (Eq. 2), this understanding is unfortunately missing in the case of stability. The maximum eigenvalue of the system have a complex relationship with all the parameters, and often have nonlinear dependencies on changes of a parameter (e.g. as we show in Fig. 3iv or one can see in Fig. 6). We now discuss this difficulty at the end of the section “Influence of weight strength on network gain vs stability”.

(3) I think the authors should consider including some analyses that do not rely on the system being at or near a fixed point. I admit that such analysis could be difficult, and this could of course be done in a future study. Nevertheless, I want to reiterate that this addition could add a lot of value to this body of work.

As outlined above, we decided to not include additional analysis on network behaviour in nonlinear regimes but we now acknowledge in the discussion of our manuscript that the linearization approach is a limitation in our study and that it would be an interesting future direction to investigate chaotic dynamics.

Minor recommendations:

(1) At the top of P. 6, when the authors first discuss the stability criterion involving eigenvalues, they should address the question ”eigenvalues of what?”. I suggest introducing the idea of the Jacobian matrix, and explaining that the largest eigenvalue of that matrix determines how rapidly the system will return to the fixed point after a small perturbation.

We included an additional sentence in the respective paragraph explaining the link between stability and negative eigenvalues, and we also added a sentence in the Methods section stating the the largest real eigenvalue dominates the behavior of the dynamical system.

(2) The panel labelling in Fig. 3 is unnecessarily confusing. It would be simpler (and thus better) to simply label the panels A,B,C,D, or i,ii,iii,iv, instead of the current labelling: Ai, Aii, Aiii, Aiv. (There are currently no panels ”B” in Fig. 3).

We updated the figure accordingly.

Reviewer #3 (Recommendations For The Authors):

• Suggestions for improved or additional experiments, data or analyses.

Analysis of the effect of different nonlinear transfer functions is necessary.

Please see our detailed answer to the reviewer’s comment in the public review above.

Analysis of gain modulation in models with more realistic tuning properties.

Please see our detailed answer to the reviewer’s comment in the public review above.

Mathematical analysis of the conditions to obtain ”untangled” gain and stability:

One of the promises of the paper is that it is offering a computational framework or circuit theory for understanding the effect of SOM perturbation. However, the main result, namely the untangling of gain and stability, has only been reported in numerical simulations (e.g. Fig. 6). Different parameters have been changed and the results of simulations have been reported for different conditions. Given the simplified model, which allows for rigorous mathematical analysis, isn’t it possible to treat this phenomenon more analytically? What would be the conditions for the emergence of the untangled regime? This is currently missing from the analyses and results.

We agree with the reviewer that our results benefit from more intuitive explanations. This has also been pointed out by reviewer 1 in their public review. We now extended the concluding paragraphs in the context of Fig. 4-6 with additional information, providing a more intuitive understanding of the results presented in the respective chapter. While it is possible understand analytically of how the network gain depends on rate and weight parameters (Eq. 2), this understanding is unfortunately missing in the case of stability. The maximum eigenvalue of the system have a complex relationship with all the parameters, and often have nonlinear dependencies on changes of a parameter (e.g. as we show in Fig. 3iv or one can see in Fig. 6). This doesn’t allow for a a deep analytical understanding of the entangling of gain and stability. We now discuss this difficulty at the end of the section “Influence of weight strength on network gain vs stability”.

• Recommendations for improving the writing and presentation. The Results section is well written overall, but other parts, especially the Introduction and Discussion, would benefit from proof reading - there are many typos and problems with sentence structures and wording (some mentioned below).

We have gone through the manuscript again and improved the writing.

The presentation of the dependence on weight in Figure 6 can be improved. For instance, the authors talk about the optimal range of PV connectivity, but this is difficult to appreciate in the current illustration and with the current colour scheme.

We added a zoom in to the panels which were hard to distinguish.

• Minor corrections to the text and figures. Text:

We thank the reviewer for their thorough reading of our manuscript. We fixed all the issues from below in the manuscript.

Some examples of bad structure or wording:

From the Abstract:

”We show when E - PV networks recurrently connect with SOM neurons then an SOM mediated modulation that leads to increased neuronal gain can also yield increased network stability.” From Introduction:

Sentence starting with ”This new circuit reality ...”

”Inhibition is been long identified as a physiological or circuit basis for how cortical activity changes depending upon processing or cognitive needs ...”

Sentence starting with ”Cortical models with both ...”

”... allowing SOM neurons the freedom to ..”

From Results:

”... affects of SOM neurons on E ..”

”seem in opposition to one another, with SOM neuron activity providing either a source or a relief of E neuron suppression”. The sentence after is also difficult to read and needs to be simplified.

P. 7: ”We first remark that ...”

Difficult to read/understand - long and badly structured sentence.

P. 8: ”adding a recurrent connection onto SOM neurons from the E-PV subcircuit” It’s from E (and not PV) to be more precise (Fig. 5).

Discussion:

”Firstly, E neurons and PV neurons experience very similar synaptic environments.” What does it mean?

”Fortunately, PV neurons target both the cell bodies and proximal dendrites” Fortunately for whom or what? ”in line with arge heterogeneity”

Methods:

Matrix B is never defined - the diagonal matrix of b (power law exponents) I assume.

Some of the other notations too, e.g. bs, etc (it’s implicit, but should be explained).

Structure of sentence:

”Network gain is defined as ...” (p. 17)

Figure:

The schematics in Figure 4 can be tweaked to highlight the effect of input (rather than other components of the network, which are the same and repetitive), to highlight the main difference for the reader.

 1  Unbiased identification of cell identity in dense mixed neural cultures www.biorxiv.org

Public_Reviews   (edited 11/4/2024 2:36 PM) 11/4/2024 2:20 PM   in q5X6RWJ6    

Author response:

The following is the authors’ response to the previous reviews.

Public Reviews:

Reviewer #1 (Public Review):

Summary:

The authors present a new application of the high-content image-based morphological profiling Cell Painting (CP) to single cell type classification in mixed heterogeneous induced pluripotent stem cellderived mixed neural cultures. Machine learning models were trained to classify single cell types according to either "engineered" features derived from the image or from the raw CP multiplexed image. The authors systematically evaluated experimental (e.g., cell density, cell types, fluorescent channels) and computational (e.g., different models, different cell regions) parameters and convincingly demonstrated that focusing on the nucleus and its surroundings contains sufficient information for robust and accurate cell type classification. Models that were trained on mono-cultures (i.e., containing a single cell type) could generalize for cell type prediction in mixed co-cultures, and describe intermediate states of the maturation process of iPSC-derived neural progenitors to differentiation neurons.

Strengths:

Automatically identifying single-cell types in heterogeneous mixed-cell populations holds great promise to characterize mixed-cell populations and to discover new rules of spatial organization and cell-cell communication. Although the current manuscript focuses on the application of quality control of iPSC cultures, the same approach can be extended to a wealth of other applications including an in-depth study of the spatial context. The simple and high-content assay democratizes use and enables adoption by other labs.

The manuscript is supported by comprehensive experimental and computational validations that raise the bar beyond the current state of the art in the field of high-content phenotyping and make this manuscript especially compelling. These include (i) Explicitly assessing replication biases (batch effects); (ii) Direct comparison of feature-based (a la cell profiling) versus deep-learning-based classification (which is not trivial/obvious for the application of cell profiling); (iii) Systematic assessment of the contribution of each fluorescent channel; (iv) Evaluation of cell-density dependency; (v) Explicit examination of mistakes in classification; (vi) Evaluating the performance of different spatial contexts around the cell/nucleus; (vii) Generalization of models trained on cultures containing a single cell type (mono-cultures) to mixed co-cultures; (viii) Application to multiple classification tasks.

I especially liked the generalization of classification from mono- to co-cultures (Figure 4C), and quantitatively following the gradual transition from NPC to Neurons (Figure 5H).

The manuscript is well-written and easy tofollow.

Thank you for the positive appreciation of our work and constructive comments. 

Weaknesses:

I am not certain how useful/important the specific application demonstrated in this study is (quality control of iPSC cultures), this could be better explained in the manuscript. 

To clarify the importance we have added an additional explanation to the introduction (page 3) and also come back to it in the discussion (page 17).

Text from the introduction:

“However, genetic drift, clonal and patient heterogeneity cause variability in reprogramming and differentiation efficiency10,11. The differentiation outcome is further strongly influenced by variations in protocol12. This can significantly impact experimental outcomes, leading to inconsistent and potentially misleading results and consequently, it hinders the use of iPSC-derived cell systems in systematic drug screening or cell therapy pipelines. This is particularly true for iPSC-derived neural cultures, as their composition, purity and maturity directly affect gene expression and functional activity, which is essential for modelling neurological conditions13,14. Thus, from a preclinical perspective, there is the need for a fast and cost-effective QC approach to increase experimental reproducibility and cell type specificity15. From a clinical perspective in turn, robust QC is required for safety and regulatory compliance (e.g., for cell therapeutic solutions). This need for improved standardization and QC is underscored by large-scale collaborative efforts such as the International Stem Cell Banking Initiative16, which focusses on clinical quality attributes and provides recommendations for iPSC validation testing for use as cellular therapeutics, or the CorEuStem network, aiming to harmonize iPSC practices across core facilities in Europe.”

Text from the discussion: 

“Many groups highlight the difficulty of reproducible neural differentiation and attribute this to culture conditions, cultivation time and variation in developmental signalling pathways in the source iPSC material43,44. Spontaneous neural differentiation has previously been shown to require approximately 80 days before mature neurons arise that can fire action potentials and show neural circuit formation. Although these differentiation processes display a stereotypical temporal sequence34, the exact timing and duration might vary. This variation negatively affects the statistical power when testing drug interventions and thus prohibits the application of iPSC-culture derivatives in routine drug screening. Current solutions (e.g., immunocytochemistry, flow cytometry, …) are often cost-ineffective, tedious, and incompatible with longitudinal/multimodal interrogation. CP is a much more cost-effective solution and ideally suited for this purpose. Routine CP-based could add confidence to and save costs for the drug discovery pipeline. We have shown that CP can be leveraged to capture the morphological changes associated with neural differentiation.”

Another issue that I feel should be discussed more explicitly is how far can this application go - how sensitively can the combination of cell painting and machine learning discriminate between cell types that are more subtly morphologically different from one another?

Thank you for this interesting question. The fact that an approach based on a subregion not encompassing the whole cell (the “nucleocentric” approach) can predict cell types equally well, suggests that the cell shape as such is not the defining factor for accurate cell type profiling. And, while clearly neural progenitors, neurons or glia have vastly different cell shapes. We have shown that cells with closer phenotypes such as 1321N1 vs. SH-SY5Y or astrocytes vs. microglia can be distinguished with equal performance. However, triggered by the reviewers’ question, we have now tested additional conditions with more subtle phenotypes, including the classification of 1321N1 vs. two related retinal pigment epithelial cells with much more similar morphology (ARPE and RPE1 cells). We found that the CNN could discriminate these cells equally well and have added the results on page 8 and in Fig. 3D. To address this question from a different angle, we have also performed an experiment in which we changed cell states to assess whether discriminatory power remains high. Concretely, we exposed co-cultures of neurons and microglia to LPS to trigger microglial activation (more subtly visible as cytoskeletal changes and vacuole formation). This revealed that our approach still discriminates both cell types (neurons vs. microglia) with high accuracy, regardless of the microglial state. Furthermore, using a two-step approach, we could also distinguish LPS-treated (assumed to be activated) from unchallenged microglia (assumed to be more homeostatic), albeit with a lower accuracy. This experiment has been added as an extra results section (Cell type identification can be applied to mixed iPSC-derived neuronal cultures regardless of activation state, p12) and Fig. 7c. Finally, we have also added our take on what the possibilities could be for future applications in even more complex contexts such as tissue slice, 3D and live cell applications (page 17-18). 

Regarding evaluations, the use of accuracy, which is a measure that can be biased by class imbalance, is not the most appropriate measurement in my opinion. The confusion matrices are a great help, but I would recommend using a measurement that is less sensitive for class imbalance for cell-type classification performance evaluations.  

Across all CNNs trained in this manuscript, the sample size of the input classes has always been equalized, ruling out any effects of class imbalance. Nevertheless, to follow the reviewers’ recommendation, we have now used the F-score to document performance as it is insensitive to such imbalance. For clarity, we have now also mentioned the input number (ROIs/class) in every figure.

Another issue is that the performance evaluation is calculated on a subset of the full cell population - after exclusion/filtering. Could there be a bias toward specific cell types in the exclusion criteria? How would it affect our ability to measure the cell type composition of the population?

As explained in the M&M section, filtering was performed based on three criteria:

(1) Nuclear size: values below a threshold of 160, objects are considered to represent debris;

(2) DAPI intensity: values below a threshold of 500 represent segmentation errors;

(3) IF staining intensity: gates were set onto the intensity of the fluorescent markers used with posthoc IF to only retain cells that are unequivocally positive for either marker and to avoid inclusion of double positive (or negative) cells in the ground truth training. 

One could argue that the last criterion introduces a certain bias in that it does not consider part of the cell population. However, this is also not the purpose of our pioneering study that aims at identifying unique cell types for which ground truth is as pure and reliable as possible. Not filtering out these cells with a ‘dubious’ IF profile (e.g., cells that might be transitioning or are of a different type) would negatively affect the model by introducing noise. It is correct that the predictions are based only on these inputs and so cells of a subsequent test set will only be classified according to these labels. For example, in the neuronal differentiation experiment (Fig. 6G-H), cells are either characterized as NPC or as neurons, which leaves the transitioning (or undefined) cells in either category. Despite this simplification, the model adequately predicted the increase in neuron/NPC ratio with culture age. In future iterations, one could envision defining more refined cell (sub-)types in a population based on richer post-hoc information (e.g., through cyclic immunofluorescence or spatial single cell transcriptomics) or longitudinal follow-up of cell-state transitions using live imaging. This notion has been added to page 17 of the manuscript.

I am not entirely convinced by the arguments regarding the superiority of the nucleocentric vs. the nuclear representations. Could it be that this improvement is due to not being sensitive/ influenced by nucleus segmentation errors?

The reviewer has a valid point that segmentation errors may occur. However, the algorithm we have used (Stardist classifier), is very robust to nuclear segmentation errors. To verify the performance, we have now quantified segmentation errors in 20 images for 3 different densities and found a consistently low error rate (0.6 -1.6%) without correlation to the culture density. Moreover, these errors include partial imperfections (e.g., a missed protrusion or bleb) as well as over- (one nucleus detected as more) or under- (more nuclei detected as one) segmentations. The latter two will affect both the nuclear and nucleocentric predictions and should thus not affect the prediction performance. In the case of imperfect segmentations, there may be a specific impact on the nucleus-based predictions (which rely on blanking the non-nuclear part), but this alone cannot explain the significantly higher gain in accuracy for nucleocentric predictions (>5%). Therefore, we conclude that segmentation errors may contribute in part, but not exclusively, to the overall improved performance of nucleocentric input models. We have added this notion in the discussion (pages 14-15 and Suppl. Fig. 1E).

GRADCAM shows cherry-picked examples and is not very convincing.

To help convince the reviewer and illustrate the representativeness of selected images, we have now randomly selected for each condition and density 10 images (using random seeds to avoid cherrypicking) and added these in a Suppl. Fig. 3.

There are many missing details in the figure panels, figure legend, and text that would help the reader to better appreciate some of the technical details, see details in the section on recommendations for the authors.

Please see further for our specific adaptations.

Reviewer #2 (Public Review):

This study uses an AI-based image analysis approach to classify different cell types in cultures of different densities. The authors could demonstrate the superiority of the CNN strategy used with nucleocentric cell profiling approach for a variety of cell types classification. The paper is very clear and well-written. I just have a couple of minor suggestions and clarifications needed for the reader.

The entire prediction model is based on image analysis. Could the authors discuss the minimal spatial resolution of images required to allow a good prediction? Along the same line, it would be interesting to the reader to know which metrics related to image quality (e.g. signal to noise ratio) allow a good accuracy of the prediction.

Thank you for the positive and relevant feedback.

The reviewer has a good point that it is important to portray the imaging conditions that are required for accurate predictions. To investigate this further we have performed additional experiments that give a better view on the operating window in terms of resolution and SNR (manuscript page 7-8 and new figure panels Fig. 3B-C). The initial image resolution was 0.325 µm/pixel. To understand the dependency on resolution we performed training and classifications for image data sets that were progressively binned. We found that a two-fold reduction in resolution did not significantly affect the F-score, but further degradation decreased the performance. At a resolution of 6,0 µm/pixel (20-fold binning), the F-score dropped to 0.79±0.02, comparable to the performance when only the DAPI (nuclear) channel was used as input. The effect of reduced image quality was assessed in a similar manner, by iteratively adding more Gaussian noise to the image. We found that above an SNR of 10 the prediction performance remains consistent but below it starts to degrade. While this exercise provides a first impression of the current confines of our method, we do believe it is plausible that its performance can be extended to even lower-quality images for example by using image restoration algorithms. We have added this notion in the discussion (page 14).

The authors show that nucleocentric-based cell feature extraction is superior to feeding the CNN-based model for cell type prediction. Could they discuss what is the optimal size and shape of this ROI to ensure a good prediction? What if, for example, you increase or decrease the size of the ROI by a certain number of pixels?

To identify the optimal input, we varied the size of the square region around the nuclear centroid from 0.6 to 150 µm for the whole dataset. Within the nuclear-to-cell window (12µm- 30µm) the average Fscore is limited, but an important observation is the increasing error and differences in precision and recall with increasing nucleocentric patch sizes, which will become detrimental in cases of class imbalance. The F-score is maximal for a box of 12-18µm surrounding the nuclear centroid. In this “sweet spot”, the precision and recall are also in balance. Therefore, we have selected this region for the actual density comparison experiment. We have added our results to the manuscript (page 9 and 15).

It would be interesting for the reader to know the number of ROI used to feed each model and know the minimal amount of data necessary to reach a high level of accuracy in the predictions.

The figures have now been adjusted so that the number of ROIs used as input to feed the model are listed. The minimal number of ROIs required to obtain high level accuracy is tested in Figure 2C. By systematically increasing the number of input ROIs for both RF and CNN, we found that a plateau is reached at 5000 input ROIs (per class) for optimal prediction performance. This is also documented in the results section page 6.

From Figure 1 to Figure 4 the author shows that CNN based approach is efficient in distinguishing 1321N1 vs SH-SY5Y cell lines. The last two figures are dedicated to showing 2 different applications of the techniques: identification of different stages of neuronal differentiation (Figure 5) and different cell types (neurons, microglia, and astrocytes) in Figure 6. It would be interesting, for these 2 two cases as well, to assess the superiority of the CNN-based approach compared to the more classical Random Forest classification. This would reinforce the universal value of the method proposed.

To meet the reviewer’s request, we have now also compared CNN to RF for the classification of cells in iPSC-derived models (Figures 6 and 7). As expected, the CNN performed better in both cases. We have now added these results in Fig. 6 D and 7 C and pages 12 and 13 of the manuscript.

Reviewer #3 (Public Review):

Induced pluripotent stem cells, or iPSCs, are cells that scientists can push to become new, more mature cell types like neurons. iPSCs have a high potential to transform how scientists study disease by combining precision medicine gene editing with processes known as high-content imaging and drug screening. However, there are many challenges that must be overcome to realize this overall goal. The authors of this paper solve one of these challenges: predicting cell types that might result from potentially inefficient and unpredictable differentiation protocols. These predictions can then help optimize protocols.

The authors train advanced computational algorithms to predict single-cell types directly from microscopy images. The authors also test their approach in a variety of scenarios that one may encounter in the lab, including when cells divide quickly and crowd each other in a plate. Importantly, the authors suggest that providing their algorithms with just the right amount of information beyond the cells' nuclei is the best approach to overcome issues with cell crowding.

The work provides many well-controlled experiments to support the authors' conclusions. However, there are two primary concerns: (1) The model may be relying too heavily on the background and thus technical artifacts (instead of the cells) for making CNN-based predictions, and (2) the conclusion that their nucleocentric approach (including a small area beyond the nucleus) is not well supported, and may just be better by random chance. If the authors were to address these two concerns (through additional experimentation), then the work may influence how the field performs cell profiling in the future.

Thank you very much for confirming the potential value of our work and raising these relevant items. To better support our claims we have now performed additional validations, which we detail below. 

(1) The model may be relying too heavily on the background and thus technical artifacts (instead of the cells) for making CNN-based predictions 

To address the first point, we have adapted the GradCAM images to show an overlay of the input crop and GradCAM heatmap to give a better view of the structures that are highlighted by the CNN. We further investigated the influence of the background on the prediction performance. Our finding that a CNN trained on a monoculture retains a relatively high performance on cocultures implies that the CNN uses the salient characteristics of a cell to recognize it in more complex heterogeneous environments. Assuming that the background can vary between experiments, the prediction of a pretrained CNN on a new dataset indicates that cellular characteristics are used for robust prediction.  When inspecting GradCAM images obtained from the nucleocentric CNN approaches (now added in Suppl. Fig. 3), we noticed that the nuclear periphery typically contributed the most (but not exclusively) to the prediction performance. When using only the nuclear region as input, GradCAMs were more strongly (but again not exclusively) directed to the background surrounding the nuclei. To train the latter CNN, we had cropped nuclei and set the background to a value of zero. To rule out that this could have introduced a bias, we have now performed the exact same training and classification, but setting the background to random noise instead (Suppl. Fig. 2). While this effectively diverted the attention of the GradCAM output to the nucleus instead of the background, the prediction performance was unaltered. We therefore assume that irrespective of the background, when using nuclear crops as input, the CNN is dominated by features that describe nuclear size. We observe that nuclear size is significantly different in both cell types (although intranuclear features also still contribute) which is also reflected in the feature map gradient in the first UMAP dimension (Suppl. Fig. 2). This notion has been added to the manuscript (page 9) and Suppl. Fig. 2. 

(2) The conclusion that their nucleocentric approach (including a small area beyond the nucleus) is not well supported, and may just be better by random chance. 

To address this second concern, which was also raised by reviewer 2, we have performed a more extensive analysis in which the patch size was varied from 0.6 to 120µm around the nuclear centroid (Fig. 4E and page 9 of the manuscript). We observed that there is little effect of in- or decreasing patch size on the average F-score within the nuclear to cell window, but that the imbalance between the precision and recall increases towards the larger box sizes (>18µm). Under our experimental conditions, the input numbers per class were equal, but this will not be the case in situations where the ground truth is unknown (and needs to be predicted by the CNN). Therefore, a well-balanced CNN is of high importance. This notion has been added to page 15 of the manuscript.

The main advantage of nucleocentric profiling over whole-cell profiling in dense cultures is that it relies on a more robust nuclear segmentation method and is less sensitive to differences in cell density (Suppl. Fig. 1D). In other words, in dense cultures, the segmentation mask will contain similar regional input as the nuclear mask and the nucleocentric crop will contain more perinuclear information which contributes to the prediction accuracy. Therefore, at high densities, the performance of the CNN on whole-cell crops decreases owing to poorer segmentation performance. A CNN that uses nucleocentric crops, will be less sensitive to these errors. This notion has been added to pages 14-15 of the manuscript. 

Additionally, the impact of this work will be limited, given the authors do not provide a specific link to the public source code that they used to process and analyze their data.

The source code is now available on the Github page of the DeVos lab, under the following URL: https://github.com/DeVosLab/Nucleocentric-Profiling

Recommendations for the authors:  

Reviewing Editor (Recommendations For The Authors):

Evaluation summary

The authors present a new application of the high-content image-based morphological profiling Cell Painting (CP) to single cell type classification in mixed heterogeneous induced pluripotent stem cellderived mixed neural cultures. Machine learning models were trained to classify single cell types according to either "engineered" features derived from the image or from the raw CP multiplexed image. The authors systematically evaluated experimental (e.g., cell density, cell types, fluorescent channels, replication biases) and computational (e.g., different models, different cell regions) parameters and argue that focusing on the nucleus and its surroundings contains sufficient information for robust and accurate cell type classification. Models that were trained on mono-cultures (i.e., containing a single cell type) could generalize for cell type prediction in mixed co-cultures, and describe intermediate states of the maturation process of iPSC-derived neural progenitors to differentiation neurons.

Strengths:

Automatically identifying single-cell types in heterogeneous mixed-cell populations is an important application and holds great promise. The simple and high-content assay democratizes use and enables adoption by other labs. The manuscript is supported by comprehensive experimental and computational validations. The manuscript is well-written and easy to follow.

Weaknesses:

The conclusion is that the nucleocentric approach (including a small area beyond the nucleus) is not well supported, and may just be better by random chance. If better supported by additional experiments, this may influence how the field performs cell profiling in the future. Model interpretability (GradCAM) analysis is not convincing. The lack of a public source code repository is also limiting the impact of this study. There are missing details in the figure panels, figure legend, and text that would help the reader to better appreciate some of the technical details.

Essential revisions:

To reach a "compelling" strength of evidence the authors are requested to either perform a comprehensive analysis of the effect of ROI size on performance, or tune down statements regarding the superior performance of their "nucleocentric" approach. Further addition of a public and reproducible source code GitHub repository will lead to an "exceptional" strength of evidence.

To answer the main comment, we have performed an experiment in which we varied the size of the nucleocentric patch and quantified CNN performance. We have also evaluated the operational window of our method by varying the resolution and SNR and we have experimented with different background blanking methods. We have expanded our examples of GradCAM images and now also made our source code and an example data set available via GitHub.

Reviewer #1 (Recommendations For The Authors):

I think that an evaluation of how the excluded cells affect our ability to measure the cell type composition of the population would be helpful to better understand the limitations and practical measurement noise introduced by this approach. A similar evaluation of the excluded cells can also help to better understand the benefit of nucleocentric vs. cell representations by more convincingly demonstrating the case for the nucleocentric approach. In any case, I recommend discussing in more depth the arguments for using the nucleocentric representation and why it is superior to the nuclear representation.

The benefits of nucleocentric representation over nuclear and whole-cell representation are discussed more in depth at pages 14-15 of the manuscript. 

“The nucleocentric approach, which is based on more robust nuclear segmentation, minimizes such mistakes whilst still retaining input information from the structures directly surrounding the nucleus. At higher cell density, the whole-cell body segmentation becomes more error-prone, while also loosing morphological information (Suppl. Fig. 1D). The nucleocentric approach is more consistent as it relies on a more robust segmentation and does not blank the surrounding region. This way it also buffers for occasional nuclear segmentation errors (e.g., where blebs or parts of the nucleus are left undetected).”

It is not entirely clear to me why Figure 5 moves back to "engineered" features after previous figures showed the superiority of the deep learning approach. Especially, where Figure 6 goes again to DL. Dimensionality reduction can be also applied to DL-based classifications (e.g., using the last layer).

Following up on the reviewers’ interesting comment, we extracted the embeddings from the trained CNN and performed UMAP dimensionality reduction. The results are shown in Fig. 3D, 6F and supplementary figure 1B and added to the manuscript on pages 6, 8 and 12. 

We concluded that unsupervised dimensionality reduction using the feature embeddings could separate cell type clusters, where the distance between the clusters reflected the morphological similarity between the cell lines. 

I would recommend including more comprehensive GRADCAM panels in the SI to reduce the concern of cherry-picking examples. What is the interpretation of the nucleocentric area?

A more extensive set of GradCAM images have now been included in supplementary material (Supplementary figure 3) using the same random seeds for all conditions, thus avoiding any cherry picking. We interpret the GradCAM maps on the nucleocentric crops as highlighting the structures surrounding the nucleus (reflecting ER, mitochondria, Golgi) indicating their importance in correct cell classification. This was added to the manuscript on pages 9 and 15.

Missing/lacking details and suggestions in the figure panels and figure legend:

- Scale bars missing in some of the images shown (e.g., Figure 2F, Figure 3D, Figure 4, Supplementary Figure 4), what are the "composite" channels (e.g., Figure 2F), missing x-label in Figure 3B. 

These have now been added.

- Terms that are not clear in the figure and not explained in the legend, such as FITC and cy3 energy (Figure 1C). 

The figure has been adapted to better show the region, channel and feature. We have now added a Table (Table 5), detailing the definition of each morphological feature that is extracted. On page 27, information on feature extraction is noted.

- Details that are missing or not sufficiently explained in the figure legends such as what each data point represents and what is Gini importance (Figure 1D) 

We have added these explanations to the figure legends. The Gini importance or mean decrease in impurity reflects how often this feature is used in decision tree splits across all random forest trees.

Is it the std shown in Figure 2C?

Yes, this has now been added to the legend.  

It is not fully clear what is single/mixed (Figure 2D)

Clarification is added to the legend and in the manuscript on page 6.

explain what is DIV 13-90 in the legend (Figure 5).

DIV stands for days in vitro, here it refers to the days in culture since the start of the neural induction process. This has been added in the legend.

and state what are img1-5 (Supplementary Figures 1B-C) Clarification has been added to the legend.

- Supplementary Figure 1. What is the y-axis in panel C and how do the results align with the cell mask in panel B?

The y-axis represents the intersection over union (IoU). The IoU quantifies the overlap between ground truth (manually segmented ROI) and the ROI detected by the segmentation algorithm. It is defined as the area of the overlapping region over the total area. This clarification has been added to the legend.

- Supplementary Figure 1 and Methods. Please explain when CellPose and when StarDist were applied.

Added to supplementary figure and methods at page 24. In the case of nuclear segmentation (nucleus and nucleocentric crops), Stardist was used. For whole-cell crops, cell segmentation using Cellpose was used.

- Supplementary Figure 4C - the color code is different between nuclear and nucleocentric - this is confusing.

We have changed to color code to correspond in both conditions in Fig. 1A.

- Figure 3B - better to have a normalized measure in the x-axis (number of cells per area in um^2)

We agree and have changed this.

Suggestions and missing/lacking details in the text:

  • Line #38: "we then applied this" because it is the first time that this term is presented.

This has been rephrased.

  • Line #88: a few words on what were the features extracted would be helpful.

Short description added to page 26-27 and detailed definition of all features added in table 5.

-  Line #91: PCA analysis - the authors can highlight what (known) features were important to PC1 using the linear transformation that defined it.

The 5 most important features of PC1 were (in order of decreasing importance): channel 1 dissimilarity, channel 1 homogeneity, nuclear perimeter, channel 4 dissimilarity and nuclear area.  

- Line #92: Order of referencing Supplementary Figure 4 before referencing Supplementary Figure 13.

The order of the Supplementary images was changed to follow the chronology. 

  • Line #96: Can the authors show the data supporting this claim?

The unsupervised UMAP shown in fig. 1B is either color coded by cell type (left) or replicate (right). Based on this feature map, we observe clustering along the UMAP1 axis to be associated with the cell type. Variations in cellular morphology associated with the biological replicate are more visible along the UMAP2 axis. When looking at fig. 1C, the feature map reflecting the cellular area shows a gradient along the UMAP1 direction, supporting the assumption that cell area contributes to the cell type separation. On the other hand, the average intensity (Channel 2 intensity) has a gradient within the feature map along the UMAP2 direction. This corresponds to the pattern associated with the inter-replicate variability in panel B.

- Line #108: what is "nuclear Cy3 energy"?

This represents the local change of pixel intensities within the ROI in the nucleus in the 3rd channel dimension. This parameter reflects the texture within the nuclear region for the phalloidin and WGA staining. The definitions of all handcrafted features are added in table 5 of the manuscript.

- Line #110-112: Can the authors show the data supporting this claim?

The figure has been changed to include the results from a filtered and unfiltered dataframe (exclusion and inclusion of redundant features). Features could be filtered out if the correlation was above a threshold of 0.95. This has been added to page 6 of the manuscript and fig. 1D.  

- Line #115-116: please state the size of the mask.

Added to the text (page 6). We used isotropic image crops of 60µm centred on individual cell centroids.

- Lines 120-122: more details will make this more clear (single vs. mixed).

This has been changed on page 6 of the manuscript.

  • Line #142: "(mimics)" - is it a typo?

Tissue mimics refers to organoids/models that are meant to replicate the physiological behaviour.

  • Line #159: the bounding box for nucleocentric analysis is 15x15um (and not 60), as stated in the Methods.

Thank you for pointing out this mistake. We have adapted this.

- Line #165: what is the interpretation of what was important for the nucleocentric classification?

The colour code in GradCAM images is indicative of the attention of the CNN (the more to the red, the more attention). In fig. 4D and Suppl. Fig. 3 the structures directly surrounding the nucleus receive high attention from the CNN trained on nucleocentric crops. This has been added to the manuscript page 9 and 15.

  • Section starting in line #172: not explicitly stated what model was used (nucleocentric?).

Added in the legend of fig. 5. For these experiments, the full cell segmentation was still used. 

- Section starting in line #199: why use a feature-based model rather than nucleocentric? A short sentence would be helpful.

For CNN training, nucleocentric profiling was used. In response to a legitimate question of one of the reviewers, the feature-based UMAP analysis was replaced with the feature embeddings from the CNN. 

- Line #213: Fig. 5B does not show transitioning cells.

Thank you for pointing this out, this was a mistake and has been changed.

Lines #218-220: not fully clear to some readers (culture condition as a weak label), more details can be helpful.

We changed this at page 11 of the manuscript for clarity. 

“This gating strategy resulted in a fractional abundance of neurons vs. total (neurons + NPC) of 36,4 % in the primed condition and 80,0% in the differentiated condition (Fig. 6C). We therefore refer to the culture condition as a weak label as it does not take into account the heterogeneity within each condition (well).”

-  Line #230: "increasing dendritic outgrowth" - what does it mean? Can you explicitly highlight this phenotype in Figure 5G?

When the cells become more mature during differentiation, the cell body becomes smaller and the neurons form long, thin ramifications. This explanation has been added to page 12 of the manuscript.

  • Line #243: is it the nucleocentric CNN?

Yes.

  • Lines #304-313, the authors might want to discuss other papers dealing with continuous (non-neural) differentiation state transitions (eg PMID: 38238594).  

A discussion of the use of morphological profiling for longitudinal follow-up of continuous differentiation states has been added to the manuscript at page 18. 

- Line #444: cellpose or stardist? How did the authors use both?

Clarification has been added to supplementary figure 1 and methods at page 24. Stardist was used for nuclear segmentation, whereas Cellpose was used for whole-cell segmentation. 

  • Line #470-474: I would appreciate seeing the performance on the full dataset without exclusions.

Cells have been excluded based on 3 arguments: the absence of DAPI intensity, too small nuclear size and absence of ground truth staining. The first two arguments are based on the assumption that ROIs that contain no DAPI signal or are too small are errors in cell segmentation and therefore should not be taken along in the analysis. The third filtering step was based on the ground-truth IF signal. Not filtering out these cells with a ‘dubious’ IF profile (e.g., cells that might be transitioning or are of a different type) would negatively affect the model by introducing noise. It is correct that the predictions are based only on these inputs and so cells of a subsequent test set will only be classified according to these labels which might introduce bias. However, the model could predict increase in neuron/NPC ratio with culture age in absence of ground-truth staining (and thus IF-based filtering).

Reviewer #2 (Recommendations For The Authors):

Figure 1A: it would be interesting to the reader to see the SH-SY5Y data as well.

This has been added in fig. 1A.

Figure 3A: 95-100% image: showing images with the same magnification as the others would help to appreciate the cell density.

Now fig. 4A. The figure has been changed to make sure all images have the same magnification. 

Figure Supp 4 (line 132) is referred to before Figure Supp1 (line 152).

The image order and numbering has been changed to solve this issue.

Figure Supp 2 & 3 are not referred to in the text.

This has been adjusted.

Line 225: a statistical test would help to convince of the accuracy of these results (Figure 5C vs Figure 5F)?

These figures represent the total ROI counts and thus represent a single number.

Line 227: Could you explain to the reader, in a few words, what a dual SMAD inhibition is?

This has been added to the manuscript at page 20. 

“This dual blockade of SMAD signalling in iPSCs is induces neural differentiation by synergistically causing the loss of pluripotency and push towards neuroectodermal lineage.”

Reviewer #3 (Recommendations For The Authors):

I have a few concerns and several comments that, if addressed, may strengthen conclusions, and increase clarity of an already technically sound paper.

Concerns

  • The results presented in Figure 3 panel D, may indicate a critical error in data processing and interpretation that the authors must address. The GradCAM method highlights the background as having the highest importance. While it can be argued in the nucleocentric profiling method that GradCAM focuses on the nuclear membrane, the background is highly important even for the nuclear profiling method, which should provide little information. What procedure did the authors use for mask subtraction prior to CNN training? Could the segmentation algorithm be performing differently between cell lines? The authors interpret the GradCAM results to indicate a proxy for nuclear size, but then why did the CNN perform so much better than random forest using hand-crafted features that include this variable? The authors should also present size distributions between cell lines (and across seeding densities, in case one of the cell lines has different compaction properties with increasing density).

Perhaps clarifying this sentence (lines 166-168) would help as well: "As nuclear area dropped with culture density, the dynamic range decreased, which could explain the increased error rate of the CNN for high densities unrelated to segmentation errors (Suppl. Fig. 4B)." What do the authors mean by "dynamic range" and it is not clear how Supplementary Figure 4B provides evidence for this? 

The dynamic range refers to the difference between the minimum and maximum nuclear area. We expect the difference to decrease at highe rdensity owing to the crowding that forces all nuclei to take on a more similar (smaller) size.

More clarification on this has been added to page 9 of the manuscript.

I certainly understand that extrapolating the GradCAM concern to the remaining single-cell images using only four (out of tens of thousands of options) is also dangerous, but so is "cherry-picking" these cells to visualize. Finally, I also recommend that the authors quantitatively diagnose the extent of the background influence according to GradCAM by systematically measuring background influence in all cells and displaying the results per cell line per density.

To avoid cherry picking of GradCAM images, we have now randomly selected for each condition and density 10 images (using random seeds to avoid cherry-picking) and added these in a Suppl. Fig. 3.

In answer to this concern, we refer to the response above: 

“To address the first point, we have adapted the GradCAM images to show an overlay of the input crop and GradCAM heatmap to give a better view of the structures that are highlighted by the CNN. We further investigated the influence of the background on the prediction performance. Our finding that a CNN trained on a monoculture retains a relatively high performance on cocultures implies that the CNN uses the salient characteristics of a cell to recognize it in more complex heterogeneous environments. Assuming that the background can vary between experiments, the prediction of a pretrained CNN on a new dataset indicates that cellular characteristics are used for robust prediction.  When inspecting GradCAM images obtained from the nucleocentric CNN approaches (now added in Suppl. Fig. 3), we noticed that the nuclear periphery typically contributed the most (but not exclusively) to the prediction performance. When using only the nuclear region as input, GradCAMs were more strongly (but again not exclusively) directed to the background surrounding the nuclei. To train the latter CNN, we had cropped nuclei and set the background to a value of zero. To rule out that this could have introduced a bias, we have now performed the exact same training and classification, but setting the background to random noise instead (Suppl. Fig. 2). While this effectively diverted the attention of the GradCAM output to the nucleus instead of the background, the prediction performance was unaltered. We therefore assume that irrespective of the background, when using nuclear crops as input, the CNN is dominated by features that describe nuclear size. We observe that nuclear size is significantly different in both cell types (although intranuclear features also still contribute) which is also reflected in the feature map gradient in the first UMAP dimension (Suppl. Fig. 2). This notion has been added to the manuscript (page 9) and Suppl. Fig. 2.”

  • The data supporting the conclusion about nucleocentric profiling outperforming nuclear and full-cell profiling is minimal. I am picking on this conclusion in particular, because I think it is a super cool and elegant result that may change how folks approach issues stemming from cell density disproportionately impacting profiling. Figures 3B and 3C show nucleocentric slightly outperforming full cell, and the result is not significant. The authors state in lines 168-170: "Thus, we conclude that using the nucleocentric region as input for the CNN is a valuable strategy for accurate cell phenotype identification in dense cultures." This is somewhat of a weak conclusion, that, with additional analysis, could be strengthened and add high value to the community. Additionally, the authors describe the nucleocentric approach insufficiently. In the methods, the authors state (lines 501-503): "Cell crops (60μm whole cell - 15μm nucleocentric/nuclear area) were defined based on the segmentation mask for each ROI." This is not sufficient to reproduce the method. What software did the authors use?

Presumably, 60μm refers to a box size around cytoplasm? Much more detail is needed. Additionally, I suggest an analysis to confirm the impact of nucleocentric profiling, which would strengthen the authors' conclusions. I recommend systematically varying the subtraction (-30μm, -20μm, -10μm, 5μm, 0, +5μm, +10μm, etc.) and reporting the density-based analysis in Figure 3B per subtraction. I would expect to see some nucleocentric "sweet spot" where performance spikes, especially in high culture density. If we don't see this difference, then the non-significant result presented in Figures 3B and C is likely due to random chance. The authors mention "iterative data erosion" in the abstract, which might refer to what I am recommending, but do not describe this later.

More detail was added to the methods describing the image crops given as input to the CNN (page 28 of the manuscript). 

“Crops were defined based on the segmentation mask for each ROI. The bounding box was cropped out of the original image with a fixed patch size (60µm for whole cells, 18µm for nucleus and nucleocentric crops) surrounding the centroid of the segmentation mask. For the whole cell and nuclear crops, all pixels outside of the segmentation mask were set to zero. This was not the case for the nucleocentric crops. Each ROI was cropped out of the original morphological image and associated with metadata corresponding to its ground truth label.”

To address this concern, we also refer to the answer above. 

“We have performed a more extensive analysis in which the patch size was varied from 0.6 to 120µm around the nuclear centroid (Fig. 4E and page 9 of the manuscript). We observed that there is little effect of in- or decreasing patch size on the average F-score within the nuclear to cell window, but that the imbalance between the precision and recall increases towards the larger box sizes (>18µm). Under our experimental conditions, the input numbers per class were equal, but this will not be the case in situations where the ground truth is unknown (and needs to be predicted by the CNN). Therefore, a well-balanced CNN is of high importance. This notion has been added to page 12 of the manuscript.

The main advantage of nucleocentric profiling over whole-cell profiling in dense cultures is that it relies on a more robust nuclear segmentation method and is less sensitive to differences in cell density (Suppl. Fig. 1D). In other words, in dense cultures, the segmentation mask will contain similar regional input as the nuclear mask and the nucleocentric crop will contain more perinuclear information which contributes to the prediction accuracy. Therefore, at high densities, the performance of the CNN on whole-cell crops decreases owing to poorer segmentation performance. A CNN that uses nucleocentric crops, will be less sensitive to these errors. This notion has been added to pages 14-15 of the manuscript.“

Comments

  • There is a disconnect between the abstract and the introduction. The abstract highlights the nucleocentric model, but then it is not discussed in the introduction, which focuses on quality control. The introduction would benefit from some additional description of the single-cell or whole-image approach to profiling.

We highlight the importance of QC of complex iPSC-derived neural cultures as an application of morphological profiling. We used single-cell profiling to facilitate cell identification in these mixed cultures where the whole-image approach would be unable to deal with the heterogeneity withing the field of view. In the introduction, we added a description of the whole-image vs. single-cell approach to profiling (page 4). In the discussion (page 18), we further highlight the application of this single-cell profiling approach for QC purposes. 

- Comments on Figure 1. It is unclear how panel B shows "without replicate bias". 

In response to this comment, we refer to the answer above: “The unsupervised UMAP shown in fig. 1B is either color coded by cell type (left) or replicate (right). Based on this feature map, we observe clustering along the UMAP1 axis to be associated with the cell type. Variations in cellular morphology associated with the biological replicate are more visible along the UMAP2 axis. When looking at fig. 1C, the feature map reflecting the cellular area shows a gradient along the UMAP1 direction, supporting the assumption that cell area contributes to the cell type separation. On the other hand, the average intensity (Channel 2 intensity) has a gradient within the feature map along the UMAP2 direction. This corresponds to the pattern associated with the inter-replicate variability in panel B.” We added this notion to page 5 of the manuscript.

The paper would benefit from a description of how features were extracted sooner.

Information on the feature extraction was added to the manuscript at page 27. An additional table (table 5) has been added with the definition of each feature.  

- Comments on Supplementary Figure 4. The clustering with PCA is only showing 2 dimensions, so it is not surprising UMAP shows more distinct clustering.

We used two components for UMAP dimensionality reduction, so the data was also visualized in two dimensions. However, we agree that UMAP can show more distinct clustering as this method is non-linear.

Why is Figure S4 the first referenced Supplementary Figure?

This has been changed. 

  • Comments on Figure 2. Need discussion of the validation set - how was it determined? Panel E might have the answer I am looking for, but it is difficult to decipher exactly what is being done. The terminology needs to be defined somewhere, or maybe it is inconsistent. It is tough to tell. For example, what exactly are the two categories of model validation (cross-validation and independent testing)?

Additional clarification has been added to the manuscript at pages 6-7 and figure 2.

The metric being reported is accuracy for the independent replicate if the other two are used to train?

Yes. 

Panel C is a very cool analysis. Panel F needs a description of how those images were selected, randomly?

Added in the methods section (page 29). GradCAM analysis was used to visualize the regions used by the CNN for classification. This map is specific to each cell. Images are selected randomly out the full dataset for visualization.  

They also need scale bars.

Added to the figures. 

Panel G would benefit from explicit channel labels (at least a legend would be good!).

Explanation has been added to the legend. All color code and channel numbering are consistent with fig. 1A. 

What do the dots and boxplots represent? The legend says, "independent replicates", but independent replicates of, I assume, different model initializations?

Clarification has been added to the figure legends. For plots showing the performance of a CNN or RF classifier, each dot represents a different model initialization. Each classifier has been initialized at least 3 times. When indicated, the model training was performed with different random seeds for data splitting.

  • Comments on Figure 3. Panel A needs scale bar. See comment on Panel D in concern #1 described above. 

This has been added.

  • Comments on Supplementary Figure 1. A reader will need a more detailed description in panel C. I assume that the grey bar is the average of the points, and the points represent different single cells?

How many cells? How were these cells selected? 

This information on the figure (now Suppl. Fig. 1D), has been added to the legend.

“Left: Representative images of 1321N1 cells with increasing density alongside their cell and nuclear mask produced using resp. Cellpose and Stardist. Images are numbered from 1-5 with increasing density. Upper right: The number of ROIs detected in comparison to the ground truth (manual segmentation). A ROI was considered undetected when the intersection over union (IoU) was below 0,15. Each bar refers to the image number on the left. The IoU quantifies the overlap between ground truth (manually segmented ROI) and the ROI detected by the segmentation algorithm. It is defined as the area of the overlapping region over the total area. IoU for increasing cell density for cell and nuclear masks is given in the bottom right. Each point represents an individual ROI. Each bar refers to the image number on the left.”

  • Comments on Figure 4. More details on quenching are needed for a general audience. The markers chosen (EdU and BrdU) are generally not specific to cell type but to biological processes (proliferation), so it is confusing how they are being used as cell-type markers. 

The base analogues were incorporated into each cell line prior to mixing them, i.e.  when they were still growing in monoculture so they could be labelled and identified after co-seeding and morphological profiling. Additional clarification has been added to the manuscript (page 26) 

It is also unclear why reducing CV is an important side-effect of finetuning. CV of what? The legend says, "model iterations", but what does this mean? 

The dots in the violinplot are different CNN initializations. A lower variability between model initializations is an indicator of certainty of the results. Prior to finetuning, the results of the CNN were highly variable leading to a high CoV between the different CNNs. This means the outcome after finetuning is more robust.

  • Comments on Figure 5. This is a very convincing and well-described result, kudos! This provides another opportunity to again compare other approaches (not just nucleocentric). Additionally, since the UMAP space uses hand-crafted features. The authors could consider interpreting the specific morphology features impacted by the striking gradual shift to neuron population by fitting a series of linear models per individual feature. This might confirm (or discover) how exactly the cells are shifting morphology.

The supervised UMAP on the handcrafted features did not highlight any features contributing to the separation. Using the supervised UMAP, the clustering is dominated by the known cell type. Unsupervised UMAP on the handcrafted features does not show any clustering. In response to a previous comment, we adapted the figure to show UMAP dimensionality reduction using the feature embeddings from the cell-based CNN. This unsupervised UMAP does show good cell type separation, but it does not use any directly interpretable shape descriptors.

  • General comments on Methods. The section on "ground truth alignment" needs more details. Why was this performed? 

Following sequential staining and imaging rounds, multiple images were captured representing the same cell with different markers. Lifting the plate of the microscope stage and imaging in sequential rounds after several days results in small linear translations in the exact location of each image. These linear translations need to be corrected to align (or register) morphological with ground truth image data within the same ROI. This notion has been added to the manuscript at page 26. 

Handcrafted features extracted using what software? 

The complete analysis was performed in python. All packages used are listed in table 4. Handcrafted features were extracted using the scikit-image package (regionprops and GLCM functions). This has been added to the manuscript at page 27.

Software should be cited more often throughout the manuscript. 

Lastly, the GitHub URL points to the DeVosLab organization, but should point to a specific repository. Therefore, I was unable to review the provided code. A well-documented and reproducible analysis pipeline should be included.

A test dataset and source code are available on GitHub:  https://github.com/DeVosLab/Nucleocentric-Profiling

 1  How to Read Academic Papers without Freaking Out medium.com

BennettJones   8/28/2024 4:19 PM   in Public    
people. This method prioritizes understanding. Don’t Ignore the ReferencesIf yo

Is there a sweet spot between these two methods?

 1  Expansion-assisted selective plane illumination microscopy for nanoscale imaging of centimeter-scale tissues www.biorxiv.org

Public_Reviews   8/27/2024 10:27 AM   in q5X6RWJ6    

Reviewer #1 (Public Review):

Summary:

Glaser et al present ExA-SPIM, a light-sheet microscope platform with large volumetric coverage (Field of view 85mm^2, working distance 35mm ), designed to image expanded mouse brains in their entirety. The authors also present an expansion method optimized for whole mouse brains, and an acquisition software suite. The microscope is employed in imaging an expanded mouse brain, the macaque motor cortex and human brain slices of white matter.
This is impressive work, and represents a leap over existing light-sheet microscopes. As an example, it offers a ~ fivefold higher resolution than mesoSPIM (https://mesospim.org/), a popular platform for imaging large cleared samples. Thus while this work is rooted in optical engineering, it manifests a huge step forward and has the potential to become an important tool in the neurosciences.

Strengths:

-ExA-SPIM features an exceptional combination of field of view, working distance, resolution and throughput.

-An expanded mouse brain can be acquired with only 15 tiles, lowering the burden on computational stitching. That the brain does not need to be mechanically sectioned is also seen as an important capability.

-The image data is compelling, and tracing of neurons has been performed. This demonstrates the potential of the microscope platform.

Weaknesses:

-There is a general question about the scaling laws of lenses, and expansion microscopy, which in my opinion remained unanswered: In the context of whole brain imaging, a larger expansion factor requires a microscope system with larger volumetric coverage, which in turn will have lower resolution (Figure 1B). So what is optimal? Could one alternatively image a cleared (non-expanded) brain with a high resolution ASLM system (Chakraborty, Tonmoy, Nature Methods 2019, potentially upgraded with custom objectives) and get similar effective resolution as the authors get with expansion? This is not meant to diminish the achievement, but it was unclear if the gains in resolution from the expansion factor are traded off by the scaling laws of current optical systems.

-It was unclear if 300 nm lateral and 800 nm axial resolution is enough for many questions in neuroscience. Segmenting spines, distinguishing pre- and postsynaptic densities, or tracing densely labeled neurons might be challenging. A discussion about the necessary resolution levels in neuroscience would be appreciated.

-Would it be possible to characterize the aberrations that might be still present after whole brain expansion? One approach could be to image small fluorescent nanospheres behind the expanded brain, and recover the pupil function via phase retrieval. But even full width half maximum (FWHM) measurements of the nanospheres' images would give some idea of the magnitude of the aberrations.

Review of the revised manuscript:

The authors have carefully addressed my concerns and suggestions.

I appreciate the extended discussion on tissue clearing compared to expansion. I would recommend substantiating some of the statements though with references, or in other instances expanding a little further. I would encourage the authors to consider the points below. But there is also another path to actually reduce that specific discussion, if the conclusion is that it opened more questions than answers.

Specifically, here are some points in the paragraph that discusses tissue clearing and expansion that could be improved:
-The statement "Spherical aberration increases with NA" reads nonspecific to me. I think a more precise formulation would be "The effect of spherical aberration (e.g. loss of Strehl ratio) increases with NA. The stated third power law would also benefit from a reference.
-The statement "the index of refraction gradients in tissue decreases with the third power of the expansion factor..." reads a bit odd. "Gradients in refractive index" would be more consistent with the usage of r.i. throughout the manuscript.
For the third power law, it might be important to know what drives the remaining refractive index variation in expansion microscopy. If it is the labels and their linkers, then indeed, they get increasingly diluted as their amount remains constant. However, if the aberrations are caused by the polymer gel, I would assume you would need more monomer material for higher expansion factors? Thus, I was not fully sure about the scaling law in this case. If there is a reference where this was explored in detail, that would resolve this issue.

-The statement that aberrations scale with gradients in refractive index also needs either a reference, or an explanation for the reader. I think figure S4 was supposed to illustrate this, but was not referenced in the discussion (and could be clarified, see comment below).

To me, the discussion focused strongly on tissue clearing vs expansion. What was left out in the discussion was if larger expansion factors would be favorable (i.e. whole brain imaging with 10-20X expansion instead of 4-5X). Some arguments implicitly seemed to stipulate that a larger expansion factor would optically be favorable. But Figure S7 highlights another tradeoff with the decay in sensitivity and Figure 1b provides the technological constraints on lens design. So as a reader, I was not fully sure if the next frontier should be 10-20X expansion brain imaging, or if 4-5X is currently a sweet spot.

Further comments:

Please explain the variables in Figure S4, such as F, WD and d. It was unclear to me what the RI profile should mean in the bottom row. Naively, the figure of merit would be the optical path length that is integrated along the different rays, as this leads to a variation in the wavefront.

Figure S5: I would caution to say the SNR was quantified, but rather say it was estimated (in the shot noise limit). Was the background subtracted for the SNR measurements?
Squaring the SNR estimates, it looks like the photon counts went down ~10-fold from z=2mm to z=25mm. That is a larger reduction in signal than I had expected. If it was based solely on aberrations, a 10-fold drop in Strehl ratio seems significant (potentially smaller if we assume the light-sheet also underwent aberrations). Are there other factors that could explain the signal reduction (maybe from the labeling side)?
Further on Figure S5: Fourier transforms (power spectrum) and single line profiles are in my opinion not the best way to quantify resolution. Could the authors perform image decorrelation analysis on the region of interest (Descloux, A., Kristin Stefanie Grußmayer, and Aleksandra Radenovic. "Parameter-free image resolution estimation based on decorrelation analysis." Nature methods 2019) or Fourier ring correlation? This would give in some sense an average resolving power in that depth, and would remove the bias from picking a line profile.

 1  Untangling stability and gain modulation in cortical circuits with multiple interneuron classes www.biorxiv.org

Public_Reviews   7/29/2024 8:09 AM   in q5X6RWJ6    

Reviewer #3 (Public Review):

Summary:
Bos et al study a computational model of cortical circuits with excitatory (E) and two subtypes of inhibition - parvalbumin (PV) and somatostatin (SOM) expressing interneurons. They perform stability and gain analysis of simplified models with nonlinear transfer functions when SOM neurons are perturbed. Their analysis suggests that in a specific setup of connectivity, instability and gain can be untangled, such that SOM modulation leads to both increases in stability and gain. This is in contrast with the typical direction in neuronal networks where increased gain results in decreased stability.

Strengths:
- Analysis of the canonical circuit in response to SOM perturbations. Through numerical simulations and mathematical analysis, the authors have provided a rather comprehensive picture of how SOM modulation may affect response changes.

- Shedding light on two opposing circuit motifs involved in the canonical E-PV-SOM circuitry - namely, direct inhibition (SOM -> E) vs disinhibition (SOM -> PV -> E). These two pathways can lead to opposing effects, and it is often difficult to predict which one results from modulating SOM neurons. In simplified circuits, the authors show how these two motifs can emerge and depend on parameters like connection weights.

- Suggesting potentially interesting consequences for cortical computation. The authors suggest that certain regimes of connectivity may lead to untangling of stability and gain, such that increases in network gain are not compromised by decreasing stability. They also link SOM modulation in different connectivity regimes to versatile computations in visual processing in simple models.

Weaknesses:
The computational analysis is not novel per se, and the link to biology is not direct/clear.

Computationally, the analysis is solid, but it's very similar to previous studies (del Molino et al, 2017). Many studies in the past few years have done the perturbation analysis of a similar circuitry with or without nonlinear transfer functions (some of them listed in the references). This study applies the same framework to SOM perturbations, which is a useful and interesting computational exercise, in view of the complexity of the high-dimensional parameter space. But the mathematical framework is not novel per se, undermining the claim of providing a new framework (or "circuit theory").

Link to biology: the most interesting result of the paper with regard to biology is the suggestion of a regime in which gain and stability can be modulated in an unconventional way - however, it is difficult to link the results to biological networks:
- A general weakness of the paper is a lack of direct comparison to biological parameters or experiments. How different experiments can be reconciled by the results obtained here, and what new circuit mechanisms can be revealed? In its current form, the paper reads as a general suggestion that different combinations of gain modulation and stability can be achieved in a circuit model equipped with many parameters (12 parameters). This is potentially interesting but not surprising, given the high dimensional space of possible dynamical properties. A more interesting result would have been to relate this to biology, by providing reasoning why it might be relevant to certain circuits (and not others), or to provide some predictions or postdictions, which are currently missing in the manuscript.
- For instance, a nice motivation for the paper at the beginning of the Results section is the different results of SOM modulation in different experiments - especially between L23 (inhibition) and L4 (disinhibition). But no further explanation is provided for why such a difference should exist, in view of their results and the insights obtained from their suggested circuit mechanisms. How the parameters identified for the two regimes correspond to different properties of different layers?
- Another caveat is the range of parameters needed to obtain the unintuitive untangling as a result of SOM modulation. From Figure 4, it appears that the "interesting" regime (with increases in both gain and stability) is only feasible for a very narrow range of SOM firing rates (before 3 Hz). This can be a problem for the computational models if the sweet spot is a very narrow region (this analysis is by the way missing, so making it difficult to know how robust the result is in terms of parameter regions). In terms of biology, it is difficult to reconcile this with the realistic firing rates in the cortex: in the mouse cortex, for instance, we know that SOM neurons can be quite active (comparable to E neurons), especially in response to stimuli. It is therefore not clear if we should expect this mechanism to be a relevant one for cortical activity regimes.
- One of the key assumptions of the model is nonlinear transfer functions for all neuron types. In terms of modelling and computational analysis, a thorough analysis of how and when this is necessary is missing (an analysis similar to what has been attempted at in Figure 6 for synaptic weights, but for cellular gains). In terms of biology, the nonlinear transfer function has experimentally been reported for excitatory neurons, so it's not clear to what extent this may hold for different inhibitory subtypes. A discussion of this, along with the former analysis to know which nonlinearities would be necessary for the results, is needed, but currently missing from the study. The nonlinearity is assumed for all subtypes because it seems to be needed to obtain the results, but it's not clear how the model would behave in the presence or absence of them, and whether they are relevant to biological networks with inhibitory transfer functions.
- Tuning curves are simulated for an individual orientation (same for all), not considering the heterogeneity of neuronal networks with multiple orientation selectivity (and other visual features) - making the model too simplistic.

 1  Descriptive analysis of the cohort of transferred NSICU patients johol355.github.io

froesel3   6/25/2024 8:37 AM   in Public    
se! Extending the 3 hour window obviously adds a few cases, but with increasing risk of fal

Does it? I wonder if that is true, given your past work with the flight I would have thought fine it unlikely that both match. Though in the end you know best.

johol355   6/26/2024 10:23 PM   in Public    

Extending the time window to +/- 6 hours adds 10 patients or so to the cohort. I should add a plot showing the cohort size given the size of the time window. The sweet spot is somewhere around 1-3 hours.

 1  Junior Class Class of 2025 classroom.google.com

daniels5   5/10/2024 4:03 PM   in Public    

According to all known laws of aviation,

there is no way a bee should be able to fly.

Its wings are too small to get its fat little body off the ground.

The bee, of course, flies anyway

because bees don't care what humans think is impossible.

Yellow, black. Yellow, black. Yellow, black. Yellow, black.

Ooh, black and yellow! Let's shake it up a little.

Barry! Breakfast is ready!

Ooming!

Hang on a second.

Hello?

Barry?

Adam?

Oan you believe this is happening?

I can't. I'll pick you up.

Looking sharp.

Use the stairs. Your father paid good money for those.

Sorry. I'm excited.

Here's the graduate. We're very proud of you, son.

A perfect report card, all B's.

Very proud.

Ma! I got a thing going here.

You got lint on your fuzz.

Ow! That's me!

Wave to us! We'll be in row 118,000.

Bye!

Barry, I told you, stop flying in the house!

Hey, Adam.

Hey, Barry.

Is that fuzz gel?

A little. Special day, graduation.

Never thought I'd make it.

Three days grade school, three days high school.

Those were awkward.

Three days college. I'm glad I took a day and hitchhiked around the hive.

You did come back different.

Hi, Barry.

Artie, growing a mustache? Looks good.

Hear about Frankie?

Yeah.

You going to the funeral?

No, I'm not going.

Everybody knows, sting someone, you die.

Don't waste it on a squirrel. Such a hothead.

I guess he could have just gotten out of the way.

I love this incorporating an amusement park into our day.

That's why we don't need vacations.

Boy, quite a bit of pomp… under the circumstances.

Well, Adam, today we are men.

We are!

Bee-men.

Amen!

Hallelujah!

Students, faculty, distinguished bees,

please welcome Dean Buzzwell.

Welcome, New Hive Oity graduating class of…

…9:15.

That concludes our ceremonies.

And begins your career at Honex Industries!

Will we pick ourjob today?

I heard it's just orientation.

Heads up! Here we go.

Keep your hands and antennas inside the tram at all times.

Wonder what it'll be like? A little scary. Welcome to Honex, a division of Honesco

and a part of the Hexagon Group.

This is it!

Wow.

Wow.

We know that you, as a bee, have worked your whole life

to get to the point where you can work for your whole life.

Honey begins when our valiant Pollen Jocks bring the nectar to the hive.

Our top-secret formula

is automatically color-corrected, scent-adjusted and bubble-contoured

into this soothing sweet syrup

with its distinctive golden glow you know as…

Honey!

That girl was hot.

She's my cousin!

She is?

Yes, we're all cousins.

Right. You're right.

At Honex, we constantly strive

to improve every aspect of bee existence.

These bees are stress-testing a new helmet technology.

What do you think he makes? Not enough. Here we have our latest advancement, the Krelman.

What does that do? Oatches that little strand of honey that hangs after you pour it. Saves us millions.

Oan anyone work on the Krelman?

Of course. Most bee jobs are small ones. But bees know

that every small job, if it's done well, means a lot.

But choose carefully

because you'll stay in the job you pick for the rest of your life.

The same job the rest of your life? I didn't know that.

What's the difference?

You'll be happy to know that bees, as a species, haven't had one day off

in 27 million years.

So you'll just work us to death?

We'll sure try.

Wow! That blew my mind!

"What's the difference?" How can you say that?

One job forever? That's an insane choice to have to make.

I'm relieved. Now we only have to make one decision in life.

But, Adam, how could they never have told us that?

Why would you question anything? We're bees.

We're the most perfectly functioning society on Earth.

You ever think maybe things work a little too well here?

Like what? Give me one example.

I don't know. But you know what I'm talking about.

Please clear the gate. Royal Nectar Force on approach.

Wait a second. Oheck it out.

Hey, those are Pollen Jocks! Wow. I've never seen them this close.

They know what it's like outside the hive.

Yeah, but some don't come back.

Hey, Jocks! Hi, Jocks! You guys did great!

You're monsters! You're sky freaks! I love it! I love it!

I wonder where they were. I don't know. Their day's not planned.

Outside the hive, flying who knows where, doing who knows what.

You can'tjust decide to be a Pollen Jock. You have to be bred for that.

Right.

Look. That's more pollen than you and I will see in a lifetime.

It's just a status symbol. Bees make too much of it.

Perhaps. Unless you're wearing it and the ladies see you wearing it.

Those ladies? Aren't they our cousins too?

Distant. Distant.

Look at these two.

Oouple of Hive Harrys. Let's have fun with them. It must be dangerous being a Pollen Jock.

Yeah. Once a bear pinned me against a mushroom!

He had a paw on my throat, and with the other, he was slapping me!

Oh, my! I never thought I'd knock him out. What were you doing during this?

Trying to alert the authorities.

I can autograph that.

A little gusty out there today, wasn't it, comrades?

Yeah. Gusty.

We're hitting a sunflower patch six miles from here tomorrow.

Six miles, huh? Barry! A puddle jump for us, but maybe you're not up for it.

Maybe I am. You are not! We're going 0900 at J-Gate.

What do you think, buzzy-boy? Are you bee enough?

I might be. It all depends on what 0900 means.

Hey, Honex!

Dad, you surprised me.

You decide what you're interested in?

Well, there's a lot of choices. But you only get one. Do you ever get bored doing the same job every day?

Son, let me tell you about stirring.

You grab that stick, and you just move it around, and you stir it around.

You get yourself into a rhythm. It's a beautiful thing.

You know, Dad, the more I think about it,

maybe the honey field just isn't right for me.

You were thinking of what, making balloon animals?

That's a bad job for a guy with a stinger.

Janet, your son's not sure he wants to go into honey!

Barry, you are so funny sometimes. I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer!

You're gonna be a stirrer? No one's listening to me! Wait till you see the sticks I have.

I could say anything right now. I'm gonna get an ant tattoo!

Let's open some honey and celebrate!

Maybe I'll pierce my thorax. Shave my antennae.

Shack up with a grasshopper. Get a gold tooth and call everybody "dawg"!

I'm so proud.

We're starting work today! Today's the day. Oome on! All the good jobs will be gone.

Yeah, right.

Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal…

Is it still available? Hang on. Two left! One of them's yours! Oongratulations! Step to the side.

What'd you get? Picking crud out. Stellar! Wow!

Oouple of newbies?

Yes, sir! Our first day! We are ready!

Make your choice.

You want to go first? No, you go. Oh, my. What's available?

Restroom attendant's open, not for the reason you think.

Any chance of getting the Krelman? Sure, you're on. I'm sorry, the Krelman just closed out.

Wax monkey's always open.

The Krelman opened up again.

What happened?

A bee died. Makes an opening. See? He's dead. Another dead one.

Deady. Deadified. Two more dead.

Dead from the neck up. Dead from the neck down. That's life!

Oh, this is so hard!

Heating, cooling, stunt bee, pourer, stirrer,

humming, inspector number seven, lint coordinator, stripe supervisor,

mite wrangler. Barry, what do you think I should… Barry?

Barry!

All right, we've got the sunflower patch in quadrant nine…

What happened to you? Where are you?

I'm going out.

Out? Out where?

Out there.

Oh, no!

I have to, before I go to work for the rest of my life.

You're gonna die! You're crazy! Hello?

Another call coming in.

If anyone's feeling brave, there's a Korean deli on 83rd

that gets their roses today.

Hey, guys.

Look at that. Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted.

It's OK, Lou. We're gonna take him up.

Really? Feeling lucky, are you?

Sign here, here. Just initial that.

Thank you. OK. You got a rain advisory today,

and as you all know, bees cannot fly in rain.

So be careful. As always, watch your brooms,

hockey sticks, dogs, birds, bears and bats.

Also, I got a couple of reports of root beer being poured on us.

Murphy's in a home because of it, babbling like a cicada!

That's awful. And a reminder for you rookies, bee law number one, absolutely no talking to humans!

All right, launch positions!

Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz!

Black and yellow!

Hello!

You ready for this, hot shot?

Yeah. Yeah, bring it on.

Wind, check.

Antennae, check.

Nectar pack, check.

Wings, check.

Stinger, check.

Scared out of my shorts, check.

OK, ladies,

let's move it out!

Pound those petunias, you striped stem-suckers!

All of you, drain those flowers!

Wow! I'm out!

I can't believe I'm out!

So blue.

I feel so fast and free!

Box kite!

Wow!

Flowers!

This is Blue Leader. We have roses visual.

Bring it around 30 degrees and hold.

Roses!

30 degrees, roger. Bringing it around.

Stand to the side, kid. It's got a bit of a kick.

That is one nectar collector!

Ever see pollination up close? No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there,

a pinch on that one. See that? It's a little bit of magic.

That's amazing. Why do we do that?

That's pollen power. More pollen, more flowers, more nectar, more honey for us.

Oool.

I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those?

Oopy that visual.

Wait. One of these flowers seems to be on the move.

Say again? You're reporting a moving flower?

Affirmative.

That was on the line!

This is the coolest. What is it?

I don't know, but I'm loving this color.

It smells good. Not like a flower, but I like it.

Yeah, fuzzy.

Ohemical-y.

Oareful, guys. It's a little grabby.

My sweet lord of bees!

Oandy-brain, get off there!

Problem!

Guys! This could be bad. Affirmative.

Very close.

Gonna hurt.

Mama's little boy.

You are way out of position, rookie!

Ooming in at you like a missile!

Help me!

I don't think these are flowers.

Should we tell him? I think he knows. What is this?!

Match point!

You can start packing up, honey, because you're about to eat it!

Yowser!

Gross.

There's a bee in the car!

Do something!

I'm driving!

Hi, bee.

He's back here!

He's going to sting me!

Nobody move. If you don't move, he won't sting you. Freeze!

He blinked!

Spray him, Granny!

What are you doing?!

Wow… the tension level out here is unbelievable.

I gotta get home.

Oan't fly in rain.

Oan't fly in rain.

Oan't fly in rain.

Mayday! Mayday! Bee going down!

Ken, could you close the window please?

Ken, could you close the window please?

Oheck out my new resume. I made it into a fold-out brochure.

You see? Folds out.

Oh, no. More humans. I don't need this.

What was that?

Maybe this time. This time. This time. This time! This time! This…

Drapes!

That is diabolical.

It's fantastic. It's got all my special skills, even my top-ten favorite movies.

What's number one? Star Wars?

Nah, I don't go for that…

…kind of stuff.

No wonder we shouldn't talk to them. They're out of their minds.

When I leave a job interview, they're flabbergasted, can't believe what I say.

There's the sun. Maybe that's a way out.

I don't remember the sun having a big 75 on it.

I predicted global warming.

I could feel it getting hotter. At first I thought it was just me.

Wait! Stop! Bee!

Stand back. These are winter boots.

Wait!

Don't kill him!

You know I'm allergic to them! This thing could kill me!

Why does his life have less value than yours?

Why does his life have any less value than mine? Is that your statement?

I'm just saying all life has value. You don't know what he's capable of feeling.

My brochure!

There you go, little guy.

I'm not scared of him. It's an allergic thing.

Put that on your resume brochure.

My whole face could puff up.

Make it one of your special skills.

Knocking someone out is also a special skill.

Right. Bye, Vanessa. Thanks.

Vanessa, next week? Yogurt night?

Sure, Ken. You know, whatever.

You could put carob chips on there.

Bye.

Supposed to be less calories.

Bye.

I gotta say something.

She saved my life. I gotta say something.

All right, here it goes.

Nah.

What would I say?

I could really get in trouble.

It's a bee law. You're not supposed to talk to a human.

I can't believe I'm doing this.

I've got to.

Oh, I can't do it. Oome on!

No. Yes. No.

Do it. I can't.

How should I start it? "You like jazz?" No, that's no good.

Here she comes! Speak, you fool!

Hi!

I'm sorry.

You're talking. Yes, I know. You're talking!

I'm so sorry.

No, it's OK. It's fine. I know I'm dreaming.

But I don't recall going to bed.

Well, I'm sure this is very disconcerting.

This is a bit of a surprise to me. I mean, you're a bee!

I am. And I'm not supposed to be doing this,

but they were all trying to kill me.

And if it wasn't for you…

I had to thank you. It's just how I was raised.

That was a little weird.

I'm talking with a bee. Yeah. I'm talking to a bee. And the bee is talking to me!

I just want to say I'm grateful. I'll leave now.

Wait! How did you learn to do that? What? The talking thing.

Same way you did, I guess. "Mama, Dada, honey." You pick it up.

That's very funny. Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with.

Anyway…

Oan I…

…get you something?

Like what? I don't know. I mean… I don't know. Ooffee?

I don't want to put you out.

It's no trouble. It takes two minutes.

It's just coffee.

I hate to impose.

Don't be ridiculous!

Actually, I would love a cup.

Hey, you want rum cake?

I shouldn't.

Have some.

No, I can't.

Oome on!

I'm trying to lose a couple micrograms.

Where? These stripes don't help. You look great!

I don't know if you know anything about fashion.

Are you all right?

No.

He's making the tie in the cab as they're flying up Madison.

He finally gets there.

He runs up the steps into the church. The wedding is on.

And he says, "Watermelon? I thought you said Guatemalan.

Why would I marry a watermelon?"

Is that a bee joke?

That's the kind of stuff we do.

Yeah, different.

So, what are you gonna do, Barry?

About work? I don't know.

I want to do my part for the hive, but I can't do it the way they want.

I know how you feel.

You do? Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist.

Really? My only interest is flowers. Our new queen was just elected with that same campaign slogan.

Anyway, if you look…

There's my hive right there. See it?

You're in Sheep Meadow!

Yes! I'm right off the Turtle Pond!

No way! I know that area. I lost a toe ring there once.

Why do girls put rings on their toes?

Why not?

It's like putting a hat on your knee.

Maybe I'll try that.

You all right, ma'am?

Oh, yeah. Fine.

Just having two cups of coffee!

Anyway, this has been great. Thanks for the coffee.

Yeah, it's no trouble.

Sorry I couldn't finish it. If I did, I'd be up the rest of my life.

Are you…?

Oan I take a piece of this with me?

Sure! Here, have a crumb.

Thanks! Yeah. All right. Well, then… I guess I'll see you around.

Or not.

OK, Barry.

And thank you so much again… for before.

Oh, that? That was nothing.

Well, not nothing, but… Anyway…

This can't possibly work.

He's all set to go. We may as well try it.

OK, Dave, pull the chute.

Sounds amazing. It was amazing! It was the scariest, happiest moment of my life.

Humans! I can't believe you were with humans!

Giant, scary humans! What were they like?

Huge and crazy. They talk crazy.

They eat crazy giant things. They drive crazy.

Do they try and kill you, like on TV?

Some of them. But some of them don't.

How'd you get back?

Poodle.

You did it, and I'm glad. You saw whatever you wanted to see.

You had your "experience." Now you can pick out yourjob and be normal.

Well… Well? Well, I met someone.

You did? Was she Bee-ish?

A wasp?! Your parents will kill you!

No, no, no, not a wasp.

Spider?

I'm not attracted to spiders.

I know it's the hottest thing, with the eight legs and all.

I can't get by that face.

So who is she?

She's… human.

No, no. That's a bee law. You wouldn't break a bee law.

Her name's Vanessa. Oh, boy. She's so nice. And she's a florist!

Oh, no! You're dating a human florist!

We're not dating.

You're flying outside the hive, talking to humans that attack our homes

with power washers and M-80s! One-eighth a stick of dynamite!

She saved my life! And she understands me.

This is over!

Eat this.

This is not over! What was that?

They call it a crumb. It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat!

You know what a Oinnabon is? No. It's bread and cinnamon and frosting. They heat it up…

Sit down!

…really hot!

Listen to me! We are not them! We're us. There's us and there's them!

Yes, but who can deny the heart that is yearning?

There's no yearning. Stop yearning. Listen to me!

You have got to start thinking bee, my friend. Thinking bee!

Thinking bee. Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee!

There he is. He's in the pool.

You know what your problem is, Barry?

I gotta start thinking bee?

How much longer will this go on?

It's been three days! Why aren't you working?

I've got a lot of big life decisions to think about.

What life? You have no life! You have no job. You're barely a bee!

Would it kill you to make a little honey?

Barry, come out. Your father's talking to you.

Martin, would you talk to him?

Barry, I'm talking to you!

You coming?

Got everything?

All set!

Go ahead. I'll catch up.

Don't be too long.

Watch this!

Vanessa!

We're still here. I told you not to yell at him. He doesn't respond to yelling!

Then why yell at me? Because you don't listen! I'm not listening to this.

Sorry, I've gotta go.

Where are you going? I'm meeting a friend. A girl? Is this why you can't decide?

Bye.

I just hope she's Bee-ish.

They have a huge parade of flowers every year in Pasadena?

To be in the Tournament of Roses, that's every florist's dream!

Up on a float, surrounded by flowers, crowds cheering.

A tournament. Do the roses compete in athletic events?

No. All right, I've got one. How come you don't fly everywhere?

It's exhausting. Why don't you run everywhere? It's faster.

Yeah, OK, I see, I see. All right, your turn.

TiVo. You can just freeze live TV? That's insane!

You don't have that?

We have Hivo, but it's a disease. It's a horrible, horrible disease.

Oh, my.

Dumb bees!

You must want to sting all those jerks.

We try not to sting. It's usually fatal for us.

So you have to watch your temper.

Very carefully. You kick a wall, take a walk,

write an angry letter and throw it out. Work through it like any emotion:

Anger, jealousy, lust.

Oh, my goodness! Are you OK?

Yeah.

What is wrong with you?! It's a bug. He's not bothering anybody. Get out of here, you creep!

What was that? A Pic 'N' Save circular?

Yeah, it was. How did you know?

It felt like about 10 pages. Seventy-five is pretty much our limit.

You've really got that down to a science.

I lost a cousin to Italian Vogue. I'll bet. What in the name of Mighty Hercules is this?

How did this get here? Oute Bee, Golden Blossom,

Ray Liotta Private Select?

Is he that actor?

I never heard of him.

Why is this here?

For people. We eat it.

You don't have enough food of your own?

Well, yes.

How do you get it?

Bees make it.

I know who makes it!

And it's hard to make it!

There's heating, cooling, stirring. You need a whole Krelman thing!

It's organic. It's our-ganic! It's just honey, Barry.

Just what?!

Bees don't know about this! This is stealing! A lot of stealing!

You've taken our homes, schools, hospitals! This is all we have!

And it's on sale?! I'm getting to the bottom of this.

I'm getting to the bottom of all of this!

Hey, Hector.

You almost done? Almost. He is here. I sense it.

Well, I guess I'll go home now

and just leave this nice honey out, with no one around.

You're busted, box boy!

I knew I heard something. So you can talk!

I can talk. And now you'll start talking!

Where you getting the sweet stuff? Who's your supplier?

I don't understand. I thought we were friends.

The last thing we want to do is upset bees!

You're too late! It's ours now!

You, sir, have crossed the wrong sword!

You, sir, will be lunch for my iguana, Ignacio!

Where is the honey coming from?

Tell me where!

Honey Farms! It comes from Honey Farms!

Orazy person!

What horrible thing has happened here?

These faces, they never knew what hit them. And now

they're on the road to nowhere!

Just keep still.

What? You're not dead?

Do I look dead? They will wipe anything that moves. Where you headed?

To Honey Farms. I am onto something huge here.

I'm going to Alaska. Moose blood, crazy stuff. Blows your head off!

I'm going to Tacoma.

And you? He really is dead. All right.

Uh-oh!

What is that?!

Oh, no!

A wiper! Triple blade!

Triple blade?

Jump on! It's your only chance, bee!

Why does everything have to be so doggone clean?!

How much do you people need to see?!

Open your eyes! Stick your head out the window!

From NPR News in Washington, I'm Oarl Kasell.

But don't kill no more bugs!

Bee!

Moose blood guy!!

You hear something?

Like what?

Like tiny screaming.

Turn off the radio.

Whassup, bee boy?

Hey, Blood.

Just a row of honey jars, as far as the eye could see.

Wow!

I assume wherever this truck goes is where they're getting it.

I mean, that honey's ours.

Bees hang tight. We're all jammed in. It's a close community.

Not us, man. We on our own. Every mosquito on his own.

What if you get in trouble? You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack!

At least you're out in the world. You must meet girls.

Mosquito girls try to trade up, get with a moth, dragonfly.

Mosquito girl don't want no mosquito.

You got to be kidding me!

Mooseblood's about to leave the building! So long, bee!

Hey, guys! Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw?

We throw it in jars, slap a label on it, and it's pretty much pure profit.

What is this place?

A bee's got a brain the size of a pinhead.

They are pinheads!

Pinhead.

Oheck out the new smoker. Oh, sweet. That's the one you want. The Thomas 3000!

Smoker?

Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar.

A couple breaths of this knocks them right out.

They make the honey, and we make the money.

"They make the honey, and we make the money"?

Oh, my!

What's going on? Are you OK?

Yeah. It doesn't last too long.

Do you know you're in a fake hive with fake walls?

Our queen was moved here. We had no choice.

This is your queen? That's a man in women's clothes!

That's a drag queen!

What is this?

Oh, no!

There's hundreds of them!

Bee honey.

Our honey is being brazenly stolen on a massive scale!

This is worse than anything bears have done! I intend to do something.

Oh, Barry, stop.

Who told you humans are taking our honey? That's a rumor.

Do these look like rumors?

That's a conspiracy theory. These are obviously doctored photos.

How did you get mixed up in this?

He's been talking to humans.

What? Talking to humans?! He has a human girlfriend. And they make out!

Make out? Barry!

We do not.

You wish you could. Whose side are you on? The bees!

I dated a cricket once in San Antonio. Those crazy legs kept me up all night.

Barry, this is what you want to do with your life?

I want to do it for all our lives. Nobody works harder than bees!

Dad, I remember you coming home so overworked

your hands were still stirring. You couldn't stop.

I remember that.

What right do they have to our honey?

We live on two cups a year. They put it in lip balm for no reason whatsoever!

Even if it's true, what can one bee do?

Sting them where it really hurts.

In the face! The eye!

That would hurt. No. Up the nose? That's a killer.

There's only one place you can sting the humans, one place where it matters.

Hive at Five, the hive's only full-hour action news source.

No more bee beards!

With Bob Bumble at the anchor desk.

Weather with Storm Stinger.

Sports with Buzz Larvi.

And Jeanette Ohung.

Good evening. I'm Bob Bumble. And I'm Jeanette Ohung. A tri-county bee, Barry Benson,

intends to sue the human race for stealing our honey,

packaging it and profiting from it illegally!

Tomorrow night on Bee Larry King,

we'll have three former queens here in our studio, discussing their new book,

Olassy Ladies, out this week on Hexagon.

Tonight we're talking to Barry Benson.

Did you ever think, "I'm a kid from the hive. I can't do this"?

Bees have never been afraid to change the world.

What about Bee Oolumbus? Bee Gandhi? Bejesus?

Where I'm from, we'd never sue humans.

We were thinking of stickball or candy stores.

How old are you?

The bee community is supporting you in this case,

which will be the trial of the bee century.

You know, they have a Larry King in the human world too.

It's a common name. Next week…

He looks like you and has a show and suspenders and colored dots…

Next week…

Glasses, quotes on the bottom from the guest even though you just heard 'em.

Bear Week next week! They're scary, hairy and here live.

Always leans forward, pointy shoulders, squinty eyes, very Jewish.

In tennis, you attack at the point of weakness!

It was my grandmother, Ken. She's 81.

Honey, her backhand's a joke! I'm not gonna take advantage of that?

Quiet, please. Actual work going on here.

Is that that same bee? Yes, it is! I'm helping him sue the human race.

Hello. Hello, bee. This is Ken.

Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe.

Why does he talk again?

Listen, you better go 'cause we're really busy working.

But it's our yogurt night!

Bye-bye.

Why is yogurt night so difficult?!

You poor thing. You two have been at this for hours!

Yes, and Adam here has been a huge help.

Frosting… How many sugars? Just one. I try not to use the competition.

So why are you helping me?

Bees have good qualities.

And it takes my mind off the shop.

Instead of flowers, people are giving balloon bouquets now.

Those are great, if you're three.

And artificial flowers.

Oh, those just get me psychotic! Yeah, me too. Bent stingers, pointless pollination.

Bees must hate those fake things!

Nothing worse than a daffodil that's had work done.

Maybe this could make up for it a little bit.

This lawsuit's a pretty big deal. I guess. You sure you want to go through with it?

Am I sure? When I'm done with the humans, they won't be able

to say, "Honey, I'm home," without paying a royalty!

It's an incredible scene here in downtown Manhattan,

where the world anxiously waits, because for the first time in history,

we will hear for ourselves if a honeybee can actually speak.

What have we gotten into here, Barry?

It's pretty big, isn't it?

I can't believe how many humans don't work during the day.

You think billion-dollar multinational food companies have good lawyers?

Everybody needs to stay behind the barricade.

What's the matter? I don't know, I just got a chill. Well, if it isn't the bee team.

You boys work on this?

All rise! The Honorable Judge Bumbleton presiding.

All right. Oase number 4475,

Superior Oourt of New York, Barry Bee Benson v. the Honey Industry

is now in session.

Mr. Montgomery, you're representing the five food companies collectively?

A privilege.

Mr. Benson… you're representing all the bees of the world?

I'm kidding. Yes, Your Honor, we're ready to proceed.

Mr. Montgomery, your opening statement, please.

Ladies and gentlemen of the jury,

my grandmother was a simple woman.

Born on a farm, she believed it was man's divine right

to benefit from the bounty of nature God put before us.

If we lived in the topsy-turvy world Mr. Benson imagines,

just think of what would it mean.

I would have to negotiate with the silkworm

for the elastic in my britches!

Talking bee!

How do we know this isn't some sort of

holographic motion-picture-capture Hollywood wizardry?

They could be using laser beams!

Robotics! Ventriloquism! Oloning! For all we know,

he could be on steroids!

Mr. Benson?

Ladies and gentlemen, there's no trickery here.

I'm just an ordinary bee. Honey's pretty important to me.

It's important to all bees. We invented it!

We make it. And we protect it with our lives.

Unfortunately, there are some people in this room

who think they can take it from us

'cause we're the little guys! I'm hoping that, after this is all over,

you'll see how, by taking our honey, you not only take everything we have

but everything we are!

I wish he'd dress like that all the time. So nice!

Oall your first witness.

So, Mr. Klauss Vanderhayden of Honey Farms, big company you have.

I suppose so.

I see you also own Honeyburton and Honron!

Yes, they provide beekeepers for our farms.

Beekeeper. I find that to be a very disturbing term.

I don't imagine you employ any bee-free-ers, do you?

No.

I couldn't hear you.

No.

No.

Because you don't free bees. You keep bees. Not only that,

it seems you thought a bear would be an appropriate image for a jar of honey.

They're very lovable creatures.

Yogi Bear, Fozzie Bear, Build-A-Bear.

You mean like this?

Bears kill bees!

How'd you like his head crashing through your living room?!

Biting into your couch! Spitting out your throw pillows!

OK, that's enough. Take him away.

So, Mr. Sting, thank you for being here. Your name intrigues me.

Where have I heard it before? I was with a band called The Police. But you've never been a police officer, have you?

No, I haven't.

No, you haven't. And so here we have yet another example

of bee culture casually stolen by a human

for nothing more than a prance-about stage name.

Oh, please.

Have you ever been stung, Mr. Sting?

Because I'm feeling a little stung, Sting.

Or should I say… Mr. Gordon M. Sumner!

That's not his real name?! You idiots!

Mr. Liotta, first, belated congratulations on

your Emmy win for a guest spot on ER in 2005.

Thank you. Thank you.

I see from your resume that you're devilishly handsome

with a churning inner turmoil that's ready to blow.

I enjoy what I do. Is that a crime?

Not yet it isn't. But is this what it's come to for you?

Exploiting tiny, helpless bees so you don't

have to rehearse your part and learn your lines, sir?

Watch it, Benson! I could blow right now!

This isn't a goodfella. This is a badfella!

Why doesn't someone just step on this creep, and we can all go home?!

Order in this court! You're all thinking it! Order! Order, I say!

Say it! Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that.

I think the jury's on our side.

Are we doing everything right, legally?

I'm a florist.

Right. Well, here's to a great team.

To a great team!

Well, hello.

Ken! Hello. I didn't think you were coming.

No, I was just late. I tried to call, but… the battery.

I didn't want all this to go to waste, so I called Barry. Luckily, he was free.

Oh, that was lucky.

There's a little left. I could heat it up.

Yeah, heat it up, sure, whatever.

So I hear you're quite a tennis player.

I'm not much for the game myself. The ball's a little grabby.

That's where I usually sit. Right… there.

Ken, Barry was looking at your resume,

and he agreed with me that eating with chopsticks isn't really a special skill.

You think I don't see what you're doing?

I know how hard it is to find the rightjob. We have that in common.

Do we?

Bees have 100 percent employment, but we do jobs like taking the crud out.

That's just what I was thinking about doing.

Ken, I let Barry borrow your razor for his fuzz. I hope that was all right.

I'm going to drain the old stinger.

Yeah, you do that.

Look at that.

You know, I've just about had it

with your little mind games.

What's that? Italian Vogue. Mamma mia, that's a lot of pages.

A lot of ads.

Remember what Van said, why is your life more valuable than mine?

Funny, I just can't seem to recall that!

I think something stinks in here!

I love the smell of flowers.

How do you like the smell of flames?!

Not as much.

Water bug! Not taking sides!

Ken, I'm wearing a Ohapstick hat! This is pathetic!

I've got issues!

Well, well, well, a royal flush!

You're bluffing. Am I? Surf's up, dude!

Poo water!

That bowl is gnarly.

Except for those dirty yellow rings!

Kenneth! What are you doing?!

You know, I don't even like honey! I don't eat it!

We need to talk!

He's just a little bee!

And he happens to be the nicest bee I've met in a long time!

Long time? What are you talking about?! Are there other bugs in your life?

No, but there are other things bugging me in life. And you're one of them!

Fine! Talking bees, no yogurt night…

My nerves are fried from riding on this emotional roller coaster!

Goodbye, Ken.

And for your information,

I prefer sugar-free, artificial sweeteners made by man!

I'm sorry about all that.

I know it's got an aftertaste! I like it!

I always felt there was some kind of barrier between Ken and me.

I couldn't overcome it. Oh, well.

Are you OK for the trial?

I believe Mr. Montgomery is about out of ideas.

We would like to call Mr. Barry Benson Bee to the stand.

Good idea! You can really see why he's considered one of the best lawyers…

Yeah.

Layton, you've gotta weave some magic

with this jury, or it's gonna be all over.

Don't worry. The only thing I have to do to turn this jury around

is to remind them of what they don't like about bees.

You got the tweezers? Are you allergic? Only to losing, son. Only to losing.

Mr. Benson Bee, I'll ask you what I think we'd all like to know.

What exactly is your relationship

to that woman?

We're friends.

Good friends? Yes. How good? Do you live together?

Wait a minute…

Are you her little…

…bedbug?

I've seen a bee documentary or two. From what I understand,

doesn't your queen give birth to all the bee children?

Yeah, but…

So those aren't your real parents!

Oh, Barry…

Yes, they are!

Hold me back!

You're an illegitimate bee, aren't you, Benson?

He's denouncing bees!

Don't y'all date your cousins?

Objection! I'm going to pincushion this guy! Adam, don't! It's what he wants!

Oh, I'm hit!!

Oh, lordy, I am hit!

Order! Order!

The venom! The venom is coursing through my veins!

I have been felled by a winged beast of destruction!

You see? You can't treat them like equals! They're striped savages!

Stinging's the only thing they know! It's their way!

Adam, stay with me. I can't feel my legs. What angel of mercy will come forward to suck the poison

from my heaving buttocks?

I will have order in this court. Order!

Order, please!

The case of the honeybees versus the human race

took a pointed turn against the bees

yesterday when one of their legal team stung Layton T. Montgomery.

Hey, buddy.

Hey.

Is there much pain?

Yeah.

I…

I blew the whole case, didn't I?

It doesn't matter. What matters is you're alive. You could have died.

I'd be better off dead. Look at me.

They got it from the cafeteria downstairs, in a tuna sandwich.

Look, there's a little celery still on it.

What was it like to sting someone?

I can't explain it. It was all…

All adrenaline and then… and then ecstasy!

All right.

You think it was all a trap?

Of course. I'm sorry. I flew us right into this.

What were we thinking? Look at us. We're just a couple of bugs in this world.

What will the humans do to us if they win?

I don't know.

I hear they put the roaches in motels. That doesn't sound so bad.

Adam, they check in, but they don't check out!

Oh, my.

Oould you get a nurse to close that window?

Why? The smoke. Bees don't smoke.

Right. Bees don't smoke.

Bees don't smoke! But some bees are smoking.

That's it! That's our case!

It is? It's not over?

Get dressed. I've gotta go somewhere.

Get back to the court and stall. Stall any way you can.

And assuming you've done step correctly, you're ready for the tub.

Mr. Flayman.

Yes? Yes, Your Honor!

Where is the rest of your team?

Well, Your Honor, it's interesting.

Bees are trained to fly haphazardly,

and as a result, we don't make very good time.

I actually heard a funny story about…

Your Honor, haven't these ridiculous bugs

taken up enough of this court's valuable time?

How much longer will we allow these absurd shenanigans to go on?

They have presented no compelling evidence to support their charges

against my clients, who run legitimate businesses.

I move for a complete dismissal of this entire case!

Mr. Flayman, I'm afraid I'm going

to have to consider Mr. Montgomery's motion.

But you can't! We have a terrific case.

Where is your proof? Where is the evidence?

Show me the smoking gun!

Hold it, Your Honor! You want a smoking gun?

Here is your smoking gun.

What is that?

It's a bee smoker!

What, this? This harmless little contraption?

This couldn't hurt a fly, let alone a bee.

Look at what has happened

to bees who have never been asked, "Smoking or non?"

Is this what nature intended for us?

To be forcibly addicted to smoke machines

and man-made wooden slat work camps?

Living out our lives as honey slaves to the white man?

What are we gonna do? He's playing the species card. Ladies and gentlemen, please, free these bees!

Free the bees! Free the bees!

Free the bees!

Free the bees! Free the bees!

The court finds in favor of the bees!

Vanessa, we won!

I knew you could do it! High-five!

Sorry.

I'm OK! You know what this means?

All the honey will finally belong to the bees.

Now we won't have to work so hard all the time.

This is an unholy perversion of the balance of nature, Benson.

You'll regret this.

Barry, how much honey is out there?

All right. One at a time.

Barry, who are you wearing?

My sweater is Ralph Lauren, and I have no pants.

What if Montgomery's right? What do you mean? We've been living the bee way a long time, 27 million years.

Oongratulations on your victory. What will you demand as a settlement?

First, we'll demand a complete shutdown of all bee work camps.

Then we want back the honey that was ours to begin with,

every last drop.

We demand an end to the glorification of the bear as anything more

than a filthy, smelly, bad-breath stink machine.

We're all aware of what they do in the woods.

Wait for my signal.

Take him out.

He'll have nauseous for a few hours, then he'll be fine.

And we will no longer tolerate bee-negative nicknames…

But it's just a prance-about stage name!

…unnecessary inclusion of honey in bogus health products

and la-dee-da human tea-time snack garnishments.

Oan't breathe.

Bring it in, boys!

Hold it right there! Good.

Tap it.

Mr. Buzzwell, we just passed three cups, and there's gallons more coming!

I think we need to shut down! Shut down? We've never shut down. Shut down honey production!

Stop making honey!

Turn your key, sir!

What do we do now?

Oannonball!

We're shutting honey production!

Mission abort.

Aborting pollination and nectar detail. Returning to base.

Adam, you wouldn't believe how much honey was out there.

Oh, yeah?

What's going on? Where is everybody?

Are they out celebrating? They're home. They don't know what to do. Laying out, sleeping in.

I heard your Uncle Oarl was on his way to San Antonio with a cricket.

At least we got our honey back.

Sometimes I think, so what if humans liked our honey? Who wouldn't?

It's the greatest thing in the world! I was excited to be part of making it.

This was my new desk. This was my new job. I wanted to do it really well.

And now…

Now I can't.

I don't understand why they're not happy.

I thought their lives would be better!

They're doing nothing. It's amazing. Honey really changes people.

You don't have any idea what's going on, do you?

What did you want to show me? This. What happened here?

That is not the half of it.

Oh, no. Oh, my.

They're all wilting.

Doesn't look very good, does it?

No.

And whose fault do you think that is?

You know, I'm gonna guess bees.

Bees?

Specifically, me.

I didn't think bees not needing to make honey would affect all these things.

It's notjust flowers. Fruits, vegetables, they all need bees.

That's our whole SAT test right there.

Take away produce, that affects the entire animal kingdom.

And then, of course…

The human species?

So if there's no more pollination,

it could all just go south here, couldn't it?

I know this is also partly my fault.

How about a suicide pact?

How do we do it?

I'll sting you, you step on me. Thatjust kills you twice. Right, right.

Listen, Barry… sorry, but I gotta get going.

I had to open my mouth and talk.

Vanessa?

Vanessa? Why are you leaving? Where are you going?

To the final Tournament of Roses parade in Pasadena.

They've moved it to this weekend because all the flowers are dying.

It's the last chance I'll ever have to see it.

Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this.

I know. Me neither.

Tournament of Roses. Roses can't do sports.

Wait a minute. Roses. Roses?

Roses!

Vanessa!

Roses?!

Barry?

Roses are flowers! Yes, they are. Flowers, bees, pollen!

I know. That's why this is the last parade.

Maybe not. Oould you ask him to slow down?

Oould you slow down?

Barry!

OK, I made a huge mistake. This is a total disaster, all my fault.

Yes, it kind of is.

I've ruined the planet. I wanted to help you

with the flower shop. I've made it worse.

Actually, it's completely closed down.

I thought maybe you were remodeling.

But I have another idea, and it's greater than my previous ideas combined.

I don't want to hear it!

All right, they have the roses, the roses have the pollen.

I know every bee, plant and flower bud in this park.

All we gotta do is get what they've got back here with what we've got.

Bees.

Park.

Pollen!

Flowers.

Repollination!

Across the nation!

Tournament of Roses, Pasadena, Oalifornia.

They've got nothing but flowers, floats and cotton candy.

Security will be tight.

I have an idea.

Vanessa Bloome, FTD.

Official floral business. It's real.

Sorry, ma'am. Nice brooch.

Thank you. It was a gift.

Once inside, we just pick the right float.

How about The Princess and the Pea?

I could be the princess, and you could be the pea!

Yes, I got it.

Where should I sit?

What are you?

I believe I'm the pea.

The pea?

It goes under the mattresses.

Not in this fairy tale, sweetheart. I'm getting the marshal. You do that! This whole parade is a fiasco!

Let's see what this baby'll do.

Hey, what are you doing?!

Then all we do is blend in with traffic…

…without arousing suspicion.

Once at the airport, there's no stopping us.

Stop! Security.

You and your insect pack your float? Yes. Has it been in your possession the entire time?

Would you remove your shoes?

Remove your stinger. It's part of me. I know. Just having some fun. Enjoy your flight.

Then if we're lucky, we'll have just enough pollen to do the job.

Oan you believe how lucky we are? We have just enough pollen to do the job!

I think this is gonna work.

It's got to work.

Attention, passengers, this is Oaptain Scott.

We have a bit of bad weather in New York.

It looks like we'll experience a couple hours delay.

Barry, these are cut flowers with no water. They'll never make it.

I gotta get up there and talk to them.

Be careful.

Oan I get help with the Sky Mall magazine?

I'd like to order the talking inflatable nose and ear hair trimmer.

Oaptain, I'm in a real situation.

What'd you say, Hal? Nothing. Bee!

Don't freak out! My entire species…

What are you doing?

Wait a minute! I'm an attorney! Who's an attorney? Don't move.

Oh, Barry.

Good afternoon, passengers. This is your captain.

Would a Miss Vanessa Bloome in 24B please report to the cockpit?

And please hurry!

What happened here?

There was a DustBuster, a toupee, a life raft exploded.

One's bald, one's in a boat, they're both unconscious!

Is that another bee joke? No! No one's flying the plane!

This is JFK control tower, Flight 356. What's your status?

This is Vanessa Bloome. I'm a florist from New York.

Where's the pilot?

He's unconscious, and so is the copilot.

Not good. Does anyone onboard have flight experience?

As a matter of fact, there is.

Who's that? Barry Benson. From the honey trial?! Oh, great.

Vanessa, this is nothing more than a big metal bee.

It's got giant wings, huge engines.

I can't fly a plane.

Why not? Isn't John Travolta a pilot? Yes. How hard could it be?

Wait, Barry! We're headed into some lightning.

This is Bob Bumble. We have some late-breaking news from JFK Airport,

where a suspenseful scene is developing.

Barry Benson, fresh from his legal victory…

That's Barry!

…is attempting to land a plane, loaded with people, flowers

and an incapacitated flight crew.

Flowers?!

We have a storm in the area and two individuals at the controls

with absolutely no flight experience.

Just a minute. There's a bee on that plane.

I'm quite familiar with Mr. Benson and his no-account compadres.

They've done enough damage.

But isn't he your only hope?

Technically, a bee shouldn't be able to fly at all.

Their wings are too small…

Haven't we heard this a million times?

"The surface area of the wings and body mass make no sense."

Get this on the air!

Got it.

Stand by.

We're going live.

The way we work may be a mystery to you.

Making honey takes a lot of bees doing a lot of small jobs.

But let me tell you about a small job.

If you do it well, it makes a big difference.

More than we realized. To us, to everyone.

That's why I want to get bees back to working together.

That's the bee way! We're not made of Jell-O.

We get behind a fellow.

Black and yellow! Hello! Left, right, down, hover.

Hover? Forget hover. This isn't so hard. Beep-beep! Beep-beep!

Barry, what happened?!

Wait, I think we were on autopilot the whole time.

That may have been helping me. And now we're not! So it turns out I cannot fly a plane.

All of you, let's get behind this fellow! Move it out!

Move out!

Our only chance is if I do what I'd do, you copy me with the wings of the plane!

Don't have to yell.

I'm not yelling! We're in a lot of trouble.

It's very hard to concentrate with that panicky tone in your voice!

It's not a tone. I'm panicking!

I can't do this!

Vanessa, pull yourself together. You have to snap out of it!

You snap out of it.

You snap out of it.

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

You snap out of it!

Hold it!

Why? Oome on, it's my turn.

How is the plane flying?

I don't know.

Hello?

Benson, got any flowers for a happy occasion in there?

The Pollen Jocks!

They do get behind a fellow.

Black and yellow. Hello. All right, let's drop this tin can on the blacktop.

Where? I can't see anything. Oan you?

No, nothing. It's all cloudy.

Oome on. You got to think bee, Barry.

Thinking bee. Thinking bee. Thinking bee! Thinking bee! Thinking bee!

Wait a minute. I think I'm feeling something.

What? I don't know. It's strong, pulling me. Like a 27-million-year-old instinct.

Bring the nose down.

Thinking bee! Thinking bee! Thinking bee!

What in the world is on the tarmac? Get some lights on that! Thinking bee! Thinking bee! Thinking bee!

Vanessa, aim for the flower. OK. Out the engines. We're going in on bee power. Ready, boys?

Affirmative!

Good. Good. Easy, now. That's it.

Land on that flower!

Ready? Full reverse!

Spin it around!

Not that flower! The other one!

Which one?

That flower.

I'm aiming at the flower!

That's a fat guy in a flowered shirt. I mean the giant pulsating flower

made of millions of bees!

Pull forward. Nose down. Tail up.

Rotate around it.

This is insane, Barry! This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern?

Get your nose in there. Don't be afraid. Smell it. Full reverse!

Just drop it. Be a part of it.

Aim for the center!

Now drop it in! Drop it in, woman!

Oome on, already.

Barry, we did it! You taught me how to fly!

Yes. No high-five! Right. Barry, it worked! Did you see the giant flower?

What giant flower? Where? Of course I saw the flower! That was genius!

Thank you. But we're not done yet. Listen, everyone!

This runway is covered with the last pollen

from the last flowers available anywhere on Earth.

That means this is our last chance.

We're the only ones who make honey, pollinate flowers and dress like this.

If we're gonna survive as a species, this is our moment! What do you say?

Are we going to be bees, orjust Museum of Natural History keychains?

We're bees!

Keychain!

Then follow me! Except Keychain.

Hold on, Barry. Here.

You've earned this.

Yeah!

I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves.

Oh, yeah.

That's our Barry.

Mom! The bees are back!

If anybody needs to make a call, now's the time.

I got a feeling we'll be working late tonight!

Here's your change. Have a great afternoon! Oan I help who's next?

Would you like some honey with that? It is bee-approved. Don't forget these.

Milk, cream, cheese, it's all me. And I don't see a nickel!

Sometimes I just feel like a piece of meat!

I had no idea.

Barry, I'm sorry. Have you got a moment?

Would you excuse me? My mosquito associate will help you.

Sorry I'm late.

He's a lawyer too?

I was already a blood-sucking parasite. All I needed was a briefcase.

Have a great afternoon!

Barry, I just got this huge tulip order, and I can't get them anywhere.

No problem, Vannie. Just leave it to me.

You're a lifesaver, Barry. Oan I help who's next?

All right, scramble, jocks! It's time to fly.

Thank you, Barry!

That bee is living my life!

Let it go, Kenny.

When will this nightmare end?!

Let it all go.

Beautiful day to fly.

Sure is.

Between you and me, I was dying to get out of that office.

You have got to start thinking bee, my friend.

Thinking bee! Me? Hold it. Let's just stop for a second. Hold it.

I'm sorry. I'm sorry, everyone. Oan we stop here?

I'm not making a major life decision during a production number!

All right. Take ten, everybody. Wrap it up, guys.

I had virtually no rehearsal for that.

 3  Classroom classroom.google.com

daniels5   5/8/2024 6:41 PM   in Public    
daniels5   5/8/2024 6:48 PM   in Public    

CASINO

                           By

               Nicholas Pileggi

EXT. RESTAURANT PARKING LOT, LAS VEGAS, 1983 - DAY

SAM 'ACE' ROTHSTEIN, a tall, lean, immaculately dressed man approaches his car, opens the door, and gets inside to turn on the ignition.

                  ACE (V.O.)
      When you love someone, you've gotta 
      trust them. There's no other way. 
      You've got to give them the key to 
      everything that's yours.  Otherwise, 
      what's the point? And, for a while... 
      I believed that's the kind of love I 
      had.

Suddenly, the car explodes. Flames, smoke and metal rise into the sky covering the view of the Las Vegas casinos and their signs.

Music in: J.S. Bach - 'St Matthew Passion'.

Ace's body comes flying in - extreme slow motion. His body twists and turns through the frame like a soul about to tumble into the flames of damnation.

MAIN TITLE SEQUENCE.

INT. TANGIERS CASINO FLOOR - NIGHT

Vignette of ACE through rippling flames, we move in on ACE ROTHSTEIN overseeing the casino. He lights a cigarette.

                  ACE (V.O.)
      Before I ever ran a casino or got 
      myself blown up, Ace Rothstein was a 
      hell of a handicapper, I can tell 
      you that. I was so good, that whenever 
      I bet, I could change the odds for 
      every bookmaker in the country. I'm 
      serious. I had it down so cold that 
      I was given paradise on earth. I was 
      given one of the biggest casinos in 
      Las Vegas to run, the Tangiers...

INT. SAN MARINO ITALIAN GROCERY/BACK ROOM, KANSAS CITY - NIGHT

Vignette of MOB BOSSES sitting at a table surrounded by food and wine like the gods of Olympus.

                  ACE (V.O.)
      ...by the only kind of guys that can 
      actually get you that kind of money: 
      sixty-two million, seven-hundred 
      thousand dollars. I don't know all 
      the details.

                  NICKY (V.O.)
      Matter of fact...

INT. BAR, LAS VEGAS - NIGHT

Vignette of NICKY SANTORO standing at a bar with DOMINICK SANTORO, his brother, and FRANK MARINO, his right-hand man.

                  NICKY (V.O.)
      ...nobody knew all the details, but 
      it should'a been perfect. I mean, he 
      had me, Nicky Santoro, his best 
      friend, watching his ass...

INT. NIGHTCLUB - NIGHT

Vignette of GINGER MCKENNA a dazzling thirty-one-year-old blonde seated by a small fiery pool.

                  NICKY (V.O.)
      ...and he had Ginger, the woman he 
      loved, on his arm.  But in the end...

INT. TANGIERS SPORTSBOOK/ACE'S OFFICE - NIGHT

ACE looks over the casino he rules.

                  NICKY (V.O.)
      ...we fucked it all up. It should'a 
      been so sweet, too.  But it turned 
      out to be the last time that street 
      guys like us were ever given anything 
      that fuckin' valuable again.

EXT. LAS VEGAS - NIGHT

Aerial shot coming down out of the clouds over the brightly lit Vegas Strip and off into the blackness of the desert night.

                  ACE (V.O.)
      At that time, Vegas was a place where 
      millions of suckers flew in every 
      year on their own nickel, and left 
      behind about a billion dollars. But 
      at night, you couldn't see the desert 
      that surrounds Las Vegas...

EXT. DESERT - DAWN

Aerial shot swooping along the desert floor, then rising above the mist to reveal mountains in the distance.

                  ACE (V.O.)
      But it's in the desert where lots of 
      the town's problems are solved.

                  NICKY (V.O.)
      Got a lot of holes in the desert, 
      and a lot of problems are buried in 
      those holes. Except you gotta do it 
      right. I mean, you gotta have the 
      hole already dug before you show up 
      with a package in the trunk.  
      Otherwise you're talkin' about a 
      half-hour or forty-five minutes of 
      diggin'. And who knows who's gonna 
      be comin' along in that time? Before 
      you know it, you gotta dig a few 
      more holes. You could be there all 
      fuckin' night.

EXT. LAS VEGAS STRIP, 1973 - NIGHT

TITLE IN: 'THE STRIP', 'LAS VEGAS', 'TEN YEARS EARLIER'

ACE is greeted by a casino exec and walked through the brightly lit entrance to the Tangiers Casino.

                  ACE (V.O.)
      Who could resist? Anywhere else in 
      the country, I was a bookie, a 
      gambler, always lookin' over my 
      shoulder, hassled by cops, day and 
      night. But here, I'm 'Mr Sam 
      Rothstein'. I'm not only legitimate, 
      but running a casino. And that's 
      like selling dreams for cash.

INT. TANGIERS CASINO - NIGHT

We see ACE enter alone. He is greeted by BILLY SHERBERT. They are joined by top executives RICHIE and RONNIE in suits and ties. They walk through the casino, past crowded and noisy craps tables, spinning roulette wheels, blackjack tables, poker-faced players at poker tables, and elegant, cordoned-off, black-tie, baccarat tables.

                  ACE (V.O.)
      I hired an old casino pal, Billy 
      Sherbert, as my manager and I went 
      to work.

                  SHERBERT
           (Introducing the EXECS 
           to ACE)
      ...And this is Ronnie, who takes 
      care of the card room...

                  ACE (V.O.)
      For guys like me, Las Vegas washes 
      away your sins. It's a morality car 
      wash. It does for us what Lourdes 
      does for humpbacks and cripples. 
      And, along with making us legit...

INT. TANGIERS/HARD COUNT ROOM - NIGHT

Dolly back from a wall of money. An employee pours a bucket full of coins into a trough. Camera follows progress as numerous coins move on a conveyor system, through a sorting machine. Camera reveals several rolls of coins on a lower conveyor as they move up a ladder towards an employee's hands, who then places the rolls on a rack.

                  ACE (V.O.)
      ...comes cash. Tons of it. I mean, 
      what do you think we're doing out 
      here in the middle of the desert?  
      It's all this money. This is the end 
      result of all the bright lights and 
      the comped trips, of all the champagne 
      and free hotel suites, and all the 
      broads and all the booze. It's all 
      been arranged just for us to get 
      your money. That's the truth about 
      Las Vegas.

INT. TANGIERS/FLOOR/SOFT COUNT ROOM - DAY

Camera follows JOHN NANCE carrying a small suitcase and walking through the casino to a door leading to the cashier's cage. The sign on the door reads 'Authorized Personnel Only'. He walks through the cage, to another door: 'Notice - Keep Out'.

                  ACE (V.O.)
      We're the only winners. The players 
      don't stand a chance. And their cash 
      flows from the tables to our boxes 
      ...through the cage and into the 
      most sacred room in the casino ...the 
      place where they add up all the money 
      ...the holy of holies ...the count 
      room.

He opens the door. We see inside the count room from NANCE'S point of view.

It looks like the area behind a teller's cage in a bank. A large room, windowless, decor-free. One side is a mesh cage, opened to reveal stacks of cash boxes. Several COUNTERS in white shirts are gathered around a glass table counting and sorting paper money.)

                  ACE (V.O.)
      Now this place was off limits.

                  COUNTER #1
      Verify two thousand.

                  ACE (V.O.)
      Even I couldn't get inside, but it 
      was my job to keep it filled with 
      cash. That's for sure.

                  NICKY (V.O.)
      They had so much fuckin' money in 
      there, you could build a house out 
      of stacks of $100 bills. And the 
      best part was that upstairs, the 
      board of directors didn't know what 
      the fuck was going on.

At one end of the room the clerks empty the metal boxes and rapidly count the cash at a counting table. The camera follows a cash 'drop box' being lifted from the stack by a clerk. He pours the cash on to the table and shows the empty box to a video camera. COUNTER #2 rapidly counts the cash and announces:

                  COUNTER #2
      Five thousand.

                  NICKY (V.O.)
      I mean, to them everything looked on 
      the up and up. Right? Wrong.

The first counter recounts the cash.

                  COUNTER #1
      Verify five thousand.

                  NICKY (V.O.)
      The guys inside the counting room...

Stacks of bills lie nearby. The camera pans across the room to another table manned by a COUNT ROOM EXECUTIVE who repeats the figure and writes it down on a master list.

                  COUNT ROOM EXEC
      Five thousand.

We move back to NANCE opening a cabinet full of stacks of $100 bills. He opens his suitcase and begins to fill it with cash. As he does this, the workers studiously look in other directions.

                  NICKY (V.O.)
      ...were all slipped in there to skim 
      the joint dry.  They'd do short 
      counts, they'd lose fill slips. They'd 
      even take cash right out of the drop 
      boxes. And it was up to this guy 
      right here [NANCE], standin' in front 
      of about two million dollars, to 
      skim the cash off the top without 
      anybody gettin' wise ...the IRS or 
      anybody.

                  COUNTER #1
      Verify two hundred.

NANCE closes the case and walks out. One of the counters dumps another container of money on the table.

                  NICKY (V.O.)
      Now, notice how in the count room 
      nobody ever seems to see anything. 
      Somehow, somebody's always lookin' 
      the other way. Now, look at these 
      guys [COUNTERS]. They look busy, 
      right?  They're countin' money. Who 
      wants to bother them? I mean, God 
      forbid they should make a mistake 
      and forget to steal. Meanwhile, you're 
      in and you're out.

NANCE exits the count room and proceeds through the lobby of the casino, passing ACE and SHERBERT, to a side exit door.

                  NICKY
      Past the jag-off guard who gets an 
      extra c-note a week just to watch 
      the door.  I mean, it's routine. 
      Business as usual: in, out, hello, 
      goodbye. And that's all there is to 
      it. Just another fat fuck walkin' 
      out of the casino with a suitcase. 
      Now, that suitcase was goin' straight 
      to one place: right to Kansas City 
      ...which was as close to Las Vegas 
      as the Midwest bosses could go without 
      gettin' themselves arrested.

NANCE leaves the casino and gets into a cab parked at the curb.

EXT. KANSAS CITY AIRPORT - DAY

NANCE arrives. He is greeted by ARTIE PISCANO, a gray-haired sixty-year-old underboss.

TITLE IN: 'KANSAS CITY'

                  NICKY (V.O.)
      That suitcase was all the bosses 
      ever wanted ...and they wanted it 
      every month.

                  PISCANO
      Hey, John, how are you? How was your 
      ride?

EXT. SAN MARINO ITALIAN GROCERY, KANSAS CITY - DAY

NANCE, with suitcase, and PISCANO leave the car and enter the produce market.

                  NICKY (V.O.)
      Now this old Mormon fuck here...

          CUT TO: NANCE, AS HE GETS OUT OF PISCANO'S CAR

INT. SAN MARINO ITALIAN GROCERY, KANSAS CITY - DAY

NANCE and PISCANO walk through the grocery store, through the warehouse, past various employees to a doorway leading into the back room, where they are greeted by five older men around a large wooden table with bowls of macaroni and old jelly glasses filled with red wine.

                  NICKY (V.O.)
      ...he had to fly in with suitcases 
      once a month, nice and easy.

                  NANCE
      Somethin' smells good.

                  PISCANO
      Yeah, they made us somethin' to eat.

                  NICKY (V.O.)
      The bosses would come from all over 
      the place: Detroit, Cleveland, 
      Milwaukee. All over the Midwest.  
      And they would meet in the back of 
      this produce market in Kansas City. 
      I mean, nobody even knew.

NANCE shakes hands with AMERICO CAPELLI, sixty-eight, a bald, affable Milwaukee entrepreneur and ARTHUR CAPP, his thirty- year-old yuppie lawyer son.

Camera continues to pan around the room.

                  NICKY (V.O.)
      One of the guys made his mother do 
      all the cooking.

On VINCENT BORELLI, seventy-year-old Kansas City boss.

                  BORELLI
      Did you ever see that guy Jerry 
      Steriano?

On VINNIE FORLANO, mid-seventies, an old-timer who once drove for Capone and is now Remo Gaggi's right-hand man.

                  FORLANO
      Jerry Steriano?

                  BORELLI
      Yeah.

                  NICKY (V.O.)
      Now, these old greaseballs might not 
      look it, but believe me, these are 
      the guys who secretly controlled Las 
      Vegas.

PISCANO joins his MOTHER and DAUGHTER by a stove.

                  PISCANO'S MOTHER
      That man's here again.

Piscano dips a piece of bread into a pot of tomato sauce.

                  NICKY (V.O.)
      Because they controlled the Teamsters' 
      Union, and that's where you had to 
      go if you wanted to borrow money to 
      buy a casino.

                  BORELLI (O.S.)
      When you've finished with him, I 
      want him.

                  PISCANO'S MOTHER
           (Carrying a plate of 
           food to the table 
           where BORELLI and 
           FORLANO are seated.)
      Here you are, gentlemen.

                  NICKY (V.O.)
      And nobody got a Teamsters' loan, 
      unless the guys in this room knew 
      they were gonna get their little 
      suitcases.

FORLANO gets up from the table and walks toward NANCE.

                  NICKY (V.O.)
      Guys like this antique here [FORLANO], 
      out of Detroit. Or especially guys 
      like Remo Gaggi, the outfit's top 
      boss.

NANCE embraces REMO GAGGI who's seated on a couch, and sits across from him.

                  GAGGI
      You got a round figure on it?

                  NICKY (V.O.)
      Definitely the most important guy in 
      this room.

                  NANCE
           (Picking up the 
           suitcase)
      About twenty pounds.

                  GAGGI
      So?

                  NANCE
      That's around seven hundred thousand.

                  GAGGI
      Uh-huh, good.

NANCE opens the case to reveal the money.

                  ANDY STONE
           (Off-screen, from 
           following scene)
      I know it's a little early for Las 
      Vegas...

INT. TANGIERS EXECUTIVE OFFICE PRESS CONFERENCE/BANQUET ROOM - DAY

Camera tilts down a model of the Tangiers Hotel and Casino, then reveals the cover of Business Week magazine with a drawing of PHILIP GREEN, a young corporate type, smiling out under the headline: 'Philip Green, Vegas Wunderkind'.

                  STONE (O.S.)
      ...but I do want to welcome the ladies 
      and gentlemen of the gaming industry.

On ANDY STONE, a middle-aged man at a podium giving a speech while GREEN, seated at a table, looks on. PHOTOGRAPHERS flash their cameras. ACE and SHERBERT, sitting next to GREEN, also watch the photo op ceremony.

                  ACE (V.O.)
      As far as the world was concerned 
      Andy Stone, the head of the Teamsters' 
      Pension Fund, was a legitimate guy.

                  STONE
      This is a very auspicious occasion.

                  ACE (V.O.)
      A powerful man.

                  STONE
      Philip, if you would rise.

Green stands up.

                  ACE (V.O.)
      He even played golf with the 
      President.

                  STONE
      On behalf of the Teamsters' Pension 
      Fund, it is my pleasure to present 
      to you . . .

                  ACE (V.O.)
      But Andy also took orders. And when 
      he was told to give a pension fund 
      loan to Philip Green...

                  STONE
           (Handing GREEN a large 
           cardboard facsimile 
           'check')
      ...this check for $62,700,000 for 
      the new Tangiers.

                  GREEN
      Thank you.

                  ACE (V.O.)
      ...he did what he was told.

PHILIP GREEN, who is now the head of the Tangiers Hotel and Casino Corporation, is standing at the podium giving a speech.

                  NICKY (V.O.)
      Now here was the perfect front man. 
      I mean, what the fuck else could he 
      be?  He didn't know too much. He 
      didn't want to know too much, 
      especially that the bosses made the 
      Teamsters lend him the money. He 
      wanted to believe the Teamsters gave 
      him all that fuckin' money 'cause he 
      was smart.

An exploding flash bulb fills the screen.

                  GREEN
      ...I say that, knowing full well 
      just how much competition we have in 
      this great city.

EXT. CHEAP MOTEL OFF HIGHWAY - DAY

We see a MAN and a WOMAN swimming underwater. Camera reveals that they are in a motel swimming pool with glass portholes.
Expensive cars are parked outside one of the rooms. Hoods stand around outside the door.

                  NICKY (V.O.)
      And where they got Green from - who 
      the fuck knows?  All I know is that 
      Green was an Arizona real estate 
      hustler, who barely had enough gas 
      money to come and pick up his own 
      fuckin' check...

INT. TANGIERS EXECUTIVE OFFICE PRESS CONFERENCE/BANQUET ROOM - DAY

We return to the press conference. Photographers snap away. In the background are six-foot blow-ups of the Business Week cover. The camera moves past GREEN, CAPP and several other men, past SHERBERT, to ACE.

                  NICKY (V.O.)
      Now, all they needed was somebody 
      they could trust to run the casino. 
      And who better than Ace?  I mean, he 
      was already in Vegas a couple of 
      years and he had the fuckin' place 
      clocked.

FREEZE FRAME ON ACE.

INT. TANGIERS SWIMMING POOL - DAY

Camera looks straight down from the top of a hotel to a large pool area.

                  NICKY (V.O.)
      But typical Ace...

INT. TANGIERS SWIMMING POOL/POOLSIDE - DAY

STONE, in a bathing suit and robe, sits on a lounge chair with a telephone. ACE, in sports clothes, sits on another chair.

                  NICKY (V.O.)
      ...give him a shot at runnin' a casino 
      and he tries to talk you out of it.

                  ACE
      You know, I don't know if I could do 
      this even if I wanted to. The Gaming 
      Commission would never give me a 
      license. I have at least two dozen 
      gambling and bookmaking pinches on 
      me.

                  STONE
      You don't have to have a license to 
      work in a casino. All you gotta do 
      is apply for one. The state law says 
      you can work in a casino while they're 
      processing your application. They 
      got a ten-year backlog.

                  ACE
      But what happens when they do find 
      out?

                  STONE
      Why would they want to find out? 
      We're puttin' a hundred million into 
      this desert here. Why would they 
      want to lock us out?  And besides, 
      they'll never find out. All you gotta 
      do is keep changing your job title. 
      Like, uh, from Casino Executive to 
      Food and Beverage Chairman. And what 
      happens it, they take your 
      application, they put it at the bottom 
      of the pile. I know guys workin' 
      there for thirty years, don't have a 
      license.

                  ACE
           (Exhales)
      It's a tough proposition, Andy. You, 
      you know, if I did it, I'd have to 
      run it my way.

                  STONE
      You got it.

                  ACE
      I'm serious. No interference.

                  STONE
      Nobody's gonna interfere with your 
      running the casino. I guarantee it.

Stone lights a cigarette.

INT. TANGIERS CRAPS PIT - NIGHT

ACE blows on a die.

                  NICKY (V.O.)
      And that's how that got Ace to take 
      over.

ACES's hands place the die into a micrometer.

                  NICKY (V.O.)

      They wanted him because Ace ate, 
      slept and breathed gambling.

Camera swish tilts up to ACE, then swish pans to boxman, dealers and players watching him, trying to act calm.

                  NICKY (V.O.)
      They worked out a real cute job title 
      too.

We see the die in the micrometer.

                  NICKY (V.O.)
      Tangiers Public Relations Director.

Satisfied the die is not loaded ACE sets it on the craps table, the camera cranes up to reveal the Tangiers Casino floor.

                  NICKY (V.O.)
      But the only thing he ever directed 
      was the casino. He made his first 
      bet when he was fifteen years old, 
      and he always made money. But he 
      didn't bet like you or me.

A DEALER is sliding chips, tossing them on to a craps table.

                  NICKY (V.O.)
      You know, havin' some fun with it, 
      shit like that.

                  ACE
           (Approaching the DEALER)
      Where the hell did you learn how to 
      deal?
           (He reaches down, 
           stacking and arranging 
           the chips.)

                  NICKY (V.O.)
      He bet like a fuckin' brain surgeon.

                  ACE
           (To the chastised 
           DEALER)
      Place the checks properly. That's 
      the way you do it.

                  DEALER
      Yes, sir.

                  NICKY (V.O.)
      He had to know everything, this guy.

Direct overhead tracking shot as ACE walks between two rows of gaming tables.

                  NICKY (V.O.)
      He'd find out the kind of inside 
      stuff nobody else knew, and that's 
      what he'd put his money on.

INT. GYM/BOOKIE JOINT, BACK HOME, PRE-SEVENTIES - DAY

ACE walks past two boxers sparring in a ring, through a doorway into a room where several gamblers are seated around a table.

                  NICKY (V.O.)
      Even back home, years ago, when we 
      were first hangin' out together...

TITLE IN: 'BACK HOME, YEARS AGO'

                  NICKY (V.O.)
      ...he'd know if the quarterback was 
      on coke.

ACE is looking at the odds board for college football games. The bookie, LUCKY LARRY, is waiting for ACE to hand in his picks.

                  ACE
      I'll take Columbia for twenty.

                  NICKY (V.O.)
      If his girlfriend was knocked up.

                  LUCKY LARRY
      Twenty dimes on Columbia . . .

As soon as ACE bets, a man erases a number from the chalkboard and replaces it was a '6', changing the odds. Two GAMBLERS saunter from the room.

                  NICKY (V.O.)
      He'd get the wind velocity so he 
      could judge the field goals. He even 
      figured out the different bounce you 
      got off the different kinds of wood 
      they used on college basketball 
      courts, you know?

EXT. GYM/BOOKIE JOINT PUBLIC PHONES - DAY

The two GAMBLERS we saw sauntering out of the bookie joint are racing to the nearest public phones. Another GAMBLER has already beaten them to it.

                  NICKY (V.O.)
      He'd be workin' on this shit day and 
      night. There was nothin' about a 
      game he was gonna bet that he didn't 
      know.

                  GAMBLER #1
           (Into phone)
      Ace got down at six.

                  GAMBLER #2
           (Into phone)
      Charlie, hey. Rothstein got six.

INT. GYM/BOOKIE JOINT, SEVERAL DAYS LATER - DAY

A bookie hands a stack of money to another bookie, who hands the money to ACE.

ACE removes several bills from the top of the stack of winnings and holds them out to the BOOKIES.

                  NICKY (V.O.)
      Season after season, the prick was 
      the only guaranteed winner I ever 
      knew. But he was so serious about it 
      all that I don't think he ever enjoyed 
      himself.  But...

ACE exits.

                  NICKY (V.O.)
      ...that's just the way he was.

INT. MOB SOCIAL CLUB BACK ROOM - NIGHT

The room has an espresso machine and a saint's day calendar. Assorted hoods are listening to NICKY at the bar. Camera dollies to REMO GAGGI, at the rear table playing gin rummy with OLD MAN CAPO and losing. Every time the CAPO picks up a card, he's able to knock or get gin, sending GAGGI into a fit bemoaning his bad luck.

                  NICKY (V.O.)
      But back then the bosses didn't give 
      a fuck about whether he enjoyed 
      himself of not. To them, he was a 
      cash register. All they had to do 
      was ring the bell and take the money. 
      Especially Remo, who was a fuckin' 
      degenerate gambler who always lost.

                  GAGGI
           (Slams down his cards 
           and curses at his 
           losing hands)
      Ma che cazzo!

[Italian-American slang for 'What a prick.'] All those fuckin' sweeps.

                  NICKY (V.O.)
      I mean, unless Ace made his bet.

                  GAGGI
      That's enough now!

                  OLD MAN CAPO
      I can't contest the cards.

                  GAGGI
      Va fa 'n culo! [Italian-American 
      slang for 'Fuck off'] 
           (Summoning a young 
           man.)
      Johnny!

                  NICKY (V.O.)
      Ace made more money for them on a 
      weekend than I could do heisting 
      joints for a month.

ACE enters and walks to GAGGI's table.

                  NICKY (V.O.)
      Whatever Ace picked up on the street 
      he told Remo.

                  NICKY
           (Walks over to ACE 
           and whispers)
      Hey, did you bring that thing?

                  NICKY (V.O.)
      You know, I mean fixed fights, doped 
      horses, crooked fuckin' zebras... 
      locked-in point spreads. He told 
      fuckin' Remo everything. And to tell 
      you the truth. I don't blame him.

GAGGI stands up and shakes ACE's hand.

                  GAGGI
      Ace.

                  NICKY (V.O.)
      Keepin' Remo happy with money was 
      the greatest insurance policy in the 
      world.

GAGGI beams as ACE takes out an envelope filled with cash and hands it over to him. GAGGI sits back down and ACE, knowing his place, smiles and is about to leave.

                  GAGGI
      Son-of-a-bitch. How the hell did you 
      get Oklahoma-Michigan?  Nobody ever 
      had Oklahoma-Mi... How the hell'd 
      you do it?

                  ACE
      Well, that's why they paid so well.

                  GAGGI
      You see?
           (Chuckles.)
      Never tells me nothin'. Ace, what do 
      we got on for next week?

                  ACE
      Well, it's a little too early. I'd 
      say Thursday would be good. I'll 
      know by then. Is that all right?

                  GAGGI
      Okay. You come by the house?

                  ACE
      I'll come by.

                  GAGGI
      Seven o'clock?

                  ACE
      Seven o'clock.

GAGGI gets up and kisses ACE as NICKY and OLD MAN CAPO look on.

                  GAGGI
      Good job, my boy. Keep it up. Okay, 
      Ace?

ACE nods in agreement and leaves the room.

                  GAGGI
           (To NICKY)
      Hey, Nick. Vien acca. [Italian-
      American slang for 'Come here']

                  NICKY
           (To ACE)
      I'll be right out.

                  GAGGI
      T'aggia parla. [Italian-American 
      slang for 'I've got to talk to you'] 
      Nicky... See that guy?
           (pointing to the off-
           screen ACE)

                  NICKY
      Mm.

                  GAGGI
      Keep a good eye on him. He's makin' 
      a lot of money for us. And he's gonna 
      continue makin' a lot of money for 
      us, so keep a good eye on him.

                  NICKY
      Mm.

                  GAGGI
      Not like your fuckin' friends out 
      there, that... without brains.  Okay?

                  NICKY
      All right.

                  GAGGI
      Uh-huh. Mi raccomando. [Italian-
      American slang for 'I'm counting on 
      you']

                  NICKY
      Yeah.

                  GAGGI
      Fine.

                  NICKY
           (Reaching down to 
           touch GAGGI's money, 
           joking with him.)
      Want me to take this for you?
           (He walks out.)

                  NICKY (V.O.)
      So, now, on top of everything else, 
      I gotta make sure that nobody fucks 
      around with the Golden Jew.

INT. BACK HOME BAR - NIGHT

We move past JOE, a guy at the bar entertaining a BRUNETTE and a BLONDE, to NICKY and FRANK MARINO at the other end. There are other bar patrons in the background.

                  JOE
           (To the BARTENDER)
      Chase, couple of shooters for the 
      ladies.

                  BARTENDER (O.S.)
      All right.

                  ACE (V.O.)
      Yeah, we made a great pair. I made 
      book and Nicky made sure we always 
      collected. The old men loved us. And 
      why not? They all made money with 
      us.

                  NICKY
           (To MARINO)
      They payin'?

                  ACE (V.O.)
      How did Nicky collect?

                  MARINO
      They pay every week, like they're 
      supposed to.

                  ACE (V.O.)
      Don't ask. 

                  NICKY
      Then where the fuck is the money? I 
      don't see the money.

ACE enters, and greets the two girls.

                  ACE
      Hi, Melissa. Heidi.

                  BLONDE
      Hi, Sam.

                  JOE
           (To the GIRLS)
      Who's this guy?

                  MARINO
           (To NICKY)
      Get the fuck out of here. It was 
      nine. I laid nine.

ACE approaches NICKY and MARINO.

                  NICKY
      It was eight.  Ace... tell him the 
      line on the Bear's game.

                  ACE
      Eight.

                  NICKY
      If he don't know, nobody knows. Told 
      you it was eight.

                  MARINO
      Well, how come I laid nine?

                  NICKY
      'Cause you're a jag-off. I would 
      have fuckin' made you lay ten...

ACE notices a pen lying on the bar. He taps JOE on the shoulder.

                  ACE
           (To JOE)
      Excuse me.

                  JOE
      What?

                  ACE
           (He holds up the pen)
      Is this yours? Your pen?

                  JOE
      Yeah, that's my pen. Why?

                  ACE
      I ju- Well, it's a nice pen. I just 
      didn't know whose it was. I thought 
      it was yours. I didn't want it to 
      get lost.

                  JOE
      Well, thank you. Why don't you take 
      that fuckin' pen and shove it up you 
      ass, you fuckin' jag-off?

NICKY looks over.

                  ACE
      Well, I was just offering you the-

NICKY moves towards JOE.

                  JOE
           (Turning his back to 
           talk to the girls, 
           referring to ACE)
      This fuckin' asshole.

NICKY grabs the pen out of ACE's hand.

                  MAN #1
           (To JOE)
      Look out!

Before ACE can react, NICKY grabs JOE and starts stabbing him in the neck with the pen.

                  MAN #1
      Joe! Look out, Joe! Look out!

NICKY grunts while JOE gasps and groans. The BLONDE screams while NICKY's hand continues to plunge the pen into JOE's throat. JOE tumbles to the floor.

NICKY pounces on him, still stabbing and now kicking. JOE whimpers.

                  NICKY
      What's that? You hear? You hear a 
      little girl, Frankie? You hear a 
      little girl, Ace? Is that a little 
      fuckin' girl?!  What happened to the 
      fuckin' tough guy?  Told my friend 
      stick it up his fuckin' ass?! Huh?! 
      Huh?!

                  ACE
           (Over whimpers and 
           pants)
      Wait a sec, Nicky, Nicky, Nicky. Ta-
      take it easy.

ACE looks stunned. NICKY's still holding the bloody pen.

                  ACE (V.O.)
      While I was tryin' to figure out why 
      the guy was sayin' what he was sayin', 
      Nicky just hit him. No matter how 
      big a guy might be, Nicky would take 
      him on. You beat Nicky with fists, 
      he comes back with a bat. You beat 
      him with a knife, he comes back with 
      a gun. And you beat him with a gun, 
      you better kill him, because he'll 
      keep comin' back and back until one 
      of you is dead.

                  NICKY (V.O.)
      Listen...

INT. TANGIERS CASINO FLOOR, 1972 - NIGHT

Camera swoops from a woman cheering as she wins at a slot- machine to a blackjack table, then to a roulette table and over to a craps table.

Montage of very short cuts of chips being picked up, dice thrown, money being poured from a bucket, stacks of money.

                  NICKY (V.O.)
      ...with me protecting Ace, he made a 
      fortune for the bosses. I mean that's 
      what got him to Vegas. He was a money 
      machine. A tremendous earner for 
      these guys.  As soon as he took over, 
      he doubled the fuckin' drop. With 
      Ace the casino never saw so much 
      money. And the bosses, they couldn't 
      be happier.

INT. TANGIERS CASINO FLOOR - NIGHT

Camera moves in on ACE as he looks out over the casino. Dealers deftly stack chips, scoop up losses and pay off winners. Chips and money are everywhere.

In extreme close-up slow motion a die falls on to a table.

INT. TANGIERS CASINO SLOT-MACHINE AREA - NIGHT

ACE and SHERBERT are walking down a casino aisle by the slot- machines. Dealers immediately snap to attention at their approach.

                  ACE (V.O.)
      In Vegas, I had to keep a few juiced-
      in local cowboys working. They were 
      close to the, you know, good old 
      boys.

                  ACE
           (To SHERBERT)
      Pay him six hundred a week, tell him 
      to walk around and look smart.

                  ACE (V.O.)
      I mean, without us, these guys, they'd 
      still be shovellin' mule shit.

ACE points at paper cups, empty glasses and the debris of silver dollar wrappings on the floor. DON WARD, the Slots Manager in Western garb, immediately starts picking up the debris. ACE looks at WARD sternly.

                  ACE
      Ward, you gotta keep a cleaner 
      station. If you need 'Mr Clean', 
      page him, all right?

WARD bends down and picks up some trash.

                  WARD
      It won't happen again, Sam.

                  ACE
      Mr Rothstein.

                  ACE
           (To SHERBERT)
      Is this guy just another dumb fuckin' 
      white man, or what? What's his story?

                  SHERBERT
      We need this guy.

                  ACE
      We can't get rid of him?

                  SHERBERT
      He's juiced in. He's the County 
      Commissioner's cousin.

                  ACE
      I wouldn't give the bum a mop job.

They exit.

INT. TANGIERS BACCARAT TABLES - NIGHT

A card shoe slides across the baccarat table. A state SENATOR, a little drunk, tips the dealer, kisses the blonder HOOKER with him, fills his pockets with his winnings and walks over to see ACE.

                  ACE (V.O.)
      These yokels ran the state.

                  DEALER #1
      Thank you very much, Senator.

                  ACE (V.O.)
      They passed the laws, they owned the 
      courts.

                  SENATOR
      Hi, Ace.

                  ACE
      Hello, Senator.

They shake hands.

                  SENATOR
           (To ACE)
      Hey, I need a room. Need a room.

                  ACE
      Good to see ya.
           (To SHERBERT)
      William would you...

The SENATOR shakes hands with SHERBERT as the HOOKER joins them.

                  ACE (V.O.)
      I had dozens of politicians and state 
      officials comin' through that place 
      every week.

                  SHERBERT
      Nice to see you, Senator.

                  ACE
           (To SHERBERT)
      Help the Senator, give him whatever 
      he wants.

                  SHERBERT
      Certainly.
           (Leads the way.)
      Senator.

                  ACE (V.O.)
      Why not make them happy?

                  SHERBERT
      We have some nice penthouses you'll 
      enjoy. Maybe the Presidential Suite.

INT. TANGIERS PRESIDENTIAL SUITE - DAY

The SENATOR unzips the HOOKER's dress, kisses her and walks through the bedroom doorway, looking over his shoulder to her as she takes off her dress and walks out of his sight.

                  ACE (V.O.)
      For politicians...

INT. TANGIERS BACCARAT TABLES - DAY

ACE smoking a cigarette by the baccarat tables.

                  ACE (V.O.)
      ...like our state senator up there, 
      everything was on the house.

INT. TANGIERS PRESIDENTIAL SUITE - DAY

The SENATOR opens a bureau drawer and takes out a small velvet pouch and pours black $100 into his palm.

                  ACE (V.O.)
      These guys won their comped life 
      when they got elected. So, hey, why 
      not take advantage of it? Still, the 
      politicians come cheap. We could 
      handle them.

INT. TANGIERS, ICHIKAWA LUXURY SUITE - DAY

K. K. ICHIKAWA a Japanese businessman, and a male associate pick up towels and soap from about the bedroom of their suite. A blonde woman checks herself in the mirror.

                  ACE (V.O.)
      It's a whale like K. K. Ichikawa, 
      who plays thirty thousand dollars a 
      hand in baccarat. That's the one you 
      really gotta watch.

ICHIKAWA and his associate walk into the the suite's living- room and join a Japanese woman seated on a couch.

                  ACE (V.O.)
      He plays fast and big and he has the 
      cash and the credit to turn out your 
      lights. About a year ago, he cleaned 
      out a couple of casinos in the Cayman 
      Islands.

They begin to stuff Tangiers soap and towels into their luggage.

                  ACE (V.O.)
      Downstairs, he takes us for two 
      million... and upstairs he takes 
      free soap, shampoo and towels. Another 
      billionaire cheapskate who loves his 
      free rooms...

EXT. TANGIERS JET, LAS VEGAS AIRPORT - DAY

The Tangiers jet with the Tangiers logo on its side as ICHIKAWA shakes ACE's hands before boarding. SHERBERT follows him and his associates aboard.

                  ACE (V.O.)
      ...free private jets, and two million 
      of our money.

                  ACE
      Nice to see you again.

                  ACE (V.O.)
      But we got him back. I had our pilot 
      tell him the plane was on the fritz.

                                            DISSOLVE TO:

EXT. TANGIERS JET, STILL IN THE SAME SPOT - NIGHT

SHERBERT apologizes to ICHIKAWA and his entourage as they all get off the jet.

                  SHERBERT
      Ken, I don't know what the hell went 
      wrong. I'm awfully sorry.

                  ICHIKAWA
      This is a big problem. Big problem.

                  SHERBERT
      I can't understand it. These 
      mechanical things, you know, they 
      happen. Hey, be-better here than
           (gesturing to the sky)
      up there, you know what I mean?

INT. LAS VEGAS AIRPORT RESERVATION DESK - NIGHT

SHERBERT arguing with TICKET AGENT as ICHIKAWA and entourage look glum.

                  ACE (V.O.)
      Then he missed the commercial flights 
      connecting with Japan.

                  AGENT
      I'm so sorry. There's a convention 
      in town, and all flights are booked.

                  SHERBERT
      A convention?
           (Turning to ICHIKAWA)
      I can't believe that there's a 
      convention. It's never... ?

                  ICHIKAWA
      What can I do?

EXT. TANGIERS CASINO - NIGHT

A smiling ACE greets ICHIKAWA and his entourage as they drive up and get out of Tangiers limos.

                  ACE (V.O.)
      We got him back ...with a whole floor 
      of rooms for himself.

                  ACE
      I'm sorry you missed the plane.

                  ICHIKAWA
      You want to get my money back, right?
           (Chuckles)

                  ACE
      No, no, no. No gambling. No.

INT. TANGIERS BACCARAT TABLES - NIGHT

ICHIKAWA, with the Japanese woman, picks up some chips and places them on the table. ACE and SHERBERT watch from behind a barrier.

                  ACE (V.O.)
      He bet one thousand a hand instead 
      of his usual thirty thousand a hand.

A dealer's hands slide two cards on the table.

                  DEALER
      The bank wins a natural eight over a 
      five.

Another dealer's hands place two chips on a table. ICHIKAWA looks on.

                  ACE (V.O.)
      But I knew, the trick with whales 
      like Ichikawa was that they can't 
      bet small for long. He didn't think 
      of it as winning ten thousand, he 
      thought of it as losing ninety 
      thousand.

ICHIKAWA places a larger bet.

                  ACE (V.O.)
      So, he upped his bets...

A dealer picks up some chips from a rack and places them on the table.

ICHIKAWA is now seated with stacks of chips in front of him.

                  ACE (V.O.)
      ...until he dropped his winnings 
      back and gave up a million of his 
      own cash.

                                            DISSOLVE TO:

ICHIKAWA, hours later, his chips depleted. ACE and SHERBERT still watch from behind the barrier as millions in chips are back in the dealer's racks.

                  ACE (V.O.)
      In the casino, the cardinal rule is 
      to keep them playing...

Move in on ACE as he smokes a cigarette.

                  ACE (V.O.)
      ...and keep them coming back. The 
      longer they play, the more they lose. 
      In the end, we get it all.

INT. TANGIERS CASINO - NIGHT

ACE, with pit bosses next to him, looks out over the huge casino where hundreds of thousands of dollars are being poured into machines.

                  ACE (V.O.)
      In Vegas, everybody's gotta watch 
      everybody else.

Camera reveals the DEALER at a craps table.

                  DEALER
      Six, an easy way. Six! All right, 
      who's gonna give me... 

The DEALER places some chips on the table.

                  ACE (V.O.)
      Since the players are looking to 
      beat the casino...

THE CAMERA IS ON THE DEALER.

                  DEALER
      ...both dice must hit that back wall 
      each and every roll. All right, make 
      a six!

CAMERA PANS TO A WOMAN AND A MAN AT THE TABLE. THE WOMAN TOSSES SOME DICE.

                  ACE (V.O.)
      ...the dealers are watching the 
      players.

                  WOMAN
      Gimme a six!

                  DEALER
      Come on, baby, make a six!

A BOX MAN, seated mid-table is watching the DEALER.

                  ACE (V.O.)
      The box men are watching the dealers.

CAMERA PANS TO THE DEALER.

                  DEALER
           (Humming, fielding, 
           every roll.)

CAMERA PANS TO A FLOOR MAN, STANDING DIRECTLY BEHIND THE BOX MAN.

                  ACE (V.O.)
      The floor men are watching the box 
      men.

CAMERA SWISH PANS TO REVEAL A PIT BOSS STEPPING IN, SCANNING THE FLOOR.

                  ACE (V.O.)
      The pit bosses are watching the floor 
      men.

SWISH PAN TO A SHIFT BOSS SURVEYING THE CASINO.

                  ACE (V.O.)
      The shift bosses are watching the 
      pit bosses.

SWISH PAN TO SHERBERT.

                  ACE (V.O.)
      The casino manager is watching the 
      shift bosses.

SWISH PAN TO ACE.

                  ACE (V.O.)
      I'm watching the casino manager.

CAMERA SWISH PANS AND TILTS UP TO A VIDEO CAMERA MOUNTED INSIDE A GLASS DOME HANGING FROM THE CEILING.

                  ACE (V.O.)
      And the eye-in-the-sky is watching 
      us all.

SWISH PAN TO:

INT. TANGIERS-EYE-IN-THE SKY MONITOR ROOM - NIGHT

Video monitors show a dealer fanning a row of bills. Swish pan to ACE and SHERBERT watching the monitor. ACE lights a cigarette.

                  ACE (V.O.)
      Plus...

SWISH PAN TO SURVEILLANCE CATWALKERS ADJUSTING CAMERAS AND SPYING ON PLAYERS BELOW WITH BINOCULARS.

                  ACE (V.O.)
      ...we had a dozen guys up there, 
      most of them ex-cheats, who knew 
      every trick in the house.

INT. TANGIERS CRAPS TABLE - NIGHT

Ginger squeals as she throws the dice across the table.

                  HIGH ROLLER
      Come on, come on.

She rolls a winner.

                  GINGER
      Yes!

                  HIGH ROLLER
      Thank you. Very nice.

                  GINGER
           (Chuckles)
      I told you I was hot tonight.

INT. TANGIERS EYE-IN-THE-SKY MONITOR ROOM - NIGHT

Sound out: The monitor shows GINGER and the HIGH ROLLER cheering, she throws her arms around him. The crowd goes crazy.

SWISH PAN TO ACE LOOKING ON INTENTLY.

On screen, GINGER's hand sneaks a chip from the rack and subtly moves it towards her purse.

INT. TANGIERS CRAPS TABLE - NIGHT

Sound in: GINGER slips the chip quietly into her bag.

                  HIGH ROLLER
           (Off-screen)
      Let's go. This is for Ginger. Come 
      on. This is for Ginger.

The HIGH ROLLER notices GINGER's hand on her purse. She pretends to have taken out her lipstick.

                  GAMBLER #1
      Let me have a hundred on the hard 
      ten. Thank you.

                  GAMBLER #2
      Hard ten. One hundred.

INT. TANGIERS EYE-IN-THE-SKY MONITOR ROOM - NIGHT

ACE continues to look at the monitor. SHERBERT and a security man seated at a video console also look on.

INT. TANGIERS CRAPS TABLE - NIGHT

A craps stick pushes some dice towards GINGER. She rolls again, only this time she craps out. Gamblers groan, then applaud her. She's made so much money for the table that the winners toss chips in her direction.

                  HIGH ROLLER
      I'm sorry.

                  GINGER
      Oh, I'm sorry. I'm sorry.
           (To the table)
      Thank you very much. Thank you very 
      much.

ACE and two casino execs are now on the floor watching her.

                  GINGER
      Thank you, sir, I appreciate that. 
      Everybody, thanks. Gives some chips 
      as tips to the dealer and box man. 
      Thanks. Take care, Steve. Take chances 
      and drive fast.

                  HIGH ROLLER
      Ginger, honey.

                  DEALER
      Thank you very much, now.

                  HIGH ROLLER
      Ginger, honey, this is for you love. 
      Thanks for your time.

She turns to the HIGH ROLLER, who is handing her a thin stack of chips worth about $2,000.

                  GINGER
           (Chuckles)
      Come on.

                  HIGH ROLLER
      What's the matter?

                  GINGER
      What do you mean, 'What's the matter?' 
      I made a lot of money for you. I 
      want my cut.

                  HIGH ROLLER
      What money? I've seen you stealing 
      from me.

                  GINGER
      What money?  Look at this stack of 
      chips. Don't give me that shit. I 
      want my end.

                  HIGH ROLLER
      Ginger, I've been watching you all 
      night. You've been stealing from me.

                  GINGER
      Don't give me that shit. I want my 
      money.

                  HIGH ROLLER
      That bag's full of fuckin' chips you

                  GINGER
           (Interrupts)
      What do you mean 'stole'? I didn't 
      steal anything from you.

ACE watches the argument heat up.

                  HIGH ROLLER
      Get lost, Ginger! Get lost!

                  GINGER
      Get lost?

                  HIGH ROLLER
      Yes.

                  GINGER
      Get lost?

                  HIGH ROLLER
      Yes.

GINGER knocks the chip rack out of his hands.

                  GINGER
      Well, how 'bout that?

                  HIGH ROLLER
      Come on!
           (He bends down to 
           pick them up.)

Gamblers and dealers shout and yell. She picks up another rack of chips and tosses them into the air, then another, and another. Chips fly all over the casino. Everyone starts diving for chips. Dealers. Players. Security guards.
Waitresses. Pit bosses. Bedlam.

ACE and the two execs with him are the only ones not diving for chips. He looks at GINGER. She looks at him.

FREEZE FRAME ON GINGER.

Slow motion: GINGER smiles at ACE and walks off.

                  ACE (V.O.)
      What a move. I fell in love right 
      there.

INT. COCKTAIL LOUNGE - NIGHT

GINGER and ACE are seated on a banquette. Close up of his hand attaching a diamond and ruby pin to her dress. Tilt up to GINGER's smiling face beaming at ACE.

                  ACE (V.O.)
      But in Vegas, for a girl like Ginger, 
      love costs money.

They kiss.

                  GINGER
      I'm going to go powder my nose.
           (ACE hands GINGER a 
           single $50 bill. She 
           smiles coyly. He 
           hands her another 
           fifty.)

                  ACE (V.O.)
      Ginger's mission in life was money.

                  GINGER
      I'll be right back.

                  ACE (O.S.)
           (from following scene)
      See you, Ginger.

FLASHBACK - EXT. CASINO ENTRANCE - NIGHT

GINGER waves goodbye to the DOORMAN and walks towards two VALET PARKERS who greet her warmly. She gets a bottle of pills from one of them and slips some cash into his hand in return.

                  GINGER
      Okay, thank you for asking.

                  ACE (V.O.)
      She was a queen around the casino. 
      She brought in high rollers and helped 
      them spread around a lot of money.

                  GINGER
           (To VALET PARKERS)
      Hello.

                  VALET PARKER
      Hey, Ginger, how you doin'?

                  GINGER
      Great.
           (Handing the VALET 
           some money.)
      And I have something for you. You 
      got me covered?

The VALET PARKER places a vial of pills in her hand.

                  VALET PARKER
      Yes. Something for you, there.

                  GINGER
      And you do. Thank you very much.

                  VALET PARKER
      Take care of yourself.

FLASHBACK - INT. HOTEL SUITE BATHROOM - NIGHT

GINGER hands the pills to HIGH ROLLER #2 in his hotel bathroom, where he is washing his face and trying to energize himself.

                  GINGER
      I got some lucky pills for you, honey.

                  HIGH ROLLER #2
      Oh, yeah?

                  ACE (V.O.)
      Who didn't want Ginger? She was one 
      of the best-known, best-liked and 
      most respected hustlers in town.  
      Smart hustlers like her could keep a 
      guy awake for two or three days before 
      sending him home broke to the little 
      woman and his bank examiners.

INT. COCKTAIL LOUNGE - NIGHT

GINGER comes back from the ladies room. She kisses ACE.

                  ACE
      Any change?

                  GINGER
           (Chuckles)
      I hit a few... uh, games on the way 
      back.

                  ACE (V.O.)
      That was all bullshit. She just 
      pocketed the cash.

FLASHBACK - INT. TANGIERS CASHIER'S CAGE - NIGHT

GINGER converts her chips into a pile of $100 bills.

                  GINGER
           (To CASHIER)
      How you doin' tonight?

                  CASHIER
      Good. How are you?

                  GINGER
           (Sighing)
      Oh, beat.

                  ACE (V.O.)
      Ginger had the hustler's code.

                  CASHIER
      Okay.

                  GINGER
      Take one for you.

                  CASHIER
           (While she counts out 
           the cash)
      Thank you.

                  ACE (V.O.)
      She knew how to take care of people. 
      And that's what Vegas was all about.

                  CASHIER
           (As she pushes a stack 
           of $100 bills across 
           the counter)
      Sixty-eight hundred.

                  GINGER
      Thanks

She picks up the cash.

                  CASHIER
      You're welcome.

                  ACE (V.O.)
      It's Kickback City.

                  GINGER
      You have a good night.

                  CASHIER
      Thank you. You too.

Close-up of GINGER folding a $100 bill and placing it in her palm. She slips the folded bill deftly into the palm of a floor manager.

                  ACE (V.O.)
      She took care of the dealers...

                  GINGER
      Hey, Mitch.

                  ACE (V.O.)
      ...pit bosses, floor managers.

                  GINGER
      Thank you.

                  ACE (V.O.)
      But mostly...

EXT. TANGIERS ENTRANCE - NIGHT

GINGER, on her way out of the casino, passes a folded $100 bill to a smiling older SHIFT BOSS.

                  ACE (V.O.)
      ...she took care of the valet parkers, 
      the guys who could get you anything 
      and take care of anything.

                  GINGER
      Thanks a lot.

                  SHIFT BOSS
      Thank you, Ginger.

EXT. TANGIERS ENTRANCE - NIGHT

GINGER exits and gets into her car, slipping a VALET PARKER a $100 bill.

                  ACE (V.O.)
      Ginger took care of the parkers 
      because they took care of the security 
      guards, who took care of the metro 
      cops, who let her operate.

                  VALET PARKER #3
      Thank you, Ginger.

                  GINGER
           (Getting into her car)
      I need that stuff tonight.

                  VALET PARKER #3
      No problem.

                  GINGER
      You're a doll.

                  ACE (V.O.)
      The valet parking job was such a 
      money-maker that they had to pay off 
      the hotel manager just to get the 
      concession.

INT. GINGER'S APARTMENT - DAY

GINGER enters the room with $25,000 in her hands. She taps LESTER DIAMOND's leg with it and he turns to her.

                  ACE (V.O.)
      But one thing I could never 
      understand, was that she could have 
      everything under control, except for 
      her old pimp boyfriend, Lester 
      Diamond.

                  LESTER
      Look, Gin, you know I got other people 
      in this. I got partners. But I want 
      you to understand that I am lookin' 
      out for you in this thing.  Okay?  
      You're going to get yours back...   
      and you're gonna get it back first. 
      Okay?

                  GINGER
      All right.

                  LESTER
      Okay?

                  GINGER
      Yeah.

                  LESTER
      Where are you goin'? Where are you? 
      You're in that place. Where are you?

                  GINGER
      I'm here.

                  LESTER
      No, you're not. Where are you? Where 
      are you?

                  GINGER
      I'm always here for you.

                  LESTER
      You are.

                  GINGER
      I am.

He hastily kisses GINGER and slips out the door.

                  ACE (V.O.)
      The Ginger I knew wouldn't even look 
      at this creep.

                  GINGER
      Good luck.

                  LESTER
      Yeah.

                  ACE (V.O.)
      He was a moocher, a card cheat, a 
      country-club golf hustler. A 
      scumbag... chasing dentists for a 
      few bucks.

                  GINGER
      Careful.

GINGER looks out of the window and sees LESTER get into a convertible and drive off.

                  ACE (V.O.)
      I mean, the guy was always broke, he 
      always had a story. And somehow, she 
      could never turn him down. The way 
      Ginger saw it, I guess, was that 
      Lester was just an unlucky guy. 
      Somebody had to take care of him.

INT. BACK HOME AIRPORT/CUSTOMS - DAY

NICKY, his wife JENNIFER, with a beehive hairdo, and their eight-year-old son LITTLE NICKY, are detained while their luggage is searched by a customs agent.

TITLE IN: 'BACK HOME'

                  ACE (V.O.)
      But nobody had to take care of Nicky.

                  NICKY
           (To customs agent)
      You find any cash in there, we'll 
      whack it up with you.

                  ACE (V.O.)
      I mean, he took care of himself only 
      too well. And that's why every badge 
      back home wanted to nail him.

                  JENNIFER
           (To customs agent)
      Excuse me, but I folded these things 
      beautifully and I would appreciate a 
      little respect. Jesus Christ!

                  NICKY
      Don't look at me, pal. I gotta live 
      with her.

We see MARINO waiting for NICKY outside the customs area. Two COPS push past him.

                  ACE (V.O.)
      Even after a little vacation, they 
      hassled him at the airport.

                  COP #1
           (To MARINO)
      Excuse me.

                  ACE (V.O.)
      I mean, Frank Marino was there to 
      meet him, but so were the cops. This 
      time they wanted to pinch him for 
      some diamond burglary in Antwerp.

CAMERA DOLLIES IN ON JENNIFER'S BEEHIVE.

                  JENNIFER
      Oh, yes. Will you help me fold these, 
      please?

                  ACE (V.O.)
      They were ready to blame him for 
      anything, no matter where it happened.

FLASH FORWARD - INT. NICKY'S HOUSE/BACK HOME - DAY

NICKY, JENNIFER, LITTLE NICKY and MARINO walk in.

                  JENNIFER
           (To LITTLE NICKY)
      You go and put your things away.

                  ACE (V.O.)
      And they were usually right.

NICKY, JENNIFER and MARINO are gathered around the kitchen table. JENNIFER leans over and starts to shake her hair.

                  MARINO
      Whoa, whoa, whoa.

                  NICKY
      Hold it, hold it. Here.

NICKY places a red towel down on the table. JENNIFER leans over again, tugs and shakes her hair until diamonds begin to fall out of her beehive.

                  ACE (V.O.)
      Because Nicky enjoyed being a 
      gangster, and he didn't give a damn 
      who knew it.

                  JENNIFER
      Come on. There we go. Look at that. 
      Beautiful.

Diamonds fall on the red towel in slow motion.

                  ACE (V.O.)
      I mean, that's what worried me, 'cause 
      it turns out Nicky was about to be 
      sent to Vegas.

                  JENNIFER
      All right, we're clear.

                  NICKY
      There's more!

                  JENNIFER
      I think that's it.

                  NICKY
      There's more! There's a couple stuck 
      in there. I know there's more.

                  JENNIFER
      God, I'm telling you, they're out!

                  NICKY
      Come on, damn it. Don't get so 
      defensive. It could be stuck in your 
      hair, you know.

NICKY grasps JENNIFER's hair.

                  JENNIFER
      Look, there aren't...
           (A diamond falls out 
           of her beehive.)
      There aren't but...

                  NICKY
      Oh, there aren't?
           (Showing her the 
           diamond.)
      What's that?
           (Slaps her.)
      Huh? What's that.
           (FRANK chuckles.)
      There's no more. Thanks, hon.

INT. BACK HOME AIRPORT/CUSTOMS - DAY

ON NICKY.

                  NICKY (V.O.)
      I couldn't wait to get my hands on 
      Vegas. But the bosses didn't send me 
      out there to have a good time.

INT. SAN MARINO ITALIAN GROCERY/BACK ROOM, KANSAS CITY - NIGHT

Mob bosses FORLANO, CAPELLI, GAGGI, BORELLI and PISCANO seated around the back room table eating and talking as in the opening vignette.

                  NICKY (V.O.)
      They sent me out there to make sure 
      that nobody fucked with Ace and...

INT. ACE'S TANGIERS PENTHOUSE, LAS VEGAS - DAY

ACE opens the door to NICKY and JENNIFER.

                  NICKY (V.O.)
      ...nobody interfered with the fuckin' 
      skim.

                  ACE
           (Opening door)
      Hey.

                  JENNIFER
      Hey, how you doin'?
           (Kisses ACE.)

                  NICKY
      Hey. Hey, Sammy, how are you?

JENNIFER and NICKY take in ACE's spectacular Vegas-style penthouse.

                  JENNIFER
           (Whispering)
      Wow.

                  NICKY
      Boy, look at this place, huh?

                  JENNIFER
      Incredible.

                  NICKY
      All right.

                  ACE
      Welcome to Vegas.

CAMERA TILTS UP TO REVEAL A SWEEPING VIEW OF THE LAS VEGAS SKYLINE.

                  NICKY
      Okay, Sammy.

                  ACE
      Somethin', huh?

                  NICKY
      Yeah.

                  ACE
           (Calling her over)
      Ginger.

GINGER emerges from the bedroom. NICKY and JENNIFER are both stunned by her beauty.

                  NICKY
           (To ACE)
      Holy shit, what've you been doin' 
      out here?

                  ACE
      Honey, come here.

She walks to them

                  ACE
      This is Jennifer and Nick. They're 
      dear friends of mine.

                  JENNIFER
           (Shaking hands)
      Good to meet you.

                  GINGER
      Hi, Jennifer.

                  NICKY
      Pleasure.
           (Grasping GINGER's 
           hand and kissing it.)
      Very nice to meet you.

                  GINGER
      Hi, how are you?

                  NICKY
      Okay, Sammy.

INT. ACE'S CAR, LAS VEGAS STRIP - NIGHT

ACE and NICKY are driving through town, the neon lights of Vegas reflected in the windshield.

                  ACE (V.O.)
      After we ate, we left Jennifer and 
      Ginger alone and we took a ride to 
      talk. And then... he hit me with it.

                  NICKY
      What do you think about me movin' 
      out here?
           (ACE looks away.)
      What's the matter? You got a problem 
      with that?

                  ACE
      No, of course not.

                  NICKY
           (Playfully)
      You mean, I have your permission?

                  ACE
      Sure, you have my permission. But I - 
      I just gotta tell you it's no joke 
      out here. It's no joke, you know?  
      You gotta keep a low profile. It's 
      not like back home. Right off the 
      bat, they don't like guys like us. 
      And this sheriff's a real cowboy. 
      Even the coppers aren't afraid to 
      bury people out in the desert here.

                  NICKY
      I don't care. I want to get away 
      from back home for a while. I'm tired 
      of that shit back there.
           (Referring to the 
           Vegas lights.)
      Look at this place. It's made of 
      money. You know what the best part 
      is? Nobody's gonna know what we're 
      doin'! There's nobody here to see 
      us! Everybody's back home.

                  ACE
      Nick, I gotta tell you, I got pinched 
      twice for no reason. You really gotta 
      be careful. I'm running a licensed 
      place. Everything's legit.

                  NICKY
      Don't worry about it. I'm not gonna 
      do anything. What am I gonna do?  
      I'm especially not gonna involve you 
      in anything.

ACE gives NICKY a look.

EXT./INT. LAS VEGAS SPORTSBOOK - NIGHT

NICKY and MARINO pull up in their car and get out.

                  NICKY (V.O.)
      Ace saw Vegas one way.

                  NICKY
      You call this guy and tell him I'm 
      comin'?

                  MARINO
      Of course.

They walk into the sportsbook, past numerous bar patrons and gamblers to TONY, the bookie at a betting counter.

                  NICKY (V.O.)
      But I saw it another. I saw it as 
      untouched. I mean, they had bookies, 
      pimps and drug dealers I could shake 
      down. Who the fuck were they gonna 
      run to?  So, I started getting 
      everybody in line. Best of all, for 
      the first time in my life, I figured 
      out a way not to lose.

                  ACE (V.O.)
      Yeah, he had a fool-proof scheme, 
      all right. It wasn't very scientific 
      but it worked. When he won, he 
      collected. When he lost, he told the 
      bookies to go fuck themselves. What 
      were they gonna do? Muscle Nicky?
           (Chuckles.)
      Nicky was the muscle.

NICKY grabs TONY by the back of his neck.

                  NICKY
      Tony.

                  TONY
      Hey.

                  NICKY
      How you doin'?

                  TONY
      How you doin'?

                  NICKY
      All right, yeah. You got that thing 
      for me?

                  TONY
      What thing? Oh, Nicky... I thought 
      you was layin'.

                  NICKY
      I was layin'? No, no, I'm taking it. 
      I was takin' it.

                  TONY
      You sure?

                  NICKY
      I'm positive.

                  TONY
      Well, I'm a little confused here.

                  NICKY
      You're a little confused?

                  TONY
      Yeah.

                  NICKY
           (Pointing to a window, 
           above a counter with 
           a tiny opening to 
           talk through)
      Maybe if I stick your fuckin' face 
      through this window over here like, 
      you know, you'll - you'll get 
      unconfused. Give me the fuckin' money!

TONY takes some money out of his coat pocket.

                  TONY
           (Groaning)
      I'm sorry, Nicky. I didn't mean 
      anything by it.

                  NICKY
      Yeah, I know, that's why you had it 
      ready. You thought I was fuckin' 
      layin' it?!

He smacks the bookie on the head with the wad of money.

                  TONY
           (Gasps)
      My fuckin' head.

                  NICKY
      Your fuckin' head, huh? Don't fuck 
      around, Tony.

                  MARINO
           (Pointing to TONY)
      Smarten up.

                  NICKY
           (Walking out)
      You jag-off.



                  CLASSROOM NUN (O.S.)
           (From following scene)
      And now...

INT. CATHOLIC SCHOOL CLASSROOM - DAY

NICKY and JENNIFER stand in the background with other parents listening to a NUN school teacher. LITTLE NICKY and other youngsters are seated at small children's desks.

                  CLASSROOM NUN
      ...Nicholas Santoro will come up and 
      tell us about our first president.

                  LITTLE NICKY
           (Stepping up in front 
           of the class to begin 
           a speech)
      George Washington was born in a...

                  ACE (V.O.)
      But still, it was nice and quiet for 
      a while. Ginger and I presented Nicky 
      and Jennifer all over town, like 
      regular Ozzie and Harriets.

                  LITTLE NICKY
      ...typical Virginia farmhouse.

EXT. LITTLE LEAGUE FIELD - DAY

NICKY and DETECTIVE BOB JOHNSON are coaching their sons. JOHNSON pats LITTLE NICKY on the back and with encouraging words sends him running on to the field.

                  DETECTIVE JOHNSON
           (To LITTLE NICKY)
      Beautiful. You got a beautiful swing.

                  NICKY (V.O.)
      Ace got my son, little Nicky, involved 
      with Little League, and it was great.

                  DETECTIVE JOHNSON
      Now, I want you to get out there and 
      get me singles and doubles, okay?  
      'Cause that's what's gonna win this 
      game.

                  NICKY (V.O.)
      Turned out to be one of the other 
      coaches was a fuckin'...  

                  DETECTIVE JOHNSON
      Now go out there and show your dad 
      what you can do.

                  NICKY (V.O.)
      ...metro intelligence cop. But it 
      didn't matter. I mean, it was all 
      about the kids, you know.

                  DETECTIVE JOHNSON
      You know, he's gotta realize 
      everything can't be a home run that 
      he does.

                  NICKY
      Yeah, well, that's exactly what I 
      keep tellin' him, but that's the 
      kind of kid he is ever since he's 
      born.

                  DETECTIVE JOHNSON
      It's instinctive, you know.

                  NICKY
      He tries to do everything...

LITTLE NICKY hits the ball, NICKY and DETECTIVE JOHNSON applaud.

                  NICKY
      Ohh!

                  ACE (V.O.)
      And, Nicky being Nicky, he made his 
      presence known.

INT. TANGIERS CASHIER'S CAGE CREDIT WINDOW - NIGHT

NICKY saunters through the casino and up to EDDY and JERRY, two well-dressed hoods who are signing papers at the cashier's credit window near ACE and SHERBERT.

                  ACE (V.O.)
      Especially at the casino, where he 
      definitely did not work, people got 
      the message.

                  NICKY (V.O.)
      Me? That's why the bosses sent me 
      out here. They wanted me to make 
      sure none of the other crews robbed 
      the joint. Like these two fuckin' 
      balloon-heads over here [EDDY and 
      JERRY]. They were gonna try and bang 
      us out of two hundred fuckin' grand?
           (Chuckling.)
      Yeah, right, I'm sure.

                  JERRY
           (Shakes NICKY's hand)
      Hey, Nicky. How are you?

                  NICKY
      Hey, Eddy.

                  EDDY
      Hey, Nicky, how are you? What are 
      you doin' here?

                  NICKY
      I'm over here now.

                  JERRY/EDDY
           (In unison)
      You're over here?

                  JERRY
      You're over here?

                  NICKY
      Yeah, I'm over here with him.

SWISH PAN TO ACE WITH SHERBERT OFF TO THE SIDE.

                  EDDY
      Oh.

                  JERRY
      Oh.

                  EDDY
      We're waiting on Carmine.

                  JERRY
      Yeah, we're lookin' for Carmine.

                  NICKY
      Carmine? He was here before. I saw 
      him. He had a suitcase and everything, 
      and then he left.

                  EDDY
      Carmine left?

                  NICKY
      Uh-huh.

                  JERRY
      Carmine left?

                  EDDY
      He's gone?

                  JERRY
      He's not here?

                  EDDY
      Carmine's gone.

                  NICKY
      I think, you know, maybe he went 
      across the street or somewhere else 
      or somethin'. I don't know.

                  EDDY
      Well, listen, uh... Good luck with 
      the joint, huh?
           (Shakes hands with 
           NICKY.)

                  NICKY
      Oh, thanks, Eddy.

                  JERRY
           (Shakes NICKY's hand)
      Yeah, lots of luck. Lots of luck.

                  NICKY
      Hey, great, Jerry.

They walk away.

                  NICKY
      Good luck to you too.

                  CREDIT CLERK
           (To NICKY from behind 
           the cage)
      Hey, they forgot to sign their papers.

                  NICKY
      What?

                  CREDIT CLERK
      They forgot to sign their papers.

                  NICKY
      Yeah, they don't need those anymore.

He looks over to ACE and SHERBERT. NICKY smiles.

                  ACE (V.O.)
      Out of respect, guys from other crews 
      got away with a warning.

ACE taking a drag off his cigarette, nods an 'okay'.

                  ACE (V.O.)
      Everybody else: watch out.

INT. TANGIERS CASINO/BLACKJACK TABLES - DAY

A blackjack WINNER, who looks like a school teacher, with over $100,000 in chips before him has gathered a crowd.

                  ACE (V.O.)
      Like these yokels here who never 
      heard of Nicky or the bosses back 
      home, 'cause they're the morons who 
      give you the most trouble. Even after 
      we'd catch 'em, they'd try sneakin' 
      back with beards and wigs and fake 
      noses.

ACE and SHERBERT walk up to watch the WINNER who is playing all six hands at the blackjack table.

                  ACE (V.O.)
      You can spot these assholes by 
      watching the way they bet. Like this 
      guy. He's bettin' lavender chips at 
      five hundred each with only one little 
      problem. He's always guessed right.  
      If he wasn't so fuckin' greedy, he'd 
      have been tougher to spot. But in 
      the end, they're all greedy.

ACE walks around the WINNER's table, past the crowd, to the pit. Behind him are more blackjack tables, dealers and players. ACE bends down and ties his shoelace.

                  ACE (V.O.)
      I saw that the dealer was weak, but 
      he wasn't in on it.

The DEALER's hands lift the corner of his hole card a half an inch to determine the casino's hand against the WINNER. The slightly exposed hole card is a six of clubs.

                  ACE (V.O.)
      He just wasn't protecting his hand. 
      He was lifting his hole card way to 
      high.

ON ACE'S FACE THEN TO HIS POV OF THE CARD, PAST A PIT BOSS, PANNING TO THE SIGNALER AT THE BLACKJACK TABLE TO THE RIGHT. THE SIGNALER IS SLUMPED DOWN IN HIS SEAT, TOSSING DOWN SOME CARDS AND SNEAKING LOOKS AT THE DEALER'S HAND AT THE WINNER'S TABLE.

                  ACE (V.O.)
      Now, here's this guy...

OVERHEAD PAN FROM THE SIGNALER SLUMPED IN HIS SEAT.

                  ACE (V.O.)
      ...reading the dealer's hole card...

PAN CONTINUES PAST ACE TO REVEAL THE WINNER'S TABLE.

                  ACE (V.O.)
      ...and signaling his buddy [the 
      WINNER] at this table.

OVERHEAD DOLLY IN ON SIGNALER WHO APPEARS TO BE NERVOUSLY TAPPING HIS THIGH.

We see through his trousers, that he is tapping a copper transmitter with a battery pack attached.

Back at the WINNER's table we see inside his pant leg where a device strapped to his leg is receiving the impulse signal - buzz - buzz - buzz - from the SIGNALER.

                  ACE (V.O.)
      And that's just what these hustlers 
      look for. They cruise from casino to 
      casino, lookin' for weak dealers the 
      way lions look for weak antelope.

ACE starts to get up.

                  ACE (O.S.)
           (From following scene)
      Operator?

INT. TANGIERS BLACKJACK TABLES/TELEPHONE - DAY

ACE is on the house phone right near the SIGNALER's table.

                  ACE
      This is Mr R. Get me Armstrong and 
      Friday over at pit two right away.

He hangs up, and fixes his tie in the mirrored panel above the phone.

OVERHEAD VIEW OF THE SIGNALER'S TABLE. VARIOUS SECURITY GUARDS SLOWLY BEGIN TO GATHER AROUND IT.

ACE, waiting, lights a cigarette. ARMSTRONG joins ACE. They look towards the SIGNALER's table.

                  ACE
           (To ARMSTRONG)
      BJ nineteen, second base, the beard 
      [Blackjack table number 19, second 
      position, man with the beard]

                  ACE
           (Picks up the phone 
           again.)
      Operator... I need Mr Happy, loud.

On ACE's signal, WAITRESSES, one carrying a cake with a sparkling candle, start singing 'Happy Birthday', attracting the crowd's attention.

                  WAITRESSES
           (In unison)
      Happy Birthday to you. Happy Birthday 
      to you. Happy Birthday, dear Jeff. 
      Happy Birthday to you.

Gamblers cheer and applaud.

ACE nods and ARMSTRONG lets a long metal object drop out from under his jacket sleeve and moves in close behind the SIGNALER, as though looking at the game.

He presses the object - a cattle prod - under the SIGNALER's arm near his heart. The SIGNALER instantly goes into convulsions, falling to the floor gasping and groaning. Several SECURITY GUARDS grab the SIGNALER as he falls.
ARMSTRONG walks away.

                  SECURITY GUARD #1
      Man down!

The WINNER sees what happened to his partner.

                  SECURITY GUARD #1
      Notify medical! We got a cardiac 
      arrest here!

                  SECURITY GUARD #2
      He's fine, folks. Just give us some 
      room, please!

ACE watches the scene. The guards lift the stunned SIGNALER to his feet and help him away from the table. Play is immediately resumed.

                  ACE (V.O.)
      Watch it now.

The WINNER hurriedly places his chips into racks.

                  SECURITY GUARD #1 (O.S.)
      Stand back!

                  ACE (V.O.)
      They never know what hit them. And 
      if and when...

SECURITY GUARDS drag the SIGNALER out.

                  ACE (V.O.)
      ...they do find out they just got 
      zapped by a cattle prod...

SHERBERT follows the WINNER as he rushes away.

                  ACE (V.O.)
      ...they wish they really did have a 
      heart attack.

ACE exits behind the GUARDS and the SIGNALER.

INT. BASEMENT MAINTENANCE ROOM - NIGHT

A grim, windowless utility room with tools on racks along the walls, some plain wooden chairs, and a workbench table.

                  ACE (V.O.)
      Turns out this guy and his fuckin' 
      pals, they were knockin' this place 
      dead for years.

                  SECURITY GUARD #1
      He's got a wire on him.

The SIGNALER is roughly shoved into the room. A SECURITY GUARD tears his trousers down revealing the signaling device strapped to his leg.

                  SIGNALER
      Hey, hey, what are you doin', man?

                  SECURITY GUARD #2
           (Exposing the device)
      There it is! On the table!

                  SECURITY GUARD #1
      Cheater's justice!

The SIGNALER is slammed down face first on the bench and the two GUARDS spread his arms out on the table.

                  SIGNALER
           (In pain)
      Oh, God! Oh!

Another GUARD starts up a power saw and approaches the SIGNALER who is now pinned to the table. He starts to scream.

                  SIGNALER
      Hey, no! No! No!

ACE walks toward the table, gesturing for the GUARD to turn off the saw.

                  ACE (V.O.)
      We had to make an example of these 
      pricks that the party was over.

                  ACE
           (To relieved SIGNALER)
      I'm just curious. I saw you shuffling 
      your checks with your right hand. 
      Can you do that with both hands?

                  SIGNALER
      No.

                  ACE
      Can't do it with both hands?

                  SIGNALER
      No, Sir.

                  ACE
      Can you do it with your left hand?

                  SIGNALER
      Well, I... I never tried.

                  ACE
      So, you're a righty?

                  SIGNALER
      Ye-yeah.

ACE nods to one of the GUARDS. Instantly a large rubber mallet smashes onto the man's right hand four times to the sound of screams. ACE watches.

                  ACE
      Now, you're gonna have to learn with 
      your left hand.

                  SIGNALER
      God!
           (He moans and sits 
           back.)

                  WINNER (O.S.)
           (From following scene)
      It's a hundred...

INT. CASINO CASHIER'S CAGE AREA - NIGHT

The WINNER has been standing outside the cashier's cage waiting for his $110,000 in chips to be cashed. SHERBERT walks up behind him.

                  WINNER
      ...a hundred ten.

                  CASHIER
      Yes, it is.

                  WINNER
      I think.

                  CASHIER
      Yes.

                  WINNER
      Okay.

                  SHERBERT
      Hiya. That's a lot of money to be 
      counting out in public.

                  WINNER
      Yeah.

                  SHERBERT
           (To CASHIER)
      Why don't I take him over to the 
      office and verify it, huh?

                  CASHIER
      Yes.

                  SHERBERT
      A little privacy. And, by the way, 
      send over a... nice bottle of 
      champagne on ice, huh?

                  CASHIER
      Sure will.

                  SHERBERT
      Real special.  Somethin'...
           (To WINNER.)
      By the way...  I'm Billy Sherbert, 
      your casino manager.

He shakes hands with the WINNER.

                  WINNER
      Hi.

                  SHERBERT
      Having a good time?

SHERBERT leads him away from the cage.

                  WINNER
      Yes, uh...

                  SHERBERT
      You'll want to count the money in 
      privacy. You know, you don't need...

                  WINNER
      Uh, I have a plane to catch to 
      Cleveland...  Can I get my winnings?

INT. BASEMENT MAINTENANCE ROOM - NIGHT

The WINNER is pushed through the door by two GUARDS followed by SHERBERT and sees his pal moaning in pain and holding his broken hand.

                  SIGNALER
      Look what they did to my hand, man!

                  ACE
           (Walks over to the 
           WINNER)
      All right, I'm gonna give you a 
      choice. You can either have the money 
      and the hammer or you can walk out 
      of here. You can't have both. What 
      do you want?

SHERBERT stands next to the WINNER

                  WINNER
      I just wanna get out of here.

                  ACE
      And don't forget to tell your friends 
      what happens if they fuck around in 
      here. You understand?

                  WINNER
      I'm sorry. I made a bad mistake.

                  ACE
      You're fuckin' right, you made a bad 
      mistake. 'Cause if you come back 
      here - we catch either one of you - 
      we're gonna break your fuckin' heads 
      and you won't walk out of here. You 
      see that fuckin' saw?  We're gonna 
      use it. You don't fuck around in 
      this place. You got it?

                  WINNER
      Yeah.

                  ACE
      Get out of here.

                  WINNER
      Thank you.

The GUARDS usher the WINNER out of the room.

                  ACE
           (To the GUARDS, 
           referring to the 
           SIGNALER)
      Throw him out in the alley.  And 
      just tell the cops he got hit by a 
      car.

INT. ACE'S TANGIERS PENTHOUSE

ACE and GINGER are alone in the living room. The apartment looks out on the glittering neon signs of the Strip.

                  ACE (V.O.)
      Within no time, everything was set 
      in place. We got rid of the freelance 
      scamsters. The per was way up.  The 
      gods were happy, or as happy as the 
      gods can ever be.  And I, I decided 
      to complicate my life. For a guy who 
      likes sure things, I was about to 
      bet the rest of my life on a real 
      longshot.

                  ACE
      We're not getting any younger. Don't 
      you think it's time? Aren't you 
      gettin' tired of all this shit? 
      Bangin' around, hustlin' around?

                  GINGER
      What, are you trying to handicap me?

                  ACE
      I'm gonna do you one better. I'm 
      trying to marry you. You want to 
      marry me?
           (GINGER looks doubtful.)
      I'm serious. I mean, I - I want to 
      settle down. I want a family.

                  GINGER
           (Sighs, laughing)
      You got the wrong girl, Sam.

                  ACE
      I know I'd be a good father. I know 
      you'd be a good mother.

                  GINGER
      You don't know me. What, you've known 
      me, two, three months. What do you 
      know?

                  ACE
      I'm forty-three years old. I don't 
      want to wait. I know you well enough 
      to know that I really love you very 
      much.  And I can't think of anybody 
      better to be with. And I don't feel 
      like waiting anymore.

                  GINGER
      You know a lot of happily married 
      people, Sam? 'Cause I don't.

                  ACE
      Yeah, I know all that.

                  GINGER
      I care about you, a - But I just 
      don't have those kind of feelings 
      for you. I'm sorry. I'm not in love 
      with you.

                  ACE
           (Brushing cigarette 
           ash off his dressing 
           gown)
      I - I - I...

                  GINGER
      Understand?
           (Pause)
      I'm sorry.

                  ACE
      No, I - I... mean...  that can grow 
      as I - as long as there's a mutual 
      respect... that kind of thing can 
      grow. I'm realistic. I can accept 
      that. But, you know, what is...  
      What is love anyway?  It's a... it's 
      a mutual respect. It's - it's a 
      devotion. It's a... it's a caring 
      from one person to another. And if 
      we could set up some kind of 
      foundation...  based on that mutual 
      respect...  I feel that eventually 
      you would care enough about me... 
      that I could live with that.

                  GINGER
      If it doesn't work out. You know, if 
      it doesn't play out, then what happens 
      to me?

                  ACE
      You know I'm doin' well now. And I'm 
      gonna do even better. And so, whatever 
      happens, if it doesn't work out 
      between us, I'm gonna make sure you're 
      okay for the rest of your life. And 
      if there are kids, especially, you 
      know, I'll take care of you better 
      than you'd ever imagine.

                  GINGER
           (Interrupts)
      What're you... what're you pitching 
      me, here?

                  ACE
      Just what I said. You'll be set up 
      for the rest of your life. That I 
      can promise you.
           (Pause)
      Want to take a chance?

She looks at him. ACE is holding her hand tightly.

INT. RIVIERA BALLROOM MARRIAGE - NIGHT

ACE and GINGER are seated at a banquet table with various guests, drinking champagne. AMY, their six-month-old child is in a cradle. NICKY and JENNIFER are hovering around the baby with LITTLE NICKY and are blissfully happy. It is an elegant affair. City Officials, politicians and gaming officials are there, plus, SHERBERT and Ace's boss, PHILIP GREEN. A photographer takes pictures of the guests.

                  ACE (V.O.)
      When I married Ginger I knew all the 
      stories, but I didn't give a fuck. 
      'I'm Sam Rothstein,' I said. 'I can 
      change her.'

                  NICKY (V.O.)
      It was typical Ace. He invited the 
      biggest people in town and he knew 
      they'd show. Because he knew they 
      all wanted somethin' from him.  With 
      Ace, nobody ever got a free ride. 
      Even Ginger. With her -

We see AMY in the cradle.

                  NICKY (V.O.)
      - he still covered his bets. They 
      had to have the baby first, before 
      they got married. Even made Jennie 
      and me watch Amy for a few days when 
      they went on their honeymoon. But I 
      didn't mind, we loved the kid.

IN SLOW MOTION CAMERA MOVES IN ON ACE AND GINGER, STANDING NEXT TO A LARGE WEDDING CAKE. THEY ARE KISSING. NICKY, SHERBERT AND OTHER GUESTS LOOK ON.

CAMERA MOVES IN CLOSER AS THEY KISS, THEN PAST THEM TO THE BRIDE AND GROOM FIGURINES ON THE CAKE.

LESTER's and GINGER's telephone conversation is heard in voice-over this scene.

                  LESTER
           (Over telephone)
      Can you feel my eyes on you? Can you 
      feel me look into your heart?  Can 
      you feel me in the pit of your 
      stomach? Can you feel me in you? In 
      your heart?

We see a wide view of the elaborate wedding, guests mill about the banquet hall.

                  LESTER
      Don't make me come there. Answer me.

                  GINGER
           (Over telephone, 
           sobbing)
      I love you.

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - NIGHT

LESTER DIAMOND is talking on the phone softly, cutting up cocaine on a piece of glass.

                  LESTER
           (Into telephone)
      Bub-ut, baby, do you know that I 
      love you too?

                  GINGER
           (Over telephone)
      No, Lester.

                  LESTER
           (Into telephone)
      Do you know that?

                  GINGER
           (Over telephone)
      Yeah. This is the best thing I can 
      do for my life right now.

                  LESTER
           (Into telephone)
      That's right.

INT. RIVIERA BALLROOM CORRIDOR - NIGHT

GINGER is sitting alone on the phone. She's crying.

                  LESTER
           (Over telephone)
      So, it's gonna be okay, isn't it?

                  GINGER
           (Sobbing, into 
           telephone)
      Promise?

                  LESTER
           (Over telephone)
      God... I wish you...

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - NIGHT

There is a beautiful scantily dressed blonde girl in the apartment with him. She bends down to the table in front of him, snorts some cocaine, then walks away.

                  LESTER
           (Into telephone)
      ...all the luck in the world.

                  GINGER
           (Over telephone)
      You do?

                  LESTER
           (Into telephone)
      Yeah, I do. I mean, it's - it's the - 
      it's the best thing you can do right 
      now. I mean this. And you'll have 
      real security.  Sweetheart... you're 
      gonna be situated just right in Vegas.

INT. RIVIERA BALLROOM CORRIDOR - NIGHT

ACE enters from the ballroom and sees GINGER on the phone. He walks towards her, listening to her conversation.

                  LESTER
           (Over telephone)
      Come on, this is great for us. You 
      know I'm gonna be here for you. I 
      ain't going no place. Huh?  I'm 
      lookin' at you right now. I'm seein' 
      you for the very first time, right 
      this minute. I'm seein' you, and I 
      can feel my heart click. I see you 
      fourteen years old. I see you the 
      first second I ever saw you. I see 
      you, long-legged little colt -

GINGER notices ACE behind her.

                  LESTER
      - with stupid braces on your teeth.

                  GINGER
           (Into telephone, 
           sniffing, trying to 
           cut him off)
      Okay, then.

                  LESTER
           (Over telephone)
      Every time I ever see you, that's 
      what I see.

                  GINGER
           (Into telephone)
      Uh, talk to you later.  Bye.
           (She hangs up the 
           phone quickly.)

                  ACE
      You all right?

                  GINGER
           (Drinking some 
           champagne, wiping 
           away tears)
      Yeah.

                  ACE
      Why're you crying?

                  GINGER
           (Laughs)
      I'm not crying.
           (Sniffs.)

ACE walks up behind GINGER.

                  ACE
      Maybe you shouldn't drink so much.

                  GINGER
      I'm okay. I just -
           (Sniffs)
      You just have to understand. I've 
      been with Lester since I was a kid. 
      I just wanted to say goodbye. I - I 
      just...  I don't... I think I have a 
      right to do that. Okay?

                  ACE
      It's all right. That part of your 
      life is over with. Right?

                  GINGER
      Yeah.

                  ACE
      You're with me now.

                  GINGER
      Yeah.

                  ACE
      Right?

                  GINGER
      Uh-huh.

                  ACE
      You sure?

                  GINGER
      Yeah. Yeah.

They are reflected in a mirror behind the telephone.

                  ACE
      Want to go? Let's go back in.

                  GINGER
           (Sniffs)
      Okay.

ACE's hands pick up a white rose and GINGER's gloves from the desk.

EXT. ACE'S HOUSE - DAY

ACE and GINGER drive up to an expensive house which backs on to a country-club golf course.

INT. ACE'S HOUSE - DAY

ACE takes GINGER inside. It is fancy and lush.

                  GINGER
      Oh...

Through sliding glass doors, we see a patio and a pool area.

                  GINGER
           (Sighing)
      It's great.

The living-room has exposed white brick along the walls, bronze ostrich figurines, a white baby grand piano, and a zebra print rug surrounded by a few couches.

                  GINGER
      Oh, it's great.

INT. ACE'S BEDROOM CLOSET - DAY

ACE takes GINGER past the bedroom to their huge room-sized closet. There are racks and racks of clothes.

                  GINGER
           (Running into the 
           closet)
      Oh! It's all my stuff. Oh, my God.

ACE presents her with a long chinchilla coat.

                  GINGER
      You brought all my stuff. I can -

She sees the coat.

                  ACE
      Try it on. It's yours.

He puts it on her.

                  GINGER
           (Whispering)
      You're kidding? My God. What is it?

                  ACE
      It's chinchilla.

                  GINGER
           (Looking at herself 
           in the mirror)
      Oh, it's so soft.

                  ACE
      It's nice isn't it?

                  GINGER
      Oh...

ACE Kisses her.

                  GINGER
      No one's ever been so nice to me.

They kiss and embrace.

INT. ACE'S HOUSE/BEDROOM - DAY

ACE's hand opens a leather case full of gold Bvlgari jewelry.

                  GINGER
           (Gasps)
      Oh, my God.

INT. ACE'S HOUSE/BEDROOM - DAY

ACE and GINGER lie on the bed, surrounded by jewelry. GINGER is swathed in the chinchilla coat. Ace watches as a transfixed GINGER tries on gold necklaces, rings, bracelets and earrings.

                  GINGER
      So, do you think it's too much if I 
      wear these in the same day?

                  ACE
      You do whatever you want. Do I keep 
      my promises, or do I keep my promises?

ACE kisses GINGER.

                  GINGER
      You're so wonderful. The jewelry's 
      not so bad, either.

                  ACE
      The only thing is... you shouldn't 
      keep this in the house. We gotta put 
      it in a bank.

                  GINGER
           (Putting on a gold 
           bracelet)
      Come on. Can I keep this one in the 
      house?

                  ACE
      Now look,
           (gently holding her 
           face, gathering her 
           total attention)
      pay attention to me. What I'm gonna
       tell you is very important.

                  GINGER
      Okay.

                  ACE
      All this stuff doesn't mean anything. 
      Money, this, doesn't mean anything 
      without trust. I have to be able to 
      trust you with my life.

EXT. BURBANK PRIVATE AIRPORT - DAY

TITLE IN: 'LOS ANGELES'

ACE and GINGER get off the Tangiers jet carrying two suitcases. ACE gives a chauffeur the luggage and follows GINGER into a brown Rolls Royce.

                  ACE (V.O.)
      With over a million in cash and jewels 
      tucked in a bank in Vegas only for 
      Ginger, she was secure and happy.

INT. BEVERLEY HILLS BANK - DAY

ACE and GINGER walk into the bank lobby carrying the suitcases.

                  ACE (V.O.)
      She loved that shit. But a guy in my 
      line of work has to have a lot of 
      pay-off cash around.

INT. BEVERLEY HILLS BANK/VAULT - DAY

There are several safe deposit boxes filled with cash. ACE and GINGER are closing a large box so crammed with cash that ACE has to lean on it for the clasp to lock.

                  ACE (V.O.)
      Crooked cops and kidnappers, they 
      don't take checks.

                  GINGER
      Need a little help with that, Mr 
      Collins?

                  ACE (V.O.)
      So, I put two million in cash in a 
      Los Angeles bank under the name of 
      Mr and Mrs Tom Collins. This was 
      strictly my shakedown and kidnapping 
      money.

ACE and GINGER struggle to push the crammed box into a slot in the wall.

                  ACE (V.O.)
      And, since I'd either be in jail or 
      locked in a closet when I needed the 
      money the most...

The BANK PRESIDENT joins them, and he and ACE simultaneously double-lock the outer safe box door with two separate keys, after which, ACE gives GINGER his key.

                  ACE (V.O.)
      ...I gave Ginger the only key to the 
      cash that could get me back alive.

INT. BANK PRESIDENT'S OFFICE - DAY

GINGER is on the other side of a glass wall, signing papers.

                  BANKER
      Now this is just a signature card.

                  ACE
      So, once she signs those papers, 
      she'll be the only person to have 
      total access to the box?  No one 
      else, including myself?

                  BANKER
      That's right.

We see GINGER looking at ACE.

                  BANKER
      That's the way you wanted it, right?

ACE nods

                  BANKER
           (Quietly.)
      Sam, let me ask you a question. You 
      must really trust your wife.

                  ACE
           (Quietly)
      Yeah, sure I do. Why?

                  BANKER
      No, tha-that's good. It's just 
      unusual. To tell you the truth, so 
      many of my clients don't.

                  ACE
      Well...

ACE looks over to GINGER, smiles and winks. She looks back at him.

INT. TANGIERS LOUNGE - NIGHT

JERRY VALE sings to a seated audience. ACE sits alone at a table.

                  ACE (V.O.)
      With Ginger and the money in place, 
      I felt covered, and to play it safe 
      I switched job titles again and made 
      myself, um, Food and Beverage 
      Director. This way nobody would bother 
      me about a license. I mean, Vegas 
      was like a dream for me. Trouble 
      was...

NICKY is seated at another table with MARINO, peeling off money and giving it to MIKE, a crooked dealer.

                  ACE (V.O.)
      ...Nicky was dreamin' his own kind 
      of Vegas.

                  NICKY (V.O.)
      To begin, I put money out on the 
      streets, chargin' three points a 
      week. You know - juice to the fuckin' 
      dealers.

                  MARINO
           (To MIKE)
      Don't make us come lookin' for you.

                  MIKE
      Oh, you won't have to look for me. I 
      appreciate it. Thanks, Nicky.

                  NICKY
      All right, Mike.

MIKE gets up from the table.

                  NICKY (V.O.)
      They were degenerate gamblers, coke 
      freaks. In no time, I had half the 
      dealers in the Tangiers in my pocket.  
      Then...

INT. TANGIERS POKER TABLE - NIGHT

NICKY is at a table with his gang of card sharks: SLIM, ROCKY, MOOSH and COWBOY, all secretly signaling each other, sandbagging a mark. MIKE, the crooked dealer from the previous scene, deals NICKY a winning hand.

                  NICKY (V.O.)
      ...the next thing I did, I started 
      bustin' out high-stakes poker players.

                  ACE (V.O.)
      It was so obvious. I mean, all of 
      Nicky's half-assed mechanics, they 
      were real signal happy.

                  MOOSH
           (Scratching his arm)
      I'm gonna open for five hundred.

                  ROCKY
      Moosh, you open?
           (Taps his fingers on 
           some chips before 
           picking them up.)

                  ACE (V.O.)
      Signaling back and forth.

                  CARD SHARK
      I bet thirty-five hundred.

NICKY wiggles a toothpick back and forth in his mouth.

                  DOCTOR DAN
      I've been losing for three days 
      straight, non-stop.

Another shark pulls on his ear.

                  ROCKY
      Oh, why're you crying, with three 
      loaves of bread under your arm?

ACE watches their signals with concern.

                  ACE (V.O.)
      Nicky thought nobody was watching 
      him. But he was wrong.

We see two undercover gaming agents, looking like tourists, sneaking looks at NICKY's table.

                  ACE (V.O.)
      And I didn't want any of those agents 
      near my place.

                  NICKY
      Four aces, Doc.

His hands spread five cards on the table, showing four aces.

                  NICKY
      What do you got?

                  DOCTOR DAN
           (Getting up in disgust)
      Jesus Christ. I can't believe it.

COWBOY, the card shark with the cowboy hat, rakes in a large pot toward his side of the table.

                  DOCTOR DAN
      If I didn't have bad luck, I wouldn't 
      have any luck. I'm out of here, you 
      understand?

                  ACE (V.O.)
      I mean, I wished to God Nicky and 
      his whole crew would just get lost.

He walks towards NICKY's table.

                  ACE (V.O.)
      What am I gonna do? Go back home and 
      start a war?

ACE leans down to talk to NICKY.

                  ACE (V.O.)
      I mean, Nicky's a made guy and I'm 
      not. I can't do that.

                  ACE
           (Whispering in NICKY's 
           ear)
      Be careful. Gaming agents are all 
      over the place.

                  NICKY
      So, I'm lucky. I'm not allowed to 
      get lucky in this place?

                  ACE
      You been lucky all week. They're 
      lookin' to nail ya.

ACE walks away. NICKY looks over at the gaming agents.

                  NICKY (V.O.)
      Ace was so fuckin' worried about his 
      casino, he forgot what we were doin' 
      out here in the first place.

INT. TANGIERS CASINO - NIGHT

Security people are pulling apart a husband and wife who are fighting. Camera picks up ACE as he passes by them.

                  NICKY (V.O.)
      A million times I wanted to yell in 
      his fuckin' ear: 'This is Las Vegas!  
      We're supposed to be out here robbin', 
      you dumb fuckin' Heeb.'

INT. TANGIERS CASINO POKER TABLE - NIGHT

Closeup of the COWBOY's white-socked feet with no shoes on a poker table.

                  ACE
           (To SHERBERT, referring 
           to COWBOY)
      I don't give a shit who he's connected 
      to. Tell him to take his fuckin' 
      feet off the table. What's he think 
      this is, a goddamn sawdust joint?

SHERBERT approaches COWBOY.

                  SHERBERT
      Sir, would you mind taking your feet 
      off the table and putting your shoes 
      on, please?

                  COWBOY
           (Sighs)
      Yeah, I would mind. I'm havin' a bad 
      night.

COWBOY remains the same with his feet on the table.

                  SHERBERT
           (Returning to ACE)
      Fuckin' asshole won't budge.

                  ACE
      Call security.

ACE approaches COWBOY.

                  ACE
      How are you?

                  COWBOY
      Good. How are you?

                  ACE
      Good. You want to do me a favor? You 
      want to take your feet off the table 
      and put your shoes back on?

                  COWBOY
      Fuck you.

ACE walks to nearby SECURITY GUARDS.

                  ACE
           (To GUARDS)
      I want you to exit this guy off the 
      premises, and I want you to exit him 
      off his feet and use his head to 
      open the fuckin' door.

Three SECURITY GUARDS approach COWBOY.

                  SECURITY GUARD #1
      Sir, you're gonna have to leave. You 
      mind accompanying us outside?

                  COWBOY
      Bullshit, I ain't goin' anywhere 
      with you!

                  SECURITY GUARD #1
      Bullshit, you're out of here, cowboy!

SECURITY GUARD #1 knocks his feet off the table, as GUARDS

2 and #3 lift him off his seat.

                  COWBOY
      Fuck you! Fuck you!

                  SECURITY GUARD #1
      Yeah?

                  COWBOY
      You know who you're fuckin' with?! 
      Huh? Do you?!

                  SECURITY GUARD #1
      Now move along.

                  COWBOY
           (Screaming at ACE who 
           follows him)
      You fuckin' faggot! Do you know who 
      you're fuckin' with?

The GUARDS carry him out and forcefully shove him towards a side exit.

                  COWBOY
      Leave me alone!

                  SECURITY GUARD #1
      Here we go!

                  COWBOY
           (Grunting)
      You've gotta be kidding me!
           (Groans.)

The GUARDS lift him off his feet and, holding him like a battering ram, smash his head into the door.

                  ACE (V.O.)
           (As COWBOY is thrown 
           out the door)
      Sure enough, an hour later, I get 
      the call.

INT. VEGAS BAR - NIGHT

NICKY is on a public wall-phone talking to ACE. MARINO is staring at the disheveled COWBOY.

                  NICKY
           (Into telephone)
      Ace, what happened over there? I 
      mean, did you know that guy you threw 
      out was with me?

INT. TANGIERS CASINO - NIGHT

ACE is on a Tangiers house phone. SHERBERT looks on.

                  ACE
           (Into telephone)
      No, I didn't know that. But you know 
      what he did?

                  NICKY
           (Over telephone)
      No.

INT. VEGAS BAR - NIGHT

NICKY gives COWBOY a look.

                  ACE
           (Over telephone)
      He insulted Billy. And then I walked 
      over to him politely...

INT. TANGIERS CASINO - NIGHT

                  ACE
           (Into telephone)
      ...and he tells me to go fuck myself.

                  NICKY
           (Over telephone)
      What?

                  ACE
           (Into telephone)
      Then he called me a faggot.

INT. VEGAS BAR - NIGHT

                  ACE
           (Over telephone)
      So what do you think I do? I threw 
      that cocksucker out.

                  NICKY
           (Into telephone)
      What? Ho-
           (He puts down the 
           phone; to COWBOY:)
      Hey, come here.

COWBOY walks up to him.

                  NICKY
      You called my friend a faggot? You 
      tell him to go fuck himself?

                  COWBOY
      Nicky, I did -

                  NICKY
      Is that what you did?

                  COWBOY
      I did - I didn't -

                  NICKY
      Tell him to go fuck himself? You 
      fuckin' hick!  Fuckin'...

NICKY hits him on the head with the phone. COWBOY falls back, groaning.

INT. TANGIERS CASINO - NIGHT

ACE listens to the noise of NICKY roughing up COWBOY.

                  NICKY
           (Over telephone)
      ...you big fuckin' hick, you. Come 
      here. Come here. Get him up. Come 
      here.

ACE LOOKS AT SHERBERT.

                  MARINO
           (Over telephone)
      Get up.

INT. VEGAS BAR - NIGHT

                  NICKY
           (To COWBOY)
      Come here, come here.

                  MARINO
      Get up.

                  NICKY
      You go over there right now and you 
      apologize. You better hope he lets 
      you back in.

INT. TANGIERS CASINO - NIGHT

                  NICKY
           (Over telephone)
      If you ever get out of line over 
      there again, I'll smash your fuckin' 
      head so hard...

INT. VEGAS BAR - NIGHT

                  NICKY
           (To COWBOY)
      ...you won't be able to get that 
      cowboy hat on. You hear me? Fuckin' 
      hick.
           (Into telephone)
      Sammy, listen...

INT. TANGIERS CASINO - NIGHT

                  NICKY
           (Over telephone)
      ...this guy obviously doesn't know 
      who he was talkin' to, you understand? 
      He doesn't...

INT. VEGAS BAR - NIGHT

                  NICKY
           (Into telephone)
      ...know that, uh, we're dear friends. 
      I mean, he's already very sorry. 
      But, uh, if you could do me a favor 
      to let him back in, I swear to you 
      he'll never get out of line again. I 
      promise you that.

INT. TANGIERS CASINO - NIGHT

                  ACE
           (Into telephone)
      If he does it again, he's out for 
      good. I don't care what it is, Nick, 
      I'm gonna ha- I'll - I'll never let 
      him in the place again.

                  NICKY
           (Over telephone)
      I'm sorry about this. Really.

INT. VEGAS BAR - NIGHT

                  NICKY
           (Into telephone)
      All right, Ace?

                  ACE
           (Over telephone)
      Okay.

                  NICKY
           (Into telephone)
      Thanks, pal.

NICKY hangs up the phone and turns to COWBOY.

                  NICKY
      You took your boots off? You put 
      your feet on the table... you shit-
      kicking, stinky, horse-manure-smellin' 
      motherfucker you!  You fuck me up 
      over there, I'll stick you in a hole 
      in the fuckin' desert! You understand?
           (Slapping him.)
      Go over there and apologize.
           (Kicking the chastened 
           COWBOY away.)
      Go! Get the fuck out of -

                  COWBOY
      Nicky, I'm sorry.

EXT. TANGIERS CASINO - DAY

A tiger leaps towards the camera, which pans over to two showgirls and then to ACE's hand holding the key to a Rolls Royce. He gives it to JONATHAN and DAVID as reporters rush in to photograph the moment.

                  NICKY (V.O.)
      You know, Ace could be a very touchy 
      guy, especially when he got bigger 
      and bigger in town. Like when he 
      hired that Jonathon and David and 
      their tigers away from the Palace by 
      buildin' them a new stage and then 
      givin' them a silver Rolls Royce.

INT. BACKSTAGE TANGIERS THEATER - DAY

ACE and SHERBERT watch as a STAGE MANAGER weighs in the 'Femme Fatale' Showgirls.

                  NICKY (V.O.)
      But I'll tell you, he knew how to 
      bring in the crowds. He knew all the 
      fuckin' angles. He brought over the 
      whole 'Femme Fatale' show from Paris. 
      But he forgot how lazy them European 
      dancin' broads can get. I mean, he 
      had to weigh 'em in once a week to 
      make sure they didn't blow up like 
      fuckin' balloons.

                  ACE
           (To SHOWGIRL)
      You're still eight pounds over.
           (To MANAGER.)
      What's the reason for this?

                  STAGE MANAGER
      Mr Rothstein, sir, let me put her on 
      suspension.

                  ACE
      Never mind the 'sir'. Never mind the 
      'sir'.

                  STAGE MANAGER
      Well, sir, I was just...

                  ACE
      Why is she eight pounds over?

                  STAGE MANAGER
      ...trying to offer you the respect 
      that your...

                  ACE
      I...

                  STAGE MANAGER
      ...position...

                  ACE
      'Mr Rothstein' is good enough.

                  STAGE MANAGER
      Mr Rothstein... well, sometimes, 
      when you reach that pressure point, 
      when you put that pressure point on 
      them, you know, it shows...

                  ACE
      She could at least lose half a pound 
      or a quarter.  Listen...

                  STAGE MANAGER
      ...and she doesn't always -

                  ACE
      ...all you do is give me answers. 
      Just - just give me the right answer.

                  STAGE MANAGER
      But, sir. Well, I don't know why. I 
      guess, maybe, because she's frightened 
      that if she doesn't lose the weight 
      she may even get fired.

                  ACE
      That's right. She will get fired. In 
      fact, I want you to send her back to 
      Paris.

                  STAGE MANAGER
      It's always been our policy -

                  ACE
      No. Just stop everything.

SHERBERT and ACE walk away across a huge stage.

                  SHERBERT
           (To ACE)
      This woman's an institution.

                  ACE
      I don't care what she is. She's an 
      institution, that's the problem. 
      She's lazy.

INT. TANGIERS CASINO SPORTSBOOK - NIGHT

ACE standing in a large space surrounded by giant TV screens showing sports events. Around him, long rows of bettors are seated at betting stations, lined up at windows, or wandering around at the bar. It's like a NASA control room on launch day.

                  NICKY (V.O.)
      Hey, I gotta give the guy credit. He 
      does the most obvious thing. This is 
      the only town in the country where a 
      bookie joint is legit, so, why not 
      take advantage, right?  So... he 
      took bookie joints off the street 
      and then opened them up inside the 
      casino. Well, within a few years, by 
      doin' all of this, he had every casino 
      on the Strip trying to copy off him.

                  ACE (V.O.)
      Between...

EXT. BACK ALLEY - NIGHT

NICKY, with MARINO, punching and kicking a man next to the open door of his luxury car.

                  ACE (V.O.)
      ...my innovations...

The man falls to the ground.

                  ACE (V.O.)
      ...and Nicky's dedication to his 
      job...

NICKY starts kicking him.

                  ACE (V.O.)
      ...I soon had the best operation on 
      the Strip.

NICKY lifts an empty trash can and shatters the car's windshield.

INT. TANGIERS CASINO FLOOR - NIGHT

ACE and NICKY are standing on the casino floor near the slot- machines. Gamblers are milling about behind them.

                  ACE
      You better watch yourself. There's a 
      lot of heat on you already.

                  NICKY
      Why, somebody's complaining?

                  ACE
      I'm - I'm hearin' things from 
      security. They're all ex-cops. The 
      Sheriff's lookin' to bust your balls. 
      They want to put you in the Black 
      Book.

                  NICKY
      That Black Book is a bunch of 
      bullshit. They got two names in there 
      for the whole country and one of 
      them is still Al Capone.

                  ACE
      Bullshit or no bullshit, they put 
      you in that book, you're gonna be in 
      a lot of trouble. You will not be 
      able to walk into the casino. I'm 
      tellin' you.

                  NICKY
      What am I doin' out here? I'm tryin' 
      to make a livin', that's all.

                  ACE
      I'm just tellin' you. Don't say I 
      didn't warn you.

                  NICKY
      All right.

INT. VEGAS VALLEY COUNTRY CLUB, 1974 - NIGHT

Tight on the filaments of a flash bulb as they ignite.

TV news crews and still photographers are taking pictures of ACE and GINGER surrounded by clusters of celebrities and the Vegas power elite, including SHERBERT and GREEN, at a black tie event.

                  PHOTOGRAPHER #1
      Mrs Rothstein, look straight ahead. 
      Very nice. Thank you.

                  PHOTOGRAPHER #2
      Thank you.

                  PHOTOGRAPHER #1
      Yes, nice smile.

                  PHOTOGRAPHER #3
      Just look right at the camera. Hold 
      that pose.

We hear GREEN making a speech over flashing cameras and freeze frames of himself, SHERBERT, ACE and GINGER.

                  GREEN (O.S.)
      Considering all of his hard work and 
      dedication and the new lifeblood he 
      has instilled in Las Vegas...

We now see GREEN at a mike speaking in front of the seated club members.

                  GREEN
      Sam has established himself as an 
      indispensable member of the gaming 
      community. As the head of the Tangiers 
      Gaming Corporation, it's my pleasure 
      to welcome Sam Rothstein to the Vegas 
      Valley Country Club.

Members cheer and applaud as GREEN hands ACE a framed citation. It reads: 'This Certificate of Appreciation. Sam Rothstein. Charitable Foundations of Greater Las Vegas'. They shake hands for the photographers.

                  ACE (V.O.)
      Back home, they would have put me in 
      jail for what I'm doing. But out 
      here, they're givin' me awards.

                  ACE
           (Into the microphone)
      It's with great pleasure that I accept 
      this certificate of appreciation 
      from the...

CAMERA TILTS UP TO A MOUNTED PLAQUE ON THE WALL, READING: 'CHARITABLE FOUNDATIONS OF GREATER LAS VEGAS'.

INT. VEGAS VALLEY COUNTRY-CLUB BANQUET ROOM - NIGHT

A dazzling GINGER moves charmingly about the room chatting up top executives, lawyers, judges, bankers and their wives. ACE, standing with GREEN and an elderly man, watches her work the room.

                  COUNTRY-CLUB WOMAN #1
      Congratulations, sweetheart.

                  GINGER
      Thank you.

                  COUNTRY-CLUB WOMAN #2
      Sam raised more than we've ever raised 
      before.

                  GINGER
      He worked so hard.

                  ACE (V.O.)
      But my greatest pleasure was watchin' 
      my wife, Ginger, work the room.

                  COUNTRY-CLUB MAN #1
      Thank you for everything.

                  ACE (V.O.)
      They all loved her. How could you 
      not live her?

                  GINGER
           (To COUNTRY-CLUB WOMAN 
           #3)
      Hi. Nice to see you.

                  ACE (V.O.)
      She could be the most charming woman 
      you ever saw. People loved to be 
      around her.

                  COUNTRY-CLUB WOMAN #3
      Listen, you've got to bring Amy to 
      Sasha's birthday party because he'd 
      love to have her there.

                  GINGER
      Thanks.

                  COUNTRY-CLUB WOMAN #3
      We'll see you three o'clock Saturday.

                  GINGER
      Thanks. Yes, all right.

                  COUNTRY-CLUB WOMAN #3
      Great.

                  ACE (V.O.)
      She made everybody feel good.

GINGER joins ACE. He smiles proudly.

INT. VEGAS VALLEY COUNTRY-CLUB BANQUET ROOM - NIGHT

GINGER and ACE are off alone by a dining-room table, talking intently. A young casino EXECUTIVE interrupts them.

                  EXECUTIVE
      Congratulations, Sam.

                  ACE
           (Shaking his hand)
      Oh, thanks.

The flirting EXECUTIVE looks at GINGER.

                  EXECUTIVE
      Hello, Mrs Rothstein.

                  GINGER
      Hi.

                  EXECUTIVE
      How are you?

                  GINGER
      Oh.

GINGER gives the flirting EXECUTIVE her hand, he kisses it.

                  EXECUTIVE
      You're one of the most gorgeous women 
      I've ever seen. You're a lucky man 
      Mr Rothstein.

ACE watches as GINGER flashes one of her dazzling smiles, but he's not sure whether she's flirting. He looks at the young man and back at his wife.

                  ACE
      Thank you. Thanks for that compliment.

                  ACE (V.O.)
      He was a young kid from the casino... 
      nice kid...  bright boy. What balls 
      on this fuckin' kid! The next day I 
      fired him.

Freeze frame on ACE smiling at GINGER.

INT. VEGAS BANK VIEWING ROOM - DAY

GINGER, with two-year-old AMY in a stroller, is seated on a bench going through large bank vault boxes containing her jewels.

                  GINGER
           (To AMY)
      Hey, do you want to see this one? 
      Daddy gave me all this jewelry because 
      he loves me so much. (She places a 
      gold bracelet on AMY's hand.) Put 
      your arm in there.

                  ACE (V.O.)
      But as much as they loved her...

                  GINGER
           (To AMY, wearing the 
           bracelet)
      Oh, fabulous.

                  ACE (V.O.)
      ...they didn't know what really moved 
      her.

She holds up a necklace to the light.

                  GINGER
      Look at this. Look at this.

CAMERA PULLS AWAY FROM THE DOOR LEADING TO THE VIEWING ROOM REVEALING A BANK MANAGER SEATED AT A DESK. WE HEAR GINGER AND AMY BEHIND THE DOOR.

                  GINGER (O.S.)
           (From the viewing 
           room)
      Daddy gave me this pin when we were 
      dating.

                  ACE (V.O.)
      And with Ginger happy, I was able to 
      concentrate on what I knew best.

INT. TANGIERS CASINO, SLOT-MACHINES - NIGHT

ACE is talking to DON WARD.

                  WARD
      Loose machines are right back over 
      there.

                  ACE
      What are they doin' way back there? 
      Bring 'em up here where they belong.  
      You can't even see 'em over there.

                  WARD
      Okay, I'll -

                  ACE
      What about the progressives with the 
      high jackpots? Where are they? These 
      machines are hidden.

                  WARD
      Well...

                  ACE
      These are our best machines. They 
      bring all the action. No wonder the 
      drop is off.

                  WARD
      Yeah, okay.

                  ACE
      The action is in the front, not in 
      the back. Bring 'em up front.

                  WARD
      All right, I will, I will.

                  ACE
      Listen to me very carefully. There 
      are three ways of doing things around 
      here. The right way, the wrong way, 
      and the way I do it. You understand?

                  WARD
      I do understand that. I'll get right 
      on it. And thank you.

                  ACE
      Don't thank me, just do it. You're 
      the Slots Manager. I shouldn't have 
      to tell you this.

                  WARD
      Dang, you are right, Mr Rothstein, I 
      am so sorry.

INT. CLASSY RESTAURANT - NIGHT

GINGER follows a snooty MAITRE D' to JENNIFER, already seated at a table.

                  ACE (V.O.)
      So, I ended up workin' what? Eighteen-
      hour days?  Ginger was the one who 
      wound up enjoying the best of Vegas.

                  MAITRE D'
           (To JENNIFER)
      Come with me, please. I have a better 
      table for you.  Sorry.

He shows the two of them to the best table in the place.

                  JENNIFER
           (Sitting down next to 
           GINGER)
      So, what'd you say to that fuckin' 
      jerk anyway?

                  GINGER
           (Smiling)
      I told him I was Mrs Sam Rothstein.

                  JENNIFER
           (Chuckles)
      Well, you might as well get somethin' 
      out of it.

GINGER lights a cigarette.

EXT. IDLE SPURS DESERT DINER - DAY

Wide overhead of roadhouse cafe isolated in the middle of the desert with a sign out front that reads '60 miles to Vegas'.

                  ACE (V.O.)
      Well, it wasn't long before what I 
      was afraid was gonna happen, happened. 
      Nicky managed to get himself banned 
      from every casino in Las Vegas, and 
      from then on, I couldn't be seen 
      talkin' to him anywhere in Vegas, or 
      even near it.

                  NICKY
           (From inside the diner)
      What the fuck is that supposed to 
      mean?

INT. IDLE SPURS DESERT DINER - DAY

ACE and NICKY are seated at a table in the empty diner.

                  NICKY
           (Reading from a 
           document)
      ' ...detrimental to gaming. And he 
      will be ejected from any casino in 
      Las Vegas...  and the casinos can be 
      fined as much as a hundred thousand 
      every time he shows up.'
           (He waves the document.)
      Do you believe this shit?

                  ACE
           (Smoking a cigarette)
      Yeah, I believe it. You got banned.

NICKY hisses.

                  NICKY
           (Reading)
      'Who is of notorious and unsavory 
      reputation...'

He angrily wads the document and tosses it across the table.

                  NICKY
      Motherfucker.  Unsavory fuckin'... 
      Is there any way around this?

                  ACE
      Nope, there's no way.

                  NICKY
      Let's say... for instance... I want 
      to go in the restaurant which happens 
      to be in the casino... to get one of 
      those sandwiches I like?

                  ACE
      Forget it. You can't even set foot 
      in the parking lot. That's how serious 
      it is.

                  NICKY
      In other words, I'm fucked.

                  ACE
      In so many words, yes.

                  ACE (V.O.)
      It just didn't sink into his head 
      about the Black Book and what it 
      meant. Not being able to go into a 
      casino is just one thing, but being 
      in this book etched your name into 
      the brains of every cop and FBI agent 
      in the state. I mean, you're listed 
      in there with Al Capone. But Nicky 
      didn't care.

                  NICKY
      I gotta do somethin'. I gotta do 
      somethin'. They ain't gettin' rid of 
      me. They're not gettin' rid of me. 
      I'm staying here. Fuck 'em. Fuck 
      'em.

EXT. GOLD RUSH JEWELER'S - DAY

WE MOVE PAST THE SKULL OF A STEER MOUNTED ON AN EXTERIOR WALL AND A WOODEN CIGAR STORE INDIAN STATUE, TO REVEAL DOMINICK SANTORO (WHO LOOKS A LITTLE LIKE HIS BROTHER NICKY) AND MARINO WHO ARE WAITING INSIDE THE GOLD RUSH. CAMERA COMES TO REST ON EXTREME CLOSE-UP OF NICKY'S EYES AS HE STANDS ON THE OUTSIDE PORCH.

                  NICKY (V.O.)
      So, once they pulled that shit, I 
      started doin' my own things in Vegas 
      nobody ever thought of doin'. To 
      keep an eye on things, I brought in 
      my kid brother Dominick... and some 
      desperadoes from back home and started 
      knockin' over high rollers, casino 
      bosses, bookmakers, anybody, right 
      here in town. I had a good fuckin' 
      crew goin' for me, I'll tell you 
      that.

SAL FUSCO, JACK HARDY and BERNIE BLUE are getting out of a car and walking into the jewelry store which is designed to replicate an old-fashioned Western town with peaked roofs, wooden planked sidewalks and hitching posts. The camera tracks by each man as they're introduced.

                  NICKY (V.O.)
      I had Sal Fusco, a great second-story 
      guy. Jack Hardy, he worked for a 
      safe company after he did a six-year 
      bit. And then there was Bernie Blue. 
      This guy could bypass any alarm for 
      me. And I opened up my own jewelry 
      store, too: 'The Gold Rush'.

INT. BEDROOM OF LUXURY HOME - NIGHT

NICKY places some jewelry from a vanity table into a sack and turns over some family photos. MARINO and HARDY are struggling with a safe.

                  NICKY (V.O.)
      Sometimes I used to go along on a 
      heist just for the fun of it. But I 
      didn't like the people I was rippin' 
      off lookin' at me, so I used to turn 
      their fuckin' pictures around.

                  NICKY
           (To MARINO and HARDY)
      What's takin' so long over there?

                  MARINO
      This peter's a motherfucker.

                  HARDY
           (Grunting)
      It's workin'. Just keep workin' it. 
      It's comin'.

                  NICKY
      Gotta learn how to open these fuckin' 
      things so you won't have to take 
      'em.

INT. GOLD RUSH BACK ROOM - DAY

NICKY is looking at diamonds with MARINO, HARDY and BLUE.

                  NICKY
      Frankie, some of these stones got a 
      lot of niggers in 'em.

ZOOM IN TIGHT ON A DIAMOND.

                  NICKY
      Tell that fuckin' Pepe if he's 
      switching stones on us, he'd better 
      take a fuckin' camel -

Phone rings.

                  NICKY
      - back to
           (picking up phone)
      Nigeria.
           (Into telephone)
      Yeah.

                  HOTEL RECEPTIONIST
           (Over telephone)
      Listen...

INT. TANGIERS RECEPTIONIST'S DESK - DAY

                  HOTEL RECEPTIONIST
           (Talking quietly into 
           telephone)
      ...they're in Penthouse K.

INT. GOLD RUSH BACK ROOM - DAY

                  NICKY
           (Into telephone)
      They check in alone?

INT. TANGIERS RECEPTIONIST'S DESK - DAY

                  HOTEL RECEPTIONIST
           (Into telephone)
      They checked in alone.

INT. GOLD RUSH BACK ROOM - DAY

                  NICKY
           (Into telephone)
      Are they out now?

INT. TANGIERS RECEPTIONIST'S DESK - DAY

                  HOTEL RECEPTIONIST
           (Into telephone)
      Yes, don't worry.

                  NICKY
           (Over telephone)
      All right.

INT. GOLD RUSH BACK ROOM - DAY

                  NICKY
           (Into telephone)
      Thanks.

He hangs up.

                  ACE (V.O.)
      He had tipsters...

INT. CASINO HOTEL BELL STATION - DAY

We see some luggage on the floor. A BELLMAN is on the phone with MARINO.

                  ACE (V.O.)
      ...all over town. Bellmen.

                  BELLMAN
      (Into telephone) This one looks good. 
      But you got to hurry.

                  MARINO
           (Over telephone)
      Yeah...

INT. GOLD RUSH - DAY

                  MARINO
           (Into telephone)
      ...yeah, okay.

He hangs up.

EXT. CASINO - DAY

A VALET PARKER standing outside a casino.

                  ACE (V.O.)
      Valet parkers.

                  VALET PARKER
           (Into telephone)
      They're just checking in now.

INT. GOLD RUSH BACK ROOM - DAY

                  FUSCO
           (Into telephone, seated 
           on a couch)
      Okay, I'll tell him.

INT. CASINO FLOOR - DAY

A PIT BOSS is on the phone.

                  ACE (V.O.)
      Pit bosses.

                  PIT BOSS
           (Into telephone)
      Yeah, room twelve-thirty, at the 
      Sirocco.

INT. GOLD RUSH BACK ROOM - DAY

                  MARINO
           (Into telephone)
      Twelve-thirty, right.

INT. OFFICE - DAY

A SECRETARY seated at a desk.

                  ACE (V.O.)
      Secretaries.

                  SECRETARY
           (Into telephone)
      It's all in mint condition coins.

INT. GOLD RUSH BACK ROOM - DAY

                  HARDY
           (Into telephone)
      Mint condition. All right.

                  ACE (V.O.)
      And they all...

EXT. WAREHOUSE/JEWELRY STORE - NIGHT

HARDY and a hood are in a van parked in front of a warehouse next door to a jewelry store.

                  ACE (V.O.)
      ...got a piece of the score.

                  HARDY
           (From inside the van, 
           into a walkie-talkie)
      Car's comin'.

We move past the van to a larger truck parked in an alley. Unseen, the truck has an open side door abutting the jewelry store's wall. SAL FUSCO and BERNIE BLUE are inside the truck drilling into the wall using a heavy-duty battery-powered drill. The drill is muffled with sheets of insulation material.

                  ACE (V.O.)
      They were always very careful. And 
      they always bypassed the alarms, or 
      else... if not, they'd drill enough 
      holes to knock through the walls 
      with a sledgehammer...

BLUE widens the hole with a hammer muffled with insulation.

EXT. JEWELRY STORE WALL - DAY

A flashbulb explodes.

Cops and detectives are photographing and inspecting holes drilled in the wall of the shop, through which the thieves have come and gone. The camera moves in through the hole.

                  ACE (V.O.)
      Nobody out there was expecting a guy 
      like him.

INT. JEWELRY STORE - DAY

The stunned STORE OWNER looks at the rubble and the empty jewelry boxes.

Detectives collect evidence.

                  ACE (V.O.)
      For Nicky, Las Vegas was the fuckin' 
      Wild West.

                  STORE OWNER
           (Leading a detective 
           to his showroom)
      I just got a shipment of diamonds 
      from Israel...

                  NICKY (V.O.)
      But what the fuck they expect from 
      me? I had to earn, didn't I?

INT. PALM SPRINGS JEWELRY STORE - DAY

MARINO stands above two IRANIANS who are looking at the stolen gems.

                  IRANIAN #1
      You know, this diamond has flaws in 
      it.

                  MARINO
      No, no, there's no flaws in it.

                  IRANIAN #2
      Don't tell me. I'm doing this for 
      twenty-five years.

                  MARINO
      You better clean your fuckin' loupe. 
      'Cause there's no flaws in these 
      diamonds.

The two IRANIANS speak to each other in Farsi.

                  NICKY (V.O.)
      Whenever we got local merch, we'd 
      usually send it to Palm Spring or 
      Arizona... LA. I had a couple of 
      sand niggers out there. You know, 
      Arabs.

                  MARINO
      What, are you gonna have a fuckin' 
      meeting here, or are you gonna buy 
      some diamonds?

                  IRANIAN #2
           (Chuckling)
      No, no. I know his language. I'm 
      talking with him.

                  MARINO
      Forty thousand dollars, you can buy 
      the whole package.

                  IRANIAN #1
      Twenty thousand, and that's my final 
      offer and...

                  MARINO
           (To IRANIAN #2)
      All of a sudden he talks English, 
      now.
           (To IRANIAN #1.)
      Let's talk turkey here, how 'bout 
      twenty-five thousand?

IRANIAN #1 laughs.

INT. NICKY'S HOUSE - NIGHT

NICKY and MARINO sneak into the house past JENNIFER who is asleep on the sofa in front of a TV set. NICKY takes out a key and opens the metal door into his bedroom.

                  NICKY (V.O.)
      I actually turned my bedroom into a 
      bank vault where I kept the choice 
      stuff.

                  MARINO
           (Referring to JENNIFER 
           as they pass the 
           kitchen)
      She asleep?

                  NICKY
      Every night, on the couch.

                  NICKY (V.O.)
      I couldn't leave it at the Gold Rush 
      in case we got raided by the cops... 
      or if my crew got cute.

Opening the metal door to his bedroom.

                  NICKY (V.O.)
      I had the only key.

INT. NICKY'S BEDROOM/CLOSET - NIGHT

Camera pans across bedroom to closet door.

                  NICKY (V.O.)
      Jennifer didn't give a fuck. She 
      used to fall asleep on the couch 
      watchin' television every night. 
      This stuff was all mine. I didn't 
      send any of this back home.

NICKY opens the closet door. He and MARINO walk in and bend down to lift up a small square of carpet to reveal a floor safe.

                  NICKY (V.O.)
      Actually, I couldn't because I wasn't 
      even supposed to be doin' it. The 
      bosses were makin' so much fuckin' 
      money with the casinos
           (unlocking the safe)
      that they didn't want anybody makin' 
      any waves for them.

In the floor safe, there are several handguns and silencers.

FRANK hands NICKY a roll of money.

                  NICKY
      Give all the guys in your crew a 
      piece of that?

                  MARINO
      I took care of everybody.

                  NICKY
      Yeah?  

He searches MARINO's jacket.

                  NICKY (V.O.)
      That's why there was no real organized 
      street stuff in Vegas before I came 
      here.

NICKY throws the cash in the safe and closes the lid.

INT. NICKY'S HOUSE - DAY

NICKY is being shown papers by CHARLIE CLARK, a heavy-set banker with a moustache. They're both seated at a table in the living-room.

                  CHARLIE CLARK
      Yeah, that works out.

                  NICKY (V.O.)
      But how much cash could I bury in my 
      closet, right?

                  CHARLIE CLARK
      You need to understand, and I - I'm 
      sure you do... that in a venture of 
      this kind, you have to be prepared 
      to take some kind of loss.

                  NICKY
      Oh, listen, I understand that there's 
      always a risk... you know, I might 
      have to take a loss somewhere.

                  NICKY (V.O.)
      So I put some of the money into 
      legitimate deals with Charlie Clark. 
      He was Ace's banker.

                  NICKY
      I mean, you will try to push it 
      through, won't you, Mr Clark?

                  CHARLIE CLARK
      Yes.

                  NICKY
      Well, you gotta understand, I'm giving 
      you fifty thousand cash.

CHARLIE CLARK chuckles

                  NICKY (V.O.)
      Then I put some more of the money...

INT. LEANING TOWER RESTAURANT, KITCHEN - NIGHT

A prosciutto sandwich is being prepared on a kitchen counter.

                  NICKY (V.O.)
      ...in some legitimate places, like 
      my restaurant.

                  DOMINICK
           (To COOK preparing 
           sandwich)
      Is that the last one?

                  COOK
      Yeah.

He hands the sandwich to DOMINICK who spits in it.

                  NICKY (V.O.)
      I had my kid brother, Dominick, run 
      it for me.

                  DOMINICK
           (Spits)
      Fuckers!

DOMINICK wraps it in plastic and puts it into a brown paper bag.

INT. LEANING TOWER RESTAURANT - NIGHT

DOMINICK sets the bag with the wrapped sandwich in it on top of pizza boxes being held by two uniformed Vegas COPS.

                  DOMINICK
      Here you go, guys.

                  COP #1
      All right. Thanks, a lot.

                  DOMINICK
      Yeah... yeah, enjoy.

                  COP #2
      Yeah.

He shakes COP #2's hand before heading back into the restaurant.

                  DOMINICK
      Have a good time.
           (Muttering to himself.)
      Choke on it, ya motherfucker!

                  MAN #1
           (Passing DOMINICK on 
           his way out)
      Hey, Dom.

                  DOMINICK
      Hey, how you doin'?

DOMINICK walks over to some patrons in the bar area. NICKY enters, kissing his brother.

                  ACE (V.O.)
      Yeah, Nicky loved restaurants. He 
      was a real restaurant buff. And over 
      the years, he always made money with 
      them.

                  NICKY
           (Looking at one of 
           the patrons)
      Hey, Rich.

THE CAMERA FOLLOWS NICKY AROUND THE RESTAURANT PAST LAS VEGAS TYPES - DEALERS, LOUNGE ACTS, SHOWGIRLS, TV AND MOVIE CELEBRITIES, WAITRESSES AND BARMEN - WHO USE THE JAMMED PLACE AS THEIR HANGOUT.

                  ACE (V.O.)
      In Vegas, he had The Leaning Tower. 
      It was a very popular spot. He had 
      politicians, showgirls and movies 
      stars hangin' out all over the place.

NICKY walks up to STEVE ALLEN and JAYNE MEADOWS seated at a table, he whistles their theme tune as he approaches from behind.

                  NICKY
      Listen, that show over at the Flamingo 
      gets better and better.

                  STEVE ALLEN
      By the way, Sammy said whenever you 
      have a minute, give him a call.

                  NICKY
      Made a messenger out of you too, 
      huh?

                  STEVE ALLEN
           (Laughs)
      I'll do anything for a buck.

                  NICKY
      He does it. He does it to everybody. 
      Enjoy your dinner.

                  JAYNE MEADOWS
           (Chuckles)
      Thanks.

                  STEVE ALLEN
      Okay, thanks.

                  ACE (V.O.)
      But I gotta tell you, the thing Nicky 
      liked the most was the showgirls, 
      naturally. I mean, to them, Nicky 
      was the movie star.

NICKY walks across the room to MARINO and two showgirls, SHELLY and STACY.

                  NICKY
           (To MARINO)
      You walk past me?

                  MARINO
      Hey. This is Shelly.

                  NICKY
      Hey, Shelly.
           (Kisses her hand.)

                  SHELLY
      Hi.

                  NICKY
      How are you? Nice to meet you.

                  MARINO
           (Pointing to STACY)
      And this is Stacy.

                  NICKY
      Stacy.
           (Kisses her hand.)

                  MARINO
           (To the SHOWGIRLS)
      This is Nick.

                  NICKY
      Pleasure.

                  STACY
      Hi, Nick.

                  MARINO
      We're gonna have dinner. Come on.

                  NICKY
      All right, uh,
           (To SHELLY)
      Let's just check the kitchen first. 
      Excuse us one second. Come on, I'll 
      show you.

He takes SHELLY's hand and leads her out.

                  NICKY (V.O.)
           (From following scene)
      'Cause I fly stuff in fresh every 
      day.

INT. LEANING TOWER RESTAURANT, PARKING LOT - NIGHT

NICKY and SHELLY walk across the parking lot and get into his two-tone, red and white car.

                  NICKY
      I get bread from back home. I get 
      fish from California. And you can 
      always tell a great kitchen like 
      ours because of the milk-fed veal. 
      That's the secret.

Opening the car door from the passenger's side, she gets in.

                  NICKY
      See, milk-fed veal is pure white. 
      Out here, they got that pink veal. 
      Slide over, honey.

She slides over, he gets into the passenger's seat and closes the door.

                  NICKY
      Now, pink veal, you can pound that 
      shit for two days and it'll never 
      get tender, you know what I mean?

SHELLY's head disappears into NICKY's lap.

INT. LEANING TOWER RESTAURANT - NIGHT

FRANK and DOMINICK are at the bar watching as NICKY chastises AL, a gambler. The restaurant is empty except for a waiter milling around in the background, setting a few tables.

                  AL
      When I left here with the money...

                  NICKY
      Mm.

                  AL
      ...I got muscled on the street.

                  NICKY
      Mm.

                  AL
      A couple of guys, I owe them. So, 
      that's what I did. I gave 'em the 
      money.  That's what I did.

                  NICKY
      Yeah?

                  AL
      Yeah.

                  NICKY
      You call yourself a man? You know 
      you're a lyin', low-life, 
      motherfuckin' gambling degenerate 
      prick? You know that's what you are?  
      Two small kids at home. I gave you 
      money to pay the fuckin' rent and 
      buy groceries, put the heat on. You 
      know your wife called Frankie and 
      told him the fuckin' heat's off?

AL glances over to MARINO.

                  NICKY
      Huh? And you didn't gamble that 
      fuckin' money? You're gonna stand 
      here and tell me that?

He shakes his head 'no'.

                  NICKY
      No, no? You didn't?

                  AL
      I didn't give 'em the m-

                  NICKY
      Don't fuck with me, Al! Don't make a 
      fuck out of me! You want to embarrass 
      me and make a fool out of me?!  You 
      didn't gamble?! Tell me you gambled 
      the fuckin' money, I'll give you the 
      fuckin' money to put the fuckin' 
      heat on! Did you gamble?! Huh?!

The chastised gambler nods 'yes', bowing his head in shame.

                  NICKY
      Fuckin' degenerate, you.

NICKY takes some money from his coat pocket and starts counting out some bills.

                  NICKY
      Fuckin' kids at home!  Here.
           (Giving him the money.)
      Get the fuck out of here.

                  AL
      Thanks, Nick.

                  NICKY
      Yeah, thanks.

AL walks out.

                  NICKY
      Let me find out you fucked up, I'll 
      leave you wherever I find you.

INT. NICKY'S HOUSE, KITCHEN - DAY

NICKY, worn out from the night before, is making pancakes for LITTLE NICKY.

                  NICKY
           (To LITTLE NICKY)
      How many of these you gonna eat, 
      huh?

                  LITTLE NICKY
      Two.

                  NICKY
      Two?

                  ACE (V.O.)
      But around six-thirty in the morning 
      when he finished his day -

NICKY hugs and kisses his son.

                  ACE (V.O.)
      - no matter where he was or what he 
      was doing, he always went home to 
      make breakfast for his son, Nicky-
      Boy.

                  NICKY
           (Pouring some syrup 
           on his son's pancakes)
      Here, let's put a little of this on 
      for you. I know you like this. A 
      little butter, right, not a lot?

                  LITTLE NICKY
      Mm-hm.

                  NICKY
      You know why, right?

                  LITTLE NICKY
      Yeah.

                  NICKY
      Why?

                  LITTLE NICKY
      'Cause it clogs up your heart.

                  NICKY
      What a smart kid you are!
           (Kisses him.)
      Okay, eat.

INT. ALL-AMERICAN GAS STATION, BACK HOME - DAY

MARINO walks through an office past a few hoods.

                  NICKY (V.O.)
      Every couple of weeks I used to send 
      Marino back to the bosses with a 
      piece of what I made.

TITLE IN: 'BACK HOME'

MARINO walks out of the office and through the garage.

                  NICKY (V.O.)
      Not a big piece, but fuck them, what 
      did they know? They were fifteen 
      hundred miles away...

EXT. ALL-AMERICAN GAS STATION, BACK HOME - DAY

Wide shot of gas station. There is snow on the ground. The cloudy, Midwestern skyline of warehouses and skyscrapers can be seen behind the gas station sign: 'All-American Gas'.

                  NICKY (V.O.)
      ...and I don't know anybody who can 
      see that far. Their drop was a truck 
      stop/garage where...

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE - DAY

REMO GAGGI is seated in a chair as MARINO walks in. CURLY, one of Gaggi's men, and two of the bosses are there.

                  NICKY (V.O.)
      ...Remo and the guys used to hang 
      out and count their millions.

                  MARINO
      Remo.

He bends down and kisses him.

                  GAGGI
      Hey, Frankie.

                  MARINO
      How are you?

                  GAGGI
      Fine, fine.

                  NICKY (V.O.)
      I mean, the cops knew, but they didn't 
      give a fuck. I mean, you know, they 
      all worked it out together.

                  MARINO
      Nicky sends his warmest regards.

MARINO unzips a small sack and hands GAGGI a thick stack of cash. GAGGI inspects it before handing it over to one of his men.

                  GAGGI
      Uh-huh. Good.

                  NICKY (V.O.)
      But I knew how to keep the bosses 
      happy. Whenever they gave me little 
      jobs to do, you know, to send a 
      message, I would carry things out...

                  GAGGI
      And how are things going down there?

                  MARINO
      Fine. Everything's goin' good.

                  NICKY (V.O.)
      ...to a tee. Like the time Tony 
      Dogs...

INT. OUTSKIRTS OF VEGAS BAR - NIGHT

Flash cut of TONY DOGS and two men shooting up a bar with automatics hitting the owner, bartenders and a waitress.

                  NICKY (V.O.)
      ...who was supposed to be the new 
      maniac tough guy in town, shot up 
      one of Remo's bars. Here's a fuckin' 
      guy, kills two of Remo's guys and a 
      poor fuckin' waitress, who was just 
      workin' on her night off, of all 
      things.

SLOW MOTION ON TONY DOGS.

                  NICKY (V.O.)
      I mean, this guy's just beggin' to 
      be made an example of.

The men and the waitress lie dead on the floor. The bar is left in shambles.

                  GAGGI (V.O.)
           (From his office)
      Frankie...

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE - NIGHT

An enraged GAGGI gives MARINO orders.

                  GAGGI
      ...I want all the names of all the 
      other people he had with him. And I 
      don't care what you have to do to 
      him to get 'em. You understand?

                  MARINO
      I'll take care of it, Remo.

                  GAGGI
      E mo va! [Italian-American slang for 
      'Now, go!']

INT. SLOT-MACHINE SHOP, LAS VEGAS - NIGHT

MARINO and BLUE are dragging TONY DOGS, who is beaten to a pulp, across the floor towards a workshop table. NICKY follows them.

                  NICKY (V.O.)
      To be truthful with you, I had to 
      admire this fuckin' guy.  He was one 
      of the toughest Irishmen I ever met.

                  NICKY
      This fuckin' guy, he got some stamina, 
      don't he?

                  NICKY (V.O.)
      This son-of-a-bitch was tough.

                  NICKY
      Personally, I don't give a fuck who 
      was with him anyway. As long as he 
      gives me a name I could give to them.

                  NICKY (V.O.)
      For two days and two fuckin' nights, 
      we beat the shit out of this guy. I 
      mean, we even stuck ice-picks in his 
      balls.

                  NICKY
      You better hope he gives me a fuckin' 
      name soon, or I'm gonna give him 
      yours, Frank.

MARINO and BLUE lay DOGS on the table and put his head in a vise. They're exhausted from beating him.

                  MARINO
           (To NICKY)
      Yeah, thanks a lot.

                  NICKY (V.O.)
      But he never talked.

                  NICKY
           (To MARINO)
      I know you would have ratted by now.

                  NICKY (V.O.)
      In the end, I had to put his fuckin' 
      head in a vise.

                  NICKY
      Dogs. Dogs, can your hear me, Dogs?

DOGS gasps and mumbles.

                  NICKY
      Listen to me, Anthony. I got your 
      head in a fuckin' vise. I'm gonna 
      squash your fuckin' head like a 
      grapefruit if you don't give me a 
      name. Don't make me have to do this, 
      please. Come on. Don't make me be a 
      bad guy. Come on.

                  TONY DOGS
           (With what strength 
           he as left)
      Fuck you!

                  NICKY
           (To MARINO and BLUE)
      This motherfucker, do you believe 
      this? Two fuckin' days and nights!
           (To DOGS.)
      Fuck me?

NICKY begins to tighten the vise.

                  NICKY
      Fuck me, you motherfucker?
           (Turning the vise.)
      Fuck my mother? That's what you 
      fuckin' tell me?

NICKY angrily keeps spinning the vise handle until suddenly one of DOGS's eyes bulges out of the socket.

                  NICKY
      Huh? You motherfucker, you, huh?

MARINO and BLUE are horrified by the sight. Everybody freezes.

                  NICKY
      Oh, God! Give me the fuckin' name!

                  TONY DOGS
      Ch-Charlie M!

                  NICKY
      Charlie M?

                  TONY DOGS
           (Blood streaming out 
           of his mouth)
      Charlie M.

                  NICKY
           (Screaming)
      Charlie M? You make me pop your 
      fuckin' eye out of your head to 
      protect that piece of shit? Charlie 
      M? You dumb motherfucker!

                  TONY DOGS
           (Pleading)
      Kill me, you fuck, kill me.

                  NICKY
      Kill you,
           (unwinds the crank)
      You motherfucker you!
           (To MARINO.)
      Frankie, do him a fuckin' favor.

                  ACE (V.O.)
      The word got around that finally...

MARINO places a knife against DOGS's neck.

                  ACE (V.O.)
      ...there was a real gangster in town. 
      Nicky was the new boss of Las Vegas.

We hear DOGS gasp as the knife slices his throat.

                  NICKY
      Charlie M!

INT. TANGIERS CASINO - DAY

Extreme close-up of a slot-machine. Four reels with sevens across. Suddenly, the power goes out. Lights die down.. Machine 'waaaooows' down to a dead stop.

Security guards, on their hands and knees, are pulling the plugs on the three giant $15,000 progressive machines, as ACE talks to DON WARD.

                  ACE
      Four reels, sevens across, three 
      fifteen-thousand-dollar jackpots? Do 
      you have any idea what the odds are?

                  WARD
      Shoot, it's gotta be in the millions, 
      maybe more.

                  ACE
      Three fuckin' jackpots in twenty 
      minutes? Why didn't you pull the 
      machines? Why didn't you call me?

                  WARD
      Well, it happened so quick. Three 
      guys won. I didn't have a chance to 
      call you.

                  ACE
      You didn't see the scam? You didn't 
      see what was goin' on?

                  WARD
      Well, there's no way to determine 
      that, Sam.

                  ACE
      Yes, there is. An infallible way! 
      They won!

                  WARD
      Well, it's a casino. People gotta 
      win sometimes.

                  ACE
      Hey... Ward, you're pissin' me off. 
      Now, you're insulting my intelligence. 
      What do you think, I'm a fuckin' 
      idiot? You know goddamn well somebody 
      had to get into those machines and 
      set those fuckin' reels.

SHERBERT enters, stands next to ACE.

                  ACE
      The probability on one-four-reel 
      machine is a million and a half to 
      one. On three machines in a row, 
      it's in the billions.  It cannot 
      happen... would not happen, you 
      fuckin' momo! What's the matter with 
      you!  Didn't you see you were bein' 
      set up on the second win?

                  WARD
      I really think you're -

                  ACE
           (Interrupts)
      You - Wait! You didn't see that you 
      were being set up on the second win?

                  WARD
      I really think you're overreacting 
      in this whole -

                  ACE
           (Interrupts)
      Listen, you fuckin' yokel, I've had 
      it with you. I've been carryin' your 
      ass in this place ever since I got 
      here. Get your ass and get your things 
      and get out of here.

                  WARD
      You're firin' me?

                  ACE
      I'm firin' you? No, I'm not firin'
           (mocking WARD)
      I'm firin' you, you -

Gives SHERBERT a look.

                  WARD
      You might regret this, Mr Rothstein.

                  ACE
      I'll regret it even more if I keep 
      you on.

                  WARD
      This is not the way to treat people.

                  ACE
      Listen, if you didn't know you're 
      bein' scammed, you're too fuckin' 
      dumb to keep this job. If you did 
      know, you were in on it. Either way, 
      you're out!  Get out! Go on.
           (To SHERBERT.)
      Let's go.

ACE and SHERBERT walk off, WARD turns to leave.

INT. TANGIERS CASINO, AKU-AKU LOUNGE - DAY, AN HOUR LATER

ACE and GREEN are seated having coffee and muffins in the Hawaiian lounge by the casino floor.

                  ACE
      I mean, the guy is history as far as 
      I'm concerned. History.

                  GREEN
      But you can't just fire him. Webb's 
      his brother-in-law. He's County 
      Commissioner.

                  ACE
      So what? Everybody out here with 
      cowboy boots is a fuckin' county 
      commissioner or related to a county 
      commissioner. I'm fuckin' sick of 
      it.

                  GREEN
      This is his state. His uncle's Chief 
      Judge. His brother-in-law runs the 
      County Commission. I don't know how 
      many other relatives he's got in 
      town.  There's gotta be a way to 
      work him back in.

                  ACE
      Phil, I can understand. You're in 
      the finances, you're upstairs, but 
      you are not on the floor. I got 
      thousands of players. I got five 
      hundred dealers.  They're all lookin' 
      to rob me blind, twenty-four hours a 
      day. I have to let them know I'm 
      watching all the details, all the 
      time; that there is not one single 
      thing I will not catch as I am over 
      here.

Breaks open his blueberry muffin, puts it down and points to Green's.

                  ACE
      Look at yours.

                  GREEN
      What?

                  ACE
      Look at that. Look at this. There's 
      nothin'... look how many blueberries 
      your muffin has and how many mine 
      has. Yours is falling apart. I have 
      nothing.

                  GREEN
      What are you talking about?

                  ACE
      It's like everything else in this 
      place. You don't do it yourself, it 
      never gets done.

GREEN follows ACE to the kitchen.

                  GREEN
      Where you goin'?

INT. TANGIERS KITCHEN - DAY

ACE, GREEN and the BAKER are gathered around the BAKER's counter surrounded by muffin tins and batter.

                  ACE
           (Handing the BAKER 
           the two muffins)
      From now on I want you to put an 
      equal amount of blueberries in each 
      muffin. An equal amount of blueberries 
      in each muffin.

                  BAKER
      You know how long that's going to 
      take?

                  ACE
      I don't care how long it takes. Put 
      an equal amount in each muffin.

ACE leaves, GREEN looks on in amazement as the BAKER holds the muffins. GREEN follows ACE out.

INT. ACE'S HOUSE, KITCHEN - DAY

ACE, seated at the kitchen table, is feeding AMY in a high chair. The nanny is in the background.

                  ACE
      Come on, honey, just a little. That 
      a girl, that a girl. Oh, boy, look.

GINGER enters and goes to the sink.

                  ACE
           (To AMY, who is sobbing 
           and mumbling)
      Okay, want to go with Mommy?

                  ACE
      What do you need?

                  GINGER
           (Giving AMY to the 
           NANNY)
      You get her?  Okay.
           (To ACE.)
      Well, I need a lot. I need more than 
      usual.

                  ACE
      Well, why don't you take it out of 
      your account? There's a lot there.

                  GINGER
      Well, I would, you know, Sam. It's 
      just that... well, I need more than 
      that. I need twenty-five thousand.

She sits down at the table next to him.

                  ACE
      Twenty-five thousand? For yourself?

                  GINGER
           (Picking up an empty 
           carton of milk)
      Yeah.

                  ACE
      Why do you need that much?

                  GINGER
      Well, what's the difference? I just 
      need it.

                  ACE
      Well, I mean... you know, I gotta 
      ask you. That's a lot of money.  
      You're not asking for a box of 
      popcorn, you know. I mean...

                  GINGER
      I'm aware of that. We don't have to 
      turn this into a big deal.
           (Getting up to the 
           refrigerator.)
      Okay? We don't have to have a fight. 
      It was important to me. But forget 
      it. Just something I wanted to do 
      for myself.

                  ACE
      Who's fighting? I mean, I'm, you 
      know, tell me what it's for.

GINGER, annoyed, closes the refrigerator door.

                  ACE
      Why can't you tell me what it's for?

She stirs her coffee.

                  ACE
      Huh?
           (Pause)
      Well, you know what? Now, I want you 
      to tell me. I mean, my wife comes to 
      me and asks me for twenty-five 
      thousand. I mean, what do you want? 
      Do you want a coat?

                  GINGER
      No.

                  ACE
      Well, if you want a coat, you got 
      it. You know that. It's not the money, 
      it's just why do you want it?  That's 
      all I'm askin'. Am I not entitled to 
      that?

                  GINGER
      Look - Sam, I've been independent my 
      whole life. I never had to ask anybody 
      for anything. Now you're making me 
      beg you for this.

                  ACE
      What are you talkin' a- ?

                  GINGER
           (Interrupting)
      Okay? And you're embarrassing me. 
      Why do want to make me feel so bad?

                  ACE
      You're askin' me for twenty-five 
      thousand. I'm not out to make you 
      feel bad. I want to just be able to 
      trust you. You now, it's about trust. 
      I have to be able to trust you with 
      my life. Do you understand? Can I 
      trust you?
           (She doesn't answer.)
      Can I trust you?... Can I trust 
      you?... Answer me. Can I trust you?

                  GINGER
           (Quietly)
      You can trust me.

                  ACE
      Good, so then you could tell me what 
      the money is for.

GINGER gives him a look and leaves.

INT. VEGAS BANK VAULT - DAY

GINGER takes about two inches of $100 bills out of a safe deposit box and slips it in an envelope.

EXT. VEGAS/BANK/PUBLIC PHONE - DAY

NICKY is on a phone watching GINGER leave the bank.

                  NICKY
           (Into telephone)
      Yeah, she's leavin' the bank now. 
      All right, I'm gonna follow her.
           (He hangs up.)

INT. SALVADORAN DINER BOOTH - DAY

GINGER is in a booth with LESTER DIAMOND, handing him the envelope filled with money.

                  LESTER
      What does that mean? No, I know that 
      look. What does that mean?

                  GINGER
      It means I got the money.

                  LESTER
      You got money. That's a - That's a 
      good look.

SWISH PAN TO ACE ENTERING, FOLLOWED BY A HOOD. HE SITS DOWN AT THE BOOTH WITH LESTER AND GINGER.

                  ACE
      How you doin', Les? It's Lester, 
      right? Sam.

Extends his hand to LESTER, who shakes it.

                  ACE
      From my recollection, aren't you the 
      card shark... the golf hustler...  
      the pimp from Beverly Hills?

LESTER gives GINGER a 'how did you fuck this up?' Look.

                  ACE
      If I'm wrong, please correct me, 
      'cause I never knew you to be a heist 
      man.
           (LESTER sighs.)
      But if you are, you know what... 
      here, take mine too.

ACE takes some money out of his coat and puts the thick wad of bills on the table.

                  ACE
      Go ahead, take it. 'Cause you already 
      have hers.

LESTER turns and sees two HOODS standing by the front and back doors of the diner.

                  ACE
      She's my wife.
           (To LESTER.)
      Look at me. You did know that, didn't 
      you? You knew that she's my wife? 
      Huh? Hey, look at me.

                  LESTER
      Yeah, yeah. I know that.

                  ACE
      You do? Yeah? Well, if you ever come 
      back again... ever... to take her 
      money... next time bring a pistol.  
      That way you got a chance. Be a man, 
      don't be a fuckin' pimp. Now, you 
      want to do me a favor? Get out of 
      here. I want to be alone with my 
      wife. Get the fuck up and get out of 
      here.

After stammering for a moment, LESTER gets up and begins to move towards the back door.

                  LESTER
           (Quietly)
      Okay.

                  ACE
      You fuckin' piece of shit.

                  LESTER
      Hey, that's just fuckin' - That's 
      bullshit. You know, you know, what 
      the fuck?

The thugs follow him out of the back door. GINGER freezes.

                  ACE
      You remember when you called him 
      that night? When you said goodbye to 
      him?  He didn't say, 'Don't get 
      married, I'll be right down, we'll 
      get married.'  He didn't say that to 
      you, did he?

                  GINGER
           (Whispering)
      No, he didn't.

                  ACE
           (Picks up the money)
      Didn't. No, instead, what did he 
      say? 'Fuck him. Take him for 
      everything he's got.'

ACE takes GINGER by the arm to the rear of the diner where they can see the parking area through a glass door.

                  ACE
      Come here, I want to show you 
      somethin'.

EXT. REAR OF SALVADORAN DINER, PARKING LOT - DAY

Three HOODS rush LESTER who is running towards his car. GINGER bursts through the doors, trying to get to LESTER. ACE holds her back. They struggle. LESTER groans and gasps as the HOODS start to beat him up.

                  HOOD #1
      You fuckin' shit.

                  GINGER
      No! No! No! Don't!

ACE restrains her.

The HOODS punch LESTER in the face and stomach.

                  GINGER
      Make them stop it!
           (Sobbing.)
      No! No! No! It's not his fault! It's 
      my fault!

NICKY watches from a car in a parking lot across the street, out of GINGER's sight.

ACE forces GINGER into the car as the HOODS finish the beating.

                  GINGER
           (Sobbing)
      No! No!

The HOODS toss LESTER into his car.

                  LESTER
           (Falling into the 
           front seat on his 
           back.)
      Fuck!

NICKY watches as the HOODS walk away from LESTER's car.

                  LESTER
      Fuck you!

                  HOOD #2
      You piece of shit.

ACE pulls out of the parking lot with a wailing GINGER.

LESTER groans, trying to sit up.

                  LESTER
           (As ACE and GINGER 
           drive off down the 
           street)
      Couldn't do it yourself, you 
      chickenshit cocksucker!

INT. GOLD RUSH BACK ROOM - DAY

GINGER and NICKY are in the back room. NICKY is sitting on a couch while GINGER stands by a mirror with a curling iron.

                  GINGER
           (Throwing the iron on 
           the counter)
      He's such a prick. He had some guy 
      from the hotel beat him up. He didn't 
      want to do it himself. Oh, no, he 
      didn't want to get his own hands 
      dirty.

She takes a pill with a drink.

                  GINGER
      So, why'd he have to do that, huh?

She walks towards NICKY, who is sitting on a couch across the room.

                  GINGER
      Tell me.

                  NICKY
      I know it wasn't a nice thing to do 
      but -

                  GINGER
           (Interrupts)
      Yeah, no shit.

She sits down next to NICKY.

                  NICKY
      Well, you gotta understand it. He 
      doesn't know if this guy is shaking 
      you down or taking advantage of you.

                  GINGER
      No! No! I told him all about the guy 
      before we ever got married. This is 
      no fuckin' surprise.

                  NICKY
      Oh, you did? I didn't know that.

                  GINGER
      Yeah. He's just a friend of mine I 
      was trying to help, so... so what?

                  NICKY
      You know... the first time I ever 
      saw your guys together... I never 
      saw him so happy. I mean, I know 
      he's a crazy Jew fuck and everything, 
      but...

She smiles.

                  NICKY
      I never see - You know, I never seen 
      him act like that with anybody else.  
      I think he's crazy about you. I mean, 
      he really loves you. He does.

                  GINGER
      Oh, come on. I went into this with 
      my eyes open, you know. I knew the 
      bottom could drop out at any time. 
      I'm a working girl, right?  You don't 
      think I'm gonna go into a situation 
      like this if I don't think I'm gonna 
      get covered on the back end.

                  NICKY
      Sure.

                  GINGER
      Am I right?

                  NICKY
      I can see that. Sure.

                  GINGER
      So, he put aside some jewelry for 
      me. A lot of jewelry.

                  NICKY
      You mean, like a lot of expensive 
      jewelry? About how much?

                  GINGER
      Mm, you want to steal it?
           (Cracking a smile.)

                  NICKY
      No. I - I'm just curious, you know. 
      I was wonderin' how much he would 
      put into a thing like that. That's 
      all.

                  GINGER
      I'm told it's worth about a million 
      dollars, maybe more. 
           (Sniffs.)

                  NICKY
      Well, there you go. But what does 
      that tell ya? A million dollars in 
      jewelry. Does that tell you the guy 
      is crazy about you, or what?

                  GINGER
      I should have never married him. 
      He's a Gemini. A triple Gemini...  
      duality.
           (Breaking down.)
      Gemini's the snake. You know you 
      can't trust the snake.
           (Sniffs.)
      I mean it.

                  NICKY
      I know what you mean.

He moves closer to her.

                  NICKY
      Listen, Ginger... you know, this is 
      probably not... I don't have the 
      answers anyway... and this is probably 
      not what you want to hear right now, 
      because you're a little upset with 
      Ace.

                  GINGER
      I do.

                  NICKY
      I understand that. But, you know, I 
      think you should try to make the 
      best of it now. Go slow, you know. 
      See what happens.

                  GINGER
      He could have killed him! Okay? He 
      could have killed him. 

She gets up and walks to the counter by the mirror.

                  GINGER
      He didn't have to hit him. It's not 
      exactly like I'm sleepin' with the 
      guy! And he makes me sneak around to 
      see my own friends! What the fuck is 
      that all about?

                  NICKY
      Well, I guess it's 'cause he loves 
      you so much. He's jealous and worried.

                  GINGER
           (Sighs, her voice 
           starts to crack)
      He gives a fuck what I do?

                  NICKY
           (Getting up)
      Look, I'll try to find out what the 
      hell's goin' on. When I see him I'll 
      talk to him.

                  GINGER
      Okay.

                  NICKY
      All right?

                  GINGER
      Yeah.
           (Walking over to him, 
           smiling.)
      Thanks.

Towering over NICKY, holding a drink in one hand and his shoulder in the other, she leans down and kisses him.

                  GINGER
      Thanks for puttin' up with me.

NICKY takes the drink out of her hand.

                  NICKY
      And take it easy with this shit, 
      will you? I mean, this can only make 
      matters worse.

                  GINGER
      Oh, come on.

                  NICKY
      You're a beautiful girl. You don't 
      want to ruin your looks. I've seen a 
      lot of girls get shot to hell from 
      this stuff.

                  GINGER
           (Fidgeting with his 
           jacket, then holding 
           his face in her hands, 
           smiling.)
      You're so nice.
           (She begins to cry.)

                  NICKY
      Come on, now, I don't want to see 
      you unhappy.

She kisses him.

                  GINGER
           (Tenderly strokes his 
           head)
      Thanks.

                  NICKY
      Yeah.

She embraces NICKY, wrapping her arms around him.

                  GINGER
           (Through tears)
      Thank you.

                  NICKY
           (Feeling a little 
           awkward with the hug)
      It's all right.

She kisses him again. NICKY doesn't move, holding back.

INT. ACE'S OFFICE - DAY

Pull back from a sign, with a tiny 'yes' on top of a gigantic 'no', leaning on a window overlooking the sportsbook. We see ACE, behind his desk, taking a swig of Mylanta. His SECRETARY telephones.

INT. ACE'S OUTER OFFICE, SECRETARY'S DESK - DAY

We see past PAT WEBB's cowboy hat down onto Ace's SECRETARY on the phone.

                  SECRETARY
           (Into telephone)
      Mr Rothstein? County Commissioner 
      Pat Webb is here to see you.

                  ACE
           (Over telephone)
      Okay...

INT. ACE'S OFFICE - DAY

                  ACE
           (Into telephone)
      ...give me a minute.

                  SECRETARY
           (Over telephone)
      Okay.

ACE hangs up the phone.

INT. ACE'S OUTER OFFICE, SECRETARY'S DESK - DAY

                  SECRETARY
           (To WEBB)
      It'll just be a minute.

INT. ACE'S OFFICE - DAY

ACE gets up from his desk and we see he is in his boxer shorts. He opens the closet and carefully puts on the trousers hanging inside.

INT. ACE'S OUTER OFFICE - DAY

A very patient WEBB is leaning against some double doors across from Ace's SECRETARY.

                  SECRETARY
      Mr Webb...  Can I get you anything?

                  WEBB
      Oh, no.
           (Cordially tipping 
           his hat.)
      No, thank you, little lady.

INT. ACE'S OFFICE - DAY

                  ACE
           (Into telephone)
      Okay, send him in and call me four 
      minutes after.

WEBB walks in. He is big, tough and western, wearing a Stetson, tooled boots, jeans, an elbow-patched jacket and a turquoise bear claw string-tie. His headband contains a rattlesnake head. Ace's SECRETARY shuts the door on her way out.

                  WEBB
      Mr Rothstein...
           (With hand outstretched 
           to ACE.)
      I'm Pat Webb.

                  ACE
      How do you do?

They shake hands.

                  WEBB
      Hey, it is my pleasure.

                  ACE
      Yeah, I heard a lot about you.

                  WEBB
      Oh, thank you, sir.

Looking out Ace's office picture window overlooking the sportsbook.

                  WEBB
      Hey, house is doin' well.
           (Chuckling.)
      Hey, all that money is rollin' in. I 
      appreciate you takin' the time to 
      see a poor ol' civil servant.

                  ACE
      No, that's quite all right.

TILT UP FROM WEBB'S SNAKESKIN COWBOY BOOTS AND ACE'S BLUE SHOES AS THEY CONTINUE TALKING.

                  ACE
      Why don't you have a seat?

                  WEBB
      Hm? Oh. Thank you, sir.

WEBB sits down in a chair in front of ACE's desk.

                  WEBB
      Uh, I come here personally to kind 
      of smooth over a fracas about a 
      certain matter. See, uh, maybe you 
      didn't know it, but, uh, Don Ward is 
      a very well-liked man in this town.  
      He's got lots of friends here. Now, 
      his family and their money go back 
      many, many years. Now, friends vote... 
      family and money votes. That's 
      important to me... and you. And if 
      you'll think about our little problem 
      along them lines...  and you forgive 
      me for sayin' it, maybe he did not 
      deserve to be fired.

                  ACE
      I'm sorry, but he knew about our 
      gettin' hit on three big machines in 
      a row and he did nothing about it.  
      That means either he was in on it 
      or, forgive me for saying this, he 
      was too dumb to see what was going 
      on. Either way, I cannot have a man 
      like that workin' here.

                  WEBB
      Before we point the dirty end of the 
      stick at 'ol Don, uh, we better be 
      sure we can prove them charges.

                  ACE
      Believe me, if I could prove it, he 
      would be under arrest.

                  WEBB
      Are, uh -
           (Clears throat.)
      - are we certain that you want the 
      Gamin' Control Board eyeballin' your 
      record and your gangster pals like 
      Nicky Santoro?

                  ACE
      I think you're way out of line talkin' 
      to me like that. What you're sayin' 
      is libelous, and you're in no position 
      to challenge my expertise. I went 
      way out of my way to be very helpful 
      and courteous to that kid. He's weak, 
      he's incompetent. He jeopardizes the 
      whole place. There's not much more I 
      can do for him.

                  WEBB
           (Chuckling)
      You have got me there. Old Don is as 
      useless as tits on a boar.
           (Chuckles.)
      But, he is my brother-in-law, and I 
      would look on it as a personal favor 
      if you'd think some more on hirin' 
      him back.

                  ACE
      I can't do that. And I appreciate 
      the fact that he's your brother-in-
      law, and I do want to help you and I 
      like to do favors, and I know who 
      you are, but I cannot do that.

                  WEBB
      Well, could there be any position... 
      further down the trough?

                  ACE
           (Pause)
      I'm sorry, I can't do anything. He's 
      too incompetent. And the bottom line 
      is, he cannot be trusted.

The telephone rings. ACE picks it up.

                  ACE
           (Into telephone)
      Okay, thanks.
           (To WEBB.)
      Um... you know, that's it. I'm sorry.

                  WEBB
      Mr Rothstein. Your people never will 
      understand the way it works out here. 
      You're all just our guests. But you 
      act like you're at home. Let me tell 
      you somethin', partner... you ain't 
      home. But that's where we're gonna 
      send you if it harelips the Governor.
           (Pause.)
      Thank you for your time.

                  ACE
      No problem.
           (Getting up and shaking 
           hands.)
      Sorry.

                  WEBB
           (Smiles slightly)
      You bet.

INT. ACE'S HOUSE, BATHROOM/BEDROOM - DAY

ACE, in pain from his ulcer, opens a bottle of pills in his bathroom and sees that it is almost empty.

                  ACE
      What happened to my pills?

He leaves the bathroom and walks into the bedroom where GINGER is stretched out on their imperial bed.

                  GINGER
      Huh?

                  ACE
           (Waving the pill bottle)
      Isn't it bad enough you're drinkin' 
      too much, you're takin' all my pills 
      too?

                  GINGER
      I didn't take your pills.

                  ACE
      Look - for my ulcer, I take a half a 
      one of these, a half a one of these.  
      And that's when I have extreme pain. 
      I had a three-month supply. What'd 
      you do with 'em?

                  GINGER
           (Sobbing)
      You didn't have to beat him up!

                  ACE
           (Walking back to the 
           bathroom)
      What?

ACE puts the bottle into the medicine cabinet.

                  GINGER
           (Sobbing)
      I was just tryin' to help him. It's 
      not like I'm sleeping with the guy!

                  ACE
      Yeah, how do I know?

                  GINGER
           (Sobbing)
      You can't make me stop caring...

                  ACE
      What? What?!

                  GINGER
      I said, you can't make me stop caring 
      about people.

She starts to cry.

                  ACE
           (Trying to calm her)
      Listen.
           (Stepping up to the 
           bed.)
      Ginger. I'm tryin' to make the best 
      of everything here, you know?  I 
      mean, you're my wife, for chrissakes. 
      Uh, I mean... people look up to you 
      in this town. I don't know what to 
      think -

                  GINGER
           (Interrupts)
      You know what, Ace? I don't give a 
      shit! I'm gettin' out of here.
           (Crying.)
      I am.

She sits up woozy, and tries to pull on her trousers.

                  ACE
           (Walking around the 
           bed to her)
      It's okay.  Look...
           (holding her face, 
           gently)
      ...you gotta get a hold of yourself.

                  GINGER
      Okay.

                  ACE
      If not for me, at least for Amy.

                  GINGER
           (Sobbing)
      Okay, okay.

                  ACE
           (Gently)
      You understand? Your drinking's 
      gettin' way out of hand. I'm gonna 
      get you into a program. They got 
      plenty of good ones.

                  GINGER
      I don't need one.

                  ACE
      Yes, you do. It's very discreet. 
      There's no names in the papers. You 
      don't have to worry about any of 
      that stuff.

                  GINGER
      That's all you care about.
           (Collapsing on the 
           edge of the bed.)
      You don't care about me at all.

                  ACE
           (Bending down to her)
      Yes, I - yes, I do.

                  GINGER
      No, you don't.

                  ACE
      How could you say that?  You're a 
      beautiful woman. You're destroying 
      yourself. You don't need that stuff. 
      You don't need that fuckin' leech 
      livin' off you. I know you better 
      than you know yourself. You're a 
      tiger, you're stronger than I am.  
      And when you set your mind on doing 
      something, you do it better than 
      anybody.
           (Strokes her hair. 
           Then, quietly:)
      You can do it.
           (Kissing her.)
      You can do it.

                  GINGER
           (Sobbing)
      Oh, God. Oh, God. Okay.  Okay... 
      I'll try. I'll try.

She sits up and puts her arms around ACE's waist. He strokes her head.

                  GINGER
      I'll try. I will. Don't be mad at 
      me, okay... I will.

INT. TANGIERS HARD COUNT ROOM - DAY

Move in on a door that reads: 'Notice - No Admittance - Caution - Hearing Protection Must Be Worn In This Area'. NANCE opens it with a key to reveal the hard count room. Coins tumble of a conveyor belt.

                  NICKY (V.O.)
      No matter what the problems were 
      outside the count room, it was all 
      worth it. The cash kept rollin' in. 
      And the...

EXT. CASINO REAR LOADING PLATFORM - DAY

NANCE, dumping two large suitcases in the trunk of a car.

                  NICKY (V.O.)
      ...suitcases kept comin' and goin'. 
      And let me tell ya, the fuckin' bottom 
      line here is... cash.

The trunk lid is shut.

INT. TANGIERS SOFT COUNT ROOM - DAY

The counters sort through a pile of cash on a table. The camera moves on one counter as he pockets some cash.

                  NICKY (V.O.)
      The only problem was that, after a 
      while, the bosses noticed that the 
      suitcases were gettin' a little light.

FREEZE FRAME ON THE COUNTER POCKETING A $100 BILL.

INT. SAN MARINO ITALIAN GROCERY/BACK ROOM, KANSAS CITY - DAY

NANCE is seated at a table eating with FORLANO, CAPELLI, CAPP, BORELLI, PISCANO and GAGGI.

                  BORELLI
      Aspett'. [Italian-American slang for 
      'Wait'] Wait a minute. You mean to 
      tell me that the money we're robbing 
      is bein' robbed? That somebody's 
      robbing from us?  We go through all 
      this fuckin' trouble, and somebody's 
      robbin' us?

                  GAGGI
           (To NANCE)
      Eh?

                  NANCE
      Like I said, you know, i-it's part 
      of the business. I-it's considered 
      leakage.

                  BORELLI
      Leakage, my balls. I want the guy 
      who's robbin' us.

INT. TANGIERS HARD COUNT ROOM - DAY

NANCE enters through a door and walks past a man picking up a bucket of coins and dumping them into a trough. A clerk, seated at a coin weighing scale, places a ticket into a small tray. NANCE reads the printout of the machine.

                  NICKY (V.O.)
      Even John Nance, that's the guy who 
      ran the skim, he knew there wasn't 
      much you could do about it. You gotta 
      know that a guy who helps you steal, 
      even if you take care of him real 
      well, I mean, he's gonna steal a 
      little bit extra for himself. Makes 
      sense, don't it? Right? Well, you go 
      try and make these hard-headed old 
      greaseballs understand that.

INT. SAN MARINO ITALIAN GROCERY/BACK ROOM, KANSAS CITY - DAY

                  BORELLI
      What's the point of skimming if we're 
      being skimmed? Defeats the whole 
      purpose of what we're doin' out there.

                  GAGGI
           (To NANCE)
      Huh?

                  NANCE
      You know, they take this money because 
      they're my guys. So you gotta give 
      'em some leeway.

                  NICKY (V.O.)
      But the bosses never believed in 
      leeway, so listen to what they do: 
      they...

INT. SAN MARINO ITALIAN GROCERY/BACK ROOM, KANSAS CITY - DAY

BORELLI is talking to PISCANO, his underboss.

                  NICKY (V.O.)
      ...put Artie Piscano, the underboss 
      of KC, in charge of making sure nobody 
      skimmed the skim.

                  BORELLI
      What the hell have you been doin' 
      out there?

                  PISCANO
      I was out there with my cumma [Italian-
      American slang for 'girlfriend'.]

                  BORELLI
      Your cumma? What are you doin' with 
      your cumma?

                  PISCANO
      What else? I gave her a schaff 
      [Italian-American slang for 'tap'.]

                  NICKY (V.O.)
      The only trouble was, Piscano was a 
      disaster. This guy could fuck up a 
      cup of coffee.

                  BORELLI
      Artie, what the hell have you been 
      doin' out there, Artie?

                  PISCANO
      I'm out there more than I'm here.

                  NICKY (V.O.)
      And little did anybody know where 
      this would all lead. If they did, 
      they would have been better off makin' 
      fuckin' novenas.

                  BORELLI
      You gotta go back there and talk to 
      that guy.

                  PISCANO
      Come on, go back there? I never got 
      paid my expenses for the last trip.

                  BORELLI
      What expenses?

                  PISCANO
      Well, I'm goin' all over, layin' 
      money out of my own pocket, and I 
      never get anything back. What the 
      hell's goin' on?

                  BORELLI
      You gotta go back out there.

                  PISCANO
      Well, then, from now on, I'm gonna 
      start keepin' records.

                  BORELLI
      Artie, no records, Artie. What are 
      you gonna do with records? Pay taxes?

                  PISCANO
      Well, I keep layin' out my own fuckin' 
      dough for these trips and nothin' 
      ever comes back. I mean, what hell's 
      goin' on? What are we doin' over 
      here?

                  BORELLI
      You're goin' out to Las Vegas, you're 
      havin' a good time at my expense. 
      What the fuck? I mean, after all, 
      you're the one having a good time, 
      not me.

                  ACE (V.O.)
      No matter how many novenas you could 
      make, nothin'...

INT. TANGIERS, GREEN'S OFFICE - DAY

GREEN is arguing with ANNA SCOTT, a fifty-year-old no-nonsense businesswoman.

                  ACE (V.O.)
      ...was gonna stop what came up next 
      at the casino.

                  GREEN
      I can't believe you're doing this.

                  SCOTT
      We made a deal. You came to me, 
      remember?

                  GREEN
      Yes, I appreciated your advice...

                  ACE (V.O.)
      It turned out Phil Green, Mr 
      Integrity, had a partner nobody knew 
      about... and when she showed up and 
      started demanding some money from 
      the Tangiers...

                  GREEN
      Why are you doing this to me?

                  SCOTT
      Because you're wrong.

                  GREEN
      I'm not wrong.

                  SCOTT
      Yes, you are.

                  GREEN
      No, I am not wrong.

                  ACE (V.O.)
      ...Green tried to stonewall her.

                  SCOTT
      And you're not going to get away 
      with this! I will see to it that you 
      do not get away with this!

She walks out.

                  ACE (V.O.)
      So...

INT. COURT-ROOM - DAY

A JUDGE is seated at his bench. SCOTT and GREEN, surrounded by their lawyers, take their seats. NANCE watches from the back row.

                  ACE (V.O.)
      ...she sued him in court.

                  JUDGE
      The court will now hear the matter 
      of the plaintiff, Anna Scott, against 
      Tangiers Corporation and its 
      president, Philip Green.

                  LAWYER #1
      Good morning, your Honor. John Momet 
      on behalf of Mr Green.

                  LAWYER #2
      Mitchell Logan on behalf of Anna 
      Scott, your Honor.

                  JUDGE
      Mr Logan, you may proceed.

                  LAWYER #2
      Thank you, Judge.

As the JUDGE pounds his gavel, we see ANNA SCOTT and a grim GREEN.

INT. COURT-HOUSE CORRIDOR - DAY

ANNA SCOTT holds an impromptu press conference.

                  SCOTT
      I believe he was absolutely fair and 
      I'm delighted with the decision.

NANCE is talking at a pay phone, SCOTT and the reporters are in the background.

                  NANCE
           (Into telephone)
      We got a problem.

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

CURLY hands GAGGI the phone. He listens.

                  NANCE
           (Over telephone)
      It didn't go too well.

INT. COURT-HOUSE CORRIDOR - DAY

                  NANCE
           (As GREEN and his 
           lawyers walk past 
           him, exiting the 
           court-house)
      Green has to open up the books... 
      has to show how he got the financing. 
      And, hey, that's - that's not good.

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

GAGGI, holding a cigarette, snaps his fingers in disgust, grunts, and slams down the phone. He men watch in silence.

                  GAGGI
      Shit.

CURLY takes the phone away.

                  NICKY (V.O.)
      She was doin' pretty good with her 
      lawsuit, but before she could start 
      countin' her money, the boys back 
      home decided to settle the case out 
      of court instead.

INT. ANNA SCOTT'S HOME, KITCHEN, LAS VEGAS - DAY

SCOTT, alone, is sitting at her kitchen table.

                  NICKY (V.O.)
      So, they send me.

NICKY swiftly enters the room, grabs SCOTT around the neck, and fires three shots into her head.

He leans SCOTT back against the chair, then gently, while stroking her hair, sets her head to the side. Blood flows from her mouth on to her pink robe.

NICKY grabs his gun and leaves.

Reporters are heard shouting 'Mr Green'.

EXT. LAS VEGAS PRIVATE AIRPORT - MORNING

GREEN gets off the Tangiers corporate jet and is assaulted by questions about the Scott murder. GREEN is stunned.

                  REPORTER #1
      Can you comment on the murder of 
      Anna Scott?

                  GREEN
      What are you talking about?

                  REPORTER #1 (O.S.)
      She was found last night, shot in 
      the head.

                  REPORTER #2 (O.S.)
      Was this just a real-estate 
      partnership?

                  REPORTER #3 (O.S.)
      Her lawyer said you were partners.

                  GREEN
      We were - We were involved in minor 
      real estate deals many years ago.  
      It was never a partnership.

Reporters chase CHASE as he walks down the ramp and across the tarmac to his white limousine.

                  REPORTER #1
      Police are calling this a mob-style 
      killing.

                  REPORTER #2
      Did you ever hear of the twenty-two-
      caliber killer?

                  GREEN
      I'm a little in shock, quite 
      frankly...

                  ACE (V.O.)
      Now, instead of the cops only lookin' 
      at Nicky, they started looking at 
      Green too. And he was supposed to be 
      our squeaky...

INT. ACE'S OFFICE - DAY

ACE is being interviewed by a female Business Week REPORTER. SHERBERT and RONNIE are sitting on a couch, listening to the interview. The REPORTER is seated across from ACE, at his desk.

                  ACE (V.O.)
      ...clean front man. So, I had to 
      start giving interviews to make sure 
      everybody knew the casino was on the 
      up and up.

                  REPORTER
      So, actually, how often do you really 
      fill in for him?

ACE looks at SHERBERT.

                  SHERBERT
           (to REPORTER, who 
           looks his way.)
      Green's here about two or three times 
      a month, and he's busy -
           (REPORTER glances 
           back at ACE.)
      - with other real-estate deals and - 
      and things, you know.

                  REPORTER
           (To ACE)
      So, in Green's absence, then, you're 
      the boss.

                  ACE
      I serve at the pleasure of the 
      chairman of the board and... my, uh, 
      responsibilities are to run the day-
      to-day operations.

                  REPORTER
      So, day-to-day, then, you're the 
      boss?

                  ACE
      Well, in a sense, you could say 
      that... I am the boss, when Mr Green 
      is away. You could say that.

INT. GAMING CONTROL BOARD OFFICE - DAY

A magazine headline reads 'Sam Rothstein: "I'm the Boss!" '.

                  WEBB (O.S.)
      Hm. Have you read this?

The magazine shows a photograph of ACE. A caption reads: 'Rothstein asserts authority at Tangiers Casino'.

                  WEBB (O.S.)
      Hm? It's 'bout Mr Rothstein.

We see WEBB holding up a copy of Business Week in the gaming board office of investigators RONNIE DUPREY and MATT AUSTIN.

                  WEBB
      It says
           (Reading)
      'The Midwest bookmaker with mob ties 
      says that he is the real boss of the 
      new hundred-million-dollar Tangiers 
      Casino empire.'
           (To DUPREY and AUSTIN)
      You believe that?

                  DUPREY
      Did he really say that?

                  WEBB
      Why, of course, he really said that. 
      It's right here. Has that man even 
      filed for his license yet?

                  AUSTIN
      I don't know. We'll have to check 
      the files.

                  WEBB
      Well, without gettin' your shorts in 
      a knot, would you do that? And kinda 
      check closely, 'cause we may have to 
      kick a kike's ass out of town.  Thank 
      you.

He exits.

INT. ACE'S HOUSE - NIGHT

ACE is watching the television news which features his photo and a police photo of NICKY.

                  NEWSCASTER
           (On television)
      A Gaming Control Board investigation 
      of Tangiers executive Sam Rothstein's 
      application for a (photo of ACE) 
      gaming license is underway. Rothstein, 
      who heads the Tangiers Casino 
      operation and is a boyhood friend of 
      Las Vegas mob boss Nicky Santoro,
           (photo of NICKY)
      Could lose his ability to work in 
      the casino.

The phone rings. It's NICKY.

                  ACE
           (Into telephone)
      Hello.

                  NICKY
           (Over telephone)
      Listen...

EXT. STRIP MALL PUBLIC PHONE BOOTH - NIGHT

We see NICKY through the telephone booth glass.

                  NICKY
           (Into telephone)
      ...I gotta meet Clean Face right 
      away. What about the Chez Paree?

                  SUPER SUBTITLE
      'I gotta meet Charlie the Banker 
      right away at your house, okay?'

                  ACE
           (Into telephone)
      No, you, you can't. You gotta make a 
      reservation.

INT. ACE'S HOUSE - NIGHT

                  ACE
           (Into telephone)
      It's all booked up.

                  SUPER SUBTITLE
      'I don't want a meeting at my house.'

                  NICKY
           (Over telephone)
      No, no it's okay.

                  ACE
           (Into telephone)
      It's impossible. It's booked up, and 
      you gotta make a reservation.  It's...

EXT. STRIP MALL PUBLIC PHONE BOOTH - NIGHT

                  ACE
           (Into telephone)
      ...very difficult to get in.

                  NICKY
           (Into telephone)
      Well, it's okay. I'll use the service 
      entrance. I'll see you at nine.

                  SUPER SUBTITLE
      'I'll come in from the golf course 
      side. See you at six.'

                  ACE
           (Over telephone)
      Uh...

INT. ACE'S HOUSE - NIGHT

                  ACE
           (Over telephone)
      ...all right.

He hangs up and takes a drag off his cigarette.

                  NEWSCASTER
           (On television, from 
           following scene)
      The battle between...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

ACE and the banker, CHARLIE CLARK, are upstairs in the den, which has a patio overlooking a swimming pool and golf course.
CHARLIE is seated on a couch watching TV. GINGER enters and walks across the room, getting another drink from the bar. ACE, taking his ulcer medicine, watches her.

                  NEWSCASTER
           (On television)
      ...state gaming officials and Tangiers 
      Casino boss Sam 'Ace' Rothstein is 
      heating up. Tonight, an up-to-the-
      minute look at Ace Rothstein's attempt 
      to get state licensing despite law 
      enforcement allegations of Rothstein's 
      organized crime connections. Will 
      Sam Rothstein's friendship with 
      alleged organized crime figure Nicky 
      Santoro keep Rothstein from running 
      the Tangiers Casino?  And can the 
      integrity of state gaming laws be 
      jeopardized by a boyhood friendship?

ACE walks over to GINGER at the bar.

                  ACE
           (Quietly)
      Why don't you take it easy with that 
      stuff? Huh?  Come on. Let me help 
      you. Come on. We're talkin' about 
      some stuff.

                  NEWSCASTER
           (On television)
      State officials say 'yes' when that 
      relationship and those connections 
      are with anyone as notorious as Nicky 
      Santoro.

ACE takes GINGER's arm and leads her out of the room toward the stairs.

                  NEWSCASTER
      Tonight at six: 'Will a boyhood 
      friendship unseat Rothstein as the 
      Tangiers' Casino boss?' Exclusive on 
      the KVVO Special News Report.
           (Reading commercial.)
      ...Promise to keep my money fears 
      away?

                  ACE
           (To GINGER)
      Just go downstairs.  Just... go downst-

She struggles to break away from his firm grip, gives him a look and starts to walk down the stairs.

                  NEWSCASTER
           (On television, 
           continuing commercial)
      Promise to be financially secure? 
      Money Time can help you keep those 
      promises.

ACE looks down on GINGER as she slips on the stairs.

                  CHARLIE CLARK
      You can't let this concern you, Ace. 
      Don't worry about that stuff.

Outside the glass door NICKY arrives via the stairs from the golf course.

                  CHARLIE CLARK (O.S.)
      It's just a political witch hunt.

ACE opens the sliding glass door and NICKY enters.

                  NICKY
      Hey, Ace.

                  ACE
      Hey.

NICKY walks over to CHARLIE CLARK.

                  ACE
      Want something to drink? Charlie you 
      want a refill?

                  CHARLIE CLARK
      Yeah, refill'd be great.

                  NICKY
           (Approaching CHARLIE)
      No, I don't want one.
           (Smiling, extends his 
           hand.)
      Hey, Mr Clark, how you doin'?

                  CHARLIE CLARK
           (Shaking hands)
      Hi. Good.

                  NICKY
           (Sitting down with 
           him on a couch)
      I've been trying to reach you.
      You're tougher to get than the 
      President.

                  CHARLIE CLARK
      Well, I've been busy.
           (Chuckles.)

                  NICKY
      Yeah, least you could do is return 
      my phone calls, though.

                  CHARLIE CLARK
      Listen... Nicky... we talked about 
      this... and, uh, I explained to you 
      that there was the possibility you 
      might have to take some kind of loss.

                  NICKY
      Yeah.
           (Pause.)
      I think I want my money back.

                  CHARLIE CLARK
           (Chuckling)
      What're you gonna do? Strong-arm me?

                  NICKY
      You know... I think that you've gotten 
      the wrong impression about me. I 
      think in all fairness, I should 
      explain to you what it is that I do. 
      For instance, tomorrow morning I'll 
      get up nice and early, take a walk 
      down over to the bank and walk in 
      and see you, and, uh... if you don't 
      have my money for me, I'll crack 
      your fuckin' head wide open in front 
      of everybody in the the bank. And 
      just about the time that I'm comin' 
      out of jail, hopefully, you'll be 
      comin' out of your coma. And guess 
      what?  I'll split your fuckin' head 
      open again. Because I'm fuckin' 
      stupid. I don't give a fuck about 
      jail.  That's my business. That's 
      what I do. And we know what you do, 
      don't we, Charlie? You fuck people 
      out of money and get away with it.

                  CHARLIE CLARK
           (As he puts a notepad 
           in his briefcase)
      You can't talk to me like...

                  NICKY
           (Grabbing CHARLIE by 
           his jacket)
      Hey, you fat Irish prick. You put my 
      fuckin' money to sleep. You go get 
      my money, or I'll put your fuckin' 
      brain to sleep.

                  CHARLIE CLARK
           (To ACE, panting)
      Sam?

                  NICKY
      Never mind fuckin' Sam. This is 
      personal.
           (Walking with CHARLIE 
           to the stairs.)
      I'll be there in the morning. You 
      can fuckin' try me, fatso.

A frightened CHARLIE hurries down the stairs.

                  NICKY
      You fuckin' try me.

He turns to ACE who's behind the bar.

                  NICKY
      You think he got the point?

                  ACE
           (Walking to NICKY)
      What're you doin'? He's a square 
      guy, for chrissakes.  You can't treat 
      him like that. He's gonna run to the 
      FBI.

                  NICKY
      Fuck the FBI! That prick's been 
      dodging me for three weeks. And what 
      is it with you?  All of a sudden, 
      you're tryin' to tell me what to do 
      all the time.

                  ACE
      I'm not tryin' to tell you what to 
      do. But you were way out of line, 
      Nick. What're you doin'? Where's 
      your head?

                  NICKY
      Where's my head? Where's your fuckin' 
      balls? Huh? You know I'm tryin' to 
      put somethin' really big together 
      out here. You know what I'm talkin' 
      about, huh? You know!  If you're 
      actin' like this now, how can I depend 
      on you?  There's a lot of things 
      gonna change out here. And if you 
      wanna be there with me, Sammy, you're 
      gonna have to go my fuckin' way.

                  ACE
      Listen, Nick, you gotta understand 
      my situation. I'm responsible for 
      thousands of people. I got a hundred 
      million a year goin' through the 
      place.  It's all over, I'm gonna 
      tell you, it's all over, if I don't 
      get that license.  And believe me, 
      if it goes bad for me, it's gonna go 
      bad for a lot of people, you 
      understand?

                  NICKY
      Yeah, forget about your fuckin' 
      license. I plant my own flag out 
      here, you ain't gonna need a fuckin' 
      license.
           (Pause.)
      You know, I don't know what it is, 
      Sammy, but the more I talk to you, 
      the more I feel like you just don't 
      wanna go along with me, is that it?

                  ACE
      No, I don't wanna come -

                  NICKY
      You should say so.

                  ACE
      I don't wanna come along with you.

                  NICKY
      Just say so.

                  ACE
      I'll be honest with you.

                  NICKY
      All right, fine.

                  ACE
      I don't wanna be involved in anything 
      you're talkin' about...

                  NICKY
      Fine.

NICKY walks to a table and flips through Business Week magazine.

                  ACE
      ...okay? I just wanna run a square 
      joint. That's it. I just want my 
      license. I want everything nice and 
      quiet. That's it.

                  NICKY
           (Holding up the 
           magazine)
      You mean, quiet like this: 'I'm the 
      boss.'  That's quiet?

                  ACE
      That's all taken out of context. 
      Okay.

                  NICKY
      Yeah, that's out of context. Okay.

                  ACE
      I have no control over that. Ronnie 
      and Billy were right there. They'll 
      tell you exactly what happened.

                  NICKY
      Well, back home they don't know about 
      fuckin' control. That looks bad.

                  ACE
      Looks bad? I'm gonna tell you what 
      looks bad.

                  NICKY
      Yeah?

                  ACE
      Every time you're on television I 
      get mentioned. That looks bad. That 
      looks bad.

                  NICKY
      What the fuck happened to you? Will 
      you tell me?

                  ACE
      What happened to me? What happened 
      to you?

                  NICKY
      Yeah.

                  ACE
      You lost your control.

                  NICKY
      I lost control?

                  ACE
      Yes, you lost your control.

                  NICKY
      Look at you. You're fuckin' walkin' 
      around like John Barrymore.

                  ACE
      All right.

                  NICKY
      A fuckin' pink robe and a fuckin'...

                  ACE
      All right.

                  NICKY
      ...uh, uh, cigarette holder. I'm - I 
      lost control?!

                  ACE
      Yeah.

                  NICKY
      You know, I didn't want to bring 
      this up, but you have treating a lot 
      of people with a lot of disrespect. 
      Even your own wife.

                  ACE
      My wife?

                  NICKY
      Yeah.

                  ACE
      Now, what does she have to do with 
      all this?

                  NICKY
      Well, she comes to see me. She was 
      upset about a lot of things, 
      especially that whole fuckin' Diamond - 
      that Lester Diamond incident.

                  ACE
      All of a sudden, you're the shoulder 
      to cry on? Did you at least tell her 
      about your little role in that whole 
      situation?

                  NICKY
      No, I didn't. What good would that 
      do? That's not the fuckin' point.

                  ACE
      Listen, I would -

                  NICKY
           (Interrupting)
      The point is that she's upset. She's - 
      and you got a fuckin' problem.

                  ACE
      I - I would appreciate it if you'd 
      stay out of my personal life, okay?  
      You wouldn't like it if I did it to 
      you.

                  NICKY
      Hey, she came to talk...

                  ACE
      Please...

                  NICKY
      ...to me.

                  ACE
      ...don't do it to me...

                  NICKY
      She came to talk to me...

                  ACE
      Okay?

                  NICKY
      And I - what was I supposed to do, 
      throw her out?

                  ACE
      Ju-just stay away from her. It's 
      none of your business, okay? There 
      are certain things you don't do, and 
      you know that.

                  NICKY
      It's none of my business?

                  ACE
      That's right, yeah.

                  NICKY
      A week ago it was my business, now 
      it's none of my business. In other 
      words, when you need me to take care 
      of somethin' for you, then you need 
      me.

                  ACE
      Yeah, that's right, the way you need 
      me to vouch for you as a citizen and 
      get you out of one of your jams. I'm 
      gonna have to straighten out what 
      you just did with this guy.

NICKY starts to walk out.

                  ACE
      This guy is gonna run to the FBI.

                  NICKY
      Your fuckin' head is getting' bigger 
      than your casino. That's your problem, 
      pal.

                  ACE (V.O.)
      I knew what he wanted, and I didn't 
      want any part of it.

                  NICKY
           (Walking to the glass 
           doors leaving ACE 
           standing there)
      Fuckin' walking around with a big 
      head. You better check yourself...

                  ACE (V.O.)
      Nicky wanted to take over. He wanted 
      to go after Gaggi, go after the skim, 
      go after everything and everybody.

NICKY shuts the door behind him and walks down the stairs to the golf course.

                  ACE (V.O.)
      Plus, he had stopped askin' permission 
      from back home for every little thing.

EXT. VEGAS STREET - NIGHT

QUICK ZOOM OUT FROM A DEAD BODY WITH A GUNSHOT WOUND IN THE CHEST. COPS AND PRESS ARE MILLING AROUND.

EXT. VEGAS HOUSE - DAY

CAMERA SPIRALS OUT FROM THE BODIES OF A CASINO EXECUTIVE AND HIS WIFE WHO HAVE BEEN GUNNED DOWN ON THEIR FRONT LAWN.

                  ACE (V.O.)
      A casino boss and his wife were 
      killed. The bulls questioned Nicky.

EXT. PARKING LOT - NIGHT

Police photographers taking pictures of a dealer, dead behind the wheel of his car, his eyes and mouth frozen wide open in a silent scream.

                  ACE (V.O.)
      A dealer from the Sirocco... they 
      questioned Nicky.

INT. UNDERGROUND GARAGE - DAY

Two policemen open the trunk of a car and find a trussed-up dead body. They cover their noses because of the stench.

                  ACE (V.O.)
      A bunch of stool pigeons wound in 
      the trunks of their cars... they 
      questioned Nicky.

EXT. LAWYER'S HOUSE - NIGHT

We see a brand-new car explode.

                  ACE (V.O.)
      A lawyer... they questioned Nicky.

EXT. HOUSE DOORWAY - DAY

A front door where a pile of newspapers have accumulated. Another newspaper is thrown at the door.

                  ACE (V.O.)
      And when some guys who didn't pay 
      their Shylocks began disappearing, 
      Nicky's name was in every one of 
      those newspapers.

EXT. STREET OUTSIDE COURT-HOUSE - DAY

NICKY and OSCAR GOODMAN, his lawyer, leave the court-house, surrounded by reporters and photographers. They wait at the curb for the light and NICKY, smiling, politely cautions a photographer to be careful of the on-coming traffic.

                  ACE (V.O.)
      Nicky was questioned in two dozen 
      murders, but they always had to let 
      him go. There were never any 
      witnesses.

                  NICKY (V.O.)
      The coppers blamed me for everything 
      that went wrong out here, and I mean 
      every little fuckin' thing too.

                  NICKY
           (To photographer)
      Watch yourself. You're gonna get 
      runned over there.

                  NICKY (V.O.)
      If a guy fuckin' tripped over a 
      fuckin' banana peel, they'd bring me 
      in for it.

                  NICKY
           (To reporters)
      Come on, huh. That's enough now. Be 
      nice, huh? Be nice.

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

MARINO walks through a doorway to GAGGI's office. CURLY pats him on the back. He shakes BEEPER's hand, then FORLANO's, who is on the phone.

                  NICKY (V.O.)
      And the bosses were no better. I 
      mean, they complained day and night 
      because things don't run smooth. 
      Well, in my line of work, things 
      don't run so smooth, I'm sorry. I 
      mean, I'm dealing with degenerate 
      animals out here. But the bosses, 
      what do they give a fuck? They're 
      sittin' on their asses, drinkin' 
      anisette. Meanwhile, I'm the guy in 
      the trenches. Fuckin' bosses, they 
      think it's a fuckin' free lunch out 
      here.

MARINO hands a brown-paper bag filled with $100 bills to GAGGI.

                  GAGGI
           (Ignoring the money)
      Frankie... they found a guy's head 
      in the desert. Do you know about 
      that?

                  MARINO
      Yeah, I heard, yeah.

                  GAGGI
      Yeah. Everybody's talkin' about it. 
      They're makin' a big deal out of it.

                  MARINO
      I know.

                  GAGGI
      It's in all the papers.

                  MARINO
      What're you gonna do?

                  GAGGI
      And I mean... that's no good.

                  MARINO
      I know.

                  GAGGI
      You gotta tell him... to take care 
      of things a little better.

                  MARINO
      I'll tell him, Remo.

                  NICKY (V.O.)
      Fuckin'...

EXT. VEGAS STRIP BUS STOP BENCH - DAY

NICKY is talking quietly to MARINO. They are surrounded by people waiting for the bus.

                  NICKY (V.O.)
      ...bosses. I mean, they're smokin' 
      their Di Nobilis and they're eatin' 
      a trippa [Italian-American slang for 
      'tripe'.] and fuckin' suffritt', you 
      know, fried pigs guts? While, if I 
      wanna talk private, I gotta go to a 
      fuckin' bus stop.

                  NICKY
           (To MARINO)
      But, hey, what do they care, as long 
      as I keep sendin' money back.

                  MARINO
      Yeah, but they're complaining.

                  NICKY
      Let 'em complain. I'm the one who's 
      here.

The bus arrives, obscuring our view of them.

                  NICKY
      I do all the work. Somebody don't 
      like it, fuck him.

                  MARINO
      It's up to you.

                  NICKY
      They want a fuckin' war, I'm ready.

When the bus departs it reveals NICKY and MARINO alone on the bench, talking.

                  NICKY
      I know one thing. All I gotta do is 
      take care of four or five of those 
      fuckin' guys, the rest will fall 
      right into place. Believe me.

INT. GOLD RUSH - DAY

NICKY is watching a police surveillance car with two agents through binoculars.

                  NICKY (V.O.)
      Peekaboo, you fucks, you.

                  NICKY
      I see you, you motherfuckers.

                  ACE (V.O.)
      The problem was, Nicky was not only 
      bringin' heat on himself, but on me 
      too. The FBI watched every move he 
      made. But he didn't care. He just 
      didn't care.

THE CAMERA MOVES PAST NICKY TO REVEAL MARINO, SEATED IN FRONT OF TV SECURITY MONITORS ON THE PARKING AREA IN FRONT AND BEHIND THE GOLD RUSH.

                  NICKY (V.O.)
      If they're gonna watch me, fuck 'em, 
      I'm gonna watch 'em right back. I 
      spent a few dollars. Top dollar, who 
      gives a shit?

HARDY, seated next to MARINO, is adjusting a knob on one of the may police radio scanners. There are a couple of cameras on the table next to him.

A debugging expert is going over the walls with a metal detector.

                  NICKY (V.O.)
      I got the latest anti-buggin' 
      equipment from the same places that 
      sell to the fuckin' CIA. I had all 
      the special police frequency radios, 
      FBI descramblers, cameras that see 
      in the dark, and because of that, 
      the miserable sons-of-bitches that 
      they are, they never once caught me 
      doin' anything I couldn't handle.

DOMINICK and FUSCO are at a table arguing.

                  ACE (V.O.)
      I got my job...

EXT. GOLF COURSE - DAY

NICKY swings a gold club. MARINO, and two men, are with him.

                  ACE (V.O.)
      ...on the line and this guy's out 
      havin' the time of his life. He has 
      every cop in the state watchin' him, 
      and he's out playin' golf.

                  NICKY
      Practice enough this week, you prick?

                  ACE (V.O.)
      And at the...

EXT. ACE'S PATIO - DAY

ACE is with the Control Board investigators AUSTIN and DUPREY. They are all pouring over legal files and record books out on a table by the swimming pool.

                  ACE (V.O.)
      ...worst possible time for me.

                  AUSTIN
      A record of the arrests...

                  ACE (V.O.)
      I had my license hearing coming up 
      and I didn't wanna leave anything to 
      chance.

                  ACE
      That was nineteen years ago, and 
      they were simple gambling pinches.

                  ACE (V.O.)
      I mean, if I can't work in Vegas, 
      where am I gonna go?

                  AUSTIN
      You've been very open with us. I 
      mean, uh, your books and papers and...  
      that - that's gonna mean something 
      when you go before the Commission.

                  ACE
      Well, that's all I ask, gentlemen, a 
      fair hearing.

                  DUPREY
      Well, this kind of honesty will 
      guarantee that fair hearing.

                  ACE
      Good.

                  AUSTIN
      All right, well, we'll move on to -

Suddenly a sputtering airplane flies right over Ace's house.

                  AUSTIN (O.S.)
           (As he looks at the 
           plane)
      I wanted to hear something about...  
      Kansas City.

EXT. GOLF COURSE - DAY

                  NICKY
           (Looking at the 
           airplane)
      What the fuck is this? Where's this 
      fuckin' guy gonna land, on the 
      fairway?

EXT. ACE'S PATIO - DAY

ACE and the board investigators follow the plane as it lands on the fairway. ACE has taken off his sunglasses to get a better look. Two men in suits get out.

EXT. GOLF COURSE - DAY

                  NICKY
           (To MARINO)
      They're fuckin' agents, Frankie. 
      Look at this.

EXT. ACE'S PATIO - DAY

The AGENTS run across the golf course, past ACE and the investigators, who look on open-mouthed.

                  ACE (V.O.)
      The Feds were watchin' Nicky play 
      golf for so long, they ran out of 
      gas. Just what I needed. Right in 
      front on the Control Board.

The agents run behind the hedges by ACE's pool. AUSTIN and DUPREY stare at ACE as if he had something to do with it.

EXT. GOLF COURSE - DAY

                  NICKY
      A hundred dollars, whoever hits the 
      plane.

NICKY, MARINO, and the other men swing their clubs.

EXT. ACE'S PATIO - DAY

                  ACE (V.O.)
           (putting his sunglasses 
           back on)
      And, as if things weren't bad 
      enough...

EXT. SAN MARINO ITALIAN GROCERY, KANSAS CITY - DAY

                  ACE (V.O.)
      ...in comes Piscano, the Kansas City 
      underboss. He ran that little grocery 
      store in Kansas City where they 
      brought the suitcases.

INT. SAN MARINO GROCERY, KANSAS CITY - DAY

PISCANO and his MOTHER are at the counter of his elderly BROTHER-IN-LAW's store.

                  PISCANO
      They're fightin' over those suitcases 
      again. You know what that means, 
      right? You know what that means, 
      right? That means I gotta take another 
      trip out to Vegas, and it's gonna 
      cost me another couple of grand.

                  ACE (V.O.)
      He ran it with his brother-in-law, 
      but mostly what he did was complain, 
      complain about his trips to Vegas, 
      to his brother-in-law and to his 
      mother, all the time.

                  BROTHER-IN-LAW
           (Seated)
      You gotta lay down the law. Otherwise 
      they're gonna make a fool out of 
      you.

                  PISCANO
      They're not gonna make a fool out of 
      me. I write it all down in this book,
           (holding up a notepad)
      every fuckin' nickel that goes down. 
      Right here, receipts...

                  PISCANO'S MOTHER
           (Chastising her son)
      Hey! Oh!

                  PISCANO
      Oh, sorry -

                  PISCANO'S MOTHER
      What's the matter with you?

                  PISCANO
      Receipts and bills and... everything's 
      here.

                  PISCANO'S MOTHER
      Since when do you talk like that?

                  PISCANO
      I'm sorry.

                  PISCANO'S MOTHER
      There's a lot of people here.

                  PISCANO
      Nance gives me trouble and I'll tell 
      him... screw around with those 
      suitcases and I'll take the eyes out 
      of his frickin' head.

                  PISCANO'S MOTHER
      Again!

                  PISCANO
      I didn't curse. I said 'frickin' 
      head'.

                  PISCANO'S MOTHER
      That's enough.

                  PISCANO
      I'm sorry.

                  ACE (V.O.)
      And what happens next?

THE CAMERA TILTS UP TO THE CEILING AIR VENT TO A TINY MICROPHONE AND TRANSMITTER AT ITS BASE.

                  ACE (V.O.)
      You can't believe it. I mean, who 
      the hell would believe that the FBI 
      had a wire in the place lookin' for 
      some information about some old 
      homicide about some guy who was 
      whacked-out, God knows when, over 
      God knows what?

                  PISCANO
      Plus, what's to prevent him with the 
      suitcases, that he can take what he 
      wants?  Fuckin' Nance, he brings us 
      back two suitcases from the Tangiers, 
      and what about three or four?

INT. POST OFFICE ACROSS THE STREET, KANSAS CITY - DAY

A pen write 'NANCE' on a piece of paper.

INT. SAN MARINO ITALIAN GROCERY, KANSAS CITY - DAY

                  PISCANO
      We got nobody in the room to watch. 
      That's the law. You know, we can't 
      even go into the count room to watch 
      our money? Could you believe this 
      cowboy bullshit?

His MOTHER shakes her head.

                  PISCANO
      And sure he's got his people in there. 
      But how do you know? They could all 
      be in on it together, those miserable 
      fucks.

His MOTHER reacts to his language.

                  PISCANO
      I'll find out and, if it's Green 
      himself, I'll bury that bastard.

INT. POST OFFICE ACROSS THE STREET, KANSAS CITY - DAY

A pen writes the word 'GREEN'.

                  PISCANO
           (Over transmitter)
      I've never trusted him. And you know 
      I got eyes...

INT. SAN MARINO ITALIAN GROCERY, KANSAS CITY - DAY

                  PISCANO
      ...behind my head. They trust that 
      scumbag, I don't. Right now, the way 
      I feel, I'll hit the two of them in 
      the head with a fuckin' shovel.

                  PISCANO'S MOTHER
      All right, take it easy now, take it 
      easy.

                  PISCANO
      Mom, I'm sorry, they're beatin' me 
      left and right.
           (Knocking down some 
           bottles of olive 
           oil.)
      Ma, I'm sorry. I'm all upset.

                  PISCANO'S MOTHER
           (Tapping the counter)
      I know, but that's enough.

                  PISCANO
      You know - You know - You know what 
      they're doin' to me?

                  PISCANO'S MOTHER
      I know it, I know it.

                  PISCANO
      I can't take this no more. Back and 
      forth, back and forth.

                  PISCANO'S MOTHER
      Take it easy, though.

                  PISCANO
      All right, all right. But I - I -

                  PISCANO'S MOTHER
      You'll get a heart attack like that.

                  PISCANO
      You know, I - I'm too upset right 
      now. And - An end has to be put to 
      this.

                  ACE (V.O.)
      And the damn...

CAMERA PANS OFF THE LISTENING DEVICE IN THE VENT TO A WINDOW AND THE POST OFFICE ACROSS THE STREET.

                  ACE (V.O.)
      ...thing is, they go and hear all 
      this stuff about Las Vegas and the
      casinos and the suitcases, and that's 
      it.

                  PISCANO (O.S.)
      If I have to start handlin' things 
      the way I...

INT. POST OFFICE SMALL ROOM, KANSAS CITY - DAY

Behind a window overlooking the grocery store are two FBI agents listening to Piscano's conversation.

                  PISCANO
           (Over transmitter)
      ...did years ago, start kickin' ass, 
      I - I'll do it, and I'll use the 
      goddamn shovel!  I mean, I...

We see an agent looking out of the window with a pair of binoculars.

                  PISCANO'S MOTHER
           (Over transmitter)
      You are right.

The other agent, with headphones, is seated at a desk by a tape recorder, writing.

                  PISCANO
           (Over transmitter)
      ...everything's comin' out of my 
      pocket. I gotta pay for all these 
      trips back and forth, back and forth.

                  PISCANO'S MOTHER
           (Over transmitter)
      You are right. What can I...

INT. WASHINGTON FBI OFFICE - DAY

                  PISCANO'S MOTHER
           (On tape recorder)
      ...tell you.

TITLE IN: 'WASHINGTON, D.C.'

THE CAMERA TILTS DOWN AN AMERICAN FLAG TO REVEAL THE TAPE NOW BEING TRANSCRIBED BY AN FBI STENOGRAPHER

                  ACE (V.O.)
      Would you believe that such a thing 
      could happen?

                  PISCANO
           (On tape recorder)
      I'm in this to make money, not to 
      lose money.  And...

                  ACE (V.O.)
      Every FBI man across the country had 
      their ears open now.

                  PISCANO
           (On tape recorder)
      Because...

The stenographer's pen writes: 'BORELLI' on a piece of paper.

                  PISCANO
           (On tape recorder)
      ...if you want somethin'...

Stenographer writes: 'TANGIERS'.

                  PISCANO
           (On tape recorder)
      ...done right, you gotta do it 
      yourself.

                  PISCANO'S MOTHER
           (On tape recorder)
      Then do it the way you want.

Pen writes: 'VEGAS'.

                  PISCANO'S MOTHER
           (On tape recorder)
      What can I tell you?

                  ACE (V.O.)
      I mean...

Pen writes: 'SANTORO'.

                  ACE (V.O.)
      ...Piscano, this guy basically...

The stenographer's pen taps twice on the word 'SANTORO'.

                  ACE
      ...sunk the whole world.

Pen writes: 'SANTORO'.

FOCUS ON STENOGRAPHER, LISTENING.

                  PISCANO'S MOTHER
           (On tape recorder)
      That's the way people are. There are 
      some that are good and some that are 
      bad.

INT. GAMING CONTROL BOARD HEARING ROOM, LAS VEGAS 1980 - DAY

ACE is in the court with OSCAR GOODMAN, his lawyer, facing the Control Board's Chairman and six COMMISSIONER MEMBERS.
The Chairman is the SENATOR we saw earlier in the casino suite taking chips out of the bureau drawer. The room is jam- packed: GREEN, GINGER, SHERBERT, as well as WEBB, reporters and other spectators. ACE's secretaries carry in legal papers. There are piles of briefs and law books on OSCAR's and ACE's table.

                  OSCAR
      Mr Chairman and members of the 
      Commission. Mr Rothstein is pleased 
      to be here today.

                  ACE (V.O.)
      And when the day finally came, I was 
      ready. I felt so confident that all 
      I had to do was present my case.

                  OSCAR
      ...evidence... and we have documents, 
      one of which is a report by retired 
      FBI agents, which completely absolves
           (holding up a large 
           file folder)
      Mr Rothstein from any wrongdoing. 
      I'd like this marked, please, Mr 
      Chairman.

                  SENATOR
           (Into microphone)
      Pardon me, counselor. Before you 
      continue...

                  OSCAR
      No, I want to have this marked, Mr. -

                  SENATOR
           (Into microphone)
      ...this, uh, this Commission is 
      prepared to act on a motion denying 
      the Rothstein application.

                  OSCAR
      Denying?

                  SENATOR
           (Into microphone)
      Do I hear a motion seconded?

                  OSCAR
      Mr. Chairman -

                  CONTROL BOARD MEMBER #1
           (Into microphone)
      Mr. Chairman, I second the motion.

                  SENATOR
           (Into microphone)
      Do I have a vote on the motion?

                  OSCAR
      Mr. Chairman -

The COMMISSIONERS quickly repeat:

                  CONTROL BOARD MEMBER #2
           (Into microphone)
      Aye.

                  CONTROL BOARD MEMBER #3
           (Into microphone)
      Aye.

                  CONTROL BOARD MEMBER #4
           (Into microphone)
      Aye.

                  SENATOR
           (Into microphone)
      The ayes have it. This hearing is 
      adjourned.

The CHAIRMAN bangs his gavel and prepares to leave. The COMMISSIONERS hurriedly pack up their papers. An enraged ACE rises and approaches the SENATOR. TV CAMERAS ROLL.

                  ACE
           (Getting up)
      You guys have to be kidding.

The SENATOR picks up his briefcase.

                  ACE
      Adjourned! What do you mean, 
      adjourned?

                  OSCAR
      Mr. Chairman, please.

                  ACE
      Mr. Chairman...

The SENATOR picks up his folder.

                  ACE
      Senator, you promised me a hearing.

We see WEBB seated in the first row, watching.

                  ACE
      You won't allow me a hearing? You 
      didn't even look at the FBI reports.

A reporter holds a microphone up to the SENATOR.

                  ACE
      When you were my guest, Mr. Chairman, 
      Senator, at the Tangiers Hotel, did 
      you not promise me that I would have 
      a fair hearing -

The SENATOR bends down to a microphone.

                  SENATOR
           (Interrupting, into 
           microphone)
      I was never - I was never your guest 
      at the Tangiers.

                  ACE
      You were never my guest?!

                  SENATOR
           (Into microphone)
      That's right.

                  ACE
      I never comped you?! I don't comp 
      you at least two or three times a 
      month at the Tangiers?!

                  SENATOR
           (Into microphone)
      Uh, I - I'd... I'd like to answer - 
      answer that at this time.

                  ACE
      Liar.

                  SENATOR
           (Into microphone)
      Mr Rothstein is being very typical 
      to this point.

                  ACE
      He's lying.

WEBB starts to leave.

                  SENATOR
      The only time I was at the Tangiers 
      was when I had dinner with Barney 
      Greenstein.

                  ACE
      Was I at that dinner? Just tell me -

                  SENATOR
      You were wandering around.

                  ACE
      Was I at that dinner?

                  SENATOR
      You were wandering around.

                  ACE
      Was I at that dinner?

                  SENATOR
      You were wandering around.

                  ACE
      Was I at that dinner?

                  SENATOR
      You were in the m- You were in the 
      building.

                  ACE
      I was in the building!

GREEN, embarrassed by ACE's behaviour, starts to get up.

                  ACE
      You know damn well I was at that 
      dinner, and you swore to me that I 
      would have a fair hearing at that 
      dinner! Did you not?! Did you not?!
           (Pause, ACE looks at 
           OSCAR.)
      Well, tell me I was at least at the 
      dinner! A-allow me that much.
           (Pause.)
      Give me that much at least!

                  SENATOR
           (Hesitates)
      Yes, you were.

The SENATOR starts to walk out.

                  ACE
      Yeah, thanks for not callin' me a 
      liar. You son-of-a-bitch. You son-of-
      a

                  FEMALE NEWSCASTER (V.O.)
      Good evening, everyone, I'm Paige 
      Novodor.
           (On television.)
      What should have been a routine 
      licensing hearing turned into bedlam 
      yesterday when the flamboyant Tangiers 
      Casino executive, Sam

ACE spots COMMISSIONER CARTER slipping out the door.

                  FEMALE NEWSCASTER
           (Overlapping)
      ...'Ace' Rothstein, accused the 
      state's top gaming officials of 
      corruption.

                  ACE
           (Overlapping)
      What are you running for, Bob? What 
      are you running for?

                  FEMALE NEWSCASTER (V.O.)
           (Overlapping)
      ...and hypocrisy.

                  ACE
           (Into two reporters' 
           microphones)
      Don't you remember? You promised me 
      a fair hearing when you were gettin' 
      comped at my hotel and you were asking 
      me for copies of your bills so -

SHERBERT and GINGER look on.

                  ACE
      - you could put 'em on your expense 
      account?

                  FEMALE NEWSCASTER (V.O.)
      In a
           (on television)
      Wild and unprecedented outburst that 
      followed his gaming license
           (voice-over, 
           overlapping)
      denial, Rothstein followed several...

                  ACE
           (With several 
           reporters, overlapping)
      Bullshit! Bullshit!

INT. CONTROL BOARD LOBBY - DAY

Putting on his sunglasses, ACE emerges from the courtroom with SHERBERT, GINGER, OSCAR and several reporters. He is surrounded by the press.

                  FEMALE NEWSCASTER (V.O.)
      ...stunned commissioners into the 
      hallway, where he continued his 
      harangue until his own lawyers and 
      friends urged him to leave.

                  ACE
           (To COMMISSIONERS 
           standing in the 
           hallway, speaking 
           into a TV news 
           microphone)
      We all have a past. You have a past, 
      I have a past. And my past is no 
      worse than yours. But you guys think 
      you have the right to pass judgement 
      on me.

                  FEMALE NEWSCASTER (V.O.)
           (Overlapping)
      Long suspected of running the Tangiers 
      without...

                  ACE
           (Overlapping)
      ...twenty years in order to find 
      nothin' on me -

OSCAR pulls him away, ACE looks back at the COMMISSIONERS.

                  ACE
      - unsubstantiated truths on me. And 
      if you look at your own lives you'd 
      all be in jail.

OSCAR ushers ACE out, past WEBB and Gaming Investigator AUSTIN.

                  FEMALE NEWSCASTER (V.O.)
           (Overlapping)
      ...a gaming license, yesterday's 
      hearing was to determine whether 
      someone with Rothstein's checkered 
      personal history was qualified to 
      officially hold the top gaming post.

INT./EXT. GAGGI'S CAR, BACK HOME ALLEY - DAY

GAGGI hands STONE an issue of the Las Vegas Sun showing a photograph of ACE at the licensing hearing. Headline reads: 'Rothstein out of gaming: Control Board Rules against Rothstein License Application'.

                  ACE (V.O.)
           (from previous scene 
           continued)
      Fuckin' hypocrites!

STONE stands beside GAGGI's car door. GAGGI is in the back seat with his window down.

                  GAGGI
      What the hell's he gonna do now?

                  STONE
      I don't know
           (Sighs.)

                  GAGGI
      What's he doin'? He knows all those 
      guys he yelled at are friends of 
      ours. What's the matter with him, 
      making all this mess?

                  STONE
      Maybe he could run things with another 
      job title. Wouldn't be the best, 
      but, uh, what are we gonna do?

                  GAGGI
      However he runs things, it's gotta 
      be quiet. Let him hide upstairs in 
      the office. Say he's the janitor, I 
      don't give a shit. But, please, 
      whatever job he takes, make sure 
      it's something quiet.

STONE walks back to his car. Both cars pull out in opposite directions.

INT. TANGIERS SPORTSBOOK/ACES HIGH! THE SAM ROTHSTEIN SHOW - NIGHT

A video monitor shows a title card, reading: 'From the Tangiers Hotel'. TRUDY, Ace's showgirl sidekick, is heard over the opening credit sequence of the show.

                  TRUDY (O.S.)
      Ladies and gentlemen, the Tangiers 
      Hotel proudly presents the all-new 
      Sam Rothstein Show, Aces High.

TITLE CARD: 'ACES HIGH'

The monitor shows a neon sign reading, 'Welcome to Fabulous Las Vegas, Nevada', then shows several gamblers at a craps table.

                  TRUDY (O.S.)
      Tonight, taped live from the all-new 
      sportsbook, we present the premiere 
      showing of Aces High. With the...

The video monitor shows a neon sign: 'Stardust', then another: 'Tangiers'.

WE SEE TRUDY ON A STAGE.

                  TRUDY
           (Into microphone)
      ...Sasha Semenoff Orchestra...

THE CAMERA PANS TO SASHA SEMENOFF CONDUCTING HIS BAND.

                  TRUDY
      ...and the Sam Rothstein Dancers.

THE CAMERA PANS TO A GROUP OF DANCERS ON THE OTHER SIDE OF THE STAGE.

We see ACE greeting various guests in the audience as he moves towards the stage.

                  TRUDY
      Mr Rothstein is a professional gambler 
      and the best football handicapper...

A video monitor shows a montage featuring showgirls, a chef carving beef and three women wearing bathing suits.

                  TRUDY
      ...in American, a man who will take 
      you inside the real Las Vegas as no 
      one has ever done before. And now, 
      ladies and gentlemen, the new...

ACE joins TRUDY on the stage.

                  TRUDY
      ...Entertainment Director of the 
      Tangiers Hotel Casino: Mr Sam 
      Rothstein.

ACE approaches his desk as TRUDY sits on a long sofa. The audience applauds.

The band plays and the dancers complete their number.

                  ACE
           (Seated at a desk a 
           la Johnny Carson)
      Welcome to the Sam Rothstein Show.
      We're very happy to have you here 
      this evening. The young lady to my 
      left is Trudy, who is a lead new 
      dancer in our fabulous show from 
      Paris.

Audience applauds, she waves hello.

                  ACE
      Our first guest this evening... is 
      Frankie Avalon.

FRANKIE AVALON walks to the stage, embracing TRUDY and shaking ACE's hand.

Audience applauds.

WEBB stands in the rear of the sportsbook/theater with AUSTIN and DUPREY, watching ACE.

                  WEBB
      Keep an eye on him.

He exits.

                  FRANKIE AVALON (O.S.)
      ...Well, I've got a large family.

                  ACE
           (Into microphone)
      How many kids do you have?

                  FRANKIE AVALON
           (Into microphone)
      Uh, I'm very proud to say that we 
      have eight children.

                  ACE
           (Into microphone)
      Eight children!
           (He encourages the 
           audience to applaud.)

                  FRANKIE AVALON
           (Into microphone)
      No, no, no, no, please, please, 
      please, please, no, please.

                  ACE
           (Into microphone, to 
           audience)
      That's amazing.

                  FRANKIE AVALON
           (Into microphone)
      There was nothing to it.
           (Chuckles)
      It was my pleasure.

INT. TANGIERS, GREEN'S OFFICE - NIGHT

GREEN and ARTHUR CAPP are solemnly watching another episode of Ace's TV show with an elderly juggler guest.

                  GREEN
      Ace, don't do it.

ACE begins to juggle.

                  GREEN
      Oh, no, no. No, no. Oh, Jesus... 
      he's juggling!

The audience cheers him on.

                  ACE (O.S.)
           (From next scene)
      Let's not take County Commissioner 
      Pat Webb too seriously.

INT. TANGIERS SPORTSBOOK/ACES HIGH - NIGHT

WE MOVE PAST TWO TELEVISION CAMERAS TO ACE BEHIND HIS DESK AT ANOTHER TAPING OF HIS SHOW. TRUDY IS AT HIS SIDE.

                  ACE
           (Into microphone)
      I recently challenged him to a debate 
      on this program and he declined. 
      What are you worried about, Pat?  
      You don't have to send me any 
      questions. You can ask me anything 
      you want.

                  STONE (O.S.)
           (From next scene)
      What the hell is he doin' on 
      television, anyway?

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

Vegas Sun newspaper front page photo of ACE on television. Headline reads: 'Rothstein Sues Gaming Commission'.

STONE is sitting across from GAGGI at his office.

                  STONE
      He's on all night, screamin' about 
      how he's gonna take his damn lawsuit 
      all the way to the Supreme Court. He 
      really must be crazy. He's gonna go 
      to Washington with this? 
           (Chuckles.)
      He's out of his fuckin' mind.

                  ACE (O.S.)
           (From next scene)
      It's a pity in this...

INT. TANGIERS SPORTSBOOK/ACES HIGH - NIGHT

                  ACE
           (Into microphone)
      ...state that we have such hypocrisy. 
      Some people can do whatever they 
      want. Other people have to pay through 
      the nose.

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

                  ACE (O.S.)
           (From previous scene)
      But such is life. 

                  GAGGI
      Andy, go see him. Tell him maybe 
      it's time he should quit.

EXT. MIGHTY MART CONVENIENCE STORE, REAR PARKING LOT, LAS VEGAS - NIGHT

SHERBERT and ACE pull up beside another parked car. ACE gets out of his car in a robe and pajamas and gets into STONE's car.

INT. STONE'S CAR - NIGHT

                  ACE
      First of all, what they did was 
      totally unconstitutional. We're 
      already on the list to be heard before 
      the Supreme Court of the United States 
      later this year.

                  STONE
      These guys back home don't give a 
      fuck about the Supreme Court and any 
      of this bullshit! They want things 
      to quiet down. They want you to walk 
      away from -

                  ACE
      Walk away? Andy, you can't be serious. 
      How can I walk away? Don't you see 
      what's goin' on here? Don't you see 
      what's at stake?

                  STONE
      The old man said, 'Maybe your friend 
      should give in.'  And when the old 
      man says 'maybe', that's like a papal 
      bull. Not only should you quit, you 
      should run!

                  ACE
      Know what my problem is? Every time 
      they mention my name in the papers, 
      these cocksuckers, they mention Nicky, 
      too. How the fuck does that help?  I 
      mean, the heat he brought down is 
      murder!  We had a police department 
      who was cooperative. He's pissed 
      them off so much now that nobody can 
      make a move anymore. I mean, what do 
      you do about that?

                  STONE
      What do you propose?

                  ACE
      I don't know, he doesn't listen to 
      me. Maybe he should...  get lost for 
      a while. Take a vacation. Would that 
      be so bad?

                  STONE
      They ain't sendin' Nicky nowhere.

                  ACE
      All right, look, if he took a break, 
      it would just give everybody some 
      time to maneuver. That's all I'm 
      saying. It's all that I'm saying.

                  STONE
      I would forget about the maneuver. I 
      would just get out.

                  ACE
           (Sighs)
      I can't do that.

                  ACE (V.O.)
      Of course...

INT. NICKY'S HOUSE, KITCHEN - DAY

JENNIFER is on the phone with GINGER; NICKY listens in.

                  JENNIFER
           (Into telephone)
      You know, I don't feel like playin' 
      tennis.

                  ACE (V.O.)
      ...as soon as Andy got back home, 
      Nicky heard about our talk in the 
      car.

                  JENNIFER
           (Into telephone)
      Let's go to lunch. Do you want to go 
      to the Riviera?

                  ACE (V.O.)
      Next morning bright and early, I get 
      the call.

                  GINGER
           (Over telephone)
      One o'clock?

INT. ACE'S HOUSE, LIVING-ROOM - DAY

ACE listens in on GINGER's and JENNIFER's conversation.

                  JENNIFER
           (Over telephone)
      Great.

                  GINGER
           (Into telephone)
      You know, I've got to do some shopping 
      afterwards. Do you want to go?

INT. NICKY'S HOUSE, KITCHEN - DAY

                  JENNIFER
           (Into telephone)
      Well, you know...

                  ACE (V.O.)
      But just getting a call from Nicky 
      wasn't easy anymore. Even the codes 
      didn't work. So, we figured out 
      another act.

INT. FBI PHONE TAP ROOM - DAY

A bored FBI man, seated at his desk with a tape recorder and headphones, looks at his wrist watch.

                  ACE (V.O.)
      You see, if a phone's tapped, the 
      Feds can only listen in...

INT. ACE'S HOUSE, LIVING ROOM - DAY

                  ACE (V.O.)
      ...on the stuff involving crimes. So 
      on...

INT. NICKY'S HOUSE, KITCHEN - DAY

                  ACE (V.O.)
      ...routine calls, they have to click 
      off after a few minutes.

INT. FBI PHONE TAP ROOM - DAY

                  GINGER
           (Over telephone)
      Yeah, and I get a sprained fuckin' 
      elbow.

The FBI man clicks off the tape recorder.

INT. NICKY'S HOUSE, KITCHEN - DAY

JENNIFER quickly hands the phone to her husband.

INT. ACE'S HOUSE, LIVING-ROOM - DAY

GINGER hands the phone to ACE.

                  ACE
           (Into telephone)
      Yeah.

INT. NICKY'S HOUSE, KITCHEN - DAY

                  NICKY
           (Into telephone)
      Meet me at three.

INT. ACE'S HOUSE, LIVING ROOM - DAY

                  ACE
           (Into telephone)
      What - what, Caesar's?

                  NICKY
           (Over telephone)
      No, a...

INT. NICKY'S HOUSE, KITCHEN - DAY

                  NICKY
           (Into telephone)
      ...hundred yards further down the 
      road.

INT. ACE'S HOUSE, LIVING-ROOM - DAY

                  ACE
           (Into telephone)
      Why?

INT. NICKY'S HOUSE, KITCHEN - DAY

                  NICKY
           (Into telephone)
      Don't ask questions. Just be there.

NICKY gives the phone back to JENNIFER.

INT. ACE'S HOUSE, LIVING-ROOM - DAY

ACE gives the phone to GINGER.

INT. NICKY'S HOUSE, KITCHEN

                  NICKY
           (To himself)
      Always asking questions.

He exits.

                  JENNIFER
           (Into telephone)
      Suzy Creamcheese has the exact...

INT. FBI PHONE TAP ROOM - DAY

The bored FBI agent clicks on again and hears GINGER and JENNIFER's inane conversation.

                  JENNIFER
           (Over telephone)
      ...same outfit.

                  GINGER
           (Chuckles, over 
           telephone)
      But I saw something...

INT. ACE'S HOUSE, LIVING-ROOM - DAY

                  GINGER
           (Into telephone)
      ...something very... cute.

ACE sits down on the couch behind her and lights a cigarette.

INT. FBI STAKEOUT POST, MOTEL ACROSS THE FROM THE GOLD RUSH - DAY

Through a windows of a motel room across the street from The Gold Rush, an FBI AGENT watches NICKY and MARINO exit the jewelry store, get into a parked car and rive away.

IRIS OUT.

                  FBI AGENT (O.S.)
           (Into a radio)
      Okay, he, uh, he's out. It's the 
      ant, uh, Brown unit. And he's with, 
      uh, bogie. I think it's Frankie.

                  ACE (V.O.)
      Nicky started out before me because 
      it wasn't that easy...

SWISH PAN TO THE FBI AGENT LOOKING OUT THE WINDOW TALKING INTO A RADIO.

                  ACE (V.O.)
      ...for him to get around anymore.

                  FBI AGENT
           (Into radio)
      Okay, pulled out...

SWISH PAN TO NICKY AND MARINO DRIVING DOWN THE STREET.

                  FBI AGENT (O.S.)
           (Into radio)
      ...pretty fast. He's headed upstream.

                  ACE (V.O.)
      Nicky couldn't even go for a ride 
      without changing...

SWISH PAN TO FBI CAR TRAILING BEHIND.

                  ACE (V.O.)
      ...cars at least six times before he 
      could shake all his tails.

INT. UNDERGROUND PARKING GARAGE #1 - DAY

NICKY's car with MARINO driving pulls in; NICKY jumps out and gets in another car.

                  ACE (V.O.)
      And because of all the planes, he 
      had to use underground garages.

MARINO drives off.

INT. UNDERGROUND PARKING GARAGE #2 - DAY

NICKY's second car screeches in to another garage.

INT. UNDERGROUND PARKING GARAGE #3 - DAY

NICKY hurries across the lot to another car.

INT. UNDERGROUND PARKING GARAGE #4 - DAY

NICKY changes cars again.

INT. UNDERGROUND PARKING GARAGE #5 - DAY

NICKY is running to yet another car. He drives off.

EXT. DESERT SCENE - DAY

A solitary ACE waiting in the vast desert, looking around. ACE looks at a sage brush and sand and a few rocks on the desert floor. This could be a hole meant for him. He steps away from it.

                  ACE (V.O.)
      Meeting in the middle of the desert 
      always made me nervous.

It's a scary place. I knew about the holes in the desert, of course, and everywhere I looked, there could have been a hole.

EXT. DESERT ROAD - DAY

Aerial shot of NICKY driving.

                  ACE (V.O.)
      Normally, my prospects of comin' 
      back alive from a meeting with Nicky 
      were ninety-nine out of a hundred.  
      But this time, when I heard him say, 
      'A couple a hundred yards down the 
      road', I gave myself fifty-fifty.

EXT. DESERT - DAY

ACE still standing in the desert. NICKY's car suddenly appears as a reflection in ACE's sunglasses, shaking ACE out of his desert-induced reverie. NICKY's car pulls up by ACE. He gets out and storms up to him.

                  NICKY
      Where the fuck you get off talkin' 
      to people about me behind my back?  
      Goin' over my head?

                  ACE
      What people?

                  NICKY
      What people! What'd you think, I 
      wasn't gonna find out?

                  ACE
      I don't even know what you're talkin' 
      about, Nick.

                  NICKY
      No? You said I'm bringin' heat on 
      you?! I gotta listen to people because 
      of your fuckin' shit?! You're ordering 
      me out?! You better get your own 
      fuckin' army, pal!

                  ACE
      I didn't do anything. I mean, I didn't 
      order you or anybody...  I only told 
      Andy Stone that you had a lot of 
      heat on you, and that was a problem.

                  NICKY
      You want me to get out of my own 
      fuckin' town?!

                  ACE
      Yeah, I said I - let the bullshit 
      blow over for a while so I can run 
      the casino. Anything goes wrong with 
      the casino, it's my ass. It's not 
      yours, it's my ass.

                  NICKY
      Oh, I don't know whether you know 
      this or not, but you only have your 
      fuckin' casino because I made that 
      possible!

                  ACE
      I -

                  NICKY
           (Interrupting)
      I'm what counts out here! Not your 
      fuckin' country clubs or your fuckin' 
      TV shows! And what the fuck are you 
      doin' on TV anyhow?!

                  ACE
      What are you -

                  NICKY
           (Interrupting)
      You know I get calls from back home 
      every fuckin' day?!  They think you 
      went batshit!

                  ACE
      I'm only on TV because I gotta be 
      able to hang around the casino. You 
      understand that. You know that. Come 
      on.

                  NICKY
      Your fuckin' ass! You could have had 
      the food and beverage job without 
      goin' on television!  You wanted to 
      go on TV.

                  ACE
      Yeah, I did want to go on TV. That 
      way I have a forum. I can fight back.  
      I'm known. People see me. They know 
      they can't fuck around with me like 
      they could if I was an unknown. That's 
      right.

                  NICKY
      You're makin' a big fuckin' spectacle 
      of yourself.

                  ACE
      Me?! I wouldn't even be in this 
      situation if it wasn't for you. You 
      brought down so much fuckin' heat on 
      me. I mean, every time I meet somebody 
      here, the big question is do I know 
      you.

                  NICKY
      Oh, sure. Now you want to blame your 
      fuckin' license on me, is that it?

                  ACE
      No, it - it - Nicky, when you asked 
      me if you could come out here, what 
      did I tell you? I mean, you asked 
      me, and I knew you were going to 
      come out no matter what I said, but 
      what did I tell you? Do you remember 
      what I told...

                  NICKY
           (Interrupting)
      Back -

                  ACE
      ...you? Do you remember what I told 
      you?

                  NICKY
      Back - Back up, back up a fuckin' 
      minute here. One minute. I asked 
      you?! When the fuck did I ever ask 
      you if I could come out here?! Get 
      this through your head, you -

                  ACE
           (Interrupting)
      You never - ?

                  NICKY
      Get this through your head, you Jew 
      motherfucker, you. You only exist 
      out here because of me!  That's the 
      only reason!  Without me, you, 
      personally, every fuckin' wiseguy 
      skell [Skell: the lowest form of 
      wiseguy - a drunken bum] around'll 
      take a piece of your fuckin' Jew 
      ass! Then where you gonna go?!  You're 
      fuckin' warned! Don't ever go over 
      my fuckin' head again! You 
      motherfucker, you!

NICKY drives off, leaving an angry and frustrated ACE to ponder the desert and the holes.

INT. JUBILATION NIGHTCLUB - NIGHT

Overhead of ACE, OSCAR, SHERBERT, TRUDY and showgirls walking down the zebra pattern carpet of the nightclub. They are escorted to their table.

NICKY, MARINO and DOMINICK are seated at another table in the rear of the club so no one can hear their conversation.

                  MARINO
      Well, we got company.

ACE avoids looking at NICKY.

                  NICKY
      Do you see that? Dumb Jew 
      motherfucker. Grew up together and 
      he's actin' like he don't even know 
      me. I know we're supposed to avoid 
      each other, but, you know, there's 
      ways to do things and there's ways 
      not to.

                  DOMINICK
      Yeah. Fuck him.

SHERBERT and the others make a toast.

                  SHERBERT
      To Abraham Lincoln.

                  ACE
      L'chaim. [Yiddish for 'to life']

                  SHERBERT
      Here we go. Good luck.

NICKY watches ACE's entourage.

                  DOMINICK
      Forget about it, Nick. Don't let it 
      bother you.

                  NICKY
      Why, does it look like it's bothering 
      me? What do I give a fuck?  Fuckin' 
      Oscar too. All the fuckin' money 
      I've given that prick, he don't even 
      look over here. What's his problem?

                  MARINO
      Mm.

                  NICKY
      Fuckin' Jews stick together, don't 
      they?

                  MARINO
      They're havin' a good time too.

                  NICKY
      So are we.

NICKY, MARINO and DOMINICK are isolated and alone at their table.

INT. ACE'S BEDROOM - NIGHT

ACE sleeping. A hot line to the casino rings as a red light blinks.

                  ACE
           (Into telephone)
      Yeah?

INT. TANGIERS CASINO SPORTSBOOK - NIGHT

SHERBERT is calling ACE.

                  SHERBERT
           (Quietly into telephone)
      Sam, we got a problem.

INT. ACE'S BEDROOM - NIGHT

                  ACE
           (Into telephone)
      What is it?

                  SHERBERT
           (Over telephone)
      The little guy. He's half in the 
      bag, and nobody told him he was eighty-
      sixed from the joint, so we...

INT. TANGIERS CASINO SPORTSBOOK - NIGHT

                  SHERBERT
           (Into telephone)
      ...all turned our heads and made out 
      like we didn't know who he was. He's 
      over at the twenty-one table with 
      his...

INT. TANGIERS BLACKJACK TABLE - NIGHT

NICKY is betting every spot on the blackjack table. MARINO is standing behind him. The DEALER is nervous.

                  SHERBERT
      ...nose wide open. He took the money 
      out of his own kick. His nose is 
      open for about ten thousand.

SHERBERT and the pit boss look on.

                  SHERBERT (O.S.)
      Now, he's really pissed.

INT. ACE'S BEDROOM - NIGHT

                  ACE
           (Into telephone)
      Oh, no.

Sits up and throws off the bed covers.

INT. TANGIERS SPORTSBOOK - NIGHT

                  SHERBERT
           (Into telephone)
      He wants a fifty-thousand marker.

INT. ACE'S BEDROOM - NIGHT

                  ACE
           (Into telephone)
      No, just - just give him, give him 
      ten. That's it. Ten.  I'll be right 
      down.

INT. TANGIERS BLACKJACK TABLE - NIGHT

                  SHERBERT
           (To NICKY)
      He's gonna come up with ten thousand, 
      just the way you wanted.

                  NICKY
      Ten thou? No, no, no.

                  SHERBERT
      ...give you ten thousand -

                  NICKY
           (Grabbing SHERBERT's 
           lapel)
      Fifty! I said fifty!

                  SHERBERT
      Look, take -

                  NICKY
           (Pushing him away and 
           walking back to the 
           blackjack table)
      Fuckin' fifty thousand!  Go get it. 
      I don't give a fuck where you get 
      it.
           (To FEMALE DEALER.)
      Fuckers!  They take it, but they 
      don't want to give it back.

NICKY turns up another bad card and looks at the dealer. She smiles as she slides the house winnings over to her side of the table.

                  NICKY
      How the fuck can you grin? How the 
      fuck could you grin?

The FEMALE DEALER looks to her PIT BOSS for help. He steps up to a MALE DEALER at a neighboring table.

                  NICKY
      You know how much I'm stuck? You 
      give a fuck?

The MALE DEALER walks up to the FEMALE DEALER and taps her on the shoulder.

                  NICKY
      Do ya?!

She lays down some cards, claps her hands to show the Eye-in- the-Sky that they are empty, and exits.

                  NICKY
           (To departing FEMALE 
           DEALER)
      Yeah. Give yourself a hand right 
      across your fuckin' mouth.

The MALE DEALER takes her place behind the table.

                  NICKY
      Look at this fuckin' beaut they put 
      in now. Sherbert send you in here to 
      rob me now? Been fuckin' knockin' 
      everybody's dick in all night? Huh?  
      You been beatin' all the customers 
      tonight, motherfucker?

We see the PIT BOSS lock up the chip tray from the table the dealer has just left. NICKY has a diminished stack of chips and an upturned ten and a two.

                  NICKY
      Huh, jag-off? Hit me.

The card is a king or a 'paint', a picture card, meaning that NICKY has lost.

Everyone freezes in fear. NICKY takes the paint and flicks it at the DEALER's chest where it sticks to his shirt.)

                  NICKY
      Take this stiff and pound it up your 
      fuckin' ass! Hit me again.

The DEALER looks to the PIT BOSS who nods 'okay'. He turns over a card. It's another paint, a queen. NICKY flicks the card to the DEALER's face.

                  NICKY
      Take this one and stick it up your 
      sister's ass! Hit me again.

The DEALER looks to the PIT BOSS again.

                  NICKY
      That's it, keep lookin' at him, you 
      fuckin' dummy. If you had any fuckin' 
      heart at all, you'd be out fuckin' 
      stealin' for a livin'.
           (Tossing the card at 
           the DEALER.)
      Hit me again.

The DEALER looks at the PIT BOSS.

                  NICKY
      What the fuck you keep lookin' at 
      him for, huh, you fuckin' pu-

The DEALER deals him another paint.

                  NICKY
      Look at this, twenty fuckin' paints 
      in a row. Hit me again!

ACE enters the casino with SHERBERT.

                  MARINO
           (To NICKY)
      He's here.

                  NICKY
           (To the DEALER)
      You should pay as fast as you collect, 
      you know.

NICKY gets up to go over to ACE, glowering at SHERBERT as he walks past.

ACE and NICKY are partially hidden behind a pillar by the slot-machines.

                  ACE
      What are you doin'? You gotta get 
      out of here!

                  NICKY
      Hey, Sammy, tell this Jew motherfucker 
      over here to pay that marker.

                  ACE
      Nicky, Nicky, you're not listenin' 
      to me. I'm here to help you. What's 
      the matter with you?  You're gonna 
      bury us both.

                  NICKY
      Just give me the money. Fuckin' give 
      me the fuckin' money, Sammy.

                  ACE
      I'm gonna okay you ten and get you 
      even, and that's it. Then you got to 
      get out of here before the cops and 
      the newspapers are all over you.

To the PIT BOSS, holding up ten fingers.

                  ACE
      Ten and that's it.

He makes a throat cutting gesture with his hand. ACE leaves. NICKY turns to walk back to the table. He sees SHERBERT standing right behind him.

                  NICKY
      What are you starin' at, you bald-
      headed Jew prick?!

Before SHERBERT can answer, NICKY grabs the receiver off a wall phone and hits him across the face and back. SHERBERT falls to the floor. NICKY pulls the cradle off the pillar and tosses it down on his back. He and MARINO walk back to the table, SHERBERT winces on the floor in shock.

                  NICKY
      Sue me, you Jew fuck!

                  MARINO
      Let's get out of here.

                  NICKY
      What? Get out of here? I got a marker 
      comin'.

He puts some chips down on the table.

                  NICKY
           (To DEALER)
      Deal.

INT. OSCAR, THE LAWYER'S OFFICE - DAY

ACE and GINGER are seated across from OSCAR, their lawyer.

                  OSCAR
      I know, but everything's changed 
      now. You're talking about a divorce.  
      You're even asking for alimony 
      payments and... child support... and 
      now custody.

                  GINGER
      I just want what any divorced woman 
      would get.

                  ACE
      I mean she's only sober about two 
      hours a day. It's usually from eleven 
      in the morning until one in the 
      afternoon. And if I gave her her 
      money and her jewels now, you know 
      what she's gonna do? She's gonna 
      piss it all away in about a year, 
      and then where will she be?
           (To GINGER.)
      Where would you be then? Comin' right 
      back to me, right back to me.
           (To OSCAR.)
      Or finding some other excuse to come 
      and I - I -

                  GINGER
           (To ACE)
      We had a deal. Remember that?
           (To OSCAR.)
      He said if it didn't work out between 
      us, that I could get my things and I 
      could leave.

                  ACE
           (To GINGER, leaning 
           closer to her)
      Look in my eyes. Look in my eyes.

GINGER turns to him.

                  ACE
      You know me. Do you see anything in 
      these eyes that makes you think I 
      would ever let someone in your 
      condition take my child away from 
      me?
           (Pause.)
      Do you?  You know that won't happen.

                  ACE (V.O.)
      And after all this time... and as 
      hard as I tried, as much as I 
      wanted...

INT. ACES HIGH BACKSTAGE CORRIDOR/SHOWGIRLS' DRESSING-ROOM - DAY

ACE, with Kleenex sticking out of his collar to protect his shirt from his television make-up, walks back to the dressing room with TRUDY. She pecks his cheek before exiting to her own room. A security guard opens the door for ACE.

We follow him past numerous showgirls and costumes.

                  ACE (V.O.)
      ...I could never reach her. I could 
      never make her love me. I always 
      felt she should have gone for all 
      that money... being somebody for the 
      first time in her life, a home and a 
      kid. But that's not what happened. 
      It just didn't work out that way.

                  ACE
           (To the showgirls)
      Everything all right?

                  ACE
      I mean, what could we do? After a 
      while, we'd just take breathers from 
      each other. You know, little 
      separations. At that time, I remember 
      Ginger took Amy and went to Beverly 
      Hills. She was gonna spend a week or 
      so shopping.

ACE picks up the phone at a make-up table.

                  OPERATOR
           (Over telephone)
      Yes, Mr Rothstein.

                  ACE
           (Into telephone)
      Operator, the Beverly Hotel in Beverly 
      Hills, please.

EXT. LOS ANGELES. BEVERLY HOTEL - DAY

GINGER, sporting a new short hairstyle, and AMY exit and walk towards camera.

                  HOTEL OPERATOR (O.S.)
      Hello, Beverly Hotel.

                  ACE (O.S.)
      Mrs. Sam Rothstein, please.

                  HOTEL OPERATOR (O.S.)
      I'm sorry.  Mr. and Mrs. Rothstein 
      have checked out already.

TRACK BACK, AS GINGER SMILES, TO REVEAL LESTER DIAMOND.

                  LESTER
      Hey.

GINGER kisses LESTER.

INT. SHOWGIRLS' DRESSING-ROOM - DAY

                  ACE
           (Into telephone)
      M- Uh, Mr. and Mrs. Rothstein?

EXT. BEVERLY HOTEL - DAY

                  LESTER
           (To AMY)
      Hey, little Dale Evans.

GINGER laughs

                  HOTEL OPERATOR (O.S.)
      Yes, they both checked out.

INT. SHOWGIRLS' DRESSING-ROOM - DAY

                  ACE
           (Into telephone)
      Thank you.
           (He hangs up.)

INT. WAREHOUSE - NIGHT

ACE steps up to a public phone as it rings.

                  ACE
           (Into telephone)
      Hello.

                  FORLANO
           (Over telephone)
      Yeah.

                  ACE
           (Into telephone, sighs)
      Uh, my wife is w-with an old friend 
      of her i-in LA.

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

FORLANO is on the phone, taking notes with a pencil. GAGGI is sitting in the background.

                  ACE
           (Over telephone)
      Some low-life. A guy named Lester 
      Diamond.

INT. WAREHOUSE - DAY

                  ACE
           (Into telephone)
      My daughter's with 'em too and I 
      think they're gonna try and kidnap 
      her. Is there anybody you can send?

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE, BACK HOME - DAY

                  FORLANO
           (Into telephone)
      We'll take care of it.

FORLANO hangs up and walks over to GAGGI. We hear the doorbell from the following scene.

INT. ACE'S HOUSE - DAY

ACE opens the door to two Tangiers EXECUTIVES.

                  COUNT ROOM EXEC
           (To ACE)
      We got a number and an address.

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

ACE is standing behind his desk on the phone.

                  ACE
           (Into telephone)
      Hello.

                  LESTER
           (Over telephone)
      Hello.

                  ACE
           (Into telephone)
      Yeah, is this Lester? This is Sam...

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - DAY

                  ACE
      ...Rothstein. I want to talk to 
      Ginger. Put her on the phone.

                  LESTER
           (Into telephone)
      She's not here, Sam.

                  ACE
           (Over telephone)
      Lester...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      ...listen to me very carefully. I 
      want to talk to Ginger. I want my 
      kid back. I want her put on a plane 
      immediately.

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - DAY

                  ACE
           (Over telephone)
      I know she's there. Don't fuck around 
      with me.

                  LESTER
           (Into telephone)
      Uh, I'm not. Sam, I wouldn't...

He snaps his fingers to get GINGER's attention.

                  LESTER
      ...wouldn't do it. Yeah, no, I, I...

We see GINGER on LESTER's living-room couch, cutting lines of cocaine with a razor blade in front of MAY.

                  GINGER
           (Whispering to AMY)
      You shouldn't do this.

LESTER steps up to the living-room snapping his fingers to GINGER. She looks up.

                  ACE
           (Over telephone)
      You understand? Put her on the fuckin' 
      phone.

                  LESTER
           (Into telephone)
      Sam, I - I don't know where she is, 
      okay?

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  LESTER
           (Over telephone)
      So, l-l-l-listen, I te- I te- I tell 
      you - can I call you back in a few 
      minutes?

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - DAY

                  ACE
           (Over telephone)
      702 472 1862.

                  LESTER
      Mm-hm.
           (Pretending to write 
           it down.)
      1862. Okay, good. I'll call you right 
      b-

                  ACE
           (Over telephone)
      Right away.

                  LESTER
           (Into telephone)
      I'll call you right back.

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Over telephone)
      Right back.

INT. LESTER DIAMOND'S LOS ANGELES APARTMENT - DAY

                  LESTER
           (Into telephone)
      You got it.
           (He hangs up; then to 
           himself as he walks 
           through a doorway to 
           the living-room)
      Schmuck.
           (To GINGER.)
      All right. I just bought us a few 
      minutes. Want to get back at this 
      prick?

He sticks his finger in the coke and rubs it on his gums.

                  LESTER
      Hm?  Okay, you got, what, two million 
      dollars in that box?

GINGER snorts some cocaine.

                  LESTER
      Hey... you got a minute? Hey. He's 
      got two million in the box, am I 
      right?  Okay, you let him keep your 
      jewels. We take the cash and the 
      only other thing he cares about.
           (He points to AMY.)
      Huh?  Her majesty. We go to Europe. 
      You dye your hair, get some pl-

                  AMY
           (Interrupts)
      I don't want to go to Europe. I want 
      to go to see The Elephant Man.

                  LESTER
      We're not gonna go see any fuckin' 
      elephants, okay?

                  GINGER
           (To AMY)
      We'll go later.

                  LESTER
           (To AMY)
      We're going to Europe. Let the adults 
      talk.
           (To GINGER.)
      You dye your hair... you get plastic 
      surgery, like we talked about. Right?  
      You're the mother. How much do you 
      think he's gonna pay to get this 
      fuckin' kid back?

                  AMY
      I don't want to go to Europe.

                  LESTER
           (To AMY)
      Shut your mouth!

GINGER puts her hand over AMY's mouth.

                  LESTER
      You know where she gets this from!

                  AMY
      You shut up.

                  LESTER
      No, you - You want me to come over 
      there? I'll smack your face.

AMY sticks her tongue out at LESTER.

                  LESTER
      Don't give me any of your shit!
           (To GINGER.)
      Okay, this has always been a dream, 
      but we're going.

                  GINGER
      Lester - he called you here.

                  LESTER
      Right.

                  GINGER
      Here.

                  LESTER
      He was just on the phone.

                  GINGER
           (Sniffs)
      He called you right here.

                  LESTER
      I just talked to him.

                  GINGER
           (Sighs)
      So, he knows where you are. That 
      means he's sending some guys over 
      here probably right now.

                  LESTER
      Ginger... It means he's sitting by 
      the phone like a dumb-bell, waiting 
      for me to call him back. Now, I -

                  GINGER
           (Interrupting and 
           getting up)
      That's - Yeah, he's sitting by the 
      phone like a dumb-bell, just waiting 
      for you to call him back. That's 
      what he's -

                  LESTER
           (Interrupting)
      He's sittin' by the phone -

                  GINGER
           (Yelling)
      What do you think we're gonna do? 
      He's probably got guys outside the 
      fuckin' house!

                  GINGER
           (Gathering AMY, 
           hysterical)
      Get your bag! Come on, get your bag! 
      Get your things! Let's go!

                  LESTER
      It's this bullshit. It's just bullshit 
      right here. This is the fuckin' 
      problem, you know.

                  GINGER
           (Hysterical)
      Oh, what bullshit? What, do you want 
      to fuckin' talk it over now?

                  LESTER
      You're done yakkin', okay? You're 
      done yakkin' now?

                  GINGER
           (Grabbing her purse 
           and rushing AMY out)
      Go! Go! Get in the car! Go!

                  LESTER
           (Mimicking GINGER)
      'Go! Go! Go!'

EXT. GOLD RUSH - DAY

NICKY is leaning against a public phone. MARINO watches.

                  NICKY
           (Into telephone)
      You just relax. Nobody's killin' 
      anybody, do you hear?

                  GINGER
           (Over telephone)
      No, I really do. I think he's gonna 
      kill me.

                  NICKY
           (Into telephone)
      You just relax, and call me back 
      here in exactly an hour, on this 
      phone, and I'll see what I can do.

                  GINGER
           (Over telephone)
      Yeah, uh-huh... Okay.

EXT. LOS ANGELES STREET, PAY PHONE - DAY

AMY is swinging her purse at LESTER in the background.

                  GINGER
           (Into telephone)
      So, I'm gonna call you back in an 
      hour... at this number, and you're 
      gonna be there, right?

                  NICKY
           (Over telephone)
      I'll be there.

EXT. GOLD RUSH - DAY

                  NICKY
           (Into telephone)
      And listen, don't do anything else 
      crazy, okay? You all right? Okay.

EXT. LOS ANGELES STREET. PAY PHONE - DAY

                  GINGER
           (Into telephone)
      Bye.

She hangs up and walks over to LESTER and AMY who are fighting.

                  GINGER
      Just knock it off! Would you two 
      knock it off? Get in the car.

                  LESTER
      She started it. She started the whole 
      thing. I'm just standin' here.

GINGER opens the driver's side door.

                  LESTER
      You're not gonna drive. Don't even 
      think you're gonna drive.

                  GINGER
      No, I'm gonna drive.

                  LESTER
           (Stopping GINGER)
      No, I'm not gonna drive with some 
      crazy -

                  GINGER
           (Yelling)
      You're driving me nuts!

She walks around to the passenger door.

                  LESTER
      Get in the passenger's side! And I'm 
      sendin' this kid to Bolivia in a 
      fuckin' box.

EXT. ACE'S PATIO - DAY

Through glass doors we see ACE seated in his living-room. NICKY slips into frame and taps on the window, gesturing that he wants to talk. ACE signals for him to go around to the garage.

INT. ACE'S GARAGE - DAY

NICKY walks past GINGER's white Mercedes towards ACE.

                  NICKY
      Ginger -

He's cut off by ACE who points to the passenger's side of his Cadillac. NICKY walks around and gets in. ACE starts the engine to make it harder for anyone to listen in on their conversation.

ACE turns the volume down. He looks straight ahead, away from NICKY.

                  NICKY
           (After an awkward 
           moment)
      Ginger called me.

                  ACE
           (Polite, careful, 
           smoking a cigarette)
      Yeah.

                  NICKY
      I just told you. She called me.

                  ACE
      And what'd she want?

                  NICKY
      She was afraid to call you.

                  ACE
      Yeah, she's with that cocksucker 
      again... and they got Amy.

                  GINGER
      Well, that's why I'm here. She wants 
      to come back, but she's afraid you're 
      gonna whack her out.

                  ACE
      Yeah, they're gonna kidnap my kid. 
      What do you want?

                  NICKY
      I know. Why didn't you come to me? I 
      mean, this is family, it ain't 
      business. Meanwhile, you make calls 
      back home. Sammy, it makes us look 
      bad out here, you know what I mean?  
      Back and forth, this one and that 
      one, and, in the meantime, she's 
      gone anyway. Am I right?

                  ACE
           (Sighing)
      I don't know. What am I gonna do 
      with this woman? I don't know...
           (Pause.)
      She's drivin' me fuckin' crazy.

                  NICKY
      I think if you, uh, okay it, you 
      know, assure her that she's gonna be 
      all right, she'll come back.

                  ACE
      She's driving me fuckin' crazy.

                  NICKY
      Well, once you get her here, you 
      think about it, you know?  But get 
      the kid back here. She wants to come 
      back. That's the, uh, that's the 
      main thing here. You want your kid, 
      don't you? Huh?

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

GINGER is on the phone. In the background, AMY is acting up in the back seat of the car and driving LESTER crazy.

                  ACE
           (Over telephone)
      Hello.

                  GINGER
           (Sighs, into telephone)
      Hi, it's me.
           (Chuckling.)
      Just who you wanted to talk to, right?

                  ACE
           (Over telephone)
      Listen...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

ACE is seated at his desk.

                  ACE
           (Into telephone)
      ...uh-uh-uh - I'm not gonna ask you 
      where you are, just please, put Amy 
      on a plane. Just put her on right 
      away, any plane to get her here right 
      away...

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  ACE
           (Over telephone)
      ...please. That's all I'm askin' 
      you.

                  GINGER
           (Into telephone)
      Do you... I mean... I don't think 
      she should go by herself.

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Sighs, into telephone)
      What do you mean?

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  GINGER
           (Into telephone, 
           holding back tears)
      What I mean is, you think if, uh, do 
      you think if I came back... do you 
      think you could forgive me?

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      Uh,
           (sighs)
      I don't know. I gotta tell you, I 
      don't know.

                  GINGER
           (Over telephone)
      Right.

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  GINGER
           (Into telephone)
      I under-understand that. I-I know I 
      fucked up.

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      What about the money? Uh, where's 
      the box?

                  GINGER
           (Over telephone)
      I gotta tell ya...

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  GINGER
           (Into telephone)
      ...I-I... made some mistakes and I 
      spent some money.

                  ACE
           (Over telephone)
      What's it...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      ...under?

                  GINGER
           (Over telephone)
      Pretty serious.

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  ACE
           (Over telephone)
      How serious?

                  GINGER
      It's, uh, it's under twenty-five.

                  ACE
           (Over telephone)
      It's under...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      ...twenty-five thousand?

                  GINGER
           (Over telephone)
      Yeah.

                  ACE
           (Into telephone)
      And...

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  ACE
           (Over telephone)
      ...the rest of the two million is 
      still there?

                  GINGER
           (Into telephone)
      Yeah, yeah, I got the rest.

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      Okay, no big deal. That's okay. Yeah. 
      He got his twenty-five.
           (Sighs.)
      That I'll live with. Any more I 
      couldn't.

EXT. LOS ANGELES HIGHWAY. PHONE BOOTH - DAY

                  GINGER
           (Into telephone)
      Okay?

                  ACE
           (Over telephone)
      All right...

INT. ACE'S HOUSE, UPSTAIRS DEN - DAY

                  ACE
           (Into telephone)
      ...all right. Where are you? I'll 
      send a plane for you right away.

EXT. LAS VEGAS PRIVATE AIRPORT - NIGHT

ACE sees GINGER and AMY coming off the Tangiers private jet. GINGER wobbles a little as she comes down the ramp.

                  GINGER
           (Waving brightly)
      Hi, Sam.

ACE picks AMY up and hugs her, ignoring GINGER. They walk to the car and drive off.

INT. ACE'S CAR - NIGHT

AMY looks on from the back seat.

                  ACE
      So, what'd ya do with it?

                  GINGER
      With what?

                  ACE
      With the money.

                  GINGER
      He needed some clothes.

                  ACE
           (Sighs)
      Twenty-five thousand for clothes.

                  GINGER
      He wanted a watch, too.

                  ACE
      Twenty-five thousand for clothes and 
      a watch.

                  GINGER
      Mm-hm.

                  ACE
      Mm-hm.

                  MAITRE D' (O.S.)
           (From following scene)
      Mr. R...

INT. VEGAS RESTAURANT - NIGHT

ACE and GINGER, dressed for dinner just like any other couple, walk towards a table overlooking the colorful lights of downtown Vegas.

                  MAITRE D'
      ...good evening. Signora.

                  GINGER
      Gino.

                  MAITRE D'
      This way.

                  ACE (V.O.)
           (as they are led to 
           their table)
      The good part was, I had Amy back. 
      So, we went home, had the housekeeper 
      stay over, put the kid to bed, I 
      calmed myself down and we went to 
      dinner. I tried to keep things nice 
      and civil, you know.  But... hey, 
      twenty-five thousand for three suits? 
      That doesn't make much sense.

                  ACE
           (Seated across from 
           GINGER at a booth)
      First of all, he's not gonna wear f- 
      thousand-dollar suits. But let's say 
      he did, which he won't. How you gonna 
      get fitted for twenty-five suits in 
      three days?  I, um, I mean, how could 
      you get fitted that fast? I can't 
      get fitted that fast, and I pay twice 
      as much.

                  GINGER
      I bought him a watch too.

                  ACE
      Yeah.

                  GINGER
      Yeah.

                  ACE
      But even if you bought him a watch, 
      a really nice watch, one that he 
      thought was nice - and he doesn't 
      know what the fuck a good watch is - 
      so, you go, five, ten, twelve grand?

                  GINGER
      Yeah.

                  ACE
      At the most, which is impossible for 
      him.

She glances to the table behind them.

                  ACE
      Plus, at the most, three suits, a 
      thousand apiece. That still leaves 
      what?  Around ten thousand?

                  GINGER
           (Staring down at her 
           plate, trying to 
           restrain herself)
      Would you knock it off, Sam?

                  ACE
      I'm just tryin' to figure it out.

                  GINGER
      There's nothin' to figure out. I'm 
      home... we're workin' it out.

She lights a cigarette.

                  ACE
      Yeah, but I've been told that before, 
      'We're workin' it out.' You think 
      that you're home... after what you 
      just put me through with Amy, is a 
      favor to me?

She looks at ACE.

                  ACE
           (Pause)
      So, counting the watch, let's say 
      another four thousand for expenses 
      over the weekend... of which you 
      must have had a good time. I know he 
      did.  That's for sure. I know that... 
      fuckin' piece of shit had a good 
      fuckin' time. On my money. You might 
      as well have fucked him, which you 
      probably did anyway.

GINGER glares at him.

                  ACE
      You're lookin' at me a certain way. 
      You - you're teary-eyed, huh? You're 
      upset. You're a good actress, you 
      know that?  Good fuckin' actress. 
      You can fuckin' get that pity out of 
      people. I'm not a john, you 
      understand?  You always thought I 
      was, but I'm not. And I'm not a 
      sucker. That fuckin' pimp cocksucker. 
      He's lucky I didn't kill him last 
      time. Lucky he's fuckin' livin'.  
      And if you would've stayed with Amy... 
      and you would've ran away... you 
      would've been fuckin' dead.

GINGER scoots out of the booth and leaves.

                  ACE
      Both of you. Dead. Dead.

INT. ACE'S BEDROOM - NIGHT

Wide overhead of ACE alone in bed. Off-screen, we hear GINGER, a little drunk, on the phone.

                  GINGER (O.S.)
           (Whispering into 
           telephone)
      I cannot do it anymore. I can't 
      fuckin' live like this. It's not 
      right.

ACE's point of view as he moves towards the sound of GINGER's voice. He enters frame and stops to listen.

                  GINGER (O.S.)
      What are you? Yes, of course - He 
      doesn't come home at night.  What is 
      the big fuckin' deal? I go - Yes, 
      and I just - I can't fuckin' take 
      it. Why should I fucking take it? 
      That wasn't the deal. He acts like...  
      like I'm the only one around here 
      with a fuckin' past. He'll never let 
      me live it down.  Well... well, I 
      mean, I tried. What the fuck do you 
      think I came back here for? No, I'm 
      not!

ACE slips into the foyer where he can see GINGER's reflection in a glass door as she talks on the phone in the living-room.

                  GINGER
           (Whispering into 
           telephone)
      I want to have him killed. Yes, I 
      want him killed.  I've fuckin' had 
      it.

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

GINGER is on the phone.

                  GINGER
           (Into telephone)
      So, are you with me on this?

ACE steps up behind her. She gasps, still holding the phone.
Petrified.

                  ACE
      You want to get rid of me? Here I 
      am. Go ahead, get rid of me
           (ACE grabs the phone.)
      Hello.

He hears nothing and throws the phone down near her.

GINGER rises and attacks ACE.

                  GINGER
           (Grunting)
      Yes! I fuckin' hate you! I can't 
      take it anymore!

ACE grapples with GINGER.

                  GINGER
      Yes, I want to kill you! I hate your 
      fuckin' guts!

                  ACE
      You hate my guts? I want you to come 
      with me now.

He drags her by her arms across the living-room hallway, into the bedroom.

                  GINGER
      Get off of me! Stop it!

                  ACE
      Come with me now! Come with me now. 
      Come with me now. I want you out of 
      here.

GINGER screams.

INT. ACE'S HOUSE, BEDROOM - NIGHT

                  ACE
      I want you out of here! I want you 
      out of here!

                  GINGER
           (Starting to get up)
      Let go of me! Let go of me!

INT. ACE'S HOUSE, BEDROOM CLOSET - NIGHT

He pushes her against the closet wall, and throws an overnight bag at her.

                  ACE
      Take your
           (kicking the bag)
      fuckin' bag and get out of here!

                  GINGER
      I'll go, but I want my money right 
      now!

ACE tosses clothes at her.

                  ACE
      You'll get your money! Don't worry.

GINGER squats down and starts to gather her stuff.

                  GINGER
      The arrangement is over!

                  ACE
           (Tossing clothes)
      No kidding. NO KIDDING!

                  GINGER
      And I still get my money. I need 
      some cash right now. You can't just 
      put me in the street.

                  ACE
      I'll get your cash. You haven't been 
      straight with me ever since I met 
      you! You never loved me in the first 
      place!  I need eyes in the back of 
      my fuckin' head with you, you fuckin' 
      bitch!

ACE walks past her to his side of the large walk-in closet. Racks and racks of her clothes are still hanging.

                  GINGER
      Love you?!

She tosses a pair of red shoes at him.

                  GINGER
      How could I love you?! How can I 
      love you?! You treat me like I'm 
      your fucking dog!

ACE leans down and opens a shoe box filled with money. He grabs as much cash as he can hold.

                  ACE
      You're lower than a dog!

                  GINGER
      Fuck you!

He walks up to her.

                  ACE
           (Shoving the bundles 
           of cash in her face)
      Here. Here. Is this enough money?! 
      Huh?  Will it last you two fuckin' 
      days? Take it, greedy bitch.
           (Stuffing the money 
           in her bag.)
      Take the fuckin' money you fuckin' 
      want.

                  GINGER
      I'm going to the bank and I'm getting 
      my jewelry too!

She puts on a white fur coat.

                  ACE
      Yeah, no kidding. Good! It opens at 
      9 a.m. Be there!

                  GINGER
      And don't send your guys down there 
      to stop me! I mean it.

She bends down to pick up her bag, but ACE insists on carrying it.

                  ACE
      I guarantee you, I will not stop 
      you.

INT. ACE'S HOUSE, BEDROOM/FOYER - NIGHT

GINGER and ACE walk through their bedroom to the front door. He's carrying her suitcase.

                  GINGER
      Stop! You aren't getting rid of me 
      with one fuckin' suitcase!

                  ACE
      You'll come back tomorrow and get 
      the rest. Just get out of here.

                  GINGER
      Fine.
           (Sniffs, walking back.)
      I'm takin' Amy.

                  ACE
           (Stopping her)
      You're not takin' Amy.

                  GINGER
      I am. I'm wakin' her up right now.

                  ACE
      You're stoned. You're a junkie. Get 
      out of here.

He opens the door and tosses her suitcase out.

                  GINGER
      I am not! She's my daughter too! 
      Goddamn you!

                  ACE
      Get out of here!

He shoves her out the door.

                  ACE
      Send my lawyers a letter.
           (Slamming the door 
           behind her.)
      God-fuckin'-damn you!

He locks the door, and peers through the peep-hole.

                  GINGER (O.S.)
           (Through the doors as 
           ACE walks away)
      You're not getting away with this! 
      You're not gonna fuck me out of my 
      end!

EXT. ACE'S HOUSE, FRONT YARD - NIGHT

GINGER is furious. She picks up the suitcase and walks up to her sportscar.

                  GINGER
      Fucker!
           (Sobs.)

She drives off.

INT. ACE'S BEDROOM - NIGHT, LATER

ACE is lying awake in bed smoking a cigarette, watching the casino's Eye in the Sky surveillance monitors. He hears a car turn into his driveway. He sees the car's headlight beams

                  ACE (V.O.)
      The funny thing was, that after all 
      that... I didn't want her to go. She 
      was the mother of my kid. I loved 
      her. And later... I realized I didn't 
      want to give her the money, because 
      if I did... I knew I'd never see her 
      again.

ACE reaches over to take GINGER's hand - she slowly takes hold of his.

INT. ACE'S HOUSE, KITCHEN - DAY

GINGER is getting AMY ready for school. ACE enters as AMY is on her way out. He holds her face in his hands and kisses her.

                  ACE
           (Affectionately)
      Oh. Have a good day at school.

                  AMY
      Okay.

Amy exits.

                  ACE
      Okay? Okay, angel.

ACE walks over to GINGER who turns sullenly to look at him.

                  ACE
           (Clears throat.)
      From now on, I have to know where 
      you and Amy are at all times.

He takes a beeper out of his coat pocket and holds it up to GINGER.

                  ACE
           (Gently)
      Now, here's a beeper. I want you to 
      keep it on you. It's very light.  So 
      I can call you whenever I have to.

GINGER reluctantly takes the beeper.

                  ACE
           (Pause.)
      Okay?

She nods silently. He looks at her and turns, leaving her alone in the kitchen.

EXT. CONSTRUCTION TRAILER - EVENING

A very large trailer is in the middle of an empty construction site. GINGER's and NICKY's cars are parked outside.

                  NICKY (O.S.)
           (From trailer)
      Well, what are you supposed to do? I 
      mean, what do you want to do?  Do 
      you want to stay the way you are? 
      You want to stay like this?  You 
      can't do that.

INT. CONSTRUCTION TRAILER - EVENING

GINGER and NICKY are alone in the large trailer. They are sitting close together on a couch.

                  NICKY
      I mean, listen, two people don't get 
      along, at some point you gotta call 
      it... I mean, it's none of my 
      business, but I ... I think that's 
      what you gotta do. You gotta take it 
      somewhere -

                  GINGER
           (Smoking a cigarette)
      Oh, you're right, I know.  It's... 
      well, I was just -

                  NICKY
      What? What?

                  GINGER
      Nothin'.

                  NICKY
      What were you gonna say? Go ahead.

                  GINGER
      I don't -
           (Sighs.)

                  NICKY
      Tell me what you were gonna say. Go 
      ahead.

                  GINGER
      Yeah?

                  NICKY
      Yeah.

                  GINGER
      Well, I was thinkin', maybe... you 
      know somebody at the bank...  could 
      help me get my jewelry out?  There's 
      a lot of money in there. Lot of money 
      in there, and I'd be willing to take 
      care of anybody who helped me out.

                  NICKY
           (Pauses)
      Let me think about that.

                  GINGER
      Okay.

                  NICKY
      See who I got in there. Gotta get 
      somebody I can trust.

                  GINGER
      Mm-hm.

                  NICKY
      You know?

                  GINGER
      Yeah. 'Cause, you know,
           (leaning her head 
           back)
      He's never gonna give me my jewelry.

                  NICKY
      Hm.

                  GINGER
      He holds that key so tight, he's 
      probably got it stuck up his ass.

                  NICKY
           (Chuckles)
      Yeah, right. That's Sammy. And he's 
      probably got it there too.

Takes a sip of his drink.

                  GINGER
      He's so fuckin' lucky. I could have 
      buried him. I could have gone to 
      Europe and taken the baby. And then 
      he'd've tracked me down and he'd've 
      killed me.

                  NICKY
      No, he wouldn't. I would have.
           (GINGER chuckles.)
      And he'd've been right, too. I mean, 
      seriously.
           (She cuddles closer 
           to him.)
      Well, there's one thing you don't 
      do. You don't take a guy's kid and 
      then take off.

                  GINGER
           (Quietly)
      I didn't.
           (Chuckles.)
      I didn't. I mean, I did, but then I 
      did exactly what you told me to do, 
      and I came right back.

                  NICKY
      You did. You're right.

                  GINGER
      Exactly.

NICKY embraces her.

                  NICKY
      You did. I like that. I like that. 
      That's what I like about you. You 
      did the right thing.

                  GINGER
           (Playing with his 
           jacket)
      I did what you told me to.

                  NICKY
      Yes, you did.

                  GINGER
      'Cause you always tell me the right 
      thing to do.

                  NICKY
      Yeah.
           (Pause, with his arm 
           around her.)
      Boy, he really fucked himself up out 
      here -
           (She caresses his 
           face.)
      - didn't he?

                  GINGER
      Sure did.

                  NICKY
      Everything went to his head.
           (He sighs, rubbing 
           her neck.)

                  NICKY/GINGER
           (In unison)
      Changed.

                  NICKY
      He did. He ain't the same person, 
      right?

                  GINGER
           (Whispering)
      No, he's not.

                  NICKY
      He really thinks who the fuck he is, 
      I'll tell you that.

                  GINGER
           (Holding back tears)
      Exactly.
           (Sighs.)
      He hates me.

She rests her head on NICKY's shoulder, starting to weep.

                  GINGER
      He hates my fuckin' guts.

                  NICKY
      Come on, come on, you're a toughie. 
      You can take this.
           (Runs his hand down 
           her cheek.)
      Don't cry.

                  GINGER
           (Crying)
      I'm not as tough as you think I am.

                  NICKY
      Yes, you are.

                  GINGER
           (Sobbing)
      I'm not and he scares the shit out 
      of me. I never know what he's gonna 
      do.

                  NICKY
           (Whispering)
      Come on. Don't be scared.

                  GINGER
           (Softly, through tears)
      I need some help. I do. I need some 
      help.
           (Strokes his chest.)
      You gotta help me. I need a new 
      sponsor, Nicky.

GINGER's sobs subside a little and her hand starts to stroke NICKY's neck.

                  GINGER
           (Whispering)
      I do. I need a new sponsor.

                  NICKY
           (Quietly, cheek to 
           cheek)
      Is that what you want?

                  GINGER
      Yeah.

                  NICKY
      A sponsor.

                  GINGER
      Yeah.

                  NICKY
      Mm... okay. Don't worry about it. 
      Nobody'll fuck with ya anymore.  
      I'll take care of ya.

                  GINGER
           (Whispering)
      Nicky, please...

                  NICKY
      Yes, I will. It's what you want, 
      isn't it? Huh?

                  GINGER
           (Sobbing)
      Thank you. Yeah, yeah, yeah.

                  NICKY
      It's what you want?

                  GINGER
      Yeah. Uh-huh -

NICKY interrupts and kisses her. She kisses him back. He pushes her head down to his lap.

EXT. CONSTRUCTION TRAILER - NIGHT

NICKY opens the door to the trailer and peers out to make sure no one is watching.

EXT. FBI SURVEILLANCE CAMPER - NIGHT

We see past a chain-link fence to a camper. We hear the sound of photos being taken with a high-speed camera.

EXT. CONSTRUCTION TRAILER - NIGHT

We see GINGER and NICKY slip out of the trailer in the deserted work site.

                  FBI AGENT #1 (O.S.)
      You see that?

EXT. FBI SURVEILLANCE CAMPER - NIGHT

FBI MEN with long-lens cameras are recording the event on film.

                  FBI AGENT #1
      That's Ace's wife.

Still photos: NICKY and GINGER steal a kiss.

                  FBI AGENT #1
      Fantastic!

Still photos: Click. Click. GINGER and NICKY embrace.

EXT. CONSTRUCTION TRAILER - NIGHT

The AGENTS watch as GINGER and NICKY move towards their separate cars.

EXT. FBI SURVEILLANCE CAMPER - NIGHT

                  FBI AGENT #1
      This is great for the boss.

EXT. CONSTRUCTION TRAILER - NIGHT

GINGER gets into her car.

Still photos: Click: GINGER getting into her car. Click: NICKY getting into his car.

EXT. CONSTRUCTION TRAILER - NIGHT

NICKY and GINGER drive off.

INT. ACE'S KITCHEN - NIGHT

ACE is waiting for GINGER. He hears a car pull into the drive- way, he gets up and looks out the sliding glass door. It's GINGER. He sits back down, motionless with a glass of milk. She walks in with a sack of groceries and some dry cleaning.

                  GINGER
      Hi.

She puts her purse and the groceries down on the kitchen counter, and hangs up the dry cleaning.

                  ACE
      Hi. You didn't answer your beeper.

                  GINGER
      I threw it away.

                  ACE
      You threw it away?

                  GINGER
           (As she puts some 
           items away)
      Look, I tried to do this thing. I 
      know that you want me to, but it's 
      just - You know, I'm driving down 
      the freeway and the fuckin' thing's 
      'beep-beep-beep-beep'. You know, I'm 
      in a restaurant and it's - it's 
      embarrassing. I don't want to do it 
      anymore.
           (Stopping suddenly.)
      Where's Amy?

                  ACE
      I put her to bed.

                  GINGER
      Oh.
           (Walking away towards 
           their bedroom.)
      I got your cigarettes.

INT. ACE'S HOUSE, BATHROOM - NIGHT

GINGER sets some items down on her dressing-table, in front of a mirror.

                  GINGER
      Oscar wants you to call him.

                  ACE
      So, who'd you go to lunch with?

                  GINGER
      With Jennifer.

                  ACE
      And where'd you go?

                  GINGER
      To the Riviera.

                  ACE
           (Pause)
      What'd you have?

                  GINGER
      I had a... salad.

                  ACE
      What did Jennifer have?

                  GINGER
           (Turning to ACE)
      She had the same.

                  ACE
           (Pause)
      Okay. I want you to call Jennifer 
      and I want you to tell her to tell 
      you what she had for lunch, and I'm 
      gonna listen in on the other line.

                  GINGER
      Why do you want to do that?

                  ACE
      You know why I want to do it. Just 
      do it.

                  GINGER
      Fine.
           (Walking out and down 
           the hall.)
      Just gonna get the bowl for my thing.

                  ACE
      Mm.

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

GINGER is on the hall phone, dialing. We hear a phone ring through the earpiece.

She waits a few seconds and hangs up.

                  GINGER
      The line's busy. There's nobody there.

She starts to walk away. ACE stops her, picks up the phone and dials. We hear JENNIFER answer.

                  JENNIFER
           (Over telephone)
      Hello.

                  ACE
           (Into telephone)
      Hello, Jennifer, it's Sam -

TIGHT ON GINGER'S FINGERS CUTTING OFF THE CALL.

                  GINGER
      All right... I didn't have lunch 
      with Jennifer.

                  ACE
           (Hanging up)
      Who were you with?

                  GINGER
           (Quietly)
      I was with somebody.

                  ACE
      I know you were with somebody. Who 
      was it?
           (Pause.)
      I just hope it's not someone who I 
      think it might be.
           (Sighs, then whispers:)
      I just hope it's not them.

                  ACE (V.O.)
           (Quietly)
      I knew she fucked around.
           (Sighing.)
      You know...

INT. ACE'S BEDROOM - NIGHT

The two of them are seated separately. GINGER is on the floor leaning against a chair, crying softly.

                  ACE (V.O.)
      ...she did what she did and I did 
      what I had to do. But, Jesus, Nicky 
      was the worst thing she could've 
      done.

                  ACE
      What if he won't stop?

                  ACE (V.O.)
      I mean, it could get us both killed.

                  GINGER
      I can back him off.

ACE sighs.

                  ACE (V.O.)
      She was very convincing...

EXT. LA CONCHA MOTEL - DAY

A neon signs reads: LA CONCHA MOTEL.

                  ACE (V.O.)
      ...when she wanted to be.

WE SEE A CANTED ANGLE OF A ROOM AND BALCONY WITH DRAWN CURTAINS.

                  ACE (V.O.)
      And... this... this is how she backed 
      him off.

INT. LA CONCHA MOTEL - DAY

GINGER and NICKY are making love on the bed, panting, grunting and gasping.

INT. LA CONCHA MOTEL - DAY

They have finished making love. NICKY is zipping up his pants. GINGER still sits on the bed smoking a cigarette.

                  NICKY
      Hey, Ginger... don't forget, if you're 
      challenged, you know, if he asks 
      anything, deny everything.
           (He walks up to her.)
      Do you understand? I don't want him 
      bringin' beefs back home ... 'cause 
      that could be a problem. You gotta 
      be careful. He's not dumb, you know? 
      You hear what I'm sayin', right?

Her arm and thigh are bruised.

                  GINGER
      I know. You don't have to tell me 
      that. What do you think, 
           (chuckling)
      I'm stupid?

She takes a drag off her cigarette.

                  NICKY
      Do I think you're stupid? No, I think 
      you're beautiful.
           (He bends down and 
           kisses her.)
      But I gotta go.

He exits.

                  ACE (V.O.)
      By this...

EXT. ALL-AMERICAN GAS STATION, BACK HOME - DAY

A car moves into the station and stops at a gas pump.

                  ACE (V.O.)
      ...time, Nicky had things so fucked 
      up on the streets, that every time 
      Marino went back home, the...

INT. ALL-AMERICAN GAS STATION, OFFICE AND GARAGE - DAY

Slow motion of MARINO walking through the front office past a few men. He tosses his cigarette butt and puts it out with his shoe. He looks nervous.

                  ACE (V.O.)
      ...packages got smaller and smaller. 
      It got...

INT. ALL-AMERICAN GAS STATION, GAGGI'S BACK OFFICE - DAY

MARINO takes a small stack of cash out of his coat. A seated GAGGI nods for one of his men to take the money.

                  ACE (V.O.)
      ...to the point when he walked into 
      the place... he didn't know whether 
      he was gonna be kissed or killed.

GAGGI's man takes the money.

                  GAGGI (O.S.)
      Frankie, I want to ask you something.

                  GAGGI
      It's private... but I want you to 
      tell me the truth.

                  MARINO
      Of course, Remo.

                  GAGGI
      I want you to tell me the truth, 
      mind you.

                  MARINO
      I always tell you the truth, Remo.

                  GAGGI
      Frankie... the little guy, he wouldn't 
      be fuckin' the Jew's wife, would he? 
      Because if he is... it's a problem.

FREEZE FRAME OF MARINO.

                  MARINO (V.O.)
      What could I say? I knew if I gave 
      the wrong answer, I mean, Nicky, 
      Ginger, Ace, all of 'em could've 
      would up gettin' killed.

FREEZE FRAME OF GAGGI.

                  MARINO (V.O.)
      Because there's one thing about these 
      old timers: They don't like any 
      fuckin' around with the other guy's 
      wives. It's bad for business.

ON MARINO'S FREEZE FRAME.

                  MARINO (V.O.)
      So, I lied... even though I knew 
      that by lyin' to Gaggi, I could wind 
      up gettin' killed too.

UNFREEZE - LIVE ACTION CONTINUES.

                  MARINO
           (To GAGGI)
      No. I ain't see anything like that.

                  GAGGI
      Are you sure?

                  MARINO
      I'm positive.  Remo... things are 
      very fucked up down there, you know?

                  GAGGI
      Yeah, I know. That's why I'm asking. 
      You see, my main concern is Nicky.

                  MARINO
      Hm.

                  GAGGI
      I want to know... if he's doin' all 
      right. If he's okay.

                  MARINO
      He's good. He's fine.

                  GAGGI
      I'm askin' you, Frankie, to keep an 
      eye on Nicky. Do it for me.

                  MARINO
      No problem.

                  GAGGI
      You see... I wouldn't want to be 
      jeopardizing anything for people who 
      are our friends. You understand?

                  MARINO
      I understand.

                  GAGGI
      Okay.
           (Pause.)
      Frankie, you're a good boy.

Pats MARINO's hand.

                  MARINO
      Thanks, Remo.

GAGGI drinks from his espresso cup. So does MARINO, looking over cautiously at the old man.

                  ACE (V.O.)
      By now, Nicky and his crew had already 
      hit rock bottom. I mean, Vegas really 
      got to him.

EXT. BAR PARKING LOT, LAS VEGAS - NIGHT

NICKY is punching a man who is leaning against a car. They are surrounded by MARINO, FUSCO, BLUE and HARDY. The man remains erect.

                  ACE (V.O.)
      The booze, the coke, the broads... I 
      mean, he got sloppy.  He just wasn't 
      the same Nicky anymore.

DOMINICK takes over. Exhausted, NICKY walks to his car and leans on the open car door.

                  MARINO
           (To NICKY)
      You must have drunk too much.

                  NICKY
      Go fuck yourself.

                  ACE (V.O.)
      I heard one night he had to belt a 
      guy three times before he finally 
      went down.

DOMINICK finally knocks the man down.

                  ACE (V.O.)
      In the old days, Nicky would've decked 
      him with one shot.

INT. ROOM - NIGHT

EXTREME CLOSE-UP OF A CAMERA FOLLOWING A LINE OF COCAINE AS IT IS SUCKED UP INTO A STRAW.

                  ACE (V.O.)
      You add this into the mix...

EXTREME CLOSE-UP LOOKING THROUGH THE STRAW AS THE COKE IS SNIFFED.

Maybe Vegas just got . . .

EXT. BAR PARKING LOT - NIGHT

NICKY and his crew get into their cars.

                  ACE (V.O.)
      ...to all of us. And his crew followed 
      him right over the edge.

The man is left alone on the ground of the dingy parking lot.

                  ACE (V.O.)
      They were all tuned up half the time 
      on coke. I mean, they started doin'...

EXT. BERNIE BLUE'S HOUSE, RESIDENTIAL STREET - NIGHT

BLUE gets out of his car with an aluminium foil package to confront the police.

                  ACE (V.O.)
      ...stupid things.

                  COP #1
      Watch it, partner, watch it!

                  ACE (V.O.)
      The worst was Blue.

                  BLUE
           (Belligerent)
      Hey, what do you guys want out of my 
      life, huh?

                  COP #1
      Police! Stay in the fuckin' car!

                  ACE (V.O.)
      He never knew when to keep his fuckin' 
      mouth shut.

                  COP #2
      He has a gun!

                  COP #1
      Drop your gun or I'll -!

                  BLUE
      Hey, fuck you!

                  COP #1
      Drop the gun!

BLUE is shot several times by both COPS. He falls on the ground, dead.

                  ACE (V.O.)
      The cops shot him. They shot Blue...

FLASHBACK - A LITTLE EARLIER

BLUE is yelling back at the COPS, holding the foil package.

                  ACE (V.O.)
      ...because they thought his hero 
      sandwich was a gun!

Freeze frame as the camera moves in on the wrapped sandwich in his hand.

                  ACE (V.O.)
      You know, they could have...

The COPS walk up to BLUE, who is on the ground amid shattered glass.

                  ACE (V.O.)
      ...been right, but who knows?

                  COP #1
      Jesus Christ! What gun? He's got a 
      fuckin' hero sandwich here.

                  COP #2
      What do you want? It - It's pitch-
      black out here. It's tin foil.

                  COP #1
      Pitch-black?! It -

                  COP #2
      It looked like a fuckin' gun!

                  COP #1
      You - You fuckin' moron, I'll be 
      filling out paper work for the next 
      two months because of you and this 
      piece of shit, you...

                  COP #2
      Oh my God, what are we gonna do? I'm 
      sorry.

                  COP #1
      ...fuckin' jerk-off.

                  ACE (V.O.)
      And to make matters worse, to get 
      even, Nicky's crew got stoned one 
      night and they started shootin' up 
      the cops' houses.

COP #1 plants a gun on the ground next to BLUE's legs using a handkerchief to avoid leaving fingerprints.

EXT. DETECTIVE'S HOUSE - NIGHT

The house explodes as gunfire riddles the front of a detective's home. MARINO, DOMINICK, FUSCO, HARDY and three HOODS in another car are spraying the home with machine-guns and shotguns.

EXT. GOLD RUSH - DAY

NICKY and MARINO emerge from the shop.

                  ACE (V.O.)
      I mean, it got to the point where 
      they couldn't even talk in the Gold 
      Rush anymore because the Feds put a 
      wire in the wall.

EXT. FBI STAKEOUT POST: MOTEL ACROSS FROM THE GOLD RUSH - DAY

Two FBI AGENTS with binoculars are watching NICKY and MARINO, trying to read their lips.)

                  ACE (V.O.)
      And even when they talked outside, 
      they had to cover their mouths 
      because...

                  LIP-READER
           (Lowering his 
           binoculars)
      Jeez, he's coverin' up again.

He raises the binoculars and looks through again.

                  ACE (V.O.)
      ...the Feds brought in lip-readers.

EXT. GOLD RUSH - DAY

NICKY and MARINO are outside talking. They are covering their mouths with their hands and constantly looking around.

                  ACE (V.O.)
      Nicky found out about it from a teller 
      who owed him money.  This guy 
      worked...

Voice-over trails off.

                  MARINO
      He asked me again about you and the 
      Jew's wife.

                  NICKY
      Walk, walk, walk. What'd you say?

                  MARINO
      He asked me again about you and the 
      Jew's wife.

                  NICKY
      Yeah, what'd you tell him?

                  MARINO
      I told him I didn't know nothin'. 
      But Jiggs and, uh, Tony Gorilla said 
      if you did anything, you're fucked 
      up.

                  NICKY
      You think he's goin' home, makin' a 
      beef behind my back?

                  MARINO
      Nah. You would've heard somethin'.

                  NICKY
      Yeah, what's to stop him?

                  MARINO
      I know. I know.

                  NICKY
      I don't trust him anymore. But they'd 
      never okay anything, you know?

                  MARINO
      Yeah, but they keep askin' about it.

                  NICKY
      Well, now, sure they're askin'. They 
      earn with the prick. I got a funny 
      feelin' he's gonna start a fuckin' 
      war or somethin'.
           (Pause)
      I'm not sure yet, you know. But I w- 
      You know, but you know what I want 
      you to do?

                  MARINO
      What?

NICKY looks suspiciously at a man walking by them.

                  NICKY
      Who's this guy? Who's this guy?

                  MARINO
      Oh, he ain't nobody.

                  NICKY
      You know what I want you to do? Get 
      a couple of guys to dig a hole in 
      the desert, then let 'em show you 
      where it's at.

                  MARINO
      Angelo and Buster.

                  NICKY
      Yeah, but I'm not sure yet.

                  MARINO
      They'll do it.

                  NICKY
      And when I'm ready, I'll say the 
      words, 'Go see the Jew.'

                  MARINO
      Yeah.

                  NICKY
      And you make it disappear, you know 
      what I mean?

                  MARINO
      Yeah, just let me know. But you gotta 
      be ready. You know what I'm talkin' 
      about?

                  NICKY
      Did I say to do anything yet? I said 
      I'm not sure... I'll let you know. I 
      want to think about it. Where're 
      these pricks at?

Looks for the FBI AGENTS.

                  MARINO
      Don't know.

                  NICKY
      Dominick said they're in the motel?

                  MARINO
      Yeah, either that or in the fuckin' 
      bank. I don't know. They're all over 
      the joint.

INT. JUBILATION NIGHTCLUB - NIGHT

ACE is seated at a table with SHERBERT, TRUDY, OSCAR and two showgirls. ACE is on the phone. It rings and rings, but there's no answer.

INT. ACE'S HOUSE - DAY

The camera pans from the bedroom hallway to the living-room as the phone rings.

INT. JUBILATION NIGHTCLUB - NIGHT

ACE hangs up.

                  ACE
           (Getting up from the 
           table)
      Be right back. I'll be right back.

He walks over to RUDY, the maitre d'.

                  ACE
      Rudy, any calls for me, just give 
      'em to Mr Sherbert. I'll be right 
      back.

                  RUDY
      Sure, Mr Rothstein. You'll be back...?

                  ACE
      I'm going home for a few seconds. 
      I'll be right back.

ACE hurries out. RUDY picks up the phone and dials a number.

                  RUDY
           (Into telephone)
      He's on his way home.

INT. LEANING TOWER - NIGHT

NICKY is on the phone. The place is jumping in the background.

                  RUDY
           (Over telephone)
      Yeah, he just left.

                  NICKY
      Yeah? All right.

He hangs up the phone and looks across the room at GINGER, who is seated in a booth smiling at him and picking the olive out of a Martini.

INT. ACE'S HOUSE - NIGHT

ACE gets home and can't find GINGER.

                  ACE
           (Looking around the 
           house)
      Hello? Hello! Ginger.

                  AMY
           (Faintly, from her 
           bedroom)
      Help, Daddy!

Fear strikes him and he runs to his daughter's room.

                  ACE
           (Knocking, turning 
           the doorknob)
      Amy! Amy, open the door!

                  AMY (O.S.)
           (From her room)
      I can't! I'm tied!

                  ACE
      Wh-wh -

ACE slams his shoulder against the door, trying to knock it down.

INT. ACE'S HOUSE, AMY'S BEDROOM - NIGHT

ACE forces it open and sees that AMY's arms have been tied to her bed with stockings. AMY screams.

                  AMY
      Dad!

                  ACE
      What happened? What happened? Who 
      did this to you?

                  AMY
      Mommy.

                  ACE
      I'm gonna get a knife and cut you 
      loose, honey, I'll -

                  AMY
           (Panting)
      Oh, no, please, please.

She tries to keep him from leaving her.

                  ACE
           (Bending down, kisses 
           her)
      Okay, I'll be right back.

ACE cuts AMY loose with a knife.

                  ACE
      When did this happen, honey?

                  AMY
      I don't know.

She gets up and hugs her father.

                  ACE
      You don't know? What time did your 
      mother do this? When did she leave?

                  AMY
      I don't know.

                  ACE
           (Comforting AMY as 
           she moans)
      Ohhh...

He kisses her. They get up from the bed when the phone rings.

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

ACE walks to the phone.

                  ACE
           (Into telephone)
      Hello.

                  NICKY
           (Over telephone)
      Sammy.

                  ACE
           (Into telephone)
      Yeah, uh, who's this?

                  NICKY
      It's me.

                  ACE
           (Into telephone)
      Nick?

INT. LEANING TOWER - NIGHT

DOMINICK looks on as NICKY talks on the phone.

                  NICKY
           (Into telephone)
      Yeah, what are you doin'? You okay?

                  ACE
           (Over telephone)
      No, I'm not okay.

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

                  ACE
           (Into telephone)
      How'd you know I was here?

                  NICKY
           (Over telephone)
      Well...

INT. LEANING TOWER - NIGHT

DOMINICK and MARINO look on.

                  NICKY
           (Into telephone)
      ...uh, you know, I just wanted to 
      talk to you a minute.

                  ACE
           (Over telephone)
      Well...

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

                  ACE
           (Into telephone)
      ...Ginger's missing and she tied Amy 
      up and she locked her in her room. I 
      gotta find her. I don't know where 
      the hell she is.

INT. LEANING TOWER - NIGHT

                  NICKY
           (Into telephone)
      Yeah? Well, listen, Ginger's over 
      here at the Leaning Tower with me.

INT. ACE'S HOUSE, LIVING-ROOM - NIGHT

                  ACE
           (Into telephone)
      She's there with you?
           (Getting angry.)
      She's there with you?

                  NICKY
           (Over telephone)
      Yeah, she's here.

                  ACE
           (Into telephone)
      I'll be right there.

He hangs up and starts to leave.

INT. LEANING TOWER - NIGHT

                  NICKY
           (Into telephone)
      Uh, all right.

He hangs up and steps over to DOMINICK and MARINO.

                  NICKY
      He's comin' over.

                  DOMINICK
      Great!

INT. LEANING TOWER - NIGHT

High angle past the restaurant's neon sign to ACE's car screeching to a halt by the main entrance. He storms in.

INT. LEANING TOWER - NIGHT

ACE is stopped by NICKY in the foyer.

                  NICKY
           (Trying to calm him)
      Ace don't... listen, don't... don't 
      make a scene, all right?

                  ACE
      I want to just talk. I want to talk 
      to that Irish bitch.

                  NICKY
      She didn't know who to turn to.
           (Raising his hand 
           almost in a plea.)
      She... she didn't know where to turn. 
      She was tryin' to save your marriage.

                  ACE
      Yeah? Nicky, I want to talk to that 
      fuckin' bitch.

                  NICKY
           (Menacing)
      Hey, be fuckin' nice. Calm. Be nice. 
      Don't fuck up in here.

ACE pauses for a beat, realizing that NICKY is standing in his way and could be dangerous. ACE gives him a wide berth.

We follow ACE through the crowd to GINGER, seated in a booth. He sits down angrily across from her.)

                  GINGER
           (Stoned, smoking a 
           cigarette)
      Hi, Sam.

                  ACE
           (Quietly)
      I mean, you tie up our kid and you 
      lock the fuckin' door?  Are...

                  GINGER
      Oh...

                  ACE
      ...you out of your mind? That's our 
      child. Are you out of your fuckin' 
      mind?

                  GINGER
      It's just for a little while, Sam. 
      The baby-sitter wasn't there.

                  ACE
      I ought to fuckin' have you committed. 
      You fuckin' do that again,
           (pointing his finger 
           at her)
      I'll f-, I'll f-

                  GINGER
      She wasn't gonna get up. I was just 
      gonna be out for a little while.

                  ACE
      I should have -

                  GINGER
      I mean, she was asleep. I was going 
      to be right back before she even 
      woke up.

                  ACE
      Listen to me, listen to me, listen 
      to me.
           (Pounding his fist on 
           the table.)
      Listen, you fuckin' cunt.

                  GINGER
      Oh, sh-

                  ACE
      Listen to me.

                  GINGER
      Fuck you.

                  ACE
           (Knocking her drink 
           over)
      Let me tell you something.
           (Pointing.)
      Listen to me.

                  GINGER
      I w- I was gonna be back before she 
      woke up.

                  ACE
      You listen carefully! You ever fuckin' 
      touch her again, you ever do anything 
      like that again, I'll fuckin' kill 
      you.  Pure and simple. Do you hear 
      me? Pure and fuckin' simple, I'll 
      fuckin' kill you, you bitch.

                  GINGER
           (Leaning in to him)
      Why don't you just let me go, Sam?

                  ACE
      You fuckin' whore!

                  GINGER
      I'll sign anything you want me to 
      sign, okay?

                  ACE
      You understand? What? Let you go?

                  GINGER
      I just want the key to my jewelry, 
      and I want you to let me go.

                  ACE
      You want your jewelry?

                  GINGER
      I want you to let me go.

                  ACE
      And what? And let you disgrace me, 
      you fuckin' pig? And let you disgrace 
      me?  Get up. Get up and be a mother. 
      Get in the car and go to the house...

GINGER darts a look to NICKY who is at the bar, watching anxiously. He gestures with his head for her to leave.

                  ACE
      Right now. Get up and -

ACE notices her look at NICKY but when he turns to see what she's looking at, he just misses NICKY's gesture. ACE grabs GINGER by her collar.

                  ACE
      Get - Get up! Get up!

                  GINGER
      I wou- I wouldn't do that if I were 
      you.

                  ACE
      Get - get up!

                  GINGER
      I wouldn't do that...

                  ACE
      Get up! Get going!
           (Pushing the table.)
      Get up!

NICKY gestures to her again.

                  GINGER
      I wouldn't -

                  ACE
      Get the fu-
           (Shaking the table.)
      You threatening me?
           (Making a fist.)
      I'll fuckin' kill you in this place!
           (Pointing to her.)
      Get up and go home right now.

GINGER gets up and leans in to shout at ACE.

                  GINGER
           (Barking)
      I'm going. I'm going, you -!

She grabs her purse and leaves. Patrons stare as ACE follows her out.

INT. ACE'S HOUSE, FOYER - NIGHT

GINGER follows ACE through the door. As soon as she closes the door behind her, ACE turns to face her.

                  ACE
      Now you need approval from him to go 
      home?

                  GINGER
      So what? So who fuckin' blew you in 
      the parking lot before you came in... 
      huh?

                  ACE
           (Disgusted)
      You make me sick, you fuck. Once a 
      fuckin' hooker, always a hooker.

                  GINGER
      Oh, fuck you! Fuck you, Sam Rothstein!
           (Opening the door.)
      Fuck you!

A furious GINGER turns around and storms out, slamming the door.

INT. ACE'S HOUSE KITCHEN - NIGHT

Through the kitchen sliding glass door: GINGER's engine roars and tires screech as she tears away in her her sportscar. ACE dials the phone.

                  ACE
           (Into telephone)
      Yeah, Billy Sherbert, please. Put 
      him on.

                  SHERBERT
           (Over telephone)
      Who's this?

                  ACE
           (Into telephone)
      Yeah, Bill, listen, I'll explain to 
      you later. Just - You - You got a 
      gun at home? Yeah. Bring it over 
      here right away.

INT. JUBILATION NIGHTCLUB - NIGHT

SHERBERT is still at the discotheque.

                  SHERBERT
           (Into telephone)
      Okay. Just take it easy.

                  ACE
           (Over telephone)
      Right away. Okay?

                  SHERBERT
           (Into telephone)
      I-I'll do it.

INT. ACE'S KITCHEN - NIGHT

                  ACE
           (Into telephone)
      Okay.
           (He hangs up.)

EXT. LEANING TOWER - NIGHT

GINGER's car screeches into the parking lot and she jumps out, leaving her car oor open and engine running. A valet parker approaches.

                  GINGER
           (To VALET PARKER)
      Leave it where it is.

INT. LEANING TOWER, FOYER - NIGHT

GINGER bursts in. MARINO tries to calm her down.

                  GINGER
      Where is he? Goddamn it! I want that 
      Jew bastard killed! I have fuckin' 
      had it!

NICKY walks in from the restaurant.

                  MARINO
      Calm down, calm down. Shh!

                  NICKY
      Shh.
           (To MARINO.)
      Hide her car in the back!

He pulls her by her arm to a storage room upstairs.

                  GINGER
      There's no reason to hide my car. He 
      already knows! 
           (Walking up the stairs.)
      He threw it in my face! The second I 
      get out of here, I -

INT. LEANING TOWER, UPSTAIRS STORAGE ROOM - NIGHT

GINGER is enraged and panting.

                  NICKY
      What did I tell you? Supposing he 
      goes back home and makes a fuckin' 
      beef?  I gotta know exactly what you 
      said. Tell me what you said to him.

                  GINGER
      Me? I said... nothin'. I said, I 
      said, 'No, no, no.' Everything he 
      said, I just kept sayin' no.

                  NICKY
      I told you this was fuckin' dangerous. 
      Remember I said, 'Ginger, this is a 
      dangerous situation. Be very careful.' 
      You fuckin' yessed me to death.

                  GINGER
      If it's so fuckin' dangerous, then 
      why don't you kill him?

                  NICKY
      I'm not gonna kill him. Shut the 
      fuck up. What, do you know what you're 
      talkin' about? I'm not killing anyb-

                  GINGER
           (Interrupting)
      Oh, well, then, have him killed and 
      get it over with.

                  NICKY
           (Loud and angry)
      Hey, don't be such a fuckin' smartass, 
      will you?  I mean, I know the fuckin' 
      guy thirty-five years, I'm gonna 
      fuckin' whack him for you?  Fuck... 
      motherfucker! I knew this, I knew 
      it.

                  GINGER
      What about my money?

                  NICKY
           (Raising his voice 
           even more)
      How the fuck am I gonna get your 
      fuckin' money now? You think he's 
      gonna give you fuckin' money? Are 
      you out of your mind?!  Look what 
      you just did to this fuckin' guy!  
      If you would have just kept your 
      fuckin' mouth shut!
           (Walking away.)
      Ah, what the fuck is the use? I 
      should've never got invol-

GINGER screams and attacks NICKY.

                  NICKY
           (Grappling with her)
      What? Hey! Hey! What the fuck are 
      you... ?

NICKY slaps her roughly across the face, grabs the back her jacket and forcefully leads her to a stairway.

                  GINGER
      Ah, you fuck! You're such a fuckin' 
      asshole!

                  NICKY
      Get the fuck out of here. Get out! 
      Get the fuck out!

Shoves her down the stairs. GINGER yells and gasps on her way down.

                  MARINO (O.S.)
      (From bottom of stairway)
      Whoa. Calm down.

                  NICKY
           (Behind GINGER)
      Get out. Get out! Get out!

                  MARINO (O.S.)
      Take it easy!

                  NICKY
      Why'd I get involved with this fuckin' 
      nut in the first place? Get out!

                  MARINO
      You're gonna fuckin' kill her. Take 
      it easy.

                  NICKY
           (Pushing a sobbing 
           GINGER out the back 
           door)
      Get her the fuck out of here. Get 
      her out of here.

EXT. LEANING TOWER, BACK DOOR/REAR PARKING LOT - NIGHT

MARINO throws GINGER out the back door. She falls on her side, crying.

                  NICKY
      Get the fuck out of here.

                  GINGER
           (Sobbing, getting up)
      I don't need you! I have my own 
      fuckin' money!

                  NICKY
      All right, all right.

She stumbles to her car.

                  GINGER
      I'm going' to the FBI! I'm not scared 
      anymore!

                  NICKY
      All right. Be careful.

                  GINGER
      You fucked with me for the last time!

                  NICKY
      Okay, yeah.

INT. LEANING TOWER, BACK DOOR - NIGHT

NICKY and MARINO are seated at the back door watching GINGER screech out of the parking lot.

                  NICKY
      Be careful.
           (To MARINO.)
      Hey, come on. Get inside.

They turn and walk back inside. MARINO leans on a wall next to the kitchen.

NICKY has scratches on his hand and face.

                  NICKY
      Can you fuckin' believe that?
           (Showing MARINO his 
           scratches.)
      Look at this motherfucker.

NICKY sits on the bottom step across from MARINO, who sighs. Cooks mill around in the background.

                  NICKY
      I fucked up, Frankie. I fucked up 
      good this time. Should have never 
      started with this fuckin' broad.

                  MARINO
      Take it easy. What could you do? I 
      mean, she threw herself at you, right?

                  NICKY
      I'm in a bad fuckin' spot here. You 
      know that? Bad fuckin' spot.

He puts his head in his hands.

INT. ACE'S HOUSE, KITCHEN - NIGHT

We see SHERBERT approach the sliding glass door holding a shotgun. ACE lets him in, locks the door and grabs the gun from him.

EXT. ACE'S HOUSE, LIVING-ROOM - NIGHT

Through the sliding patio doors, we see ACE and SHERBERT making sure all the doors are locked and the lights are turned off.

                  ACE (V.O.)
      I already left the kid with neighbors 
      and I had about a million in cash 
      and jewels that I gave to Sherbert 
      to lock up in the hotel.

                  ACE (O.S.)
           (From following scene)
      Put this in the...

INT. ACE'S HOUSE - NIGHT

ACE leads SHERBERT to the front door as he stuffs a shoebox filled with cash and jewels in a bag and hands it over to him.

                  ACE
      ...hotel safe, then I want you to 
      come right back. 

ACE shuts the down behind him and switches off a light. The room goes black.

EXT. ACE'S HOUSE - MORNING

A crisp, sunny morning. SHERBERT's car is parked on the street in front of the house.

INT. ACE'S HOUSE, UPSTAIRS DEN - MORNING

An exhausted ACE, in his robe, and SHERBERT are seated across from each other at the bar with the shotgun displayed prominently on the counter between them.

EXT. NEIGHBORHOOD STREET, ACE'S HOUSE - MORNING

Camera pans with GINGER's car as it approaches the driveway and crashes into the back of ACE's parked car.

INT. ACE'S HOUSE, UPSTAIRS DEN - MORNING

ACE and SHERBERT react to the noise. SHERBERT grabs the shotgun. ACE looks out the window at GINGER ramming her car into his.

                  ACE
      She, she's alone. Just go. Take the 
      gun and go into Amy's.

                  GINGER (O.S.)
           (Screaming)
      You get down here!

                  ACE
           (To SHERBERT as he 
           walks around the bar 
           with the gun)
      Just wait there for me!

                  GINGER
           (From driveway)
      Get down here and talk to me, goddamn 
      it! Don't fuckin' ignore me! You 
      motherfucker!

SHERBERT exits. ACE runs over to the stairs and starts down them.

EXT. ACE'S HOUSE - MORNING

GINGER repeatedly smashes into ACE's car.

                  GINGER
           (From her car)
      I mean it!

ACE emerges from the front door, taking cover behind a brick column.

                  GINGER
      You come down here right now! Come 
      down here and talk to me, goddamn 
      it! Fuck you! Goddamn you, come out 
      here!  I'm gonna drive this fucking 
      car through the living-room!

She starts to drive it across the lawn. ACE darts back towards the front door. GINGER's car stops in front of the porch.

                  GINGER
           (Getting out of the 
           car to confront ACE)
      You fucking coward! You motherfucker!

She slips and falls on the lawn.

                  GINGER
      You come out here and talk to me, 
      you fucker!

                  ACE
           (From the porch)
      Will you stop it? You're drunk, you're 
      on drugs. You're gonna -

                  GINGER
      I am not!

                  ACE
           (Pointing to her)
      You're gonna be sorry if you don't 
      stop that.

                  GINGER
      Don't you threaten me!

                  ACE
      You'll wake the whole neighborhood!

                  GINGER
           (Kicking the hedges)
      Don't you threaten me!

EXT. NEIGHBOR'S HOUSE ACROSS THE STREET - MORNING

A female neighbor walks out of her house. A man from the house next door does the same. We see AMY watching from the neighbor's window.

                  GINGER (O.S.)
      You are not threatening me anymore!

                  ACE (O.S.)
      I'm not -

EXT. ACE'S HOUSE - MORNING

GINGER is bending down, breaking off branches from some plants and throwing them at ACE.

                  GINGER
      You fuck! You fuck! I'm sick of you!

ACE flinches as a handful of leaves hits his face.

                  GINGER
      I am fuckin' Nicky Santoro! I am! 
      He's my new sponsor!

ACE gestures towards the neighbors who are watching. A squad car pulls into the driveway.

                  GINGER
           (To ACE)
      What about that, you fuckhead?!
           (To neighbors.)
      What are you looking at? Fuck off!

Two COPS walk up the driveway towards GINGER.

                  COP #1
      Hey!

                  COP #2
      Hey!

                  GINGER
           (To neighbors)
      Go back inside! This is none of your 
      business!
           (To ACE.)
      I don't have to take your shit all 
      the time anymore.

                  COP #1
      Hey.

                  GINGER
      I'll to the FBI!

                  COP #2
      Mrs. Rothstein, hey.

                  GINGER
      I will go to the police! I am not
           (kicking hedge)
      Protecting you anymore, you fuck!

                  COP #1
      Mrs Ro- Mrs Rothstein! Okay, shh!

                  GINGER
      He won't...

EXT. FBI SURVEILLANCE CAMPER - MORNING

An FBI AGENT is parked down the block, photographing the scene through a long-lens camera.

                  GINGER (O.S.)
      ...let me inside!

INT. FBI SURVEILLANCE CAMPER - MORNING

On the FBI AGENT and his camera as he photographs the scene.

                  GINGER (O.S.)
      He won't let me in my own house!

EXT. ACE'S HOUSE - MORNING

FREEZE FRAME: COP #1 TUGGING AT GINGER'S JACKET.

UNFREEZE: LIVE ACTION CONTINUES AS SHE PULLS AWAY FROM HIM.

                  COP #1
      Mr Rothstein. Mr Rothstein, I'm sorry. 
      We've got some complaints about - 
      about the noise.

                  GINGER
      I'm just trying to get in my house!

                  COP #1
      I understand.

                  GINGER
      He won't let me go in my house!

                  ACE
      I won't let her in. I'm sorry, Randy, 
      I'm not gonna let her in. She - Well, 
      I'm not gonna let her in, the way 
      she's behaving. I'm - I'm -

                  GINGER
      Not gonna let me in?

                  ACE
      Who knows what you're gonna do in 
      there? I don't want you -

                  GINGER
      What do you mean, what am I gonna 
      do? I'm in the same clothes for two 
      days! I want to get a few of my 
      things! Big deal!

                  COP #1
      All right. Okay, okay.

                  COP #2
      Mr Rothstein, why don't we just let 
      her in the house and get a few of 
      her things?  That way she'll get out 
      of here. This is half her house 
      anyway.

                  ACE
      I'm afraid to let her in the house.

                  GINGER
      Oh, you are...

                  ACE
      I'm afraid she's gonna destroy stuff.

                  GINGER
           (Kicking, pulling up 
           plants and throwing 
           them at ACE)
      Let me in the house! Fucker!

COP #1 holds her back.

                  GINGER
      Fucker!

                  COP #1
      Please.

                  ACE
      Should I let her in like - ?

                  GINGER
      You ought to be afraid, the way you 
      fuckin' treat me!

                  COP #1
      Hey, Mr Rothstein, it'll make it a 
      lot easier on everybody here if we 
      just let her in the house.

                  COP #2
      If we let her get a few of her things 
      we'll be out of your hair.

                  ACE
      If she calms down, I will let her in 
      the house.

                  GINGER
           (Pants, yelling)
      I am calm!

                  ACE
      If she calms down...

                  COP #1
           (To GINGER)
      No, you're not calm.

                  ACE
      ...I will let her in the house for 
      five minutes if you gentlemen will 
      escort her out if she happens not to 
      want to leave. Because I don't - I -

                  GINGER
           (To COP #1)
      Can I go in?

                  COP #1
      That's not a problem, that's not a p-

                  GINGER
      Can I go in?

                  COP #1
      Jeff, would you go in with her?

GINGER walks towards the front door.

                  COP #2
      We can do that. Absolutely. Yes. 
      Absolutely.

                  GINGER
      Yes, fine!  Fine!
           (In ACE's face as she 
           brushes past him.)
      Fuck you!

EXT. FBI SURVEILLANCE CAMPER - MORNING

The FBI AGENT taking photographs.

We see a series of surveillance photos of GINGER, ACE and the COPS on the front lawn.

EXT. NEIGHBOR'S WINDOWS - MORNING

AMY is watching her parents and the COPS across the street, until the housekeeper pulls her away into the house.

                  GINGER (O.S.)
           (From following scene)
      You wouldn't believe how mean he's 
      been to me. He's locked up...

INT. ACE'S HOUSE, UPSTAIRS DEN - MORNING

GINGER races up the stairs, trailed by COP #2.

                  GINGER
      ...most of my important stuff, all 
      my papers and things. And I have to 
      get 'em.

She walks across the room to ACE's desk.

                  GINGER
      So don't let him come in here 'cause 
      I know they're in here in the desk 
      and he's -

She tries to open the middle drawer but it's locked.

                  GINGER
      Fuck!
           (Going through a couple 
           of drawers.)
      Just pay attention. He could come up 
      here at any time.
           (Pants.)

She spots a pair of scissors on the desk. She tries to open the drawer with them.

                  GINGER
           (Then, to COP #2)
      Are you watching for him?

She finally pries the drawer open, breaking the tip of the scissors. GINGER's hands open the drawer and she picks up the safe deposit keys.

                  GINGER
      Got 'em.

FREEZE FRAME ON THE GLIMMERING KEYS.

EXT. ACE'S HOUSE - MORNING

ACE and COP #1 are on the front porch talking.

                  ACE
           (Smoking, checking 
           his watch)
      Yeah, I don't want her in there more 
      than a few more minutes.

                  COP #1
      No, it's - it'll just be a couple of 
      minutes. We got other things to do 
      too, you know. He'll hurry her up. 
      How's everything else besides this?

                  ACE
      Fine, fine. How's your family?

                  COP #1
      Not bad, not bad. In fact, uh, my 
      wife's pregnant again.

                  ACE
      Oh, good.

                  COP #1
      Yeah.

                  ACE
      Congratulations.

ACE shakes his hand.

                  COP #1
      Thanks, yeah... I'm kind of happy 
      about this, you know.

INT. ACE'S HOUSE, BEDROOM CLOSET - MORNING

GINGER runs into the closet, bending down to search through the shoe boxes that usually contain money but are now empty.

                  GINGER
           (Kneeling, to COP #2)
      I just have to get this one more 
      thing and then we'll be - We can go.
           (She picks up an empty 
           shoe box.)
      Shit!
           (Gets up, picking up 
           a pair of ACE's shoes 
           and tossing them on 
           the floor.)
      God, fuck! Shit! God!
           (She runs out, taking 
           a fur coat off a 
           hangar. Then, grunting)
      Really pisses me off... 
           (To COP #2.)
      Don't worry about it.

COP #2 follows her out of the closet.

EXT. ACE'S HOUSE - MORNING

ACE, COP #1 and several neighbors wait as GINGER storms out with COP #2 carrying a small overnight bag.

                  GINGER
           (To the COPS but 
           looking at ACE)
      And it would be great if you guys 
      could follow me out of here, because 
      he's been threatening me.

GINGER walks to her car.

                  COP #2
           (To COP #1)
      Come on. I'm sorry.

                  COP #1
      Okay.

                  ACE
           (to COP #1, shaking 
           hands)
      Okay, Randy. Thank you.

                  COP #1
      All right, take care.

GINGER backs her car out, smashing into ACE's car once again.

EXT. ACE'S HOUSE, KITCHEN WINDOWS - MORNING

SHERBERT watches from a small, curtained window.

EXT. NEIGHBORHOOD STREET - MORNING

GINGER drives down the street followed by the police car. The FBI camper pulls out and follows the squad car following GINGER.

EXT. GINGER'S CAR - MORNING

GINGER is driving and crying.

                  GINGER
           (To herself, panting)
      I can't believe this.
           (Sighs.)

EXT. VEGAS BANK - MORNING

GINGER swerves into the bank, parks in front of the main entrance and gets out of her car. The COPS park behind her.

                  GINGER
           (To COPS, rushing 
           inside)
      I just need to pick up a little cash 
      inside.  Could you come with me?

EXT. FBI SURVEILLANCE CAR, ACROSS THE STREET - MORNING

Two more FBI AGENTS, with binoculars and a camera, photograph GINGER as she walks into the bank.

INT. VEGAS BANK VAULT - MORNING

A bank employee is helping GINGER unlock a safe deposit box. She pulls it out hurriedly.

INT. ACE'S HOUSE, UPSTAIRS DEN - MORNING

ACE is on the phone talking to CHARLIE CLARK. He's looking at the jimmied rawer, broken scissors and the missing keys.

                  ACE
           (Into telephone, 
           throwing the scissors 
           into the open drawer)
      Charlie, you've gotta - you've gotta 
      stop her!

                  CHARLIE CLARK
           (Over telephone)
      I-I'm sorry, Sam.

                  ACE
           (Into telephone)
      You've got to stop her.

                  CHARLIE CLARK
           (Over telephone)
      What can I do?

                  ACE
           (Into telephone)
      She's a fuckin' junkie. She's out of 
      her fucking mind.  Do you unders-

SHERBERT is behind ACE, listening.

                  CHARLIE CLARK
           (Over telephone)
      She has...

INT. VEGAS BANK - MORNING

CHARLIE CLARK is on the phone. GINGER, in the background, comes out of the vault and carries one of her boxes to a cubicle.

                  CHARLIE CLARK
           (Into telephone)
      ...the keys, and it's still in both 
      your names.

                  GINGER
           (Carrying the box, 
           slipping but catching 
           herself)
      Whoa.

                  CHARLIE CLARK
           (Into telephone)
      I'm sorry, there's nothing I can do. 
      I'd like to help...

INT. ACE'S HOUSE, UPSTAIRS DEN - MORNING

                  CHARLIE CLARK
           (Over telephone)
      ...but I can't.

                  ACE
           (Into telephone)
      Legally, she can't take that stuff. 
      Legally, she can't take the stuff.

                  CHARLIE CLARK
           (Over telephone)
      No, Ace.

                  ACE
           (Into telephone)
      Half of everything is mine.

                  CHARLIE CLARK
           (Over telephone)
      Ace, listen to me.

                  ACE
           (Into telephone)
      Half - I'm comin' down.
           (He hangs up.)

EXT. ACE'S HOUSE, DRIVEWAY - MORNING

ACE and SHERBERT get into ACE's damaged car. A metal strip dangling from SHERBERT's door scrapes the pavement as they pull out.

INT. VEGAS BANK - DAY

GINGER opens the safe deposit box, which is filled with bound stacks of cash.

She grabs handfuls in a frenzy, some fall off the counter to the floor.

                  GINGER
      Shit! Oh, goddamn it!

GINGER gets down on the floor to pick them up.

                  GINGER
           (Then, to COPS who 
           are watching)
      Um, I'm gonna need a bag. If you 
      could just ask the guy for a big 
      bag, okay?

                  COP #1
           (To COP #2)
      Go get a bag, man.

                  GINGER
           (Looking up, offering 
           COP #1 some cash)
      And here. Here.

                  COP #1
      Lady, I can't. I can't. I ca-

COP #2 exits.

                  GINGER
      No, you can, you can.
           (Sobbing.)
      You've been so nice to me.

                  COP #1
           (Taking the money)
      I can't.

INT. VEGAS BANK - MORNING, A LITTLE LATER

COP #2 holds open a large canvas bag for GINGER.

                  COP #2
           (To GINGER)
      Like this?

                  GINGER
           (Struggling with two 
           handfuls of cash)
      Yeah, just hold the top open, all 
      right, and I can -

She starts to stuff the money in the bag.

EXT. FBI SURVEILLANCE CAR, ACROSS THE STREET - MORNING

The FBI AGENTS photograph GINGER leaving the bank.

EXT. VEGAS BANK - DAY

GINGER throws the canvas bag into the trunk of her car when, suddenly, she sees ACE's beat-up Cadillac approaching. She gasps.

                  GINGER
      Oh, God. It's him.
           (To COPS.)
      You have to stop him. You have to - 
      'Cause he said he was going to kill 
      me.

ACE jumps out of his car and runs toward GINGER, SHERBERT follows him out.

ACE is intercepted by the COPS who hold him back.

                  GINGER
      You just - Just stop him.

                  COP #1
      Mr Ro- Mr Roth- Mr Rothstein, where 
      you goin' -

                  ACE
      Stop -

                  COP #1
      Wait, hold on a second.

                  ACE
      Hey!

                  COP #1
      Hold on a second.

The COPS huddle around ACE and SHERBERT until GINGER's car pulls out of the bank.

                  COP #1
      Nothin' we can do about it. Nothin' 
      we can do. There's nothin' we can 
      do.

ACE, unable to pursue, watches GINGER speed away.

                  ACE
      Look, look. You can't stop her for 
      speeding? I mean, look what the hell 
      she's doing.

                  COP #1
      Speeding?

                  COP #2
      We're talkin' to you right now.

GINGER's car disappears into traffic. The FBI car across the street follows right behind her.

                  COP #2
      There's nothing we can do. She had 
      the key.

                  COP #1
      She's on the account. There's nothing 
      we can do.

EXT. FBI SURVEILLANCE CAR - MORNING

The AGENTS are following GINGER.

                  FBI AGENT #1
      Let's pull her over at that Citgo 
      Station.

                  FBI AGENT #2
           (Driving)
      Okay, let's do it.

FBI AGENT #1 puts a siren on top of the car's roof.

EXT. VEGAS STREET, CITGO STATION - MORNING

GINGER pulls over at a gas station, the FBI car with siren blaring right behind her.

EXT. VEGAS BANK - MORNING

A powerless ACE and SHERBERT are still standing in front of the bank with the COPS. COP #2 gives ACE a 'sorry' gesture.

EXT. CITGO STATION - MORNING

GINGER and the FBI AGENTS are standing by her car. She is distraught.

                  FBI AGENT #2
      We're - we're placing you under arrest 
      for -

                  GINGER
           (Sobbing)
      For what?

                  FBI AGENT #2
      We're placing you under arrest for 
      aiding and abetting -

                  GINGER
           (Through tears)
      What?

                  FBI AGENT #2
      We're placing you under arrest for 
      aiding and abetting a -

                  GINGER
           (Crying)
      But I'm just trying to leave.

                  ACE (V.O.)
      After all the threats and all the 
      bullshit, it turned out Ginger didn't 
      tell 'em anything. But by then, the 
      Feds didn't need her, anyway.

                  GINGER
           (Sobbing)
      But it was just mine.

                  ACE (V.O.)
      They had all the pieces they needed.

                  FBI AGENT #1
      Come on.

                  GINGER
      But I didn't do anything.

The AGENTS escort GINGER to their car.

                  ACE (V.O.)
      And everybody...

EXT. GOLD RUSH - NIGHT

Twelve FBI AGENTS with rifles, wearing 'FBI' armbands, charge into the parking lot and rush through the front door.

                  ACE (V.O.)
      ...began to tumble.

                  FBI AGENT #3
      FBI! We have a warrant!

                  ACE (V.O.)
      ...one after the other... just like 
      dominoes. Between Piscano complaining 
      on a wire.

EXT. GOLD RUSH - NIGHT, A LITTLE LATER

The FBI AGENTS escort DOMINICK, HARDY, FUSCO and MARINO out of the front of the shop.

                  ACE (V.O.)
      Between Nicky, Ginger, me and my 
      license... paradise... we managed to 
      really fuck it all up.

INT. NICKY'S HOUSE - NIGHT

We hear a doorbell ring. LITTLE NICKY, now ten years old, see FBI AGENTS approaching the house.

                  LITTLE NICKY
           (Getting up from the 
           couch)
      Mom!

                  JENNIFER (O.S.)
           (Into telephone)
      Yeah, well, someone's at the fuckin' 
      door now.

Jennifer's cousin opens the door; seven AGENTS storm in.

                  FBI AGENT #4
      FBI. We have a federal search warrant.

                  NICKY (V.O.)
      Right away, I got wind of the pinches 
      comin' down, so I took off. Who needs 
      to hang around for that bullshit?

                  FBI AGENT #4
           (To JENNIFER, showing 
           his badge)
      My name is Marc Caspar, Special Agent, 
      FBI.

                  JENNIFER
           (Defensive)
      Yeah, well,
           (grabbing the phone 
           and walking away)
      Can I make a fuckin' phone call?

                  FBI AGENT #4
           (Blocking her way as 
           she tries to get by 
           him)
      Hey, ho-hold it for a minute. You 
      can make a phone call, but you don't 
      have to talk to us like that.

                  JENNIFER
           (Slamming the phone 
           down on a table)
      Hey -

INT. TANGIERS CASHIER'S CAGE - DAY

NANCE is talking to a cashier behind the cage when FBI AGENTS with Gaming Board investigators DUPREY and AUSTIN enter the casino.

                  FBI AGENT #5
      FBI! Don't be alarmed.

NANCE rushes out a back door.

                  NICKY (V.O.)
      But they got almost everybody else.

                  FBI AGENT #5
      This area is seized.

                  DUPREY
      Grab everything in sight.

                  FBI AGENT #6
      Right.

                  DUPREY
           (Walking through a 
           door into the cage)
      Get the master account list!

                  AUSTIN
      I want all those papers seized, 
      regardless of what they are.

As AUSTIN and the others make their way into the soft count room, an AGENT puts up a yellow crime banner across the front of the cashier's window.

                  AUSTIN
      I want this area off-limits to 
      everybody.

INT. TANGIERS SOFT COUNT ROOM - DAY

The counters look on as several AGENTS seize the money boxes and stacks of cash from the glass table. DUPREY sifts through the Count Room Executive's notebook.

AUSTIN is at a cabinet looking through a ledger.

                  AUSTIN
           (Holding the book)
      Ah, yes, here we are. A little craps 
      figures.  [Actual amount taken from 
      craps tables before the skim.] Hey - 
      Hey.

                  ACE (V.O.)
      Green?

INT. GREEN'S MALIBU HOUSE - NIGHT

GREEN, wearing a tennis outfit and holding a racquet, is being questioned by FBI AGENT #8 who's showing him confiscated papers. Several AGENTS are searching the house.

                  ACE (V.O.)
      Don't even ask.

                  FBI AGENT #8
      Thirty thousand dollars...

                  GREEN
      No, he didn't. And that's why it 
      wasn't valid. I was being extorted, 
      all right?  I'm willing to tell you 
      whatever you want to know. I've got 
      nothin' to hide here.

                  NICKY (V.O.)
      Now, for the best...

INT. PISCANO'S HOUSE, LIVING-ROOM, KANSAS CITY - DAY

FBI AGENT #9 removes some ledgers from a a filing cabinet.

                  NICKY (V.O.)
      ...and I couldn't believe this shit. 
      Piscano's expense reports took the 
      cake.

AGENTS are wandering around the house, looking for evidence.

                  FBI AGENT #9
      Oh, this is good. Bingo!

                  NICKY (V.O.)
      He might as well have given them a 
      fuckin' blueprint.  Everybody's names, 
      address, dates, everything.

                  FBI AGENT #9
           (Crossing the room to 
           PISCANO)
      Look at this! That you so much, Mr 
      Piscano. How considerate of you. 
      Appreciate it.

                  PISCANO
      Those are my m- those are my mother's 
      books.

                  FBI AGENT #10
      You're under arrest.

                  NICKY (V.O.)
      What a fuckin' balloon head.

PISCANO gets more and more agitated as FBI AGENT #10 gets one cuff on him.

                  PISCANO
      What are you guys doin'?!

PISCANO gasps and clutches his chest, having a heart attack. The AGENT drops the cuffs and tries to help PISCANO as he collapses onto the floor.

                  FBI AGENT #10
      Take it easy, Artie. We just want to 
      talk to you.

PISCANO'S WIFE and the FBI AGENTS kneel down beside him.

                  PISCANO'S WIFE
           (Screaming)
      Artie, are you okay? Sweetheart? 
      Honey? Wait a minute! He's sick! 
      Artie! Oh, God!

She continues to scream as the AGENTS try to revive him.

                  FBI AGENT #10
           (To PISCANO's wife)
      Move back! Come on!

                  FBI AGENT #9
      Dave!

                  PISCANO'S WIFE
      He's sick! It's his heart!

                  FBI AGENT #9
      CPR! Now!

                  PISCANO'S WIFE
      Oh, God, is he breathing? He's not 
      breathing!

An FBI AGENT gives him mouth-to-mouth.

                  ACE (V.O.)
      Poor Artie. He got so upset he had a 
      heart attack and dropped dead right 
      there in front of his wife.

FBI AGENTS #9 and #10 restrain PISCANO'S hysterical WIFE.

                  PISCANO'S WIFE
      Artie!

                  FBI AGENT #10
      Calm down! Calm down!

                  PISCANO'S WIFE
      No, I won't calm down! He's my 
      husband!

                  FBI AGENT #10
      Stay out of the way!

                  PISCANO'S WIFE
      Artie! Artie!

                  FBI AGENT #10
      We can't help him if -

EXT. ACE'S HOUSE - DAY

ACE opens his front door and is confronted by two FBI AGENTS. He is shown pictures of NICKY and GINGER at the construction site.

                  ACE (V.O.)
           (Quietly)
      And at the end of the day, they 
      finally came to see me with the 
      pictures.

                  FBI AGENT #1
           (Pointing to the 
           pictures)
      Why protect a friend who betrayed 
      you like that?

                  ACE (V.O.)
      But I didn't want to look at 'em. I 
      didn't want to look at the guys who 
      brought 'em either.

ACE refuses to look at the photos and quietly closes the door on the AGENTS.

INT. FEDERAL COURT-HOUSE - DAY

GAGGI, FORLANO, BORELLI and CAPELLI are all in court. FORLANO and CAPELLI are breathing through masks and oxygen tanks with nearby doctors and nurses. GAGGI

has a cane in front of him. Several court spectators look on. We hear the bosses' lawyer speak.

                  LAWYER
      Your Honor, as you can see, my clients 
      are elderly and infirm. Any 
      incarceration could pose a serious 
      health risk. They are no danger to 
      the community and they pose no flight 
      risk.

                  NICKY (V.O.)
      When the bosses were arrested, some 
      of 'em were so old they needed doctors 
      at their arraignment.

                  LAWYER
      And Pre-trial Services recommends 
      that bail remain as presently set.

                  JUDGE
           (Calling a recess)
      We're going to take a ten-minute 
      recess.

The JUDGE pounds his gavel.

                  NICKY (V.O.)
      And when it looked like they could 
      get twenty-five years... 

The BOSSES, their nurses and lawyer file through a side court door.

                  NICKY (V.O.)
      ...to life in prison, just for 
      skimmin' a casino... sick or no 
      fuckin' sick, you knew people were 
      gonna get clipped. So, the day of 
      the arraignment, they had this meeting 
      right in the back of the court-house.

INT. COURT-HOUSE CONFERENCE ROOM - DAY

The BOSSES are gathered around a conference table as the lawyers and nurses silently walk out the door as if on cue.

                  NICKY (V.O.)
      See, when something like this happens, 
      you know how things are gonna work 
      out. It's always better with no 
      witnesses. So, what about Andy?

THE CAMERA PANS FROM ONE BOSS TO THE OTHER.

                  FORLANO
           (Putting down his 
           oxygen mask once the 
           door behind him is 
           shut)
      He won't talk. Stone is a good kid. 
      Stand-up guy, just like his old man. 
      That's the way I see it.

                  BORELLI
      I agree. He's solid. A fuckin' Marine.

                  CAPELLI
           (Holding his oxygen 
           mask)
      He's okay. He always was. Remo, what 
      do you think?

                  GAGGI
           (Pause)
      Look... why take a chance? At least, 
      that's the way I feel about it.

EXT. BACK HOME RESTAURANT, STRIP MALL PARKING LOT - DAY

ANDY STONE and his LAWYER are walking toward their car.

                  STONE
      You call Artie... and you tell him I 
      don't care what, he's gotta be in my 
      office Thursday morning before eleven 
      o'clock.

                  LAWYER
      It's done.

His LAWYER veers to the left, walking away from STONE who keeps talking.

                  LAWYER (O.S.)
      It's done.

                  STONE
           (To himself)
      It's terribly important. I gotta 
      have a conversation with this guy. 
      That's all.

GAGGI's men, CURLY and BEEPER, appear from behind STONE and shoot him dead.

They empty their silent half-load rounds into STONE even after he's down on the snowy ground. They walk away discreetly, leaving him partially hidden between cars.

                  NICKY (V.O.)
      As much as they liked him, I mean, 
      he wasn't one of us. He wasn't 
      Italian. As far as they knew, he 
      could have talked. Otherwise, Stony 
      might still be alive.

MONTAGE OF MURDERS:

EXT. NANCE'S COSTA RICAN HOUSE - DAY

TITLE IN: COSTA RICA

The camera moves down a waterfall to reveal NANCE's Spanish- style house.

                  NICKY (V.O.)
      The first one to skip was John Nance. 
      He found a nice, warm secluded place 
      in Costa Rica. He thought nobody 
      would find him there.

Several gunshots are heard. NANCE emerges from the house through a door and runs along a verandah to another door. He breaks a pane of glass, unlocks another door and runs in.
BEEPER emerges from the first door and follows him back into the house. Several more shots are heard. NANCE emerges from yet another door, only this time he's been shot in the stomach. He painfully staggers away from the hitmen.

                  NICKY (V.O.)
      But, then, his kid got nabbed by the 
      Feds for drugs, and so naturally the 
      bosses were afraid he'd come out of 
      hidin' just to save his kid and give 
      'em all up.  So...

CURLY and BEEPER come out of the house and approach NANCE from behind.

                  CURLY
      Hey, where you goin', jag-off?

NANCE kneels down. CURLY points his gun expertly at the top of NANCE's head and fires. Blood splatters from NANCE's mouth and he falls to the ground. The gunmen walk away.

                  NICKY (V.O.)
      But anyway, they, you know, they all 
      had to follow.

EXT. HOLE IN THE DESERT - DUSK

A bound COUNT ROOM EXEC and a CLERK are kneeling next to a large pit in the esert ground in front of BEEPER and CURLY.

                  NICKY (V.O.)
      Everybody went down.

The CLERK groans as he's shot in the head by BEEPER. Blood splatters and he falls right into the pre-dug hole.

                  COUNT ROOM EXEC
      Go ahead, fuck...

                  CURLY
      Fuck you.

CURLY shoots the EXEC in the head, he too falls backward into the pit. The gunmen fire more rounds into the bodies, then toss their guns into the hole.

                  NICKY (V.O.)
      Before you knew it...

EXT. PARKING LOT - NIGHT

RICHIE, a sharply dressed Tangiers EXEC, is getting into his new Lincoln.

                  NICKY (V.O.)
      ...anybody who knew anything wound 
      up gettin' whacked.

CURLY sneaks up from behind and hits the EXEC with a lead pipe. He puts a plastic bag over his head and begins to choke him to death. The EXEC struggles a bit but the bag soon fills with blood. CURLY strikes him with the pipe one last time.

INT. BEVERLY SUNSET MOTEL - NIGHT

The camera pans away from an empty registration desk to a motel corridor.

                  GINGER (O.S.)
           (Gasping)
      Oh! Oh, no!  No...

The camera moves past several rooms along a cinder block wall.

                  ACE (V.O.)
      After Ginger took off, she wasn't 
      much help to anybody. She found some 
      pimps, low-lifes, druggies and bikers 
      in LA. And in a few months, they 
      went through all the money and all 
      the jewels.

Suddenly, a door opens and GINGER overdosing, staggers into the hall looking for help. She gasps, goes halfway down the seedy corridor towards the desk, but collapses and dies.

FREEZE FRAME ON GINGER SPRAWLED OUT ON THE MOTEL CARPET.

                  ACE (V.O.)
      After they found her body... I had a 
      private doctor do another autopsy. 
      He said they gave her... a hot dose. 
      In the end... all she had left was 
      thirty-six hundred in mint-condition 
      coins.

END OF MONTAGE

EXT. TONY ROMA'S RESTAURANT PARKING LOT - DAY

ACE emerges from the restaurant, smoking a cigarette as in the first scene in the film. He gets into his car to start the ignition.

                  ACE (V.O.)
      No matter what the Feds or the papers 
      might have said about my car 
      bombing...

Flames surge from the windshield, concealing ACE behind the wheel.

FLASHBACK: EXT. TONY ROMA'S RESTAURANT PARKING LOT - DAY

The sign above him reads: 'Tony Roma's a Place for Ribs'. ACE is leaving the restaurant and walking to his car.

                  ACE (V.O.)
      ...it was amateur night, and you 
      could tell. Whoever it was, they put 
      the dynamite under the passenger 
      side. But what they didn't know, 
      what nobody outside the factory knew, 
      was that that model car was made 
      with a metal plate under the driver's 
      seat. It's the only thing that saved 
      my life.

ACE opens his car door and gets in.

INT. ACE'S CAR, TONY ROMA'S RESTAURANT PARKING LOT - DAY

ACE turns on the ignition and we see two- and three-inch flames come out of the defroster vents. Everything goes silent as he is suddenly engulfed in flames.

The car explodes in flames two storeys high. The screen fills with the rising explosion of smoke and fire.

                  ACE (V.O.)
      The bombing was never authorized, 
      but I suspect I know who lit the 
      fuse.

EXT. MIDWEST CORNFIELD - DAY

NICKY, DOMINICK and MARINO get out of a car on a farm road for a meeting. FAT SALLY, a heavy-set wiseguy, is already there.

                  FAT SALLY (O.S.)
      Hey, Nicky.

                  ACE (V.O.)
      And so did the power that be.

                  NICKY
      Hey, Mikey, how's your hernia?

They shake hands.

                  FAT SALLY
      How you doin'?

MARINO approaches NICKY from behind.

                  NICKY (V.O.)
      It took months for...

FLASHBACK: EXT. MIDWEST CORNFIELD - DAY

NICKY's car drives up the farm road to meet his crew.

                  NICKY: (V.O.)
      ...everything to calm down, but 
      finally my guys got out on bail and 
      the bosses wanted me to send my 
      brother Dominick out to Vegas.  Always 
      the dollars, always the fuckin'...

NICKY, DOMINICK and MARINO get out of the car to greet FAT SALLY. HARDY, FUSCO and BEEPER are also waiting there, smiling.

                  NICKY (V.O.)
      ...dollars. I mean, it was still way 
      too hot for me to even go near Vegas, 
      so I set up a meeting with the guys 
      way out in the sticks. I didn't want 
      my brother to get fucked around.

NICKY shakes hands with SALLY. FUSCO walks up to say hello.

                  NICKY (V.O.)
      I mean, what's right is right. They 
      don't give a fuck about - urgghh!

MARINO hits NICKY in the back with a bat. FAT SALLY grabs him by the throat.

HARDY and BEEPER hold DOMINICK by the arms.

MARINO hits NICKY's legs with the bat.

                  FAT SALLY
      Huh? Come on, you fuckin' rat.

                  DOMINICK
      Fuck!  You...

FUSCO and FAT SALLY pin NICKY down and hold his face straight ahead, forcing him to watch his brother being beaten.

                  DOMINICK
           (To MARINO)
      ...rat motherfucker! You rat mother-

MARINO hits DOMINICK in the shoulder with the bat.

                  MARINO
      Tough guy! You and your f-
           (he strikes DOMINICK's 
           chest)
      Fuckin' brother!

                  DOMINICK
      Oh, you - !

NICKY tries to look away.

                  MARINO
      No more!

                  FAT SALLY
      Get him, Marino!

                  MARINO
           (Hitting DOMINICK 
           across the neck)
      You fuckin' scumbag!

The wiseguys hold NICKY's face so he has to see his brother.

                  MARINO
           (Lunging the bat into 
           DOMINICK's stomach)
      No more.

He swings the bat across his head, knocking DOMINICK on the ground.

                  NICKY
           (Still pinned, 
           screaming)
      Frankie!

                  MARINO
           (Looking at NICKY as 
           he strikes DOMINICK)
      No more! You see? Watch!

HARDY and BEEPER join MARINO. All three are beating DOMINICK with baseball bats.

                  NICKY
           (Held down by his 
           neck)
      Frankie! Frankie, you piece of shit!

                  MARINO
      Fuck you, you motherfuck!

The camera tilts down to DOMINICK's bloody face as the three continue to beat him to death.

                  NICKY
      Fuckin' punk, motherfucker! Piece of 
      shit!

NICKY tries to stand up but FAT SALLY and FUSCO keep him down.

                  MARINO
      No more fuckin' dirty work!

                  NICKY
           (Rolling over on his 
           back in pain)
      No, no, no, no!

                  MARINO
           (To HARDY and BEEPER)
      Take him out! Take this motherfucker 
      out!

They drag DOMINICK by his feet. MARINO swings at him with two bats as he's taken away into the cornfield.

EXT. MIDWEST CORNFIELD, GRAVE SITE - DAY, A LITTLE LATER

DOMINICK is battered and bloody. MARINO, HARDY and BEEPER stand over him, still swinging their bats.

NICKY is on his side, still held down by SALLY and FUSCO. His face is a little bloody.

                  NICKY
           (Whimpering, as they 
           beat DOMINICK)
      Dominick! Oh, Dominick. Oh, Dom.
      Frankie.
           (Pleading for his 
           brother's life.)
      Frankie, leave the kid alone. He's 
      still breathin'. He's still breathin'.  
      Leave him alone. Frankie.

MARINO swings two final blows to DOMINICK's head. NICKY looks away, sobbing.

                  MARINO
      All right. Strip him.

MARINO and his hoods remove DOMINICK's pants and shirt.

                  NICKY
           (Sobbing as they 
           undress his brother)
      No balls, you got no fuckin' balls. 
      Oh, Dominick. Oh, Dom.

NICKY sobs. They drag DOMINICK toward a freshly dug grave and toss his limp, barely conscious body into it.

                  NICKY
           (Crying quietly)
      Dominick.  Dominick.
           (Sobs.)
      Dominick.

NICKY looks up to MARINO. They share a look before MARINO swings his bat, striking NICKY's head.

FREEZE FRAME ON MARINO.

UNFREEZE - LIVE ACTION CONTINUES.

MARINO and his men start beating NICKY, who groans and spits blood as he is struck.

EXT. MIDWEST CORNFIELD, GRAVE SITE - DAY, A LITTLE LATER

NICKY is stripped down to his underwear. HARDY and FUSCO drag him to the grave and dump him over DOMINICK.

                  MARINO
      Come on, come on. Bury 'em.

MARINO and BEEPER look on as the other hoods begin the tedious work of tossing dirt on to the bodies, shovel by shovel, until they are covered up to their necks.

We see NICKY's face, bloodied and battered. He's still breathing and groaning.

                  ACE (V.O.)
      The word was out. The bosses had had 
      enough of Nicky. They had enough.  
      How much were they gonna take? So, 
      they made an example of him and his 
      brother. They buried them while they 
      were still breathing.

A full shovel of dirt lands upon NICKY's face and chest with a thud.

INT. ACE'S CAR, TONY ROMA'S RESTAURANT PARKING LOT - DUSK

ACE is engulfed in flames. His jacket catches fire. He opens the door and rolls out onto the pavement, barely escaping a smaller explosion. He lies on the floor as a ball of fire rises behind him. Two men pull him away from the car.

                  MAN #1
      Mister, you all right?

                  MAN #2
      Watch out, the -!

ACE watches as his car explodes in flames. Ashes and debris fall on ACE and the two men.

                  MAN #2
      Mister, you all right?

                  ACE
           (Dazed)
      Yeah.

                  ACE (V.O.)
      They had other ideas for me.

EXT. TONY ROMA'S RESTAURANT PARKING LOT - NIGHT

ACE is being wheeled to an ambulance on a stretcher. There are firemen and policemen in the background.

                  AMBULANCE DRIVER
           (As ACE is wheeled 
           into the rear of the 
           ambulance)
      You sure are lucky, mister.

ACE's face disappears into the ambulance.

FLASHBACK: EXT. TONY ROMA'S RESTAURANT PARKING LOT - DAY

ACE's car explodes.

Music in: J. S. Bach - 'St Matthew Passion'.

EXT. THE DUNES HOTEL AND CASINO - NIGHT

The casino is being leveled - actuality footage.

EXT. THE MGM GRAND HOTEL AND CASINO - NIGHT

The brand-new 5,000-room hotel with its entrance shaped like the MGM lion's head.

                  ACE (V.O.)
      The town will never be the same. 
      After the...

EXT. THE DUNES HOTEL AND CASINO - NIGHT

The hotel and casino implodes, filling the screen with fire and smoke.

                  ACE (V.O.)
      ...Tangiers, the big corporations 
      took it all over. Today it looks 
      like...

INT. CASINO - DAY

Slow motion of tourists walking into a casino looking like the living dead.

                  ACE (V.O.)
      ...Disneyland.

INT. TREASURE ISLAND HOTEL AND CASINO - NIGHT

A crowd gathers to watch a mock pirate ship sink in a tank.

                  ACE (V.O.)
      And while the kids play cardboard 
      pirates, Mommy and Daddy drop the 
      house payments and Junior's college 
      money...

EXT. THE DUNES HOTEL AND CASINO - NIGHT

The casino is destroyed floor by floor by explosions.

                  ACE (V.O.)
      ...on the poker slots.

EXT. THE EXCALIBUR HOTEL AND CASINO - NIGHT

Another 5,000 room hotel built like an Arthurian castle.

                  ACE (V.O.)
      In the old days, dealers knew your 
      name, what you drank, what you played. 
      Today, it's like checkin' into an 
      airport. And if you order room 
      service, you're lucky if you get it 
      by Thursday.

EXT. THE DUNES HOTEL AND CASINO - NIGHT

The casino marquee topples to the ground in flames.

                  ACE (V.O.)
      Today, it's all gone. You get a whale 
      show up with four million in a...

INT. CASINO - DAY

The living dead walk down a few steps, marveling at the huge casino.

                  ACE (V.O.)
      ...suitcase, and some twenty-five-
      year-old hotel school kid is gonna 
      want his Social Security Number.

EXT. THE DUNES HOTEL AND CASINO - NIGHT

The casino collapses into smoke and dust.

                  ACE (V.O.)
      After the Teamsters got...

EXT. THE MIRAGE HOTEL AND CASINO - NIGHT

A 4,000 room hotel with a 60-foot volcano out front. Tourists watch it belch smoke and flames.

                  ACE (V.O.)
      ...knocked out of the box, the 
      corporations tore down practically 
      every one of the old casinos. And 
      where did the money come from...

EXT. THE LUXOR HOTEL AND CASINO - NIGHT

A giant glass pyramid 30 stories high with a huge sphinx outside.

                  ACE (V.O.)
      ...to rebuild the pyramids?... Junk 
      bonds.

EXT. ACE'S SAN DIEGO LUXURY HOME - DAY

TITLE IN: SAN DIEGO

A house very much like ACE's house in Vegas, including the fact that it backs up on a golf course. We see ACE inside talking on the phone with a bookie.

                  ACE
           (Into telephone)
      Still not sure?

INT. ACE'S SAN DIEGO LUXURY HOME - DAY

An older, grayer ACE is alone in his living-room with TV sets, fax machines and multiple phone lines. He is surrounded by newspapers and files. He is very much the way we saw him during his earlier handicapping days.

                  RACE ANNOUNCER
           (From a television 
           set)
      They're off and running...

                  ACE
           (Into telephone)
      Probable, but may be questionable. 
      All right. Well, let me know as soon 
      as you can find out.

ACE sets his cordless phone down and jots a few notes on a racing form. A television set shows a football game in the background.

                  ACE (V.O.)
      But in the end, I wound up right 
      back where I started. I could still 
      pick winners, and I could still make 
      money for all kinds of people back 
      home. And why mess up a good thing? 
      And that's that.

He takes off his glasses, and gazes ahead.

FADE TO BLACK

zorton23   12/13/2021 8:55 PM   in Public    

 1  Platens www.reddit.com

chrisaldrich   4/30/2024 12:26 AM   in Public    
points 5 hours ago (0 children) For platens 83-98 Shore A depending on the amount of copies being typed. From personal experience though 83A is super soft and the slugs sink into it a bit too much, the sweet spot is around 87-90 Shore A imo. https://i.imgur.com/AAQ6cNx.j

via u/Pelicram at https://www.reddit.com/r/typewriters/comments/1cg6e3t/platens/

 2  Tame the Beast: Tips for Designing and Using Rubrics | Edutopia www.edutopia.org

islaubiles   4/1/2024 12:44 AM   in Public    
just too many columns? Pick the right amount so that the criteria flow logic

Challenge: is there a right amount? Is three or four too limiting? Is five too many? What is this sweet spot?

catherinedipatri   (edited 3/30/2024 9:04 PM) 3/30/2024 9:03 PM   in Public    
many columns. Perhaps there are just too many columns? Pick the right amount so that t

Question: Would you say there is a certain number of columns that is too much? What is the sweet spot?

 2  Paradise Lost: Book 5 milton.host.dartmouth.edu

trueloveh   2/19/2024 1:32 PM   in Public    
h' Eternal Father, and fulfilld All Justice: nor delaid the winged Saint After his charge receivd; but from among Thousand Celestial Ardors, where he stood Vaild with his gorgeous wings, up springing light [ 250 ] Flew through the midst of Heav'n; th' angelic Quires On each hand parting, to his speed gave way Through all th' Empyreal road; till at the Gate Of Heav'n arriv'd, the gate self-opend wide On golden Hinges turning, as by work [ 255 ] Divine the sov'ran Architect had fram'd. From hence, no cloud, or, to obstruct his sight, Starr interpos'd, however small he sees, Not unconform to other shining Globes, Earth and the Gard'n of God, with Cedars crownd [ 260 ] Above all Hills. As when by night the Glass Of Galileo, less assur'd, observes Imagind Lands and Regions in the Moon: Or Pilot from amidst the Cyclades Delos or Samos first appeering kenns [ 265 ] A cloudy spot. Down thither prone in flight He speeds, and through the vast Ethereal Skie Sailes between worlds and worlds, with steddie wing Now on the polar windes, then with quick Fann Winnows the buxom Air; till within soare [ 270 ] Of Towring Eagles, to all the Fowles he seems A Phœnix, gaz'd by all, as that sole Bird When to enshrine his reliques in the Sun's Bright Temple, to Ægyptian Theb's he flies. At once on th' Eastern cliff of Paradise [ 275 ] He lights, and to his proper shape returns A Seraph wingd; six wings he wore, to shade His lineaments Divine; the pair that clad Each shoulder broad, came mantling o're his brest With regal Ornament; the middle pair [ 280 ] Girt like a Starrie Zone his waste, and round Skirted his loines and thighes with downie Gold And colours dipt in Heav'n; the third his feet Shaddowd from either heele with featherd maile Skie-tinctur'd grain. Like Maia's son he stood, [ 285 ] And shook his Plumes, that Heav'nly fragrance filld The circuit wide. Strait knew him all the Bands Of Angels under watch; and to his state, And to his message high in honour rise; For on Som message high they guessd him bound. [ 290 ] Thir glittering Tents he passd, and now is come Into the blissful field, through Groves of Myrrhe, And flouring Odours, Cassia, Nard, and Balme; A Wilderness of sweets; for Nature here Wantond as in her prime, and plaid at will [ 295 ] Her Virgin Fancies, pouring forth more sweet, Wilde above Rule or Art; enormous bliss. Him through the spicie Forrest onward com Adam discernd, as in the dore he sat Of his coole Bowre, while now the mounted Sun [ 300 ] Shot down direct his fervid Raies, to warme Earths inmost womb, more warmth then Adam needs; And Eve within, due at her hour prepar'd For dinner savourie fruits, of taste to please True appetite, and not disrelish thirst [ 305 ] Of nectarous draughts between, from milkie stream, Berrie or Grape: to whom thus Adam call'd. Haste hither Eve, and worth t

the speaker is describing Raphael's flight from Heaven to the Garden of Eden. Raphael has just received his orders from God to warn Adam and Eve about Satan's deceit. The other Angels part to make a path for Raphael that leads to Heaven's Gate. Raphael then flies straight to the Garden of Eden, "From hence, no cloud, or, to obstruct his sight, / Star interpos'd" (5.258-59). Once he made it to the edges of Paradise, Raphael turns back into his regular form. The Angels watching Adam and Eve know that he is Raphael as soon as they see him, because he is dressed in gold and has six wings. He passes their tents and they all know that the message he carries is important. He finally reaches Adam and Eve at dinner time, and Eve has just finished preparing a meal.

trueloveh   2/13/2024 3:50 PM   in Public    
eetness, and they thus began. These are thy glorious works, Parent of good, Almightie, thine this universal Frame, Thus wondrous fair; thy self how wondrous then! [ 155 ] Unspeakable, who sitst above these Heavens To us invisible or dimly seen In these thy lowest works, yet these declare Thy goodness beyond thought, and Power Divine: Speak yee who best can tell, ye Sons of Light, [ 160 ] Angels, for yee behold him, and with songs And choral symphonies, Day without Night, Circle his Throne rejoycing, yee in Heav'n, On Earth joyn all ye Creatures to extoll Him first, him last, him midst, and without end. [ 165 ] Fairest of Starrs, last in the train of Night, If better thou belong not to the dawn, Sure pledge of day, that crownst the smiling Morn With thy bright Circlet, praise him in thy Spheare While day arises, that sweet hour of Prime. [ 170 ] Thou Sun, of this great World both Eye and Soule, Acknowledge him thy Greater, sound his praise In thy eternal course, both when thou climb'st, And when high Noon hast gaind, and when thou fallst. Moon, that now meetst the orient Sun, now fli'st [ 175 ] With the fixt Starrs, fixt in thir Orb that flies, And yee five other wandring Fires that move In mystic Dance not without Song, resound His praise, who out of Darkness call'd up Light. Aire, and ye Elements the eldest birth [ 180 ] Of Natures Womb, that in quaternion run Perpetual Circle, multiform; and mix And nourish all things, let your ceasless change Varie to our great Maker still new praise. Ye Mists and Exhalations that now rise [ 185 ] From Hill or steaming Lake, duskie or grey, Till the Sun paint your fleecie skirts with Gold, In honour to the Worlds great Author rise, Whether to deck with Clouds th' uncolourd skie, Or wet the thirstie Earth with falling showers, [ 190 ] Rising or falling still advance his praise. His praise ye Winds, that from four Quarters blow, Breathe soft or loud; and wave your tops, ye Pines, With every Plant, in sign of Worship wave. Fountains and yee, that warble, as ye flow, [ 195 ] Melodious murmurs, warbling tune his praise. Joyn voices all ye living Souls; ye Birds, That singing up to Heaven Gate ascend, Bear on your wings and in your notes his praise; Yee that in Waters glide, and yee that walk [ 200 ] The Earth, and stately tread, or lowly creep; Witness if I be silent, Morn or Eeven, To Hill, or Valley, Fountain, or fresh shade Made vocal by my Song, and taught his praise. Hail universal Lord, be bounteous still [ 205 ] To give us onely good; and if the night Have gathered aught of evil or conceald, Disperse it, as now light dispels the dark. So pray'd they innocent, and

With eloquent and tuneful verse, Adam and Eve offer prayers to God at daybreak.

Since this passage offers a variety of protractible themes, (eg. Milton's cosmology and the elemental view of nature) I chose to investigate a select few that are either central to the plot or can be cross-referenced elsewhere in the poem.

The central issue is derived from the opening section (5.153-9) and involves the relationship between God and the first humans - particularly in the domain of knowledge. Adam and Eve's immediacy in pointing to God's "glorious works" (5.153) seems to gloss over a subtextual detachment from God in a rational, or even 'spiritual' sense - a personally surprising revelation because it contrasts with my own presupposition that the prelapsarian state involved a close affinity between the reason and will of humanity and God (cf. Augustine, Confessions, XIII.22 ì). Holding this point in focus will allow us to explore two separate avenues of analysis.

Using E.M.W. Tillyard's powerful study, The Elizabethan World Picture, as a reference, it appears Milton ensured his Adam and Eve knew the Angels' place in the Chain of Being as well as their own. Instead of asking God for a fuller revelation as Moses did (cf. Ex. 33:18), the humans seem contented enough to simply speak of God as an "invisible", "unspeakable" being (5.156-7). It is left to the Angels to honor and behold divinity in the sublime (5.160-1); the reader should hearken to their heavenly cries in Book III (3.372-415) for a diametrical viewpoint to Adam and Eve's. The couple's self-awareness in this matter is exhibited thusly: within a few breaths, features of the universe so rousingly touted as "glorious" are diminished to the status of God's "lowest works" (5.158) before being systematically measured from the heavenly Throne (5.163) down the Chain to the lowliest creeping things (5.201). (Inserting Aristotle's elements, Heraclitus' principle of perpetual change and Pythagoras' cosmic harmony deftly fuses a variety of classical accounts with the Biblical creation story - not to mention the myriad orbs and spheres involved!) Holding that the same created world may appear lowly to God and Angels but glorious to those beings with limited faculties, is this change in tone simply a matter of perspective? Of no little consequence, if this spatial and intellectual gulf between God and Man is so immense, than what is this "Divine resemblance" (4.364) so bemoaned by Satan and exhorted by the speaker (4.291-2)? A similitude of mere appearance, though suggested by certain texts, does insufficient justice to the reading of image as "Truth, Wisdom, [and] Sanctitude" (4.293) - unless these rational qualities are only intended for practical rather than speculative endeavours. Owing to this pragmatic intuition, Man and Woman can only interpret reality as ordered change, yet they choose to view this state for its positive possibilities: "let your ceaseless change / Vary to our great Maker still new praise (5.183-4). Though Adam and Eve do have some conception of God's higher attributes - mainly his temporal transcendence and creative powers - their general standpoint is one of conjecture: "thine this universal frame, / Thus wondrous fair; thyself how wondrous then!"" (154-55).

My second hypothesis is that Adam and Eve's outward turn is a deliberately written psychological reaction to their troubling introspection only a few 'minutes' prior in Paradise. Adam judges that because his partner succumbed to temptation in a dream, her "taste" (5.86) of the forbidden fruit left "no spot or blame behind" (5.119). Yet there remains a lingering problem. It is clear from Adam's less-than-fully-informed monologue that he intuits Reason cannot be trusted to guard the imagination from Fancy - at least this is the case in slumber (5.108-115). Satan has not yet caused a moral failing, but he deviously succeeds in breaking Adam and Eve's confidence in their personal interior experiences by disrupting the Soul's ideal chain of command (5.100-8). Therefore, sensual input of God's remains the sole conduit of admittedly partial truth - an external revelation notwithstanding. Their assurance that the "universal Lord" has dispersed any nocturnal evil (5.206-8)leads to a Firm peace (5.210), but this quietude's principal effect is to hastily propel the couple outward to work in the Garden, leaving no place for further contemplation. Arbeit macht frei?

 1  GRE Verbal Workbook

Aphemera   2/17/2024 3:57 PM   in Public    
?”“Losing,” he whispers.I stare. “You have to understand . . . If you knew the effect you had 292on me, how often I think about you, the things I would do for you . . . Iwouldn’t stand a chance against you ever again. You would have takeneverything from me,” he goes on in a rush, like the words are burning himfrom within, like he has to get it out before the pain becomesoverwhelming. “Not just a debating championship or some points for a testor a fancy award or a spot in a competition— but my whole heart. Mypride. God, my sanity. It would be all over. You would annihilate me.” I keep staring. I’m afraid to so

this is so sweet unitl you remember theyre two teenagers

 1  The 15-Second Rule That Makes Procrastination Impossible - YouTube www.youtube.com

M.AKilic50   (edited 1/16/2024 7:23 AM) 1/16/2024 6:59 AM   in Public    

How to beat procrastination?

07.00 Clear goals — goals that focus on the action, not the outcome. (Very specific)

See GTD on next-actions that make a distinction between outcomes (projects) and clear goals (Next-Actions)

"This keeps your brain from wondering, what is the first step?"

10.00 Challenge-skill balance. Find sweet spot where challenge is slightly more than your skill level. Too much challenge is anxiety, too little is boredom. How to tune it? (1) Lower the hurdle. (2) Compress time for a given task. (3) Define scope (What needs to be done? Why? How long?)

14.00 Bypassing/response inhibition. Engaging in a task as soon as you are committed. Don't waver. Sleep to flow is an example.

17.30 Flow payoff — have long blocks of focus, where the struggle to get into flow is actually worth it.

 2  Video: Alan Kay, 2015: Power of Simplicity (DocDrop) docdrop.org

gyuri   11/6/2023 7:41 PM   in Public    
labor it I'm going to call that the sweet spot the way you make progress here is you pick the thing that is just over that threshold that is qualitatively better 00:50:21 than all the rest of the crap you can do you can spend billio

the sweet spot

  • you've got to get over the threshold

stopresetgo   9/11/2022 1:59 PM   in Public    
thresholds so how many people have seen curves that look like these progress against time right everywhere reading 00:48:14 scores test scores people love these yay oh no yay oh no it's bad because our 00:48:32 nervous system is only set up for relative change and in fact there's cause for cheering if that's the threshold but in fact for reading 00:48:43 threshold is this this is all oh no doesn't matter whether it goes up or not because there are many many things that where you have to get to the real 00:48:58 version of the thing before you're doing it at all in the 21st century it doesn't have help to read just a little bit you have to be fluent at it so this is a 00:49:09 huge problem and once you draw the threshold in there immediately converts this thing that looked wonderful into a huge qualitative gap and the gap is 00:49:20 widening and we have two concepts that are enemies of what we need to do perfect and better right so better is a 00:49:36 way of getting fake success we had improvement see it all the time it's the ultimate quarterly report we had improvements here and perfect is 00:49:51 tough to get in this world so both of those are really bad so what you want is what's actually needed and the exquisite skill here which I'm going to use these 00:50:06 two geniuses Thakur and Engels to labor it I'm going to call that the sweet spot the way you make progress here is you pick the thing that is just over that threshold that is qualitatively better 00:50:21 than all the rest of the crap you can do you can spend billions turning around and once you do that you widen up you give yourself a little blue plane to 00:50:34 operate in and for a while everything you do in there is something that is actually going to be meaningful and will not just bring lots of

!- similar to : climate change solutions

  • Good metaphor for climate change progress

 1  the most incisive commentary on today’s disputes about whether Muslims and Christians worship the same God blog.ayjay.org

chrisaldrich   10/27/2023 3:11 PM   in Public    
perhaps a severed limb or two. All the way to school I would silently elaborate and edit the story, trying to find that sweet spot where the spectacular shakes hands with the believable. After a while lying became more

I like this phrasing

 1  Always Have Three Beverages www.theatlantic.com

chrisaldrich   10/16/2023 10:50 PM   in Public    
me humanity to the cubicle farm. It probably isn’t a coincidence that three is my personal sweet spot, according to Kurt Carlson, a marketing researcher at the College of William & Mary’s Raymond A. Mason School of Business. As far as I can tell, he’s the only person who has done significant research into why and how human brains sort things into groupings of three. “People believe they’re observing something special when they see the third instance of it happen,” he explains. “After making three shots in a

 1  The Good, the Bad, and the Ugly: My College Writing Journey casewilson.substack.com

dtomkins   9/12/2023 10:03 PM   in Public    
on that I’ve written to this day . Part 2 During the fall semester

take-aways: hard to find a sweet spot professor wise-- you find work assignment by sweethearts and jerks equally "grueling" (why do you think this is the case?) / i'm not sure the story you tell here exactly maps into your claim in P1 about process not product being affected / phrasing inconsistency

 1  Video: How to Grow Kratky Hydroponic Tomatoes (DocDrop) docdrop.org

dwhly   (edited 9/11/2023 9:45 PM) 9/11/2023 9:43 PM   in Public    
nd most convenient methods of ga rdening with the most productive methods of gardening and hitting the sweet spot for all of those points is

The stanza is printed first in faux-mediaeval lettering as a "relic of ancient Poetry" (in which þe is a form of the word the) and printed again "in modern characters".[4] The rest of the poem was written during Carroll's stay with relatives at Whitburn, near Sunderland. The story may have been partly inspired by the local Sunderland area legend of the Lambton Worm[5][6] and the tale of the Sockburn Worm.[7]

The concept of nonsense verse was not original to Carroll, who would have known of chapbooks such as The World Turned Upside Down[8] and stories such as "The Grand Panjandrum". Nonsense existed in Shakespeare's work and was well-known in the Brothers Grimm's fairytales, some of which are called lying tales or lügenmärchen.[9] Biographer Roger Lancelyn Green suggested that "Jabberwocky" was a parody of the German ballad "The Shepherd of the Giant Mountains",[10][11][12] which had been translated into English by Carroll's cousin Menella Bute Smedley in 1846.[11][13] Historian Sean B. Palmer suggests that Carroll was inspired by a section from Shakespeare's Hamlet, citing the lines: "The graves stood tenantless, and the sheeted dead / Did squeak and gibber in the Roman streets" from Act I, Scene i.[14][15]

John Tenniel reluctantly agreed to illustrate the book in 1871,[16] and his illustrations are still the defining images of the poem. The illustration of the Jabberwock may reflect the contemporary Victorian obsession with natural history and the fast-evolving sciences of palaeontology and geology. Stephen Prickett notes that in the context of Darwin and Mantell's publications and vast exhibitions of dinosaurs, such as those at the Crystal Palace from 1854, it is unsurprising that Tenniel gave the Jabberwock "the leathery wings of a pterodactyl and the long scaly neck and tail of a sauropod."[16]

 1  Morris is a small Minnesota town with big climate goals www.mprnews.org

stopresetgo   (edited 9/1/2023 6:03 AM) 9/1/2023 5:58 AM   in Public    
  • for: sister city, sweet spot, example, example - sweet spot, example - sister city
  • comment
    • Example
      • TPF sister city program
      • optimum size and sweet spot for population cohorts for climate action
    • community cooperative

 1  CPU Utilization - A useful metric? | green-coding.berlin www.green-coding.berlin

mrchrisadams   8/7/2023 2:25 PM   in Public    
oules => 1.62 J / 10 s = 0.16 W Suprisingly we see that on an unloaded system the energy actually increases! The assumption made here is that the cost per instruction goes down. This is an effect that can also be seen in SPECPower benchmarks where the sweet-spot for a system is typically somewhere around the higher third quarter of the peak performance. Methodlogy load Powe

This is weird - basically the energy per instruction is lower under load, because systems are more efficient when they are at around 3/4 peak performance, a bit like a car engine can be more efficient at a specific RPM compared to others

 1  Minimal dev environment, part 3: introducing "leano", a tiny Deno-compatible runtime log.schemescape.com

mrcolbyrussell   7/27/2023 1:23 PM   in Public    
hat I'd like a faster computer. Would a newer Raspberry Pi hit the sweet spot between performance and cheapness? What about an old laptop? Addit

Almost certainly, I'd bet.

 1  BOOK I: Canto I: Nárad. www.sacred-texts.com

ryehuckins   5/16/2023 3:40 PM   in Public    
Index  Previous  Next  CANTO I: NÁRAD.  4b ********* OM.  5b    To sainted Nárad, prince of those Whose lore in words of wisdom flows. Whose constant care and chief delight Were Scripture and ascetic rite, The good Válmíki, first and best p. 2 Of hermit saints, these words addressed: 1 'In all this world, I pray thee, who Is virtuous, heroic, true? Firm in his vows, of grateful mind, To every creature good and kind? Bounteous, and holy, just, and wise, Alone most fair to all men's eyes? Devoid of envy, firm, and sage, Whose tranquil soul ne'er yields to rage? Whom, when his warrior wrath is high, Do Gods embattled fear and fly? Whose noble might and gentle skill The triple world can guard from ill? Who is the best of princes, he Who loves his people's good to see? The store of bliss, the living mine Where brightest joys and virtues shine? Queen Fortune's  2 best and dearest friend, Whose steps her choicest gifts attend? Who may with Sun and Moon compare, With Indra,  3 Vishnu,  4 Fire, and Air? Grant, Saint divine,  5 the boon I ask, For thee, I ween, an easy task, To whom the power is given to know If such a man breathe here below.' Then Nárad, clear before whose eye The present, past, and future lie,  1b Made ready answer: 'Hermit, where Are graces found so high and rare? Yet listen, and my tongue shall tell In whom alone these virtues dwell. From old Ikshváku's  2b line he came, Known to the world by Ráma's name: With soul subdued, a chief of might, In Scripture versed, in glory bright, His steps in virtue's paths are bent, Obedient, pure, and eloquent. In each emprise he wins success, And dying foes his power confess. Tall and broad-shouldered, strong of limb, Fortune has set her mark on him. Graced with a conch-shell's triple line, His threat displays the auspicious sign. 3b p. 3 High destiny is clear impressed On massive jaw and ample chest, His mighty shafts he truly aims, And foemen in the battle tames. Deep in the muscle, scarcely shown, Embedded lies his collar-bone. His lordly steps are firm and free, His strong arms reach below his knee; 1 All fairest graces join to deck His head, his brow, his stately neck, And limbs in fair proportion set: The manliest form e'er fashioned yet. Graced with each high imperial mark, His skin is soft and lustrous dark. Large are his eyes that sweetly shine With majesty almost divine. His plighted word he ne'er forgets; On erring sense a watch he sets. By nature wise, his teacher's skill Has trained him to subdue his will. Good, resolute and pure, and strong, He guards mankind from scathe and wrong, And lends his aid, and ne'er in vain, The cause of justice to maintain. Well has he studied o'er and o'er The Vedas 2 and their kindred lore. Well skilled is he the bow to draw, 1b Well trained in arts and versed in law; High-souled and meet for happy fate, Most tender and compassionate; The noblest of all lordly givers, Whom good men follow, as the rivers Follow the King of Floods, the sea: So liberal, so just is he. The joy of Queen Kaus'alyá's 2b heart, In every virtue he has part: Firm as Himálaya's 3b snowy steep, Unfathomed like the mighty deep: The peer of Vishnu's power and might, And lovely as the Lord of Night; 4b Patient as Earth, but, roused to ire, Fierce as the world-destroying fire; In bounty like the Lord of Gold, 5b And Justice self ia human mould. With him, his best and eldest son, By all his princely virtues won King Das'aratha 6b willed to share His kingdom as the Regent Heir. But when Kaikeyí, youngest queen, With eyes of envious hate had seen The solemn pomp and regal state Prepared the prince to consecrate, She bade the hapless king bestow Two gifts he promised long ago, That Ráma to the woods should flee, And that her child the heir should be. By chains of duty firmly tied, Thw wretched king perforce complied. p. 4 Ráma, to please Kaikeyí went Obedient forth to banishment. Then Lakshman's truth was nobly shown, Then were his love and courage known, When for his brother's sake he dared All perils, and his exile shared. And Sítá, Ráma's darling wife, Loved even as he loved his life, Whom happy marks combined to bless, A miracle of loveliness, Of Janak's royal lineage sprung, Most excellent of women, clung To her dear lord, like Rohiní Rejoicing with the Moon to be.  1 The King and people, sad of mood, The hero's car awhile pursued. But when Prince Ráma lighted down At S'riugavera's pleasant town, Where Gangá's holy waters flow, He bade his driver turn and go. Guha, Nishádas' king, he met, And on the farther bank was set. Then on from wood to wood they strayed, O'er many a stream, through constant shade, As Bharadvája bade them, till They came to Chitrakúta's hill. And Ráma there, with Lakshman's aid, A pleasant little cottage made, And spent his days with Sítá, dressed In coat of bark and deerskin vest.  1b And Chitrakuta grew to be As bright with those illustrious three An Meru's  2b sacred peaks that shine With glory, when the Gods recline Beneath them: Siva's  3b self between The Lord of Gold and Beauty's Queen. The aged king for Rama pined, And for the skies the earth resigned, Bharat, his son, refused to reign, Though urged by all the twice-born  4b train. Forth to the woods he fared to meet Hia brother, fell before his feet, And cried, 'Thy claim all men allow: O come, our lord and king be thou.' But Rama nobly chose to be Observant of his sire's decree. He placed his sandals  5b in his hand A pledge that he would rule the land: And bade his brother turn again. Then Bharat. finding prayer was vain, The sandals took and went away; Nor in Ayodhyá would he stay. But turned to Nandigráma, where He ruled the realm with watchful care, Still longing eagerly to learn Tidings of Ráma's safe return. Then lest the people should repeat Their visit to his calm retreat, Away from Chitrakúta's hill Fared Ráma ever onward till p. 5 Beneath the shady trees he stood Of Dandaká's primeval wood, Virádha, giant fiend, he slew, And then Agastya's friendship knew. Counselled by him he gained the sword And bow of Indra, heavenly lord: A pair of quivers too, that bore Of arrows an exhaustless store. While there he dwelt in greenwood shade The trembling hermits sought his aid, And bade him with his sword and bow Destroy the fiends who worked them woe: To come like Indra strong and brave, A guardian God to help and save. And Ráma's falchion left its trace Deep cut on Súrpanakhá's face: A hideous giantess who came Burning for him with lawless flame. Their sister's cries the giants heard. And vengeance in each bosom stirred: The monster of the triple head. And Dúshan to the contest sped. But they and myriad fiends beside Beneath the might of Ráma died. When Rávan, dreaded warrior, knew The slaughter of his giant crew: Rávan, the king, whose name of fear Earth, hell, and heaven all shook to hear: He bade the fiend Márícha aid The vengeful plot his fury laid. In vain the wise Márícha tried To turn him from his course aside: Not Rávan's self, he said, might hope With Ráma and his strength to cope. Impelled by fate and blind with rage He came to Ráma's hermitage. There, by Márícha's magic art, He wiled the princely youths apart, The vulture 1 slew, and bore away The wife of Ráma as his prey. The son of Raghu 2 came and found Jatáyu slain upon the ground. He rushed within his leafy cot; He sought his wife, but found her not. Then, then the hero's senses failed; In mad despair he wept and wailed, Upon the pile that bird he laid, And still in quest of Sitá strayed. A hideous giant then he saw, Kabandha named, a shape of awe. The monstrous fiend he smote and slew, And in the flame the body threw; When straight from out the funeral flame In lovely form Kabandha came, And bade him seek in his distress A wise and holy hermitess. By counsel of this saintly dame To Pampá's pleasant flood he came, And there the steadfast friendship won Of Hanumán the Wind-God's son. Counselled by him he told his grief To great Sugríva, Vánar chief, Who, knowing all the tale, before The sacred flame alliance swore. Sugríva to his new-found friend Told his own story to the end: His hate of Báli for the wrong And insult he had borne so long. And Ráma lent a willing ear And promised to allay his fear. Sugríva warned him of the might Of Báli, matchless in the fight, And, credence for his tale to gain, Showed the huge fiend 1b by Báli slain. The prostrate corpse of mountain size Seemed nothing in the hero's eyes; He lightly kicked it, as it lay, And cast it twenty leagues 2b away. To prove his might his arrows through Seven palms in line, uninjured, flew. He cleft a mighty hill apart, And down to hell he hurled his dart, Then high Sugríva's spirit rose, Assured of conquest o'er his foes. With his new champion by his side To vast Kishkindhá's cave he hied. Then, summoned by his awful shout, King Báli came in fury out, First comforted his trembling wife, Then sought Sugríva in the strife. One shaft from Ráma's deadly bow The monarch in the dust laid low. Then Ráma bade Sugríva reign In place of royal Báli slain. Then speedy envoys hurried forth Eastward and westward, south and north, Commanded by the grateful king Tidings of Ráma's spouse to bring. Then by Sampáti's counsel led, Brave Hanumán, who mocked at dread, Sprang at one wild tremendous leap Two hundred leagues across the deep. To Lanká's 3b town he urged his way, Where Rávan held his royal sway. p. 6 There pensive 'neath As'oka  1 boughs He found poor Sitá, Ráma's spouse. He gave the hapless girl a ring, A token from her lord and king. A pledge from her fair hand he bore; Then battered down the garden door. Five captains of the host be slew, Seven sons of councillors o'erthrew; Crushed youthful Aksha on the field, Then to his captors chose to yield. Soon from their bonds his limbs were free, But honouring the high decree Which Brahmá had pronounced of yore,  2 He calmly all their insults bore. The town he burnt with hostile flame, And spoke again with Ráma's dame, Then swiftly back to Ráma flew With tidings of the interview.    Then with Sugríva for his guide, Came Ráma to the ocean side. He smote the sea with shafts as bright As sunbeams in their summer height, And quick appeared the Rivers' King  3 Obedient to the summoning. A bridge was thrown by Nala o'er The narrow sea from shore to shore.  4 They crossed to Lanká's golden town, Where Ráma's hand smote Rávan down. Vibhishan there was left to reign Over his brother's wide domain. To meet her husband Sitá came; But Ráma, stung with ire and shame, With bitter words his wife addressed Before the crowd that round her pressed. But Sitá, touched with noble ire, Gave her fair body to the fire. Then straight the God of Wind appeared, And words from heaven her honour cleared. And Ráma clasped his wife again, Uninjured, pure from spot and stain, Obedient to the Lord of Fire And the high mandate of his sire. Led by the Lord who rules the sky, The Gods and heavenly saints drew nigh, And honoured him with worthy meed, Rejoicing in each glorious deed. His task achieved, his foe removed, He triumphed, by the Gods approved, By grace of Heaven he raised to life The chieftains slain in mortal strife; Then in the magic chariot through The clouds to Nandigráma flew. Met by his faithful brothers there, He loosed his votive coil of hair: Thence fair Ayodhyá's town he gained, And o'er his father's kingdom reigned. Disease or famine ne'er oppressed His happy people, richly blest With all the joys of ample wealth, Of sweet content and perfect health. No widow mourned her well-loved mate, No sire his son's untimely fate. They feared not storm or robber's hand; No fire or flood laid waste the land: The Golden Age  1b had come again To bless the days of Ráma's reign.    From him, the great and glorious king, Shall many a princely scion spring. And he shall rule, beloved by men, Ten thousand years and hundreds ten, 2b And when his life on earth is past To Brahmá's world shall go at last.'    Whoe'er this noble poem reads That tells the tale of Ráma's deeds, Good as the Scriptures, he shall be From every sin and blemish free. Whoever reads the saving strain, With all his kin the heavens shall gain. Bráhmans who read shall gather hence The highest praise for eloquence. The warrior, o'er the laud shall reign, The merchant, luck in trade obtain; And S'údras listening  3b ne'er shall fail To reap advantage from the tale.  4b p. 7

CC Licensing: Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)

Valmiki starts by asking Narada about the identity of a virtuous and heroic individual, someone who embodies qualities such as gratitude, righteousness, and protection of the people. Narada responds by describing the characteristics of Rama, the hero of the Ramayana. He praises Rama's physical appearance, his virtues, skills, and his commitment to justice and righteousness. Rama is depicted as the epitome of a hero, with divine-like qualities that make him comparable to gods such as Indra and Vishnu.

In analyzing the gender aspect of the text, we can observe the traditional gender roles and definitions prevalent in the culture from which the text originates. The passage portrays Rama as the ideal hero, upholding the patriarchal norms of the society. He is described as a strong and powerful warrior, with physical attributes that emphasize his masculinity. Rama's qualities are praised, and he is depicted as the protector and savior of mankind.

The text also portrays Sita, Rama's wife, as a devoted and obedient wife. She is described as Rama's "darling wife" who clings to him and follows him even in exile. Sita's role is primarily that of a supportive and loyal wife, whose virtue and purity are highlighted. However, it is important to note that in later parts of the Ramayana, Sita's agency and strength are further explored, challenging traditional gender roles.

In terms of linguistic value, the text is composed in a poetic and descriptive manner, employing vivid imagery and metaphors to depict the qualities of the hero and his spouse. The language used is rich and evocative, contributing to the aesthetic appeal of the work.

Note: This annotation is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. This means that others are free to share and adapt this work for non-commercial purposes as long as they attribute the original author and use the same CC license for their derivative works.

 2  New submission 12/05/2023, 11:07:57 www.medrxiv.org

Public_Reviews   5/15/2023 4:28 PM   in q5X6RWJ6    

Author Response

Reviewer #1 (Public Review):

The authors have compiled and analysed a unique dataset of patients with treatment-resistant aggressive behaviours who received deep brain stimulation (DBS) of the posterior hypothalamic region. They used established analysis pipelines to identify local predictors of clinical outcomes and performed normative structural and functional connectivity analyses to derive networks associated with treatment response. Finally, Gouveia et al. perform spatial transcriptomics to determine the molecular substrates subserving the identified circuits. The inclusion of data from multiple centres is a notable strength of this retrospective study, but there are current limitations in the methodology and interpretation of findings that need to be addressed.

1) The validation of findings is heterogeneous and inconsistent across analysis pipelines. While the authors performed non-parametric permutation testing during sweet-spot mapping, structural and functional connectivity were validated using a 'four-fold consistency analysis'. The latter consists of a visual representation of streamlines and peak intensities after randomly dividing data into four groups, the findings were not validated quantitatively. If possible, the authors should apply permutation analysis in alignment with sweet-spot mapping and demonstrate the predictive ability of their identified networks in a LOO or k-fold cross-validation paradigm as carried out by similar studies. Given that the data has been derived from multiple centers, the prediction of left-out cohorts based on models generated by the remaining cohorts could be another means of validation. If validation is not possible, the authors should clearly state the limitations of their approach.

We appreciate the comment. We have now improved the validation of our connectomics analyses and removed the four-fold consistency analysis. For the functional connectivity analysis, we performed a 1000 permutation test (p<0.05). Similar brain areas were detected in the corrected and uncorrected maps. For the structural connectivity analysis, we used False Discovery Rate (FDR) correction at a significant level of p<0.001, as it is not feasible to perform a 1000 permutation test with this data. The structural connectome is composed of 12 million fibres, and every single permutation takes approximately 4 hours to be completed using our most powerful computational system. To perform 1000 permutations, it would take at least 4000 hours (i.e. 167 days or 5.5 months) of uninterrupted analysis to complete the test. However, it is important to highlight that an FDR correction at the level of p<0.001 is an extremely stringent method. This means that of the 23,000 fibres detected as being touched by the VATs, only 23 would be incorrect, while the remaining 22,977 are correct. Here again, we observed many similarities between the uncorrected and corrected maps, with the main anatomical structures being detected in both. The Methods section and Figures 4 and 5 were revised to reflect these changes.

2) In addition to a 'four-fold consistency analysis', functional connectivity was evaluated using LOOCV in a priori identified ROIs. Their network analysis, however, revealed a far more extensive network encompassing cortical, subcortical, and cerebellar structures. To avoid selection bias the authors should incorporate identified structures into their analysis and apply appropriate means of validation.

We thank the reviewer for this valuable suggestion. We originally did not explore the various significant areas but performed a more focused analysis intended to demonstrate that regions of the known ‘aggression network’ are indeed implicated in our findings. We performed a new analysis exploring the correlation between symptom improvement and the functional connectivity of all the areas described in Figure 5 (i.e., functional connectivity map). To this aim, we extracted individual connectivity values from the peak within each significant region and performed the same additive linear model, incorporating the functional connectivity of each area as well as the age of the patients to estimate individual symptomatic improvement. In addition, we performed a complete exploratory analysis considering the connectivity of any 2 brain structures and age. The resulting matrix shows to what extent functional connectivity to any two areas can be used to estimate clinical outcomes. Interestingly, this new analysis revealed the Periaqueductal Grey matter (PAG) to be the most important functionally connected area when investigated alone or in combination with brain structures critically involved in the regulation of emotional responses, namely the amygdala, anterior cingulate cortex, bed nucleus of the stria terminalis, nucleus accumbens, orbitofrontal cortex and fusiform gyrus. Also, the significance of the PAG connectivity was retained during leave-one-out cross-validation (LOOCV). The Methods, Results, Discussion and Figure 6 were revised. In addition, we added a new Table 2 and Supplementary File 1 to describe the new analysis and results.

3) Functional connectivity mapping: how were R-maps generated? The authors mention that patient-specific R-maps were p-thresholded and corrected for multiple comparisons, but it is not clear how group-level maps were generated. How did the authors perform regression on these maps? Were voxels that did not survive thresholding excluded?

This is a multiple-step analysis. First, it is necessary to localize the electrodes in each patient’s brain and estimate the volume of activated tissue (VAT) observed when stimulation parameters associated with symptomatic improvement are used. The VATs are then used as seeds for the next steps, during which we investigate how much functional influence the VTAs have on the other areas of the brain (i.e., individual r-map). This is done by correlating the BOLD time course of the VAT’s seed with the BOLD time course of all other voxels in the brain. The individual r-maps are then corrected for multiple comparisons to exclude voxels with potentially spurious correlations, resulting in an individual r-map that only included voxels surviving Bonferroni correction at the level of p<0.05. Finally, to create group-level maps, a voxel-wise linear regression analysis was performed to investigate whether each voxel of the map exerts more or less influence (corrected individual r-map with the functional connectivity of the patient’s VAT) or is more or less related to the clinical outcome (i.e. individual improvement). The last step is a permutation correction resulting in a significant group-level functional connectivity map (ppermute<0.05). We modified the Methods section and added a new Figure 1-figure supplement 1 illustrating this analysis.

4) The authors determined that age was a significant prédictor of the outcome, but it is unclear whether certain age groups presented with distinct etiologies underlying their aggressiveness. For example, aggression in epilepsy may show a better response to DBS as opposed to schizophrenia. How does patient outcome change when stratifying according to etiology? How does model performance change when controlling for etiology? The authors should include the etiology of aggressiveness in Table 1.

This is an interesting point. We observed a similar distribution between the pediatric and adult populations in relation to the most common etiologies reported. Epilepsy was the most frequent diagnosis in both populations (pediatric: 50%, adult: 62%), followed by autism spectrum disorder (pediatric: 34%, adult: 24%). The remaining etiologies were largely composed of single cases. A similar proportion of intellectual disability was also observed in pediatric and adult populations. Severe cases were observed in 75% of pediatric and 85% of adult patients. Moderate disability was present in 25% of pediatric and 15% of adult patients. Since several diagnoses were unique to some patients, the addition of this information to Table 1 could result in the identification of the patient. Thus, to preserve anonymity, the diagnoses were added to the end of Table 1 from more to less frequent. We have also revised the Results and Discussion sections to address this concern.

5) Stimulation parameters. The authors report average pulse widths of 219 µs and 142µs respectively, which is up to 4-fold higher as compared to DBS settings used conventionally in movement disorders and will significantly alter the volume of activated tissue. Did the authors account for the drastic increases in pulse width during VAT modeling?

We thank the reviewer for raising this point about the volume of activated tissue (VAT) modelled and the unusual pulse width observed in some patients in this cohort. These patients presented stimulation-induced sympathetic side effects when DBS was set with higher frequencies (e.g. increased heart rate and blood pressure). The chosen final parameters were the ones associated with a clinical benefit without generating side effects. There are a multitude of ways to estimate the VATs, from advanced axon cable models – the gold standard, which simulate axon membrane dynamics and require patient-specific diffusion-weighted imaging and tremendous computing power 1 - to simple heuristics-based models that estimate the rough extent of a VAT based on stimulation parameters without constructing an actual spatial model 2–4. The model employed in our study (and in a number of previous publications by our group 5–10) was the FieldTripSimBio ‘E-field norm’ finite element method (FEM) model. This model, which was first described by Horn et al. 11 and is freely available in Lead-DBS (https://www.lead-dbs.org/), strikes a balance between the sophisticated axon cable models and the simpler heuristic models. In particular, it constructs an electric field (E-field, by applying an electric field strength threshold, or activation threshold) and calculates the VAT associated with specific voltage settings and contact configurations, taking into account the conductivity of surrounding brain tissue and electrode components. Notably, studies comparing VAT modelling techniques 12 showed that ‘E-field norm’ FEM models closely approximate (<0.1 mm difference) the gold standard axon cable models in terms of the size of VATs constructed for monopolar stimulation settings. However, it should be acknowledged that the FieldTripSimBio model in Lead-DBS does not allow the user to specifically enter values for pulse width. Instead, it employs a standard activation/electric field strength threshold (0.2 V/mm) that reflects a combination of commonly modelled axon diameters (roughly 3.5 μm) and pulse width values (i.e., 60-90 μs). This threshold is based on work by researchers such as Astrom et al. 13 and reflects a ‘middle ground’ value that takes into account the fact that any VAT model will necessarily be an imperfect approximation of how electrical stimulation interfaces with brain tissue, depending heavily on aspects such as the diameter of local axons. Nonetheless, it is certainly understood that increased pulse width does meaningfully increase the effective range of stimulation (thus translating to a larger VAT) by lowering the activation threshold of nearby axons 12.

Given that our patient cohort included a small number of patients who were stimulated with higher pulse widths than the values assumed by our model (90 μs), it is reasonable to wonder whether we underestimated the size of these patients’ VATs. To address this aspect, we modelled these patients’ VATs using a simpler heuristic model 2 that does allow specific pulse width values to be selected by the user. More specifically, we computed a range of VATs for these patients using varied pulse width values (ranging from 90 μs up to their actual values). Not surprisingly, this endeavour did yield larger VATs when higher pulse widths were used. On average, the absolute difference in VAT diameter between 90 μs and 450 μs (the largest pulse width observed in this cohort) versions of these patients’ VATs was 2 mm. To check whether or not this difference could have potentially impacted our results, we repeated our probabilistic mapping analysis using altered VATs (specifically, VATs that were enlarged by 2 mm in diameter) for the patients with higher pulse widths. This new repeat analysis yielded a very similar average map to the original analysis: the overall map pattern and location/values of the peak corresponding to the most efficacious area for maximal symptom alleviation remaining unaltered, and only a few voxels on the periphery of the map changing in value by a couple of percentage points. This new supplementary analysis indicates that our results were not meaningfully altered by the unusual pulse width observed in these patients. We modified the Methods section to address some of these aspects and added a new Figure 3-figure supplement 2 illustrating both voxel efficacy maps.

6) Imaging transcriptomics. The methods described lack detail: How did the authors account for differences in expression across donors, samples, and regions during preprocessing of the Allen Human Brain Atlas? How was expression data collapsed into regions of interest? Did the authors apply any normalization? Recent publications have introduced reproducible workflows for processing and preparing the AHBA expression data for analysis that is publicly available.

7) 'genes with similar patterns of spatial distribution to the TFCE map were compiled in an extensive list'. It is unclear why authors used TFCE maps for spatial transcriptomics as opposed to the functional connectivity map featured in Figure 5. How was similarity measured between the TFCE map and the AHBA? How were candidate genes identified? Please provide a more comprehensive description of the analysis pipeline.

We apologize for the short description of this analysis. We performed a gene set analysis using the abagen toolbox (https://abagen.readthedocs.io/en/stable/index.html) to investigate genes with a spatial pattern distribution similar to one of clinically relevant functional connectivity. For this analysis, we used the Allen Human Brain Atlas (https://alleninstitute.org/) microarray data describing the cortical, subcortical, brainstem and cerebellar localization of over 20,000 genes in the human brain (3702 anatomical locations from 6 neurotypical adult brains) 14–17, along with a cell-specific aggregate gene set 18. These data are provided preprocessed, with gene expression values normalized across all brains, and registered to standard MNI space, allowing for a direct comparison between the spatial pattern of gene expression and the functional connectivity map (https://human.brain-map.org/microarray/search) 15. The TFCE maps were used to create clusters of clinically relevant functional connectivity with a spatial extent that overlaps with the anatomical locations from which microarray data was obtained. We parcellated both datasets (results of functional connectivity analysis and Allen Gene Atlas) according to the Harvard-Oxford brain atlas and correlated the spatial distribution of gene expression with the spatial distribution of the results of the functional connectivity mapping. The resultant list of candidate genes was used as input in gene ontology tools to investigate the associated biological processes and cell types. It is important to highlight that this process involves 2 corrections for multiple comparisons using FDR at q<0.005; one correction occurs at the level of the gene list to include only the most significant genes in the gene ontology analysis; a second correction occurs at the level of the gene ontology analysis to consider only the most significant biological processes. We have included some of these details in the revised Methods section.

8) What do the bar plots in Figure 7 (left) represent? P-values? The authors should label the axes to make this clear to the reader.

9) Interprétation of imaging transcriptomics: The authors identify a therapeutic circuit associated with deep brain stimulation of the posterior hypothalamic area, however, it is unclear how to reconcile genes associated with hormones, inflammation, and plasticity in this context. The authors mention and discuss genes implicated in hormonal processing, specifically oxytocin. The results provided in Figure 7, however, do not support this finding and it is unclear how the authors identified genes linked to oxytocin. In addition, the authors identified reductions in the number of microglia and astrocytes, while oligodendrocytes were overexpressed relative to the expected distribution of genes per cell type. These findings were attributed to DBS effects, however, both connectomic and transcriptomic data are acquired from healthy subjects, which suggests a physiological deficit/enrichment in a therapeutic circuit. How do the authors interpret findings given that no electrode implantation and stimulation were performed?

The analysis of normative datasets (functional and structural connectomics and spatial transcriptomics) is based on the idea of better understanding mechanisms of treatment considering our current knowledge of the average human brain. Unlike patient-specific studies in which imaging is acquired from a single patient or genetic profiles are extracted from tissue samples, these normative analyses rely on high-quality “atlases” derived from healthy subjects. In the case of functional and structural connectivity, these atlases are calculated from very large cohorts of subjects (around 1000 brain scans). Thus, imaging connectomics investigates the pattern of brain activity and structural connectivity related to a specific area of the brain (in this case, the volume of tissue activated (VATs) with DBS) and correlate these data with clinical outcomes to shed light on potential mechanisms of action. Similarly, the spatial transcriptomic analysis identifies spatial correlations between patterns of gene expression and brain characteristics detected by MRI 19 (in this case, the spatial pattern of functional connectivity) to investigate possible genetic underlying mechanisms. It is important to highlight that previous studies have shown that normative analyses yield results that are similar to the ones observed using patient-specific data 20–22. In the specific case of imaging connectomics, It has been shown that normative datasets can be used to create probabilistic models of optimal connectivity associated with patients’ outcomes that are meaningful to predict outcomes in patient-specific connectivity data 21. Thus, these exploratory data-driven approaches strive to simulate the presumed fingerprint that a particular patient’s individualized DBS intervention might modulate. They also allow the investigation of possible mechanisms of action in a large, previously inaccessible cohort of patients whose individual data are available. We apologize for the inaccuracy in Figure 7. Along with improving the Discussion section of the manuscript, we included the label for the bar plots in the left panel to improve the clarity of the graph and added the missing result from the KEGG 2021 Human Library that shows the oxytocin signalling pathway.

10) Data availability. Code used for data processing should be made openly available or shared as source data along with the Figures that were generated using the code. Sweet-spot, structural, and functional connectivity maps should be shared openly.

All tools and codes necessary for localizing the electrodes, estimating the volume of activated tissues, and analyzing imaging connectomics are freely available in Lead-DBS (https://www.lead-dbs.org/), a toolbox designed for DBS electrode reconstructions and computer simulations based on postoperative imaging. All codes for spatial transcriptomics are freely available in abagen (https://abagen.readthedocs.io/en/stable/), a toolbox designed to analyze the Allen Brain Atlas genetics data. Along with the codes, the websites for these tools provide manuals describing the step-by-step procedure for successful analysis. The datasets were made freely available at Zenodo (doi: 10.5281/zenodo.7344268). We improved our Data Availability Statement to address this concern.

Reviewer #2 (Public Review):

Deep brain stimulation (DBS) is an important, relatively new approach for treating refractory psychiatric illnesses including depression, addiction, and obsessive-compulsive disorder. This study examines the structural and functional connections associated with symptom improvement following DBS in the posterior hypothalamus (pHyp-DBS) for severe and refractory aggressive behavior. Behavioral assessments, outcome data, electrode placements, and structural and functional (resting-state) imaging data were collected from 33 patients from 5 sites. The results show structural connections of the effective electrodes (91% of patients responded positively) were with sensorimotor regions, emotional regulation areas, and monoamine pathways. Functional connectivity between the target, periaqueductal gray, and amygdala was highly predictive of treatment outcome.

Strengths.

This dataset is interesting and potentially valuable.

Weaknesses.

The figures seem to indicate that electrodes and symptom improvement is located lateral to the hypothalamus, perhaps in the subthalamic nucleus (STN). This is might explain why the streamlines from the tractography are strongest in motor regions. The inclusion of the monoaminergic based on the tractography is not warranted, as the resolution is not sufficient to demonstrate the distinction between the MFB (a relatively small bundle) and others flowing through this region to the brainstem.

This is an interesting point. The sweet spot identified in this work is indeed located in the posterior-inferior-lateral region of the posterior hypothalamic area, reaching the most superior part of the red nucleus, without including the STN. It is important to highlight that the voxel-efficacy mapping only shows voxels associated with a minimum of 50% symptomatic improvement following treatment. Thus, the areas not touching the red nucleus are also associated with excellent symptom alleviation. Although the structural connectivity mapping revealed tracts involved in motor and sensory information, it also showed tracts known to be involved in the regulation of emotions, such as the MFB, the Amygdalofugal Pathway and the ALIC. It is worth noting that this analysis is excellent for segregating the fibre tracts as relevant or not associated with a clinical improvement, but it is not capable of tearing apart the system to determine which of those are necessary for symptom alleviation. As a result, it is not possible to determine whether the motor projections are stronger or more relevant than others. However, the structural connectivity analysis presented here contributes to the body of knowledge on the network of aggressive behaviour and provides clinically relevant data that can be useful to improve future patient outcomes.

We agree with the reviewer that the engagement of the motor system is indeed highly relevant for the reduction of aggressive behaviours, as we have previously shown that aggressive behaviour is highly correlated with motor agitation 23,24. Additionally, in the context of ASD, self-injury behaviour is defined as a type of repetitive/stereotypic behaviour that results in physical injury to the patient’s own body. In relation to the involvement of the monoaminergic system, we would like to apologize for not being clear in the discussion of our findings. Although the functional and structural connectivity maps are related, they provide different means of exploring distinct aspects of the connectivity profile of each VAT. While the structural connectivity map may elucidate symptom improvement via direct fibre modulation (i.e. fibres that touch vs fibres that do not touch the VAT), the functional connectivity map investigates the functional dynamics of the network via BOLD signals (functional MRI). In this manuscript, we showed the functional connectivity (not fibre tracts) of the VATs with areas known to regulate monoamine production, such as the Raphe nuclei and the Substantia Nigra. Both serotonin and dopamine are critically involved in the control of aggressive behaviours, being the target of the main medications used to treat these symptoms in several patient populations. To address all the raised concerns, we incorporated a few sentences in the discussion, highlighting the relevance of the motor system and some limitations of our analysis. We also added a new Figure 3-figure supplement 1 and a discussion on the position of the sweet spot in relation to the red nucleus and subthalamic nucleus.

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Public_Reviews   5/12/2023 10:10 AM   in q5X6RWJ6    

Reviewer #1 (Public Review):

The authors have compiled and analysed a unique dataset of patients with treatment-resistant aggressive behaviours who received deep brain stimulation (DBS) of the posterior hypothalamic region. They used established analysis pipelines to identify local predictors of clinical outcomes and performed normative structural and functional connectivity analyses to derive networks associated with treatment response. Finally, Gouveia et al. perform spatial transcriptomics to determine the molecular substrates subserving the identified circuits. The inclusion of data from multiple centres is a notable strength of this retrospective study, but there are current limitations in the methodology and interpretation of findings that need to be addressed.

1) The validation of findings is heterogeneous and inconsistent across analysis pipelines. While the authors performed non-parametric permutation testing during sweet-spot mapping, structural and functional connectivity were validated using a 'four-fold consistency analysis'. The latter consists of a visual representation of streamlines and peak intensities after randomly dividing data into four groups, the findings were not validated quantitatively. If possible, the authors should apply permutation analysis in alignment with sweet-spot mapping and demonstrate the predictive ability of their identified networks in a LOO or k-fold cross-validation paradigm as carried out by similar studies. Given that the data has been derived from multiple centers, the prediction of left-out cohorts based on models generated by the remaining cohorts could be another means of validation. If validation is not possible, the authors should clearly state the limitations of their approach.

2) In addition to a 'four-fold consistency analysis', functional connectivity was evaluated using LOOCV in a priori identified ROIs. Their network analysis, however, revealed a far more extensive network encompassing cortical, subcortical, and cerebellar structures. To avoid selection bias the authors should incorporate identified structures into their analysis and apply appropriate means of validation.

3) Functional connectivity mapping: how were R-maps generated? The authors mention that patient-specific R-maps were p-thresholded and corrected for multiple comparisons, but it is not clear how group-level maps were generated. How did the authors perform regression on these maps? Were voxels that did not survive thresholding excluded?

4) The authors determined that age was a significant prédictor of the outcome, but it is unclear whether certain age groups presented with distinct etiologies underlying their aggressiveness. For example, aggression in epilepsy may show a better response to DBS as opposed to schizophrenia. How does patient outcome change when stratifying according to etiology? How does model performance change when controlling for etiology? The authors should include the etiology of aggressiveness in Table 1.

5) Stimulation parameters. The authors report average pulse widths of 219 µs and 142µs respectively, which is up to 4-fold higher as compared to DBS settings used conventionally in movement disorders and will significantly alter the volume of activated tissue. Did the authors account for the drastic increases in pulse width during VAT modeling?

6) Imaging transcriptomics. The methods described lack detail: How did the authors account for differences in expression across donors, samples, and regions during preprocessing of the Allen Human Brain Atlas? How was expression data collapsed into regions of interest? Did the authors apply any normalization? Recent publications have introduced reproducible workflows for processing and preparing the AHBA expression data for analysis that is publicly available.

7) 'genes with similar patterns of spatial distribution to the TFCE map were compiled in an extensive list'. It is unclear why authors used TFCE maps for spatial transcriptomics as opposed to the functional connectivity map featured in Figure 5. How was similarity measured between the TFCE map and the AHBA? How were candidate genes identified? Please provide a more comprehensive description of the analysis pipeline.

8) What do the bar plots in Figure 7 (left) represent? P-values? The authors should label the axes to make this clear to the reader.

9) Interprétation of imaging transcriptomics: The authors identify a therapeutic circuit associated with deep brain stimulation of the posterior hypothalamic area, however, it is unclear how to reconcile genes associated with hormones, inflammation, and plasticity in this context. The authors mention and discuss genes implicated in hormonal processing, specifically oxytocin. The results provided in Figure 7, however, do not support this finding and it is unclear how the authors identified genes linked to oxytocin. In addition, the authors identified reductions in the number of microglia and astrocytes, while oligodendrocytes were overexpressed relative to the expected distribution of genes per cell type. These findings were attributed to DBS effects, however, both connectomic and transcriptomic data are acquired from healthy subjects, which suggests a physiological deficit/enrichment in a therapeutic circuit. How do the authors interpret findings given that no electrode implantation and stimulation were performed?

10) Data availability. Code used for data processing should be made openly available or shared as source data along with the Figures that were generated using the code. Sweet-spot, structural, and functional connectivity maps should be shared openly.

 1  2021-11-30 Collective ikigai www.simongrant.org

indyweb   5/14/2023 9:14 PM   in Public    
i Take the idea of ‘ikigai’ – a personal reason for being in the world – and add in the missing idea of the collective. Can we see collectives as the most potent vehicle for finding that sweet spot? Collectives need to find their own ikigai for this all to work for the best. What is ikigai? According to

ikigai

 1  How can I limit battery charging to 60% capacity? askubuntu.com

TylerRick   4/26/2023 9:03 PM   in Public    
You can indeed prolong moderns Li-Ion batteries lifespan by keeping them at a lower charge. If you never ever use it disconnected, you should keep it at 40%. E.g. Uber driver cellphone always-on in travels. However for daily light usage, 60% is considered the 'sweet spot' for practicality, and 80% gives you more freedom. 100% is when the battery is at its peak 'stress' level, and thus wear faster. Charge-Discharge cycles also imp

 1  (22) Post | LinkedIn www.linkedin.com

gyuri   (edited 4/6/2023 10:49 AM) 4/6/2023 10:48 AM   in Public    
ill do for (or to) our world.🎉 Whoever solves for '*' will have the whole of humanity thanking them. And will probably make a ton of money in the process... 🤔 So what is '*'? If I knew th

I think the sweet spot, the only hope for Humanity is

to create loops of autnonomy and agency for People as Human Actors first class Netizens,

who could if they want to put machines and blockain in the Loop for their purpose, not serving the interest of

operators of machines

 1  Xavier beats Pitt 84-73, reaches 1st Sweet 16 since 2017 www.wcpo.com

johnbaldridge   3/20/2023 11:48 PM   in Public    
e Musketeers built a 28-18 lead. The Musketeers then blew the game open with a 12-2 run behind Kunkel, who made two 3s and threw an alley-oop dunk to Nunge. Kunkel followed with his fifth 3 of the first half to give Xavier a 19-point lead with 1:26 left. Nunge picked up his fourth foul

The Musketeers advance to the sweet 16 for the nine time in school history. Xavier came back from 15 down on Friday to beat Kennesaw State on Friday and yesterday went a really impressive run and won easily vs Pitt. Xavier is one of three big east team in sweet sixteen with three teams in that helps the school's revenge and media attention.

 1  Dopamine neurons derived from human ES cells efficiently engraft in animal models of Parkinson’s disease

nguy4492u   2/28/2023 12:35 AM   in Public    
with a maximum effect from day 3 to day 11 (Sup-plementary Fig. 1). CHIR w

Sweet spot range for CHIR exposure.

Being put into the body or just turning on genes that produce this inhibitor?

 1  How To Remember Anything Forever-ish ncase.me

RichardDing   (edited 2/13/2023 7:14 AM) 2/13/2023 7:02 AM   in Public    

Spaced Repetition:

  • the rate of decay
  • the timing of active recall
  • the sweet spot of forgetting

 1  Scholar’s ‘Abolish the Family’ speech hosted at UMass Boston | The College Fix www.thecollegefix.com

christiantgolden   11/22/2022 3:40 PM   in Public    
o just ram home the point, that we can mother one another after the abolition of the family, this is what will hopefully be lifted up, ” she said. In her journal artic

See, I do not think any of this requires the abolition of the family. Why first aim at abolishing the family? Why not take incremental steps toward expanding family. Then, if they hypothesis proves true (that this new decentralized parenting is better than centralized parenting), and if it seems the centralized family has become meaningless, let it die off naturally.

If it does not prove out, then find that sweet spot of complementing the centralized family with additional decentralized supports.

 1  ModeGuideBOOTCAMP2010L.pdf moodle.augsburg.edu

yerher0   11/8/2022 6:55 PM   in Public    
ferent aspects ofthe challenge. Then when you move into ideation you can select different topics,and try out a few to find the sweet spot of where the group can really churn out alarge quantity of compelling ideas. Articulate the meaningful challe

Coming up with new ideas/ways to solve the problem (POV).

 1  Once More to the Lake EB White.pdf docs.google.com

lukmanakinbanjo55   9/20/2022 3:54 PM   in Public    

I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows. On the journey over to the lake I began to wonder what it would be like. I wondered how time would have marred this unique, this holy spot--the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps. I was sure that the tarred road would have found it out and I wondered in what other ways it would be desolated. It is strange how much you can remember about places like that once you allow your mind to return into the grooves which lead back. You remember one thing, and that suddenly reminds you of another thing. I guess I remembered clearest of all the early mornings, when the lake was cool and motionless, remembered how the bedroom smelled of the lumber it was made of and of the wet woods whose scent entered through the screen. The partitions in the camp were thin and did not extend clear to the top of the rooms, and as I was always the first up I would dress softly so as not to wake the others, and sneak out into the sweet outdoors and start out in the canoe, keeping close along the shore in the long shadows of the pines. I remembered being very careful never to rub my paddle against the gunwale for fear of disturbing the stillness of the cathedral.

 1  ConnectedText - The Personal Wiki System www.connectedtext.com

chrisaldrich   (edited 9/10/2022 2:47 AM) 8/7/2021 4:58 AM   in Public    
with the order of things." [8] I have found that the "size of a thought" is usually not much larger than 500 words. Nicholson Baker, who has written an essay on "The Size of Thoughts" thinks that "most are about three feet tall, with the level of complexity of a lawnmower engine, or a cigarette lighter, or those tubes of toothpaste that, by mingling several hidden pastes and gels, create a pleasantly striped product." Mine are a lot smaller. It takes between 50 and 500 words for me to express one thought or one idea (or perhaps better a fragment of a thought or an idea, because thoughts and ideas usually are compounds of such fragments). See also Steven Berlin Johnson on his experiences with an electronic outliner, called Devonthink: http://www.stevenberlinjohnson.com/movabletype/archives/000230.html. [9] See Luhmann, Niklas (2000)

What is the size of a single thought?

500 words is about the size of a typical blog post. It's also about the size of a minimum recommended post for SEO purposes.

Nice to see his link to Steven Johnson here as I think this is where I've seen similar thoughts recently myself.

tonz   9/10/2022 9:07 AM   in Public    

wrt that Steven Johnson reference https://web.archive.org/web/20120204062049/http://www.stevenberlinjohnson.com/movabletype/archives/000230.html talks about "Most of the entries are in a sweet spot where length is concerned: between 50 and 500 words", and then says we may be overlooking that fact because 500 words is about the unit of all web articles, and way more focused info than e.g. a book. Mentions 'chunks' as a term for such a snippet, reminds me of chunking when it comes to remembering. Later in that posts mentions making 200 to 1000 extracts from books hypothetically for an automated process. So there's a bunch of ranges there 50-1000. That blogpost does give me some ideas to use DevonThink better as an exploration tool of my notes.

 1  Networked Thought jzhao.xyz

gyuri   5/26/2022 10:51 AM   in Public    
n incentive to start your own. I’d like digital garden to be like a bonsai tree. Carefully growing, trimming, pruning, artfully shaping a beautiful tree of resources and ideas ‘Everyone tends his or her o

back in the sweet spot days of Palm computing my favourite program was an Outliner called Bonsai

 1  https://researchonline.jcu.edu.au/51981/1/JCU_51981_Petray%20and%20Pendergrast_2018_accepted%20version.pdf researchonline.jcu.edu.au

Mulleygunn69   5/18/2022 4:46 AM   in Public    
wins are positive steps5at all. Antisystemic approaches, on the other hand, are those which are known as radical orrevolutionary. They struggle against existing power structures, rather than seeking integrationwithin them. Wallerstein (2014:160) discusses

yes and there have been several in the last three hundred, the French Revolution and the Communist revolution- what was interesting was that in pulling down an 'inferior social structure, deemed oppressive, and implementing the new foundations for new radical structures, it seemed humans polluted what were initially grand ideologies and theoretical manifestos, through their behaviour; which, without detouring from the issue too greatly, it is asked whether humans are capable of consistently living out the ideologies they create or are gifted with. Even the early church, supposedly established on pure fundemental altruistic ideology, was able to effectively corrupt itself from within- i argue radical new social structures must be backed by radically new human behaviour in order to establish true revolution- this is stating the obvious, and its no to be a pessimist, i think the Gugu Badhun manifesto with an emphasis on personal development in conjunction with radical conflict and reform is moving as near as possible to that third alternative sweet spot-still has to be enacted though

 1  Copia de Bloque 4. Herramientas fguma.cv.uma.es

aleetreny   (edited 5/10/2022 7:26 PM) 5/10/2022 7:25 PM   in Public    
pagan por solucionarlo?2.- WORK SWEET SPOT (punto dulce profesional)Es una

Es el punto en el que se cruzan la circunferencia de las cosas que te gustan hacer, la de las cosas que se te dan bien, y la de las cosas por las que te pagan. Puedes añadir una cuarta variable si quieres: 'lo que el mundo necesita'

 1  Digital Literacy | AHA www.historians.org

rmeserve   (edited 4/13/2022 3:15 AM) 4/6/2022 2:08 AM   in Public    
tically digitally literate, but the digital literacy needs of a graduate student looking for a job require strategic thinking, intentionality, and reflection , not to mention a willingness t

I definitely agree that being digitally literate is much more than being able to punch some phrase into a web browser, and get results; sometimes finding a particular webpage or book is tougher than just knowing their name. As someone who has to frequently consult Google while programming, knowing how to piece together my confusion into a question is very helpful - it's like, you need to find the sweet spot between being vague and specific.

 1  https://www.biorxiv.org/content/10.1101/2021.10.22.465434v1 www.biorxiv.org

Public_Reviews   4/7/2022 6:32 AM   in q5X6RWJ6    

Reviewer #1 (Public Review):

This study puts forward a novel mechanistic model of neurotransmitter vesicle fusion (vesicle exocytosis) which is relatively simple but significantly more detailed than the widely used phenomenological models of calcium-dependent fast exocytosis. The main goal of the Authors is to account more fully and holistically for the known properties of neurotransmitter release, namely: (1) the highly nonlinear dependence of neurotransmitter release rate and latency on calcium ion (Ca2+) concentration, based on the published recordings obtained from the giant calyx of Held auditory synaptic terminals, (2) the low intrinsic Ca2+ affinity of the main sensor for Ca2+ triggered exocytosis, synaptotagmin (Syt); (3) evidence that synaptotagmin's Ca2+ affinity is greatly increased after is binds to PIP2 phospholipids that are concentrated at the interface between the vesicle and synaptic membranes.

The main conclusions of this study is that the increase in Syt sensor's affinity to Ca2+ upon allosteric binding to PIP2 phospholipids is sufficient to account for the observed high sensitivity of neurotransmitter release rate and latency to Ca2+ elevations, and that the best fit to experimental data is achieved if about 15 Syt molecules are positioned along the surface of the vesicle, with three (on average) Syt molecules binding to PIP2 and Ca2+ before vesicle fusion is triggered. Thus, the study provides an explanatory framework for predicting the synaptotagmin copy number distribution per vesicle.

STRENGTHS

The proposed model occupies a "sweet spot" in terms of level of detail, going beyond widely used phenomenological models that are too simple to provide descriptive insight into the molecular interactions underlying observed Ca2+ dependence of vesicle fusion rate and latency, but staying away from highly detailed molecular models that cannot be fully constrained using existing experimental data, and which may not be needed to account for the main features of fast calcium-triggered exocytosis.

The advantage of the proposed model is that it holistically ties together within a single, relatively simple framework the main features of neurotransmitter release at central synapses, namely: (1) the high order (4th or 5th order) cooperativity in Ca2+ binding, despite the fact that only two Ca2+ ions bind to the relevant C2B domain of any single Syt molecule during fast calcium-triggered vesicle fusion; (2) the increase in Syt affinity to Ca2+ upon PIPs binding; (3) Syt copy number distribution per vesicle.

An appealing feature of the model is that it naturally leads to (and therefore explains in more depth) the phenomenological model of vesicle fusion put forward previously by Lou, Scheuss and Schneggenburger (2005), whereby vesicle fusion can proceed in several stages with increasing rate, which the proposed model explains in terms of the increase in fusion probability with increasing number of Syt-PIP2 "bridges" formed between the vesicle and synaptic membrane upon Syt binding to Ca2+ and PIP2. I think this model can also be viewed as a more detailed extension of the "excess binding site" model of Stephen D. Meriney and colleagues.

Another strength of this work is that it carefully examines and solves a fully stochastic model of vesicle fusion, rather than a simplified mass-action representation that would not be adequate given the small copy number of Syt1 and Syt-PIP2 "bridges" proposed in this model. For the case of constant Ca2+ pulses, the Authors take advantage of the exact solution of the underlying Markov process, and perform stochastic simulation for a transient Ca2+ signal that mimics an incoming action potential.

Finally, parameter values were constrained very systematically, using an automated optimization algorithm that allows an unbiased estimate for modeling parameters achieving the best fit with experimental data. Quite appropriately, a derivative-free optimization approach was used, since optimization methods based on gradient descent would not perform well if the objective/cost function calculation involves numerical integration and is susceptible to other sources of numerical noise.

Given the relative simplicity of the model, it can readily be used in computational studies that rely on accurate representation of calcium-triggered vesicle fusion that goes beyond simple mass-action schemes, but does not require molecular-level precision and resolution in modeling the underlying processes.

Importantly, the simulation source code is included, allowing to reproduce the results of the model.

Finally, I would like to note that despite the technical nature of the model, the manuscript is written in an accessible way, and figure are well designed, making it easy to follow the logic of this work.

WEAKNESSES

Given the Authors' choice of modeling detail level, and the overall scope of the study, I do not detect significant weaknesses in the approach or results. The only potential weakness I can see is that the assumption of simultaneous binding of two calcium ions, rather than a sequence of two binding events, may affect the estimation of vesicle release latency examined in this study.

Of course, the simplified model proposed here cannot fully account for all molecular interactions involved in fast non-constitutive vesicle fusion, and in particular, the interaction of synaptotagmin molecules with the SNARE machinery is only represented as the height of the barrier to vesicle fusion, but a full model may not be needed for a descriptive understanding of this phenomenon.

More minor suggestions for improvement are conveyed in a separate recommendation for the Authors.

 1  A good life is painful www.vox.com

hhieu203   2/23/2022 5:21 AM   in Public    
people would say, “Hell, yes.” So what’s wrong with that? Paul Bloom A hedonist, and I k

The main question of this conversation is: What's wrong with hedonism?

 1  Technology addiction has worsened during COVID. What are the signs? www.mycentraljersey.com

tszyanho   2/7/2022 4:26 AM   in Public    
s the game," explained Lavounis. Companies research to find the “flow zone” sweet spot where "the challenge matches the skill level of the player and exceeded by a little to drive the player to keep playing on and on and on," he said. What are the signs?The two major

This is why people would keep addicting to the online games. The companies would make the game a little bit challenging for each level. The players would want to win the game so that they will spend lots of hours to play the game.

 1  Developing Research Questions | Collegewide Writing Center | SUNY Empire State College www.esc.edu

mkeeler20   2/3/2022 12:45 AM   in Public    
self. Choose the best question, one that is neither too broad nor too narrow. Sometimes the number of sources

Find that sweet spot in your specific question

 1  Full text of "Anne Frank The Diary Of A Young Girl" archive.org

MakD13   12/7/2021 4:26 PM   in Public    
y I'm behaving. It's horrible. And sometimes they talk about Moortje and I can't take that at all. Moortje is my weak spot. I miss her every minute of the day, and no one knows how often I think of her; whenever I do, my eyes fill with tears. Moortje is so sweet, and I love her so much that I keep dreaming she'll come back to us. I have plenty of dreams, but

She misses her cat.

 1  The best Docker base image for your Python application (April 2020) pythonspeed.com

pyxelr   11/29/2021 11:22 PM   in Public    
. Lacking specific constraints, I’d probably choose the official Docker Python image (python:3.9-slim-bullseye) just to ensure the latest bugfixes are always available.

python:3.9-slim-bullseye may be the sweet spot for a Python Docker image

 1  Foreword - SICP Comparison Edition sicp.sourceacademy.org

AnakWannaphaschaiyong   11/8/2021 11:27 PM   in Public    
Perlis so eloquently posited. Maybe the sweet spot is something more like 40 functions general enough to operate usefully on a universal data structure such as lists, but also 10 sets of 6 functions each that are relevant when we take one of 10 specialized views of that universal data structure . This is manageable if we

[[re-written]] good program should consist of flexible function that can do many things, and few sets of functions to allows human to efficiently apply our "natural born powerful associative memories" as tools for reasoning and building things.

 1  Are There Hidden Advantages to Pain and Suffering? www.newyorker.com

choppa1890   11/8/2021 10:33 PM   in Public    

Most what the fuck opening paragraph I have ever read.

 1  https://medrxiv.org/cgi/content/10.1101/2021.09.26.21264152 www.medrxiv.org

sciscore   9/29/2021 1:49 PM   in QKBMdkbL    

SciScore for 10.1101/2021.09.26.21264152: (What is this?)

Please note, not all rigor criteria are appropriate for all manuscripts.

Table 1: Rigor

EthicsIRB: This analysis received approval from the health system’s Institutional Review Board (IRB), and was granted a waiver of subject authorization given the retrospective nature of the study.
Sex as a biological variablenot detected.
RandomizationPatient Cohort #2-Prospective Randomized Trial: IVIG (Octagam 10%, Octapharma, Inc) use in COVID-19 was studied in a previously published prospective open-label randomized trial.
Blindingnot detected.
Power Analysisnot detected.

Table 2: Resources

Software and Algorithms
SentencesResources
Outcomes: Cost data was independently obtained from our finance team who provided us with the total direct cost and the total pharmaceutical cost associated with each admission.
Cost
suggested: (COST, RRID:SCR_014098)

Results from OddPub: We did not detect open data. We also did not detect open code. Researchers are encouraged to share open data when possible (see Nature blog).


Results from LimitationRecognizer: We detected the following sentences addressing limitations in the study:
The major limitations of this study include the small sample size and the potential lack of generalizability of these results to all hospital centers. Our group has generated considerable experience in IVIG utilization in COVID-19 and as a result, has identified a ‘sweet spot’ where benefit was seen clinically and economically. However, it remains to be determined if IVIG will benefit patients with greater illness severity such as those in the ICU, on mechanical ventilation, or ECMO. Furthermore, while a significant morbidity and mortality burden of COVID-19 rests in extremely elderly patients and those with end-organ comorbidities such as renal failure and heart failure, it is uncertain if their COVID-19 adverse outcomes can be improved with IVIG or other therapies. We believe such patients may limit the pharmacoeconomic value of IVIG due to their generally poorer prognosis regardless of intervention. On the other hand, COVID-19 patients who are not that severely ill with minimal to no hypoxia generally will do well regardless of therapy and IVIG intervention may be potentially be an unnecessary treatment expense. Evidence for this was hinted in our pilot trial10 and supported in a recent meta-analysis of IVIG therapy in COVID-19.16 Several other therapeutic options with high acquisition costs have seen an increase in use during the COVID-19 pandemic despite relatively lukewarm data. Remdesivir, the first drug found to have a beneficial effect on hospitalized patients with C...

Results from TrialIdentifier: No clinical trial numbers were referenced.


Results from Barzooka: We did not find any issues relating to the usage of bar graphs.


Results from JetFighter: We did not find any issues relating to colormaps.


Results from rtransparent:
  • Thank you for including a conflict of interest statement. Authors are encouraged to include this statement when submitting to a journal.
  • Thank you for including a funding statement. Authors are encouraged to include this statement when submitting to a journal.
  • No protocol registration statement was detected.

Results from scite Reference Check: We found no unreliable references.


About SciScore

SciScore is an automated tool that is designed to assist expert reviewers by finding and presenting formulaic information scattered throughout a paper in a standard, easy to digest format. SciScore checks for the presence and correctness of RRIDs (research resource identifiers), and for rigor criteria such as sex and investigator blinding. For details on the theoretical underpinning of rigor criteria and the tools shown here, including references cited, please follow this link.

 1  peeragogy-3-0-beta3.pdf peeragogy.org

wwwork   9/28/2021 6:43 PM   in Public    
of totally autonomous learning. Toomuch autonomy for participants and laissez-faire onyour part, and they may wallow in ignorance, mis-conception, and chaos . [3]Co-facilitating discussion

Too much guidance = disengaged

Too little guidance = disengaged

Where is the sweet spot?

 1  ZAF -- The First Open Source Fully Automated Feeder for Aquatic Facilities www.biorxiv.org

EMBOpress   9/23/2021 8:15 AM   in NEGQVabn    

Note: This rebuttal was posted by the corresponding author to Review Commons. Content has not been altered except for formatting.

Learn more at Review Commons


Reply to the reviewers

We want to thank all three reviewers for their positive and constructive comments and suggestions for improvement. We have now thoroughly revised the manuscript including new analysis, extra figures, and new material in the wiki. The manuscript has significantly improved because of the reviewers input. Detailed responses to questions and comments are given below.

Reviewer #1 (Evidence, reproducibility and clarity (Required)):

Lange et al. have developed an automatic feeding system for zebrafish facilities. The system is open-source and relatively easy to implement. The authors propose to systems, one that delivers the same amount of food for each aquarium (ZAF) and a second (ZAF+) that can adjust the amount of delivered food to each aquarium. The authors show no difference in fish weight, spawning and water quality, when fed using the automatic system or manually.

In my opinion, the ZAF and ZAF+ are an excellent first approach to solve the complex problem of automatizing feeding in fish facilities. So far, only one company offers this option which is extremely expensive and demands a lot of maintenance.

The manuscript is very well written and easy to follow. The supplementary material is very well detailed. It is clear that the authors intended to facilitate the implementation of the ZAF by potential users.

We appreciate the supportive comments from Reviewer 1 and address all comments below:

I just have a few comments regarding the system:

1) The authors do not indicate how the system is cleaned. the system drains itself, but will any deposits of food remain in the tubes ? Why is the system not flushed with clear water after each feeding? do the tubes get clogged ?

We agree that the cleaning process was not clearly explained in the manuscript. We added clear sentences in ‘Box 1’ to describe the first cleaning step (see text and figure). Indeed, after each feeding we flush water and then air into the tubes. Moreover, we explain in ‘Box 2’ that we have a second level of cleaning in the form of a special cleaning program that is run at least once a day with no food distribution (i.e same program as used for feeding but without actual food mixed, we flush lots of clean water and then air in the system). Finally, in the discussion we clarify the different cleaning steps by adding extra explanations in the first paragraph.

All these procedures and programs are very effective in preventing system clogging and in reducing the accumulation of debris and algae. After more than 19 months of ZAF and ZAF+ feeding in our facility we never experienced any tube clogging.

2) How long the system was tested for?

ZAF has run in the facility for 9 months and ZAF+ for 10 months since September. We added a sentence about the testing time in the discussion. We never experienced any major problems, only a few minor malfunctions, reported in the new troubleshooting table added to the wiki (suggested by the reviewer 2).

3) The ZAFs were used to feed 16 aquariums. For such a small rack, manually feeding takes less than 5 min. The authors should highlight that, at least for such small systems, the ZAFs will be especially very useful for feeding during weekends and holidays. Still, adding 16 commercially available small automatic feeders to each aquarium, could be simpler to implement.

As noticed by the reviewer, ZAFs are very useful when staff are not present (week end, vacation, etc..). To emphasize on this particular point we added a sentence in the discussion's first paragraph. The small automatic feeders available commercially are usually very difficult to attach to zebrafish facilities . Indeed they can’t adapt to conventional lab aquatic facility racks because they are designed for pet aquariums. They also have less features compared to the ZAFs (difficult to adapt the food quantity, more food waste, cumbersome...). Additionally, by multiplying the number of devices (you need one small feeder per tank), one increases the risk of possible malfunction as well as the maintenance time required for food filling, cleaning etc...

Thus, usage of small automatic feeders in laboratory aquatic housing racks is complex to adapt, a source of feeding error, is more cumbersome, and potentially more time consuming etc… They are simply not designed for professional aquaculture systems. Whereas ZAFs can be easily adapted to all the commercially available aquatic facilities. The fact that ZAFs simply ‘interfaces’ via tubes to fish facility racks makes them very versatile and unintrusive.

4) How do authors envisage implementing the ZAFs in much larger facilities (from 100 to 1000 tanks) ? Implementing a specific ZAF for each rack containing ~20 tanks may not be realistic.

Indeed building multiple ZAFs will be complex and resource consuming. Thus, we designed ZAFs to be adaptable and modular, so one ZAF ( or ZAF+) can easily be scaled to handle bigger facilities. The supplementary information and the wiki describe all the steps required to build a ZAF for 16 tanks and a ZAF+ for 30 tanks and many tips to scale up these devices without major modifications (up to 80 tanks for ZAF no restrictions for ZAF+). Of course, we do think that for truly large facilities, there is probably a sweet spot that balances the number of individual devices and the per-device capability. Having a single device feeding 1000 tanks is probably not wise, perhaps 5 devices for 200 tanks each (ZAF+) would be the best. Please note that the hardware cost and complexity scales roughly linearly with the number of tanks, no surprises here. Moreover, in the case of ZAF+ it is possible to use splitters to feed even more tanks from the same line (ZAF+).

We added pages in the ZAF/ZAF+ wiki, to help the users extend the feeding capacities of their desired ZAFs (see in the wiki “tips to scale up ZAF “- “tips to scale up ZAF+”). We also mentioned in the discussion the possibility of distributing food to more tanks with one device by increasing the outputs and referenced the wiki accordingly.

Having said this, we did not primarily design ZAFs for super large fish facilities, instead we designed the ZAF systems to facilitate adoption of fish models by many small and medium sized labs. We hope that our system will lower the bar for labs with moderate ressources to get started with aquatic models, or labs that just want to ‘try’ a new aquatic model organism ‘on-the-side’.

5) how the length of the tubes influences the efficiency of feeding ? For feeding many tanks with the same ZAF it is necessary that the tubes will be of the same length. In that case, the system will become very cumbersome. Longer tubes will probably need stronger pumps. What's the maximal length of tubes tested ? That will limit the number of aquariums a ZAF can feed.

how the length of the tubes influences the efficiency of feeding ? For ZAF the size of the tubes is very important because its design assumes homogeneous food distribution. In contrast, ZAF+ distributes the entire amount of water and food mix to each tank sequentially, so the tube length is not an issue. To make sure that tube length or tube layout is not affecting feeding efficiency we evaluated the weight of fish coming from tanks housed on two different rows (top and bottom). This was not clearly explained in the methods section -- we changed the text to reflect that. Additionally, at the end of each ZAF+ run, the washing sequence runs a relatively large quantity of water to ensure that all food gets flushed out to the right tanks. We did not evaluate the precise amount of food delivered. However after each feeding and cleaning all tubes are empty (see last sentences of the Box 2).

For feeding many tanks with the same ZAF it is necessary that the tubes will be of the same length. In that case, the system will become very cumbersome. This is a fair concern. However, with a good design and with the help of cable tie it is very easy to organise the tubing, and avoid ‘tube-hell’. We added a sentence to clarify the organisation in the wiki (see ZAF>Hardware>Tubing in wiki) .

Longer tubes will probably need stronger pumps. What's the maximal length of tubes tested ? That will limit the number of aquariums a ZAF can feed. We never precisely measured that because the generic pumps we use are very powerful and their running time can be adjusted in the software by changing the constants in the code source (see troubleshooting new supplementary table). Therefore the length of tubes should not be a limiting factor. Even stronger pumps (more amps) can be readily sourced on Amazon if really needed -- although we doubt that this is necessary. Regarding the number of tanks that ZAF can feed, we simply recommend adding more pumps to increase its capacity (see previous comments or “tips to scale up ZAF” in the wiki).

Despite these comments, this is an excellent first approach, and the fact that the authors made it open-source and open access, make the ZAFs a very important contribution to the community. I have no doubt that some fish facilities will implement it and the community will help to improve it. Thank you. We do think that the main benefit of an open source project is the community around it. We are currently collecting a growing list of interested labs and we are interested in organising an online workshop to discuss ZAF and ZAF+, with some talks, QAs, and more to help people getting started.

Reviewer #1 (Significance (Required)):

This is the first open-source open-access automatic feeding system ever published.

It is the first but very important step to the automation of research fish facilities.

**Referee Cross-commenting**

I agree with all the other reviewers.

We also have to take into account that the system is a first prototype and although not ideal, it is open source. This will allow other labs to develop and improve their own models based on the ZAF.

Reviewer #2 (Evidence, reproducibility and clarity (Required)):

**Summary**

The manuscript proposes an open source automated feeder for zebrafish facilities, although it would be amenable to other species. Overall, the manuscript is clearly written and easy to understand, the wiki is well sourced and clear. The commitment to open source is commendable.

I have some questions regarding the long-term sustainability of this setup, as well as some discrepancies in the methods. Finally, as this aims to be useful to people with no engineering/electronics competence, I feel that it is not yet at a level that is accessible enough.

We are very pleased to see that the Reviewer appreciates our manuscript and our commitment to open access. We thanks the Reviewer for his comments, in particular the comments about accessibility, and address them bellow:

**Major comments**

It would be useful to have a centralized list of parts and components, which would make it easier for users to order all that is needed to assemble the ZAF or ZAF+, at the moment the information is distributed through the wiki as hyperlinks.

Extremely important! This was clearly an oversight on our part. We agree that a table listing all the components would help for constructing ZAF and ZAF+. We have added two tables in the wiki, one for ZAF and another for ZAF+, with all the necessary parts and components required to build both devices, with articles number, supplier and cost in dollars. Thanks to the reviewer for this excellent suggestion.

A troubleshooting guide for the common problems the team ran into (if any) would be useful for newcomers, even just as issues on the GitHub. The team may also consider some form of chat/forum/google group to allow discussions between users and experts.

The reviewer raised an important point so we added to the ZAF wiki a troubleshooting guide to help users by listing the minor malfunctions that we observed. Additionally, users will be able to ask questions or report bugs on the ZAF GitHub using issues. Github issues will allow discussion and to track ideas and feedback within the ZAF user community. Finally, we just created a Gitter room: https://gitter.im/ZAF-Zebrafish-Automatic-Feeder to enable more interactive discussion.

Did the author observe any algal or bacterial growth in the feeding tubes over the 60 days? Do they have an estimate on how long the tubes stay "clean" enough? The authors mention tube changing every 10 weeks, can they explain the rationale, and did they assess the bacterial/algal contamination over that time? Do the splitter panel and food mixing flask also need replacing regularly?

After several weeks of usage we indeed observed algal and bacterial growth in the tubes. In order to report and justify the need to change the tubes, we made a new supplementary figure illustrating the tube cleanliness over time, mainly algal and bacterial (see Suppl. Fig 3). We realised that 12 weeks is actually the optimal tubing renewing period in our facility. Algal and bacterial growth depends on the facility environment characteristics such as light intensity, water and air temperature, as well as feeding frequency and therefore might be adapted to the users facility specs. The splitter tubing can be changed based on user observations; we now mention this in the ZAF tubing supplementary material and on the wiki.

The authors mention that the tubing needs to be of similar length to ensure similar resistance and food distribution, did they compare the body weight of fish in racks at the top or at the bottom of their system? There are no overall differences, but maybe the bottom racks would received slightly more food? Furthermore, did they quantify the differences in food/water delivery as a function of length differences?

The requirement for similar length is only necessary for ZAF because its accessible design assumes homogeneous distribution of the water-food mix through a passive splitter system which is susceptible to variable fluid resistance. In contrast, ZAF+ distributes the water-food mix one tank at a time -- ensuring that the correct amount of food is entirely flushed through any required tube length (the pumps are strong enough and we flush enough water). In the eventuality that the tube length is too long the user can adjust the pump running time by changing constants in the code (see troubleshooting table in the wiki and corresponding links).

We thank the reviewer for suggesting to evaluate the fish weight on fish from two extremal heights. Although we did not explicitly report this in the first version of the manuscript, we had actually anticipated this potential issue and therefore we did collect data for ZAF and ZAF+ for tanks housed on the top and bottom rows. We added a clear description of the weighting process in the material and method, highlighting the housing condition of the tanks tested.

Finally, after each feeding run the tubes have been fully flushed and are empty without food debris or pellets remaining, irrespective of their sizes. So we did not find it relevant to evaluate the precise amount of food effectively delivered as we control that already upstream.

Methods fish weight: The methods mention different amounts of food than the wiki, the rationale in the wiki is also different from the 5% of body weight outlined in the methods (which then matches the food amount of the methods). Which is the correct amount?

We thank the reviewer for noticing the inconsistency. The method numbers are the correct one so we changed the wiki, we made a mistake when editing the figures. We wrote some sections of the wiki early during the development of the hardware. We unfortunately forgot to correct the inconsistencies.

The code is decently commented for scientific software with clear variable names, but I wonder how flexible it is if users cannot get access to the specific hardware (especially the pumps) used in ZAF/ZAF+? Can the authors briefly comment on this point?

The pumps are just built from 12V motors, you can find a large variety of such pumps online (Amazon, etc…), we have ourselves tried several, but there is no need to have the exact same model. We added a note to the tubing section of the ZAF and ZAF+ about that.

The only components that cannot be easily exchanged are the arduino and Raspberry PI, but that is not an issue as these are very easily sourced components.

The wiki could use more pictures or, to borrow the Proust Madeleine allusion, schematics akin to LEGO with more intermediary steps clearly outlined. Some pictures are also a bit small/busy (such as 2D and 2E in the frame section, or the magnet pictures), they may benefit from cartoons/schematics to clarify what is done. Alternatively, videos/timelapses may help with better visualising the assembly.

We appreciate the reviewer comments and added new pictures, schematic and extra legends in the wiki to help potential ZAFs builders. In the wiki for ZAF hardware we increased the size of all the pictures for all the different steps and added new legends to clarify the assembly. There are also now more pictures illustrating the construction steps (i.e in “frame”, “pumps and valve”) and we added a simple schematic for “servo and food container”. Picture sizes have been increased in “ZAF electronics” and added to the “Raspberry Pi and Servo Hat” section. We increased the picture sizes and added more legends to the ZAF+- Hardware “Pumps & Valve'. Moreover, we added more photos to the “tubing” section and the “ZAF+ Electronics” section.

We agree that videos or gifs would have been great to visualize the assembly. Unfortunately, we did not record such videos during the construction. We created ZAF as an open source project and clearly hope to generate a community that will share assembly pro-tips and may be constructions videos on the github.

Our institute is expanding on zebrafish research so we will build additional ZAFs and will use this opportunity to prepare nice videos to add to the wiki. We envision that the wiki will be improved over time with better material, some of it contributed, as well as perhaps newer and better versions of ZAF.

The main question that would affect if this approach were taken up would be how reliable it is in the long run. Have the authors experienced any issue over the 2 months test? Is this system still being used currently? If so, could the authors update the water quality logs?

The reviewer suggests that the key question is to see if using ZAFs all year long is possible. We can reply yes, it is actually possible! We have used ZAF for 9 months, and now ZAF+ for the past 10 months in our fish facility, with great success. We never experienced major malfunctions and the minor issues we encountered are reported in the troubleshooting table. Since ZAF and ZAF+ have been used daily for months with logs recorded every day we have updated the water logs quality to 3 months. We have been using the ZAFs in full autonomy for a total of 19 months, frankly invaluable.

Getting a sense of how long it can run without problems, how much troubleshooting is involved per month would be very useful in answering those questions.

Except manual cleaning and tube replacement, there is no other big maintenance on ZAF. Of course, the food reserve needs to be changed at least once per week. We listed the malfunctions in the troubleshooting guide in the wiki. In our facility ZAFs require an average of 1 hour of maintenance per month. And if any hardware part fails you can just immediately replace it because all the parts are cheap and easily replaceable. Actually, we recommend keeping spare parts of all the key components (pumps, valves, arduino, Raspberry Pi, tubes, ...).

**Minor comments**

  • Main text page 3: Fig. Supp. 2 instead of Supp. Fig. 2. Furthermore, would the authors have similar data for the manual feeding? If so, it could be useful to add here for comparison (although that is not necessary if the data is unavailable).

We changed the text but we don’t have data available for the water logs with manual feeding.

Main text page 3: it would be useful to add how long it takes to change all the tubing after 10 weeks?

This is really dependent on ZAF tubing and the fish facility, in our hand for about one hour. We mentioned it in the results section, ZAF paragraph.

Methods fish weight: The phrasing as it stands make it unclear the same method was used for ZAF and ZAF+, the authors may consider to start with the description of the common weighting method, then the specifics of ZAF+.

Thank you, we changed the text accordingly.

Supp.Fig.1a: "Waste water drain pipe"

Thank you, we changed the text accordingly.

Acknowledgments: "...for their help..."

Thank you, we changed the text accordingly.

ZAF - Servo Hat connection: "to control the pumps"

Thank you, we changed the text accordingly.

ZAF - Installation: the dependencies should be listed as they are in ZAF+, or the two sections merged, unless the GUI is not functional (see below).

Thank you, we now list the dependencies in the wiki.

ZAF - How to use: there is no mention of the GUI, is it not yet implemented? If not, is the touch screen needed?

The standard ZAF hardware is controlled by a very simple python-based program that works with a command line interface. Therefore to interact with the Raspberry Pi for installation and configuration we strongly recommend building ZAF with a screen, and the touch screen is an easy way to be able to quickly point and click in the absence of a mouse -- which can be cumbersome when no clean horizontal surfaces are available in a lab environment.

ZAF+ - soldering: "A 12V power supply (at least 10A best 20A) provides power to the electronics, except the Raspberry Pi and the two Arduino Megas." It seems the sentence is incomplete, or at least I cannot make sense of it.

Changed to “A 12V power supply (at least 10A, but ideally 20A) provides power to the electronics, except for the Raspberry Pi and the two Arduino Megas that are powered by the Raspberry Pi 5V GPIOs.”

Reviewer #2 (Significance (Required)):

This manuscript provides a significant technical advance to the zebrafish field. The proposed automated feeder would be a very useful option for smaller labs, to ensure the consistency of feeding, and to remove one of the routine aspects of fish husbandry.

As the authors state, there is certainly interest in the zebrafish community [9,10] for automation of feeding. I am not aware of other DIY fully automated feeding system, commercial systems do exist, but are expensive.

The manuscript, and proposed automated feeder, would certainly be of interest within the zebrafish community, as well as other researchers using aquatic models that can rely on dry food. How many in the community would embrace this method will depend on how confident they are in the long-term stability.

I am neither electronics, nor husbandry expert. As such I am not qualified to comment on any long-term approach this may prove, if any, for fish health. My expertise lies in image and data analysis, as well as microscopy.

**Referee Cross-commenting**

I think the major points are shared by all reviewers, I think the other reviews are fair in their content and I have nothing specific to comment on.

Reviewer #3 (Evidence, reproducibility and clarity (Required)):

**Summary:**

This technical report describes an open-source fully automated feeding system for husbandry of zebrafish (and potentially other aquatic organisms). It provides detailed instructions for assembling individual components into two different feeding systems of varying adaptability, as well as their operation. Links to relevant control software are also provided. The characterization of the systems' performance appears somewhat limited (e.g. only maintenance of adult fish over a period of 8 weeks and use of dry food is documented). These systems could be of use for husbandry in a large number of research labs, and, in

addition, for automated reward delivery in large-scale associative conditioning assays.

We thank the Reviewer for his encouraging comments and appreciate his helpful suggestions. We answer to the Reviewer comments bellow:

**Major comments:**

Providing food to large numbers of tanks in aquatic animal facilities in a regular fashion is a time- and resource-consuming process. Some automated feeding systems for large numbers of tanks are commercially available, but these feeder robots are expensive and are restricted to systems of specific vendors. Therefore, an adaptable automated system that can be assembled from off-the-shelf components is a very attractive option for many research labs to both save resources and standardize the feeding process.

The instructions for assembly provided by the authors appear quite detailed and sufficient to allow non-experts the assembly and operation of the automated feeder systems. The design of the system appears appropriate for the task.

While additional experiments are not required to support the claims of the article, I feel that it would be significantly improved by the provision of additional information. My suggestions in that regard include:

Description of the washing procedure of the system (which solvents, how often, how long?). The authors mention that an exchange of the tubing is required every 10 weeks, but since the tubing transports liquid food mixture, it is easily conceivable that microbial growth will occur rapidly in the system without thorough hygiene / washing procedures. Also could the authors provide some information, which type of tubing material they are using (Silicone, Tygon etc.)?

Description of the washing procedure of the system (which solvents, how often, how long?).

We agree that the cleaning procedure must be clarified. So we added a more clear description of the process in the first paragraph of the discussion and clarified the explanation about cleaning in Box 1 and Box 2 (suggested also by the reviewer1). To summarise there are two levels of cleaning, the first one happens just after a food distribution program by flushing water and air in the system (Box1). Additionally at least once a day, we run an entire program without food, to rinse/clean the system (Box2). This last step is programmable using ZAFs software.

The authors mention that an exchange of the tubing is required every 10 weeks, but since the tubing transports liquid food mixture, it is easily conceivable that microbial growth will occur rapidly in the system without thorough hygiene / washing procedures

Following all reviewers' comments we added an extra supplementary figure justifying the need of changing the tubes every 12 weeks (updated based on our latest observations). We monitored the cleanliness (algal/microbial growth) of the tubes and realized that it becomes necessary to replace the tubes every 12 weeks (supp figure 3). Interestingly, we remarked that the microbial and algal growth depends on the facility specificities such as light intensity and temperature.

Also could the authors provide some information, which type of tubing material they are using (Silicone, Tygon etc.)?

For ZAF we used silicone based tubing then we changed to PVC based tubes for ZAF+ because they are cost effective and have similar specifications for our usage. We added a note about the tubing material in the wiki ZAF tubing and ZAF+ tubing.

In a related point, I was left wondering how long the food is being mixed in the mixing flask before being applied to the animals? Too long mixing might lead to a loss of nutrients into the solution (through diffusion). Could the authors comment on that, please? Do the food pellets remain more or less integral so that the majority of delivered food is actually ingested by the fish?

  • In a related point, I was left wondering how long the food is being mixed in the mixing flask before being applied to the animals? Too long mixing might lead to a loss of nutrients into the solution (through diffusion). Could the authors comment on that, please? Very relevant point, indeed it is very important for the food to not be mixed too long in water to avoid pellet dissolution in water and loss of nutrients. The food manufacturer website mentioned: “duration of “wet” feeding should be kept short” (https://zebrafish.skrettingusa.com/pages/faq). Therefore we adapted our feeding program to keep the “wet” feeding extremely short. For ZAF and ZAF+, the software is designed to deliver the mix of food and water to tank(s) within 3 minutes at most. To clarify this, we added in the Box describing the feeding, a sentence : “Overall, they share many common features, like the quick distribution of food and water mix, to avoid pellet dissolution in water and loss of nutrients.”

  • Do the food pellets remain more or less integral so that the majority of delivered food is actually ingested by the fish? We manually evaluated the integrity of food pellets in the early phase of development, these parameters being difficult to quantify, we decided to record the fish weight as a readout of good food delivery and general effectiveness. However, we clearly understand the reviewer's remarks and therefore added to the manuscript a supplementary video that shows the distribution of the food pellets and their integrity once they reach the tanks.

In yet another related point, I was left wondering, whether the authors observed any negative impact of feeder usage on water quality (besides pH and conductivity, which they report)? Especially, with regards to ammonia that might arise from the decomposition of uneaten food items?

Ammonia toxicity is mentioned to induce clinical and microscopic changes that reduce growth and increase susceptibility to pathogens according to aquaculture textbooks as summarized here: https://zebrafish.org/wiki/health/diseasemanual/waterqualityproblems#ammoniatoxicity). However, we never experienced such abnormal phenotypes in our facility and our regular aquatic PCR health monitoring profiles have always been negative for pathogens. Additionally, high ammonia is influenced by husbandry conditions, such as important fish density or inappropriate water circulation, characteristics that are not present in our fish facility. Therefore we did not find relevant to test for ammonia levels.

The authors only tested the feeder on adult fish, but discuss that it would easily be transferable to a system that is used for raising fish fry. In that context, could the authors comment, on whether the system of using water as the carrier for the dry food (after mixing) would work as well for the smaller pellets required in feeding fish fry (e.g. 75 or 100 um pellet size as compared to the 500 um pellet size they use)? With smaller pellets, break-down of the dry food during the mixing process seems to be an even larger problem, I could imagine.

We appreciate the reviewer's comment about using different food pellets sizes, a very important point for ZAFs adoption beyond adult fish. During ZAFs testing we actually tested different food sizes (from 100uM pellets to 500uM) and did not observe differences in pellet distribution. Most of the industrial aquatic food pellets are oily and designed for automatic distribution (for large farming environments). Therefore they keep their integrity and are not easily broken. Besides, during food distribution, as mentioned previously, the duration of wet food (water and food mix) is relatively short, which helps maintain pellet integrity.

**Minor comments:**

(1) the average weight of animals is given as lying in the range of 5 to 6g. That seems very high. The "standard" weight range of adult zebrafish is more around 1g [see, for example: Clark, T. S., Pandolfo, L. M., Marshall, C. M., Mitra, A. K. & Schech, J. M. Body Condition Scoring for Adult Zebrafish (Danio rerio). j am assoc lab anim sci (2018)]. Could the authors comment on that discrepancy?

Good observation by the reviewer. We did make a mistake during figure preparation and our legends were actually not reflecting the exact weight of the fish. The scale bars of the figures have been changed to reflect the real weight of the fish (below 1g). We thank the reviewer for noticing the mistakes.

(2) The authors state that spawning success is not negatively affected by the automated feeding, and they quantify the number of successful crosses. Could the authors briefly confirm or state, that or whether the clutch size was also unaffected?

We never precisely quantified the clutch size/quality but we are now using ZAFs for the feeding of our facility for 19months and never observed any problem with our clutch. Our lab is working on early development and crucially relies on clutch quality.

(3) The manual feeding procedure / regime that is used to compare husbandry success against the automated feeding regime is not described in any detail. That seems important given the topic of the article.

We agreed and added a brief description of the protocol in the Methods section (“Animal and husbandry”).

(4) The authors cite two recent papers that describe semi-automatic feeding systems for zebrafish in the introduction. The authors might want to consider discussing some key differences between their system and these semi-automatic systems in the discussion.

The two published semi-automatic feeding systems are completely different from the devices presented in our paper. They are also open access but they are devices that need to be manually operated by facility staff. In contrast, our solutions are fully automatic and do not require the human hand during operation. We mention these two solutions during our brief literature overview in the introduction. However, since these are in a different category, we did not judge it necessary to comment on them in the discussion.

(5) What do the error bars in Fig. 1c signify (s.d., s.e.m.)? Please state in Figure legend.

We thank the reviewer for their attention to details and explain in the figure that we mean standard error of the mean by s.e.m.

(6) I do think that the system could be of particular interest to researchers that study learning and that use food rewards in automated associative conditioning experiments. While this might be obvious to researchers with such an interest, this aspect is not at all discussed in the paper. Mentioning it might further underscore the versatility of the feeder system.

We agree with the reviewer that ZAF can be adapted to experimental conditions such as behavioral conditioning, nutritions and drug delivery. Any experiment requiring the automatic delivery of solid pellets or liquid can benefit from ZAF. We revised our text and mentioned it in the discussion.

(7) A list of all required equipment with vendors and price estimates (e.g. in the Supplement) would make this paper an even more readily accessible resource.

This is a very important point already suggested by another reviewer. We added two extra tables in the wiki with the necessary parts and components, listing models, references, and prices.

Reviewer #3 (Significance (Required)):

Describe the nature and significance of the advance (e.g. conceptual, technical, clinical) for the field.

This article signifies a purely technical advance in that it provides a characterization of an open-source, scalable automated feeder for aquatic facilities. As such, it presents a significant advance in the field of aquatic animal husbandry. In addition, this system could also be useful for automated large- or medium-scale associative conditioning paradigms, in which food rewards are given as positive reinforcers.

Place the work in the context of the existing literature (provide references, where appropriate).

The authors refer to previously published semi-automatic feeder systems. Regardless of the advantages or disadvantages of all these systems, the field will benefit from a broad(er) choice of automatic feeding systems that are described in sufficient detail to be easily assembled in the laboratory.

State what audience might be interested in and influenced by the reported findings.

This study is of interest for any research laboratory working with zebrafish or other aquatic model organisms. Thus, the audience for this article is very broad. Specific interest might also arise in researchers that are performing learning studies in zebrafish (see above).

Define your field of expertise with a few keywords to help the authors contextualize your point of view. Indicate if there are any parts of the paper that you do not have sufficient expertise to evaluate.

Zebrafish, neural circuits, sensory systems.

**Referee Cross-commenting**

Many of the major points are shared by all three reviewers. Beyond these shared points, I agree with the other reviews; they raise important questions. All reviews are fair, in my opinion.

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fter the first (NSP). The second-to-last layer is what Han settled on as a reasonable sweet-spot. 4. Appendix 4.1. Special tok

Pretty arbitrary choice

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gyuri   5/26/2021 8:42 AM   in Public    
typed ASGs by using typed lists. Extensible and Modular Encodings of ASGsWe present an al-ternative encoding of ASGs based on type classes. This encodingstands somewhere in between shallow and deep embeddings, andit has the advantage that resulting DSLs are modular and easier toextend with new features .2. Sharing in internal DSLsI

Interesting sweet spot to explore

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chrisaldrich   5/17/2021 9:51 PM   in Public    
es me no more than a minute. Over the past few years of working with this approach, I've learned a few key principles. The system works for three reasons: 1) The DevonThink software does a great job at making semantic connections between documents based on word frequency. 2) I have pre-filtered the results by selecting quotes that interest me, and by archiving my own prose. The signal-to-noise ratio is so high because I've eliminated 99% of the noise on my own. 3) Most of the entries are in a sweet spot where length is concerned: between 50 and 500 words. If I had whole eBooks in there, instead of little clips of text, the tool would be useless. I think #3 is the point that n

Stephen Johnson describes the reasons he thinks his DevonThink writing process works with semantic search.

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eas of strength, we ask them to recall at least two work experiences in the past several months during which they found themselves in their “sweet spot”—feeling effective, effortlessly absorbed, inspired, and fulfilled. Then we have them deconstruct those experiences to understand precisely what energized them so positively and what specific talents they were drawing on. If leading strategy feels like

** Ritual 7.1 Identifying your Strength**

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acollings   3/29/2021 12:34 PM   in q5X6RWJ6    

Evaluation Summary:

This work helps explain some enduring mysteries about why certain activating mutations appear in the KRAS gene more frequently than others. This paper provides experimental support for an emerging concept within the Ras field that there is a sweet-spot of Ras signal strength that promotes tumorigenesis and that this explains why different mutations are observed in different contexts. The experiments are sound and the conclusions are fair. Given that certain KRAS mutations may be more amenable to therapeutic interventions than others, it is important to understand the basis for mutational tropism, and this work provides strong in vivo evidence that addresses this issue.

(This preprint has been reviewed by eLife. We include the public reviews from the reviewers here; the authors also receive private feedback with suggested changes to the manuscript. Reviewer #1 and Reviewer #2 agreed to share their names with the authors.)

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on. This finding suggests that most lifters have some "sweet spot" below the one-rep max for which mechanical tension on the targeted muscles is at its highest. Adding additional weight won't increase mechanical tension and may actually shift it away from the desired muscles and onto passive structures or other muscles. So, the lifters in the study w

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delivery metrics the last two. Cycle Time hits the sweet spot by covering Coding, Review and Deploy.Cycle Time is defined as the time that goes from the first commit to the release in production. a.image2.image-link.i

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Simply pushing for faster may not get the results that we want.

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[THE SILENCE, IS WHAT KILLS ME; ](https://www.youtube.com/watch?v=oppUAwkqw7k)

She looked over his shoulder
   For vines and olive trees,
Marble well-governed cities
   And ships upon untamed seas,
But there on the shining metal
   His hands had put instead
An artificial wilderness
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A plain without a feature, bare and brown, No blade of grass, no sign of neighborhood, Nothing to eat and nowhere to sit down, Yet, congregated on its blankness, stood An unintelligible multitude, A million eyes, a million boots in line, Without expression, waiting for a sign.

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She looked over his shoulder
   For ritual pieties,
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But there on the shining metal
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She saw by his flickering forge-light
   Quite another scene.

Barbed wire enclosed an arbitrary spot Where bored officials lounged (one cracked a joke) And sentries sweated for the day was hot: A crowd of ordinary decent folk Watched from without and neither moved nor spoke As three pale figures were led forth and bound To three posts driven upright in the ground.

The mass and majesty of this world, all That carries weight and always weighs the same Lay in the hands of others; they were small And could not hope for help and no help came: What their foes like to do was done, their shame Was all the worst could wish; they lost their pride And died as men before their bodies died.

She looked over his shoulder
   For athletes at their games,
Men and women in a dance
   Moving their sweet limbs
Quick, quick, to music,
   But there on the shining shield
His hands had set no dancing-floor
   But a weed-choked field.

A ragged urchin, aimless and alone, Loitered about that vacancy; a bird Flew up to safety from his well-aimed stone: That girls are raped, that two boys knife a third, Were axioms to him, who'd never heard Of any world where promises were kept, Or one could weep because another wept.

The thin-lipped armorer,
   Hephaestos, hobbled away,
Thetis of the shining breasts
   Cried out in dismay
At what the god had wrought
   To please her son, the strong
Iron-hearted man-slaying Achilles
   Who would not live long.

 1  Blog Post# 5 | ENG 102:Composition II (Fall 20) eng102fall20.commons.gc.cuny.edu

paulfess   10/29/2020 3:52 PM   in Public    
eave a reply 1. In my writing, the leading point is plot and discourse. When I started writing, I thought of my writing structure and, also there are many difficulties that I face as a writer. I am writing to represent one of my brother’s life events. My brother, Bawanjot, needs to purchase a little dog. He goes to the pound and starts glancing through the cages for his future dog. Toward the finish of the cages, he sees a little, sweet earthy colored dog with a white spot on its nose. Immediately, he realizes he needs to adopt him. After the dog gets shots and a clinical check, he and the dog, Sky, return home together. In this example, the composition acquaints us with my brother and his contention. He needs a doggy yet doesn’t have one. The rising activity happens as he enters the pound and starts looking. The peak is the point at which he sees the dog he had always wanted and chooses to adopt him. At the end, my brother and his dog joyfully head home. The plot is the thing that makes a story. It gives the story character advancement, tension, energy, and passionate delivery. It permits a creator to create subjects and above all, contention that makes a story sincerely captivating; everyone realizes that it is so difficult to quit viewing a film before the contention is settled. Discourse is the principle power which works behind a wide range of human exercises and changes in social texture; while Innovators property discourse to advancement and progress.  2. Culler starts by determining

Yes, this is a very good application of material from the chapter.

 1  Annotate PDF: 100-Languages_ch9-kwltX.pdf docdrop.org

SandraAmorim   10/4/2020 1:52 PM   in Public    
he teachers is to help children find problems that are big enough and hard Map 2of 2the 25-year-olds 

I sometimes struggle in finding the sweet-spot for problems - I love this idea that problems are important to engage learning. I have read before they are also one of the big draws of video games - challenging problems you can overcome and feel rewarded and accomplished once you do. I would love to find this sweet spot more consistently/

 1  New report finds costs of climate change impacts often underestimated » Yale Climate Connections yaleclimatemediaforum.org

LavranJ   9/9/2020 5:21 PM   in Public    
ocused on the American economy. The 2015 study led by Burke found evidence of an optimal temperature for economic activity. Regions with average temperatures around 13 degrees C (55 degrees F, like the U.S., Japan, China, and much of Europe) have the strongest economies. As temperatures warm beyond that sweet spot, economic productivity weakens, which is especially problematic for poorer countries nearer to the equator that already have sub-optimally hot climates. In short, economic models assum

This strikes me as anachronistic racism; echoes of Western pretextual science

 1  SAGE scientist warns coronavirus cases 'increasing exponentially' | ITV News www.itv.com

ErikStuchly   9/8/2020 10:47 PM   in Jk8bYJdN    
ston's Politics Credit: ITV News In an interview with Robert Peston for ITV News, Professor John Edmunds - a member of the government's Scientific Advisory Group for Emergencies (SAGE) - warned that coronavirus cases are "increasing exponentially".Prof Edmunds, from the Faculty of Epidemiology and Population Health at the London School of Hygiene and Tropical Medicine, said that although we are all still socially distancing far more than we were before the virus arrived, we have not "hit the sweet spot" that allows more normal economic activity and simultaneous control of the spread of the virus. Prof Edmunds said that the autumn will be a challenge, because the rate of reproduction of the virus or R rate is above one - when schools and universities are re-opening.  play-icon Created wi

 1  Stock and flow snarkmarket.com

frankmeeuwsen   9/5/2020 6:56 AM   in Public    
thpicks a day. Easy. Too easy. But I actually think stock and flow is a useful metaphor for media in the 21st century. Here’s what I mean: Flow is the feed. It’s the posts and the tweets. It’s the stream of daily and sub-daily updates that reminds people you exist. Stock is the durable stuff. It’s the content you produce that’s as interesting in two months (or two years) as it is today. It’s what people discover via search. It’s what spreads slowly but surely, building fans over time. Flow is ascendant these days,

Een interessant inzicht van Robin Sloan (via) wat mij doet denken aan zowel de Zettelkasten methode van Niklas Luhman maar ook aan de opkomst van nieuwsbrieven de laatste maanden. Online publiceren begon met het maken en distribueren van "stock" sites. Semi-statische sites die soms nog terug zijn te vinden. De laatste 20 jaar zijn de flow feeds daar bij gekomen. Met name de social sites. Email en nieuwsbrieven lijken die sweet spot er tussen hebben gevonden. Enerzijds flow omdat ze periodiek verschijnen. Anderzijds stock omdat ze blijven bestaan in een online archief en in het mailarchief van de ontvanger. Een zoektocht in mijn mailbox brengt soms het antwoord boven in de vorm van een nieuwsbrief bericht van jaren geleden.

 1  Hypothes.is: An Open Annotations Platform | Hacker News news.ycombinator.com

krishpop   9/4/2020 7:11 PM   in Public    
annotation software.In between is the sweet spot, where participation is adequate that the annotation software brings some sort of value, but it isn't just overwhelming chaos .I submit to you that viewed thr

HN is definitely in the sweet-spot. not too big/too small, and wouldn't work if any bigger/smaller

 1  Sonnets for annotation: 2020FA-E-242-001: Reading Shakespeare (GT-AH2) - Canvas - CSU colostate.instructure.com

aprocanyn   8/27/2020 4:53 AM   in Public    
g a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the world's fr

We are in our own ways, our most dangerous enemies, harshest critics, & ignorance and greed leads us to this spot.

 1  THE DEVLANEU - lamc.la

rbrckx   7/25/2020 5:59 AM   in Public    
ee? – Staind, “Price to Play” So my conceptualization of “the heavens” and Heaven … it’s changed quite a bit in the last year or so. I’ve come to believe … through the telling and retelling of this story of “dsiconvering it” … that we are actually living inside some kind of graphene or carbon nanotube structure (probably with a DNA/RNA like … secondary structure), literally submerged inside something like pools or compression chambers of liquid gas–like oxygen, nitrogen, and hydrogen. It’s kind of like … the negative connotation of “lakes” in Kaleb’s “don’t be the lake” turned upsidown on it’s head–obviously in the original … vision you would imagine fresh water lakes were something like “milk” … (as opposed to meat) … the stuff of life and birth. You can see how those gases would deliver “liquid cooling” like we’d need for super fast Cray and Sun super compvters … and also stored energy for … things like propulsion as well as the creation of “human life habitable environments.” I’d like to [say I came up with the whole thing miraculously and solo (it’s Monday, btw), like Newton invented gravity and Einstein … the blackhole. what came first … the chicken or the egg? the road or the maize? … is theQ: “can we it ourselves to Acts?” On and on, the circle of Ourorobus turns; who then, came first … Adam or Abraham? Cain or Abel? Adam past Lincoln or … Link of Zelda? And the Legend; marred and mired toto end by spelling errors and bad grammar. round and round we go … truly the question here is “do you think you, yourselves, are civilized?” and my answer … the less you think that, the more civilzed you are. this place is sick, it needs some “medicine.” What is a Gremlar? What does pillows and sheets have to do with Q&A and … and Room 101? Does “dirty pillows” win the award and accolades for the most informative chosen name? Does Yehuda Berg? Would anyone object to calling it “O’riordian Way” … is it Monceres or are we already wondering if Betheljoos must already have some kind of connection to Orion? Did Dolores know the whole time? The whole fucking time? I satyed up practically all night tonight … almost stone cold sober … to finish writing this before our final “Northeasterer.” THE **MONO**LOGUE **C**ONTINUES, **UNDERSTAND ME**. It doesn’t take much “thought” to see these star charts–our Astrological road maps to ‘wisdom of the Ancients’ might actually be something closer to road maps than I could have previously fathomed–let alone imagined. I’m staring at “Monoceros” and seeing it’s definately connected to “the kissing disease” and to Eros and to Cupid–and seeing … this one not for the first time that character linked to Orion and to the “Speare” of Sagittarius. I’ve commented … ‘on the show in my head’ that it seems the entirety of the Milky Way might be something like our world … it could be a microcosmic map to something much larger–it could be the seed of “galaxies” in this place that might very well be the “thing” that connects the end and the beginning; rather than the beginning and the end as I once … commented was the original “glyph” i read in the letter “H.” Today though, this is all “sci-fi conjecture” we have a very real problem–one that we aren’t dealing with well, and it’s a hidden sickness that’s turned the whole of the world to seeing my “nightmare of isolation.” It’s no accident that most of European and South American culture … “kisses” friends and family “on greeting” … hello, we today are shunning ‘social contact’ … a think that’s responsible for sharing antibodies and using social structure to naturally battle outbreaks of diseases … exactly like this “Sun virus” today. I imagine it’s no accident I’m writing this “Norther” about “no Passover” and … “no east from here” and hoping you understand that means something–it means we’ve got stop lying, and stop pretending this place doesn’t matter. This place matters, this is the source of Heaven, and the future, and … whatever it is that you apparently think you “covet in secret” and … has allowed you to stand by idylly … and do nothing as the fabric of our social structure simply “disappears.” That’s civilization, society, the rule of law and order – “it’s kissing” – and those aren’t the only things we are apparently “losing in the fire.” I’ve previously written and spoken numerous times about DNA storag e; it’s benefits and … the slow assimilation of this clearly “Heavenly” technology … which I saw in the most ironic of tones–looking around clearly you see this place is the hearth of creation, and “biology” itself is tantamount to absolute and unequivocal proof that Heaven itself does indeed come from something almost exactly like this rock, right down to graphene and tertiary logic and molecular storage–of course I didn’t awlays “think” or know that fact, but upon inspection and with the eye’s aid, it’s very–I mean very–obvious/clear. [LOOK MA … NEWS. IT’S REALLY ACTUAL NEWSWORTHY NEWS] I’ve previously also written about “the game” (for the non goyim among us, game-yah-him on the Epic of Gilgamesh and its historical connection to the story of the flood and Noah’s ark… as it was in the days of…) of the colonization of the red planet Mars; as well as the map that does very much exist in our “SOL” and it’s orbiting simulated rocks… here taking this one step further and suggesting that our “military key way from wall” (and/or see the M and the IL … the IT the CIA and the IR (what a poet I am)) … to assume that things like the “Mono/c/Eros” constellation might very well “overlay in a metalcosmic way” over say, the link between Beetlejuice and RIGELA … and that something like the Crab Nebula might very well become … something like Andromeda is not beyond the imagination or the fathom-ability of our new “raelity.” Along those same lines, the “kissing disease” and it’s link to the Unicycle of “verses” about Versailles in a Tale of Two Heavens … begin to suggest the Fire of Saint Anthony is nearly fully aflame–even if it is still those “invisible flames” of not speaking and … quenching our desire to “get a word or two in” might just … douse the whole thing in Holy Water. Hi Kate. :) I mean, Stillwater, and “still… water.” The point here, that we might be in the place where Yosef Stalin’s middle name and the “o no” of … that’s a failsafe that might very well use time travel to wipe out the … post Orion/Eros star … “O’riordan”'s which only turned from Roads leaning towards abandoning Rome to … rivers of magical anti-matter autopropulsion (re-y-rios) … in the past few months … story. Of course the “Naqueducts” as I’ve come to expand the NT appreviation to become … after of course my personal (for obvious reasons, right?) distaste for things like “Easter” and Crucifixion … having anything at all do with a religion or a society of morality or “truth.” That’s “kissing the ‘o no’” which … heralds from “ME-V-AT-HI to MISSISSIPPI and CONNETICUT and KANSAS and IOWA.” … in Florida today, Flux Capacitor engaged; and literally staring at Netflix and … Pauline; **wondering.**x Before …or maybe during or after or even up until … just this past day … we might have had another kind of military microcosm; or perhaps your truth, connecting the Hebrew for Heaven, which is “shamayim” … for “fiery waters” or “really hot girls” or … maybe Heaven existed on nuclear “u-boats” puttering around the Dark Side of the Moon or maybe even just our dark Pacific, Atlantic, and Arctic … oh sea; do sea the oceans here have something about Pa linking to “see if I see the C” missing from the Indian–the one ocean standing out here without that particular letter, or perhaps “concept.” Stargate turned me on to the idea of a subterrainian similar “bunker like” facility in the Arctic; and you can probably also see how that’s something like an ocean or a wilderness … another place we wouldn’t necessarily be looking – or noticing these are “disaster plan” style locations for something like a network of computers … something like the mesh-net that might very well be in orbit around the Earth … in that thing that sets “the sky’s the limit” as yet another “special place” in the hearts of those that … want to survive the original problem: being stuck in one place, on one tiny little planet succeptible to self destruction or an asteroid or … a collision of galaxies or … who knows–it could just be an eternity with not enough oil to reach gravitational escape velocity (keep burning it all!!!) and roads so backwards and archaic when I mention they should have “electrical power to inductively charge my Tesla” someone actually overheard me and had the nerve to call me a “genius.” Which of course I am; I definately am that. What I am describing is something like … well, it’s basically WarGames meets Battleship … meets the very real connection between Vietnam and NamCo and Pac-Man, and the reason this “book” has this particular name–connection the Revolution of Nero’s Symphony … to … I mean, I called it “Pax Abraxis” here–but it’s really got very little to do with Jupiter Ascending and much more to do with … the rest of the world doing something other than descending far and fast into the central syllable of Jupiter. It … doesn’t take a genius to point out or see Pac-Man is simply missing the “SE” of … turn around this southeast miserable spectacle of immorality and nearly “instantly” we see “space” and … a world that doesn’t have to guess whether or not this is aqua-rious business or not. Who I am is … this guy and that Wikipedia page and it’s log of touches and changes is probably almost if not mroe important that my Facebook page [if you achem, follow me I’ll be sure to send a friend request] … though that’s best way to get in contact with me; and if anyone was actually interested in “working on the Sword/Round Table” of Arthur … with “Arthor” you’d probably find eventually it’s that communication and that "assistance’ that turns out to be way more fruitful and … “Sliding Doors” and “Go” and … nothing compares to the change wrought by seeing … what you truly are, having your mind opened to the “hive’s nasty side” … as the new American Standard for “X-Caliber” and “what’s liberty worth, anyway?” glooms out from behind the dark clouds of Kish’s night time “it’s not a right, nor a rite” what we are looking at, I’ve always called “pantomiming the end of time” … it could be that, we could be “not going back.” THE DEVLIN ME … “IS THE DEVIL IN YOU, OR ARE YOU IN IT?” T’was cues like “and your husband wants to be a girl” … and the sincerely overgrown thread of “homosexuality” in this story … that lead me to ascertain that it was “many years in Heaven” and many (fewer) years “as not just one person” that probably would make those things almost … certain to come true. It is true, today; I think it probably still would be fun to be a girl for a day; or walking through a special gate into a special “room” in my holodeck dreams–it’s that kind of understanding that gleans light into … how it is that we might, in that same place and same circumstances become "more open to things like ‘violence’ that we today, still here in this place do abhor–and very well should. Gnosis … maybe something like instant enlightenment … I think that’s the fun stuff that heaven .,., should be alla bout; and frankly I’m sick and tired of having to dream about it, and not start playing with it here and now. Seeing my old “win the sun dance” sticker my computer … and hearing Taylor sing about “you’re never gonna dance with me” and Brit too … connect it to “drinking from the Devil’s cup” and the real “stuff of the pool of Bethesda” … it’s a Holy thing; a … kind of like sparring with a sex partner; in my mind anyway–like experiencing whatever it is that girls call “multiple orgasms” if there ever was such a thing before we could … you know, like MCO … or Azriel’s “forklift moment” wherever I was between Scottsdale and New Mexico; you can see I … see we have it. Or … something like it … and instead of those things, instead of bliss and … making more fun more exciting and more … intelligent message … We're stuck here talking about violence, and "will we ever have school again" not because of a song about "out for summer" or "blown to pieces" but because you're really zombies--you don't talk, you don't seem to think this place is important; and you're wrong everywhere is important, and if you leave one stone unturned; or ignore the pain and suffering of ... one small place ... it festers and grows and really proves you don't deserve the "sun dance" or the ability to decide "right and wrong" anywhere, really ever--in your current state. See that, see this sickness needs to change; and I do mean your response to the "Corona Virus" as much as I mean your response to "Sandy Hook" and ... well, it must all be my fault, are you fucking retarded? Just to "put it out there" ... I'm not wandering the cold streets looking for warm water, or somewhere "main eventish" to swim or hang out all day--I'm looking for a girl that wants to go skinny dipping with me ... on like, call it "Universal TV ..."  Just once, or ... I mean the book says twice, but I'll do it first alone, just to make sure it's safe. … the jaya-jaya … EARTHENE, THEY HAVE NEWS … the Heavenues of our heroads; heroes and yes, we the Terrans; we can do that. I mean be heroes, I hope you click on my links and really get the “gist” of what it means to read things with your eyes and type them with your hands; and how that differs from “the thing” I’m trying to build here, which is a … “I know kung fu” for … pretty much everything … that’s a plug in … into your head (don’t drop out, but tune in) … to pretty much “know everything” so long as you understand that really does mean know everything … someone or some “other thing” wnats you to know and believe. I think we know … or we should that we build “truth tables” … as in some system that allows for truth to be verified and lies to be verified and the large tertiary “opinion” in between to be gauged and colored (my word for … weighting of value) … individually. This is the “crux” of the whole of the system of … “it’s not voting, but information about what we’re voting about” which in other circles would be “colored as propaganda” and that’s basically what it is–it’s what I called it … before and now. That’s not to turn you off from it–on the contrary it’s to help you get excited about being involved in it–even if it’s oinly in some “group-think” or (ARCHIVE: arxiv.org) passive … I don’t read the papers, but I look at statistics, and I know how to guage whether or not … some group is “interested” or … acting appropriately. You’re not, none of you are acting appropriately here and now. You want to blame me–or torture me–or worse, torture yourselves by thinking … yoiu have something you don’t; and perhaps blame … anything other than not acting (its a verb, it means “literally doing something” not “prewtending” in this context) and reading and writing … conversing. That’s the thing that ends school shootings and world hunger–which we should be able to do nearly instantly–it’s just a matter of … time and chance … or how we want to proceed; and whether or not you want to proceed at all, and I mean if you dont want to end world hunger, you don’t want to proceed with “living.” Hear me; I’m roaring … these things are not optional. Your survival here; that’s optional. Mine is not. Sorry; b1ow me. There is something very wrong here–I’ve been thrust into the center of it … I see it and I’ve written about it, tried as hard as I possibly could to “see you in the best light possible” to find your excuses and to find real honest solutions … with the amazing amount of hidden secrets that I’ve been shown–handed–given for no reason at all … or so it appears today. Instead of fun things, and “safe things” and … “helping others things” you appear to be focused on “negative things” like how bad can you be, and how much … sickness can you spread–I spent the last several years fighting a war against “attrition” and "charrming (in the most negative sense) … mind control and lies and secrets and I’m surrounded by a group of people, everyone I see everywhere that’s become almost convinced that they can do pretty much whatever they want–and they’re dead wrong. This place is sick–this world is disgusting; it always was so, but we didn’t always know it and that… that makes a big difference. The children here–“gen Z” appears to have been born in tandem, in two places; here and there; and that’s an interesting observation and a guess, and it ties to their name and how they interacat with me specifically. I can tell you categorically I wasn’t and … many in my generation probably were not. It’s Earthene; the three sets of “E” that actually to me, in special code stand for “angels” over the coarse of time that is our … lifetime here in this place I’ve called and still believe is something like the “syslog of Heaven” in newage geek-speak … to the sages and the Ages, that’s the Rock of Ages; and it’s the thing that comes before and after Heaven, all the time; over and over … in whatever story or place Heaven “does that.” Heaven of course has a similar connotation in mythology and religion, the thing that travels through or “pervades” or makes “time itself” obsolete. Or so they think, or whatever; I don’t understand much of what it’s like to be … “timeless” or a tyemporal and I dont think that far ahead when I play chess; but I’ve got the help of God, and he’s on my side … believe that, receive that. I can tell you categorically that … the first time I was here; and “in the beginning of this place” the generation before me was not … was not at all born in two places; or even “ascended” at the same time as Generation X … the one that I … am sure is marked as the crossroads and the “sweet spot” for a good reason. I have … “markers” in my memory and in my history, the phrase “my parents love(d) you” … spoken to me by numerous people at my high school, in this sort of … “mechanical and methodical way” to explain that of course, they had faith in Jesus Chrsit and they were upset that they weren’t ascended … at the same time as their children; I imagine they felt “unsaved … by me” and … their kids probably didn’t … know how upset I must have been, not to have been around to explain. Here it’s clear that the reason … the reason for this place and the entirety of our timeline and our wonderful “crash course” in understanding sandbox computing and the building of Heaven is just that; that before us there was a world mired in “might and magic” and they believed … incantations and sorcerers and witches … those were things they needed–that’s the stuff of the beginning of salvation, in truth. Of course it’s the hidden part, before hidden part about “salvaging” it’s the “non-civilization” that was … destroyed–I think in the book we say “from the ashes of Edom.” I watched my generation lead the way; we were the pivot point, the difference between “cell phones and instant messaging” and that was a big deal back then; when there was no SMS or texting and there were no keyboards on your phone; it was a big deal to know how to type, and a big deal to know how to write … before that. dot dot dot I write to you … every day I do it; with an informal style; I am writing to friends, in a way that you should understand is literally the thing that I call “praying” … I am praying to you, and hoping you understand I don’t believe in prayer, but I do believe in the power of this group, I believe in the power of humanity, and I believe that we should literally force the entirety of everthing to instantly become “humane” in this place where I believe Heaven itself and “uncivilization in the sky” and the prospect of “immortality” has created a disgusting monster that bleieves that thing to be “guaranteed” and … their “right” and to look at you today, I am very sure none of you have that right, guaranteed–none of you. You look at me here; and honestly to tell me to uhh, “El Shaddai” with the purpose of saving me from the torture you see mimmicked or pantamimed; that mightr be a holy thing, if that’s what you said and meant–i don’t see it often though, most of the time … “should I though?” … has some other (it’s shaddai, "should die or…’) sort of sick double entendre; double speak meaning. You should learn here–you are children and you are weak and you are blind and you are wrong; and when you know those things … you should “seek something more.” Kennedy spoke decades ago about the world being invaded; something coming from the sky, a “vast conspiracy that took the minds of our people right out from under us” … he spoke about it’s difference from the human way, aqnd the way of our civilzation and he was appalled, rightfully so. He spoke about it fighting with hidden tactics, “night” over “day” and he spoke about our need to fight secrecy. He was a genius that day, and in that time; literally a genius. In a few days I’ll talk about the joint Russian and American response to this invasion, it’s part of our history and it’s part of religion–it was literally a gigantic nuclear attack on … on “the darkness” … it was not successful–as you can very clearly see. So this whole email was supposed to be about “sliding doors” and showing you the perspective change … the thing I’ve been trying to explain is something that Heaven does–it changes everything. The prospect of living forever; of becoming younger, of “turning sex into a fun … four hour game” … it changes everything. On the other side of the coin it also turns “grave danger” into a key phrase, and a key movie–A Few Good Men–must be all who understand. You see before Heaven “grave danger” was the worst kind, it was the kind that would quickly “show you to your grave” as in kill you. After … this thing and this place; the prospects of something far worse than that are not just “looming” or … “hiding under the surface” they are immediately obvious and scarier than shit. I’m sure there’s a plan–something to ensure that we never … ever again … have that kind of danger actually looking at us, and saying “it’s for you–I’m doing this for you.” I think this … this experience and this message … this is the beginning of that thing–the solution to ths scary problem. In between this and you … that’s the continuation of the solution, and it’s got something to do with the “Kinghts of Hyrosol;” and it’s got quite a bit to do with all the work that’s gone into shoving me onto this pedistal; and that word; it’s got almost nothing to do with … pornography or even pediatricians; though as the Pope says … in half speak … you need a vetrinarian. Janet Devlin’s got some great music and some great insight. I heard this song “Chandeliers” and it was almost the same feeling as my “my parents really loved you” … experience. It was a … a message about a world that was hidden … and to me at first that world was Heaven; it was a message from her parents sort of telling her about it–that they’d seen it and that she will in the future. I recently re-heard this song, and it’s only one small “connotation change” or colouring of … understanding … it’s just seeing the words “hidden world” as … actually about this world–that changes everything. My change in understanding; that there’s a large … “other place” looking at this tiny gem that literally is my totality it’s everything i’ve ever seen or ever known and it’s this logical place with math and science and art and it’s a great world–it’s a great place I’ve seen devistated and destroyed by a large group … … literally all of you … of ignorant people that can’t say one honest word to me–an entire planet full of fucking liars; all pretending they … are something they know they aren’t in some kind of thing they think is a game. This is not a game; this is the … “judge jury and … coroner” … this place; this place is the one that’s sort of “pre and post judgement” all in one strange story of “it was all here the whole time, we’ve had the answer … we just, didn’t understand.” It’s a place of death and of rebirth, it’s a place of love and of … the end of hate–it’s a place where if you understand; you are being reborn, as I speak, as you read–as the world turns we are being changed into something … God, I hope it’s not to something scary and horrible and not worthy of my … "attention. Understand, not being able to communicate honestly, that’s not worthy of my attention. Thinking “singing a song about Eros” is communicating with me; that’s not worthy of … “honesty” or “reality” or … think about it. She’s got some other songs; “things we lost in the fire” and I thought myself very clever to think “hands and speaking” were a good … answer to her question; I didn’t realize it was going to add (i mean the place, the story; the holy shit) stores and democracy and voting and … jobs and … friends. I didn’t know that safety was on the chopping block; I thought we were in the “ICS” land of that means … walking with him with “oh no, not me–we never lost control” … the God that wrote those lyrics; it means I see … “God’s total control of everything” and that’s kind of what the silence and the smiles and my continued happiness through this war of attrition and shunning and sickness … that’s really what it means to me. this is not a t3st. janet, "get" w/me ... "i" mean it. #anokhi I owe Janet some more loving; so you might also want to listen to her song “House of Cards” and … I don’t really like the new one, the “Saint of the Sinners)” of course she knows what I think about the word “saint” it’s one I get rid of; Reyagnost" … #lol. Janet, I’m curious if you were born here, and … only here first. I can’t guess–I’d say others I know were, some others weren’t … I’d say most of the generation I … I think you’re a Millennial; to me that’s basically Gen X2; but we’ll see, you might just be better liars, or “two-place-people version 7.0” instead of the current XP2000CHIROWERA–anyway; … really see Heaven has done something horrible to “you all” and our “all reason” … that’s the problem–we have “all” problem and our “all is sick” and that’s a problem. We’re all in “multiverse idiocy land” looking at lllllllllllllll and not seeing that these tools have a good purpose, and we’re (i mean you all) are using them wrong. I don’t see it, or understand what you’re telling me … well enough to expound more than; just to say you should probably try to use the stuff you have … “with more holiness” or more altruism or … maybe we should stick a governor on everything (which is actually my plan). Of course, I don’t understand why we’d build a virtual shotgun without a safety … si.ystem … not just a child-guard. Whatever. The problem with this whole “perspective argument” and the Go/Sliding Doors … thing; it’s that there really is only one way to see this event and this world and this problem; and that’s the solution. It’s my way; it’s the truth and it’s with a history and accuracy of … “not some other person in some other time” and “not through the control of some other entity” … it’s actually doing this right, not your way. Literally, your way is bullshit. HEINOUS, EPIMETHEUS … BURPHAGUS … MY PEROGEE ;) HEY BRITNEY; DOES “A PIECE OF ME” MEAN … “LIKE … A PIECE OF ASS)?” IFI YESSM, PLZ just asking, or adding … is this “piece of me” and the … “momma don’t cry” one-- are they from another timeline? like, “to and fro” or … was I just out of it? honestly, I do think … Taylor’s “Far From Never” is … actually … from another timeline–like I think it was previous “mega-hit” just imported here as some kind of “early, unlabeled work.” and here; to continue my thread of “what’s new and exciting–I mean different and … scarily new” … it was in Kentucky when I first noticed through re-reading the ancient mythology that I’d studied in grade school, high school, college, and on my own (over and over) the character I assumed was newly added there, the brother of Prometheus–“lack of forethought” and with the special Eye of Enoch walking with God ascertained these brothers were one; and today link again to Vegas, to the ancient story of the founding of Rome and the brothers Romulus(t) and Remus(nt). Menoitius (read: i know it, I shush us; or “i know it, I am us”) didn’t show up in my reading until 2017 in Cali; and that one sort of parallels this message … it appears to be something like an Olympian sent “back in time” to become the parent or progenitor of the brothers. He’s called a Titan; though, you’d think the generation birthing Titans would be … maybe not. We have a new candidate for “newest addition to the Great Olympian Ogdoad Descending” … it’s this character; and whoa, it’s a little scary for me to see: In Greek mythology, Iapetus (/aɪˈæpɪtəs/)[1] (also Japetus (Ancient Greek: Ἰαπετός Iapetos))[2] was a Titan, the son of Uranus and Gaia[3][4][5][6] and father of Atlas, Prometheus, Epimetheus, and Menoetius. He was also called the father of Buphagus[7] and Anchiale[8] in other sources. Iapetus has been equated with Japheth (יֶפֶת) the son of Noah as the progenitor of mankind based on the similarity of their names and the tradition. Iapetus was linked to Japheth by 17th-century theologian Matthew Poole,[9] Robert Graves,[10] and John Pairman Brown.[11] Though in the style of the Cali changes; I actually was sure that name was “Burphagus.” Brrr. It’s frankly difficult to understand “what you all see” from the few words and the idiotic things you actually do manage to say–but things like “my truth” and … the entirety of my life and the world we live in … “don’t jive with a gay-a” … and I’m not sure just how stupid you’d have to be to “see another me” acting completely different from me, and have no logical ‘a-ha’ linking it to mind control and … say, charrrr-ming or vampiric glamouring or rape. ALL ROADS LEAD TO ROI … (that’s retu

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INTA KE CRK SOKAR Y

 1  The Moonstone icla2020.jonreeve.com

flaviano_christian_reyes   (edited 7/13/2020 4:40 PM) 7/10/2020 4:46 AM   in Public    
shment, eagerly took to it all. Mr. Godfrey had called; evidently as sweet as ever on his cousin, in spite of the reception he had met with, when he tried his luck on the occasion of the birthday. To Penelope’s great regret, he had been most graciously received, and had added Miss Rachel’s name to one of his Ladies’ Charities on the spot. My mistress was reported to be

Super suspicious. Is Mr. Godfrey also in on the diamond disappearance? Also who is the Miss Clack character and why is she not trustworthy? Another one of the author's many uses of putting off the object until later.

 1  theartsdesk on Vinyl 58: Joy Division, Alma, Prince, African Head Charge, Wargirl and much more theartsdesk.com

almereyda   7/10/2020 10:57 PM   in Public    
e one of the Albums of the Year. African Head Charge Songs of Praise + In Pursuit of Shashamane Land + Vision of a Psychedelic Africa + Voodoo of the Godsent + Churchical Chant of the Iyabinghi (On-U Sound)Following the Early Years reissues a few years back, these are a second tranche of releases exploring the back catalogue of African Head Charge, the band whose nexus was - and is - British-Jamaican percussionist supremo Bonjo Iyabinghi Noah and post-punk dub-meister Adrian Sherwood, with a revolving cast of On-U sorts popping in and out. These albums range over the band’s career since 1990: Songs of Praise from 1990, In Pursuit of Shashamane Land from 1993, Vision of a Psychedelic Africa from 2005, and Voodoo of the Godsent from 2011, while Churchical Chant of the Iyabinghi is a lovingly rendered collection of outtakes and dubs based on the first two of those albums. Songs of Praise may be the best-loved oAfrican Head Charge album, but perhaps this is because it hit a historical sweet spot when ravers needed something exactly like it to come down to after an ecstatic night out. That’s my story anyway. Like all the others, it comes as a two record set with the second disc devoted to previously unheard cuts, as well as a 12” x 24” insert containing an interview with Noah. Full of chants and explicit spirituality, it has an earthy quality, the whole built around endless pattering bongos as much as dub reggae. You can get lost in it and many of us frequently did. The follow-up, In Pursuit of Shashamane Land takes that blueprint and produces it up. Alongside the Jah vibes, there’s a conscious sense of connectivity with the newly rising electronic dance scene (check the groove on the sensibly titled “No, Don’t Follow Fashion”). After that, while Noah continued to release Head Charge albums here and there, and moved to Ghana (where he is to this day), the On-U Sound connection broke down (although he and Sherwood remained close). When they reconvened for Vision of a Psychedelic Africa, they hauled in the whole of Tackhead (Skip McDonald, Doug Wimbish and Keith LeBlanc), as lethal a rhythm section as anyone could ask for. The result, while absolutely Head Charged, has an added musicality to it, as well as a cleaner forward-thrusting pulse and playful instrumentation (check the twangy guitar on “Surfari”). Voodoo of the Godsent - which has Adamski on synths and also features original Aswad bassist George Oban – is also a shinier outing (“Stoned Age Man” has an almost Pink Floyd feel), with a tendency towards actual songs. But let’s not give the wrong impression, it’s still spaced out, oddball music, that smells strongly of ganja overload in the best way. Jon Hassell Vernal Equinox (Ndey

 1  Target An 80-90 Percent Success Rate In Anki eshapard.github.io

pyxelr   5/8/2020 1:12 PM   in Public    
o review the cards that often. Somewhere between too hard and too easy, there’s a sweet-spot where reviews are challenging enough to hold your interest, but not so hard that it feels like torture. When the challenge of reviews is just right, you’ll actually get a sense of accomplishment and a little jolt of dopamine as you do them. Our brains actually enjoy challenges as long as they aren’t too hard or too easy. As I see it, this level of challenge is where you want to be. I suspect that for most people

The sweet spot is between 80 - 90% of right answers

 1  r/BehSciResearch - How do people search for, avoid and share information during COVID-19? www.reddit.com

Marlene_Wulf   4/23/2020 7:51 AM   in Jk8bYJdN    
b; } research idea There seems to be a sweet spot in getting important updates on changes in public policies and behavioral recommendations; and taking breaks from watching, listening to or reading news stories to maintain mental health. One way to strike this balance would be to avoid information as soon as it becomes redundant in one’s information environment but not sooner. Here, we seek to link (a) data on peoples information environments (headlines from the past weeks including both accurate and fake news) to (b) their individual information search, avoidance and sharing behavior; as well as the accuracy of the information they have (e.g., which behavioral recommendations to follow). Which topics do people seek out, actively avoid and share with others? Which sources do people turn to in getting updates on COVID-19? How much time do they spend on getting and engaging with this information? Do people have the feeling that they actively search for information or that information is ‚imposed’ on them (i.e., the information is difficult to avoid)? Is information avoided because the information is becoming redundant; or because people seek to regulate their emotions (e.g., anxiety of contracting the disease or being afraid of bad news)? We seek to launch a first survey

 1  The surprising habits of original thinkers www.ted.com

cvkhan   4/9/2020 12:57 AM   in Public    
have original thoughts either.  There's a sweet spot where originals seem to live. Why is this? Maybe original people just have bad work habits. Maybe procrastinating does not cause creativity.  04:13To find out, we designed so

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 1  Cities, Heterotopias & Science Fiction (F19): A Tall White Fountain dis.lib.usf.edu

jnprimus   (edited 11/11/2019 6:04 PM) 11/11/2019 5:35 PM   in Public    
The introduction to this story is filled with imagery and somewhat mysterious and nostalgic diction. I like how the first few paragraphs are dedicated to setting the scene and introducing your symbolism and extended metaphors, without a hundred percent going into it. You do not rush your writing which is a good start to your short story. Each sentence is meticulously planned out and contributes to the overall meaning; however, this is a double edged sword for this assignment. I had this issue with my short story at first, but I think the advice that was said before in class about just putting your words on paper and writing the specific plot points that you want to be included in your short story is a good start and you can edit later on. I would have never gotten to 12,000 words if I carefully planned out each sentence and each set of diction to convey specific meanings throughout the short story. That is something I can edit in later on, so that is my advice to you. I think you’re at a really good start and this introduction sets a really nice tone for the later parts of the short story. 
       A tip I can give you for your future writing is to make sure that you try to switch up the tone a little. Right now, the whole introduction is very solemn and nostalgic, but keeping that tone throughout your story will become really monotonous and difficult to get through. Make sure your plot has good climatic points and helps produce suspense and curiosity in the readers. So far, I can say you have written really well and I don’t have much feedback to give you in that regard. I will say that your introduction sets up metaphors and symbolism to be extended throughout your story very appropriately, so make sure you do not lose those features; however, be careful not to overuse them either, because it will make the story seem sappy and cartoonish. Another words, you have to find that sweet spot to setting up your symbolism and then when you want to use it to further develop the plot, it will make the audience go “oh wow, I understand now!”...(I guess the juxtaposition of this would be fully setting up the symbolism and explaining it completely in the initial stages of your story, because that will prevent certain moments of “wow” factor where the audience is able to finally connect the dots on their own). I’m not sure if any of this makes sense, but good luck in your writing!

 1  Neural Networks and Deep Learning neuralnetworksanddeeplearning.com

fuelpress   10/20/2019 2:52 PM   in Public    
ut neural networks in general. As a prototype it hits a sweet spot: it's challenging - it's no small feat to recognize handwritten digits - but it's not so difficult as to require an extremely complicated solution, or tremendous computational power. Furthermore, it's a great way to develop more advanced techniques, such as deep learning. And so throughout the book we'll return repeatedly to the problem of handwriting recognition. Later in the book, we'll discuss how these ideas may be applied to other problems in computer vision, and also in speech, natural language processing, and other domains.Of course, if the point of the chapter was only to write a computer program to recognize handwritten digits, then the chapter would be much shorter! But along the way we'll develop many key ideas about neural networks, including two important types of artificial neuron (the perceptron and the sigmoid neuron), and the standard learning algorithm for neural networks, known as stochastic gradient descent. Throughout, I focus on explaining why things are done the way they are, and on building your neural networks intuition. That requires a lengthier discussion than if I just presented the basic mechanics of what's going on, but it's worth it for the deeper understanding you'll attain. Amongst the payoffs, by the end of the chapter we'll be in position to understand what deep learning is, and why it matters.PerceptronsWhat is a neural network? To get started, I'll explain a type of artificial neuron called a perceptron. Perceptrons were developed in the 1950s and 1960s by the scientist Frank Rosenblatt, inspired by earlier work by Warren McCulloch and Walter Pitts. Today, it's more common to use other models of artificial neurons - in this book, and in much modern work on neural networks, the main neuron model used is one called the sigmoid neuron. We'll get to sigmoid neurons shortly. But to understand why sigmoid neurons are defined the way they are, it's worth taking the time to first understand perceptrons.So how do perceptrons work? A perceptron takes several binary inputs, x1,x2,…x1,x2,…x_1, x_2, \ldots, and produces a single binary output: In the example shown the perceptron has three inputs, x1,x2,x3x1,x2,x3x_1, x_2, x_3. In general it could have more or fewer inputs. Rosenblatt proposed a simple rule to compute the output. He introduced weights, w1,w2,…w1,w2,…w_1,w_2,\ldots, real numbers expressing the importance of the respective inputs to the output. The neuron's output, 000 or 111, is determined by whether the weighted sum ∑jwjxj∑jwjxj\sum_j w_j x_j is less than or greater than some threshold value. Just like the weights, the threshold is a real number which is a parameter of the neuron. To put it in more precise algebraic terms: output={01if ∑jwjxj≤ thresholdif ∑jwjxj> threshold(1)(1)output={0if ∑jwjxj≤ threshold1if ∑jwjxj> threshold\begin{eqnarray} \mbox{output} & = & \left\{ \begin{array}{ll} 0 & \mbox{if } \sum_j w_j x_j \leq \mbox{ threshold} \\ 1 & \mbox{if } \sum_j w_j x_j > \mbox{ threshold} \end{array} \right. \tag{1}\end{eqnarray} That's all there is to how a perceptron works!That's the basic mathematical model. A way you can think about the perceptron is that it's a device that makes decisions by weighing up evidence. Let me give an example. It's not a very realistic example, but it's easy to understand, and we'll soon get to more realistic examples. Suppose the weekend is coming up, and you've heard that there's going to be a cheese festival in your city. You like cheese, and are trying to decide whether or not to go to the festival. You might make your decision by weighing up three factors: Is the weather good? Does your boyfriend or girlfriend want to accompany you? Is the festival near public transit? (You don't own a car). We can represent these three factors by corresponding binary variables x1,x2x1,x2x_1, x_2, and x3x3x_3. For instance, we'd have x1=1x1=1x_1 = 1 if the weather is good, and x1=0x1=0x_1 = 0 if the weather is bad. Similarly, x2=1x2=1x_2 = 1 if your boyfriend or girlfriend wants to go, and x2=0x2=0x_2 = 0 if not. And similarly again for x3x3x_3 and public transit.Now, suppose you absolutely adore cheese, so much so that you're happy to go to the festival even if your boyfriend or girlfriend is uninterested and the festival is hard to get to. But perhaps you really loathe bad weather, and there's no way you'd go to the festival if the weather is bad. You can use perceptrons to model this kind of decision-making. One way to do this is to choose a weight w1=6w1=6w_1 = 6 for the weather, and w2=2w2=2w_2 = 2 and w3=2w3=2w_3 = 2 for the other conditions. The larger value of w1w1w_1 indicates that the weather matters a lot to you, much more than whether your boyfriend or girlfriend joins you, or the nearness of public transit. Finally, suppose you choose a threshold of 555 for the perceptron. With these choices, the perceptron implements the desired decision-making model, outputting 111 whenever the weather is good, and 000 whenever the weather is bad. It makes no difference to the output whether your boyfriend or girlfriend wants to go, or whether public transit is nearby.By varying the weights and the threshold, we can get different models of decision-making. For example, suppose we instead chose a threshold of 333. Then the perceptron would decide that you should go to the festival whenever the weather was good or when both the festival was near public transit and your boyfriend or girlfriend was willing to join you. In other words, it'd be a different model of decision-making. Dropping the threshold means you're more willing to go to the festival.Obviously, the perceptron isn't a complete model of human decision-making! But what the example illustrates is how a perceptron can weigh up different kinds of evidence in order to make decisions. And it should seem plausible that a complex network of perceptrons could make quite subtle decisions: In this network, the first column of perceptrons - what we'll call the first layer of perceptrons - is making three very simple decisions, by weighing the input evidence. What about the perceptrons in the second layer? Each of those perceptrons is making a decision by weighing up the results from the first layer of decision-making. In this way a perceptron in the second layer can make a decision at a more complex and more abstract level than perceptrons in the first layer. And even more complex decisions can be made by the perceptron in the third layer. In this way, a many-layer network of perceptrons can engage in sophisticated decision making.Incidentally, when I defined perceptrons I said that a perceptron has just a single output. In the network above the perceptrons look like they have multiple outputs. In fact, they're still single output. The multiple output arrows are merely a useful way of indicating that the output from a perceptron is being used as the input to several other perceptrons. It's less unwieldy than drawing a single output line which then splits.Let's simplify the way we describe perceptrons. The condition ∑jwjxj>threshold∑jwjxj>threshold\sum_j w_j x_j > \mbox{threshold} is cumbersome, and we can make two notational changes to simplify it. The first change is to write ∑jwjxj∑jwjxj\sum_j w_j x_j as a dot product, w⋅x≡∑jwjxjw⋅x≡∑jwjxjw \cdot x \equiv \sum_j w_j x_j, where www and xxx are vectors whose components are the weights and inputs, respectively. The second change is to move the threshold to the other side of the inequality, and to replace it by what's known as the perceptron's bias, b≡−thresholdb≡−thresholdb \equiv -\mbox{threshold}. Using the bias instead of the threshold, the perceptron rule can be rewritten: output={01if w⋅x+b≤0if w⋅x+b>0(2)(2)output={0if w⋅x+b≤01if w⋅x+b>0\begin{eqnarray} \mbox{output} = \left\{ \begin{array}{ll} 0 & \mbox{if } w\cdot x + b \leq 0 \\ 1 & \mbox{if } w\cdot x + b > 0 \end{array} \right. \tag{2}\end{eqnarray} You can think of the bias as a measure of how easy it is to get the perceptron to output a 111. Or to put it in more biological terms, the bias is a measure of how easy it is to get the perceptron to fire. For a perceptron with a really big bias, it's extremely easy for the perceptron to output a 111. But if the bias is very negative, then it's difficult for the perceptron to output a 111. Obviously, introducing the bias is only a small change in how we describe perceptrons, but we'll see later that it leads to further notational simplifications. Because of this, in the remainder of the book we won't use the threshold, we'll always use the bias.I've described perceptrons as a method for weighing evidence to make decisions. Another way perceptrons can be used is to compute the elementary logical functions we usually think of as underlying computation, functions such as AND, OR, and NAND. For example, suppose we have a perceptron with two inputs, each with weight −2−2-2, and an overall bias of 333. Here's our perceptron: Then we see that input 000000 produces output 111, since (−2)∗0+(−2)∗0+3=3(−2)∗0+(−2)∗0+3=3(-2)*0+(-2)*0+3 = 3 is positive. Here, I've introduced the ∗∗* symbol to make the multiplications explicit. Similar calculations show that the inputs 010101 and 101010 produce output 111. But the input 111111 produces output 000, since (−2)∗1+(−2)∗1+3=−1(−2)∗1+(−2)∗1+3=−1(-2)*1+(-2)*1+3 = -1 is negative. And so our perceptron implements a NAND gate!The NAND example shows that we can use perceptrons to compute simple logical functions. In fact, we can use networks of perceptrons to compute any logical function at all. The reason is that the NAND gate is universal for computation, that is, we can build any computation up out of NAND gates. For example, we can use NAND gates to build a circuit which adds two bits, x1x1x_1 and x2x2x_2. This requires computing the bitwise sum, x1⊕x2x1⊕x2x_1 \oplus x_2, as well as a carry bit which is set to 111 when both x1x1x_1 and x2x2x_2 are 111, i.e., the carry bit is just the bitwise product x1x2x1x2x_1 x_2: To get an equivalent network of perceptrons we replace all the NAND gates by perceptrons with two inputs, each with weight −2−2-2, and an overall bias of 333. Here's the resulting network. Note that I've moved the perceptron corresponding to the bottom right NAND gate a little, just to make it easier to draw the arrows on the diagram: One notable aspect of this network of perceptrons is that the output from the leftmost perceptron is used twice as input to the bottommost perceptron. When I defined the perceptron model I didn't say whether this kind of double-output-to-the-same-place was allowed. Actually, it doesn't much matter. If we don't want to allow this kind of thing, then it's possible to simply merge the two lines, into a single connection with a weight of -4 instead of two connections with -2 weights. (If you don't find this obvious, you should stop and prove to yourself that this is equivalent.) With that change, the network looks as follows, with all unmarked weights equal to -2, all biases equal to 3, and a single weight of -4, as marked: Up to now I've been drawing inputs like x1x1x_1 and x2x2x_2 as variables floating to the left of the network of perceptrons. In fact, it's conventional to draw an extra layer of perceptrons - the input layer - to encode the inputs: This notation for input perceptrons, in which we have an output, but no inputs, is a shorthand. It doesn't actually mean a perceptron with no inputs. To see this, suppose we did have a perceptron with no inputs. Then the weighted sum ∑jwjxj∑jwjxj\sum_j w_j x_j would always be zero, and so the perceptron would output 111 if b>0b>0b > 0, and 000 if b≤0b≤0b \leq 0. That is, the perceptron would simply output a fixed value, not the desired value (x1x1x_1, in the example above). It's better to think of the input perceptrons as not really being perceptrons at all, but rather special units which are simply defined to output the desired values, x1,x2,…x1,x2,…x_1, x_2,\ldots.The adder example demonstrates how a network of perceptrons can be used to simulate a circuit containing many NAND gates. And because NAND gates are universal for computation, it follows that perceptrons are also universal for computation.The computational universality of perceptrons is simultaneously reassuring and disappointing. It's reassuring because it tells us that networks of perceptrons can be as powerful as any other computing device. But it's also disappointing, because it makes it seem as though perceptrons are merely a new type of NAND gate. That's hardly big news!However, the situation is better than this view suggests. It turns out that we can devise learning algorithms which can automatically tune the weights and biases of a network of artificial neurons. This tuning happens in response to external stimuli, without direct intervention by a programmer. These learning algorithms enable us to use artificial neurons in a way which is radically different to conventional logic gates. Instead of explicitly laying out a circuit of NAND and other gates, our neural networks can simply learn to solve problems, sometimes problems where it would be extremely difficult to directly design a conventional circuit.Sigmoid neuronsLearning algorithms sound terrific. But how can we devise such algorithms for a neural network? Suppose we have a network of perceptrons that we'd like to use to learn to solve some problem. For example, the inputs to the network might be the raw pixel data from a scanned, handwritten image of a digit. And we'd like the network to learn weights and biases so that the output from the network correctly classifies the digit. To see how learning might work, suppose we make a small change in some weight (or bias) in the network. What we'd like is for this small change in weight to cause only a small corresponding change in the output from the network. As we'll see in a moment, this property will make learning possible. Schematically, here's what we want (obviously this network is too simple to do handwriting recognition!): If it were true that a small change in a weight (or bias) causes only a small change in output, then we could use this fact to modify the weights and biases to get our network to behave more in the manner we want. For example, suppose the network was mistakenly classifying an image as an "8" when it should be a "9". We could figure out how to make a small change in the weights and biases so the network gets a little closer to classifying the image as a "9". And then we'd repeat this, changing the weights and biases over and over to produce better and better output. The network would be learning.The problem is that this isn't what happens when our network contains perceptrons. In fact, a small change in the weights or bias of any single perceptron in the network can sometimes cause the output of that perceptron to completely flip, say from 000 to 111. That flip may then cause the behaviour of the rest of the network to completely change in some very complicated way. So while your "9" might now be classified correctly, the behaviour of the network on all the other images is likely to have completely changed in some hard-to-control way. That makes it difficult to see how to gradually modify the weights and biases so that the network gets closer to the desired behaviour. Perhaps there's some clever way of getting around this problem. But it's not immediately obvious how we can get a network of perceptrons to learn.We can overcome this problem by introducing a new type of artificial neuron called a sigmoid neuron. Sigmoid neurons are similar to perceptrons, but modified so that small changes in their weights and bias cause only a small change in their output. That's the crucial fact which will allow a network of sigmoid neurons to learn.Okay, let me describe the sigmoid neuron. We'll depict sigmoid neurons in the same way we depicted perceptrons: Just like a perceptron, the sigmoid neuron has inputs, x1,x2,…x1,x2,…x_1, x_2, \ldots. But instead of being just 000 or 111, these inputs can also take on any values between 000 and 111. So, for instance, 0.638…0.638…0.638\ldots is a valid input for a sigmoid neuron. Also just like a perceptron, the sigmoid neuron has weights for each input, w1,w2,…w1,w2,…w_1, w_2, \ldots, and an overall bias, bbb. But the output is not 000 or 111. Instead, it's σ(w⋅x+b)σ(w⋅x+b)\sigma(w \cdot x+b), where σσ\sigma is called the sigmoid function* *Incidentally, σσ\sigma is sometimes called the logistic function, and this new class of neurons called logistic neurons. It's useful to remember this terminology, since these terms are used by many people working with neural nets. However, we'll stick with the sigmoid terminology., and is defined by: σ(z)≡11+e−z.(3)(3)σ(z)≡11+e−z.\begin{eqnarray} \sigma(z) \equiv \frac{1}{1+e^{-z}}. \tag{3}\end{eqnarray} To put it all a little more explicitly, the output of a sigmoid neuron with inputs x1,x2,…x1,x2,…x_1,x_2,\ldots, weights w1,w2,…w1,w2,…w_1,w_2,\ldots, and bias bbb is 11+exp(−∑jwjxj−b).(4)(4)11+exp⁡(−∑jwjxj−b).\begin{eqnarray} \frac{1}{1+\exp(-\sum_j w_j x_j-b)}. \tag{4}\end{eqnarray}At first sight, sigmoid neurons appear very different to perceptrons. The algebraic form of the sigmoid function may seem opaque and forbidding if you're not already familiar with it. In fact, there are many similarities between perceptrons and sigmoid neurons, and the algebraic form of the sigmoid function turns out to be more of a technical detail than a true barrier to understanding.To understand the similarity to the perceptron model, suppose z≡w⋅x+bz≡w⋅x+bz \equiv w \cdot x + b is a large positive number. Then e−z≈0e−z≈0e^{-z} \approx 0 and so σ(z)≈1σ(z)≈1\sigma(z) \approx 1. In other words, when z=w⋅x+bz=w⋅x+bz = w \cdot x+b is large and positive, the output from the sigmoid neuron is approximately 111, just as it would have been for a perceptron. Suppose on the other hand that z=w⋅x+bz=w⋅x+bz = w \cdot x+b is very negative. Then e−z→∞e−z→∞e^{-z} \rightarrow \infty, and σ(z)≈0σ(z)≈0\sigma(z) \approx 0. So when z=w⋅x+bz=w⋅x+bz = w \cdot x +b is very negative, the behaviour of a sigmoid neuron also closely approximates a perceptron. It's only when w⋅x+bw⋅x+bw \cdot x+b is of modest size that there's much deviation from the perceptron model.What about the algebraic form of σσ\sigma? How can we understand that? In fact, the exact form of σσ\sigma isn't so important - what really matters is the shape of the function when plotted. Here's the shape: -4-3-2-1012340.00.20.40.60.81.0zsigmoid function function s(x) {return 1/(1+Math.exp(-x));} var m = [40, 120, 50, 120]; var height = 290 - m[0] - m[2]; var width = 600 - m[1] - m[3]; var xmin = -5; var xmax = 5; var sample = 400; var x1 = d3.scale.linear().domain([0, sample]).range([xmin, xmax]); var data = d3.range(sample).map(function(d){ return { x: x1(d), y: s(x1(d))}; }); var x = d3.scale.linear().domain([xmin, xmax]).range([0, width]); var y = d3.scale.linear() .domain([0, 1]) .range([height, 0]); var line = d3.svg.line() .x(function(d) { return x(d.x); }) .y(function(d) { return y(d.y); }) var graph = d3.select("#sigmoid_graph") .append("svg") .attr("width", width + m[1] + m[3]) .attr("height", height + m[0] + m[2]) .append("g") .attr("transform", "translate(" + m[3] + "," + m[0] + ")"); var xAxis = d3.svg.axis() .scale(x) .tickValues(d3.range(-4, 5, 1)) .orient("bottom") graph.append("g") .attr("class", "x axis") .attr("transform", "translate(0, " + height + ")") .call(xAxis); var yAxis = d3.svg.axis() .scale(y) .tickValues(d3.range(0, 1.01, 0.2)) .orient("left") .ticks(5) graph.append("g") .attr("class", "y axis") .call(yAxis); graph.append("path").attr("d", line(data)); graph.append("text") .attr("class", "x label") .attr("text-anchor", "end") .attr("x", width/2) .attr("y", height+35) .text("z"); graph.append("text") .attr("x", (width / 2)) .attr("y", -10) .attr("text-anchor", "middle") .style("font-size", "16px") .text("sigmoid function"); This shape is a smoothed out version of a step function: -4-3-2-1012340.00.20.40.60.81.0zstep function function s(x) {return x < 0 ? 0 : 1;} var m = [40, 120, 50, 120]; var height = 290 - m[0] - m[2]; var width = 600 - m[1] - m[3]; var xmin = -5; var xmax = 5; var sample = 400; var x1 = d3.scale.linear().domain([0, sample]).range([xmin, xmax]); var data = d3.range(sample).map(function(d){ return { x: x1(d), y: s(x1(d))}; }); var x = d3.scale.linear().domain([xmin, xmax]).range([0, width]); var y = d3.scale.linear() .domain([0,1]) .range([height, 0]); var line = d3.svg.line() .x(function(d) { return x(d.x); }) .y(function(d) { return y(d.y); }) var graph = d3.select("#step_graph") .append("svg") .attr("width", width + m[1] + m[3]) .attr("height", height + m[0] + m[2]) .append("g") .attr("transform", "translate(" + m[3] + "," + m[0] + ")"); var xAxis = d3.svg.axis() .scale(x) .tickValues(d3.range(-4, 5, 1)) .orient("bottom") graph.append("g") .attr("class", "x axis") .attr("transform", "translate(0, " + height + ")") .call(xAxis); var yAxis = d3.svg.axis() .scale(y) .tickValues(d3.range(0, 1.01, 0.2)) .orient("left") .ticks(5) graph.append("g") .attr("class", "y axis") .call(yAxis); graph.append("path").attr("d", line(data)); graph.append("text") .attr("class", "x label") .attr("text-anchor", "end") .attr("x", width/2) .attr("y", height+35) .text("z"); graph.append("text") .attr("x", (width / 2)) .attr("y", -10) .attr("text-anchor", "middle") .style("font-size", "16px") .text("step function"); If σσ\sigma had in fact been a step function, then the sigmoid neuron would be a perceptron, since the output would be 111 or 000 depending on whether w⋅x+bw⋅x+bw\cdot x+b was positive or negative* *Actually, when w⋅x+b=0w⋅x+b=0w \cdot x +b = 0 the perceptron outputs 000, while the step function outputs 111. So, strictly speaking, we'd need to modify the step function at that one point. But you get the idea.. By using the actual σσ\sigma function we get, as already implied above, a smoothed out perceptron. Indeed, it's the smoothness of the σσ\sigma function that is the crucial fact, not its detailed form. The smoothness of σσ\sigma means that small changes ΔwjΔwj\Delta w_j in the weights and ΔbΔb\Delta b in the bias will produce a small change ΔoutputΔoutput\Delta \mbox{output} in the output from the neuron. In fact, calculus tells us that ΔoutputΔoutput\Delta \mbox{output} is well approximated by Δoutput≈∑j∂output∂wjΔwj+∂output∂bΔb,(5)(5)Δoutput≈∑j∂output∂wjΔwj+∂output∂bΔb,\begin{eqnarray} \Delta \mbox{output} \approx \sum_j \frac{\partial \, \mbox{output}}{\partial w_j} \Delta w_j + \frac{\partial \, \mbox{output}}{\partial b} \Delta b, \tag{5}\end{eqnarray} where the sum is over all the weights, wjwjw_j, and ∂output/∂wj∂output/∂wj\partial \, \mbox{output} / \partial w_j and ∂output/∂b∂output/∂b\partial \, \mbox{output} /\partial b denote partial derivatives of the outputoutput\mbox{output} with respect to wjwjw_j and bbb, respectively. Don't panic if you're not comfortable with partial derivatives! While the expression above looks complicated, with all the partial derivatives, it's actually saying something very simple (and which is very good news): ΔoutputΔoutput\Delta \mbox{output} is a linear function of the changes ΔwjΔwj\Delta w_j and ΔbΔb\Delta b in the weights and bias. This linearity makes it easy to choose small changes in the weights and biases to achieve any desired small change in the output. So while sigmoid neurons have much of the same qualitative behaviour as perceptrons, they make it much easier to figure out how changing the weights and biases will change the output.If it's the shape of σσ\sigma which really matters, and not its exact form, then why use the particular form used for σσ\sigma in Equation (3)σ(z)≡11+e−zσ(z)≡11+e−z\begin{eqnarray} \sigma(z) \equiv \frac{1}{1+e^{-z}} \nonumber\end{eqnarray}$('#margin_387419264610_reveal').click(function() {$('#margin_387419264610').toggle('slow', function() {});});? In fact, later in the book we will occasionally consider neurons where the output is f(w⋅x+b)f(w⋅x+b)f(w \cdot x + b) for some other activation function f(⋅)f(⋅)f(\cdot). The main thing that changes when we use a different activation function is that the particular values for the partial derivatives in Equation (5)Δoutput≈∑j∂output∂wjΔwj+∂output∂bΔbΔoutput≈∑j∂output∂wjΔwj+∂output∂bΔb\begin{eqnarray} \Delta \mbox{output} \approx \sum_j \frac{\partial \, \mbox{output}}{\partial w_j} \Delta w_j + \frac{\partial \, \mbox{output}}{\partial b} \Delta b \nonumber\end{eqnarray}$('#margin_727997094331_reveal').click(function() {$('#margin_727997094331').toggle('slow', function() {});}); change. It turns out that when we compute those partial derivatives later, using σσ\sigma will simplify the algebra, simply because exponentials have lovely properties when differentiated. In any case, σσ\sigma is commonly-used in work on neural nets, and is the activation function we'll use most often in this book.How should we interpret the output from a sigmoid neuron? Obviously, one big difference between perceptrons and sigmoid neurons is that sigmoid neurons don't just output 000 or 111. They can have as output any real number between 000 and 111, so values such as 0.173…0.173…0.173\ldots and 0.689…0.689…0.689\ldots are legitimate outputs. This can be useful, for example, if we want to use the output value to represent the average intensity of the pixels in an image input to a neural network. But sometimes it can be a nuisance. Suppose we want the output from the network to indicate either "the input image is a 9" or "the input image is not a 9". Obviously, it'd be easiest to do this if the output was a 000 or a 111, as in a perceptron. But in practice we can set up a convention to deal with this, for example, by deciding to interpret any output of at least 0.50.50.5 as indicating a "9", and any output less than 0.50.50.5 as indicating "not a 9". I'll always explicitly state when we're using such a convention, so it shouldn't cause any confusion. Exercises Sigmoid neurons simulating perceptrons, part I \mbox{} Suppose we take all the weights and biases in a network of perceptrons, and multiply them by a positive constant, c>0c>0c > 0. Show that the behaviour of the network doesn't change.Sigmoid neurons simulating perceptrons, part II \mbox{} Suppose we have the same setup as the last problem - a network of perceptrons. Suppose also that the overall input to the network of perceptrons has been chosen. We won't need the actual input value, we just need the input to have been fixed. Suppose the weights and biases are such that w⋅x+b≠0w⋅x+b≠0w \cdot x + b \neq 0 for the input xxx to any particular perceptron in the network. Now replace all the perceptrons in the network by sigmoid neurons, and multiply the weights and biases by a positive constant c>0c>0c > 0. Show that in the limit as c→∞c→∞c \rightarrow \infty the behaviour of this network of sigmoid neurons is exactly the same as the network of perceptrons. How can this fail when w⋅x+b=0w⋅x+b=0w \cdot x + b = 0 for one of the perceptrons? The architecture of neural networksIn the next section I'll introduce a neural network that can do a pretty good job classifying handwritten digits. In preparation for that, it helps to explain some terminology that lets us name different parts of a network. Suppose we have the network: As mentioned earlier, the leftmost layer in this network is called the input layer, and the neurons within the layer are called input neurons. The rightmost or output layer contains the output neurons, or, as in this case, a single output neuron. The middle layer is called a hidden layer, since the neurons in this layer are neither inputs nor outputs. The term "hidden" perhaps sounds a little mysterious - the first time I heard the term I thought it must have some deep philosophical or mathematical significance - but it really means nothing more than "not an input or an output". The network above has just a single hidden layer, but some networks have multiple hidden layers. For example, the following four-layer network has two hidden layers: Somewhat confusingly, and for historical reasons, such multiple layer networks are sometimes called multilayer perceptrons or MLPs, despite being made up of sigmoid neurons, not perceptrons. I'm not going to use the MLP terminology in this book, since I think it's confusing, but wanted to warn you of its existence.The design of the input and output layers in a network is often straightforward. For example, suppose we're trying to determine whether a handwritten image depicts a "9" or not. A natural way to design the network is to encode the intensities of the image pixels into the input neurons. If the image is a 646464 by 646464 greyscale image, then we'd have 4,096=64×644,096=64×644,096 = 64 \times 64 input neurons, with the intensities scaled appropriately between 000 and 111. The output layer will contain just a single neuron, with output values of less than 0.50.50.5 indicating "input image is not a 9", and values greater than 0.50.50.5 indicating "input image is a 9 ". While the design of the input and output layers of a neural network is often straightforward, there can be quite an art to the design of the hidden layers. In particular, it's not possible to sum up the design process for the hidden layers with a few simple rules of thumb. Instead, neural networks researchers have developed many design heuristics for the hidden layers, which help people get the behaviour they want out of their nets. For example, such heuristics can be used to help determine how to trade off the number of hidden layers against the time required to train the network. We'll meet several such design heuristics later in this book. Up to now, we've been discussing neural networks where the output from one layer is used as input to the next layer. Such networks are called feedforward neural networks. This means there are no loops in the network - information is always fed forward, never fed back. If we did have loops, we'd end up with situations where the input to the σσ\sigma function depended on the output. That'd be hard to make sense of, and so we don't allow such loops.However, there are other models of artificial neural networks in which feedback loops are possible. These models are called recurrent neural networks. The idea in these models is to have neurons which fire for some limited duration of time, before becoming quiescent. That firing can stimulate other neurons, which may fire a little while later, also for a limited duration. That causes still more neurons to fire, and so over time we get a cascade of neurons firing. Loops don't cause problems in such a model, since a neuron's output only affects its input at some later time, not instantaneously.Recurrent neural nets have been less influential than feedforward networks, in part because the learning algorithms for recurrent nets are (at least to date) less powerful. But recurrent networks are still extremely interesting. They're much closer in spirit to how our brains work than feedforward networks. And it's possible that recurrent networks can solve important problems which can only be solved with great difficulty by feedforward networks. However, to limit our scope, in this book we're going to concentrate on the more widely-used feedforward networks.A simple network to classify handwritten digitsHaving defined neural networks, let's return to handwriting recognition. We can split the problem of recognizing handwritten digits into two sub-problems. First, we'd like a way of breaking an image containing many digits into a sequence of separate images, each containing a single digit. For example, we'd like to break the imageinto six separate images, We humans solve this segmentation problem with ease, but it's challenging for a computer program to correctly break up the image. Once the image has been segmented, the program then needs to classify each individual digit. So, for instance, we'd like our program to recognize that the first digit above,is a 5.We'll focus on writing a program to solve the second problem, that is, classifying individual digits. We do this because it turns out that the segmentation problem is not so difficult to solve, once you have a good way of classifying individual digits. There are many approaches to solving the segmentation problem. One approach is to trial many different ways of segmenting the image, using the individual digit classifier to score each trial segmentation. A trial segmentation gets a high score if the individual digit classifier is confident of its classification in all segments, and a low score if the classifier is having a lot of trouble in one or more segments. The idea is that if the classifier is having trouble somewhere, then it's probably having trouble because the segmentation has been chosen incorrectly. This idea and other variations can be used to solve the segmentation problem quite well. So instead of worrying about segmentation we'll concentrate on developing a neural network which can solve the more interesting and difficult problem, namely, recognizing individual handwritten digits.To recognize individual digits we will use a three-layer neural network: The input layer of the network contains neurons encoding the values of the input pixels. As discussed in the next section, our training data for the network will consist of many 282828 by 282828 pixel images of scanned handwritten digits, and so the input layer contains 784=28×28784=28×28784 = 28 \times 28 neurons. For simplicity I've omitted most of the 784784784 input neurons in the diagram above. The input pixels are greyscale, with a value of 0.00.00.0 representing white, a value of 1.01.01.0 representing black, and in between values representing gradually darkening shades of grey.The second layer of the network is a hidden layer. We denote the number of neurons in this hidden layer by nnn, and we'll experiment with different values for nnn. The example shown illustrates a small hidden layer, containing just n=15n=15n = 15 neurons.The output layer of the network contains 10 neurons. If the first neuron fires, i.e., has an output ≈1≈1\approx 1, then that will indicate that the network thinks the digit is a 000. If the second neuron fires then that will indicate that the network thinks the digit is a 111. And so on. A little more precisely, we number the output neurons from 000 through 999, and figure out which neuron has the highest activation value. If that neuron is, say, neuron number 666, then our network will guess that the input digit was a 666. And so on for the other output neurons.You might wonder why we use 101010 output neurons. After all, the goal of the network is to tell us which digit (0,1,2,…,90,1,2,…,90, 1, 2, \ldots, 9) corresponds to the input image. A seemingly natural way of doing that is to use just 444 output neurons, treating each neuron as taking on a binary value, depending on whether the neuron's output is closer to 000 or to 111. Four neurons are enough to encode the answer, since 24=1624=162^4 = 16 is more than the 10 possible values for the input digit. Why should our network use 101010 neurons instead? Isn't that inefficient? The ultimate justification is empirical: we can try out both network designs, and it turns out that, for this particular problem, the network with 101010 output neurons learns to recognize digits better than the network with 444 output neurons. But that leaves us wondering why using 101010 output neurons works better. Is there some heuristic that would tell us in advance that we should use the 101010-output encoding instead of the 444-output encoding?To understand why we do this, it helps to think about what the neural network is doing from first principles. Consider first the case where we use 101010 output neurons. Let's concentrate on the first output neuron, the one that's trying to decide whether or not the digit is a 000. It does this by weighing up evidence from the hidden layer of neurons. What are those hidden neurons doing? Well, just suppose for the sake of argument that the first neuron in the hidden layer detects whether or not an image like the following is present:It can do this by heavily weighting input pixels which overlap with the image, and only lightly weighting the other inputs. In a similar way, let's suppose for the sake of argument that the second, third, and fourth neurons in the hidden layer detect whether or not the following images are present:As you may have guessed, these four images together make up the 000 image that we saw in the line of digits shown earlier:So if all four of these hidden neurons are firing then we can conclude that the digit is a 000. Of course, that's not the only sort of evidence we can use to conclude that the image was a 000 - we could legitimately get a 000 in many other ways (say, through translations of the above images, or slight distortions). But it seems safe to say that at least in this case we'd conclude that the input was a 000.Supposing the neural network functions in this way, we can give a plausible explanation for why it's better to have 101010 outputs from the network, rather than 444. If we had 444 outputs, then the first output neuron would be trying to decide what the most significant bit of the digit was. And there's no easy way to relate that most significant bit to simple shapes like those shown above. It's hard to imagine that there's any good historical reason the component shapes of the digit will be closely related to (say) the most significant bit in the output.Now, with all that said, this is all just a heuristic. Nothing says that the three-layer neural network has to operate in the way I described, with the hidden neurons detecting simple component shapes. Maybe a clever learning algorithm will find some assignment of weights that lets us use only 444 output neurons. But as a heuristic the way of thinking I've described works pretty well, and can save you a lot of time in designing good neural network architectures.Exercise There is a way of determining the bitwise representation of a digit by adding an extra layer to the three-layer network above. The extra layer converts the output from the previous layer into a binary representation, as illustrated in the figure below. Find a set of weights and biases for the new output layer. Assume that the first 333 layers of neurons are such that the correct output in the third layer (i.e., the old output layer) has activation at least 0.990.990.99, and incorrect outputs have activation less than 0.010.010.01. Learning with gradient descentNow that we have a design for our neural network, how can it learn to recognize digits? The first thing we'll need is a data set to learn from - a so-called training data set. We'll use the MNIST data set, which contains tens of thousands of scanned images of handwritten digits, together with their correct classifications. MNIST's name comes from the fact that it is a modified subset of two data sets collected by NIST, the United States' National Institute of Standards and Technology. Here's a few images from MNIST: As you can see, these digits are, in fact, the same as those shown at the beginning of this chapter as a challenge to recognize. Of course, when testing our network we'll ask it to recognize images which aren't in the training set!The MNIST data comes in two parts. The first part contains 60,000 images to be used as training data. These images are scanned handwriting samples from 250 people, half of whom were US Census Bureau employees, and half of whom were high school students. The images are greyscale and 28 by 28 pixels in size. The second part of the MNIST data set is 10,000 images to be used as test data. Again, these are 28 by 28 greyscale images. We'll use the test data to evaluate how well our neural network has learned to recognize digits. To make this a good test of performance, the test data was taken from a different set of 250 people than the original training data (albeit still a group split between Census Bureau employees and high school students). This helps give us confidence that our system can recognize digits from people whose writing it didn't see during training.We'll use the notation xxx to denote a training input. It'll be convenient to regard each training input xxx as a 28×28=78428×28=78428 \times 28 = 784-dimensional vector. Each entry in the vector represents the grey value for a single pixel in the image. We'll denote the corresponding desired output by y=y(x)y=y(x)y = y(x), where yyy is a 101010-dimensional vector. For example, if a particular training image, xxx, depicts a 666, then y(x)=(0,0,0,0,0,0,1,0,0,0)Ty(x)=(0,0,0,0,0,0,1,0,0,0)Ty(x) = (0, 0, 0, 0, 0, 0, 1, 0, 0, 0)^T is the desired output from the network. Note that TTT here is the transpose operation, turning a row vector into an ordinary (column) vector.What we'd like is an algorithm which lets us find weights and biases so that the output from the network approximates y(x)y(x)y(x) for all training inputs xxx. To quantify how well we're achieving this goal we define a cost function* *Sometimes referred to as a loss or objective function. We use the term cost function throughout this book, but you should note the other terminology, since it's often used in research papers and other discussions of neural networks. : C(w,b)≡12n∑x∥y(x)−a∥2.(6)(6)C(w,b)≡12n∑x‖y(x)−a‖2.\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2. \tag{6}\end{eqnarray} Here, www denotes the collection of all weights in the network, bbb all the biases, nnn is the total number of training inputs, aaa is the vector of outputs from the network when xxx is input, and the sum is over all training inputs, xxx. Of course, the output aaa depends on xxx, www and bbb, but to keep the notation simple I haven't explicitly indicated this dependence. The notation ∥v∥‖v‖\| v \| just denotes the usual length function for a vector vvv. We'll call CCC the quadratic cost function; it's also sometimes known as the mean squared error or just MSE. Inspecting the form of the quadratic cost function, we see that C(w,b)C(w,b)C(w,b) is non-negative, since every term in the sum is non-negative. Furthermore, the cost C(w,b)C(w,b)C(w,b) becomes small, i.e., C(w,b)≈0C(w,b)≈0C(w,b) \approx 0, precisely when y(x)y(x)y(x) is approximately equal to the output, aaa, for all training inputs, xxx. So our training algorithm has done a good job if it can find weights and biases so that C(w,b)≈0C(w,b)≈0C(w,b) \approx 0. By contrast, it's not doing so well when C(w,b)C(w,b)C(w,b) is large - that would mean that y(x)y(x)y(x) is not close to the output aaa for a large number of inputs. So the aim of our training algorithm will be to minimize the cost C(w,b)C(w,b)C(w,b) as a function of the weights and biases. In other words, we want to find a set of weights and biases which make the cost as small as possible. We'll do that using an algorithm known as gradient descent. Why introduce the quadratic cost? After all, aren't we primarily interested in the number of images correctly classified by the network? Why not try to maximize that number directly, rather than minimizing a proxy measure like the quadratic cost? The problem with that is that the number of images correctly classified is not a smooth function of the weights and biases in the network. For the most part, making small changes to the weights and biases won't cause any change at all in the number of training images classified correctly. That makes it difficult to figure out how to change the weights and biases to get improved performance. If we instead use a smooth cost function like the quadratic cost it turns out to be easy to figure out how to make small changes in the weights and biases so as to get an improvement in the cost. That's why we focus first on minimizing the quadratic cost, and only after that will we examine the classification accuracy.Even given that we want to use a smooth cost function, you may still wonder why we choose the quadratic function used in Equation (6)C(w,b)≡12n∑x∥y(x)−a∥2C(w,b)≡12n∑x‖y(x)−a‖2\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2 \nonumber\end{eqnarray}$('#margin_501822820305_reveal').click(function() {$('#margin_501822820305').toggle('slow', function() {});});. Isn't this a rather ad hoc choice? Perhaps if we chose a different cost function we'd get a totally different set of minimizing weights and biases? This is a valid concern, and later we'll revisit the cost function, and make some modifications. However, the quadratic cost function of Equation (6)C(w,b)≡12n∑x∥y(x)−a∥2C(w,b)≡12n∑x‖y(x)−a‖2\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2 \nonumber\end{eqnarray}$('#margin_555483302348_reveal').click(function() {$('#margin_555483302348').toggle('slow', function() {});}); works perfectly well for understanding the basics of learning in neural networks, so we'll stick with it for now.Recapping, our goal in training a neural network is to find weights and biases which minimize the quadratic cost function C(w,b)C(w,b)C(w, b). This is a well-posed problem, but it's got a lot of distracting structure as currently posed - the interpretation of www and bbb as weights and biases, the σσ\sigma function lurking in the background, the choice of network architecture, MNIST, and so on. It turns out that we can understand a tremendous amount by ignoring most of that structure, and just concentrating on the minimization aspect. So for now we're going to forget all about the specific form of the cost function, the connection to neural networks, and so on. Instead, we're going to imagine that we've simply been given a function of many variables and we want to minimize that function. We're going to develop a technique called gradient descent which can be used to solve such minimization problems. Then we'll come back to the specific function we want to minimize for neural networks.Okay, let's suppose we're trying to minimize some function, C(v)C(v)C(v). This could be any real-valued function of many variables, v=v1,v2,…v=v1,v2,…v = v_1, v_2, \ldots. Note that I've replaced the www and bbb notation by vvv to emphasize that this could be any function - we're not specifically thinking in the neural networks context any more. To minimize C(v)C(v)C(v) it helps to imagine CCC as a function of just two variables, which we'll call v1v1v_1 and v2v2v_2:What we'd like is to find where CCC achieves its global minimum. Now, of course, for the function plotted above, we can eyeball the graph and find the minimum. In that sense, I've perhaps shown slightly too simple a function! A general function, CCC, may be a complicated function of many variables, and it won't usually be possible to just eyeball the graph to find the minimum.One way of attacking the problem is to use calculus to try to find the minimum analytically. We could compute derivatives and then try using them to find places where CCC is an extremum. With some luck that might work when CCC is a function of just one or a few variables. But it'll turn into a nightmare when we have many more variables. And for neural networks we'll often want far more variables - the biggest neural networks have cost functions which depend on billions of weights and biases in an extremely complicated way. Using calculus to minimize that just won't work!(After asserting that we'll gain insight by imagining CCC as a function of just two variables, I've turned around twice in two paragraphs and said, "hey, but what if it's a function of many more than two variables?" Sorry about that. Please believe me when I say that it really does help to imagine CCC as a function of two variables. It just happens that sometimes that picture breaks down, and the last two paragraphs were dealing with such breakdowns. Good thinking about mathematics often involves juggling multiple intuitive pictures, learning when it's appropriate to use each picture, and when it's not.)Okay, so calculus doesn't work. Fortunately, there is a beautiful analogy which suggests an algorithm which works pretty well. We start by thinking of our function as a kind of a valley. If you squint just a little at the plot above, that shouldn't be too hard. And we imagine a ball rolling down the slope of the valley. Our everyday experience tells us that the ball will eventually roll to the bottom of the valley. Perhaps we can use this idea as a way to find a minimum for the function? We'd randomly choose a starting point for an (imaginary) ball, and then simulate the motion of the ball as it rolled down to the bottom of the valley. We could do this simulation simply by computing derivatives (and perhaps some second derivatives) of CCC - those derivatives would tell us everything we need to know about the local "shape" of the valley, and therefore how our ball should roll.Based on what I've just written, you might suppose that we'll be trying to write down Newton's equations of motion for the ball, considering the effects of friction and gravity, and so on. Actually, we're not going to take the ball-rolling analogy quite that seriously - we're devising an algorithm to minimize CCC, not developing an accurate simulation of the laws of physics! The ball's-eye view is meant to stimulate our imagination, not constrain our thinking. So rather than get into all the messy details of physics, let's simply ask ourselves: if we were declared God for a day, and could make up our own laws of physics, dictating to the ball how it should roll, what law or laws of motion could we pick that would make it so the ball always rolled to the bottom of the valley?To make this question more precise, let's think about what happens when we move the ball a small amount Δv1Δv1\Delta v_1 in the v1v1v_1 direction, and a small amount Δv2Δv2\Delta v_2 in the v2v2v_2 direction. Calculus tells us that CCC changes as follows: ΔC≈∂C∂v1Δv1+∂C∂v2Δv2.(7)(7)ΔC≈∂C∂v1Δv1+∂C∂v2Δv2.\begin{eqnarray} \Delta C \approx \frac{\partial C}{\partial v_1} \Delta v_1 + \frac{\partial C}{\partial v_2} \Delta v_2. \tag{7}\end{eqnarray} We're going to find a way of choosing Δv1Δv1\Delta v_1 and Δv2Δv2\Delta v_2 so as to make ΔCΔC\Delta C negative; i.e., we'll choose them so the ball is rolling down into the valley. To figure out how to make such a choice it helps to define ΔvΔv\Delta v to be the vector of changes in vvv, Δv≡(Δv1,Δv2)TΔv≡(Δv1,Δv2)T\Delta v \equiv (\Delta v_1, \Delta v_2)^T, where TTT is again the transpose operation, turning row vectors into column vectors. We'll also define the gradient of CCC to be the vector of partial derivatives, (∂C∂v1,∂C∂v2)T(∂C∂v1,∂C∂v2)T\left(\frac{\partial C}{\partial v_1}, \frac{\partial C}{\partial v_2}\right)^T. We denote the gradient vector by ∇C∇C\nabla C, i.e.: ∇C≡(∂C∂v1,∂C∂v2)T.(8)(8)∇C≡(∂C∂v1,∂C∂v2)T.\begin{eqnarray} \nabla C \equiv \left( \frac{\partial C}{\partial v_1}, \frac{\partial C}{\partial v_2} \right)^T. \tag{8}\end{eqnarray} In a moment we'll rewrite the change ΔCΔC\Delta C in terms of ΔvΔv\Delta v and the gradient, ∇C∇C\nabla C. Before getting to that, though, I want to clarify something that sometimes gets people hung up on the gradient. When meeting the ∇C∇C\nabla C notation for the first time, people sometimes wonder how they should think about the ∇∇\nabla symbol. What, exactly, does ∇∇\nabla mean? In fact, it's perfectly fine to think of ∇C∇C\nabla C as a single mathematical object - the vector defined above - which happens to be written using two symbols. In this point of view, ∇∇\nabla is just a piece of notational flag-waving, telling you "hey, ∇C∇C\nabla C is a gradient vector". There are more advanced points of view where ∇∇\nabla can be viewed as an independent mathematical entity in its own right (for example, as a differential operator), but we won't need such points of view.With these definitions, the expression (7)ΔC≈∂C∂v1Δv1+∂C∂v2Δv2ΔC≈∂C∂v1Δv1+∂C∂v2Δv2\begin{eqnarray} \Delta C \approx \frac{\partial C}{\partial v_1} \Delta v_1 + \frac{\partial C}{\partial v_2} \Delta v_2 \nonumber\end{eqnarray}$('#margin_512380394946_reveal').click(function() {$('#margin_512380394946').toggle('slow', function() {});}); for ΔCΔC\Delta C can be rewritten as ΔC≈∇C⋅Δv.(9)(9)ΔC≈∇C⋅Δv.\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v. \tag{9}\end{eqnarray} This equation helps explain why ∇C∇C\nabla C is called the gradient vector: ∇C∇C\nabla C relates changes in vvv to changes in CCC, just as we'd expect something called a gradient to do. But what's really exciting about the equation is that it lets us see how to choose ΔvΔv\Delta v so as to make ΔCΔC\Delta C negative. In particular, suppose we choose Δv=−η∇C,(10)(10)Δv=−η∇C,\begin{eqnarray} \Delta v = -\eta \nabla C, \tag{10}\end{eqnarray} where ηη\eta is a small, positive parameter (known as the learning rate). Then Equation (9)ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v \nonumber\end{eqnarray}$('#margin_31741254841_reveal').click(function() {$('#margin_31741254841').toggle('slow', function() {});}); tells us that ΔC≈−η∇C⋅∇C=−η∥∇C∥2ΔC≈−η∇C⋅∇C=−η‖∇C‖2\Delta C \approx -\eta \nabla C \cdot \nabla C = -\eta \|\nabla C\|^2. Because ∥∇C∥2≥0‖∇C‖2≥0\| \nabla C \|^2 \geq 0, this guarantees that ΔC≤0ΔC≤0\Delta C \leq 0, i.e., CCC will always decrease, never increase, if we change vvv according to the prescription in (10)Δv=−η∇CΔv=−η∇C\begin{eqnarray} \Delta v = -\eta \nabla C \nonumber\end{eqnarray}$('#margin_48762573303_reveal').click(function() {$('#margin_48762573303').toggle('slow', function() {});});. (Within, of course, the limits of the approximation in Equation (9)ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v \nonumber\end{eqnarray}$('#margin_919658643545_reveal').click(function() {$('#margin_919658643545').toggle('slow', function() {});});). This is exactly the property we wanted! And so we'll take Equation (10)Δv=−η∇CΔv=−η∇C\begin{eqnarray} \Delta v = -\eta \nabla C \nonumber\end{eqnarray}$('#margin_287729255111_reveal').click(function() {$('#margin_287729255111').toggle('slow', function() {});}); to define the "law of motion" for the ball in our gradient descent algorithm. That is, we'll use Equation (10)Δv=−η∇CΔv=−η∇C\begin{eqnarray} \Delta v = -\eta \nabla C \nonumber\end{eqnarray}$('#margin_718723868298_reveal').click(function() {$('#margin_718723868298').toggle('slow', function() {});}); to compute a value for ΔvΔv\Delta v, then move the ball's position vvv by that amount: v→v′=v−η∇C.(11)(11)v→v′=v−η∇C.\begin{eqnarray} v \rightarrow v' = v -\eta \nabla C. \tag{11}\end{eqnarray} Then we'll use this update rule again, to make another move. If we keep doing this, over and over, we'll keep decreasing CCC until - we hope - we reach a global minimum.Summing up, the way the gradient descent algorithm works is to repeatedly compute the gradient ∇C∇C\nabla C, and then to move in the opposite direction, "falling down" the slope of the valley. We can visualize it like this:Notice that with this rule gradient descent doesn't reproduce real physical motion. In real life a ball has momentum, and that momentum may allow it to roll across the slope, or even (momentarily) roll uphill. It's only after the effects of friction set in that the ball is guaranteed to roll down into the valley. By contrast, our rule for choosing ΔvΔv\Delta v just says "go down, right now". That's still a pretty good rule for finding the minimum!To make gradient descent work correctly, we need to choose the learning rate ηη\eta to be small enough that Equation (9)ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v \nonumber\end{eqnarray}$('#margin_560455937071_reveal').click(function() {$('#margin_560455937071').toggle('slow', function() {});}); is a good approximation. If we don't, we might end up with ΔC>0ΔC>0\Delta C > 0, which obviously would not be good! At the same time, we don't want ηη\eta to be too small, since that will make the changes ΔvΔv\Delta v tiny, and thus the gradient descent algorithm will work very slowly. In practical implementations, ηη\eta is often varied so that Equation (9)ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v \nonumber\end{eqnarray}$('#margin_157848846275_reveal').click(function() {$('#margin_157848846275').toggle('slow', function() {});}); remains a good approximation, but the algorithm isn't too slow. We'll see later how this works. I've explained gradient descent when CCC is a function of just two variables. But, in fact, everything works just as well even when CCC is a function of many more variables. Suppose in particular that CCC is a function of mmm variables, v1,…,vmv1,…,vmv_1,\ldots,v_m. Then the change ΔCΔC\Delta C in CCC produced by a small change Δv=(Δv1,…,Δvm)TΔv=(Δv1,…,Δvm)T\Delta v = (\Delta v_1, \ldots, \Delta v_m)^T is ΔC≈∇C⋅Δv,(12)(12)ΔC≈∇C⋅Δv,\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v, \tag{12}\end{eqnarray} where the gradient ∇C∇C\nabla C is the vector ∇C≡(∂C∂v1,…,∂C∂vm)T.(13)(13)∇C≡(∂C∂v1,…,∂C∂vm)T.\begin{eqnarray} \nabla C \equiv \left(\frac{\partial C}{\partial v_1}, \ldots, \frac{\partial C}{\partial v_m}\right)^T. \tag{13}\end{eqnarray} Just as for the two variable case, we can choose Δv=−η∇C,(14)(14)Δv=−η∇C,\begin{eqnarray} \Delta v = -\eta \nabla C, \tag{14}\end{eqnarray} and we're guaranteed that our (approximate) expression (12)ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\begin{eqnarray} \Delta C \approx \nabla C \cdot \Delta v \nonumber\end{eqnarray}$('#margin_869505431896_reveal').click(function() {$('#margin_869505431896').toggle('slow', function() {});}); for ΔCΔC\Delta C will be negative. This gives us a way of following the gradient to a minimum, even when CCC is a function of many variables, by repeatedly applying the update rule v→v′=v−η∇C.(15)(15)v→v′=v−η∇C.\begin{eqnarray} v \rightarrow v' = v-\eta \nabla C. \tag{15}\end{eqnarray} You can think of this update rule as defining the gradient descent algorithm. It gives us a way of repeatedly changing the position vvv in order to find a minimum of the function CCC. The rule doesn't always work - several things can go wrong and prevent gradient descent from finding the global minimum of CCC, a point we'll return to explore in later chapters. But, in practice gradient descent often works extremely well, and in neural networks we'll find that it's a powerful way of minimizing the cost function, and so helping the net learn.Indeed, there's even a sense in which gradient descent is the optimal strategy for searching for a minimum. Let's suppose that we're trying to make a move ΔvΔv\Delta v in position so as to decrease CCC as much as possible. This is equivalent to minimizing ΔC≈∇C⋅ΔvΔC≈∇C⋅Δv\Delta C \approx \nabla C \cdot \Delta v. We'll constrain the size of the move so that ∥Δv∥=ϵ‖Δv‖=ϵ\| \Delta v \| = \epsilon for some small fixed ϵ>0ϵ>0\epsilon > 0. In other words, we want a move that is a small step of a fixed size, and we're trying to find the movement direction which decreases CCC as much as possible. It can be proved that the choice of ΔvΔv\Delta v which minimizes ∇C⋅Δv∇C⋅Δv\nabla C \cdot \Delta v is Δv=−η∇CΔv=−η∇C\Delta v = - \eta \nabla C, where η=ϵ/∥∇C∥η=ϵ/‖∇C‖\eta = \epsilon / \|\nabla C\| is determined by the size constraint ∥Δv∥=ϵ‖Δv‖=ϵ\|\Delta v\| = \epsilon. So gradient descent can be viewed as a way of taking small steps in the direction which does the most to immediately decrease CCC.Exercises Prove the assertion of the last paragraph. Hint: If you're not already familiar with the Cauchy-Schwarz inequality, you may find it helpful to familiarize yourself with it. I explained gradient descent when CCC is a function of two variables, and when it's a function of more than two variables. What happens when CCC is a function of just one variable? Can you provide a geometric interpretation of what gradient descent is doing in the one-dimensional case? People have investigated many variations of gradient descent, including variations that more closely mimic a real physical ball. These ball-mimicking variations have some advantages, but also have a major disadvantage: it turns out to be necessary to compute second partial derivatives of CCC, and this can be quite costly. To see why it's costly, suppose we want to compute all the second partial derivatives ∂2C/∂vj∂vk∂2C/∂vj∂vk\partial^2 C/ \partial v_j \partial v_k. If there are a million such vjvjv_j variables then we'd need to compute something like a trillion (i.e., a million squared) second partial derivatives* *Actually, more like half a trillion, since ∂2C/∂vj∂vk=∂2C/∂vk∂vj∂2C/∂vj∂vk=∂2C/∂vk∂vj\partial^2 C/ \partial v_j \partial v_k = \partial^2 C/ \partial v_k \partial v_j. Still, you get the point.! That's going to be computationally costly. With that said, there are tricks for avoiding this kind of problem, and finding alternatives to gradient descent is an active area of investigation. But in this book we'll use gradient descent (and variations) as our main approach to learning in neural networks.How can we apply gradient descent to learn in a neural network? The idea is to use gradient descent to find the weights wkwkw_k and biases blblb_l which minimize the cost in Equation (6)C(w,b)≡12n∑x∥y(x)−a∥2C(w,b)≡12n∑x‖y(x)−a‖2\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2 \nonumber\end{eqnarray}$('#margin_1246306310_reveal').click(function() {$('#margin_1246306310').toggle('slow', function() {});});. To see how this works, let's restate the gradient descent update rule, with the weights and biases replacing the variables vjvjv_j. In other words, our "position" now has components wkwkw_k and blblb_l, and the gradient vector ∇C∇C\nabla C has corresponding components ∂C/∂wk∂C/∂wk\partial C / \partial w_k and ∂C/∂bl∂C/∂bl\partial C / \partial b_l. Writing out the gradient descent update rule in terms of components, we have wkbl→→w′k=wk−η∂C∂wkb′l=bl−η∂C∂bl.(16)(17)(16)wk→wk′=wk−η∂C∂wk(17)bl→bl′=bl−η∂C∂bl.\begin{eqnarray} w_k & \rightarrow & w_k' = w_k-\eta \frac{\partial C}{\partial w_k} \tag{16}\\ b_l & \rightarrow & b_l' = b_l-\eta \frac{\partial C}{\partial b_l}. \tag{17}\end{eqnarray} By repeatedly applying this update rule we can "roll down the hill", and hopefully find a minimum of the cost function. In other words, this is a rule which can be used to learn in a neural network.There are a number of challenges in applying the gradient descent rule. We'll look into those in depth in later chapters. But for now I just want to mention one problem. To understand what the problem is, let's look back at the quadratic cost in Equation (6)C(w,b)≡12n∑x∥y(x)−a∥2C(w,b)≡12n∑x‖y(x)−a‖2\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2 \nonumber\end{eqnarray}$('#margin_214093216664_reveal').click(function() {$('#margin_214093216664').toggle('slow', function() {});});. Notice that this cost function has the form C=1n∑xCxC=1n∑xCxC = \frac{1}{n} \sum_x C_x, that is, it's an average over costs Cx≡∥y(x)−a∥22Cx≡‖y(x)−a‖22C_x \equiv \frac{\|y(x)-a\|^2}{2} for individual training examples. In practice, to compute the gradient ∇C∇C\nabla C we need to compute the gradients ∇Cx∇Cx\nabla C_x separately for each training input, xxx, and then average them, ∇C=1n∑x∇Cx∇C=1n∑x∇Cx\nabla C = \frac{1}{n} \sum_x \nabla C_x. Unfortunately, when the number of training inputs is very large this can take a long time, and learning thus occurs slowly.An idea called stochastic gradient descent can be used to speed up learning. The idea is to estimate the gradient ∇C∇C\nabla C by computing ∇Cx∇Cx\nabla C_x for a small sample of randomly chosen training inputs. By averaging over this small sample it turns out that we can quickly get a good estimate of the true gradient ∇C∇C\nabla C, and this helps speed up gradient descent, and thus learning.To make these ideas more precise, stochastic gradient descent works by randomly picking out a small number mmm of randomly chosen training inputs. We'll label those random training inputs X1,X2,…,XmX1,X2,…,XmX_1, X_2, \ldots, X_m, and refer to them as a mini-batch. Provided the sample size mmm is large enough we expect that the average value of the ∇CXj∇CXj\nabla C_{X_j} will be roughly equal to the average over all ∇Cx∇Cx\nabla C_x, that is, ∑mj=1∇CXjm≈∑x∇Cxn=∇C,(18)(18)∑j=1m∇CXjm≈∑x∇Cxn=∇C,\begin{eqnarray} \frac{\sum_{j=1}^m \nabla C_{X_{j}}}{m} \approx \frac{\sum_x \nabla C_x}{n} = \nabla C, \tag{18}\end{eqnarray} where the second sum is over the entire set of training data. Swapping sides we get ∇C≈1m∑j=1m∇CXj,(19)(19)∇C≈1m∑j=1m∇CXj,\begin{eqnarray} \nabla C \approx \frac{1}{m} \sum_{j=1}^m \nabla C_{X_{j}}, \tag{19}\end{eqnarray} confirming that we can estimate the overall gradient by computing gradients just for the randomly chosen mini-batch. To connect this explicitly to learning in neural networks, suppose wkwkw_k and blblb_l denote the weights and biases in our neural network. Then stochastic gradient descent works by picking out a randomly chosen mini-batch of training inputs, and training with those, wkbl→→w′k=wk−ηm∑j∂CXj∂wkb′l=bl−ηm∑j∂CXj∂bl,(20)(21)(20)wk→wk′=wk−ηm∑j∂CXj∂wk(21)bl→bl′=bl−ηm∑j∂CXj∂bl,\begin{eqnarray} w_k & \rightarrow & w_k' = w_k-\frac{\eta}{m} \sum_j \frac{\partial C_{X_j}}{\partial w_k} \tag{20}\\ b_l & \rightarrow & b_l' = b_l-\frac{\eta}{m} \sum_j \frac{\partial C_{X_j}}{\partial b_l}, \tag{21}\end{eqnarray} where the sums are over all the training examples XjXjX_j in the current mini-batch. Then we pick out another randomly chosen mini-batch and train with those. And so on, until we've exhausted the training inputs, which is said to complete an epoch of training. At that point we start over with a new training epoch.Incidentally, it's worth noting that conventions vary about scaling of the cost function and of mini-batch updates to the weights and biases. In Equation (6)C(w,b)≡12n∑x∥y(x)−a∥2C(w,b)≡12n∑x‖y(x)−a‖2\begin{eqnarray} C(w,b) \equiv \frac{1}{2n} \sum_x \| y(x) - a\|^2 \nonumber\end{eqnarray}$('#margin_85851492824_reveal').click(function() {$('#margin_85851492824').toggle('slow', function() {});}); we scaled the overall cost function by a factor 1n1n\frac{1}{n}. People sometimes omit the 1n1n\frac{1}{n}, summing over the costs of individual training examples instead of averaging. This is particularly useful when the total number of training examples isn't known in advance. This can occur if more training data is being generated in real time, for instance. And, in a similar way, the mini-batch update rules (20)wk→w′k=wk−ηm∑j∂CXj∂wkwk→wk′=wk−ηm∑j∂CXj∂wk\begin{eqnarray} w_k & \rightarrow & w_k' = w_k-\frac{\eta}{m} \sum_j \frac{\partial C_{X_j}}{\partial w_k} \nonumber\end{eqnarray}$('#margin_801900730537_reveal').click(function() {$('#margin_801900730537').toggle('slow', function() {});}); and (21)bl→b′l=bl−ηm∑j∂CXj∂blbl→bl′=bl−ηm∑j∂CXj∂bl\begin{eqnarray} b_l & \rightarrow & b_l' = b_l-\frac{\eta}{m} \sum_j \frac{\partial C_{X_j}}{\partial b_l} \nonumber\end{eqnarray}$('#margin_985072620111_reveal').click(function() {$('#margin_985072620111').toggle('slow', function() {});}); sometimes omit the 1m1m\frac{1}{m} term out the front of the sums. Conceptually this makes little difference, since it's equivalent to rescaling the learning rate ηη\eta. But when doing detailed comparisons of different work it's worth watching out for.We can think of stochastic gradient descent as being like political polling: it's much easier to sample a small mini-batch than it is to apply gradient descent to the full batch, just as carrying out a poll is easier than running a full election. For example, if we have a training set of size n=60,000n=60,000n = 60,000, as in MNIST, and choose a mini-batch size of (say) m=10m=10m = 10, this means we'll get a factor of 6,0006,0006,000 speedup in estimating the gradient! Of course, the estimate won't be perfect - there will be statistical fluctuations - but it doesn't need to be perfect: all we really care about is moving in a general direction that will help decrease CCC, and that means we don't need an exact computation of the gradient. In practice, stochastic gradient descent is a commonly used and powerful technique for learning in neural networks, and it's the basis for most of the learning techniques we'll develop in this book.Exercise An extreme version of gradient descent is to use a mini-batch size of just 1. That is, given a training input, xxx, we update our weights and biases according to the rules wk→w′k=wk−η∂Cx/∂wkwk→wk′=wk−η∂Cx/∂wkw_k \rightarrow w_k' = w_k - \eta \partial C_x / \partial w_k and bl→b′l=bl−η∂Cx/∂blbl→bl′=bl−η∂Cx/∂blb_l \rightarrow b_l' = b_l - \eta \partial C_x / \partial b_l. Then we choose another training input, and update the weights and biases again. And so on, repeatedly. This procedure is known as online, on-line, or incremental learning. In online learning, a neural network learns from just one training input at a time (just as human beings do). Name one advantage and one disadvantage of online learning, compared to stochastic gradient descent with a mini-batch size of, say, 202020. Let me conclude this section by discussing a point that sometimes bugs people new to gradient descent. In neural networks the cost CCC is, of course, a function of many variables - all the weights and biases - and so in some sense defines a surface in a very high-dimensional space. Some people get hung up thinking: "Hey, I have to be able to visualize all these extra dimensions". And they may start to worry: "I can't think in four dimensions, let alone five (or five million)". Is there some special ability they're missing, some ability that "real" supermathematicians have? Of course, the answer is no. Even most professional mathematicians can't visualize four dimensions especially well, if at all. The trick they use, instead, is to develop other ways of representing what's going on. That's exactly what we did above: we used an algebraic (rather than visual) representation of ΔCΔC\Delta C to figure out how to move so as to decrease CCC. People who are good at thinking in high dimensions have a mental library containing many different techniques along these lines; our algebraic trick is just one example. Those techniques may not have the simplicity we're accustomed to when visualizing three dimensions, but once you build up a library of such techniques, you can get pretty good at thinking in high dimensions. I won't go into more detail here, but if you're interested then you may enjoy reading this discussion of some of the techniques professional mathematicians use to think in high dimensions. While some of the techniques discussed are quite complex, much of the best content is intuitive and accessible, and could be mastered by anyone. Implementing our network to classify digitsAlright, let's write a program that learns how to recognize handwritten digits, using stochastic gradient descent and the MNIST training data. We'll do this with a short Python (2.7) program, just 74 lines of code! The first thing we need is to get the MNIST data. If you're a git user then you can obtain the data by cloning the code repository for this book,git clone https://github.com/mnielsen/neural-networks-and-deep-learning.git If you don't use git then you can download the data and code here.Incidentally, when I described the MNIST data earlier, I said it was split into 60,000 training imag

@fuelpress

 1  Hacking Passion outline.com

idmyn   9/16/2019 1:47 PM   in Public    
y you can perform a given task. At one end of the continuum, you have your comfort zone where you perform effortlessly. You don't level up in your comfort zone, because you're doing stuff you already know how to do. At the other end of the scale you have your panic zone, where you don't level up, because you're busy freaking out. Between the two there is a space where your ability and the challenge barely overlap. This is where you level up. I'm not saying you should never

you don't level up in your comfort or your panic zone, you level up in the sweet-spot between

 1  rickert_rhetorical_prehistory.pdf static1.squarespace.com

mholder   1/20/2019 12:31 AM   in Public    
h a European Paleo-lithic dawn. I will complicate both narratives, showing that each depends on earlier devel-opments. 3Indeed, part of what makes the

classic scholarly move -- I'm appreciating the repeated use of the personal "I" through here. I've noticed (both here and in Paul's class) that scholars of rhetoric seem more amenable to personal insertion into academic writing.

abigail.jarvis   1/24/2019 4:02 AM   in Public    

In the same vein, I greatly appreciate when a scholar can say "I argue" and "I will"--it makes the reading a bit more bearable when the personal "I" confidence is there. Does a high frequency of such usage indicate a greater grasp on the concept at hand? Or just foolish confidence?

mholder   1/24/2019 5:52 AM   in Public    

This is such a slam on academic culture, and I love it. Being a scholar is sitting right in that sweet spot between "foolish confidence" and maybe actually knowing a thing or two. It's all about mastering the art of the contemplative, knowing nod, as if you actually understood the reading (or even did it) and you're following the conversation.

 1  WhenandWhytoReplicate_SMField_Dec182018.pdf psyarxiv.com

pedermisager   12/20/2018 8:46 PM   in Public    
rget that our sample yielded is article 12. Mentioned above, allreanalyzed

Perhaps directly cite these studies directly in the text? Would make it easier for me to look them up while reading.

smfield   12/21/2018 12:45 PM   in Public    

I agonized a little about this. I find the approaches of some metascience groups needlessly destructive, and wanted to try to get the reader to focus on the method rather than the articles we used in its demonstration. We originally had named and cited the papers, but changed to a numbered list so the articles featured in the demonstrations were less prominent. There's probably a sweet spot for being concise and practical without pointing fingers or being destructive, but I haven't found it yet.

 1  How can I make my code testable? • r/Clojure www.reddit.com

prnc   11/10/2018 6:14 PM   in Public    
rest of the data flow later." For the sweet spot you're looking for, I suggest being clear about if you're designing or developing. If you're designing and at the REPL, force yourself to step away with pen and paper after you've gotten some fast feedback. namespaces I'm still thinking a

designing vs developing!

 1  Benito Cereno allred720fa18.commons.gc.cuny.edu

lsrkthelibrarian   10/25/2018 3:18 AM   in Public    
ontinual recession of the goal. The advancing speck was observed by the blacks. Their shouts attracted the attention of Don Benito, who, with a return of courtesy, approaching Captain Delano, expressed satisfaction at the coming of some supplies, slight and temporary as they must necessarily prove. Captain Delano responded; but while doing so, his attention was drawn to something passing on the deck below: among the crowd climbing the landward bulwarks, anxiously watching the coming boat, two blacks, to all appearances accidentally incommoded by one of the sailors, violently pushed him aside, which the sailor someway resenting, they dashed him to the deck, despite the earnest cries of the oakum-pickers. “Don Benito,” said Captain Delano quickly, “do you see what is going on there? Look!” But, seized by his cough, the Spaniard staggered, with both hands to his face, on the point of falling. Captain Delano would have supported him, but the servant was more alert, who, with one hand sustaining his master, with the other applied the cordial. Don Benito restored, the black withdrew his support, slipping aside a little, but dutifully remaining within call of a whisper. Such discretion was here evinced as quite wiped away, in the visitor’s eyes, any blemish of impropriety which might have attached to the attendant, from the indecorous conferences before mentioned; showing, too, that if the servant were to blame, it might be more the master’s fault than his own, since, when left to himself, he could conduct thus well. His glance called away from the spectacle of disorder to the more pleasing one before him, Captain Delano could not avoid again congratulating his host upon possessing such a servant, who, though perhaps a little too forward now and then, must upon the whole be invaluable to one in the invalid’s situation. “Tell me, Don Benito,” he added, with a smile–“I should like to have your man here, myself–what will you take for him? Would fifty doubloons be any object?” “Master wouldn’t part with Babo for a thousand doubloons,” murmured the black, overhearing the offer, and taking it in earnest, and, with the strange vanity of a faithful slave, appreciated by his master, scorning to hear so paltry a valuation put upon him by a stranger. But Don Benito, apparently hardly yet completely restored, and again interrupted by his cough, made but some broken reply. Soon his physical distress became so great, affecting his mind, too, apparently, that, as if to screen the sad spectacle, the servant gently conducted his master below. Left to himself, the American, to while away the time till his boat should arrive, would have pleasantly accosted some one of the few Spanish seamen he saw; but recalling something that Don Benito had said touching their ill conduct, he refrained; as a shipmaster indisposed to countenance cowardice or unfaithfulness in seamen. While, with these thoughts, standing with eye directed forward towards that handful of sailors, suddenly he thought that one or two of them returned the glance and with a sort of meaning. He rubbed his eyes, and looked again; but again seemed to see the same thing. Under a new form, but more obscure than any previous one, the old suspicions recurred, but, in the absence of Don Benito, with less of panic than before. Despite the bad account given of the sailors, Captain Delano resolved forthwith to accost one of them. Descending the poop, he made his way through the blacks, his movement drawing a queer cry from the oakum-pickers, prompted by whom, the negroes, twitching each other aside, divided before him; but, as if curious to see what was the object of this deliberate visit to their Ghetto, closing in behind, in tolerable order, followed the white stranger up. His progress thus proclaimed as by mounted kings-at-arms, and escorted as by a Caffre guard of honor, Captain Delano, assuming a good-humored, off-handed air, continued to advance; now and then saying a blithe word to the negroes, and his eye curiously surveying the white faces, here and there sparsely mixed in with the blacks, like stray white pawns venturously involved in the ranks of the chess-men opposed. While thinking which of them to select for his purpose, he chanced to observe a sailor seated on the deck engaged in tarring the strap of a large block, a circle of blacks squatted round him inquisitively eying the process. The mean employment of the man was in contrast with something superior in his figure. His hand, black with continually thrusting it into the tar-pot held for him by a negro, seemed not naturally allied to his face, a face which would have been a very fine one but for its haggardness. Whether this haggardness had aught to do with criminality, could not be determined; since, as intense heat and cold, though unlike, produce like sensations, so innocence and guilt, when, through casual association with mental pain, stamping any visible impress, use one seal–a hacked one. Not again that this reflection occurred to Captain Delano at the time, charitable man as he was. Rather another idea. Because observing so singular a haggardness combined with a dark eye, averted as in trouble and shame, and then again recalling Don Benito’s confessed ill opinion of his crew, insensibly he was operated upon by certain general notions which, while disconnecting pain and abashment from virtue, invariably link them with vice. If, indeed, there be any wickedness on board this ship, thought Captain Delano, be sure that man there has fouled his hand in it, even as now he fouls it in the pitch. I don’t like to accost him. I will speak to this other, this old Jack here on the windlass. He advanced to an old Barcelona tar, in ragged red breeches and dirty night-cap, cheeks trenched and bronzed, whiskers dense as thorn hedges. Seated between two sleepy-looking Africans, this mariner, like his younger shipmate, was employed upon some rigging–splicing a cable–the sleepy-looking blacks performing the inferior function of holding the outer parts of the ropes for him. Upon Captain Delano’s approach, the man at once hung his head below its previous level; the one necessary for business. It appeared as if he desired to be thought absorbed, with more than common fidelity, in his task. Being addressed, he glanced up, but with what seemed a furtive, diffident air, which sat strangely enough on his weather-beaten visage, much as if a grizzly bear, instead of growling and biting, should simper and cast sheep’s eyes. He was asked several questions concerning the voyage–questions purposely referring to several particulars in Don Benito’s narrative, not previously corroborated by those impulsive cries greeting the visitor on first coming on board. The questions were briefly answered, confirming all that remained to be confirmed of the story. The negroes about the windlass joined in with the old sailor; but, as they became talkative, he by degrees became mute, and at length quite glum, seemed morosely unwilling to answer more questions, and yet, all the while, this ursine air was somehow mixed with his sheepish one. Despairing of getting into unembarrassed talk with such a centaur, Captain Delano, after glancing round for a more promising countenance, but seeing none, spoke pleasantly to the blacks to make way for him; and so, amid various grins and grimaces, returned to the poop, feeling a little strange at first, he could hardly tell why, but upon the whole with regained confidence in Benito Cereno. How plainly, thought he, did that old whiskerando yonder betray a consciousness of ill desert. No doubt, when he saw me coming, he dreaded lest I, apprised by his Captain of the crew’s general misbehavior, came with sharp words for him, and so down with his head. And yet–and yet, now that I think of it, that very old fellow, if I err not, was one of those who seemed so earnestly eying me here awhile since. Ah, these currents spin one’s head round almost as much as they do the ship. Ha, there now’s a pleasant sort of sunny sight; quite sociable, too. His attention had been drawn to a slumbering negress, partly disclosed through the lacework of some rigging, lying, with youthful limbs carelessly disposed, under the lee of the bulwarks, like a doe in the shade of a woodland rock. Sprawling at her lapped breasts, was her wide-awake fawn, stark naked, its black little body half lifted from the deck, crosswise with its dam’s; its hands, like two paws, clambering upon her; its mouth and nose ineffectually rooting to get at the mark; and meantime giving a vexatious half-grunt, blending with the composed snore of the negress. The uncommon vigor of the child at length roused the mother. She started up, at a distance facing Captain Delano. But as if not at all concerned at the attitude in which she had been caught, delightedly she caught the child up, with maternal transports, covering it with kisses. There’s naked nature, now; pure tenderness and love, thought Captain Delano, well pleased. This incident prompted him to remark the other negresses more particularly than before. He was gratified with their manners: like most uncivilized women, they seemed at once tender of heart and tough of constitution; equally ready to die for their infants or fight for them. Unsophisticated as leopardesses; loving as doves. Ah! thought Captain Delano, these, perhaps, are some of the very women whom Ledyard saw in Africa, and gave such a noble account of. These natural sights somehow insensibly deepened his confidence and ease. At last he looked to see how his boat was getting on; but it was still pretty remote. He turned to see if Don Benito had returned; but he had not. To change the scene, as well as to please himself with a leisurely observation of the coming boat, stepping over into the mizzen-chains, he clambered his way into the starboard quarter-gallery–one of those abandoned Venetian-looking water-balconies previously mentioned–retreats cut off from the deck. As his foot pressed the half-damp, half-dry sea-mosses matting the place, and a chance phantom cats-paw–an islet of breeze, unheralded, unfollowed–as this ghostly cats-paw came fanning his cheek; as his glance fell upon the row of small, round dead-lights–all closed like coppered eyes of the coffined–and the state-cabin door, once connecting with the gallery, even as the dead-lights had once looked out upon it, but now calked fast like a sarcophagus lid; and to a purple-black tarred-over, panel, threshold, and post; and he bethought him of the time, when that state-cabin and this state-balcony had heard the voices of the Spanish king’s officers, and the forms of the Lima viceroy’s daughters had perhaps leaned where he stood–as these and other images flitted through his mind, as the cats-paw through the calm, gradually he felt rising a dreamy inquietude, like that of one who alone on the prairie feels unrest from the repose of the noon. He leaned against the carved balustrade, again looking off toward his boat; but found his eye falling upon the ribbon grass, trailing along the ship’s water-line, straight as a border of green box; and parterres of sea-weed, broad ovals and crescents, floating nigh and far, with what seemed long formal alleys between, crossing the terraces of swells, and sweeping round as if leading to the grottoes below. And overhanging all was the balustrade by his arm, which, partly stained with pitch and partly embossed with moss, seemed the charred ruin of some summer-house in a grand garden long running to waste. Trying to break one charm, he was but becharmed anew. Though upon the wide sea, he seemed in some far inland country; prisoner in some deserted château, left to stare at empty grounds, and peer out at vague roads, where never wagon or wayfarer passed. But these enchantments were a little disenchanted as his eye fell on the corroded main-chains. Of an ancient style, massy and rusty in link, shackle and bolt, they seemed even more fit for the ship’s present business than the one for which she had been built. Presently he thought something moved nigh the chains. He rubbed his eyes, and looked hard. Groves of rigging were about the chains; and there, peering from behind a great stay, like an Indian from behind a hemlock, a Spanish sailor, a marlingspike in his hand, was seen, who made what seemed an imperfect gesture towards the balcony, but immediately as if alarmed by some advancing step along the deck within, vanished into the recesses of the hempen forest, like a poacher. What meant this? Something the man had sought to communicate, unbeknown to any one, even to his captain. Did the secret involve aught unfavorable to his captain? Were those previous misgivings of Captain Delano’s about to be verified? Or, in his haunted mood at the moment, had some random, unintentional motion of the man, while busy with the stay, as if repairing it, been mistaken for a significant beckoning? Not unbewildered, again he gazed off for his boat. But it was temporarily hidden by a rocky spur of the isle. As with some eagerness he bent forward, watching for the first shooting view of its beak, the balustrade gave way before him like charcoal. Had he not clutched an outreaching rope he would have fallen into the sea. The crash, though feeble, and the fall, though hollow, of the rotten fragments, must have been overheard. He glanced up. With sober curiosity peering down upon him was one of the old oakum-pickers, slipped from his perch to an outside boom; while below the old negro, and, invisible to him, reconnoitering from a port-hole like a fox from the mouth of its den, crouched the Spanish sailor again. From something suddenly suggested by the man’s air, the mad idea now darted into Captain Delano’s mind, that Don Benito’s plea of indisposition, in withdrawing below, was but a pretense: that he was engaged there maturing his plot, of which the sailor, by some means gaining an inkling, had a mind to warn the stranger against; incited, it may be, by gratitude for a kind word on first boarding the ship. Was it from foreseeing some possible interference like this, that Don Benito had, beforehand, given such a bad character of his sailors, while praising the negroes; though, indeed, the former seemed as docile as the latter the contrary? The whites, too, by nature, were the shrewder race. A man with some evil design, would he not be likely to speak well of that stupidity which was blind to his depravity, and malign that intelligence from which it might not be hidden? Not unlikely, perhaps. But if the whites had dark secrets concerning Don Benito, could then Don Benito be any way in complicity with the blacks? But they were too stupid. Besides, who ever heard of a white so far a renegade as to apostatize from his very species almost, by leaguing in against it with negroes? These difficulties recalled former ones. Lost in their mazes, Captain Delano, who had now regained the deck, was uneasily advancing along it, when he observed a new face; an aged sailor seated cross-legged near the main hatchway. His skin was shrunk up with wrinkles like a pelican’s empty pouch; his hair frosted; his countenance grave and composed. His hands were full of ropes, which he was working into a large knot. Some blacks were about him obligingly dipping the strands for him, here and there, as the exigencies of the operation demanded. Captain Delano crossed over to him, and stood in silence surveying the knot; his mind, by a not uncongenial transition, passing from its own entanglements to those of the hemp. For intricacy, such a knot he had never seen in an American ship, nor indeed any other. The old man looked like an Egyptian priest, making Gordian knots for the temple of Ammon. The knot seemed a combination of double-bowline-knot, treble-crown-knot, back-handed-well-knot, knot-in-and-out-knot, and jamming-knot. At last, puzzled to comprehend the meaning of such a knot, Captain Delano addressed the knotter:– “What are you knotting there, my man?” “The knot,” was the brief reply, without looking up. “So it seems; but what is it for?” “For some one else to undo,” muttered back the old man, plying his fingers harder than ever, the knot being now nearly completed. While Captain Delano stood watching him, suddenly the old man threw the knot towards him, saying in broken English–the first heard in the ship–something to this effect: “Undo it, cut it, quick.” It was said lowly, but with such condensation of rapidity, that the long, slow words in Spanish, which had preceded and followed, almost operated as covers to the brief English between. For a moment, knot in hand, and knot in head, Captain Delano stood mute; while, without further heeding him, the old man was now intent upon other ropes. Presently there was a slight stir behind Captain Delano. Turning, he saw the chained negro, Atufal, standing quietly there. The next moment the old sailor rose, muttering, and, followed by his subordinate negroes, removed to the forward part of the ship, where in the crowd he disappeared. An elderly negro, in a clout like an infant’s, and with a pepper and salt head, and a kind of attorney air, now approached Captain Delano. In tolerable Spanish, and with a good-natured, knowing wink, he informed him that the old knotter was simple-witted, but harmless; often playing his odd tricks. The negro concluded by begging the knot, for of course the stranger would not care to be troubled with it. Unconsciously, it was handed to him. With a sort of congé, the negro received it, and, turning his back, ferreted into it like a detective custom-house officer after smuggled laces. Soon, with some African word, equivalent to pshaw, he tossed the knot overboard. All this is very queer now, thought Captain Delano, with a qualmish sort of emotion; but, as one feeling incipient sea-sickness, he strove, by ignoring the symptoms, to get rid of the malady. Once more he looked off for his boat. To his delight, it was now again in view, leaving the rocky spur astern. The sensation here experienced, after at first relieving his uneasiness, with unforeseen efficacy soon began to remove it. The less distant sight of that well-known boat–showing it, not as before, half blended with the haze, but with outline defined, so that its individuality, like a man’s, was manifest; that boat, Rover by name, which, though now in strange seas, had often pressed the beach of Captain Delano’s home, and, brought to its threshold for repairs, had familiarly lain there, as a Newfoundland dog; the sight of that household boat evoked a thousand trustful associations, which, contrasted with previous suspicions, filled him not only with lightsome confidence, but somehow with half humorous self-reproaches at his former lack of it. “What, I, Amasa Delano–Jack of the Beach, as they called me when a lad–I, Amasa; the same that, duck-satchel in hand, used to paddle along the water-side to the school-house made from the old hulk–I, little Jack of the Beach, that used to go berrying with cousin Nat and the rest; I to be murdered here at the ends of the earth, on board a haunted pirate-ship by a horrible Spaniard? Too nonsensical to think of! Who would murder Amasa Delano? His conscience is clean. There is some one above. Fie, fie, Jack of the Beach! you are a child indeed; a child of the second childhood, old boy; you are beginning to dote and drule, I’m afraid.” Light of heart and foot, he stepped aft, and there was met by Don Benito’s servant, who, with a pleasing expression, responsive to his own present feelings, informed him that his master had recovered from the effects of his coughing fit, and had just ordered him to go present his compliments to his good guest, Don Amasa, and say that he (Don Benito) would soon have the happiness to rejoin him. There now, do you mark that? again thought Captain Delano, walking the poop. What a donkey I was. This kind gentleman who here sends me his kind compliments, he, but ten minutes ago, dark-lantern in had, was dodging round some old grind-stone in the hold, sharpening a hatchet for me, I thought. Well, well; these long calms have a morbid effect on the mind, I’ve often heard, though I never believed it before. Ha! glancing towards the boat; there’s Rover; good dog; a white bone in her mouth. A pretty big bone though, seems to me.–What? Yes, she has fallen afoul of the bubbling tide-rip there. It sets her the other way, too, for the time. Patience. It was now about noon, though, from the grayness of everything, it seemed to be getting towards dusk. The calm was confirmed. In the far distance, away from the influence of land, the leaden ocean seemed laid out and leaded up, its course finished, soul gone, defunct. But the current from landward, where the ship was, increased; silently sweeping her further and further towards the tranced waters beyond. Still, from his knowledge of those latitudes, cherishing hopes of a breeze, and a fair and fresh one, at any moment, Captain Delano, despite present prospects, buoyantly counted upon bringing the San Dominick safely to anchor ere night. The distance swept over was nothing; since, with a good wind, ten minutes’ sailing would retrace more than sixty minutes, drifting. Meantime, one moment turning to mark “Rover” fighting the tide-rip, and the next to see Don Benito approaching, he continued walking the poop. Gradually he felt a vexation arising from the delay of his boat; this soon merged into uneasiness; and at last–his eye falling continually, as from a stage-box into the pit, upon the strange crowd before and below him, and, by-and-by, recognizing there the face–now composed to indifference–of the Spanish sailor who had seemed to beckon from the main-chains–something of his old trepidations returned. Ah, thought he–gravely enough–this is like the ague: because it went off, it follows not that it won’t come back. Though ashamed of the relapse, he could not altogether subdue it; and so, exerting his good-nature to the utmost, insensibly he came to a compromise. Yes, this is a strange craft; a strange history, too, and strange folks on board. But–nothing more. By way of keeping his mind out of mischief till the boat should arrive, he tried to occupy it with turning over and over, in a purely speculative sort of way, some lesser peculiarities of the captain and crew. Among others, four curious points recurred: First, the affair of the Spanish lad assailed with a knife by the slave boy; an act winked at by Don Benito. Second, the tyranny in Don Benito’s treatment of Atufal, the black; as if a child should lead a bull of the Nile by the ring in his nose. Third, the trampling of the sailor by the two negroes; a piece of insolence passed over without so much as a reprimand. Fourth, the cringing submission to their master, of all the ship’s underlings, mostly blacks; as if by the least inadvertence they feared to draw down his despotic displeasure. Coupling these points, they seemed somewhat contradictory. But what then, thought Captain Delano, glancing towards his now nearing boat–what then? Why, Don Benito is a very capricious commander. But he is not the first of the sort I have seen; though it’s true he rather exceeds any other. But as a nation–continued he in his reveries–these Spaniards are all an odd set; the very word Spaniard has a curious, conspirator, Guy-Fawkish twang to it. And yet, I dare say, Spaniards in the main are as good folks as any in Duxbury, Massachusetts. Ah good! At last “Rover” has come. As, with its welcome freight, the boat touched the side, the oakum-pickers, with venerable gestures, sought to restrain the blacks, who, at the sight of three gurried water-casks in its bottom, and a pile of wilted pumpkins in its bow, hung over the bulwarks in disorderly raptures. Don Benito, with his servant, now appeared; his coming, perhaps, hastened by hearing the noise. Of him Captain Delano sought permission to serve out the water, so that all might share alike, and none injure themselves by unfair excess. But sensible, and, on Don Benito’s account, kind as this offer was, it was received with what seemed impatience; as if aware that he lacked energy as a commander, Don Benito, with the true jealousy of weakness, resented as an affront any interference. So, at least, Captain Delano inferred. In another moment the casks were being hoisted in, when some of the eager negroes accidentally jostled Captain Delano, where he stood by the gangway; so, that, unmindful of Don Benito, yielding to the impulse of the moment, with good-natured authority he bade the blacks stand back; to enforce his words making use of a half-mirthful, half-menacing gesture. Instantly the blacks paused, just where they were, each negro and negress suspended in his or her posture, exactly as the word had found them–for a few seconds continuing so–while, as between the responsive posts of a telegraph, an unknown syllable ran from man to man among the perched oakum-pickers. While the visitor’s attention was fixed by this scene, suddenly the hatchet-polishers half rose, and a rapid cry came from Don Benito. Thinking that at the signal of the Spaniard he was about to be massacred, Captain Delano would have sprung for his boat, but paused, as the oakum-pickers, dropping down into the crowd with earnest exclamations, forced every white and every negro back, at the same moment, with gestures friendly and familiar, almost jocose, bidding him, in substance, not be a fool. Simultaneously the hatchet-polishers resumed their seats, quietly as so many tailors, and at once, as if nothing had happened, the work of hoisting in the casks was resumed, whites and blacks singing at the tackle. Captain Delano glanced towards Don Benito. As he saw his meagre form in the act of recovering itself from reclining in the servant’s arms, into which the agitated invalid had fallen, he could not but marvel at the panic by which himself had been surprised, on the darting supposition that such a commander, who, upon a legitimate occasion, so trivial, too, as it now appeared, could lose all self-command, was, with energetic iniquity, going to bring about his murder. The casks being on deck, Captain Delano was handed a number of jars and cups by one of the steward’s aids, who, in the name of his captain, entreated him to do as he had proposed–dole out the water. He complied, with republican impartiality as to this republican element, which always seeks one level, serving the oldest white no better than the youngest black; excepting, indeed, poor Don Benito, whose condition, if not rank, demanded an extra allowance. To him, in the first place, Captain Delano presented a fair pitcher of the fluid; but, thirsting as he was for it, the Spaniard quaffed not a drop until after several grave bows and salutes. A reciprocation of courtesies which the sight-loving Africans hailed with clapping of hands. Two of the less wilted pumpkins being reserved for the cabin table, the residue were minced up on the spot for the general regalement. But the soft bread, sugar, and bottled cider, Captain Delano would have given the whites alone, and in chief Don Benito; but the latter objected; which disinterestedness not a little pleased the American; and so mouthfuls all around were given alike to whites and blacks; excepting one bottle of cider, which Babo insisted upon setting aside for his master. Here it may be observed that as, on the first visit of the boat, the American had not permitted his men to board the ship, neither did he now; being unwilling to add to the confusion of the decks. Not uninfluenced by the peculiar good-humor at present prevailing, and for the time oblivious of any but benevolent thoughts, Captain Delano, who, from recent indications, counted upon a breeze within an hour or two at furthest, dispatched the boat back to the sealer, with orders for all the hands that could be spared immediately to set about rafting casks to the watering-place and filling them. Likewise he bade word be carried to his chief officer, that if, against present expectation, the ship was not brought to anchor by sunset, he need be under no concern; for as there was to be a full moon that night, he (Captain Delano) would remain on board ready to play the pilot, come the wind soon or late. As the two Captains stood together, observing the departing boat–the servant, as it happened, having just spied a spot on his master’s velvet sleeve, and silently engaged rubbing it out–the American expressed his regrets that the San Dominick had no boats; none, at least, but the unseaworthy old hulk of the long-boat, which, warped as a camel’s skeleton in the desert, and almost as bleached, lay pot-wise inverted amidships, one side a little tipped, furnishing a subterraneous sort of den for family groups of the blacks, mostly women and small children; who, squatting on old mats below, or perched above in the dark dome, on the elevated seats, were descried, some distance within, like a social circle of bats, sheltering in some friendly cave; at intervals, ebon flights of naked boys and girls, three or four years old, darting in and out of the den’s mouth. “Had you three or four boats now, Don Benito,” said Captain Delano, “I think that, by tugging at the oars, your negroes here might help along matters some. Did you sail from port without boats, Don Benito?” “They were stove in the gales, Señor.” “That was bad. Many men, too, you lost then. Boats and men. Those must have been hard gales, Don Benito.” “Past all speech,” cringed the Spaniard. “Tell me, Don Benito,” continued his companion with increased interest, “tell me, were these gales immediately off the pitch of Cape Horn?” “Cape Horn?–who spoke of Cape Horn?” “Yourself did, when giving me an account of your voyage,” answered Captain Delano, with almost equal astonishment at this eating of his own words, even as he ever seemed eating his own heart, on the part of the Spaniard. “You yourself, Don Benito, spoke of Cape Horn,” he emphatically repeated. The Spaniard turned, in a sort of stooping posture, pausing an instant, as one about to make a plunging exchange of elements, as from air to water. At this moment a messenger-boy, a white, hurried by, in the regular performance of his function carrying the last expired half hour forward to the forecastle, from the cabin time-piece, to have it struck at the ship’s large bell. “Master,” said the servant, discontinuing his work on the coat sleeve, and addressing the rapt Spaniard with a sort of timid apprehensiveness, as one charged with a duty, the discharge of which, it was foreseen, would prove irksome to the very person who had imposed it, and for whose benefit it was intended, “master told me never mind where he was, or how engaged, always to remind him to a minute, when shaving-time comes. Miguel has gone to strike the half-hour afternoon. It is now, master. Will master go into the cuddy?” “Ah–yes,” answered the Spaniard, starting, as from dreams into realities; then turning upon Captain Delano, he said that ere long he would resume the conversation. “Then if master means to talk more to Don Amasa,” said the servant, “why not let Don Amasa sit by master in the cuddy, and master can talk, and Don Amasa can listen, while Babo here lathers and strops.” “Yes,” said Captain Delano, not unpleased with this sociable plan, “yes, Don Benito, unless you had rather not, I will go with you.” “Be it so, Señor.” As the three passed aft, the American could not but think it another strange instance of his host’s capriciousness, this being shaved with such uncommon punctuality in the middle of the day. But he deemed it more than likely that the servant’s anxious fidelity had something to do with the matter; inasmuch as the timely interruption served to rally his master from the mood which had evidently been coming upon him. The place called the cuddy was a light deck-cabin formed by the poop, a sort of attic to the large cabin below. Part of it had formerly been the quarters of the officers; but since their death all the partitioning had been thrown down, and the whole interior converted into one spacious and airy marine hall; for absence of fine furniture and picturesque disarray of odd appurtenances, somewhat answering to the wide, cluttered hall of some eccentric bachelor-squire in the country, who hangs his shooting-jacket and tobacco-pouch on deer antlers, and keeps his fishing-rod, tongs, and walking-stick in the same corner. The similitude was heightened, if not originally suggested, by glimpses of the surrounding sea; since, in one aspect, the country and the ocean seem cousins-german. The floor of the cuddy was matted. Overhead, four or five old muskets were stuck into horizontal holes along the beams. On one side was a claw-footed old table lashed to the deck; a thumbed missal on it, and over it a small, meagre crucifix attached to the bulk-head. Under the table lay a dented cutlass or two, with a hacked harpoon, among some melancholy old rigging, like a heap of poor friars’ girdles. There were also two long, sharp-ribbed settees of Malacca cane, black with age, and uncomfortable to look at as inquisitors’ racks, with a large, misshapen arm-chair, which, furnished with a rude barber’s crotch at the back, working with a screw, seemed some grotesque engine of torment. A flag locker was in one corner, open, exposing various colored bunting, some rolled up, others half unrolled, still others tumbled. Opposite was a cumbrous washstand, of black mahogany, all of one block, with a pedestal, like a font, and over it a railed shelf, containing combs, brushes, and other implements of the toilet. A torn hammock of stained grass swung near; the sheets tossed, and the pillow wrinkled up like a brow, as if who ever slept here slept but illy, with alternate visitations of sad thoughts and bad dreams. The further extremity of the cuddy, overhanging the ship’s stern, was pierced with three openings, windows or port-holes, according as men or cannon might peer, socially or unsocially, out of them. At present neither men nor cannon were seen, though huge ring-bolts and other rusty iron fixtures of the wood-work hinted of twenty-four-pounders. Glancing towards the hammock as he entered, Captain Delano said, “You sleep here, Don Benito?” “Yes, Señor, since we got into mild weather.” “This seems a sort of dormitory, sitting-room, sail-loft, chapel, armory, and private closet all together, Don Benito,” added Captain Delano, looking round. “Yes, Señor; events have not been favorable to much order in my arrangements.” Here the servant, napkin on arm, made a motion as if waiting his master’s good pleasure. Don Benito signified his readiness, when, seating him in the Malacca arm-chair, and for the guest’s convenience drawing opposite one of the settees, the servant commenced operations by throwing back his master’s collar and loosening his cravat. There is something in the negro which, in a peculiar way, fits him for avocations about one’s person. Most negroes are natural valets and hair-dressers; taking to the comb and brush congenially as to the castinets, and flourishing them apparently with almost equal satisfaction. There is, too, a smooth tact about them in this employment, with a marvelous, noiseless, gliding briskness, not ungraceful in its way, singularly pleasing to behold, and still more so to be the manipulated subject of. And above all is the great gift of good-humor. Not the mere grin or laugh is here meant. Those were unsuitable. But a certain easy cheerfulness, harmonious in every glance and gesture; as though God had set the whole negro to some pleasant tune. When to this is added the docility arising from the unaspiring contentment of a limited mind and that susceptibility of blind attachment sometimes inhering in indisputable inferiors, one readily perceives why those hypochondriacs, Johnson and Byron–it may be, something like the hypochondriac Benito Cereno–took to their hearts, almost to the exclusion of the entire white race, their serving men, the negroes, Barber and Fletcher. But if there be that in the negro which exempts him from the inflicted sourness of the morbid or cynical mind, how, in his most prepossessing aspects, must he appear to a benevolent one? When at ease with respect to exterior things, Captain Delano’s nature was not only benign, but familiarly and humorously so. At home, he had often taken rare satisfaction in sitting in his door, watching some free man of color at his work or play. If on a voyage he chanced to have a black sailor, invariably he was on chatty and half-gamesome terms with him. In fact, like most men of a good, blithe heart, Captain Delano took to negroes, not philanthropically, but genially, just as other men to Newfoundland dogs. Hitherto, the circumstances in which he found the San Dominick had repressed the tendency. But in the cuddy, relieved from his former uneasiness, and, for various reasons, more sociably inclined than at any previous period of the day, and seeing the colored servant, napkin on arm, so debonair about his master, in a business so familiar as that of shaving, too, all his old weakness for negroes returned. Among other things, he was amused with an odd instance of the African love of bright colors and fine shows, in the black’s informally taking from the flag-locker a great piece of bunting of all hues, and lavishly tucking it under his master’s chin for an apron. The mode of shaving among the Spaniards is a little different from what it is with other nations. They have a basin, specifically called a barber’s basin, which on one side is scooped out, so as accurately to receive the chin, against which it is closely held in lathering; which is done, not with a brush, but with soap dipped in the water of the basin and rubbed on the face. In the present instance salt-water was used for lack of better; and the parts lathered were only the upper lip, and low down under the throat, all the rest being cultivated beard. The preliminaries being somewhat novel to Captain Delano, he sat curiously eying them, so that no conversation took place, nor, for the present, did Don Benito appear disposed to renew any. Setting down his basin, the negro searched among the razors, as for the sharpest, and having found it, gave it an additional edge by expertly strapping it on the firm, smooth, oily skin of his open palm; he then made a gesture as if to begin, but midway stood suspended for an instant, one hand elevating the razor, the other professionally dabbling among the bubbling suds on the Spaniard’s lank neck. Not unaffected by the close sight of the gleaming steel, Don Benito nervously shuddered; his usual ghastliness was heightened by the lather, which lather, again, was intensified in its hue by the contrasting sootiness of the negro’s body. Altogether the scene was somewhat peculiar, at least to Captain Delano, nor, as he saw the two thus postured, could he resist the vagary, that in the black he saw a headsman, and in the white a man at the block. But this was one of those antic conceits, appearing and vanishing in a breath, from which, perhaps, the best regulated mind is not always free. Meantime the agitation of the Spaniard had a little loosened the bunting from around him, so that one broad fold swept curtain-like over the chair-arm to the floor, revealing, amid a profusion of armorial bars and ground-colors–black, blue, and yellow–a closed castle in a blood red field diagonal with a lion rampant in a white. “The castle and the lion,” exclaimed Captain Delano–“why, Don Benito, this is the flag of Spain you use here. It’s well it’s only I, and not the King, that sees this,” he added, with a smile, “but”–turning towards the black–“it’s all one, I suppose, so the colors be gay;” which playful remark did not fail somewhat to tickle the negro. “Now, master,” he said, readjusting the flag, and pressing the head gently further back into the crotch of the chair; “now, master,” and the steel glanced nigh the throat. Again Don Benito faintly shuddered. “You must not shake so, master. See, Don Amasa, master always shakes when I shave him. And yet master knows I never yet have drawn blood, though it’s true, if master will shake so, I may some of these times. Now master,” he continued. “And now, Don Amasa, please go on with your talk about the gale, and all that; master can hear, and, between times, master can answer.” “Ah yes, these gales,” said Captain Delano; “but the more I think of your voyage, Don Benito, the more I wonder, not at the gales, terrible as they must have been, but at the disastrous interval following them. For here, by your account, have you been these two months and more getting from Cape Horn to St. Maria, a distance which I myself, with a good wind, have sailed in a few days. True, you had calms, and long ones, but to be becalmed for two months, that is, at least, unusual. Why, Don Benito, had almost any other gentleman told me such a story, I should have been half disposed to a little incredulity.” Here an involuntary expression came over the Spaniard, similar to that just before on the deck, and whether it was the start he gave, or a sudden gawky roll of the hull in the calm, or a momentary unsteadiness of the servant’s hand, however it was, just then the razor drew blood, spots of which stained the creamy lather under the throat: immediately the black barber drew back his steel, and, remaining in his professional attitude, back to Captain Delano, and face to Don Benito, held up the trickling razor, saying, with a sort of half humorous sorrow, “See, master–you shook so–here’s Babo’s first blood.” No sword drawn before James the First of England, no assassination in that timid King’s presence, could have produced a more terrified aspect than was now presented by Don Benito. Poor fellow, thought Captain Delano, so nervous he can’t even bear the sight of barber’s blood; and this unstrung, sick man, is it credible that I should have imagined he meant to spill all my blood, who can’t endure the sight of one little drop of his own? Surely, Amasa Delano, you have been beside yourself this day. Tell it not when you get home, sappy Amasa. Well, well, he looks like a murderer, doesn’t he? More like as if himself were to be done for. Well, well, this day’s experience shall be a good lesson. Meantime, while these things were running through the honest seaman’s mind, the servant had taken the napkin from his arm, and to Don Benito had said–“But answer Don Amasa, please, master, while I wipe this ugly stuff off the razor, and strop it again.” As he said the words, his face was turned half round, so as to be alike visible to the Spaniard and the American, and seemed, by its expression, to hint, that he was desirous, by getting his master to go on with the conversation, considerately to withdraw his attention from the recent annoying accident. As if glad to snatch the offered relief, Don Benito resumed, rehearsing to Captain Delano, that not only were the calms of unusual duration, but the ship had fallen in with obstinate currents; and other things he added, some of which were but repetitions of former statements, to explain how it came to pass that the passage from Cape Horn to St. Maria had been so exceedingly long; now and then, mingling with his words, incidental praises, less qualified than before, to the blacks, for their general good conduct. These particulars were not given consecutively, the servant, at convenient times, using his razor, and so, between the intervals of shaving, the story and panegyric went on with more than usual huskiness. To Captain Delano’s imagination, now again not wholly at rest, there was something so hollow in the Spaniard’s manner, with apparently some reciprocal hollowness in the servant’s dusky comment of silence, that the idea flashed across him, that possibly master and man, for some unknown purpose, were acting out, both in word and deed, nay, to the very tremor of Don Benito’s limbs, some juggling play before him. Neither did the suspicion of collusion lack apparent support, from the fact of those whispered conferences before mentioned. But then, what could be the object of enacting this play of the barber before him? At last, regarding the notion as a whimsy, insensibly suggested, perhaps, by the theatrical aspect of Don Benito in his harlequin ensign, Captain Delano speedily banished it. The shaving over, the servant bestirred himself with a small bottle of scented waters, pouring a few drops on the head, and then diligently rubbing; the vehemence of the exercise causing the muscles of his face to twitch rather strangely. His next operation was with comb, scissors, and brush; going round and round, smoothing a curl here, clipping an unruly whisker-hair there, giving a graceful sweep to the temple-lock, with other impromptu touches evincing the hand of a master; while, like any resigned gentleman in barber’s hands, Don Benito bore all, much less uneasily, at least than he had done the razoring; indeed, he sat so pale and rigid now, that the negro seemed a Nubian sculptor finishing off a white statue-head. All being over at last, the standard of Spain removed, tumbled up, and tossed back into the flag-locker, the negro’s warm breath blowing away any stray hair, which might have lodged down his master’s neck; collar and cravat readjusted; a speck of lint whisked off the velvet lapel; all this being done; backing off a little space, and pausing with an expression of subdued self-complacency, the servant for a moment surveyed his master, as, in toilet at least, the creature of his own tasteful hands. Captain Delano playfully complimented him upon his achievement; at the same time congratulating Don Benito. But neither sweet waters, nor shampooing, nor fidelity, nor sociality, delighted the Spaniard. Seeing him relapsing into forbidding gloom, and still remaining seated, Captain Delano, thinking that his presence was undesired just then, withdrew, on pretense of seeing whether, as he had prophesied, any signs of a breeze were visible. Walking forward to the main-mast, he stood awhile thinking over the scene, and not without some undefined misgivings, when he heard a noise near the cuddy, and turning, saw the negro, his hand to his cheek. Advancing, Captain Delano perceived that the cheek was bleeding. He was about to ask the cause, when the negro’s wailing soliloquy enlightened him. “Ah, when will master get better from his sickness; only the sour heart that sour sickness breeds made him serve Babo so; cutting Babo with the razor, because, only by accident, Babo had given master one little scratch; and for the first time in so many a day, too. Ah, ah, ah,” holding his hand to his face. Is it possible, thought Captain Delano; was it to wreak in private his Spanish spite against this poor friend of his, that Don Benito, by his sullen manner, impelled me to withdraw? Ah this slavery breeds ugly passions in man.–Poor fellow! He was about to speak in sympathy to the negro, but with a timid reluctance he now re-entered the cuddy. Presently master and man came forth; Don Benito leaning on his servant as if nothing had happened. But a sort of love-quarrel, after all, thought Captain Delano. He accosted Don Benito, and they slowly walked together. They had gone but a few paces, when the steward–a tall, rajah-looking mulatto, orientally set off with a pagoda turban formed by three or four Madras handkerchiefs wound about his head, tier on tier–approaching with a saalam, announced lunch in the cabin. On their way thither, the two captains were preceded by the mulatto, who, turning round as he advanced, with continual smiles and bows, ushered them on, a display of elegance which quite completed the insignificance of the small bare-headed Babo, who, as if not unconscious of inferiority, eyed askance the graceful steward. But in part, Captain Delano imputed his jealous watchfulness to that peculiar feeling which the full-blooded African entertains for the adulterated one. As for the steward, his manner, if not bespeaking much dignity of self-respect, yet evidenced his extreme desire to please; which is doubly meritorious, as at once Christian and Chesterfieldian. Captain Delano observed with interest that while the complexion of the mulatto was hybrid, his physiognomy was European–classically so. “Don Benito,” whispered he, “I am glad to see this usher-of-the-golden-rod of yours; the sight refutes an ugly remark once made to me by a Barbadoes planter; that when a mulatto has a regular European face, look out for him; he is a devil. But see, your steward here has features more regular than King George’s of England; and yet there he nods, and bows, and smiles; a king, indeed–the king of kind hearts and polite fellows. What a pleasant voice he has, too?” “He has, Señor.” “But tell me, has he not, so far as you have known him, always proved a good, worthy fellow?” said Captain Delano, pausing, while with a final genuflexion the steward disappeared into the cabin; “come, for the reason just mentioned, I am curious to know.” “Francesco is a good man,” a sort of sluggishly responded Don Benito, like a phlegmatic appreciator, who would neither find fault nor flatter. “Ah, I thought so. For it were strange, indeed, and not very creditable to us white-skins, if a little of our blood mixed with the African’s, should, far from improving the latter’s quality, have the sad effect of pouring vitriolic acid into black broth; improving the hue, perhaps, but not the wholesomeness.” “Doubtless, doubtless, Señor, but”–glancing at Babo–“not to speak of negroes, your planter’s remark I have heard applied to the Spanish and Indian intermixtures in our provinces. But I know nothing about the matter,” he listlessly added. And here they entered the cabin. The lunch was a frugal one. Some of Captain Delano’s fresh fish and pumpkins, biscuit and salt beef, the reserved bottle of cider, and the San Dominick’s last bottle of Canary. As they entered, Francesco, with two or three colored aids, was hovering over the table giving the last adjustments. Upon perceiving their master they withdrew, Francesco making a smiling congé, and the Spaniard, without condescending to notice it, fastidiously remarking to his companion that he relished not superfluous attendance. Without companions, host and guest sat down, like a childless married couple, at opposite ends of the table, Don Benito waving Captain Delano to his place, and, weak as he was, insisting upon that gentleman being seated before himself. The negro placed a rug under Don Benito’s feet, and a cushion behind his back, and then stood behind, not his master’s chair, but Captain Delano’s. At first, this a little surprised the latter. But it was soon evident that, in taking his position, the black was still true to his master; since by facing him he could the more readily anticipate his slightest want. “This is an uncommonly intelligent fellow of yours, Don Benito,” whispered Captain Delano across the table. “You say true, Señor.” During the repast, the guest again reverted to parts of Don Benito’s story, begging further particulars here and there. He inquired how it was that the scurvy and fever should have committed such wholesale havoc upon the whites, while destroying less than half of the blacks. As if this question reproduced the whole scene of plague before the Spaniard’s eyes, miserably reminding him of his solitude in a cabin where before he had had so many friends and officers round him, his hand shook, his face became hueless, broken words escaped; but directly the sane memory of the past seemed replaced by insane terrors of the present. With starting eyes he stared before him at vacancy. For nothing was to be seen but the hand of his servant pushing the Canary over towards him. At length a few sips served partially to restore him. He made random reference to the different constitution of races, enabling one to offer more resistance to certain maladies than another. The thought was new to his companion. Presently Captain Delano, intending to say something to his host concerning the pecuniary part of the business he had undertaken for him, especially–since he was strictly accountable to his owners–with reference to the new suit of sails, and other things of that sort; and naturally preferring to conduct such affairs in private, was desirous that the servant should withdraw; imagining that Don Benito for a few minutes could dispense with his attendance. He, however, waited awhile; thinking that, as the conversation proceeded, Don Benito, without being prompted, would perceive the propriety of the step. But it was otherwise. At last catching his host’s eye, Captain Delano, with a slight backward gesture of his thumb, whispered, “Don Benito, pardon me, but there is an interference with the full expression of what I have to say to you.” Upon this the Spaniard changed countenance; which was imputed to his resenting the hint, as in some way a reflection upon his servant. After a moment’s pause, he assured his guest that the black’s remaining with them could be of no disservice; because since losing his officers he had made Babo (whose original office, it now appeared, had been captain of the slaves) not only his constant attendant and companion, but in all things his confidant. After this, nothing more could be said; though, indeed, Captain Delano could hardly avoid some little tinge of irritation upon being left ungratified in so inconsiderable a wish, by one, too, for whom he intended such solid services. But it is only his querulousness, thought he; and so filling his glass he proceeded to business. The price of the sails and other matters was fixed upon. But while this was being done, the American observed that, though his original offer of assistance had been hailed with hectic animation, yet now when it was reduced to a business transaction, indifference and apathy were betrayed. Don Benito, in fact, appeared to submit to hearing the details more out of regard to common propriety, than from any impression that weighty benefit to himself and his voyage was involved. Soon, his manner became still more reserved. The effort was vain to seek to draw him into social talk. Gnawed by his splenetic mood, he sat twitching his beard, while to little purpose the hand of his servant, mute as that on the wall, slowly pushed over the Canary. Lunch being over, they sat down on the cushioned transom; the servant placing a pillow behind his master. The long continuance of the calm had now affected the atmosphere. Don Benito sighed heavily, as if for breath. “Why not adjourn to the cuddy,” said Captain Delano; “there is more air there.” But the host sat silent and motionless. Meantime his servant knelt before him, with a large fan of feathers. And Francesco coming in on tiptoes, handed the negro a little cup of aromatic waters, with which at intervals he chafed his master’s brow; smoothing the hair along the temples as a nurse does a child’s. He spoke no word. He only rested his eye on his master’s, as if, amid all Don Benito’s distress, a little to refresh his spirit by the silent sight of fidelity. Presently the ship’s bell sounded two o’clock; and through the cabin windows a slight rippling of the sea was discerned; and from the desired direction. “There,” exclaimed Captain Delano, “I told you so, Don Benito, look!” He had risen to his feet, speaking in a very animated tone, with a view the more to rouse his companion. But though the crimson curtain of the stern-window near him that moment fluttered against his pale cheek, Don Benito seemed to have even less welcome for the breeze than the calm. Poor fellow, thought Captain Delano, bitter experience has taught him that one ripple does not make a wind, any more than one swallow a summer. But he is mistaken for once. I will get his ship in for him, and prove it. Briefly alluding to his weak condition, he urged his host to remain quietly where he was, since he (Captain Delano) would with pleasure take upon himself the responsibility of making the best use of the wind. Upon gaining the deck, Captain Delano started at the unexpected figure of Atufal, monumentally fixed at the threshold, like one of those sculptured porters of black marble guarding the porches of Egyptian tombs. But this time the start was, perhaps, purely physical. Atufal’s presence, singularly attesting docility even in sullenness, was contrasted with that of the hatchet-polishers, who in patience evinced their industry; while both spectacles showed, that lax as Don Benito’s general authority might be, still, whenever he chose to exert it, no man so savage or colossal but must, more or less, bow. Snatching a trumpet which hung from the bulwarks, with a free step Captain Delano advanced to the forward edge of the poop, issuing his orders in his best Spanish. The few sailors and many negroes, all equally pleased, obediently set about heading the ship towards the harbor. While giving some directions about setting a lower stu’n’-sail, suddenly Captain Delano heard a voice faithfully repeating his orders. Turning, he saw Babo, now for the time acting, under the pilot, his original part of captain of the slaves. This assistance proved valuable. Tattered sails and warped yards were soon brought into some trim. And no brace or halyard was pulled but to the blithe songs of the inspirited negroes. Good fellows, thought Captain Delano, a little training would make fine sailors of them. Why see, the very women pull and sing too. These must be some of those Ashantee negresses that make such capital soldiers, I’ve heard. But who’s at the helm. I must have a good hand there. He went to see. The San Dominick steered with a cumbrous tiller, with large horizontal pullies attached. At each pully-end stood a subordinate black, and between them, at the tiller-head, the responsible post, a Spanish seaman, whose countenance evinced his due share in the general hopefulness and confidence at the coming of the breeze. He proved the same man who had behaved with so shame-faced an air on the windlass. “Ah,–it is you, my man,” exclaimed Captain Delano–“well, no more sheep’s-eyes now;–look straight forward and keep the ship so. Good hand, I trust? And want to get into the harbor, don’t you?” The man assented with an inward chuckle, grasping the tiller-head firmly. Upon this, unperceived by the American, the two blacks eyed the sailor intently. Finding all right at the helm, the pilot went forward to the forecastle, to see how matters stood there. The ship now had way enough to breast the current. With the approach of evening, the breeze would be sure to freshen. Having done all that was needed for the present, Captain Delano, giving his last orders to the sailors, turned aft to report affairs to Don Benito in the cabin; perhaps additionally incited to rejoin him by the hope of snatching a moment’s private chat while the servant was engaged upon deck. From opposite sides, there were, beneath the poop, two approaches to the cabin; one further forward than the other, and consequently communicating with a longer passage. Marking the servant still above, Captain Delano, taking the nighest entrance–the one last named, and at whose porch Atufal still stood–hurried on his way, till, arrived at the cabin threshold, he paused an instant, a little to recover from his eagerness. Then, with the words of his intended business upon his lips, he entered. As he advanced toward the seated Spaniard, he heard another footstep, keeping time with his. From the opposite door, a salver in hand, the servant was likewise advancing. “Confound the faithful fellow,” thought Captain Delano; “what a vexatious coincidence.” Possibly, the vexation might have been something different, were it not for the brisk confidence inspired by the breeze. But even as it was, he felt a slight twinge, from a sudden indefinite association in his mind of Babo with Atufal. “Don Benito,” said he, “I give you joy; the breeze will hold, and will increase. By the way, your tall man and time-piece, Atufal, stands without. By your order, of course?” Don Benito recoiled, as if at some bland satirical touch, delivered with such adroit garnish of apparent good breeding as to present no handle for retort. He is like one flayed alive, thought Captain Delano; where may one touch him without causing a shrink? The servant moved before his master, adjusting a cushion; recalled to civility, the Spaniard stiffly replied: “you are right. The slave appears where you saw him, according to my command; which is, that if at the given hour I am below, he must take his stand and abide my coming.” “Ah now, pardon me, but that is treating the poor fellow like an ex-king indeed. Ah, Don Benito,” smiling, “for all the license you permit in some things, I fear lest, at bottom, you are a bitter hard master.” Again Don Benito shrank; and this time, as the good sailor thought, from a genuine twinge of his conscience. Again conversation became constrained. In vain Captain Delano called attention to the now perceptible motion of the keel gently cleaving the sea; with lack-lustre eye, Don Benito returned words few and reserved. By-and-by, the wind having steadily risen, and still blowing right into the harbor bore the San Dominick swiftly on. Sounding a point of land, the sealer at distance came into open view. Meantime Captain Delano had again repaired to the deck, remaining there some time. Having at last altered the ship’s course, so as to give the reef a wide berth, he returned for a few moments below. I will cheer up my poor friend, this time, thought he. “Better and better,” Don Benito, he cried as he blithely re-entered: “there will soon be an end to your cares, at least for awhile. For when, after a long, sad voyage, you know, the anchor drops into the haven, all its vast weight seems lifted from the captain’s heart. We are getting on famously, Don Benito. My ship is in sight. Look through this side-light here; there she is; all a-taunt-o! The Bachelor’s Delight, my good friend. Ah, how this wind braces one up. Come, you must take a cup of coffee with me this evening. My old steward will give you as fine a cup as ever any sultan tasted. What say you, Don Benito, will you?” At first, the Spaniard glanced feverishly up, casting a longing look towards the sealer, while with mute concern his servant gazed into his face. Suddenly the old ague of coldness returned, and dropping back to his cushions he was silent. “You do not answer. Come, all day you have been my host; would you have hospitality all on one side?” “I cannot go,” was the response. “What? it will not fatigue you. The ships will lie together as near as they can, without swinging foul. It will be little more than stepping from deck to deck; which is but as from room to room. Come, come, you must not refuse me.” “I cannot go,” decisively and repulsively repeated Don Benito. Renouncing all but the last appearance of courtesy, with a sort of cadaverous sullenness, and biting his thin nails to the quick, he glanced, almost glared, at his guest, as if impatient that a stranger’s presence should interfere with the full indulgence of his morbid hour. Meantime the sound of the parted waters came more and more gurglingly and merrily in at the windows; as reproaching him for his dark spleen; as telling him that, sulk as he might, and go mad with it, nature cared not a jot; since, whose fault was it, pray? But the foul mood was now at its depth, as the fair wind at its height. There was something in the man so far beyond any mere unsociality or sourness previously evinced, that even the forbearing good-nature of his guest could no longer endure it. Wholly at a loss to account for such demeanor, and deeming sickness with eccentricity, however extreme, no adequate excuse, well satisfied, too, that nothing in his own conduct could justify it, Captain Delano’s pride began to be roused. Himself became reserved. But all seemed one to the Spaniard. Quitting him, therefore, Captain Delano once more went to the deck. The ship was now within less than two miles of the sealer. The whale-boat was seen darting over the interval. To be brief, the two vessels, thanks to the pilot’s skill, ere long neighborly style lay anchored together. Before returning to his own ves

 2  Rousseau – ADEF 2018-2019: Republicanism, Federalism and the U.S. Constitution wisc.pb.unizin.org

kathyoker   8/6/2018 7:37 PM   in Public    

What were Rousseau's experiences or, at least, understanding of how a state would expand or contract? If there is a sweet spot, how should it be maintained? Are 50 states too many? What about the plight of the EU? The hairs on the back of my neck rise at the thought of how that argument could be used to limit immigration. What if the sweet spot is more about ratio between citizens and representatives rather than a total mass?

kathyoker   8/3/2018 2:11 AM   in Public    

What were Rousseau's experiences or, at least, understanding of how a state would expand or contract? If there is a sweet spot, how should it be maintained? Are 50 states too many? What about the plight of the EU? The hairs on the back of my neck rise at the thought of how that argument could be used to limit immigration.
What if the sweet spot is more about ratio between citizens and representatives rather than a total mass?

 1  https://www.ncbi.nlm.nih.gov/pubmed/26702831 europepmc.org

PubMedCommonsArchive   7/2/2018 9:38 PM   in NMb8iAjd    

On 2015 Dec 27, Avital Rodal commented:

F-BAR domains: diversity in oligomerization and membrane bending activities

Avital Rodal, Brandeis University

McDonald et al. report that several oligomerizing yeast and mammalian F-BAR proteins do not form membrane tubules in vitro or in heterologous cells. They go on to show that surfaces required for oligomerization in vitro are required for the in vivo functions of several of these proteins. They conclude that oligomerization, but not membrane bending, underlies the in vivo roles of these F-BAR proteins, and that their main function is to recruit and organize other proteins at the membrane. However, their conclusion that these proteins do not bend membranes is only supported by negative results (i.e. the authors did not observe deformation in vitro or in heterologous cells), and in some cases contradict published results. Further, the authors do not discuss a previous body of literature that shows that several F-BAR proteins, including SRGAPs and FCHSD proteins, generate non-canonical (i.e. non-tubular) membrane deformations that would not have been detected in their assays.

Several groups have shown that the SRGAP family of F-BAR proteins generate negative membrane curvature (i.e. away from the protein-decorated face of the membrane) in multiple contexts: in purified systems in vitro, in heterologous cells upon overexpression, and in vivo during neuronal protrusion formation (Guerrier S, 2009; Carlson BR, 2011; Coutinho-Budd J, 2012). This activity is not consistent with tubular arrays observed for canonical F-BAR proteins (Frost A, 2008). Further, our group found that the FCHSD family of F-BAR proteins, which includes Drosophila Nervous Wreck (Nwk), exhibit an unusual higher order assembly that leads to non-tubule membrane remodeling. Using single particle EM, we showed that Nwk assembles into zig-zags on membranes instead of linear filaments typical of canonical F-BARs, and that this resulted in membrane ridges (Becalska AN, 2013). These deformations led to actin-dependent protrusions in heterologous cells, similar to a previous model for formation of cellular microspikes by the F-BAR protein syndapin (Becalska AN, 2013; Kelley CF, 2015; Shimada A, 2010). This activity does not require a novel membrane binding surface for any of these F-BAR domains. Instead these proteins use a conventional concave membrane binding surface, and appear to oligomerize into non-canonical arrays to deform membranes. This is not likely to be a special case for these specific F-BAR proteins, but rather suggests that different members of this protein family oligomerize into variable types of higher order arrays to generate and/or sense different types of membrane curvatures, which are neither tubules (the "dogma" for F-BAR domains (Traub LM, 2015)) or flat membranes (as proposed by McDonald et al.).

McDonald et al. report that the Nwk homologues FCHSD1 and FCHSD2 do not bend membranes in vitro or in cells, and state that theirs is the first study to report their activities. In fact, we published in 2013 that the F-BAR domains of FCHSD1 and FCHSD2 generate extensive membrane protrusions (to which the protein localizes) in both S2 cells and HEK cells, similar to Drosophila Nwk (Becalska AN, 2013). They may have failed to detect membrane remodeling activity for FCHSD1 and FCHSD2 in cells because their constructs omitted part of a C terminal alpha-helical extension to the F-BAR domain that is essential for function in SRGAPs (Guerrier S, 2009). Indeed, another of their non-membrane bending mammalian proteins, Gas7, has been reported to generate cellular protrusions upon full-length protein overexpression (She BR, 2002). It remains to be tested if Cdc15 or the other apparently non-membrane remodeling mammalian F-BAR proteins in their study also show activity in vivo or in vitro when a more extended region of the protein is studied.

In addition to the issue of potentially using inactive protein fragments, the specific in vitro and in vivo assays used by McDonald et al. could easily have missed non-canonical membrane bending activities. Several types of deformations are subtle on giant unilamellar vesicles (e.g. flattening, ridging, or any deformation that occurs on a ~100-200 nm scale rather than the micron scale of tubules), or are not detectable by negative stain (e.g. ridged, negatively curved, or flattened liposomes appear very similar to dried undecorated liposomes), or are unresolvable by light microscopy in cells. Cryo-EM of liposomes or thin sectioning and EM of cells is necessary to detect smaller scale deformation. Indeed, only large scale deformations like tubulation would have been detectable in the assays they used. Further, BAR domain membrane remodeling depends on a large set of parameters (Simunovic M, 2015), many of which were not tested by McDonald et al. For example, we recently showed that membrane binding and membrane deformation are not correlated, and that Nwk only deforms membranes within a limited "sweet spot" of membrane charge. This is likely dependent on F-BAR domain assembly and orientation on the membrane, which favors concave side-down under stringent binding conditions (Kelley CF, 2015). The activities of F-BAR proteins like Nwk/FCHSD1/FCHSD2 are not likely to have been detected by McDonald et al at 5% PI(4)P, the only lipid composition they tested for GUV and liposome deformation assays. Indeed, two more members of their set of six “non-deforming” F-BAR proteins, Fer and Fes, were previously shown to generate membrane tubules in vitro at 10% PI(4,5)P2 (Tsujita K, 2006; McPherson VA, 2009).

Thus, though McDonald et al. may be able to make a case against tubulation for a few of these six human F-BAR proteins (as has previously been demonstrated for both SRGAPs and Nwks), they do not test other types of membrane bending or enough parameters to conclude that these proteins do not have membrane remodeling activities. Instead, the most compelling conclusion from our work, the SRGAP work, and McDonald et al. is that F-BAR domains oligomerize on membranes into diverse higher order assemblies, and that tubular scaffolds (for which there is indeed little in vivo evidence) are just one potential way to deploy F-BAR oligomers. A non-membrane-deforming assembly, as they suggest for Cdc15, is a plausible variation on this theme for some subset of F-BAR proteins, but the limited negative data they provide are not convincing enough at this point to rule out other models, nor do they indicate that this is the rule for non-tubulating F-BAR proteins. In addition, we note that since the mutants generated in McDonald et al. do not fully uncouple membrane binding affinity from oligomerization (because the tips are part of the membrane-binding surface), an alternative model that remains consistent with all of their data is that some F-BAR domains, including Cdc15, may function as individual, non-oligomerized dimers on the membrane.


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 1  Althea governance system - HackMD hackmd.io

drozdziak1   5/15/2018 6:03 AM   in Public    
organization which receives IP address renewal fees from end user and intermediary/

Were any calculations made on whether there is a feasible sweet spot where the user doesn't have to pay too much extra and where running the registry is still profitable to the organizer?

 1  You will assimilate to me record.elotroalex.com

rrisam   3/12/2018 3:31 AM   in Public    
structural fragmentation of our current prestige economies, algorithmic readings, network effects, knowledge cartels, etc. The latter parts of this not-boo

Something to consider is the audience issue - you gloss over these phrases as though you expect the reader to understand and this raises the question that I struggle with: in work that is speaking to several scholarly communities that may not be legible to each other, where is the sweet spot between making sure each has enough context without getting bogged down or being too obscure for either? I'm not a great metric here because I'm sort of the ideal audience who knows enough about many of the traditions in which you are writing so I'm just going with it. (I feel like you're going to say the entire not-book is actually, in part, providing/inventing an answer to that question!)

 1  HUCKLEBERRY FINN, By Mark Twain, Complete www.gutenberg.org

kwolsleger   2/27/2018 5:36 PM   in Public    
” So I wrote:  " I put it in the coffin.  It was in there when you was crying there, away in the night.  I was behind the door, and I was mighty sorry for you, Miss Mary Jane.” It made my eyes water a little to remember her crying there all by herself in the night, and them devils laying there right under her own roof, shaming her and robbing her; and when I folded it up and give it to her I see the water come into her eyes, too; and she shook me by the hand, hard, and says: “Good-bye.  I'm going to do everything just as you've told me; and if I don't ever see you again, I sha'n't ever forget you and I'll think of you a many and a many a time, and I'll pray for you, too!”—and she was gone. Pray for me!  I reckoned if she knowed me she'd take a job that was more nearer her size.  But I bet she done it, just the same—she was just that kind.  She had the grit to pray for Judus if she took the notion—there warn't no back-down to her, I judge.  You may say what you want to, but in my opinion she had more sand in her than any girl I ever see; in my opinion she was just full of sand.  It sounds like flattery, but it ain't no flattery.  And when it comes to beauty—and goodness, too—she lays over them all.  I hain't ever seen her since that time that I see her go out of that door; no, I hain't ever seen her since, but I reckon I've thought of her a many and a many a million times, and of her saying she would pray for me; and if ever I'd a thought it would do any good for me to pray for her, blamed if I wouldn't a done it or bust. Well, Mary Jane she lit out the back way, I reckon; because nobody see her go.  When I struck Susan and the hare-lip, I says: “What's the name of them people over on t'other side of the river that you all goes to see sometimes?” They says: “There's several; but it's the Proctors, mainly.” “That's the name,” I says; “I most forgot it.  Well, Miss Mary Jane she told me to tell you she's gone over there in a dreadful hurry—one of them's sick.” “Which one?” “I don't know; leastways, I kinder forget; but I thinks it's—” “Sakes alive, I hope it ain't Hanner?” “I'm sorry to say it,” I says, “but Hanner's the very one.” “My goodness, and she so well only last week!  Is she took bad?” “It ain't no name for it.  They set up with her all night, Miss Mary Jane said, and they don't think she'll last many hours.” “Only think of that, now!  What's the matter with her?” I couldn't think of anything reasonable, right off that way, so I says: “Mumps.” “Mumps your granny!  They don't set up with people that's got the mumps.” “They don't, don't they?  You better bet they do with these mumps.  These mumps is different.  It's a new kind, Miss Mary Jane said.” “How's it a new kind?” “Because it's mixed up with other things.” “What other things?” “Well, measles, and whooping-cough, and erysiplas, and consumption, and yaller janders, and brain-fever, and I don't know what all.” “My land!  And they call it the mumps?” “That's what Miss Mary Jane said.” “Well, what in the nation do they call it the mumps for?” “Why, because it is the mumps.  That's what it starts with.” “Well, ther' ain't no sense in it.  A body might stump his toe, and take pison, and fall down the well, and break his neck, and bust his brains out, and somebody come along and ask what killed him, and some numskull up and say, 'Why, he stumped his toe.'  Would ther' be any sense in that? No.  And ther' ain't no sense in this, nuther.  Is it ketching?” “Is it ketching?  Why, how you talk.  Is a harrow catching—in the dark? If you don't hitch on to one tooth, you're bound to on another, ain't you? And you can't get away with that tooth without fetching the whole harrow along, can you?  Well, these kind of mumps is a kind of a harrow, as you may say—and it ain't no slouch of a harrow, nuther, you come to get it hitched on good.” “Well, it's awful, I think,” says the hare-lip.  "I'll go to Uncle Harvey and—” “Oh, yes,” I says, “I would.  Of course I would.  I wouldn't lose no time.” “Well, why wouldn't you?” “Just look at it a minute, and maybe you can see.  Hain't your uncles obleegd to get along home to England as fast as they can?  And do you reckon they'd be mean enough to go off and leave you to go all that journey by yourselves?  you know they'll wait for you.  So fur, so good. Your uncle Harvey's a preacher, ain't he?  Very well, then; is a preacher going to deceive a steamboat clerk? is he going to deceive a ship clerk?—so as to get them to let Miss Mary Jane go aboard?  Now you know he ain't.  What will he do, then?  Why, he'll say, 'It's a great pity, but my church matters has got to get along the best way they can; for my niece has been exposed to the dreadful pluribus-unum mumps, and so it's my bounden duty to set down here and wait the three months it takes to show on her if she's got it.'  But never mind, if you think it's best to tell your uncle Harvey—” “Shucks, and stay fooling around here when we could all be having good times in England whilst we was waiting to find out whether Mary Jane's got it or not?  Why, you talk like a muggins.” “Well, anyway, maybe you'd better tell some of the neighbors.” “Listen at that, now.  You do beat all for natural stupidness.  Can't you see that they'd go and tell?  Ther' ain't no way but just to not tell anybody at all.” “Well, maybe you're right—yes, I judge you are right.” “But I reckon we ought to tell Uncle Harvey she's gone out a while, anyway, so he won't be uneasy about her?” “Yes, Miss Mary Jane she wanted you to do that.  She says, 'Tell them to give Uncle Harvey and William my love and a kiss, and say I've run over the river to see Mr.'—Mr.—what is the name of that rich family your uncle Peter used to think so much of?—I mean the one that—” “Why, you must mean the Apthorps, ain't it?” “Of course; bother them kind of names, a body can't ever seem to remember them, half the time, somehow.  Yes, she said, say she has run over for to ask the Apthorps to be sure and come to the auction and buy this house, because she allowed her uncle Peter would ruther they had it than anybody else; and she's going to stick to them till they say they'll come, and then, if she ain't too tired, she's coming home; and if she is, she'll be home in the morning anyway.  She said, don't say nothing about the Proctors, but only about the Apthorps—which 'll be perfectly true, because she is going there to speak about their buying the house; I know it, because she told me so herself.” “All right,” they said, and cleared out to lay for their uncles, and give them the love and the kisses, and tell them the message. Everything was all right now.  The girls wouldn't say nothing because they wanted to go to England; and the king and the duke would ruther Mary Jane was off working for the auction than around in reach of Doctor Robinson.  I felt very good; I judged I had done it pretty neat—I reckoned Tom Sawyer couldn't a done it no neater himself.  Of course he would a throwed more style into it, but I can't do that very handy, not being brung up to it. Well, they held the auction in the public square, along towards the end of the afternoon, and it strung along, and strung along, and the old man he was on hand and looking his level pisonest, up there longside of the auctioneer, and chipping in a little Scripture now and then, or a little goody-goody saying of some kind, and the duke he was around goo-gooing for sympathy all he knowed how, and just spreading himself generly. But by and by the thing dragged through, and everything was sold—everything but a little old trifling lot in the graveyard.  So they'd got to work that off—I never see such a girafft as the king was for wanting to swallow everything.  Well, whilst they was at it a steamboat landed, and in about two minutes up comes a crowd a-whooping and yelling and laughing and carrying on, and singing out: “Here's your opposition line! here's your two sets o' heirs to old Peter Wilks—and you pays your money and you takes your choice!” CHAPTER XXIX. THEY was fetching a very nice-looking old gentleman along, and a nice-looking younger one, with his right arm in a sling.  And, my souls, how the people yelled and laughed, and kept it up.  But I didn't see no joke about it, and I judged it would strain the duke and the king some to see any.  I reckoned they'd turn pale.  But no, nary a pale did they turn. The duke he never let on he suspicioned what was up, but just went a goo-gooing around, happy and satisfied, like a jug that's googling out buttermilk; and as for the king, he just gazed and gazed down sorrowful on them new-comers like it give him the stomach-ache in his very heart to think there could be such frauds and rascals in the world.  Oh, he done it admirable.  Lots of the principal people gethered around the king, to let him see they was on his side.  That old gentleman that had just come looked all puzzled to death.  Pretty soon he begun to speak, and I see straight off he pronounced like an Englishman—not the king's way, though the king's was pretty good for an imitation.  I can't give the old gent's words, nor I can't imitate him; but he turned around to the crowd, and says, about like this: “This is a surprise to me which I wasn't looking for; and I'll acknowledge, candid and frank, I ain't very well fixed to meet it and answer it; for my brother and me has had misfortunes; he's broke his arm, and our baggage got put off at a town above here last night in the night by a mistake.  I am Peter Wilks' brother Harvey, and this is his brother William, which can't hear nor speak—and can't even make signs to amount to much, now't he's only got one hand to work them with.  We are who we say we are; and in a day or two, when I get the baggage, I can prove it. But up till then I won't say nothing more, but go to the hotel and wait.” So him and the new dummy started off; and the king he laughs, and blethers out: “Broke his arm—very likely, ain't it?—and very convenient, too, for a fraud that's got to make signs, and ain't learnt how.  Lost their baggage! That's mighty good!—and mighty ingenious—under the circumstances!” So he laughed again; and so did everybody else, except three or four, or maybe half a dozen.  One of these was that doctor; another one was a sharp-looking gentleman, with a carpet-bag of the old-fashioned kind made out of carpet-stuff, that had just come off of the steamboat and was talking to him in a low voice, and glancing towards the king now and then and nodding their heads—it was Levi Bell, the lawyer that was gone up to Louisville; and another one was a big rough husky that come along and listened to all the old gentleman said, and was listening to the king now. And when the king got done this husky up and says: “Say, looky here; if you are Harvey Wilks, when'd you come to this town?” “The day before the funeral, friend,” says the king. “But what time o' day?” “In the evenin'—'bout an hour er two before sundown.” “How'd you come?” “I come down on the Susan Powell from Cincinnati.” “Well, then, how'd you come to be up at the Pint in the mornin'—in a canoe?” “I warn't up at the Pint in the mornin'.” “It's a lie.” Several of them jumped for him and begged him not to talk that way to an old man and a preacher. “Preacher be hanged, he's a fraud and a liar.  He was up at the Pint that mornin'.  I live up there, don't I?  Well, I was up there, and he was up there.  I see him there.  He come in a canoe, along with Tim Collins and a boy.” The doctor he up and says: “Would you know the boy again if you was to see him, Hines?” “I reckon I would, but I don't know.  Why, yonder he is, now.  I know him perfectly easy.” It was me he pointed at.  The doctor says: “Neighbors, I don't know whether the new couple is frauds or not; but if these two ain't frauds, I am an idiot, that's all.  I think it's our duty to see that they don't get away from here till we've looked into this thing. Come along, Hines; come along, the rest of you.  We'll take these fellows to the tavern and affront them with t'other couple, and I reckon we'll find out something before we get through.” It was nuts for the crowd, though maybe not for the king's friends; so we all started.  It was about sundown.  The doctor he led me along by the hand, and was plenty kind enough, but he never let go my hand. We all got in a big room in the hotel, and lit up some candles, and fetched in the new couple.  First, the doctor says: “I don't wish to be too hard on these two men, but I think they're frauds, and they may have complices that we don't know nothing about.  If they have, won't the complices get away with that bag of gold Peter Wilks left?  It ain't unlikely.  If these men ain't frauds, they won't object to sending for that money and letting us keep it till they prove they're all right—ain't that so?” Everybody agreed to that.  So I judged they had our gang in a pretty tight place right at the outstart.  But the king he only looked sorrowful, and says: “Gentlemen, I wish the money was there, for I ain't got no disposition to throw anything in the way of a fair, open, out-and-out investigation o' this misable business; but, alas, the money ain't there; you k'n send and see, if you want to.” “Where is it, then?” “Well, when my niece give it to me to keep for her I took and hid it inside o' the straw tick o' my bed, not wishin' to bank it for the few days we'd be here, and considerin' the bed a safe place, we not bein' used to niggers, and suppos'n' 'em honest, like servants in England.  The niggers stole it the very next mornin' after I had went down stairs; and when I sold 'em I hadn't missed the money yit, so they got clean away with it.  My servant here k'n tell you 'bout it, gentlemen.” The doctor and several said “Shucks!” and I see nobody didn't altogether believe him.  One man asked me if I see the niggers steal it.  I said no, but I see them sneaking out of the room and hustling away, and I never thought nothing, only I reckoned they was afraid they had waked up my master and was trying to get away before he made trouble with them.  That was all they asked me.  Then the doctor whirls on me and says: “Are you English, too?” I says yes; and him and some others laughed, and said, “Stuff!” Well, then they sailed in on the general investigation, and there we had it, up and down, hour in, hour out, and nobody never said a word about supper, nor ever seemed to think about it—and so they kept it up, and kept it up; and it was the worst mixed-up thing you ever see.  They made the king tell his yarn, and they made the old gentleman tell his'n; and anybody but a lot of prejudiced chuckleheads would a seen that the old gentleman was spinning truth and t'other one lies.  And by and by they had me up to tell what I knowed.  The king he give me a left-handed look out of the corner of his eye, and so I knowed enough to talk on the right side.  I begun to tell about Sheffield, and how we lived there, and all about the English Wilkses, and so on; but I didn't get pretty fur till the doctor begun to laugh; and Levi Bell, the lawyer, says: “Set down, my boy; I wouldn't strain myself if I was you.  I reckon you ain't used to lying, it don't seem to come handy; what you want is practice.  You do it pretty awkward.” I didn't care nothing for the compliment, but I was glad to be let off, anyway. The doctor he started to say something, and turns and says: “If you'd been in town at first, Levi Bell—” The king broke in and reached out his hand, and says: “Why, is this my poor dead brother's old friend that he's wrote so often about?” The lawyer and him shook hands, and the lawyer smiled and looked pleased, and they talked right along awhile, and then got to one side and talked low; and at last the lawyer speaks up and says: “That 'll fix it.  I'll take the order and send it, along with your brother's, and then they'll know it's all right.” So they got some paper and a pen, and the king he set down and twisted his head to one side, and chawed his tongue, and scrawled off something; and then they give the pen to the duke—and then for the first time the duke looked sick.  But he took the pen and wrote.  So then the lawyer turns to the new old gentleman and says: “You and your brother please write a line or two and sign your names.” The old gentleman wrote, but nobody couldn't read it.  The lawyer looked powerful astonished, and says: “Well, it beats me”—and snaked a lot of old letters out of his pocket, and examined them, and then examined the old man's writing, and then them again; and then says:  "These old letters is from Harvey Wilks; and here's these two handwritings, and anybody can see they didn't write them” (the king and the duke looked sold and foolish, I tell you, to see how the lawyer had took them in), “and here's this old gentleman's hand writing, and anybody can tell, easy enough, he didn't write them—fact is, the scratches he makes ain't properly writing at all.  Now, here's some letters from—” The new old gentleman says: “If you please, let me explain.  Nobody can read my hand but my brother there—so he copies for me.  It's his hand you've got there, not mine.” “Well!” says the lawyer, “this is a state of things.  I've got some of William's letters, too; so if you'll get him to write a line or so we can com—” “He can't write with his left hand,” says the old gentleman.  "If he could use his right hand, you would see that he wrote his own letters and mine too.  Look at both, please—they're by the same hand.” The lawyer done it, and says: “I believe it's so—and if it ain't so, there's a heap stronger resemblance than I'd noticed before, anyway.  Well, well, well!  I thought we was right on the track of a solution, but it's gone to grass, partly.  But anyway, one thing is proved—these two ain't either of 'em Wilkses”—and he wagged his head towards the king and the duke. Well, what do you think?  That muleheaded old fool wouldn't give in then! Indeed he wouldn't.  Said it warn't no fair test.  Said his brother William was the cussedest joker in the world, and hadn't tried to write—he see William was going to play one of his jokes the minute he put the pen to paper.  And so he warmed up and went warbling and warbling right along till he was actuly beginning to believe what he was saying himself; but pretty soon the new gentleman broke in, and says: “I've thought of something.  Is there anybody here that helped to lay out my br—helped to lay out the late Peter Wilks for burying?” “Yes,” says somebody, “me and Ab Turner done it.  We're both here.” Then the old man turns towards the king, and says: “Perhaps this gentleman can tell me what was tattooed on his breast?” Blamed if the king didn't have to brace up mighty quick, or he'd a squshed down like a bluff bank that the river has cut under, it took him so sudden; and, mind you, it was a thing that was calculated to make most anybody sqush to get fetched such a solid one as that without any notice, because how was he going to know what was tattooed on the man?  He whitened a little; he couldn't help it; and it was mighty still in there, and everybody bending a little forwards and gazing at him.  Says I to myself, now he'll throw up the sponge—there ain't no more use.  Well, did he?  A body can't hardly believe it, but he didn't.  I reckon he thought he'd keep the thing up till he tired them people out, so they'd thin out, and him and the duke could break loose and get away.  Anyway, he set there, and pretty soon he begun to smile, and says: “Mf!  It's a very tough question, ain't it!  yes, sir, I k'n tell you what's tattooed on his breast.  It's jest a small, thin, blue arrow—that's what it is; and if you don't look clost, you can't see it.  now what do you say—hey?” Well, I never see anything like that old blister for clean out-and-out cheek. The new old gentleman turns brisk towards Ab Turner and his pard, and his eye lights up like he judged he'd got the king this time, and says: “There—you've heard what he said!  Was there any such mark on Peter Wilks' breast?” Both of them spoke up and says: “We didn't see no such mark.” “Good!” says the old gentleman.  "Now, what you did see on his breast was a small dim P, and a B (which is an initial he dropped when he was young), and a W, with dashes between them, so:  P—B—W”—and he marked them that way on a piece of paper.  "Come, ain't that what you saw?” Both of them spoke up again, and says: “No, we didn't.  We never seen any marks at all.” Well, everybody was in a state of mind now, and they sings out: “The whole bilin' of 'm 's frauds!  Le's duck 'em! le's drown 'em! le's ride 'em on a rail!” and everybody was whooping at once, and there was a rattling powwow.  But the lawyer he jumps on the table and yells, and says: “Gentlemen—gentlemen!  Hear me just a word—just a single word—if you please!  There's one way yet—let's go and dig up the corpse and look.” That took them. “Hooray!” they all shouted, and was starting right off; but the lawyer and the doctor sung out: “Hold on, hold on!  Collar all these four men and the boy, and fetch them along, too!” “We'll do it!” they all shouted; “and if we don't find them marks we'll lynch the whole gang!” I was scared, now, I tell you.  But there warn't no getting away, you know. They gripped us all, and marched us right along, straight for the graveyard, which was a mile and a half down the river, and the whole town at our heels, for we made noise enough, and it was only nine in the evening. As we went by our house I wished I hadn't sent Mary Jane out of town; because now if I could tip her the wink she'd light out and save me, and blow on our dead-beats. Well, we swarmed along down the river road, just carrying on like wildcats; and to make it more scary the sky was darking up, and the lightning beginning to wink and flitter, and the wind to shiver amongst the leaves. This was the most awful trouble and most dangersome I ever was in; and I was kinder stunned; everything was going so different from what I had allowed for; stead of being fixed so I could take my own time if I wanted to, and see all the fun, and have Mary Jane at my back to save me and set me free when the close-fit come, here was nothing in the world betwixt me and sudden death but just them tattoo-marks.  If they didn't find them— I couldn't bear to think about it; and yet, somehow, I couldn't think about nothing else.  It got darker and darker, and it was a beautiful time to give the crowd the slip; but that big husky had me by the wrist—Hines—and a body might as well try to give Goliar the slip.  He dragged me right along, he was so excited, and I had to run to keep up. When they got there they swarmed into the graveyard and washed over it like an overflow.  And when they got to the grave they found they had about a hundred times as many shovels as they wanted, but nobody hadn't thought to fetch a lantern.  But they sailed into digging anyway by the flicker of the lightning, and sent a man to the nearest house, a half a mile off, to borrow one. So they dug and dug like everything; and it got awful dark, and the rain started, and the wind swished and swushed along, and the lightning come brisker and brisker, and the thunder boomed; but them people never took no notice of it, they was so full of this business; and one minute you could see everything and every face in that big crowd, and the shovelfuls of dirt sailing up out of the grave, and the next second the dark wiped it all out, and you couldn't see nothing at all. At last they got out the coffin and begun to unscrew the lid, and then such another crowding and shouldering and shoving as there was, to scrouge in and get a sight, you never see; and in the dark, that way, it was awful.  Hines he hurt my wrist dreadful pulling and tugging so, and I reckon he clean forgot I was in the world, he was so excited and panting. All of a sudden the lightning let go a perfect sluice of white glare, and somebody sings out: “By the living jingo, here's the bag of gold on his breast!” Hines let out a whoop, like everybody else, and dropped my wrist and give a big surge to bust his way in and get a look, and the way I lit out and shinned for the road in the dark there ain't nobody can tell. I had the road all to myself, and I fairly flew—leastways, I had it all to myself except the solid dark, and the now-and-then glares, and the buzzing of the rain, and the thrashing of the wind, and the splitting of the thunder; and sure as you are born I did clip it along! When I struck the town I see there warn't nobody out in the storm, so I never hunted for no back streets, but humped it straight through the main one; and when I begun to get towards our house I aimed my eye and set it. No light there; the house all dark—which made me feel sorry and disappointed, I didn't know why.  But at last, just as I was sailing by, flash comes the light in Mary Jane's window! and my heart swelled up sudden, like to bust; and the same second the house and all was behind me in the dark, and wasn't ever going to be before me no more in this world. She was the best girl I ever see, and had the most sand. The minute I was far enough above the town to see I could make the towhead, I begun to look sharp for a boat to borrow, and the first time the lightning showed me one that wasn't chained I snatched it and shoved. It was a canoe, and warn't fastened with nothing but a rope.  The towhead was a rattling big distance off, away out there in the middle of the river, but I didn't lose no time; and when I struck the raft at last I was so fagged I would a just laid down to blow and gasp if I could afforded it.  But I didn't.  As I sprung aboard I sung out: “Out with you, Jim, and set her loose!  Glory be to goodness, we're shut of them!” Jim lit out, and was a-coming for me with both arms spread, he was so full of joy; but when I glimpsed him in the lightning my heart shot up in my mouth and I went overboard backwards; for I forgot he was old King Lear and a drownded A-rab all in one, and it most scared the livers and lights out of me.  But Jim fished me out, and was going to hug me and bless me, and so on, he was so glad I was back and we was shut of the king and the duke, but I says: “Not now; have it for breakfast, have it for breakfast!  Cut loose and let her slide!” So in two seconds away we went a-sliding down the river, and it did seem so good to be free again and all by ourselves on the big river, and nobody to bother us.  I had to skip around a bit, and jump up and crack my heels a few times—I couldn't help it; but about the third crack I noticed a sound that I knowed mighty well, and held my breath and listened and waited; and sure enough, when the next flash busted out over the water, here they come!—and just a-laying to their oars and making their skiff hum!  It was the king and the duke. So I wilted right down on to the planks then, and give up; and it was all I could do to keep from crying. CHAPTER XXX. WHEN they got aboard the king went for me, and shook me by the collar, and says: “Tryin' to give us the slip, was ye, you pup!  Tired of our company, hey?” I says: “No, your majesty, we warn't—please don't, your majesty!” “Quick, then, and tell us what was your idea, or I'll shake the insides out o' you!” “Honest, I'll tell you everything just as it happened, your majesty.  The man that had a-holt of me was very good to me, and kept saying he had a boy about as big as me that died last year, and he was sorry to see a boy in such a dangerous fix; and when they was all took by surprise by finding the gold, and made a rush for the coffin, he lets go of me and whispers, 'Heel it now, or they'll hang ye, sure!' and I lit out.  It didn't seem no good for me to stay—I couldn't do nothing, and I didn't want to be hung if I could get away.  So I never stopped running till I found the canoe; and when I got here I told Jim to hurry, or they'd catch me and hang me yet, and said I was afeard you and the duke wasn't alive now, and I was awful sorry, and so was Jim, and was awful glad when we see you coming; you may ask Jim if I didn't.” Jim said it was so; and the king told him to shut up, and said, “Oh, yes, it's mighty likely!” and shook me up again, and said he reckoned he'd drownd me.  But the duke says: “Leggo the boy, you old idiot!  Would you a done any different?  Did you inquire around for him when you got loose?  I don't remember it.” So the king let go of me, and begun to cuss that town and everybody in it. But the duke says: “You better a blame' sight give yourself a good cussing, for you're the one that's entitled to it most.  You hain't done a thing from the start that had any sense in it, except coming out so cool and cheeky with that imaginary blue-arrow mark.  That was bright—it was right down bully; and it was the thing that saved us.  For if it hadn't been for that they'd a jailed us till them Englishmen's baggage come—and then—the penitentiary, you bet! But that trick took 'em to the graveyard, and the gold done us a still bigger kindness; for if the excited fools hadn't let go all holts and made that rush to get a look we'd a slept in our cravats to-night—cravats warranted to wear, too—longer than we'd need 'em.” They was still a minute—thinking; then the king says, kind of absent-minded like: “Mf!  And we reckoned the niggers stole it!” That made me squirm! “Yes,” says the duke, kinder slow and deliberate and sarcastic, “we did.” After about a half a minute the king drawls out: “Leastways, I did.” The duke says, the same way: “On the contrary, I did.” The king kind of ruffles up, and says: “Looky here, Bilgewater, what'r you referrin' to?” The duke says, pretty brisk: “When it comes to that, maybe you'll let me ask, what was you referring to?” “Shucks!” says the king, very sarcastic; “but I don't know—maybe you was asleep, and didn't know what you was about.” The duke bristles up now, and says: “Oh, let up on this cussed nonsense; do you take me for a blame' fool? Don't you reckon I know who hid that money in that coffin?” “Yes, sir!  I know you do know, because you done it yourself!” “It's a lie!”—and the duke went for him.  The king sings out: “Take y'r hands off!—leggo my throat!—I take it all back!” The duke says: “Well, you just own up, first, that you did hide that money there, intending to give me the slip one of these days, and come back and dig it up, and have it all to yourself.” “Wait jest a minute, duke—answer me this one question, honest and fair; if you didn't put the money there, say it, and I'll b'lieve you, and take back everything I said.” “You old scoundrel, I didn't, and you know I didn't.  There, now!” “Well, then, I b'lieve you.  But answer me only jest this one more—now don't git mad; didn't you have it in your mind to hook the money and hide it?” The duke never said nothing for a little bit; then he says: “Well, I don't care if I did, I didn't do it, anyway.  But you not only had it in mind to do it, but you done it.” “I wisht I never die if I done it, duke, and that's honest.  I won't say I warn't goin' to do it, because I was; but you—I mean somebody—got in ahead o' me.” “It's a lie!  You done it, and you got to say you done it, or—” The king began to gurgle, and then he gasps out: “'Nough!—I own up!” I was very glad to hear him say that; it made me feel much more easier than what I was feeling before.  So the duke took his hands off and says: “If you ever deny it again I'll drown you.  It's well for you to set there and blubber like a baby—it's fitten for you, after the way you've acted. I never see such an old ostrich for wanting to gobble everything—and I a-trusting you all the time, like you was my own father.  You ought to been ashamed of yourself to stand by and hear it saddled on to a lot of poor niggers, and you never say a word for 'em.  It makes me feel ridiculous to think I was soft enough to believe that rubbage.  Cuss you, I can see now why you was so anxious to make up the deffisit—you wanted to get what money I'd got out of the Nonesuch and one thing or another, and scoop it all!” The king says, timid, and still a-snuffling: “Why, duke, it was you that said make up the deffisit; it warn't me.” “Dry up!  I don't want to hear no more out of you!” says the duke.  "And now you see what you GOT by it.  They've got all their own money back, and all of ourn but a shekel or two besides.  G'long to bed, and don't you deffersit me no more deffersits, long 's you live!” So the king sneaked into the wigwam and took to his bottle for comfort, and before long the duke tackled HIS bottle; and so in about a half an hour they was as thick as thieves again, and the tighter they got the lovinger they got, and went off a-snoring in each other's arms.  They both got powerful mellow, but I noticed the king didn't get mellow enough to forget to remember to not deny about hiding the money-bag again.  That made me feel easy and satisfied.  Of course when they got to snoring we had a long gabble, and I told Jim everything. CHAPTER XXXI. WE dasn't stop again at any town for days and days; kept right along down the river.  We was down south in the warm weather now, and a mighty long ways from home.  We begun to come to trees with Spanish moss on them, hanging down from the limbs like long, gray beards.  It was the first I ever see it growing, and it made the woods look solemn and dismal.  So now the frauds reckoned they was out of danger, and they begun to work the villages again. First they done a lecture on temperance; but they didn't make enough for them both to get drunk on.  Then in another village they started a dancing-school; but they didn't know no more how to dance than a kangaroo does; so the first prance they made the general public jumped in and pranced them out of town.  Another time they tried to go at yellocution; but they didn't yellocute long till the audience got up and give them a solid good cussing, and made them skip out.  They tackled missionarying, and mesmerizing, and doctoring, and telling fortunes, and a little of everything; but they couldn't seem to have no luck.  So at last they got just about dead broke, and laid around the raft as she floated along, thinking and thinking, and never saying nothing, by the half a day at a time, and dreadful blue and desperate. And at last they took a change and begun to lay their heads together in the wigwam and talk low and confidential two or three hours at a time. Jim and me got uneasy.  We didn't like the look of it.  We judged they was studying up some kind of worse deviltry than ever.  We turned it over and over, and at last we made up our minds they was going to break into somebody's house or store, or was going into the counterfeit-money business, or something. So then we was pretty scared, and made up an agreement that we wouldn't have nothing in the world to do with such actions, and if we ever got the least show we would give them the cold shake and clear out and leave them behind. Well, early one morning we hid the raft in a good, safe place about two mile below a little bit of a shabby village named Pikesville, and the king he went ashore and told us all to stay hid whilst he went up to town and smelt around to see if anybody had got any wind of the Royal Nonesuch there yet. (“House to rob, you mean,” says I to myself; “and when you get through robbing it you'll come back here and wonder what has become of me and Jim and the raft—and you'll have to take it out in wondering.”) And he said if he warn't back by midday the duke and me would know it was all right, and we was to come along. So we stayed where we was.  The duke he fretted and sweated around, and was in a mighty sour way.  He scolded us for everything, and we couldn't seem to do nothing right; he found fault with every little thing. Something was a-brewing, sure.  I was good and glad when midday come and no king; we could have a change, anyway—and maybe a chance for the change on top of it.  So me and the duke went up to the village, and hunted around there for the king, and by and by we found him in the back room of a little low doggery, very tight, and a lot of loafers bullyragging him for sport, and he a-cussing and a-threatening with all his might, and so tight he couldn't walk, and couldn't do nothing to them.  The duke he begun to abuse him for an old fool, and the king begun to sass back, and the minute they was fairly at it I lit out and shook the reefs out of my hind legs, and spun down the river road like a deer, for I see our chance; and I made up my mind that it would be a long day before they ever see me and Jim again.  I got down there all out of breath but loaded up with joy, and sung out: “Set her loose, Jim! we're all right now!” But there warn't no answer, and nobody come out of the wigwam.  Jim was gone!  I set up a shout—and then another—and then another one; and run this way and that in the woods, whooping and screeching; but it warn't no use—old Jim was gone.  Then I set down and cried; I couldn't help it. But I couldn't set still long.  Pretty soon I went out on the road, trying to think what I better do, and I run across a boy walking, and asked him if he'd seen a strange nigger dressed so and so, and he says: “Yes.” “Whereabouts?” says I. “Down to Silas Phelps' place, two mile below here.  He's a runaway nigger, and they've got him.  Was you looking for him?” “You bet I ain't!  I run across him in the woods about an hour or two ago, and he said if I hollered he'd cut my livers out—and told me to lay down and stay where I was; and I done it.  Been there ever since; afeard to come out.” “Well,” he says, “you needn't be afeard no more, becuz they've got him. He run off f'm down South, som'ers.” “It's a good job they got him.” “Well, I reckon!  There's two hunderd dollars reward on him.  It's like picking up money out'n the road.” “Yes, it is—and I could a had it if I'd been big enough; I see him first. Who nailed him?” “It was an old fellow—a stranger—and he sold out his chance in him for forty dollars, becuz he's got to go up the river and can't wait.  Think o' that, now!  You bet I'd wait, if it was seven year.” “That's me, every time,” says I.  "But maybe his chance ain't worth no more than that, if he'll sell it so cheap.  Maybe there's something ain't straight about it.” “But it is, though—straight as a string.  I see the handbill myself.  It tells all about him, to a dot—paints him like a picture, and tells the plantation he's frum, below Newrleans.  No-sirree-bob, they ain't no trouble 'bout that speculation, you bet you.  Say, gimme a chaw tobacker, won't ye?” I didn't have none, so he left.  I went to the raft, and set down in the wigwam to think.  But I couldn't come to nothing.  I thought till I wore my head sore, but I couldn't see no way out of the trouble.  After all this long journey, and after all we'd done for them scoundrels, here it was all come to nothing, everything all busted up and ruined, because they could have the heart to serve Jim such a trick as that, and make him a slave again all his life, and amongst strangers, too, for forty dirty dollars. Once I said to myself it would be a thousand times better for Jim to be a slave at home where his family was, as long as he'd got to be a slave, and so I'd better write a letter to Tom Sawyer and tell him to tell Miss Watson where he was.  But I soon give up that notion for two things: she'd be mad and disgusted at his rascality and ungratefulness for leaving her, and so she'd sell him straight down the river again; and if she didn't, everybody naturally despises an ungrateful nigger, and they'd make Jim feel it all the time, and so he'd feel ornery and disgraced. And then think of me!  It would get all around that Huck Finn helped a nigger to get his freedom; and if I was ever to see anybody from that town again I'd be ready to get down and lick his boots for shame.  That's just the way:  a person does a low-down thing, and then he don't want to take no consequences of it. Thinks as long as he can hide it, it ain't no disgrace.  That was my fix exactly. The more I studied about this the more my conscience went to grinding me, and the more wicked and low-down and ornery I got to feeling. And at last, when it hit me all of a sudden that here was the plain hand of Providence slapping me in the face and letting me know my wickedness was being watched all the time from up there in heaven, whilst I was stealing a poor old woman's nigger that hadn't ever done me no harm, and now was showing me there's One that's always on the lookout, and ain't a-going to allow no such miserable doings to go only just so fur and no further, I most dropped in my tracks I was so scared.  Well, I tried the best I could to kinder soften it up somehow for myself by saying I was brung up wicked, and so I warn't so much to blame; but something inside of me kept saying, “There was the Sunday-school, you could a gone to it; and if you'd a done it they'd a learnt you there that people that acts as I'd been acting about that nigger goes to everlasting fire.” It made me shiver.  And I about made up my mind to pray, and see if I couldn't try to quit being the kind of a boy I was and be better.  So I kneeled down.  But the words wouldn't come.  Why wouldn't they?  It warn't no use to try and hide it from Him.  Nor from me, neither.  I knowed very well why they wouldn't come.  It was because my heart warn't right; it was because I warn't square; it was because I was playing double.  I was letting on to give up sin, but away inside of me I was holding on to the biggest one of all.  I was trying to make my mouth say I would do the right thing and the clean thing, and go and write to that nigger's owner and tell where he was; but deep down in me I knowed it was a lie, and He knowed it.  You can't pray a lie—I found that out. So I was full of trouble, full as I could be; and didn't know what to do. At last I had an idea; and I says, I'll go and write the letter—and then see if I can pray.  Why, it was astonishing, the way I felt as light as a feather right straight off, and my troubles all gone.  So I got a piece of paper and a pencil, all glad and excited, and set down and wrote: Miss Watson, your runaway nigger Jim is down here two mile below Pikesville, and Mr. Phelps has got him and he will give him up for the reward if you send. Huck Finn. I felt good and all washed clean of sin for the first time I had ever felt so in my life, and I knowed I could pray now.  But I didn't do it straight off, but laid the paper down and set there thinking—thinking how good it was all this happened so, and how near I come to being lost and going to hell.  And went on thinking.  And got to thinking over our trip down the river; and I see Jim before me all the time:  in the day and in the night-time, sometimes moonlight, sometimes storms, and we a-floating along, talking and singing and laughing.  But somehow I couldn't seem to strike no places to harden me against him, but only the other kind.  I'd see him standing my watch on top of his'n, 'stead of calling me, so I could go on sleeping; and see him how glad he was when I come back out of the fog; and when I come to him again in the swamp, up there where the feud was; and such-like times; and would always call me honey, and pet me and do everything he could think of for me, and how good he always was; and at last I struck the time I saved him by telling the men we had small-pox aboard, and he was so grateful, and said I was the best friend old Jim ever had in the world, and the only one he's got now; and then I happened to look around and see that paper. It was a close place.  I took it up, and held it in my hand.  I was a-trembling, because I'd got to decide, forever, betwixt two things, and I knowed it.  I studied a minute, sort of holding my breath, and then says to myself: “All right, then, I'll go to hell”—and tore it up. It was awful thoughts and awful words, but they was said.  And I let them stay said; and never thought no more about reforming.  I shoved the whole thing out of my head, and said I would take up wickedness again, which was in my line, being brung up to it, and the other warn't.  And for a starter I would go to work and steal Jim out of slavery again; and if I could think up anything worse, I would do that, too; because as long as I was in, and in for good, I might as well go the whole hog. Then I set to thinking over how to get at it, and turned over some considerable many ways in my mind; and at last fixed up a plan that suited me.  So then I took the bearings of a woody island that was down the river a piece, and as soon as it was fairly dark I crept out with my raft and went for it, and hid it there, and then turned in.  I slept the night through, and got up before it was light, and had my breakfast, and put on my store clothes, and tied up some others and one thing or another in a bundle, and took the canoe and cleared for shore.  I landed below where I judged was Phelps's place, and hid my bundle in the woods, and then filled up the canoe with water, and loaded rocks into her and sunk her where I could find her again when I wanted her, about a quarter of a mile below a little steam sawmill that was on the bank. Then I struck up the road, and when I passed the mill I see a sign on it, “Phelps's Sawmill,” and when I come to the farm-houses, two or three hundred yards further along, I kept my eyes peeled, but didn't see nobody around, though it was good daylight now.  But I didn't mind, because I didn't want to see nobody just yet—I only wanted to get the lay of the land. According to my plan, I was going to turn up there from the village, not from below.  So I just took a look, and shoved along, straight for town. Well, the very first man I see when I got there was the duke.  He was sticking up a bill for the Royal Nonesuch—three-night performance—like that other time.  They had the cheek, them frauds!  I was right on him before I could shirk.  He looked astonished, and says: “Hel-lo!  Where'd you come from?”  Then he says, kind of glad and eager, “Where's the raft?—got her in a good place?” I says: “Why, that's just what I was going to ask your grace.” Then he didn't look so joyful, and says: “What was your idea for asking me?” he says. “Well,” I says, “when I see the king in that doggery yesterday I says to myself, we can't get him home for hours, till he's soberer; so I went a-loafing around town to put in the time and wait.  A man up and offered me ten cents to help him pull a skiff over the river and back to fetch a sheep, and so I went along; but when we was dragging him to the boat, and the man left me a-holt of the rope and went behind him to shove him along, he was too strong for me and jerked loose and run, and we after him.  We didn't have no dog, and so we had to chase him all over the country till we tired him out.  We never got him till dark; then we fetched him over, and I started down for the raft.  When I got there and see it was gone, I says to myself, 'They've got into trouble and had to leave; and they've took my nigger, which is the only nigger I've got in the world, and now I'm in a strange country, and ain't got no property no more, nor nothing, and no way to make my living;' so I set down and cried.  I slept in the woods all night.  But what did become of the raft, then?—and Jim—poor Jim!” “Blamed if I know—that is, what's become of the raft.  That old fool had made a trade and got forty dollars, and when we found him in the doggery the loafers had matched half-dollars with him and got every cent but what he'd spent for whisky; and when I got him home late last night and found the raft gone, we said, 'That little rascal has stole our raft and shook us, and run off down the river.'” “I wouldn't shake my nigger, would I?—the only nigger I had in the world, and the only property.” “We never thought of that.  Fact is, I reckon we'd come to consider him our nigger; yes, we did consider him so—goodness knows we had trouble enough for him.  So when we see the raft was gone and we flat broke, there warn't anything for it but to try the Royal Nonesuch another shake. And I've pegged along ever since, dry as a powder-horn.  Where's that ten cents? Give it here.” I had considerable money, so I give him ten cents, but begged him to spend it for something to eat, and give me some, because it was all the money I had, and I hadn't had nothing to eat since yesterday.  He never said nothing.  The next minute he whirls on me and says: “Do you reckon that nigger would blow on us?  We'd skin him if he done that!” “How can he blow?  Hain't he run off?” “No!  That old fool sold him, and never divided with me, and the money's gone.” “Sold him?”  I says, and begun to cry; “why, he was my nigger, and that was my money.  Where is he?—I want my nigger.” “Well, you can't get your nigger, that's all—so dry up your blubbering. Looky here—do you think you'd venture to blow on us?  Blamed if I think I'd trust you.  Why, if you was to blow on us—” He stopped, but I never see the duke look so ugly out of his eyes before. I went on a-whimpering, and says: “I don't want to blow on nobody; and I ain't got no time to blow, nohow. I got to turn out and find my nigger.” He looked kinder bothered, and stood there with his bills fluttering on his arm, thinking, and wrinkling up his forehead.  At last he says: “I'll tell you something.  We got to be here three days.  If you'll promise you won't blow, and won't let the nigger blow, I'll tell you where to find him.” So I promised, and he says: “A farmer by the name of Silas Ph—” and then he stopped.  You see, he started to tell me the truth; but when he stopped that way, and begun to study and think again, I reckoned he was changing his mind.  And so he was. He wouldn't trust me; he wanted to make sure of having me out of the way the whole three days.  So pretty soon he says: “The man that bought him is named Abram Foster—Abram G. Foster—and he lives forty mile back here in the country, on the road to Lafayette.” “All right,” I says, “I can walk it in three days.  And I'll start this very afternoon.” “No you wont, you'll start now; and don't you lose any time about it, neither, nor do any gabbling by the way.  Just keep a tight tongue in your head and move right along, and then you won't get into trouble with us, d'ye hear?” That was the order I wanted, and that was the one I played for.  I wanted to be left free to work my plans. “So clear out,” he says; “and you can tell Mr. Foster whatever you want to. Maybe you can get him to believe that Jim is your nigger—some idiots don't require documents—leastways I've heard there's such down South here.  And when you tell him the handbill and the reward's bogus, maybe he'll believe you when you explain to him what the idea was for getting 'em out.  Go 'long now, and tell him anything you want to; but mind you don't work your jaw any between here and there.” So I left, and struck for the back country.  I didn't look around, but I kinder felt like he was watching me.  But I knowed I could tire him out at that.  I went straight out in the country as much as a mile before I stopped; then I doubled back through the woods towards Phelps'.  I reckoned I better start in on my plan straight off without fooling around, because I wanted to stop Jim's mouth till these fellows could get away.  I didn't want no trouble with their kind.  I'd seen all I wanted to of them, and wanted to get entirely shut of them. CHAPTER XXXII. WHEN I got there it was all still and Sunday-like, and hot and sunshiny; the hands was gone to the fields; and there was them kind of faint dronings of bugs and flies in the air that makes it seem so lonesome and like everybody's dead and gone; and if a breeze fans along and quivers the leaves it makes you feel mournful, because you feel like it's spirits whispering—spirits that's been dead ever so many years—and you always think they're talking about you.  As a general thing it makes a body wish he was dead, too, and done with it all. Phelps' was one of these little one-horse cotton plantations, and they all look alike.  A rail fence round a two-acre yard; a stile made out of logs sawed off and up-ended in steps, like barrels of a different length, to climb over the fence with, and for the women to stand on when they are going to jump on to a horse; some sickly grass-patches in the big yard, but mostly it was bare and smooth, like an old hat with the nap rubbed off; big double log-house for the white folks—hewed logs, with the chinks stopped up with mud or mortar, and these mud-stripes been whitewashed some time or another; round-log kitchen, with a big broad, open but roofed passage joining it to the house; log smoke-house back of the kitchen; three little log nigger-cabins in a row t'other side the smoke-house; one little hut all by itself away down against the back fence, and some outbuildings down a piece the other side; ash-hopper and big kettle to bile soap in by the little hut; bench by the kitchen door, with bucket of water and a gourd; hound asleep there in the sun; more hounds asleep round about; about three shade trees away off in a corner; some currant bushes and gooseberry bushes in one place by the fence; outside of the fence a garden and a watermelon patch; then the cotton fields begins, and after the fields the woods. I went around and clumb over the back stile by the ash-hopper, and started for the kitchen.  When I got a little ways I heard the dim hum of a spinning-wheel wailing along up and sinking along down again; and then I knowed for certain I wished I was dead—for that is the lonesomest sound in the whole world. I went right along, not fixing up any particular plan, but just trusting to Providence to put the right words in my mouth when the time come; for I'd noticed that Providence always did put the right words in my mouth if I left it alone. When I got half-way, first one hound and then another got up and went for me, and of course I stopped and faced them, and kept still.  And such another powwow as they made!  In a quarter of a minute I was a kind of a hub of a wheel, as you may say—spokes made out of dogs—circle of fifteen of them packed together around me, with their necks and noses stretched up towards me, a-barking and howling; and more a-coming; you could see them sailing over fences and around corners from everywheres. A nigger woman come tearing out of the kitchen with a rolling-pin in her hand, singing out, “Begone you Tige! you Spot! begone sah!” and she fetched first one and then another of them a clip and sent them howling, and then the rest followed; and the next second half of them come back, wagging their tails around me, and making friends with me.  There ain't no harm in a hound, nohow. And behind the woman comes a little nigger girl and two little nigger boys without anything on but tow-linen shirts, and they hung on to their mother's gown, and peeped out from behind her at me, bashful, the way they always do.  And here comes the white woman running from the house, about forty-five or fifty year old, bareheaded, and her spinning-stick in her hand; and behind her comes her little white children, acting the same way the little niggers was doing.  She was smiling all over so she could hardly stand—and says: “It's you, at last!—ain't it?” I out with a “Yes'm” before I thought. She grabbed me and hugged me tight; and then gripped me by both hands and shook and shook; and the tears come in her eyes, and run down over; and she couldn't seem to hug and shake enough, and kept saying, “You don't look as much like your mother as I reckoned you would; but law sakes, I don't care for that, I'm so glad to see you!  Dear, dear, it does seem like I could eat you up!  Children, it's your cousin Tom!—tell him howdy.” But they ducked their heads, and put their fingers in their mouths, and hid behind her.  So she run on: “Lize, hurry up and get him a hot breakfast right away—or did you get your breakfast on the boat?” I said I had got it on the boat.  So then she started for the house, leading me by the hand, and the children tagging after.  When we got there she set me down in a split-bottomed chair, and set herself down on a little low stool in front of me, holding both of my hands, and says: “Now I can have a good look at you; and, laws-a-me, I've been hungry for it a many and a many a time, all these long years, and it's come at last! We been expecting you a couple of days and more.  What kep' you?—boat get aground?” “Yes'm—she—” “Don't say yes'm—say Aunt Sally.  Where'd she get aground?” I didn't rightly know what to say, because I didn't know whether the boat would be coming up the river or down.  But I go a good deal on instinct; and my instinct said she would be coming up—from down towards Orleans. That didn't help me much, though; for I didn't know the names of bars down that way.  I see I'd got to invent a bar, or forget the name of the one we got aground on—or—Now I struck an idea, and fetched it out: “It warn't the grounding—that didn't keep us back but a little.  We blowed out a cylinder-head.” “Good gracious! anybody hurt?” “No'm.  Killed a nigger.” “Well, it's lucky; because sometimes people do get hurt.  Two years ago last Christmas your uncle Silas was coming up from Newrleans on the old Lally Rook, and she blowed out a cylinder-head and crippled a man.  And I think he died afterwards.  He was a Baptist.  Your uncle Silas knowed a family in Baton Rouge that knowed his people very well.  Yes, I remember now, he did die.  Mortification set in, and they had to amputate him. But it didn't save him.  Yes, it was mortification—that was it.  He turned blue all over, and died in the hope of a glorious resurrection. They say he was a sight to look at.  Your uncle's been up to the town every day to fetch you. And he's gone again, not more'n an hour ago; he'll be back any minute now. You must a met him on the road, didn't you?—oldish man, with a—” “No, I didn't see nobody, Aunt Sally.  The boat landed just at daylight, and I left my baggage on the wharf-boat and went looking around the town and out a piece in the country, to put in the time and not get here too soon; and so I come down the back way.” “Who'd you give the baggage to?” “Nobody.” “Why, child, it 'll be stole!” “Not where I hid it I reckon it won't,” I says. “How'd you get your breakfast so early on the boat?” It was kinder thin ice, but I says: “The captain see me standing around, and told me I better have something to eat before I went ashore; so he took me in the texas to the officers' lunch, and give me all I wanted.” I was getting so uneasy I couldn't listen good.  I had my mind on the children all the time; I wanted to get them out to one side and pump them a little, and find out who I was.  But I couldn't get no show, Mrs. Phelps kept it up and run on so.  Pretty soon she made the cold chills streak all down my back, because she says: “But here we're a-running on this way, and you hain't told me a word about Sis, nor any of them.  Now I'll rest my works a little, and you start up yourn; just tell me everything—tell me all about 'm all every one of 'm; and how they are, and what they're doing, and what they told you to tell me; and every last thing you can think of.” Well, I see I was up a stump—and up it good.  Providence had stood by me this fur all right, but I was hard and tight aground now.  I see it warn't a bit of use to try to go ahead—I'd got to throw up my hand.  So I says to myself, here's another place where I got to resk the truth.  I opened my mouth to begin; but she grabbed me and hustled me in behind the bed, and says: “Here he comes!  Stick your head down lower—there, that'll do; you can't be seen now.  Don't you let on you're here.  I'll play a joke on him. Children, don't you say a word.” I see I was in a fix now.  But it warn't no use to worry; there warn't nothing to do but just hold still, and try and be ready to stand from under when the lightning struck. I had just one little glimpse of the old gentleman when he come in; then the bed hid him.  Mrs. Phelps she jumps for him, and says: “Has he come?” “No,” says her husband. “Good-ness gracious!” she says, “what in the warld can have become of him?” “I can't imagine,” says the old gentleman; “and I must say it makes me dreadful uneasy.” “Uneasy!” she says; “I'm ready to go distracted!  He must a come; and you've missed him along the road.  I know it's so—something tells me so.” “Why, Sally, I couldn't miss him along the road—you know that.” “But oh, dear, dear, what will Sis say!  He must a come!  You must a missed him.  He—” “Oh, don't distress me any more'n I'm already distressed.  I don't know what in the world to make of it.  I'm at my wit's end, and I don't mind acknowledging 't I'm right down scared.  But there's no hope that he's come; for he couldn't come and me miss him.  Sally, it's terrible—just terrible—something's happened to the boat, sure!” “Why, Silas!  Look yonder!—up the road!—ain't that somebody coming?” He sprung to the window at the head of the bed, and that give Mrs. Phelps the chance she wanted.  She stooped down quick at the foot of the bed and give me a pull, and out I come; and when he turned back from the window there she stood, a-beaming and a-smiling like a house afire, and I standing pretty meek and sweaty alongside.  The old gentleman stared, and says: “Why, who's that?” “Who do you reckon 't is?” “I hain't no idea.  Who is it?” “It's Tom Sawyer!” By jings, I most slumped through the floor!  But there warn't no time to swap knives; the old man grabbed me by the hand and shook, and kept on shaking; and all the time how the woman did dance around and laugh and cry; and then how they both did fire off questions about Sid, and Mary, and the rest of the tribe. But if they was joyful, it warn't nothing to what I was; for it was like being born again, I was so glad to find out who I was.  Well, they froze to me for two hours; and at last, when my chin was so tired it couldn't hardly go any more, I had told them more about my family—I mean the Sawyer family—than ever happened to any six Sawyer families.  And I explained all about how we blowed out a cylinder-head at the mouth of White River, and it took us three days to fix it.  Which was all right, and worked first-rate; because they didn't know but what it would take three days to fix it.  If I'd a called it a bolthead it would a done just as well. Now I was feeling pretty comfortable all down one side, and pretty uncomfortable all up the other.  Being Tom Sawyer was easy and comfortable, and it stayed easy and comfortable till by and by I hear a steamboat coughing along down the river.  Then I says to myself, s'pose Tom Sawyer comes down on that boat?  And s'pose he steps in here any minute, and sings out my name before I can throw him a wink to keep quiet? Well, I couldn't have it that way; it wouldn't do at all.  I must go up the road and waylay him.  So I told the folks I reckoned I would go up to the town and fetch down my baggage.  The old gentleman was for going along with me, but I said no, I could drive the horse myself, and I druther he wouldn't take no trouble about me. CHAPTER XXXIII. SO I started for town in the wagon, and when I was half-way I see a wagon coming, and sure enough it was Tom Sawyer, and I stopped and waited till he come along.  I says “Hold on!” and it stopped alongside, and his mouth opened up like a trunk, and stayed so; and he swallowed two or three times like a person that's got a dry throat, and then says: “I hain't ever done you no harm.  You know that.  So, then, what you want to come back and ha'nt me for?” I says: “I hain't come back—I hain't been gone.” When he heard my voice it righted him up some, but he warn't quite satisfied yet.  He says: “Don't you play nothing on me, because I wouldn't on you.  Honest injun now, you ain't a ghost?” “Honest injun, I ain't,” I says. “Well—I—I—well, that ought to settle it, of course; but I can't somehow seem to understand it no way.  Looky here, warn't you ever murdered at all?” “No.  I warn't ever murdered at all—I played it on them.  You come in here and feel of me if you don't believe me.” So he done it; and it satisfied him; and he was that glad to see me again he didn't know what to do.  And he wanted to know all about it right off, because it was a grand adventure, and mysterious, and so it hit him where he lived.  But I said, leave it alone till by and by; and told his driver to wait, and we drove off a little piece, and I told him the kind of a fix I was in, and what did he reckon we better do?  He said, let him alone a minute, and don't disturb him.  So he thought and thought, and pretty soon he says: “It's all right; I've got it.  Take my trunk in your wagon, and let on it's your'n; and you turn back and fool along slow, so as to get to the house about the time you ought to; and I'll go towards town a piece, and take a fresh start, and get there a quarter or a half an hour after you; and you needn't let on to know me at first.” I says: “All right; but wait a minute.  There's one more thing—a thing that nobody don't know but me.  And that is, there's a nigger here that I'm a-trying to steal out of slavery, and his name is Jim—old Miss Watson's Jim.” He says: “What!  Why, Jim is—” He stopped and went to studying.  I says: “I know what you'll say.  You'll say it's dirty, low-down business; but what if it is?  I'm low down; and I'm a-going to steal him, and I want you keep mum and not let on.  Will you?” His eye lit up, and he says: “I'll help you steal him!” Well, I let go all holts then, like I was shot.  It was the most astonishing speech I ever heard—and I'm bound to say Tom Sawyer fell considerable in my estimation.  Only I couldn't believe it.  Tom Sawyer a nigger-stealer! “Oh, shucks!”  I says; “you're joking.” “I ain't joking, either.” “Well, then,” I says, “joking or no joking, if you hear anything said about a runaway nigger, don't forget to remember that you don't know nothing about him, and I don't know nothing about him.” Then we took the trunk and put it in my wagon, and he drove off his way and I drove mine.  But of course I forgot all about driving slow on accounts of being glad and full of thinking; so I got home a heap too quick for that length of a trip.  The old gentleman was at the door, and he says: “Why, this is wonderful!  Whoever would a thought it was in that mare to do it?  I wish we'd a timed her.  And she hain't sweated a hair—not a hair. It's wonderful.  Why, I wouldn't take a hundred dollars for that horse now—I wouldn't, honest; and yet I'd a sold her for fifteen before, and thought 'twas all she was worth.” That's all he said.  He was the innocentest, best old soul I ever see. But it warn't surprising; because he warn't only just a farmer, he was a preacher, too, and had a little one-horse log church down back of the plantation, which he built it himself at his own expense, for a church and schoolhouse, and never charged nothing for his preaching, and it was worth it, too.  There was plenty other farmer-preachers like that, and done the same way, down South. In about half an hour Tom's wagon drove up to the front stile, and Aunt Sally she see it through the window, because it was only about fifty yards, and says: “Why, there's somebody come!  I wonder who 'tis?  Why, I do believe it's a stranger.  Jimmy” (that's one of the children) “run and tell Lize to put on another plate for dinner.” Everybody made a rush for the front door, because, of course, a stranger don't come every year, and so he lays over the yaller-fever, for interest, when he does come.  Tom was over the stile and starting for the house; the wagon was spinning up the road for the village, and we was all bunched in the front door.  Tom had his store clothes on, and an audience—and that was always nuts for Tom Sawyer.  In them circumstances it warn't no trouble to him to throw in an amount of style that was suitable.  He warn't a boy to meeky along up that yard like a sheep; no, he come ca'm and important, like the ram.  When he got a-front of us he lifts his hat ever so gracious and dainty, like it was the lid of a box that had butterflies asleep in it and he didn't want to disturb them, and says: “Mr. Archibald Nichols, I presume?” “No, my boy,” says the old gentleman, “I'm sorry to say 't your driver has deceived you; Nichols's place is down a matter of three mile more. Come in, come in.” Tom he took a look back over his shoulder, and says, “Too late—he's out of sight.” “Yes, he's gone, my son, and you must come in and eat your dinner with us; and then we'll hitch up and take you down to Nichols's.” “Oh, I can't make you so much trouble; I couldn't think of it.  I'll walk—I don't mind the distance.” “But we won't let you walk—it wouldn't be Southern hospitality to do it. Come right in.” “Oh, do,” says Aunt Sally; “it ain't a bit of trouble to us, not a bit in the world.  You must stay.  It's a long, dusty three mile, and we can't let you walk.  And, besides, I've already told 'em to put on another plate when I see you coming; so you mustn't disappoint us.  Come right in and make yourself at home.” So Tom he thanked them very hearty and handsome, and let himself be persuaded, and come in; and when he was in he said he was a stranger from Hicksville, Ohio, and his name was William Thompson—and he made another bow. Well, he run on, and on, and on, making up stuff about Hicksville and everybody in it he could invent, and I getting a little nervious, and wondering how this was going to help me out of my scrape; and at last, still talking along, he reached over and kissed Aunt Sally right on the mouth, and then settled back again in his chair comfortable, and was going on talking; but she jumped up and wiped it off with the back of her hand, and says: “You owdacious puppy!” He looked kind of hurt, and says: “I'm surprised at you, m'am.” “You're s'rp—Why, what do you reckon I am?  I've a good notion to take and—Say, what do you mean by kissing me?” He looked kind of humble, and says: “I didn't mean nothing, m'am.  I didn't mean no harm.  I—I—thought you'd like it.” “Why, you born fool!”  She took up the spinning stick, and it looked like it was all she could do to keep from giving him a crack with it.  "What made you think I'd like it?” “Well, I don't know.  Only, they—they—told me you would.” “They told you I would.  Whoever told you's another lunatic.  I never heard the beat of it.  Who's they?” “Why, everybody.  They all said so, m'am.” It was all she could do to hold in; and her eyes snapped, and her fingers worked like she wanted to scratch him; and she says: “Who's 'everybody'?  Out with their names, or ther'll be an idiot short.” He got up and looked distressed, and fumbled his hat, and says: “I'm sorry, and I warn't expecting it.  They told me to.  They all told me to.  They all said, kiss her; and said she'd like it.  They all said it—every one of them.  But I'm sorry, m'am, and I won't do it no more—I won't, honest.” “You won't, won't you?  Well, I sh'd reckon you won't!” “No'm, I'm honest about it; I won't ever do it again—till you ask me.” “Till I ask you!  Well, I never see the beat of it in my born days!  I lay you'll be the Methusalem-numskull of creation before ever I ask you—or the likes of you.” “Well,” he says, “it does surprise me so.  I can't make it out, somehow. They said you would, and I thought you would.  But—” He stopped and looked around slow, like he wished he could run across a friendly eye somewheres, and fetched up on the old gentleman's, and says, “Didn't you think she'd like me to kiss her, sir?” “Why, no; I—I—well, no, I b'lieve I didn't.” Then he looks on around the same way to me, and says: “Tom, didn't you think Aunt Sally 'd open out her arms and say, 'Sid Sawyer—'” “My land!” she says, breaking in and jumping for him, “you impudent young rascal, to fool a body so—” and was going to hug him, but he fended her off, and says: “No, not till you've asked me first.” So she didn't lose no time, but asked him; and hugged him and kissed him over and over again, and then turned him over to the old man, and he took what was left.  And after they got a little quiet again she says: “Why, dear me, I never see such a surprise.  We warn't looking for you at all, but only Tom.  Sis never wrote to me about anybody coming but him.” “It's because it warn't intended for any of us to come but Tom,” he says; “but I begged and begged, and at the last minute she let me come, too; so, coming down the river, me and Tom thought it would be a first-rate surprise for him to come here to the house first, and for me to by and by tag along and drop in, and let on to be a stranger.  But it was a mistake, Aunt Sally.  This ain't no healthy place for a stranger to come.” “No—not impudent whelps, Sid.  You ought to had your jaws boxed; I hain't been so put out since I don't know when.  But I don't care, I don't mind the terms—I'd be willing to stand a thousand such jokes to have you here. Well, to think of that performance!  I don't deny it, I was most putrified with astonishment when you give me that smack.” We had dinner out in that broad open passage betwixt the house and the kitchen; and there was things enough on that table for seven families—and all hot, too; none of your flabby, tough meat that's laid in a cupboard in a damp cellar all night and tastes like a hunk of old cold cannibal in the morning.  Uncle Silas he asked a pretty long blessing over it, but it was worth it; and it didn't cool it a bit, neither, the way I've seen them kind of interruptions do lots of times.  There was a considerable good deal of talk all the afternoon, and me and Tom was on the lookout all the time; but it warn't no use, they didn't happen to say nothing about any runaway nigger, and we was afraid to try to work up to it.  But at supper, at night, one of the little boys says: “Pa, mayn't Tom and Sid and me go to the show?” “No,” says the old man, “I reckon there ain't going to be any; and you couldn't go if there was; because the runaway nigger told Burton and me all about that scandalous show, and Burton said he would tell the people; so I reckon they've drove the owdacious loafers out of town before this time.” So there it was!—but I couldn't help it.  Tom and me was to sleep in the same room and bed; so, being tired, we bid good-night and went up to bed right after supper, and clumb out of the window and down the lightning-rod, and shoved for the town; for I didn't believe anybody was going to give the king and the duke a hint, and so if I didn't hurry up and give them one they'd get into trouble sure. On the road Tom he told me all about how it was reckoned I was murdered, and how pap disappeared pretty soon, and didn't come back no more, and what a stir there was when Jim run away; and I told Tom all about our Royal Nonesuch rapscallions, and as much of the raft voyage as I had time to; and as we struck into the town and up through the the middle of it--it was as much as half-after eight, then—here comes a raging rush of people with torches, and an awful whooping and yelling, and banging tin pans and blowing horns; and we jumped to one side to let them go by; and as they went by I see they had the king and the duke astraddle of a rail—that is, I knowed it was the king and the duke, though they was all over tar and feathers, and didn't look like nothing in the world that was human—just looked like a couple of monstrous big soldier-plumes.  Well, it made me sick to see it; and I was sorry for them poor pitiful rascals, it seemed like I couldn't ever feel any hardness against them any more in the world.  It was a dreadful thing to see.  Human beings can be awful cruel to one another. We see we was too late—couldn't do no good.  We asked some stragglers about it, and they said everybody went to the show looking very innocent; and laid low and kept dark till the poor old king was in the middle of his cavortings on the stage; then somebody give a signal, and the house rose up and went for them. So we poked along back home, and I warn't feeling so brash as I was before, but kind of ornery, and humble, and to blame, somehow—though I hadn't done nothing.  But that's always the way; it don't make no difference whether you do right or wrong, a person's conscience ain't got no sense, and just goes for him anyway.  If I had a yaller dog that didn't know no more than a person's conscience does I would pison him. It takes up more room than all the rest of a person's insides, and yet ain't no good, nohow.  Tom Sawyer he says the same. CHAPTER XXXIV. WE stopped talking, and got to thinking.  By and by Tom says: “Looky here, Huck, what fools we are to not think of it before!  I bet I know where Jim is.” “No!  Where?” “In that hut down by the ash-hopper.  Why, looky here.  When we was at dinner, didn't you see a nigger man go in there with some vittles?” “Yes.” “What did you think the vittles was for?” “For a dog.” “So 'd I. Well, it wasn't for a dog.” “Why?” “Because part of it was watermelon.” “So it was—I noticed it.  Well, it does beat all that I never thought about a dog not eating watermelon.  It shows how a body can see and don't see at the same time.” “Well, the nigger unlocked the padlock when he went in, and he locked it again when he came out.  He fetched uncle a key about the time we got up from table—same key, I bet.  Watermelon shows man, lock shows prisoner; and it ain't likely there's two prisoners on such a little plantation, and where the people's all so kind and good.  Jim's the prisoner.  All right—I'm glad we found it out detective fashion; I wouldn't give shucks for any other way.  Now you work your mind, and study out a plan to steal Jim, and I will study out one, too; and we'll take the one we like the best.” What a head for just a boy to have!  If I had Tom Sawyer's head I wouldn't trade it off to be a duke, nor mate of a steamboat, nor clown in a circus, nor nothing I can think of.  I went to thinking out a plan, but only just to be doing something; I knowed very well where the right plan was going to come from.  Pretty soon Tom says: “Ready?” “Yes,” I says. “All right—bring it out.” “My plan is this,” I says.  "We can easy find out if it's Jim in there. Then get up my canoe to-morrow night, and fetch my raft over from the island.  Then the first dark night that comes steal the key out of the old man's britches after he goes to bed, and shove off down the river on the raft with Jim, hiding daytimes and running nights, the way me and Jim used to do before.  Wouldn't that plan work?” “Work?  Why, cert'nly it would work, like rats a-fighting.  But it's too blame' simple; there ain't nothing to it.  What's the good of a plan that ain't no more trouble than that?  It's as mild as goose-milk.  Why, Huck, it wouldn't make no more talk than breaking into a soap factory.” I never said nothing, because I warn't expecting nothing different; but I knowed mighty well that whenever he got his plan ready it wouldn't have none of them objections to it. And it didn't.  He told me what it was, and I see in a minute it was worth fifteen of mine for style, and would make Jim just as free a man as mine would, and maybe get us all killed besides.  So I was satisfied, and said we would waltz in on it.  I needn't tell what it was here, because I knowed it wouldn't stay the way, it was.  I knowed he would be changing it around every which way as we went along, and heaving in new bullinesses wherever he got a chance.  And that is what he done. Well, one thing was dead sure, and that was that Tom Sawyer was in earnest, and was actuly going to help steal that nigger out of slavery. That was the thing that was too many for me.  Here was a boy that was respectable and well brung up; and had a character to lose; and folks at home that had characters; and he was bright and not leather-headed; and knowing and not ignorant; and not mean, but kind; and yet here he was, without any more pride, or rightness, or feeling, than to stoop to this business, and make himself a shame, and his family a shame, before everybody.  I couldn't understand it no way at all.  It was outrageous, and I knowed I ought to just up and tell him so; and so be his true friend, and let him quit the thing right where he was and save himself. And I did start to tell him; but he shut me up, and says: “Don't you reckon I know what I'm about?  Don't I generly know what I'm about?” “Yes.” “Didn't I say I was going to help steal the nigger?” “Yes.” “Well, then.” That's all he said, and that's all I said.  It warn't no use to say any more; because when he said he'd do a thing, he always done it.  But I couldn't make out how he was willing to go into this thing; so I just let it go, and never bothered no more about it.  If he was bound to have it so, I couldn't help it. When we got home the house was all dark and still; so we went on down to the hut by the ash-hopper for to examine it.  We went through the yard so as to see what the hounds would do.  They knowed us, and didn't make no more noise than country dogs is always doing when anything comes by in the night.  When we got to the cabin we took a look at the front and the two sides; and on the side I warn't acquainted with—which was the north side—we found a square window-hole, up tolerable high, with just one stout board nailed across it.  I says: “Here's the ticket.  This hole's big enough for Jim to get through if we wrench off the board.” Tom says: “It's as simple as tit-tat-toe, three-in-a-row, and as easy as playing hooky.  I should hope we can find a way that's a little more complicated than that, Huck Finn.” “Well, then,” I says, “how 'll it do to saw him out, the way I done before I was murdered that time?” “That's more like,” he says.  "It's real mysterious, and troublesome, and good,” he says; “but I bet we can find a way that's twice as long.  There ain't no hurry; le's keep on looking around.” Betwixt the hut and the fence, on the back side, was a lean-to that joined the hut at the eaves, and was made out of plank.  It was as long as the hut, but narrow—only about six foot wide.  The door to it was at the south end, and was padlocked.  Tom he went to the soap-kettle and searched around, and fetched back the iron thing they lift the lid with; so he took it and prized out one of the staples.  The chain fell down, and we opened the door and went in, and shut it, and struck a match, and see the shed was only built against a cabin and hadn't no connection with it; and there warn't no floor to the shed, nor nothing in it but some old rusty played-out hoes and spades and picks and a crippled plow.  The match went out, and so did we, and shoved in the staple again, and the door was locked as good as ever. Tom was joyful.  He says; “Now we're all right.  We'll dig him out.  It 'll take about a week!” Then we started for the house, and I went in the back door—you only have to pull a buckskin latch-string, they don't fasten the doors—but that warn't romantical enough for Tom Sawyer; no way would do him but he must climb up the lightning-rod.  But after he got up half way about three times, and missed fire and fell every time, and the last time most busted his brains out, he thought he'd got to give it up; but after he was rested he allowed he would give her one more turn for luck, and this time he made the trip. In the morning we was up at break of day, and down to the nigger cabins to pet the dogs and make friends with the nigger that fed Jim—if it was Jim that was being fed.  The niggers was just getting through breakfast and starting for the fields; and Jim's nigger was piling up a tin pan with bread and meat and things; and whilst the others was leaving, the key come from the house. This nigger had a good-natured, chuckle-headed face, and his wool was all tied up in little bunches with thread.  That was to keep witches off.  He said the witches was pestering him awful these nights, and making him see all kinds of strange things, and hear all kinds of strange words and noises, and he didn't believe he was ever witched so long before in his life.  He got so worked up, and got to running on so about his troubles, he forgot all about what he'd been a-going to do.  So Tom says: “What's the vittles for?  Going to feed the dogs?” The nigger kind of smiled around gradually over his face, like when you heave a brickbat in a mud-puddle, and he says: “Yes, Mars Sid, A dog.  Cur'us dog, too.  Does you want to go en look at 'im?” “Yes.” I hunched Tom, and whispers: “You going, right here in the daybreak?  that warn't the plan.” “No, it warn't; but it's the plan now.” So, drat him, we went along, but I didn't like it much.  When we got in we couldn't hardly see anything, it was so dark; but Jim was there, sure enough, and could see us; and he sings out: “Why, Huck!  En good lan'! ain' dat Misto Tom?” I just knowed how it would be; I just expected it.  I didn't know nothing to do; and if I had I couldn't a done it, because that nigger busted in and says: “Why, de gracious sakes! do he know you genlmen?” We could see pretty well now.  Tom he looked at the nigger, steady and kind of wondering, and says: “Does who know us?” “Why, dis-yer runaway nigger.” “I don't reckon he does; but what put that into your head?” “What put it dar?  Didn' he jis' dis minute sing out like he knowed you?” Tom says, in a puzzled-up kind of way: “Well, that's mighty curious.  Who sung out? when did he sing out?  what did he sing out?” And turns to me, perfectly ca'm, and says, “Did you hear anybody sing out?” Of course there warn't nothing to be said but the one thing; so I says: “No; I ain't heard nobody say nothing.” Then he turns to Jim, and looks him over like he never see him before, and says: “Did you sing out?” “No, sah,” says Jim; “I hain't said nothing, sah.” “Not a word?” “No, sah, I hain't said a word.” “Did you ever see us before?” “No, sah; not as I knows on.” So Tom turns to the nigger, which was looking wild and distressed, and says, kind of severe: “What do you reckon's the matter with you, anyway?  What made you think somebody sung out?” “Oh, it's de dad-blame' witches, sah, en I wisht I was dead, I do.  Dey's awluz at it, sah, en dey do mos' kill me, dey sk'yers me so.  Please to don't tell nobody 'bout it sah, er ole Mars Silas he'll scole me; 'kase he say dey ain't no witches.  I jis' wish to goodness he was heah now—den what would he say!  I jis' bet he couldn' fine no way to git aroun' it dis time.  But it's awluz jis' so; people dat's sot, stays sot; dey won't look into noth'n'en fine it out f'r deyselves, en when you fine it out en tell um 'bout it, dey doan' b'lieve you.” Tom give him a dime, and said we wouldn't tell nobody; and told him to buy some more thread to tie up his wool with; and then looks at Jim, and says: “I wonder if Uncle Silas is going to hang this nigger.  If I was to catch a nigger that was ungrateful enough to run away, I wouldn't give him up, I'd hang him.”  And whilst the nigger stepped to the door to look at the dime and bite it to see if it was good, he whispers to Jim and says: “Don't ever let on to know us.  And if you hear any digging going on nights, it's us; we're going to set you free.” Jim only had time to grab us by the hand and squeeze it; then the nigger come back, and we said we'd come again some time if the nigger wanted us to; and he said he would, more particular if it was dark, because the witches went for him mostly in the dark, and it was good to have folks around then. CHAPTER XXXV. IT would be most an hour yet till breakfast, so we left and struck down into the woods; because Tom said we got to have some light to see how to dig by, and a lantern makes too much, and might get us into trouble; what we must have was a lot of them rotten chunks that's called fox-fire, and just makes a soft kind of a glow when you lay them in a dark place.  We fetched an armful and hid it in the weeds, and set down to rest, and Tom says, kind of dissatisfied: “Blame it, this whole thing is just as easy and awkward as it can be. And so it makes it so rotten difficult to get up a difficult plan.  There ain't no watchman to be drugged—now there ought to be a watchman.  There ain't even a dog to give a sleeping-mixture to.  And there's Jim chained by one leg, with a ten-foot chain, to the leg of his bed:  why, all you got to do is to lift up the bedstead and slip off the chain.  And Uncle Silas he trusts everybody; sends the key to the punkin-headed nigger, and don't send nobody to watch the nigger.  Jim could a got out of that window-hole before this, only there wouldn't be no use trying to travel with a ten-foot chain on his leg.  Why, drat it, Huck, it's the stupidest arrangement I ever see. You got to invent all the difficulties.  Well, we can't help it; we got to do the best we can with the materials we've got. Anyhow, there's one thing—there's more honor in getting him out through a lot of difficulties and dangers, where there warn't one of them furnished to you by the people who it was their duty to furnish them, and you had to contrive them all out of your own head.  Now look at just that one thing of the lantern.  When you come down to the cold facts, we simply got to let on that a lantern's resky.  Why, we could work with a torchlight procession if we wanted to, I believe.  Now, whilst I think of it, we got to hunt up something to make a saw out of the first chance we get.” “What do we want of a saw?” “What do we want of it?  Hain't we got to saw the leg of Jim's bed off, so as to get the chain loose?” “Why, you just said a body could lift up the bedstead and slip the chain off.” “Well, if that ain't just like you, Huck Finn.  You can get up the infant-schooliest ways of going at a thing.  Why, hain't you ever read any books at all?—Baron Trenck, nor Casanova, nor Benvenuto Chelleeny, nor Henri IV., nor none of them heroes?  Who ever heard of getting a prisoner loose in such an old-maidy way as that?  No; the way all the best authorities does is to saw the bed-leg in two, and leave it just so, and swallow the sawdust, so it can't be found, and put some dirt and grease around the sawed place so the very keenest seneskal can't see no sign of it's being sawed, and thinks the bed-leg is perfectly sound. Then, the night you're ready, fetch the leg a kick, down she goes; slip off your chain, and there you are.  Nothing to do but hitch your rope ladder to the battlements, shin down it, break your leg in the moat—because a rope ladder is nineteen foot too short, you know—and there's your horses and your trusty vassles, and they scoop you up and fling you across a saddle, and away you go to your native Langudoc, or Navarre, or wherever it is. It's gaudy, Huck.  I wish there was a moat to this cabin. If we get time, the night of the escape, we'll dig one.” I says: “What do we want of a moat when we're going to snake him out from under the cabin?” But he never heard me.  He had forgot me and everything else.  He had his chin in his hand, thinking.  Pretty soon he sighs and shakes his head; then sighs again, and says: “No, it wouldn't do—there ain't necessity enough for it.” “For what?”  I says. “Why, to saw Jim's leg off,” he says. “Good land!”  I says; “why, there ain't no necessity for it.  And what would you want to saw his leg off for, anyway?” “Well, some of the best authorities has done it.  They couldn't get the chain off, so they just cut their hand off and shoved.  And a leg would be better still.  But we got to let that go.  There ain't necessity enough in this case; and, besides, Jim's a nigger, and wouldn't understand the reasons for it, and how it's the custom in Europe; so we'll let it go.  But there's one thing—he can have a rope ladder; we can tear up our sheets and make him a rope ladder easy enough.  And we can send it to him in a pie; it's mostly done that way.  And I've et worse pies.” “Why, Tom Sawyer, how you talk,” I says; “Jim ain't got no use for a rope ladder.” “He has got use for it.  How you talk, you better say; you don't know nothing about it.  He's got to have a rope ladder; they all do.” “What in the nation can he do with it?” “Do with it?  He can hide it in his bed, can't he?”  That's what they all do; and he's got to, too.  Huck, you don't ever seem to want to do anything that's regular; you want to be starting something fresh all the time. S'pose he don't do nothing with it? ain't it there in his bed, for a clew, after he's gone? and don't you reckon they'll want clews?  Of course they will.  And you wouldn't leave them any?  That would be a pretty howdy-do, wouldn't it!  I never heard of such a thing.” “Well,” I says, “if it's in the regulations, and he's got to have it, all right, let him have it; because I don't wish to go back on no regulations; but there's one thing, Tom Sawyer—if we go to tearing up our sheets to make Jim a rope ladder, we're going to get into trouble with Aunt Sally, just as sure as you're born.  Now, the way I look at it, a hickry-bark ladder don't cost nothing, and don't waste nothing, and is just as good to load up a pie with, and hide in a straw tick, as any rag ladder you can start; and as for Jim, he ain't had no experience, and so he don't care what kind of a—” “Oh, shucks, Huck Finn, if I was as ignorant as you I'd keep still—that's what I'D do.  Who ever heard of a state prisoner escaping by a hickry-bark ladder?  Why, it's perfectly ridiculous.” “Well, all right, Tom, fix it your own way; but if you'll take my advice, you'll let me borrow a sheet off of the clothesline.” He said that would do.  And that gave him another idea, and he says: “Borrow a shirt, too.” “What do we want of a shirt, Tom?” “Want it for Jim to keep a journal on.” “Journal your granny—Jim can't write.” “S'pose he can't write—he can make marks on the shirt, can't he, if we make him a pen out of an old pewter spoon or a piece of an old iron barrel-hoop?” “Why, Tom, we can pull a feather out of a goose and make him a better one; and quicker, too.” “Prisoners don't have geese running around the donjon-keep to pull pens out of, you muggins.  They always make their pens out of the hardest, toughest, troublesomest piece of old brass candlestick or something like that they can get their hands on; and it takes them weeks and weeks and months and months to file it out, too, because they've got to do it by rubbing it on the wall.  They wouldn't use a goose-quill if they had it. It ain't regular.” “Well, then, what'll we make him the ink out of?” “Many makes it out of iron-rust and tears; but that's the common sort and women; the best authorities uses their own blood.  Jim can do that; and when he wants to send any little common ordinary mysterious message to let the world know where he's captivated, he can write it on the bottom of a tin plate with a fork and throw it out of the window.  The Iron Mask always done that, and it's a blame' good way, too.” “Jim ain't got no tin plates.  They feed him in a pan.” “That ain't nothing; we can get him some.” “Can't nobody read his plates.” “That ain't got anything to do with it, Huck Finn.  All he's got to do is to write on the plate and throw it out.  You don't have to be able to read it. Why, half the time you can't read anything a prisoner writes on a tin plate, or anywhere else.” “Well, then, what's the sense in wasting the plates?” “Why, blame it all, it ain't the prisoner's plates.” “But it's somebody's plates, ain't it?” “Well, spos'n it is?  What does the prisoner care whose—” He broke off there, because we heard the breakfast-horn blowing.  So we cleared out for the house. Along during the morning I borrowed a sheet and a white shirt off of the clothes-line; and I found an old sack and put them in it, and we went down and got the fox-fire, and put that in too.  I called it borrowing, because that was what pap always called it; but Tom said it warn't borrowing, it was stealing.  He said we was representing prisoners; and prisoners don't care how they get a thing so they get it, and nobody don't blame them for it, either.  It ain't no crime in a prisoner to steal the thing he needs to get away with, Tom said; it's his right; and so, as long as we was representing a prisoner, we had a perfect right to steal anything on this place we had the least use for to get ourselves out of prison with.  He said if we warn't prisoners it would be a very different thing, and nobody but a mean, ornery person would steal when he warn't a prisoner.  So we allowed we would steal everything there was that come handy.  And yet he made a mighty fuss, one day, after that, when I stole a watermelon out of the nigger-patch and eat it; and he made me go and give the niggers a dime without telling them what it was for. Tom said that what he meant was, we could steal anything we needed. Well, I says, I needed the watermelon.  But he said I didn't need it to get out of prison with; there's where the difference was.  He said if I'd a wanted it to hide a knife in, and smuggle it to Jim to kill the seneskal with, it would a been all right.  So I let it go at that, though I couldn't see no advantage in my representing a prisoner if I got to set down and chaw over a lot of gold-leaf distinctions like that every time I see a chance to hog a watermelon. Well, as I was saying, we waited that morning till everybody was settled down to business, and nobody in sight around the yard; then Tom he carried the sack into the lean-to whilst I stood off a piece to keep watch.  By and by he come out, and we went and set down on the woodpile to talk.  He says: “Everything's all right now except tools; and that's easy fixed.” “Tools?”  I says. “Yes.” “Tools for what?” “Why, to dig with.  We ain't a-going to gnaw him out, are we?” “Ain't them old crippled picks and things in there good enough to dig a nigger out with?”  I says. He turns on me, looking pitying enough to make a body cry, and says: “Huck Finn, did you ever hear of a prisoner having picks and shovels, and all the modern conveniences in his wardrobe to dig himself out with?  Now I want to ask you—if you got any reasonableness in you at all—what kind of a show would that give him to be a hero?  Why, they might as well lend him the key and done with it.  Picks and shovels—why, they wouldn't furnish 'em to a king.” “Well, then,” I says, “if we don't want the picks and shovels, what do we want?” “A couple of case-knives.” “To dig the foundations out from under that cabin with?” “Yes.” “Confound it, it's foolish, Tom.” “It don't make no difference how foolish it is, it's the right way—and it's the regular way.  And there ain't no other way, that ever I heard of, and I've read all the books that gives any information about these things. They always dig out with a case-knife—and not through dirt, mind you; generly it's through solid rock.  And it takes them weeks and weeks and weeks, and for ever and ever.  Why, look at one of them prisoners in the bottom dungeon of the Castle Deef, in the harbor of Marseilles, that dug himself out that way; how long was he at it, you reckon?” “I don't know.” “Well, guess.” “I don't know.  A month and a half.” “Thirty-seven year—and he come out in China.  That's the kind.  I wish the bottom of this fortress was solid rock.” “Jim don't know nobody in China.” “What's that got to do with it?  Neither did that other fellow.  But you're always a-wandering off on a side issue.  Why can't you stick to the main point?” “All right—I don't care where he comes out, so he comes out; and Jim don't, either, I reckon.  But there's one thing, anyway—Jim's too old to be dug out with a case-knife.  He won't last.” “Yes he will last, too.  You don't reckon it's going to take thirty-seven years to dig out through a dirt foundation, do you?” “How long will it take, Tom?” “Well, we can't resk being as long as we ought to, because it mayn't take very long for Uncle Silas to hear from down there by New Orleans.  He'll hear Jim ain't from there.  Then his next move will be to advertise Jim, or something like that.  So we can't resk being as long digging him out as we ought to.  By rights I reckon we ought to be a couple of years; but we can't.  Things being so uncertain, what I recommend is this:  that we really dig right in, as quick as we can; and after that, we can let on, to ourselves, that we was at it thirty-seven years.  Then we can snatch him out and rush him away the first time there's an alarm.  Yes, I reckon that 'll be the best way.” “Now, there's sense in that,” I says.  "Letting on don't cost nothing; letting on ain't no trouble; and if it's any object, I don't mind letting on we was at it a hundred and fifty year.  It wouldn't strain me none, after I got my hand in.  So I'll mosey along now, and smouch a couple of case-knives.” “Smouch three,” he says; “we want one to make a saw out of.” “Tom, if it ain't unregular and irreligious to sejest it,” I says, “there's an old rusty saw-blade around yonder sticking under the weather-boarding behind the smoke-house.” He looked kind of weary and discouraged-like, and says: “It ain't no use to try to learn you nothing, Huck.  Run along and smouch the knives—three of them.”  So I done it. CHAPTER XXXVI. AS soon as we reckoned everybody was asleep that night we went down the lightning-rod, and shut ourselves up in the lean-to, and got out our pile of fox-fire, and went to work.  We cleared everything out of the way, about four or five foot along the middle of the bottom log.  Tom said he was right behind Jim's bed now, and we'd dig in under it, and when we got through there couldn't nobody in the cabin ever know there was any hole there, because Jim's counter-pin hung down most to the ground, and you'd have to raise it up and look under to see the hole.  So we dug and dug with the case-knives till most midnight; and then we was dog-tired, and our hands was blistered, and yet you couldn't see we'd done anything hardly.  At last I says: “This ain't no thirty-seven year job; this is a thirty-eight year job, Tom Sawyer.” He never said nothing.  But he sighed, and pretty soon he stopped digging, and then for a good little while I knowed that he was thinking. Then he says: “It ain't no use, Huck, it ain't a-going to work.  If we was prisoners it would, because then we'd have as many years as we wanted, and no hurry; and we wouldn't get but a few minutes to dig, every day, while they was changing watches, and so our hands wouldn't get blistered, and we could keep it up right along, year in and year out, and do it right, and the way it ought to be done.  But we can't fool along; we got to rush; we ain't got no time to spare.  If we was to put in another night this way we'd have to knock off for a week to let our hands get well—couldn't touch a case-knife with them sooner.” “Well, then, what we going to do, Tom?” “I'll tell you.  It ain't right, and it ain't moral, and I wouldn't like it to get out; but there ain't only just the one way:  we got to dig him out with the picks, and let on it's case-knives.” “Now you're talking!”  I says; “your head gets leveler and leveler all the time, Tom Sawyer,” I says.  "Picks is the thing, moral or no moral; and as for me, I don't care shucks for the morality of it, nohow.  When I start in to steal a nigger, or a watermelon, or a Sunday-school book, I ain't no ways particular how it's done so it's done.  What I want is my nigger; or what I want is my watermelon; or what I want is my Sunday-school book; and if a pick's the handiest thing, that's the thing I'm a-going to dig that nigger or that watermelon or that Sunday-school book out with; and I don't give a dead rat what the authorities thinks about it nuther.” “Well,” he says, “there's excuse for picks and letting-on in a case like this; if it warn't so, I wouldn't approve of it, nor I wouldn't stand by and see the rules broke—because right is right, and wrong is wrong, and a body ain't got no business doing wrong when he ain't ignorant and knows better.  It might answer for you to dig Jim out with a pick, without any letting on, because you don't know no better; but it wouldn't for me, because I do know better.  Gimme a case-knife.” He had his own by him, but I handed him mine.  He flung it down, and says: “Gimme a case-knife.” I didn't know just what to do—but then I thought.  I scratched around amongst the old tools, and got a pickaxe and give it to him, and he took it and went to work, and never said a word. He was always just that particular.  Full of principle. So then I got a shovel, and then we picked and shoveled, turn about, and made the fur fly.  We stuck to it about a half an hour, which was as long as we could stand up; but we had a good deal of a hole to show for it. When I got up stairs I looked out at the window and see Tom doing his level best with the lightning-rod, but he couldn't come it, his hands was so sore.  At last he says: “It ain't no use, it can't be done.  What you reckon I better do?  Can't you think of no way?” “Yes,” I says, “but I reckon it ain't regular.  Come up the stairs, and let on it's a lightning-rod.” So he done it. Next day Tom stole a pewter spoon and a brass candlestick in the house, for to make some pens for Jim out of, and six tallow candles; and I hung around the nigger cabins and laid for a chance, and stole three tin plates.  Tom says it wasn't enough; but I said nobody wouldn't ever see the plates that Jim throwed out, because they'd fall in the dog-fennel and jimpson weeds under the window-hole—then we could tote them back and he could use them over again.  So Tom was satisfied.  Then he says: “Now, the thing to study out is, how to get the things to Jim.” “Take them in through the hole,” I says, “when we get it done.” He only just looked scornful, and said something about nobody ever heard of such an idiotic idea, and then he went to studying.  By and by he said he had ciphered out two or three ways, but there warn't no need to decide on any of them yet.  Said we'd got to post Jim first. That night we went down the lightning-rod a little after ten, and took one of the candles along, and listened under the window-hole, and heard Jim snoring; so we pitched it in, and it didn't wake him.  Then we whirled in with the pick and shovel, and in about two hours and a half the job was done.  We crept in under Jim's bed and into the cabin, and pawed around and found the candle and lit it, and stood over Jim awhile, and found him looking hearty and healthy, and then we woke him up gentle and gradual.  He was so glad to see us he most cried; and called us honey, and all the pet names he could think of; and was for having us hunt up a cold-chisel to cut the chain off of his leg with right away, and clearing out without losing any time.  But Tom he showed him how unregular it would be, and set down and told him all about our plans, and how we could alter them in a minute any time there was an alarm; and not to be the least afraid, because we would see he got away, sure.  So Jim he said it was all right, and we set there and talked over old times awhile, and then Tom asked a lot of questions, and when Jim told him Uncle Silas come in every day or two to pray with him, and Aunt Sally come in to see if he was comfortable and had plenty to eat, and both of them was kind as they could be, Tom says: “Now I know how to fix it.  We'll send you some things by them.” I said, “Don't do nothing of the kind; it's one of the most jackass ideas I ever struck;” but he never paid no attention to me; went right on.  It was his way when he'd got his plans set. So he told Jim how we'd have to smuggle in the rope-ladder pie and other large things by Nat, the nigger that fed him, and he must be on the lookout, and not be surprised, and not let Nat see him open them; and we would put small things in uncle's coat-pockets and he must steal them out; and we would tie things to aunt's apron-strings or put them in her apron-pocket, if we got a chance; and told him what they would be and what they was for.  And told him how to keep a journal on the shirt with his blood, and all that. He told him everything.  Jim he couldn't see no sense in the most of it, but he allowed we was white folks and knowed better than him; so he was satisfied, and said he would do it all just as Tom said. Jim had plenty corn-cob pipes and tobacco; so we had a right down good sociable time; then we crawled out through the hole, and so home to bed, with hands that looked like they'd been chawed.  Tom was in high spirits. He said it was the best fun he ever had in his life, and the most intellectural; and said if he only could see his way to it we would keep it up all the rest of our lives and leave Jim to our children to get out; for he believed Jim would come to like it better and better the more he got used to it.  He said that in that way it could be strung out to as much as eighty year, and would be the best time on record.  And he said it would make us all celebrated that had a hand in it. In the morning we went out to the woodpile and chopped up the brass candlestick into handy sizes, and Tom put them and the pewter spoon in his pocket.  Then we went to the nigger cabins, and while I got Nat's notice off, Tom shoved a piece of candlestick into the middle of a corn-pone that was in Jim's pan, and we went along with Nat to see how it would work, and it just worked noble; when Jim bit into it it most mashed all his teeth out; and there warn't ever anything could a worked better. Tom said so himself. Jim he never let on but what it was only just a piece of rock or something like that that's always getting into bread, you know; but after that he never bit into nothing but what he jabbed his fork into it in three or four places first. And whilst we was a-standing there in the dimmish light, here comes a couple of the hounds bulging in from under Jim's bed; and they kept on piling in till there was eleven of them, and there warn't hardly room in there to get your breath.  By jings, we forgot to fasten that lean-to door!  The nigger Nat he only just hollered “Witches” once, and keeled over on to the floor amongst the dogs, and begun to groan like he was dying.  Tom jerked the door open and flung out a slab of Jim's meat, and the dogs went for it, and in two seconds he was out himself and back again and shut the door, and I knowed he'd fixed the other door too. Then he went to work on the nigger, coaxing him and petting him, and asking him if he'd been imagining he saw something again.  He raised up, and blinked his eyes around, and says: “Mars Sid, you'll say I's a fool, but if I didn't b'lieve I see most a million dogs, er devils, er some'n, I wisht I may die right heah in dese tracks.  I did, mos' sholy.  Mars Sid, I felt um—I felt um, sah; dey was all over me.  Dad fetch it, I jis' wisht I could git my han's on one er dem witches jis' wunst—on'y jis' wunst—it's all I'd ast.  But mos'ly I wisht dey'd lemme 'lone, I does.” Tom says: “Well, I tell you what I think.  What makes them come here just at this runaway nigger's breakfast-time?  It's because they're hungry; that's the reason.  You make them a witch pie; that's the thing for you to do.” “But my lan', Mars Sid, how's I gwyne to make 'm a witch pie?  I doan' know how to make it.  I hain't ever hearn er sich a thing b'fo'.” “Well, then, I'll have to make it myself.” “Will you do it, honey?—will you?  I'll wusshup de groun' und' yo' foot, I will!” “All right, I'll do it, seeing it's you, and you've been good to us and showed us the runaway nigger.  But you got to be mighty careful.  When we come around, you turn your back; and then whatever we've put in the pan, don't you let on you see it at all.  And don't you look when Jim unloads the pan—something might happen, I don't know what.  And above all, don't you handle the witch-things.” “Hannel 'M, Mars Sid?  What is you a-talkin' 'bout?  I wouldn' lay de weight er my finger on um, not f'r ten hund'd thous'n billion dollars, I wouldn't.” CHAPTER XXXVII. THAT was all fixed.  So then we went away and went to the rubbage-pile in the back yard, where they keep the old boots, and rags, and pieces of bottles, and wore-out tin things, and all such truck, and scratched around and found an old tin washpan, and stopped up the holes as well as we could, to bake the pie in, and took it down cellar and stole it full of flour and started for breakfast, and found a couple of shingle-nails that Tom said would be handy for a prisoner to scrabble his name and sorrows on the dungeon walls with, and dropped one of them in Aunt Sally's apron-pocket which was hanging on a chair, and t'other we stuck in the band of Uncle Silas's hat, which was on the bureau, because we heard the children say their pa and ma was going to the runaway nigger's house this morning, and then went to breakfast, and Tom dropped the pewter spoon in Uncle Silas's coat-pocket, and Aunt Sally wasn't come yet, so we had to wait a little while. And when she come she was hot and red and cross, and couldn't hardly wait for the blessing; and then she went to sluicing out coffee with one hand and cracking the handiest child's head with her thimble with the other, and says: “I've hunted high and I've hunted low, and it does beat all what has become of your other shirt.” My heart fell down amongst my lungs and livers and things, and a hard piece of corn-crust started down my throat after it and got met on the road with a cough, and was shot across the table, and took one of the children in the eye and curled him up like a fishing-worm, and let a cry out of him the size of a warwhoop, and Tom he turned kinder blue around the gills, and it all amounted to a considerable state of things for about a quarter of a minute or as much as that, and I would a sold out for half price if there was a bidder.  But after that we was all right again—it was the sudden surprise of it that knocked us so kind of cold. Uncle Silas he says: “It's most uncommon curious, I can't understand it.  I know perfectly well I took it off, because—” “Because you hain't got but one on.  Just listen at the man!  I know you took it off, and know it by a better way than your wool-gethering memory, too, because it was on the clo's-line yesterday—I see it there myself. But it's gone, that's the long and the short of it, and you'll just have to change to a red flann'l one till I can get time to make a new one. And it 'll be the third I've made in two years.  It just keeps a body on the jump to keep you in shirts; and whatever you do manage to do with 'm all is more'n I can make out.  A body 'd think you would learn to take some sort of care of 'em at your time of life.” “I know it, Sally, and I do try all I can.  But it oughtn't to be altogether my fault, because, you know, I don't see them nor have nothing to do with them except when they're on me; and I don't believe I've ever lost one of them off of me.” “Well, it ain't your fault if you haven't, Silas; you'd a done it if you could, I reckon.  And the shirt ain't all that's gone, nuther.  Ther's a spoon gone; and that ain't all.  There was ten, and now ther's only nine. The calf got the shirt, I reckon, but the calf never took the spoon, that's certain.” “Why, what else is gone, Sally?” “Ther's six candles gone—that's what.  The rats could a got the candles, and I reckon they did; I wonder they don't walk off with the whole place, the way you're always going to stop their holes and don't do it; and if they warn't fools they'd sleep in your hair, Silas—you'd never find it out; but you can't lay the spoon on the rats, and that I know.” “Well, Sally, I'm in fault, and I acknowledge it; I've been remiss; but I won't let to-morrow go by without stopping up them holes.” “Oh, I wouldn't hurry; next year 'll do.  Matilda Angelina Araminta Phelps!” Whack comes the thimble, and the child snatches her claws out of the sugar-bowl without fooling around any.  Just then the nigger woman steps on to the passage, and says: “Missus, dey's a sheet gone.” “A sheet gone!  Well, for the land's sake!” “I'll stop up them holes to-day,” says Uncle Silas, looking sorrowful. “Oh, do shet up!—s'pose the rats took the sheet?  where's it gone, Lize?” “Clah to goodness I hain't no notion, Miss' Sally.  She wuz on de clo'sline yistiddy, but she done gone:  she ain' dah no mo' now.” “I reckon the world is coming to an end.  I never see the beat of it in all my born days.  A shirt, and a sheet, and a spoon, and six can—” “Missus,” comes a young yaller wench, “dey's a brass cannelstick miss'n.” “Cler out from here, you hussy, er I'll take a skillet to ye!” Well, she was just a-biling.  I begun to lay for a chance; I reckoned I would sneak out and go for the woods till the weather moderated.  She kept a-raging right along, running her insurrection all by herself, and everybody else mighty meek and quiet; and at last Uncle Silas, looking kind of foolish, fishes up that spoon out of his pocket.  She stopped, with her mouth open and her hands up; and as for me, I wished I was in Jeruslem or somewheres. But not long, because she says: “It's just as I expected.  So you had it in your pocket all the time; and like as not you've got the other things there, too.  How'd it get there?” “I reely don't know, Sally,” he says, kind of apologizing, “or you know I would tell.  I was a-studying over my text in Acts Seventeen before breakfast, and I reckon I put it in there, not noticing, meaning to put my Testament in, and it must be so, because my Testament ain't in; but I'll go and see; and if the Testament is where I had it, I'll know I didn't put it in, and that will show that I laid the Testament down and took up the spoon, and—” “Oh, for the land's sake!  Give a body a rest!  Go 'long now, the whole kit and biling of ye; and don't come nigh me again till I've got back my peace of mind.” I'D a heard her if she'd a said it to herself, let alone speaking it out; and I'd a got up and obeyed her if I'd a been dead.  As we was passing through the setting-room the old man he took up his hat, and the shingle-nail fell out on the floor, and he just merely picked it up and laid it on the mantel-shelf, and never said nothing, and went out.  Tom see him do it, and remembered about the spoon, and says: “Well, it ain't no use to send things by him no more, he ain't reliable.” Then he says:  "But he done us a good turn with the spoon, anyway, without knowing it, and so we'll go and do him one without him knowing it—stop up his rat-holes.” There was a noble good lot of them down cellar, and it took us a whole hour, but we done the job tight and good and shipshape.  Then we heard steps on the stairs, and blowed out our light and hid; and here comes the old man, with a candle in one hand and a bundle of stuff in t'other, looking as absent-minded as year before last.  He went a mooning around, first to one rat-hole and then another, till he'd been to them all.  Then he stood about five minutes, picking tallow-drip off of his candle and thinking.  Then he turns off slow and dreamy towards the stairs, saying: “Well, for the life of me I can't remember when I done it.  I could show her now that I warn't to blame on account of the rats.  But never mind—let it go.  I reckon it wouldn't do no good.” And so he went on a-mumbling up stairs, and then we left.  He was a mighty nice old man.  And always is. Tom was a good deal bothered about what to do for a spoon, but he said we'd got to have it; so he took a think.  When he had ciphered it out he told me how we was to do; then we went and waited around the spoon-basket till we see Aunt Sally coming, and then Tom went to counting the spoons and laying them out to one side, and I slid one of them up my sleeve, and Tom says: “Why, Aunt Sally, there ain't but nine spoons yet.” She says: “Go 'long to your play, and don't bother me.  I know better, I counted 'm myself.” “Well, I've counted them twice, Aunty, and I can't make but nine.” She looked out of all patience, but of course she come to count—anybody would. “I declare to gracious ther' ain't but nine!” she says.  "Why, what in the world—plague take the things, I'll count 'm again.” So I slipped back the one I had, and when she got done counting, she says: “Hang the troublesome rubbage, ther's ten now!” and she looked huffy and bothered both.  But Tom says: “Why, Aunty, I don't think there's ten.” “You numskull, didn't you see me count 'm?” “I know, but—” “Well, I'll count 'm again.” So I smouched one, and they come out nine, same as the other time.  Well, she was in a tearing way—just a-trembling all over, she was so mad.  But she counted and counted till she got that addled she'd start to count in the basket for a spoon sometimes; and so, three times they come out right, and three times they come out wrong.  Then she grabbed up the basket and slammed it across the house and knocked the cat galley-west; and she said cle'r out and let her have some peace, and if we come bothering around her again betwixt that and dinner she'd skin us.  So we had the odd spoon, and dropped it in her apron-pocket whilst she was a-giving us our sailing orders, and Jim got it all right, along with her shingle nail, before noon.  We was very well satisfied with this business, and Tom allowed it was worth twice the trouble it took, because he said now she couldn't ever count them spoons twice alike again to save her life; and wouldn't believe she'd counted them right if she did; and said that after she'd about counted her head off for the next three days he judged she'd give it up and offer to kill anybody that wanted her to ever count them any more. So we put the sheet back on the line that night, and stole one out of her closet; and kept on putting it back and stealing it again for a couple of days till she didn't know how many sheets she had any more, and she didn't care, and warn't a-going to bullyrag the rest of her soul out about it, and wouldn't count them again not to save her life; she druther die first. So we was all right now, as to the shirt and the sheet and the spoon and the candles, by the help of the calf and the rats and the mixed-up counting; and as to the candlestick, it warn't no consequence, it would blow over by and by. But that pie was a job; we had no end of trouble with that pie.  We fixed it up away down in the woods, and cooked it there; and we got it done at last, and very satisfactory, too; but not all in one day; and we had to use up three wash-pans full of flour before we got through, and we got burnt pretty much all over, in places, and eyes put out with the smoke; because, you see, we didn't want nothing but a crust, and we couldn't prop it up right, and she would always cave in.  But of course we thought of the right way at last—which was to cook the ladder, too, in the pie.  So then we laid in with Jim the second night, and tore up the sheet all in little strings and twisted them together, and long before daylight we had a lovely rope that you could a hung a person with.  We let on it took nine months to make it. And in the forenoon we took it down to the woods, but it wouldn't go into the pie.  Being made of a whole sheet, that way, there was rope enough for forty pies if we'd a wanted them, and plenty left over for soup, or sausage, or anything you choose.  We could a had a whole dinner. But we didn't need it.  All we needed was just enough for the pie, and so we throwed the rest away.  We didn't cook none of the pies in the wash-pan—afraid the solder would melt; but Uncle Silas he had a noble brass warming-pan which he thought considerable of, because it belonged to one of his ancesters with a long wooden handle that come over from England with William the Conqueror in the Mayflower or one of them early ships and was hid away up garret with a lot of other old pots and things that was valuable, not on account of being any account, because they warn't, but on account of them being relicts, you know, and we snaked her out, private, and took her down there, but she failed on the first pies, because we didn't know how, but she come up smiling on the last one.  We took and lined her with dough, and set her in the coals, and loaded her up with rag rope, and put on a dough roof, and shut down the lid, and put hot embers on top, and stood off five foot, with the long handle, cool and comfortable, and in fifteen minutes she turned out a pie that was a satisfaction to look at. But the person that et it would want to fetch a couple of kags of toothpicks along, for if that rope ladder wouldn't cramp him down to business I don't know nothing what I'm talking about, and lay him in enough stomach-ache to last him till next time, too. Nat didn't look when we put the witch pie in Jim's pan; and we put the three tin plates in the bottom of the pan under the vittles; and so Jim got everything all right, and as soon as he was by himself he busted into the pie and hid the rope ladder inside of his straw tick, and scratched some marks on a tin plate and throwed it out of the window-hole. CHAPTER XXXVIII. MAKING them pens was a distressid tough job, and so was the saw; and Jim allowed the inscription was going to be the toughest of all.  That's the one which the prisoner has to scrabble on the wall.  But he had to have it; Tom said he'd got to; there warn't no case of a state prisoner not scrabbling his inscription to leave behind, and his coat of arms. “Look at Lady Jane Grey,” he says; “look at Gilford Dudley; look at old Northumberland!  Why, Huck, s'pose it is considerble trouble?—what you going to do?—how you going to get around it?  Jim's got to do his inscription and coat of arms.  They all do.” Jim says: “Why, Mars Tom, I hain't got no coat o' arm; I hain't got nuffn but dish yer ole shirt, en you knows I got to keep de journal on dat.” “Oh, you don't understand, Jim; a coat of arms is very different.” “Well,” I says, “Jim's right, anyway, when he says he ain't got no coat of arms, because he hain't.” “I reckon I knowed that,” Tom says, “but you bet he'll have one before he goes out of this—because he's going out right, and there ain't going to be no flaws in his record.” So whilst me and Jim filed away at the pens on a brickbat apiece, Jim a-making his'n out of the brass and I making mine out of the spoon, Tom set to work to think out the coat of arms.  By and by he said he'd struck so many good ones he didn't hardly know which to take, but there was one which he reckoned he'd decide on.  He says: “On the scutcheon we'll have a bend or in the dexter base, a saltire murrey in the fess, with a dog, couchant, for common charge, and under his foot a chain embattled, for slavery, with a chevron vert in a chief engrailed, and three invected lines on a field azure, with the nombril points rampant on a dancette indented; crest, a runaway nigger, sable, with his bundle over his shoulder on a bar sinister; and a couple of gules for supporters, which is you and me; motto, Maggiore Fretta, Minore Otto.  Got it out of a book—means the more haste the less speed.” “Geewhillikins,” I says, “but what does the rest of it mean?” “We ain't got no time to bother over that,” he says; “we got to dig in like all git-out.” “Well, anyway,” I says, “what's some of it?  What's a fess?” “A fess—a fess is—you don't need to know what a fess is.  I'll show him how to make it when he gets to it.” “Shucks, Tom,” I says, “I think you might tell a person.  What's a bar sinister?” “Oh, I don't know.  But he's got to have it.  All the nobility does.” That was just his way.  If it didn't suit him to explain a thing to you, he wouldn't do it.  You might pump at him a week, it wouldn't make no difference. He'd got all that coat of arms business fixed, so now he started in to finish up the rest of that part of the work, which was to plan out a mournful inscription—said Jim got to have one, like they all done.  He made up a lot, and wrote them out on a paper, and read them off, so: 1.  Here a captive heart busted. 2.  Here a poor prisoner, forsook by the world and friends, fretted his sorrowful life. 3.  Here a lonely heart broke, and a worn spirit went to its rest, after thirty-seven years of solitary captivity. 4.  Here, homeless and friendless, after thirty-seven years of bitter captivity, perished a noble stranger, natural son of Louis XIV. Tom's voice trembled whilst he was reading them, and he most broke down. When he got done he couldn't no way make up his mind which one for Jim to scrabble on to the wall, they was all so good; but at last he allowed he would let him scrabble them all on.  Jim said it would take him a year to scrabble such a lot of truck on to the logs with a nail, and he didn't know how to make letters, besides; but Tom said he would block them out for him, and then he wouldn't have nothing to do but just follow the lines.  Then pretty soon he says: “Come to think, the logs ain't a-going to do; they don't have log walls in a dungeon:  we got to dig the inscriptions into a rock.  We'll fetch a rock.” Jim said the rock was worse than the logs; he said it would take him such a pison long time to dig them into a rock he wouldn't ever get out.  But Tom said he would let me help him do it.  Then he took a look to see how me and Jim was getting along with the pens.  It was most pesky tedious hard work and slow, and didn't give my hands no show to get well of the sores, and we didn't seem to make no headway, hardly; so Tom says: “I know how to fix it.  We got to have a rock for the coat of arms and mournful inscriptions, and we can kill two birds with that same rock. There's a gaudy big grindstone down at the mill, and we'll smouch it, and carve the things on it, and file out the pens and the saw on it, too.” It warn't no slouch of an idea; and it warn't no slouch of a grindstone nuther; but we allowed we'd tackle it.  It warn't quite midnight yet, so we cleared out for the mill, leaving Jim at work.  We smouched the grindstone, and set out to roll her home, but it was a most nation tough job. Sometimes, do what we could, we couldn't keep her from falling over, and she come mighty near mashing us every time.  Tom said she was going to get one of us, sure, before we got through.  We got her half way; and then we was plumb played out, and most drownded with sweat.  We see it warn't no use; we got to go and fetch Jim. So he raised up his bed and slid the chain off of the bed-leg, and wrapt it round and round his neck, and we crawled out through our hole and down there, and Jim and me laid into that grindstone and walked her along like nothing; and Tom superintended.  He could out-superintend any boy I ever see.  He knowed how to do everything. Our hole was pretty big, but it warn't big enough to get the grindstone through; but Jim he took the pick and soon made it big enough.  Then Tom marked out them things on it with the nail, and set Jim to work on them, with the nail for a chisel and an iron bolt from the rubbage in the lean-to for a hammer, and told him to work till the rest of his candle quit on him, and then he could go to bed, and hide the grindstone under his straw tick and sleep on it.  Then we helped him fix his chain back on the bed-leg, and was ready for bed ourselves.  But Tom thought of something, and says: “You got any spiders in here, Jim?” “No, sah, thanks to goodness I hain't, Mars Tom.” “All right, we'll get you some.” “But bless you, honey, I doan' want none.  I's afeard un um.  I jis' 's soon have rattlesnakes aroun'.” Tom thought a minute or two, and says: “It's a good idea.  And I reckon it's been done.  It must a been done; it stands to reason.  Yes, it's a prime good idea.  Where could you keep it?” “Keep what, Mars Tom?” “Why, a rattlesnake.” “De goodness gracious alive, Mars Tom!  Why, if dey was a rattlesnake to come in heah I'd take en bust right out thoo dat log wall, I would, wid my head.” “Why, Jim, you wouldn't be afraid of it after a little.  You could tame it.” “Tame it!” “Yes—easy enough.  Every animal is grateful for kindness and petting, and they wouldn't think of hurting a person that pets them.  Any book will tell you that.  You try—that's all I ask; just try for two or three days. Why, you can get him so, in a little while, that he'll love you; and sleep with you; and won't stay away from you a minute; and will let you wrap him round your neck and put his head in your mouth.” “Please, Mars Tom—doan' talk so!  I can't stan' it!  He'd let me shove his head in my mouf—fer a favor, hain't it?  I lay he'd wait a pow'ful long time 'fo' I ast him.  En mo' en dat, I doan' want him to sleep wid me.” “Jim, don't act so foolish.  A prisoner's got to have some kind of a dumb pet, and if a rattlesnake hain't ever been tried, why, there's more glory to be gained in your being the first to ever try it than any other way you could ever think of to save your life.” “Why, Mars Tom, I doan' want no sich glory.  Snake take 'n bite Jim's chin off, den whah is de glory?  No, sah, I doan' want no sich doin's.” “Blame it, can't you try?  I only want you to try—you needn't keep it up if it don't work.” “But de trouble all done ef de snake bite me while I's a tryin' him. Mars Tom, I's willin' to tackle mos' anything 'at ain't onreasonable, but ef you en Huck fetches a rattlesnake in heah for me to tame, I's gwyne to leave, dat's shore.” “Well, then, let it go, let it go, if you're so bull-headed about it.  We can get you some garter-snakes, and you can tie some buttons on their tails, and let on they're rattlesnakes, and I reckon that 'll have to do.” “I k'n stan' dem, Mars Tom, but blame' 'f I couldn' get along widout um, I tell you dat.  I never knowed b'fo' 't was so much bother and trouble to be a prisoner.” “Well, it always is when it's done right.  You got any rats around here?” “No, sah, I hain't seed none.” “Well, we'll get you some rats.” “Why, Mars Tom, I doan' want no rats.  Dey's de dadblamedest creturs to 'sturb a body, en rustle roun' over 'im, en bite his feet, when he's tryin' to sleep, I ever see.  No, sah, gimme g'yarter-snakes, 'f I's got to have 'm, but doan' gimme no rats; I hain' got no use f'r um, skasely.” “But, Jim, you got to have 'em—they all do.  So don't make no more fuss about it.  Prisoners ain't ever without rats.  There ain't no instance of it.  And they train them, and pet them, and learn them tricks, and they get to be as sociable as flies.  But you got to play music to them.  You got anything to play music on?” “I ain' got nuffn but a coase comb en a piece o' paper, en a juice-harp; but I reck'n dey wouldn' take no stock in a juice-harp.” “Yes they would they don't care what kind of music 'tis.  A jews-harp's plenty good enough for a rat.  All animals like music—in a prison they dote on it.  Specially, painful music; and you can't get no other kind out of a jews-harp.  It always interests them; they come out to see what's the matter with you.  Yes, you're all right; you're fixed very well.  You want to set on your bed nights before you go to sleep, and early in the mornings, and play your jews-harp; play 'The Last Link is Broken'—that's the thing that 'll scoop a rat quicker 'n anything else; and when you've played about two minutes you'll see all the rats, and the snakes, and spiders, and things begin to feel worried about you, and come.  And they'll just fairly swarm over you, and have a noble good time.” “Yes, dey will, I reck'n, Mars Tom, but what kine er time is Jim havin'? Blest if I kin see de pint.  But I'll do it ef I got to.  I reck'n I better keep de animals satisfied, en not have no trouble in de house.” Tom waited to think it over, and see if there wasn't nothing else; and pretty soon he says: “Oh, there's one thing I forgot.  Could you raise a flower here, do you reckon?” “I doan know but maybe I could, Mars Tom; but it's tolable dark in heah, en I ain' got no use f'r no flower, nohow, en she'd be a pow'ful sight o' trouble.” “Well, you try it, anyway.  Some other prisoners has done it.” “One er dem big cat-tail-lookin' mullen-stalks would grow in heah, Mars Tom, I reck'n, but she wouldn't be wuth half de trouble she'd coss.” “Don't you believe it.  We'll fetch you a little one and you plant it in the corner over there, and raise it.  And don't call it mullen, call it Pitchiola—that's its right name when it's in a prison.  And you want to water it with your tears.” “Why, I got plenty spring water, Mars Tom.” “You don't want spring water; you want to water it with your tears.  It's the way they always do.” “Why, Mars Tom, I lay I kin raise one er dem mullen-stalks twyste wid spring water whiles another man's a start'n one wid tears.” “That ain't the idea.  You got to do it with tears.” “She'll die on my han's, Mars Tom, she sholy will; kase I doan' skasely ever cry.” So Tom was stumped.  But he studied it over, and then said Jim would have to worry along the best he could with an onion.  He promised he would go to the nigger cabins and drop one, private, in Jim's coffee-pot, in the morning. Jim said he would “jis' 's soon have tobacker in his coffee;” and found so much fault with it, and with the work and bother of raising the mullen, and jews-harping the rats, and petting and flattering up the snakes and spiders and things, on top of all the other work he had to do on pens, and inscriptions, and journals, and things, which made it more trouble and worry and responsibility to be a prisoner than anything he ever undertook, that Tom most lost all patience with him; and said he was just loadened down with more gaudier chances than a prisoner ever had in the world to make a name for himself, and yet he didn't know enough to appreciate them, and they was just about wasted on him.  So Jim he was sorry, and said he wouldn't behave so no more, and then me and Tom shoved for bed. CHAPTER XXXIX. IN the morning we went up to the village and bought a wire rat-trap and fetched it down, and unstopped the best rat-hole, and in about an hour we had fifteen of the bulliest kind of ones; and then we took it and put it in a safe place under Aunt Sally's bed.  But while we was gone for spiders little Thomas Franklin Benjamin Jefferson Elexander Phelps found it there, and opened the door of it to see if the rats would come out, and they did; and Aunt Sally she come in, and when we got back she was a-standing on top of the bed raising Cain, and the rats was doing what they could to keep off the dull times for her.  So she took and dusted us both with the hickry, and we was as much as two hours catching another fifteen or sixteen, drat that meddlesome cub, and they warn't the likeliest, nuther, because the first haul was the pick of the flock.  I never see a likelier lot of rats than what that first haul was. We got a splendid stock of sorted spiders, and bugs, and frogs, and caterpillars, and one thing or another; and we like to got a hornet's nest, but we didn't.  The family was at home.  We didn't give it right up, but stayed with them as long as we could; because we allowed we'd tire them out or they'd got to tire us out, and they done it.  Then we got allycumpain and rubbed on the places, and was pretty near all right again, but couldn't set down convenient.  And so we went for the snakes, and grabbed a couple of dozen garters and house-snakes, and put them in a bag, and put it in our room, and by that time it was supper-time, and a rattling good honest day's work:  and hungry?—oh, no, I reckon not!  And there warn't a blessed snake up there when we went back—we didn't half tie the sack, and they worked out somehow, and left.  But it didn't matter much, because they was still on the premises somewheres.  So we judged we could get some of them again.  No, there warn't no real scarcity of snakes about the house for a considerable spell.  You'd see them dripping from the rafters and places every now and then; and they generly landed in your plate, or down the back of your neck, and most of the time where you didn't want them.  Well, they was handsome and striped, and there warn't no harm in a million of them; but that never made no difference to Aunt Sally; she despised snakes, be the breed what they might, and she couldn't stand them no way you could fix it; and every time one of them flopped down on her, it didn't make no difference what she was doing, she would just lay that work down and light out.  I never see such a woman.  And you could hear her whoop to Jericho.  You couldn't get her to take a-holt of one of them with the tongs.  And if she turned over and found one in bed she would scramble out and lift a howl that you would think the house was afire.  She disturbed the old man so that he said he could most wish there hadn't ever been no snakes created.  Why, after every last snake had been gone clear out of the house for as much as a week Aunt Sally warn't over it yet; she warn't near over it; when she was setting thinking about something you could touch her on the back of her neck with a feather and she would jump right out of her stockings.  It was very curious.  But Tom said all women was just so.  He said they was made that way for some reason or other. We got a licking every time one of our snakes come in her way, and she allowed these lickings warn't nothing to what she would do if we ever loaded up the place again with them.  I didn't mind the lickings, because they didn't amount to nothing; but I minded the trouble we had to lay in another lot.  But we got them laid in, and all the other things; and you never see a cabin as blithesome as Jim's was when they'd all swarm out for music and go for him.  Jim didn't like the spiders, and the spiders didn't like Jim; and so they'd lay for him, and make it mighty warm for him.  And he said that between the rats and the snakes and the grindstone there warn't no room in bed for him, skasely; and when there was, a body couldn't sleep, it was so lively, and it was always lively, he said, because they never all slept at one time, but took turn about, so when the snakes was asleep the rats was on deck, and when the rats turned in the snakes come on watch, so he always had one gang under him, in his way, and t'other gang having a circus over him, and if he got up to hunt a new place the spiders would take a chance at him as he crossed over. He said if he ever got out this time he wouldn't ever be a prisoner again, not for a salary. Well, by the end of three weeks everything was in pretty good shape.  The shirt was sent in early, in a pie, and every time a rat bit Jim he would get up and write a little in his journal whilst the ink was fresh; the pens was made, the inscriptions and so on was all carved on the grindstone; the bed-leg was sawed in two, and we had et up the sawdust, and it give us a most amazing stomach-ache.  We reckoned we was all going to die, but didn't.  It was the most undigestible sawdust I ever see; and Tom said the same. But as I was saying, we'd got all the work done now, at last; and we was all pretty much fagged out, too, but mainly Jim.  The old man had wrote a couple of times to the plantation below Orleans to come and get their runaway nigger, but hadn't got no answer, because there warn't no such plantation; so he allowed he would advertise Jim in the St. Louis and New Orleans papers; and when he mentioned the St. Louis ones it give me the cold shivers, and I see we hadn't no time to lose. So Tom said, now for the nonnamous letters. “What's them?”  I says. “Warnings to the people that something is up.  Sometimes it's done one way, sometimes another.  But there's always somebody spying around that gives notice to the governor of the castle.  When Louis XVI. was going to light out of the Tooleries, a servant-girl done it.  It's a very good way, and so is the nonnamous letters.  We'll use them both.  And it's usual for the prisoner's mother to change clothes with him, and she stays in, and he slides out in her clothes.  We'll do that, too.” “But looky here, Tom, what do we want to warn anybody for that something's up?  Let them find it out for themselves—it's their lookout.” “Yes, I know; but you can't depend on them.  It's the way they've acted from the very start—left us to do everything.  They're so confiding and mullet-headed they don't take notice of nothing at all.  So if we don't give them notice there won't be nobody nor nothing to interfere with us, and so after all our hard work and trouble this escape 'll go off perfectly flat; won't amount to nothing—won't be nothing to it.” “Well, as for me, Tom, that's the way I'd like.” “Shucks!” he says, and looked disgusted.  So I says: “But I ain't going to make no complaint.  Any way that suits you suits me. What you going to do about the servant-girl?” “You'll be her.  You slide in, in the middle of the night, and hook that yaller girl's frock.” “Why, Tom, that 'll make trouble next morning; because, of course, she prob'bly hain't got any but that one.” “I know; but you don't want it but fifteen minutes, to carry the nonnamous letter and shove it under the front door.” “All right, then, I'll do it; but I could carry it just as handy in my own togs.” “You wouldn't look like a servant-girl then, would you?” “No, but there won't be nobody to see what I look like, anyway.” “That ain't got nothing to do with it.  The thing for us to do is just to do our duty, and not worry about whether anybody sees us do it or not. Hain't you got no principle at all?” “All right, I ain't saying nothing; I'm the servant-girl.  Who's Jim's mother?” “I'm his mother.  I'll hook a gown from Aunt Sally.” “Well, then, you'll have to stay in the cabin when me and Jim leaves.” “Not much.  I'll stuff Jim's clothes full of straw and lay it on his bed to represent his mother in disguise, and Jim 'll take the nigger woman's gown off of me and wear it, and we'll all evade together.  When a prisoner of style escapes it's called an evasion.  It's always called so when a king escapes, f'rinstance.  And the same with a king's son; it don't make no difference whether he's a natural one or an unnatural one.” So Tom he wrote the nonnamous letter, and I smouched the yaller wench's frock that night, and put it on, and shoved it under the front door, the way Tom told me to.  It said: Beware.  Trouble is brewing.  Keep a sharp lookout. Unknown Friend. Next night we stuck a picture, which Tom drawed in blood, of a skull and crossbones on the front door; and next night another one of a coffin on the back door.  I never see a family in such a sweat.  They couldn't a been worse scared if the place had a been full of ghosts laying for them behind everything and under the beds and shivering through the air.  If a door banged, Aunt Sally she jumped and said “ouch!” if anything fell, she jumped and said “ouch!” if you happened to touch her, when she warn't noticing, she done the same; she couldn't face noway and be satisfied, because she allowed there was something behind her every time—so she was always a-whirling around sudden, and saying “ouch,” and before she'd got two-thirds around she'd whirl back again, and say it again; and she was afraid to go to bed, but she dasn't set up.  So the thing was working very well, Tom said; he said he never see a thing work more satisfactory. He said it showed it was done right. So he said, now for the grand bulge!  So the very next morning at the streak of dawn we got another letter ready, and was wondering what we better do with it, because we heard them say at supper they was going to have a nigger on watch at both doors all night.  Tom he went down the lightning-rod to spy around; and the nigger at the back door was asleep, and he stuck it in the back of his neck and come back.  This letter said: Don't betray me, I wish to be your friend.  There is a desprate gang of cutthroats from over in the Indian Territory going to steal your runaway nigger to-night, and they have been trying to scare you so as you will stay in the house and not bother them.  I am one of the gang, but have got religgion and wish to quit it and lead an honest life again, and will betray the helish design. They will sneak down from northards, along the fence, at midnight exact, with a false key, and go in the nigger's cabin to get him. I am to be off a piece and blow a tin horn if I see any danger; but stead of that I will baa like a sheep soon as they get in and not blow at all; then whilst they are getting his chains loose, you slip there and lock them in, and can kill them at your leasure.  Don't do anything but just the way I am telling you, if you do they will suspicion something and raise whoop-jamboreehoo. I do not wish any reward but to know I have done the right thing. Unknown Friend. CHAPTER XL. WE was feeling pretty good after breakfast, and took my canoe and went over the river a-fishing, with a lunch, and had a good time, and took a look at the raft and found her all right, and got home late to supper, and found them in such a sweat and worry they didn't know which end they was standing on, and made us go right off to bed the minute we was done supper, and wouldn't tell us what the trouble was, and never let on a word about the new letter, but didn't need to, because we knowed as much about it as anybody did, and as soon as we was half up stairs and her back was turned we slid for the cellar cupboard and loaded up a good lunch and took it up to our room and went to bed, and got up about half-past eleven, and Tom put on Aunt Sally's dress that he stole and was going to start with the lunch, but says: “Where's the butter?” “I laid out a hunk of it,” I says, “on a piece of a corn-pone.” “Well, you left it laid out, then—it ain't here.” “We can get along without it,” I says. “We can get along with it, too,” he says; “just you slide down cellar and fetch it.  And then mosey right down the lightning-rod and come along. I'll go and stuff the straw into Jim's clothes to represent his mother in disguise, and be ready to baa like a sheep and shove soon as you get there.” So out he went, and down cellar went I. The hunk of butter, big as a person's fist, was where I had left it, so I took up the slab of corn-pone with it on, and blowed out my light, and started up stairs very stealthy, and got up to the main floor all right, but here comes Aunt Sally with a candle, and I clapped the truck in my hat, and clapped my hat on my head, and the next second she see me; and she says: “You been down cellar?” “Yes'm.” “What you been doing down there?” “Noth'n.” “Noth'n!” “No'm.” “Well, then, what possessed you to go down there this time of night?” “I don't know 'm.” “You don't know?  Don't answer me that way. Tom, I want to know what you been doing down there.” “I hain't been doing a single thing, Aunt Sally, I hope to gracious if I have.” I reckoned she'd let me go now, and as a generl thing she would; but I s'pose there was so many strange things going on she was just in a sweat about every little thing that warn't yard-stick straight; so she says, very decided: “You just march into that setting-room and stay there till I come.  You been up to something you no business to, and I lay I'll find out what it is before I'M done with you.” So she went away as I opened the door and walked into the setting-room. My, but there was a crowd there!  Fifteen farmers, and every one of them had a gun.  I was most powerful sick, and slunk to a chair and set down. They was setting around, some of them talking a little, in a low voice, and all of them fidgety and uneasy, but trying to look like they warn't; but I knowed they was, because they was always taking off their hats, and putting them on, and scratching their heads, and changing their seats, and fumbling with their buttons.  I warn't easy myself, but I didn't take my hat off, all the same. I did wish Aunt Sally would come, and get done with me, and lick me, if she wanted to, and let me get away and tell Tom how we'd overdone this thing, and what a thundering hornet's-nest we'd got ourselves into, so we could stop fooling around straight off, and clear out with Jim before these rips got out of patience and come for us. At last she come and begun to ask me questions, but I couldn't answer them straight, I didn't know which end of me was up; because these men was in such a fidget now that some was wanting to start right NOW and lay for them desperadoes, and saying it warn't but a few minutes to midnight; and others was trying to get them to hold on and wait for the sheep-signal; and here was Aunty pegging away at the questions, and me a-shaking all over and ready to sink down in my tracks I was that scared; and the place getting hotter and hotter, and the butter beginning to melt and run down my neck and behind my ears; and pretty soon, when one of them says, “I'M for going and getting in the cabin first and right now, and catching them when they come,” I most dropped; and a streak of butter come a-trickling down my forehead, and Aunt Sally she see it, and turns white as a sheet, and says: “For the land's sake, what is the matter with the child?  He's got the brain-fever as shore as you're born, and they're oozing out!” And everybody runs to see, and she snatches off my hat, and out comes the bread and what was left of the butter, and she grabbed me, and hugged me, and says: “Oh, what a turn you did give me! and how glad and grateful I am it ain't no worse; for luck's against us, and it never rains but it pours, and when I see that truck I thought we'd lost you, for I knowed by the color and all it was just like your brains would be if—Dear, dear, whyd'nt you tell me that was what you'd been down there for, I wouldn't a cared.  Now cler out to bed, and don't lemme see no more of you till morning!” I was up stairs in a second, and down the lightning-rod in another one, and shinning through the dark for the lean-to.  I couldn't hardly get my words out, I was so anxious; but I told Tom as quick as I could we must jump for it now, and not a minute to lose—the house full of men, yonder, with guns! His eyes just blazed; and he says: “No!—is that so?  ain't it bully!  Why, Huck, if it was to do over again, I bet I could fetch two hundred!  If we could put it off till—” “Hurry!  Hurry!”  I says.  "Where's Jim?” “Right at your elbow; if you reach out your arm you can touch him.  He's dressed, and everything's ready.  Now we'll slide out and give the sheep-signal.” But then we heard the tramp of men coming to the door, and heard them begin to fumble with the pad-lock, and heard a man say: “I told you we'd be too soon; they haven't come—the door is locked. Here, I'll lock some of you into the cabin, and you lay for 'em in the dark and kill 'em when they come; and the rest scatter around a piece, and listen if you can hear 'em coming.” So in they come, but couldn't see us in the dark, and most trod on us whilst we was hustling to get under the bed.  But we got under all right, and out through the hole, swift but soft—Jim first, me next, and Tom last, which was according to Tom's orders.  Now we was in the lean-to, and heard trampings close by outside.  So we crept to the door, and Tom stopped us there and put his eye to the crack, but couldn't make out nothing, it was so dark; and whispered and said he would listen for the steps to get further, and when he nudged us Jim must glide out first, and him last.  So he set his ear to the crack and listened, and listened, and listened, and the steps a-scraping around out there all the time; and at last he nudged us, and we slid out, and stooped down, not breathing, and not making the least noise, and slipped stealthy towards the fence in Injun file, and got to it all right, and me and Jim over it; but Tom's britches catched fast on a splinter on the top rail, and then he hear the steps coming, so he had to pull loose, which snapped the splinter and made a noise; and as he dropped in our tracks and started somebody sings out: “Who's that?  Answer, or I'll shoot!” But we didn't answer; we just unfurled our heels and shoved.  Then there was a rush, and a Bang, Bang, Bang! and the bullets fairly whizzed around us! We heard them sing out: “Here they are!  They've broke for the river!  After 'em, boys, and turn loose the dogs!” So here they come, full tilt.  We could hear them because they wore boots and yelled, but we didn't wear no boots and didn't yell.  We was in the path to the mill; and when they got pretty close on to us we dodged into the bush and let them go by, and then dropped in behind them.  They'd had all the dogs shut up, so they wouldn't scare off the robbers; but by this time somebody had let them loose, and here they come, making powwow enough for a million; but they was our dogs; so we stopped in our tracks till they catched up; and when they see it warn't nobody but us, and no excitement to offer them, they only just said howdy, and tore right ahead towards the shouting and clattering; and then we up-steam again, and whizzed along after them till we was nearly to the mill, and then struck up through the bush to where my canoe was tied, and hopped in and pulled for dear life towards the middle of the river, but didn't make no more noise than we was obleeged to. Then we struck out, easy and comfortable, for the island where my raft was; and we could hear them yelling and barking at each other all up and down the bank, till we was so far away the sounds got dim and died out.  And when we stepped on to the raft I says: “Now, old Jim, you're a free man again, and I bet you won't ever be a slave no more.” “En a mighty good job it wuz, too, Huck.  It 'uz planned beautiful, en it 'uz done beautiful; en dey ain't nobody kin git up a plan dat's mo' mixed-up en splendid den what dat one wuz.” We was all glad as we could be, but Tom was the gladdest of all because he had a bullet in the calf of his leg. When me and Jim heard that we didn't feel so brash as what we did before. It was hurting him considerable, and bleeding; so we laid him in the wigwam and tore up one of the duke's shirts for to bandage him, but he says: “Gimme the rags; I can do it myself.  Don't stop now; don't fool around here, and the evasion booming along so handsome; man the sweeps, and set her loose!  Boys, we done it elegant!—'deed we did.  I wish we'd a had the handling of Louis XVI., there wouldn't a been no 'Son of Saint Louis, ascend to heaven!' wrote down in his biography; no, sir, we'd a whooped him over the border—that's what we'd a done with him—and done it just as slick as nothing at all, too.  Man the sweeps—man the sweeps!” But me and Jim was consulting—and thinking.  And after we'd thought a minute, I says: “Say it, Jim.” So he says: “Well, den, dis is de way it look to me, Huck.  Ef it wuz him dat 'uz bein' sot free, en one er de boys wuz to git shot, would he say, 'Go on en save me, nemmine 'bout a doctor f'r to save dis one?'  Is dat like Mars Tom Sawyer?  Would he say dat?  You bet he wouldn't!  well, den, is Jim gywne to say it?  No, sah—I doan' budge a step out'n dis place 'dout a doctor, not if it's forty year!” I knowed he was white inside, and I reckoned he'd say what he did say—so it was all right now, and I told Tom I was a-going for a doctor.  He raised considerable row about it, but me and Jim stuck to it and wouldn't budge; so he was for crawling out and setting the raft loose himself; but we wouldn't let him.  Then he give us a piece of his mind, but it didn't do no good. So when he sees me getting the canoe ready, he says: “Well, then, if you're bound to go, I'll tell you the way to do when you get to the village.  Shut the door and blindfold the doctor tight and fast, and make him swear to be silent as the grave, and put a purse full of gold in his hand, and then take and lead him all around the back alleys and everywheres in the dark, and then fetch him here in the canoe, in a roundabout way amongst the islands, and search him and take his chalk away from him, and don't give it back to him till you get him back to the village, or else he will chalk this raft so he can find it again. It's the way they all do.” So I said I would, and left, and Jim was to hide in the woods when he see the doctor coming till he was gone again. CHAPTER XLI. THE doctor was an old man; a very nice, kind-looking old man when I got him up.  I told him me and my brother was over on Spanish Island hunting yesterday afternoon, and camped on a piece of a raft we found, and about midnight he must a kicked his gun in his dreams, for it went off and shot him in the leg, and we wanted him to go over there and fix it and not say nothing about it, nor let anybody know, because we wanted to come home this evening and surprise the folks. “Who is your folks?” he says. “The Phelpses, down yonder.” “Oh,” he says.  And after a minute, he says: “How'd you say he got shot?” “He had a dream,” I says, “and it shot him.” “Singular dream,” he says. So he lit up his lantern, and got his saddle-bags, and we started.  But when he sees the canoe he didn't like the look of her—said she was big enough for one, but didn't look pretty safe for two.  I says: “Oh, you needn't be afeard, sir, she carried the three of us easy enough.” “What three?” “Why, me and Sid, and—and—and the guns; that's what I mean.” “Oh,” he says. But he put his foot on the gunnel and rocked her, and shook his head, and said he reckoned he'd look around for a bigger one.  But they was all locked and chained; so he took my canoe, and said for me to wait till he come back, or I could hunt around further, or maybe I better go down home and get them ready for the surprise if I wanted to.  But I said I didn't; so I told him just how to find the raft, and then he started. I struck an idea pretty soon.  I says to myself, spos'n he can't fix that leg just in three shakes of a sheep's tail, as the saying is? spos'n it takes him three or four days?  What are we going to do?—lay around there till he lets the cat out of the bag?  No, sir; I know what I'll do.  I'll wait, and when he comes back if he says he's got to go any more I'll get down there, too, if I swim; and we'll take and tie him, and keep him, and shove out down the river; and when Tom's done with him we'll give him what it's worth, or all we got, and then let him get ashore. So then I crept into a lumber-pile to get some sleep; and next time I waked up the sun was away up over my head!  I shot out and went for the doctor's house, but they told me he'd gone away in the night some time or other, and warn't back yet.  Well, thinks I, that looks powerful bad for Tom, and I'll dig out for the island right off.  So away I shoved, and turned the corner, and nearly rammed my head into Uncle Silas's stomach! He says: “Why, Tom!  Where you been all this time, you rascal?” “I hain't been nowheres,” I says, “only just hunting for the runaway nigger—me and Sid.” “Why, where ever did you go?” he says.  "Your aunt's been mighty uneasy.” “She needn't,” I says, “because we was all right.  We followed the men and the dogs, but they outrun us, and we lost them; but we thought we heard them on the water, so we got a canoe and took out after them and crossed over, but couldn't find nothing of them; so we cruised along up-shore till we got kind of tired and beat out; and tied up the canoe and went to sleep, and never waked up till about an hour ago; then we paddled over here to hear the news, and Sid's at the post-office to see what he can hear, and I'm a-branching out to get something to eat for us, and then we're going home.” So then we went to the post-office to get “Sid”; but just as I suspicioned, he warn't there; so the old man he got a letter out of the office, and we waited awhile longer, but Sid didn't come; so the old man said, come along, let Sid foot it home, or canoe it, when he got done fooling around—but we would ride.  I couldn't get him to let me stay and wait for Sid; and he said there warn't no use in it, and I must come along, and let Aunt Sally see we was all right. When we got home Aunt Sally was that glad to see me she laughed and cried both, and hugged me, and give me one of them lickings of hern that don't amount to shucks, and said she'd serve Sid the same when he come. And the place was plum full of farmers and farmers' wives, to dinner; and such another clack a body never heard.  Old Mrs. Hotchkiss was the worst; her tongue was a-going all the time.  She says: “Well, Sister Phelps, I've ransacked that-air cabin over, an' I b'lieve the nigger was crazy.  I says to Sister Damrell—didn't I, Sister Damrell?—s'I, he's crazy, s'I—them's the very words I said.  You all hearn me: he's crazy, s'I; everything shows it, s'I.  Look at that-air grindstone, s'I; want to tell me't any cretur 't's in his right mind 's a goin' to scrabble all them crazy things onto a grindstone, s'I?  Here sich 'n' sich a person busted his heart; 'n' here so 'n' so pegged along for thirty-seven year, 'n' all that—natcherl son o' Louis somebody, 'n' sich everlast'n rubbage.  He's plumb crazy, s'I; it's what I says in the fust place, it's what I says in the middle, 'n' it's what I says last 'n' all the time—the nigger's crazy—crazy 's Nebokoodneezer, s'I.” “An' look at that-air ladder made out'n rags, Sister Hotchkiss,” says old Mrs. Damrell; “what in the name o' goodness could he ever want of—” “The very words I was a-sayin' no longer ago th'n this minute to Sister Utterback, 'n' she'll tell you so herself.  Sh-she, look at that-air rag ladder, sh-she; 'n' s'I, yes, look at it, s'I—what could he a-wanted of it, s'I.  Sh-she, Sister Hotchkiss, sh-she—” “But how in the nation'd they ever git that grindstone in there, anyway? 'n' who dug that-air hole? 'n' who—” “My very words, Brer Penrod!  I was a-sayin'—pass that-air sasser o' m'lasses, won't ye?—I was a-sayin' to Sister Dunlap, jist this minute, how did they git that grindstone in there, s'I.  Without help, mind you—'thout help!  that's wher 'tis.  Don't tell me, s'I; there wuz help, s'I; 'n' ther' wuz a plenty help, too, s'I; ther's ben a dozen a-helpin' that nigger, 'n' I lay I'd skin every last nigger on this place but I'd find out who done it, s'I; 'n' moreover, s'I—” “A dozen says you!—forty couldn't a done every thing that's been done. Look at them case-knife saws and things, how tedious they've been made; look at that bed-leg sawed off with 'm, a week's work for six men; look at that nigger made out'n straw on the bed; and look at—” “You may well say it, Brer Hightower!  It's jist as I was a-sayin' to Brer Phelps, his own self.  S'e, what do you think of it, Sister Hotchkiss, s'e? Think o' what, Brer Phelps, s'I?  Think o' that bed-leg sawed off that a way, s'e?  think of it, s'I?  I lay it never sawed itself off, s'I—somebody sawed it, s'I; that's my opinion, take it or leave it, it mayn't be no 'count, s'I, but sich as 't is, it's my opinion, s'I, 'n' if any body k'n start a better one, s'I, let him do it, s'I, that's all.  I says to Sister Dunlap, s'I—” “Why, dog my cats, they must a ben a house-full o' niggers in there every night for four weeks to a done all that work, Sister Phelps.  Look at that shirt—every last inch of it kivered over with secret African writ'n done with blood!  Must a ben a raft uv 'm at it right along, all the time, amost.  Why, I'd give two dollars to have it read to me; 'n' as for the niggers that wrote it, I 'low I'd take 'n' lash 'm t'll—” “People to help him, Brother Marples!  Well, I reckon you'd think so if you'd a been in this house for a while back.  Why, they've stole everything they could lay their hands on—and we a-watching all the time, mind you. They stole that shirt right off o' the line! and as for that sheet they made the rag ladder out of, ther' ain't no telling how many times they didn't steal that; and flour, and candles, and candlesticks, and spoons, and the old warming-pan, and most a thousand things that I disremember now, and my new calico dress; and me and Silas and my Sid and Tom on the constant watch day and night, as I was a-telling you, and not a one of us could catch hide nor hair nor sight nor sound of them; and here at the last minute, lo and behold you, they slides right in under our noses and fools us, and not only fools us but the Injun Territory robbers too, and actuly gets away with that nigger safe and sound, and that with sixteen men and twenty-two dogs right on their very heels at that very time!  I tell you, it just bangs anything I ever heard of. Why, sperits couldn't a done better and been no smarter. And I reckon they must a been sperits—because, you know our dogs, and ther' ain't no better; well, them dogs never even got on the track of 'm once!  You explain that to me if you can!—any of you!” “Well, it does beat—” “Laws alive, I never—” “So help me, I wouldn't a be—” “House-thieves as well as—” “Goodnessgracioussakes, I'd a ben afeard to live in sich a—” “'Fraid to live!—why, I was that scared I dasn't hardly go to bed, or get up, or lay down, or set down, Sister Ridgeway.  Why, they'd steal the very—why, goodness sakes, you can guess what kind of a fluster I was in by the time midnight come last night.  I hope to gracious if I warn't afraid they'd steal some o' the family!  I was just to that pass I didn't have no reasoning faculties no more.  It looks foolish enough now, in the daytime; but I says to myself, there's my two poor boys asleep, 'way up stairs in that lonesome room, and I declare to goodness I was that uneasy 't I crep' up there and locked 'em in!  I did.  And anybody would. Because, you know, when you get scared that way, and it keeps running on, and getting worse and worse all the time, and your wits gets to addling, and you get to doing all sorts o' wild things, and by and by you think to yourself, spos'n I was a boy, and was away up there, and the door ain't locked, and you—” She stopped, looking kind of wondering, and then she turned her head around slow, and when her eye lit on me—I got up and took a walk. Says I to myself, I can explain better how we come to not be in that room this morning if I go out to one side and study over it a little.  So I done it.  But I dasn't go fur, or she'd a sent for me.  And when it was late in the day the people all went, and then I come in and told her the noise and shooting waked up me and “Sid,” and the door was locked, and we wanted to see the fun, so we went down the lightning-rod, and both of us got hurt a little, and we didn't never want to try that no more.  And then I went on and told her all what I told Uncle Silas before; and then she said she'd forgive us, and maybe it was all right enough anyway, and about what a body might expect of boys, for all boys was a pretty harum-scarum lot as fur as she could see; and so, as long as no harm hadn't come of it, she judged she better put in her time being grateful we was alive and well and she had us still, stead of fretting over what was past and done.  So then she kissed me, and patted me on the head, and dropped into a kind of a brown study; and pretty soon jumps up, and says: “Why, lawsamercy, it's most night, and Sid not come yet!  What has become of that boy?” I see my chance; so I skips up and says: “I'll run right up to town and get him,” I says. “No you won't,” she says.  "You'll stay right wher' you are; one's enough to be lost at a time.  If he ain't here to supper, your uncle 'll go.” Well, he warn't there to supper; so right after supper uncle went. He come back about ten a little bit uneasy; hadn't run across Tom's track. Aunt Sally was a good deal uneasy; but Uncle Silas he said there warn't no occasion to be—boys will be boys, he said, and you'll see this one turn up in the morning all sound and right.  So she had to be satisfied.  But she said she'd set up for him a while anyway, and keep a light burning so he could see it. And then when I went up to bed she come up with me and fetched her candle, and tucked me in, and mothered me so good I felt mean, and like I couldn't look her in the face; and she set down on the bed and talked with me a long time, and said what a splendid boy Sid was, and didn't seem to want to ever stop talking about him; and kept asking me every now and then if I reckoned he could a got lost, or hurt, or maybe drownded, and might be laying at this minute somewheres suffering or dead, and she not by him to help him, and so the tears would drip down silent, and I would tell her that Sid was all right, and would be home in the morning, sure; and she would squeeze my hand, or maybe kiss me, and tell me to say it again, and keep on saying it, because it done her good, and she was in so much trouble.  And when she was going away she looked down in my eyes so steady and gentle, and says: “The door ain't going to be locked, Tom, and there's the window and the rod; but you'll be good, won't you?  And you won't go?  For my sake.” Laws knows I wanted to go bad enough to see about Tom, and was all intending to go; but after that I wouldn't a went, not for kingdoms. But she was on my mind and Tom was on my mind, so I slept very restless. And twice I went down the rod away in the night, and slipped around front, and see her setting there by her candle in the window with her eyes towards the road and the tears in them; and I wished I could do something for her, but I couldn't, only to swear that I wouldn't never do nothing to grieve her any more.  And the third time I waked up at dawn, and slid down, and she was there yet, and her candle was most out, and her old gray head was resting on her hand, and she was asleep. CHAPTER XLII. THE old man was uptown again before breakfast, but couldn't get no track of Tom; and both of them set at the table thinking, and not saying nothing, and looking mournful, and their coffee getting cold, and not eating anything. And by and by the old man says: “Did I give you the letter?” “What letter?” “The one I got yesterday out of the post-office.” “No, you didn't give me no letter.” “Well, I must a forgot it.” So he rummaged his pockets, and then went off somewheres where he had laid it down, and fetched it, and give it to her.  She says: “Why, it's from St. Petersburg—it's from Sis.” I allowed another walk would do me good; but I couldn't stir.  But before she could break it open she dropped it and run—for she see something. And so did I. It was Tom Sawyer on a mattress; and that old doctor; and Jim, in her calico dress, with his hands tied behind him; and a lot of people.  I hid the letter behind the first thing that come handy, and rushed.  She flung herself at Tom, crying, and says: “Oh, he's dead, he's dead, I know he's dead!” And Tom he turned his head a little, and muttered something or other, which showed he warn't in his right mind; then she flung up her hands, and says: “He's alive, thank God!  And that's enough!” and she snatched a kiss of him, and flew for the house to get the bed ready, and scattering orders right and left at the niggers and everybody else, as fast as her tongue could go, every jump of the way. I followed the men to see what they was going to do with Jim; and the old doctor and Uncle Silas followed after Tom into the house.  The men was very huffy, and some of them wanted to hang Jim for an example to all the other niggers around there, so they wouldn't be trying to run away like Jim done, and making such a raft of trouble, and keeping a whole family scared most to death for days and nights.  But the others said, don't do it, it wouldn't answer at all; he ain't our nigger, and his owner would turn up and make us pay for him, sure.  So that cooled them down a little, because the people that's always the most anxious for to hang a nigger that hain't done just right is always the very ones that ain't the most anxious to pay for him when they've got their satisfaction out of him. They cussed Jim considerble, though, and give him a cuff or two side the head once in a while, but Jim never said nothing, and he never let on to know me, and they took him to the same cabin, and put his own clothes on him, and chained him again, and not to no bed-leg this time, but to a big staple drove into the bottom log, and chained his hands, too, and both legs, and said he warn't to have nothing but bread and water to eat after this till his owner come, or he was sold at auction because he didn't come in a certain length of time, and filled up our hole, and said a couple of farmers with guns must stand watch around about the cabin every night, and a bulldog tied to the door in the daytime; and about this time they was through with the job and was tapering off with a kind of generl good-bye cussing, and then the old doctor comes and takes a look, and says: “Don't be no rougher on him than you're obleeged to, because he ain't a bad nigger.  When I got to where I found the boy I see I couldn't cut the bullet out without some help, and he warn't in no condition for me to leave to go and get help; and he got a little worse and a little worse, and after a long time he went out of his head, and wouldn't let me come a-nigh him any more, and said if I chalked his raft he'd kill me, and no end of wild foolishness like that, and I see I couldn't do anything at all with him; so I says, I got to have help somehow; and the minute I says it out crawls this nigger from somewheres and says he'll help, and he done it, too, and done it very well.  Of course I judged he must be a runaway nigger, and there I was! and there I had to stick right straight along all the rest of the day and all night.  It was a fix, I tell you! I had a couple of patients with the chills, and of course I'd of liked to run up to town and see them, but I dasn't, because the nigger might get away, and then I'd be to blame; and yet never a skiff come close enough for me to hail.  So there I had to stick plumb until daylight this morning; and I never see a nigger that was a better nuss or faithfuller, and yet he was risking his freedom to do it, and was all tired out, too, and I see plain enough he'd been worked main hard lately.  I liked the nigger for that; I tell you, gentlemen, a nigger like that is worth a thousand dollars—and kind treatment, too.  I had everything I needed, and the boy was doing as well there as he would a done at home—better, maybe, because it was so quiet; but there I was, with both of 'm on my hands, and there I had to stick till about dawn this morning; then some men in a skiff come by, and as good luck would have it the nigger was setting by the pallet with his head propped on his knees sound asleep; so I motioned them in quiet, and they slipped up on him and grabbed him and tied him before he knowed what he was about, and we never had no trouble. And the boy being in a kind of a flighty sleep, too, we muffled the oars and hitched the raft on, and towed her over very nice and quiet, and the nigger never made the least row nor said a word from the start.  He ain't no bad nigger, gentlemen; that's what I think about him.” Somebody says: “Well, it sounds very good, doctor, I'm obleeged to say.” Then the others softened up a little, too, and I was mighty thankful to that old doctor for doing Jim that good turn; and I was glad it was according to my judgment of him, too; because I thought he had a good heart in him and was a good man the first time I see him.  Then they all agreed that Jim had acted very well, and was deserving to have some notice took of it, and reward.  So every one of them promised, right out and hearty, that they wouldn't cuss him no more. Then they come out and locked him up.  I hoped they was going to say he could have one or two of the chains took off, because they was rotten heavy, or could have meat and greens with his bread and water; but they didn't think of it, and I reckoned it warn't best for me to mix in, but I judged I'd get the doctor's yarn to Aunt Sally somehow or other as soon as I'd got through the breakers that was laying just ahead of me—explanations, I mean, of how I forgot to mention about Sid being shot when I was telling how him and me put in that dratted night paddling around hunting the runaway nigger. But I had plenty time.  Aunt Sally she stuck to the sick-room all day and all night, and every time I see Uncle Silas mooning around I dodged him. Next morning I heard Tom was a good deal better, and they said Aunt Sally was gone to get a nap.  So I slips to the sick-room, and if I found him awake I reckoned we could put up a yarn for the family that would wash. But he was sleeping, and sleeping very peaceful, too; and pale, not fire-faced the way he was when he come.  So I set down and laid for him to wake.  In about half an hour Aunt Sally comes gliding in, and there I was, up a stump again!  She motioned me to be still, and set down by me, and begun to whisper, and said we could all be joyful now, because all the symptoms was first-rate, and he'd been sleeping like that for ever so long, and looking better and peacefuller all the time, and ten to one he'd wake up in his right mind. So we set there watching, and by and by he stirs a bit, and opened his eyes very natural, and takes a look, and says: “Hello!—why, I'm at home!  How's that?  Where's the raft?” “It's all right,” I says. “And Jim?” “The same,” I says, but couldn't say it pretty brash.  But he never noticed, but says: “Good!  Splendid!  Now we're all right and safe! Did you tell Aunty?” I was going to say yes; but she chipped in and says:  "About what, Sid?” “Why, about the way the whole thing was done.” “What whole thing?” “Why, the whole thing.  There ain't but one; how we set the runaway nigger free—me and Tom.” “Good land!  Set the run—What is the child talking about!  Dear, dear, out of his head again!” “No, I ain't out of my head; I know all what I'm talking about.  We did set him free—me and Tom.  We laid out to do it, and we done it.  And we done it elegant, too.”  He'd got a start, and she never checked him up, just set and stared and stared, and let him clip along, and I see it warn't no use for me to put in.  "Why, Aunty, it cost us a power of work—weeks of it—hours and hours, every night, whilst you was all asleep. And we had to steal candles, and the sheet, and the shirt, and your dress, and spoons, and tin plates, and case-knives, and the warming-pan, and the grindstone, and flour, and just no end of things, and you can't think what work it was to make the saws, and pens, and inscriptions, and one thing or another, and you can't think half the fun it was.  And we had to make up the pictures of coffins and things, and nonnamous letters from the robbers, and get up and down the lightning-rod, and dig the hole into the cabin, and made the rope ladder and send it in cooked up in a pie, and send in spoons and things to work with in your apron pocket—” “Mercy sakes!” “—and load up the cabin with rats and snakes and so on, for company for Jim; and then you kept Tom here so long with the butter in his hat that you come near spiling the whole business, because the men come before we was out of the cabin, and we had to rush, and they heard us and let drive at us, and I got my share, and we dodged out of the path and let them go by, and when the dogs come they warn't interested in us, but went for the most noise, and we got our canoe, and made for the raft, and was all safe, and Jim was a free man, and we done it all by ourselves, and wasn't it bully, Aunty!” “Well, I never heard the likes of it in all my born days!  So it was you, you little rapscallions, that's been making all this trouble, and turned everybody's wits clean inside out and scared us all most to death.  I've as good a notion as ever I had in my life to take it out o' you this very minute.  To think, here I've been, night after night, a—you just get well once, you young scamp, and I lay I'll tan the Old Harry out o' both o' ye!” But Tom, he was so proud and joyful, he just couldn't hold in, and his tongue just went it—she a-chipping in, and spitting fire all along, and both of them going it at once, like a cat convention; and she says: “Well, you get all the enjoyment you can out of it now, for mind I tell you if I catch you meddling with him again—” “Meddling with who?”  Tom says, dropping his smile and looking surprised. “With who?  Why, the runaway nigger, of course.  Who'd you reckon?” Tom looks at me very grave, and says: “Tom, didn't you just tell me he was all right?  Hasn't he got away?” “Him?” says Aunt Sally; “the runaway nigger?  'Deed he hasn't.  They've got him back, safe and sound, and he's in that cabin again, on bread and water, and loaded down with chains, till he's claimed or sold!” Tom rose square up in bed, with his eye hot, and his nostrils opening and shutting like gills, and sings out to me: “They hain't no right to shut him up!  SHOVE!—and don't you lose a minute.  Turn him loose! he ain't no slave; he's as free as any cretur that walks this earth!” “What does the child mean?” “I mean every word I say, Aunt Sally, and if somebody don't go, I'll go. I've knowed him all his life, and so has Tom, there.  Old Miss Watson died two months ago, and she was ashamed she ever was going to sell him down the river, and said so; and she set him free in her will.” “Then what on earth did you want to set him free for, seeing he was already free?” “Well, that is a question, I must say; and just like women!  Why, I wanted the adventure of it; and I'd a waded neck-deep in blood to—goodness alive, Aunt Polly!” If she warn't standing right there, just inside the door, looking as sweet and contented as an angel half full of pie, I wish I may never! Aunt Sally jumped for her, and most hugged the head off of her, and cried over her, and I found a good enough place for me under the bed, for it was getting pretty sultry for us, seemed to me.  And I peeped out, and in a little while Tom's Aunt Polly shook herself loose and stood there looking across at Tom over her spectacles—kind of grinding him into the earth, you know.  And then she says: “Yes, you better turn y'r head away—I would if I was you, Tom.” “Oh, deary me!” says Aunt Sally; “Is he changed so?  Why, that ain't Tom, it's Sid; Tom's—Tom's—why, where is Tom?  He was here a minute ago.” “You mean where's Huck Finn—that's what you mean!  I reckon I hain't raised such a scamp as my Tom all these years not to know him when I see him.  That would be a pretty howdy-do. Come out from under that bed, Huck Finn.” So I done it.  But not feeling brash. Aunt Sally she was one of the mixed-upest-looking persons I ever see—except one, and that was Uncle Silas, when he come in and they told it all to him.  It kind of made him drunk, as you may say, and he didn't know nothing at all the rest of the day, and preached a prayer-meeting sermon that night that gave him a rattling ruputation, because the oldest man in the world couldn't a understood it.  So Tom's Aunt Polly, she told all about who I was, and what; and I had to up and tell how I was in such a tight place that when Mrs. Phelps took me for Tom Sawyer—she chipped in and says, “Oh, go on and call me Aunt Sally, I'm used to it now, and 'tain't no need to change”—that when Aunt Sally took me for Tom Sawyer I had to stand it—there warn't no other way, and I knowed he wouldn't mind, because it would be nuts for him, being a mystery, and he'd make an adventure out of it, and be perfectly satisfied.  And so it turned out, and he let on to be Sid, and made things as soft as he could for me. And his Aunt Polly she said Tom was right about old Miss Watson setting Jim free in her will; and so, sure enough, Tom Sawyer had gone and took all that trouble and bother to set a free nigger free! and I couldn't ever understand before, until that minute and that talk, how he could help a body set a nigger free with his bringing-up. Well, Aunt Polly she said that when Aunt Sally wrote to her that Tom and Sid had come all right and safe, she says to herself: “Look at that, now!  I might have expected it, letting him go off that way without anybody to watch him.  So now I got to go and trapse all the way down the river, eleven hundred mile, and find out what that creetur's up to this time, as long as I couldn't seem to get any answer out of you about it.” “Why, I never heard nothing from you,” says Aunt Sally. “Well, I wonder!  Why, I wrote you twice to ask you what you could mean by Sid being here.” “Well, I never got 'em, Sis.” Aunt Polly she turns around slow and severe, and says: “You, Tom!” “Well—what?” he says, kind of pettish. “Don't you what me, you impudent thing—hand out them letters.” “What letters?” “Them letters.  I be bound, if I have to take a-holt of you I'll—” “They're in the trunk.  There, now.  And they're just the same as they was when I got them out of the office.  I hain't looked into them, I hain't touched them.  But I knowed they'd make trouble, and I thought if you warn't in no hurry, I'd—” “Well, you do need skinning, there ain't no mistake about it.  And I wrote another one to tell you I was coming; and I s'pose he—” “No, it come yesterday; I hain't read it yet, but it's all right, I've got that one.” I wanted to offer to bet two dollars she hadn't, but I reckoned maybe it was just as safe to not to.  So I never said nothing. CHAPTER THE LAST THE first time I catched Tom private I asked him what was his idea, time of the evasion?—what it was he'd planned to do if the evasion worked all right and he managed to set a nigger free that was already free before? And he said, what he had planned in his head from the start, if we got Jim out all safe, was for us to run him down the river on the raft, and have adventures plumb to the mouth of the river, and then tell him about his being free, and take him back up home on a steamboat, in style, and pay him for his lost time, and write word ahead and get out all the niggers around, and have them waltz him into town with a torchlight procession and a brass-band, and then he would be a hero, and so would we.  But I reckoned it was about as well the way it was. We had Jim out of the chains in no time, and when Aunt Polly and Uncle Silas and Aunt Sally found out how good he helped the doctor nurse Tom, they made a heap of fuss over him, and fixed him up prime, and give him all he wanted to eat, and a good time, and nothing to do.  And we had him up to the sick-room, and had a high talk; and Tom give Jim forty dollars for being prisoner for us so patient, and doing it up so good, and Jim was pleased most to death, and busted out, and says: “Dah, now, Huck, what I tell you?—what I tell you up dah on Jackson islan'?  I tole you I got a hairy breas', en what's de sign un it; en I tole you I ben rich wunst, en gwineter to be rich agin; en it's come true; en heah she is!  dah, now! doan' talk to me—signs is signs, mine I tell you; en I knowed jis' 's well 'at I 'uz gwineter be rich agin as I's a-stannin' heah dis minute!” And then Tom he talked along and talked along, and says, le's all three slide out of here one of these nights and get an outfit, and go for howling adventures amongst the Injuns, over in the Territory, for a couple of weeks or two; and I says, all right, that suits me, but I ain't got no money for to buy the outfit, and I reckon I couldn't get none from home, because it's likely pap's been back before now, and got it all away from Judge Thatcher and drunk it up. “No, he hain't,” Tom says; “it's all there yet—six thousand dollars and more; and your pap hain't ever been back since.  Hadn't when I come away, anyhow.” Jim says, kind of solemn: “He ain't a-comin' back no mo', Huck.” I says: “Why, Jim?” “Nemmine why, Huck—but he ain't comin' back no mo.” But I kept at him; so at last he says: “Doan' you 'member de house dat was float'n down de river, en dey wuz a man in dah, kivered up, en I went in en unkivered him and didn' let you come in?  Well, den, you kin git yo' money when you wants it, kase dat wuz him.” Tom's most well now, and got his bullet around his neck on a watch-guard for a watch, and is always seeing what time it is, and so there ain't nothing more to write about, and I am rotten glad of it, because if I'd a knowed what a trouble it was to make a book I wouldn't a tackled it, and ain't a-going to no more.  But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she's going to adopt me and sivilize me, and I can't stand it.  I been there before. THE END. YOURS TRULY, HUCK FINN. End of the Project Gutenberg EBook of Adventures of Huckleberry Finn, Complete, by Mark Twain (Samuel Clemens) *** END OF THIS PROJECT GUTENBERG EBOOK HUCKLEBERRY FINN *** ***** This file should be named 76-h.htm or 76-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/7/76/ Produced by David Widger. Previous editions produced by Ron Burkey and Internet Wiretap Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. 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Huck feels guilty about taking the money, so he puts the money in the coffin to make himself feel better about lying.

 1  https://www.ncbi.nlm.nih.gov/pubmed/26702831 www.ncbi.nlm.nih.gov

PubMedCommonsArchive   (edited 2/9/2018 8:46 PM) 2/9/2018 6:45 AM   in Public    

On 2015 Dec 27, Avital Rodal commented:

F-BAR domains: diversity in oligomerization and membrane bending activities

Avital Rodal, Brandeis University

McDonald et al. report that several oligomerizing yeast and mammalian F-BAR proteins do not form membrane tubules in vitro or in heterologous cells. They go on to show that surfaces required for oligomerization in vitro are required for the in vivo functions of several of these proteins. They conclude that oligomerization, but not membrane bending, underlies the in vivo roles of these F-BAR proteins, and that their main function is to recruit and organize other proteins at the membrane. However, their conclusion that these proteins do not bend membranes is only supported by negative results (i.e. the authors did not observe deformation in vitro or in heterologous cells), and in some cases contradict published results. Further, the authors do not discuss a previous body of literature that shows that several F-BAR proteins, including SRGAPs and FCHSD proteins, generate non-canonical (i.e. non-tubular) membrane deformations that would not have been detected in their assays.

Several groups have shown that the SRGAP family of F-BAR proteins generate negative membrane curvature (i.e. away from the protein-decorated face of the membrane) in multiple contexts: in purified systems in vitro, in heterologous cells upon overexpression, and in vivo during neuronal protrusion formation (Guerrier S, 2009; Carlson BR, 2011; Coutinho-Budd J, 2012). This activity is not consistent with tubular arrays observed for canonical F-BAR proteins (Frost A, 2008). Further, our group found that the FCHSD family of F-BAR proteins, which includes Drosophila Nervous Wreck (Nwk), exhibit an unusual higher order assembly that leads to non-tubule membrane remodeling. Using single particle EM, we showed that Nwk assembles into zig-zags on membranes instead of linear filaments typical of canonical F-BARs, and that this resulted in membrane ridges (Becalska AN, 2013). These deformations led to actin-dependent protrusions in heterologous cells, similar to a previous model for formation of cellular microspikes by the F-BAR protein syndapin (Becalska AN, 2013; Kelley CF, 2015; Shimada A, 2010). This activity does not require a novel membrane binding surface for any of these F-BAR domains. Instead these proteins use a conventional concave membrane binding surface, and appear to oligomerize into non-canonical arrays to deform membranes. This is not likely to be a special case for these specific F-BAR proteins, but rather suggests that different members of this protein family oligomerize into variable types of higher order arrays to generate and/or sense different types of membrane curvatures, which are neither tubules (the "dogma" for F-BAR domains (Traub LM, 2015)) or flat membranes (as proposed by McDonald et al.).

McDonald et al. report that the Nwk homologues FCHSD1 and FCHSD2 do not bend membranes in vitro or in cells, and state that theirs is the first study to report their activities. In fact, we published in 2013 that the F-BAR domains of FCHSD1 and FCHSD2 generate extensive membrane protrusions (to which the protein localizes) in both S2 cells and HEK cells, similar to Drosophila Nwk (Becalska AN, 2013). They may have failed to detect membrane remodeling activity for FCHSD1 and FCHSD2 in cells because their constructs omitted part of a C terminal alpha-helical extension to the F-BAR domain that is essential for function in SRGAPs (Guerrier S, 2009). Indeed, another of their non-membrane bending mammalian proteins, Gas7, has been reported to generate cellular protrusions upon full-length protein overexpression (She BR, 2002). It remains to be tested if Cdc15 or the other apparently non-membrane remodeling mammalian F-BAR proteins in their study also show activity in vivo or in vitro when a more extended region of the protein is studied.

In addition to the issue of potentially using inactive protein fragments, the specific in vitro and in vivo assays used by McDonald et al. could easily have missed non-canonical membrane bending activities. Several types of deformations are subtle on giant unilamellar vesicles (e.g. flattening, ridging, or any deformation that occurs on a ~100-200 nm scale rather than the micron scale of tubules), or are not detectable by negative stain (e.g. ridged, negatively curved, or flattened liposomes appear very similar to dried undecorated liposomes), or are unresolvable by light microscopy in cells. Cryo-EM of liposomes or thin sectioning and EM of cells is necessary to detect smaller scale deformation. Indeed, only large scale deformations like tubulation would have been detectable in the assays they used. Further, BAR domain membrane remodeling depends on a large set of parameters (Simunovic M, 2015), many of which were not tested by McDonald et al. For example, we recently showed that membrane binding and membrane deformation are not correlated, and that Nwk only deforms membranes within a limited "sweet spot" of membrane charge. This is likely dependent on F-BAR domain assembly and orientation on the membrane, which favors concave side-down under stringent binding conditions (Kelley CF, 2015). The activities of F-BAR proteins like Nwk/FCHSD1/FCHSD2 are not likely to have been detected by McDonald et al at 5% PI(4)P, the only lipid composition they tested for GUV and liposome deformation assays. Indeed, two more members of their set of six “non-deforming” F-BAR proteins, Fer and Fes, were previously shown to generate membrane tubules in vitro at 10% PI(4,5)P2 (Tsujita K, 2006; McPherson VA, 2009).

Thus, though McDonald et al. may be able to make a case against tubulation for a few of these six human F-BAR proteins (as has previously been demonstrated for both SRGAPs and Nwks), they do not test other types of membrane bending or enough parameters to conclude that these proteins do not have membrane remodeling activities. Instead, the most compelling conclusion from our work, the SRGAP work, and McDonald et al. is that F-BAR domains oligomerize on membranes into diverse higher order assemblies, and that tubular scaffolds (for which there is indeed little in vivo evidence) are just one potential way to deploy F-BAR oligomers. A non-membrane-deforming assembly, as they suggest for Cdc15, is a plausible variation on this theme for some subset of F-BAR proteins, but the limited negative data they provide are not convincing enough at this point to rule out other models, nor do they indicate that this is the rule for non-tubulating F-BAR proteins. In addition, we note that since the mutants generated in McDonald et al. do not fully uncouple membrane binding affinity from oligomerization (because the tips are part of the membrane-binding surface), an alternative model that remains consistent with all of their data is that some F-BAR domains, including Cdc15, may function as individual, non-oligomerized dimers on the membrane.


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 1  The economic value of grassland species for carbon storage | Science in the Classroom www.scienceintheclassroom.org

Sebastians   (edited 12/12/2017 12:59 AM) 12/11/2017 6:10 AM   in Public    
e by ecosystems is valuable for climate protection . Biodiversity conservation may

https://www.nextgenscience.org/pe/hs-ls2-7-ecosystems-interactions-energy-and-dynamics

HS-LS2-7 Ecosystems: Interactions, Energy, and Dynamics

This paper investigates a means to optimize carbon storage potential through knowledge of biodiversity mechanics and the idea of sinking carbon into plant life in order to lower atmospheric CO2.

https://www.nextgenscience.org/pe/ms-ls1-7-molecules-organisms-structures-and-processes

MS-LS1-7 From Molecules to Organisms: Structures and Processes

It is important to understand the nature of the carbon cycle, and how carbon is utilized within organisms as biomass.

Teacher's Resource:

The removal of atmospheric CO2 reduces pollution, but it comes at the cost of creating plant conservation sites to store the carbon from CO2.

This paper focuses upon the utilization of biodiversity in order to to increase carbon storage for economic purposes. By increasing the amount of carbon that can be stored in a hectacre of grassland, it will become much cheaper to reduce pollution via carbon sinks.

Hungate et. al performed their investigations through past experiments that compared the carbon uptakes of grasslands of varying biodiversity over a period of 50 years.

Findings support a positive correlation between biodiversity and carbon uptake levels. Therefore, increasing biodiversity in carbon sinks will increase efficiency and will make carbon sequestration more affordable as a result.

While this paper shows a 'soft cap' (decreasing marginal effects) on these carbon uptake gains from biodiversity, this effect might be proven to have synergy with other efforts to improve carbon sequestration in the future.

Discussion Questions:

  1. Why does adding to the biodiversity not linearly add to the carbon uptake rates?

  2. Is the resource competition (resulting from biodiversity) limiting or benefiting the flora in carbon sequestration?

  3. What is the 'sweet spot' of biodiversity that optimizes highest carbon storage per dollar spent?

  4. Do the results of this study have qualities that could be generalized to a other grasslands or possibly even other types of habitat? SC

 1  William Wordsworth, “Tintern Abbey” (1798) | ENGL 310 British Literature II: An Anthology of Literary Works, Romantics to the Present engl310anthology.pressbooks.com

alice1251   9/11/2017 4:18 AM   in Public    
3, 1798” by William Worsdsworth Five years have past; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a sweet inland murmur.—Once again Do I behold these steep and lofty cliffs, Which on a wild secluded scene

Wordsworth starts off this poem by stating that it has been five years since he had last been to Tintern Abbey (or the sycamore tree a few miles above). He says that it has been five summers that have passed, but it has felt like five long winters, meaning that he has felt cold and dark away from the serenity of his spot under the sycamore tree. Wordsworth missed "these waters, rolling from their mountain-springs" and "these steep and lofty cliffs". Wordsworth missed communing with nature and by returning to Tintern Abbey he feels a connection with nature that he might have feared he had lost, but he realizes that he can never fully disconnect from nature, because it rarely changes and he can always return to find the cliffs or the mountain-springs like they were years ago.

 1  How to Sleep www.theatlantic.com

lmacdiarmid   2/23/2017 5:52 PM   in Public    
times each day is valuable too. When we get fewer than seven hours, we’re impaired (to degrees that vary from person to person) . When sleep persistently falls

how many of you get less than 7 hours per night?

paplhmm   2/25/2017 9:13 PM   in Public    

Usually 6-6.5 (I try not to get less than 6.5, but it depends on the night) during the week, more like 7-9 on the weekend. It's interesting, but I've actually noticed that I have a sweet spot between 7 and 8 hours of sleep -- if I sleep that amount, I wake up feeling really refreshed. Less or more, and I'm groggy and sluggish. If I get way less (like only 4-5 hours), I wake up feeling refreshed but then crash during the day.

 1  How to get more Delta First Class Medallion Upgrades - The Definitive Guide! - Renés Points renespoints.boardingarea.com

heatherstaines   2/13/2017 3:45 PM   in Public    
ou need to change your thinking. Clearly Platinum is a “sweet spot” still, but unless you are Diamond you will not get the best shot at an upgrade. If you are short consider a few

Yep, but can't depend on getting Diamond year after year!

 1  plato-phaedrus.fm lti.hypothesislabs.com

julie.epstein   1/25/2017 5:40 PM   in Public    
y and spreading plane-PHAEDRUS41 tree, and the agnus castus high and clustering, in the full-est blossom and the greatest fragrance; and the stream which flows beneath the plane-tree is deliciously cold to the feet. Judging from the ornaments and images, this must be a spot sacred to Achelous and the Nymphs. How delightful is the breeze:--so very sweet; and there is a sound in the air shrill and summerlike which makes answer to the chorus of the cicadae. But the greatest charm of all is the grass, like a pillow gently sloping to the head. My dear Phaedrus, you have been an admirable guide. PHAEDRUS: What an incomprehens

It wouldn't let me highlight Socrates whole part but I love the sensory part, I can hear, feel, and imagine everything that is described.

 1  3_FrictionalRegime_2017.pdf psgt.earth.lsa.umich.edu

jarela   (edited 1/18/2017 2:39 PM) 1/18/2017 2:34 PM   in Public    

IF you look at the stresses the shear stresses gets bigger to 45 degrees then gets smaller after 45 degrees. So why doesn't it follow the angle with seemingly the most stress. See Page: **Why 30 degrees instead of 45 degrees Fracture Angle with sigma 1 ** Nature wants the minimum normal stress possible with the maximum shear stress possible and at 45 degrees we aren't in that sweet spot were the normal stress is as relatively small as possible and the shear spot is as relatively high as can been and this is at about 60 degrees this is why the faults will crack in the same orientation in nature.

 1  10.11648.j.ajsea.20140301.11 article.sciencepublishinggroup.com

ElijahRenard   12/28/2016 7:14 AM   in Public    
amming teams, we could see that the more people there were on a team, the more coordination problems they had . The Agile teams began to

Was there a number defined as the sweet spot of Agile team size?

 1  The 6 Most Horrifying Abilities Animals Are Evolving www.cracked.com

TaeLoftin   (edited 11/10/2016 5:23 AM) 11/3/2016 7:32 PM   in Public    
rew us. Otherwise, explain ... 6 Crazy Ants (Their Real Name) Will Take Out Our Advanced Technology Dietrich Gotzek et al. / Wiki Commons Tawny crazy ants multiply faster than rabbits on an abacus, which would be fine if they didn't absolutely despise all the technological feats of man. Some experts suspect they're attracted to electricity itself, like a bunch of unlucky fetishists, while others believe the myriad nooks and crannies offer a good hiding spot for an ant species that isn't capable of building burrows of its own. Either way, the result is the same. Whether it's power outlets, NASA computers, chemical plant machinery, or even your precious Xbox, crazy ants are here to do two things: fuck up your gadgets, and chew bubblegum. Joe MacGown / Mississippt State University And brother? They don't have any bubblegum. They're ants. Of course the electricity kills them -- they're not immune to lightning (yet). But that doesn't matter. Once the first wave arrives and gets zapped, their charred corpses emit a pheromone that attracts more crazy ants. The reinforcements use their deceased brethren as a biological bridge right into the guts of your sweet new Ultra HD TV, piling in until the device flash-fries itself in act of totally understandable suicide. Tom Rasberry / 281 Deadbug Do you want mass ant graves? Because that's how you get mass ant graves. This is not a freak occurrence. In city environments, crazy ants can decimate every electronic device in an entire neighborhood. We've been sitting here fearing targeted EMP weapons, and all the while, biology has been toiling away on the far worse organic alternative. 5Sociable Weavers Will Shut Dow

Though it is true that Crazy ants do indeed have a history of forming their hives in inconvenient places (i.e. under homes around the electrical wires; where they tend to eventually short out the electricity running into the home.) it is unlikely they are doing it intentionally; as a means to overthrow our technological advantage, as the article suggests. What the article also fails to state, is that Crazy Ants were first discovered in Texas, and only recently have been being spotted elsewhere; and although they are being spotted elsewhere, they are still sticking to their original environments (i.e Mississippi, Georgia, Florida, etc); hot humid environments, which seems to be the better explanation as to why they choose their regular nesting places.

As to them sending in suicide squads in order to infiltrate our homes and places of work purposefully: research done at A&M University has shown that Crazy Ants let off a pheromone when they are in danger and or in some cases electrified, that alerts all other ants to their location. Which could look as if some were sacrificing themselves for the better of the colony, to the untrained eye.

McDonald, L. (2012) Investigation of an Invasive Ant Species: Nylanderia fulva Colony Extraction, Management, Diet Preference, Fecundity, and Mechanical Vector Potential. http://www.nytimes.com/2013/12/08/magazine/crazy-ants.html?_r=1 http://urbanentomology.tamu.edu/urban-pests/ants/rasberry/

 1  CCSSI_ELA Standards.indd jgregorymcverry.com

burkec7   9/23/2016 12:29 AM   in Public    
s about key details in a text.1. Ask and answer questions about key details in a text. 1.Ask and answer such questions

I like how this doesn't go into detail about how informative grade 1 needs to answer questions about a text. If it's a short and sweet answer that is to the point and is spot on then that's good in my book! Although, you know a first grader will give you an answer that could turn into a whole series

 1  Not-yetness and learnification redpincushion.us

jeremydean   (edited 8/5/2016 4:56 PM) 8/5/2016 4:21 PM   in Public    
se it reiterates the point that we should make space for things that don’t fit into our tidy conceptions about education. Biesta would also argue that we

Here's perhaps an interesting take on this issue form someone working on the tech side of edtech, trying to build tech for teachers and students, and help them leverage that tech for teaching and learning:

As I say above, it's obviously hard to market this kind of "untidiness." When people are "shopping" for technology for the classroom, most don't want things that half work or might work or try it and let us know what works/doesn't. That only goes so far.

Don't get me wrong, the early adopters of both products I've worked on were just the kind of people who wanted to be part of that kind of experiment and by collaborating closely with them, I believe I've been able to direct product development in both projects towards a more authentic pedagogical value. But that process doesn't, at least I don't think it can, "scale"--a term I realize has it's own problematic ideology.

But I also get frustrated with this lack of tidiness because I want to offer a good product/service/experience to my educational users. I don't want to disrupt the teaching and learning process that should be the focus of everyone's energy in a classroom by my own tool's buginess. I don't want to suggest that a tool can be invisible, but I also don't want a tool to be the focus.

Despite my hesitancy about "untidiness"--no doubt further entrenched by my own anal retentiveness--I'm really interested in how edtech, or perhaps indie edtech, might actually incorporate this kind of philosophy. As long as centers for teaching and learning, and teachers and learners themselves, are on board, I don't see why it can't work.

Susan   8/6/2016 4:02 AM   in Public    

Jeremy, I think there is a sweet spot in design that accomplishes just that - enhancing learning without being disruptive to it (unless intended). Hypothes.is for which you have a hand in, is a great example - you have managed to create something that can arguably be considered "invisible" when using it and yet at the front lines of potentially creating new knowledge that can disrupt as well as enhance the meaning making process. It plays with text, it does not take it over, IMO. It dances with text and gives agency to users. It gives us a paint brush to the canvas that is the internet - which can make it beautifully messy.

 1  Chapter Four: Learning and Literacy impedagogy.com

wentale   1/18/2016 3:50 AM   in Public    
ners, and practitioners. Henry: We are each making interventions around education that stress collective rather than individualized, personalized, or privatized modes of learning. For me, a participatory learning environment is one that respects and values the contributions of each participant, whether teacher, student, or someone from the outside community. It’s one where members have som

I do not see collective learning moving away from personalised learning. I can choose to participate in any learning activity (such as this one)....that's my choice...yet I am also choosing to work collectively (hopefully).

dogtrax   1/18/2016 11:25 AM   in Public    

Hopefully, we always have that choice, right? It will do no good if we replace one with the other. Instead, finding some hybrid -- I learn from my interest and find others who might have related interests, and maybe we can move our learning forward into new directions -- is important.

wentale   (edited 1/19/2016 4:36 AM) 1/19/2016 4:21 AM   in Public    

It seems to me that one way to "do the hybrid" is to immerse oneself in each mode and then work out which portion suits your own learning. Like learning a new language I find immersion in participation culture is a great way to find the hidden corners of a different mode.

onewheeljoe   1/20/2016 1:58 AM   in Public    

I agree that collective and personalized aren't mutually exclusive. You make the point that you can make a personal choice to work collectively. Especially in K12 settings, personalized is sometimes understood to mean that a learner has a deficit-specific activity in front of them. For example, if a software measures a student's performance on an assessment and then provides practice in areas where the student is found lacking, that's called personalized learning. Another view- a better view in my mind- is that by offering interest-driven opportunities and asking students to use personalized learning environments, like their own blogs, we can move toward meaningful personalized learning without taking a deficit focus.

wentale   1/20/2016 2:14 AM   in Public    

In this report from The Open University it talks about Analytics of emotions. Starting with "Emotions, attention and engagement are key drivers for learning." It goes on to say: "By combining people's clicking and typing behaviour with the areas where they focus their gaze, rich opportunities for personalised learning could become available." While I'm still a bit sceptical about the analysis of counting clicks, this opportunity to add the information around eye-tracking and facial expression recognition technology could be added to the clicks to benefit the students? I'm still vouching that if you put the 'personal' back into 'personalised' it might go a bit further. By the time you pay for the tech to do the above....you could pay for another teacher/trainer/facilitator to actually talk to the students!

onewheeljoe   1/20/2016 2:23 AM   in Public    

Emotions, attention and engagement ARE key drivers for learning. In cMOOCs where we use "personalized tools" like personal blogs, Twitter accounts, computers and learning schedules, the technology connects people in meaningful ways that evoke emotion, command attention and spark engagement. The "trailing edge" technology leveraged by strong teachers personalize best. It sounds like there is a false promise in the report you cite that software developers will find everyone's engagement sweet spot. I'm dubious of the claim but I also haven't read the report.

 1  Designs for learning: Studying science museum exhibits that do more than entertain newclasses.nyu.edu

daniel.infeld   10/1/2015 12:23 AM   in Public    
ents we create.As museum staff, we also need to be explicit about our own intentions in terms of whataspects of our learning environment we regard asappropriatefor visitors to struggle withand what we don’t. We might all agree that visitors should not struggle tofigure out howto open the front door (a problem we actually have, incidentally, due to handles that affordpushing but in fact pull to open). However, many aspects of learning are still controversial.For example: Should we make explanations of scientific phenomena easy to locate andunderstand, or do we want visitors to rise to the challenge of investigating phenomena intheir own terms? Should we create more sequenced exhibits and linear paths to reducethe effort of navigation and connection-making among exhibits, or should we keep thefloor-plan open because connection-making is exactly where we believe visitors should bespending their effort? These are ongoing questions requiring institutional prioritizing, aswell as further research. Our studies on physical interact

I think that this is applicable well beyond the museum. How do you find the sweet spot between challenge and ease of use that learners will feel that they have accomplished something, and that their "struggle" was worth it. This is especially difficult when you are planning for diverse groups of learners.

 1  CIRCLE-youthvoting-individualPages.pdf

pfowler   7/30/2015 2:24 PM   in Public    
and for-profit organizations). Actions might include writing or commenting on a blog about a social issue or circulating information or perspectives via social media. Drawing as they do on practices

H "sweet spot"!!

 1  http://arxiv.org/abs/0710.3796 arxiv.org

arXiv   7/22/2015 9:14 PM   in Public    

This article was referenced by "Ryuichiro Kitano: Sweet spot supersymmetry" on Tuesday, November 6 2007.

 1  mishra-koehler-henriksen2011.pdf punya.educ.msu.edu

tessiepooh   7/22/2015 12:35 PM   in Public    
ing as it is about abstraction. In this these six previous tools work together to develop a synthesis greater than the sum of its parts. Conclusion These seven cognitive

Extend: Synthesis is referred to as being "greater than the sum of its part", which reminds me of the TPACK framework and the sweet spot (the point where all three parts are synthesized). All the other tools described (perceiving, patterning, abstracting, embodied thinking, modeling, and deep play can be directly linked to one or more parts of the TPACK framework and can be used as teaching strategies to help educators better understand how to use TPACK in their own areas.

 1  mishra-koehler-henriksen2011.pdf punya.educ.msu.edu

gmfaoro   7/22/2015 12:17 PM   in Public    
2008; Mishra & Koehler, 2009). These three core constructs (diagrammed in Figure 1) interact in important ways. At their heart is Techno-logical Pedagogical Content Knowledge (TPACK), which emerges from the interaction of content, peda-gogy, and technology knowledge. The TPACK frame-work suggests t

The sweet spot!

 1  IIHI_Social_Media_Report_2014.pdf

pfowler   6/30/2015 3:51 PM   in Public    
sites and virtual communities. Social media creates highly interactive platforms through which individuals and communities share, co-create, discuss, and modify user-generated content. 9 It introduces substantial and p

Right in H's "sweet spot"!

 1  http://f1000research.com/articles/3-62/v1 f1000research.com

hlapp   (edited 3/16/2014 3:37 PM) 3/16/2014 12:33 AM   in Public    
e that curriculum is also full. The sweet spot for this kind of training is therefore the first two or three years of graduate school. At that point, students have time (at least, more time than they’ll have once they’re faculty) and real problems of their own that they want to solve. Version 4: orange light The aut

Perhaps it's primarily the real problems of their own that provide the motivation for having the time (to learn about addressing them). I.e., percentage-wise, how many students does SwC get today who take the course primarily because they have time, and who do not yet have real problems of their own for which they hope to learn solutions?

More importantly perhaps, does this not also point out a path for justifying the inclusion of SwC-inspired teaching units into undergraduate CS curricula? While for some (or most?) academic research career paths the relevance of version control mastery is perhaps less obvious, it's a qualification nearly all of industry ask of CS graduates applying for a software engineer position.

 1  Book III - Chapter 1 : Aristotle's Rhetoric rhetoric.eserver.org

mitchellreber   10/2/2013 4:52 PM   in Public    
ecause we cannot do without it. The right thing in speaking really is that we should be satisfied not to annoy our hearers, without trying to delight them: we ought in fairness to fight our case with no help beyond the bare facts: nothing, therefore, should matter except the proof of those facts . Still, as has been already sai

I like this. While the truth of things is what should be aimed for, we should still seek to address our audience in a pleasing manner. Not annoy, not overly delight, but find a sweet spot somewhere between.