CREDITS SEQUENCE NEWSPAPER HEADLINE MONTAGE: HEADLINES flash before us, displaying their accompanying photographs. "UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUM HEIST!" PHOTO: Uberman stands knee-deep in water. He has his enemy by the collar. The villain blocks his face from the shot with a METALLIC GAUNTLET. The images start to flash by even quicker, each showing the MYSTERIOUS VILLAIN in various stages of humiliation. In each photograph he successfully blocks his face with his armored glove. We ZOOM IN to the last headline. "MASTER MIND BEHIND BARS ONCE AGAIN - THANKS TO UBERMAN!" PHOTO: Uberman stands in a gallant pose with his fists on his hips, obviously trying to accentuate the "U" insignia on his chest. END OF CREDITS SEQUENCE EXT. BUILDING - DAY We DISSOLVE from the photograph to Uberman standing in the exact same position. WE PULL BACK showing him atop a BUILDING overlooking the city below. A perfect view for our guardian hero. He watches the thriving metropolis, bristling with life as people happily go about their day. Yet, we can't help but detect a hint of sadness in Uberman's expression. 2. UBERMAN You look so peaceful from up here. His serenity is suddenly interrupted by a loud BEEPING SOUND coming from his wrist. He looks down at a BRACELET (a manly one) on his right arm. It's a silver band with a FLASHING red letter "U". UBERMAN (CONT'D) Looks like Roxanne's in trouble again. Uberman leaps off the building and into the air. His cape gracefully flows in the breeze behind him as he shoots off into the distance like a speeding bullet. EXT. OBSERVATORY HIDEOUT - ESTABLISHING SHOT Grime and moss decorate the outside of this long abandoned building overlooking the COAST. Once a place of knowledge and wonder - now home to a great evil. INT. OBSERVATORY HIDEOUT - DAY The inside is in complete contrast to the exterior. The huge hall with a GIANT TELESCOPE teems with advanced ELECTRONIC EQUIPMENT. Computers, monitors and machines which do not have an obvious function FLASH and HUM. A STEEL DOOR slides open, revealing the subject of our story MASTER MIND - a villainous sight to behold. His FACE IS INEXPLICABLY LIGHT BLUE, topped by an OVERSIZED, MUSHROOM- SHAPED HEAD with a CIRCULAR PATCH OF WHITE HAIR ON TOP. He's dressed in the kind of costume only a super villain could pull off: a PURPLE JUMPSUIT AND BLACK BOOT ENSEMBLE WITH A GIANT GREEN "M" ON THE CHEST. His right hand, hanging at his side, is a METAL GAUNTLET WITH THREE SHORT SPIKES PROTRUDING BETWEEN HIS KNUCKLES. Master Mind begins to survey the room with his TWO PERMANENTLY ARCHED EYEBROWS. A man dressed as ALBERT EINSTEIN is busy ranting to two other men. One, a hulking brute, is dressed as LEONARDO DA VINCI. The other, a small intellectual-type carrying a clip-board, is dressed as the philosopher PLATO. EINSTEIN I hate the outfits. I mean, I get it: we're all supposed to be "masterminds" - very clever. (MORE) 3. EINSTEIN(cont'd) I just feel stupid. I mean, what the hell did Einstein really do anyway? PLATO Theory of relativity. Einstein starts feverishly scratching his side. EINSTEIN Well, you'd think he'd invent a wool sweater that didn't itch so much. Da Vinci and Plato's eyes suddenly grow with concern as they see Master Mind walk up behind Einstein. Einstein notices his colleague's staring over his right shoulder and turns around. He turns around and Master Mind SEIZES HIM BY HIS THROAT with his metal gauntlet. MASTER MIND The real Einstein once said, "God does not play dice with the world." He was right, because the world is MY dice. Is that understood? DA VINCI & PLATO Sir! Yes, sir! EINSTEIN (gasping for air) Yes, sir. Master Mind undoes his grip on Einstein's throat. MASTER MIND Alright, then - clean slate. Do we have the girl? DA VINCI Yes, sir. She fell into our trap just like you knew she would. MASTER MIND Reporters are a curious lot, and easily manipulated. He quickly checks his physique in a GIANT MIRROR, adjusts his posture and sucks in his gut. 4. MASTER MIND Alright, let's not keep the lady waiting. MOMENTS LATER Da Vinci escorts a BLINDFOLDED and bound woman, ROXANNE RITCHI, to the back of the room where Plato and Einstein are standing guard over a large BLACK SWIVEL-CHAIR facing away from us. She pulls free of Da Vinci's grasp and waits for him to undo the blindfold. Her face uncovered, we finally see Roxanne's striking features - all of which seem overshadowed by piercing eyes that seem more put off by the situation than afraid of it. MASTER MIND (O.S.) Miss Ritchi, we meet again. The chair turns menacingly slow, finally revealing Master Mind. ROXANNE You didn't need to turn around like that. I can recognize the stench of failure. Master Mind unleashes a wicked laugh. MASTER MIND I trust you gentlemen know the very sassy Roxanne Ritchi, highly regarded investigative journalist who some say has a more than friendly relationship with our super powered foe Uberman. And Miss Ritchi, I trust you've already met my new crew: The Mad Geniuses! Roxanne gives Einstein a once over. ROXANNE Looks like a real group of winners. At the risk of sounding cliche', you'll never get away with this. MASTER MIND In a way, I already have. Roxanne unleashes an exhausted SIGH. 5. ROXANNE We go through this every time. You kidnap me to get to Uberman, he immediately finds your hideout, escapes whatever lame trap you've come up with, and takes you and your cronies to jail. I propose we just save everybody some heartache this time by YOU letting me go, and ME forgetting this whole thing ever happened? MASTER MIND What about my revenge? ROXANNE We can say it was wasting everyone's time. MASTER MIND You have a wicked tongue. I hope you rid yourself of that when you're my queen. Roxanne unleashes a snort-filled laugh. ROXANNE I'm sorry. What makes you think I would want to be your queen? MASTER MIND Power corrupts absolutely, Miss Ritchi. And when I have ultimate power over this city, I have absolutely every intention of corrupting you with it. PLATO Sir! Master Mind turns to Plato who's now standing at a computer terminal. MASTER MIND (annoyed) What is it!? EXT. OBSERVATORY HIDEOUT - DAY Uberman flies toward the Observatory like a rocket. 6. INT. OBSERVATORY HIDEOUT - DAY Uberman crashes through the wall to the room we were just in. He looks around, but there's suddenly NOT A SOUL IN SIGHT. CUT TO: EXT. MASTER MIND'S HYDROFOIL - DAY The boat is shooting through the ocean, away from the observatory. INT. HYDROFOIL CONTROL ROOM - DAY Machines, cables and terminals criss-cross the craft's main bridge. Through the enormous surrounding windows we can see the observatory shrinking in the distance. Master Mind watches Uberman on a small TV monitor as the hero intently searches his hideout. UBERMAN (on monitor) Master Mind! INT. OBSERVATORY HIDEOUT - DAY Uberman throws up his arms in frustration when suddenly - MASTER MIND (O.S.) Over here, old friend. He turns to see a FAMILIAR BLUE FACE OF EVIL ON A GIANT SCREEN. UBERMAN What's the matter, miss your old jail cell? Uberman starts walking toward the monitor. MASTER MIND (ON MONITOR) Actually, I wanted to share the experience with my oldest friend. A MECHANIZED CAGE shoots out of the floor, suddenly trapping Metro City's protector. Totally unfazed, our hero stares on. 7. UBERMAN You can't possibly believe this will work. Master Mind pulls out a SMALL BLACK BOX with a SINGLE RED BUTTON on it. MASTER MIND (ON MONITOR) Oh, can't I? I have attained control of the Earth's most abundant energy source. I doubt even you are strong enough to withstand the FULL CONCENTRATED POWER OF THE SUN!!! He presses the button. EXT. OUTER SPACE A sinister-looking SATELLITE orbits Earth's atmosphere. Its bay doors suddenly open, deploying two huge SOLAR PANELS. The panels shift, angling themselves in the direction of the sun. They immediately start GLOWING as they absorb the burning star's power. The front of the satellite begins to make a loud HUMMING SOUND as it prepares to unleash its unholy power. INT. HYDROFOIL CONTROL ROOM - DAY From the giant window we can see the boat is a good mile from the observatory. PLATO We're now at minimum safe distance, master. Master Mind turns from the CAMERA he was broadcasting on and puts down the control box. MASTER MIND Excellent. Stop here, I like this view. PLATO Twenty seconds until impact. Master Mind turns to Roxanne who is being held by Da Vinci and Einstein. She almost appears a little bored. Disappointed by her lack of horror, he walks over to the monitor now showing Uberman trapped in the cage. 8. MASTER MIND Any last words? Uberman looks up at the screen with a cocky smile. UBERMAN (ON MONITOR) Yes: there's no caging the power of justice. PLATO Ten seconds to impact. On the screen we see Uberman take two of the cage's bars in his hands. He yanks...NOTHING. PLATO (CONT'D) Nine... Master Mind stares at the monitor, slightly confused. PLATO (CONT'D) Eight... Uberman yanks on the bars again, this time using his foot as leverage. MASTER MIND (genuinely concerned) What's going on? UBERMAN (straining) Hold...on...a second. Master Mind looks back at Plato and Einstein. They're equally befuddled at the hero's sudden weakness. PLATO Seven... Uberman loses his grip and FALLS BACKWARD ON HIS ASS. UBERMAN SON OF A BITCH!! Master Mind and the minions all cringe in unison. Da Vinci turns to Roxanne not believing his ears. DA VINCI What did he just say? 9. PLATO Six......Five... Master Mind begins to laugh. MASTER MIND What kind of trick is this? Uberman looks up at the camera with a very grave expression. UBERMAN Like you don't know. These bars are made of copper, aren't they? PLATO Four... MASTER MIND Yeah, so? Uberman tries to shield his grief with his hand. UBERMAN You figured out my weakness, damn you. I CAN'T BEND COPPER! PLATO Three... MASTER MIND Your weakness is copper? PLATO Two...one. Everyone turns to the window. EXT. OUTER SPACE The satellite fires a giant BEAM OF LIGHT toward the earth. EXT. OBSERVATORY HIDEOUT - DAY The beam hits the observatory. The building instantly EXPLODES in a white nova blast of fire. INT. HYDROFOIL CONTROL ROOM - DAY The blast is so bright everyone turns away from the window. Then, as suddenly as it began, the awesome light dies out. One by one, the passengers unshield their eyes and look out toward the observatory. 10. All we can see through the haze of destruction is fire and smoke. PLATO I don't think even he could have survived that. Einstein suddenly turns giddy with excitement. EINSTEIN Whoa! Is it me or did you just finally destroy Uberman? MASTER MIND (carefully skeptical) Well...let's not get ahead of ourselves. Da Vinci suddenly sees something outside. DA VINCI Look, there's something in the sky, coming this way. ROXANNE Uberman! Master Mind turns toward the window. An object is in the air, flying directly toward them. As it closes in we can just make out the FAMILIAR OUTLINE OF A CAPPED FIGURE. MASTER MIND I KNEW IT! PREPARE YOURSELVES! HE'S GONNA RAM US!!! Everyone scatters and braces themselves for the impact. Master Mind, seeing all the good places taken, doesn't know what to do with himself. He just covers his giant head with his hands. The figure CRASHES THROUGH THE WINDOW and lands at his feet. He looks down to see a CHARRED BLACK HUMAN SKELETON. Around its neck is the unmistakable black cape of Uberman. MASTER MIND (CONT'D) (horrified) HOLY SHIT! 11. Roxanne breaks out of Da Vinci's hold and runs over to the body. ROXANNE Uberman? She stares down at the still smoking corpse, the tattered black cape with the yellow "U" on it. Roxanne turns to Master Mind, who's still visibly dumbfounded at the grotesque sight before him. ROXANNE (CONT'D) You killed him! Roxanne's eyes roll back. Da Vinci catches her from behind as she FAINTS. Einstein turns to Master Mind, looking at him as if he's just walked on water. EINSTEIN You did it! Now that he's committed the impossible - our villain is at a complete loss. MASTER MIND ...so I did. EINSTEIN I mean, I know you always wanted to. I mean, all the schemes all the plots - I never thought you'd actually be capable of it. Giddy as a school girl, Einstein turns to his fellow henchmen. EINSTEIN This is history. Every villain and lackey in the history of villains and lackeys dream of this moment, but when does it actually EVER happen? A sudden realization comes over his face. EINSTEIN Good lord...You do all realize what we get to do now, don't you? 12. His question is met with acquisitive looks from Master Mind and the others. EINSTEIN We get to go on a crime wave. CRIME WAVE MONTAGE - SET TO "Fun Fun Fun" by The Beach Boys. SPINNING HEADLINE: "UBERMAN'S DEATH IGNITES CITY WIDE CRIME WAVE!" ARMORED TRUCK It's driving along when the men inside suddenly notice something - THEY'RE FLYING HIGH ABOVE THE CITY STREETS. We PULL BACK to see the truck being carried by a giant claw at the bottom of a BRAIN COPTER. Inside the cockpit Master Mind and his henchmen laugh maniacally. SPINNING HEADLINE: "CHAMPION-LESS CITY AT THE MERCY OF HOOLIGANS." METRO CITY BANK Da Vinci and Einstein run out the front of the bank holding BAGS OF MONEY. Two beat officers see them and take chase after them around the corner and into an alley. After a moment the police reemerge from the alley screaming and running for their lives as a GIANT ROBOT CHASES after them. The robot stops, then suddenly it's head opens up like convertible car top with Master Mind and Plato at the driver's wheel. They smile and shake hands at a bad deed well done. SPINNING HEADLINE: "MASTER MIND BLACKMAILS METRO!!!" A VICIOUS TORNADO It's heading for downtown Metro as Master Mind and the lackeys coolly look on. Three large DUMP TRUCKS pull up, filled to the brim with bricks of CASH. 13. The DRIVERS jump out as the lackeys take the driver seats in the three trucks. Master Mind is about to climb into the passenger seat of one when a drivers taps him on the shoulder and motions toward the tornado. MASTER MIND (absentmindedly) Oh, right. Master Mind pulls a television REMOTE from his pocket and aims it at approaching windstorm of death. He presses the button marked "Tornado Off." The tornado shrinks and disappears just before it hits the city. As they drive through the city streets, Master stares out the window with a hint of something in his eyes. Is it melancholy? END OF MONTAGE EXT. KINGPIN BOWLING - DAY It's Metro City's premier bowling alley. On top of the neon lit building is a GIANT 30 FOOT TALL CEMENT BOWLING BALL. INT. KINGPIN BOWLING - DAY HAL STEWART (early 30's) takes careful aim with his BOWLING BALL. HAL It's a sport of honor, focus and grace. Honor the ball, focus on the pins, release the ball not hard and fast, but as if you were releasing a baby dove. He takes a step, pulls back his arm, and releases the ball, following it with his eyes. It's a horrible shot - INSTANT GUTTER BALL. An aged barmaid type with a cigarette hanging from her mouth looks over at him. HAL Okay, do something like that - but center it more. 14. She picks up her custom made FOGHAT BALL and takes aim. ATTRACTIVE BLOND Tell me how my form looks, honey. Hal focuses on the misshapen bumps of her enormous Johnson administration era derriere. HAL Oh, it's lookin' good. It's lookin' REAL good. It doesn't get anymore clear. This man is a pig. VINNIE (O.S.) Hal, I want to see you in my office! Hal turns to see VINNIE, owner of the bowling alley, calling him. VINNIE Now! INT. KINGPIN BOWLING - VINNIE'S OFFICE - MOMENTS LATER Hal sits down, facing Vinnie who's sitting at his desk. VINNIE You're fired. Leave your shirt and locker key. This bit of news hits Hal like a freight train. HAL Fired? Are you going to tell me why? VINNIE Showing up to work late. Showing up to work late drunk. Sexually harassing customers. Stealing from the register. HAL Vinnie, I don't know where you're getting these accusations - Vinnie takes out a video tape from his desk drawer and puts in a VCR. 15. HAL Oh, which one do you supposedly have here? VINNIE This is all of them at once. TELEVISION A WOMAN walks up to a BOWLING EMPLOYEE and hands him a pair of shoes. As the employee turns to the wall of shoes, a very drunk and disheveled Hal comes running in and pushes him aside. HAL I've got this one, Benny. So, Cinderella. Can I help you find your glass slipper? WOMAN Yeah, I'm looking for a seven. He folds his arms on the counter and leans into her with a cat-like grin on his face. HAL (with a leer) Seven - Well, maybe I could interest you in something in an EIGHT. Namely, me. Disgusted, she walks off screen. HAL Lesbo. Suddenly realizing the register's open, he quickly grabs a stack of cash and shoves it in his pocket. BACK TO OFFICE Vinnie turns off the television and waits for Hal to respond. HAL From the angle of the camera, I can see where you might have gotten the wrong idea. Listen, Vinnie, I don't think you've thought this through. If you fire me, who's gonna be captain of the alley's bowling team? 16. VINNIE Um, I don't know. Maybe somebody who can actually bowl. You guys have never won a game. I hired you because you said you were on the pro circuit. HAL No, I said I WILL BE on the pro circuit. VINNIE Please, a loser like you will never amount to anything. This harsh remark seems to leave Hal genuinely stunned. HAL Wow...If that's how you feel...I guess we should then talk about what kind of severance I'm gonna get. EXT. KINGPIN BOWLING - DAY TWO BRUISERS open the door and throw Hal out onto the street. He quickly picks himself up and turns back toward the building. HAL Hey...what about my ball? A bowling ball sails past him, just missing his head. HAL Thank-you! EXT. CHANNEL 7 NEWS BUILDING - DAY The massive building with a giant 7 on the roof stands in the heart of Metro City. INT. CHANNEL 7 NEWS BUILDING - OFFICE - DAY The cubicles and offices are alive with the hustle and bustle of a busy news day. Phones are RINGING, REPORTERS are TALKING, and Editors are SHOUTING. The elevator doors open and out steps Roxanne Ritchi. 17. Everything stops as the entire office suddenly falls SILENT. Somewhat taken aback by the reaction, Roxanne scans the room to see every eye on her. ROXANNE It's...um...It's good to be back. Thanks for everyone's cards and concerns. I really appreciated it - now I'm ready to climb back on the horse. No one is budging - their looks of pity are really starting to make her uncomfortable. The back office door suddenly opens and out comes FRANK BONIN, the gruff, middle-aged Producer of Channel 7 News. Noticing the silence, he looks up and sees the sad expressions on everybody's face. FRANK Someone die or something? He suddenly notices Roxanne - both feet are placed firmly in his mouth. FRANK (cursing himself) Oh, Jesus. ROXANNE It's okay. Frank quickly walks up to Roxanne and takes her gently by the arm. FRANK Come on into my office, sweetie. INT. CHANNEL 7 NEWS BUILDING - FRANK'S OFFICE - CONTINUOUS He sits her down on his leather couch, then quickly turns toward his door. FRANK Can we get this woman some water for God's sake? (to Rebecca) I gave you two months off. What're you doing back? People are gonna think I'm a slave driver. 18. ROXANNE Aren't you? FRANK Yeah, but I don't want people to think it. ROXANNE Frank, listen. I want to go back to work. I NEED to go back to work. FRANK ...You're hysterical, aren't you? Frank sits down on the couch and blankets Roxanne with A WARM EMBRACE. ROXANNE What're you doing? FRANK Keeping you warm before you go into shock. (toward the open door) DO I HAVE SLICE OPEN A CAMEL HUMP TO GET A GLASS OF WATER AROUND HERE? A SECRETARY quickly enters with a bottled water. She sets it on the table in front of them and leaves. Roxanne pulls herself out of Frank's grasp and stands up to face him. ROXANNE It was a traumatic experience. Yes, everyone knows Uberman and me were...close. But what I really need - what would really make me better is getting back to work. There's a sudden awkward silence from Frank. FRANK Well, that's going to be... ROXANNE I thought you'd be happy to have me back. 19. FRANK Oh, we are. Honey, nothing makes us happier than to have our girl back, but... ROXANNE Yes? FRANK Things have sorta...changed. ROXANNE In three weeks? FRANK Listen, I'm not one who likes to open up wounds - especially ones that are just starting to scab, but you were sorta our go to girl for the exclusive on Uberman. And now that he's gone...I moved Brad into your anchor spot. ROXANNE (disgusted) Brad? Brad Helms? The man is an idiot. FRANK It's the suits. They think it's time to switch things up. ROXANNE Oh, because they can't use me to get the big story. FRANK C'mon, Roxie. Using is in the nature of what we do. They used you, you used Uberman. Everybody's happy. ROXANNE (defensive) I didn't use him. FRANK Oh, I didn't mean that. I know you two were in love or something. My bad. ROXANNE We were. 20. FRANK And that's great. ROXANNE Very in love. There's a hind of self-doubt in Roxanne's expression, as if she's failed to convince even herself of this. ROXANNE Okay. So, where are they going to move me if Brad has my spot? FRANK ...Human interest. ROXANNE Bake sales and pet stories. FRANK I told them I wouldn't be surprised if you just upped and quit. You busted your ass for that desk. Roxanne can hardly get it out - she's busy swallowing her pride ROXANNE I'll take it. Frank looks up at her, not believing what he's hearing. FRANK What? EXT. ABANDONED METRO CITY LIBRARY - NIGHT Amongst the jungle of high rises, one small building stands out from the rest - A tiny, forgotten piece of 19th century Gothic architecture. LIGHTENING FLASHES, revealing TWO CONCRETE GARGOYLES holding a cracked plaque, reading: METRO CITY LIBRARY. INT. ABANDONED METRO CITY LIBRARY - NIGHT A mixture of old and new. Dusty Victorian furniture and dilapidated bookshelves sit side by side with pristinely futuristic machinery. The building has been converted into Master Mind's new SECRET LAIR. 21. In the center of the main room is a three storey tall GLOWING BLUE ORB. At the base of it is a sign that reads "Reactor - Don't Touch." We PAN OVER to the READING ROOM where Master Mind is sitting on a couch watching TELEVISION. REPORTER ON TELEVISION (O.S.) It's been nearly six weeks, and still no word on the whereabouts of billionaire playboy, and philanthropist, Wayne Scott. Tune in at 11:00 as we look into what has become Metro City's biggest mystery. TELEVISION NARRATOR (O.S.) We now return to "The Hero of our Hearts: The Uberman story." Einstein and Plato come into the room holding a BAG OF LOOT. EINSTEIN Just robbed the diamond exchange. MASTER MIND (feigning pleasure) Great, great. Put it on the pile. Einstein tosses it on a LARGE PILE of purloined valuables in the corner of the room. EINSTEIN Anything else today? MASTER MIND No. Master Mind turns his attention back to the screen. Plato sees that Master Mind is in a funk and tries to snap him out of it. PLATO (cheerfully) Sir, the new reactor is installed. Plato nods to the giant orb. PLATO Do you want to throw the switch? I know how you love to start reactors. 22. MASTER MIND Maybe later. Einstein gives Master Mind a funny look then exchanges glances with Plato before leaving the two of them alone. Without turning away from the TV, Master Mind addresses Plato. MASTER MIND (CONT'D) What is it, Plato? PLATO (nervously) Sir, I can't help but notice that you've been...a little down lately. MASTER MIND When I want your opinion I'll beat it out of you. PLATO Yes, sir, I know, but please forgive my impertinence. It's just that you seem to have lost your lust for our profession. You've stopped going on jobs and spend most of your time watching Uberman specials. Master Mind relaxes slightly and turns to face the window in a classically contemplative pose. After an overdramatic beat... MASTER MIND I have defeated my greatest enemy. I have free reign over Metro City. I have more wealth than a thousand Sultans. I've achieved all I have worked for...so why am I so unhappy? He walks over to a PAINTED PORTRAIT that looks almost exactly like him, except slightly older, maybe meaner - MASTER MIND'S FATHER. MASTER MIND I mean, my father, god rest his evil and tormented soul, raised me straight from the test tube to be a symbol of evil. (MORE) 23. MASTER MIND(cont'd) And, I have accomplished something he had only dreamed about - the destruction of Metro City's champion. I tell you, I've always lived with this unquenchable thirst. I thought it was to make him proud or to get absolute power. But now that I've pretty much accomplished both, I am at a loss. PLATO ...I sort of have a theory about all that. MASTER MIND (snippy) Oh, really? PLATO Well, for one thing, maybe Uberman was more important to you than you thought. MASTER MIND He was a worthy rival. Sometimes I wonder, did he consider me his evil equal or was I just an annoying, little gnat to him? ...What's the second part? PLATO I think you sort of have a thing for Roxanne Ritchi. Master Mind quickly takes his lackey by the throat. MASTER MIND YOU WORM! HOW DARE YOU! WHERE WOULD YOU GET SUCH A NOTION? PLATO Sir, your plans always involve Ms. Ritchi either being kidnapped or placed in danger. If that's not love, I don't know what is. It's the grown up equivalent of dipping her pigtails in the ink well. Don't you see? She's the one treasure that's always escaped you. From Master Mind's expression, we see Plato's words beginning to ring true. 24. INT. RESTURAUNT - DAY Roxanne is having lunch with several girlfriends sitting around her, gabbing. FRIEND #1 I can't believe you came back so soon. FRIEND #2 Are you sure it's not TOO SOON, honey? ROXANNE I just wanted to get back to work. FRIEND #3 What we need to do is get you back on the saddle...the love saddle. Friend 1 and 2 give 3 disapproving looks. FRIEND #3 It's been three weeks. FRIEND #2 She just lost the love of her life, Grace. A WAITER comes by with a tray of CAESAR SALADS and begins setting them out for the ladies. ROXANNE I keep trying to tell people it wasn't really like that. Uberman and I - We were kinda having problems. We broke up. The waiter ALMOST DROPS HIS TRAY AT THIS. The women are too shocked by Roxanne's revelation to notice. FRIEND #1 You broke up with Uberman! FRIEND #3 You must have REALLY, REALLY high standards. I mean, you were dating a god. I mean, what's it take? ROXANNE Maybe someone who's a little more aware of his faults. Someone a little more sensitive. 25. FRIEND #3 Right. Someone who listens, sexy but attainable with cute little cheeks like a hamster and heartbreak in his eyes. She turns to Friend one and two to explain. FRIEND #3 She wants John Cusack. FRIEND #2 The actor? FRIEND #3 No, the famous pediatrist - Yes, the actor. Ever since we were teenagers, Roxanne's totally had the hots for him. ROXANNE Well, until he miraculously comes walking into my life, I'm just going to take a little reflection time for myself. The waiter gets a confused look on his face then slips away as Roxanne and her friends continue to chat away. EXT. RESTURAUNT - DAY The waiter tosses his apron in a trash can, then rolls up his sleeve and presses A STRANGE LOOKING DEVICE STRAPPED TO HIS WRIST. His image gets staticy, like a TV station going out, then disappears - revealing the man's true form underneath: MASTER MIND! MASTER MIND Who the hell is John Cusack? EXT. CITY STREET - DAY A YOUNG MOTHER pushes her baby stroller past a building construction site. ACROSS THE STREET A local POLITICIAN addresses a group of REPORTERS on the sidewalk, including Roxanne. 26. POLITICIAN The Fifth Avenue Renovation Project, which I championed, will breath new life into the downtown area. New life means new jobs and new revenue. ROXANNE Councilman, is it true that your brother-in-law's construction company won the contract for this project? POLITICIAN Well...er...yes, but...look I'm not here to answer a lot of crazy questions... YOUNG MOTHER The young mother stops halfway down the block, reaches into the stroller and tries to comfort her now crying baby. Above her, a CRANE is maneuvering a pile of STEEL GIRDERS to an upper floor. Hal comes around the corner and heads in her direction. CRANE The crane GRINDS TO A HALT. The OPERATOR has a confused look on his face as he moves levers back and forth in an effort to fix the problem. Hal stops a few feet from the woman and stoops down to tie his shoe. CRANE The operator's hand slips off the lever, hitting a RED BUTTON. To his horror the crane DROPS ITS LOAD OF STEEL. HAL AND THE WOMAN The woman looks up to see the girders seconds from crushing her and her baby. She screams. Hal looks up and sees it as well. He starts to run out of the way and crashes into the woman and stroller. ACROSS THE STREET 27. The reporters turns their cameras just in time to catch on film what appears to be Hal pushing the woman to safety just as the GIRDERS CRASH TO THE GROUND. HAL AND MOTHER Tears of joy in her eyes, the woman picks up her baby and kisses it. Hal struggles to catch his breath as the mother turns to him. YOUNG MOTHER Thank you! Thank you for saving me and my baby! She hugs him with her free arm, weeping with joy. HAL (not knowing what she's talking about) Huh? He's a little uncomfortable with the woman's public display of affection and the small child in-between their embrace. HAL (CONT'D) There, there. Hal slowly eases out of the woman's grip. HAL (CONT'D) Okay, we better...well, I hear these little guys smother easy. The reporters rush over and surround Hal and the mother. ROXANNE What's it feel like to be a hero? Hal looks up at Roxanne. Instantly, he's captivated by her beauty. HAL Well...I'm just a man doing what men do. You're Roxanne Ritchi, aren't you? They're suddenly interrupted when another reporter pushes his way in between them. REPORTER Were you scared? 28. HAL Scared? Who had time? The reporters eat this up. INT. ABANDONED METRO CITY LIBRARY - NIGHT TELEVISION John Cusack stands in the rain looking up at a window of a two story house. He holds up a BOOMBOX and "In Your Eyes" by Peter Gabriel begins to play. From the couch, Master Mind and his minions watch. MASTER MIND John Cusack, huh? So all I have to do is have a cute puppy dog stare, be willing to make a fool of myself and - Oh, REMOVE BOTH MY BALLS. He turns to see Da Vinci watching the movie and wiping a tear from his cheek. MASTER MIND Please, get a hold of yourself. INT. BOOKSTORE - NIGHT Roxanne is carrying a large paper coffee cup in her hands as she peruses the isles. She sets it down on a shelf to pull a book out and ends up KNOCKING THE DRINK OVER. ROXANNE Shit. She goes to pick it up when someone bends down and picks it up for her. Looking up to thank him, Roxanne is suddenly stunned speechless - It's popular and critically acclaimed actor JOHN CUSACK, or rather Master Mind disguised as him. "JOHN CUSACK" Oh the humanity - it was a Venti. ROXANNE (stunned) You're...you're. "JOHN CUSACK" Yes, it's me. John Cusack...the actor. 29. He notices the book she's reading. "JOHN CUSACK" Hey, is that Shelly? Wait, I think remember something from that one - Let's see: "My head is screaming `I want you and need you' - my heart it keeps reaching to see you and feel you - yet in the end, I'm alone once again." Wow, I scare even myself. I'm sorry. I'm just really into poetry. Probably because I'm so sensitive and always going to great lengths to express myself. But enough about me. Can I fill you up? ROXANNE (captivated) ...Yes. (catching herself) I mean, excuse me? "JOHN CUSACK" Can I fill you up? Your coffee. ROXANNE Right. INT. BOOKSTORE CAFE' - LATER Roxanne talks as John Cusack listens to her every word intently. ROXANNE I did have a boyfriend - until fairly recently. She suddenly begins to feel the stares around her as passers- by being to notice who she's with. ROXANNE I'm sorry - this is so surreal! "JOHN CUSACK" Yeah, they charge way too much at these places - Now back to your boyfriend. I'm interested and compassionate. I want to know about you. 30. ROXANNE Things were complicated. He was a man married to his work. There was...there was a lot of competition in his line of business. I'm sure you know what that's like. "JOHN CUSACK" Sure. In my business, one thing I have is RIVALS. For example, mine is...uh...Lou Ferr...igno. ROXANNE ...The body-builder who used to play The Hulk on TV? "JOHN CUSACK" Did he? Well, we're always up for the same roles. Did your boyfriend have someone like that? A particular rival that was always getting his goat - so to speak? ROXANNE Well...one rival in particular seemed to get more of his attention than I ever did. But enough about my problems. "JOHN CUSACK" NO, TELL ME MORE!!! Suddenly realizing his outburst, he begins COUGHING to mask it. "JOHN CUSACK" (CONT'D) I'm sorry. I got a whooping cough. Had it ever since Serendipity. I WONDER WHERE OUR REFILLS ARE!!! (fakes cough) See, there it goes again. Please, go on. ROXANNE Right, well, he seemed to need him more than he needed me. "JOHN CUSACK" How do you mean? 31. ROXANNE It was conflict he thrived on. He always said he wouldn't know what to do with himself if Master - I mean, this guy were gone. It was like he needed it, like oxygen. The answer to his mental funk hits him like a bolt of lightening. He turns away from her as if for private time. "JOHN CUSACK" (almost to himself) I think I finally understand...The only logical answer is to recreate that rivalry - or if that's impossible, create one of equal structure. That's it! ROXANNE What? John Cusack snaps out of his dream-like haze realizing she's heard every word. "JOHN CUSACK" Oh, sorry, sorry. Just rehearsing for a part...where I play a man who talks to himself at inappropriate times. In a sudden rush, he rises out of his chair. "JOHN CUSACK" I have to go right now, but I'd really like to see you again - if that's alright. Roxanne looks up at him - She can't help but laugh at the craziness of the situation. ROXANNE I'd love that. INT. ABANDONED METRO CITY LIBRARY - DAY Master storms in the office to find Plato and Einstein playing darts with the original Mona Lisa. EINSTEIN Got her nose! MASTER MIND I've got it! 32. Everyone stops what they're doing upon seeing that their master has returned. MASTER MIND I've got it! MASTER MIND It's plain and simple. Extraordinary minds need extraordinary stimulation. Without that stimulus they wither and die. Therefore, there is only one logical conclusion: I must create a new superhero. EINSTEIN Yeah, maybe that's not such hot idea... MASTER MIND (ignoring him) Prepare for Operation Superhero Genesis! INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY The lab is slick, white and ultra modern. Dressed in a lab coat, Master Mind enters through a SLIDING GLASS DOOR rubbing his hands excitedly. MASTER MIND Prepare the subject. He glances down into a large HOLE in the floor to see a naked thirty year old man, SEVERS, shivering. Above the hole, a huge vat dangles precariously. Master Mind steps behind a glass partition next to Plato and Einstein. MASTER MIND (CONT'D) Plato, pour the toxic waste. Plato throws a switch causing the vat to tip hundreds of gallons of green and brown goo into the hole. MASTER MIND (CONT'D) Drainage. The slime is sucked out through the floor, leaving a goo- soaked Severs. 33. Master Mind looks into the pit. MASTER MIND (CONT'D) Well, Severs? SEVERS I feel fine. Just a little sticky, but aside from that everything's completely - BOOM - Severs explodes. A hail of blood and tissue covers Master Mind and his men. For a good ten seconds nobody moves an inch. Finally... MASTER MIND Okay then. INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY Through a glass WATER TANK we see a man breathing normally. MASTER MIND And this one? PLATO We attached gills to him. He can breath under water. MASTER MIND Ah. Does he have extraordinary strength? PLATO Well...no. MASTER MIND Can he fly? PLATO No. MASTER MIND Resilient to weapons fire? PLATO No. MASTER MIND He just breathes under water, then. PLATO Ah...yeah. 34. Master Mind rolls his eyes and walks away. INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY The next guinea-pig, STENWICK, is standing in a sealed glass tube not much wider than himself. MASTER MIND Plato, the radioactive spider, please. Plato throws the switch DROPPING A SINGLE SPIDER onto Stenwick's arm. Stenwick looks and winces as it bites him. STENWICK Ow! He brushes the spider off. MASTER MIND Anything, Stenwick? STENWICK (shaken) No. Ah...sir, I didn't know this was about spiders. I have a pretty severe case of arachnophobia. Master Mind thinks for a moment, then turns to Plato. MASTER MIND We're gonna need more venom. Plato throws another switch, this time DUMPING THOUSANDS OF SPIDERS on poor Stenwick. His SCREAMS begin to fade as he's engulfed with swarms of crawling arachnids. MASTER MIND (CONT'D) How `bout now, Stenwick? ....Stenwick? INT. ABANDONED METRO CITY LIBRARY - OFFICE - DAY Master Mind is pacing back and forth. The muted TV plays in the background. MASTER MIND This has proven to be a challenge. I just don't know what I want. What do I want? 35. He stares at Einstein, Da Vinci and Plato, but they offer no advice. MASTER MIND (CONT'D) I want a man of moral fiber with a strong sense of right and wrong. Someone who doesn't seek power - instead, they must have it thrust upon them and find, within themselves, the courage to rise to the occasion. Einstein lets out a short laugh, getting everyone's attention. EINSTEIN Yeah, well, it sounds like what you want is Uberman. Master Mind snaps the fingers of his non-metal hand. MASTER MIND That's it! Why make a copy when the real thing will do? The lackeys look at each other, they can't believe what they're hearing. EINSTEIN I was just kidding, sir. In case you forgot, you actually burned Uberman alive. MASTER MIND Then we'll make a new one. Plato, bring me the box! MINUTES LATER Master Mind and the lackeys stand in a circle around a small table. Plato places a STAINLESS STEEL CHEST in the tables center. As Master Mind opens it, he's immediately doused in WHITE GLOW emanating from inside. MASTER MIND Behold - Uberessence. The very thing that gave Uberman his superhuman powers. 36. EINSTEIN Where the hell did you get that? MASTER MIND Oh, I shot him with a power sucking gun and had this idea to use this to clone a whole army of evil Ubermen. I'm not sure why I never got around to following up with that. PLATO I believe he defeated you before you could, master. MASTER MIND ...Right. Man, he was good! DA VINCI You want another volunteer, sir? MASTER MIND Not another volunteer driven by the need for personal gain. Somebody else, somebody pure. Master Mind turns to see an INTERVIEW WITH HAL playing on the muted television. Underneath his face is a blue caption with white lettering that reads: "Hal Stewart - Metro City's Newest Hero?" NEWS REPORTER ...who risked his own life to save that of a young mother and her child. HAL Please, please, you're embarrassing me. I saw someone in need and I helped them. What more can we ask of ourselves. I ask you, what more? A smile creeps across the evil one's face. MASTER MIND (CONT'D) Somebody like him! EXT. CITY STREET - DAY Plato is sitting in the van, staring into a pair of binoculars as he speaks on a cellphone. 37. PLATO Yeah, sir. This guy is a real piece of work. He used to teach bowling at Kingpin's. INT. MASTER MIND'S HIDEOUT - DAY Master Mind is sitting with his feet up on a computer console as he speaks to Plato. MASTER MIND (into phone) A modest profession to brilliantly hide his true heroic nature. I love it. EXT. CITY STREET - DAY PLATO Then you are absolutely going to love this - We follow Plato's line of sight across the street where we see HAL PLAYING WITH A LARGE GROUP OF BLIND CHILDREN. PLATO - He volunteers at a school for the blind. INT. MASTER MIND'S HIDEOUT - DAY Intrigued, he suddenly sits up in his chair. MASTER MIND He volunteers. He doesn't ask for any reward for his deeds. The fates are shining down on me. This Mr. Stewart is truly an unselfish soul. EXT. BLIND SCHOOL - DAY From a distance, Hal seems to be consoling an upset child who's sitting on a rock. But up close... HAL You greedy little bastard. I already gave you a twenty. BLIND KID Hey, you want me to play along? Then pay up, bitch! 38. HAL Fine, but you better be convincing. He gives the kid a bill out of his wallet and looks over his shoulder to see a HOT TEACHER walking toward them. HAL Here she comes, go to work. Like a miniature Brando, the blind kid buries his face in his hands and begins to cry. BLIND KID (weeping) Why can't I see! Why God? Hal puts a warm consoling hand on the weeping boy's shoulder. HAL Hey, Peter. C'mon champ, let me look at you. The Hot Teacher stops and curiously watches from a distance. The boy looks up at Hal, tears running down his dark sunglasses - he should get an Oscar. HAL You know, in life we're all given no more than we can bear. This happened to you maybe because you were meant to rise above it - Maybe to be an inspiration to the other little Peteys out there. BLIND KID You really think so, Hal? HAL Hey, does it LOOK like I'm lying? Now c'mon, go feel your way to class before you get your little butt suspended. The boy stands up and is about to take off. HAL Petey, wait a minute. Hal uses his shirt sleeve to wipe the tears away from the boy's face before sending him on his way. 39. The Hot Teacher grabs her chest. Her heart is about to absolutely melt. HAL Don't run into anything! EXT. STREET - CONTINUOUS Plato lowers his binoculars. From his perspective, Hal should be next in line for popehood. PLATO I think I've seen enough, sir. This is your guy. MASTER MIND (O.S.) (over radio) Then return to base. We have much work to do. Plato starts up the van and pulls away. INT. BAR - DAY It's a busy night. A couple of trucker types are shooting pool as the bartender slings drinks. Hal is nursing a beer at the bar when he suddenly notices a very ATTRACTIVE WOMAN sitting next to him. As he goes to straighten his stool-posture, Hal suddenly catches himself on the bar's TELEVISION - it's a story about how he saved the woman and her baby at the construction site. He turns back to the Attractive Woman next to him, then back to the TV. A plan of attack is forming. HAL (obviously playing it up for the woman's benefit) Oh, there it is again. This is really getting embarrassing now. The woman looks up at the screen and gives Hal a double-take. ATTRACTIVE WOMAN Oh my God! It's you! You're the man who saved that woman and her baby the other day! It is you, isn't it? TRUCKER #1, getting a drink at the bar next to them, OVERHEARS. 40. Hal rolls his eyes and puts his hands up in the air. HAL (to Attractive Woman) Oh, crap. You got me. TRUCKER#1 taps Hal on the shoulder. TRUCKER#1 Let me tell you something. That was just about the bravest damn thing I've ever witnessed. (he turns to the rest of the bar) Hey, everybody! This guy's the hero from TV! The bar ERUPTS IN CHEERS. MOMENTS LATER Hal is riding on the shoulders of TRUCKER#2 and TRUCKER#3 as `I'm Holding Out For A Hero' plays on the jukebox. TRUCKER#1 suddenly puts his hands in the air. The room quickly goes silent. TRUCKER#1 I want to give you something. He reaches into his pocket and takes out a medal. He holds it up in the air for everyone to see. TRUCKER#1 (CONT'D) Lost my whole platoon. They were a lot a good boys, a lot of good boys. That was just the way things were in "The Grenada." I'd rather a real hero have this. Trucker#1 gives the medal to a speechless Hal. ATTRACTIVE WOMAN Hey, you're on TV again. The crowd looks up at the Television. TELEVISION - CONTINUOUS The anchor man, BRAD HELMS (early 40's, amazing mustache), suddenly has a memo passed to him. 41. BRAD HELMS This just in. Upon a second look at that tape from this morning, which we'll now replay for you, it appears it was not the heroic act it first seemed to be. The tape shows Hal running in slow motion. BRAD HELMS (O.S.) (CONT'D) With the tape slowed down you can actually see the man push the woman and her child out of the way in an effort to save his own life. The tape shows Hal, in a clear act of self-preservation, pushing the woman and child out of the way. CUT BACK TO: INT. BAR - CONTINUOUS In unison, everyone turns their heads back to Hal. HAL I guess that looks kinda bad. Trucker#1 snatches his medal back. EXT. NEARBY ROOF - NIGHT Master Mind, Da Vinci and Plato look down, spotting Hal cutting through a dark alley. DA VINCI There he is, boss. Da Vinci hands Master Mind a fantastic looking silver rifle. MASTER MIND Now, we're sure this won't kill him? PLATO Yes, sir. He'll just feel a slight electrical shock. MASTER MIND Good. Master Mind raises the rifle and aims it at Hal. 42. EXT. ALLEY - NIGHT Hal wipes the blood from his nose with his shirtsleeve. A LIGHTENING BOLT suddenly zaps Hal in the back. His teeth spark and arc electrons as his entire body shakes and shudders violently. He finally collapses, knocking over a row of garbage cans. EXT. NEARBY ROOF - NIGHT An angry Master Mind slaps Plato. MASTER MIND Slight electrical shock? EXT. ALLEY - NIGHT Hal lies flat on his back, his jacket smoldering. Dazed, he slowly rises to his feet and looks up at the sky. HAL God, I hate the weather in this city. Hal walks off into the night as he attempts to slap the emitting smoke from his jacket. EXT. NEARBY ROOF - NIGHT Master Mind turns to Da Vinci. MASTER MIND Follow him. INT. HAL'S APARTMENT - NIGHT It's a dirty, small studio. Laundry lies everywhere, dishes are piled in the sink and the litter box looks like a minefield. Hal comes staggering in. Through his POV we see the lights wobble and streak like a hallucination. He shakes his head trying to clear thing up, but it looks worse. Hal makes his way to the kitchen table and plops down on a chair. The room begins to swim. His CAT jumps on the table and sits down in front of him. 43. From Hal's POV the cat's face looks like we're seeing it through a kaleidoscope. Hal seems fascinated by it. CAT You don't look so good, man. HAL I don't feel good. I was struck by freaking lightening. Suddenly Hal realizes his cat's talking to him. HAL (CONT'D) AAAAAAHHHHH! You can talk? CAT No, you're just hallucinating. By the way, we're out of orange juice. HAL AAAAAAHHHHH! Hal jumps up, trips over a cardboard box and knocks himself out on the coffee table. INT. HAL'S APARTMENT - MORNING Hal lies in the same position we left him last night. He sits up and grabs his head. He looks like he has the worst hangover in the world. Finally, he remembers last night. He looks around, but not really sure what he's looking for. HAL Man... Shaking his head, he walks to the kitchen and opens the refrigerator. He pulls out an orange juice container and puts it to his mouth. It's empty. As if suddenly remembering something he looks from the carton to the cat, who is busy cleaning himself. He shakes the thought from his mind. BATHROOM Hal lifts the seat and unbuckles his pants. 44. HAL'S FACE He stares at the ceiling with half closed eyes. The inevitable sound of urine hitting water starts. A content look washes over his face. There is a distinct sound of porcelain CRACKING and SPLINTERING. The sound intensifies. Hal looks down to see his URINE STREAM SMASHING THE TOILET. HAL (CONT'D) Oh, God! He whips his stream away only to cut a LONG RIP IN THE WALL. HAL (CONT'D) Oh, God! He freaks out and begins to lose control of his flow as it destroys everything he accidently aims at; the bathroom mirror, a bottle of cheap cologne, the bathroom window. HAL (CONT'D) Oh, God! He aims back for the toilet, which is pretty much rubble now, to see the floor give way. Finally, the pee stops and he glances down the hole. He sees his downstairs NEIGHBOR sitting at his breakfast table. He has a fork halfway to his mouth as he stares at the smashed toilet on his pancakes. EXT. STREET - DAY Hal turns the corner to see his bus pulling away from the stop. HAL Wait! He starts running after it. ZOOM - HE TAKES OFF LIKE LIGHTENING. HAL (CONT'D) Whoa, whoa, whoa! Unable to stop, he SLAMS INTO THE BACK OF THE BUS and falls back to the ground. 45. As the bus continues on he sees an INDENTATION of his torso right below the rear window. Stunned, to say the least, he rises to his feet. HAL (CONT'D) Something's not right here. He slaps himself in the face as hard as he can. HAL (CONT'D) Wake up! Wake up, Hal! HONK! Hal spins around to see a car barreling toward him. He goes to jump out of the way - ZOOM - he FLIES TWO STORIES UP, nails a building and comes crashing back down to the sidewalk. Hal sits up, disheveled and scared. HAL (CONT'D) Okay, okay. Let's get it together, man. He closes his eyes in an attempt to will back his sanity. HAL (CONT'D) This is just some sort of...episode. It will pass, it will pass. He opens his eyes and looks down the street. A BEAUTIFUL NAKED WOMAN is coming toward him. HAL (CONT'D) Well, not too fast I hope. As she passes him and turns the corner out of his view he catches ANOTHER NAKED WOMAN - an old disgusting one. HAL (CONT'D) Yes, fast, fast! He turns away from her in horror only to see AN ENTIRE BLOCK OF NAKED PEOPLE going about their business. He rubs his eyes and looks down the street again. Everyone has returned to a clothed state. 46. He relaxes a little until he looks down and notices that he's floating a foot off the ground. HAL (CONT'D) I think I need to go home. INT. HAL'S APARTMENT - DAY Hal's front door CREAKS as it slowly opens, revealing Master Mind. He walks over to the bathroom and smiles to himself as he notices the giant hole in the floor. MASTER MIND Welcome to your second birth, Hal Stewart. Master Mind continues to survey the room. He stops to look over a "KARATE KID" POSTER on Hal's living room wall. He focuses on the majestic image of Pat Morita teaching a young Ralph Macchio to kick. MASTER MIND (CONT'D) Instruction is very important in the formative years. Every hero needs a mentor, a father figure to look up to. He presses his special watch, causing his body to MORPH INTO THE SPITTING-IMAGE OF PAT MORITA. "PAT MORITA" Perfect. INT. HAL'S APARTMENT - DAY Hal enters, grabs a bottle of vodka from atop of the fridge and takes a long pull from it. VOICE (O.S.) A man will usually find that if he drinks from a bottle, eventually, the bottle drinks from him. Hal does a SPIT TAKE. In the corner a darkened figure stands. HAL Who are you!? 47. VOICE I am the guide on your journey. Fate has chosen you to be it's champion. Pat Morita steps out from the shadows. Hal passes out again. LATER We are close on Hal's face as his eyes flutter open. He appears to be lying on the couch. He hunches up on his elbows, looks around, but everything is as it seems. He lays his head back down. HAL Thank God. It was a dream. Man, I must be losing it. A voice sounds right next to his ear. "PAT MORITA" (O.S.) You know you're out of orange juice? Hal leaps up to find he's been resting his head on Pat's lap. HAL Jesus! This isn't happening, this isn't happening. Hal backs away and trips over a box. "PAT MORITA" Calm. All things must be filtered through calmness. HAL Bullshit! Sometimes it's best to freak out. "PAT MORITA" I think we must work on your attitude first. HAL Look I'm gonna call the cops in about two seconds if you don't get out of here. 48. Pat rises and walks to Hal. He's so calm it makes Hal calm. "PAT MORITA" Are you calm now? HAL Yeah, I'm okay. Pat slaps him across the face hard. "PAT MORITA" Good, because we've got a lot of work to do. Hal grabs his jaw. HAL What the hell was that for? "PAT MORITA" Rule number one: expect the unexpected. HAL Can you just tell me what this is all about? "PAT MORITA" The heavens are not in the habit of bestowing a gift such as this to just anyone. You are being rewarded for being a man of great moral fortitude with an unwavering belief in humanity. HAL That's me alright. "PAT MORITA" I am to train you so you may fulfill your destiny to defeat the great menace to Metro City: Master Mind. Pat gets up and walks toward the door. "PAT MORITA" (CONT'D) Come. HAL We're are we going? 49. "PAT MORITA" To train. EXT. PAT'S CAR - DAY Pat is sitting in the driver's seat. The car is bumping up and down. "PAT MORITA" Strength is just as much in the mind as it is the muscle. Remember, both need to be exercised. We PULL BACK to see Hal lifting the car up over his head. He's hardly straining. HAL I'M LIFTING A FREAKING CAR!!! Pat leans on the HORN. "PAT MORITA" Hey, Corky? You listening? Two highly attractive female joggers run by. They're clearly impressed with Hal's show of strength. He smiles and mouths a "hello." HAL Yeah, work both muscles. EXT. DESERT - DAY Pat cocks back the chamber of a .357 MAGNUM. He holds it up and carefully takes aim...at Hal's chest. "PAT MORITA" Trust me. HAL What are you doing!? "PAT MORITA" An invulnerability test. Something wrong? HAL Uh...yeah. I would prefer not to get shot. Do not fire that thing! Frustrated, Pat lowers the gun. 50. "PAT MORITA" You're bulletproof. HAL Okay, do you know that for sure? Pat quickly aims and fires. Hal lets out a high pitched scream as the bullet ricochets off his chest. "PAT MORITA" I do now. Hal looks down at his chest, not so much as a scratch. HAL You suck. EXT. SKY - DAY Hal is in the air flying in a sitting position. He's weaving back and forth. HAL Ice Man, I got a bogie on my tail. Two Russian Migs coming in hard and fast. "PAT MORITA" Hey! HAL What? Hal looks down to see Pat Morita yelling at him from the roof of a building down below. "PAT MORITA" What did I tell you? Stomach down, hands up. Hal sighs and assumes the proper superhero in-flight position. HAL God, I feel so gay. Pat's CELL PHONE begins to RING. He answers it. "PAT MORITA" (in Master Mind voice) What is it? 51. ROXANNE (V.O.) John? Pat panics. He looks up to make sure no one is in earshot. He sees Hal now doing somersaults in the air. HAL YEEEE HAWWWW! Pat turns his attention back to the phone, talking in his John Cusack voice. "PAT MORITA" (in Cusack voice) Yes, it's John Cusack. ROXANNE (V.O.) Hi, it's Roxanne. Listen, I...I really enjoyed talking with you the other day. "PAT MORITA" ...As did I. ROXANNE (V.O.) Great. God, I feel really silly, and if you have a lot going on I totally understand. But, I was wondering if you maybe wanted to have lunch. He can't believe what he's hearing. "PAT MORITA" (excited) I'd love to! He quickly recovers his composure. "PAT MORITA" (CONT'D) I mean, I AM a little hungry. ROXANNE (V.O.) Great. How does the park sound, around noon-ish? "PAT MORITA" Sure! ROXANNE (V.O.) Great, see you then. 52. Pat hangs up the phone and returns it to his pocket as Hal lands behind him. HAL WHOOOOA! Man, that is so cool. It's like fly - Oh my God, I almost said it was like flying. "PAT MORITA" For the rest of the day I want you to continue to practice your flying posture. HAL Why, where're ya going? "PAT MORITA" ...To do something...mysterious ...and Asian. HAL Say no more, bro. I'll just keep at it, then. EXT. PARK - DAY John Cusack and Roxanne eat WRAPPED SANDWICHES while walking through Metro City Park. ROXANNE How's your sandwich? "JOHN CUSACK" It's quite delicious. ROXANNE Hope you don't think I'm too forward. Some men are intimidated when a woman asks them out. I just find you really easy to talk to. "JOHN CUSACK" And I you. ROXANNE You know, you're not at all like you are in the movies. "JOHN CUSACK" I'm not? 53. ROXANNE Yeah. I don't know - You have this strange, refined way of speaking. "JOHN CUSACK" I do? That is most interesting. ROXANNE Anyway, when we were talking the other day I just felt, even though we only talked for a couple of hours, that we've known each other for years. "JOHN CUSACK" I know just what you mean. Roxanne bites into her sandwich. ROXANNE You know what? This sandwich is disgusting. She tosses it in a nearby garbage can. ROXANNE (CONT'D) Of course I already ate half of it. I wonder what that says about my character? "JOHN CUSACK" It means you don't give up on a sandwich. You see that it has potential, and you give it every chance to be all it can be. Roxanne smiles at his analogy. ROXANNE Thanks, but knowing me, I was probably projecting my expectations of what a lunch should be on the sandwich. It might have been okay at first, but I just made it bitter. John Cusack notices Roxanne's smile starting to fade. "JOHN CUSACK" Is that what happened with your last sandwich - I mean, boyfriend? 54. ROXANNE When I look back, I probably shouldn't of expected so much from him. He was already a giving person. You know, one of those go out and save the world types. "JOHN CUSACK" I've run into a few. ROXANNE I was selfish, I guess. I didn't want to share him with anybody else. "JOHN CUSACK" It sounds like he was a special man. ROXANNE They broke the mold. John Cusack arches his eyebrow in a very familiar manner. "JOHN CUSACK" Perhaps not. INT. ABANDONED WAREHOUSE - DAY Hal walks up to Pat Morita sporting a Lone Ranger-type mask and wearing a purple and red superhero costume. It's not unlike Uberman's except for a giant "T" on his chest. (From here on, Hal is referred to as TITAN) TITAN What's the "T" stand for? "PAT MORITA" Titan. TITAN What's that supposed to mean? "PAT MORITA" It's from Roman mythology. Zeus's father...oh, just go with it. You look perfect. TITAN I don't think this mask is big enough. Are you sure no one is gonna recognize me? 55. "PAT MORITA" It's fine, just don't slouch. It's all in the posture. He grabs Titan's shoulders like a proud papa. "PAT MORITA" (CONT'D) It is time. INT. BANK - DAY There is a long line of people snaked around the velvet ropes. They're all waiting for their chance at the one open teller window. Four men wearing BEATLES MASKS(JOHN,PAUL,GEORGE,AND RINGO)and CARRYING SHOTGUNS enter the bank. John fires a shot in the air, sending everyone into an immediate panic. JOHN Alright folks, this is a robbery. Nobody moves - yadda, yadda, yadda... Ringo jumps over the teller wall and starts stuffing bills into a bag. As John and Paul cover the crowd, George goes to the corner office and puts a gun to the BANK MANAGER'S head. GEORGE The safe. Let's go. BANK MANAGER Okay, just don't hurt anyone. GEORGE Yeah, yeah, yeah. George leads him out by the collar. CRASH - Titan smashes through the window and lands in a bold superhero stance with hands on hips. TITAN Well, boys, there's no need for all this just to get the free toaster. Paul cocks his gun. 56. PAUL What are you suppose to be? We move in for a nice dramatic close up. TITAN Justice. GEORGE Well, justice, suck on this... George, John and Paul open fire on Titan. He just stands there and yawns as the bullets bounce off him. With their guns empty the three just stare at him in amazement. TITAN Now it's my turn. He turns to George. TITAN (CONT'D) Hey, George, here comes the sun. Titan grabs George and throws him into a fluorescent light fixture in the ceiling. Paul tries to run for the door. Titan snatches the collar of his jacket. TITAN (CONT'D) Say, Paul, your mother should know...that you're a scumbag. He tosses Paul out the window and into a parked DELIVERY TRUCK. Titan turns around just as John hits him with the butt of his shotgun. It instantly breaks apart in his hands. Titan lifts him like a rag doll up into the air. TITAN (CONT'D) John, all you need is love... He throws John who lands on top of a cubical wall - GROIN FIRST. TITAN (CONT'D) ...and a good urologist. 57. Titan effortlessly hops over the teller wall to find Ringo cowering on the floor. He grabs him by the shirt and lifts him up. HAL Well, Ringo...um...um...you're under arrest. EXT. BANK - DAY Titan walks out of the bank with Ringo and George under his arm. He's suddenly swarmed by a group of television reporters, including Roxanne. Across the street is Pat Morita. He watches Titan's first news conference with great anxiety. BANK MANAGER (to Hal) On behalf of the First National Bank of Metro City, I'd like to offer you a reward for your act of bravery. He hands Titan a check. TITAN (reading) Ten thousand dollars! Titan looks over to Pat, who violently shakes his head no. TITAN (CONT'D) (unenthusiastically) I...can't except this. Law and order is it's own...um...reward. Pat gives him the thumbs up. Pat turns, suddenly seeing Roxanne with her camera crew. Captivated, his eyes lock on her. Meanwhile, Roxanne and her cameraman, SETH, are maneuvering around the crowd to get closer to Titan. BRAD HELMS (O.S.) Not so fast, Roxanne. They both turn to see Roxanne's reporter rival Brad Helms, Geraldo without the class, and his cameraman, FRANK. BRAD HELMS This story's mine. 58. ROXANNE Listen, Brad. We were just in the area. I was just trying to - BRAD HELMS I've been in this business long enough to know pretty well what you were "just trying to do." Besides, I heard you couldn't take the big game anymore and were put on fluff detail? Dejected, Roxanne turns and motions for Seth to turn the camera off. SETH You're not gonna take that from him, are you? ROXANNE He's right. Old habit, I guess. (to Brad) We'll get out of your way. As they walk off, Brad makes a comment to Frank loud enough for her to hear. BRAD HELMS Besides, I'm sure there's a pancake supper somewhere that needs covering. INT. ABANDONED METRO CITY LIBRARY - OFFICE - DAY ON TELEVISION We see the news conference on the bank's steps. In the corner of the screen is written: "recorded earlier." BRAD HELMS For months now, since the death of Uberman, the citizens of Metro City have been holding out for a hero. Well, it appears they won't have to hold out for much longer as a new costumed crusader has suddenly stormed onto the scene. Today, at the Metro Savings and Trust, a masked mystery man single-handedly defeated "The Fab Four Gang." Just who is this new caped avenger? Brad holds the microphone to Titan's face. 59. BRAD HELMS I'm sure all of our viewers are now wondering, what's the "T" stand for? TITAN It's a message to all the scum out there. Uberman may be gone, but Metro City has a new protector, and his name is "Tighten!" Another reporter leans in. REPORTER How do you spell that? We PULL BACK to see Plato and Da Vinci watching this spectacle. Master Mind is sitting with them, reading a NEWSPAPER. MASTER MIND (reading paper) Oh, for heaven's sake. I can't believe it. He misspelled his name. Master Mind holds up the newspaper. The headline reads "Metro's New Hero: Tighten." MASTER MIND (CONT'D) No matter, I suppose. Master Mind throws the paper on the floor and begins to pace around the room with his arms folded behind his back. MASTER MIND (CONT'D) We've now fully established Titan as Metro City's hero. They will love him just as they loved Uberman. Everything is going according to plan. Einstein leans over and whispers in Plato's ear. EINSTEIN (whispering) Yeah, if the plan is getting us in jail. Master Mind turns around, facing Einstein. He walks over, standing face to face with the rebellious henchmen. 60. MASTER MIND You know, Einstein, maybe I should have called you Socrates. He also didn't know when to keep his thoughts to himself. EINSTEIN I just fail to see the point in all of this. I mean, why are we creating another superhero when it was such a pain in the ass for you to get rid of the other one? I mean, Uberman is destroyed, we should be using this opportunity to...to... MASTER MIND To what? EINSTEIN I don't know. To take over the weather, space, the world - whatever super villains are SUPPOSED to do. MASTER MIND The reason someone like you will always be a minion is because you have no foresight. We take over the earth, like you said. Then what? Women? Cars? Money? Even the grandest treasures will lose their lustre if you don't have someone to hold them over. Einstein throws up his hands. He's had enough. He pulls off his wig and throws it to the floor. EINSTEIN That's it! This balance of the force bullshit is getting way too Oprah for me. I'm blowing. Who's with me? MASTER MIND You dare? EINSTEIN Yeah, I dare. I'm sick of wearing stupid costumes, and I'm sick of working for a super villain who's turning into a softie. 61. Plato and Da Vinci's mouths drop to the floor. They turn to Master Mind for his rebuttal. MASTER MIND What - did - you - call me? EINSTEIN You heard me. You used to be an inhuman monster, now look at you. You're creating super heroes, you don't go with us on robberies anymore, it's been days since you threatened anyone, oh, and not to mention this Roxanne Ritchi thing. MASTER MIND THAT is none of your business, knave! EINSTEIN Hey, you guys haven't sealed the deal yet, have you? MASTER MIND Silence! EINSTEIN (In a woman's voice) Oh, Master, your head is so big. MASTER MIND I'm warning you, Einstein. EINSTEIN (In a woman's voice) Take me! MASTER MIND I said silence! With his metal gauntlet Master Mind grabs Einstein by the throat and lifts him into the air. Einstein looks frightened as he tries to pry himself free of Master Mind's grip. Master Mind's eyes soften as if his heart is suddenly not into what he's about to do. He let's Einstein drop to the floor. MASTER MIND (CONT'D) Get out of my sight. 62. EXT. RESTAURANT - NIGHT Roxanne and John Cusack are eating on the outside patio of a fancy restaurant. ROXANNE Don't get me wrong, I love being a reporter. I don't think I could do anything else. It's the consequences of what we do that I'm having a problem with. He listens intently as he refills her glass with wine. "JOHN CUSACK" That's where journalistic responsibility comes in, no? ROXANNE It's supposed to. "JOHN CUSACK" Sounds to me like you're running from something. ROXANNE I got someone I cared about killed. If it wasn't for me, he wouldn't have been involved. John suddenly gets a disturbed look in his eye, realizing what she's talking about. He reaches across the table and takes her hand. "JOHN CUSACK" You can't blame yourself. My father used to say each of us must answer the great call to truly feel alive. ROXANNE Was he an actor? "JOHN CUSACK" ...No. He was...a landscaper. And a horrible one. I mean he would fail time and time again at his...landscaping. And sometimes he'd get pretty beaten up or thrown in jail - ROXANNE Jail? 63. "JOHN CUSACK" My point is he took the good with the bad. He grew a little each time. Improved, learned. ROXANNE Was he ever successful? "JOHN CUSACK" God, no...but don't let deter you. Roxanne LAUGHS. ROXANNE Thanks for this. You know, this is embarrassing, but it's been a long time since I - It's starting to lightly sprinkle. Roxanne looks up. ROXANNE (CONT'D) I think it's starting to rain. We might want to find a table inside. "JOHN CUSACK" What were you gonna say? ROXANNE Oh, I was gonna say...It's been a long time since...well, I've been with someone I...enjoy being with. John Cusack smiles warmly and raises his glass for a toast. "JOHN CUSACK" To people who enjoy being with each other. They go to clang glasses, when the rain suddenly causes John Cusack's disguise generator to short. His true form of Master Mind is briefly revealed to Roxanne as a BOLT OF ELECTRICITY encircles his body. Roxanne drops her glass and jumps out of her seat. MASTER MIND (CONT'D) Oh, no. Don't look at me. LIKE A BROKEN TV the image keeps switching between MASTER MIND AND JOHN CUSACK. 64. As Master Mind starts to franticly slap at his watch, the Cusack disguise begins to hold steady. He nonchalantly returns to cutting his steak. "JOHN CUSACK" Okay, never mind that. Now, where were we? Roxanne grabs his glass and throws the drink in his face, causing the generator to short out permanently. Master Mind now sits in his true blue form. ROXANNE Oh my God. MASTER MIND You're not gonna get all freaky about this, are you? ROXANNE This...this is too much, even for you. God, I go out with you, tell you my innermost thoughts. MASTER MIND I only did this because I wanted to talk to you on the same level. You know, without all the baggage? ROXANNE Baggage? You burned my boyfriend alive, you sick son-of-a-bitch! MASTER MIND You see, that's exactly what I'm talking about. Roxanne starts to walk away. MASTER MIND (CONT'D) Roxanne! ROXANNE Stay away from me. Master Mind sinks back down to his chair. Despite the now heavy rain bombarding him, he returns to his food. Several resturaunt patron's are looking at him through the window. 65. Our villain turns to them, giving them a villainous glare. MASTER MIND What? INT. MASTER MIND'S BEDROOM - NIGHT Master Mind is lying on his back, wide awake. MASTER MIND (mumbling to himself) Stupid. What was I thinking? Plato, it's his fault. He's the one who sent me on this weak-willed path. I'll filet his scrotum for this. Me, a creature of evil, in love with Roxanne Ritchi. Preposterous. I hardly give such matters thought He rolls onto his side. He yawns and closes his eyes. Suddenly, they shoot back open. CUT TO: EXT. ROXANNE'S APARTMENT - NIGHT Master Mind pulls up in a blue Rolls Royce, across the street from Roxanne's apartment He stares up at the building, hoping to catch a glimpse of her. Finally, she appears, primping her hair in her apartment window's reflection. MASTER MIND I should just go up there and just lay it all out to her. "Roxanne, I like you - I always have. Oh, and I'm sorry I blew up your ex. (realizing the absurdity of his words) Yeah, that would go over like a pants-less clown at a child's birthday party. What the hell am I even doing here? Who cares what she thinks? I'm a supervillain and here I am acting like a love struck schoolboy. Forget this. I control my own destiny! 66. He turns the ignition key - NOTHING HAPPENS. He repeats but gets the same results. MASTER MIND (CONT'D) (disgusted) Perfect. INT. ROXANNE'S APARTMENT - NIGHT She pulls a pack of smokes off her night stand. Empty. ROXANNE Damn. She grabs her long coat and throws it over her robe. EXT. ROXANNE'S APARTMENT BUILDING Roxanne steps outside. ROXANNE Please be open. Across the street is a liquor store. The light is still on. ROXANNE (CONT'D) Thank God. She walks across the street, passing in front of Master Mind's car. Spotting her, he sinks down in his seat. Roxanne walks by, totally unaware of his presence. Relieved, Master Mind sits back up and watches her go into the store. INT. LIQUOR STORE - NIGHT Roxanne walks up to an elderly Korean SHOPKEEPER at the counter. ROXANNE A pack of Lady Strikes, please. EXT. MASTER MIND'S CAR - NIGHT Master Mind is talking on his cell phone. MASTER MIND Hello, Triple A? 67. He suddenly spots something across the street. EXT. LIQUOR STORE - NIGHT A HOODLUM walks up to the entrance of the store and pulls out a gun from under his coat. EXT. MASTER MIND'S CAR - NIGHT Master Mind stares in shock. MASTER MIND I'll call you back. He hangs up the phone and watches the Hoodlum go inside the store. INT. LIQUOR STORE - NIGHT The Hoodlum reaches across the counter and grabs a fist full of cash from the register. SHOPKEEPER Hey! SHOTGUN HOODLUM Shut up, Gramps. He turns to Roxanne, spotting a GOLD NECKLACE around her neck. SHOTGUN HOODLUM (CONT'D) Gimme that necklace! ROXANNE I don't think so. The Hoodlum cocks his shotgun. SHOTGUN HOODLUM I said give it to me! MASTER MIND (O.S.) The lady said no. The hoodlum turns around to see Master Mind in the doorway holding a STRANGE-LOOKING HAND CANNON (GOO GUN) with knobs and blinking lights. The hoodlum starts to laugh. 68. SHOTGUN HOODLUM What the hell's that? A super soaker? MASTER MIND No, it's a goo gun. The hoodlum turns his gun to Master Mind. SHOTGUN HOODLUM Yeah, what's it do? MASTER MIND It goos. Master Mind fires the cannon. It instantly covers the store in a cloud of SMOKE. The smoke clears to reveal the hoodlum STUCK TO THE WALL, covered in a thick, GREEN GUNK. Roxanne stares at him, dumbfounded. MASTER MIND (CONT'D) It's...a prototype. Master Mind starts to walk out when he's suddenly confronted by the shopkeeper. SHOPKEEPER I know you! You Master Brain guy. You a hero. Master Mind points the goo gun at him. MASTER MIND Don't - EVER - say that again. EXT. LIQUOR STORE - NIGHT Master Mind walks out with the cannon resting on his shoulder like he's a short timer in Da Nang. Roxanne follows shortly behind him. ROXANNE Hey! Master Mind turns around. ROXANNE (CONT'D) Are you following me or something? 69. MASTER MIND Don't flatter yourself. He turns away and continues walking. Roxanne runs in front of him blocking his way. ROXANNE Don't walk away from me when I'm talking to you. Finally it occurs to her what's going on. ROXANNE (CONT'D) What a minute...all that stuff you use to say to me when Uberman was alive - about me being the loyal queen by your side as you rule over Metro City. That wasn't just super villain rhetoric, was it? You actually meant it! MASTER MIND My, someone has a rather high opinion of themselves. They stare at each other in silence, their glares locked in conflict. ROXANNE (coldly) Do you really think I would be with someone like you? This stings Master Mind to the bone. And after a brief contemplation, he reaches the only logical, painful conclusion. MASTER MIND No. With that, Master Mind exits into the night, leaving Roxanne with a baffled expression on her face. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind enters in a huff. Da Vinci closes the door behind him as Plato notices his master's agitated state. PLATO Everything alright, sir? Master Mind GRABS PLATO BY THE GROIN with his metal gauntlet causing Plato's eyes to bulge in pain. 70. MASTER MIND (overly calm) Fine, why do you ask? PLATO You...just...seem... Master Mind tightens his grip. MASTER MIND Go on. PLATO ...distracted. Master Mind releases him. MASTER MIND Just with business, my minion. Just with business. I've decided it is time. PLATO You mean? MASTER MIND Yes, we've created our hero, now it's time to give him a little motivation. DA VINCI How do we do that? MASTER MIND To be simply good is not enough. A hero must be driven by an almost relentless desire to right a wrong that can never be corrected. PLATO You mean? MASTER MIND Yes, he must lose someone near and dear to him - his father figure. Gentlemen, it's time for Operation Mentor Kill! EXT. SKY OVER METRO CITY - DAY Titan flies high over and through the city, under bridges, between buildings, etc. He's not really working, just enjoying himself. 71. INT. WOMAN'S APARTMENT - NIGHT A PRETTY WOMAN sits at her makeup table wearing nothing but her bra and panties. Through the reflection in her mirror we see a large window directly behind her. As she applies lipstick we see Titan fly quickly by in the background. After a moment he slowly slides back in view and begins ogling the girl. She sees him in the mirror and quickly covers herself with a robe. Titan tries to hide his face as he zooms off. MOMENTS LATER Titan looks down to see an APARTMENT BUILDING IN RUIN. Emergency lights flash around it as swarms of people run around in chaos. TITAN Man, what the hell happened down there? Wait a sec - He stops in mid-air as he comes to the striking realization. TITAN (CONT'D) THAT'S MY APARTMENT!!! EXT. HAL'S APARTMENT BUILDING - DAY Titan lands in front of the rubble that was once his home. Reporters stand just beyond the police line. TITAN Crap. From the wreckage crawls a dying Pat Morita. TITAN (CONT'D) PAT! Titan goes and kneels beside Pat, holding him in his arms. TITAN (CONT'D) You okay? "PAT MORITA" I'm dying, kid. There is just one last lesson I have for you. It is the most important of all. 72. TITAN What's that? "PAT MORITA" Master Mind did this, you must avenge me. TITAN Master Mind? Why? "PAT MORITA" Because he's evil. You must stop the evil Hal - stop the... Pat's body goes limp. The cameras begin to pop and flash around them. Titan gently lays Pat's body down and stands respectfully over him. The reporters rush over. REPORTER 1 Tighten, Is this the work of Master Mind? REPORTER 2 How will the death of your mentor affect your resolve? REPORTER 3 Was that Pat Morita? Titan walks up to one of the cameras. TITAN This injustice will not go unpunished. Master Mind, if you can hear me, Tighten is coming for you. In the background we see Plato and Da Vinci, DRESSED AS PARAMEDICS, load pat's body onto a stretcher. PLATO ACCIDENTALLY DROPS HIS SIDE. As he bends down to pick it back up, Pat quickly slaps him, then goes back to playing dead. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind and the boys prepare the fortress for Hal's revenge attack. Master Mind is as giddy as a schoolboy. 73. MASTER MIND Alright, people, we don't have much time. Titan should be here any minute, so let's get the lead out. There is a GIANT MOUNTED DEATH RAY in the middle of the hall being tinkered with by Da Vinci. MASTER MIND (CONT'D) How's the death ray coming? DA VINCI Nearly up to full power, sir. MASTER MIND Hum. Let's turn it down a few notches. It's his first time and we don't want to get in a lucky shot, now do we? Plato enters the room. MASTER MIND (CONT'D) Anything on the radar yet? PLATO Not yet, sir. MASTER MIND I see. Well, he must be planning something big. Are the flame androids deployed? PLATO All twelve. Master Mind rubs his hands in anticipation as he sits down on his throne. MASTER MIND Wonderful, wonderful. Plato, Da Vinci, take your places next to me. They move to either side of the chair. MASTER MIND (CONT'D) No slouching. Da Vinci straightens up and sucks in his gut. They remain this way for several long moments. Master Mind occasionally glances at a DIGITAL CLOCK on the wall. Still no Titan. 74. LATER Apparently quite some time has passed. The bold stances have degraded to fatigue. PLATO He's certainly taking his time. MASTER MIND He'll be here. That's the way it works. STILL LATER Master Mind reclines in his chair and taps his metal gauntlet impatiently on the armrest. Plato has squatted down, resting his chin on his hand. MASTER MIND (CONT'D) Unprofessional, that's what this is. No, it's disrespect for the craft. Master Mind rises and begins to pace back and forth. MASTER MIND (CONT'D) Would Uberman have kept us waiting like this? Of course not. He was a pro who knew the score. It's time we spelled out a few things for this Titan. I will not be made a fool of. He storms out of the room. INT. HAL'S NEW APARTMENT - DAY Titan's sitting on the floor in a barren apartment wearing his costume top and some tighty whities. He sips his beer as he watches a basketball game on a tiny TV. Much to his annoyance, there's a KNOCK at the door. TITAN Oh, for crying out loud. He gets up and opens the door. It's Master Mind. MASTER MIND Do you know who I am? 75. It takes a few moments to register, but Titan's suddenly excited. TITAN Yeah, you're Master Mind. Yeah! You're actually the guy I want to see! MASTER MIND Oh, so NOW you want to get down to it. Well, I want to get a few things off my chest first. Master Mind walks past Titan into the apartment. He spins around, pointing at him accusingly with one of his metal fingers. MASTER MIND (CONT'D) Of all the inconsiderate - Do you have any idea how long we waited for you? We're you even planning on coming to me and getting revenge? Titan shuts the apartment door, and turns back toward his guest. TITAN Well, at first I was going to. You know, because that's what I figured I was supposed to do. But then I got to thinking- MASTER MIND (interrupting) -You got to thinking? There's nothing to think about. I'm the villain. I do something bad, you come and get me. TITAN - I got to thinking...what's the point? Master Mind throws up his hands. MASTER MIND Maybe you're right. What's the point? He suddenly notices something in the corner of his eye. He walks over to a futon in the living room. On top of it is a LARGE SACK OVERFLOWING WITH GOLD WATCHES,RINGS AND OTHER VALUABLES. 76. MASTER MIND (CONT'D) What are these? TITAN That's what I wanted to talk to you about. MASTER MIND (baffled) Where did you get all this? TITAN (proudly) Get this: I stole them. MASTER MIND From where? TITAN From all over. You see, once you killed Pat and ruined my other apartment building I was pretty pissed off, so I figured I'd go, find you and kick some ass. Then I thought to myself: "Okay,then what?" I mean, if we were to fight, what would I get out of it? Would I get my apartment back? Would I be able to pay the bills? MASTER MIND Well, what about your mentor? TITAN Tell you the truth? He was kind of a dick. I mean, being a hero is dandy and all, but it's volunteer work. Now you've always had the right take on all this. I mean, when you rob a bank or take over the diamond exchange you get something out of it. I mean, when you don't get caught, which, no offense, isn't very often. And that brings me to what I wanted to propose to you: Who could catch you if I'm by your side? Perplexed by his proposal, Master Mind just stares at Titan awe-struck. MASTER MIND You want to team-up? 77. TITAN You got the brains, I got the brawn. We could even call ourselves that: `Brain' and `Brawn'. Look at this. Titan picks up a piece of POSTER BOARD off the floor and shows it to Master Mind. TITAN (CONT'D) I even designed us some new costumes. The picture is crudely drawn with magic markers and crayons. A big headed man (Master Mind) is standing on a plate of grass in a blue costume with a picture of a brain on his chest. Next to him, is a picture of Titan in a red costume with a black cape, but his chest is mysteriously blank. Titan proudly points to the two figures. TITAN (CONT'D) See, you'd be brain, so you got a little one on your costume, and then I'll have brawn on mine...once I figure out the best, you know, visual interpretation of it. What do you think? MASTER MIND What do I think? Master Mind shakes his head tiredly. MASTER MIND (CONT'D) I think you're probably the biggest idiot I've ever met. I mean, I can't believe you. All your gifts, all your powers, and all you want to use them for is your own financial fulfillment. You know what? Your kind of people make me sick. Titan puts down his drawing. TITAN I worked hard on this. MASTER MIND Oh - gee - I am so sorry! 78. Master Mind looks to Heaven in disgust. MASTER MIND (CONT'D) (under his breath) Of all the people to pick, it had to be this loser. This strikes a cord with Titan. TITAN Now, hold on. You're going a little too far. MASTER MIND I wish your mother said that to your father the night of your conception, they would have saved me a whole lot of heartache. TITAN Hey, I mean it. Master Mind gets right in his face. MASTER MIND Oh, yeah? What are you gonna do? EXT. HAL'S APARTMENT BUILDING - DAY We see Master Mind's body CRASH through the building and land in a DUMPSTER across the street. A car pulls up. The driver's door opens. Da Vinci gets out and runs to help his master. DA VINCI Master! MASTER MIND (O.S.) It hurts. Da Vinci peeks into the dumpster to see Master Mind's body cushioned by a stack of trash bags. DA VINCI What hurts? MASTER MIND It! The overly large henchmen starts to pull his master from the dumpster when they suddenly hear a voice from above. It's Titan peeking through the hole in his apartment wall. 79. TITAN I don't need you, I don't need anybody. I have the power to do and take anything I want. And now, I'm gonna take back everything this city owes me. Beware Metro City, it's time for Titan to collect. Titan shoots up into the air. TITAN (CONT'D) Oh, and from now on - I'M GONNA FLY THE WAY I WANT TO FLY! He takes a sitting position and flies away as if he were piloting an invisible jet. Master Mind climbs out of the dumpster and watches Titan disappear into the distance. DA VINCI How'd the plan go, boss? MASTER MIND I just made myself redundant, old friend. Da Vinci gives Master Mind a whiff. DA VINCI It's not that bad. INT. BANK - DAY Titan, with a happy bounce in his step, enters the bank. The last time he was here he thwarted a robbery. He looks nostalgic. A SECURITY GUARD shyly walks up to him like a kid meeting his TV idol. SECURITY GUARD Morning, Tighten. TITAN Morning. SECURITY GUARD Is there something we can do for you? 80. TITAN Oh, don't bother about me. I'm just here to make a withdrawal. Titan walks across the lobby, drawing stares of admiration from all. A little girl waves to him sweetly. He gives her a good- natured WINK as he heads straight for the vault. The security guard watches him enter and come out with a SACK OF CASH. Sure he must be misunderstanding what's going on, the security guard just stares at Titan as he passes by and out the door. The bank manager comes over to the guard. BANK MANAGER Say, did he just rob us? SECURITY GUARD Not sure. Sort of looks it, don't it? BANK MANAGER Yeah. SECURITY GUARD Should I, you know, stop him? BANK MANAGER Umm...Yeah. As the security guard exits the bank, the manager stares out the window. His eyes suddenly grow wide with terror. The guard's body suddenly smashes through the window, landing at the startled bank manager's feet. BANK MANAGER (CONT'D) (looking down at the guard) He did rob us, didn't he? CUT TO: TELEVISION "A Channel 7 News Special Report." Brad Helms wipes into view. 81. BRAD HELMS "Absolute power corrupts absolutely." When Lord Acton stated that, in a letter to Bishop Mandell Creighton in 1887, no one thought much about it, but today Metro City is reeling from that very prophecy. Tighten, who many thought of as our savior, has turned his back on the cause of justice. CUT TO: TITAN BEING EVIL - MONTAGE EXT. DIAMOND EXCHANGE - DAY Titan flies through the window of the building. He emerges seconds later laughing with his shirt full of booty. EXT. CITY STREET - DAY A woman screams from the window of a BURNING BUILDING. Titan flies up to her, grabs her fur coat and zooms off again, leaving the woman behind, slightly confused. EXT. OUTSIDE MARKET - DAY Titan steals a little boy's lollipop and gooses his mother. EXT. CITY STREET - DAY Dozens of people run through the streets apparently to get out of a downpour. We cut to the top of a building and see Titan ZIPPING UP HIS PANTS and laughing. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind paces back and forth in front of Plato and Da Vinci. PLATO I don't understand it. He seemed to have every characteristic we were looking for in a superhero. MASTER MIND Well, there's no use crying about it now, we must take action. I'm not going to play second fiddle to that crass buffoon. We must destroy Tighten. 82. PLATO It won't be easy. Uberman had a sense of decency and genuine love for the people. That was his weakness and was easily used against him. MASTER MIND Yes, but he possesses the same flaws present in Uberman's DNA - copper. It's like Benjamin Franklin always said: "If something works don't dick with it." EXT. BAR - DAY It looks like a war zone passed through here. Smashed police cars and debris lay everywhere. This seems to be the only building left untouched. INT. BAR - DAY A very tipsy Titan is sitting at the bar, looking deep into the bottom of his beer glass for answers. TITAN I can have anything I want. I'm like a god. The BARTENDER just listens as he wipes down a glass with a dirty rag. TITAN Point to any woman in this bar. I could have her in a second. He follows the bartender's gaze to THE ONLY OTHER PERSON THERE - A passed out, MIDDLE AGED HAG OF A BARFLY. TITAN (to Old Barfly) Hey, you wanna get with this? BARTENDER Buddy, what do you want? Titan carefully considers this for a moment. TITAN What do you want? That's the question, isn't it. I mean, what do you want when you can have everything? (MORE) 83. TITAN(cont'd) I suppose what I really want is to never be forgotten again. I want to do something that can never be cast aside or one-upped. I want a - what's it called? - A legacy. I want a legacy. Yeah, that's it. I like the sound that. BARTENDER I meant, what do you want to drink? TITAN Oh. EXT. BAR - LATER Titan stumbles out of the bar, carrying a large sack of money. MASTER MIND (O.S.) Your time has come to an end, Titan! He looks up to see Master Mind suddenly standing before him. TITAN What? MASTER MIND There can be only one master criminal in this city - and it's me. TITAN Really? Titan melodramatically throws up his arms. TITAN (CONT'D) I guess I should leave town then, huh? MASTER MIND I have a better idea - NOW! Two floors up Da Vinci releases a rope. A COPPER CAGE, like the one that caged Uberman, drops down on top of Titan. Titan nonchalantly surveys the cage. He walks to the bars, tries to pull them apart but can't. MASTER MIND (CONT'D) That's copper my good man. Your one weakness. (MORE) 84. MASTER MIND(cont'd) For all your amazing gifts of brawn you are no match for my intellect. Titan thinks for a moment. Suddenly, he starts to SPIN like a human top, DRILLING HIMSELF INTO THE STREET BELOW. As he disappears beneath the surface, we see a shocked look on Master Mind's face until Titan suddenly explodes out from under the street in front of him. Master Mind stares up at him, dumbfounded. Titan makes like he's going to strike him down, but stops. TITAN You know what? You're nothing but a bug. Not even worth my effort. He turns his back to Master Mind and continues down the street. Plato makes his way from the shadows to join his master. They watch Titan shrink into the distance. MASTER MIND He's not as dumb as I thought. PLATO I guess not...Funny, though. MASTER MIND What's funny? PLATO Funny Uberman didn't think of the same thing. EXT. HIGH ABOVE METRO CITY - DAY As Titan flies, he looks down at the rooftops of the city below. Suddenly, something catches his attention. HAL That's it! He stops, hovering in place as he looks down below. The buildings, which make up the heart of downtown Metro, are in a PERFECT TRIANGLE with a long strip of street leading up to it. It sorta looks like a bowling lane. 85. HAL Hello, Legacy. EXT. KINGPIN BOWLING - DAY Vinnie and his goons come running out as the hear a COMMOTION. They look up to see Titan ripping off THE GIANT BOWLING BALL from the top of the establishment. VINNIE Hey, that's my ball! INT. ROXANNE'S APARTMENT BUILDING - DAY Roxanne enters the building's elevator. Just before the door closes an ELDERLY WOMAN slides in. ELDERLY WOMAN That was a close one. Sixth floor, please. Roxanne smiles and goes to press the button. The elderly woman suddenly pulls out a SPRAY CAN, shooting a MYSTERIOUS-LOOKING MIST into Roxanne's face. She falls to the floor unconscious. INT. ROXANNE'S APARTMENT - DAY Roxanne awakens, finding herself tied to a chair in her living room. We hear NOISE from a TV in the background as she tries to adjust her vision. Slowly, the blurry figure before her becomes clear. It's Master Mind. He sits on her Lazy-Boy, reading what looks to be some kind of JOURNAL. MASTER MIND Wow, I always thought Uberman was your first superhero - but it looks like our little Roxanne dated a linebacker in college. ROXANNE That's my diary. MASTER MIND So it is. 86. ROXANNE It's personal. MASTER MIND Well, then I wouldn't leave it in your underwear drawer for just anyone to find. He throws the diary over his shoulder. ROXANNE What do you want? MASTER MIND I need your help. ROXANNE So you knock me out and tie me to a chair? MASTER MIND You're not going to like what I'm about to tell you. As she tries to shake off her headache from being knocked unconscious, Roxanne spots something on the TV. ON TELEVISION Brad Helms is huddled behind a van. BRAD HELMS It's chaos here in city square as city police - Behind him, Titan picks up a POLICE CAR and throws it at a PADDY WAGON. Both vehicles EXPLODE on impact. BACK TO SCENE ROXANNE He's really out of control. MASTER MIND Tell me about it. As if finally realizing something, Roxanne looks back at Master Mind. ROXANNE I should have known. You have something to do with this, don't you? - With Titan turning evil. 87. MASTER MIND Well, the evil thing he did by himself. My goal was to give MYSELF purpose by creating an intellectual sparring partner. ROXANNE (confused) You're talking like you made him. MASTER MIND And they call me Master Mind. ROXANNE Let me get this straight. You missed getting your ass kicked, so you made a new guy to kick your ass. That's pathetic. MASTER MIND In hindsight... Roxanne turns back to the TV to see a group of POLICE OFFICERS open fire on Titan. The bullets just deflect off his chest. ROXANNE And his powers, they're just like Uberman's. Why would he have his powers? MASTER MIND (almost ashamed) I had some left over from something. I infused him with it. ROXANNE YOU DID WHAT!? Driven by rage, she struggles to tear out of her bonds. She finally relents, giving Master Mind a look fueled by pure hatred. MASTER MIND Yeah, that's why I decided to tie you up. ROXANNE You did all this because you wanted purpose? MASTER MIND He seemed nice. 88. TELEVISION Titan is standing on top of a destroyed police car. He waves for the camera to zoom in on him. TITAN Closer. I want to show the people my real face. He pulls off his mask, revealing himself as Hal Stewart to the public for the first time. TITAN (CONT'D) Recognize me? BACK TO SCENE ROXANNE Hal Stewart. He's the guy we thought saved that woman and kid. Turned out he was just trying to save his own ass. MASTER MIND Yeah, good to know - NOW! TELEVISION Titan throws the mask over this shoulder and hops off the car. TITAN That's right, I'm really Hal Stewart. Former hero and bowling teacher at Kingpin's Bowling. BACK TO SCENE Roxanne turns to Master Mind, condescending him with her eyes. ROXANNE You picked a bowler to give super powers to? MASTER MIND It's a modest profession! TELEVISION 89. TITAN With my new found power, I've recently started to wonder what sort of legacy I should leave. Should I be a hero? I tried that once before - even saved a lady and her baby from being squashed. I was treated like a god until everyone started to shit on me - Okay, so what if I didn't "purposely" save them! He walks over and puts his hand on a large circular concrete shape just off camera. TITAN Well, I'm going to make something that can't be taken away from me. I'm going to create a permanent monument to my greatness. One that won't be so easily forgotten or erased. The camera pulls back revealing THE GIANT CONCRETE BOWLING BALL from Kingpin's. TITAN I intend to create a new category in the Guinness Book of World's Records by rolling the biggest strike in the history of bowling. He grabs the camera and points it to the DOWNTOWN BUILDINGS. We realize they are PERFECTLY ALIGNED IN BOWLING PIN FORMATION. TITAN My thanks to the city planning commission. This wouldn't have been possible without them. Titan grabs the camera so it's pointing back at him again. TITAN Tell your friends and family to tune in right here to this station at noon tomorrow. BACK TO SCENE ROXANNE My god, he's nuts. That'll destroy the whole business triangle. 90. Master Mind seems to be contemplating something - something bad. ROXANNE What? MASTER MIND My lair is in the direct path of the ball. ROXANNE Oh, real nice. Wouldn't want anything to happen to your hideout, would we? MASTER MIND You don't understand. I have certain equipment that's - that's highly unstable. ROXANNE What do you mean? MASTER MIND I sort of have a hydrogen reactor, okay? ROXANNE A HYDROGEN reactor? MASTER MIND It's experimental - only one in the world...Well, how do you think I power all my inventions? Someone like me can't pay for electricity. The bills would be outrageous. ROXANNE A REACTOR? MASTER MIND It creates 100 times the output of a nuclear one...If destroyed it could... ROXANNE - Vaporize the entire city! MASTER MIND (proudly) Pshaw...the whole eastern seaboard, actually. That little baby is amazing. I'm quite proud of it. (MORE) 91. MASTER MIND(cont'd) (off her deadpan reaction) I mean...we'd better find a way to stop him. Master Mind thinks a moment. MASTER MIND Did Uberman have a hideout? ROXANNE What? MASTER MIND A cave, a solitary fortress of some kind. C'mon, all heros have a place to hang their capes up in. Roxanne, it may be our only chance to find something, a clue, anything that could give us a fighting chance. ROXANNE It's under his house. MASTER MIND Whose house? Roxanne can hardly believe what she's telling him. ROXANNE Wayne Scott's. Master Mind shoots up out of his chair. MASTER MIND Wayne Scott? Uberman was Wayne Scott!? Wayne Scott, the wealthy philanthropist? But he disappeared - ROXANNE (interrupting) He disappeared just over two months ago when you killed him. Not only did you rid the world of a hero, you killed a kind, noble, generous man. Perhaps ashamed, the super villain hangs his head. Master Mind walks behind Roxanne and undoes her bonds. Rubbing her wrists, she watches him as he walks over to the door. 92. ROXANNE (CONT'D) Looks like you got what you always wanted. Uberman is out of the picture and Metro City is doomed. He grabs the door knob and stops, considering her words. MASTER MIND "Metro City doomed." You know, I never thought I'd say something like this, but here it goes - He slowly turns to her, CUE HEROIC MUSIC. MASTER MIND (CONT'D) Not if I have anything to say about it. EXT. WAYNE SCOTT'S MANSION - NIGHT Master Mind stands before the huge, Gothic structure in awe. MASTER MIND Such a dark place for one such as you. I wonder, underneath your noble deeds, what inner demons drove you to your endless crusade for justice? He walks to the front entrance. The double doors have been sealed shut with boards and nails. Master Mind begins to tear them off with his metal hand. INT. WAYNE SCOTT'S MANSION - NIGHT The doors opens. A beam of moonlight immediately pierces the darkness, forming an illuminated path into the heart of the manor. Master Mind enters. Covered in dust and cobwebs, the hall looks like a gigantic crypt. MASTER MIND Good lord, man. You've only been dead for two months. Master Mind walks, coming to a gigantic painted PORTRAIT OF WAYNE SCOTT. He stops to reverently admire the image of his fallen foe. 93. MASTER MIND (CONT'D) A disguise so simple, it's ingenious. No wonder I never caught on. Besides the Armani suit, there's nothing to hide the fact that this is the same person as Uberman. In the picture, he's even standing in the same cheesy, heroic pose with his fists on his hips. MASTER MIND (CONT'D) Two lives, yet in both you were an ideal. Perhaps it was you who was victorious in the end, old friend. A BONGING sound suddenly bellows through the dark halls. Master Mind comes to a grandfather clock standing next to a gigantic BOOKCASE. On the twelfth bong it falls silent. Master Mind begins to slide it across the floor until he hears a loud CLICK. The bookcase slides into the wall, REVEALING A HIDDEN PASSAGE. MASTER MIND (CONT'D) I'll miss how predictable you were. The passage way leads Master Mind to a WORKING ESCALATOR. Master Mind gets off the escalator to see a long hallway with stone walls. He begins to hear strange SOUNDS, almost like MUFFLED SCREAMS, coming from a doorway at the end of the hallway. Master Mind starts walking towards it. As he steps closer, he begins to notice a light cracking through the bottom of the door. MASTER MIND (CONT'D) Hello? Anyone here...besides..all the BIG MEN who are with me now? Nothing. MASTER MIND (CONT'D) (to himself) What's the worst you're gonna find? (MORE) 94. MASTER MIND(cont'd) The man was a boy scout, not a serial killer. He opens the door to his immediate amazement. It's some kind of screening room. A PROJECTOR shoots an image onto A DIRTY WHITE SCREEN hanging on the wall. BEER CANS litter the floor; a table in front of a ripped-up couch is covered in discarded snack goods; and a Kiss Pinball machine stands in the far corner next to a CLOSED DOOR. Master Mind turns his attention to the action on the screen. SCREEN A woman dressed in a leather DOMINATRIX OUTFIT is whipping an overweight man lying on a swing-like device with his butt sticking out. DOMINATRIX IN FILM YOU ARE A WORM! She whips him three times. The man CRIES out in pain. FAT MAN IN FILM PINEAPPLE!!! PINEAPPLE!!! Master Mind's eyes are transfixed on the disturbing imagery. The door by the pinball machine suddenly swings open. WAYNE SCOTT, dressed in raggedy sweats, steps into the room carrying a CAN OF BEER and a bowl of JIFFY-POP. Master Mind cannot believe his horrified eyes. MASTER MIND Ahhhhhh! Wayne Scott is just as startled. WAYNE SCOTT Jesus! He drop his drink and snack to the floor. The two men stare at each other as they struggle to regain their normal breathing patterns. Wayne Scott walks over to the couch, brushes off a thick layer of chip crumbs, and sits down. WAYNE SCOTT (CONT'D) What the hell are you doing here? 95. MASTER MIND I might just ask you the same question. I had thought I incinerated you. WAYNE SCOTT You scared the bejesus out of me. How'd you figure out I was still alive? Wait, how do you know my identity!? MASTER MIND Roxanne told me. As for your ruse, I forgot to line the bottom of the copper cage - Somebody pointed that out to me recently. Figured if they could do it, so could you. But one thing I couldn't figure out - WAYNE SCOTT The skeleton? Something I "borrowed" from a medical school a few months before. MASTER MIND A few months? How long had you been planning this? WAYNE SCOTT I always planned to retire - eventually. I mean, come on, you can't do this sort of thing in your fifties. You'd just look ridiculous. The pieces of the puzzle appear to be coming together in Master Mind's head. MASTER MIND I see it all so clearly now. INT. MASTER MIND'S HYDROFOIL - FLASHBACK Master Mind and his minions cover their eyes as the observatory explodes. MASTER MIND (CONT'D - V.O.) You must have done it just seconds before the observatory exploded. 96. INT. OBSERVATORY - FLASHBACK Similar to what Titan did, Uberman bores out from under the cage. MASTER MIND (CONT'D - V.O.) You bore out from under the cage. Then, using your Uber-Speed, - EXT. OBSERVATORY - FLASHBACK Running in a blur-like haze, Uberman screeches to a halt in front of some bushes. MASTER MIND (CONT'D - V.O.) - you made your way to safety, where you had the skeleton safely hidden away somewhere. EXT OBSERVATORY - SKY - DAY Uberman soars high above the clouds. He looks down at the observatory, which is a mere speck in the distance. MASTER MIND (CONT'D - V.O) (CONT'D) Then you must have flown to a safe distance and waited for the explosion, then... Just as the observatory explodes Uberman aims and throws the SKELETON like a javelin. It soars through the air like a missile, tearing through the flames of the explosion, and crashing right into the windshield of Master Mind's hydrofoil. END OF FLASHBACK Wayne stares at Master Mind, clearly impressed. WAYNE Man, you ARE smart. MASTER MIND But why fake your death? Why go through all of it? You could have just quit. WAYNE SCOTT But the responsibility would still be there. (MORE) 97. WAYNE SCOTT(cont'd) A cop can retire and stop handing out speeding tickets - but people expect more from superheroes. I tell you, a volcano couldn't erupt in Zimbabwe without everyone expecting me to do something about it. I figured, out of sight, out of mind. MASTER MIND And Wayne Scott? Why did he have to disappear? WAYNE SCOTT Both of my lives have so much baggage. It's time for new baggage, you know? Master Mind's is absolutely flabbergasted. MASTER MIND I just can't believe it. This whole time you've been in hiding while a force of great evil is tearing your city apart? Wayne rises to his feet, waving his hands for Master Mind to say no more. WAYNE SCOTT I don't want to hear about it. That's why I don't have a television in here to remind me of all the things I SHOULD be doing. Hell, I could get a wife to do that. MASTER MIND There's a demented supervillain out there about to destroy our - I mean, your city. Wayne shrugs indifferently. MASTER MIND You're really going to do nothing? WAYNE SCOTT Good and evil have a way of balancing themselves out. If this guy is as bad as you say, somebody will rise up to fight him. It's just the order of things. You found me, didn't you? 98. Wayne puts a condescending hand on Master Mind's shoulder. WAYNE SCOTT (CONT'D) I know it's hard, but you'll find someone else someday. He then starts walking to the door. MASTER MIND You're the only one who can stop him. Wayne turns around. WAYNE SCOTT Couldn't if I wanted to. Gotta a plane to catch. MASTER MIND A plane? WAYNE SCOTT Going to Barbados for a little change in climate. Now, if you'll excuse me, I got to go pack. He reads the still defeated look on Master Mind's face. WAYNE SCOTT (CONT'D) You were a good foe. I'm sorry if I've let you down. If it makes a difference, you were the best foe a hero could ask for. MASTER MIND Not smart enough to come up with a full-proof trap. WAYNE SCOTT Well, you did almost have me when you figured out my weakness was copper. Now that made me sweat a little. Took me way too long to drill out from under that cage. MASTER MIND I got lucky. WAYNE SCOTT Anyway, it's a good thing for my sake that I could always count on you for an out. 99. MASTER MIND (suddenly confused) What do you mean? WAYNE SCOTT C'mon, we always threw each other a couple of bones. You would always leave me an out in one of your `full-proof' traps, and I'd never had you incarcerated at a penitentiary that you couldn't eventually escape from. It kept our little game going. Master Mind seems deflated. MASTER MIND Game? - Was that all this ever was to you? You know, I was trying my best every time I fought you. Those `outs' as you call them were unintentional. WAYNE SCOTT Oh. MASTER MIND I guess I was never really a match for you, was I? Wayne shrugs. MASTER MIND (CONT'D) (thoughtfully) Then how can I expect to be one for Titan? A beaten man, Master Mind heads for the door, but stops and turns around. MASTER MIND (CONT'D) What about Roxanne? Wayne unleashes an exhausted sigh. WAYNE SCOTT I think we both got what we wanted out of our relationship. She got a career out of me, and I got plenty of other things out of her. But I'm ready to move on to greener pastures. 100. Master Mind's steel hand clinches into a fist at his side. Wayne's oblivious to this. MASTER MIND I guess I wasn't the villain I thought I was, and you...you weren't the hero I thought you were. He turns to make his exit when he suddenly sees ROXANNE STANDING IN THE DOOR FRAME. Wayne is almost at a loss for words. WAYNE SCOTT Roxanne! How long have you been... ROXANNE Long enough. Roxanne looks at Master Mind. ROXANNE (CONT'D) Don't you have something else you can go do? Master Mind leaves Roxanne and Wayne facing each other in silence. EXT. ANOTHER BAR - DAY Titan emerges with Brad and Frank. He's holding a BEER CAN and a bag of PORK RINDS. TITAN Alright, I want this whole thing to look ESPN professional, understand? A distant MECHANIZED RUMBLE can be heard. The noise rises, signaling the approach of something powerful. Titan and his crew walk out to the center of the plaza as the sound becomes almost deafening. A TANK TRACK as it moves over the street. We PULL BACK to see a whole line of TANKS rolling along the street. PLAZA From the five streets branching off the plaza, a dozen tanks roll toward Titan. 101. Titan turns to Brad and Frank. TITAN (CONT'D) You guys are about to get some good footage. I might need a little room, though. Brad and Frank look at each other and run to take cover behind a nearby building. Meanwhile, Titan nonchalantly sips from his beer as the tanks begin to surround them. FEEDBACK belts out of one of the tank's loudspeaker's, causing Titan to do a mock wince. TANK LOUDSPEAKER Titan, we have orders from the city of Metro to take you into custody. If you do not give your self up willingly, we will be forced to open fire. There's a long pause as no one says anything. TANK LOUDSPEAKER What is your answer? Titan takes a sip of his beverage and UNLEASHES A GIGANTIC BURP - The shockwave of which sends several of the tanks flying into a nearby building. Two of the remaining tanks close in on the villain. Both have him dead to rights at point-blank range with their massive guns. Titan sets down his beer, then calmly plugs a fist into each barrel. They FIRE. The FORCE OF THE BLAST SENDS THEM BOTH FLYING IN OPPOSITE DIRECTIONS where they CRASH into nearby buildings. Titan bends down and pick his beet back up. TITAN (to beer) Miss me? Titan is suddenly bombarded by a massive barrage of machine- gun fire. The force sends him flying into the windshield of a nearby car. 102. He looks up to see an APACHE ASSAULT COPTER. It's nose- mounted GATLING-GUN is turning toward him. Titan gets up to his feet and looks down at his beer can. The bottom of it was blown apart in the blast. TITAN (CONT'D) Didn't mean to get you involved in all of this. He stared daggers up at the helicopter pilot just as the gun gets a bead on him. TITAN (CONT'D) Hey, man! You killed my suds! Titan throws the can up and slaps it with the palm of his hand. It flies with so much force it knocks the helicopter blade clean off. The rest of the Apache crashes to the street like a car dropped off a building. TITAN (CONT'D) That's one was for you, beer. Titan salutes the wreckage and walks away to find Brad and Frank still hiding behind the building. TITAN Guys, please tell me you got that last bit. BRAD HELMS Huh? TITAN You're kidding me. I give you my sexiest moves and you mean to tell me it was for nothing? BRAD HELMS We were afraid something might hit us. TITAN Looks like I've given the story of the century to the wrong man. He thinks about this for a moment, then it hits him. 103. TITAN Wait. What about that other reporter. Blond. Not so lumpy on the topper half, but killer legs. BRAD HELMS Roxanne. You want Roxanne. She's a much better reporter than I am. You want her. TITAN Where can I find her. FRANK We're actually not supposed to give out that sort of information. BRAD HELMS 1314 Mockingbird Lane. I believe she lives in a penthouse. TITAN You've been very helpful. He tosses Brad over his shoulder like a discarded ice cream cone. In the faint distance we see him splash down in the middle of the Metro City river. INT. ABANDONED METRO CITY LIBRARY - DAY Master Mind, pacing anxiously as Plato and Da Vinci pack boxes. Obviously Master Mind is going on the lamb. MASTER MIND Hurry, we must be on our way as soon as possible. DA VINCI Master, why must we flee? MASTER MIND I told you, Titan is too powerful. If he's set on destroying us, there's precious little we could do about it. DA VINCI Where are we going? 104. MASTER MIND To another city, someplace with a shitload of superheroes to fight. We'll start over, we'll go back to doing what we do best. PLATO With our tails between our legs? The old Master Mind would never have let this comment slip by, but as we have seen, he's not the same man. MASTER MIND Plato, do you have a better plan?! Master Mind's cell phone rings. He turns in shame from his men and answers it. MASTER MIND (CONT'D) Hello...Roxanne? INT. ROXANNE'S APARTMENT Roxanne paces back and forth on the phone. ROXANNE What are you going to do about Tighten? INTERCUT between Master Mind and Roxanne on phone. MASTER MIND Right now I'm packing, later I'll have a snack on the train. ROXANNE You're running away? MASTER MIND In a word - yes. ROXANNE You created this monster... MASTER MIND I didn't create this - the god's of irony did and I am eating the crow I so richly deserve. ROXANNE There's no time for self pity. 105. MASTER MIND I'll make the time. Roxanne can't believe what she's hearing. MASTER MIND (CONT'D) You can leave with us. You'll be safe. ROXANNE I'm not going anywhere. MASTER MIND Will you listen to me, no one can stop him. ROXANNE You have to try. The city needs your help. MASTER MIND I'm afraid you have an inflated opinion of me. ROXANNE What the hell's happened to you? The Master Mind I knew would never have run from a fight even though he knew deep in his heart that he didn't have a chance in hell of winning it. It was your best quality. You need to be that man right now...I... MASTER MIND What? ROXANNE (heart felt) I believe in you. Master Mind is taken aback, in a good way. But he catches himself before the words swell his heart. MASTER MIND Sweet words, but that man is dead. Please, Roxanne, just come with me. ROXANNE No...I guess you are a coward after all. Suddenly, there's a loud crash. 106. Roxanne looks up to see a huge hunk of her ceiling has been completely ripped off. Titan is flying above, holding the debris as casually as if it were a paper plate at a barbecue. He looks down at her and smiles. TITAN Man, have I got a story for you. Master Mind can hears Titan's familiar laugh from his side of the line. MASTER MIND Roxanne? Roxanne? EXT. KINGPIN BOWLING - DAY Titan is standing in front of the bowling alley, trying to decide on an appropriate pose for the occasion. TITAN What pose would be best? The corny folded arms thing? He demonstrates, arching his chin proudly in the air. TITAN Or maybe on the hips, like this. It's the classic Superman pose, only not as masculine. TITAN No, makes me look like a flamer pirate. As Titan starts to fix his hair in the window, Frank pretends to fix the lens on his camera as he speaks to Roxanne. FRANK (whispering) Shouldn't we be making a run for it right about now? ROXANNE (whispering) The guy can outrun bullets. I don't think either one of us is in that kind of shape. TITAN She's right, Frank. 107. Frank looks up, stunned that Titan could have possibly heard him. TITAN Also got super hearing. I promise not to keep the both of you long, but you'll thank me when this is all over. Frank and Roxanne exchange helpless expressions. INT. ABANDONED METRO CITY LIBRARY - DAY Master Mind reverently stares up at the painted portrait of his father. MASTER MIND Dad, it's me... (he looks around to make sure no one can hear) ...Bubsy. I know we haven't talked in a while, and I'm sorry. It's been a little crazy trying to live up to a legacy. The painting's menacing stare seems to reach into his very soul. MASTER MIND Anyway...You raised me to be the worst that I could possibly be. And I've tried to live up to that as best as I could - even dropping out of dentistry school like you wanted me to. But I'm about to do something now that would really piss you off. I'm going to go against everything you ever taught me. I hope...I hope that maybe you'll look down at what I'm about to do as not so much a good deed, but more like the outright defiance of a hateful and ungrateful, son. If you could do that, then maybe - in your own little way - you could - for probably the first time - find a reason to be proud of me. He looks back up at the picture. Is it our imagination, or does the painting's stare suddenly seem even angrier? 108. MASTER MIND Well...either way, you're probably going to see me real soon. (calling over his shoulder) Men? Plato and Da Vinci suddenly stop what they're doing and look up at him. PLATO AND DA VINCI Yes Sir? MASTER MIND Stop packing. Our work is not finished here. PLATO AND DA VINCI YES SIR! TELEVISION A news report shows an aerial shot of Titan setting the giant ball down in the middle of a vacant city street. REPORTER We interrupt your regular afternoon programming to show you live footage of a potential dangerous situation in downtown Metro. The former hero knows as Titan is placing what appears to be a giant ball... INT. ABANDONED METRO CITY LIBRARY - CONTINUOUS Da Vinci stops in front of a television set, seeing the news report in progress. REPORTER Hold on...It appears our own Roxanne Ritchi is somehow at the scene. We now go to her with a live report. DA VINCI Sir, I think you should see this! CUT TO: 109. EXT. CITY STREET - DAY Roxanne is standing in front of a camera with a mike in her hand. ROXANNE I'm here with the cause of the destruction in Metro City. He has kidnapped me and a cameraman to chronicle what he refers to as the creation of a monument to his invincibility and overall "Asskickiness." He will use this giant concrete bowling ball to play the largest game of bowling ever using the buildings of downtown Metro City as his pins. Titan suddenly steps into the shot. TITAN And I'm going for the biggest strike ever. He leans into the camera. TITAN And you, Metro City, have a ringside seat as I cement my name in the anal of history. ROXANNE Annals. TITAN What? ROXANNE Nevermind. EXT. CITY STREET - MOMENTS LATER Titan holds up the massive bowling ball, lining up his shot. TITAN (in quiet professional bowler announcer voice) Like Tiger before him, a young savior has come to raise a sport from the ashes. Rookie Hal Stewart, a young man with a dream, realizing that dream here today, folks. (MORE) 110. TITAN(cont'd) One might click there heels and say "There's no place like home" upon finding themselves in such a fantasy. Well, Hal looks very much at home right were he is - with a ball in hand and glory in his sights. INT. METRO CITY LIBRARY - CONTINUOUS In the bowels of Master Mind's hideout, the HYDROGEN REACTOR glows and HUMS MENACINGLY. BACK TO SCENE Roxanne just stand helpless as Frank films away. ROXANNE Hal, I know everyone treated you like shit, but you don't have to do this. TITAN You're right. I don't HAVE to do anything. Isn't that cool? Titan lines up his shot. TITAN Here's one for the record books! Titan flies a few feet and rolls the ball down the main street. ROXANNE Her face is utter horror as she watches the inevitable destruction of Metro City. As the ball rolls - it demolishes everything in it's wake; cars, street lamps - windows shatter as the giant concrete sphere brushes along side buildings. TITAN He smiles in anticipation and uses "body English" to direct the ball. GIANT BOWLING BALL POV It's nearly halfway to its target. ROXANNE 111. She closes her eyes. Titan's smile fades. He looks around as if he hears something we don't. About two hundred feet in front of the first building a GIANT SPIDER WEB flies across the path of the ball, creating a defensive barrier. An enormous letter "M" is etched in the web's center. TITAN (CONT'D) What the...? The ball breaks through the web, but it's speed is greatly reduced. FRANK Look, what's that flying in the air? We suddenly see MASTER MIND FLYING OVER THE ROLLING BALL IN A JET PACK. He quickly pulls out his goo gun and starts laying down a path of sticky plasm to stop the destructive sphere's path. MASTER MIND C'mon, slow down Master Mind looks down to see the meter of the gun close to empty. MASTER MIND C'mon. The ball slows drastically then starts rolling to the side. It heads off an embankment and rolls harmlessly into a CANAL. MASTER MIND Gutterball! TITAN He's furious to say the least. TITAN YOU! Master Mind gives him a mocking grin. MASTER MIND Bowling? What other trailer park sports can you play? 112. TITAN You are becoming a real pain in my ass. I should have done this a long time ago. Titan lunges at his tormentor. Master Mind hits the BOOSTER on his jet pack and heads back toward the other side of the city with Titan in hot pursuit. MASTER MIND (CONT'D) (into walkie talkie) Plato, Da Vinci. Secure Roxanne, he's falling for it. ELSEWHERE A flustered Titan lands. He begins searching the city streets, but Master Mind is nowhere in sight. He turns upon hearing an EEKING sound to his left. Sitting on the ground is a CHIMPANZEE wearing a strange collar. It smiles at him. TITAN What the hell? From behind, Titan is immediately set upon by five more RADIO CONTROLLED APES. TITAN (CONT'D) GODAMNIT! The critters bite hop and hit Titan. As soon as he throws one off two more jump him. Titan breaks free and with his mighty breath blows them across the street into a fruit stand. With Titan out of their sight they begin to attack the fruit. MASTER MIND He's a block away frantically hitting his remote. MASTER MIND Shit! Stupid monkeys and their fruit. Titan flies away from the mad monkeys and lands to find Master Mind sitting on the ground wrapped in a long cape with only his head sticking out. 113. TITAN (CONT'D) No more games. Titan FIRES HIS LASER VISION AT MASTER MIND's CHEST. Master Mind pulls the cloak away to reveal a FIRE HYDRANT. Titan's EYE LASERS burn through the hydrant releasing a high pressure stream of water. Master Mind uses the last remote which dumps two tons of CEMENT mix into the truck. The crowd, police and news crews move in closer when Titan doesn't emerge. Master Mind drops his last remote and walks toward the truck cautiously. MASTER MIND Could it really be that easy-- - BOOM - The back of the truck explodes, throwing dust and concrete everywhere. When the dust clears we see and enraged Titan. MASTER MIND (CONT'D) Didn't think so. As the villain walks toward him, he pulls back his fist to give Master Mind the killing blow. TITAN If you don't mind, I'm going to punch trough your face now. Preparing himself for the end, Master Mind shuts his eyes as a SUDDEN GUST OF WIND BEGINS TO PICK UP. AS Titan goes to strike, a BLURRY FIGURE RUNS IN AND SNATCHES MASTER MIND OUT OF THE AWAY. Stunned, Master Mind begins to feel around his body as if to make sure everything's still in place. MASTER MIND I'm alive. He turns to see UBERMAN standing next to him. MASTER MIND Uberman? 114. The terrified bystanders start to notice the figure standing next to Master Mind. BYSTANDER 1 It's Uberman! BYSTANDER 2 Uberman's alive! BYSTANDER 3 We're saved! As the CROWD CHEERS, A confused Master Mind turns to Metro City's newly resurrected champion. MASTER MIND I thought. UBERMAN So did I. He puts a hand on Master Mind's shoulder. UBERMAN Thank you, old enemy. MASTER MIND For what? UBERMAN Showing me the error of my ways, Showing me I'm meant to be this city's savior, showing me that, while we can try, there is no running away from our true destiny. With that, UBERMAN IS STRICKEN BY A LASER BLAST, INSTANTLY TURNING HIM INTO A CHARRED HUMAN SKELETON. Master Mind turns to see Titan smiling with his STILL SMOKING EYES. TITAN Oh...Did I interrupt something? Master Mind turns to run, but, suddenly Titan is before him. TITAN Where you going, buddy? Titan grabs Master Mind by the collar and throws him across the street into a parked car. 115. TITAN (CONT'D) Welcome to Paintown. Population: you. Master Mind manages to stand on shaky legs. He seems in a daze, unable to move. Titan flies up in the air. TITAN (CONT'D) Time to finish this. With his fist front and center, Titan speeds toward Master Mind. He's like a human torpedo, coming in for the killing blow. Master Mind comes to his senses and puts up his hands. MASTER MIND WAIT!!! Titan screeches to a halt and stops just in front of him like an old Warner Bros cartoon. TITAN What? MASTER MIND Quick joke - What's the capital of Thailand? TITAN Huh - I don't know. MASTER MIND It's bang cock! In a sudden surge of strength, MASTER MIND PUNCHES TITAN IN THE GROIN. The once mighty man instantly drops to his knees, searching, with tears in his eyes, for the proper word to express the pain suddenly surging through his member. TITAN (CONT'D) Ow. Baffled, he looks up at Master Mind's hand and sees his gauntlet is now made ENTIRELY OUT OF COPPER. MASTER MIND So, I guess pennies are good for something. 116. He punches Titan in the face, knocking him out cold. Master Mind looks down on Titan with more than a little pride. Suddenly he hears something behind him. He spins to see the crowd making a strange noise - APPLAUSE. Roxanne comes up to him. The crowd starts to go wild and cheers for Master Mind. He's not sure what to make of it. ROXANNE Pretty strange, huh? MASTER MIND They're cheering for me. ROXANNE You saved them. You saved everybody. How's it feel? Master Mind looks at the smiles all around him. He begins to well up a little. MASTER MIND It's a...it's nice, you know? I usually don't get a lot of feedback. (whispering) But I also kind of caused all this. What happens when they find that out I was the cause of some of this? Roxanne looks at the cheering crowd, then back at Master Mind. ROXANNE What they don't know won't hurt them. MASTER MIND I guess that is all in the past. ROXANNE You're the hero. MASTER MIND I don't think I'd go that far...I mean I just...er... ROXANNE Master Mind? 117. MASTER MIND Yes? ROXANNE Stop talking. She kisses him. The crowd erupts in a cheer. TELEVISION The channel 7 he channel 7 logo zooms in followed by the title "Eye on Metro City." A picture of Master Mind smiling appears on the screen behind her. SAMANTHA SUMMERS Who's bad? Well, not Master Mind. It seems the former villain has done a career 180 after defeating Tighten and saving Metro City from certain enslavement. And here he is getting a full pardon by Metro City's Mayor, Steve Dent. Cut to ceremony on capital steps. The MAYOR is shaking Master Mind's metal gauntlet when it suddenly STARTS TO CRUSH HIS HAND. MAYOR Ahhh! Secret service men quickly start to draw their weapons and take aim at Master Mind. Realizing what's happening, he quickly lets the mayor's hand go and puts his arms in the air. MASTER MIND Sorry - Metal hand. Force of habit. He elbows the mayor. MASTER MIND (CONT'D) We're okay, right? Wincing, the mayor signals the men to put their guns down. WE CUT to video of Titan behind bars in a regular prison. 118. BRAD HELMS And what about Tighten? Is there a prison in existence that can hold this super powered menace? Well, the answer we found is no. A man in a white lab coat stands in front of Titan's cell just out of reach. PRISON SCIENTIST Of course normally he could break out of there anytime, but as you can see we've taken some special precautions. The news camera pans over see Titan in his cell wearing a copper JOCK STRAP with electrical cables hooked to it. Back to Samantha at the desk. BRAD HELMS What is a Hero? It seems never has that question needed to be asked more than it does tonight. We go to our very own Roxanne Ritchi, making her triumphant return to our news desk for the answer. Brad turns. The camera pans over to Roxanne who we now see has been sitting beside him. ROXANNE What is a hero? Well, there are many different kinds. There are those who hear a call, like the policeman or doctor, then there's the kind the public creates in their search for meaning and hope. Then, there are those who have the courage to change. DARK ALLEY - NIGHT A woman is being chased by two large thugs. They're gaining on her. She comes to a brick wall - a dead end. The thugs laugh. THUG #1 Hey, gimme that purse? 119. MASTER MIND (O.S) I don't think it would go with your outfit. The thugs turn around to see Master Mind, standing with his arms folded across his chest. THUG #2 It's Master Mind! Thug #1 draws a knife. THUG #1 So? It's not like he has any superpowers. Thug #1 puts his fingers to his mouth and whistles. Suddenly two more Thugs appear behind Master Mind. MASTER MIND I'm gonna give you a chance to surrender. THUG #1 Four against one. For a Master Mind, you're really bad at math. Master Mind throws a hand signal up in the air. Suddenly a giant robotic foot crashes down on the two men behind him. Thug #1 and Thug #2 drop their knives and raise their hands in the air. Master Mind looks up and waves. MASTER MIND Way to take out those two goons, guys! We see Da Vinci and Plato at the wheel of a gigantic robot. DA VINCI What two goons? The giant robot lifts its foot to check the bottom of it's sole. It KNOCKS OVER WATER TOWER in the process. The woman looks at Master Mind, horrified. 120. MASTER MIND (apologetically) Sorry, we're new at this. THE END

using Neural Networks (SSD) on Tensorflow. This repo documents steps and scripts used to train a hand detector using Tensorflow (Object Detection API). As with any DNN based task, the most expensive (and riskiest) part of the process has to do with finding or creating the right (annotated) dataset. I was interested mainly in detecting hands on a table (egocentric view point). I experimented first with the [Oxford Hands Dataset](http://www.robots.ox.ac.uk/~vgg/data/hands/) (the results were not good). I then tried the [Egohands Dataset](http://vision.soic.indiana.edu/projects/egohands/) which was a much better fit to my requirements. The goal of this repo/post is to demonstrate how neural networks can be applied to the (hard) problem of tracking hands (egocentric and other views). Better still, provide code that can be adapted to other uses cases. If you use this tutorial or models in your research or project, please cite [this](#citing-this-tutorial). Here is the detector in action. <img src="images/hand1.gif" width="33.3%"><img src="images/hand2.gif" width="33.3%"><img src="images/hand3.gif" width="33.3%"> Realtime detection on video stream from a webcam . <img src="images/chess1.gif" width="33.3%"><img src="images/chess2.gif" width="33.3%"><img src="images/chess3.gif" width="33.3%"> Detection on a Youtube video. Both examples above were run on a macbook pro **CPU** (i7, 2.5GHz, 16GB). Some fps numbers are: | FPS | Image Size | Device| Comments| | ------------- | ------------- | ------------- | ------------- | | 21 | 320 * 240 | Macbook pro (i7, 2.5GHz, 16GB) | Run without visualizing results| | 16 | 320 * 240 | Macbook pro (i7, 2.5GHz, 16GB) | Run while visualizing results (image above) | | 11 | 640 * 480 | Macbook pro (i7, 2.5GHz, 16GB) | Run while visualizing results (image above) | > Note: The code in this repo is written and tested with Tensorflow `1.4.0-rc0`. Using a different version may result in [some errors](https://github.com/tensorflow/models/issues/1581). You may need to [generate your own frozen model](https://pythonprogramming.net/testing-custom-object-detector-tensorflow-object-detection-api-tutorial/?completed=/training-custom-objects-tensorflow-object-detection-api-tutorial/) graph using the [model checkpoints](model-checkpoint) in the repo to fit your TF version. **Content of this document** - Motivation - Why Track/Detect hands with Neural Networks - Data preparation and network training in Tensorflow (Dataset, Import, Training) - Training the hand detection Model - Using the Detector to Detect/Track hands - Thoughts on Optimizations. > P.S if you are using or have used the models provided here, feel free to reach out on twitter ([@vykthur](https://twitter.com/vykthur)) and share your work! ## Motivation - Why Track/Detect hands with Neural Networks? There are several existing approaches to tracking hands in the computer vision domain. Incidentally, many of these approaches are rule based (e.g extracting background based on texture and boundary features, distinguishing between hands and background using color histograms and HOG classifiers,) making them not very robust. For example, these algorithms might get confused if the background is unusual or in situations where sharp changes in lighting conditions cause sharp changes in skin color or the tracked object becomes occluded.(see [here for a review](https://www.cse.unr.edu/~bebis/handposerev.pdf) paper on hand pose estimation from the HCI perspective) With sufficiently large datasets, neural networks provide opportunity to train models that perform well and address challenges of existing object tracking/detection algorithms - varied/poor lighting, noisy environments, diverse viewpoints and even occlusion. The main drawbacks to usage for real-time tracking/detection is that they can be complex, are relatively slow compared to tracking-only algorithms and it can be quite expensive to assemble a good dataset. But things are changing with advances in fast neural networks. Furthermore, this entire area of work has been made more approachable by deep learning frameworks (such as the tensorflow object detection api) that simplify the process of training a model for custom object detection. More importantly, the advent of fast neural network models like ssd, faster r-cnn, rfcn (see [here](https://github.com/tensorflow/models/blob/master/research/object_detection/g3doc/detection_model_zoo.md#coco-trained-models-coco-models) ) etc make neural networks an attractive candidate for real-time detection (and tracking) applications. Hopefully, this repo demonstrates this. > If you are not interested in the process of training the detector, you can skip straight to applying the [pretrained model I provide in detecting hands](#detecting-hands). Training a model is a multi-stage process (assembling dataset, cleaning, splitting into training/test partitions and generating an inference graph). While I lightly touch on the details of these parts, there are a few other tutorials cover training a custom object detector using the tensorflow object detection api in more detail[ see [here](https://pythonprogramming.net/training-custom-objects-tensorflow-object-detection-api-tutorial/) and [here](https://towardsdatascience.com/how-to-train-your-own-object-detector-with-tensorflows-object-detector-api-bec72ecfe1d9) ]. I recommend you walk through those if interested in training a custom object detector from scratch. ## Data preparation and network training in Tensorflow (Dataset, Import, Training) **The Egohands Dataset** The hand detector model is built using data from the [Egohands Dataset](http://vision.soic.indiana.edu/projects/egohands/) dataset. This dataset works well for several reasons. It contains high quality, pixel level annotations (>15000 ground truth labels) where hands are located across 4800 images. All images are captured from an egocentric view (Google glass) across 48 different environments (indoor, outdoor) and activities (playing cards, chess, jenga, solving puzzles etc). <img src="images/egohandstrain.jpg" width="100%"> If you will be using the Egohands dataset, you can cite them as follows: > Bambach, Sven, et al. "Lending a hand: Detecting hands and recognizing activities in complex egocentric interactions." Proceedings of the IEEE International Conference on Computer Vision. 2015. The Egohands dataset (zip file with labelled data) contains 48 folders of locations where video data was collected (100 images per folder). ``` -- LOCATION_X -- frame_1.jpg -- frame_2.jpg ... -- frame_100.jpg -- polygons.mat // contains annotations for all 100 images in current folder -- LOCATION_Y -- frame_1.jpg -- frame_2.jpg ... -- frame_100.jpg -- polygons.mat // contains annotations for all 100 images in current folder ``` **Converting data to Tensorflow Format** Some initial work needs to be done to the Egohands dataset to transform it into the format (`tfrecord`) which Tensorflow needs to train a model. This repo contains `egohands_dataset_clean.py` a script that will help you generate these csv files. - Downloads the egohands datasets - Renames all files to include their directory names to ensure each filename is unique - Splits the dataset into train (80%), test (10%) and eval (10%) folders. - Reads in `polygons.mat` for each folder, generates bounding boxes and visualizes them to ensure correctness (see image above). - Once the script is done running, you should have an images folder containing three folders - train, test and eval. Each of these folders should also contain a csv label document each - `train_labels.csv`, `test_labels.csv` that can be used to generate `tfrecords` Note: While the egohands dataset provides four separate labels for hands (own left, own right, other left, and other right), for my purpose, I am only interested in the general `hand` class and label all training data as `hand`. You can modify the data prep script to generate `tfrecords` that support 4 labels. Next: convert your dataset + csv files to tfrecords. A helpful guide on this can be found [here](https://pythonprogramming.net/creating-tfrecord-files-tensorflow-object-detection-api-tutorial/).For each folder, you should be able to generate `train.record`, `test.record` required in the training process. ## Training the hand detection Model Now that the dataset has been assembled (and your tfrecords), the next task is to train a model based on this. With neural networks, it is possible to use a process called [transfer learning](https://www.tensorflow.org/tutorials/image_retraining) to shorten the amount of time needed to train the entire model. This means we can take an existing model (that has been trained well on a related domain (here image classification) and retrain its final layer(s) to detect hands for us. Sweet!. Given that neural networks sometimes have thousands or millions of parameters that can take weeks or months to train, transfer learning helps shorten training time to possibly hours. Tensorflow does offer a few models (in the tensorflow [model zoo](https://github.com/tensorflow/models/blob/master/research/object_detection/g3doc/detection_model_zoo.md#coco-trained-models-coco-models)) and I chose to use the `ssd_mobilenet_v1_coco` model as my start point given it is currently (one of) the fastest models (read the SSD research [paper here](https://arxiv.org/pdf/1512.02325.pdf)). The training process can be done locally on your CPU machine which may take a while or better on a (cloud) GPU machine (which is what I did). For reference, training on my macbook pro (tensorflow compiled from source to take advantage of the mac's cpu architecture) the maximum speed I got was 5 seconds per step as opposed to the ~0.5 seconds per step I got with a GPU. For reference it would take about 12 days to run 200k steps on my mac (i7, 2.5GHz, 16GB) compared to ~5hrs on a GPU. > **Training on your own images**: Please use the [guide provided by Harrison from pythonprogramming](https://pythonprogramming.net/training-custom-objects-tensorflow-object-detection-api-tutorial/) on how to generate tfrecords given your label csv files and your images. The guide also covers how to start the training process if training locally. [see [here] (https://pythonprogramming.net/training-custom-objects-tensorflow-object-detection-api-tutorial/)]. If training in the cloud using a service like GCP, see the [guide here](https://github.com/tensorflow/models/blob/master/research/object_detection/g3doc/running_on_cloud.md). As the training process progresses, the expectation is that total loss (errors) gets reduced to its possible minimum (about a value of 1 or thereabout). By observing the tensorboard graphs for total loss(see image below), it should be possible to get an idea of when the training process is complete (total loss does not decrease with further iterations/steps). I ran my training job for 200k steps (took about 5 hours) and stopped at a total Loss (errors) value of 2.575.(In retrospect, I could have stopped the training at about 50k steps and gotten a similar total loss value). With tensorflow, you can also run an evaluation concurrently that assesses your model to see how well it performs on the test data. A commonly used metric for performance is mean average precision (mAP) which is single number used to summarize the area under the precision-recall curve. mAP is a measure of how well the model generates a bounding box that has at least a 50% overlap with the ground truth bounding box in our test dataset. For the hand detector trained here, the mAP value was **0.9686@0.5IOU**. mAP values range from 0-1, the higher the better. <img src="images/accuracy.jpg" width="100%"> Once training is completed, the trained inference graph (`frozen_inference_graph.pb`) is then exported (see the earlier referenced guides for how to do this) and saved in the `hand_inference_graph` folder. Now its time to do some interesting detection. ## Using the Detector to Detect/Track hands If you have not done this yet, please following the guide on installing [Tensorflow and the Tensorflow object detection api](https://github.com/tensorflow/models/blob/master/research/object_detection/g3doc/installation.md). This will walk you through setting up the tensorflow framework, cloning the tensorflow github repo and a guide on - Load the `frozen_inference_graph.pb` trained on the hands dataset as well as the corresponding label map. In this repo, this is done in the `utils/detector_utils.py` script by the `load_inference_graph` method. ```python detection_graph = tf.Graph() with detection_graph.as_default(): od_graph_def = tf.GraphDef() with tf.gfile.GFile(PATH_TO_CKPT, 'rb') as fid: serialized_graph = fid.read() od_graph_def.ParseFromString(serialized_graph) tf.import_graph_def(od_graph_def, name='') sess = tf.Session(graph=detection_graph) print("> ====== Hand Inference graph loaded.") ``` - Detect hands. In this repo, this is done in the `utils/detector_utils.py` script by the `detect_objects` method. ```python (boxes, scores, classes, num) = sess.run( [detection_boxes, detection_scores, detection_classes, num_detections], feed_dict={image_tensor: image_np_expanded}) ``` - Visualize detected bounding detection_boxes. In this repo, this is done in the `utils/detector_utils.py` script by the `draw_box_on_image` method. This repo contains two scripts that tie all these steps together. - detect_multi_threaded.py : A threaded implementation for reading camera video input detection and detecting. Takes a set of command line flags to set parameters such as `--display` (visualize detections), image parameters `--width` and `--height`, videe `--source` (0 for camera) etc. - detect_single_threaded.py : Same as above, but single threaded. This script works for video files by setting the video source parameter videe `--source` (path to a video file). ```cmd # load and run detection on video at path "videos/chess.mov" python detect_single_threaded.py --source videos/chess.mov ``` > Update: If you do have errors loading the frozen inference graph in this repo, feel free to generate a new graph that fits your TF version from the model-checkpoint in this repo. Use the [export_inference_graph.py](https://github.com/tensorflow/models/blob/master/research/object_detection/export_inference_graph.py) script provided in the tensorflow object detection api repo. More guidance on this [here](https://pythonprogramming.net/testing-custom-object-detector-tensorflow-object-detection-api-tutorial/?completed=/training-custom-objects-tensorflow-object-detection-api-tutorial/). ## Thoughts on Optimization. A few things that led to noticeable performance increases. - Threading: Turns out that reading images from a webcam is a heavy I/O event and if run on the main application thread can slow down the program. I implemented some good ideas from [Adrian Rosebuck](https://www.pyimagesearch.com/2017/02/06/faster-video-file-fps-with-cv2-videocapture-and-opencv/) on parrallelizing image capture across multiple worker threads. This mostly led to an FPS increase of about 5 points. - For those new to Opencv, images from the `cv2.read()` method return images in [BGR format](https://www.learnopencv.com/why-does-opencv-use-bgr-color-format/). Ensure you convert to RGB before detection (accuracy will be much reduced if you dont). ```python cv2.cvtColor(image_np, cv2.COLOR_BGR2RGB) ``` - Keeping your input image small will increase fps without any significant accuracy drop.(I used about 320 x 240 compared to the 1280 x 720 which my webcam provides). - Model Quantization. Moving from the current 32 bit to 8 bit can achieve up to 4x reduction in memory required to load and store models. One way to further speed up this model is to explore the use of [8-bit fixed point quantization](https://heartbeat.fritz.ai/8-bit-quantization-and-tensorflow-lite-speeding-up-mobile-inference-with-low-precision-a882dfcafbbd). Performance can also be increased by a clever combination of tracking algorithms with the already decent detection and this is something I am still experimenting with. Have ideas for optimizing better, please share! <img src="images/general.jpg" width="100%"> Note: The detector does reflect some limitations associated with the training set. This includes non-egocentric viewpoints, very noisy backgrounds (e.g in a sea of hands) and sometimes skin tone. There is opportunity to improve these with additional data. ## Integrating Multiple DNNs. One way to make things more interesting is to integrate our new knowledge of where "hands" are with other detectors trained to recognize other objects. Unfortunately, while our hand detector can in fact detect hands, it cannot detect other objects (a factor or how it is trained). To create a detector that classifies multiple different objects would mean a long involved process of assembling datasets for each class and a lengthy training process. > Given the above, a potential strategy is to explore structures that allow us **efficiently** interleave output form multiple pretrained models for various object classes and have them detect multiple objects on a single image. An example of this is with my primary use case where I am interested in understanding the position of objects on a table with respect to hands on same table. I am currently doing some work on a threaded application that loads multiple detectors and outputs bounding boxes on a single image. More on this soon.

According to all known laws of aviation, there is no way that 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.” SEQ. 75 - “INTRO TO BARRY” INT. BENSON HOUSE - DAY ANGLE ON: Sneakers on the ground. Camera PANS UP to reveal BARRY BENSON’S BEDROOM ANGLE ON: Barry’s hand flipping through different sweaters in his closet. BARRY Yellow black, yellow black, yellow black, yellow black, yellow black, yellow black...oohh, black and yellow... ANGLE ON: Barry wearing the sweater he picked, looking in the mirror. BARRY (CONT’D) Yeah, let’s shake it up a little. He picks the black and yellow one. He then goes to the sink, takes the top off a CONTAINER OF HONEY, and puts some honey into his hair. He squirts some in his mouth and gargles. Then he takes the lid off the bottle, and rolls some on like deodorant. CUT TO: INT. BENSON HOUSE KITCHEN - CONTINUOUS Barry’s mother, JANET BENSON, yells up at Barry. JANET BENSON Barry, breakfast is ready! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 1. INT. BARRY’S ROOM - CONTINUOUS BARRY Coming! SFX: Phone RINGING. Barry’s antennae vibrate as they RING like a phone. Barry’s hands are wet. He looks around for a towel. BARRY (CONT’D) Hang on a second! He wipes his hands on his sweater, and pulls his antennae down to his ear and mouth. BARRY (CONT'D) Hello? His best friend, ADAM FLAYMAN, is on the other end. ADAM Barry? BARRY Adam? ADAM Can you believe this is happening? BARRY Can’t believe it. I’ll pick you up. Barry sticks his stinger in a sharpener. SFX: BUZZING AS HIS STINGER IS SHARPENED. He tests the sharpness with his finger. SFX: Bing. BARRY (CONT’D) Looking sharp. ANGLE ON: Barry hovering down the hall, sliding down the staircase bannister. Barry’s mother, JANET BENSON, is in the kitchen. JANET BENSON Barry, why don’t you use the stairs? Your father paid good money for those. "Bee Movie" - JS REVISIONS 8/13/07 2. BARRY Sorry, I’m excited. Barry’s father, MARTIN BENSON, ENTERS. He’s reading a NEWSPAPER with the HEADLINE, “Queen gives birth to thousandtuplets: Resting Comfortably.” MARTIN BENSON Here’s the graduate. We’re very proud of you, Son. And a perfect report card, all B’s. JANET BENSON (mushing Barry’s hair) Very proud. BARRY Ma! I’ve got a thing going here. Barry re-adjusts his hair, starts to leave. JANET BENSON You’ve got some lint on your fuzz. She picks it off. BARRY Ow, that’s me! MARTIN BENSON Wave to us. We’ll be in row 118,000. Barry zips off. BARRY Bye! JANET BENSON Barry, I told you, stop flying in the house! CUT TO: SEQ. 750 - DRIVING TO GRADUATION EXT. BEE SUBURB - MORNING A GARAGE DOOR OPENS. Barry drives out in his CAR. "Bee Movie" - JS REVISIONS 8/13/07 3. ANGLE ON: Barry’s friend, ADAM FLAYMAN, standing by the curb. He’s reading a NEWSPAPER with the HEADLINE: “Frisbee Hits Hive: Internet Down. Bee-stander: “I heard a sound, and next thing I knew...wham-o!.” Barry drives up, stops in front of Adam. Adam jumps in. BARRY Hey, Adam. ADAM Hey, Barry. (pointing at Barry’s hair) Is that fuzz gel? BARRY A little. It’s a special day. Finally graduating. ADAM I never thought I’d make it. BARRY Yeah, three days of grade school, three days of high school. ADAM Those were so awkward. BARRY Three days of college. I’m glad I took off one day in the middle and just hitchhiked around the hive. ADAM You did come back different. They drive by a bee who’s jogging. ARTIE Hi Barry! BARRY (to a bee pedestrian) Hey Artie, growing a mustache? Looks good. Barry and Adam drive from the suburbs into the city. ADAM Hey, did you hear about Frankie? "Bee Movie" - JS REVISIONS 8/13/07 4. BARRY Yeah. ADAM You going to his funeral? BARRY No, I’m not going to his funeral. Everybody knows you sting someone you die, you don’t waste it on a squirrel. He was such a hot head. ADAM Yeah, I guess he could’ve just gotten out of the way. The DRIVE through a loop de loop. BARRY AND ADAM Whoa...Whooo...wheee!! ADAM I love this incorporating the amusement park right into our regular day. BARRY I guess that’s why they say we don’t need vacations. CUT TO: SEQ. 95 - GRADUATION EXT. GRADUATION CEREMONY - CONTINUOUS Barry and Adam come to a stop. They exit the car, and fly over the crowd to their seats. * BARRY * (re: graduation ceremony) * Boy, quite a bit of pomp...under * the circumstances. * They land in their seats. BARRY (CONT’D) Well Adam, today we are men. "Bee Movie" - JS REVISIONS 8/13/07 5. ADAM We are. BARRY Bee-men. ADAM Amen! BARRY Hallelujah. Barry hits Adam’s forehead. Adam goes into the rapture. An announcement comes over the PA. ANNOUNCER (V.O) Students, faculty, distinguished bees...please welcome, Dean Buzzwell. ANGLE ON: DEAN BUZZWELL steps up to the podium. The podium has a sign that reads: “Welcome Graduating Class of:”, with train-station style flipping numbers after it. BUZZWELL Welcome New Hive City graduating class of... The numbers on the podium change to 9:15. BUZZWELL (CONT’D) ...9:15. (he clears his throat) And that concludes our graduation ceremonies. And begins your career at Honex Industries. BARRY Are we going to pick our job today? ADAM I heard it’s just orientation. The rows of chairs change in transformer-like mechanical motion to Universal Studios type tour trams. Buzzwell walks off stage. BARRY (re: trams) Whoa, heads up! Here we go. "Bee Movie" - JS REVISIONS 8/13/07 6. SEQ. 125 - “FACTORY” FEMALE VOICE (V.O) Keep your hands and antennas inside the tram at all times. (in Spanish) Dejen las manos y antennas adentro del tram a todos tiempos. BARRY I wonder what it’s going to be like? ADAM A little scary. Barry shakes Adam. BARRY AND ADAM AAHHHH! The tram passes under SIGNS READING: “Honex: A Division of Honesco: A Part of the Hexagon Group.” TRUDY Welcome to Honex, a division of Honesco, and a part of the Hexagon group. BARRY This is it! The Honex doors OPEN, revealing the factory. BARRY (CONT’D) Wow. TRUDY 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 where our top secret formula is automatically color-corrected, scent adjusted and bubble contoured into this... Trudy GRABS a TEST TUBE OF HONEY from a technician. "Bee Movie" - JS REVISIONS 8/13/07 7. TRUDY (CONT’D) ...soothing, sweet syrup with its distinctive golden glow, you all know as... EVERYONE ON THE TRAM (in unison) H-o-n-e-y. Trudy flips the flask into the crowd, and laughs as they all scramble for it. ANGLE ON: A GIRL BEE catching the honey. ADAM (sotto) That girl was hot. BARRY (sotto) She’s my cousin. ADAM She is? BARRY Yes, we’re all cousins. ADAM Right. You’re right. TRUDY At Honex, we also constantly strive to improve every aspect of bee existence. These bees are stress testing a new helmet technology. ANGLE ON: A STUNT BEE in a HELMET getting hit with a NEWSPAPER, then a SHOE, then a FLYSWATTER. He gets up, and gives a “thumb’s up”. The graduate bees APPLAUD. ADAM (re: stunt bee) What do you think he makes? BARRY Not enough. TRUDY And here we have our latest advancement, the Krelman. "Bee Movie" - JS REVISIONS 8/13/07 8. BARRY Wow, what does that do? TRUDY Catches that little strand of honey that hangs after you pour it. Saves us millions. ANGLE ON: The Krelman machine. Bees with hand-shaped hats on, rotating around a wheel to catch drips of honey. Adam’s hand shoots up. ADAM Can anyone work on the Krelman? TRUDY Of course. Most bee jobs are small ones. But bees know that every small job, if it’s done well, means a lot. There are over 3000 different bee occupations. But choose carefully, because you’ll stay in the job that you pick for the rest of your life. The bees CHEER. ANGLE ON: Barry’s smile dropping slightly. BARRY The same job for the rest of your life? I didn’t know that. ADAM What’s the difference? TRUDY And you’ll be happy to know that bees as a species haven’t had one day off in 27 million years. BARRY So you’ll just work us to death? TRUDY (laughing) We’ll sure try. Everyone LAUGHS except Barry. "Bee Movie" - JS REVISIONS 8/13/07 9. The tram drops down a log-flume type steep drop. Cameras flash, as all the bees throw up their hands. The frame freezes into a snapshot. Barry looks concerned. The tram continues through 2 doors. FORM DISSOLVE TO: SEQ. 175 - “WALKING THE HIVE” INT. HONEX LOBBY ANGLE ON: The log-flume photo, as Barry looks at it. ADAM Wow. That blew my mind. BARRY (annoyed) “What’s the difference?” Adam, how could you say that? One job forever? That’s an insane choice to have to make. ADAM Well, I’m relieved. Now we only have to make one decision in life. BARRY But Adam, how could they never have told us that? ADAM Barry, why would you question anything? We’re bees. We’re the most perfectly functioning society on Earth. They walk by a newspaper stand with A SANDWICH BOARD READING: “Bee Goes Berserk: Stings Seven Then Self.” ANGLE ON: A BEE filling his car’s gas tank from a honey pump. He fills his car some, then takes a swig for himself. NEWSPAPER BEE (to the bee guzzling gas) Hey! Barry and Adam begin to cross the street. "Bee Movie" - JS REVISIONS 8/13/07 10. BARRY Yeah but Adam, did you ever think that maybe things work a little too well around here? They stop in the middle of the street. The traffic moves perfectly around them. ADAM Like what? Give me one example. BARRY (thinks) ...I don’t know. But you know what I’m talking about. They walk off. SEQ. 400 - “MEET THE JOCKS” SFX: The SOUND of Pollen Jocks. PAN DOWN from the Honex statue. J-GATE ANNOUNCER Please clear the gate. Royal Nectar Force on approach. Royal Nectar Force on approach. BARRY Wait a second. Check it out. Hey, hey, those are Pollen jocks. ADAM Wow. FOUR PATROL BEES FLY in through the hive’s giant Gothic entrance. The Patrol Bees are wearing fighter pilot helmets with black visors. ADAM (CONT’D) I’ve never seen them this close. BARRY They know what it’s like to go outside the hive. ADAM Yeah, but some of them don’t come back. "Bee Movie" - JS REVISIONS 8/13/07 11. The nectar from the pollen jocks is removed from their backpacks, and loaded into trucks on their way to Honex. A SMALL CROWD forms around the Patrol Bees. Each one has a PIT CREW that takes their nectar. Lou Loduca hurries a pit crew along: LOU LODUCA You guys did great! You’re monsters. You’re sky freaks! I love it! I love it! SCHOOL GIRLS are jumping up and down and squealing nearby. BARRY I wonder where those guys have just been? ADAM I don’t know. BARRY Their day’s not planned. Outside the hive, flying who-knows-where, doing who-knows-what. ADAM You can’t just decide one day to be a Pollen Jock. You have to be bred for that. BARRY Right. Pollen Jocks cross in close proximity to Barry and Adam. Some pollen falls off, onto Barry and Adam. BARRY (CONT’D) Look at that. That’s more pollen than you and I will ever see in a lifetime. ADAM (playing with the pollen) It’s just a status symbol. I think bees make too big a deal out of it. BARRY Perhaps, unless you’re wearing it, and the ladies see you wearing it. ANGLE ON: Two girl bees. "Bee Movie" - JS REVISIONS 8/13/07 12. ADAM Those ladies? Aren’t they our cousins too? BARRY Distant, distant. ANGLE ON: TWO POLLEN JOCKS. JACKSON Look at these two. SPLITZ Couple of Hive Harrys. JACKSON Let’s have some fun with them. The pollen jocks approach. Barry and Adam continue to talk to the girls. GIRL 1 It must be so dangerous being a pollen jock. BARRY Oh yeah, one time a bear had me pinned up against a mushroom. He had one paw on my throat, and with the other he was slapping me back and forth across the face. GIRL 1 Oh my. BARRY I never thought I’d knock him out. GIRL 2 (to Adam) And what were you doing during all of this? ADAM Obviously I was trying to alert the authorities. The girl swipes some pollen off of Adam with a finger. BARRY (re: pollen) I can autograph that if you want. "Bee Movie" - JS REVISIONS 8/13/07 13. JACKSON Little gusty out there today, wasn’t it, comrades? BARRY Yeah. Gusty. BUZZ You know, we’re going to hit a sunflower patch about six miles from here tomorrow. BARRY Six miles, huh? ADAM (whispering) Barry. BUZZ It’s a puddle-jump for us. But maybe you’re not up for it. BARRY Maybe I am. ADAM (whispering louder) You are not! BUZZ We’re going, oh-nine hundred at JGate. ADAM (re: j-gate) Whoa. BUZZ (leaning in, on top of Barry) What do you think, Buzzy Boy? Are you bee enough? BARRY I might be. It all depends on what oh-nine hundred means. CUT TO: SEQ. 450 - “THE BALCONY” "Bee Movie" - JS REVISIONS 8/13/07 14. INT. BENSON HOUSE BALCONY - LATER Barry is standing on the balcony alone, looking out over the city. Martin Benson ENTERS, sneaks up behind Barry and gooses him in his ribs. MARTIN BENSON Honex! BARRY Oh, Dad. You surprised me. MARTIN BENSON (laughing) Have you decided what you’re interested in, Son? BARRY Well, there’s a lot of choices. MARTIN BENSON But you only get one. Martin LAUGHS. BARRY Dad, do you ever get bored doing the same job every day? MARTIN BENSON Son, let me tell you something about stirring. (making the stirring motion) 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. BARRY You know dad, the more I think about it, maybe the honey field just isn’t right for me. MARTIN BENSON And you were thinking of what, making balloon animals? That’s a bad job for a guy with a stinger. "Bee Movie" - JS REVISIONS 8/13/07 15. BARRY Well no... MARTIN BENSON Janet, your son’s not sure he wants to go into honey. JANET BENSON Oh Barry, you are so funny sometimes. BARRY I’m not trying to be funny. MARTIN BENSON You’re not funny, you’re going into honey. Our son, the stirrer. JANET BENSON You’re going to be a stirrer?! BARRY No one’s listening to me. MARTIN BENSON Wait until you see the sticks I have for you. BARRY I can say anything I want right now. I’m going to get an ant tattoo. JANET BENSON Let’s open some fresh honey and celebrate. BARRY Maybe I’ll pierce my thorax! MARTIN BENSON (toasting) To honey! BARRY Shave my antennae! JANET BENSON To honey! "Bee Movie" - JS REVISIONS 8/13/07 16. BARRY Shack up with a grasshopper, get a gold tooth, and start calling everybody “Dawg.” CUT TO: SEQ. 760 - “JOB PLACEMENT” EXT. HONEX LOBBY - CONTINUOUS ANGLE ON: A BEE BUS STOP. One group of bees stands on the pavement, as another group hovers above them. A doubledecker bus pulls up. The hovering bees get on the top level, and the standing bees get on the bottom. Barry and Adam pull up outside of Honex. ADAM I can’t believe we’re starting work today. BARRY Today’s the day. Adam jumps out of the car. ADAM (O.C) Come on. All the good jobs will be gone. BARRY Yeah, right... ANGLE ON: A BOARD READING: “JOB PLACEMENT BOARD”. Buzzwell, the Bee Processor, is at the counter. Another BEE APPLICANT, SANDY SHRIMPKIN is EXITING. SANDY SHRIMPKIN Is it still available? BUZZWELL Hang on. (he looks at changing numbers on the board) Two left. And...one of them’s yours. Congratulations Son, step to the side please. "Bee Movie" - JS REVISIONS 8/13/07 17. SANDY SHRIMPKIN Yeah! ADAM (to Sandy, leaving) What did you get? SANDY SHRIMPKIN Picking the crud out. That is stellar! ADAM Wow. BUZZWELL (to Adam and Barry) Couple of newbies? ADAM Yes Sir. Our first day. We are ready. BUZZWELL Well, step up and make your choice. ANGLE ON: A CHART listing the different sectors of Honex. Heating, Cooling, Viscosity, Krelman, Pollen Counting, Stunt Bee, Pouring, Stirrer, Humming, Regurgitating, Front Desk, Hair Removal, Inspector No. 7, Chef, Lint Coordinator, Stripe Supervisor, Antennae-ball polisher, Mite Wrangler, Swatting Counselor, Wax Monkey, Wing Brusher, Hive Keeper, Restroom Attendant. ADAM (to Barry) You want to go first? BARRY No, you go. ADAM Oh my. What’s available? BUZZWELL Restroom attendant is always open, and not for the reason you think. ADAM Any chance of getting on to the Krelman, Sir? BUZZWELL Sure, you’re on. "Bee Movie" - JS REVISIONS 8/13/07 18. He plops the KRELMAN HAT onto Adam’s head. ANGLE ON: The job board. THE COLUMNS READ: “OCCUPATION” “POSITIONS AVAILABLE”, and “STATUS”. The middle column has numbers, and the right column has job openings flipping between “open”, “pending”, and “closed”. BUZZWELL (CONT’D) Oh, I’m sorry. The Krelman just closed out. ADAM Oh! He takes the hat off Adam. BUZZWELL Wax Monkey’s always open. The Krelman goes from “Closed” to “Open”. BUZZWELL (CONT’D) And the Krelman just opened up again. ADAM What happened? BUZZWELL Well, whenever a bee dies, that’s an opening. (pointing at the board) See that? He’s dead, dead, another dead one, deady, deadified, two more dead. Dead from the neck up, dead from the neck down. But, that’s life. ANGLE ON: Barry’s disturbed expression. ADAM (feeling pressure to decide) Oh, this is so hard. Heating, cooling, stunt bee, pourer, stirrer, humming, inspector no. 7, lint coordinator, stripe supervisor, antenna-ball polisher, mite wrangler-- Barry, Barry, what do you think I should-- Barry? Barry? "Bee Movie" - JS REVISIONS 8/13/07 19. Barry is gone. CUT TO: SEQ. 775 - “LOU LODUCA SPEECH” EXT. J-GATE - SAME TIME Splitz, Jackson, Buzz, Lou and two other BEES are going through final pre-flight checks. Barry ENTERS. LOU LODUCA Alright, we’ve got the sunflower patch in quadrant nine. Geranium window box on Sutton Place... Barry’s antennae rings, like a phone. ADAM (V.O) What happened to you? Where are you? Barry whispers throughout. BARRY I’m going out. ADAM (V.O) Out? Out where? BARRY Out there. ADAM (V.O) (putting it together) Oh no. BARRY I have to, before I go to work for the rest of my life. ADAM (V.O) You’re going to die! You’re crazy! Hello? BARRY Oh, another call coming in. "Bee Movie" - JS REVISIONS 8/13/07 20. ADAM (V.O) You’re cra-- Barry HANGS UP. ANGLE ON: Lou Loduca. LOU LODUCA If anyone’s feeling brave, there’s a Korean Deli on 83rd that gets their roses today. BARRY (timidly) Hey guys. BUZZ Well, look at that. SPLITZ Isn’t that the kid we saw yesterday? LOU LODUCA (to Barry) Hold it son, flight deck’s restricted. JACKSON It’s okay Lou, we’re going to take him up. Splitz and Jackson CHUCKLE. LOU LODUCA Really? Feeling lucky, are ya? A YOUNGER SMALLER BEE THAN BARRY, CHET, runs up with a release waiver for Barry to sign. CHET Sign here. Here. Just initial that. Thank you. LOU LODUCA Okay, you got a rain advisory today and as you all know, bees cannot fly in rain. So be careful. As always, (reading off clipboard) watch your brooms, hockey sticks, dogs, birds, bears, and bats. "Bee Movie" - JS REVISIONS 8/13/07 21. Also, I got a couple reports of root beer being poured on us. Murphy’s in a home because of it, just babbling like a cicada. BARRY That’s awful. LOU LODUCA And a reminder for all you rookies, bee law number one, absolutely no talking to humans. Alright, launch positions! The Jocks get into formation, chanting as they move. LOU LODUCA (CONT’D) Black and Yellow! JOCKS Hello! SPLITZ (to Barry) Are you ready for this, hot shot? BARRY Yeah. Yeah, bring it on. Barry NODS, terrified. BUZZ Wind! - CHECK! JOCK #1 Antennae! - CHECK! JOCK #2 Nectar pack! - CHECK! JACKSON Wings! - CHECK! SPLITZ Stinger! - CHECK! BARRY Scared out of my shorts - CHECK. LOU LODUCA Okay ladies, let’s move it out. Everyone FLIPS their goggles down. Pit crew bees CRANK their wings, and remove the starting blocks. We hear loud HUMMING. "Bee Movie" - JS REVISIONS 8/13/07 22. LOU LODUCA (CONT'D) LOU LODUCA (CONT’D) Pound those petunia's, you striped stem-suckers! All of you, drain those flowers! A FLIGHT DECK GUY in deep crouch hand-signals them out the archway as the backwash from the bee wings FLUTTERS his jump suit. Barry follows everyone. SEQ. 800 - “FLYING WITH THE JOCKS” The bees climb above tree tops in formation. Barry is euphoric. BARRY Whoa! I’m out! I can’t believe I’m out! So blue. Ha ha ha! (a beat) I feel so fast...and free. (re: kites in the sky) Box kite! Wow! They fly by several bicyclists, and approach a patch of flowers. BARRY (CONT'D) Flowers! SPLITZ This is blue leader. We have roses visual. Bring it around thirty degrees and hold. BARRY (sotto) Roses. JACKSON Thirty degrees, roger, bringing it around. Many pollen jocks break off from the main group. They use their equipment to collect nectar from flowers. Barry flies down to watch the jocks collect the nectar. JOCK Stand to the side kid, it’s got a bit of a kick. The jock fires the gun, and recoils. Barry watches the gun fill up with nectar. "Bee Movie" - JS REVISIONS 8/13/07 23. BARRY Oh, that is one Nectar Collector. JOCK You ever see pollination up close? BARRY No, Sir. He takes off, and the excess pollen dust falls causing the flowers to come back to life. JOCK (as he pollinates) I pick some pollen up over here, sprinkle it over here, maybe a dash over there, pinch on that one...see that? It’s a little bit of magic, ain’t it? The FLOWERS PERK UP as he pollinates. BARRY Wow. That’s amazing. Why do we do that? JOCK ...that’s pollen power, Kid. More pollen, more flowers, more nectar, more honey for us. BARRY Cool. The Jock WINKS at Barry. Barry rejoins the other jocks in the sky. They swoop in over a pond, kissing the surface. We see their image reflected in the water; they’re really moving. They fly over a fountain. BUZZ I’m picking up a lot of bright yellow, could be daisies. Don’t we need those? SPLITZ Copy that visual. We see what appear to be yellow flowers on a green field. "Bee Movie" - JS REVISIONS 8/13/07 24. They go into a deep bank and dive. BUZZ Hold on, one of these flowers seems to be on the move. SPLITZ Say again...Are you reporting a moving flower? BUZZ Affirmative. SEQ. 900 - “TENNIS GAME” The pollen jocks land. It is a tennis court with dozens of tennis balls. A COUPLE, VANESSA and KEN, plays tennis. The bees land right in the midst of a group of balls. KEN (O.C) That was on the line! The other bees start walking around amongst the immense, yellow globes. SPLITZ This is the coolest. What is it? They stop at a BALL on a white line and look up at it. JACKSON I don’t know, but I’m loving this color. SPLITZ (smelling tennis ball) Smells good. Not like a flower. But I like it. JACKSON Yeah, fuzzy. BUZZ Chemical-y. JACKSON Careful, guys, it’s a little grabby. Barry LANDS on a ball and COLLAPSES. "Bee Movie" - JS REVISIONS 8/13/07 25. BARRY Oh my sweet lord of bees. JACKSON Hey, candy brain, get off there! Barry attempts to pulls his legs off, but they stick. BARRY Problem! A tennis shoe and a hand ENTER FRAME. The hand picks up the ball with Barry underneath it. BARRY (CONT'D) Guys! BUZZ This could be bad. JACKSON Affirmative. Vanessa walks back to the service line, BOUNCES the ball. Each time it BOUNCES, the other bees cringe and GASP. ANGLE ON: Barry, terrified. Pure dumb luck, he’s not getting squished. BARRY (with each bounce) Very close...Gonna Hurt...Mamma’s little boy. SPLITZ You are way out of position, rookie. ANGLE ON: Vanessa serving. We see Barry and the ball up against the racket as she brings it back. She tosses the ball into the air; Barry’s eyes widen. The ball is STRUCK, and the rally is on. KEN Coming in at you like a missile! Ken HITS the ball back. Barry feels the g-forces. ANGLE ON: The Pollen Jocks watching Barry pass by them in SLOW MOTION. "Bee Movie" - JS REVISIONS 8/13/07 26. BARRY (in slow motion) Help me! JACKSON You know, I don't think these are flowers. SPLITZ Should we tell him? JACKSON I think he knows. BARRY (O.S) What is this?! Vanessa HITS a high arcing lob. Ken waits, poised for the return. We see Barry having trouble maneuvering the ball from fatigue. KEN (overly confident) Match point! ANGLE ON: Ken running up. He has a killer look in his eyes. He’s going to hit the ultimate overhead smash. KEN (CONT'D) You can just start packing up Honey, because I believe you’re about to eat it! ANGLE ON: Pollen Jocks. JACKSON Ahem! Ken is distracted by the jock. KEN What? No! He misses badly. The ball rockets into oblivion. Barry is still hanging on. ANGLE ON: Ken, berating himself. KEN (CONT’D) Oh, you cannot be serious. We hear the ball WHISTLING, and Barry SCREAMING. "Bee Movie" - JS REVISIONS 8/13/07 27. BARRY Yowser!!! SEQ. 1000 - “SUV” The ball flies through the air, and lands in the middle of the street. It bounces into the street again, and sticks in the grille of an SUV. INT. CAR ENGINE - CONTINUOUS BARRY’S POV: the grille of the SUV sucks him up. He tumbles through a black tunnel, whirling vanes, and pistons. BARRY AHHHHHHHHHHH!! OHHHH!! EECHHH!! AHHHHHH!! Barry gets chilled by the A/C system, and sees a frozen grasshopper. BARRY (CONT’D) (re: grasshopper) Eww, gross. CUT TO: INT. CAR - CONTINUOUS The car is packed with a typical suburban family: MOTHER, FATHER, eight-year old BOY, LITTLE GIRL in a car seat and a GRANDMOTHER. A big slobbery DOG is behind a grate. Barry pops into the passenger compartment, hitting the Mother’s magazine. MOTHER There’s a bee in the car! They all notice the bee and start SCREAMING. BARRY Aaahhhh! Barry tumbles around the car. We see the faces from his POV. MOTHER Do something! "Bee Movie" - JS REVISIONS 8/13/07 28. FATHER I’m driving! Barry flies by the little girl in her CAR SEAT. She waves hello. LITTLE GIRL Hi, bee. SON He’s back here! He’s going to sting me! The car SWERVES around the road. Barry flies into the back, where the slobbery dog SNAPS at him. Barry deftly avoids the jaws and gross, flying SPITTLE. MOTHER Nobody move. If you don’t move, he won’t sting you. Freeze! Everyone in the car freezes. Barry freezes. They stare at each other, eyes going back and forth, waiting to see who will make the first move. Barry blinks. GRANNY He blinked! Granny pulls out a can of HAIR SPRAY. SON Spray him, Granny! Granny sprays the hair spray everywhere. FATHER What are you doing? GRANNY It’s hair spray! Extra hold! MOTHER Kill it! Barry gets sprayed back by the hair spray, then sucked out of the sunroof. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 29. EXT. CITY STREET - CONTINUOUS BARRY Wow. The tension level out here is unbelievable. I’ve got to get home. As Barry flies down the street, it starts to RAIN. He nimbly avoids the rain at first. BARRY (CONT’D) Whoa. Whoa! Can’t fly in rain! Can’t fly in rain! Can’t fly in-- A couple of drops hit him, his wings go limp and he starts falling. BARRY (CONT'D) Mayday! Mayday! Bee going down! Barry sees a window ledge and aims for it and just makes it. Shivering and exhausted, he crawls into an open window as it CLOSES. SEQ. 1100 - “VANESSA SAVES BARRY” INT. VANESSA’S APARTMENT - CONTINUOUS Inside the window, Barry SHAKES off the rain like a dog. Vanessa, Ken, Andy, and Anna ENTER the apartment. VANESSA Ken, can you close the window please? KEN Huh? Oh. (to Andy) Hey, check out my new resume. I made it into a fold-out brochure. You see? It folds out. Ken holds up his brochure, with photos of himself, and a resume in the middle. ANGLE ON: Barry hiding behind the curtains, as Ken CLOSES THE WINDOW. "Bee Movie" - JS REVISIONS 8/13/07 30. BARRY Oh no, more humans. I don’t need this. Barry HOVERS up into the air and THROWS himself into the glass. BARRY (CONT’D) (dazed) Ow! What was that? He does it again, and then multiple more times. BARRY (CONT'D) Maybe this time...this time, this time, this time, this time, this time, this time, this time. Barry JUMPS onto the drapes. BARRY (CONT'D) (out of breath) Drapes! (then, re: glass) That is diabolical. KEN It’s fantastic. It’s got all my special skills, even my top ten favorite movies. ANDY What’s your number one? Star Wars? KEN Ah, I don’t go for that, (makes Star Wars noises), kind of stuff. ANGLE ON: Barry. BARRY No wonder we’re not supposed to talk to them. They’re out of their minds. KEN When I walk out of a job interview they’re flabbergasted. They can’t believe the things I say. Barry looks around and sees the LIGHT BULB FIXTURE in the middle of the ceiling. "Bee Movie" - JS REVISIONS 8/13/07 31. BARRY (re: light bulb) Oh, there’s the sun. Maybe that’s a way out. Barry takes off and heads straight for the light bulb. His POV: The seventy-five watt label grows as he gets closer. BARRY (CONT’D) I don’t remember the sun having a big seventy five on it. Barry HITS the bulb and is KNOCKED SILLY. He falls into a BOWL OF GUACAMOLE. Andy dips his chip in the guacamole, taking Barry with it. ANGLE ON: Ken and Andy. KEN I’ll tell you what. You know what? I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Barry’s POV: Giant human mouth opening. KEN (CONT’D) Wait! Stop! Beeeeeee! ANNA Kill it! Kill it! They all JUMP up from their chairs. Andy looks around for something to use. Ken comes in for the kill with a big TIMBERLAND BOOT on each hand. KEN Stand back. These are winter boots. Vanessa ENTERS, and stops Ken from squashing Barry. VANESSA (grabs Ken’s arm) Wait. Don’t kill him. CLOSE UP: on Barry’s puzzled face. KEN You know I’m allergic to them. This thing could kill me. "Bee Movie" - JS REVISIONS 8/13/07 32. VANESSA Why does his life have any less value than yours? She takes a GLASS TUMBLER and places it over Barry. KEN Why does his life have any less value than mine? Is that your statement? VANESSA I’m just saying, all life has value. You don’t know what he’s capable of feeling. Barry looks up through the glass and watches this conversation, astounded. Vanessa RIPS Ken’s resume in half and SLIDES it under the glass. KEN (wistful) My brochure. There’s a moment of eye contact as she carries Barry to the window. She opens it and sets him free. VANESSA There you go, little guy. KEN (O.C) I’m not scared of them. But, you know, it’s an allergic thing. ANDY (O.C) * Hey, why don’t you put that on your * resume-brochure? * KEN (O.C) It’s not funny, my whole face could puff up. ANDY (O.C) Make it one of your “Special Skills.” KEN (O.C) You know, knocking someone out is also a special skill. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 33. EXT. WINDOWSILL - CONTINUOUS Barry stares over the window frame. He can’t believe what’s just happened. It is still RAINING. DISSOLVE TO: SEQ. 1200 - “BARRY SPEAKS” EXT. WINDOWSILL - LATER Barry is still staring through the window. Inside, everyone’s saying their good-byes. KEN Vanessa, next week? Yogurt night? VANESSA Uh, yeah sure Ken. You know, whatever. KEN You can put carob chips on there. VANESSA Good night. KEN (as he exits) Supposed to be less calories, or something. VANESSA Bye. She shuts the door. Vanessa starts cleaning up. BARRY I’ve got to say something. She saved my life. I’ve got to say something. Alright, here it goes. Barry flies in. "Bee Movie" - JS REVISIONS 8/13/07 34. INT. VANESSA’S APARTMENT - CONTINUOUS Barry hides himself on different PRODUCTS placed along the kitchen shelves. He hides on a Bumblebee Tuna can, and a “Greetings From Coney Island” MUSCLE-MAN POSTCARD on the fridge. BARRY (on fridge) What would I say? (landing on a bottle) I could really get in trouble. He stands looking at Vanessa. BARRY (CONT'D) 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! Come 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. As Vanessa walks by, Barry takes a DEEP BREATH. BARRY (CONT’D) (cheerful) Umm...hi. Vanessa DROPS A STACK OF DISHES, and HOPS BACK. BARRY (CONT’D) I’m sorry. VANESSA You’re talking. BARRY Yes, I know, I know. VANESSA You’re talking. BARRY I know, I’m sorry. I’m so sorry. VANESSA It’s okay. It’s fine. It’s just, I know I’m dreaming, but I don’t recall going to bed. "Bee Movie" - JS REVISIONS 8/13/07 35. BARRY Well, you know I’m sure this is very disconcerting. VANESSA Well yeah. I mean this is a bit of a surprise to me. I mean...you’re a bee. BARRY Yeah, I am a bee, and you know I’m not supposed to be doing this, but they were all trying to kill me and if it wasn’t for you...I mean, I had to thank you. It’s just the way I was raised. Vanessa intentionally JABS her hand with a FORK. VANESSA Ow! BARRY That was a little weird. VANESSA (to herself) I’m talking to a bee. BARRY Yeah. VANESSA I’m talking to a bee. BARRY Anyway... VANESSA And a bee is talking to me... BARRY I just want you to know that I’m grateful, and I’m going to leave now. VANESSA Wait, wait, wait, wait, how did you learn to do that? BARRY What? "Bee Movie" - JS REVISIONS 8/13/07 36. VANESSA The talking thing. BARRY Same way you did, I guess. Mama, Dada, honey, you pick it up. VANESSA That’s very funny. BARRY Yeah. Bees are funny. If we didn’t laugh, we’d cry. With what we have to deal with. Vanessa LAUGHS. BARRY (CONT’D) Anyway. VANESSA Can I, uh, get you something? BARRY Like what? VANESSA I don’t know. I mean, I don’t know. Coffee? BARRY Well, uh, I don’t want to put you out. VANESSA It’s no trouble. BARRY Unless you’re making anyway. VANESSA Oh, it takes two minutes. BARRY Really? VANESSA It’s just coffee. BARRY I hate to impose. "Bee Movie" - JS REVISIONS 8/13/07 37. VANESSA Don’t be ridiculous. BARRY Actually, I would love a cup. VANESSA Hey, you want a little rum cake? BARRY I really shouldn’t. VANESSA Have a little rum cake. BARRY No, no, no, I can’t. VANESSA Oh, come on. BARRY You know, I’m trying to lose a couple micrograms here. VANESSA Where? BARRY Well... These stripes don’t help. VANESSA You look great. BARRY I don’t know if you know anything about fashion. Vanessa starts POURING the coffee through an imaginary cup and directly onto the floor. BARRY (CONT'D) Are you alright? VANESSA No. DISSOLVE TO: SEQ. 1300 - “ROOFTOP COFFEE” "Bee Movie" - JS REVISIONS 8/13/07 38. EXT. VANESSA’S ROOF - LATER Barry and Vanessa are drinking coffee on her roof terrace. He is perched on her keychain. BARRY ...He can’t get a taxi. He’s making the tie in the cab, as they’re flying up Madison. So he finally gets there. VANESSA Uh huh? BARRY He runs up the steps into the church, the wedding is on... VANESSA Yeah? BARRY ...and he says, watermelon? I thought you said Guatemalan. VANESSA Uh huh? BARRY Why would I marry a watermelon? Barry laughs. Vanessa doesn’t. VANESSA Oh! Is that, uh, a bee joke? BARRY Yeah, that’s the kind of stuff that we do. VANESSA Yeah, different. A BEAT. VANESSA (CONT’D) So anyway...what are you going to do, Barry? "Bee Movie" - JS REVISIONS 8/13/07 39. 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. VANESSA I know how you feel. BARRY You do? VANESSA Sure, my parents wanted me to be a lawyer or doctor, but I wanted to be a florist. BARRY Really? VANESSA My only interest is flowers. BARRY Our new queen was just elected with that same campaign slogan. VANESSA Oh. BARRY Anyway, see there’s my hive, right there. You can see it. VANESSA Oh, you’re in Sheep Meadow. BARRY (excited) Yes! You know the turtle pond? VANESSA Yes? BARRY I’m right off of that. VANESSA Oh, no way. I know that area. Do you know I lost a toe-ring there once? BARRY Really? "Bee Movie" - JS REVISIONS 8/13/07 40. VANESSA Yes. BARRY Why do girls put rings on their toes? VANESSA Why not? BARRY I don’t know. It’s like putting a hat on your knee. VANESSA Really? Okay. A JANITOR in the background changes a LIGHTBULB. To him, it appears that Vanessa is talking to an imaginary friend. JANITOR You all right, ma’am? VANESSA Oh, yeah, fine. Just having two cups of coffee. BARRY Anyway, this has been great. (wiping his mouth) Thanks for the coffee. Barry gazes at Vanessa. VANESSA Oh yeah, it’s no trouble. BARRY Sorry I couldn’t finish it. Vanessa giggles. BARRY (CONT'D) (re: coffee) If I did, I’d be up the rest of my life. Ummm. Can I take a piece of this with me? VANESSA Sure. Here, have a crumb. She takes a CRUMB from the plate and hands it to Barry. "Bee Movie" - JS REVISIONS 8/13/07 41. BARRY (a little dreamy) Oh, thanks. VANESSA Yeah. There is an awkward pause. BARRY Alright, well then, I guess I’ll see you around, or not, or... VANESSA Okay Barry. BARRY And thank you so much again, for before. VANESSA Oh that? BARRY Yeah. VANESSA Oh, that was nothing. BARRY Well, not nothing, but, anyway... Vanessa extends her hand, and shakes Barry’s gingerly. The Janitor watches. The lightbulb shorts out. The Janitor FALLS. CUT TO: SEQ. 1400 - “HONEX” INT. HONEX BUILDING - NEXT DAY ANGLE ON: A TEST BEE WEARING A PARACHUTE is in a wind tunnel, hovering through increasingly heavy wind. SIGNS UNDER A FLASHING LIGHT READ: “Test In Progress” & “Hurricane Survival Test”. 2 BEES IN A LAB COATS are observing behind glass. "Bee Movie" - JS REVISIONS 8/13/07 42. LAB COAT BEE 1 This can’t possibly work. LAB COAT BEE 2 Well, he’s all set to go, we may as well try it. (into the mic) Okay Dave, pull the chute. The test bee opens his parachute. He’s instantly blown against the rear wall. Adam and Barry ENTER. ADAM Sounds amazing. BARRY Oh, it was amazing. It was the scariest, happiest moment of my life. ADAM Humans! Humans! I can’t believe you were with humans! Giant scary humans! What were they like? BARRY Huge and crazy. They talk crazy, they eat crazy giant things. They drive around real crazy. ADAM And do they try and kill you like on TV? BARRY Some of them. But some of them don’t. ADAM How’d you get back? BARRY Poodle. ADAM Look, you did it. And I’m glad. You saw whatever you wanted to see out there, you had your “experience”, and now you’re back, you can pick out your job, and everything can be normal. "Bee Movie" - JS REVISIONS 8/13/07 43. ANGLE ON: LAB BEES examining a CANDY CORN through a microscope. BARRY Well... ADAM Well? BARRY Well, I met someone. ADAM You met someone? Was she Bee-ish? BARRY Mmm. ADAM Not a WASP? Your parents will kill you. BARRY No, no, no, not a wasp. ADAM Spider? BARRY You know, I’m not attracted to the spiders. I know to everyone else it’s like the hottest thing with the eight legs and all. I can’t get by that face. Barry makes a spider face. ADAM So, who is she? BARRY She’s a human. ADAM Oh no, no, no, no. That didn’t happen. You didn’t do that. That is a bee law. You wouldn’t break a bee law. BARRY Her name’s Vanessa. "Bee Movie" - JS REVISIONS 8/13/07 44. ADAM Oh, oh boy! BARRY She’s so-o nice. And she’s a florist! ADAM Oh, no. No, no, no! You’re dating a human florist? BARRY We’re not dating. ADAM You’re flying outside the hive. You’re talking to human beings that attack our homes with power washers and M-80’s. That’s 1/8 of a stick of dynamite. BARRY She saved my life. And she understands me. ADAM This is over. Barry pulls out the crumb. BARRY Eat this. Barry stuffs the crumb into Adam’s face. ADAM This is not over. What was that? BARRY They call it a crumb. ADAM That was SO STINGING STRIPEY! BARRY And that’s not even what they eat. That just falls off what they eat. Do you know what a Cinnabon is? ADAM No. "Bee Movie" - JS REVISIONS 8/13/07 45. BARRY It’s bread... ADAM Come in here! BARRY and cinnamon, ADAM Be quiet! BARRY and frosting...they heat it up-- ADAM Sit down! INT. ADAM’S OFFICE - CONTINUOUS BARRY Really hot! ADAM Listen to me! We are not them. We’re us. There’s us and there’s them. BARRY Yes, but who can deny the heart that is yearning... Barry rolls his chair down the corridor. ADAM There’s no yearning. Stop yearning. Listen to me. You have got to start thinking bee, my friend. ANOTHER BEE JOINS IN. ANOTHER BEE Thinking bee. WIDER SHOT AS A 3RD BEE ENTERS, popping up over the cubicle wall. 3RD BEE Thinking bee. EVEN WIDER SHOT AS ALL THE BEES JOIN IN. "Bee Movie" - JS REVISIONS 8/13/07 46. OTHER BEES Thinking bee. Thinking bee. Thinking bee. CUT TO: SEQ. 1500 - “POOLSIDE NAGGING” EXT. BACKYARD PARENT’S HOUSE - DAY Barry sits on a RAFT in a hexagon honey pool, legs dangling into the water. Janet Benson and Martin Benson stand over him wearing big, sixties sunglasses and cabana-type outfits. The sun shines brightly behind their heads. JANET BENSON (O.C) There he is. He’s in the pool. MARTIN BENSON You know what your problem is, Barry? BARRY I’ve got to start thinking bee? MARTIN BENSON Barry, how much longer is this going to go on? It’s been three days. I don’t understand why you’re not working. BARRY Well, I’ve got a lot of big life decisions I’m thinking about. MARTIN BENSON What life? You have no life! You have no job! You’re barely a bee! Barry throws his hands in the air. BARRY Augh. JANET BENSON Would it kill you to just make a little honey? Barry ROLLS off the raft and SINKS to the bottom of the pool. We hear his parents’ MUFFLED VOICES from above the surface. "Bee Movie" - JS REVISIONS 8/13/07 47. JANET BENSON (CONT'D) (muffled) Barry, come out from under there. Your father’s talking to you. Martin, would you talk to him? MARTIN BENSON Barry, I’m talking to you. DISSOLVE TO: EXT. PICNIC AREA - DAY MUSIC: “Sugar Sugar” by the Archies. Barry and Vanessa are having a picnic. A MOSQUITO lands on Vanessa’s leg. She SWATS it violently. Barry’s head whips around, aghast. They stare at each other awkwardly in a frozen moment, then BURST INTO HYSTERICAL LAUGHTER. Vanessa GETS UP. VANESSA You coming? BARRY Got everything? VANESSA All set. Vanessa gets into a one-man Ultra Light plane with a black and yellow paint scheme. She puts on her helmet. BARRY You go ahead, I’ll catch up. VANESSA (come hither wink) Don’t be too long. The Ultra Light takes off. Barry catches up. They fly sideby-side. VANESSA (CONT’D) Watch this! Vanessa does a loop, and FLIES right into the side of a mountain, BURSTING into a huge ball of flames. "Bee Movie" - JS REVISIONS 8/13/07 48. BARRY (yelling, anguished) Vanessa! EXT. BARRY’S PARENT’S HOUSE - CONTINUOUS ANGLE ON: Barry’s face bursting through the surface of the pool, GASPING for air, eyes opening in horror. MARTIN BENSON We’re still here, Barry. JANET BENSON I told you not to yell at him. He doesn’t respond when you yell at him. MARTIN BENSON Then why are you yelling at me? JANET BENSON Because you don’t listen. MARTIN BENSON I’m not listening to this. Barry is toweling off, putting on his sweater. BARRY Sorry Mom, I’ve got to go. JANET BENSON Where are you going? BARRY Nowhere. I’m meeting a friend. Barry JUMPS off the balcony and EXITS. JANET BENSON (calling after him) A girl? Is this why you can’t decide? BARRY Bye! JANET BENSON I just hope she’s Bee-ish. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 49. SEQ. 1700 - “STREETWALK/SUPERMARKET” EXT. VANESSA’S FLORIST SHOP - DAY Vanessa FLIPS the sign to say “Sorry We Missed You”, and locks the door. ANGLE ON: A POSTER on Vanessa’s door for the Tournament of Roses Parade in Pasadena. BARRY So they have a huge parade of just flowers every year in Pasadena? VANESSA Oh, to be in the Tournament of Roses, that’s every florist’s dream. Up on a float, surrounded by flowers, crowds cheering. BARRY Wow, a tournament. Do the roses actually compete in athletic events? VANESSA No. Alright, I’ve got one. How come you don’t fly everywhere? BARRY It’s exhausting. Why don’t you run everywhere? VANESSA Hmmm. BARRY Isn’t that faster? VANESSA Yeah, okay. I see, I see. Alright, your turn. Barry and Vanessa walk/fly down a New York side street, no other pedestrians near them. BARRY Ah! Tivo. You can just freeze live TV? That’s insane. "Bee Movie" - JS REVISIONS 8/13/07 50. VANESSA What, you don’t have anything like that? BARRY We have Hivo, but it’s a disease. It’s a horrible, horrible disease. VANESSA Oh my. They turn the corner onto a busier avenue and people start to swat at Barry. MAN Dumb bees! VANESSA You must just want to sting all those jerks. BARRY We really try not to sting. It’s usually fatal for us. VANESSA So you really have to watch your temper? They ENTER a SUPERMARKET. CUT TO: INT. SUPERMARKET BARRY Oh yeah, very carefully. You kick a wall, take a walk, write an angry letter and throw it out. You work through it like any emotion-- anger, jealousy, (under his breath) lust. Barry hops on top of some cardboard boxes in the middle of an aisle. A stock boy, HECTOR, whacks him with a rolled up magazine. VANESSA (to Barry) Oh my goodness. Are you okay? "Bee Movie" - JS REVISIONS 8/13/07 51. BARRY Yeah. Whew! Vanessa WHACKS Hector over the head with the magazine. VANESSA (to Hector) What is wrong with you?! HECTOR It’s a bug. VANESSA Well he’s not bothering anybody. Get out of here, you creep. Vanessa pushes him, and Hector EXITS, muttering. BARRY (shaking it off) What was that, a Pick and Save circular? VANESSA Yeah, it was. How did you know? BARRY It felt like about ten pages. Seventy-five’s pretty much our limit. VANESSA Boy, you’ve really got that down to a science. BARRY Oh, we have to. I lost a cousin to Italian Vogue. VANESSA I’ll bet. Barry stops, sees the wall of honey jars. BARRY What, in the name of Mighty Hercules, is this? How did this get here? Cute Bee? Golden Blossom? Ray Liotta Private Select? VANESSA Is he that actor? "Bee Movie" - JS REVISIONS 8/13/07 52. BARRY I never heard of him. Why is this here? VANESSA For people. We eat it. BARRY Why? (gesturing around the market) You don’t have enough food of your own? VANESSA Well yes, we-- BARRY How do you even get it? VANESSA Well, bees make it... BARRY I know who makes it! And it’s hard to make it! There’s Heating and Cooling, and Stirring...you need a whole Krelman thing. VANESSA It’s organic. BARRY It’s our-ganic! VANESSA It’s just honey, Barry. BARRY Just...what?! Bees don’t know about this. This is stealing. A lot of stealing! You’ve taken our homes, our schools, our hospitals. This is all we have. And it’s on sale? I’m going to get to the bottom of this. I’m going to get to the bottom of all of this! He RIPS the label off the Ray Liotta Private Select. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 53. SEQ. 1800 - “WINDSHIELD” EXT. BACK OF SUPERMARKET LOADING DOCK - LATER THAT DAY Barry disguises himself by blacking out his yellow lines with a MAGIC MARKER and putting on some war paint. He sees Hector, the stock boy, with a knife CUTTING open cardboard boxes filled with honey jars. MAN You almost done? HECTOR Almost. Barry steps in some honey, making a SNAPPING noise. Hector stops and turns. HECTOR (CONT’D) He is here. I sense it. Hector grabs his BOX CUTTER. Barry REACTS, hides himself behind the box again. HECTOR (CONT’D) (talking too loud, to no one in particular) Well, I guess I’ll go home now, and just leave this nice honey out, with no one around. A BEAT. Hector pretends to exit. He takes a couple of steps in place. ANGLE ON: The honey jar. Barry steps out into a moody spotlight. BARRY You’re busted, box boy! HECTOR Ah ha! I knew I heard something. So, you can talk. Barry flies up, stinger out, pushing Hector up against the wall. As Hector backs up, he drops his knife. BARRY Oh, I can talk. And now you’re going to start talking. "Bee Movie" - JS REVISIONS 8/13/07 54. Where are you getting all the sweet stuff? Who’s your supplier?! HECTOR I don’t know what you’re talking about. I thought we were all friends. The last thing we want to do is upset any of you...bees! Hector grabs a PUSHPIN. Barry fences with his stinger. HECTOR (CONT’D) You’re too late. It’s ours now! BARRY You, sir, have crossed the wrong sword. HECTOR You, sir, are about to be lunch for my iguana, Ignacio! Barry and Hector get into a cross-swords, nose-to-nose confrontation. BARRY Where is the honey coming from? Barry knocks the pushpin out of his hand. Barry puts his stinger up to Hector’s nose. BARRY (CONT'D) Tell me where?! HECTOR (pointing to a truck) Honey Farms. It comes from Honey Farms. ANGLE ON: A Honey Farms truck leaving the parking lot. Barry turns, takes off after the truck through an alley. He follows the truck out onto a busy street, dodging a bus, and several cabs. CABBIE Crazy person! He flies through a metal pipe on the top of a truck. BARRY OOOHHH! "Bee Movie" - JS REVISIONS 8/13/07 55. BARRY (CONT'D) Barry grabs onto a bicycle messenger’s backpack. The honey farms truck starts to pull away. Barry uses the bungee cord to slingshot himself towards the truck. He lands on the windshield, where the wind plasters him to the glass. He looks up to find himself surrounded by what appear to be DEAD BUGS. He climbs across, working his way around the bodies. BARRY (CONT’D) Oh my. What horrible thing has happened here? Look at these faces. They never knew what hit them. And now they’re on the road to nowhere. A MOSQUITO opens his eyes. MOOSEBLOOD Pssst! Just keep still. BARRY What? You’re not dead? MOOSEBLOOD Do I look dead? Hey man, they will wipe anything that moves. Now, where are you headed? BARRY To Honey Farms. I am onto something huge here. MOOSEBLOOD I’m going to Alaska. Moose blood. Crazy stuff. Blows your head off. LADYBUG I’m going to Tacoma. BARRY (to fly) What about you? MOOSEBLOOD He really is dead. BARRY Alright. The WIPER comes towards them. "Bee Movie" - JS REVISIONS 8/13/07 56. MOOSEBLOOD Uh oh. BARRY What is that? MOOSEBLOOD Oh no! It’s a wiper, triple blade! BARRY Triple blade? MOOSEBLOOD Jump on. It’s your only chance, bee. They hang on as the wiper goes back and forth. MOOSEBLOOD (CONT'D) (yelling to the truck driver through the glass) Why does everything have to be so dog-gone clean?! How much do you people need to see? Open your eyes! Stick your head out the window! CUT TO: INT. TRUCK CAB SFX: Radio. RADIO VOICE For NPR News in Washington, I’m Carl Kasell. EXT. TRUCK WINDSHIELD MOOSEBLOOD But don’t kill no more bugs! The Mosquito is FLUNG off of the wiper. MOOSEBLOOD (CONT'D) Beeeeeeeeeeeeee! BARRY Moose blood guy! "Bee Movie" - JS REVISIONS 8/13/07 57. Barry slides toward the end of the wiper, is thrown off, but he grabs the AERIAL and hangs on for dear life. Barry looks across and sees a CRICKET on another vehicle in the exact same predicament. They look at each other and SCREAM in unison. BARRY AND CRICKET Aaaaaaaaaah! ANOTHER BUG grabs onto the aerial, and screams as well. INT. TRUCK CAB - SAME TIME DRIVER You hear something? TRUCKER PASSENGER Like what? DRIVER Like tiny screaming. TRUCKER PASSENGER Turn off the radio. The driver reaches down and PRESSES a button, lowering the aerial. EXT. TRUCK WINDSHIELD - SAME TIME Barry and the other bug do a “choose up” to the bottom, Barry wins. BARRY Aha! Then he finally has to let go and gets thrown into the truck horn atop cab. Mooseblood is inside. MOOSEBLOOD Hey, what’s up bee boy? BARRY Hey, Blood! DISSOLVE TO: "Bee Movie" - JS REVISIONS 8/13/07 58. INT. TRUCK HORN - LATER BARRY ...and it was just an endless row of honey jars as far as the eye could see. MOOSEBLOOD Wow. BARRY So I’m just assuming wherever this honey truck goes, that’s where they’re getting it. I mean, that honey’s ours! MOOSEBLOOD Bees hang tight. BARRY Well, we’re all jammed in there. It’s a close community. MOOSEBLOOD Not us, man. We’re on our own. Every mosquito is on his own. BARRY But what if you get in trouble? MOOSEBLOOD Trouble? You're a mosquito. You're in trouble! Nobody likes us. They’re just all smacking. People see a mosquito, smack, smack! BARRY At least you’re out in the world. You must meet a lot of girls. MOOSEBLOOD Mosquito girls try to trade up; get with a moth, dragonfly...mosquito girl don’t want no mosquito. A BLOOD MOBILE pulls up alongside. MOOSEBLOOD (CONT'D) Whoa, you have got to be kidding me. Mooseblood’s about to leave the building. So long bee. "Bee Movie" - JS REVISIONS 8/13/07 59. Mooseblood EXITS the horn, and jumps onto the blood mobile. MOOSEBLOOD (CONT'D) Hey guys. I knew I’d catch you all down here. Did you bring your crazy straws? CUT TO: SEQ. 1900 - “THE APIARY” EXT. APIARY - LATER Barry sees a SIGN, “Honey Farms” The truck comes to a stop. SFX: The Honey farms truck blares its horn. Barry flies out, lands on the hood. ANGLE ON: Two BEEKEEPERS, FREDDY and ELMO, walking around to the back of the gift shop. Barry follows them, and lands in a nearby tree FREDDY ...then we throw it in some jars, slap a label on it, and it’s pretty much pure profit. BARRY What is this place? ELMO Bees got a brain the size of a pinhead. FREDDY They are pinheads. The both LAUGH. ANGLE ON: Barry REACTING. They arrive at the back of the shop where one of them opens a SMOKER BOX. FREDDY (CONT’D) Hey, check out the new smoker. "Bee Movie" - JS REVISIONS 8/13/07 60. ELMO Oh, Sweet. That’s the one you want. FREDDY The Thomas 3000. BARRY Smoker? FREDDY 90 puffs a minute, semi-automatic. Twice the nicotine, all the tar. They LAUGH again, nefariously. FREDDY (CONT’D) Couple of breaths of this, and it knocks them right out. They make the honey, and we make the money. BARRY “They make the honey, and we make the money?” Barry climbs onto the netting of Freddy’s hat. He climbs up to the brim and looks over the edge. He sees the apiary boxes as Freddy SMOKES them. BARRY (CONT'D) Oh my. As Freddy turns around, Barry jumps into an open apiary box, and into an apartment. HOWARD and FRAN are just coming to from the smoking. BARRY (CONT’D) What’s going on? Are you okay? HOWARD Yeah, it doesn’t last too long. HE COUGHS a few times. BARRY How did you two get here? Do you know you’re in a fake hive with fake walls? HOWARD (pointing to a picture on the wall) "Bee Movie" - JS REVISIONS 8/13/07 61. Our queen was moved here, we had no choice. BARRY (looking at a picture on the wall) This is your queen? That’s a man in women’s clothes. That’s a dragqueen! The other wall opens. Barry sees the hundreds of apiary boxes. BARRY (CONT'D) What is this? Barry pulls out his camera, and starts snapping. BARRY (CONT’D) Oh no. There’s hundreds of them. (V.O, as Barry takes pictures) Bee honey, our honey, is being brazenly stolen on a massive scale. CUT TO: SEQ. 2100 - “BARRY TELLS FAMILY” INT. BARRY’S PARENT’S HOUSE - LIVING ROOM - LATER Barry has assembled his parents, Adam, and Uncle Carl. BARRY This is worse than anything the bears have done to us. And I intend to do something about it. JANET BENSON Oh Barry, stop. MARTIN BENSON Who told you that humans are taking our honey? That’s just a rumor. BARRY Do these look like rumors? Barry throws the PICTURES on the table. Uncle Carl, cleaning his glasses with his shirt tail, digs through a bowl of nuts with his finger. "Bee Movie" - JS REVISIONS 8/13/07 62. HOWARD (CONT'D) UNCLE CARL That’s a conspiracy theory. These are obviously doctored photos. JANET BENSON Barry, how did you get mixed up in all this? ADAM (jumping up) Because he’s been talking to humans! JANET BENSON Whaaat? MARTIN BENSON Talking to humans?! Oh Barry. ADAM He has a human girlfriend and they make out! JANET BENSON Make out? Barry? BARRY We do not. ADAM You wish you could. BARRY Who’s side are you on? ADAM The bees! Uncle Carl stands up and pulls his pants up to his chest. UNCLE CARL I dated a cricket once in San Antonio. Man, those crazy legs kept me up all night. Hotcheewah! JANET BENSON Barry, this is what you want to do with your life? BARRY This is what I want to do for all our lives. Nobody works harder than bees. "Bee Movie" - JS REVISIONS 8/13/07 63. Dad, I remember you coming home some nights so overworked, your hands were still stirring. You couldn’t stop them. MARTIN BENSON Ehhh... JANET BENSON (to Martin) I remember that. BARRY What right do they have to our hardearned honey? We’re living on two cups a year. They’re putting it in lip balm for no reason what-soever. MARTIN BENSON Even if it’s true, Barry, what could one bee do? BARRY I’m going to sting them where it really hurts. MARTIN BENSON In the face? BARRY No. MARTIN BENSON In the eye? That would really hurt. BARRY No. MARTIN BENSON Up the nose? That’s a killer. BARRY No. There’s only one place you can sting the humans. One place where it really matters. CUT TO: SEQ. 2300 - “HIVE AT 5 NEWS/BEE LARRY KING” "Bee Movie" - JS REVISIONS 8/13/07 64. BARRY (CONT'D) INT. NEWS STUDIO - DAY DRAMATIC NEWS MUSIC plays as the opening news sequence rolls. We see the “Hive at Five” logo, followed by shots of past news events: A BEE freeway chase, a BEE BEARD protest rally, and a BEAR pawing at the hive as the BEES flee in panic. BOB BUMBLE (V.O.) Hive at Five, the hive’s only full hour action news source... SHOTS of NEWSCASTERS flash up on screen. BOB BUMBLE (V.O.) (CONT'D) With Bob Bumble at the anchor desk... BOB has a big shock of anchorman hair, gray temples and overly white teeth. BOB BUMBLE (V.O.) (CONT'D) ...weather with Storm Stinger, sports with Buzz Larvi, and Jeanette Chung. JEANETTE is an Asian bee. BOB BUMBLE (CONT'D) Good evening, I’m Bob Bumble. JEANETTE CHUNG And I’m Jeanette Chung. BOB BUMBLE Our top story, a tri-county bee, Barry Benson... INSERT: Barry’s graduation picture. BOB BUMBLE (CONT'D) ...is saying he intends to sue the human race for stealing our honey, packaging it, and profiting from it illegally. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 65. INT. BEENN STUDIO - BEE LARRY KING LIVE BEE LARRY KING, wearing suspenders and glasses, is interviewing Barry. A LOWER-THIRD CHYRON reads: “Bee Larry King Live.” BEE LARRY KING Don’t forget, tomorrow night on Bee Larry King, we are going to have three former Queens all right here in our studio discussing their new book, “Classy Ladies,” out this week on Hexagon. (to Barry) Tonight, we’re talking to Barry Benson. Did you ever think, I’m just a kid from the hive, I can’t do this? BARRY Larry, bees have never been afraid to change the world. I mean, what about Bee-Columbus? Bee-Ghandi? Be-geesus? BEE LARRY KING Well, where I’m from you wouldn’t think of suing humans. We were thinking more like stick ball, candy stores. BARRY How old are you? BEE LARRY KING I want you to know that the entire bee community is supporting you in this case, which is certain to be the trial of the bee century. BARRY Thank you, Larry. You know, they have a Larry King in the human world, too. BEE LARRY KING It’s a common name. Next week on Bee Larry King... "Bee Movie" - JS REVISIONS 8/13/07 66. BARRY No, I mean he looks like you. And he has a show with suspenders and different colored dots behind him. BEE LARRY KING Next week on Bee Larry King... BARRY Old guy glasses, and there’s quotes along the bottom from the guest you’re watching even though you just heard them... BEE LARRY KING Bear week next week! They’re scary, they’re hairy, and they’re here live. Bee Larry King EXITS. BARRY Always leans forward, pointy shoulders, squinty eyes... (lights go out) Very Jewish. CUT TO: SEQ. 2400 - “FLOWER SHOP” INT. VANESSA’S FLOWER SHOP - NIGHT Stacks of law books are piled up, legal forms, etc. Vanessa is talking with Ken in the other room. KEN Look, in tennis, you attack at the point of weakness. VANESSA But it was my grandmother, Ken. She’s 81. KEN Honey, her backhand’s a joke. I’m not going to take advantage of that? "Bee Movie" - JS REVISIONS 8/13/07 67. BARRY (O.C) Quiet please. Actual work going on here. KEN Is that that same bee? BARRY (O.C) Yes it is. VANESSA I’m helping him sue the human race. KEN What? Barry ENTERS. BARRY Oh, hello. KEN Hello Bee. Barry flies over to Vanessa. VANESSA This is Ken. BARRY Yeah, I remember you. Timberland, size 10 1/2, Vibram sole I believe. KEN Why does he talk again, Hun? VANESSA (to Ken, sensing the tension) Listen, you’d better go because we’re really busy working. KEN But it’s our yogurt night. VANESSA (pushing him out the door) Oh...bye bye. She CLOSES the door. KEN Why is yogurt night so difficult?! "Bee Movie" - JS REVISIONS 8/13/07 68. Vanessa ENTERS the back room carrying coffee. VANESSA Oh you poor thing, you two have been at this for hours. BARRY Yes, and Adam here has been a huge help. ANGLE ON: A EMPTY CINNABON BOX with Adam asleep inside, covered in frosting. VANESSA How many sugars? BARRY Just one. I try not to use the competition. So, why are you helping me, anyway? VANESSA Bees have good qualities. BARRY (rowing on the sugar cube like a gondola) Si, Certo. VANESSA And it feels good to take my mind off the shop. I don’t know why, instead of flowers, people are giving balloon bouquets now. BARRY Yeah, those are great...if you’re 3. VANESSA And artificial flowers. BARRY (re: plastic flowers) Oh, they just get me psychotic! VANESSA Yeah, me too. BARRY The bent stingers, the pointless pollination. "Bee Movie" - JS REVISIONS 8/13/07 69. VANESSA Bees must hate those fake plastic things. BARRY There’s nothing worse than a daffodil that’s had work done. VANESSA (holding up the lawsuit documents) Well, maybe this can make up for it a little bit. CUT TO: EXT. VANESSA’S FLORIST SHOP They EXIT the store, and cross to the mailbox. VANESSA You know Barry, this lawsuit is a pretty big deal. BARRY I guess. VANESSA Are you sure that you want to go through with it? BARRY Am I sure? (kicking the envelope into the mailbox) When I’m done with the humans, they won’t be able to say, “Honey, I’m home,” without paying a royalty. CUT TO: SEQ. 2700 - “MEET MONTGOMERY” EXT. MANHATTAN COURTHOUSE - DAY P.O.V SHOT - A camera feed turns on, revealing a newsperson. "Bee Movie" - JS REVISIONS 8/13/07 70. PRESS PERSON #2 (talking to camera) Sarah, it’s an incredible scene here in downtown Manhattan where all eyes and ears of the world are anxiously waiting, because for the first time in history, we’re going to hear for ourselves if a honey bee can actually speak. ANGLE ON: Barry, Vanessa, and Adam getting out of the cab. The press spots Barry and Vanessa and pushes in. Adam sits on Vanessa’s shoulder. INT. COURTHOUSE - CONTINUOUS Barry, Vanessa, and Adam sit at the Plaintiff’s Table. VANESSA (turns to Barry) What have we gotten into here, Barry? BARRY I don’t know, but it’s pretty big, isn’t it? ADAM I can’t believe how many humans don’t have to be at work during the day. BARRY Hey, you think these billion dollar multinational food companies have good lawyers? CUT TO: EXT. COURTHOUSE STEPS - CONTINUOUS A BIG BLACK CAR pulls up. ANGLE ON: the grill filling the frame. We see the “L.T.M” monogram on the hood ornament. The defense lawyer, LAYTON T. MONTGOMERY comes out, squashing a bug on the pavement. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 71. INT. COURTHOUSE - CONTINUOUS Barry SHUDDERS. VANESSA What’s the matter? BARRY I don’t know. I just got a chill. Montgomery ENTERS. He walks by Barry’s table shaking a honey packet. MONTGOMERY Well, if it isn’t the B-Team. (re: the honey packet) Any of you boys work on this? He CHUCKLES. The JUDGE ENTERS. SEQ. 3000 - “WITNESSES” BAILIFF All rise! The Honorable Judge Bumbleton presiding. JUDGE (shuffling papers) Alright...Case number 4475, Superior Court of New York. Barry Bee Benson vs. the honey industry, is now in session. Mr. Montgomery, you are representing the five major food companies, collectively. ANGLE ON: Montgomery’s BRIEFCASE. It has an embossed emblem of an EAGLE, holding a gavel in one talon and a briefcase in the other. MONTGOMERY A privilege. JUDGE Mr. Benson. Barry STANDS. JUDGE (CONT’D) You are representing all bees of the world? "Bee Movie" - JS REVISIONS 8/13/07 72. Montgomery, the stenographer, and the jury lean in. CUT TO: EXT. COURTHOUSE - CONTINUOUS The spectators outside freeze. The helicopters angle forward to listen closely. CUT TO: INT. COURTHOUSE BARRY Bzzz bzzz bzzz...Ahh, I’m kidding, I’m kidding. Yes, your honor. We are ready to proceed. ANGLE ON: Courtroom hub-bub. JUDGE And Mr. Montgomery, your opening statement, please. Montgomery rises. MONTGOMERY (grumbles, clears his throat) 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 were to live in the topsy-turvy world Mr. Benson imagines, just think of what it would mean. Maybe I would have to negotiate with the silk worm 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, cloning...for all we know he could be on steroids! Montgomery leers at Barry, who moves to the stand. "Bee Movie" - JS REVISIONS 8/13/07 73. JUDGE Mr. Benson? Barry makes his opening statement. BARRY Ladies and Gentlemen of the jury, there’s no trickery here. I’m just an ordinary bee. And as a 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 whatever they want from us cause we’re the little guys. And what I’m hoping is that after this is all over, you’ll see how by taking our honey, you’re not only taking away everything we have, but everything we are. ANGLE ON: Vanessa smiling. ANGLE ON: The BEE GALLERY wiping tears away. CUT TO: INT. BENSON HOUSE Barry’s family is watching the case on TV. JANET BENSON Oh, I wish he would dress like that all the time. So nice... CUT TO: INT. COURTROOM - LATER JUDGE Call your first witness. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 74. INT. COURTHOUSE - LATER BARRY So, Mr. Klauss Vanderhayden of Honey Farms. Pretty big company you have there? MR. VANDERHAYDEN I suppose so. BARRY And I see you also own HoneyBurton, and Hon-Ron. MR. VANDERHAYDEN Yes. They provide beekeepers for our farms. BARRY Beekeeper. I find that to be a very disturbing term, I have to say. I don’t imagine you employ any bee free-ers, do you? MR. VANDERHAYDEN No. BARRY I’m sorry. I couldn’t hear you. MR. VANDERHAYDEN (louder) No. BARRY No. Because you don’t free bees. You keep bees. And not only that, it seems you thought a bear would be an appropriate image for a jar of honey? MR. VANDERHAYDEN Well, they’re very lovable creatures. Yogi-bear, Fozzy-bear, Build-a-bear. BARRY Yeah, you mean like this?! Vanessa and the SUPERINTENDANT from her building ENTER with a GIANT FEROCIOUS GRIZZLY BEAR. He has a neck collar and chains extending from either side. "Bee Movie" - JS REVISIONS 8/13/07 75. By pulling the chains, they bring him directly in front of Vanderhayden. The bear LUNGES and ROARS. BARRY (CONT'D) Bears kill bees! How would you like his big hairy head crashing into your living room? Biting into your couch, spitting out your throwpillows...rowr, rowr! The bear REACTS. BEAR Rowr!! BARRY Okay, that’s enough. Take him away. Vanessa and the Superintendant pull the bear out of the courtroom. Vanderhayden TREMBLES. The judge GLARES at him. CUT TO: INT. COURTROOM- A LITTLE LATER Barry questions STING. BARRY So, Mr. Sting. Thank you for being here. Your name intrigues me, I have to say. Where have I heard it before? STING I was with a band called "The Police". BARRY But you've never been a police officer of any kind, have you? STING No, I haven't. "Bee Movie" - JS REVISIONS 8/13/07 76. BARRY No, you haven’t. And so, here we have yet another example of bee culture being casually stolen by a human for nothing more than a prance-about stage name. STING Oh please. BARRY Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say, (looking in folder) Mr. Gordon M. Sumner? The jury GASPS. MONTGOMERY (to his aides) That’s not his real name? You idiots! CUT TO: INT. COURTHOUSE- LATER BARRY Mr. Liotta, first may I offer my belated congratulations on your Emmy win for a guest spot on E.R. in 2005. LIOTTA Thank you. Thank you. Liotta LAUGHS MANIACALLY. BARRY I also see from your resume that you’re devilishly handsome, but with a churning inner turmoil that’s always ready to blow. LIOTTA I enjoy what I do. Is that a crime? "Bee Movie" - JS REVISIONS 8/13/07 77. BARRY Not yet it isn’t. But is this what it’s come to for you, Mr. Liotta? Exploiting tiny helpless bees so you don’t have to rehearse your part, and learn your lines, Sir? LIOTTA Watch it Benson, I could blow right now. BARRY This isn’t a goodfella. This is a badfella! LIOTTA (exploding, trying to smash Barry with the Emmy) Why doesn’t someone just step on this little creep and we can all go home? You’re all thinking it. Say it! JUDGE Order! Order in this courtroom! A MONTAGE OF NEWSPAPER HEADLINES FOLLOWS: NEW YORK POST: “Bees to Humans: Buzz Off”. NEW YORK TELEGRAM: “Sue Bee”. DAILY VARIETY: “Studio Dumps Liotta Project. Slams Door on Unlawful Entry 2.” CUT TO: SEQ. 3175 - “CANDLELIGHT DINNER” INT. VANESSA’S APARTMENT Barry and Vanessa are having a candle light dinner. Visible behind Barry is a “LITTLE MISSY” SET BOX, with the flaps open. BARRY Well, I just think that was awfully nice of that bear to pitch in like that. "Bee Movie" - JS REVISIONS 8/13/07 78. VANESSA I’m telling you, I think the jury’s on our side. BARRY Are we doing everything right...you know, legally? VANESSA I’m a florist. BARRY Right, right. Barry raises his glass. BARRY (CONT’D) Well, here’s to a great team. VANESSA To a great team. They toast. Ken ENTERS KEN Well hello. VANESSA Oh...Ken. BARRY Hello. VANESSA I didn’t think you were coming. KEN No, I was just late. I tried to call. But, (holding his cell phone) the battery... VANESSA I didn’t want all this to go to waste, so I called Barry. Luckily he was free. BARRY Yeah. KEN (gritting his teeth) Oh, that was lucky. "Bee Movie" - JS REVISIONS 8/13/07 79. VANESSA Well, there’s still a little left. I could heat it up. KEN Yeah, heat it up. Sure, whatever. Vanessa EXITS. Ken and Barry look at each other as Barry eats. BARRY So, I hear you’re quite a tennis player. I’m not much for the game myself. I find the ball a little grabby. KEN That’s where I usually sit. Right there. VANESSA (O.C) Ken, Barry was looking at your resume, and he agreed with me that “eating with chopsticks” isn’t really a special skill. KEN (to Barry) You think I don’t see what you’re doing? BARRY Hey look, I know how hard it is trying to find the right job. We certainly have that in common. KEN Do we? BARRY Well, bees have 100% employment, of course. But we do jobs like taking the crud out. KEN That’s just what I was thinking about doing. Ken holds his table knife up. It slips out of his hand. He goes under the table to pick it up. "Bee Movie" - JS REVISIONS 8/13/07 80. VANESSA Ken, I let Barry borrow your razor for his fuzz. I hope that was alright. Ken hits his head on the table. BARRY I’m going to go drain the old stinger. KEN Yeah, you do that. Barry EXITS to the bathroom, grabbing a small piece of a VARIETY MAGAZINE on the way. BARRY Oh, look at that. Ken slams the champagne down on the table. Ken closes his eyes and buries his face in his hands. He grabs a magazine on the way into the bathroom. SEQ. 2800 - “BARRY FIGHTS KEN” INT. BATHROOM - CONTINUOUS Ken ENTERS, closes the door behind him. He’s not happy. Barry is washing his hands. He glances back at Ken. KEN You know, I’ve just about had it with your little mind games. BARRY What’s that? KEN Italian Vogue. BARRY Mamma Mia, that’s a lot of pages. KEN It’s a lot of ads. BARRY Remember what Van said. Why is your life any more valuable than mine? "Bee Movie" - JS REVISIONS 8/13/07 81. KEN It’s funny, I just can’t seem to recall that! Ken WHACKS at Barry with the magazine. He misses and KNOCKS EVERYTHING OFF THE VANITY. Ken grabs a can of AIR FRESHENER. KEN (CONT'D) I think something stinks in here. He sprays at Barry. BARRY I love the smell of flowers. KEN Yeah? How do you like the smell of flames? Ken lights the stream. BARRY Not as much. Barry flies in a circle. Ken, trying to stay with him, spins in place. ANGLE ON: Flames outside the bathroom door. Ken slips on the Italian Vogue, falls backward into the shower, pulling down the shower curtain. The can hits him in the head, followed by the shower curtain rod, and the rubber duck. Ken reaches back, grabs the handheld shower head. He whips around, looking for Barry. ANGLE ON: A WATERBUG near the drain. WATERBUG Waterbug. Not taking sides. Barry is on the toilet tank. He comes out from behind a shampoo bottle, wearing a chapstick cap as a helmet. BARRY Ken, look at me! I’m wearing a chapstick hat. This is pathetic. ANGLE ON: Ken turning the hand shower nozzle from “GENTLE”, to “TURBO”, to “LETHAL”. "Bee Movie" - JS REVISIONS 8/13/07 82. KEN I’ve got issues! Ken fires the water at Barry, knocking him into the toilet. The items from the vanity (emory board, lipstick, eye curler, etc.) are on the toilet seat. Ken looks down at Barry. KEN (CONT'D) Well well well, a royal flush. BARRY You’re bluffing. KEN Am I? Ken flushes the toilet. Barry grabs the Emory board and uses it to surf. He puts his hand in the water while he’s surfing. Some water splashes on Ken. BARRY Surf’s up, dude! KEN Awww, poo water! He does some skate board-style half-pipe riding. Barry surfs out of the toilet. BARRY That bowl is gnarly. Ken tries to get a shot at him with the toilet brush. KEN Except for those dirty yellow rings. Vanessa ENTERS. VANESSA Kenneth! What are you doing? KEN You know what? I don’t even like honey! I don’t eat it! VANESSA We need to talk! "Bee Movie" - JS REVISIONS 8/13/07 83. She pulls Ken out by his ear. Ken glares at Barry. CUT TO: INT. HALLWAY - CONTINUOUS VANESSA He’s just a little bee. And he happens to be the nicest bee I’ve met in a long time. KEN Long time? What are you talking about? Are there other bugs in your life? VANESSA No, but there are other things bugging me in life. And you’re one of them! KEN Fine! Talking bees, no yogurt night...my nerves are fried from riding on this emotional rollercoaster. VANESSA Goodbye, Ken. KEN Augh! VANESSA Whew! Ken EXITS, then re-enters frame. KEN And for your information, I prefer sugar-free, artificial sweeteners, made by man! He EXITS again. The DOOR SLAMS behind him. VANESSA (to Barry) I’m sorry about all that. Ken RE-ENTERS. "Bee Movie" - JS REVISIONS 8/13/07 84. KEN I know it’s got an aftertaste! I like it! BARRY (re: Ken) I always felt there was some kind of barrier between Ken and me. (puts his hands in his pockets) I couldn’t overcome it. Oh well. VANESSA Are you going to be okay for the trial tomorrow? BARRY Oh, I believe Mr. Montgomery is about out of ideas. CUT TO: SEQ. 3300 - “ADAM STINGS MONTY” INT. COURTROOM - NEXT DAY ANGLE ON: Medium shot of Montgomery standing at his table. MONTGOMERY We would like to call Mr. Barry Benson Bee to the stand. ADAM (whispering to Vanessa) Now that’s a good idea. (to Barry) You can really see why he’s considered one of the very best lawyers-- Oh. Barry rolls his eyes. He gets up, takes the stand. A juror in a striped shirt APPLAUDS. MR. GAMMIL (whispering) Layton, you’ve got to weave some magic with this jury, or it’s going to be all over. Montgomery is holding a BOOK, “The Secret Life of Bees”. "Bee Movie" - JS REVISIONS 8/13/07 85. MONTGOMERY (confidently whispering) Oh, don’t worry Mr. Gammil. The only thing I have to do to turn this jury around is to remind them of what they don’t like about bees. (to Gammil) You got the tweezers? Mr. Gammil NODS, and pats his breast pocket. MR. GAMMIL Are you allergic? MONTGOMERY Only to losing, son. Only to losing. Montgomery approaches the stand. MONTGOMERY (CONT’D) Mr. Benson Bee. I’ll ask you what I think we’d all like to know. What exactly is your relationship to that woman? Montgomery points to Vanessa. BARRY We’re friends. MONTGOMERY Good friends? BARRY Yes. MONTGOMERY (softly in Barry’s face) How good? BARRY What? MONTGOMERY Do you live together? BARRY Wait a minute, this isn’t about-- "Bee Movie" - JS REVISIONS 8/13/07 86. MONTGOMERY Are you her little... (clearing throat) ... bed bug? BARRY (flustered) Hey, that’s not the kind of-- MONTGOMERY I’ve seen a bee documentary or two. Now, from what I understand, doesn’t your Queen give birth to all the bee children in the hive? BARRY Yeah, but-- MONTGOMERY So those aren’t even your real parents! ANGLE ON: Barry’s parents. MARTIN BENSON Oh, Barry. BARRY Yes they are! ADAM Hold me back! Vanessa holds him back with a COFFEE STIRRER. Montgomery points to Barry’s parents. MONTGOMERY You’re an illegitimate bee, aren’t you Benson? ADAM He’s denouncing bees! All the bees in the courtroom start to HUM. They’re agitated. MONTGOMERY And don’t y’all date your cousins? "Bee Movie" - JS REVISIONS 8/13/07 87. VANESSA (standing, letting go of Adam) Objection! Adam explodes from the table and flies towards Montgomery. ADAM I’m going to pin cushion this guy! Montgomery turns around and positions himself by the judge’s bench. He sticks his butt out. Montgomery winks at his team. BARRY Adam, don’t! It’s what he wants! Adam shoves Barry out of the way. Adam STINGS Montgomery in the butt. The jury REACTS, aghast. MONTGOMERY Ow! I’m hit! Oh, lordy, I am hit! The judge BANGS her gavel. JUDGE Order! Order! Please, Mr. Montgomery. MONTGOMERY The venom! The venom is coursing through my veins! I have been felled by a wing-ed beast of destruction. You see? You can’t treat them like equals. They’re strip-ed savages! Stinging’s the only thing they know! It’s their way! ANGLE ON: Adam, collapsed on the floor. Barry rushes to his side. BARRY Adam, stay with me. ADAM I can’t feel my legs. Montgomery falls on the Bailiff. BAILIFF Take it easy. "Bee Movie" - JS REVISIONS 8/13/07 88. MONTGOMERY Oh, what angel of mercy will come forward to suck the poison from my heaving buttocks? The JURY recoils. JUDGE Please, I will have order in this court. Order! Order, please! FADE TO: SEQ. 3400 - “ADAM AT HOSPITAL” INT. HOSPITAL - STREET LEVEL ROOM - DAY PRESS PERSON #1 (V.O) The case of the honey bees versus the human race took a pointed turn against the bees yesterday, when one of their legal team stung Layton T. Montgomery. Now here’s Don with the 5-day. A NURSE lets Barry into the room. Barry CARRIES a FLOWER. BARRY Thank you. Barry stands over Adam, in a bed. Barry lays the flower down next to him. The TV is on. BARRY (CONT'D) Hey buddy. ADAM Hey. BARRY Is there much pain? Adam has a BEE-SIZED PAINKILLER HONEY BUTTON near his head that he presses. ADAM (pressing the button) Yeah...I blew the whole case, didn’t I? "Bee Movie" - JS REVISIONS 8/13/07 89. BARRY Oh, it doesn’t matter. The important thing is you’re alive. You could have died. ADAM I’d be better off dead. Look at me. Adam THROWS the blanket off his lap, revealing a GREEN SANDWICH SWORD STINGER. ADAM (CONT’D) (voice cracking) They got it from the cafeteria, they got it from downstairs. In a tuna sandwich. Look, there’s a little celery still on it. BARRY What was it like to sting someone? ADAM I can’t explain it. It was all adrenaline...and then...ecstasy. Barry looks at Adam. BARRY Alright. ADAM You think that was all a trap? BARRY 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. ADAM What do you think the humans will do to us if they win? BARRY I don’t know. ADAM I hear they put the roaches in motels. That doesn’t sound so bad. "Bee Movie" - JS REVISIONS 8/13/07 90. BARRY Adam, they check in, but they don’t check out. Adam GULPS. ADAM Oh my. ANGLE ON: the hospital window. We see THREE PEOPLE smoking outside on the sidewalk. The smoke drifts in. Adam COUGHS. ADAM (CONT’D) Say, could you get a nurse to close that window? BARRY Why? ADAM The smoke. Bees don’t smoke. BARRY Right. Bees don’t smoke. Bees don’t smoke! But some bees are smoking. Adam, that’s it! That’s our case. Adam starts putting his clothes on. ADAM It is? It’s not over? BARRY No. Get up. Get dressed. I’ve got to go somewhere. You get back the court and stall. Stall anyway you can. CUT TO: SEQ. 3500 - “SMOKING GUN” INT. COURTROOM - THE NEXT DAY Adam is folding a piece of paper into a boat. ADAM ...and assuming you’ve done step 29 correctly, you’re ready for the tub. "Bee Movie" - JS REVISIONS 8/13/07 91. ANGLE ON: The jury, all with paper boats of their own. JURORS Ooh. ANGLE ON: Montgomery frustrated with Gammil, who’s making a boat also. Monty crumples Gammil’s boat, and throws it at him. JUDGE Mr. Flayman? ADAM Yes? Yes, Your Honor? JUDGE Where is the rest of your team? ADAM (fumbling with his swordstinger) Well, your honor, it’s interesting. You know Bees are trained to fly kind of haphazardly and as a result quite often we don’t make very good time. I actually once heard a pretty funny story about a bee-- MONTGOMERY Your Honor, haven’t these ridiculous bugs taken up enough of this court’s valuable time? Montgomery rolls out from behind his table. He’s suspended in a LARGE BABY CHAIR with wheels. MONTGOMERY (CONT'D) How much longer are we going to allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients who have all run perfectly legitimate businesses. I move for a complete dismissal of this entire case. JUDGE Mr. Flayman, I am afraid I am going to have to consider Mr. Montgomery’s motion. "Bee Movie" - JS REVISIONS 8/13/07 92. ADAM But you can’t. We have a terrific case. MONTGOMERY Where is your proof? Where is the evidence? Show me the smoking gun. Barry bursts through the door. BARRY Hold it, your honor. You want a smoking gun? Here is your smoking gun. Vanessa ENTERS, holding a bee smoker Vanessa slams the beekeeper's SMOKER onto the judge’s bench. JUDGE What is that? BARRY It’s a Bee smoker. Montgomery GRABS the smoker. MONTGOMERY What, this? This harmless little contraption? This couldn’t hurt a fly, let alone a bee. He unintentionally points it towards the bee gallery, KNOCKING THEM ALL OUT. The jury GASPS. The press SNAPS pictures of them. BARRY Members of the jury, 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 these smoke machines in man-made wooden slat work camps? Living out our lives as honey slaves to the white man? Barry gestures dramatically towards Montgomery's racially mixed table. The BLACK LAWYER slowly moves his chair away. GAMMIL What are we going to do? "Bee Movie" - JS REVISIONS 8/13/07 93. MONTGOMERY (to Pross) He's playing the species card. Barry lands on the scale of justice, by the judge’s bench. It balances as he lands. BARRY Ladies and gentlemen, please, FreeThese-Bees! ANGLE ON: Jury, chanting "Free the bees". JUDGE The court finds in favor of the bees. The chaos continues. Barry flies over to Vanessa, with his hand up for a “high 5”. BARRY Vanessa, we won! VANESSA Yay! I knew you could do it. Highfive! She high 5’s Barry, sending him crashing to the table. He bounces right back up. VANESSA (CONT'D) Oh, sorry. BARRY Ow!! I’m okay. Vanessa, do you know what this means? All the honey is finally going to belong to the bees. Now we won’t have to work so hard all the time. Montgomery approaches Barry, surrounded by the press. The cameras and microphones go to Montgomery. MONTGOMERY (waving a finger) This is an unholy perversion of the balance of nature, Benson! You’ll regret this. ANGLE ON: Barry’s ‘deer in headlights’ expression, as the press pushes microphones in his face. "Bee Movie" - JS REVISIONS 8/13/07 94. PRESS PERSON 1 Barry, how much honey do you think is out there? BARRY Alright, alright, one at a time... SARAH Barry, who are you wearing? BARRY Uhhh, my sweater is Ralph Lauren, and I have no pants. The Press follows Barry as he EXITS. ANGLE ON: Adam and Vanessa. ADAM (putting papers away) What if Montgomery’s right? VANESSA What do you mean? ADAM We’ve been living the bee way a long time. 27 million years. DISSOLVE TO: SEQ. 3600 - “HONEY ROUNDUP” EXT. HONEY FARMS APIARY - MONTAGE SARAH (V.O) Congratulations on your victory. What are you going to demand as a settlement? BARRY (V.O) (over montage) First, we’re going to demand a complete shutdown of all bee work camps. Then, we want to get back all 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, big-headed, bad breath, stink-machine. "Bee Movie" - JS REVISIONS 8/13/07 95. I believe we’re all aware of what they do in the woods. We will no longer tolerate derogatory beenegative nick-names, unnecessary inclusion of honey in bogus health products, and la-dee-da tea-time human snack garnishments. MONTAGE IMAGES: Close-up on an ATF JACKET, with the YELLOW LETTERS. Camera pulls back. We see an ARMY OF BEE AND HUMAN AGENTS wearing hastily made “Alcohol, Tobacco, Firearms, and Honey” jackets. Barry supervises. The gate to Honey Farms is locked permanently. All the smokers are collected and locked up. All the bees leave the Apiary. CUT TO: EXT. ATF OUTSIDE OF SUPERMARKET - MONTAGE Agents begin YANKING honey off the supermarket shelves, and out of shopping baskets. CUT TO: EXT. NEW HIVE CITY - MONTAGE The bees tear down a honey-bear statue. CUT TO: EXT. YELLOWSTONE FOREST - MONTAGE POV of a sniper’s crosshairs. An animated BEAR character looka-like, turns his head towards camera. BARRY Wait for my signal. ANGLE ON: Barry lowering his binoculars. BARRY (CONT'D) Take him out. The sniper SHOOTS the bear. It hits him in the shoulder. The bear looks at it. He gets woozy and the honey jar falls out of his lap, an ATF&H agent catches it. "Bee Movie" - JS REVISIONS 8/13/07 96. BARRY (V.O) (CONT'D) ATF&H AGENT (to the bear’s pig friend) He’ll have a little nausea for a few hours, then he’ll be fine. CUT TO: EXT. STING’S HOUSE - MONTAGE ATF&H agents SLAP CUFFS on Sting, who is meditating. STING But it’s just a prance-about stage name! CUT TO: INT. A WOMAN’S SHOWER - MONTAGE A WOMAN is taking a shower, and using honey shampoo. An ATF&H agent pulls the shower curtain aside, and grabs her bottle of shampoo. The woman SCREAMS. The agent turns to the 3 other agents, and Barry. ANGLE ON: Barry looking at the label on the shampoo bottle, shaking his head and writing in his clipboard. CUT TO: EXT. SUPERMARKET CAFE - MONTAGE Another customer, an old lady having her tea with a little jar of honey, gets her face pushed down onto the table and turned to the side by two agents. One of the agents has a gun on her. OLD LADY Can’t breathe. CUT TO: EXT. CENTRAL PARK - MONTAGE An OIL DRUM of honey is connected to Barry’s hive. "Bee Movie" - JS REVISIONS 8/13/07 97. BARRY Bring it in, boys. CUT TO: SEQ. 3650 - “NO MORE WORK” INT. HONEX - MONTAGE ANGLE ON: The honey goes past the 3-cup hash-mark, and begins to overflow. A WORKER BEE runs up to Buzzwell. WORKER BEE 1 Mr. Buzzwell, we just passed 3 cups, and there’s gallons mores coming. I think we need to shutdown. KEYCHAIN BEE (to Buzzwell) Shutdown? We’ve never shutdown. ANGLE ON: Buzzwell overlooking the factory floor. BUZZWELL Shutdown honey production! Stop making honey! ANGLE ON: TWO BEES, each with a KEY. BUZZWELL (CONT’D) Turn your key, Sir! They turn the keys simultaneously, War Games-style, shutting down the honey machines. ANGLE ON: the Taffy-Pull machine, Centrifuge, and Krelman all slowly come to a stop. The bees look around, bewildered. WORKER BEE 5 What do we do now? A BEAT. WORKER BEE 6 Cannon ball!! He jumps into a HONEY VAT, doesn’t penetrate the surface. He looks around, and slowly sinks down to his waist. "Bee Movie" - JS REVISIONS 8/13/07 98. EXT. HONEX FACTORY THE WHISTLE BLOWS, and the bees all stream out the exit. CUT TO: INT. J-GATE - CONTINUOUS Lou Loduca gives orders to the pollen jocks. LOU LODUCA We’re shutting down honey production. Mission abort. CUT TO: EXT. CENTRAL PARK Jackson receives the orders, mid-pollination. JACKSON Aborting pollination and nectar detail. Returning to base. CUT TO: EXT. NEW HIVE CITY ANGLE ON: Bees, putting sun-tan lotion on their noses and antennae, and sunning themselves on the balconies of the gyms. CUT TO: EXT. CENTRAL PARK ANGLE ON: THE FLOWERS starting to DROOP. CUT TO: INT. J-GATE J-Gate is deserted. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 99. EXT. NEW HIVE CITY ANGLE ON: Bees sunning themselves. A TIMER DINGS, and they all turn over. CUT TO: EXT. CENTRAL PARK TIME LAPSE of Central Park turning brown. CUT TO: EXT. VANESSA’S FLORIST SHOP CLOSE-UP SHOT: Vanessa writes “Sorry. No more flowers.” on a “Closed” sign, an turns it facing out. CUT TO: SEQ. 3700 - “IDLE HIVE” EXT. NEW HIVE CITY - DAY Barry flies at high speed. TRACKING SHOT into the hive, through the lobby of Honex, and into Adam’s office. CUT TO: INT. ADAM’S OFFICE - CONTINUOUS Barry meets Adam in his office. Adam’s office is in disarray. There are papers everywhere. He’s filling up his cardboard hexagon box. BARRY (out of breath) Adam, you wouldn’t believe how much honey was out there. ADAM Oh yeah? BARRY What’s going on around here? Where is everybody? Are they out celebrating? "Bee Movie" - JS REVISIONS 8/13/07 100. ADAM (exiting with a cardboard box of belongings) No, they’re just home. They don’t know what to do. BARRY Hmmm. ADAM They’re laying out, they’re sleeping in. I heard your Uncle Carl was on his way to San Antonio with a cricket. BARRY At least we got our honey back. They walk through the empty factory. ADAM Yeah, but sometimes I think, so what if the humans liked our honey? Who wouldn’t? It’s the greatest thing in the world. I was excited to be a part of making it. ANGLE ON: Adam’s desk on it’s side in the hall. ADAM (CONT’D) This was my new desk. This was my new job. I wanted to do it really well. And now...and now I can’t. Adam EXITS. CUT TO: SEQ. 3900 - “WORLD WITHOUT BEES” INT. STAIRWELL Vanessa and Barry are walking up the stairs to the roof. BARRY I don’t understand why they’re not happy. We have so much now. I thought their lives would be better. "Bee Movie" - JS REVISIONS 8/13/07 101. VANESSA Hmmm. BARRY They’re doing nothing. It’s amazing, honey really changes people. VANESSA You don’t have any idea what’s going on, do you? BARRY What did you want to show me? VANESSA This. They reach the top of the stairs. Vanessa opens the door. CUT TO: EXT. VANESSA’S ROOFTOP - CONTINUOUS Barry sees Vanessa’s flower pots and small garden have all turned brown. BARRY What happened here? VANESSA That is not the half of it... Vanessa turns Barry around with her two fingers, revealing the view of Central Park, which is also all brown. BARRY Oh no. Oh my. They’re all wilting. VANESSA Doesn’t look very good, does it? BARRY No. VANESSA And who’s fault do you think that is? "Bee Movie" - JS REVISIONS 8/13/07 102. BARRY Mmmm...you know, I’m going to guess, bees. VANESSA Bees? BARRY Specifically me. I guess I didn’t think that bees not needing to make honey would affect all these other things. VANESSA And it’s not just flowers. Fruits, vegetables...they all need bees. BARRY Well, that’s our whole SAT test right there. VANESSA So, you take away the produce, that affects the entire animal kingdom. And then, of course... BARRY The human species? VANESSA (clearing throat) Ahem! BARRY Oh. So, if there’s no more pollination, it could all just go south here, couldn’t it? VANESSA And I know this is also partly my fault. Barry takes a long SIGH. BARRY How about a suicide pact? VANESSA (not sure if he’s joking) How would we do it? BARRY I’ll sting you, you step on me. "Bee Movie" - JS REVISIONS 8/13/07 103. VANESSA That just kills you twice. BARRY Right, right. VANESSA Listen Barry. Sorry but I’ve got to get going. She EXITS. BARRY (looking out over the park) Had to open my mouth and talk... (looking back) Vanessa..? Vanessa is gone. CUT TO: SEQ. 3935 - “GOING TO PASADENA” EXT. NY STREET - CONTINUOUS Vanessa gets into a cab. Barry ENTERS. BARRY Vanessa. Why are you leaving? Where are you going? VANESSA To the final Tournament of Roses parade in Pasadena. They moved it up to this weekend because all the flowers are dying. It’s the last chance I’ll ever have to see it. BARRY Vanessa, I just want to say I’m sorry. I never meant it to turn out like this. VANESSA I know. Me neither. Vanessa cab drives away. "Bee Movie" - JS REVISIONS 8/13/07 104. BARRY (chuckling to himself) Tournament of Roses. Roses can’t do sports. Wait a minute...roses. Roses? Roses!? Vanessa! Barry follows shortly after. He catches up to it, and he pounds on the window. Barry follows shortly after Vanessa’s cab. He catches up to it, and he pounds on the window. INT. TAXI - CONTINUOUS Barry motions for her to roll the window down. She does so. BARRY Roses?! VANESSA Barry? BARRY (as he flies next to the cab) Roses are flowers. VANESSA Yes, they are. BARRY Flowers, bees, pollen! VANESSA I know. That’s why this is the last parade. BARRY Maybe not. The cab starts pulling ahead of Barry. BARRY (CONT'D) (re: driver) Could you ask him to slow down? VANESSA Could you slow down? The cabs slows. Barry flies in the window, and lands in the change box, which closes on him. "Bee Movie" - JS REVISIONS 8/13/07 105. VANESSA (CONT'D) Barry! Vanessa lets him out. Barry stands on the change box, in front of the driver’s license. BARRY Okay, I made a huge mistake! This is a total disaster, and it’s all my fault! VANESSA Yes, it kind of is. BARRY I’ve ruined the planet. And, I wanted to help with your flower shop. Instead, I’ve made it worse. VANESSA Actually, it’s completely closed down. BARRY Oh, I thought maybe you were remodeling. Nonetheless, I have another idea. And it’s greater than all my previous great ideas combined. VANESSA I don’t want to hear it. Vanessa closes the change box on Barry. BARRY (opening it again) Alright, here’s what I’m thinking. They have the roses, the roses have the pollen. I know every bee, plant, and flower bud in this park. All we’ve got to do is get what they’ve got back here with what we’ve got. VANESSA Bees... BARRY Park... VANESSA Pollen... "Bee Movie" - JS REVISIONS 8/13/07 106. BARRY Flowers... VANESSA Repollination! BARRY (on luggage handle, going up) Across the nation! CUT TO: SEQ. 3950 - “ROSE PARADE” EXT. PASADENA PARADE BARRY (V.O) Alright. Tournament of Roses. Pasadena, California. They’ve got nothing but flowers, floats, and cotton candy. Security will be tight. VANESSA I have an idea. CUT TO: EXT. FLOAT STAGING AREA ANGLE ON: Barry and Vanessa approaching a HEAVILY ARMED GUARD in front of the staging area. VANESSA Vanessa Bloome, FTD. Official floral business. He leans in to look at her badge. She SNAPS IT SHUT, VANESSA (CONT’D) Oh, it’s real. HEAVILY ARMED GUARD Sorry ma’am. That’s a nice brooch, by the way. VANESSA Thank you. It was a gift. "Bee Movie" - JS REVISIONS 8/13/07 107. They ENTER the staging area. BARRY (V.O) Then, once we’re inside, we just pick the right float. VANESSA How about the Princess and the Pea? BARRY Yeah. VANESSA I can be the princess, and-- BARRY ...yes, I think-- VANESSA You could be-- BARRY I’ve-- VANESSA The pea. BARRY Got it. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER Barry, dressed as a PEA, flies up and hovers in front of the princess on the “Princess and the Pea” float. The float is sponsored by Inflat-a-bed and a SIGN READS: “Inflat-a-bed: If it blows, it’s ours.” BARRY Sorry I’m late. Where should I sit? PRINCESS What are you? BARRY I believe I’m the pea. PRINCESS The pea? It’s supposed to be under the mattresses. "Bee Movie" - JS REVISIONS 8/13/07 108. BARRY Not in this fairy tale, sweetheart. PRINCESS I’m going to go talk to the marshall. BARRY You do that. This whole parade is a fiasco! She EXITS. Vanessa removes the step-ladder. The princess FALLS. Barry and Vanessa take off in the float. BARRY (CONT’D) Let’s see what this baby will do. ANGLE ON: Guy with headset talking to drivers. HEADSET GUY Hey! The float ZOOMS by. A young CHILD in the stands, TIMMY, cries. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER ANGLE ON: Vanessa putting the princess hat on. BARRY (V.O) Then all we do is blend in with traffic, without arousing suspicion. CUT TO: EXT. THE PARADE ROUTE - CONTINUOUS The floats go flying by the crowds. Barry and Vanessa’s float CRASHES through the fence. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 109. EXT. LA FREEWAY Vanessa and Barry speed, dodging and weaving, down the freeway. BARRY (V.O) And once we’re at the airport, there’s no stopping us. CUT TO: EXT. LAX AIRPORT Barry and Vanessa pull up to the curb, in front of an TSA AGENT WITH CLIPBOARD. TSA AGENT Stop. Security. Did you and your insect pack your own float? VANESSA (O.C) Yes. TSA AGENT Has this float been in your possession the entire time? VANESSA (O.C) Since the parade...yes. ANGLE ON: Barry holding his shoes. TSA AGENT Would you remove your shoes and everything in your pockets? Can you remove your stinger, Sir? BARRY That’s part of me. TSA AGENT I know. Just having some fun. Enjoy your flight. CUT TO: EXT. RUNWAY Barry and Vanessa’s airplane TAKES OFF. "Bee Movie" - JS REVISIONS 8/13/07 110. BARRY (O.C) Then, if we’re lucky, we’ll have just enough pollen to do the job. DISSOLVE TO: SEQ. 4025 - “COCKPIT FIGHT” INT. AIRPLANE Vanessa is on the aisle. Barry is on a laptop calculating flowers, pollen, number of bees, airspeed, etc. He does a “Stomp” dance on the keyboard. BARRY Can you believe how lucky we are? We have just enough pollen to do the job. I think this is going to work, Vanessa. VANESSA It’s got to work. PILOT (V.O) Attention passengers. This is Captain Scott. I’m afraid we have a bit of bad weather in the New York area. And looks like we’re going to be experiencing a couple of hours delay. VANESSA Barry, these are cut flowers with no water. They’ll never make it. BARRY I’ve got to get up there and talk to these guys. VANESSA Be careful. Barry flies up to the cockpit door. CUT TO: INT. COCKPIT - CONTINUOUS A female flight attendant, ANGELA, is in the cockpit with the pilots. "Bee Movie" - JS REVISIONS 8/13/07 111. There’s a KNOCK at the door. BARRY (C.O) Hey, can I get some help with this Sky Mall Magazine? I’d like to order the talking inflatable travel pool filter. ANGELA (to the pilots, irritated) Excuse me. CUT TO: EXT. CABIN - CONTINUOUS Angela opens the cockpit door and looks around. She doesn’t see anybody. ANGLE ON: Barry hidden on the yellow and black “caution” stripe. As Angela looks around, Barry zips into the cockpit. CUT TO: INT. COCKPIT BARRY Excuse me, Captain. I am in a real situation here... PILOT (pulling an earphone back, to the co-pilot) What did you say, Hal? CO-PILOT I didn’t say anything. PILOT (he sees Barry) Ahhh! Bee! BARRY No, no! Don’t freak out! There’s a chance my entire species-- CO-PILOT (taking off his earphones) Ahhh! "Bee Movie" - JS REVISIONS 8/13/07 112. The pilot grabs a “DUSTBUSTER” vacuum cleaner. He aims it around trying to vacuum up Barry. The co-pilot faces camera, as the pilot tries to suck Barry up. Barry is on the other side of the co-pilot. As they dosey-do, the toupee of the co-pilot begins to come up, still attached to the front. CO-PILOT (CONT'D) What are you doing? Stop! The toupee comes off the co-pilot’s head, and sticks in the Dustbuster. Barry runs across the bald head. BARRY Wait a minute! I’m an attorney! CO-PILOT Who’s an attorney? PILOT Don’t move. The pilot uses the Dustbuster to try and mash Barry, who is hovering in front of the co-pilot’s nose, and knocks out the co-pilot who falls out of his chair, hitting the life raft release button. The life raft inflates, hitting the pilot, knocking him into a wall and out cold. Barry surveys the situation. BARRY Oh, Barry. CUT TO: INT. AIRPLANE CABIN Vanessa studies her laptop, looking serious. SFX: PA CRACKLE. BARRY (V.O) (in captain voice) Good afternoon passengers, this is your captain speaking. Would a Miss Vanessa Bloome in 24F please report to the cockpit. And please hurry! "Bee Movie" - JS REVISIONS 8/13/07 113. ANGLE ON: The aisle, and Vanessa head popping up. CUT TO: INT. COCKPIT Vanessa ENTERS. VANESSA What happened here? BARRY I tried to talk to them, but then there was a Dustbuster, a toupee, a life raft exploded...Now one’s bald, one’s in a boat, and they’re both unconscious. VANESSA Is that another bee joke? BARRY No. No one’s flying the plane. The AIR TRAFFIC CONTROLLER, BUD, speaks over the radio. BUD This is JFK control tower. Flight 356, what’s your status? Vanessa presses a button, and the intercom comes on. VANESSA This is Vanessa Bloome. I’m a florist from New York. BUD Where’s the pilot? VANESSA He’s unconscious and so is the copilot. BUD Not good. Is there anyone onboard who has flight experience? A BEAT. BARRY As a matter of fact, there is. "Bee Movie" - JS REVISIONS 8/13/07 114. BUD Who’s that? VANESSA Barry Benson. BUD From the honey trial? Oh great. BARRY Vanessa, this is nothing more than a big metal bee. It’s got giant wings, huge engines. VANESSA I can’t fly a plane. BARRY Why not? Isn’t John Travolta a pilot? VANESSA Yes? BARRY How hard could it be? VANESSA Wait a minute. Barry, we’re headed into some lightning. CUT TO: Vanessa shrugs, and takes the controls. SEQ. 4150 - “BARRY FLIES PLANE” INT. BENSON HOUSE The family is all huddled around the TV at the Benson house. ANGLE ON: TV. Bob Bumble is broadcasting. BOB BUMBLE This is Bob Bumble. We have some late-breaking news from JFK airport, where a very suspenseful scene is developing. Barry Benson, fresh off his stunning legal victory... "Bee Movie" - JS REVISIONS 8/13/07 115. Adam SPRAYS a can of HONEY-WHIP into his mouth. ADAM That’s Barry. BOB BUMBLE ...is now attempting to land a plane, loaded with people, flowers, and an incapacitated flight crew. EVERYONE Flowers?! CUT TO: INT. AIR TRAFFIC CONTROL TOWER BUD Well, we have an electrical storm in the area, and two individuals at the controls of a jumbo jet with absolutely no flight experience. JEANETTE CHUNG Just a minute, Mr. Ditchwater, there’s a honey bee on that plane. BUD Oh, I’m quite familiar with Mr. Benson’s work, and his no-account compadres. Haven’t they done enough damage already? JEANETTE CHUNG But isn’t he your only hope right now? BUD Come on, technically a bee shouldn’t be able to fly at all. CUT TO: INT. COCKPIT. Barry REACTS BUD The wings are too small, their bodies are too big-- "Bee Movie" - JS REVISIONS 8/13/07 116. BARRY (over PA) Hey, hold on a second. Haven’t we heard this million times? The surface area of the wings, and the body mass doesn’t make sense? JEANETTE CHUNG Get this on the air. CAMERAMAN You got it! CUT TO: INT. BEE TV CONTROL ROOM An engineer throws a switch. BEE ENGINEER Stand by. We’re going live. The “ON AIR” sign illuminates. CUT TO: INT. VARIOUS SHOTS OF NEW HIVE CITY The news report plays on TV. The pollen jocks are sitting around, playing paddle-ball, Wheel-o, and one of them is spinning his helmet on his finger. Buzzwell is in an office cubicle, playing computer solitaire. Barry’s family and Adam watch from their living room. Bees sitting on the street curb turn around to watch the TV. BARRY Mr. Ditchwater, the way we work may be a mystery to you, because making honey takes a lot of bees doing a lot of small jobs. But let me tell you something about a small job. If you do it really well, it makes a big difference. More than we realized. To us, to everyone. That’s why I want to get bees back to doing what we do best. "Bee Movie" - JS REVISIONS 8/13/07 117. Working together. That’s the bee way. We’re not made of Jello. We get behind a fellow. Black and yellow. CROWD OF BEES Hello! CUT TO: INT. COCKPIT Barry is giving orders to Vanessa. BARRY Left, right, down, hover. VANESSA Hover? BARRY Forget hover. VANESSA You know what? This isn’t so hard. Vanessa pretends to HONK THE HORN. VANESSA (CONT’D) Beep, beep! Beep, beep! A BOLT OF LIGHTNING HITS the plane. The plane takes a sharp dip. VANESSA (CONT’D) Barry, what happened? BARRY (noticing the control panel) Wait a minute. I think we were on autopilot that whole time. VANESSA That may have been helping me. BARRY And now we’re not! VANESSA (V.O.) (folding her arms) Well, then it turns out I cannot fly a plane. "Bee Movie" - JS REVISIONS 8/13/07 118. BARRY (CONT'D) Vanessa struggles with the yoke. CUT TO: EXT. AIRPLANE The airplane goes into a steep dive. CUT TO: SEQ. 4175 - “CRASH LANDING” INT. J-GATE An ALERT SIGN READING: “Hive Alert. We Need:” Then the SIGNAL goes from “Two Bees” “Some Bees” “Every Bee There Is” Lou Loduca gathers the pollen jocks at J-Gate. LOU LODUCA All of you, let’s get behind this fellow. Move it out! The bees follow Lou Loduca, and EXIT J-Gate. CUT TO: INT. AIRPLANE COCKPIT BARRY Our only chance is if I do what I would do, and you copy me with the wings of the plane! VANESSA You don’t have to yell. BARRY I’m not yelling. We happen to be in a lot of trouble here. VANESSA It’s very hard to concentrate with that panicky tone in your voice. BARRY It’s not a tone. I’m panicking! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 119. EXT. JFK AIRPORT ANGLE ON: The bees arriving and massing at the airport. CUT TO: INT. COCKPIT Barry and Vanessa alternately SLAP EACH OTHER IN THE FACE. VANESSA I don’t think I can do this. BARRY Vanessa, pull yourself together. Listen to me, you have got to snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! CUT TO: EXT. AIRPLANE A GIGANTIC SWARM OF BEES flies in to hold the plane up. CUT TO: INT. COCKPIT - CONTINUOUS BARRY You snap out of it! VANESSA You snap out of it! "Bee Movie" - JS REVISIONS 8/13/07 120. BARRY You snap-- VANESSA Hold it! BARRY (about to slap her again) Why? Come on, it’s my turn. VANESSA How is the plane flying? Barry’s antennae ring. BARRY I don’t know. (answering) Hello? CUT TO: EXT. AIRPLANE ANGLE ON: The underside of the plane. The pollen jocks have massed all around the underbelly of the plane, and are holding it up. LOU LODUCA Hey Benson, have you got any flowers for a happy occasion in there? CUT TO: INT. COCKPIT Lou, Buzz, Splitz, and Jackson come up alongside the cockpit. BARRY The pollen jocks! VANESSA They do get behind a fellow. BARRY Black and yellow. LOU LODUCA (over headset) Hello. "Bee Movie" - JS REVISIONS 8/13/07 121. Alright you two, what do you say we drop this tin can on the blacktop? VANESSA What blacktop? Where? I can’t see anything. Can you? BARRY No, nothing. It’s all cloudy. CUT TO: EXT. RUNWAY Adam SHOUTS. ADAM Come on, you’ve got to think bee, Barry. Thinking bee, thinking bee. ANGLE ON: Overhead shot of runway. The bees are in the formation of a flower. In unison they move, causing the flower to FLASH YELLOW AND BLACK. BEES (chanting) Thinking bee, thinking bee. CUT TO: INT. COCKPIT We see through the swirling mist and clouds. A GIANT SHAPE OF A FLOWER is forming in the middle of the runway. BARRY Wait a minute. I think I’m feeling something. VANESSA What? BARRY I don’t know, but it’s strong. And it’s pulling me, like a 27 million year old instinct. Bring the nose of the plane down. "Bee Movie" - JS REVISIONS 8/13/07 122. LOU LODUCA (CONT'D) EXT. RUNWAY All the bees are on the runway chanting “Thinking Bee”. CUT TO: INT. CONTROL TOWER RICK What in the world is on the tarmac? ANGLE ON: Dave OTS onto runway seeing a flower being formed by millions of bees. BUD Get some lights on that! CUT TO: EXT. RUNWAY ANGLE ON: AIRCRAFT LANDING LIGHT SCAFFOLD by the side of the runway, illuminating the bees in their flower formation. INT. COCKPIT BARRY Vanessa, aim for the flower! VANESSA Oh, okay? BARRY Cut the engines! VANESSA Cut the engines? BARRY We’re going in on bee power. Ready boys? LOU LODUCA Affirmative. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 123. INT. AIRPLANE COCKPIT BARRY Good, good, easy now. Land on that flower! Ready boys? Give me full reverse. LOU LODUCA Spin it around! The plane attempts to land on top of an “Aloha Airlines” plane with flowers painted on it. BARRY (V.O) I mean the giant black and yellow pulsating flower made of millions of bees! VANESSA Which flower? BARRY That flower! VANESSA I’m aiming at the flower! The plane goes after a FAT GUY IN A HAWAIIAN SHIRT. BARRY (V.O) That’s a fat guy in a flowered shirt! The other other flower! The big one. He snaps a photo and runs away. BARRY (CONT'D) Full forward. Ready boys? Nose down. Bring your tail up. Rotate around it. VANESSA Oh, this is insane, Barry. BARRY This is the only way I know how to fly. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 124. AIR TRAFFIC CONTROL TOWER BUD Am I koo-koo kachoo, or is this plane flying in an insect-like pattern? CUT TO: EXT. RUNWAY BARRY (V.O) Get your nose in there. Don’t be afraid of it. Smell it. Full reverse! Easy, just drop it. Be a part of it. Aim for the center! Now drop it in. Drop it in, woman! The plane HOVERS and MANEUVERS, landing in the center of the giant flower, like a bee. The FLOWERS from the cargo hold spill out onto the runway. INT. AIPLANE CABIN The passengers are motionless for a beat. PASSENGER Come on already! They hear the “ding ding”, and all jump up to grab their luggage out of the overheads. SEQ. 4225 - “RUNWAY SPEECH” EXT. RUNWAY - CONTINUOUS The INFLATABLE SLIDES pop out the side of the plane. The passengers escape. Barry and Vanessa slide down out of the cockpit. Barry and Vanessa exhale a huge breath. VANESSA Barry, we did it. You taught me how to fly. Vanessa raises her hand up for a high five. "Bee Movie" - JS REVISIONS 8/13/07 125. BARRY Yes. No high five. VANESSA Right. ADAM Barry, it worked. Did you see the giant flower? BARRY What giant flower? Where? Of course I saw the flower! That was genius, man. Genius! ADAM Thank you. BARRY But we’re not done yet. Barry flies up to the wing of the plane, and addresses the bee crowd. BARRY (CONT’D) 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 going to survive as a species, this is our moment. So what do you all say? Are we going to be bees, or just Museum of Natural History key chains? BEES We’re bees! KEYCHAIN BEE Keychain! BARRY Then follow me... Except Keychain. BUZZ Hold on Barry. You’ve earned this. Buzz puts a pollen jock jacket and helmet with Barry’s name on it on Barry. "Bee Movie" - JS REVISIONS 8/13/07 126. BARRY I’m a pollen jock! (looking at the jacket. The sleeves are a little long) And it’s a perfect fit. All I’ve got to do are the sleeves. The Pollen Jocks toss Barry a gun. BARRY (CONT’D) Oh yeah! ANGLE ON: Martin and Janet Benson. JANET BENSON That’s our Barry. All the bees descend upon the flowers on the tarmac, and start collecting pollen. CUT TO: SEQ. 4250 - “RE-POLLINATION” EXT. SKIES - CONTINUOUS The squadron FLIES over the city, REPOLLINATING trees and flowers as they go. Barry breaks off from the group, towards Vanessa’s flower shop. CUT TO: EXT. VANESSA’S FLOWER SHOP - CONTINUOUS Barry REPOLLINATES Vanessa’s flowers. CUT TO: EXT. CENTRAL PARK - CONTINUOUS ANGLE ON: Timmy with a frisbee, as the bees fly by. TIMMY Mom, the bees are back! "Bee Movie" - JS REVISIONS 8/13/07 127. Central Park is completely repollinated by the bees. DISSOLVE TO: INT. HONEX - CONTINUOUS Honex is back to normal and everyone is busily working. ANGLE ON: Adam, putting his Krelman hat on. ADAM If anyone needs to make a call, now’s the time. I’ve got a feeling we’ll be working late tonight! The bees CHEER. CUT TO: SEQ. 4355 EXT: VANESSA’S FLOWER SHOP With a new sign out front. “Vanessa & Barry: Flowers, Honey, Legal Advice” DISSOLVE TO: INT: FLOWER COUNTER Vanessa doing a brisk trade with many customers. CUT TO: INT: FLOWER SHOP - CONTINUOUS Vanessa is selling flowers. In the background, there are SHELVES STOCKED WITH HONEY. VANESSA (O.C.) Don’t forget these. Have a great afternoon. Yes, can I help who’s next? Who’s next? Would you like some honey with that? It is beeapproved. SIGN ON THE BACK ROOM DOOR READS: “Barry Benson: Insects at Law”. "Bee Movie" - JS REVISIONS 8/13/07 128. Camera moves into the back room. ANGLE ON: Barry. ANGLE ON: Barry’s COW CLIENT. COW Milk, cream, cheese...it’s all me. And I don’t see a nickel. BARRY Uh huh? Uh huh? COW (breaking down) Sometimes I just feel like a piece of meat. BARRY I had no idea. VANESSA Barry? I’m sorry, have you got a moment? BARRY Would you excuse me? My mosquito associate here will be able to help you. Mooseblood ENTERS. MOOSEBLOOD Sorry I’m late. COW He’s a lawyer too? MOOSEBLOOD Ma’am, I was already a bloodsucking parasite. All I needed was * a briefcase. * ANGLE ON: Flower Counter. VANESSA (to customer) Have a great afternoon! (to Barry) Barry, I just got this huge tulip order for a wedding, and I can’t get them anywhere. "Bee Movie" - JS REVISIONS 8/13/07 129. BARRY Not a problem, Vannie. Just leave it to me. Vanessa turns back to deal with a customer. VANESSA You’re a life-saver, Barry. (to the next customer) Can I help who’s next? Who’s next? ANGLE ON: Vanessa smiling back at Barry. Barry smiles too, then snaps himself out of it. BARRY (speaks into his antennae) Alright. Scramble jocks, it’s time to fly! VANESSA Thank you, Barry! EXT. FLOWER SHOP - CONTINUOUS ANGLE ON: Ken and Andy walking down the street. KEN (noticing the new sign) Augh! What in the world? It’s that bee again! ANDY (guiding Ken protectively) Let it go, Kenny. KEN That bee is living my life! When will this nightmare end? ANDY Let it all go. They don’t break stride. ANGLE ON: Camera in front of Barry as he flies out the door and up into the sky. Pollen jocks fold in formation behind him as they zoom into the park. BARRY (to Splitz) Beautiful day to fly. "Bee Movie" - JS REVISIONS 8/13/07 130. JACKSON Sure is. BARRY Between you and me, I was dying to get out of that office. FADE OUT: "Bee Movie" - JS REVISIONS 8/13/07 131.

The aim of this assignment is to have you do UDP socket client / server programming with a focus on two broad aspects : Setting up the exchange between the client and server in a secure way despite the lack of a formal connection (as in TCP) between the two, so that ‘outsider’ UDP datagrams (broadcast, multicast, unicast - fortuitously or maliciously) cannot intrude on the communication. Introducing application-layer protocol data-transmission reliability, flow control and congestion control in the client and server using TCP-like ARQ sliding window mechanisms. The second item above is much more of a challenge to implement than the first, though neither is particularly trivial. But they are not tightly interdependent; each can be worked on separately at first and then integrated together at a later stage. Apart from the material in Chapters 8, 14 & 22 (especially Sections 22.5 - 22.7), and the experience you gained from the preceding assignment, you will also need to refer to the following : ioctl function (Chapter 17). get_ifi_info function (Section 17.6, Chapter 17). This function will be used by the server code to discover its node’s network interfaces so that it can bind all its interface IP addresses (see Section 22.6). ‘Race’ conditions (Section 20.5, Chapter 20) You also need a thorough understanding of how the TCP protocol implements reliable data transfer, flow control and congestion control. Chapters 17- 24 of TCP/IP Illustrated, Volume 1 by W. Richard Stevens gives a good overview of TCP. Though somewhat dated for some things (it was published in 1994), it remains, overall, a good basic reference. Overview This assignment asks you to implement a primitive file transfer protocol for Unix platforms, based on UDP, and with TCP-like reliability added to the transfer operation using timeouts and sliding-window mechanisms, and implementing flow and congestion control. The server is a concurrent server which can handle multiple clients simultaneously. A client gives the server the name of a file. The server forks off a child which reads directly from the file and transfers the contents over to the client using UDP datagrams. The client prints out the file contents as they come in, in order, with nothing missing and with no duplication of content, directly on to stdout (via the receiver sliding window, of course, but with no other intermediate buffering). The file to be transferred can be of arbitrary length, but its contents are always straightforward ascii text. As an aside let me mention that assuming the file contents ascii is not as restrictive as it sounds. We can always pretend, for example, that binary files are base64 encoded (“ASCII armor”). A real file transfer protocol would, of course, have to worry about transferring files between heterogeneous platforms with different file structure conventions and semantics. The sender would first have to transform the file into a platform-independent, protocol-defined, format (using, say, ASN.1, or some such standard), and the receiver would have to transform the received file into its platform’s native file format. This kind of thing can be fairly time consuming, and is certainly very tedious, to implement, with little educational value - it is not part of this assignment. Arguments for the server You should provide the server with an input file server.in from which it reads the following information, in the order shown, one item per line : Well-known port number for server. Maximum sending sliding-window size (in datagram units). You will not be handing in your server.in file. We shall create our own when we come to test your code. So it is important that you stick strictly to the file name and content conventions specified above. The same applies to the client.in input file below. Arguments for the client The client is to be provided with an input file client.in from which it reads the following information, in the order shown, one item per line : IP address of server (not the hostname). Well-known port number of server. filename to be transferred. Receiving sliding-window size (in datagram units). Random generator seed value. Probability p of datagram loss. This should be a real number in the range [ 0.0 , 1.0 ] (value 0.0 means no loss occurs; value 1.0 means all datagrams all lost). The mean µ, in milliseconds, for an exponential distribution controlling the rate at which the client reads received datagram payloads from its receive buffer. Operation Server starts up and reads its arguments from file server.in. As we shall see, when a client communicates with the server, the server will want to know what IP address that client is using to identify the server (i.e. , the destination IP address in the incoming datagram). Normally, this can be done relatively straightforwardly using the IP_RECVDESTADDR socket option, and picking up the information using the ancillary data (‘control information’) capability of the recvmsg function. Unfortunately, Solaris 2.10 does not support the IP_RECVDESTADDR option (nor, incidentally, does it support the msg_flags option in msghdr - see p.390). This considerably complicates things. In the absence of IP_RECVDESTADDR, what the server has to do as part of its initialization phase is to bind each IP address it has (and, simultaneously, its well-known port number, which it has read in from server.in) to a separate UDP socket. The code in Section 22.6, which uses the get_ifi_info function, shows you how to do that. However, there are important differences between that code and the version you want to implement. The code of Section 22.6 binds the IP addresses and forks off a child for each address that is bound to. We do not want to do that. Instead you should have an array of socket descriptors. For each IP address, create a new socket and bind the address (and well-known port number) to the socket without forking off child processes. Creating child processes comes later, when clients arrive. The code of Section 22.6 also attempts to bind broadcast addresses. We do not want to do this. It binds a wildcard IP address, which we certainly do not want to do either. We should bind strictly only unicast addresses (including the loopback address). The get_ifi_info function (which the code in Section 22.6 uses) has to be modified so that it also gets the network masks for the IP addresses of the node, and adds these to the information stored in the linked list of ifi_info structures (see Figure 17.5, p.471) it produces. As you go binding each IP address to a distinct socket, it will be useful for later processing to build your own array of structures, where a structure element records the following information for each socket : sockfd IP address bound to the socket network mask for the IP address subnet address (obtained by doing a bit-wise and between the IP address and its network mask) Report, in a ReadMe file which you hand in with your code, on the modifications you had to introduce to ensure that only unicast addresses are bound, and on your implementation of the array of structures described above. You should print out on stdout, with an appropriate message and appropriately formatted in dotted decimal notation, the IP address, network mask, and subnet address for each socket in your array of structures (you do not need to print the sockfd). The server now uses select to monitor the sockets it has created for incoming datagrams. When it returns from select, it must use recvfrom or recvmsg to read the incoming datagram (see 6. below). When a client starts, it first reads its arguments from the file client.in. The client checks if the server host is ‘local’ to its (extended) Ethernet. If so, all its communication to the server is to occur as MSG_DONTROUTE (or SO_DONTROUTE socket option). It determines if the server host is ‘local’ as follows. The first thing the client should do is to use the modified get_ifi_info function to obtain all of its IP addresses and associated network masks. Print out on stdout, in dotted decimal notation and with an appropriate message, the IP addresses and network masks obtained. In the following, IPserver designates the IP address the client will use to identify the server, and IPclient designates the IP address the client will choose to identify itself. The client checks whether the server is on the same host. If so, it should use the loopback address 127.0.0.1 for the server (i.e. , IPserver = 127.0.0.1). IPclient should also be set to the loopback address. Otherwise it proceeds as follows: IPserver is set to the IP address for the server in the client.in file. Given IPserver and the (unicast) IP addresses and network masks for the client returned by get_ifi_info in the linked list of ifi_info structures, you should be able to figure out if the server node is ‘local’ or not. This will be discussed in class; but let me just remind you here that you should use ‘longest prefix matching’ where applicable. If there are multiple client addresses, and the server host is ‘local’, the client chooses an IP address for itself, IPclient, which matches up as ‘local’ according to your examination above. If the server host is not ‘local’, then IPclient can be chosen arbitrarily. Print out on stdout the results of your examination, as to whether the server host is ‘local’ or not, as well as the IPclient and IPserver addresses selected. Note that this manner of determining whether the server is local or not is somewhat clumsy and ‘over-engineered’, and, as such, should be viewed more in the nature of a pedagogical exercise. Ideally, we would like to look up the server IP address(es) in the routing table (see Section 18.3). This requires that a routing socket be created, for which we need superuser privilege. Alternatively, we might want to dump out the routing table, using the sysctl function for example (see Section 18.4), and examine it directly. Unfortunately, Solaris 2.10 does not support sysctl. Furthermore, note that there is a slight problem with the address 130.245.1.123/24 assigned to compserv3 (see rightmost column of file hosts, and note that this particular compserv3 address “overlaps” with the 130.245.1.x/28 addresses in that same column assigned to compserv1, compserv2 & comserv4). In particular, if the client is running on compserv3 and the server on any of the other three compservs, and if that server node is also being identified to the client by its /28 (rather than its /24) address, then the client will get a “false positive” when it tests as to whether the server node is local or not. In other words, the client will deem the server node to be local, whereas in fact it should not be considered local. Because of this, it is perhaps best simply not to use compserv3 to run the client (but it is o.k. to use it to run the server). Finally, using MSG_DONTROUTE where possible would seem to gain us efficiency, in as much as the kernel does not need to consult the routing table for every datagram sent. But, in fact, that is not so. Recall that one effect of connect with UDP sockets is that routing information is obtained by the kernel at the time the connect is issued. That information is cached and used for subsequent sends from the connected socket (see p.255). The client now creates a UDP socket and calls bind on IPclient, with 0 as the port number. This will cause the kernel to bind an ephemeral port to the socket. After the bind, use the getsockname function (Section 4.10) to obtain IPclient and the ephemeral port number that has been assigned to the socket, and print that information out on stdout, with an appropriate message and appropriately formatted. The client connects its socket to IPserver and the well-known port number of the server. After the connect, use the getpeername function (Section 4.10) to obtain IPserver and the well-known port number of the server, and print that information out on stdout, with an appropriate message and appropriately formatted. The client sends a datagram to the server giving the filename for the transfer. This send needs to be backed up by a timeout in case the datagram is lost. Note that the incoming datagram from the client will be delivered to the server at the socket to which the destination IP address that the datagram is carrying has been bound. Thus, the server can obtain that address (it is, of course, IPserver) and thereby achieve what IP_RECVDESTADDR would have given us had it been available. Furthermore, the server process can obtain the IP address (this will, of course, be IPclient) and ephemeral port number of the client through the recvfrom or recvmsg functions. The server forks off a child process to handle the client. The server parent process goes back to the select to listen for new clients. Hereafter, and unless otherwise stated, whenever we refer to the ‘server’, we mean the server child process handling the client’s file transfer, not the server parent process. Typically, the first thing the server child would be expected to do is to close all sockets it ‘inherits’ from its parent. However, this is not the case with us. The server child does indeed close the sockets it inherited, but not the socket on which the client request arrived. It leaves that socket open for now. Call this socket the ‘listening’ socket. The server (child) then checks if the client host is local to its (extended) Ethernet. If so, all its communication to the client is to occur as MSG_DONTROUTE (or SO_DONTROUTE socket option). If IPserver (obtained in 5. above) is the loopback address, then we are done. Otherwise, the server has to proceed with the following step. Use the array of structures you built in 1. above, together with the addresses IPserver and IPclient to determine if the client is ‘local’. Print out on stdout the results of your examination, as to whether the client host is ‘local’ or not. The server (child) creates a UDP socket to handle file transfer to the client. Call this socket the ‘connection’ socket. It binds the socket to IPserver, with port number 0 so that its kernel assigns an ephemeral port. After the bind, use the getsockname function (Section 4.10) to obtain IPserver and the ephemeral port number that has been assigned to the socket, and print that information out on stdout, with an appropriate message and appropriately formatted. The server then connects this ‘connection’ socket to the client’s IPclient and ephemeral port number. The server now sends the client a datagram, in which it passes it the ephemeral port number of its ‘connection’ socket as the data payload of the datagram. This datagram is sent using the ‘listening’ socket inherited from its parent, otherwise the client (whose socket is connected to the server’s ‘listening’ socket at the latter’s well-known port number) will reject it. This datagram must be backed up by the ARQ mechanism, and retransmitted in the event of loss. Note that if this datagram is indeed lost, the client might well time out and retransmit its original request message (the one carrying the file name). In this event, you must somehow ensure that the parent server does not mistake this retransmitted request for a new client coming in, and spawn off yet another child to handle it. How do you do that? It is potentially more involved than it might seem. I will be discussing this in class, as well as ‘race’ conditions that could potentially arise, depending on how you code the mechanisms I present. When the client receives the datagram carrying the ephemeral port number of the server’s ‘connection’ socket, it reconnects its socket to the server’s ‘connection’ socket, using IPserver and the ephemeral port number received in the datagram (see p.254). It now uses this reconnected socket to send the server an acknowledgment. Note that this implies that, in the event of the server timing out, it should retransmit two copies of its ‘ephemeral port number’ message, one on its ‘listening’ socket and the other on its ‘connection’ socket (why?). When the server receives the acknowledgment, it closes the ‘listening’ socket it inherited from its parent. The server can now commence the file transfer through its ‘connection’ socket. The net effect of all these binds and connects at server and client is that no ‘outsider’ UDP datagram (broadcast, multicast, unicast - fortuitously or maliciously) can now intrude on the communication between server and client. Starting with the first datagram sent out, the client behaves as follows. Whenever a datagram arrives, or an ACK is about to be sent out (or, indeed, the initial datagram to the server giving the filename for the transfer), the client uses some random number generator function random() (initialized by the client.in argument value seed) to decide with probability p (another client.in argument value) if the datagram or ACK should be discarded by way of simulating transmission loss across the network. (I will briefly discuss in class how you do this.) Adding reliability to UDP The mechanisms you are to implement are based on TCP Reno. These include : Reliable data transmission using ARQ sliding-windows, with Fast Retransmit. Flow control via receiver window advertisements. Congestion control that implements : SlowStart Congestion Avoidance (‘Additive-Increase/Multiplicative Decrease’ – AIMD) Fast Recovery (but without the window-inflation aspect of Fast Recovery) Only some, and by no means all, of the details for these are covered below. The rest will be presented in class, especially those concerning flow control and TCP Reno’s congestion control mechanisms in general : Slow Start, Congestion Avoidance, Fast Retransmit and Fast Recovery. Implement a timeout mechanism on the sender (server) side. This is available to you from Stevens, Section 22.5 . Note, however, that you will need to modify the basic driving mechanism of Figure 22.7 appropriately since the situation at the sender side is not a repetitive cycle of send-receive, but rather a straightforward progression of send-send-send-send- . . . . . . . . . . . Also, modify the RTT and RTO mechanisms of Section 22.5 as specified below. I will be discussing the details of these modifications and the reasons for them in class. Modify function rtt_stop (Fig. 22.13) so that it uses integer arithmetic rather than floating point. This will entail your also having to modify some of the variable and function parameter declarations throughout Section 22.5 from float to int, as appropriate. In the unprrt.h header file (Fig. 22.10) set : RTT_RXTMIN to 1000 msec. (1 sec. instead of the current value 3 sec.) RTT_RXTMAX to 3000 msec. (3 sec. instead of the current value 60 sec.) RTT_MAXNREXMT to 12 (instead of the current value 3) In function rtt_timeout (Fig. 22.14), after doubling the RTO in line 86, pass its value through the function rtt_minmax of Fig. 22.11 (somewhat along the lines of what is done in line 77 of rtt_stop, Fig. 22.13). Finally, note that with the modification to integer calculation of the smoothed RTT and its variation, and given the small RTT values you will experience on the cs / sbpub network, these calculations should probably now be done on a millisecond or even microsecond scale (rather than in seconds, as is the case with Stevens’ code). Otherwise, small measured RTTs could show up as 0 on a scale of seconds, yielding a negative result when we subtract the smoothed RTT from the measured RTT (line 72 of rtt_stop, Fig. 22.13). Report the details of your modifications to the code of Section 22.5 in the ReadMe file which you hand in with your code. We need to have a sender sliding window mechanism for the retransmission of lost datagrams; and a receiver sliding window in order to ensure correct sequencing of received file contents, and some measure of flow control. You should implement something based on TCP Reno’s mechanisms, with cumulative acknowledgments, receiver window advertisements, and a congestion control mechanism I will explain in detail in class. For a reference on TCP’s mechanisms generally, see W. Richard Stevens, TCP/IP Illustrated, Volume 1 , especially Sections 20.2 - 20.4 of Chapter 20 , and Sections 21.1 - 21.8 of Chapter 21 . Bear in mind that our sequence numbers should count datagrams, not bytes as in TCP. Remember that the sender and receiver window sizes have to be set according to the argument values in client.in and server.in, respectively. Whenever the sender window becomes full and so ‘locks’, the server should print out a message to that effect on stdout. Similarly, whenever the receiver window ‘locks’, the client should print out a message on stdout. Be aware of the potential for deadlock when the receiver window ‘locks’. This situation is handled by having the receiver process send a duplicate ACK which acts as a window update when its window opens again (see Figure 20.3 and the discussion about it in TCP/IP Illustrated). However, this is not enough, because ACKs are not backed up by a timeout mechanism in the event they are lost. So we will also need to implement a persist timer driving window probes in the sender process (see Sections 22.1 & 22.2 in Chapter 22 of TCP/IP Illustrated). Note that you do not have to worry about the Silly Window Syndrome discussed in Section 22.3 of TCP/IP Illustrated since the receiver process consumes ‘full sized’ 512-byte messages from the receiver buffer (see 3. below). Report on the details of the ARQ mechanism you implemented in the ReadMe file you hand in. Indeed, you should report on all the TCP mechanisms you implemented in the ReadMe file, both the ones discussed here, and the ones I will be discussing in class. Make your datagram payload a fixed 512 bytes, inclusive of the file transfer protocol header (which must, at the very least, carry: the sequence number of the datagram; ACKs; and advertised window notifications). The client reads the file contents in its receive buffer and prints them out on stdout using a separate thread. This thread sits in a repetitive loop till all the file contents have been printed out, doing the following. It samples from an exponential distribution with mean µ milliseconds (read from the client.in file), sleeps for that number of milliseconds; wakes up to read and print all in-order file contents available in the receive buffer at that point; samples again from the exponential distribution; sleeps; and so on. The formula -1 × µ × ln( random( ) ) , where ln is the natural logarithm, yields variates from an exponential distribution with mean µ, based on the uniformly-distributed variates over ( 0 , 1 ) returned by random(). Note that you will need to implement some sort of mutual exclusion/semaphore mechanism on the client side so that the thread that sleeps and wakes up to consume from the receive buffer is not updating the state variables of the buffer at the same time as the main thread reading from the socket and depositing into the buffer is doing the same. Furthermore, we need to ensure that the main thread does not effectively monopolize the semaphore (and thus lock out for prolonged periods of time) the sleeping thread when the latter wakes up. See the textbook, Section 26.7, ‘Mutexes: Mutual Exclusion’, pp.697-701. You might also find Section 26.8, ‘Condition Variables’, pp.701-705, useful. You will need to devise some way by which the sender can notify the receiver when it has sent the last datagram of the file transfer, without the receiver mistaking that EOF marker as part of the file contents. (Also, note that the last data segment could be a “short” segment of less than 512 bytes – your client needs to be able to handle this correctly somehow.) When the sender receives an ACK for the last datagram of the transfer, the (child) server terminates. The parent server has to take care of cleaning up zombie children. Note that if we want a clean closing, the client process cannot simply terminate when the receiver ACKs the last datagram. This ACK could be lost, which would leave the (child) server process ‘hanging’, timing out, and retransmitting the last datagram. TCP attempts to deal with this problem by means of the TIME_WAIT state. You should have your receiver process behave similarly, sticking around in something akin to a TIME_WAIT state in case in case it needs to retransmit the ACK. In the ReadMe file you hand in, report on how you dealt with the issues raised here: sender notifying receiver of the last datagram, clean closing, and so on. Output Some of the output required from your program has been described in the section Operation above. I expect you to provide further output – clear, well-structured, well-laid-out, concise but sufficient and helpful – in the client and server windows by means of which we can trace the correct evolution of your TCP’s behaviour in all its intricacies : information (e.g., sequence number) on datagrams and acks sent and dropped, window advertisements, datagram retransmissions (and why : dup acks or RTO); entering/exiting Slow Start and Congestion Avoidance, ssthresh and cwnd values; sender and receiver windows locking/unlocking; etc., etc. . . . . The onus is on you to convince us that the TCP mechanisms you implemented are working correctly. Too many students do not put sufficient thought, creative imagination, time or effort into this. It is not the TA’s nor my responsibility to sit staring at an essentially blank screen, trying to summon up our paranormal psychology skills to figure out if your TCP implementation is really working correctly in all its very intricate aspects, simply because the transferred file seems to be printing o.k. in the client window. Nor is it our responsibility to strain our eyes and our patience wading through a mountain of obscure, ill-structured, hyper-messy, debugging-style output because, for example, your effort-conserving concept of what is ‘suitable’ is to dump your debugging output on us, relevant, irrelevant, and everything in between.

Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knights had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. (laughs) Like that's ever gonna happen. What a load of - (toilet flush) Allstar - by Smashmouth begins to play. Shrek goes about his day. While in a nearby town, the villagers get together to go after the ogre. NIGHT - NEAR SHREK'S HOME MAN1 Think it's in there? MAN2 All right. Let's get it! MAN1 Whoa. Hold on. Do you know what that thing can do to you? MAN3 Yeah, it'll grind your bones for it's bread. Shrek sneaks up behind them and laughs. SHREK Yes, well, actually, that would be a giant. Now, ogres, oh they're much worse. They'll make a suit from your freshly peeled skin. MEN No! SHREK They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. MAN1 Back! Back, beast! Back! I warn ya! (waves the torch at Shrek.) Shrek calmly licks his fingers and extinguishes the torch. The men shrink back away from him. Shrek roars very loudly and long and his breath extinguishes all the remaining torches until the men are in the dark. SHREK This is the part where you run away. (The men scramble to get away. He laughs.) And stay out! (looks down and picks up a piece of paper. Reads.) "Wanted. Fairy tale creatures."(He sighs and throws the paper over his shoulder.) THE NEXT DAY There is a line of fairy tale creatures. The head of the guard sits at a table paying people for bringing the fairy tale creatures to him. There are cages all around. Some of the people in line are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto who's carrying Pinocchio, and a farmer who is carrying the three little pigs. GUARD All right. This one's full. Take it away! Move it along. Come on! Get up! HEAD GUARD Next! GUARD (taking the witch's broom) Give me that! Your flying days are over. (breaks the broom in half) HEAD GUARD That's 20 pieces of silver for the witch. Next! GUARD Get up! Come on! HEAD GUARD Twenty pieces. LITTLE BEAR (crying) This cage is too small. DONKEY Please, don't turn me in. I'll never be stubborn again. I can change. Please! Give me another chance! OLD WOMAN Oh, shut up. (jerks his rope) DONKEY Oh! HEAD GUARD Next! What have you got? GIPETTO This little wooden puppet. PINOCCHIO I'm not a puppet. I'm a real boy. (his nose grows) HEAD GUARD Five shillings for the possessed toy. Take it away. PINOCCHIO Father, please! Don't let them do this! Help me! Gipetto takes the money and walks off. The old woman steps up to the table. HEAD GUARD Next! What have you got? OLD WOMAN Well, I've got a talking donkey. HEAD GUARD Right. Well, that's good for ten shillings, if you can prove it. OLD WOMAN Oh, go ahead, little fella. Donkey just looks up at her. HEAD GUARD Well? OLD WOMAN Oh, oh, he's just...he's just a little nervous. He's really quite a chatterbox. Talk, you boneheaded dolt... HEAD GUARD That's it. I've heard enough. Guards! OLD WOMAN No, no, he talks! He does. (pretends to be Donkey) I can talk. I love to talk. I'm the talkingest damn thing you ever saw. HEAD GUARD Get her out of my sight. OLD WOMAN No, no! I swear! Oh! He can talk! The guards grab the old woman and she struggles with them. One of her legs flies out and kicks Tinkerbell out of Peter Pan's hands, and her cage drops on Donkey's head. He gets sprinkled with fairy dust and he's able to fly. DONKEY Hey! I can fly! PETER PAN He can fly! 3 LITTLE PIGS He can fly! HEAD GUARD He can talk! DONKEY Ha, ha! That's right, fool! Now I'm a flying, talking donkey. You might have seen a housefly, maybe even a superfly but I bet you ain't never seen a donkey fly. Ha, ha! (the pixie dust begins to wear off) Uh-oh. (he begins to sink to the ground.) He hits the ground with a thud. HEAD GUARD Seize him! (Donkey takes of running.) After him! GUARDS He's getting away! Get him! This way! Turn! Donkey keeps running and he eventually runs into Shrek. Literally. Shrek turns around to see who bumped into him. Donkey looks scared for a moment then he spots the guards coming up the path. He quickly hides behind Shrek. HEAD GUARD You there. Ogre! SHREK Aye? HEAD GUARD By the order of Lord Farquaad I am authorized to place you both under arrest and transport you to a designated resettlement facility. SHREK Oh, really? You and what army? He looks behind the guard and the guard turns to look as well and we see that the other men have run off. The guard tucks tail and runs off. Shrek laughs and goes back about his business and begins walking back to his cottage. DONKEY Can I say something to you? Listen, you was really, really, really somethin' back here. Incredible! SHREK Are you talkin' to...(he turns around and Donkey is gone) me? (he turns back around and Donkey is right in front of him.) Whoa! DONKEY Yes. I was talkin' to you. Can I tell you that you that you was great back here? Those guards! They thought they was all of that. Then you showed up, and bam! They was trippin' over themselves like babes in the woods. That really made me feel good to see that. SHREK Oh, that's great. Really. DONKEY Man, it's good to be free. SHREK Now, why don't you go celebrate your freedom with your own friends? Hmm? DONKEY But, uh, I don't have any friends. And I'm not goin' out there by myself. Hey, wait a minute! I got a great idea! I'll stick with you. You're mean, green, fightin' machine. Together we'll scare the spit out of anybody that crosses us. Shrek turns and regards Donkey for a moment before roaring very loudly. DONKEY Oh, wow! That was really scary. If you don't mind me sayin', if that don't work, your breath certainly will get the job done, 'cause you definitely need some Tic Tacs or something, 'cause you breath stinks! You almost burned the hair outta my nose, just like the time...(Shrek covers his mouth but Donkey continues to talk, so Shrek removes his hand.) ...then I ate some rotten berries. I had strong gases leaking out of my butt that day. SHREK Why are you following me? DONKEY I'll tell you why. (singing) 'Cause I'm all alone, There's no one here beside me, My problems have all gone, There's no one to deride me, But you gotta have faith... SHREK Stop singing! It's no wonder you don't have any friends. DONKEY Wow. Only a true friend would be that cruelly honest. SHREK Listen, little donkey. Take a look at me. What am I? DONKEY (looks all the way up at Shrek) Uh ...really tall? SHREK No! I'm an ogre! You know. "Grab your torch and pitchforks." Doesn't that bother you? DONKEY Nope. SHREK Really? DONKEY Really, really. SHREK Oh. DONKEY Man, I like you. What's you name? SHREK Uh, Shrek. DONKEY Shrek? Well, you know what I like about you, Shrek? You got that kind of I-don't-care-what-nobody-thinks-of-me thing. I like that. I respect that, Shrek. You all right. (They come over a hill and you can see Shrek's cottage.) Whoa! Look at that. Who'd want to live in place like that? SHREK That would be my home. DONKEY Oh! And it is lovely! Just beautiful. You know you are quite a decorator. It's amazing what you've done with such a modest budget. I like that boulder. That is a nice boulder. I guess you don't entertain much, do you? SHREK I like my privacy. DONKEY You know, I do too. That's another thing we have in common. Like I hate it when you got somebody in your face. You've trying to give them a hint, and they won't leave. There's that awkward silence. (awkward silence) Can I stay with you? SHREK Uh, what? DONKEY Can I stay with you, please? SHREK (sarcastically) Of course! DONKEY Really? SHREK No. DONKEY Please! I don't wanna go back there! You don't know what it's like to be considered a freak. (pause while he looks at Shrek) Well, maybe you do. But that's why we gotta stick together. You gotta let me stay! Please! Please! SHREK Okay! Okay! But one night only. DONKEY Ah! Thank you! (he runs inside the cottage) SHREK What are you...? (Donkey hops up onto a chair.) No! No! DONKEY This is gonna be fun! We can stay up late, swappin' manly stories, and in the mornin' I'm makin' waffles. SHREK Oh! DONKEY Where do, uh, I sleep? SHREK (irritated) Outside! DONKEY Oh, well, I guess that's cool. I mean, I don't know you, and you don't know me, so I guess outside is best, you know. Here I go. Good night. (Shrek slams the door.) (sigh) I mean, I do like the outdoors. I'm a donkey. I was born outside. I'll just be sitting by myself outside, I guess, you know. By myself, outside. I'm all alone...there's no one here beside me... SHREK'S COTTAGE - NIGHT Shrek is getting ready for dinner. He sits himself down and lights a candle made out of earwax. He begins to eat when he hears a noise. He stands up with a huff. SHREK (to Donkey) I thought I told you to stay outside. DONKEY (from the window) I am outside. There is another noise and Shrek turns to find the person that made the noise. He sees several shadows moving. He finally turns and spots 3 blind mice on his table. BLIND MOUSE1 Well, gents, it's a far cry from the farm, but what choice do we have? BLIND MOUSE2 It's not home, but it'll do just fine. GORDO (bouncing on a slug) What a lovely bed. SHREK Got ya. (Grabs a mouse, but it escapes and lands on his shoulder.) GORDO I found some cheese. (bites Shrek's ear) SHREK Ow! GORDO Blah! Awful stuff. BLIND MOUSE1 Is that you, Gordo? GORDO How did you know? SHREK Enough! (he grabs the 3 mice) What are you doing in my house? (He gets bumped from behind and he drops the mice.) Hey! (he turns and sees the Seven Dwarves with Snow White on the table.) Oh, no, no, no. Dead broad off the table. DWARF Where are we supposed to put her? The bed's taken. SHREK Huh? Shrek marches over to the bedroom and throws back the curtain. The Big Bad Wolf is sitting in the bed. The wolf just looks at him. BIG BAD WOLF What? TIME LAPSE Shrek now has the Big Bad Wolf by the collar and is dragging him to the front door. SHREK I live in a swamp. I put up signs. I'm a terrifying ogre! What do I have to do get a little privacy? (He opens the front door to throw the Wolf out and he sees that all the collected Fairy Tale Creatures are on his land.) Oh, no. No! No! The 3 bears sit around the fire, the pied piper is playing his pipe and the rats are all running to him, some elves are directing flight traffic so that the fairies and witches can land...etc. SHREK What are you doing in my swamp? (this echoes and everyone falls silent.) Gasps are heard all around. The 3 good fairies hide inside a tent. SHREK All right, get out of here. All of you, move it! Come on! Let's go! Hapaya! Hapaya! Hey! Quickly. Come on! (more dwarves run inside the house) No, no! No, no. Not there. Not there. (they shut the door on him) Oh! (turns to look at Donkey) DONKEY Hey, don't look at me. I didn't invite them. PINOCCHIO Oh, gosh, no one invited us. SHREK What? PINOCCHIO We were forced to come here. SHREK (flabbergasted) By who? LITTLE PIG Lord Farquaad. He huffed and he puffed and he...signed an eviction notice. SHREK (heavy sigh) All right. Who knows where this Farquaad guy is? Everyone looks around at each other but no one answers. DONKEY Oh, I do. I know where he is. SHREK Does anyone else know where to find him? Anyone at all? DONKEY Me! Me! SHREK Anyone? DONKEY Oh! Oh, pick me! Oh, I know! I know! Me, me! SHREK (sigh) Okay, fine. Attention, all fairy tale things. Do not get comfortable. Your welcome is officially worn out. In fact, I'm gonna see this guy Farquaad right now and get you all off my land and back where you came from! (Pause. Then the crowd goes wild.) Oh! (to Donkey) You! You're comin' with me. DONKEY All right, that's what I like to hear, man. Shrek and Donkey, two stalwart friends, off on a whirlwind big-city adventure. I love it! DONKEY (singing) On the road again. Sing it with me, Shrek. I can't wait to get on the road again. SHREK What did I say about singing? DONKEY Can I whistle? SHREK No. DONKEY Can I hum it? SHREK All right, hum it. Donkey begins to hum 'On the Road Again'. DULOC - KITCHEN A masked man is torturing the Gingerbread Man. He's continually dunking him in a glass of milk. Lord Farquaad walks in. FARQUAAD That's enough. He's ready to talk. The Gingerbread Man is pulled out of the milk and slammed down onto a cookie sheet. Farquaad laughs as he walks over to the table. However when he reaches the table we see that it goes up to his eyes. He clears his throat and the table is lowered. FARQUAAD (he picks up the Gingerbread Man's legs and plays with them) Run, run, run, as fast as you can. You can't catch me. I'm the gingerbread man. GINGERBREAD MAN You are a monster. FARQUAAD I'm not the monster here. You are. You and the rest of that fairy tale trash, poisoning my perfect world. Now, tell me! Where are the others? GINGERBREAD MAN Eat me! (He spits milk into Farquaad's eye.) FARQUAAD I've tried to be fair to you creatures. Now my patience has reached its end! Tell me or I'll...(he makes as if to pull off the Gingerbread Man's buttons) GINGERBREAD MAN No, no, not the buttons. Not my gumdrop buttons. FARQUAAD All right then. Who's hiding them? GINGERBREAD MAN Okay, I'll tell you. Do you know the muffin man? FARQUAAD The muffin man? GINGERBREAD MAN The muffin man. FARQUAAD Yes, I know the muffin man, who lives on Drury Lane? GINGERBREAD MAN Well, she's married to the muffin man. FARQUAAD The muffin man? GINGERBREAD MAN The muffin man! FARQUAAD She's married to the muffin man. The door opens and the Head Guard walks in. HEAD GUARD My lord! We found it. FARQUAAD Then what are you waiting for? Bring it in. More guards enter carrying something that is covered by a sheet. They hang up whatever it is and remove the sheet. It is the Magic Mirror. GINGERBREAD MAN (in awe) Ohhhh... FARQUAAD Magic mirror... GINGERBREAD MAN Don't tell him anything! (Farquaad picks him up and dumps him into a trash can with a lid.) No! FARQUAAD Evening. Mirror, mirror on the wall. Is this not the most perfect kingdom of them all? MIRROR Well, technically you're not a king. FARQUAAD Uh, Thelonius. (Thelonius holds up a hand mirror and smashes it with his fist.) You were saying? MIRROR What I mean is you're not a king yet. But you can become one. All you have to do is marry a princess. FARQUAAD Go on. MIRROR (chuckles nervously) So, just sit back and relax, my lord, because it's time for you to meet today's eligible bachelorettes. And here they are! Bachelorette number one is a mentally abused shut-in from a kingdom far, far away. She likes sushi and hot tubbing anytime. Her hobbies include cooking and cleaning for her two evil sisters. Please welcome Cinderella. (shows picture of Cinderella) Bachelorette number two is a cape-wearing girl from the land of fancy. Although she lives with seven other men, she's not easy. Just kiss her dead, frozen lips and find out what a live wire she is. Come on. Give it up for Snow White! (shows picture of Snow White) And last, but certainly not last, bachelorette number three is a fiery redhead from a dragon-guarded castle surrounded by hot boiling lava! But don't let that cool you off. She's a loaded pistol who likes pina colads and getting caught in the rain. Yours for the rescuing, Princess Fiona! (Shows picture of Princess Fiona) So will it be bachelorette number one, bachelorette number two or bachelorette number three? GUARDS Two! Two! Three! Three! Two! Two! Three! FARQUAAD Three? One? Three? THELONIUS Three! (holds up 2 fingers) Pick number three, my lord! FARQUAAD Okay, okay, uh, number three! MIRROR Lord Farquaad, you've chosen Princess Fiona. FARQUAAD Princess Fiona. She's perfect. All I have to do is just find someone who can go... MIRROR But I probably should mention the little thing that happens at night. FARQUAAD I'll do it. MIRROR Yes, but after sunset... FARQUAAD Silence! I will make this Princess Fiona my queen, and DuLoc will finally have the perfect king! Captain, assemble your finest men. We're going to have a tournament. (smiles evilly) DuLoc Parking Lot - Lancelot Section Shrek and Donkey come out of the field that is right by the parking lot. The castle itself is about 40 stories high. DONKEY But that's it. That's it right there. That's DuLoc. I told ya I'd find it. SHREK So, that must be Lord Farquaad's castle. DONKEY Uh-huh. That's the place. SHREK Do you think maybe he's compensating for something? (He laughs, but then groans as Donkey doesn't get the joke. He continues walking through the parking lot.) DONKEY Hey, wait. Wait up, Shrek. MAN Hurry, darling. We're late. Hurry. SHREK Hey, you! (The attendant, who is wearing a giant head that looks like Lord Farquaad, screams and begins running through the rows of rope to get to the front gate to get away from Shrek.) Wait a second. Look, I'm not gonna eat you. I just - - I just - - (He sighs and then begins walking straight through the rows. The attendant runs into a wall and falls down. Shrek and Donkey look at him then continue on into DuLoc.) DULOC They look around but all is quiet. SHREK It's quiet. Too quiet. Where is everybody? DONKEY Hey, look at this! Donkey runs over and pulls a lever that is attached to a box marked 'Information'. The music winds up and then the box doors open up. There are little wooden people inside and they begin to sing. WOODEN PEOPLE Welcome to DuLoc such a perfect town Here we have some rules Let us lay them down Don't make waves, stay in line And we'll get along fine DuLoc is perfect place Please keep off of the grass Shine your shoes, wipe your... face DuLoc is, DuLoc is DuLoc is perfect place. Suddenly a camera takes Donkey and Shrek's picture. DONKEY Wow! Let's do that again! (makes ready to run over and pull the lever again) SHREK (grabs Donkey's tail and holds him still) No. No. No, no, no! No. They hear a trumpet fanfare and head over to the arena. FARQUAAD Brave knights. You are the best and brightest in all the land. Today one of you shall prove himself... As Shrek and Donkey walk down the tunnel to get into the arena Donkey is humming the DuLoc theme song. SHREK All right. You're going the right way for a smacked bottom. DONKEY Sorry about that. FARQUAAD That champion shall have the honor - - no, no - - the privilege to go forth and rescue the lovely Princess Fiona from the fiery keep of the dragon. If for any reason the winner is unsuccessful, the first runner-up will take his place and so on and so forth. Some of you may die, but it's a sacrifice I am willing to make. (cheers) Let the tournament begin! (He notices Shrek) Oh! What is that? It's hideous! SHREK (turns to look at Donkey and then back at Farquaad) Ah, that's not very nice. It's just a donkey. FARQUAAD Indeed. Knights, new plan! The one who kills the ogre will be named champion! Have it him! MEN Get him! SHREK Oh, hey! Now come on! Hang on now. (bumps into a table where there are mugs of beer) CROWD Go ahead! Get him! SHREK (holds up a mug of beer) Can't we just settle this over a pint? CROWD Kill the beast! SHREK No? All right then. (drinks the beer) Come on! He takes the mug and smashes the spigot off the large barrel of beer behind him. The beer comes rushing out drenching the other men and wetting the ground. It's like mud now. Shrek slides past the men and picks up a spear that one of the men dropped. As Shrek begins to fight Donkey hops up onto one of the larger beer barrels. It breaks free of it's ropes and begins to roll. Donkey manages to squish two men into the mud. There is so much fighting going on here I'm not going to go into detail. Suffice to say that Shrek kicks butt. DONKEY Hey, Shrek, tag me! Tag me! Shrek comes over and bangs a man's head up against Donkeys. Shrek gets up on the ropes and interacts with the crowd. SHREK Yeah! A man tries to sneak up behind Shrek, but Shrek turns in time and sees him. WOMAN The chair! Give him the chair! Shrek smashes a chair over the guys back. Finally all the men are down. Donkey kicks one of them in the helmet, and the ding sounds the end of the match. The audience goes wild. SHREK Oh, yeah! Ah! Ah! Thank you! Thank you very much! I'm here till Thursday. Try the veal! Ha, ha! (laughs) The laughter stops as all of the guards turn their weapons on Shrek. HEAD GUARD Shall I give the order, sir? FARQUAAD No, I have a better idea. People of DuLoc, I give you our champion! SHREK What? FARQUAAD Congratulations, ogre. You're won the honor of embarking on a great and noble quest. SHREK Quest? I'm already in a quest, a quest to get my swamp back. FARQUAAD Your swamp? SHREK Yeah, my swamp! Where you dumped those fairy tale creatures! FARQUAAD Indeed. All right, ogre. I'll make you a deal. Go on this quest for me, and I'll give you your swamp back. SHREK Exactly the way it was? FARQUAAD Down to the last slime-covered toadstool. SHREK And the squatters? FARQUAAD As good as gone. SHREK What kind of quest? Time Lapse - Donkey and Shrek are now walking through the field heading away from DuLoc. Shrek is munching on an onion. DONKEY Let me get this straight. You're gonna go fight a dragon and rescue a princess just so Farquaad will give you back a swamp which you only don't have because he filled it full of freaks in the first place. Is that about right? SHREK You know, maybe there's a good reason donkeys shouldn't talk. DONKEY I don't get it. Why don't you just pull some of that ogre stuff on him? Throttle him, lay siege to his fortress, grinds his bones to make your bread, the whole ogre trip. SHREK Oh, I know what. Maybe I could have decapitated an entire village and put their heads on a pike, gotten a knife, cut open their spleen and drink their fluids. Does that sound good to you? DONKEY Uh, no, not really, no. SHREK For your information, there's a lot more to ogres than people think. DONKEY Example? SHREK Example? Okay, um, ogres are like onions. (he holds out his onion) DONKEY (sniffs the onion) They stink? SHREK Yes - - No! DONKEY They make you cry? SHREK No! DONKEY You leave them in the sun, they get all brown, start sproutin' little white hairs. SHREK No! Layers! Onions have layers. Ogres have layers! Onions have layers. You get it? We both have layers. (he heaves a sigh and then walks off) DONKEY (trailing after Shrek) Oh, you both have layers. Oh. {Sniffs} You know, not everybody likes onions. Cake! Everybody loves cakes! Cakes have layers. SHREK I don't care... what everyone likes. Ogres are not like cakes. DONKEY You know what else everybody likes? Parfaits. Have you ever met a person, you say, "Let's get some parfait," they say, "Hell no, I don't like no parfait"? Parfaits are delicious. SHREK No! You dense, irritating, miniature beast of burden! Ogres are like onions! And of story. Bye-bye. See ya later. DONKEY Parfaits may be the most delicious thing on the whole damn planet. SHREK You know, I think I preferred your humming. DONKEY Do you have a tissue or something? I'm making a mess. Just the word parfait make me start slobbering. They head off. There is a montage of their journey. Walking through a field at sunset. Sleeping beneath a bright moon. Shrek trying to put the campfire out the next day and having a bit of a problem, so Donkey pees on the fire to put it out. DRAGON'S KEEP Shrek and Donkey are walking up to the keep that's supposed to house Princess Fiona. It appears to look like a giant volcano. DONKEY (sniffs) Ohh! Shrek! Did you do that? You gotta warn somebody before you just crack one off. My mouth was open and everything. SHREK Believe me, Donkey, if it was me, you'd be dead. (sniffs) It's brimstone. We must be getting close. DONKEY Yeah, right, brimstone. Don't be talking about it's the brimstone. I know what I smell. It wasn't no brimstone. It didn't come off no stone neither. They climb up the side of the volcano/keep and look down. There is a small piece of rock right in the center and that is where the castle is. It is surrounded by boiling lava. It looks very foreboding. SHREK Sure, it's big enough, but look at the location. (laughs...then the laugh turns into a groan) DONKEY Uh, Shrek? Uh, remember when you said ogres have layers? SHREK Oh, aye. DONKEY Well, I have a bit of a confession to make. Donkeys don't have layers. We wear our fear right out there on our sleeves. SHREK Wait a second. Donkeys don't have sleeves. DONKEY You know what I mean. SHREK You can't tell me you're afraid of heights. DONKEY No, I'm just a little uncomfortable about being on a rickety bridge over a boiling like of lava! SHREK Come on, Donkey. I'm right here beside ya, okay? For emotional support., we'll just tackle this thing together one little baby step at a time. DONKEY Really? SHREK Really, really. DONKEY Okay, that makes me feel so much better. SHREK Just keep moving. And don't look down. DONKEY Okay, don't look down. Don't look down. Don't look down. Keep on moving. Don't look down. (he steps through a rotting board and ends up looking straight down into the lava) Shrek! I'm lookin' down! Oh, God, I can't do this! Just let me off, please! SHREK But you're already halfway. DONKEY But I know that half is safe! SHREK Okay, fine. I don't have time for this. You go back. DONKEY Shrek, no! Wait! SHREK Just, Donkey - - Let's have a dance then, shall me? (bounces and sways the bridge) DONKEY Don't do that! SHREK Oh, I'm sorry. Do what? Oh, this? (bounces the bridge again) DONKEY Yes, that! SHREK Yes? Yes, do it. Okay. (continues to bounce and sway as he backs Donkey across the bridge) DONKEY No, Shrek! No! Stop it! SHREK You said do it! I'm doin' it. DONKEY I'm gonna die. I'm gonna die. Shrek, I'm gonna die. (steps onto solid ground) Oh! SHREK That'll do, Donkey. That'll do. (walks towards the castle) DONKEY Cool. So where is this fire-breathing pain-in-the-neck anyway? SHREK Inside, waiting for us to rescue her. (chuckles) DONKEY I was talkin' about the dragon, Shrek. INSIDE THE CASTLE DONKEY You afraid? SHREK No. DONKEY But... SHREK Shh. DONKEY Oh, good. Me neither. (sees a skeleton and gasps) 'Cause there's nothin' wrong with bein' afraid. Fear's a sensible response to an unfamiliar situation. Unfamiliar dangerous situation, I might add. With a dragon that breathes fire and eats knights and breathes fire, it sure doesn't mean you're a coward if you're a little scared. I sure as heck ain't no coward. I know that. SHREK Donkey, two things, okay? Shut ... up. Now go over there and see if you can find any stairs. DONKEY Stairs? I thought we was lookin' for the princess. SHREK (putting on a helmet) The princess will be up the stairs in the highest room in the tallest tower. DONKEY What makes you think she'll be there? SHREK I read it in a book once. (walks off) DONKEY Cool. You handle the dragon. I'll handle the stairs. I'll find those stairs. I'll whip their butt too. Those stairs won't know which way they're goin'. (walks off) EMPTY ROOM Donkey is still talking to himself as he looks around the room. DONKEY I'm gonna take drastic steps. Kick it to the curb. Don't mess with me. I'm the stair master. I've mastered the stairs. I wish I had a step right here. I'd step all over it. ELSEWHERE Shrek spots a light in the tallest tower window. SHREK Well, at least we know where the princess is, but where's the... DONKEY (os) Dragon! Donkey gasps and takes off running as the dragon roars again. Shrek manages to grab Donkey out of the way just as the dragon breathes fire. SHREK Donkey, look out! (he manages to get a hold of the dragons tail and holds on) Got ya! The dragon gets irritated at this and flicks it's tail and Shrek goes flying through the air and crashes through the roof of the tallest tower. Fiona wakes up with a jerk and looks at him lying on the floor. DONKEY Oh! Aah! Aah! Donkey get cornered as the Dragon knocks away all but a small part of the bridge he's on. DONKEY No. Oh, no, No! (the dragon roars) Oh, what large teeth you have. (the dragon growls) I mean white, sparkling teeth. I know you probably hear this all time from your food, but you must bleach, 'cause that is one dazzling smile you got there. Do I detect a hint of minty freshness? And you know what else? You're - - You're a girl dragon! Oh, sure! I mean, of course you're a girl dragon. You're just reeking of feminine beauty. (the dragon begins fluttering her eyes at him) What's the matter with you? You got something in your eye? Ohh. Oh. Oh. Man, I'd really love to stay, but you know, I'm, uh...(the dragon blows a smoke ring in the shape of a heart right at him, and he coughs) I'm an asthmatic, and I don't know if it'd work out if you're gonna blow smoke rings. Shrek! (the dragon picks him up with her teeth and carries him off) No! Shrek! Shrek! Shrek! FIONA'S ROOM Shrek groans as he gets up off the floor. His back is to Fiona so she straightens her dress and lays back down on the bed. She then quickly reaches over and gets the bouquet of flowers off the side table. She then lays back down and appears to be asleep. Shrek turns and goes over to her. He looks down at Fiona for a moment and she puckers her lips. Shrek takes her by the shoulders and shakes her away. FIONA Oh! Oh! SHREK Wake up! FIONA What? SHREK Are you Princess Fiona? FIONA I am, awaiting a knight so bold as to rescue me. SHREK Oh, that's nice. Now let's go! FIONA But wait, Sir Knight. This be-ith our first meeting. Should it not be a wonderful, romantic moment? SHREK Yeah, sorry, lady. There's no time. FIONA Hey, wait. What are you doing? You should sweep me off my feet out yonder window and down a rope onto your valiant steed. SHREK You've had a lot of time to plan this, haven't you? FIONA (smiles) Mm-hmm. Shrek breaks the lock on her door and pulls her out and down the hallway. FIONA But we have to savor this moment! You could recite an epic poem for me. A ballad? A sonnet! A limerick? Or something! SHREK I don't think so. FIONA Can I at least know the name of my champion? SHREK Uh, Shrek. FIONA Sir Shrek. (clears throat and holds out a handkerchief) I pray that you take this favor as a token of my gratitude. SHREK Thanks! Suddenly they hear the dragon roar. FIONA (surprised)You didn't slay the dragon? SHREK It's on my to-do list. Now come on! (takes off running and drags Fiona behind him.) FIONA But this isn't right! You were meant to charge in, sword drawn, banner flying. That's what all the other knights did. SHREK Yeah, right before they burst into flame. FIONA That's not the point. (Shrek suddenly stops and she runs into him.) Oh! (Shrek ignores her and heads for a wooden door off to the side.) Wait. Where are you going? The exit's over there. SHREK Well, I have to save my ass. FIONA What kind of knight are you? SHREK One of a kind. (opens the door into the throne room) DONKEY (os) Slow down. Slow down, baby, please. I believe it's healthy to get to know someone over a long period of time. Just call me old-fashioned. (laughs worriedly) (we see him up close and from a distance as Shrek sneaks into the room) I don't want to rush into a physical relationship. I'm not emotionally ready for a commitment of, uh, this - - Magnitude really is the word I'm looking for. Magnitude- - Hey, that is unwanted physical contact. Hey, what are you doing? Okay, okay. Let's just back up a little and take this one step at a time. We really should get to know each other first as friends or pen pals. I'm on the road a lot, but I just love receiving cards - - I'd really love to stay, but - - Don't do that! That's my tail! That's my personal tail. You're gonna tear it off. I don't give permission - - What are you gonna do with that? Hey, now. No way. No! No! No, no! No. No, no, no. No! Oh! Shrek grabs a chain that's connected to the chandelier and swings toward the dragon. He misses and he swings back again. He looks up and spots that the chandelier is right above the dragons head. He pulls on the chain and it releases and he falls down and bumps Donkey out of the way right as the dragon is about to kiss him. Instead the dragon kisses Shreks' butt. She opens her eyes and roars. Shrek lets go of the chain and the chandelier falls onto her head, but it's too big and it goes over her head and forms a sort of collar for her. She roars again and Shrek and Donkey take off running. Very 'Matrix' style. Shrek grabs Donkey and then grabs Princess Fiona as he runs past her. DONKEY Hi, Princess! FIONA It talks! SHREK Yeah, it's getting him to shut up that's the trick. They all start screaming as the dragon gains on them. Shrek spots a descending slide and jumps on. But unfortunately there is a crack in the stone and it hits Shrek right in the groin. His eyes cross and as he reaches the bottom of the slide he stumbles off and walks lightly. SHREK Oh! Shrek gets them close to the exit and sets down Donkey and Fiona. SHREK Okay, you two, heard for the exit! I'll take care of the dragon. Shrek grabs a sword and heads back toward the interior of the castle. He throws the sword down in between several overlapping chain links. The chain links are attached to the chandelier that is still around the dragons neck. SHREK (echoing) Run! They all take off running for the exit with the dragon in hot pursuit. They make it to the bridge and head across. The dragons breathes fire and the bridge begins to burn. They all hang on for dear life as the ropes holding the bridge up collapse. They are swung to the other side. As they hang upside down they look in horror as the dragon makes to fly over the boiling lava to get them. But suddenly the chandelier with the chain jerk the dragon back and she's unable to get to them. Our gang climbs quickly to safety as the dragon looks angry and then gives a sad whimper as she watches Donkey walk away. FIONA (sliding down the 'volcano' hill) You did it! You rescued me! You're amazing. (behind her Donkey falls down the hill) You're - - You're wonderful. You're... (turns and sees Shrek fall down the hill and bump into Donkey) a little unorthodox I'll admit. But thy deed is great, and thy heart is pure. I am eternally in your debt. (Donkey clears his throat.) And where would a brave knight be without his noble steed? DONKEY I hope you heard that. She called me a noble steed. She think I'm a steed. FIONA The battle is won. You may remove your helmet, good Sir Knight. SHREK Uh, no. FIONA Why not? SHREK I have helmet hair. FIONA Please. I would'st look upon the face of my rescuer. SHREK No, no, you wouldn't - - 'st. FIONA But how will you kiss me? SHREK What? (to Donkey) That wasn't in the job description. DONKEY Maybe it's a perk. FIONA No, it's destiny. Oh, you must know how it goes. A princess locked in a tower and beset by a dragon is rescued by a brave knight, and then they share true love's first kiss. DONKEY Hmm? With Shrek? You think- - Wait. Wait. You think that Shrek is you true love? FIONA Well, yes. Both Donkey and Shrek burst out laughing. DONKEY You think Shrek is your true love! FIONA What is so funny? SHREK Let's just say I'm not your type, okay?Fiona: Of course, you are. You're my rescuer. Now - - Now remove your helmet. SHREK Look. I really don't think this is a good idea. FIONA Just take off the helmet. SHREK I'm not going to. FIONA Take it off. SHREK No! FIONA Now! SHREK Okay! Easy. As you command. Your Highness. (takes off his helmet) FIONA You- - You're a- - an ogre. SHREK Oh, you were expecting Prince Charming. FIONA Well, yes, actually. Oh, no. This is all wrong. You're not supposed to be an ogre. SHREK Princess, I was sent to rescue you by Lord Farquaad, okay? He is the one who wants to marry you. FIONA Then why didn't he come rescue me? SHREK Good question. You should ask him that when we get there. FIONA But I have to be rescued by my true love, not by some ogre and his- - his pet. DONKEY Well, so much for noble steed. SHREK You're not making my job any easier. FIONA I'm sorry, but your job is not my problem. You can tell Lord Farquaad that if he wants to rescue me properly, I'll be waiting for him right here. SHREK Hey! I'm no one's messenger boy, all right? (ominous) I'm a delivery boy. (he swiftly picks her up and swings her over his shoulder like she was a sack of potatoes) FIONA You wouldn't dare. Put me down! SHREK Ya comin', Donkey? DONKEY I'm right behind ya. FIONA Put me down, or you will suffer the consequences! This is not dignified! Put me down! WOODS A little time has passed and Fiona has calmed down. She just hangs there limply while Shrek carries her. DONKEY Okay, so here's another question. Say there's a woman that digs you, right, but you don't really like her that way. How do you let her down real easy so her feelings aren't hurt, but you don't get burned to a crisp and eaten? FIONA You just tell her she's not your true love. Everyone knows what happens when you find your...(Shrek drops her on the ground) Hey! The sooner we get to DuLoc the better. DONKEY You're gonna love it there, Princess. It's beautiful! FIONA And what of my groom-to-be? Lord Farquaad? What's he like? SHREK Let me put it this way, Princess. Men of Farquaad's stature are in short supply. (he and Donkey laugh) Shrek then proceeds to splash water onto his face to wash off the dust and grime. DONKEY I don't know. There are those who think little of him. (they laugh again) Fiona: Stop it. Stop it, both of you. You're just jealous you can never measure up to a great ruler like Lord Farquaad. SHREK Yeah, well, maybe you're right, Princess. But I'll let you do the "measuring" when you see him tomorrow. FIONA (looks at the setting sun) Tomorrow? It'll take that long? Shouldn't we stop to make camp? SHREK No, that'll take longer. We can keep going. FIONA But there's robbers in the woods. DONKEY Whoa! Time out, Shrek! Camp is starting to sound good. SHREK Hey, come on. I'm scarier than anything we're going to see in this forest. FIONA I need to find somewhere to camp now! Both Donkey and Shrek's ears lower as they shrink away from her. MOUNTAIN CLIFF Shrek has found a cave that appears to be in good order. He shoves a stone boulder out of the way to reveal the cave. SHREK Hey! Over here. DONKEY Shrek, we can do better than that. I don't think this is fit for a princess. FIONA No, no, it's perfect. It just needs a few homey touches. SHREK Homey touches? Like what? (he hears a tearing noise and looks over at Fiona who has torn the bark off of a tree.) FIONA A door? Well, gentlemen, I bid thee good night. (goes into the cave and puts the bark door up behind her) DONKEY You want me to read you a bedtime story? I will. FIONA (os) I said good night! Shrek looks at Donkey for a second and then goes to move the boulder back in front of the entrance to the cave with Fiona still inside. DONKEY Shrek, What are you doing? SHREK (laughs) I just- - You know - - Oh, come on. I was just kidding. LATER THAT NIGHT Shrek and Donkey are sitting around a campfire. They are staring up into the sky as Shrek points out certain star constellations to Donkey. SHREK And, uh, that one, that's Throwback, the only ogre to ever spit over three wheat fields. DONKEY Right. Yeah. Hey, can you tell my future from these stars? SHREK The stars don't tell the future, Donkey. They tell stories. Look, there's Bloodnut, the Flatulent. You can guess what he's famous for. DONKEY I know you're making this up. SHREK No, look. There he is, and there's the group of hunters running away from his stench. DONKEY That ain't nothin' but a bunch of little dots. SHREK You know, Donkey, sometimes things are more than they appear. Hmm? Forget it. DONKEY (heaves a big sigh) Hey, Shrek, what we gonna do when we get our swamp anyway? SHREK Our swamp? DONKEY You know, when we're through rescuing the princess. SHREK We? Donkey, there's no "we". There's no "our". There's just me and my swamp. The first thing I'm gonna do is build a ten-foot wall around my land. DONKEY You cut me deep, Shrek. You cut me real deep just now. You know what I think? I think this whole wall thing is just a way to keep somebody out. SHREK No, do ya think? DONKEY Are you hidin' something? SHREK Never mind, Donkey. DONKEY Oh, this is another one of those onion things, isn't it? SHREK No, this is one of those drop-it and leave-it alone things. DONKEY Why don't you want to talk about it? SHREK Why do you want to talk about it? DONKEY Why are you blocking? SHREK I'm not blocking. DONKEY Oh, yes, you are. SHREK Donkey, I'm warning you. DONKEY Who you trying to keep out? SHREK Everyone! Okay? DONKEY (pause) Oh, now we're gettin' somewhere. (grins) At this point Fiona pulls the 'door' away from the entrance to the cave and peaks out. Neither of the guys see her. SHREK Oh! For the love of Pete! (gets up and walks over to the edge of the cliff and sits down) DONKEY What's your problem? What you got against the whole world anyway? SHREK Look, I'm not the one with the problem, okay? It's the world that seems to have a problem with me. People take one look at me and go. "Aah! Help! Run! A big, stupid, ugly ogre!" They judge me before they even know me. That's why I'm better off alone. DONKEY You know what? When we met, I didn't think you was just a big, stupid, ugly ogre. SHREK Yeah, I know. DONKEY So, uh, are there any donkeys up there? SHREK Well, there's, um, Gabby, the Small and Annoying. DONKEY Okay, okay, I see it now. The big shiny one, right there. That one there? Fiona puts the door back. SHREK That's the moon. DONKEY Oh, okay. DuLoc - Farquaad's Bedroom The camera pans over a lot of wedding stuff. Soft music plays in the background. Farquaad is in bed, watching as the Magic Mirror shows him Princess Fiona. FARQUAAD Again, show me again. Mirror, mirror, show her to me. Show me the princess. MIRROR Hmph. The Mirror rewinds and begins to play again from the beginning. FARQUAAD Ah. Perfect. Farquaad looks down at his bare chest and pulls the sheet up to cover himself as though Fiona could see him as he gazes sheepishly at her image in the mirror. MORNING Fiona walks out of the cave. She glances at Shrek and Donkey who are still sleeping. She wanders off into the woods and comes across a blue bird. She begins to sing. The bird sings along with her. She hits higher and higher notes and the bird struggles to keep up with her. Suddenly the pressure of the note is too big and the bird explodes. Fiona looks a little sheepish, but she eyes the eggs that the bird left behind. Time lapse, Fiona is now cooking the eggs for breakfast. Shrek and Donkey are still sleeping. Shrek wakes up and looks at Fiona. Donkey's talking in his sleep. DONKEY (quietly) Mmm, yeah, you know I like it like that. Come on, baby. I said I like it. SHREK Donkey, wake up. (shakes him) DONKEY Huh? What? SHREK Wake up. DONKEY What? (stretches and yawns) FIONA Good morning. Hm, how do you like your eggs? DONKEY Oh, good morning, Princess! Fiona gets up and sets the eggs down in front of them. SHREK What's all this about? FIONA You know, we kind of got off to a bad start yesterday. I wanted to make it up to you. I mean, after all, you did rescue me. SHREK Uh, thanks. Donkey sniffs the eggs and licks his lips. FIONA Well, eat up. We've got a big day ahead of us. (walks off) LATER They are once again on their way. They are walking through the forest. Shrek belches. DONKEY Shrek! SHREK What? It's a compliment. Better out than in, I always say. (laughs) DONKEY Well, it's no way to behave in front of a princess. Fiona belches FIONA Thanks. DONKEY She's as nasty as you are. SHREK (chuckles) You know, you're not exactly what I expected. FIONA Well, maybe you shouldn't judge people before you get to know them. She smiles and then continues walking, singing softly. Suddenly from out of nowhere, a man swings down and swoops Fiona up into a tree. ROBIN HOOD La liberte! Hey! SHREK Princess! FIONA (to Robin Hood) What are you doing? ROBIN HOOD Be still, mon cherie, for I am you savior! And I am rescuing you from this green...(kisses up her arm while Fiona pulls back in disgust)...beast. SHREK Hey! That's my princess! Go find you own! ROBIN HOOD Please, monster! Can't you see I'm a little busy here? FIONA (getting fed up) Look, pal, I don't know who you think you are! ROBIN HOOD Oh! Of course! Oh, how rude. Please let me introduce myself. Oh, Merry Men. (laughs) Suddenly an accordion begins to play and the Merry men pop out from the bushes. They begin to sing Robin's theme song. MERRY MEN Ta, dah, dah, dah, whoo. ROBIN HOOD I steal from the rich and give to the needy. MERRY MEN He takes a wee percentage, ROBIN HOOD But I'm not greedy. I rescue pretty damsels, man, I'm good. MERRY MEN What a guy, Monsieur Hood. ROBIN HOOD Break it down. I like an honest fight and a saucy little maid... MERRY MEN What he's basically saying is he likes to get... ROBIN HOOD Paid. So...When an ogre in the bush grabs a lady by the tush. That's bad. MERRY MEN That's bad. ROBIN HOOD When a beauty's with a beast it makes me awfully mad. MERRY MEN He's mad, he's really, really mad. ROBIN HOOD I'll take my blade and ram it through your heart, keep your eyes on me, boys 'cause I'm about to start... There is a grunt as Fiona swings down from the tree limb and knocks Robin Hood unconscious. FIONA Man, that was annoying! Shrek looks at her in admiration. MERRY MAN Oh, you little- - (shoots an arrow at Fiona but she ducks out of the way) The arrow flies toward Donkey who jumps into Shrek's arms to get out of the way. The arrow proceeds to just bounce off a tree. Another fight sequence begins and Fiona gives a karate yell and then proceeds to beat the crap out of the Merry Men. There is a very interesting 'Matrix' moment here when Fiona pauses in mid-air to fix her hair. Finally all of the Merry Men are down, and Fiona begins walking away. FIONA Uh, shall we? SHREK Hold the phone. (drops Donkey and begins walking after Fiona) Oh! Whoa, whoa, whoa. Hold on now. Where did that come from? FIONA What? SHREK That! Back there. That was amazing! Where did you learn that? FIONA Well...(laughs) when one lives alone, uh, one has to learn these things in case there's a...(gasps and points) there's an arrow in your butt! SHREK What? (turns and looks) Oh, would you look at that? (he goes to pull it out but flinches because it's tender) FIONA Oh, no. This is all my fault. I'm so sorry. DONKEY (walking up) Why? What's wrong? FIONA Shrek's hurt. DONKEY Shrek's hurt. Shrek's hurt? Oh, no, Shrek's gonna die. SHREK Donkey, I'm okay. DONKEY You can't do this to me, Shrek. I'm too young for you to die. Keep you legs elevated. Turn your head and cough. Does anyone know the Heimlich? FIONA Donkey! Calm down. If you want to help Shrek, run into the woods and find me a blue flower with red thorns. DONKEY Blue flower, red thorns. Okay, I'm on it. Blue flower, red thorns. Don't die Shrek. If you see a long tunnel, stay away from the light! SHREK & FIONA Donkey! DONKEY Oh, yeah. Right. Blue flower, red thorns. (runs off) SHREK What are the flowers for? FIONA (like it's obvious) For getting rid of Donkey. SHREK Ah. FIONA Now you hold still, and I'll yank this thing out. (gives the arrow a little pull) SHREK (jumps away) Ow! Hey! Easy with the yankin'. As they continue to talk Fiona keeps going after the arrow and Shrek keeps dodging her hands. FIONA I'm sorry, but it has to come out. SHREK No, it's tender. FIONA Now, hold on. SHREK What you're doing is the opposite of help. FIONA Don't move. SHREK Look, time out. FIONA Would you...(grunts as Shrek puts his hand over her face to stop her from getting at the arrow) Okay. What do you propose we do? ELSEWHERE Donkey is still looking for the special flower. DONKEY Blue flower, red thorns. Blue flower, red thorns. Blue flower, red thorns. This would be so much easier if I wasn't color-blind! Blue flower, red thorns. SHREK (os) Ow! DONKEY Hold on, Shrek! I'm comin'! (rips a flower off a nearby bush that just happens to be a blue flower with red thorns) THE FOREST PATH SHREK Ow! Not good. FIONA Okay. Okay. I can nearly see the head. (Shrek grunts as she pulls) It's just about... SHREK Ow! Ohh! (he jerks and manages to fall over with Fiona on top of him) DONKEY Ahem. SHREK (throwing Fiona off of him) Nothing happend. We were just, uh - - DONKEY Look, if you wanted to be alone, all you had to do was ask. Okay? SHREK Oh, come on! That's the last thing on my mind. The princess here was just- - (Fiona pulls the arrow out) Ugh! (he turns to look at Fiona who holds up the arrow with a smile) Ow! DONKEY Hey, what's that? (nervous chuckle) That's...is that blood? Donkey faints. Shrek walks over and picks him up as they continue on their way. There is a montage of scenes as the group heads back to DuLoc. Shrek crawling up to the top of a tree to make it fall over a small brook so that Fiona won't get wet. Shrek then gets up as Donkey is just about to cross the tree and the tree swings back into it's upright position and Donkey flies off. Shrek swatting and a bunch of flies and mosquitoes. Fiona grabs a nearby spiderweb that's on a tree branch and runs through the field swinging it around to catch the bugs. She then hands it to Shrek who begins eating like it's a treat. As he walks off she licks her fingers. Shrek catching a toad and blowing it up like a balloon and presenting it to Fiona. Fiona catching a snake, blowing it up, fashioning it into a balloon animal and presenting it to Shrek. The group arriving at a windmill that is near DuLoc. WINDMILL SHREK There it is, Princess. Your future awaits you. FIONA That's DuLoc? DONKEY Yeah, I know. You know, Shrek thinks Lord Farquaad's compensating for something, which I think means he has a really...(Shrek steps on his hoof) Ow! SHREK Um, I, uh- - I guess we better move on. FIONA Sure. But, Shrek? I'm - - I'm worried about Donkey. SHREK What? FIONA I mean, look at him. He doesn't look so good. DONKEY What are you talking about? I'm fine. FIONA (kneels to look him in the eyes) That's what they always say, and then next thing you know, you're on your back. (pause) Dead. SHREK You know, she's right. You look awful. Do you want to sit down? FIONA Uh, you know, I'll make you some tea. DONKEY I didn't want to say nothin', but I got this twinge in my neck, and when I turn my head like this, look, (turns his neck in a very sharp way until his head is completely sideways) Ow! See? SHREK Who's hungry? I'll find us some dinner. FIONA I'll get the firewood. DONKEY Hey, where you goin'? Oh, man, I can't feel my toes! (looks down and yelps) I don't have any toes! I think I need a hug. SUNSET Shrek has built a fire and is cooking the rest of dinner while Fiona eats. FIONA Mmm. This is good. This is really good. What is this? SHREK Uh, weed rat. Rotisserie style. FIONA No kidding. Well, this is delicious. SHREK Well, they're also great in stews. Now, I don't mean to brag, but I make a mean weed rat stew. (chuckles) Fiona looks at DuLoc and sighs. FIONA I guess I'll be dining a little differently tomorrow night. SHREK Maybe you can come visit me in the swamp sometime. I'll cook all kind of stuff for you. Swamp toad soup, fish eye tartare - - you name it. FIONA (smiles) I'd like that. They smiles at each other. SHREK Um, Princess? FIONA Yes, Shrek? SHREK I, um, I was wondering...are you...(sighs) Are you gonna eat that? DONKEY (chuckles) Man, isn't this romantic? Just look at that sunset. FIONA (jumps up) Sunset? Oh, no! I mean, it's late. I-It's very late. SHREK What? DONKEY Wait a minute. I see what's goin' on here. You're afraid of the dark, aren't you? FIONA Yes! Yes, that's it. I'm terrified. You know, I'd better go inside. DONKEY Don't feel bad, Princess. I used to be afraid of the dark, too, until - - Hey, no, wait. I'm still afraid of the dark. Shrek sighs FIONA Good night. SHREK Good night. Fiona goes inside the windmill and closes the door. Donkey looks at Shrek with a new eye. DONKEY Ohh! Now I really see what's goin' on here. SHREK Oh, what are you talkin' about? DONKEY I don't even wanna hear it. Look, I'm an animal, and I got instincts. And I know you two were diggin' on each other. I could feel it. SHREK You're crazy. I'm just bringing her back to Farquaad. DONKEY Oh, come on, Shrek. Wake up and smell the pheromones. Just go on in and tell her how you feel. SHREK I- - There's nothing to tell. Besides, even if I did tell her that, well, you know - - and I'm not sayin' I do 'cause I don't - - she's a princess, and I'm - - DONKEY An ogre? SHREK Yeah. An ogre. DONKEY Hey, where you goin'? SHREK To get... move firewood. (sighs) Donkey looks over at the large pile of firewood there already is. TIME LAPSE Donkey opens the door to the Windmill and walks in. Fiona is nowhere to be seen. DONKEY Princess? Princess Fiona? Princess, where are you? Princess? Fiona looks at Donkey from the shadows, but we can't see her. DONKEY It's very spooky in here. I ain't playing no games. Suddenly Fiona falls from the railing. She gets up only she doesn't look like herself. She looks like an ogre and Donkey starts freaking out. DONKEY Aah! FIONA Oh, no! DONKEY No, help! FIONA Shh! DONKEY Shrek! Shrek! Shrek! FIONA No, it's okay. It's okay. DONKEY What did you do with the princess? FIONA Donkey, I'm the princess. DONKEY Aah! FIONA It's me, in this body. DONKEY Oh, my God! You ate the princess. (to her stomach) Can you hear me? FIONA Donkey! DONKEY (still aimed at her stomach) Listen, keep breathing! I'll get you out of there! FIONA No! DONKEY Shrek! Shrek! Shrek! FIONA Shh. DONKEY Shrek! FIONA This is me. Donkey looks into her eyes as she pets his muzzle, and he quiets down. DONKEY Princess? What happened to you? You're, uh, uh, uh, different. FIONA I'm ugly, okay? DONKEY Well, yeah! Was it something you ate? 'Cause I told Shrek those rats was a bad idea. You are what you eat, I said. Now - - FIONA No. I - - I've been this way as long as I can remember. DONKEY What do you mean? Look, I ain't never seen you like this before. FIONA It only happens when sun goes down. "By night one way, by day another. This shall be the norm... until you find true love's first kiss... and then take love's true form." DONKEY Ah, that's beautiful. I didn't know you wrote poetry. FIONA It's a spell. (sigh) When I was a little girl, a witch cast a spell on me. Every night I become this. This horrible, ugly beast! I was placed in a tower to await the day my true love would rescue me. That's why I have to marry Lord Farquaad tomorrow before the sun sets and he sees me like this. (begins to cry) DONKEY All right, all right. Calm down. Look, it's not that bad. You're not that ugly. Well, I ain't gonna lie. You are ugly. But you only look like this at night. Shrek's ugly 24-7. FIONA But Donkey, I'm a princess, and this is not how a princess is meant to look. DONKEY Princess, how 'bout if you don't marry Farquaad? FIONA I have to. Only my true love's kiss can break the spell. DONKEY But, you know, um, you're kind of an orge, and Shrek - - well, you got a lot in common. FIONA Shrek? OUTSIDE Shrek is walking towards the windmill with a sunflower in his hand. SHREK (to himself) Princess, I - - Uh, how's it going, first of all? Good? Um, good for me too. I'm okay. I saw this flower and thought of you because it's pretty and - - well, I don't really like it, but I thought you might like it 'cause you're pretty. But I like you anyway. I'd - - uh, uh...(sighs) I'm in trouble. Okay, here we go. He walks up to the door and pauses outside when he hears Donkey and Fiona talking. FIONA (os) I can't just marry whoever I want. Take a good look at me, Donkey. I mean, really, who can ever love a beast so hideous and ugly? "Princess" and "ugly" don't go together. That's why I can't stay here with Shrek. Shrek steps back in shock. FIONA (os) My only chance to live happily ever after is to marry my true love. Shrek heaves a deep sigh. He throws the flower down and walks away. INSIDE FIONA Don't you see, Donkey? That's just how it has to be. It's the only way to break the spell. DONKEY You at least gotta tell Shrek the truth. FIONA No! You can't breathe a word. No one must ever know. DONKEY What's the point of being able to talk if you gotta keep secrets? FIONA Promise you won't tell. Promise! DONKEY All right, all right. I won't tell him. But you should. (goes outside) I just know before this is over, I'm gonna need a whole lot of serious therapy. Look at my eye twitchin'. Fiona comes out the door and watches him walk away. She looks down and spots the sunflower. She picks it up before going back inside the windmill. MORNING Donkey is asleep. Shrek is nowhere to be seen. Fiona is still awake. She is plucking petals from the sunflower. FIONA I tell him, I tell him not. I tell him, I tell him not. I tell him. (she quickly runs to the door and goes outside) Shrek! Shrek, there's something I want...(she looks and sees the rising sun, and as the sun crests the sky she turns back into a human.) Just as she looks back at the sun she sees Shrek stomping towards her. FIONA Shrek. Are you all right? SHREK Perfect! Never been better. FIONA I - - I don't - - There's something I have to tell you. SHREK You don't have to tell me anything, Princess. I heard enough last night. FIONA You heard what I said? SHREK Every word. FIONA I thought you'd understand. SHREK Oh, I understand. Like you said, "Who could love a hideous, ugly beast?" FIONA But I thought that wouldn't matter to you. SHREK Yeah? Well, it does. (Fiona looks at him in shock. He looks past her and spots a group approaching.) Ah, right on time. Princess, I've brought you a little something. Farquaad has arrived with a group of his men. He looks very regal sitting up on his horse. You would never guess that he's only like 3 feet tall. Donkey wakes up with a yawn as the soldiers march by. DONKEY What'd I miss? What'd I miss? (spots the soldiers) (muffled) Who said that? Couldn't have been the donkey. FARQUAAD Princess Fiona. SHREK As promised. Now hand it over. FARQUAAD Very well, ogre. (holds out a piece of paper) The deed to your swamp, cleared out, as agreed. Take it and go before I change my mind. (Shrek takes the paper) Forgive me, Princess, for startling you, but you startled me, for I have never seen such a radiant beauty before. I'm Lord Farquaad. FIONA Lord Farquaad? Oh, no, no. (Farquaad snaps his fingers) Forgive me, my lord, for I was just saying a short... (Watches as Farquaad is lifted off his horse and set down in front of her. He comes to her waist.) farewell. FARQUAAD Oh, that is so sweet. You don't have to waste good manners on the ogre. It's not like it has feelings. FIONA No, you're right. It doesn't. Donkey watches this exchange with a curious look on his face. FARQUAAD Princess Fiona, beautiful, fair, flawless Fiona. I ask your hand in marriage. Will you be the perfect bride for the perfect groom? FIONA Lord Farquaad, I accept. Nothing would make - - FARQUAAD (interrupting) Excellent! I'll start the plans, for tomorrow we wed! FIONA No! I mean, uh, why wait? Let's get married today before the sun sets. FARQUAAD Oh, anxious, are you? You're right. The sooner, the better. There's so much to do! There's the caterer, the cake, the band, the guest list. Captain, round up some guests! (a guard puts Fiona on the back of his horse) FIONA Fare-thee-well, ogre. Farquaad's whole party begins to head back to DuLoc. Donkey watches them go. DONKEY Shrek, what are you doing? You're letting her get away. SHREK Yeah? So what? DONKEY Shrek, there's something about her you don't know. Look, I talked to her last night, She's - - SHREK I know you talked to her last night. You're great pals, aren't ya? Now, if you two are such good friends, why don't you follow her home? DONKEY Shrek, I - - I wanna go with you. SHREK I told you, didn't I? You're not coming home with me. I live alone! My swamp! Me! Nobody else! Understand? Nobody! Especially useless, pathetic, annoying, talking donkeys! DONKEY But I thought - - SHREK Yeah. You know what? You thought wrong! (stomps off) DONKEY Shrek. Montage of different scenes. Shrek arriving back home. Fiona being fitted for the wedding dress. Donkey at a stream running into the dragon. Shrek cleaning up his house. Fiona eating dinner alone. Shrek eating dinner alone. SHREK'S HOME Shrek is eating dinner when he hears a sound outside. He goes outside to investigate. SHREK Donkey? (Donkey ignores him and continues with what he's doing.) What are you doing? DONKEY I would think, of all people, you would recognize a wall when you see one. SHREK Well, yeah. But the wall's supposed to go around my swamp, not through it. DONKEY It is around your half. See that's your half, and this is my half. SHREK Oh! Your half. Hmm. DONKEY Yes, my half. I helped rescue the princess. I did half the work. I get half the booty. Now hand me that big old rock, the one that looks like your head. SHREK Back off! DONKEY No, you back off. SHREK This is my swamp! DONKEY Our swamp. SHREK (grabs the tree branch Donkey is working with) Let go, Donkey! DONKEY You let go. SHREK Stubborn jackass! DONKEY Smelly ogre. SHREK Fine! (drops the tree branch and walks away) DONKEY Hey, hey, come back here. I'm not through with you yet. SHREK Well, I'm through with you. DONKEY Uh-uh. You know, with you it's always, "Me, me, me!" Well, guess what! Now it's my turn! So you just shut up and pay attention! You are mean to me. You insult me and you don't appreciate anything that I do! You're always pushing me around or pushing me away. SHREK Oh, yeah? Well, if I treated you so bad, how come you came back? DONKEY Because that's what friends do! They forgive each other! SHREK Oh, yeah. You're right, Donkey. I forgive you... for stabbin' me in the back! (goes into the outhouse and slams the door) DONKEY Ohh! You're so wrapped up in layers, onion boy, you're afraid of your own feelings. SHREK (os) Go away! DONKEY There you are , doing it again just like you did to Fiona. All she ever do was like you, maybe even love you. SHREK (os) Love me? She said I was ugly, a hideous creature. I heard the two of you talking. DONKEY She wasn't talkin' about you. She was talkin' about, uh, somebody else. SHREK (opens the door and comes out) She wasn't talking about me? Well, then who was she talking about? DONKEY Uh-uh, no way. I ain't saying anything. You don't wanna listen to me. Right? Right? SHREK Donkey! DONKEY No! SHREK Okay, look. I'm sorry, all right? (sigh) I'm sorry. I guess I am just a big, stupid, ugly ogre. Can you forgive me? DONKEY Hey, that's what friends are for, right? SHREK Right. Friends? DONKEY Friends. SHREK So, um, what did Fiona say about me? DONKEY What are you asking me for? Why don't you just go ask her? SHREK The wedding! We'll never make it in time. DONKEY Ha-ha-ha! Never fear, for where, there's a will, there's a way and I have a way. (whistles) Suddenly the dragon arrives overhead and flies low enough so they can climb on. SHREK Donkey? DONKEY I guess it's just my animal magnetism. They both laugh. SHREK Aw, come here, you. (gives Donkey a noogie) DONKEY All right, all right. Don't get all slobbery. No one likes a kiss ass. All right, hop on and hold on tight. I haven't had a chance to install the seat belts yet. They climb aboard the dragon and she takes off for DuLoc. DULOC - CHURCH Fiona and Farquaad are getting married. The whole town is there. The prompter card guy holds up a card that says 'Revered Silence'. PRIEST People of DuLoc, we gather here today to bear witness to the union.... FIONA (eyeing the setting sun) Um- PRIEST ...of our new king... FIONA Excuse me. Could we just skip ahead to the "I do's"? FARQUAAD (chuckles and then motions to the priest to indulge Fiona) Go on. COURTYARD Some guards are milling around. Suddenly the dragon lands with a boom. The guards all take off running. DONKEY (to Dragon) Go ahead, HAVE SOME FUN. If we need you, I'll whistle. How about that? (she nods and goes after the guards) Shrek, wait, wait! Wait a minute! You wanna do this right, don't you? SHREK (at the Church door) What are you talking about? DONKEY There's a line you gotta wait for. The preacher's gonna say, "Speak now or forever hold your peace." That's when you say, "I object!" SHREK I don't have time for this! DONKEY Hey, wait. What are you doing? Listen to me! Look, you love this woman, don't you? SHREK Yes. DONKEY You wanna hold her? SHREK Yes. DONKEY Please her? SHREK Yes! DONKEY (singing James Brown style) Then you got to, got to try a little tenderness. (normal) The chicks love that romantic crap! SHREK All right! Cut it out. When does this guy say the line? DONKEY We gotta check it out. INSIDE CHURCH As the priest talks we see Donkey's shadow through one of the windows Shrek tosses him up so he can see. PRIEST And so, by the power vested in me... Outside SHREK What do you see? DONKEY The whole town's in there. Inside PRIEST I now pronounce you husband and wife... Outside DONKEY They're at the altar. Inside PRIEST ...king and queen. Outside DONKEY Mother Fletcher! He already said it. SHREK Oh, for the love of Pete! He runs inside without catching Donkey, who hits the ground hard. INSIDE CHURCH SHREK (running toward the alter) I object! FIONA Shrek? The whole congregation gasps as they see Shrek. FARQUAAD Oh, now what does he want? SHREK (to congregation as he reaches the front of the Church) Hi, everyone. Havin' a good time, are ya? I love DuLoc, first of all. Very clean. FIONA What are you doing here? SHREK Really, it's rude enough being alive when no one wants you, but showing up uninvited to a wedding... SHREK Fiona! I need to talk to you. FIONA Oh, now you wanna talk? It's a little late for that, so if you'll excuse me - - SHREK But you can't marry him. FIONA And why not? SHREK Because- - Because he's just marring you so he can be king. FARQUAAD Outrageous! Fiona, don't listen to him. SHREK He's not your true love. FIONA And what do you know about true love? SHREK Well, I - - Uh - - I mean - - FARQUAAD Oh, this is precious. The ogee has fallen in love with the princess! Oh, good Lord. (laughs) The prompter card guy holds up a card that says 'Laugh'. The whole congregation laughs. FARQUAAD An ogre and a princess! FIONA Shrek, is this true? FARQUAAD Who cares? It's preposterous! Fiona, my love, we're but a kiss away from our "happily ever after." Now kiss me! (puckers his lips and leans toward her, but she pulls back.) FIONA (looking at the setting sun) "By night one way, by day another." (to Shrek) I wanted to show you before. She backs up and as the sun sets she changes into her ogre self. She gives Shrek a sheepish smile. SHREK Well, uh, that explains a lot. (Fiona smiles) FARQUAAD Ugh! It's disgusting! Guards! Guards! I order you to get that out of my sight now! Get them! Get them both! The guards run in and separate Fiona and Shrek. Shrek fights them. SHREK No, no! FIONA Shrek! FARQUAAD This hocus-pocus alters nothing. This marriage is binding, and that makes me king! See? See? FIONA No, let go of me! Shrek! SHREK No! FARQUAAD Don't just stand there, you morons. SHREK Get out of my way! Fiona! Arrgh! FARQUAAD I'll make you regret the day we met. I'll see you drawn and quartered! You'll beg for death to save you! FIONA No, Shrek! FARQUAAD (hold a dagger to Fiona's throat) And as for you, my wife... SHREK Fiona! FARQUAAD I'll have you locked back in that tower for the rest of your days! I'm king! Shrek manages to get a hand free and he whistles. FARQUAAD I will have order! I will have perfection! I will have - - (Donkey and the dragon show up and the dragon leans down and eats Farquaad) Aaaah! Aah! DONKEY All right. Nobody move. I got a dragon here, and I'm not afraid to use it. (The dragon roars.) I'm a donkey on the edge! The dragon belches and Farquaad's crown flies out of her mouth and falls to the ground. DONKEY Celebrity marriages. They never last, do they? The congregation cheers. DONKEY Go ahead, Shrek. SHREK Uh, Fiona? FIONA Yes, Shrek? SHREK I - - I love you. FIONA Really? SHREK Really, really. FIONA (smiles) I love you too. Shrek and Fiona kiss. Thelonius takes one of the cards and writes 'Awwww' on the back and then shows it to the congregation. CONGREGATION Aawww! Suddenly the magic of the spell pulls Fiona away. She's lifted up into the air and she hovers there while the magic works around her. WHISPERS "Until you find true love's first kiss and then take love's true form. Take love's true form. Take love's true form." Suddenly Fiona's eyes open wide. She's consumed by the spell and then is slowly lowered to the ground. SHREK (going over to her) Fiona? Fiona. Are you all right? FIONA (standing up, she's still an ogre) Well, yes. But I don't understand. I'm supposed to be beautiful. SHREK But you ARE beautiful. They smile at each other. DONKEY (chuckles) I was hoping this would be a happy ending. Shrek and Fiona kiss...and the kiss fades into... THE SWAMP ...their wedding kiss. Shrek and Fiona are now married. 'I'm a Believer' by Smashmouth is played in the background. Shrek and Fiona break apart and run through the crowd to their awaiting carriage. Which is made of a giant onion. Fiona tosses her bouquet which both Cinderella and Snow White try to catch. But they end up getting into a cat fight and so the dragon catches the bouquet instead. The Gingerbread man has been mended somewhat and now has one leg and walks with a candy cane cane. Shrek and Fiona walk off as the rest of the guests party and Donkey takes over singing the song. GINGERBREAD MAN God bless us, every one. DONKEY (as he's done singing and we fade to black) Oh, that's funny. Oh. Oh. I can't breathe. I can't breathe. THE END

Full stack Angular + Nest + Universal.

employee benefits swedbank The bank does not apply a variable remuneration system with discretionary pension benefits. Bank officials can borrow up to SEK 2 million at this special price. Employee benefits seb Health and benefits SEB. Work at a bank. The greatest lesson was personal knowledge. You follow up defined key figures for the customer and take action if necessary. The benefit varies in value, but the interest rates on the bank employees' mortgages are generally very low. Cookies are used, among other things, to save your settings, analyze how you surf and adapt content to suit you. Swedbank and the savings banks new partners to Samsung Pay Companies in major change towards customer contact via telephone and internet. We may start the selection during the application period and welcome your application as soon as possible. How long does the hiring process take, from first interview to employment, at Swedbank? Large workplace with many colleagues, very work-related discussions. Apply for a loan! Met customers every day, had fun with colleagues. IT MEDIA GROUP AB. Every time a project was finished and started, I felt a satisfaction and joy to have been involved in developing something new and important. The bank has employee benefits that employees can take advantage of. Next. Expenditure categories: milita…, Internal Consultant with Excel, Access and MS-Project, Project Manager Event Sponsorship Marketing Department. Right now, a super low 0.04 percent mortgage interest rate is offered for three-month loans. Huge Selectio. We offer you a stimulating workplace that provides valuable experience from various projects in fintech. I worked in a large team, which I enjoyed very much. Contractual pension. Apply no later than today. their significantly lower costs. Employees have ample opportunities for work rotation which contributes towards personal development and provides opportunities to try new areas of work. At Uniflex, we see our employees as our most important asset and therefore we offer • Collective agreements • Occupational pension • Wellness allowance and other employee benefits • Insurance • Market salary • Career and development We are constantly looking for new colleagues who work in agreement with our guiding stars business focus, commitment, joy and responsibility. employee benefits, which are stated in the instruction. 1 5 10 15 20 SEB SIXRX 29.4 -5.7 3.6 9.7 10.4 26.7 8.0 5.9 12.1 13.4 www.seb.se 9% 14% of total assets of total assets ABB is a leader in power and automation technology. Desktop Menu Toggle. Today, Söderberg & Partners 2017's best performing players in the Swedish financial industry. Expenditures: $ 50,000,000,000,000.00 ICA Bank - Employee Benefits Personal Finance. As a customer advisor, you will answer calls and provide service to private individuals. Employment contract Once you have received your employment contract, it is important that you check that all information is correct. Those who work at Swedbank get the very best conditions. A typical working day was to work both independently and have meetings with colleagues. The job was a challenge but also fun and stimulating. Employees have ample opportunities for work rotation which contributes towards personal development and provides opportunities to try new areas of work. Our Design Hub is located in the heart of Swedbank's modern head office. Work experience. Söderberg & Every year, Partners releases a sustainability analysis of the largest pension companies. In the role of Key Account Manager, you are commercially responsible for the main agreement, which means responsibility for negotiating the main agreement, coordinating business issues and business agreements, updating the agreement in the event of a change and anchoring with the contact persons. Clearing number is the number that identifies the bank and branch to which an account belongs. MENU MENU. That is why we like to see female applicants. Mainly internet. great opportunities to advance in your career. There are some benefits that are tax-free, such as staff care benefits. Variable compensation means compensation that is not determined in advance to Do you want a really low mortgage rate? Variable remuneration to employees and its purpose The Bank's operations are carried out by salaried employees who may have variable remuneration in addition to salary. At Swedbank, there is security and the opportunity to try new things in a stable environment with development opportunities and good employee benefits. Our Design Hub, together with the digital bank's management, business and developer, is located in the heart of Swedbank's modern head office in Sundbyberg. If you do not know the name, ask your HR-department. It is a wonderful and motivating work climate with good staff benefits as wellness allowance. Relatively high workload with stimulating tasks. Benify offers you instant access to your world of employee benefits, rewards and much more. Söderberg & Partner funds have changed their name. Personnel bikes work to help employers provide their employees with benefit bikes in a simple and safe way - something that can be financially beneficial for employers and employees. Your total budget for this promotion is kr85.7…, Gdp: $ 900,450,320,120,900,800.00 Wednesday's announcement is the end for Handelsbanken as we know it. Has taught me to work with various Swedbank's computer programs. Liked everything and everyone at Swedbank, thought everything was fun. CEO, editor-in-chief and responsible publisher: Anna Careborg, Editors and Acting responsible publishers: Maria Rimpi and Martin Ahlquist, Postal address Svenska Dagbladet, 105 17 Stockholm, Subscription matters and e-mail to customer serviceSubscription matters and e-mail to customer service. If you have more than one account (for example, an employee of several companies), you first need to fill in the company name. Benify privately. . In order for us to be able to create a sustainable society for everyone who lives, visits and works in Huddinge, you as an employee are the most important thing we have. Created a poorer work environment by reducing staff, as well as bonus systems. We may start the selection during the application period and welcome your application as soon as possible. If you were to leave Swedbank, what is the primary reason? Since Swedbank was formed about 8 years ago, the focus has been on a completely new bank based on customer contacts via digital channels. Trygghetsförvaltning has changed its name to Proaktiv Förvaltning. It is said that Google to take an SMS loan that grants SMS loans with in the US has been interested, but there to be indebted already at the beginning of its in the future. New report: Pension companies increasingly sustainable. The good reputation spreads, which gives more applications per ad and reduces the need for. These are stated in the bank's established employee benefits, where it is also stated any criteria for issuing the benefit. SvD Näringsliv has taken a closer look at what the conditions look like. 6.5 Severance pay Sparbanken shall ensure that compensation paid to an employee in connection with In December 2016, we announced that a name change would take place as a result of the Swedish Consumer Agency's statement on the Security Administration, there. If you have any questions, you are always welcome to contact us. 6.4 Contractual pension Pension benefits are paid in accordance with law and agreements. Those who work at Swedbank get the very best conditions. Ambea for me salary specification. With personnel loans, super interest rates are offered to all bank employees. Otherwise, they were very instructive. How flexible is Swedbank with working hours and working remotely? Söderberg & Partners - Hållbarhetsrapporten Pensionsbolag 2016. A typical working day was that you came to work at the same times of the day, picked up your work box that you had received from the bank with all your things in, then sat down at any computer table, logged in to computer, opened all the programs to work with and began receiving calls and emails. But the benefit taxation means that it is not quite as good as it first seems. Swedbank and more Swedish banks Clearing number is the number that identifies the bank and the branch to which an account belongs. At the bank, I learned an incredible amount. Flexible working hours are applied. Anxious work environment where everything talked between colleagues concerns how long you can keep your job. Working at ABB gives you an opportunity to contribute to a more prosperous and sustainable world. Apply. ; ‚] Ú ÏÃÎG; ùÄ £ ÷ ä› ÿÃÉ — Îþúêîîê'ÿ "ÿéêêîˆ97› Ò ¥ “2nú & ó $;› t'Ó & á. Customer and employee satisfaction is always on top of the agenda. Are you used to working with complexes sales and has a strong business and customer focus? booked via customer service. Good benefits. Contractual pension The bank does not apply a variable remuneration system with discretionary pension benefits. Then you are the Key Account Manager we are looking for at PayEx! \\ n \\ n Background: \\ n \\ nPayEx is a company with two business areas, PayEx. Swedbank Hypotek AB, 556003-3283 - At allabolag.se you will find, financial statements, key figures, group, group tree, board, Status no less than 24 lenders do it and you pay a fee. Today, they can take out mortgages at 0.04 percent interest. The funds that were previously called Trygghet have now changed their name to Proaktiv, but the services remain the same. The results are based on Söderberg & Partners' annual traffic light report, which contains analyzes of the entire Swedish savings market and is compiled to keep savers informed about how the providers of financial services and products perform. Flashback Forum 46,947 visitors online. Employee benefits according to instruction 12.1.1 3. They stay longer, are more committed and more likely to see themselves as ambassadors for your employer brand. Here you will find - who is employed or affiliated with us - information and routines regarding common personnel-related issues at CLINTEC. Welcome to your benefits portal! employee benefits, which are stated in the instruction. Today, they can take out mortgages at 0.04 percent interest. The tasks only included telephone sales, which meant that I lacked more customer contact. Today, Söderberg & Partners launches a third sustainability report, this time to demonstrate what funds' sustainability work looks like. Holiday work gives you a chance to earn your own money, at the same time as you gain valuable experience for the future. Generous staff prices, a healthy lifestyle and safe conditions. The bank has employee benefits that employees can take advantage of. Here you will find vacancies in the Danske Bank Group. Mercer has extensive experience in designing employee benefits from a strategic perspective. Healthy and able to work… then get a responsibility like this management of ours. Employee benefits Competitive employee benefits. But the benefit taxation means that it is not quite as good as it first seems. Good and innovative company that I would really recommend working in. Customer in focus is always a matter of course. Year 9 is prioritized. Prerequisites for getting holiday work is that you have applied on time, are registered in the municipality. 6.4 Contractual pension Pension benefits are paid in accordance with law and agreements. If something is to change, you must notify us as soon as possible. If your employer pays a private cost of living for you, it is a benefit and you must pay tax on the benefit. E-mail: info@itmediagroup.se Demolish the pyramids! is a book for anyone who is or has a boss. It has been hailed by Bill Clinton and is course literature at Harvard. It has been sold in more than 50 countries and has been called the most important event in Swedish leadership. Benefits. window.SvD.ads.queue.push (function () {Application. Change bank if you want a lower fee. Salary type: Fixed monthly, weekly or hourly salary. WHO ARE YOU? The benefit is normally valued at its market value but in some cases is PayEx is looking for an ambitious Key Account Manager for its sales team. \\ nDo you want to work with an expansive and innovative company in invoice management and financing? • Wellness grants and other employee benefits • Insurance • Market salary • Career and development We are constantly looking for new colleagues who work in accordance with our values ​​business focus, commitment, joy and responsibility. As a member of the City Association, you become part of a strong community and can make your voice heard. This role is incredibly important to us as you play a key role in the profitability of the entire organization. öÉ'¯ù [™ ûóçŸýã´ = û¯ “ïÿõóϾ ± ü Ï? Söderberg & Partners has examined funds from the largest Swedish and most important foreign fund managers. Swedbank is no longer a local bank close to customers. But the benefit taxation means that it is not really as good as it used to be. Those who work at Swedbank get the very best conditions. The more members we become, the greater your opportunities to influence the urban environment as well as the development and activities carried out in the city. Scope / Duration: Full time / Until further notice. The work environment is very friendly cooperative and respectful. ASSEMBLY: SVD. Awesome. Staff / HR at CLINTEC. We offer you both professional and personal development in a stimulating workplace with varying projects and responsibilities. Apply no later than 23 May (4 months 18 days left) Published: 2021-04-19. Hotel staff - 100%. Welcome to us in Mjölby municipality. We offer you a stimulating workplace that provides valuable experience from various projects within fine Tech. Read more about cookies. Swedbank and more Swedish banks. Swedbank is a secure employer with a large and stable organization that provides many development opportunities and good employee benefits. . Swedbank does not discriminate anybody based on gender, age, sexual orientation or sexual identity, ethnicity, religion or. Medvind is an internal system for employees at Ambea. Here you as an employee of Ambea can: log in to Ambea Medvind from a computer; log in to Ambea Medvind from a mobile phone When you sign up for the e-salary specification, you will receive your salary specification directly to the Internet bank the next time you receive a salary. Today, they can take out mortgages at 0.04 percent interest. IT MEDIA GROUP AB. Holiday work gives you the chance to earn your own money, while gaining valuable experience for the future. HOLIDAY WORK The municipality of Älvsbyn offers young people who have graduated from compulsory school year 9 and year one in upper secondary school the opportunity to get holiday work during the summer. Development, Community, Education, Loyalty. Good benefits, good development opportunities. All banks have staff terms on mortgages. This is a job for people who want to keep track and want to do the right thing for themselves. Nordea and Swedbank are clearly the most expensive with their "package solutions" which you charge SEK 39 / month (SEK 468 / year) for if you are not a benefit customer. Trygghetsförvaltning has changed its name to Proaktiv Förvaltning. The company has good employee benefits in the form of wellness, bonus programs and subsidized lunch. . For an attractive city center. As an employee of SEB, you have access to a number of benefits,. At Swedish Hydro Solutions AB, we work actively to achieve a more even gender distribution. Our Design Hub is located in the heart of Swedbank's modern head office. Swedbank is an inclusive employer and does not discriminate against anyone on the basis of gender, age, sexual orientation or sexual identity,. Phone: +46 8 501 370 53.. Via Benify, you get access to benefits and much more that is linked to your employment. Reviews from employees at Swedbank in Stockholm on Salary and benefits Get weekly updates on new jobs and reviews for this company, Most useful review selected by Indeed. You also get a mentor and access to our range of employee benefits. ACCOUNTING Menu Toggle. These are stated in the bank's established employee benefits, where it is also stated any criteria for issuing the benefit. Phone: +46 8 501 370 53. Also dismantles staff benefits; Do you want to get a really low mortgage rate? Good Employer, with great knowledge and people who support each other. What kind of questions were asked during your interview at Swedbank? On a regular day, it is full of customers and varying tasks. We use cookies for swedbank.se and the internet bank to function in a good way. With personnel loans, super interest rates are offered to all bank employees. Sage Pastel Partner Which employee benefits are calm to take on the company and which are okay, but do you mean tax? For the right person, good development opportunities are offered. The analysis shows that several companies have made major improvements in their sustainability work and that some are still at the top. At Swedbank, there is security and the opportunity to try new things in a stable environment with development opportunities and good employee benefits. Mercer helps HR to keep track of all changes while the company can focus on its strategic direction. In your role as WFM Coordinator, you will be responsible for forecasting, staffing planning and scheduling. Engage employees anywhere, anytime. Our community is ready to respond. Like most other companies, we have employee benefits. Welcome to Helsingborg City. Phone: +46 8 501 370 53. Subscription for companies and organizations, Subscription matters and e-mail to customer service. HOME; SOLUTIONS Menu Toggle. Work at a bank. Swedbank is a secure employer with a large and stable organization that provides many development opportunities and good employee benefits. We offer you a stimulating workplace that provides valuable experience from various projects in fintech. Contractual pension. Work at a bank. Now our customer E.ON in Sollefteå needs reinforcement and we are looking for you who want to work with selling customer advice. . }); Do you want to get a really low mortgage rate? ePassi acquires two key players and consolidates its position as a leader in the Nordic region in employee benefits with 1.5 million users. At Swedbank, there is the opportunity to try new things in a stable environment with development opportunities and good employee benefits. Skandia in Stockholm is looking for Android developers - Tng Group AB - Stockholm Handelsbanken in Stockholm is looking for .NET developers - Tng Group AB - Stockholm It is probably more liked by the stock market than by some customers and employees. Söderberg & Partners' funds have changed their name. Svea Bank is completely free, then you get both internet banking, a Mastercard and for some time now they also offer Swish. Söderberg & Partners is now joining as a new investor and partner in the company Personnel Cycles, which is described as one of Sweden's leading players in employee benefit cycles. The bank has employee benefits that employees can take advantage of. Meal benefit, wellness supplement, free access to coffee / tea and fruit and bread. Swedbank as a whole is a good and secure employer. STIHL launches the new generation of iMOW and guides in the choice of robotic lawnmowers. Year 9 is prioritized. Prerequisites for getting holiday work is that you have applied on time, are registered in the municipality. 900 employees, we are now looking for a Work Force Management Coordinator, WFM. E-mail: info@itmediagroup.se We want you. Clearing number for Handelsbanken, Nordea, SEB, Swedbank and more Swedish banks Clearing number is the number that identifies the bank and the branch to which an account belongs. 5. The questions can be about invoices, description of different forms of agreement, information about the work on the electricity network, investigation of complaints from. A lot of paperwork, planning and similar tasks. Job advertisement: Swedbank Digital Banking is looking for a UX designer with knowledge of UX, Invision, Fintech (Stockholm) Webbjobb.io uses cookies to help us make the website better. Companies must be listed. Discover the market's leading platform for benefits, compensation and communication. Camping Sölvesborg Sweden Rock , Depreciation Tenancy , Admentum Login Prolympia , Johan Forssell Moderaterna , Hormonplitor Baby 5 Weeks , Behavioral Science, Komvux ,

Quickstart tutorial Prerequisites Before reading this tutorial you should know a bit of Python. If you would like to refresh your memory, take a look at the Python tutorial. If you wish to work the examples in this tutorial, you must also have some software installed on your computer. Please see https://scipy.org/install.html for instructions. Learner profile This tutorial is intended as a quick overview of algebra and arrays in NumPy and want to understand how n-dimensional (n>=2) arrays are represented and can be manipulated. In particular, if you don’t know how to apply common functions to n-dimensional arrays (without using for-loops), or if you want to understand axis and shape properties for n-dimensional arrays, this tutorial might be of help. Learning Objectives After this tutorial, you should be able to: Understand the difference between one-, two- and n-dimensional arrays in NumPy; Understand how to apply some linear algebra operations to n-dimensional arrays without using for-loops; Understand axis and shape properties for n-dimensional arrays. The Basics NumPy’s main object is the homogeneous multidimensional array. It is a table of elements (usually numbers), all of the same type, indexed by a tuple of non-negative integers. In NumPy dimensions are called axes. For example, the coordinates of a point in 3D space [1, 2, 1] has one axis. That axis has 3 elements in it, so we say it has a length of 3. In the example pictured below, the array has 2 axes. The first axis has a length of 2, the second axis has a length of 3. [[ 1., 0., 0.], [ 0., 1., 2.]] NumPy’s array class is called ndarray. It is also known by the alias array. Note that numpy.array is not the same as the Standard Python Library class array.array, which only handles one-dimensional arrays and offers less functionality. The more important attributes of an ndarray object are: ndarray.ndim the number of axes (dimensions) of the array. ndarray.shape the dimensions of the array. This is a tuple of integers indicating the size of the array in each dimension. For a matrix with n rows and m columns, shape will be (n,m). The length of the shape tuple is therefore the number of axes, ndim. ndarray.size the total number of elements of the array. This is equal to the product of the elements of shape. ndarray.dtype an object describing the type of the elements in the array. One can create or specify dtype’s using standard Python types. Additionally NumPy provides types of its own. numpy.int32, numpy.int16, and numpy.float64 are some examples. ndarray.itemsize the size in bytes of each element of the array. For example, an array of elements of type float64 has itemsize 8 (=64/8), while one of type complex32 has itemsize 4 (=32/8). It is equivalent to ndarray.dtype.itemsize. ndarray.data the buffer containing the actual elements of the array. Normally, we won’t need to use this attribute because we will access the elements in an array using indexing facilities. An example >>> import numpy as np a = np.arange(15).reshape(3, 5) a array([[ 0, 1, 2, 3, 4], [ 5, 6, 7, 8, 9], [10, 11, 12, 13, 14]]) a.shape (3, 5) a.ndim 2 a.dtype.name 'int64' a.itemsize 8 a.size 15 type(a) <class 'numpy.ndarray'> b = np.array([6, 7, 8]) b array([6, 7, 8]) type(b) <class 'numpy.ndarray'> Array Creation There are several ways to create arrays. For example, you can create an array from a regular Python list or tuple using the array function. The type of the resulting array is deduced from the type of the elements in the sequences. >>> >>> import numpy as np >>> a = np.array([2,3,4]) >>> a array([2, 3, 4]) >>> a.dtype dtype('int64') >>> b = np.array([1.2, 3.5, 5.1]) >>> b.dtype dtype('float64') A frequent error consists in calling array with multiple arguments, rather than providing a single sequence as an argument. >>> >>> a = np.array(1,2,3,4) # WRONG Traceback (most recent call last): ... TypeError: array() takes from 1 to 2 positional arguments but 4 were given >>> a = np.array([1,2,3,4]) # RIGHT array transforms sequences of sequences into two-dimensional arrays, sequences of sequences of sequences into three-dimensional arrays, and so on. >>> >>> b = np.array([(1.5,2,3), (4,5,6)]) >>> b array([[1.5, 2. , 3. ], [4. , 5. , 6. ]]) The type of the array can also be explicitly specified at creation time: >>> >>> c = np.array( [ [1,2], [3,4] ], dtype=complex ) >>> c array([[1.+0.j, 2.+0.j], [3.+0.j, 4.+0.j]]) Often, the elements of an array are originally unknown, but its size is known. Hence, NumPy offers several functions to create arrays with initial placeholder content. These minimize the necessity of growing arrays, an expensive operation. The function zeros creates an array full of zeros, the function ones creates an array full of ones, and the function empty creates an array whose initial content is random and depends on the state of the memory. By default, the dtype of the created array is float64. >>> >>> np.zeros((3, 4)) array([[0., 0., 0., 0.], [0., 0., 0., 0.], [0., 0., 0., 0.]]) >>> np.ones( (2,3,4), dtype=np.int16 ) # dtype can also be specified array([[[1, 1, 1, 1], [1, 1, 1, 1], [1, 1, 1, 1]], [[1, 1, 1, 1], [1, 1, 1, 1], [1, 1, 1, 1]]], dtype=int16) >>> np.empty( (2,3) ) # uninitialized array([[ 3.73603959e-262, 6.02658058e-154, 6.55490914e-260], # may vary [ 5.30498948e-313, 3.14673309e-307, 1.00000000e+000]]) To create sequences of numbers, NumPy provides the arange function which is analogous to the Python built-in range, but returns an array. >>> >>> np.arange( 10, 30, 5 ) array([10, 15, 20, 25]) >>> np.arange( 0, 2, 0.3 ) # it accepts float arguments array([0. , 0.3, 0.6, 0.9, 1.2, 1.5, 1.8]) When arange is used with floating point arguments, it is generally not possible to predict the number of elements obtained, due to the finite floating point precision. For this reason, it is usually better to use the function linspace that receives as an argument the number of elements that we want, instead of the step: >>> >>> from numpy import pi >>> np.linspace( 0, 2, 9 ) # 9 numbers from 0 to 2 array([0. , 0.25, 0.5 , 0.75, 1. , 1.25, 1.5 , 1.75, 2. ]) >>> x = np.linspace( 0, 2*pi, 100 ) # useful to evaluate function at lots of points >>> f = np.sin(x) See also array, zeros, zeros_like, ones, ones_like, empty, empty_like, arange, linspace, numpy.random.Generator.rand, numpy.random.Generator.randn, fromfunction, fromfile Printing Arrays When you print an array, NumPy displays it in a similar way to nested lists, but with the following layout: the last axis is printed from left to right, the second-to-last is printed from top to bottom, the rest are also printed from top to bottom, with each slice separated from the next by an empty line. One-dimensional arrays are then printed as rows, bidimensionals as matrices and tridimensionals as lists of matrices. >>> >>> a = np.arange(6) # 1d array >>> print(a) [0 1 2 3 4 5] >>> >>> b = np.arange(12).reshape(4,3) # 2d array >>> print(b) [[ 0 1 2] [ 3 4 5] [ 6 7 8] [ 9 10 11]] >>> >>> c = np.arange(24).reshape(2,3,4) # 3d array >>> print(c) [[[ 0 1 2 3] [ 4 5 6 7] [ 8 9 10 11]] [[12 13 14 15] [16 17 18 19] [20 21 22 23]]] See below to get more details on reshape. If an array is too large to be printed, NumPy automatically skips the central part of the array and only prints the corners: >>> >>> print(np.arange(10000)) [ 0 1 2 ... 9997 9998 9999] >>> >>> print(np.arange(10000).reshape(100,100)) [[ 0 1 2 ... 97 98 99] [ 100 101 102 ... 197 198 199] [ 200 201 202 ... 297 298 299] ... [9700 9701 9702 ... 9797 9798 9799] [9800 9801 9802 ... 9897 9898 9899] [9900 9901 9902 ... 9997 9998 9999]] To disable this behaviour and force NumPy to print the entire array, you can change the printing options using set_printoptions. >>> >>> np.set_printoptions(threshold=sys.maxsize) # sys module should be imported Basic Operations Arithmetic operators on arrays apply elementwise. A new array is created and filled with the result. >>> >>> a = np.array( [20,30,40,50] ) >>> b = np.arange( 4 ) >>> b array([0, 1, 2, 3]) >>> c = a-b >>> c array([20, 29, 38, 47]) >>> b**2 array([0, 1, 4, 9]) >>> 10*np.sin(a) array([ 9.12945251, -9.88031624, 7.4511316 , -2.62374854]) >>> a<35 array([ True, True, False, False]) Unlike in many matrix languages, the product operator * operates elementwise in NumPy arrays. The matrix product can be performed using the @ operator (in python >=3.5) or the dot function or method: >>> >>> A = np.array( [[1,1], ... [0,1]] ) >>> B = np.array( [[2,0], ... [3,4]] ) >>> A * B # elementwise product array([[2, 0], [0, 4]]) >>> A @ B # matrix product array([[5, 4], [3, 4]]) >>> A.dot(B) # another matrix product array([[5, 4], [3, 4]]) Some operations, such as += and *=, act in place to modify an existing array rather than create a new one. >>> >>> rg = np.random.default_rng(1) # create instance of default random number generator >>> a = np.ones((2,3), dtype=int) >>> b = rg.random((2,3)) >>> a *= 3 >>> a array([[3, 3, 3], [3, 3, 3]]) >>> b += a >>> b array([[3.51182162, 3.9504637 , 3.14415961], [3.94864945, 3.31183145, 3.42332645]]) >>> a += b # b is not automatically converted to integer type Traceback (most recent call last): ... numpy.core._exceptions.UFuncTypeError: Cannot cast ufunc 'add' output from dtype('float64') to dtype('int64') with casting rule 'same_kind' When operating with arrays of different types, the type of the resulting array corresponds to the more general or precise one (a behavior known as upcasting). >>> >>> a = np.ones(3, dtype=np.int32) >>> b = np.linspace(0,pi,3) >>> b.dtype.name 'float64' >>> c = a+b >>> c array([1. , 2.57079633, 4.14159265]) >>> c.dtype.name 'float64' >>> d = np.exp(c*1j) >>> d array([ 0.54030231+0.84147098j, -0.84147098+0.54030231j, -0.54030231-0.84147098j]) >>> d.dtype.name 'complex128' Many unary operations, such as computing the sum of all the elements in the array, are implemented as methods of the ndarray class. >>> >>> a = rg.random((2,3)) >>> a array([[0.82770259, 0.40919914, 0.54959369], [0.02755911, 0.75351311, 0.53814331]]) >>> a.sum() 3.1057109529998157 >>> a.min() 0.027559113243068367 >>> a.max() 0.8277025938204418 By default, these operations apply to the array as though it were a list of numbers, regardless of its shape. However, by specifying the axis parameter you can apply an operation along the specified axis of an array: >>> >>> b = np.arange(12).reshape(3,4) >>> b array([[ 0, 1, 2, 3], [ 4, 5, 6, 7], [ 8, 9, 10, 11]]) >>> >>> b.sum(axis=0) # sum of each column array([12, 15, 18, 21]) >>> >>> b.min(axis=1) # min of each row array([0, 4, 8]) >>> >>> b.cumsum(axis=1) # cumulative sum along each row array([[ 0, 1, 3, 6], [ 4, 9, 15, 22], [ 8, 17, 27, 38]]) Universal Functions NumPy provides familiar mathematical functions such as sin, cos, and exp. In NumPy, these are called “universal functions”(ufunc). Within NumPy, these functions operate elementwise on an array, producing an array as output. >>> >>> B = np.arange(3) >>> B array([0, 1, 2]) >>> np.exp(B) array([1. , 2.71828183, 7.3890561 ]) >>> np.sqrt(B) array([0. , 1. , 1.41421356]) >>> C = np.array([2., -1., 4.]) >>> np.add(B, C) array([2., 0., 6.]) See also all, any, apply_along_axis, argmax, argmin, argsort, average, bincount, ceil, clip, conj, corrcoef, cov, cross, cumprod, cumsum, diff, dot, floor, inner, invert, lexsort, max, maximum, mean, median, min, minimum, nonzero, outer, prod, re, round, sort, std, sum, trace, transpose, var, vdot, vectorize, where Indexing, Slicing and Iterating One-dimensional arrays can be indexed, sliced and iterated over, much like lists and other Python sequences. >>> >>> a = np.arange(10)**3 >>> a array([ 0, 1, 8, 27, 64, 125, 216, 343, 512, 729]) >>> a[2] 8 >>> a[2:5] array([ 8, 27, 64]) # equivalent to a[0:6:2] = 1000; # from start to position 6, exclusive, set every 2nd element to 1000 >>> a[:6:2] = 1000 >>> a array([1000, 1, 1000, 27, 1000, 125, 216, 343, 512, 729]) >>> a[ : :-1] # reversed a array([ 729, 512, 343, 216, 125, 1000, 27, 1000, 1, 1000]) >>> for i in a: ... print(i**(1/3.)) ... 9.999999999999998 1.0 9.999999999999998 3.0 9.999999999999998 4.999999999999999 5.999999999999999 6.999999999999999 7.999999999999999 8.999999999999998 Multidimensional arrays can have one index per axis. These indices are given in a tuple separated by commas: >>> >>> def f(x,y): ... return 10*x+y ... >>> b = np.fromfunction(f,(5,4),dtype=int) >>> b array([[ 0, 1, 2, 3], [10, 11, 12, 13], [20, 21, 22, 23], [30, 31, 32, 33], [40, 41, 42, 43]]) >>> b[2,3] 23 >>> b[0:5, 1] # each row in the second column of b array([ 1, 11, 21, 31, 41]) >>> b[ : ,1] # equivalent to the previous example array([ 1, 11, 21, 31, 41]) >>> b[1:3, : ] # each column in the second and third row of b array([[10, 11, 12, 13], [20, 21, 22, 23]]) When fewer indices are provided than the number of axes, the missing indices are considered complete slices: >>> >>> b[-1] # the last row. Equivalent to b[-1,:] array([40, 41, 42, 43]) The expression within brackets in b[i] is treated as an i followed by as many instances of : as needed to represent the remaining axes. NumPy also allows you to write this using dots as b[i,...]. The dots (...) represent as many colons as needed to produce a complete indexing tuple. For example, if x is an array with 5 axes, then x[1,2,...] is equivalent to x[1,2,:,:,:], x[...,3] to x[:,:,:,:,3] and x[4,...,5,:] to x[4,:,:,5,:]. >>> >>> c = np.array( [[[ 0, 1, 2], # a 3D array (two stacked 2D arrays) ... [ 10, 12, 13]], ... [[100,101,102], ... [110,112,113]]]) >>> c.shape (2, 2, 3) >>> c[1,...] # same as c[1,:,:] or c[1] array([[100, 101, 102], [110, 112, 113]]) >>> c[...,2] # same as c[:,:,2] array([[ 2, 13], [102, 113]]) Iterating over multidimensional arrays is done with respect to the first axis: >>> >>> for row in b: ... print(row) ... [0 1 2 3] [10 11 12 13] [20 21 22 23] [30 31 32 33] [40 41 42 43] However, if one wants to perform an operation on each element in the array, one can use the flat attribute which is an iterator over all the elements of the array: >>> >>> for element in b.flat: ... print(element) ... 0 1 2 3 10 11 12 13 20 21 22 23 30 31 32 33 40 41 42 43 See also Indexing, Indexing (reference), newaxis, ndenumerate, indices Shape Manipulation Changing the shape of an array An array has a shape given by the number of elements along each axis: >>> >>> a = np.floor(10*rg.random((3,4))) >>> a array([[3., 7., 3., 4.], [1., 4., 2., 2.], [7., 2., 4., 9.]]) >>> a.shape (3, 4) The shape of an array can be changed with various commands. Note that the following three commands all return a modified array, but do not change the original array: >>> >>> a.ravel() # returns the array, flattened array([3., 7., 3., 4., 1., 4., 2., 2., 7., 2., 4., 9.]) >>> a.reshape(6,2) # returns the array with a modified shape array([[3., 7.], [3., 4.], [1., 4.], [2., 2.], [7., 2.], [4., 9.]]) >>> a.T # returns the array, transposed array([[3., 1., 7.], [7., 4., 2.], [3., 2., 4.], [4., 2., 9.]]) >>> a.T.shape (4, 3) >>> a.shape (3, 4) The order of the elements in the array resulting from ravel() is normally “C-style”, that is, the rightmost index “changes the fastest”, so the element after a[0,0] is a[0,1]. If the array is reshaped to some other shape, again the array is treated as “C-style”. NumPy normally creates arrays stored in this order, so ravel() will usually not need to copy its argument, but if the array was made by taking slices of another array or created with unusual options, it may need to be copied. The functions ravel() and reshape() can also be instructed, using an optional argument, to use FORTRAN-style arrays, in which the leftmost index changes the fastest. The reshape function returns its argument with a modified shape, whereas the ndarray.resize method modifies the array itself: >>> >>> a array([[3., 7., 3., 4.], [1., 4., 2., 2.], [7., 2., 4., 9.]]) >>> a.resize((2,6)) >>> a array([[3., 7., 3., 4., 1., 4.], [2., 2., 7., 2., 4., 9.]]) If a dimension is given as -1 in a reshaping operation, the other dimensions are automatically calculated: >>> >>> a.reshape(3,-1) array([[3., 7., 3., 4.], [1., 4., 2., 2.], [7., 2., 4., 9.]]) See also ndarray.shape, reshape, resize, ravel Stacking together different arrays Several arrays can be stacked together along different axes: >>> >>> a = np.floor(10*rg.random((2,2))) >>> a array([[9., 7.], [5., 2.]]) >>> b = np.floor(10*rg.random((2,2))) >>> b array([[1., 9.], [5., 1.]]) >>> np.vstack((a,b)) array([[9., 7.], [5., 2.], [1., 9.], [5., 1.]]) >>> np.hstack((a,b)) array([[9., 7., 1., 9.], [5., 2., 5., 1.]]) The function column_stack stacks 1D arrays as columns into a 2D array. It is equivalent to hstack only for 2D arrays: >>> >>> from numpy import newaxis >>> np.column_stack((a,b)) # with 2D arrays array([[9., 7., 1., 9.], [5., 2., 5., 1.]]) >>> a = np.array([4.,2.]) >>> b = np.array([3.,8.]) >>> np.column_stack((a,b)) # returns a 2D array array([[4., 3.], [2., 8.]]) >>> np.hstack((a,b)) # the result is different array([4., 2., 3., 8.]) >>> a[:,newaxis] # view `a` as a 2D column vector array([[4.], [2.]]) >>> np.column_stack((a[:,newaxis],b[:,newaxis])) array([[4., 3.], [2., 8.]]) >>> np.hstack((a[:,newaxis],b[:,newaxis])) # the result is the same array([[4., 3.], [2., 8.]]) On the other hand, the function row_stack is equivalent to vstack for any input arrays. In fact, row_stack is an alias for vstack: >>> >>> np.column_stack is np.hstack False >>> np.row_stack is np.vstack True In general, for arrays with more than two dimensions, hstack stacks along their second axes, vstack stacks along their first axes, and concatenate allows for an optional arguments giving the number of the axis along which the concatenation should happen. Note In complex cases, r_ and c_ are useful for creating arrays by stacking numbers along one axis. They allow the use of range literals (“:”) >>> >>> np.r_[1:4,0,4] array([1, 2, 3, 0, 4]) When used with arrays as arguments, r_ and c_ are similar to vstack and hstack in their default behavior, but allow for an optional argument giving the number of the axis along which to concatenate. See also hstack, vstack, column_stack, concatenate, c_, r_ Splitting one array into several smaller ones Using hsplit, you can split an array along its horizontal axis, either by specifying the number of equally shaped arrays to return, or by specifying the columns after which the division should occur: >>> >>> a = np.floor(10*rg.random((2,12))) >>> a array([[6., 7., 6., 9., 0., 5., 4., 0., 6., 8., 5., 2.], [8., 5., 5., 7., 1., 8., 6., 7., 1., 8., 1., 0.]]) # Split a into 3 >>> np.hsplit(a,3) [array([[6., 7., 6., 9.], [8., 5., 5., 7.]]), array([[0., 5., 4., 0.], [1., 8., 6., 7.]]), array([[6., 8., 5., 2.], [1., 8., 1., 0.]])] # Split a after the third and the fourth column >>> np.hsplit(a,(3,4)) [array([[6., 7., 6.], [8., 5., 5.]]), array([[9.], [7.]]), array([[0., 5., 4., 0., 6., 8., 5., 2.], [1., 8., 6., 7., 1., 8., 1., 0.]])] vsplit splits along the vertical axis, and array_split allows one to specify along which axis to split. Copies and Views When operating and manipulating arrays, their data is sometimes copied into a new array and sometimes not. This is often a source of confusion for beginners. There are three cases: No Copy at All Simple assignments make no copy of objects or their data. >>> >>> a = np.array([[ 0, 1, 2, 3], ... [ 4, 5, 6, 7], ... [ 8, 9, 10, 11]]) >>> b = a # no new object is created >>> b is a # a and b are two names for the same ndarray object True Python passes mutable objects as references, so function calls make no copy. >>> >>> def f(x): ... print(id(x)) ... >>> id(a) # id is a unique identifier of an object 148293216 # may vary >>> f(a) 148293216 # may vary View or Shallow Copy Different array objects can share the same data. The view method creates a new array object that looks at the same data. >>> >>> c = a.view() >>> c is a False >>> c.base is a # c is a view of the data owned by a True >>> c.flags.owndata False >>> >>> c = c.reshape((2, 6)) # a's shape doesn't change >>> a.shape (3, 4) >>> c[0, 4] = 1234 # a's data changes >>> a array([[ 0, 1, 2, 3], [1234, 5, 6, 7], [ 8, 9, 10, 11]]) Slicing an array returns a view of it: >>> >>> s = a[ : , 1:3] # spaces added for clarity; could also be written "s = a[:, 1:3]" >>> s[:] = 10 # s[:] is a view of s. Note the difference between s = 10 and s[:] = 10 >>> a array([[ 0, 10, 10, 3], [1234, 10, 10, 7], [ 8, 10, 10, 11]]) Deep Copy The copy method makes a complete copy of the array and its data. >>> >>> d = a.copy() # a new array object with new data is created >>> d is a False >>> d.base is a # d doesn't share anything with a False >>> d[0,0] = 9999 >>> a array([[ 0, 10, 10, 3], [1234, 10, 10, 7], [ 8, 10, 10, 11]]) Sometimes copy should be called after slicing if the original array is not required anymore. For example, suppose a is a huge intermediate result and the final result b only contains a small fraction of a, a deep copy should be made when constructing b with slicing: >>> >>> a = np.arange(int(1e8)) >>> b = a[:100].copy() >>> del a # the memory of ``a`` can be released. If b = a[:100] is used instead, a is referenced by b and will persist in memory even if del a is executed. Functions and Methods Overview Here is a list of some useful NumPy functions and methods names ordered in categories. See Routines for the full list. Array Creation arange, array, copy, empty, empty_like, eye, fromfile, fromfunction, identity, linspace, logspace, mgrid, ogrid, ones, ones_like, r_, zeros, zeros_like Conversions ndarray.astype, atleast_1d, atleast_2d, atleast_3d, mat Manipulations array_split, column_stack, concatenate, diagonal, dsplit, dstack, hsplit, hstack, ndarray.item, newaxis, ravel, repeat, reshape, resize, squeeze, swapaxes, take, transpose, vsplit, vstack Questions all, any, nonzero, where Ordering argmax, argmin, argsort, max, min, ptp, searchsorted, sort Operations choose, compress, cumprod, cumsum, inner, ndarray.fill, imag, prod, put, putmask, real, sum Basic Statistics cov, mean, std, var Basic Linear Algebra cross, dot, outer, linalg.svd, vdot Less Basic Broadcasting rules Broadcasting allows universal functions to deal in a meaningful way with inputs that do not have exactly the same shape. The first rule of broadcasting is that if all input arrays do not have the same number of dimensions, a “1” will be repeatedly prepended to the shapes of the smaller arrays until all the arrays have the same number of dimensions. The second rule of broadcasting ensures that arrays with a size of 1 along a particular dimension act as if they had the size of the array with the largest shape along that dimension. The value of the array element is assumed to be the same along that dimension for the “broadcast” array. After application of the broadcasting rules, the sizes of all arrays must match. More details can be found in Broadcasting. Advanced indexing and index tricks NumPy offers more indexing facilities than regular Python sequences. In addition to indexing by integers and slices, as we saw before, arrays can be indexed by arrays of integers and arrays of booleans. Indexing with Arrays of Indices >>> >>> a = np.arange(12)**2 # the first 12 square numbers >>> i = np.array([1, 1, 3, 8, 5]) # an array of indices >>> a[i] # the elements of a at the positions i array([ 1, 1, 9, 64, 25]) >>> >>> j = np.array([[3, 4], [9, 7]]) # a bidimensional array of indices >>> a[j] # the same shape as j array([[ 9, 16], [81, 49]]) When the indexed array a is multidimensional, a single array of indices refers to the first dimension of a. The following example shows this behavior by converting an image of labels into a color image using a palette. >>> >>> palette = np.array([[0, 0, 0], # black ... [255, 0, 0], # red ... [0, 255, 0], # green ... [0, 0, 255], # blue ... [255, 255, 255]]) # white >>> image = np.array([[0, 1, 2, 0], # each value corresponds to a color in the palette ... [0, 3, 4, 0]]) >>> palette[image] # the (2, 4, 3) color image array([[[ 0, 0, 0], [255, 0, 0], [ 0, 255, 0], [ 0, 0, 0]], [[ 0, 0, 0], [ 0, 0, 255], [255, 255, 255], [ 0, 0, 0]]]) We can also give indexes for more than one dimension. The arrays of indices for each dimension must have the same shape. >>> >>> a = np.arange(12).reshape(3,4) >>> a array([[ 0, 1, 2, 3], [ 4, 5, 6, 7], [ 8, 9, 10, 11]]) >>> i = np.array([[0, 1], # indices for the first dim of a ... [1, 2]]) >>> j = np.array([[2, 1], # indices for the second dim ... [3, 3]]) >>> >>> a[i, j] # i and j must have equal shape array([[ 2, 5], [ 7, 11]]) >>> >>> a[i, 2] array([[ 2, 6], [ 6, 10]]) >>> >>> a[:, j] # i.e., a[ : , j] array([[[ 2, 1], [ 3, 3]], [[ 6, 5], [ 7, 7]], [[10, 9], [11, 11]]]) In Python, arr[i, j] is exactly the same as arr[(i, j)]—so we can put i and j in a tuple and then do the indexing with that. >>> >>> l = (i, j) # equivalent to a[i, j] >>> a[l] array([[ 2, 5], [ 7, 11]]) However, we can not do this by putting i and j into an array, because this array will be interpreted as indexing the first dimension of a. >>> >>> s = np.array([i, j]) # not what we want >>> a[s] Traceback (most recent call last): File "<stdin>", line 1, in <module> IndexError: index 3 is out of bounds for axis 0 with size 3 # same as a[i, j] >>> a[tuple(s)] array([[ 2, 5], [ 7, 11]]) Another common use of indexing with arrays is the search of the maximum value of time-dependent series: >>> >>> time = np.linspace(20, 145, 5) # time scale >>> data = np.sin(np.arange(20)).reshape(5,4) # 4 time-dependent series >>> time array([ 20. , 51.25, 82.5 , 113.75, 145. ]) >>> data array([[ 0. , 0.84147098, 0.90929743, 0.14112001], [-0.7568025 , -0.95892427, -0.2794155 , 0.6569866 ], [ 0.98935825, 0.41211849, -0.54402111, -0.99999021], [-0.53657292, 0.42016704, 0.99060736, 0.65028784], [-0.28790332, -0.96139749, -0.75098725, 0.14987721]]) # index of the maxima for each series >>> ind = data.argmax(axis=0) >>> ind array([2, 0, 3, 1]) # times corresponding to the maxima >>> time_max = time[ind] >>> >>> data_max = data[ind, range(data.shape[1])] # => data[ind[0],0], data[ind[1],1]... >>> time_max array([ 82.5 , 20. , 113.75, 51.25]) >>> data_max array([0.98935825, 0.84147098, 0.99060736, 0.6569866 ]) >>> np.all(data_max == data.max(axis=0)) True You can also use indexing with arrays as a target to assign to: >>> >>> a = np.arange(5) >>> a array([0, 1, 2, 3, 4]) >>> a[[1,3,4]] = 0 >>> a array([0, 0, 2, 0, 0]) However, when the list of indices contains repetitions, the assignment is done several times, leaving behind the last value: >>> >>> a = np.arange(5) >>> a[[0,0,2]]=[1,2,3] >>> a array([2, 1, 3, 3, 4]) This is reasonable enough, but watch out if you want to use Python’s += construct, as it may not do what you expect: >>> >>> a = np.arange(5) >>> a[[0,0,2]]+=1 >>> a array([1, 1, 3, 3, 4]) Even though 0 occurs twice in the list of indices, the 0th element is only incremented once. This is because Python requires “a+=1” to be equivalent to “a = a + 1”. Indexing with Boolean Arrays When we index arrays with arrays of (integer) indices we are providing the list of indices to pick. With boolean indices the approach is different; we explicitly choose which items in the array we want and which ones we don’t. The most natural way one can think of for boolean indexing is to use boolean arrays that have the same shape as the original array: >>> >>> a = np.arange(12).reshape(3,4) >>> b = a > 4 >>> b # b is a boolean with a's shape array([[False, False, False, False], [False, True, True, True], [ True, True, True, True]]) >>> a[b] # 1d array with the selected elements array([ 5, 6, 7, 8, 9, 10, 11]) This property can be very useful in assignments: >>> >>> a[b] = 0 # All elements of 'a' higher than 4 become 0 >>> a array([[0, 1, 2, 3], [4, 0, 0, 0], [0, 0, 0, 0]]) You can look at the following example to see how to use boolean indexing to generate an image of the Mandelbrot set: >>> import numpy as np import matplotlib.pyplot as plt def mandelbrot( h,w, maxit=20 ): """Returns an image of the Mandelbrot fractal of size (h,w).""" y,x = np.ogrid[ -1.4:1.4:h*1j, -2:0.8:w*1j ] c = x+y*1j z = c divtime = maxit + np.zeros(z.shape, dtype=int) for i in range(maxit): z = z**2 + c diverge = z*np.conj(z) > 2**2 # who is diverging div_now = diverge & (divtime==maxit) # who is diverging now divtime[div_now] = i # note when z[diverge] = 2 # avoid diverging too much return divtime plt.imshow(mandelbrot(400,400)) ../_images/quickstart-1.png The second way of indexing with booleans is more similar to integer indexing; for each dimension of the array we give a 1D boolean array selecting the slices we want: >>> >>> a = np.arange(12).reshape(3,4) >>> b1 = np.array([False,True,True]) # first dim selection >>> b2 = np.array([True,False,True,False]) # second dim selection >>> >>> a[b1,:] # selecting rows array([[ 4, 5, 6, 7], [ 8, 9, 10, 11]]) >>> >>> a[b1] # same thing array([[ 4, 5, 6, 7], [ 8, 9, 10, 11]]) >>> >>> a[:,b2] # selecting columns array([[ 0, 2], [ 4, 6], [ 8, 10]]) >>> >>> a[b1,b2] # a weird thing to do array([ 4, 10]) Note that the length of the 1D boolean array must coincide with the length of the dimension (or axis) you want to slice. In the previous example, b1 has length 3 (the number of rows in a), and b2 (of length 4) is suitable to index the 2nd axis (columns) of a. The ix_() function The ix_ function can be used to combine different vectors so as to obtain the result for each n-uplet. For example, if you want to compute all the a+b*c for all the triplets taken from each of the vectors a, b and c: >>> >>> a = np.array([2,3,4,5]) >>> b = np.array([8,5,4]) >>> c = np.array([5,4,6,8,3]) >>> ax,bx,cx = np.ix_(a,b,c) >>> ax array([[[2]], [[3]], [[4]], [[5]]]) >>> bx array([[[8], [5], [4]]]) >>> cx array([[[5, 4, 6, 8, 3]]]) >>> ax.shape, bx.shape, cx.shape ((4, 1, 1), (1, 3, 1), (1, 1, 5)) >>> result = ax+bx*cx >>> result array([[[42, 34, 50, 66, 26], [27, 22, 32, 42, 17], [22, 18, 26, 34, 14]], [[43, 35, 51, 67, 27], [28, 23, 33, 43, 18], [23, 19, 27, 35, 15]], [[44, 36, 52, 68, 28], [29, 24, 34, 44, 19], [24, 20, 28, 36, 16]], [[45, 37, 53, 69, 29], [30, 25, 35, 45, 20], [25, 21, 29, 37, 17]]]) >>> result[3,2,4] 17 >>> a[3]+b[2]*c[4] 17 You could also implement the reduce as follows: >>> >>> def ufunc_reduce(ufct, *vectors): ... vs = np.ix_(*vectors) ... r = ufct.identity ... for v in vs: ... r = ufct(r,v) ... return r and then use it as: >>> >>> ufunc_reduce(np.add,a,b,c) array([[[15, 14, 16, 18, 13], [12, 11, 13, 15, 10], [11, 10, 12, 14, 9]], [[16, 15, 17, 19, 14], [13, 12, 14, 16, 11], [12, 11, 13, 15, 10]], [[17, 16, 18, 20, 15], [14, 13, 15, 17, 12], [13, 12, 14, 16, 11]], [[18, 17, 19, 21, 16], [15, 14, 16, 18, 13], [14, 13, 15, 17, 12]]]) The advantage of this version of reduce compared to the normal ufunc.reduce is that it makes use of the Broadcasting Rules in order to avoid creating an argument array the size of the output times the number of vectors. Indexing with strings See Structured arrays. Linear Algebra Work in progress. Basic linear algebra to be included here. Simple Array Operations See linalg.py in numpy folder for more. >>> >>> import numpy as np >>> a = np.array([[1.0, 2.0], [3.0, 4.0]]) >>> print(a) [[1. 2.] [3. 4.]] >>> a.transpose() array([[1., 3.], [2., 4.]]) >>> np.linalg.inv(a) array([[-2. , 1. ], [ 1.5, -0.5]]) >>> u = np.eye(2) # unit 2x2 matrix; "eye" represents "I" >>> u array([[1., 0.], [0., 1.]]) >>> j = np.array([[0.0, -1.0], [1.0, 0.0]]) >>> j @ j # matrix product array([[-1., 0.], [ 0., -1.]]) >>> np.trace(u) # trace 2.0 >>> y = np.array([[5.], [7.]]) >>> np.linalg.solve(a, y) array([[-3.], [ 4.]]) >>> np.linalg.eig(j) (array([0.+1.j, 0.-1.j]), array([[0.70710678+0.j , 0.70710678-0.j ], [0. -0.70710678j, 0. +0.70710678j]])) Parameters: square matrix Returns The eigenvalues, each repeated according to its multiplicity. The normalized (unit "length") eigenvectors, such that the column ``v[:,i]`` is the eigenvector corresponding to the eigenvalue ``w[i]`` . Tricks and Tips Here we give a list of short and useful tips. “Automatic” Reshaping To change the dimensions of an array, you can omit one of the sizes which will then be deduced automatically: >>> >>> a = np.arange(30) >>> b = a.reshape((2, -1, 3)) # -1 means "whatever is needed" >>> b.shape (2, 5, 3) >>> b array([[[ 0, 1, 2], [ 3, 4, 5], [ 6, 7, 8], [ 9, 10, 11], [12, 13, 14]], [[15, 16, 17], [18, 19, 20], [21, 22, 23], [24, 25, 26], [27, 28, 29]]]) Vector Stacking How do we construct a 2D array from a list of equally-sized row vectors? In MATLAB this is quite easy: if x and y are two vectors of the same length you only need do m=[x;y]. In NumPy this works via the functions column_stack, dstack, hstack and vstack, depending on the dimension in which the stacking is to be done. For example: >>> >>> x = np.arange(0,10,2) >>> y = np.arange(5) >>> m = np.vstack([x,y]) >>> m array([[0, 2, 4, 6, 8], [0, 1, 2, 3, 4]]) >>> xy = np.hstack([x,y]) >>> xy array([0, 2, 4, 6, 8, 0, 1, 2, 3, 4]) The logic behind those functions in more than two dimensions can be strange. See also NumPy for Matlab users Histograms The NumPy histogram function applied to an array returns a pair of vectors: the histogram of the array and a vector of the bin edges. Beware: matplotlib also has a function to build histograms (called hist, as in Matlab) that differs from the one in NumPy. The main difference is that pylab.hist plots the histogram automatically, while numpy.histogram only generates the data. >>> import numpy as np rg = np.random.default_rng(1) import matplotlib.pyplot as plt # Build a vector of 10000 normal deviates with variance 0.5^2 and mean 2 mu, sigma = 2, 0.5 v = rg.normal(mu,sigma,10000) # Plot a normalized histogram with 50 bins plt.hist(v, bins=50, density=1) # matplotlib version (plot) # Compute the histogram with numpy and then plot it (n, bins) = np.histogram(v, bins=50, density=True) # NumPy version (no plot) plt.plot(.5*(bins[1:]+bins[:-1]), n) ../_images/quickstart-2.png Further reading The Python tutorial NumPy Reference SciPy Tutorial SciPy Lecture Notes A matlab, R, IDL, NumPy/SciPy dictionary © Copyright 2008-2020, The SciPy community. Last updated on Jun 29, 2020. Created using Sphinx 2.4.4.

You are required to implement a basic Java program using Java (SE 5.0 or later). This assignment is designed to help you: 1. Practise your knowledge of class design in Java; 2. Practise the implementation of different kinds of OO constructs in Java; 3. Practise the use of polymorphism; 4. Practise error handling in Java; 5. Develop a reasonable sized application in Java. General Implementation Details  All input data should be read from the standard input and all output data should be printed to the standard output. Do not use files at all.  If the input is formatted incorrectly, that input should be ignored and an appropriate error message should be displayed.  Marks will be allocated to your class design. You are required to modularise classes properly---i.e., to use multiple methods as appropriate. No method should be longer than 50 lines.  Marks will be allocated to proper documentation and coding layout and style. Your coding style should be consistent with standard coding conventions  . Overall Specification You will build out the system from Assignment 1 to manage multiple users purchasing different types of items, including discounts for multiple items. Items to be Purchased The TechStore has been extended to sell Software as well as Books. Like Books, Software can be sold as a (physical) CD or as an online item (i.e., download). As in Assignment 1, a Book can also be sold as a physical copy or as an ebook. You need to keep track of the physical copies of Books and CDs, and whether or not a title is available as an online item. Books have a title and an author; Software items have a title and a publisher. Each item is individually priced---i.e., the price depends on the title and whether it is a physical copy or ebook/software-download. Purchasing Items A User can buy any number of items (books, software, or a mix), adding one item at a time to their Shopping Cart. However, a User can only purchase up to a total of $100, unless they are a Member—if a non-Member User tries to add an item to their Shopping Cart that takes the total over their maximum then this is blocked. A Member has no limit. Items can be added and removed from a Shopping Cart until Checkout. When an Item is added to the Shopping Cart, the system checks that there are enough copies of it available; if an Item is added or removed from the Shopping Cart, the number of copies available must be updated. Checkout clears the Shopping Cart. Users Users can add Items to their Cart, up to their allowed limit (i.e., their Shopping Cart cannot store a total greater than the limit). A User has an id (must be unique) and password (you do NOT need to make these encrypted or secure), as well as a name and email address. A Member is a special kind of user: a Member has no limit on value they can store in their Cart. Once a User has spent a total of 10% more than their limit in total (this obviously must be over multiple Checkouts), then they are offered to become a Member—this offer is made straight after they Checkout with the items that takes them to 10% over their limit. An Administrator is a User that can perform special functions:  add to the number of copies of a (physical) Book or Software CD;  change the price of an item;  print sales statistics: i.e., number of sales (physical and electronic) of each Item;  add a new user—the system must checked that the new id is unique. Other Users do not have these options on their menu. A user must keep track of their previous purchases, grouped by Transaction—a Transaction is the set of items purchased at Checkout time. Users can log in and out—they do not need to Checkout before logging out. However, only one user can be logged in at a time—the system must allow something like “change user”. If a User logs back in, their Shopping Cart holds the same contents as before they logged out. Recommended Items and Discounts Each item can store a list of “if you liked this” recommendations. If a User adds an Item to their Shopping Cart, then the system suggests other titles they may like. Only similar types of things are recommended—i.e., when a Book is added, other Books (not Software) are suggested. At the time when a list of Recommended titles is given, the user has the option to add one of the recommended titles to their Shopping Cart. If a user adds the title, then they receive a discount of 15% off that second title (the first one is still full price); the User can add multiple recommended titles for 15% off each of them. If a Member adds the recommended title, then they get 25% discount off all the recommendations added. Note: when a recommended title is added, its recommendations are also shown, and are discounted if purchased at that time. You are NOT required to handle the special case of updating discounts when a User removes recommendations from their Cart. However, there is a Bonus Mark for this. Sample menus The menu for a standard User (i.e., a Shopper) should include the following options: 1. Add item to shopping cart 2. View shopping cart 3. Remove item from shopping cart 4. Checkout 5. List all items 6. Print previous purchases 7. Logout (change user) 0. Quit The menu for an Administrator should include the following options: 1. List all items (this option can include purchase statistics for each title) 2. Add copies to item 3. Change price of item 4. Add new user 5. Logout (change user) 0. Quit * SAMPLE RUNS and TEST DATA will be posted to Blackboard * Program Development When implementing large programs, especially using object-oriented style, it is highly recommended that you build your program incrementally. This assignment proposes a specific incremental implementation process: this is designed to both help you think about building large programs, and to help ensure good progress! You are not strictly required to follow the structure below, but it will help you manage complexity. Part A (2 marks): Extend Assignment 1 Start by extending your Assignment 1 solution (a sample solution will be made available): 1. Rename your main class to TechStore if necessary; 2. Extend your Book class (if necessary) to contain all data and operations it needs for Assignment 2, and appropriate classes for other types of Items to be sold; 3. Define Exceptions to handle problems/errors; in particular, you must handle invalid menu options or inputs. Part B (1 marks): Class Design Define all the classes and any interfaces needed for the described system. In particular, you should try to encapsulate all the appropriate data and operations that a class needs. This may mean some classes refer to each other (e.g., the way Account refers to Customer). At this point, you may just want to think about the data and operations and just write the definitions, not all the code. Part C (3 marks): Main Program Your main program should be in the TechStore class. (Of course, any class can contain a main(); this is useful for testing that class.) The main program will contain a menu that offers all the required options (these can be different for different Users!). The system will allow a User to login by typing their id and password and will check that these match: if it does not then the menu prints an error; if they do match, then the system prints a welcome message with the user’s name and shows them the appropriate menu. The system must keep a list of all its Users: this list must be efficient to look-up by User id.  Week 7 Demo (2 marks): You will be required to demonstrate your main program and design (with only bare functionality) by Week 7 at the latest. You must also submit to the associated WebLearn project by the Week 7 lecture. Part D (4 marks): Implement Core Functionality Implement the core functionality of the TechStore system described above, except for the recommendations, members, and discounts. You should be able to implement the rest of the TechStore functionality described above, and run and test your system. Part E (4 marks): Implement Recommendations , Members, Discounts Implement the functionality of providing recommendations, users becoming and being members, and discounts. Other (4 marks) As always, marks will be awarded for coding style, documentation/comments, code layout and clarity, meaningful error and other messages, proper error handling, choice of data structures and other design decisions. You are encouraged to discuss such issues with your tutors and lab assistants, or with the coding mentors. Bonus (2 marks) Note: There will be no hints or help offered on Bonus tasks.  1 bonus mark for early demonstration of Parts A,B,C in Week 6  1 bonus mark for correctly handling removal of recommended books from Cart—e.g., if a Member removes the first item then the 15/25% should be added back to the price of the recommended title, unless there are multiple recommendations linked to that title. Submission Instructions Full assignment submission will be via Weblearn, by 9AM, Tues April 28, 2015. You can submit your assignment as many times as you want before the due date. Each submission will overwrite any previous submissions. 1. You need to submit a class diagram (in pdf, gif or jpeg format). 2. You are required to submit your .java files weekly via Weblearn. Your progress will be taken into consideration if you need an extension. 3. There will be a separate WebLearn submission for Part A,B,C—you must submit to this before the Week 7 lecture to qualify for the 2 marks for Week 7 demo. 4. You must include a README file. This should describe how to run your program, what extra functionality you implemented, any standard functionality you know does not work, and any problems or assumptions. If the tutors have any problem running your program and the README does not help then you will lose marks. 5. For the code submission, you must include only the source files in your submission (do not submit any *.class files!). As always, your code must run on CSIT machines. 6. You must submit a single ZIP file—use zip/WinZIP to zip your files before submitting---do NOT submit rar or zipx files!! 7. If you use packages, it is your responsibility that these unpack properly into the correct folders and that your program compiles correctly.

Using-Deep-Learning-Techniques-perform-Fracture-Detection-Image-Processing Using Different Image Processing techniques Implementing Fracture Detection on X rays Images on 8000 + images of dataset Description About Project: Bones are the stiff organs that protect vital organs such as the brain, heart, lungs, and other internal organs in the human body. There are 206 bones in the human body, all of which has different shapes, sizes, and structures. The femur bones are the largest, and the auditory ossicles are the smallest. Humans suffer from bone fractures on a regular basis. Bone fractures can happen as a result of an accident or any other situation in which the bones are put under a lot of pressure. Oblique, complex, comminute, spiral, greenstick, and transverse bone fractures are among the many forms that can occur. X-ray, computed tomography (CT), magnetic resonance imaging (MRI), ultrasound, and other types of medical imaging techniques are available to detect various types of disorders. So we design the architecture of it using Neural Networks different models, compare the accuracy, and get a result of which model works better for our dataset and which model delivers correct results on a specific related dataset with 10 classes. Basically our main motive is to check that which model works better on our dataset so in future reference we all get an idea that which model gives better type of accuracy for a respective dataset . Proposed Method for Project: we decided to make this project because we have seen a lot of times that report that are generated by computer produce error sometimes so we wanted to find out which model gives good accuracy and produce less error so we start to research over image processing nd those libraries which are used in image processing like Keras , Matplot lib , Image Generator , tensor flow and other libraries and used some of them and implement it on different image processing algorithm like as CNN , VGG-16 Model ,ResNet50 Model , InceptionV3 Model . and then find the best model which gives best accuracy for that we generate classification report using predefined libraries in python such as precision , recall ,r2score , mean square error etc by importing Sklearn. Methodology of Project: Phase 1: Requirement analysis: • Study concepts of Basic Python programming. • Study of Tensor flow, keras and Python API interface . • Study of basic algorithms of Image Processing and neural network And deep learning concepts. • Collect the dataset from different resources and describe it into Different classes(5 Fractured + 5 non fractured). Phase 2: Designing and development: The stages of design and development are further segmented. This step starts with data from the Requirement and Analysis phase, which will lead to the model construction phase, where a model will be created and an algorithm will be devised. After the algorithm design phase is completed, the focus will shift to algorithm analysis and implementation in this project. Phase 3: Coding Phase: Before real coding begins, the task is divided into modules/units and assigned to team members once the system design papers are received. Because code is developed during this phase, it is the developers' primary emphasis. The most time-consuming aspect of the project will be this. This project's implementation begins with the development of a program in the relevant programming language and the production of an error-free executable program. Phase 4: Testing Phase: When it comes to the testing phase, we may test our model based on the classification report it generates, which contains a variety of factors such as accuracy, f1score, precision, and recall, and we can also test our model based on its training and testing accuracy. Phase 5: Deployment Phase: One of our goals is to bring all of the previous steps together and put them into practice. Another goal is to deploy our model into a python-based interface application after comparing the classification reports and determining which model is best for our dataset.

As a digital marketing company, we have actually driven numerous web site hits, millions of leads as well as also millions of sales. So if you are a local business or a young expert that wants to find out more about marketing management, then you remain in the best place. Today, we're reviewing exactly how advertising managers can develop effective projects, detailed. Our digital marketing firm saves small companies from bad advertising as well as no development, yet of course, in order to do that effectively, our advertising and marketing supervisors have to have extraordinary skills around marketing monitoring. Regrettably, a great deal of the schools today are instructing out-of-date advertising and marketing techniques. As well as the net is swamped with phony experts who show marketing however in fact have no actual experience. This can be an easy catch for anyone just beginning to seek aid regarding the globe of marketing. That's why you should pick up from individuals who have actual experience As Well As can confirm it for greater than one firm. And also these are simply results we've gotten for our firm, using our very own techniques. We have more than 10,000 hrs of actual digital marketing experience and also have aided thousands of business find the very best options to their advertising issues. Just how have we managed to do this? Via our team of marketer! In order for them to offer these efficient options, our marketing supervisors need to have outstanding abilities around marketing administration. And those abilities are precisely what our advertising and marketing supervisors have. We're mosting likely to give you some powerful techniques if you want to learn advertising and marketing monitoring or become a much better marketing manager. In this blog, you will certainly learn exactly how advertising managers can develop effective campaigns, step-by-step. We will certainly discuss: 1. Just how to onboard a brand-new marketing project 2. Just how to structure your strategy 3. How to setup everything 4. And much more! Without further trouble, let's go ahead as well as dive in with action # 1. Action 1: How to onboard a brand-new advertising project Whether you are beginning a new marketing campaign from square one or you are inheriting an existing advertising campaign, it is really important to recognize 2 things. # 1 You require to develop your advertising goals. Now usually we have clients that will certainly claim their objective is to obtain more sales. Yet that is an extremely high-level goal. With that, you'll intend to unbox your goal into something more workable. To break down your objective into actionable parts, we will certainly start to speak about leading as well as lagging indicators. A lagging indicator is normally a result, such as more sales, even more leads, or more web traffic, which are great objectives to have. Yet in order to get to an outcome or a lagging indication, you need a leading indication which is typically an action. Leading signs are points that you can regulate now everyday or each week. And these are the advertising and marketing objectives that you want to develop. As a marketing manager, you need to understand both leading and lagging objectives. # 2 You need to understand your budget. When you onboard an advertising and marketing campaign, you require to understand your campaign budget. If you are unclear about your marketing spending plan or about just how to accurately calculate your marketing budget, we have a thorough video clip that can help you here. Ultimately, the important point below is that you intend to make sure your budget plan matches your objectives. For that reason, if you desire $1 million in sales for instance, then you require to be all set to spend thousands of thousands of dollars. And also honestly, you wish to be as sensible as possible because that's the accountable thing to do as a great online marketer. A lot of people strive for the over night success desire, however the fact is excellent marketing can require time. Now that you have established you require to establish some advertising goals and also a spending plan, after that you can transfer to tip number two, which is "just how to structure your advertising strategy." Action 2: Exactly how to structure your advertising plan The first thing we suggest that you do is to develop an advertising and marketing channel, or really plainly recognize the advertising and marketing channel that already exists. If your business is already generating any type of sales, after that you likely have an advertising and marketing channel whether you understand it or not. It is necessary to recognize which part of the funnel you will certainly need to influence with your advertising project. Understanding the advertising channel will help you pinpoint which stage of the channel demands adjustments. To get a far better understanding of the advertising and marketing channel, let's take a more detailed look at an advertising funnel as well as break down an advertising funnel for B2C (service to customer) as well as B2B (organization to service) firms. At the top of the channel you have the recognition stage. For both B2B or B2C companies this is where potential consumers become aware of your company either by means of search, or an advertisement, or a person referring them to you. The next part of the channel is the interest stage. This is where your capacity clients start to read more concerning your product and services. After that phase of the channel is the consideration stage. This is where your capacity customers actually begin thinking about buying your products. They might begin to review your evaluations or compare your products to others that are on the market. After the consideration stage is the intent phase. This is the stage where the potential client prepares to buy as well as simply needs a little push to complete the transaction. If you're a B2C firm, that implies that a visitor has perhaps added something to their cart. And also if you're a B2B firm, that implies that a site visitor may have asked for a meeting or a live trial. Swiftly after that, the prospective consumer enters the examination stage. This is when the potential consumer is considering the experience they are having as they are having a look at for a B2C company or finishing the contract for a B2B firm. At the really bottom of the channel you have the actual purchase, which is when the potential client becomes a real consumer. As you can see, there is a whole process to getting a client to really end up being a client. On top of that, a channel can continue after the acquisition factor, particularly if you wish to get even more sales from your present consumers. However those phases we pointed out are mosting likely to be the major locations that the majority of marketing managers require to focus on. Nevertheless, if you wish to discover a bit a lot more concerning marketing funnels, check out this blog where we go a lot more thorough with the advertising and marketing channel phases. As you are doing your marketing administration, you wish to begin asking on your own, "Which stage in the advertising and marketing channel does my organization require the most assist with?" You will discover that some business require general understanding prior to they can enhance any other part of their funnel. You may additionally locate that some business have a lot of awareness, yet battle to convert those introduce sales. However, once you recognize where your marketing needs one of the most aid, then you can concentrate there and also start to establish those leading indication objectives. For example, in the recognition stage, you have to focus on getting to a great deal of people. And also if business spending plan you have actually established is reduced, that suggests you will likely require to make use of an organic advertising and marketing approach. Currently let's move on to tip number three, which is just how to establish your advertising and marketing projects Action 3: How to set up your marketing campaigns. The first thing you need to think of below is production. What we indicate by "production" is you need to understand WHO or WHAT you require and WHEN you require it. To figure this out, go back to your leading indications and think about just how you are mosting likely to complete them. Possibly you need a web content writer, a designer, or a marketing spending plan. Or perhaps you require to set aside a couple of hours a day, to hire an agency, or a few other tools to aid you be reliable. The bottom line is, you need to be extremely clear about what deliverables you need as well as when you require them. After manufacturing, we recommend that you track your development. Since doesn't mean you are seeking that delayed indication or that major result that you wish to accomplish. Rather, you'll want to track whether or not your growth is headed in a positive instructions. Ideally, it's very easy to determine a trend line that is going up overtime. For example, if you are publishing on YouTube on a daily basis for six months as well as you are not obtaining any kind of sights whatsoever, then that is an indication that you require to quit and reassess your advertising strategy. One of our company's favorite tools to make use of to track development is Google Analytics. It's very simple to set up on your own as well as ought to take you no time to obtain arrangement and start. As soon as you're set up for success with Google Analytics, you can go on to tip number four, which isn't truly an action however it is a crucial idea to live by. Step 4: Stay with your strategy We have actually stated it before however excellent advertising takes some time. We can't emphasize this sufficient. Unless you have a really large spending plan, we're speaking at the very least $100,000 a year, then you greater than likely will require to focus on one point at a time. That means you wish to put together a really great approach and make sure it functions PRIOR TO you proceed to something that is new and also stylish right now. We suggest you give your technique a minimum of 6 months before you quit. And this is six months of pure quality! That means you are not missing out on due dates and you are putting together an excellent amount of quantity and also top quality work. Bear in mind to still be tracking your outcomes and making sure you're constructing some energy or seeing a positive trend line. Even if the positive trend line is slow, it is still positive. Now allow's go on to our last step. Tip 5: Reporting If you are doing any type of type of advertising and marketing management or if you are an advertising and marketing supervisor on your own, after that at some time you will require to do some reporting. Whether you are reporting to yourself, stakeholders, a supervisor, or a customer, this is an area where you require to successfully interact just how your advertising and marketing is going. When you are connecting, you need to recognize your target market. If you are speaking to an additional advertising and marketing professional or somebody with an advertising background, after that you can possibly utilize more advanced descriptions of your development. However if you are speaking with someone that does not know a lot regarding advertising, after that you want to try to simplify as simply as possible. For instance, you would not begin speaking to a stranger about ROAS, ROI, conversion projects, as well as lead-to-sale conversions since there's a slim chance they would understand what you were discussing. Everything that we cover in this blog are points that you wish to communicate to whoever you are reporting to. To make sure that suggests you want to relate things back to the goals, the budget, the channel, and the positive pattern line. You'll see that poor marketing professionals only care about telling you just how good their negative results are. A bad marketing professional will tell you about all the leads they have actually created but have really little results for conversions. As good marketers, it is our obligation to interact successfully as well as with honesty. So understand your numbers, know your target market, as well as be as clear as possible whether the results are good or bad. Establishing in-depth records that are comprehensive sufficient for your audience to recognize is what will assist everyone be on the very same web page. Verdict There you have it-- 5 truly awesome suggestions for advertising monitoring. Tips that we stand by and are confirmed due to the fact that we've used them for our own advertising and marketing projects. In addition, we have actually managed campaigns for our customers that have actually driven numerous hits, numerous leads, and countless sales. That's why we believe you can stand by these important pointers we have actually supplied here.And there's so much extra you can learn more about advertising and marketing for your business! Whether you are a small company proprietor or a young specialist that intends to find out more concerning advertising and marketing administration, after that you remain in the right area. Our group of marketer prepare to help you make on your own a better marketer!

Date of Concorde In January of the year 1976 after 29 years of the first to penetrate to the speed of sound military aircraft jet - Two Concord took off together at the same time, one from London and one from Paris, the first airline service ultrasound for travelers. The aircraft Almottaghtan has looked towards the west as if they were Tgaraan - even Tsabakan - the sun. Where they arrived as if they did not Taathrca, in terms of time, in a new event launches air transport stage supersonic passenger wealthy people who do not allow them to narrow their time to stay in the air for long periods. How the project began and evolved, and how the outcome of the remaining Concorde lounges to museums ... This is what Santapah in the following lines: The emergence of the Concorde The deal "supersonic" between England and France was signed in 1962, for the design and construction of the first civilian supersonic plane manufactured by Airbus for them. After long years of arduous efforts and research strenuous, in addition to more than 5,000 hours in the air tunnels, proved to be a form of equity Almstrq with the body long cylinder for aircraft relatively large passengers, it is the best form executable command and control speeds ultrasound. The first two aircraft of this type making and Tjeribhma in 1969, and since then about 20 aircraft of this model, called the "Concord" was produced (the only civilian aircraft that exceed the speed of sound speed), and who serve in the British Airways and Air France in income 1976, the rate of seven aircraft of the British lines and five lines in French. The first fly line is the London - Singapore via Bahrain. In 1976 received Bahrain Airport very important event, which is to start regular flights between Bahrain and London, the fastest of the British Airways sound Concorde, the airport first and the only one who was receiving this type of aircraft in the Middle East, given that the Concorde need to Airports women with special specifications, so they need to take-off and landing runways longer than the regular airports runways, and the noise from the power of their engines leads to smash windows of buildings ordinary airports, and the speed has a crush Madarjha. What Concorde is distinct from other aircraft?Characterized by Concorde slim form in the form of a triangle (delta). And fly faster and higher than other aircraft altitudes, using the "upward vortex" method to accomplish extraordinary mission. For example, while the "Boeing 747" aircraft speed, better known as "jumbo" around 900 km / h (about 84.0 Mach) at an altitude of 35 thousand feet, the Concorde fly quickly 2172 km / h (Mach 2) at an altitude of 60 thousand Foot. It is known that Almaj is the real rate of speed compared to the speed of sound, and is equivalent to an average of 1225 kilometers per hour, so that the speed of sound changes with temperature change, which moves rapidly 1190 km / h at sea level, but it drops to 1060 km / h at an altitude of 36,000 feet above the ground, where the air temperature drops. Because the Place de la Concorde to fly faster than the speed of sound, they differ from the rest of the aircraft on several characteristics. First, in terms of the flow of the fuselage, where you need to own dynamic shape to face severe air resistance at these high speeds, and it is achieved by taking the body form of a high pin tapered, triangular wings tilted back, my head and a tail, and an introduction brushes can be moved to the bottom of takeoffs and landings to be able to see the pilot of the corridor, to the top during flight to improve the flow of the fuselage. Amounting to 83 feet and 8 inches tall plane wings in the company "Oarossbesiak" has produced and supplied surfaces work together Kdvh depth, also works differentially Kjnahat. There is no tip installed inside the concavity of the wing, but no spire parties descend and spin at the same time. The second difference is related engines, where the Concorde's engines proved directly in the wings to avoid the use of any parts of the conductive would crash at high speeds, and the engine fitted with a special friendly hotel to exploit the resulting exhaust for initial combustion cycle combustion again mixing with more new fuel to increase efficient engines and power, where this process provides the engine in the final stage of heating fuel for the production of the required additional power for takeoff and the transition from one phase to the heating of supersonic flight, allowing aircraft takeoff speed of 360 km / h. The useful load carried by the Concorde's less than a third of what was done other than in the weight of the jets under the sound, so it was no reduction in the efficiency of the engine, it is actually the difference between profit and loss. Every Concorde has supplied four-engine aircraft, "Snecma Olympus DS 593," the momentum of 17259 kg. The company "Rolls Royce" design engines, which provided all Dagtin separate engine in order to fuel economy. Each engine and also provided additional Aq. Engine reverse payment system is also equipped. On the other hand, the Concorde is distinct from other aircraft fuel tanks and the presence of more and larger, with four engines burn a tremendous amount of kerosene has more than 25 thousand liters per flight hour. However, the fuel tanks lead a purpose whatever else, which is to maintain the equilibrium plane, where the center to raise the plane travels at high speeds for its center of gravity and then you move amounts of fuel between private additional tanks at the front of the plane and the rear to offset that effect, and returned those quantities at low speed in preparation for landing to bring the situation back to its origin. For example, a flight plan requires the distance between Paris and the French coast on the Atlantic equator at less than the speed of sound speed is determined to 0.93 Mach, to be at the height of about 9000 meters, after which the plane begins to jump quickly to reach the speed of take-off and altitude wanted, it performs speed between the two situations difference to a change in the dynamics of the plane to move from the airline less than the sound quickly to other higher speed of sound, and to overcome this situation, the transfer of fuel in an aircraft using a payment of reservoirs located in the introduction to the reservoirs in the system rear. During the transitional situation between the two modes of ex (between Mach 1 and Mach 1.6) increases air resistance sharply, and at this moment is to break the sound barrier. Once access to 1.7 Mach the captain to stop the internal combustion process, after more than a very plane speed of up to Mach 2, or 2200 km / h, more than twice the speed of sound, which represent the target aircraft speed, while the estimated target of 16000 and 18000 meters altitude. But when approaching landing, the fuel will move to the front of the plane, and the concomitant rise in the plane's nose, to land the plane in a scene it looks like a bird landing on the surface of the water. Finally remains the difference in the fuselage coating, where the Concorde is exposed at high speeds to a very large rise in body temperature as a result of increased friction of air molecules, so they coated special material properties and reflective stronger than those in the other aircraft, capable of dispersing such high temperatures . The fuselage itself is made from a special metal is characterized by a greater capacity to withstand the heat and stress resistance resulting from inflation fuselage resulting in turn from high temperature. The speed of the plane have been identified in the horizontal flight Mach 2.2, which is just before the thermal barrier (which is the speed at which if exceeded temperature increases dramatically), but it has identified the chronological age of the structure of 60,000 flight hours. And making the structure of the aluminum-alloy steel by thermal changes from -35 degrees to +120 degrees, as the flight above the speed limit of the plane requires that the structure is made with a mixture of steel and titanium, which means more weight. Fly the Concorde at the highest altitudes of 50,000 feet, where the air is equal to a tenth of what Tsawiyeh at sea density, and the temperature at that very low altitude, and despite all this work ultrasonic motors with high efficiency. According to reports of the pilots can handle the plane easily. The acceleration of the aircraft and transit speeds TransitionAnd what is characterized travel Balkounkord from other aircraft? Accommodate the Concorde for a hundred passengers and crew consists of a pilot and a flight engineer and his assistant in addition to the six hosts. When quitting, the passenger feels strongly pay back as a result of the launch aircraft from sleep to the speed of 362 km / h in just 30 seconds, which is called the Earth's gravitational force, and quickly reach the maximum height of the plane and penetrate the speed of the sound barrier. In all the flight times travelers can know the speed, through a private display panel installed in front of them, and are entitled to see the curve of the globe and Northern Lights because of the high altitude, which is flying the plane. Travelers can also watch the first layer colors of the atmosphere, where the height of the plane boundary between the first two Tbaktah. It takes Atlantic crossing Balkounkord three and a half hours only, while the that time about nine hours in the other underneath the aircraft sounds. And up the Concorde passengers who starts his journey from London at ten thirty in the morning to New York at nine thirty in the morning, before the date of its launch radios. This of course does not mean a retreat in time, but due to time differences and the short flight time! Over the last quarter-century, Concorde was the five weekly flights between Paris and New York in a record speed of less than 4 hours, at which time it cut the best of conventional aircraft, the same distance in 8 hours. He was landing at Kennedy Airport (according to US time) at eight in the morning, and exiting back to France at the eleventh hour before noon, where businessmen French used to negotiate with the Americans their customers at the airport Salons, without having to go to the business and financial district in Manhattan, and then return to Paris the same day. And to what the fate of the Concorde? I tried both the US and Soviet governments (former) develop similar Balkounkord aircraft, but those attempts ended in retreat, either because the magnitude of the required expenditures on the American side, or the occurrence of accidents due to human error on the Soviet side. Some of these Soviet aircraft had stayed (model "T U-144"), as amended to date, but used in air mail services, also placed some of them in museums, while one of them devoted to project Russian joint US. And remained the Concorde, solo travel of passengers faster than the speed of sound even temporarily suspended service to make adjustments after the accident led to an explosion killed one of them and all of them were. In addition, the high run that made the ticket price between Paris, London and New York round-trip $ 10,000, which led to limited use of the rich and famous costs, as well as what caused the noise and pollution, suffered Concorde most suffered from weak passenger demand for flights, in Following the incident, which came under the air France one in Paris in July 2000 to a near Charles de Gaulle airport hotels, which led to the deaths of 109 people on board and four people on the ground. Consequently After some major attended by experts and investigators, scientists, lawyers, artists, religious leaders and industrialists from different generations, between believers technology and Muslims in terms of authority to the modern age and among those who believe that it is necessary to rein in scientific progress and the development of ethical and legal controls him, took the final decision to stop flights Place de la Concorde. In July of 2003, tens of thousands of lovers of the Concorde gathered along the road to Heathrow Airport in the fog of London, the capital, in a bid farewell final before this model withdraw aircraft from service, after it made its first commercial flight in 1976. This has three Concorde planes reviewing the air before landing at Heathrow Airport in a reference to the termination of commercial flights known aircraft at supersonic speed. And charged the British Airways Concorde plane carrying 100 special guest at the final flight, which launched from Kennedy Airport in New York towards London, penetrated the sound barrier for the last time. Upon entering British airspace acceded Two Concord British Airways, one coming from the city of Edinburgh in Scotland, and the other from the Bay of Biscay west of France. Lovers plane Odalla in July of 2003 in Paris, as well as a pool, in the last trip out between Paris and New York, after a 27-year-old was cut where the distance between the two cities in a matter of three hours and a half. Where he lined up more than 250 workers from the maintenance workers bodyguards honor of the plane at Charles de Gaulle airport, with thousands of French gathered on the edge of the airport to see the plane taking off, holding a banner reading "We love you, Concord." The French lines: that the plane Concorde belong to the humanitarian aviation heritage and must therefore provide an opportunity for more people to see it, and added that it would apply to all of the fleet of Air France Concorde aircraft, which will be displayed every aircraft in museums in France, Germany and the United States, such as the Museum aviation and aerospace in the suburb of "Le Bourget" Paris, the Museum of Aviation near the Scottish capital "Edinburgh". Parts of the plane crashed as sold at Christie's for souvenirs to those who died to travel out, varied between the nose of the plane and the door of cabin leadership and a seat pilot and antenna radar warning in which the two motors of the engines and parts of the dashboard to the instructions and cutlery dishwasher ceramic spoons and silver booklet, worth total amounted to 3.29 million euros, went in favor of a charitable institution of the air France is working in the field of care for the poor children. Last auction for the sale of pieces of a British Airways Concorde has also been established. The British and French companies have announced at the beginning of the month of April of the same year 2003, he stopped Concorde flights after the company "Airbus" that produced externa announced: What's next in the field of transport ultrasonic? American company, "Boeing" is currently working on the supersonic jet, is supposed to be placed in service during the coming years, while filling the attention of European rival, "Airbus" accomplish its flagship aircraft, "Airbus A380 (superjumbo) capable of carrying about 800 passengers, which had been achieved in 2007, while scientists tried to Japanese to develop a model of the plane was enable fly twice as fast as the Concorde, but their experience after the plane landed long model briefly after take-off from the site "Woomera" to launch rockets in the desert south of Australia, and it failed within the project included my company, "Mitsubishi heavy Industries" and "Nissan Motor." He held this paradigm of a length of 11 meters on a rocket, Plans for him to be separated from the booster rocket above the ground, and falling faster than twice the speed of sound, but it got out of control since it was launched. It was supposed to reach the aircraft remotely piloted altitude of 20 thousand meters, before Taud.aly ground faster than twice the speed of sound. The goal was to become a plane "NeXT 1" transport aircraft the fastest in the world to succeed Concorde, with the difference that it will be less noise and damaging to the environment and can accommodate up to 300 passengers: Thus crossed another Concorde SST recent trip mounted aboard a ship in the River Thames sailing from London to the Museum of Flight in Edinburgh, after he has made more than eight thousand flight during which 22 thousand and 768 hours and 56 cut-minute flight, the folded thereby separating mythic unique and important commercial aviation history, a supersonic flight, waiting for what the future holds for us of new inventions ?!

The Covid-19 virus is fast spreading disease in globally, which threateness billions of human begins. In this paper, Jaya Honey Badger Optimization-based Deep Neuro Fuzzy Network (JHBO-based DNFN) is introduced for Covid-19 prediction by audio signal. Here, Covid-19 prediction is done using DNFN, and it is trained by developed JHBO algorithm. The developed JHBO-based DNFN is outperformed than other existing methods testing accuracy, sensitivity and specificity of 0.9176, 0.9218 and 0.9219. The Covid-19 prediction process is more indispensable to handle the spread and death occurred rate because of Covid-19. However, early and precise prediction of Covid-19 is more difficult, because of different sizes and resolutions of input image. An effective Covid-19 detection technique is introduced based on hybrid optimization driven deep learning model. The Deep Neuro Fuzzy network (DNFN) is used for detecting Covid-19, which classifies the feature vector as Covid-19 or non Covid-19. Moreover, the DNFN is trained by devised Jaya Honey Badger Optimization (JHBO) approach, which is introduced by combining Honey Badger optimization Algorithm (HBA) and Jaya algorithm. The developed JHBO-based DNFN is outperformed than other existing methods testing accuracy, sensitivity and specificity of 0.9176, 0.9218 and 0.9219. Covid-19 is respiratory disease, which is usually produced by Severe Acute Respiratory Syndrome Coronavirus-2 (SARS-CoV-2). However, it is more indispensable to detect the positive cases for reducing further spread of virus, and former treatment of affected patients. An effectual Covid-19 detection model using devised Jaya Honey Badger Optimization-based Deep Neuro Fuzzy Network (JHBO-based DNFN) is developed in this paper. Here, the audio signal is considered as input for detecting Covid-19. The gaussian filter is applied to input signal for removing the noises and then feature extraction is performed. The substantial features, like spectral roll-off, spectral bandwidth, Mel frequency cepstral coefficients (MFCC), spectral flatness, zero crossing rate, spectral centroid, mean square energy and spectral contract are extracted for further processing. Finally, DNFN is applied for detecting Covid-19 and the deep leaning model is trained by designed JHBO algorithm. Accordingly, the developed JHBO method is newly designed by incorporating Honey Badger optimization Algorithm (HBA) and Jaya algorithm. The performance of developed Covid-19 detection model is evaluated using three metrics, like testing accuracy, sensitivity and specificity. The developed JHBO-based DNFN is outperformed than other existing methods testing accuracy, sensitivity and specificity of 0.9176, 0.9218 and 0.9219. The recent investigation has started for evaluating the human respiratory sounds, like voice recorded, cough, and breathing from hospital confirmed Covid-19 tools, which differs from healthy persons sound. The cough-based detection of Covid-19 also considered with non-respiratory and respiratory sounds data related with all declared situations. This paper explicates the Covid-19 detection approach using designed Jaya Honey Badger Optimization-based Deep Neuro Fuzzy Network (JHBO-based DNFN) with audio sample. The series of steps followed for introduced Covid-19 diagnosis model are pre-processing, feature extraction, and classification. The input audio sample is acquired from a Coswara dataset and gaussian filter is applied. The gaussian filter effectively reduces the salt and pepper noise with minimal duration. Feature extraction process is most significant for precise detection of Covid-19, where spectral bandwidth, spectral roll off, Spectral flatness, Mel frequency cepstral coefficients (MFCC), spectral centroid, root mean square energy, spectral contract, and zero crossing rate are extracted. The Deep learning approach is effectual for disease detection and classification process in medical field. Here, DNFN is utilized for detecting the Covid-19 disease. Moreover, DNFN is trained by developed JHBO approach for obtaining better performance. The proposed JHBO algorithm is newly devised by combining Jaya algorithm and HBA. Here, Jaya algorithm is incorporated with HBA for obtaining improved performance with better convergence speed. The performance of DNFN is estimated with three performance metrics, namely specificity, testing accuracy and sensitivity. The proposed JHBO-based DNFN achieved improved performance testing accuracy, sensitivity and specificity of 0.9176, 0.9218 and 0.9219.

Angular-Directive-Project Directives range from very basic to extremely complex. This project will build up to some somewhat difficult directives. Keep in mind that the format we're learning for directives is the same format used to build some extremely complex things in angular. Using directives often and well is one way to show you're a talented developer. Starting Out We've included only a few things for you to begin with. index.html, app.js, styles.css. At this point the best way to get more comfortable with angular is to initialize an app without relying heavily on boilerplate code (reusable code that starts out your projects for you). You'll notice that in the index.html we've included the angular-route CDN. Yes, we'll be using angular's router here. Put an ng-view into your index.html. In your app.js set up a config and set up our first route for when a user is at the '/home' url. If you're having trouble remembering how to set up the router go look at how you set up the router on the previous project. One way these projects will be beneficial to you is allowing you to look back at something *you** did and seeing how you got that something to work.* You may also want add an otherwise that defaults to /home. Create a controller and a template file for this route in your app folder. Don't forget to include the controller as a script in your index.html Check that everything is hooked up correctly. Try adding a div with some text in your home template just to make sure it's showing up. Once you've got that going you're ready to start on some directives. Now let's make our directive. We'll start with a simple one that we can use to display information passed to it. Step 1. Start your directive Woot. When you're initializing your directive just remember that it works very similarly to how you start up a controller or a service. It can also be very helpful to think of your directive as a route. Create your directive. You'll use the directive method on your angular module. It takes two arguments, the name string and the callback function, which will return the object that represents your directive. When naming your directive give it a name with two words; dirDisplay would be nice, but anything works. Just remember it's best practice to give a directive a camel case name so that it's clear in your html what it is. Also we're going to need a template html for our directive. We could do it inline, but let's make another file instead. Just name it something that makes sense for the name of your directive and put it in the same directory as your directive file. For your template just make a <div> and inside a <h1> tag that says User. Now in your home route html add in your directive. It will look like this if you named it dirDisplay: <dir-display></dir-display> Start up your app and go to the home route. Check and make sure you see User where your directive was placed. If you're not seeing it at this point it could mean a few things. Here's some more common issues. You didn't link your directive in your index as a script. Your name for your directive doesn't match the name in your html. Remember camel case becomes snake case so myDirective becomes <my-directive></my-directive>. You're file path to your html template is wrong. You have to think of file paths in angular as relative to the index. Here's some code to see just for this part, and just for the directive's js file. var app = angular.module('directivePractice'); app.directive('dirDisplay', function(){ return { templateUrl: 'app/directives/dirDisplay.html' }; }); What we're returning is the directive object. You won't see anymore code in this tutorial so it's important you get things working right and refer back to what you've already done to advance from now on. Step 2. Advancing directives Your directive should be loaded up now, but it's not really doing much. Let's make it better. In your home controller. Make a variable on your $scope called user. Set it's value to { name: "Geoff McMammy", age: 43, email: "geofdude@gmail.com" } Now inside your directive's html specifically inside the <h3> tags display our new user's name. Then inside maybe some <h4> tags display his email and age. This is going to work exactly the same as if it was just inside your home controller. Reload the page and make sure it works. This is still very cosmetic and really not all that useful. It needs functionality. Add into your directive's object the link property. The link property's value is a function definition that takes (generally) three parameters. scope, element, and attributes. Unlike in other places with angular injection these parameter names don't carry meaning. The first parameter will always represent your $scope for that directive, the second will always be the element that wraps your whole directive, and the third will always be an object containing all the properties and values of the attributes on your directive in the dom. Try the following to get a feel for all three. Add two attributes to your directive in your html. Like this - <dir-display test="myTest" my-check="checkItOut"></dir-display> Now in the link property you've added console.log the three parameters in the function. You'll see an object for scope that should look identical to the $scope of your html function. For element you'll see an object the represents the DOM wrapper for your directive. For attributes you'll see an object that will look like this: { test: "myTest", myCheck: "checkItOut" } An important thing to notice is how it has again converted snake case to camel case for you. my-check became myCheck. Don't forget this. You'll run into this issue one day. It counts for both attributes and directive names. To feel some of what the link function could do let's try this. Add a ng-show to both the email and age wrappers. This should be familiar to you. Now inside your link function add a click event listener to your element property. It's going to look just like jQuery. element.on('click', function(){ }) Inside the click listener's callback add a toggle for the ng-show property you passed in. Along with a console.log to make sure things are connecting when you click. Try it out. Don't call for a mentor when it doesn't work. Let's talk about that first. You should see the console.log firing, but why isn't it toggling. This is going to be a common problem when working with the link function and event listeners. What we have here is an angular digest problem. The value is changing on the scope object, but the change isn't being reflected by our DOM. That's because angular isn't aware of the change yet. Anytime we cause an event to happen using something like jQuery or even angular's jQLite we need to let angular know that we've made a change. Add this line of code in place of your console.log, scope.$apply(). Now try it out. It should be working now, so if you're still having issues it's time to debug. What we've done is forced angular to run it's digest cycle. This is where angular checks the scope object for changes and then applies those to the DOM. This is another good lesson to learn for later. You'll most likely hit this when making changes to your element using event listeners. Step 3. Directive's re-usability. Now our directive has some extremely basic functionality. One of a directive's greatest advantages though is its ability to be placed anywhere and still be functional. Let's say instead we had a list of users instead of just one. Change the $scope property in your home controller to be users and give it this array as its value: [ { name: "Geoff McMammy", age: 43, email: "geofdude@gmail.com", city: "Provo" }, { name: "Frederick Deeder", age: 26, email: "fredeed@gmail.com", city: "Austin" }, { name: "Spencer Rentz", age: 35, email: "spencerrentz@gmail.com", city: "Sacramento" }, { name: "Geddup Ngo", age: 43, email: "geddupngo@gmail.com", city: "Orlando" }, { name: "Donst Opbie Leevin", age: 67, email: "gernee@gmail.com", city: "Phoenix" } ] Now in your home HTML add a ng-repeat to the directive call. Tell it to repeat for each user in users. Reload your page. It's working! But why? How does each directive instance know what information to display? In the link function console.log the scope parameter. Make sure it's outside of your click listener. You'll see five print outs in your console. Open up any one of them and look to the bottom. Open up the user property. It's exactly what we would want! But again why would that be the case? Don't get too caught up in this next bit if it's too hard to understand, but the ng-repeat is essentially making new tiny scope objects for each individual user in our users array. Now each of our directives is still getting a user property on the scope object just like the directive wanted in the beginning. Woot. Step 4. Ramp it up with Isolate Scope. Directives can do so much more. So let's make that happen. That means we should make.... a new directive!!! This directive's purpose will be to display a selected User and the weather in his/her/its location. Link it up just like the last one. Create a js file for our directive and name it dirWeather. Make an html file named dirWeather.html. Link it up in your index.html and add the template to your new directive object. In your directive's template give it an <h3> tag that says Weather just so we can know it's working. Above your ng-repeat on dirDisplay add your new dirWeather directive. If it's not working check the instructions above as to some common reasons why before asking a mentor for help. If you're seeing the Weather text on your page then we're ready to try out the dreaded Isolate Scope. The isolate scope object is one of the stranger API's in angular. I'm sorry but it is. Just refer to this for now. scope: { string: '@', link: '=', func: '&' } The properties on the scope object represent the attributes on the directive in the html. Our example scope object here would look something like this in the html. <example-directive string="a string" link="user" func="updateUser()"></example-directive> The hard part here is the @, =, and &. They each have very important and distinct meanings. @ says take in my attribute value as a string. = says take in my attribute value as a two-way bound variable from the parent scope. & says take in my attribute value as a reference to a function on the parent scope. It's also critical to point out that once you add a scope object you have no isolated your directive's scope. Meaning, aside from the values passed in through attributes, this directive has no connection to the $scope of its parent. That being said let's isolate our directive's scope. :worried: Add the scope property to your dirWeather. Give it the value of an object with a property of currentUser whose value is '='. Remember in your html this will look like current-user. This is the third time I've said so don't expect it again. This means that whatever comes into the currentUser attribute is going to be a value of the parent's scope object. For now test this out by passing in users[0]. Find a way to show that users information inside your dirWeather's html. Remember inside your directive now the user is represented by currentUser. Step 5. &? &!? The '=' value on your scope object has created a two-way binding between users[0] and currentUser. Now let's try out the '&'. On your home controller add a function called getWeather. It takes one parameter called city. This function will make a call to a service so we'll need to create that. Make a weather service. Name it something cool and creative like weatherService. Inside the weather service make a function called getWeather that also takes one parameter, city. Make an $http get to this url - 'http://api.openweathermap.org/data/2.5/weather?q=' After the q= add on the city parameter. If you want you can test this out in postman. See what kind of data you get back. If it's the weather of that city then... you win! Use $q to return a promise that only resolves with the data you want. Temperature (preferably not in Kelvin) and the weather description. Use console.log on the data coming from the $http request to get to what you want. You'll need to add both on an object that you resolve your new promise with. On your home controller have it return the result of invoking the get getWeather function on the service. You should be returning a promise. Now in your home route's HTML pass in the getWeather function to the dirWeather directive through an attribute called weather-call. Add the attribute to your isolate scope object. That was a lot of linking, but let's walk through it. Your controller has a function linked to the service, which is in turn linked to your directive. So if you run the weatherCall function in your directive it will go through your controller to your service and then back. Now things get a little bit tricky. Angular's way of passing along arguments through a directive to your controller are tricky, but once you understand how to do it, it's not hard. I'm going to give an example here of how it works. <my-directive pass-func="callFunc(data)"></my-directive> Here's how it would look in your HTML. But where's the data supposed to be coming from? It seems that you'd rather be able to pass in data from your directive. Well you still can, you just have to essentially tell angular what do use as an argument to replace data when it calls that function in your controller. The actualy function call inside the directive will look like this. $scope.passFunc({data: wantedData}) So what you'll do is pass in an object where the property name is what the argument is named in the HTML where you call the directive. That might sound confusing, but just look at the two code blocks above for a pattern. Note that pass-func becomes $scope.passFunc and data is being replaced with wantedData with the {data: wantedData} object. In our directive we want to replace city in the attribute call, for something else inside the directive. You'll follow the same pattern as above. For now let's get things set up for that function call. Add to the dirWeather directive object a property called controller. It's value will be a function. Yes, this is a controller specifically for your one directive. It works the same as any other controller, except you don't give it a name. It's $scope object will only be accessible within an instance of your directive. Don't forget to inject $scope in the function. Inside your controller function run the weatherCall function with the city property from the currentUser on your $scope. Here's where you need to make sure you've passed in a city argument in the attribute function call, and then replace that with your currentUser's city using an object with a city property. The function call should return a promise, so call .then afterward and add the data onto your $scope to display both the weather and temperature of the currentUser's city. The properties can be named whatever makes sense to you. You may also want to find a way to get rid of all the decimal places on your temperature. Now you should have everything hooked up so it shows Geoff's data and the weather data for Provo. But is that good enough? Step 6. Ramping up our ramp up. Now let's change this so it shows the weather data for whichever user we select. We're going to need to use '&' again. Make a function on the home controller that takes in a parameter and sets a property on the $scope to be that parameter. Maybe you see where this is going. We want to get this function into our dirDisplay controller. But in order to do that we need to isolate dirDisplay's scope. This also means we need to pass in each individual user through the scope object as well. To make it easier on ourselves, let's pass the current user from our ng-repeat into our directive through a user attribute. This way we can leave our two-way bindings as they are. Also pass our new function that sets our current user from our home controller into our directive through a setUser attribute. You'll need to add an argument in there again. Go with user. Your scope object in dirDisplay should have two properties. setUser with the value of '&' and user with the value of '='. As before we're going to need to do some tricky stuff to get our argument back to our controller. Call the setUser function inside our click event listener and pass in an object the sets our user argument to be the user on our directive's scope object. If you've forgotten this part go back up and take a look at how you did it before or the example in this README. Whatever user you click on now should show up in the dirWeather directive as the current user. But we're missing one thing, we want to be able to see the weather for that user too. We'll have to do one more thing that will seem a little bit tricky at first, but it's good to learn if you don't know it already since it's actually used quite frequently. We need to step up a change listener on our currentUser in the dirWeather directive. We'll use angular's $watch functionality. $watch is a method on your $scope that will watch for changes in a variable you give it. It works in two ways. $scope.$watch('property', function(value){ console.log("When $scope.property changes its new value is: ", value) }); And $scope.$watch(function(){ return myVar }, function(value){ console.log("When myVar changes its new value is: ", value); }); Remove the immediate function call that we have in there now. Maybe just comment it out for now because we'll use it in a bit. Now call the $watch method on your scope and have it watch currentUser. Either way of using $watch is fine. Have its callback run the $scope.weatherCall function just like you had it before. One thing to note is that $scope.$watch will always run once to begin with. Since that's what we want here it's great, but just be aware of that. If you've reached this point congratulate yourself. You've messed with some serious stuff today, namely directives. There are still a lot of things about directives that we can't possibly cover in a single project. If you like what we've done so far then you're in a good place to keep going. A developer who understands directives well can build a really clean looking code base. Just look at your home.html. It could have just two lines in it. If you're feeling good move on now to Step 7. Step 7. Finishing touches Try to work out these problems on your own. There should be a way to let the user know that the weather data is loading. Something that appears while our $http request is retrieving our data. The $http request shouldn't fire on both opening and closing a user's information. A color change for the currently active user would be nicer than showing that user's info inside the dirWeather modal. Or at least less redundant. Whatever else you want. We still haven't explored transclusion and ng-transclude so give that a try if you're feeling adventurous. Just know that it's a way for deciding where to put the HTML child elements of a directive. It's cool stuff that can involve some criss-crossing of scopes.

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Employee Payroll/Salary Management App This repository is updated to Angular 11.0 Now. Please install latest Angular 11 cli before starting this project, in case of any issue, please open a GitHub Issue and include detail error screenshots. YouTube Video Tutorial !! Objective: This document serves as an Installation Guide for Elish HCM Cloud free commmunity version Desktop/Mobile App. Tools: MEAN Stack (latest) Angular 9.0, NodeJS 10.8, Express, GraphQL and MongoDB 4.0 or MYSQL Using this design pattern, any old client/server software (like VB/SQL or JAVA/Oracle) can be converted to new design to replace or run in parallel with original software. You can easliy deploy this as an exe desktop app, host it over premises or over cloud or create an Android & iOS mobile app easily. This design pattern is built for Big Data technologies and supports millions of transactions. Also, this design pattern can be applied to any front end like React, VueJS, HTML/JS/Bootstrap/Project clarityto get any front-end look and feel. And Same concepts can applied to connect to almost any database of owners choice at the backend like MYSQL, MS SQL Server, Oracle or CouchDB, MongoDB, Google Firebase etc. What's included : In this repository, Only Employee Management, Payroll/Salary, Voucher and Expense modules is included. Elish HCM Cloud v1.1.8 Elish HCM Cloud provide a completely free desktop and mobile app for managing Employee, Payables, Payroll, Attendance (GPS & Picture), Visitor (GPS & Picture) and other management modules. future update/version/releases after v1.1.8 baseline release, will include new features and bug fixes for free under community license. For enhancement/feature requests, please open a new issue at this Github Repository. App Choices: #A. Elish HCM Cloud also provide a free web and mobile Enterprise app, hosted on Google Cloud with Google Firebase/Firestore database at: https://alivetracking.com Google Playstore - https://alivetracking.com #B. For Community/Developer edition, developers can download a copy of "out of the box installable software package" or complete source code for free. Below documentation serves as installation instruciton for point #B mentioned above. Installation Instruction for "out of the box Installable Desktop/Mobile App" Community/Developers Open Source Code guide Installation Instruction for "out of the box Installable Desktop/Mobile App" ------------------------------------------------------------------------------------ By dafault, Elish HCM Cloud Community Edition is bundled with MongoDB. However, Other database supported on v1.1.8 release are MYSQL, MS SQL Server, PostGreSQL, CouchDB, Google Firebase/FireStore, MongoDB If you wish to migrate/upgrade your old desktop or client/server software to enterprise desktop/mobile app, please write to info@elishconsulting.com for Enterprise version upgrade. README.STEP-1-DB-INSTALLATION README.STEP-2-MIDDLEWARE README.STEP-3-FRONT-END README.STEP-4-Deploy/Host code over cloud Step 4 - will be udpated later.

#!/usr/bin/env bash # This basically just takes all of the instructions from DigitalOcean's "How To Set Up an OpenVPN Server on Ubuntu 16.04" and puts them into a single script. # Define functions. function exportReplace { ek="export KEY_${1}=" sed -i "s/${ek}\".*\"/${ek}\"${2}\"/g" vars } function getPublicInterface { pubInterface="$(ip route | grep default)" pubInterface="$(echo $pubInterface | grep -oP -m 1 "dev .*?( |$)" | head -1)" pubInterfaceLen=${#pubInterface}; if [ "${pubInterface:$pubInterfaceLen:1}" = " " ]; then ((pubInterfaceLen--)) fi ((pubInterfaceLen-=4)) pubInterface=${pubInterface:4:$pubInterfaceLen} echo $pubInterface } function getIPAddress { ip route get 1.1.1.1 | awk '{print $NF; exit}' } function getAdditionToBeforeRules { pubInterface="$(getPublicInterface)" echoStr="" echoStr=$echoStr"\n# START OPENVPN RULES" echoStr=$echoStr"\n# NAT table rules" echoStr=$echoStr"\n*nat" echoStr=$echoStr"\n:POSTROUTING ACCEPT [0:0]" echoStr=$echoStr"\n# Allow traffic from OpenVPN client to ${pubInterface}" echoStr=$echoStr"\n-A POSTROUTING -s 10.8.0.0/8 -o ${pubInterface} -j MASQUERADE" echoStr=$echoStr"\nCOMMIT" echoStr=$echoStr"\n# END OPENVPN Rules" echoStr=$echoStr"\n" echoStr=$echoStr"\n" echo -e $echoStr } # Check root privileges. if [[ $(id -u) -ne 0 ]] ; then echo "This script must be run as root." exit 1 fi # Step 1: Install OpenVPN apt-get update apt-get install -y openvpn easy-rsa # Step 2: Set up the CA directory and switch to it. make-cadir ~/openvpn-ca cd ~/openvpn-ca # Step 3: Configure the CA Variables # Get information from user to customize vars. printf "\n\nSetup will need to customize the VPN server. Some information will need" printf "\nto be collected." printf "\nDon't use quotation marks in any of these. It'll mess stuff up." printf "\nDon't leave anything blank." printf "\n\nPlease enter email address:" read emailAddress printf "\n\nPlease enter country code (i.e., \"US\",\"CA\", etc):" read countryCode printf "\n\nPlease enter state or province code (i.e., \"NY\",\"MI\"):" read provinceCode printf "\n\nPlease enter city name (but remove spaces, i.e., SanFrancisco):" read cityName printf "\n\nPlease enter organization name (could be The Illuminati for all I care):" read orgName printf "\n\nPlease enter organizational unit (Seriously, what does that even mean?):" read OUName printf "\n\nIn a short while, another program is going to ask you to confirm these." printf "\nIt will do this multiple times. You can just press Enter on all of them." printf "\nto confirm." printf "\nIMPORTANT! One of the setup programs will ask you to enter a" printf "\n\"challenge\" password. Leave it blank and just hit [Enter]." #printf "\nHowever, when asked to create a PEM password, be sure to use a strong one." printf "\nWhen a setup program asks you a y/n question, respond with \"y\"." printf "\nPress [Enter] now to continue with install." read -p "" # Customize vars file and run it. exportReplace "COUNTRY" $countryCode exportReplace "PROVINCE" $provinceCode exportReplace "CITY" $cityName exportReplace "ORG" $orgName exportReplace "EMAIL" $emailAddress exportReplace "OU" $OUName exportReplace "NAME" "server" # Step 4: Build the Certificate Authority source vars ./clean-all ./build-ca # Step 5: Create the Server Certificate, Key, and Encryption Files ./build-key-server server ./build-dh openvpn --genkey --secret keys/ta.key # Step 6: Generate a Client Certificate and Key Pair source vars ./build-key client1 # Step 7: Configure the OpenVPN Service # Copy the Files to the OpenVPN Directory cd ~/openvpn-ca/keys sudo cp ca.crt ca.key server.crt server.key ta.key dh2048.pem /etc/openvpn gunzip -c /usr/share/doc/openvpn/examples/sample-config-files/server.conf.gz | sudo tee /etc/openvpn/server.conf # Adjust the OpenVPN Configuration confFile='/etc/openvpn/server.conf' #Note! This var is used later in the script, not just in this section. subString="tls-auth ta.key 0 # This file is secret" oldString=";${subString}" newString="${subString}\nkey-direction 0" sed -i "s/${oldString}/${newString}/g" $confFile subString="cipher AES-128-CBC" oldString=";${subString}" newString="${subString}\nauth SHA256" sed -i "s/${oldString}/${newString}/g" $confFile subString="user nobody" oldString=";${subString}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $confFile subString="group nogroup" oldString=";${subString}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $confFile subString="push \"redirect-gateway def1 bypass-dhcp\"" oldString=";${subString}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $confFile subString='push "dhcp-option DNS 208.67.222.222"' oldString=";${subString//./\\.}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $confFile subString="push \"dhcp-option DNS 208.67.220.220\"" oldString=";${subString//./\\.}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $confFile # Step 8: Adjust the Server Networking Configuration. # Allow IP Forwarding subString="net.ipv4.ip_forward=1" oldString="#${subString//./\\.}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" /etc/sysctl.conf sudo sysctl -p # Adjust the UFW Rules to Masquerade Client Connections fileName="/etc/ufw/before.rules" newRules="$(getAdditionToBeforeRules)" fileContents="$(awk -v "n=10" -v "s=${newRules}" '(NR==n) { print s } 1' ${fileName})" echo "${fileContents}" > $fileName oldString="DEFAULT_FORWARD_POLICY=\"DROP\"" newString="DEFAULT_FORWARD_POLICY=\"ACCEPT\"" sed -i "s/${oldString}/${newString}/g" /etc/default/ufw # Open the OpenVPN Port and Enable the Changes ufw allow 1194/udp ufw allow OpenSSH ufw disable ufw enable # Step 9: Start and Enable the OpenVPN Service systemctl start openvpn@server systemctl enable openvpn@server # Step 10: Create Client Configuration Infrastructure # Creating the Client Config Directory Structure mkdir -p ~/client-configs/files chmod 700 ~/client-configs/files # Creating a Base Configuration fileName="${HOME}/client-configs/base.conf" cp /usr/share/doc/openvpn/examples/sample-config-files/client.conf $fileName ipAddress="$(getIPAddress)" sed -i "s/my-server-1/${ipAddress}/g" $fileName subString="user" oldString=";${subString}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $fileName subString="group" oldString=";${subString}" newString="${subString}" sed -i "s/${oldString}/${newString}/g" $fileName subString="ca ca.crt" oldString="${subString/\./\\.}" newString="#${subString}" sed -i "s/${oldString}/${newString}/g" $fileName subString="cert client.crt" oldString="${subString/\./\\.}" newString="#${subString}" sed -i "s/${oldString}/${newString}/g" $fileName subString="key client.key" oldString="${subString/\./\\.}" newString="#${subString}" sed -i "s/${oldString}/${newString}/g" $fileName echo "">> "${fileName}" echo "cipher AES-128-CBC">> "${fileName}" echo "auth SHA256" >> "${fileName}" echo "key-direction 1" >> "${fileName}" echo "#script-security 2" >> "${fileName}" echo "#up /etc/openvpn/update-resolv-conf" >> "${fileName}" echo "#down /etc/openvpn/update-resolv-conf" >> "${fileName}" # Creating a Configuration Generation Script makeConfigStr=" # First argument: Client identifier KEY_DIR=~/openvpn-ca/keys OUTPUT_DIR=~/client-configs/files BASE_CONFIG=~/client-configs/base.conf cat \${BASE_CONFIG} \\ <(echo -e '<ca>') \\ \${KEY_DIR}/ca.crt \\ <(echo -e '</ca>\n<cert>') \\ \${KEY_DIR}/\${1}.crt \\ <(echo -e '</cert>\n<key>') \\ \${KEY_DIR}/\${1}.key \\ <(echo -e '</key>\n<tls-auth>') \\ \${KEY_DIR}/ta.key \\ <(echo -e '</tls-auth>') \\ > \${OUTPUT_DIR}/\${1}.ovpn " echo "#!/bin/bash" > "${HOME}/client-configs/make_config.sh" echo "${makeConfigStr}" >> "${HOME}/client-configs/make_config.sh" chmod 700 ~/client-configs/make_config.sh # Step 11: Generate Client Configurations cd ~/client-configs ./make_config.sh client1 # Copy VPN configuration to /root, so it's the same path for everyone. cp ~/client-configs/files/client1.ovpn /root

1> Background information Bluebikes is Metro Boston’s public bike share program, with more than 1800 bikes at over 200 stations across Boston and nearby areas. The bikes sharing program launched in 2011. The program aimed for individuals to use it for short-term basis for a price. It allows individuals to borrow a bike from a dock station after using it, which makes it ideal for one-way trips. The City of Boston is committed to providing bike share as a part of the public transportation system. However, to build a transport system that encourages bicycling, it is important to build knowledge about the current bicycle flows, and what factors are involved in the decision-making of potential bicyclists when choosing whether to use the bicycle. It is logical to make hypotheses that age and gender, bicycle infrastructure, safety perception are possible determinants of bicycling. On the short-term perspective, it has been shown that weather plays an important role whether to choose the bicycle. 2> Data collection The Bluebikes collects and provides system data to the public. The datasets used in the project can be download through this link (https://www.bluebikes.com/system-data). Based on this time series dataset (start from 2017-01-01 00:00:00 to 2019-03-31 23:00:00), we could have the information includes: Trip duration, start time and data, stop time and data, start station name and id, end station name and id, bike id, user type (casual or subscribed), birth year, gender. Besides, any trips that were below 60 seconds in length is considered as potentially false starts, which is already removed in the datasets. The number of bicycles used during a particular time period, varies over time based on several factors, including the current weather conditions, time of the day, time of the year and the current interest of the biker to use the bicycle as a transport mode. The current interest is different between subscribed users and casual users, so we should analyze them separately. Factors such as season, day of a week, month, hour, and if a holiday can be extracted from the date and time column in the datasets. Since we would analyze the hourly bicycle rental flow, we need hourly weather conditions data from 2017-01-01 00:00:00 to 2019-03-31 23:00:00 to complete our regression model of prediction. The weather data used in the project is scrapped using python selenium from Logan airport station (42.38 °N, 71.04 °W) webpage (https://www.wunderground.com/history/daily/us/ma/boston/KBOS/date/2019-7-15) maintained by weather underground website. The hourly weather observations include time, temperature, dew point, humidity, wind, wind speed, wind gust, pressure, precipitation, precipitation accumulated, condition. 3> The problem The aims of the project are to gain insight of the factors that could give short-term perspective of bicycle flows in Boston. It also aimed to investigate the how busy each station is, the division of bicycle trip direction and duration of the usage of a busy station and the mean flows variation within a day or during that period. The addition to the factors included in the regression model, there also exist other factors than influence how the bicycle flows vary over longer periods time. For example, general tendency to use the bicycle. Therefore, there is potential to improve the regression model accuracy by incorporating a long-term trend estimate taken over the time series of bicycle usage. Then the result from the machine learning algorithm-based regression model should be compared with the time series forecasting-based models. 4> Possible solutions Data preprocessing/Exploration and variable selection: date approximation manipulation, correlation analysis among variables, merging data, scrubbing for duplicate data, verifying errors, interpolation for missing values, handling outliers and skewness, binning low frequent levels, encoding categorical variables. Data visualization: split number of bike usage by subscribed/casual to build time series; build heatmap to present how busy is each station and locate the busiest station in the busiest period of a busy day; using boxplot and histogram to check outliers and determine appropriate data transformation, using weather condition text to build word cloud. Time series trend curve estimates: two possible way we considered are fitting polynomials of various degrees to the data points in the time series or by using time series decomposition functions and forecast functions to extract and forecast. We would emphasize on the importance to generate trend curve estimates that do not follow the seasonal variations: the seasonal variations should be captured explicitly by the input weather related variables in the regression model. Prediction/regression/time series forecasting: It is possible to build up multilayer perceptron neural network regressor to build up models and give prediction based on all variables of data, time and weather. However, considering the interpretability of model, we prefer to build regression models based on machine learning algorithms (like random forest or SVM) respectively for subscribed/casual users. Then the regressor would be combined with trend curve extracted and forecasted by ARIMA, and then comparing with the result of time series forecasting by STL (Seasonal and Trend decomposition using Loess) with multiple seasonal periods and the result of TBATS (Trigonometric Seasonal, Box-Cox Transformation, ARMA residuals, Trend and Seasonality).

% This function is made by Ahmed ElTahan %{ This function is intended to estimate the parameters of a dynamic system of unknown parameters using the Recursive Modified Extended Least Squares With Exponential Forgetting Factor Method (RMELSWEF) for time varying parameter system which has an noise addition. After an experiment, we get the inputs, the outputs of the system. The experiment is operated with sample time Ts seconds. The model is given by A(z) y(t) = B(z)sys u(t) + C(z) eps(t) which can be written in z^(-d) B(z) C(z) y(t) = ------------------- u + ------------ e = L*u + M*e A(z) A(z) where: -- y : output of the system. -- u : control action (input to the system). -- e : color guassian noise (noise with non zero mean). -- Asys = 1 + a_1 z^-1 + a_2 z^-2 + ... + a_na z^(-na). [denominator polynomail] -- Bsys = b_0 + b_1 z^-1 + b_2 z^-2 + ... + b_nb z^(-nb). [numerator polynomail] -- C = 1 + c_1 z^-1 + c_2 z^-2 + ... + c_nc z^(-nc). [noise characteristics] -- d : delay in the system. A and C are monic polynomials. (in output estimation of the stochastic system as C is monic, we add e(t) to the estimation i.e. not starting from c1*e(t-1)) Function inputs u : input to the system in column vector form y : input of the system in column vector form na : order of the denominator polynomail nb : order of the numerator polynomail nc : order of the characteristics of the noise (usually <=2 for max) d : number represents the delay between the input and the output lambda : forgetting factor -->>> 1>lambda>0 Function Output Theta_final : final estimated parameters. Gz_estm : pulse (discrete) transfer function of the estimated parameters 1 figure for the history of the parameters that are being estimated 2 figure to validate the estimated parameters on the given output using the instantaneous estimated parameters. 3 figure to plot the input versus time. Note: the noise added shall not to be with a magnitude close to the system output, it should be smaller, this is in simulation such as here or the algorithm will go crazy that can't distinguish between the main and the noisy signal (This can be measured in practical case finding noise to signal ratio). An example is added to illustrate how to use the funcrtion %}

% This function is made by Ahmed ElTahan %{ This function is intended to estimate the parameters of a dynamic system of unknown parameters using the Recursive Extended Least Squares With Exponential Forgetting Factor Method (RELSWEF) for time varying parameter system. After an experiment, we get the inputs, the outputs of the system. The experiment is operated with sample time Ts seconds. The model is given by A(z) y(t) = B(z)sys u(t) + C(z) eps(t) which can be written in z^(-d) B(z) C(z) y(t) = ------------------- u + ------------ e = L*u + M*e A(z) A(z) where: -- y : output of the system. -- u : control action (input to the system). -- e : color guassian noise (noise with non zero mean). -- Asys = 1 + a_1 z^-1 + a_2 z^-2 + ... + a_na z^(-na). [denominator polynomail] -- Bsys = b_0 + b_1 z^-1 + b_2 z^-2 + ... + b_nb z^(-nb). [numerator polynomail] -- C = 1 + c_1 z^-1 + c_2 z^-2 + ... + c_nc z^(-nc). [noise characteristics] -- d : delay in the system. A and C are monic polynomials. (in output estimation of the stochastic system as C is monic, we add e(t) to the estimation i.e. not starting from c1*e(t-1)) Function inputs u : input to the system in column vector form y : input of the system in column vector form na : order of the denominator polynomail nb : order of the numerator polynomail nc : order of the characteristics of the noise (usually <=2 for max) d : number represents the delay between the input and the output lambda : forgetting factor -->>> 1>lambda>0 Function Output Theta_final : final estimated parameters. Gz_estm : pulse (discrete) transfer function of the estimated parameters 1 figure for the history of the parameters that are being estimated 2 figure to validate the estimated parameters on the given output using the instantaneous estimated parameters. 3 figure to plot the input versus time. Note: the noise added shall not to be with a magnitude close to the system output, it should be smaller, this is in simulation such as here or the algorithm will go crazy that can't distinguish between the main and the noisy signal (This can be measured in practical case finding noise to signal ratio). An example is added to illustrate how to use the funcrtion

Descriptive statistics and Explanatory data analysis In order to have an idea of the received data, we look through our table transactions and train. The shape of the train is 6000 rows and 2 columns (client_id and target – gender). Also we considered the info of transactions and noticed that there are no empty values, all of them are equal to 130039. After that we merged two tables and called it as data. To display unique codes and types we used ‘unique’ function and noticed that unique codes 173 and unique types 61. Using ‘describe’ function we can see minimal code, type, sum and the same parameters but maximum. The first hypothesis was to find what gender makes lots of requests. For conveniency we used for loop to make values in percentile view. And according to the barplot the biggest number of processes are made by females. The second hypothesis was to find the code with the biggest sum. For that we grouped by code and counted the mean of all sums. This list we converted from series to frame for further working process. The problem was that the code interpreted the code as the index, that’s why we have to fix it with ‘reset_index’ function. After that we plotted the graph and noticed that the most high sum is with 4722 code and proved it with another code under the graph. The third hypothesis is to find the distribution of sums relatively to the gender. But the first graph didn’t replaced this information because the scatter of the data is too high. The sign is not normally distributed and it is not symmetrical. It is hard to asses, that’s why we grouped information by gender and counted mean of the sum. According to this information we noticed that males spend more money than women. The same process we made with median and got the same conclusion. And since the mean and median values are not equal, our assumption about unnormalized data was proved. The last hypothesis was to find number of clients for each type and code – to find the most popular request within clients. For that we applied ‘str’ to each parameter for correct visualization on the graph. Counted the number of each request for type and code and reflected it in the graphs. According to them the most popular is 1010 type and 6011 code. Lastly, for further working process we returned type and code to the int type. Feature engineering Client’s balance condition We took every sum from dataframe data, grouped for every client and found the sum for each of them. We calculated the income and expenses for each client. Some clients with minus value made more expenses, some of them not, that means that he got more income. In minus is 0, in plus is 1. RFM In RFM section we started from Recency. For each client we grouped the information about them and found the maximum date where the transaction was done. The datetime column consisted from two values – date and time, for further working process in future engineering section we divided them for different columns. The most recent day we equaled to 457 and according to this value started to count the recency of last transactions for each client by subtraction. The next step is Frequency. We used ‘group by’ function and counted appearance of each client in our database. The last step is Monetary (to count expenses). Using group by function and condition, where the sum is less than 0 (expenses are negative values), we counted the total expenses of each client and noticed one point. That some clients didn’t spend any money at all. Segmentation based on RFM We merged all the tables into one and made a rank according to the best values in each segment using percentage. Using the formula we divided clients by 5 score scale, by this database and elbow method, plotted the graph, where 3 clusters were optimal solution. With KMeans library we plotted the k-mean illustration of clients according to the distance from randomly chosen centroids, showed distribution of clients in clusters. After the work done we gathered basic table with clusters using prefixes to each of them. Clustering for codes Now we'll work with codes to create clustering codes, and we'll utilize TF IDF and k-means to do it. We will also employ limitization, tokenization, and stop word elimination. We import the pymorphy2 library for limiting, and limiting is when words take their original form. Tokenization by sentences is the process of dividing a written language into component sentences. We also need to delete stop words, a stop word is a commonly used word (such as “the”, “a”, “an”, “in”) that a search engine has been programmed to ignore, both when indexing entries for searching and when retrieving them as the result of a search query. We would not want these words to take up space in our database, or taking up valuable processing time. We also make use of the re – Regular expression operations library, which is a library for regular expression operations. In this section we also use MorphAnalyzer() - Morphological analysis is the identification of a word's features based on how it is spelt. Morphological analysis does not make use of information about nearby words. For morphological analysis of words, there is a MorphAnalyzer class in pymorphy2. If we apply directly the clustering on those matrix, we will have issues as our matrices are very sparse and the computation of distances will be a mess. What we can do, is to perform IS to reduce data to a dense matrix of dimension 156 by applying SVD. Singular Value Decomposition (SVD) is one of the widely used methods for dimensionality reduction. We defined that 156 is the right number in our case. We used the Silhouette score to evaluate the quality of clusters created using K-Means. By Silhouette score we chose number of clusters and performed k means clustering on our tf-idf matrix. Then we tried to do a visualization of our clusters and we applied t-sne . t-SNE is a tool to visualize high-dimensional data. And then we added clusters to data and df dataframe. Finally we created word cloud by our clusters Clustering for types Data cleaning for types Firstly, we noticed that there were 155 types. However in data, there are 61 types. When we merge the data and that types, the total number of types become 58. This means that 3 types have no any description and that’s why we replace them with the mode value. Also we found that some types have type description ‘н.д’ which means no data and their total number in data is 26. Also we noticed that type description repeats for several types and we dropped duplicates and replaced them with first accurancy type in data. Creating clusters for types We manually divided them into the 5 categories according to dome key words in description. And merged them with our dataframe. Then we noticed outliers in recency and frequency. We found 0.999 and 0.001 quantile, where the first one is considered as the high, and the second is the low boundary. Everything above 0,999 and below 0.001 is considered as an outlier. We removed them for both recency and frequency. After that we checked dataframe by describe and concluded that everything become normal. Supervised learning The time for prediction came. We divided our dataframe into train and test and used KNN, Decision Tree Classifier and Random Forest, Logistic Regression for further predictions. We decided to investigate the accuracy from 1 to 20 with step 2 for each neighbor in train and test. And built the plot. The best result is accuracy 58 for 19 neighbors. Decision Tree gave us 54 for test set and Random Forest’s accuracy was 64. We investigated feature importance for both of them and noticed that monetary had the most influence on predicting the data. For Grid Search we manually set the hyper parameters and for cross validation equals to four folds. Best estimater for random forest classifier for grid search was found. After that good estimaters were chosen for random forest, and the same accuracy occurred. Best accuracy for random forest with default hyper parameters. We built confusion matrix and calculated recall, precision and f-1 score. Also we decided to build lofistic regression but the accuracy was too small, that’s why we build roc-auc and precision-recall curve. Conclusion All the models showed that taken data was not enough and actually not the best for gender prediction. Actions for increase the accuracy were done, such as adding more features, removing outliers. According to this investigation the best choice was random forest.

Welcome to bear market of 2022. We aren't just talking about cryptocurrency, literally ever market seems to be in tank. The war in Ukraine, high gas prices, and continuation of high inflation is plaguing our economy. At this point, it is almost too late to do anything. The monthly FOMC meetings have brought new regulation to the markets. The big question though is it enough? The US national debt at time of writing is flirting just under $100 trillion. Let that sink in for a second. To give you a scale of how much money that is, to make $1 million you would have to make a dollar every second for 10 days straight. To make $1 billion, you would have to make a dollar every second for almost 32 years. Now this is where it gets crazy, to make $1 trillion, you would have to make a dollar every second for 31,709.79 years. We have more debt than we could ever pay back. But what caused this debt? Debt in itself is kind of an interesting topic. A lot of the world's debt has to deal with credit and interest rates. We as people use credit and loans to obtain assets. Some debt is good, while other debt is bad. At the end of the day credit is necessary for everyone to have. It is a way that the banks can judge you as a person financially. Just because someone is nice in character, doesn't mean they know how to manage a check book or a bank account. These types of under the hood details are important when running a business or buying a house or car. The lenders need to make sure that you personally are not a bad investment, and that they will get their money back. Due to interest rates, money is deposited into a bank account, and then the bank takes that same money and loans it out to other people. They then get a percentage of returns (interest). This is why our debt will never be paid back. Every dollar that is deposited, more dollars are basically magically created from thin air. This is the result of interest. Unless we changed our whole credit situation, the whole world will always carry this massive debt. With that being said, that may just be the best option. If you look at history over thousands of years. Every society has different exchanges of currency. From salt, to livestock, rocks, gold, silver, etc. The point is, the average for these changes historically is every 100-200 years. A good is mutually decided by the population and is agreed upon as an exchange of value. This is what defines a currency. A unit of exchange for goods and services. In our current day and age, it is typically denoted in paper money. Good old fiat currency. Cheddar, scratch, benjamins, green, bread, stacks, racks, etc. you get the point. Although the dollar, particularly the US dollar has been a global leader for quite some time, over recent years it has become pretty evident that this current financial system is on the verge of collapse. At the rate at which we are going, financial collapse is inevitable. A time that will be way worse than the 2008 subprime mortgage crisis. The worst part about it is, no one seems to know or even care. This is why our government, the federal reserve, and banks have to come to an agreement on what the next move is and very quickly. Ever hear of hyperinflation? Just google hyperinflation and tons of historic accounts with pop up of countries such as Brazil, Germany, Hungary, etc. The currencies for these countries basically become worthless in a short period of time due to irresponsible money printing. Sounds familiar right? The whole quantitative easing that the US government introduced a few years back was designed to help the country in times of a crisis. In theory it sounds like a good idea, a way to bring new money into the economy and to offer new invests and loans to people at very low interest rates. Sounds almost too good to be true. Well usually in life, things that are too good to be true, never end well. Just look around to what is happening in our everyday lives. Let's say you have been working at the same job for 10 years. Over the first couple years, you got pretty decent pay raises because you advanced up the ranks. But now as you have reached the top, you aren't receiving that significant pay raise over the first term of employment, because you have hit your max rank. The only way to advance in position is if someone leaves. That is okay though, you love your job and are promised a 3-5% raise every year moving forward. As long as the company is in the positive in. terms of revenue and you are still doing well at your day-to-day tasks, why wouldn't you get a raise. Well that is all great, but let's look at the price of goods. Gas has gone up so much over the course of a decade. Even over the past two years, gas have more than doubled. Food has also gone up substantially, what might have cost you $100 at the grocery store, now costs you $120. Don't even get me started about house prices and the cost of rent. These massive prices are not good for the economy at all. Every ten or so years, we see this happen in the housing market. The prices should always raise in real estate, but at a reasonable level. At the rate they have been going lately, no average person can afford to buy a house. You may have bought a house for $200,000 two years ago and now are sitting on a property that is literally double. Now short term, that is good for the seller. But in the long term, it doesn't help anyone at all. At the end of the day, the rate at which our inflation is impacting the purchase power, it doesn't matter really what you are being paid. For money to be successful for a long term currency, it has to be backed or pegged to a deflationary asset. Gold is a perfect example of this. While gold technically isn't deflationary, because 2% of the total gold supply is increased every year through mining, it is recognized as the OG in terms of value. For many times in history, gold along with other precious metals were used as mediums of exchange. But as societies advanced, and needs changed, so did the currency. The problem with gold or anything physical as a medium of exchange is transporting it. You walk around your city in today's world with gold bars or coins hanging out of your pockets, there is no doubt you will have all eyes on you. You shouldn't have that much anxiety when you are just trying to pay somebody or simply go to the bank. So what was the solution? In the early 1900s we came up with fiat currency (us dollar). For a very long time it was backed by gold, or known as the gold standard. It actually was great, we had debt as a nation, but it was manageable. It also kept us somewhat limited to what we could do as a nation. Which can be argued as both good and bad. But at the end of the day, times were good in terms of finances. Well unfortunately, that was all taken away in the 70s. So what happens then? What gives our currency value? Some people argue our currency is a P.E.T.R.O dollar. A fiat currency that is backed by our oil reserves and the trading of oil reserves from other countries. It also carries the theory of military protection. That majority of countries need to transact with the US dollar being the global standard. In return, a partnership (alliance) is developed. And in the event of global conflict, the United States military will be there to help your country out. Ever wonder why the US is involved in almost ever single war? That in itself is an eye opening topic that we can cover for days. We will come back to that. So essentially the only thing that gives our current US dollar, which is the global leader in currency, is it is backed by the good faith of the people. That it is recognized as a standard across the globe for a medium of exchange. Okay, cool so we all agree that one green piece of paper with some faces, numbers, and symbols is what has value. But other than that, the dollar has zero value. Literally zero intrinsic value, it isn't backed by anything. Good luck going back to the gold standard now. That would be way too hard to try to accomplish. The gold standard was great, but it also had its flaws. One being that ones reserves could be stolen easily. Also a massive black market for illegal gold had a massive value, and unless you were an expert or had the tools up front to detect fake gold, it was very easy to pull a scam on someone. So the dollar did fix the problem of carrying heavy gold bars around, but you would have the problem of having huge wads of cash stuff in wallet. So what came out and solved this problem? The issuance of debt and credit cards. A way to have your bank account balance and purchase power, without having to have the physical cash on hand. So where does this leave us? Well clearly a new asset is needed.

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Diabetic Retinopathy (DR) is one of the eye-related disease that reduces the integrity of the blood vessels in the retinal layers which leads to retinal blood vessel leakage [2]. Sodium Fluorescein Angiography (FA) is widely used to monitor the leakage or the permeability of the vessel by imaging the back of the eyes as an important diagnostic value. Gamez [2] which is a PhD student in University of Bristol started FA on mice. Gamez [2] manually extracted fluorescent intensity data from the resulting FA videos and a graph of the fluorescence intensity ratio (FIR) versus time was plotted to obtain the gradient which is the solute flux (ΔIf/ Δt). These data was then used to assist the development of the Fick's Law adapted equation P=ΔIf/ Δt /(ΔC × A) to obtain the permeability of the vessel. The obstacle of this method was the manual data capturing process was too time consuming. This method also requires a lot of manual adjustments due to the movement of the camera caused by the heartbeat of the mice and their eyeball motion. The movement of the camera also caused blurry and unsharp images in the FA videos which led to inaccurate fluorescent intensity. A more intelligent way of data capturing was developed in this project using openCV with Python. This project firstly experimented on using K-means clustering to segment the exchange vessel groups and the large vessel group out of the FA frames to obtain the FIR for the FIR vs time graph. This project experimented on the two settings of K-mean clustering. One used random initial centers and the other one used the previous frame’s centers found by K-means clustering as the initial centers of the K-means clustering for the current frame (Reuse center K-means clustering). The experiment found that the random initial centers K-means clustering output stable FIR when the maximum iteration was 7 or above and the best epsilon (specific accuracy) was 0.1. Maximum iteration below 7 cannot be used due to FIR vs time graph showed large amount of noise and severe deformation. Conversely, the reuse center K-means clustering showed no deformation and noise on the FIR vs time graph when the maximum iteration was 7 or below and a much shorter execution time than the random initial centers K-means clustering. Then, the difference on the gradient of the FIR vs time graph was further examine between the two K-means clustering setting. The random initial centers Kmeans clustering showed fluctuation on the gradient value when the maximum iteration was between 7 and 15. The reuse center K-means clustering showed either an ascending or descending trend on the gradient value when the maximum iteration was below 7 and the gradient value stabilized when the maximum iteration was between 7 and 15. Reuse center K-means clustering was decided to implement in the final software and maximum iteration 7 was set as default to prioritize gradient accuracy over the execution time, and allow user to lower the maximum iteration to reduce execution time. This project then experimented on blurry frame classification by using Sobel edge detection. Convolution was performed with Sobel derivative operator on each FA frame to obtain an edge sharpness value. The edge sharpness versus frame number graphs were examined for all video and discovered a great separation between sharp and blurry frames in edge sharpness value. Sharp frames had higher edge sharpness and blurry frames had lower edge sharpness. A piece of code was created to loop along all the data points in edge sharpness vs frame number graph to classify sharp and blurry frames. The code firstly checked if the range of several neighboring data point (PtPbox) is larger than a specific value (tolerance value), then the data point needed a sharpness check, which take the mean of several neighboring data point (meanBox) and check is the current data point edge sharpness is lower or higher than the mean value. Lower means blurry frame and higher means sharp frames. A series of experiments were performed and the optimal value for PtPbox is 20, the meanBox is 10, the tolerance value is 0.1 and no histogram equalization is required. The sharp frames identification accuracy was above 80% and the blurry frames identification accuracy was above 96% for all the tested FA videos. All these experimental codes were then connected by a graphical user interface based on python with PyQT4. Finally, the PyInstaller was used to package these Python codes into a stand-alone Microsoft Window executable for Gamez [2] to use.

Google Measurement Controller-Controller Data Protection Terms The Measurement Services customer agreeing to these terms (“Customer”) has entered into an agreement with either Google or a third party reseller (as applicable) for the provision of the Measurement Services (as amended from time to time, the “Agreement”) through which services user interface Customer has enabled the Data Sharing Setting. These Google Measurement Controller-Controller Data Protection Terms (“Controller Terms”) are entered into by Google and Customer. Where the Agreement is between Customer and Google, these Controller Terms supplement the Agreement. Where the Agreement is between Customer and a third party reseller, these Controller Terms form a separate agreement between Google and Customer. For the avoidance of doubt, the provision of the Measurement Services is governed by the Agreement. These Controller Terms set out the data protection provisions relating to the Data Sharing Setting only but do not otherwise apply to the provision of the Measurement Services. Subject to Section 8.2 (Processor Terms), these Controller Terms will be effective, and replace any previously applicable terms relating to their subject matter, from the Terms Effective Date. If you are accepting these Controller Terms on behalf of Customer, you warrant that: (a) you have full legal authority to bind Customer to these Controller Terms; (b) you have read and understand these Controller Terms; and (c) you agree, on behalf of Customer, to these Controller Terms. If you do not have the legal authority to bind Customer, please do not accept these Controller Terms. Please do not accept these Controller Terms if you are a reseller. These Controller Terms set out the rights and obligations that apply between users of the Measurement Services and Google. 1. 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(b) where the Agreement is between Customer and a third party reseller and: (i) the third party reseller is organised in North America or in another region outside Europe, the Middle East, Africa, Asia and Oceania, Google LLC (formerly known as Google Inc.); (ii) the third party reseller is organised in Europe, the Middle East or Africa, Google Ireland Limited; or (iii) the third party reseller is organised in Asia and Oceania, Google Asia Pacific Pte. 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Roles and Restrictions on Processing 4.1 Independent Controllers Subject to Section 4.4 (End Controllers), each: (a) is an independent controller of Controller Personal Data under the Data Protection Legislation; (b) will individually determine the purposes and means of its processing of Controller Personal Data; and (c) will comply with the obligations applicable to it under the Data Protection Legislation with respect to the processing of Controller Personal Data. 4.2 Restrictions on Processing Section 4.1 (Independent Controllers) will not affect any restrictions on either party’s rights to use or otherwise process Controller Personal Data under the Agreement. 4.3 End User Consent Customer will comply with the Policies in relation to the Controller Personal Data shared pursuant to the Data Sharing Setting and at all times will bear the burden of proof in establishing such compliance. 4.4 End Controllers Without reducing either party’s obligations under these Controller Terms, each party acknowledges that: (a) the other party’s Affiliates or clients may be End Controllers; and (b) the other party may act as a processor on behalf of its End Controllers. 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Data Transfers 5.1 Data Transfers Subject to Section 5.2, either party may transfer Controller Personal Data to third countries if it complies with the provisions on the transfer of personal data to third countries in the Data Protection Legislation. 5.2 Transfers of UK Controller Personal Data to Google To the extent that Customer transfers UK Controller Personal Data to Google, Customer as data exporter will be deemed to have entered into the Controller MCCs with Google LLC (the applicable Google End Controller) as data importer and the transfers will be subject to the Controller MCCs, because Google LLC is established in the USA and such transfers are therefore to a third country that is not subject to an adequacy decision under the UK GDPR. For clarity, to the extent Customer transfers European Controller Personal Data to Google, the Controller MCCs are not required because Google Ireland Limited (the applicable Google End Controller) is established in Ireland and such transfers are therefore permitted under the Data Protection Legislation. 5.3 Additional Commercial Clauses for the Controller MCCs Sections 5.4 (Contacting Google) to 5.7 (Third Party Controllers) are additional commercial clauses relating to the Controller MCCs as permitted by Clause VII (Variation of these clauses) of the Controller MCCs. Nothing in Sections 5.4 (Contacting Google) to 5.7 (Third Party Controllers) varies or modifies any rights or obligations of the parties to the Controller MCCs. 5.4 Contacting Google Customer may contact Google Ireland Limited and/or Google LLC in connection with the Controller MCCs at https://support.google.com/policies/troubleshooter/9009584 or through such other means as may be provided by Google from time to time, including for the purposes of: (a) Clause II(e) of the Controller MCCs, to the extent Google LLC acts as data importer and Customer acts as data exporter under the Controller MCCs; and (b) requesting an Audit pursuant to Section 5.6 (a) (Reviews, Audits and Certifications of Compliance) below. 5.5 Responding to Data Subject Enquiries For the purpose of Clause I(d) of the Controller MCCs, the applicable data importer will be responsible for responding to enquiries from data subjects and the authority concerning the processing of applicable Controller Personal Data by the data importer. 5.6 Reviews, Audits and Certifications of Compliance (a) If the Controller MCCs apply under this Section 5 (Data Transfers), the applicable data importer will allow the applicable data exporter or a third party inspection agent or auditor appointed by the data exporter to conduct a review, audit and/or certification as described in Clause II(g) of the Controller MCCs (“Audit”) in accordance with this Section 5.6 (Reviews, Audits and Certifications of Compliance). (b) Following receipt by the data importer of a request for an Audit, the data importer and the data exporter will discuss and agree in advance on the reasonable start date, scope and duration of, and security and confidentiality controls applicable to, the Audit. (c) The data importer may charge a fee (based on the data importer’s reasonable costs) for any Audit. The data importer will provide the data exporter with further details of any applicable fee, and the basis of its calculation, in advance of the Audit. The data exporter will be responsible for any fees charged by any third party inspection agent or auditor appointed by the data exporter to execute the Audit. (d) The data importer may object to any third party inspection agent or auditor appointed by the data exporter to conduct any Audit if the inspection agent or auditor is, in the data importer’s reasonable opinion, not suitably qualified or independent, a competitor of the data importer or otherwise manifestly unsuitable. Any such objection by the data importer will require the data exporter to appoint another inspection agent or auditor or conduct the Audit itself. (e) The data importer will not be required either to disclose to the data exporter or its third party inspection agent or auditor, or to allow the data exporter or its third party inspection agent or auditor to access: (i) any data of any customers of the data importer or any of its Affiliates; (ii) any internal accounting or financial information of the data importer or any of its Affiliates; (iii) any trade secret of the data importer or any of its Affiliates; (iv) any information that, in the data importer’s reasonable opinion, could: (A) compromise the security of any systems or premises of the data importer or any of its Affiliates; or (B) cause the data importer or any Affiliate of the data importer to breach its obligations under the Data Protection Legislation or its security and/or privacy obligations to the data exporter or any third party; or (v) any information that the data exporter or its third party inspection agent or auditor seeks to access for any reason other than the good faith fullfilment of the data exporter’s obligations under the Data Protection Legislation. 5.7 Third Party Controllers To the extent Google LLC acts as data importer and Customer acts as data exporter under the Controller MCCs under Section 5.2 (Transfers of UK Controller Personal Data to Google), Google notifies Customer for the purpose of Clause II(i) that UK Controller Personal Data may be transferred to the third party data controllers described in applicable Help Centre articles for the Measurement Services. 6. Liability 6.1 Liability Cap If Google is: (a) party to the Agreement and the Agreement is governed by the laws of: (i) a state of the United States of America, then, notwithstanding anything else in the Agreement, the total liability of either party towards the other party under or in connection with these Controller Terms will be limited to the maximum monetary or payment-based amount at which that party’s liability is capped under the Agreement (for clarity, any exclusion of indemnification claims from the Agreement’s limitation of liability will not apply to indemnification claims under the Agreement relating to the Data Protection Legislation); or (ii) a jurisdiction that is not a state of the United States of America, then the liability of the parties under or in connection with these Controller Terms will be subject to the exclusions and limitations of liability in the Agreement; or (b) not party to the Agreement, to the extent permitted by applicable law, Google will not be liable for Customer’s lost revenues or indirect, special, incidental, consequential, exemplary or punitive damages, even if Google or its Affiliates have been advised of, knew or should have known that such damages do not satisfy a remedy. Google’s (and its Affiliates’) total cumulative liability to Customer or any other party for any loss or damages resulting from claims, damages or actions arising out of or relating to these Controller Terms will not exceed $500 (USD). 6.2 Liability if the Controller MCCs Apply If the Controller MCCs apply under Section 5 (Data Transfers), then: (a) if Google is party to the Agreement, the total combined liability of: (i) Google and Google LLC towards Customer; and (ii) Customer towards Google, Google LLC and Google Ireland Limited; under or in connection with the Agreement and the Controller MCCs combined will be subject to Section 6.1(a) (Liability Cap). Clause III(a) of the Controller MCCs will not affect the previous sentence. (b) if Google is not party to the Agreement, the total combined liability of: (i) Google and Google LLC towards Customer; and (ii) Customer towards Google, Google LLC and Google Ireland Limited; under or in connection with these Controller Terms and the Controller MCCs combined will be subject to Section 6.1(b) (Liability Cap). Clause III(a) of the Controller MCCs will not affect the previous sentence. 7. Third Party Beneficiaries Where Google LLC is not a party to the Agreement but is a party to the Controller MCCs, Google LLC will be a third-party beneficiary of Sections 4.4 (End Controllers), 5.2 (Transfers of UK Controller Personal Data to Google) to 5.7 (Third Party Controllers), and 6.2 (Liability if the Controller MCCs Apply). To the extent this Section 7 conflicts or is inconsistent with any other clause in the Agreement, this Section 7 will apply. 8. Priority 8.1 Effect of these Controller Terms If Google is party to the Agreement and there is any conflict or inconsistency between the Controller MCCs, the Additional Terms for Non-European Data Protection Legislation, and the remainder of these Controller Terms and/or the remainder of the Agreement then, subject to Sections 4.2 (Restrictions on Processing) and 8.2 (Processor Terms), the following order of precedence will apply: (a) the Controller MCCs; (b) the Additional Terms for Non-European Data Protection Legislation; (c) the remainder of these Controller Terms; and (d) the remainder of the Agreement. Subject to the amendments in these Controller Terms, the Agreement between Google and Customer remains in full force and effect. 8.2 Processor Terms These Controller Terms will not replace or affect any Processor Terms. For the avoidance of doubt, if Customer is party to the Processor Terms in connection with the Measurement Services, the Processor Terms will continue to apply to the Measurement Services notwithstanding that these Controller Terms apply to Controller Personal Data processed pursuant to the Data Sharing Setting. 9. Changes to these Controller Terms 9.1 Changes to Controller Terms Google may change these Controller Terms if the change: (a) is required to comply with applicable law, applicable regulation, a court order or guidance issued by a governmental regulator or agency; or (b) does not: (i) seek to alter the categorisation of the parties as independent controllers of Controller Personal Data under the Data Protection Legislation; (ii) expand the scope of, or remove any restrictions on, either party’s rights to use or otherwise process Controller Personal Data; or (iii) have a material adverse impact on Customer, as reasonably determined by Google. 9.2 Notification of Changes If Google intends to change these Controller Terms under Section 9.1(a) and such change will have a material adverse impact on Customer, as reasonably determined by Google, then Google will use commercially reasonable efforts to inform Customer at least 30 days (or such shorter period as may be required to comply with applicable law, applicable regulation, a court order or guidance issued by a governmental regulator or agency) before the change will take effect. If Customer objects to any such change, Customer may switch off the Data Sharing Setting. 10. Additional Provisions 10.1 This Section 10 (Additional Provisions) will only apply where Google is not party to the Agreement. 10.2 Each party will comply with its obligations under these Controller Terms with reasonable skill and care. 10.3 Neither party will use or disclose the other party's Confidential Information without the other's prior written consent except for the purpose of exercising its rights or performing its obligations under these Controller Terms or if required by law, regulation or court order; in which case, the party being compelled to disclose Confidential Information will give the other party as much notice as is reasonably practicable prior to disclosing the Confidential Information. 10.4 To the fullest extent permitted by applicable law, except as expressly provided for in these Controller Terms, Google makes no other warranty of any kind whether express, implied, statutory or otherwise, including without limitation warranties of merchantability, fitness for a particular use and non-infringement. 10.5 Neither party will be liable for failure or delay in performance to the extent caused by circumstances beyond its reasonable control. 10.6 If any term (or part of a term) of these Controller Terms is invalid, illegal, or unenforceable, the rest of these Controller Terms will remain in effect. 10.7 (a) Except as set forth in section (b) below, these Controller Terms will be governed by and construed under the laws of the state of California without reference to its conflict of law principles. In the event of any conflicts between foreign law, rules and regulations, and California law, rules and regulations, California law, rules and regulations will prevail and govern. Each party agrees to submit to the exclusive and personal jurisdiction of the courts located in Santa Clara County, California. The United Nations Convention on Contracts for the International Sale of Goods and the Uniform Computer Information Transactions Act do not apply to these Controller Terms. (b) Where the Agreement is between Customer and a third party reseller, and the third party reseller is organised in Europe, the Middle East or Africa, these Controller Terms will be governed by English law. Each party agrees to submit to the exclusive jurisdiction of the English courts in relation to any dispute (whether contractual or non-contractual) arising out of or in connection with these Controller Terms. (c) In the event the Controller MCCs apply and provide for governing law that differs from the laws outlined in sections (a) and (b) above, the governing law set forth in the Controller MCCs will apply solely with respect to the Controller MCCs. (d) The United Nations Convention on Contracts for the International Sale of Goods and the Uniform Computer Information Transactions Act do not apply to these Controller Terms. 10.8 All notices of termination or breach must be in English, in writing and addressed to the other party’s Legal Department. The address for notices to Google’s Legal Department is legal-notices@google.com. Notice will be treated as given on receipt, as verified by written or automated receipt or by electronic log (as applicable). 10.9 No party will be treated as having waived any rights by not exercising (or delaying the exercise of) any rights under these Controller Terms. No party may assign any part of these Controller Terms without the written consent of the other, except to an Affiliate where: (a) the assignee has agreed in writing to be bound by the terms of these Controller Terms; (b) the assigning party remains liable for obligations under these Controller Terms if the assignee defaults on them; (c) in the case of Customer, the assigning party has transferred its Measurement Services account(s) to the assignee; and (d) the assigning party has notified the other party of the assignment. Any other attempt to assign is void. 10.10 The parties are independent contractors. These Controller Terms do not create any agency, partnership, or joint venture between the parties. These Controller Terms do not confer any benefits on any third party unless they expressly state that they do. 10.11 To the extent permitted by applicable law, these Controller Terms state all terms agreed between the parties. In entering into these Controller Terms no party has relied on, and no party will have any right or remedy based on, any statement, representation or warranty (whether made negligently or innocently), except those expressly stated in these Controller Terms. Appendix 1: Additional Terms for Non-European Data Protection Legislation The following Additional Terms for Non-European Data Protection Legislation supplement these Controller Terms: LGPD Controller Addendum to the Google Ads Controller-Controller Data Protection Terms (“LGPD Controller Addendum”) For the purposes of these Controller Terms: (a) references in the LGPD Controller Addendum to the Google Ads Controller-Controller Data Protection Terms shall be deemed to be references to these Google Measurement Controller-Controller Data Protection Terms; and where Customer has entered into an agreement with a third party reseller for the provision of the Measurement Services then, notwithstanding any contrary provision in the LGPD Controller Addendum, the LGPD Controller Addendum will supplement these Controller Terms that form a separate agreement between Google and Customer and will not affect any agreement between: (i) Google and the third party reseller, or (ii) the third party reseller and Customer. Google Measurement Controller-Controller Data Protection Terms, Version 1.4 16 August, 2020 Previous versions 12 August, 2020 4 November, 2019 Was this helpful? YesNo Need more help? Try these next steps: Ask the Help Community Get answers from community experts Contact us Tell us more and we’ll help you get there

Autism means that a person develops in a different way and has problems with communication and interaction with other people, as well as unusual behaviors such as repetitive motions or enthusiasm for very narrowly specialized interests. However, this is only a clinical definition, and this is not the most important of what you need to know about autism. So ... what does an ordinary person need to know about autism? There are a lot of misconceptions, important facts that people do not even know about, and several universal truths that are always ignored when it comes to disability. So, let's list them. 1.Autism is diverse. Very, very diverse. Ever heard the saying: "If you know one autistic person, do you know ... only one autistic person"? It's true. We like completely different things, we behave differently, we have different talents, different interests and different skills. Gather a group of autistic people and look at them. You will find that these people are as much different from each other as neurotypical people. Perhaps, autism differ from each other even more. Every autistic person is individual, and you can not make any assumptions about him only on the basis of his diagnosis, except as "Probably this person has problems with communication and social interaction." And, you see, this is a very general statement. 2. Autism does not define a person's personality ... but it is still a fundamental part of our being. Someone kindly reminded me of the missed second item on this list, so I just added it! I always miss something ... especially if it's about something like "If it's written that it's about a list of ten items, then there should be ten points." The thing is that it's difficult for me to perceive the whole picture, and instead I constantly focus on details like "Did I make a spelling mistake?" If I no longer had a pervasive developmental disorder, I would have been diagnosed with impaired attention like ADHD - in my head I have not only autism. In fact, autism is just one of many phenomena, and most of them are not diagnoses. I am an autistic, but I have huge problems with organizing my actions and switching to a new task, which usually happens in people with ADHD. I am well read, but there are serious problems with arithmetic, but not with the score. I'm altruist, introvert, I have my own opinion on any occasion, and I adhere to moderate views in politics. I'm a Christian, a student, a scientist ... How much everything comes in identity! However, autism is a little coloring, as if you are looking at something through the colored glass. So if you think that I would be the same person without my autism, then you are unequivocally mistaken! Because how can you remain the same person, if your mind starts to think differently, learn differently, and you will have a completely different view of the world? Autism is not just an additive. This is the very basis for the development of the personality of an autistic person. I have only one brain, and "autism" is just a label that describes the features of the work of this brain. 3.Having autism does not make your life meaningless. Disability generally does not mean that your life is meaningless, and in this respect, autism is not different from any other disability. Constraints in communication and social interaction, coupled with learning difficulties and sensory problems that are inherent in us, do not mean that the life of an autistic person is worse than the life of a neurotypical person. Sometimes people assume that if you have a disability, then your life is by definition worse, but I think they are just too inclined to look at everything from their own point of view. People who have been neurotic in their entire lives begin to think about what they would feel if they suddenly lost their skills ... while in reality one must imagine that they never had these skills, or that they have developed other skills and a different view of the world. Disability itself is a neutral fact, not a tragedy. With respect to autism, tragedy is not autism itself, but related prejudices. It does not matter what restrictions a person has, autism does not prevent him from being part of his family, part of his community and a person whose life has an intrinsic value. 4.Autistic people are capable of love to the same extent as any other people. Love for other people does not depend on the ability to speak fluently, understand the expression of strangers or remember that when you try to make friends with someone, it's better not to talk about wild cats for an hour and a half without stopping. Perhaps we do not know how to copy the emotions of other people, but we are capable of the same compassion as all the others. We just express it differently. Neurotics are usually trying to express sympathy, autistics (at least those that look like me, as I said - we are very different) are trying to fix a problem that initially upset the person. I see no reason to think that one approach is better than another ... Oh, and one thing: although I am an asexual, among the people of the spectrum of autism I am in the minority. Autistic adults, with any form of autism, can fall in love, marry and have a family. A few of my autistic friends are married or go out on dates. 5.The presence of autism does not prevent a person from learning. Actually does not interfere. We grow, and we learn throughout life, just like any other person. Sometimes I hear people say that their autistic children "recovered". However, in fact, they only describe how their children grow, develop and learn in the right environment. They actually devalue the efforts and achievements of their children, writing off them for the last drug or other treatment. I have come a long way from a two-year-old girl, who was crying all day and night, constantly running around in circles and making violent hysterics from the touch of wool. Now I'm in college and I almost achieved independence. (I, true, still can not bear woolen cloth). In a good environment, with good teachers, training will be almost inevitable. This is the focus of research on autism: how best to teach us what we need to know about this world that is not fit for us. 6.The origin of autism is almost entirely genetic. The hereditary component of autism is about 90%, which means that almost every case of autism can be reduced to a certain combination of genes, be it the "botanist genes" that were transmitted from your parents, or they are new mutations that have arisen only in your generation. Autism has nothing to do with the vaccinations you have been given, and it has nothing to do with what you eat. Ironically, despite the arguments of the opponents of vaccines, the only proven non-genetic cause of autism is the congenital rubella syndrome that occurs when a pregnant woman (usually not vaccinated) gets rubella. People, do all the necessary vaccinations. They save lives - millions of people who die every year from diseases that could be prevented by vaccines would agree. 7.Autistic people are not sociopaths. I know, probably, you do not think so, but still it should be repeated again. "Autism" is often associated with the image of a person who absolutely does not care about the existence of other people, while in reality, it's just a communication problem. We do not care about other people. Moreover, I know several autists who are so panicky about accidentally saying "something is wrong" and touching other people's feelings that as a result they are constantly shy and nervous. Even nonverbal autistic children show the same attachment to their parents, which is not autistic. In reality, autistic adults commit crimes much less often than neurotype’s. (However, I do not think that this is due to our innate goodness.) In the end, it is very often a crime - it is social activity). 8.There is no "epidemic of autism". In other words: the number of people diagnosed with autism is increasing, but the total number of autistic people remains the same. Studies conducted among adults show that the level of autism among them is the same as among children. With what are all these new cases related? Simply with the fact that now diagnoses are also made in milder forms of autism, including due to the recognition that Asperger syndrome is autism without speech delay (previously the diagnosis was not raised if you could speak). In addition, they began to include people with mental retardation (as it turned out, in addition to mental retardation, they very often have autism). As a result, the number of diagnoses "mental retardation" decreased, and the number of diagnoses "autism", respectively, increased. Nevertheless, rhetoric about the "autism epidemic" had a positive effect: thanks to it we learned about the real prevalence of autism, and we know that it is not necessarily heavy, and we know exactly how it manifests, which allows children to receive the necessary support from an early age. 9.Autistic people can be happy without healing. And we are not talking about some second-rate happiness on the principle of "better something than nothing." Most neurotics (if they are not artists or children) will never notice the beauty in arrangement of cracks in the asphalt pavement, or how beautifully the colors are played on the spilled gasoline after the rain. They probably will never know what it's like to give up entirely to a particular topic and study everything about it as much as possible. They will never know the beauty of the facts that were brought into a certain system. They probably will never know what it's like to wave your hands with happiness, or what it's like to forget about everything because of the sensation of the cat's fur. In the life of autistics, there are wonderful aspects, as, most likely, they are in the life of neurotype’s. No, understand me correctly: this is a difficult life. The world is not adapted to the existence of autistic people, and autistic people and their families face strangely every day prejudices. However, happiness in autism is not reduced to "courage" or "overcoming". It's just happiness. You do not have to be normal to be happy. 1o. Autistic people want to be a part of this world. We really want this ... just on our own terms. We want to be accepted. We want to go to school. We want to work. We want to be listened to and heard. We have hopes and dreams of our future and the future of this world. We want to contribute. Many of us want to have a family. We differ from the norm, but it is diversity that makes this world stronger, not weaker. The more images of thinking, the more ways will be found to solve a particular problem. The diversity of society means that if a problem arises, we will have different minds at hand, and one of them will find a solution.

MEAN stack development with Angular and Express, both powered by Typescript. This repository was started under Angular 2 and updated to Angular 4.

Discrete-event simulation (three-phase A–B–C) in Python/OOP for an M/M/1 queue. Uses a future event list (FEL) with arrivals (b1), departures (b2), and conditional service start (c1). Exponential interarrival (mean 3) and service (mean 2). NumPy-based, reproducible via seed. Reports clock, arrivals, departures..

/*The MIT License (MIT) Copyright (c) 2015 Apostolique Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.*/ // ==UserScript== // @name AposBot // @namespace AposBot // @include http://agar.io/* // @version 3.568 // @grant none // @author http://www.twitch.tv/apostolique // ==/UserScript== var aposBotVersion = 3.568; //TODO: Team mode // Detect when people are merging // Split to catch smaller targets // Angle based cluster code // Better wall code // In team mode, make allies be obstacles. Number.prototype.mod = function(n) { return ((this % n) + n) % n; }; Array.prototype.peek = function() { return this[this.length - 1]; }; var sha = "efde0488cc2cc176db48dd23b28a20b90314352b"; function getLatestCommit() { window.jQuery.ajax({ url: "https://api.github.com/repos/apostolique/Agar.io-bot/git/refs/heads/master", cache: false, dataType: "jsonp" }).done(function(data) { console.dir(data["data"]); console.log("hmm: " + data["data"]["object"]["sha"]); sha = data["data"]["object"]["sha"]; function update(prefix, name, url) { window.jQuery(document.body).prepend("<div id='" + prefix + "Dialog' style='position: absolute; left: 0px; right: 0px; top: 0px; bottom: 0px; z-index: 100; display: none;'>"); window.jQuery('#' + prefix + 'Dialog').append("<div id='" + prefix + "Message' style='width: 350px; background-color: #FFFFFF; margin: 100px auto; border-radius: 15px; padding: 5px 15px 5px 15px;'>"); window.jQuery('#' + prefix + 'Message').append("<h2>UPDATE TIME!!!</h2>"); window.jQuery('#' + prefix + 'Message').append("<p>Grab the update for: <a id='" + prefix + "Link' href='" + url + "' target=\"_blank\">" + name + "</a></p>"); window.jQuery('#' + prefix + 'Link').on('click', function() { window.jQuery("#" + prefix + "Dialog").hide(); window.jQuery("#" + prefix + "Dialog").remove(); }); window.jQuery("#" + prefix + "Dialog").show(); } $.get('https://raw.githubusercontent.com/Apostolique/Agar.io-bot/master/bot.user.js?' + Math.floor((Math.random() * 1000000) + 1), function(data) { var latestVersion = data.replace(/(\r\n|\n|\r)/gm,""); latestVersion = latestVersion.substring(latestVersion.indexOf("// @version")+11,latestVersion.indexOf("// @grant")); latestVersion = parseFloat(latestVersion + 0.0000); var myVersion = parseFloat(aposBotVersion + 0.0000); if(latestVersion > myVersion) { update("aposBot", "bot.user.js", "https://github.com/Apostolique/Agar.io-bot/blob/" + sha + "/bot.user.js/"); } console.log('Current bot.user.js Version: ' + myVersion + " on Github: " + latestVersion); }); }).fail(function() {}); } getLatestCommit(); console.log("Running Apos Bot!"); var f = window; var g = window.jQuery; var aposBot = aposBot || {}; aposBot.name = "AposBot " + aposBotVersion; aposBot.mainLoop = function() {}; aposBot.utility = {}; var u = aposBot.utility; u.splitDistance = 710; console.log("Apos Bot!"); if (f.botList == null) { f.botList = []; g('#locationUnknown').append(g('<select id="bList" class="form-control" onchange="setBotIndex($(this).val());" />')); g('#locationUnknown').addClass('form-group'); } for (var i = f.botList.length - 1; i >= 0; i--) { if (f.botList[i][0] == "Human") { f.botList.splice(i, 1); } } //Given an angle value that was gotten from valueAndleBased(), //returns a new value that scales it appropriately. u.paraAngleValue = function(angleValue, range) { return (15 / (range[1])) * (angleValue * angleValue) - (range[1] / 6); }; u.valueAngleBased = function(angle, range) { var leftValue = (angle - range[0]).mod(360); var rightValue = (u.rangeToAngle(range) - angle).mod(360); var bestValue = Math.min(leftValue, rightValue); if (bestValue <= range[1]) { return u.paraAngleValue(bestValue, range); } return -1; }; u.computeDistance = function(x1, y1, x2, y2) { var xdis = x1 - x2; // <--- FAKE AmS OF COURSE! var ydis = y1 - y2; var distance = Math.sqrt(xdis * xdis + ydis * ydis); return distance; }; u.computeDistanceFromCircleEdge = function(x1, y1, x2, y2, s2) { var tempD = u.computeDistance(x1, y1, x2, y2); var offsetX = 0; var offsetY = 0; var ratioX = tempD / (x1 - x2); var ratioY = tempD / (y1 - y2); offsetX = x1 - (s2 / ratioX); offsetY = y1 - (s2 / ratioY); u.drawPoint(offsetX, offsetY, 5, ""); return u.computeDistance(x2, y2, offsetX, offsetY); }; u.compareSize = function(player1, player2, ratio) { if (player1.size * player1.size * ratio < player2.size * player2.size) { return true; } return false; }; u.canSplit = function(player1, player2) { return u.compareSize(player1, player2, 2.66) && !u.compareSize(player1, player2, 7); }; u.isItMe = function(player, cell) { if (u.getMode() == ":teams") { var currentColor = player[0].color; var currentRed = currentColor.substring(1,3); var currentGreen = currentColor.substring(3,5); var currentBlue = currentColor.substring(5,7); var currentTeam = u.getTeam(currentRed, currentGreen, currentBlue); var cellColor = cell.color; var cellRed = cellColor.substring(1,3); var cellGreen = cellColor.substring(3,5); var cellBlue = cellColor.substring(5,7); var cellTeam = getTeam(cellRed, cellGreen, cellBlue); if (currentTeam == cellTeam && !cell.isVirus()) { return true; } //console.log("COLOR: " + color); } else { for (var i = 0; i < player.length; i++) { if (cell.id == player[i].id) { return true; } } } return false; }; u.getTeam = function(red, green, blue) { if (red == "ff") { return 0; } else if (green == "ff") { return 1; } return 2; }; u.isFood = function(blob, cell) { if (!cell.isVirus() && u.compareSize(cell, blob, 1.33) || (cell.size <= 11)) { return true; } return false; } ; u.isThreat = function(blob, cell) { if (!cell.isVirus() && u.isFood(cell, blob)) { return true; } return false; /*if (!cell.isVirus() && compareSize(blob, cell, 1.33)) { return true; } return false;*/ }; u.isVirus = function(blob, cell) { if (cell.isVirus() && u.compareSize(cell, blob, 1.30)) { return true; } else if (cell.isVirus() && cell.color.substring(3,5).toLowerCase() != "ff") { return true; } return false; }; u.isSplitTarget = function(blob, cell) { /*if (u.canSplit(cell, blob)) { return true; }*/ return false; }; u.getTimeToRemerge = function(mass){ return ((mass*0.02) + 30); }; u.separateListBasedOnFunction = function(listToUse, blob) { var foodElementList = []; var threatList = []; var virusList = []; var splitTargetList = []; var player = u.getPlayer(); Object.keys(listToUse).forEach(function(element, index) { var isMe = u.isItMe(player, listToUse[element]); if (!isMe) { if (u.isFood(blob, listToUse[element])/* && listToUse[element].isNotMoving()*/) { //IT'S FOOD! foodElementList.push(listToUse[element]); if (u.isSplitTarget(blob, listToUse[element])) { u.drawCircle(listToUse[element].x, listToUse[element].y, listToUse[element].size + 50, 7); u.splitTargetList.push(listToUse[element]); } } else if (u.isThreat(blob, listToUse[element])) { //IT'S DANGER! threatList.push(listToUse[element]); } else if (u.isVirus(blob, listToUse[element])) { //IT'S VIRUS! virusList.push(listToUse[element]); } }/*else if(isMe && (getBlobCount(getPlayer()) > 0)){ //Attempt to make the other cell follow the mother one foodElementList.push(listToUse[element]); }*/ }); foodList = []; for (var i = 0; i < foodElementList.length; i++) { foodList.push([foodElementList[i].x, foodElementList[i].y, foodElementList[i].size]); } return [foodList, threatList, virusList, splitTargetList]; }; u.getAll = function(blob) { var dotList = []; var player = u.getPlayer(); var interNodes = u.getMemoryCells(); dotList = u.separateListBasedOnFunction(interNodes, blob); return dotList; }; u.clusterFood = function(foodList, blobSize) { var clusters = []; var addedCluster = false; //1: x //2: y //3: size or value //4: Angle, not set here. for (var i = 0; i < foodList.length; i++) { for (var j = 0; j < clusters.length; j++) { if (u.computeDistance(foodList[i][0], foodList[i][1], clusters[j][0], clusters[j][1]) < blobSize * 1.5) { clusters[j][0] = (foodList[i][0] + clusters[j][0]) / 2; clusters[j][1] = (foodList[i][1] + clusters[j][1]) / 2; clusters[j][2] += foodList[i][2]; addedCluster = true; break; } } if (!addedCluster) { clusters.push([foodList[i][0], foodList[i][1], foodList[i][2], 0]); } addedCluster = false; } return clusters; }; u.getAngle = function(x1, y1, x2, y2) { //Handle vertical and horizontal lines. if (x1 == x2) { if (y1 < y2) { return 271; //return 89; } else { return 89; } } return (Math.round(Math.atan2(-(y1 - y2), -(x1 - x2)) / Math.PI * 180 + 180)); }; u.slope = function(x1, y1, x2, y2) { var m = (y1 - y2) / (x1 - x2); return m; }; u.slopeFromAngle = function(degree) { if (degree == 270) { degree = 271; } else if (degree == 90) { degree = 91; } return Math.tan((degree - 180) / 180 * Math.PI); }; //Given two points on a line, finds the slope of a perpendicular line crossing it. u.inverseSlope = function(x1, y1, x2, y2) { var m = slope(x1, y1, x2, y2); return (-1) / m; }; //Given a slope and an offset, returns two points on that line. u.pointsOnLine = function(slope, useX, useY, distance) { var b = useY - slope * useX; var r = Math.sqrt(1 + slope * slope); var newX1 = (useX + (distance / r)); var newY1 = (useY + ((distance * slope) / r)); var newX2 = (useX + ((-distance) / r)); var newY2 = (useY + (((-distance) * slope) / r)); return [ [newX1, newY1], [newX2, newY2] ]; }; u.followAngle = function(angle, useX, useY, distance) { var slope = u.slopeFromAngle(angle); var coords = u.pointsOnLine(slope, useX, useY, distance); var side = (angle - 90).mod(360); if (side < 180) { return coords[1]; } else { return coords[0]; } }; //Using a line formed from point a to b, tells if point c is on S side of that line. u.isSideLine = function(a, b, c) { if ((b[0] - a[0]) * (c[1] - a[1]) - (b[1] - a[1]) * (c[0] - a[0]) > 0) { return true; } return false; }; //angle range2 is within angle range2 //an Angle is a point and a distance between an other point [5, 40] u.angleRangeIsWithin = function(range1, range2) { if (range2[0] == (range2[0] + range2[1]).mod(360)) { return true; } //console.log("r1: " + range1[0] + ", " + range1[1] + " ... r2: " + range2[0] + ", " + range2[1]); var distanceFrom0 = (range1[0] - range2[0]).mod(360); var distanceFrom1 = (range1[1] - range2[0]).mod(360); if (distanceFrom0 < range2[1] && distanceFrom1 < range2[1] && distanceFrom0 < distanceFrom1) { return true; } return false; }; u.angleRangeIsWithinInverted = function(range1, range2) { var distanceFrom0 = (range1[0] - range2[0]).mod(360); var distanceFrom1 = (range1[1] - range2[0]).mod(360); if (distanceFrom0 < range2[1] && distanceFrom1 < range2[1] && distanceFrom0 > distanceFrom1) { return true; } return false; }; u.angleIsWithin = function(angle, range) { var diff = (u.rangeToAngle(range) - angle).mod(360); if (diff >= 0 && diff <= range[1]) { return true; } return false; }; u.rangeToAngle = function(range) { return (range[0] + range[1]).mod(360); }; u.anglePair = function(range) { return (range[0] + ", " + u.rangeToAngle(range) + " range: " + range[1]); }; u.computeAngleRanges = function(blob1, blob2) { var mainAngle = u.getAngle(blob1.x, blob1.y, blob2.x, blob2.y); var leftAngle = (mainAngle - 90).mod(360); var rightAngle = (mainAngle + 90).mod(360); var blob1Left = u.followAngle(leftAngle, blob1.x, blob1.y, blob1.size); var blob1Right = u.followAngle(rightAngle, blob1.x, blob1.y, blob1.size); var blob2Left = u.followAngle(rightAngle, blob2.x, blob2.y, blob2.size); var blob2Right = u.followAngle(leftAngle, blob2.x, blob2.y, blob2.size); var blob1AngleLeft = u.getAngle(blob2.x, blob2.y, blob1Left[0], blob1Left[1]); var blob1AngleRight = u.getAngle(blob2.x, blob2.y, blob1Right[0], blob1Right[1]); var blob2AngleLeft = u.getAngle(blob1.x, blob1.y, blob2Left[0], blob2Left[1]); var blob2AngleRight = u.getAngle(blob1.x, blob1.y, blob2Right[0], blob2Right[1]); var blob1Range = (blob1AngleRight - blob1AngleLeft).mod(360); var blob2Range = (blob2AngleRight - blob2AngleLeft).mod(360); var tempLine = u.followAngle(blob2AngleLeft, blob2Left[0], blob2Left[1], 400); //drawLine(blob2Left[0], blob2Left[1], tempLine[0], tempLine[1], 0); if ((blob1Range / blob2Range) > 1) { drawPoint(blob1Left[0], blob1Left[1], 3, ""); drawPoint(blob1Right[0], blob1Right[1], 3, ""); drawPoint(blob1.x, blob1.y, 3, "" + blob1Range + ", " + blob2Range + " R: " + (Math.round((blob1Range / blob2Range) * 1000) / 1000)); } //drawPoint(blob2.x, blob2.y, 3, "" + blob1Range); }; u.debugAngle = function(angle, text) { var player = u.getPlayer(); var line1 = u.followAngle(angle, player[0].x, player[0].y, 300); u.drawLine(player[0].x, player[0].y, line1[0], line1[1], 5); u.drawPoint(line1[0], line1[1], 5, "" + text); }; //TODO: Don't let this function do the radius math. u.getEdgeLinesFromPoint = function(blob1, blob2, radius) { var px = blob1.x; var py = blob1.y; var cx = blob2.x; var cy = blob2.y; //var radius = blob2.size; /*if (blob2.isVirus()) { radius = blob1.size; } else if(canSplit(blob1, blob2)) { radius += splitDistance; } else { radius += blob1.size * 2; }*/ var shouldInvert = false; var tempRadius = u.computeDistance(px, py, cx, cy); if (tempRadius <= radius) { radius = tempRadius - 5; shouldInvert = true; } var dx = cx - px; var dy = cy - py; var dd = Math.sqrt(dx * dx + dy * dy); var a = Math.asin(radius / dd); var b = Math.atan2(dy, dx); var t = b - a; var ta = { x: radius * Math.sin(t), y: radius * -Math.cos(t) }; t = b + a; var tb = { x: radius * -Math.sin(t), y: radius * Math.cos(t) }; var angleLeft = u.getAngle(cx + ta.x, cy + ta.y, px, py); var angleRight = u.getAngle(cx + tb.x, cy + tb.y, px, py); var angleDistance = (angleRight - angleLeft).mod(360); /*if (shouldInvert) { var temp = angleLeft; angleLeft = (angleRight + 180).mod(360); angleRight = (temp + 180).mod(360); angleDistance = (angleRight - angleLeft).mod(360); }*/ return [angleLeft, angleDistance, [cx + tb.x, cy + tb.y], [cx + ta.x, cy + ta.y] ]; }; u.invertAngle = function(range) { var angle1 = u.rangeToAngle(badAngles[i]); var angle2 = (badAngles[i][0] - angle1).mod(360); return [angle1, angle2]; }; u.addWall = function(listToUse, blob) { //var mapSizeX = Math.abs(f.getMapStartX - f.getMapEndX); //var mapSizeY = Math.abs(f.getMapStartY - f.getMapEndY); //var distanceFromWallX = mapSizeX/3; //var distanceFromWallY = mapSizeY/3; var distanceFromWallY = 2000; var distanceFromWallX = 2000; if (blob.x < f.getMapStartX() + distanceFromWallX) { //LEFT //console.log("Left"); listToUse.push([ [90, true], [270, false], u.computeDistance(getMapStartX(), blob.y, blob.x, blob.y) ]); var lineLeft = u.followAngle(90, blob.x, blob.y, 190 + blob.size); var lineRight = u.followAngle(270, blob.x, blob.y, 190 + blob.size); u.drawLine(blob.x, blob.y, lineLeft[0], lineLeft[1], 5); u.drawLine(blob.x, blob.y, lineRight[0], lineRight[1], 5); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob.x, blob.y, 5); } if (blob.y < getMapStartY() + distanceFromWallY) { //TOP //console.log("TOP"); listToUse.push([ [180, true], [0, false], u.computeDistance(blob.x, getMapStartY, blob.x, blob.y) ]); var lineLeft = u.followAngle(180, blob.x, blob.y, 190 + blob.size); var lineRight = u.followAngle(360, blob.x, blob.y, 190 + blob.size); u.drawLine(blob.x, blob.y, lineLeft[0], lineLeft[1], 5); u.drawLine(blob.x, blob.y, lineRight[0], lineRight[1], 5); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob.x, blob.y, 5); } if (blob.x > getMapEndX() - distanceFromWallX) { //RIGHT //console.log("RIGHT"); listToUse.push([ [270, true], [90, false], u.computeDistance(getMapEndX(), blob.y, blob.x, blob.y) ]); var lineLeft = u.followAngle(270, blob.x, blob.y, 190 + blob.size); var lineRight = u.followAngle(90, blob.x, blob.y, 190 + blob.size); u.drawLine(blob.x, blob.y, lineLeft[0], lineLeft[1], 5); u.drawLine(blob.x, blob.y, lineRight[0], lineRight[1], 5); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob.x, blob.y, 5); } if (blob.y > getMapEndY() - distanceFromWallY) { //BOTTOM //console.log("BOTTOM"); listToUse.push([ [0, true], [180, false], u.computeDistance(blob.x, getMapEndY(), blob.x, blob.y) ]); var lineLeft = u.followAngle(0, blob.x, blob.y, 190 + blob.size); var lineRight = u.followAngle(180, blob.x, blob.y, 190 + blob.size); u.drawLine(blob.x, blob.y, lineLeft[0], lineLeft[1], 5); u.drawLine(blob.x, blob.y, lineRight[0], lineRight[1], 5); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob.x, blob.y, 5); } return listToUse; }; //listToUse contains angles in the form of [angle, boolean]. //boolean is true when the range is starting. False when it's ending. //range = [[angle1, true], [angle2, false]] u.getAngleIndex = function(listToUse, angle) { if (listToUse.length == 0) { return 0; } for (var i = 0; i < listToUse.length; i++) { if (angle <= listToUse[i][0]) { return i; } } return listToUse.length; }; u.addAngle = function(listToUse, range) { //#1 Find first open element //#2 Try to add range1 to the list. If it is within other range, don't add it, set a boolean. //#3 Try to add range2 to the list. If it is withing other range, don't add it, set a boolean. //TODO: Only add the new range at the end after the right stuff has been removed. var newListToUse = listToUse.slice(); var startIndex = 1; if (newListToUse.length > 0 && !newListToUse[0][1]) { startIndex = 0; } var startMark = u.getAngleIndex(newListToUse, range[0][0]); var startBool = startMark.mod(2) != startIndex; var endMark = u.getAngleIndex(newListToUse, range[1][0]); var endBool = endMark.mod(2) != startIndex; var removeList = []; if (startMark != endMark) { //Note: If there is still an error, this would be it. var biggerList = 0; if (endMark == newListToUse.length) { biggerList = 1; } for (var i = startMark; i < startMark + (endMark - startMark).mod(newListToUse.length + biggerList); i++) { removeList.push((i).mod(newListToUse.length)); } } else if (startMark < newListToUse.length && endMark < newListToUse.length) { var startDist = (newListToUse[startMark][0] - range[0][0]).mod(360); var endDist = (newListToUse[endMark][0] - range[1][0]).mod(360); if (startDist < endDist) { for (var i = 0; i < newListToUse.length; i++) { removeList.push(i); } } } removeList.sort(function(a, b){return b-a;}); for (var i = 0; i < removeList.length; i++) { newListToUse.splice(removeList[i], 1); } if (startBool) { newListToUse.splice(u.getAngleIndex(newListToUse, range[0][0]), 0, range[0]); } if (endBool) { newListToUse.splice(u.getAngleIndex(newListToUse, range[1][0]), 0, range[1]); } return newListToUse; }; u.getAngleRange = function(blob1, blob2, index, radius) { var angleStuff = u.getEdgeLinesFromPoint(blob1, blob2, radius); var leftAngle = angleStuff[0]; var rightAngle = u.rangeToAngle(angleStuff); var difference = angleStuff[1]; u.drawPoint(angleStuff[2][0], angleStuff[2][1], 3, ""); u.drawPoint(angleStuff[3][0], angleStuff[3][1], 3, ""); //console.log("Adding badAngles: " + leftAngle + ", " + rightAngle + " diff: " + difference); var lineLeft = u.followAngle(leftAngle, blob1.x, blob1.y, 150 + blob1.size - index * 10); var lineRight = u.followAngle(rightAngle, blob1.x, blob1.y, 150 + blob1.size - index * 10); if (blob2.isVirus()) { u.drawLine(blob1.x, blob1.y, lineLeft[0], lineLeft[1], 6); u.drawLine(blob1.x, blob1.y, lineRight[0], lineRight[1], 6); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob1.x, blob1.y, 6); } else if(getCells().hasOwnProperty(blob2.id)) { u.drawLine(blob1.x, blob1.y, lineLeft[0], lineLeft[1], 0); u.drawLine(blob1.x, blob1.y, lineRight[0], lineRight[1], 0); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob1.x, blob1.y, 0); } else { u.drawLine(blob1.x, blob1.y, lineLeft[0], lineLeft[1], 3); u.drawLine(blob1.x, blob1.y, lineRight[0], lineRight[1], 3); u.drawArc(lineLeft[0], lineLeft[1], lineRight[0], lineRight[1], blob1.x, blob1.y, 3); } return [leftAngle, difference]; }; //Given a list of conditions, shift the angle to the closest available spot respecting the range given. u.shiftAngle = function(listToUse, angle, range) { //TODO: shiftAngle needs to respect the range! DONE? for (var i = 0; i < listToUse.length; i++) { if (u.angleIsWithin(angle, listToUse[i])) { //console.log("Shifting needed!"); var angle1 = listToUse[i][0]; var angle2 = u.rangeToAngle(listToUse[i]); var dist1 = (angle - angle1).mod(360); var dist2 = (angle2 - angle).mod(360); if (dist1 < dist2) { if (u.angleIsWithin(angle1, range)) { return angle1; } else { return angle2; } } else { if (u.angleIsWithin(angle2, range)) { return angle2; } else { return angle1; } } } } //console.log("No Shifting Was needed!"); return angle; }; /** * This is the main bot logic. This is called quite often. * @param followMouse Is a boolean. If set to true, it means the user is asking for the bot to follow the mouse coordinates. * @return A 2 dimensional array with coordinates for every cells. [[x, y], [x, y]] */ u.findDestination = function(followMouse) { var player = getPlayer(); var interNodes = getMemoryCells(); //console.warn("findDestination(followMouse) was called from line " + arguments.callee.caller.toString()); if ( /*!toggle*/ 1) { //The following code converts the mouse position into an //absolute game coordinate. var useMouseX = u.screenToGameX(getMouseX()); var useMouseY = u.screenToGameY(getMouseY()); tempPoint = [useMouseX, useMouseY, 1]; //The current destination that the cells were going towards. var tempMoveX = getPointX(); var tempMoveY = getPointY(); //This variable will be returned at the end. //It will contain the destination choices for all the cells. //BTW!!! ERROR ERROR ABORT MISSION!!!!!!! READ BELOW ----------- // //SINCE IT'S STUPID NOW TO ASK EACH CELL WHERE THEY WANT TO GO, //THE BOT SHOULD SIMPLY PICK ONE AND THAT'S IT, I MEAN WTF.... var destinationChoices = []; //destination, size, danger //Just to make sure the player is alive. if (player.length > 0) { //Loop through all the player's cells. for (var k = 0; k < player.length; k++) { if (true) { u.drawPoint(player[k].x, player[k].y + player[k].size, 0, "" + (getLastUpdate() - player[k].birth) + " / " + (30000 + (player[k].birthMass * 57) - (getLastUpdate() - player[k].birth)) + " / " + player[k].birthMass); } } //Loops only for one cell for now. for (var k = 0; /*k < player.length*/ k < 1; k++) { //console.log("Working on blob: " + k); u.drawCircle(player[k].x, player[k].y, player[k].size + u.splitDistance, 5); //drawPoint(player[0].x, player[0].y - player[0].size, 3, "" + Math.floor(player[0].x) + ", " + Math.floor(player[0].y)); //var allDots = processEverything(interNodes); //loop through everything that is on the screen and //separate everything in it's own category. var allIsAll = u.getAll(player[k]); //The food stored in element 0 of allIsAll var allPossibleFood = allIsAll[0]; //The threats are stored in element 1 of allIsAll var allPossibleThreats = allIsAll[1]; //The viruses are stored in element 2 of allIsAll var allPossibleViruses = allIsAll[2]; //The bot works by removing angles in which it is too //dangerous to travel towards to. var badAngles = []; var obstacleList = []; var isSafeSpot = true; var isMouseSafe = true; var clusterAllFood = u.clusterFood(allPossibleFood, player[k].size); //console.log("Looking for enemies!"); //Loop through all the cells that were identified as threats. for (var i = 0; i < allPossibleThreats.length; i++) { var enemyDistance = u.computeDistanceFromCircleEdge(allPossibleThreats[i].x, allPossibleThreats[i].y, player[k].x, player[k].y, allPossibleThreats[i].size); allPossibleThreats[i].enemyDist = enemyDistance; } /*allPossibleThreats.sort(function(a, b){ return a.enemyDist-b.enemyDist; })*/ for (var i = 0; i < allPossibleThreats.length; i++) { var enemyDistance = u.computeDistance(allPossibleThreats[i].x, allPossibleThreats[i].y, player[k].x, player[k].y); var splitDangerDistance = allPossibleThreats[i].size + u.splitDistance + 150; var normalDangerDistance = allPossibleThreats[i].size + 150; var shiftDistance = player[k].size; //console.log("Found distance."); var enemyCanSplit = u.canSplit(player[k], allPossibleThreats[i]); for (var j = clusterAllFood.length - 1; j >= 0 ; j--) { var secureDistance = (enemyCanSplit ? splitDangerDistance : normalDangerDistance); if (u.computeDistance(allPossibleThreats[i].x, allPossibleThreats[i].y, clusterAllFood[j][0], clusterAllFood[j][1]) < secureDistance) clusterAllFood.splice(j, 1); } //console.log("Removed some food."); if (enemyCanSplit) { u.drawCircle(allPossibleThreats[i].x, allPossibleThreats[i].y, splitDangerDistance, 0); u.drawCircle(allPossibleThreats[i].x, allPossibleThreats[i].y, splitDangerDistance + shiftDistance, 6); } else { u.drawCircle(allPossibleThreats[i].x, allPossibleThreats[i].y, normalDangerDistance, 3); u.drawCircle(allPossibleThreats[i].x, allPossibleThreats[i].y, normalDangerDistance + shiftDistance, 6); } if (allPossibleThreats[i].danger && getLastUpdate() - allPossibleThreats[i].dangerTimeOut > 1000) { allPossibleThreats[i].danger = false; } /*if ((enemyCanSplit && enemyDistance < splitDangerDistance) || (!enemyCanSplit && enemyDistance < normalDangerDistance)) { allPossibleThreats[i].danger = true; allPossibleThreats[i].dangerTimeOut = f.getLastUpdate(); }*/ //console.log("Figured out who was important."); if ((enemyCanSplit && enemyDistance < splitDangerDistance) || (enemyCanSplit && allPossibleThreats[i].danger)) { badAngles.push(u.getAngleRange(player[k], allPossibleThreats[i], i, splitDangerDistance).concat(allPossibleThreats[i].enemyDist)); } else if ((!enemyCanSplit && enemyDistance < normalDangerDistance) || (!enemyCanSplit && allPossibleThreats[i].danger)) { badAngles.push(u.getAngleRange(player[k], allPossibleThreats[i], i, normalDangerDistance).concat(allPossibleThreats[i].enemyDist)); } else if (enemyCanSplit && enemyDistance < splitDangerDistance + shiftDistance) { var tempOb = u.getAngleRange(player[k], allPossibleThreats[i], i, splitDangerDistance + shiftDistance); var angle1 = tempOb[0]; var angle2 = u.rangeToAngle(tempOb); obstacleList.push([[angle1, true], [angle2, false]]); } else if (!enemyCanSplit && enemyDistance < normalDangerDistance + shiftDistance) { var tempOb = u.getAngleRange(player[k], allPossibleThreats[i], i, normalDangerDistance + shiftDistance); var angle1 = tempOb[0]; var angle2 = u.rangeToAngle(tempOb); obstacleList.push([[angle1, true], [angle2, false]]); } //console.log("Done with enemy: " + i); } //console.log("Done looking for enemies!"); var goodAngles = []; var stupidList = []; for (var i = 0; i < allPossibleViruses.length; i++) { if (player[k].size < allPossibleViruses[i].size) { u.drawCircle(allPossibleViruses[i].x, allPossibleViruses[i].y, allPossibleViruses[i].size + 10, 3); u.drawCircle(allPossibleViruses[i].x, allPossibleViruses[i].y, allPossibleViruses[i].size * 2, 6); } else { u.drawCircle(allPossibleViruses[i].x, allPossibleViruses[i].y, player[k].size + 50, 3); u.drawCircle(allPossibleViruses[i].x, allPossibleViruses[i].y, player[k].size * 2, 6); } } for (var i = 0; i < allPossibleViruses.length; i++) { var virusDistance = u.computeDistance(allPossibleViruses[i].x, allPossibleViruses[i].y, player[k].x, player[k].y); if (player[k].size < allPossibleViruses[i].size) { if (virusDistance < (allPossibleViruses[i].size * 2)) { var tempOb = u.getAngleRange(player[k], allPossibleViruses[i], i, allPossibleViruses[i].size + 10); var angle1 = tempOb[0]; var angle2 = u.rangeToAngle(tempOb); obstacleList.push([[angle1, true], [angle2, false]]); } } else { if (virusDistance < (player[k].size * 2)) { var tempOb = u.getAngleRange(player[k], allPossibleViruses[i], i, player[k].size + 50); var angle1 = tempOb[0]; var angle2 = u.rangeToAngle(tempOb); obstacleList.push([[angle1, true], [angle2, false]]); } } } if (badAngles.length > 0) { //NOTE: This is only bandaid wall code. It's not the best way to do it. stupidList = u.addWall(stupidList, player[k]); } for (var i = 0; i < badAngles.length; i++) { var angle1 = badAngles[i][0]; var angle2 = u.rangeToAngle(badAngles[i]); stupidList.push([[angle1, true], [angle2, false], badAngles[i][2]]); } //stupidList.push([[45, true], [135, false]]); //stupidList.push([[10, true], [200, false]]); stupidList.sort(function(a, b){ //console.log("Distance: " + a[2] + ", " + b[2]); return a[2]-b[2]; }); //console.log("Added random noob stuff."); var sortedInterList = []; var sortedObList = []; for (var i = 0; i < stupidList.length; i++) { //console.log("Adding to sorted: " + stupidList[i][0][0] + ", " + stupidList[i][1][0]); var tempList = u.addAngle(sortedInterList, stupidList[i]); if (tempList.length == 0) { console.log("MAYDAY IT'S HAPPENING!"); break; } else { sortedInterList = tempList; } } for (var i = 0; i < obstacleList.length; i++) { sortedObList = u.addAngle(sortedObList, obstacleList[i]); if (sortedObList.length == 0) { break; } } var offsetI = 0; var obOffsetI = 1; if (sortedInterList.length > 0 && sortedInterList[0][1]) { offsetI = 1; } if (sortedObList.length > 0 && sortedObList[0][1]) { obOffsetI = 0; } var goodAngles = []; var obstacleAngles = []; for (var i = 0; i < sortedInterList.length; i += 2) { var angle1 = sortedInterList[(i + offsetI).mod(sortedInterList.length)][0]; var angle2 = sortedInterList[(i + 1 + offsetI).mod(sortedInterList.length)][0]; var diff = (angle2 - angle1).mod(360); goodAngles.push([angle1, diff]); } for (var i = 0; i < sortedObList.length; i += 2) { var angle1 = sortedObList[(i + obOffsetI).mod(sortedObList.length)][0]; var angle2 = sortedObList[(i + 1 + obOffsetI).mod(sortedObList.length)][0]; var diff = (angle2 - angle1).mod(360); obstacleAngles.push([angle1, diff]); } for (var i = 0; i < goodAngles.length; i++) { var line1 = u.followAngle(goodAngles[i][0], player[k].x, player[k].y, 100 + player[k].size); var line2 = u.followAngle((goodAngles[i][0] + goodAngles[i][1]).mod(360), player[k].x, player[k].y, 100 + player[k].size); u.drawLine(player[k].x, player[k].y, line1[0], line1[1], 1); u.drawLine(player[k].x, player[k].y, line2[0], line2[1], 1); u.drawArc(line1[0], line1[1], line2[0], line2[1], player[k].x, player[k].y, 1); //drawPoint(player[0].x, player[0].y, 2, ""); u.drawPoint(line1[0], line1[1], 0, "" + i + ": 0"); u.drawPoint(line2[0], line2[1], 0, "" + i + ": 1"); } for (var i = 0; i < obstacleAngles.length; i++) { var line1 = u.followAngle(obstacleAngles[i][0], player[k].x, player[k].y, 50 + player[k].size); var line2 = u.followAngle((obstacleAngles[i][0] + obstacleAngles[i][1]).mod(360), player[k].x, player[k].y, 50 + player[k].size); u.drawLine(player[k].x, player[k].y, line1[0], line1[1], 6); u.drawLine(player[k].x, player[k].y, line2[0], line2[1], 6); u.drawArc(line1[0], line1[1], line2[0], line2[1], player[k].x, player[k].y, 6); //drawPoint(player[0].x, player[0].y, 2, ""); u.drawPoint(line1[0], line1[1], 0, "" + i + ": 0"); u.drawPoint(line2[0], line2[1], 0, "" + i + ": 1"); } if (followMouse && goodAngles.length == 0) { //This is the follow the mouse mode var distance = u.computeDistance(player[k].x, player[k].y, tempPoint[0], tempPoint[1]); var shiftedAngle = u.shiftAngle(obstacleAngles, u.getAngle(tempPoint[0], tempPoint[1], player[k].x, player[k].y), [0, 360]); var destination = u.followAngle(shiftedAngle, player[k].x, player[k].y, distance); destinationChoices = destination; u.drawLine(player[k].x, player[k].y, destination[0], destination[1], 1); //tempMoveX = destination[0]; //tempMoveY = destination[1]; } else if (goodAngles.length > 0) { var bIndex = goodAngles[0]; var biggest = goodAngles[0][1]; for (var i = 1; i < goodAngles.length; i++) { var size = goodAngles[i][1]; if (size > biggest) { biggest = size; bIndex = goodAngles[i]; } } var perfectAngle = (bIndex[0] + bIndex[1] / 2).mod(360); perfectAngle = u.shiftAngle(obstacleAngles, perfectAngle, bIndex); var line1 = u.followAngle(perfectAngle, player[k].x, player[k].y, verticalDistance()); destinationChoices = line1; u.drawLine(player[k].x, player[k].y, line1[0], line1[1], 7); //tempMoveX = line1[0]; //tempMoveY = line1[1]; } else if (badAngles.length > 0 && goodAngles == 0) { //When there are enemies around but no good angles //You're likely screwed. (This should never happen.) console.log("Failed"); destinationChoices = [tempMoveX, tempMoveY]; /*var angleWeights = [] //Put weights on the angles according to enemy distance for (var i = 0; i < allPossibleThreats.length; i++){ var dist = computeDistance(player[k].x, player[k].y, allPossibleThreats[i].x, allPossibleThreats[i].y); var angle = getAngle(allPossibleThreats[i].x, allPossibleThreats[i].y, player[k].x, player[k].y); angleWeights.push([angle,dist]); } var maxDist = 0; var finalAngle = 0; for (var i = 0; i < angleWeights.length; i++){ if (angleWeights[i][1] > maxDist){ maxDist = angleWeights[i][1]; finalAngle = (angleWeights[i][0] + 180).mod(360); } } var line1 = followAngle(finalAngle,player[k].x,player[k].y,f.verticalDistance()); drawLine(player[k].x, player[k].y, line1[0], line1[1], 2); destinationChoices.push(line1);*/ } else if (clusterAllFood.length > 0) { for (var i = 0; i < clusterAllFood.length; i++) { //console.log("mefore: " + clusterAllFood[i][2]); //This is the cost function. Higher is better. var clusterAngle = u.getAngle(clusterAllFood[i][0], clusterAllFood[i][1], player[k].x, player[k].y); clusterAllFood[i][2] = clusterAllFood[i][2] * 6 - u.computeDistance(clusterAllFood[i][0], clusterAllFood[i][1], player[k].x, player[k].y); //console.log("Current Value: " + clusterAllFood[i][2]); //(goodAngles[bIndex][1] / 2 - (Math.abs(perfectAngle - clusterAngle))); clusterAllFood[i][3] = clusterAngle; u.drawPoint(clusterAllFood[i][0], clusterAllFood[i][1], 1, ""); //console.log("After: " + clusterAllFood[i][2]); } var bestFoodI = 0; var bestFood = clusterAllFood[0][2]; for (var i = 1; i < clusterAllFood.length; i++) { if (bestFood < clusterAllFood[i][2]) { bestFood = clusterAllFood[i][2]; bestFoodI = i; } } //console.log("Best Value: " + clusterAllFood[bestFoodI][2]); var distance = u.computeDistance(player[k].x, player[k].y, clusterAllFood[bestFoodI][0], clusterAllFood[bestFoodI][1]); var shiftedAngle = u.shiftAngle(obstacleAngles, u.getAngle(clusterAllFood[bestFoodI][0], clusterAllFood[bestFoodI][1], player[k].x, player[k].y), [0, 360]); var destination = u.followAngle(shiftedAngle, player[k].x, player[k].y, distance); destinationChoices = destination; //tempMoveX = destination[0]; //tempMoveY = destination[1]; u.drawLine(player[k].x, player[k].y, destination[0], destination[1], 1); } else { //If there are no enemies around and no food to eat. destinationChoices = [tempMoveX, tempMoveY]; } u.drawPoint(tempPoint[0], tempPoint[1], tempPoint[2], ""); //drawPoint(tempPoint[0], tempPoint[1], tempPoint[2], "" + Math.floor(computeDistance(tempPoint[0], tempPoint[1], I, J))); //drawLine(tempPoint[0], tempPoint[1], player[0].x, player[0].y, 6); //console.log("Slope: " + slope(tempPoint[0], tempPoint[1], player[0].x, player[0].y) + " Angle: " + getAngle(tempPoint[0], tempPoint[1], player[0].x, player[0].y) + " Side: " + (getAngle(tempPoint[0], tempPoint[1], player[0].x, player[0].y) - 90).mod(360)); tempPoint[2] = 1; //console.log("Done working on blob: " + i); } //TODO: Find where to go based on destinationChoices. /*var dangerFound = false; for (var i = 0; i < destinationChoices.length; i++) { if (destinationChoices[i][2]) { dangerFound = true; break; } } destinationChoices.sort(function(a, b){return b[1] - a[1]}); if (dangerFound) { for (var i = 0; i < destinationChoices.length; i++) { if (destinationChoices[i][2]) { tempMoveX = destinationChoices[i][0][0]; tempMoveY = destinationChoices[i][0][1]; break; } } } else { tempMoveX = destinationChoices.peek()[0][0]; tempMoveY = destinationChoices.peek()[0][1]; //console.log("Done " + tempMoveX + ", " + tempMoveY); }*/ } //console.log("MOVING RIGHT NOW!"); //console.log("______Never lied ever in my life."); return destinationChoices; } }; /** * A conversion from the screen's horizontal coordinate system * to the game's horizontal coordinate system. * @param x in the screen's coordinate system * @return x in the game's coordinate system */ u.screenToGameX = function(x) { return (x - getWidth() / 2) / getRatio() + getX(); }; /** * A conversion from the screen's vertical coordinate system * to the game's vertical coordinate system. * @param y in the screen's coordinate system * @return y in the game's coordinate system */ u.screenToGameY = function(y) { return (y - getHeight() / 2) / getRatio() + getY(); }; u.drawPoint = function(x_1, y_1, drawColor, text) { f.drawPoint(x_1, y_1, drawColor, text); }; u.drawArc = function(x_1, y_1, x_2, y_2, x_3, y_3, drawColor) { f.drawArc(x_1, y_1, x_2, y_2, x_3, y_3, drawColor); }; u.drawLine = function(x_1, y_1, x_2, y_2, drawColor) { f.drawLine(x_1, y_1, x_2, y_2, drawColor); }; u.drawCircle = function(x_1, y_1, radius, drawColor) { f.drawCircle(x_1, y_1, radius, drawColor); }; /** * Some horse shit of some sort. * @return Horse Shit */ u.screenDistance = function() { var temp = f.getScreenDistance(); return temp; }; /** * Tells you if the game is in Dark mode. * @return Boolean for dark mode. */ u.getDarkBool = function() { return f.getDarkBool(); }; /** * Tells you if the mass is shown. * @return Boolean for player's mass. */ u.getMassBool = function() { return f.getMassBool(); }; /** * This is a copy of everything that is shown on screen. * Normally stuff will time out when off the screen, this * memorizes everything that leaves the screen for a little * while longer. * @return The memory object. */ u.getMemoryCells = function() { return f.getMemoryCells(); }; /** * [getCellsArray description] * @return {[type]} [description] */ u.getCellsArray = function() { return f.getCellsArray(); }; /** * This is the original "getMemoryCells" without the memory part. * @return Non memorized object. */ u.getCells = function() { return f.getCells(); }; /** * Returns an array with all the player's cells. * @return Player's cells */ u.getPlayer = function () { return f.getPlayer(); }; /** * The canvas' width. * @return Integer Width */ u.getWidth = function() { return f.getWidth(); }; /** * The canvas' height * @return Integer Height */ u.getHeight = function() { return f.getHeight(); }; /** * Scaling ratio of the canvas. The bigger this ration, * the further that you see. * @return Screen scaling ratio. */ u.getRatio = function() { return f.getRatio(); }; /** * [getOffsetX description] * @return {[type]} [description] */ u.getOffsetX = function() { return f.getOffsetX(); }; u.getOffsetY = function() { return f.getOffsetY(); }; u.getX = function() { return f.getX(); }; u.getY = function() { return f.getY(); }; u.getPointX = function() { return f.getPointX(); }; u.getPointY = function() { return f.getPointY(); }; /** * The X location of the mouse. * @return Integer X */ u.getMouseX = function() { return f.getMouseX(); }; /** * The Y location of the mouse. * @return Integer Y */ u.getMouseY = function() { return f.getMouseY(); }; /** * A timestamp since the last time the server sent any data. * @return Last update timestamp */ u.getUpdate = function() { return f.getLastUpdate(); }; /** * The game's current mode. (":ffa", ":experimental", ":teams". ":party") * @return {[type]} [description] */ u.getMode = function() { return f.getMode(); }; f.botList.push(["AposBot " + aposBotVersion, u.findDestination]); u.bList = g('#bList'); g('<option />', {value: (f.botList.length - 1), text: "AposBot"}).appendTo(bList);

As a digital marketing company, we have actually driven numerous web site hits, millions of leads as well as also millions of sales. So if you are a local business or a young expert that wants to find out more about marketing management, then you remain in the best place. Today, we're reviewing exactly how advertising managers can develop effective projects, detailed. Our digital marketing firm saves small companies from bad advertising as well as no development, yet of course, in order to do that effectively, our advertising and marketing supervisors have to have extraordinary skills around marketing monitoring. Regrettably, a great deal of the schools today are instructing out-of-date advertising and marketing techniques. As well as the net is swamped with phony experts who show marketing however in fact have no actual experience. This can be an easy catch for anyone just beginning to seek aid regarding the globe of marketing. That's why you should pick up from individuals who have actual experience As Well As can confirm it for greater than one firm. And also these are simply results we've gotten for our firm, using our very own techniques. We have more than 10,000 hrs of actual digital marketing experience and also have aided thousands of business find the very best options to their advertising issues. Just how have we managed to do this? Via our team of marketer! In order for them to offer these efficient options, our marketing supervisors need to have outstanding abilities around marketing administration. And those abilities are precisely what our advertising and marketing supervisors have. We're mosting likely to give you some powerful techniques if you want to learn advertising and marketing monitoring or become a much better marketing manager. In this blog, you will certainly learn exactly how advertising managers can develop effective campaigns, step-by-step. We will certainly discuss: 1. Just how to onboard a brand-new marketing project 2. Just how to structure your strategy 3. How to setup everything 4. And much more! Without further trouble, let's go ahead as well as dive in with action # 1. Action 1: How to onboard a brand-new advertising project Whether you are beginning a new marketing campaign from square one or you are inheriting an existing advertising campaign, it is really important to recognize 2 things. # 1 You require to develop your advertising goals. Now usually we have clients that will certainly claim their objective is to obtain more sales. Yet that is an extremely high-level goal. With that, you'll intend to unbox your goal into something more workable. To break down your objective into actionable parts, we will certainly start to speak about leading as well as lagging indicators. A lagging indicator is normally a result, such as more sales, even more leads, or more web traffic, which are great objectives to have. Yet in order to get to an outcome or a lagging indication, you need a leading indication which is typically an action. Leading signs are points that you can regulate now everyday or each week. And these are the advertising and marketing objectives that you want to develop. As a marketing manager, you need to understand both leading and lagging objectives. # 2 You need to understand your budget. When you onboard an advertising and marketing campaign, you require to understand your campaign budget. If you are unclear about your marketing spending plan or about just how to accurately calculate your marketing budget, we have a thorough video clip that can help you here. Ultimately, the important point below is that you intend to make sure your budget plan matches your objectives. For that reason, if you desire $1 million in sales for instance, then you require to be all set to spend thousands of thousands of dollars. And also honestly, you wish to be as sensible as possible because that's the accountable thing to do as a great online marketer. A lot of people strive for the over night success desire, however the fact is excellent marketing can require time. Now that you have established you require to establish some advertising goals and also a spending plan, after that you can transfer to tip number two, which is "just how to structure your advertising strategy." Action 2: Exactly how to structure your advertising plan The first thing we suggest that you do is to develop an advertising and marketing channel, or really plainly recognize the advertising and marketing channel that already exists. If your business is already generating any type of sales, after that you likely have an advertising and marketing channel whether you understand it or not. It is necessary to recognize which part of the funnel you will certainly need to influence with your advertising project. Understanding the advertising channel will help you pinpoint which stage of the channel demands adjustments. To get a far better understanding of the advertising and marketing channel, let's take a more detailed look at an advertising funnel as well as break down an advertising funnel for B2C (service to customer) as well as B2B (organization to service) firms. At the top of the channel you have the recognition stage. For both B2B or B2C companies this is where potential consumers become aware of your company either by means of search, or an advertisement, or a person referring them to you. The next part of the channel is the interest stage. This is where your capacity clients start to read more concerning your product and services. After that phase of the channel is the consideration stage. This is where your capacity customers actually begin thinking about buying your products. They might begin to review your evaluations or compare your products to others that are on the market. After the consideration stage is the intent phase. This is the stage where the potential client prepares to buy as well as simply needs a little push to complete the transaction. If you're a B2C firm, that implies that a visitor has perhaps added something to their cart. And also if you're a B2B firm, that implies that a site visitor may have asked for a meeting or a live trial. Swiftly after that, the prospective consumer enters the examination stage. This is when the potential consumer is considering the experience they are having as they are having a look at for a B2C company or finishing the contract for a B2B firm. At the really bottom of the channel you have the actual purchase, which is when the potential client becomes a real consumer. As you can see, there is a whole process to getting a client to really end up being a client. On top of that, a channel can continue after the acquisition factor, particularly if you wish to get even more sales from your present consumers. However those phases we pointed out are mosting likely to be the major locations that the majority of marketing managers require to focus on. Nevertheless, if you wish to discover a bit a lot more concerning marketing funnels, check out this blog where we go a lot more thorough with the advertising and marketing channel phases. As you are doing your marketing administration, you wish to begin asking on your own, "Which stage in the advertising and marketing channel does my organization require the most assist with?" You will discover that some business require general understanding prior to they can enhance any other part of their funnel. You may additionally locate that some business have a lot of awareness, yet battle to convert those introduce sales. However, once you recognize where your marketing needs one of the most aid, then you can concentrate there and also start to establish those leading indication objectives. For example, in the recognition stage, you have to focus on getting to a great deal of people. And also if business spending plan you have actually established is reduced, that suggests you will likely require to make use of an organic advertising and marketing approach. Currently let's move on to tip number three, which is just how to establish your advertising and marketing projects Action 3: How to set up your marketing campaigns. The first thing you need to think of below is production. What we indicate by "production" is you need to understand WHO or WHAT you require and WHEN you require it. To figure this out, go back to your leading indications and think about just how you are mosting likely to complete them. Possibly you need a web content writer, a designer, or a marketing spending plan. Or perhaps you require to set aside a couple of hours a day, to hire an agency, or a few other tools to aid you be reliable. The bottom line is, you need to be extremely clear about what deliverables you need as well as when you require them. After manufacturing, we recommend that you track your development. Since doesn't mean you are seeking that delayed indication or that major result that you wish to accomplish. Rather, you'll want to track whether or not your growth is headed in a positive instructions. Ideally, it's very easy to determine a trend line that is going up overtime. For example, if you are publishing on YouTube on a daily basis for six months as well as you are not obtaining any kind of sights whatsoever, then that is an indication that you require to quit and reassess your advertising strategy. One of our company's favorite tools to make use of to track development is Google Analytics. It's very simple to set up on your own as well as ought to take you no time to obtain arrangement and start. As soon as you're set up for success with Google Analytics, you can go on to tip number four, which isn't truly an action however it is a crucial idea to live by. Action 4: Stay with your strategy We have actually stated it before however excellent advertising takes some time. We can't emphasize this sufficient. Unless you have a really large spending plan, we're speaking at the very least $100,000 a year, then you greater than likely will require to focus on one point at a time. That means you wish to put together a really great approach and make sure it functions PRIOR TO you proceed to something that is new and also stylish right now. We suggest you give your technique a minimum of 6 months before you quit. And this is six months of pure quality! That means you are not missing out on due dates and you are putting together an excellent amount of quantity and also top quality work. Bear in mind to still be tracking your outcomes and making sure you're constructing some energy or seeing a positive trend line. Even if the positive trend line is slow, it is still positive. Now allow's go on to our last step. Action 5: Reporting If you are doing any type of type of advertising and marketing management or if you are an advertising and marketing supervisor on your own, after that at some time you will require to do some reporting. Whether you are reporting to yourself, stakeholders, a supervisor, or a customer, this is an area where you require to successfully interact just how your advertising and marketing is going. When you are connecting, you need to recognize your target market. If you are speaking to an additional advertising and marketing professional or somebody with an advertising background, after that you can possibly utilize more advanced descriptions of your development. However if you are speaking with someone that does not know a lot regarding advertising, after that you want to try to simplify as simply as possible. For instance, you would not begin speaking to a stranger about ROAS, ROI, conversion projects, as well as lead-to-sale conversions since there's a slim chance they would understand what you were discussing. Everything that we cover in this blog are points that you wish to communicate to whoever you are reporting to. To make sure that suggests you want to relate things back to the goals, the budget, the channel, and the positive pattern line. You'll see that poor marketing professionals only care about telling you just how good their negative results are. A bad marketing professional will tell you about all the leads they have actually created but have really little results for conversions. As good marketers, it is our obligation to interact successfully as well as with honesty. So understand your numbers, know your target market, as well as be as clear as possible whether the results are good or bad. Establishing in-depth records that are comprehensive sufficient for your audience to recognize is what will assist everyone be on the very same web page. Conclusion There you have it-- 5 truly awesome suggestions for advertising monitoring. Tips that we stand by and are confirmed due to the fact that we've used them for our own advertising and marketing projects. In addition, we have actually managed campaigns for our customers that have actually driven numerous hits, numerous leads, and countless sales. That's why we believe you can stand by these important pointers we have actually supplied here.And there's so much extra you can learn more about advertising and marketing for your business! Whether you are a small company proprietor or a young specialist that intends to find out more concerning advertising and marketing administration, after that you remain in the right area. Our group of marketer prepare to help you make on your own a better marketer!