l Estate, is decked with the flowers the girls had been picking. MICHAEL, followed by the bodyguards, moves into the central square, and onto the balcony of a little cafe. The proprietor of the cafe, VITELLI, is a short burly man; he greets them cheerfully, and sets a dish of chickpeas at their table. FABRIZZIO You know all the girls in this town, eh? We saw some beauties coming down the road. One in particular got our friend hit with the Thunderbolt... (he indicates MICHAEL) VITELLI gives a big knowing laugh, and looks at MICHAEL with new interest. VITELLI You had better bring a few bottles home with you, my friend; you'll need help sleeping tonight. (he laughs) FABRIZZIO This one could seduce the devil.  VITELLI (laughing with them...pouring more wine) I know about what you mean! FABRIZZIO This was a beauty. Right, Calo? VITELLI (laughing) Beautiful all over, eh? FABRIZZIO And hair. Black and curly, like a doll.  VITELLI does not laugh quite so much. VITELLI Yes, we have beautiful girls here... but virtuous. VITELLI is no longer drinking with them. MICHAEL She wore a red dress, and a red ribbon in her hair. She looks more Greek than Italian. Do you know a beauty like that? As MICHAEL describes her, VITELLI laughed less and less, until he wears a scowl. VITELLI No. Then he curtly leaves him, and walks into the back room. FABRIZZIO God in Heaven, I think I understand... He goes into the back room after the innkeeper. Then he returns.  It's his daughter. They start to leave; but MICHAEL doesn't move. CALO Come quickly. MICHAEL Innkeeper. More wine!  MICHAEL turns to FABRIZZIO with his cold authority. MICHAEL Tell him to come to me. The two BODYGUARDS shoulder their luparas, and disappear in a moment they return with the red-faced angry VITELLI between them. MICHAEL (quietly) I understand I've offended you by talking about your daughter. I offer you my apologies, I'm a stranger in this country, I don't know the customs very well. Let me say this, I meant no disrespect to you or her... CALO and FABRIZZIO are impressed. VITELLI (shrugs) Who are you and what do you want from my daughter? MICHAEL I am an American hiding in Sicily from the police of my country. My name is Michael. You can inform the police and make your fortune but then your daughter would lose a father rather than gain a husband. In any case, I want to meet your daughter. With your permission and under the supervision of your family. With all decorum. With all respect. I am an honorable man. CALO and FABRIZZIO are stupefied; VITELLI pauses, and then asks: VITELLI Are you a friend of the friends? MICHAEL When the proper time comes, I'll tell you everything that a wife's father should know. FABRIZZIO It's the real Thunderbolt, then. VITELLI (formally) Come Sunday morning: My name is Vitelli and my house is up there on the hill, above the village. MICHAEL Your daughter's name? VITELLI Appolonia. -------------------------------------FADE OUT----------- EXT DAY: TOMMASSINO COURTYARD MUSIC comes up; as MICHAEL, dressed in new clothes from Palermo, and carrying a stack of wrapped gifts, gets into an Alfa Romeo. CALO and FABRIZZIO each dressed in their Sunday best, are in the rear seat, huddled together, with their luparas on their shoulders.  The Sunday churchbells ring. --------------------------------------DISSOLVE---------- EXT DAY: VITELLI HOUSE MICHAEL is presented to each of the Vitelli relatives, by the yard of their little hilltop house; the BROTHERS; the MOTHER, who is given a gift; several UNCLES and AUNTS. Finally APPOLONIA enters, dressed beautifully in appropriate Sunday clothing. Now he presents the wrapped gift to APPOLONIA. She looks at her MOTHER, who with a nod gives her permission to open it. She unwraps it. Her eyes light at the sight of a heavy gold chain; to be worn as a necklace. She looks at him. APPOLONIA Grazia. --------------------------------------DISSOLVE---------- EXT DAY: VITELLI CAFE Now the little Alpha drives into the village near VITELLI's cafe. MICHAEL is, as ever, accompanied with his two BODYGUARDS, though they are all dressed differently. They go up to the cafe...and sit with VITELLI, who is talking and talking. MICHAEL looks at APPOLONIA; who sits, respectfully quiet. She wears the gold necklace around her neck. --------------------------------------DISSOLVE---------- EXT DAY: HILLTOP NEAR VITELLI HOME MICHAEL and APPOLONIA are walking through a hilltop path, seemingly alone, although a respectful distance apart. As the VIEW PANS with them, we notice that her MOTHER and a half dozen AUNTS are twenty paces behind them, and ten paces further behind are CALO and FABRIZZIO, their luparas on their shoulders. Further up the hill, APPOLONIA stumbles on a loose stone, and falls briefly onto MICHAEL's arm. She modestly regains her balance, and they continue walking. Behind them, her MOTHER giggles to herself. --------------------------------------DISSOLVE---------- EXT DAY: VITELLI VILLAGE CHURCH Church bells in an ancient belfry ring out. Music, old and dissonant, plays. There is a bridal procession in the street of the village; the same in feeling and texture as it might have been five hundred years ago. Donkeys and other animals have been decorated with abundant flowers; children carrying candles and wearing white confirmation gowns walk in the procession, followed by countless townspeople, members of the clergy, even the police. We present the entire bridal procession and ceremony with all the ritual and pageantry, as it has always been, in Sicily. APPOLONIA is radiant as the Bride; MICHAEL is handsome despite the grotesque jaw and occasional white handkerchief. --------------------------------------DISSOLVE---------- EXT NITE: VITELLI VILLAGE SQUARE CALO and FABRIZZIO dance wildly through the night of the great wedding celebration. It is held in the Village Square; under the watchful eyes of SHEPHERDS above on the tops of buildings, carrying luparas. --------------------------------------DISSOLVE---------- INT NITE: MICHAEL'S ROOM IN VILLA MICHAEL opens the shutters in his darkened room; moonlight fills the room. He turns, and there, in her wedding slip, is APPOLONIA. A little frightened; but lovely. He moves to her; and for a moment just stands before her, looking at her incredible face; her lovely hair and body. Slowly and tenderly he kisses her. Her tiny hands come up to his face; touch his cheek and embrace him. She lets her bridal slip fall to the floor. --------------------------------------FADE OUT---------- INT DAY: MICHAEL'S ROOM AT VILLA Morning. MICHAEL sits on the window ledge, gazing into the room. APPOLONIA is asleep; she is naked, and only partially covered by the bedsheets. He looks at her for a long time in the early morning light. EXT DAY: TOMMASSINO COURTYARD HIGH ANGLE ON DON TOMMASSINO'S VILLA We HEAR girlish laughter; the little Alpha is driving erratically, knocking down an occasional wall, and almost hitting th inner court wall. APPOLONIA is laughing, driving. MICHAEL pretends to be frightened, as he teaches her to drive. Outside the walls, we notice SHEPHERDS with luparas, walking guard duty. The car stops and a laughing MICHAEL gets out. MICHAEL It's safer to teach you English. APPOLONIA Monday, Tuesday, Wednesday, Thursday, Friday...See, I learned it. Now teach me to drive! DON TOMMASSINO enters the Courtyard. He seems tired and concerned. MICHAEL Ciao, Don Tommassino. APPOLONIA kisses him. MICHAEL Things went badly in Palermo? DON TOMMASSINO The younger men have no respect. Things are changing; I don't know what will happen. Michael, because of the wedding, people now know your name. MICHAEL Is that why there are more men on the walls? DON TOMMASSINO Even so, I don't think it is safe here anymore. I've made plans to move you to a villa near Siracuse. You must go right away. MICHAEL What is it? DON TOMMASSINO Bad news from America. Your brother, Santino. He has been killed. For a moment, the whole world of New York, Sollozzo, the Five Family War, all comes back to MICHAEL. EXT DAY: VILLA COURTYARD Morning. MICHAEL leans out of the bedroom window. Below, FABRIZZIO is sitting in one of the garden chairs, combing his thick hair. MICHAEL whistles and FABRIZZIO looks up to his window. MICHAEL Get the car. I'll be leaving in ten minutes. Where's Calo? FABRIZZIO Calo is having a cup of coffee in the kitchen. Is your wife coming with you? MICHAEL No, she's going home to her family. She'll join me in a few weeks... INT DAY: VILLA KITCHEN MICHAEL, dressed, crosses from the hallway, and into the kitchen. CALO is just finishing a bite. He rises when he sees MICHAEL.  MICHAEL No, I'll get it. Where's Appolonia? CALO (smiling) She is sitting in the driver's seat of the car, dying to step on the gas. She'll be a real American woman before she gets to America. MICHAEL smiles. MICHAEL Tell Fabrizzio and wait for me in the car. He leaves the kitchen, after a quick sip of coffee. He looks out from the opening in the doorway.  CALO moves to the car, and puts a lunch basket in the rear seat. Then MICHAEL seems disturbed. Over, on the other side of the courtyard, he sees FABRIZZIO disappear through the gate.  MICHAEL goes down the hallway, and outside. MICHAEL steps out into the bright sunlight of the outer courtyard, causing him to shade his eyes. APPOLONIA sees him, and waves, motioning that he should stay where he is. APPOLONIA (calling out) I'll drive to you. He smiles affectionately. CALO stands beside the car, smiling, with his lupara dangling by his side. There is no sight of FABRIZZIO. Suddenly the smile fades from MICHAEL's face. He steps forward and holds out his hand. MICHAEL No. No! His shout is drowned in the roar of a tremendous EXPLOSION, as she switched on the ignition. Part of the wall is caved in, the kitchen door is blown off; and there is nothing left of the Alpha, or of Appolonia. MICHAEL is thrown against the wall, and knocked unconscious. INT DAY: VILLA BEDROOM MICHAEL is unconscious in a darkened room. We hear whispering around him, but can't make any of it out. A soft cloth is applied to his face; gradually his eyes open. DON TOMMASSINO is there, close to him.  MICHAEL Fabrizzio. Let your shepherds know that the one who gives me Fabrizzio will own the finest pastures in Sicily. --------------------------------------FADE OUT---------- FADE IN: EXT DAY: MALL (SPRING 1951) Easter. A HIGH VIEW ON THE CORLEONE MALL in the springtime. Hordes of little CHILDREN including many of the Corleone Children and Grandchilren, rush about carrying little Easter baskets, searching here and there for candy treasures and hidden Easter eggs. The DON himself, much older, much smaller in size, wearing baggy pants and a plaid shirt and an old hat, moves around his garden, tending rows and rows of rich tomato plants. Suddenly, he stops and looks. MICHAEL stands there, still holding his suitcase. Great emotion comes over the DON, who takes a few steps in MICHAEL's direction. MICHAEL leaves his suitcase and walks to his favorite son and embraces him. DON CORLEONE Be my son... INT DAY: THE OLIVE OIL FACTORY DON CORLEONE leads MICHAEL through the corridors of the building. DON CORLEONE This old building has seen its day. No way to do business...too small, too old. They enter the DON's glass-panelled office. DON CORLEONE Have you thought about a wife? A family? MICHAEL (pained) No. DON CORLEONE I understand, Michael. But you must make a family, you know. MICHAEL I want children, I want a family. But I don't know when. DON CORLEONE Accept what's happened, Michael. MICHAEL I could accept everything that's happened; I could accept it, but that I never had a choice. From the time I was born, you had laid this all out for me. DON CORLEONE No, I wanted other things for you. MICHAEL You wanted me to be your son. DON CORLEONE Yes, but sons who would be professors, scientists, musicians...and grandchildren who could be, who knows, a Governor, a President even, nothing's impossible here in America. MICHAEL Then why have I become a man like you? DON CORLEONE You are like me, we refuse to be fools, to be puppets dancing on a string pulled by other men. I hoped the time for guns and killing and massacres was over. That was my misfortune. That was your misfortune. I was hunted on the streets of Corleone when I was twelve years old because of who my father was. I had no choice. MICHAEL A man has to choose what he will be. I believe that. DON CORLEONE What else do you believe in? MICHAEL doesn't answer. DON CORLEONE Believe in a family. Can you believe in your country? Those Pezzonovante of the State who decide what we shall do with our lives? Who declare wars they wish us to fight in to protect what they own. Do you put your fate in the hands of men whose only talent is that they tricked a bloc of people to vote for them? Michael, in five years the Corleone family can be completely legitimate. Very difficult things have to happen to make that possible. I can't do them anymore, but you can, if you choose to. MICHAEL listens. DON CORLEONE Believe in a family; believe in a Code of Honor, older and higher, believe in Roots that go back thousands of years into your Race. Make a family, Michael, and protect it. These are our affairs, sono cosa nostra, Governments only protect men who have their own individual power. Be one of those men...you have the choice. --------------------------------------FADE OUT---------- EXT DAY: STOCK FOOTAGE LAS VEGAS (1955) A MOVING VIEW, driving up the Las Vegas Strip of 1955. FREDO (O.S.) There's a new one. Construction going on everywhere. MORE VIEWS, showing new hotels and casinos being built; the bill marquees read: "MARTIN AND LEWIS", "PATTI PAGE", etc. FREDO (O.S.) That's one of the family's new ones. Not bad, eh? EXT DAY: FLAMINGO (1955) The car pulls up at the Flamingo Hotel. Inside the car: MICHAEL, FREDO, TOM HAGEN and a new man, NERI, quiet and sinister. MICHAEL Why didn't Moe Green meet us at the airport? FREDO He had business at the hotel, but he'll drop in for dinner. From the expression on MICHAEL's face we know this is a discourtesy. INT DAY: FLAMINGO HOTEL SUITE (1955) A whole entourage precedes FREDO and his V.I.P. party of MICHAEL, HAGEN and NERI. Great fuss is made. They are being shown into the hotel's 'special' suite. FREDO You look wonderful, kid; really wonderful. That doctor did some job on your face. MICHAEL You look good, too. They enter the suite. FREDO Nice, eh? FREDO is as excited as a kid, snapping orders at the bellboys, waiters and maids. FREDO (hurrying into the bedroom) Kid, take a look-see. MICHAEL gives a look to HAGEN, and continues into the bedroom. There is an enormous circular bed on a huge platform, mirrors to each side. FREDO points upward. A VIEW into a large CEILING mirror. FREDO Ever seen anything like that before? MICHAEL (dryly) No. INT NITE: FLAMINGO SUITE BEDROOM (1955) MICHAEL is alone in the bedroom. He is just finishing dressing; he puts on his jacket. From the window, with the lights blinking, we can tell it's late at night. MICHAEL passes into the other room. He stops, looks. He is disturbed. INT NITE: FLAMINGO SUITE (1955) A magnificent, circular table has been set up in his suite; a lavish table setting for eight. Standing by the table are HAGEN, JOHNNY FONTANE, looking wonderful, a little heavier, beautifully dressed; FREDO, a dandy, and TWO LAS VEGAS GIRLS. NERI stands quietly by the door. FREDO Mike! The party starting! MICHAEL Come here a minute, Fredo.  MICHAEL Who are those girls? FREDO (jokingly) That's for you to find out. MICHAEL Give them some money and send them home. FREDO Mike! MICHAEL Get rid of them... INT NITE: FLAMINGO SUITE (1955) They are seated around the lavish table in Michael's suite. MICHAEL is speaking to JOHNNY. MICHAEL Johnny, the Corleone family is thinking of selling out all our interests in the Olive Oil business and settling here. Moe Greene will sell us his interest so it can be wholly owned by friends of the family. FREDDIE seems anxious. FREDO Mike, you sure about Moe selling. He never mentioned it to me and he loves the business. MICHAEL I'll make him an offer he can't refuse. MICHAEL turns to JOHNNY. MICHAEL Johnny, the Don wants you to help us get started. We figure entertainment will be the big factor in drawing gamblers. We hope you'll sign a contract to appear five times a year for maybe a week long engagement. We hope your friends in the movies will do the same. We count on you to convince them. JOHNNY Sure, I'll do anything for my Godfather. You know that, Mike. There is knock on the door. NERI rises, looks at MICHAEL, who nods. NERI opens the door, and MOE GREENE enters, followed by TWO BODYGUARDS. He is a handsome hood, dressed in the Hollywood style. His BODYGUARDS are more West Coast style. MOE Mike, good to see you. Got everything you want? MICHAEL Thanks.  MICHAEL Is my credit good enough to buy you out? MOE laughs. MOE Buy me out?... MICHAEL The hotel, the casino. The Corleone family wants to buy you out. GREENE stops laughing; the room becomes tense. NERI eyes the BODYGUARDS. MOE (furious) The Corleone family wants to buy me out. I buy you out. You don't buy me out. MICHAEL Your casino loses money. Maybe we can do better. MOE You think I scam? MICHAEL (the worst insult) You're unlucky.  I do you a favor and take Freddie in when you're having a bad time, and then you try to push me out. MICHAEL You took Freddie in because the Corleone family bankrolled your casino. You and the Corleone family are evened out. This is for business; name your price. MOE The Corleone family don't have that kind of muscle anymore. The Godfather is sick. You're getting chased out of New York by Barzini and the other families, and you think you can find easier pickings here. I've talked to Barzini; I can make a deal with him and keep my hotel! MICHAEL (quietly, deadly) Is that why you thought you could slap Freddie around in public?  Moe didn't mean anything. He flies off the handle sometimes; but me and him are good friends. Right, Moe? MOE Yeah sure. Sometimes I gotta kick asses to make this place run right. Freddie and I had a little argument and I had to straighten him out. MICHAEL You straightened my brother out? MOE Hell, he was banging cocktail waitresses two at a time. Players couldn't get a drink. MICHAEL rises from his chair, and says in a tone of dismissal: MICHAEL I have to go back to New York tomorrow. Think of your price.  I made my bones when you were going out with cheerleaders. FREDO (frightened) Tom, you're the Consigliere; you can talk to the Don and advise him. MICHAEL The Don has semi-retired. I'm running the Family business now. So anything you have to say, say it to me. Nobody answers. MICHAEL nods to NERI, who opens the door. MOE exits angrily. MICHAEL Freddie, you're my older brother. I love you. But don't ever take sides with anybody against the Family again. EXT DAY: N.Y. AIRPORT (1955) KAY sits in the back of a limousine parked by the Newark AIRPORT. ROCCO LAMPONE is leaning against it. She has a little three year old boy; MICHAEL's son, who plays with a cardboard bird on a string. Two other cars are stationed discreetly, with men we have learned to tell are bodyguards. MICHAEL, HAGEN and NERI exit the airport with TWO NEGRO PORTERS carrying luggage. NERI sees something, and taps MICHAEL on the shoulder. MICHAEL turns, and sees KAY. LAMPONE opens the car door; KAY steps out with the BOY, and MICHAEL embraces her, and kisses his son. Automatically, the luggage is put in. NERI replaces LAMPONE as the driver; and LAMPONE joins the other men. HAGEN gets into one of the other cars. And the limo drives off, preceded and followed by the other sedans. INT DAY: LIMO (1955) The little BOY looks out the window as they drive. MICHAEL I have to see my father and his people when we get back to the Mall. KAY Oh Michael. MICHAEL We'll go to the show tomorrow night--we can change the tickets. KAY Don't you want dinner first? MICHAEL No, you eat...don't wait up for me. KAY Wake me up when you come to bed? The little BOY flies his cardboard bird out of the speeding limousine window. EXT DAY: MALL (1955) The limousine arrives at the Mall. We are inside. KAY Your sister wants to ask you something. MICHAEL Let HER ask. NERI opens the door. KAY wants to talk just a little more. KAY She's afraid to. Michael... MICHAEL nods to NERI; who gives them their privacy a moment longer. KAY Why are you so cold to her and Carlo? They live with us on the Mall now, but you never get close to them. MICHAEL I'm busy. KAY Connie and Carlo want you to be godfather to their little boy. NERI opens the door; MICHAEL starts to get out; KAY too. He smiles at her, tired, and a little sad. KAY Will you? MICHAEL Let me think about it, O.K.? She smiles; MICHAEL goes with NERI to the Main House; KAY and the little BOY move to the house that was Sonny's. INT DAY: DON'S OFFICE (1955) VIEW ON DON CORLEONE, much older, much smaller in size. He wears baggy pants, and a warm plaid shirt. He sits in a chair, gazing out through the window, into the garden. TESSIO (O.S.) Barzini's people chisel my territory and we do nothing about it. Pretty soon there won't be one place in Brooklyn I can hang my hat. MICHAEL (O.S.) Just be patient. TESSIO I'm not asking you for help, Mike. Just take off the handcuffs. MICHAEL (O.S.) Be patient. CLEMENZA (O.S.) We gotta fight sometime. Let us at least recruit our regimes to full strength. MICHAEL (O.S.) No, I don't want to give Barzini an excuse to start fighting. TESSIO (O.S.) Mike, you're wrong. CLEMENZA (O.S.) Don Corleone...Don Corleone. The OLD MAN looks up. CLEMENZA stand before him in the Den. Beside him is an anxious TESSIO. NERI stands by the door; HAGEN is seated; MICHAEL sits behind the big desk. CLEMENZA You said there would come a day when Tessio and me could form our own Families. Only with your benediction, of course. I ask permission... DON CORLEONE My son is head of the Family now. If you have his permission, you have my good will. MICHAEL In six months you can break off from the Corleone Family and go on your own. Carlo, I'm counting on you to make the move to Nevada; you'll be my right-hand man out there. Tom Hagen is no longer the Consigliere. Everyone is a bit surprised; look to see HAGEN's reaction. He remains inexpressive. MICHAEL He's going to be our lawyer in Vegas. Nobody goes to him with any other business as of now, this minute. No reflection on Tom; that's the way I want it. Besides, if I ever need any advice, who's a better Consigliere than my father. CLEMENZA Then in a six month time we're on our own; is that it? MICHAEL Maybe less... TESSIO Let us fill up our Regimes. MICHAEL No. I want things very calm for another six months. TESSIO Forgive me, Godfather, let our years of friendship be my excuse. How can you hope for success there without your strength here to back you up? The two go hand in hand. And with you gone from here the Barzini and the Tattaglias will be too strong for us. CLEMENZA And I don't like Barzini. I say the Corleone Family has to move from strength, not weakness. We should build our Regimes and take back our lost territories in Staten Island, at least. DON CORLEONE Do you have faith in my judgement? CLEMENZA Yes, Godfather... DON CORLEONE Then do what Michael says... MICHAEL All I can say is that things are being resolved that are more effective than a thousand buttonmen on the streets. Understood? There are uneasy looks all around. CARLO Understood. I just wish I was doing more to help out. MICHAEL I'll come to you when I need you. He looks at CLEMENZA, TESSIO and HAGEN. They all nod, reluctantly. MICHAEL All right, then it's resolved. NERI knows the meeting is over, he opens the Den's door. CLEMENZA and TESSIO pay their respects to the DON and leave, then CARLO. NERI watches CARLO as he walks down the corridor, casting a nervous look back at the sinister man. Then NERI closes the door. MICHAEL relaxes. HAGEN Mike, why are you cutting me out of the action? MICHAEL Tom, we're going to be legitimate all the way, and you're the legal man. What could be more important than that. HAGEN I'm not talking about that. I'm talking about Rocco Lampone building a secret regime. Why does Neri report directly to you, rather than through me or a caporegime? DON CORLEONE I told you that it wouldn't escape his eye. MICHAEL How did you find out? HAGEN Bookkeepers know everything. Rocco's men are all a little too good for the jobs they're supposed to be doing. They get a little more money than the job's worth. (pause) Lampone's a good man; he's operating perfectly. MICHAEL Not so perfectly if you noticed. HAGEN Mike, why am I out? MICHAEL You're not a wartime Consigliere. Things may get tough with the move we're trying. HAGEN OK, but then I agree with Tessio. You're going about it all wrong; you're making the move out of weakness... Barzini's a wolf, and if he tears you apart, the other families won't come running to help the Corleones... DON CORLEONE Tom, I never thought you were a bad Consigliere, I thought Santino a bad Don, rest in peace. He had a good heart but he wasn't the right man to head the family when I had my misfortune. Michael has all my confidence, as you do. For reasons which you can't know, you must have no part in what will happen. HAGEN Maybe I can help. MICHAEL (coldly) You're out, Tom. TOM pauses, thinks...and then he nods in acquiescence. TOM leaves. MICHAEL looks at NERI. MICHAEL I'm going to talk to my father. NERI nods, and then leaves. The DON opens the doors, breathes in the air, and steps outside. EXT DAY: THE GARDEN (1955) DON CORLEONE I see you have your Luca Brasi. MICHAEL I'll need him. DON CORLEONE There are men in this world who demand to be killed. They argue in gambling games; they jump out of their cars in a rage if someone so much as scratches their fender.  Luca Brasi was like that. And since he wasn't scared of death, and in fact, looked for it...I made him my weapon. Because I was the only person in the world that he truly hoped would not kill him. I think you have done the same with this man. They walk through the DON's vegetable garden. Tomatoes, peppers, carefully tended, and covered with a silky netting. MICHAEL follows; the DON turns and looks at him. Then stoops over to right a tomato plant that had been pushed over. DON CORLEONE Barzini will move against you first. MICHAEL How? DON CORLEONE He will get in touch with you through someone you absolutely trust. That person will arrange a meeting, guarantee your safety... He rises, and looks at Michael... DON CORLEONE ...and at that meeting you will be assassinated. The DON walks on further. DON CORLEONE Your wife and children...you're happy with them? MICHAEL Yes. DON CORLEONE Good. MICHAEL wants to express something...hesitates, then: MICHAEL I've always respected you... A long silence. The DON smiles at MICHAEL. DON CORLEONE And I...you. EXT DAY: CHURCH (1955) KAY and MAMA walking from the black car that has just left them off. KAY How is your husband feeling? MAMA He's not the same since they shot him. He lets Michael do all the work. He just plays the fool with his garden, his peppers, his tomatoes, as if he was some peasant still. But men are like that... She stops toward the Church. MAMA You come in, too. KAY shakes her head.  KAY laughs and follows MAMA up the steps of the Church. They enter. INT DAY: CHURCH (1955) Inside the Church, KAY watches as MAMA blesses herself from the holy water. MAMA You can. Tentatively, KAY dips her fingers into the water, and blesses herself. Then SHE follows MAMA down the aisle, in awe at the high ceiling, the art, the windows, and finally the Altar. MAMA stops by the impressive tiers of candles. There is a large coin box for those who wish to pay for lighting candles. MAMA fumbles in her purse for change; KAY gives her some. MAMA drops the coins in the box, one by one; then takes the taper, and in a pattern known only to her, and with great dignity, she closes her eyes, says a prayer, and then lights twenty candles. She finishes, and bows her head. EXT DAY: BONASERA'S FUNERAL HOME Very few people in the streets. TOTAL SILENCE. But black flower cars as far as the eye can see, for blocks and blocks. An expression of respect, of honor and fear that is enormous. Certainly no more could be done for a President or a King. Each car carries an elaborate floral decoration. We show these in detail; and the flowered messages: "A Benefactor to Mankind", "He Knew and Pitied"..."Our Don Our Leader"..."The Sacred Heart"... EXT DAY: MALL (1955) HIGH ANGLE ON THE CORLEONE MALL Silence. The flower cars, funeral limousines, and private cars fill all the areas attendant to the Corleone residence. Hundreds of people fill the Mall, reminiscent in size of the wedding of Connie and Carlo; of course, now the mood is somber and respectful. MICHAEL, MAMA, FREDO and HAGEN stand by the flowered platform which holds the ornate coffin. We cannot see the remains of Don Corleone. BONASERA is nearby, ready to do service to the bereaved family. One by one the mourners come by, weeping, or merely with grave expressions; pay their respects and continue on. The VIEW ALTERS, and we see that the line is endless. JOHNNY FONTANE, tears openly falling, takes his turn. Children are taken by the hand, and lifted for their last look at the great man. CLEMENZA whispers into the ear of LAMPONE. LAMPONE immediately arranges for the members of the Five New York Families to pay their respects. First CUNEO, then STRACHI and then ZALUCHI. Then PHILIP TATTAGLIA, who merely passes by the Coffin. Then BARZINI in a black homburg, standing a long time. MICHAEL watches the scene. BARZINI crosses himself and passes on, immediately rejoined by his men. As BARZINI leaves, it seems as though everyone is fawning on him; perhaps asking for favors: But at any rate, it is clear from the doors opened for him, the cigars lit for him, that he is the new Capo di Capi--the place formerly held by Don Corleone. MICHAEL watches silently. BARZINI is searching for somebody with his eyes. First CLEMENZA. Then TESSIO. CONNIE rushes into MICHAEL's arms, tears in her eyes. He embraces and comforts her. Everywhere MICHAEL goes, NERI is a few feet away--watching all who come close to him. EXT DAY: MALL (LATER) Later on the Mall; some people have left, although there are still hundreds of mourners. A young GIRL approaches TESSIO. She's about 18. GIRL Do you remember me? TESSIO No... GIRL We danced together at Connie's wedding. TESSIO makes a gesture, which is to say 'How you've grown', and they move though the crowd, looking for Michael. He finds him. TESSIO Mike, could I have a minute? MIKE; nods; and they move to a private place. NERI is close by. TESSIO Barzini wants to arrange a meeting. Says we can straighten any of our problems out. MICHAEL He talked to you? TESSIO (nods) I can arrange security. MICHAEL looks at him. EXT DAY: CEMETERY (1955) The Cemetery. Late day. The hundreds of cars, limousines and flower cars line the stone wall that surrounds this Italian-Catholic cemetary in Queens Village. Hundreds of people stand in a cluster; others watch; take pictures, etc. MICHAEL stands with his family, his MOTHER...and TOM HAGEN. MICHAEL (softly) Christ, Tom; I needed more time with him. I really needed him. HAGEN Did he give you his politicians? MICHAEL Not all...I needed another four months and I would have had them all. (he looks at TOM) I guess you've figured it all out? HAGEN How will they come at you? MICHAEL I know now. (a passion wells up inside of MICHAEL) I'll make them call me Don. HAGEN Have you agreed on a meeting? MICHAEL (nods) A week from tonight. In Brooklyn on Tessio's ground, where I'll be safe. HAGEN looks at him; understands. MICHAEL But after the Baptism. I've decided to stand as godfather to Connie's baby. They look up. The coffin is lowered into an excavation, behind which stands an enormous stone monument; it is of a weeping angel, with the bold inscription: CORLEONE.  He opens it, and we see in it, nearly folded, a New York City Policeman's uniform. He takes it out piece by piece, almost reverently. Then the badge, and the identification card; with his picture on it. Slowly, in the solitude of his room, he begins to dress. INT DAY: MICHAEL'S BEDROOM (1955) MICHAEL and KAY are getting dressed for the christening in their room. MICHAEL looks very well; very calm; KAY is beginning to take on a matronly look. INT DAY: MOTEL ROOM (1955) In a Long Island motel. ROCCO LAMPONE carefully disassembles a revolver; oils it, checks it, and puts it back together. EXT DAY: CLEMENZA'S HOUSE (1955) PETER CLEMENZA about to get in his Lincoln.  EXT DAY: CHURCH (1955) The Church. Various relatives and friends are beginning to gather at the Church. They laugh and talk. A MONSIGNOR is officiating. Not all of the participants have arrived yet. CONNIE is there, with a beaming CARLO. She holds the infant; showing him off to interested people. EXT DAY: U.N. PLAZA (1955) NERI walks down the sidewalk in the neighborhood of the UN Building. He is dressed as, and has the bearing of, a policeman. He carries a huge flashlight. EXT DAY: MOTEL BALCONY (1955) LAMPONE steps out onto the little balcony of a Sea-Resort Motel; We can see the bright, neon lit sign advertising "ROOMS FACING THE SEA--VACANY". INT DAY: CHURCH The Church. CONNIE holds the baby; the MONSIGNOR is speaking; KAY and MICHAEL stand side by side around the urn. PRIEST (to MICHAEL) Do you pledge to guide and protect this child if he is left fatherless? Do you promise to shield him against the wickedness of the world? MICHAEL Yes, I promise. EXT DAY: FIFTH AVE. NERI continues up the 55th St. and Fifth Avenue area.  On his side of the street, he spots a limousine waiting directly across from the main entrance of the building. Slowly he approaches the limo, and taps on its fender with his nightstick. The DRIVER looks up in surprise. NERI points to the "No Parking" sign. The DRIVER turns his head away. NERI OK, wise guy, you wanna summons, or you wanna move? DRIVER (obviously a hood) You better check with your precinct. NERI Move it! The DRIVER takes a ten dollar bill, folds it deliberately, and hands it out the window, trying to put it under NERI's jacket. NERI backs up, letting the bill fall onto the street. Then he crooks a finger at the DRIVER. NERI Let me see you license and registration. EXT DAY: MOTEL BALCONY LAMPONE on the motel balcony spots a Cadillac pulling up. It parks. A young, pretty GIRL gets out. Quickly, he returns into the room. INT DAY: HOTEL STAIRS (1955) CLEMENZA is climbing the back stairs of a large hotel. He rounds the corner, puffs a little, and then continues upward. INT DAY: CHURCH The Church. Close on the PRIEST's fingers as he gently applies oil to the infant's ears and nostrils. PRIEST Ephetha...be opened...So you may perceive the fragrance of God's sweetness. EXT DAY: ROCKEFELLER CENTER (1955) The DRIVER of the limousine in front of Rockefeller Center is arguing with NERI. Now the DRIVER looks up. WHAT HE SEES: TWO MEN in topcoats exit the building, through the revolving glass doors. NERI opens up fire, trapping BARZINI in the shattering glass doors. The doors still rotate, moving the dead body of BARZINI within them. INT DAY: CHURCH In the Church--the VIEW on MICHAEL. The PRIEST hands him the infant. PRIEST Do you renounce Satan. MICHAEL I do renounce him. PRIEST And all his works? MICHAEL I do renounce them. INT DAY: MOTEL MURDER (1955) LAMPONE, backed up by two other MEN in his regime, runs down the iron-rail steps, and kicks in the door on Room 7F. PHILIP TATTAGLIA, old and wizened and naked, leaps up; a semi-nude young GIRL leans up. They are riddled with gunfire. INT DAY: HOTEL STAIRS (1955) CLEMENZA, huffing and puffing, climbs the back stairs, with his package. INT DAY: CHURCH The PRIEST pours water over the forehead of the infant MICHAEL holds. PRIEST Do you wish to be baptized? MICHAEL I do wish to be baptized. INT DAY: HOTEL ELEVATOR MURDER (1955) CLEMENZA, out of breath, climbs the final few steps. He walks through some glass doors, and moves to an ornate elevator waiting shaft. The lights indicate the elevator has arrived. The doors open, and we see a surprised CUNEO standing with the dapper MOE GREENE. CLEMENZA fires into the small elevator with a shotgun. The PRIEST hands a lighted candle to MICHAEL. PRIEST I christen you Michael Francis Rizzi.  Everyone is smiles, and crowds around MICHAEL, KAY, CONNIE...and CARLO. --------------------------------------FADE OUT---------- EXT DAY: CHURCH (1955) The christening party outside the Church. Four or five limousines have been waiting; now pull up to receive MAMA, CONNIE and the baby; and the others. Everyone is very happy; only MICHAEL seems aloof and grave. As the fuss is going on, a car pulls up. LAMPONE gets out and works his way to MICHAEL. He whispers in his ear. This is the news MICHAEL has been waiting for. CONNIE holds the baby up to MICHAEL. CONNIE Kiss your Godfather. The infant turns its head, and MICHAEL uses that as an excuse to back away. MICHAEL Carlo...we've had a change in the plans. Mama, Connie, Kay and the kids will have to take the trip out to Vegas without us. CONNIE Oh Mike, it's our first vacation together. CARLO (anxious to please) Jesus, Connie...Sure, Mike...  He kisses KAY. MICHAEL (to KAY) I'll just be a couple of days... People are guided to the correct limousines; they start to drive off. INT DAY: DON'S KITCHEN TESSIO sits in the Kitchen of the Main House on the Mall. HAGEN enters. HAGEN You'd better make your call to Barzini; Michael's ready. TESSIO nods; moves to the telephone and dials a number. TESSIO We're on our way to Brooklyn. He hangs up and smiles. TESSIO I hope Mike can get us a good deal tonight. HAGEN (gravely) I'm sure he will. EXT DAY: MALL (1955) The TWO MEN walk out onto the Mall, toward a car.  BUTTON MAN The boss says he'll come in a separate car. He says for you two to go on ahead. TESSIO (frowning) Hell, he can't do that. It screws up all my arrangements. THREE MORE BODYGUARDS appear around him. HAGEN (gently) I can't go with you either, Tessio. He flashes at the men surrounding him; for a moment he panics, and then he accepts it. TESSIO (after the pause) Tell Mike it was business...I always liked him. HAGEN He understands that. TESSIO looks at the men, and then pauses. TESSIO (softly) Tom, can you get me off the hook? For old times' sake? HAGEN I can't. HAGEN turns, and walks away from the group. Then about twenty paces away, he stops, and looks back. TESSIO is led into a waiting car. HAGEN looks away, and walks off. INT DAY: CARLO'S LIVING ROOM (1955) CARLO RIZZI is alone in his house, smoking, waiting rather nervously. He moves to the window and looks out. WHAT HE SEES: EXT DAY: MALL (1955) MICHAEL, still dressed in a dark suit; followed by NERI, LAMPONE and CLEMENZA, then HAGEN. They move toward us. Excitedly, CARLO moves to the front door; opens it. He wears a broad smile. CARLO Godfather! MICHAEL You have to answer for Santino. The smile on CARLO's face slowly fades, then, in a foolish attempt for safety, he slams the door in their faces and backs into the living room. INT DAY: CARLO'S LIVING ROOM (1955) The door opens, and the grim party enters. MICHAEL You fingered Sonny for the Barzini people.   CARLO (dignity) I swear I'm innocent. I swear on the head of my children, I'm innocent. Mike, don't do this to me, please Mike, don't do this to me! MICHAEL (quietly) Barzini is dead. So is Philip Tattaglia, so are Strachi, Cuneo and Moe Greene...I want to square all the family accounts tonight. So don't tell me you're innocent; admit what you did. CARLO is silent; he wants to talk but is terrified. MICHAEL (almost kindly) Don't be frightened. Do you think I'd make my sister a widow? Do you think I'd make your children fatherless? After all, I'm Godfather to your son. No, your punishment is that you're out of the family business. I'm putting you on a plane to Vegas--and I want you to stay there. I'll send Connie an allowance, that's all.  Who approached you, Tattaglia or Barzini? CARLO (sees his way out) Barzini. MICHAEL (softly) Good, good. Leave now; there's a car waiting to take you to the airport. CARLO moves to the door; opens it. There is a car waiting; with a group of MEN around it. He looks back at MICHAEL, who reassures him.  EXT DAY: MALL CARLO moves out to the Mall; the BUTTONMEN are putting his things in the trunk. ONE opens the front door for him. SOMEONE is sitting in the rear seat, though we cannot see who. CARLO gets into the car; out of nervousness, he looks back to see the other man. It is CLEMENZA, who nods cordially. The motor starts, and as the car pulls away, CLEMENZA suddenly throws the garrote around CARLO's neck. He chokes and leaps up like a fish on a line, kicking his feet. The garrote is pulled tighter; CARLO's face turns color. His thrashing feet kick right through the front windshield. Then the body goes slack.  EXT DAY: CARLO'S STEPS (1955) MICHAEL and his party. They watch. Then he turns and walks off, and they follow. ---------------------------------------FADE OUT--------- FADE IN: INT NITE: MICHAEL'S LIMO EN ROUTE (1955) MICHAEL sits alone in the back of his car; NERI is driving. They do not speak for a long time; it is night--car lights flash by. NERI turns back. NERI You know I would never question anything you say. MICHAEL (smiles) Speak your mind. NERI I'll do this for you; you know I should. MICHAEL No. This I have to do. EXT NITE: PIZZA STREET (1955) MICHAEL's car pulls up in a quiet neighborhood, near an Italian Pizzeria. NERI opens the door. MICHAEL Sit in the car. INT NITE: PIZZA PLACE (1955) He walks alone into the restaurant. A MAN is tossing pizza dough in the air. MICHAEL Where's the boss? MAN In the back. Hey Frank, someone wants you. A MAN comes out of the shadows, with a strong Italian accent. MAN What is it? He stops, frozen in fear. It is FABRIZZIO. VIEW ON MICHAEL. Gunfire from under his coat. FABRIZZIO is cut down. MICHAEL throws the gun down; turns and exits. EXT DAY: MALL (1955) HIGH ANGLE ON THE CORLEONE MALL Several moving vans are parked in the Mall; one feels that these are the final days; the families are moving out; signs indicating that the property is for sale are evident.  She manages to break free and runs across the Mall into Michael's house. INT DAY: DON'S LIVING ROOM (1955) Inside the Corleone house. Big boxes have been packed; furniture prepared for shipping. CONNIE Michael! She hurries into the living room, where she comes upon MICHAEL and KAY. KAY (comforting) Connie... But CONNIE avoids her, and moves directly to MICHAEL. NERI is watchful.  KAY Connie...  You blamed him about Sonny, you always did, everybody did. But you never thought about me, never gave a damn about me. (crying) What am I going to do now, what am I going to do. TWO of Michael's BODYGUARDS move closer, ready for orders from him. But he stands there, waiting for his sister to finish. KAY Connie, how could you say such things? CONNIE Why do you think he kept Carlo on the Mall? All the time he knew he was going to kill my husband. But he didn't dare while my father was alive. And then he stood Godfather to our child.  Just read the papers. That's your husband. She tries to spit into MICHAEL's face; but in her hysteria she has no saliva. MICHAEL Get her home and get a doctor. The TWO BODYGUARDS immediately take her arms and move her, gently but firmly. KAY is shocked; never taking her look of amazement from MICHAEL. He feels her look. MICHAEL She's hysterical. But KAY won't let him avoid her eyes. KAY Michael, it's not true. Please tell me. MICHAEL Don't ask me. KAY Tell me! MICHAEL All right, this one time I'll let you ask about my affairs, one last time. KAY Is it true? She looks directly into his eyes, he returns the look, so directly that we know he will tell the truth. MICHAEL (after a very long pause) No. KAY is relieved; she throws her arms around him, and hugs him. Then she kisses him. KAY (through her tears) We both need a drink. INT DAY: DON'S KITCHEN (1955) She moves back into the kitchen and begins to prepare the drinks. From her vantage point, as she smilingly makes the drinks, she sees CLEMENZA, NERI and ROCCO LAMPONE enter the house with their BODYGUARDS. She watches with curiosity, as MICHAEL stands to receive them. He stands arrogantly at ease, weight resting on one foot slightly behind the other. One hand on his hip, like a Roman Emperor. The CAPOREGIMES stand before him. CLEMENZA takes MICHAEL's hand, kissing it. CLEMENZA Don Corleone... The smile fades from KAY's face, as she looks at what her husband has become. INT DAY: CHURCH (1955) KAY wears a shawl over her hand. She drops many coins in the coin box, and lifts a burning taper, and one by one, in a pattern known only to herself, lights thirty candles. THE END


Frequently Asked Questions (FAQs)
- Cleanliness of the house is of great importance given risk exposure
- Self-check in should be established to maintain as little contact as possible
- It’s important to wait 72 hours between reservations to properly disinfect and turn over space (see Airbnb guidelines)
- Housing near a hospital (place of work)
- High speed WiFi
- Exercise capabilities and games/activities within living quarters are ideal but not required
- Provisions to cook oneself or to have food delivered, as well as laundry facilities are ideal but not required
Basis for Current Understanding & Assumptions
Unlike in many countries, clinicians in the US do not live on hospital grounds or in subsidized hospital/university housing. Many are trying to create plans for trying to minimize exposure risk to cohabitating family members without much evidence-base from which to find their decisions for minimizing exposure risk. Some clinicians are choosing to self-quarantine in hotels or other solitary situations that have the potential to have negative emotional and psychological consequences that will affect their ability to care for patients during this pandemic.
These HCW HOSTED guidelines should be seen as an investment in protecting clinical staff and their families. It will be critical to maintain an active workforce of skilled physicians/clinicians for the duration of the pandemic. The goal is to “flatten the curve” through social distancing and prevention/delay of exposure and spread of COVID-19 within our community. The inherent qualities of COVID-19 necessitate that HOSTED be implemented proactively.


Tales of the Jazz Age
by F. Scott Fitzgerald
JEMINA, THE MOUNTAIN GIRL
Additional Information
- Year Published: 1922
- Language: English
- Country of Origin: United States of America
- Source: Fitzgerald, F.S. (1922) Tales of the Jazz Age. New York: Charles Scribner's Sons
-
Readability:
- Flesch–Kincaid Level: 12.0
- Word Count: 1,676
- Genre: Realism
- ✎ Cite This
Downloads
This don't pretend to be "Literature." This is just a tale for red–blooded folks who want a story and not just a lot of "psychological" stuff or "analysis." Boy, you'll love it! Read it here, see it in the movies, play it on the phonograph, run it through the sewing–machine.
A WILD THING
It was night in the mountains of Kentucky. Wild hills rose on all sides. Swift mountain streams flowed rapidly up and down the mountains.
Jemima Tantrum was down at the stream, brewing whiskey at the family still.
She was a typical mountain girl.
Her feet were bare. Her hands, large and powerful, hung down below her knees. Her face showed the ravages of work. Although but sixteen, she had for over a dozen years been supporting her aged pappy and mappy by brewing mountain whiskey. From time to time she would pause in her task, and, filling a dipper full of the pure, invigorating liquid, would drain it off—then pursue her work with renewed vigor.
She would place the rye in the vat, thresh it out with her feet and, in twenty minutes, the completed product would be turned out.
A sudden cry made her pause in the act of draining a dipper and look up.
"Hello," said a voice. It came from a man clad in hunting boots reaching to his neck, who had emerged.
"Can you tell me the way to the Tantrums' cabin?"
"Are you uns from the settlements down thar?"
She pointed her hand down to the bottom of the hill, where Louisville lay. She had never been there; but once, before she was born, her great–grandfather, old Gore Tantrum, had gone into the settlements in the company of two marshals, and had never come back. So the Tantrums from generation to generation, had learned to dread civilization.
The man was amused. He laughed a light tinkling laugh, the laugh of a Philadelphian. Something in the ring of it thrilled her. She drank off another dipper of whiskey.
"Where is Mr. Tantrum, little girl?" he asked, not without kindness.
She raised her foot and pointed her big toe toward the woods. "Thar in the cabing behind those thar pines. Old Tantrum air my old man."
The man from the settlements thanked her and strode off. He was fairly vibrant with youth and personality. As he walked along he whistled and sang and turned handsprings and flapjacks, breathing in the fresh, cool air of the mountains.
The air around the still was like wine.
Jemina Tantrum watched him entranced. No one like him had ever come into her life before.
She sat down on the grass and counted her toes. She counted eleven. She had learned arithmetic in the mountain school.
A MOUNTAIN FEUD
Ten years before a lady from the settlements had opened a school on the mountain. Jemina had no money, but she had paid her way in whiskey, bringing a pailful to school every morning and leaving it on Miss Lafarge's desk. Miss Lafarge had died of delirium tremens after a year's teaching, and so Jemina's education had stopped.
Across the still stream, still another still was standing; It was that of the Doldrums. The Doldrums and the Tantrums never exchanged calls.
They hated each other.
Fifty years before old Jem Doldrum and old Jem Tantrum had quarrelled in the Tantrum cabin over a game of slapjack. Jem Doldrum had thrown the king of hearts in Jem Tantrum's face, and old Tantrum, enraged, had felled the old Doldrum with the nine of diamonds. Other Doldrums and Tantrums had joined in and the little cabin was soon filled with flying cards. Harstrum Doldrum, one of the younger Doldrums, lay stretched on the floor writhing in agony, the ace of hearts crammed down his throat. Jem Tantrum, standing in the doorway; ran through suit after suit, his face alight with fiendish hatred. Old Mappy Tantrum stood on the table wetting down the Doldrums with hot whiskey. Old Heck Doldrum, having finally run out of trumps, was backed out of the cabin, striking left and right with his tobacco pouch, and gathering around him the rest of his clan. Then they mounted their steers and galloped furiously home.
That night old man Doldrum and his sons, vowing vengeance, had returned, put a ticktock on the Tantrum window, stuck a pin in the doorbell, and beaten a retreat.
A week later the Tantrums had put Cod Liver Oil in the Doldrums' still, and so, from year to year, the feud had continued, first one family being entirely wiped out, then the other.
THE BIRTH OF LOVE
Every day little Jemina worked the still on her side of the stream, and Boscoe Doldrum worked the still on his side.
Sometimes, with automatic inherited hatred, the feudists would throw whiskey at each other, and Jemina would come home smelling like a French table d'h™te.
But now Jemina was too thoughtful to look across the stream.
How wonderful the stranger had been and how oddly he was dressed! In her innocent way she had never believed that there were any civilized settlements at all, and she had put the belief in them down to the credulity of the mountain people.
She turned to go up to the cabin, and, as she turned something struck her in the neck. It was a sponge, thrown by Boscoe Doldrum—a sponge soaked in whiskey from his still on the other side of the stream.
"Hi, thar, Boscoe Doldrum," she shouted in her deep bass voice.
"Yo! Jemina Tantrum. Gosh ding yo'!" he returned.
She continued her way to the cabin.
The stranger was talking to her father. Gold had been discovered on the Tantrum land, and the stranger, Edgar Edison, was trying to buy the land for a song. He was considering what song to offer.
She sat upon her hands and watched him.
He was wonderful. When he talked his lips moved.
She sat upon the stove and watched him.
Suddenly there came a blood–curdling scream. The Tantrums rushed to the windows.
It was the Doldrums.
They had hitched their steers to trees and concealed themselves behind the bushes and flowers, and soon a perfect rattle of stones and bricks beat against the windows, bending them inward.
"Father! father!" shrieked Jemina.
Her father took down his slingshot from his slingshot rack on the wall and ran his hand lovingly over the elastic band. He stepped to a loophole. Old Mappy Tantrum stepped to the coalhole.
A MOUNTAIN BATTLE
The stranger was aroused at last. Furious to get at the Doldrums, he tried to escape from the house by crawling up the chimney. Then he thought there might be a door under the bead, but Jemina told him there was not. He hunted for doors under the beds and sofas, but each time Jemina pulled him out and told him there were no doors there. Furious with anger, he beat upon the door and hollered at the Doldrums. They did not answer him, but kept up their fusillade of bricks and stones against the window. Old Pappy Tantrum knew that just as soon as they were able to affect an aperture they would pour in and the fight would be over.
Then old Heck Doldrum, foaming at the mouth and expectorating on the ground, left and right, led the attack.
The terrific slingshots of Pappy Tantrum had not been without their effect. A master shot had disabled one Doldrum, and another Doldrum, shot almost incessantly through the abdomen, fought feebly on.
Nearer and nearer they approached the house.
"We must fly," shouted the stranger to Jemina. "I will sacrifice myself and bear you away."
"No," shouted Pappy Tantrum, his face begrimed. "You stay here and fit on. I will bar Jemina away. I will bar Mappy away. I will bar myself away."
The man from the settlements, pale and trembling with anger, turned to Ham Tantrum, who stood at the door throwing loophole after loophole at the advancing Doldrums.
"Will you cover the retreat?"
But Ham said that he too had Tantrums to bear away, but that he would leave himself here to help the stranger cover the retreat, if he could think of a way of doing it.
Soon smoke began to filter through the floor and ceiling. Shem Doldrum had come up and touched a match to old Japhet Tantrum's breath as he leaned from a loophole, and the alcoholic flames shot up on all sides.
The whiskey in the bathtub caught fire. The walls began to fall in.
Jemina and the man from the settlements looked at each other.
"Jemina," he whispered.
 "If we had lived I would have taken you to the city and married you. With your ability to hold liquor, your social success would have been assured."
She caressed him idly for a moment, counting her toes softly to herself. The smoke grew thicker. Her left leg was on fire.
She was a human alcohol lamp.
Their lips met in one long kiss and then a wall fell on them and blotted them out.
"As One."
When the Doldrums burst through the ring of flame, they found them dead where they had fallen, their arms about each other.
Old Jem Doldrum was moved.
He took off his hat.
He filled it with whiskey and drank it off.
"They air dead," he said slowly, "they hankered after each other. The fit is over now. We must not part them."
So they threw them together into the stream and the two splashes they made were as one.


Configure > Proxy Directives
This document describes the configuration directives of the proxy handler.
"proxy.reverse.url"
- Description:
-
Forwards the requests to the specified URL, and proxies the response.
proxy.reverse.url: "http://<IP_ADDRESS>:8080/"
At the moment, only HTTP is supported. If you want load balancing multiple backends, replace <IP_ADDRESS> with hostname witch returns IP addresses via DNS or /etc/hosts.
In addition to TCP/IP over IPv4 and IPv6, the proxy handler can also connect to an HTTP server listening to a Unix socket. Path to the unix socket should be surrounded by square brackets, and prefixed with
unix:
(e.g.http://[unix:/path/to/socket]/path
). - Level:
- path
"proxy.preserve-host"
- Description:
-
A boolean flag (
ON
orOFF
) designating whether or not to passHost
header from incoming request to upstream. - Level:
- global, host, path
- Default:
proxy.preserve-host: OFF
"proxy.timeout.io"
- Description:
-
Sets the upstream I/O timeout in milliseconds.
- Level:
- global, host, path
- Default:
proxy.timeout.io: 30000
"proxy.timeout.keepalive"
- Description:
-
Sets the upstream timeout for idle connections in milliseconds.
Upstream connection becomes non-persistent if the value is set to zero. The value should be set to something smaller than that being set at the upstream server.
- Level:
- global, host, path
- Default:
proxy.timeout.keepalive: 2000
"proxy.websocket"
- Description:
-
A boolean flag (
ON
orOFF
) indicating whether or not to allow upgrading the proxied connection to the WebSocket protocol.When set to
ON
, the proxied connection will be upgraded to a bi-directional tunnel stream if upgrading to WebSocket connection is permitted by the backend server (i.e. if the backend server responds to a WebSocket handshake with101
status code).Support for WebSocket is considered experimental for the time being and therefore is not yet turned on by default.
- Level:
- global, host, path
- Default:
proxy.websocket: OFF
"proxy.websocket.timeout"
- Description:
-
Sets idle timeout of a WebSocket connection being proxied.
- Level:
- global, host, path
- Default:
proxy.websocket.timeout: 300000


Resources
Topics
Activation Maximization and Saliency Maps
Advanced Practical Data Science
Attention
Cloud
CNN
Compression
conda env
Containers
Dask
- Lecture 4: Dask
- Lecture 4: Dask [Notebook]
- Reading Discussion 3
- Lecture 4: Dask [Notebook]
Distillation
Distillation and Compression
Docker
- Lecture 2: Containers
- Lecture 2: Demo2 [Notebook]
- Lecture 2: Demo2 [Notebook]
- Lecture 2: docker-cheatsheet [Notebook]
- Lecture 3: Demo [Notebook]
- Reading Discussion 1
env
enviroments
Helm
Introduction
Kubernetes
Language Modeling
Language Modelling
Language Models
Lime and Shapley
Loft
Parallel Computing
- Lecture 4: Dask [Notebook]
- Lecture 4: Dask [Notebook]
Parallel Processing
Python
- Lecture 4: Dask
- Lecture 4: Dask [Notebook]
- Reading Discussion 3
- Lecture 4: Dask [Notebook]
Skaffold
Text
Transfer Learning
- Reading Discussion 6
- Lecture 6: Transfer Learning
- Reading Discussion 5
- Lecture 5: Transfer Learning
- Reading Discussion 4


A little bit about me.
I am currently based in the Netherlands. Been introduced to HTML in early days of my high school career and haven't stopped exploring since.
I have a passion for front end development and been learning new skills along the years to stay ahead of the trends. The excitement I get from seeing what I have done once it is online drives me. I love the web.
Hand-coded HTML
My focus is writing clean, well-formatted, semantic HTML5 by hand to make sure that the content is easy to read, easy to collaborate, trouble-shoot and accessible.
Well-Organized CSS
I pride myself on writing CSS that is easy to read and build on. I focus on keeping my CSS lean and fast to load, and I make it a habit to stay up to date on current best practices.
Ease Converting Designs into Code
You can trust me to take a designer's PSD and quickly & accurately convert it into a webpage that is pixel-perfect match.
Domain Registration
I can help you find your name on the web. Claim your professional address before someone else takes it. If you already have a domain name then I can assist you transferring it so I can manage it for you.
Website Hosting
Once you have your domain name then you need your own space on the web to run this website. I can help you choosing the correct options and advise on solutions. There are different options available to suit your needs.
E-Mail Hosting
There are options available if you are only interested in e-mail hosting. There are different packages ready to customize it to your needs. Unlimited e-mail addresses and forwarders of course :)


You and your peers will no longer be able to access the endpoints provided below:


1 Samuel 17:19
Now Saul, and they, and all the men of Israel, were in the valley of Elah, fighting with the Philistines.


Bengaluru, [ˈbeŋɡəɭuːɾu] ( listen)), also known as Bangalore, is one of the largest city and fourth-largest metropolitan area in India.[3] Located in southern India on the Deccan Plateau, it is the capital of the southern Indian state of Karnataka. Located at a height of over 900 m (3,000 ft) above sea level, Bangalore is known for its pleasant climate throughout the year. Its elevation is the highest among the major large cities of India.
DetailsHyderabad (Listeni/ˈhaɪdərəˌbæd/ hy-dər-ə-bad; often /ˈhaɪdrəˌbæd/) is the sixth largest city in India and capital city of the Indian state of Telangana in South India. Hyderabad occupies 650 square kilometres (250 sq mi), along the banks of the Musi River a tributary of Krishna River, it has a population of about 6.8 million and a metropolitan population of about 7.75 million, making it the fourth most populous city and sixth most populous urban agglomeration in India.
DetailsPilani is a small town situated in the Shekhawati region of Rajasthan, India. Administratively, it forms a part of Jhunjhunu district.Pilani is surrounded by small villages like Rayala 1 km,Dhindhwa Athuna 1 km,Dhindhwa bichla 3.5 km,Bhoja ka bass 3.5 km, Kherla, 2 km away,Brahmano ki dhani,10 km Jherli 3 km away and Dhindhwa Aguna,5 km Bishanpura, 6 km away on Surajgarh road.
Details


{% autoescape off %}
Hi {{ name }},
You are getting this mail from us because you just signed up for our Newsletter
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 It won't stay, so you set a chair on top of the table to hold it.
All the while, A librarian at the front desk has been watching you. They walk into the room. "Have you reserved this room?" they ask.
Come to find out; you can not hang out in the room unless it is reserved. Even though you did not reserve the room, the librarian says you can stay until someone reserves it. Before the librarian leaves, they have one more thing to say.
"The thing is, you cant block yourself from view like this in our study rooms. I am going to need you to take apart this, structure you have built." But I was just about to take a nap, you inform them. "Sorry, no sleeping in the library." The librarian replies.
I can't have any fun!  You storm home and make a fort in your living room.
It's not nearly as fun or satisfying.


Get Msi Dragon Logo Images. Search results for msi dragon logo vectors. We have 201 free msi dragon vector logos, logo templates and icons.
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Round
Player
!
Player hits for
damage
Player destroys
Game Won!
Hit Start to try again.
Round
.5
Enemy
!
Enemy hits for
damage
Enemy destroys Player Ship!
Game Over!
Hit Start to try again.


Happy Birthday Ms. Stoldt! 🎈🎈🎈
A special poem for you:
S
uper
T
alented
O
utstanding
L
oyal
D
elighted
T
eacher
You've always been the best teacher we ever had!
Your epic 3rd grade students from MRSA:
Medhansh Agarwal
Athena Georgiou
Nicole Bartis
Aniket Bhat
Emma Chen
Rishi Chowdhary
Damon Contreras
Evan Coorey
Simank Dahal
Erin Doll
Saanvi Goudar
Thomas Hinshaw
Willliam Hinshaw
Harsheen Hora
Olivia Huang
Risha Jangala
Jasmine Jiang
Tommy Johnston
Adithya Kattika
Eliah Keaton
Anika Khushalani
Addison Ko
Dhruv Kothur
Aadya Kumar
Yakshitha Kumaresan
Noah Lee
Milo Liner
Nathalia Morrison
Nicholas Shukhnov
Param Parmar
Annam Patel
Srimayee Ponugupati
Mahathi Radeev
Surya Raghavan
Nilay Rakesh
Abhinav Reddy
Vangur SaiSiddharth
Mehar Seth
Dia Sharma
Krisha Sharma
Rakshania Thomas
Yu Timothy
Rebecca Vespa
Ritvik Vimalnath


# frozen_string_literal: true
require_relative '_base'
require_relative 'hook_action'
require_relative 'hook_actions/element_requirement'
module AutomationObject
module State
module Composite
# Hook composite for managing state
class Hook < Base
# @return [Boolean, nil] return nil if no live? check, otherwise boolean
def live? - (TooManyStatements) AutomationObject::State::Composite::Hook#live? has approx 7 statements
before
return nil if blue_prints.live?.empty? - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#live? calls 'blue_prints.live?' 2 times 0 1
blue_prints.live?.each do |element_requirement_blueprints| - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#live? calls 'blue_prints.live?' 2 times 0 1
hook_element_requirement = ElementRequirement.new(element_requirement_blueprints,
driver, self, 1)
return false unless hook_element_requirement.run
end
after
true
end
# Runs the before hook
# @return [Boolean, nil] return nil unless there is a hook, otherwise boolean depending on success of hook
def before
return nil if blue_prints.before.empty? - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#before calls 'blue_prints.before' 2 times 0 1
hook_action = HookAction.new(session,
driver,
blue_prints.before, - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#before calls 'blue_prints.before' 2 times 0 1
:hook_action, self, location + '[hook_action]')
hook_action.run
end
# Runs the after hook
# @return [Boolean, nil] return nil unless there is a hook, otherwise boolean depending on success of hook
def after
return nil if blue_prints.after.empty? - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#after calls 'blue_prints.after' 2 times 0 1
hook_action = HookAction.new(session,
driver,
blue_prints.after, - (DuplicateMethodCall) AutomationObject::State::Composite::Hook#after calls 'blue_prints.after' 2 times 0 1
:hook_action, self, location + '[hook_action]')
hook_action.run
end
end
end
end
end


WITNESS LIST Jurisprudence Committee May 14, 1997-2:15P HB 308 For: Schneider, Christina (TX Council on Fam. Viol), Austin Registering, but not testifying: On: Armstrong, Betty (County Judges & Cmnrs), Corsicana HB 455 For: Evans, Jimmy (Tarrant County D.A. Ofc), Fort Worth Registering, but not testifying: For: Gibson, Jim (Tarrant County D.A. Ofc), Fort Worth HB 1314 For: Karisch, Glenn (self (probate lawyer)), Austin Registering, but not testifying: For: Herman, Guy (Stat Prob Judges of TX), Dallas HB 1456 For: Cullum, Debbie L. (TAID / ASID), Leander Young, Anne K. (AK Young Associates), Austin Registering, but not testifying: For: Nabers, Lynn (TX Assn for Int. Design), Austin HB 1990 For: Lyons, Laura (TX Assn Agnst Sex. Aslt), Austin On: Wallace, Sherri (Dallas County Crim. DA), Dallas HB 2183 Registering, but not testifying: For: Elfant, Bruce (self), Austin Schneider, Christina (TX Cncl on Fam. Violnce), Austin Warndof, Donna (Travis Cty F.V. Tsk Frc), Austin HB 2189 For: Herman, Guy (Stat. Prob.Judges of TX), Austin HB 2261 For: Rentz, Rebecca (Harris Cty Judge Eckels), Houston Registering, but not testifying: For: Brooks, Dee (Harris County Clerk), Houston DeBeauvoir, Dana (County Clerks Leg. Cte,), Austin HB 2309 For: Herman, Guy (Stat Prob Judges of TX), Austin Registering, but not testifying: For: Freeman, Bill (JPCAT), Gainesville Ott, Judge Patricia (JPCAT), West HB 2779 On: Durham, Drew (Office of AG), Austin White, Binita (TDCJ, Com Just Astn Div), Austin Registering, but not testifying: On: Zinsmeyer, Rick (CSC, Williamson County), Georgetown HB 2845 For: Freeman, Bill (JPCAT), Gainesville Registering, but not testifying: For: Ott, Judge Patricia (JPCAT), Austin Williams, Judge John (JPCAT), West HB 2922 For: Brooks, Dee (Harris County Clerk), Houston Registering, but not testifying: For: Catchings, Sue (Travis Cty Dist Clerk), Austin DeBeauvoir, Dana (County Clerks Leg. Cte.), Austin Rentz, Rebecca (Harris Cty Judge Eckels), Houston HB 3135 Registering, but not testifying: For: Herman, Guy (self), Austin McClure, Spencer (TCCMHMRC), Austin On: Steele, Penny (TDMHMR), Austin HB 3565 For: Klagee, James (self), Corpus Christi Saldana, Marisela (self), Corpus Christi Registering, but not testifying: For: De Pena, Jr., Hector (Nueces C.C. Crts at Law), Corpus Christi Soliz, Oscar (self), Corpus Christi On: Benedict, Jerry L. (Ofc of Court Admin.), Austin


|
|
About
uPortal is the leading open source enterprise portal framework built by and for the higher education community. uPortal continues to evolve through contributions from its global community and is supported by resources, grants, donations, and memberships fees from academic institutions, commercial affiliates, and non-profit foundations. uPortal is built on open standards-based technologies such as Java and XML, and enables easy, standards-based integration with authentication and security infrastructures, single sign-on secure access, campus applications, web-based content, and end user customization. uPortal can easily integrate with other enterprise systems and can be customized for specific local needs.
Forever Free!
You may download uPortal and use it on your site at no cost. Unlike our competitors, uPortal is 100% free open source software managed by Apereo. Our community has access to all releases of the uPortal software with absolutely no costs. We welcome contributions from our community of all types and sizes.
Accessible
uPortal strives to conform with Web Content Accessibility Guidelines Version 2.0 Level AA. The most recent accessibility audit results can be seen in UP-4735.
Help and Support
The<EMAIL_ADDRESS>email address is the best place to go with questions related to configuring or deploying uPortal.
The uPortal manual is a collaborative resource which has more detailed documentation for each uPortal release.
Manual
Additional information about uPortal is available in the Manual.
- uPortal 5.0 Manual
- uPortal 4.3 Manual
- uPortal 4.2 Manual
- uPortal 4.1 Manual
- uPortal 4.0 Manual
- uPortal 3.2 Manual
- uPortal 3.1 Manual
- uPortal 3.0 Manual
Requirements
- JDK 1.8 - The JRE alone is NOT sufficient, a full JDK is required
- GIT
uPortal-start
uPortal is now meant to be deployed via uPortal-start, which is responsible for servlet container (ie Tomcat), DB, and portal configurations. uPortal-start deals with the low-level configurations and setup, while letting the adopter focus on the business configuration side of the deployment. However, it is possible to run uPortal without uPortal-start. The uPortal 5.0 manual explains how.
Building and Deploying
uPortal uses Gradle for its project configuration and build system. uPortal
comes with a Gradle wrapper if you don't want to install the build tool
(./gradlew
in the root directory of the repo).
Gradle tasks
For a full list of Gradle tasks run ./gradlew tasks
from the root directory.


| Opcode/Instruction | Op/En | 64/32 bit Mode Support | CPUID Feature Flag | Description |
| 0F 5C /r SUBPS xmm1 xmm2/m128 | RM | V/V | SSE | Subtract packed single-precision floating-point values in xmm2/mem from xmm1. |
| VEX.NDS.128.0F.WIG 5C /r VSUBPS xmm1,xmm2, xmm3/m128 | RVM | V/V | AVX | Subtract packed single-precision floating-point values in xmm3/mem from xmm2 and stores result in xmm1. |
| VEX.NDS.256.0F.WIG 5C /r VSUBPS ymm1, ymm2, ymm3/m256 | RVM | V/V | AVX | Subtract packed single-precision floating-point values in ymm3/mem from ymm2 and stores result in ymm1. |
| Op/En | Operand 1 | Operand 2 | Operand 3 | Operand 4 |
| RM | ModRM:reg (r, w) | ModRM:r/m (r) | NA | NA |
| RVM | ModRM:reg (w) | VEX.vvvv (r) | ModRM:r/m (r) | NA |
Performs a SIMD subtract of the four packed single-precision floating-point values in the source operand (second operand) from the four packed single-precision floating-point values in the destination operand (first operand), and stores the packed single-precision floating-point results in the destination operand. The source operand can be an XMM register or a 128-bit memory location. The destination operand is an XMM register. See Figure 10-5 in the Intel® 64 and IA-32 Architectures Software Developer’s Manual, Volume 1, for an illustration of a SIMD doubleprecision floating-point operation.
In 64-bit mode, using a REX prefix in the form of REX.R permits this instruction to access additional registers (XMM8-XMM15). 128-bit Legacy SSE version: The second source can be an XMM register or an 128-bit memory location. The destination is not distinct from the first source XMM register and the upper bits (VLMAX-1:128) of the corresponding YMM register destination are unmodified. VEX.128 encoded version: the first source operand is an XMM register or 128-bit memory location. The destination operand is an XMM register. The upper bits (VLMAX-1:128) of the corresponding YMM register destination are zeroed.
VEX.256 encoded version: The first source operand is a YMM register. The second source operand can be a YMM register or a 256-bit memory location. The destination operand is a YMM register.
SUBPS (128-bit Legacy SSE version) DEST[31:0] ← SRC1[31:0] - SRC2[31:0] DEST[63:32] ← SRC1[63:32] - SRC2[63:32] DEST[95:64] ← SRC1[95:64] - SRC2[95:64] DEST[127:96] ← SRC1[127:96] - SRC2[127:96] DEST[VLMAX-1:128] (Unmodified) VSUBPS (VEX.128 encoded version) DEST[31:0] ← SRC1[31:0] - SRC2[31:0] DEST[63:32] ← SRC1[63:32] - SRC2[63:32] DEST[95:64] ← SRC1[95:64] - SRC2[95:64] DEST[127:96] ← SRC1[127:96] - SRC2[127:96] DEST[VLMAX-1:128] ← 0 VSUBPS (VEX.256 encoded version) DEST[31:0] ← SRC1[31:0] - SRC2[31:0] DEST[63:32] ← SRC1[63:32] - SRC2[63:32] DEST[95:64] ← SRC1[95:64] - SRC2[95:64] DEST[127:96] ← SRC1[127:96] - SRC2[127:96] DEST[159:128] ← SRC1[159:128] - SRC2[159:128] DEST[191:160]← SRC1[191:160] - SRC2[191:160] DEST[223:192] ← SRC1[223:192] - SRC2[223:192] DEST[255:224] ← SRC1[255:224] - SRC2[255:224].
| SUBPS: | __m128 _mm_sub_ps(__m128 a, __m128 b) |
| VSUBPS: | __m256 _mm256_sub_ps (__m256 a, __m256 b); |
Overflow, Underflow, Invalid, Precision, Denormal.
See Exceptions Type 2.


Asynchronous image loading in fast scrolling table cells
Working around UIImageView+AFNetworking limitations
AFNetworking’s UIImageView category must be one of its most popular features. The functionality it offers is so commonly needed, and the implementation details are hidden in such a way that you would almost forget that a third party network library is being used. For instance, consider the following simple example where a batch of random images is loaded in a plain table view.
@implementation TableViewController
- (NSArray *)imageURLs
{
if (!_imageURLs)
{
NSMutableArray *imageURLs = [NSMutableArray array];
for (NSInteger index = 0; index < 100; ++index)
{
[imageURLs addObject:[NSString stringWithFormat:
@"http://dummyimage.com/88/%06X/%06X&text=%d",
arc4random() % 0xFFFFFF,
arc4random() % 0xFFFFFF,
index + 1]];
}
_imageURLs = imageURLs;
}
return _imageURLs;
}
- (void)viewDidLoad
{
[super viewDidLoad];
[self.tableView registerClass:[UITableViewCell class]
forCellReuseIdentifier:@"TableViewCell"];
}
- (NSInteger)numberOfSectionsInTableView:(UITableView *)tableView
{
return 1;
}
- (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section
{
return [self.imageURLs count];
}
- (UITableViewCell *)tableView:(UITableView *)tableView
cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"TableViewCell"
forIndexPath:indexPath];
cell.imageView.image = [UIImage imageNamed:@"placeholder"];
[cell.imageView setImageWithURL:[NSURL URLWithString:self.imageURLs[indexPath.row]]];
return cell;
}
@end
One downside of using this convenient category is that it can lead to undesired artifacts when scrolling fast in a table view. In the UIImageView+AFNetworking implementation, certain decisions are made to optimize for loading images currently on screen, which is done by cancelling previous requests for offscreen views. This behavior can interfere with cell reuse behavior, which may result in images not being loaded correctly, as shown below:
To figure out what can be done about these unwanted side-effects, we switch to a lower level implementation using an AFHTTPRequestOperationManager
and its GET:parameters:success:failure
method.
- (AFHTTPRequestOperationManager *)operationManager
{
if (!_operationManager)
{
_operationManager = [[AFHTTPRequestOperationManager alloc] init];
_operationManager.responseSerializer = [AFImageResponseSerializer serializer];
};
return _operationManager;
}
- (UITableViewCell *)tableView:(UITableView *)tableView
cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"TableViewCell"
forIndexPath:indexPath];
cell.imageView.image = [UIImage imageNamed:@"placeholder"];
[self.operationManager GET:self.imageURLs[indexPath.row]
parameters:nil
success:^(AFHTTPRequestOperation *operation, id responseObject) {
cell.imageView.image = responseObject;
} failure:^(AFHTTPRequestOperation *operation, NSError *error) {
NSLog(@"Failed with error<EMAIL_ADDRESS>error);
}];
return cell;
}
When running this code, it becomes obvious why cancelling requests for offscreen views is not such a bad idea: if the request queue cannot keep up with the speed of scrolling, the images in the reused cells get overwritten multiple times (and if the responses would arrive out of order, we could end up with wrong images in the cells).
There are two simple approaches to work around this. The first one is to cancel the pending request whenever a cell is reused and a new request is queued:
- (UITableViewCell *)tableView:(UITableView *)tableView
cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"TableViewCell"
forIndexPath:indexPath];
cell.imageView.image = [UIImage imageNamed:@"placeholder"];
[cell.imageView.associatedObject cancel];
cell.imageView.associatedObject =
[self.operationManager GET:self.imageURLs[indexPath.row]
parameters:nil
success:^(AFHTTPRequestOperation *operation, id responseObject) {
cell.imageView.image = responseObject;
} failure:^(AFHTTPRequestOperation *operation, NSError *error) {
NSLog(@"Failed with error<EMAIL_ADDRESS>error);
}];
return cell;
}
The associatedObject
property is used in the code above to remember the previously queued operation for each reused cell. It is implemented as a category on NSObject
to avoid subclassing in this simplified example:
#import <objc/runtime.h>
@interface NSObject (Associating)
@property (nonatomic, retain) id associatedObject;
@end
@implementation NSObject (Associating)
- (id)associatedObject
{
return objc_getAssociatedObject(self, @selector(associatedObject));
}
- (void)setAssociatedObject:(id)associatedObject
{
objc_setAssociatedObject(self,
@selector(associatedObject),
associatedObject,
OBJC_ASSOCIATION_RETAIN_NONATOMIC);
}
@end
Now the result looks a lot better, but the downside is that the images for the cells you quickly scroll past will only get loaded when you scroll back up, because their initial fetch request has been cancelled:
An alternative approach is to let each queued operation finish, but associate URLs with reused cells, and only assign the fetched image if it corresponds to the last loaded URL for that cell:
- (UITableViewCell *)tableView:(UITableView *)tableView
cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"TableViewCell"
forIndexPath:indexPath];
cell.imageView.image = [UIImage imageNamed:@"placeholder"];
NSString *url = self.imageURLs[indexPath.row];
cell.imageView.associatedObject = url;
[self.operationManager GET:url
parameters:nil
success:^(AFHTTPRequestOperation *operation, id responseObject) {
if ([cell.imageView.associatedObject isEqualToString:url])
{
cell.imageView.image = responseObject;
}
} failure:^(AFHTTPRequestOperation *operation, NSError *error) {
NSLog(@"Failed with error<EMAIL_ADDRESS>error);
}];
return cell;
}
Now the images for the cells you scroll past will be cached too, with the downside that loading the images for the bottom cells will be noticeably slower:
Of course you can implemented more advanced strategies, e.g. pause rather than cancel requests and resume them when higher priority requests have finished. The main thing to take away is that, when you hit a wall with a convenient high-level API, you can always drop down to a lower level API and implement your own logic on top of it.


PORTAL 0.5
Congrats!
Thanks for playing our COS426 final project!
Our goal in this final project was to create a demo of the popular Portal games developed by Valve. Specifically, we hoped to implement the core technical features of the game, including rendering, teleportation, and physics. We hope that our demo captures the experience and enjoyment of playing the actual games. If you're curious about how this demo was written, feel free to check out the code repository and associated writeup at the link in the bottom-right corner.
Happy 10th Anniversary, Portal 2!
Credits:
Authors: Allen Dai, Edward Yang
Music from Youtube, Daniel Birch, The Freeharmonic Orchestra, Bio Unit, ROZKOL, David Holowitz (FreeMusicArchive), Mixkit, others on freesound.org.
Ground/Wall textures from CC0 Textures
Player Model from mixamo
Fonts, Icons from Google Fonts, Good Ware on flaticon
Special thanks to various stackoverflow users and especially torinmr, Thomas Rinsma, Daniel Ilett for their existing work on Portal rendering and mechanics.


Hogwarts Express
Passenger
Anastacia M. Hernandez
Depart from platform
0
131
Depart
Horsethief Canyon
Arrive
Hogwarts School of Medicine
Date
15 Jan 2019
Time
1:00PM
car
10
Seat
O31
Annie, you can achieve anything you have your heart set on, your mind will provide you the tools to do so.
This ticket ensures that Uncle Michael J Peppers will always be there for One (1) Anastacia M. Hernandez.
"That person who helps others simply because it should or must be done, and because it is the right thing to do, is indeed without a doubt, a real superhero." - Stan Lee
Hogwarts Express
Arrive
Hogwarts
Depart
Horsethief Cyn
Date
15 Jan 2019
Time
1:00PM


(#) SMS phone number missing country code !!! WARNING: SMS phone number missing country code This is a warning. Id : `UnlocalizedSms` Summary : SMS phone number missing country code Severity : Warning Category : Correctness Platform : Android Vendor : Android Open Source Project Feedback : https://issuetracker.google.com/issues/new?component=192708 Affects : Kotlin and Java files Editing : This check runs on the fly in the IDE editor Implementation : [Source Code](https://cs.android.com/android-studio/platform/tools/base/+/mirror-goog-studio-main:lint/libs/lint-checks/src/main/java/com/android/tools/lint/checks/NonInternationalizedSmsDetector.java) Tests : [Source Code](https://cs.android.com/android-studio/platform/tools/base/+/mirror-goog-studio-main:lint/libs/lint-tests/src/test/java/com/android/tools/lint/checks/NonInternationalizedSmsDetectorTest.java) Copyright Year : 2012 SMS destination numbers must start with a country code or the application code must ensure that the SMS is only sent when the user is in the same country as the receiver. (##) Example Here is an example of lint warnings produced by this check: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~text src/test/pkg/NonInternationalizedSmsDetectorTest.java:18:Warning: To make sure the SMS can be sent by all users, please start the SMS number with a + and a country code or restrict the code invocation to people in the country you are targeting [UnlocalizedSms] sms.sendMultipartTextMessage("001234567890", null, null, null, null); -------------- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Here is the source file referenced above: `src/test/pkg/NonInternationalizedSmsDetectorTest.java`: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~java linenumbers package test.pkg; import android.app.Activity; import android.content.Context; import android.os.Bundle; import android.telephony.SmsManager; public class NonInternationalizedSmsDetectorTest { private void sendLocalizedMessage(Context context) { // Don't warn here SmsManager sms = SmsManager.getDefault(); sms.sendTextMessage("+1234567890", null, null, null, null); } private void sendAlternativeCountryPrefix(Context context) { // Do warn here SmsManager sms = SmsManager.getDefault(); sms.sendMultipartTextMessage("001234567890", null, null, null, null); } } ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ You can also visit the [source code](https://cs.android.com/android-studio/platform/tools/base/+/mirror-goog-studio-main:lint/libs/lint-tests/src/test/java/com/android/tools/lint/checks/NonInternationalizedSmsDetectorTest.java) for the unit tests for this check to see additional scenarios. The above example was automatically extracted from the first unit test found for this lint check, `NonInternationalizedSmsDetector.test`. To report a problem with this extracted sample, visit https://issuetracker.google.com/issues/new?component=192708. (##) Suppressing You can suppress false positives using one of the following mechanisms: * Using a suppression annotation like this on the enclosing element: ```kt // Kotlin @Suppress("UnlocalizedSms") fun method() { sendTextMessage(...) } ``` or ```java // Java @SuppressWarnings("UnlocalizedSms") void method() { sendTextMessage(...); } ``` * Using a suppression comment like this on the line above: ```kt //noinspection UnlocalizedSms problematicStatement() ``` * Using a special `lint.xml` file in the source tree which turns off the check in that folder and any sub folder. A simple file might look like this: ```xml <?xml version="1.0" encoding="UTF-8"?> <lint> <issue id="UnlocalizedSms" severity="ignore" /> </lint> ``` Instead of `ignore` you can also change the severity here, for example from `error` to `warning`. You can find additional documentation on how to filter issues by path, regular expression and so on [here](https://googlesamples.github.io/android-custom-lint-rules/usage/lintxml.md.html). * In Gradle projects, using the DSL syntax to configure lint. For example, you can use something like ```gradle lintOptions { disable 'UnlocalizedSms' } ``` In Android projects this should be nested inside an `android { }` block. * For manual invocations of `lint`, using the `--ignore` flag: ``` $ lint --ignore UnlocalizedSms ...` ``` * Last, but not least, using baselines, as discussed [here](https://googlesamples.github.io/android-custom-lint-rules/usage/baselines.md.html).


{% extends "base.html" %} {% block content %}
Request URL: {{request_path}}
Oops. Either the URL you entered was invalid, or you stumbled on a dead link. If it was the latter, please get in touch with your course staff to let them know what you were doing when the error occurred.
In the meantime, you may navigate back to the home page.
Sorry, and thanks for your patience!
{% endblock %}


|
The binaryXHR Javascript module implements a set of functions and classes that can be used to retrieve binary files using the XMLHttpRequest API. |
This module provides two functions, FetchBinaryURL and FetchBinaryURLAsync, that are wrappers around the XMLHttpRequest API and return an object of type BinaryFile. The first one implements a straight load, while the second one initiates an asynchronous operation handled by a callback function.
The BinaryFile class implements the methods needed to access the elements of the binary files, such as strings, integers and real numbers.
Both the functions and the class internally handle the differences between different Web Browsers, so the user of this module does not need to worry about them.
Load a binary file.
Arguments:
url:string - URL from where to load the binary file.
Output:
An object of type BinaryFile.
Initiate an asynchronous binary load.
Arguments:
url:string - URL from where to load the binary file.
callback:function(obj[,arg]) - Pointer to the function that will
be called when the binary file has been loaded.
The function will be
given one or two arguments; the first one is an object of type BinaryFile.
The second one is the argument described below, if available.
callback_arg:any (optional) - If present, it will be given as argument to the callback function.
Output:
A reference to the XMLHttpRequest object.
It may be used to verify the status of the load or to implement timeouts.
The callback function will receive the loaded binary file.
This class implements the methods needed to access the content of the binary file.
|
Method |
Description |
|---|---|
|
getLength() |
Return the number of bytes held by the object. |
|
getByteAt(idx) |
Return an 8 bit unsigned integer from offset idx. |
|
getShortAt(idx) |
Return a 16 bit little endian unsigned integer from offset idx. |
|
getLongAt(idx) |
Return a 32 bit little endian unsigned integer from offset idx. |
|
getSByteAt(idx) |
Return an 8 bit signed integer from offset idx. |
|
getSShortAt(idx) |
Return a 16 bit little endian signed integer from offset idx. |
|
getSLongAt(idx) |
Return a 32 bit little endian signed integer from offset idx. |
|
getDoubleAt(idx) |
Return a double float (64 bit little endian) from offset idx. Return undefined if the value is not a float or is infinity. |
|
getFastDoubleAt(idx) |
Return a low resolution (20 bit mantissa) double flat obtained from the high 32 bits of the original little endian double float from offset idx. Return undefined if the value is not a float or is infinity. |
|
getCharAt(idx) |
Get a character from offset idx. |
|
getCStringAt(idx,maxlen) |
Get a zero terminated string of limited size from offset idx. |
|
getStringAt(idx,len) |
Get a fixed length string from offset idx. |
This is a helper exception class that can be thrown while loading the binary file.
|
This module is part of the javascriptRRD
package hosted at http://javascriptrrd.sourceforge.net.
|


@esfx/equatable Package
Provides a low level API for defining equality.
Installation
npm i @esfx/equatable
Usage
import { Equatable, Equaler, Comparable, Comparer } from "@esfx/equatable";
class Person {
firstName: string;
lastName: string;
constructor(firstName: string, lastName: string) {
this.firstName = firstName;
this.lastName = lastName;
}
toString() {
return `${this.firstName} ${this.lastName}`;
}
[Equatable.equals](other: unknown) {
return other instanceof Person
&& this.lastName === other.lastName
&& this.firstName === other.firstName;
}
[Equatable.hash]() {
return Equaler.defaultEqualer.hash(this.lastName)
^ Equaler.defaultEqualer.hash(this.firstName);
}
[Comparable.compareTo](other: unknown) {
if (!(other instanceof Person)) throw new TypeError();
return Comparer.defaultComparer.compare(this.lastName, other.lastName)
|| Comparer.defaultComparer.compare(this.firstName, other.firstName);
}
}
const people = [
new Person("Alice", "Johnson"),
new Person("Bob", "Clark")
];
people.sort(Comparer.defaultComparer.compare);
console.log(people); // Bob Clark,Alice Johnson
const obj1 = new Person("Bob", "Clark");
const obj2 = new Person("Bob", "Clark");
obj1 === obj2; // false
Equaler.defaultEqualer.equals(obj1, obj2); // true
Interfaces
Comparable
Represents a value that can compare itself relationally with another value.
Comparer<T>
Represents an object that can be used to perform a relational comparison between two values.
Equaler<T>
Represents an object that can be used to compare the equality of two values.
Equatable
Represents a value that can compare its equality with another value.
StructuralComparable
Represents a value that can compare its structure relationally with another value.
StructuralEquatable
Represents a value that can compare its structural equality with another value.
Functions
combineHashes(x, y, rotate)
Combines two hash codes.
Declaration
function combineHashes(x: number, y: number, rotate?: number): number;
Parameters
- rotate
- number
The number of bits (between 0 and 31) to left-rotate the first hash code before XOR'ing it with the second (default 7).
Returns
rawHash(value)
Gets the raw hashcode for a value. This bypasses any [Equatable.hash]
properties on an object.
Declaration
export declare function rawHash(value: unknown): number;
Parameters
- value
- unknown
Any value.
Returns
The hashcode for the value.
Variables
defaultComparer
The default Comparer
.
Declaration
defaultComparer: Comparer<unknown>
defaultEqualer
Gets the default Equaler
.
Declaration
defaultEqualer: Equaler<unknown>
structuralComparer
A default Comparer
that supports StructuralComparable
values.
Declaration
structuralComparer: Comparer<unknown>
structuralEqualer
Gets a default Equaler
that supports StructuralEquatable
values.
Declaration
structuralEqualer: Equaler<unknown>
tupleComparer
A default Comparer
that compares array values rather than the arrays themselves.
Declaration
tupleComparer: Comparer<readonly unknown[]>
tupleEqualer
An Equaler
that compares array values rather than the arrays themselves.
Declaration
tupleEqualer: Equaler<readonly unknown[]>
tupleStructuralComparer
A default Comparer
that compares array values that may be StructuralComparable
rather than the arrays themselves.
Declaration
tupleStructuralComparer: Comparer<readonly unknown[]>
Type Aliases
Comparison
Describes a function that can be used to compare the relational equality of two values, returning a value indicating one of the following conditions:
- A negative value indicates
x
is lesser thany
. - A positive value indicates
x
is greater thany
. - A zero value indicates
x
andy
are equivalent.
Declaration
export declare type Comparison<T> = (x: T, y: T) => number;
Type Parameters
- T
The type of value that can be compared.
EqualityComparison
Describes a function that can be used to compare the equality of two values.
Declaration
export declare type EqualityComparison<T> = (x: T, y: T) => boolean;
Type Parameters
- T
The type of value that can be compared.
HashGenerator
Describes a function that can be used to compute a hash code for a value.
Declaration
export declare type HashGenerator<T> = (x: T) => number;
Type Parameters
- T
The type of value that can be hashed.
Namespaces
Comparable
Utility functions and well-known symbols used to define a Comparable
.
Comparer
Provides various implementations of Comparer
.
Equaler
Provides various implementations of Equaler
.
Equatable
Utility functions and well-known symbols used to define an Equatable
.
StructuralComparable
Utility functions and well-known symbols used to define a StructuralComparable
.
StructuralEquatable
Utility functions and well-known symbols used to define a StructuralEquatable
.


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