Fun terminal tools
There are very useful command line tools, which are used for daily administration, whatever the job you have to do, an example are find
, grep
, cat
, less
, etc. There are also more complex tools that require the study and consultation of manuals such as docker
, vagrant
, etc. and are for advanced users such as systems engineers and developers.
Other tools are used … well, practically nothing, except to elicit a laugh.
dinosay, is one of these tool.
Print dinosaur
Basically, dinosay is useless except to print dinosaurs on the terminal with a message.
Follow this for installation:
$ pip install dinosay # for python enviroment
$ dnf copr enable matteoguadrini/dinosay
$ dnf install python-dinosay -y # for Red Hat, CentOS, Mageia and fedora
$ wget https://github.com/MatteoGuadrini/dinosay/releases/download/<version>/dinosay-<version>-1.noarch.rpm -O dinosay.rpm
$ yast -i dinosay.rpm # for SLES and OpenSUSE
$ git clone https://github.com/MatteoGuadrini/dinosay.git && cd dinosay
$ python setup.py install # for other
However, before using it, you need to understand how it works. Let’s take a look at its usage:
$ dinosay -h
usage: dinosay [-h] [--version] (-d DINOSAUR | -r | -f FILE | -l) [-c COLOR]
[-b BEHAVIOR] [-i] [-t] [-e EYE] [-w WRAP]
[message]
print messages via ASCII dinosaurs
positional arguments:
message message to print
optional arguments:
-h, --help show this help message and exit
--version, -v show program's version number and exit
-d DINOSAUR, --dinosaur DINOSAUR
dinosaur to print
-r, --random random dinosaur to print
-f FILE, --file FILE file containing ASCII to print
-l, --list list of all dinosaurs and parts
-c COLOR, --color COLOR
color dinosaur
-b BEHAVIOR, --behavior BEHAVIOR
behavior of dinosaur
-i, --idea idea's speech bubble
-t, --tongue shape of the tongue
-e EYE, --eye EYE shape of the eye
-w WRAP, --wrap WRAP length of the message
_____ __ __ __ ______ ______ ______ __ __
/\ __-. /\ \ /\ "-.\  \ \ \ \/\ \ \ \___ \ \ \ __ \ \ \____ \
\ \____- \ \_\ \ \_\\"\_\ \ \_____\ \/\_____\ \ \_\ \_\ \/\_____\
\/____/ \/_/ \/_/ \/_/ \/_____/ \/_____/ \/_/\/_/ \/_____/
Okay, so first we should know the dinosaur names or aliases to get started.
$ dinosay -l # or "dinolist"
DINOSAY list elements and dinosaurs
===================================
DINOSAURS - ALIAS: BEHAVIOR: EYE: COLORS:
- tyrannosaurus - trex - normal - classic: O O - purple
- dimetrodon - dim - happy - borg: = = - cyan
- ankylosaur - anky - joking - stoned: * * - darkcyan
- hypsilophodon - hypsi - lazy - glass: 0-0 - blue
- stegosaurus - stego - tired - hypno: @ @ - green
- deinonychus - deino - nerd - rage: ° ° - yellow
- pterodactyl - ptero - cyborg - ko: x x - red
- archaeopteryx - archa - dead - happy: ^ ^ - default
- maiasaur - maia - trance - closed: - -
- pleisiosaur - plei - stoned
- brachiosaur - brachio
- corythosaur - cory
- parasaurolophus - para
- triceratops - trice
Now, print a test trex dinosaur:
$ dinosay -d trex
Without message, dinosay print a default message “Rooooaaaaarrrr”!
Change dinosaur
To change dinosaur, just write its name or alias as the argument of the -d parameter:
$ dinosay -d dim "I'm a dimetrodon!"
$ dinosay -d maia "Now, I'm maiasaur"
There is a random mode that chooses the dinosaur for you. Just specify the -r parameter:
$ dinosay -r "Woooooooo...I'm...???"
Behavior, eyes and tongue
It is possible to change some elements of each printed dinosaur. It is possible to change the balloon containing the message via the parameter -b which controls the behavior of the dinosaur.
The list of behaviors can be obtained via the dinolist
command:
$ dinosay -d trex -b happy "I'm happy!"
This command modifies both the $eye
variable and the comic.
To change only the $ eye element instead, just look at the types of eyes available in the dinolist command to specify them in the -e parameter:
$ dinosay -d trice -e glass "I have a glass!"
Language can also be added for some dinosaurs. Test this dinosaur by specifying the -t command as well:
$ dinosay -d maya -t "Bleeeeehhhhhh!"
If you want to give your dinosaur a “thinking” look, just specify the -i (idea) parameter to make a comic appear as if it were thinking:
$ dinosay -d plei -i "I thinking about...dinosay!"
Color everything
There is a special parameter that allows you to take advantage of the console colors to add that extra touch to your ASCII dinosaur. Test your dinosay commands with -c:
$ dinosay -r -c cyan
$ dinosay -r -c darkcyan
$ dinosay -r -c blue
$ dinosay -r -c red
$ dinosay -r -c yellow
$ dinosay -r -c green
$ dinosay -r -c purple
Wrap text message
If your message is too long, then you can use the -w parameter to delineate the maximum number of characters per column:
$ dinosay -r -w 20 "This is a long long long long message wrapped in twenty character columns!"
Load a file
If you would like to build your dinosaur or animal (or whatever you want) in ASCII, you can use the -f parameter to specify your ASCII file. You can also use the variables usable by dinosay
in your file to replace eyes, language and message (see the docs:
$ dinosay -f /home/test_dino/mydino.ascii "My dinosaur!"
dinosay like a python module
dinosay
is written in python and can also be used in python scripts as an import module.
from dinosay import dinoprint, Dino
body = r"""
__n__n__
.------`-\$eyes/-'
/ ## ## (oo)
/ \## __ ./
|//YY \|/
||| |||
"""
my_dino = Dino(body, "Hi, I'm alternative of cowsay", behavior='happy')
dinoprint(my_dino.message, my_dino.body, my_dino.behavior)
# Now in color
my_dino.color = 'red'
my_dino.apply_color()
dinoprint(my_dino.message, my_dino.body, my_dino.behavior)
Conclusion
dinosay
is a useless tool, but it is a lot of fun for creating intro banner shells or introducing sympathy into your bash and python scripts, using it as a command line or as a python module.
Happy dinosauring!


Last week the microformats.org community celebrated its 7th birthday at a gathering hosted by Mozilla in San Francisco and recognized accomplishments, challenges, and opportunities.
The microformats tagline “humans first, machines second” forms the basis of many of our principles, and in that regard, we’d like to recognize a few people and thank them for their years of volunteer service
Updated by Tantek


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Nginx + HHVM for SugarCRM
01 Apr 2014After installing nginx web server I managed to make it work with hhvm. Further more SugarCRM works just fine in this configuration except for some errors on some pages. I wasn’t able to run it under apache, my app server is Arch Linux since apache 2.4.7 gives HipHop notice of file not found. It was able under ubuntu as in one of my previous posts but the app wasn’t working properly. So now with nginx I got my luck to try some results for SugarCRM.
My environment settings are, using arch both as app server and db server, because I am using mysql in this case, couldn’t make hhvm work for oracle yet. But this setup gives me the chance to get some results. When running the hiphop virutal machine and you go to php info you will only get HipHop instead of all the info. Also, I am using php-fpm as better than mod_php in comparison to hhvm.
I am changing number of request with concurrency 60 (time per request is across all concurrent requests) and this is what I got:
ab -n 200 -c 60 http://<IP_ADDRESS>/sugarcrm/index.php?action=ajaxui#ajaxUILoc=index.php%3Fmodule%3DTasks%26action%3Dindex%26parentTab%3DActivities
We can see how big of a gap it is between hhvm and php-fpm. HHVM knocks down the php. These incomparable differences in favor of hhvm show why it is or will be a huge success. HHVM needs on average 2 ms pre request and php-fpm needs on average 25ms pre second and mod_php on average around 300ms (previous post). I try testing it with changing the concurrency and getting the same results.
Still, in this setup I must say that SugarCRM gives some errors, for example navigating to detail view of an account it will give errors:
HipHop Fatal error: $this is null in /usr/share/nginx/html/sugarcrm/include/SubPanel/SubPanelTilesTabs.php on line 62
HipHop Notice: Use of undefined constant JSON_LOOSE_TYPE - assumed 'JSON_LOOSE_TYPE' in /usr/share/nginx/html/sugarcrm/include/utils.php on line 3693


Electronics
The understanding of basic electronics is a very valuable skill. We live in a society ruled by science and technology where few people understand science and technology. One common experience shared among many of the better engineers and technical people is that they started at a young age. Even those not interested in engineering as a career will benefit from having technical knowledge. Here are some ways to get started with the BrainPad to learn electronics.
Snap Circuits
Snap Circuits is a fun and easy way to build your own circuits and learn about electronics. The components and wires snap together using the same type of snaps used for clothing. This makes it fast and easy to assemble and disassemble circuits. They have full color manuals showing pictures of each of the hundreds of possible projects you can build.
We have a simple example of using the BrainPad, Microsoft MakeCode, and Snap Circuits here.
Breadboarding
This option is recommended for the more advanced users with electronics background or users with an interest in learning electronics. It is, however, a very inexpensive way to build and learn about circuits.
Solderless breadboards can be used to quickly build and test electrical circuits which can be connected to the BrainPad. Circuits are built by just plugging wires and components into the holes (sockets) on the breadboard. Each hole in the breadboard is electrically connected to some of the holes next to it as shown below by the black lines in the image on the right. The longer lines of connected holes on the left and right side of the breadboards below are usually used for power (labeled with "+") and ground (labeled with "-") connections.
The example circuit below shows an LED connected to the BrainPad. The red lines have been added to show the circuit connections inside the breadboard.
Breadboards are available in a number of sizes, and many breadboards provide a way to attach additional breadboards to form larger circuits.
The nice thing about breadboards is you can easily create or change circuits without soldering. The drawback is that the connections are not as reliable or durable as soldering. Solderless breadboarding is still the way many engineers and hobbyists build prototype circuits, and once built it is easy to transfer your circuits to more permanent soldered prototype boards.
Breakout Boards
Breakout boards provide a convenient way to use components that are difficult for hobbyists to work with. For example, some surface mount components are very difficult or nearly impossible to solder by hand. Breakout boards are small circuit boards you can buy with these components already soldered to the board. They usually provide pins, through holes, or larger surface mount pads that are much easier to work with. Breakout boards allow you to use components that would be difficult or impossible to use otherwise.
Get Creative!
You can use any one of the above methods to make electronic circuits or none of them at all! Simple circuits can be formed by just twisting component wires together, using wire nuts, crimp connectors, perforated boards, soldering, taping, alligator clips -- whatever you have on hand. Just be sure you know enough to stay safe. Also, neatly built circuits are not only safer and more reliable, but much easier to work with. If you ever have to trouble shoot a circuit made of a "rat's nest" of wires, you'll quickly understand what we mean!


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My Dev Page
My Github Repos
This link will take you to my Git Hub Repositories
S.O.P - Love Letter - S.O.P
This project is a love letter to Git, Github and Bash which both shows the appreaciation I have for these programs and the standard operating Procedure of using them.
HTML Boilerplate Practice
This project is a very basic page which utilized the html boilerplate in it's construction.
The Life, Love, and Journey of Ortega
This is a wonderful story about a hopeful taco named ortega, It was made as a colaberative github project.
Sprite Page
This is a simple page showing the usability and value of sprites.
Buy My Stuff
My Midterm Project, a mock up of a professional comercial web page.
Analytics and My Message
A page for analytics and a space for my message.
Parallax in Space
A story detailing the daily life of a star ship captian using parallax images.
My Wordpress Site
My wordpress development blog where I will begin to record my projects as a work on them. The site features an original theme.


Class HummClientConfiguration
Provides information to a HummClient about how to operate and default values to use for requests.
Inherited Members
Namespace: Yort.Humm.InStore
Assembly: Yort.Humm.InStore.dll
Syntax
public sealed class HummClientConfiguration
Properties
| Improve this Doc View SourceAutoValidateRequests
Gets or sets a value indicating whether or not HummClient instances automatically perform client side validation of requests before sending them.
Declaration
public bool AutoValidateRequests { get; set; }
Property Value
| Type | Description |
|---|---|
| Boolean |
|
Remarks
The default and recommended value is true, ensuring the simple validation such as required fields and minimum/maximum lengths of values are checked before making a request to Humm. This property exists to disable this feature in the future should Humm change the validation rules and a new, updated version of this library not yet be available.
BaseApiUrl
Required. Gets or sets a Uri which is the base uri of the Humm API to call.
Declaration
public Uri BaseApiUrl { get; set; }
Property Value
| Type | Description |
|---|---|
| Uri | A Uri containing the base address to use. |
Remarks
The API address must be provided so the system knows whether to use a test or live environment, and for which country/region. Use the HummApiUrlSelector to decide on a URL if you'd rather not hard code the addreses yourself.
Changing this property will have no effect on HummClient instances that have already been constructed.
See Also
| Improve this Doc View SourceDeviceId
Optional. Gets or sets the unique device identifier for the POS the HummClient represents.
Declaration
public string DeviceId { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The device identifier. |
Remarks
Any request sent with a null or empty device id will have this value used instead.
See Also
| Improve this Doc View SourceDeviceKey
Optional (when registering a new device, required otherwise). Gets or sets the device key issued by Humm for creating digital signatures.
Declaration
public string DeviceKey { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The device key. |
Remarks
This value is must match the one returned by a prior CreateKeyRequest for the same MerchantId and DeviceId.
If you have not yet initialised the POS device and do not have a device key, use null as the device key property here and then initialise the client instance using a CreateKeyAsync(CreateKeyRequest) call.
Changing this property will have no effect on HummClient instances that have already been constructed.
See Also
| Improve this Doc View SourceHttpClient
Sets or returns an HttpClient instance used to make calls to the Humm API. If null/unset, the system will create it's own instance on first use.
Declaration
public HttpClient HttpClient { get; set; }
Property Value
| Type | Description |
|---|---|
| HttpClient |
Remarks
The library reserves the right to modify the provided client, such as setting default headers and a base address. The primary purpose of this property is to allow a client with injected handlers to be used. If you do not need to inject custom handlers, then leave this blank.
The client is read from the configuration in the constructor of HummClient, changing the HttpClient instance assigned to this property after a client is constructed will have no effect.
Disposing a HummClient instance will dispose it's HttpClient instance, even if it was provided via this property, so do not share clients among instances or with other objects.
MerchantId
Optional. Gets or sets the default merchant identifier for requests.
Declaration
public string MerchantId { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The merchant identifier. |
Remarks
Any request sent with a null or empty merchant id will have this value used instead.
See Also
| Improve this Doc View SourcePosVersion
Optional. Gets or sets the POS version.
Declaration
public string PosVersion { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The POS version. |
Remarks
Any request sent with a null or empty POS version will have this value used instead.
See Also
| Improve this Doc View SourceUserAgentProductName
Optional. Gets or sets the name of the 'product' to use in the user agent header on HTTP calls to Humm.
Declaration
public string UserAgentProductName { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The name of the user agent product. |
Remarks
If not supplied the Yort.Humm.InStore library name is used instead.
Changing this property will have no effect on HummClient instances that have already been constructed.
UserAgentProductVersion
Optional. Gets or sets the version of the 'product' to use in the user agent header on HTTP calls to Humm.
Declaration
public string UserAgentProductVersion { get; set; }
Property Value
| Type | Description |
|---|---|
| String | The user agent product version. |
Remarks
If not supplied the Yort.Humm.InStore library version is used instead.
Changing this property will have no effect on HummClient instances that have already been constructed.


CHAPTER VIII
The following is a summary of R‚ja-Yoga freely translated from the Kurma-Pur‚na.
The fire of Yoga burns the cage of sin that is around a man. Knowledge becomes purified and Nirv‚na is directly obtained. From Yoga comes knowledge; knowledge again helps the Yogi. He who combines in himself both Yoga and knowledge, with him the Lord is pleased. Those that practice Mah‚yoga, either once a day, or twice a day, or thrice, or always, know them to be gods. Yoga is divided into two parts. One is called Abh‚va, and the other, Mahayoga. Where one's self is meditated upon as zero, and bereft of quality, that is called Abhava. That in which one sees the self as full of bliss and bereft of all impurities, and one with God, is called Mahayoga. The Yogi, by each one, realises his Self. The other Yogas that we read and hear of, do not deserve to be ranked with the excellent Mahayoga in which the Yogi finds himself and the whole universe as God. This is the highest of all Yogas.
Yama, Niyama, ¬sana, Pr‚n‚y‚ma, Praty‚h‚ra, Dh‚r‚na, Dhy‚na, and Sam‚dhi are the steps in Raja-Yoga, of which non-injury, truthfulness, non-covetousness, chastity, not receiving anything from another are called Yama. This purifies the mind, the Chitta. Never producing pain by thought, word, and deed, in any living being, is what is called Ahims‚, non-injury. There is no virtue higher than non-injury. There is no happiness higher than what a man obtains by this attitude of non-offensiveness, to all creation. By truth we attain fruits of work. Through truth everything is attained. In truth everything is established. Relating facts as they are — this is truth. Not taking others' goods by stealth or by force, is called Asteya, non-covetousness. Chastity in thought, word, and deed, always, and in all conditions, is what is called Brahmacharya. Not receiving any present from anybody, even when one is suffering terribly, is what is called Aparigraha. The idea is, when a man receives a gift from another, his heart becomes impure, he becomes low, he loses his independence, he becomes bound and attached.
The following are helps to success in Yoga and are called Niyama or regular habits and observances; Tapas, austerity; Sv‚dhy‚ya, study; Santosha, contentment; Shaucha, purity; Ishvara-pranidh‚na, worshipping God. Fasting, or in other ways controlling the body, is called physical Tapas. Repeating the Vedas and other Mantras, by which the Sattva material in the body is purified, is called study, Svadhyaya. There are three sorts of repetitions of these Mantras. One is called the verbal, another semi-verbal, and the third mental. The verbal or audible is the lowest, and the inaudible is the highest of all. The repetition which is loud is the verbal; the next one is where only the lips move, but no sound is heard. The inaudible repetition of the Mantra, accompanied with the thinking of its meaning, is called the "mental repetition," and is the highest. The sages have said that there are two sorts of purification, external and internal. The purification of the body by water, earth, or other materials is the external purification, as bathing etc. Purification of the mind by truth, and by all the other virtues, is what is called internal purification. Both are necessary. It is not sufficient that a man should be internally pure and externally dirty. When both are not attainable the internal purity is the better, but no one will be a Yogi until he has both. Worship of God is by praise, by thought, by devotion.
We have spoken about Yama and Niyama. The next is Asana (posture). The only thing to understand about it is leaving the body free, holding the chest, shoulders, and head straight. Then comes Pranayama. Prana means the vital forces in one's own body, ¬y‚ma means controlling them. There are three sorts of Pranayama, the very simple, the middle, and the very high. Pranayama is divided into three parts: filling, restraining, and emptying. When you begin with twelve seconds it is the lowest Pranayama; when you begin with twenty-four seconds it is the middle Pranayama; that Pranayama is the best which begins with thirty-six seconds. In the lowest kind of Pranayama there is perspiration, in the medium kind, quivering of the body, and in the highest Pranayama levitation of the body and influx of great bliss. There is a Mantra called the G‚yatri. It is a very holy verse of the Vedas. "We meditate on the glory of that Being who has produced this universe; may He enlighten our minds." Om is joined to it at the beginning and the end. In one Pranayama repeat three Gayatris. In all books they speak of Pranayama being divided into Rechaka (rejecting or exhaling), Puraka (inhaling), and Kurnbhaka (restraining, stationary). The Indriyas, the organs of the senses, are acting outwards and coming in contact with external objects. Bringing them under the control of the will is what is called Pratyahara or gathering towards oneself. Fixing the mind on the lotus of the heart, or on the centre of the head, is what is called Dharana. Limited to one spot, making that spot the base, a particular kind of mental waves rises; these are not swallowed up by other kinds of waves, but by degrees become prominent, while all the others recede and finally disappear. Next the multiplicity of these waves gives place to unity and one wave only is left in the mind. This is Dhyana, meditation. When no basis is necessary, when the whole of the mind has become one wave, one-formedness, it is called Samadhi. Bereft of all help from places and centres, only the meaning of the thought is present. If the mind can be fixed on the centre for twelve seconds it will be a Dharana, twelve such Dharanas will be a Dhyana, and twelve such Dhyanas will be a Samadhi.
Where there is fire, or in water or on ground which is strewn with dry leaves, where there are many ant-hills, where there are wild animals, or danger, where four streets meet, where there is too much noise, where there are many wicked persons, Yoga must not be practiced. This applies more particularly to India. Do not practice when the body feels very lazy or ill, or when the mind is very miserable and sorrowful.  Do not choose dirty places. Rather choose beautiful scenery, or a room in your own house which is beautiful. When you practice, first salute all the ancient Yogis, and your own Guru, and God, and then begin.
Dhyana is spoken of, and a few examples are given of what to meditate upon. Sit straight, and look at the tip of your nose. Later on we shall come to know how that concentrates the mind, how by controlling the two optic nerves one advances a long way towards the control of the arc of reaction, and so to the control of the will. Here are a few specimens of meditation. Imagine a lotus upon the top of the head, several inches up, with virtue as its centre, and knowledge as its stalk. The eight petals of the lotus are the eight powers of the Yogi. Inside, the stamens and pistils are renunciation. If the Yogi refuses the external powers he will come to salvation. So the eight petals of the lotus are the eight powers, but the internal stamens and pistils are extreme renunciation, the renunciation of all these powers. Inside of that lotus think of the Golden One, the Almighty, the Intangible, He whose name is Om, the Inexpressible, surrounded with effulgent light. Meditate on that. Another meditation is given. Think of a space in your heart, and in the midst of that space think that a flame is burning. Think of that flame as your own soul and inside the flame is another effulgent light, and that is the Soul of your soul, God. Meditate upon that in the heart. Chastity, non-injury, forgiving even the greatest enemy, truth, faith in the Lord, these are all different Vrittis. Be not afraid if you are not perfect in all of these; work, they will come. He who has given up all attachment, all fear, and all anger, he whose whole soul has gone unto the Lord, he who has taken refuge in the Lord, whose heart has become purified, with whatsoever desire he comes to the Lord, He will grant that to him. Therefore worship Him through knowledge, love, or renunciation.
 From whom comes no disturbance, who cannot be disturbed by others, who is free from joy, anger, fear, and anxiety, such a one is My beloved. He who does not depend on anything, who is pure and active, who does not care whether good comes or evil, and never becomes miserable, who has given up all efforts for himself; who is the same in praise or in blame, with a silent, thoughtful mind, blessed with what little comes in his way, homeless, for the whole world is his home, and who is steady in his ideas, such a one is My beloved Bhakta." Such alone become Yogis.
* * * *
There was a great god-sage called N‚rada. Just as there are sages among mankind, great Yogis, so there are great Yogis among the gods. Narada was a good Yogi, and very great. He travelled everywhere. One day he was passing through a forest, and saw a man who had been meditating until the white ants had built a huge mound round his body — so long had he been sitting in that position. He said to Narada, "Where are you going?" Narada replied, "I am going to heaven." "Then ask God when He will be merciful to me; when I shall attain freedom." Further on Narada saw another man. He was jumping about, singing, dancing, and said, "Oh, Narada, where are you going?" His voice and his gestures were wild. Narada said, "I am going to heaven." "Then, ask when I shall be free." Narada went on. In the course of time he came again by the same road, and there was the man who had been meditating with the ant-hill round him. He said, "Oh, Narada, did you ask the Lord about me?" "Oh, yes." "What did He say?" "The Lord told me that you would attain freedom in four more births." Then the man began to weep and wail, and said, "I have meditated until an ant-hill has grown around me, and I have four more births yet!" Narada went to the other man. "Did you ask my question?" "Oh, yes. Do you see this tamarind tree? I have to tell you that as many leaves as there are on that tree, so many times, you shall be born, and then you shall attain freedom." The man began to dance for joy, and said, "I shall have freedom after such a short time!" A voice came, "My child, you will have freedom this minute." That was the reward for his perseverance. He was ready to work through all those births, nothing discouraged him. But the first man felt that even four more births were too long. Only perseverance, like that of the man who was willing to wait aeons brings about the highest result.


// Repeat process until target samples condition is met
ix = ix + 1
for s in roi_proximal_streamlines:
stream_counter = stream_counter + len(s)
streamlines.append(s)
if int(stream_counter) >= int(target_samples):
break
else:
// Cleanup memory
del seeds, roi_proximal_streamlines, streamline_generator
gc.collect()
del dg
circuit_ix = circuit_ix + 1
print("%s%s%s%s%s" % ("Completed hyperparameter circuit: ", circuit_ix, "...\nCumulative Streamline Count: ",


Entrance to Purr City - Free for all cats. 3 purr coins for humans.
How do you get past the Pawkeeper?
You stroke it.
You give it milk
You give it the chicken
No cats were harmed in this production.


PINOCCHIO A film review by Steve Rhodes Copyright 1996 Steve Rhodes
RATING (0 TO ****): ****
After seeing the new live action Pinocchio movie, THE ADVENTURES OF PINOCCHIO to which I gave ***, we decided to watch the Disney original 1940 classic animated movie PINOCCHIO since it is the reference standard. Directors Hamilton Luske and Ben Sharpsteen's 1940 PINOCCHIO is wonderful - full of beauty and tragedy. The writers (Aurelius Battaglia, William Cottrell, Otto Englander, Erdman Penner, Joseph Sabo, Ted Sears, and Webb Smith using Carlo Collodi's book) fashion a morality tale that describes horrible results for any boy who strays from the straight and narrow.
The short version of the story is that a puppet maker named Geppeto (voice by Christian Rub) creates a puppet called Pinocchio (voice by Dick Jones). He wishes Pinocchio could come alive and his wish is granted by The Blue Fairy (voice by Evelyn Venable). The Blue Fairy assigns the role of Pinocchio's conscience to Jiminy Cricket (voice by Cliff Edwards). Pinocchio goes to work for the evil Stromboli (voice by Charles Judels) and generally gets into a lot of trouble in the show.
The moral lessons come fast and furious. The Blue Fairy tells Pinocchio, "Remember: Always let your conscience be your guide." This, of course, has a double meaning given that she has delegated that role to Jiminy Cricket. She promises Pinocchio that he can be a real boy and not just a live puppet if he is good. The carrot. He also finds that when he lies, his nose grows so long that leaves, flowers, bird's nests, and birds grow on it. The stick. She admonishes him that "a lie keeps growing and growing until it's as clear as the nose on your face."
Unlike the remake, the original is much darker and more frightening. Stromboli is extremely sinister. He calls Pinocchio his "little wooden gold mine" and throws him into a bird cage when he doesn't obey. If the thought of some diabolical man bend on locking them up doesn't scare little kids, not much will. The show has more insidious characters like Honest John. Overall, the movie is a panoply of the inherent horrors of childhood and much more so than the remake, the 1940 original does not pull any punches in illustrating the consequences of immorality.
The piece de resistance is Pleasure Island.  The consequences of this degeneracy are near fatal as Pinocchio soon learns. All and all, this is a troubling but extremely well crafted film. In typical stereotyping, notice how the quintessential bad kid, Lampwick (voice by Frankie Darro), has a Brooklyn accent.
There is so much more right with the movie that it is hard to know what all to include. Just the infectiously happy and uplifting voice of Jiminy Cricket is certainly worth a mention. The animators (lead by Shamus Culhane) use a simple style in the drawings. Most scenes have little detailing and yet, the colors of the warm browns remind us of the wooded nature of the protagonist and the warmth suggest that redemption is his for the taking.
The music (Leigh Harline, Paul Smith and Ned Washington) is soothing, dreamy, and nostalgic. The songs are all memorable and great. My favorites are "Give a little whistle," "When you wish upon a star," and "An actor's life for me."
I have only one major criticism of the film. The whole Monstro sequence runs way too long, especially the search for the whale. If they wanted to make the film longer, they could have added more in the front part. Finally, I must be honest. As much as I like the character of Pinocchio in this movie, I liked the character in the remake better. His movements are more interesting and the way he deals with some of the situations more imaginative. On whole, however, the remake is not near as good as the original. The main problem with the remake is that they downplay the morality issue which is the heart of the story.
PINOCCHIO runs 1:28. It is rated G, but little kids may be frightened by the caging, the whale, and many of the darker images. I always include Jeffrey's (age 7) mini-review in my review. I forget this on the remake, THE ADVENTURES OF PINOCCHIO. He loved it and gave it two thumbs up. For reasons, which he was not able to articulate, he liked it better than the original PINOCCHIO to which he gave only one thumbs up. Go figure. Personally, I give my strongest recommendation to PINOCCHIO and rate it a full ****.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEW WRITTEN ON: August 11, 1996
Opinions expressed are mine and not meant to reflect my employer's.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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data class Argument<out T>
An Argument is essentially just the value of a particular Register, but in the context of an nz.co.jedsimson.lgp.core.program.instructions.Operation.
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val value: T
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Part I Written by: Andrew Reich & Ted Cohen
Part II Written by: Greg Malins & Scott Silveri
Transcribed by: Eric Aasen
[Scene: Monica and Rachel's, Rachel is sitting in the living room and Phoebe is standing in the kitchen as the phone rings.]
Rachel: Pheebs? Could you get that? Please?
Phoebe: Why?
Rachel: No! No! It's just that all the people in the entire world that I want to talk to are right here.
Phoebe: (smiles) Okay! (Goes to answer the phone.)
Rachel: (under her breath) Sucker!
Phoebe: (answering the phone) Hello? (Listens) Hey Joey!
[Cut to Las Vegas, Joey is on the phone and wearing his gladiator costume.]
Joey: Hey Pheebs! Listen, uh can you do me a favor? I forgot the pin number to my ATM card can, can you get it for me?
Phoebe: Sure! Where is it?
Joey: Uh, I scratched it on the ATM machine down on the corner.
Phoebe: Ohh! So you're 5639?!
Joey: That's it! Thanks Pheebs!
[Cut to Monica and Rachel's]
Chandler: (entering) Hey!
Phoebe: (to Joey) Ooh, do you want to talk to Chandler?
Chandler: (To Phoebe) Is that Joey?! (She nods yes) Let me talk to him!
[Cut to Joey]
Joey: No! (She nods no to Chandler) Because he didn't believe in my movie! Which is a big mistake because it is real! Real!
A Casino Boss: Hey! Tribbiani! Get back to work! Break time's over!
[Cut to Phoebe]
Phoebe: Who was that?
Joey: Uhh, my stunt double. Yeah, and y'know, he's getting a little too familiar for my tastes.
Chandler: (To Phoebe) Y'know what? I have been trying to apologize to him all week! If he's not gonna let me do it on the phone, I'm gonna go down there and do it in person.
[Cut to Joey]
Joey: Uhh Pheebs, I heard that. Can you put him on?
[Cut to Phoebe]
Phoebe: Yeah! (She hands the phone to Chandler.)
Chandler: (To Joey) Hey!
[Cut to Joey]
Joey: Don't come out here!
[Cut to Chandler]
Chandler: No-no-no-no, I've supported you one hundred percent and I want to prove that to you in person!
[Cut to Joey]
Joey: I got that! I forgive ya! Don't come out here!
[Cut to Chandler]
Chandler: Forgive me? You haven't been taking my calls in a week!
[Cut to Joey]
Joey: Well, I'm totally over it Chandler. Friends forever! Don't come out here!
A Tourist: (To Joey) Would you mind doing a picture with us?
[Cut to Chandler]
Chandler: Uh, what was that?
[Cut to Joey]
Joey: Uh, Entertainment Tonight. [Cut to Chandler] Yeah, okay so, good talking to ya and don't come out here. All right. (Hangs up the phone and poses for that picture.)
Opening Credits
[Scene: Monica and Rachel's, Phoebe is entering.]
Phoebe: Monica! I'm sorry I'm late! (Starts looking around for her) Monica? (Goes into Monica's bedroom.)
Monica: (entering) Phoebe? (Phoebe comes back into the living room) Oh, Phoebe, I'm so sorry. Have you been here long?
Phoebe: (saddened) It's okay.
Monica: Okay, you can not tell Chandler. Okay? That I ran into Richard.
Phoebe: Which Richard?
Monica: The Richard.
Phoebe: Richard Simmons?! Oh my God!
Monica: Noo! My ex-boyfriend Richard! Y'know the tall guy, moustache?
Phoebe: Oh! Okay, that actually makes more sense. So how was it?
Monica: It was, it was really nice. We started talking and I-I ended up having lunch with him.
Phoebe: That is so weird! I had a dream that you'd have lunch with Richard.
Monica: Really?
Phoebe: But again, Simmons. Go on.
Monica: The strange part was, he was really nice, umm and he looks great, but I didn't feel anything at all!
Phoebe: Ooh! So now why can't we tell Chandler?
Monica: Because it would totally freak him out and tomorrow's our anniversary. I just don't want anything to spoil that.
Phoebe: Oh, I can't believe you guys lasted a whole year!
Monica: I know.
Phoebe: Wow! I owe Rachel 20 bucks!
Monica: What?
Phoebe: On a totally different bet.
Chandler: (entering) Hey!
Monica: It's almost our anniversary!
Chandler: I know. Can you believe it? One year ago today I was just your annoying friend Chandler.
Phoebe: Awww!
Chandler: Huh.
Monica: I got you a present!
Chandler: Oh, but it's not 'til tomorrow!
Monica: I know, but you have to open it today! (Hands it too him.)
Chandler: Okay.
(He starts taking his time opening it. Finally Monica snaps.)
Monica: (grabbing the gift from him and opening it) Okay! There you go! It's two tickets to Vegas!
Chandler: Wow!
Monica: For this weekend! Oh gosh, it would be perfect, we get to see Joey plus we get to start our anniversary celebration on the plane. We can call it out plane-aversary.
Chandler: Do we have to?
Monica: No.
Chandler: Okay this is great, but Joey said he didn't want any of us out there.
Monica: Oh, he just doesn't want us to go through any trouble. Think of how excited he'll be when we go out and surprise him! Plus we get to have our own, ani-Vegas-ary! A-Nevadaversary!
Chandler: Yeah, I think we should see other people.
Monica: But we can go, right?
Chandler: Yes.
Monica: Okay!
Chandler: It's a great idea. (They kiss)
Phoebe: Okay, I'm gonna go too!
Chandler: Y'know Pheebs, it's kinda our (His and Monica's) anniversary.

Monica: Ditch you? Phoebe, you were pregnant with the triplets!
Phoebe: Uh-huh, great story! I'm going!
Rachel: (entering with Ross) Hi!
Phoebe: Hey!
Ross: Hey!
Phoebe: Hey, you guys, listen, this weekend we're all gonna go to Las Vegas to surprise Joey! Including me!! You wanna go?!
Rachel: Well, I guess I could take a couple days off work.
Phoebe: Of course you can take a couple days off work because this trip includes me!
Rachel: Oh no, wait a minute, wait, I've got a presentation tomorrow. I can't miss that.
Ross: Oh, but I've got tickets to the Van Gogh exhibit! I've been waiting like a year for this.
Chandler: (coughing) Art lover!
Ross: What'd you say?
Chandler: I said art lover.
Ross: Is that supposed to be an insult?
Chandler: I don't know, I'm very tired.
Ross: So Rach, maybe you and I could fly out together Saturday.
Rachel: That sounds great.
Ross: Yeah? All right I'll call the airlines. (Picks up the phone and does so)
Rachel: Okay. Yeah, that would be nice actually, to have the apartment to myself for a night.
Phoebe: Oh yeah, so you can walk around naked.
Rachel: No! So I can be by myself. Y'know? Have a little alone time.
Phoebe: Naked alone time.
Rachel: No! Phoebe just because I'm alone doesnt mean I wanna walk around naked.
Phoebe: Uh-huh! Why do you think it takes me so long to answer the door?

Phoebe: So, so far is this trip to Vegas better or worse than the trip to London?
Chandler: So it's pretty much the same Pheebs.
Phoebe: Okay, what about after I give you these candies? (Hands them each one from her purse.)
Chandler: Yeah, I guess it's a little better now.
Phoebe: Ah-ha! Okay, (takes out a notepad) Las Vegas 1, London 0! I'll be right back. (Gets up and heads aft.)
Chandler: (To Monica) Happy plane-aversary.
Monica: Aww! I love you!
Chandler: Can I give you a present now?
Monica: Okay!
Chandler: Okay! (He grabs his carryon and starts rummaging through it.) Oh man! Dont tell me I did this!
Monica: I love the "I forgot the present" fake out!
Chandler: How do you feel about the, "I really did forgot the present, please forgive me" not fake out?
Monica: Oh that's okay. Dont worry about it, you can give it to me when we get back.
Chandler: Ohh that's the worse thing that can happen on an anniversary ever!
Phoebe: (sitting down) Oh good! All right, so you decided to tell him about the Richard thing.
Chandler: What-what Richard thing?
Phoebe: Oh no. [The patented version.]
Chandler: What Richard thing?
Phoebe: (To Monica under her breath) Simmons! Go with Simmons!
Monica: Okay, I umm, I ran into Richard yesterday and he asked me if I wanted to go for a bite and I did. The only reason I didn't tell you is because I knew you'd get mad and I didn't want to spoil our anniversary.
Chandler: (talking out of the side of his mouth) I'm not mad.
Monica: Really?!
Chandler: Oh yeah! Yeah, so you-you bumped into Richard! You grabbed a bite! It's no big deal. (He still ain't happy.)
Monica: Great!
(Pause.)
Phoebe: Okay, London 1
[Scene: Monica and Rachel's, Rachel is coming out of the bathroom after a shower wearing only her bath robe, walks into the kitchen, and opens the fridge. As she bends over to grab a bottle of wine, her robe falls open (Damn this network primetime programming, we didn't see anything!) and she quickly closes it again. But then realizes she didn't have to do that. So she closes the fridge and stands next to the table, thinks about it for a little while and ]
Rachel: (takes off her robe) Oh! Look what happened! {Don't get your hopes up guys, we only get to see her from the back or from the neck up. Its times like these I wish that the networks would broadcast some nudity other than Denis Franz's butt.} (In her head.) Huh, check me out! I'm in my kitchen naked! I'm picking up an orange. (Does so) I'm naked! (Goes into the living room) Lighting the candles, naked, and carefully. (She backs anything that might have a point like a candle on her body away.)
[Cut to Ross's apartment, he's sitting by his window looking at an art book. As he's turning the page, he glances up and notices something.]
Ross: (in his head) Oh my God! That's Rachel naked! I can't look at that! I am looking at this. (Looks back at his book.) Okay, vivid colors, expressive brush strokesUnless she wants me to be looking at that. She knows I'm home. She knows I can see her. What kind of game is she playing? I think maybe someone's lonely tonight. Oh-ho, Dr. Geller! Stop it!  Or, am I?
[Cut back to Monica and Rachel's apartment, Rachel is singing along with a song and dancing while facing the big picture window. Y'know, I think I'd pay real good money to be on the other side of that window!]
Rachel: (singing) Love to love ya baby! Ow! Love to love ya baby! Ow! (There's a knock on the door, she turns off the music, puts on her robe, and goes to answer the door.) Love to love ya, baby! (There's another knock.) Darnit! (Looks through the peephole and turns on the lights.) Ugh. (She opens the door to Ross who's leaning against the door jam.)
Ross: Hey.
Commercial Break
[Scene: Monica and Rachel's, the scene is continued from where we left off before the break.]
Ross: May I come in?
Rachel: Uh, yeah, if you want too.
Ross: Do you want me too?
Rachel: Yeah, sure?
Ross: So do I. (Slowly walks in.) Okay Rach, before anything happens (He takes off his coat) I just want to lay down a couple of ground rules. (Turns back to face her.) This is just about tonight. I don't to go through with this if it's going to raise the question of "Us." (Rachel's confused) Okay? I just want this to be (Kicks off his left shoe) about what it is! (Kicks off the other one.)
Rachel: And um, what-what is that Ross?
Ross: The physical act of love. (Hisses at her.)
Rachel: (laughs) What?!

Rachel: (gasps) Oh God, you saw me?! Oh!
Ross: You weren't trying to entice me with your nakedness.
Rachel: Noo!! No!
Ross: No! No! (Grabs his coat) No! (Grabs a shoe.) No-no-no-no. (Grabs the other one and heads for the door.)
Rachel: Ohh wow!
Ross: Can we, can we just forget this ever happened?
Rachel: Yes of course, absolutely! You're right. I'm sorry.
Ross: Thank you.
Rachel: Yes.
 (Starts to leave)
Rachel: Okay. Oh wait! One more thing umm, do-do we still need to uh settle the question of "us?"
(Ross storms off embarrassed.)
[Scene: Las Vegas, we have the typical glamour shots of Vegas, the Strip, slot machines, a couple other gaming tables all set to the tune of you guessed it, Money. Anyhoo, we finally get through that and watch Chandler, Monica, and Phoebe enter Caesar's Palace carrying their luggage.]
Phoebe: Hey you guys wait! Guys! (Catches up to them.) This place is so much better than London! Okay? This lady dressed like Cleopatra gave me a coupon, 99 cent steak and lobster dinner. Huh!

Phoebe: For 99 cents, I'd eat you. (Sees the casino) Okay, I can totally settle down here. It's got everything I could ever want, including Joey! Look! (Points to Joey in his gladiator suit posing for a picture with two old ladies.) Oh! Look! Hi!
Chandler: Oh my God.
Phoebe: Hey! Joey! (They all head over to him, he spots them coming and panics.) Hey! Hey!! Wow! (She hugs him.)
Joey: Hi!
Chandler: Love your condoms my man.
Joey: What-what are you guys doing here? I thought I told you not to come.
Phoebe: Why are you dressed as a gladiator?
Joey: Uhh, because I'm shooting a scene right now. Yeah, I uh, I play a gladiator. Uh, y'know what? Hold-hold on a second. (To no one in particular) Can we cut? Yeah, my-my friends are here, I'm gonna take a little break.
Monica: Who are you talking too?
Joey: They uh director. Uhh, her. (Points to an old woman standing behind him. Who glares at him and walks off.) All right, all right, it's not a gladiator movie. I work here.
Chandler: Why?! What happened?!
Joey: Well, the movie got shutdown because they ran out of money, so I'm working here 'til it starts up again, if it ever does.
Monica: I'm so sorry.
Joey: Look, I'm sorry I didn't tell ya. (To Chandler) I'm sorry man.
Chandler: No-no, that's okay, apparently there's a new policy where we don't have to share everything with everybody.
Monica: I knew you were not okay with that.
 Wow!
Joey: Yeah, what-what's going on?
Phoebe: Monica had lunch with Richard.
Joey: Dawson?!
Phoebe: Noo! But that would've been so cool!
Chandler: No! Her boyfriend Richard!
Monica: It meant nothing! Okay? After all this time, how can you not trust me?
Chandler: When you go lunching with hunky moustache men and don't tell me about it!
Monica: You're right. I'm sorry. I should've told you.
Chandler: Thanks. (They hug.)
Joey: Aww, there we go.
Phoebe: I love Vegas!

Chandler: (pushing her away from another hug) Next time?
Joey: Ooh, so close.
Chandler: There's not gonna be a next time! You can not ever see him again!
Monica: I can not see him?
Chandler: That's so funny, because I think I just did!
Monica: Oh y'know what? If you're gonna be acting like this all night, I really, I don't even want to be around you.
Chandler: Fine with me!
Monica: Fine! Happy Anniversary!
Joey: Whoa! Whoa! Guys! Please! Come on! Come on! This is obviously just a big misunderstanding.
Monica: No it is not!
Chandler: What are you talking
Joey: Hey-hey don't look at me! I just work here! (Walks away.)
[Scene: An aircraft cabin, Ross and Rachel are on their way to Vegas.]
Rachel: (taking off her sweater) Okay umm, Ross? I'm-I'm really warm, so I'm going to be taking off my sweater. Now, I'm just letting you know that this is not an invitation to the physical act of love.
Ross: (sarcastic) Yep! That's hilarious!
Rachel: I'm sorry. I'm done. I'm done.
Ross: Y'know, last night was embarrassing for you too.
Rachel: No, not really. I mean you've seen me naked hundreds of times.
Ross: Uh-huh. But it was a first for the rest of my building.
Rachel: Okay. All right, that's true! But y'know I just don't embarrass that easily.
Ross: What?! You totally get embarrassed!
Rachel: No, I don't! Ross, I think I'm just a more secure person than you are.
Ross: Is that so?
Rachel: Yeah.
(Pause.)
Ross: (loudly so that everyone can hear) Hey lady!  Okay?!  (Rachel sinks lower on her chair trying to hide.)
[Scene: Chandler's hotel room, he's sitting there with Joey who's talking about his helmet and running his hand through that feathery thing at the top.]
Joey: Hey, y'know in Roman times this was more than just a hat.
Chandler: Really?
Joey: Yeah, sure! Sure! They would uh, they would scrub the floors with it! They would use it to get the mud off their shoe. And sometimes underneath the horse would get dirty so they would stick it right
Chandler: (interrupting in the nick of time) Joey, I uh! I can't believe this is how I'm spending my anniversary.
Joey: All right well, I'll take you someplace nice then. Look! A guy tipped me a hundred bucks today.
Chandler: Whoa!
Joey: Yeah-yeah, he was playing blackjack for like an hour and he won $5,000. Can you believe that? $5,000!
Chandler: Y'know, if I won $5,000 I'd join a gym, y'know build up my upper body and hit Richard from behind with a stick! (Mimics it.)
Joey: Wait a minute! Why don't I do what that guy did? I'll take this $100 and turn it into $5,000! And then I'll turn that into enough money to get my movie going again!
Chandler: Good luck!
Joey: Chandler! I don't need luck. I have thought this through!
Chandler: I see.
(Joey exits as Chandler shakes his head.)
Commercial Break
[Scene: The casino bar, Phoebe and Monica are sitting at the bar, while Wayne Newton's signature song Danke Schoen is playing in the background.]
Monica: (to the bartender) Thank you.
Phoebe: Thanks.
Monica: I can't believe this! This is like the worst night ever!
Phoebe: Y'know Monica you had a minor setback in your relationship with Chandler. Big deal! It's only Chandler. (Monica turns and stares at her.) I am so sorry.
Monica: This is crazy!  I don't even wanna see Richard again.
Phoebe: So go fix it! Go find Chandler! He's probably up in your room! Tell him that you're sorry and that you love him.
Monica: Y'know what? You're right Phoebe. You're right. Thank you! (Gets up to find Chandler.)
Phoebe: Sure! (When Monica gets close to the door.) (Yelling) Yeah! Las Vegas, number one!
[Cut to the casino, Monica is walking through it past the craps table when she notices a chip on the floor. She picks it up and heads to the table.]
Monica: Anybody lose this? (Holds up the chip and the woman next to her shakes her head no.)
The Croupier: Comin' out. Place your bet. (Monica does so.) Dice are out. (The woman next to Monica rolls the dice.) Double or nothin'! Pay the front line! (Monica won and doubled the chip.)
Monica: Hmm.
[Scene: An airplane cabin, Ross and Rachel are both reading as a guy stops by their row.]
Guy: (To Rachel) So uh, I'm on my way back to the bathroom. (Ross giggles.)
Rachel: Yeah, all right. All right! Just keep walkin'! All right?
(Ross keeps giggling and Rachel decides upon revenge.  The guy turns around angrily.)
Rachel: Ross! What are you I'm sorry sir. I just, I think he just really likes you.
[Time lapse, Ross is drinking something and decides to get Rachel again.]
Ross: (to the guy in the window seat next to him) Hey! Y'know that teacher who had a baby with her student? (He points at Rachel.)
[Time lapse, Rachel pushes the flight attendant call button, takes Ross's drink, and spills it into his lap.]
Ross: What the? What
Rachel: (to the flight attendant who appears in record time. It was only seconds after Rachel pushed the call button was she there. Once again, more proof that TV isn't real, IRL she would've been waiting for the rest of the flight and by then Ross's pants would be dry.) Hi!
The Flight Attendant: Miss? May I help you?
Rachel: Yes, I'm sorry. Do you have any extra pants? Umm, my friend seems to have had a little accident.
[Scene: Caesar's Palace Casino, Joey is approaching one of the blackjack tables on his quest to make enough money for his movie.]
Joey: (to the dealer) Can I change a hundred? (He hands him his chip.)
Blackjack Dealer: Changing one hundred! (Gives him the change.) Good luck sir.
Joey: (betting all 100) Let's ride.
Blackjack Dealer: (Deals the cards) 13.
Joey: Hit me! (He does so.) Ohh man! (Joey busts and loses all the money, but when the dealer starts to collect the cards Joey notices something.) Wait! (He holds his hand next to the dealer's hand.)
[Cut to Chandler's room, Joey is relaying to Chandler his amazing discovery.]
Joey: Chandler!  I have found my identical hand twin!
Chandler: (totally confused) What?
Joey: My identical hand twin!
Chandler: What's an identical hand twin?
Joey: What's it sound like? It's a guy with my identical hands! It was incredible! Chandler, the dealer's hands were exactly like me! It-it was like looking at my hands in a mirror!
Chandler: Are you sure you weren't (pause) looking at your hands in a mirror?
Joey: Dont you see what this means?!  I'm gonna be a millionaire!
Chandler: (totally confused) How?
Joey: Look, I don't have it all worked out yet, but it's gotta mean big money! Come on! Identical hands!
Chandler: Again I must go back to, how?
Joey: This is Vegas man! People will pay to see freaky stuff! Okay, how much would you pay to see this hand (Holds up his left hand) twice? Huh?
Chandler: (Pause) Y'know, I-I can't really put a price on that Joe.
Joey: Hey, are you unsupporting me again?
Chandler: No! No! I support you 100%! I just didn't, I didn't get it right away. Y'know now I'm caught up! Identical hand twins! It's a million-dollar idea!
(Joey starts to leave to embark on his genius moneymaking scheme, but is freaked out slightly when as he goes to open the door, there's a mysterious knock. He calms himself down and opens the door to reveal Phoebe.)
Phoebe: Hey!
Joey: Pheebs!!
Phoebe: Yeah?
Joey: I found my identical hand twin!
Phoebe: Ohh, you are so lucky! (To Chandler) Hey! So, where's Monica? Did you guys make up?
Chandler: No!
Phoebe: But she just came up here!
Chandler: That was Joey!
Phoebe: I wonder where she is. That is so weird.
Chandler: Yeah, well, she's probably talking to Richard.
Phoebe: Would you stop that! Do you wanna know the first thing she said when she came back from her lunch with Richard? She didn't feel anything for him. She loves you!
Chandler: Really?
Phoebe: Yes! Now, she feels terrible!  You gotta find her.
Chandler: Okay. (He gets up and goes to find her.)
Phoebe: Good. (After he leaves, she puts on Joey's gladiator helmet and checks herself out in the mirror) I should really start wearing hats!
[Scene: Caesar's Palace Casino, Chandler is looking for Monica while Tom Jones's signature song is playing in the background (Getting the theme yet? Tom Jones, Wayne Newton, casinos They're in Vegas people! Catch up!) It's Not Unusual, y'know, "It's not unusual to be loved by anyone! It's not unusual to have fun with anyone! But when I see you hanging about with anyone, it's not unusual to see me cry! I wanna die." Well, while that's playing he spots Monica playing craps and in victory hug the guy next to her. Chandler turns and walks out.]
[Scene: That same plane cabin, Ross is working on a crossword puzzle and Rachel is asleep against his shoulder. She shifts a little bit and Ross suddenly gets an idea. An evil idea when he looks at his pen. Then we have a little time lapse, the plane has landed and everyone is disembarking. The flight attendant is saying bye-bye to everyone.]
The Flight Attendant: (to another passenger) Welcome to Las Vegas.
(Rachel approaches and we see the fruits of Ross's evil plan. He has drawn a moustache and beard on Rachel. The flight attendant just ignores it.)
The Flight Attendant: (To Rachel) Thank you! (Not sure of herself) Enjoy your flight?
Rachel: Yes, I did. Thank you very much, it was excellent. (Disembarks)
The Flight Attendant: (To Ross) Hope you had a nice flight.
Ross: Ohh, it was the best!
Commercial Break
[Scene: The casino, Ross and Rachel are entering.]
Ross: I think the check in is that way. (Points)
Rachel: Ahh.
(A young boy sees Rachel, points, and starts laughing.)
Rachel: Hello! (She makes a face and the kid laughs harder. Finally, his parents drag him off.) Ohh, kids love me.
Phoebe: (sees Ross and Rachel) Hey!
Ross: Phoebe! (They hug.)
Phoebe: You guys are here! Yay!
Rachel: Hi! (Hugs Phoebe)
Phoebe: (sees Rachel's face) What? Did you go to a costume party? Let me guess umm Pancho Vila? (Points at Rachel) and you're Bob Saget. (An old lady has sat down at the slot machine Phoebe was just at.)
Rachel: Pancho Vila?
Phoebe: Yeah! (Motions to her face, indicating all of Rachel's "make-up.")
Rachel: What are you talking about Pheebs? (Takes out her compact) I don't (She gasps when she looks in the mirror and sees her face.) (To Ross) Oh my God, you drew on me?!

Phoebe: Whoa, what kind of party was this?
Rachel: Ross, I have been walking around like this since the plane! I canyou have so crossed a line. (Heads for the bathroom)
Ross: Rach! Wait! The men's room is that way. (Points in the other direction. Rachel hits him with her purse and heads for the ladies room.)
(The old lady at Phoebe's machine wins. Phoebe turns around in shock.)
Phoebe: Ugh!
Ross: What?
Phoebe: That's like the third time that lady's won on a machine I was playing.

Phoebe: M-M-Mole people?
Ross: What? No-no, a lurker.
Phoebe: Oh. What's a lurker?

Ross: No. They swoop in and steal your jackpot.
Phoebe: Ohhh!
Ross: Uh-hmm.
Phoebe: How do you know about this?
Ross: My nana used to do it. That's how she paid for all my dancekarate lessons.
Phoebe: Dance karate?
Ross: Yes, it's a deadly but beautiful sport. (Does a karate chop, then does a little dance-type sway.)
Rachel: (returning with her purse covering her face) All right, it won't come off!
Ross: What?!
Rachel: It won't come off!
Ross: Oh my God! Rach-Rach, are-are-are you sure?
Rachel: No, actually I took it off then I drew it back on.
Joey: (entering) Hey-hey-hey you made it!
Ross: Joey!!
Joey: All right! Hey-hey!
Rachel: Hi!!
Joey: Who's your friend? He's hot! (Ross laughs and Rachel smacks him with her purse.)
Ross: (To Joey) Thanks man.
Rachel: Hi. (She hugs Joey.)
Ross: Hey listen I uh, talked to Chandler, sorry about the movie.
Joey: No, don't be sorry. I don't need it anymore. I found my identical hand twin!
Ross: Your what?
Joey: My identical hand twin! The person whose hands are exactly like mine! This thing is a gold mine!
Ross: What?! That's not gonna make you any money!
Joey: Okay. Well, if that's how you feel about it, fine! None of you get to live with me in my great big hand-shaped mansion! Except uh, you Pheebs. You can live in the thumb.
[Scene: The craps table, Monica is on a big roll.]
Monica: All right baby, come on! (Rolls the dice) Yes! Yes! I am on fire!
Chandler: (walking by with his luggage) See you later Mon.
Monica: Wait Chandler, what are you doing?!
Chandler: What does it look like? I'm going home.
Monica: What? Wait! Why? (He turns and heads for the door and she chases after him.) Chandler! Chandler! Wait! Im sorry, I was just playing for one second! I was trying to find you to tell you that, look if you don't want me to see Richard again, I won't! He means nothing to me!
Chandler: Come on! I was there! (He's propped up with his hand on a statute of a naked guy. He winces and pulls his hand away.) I know he's the love of your life.
Monica: Not any more.
Chandler: Really?!
Monica: Really! (They hug and kiss) All right? Let's forget about this going home stuff and celebrate our anniversary. (She picks up his suitcase.) Okay, this is empty.
Chandler: Yeah, I wanted to make a dramatic scene, but I hate packing.
[Scene: A blackjack table, it's the same one Joey's hand twin was working at, only he's not there anymore and has been replaced by a beautiful woman.]
Joey: (entering) Uhh, hey. Where's the other guy?
The Woman Dealer: Which guy?
Joey: He's kinda tall, dark hair, hand looks exactly like this. (Holds up his hand.) See?
The Woman Dealer: I don't know about the hands, but the guy that was here before me just went to the bathroom.
Joey: Okay! (Walks away, then turns back.) How you doin'?
The Woman Dealer: Very busy.
Joey: Right! Okay. (Heads for the bathroom.)
[Scene: Ross and Rachel's hotel room, Rachel is still trying to get the ink off and Ross is on the phone to the company. Wait a minute, why exactly are they sharing a hotel room? Didn't they like break-up or something? Did I miss a memo? Or maybe, it's just foreshadowing things to come. Who knows? Maybe the answer's at the bottom of the page. Then again, maybe it isn't and it's just one of those things TV writers just don't explain. Anyhoo ]
Ross: (on the phone) Yes, hello. I have a question.  (Listens) A beard and a moustache. (Listens and laughs) Thank you. (Rachel turns around and glares at him.) No, she didn't think so. (Listens) I know it's like (turns and sees Rachel staring at him and quickly changes the subject) anyway, umm well make-up didn't cover it and we've tried everything to get it off and nothing's worked. What-what do we do? (Listens) Yeah. (Listens) Uh-huh. (Listens) Yeah. (Listens) Oh! Okay. (Listens) Okay, thank you!
Rachel: What?! What else did he say?
Ross: Umm, he said he thought I was funny. So (Rachel stares at him.) Okay, look-look umm, let's just go downstairs, we'll have some fun, and you will forget all about it.
Rachel: Ross, no! There is no way I am leaving this room looking like this!
Ross: Oh, come on! Rach, it's-it's not that bad.
Rachel: Ross, I am a human doodle!!
 Okay? And besides, hey-hey-hey no one is even gonna look at you. Okay? This is Vegas! Hello! There are tons of other freaks here! (Rachel turns around and glares at him.) There are tons of freaks here. No other. No. Come on! No one will notice, I swear!
(They both exit.)
[Time lapse, they're both entering.]
Ross: Okay, there was some staring and pointing.
Rachel: Okay, I need a, I need a drink! (Makes a beeline for the mini-bar.)
Ross: Oh, hey y'know, they-they really overcharge you for that stuff. (Rachel glares at him.) But who cares?! Because it's all on me! (Rachel reaches into the fridge and pulls out two handfuls of those mini booze bottles.) (Watching her.) That is, one big drink!
Rachel: (she's finished reliving the fridge of its entire alcohol content.) Macadamia nut?
Ross: (looking at the price list) Umm Wow! That's-that's some pricey nut!
Rachel: Hm-mmm! (Opens the container)
Ross: Really like those Macadamia nuts, huh?
Rachel: Nope! (She puts one in her mouth and spits it out, then does it again in another direction.)
[Scene: The casino, Phoebe is playing on a slot machine. Suddenly the lurker sticks her head around the aisle of slot machines.]
 (She doesn't move) Go on! Get! (She throws a quarter at her.)
Chandler: (arm-in-arm with Monica) Hey Pheebs!
Phoebe: Ohh!
Monica: Yeah, I couldn't be mad at him for too long.
Chandler: Yeah, she couldn't live without the Chan Love. (They start kissing.)
Phoebe: Ohh, get a room.
Monica: We have one.
Phoebe: I know. Use it.
[Scene: The Men's room, Joey is entering and sees his hand twin washing his hands.]
Joey: Oh-oh-oh, yeah! (He grabs some towels and takes them to him.) That's right, you take good care of those babies!
Joey's Hand Twin: Excuse me?
Joey: It's me, Joey!
Joey's Hand Twin: Do I know you?
Joey: (holds up his hand) Joey!
Joey's Hand Twin: Oh-ho, yeah. Yeah, the hand guy.
Joey: Okay, so what are we going to do about this hand twin thing?!
Joey's Hand Twin: Nothing?
Joey: Look, you and I have been given a gift. Okay? We have to do something with it. Like-like, hand modeling! Huh? Or-or magic! And you know NASA's gonna wanna talk to us!
Joey's Hand Twin: (tries to leave) I have to get back to
Joey: (stopping him) Whoa! Whoa! Whoa! Whoa-whoa! We could have our own show! Y'know we could clap our hands together people will love it! Huh? And-and-and I wrote a song for us! (Singing, to the tune of This Land is Your Land) This hand is your hand! This hand is my hand!  No wait, it's my hand!
Joey's Hand Twin: That's okay. (Walks out.)
Joey: (following him) But you haven't even heard the chorus!
[Scene: Ross and Rachel's room, Ross is drinking a beer while Rachel is examining herself in the mirror.]

Ross: (gets up) All right. Y'know what? We dont have to go downstairs! We can bring Vegas up to us! (He grabs a deck of cards and pulls up a chair.) All right, come on, come on, we'll play some blackjack. Here we go. (Deals the cards.) 13.
Rachel: Hit me!
Ross: (does so) Oohh, 23. (Rachel looks at him.) Which is what we play to at this casino! You win 10 dollars! (Holds out a ten.)
Rachel: I bet 20.
 (Gives her the twenty she won.)
[Scene: The Craps Table, Monica is still on her roll, only this time Chandler's with her and she has a huge crowd of people around.]
Monica: (shaking the dice) A new pair of shoes for the Chan-Chan man! (Rolls the dice.) Yes!
Chandler: Yes! I've-I've never seen a roll like this in my life!
Monica: That's right baby! Okay, what do I want now?
Chandler: Okay, ah umm, ah, a 8. Ah, a 6?
Monica: Pick a number! That is your only job!
Chandler: 8. 8!
Monica: Thank you!
Chandler: If you get this one, we buy everybody here a steak dinner!
All: Yay!!
The Croupier: 8!
Monica: Yes!
All: Yay!!
Monica: (To Chandler) We're not really gonna buy these people steak dinners are we?
Chandler: Noo!
Monica: Okay, good! Okay, what do I want now?
Chandler: Ahh, ooh, try a hard 8.
Monica: What?
Chandler: Two fours.
Monica: Okay. (Rolls the dice)
The Croupier: 8!:
A Drunken Gambler: (To Chandler) Don't you let her go!
Chandler: Thank you, Mister Drunken Gambler! Okay, you get this and uh, we get the biggest suite in the place! (Everyone cheers) Wait-wait-wait-wait! We (motions to Monica and him.) get the biggest suite in the place.
Monica: All right, biggest suite in the place. Come on! (Rolls the dice.)
Chandler: (sees the roll) Yes!! I love you! I can't even remember what we were fighting about!
Monica: Oh, that's because I had lunch with RichMe neither! Okay, what do I want now?
Chandler: Another hard 8.
Monica: Hard 8?! We should call it easy 8!
Chandler: Okay, okay, I tell you what. You roll another hard eight; (pause) and we get married here tonight.
Drunken Gambler: Go! Come on! Roll!
All: Roll-roll!!
 It just got interesting!
Commercial Break
[Scene: The Craps table, continued from earlier.]
Monica: What did you just say?
Chandler: You roll another hard eight and we get married here tonight.
Monica: Are you serious?!
Chandler: Yes! I love you! I've never loved anybody as much as I love you.
Monica: I've never loved anybody as much as I love you.
Chandler: Okay, so if an eight comes up, we take it as a sign and we do it! {Whoa! Where have I heard that before? Matthew Perry talking about signs in Las Vegas. I guess it must've been some movie I saw.} What do you say?
Monica: Okay!
Chandler: Okay! Come on! Let's go! All right!
(She rolls the dice, but one bounces out of the table.)
Chandler: (spots one) Okay! That's a four! And where-where's the other one?
Drunken Gambler: It went under the table.
Monica: Nobody move! (To Chandler) Okay, you look that way; I'll look this way!
Chandler: All right!
(He searches to his right; she searches to her left. They're both on their hands and knees when they spot the die. It's propped up against the table leg, and it's not lying flat. Both the four and the five are showing.)
Chandler: Here it is! Here it is!
Monica: That could be a four or a five. It's your call.
(Pause.)
Chandler: It's a four.
Monica: I think so too.
(Cue up the music as they move in and kiss. This time I think it's Perry Como, but I'm not sure. It's Everybody loves somebody, sometime! Everybody falls in love somehow! Something in your kiss, just told me, my sometime, is now!)
[Scene: The slot machines, Phoebe is still feeding quarters into the one-armed bandit as the lurker peeks over the top of the machines.]
Phoebe: Oh well, lost again. (She gets up and slowly moves away. The lurker scurries in and takes her spot, only this time Phoebe set a trap for her and catches her in the act.) That's it! You and me, outside!
The Lurker: I don't want to see you lose a chunk of that pretty blond hair!
(They start smacking each other's cups, but Phoebe notices a security guard approaching.)
Phoebe: Be cool! (They both pretend to have a nice conversation as the guard walks by, but after he leaves they both start fighting again.) Okay lady, your lurking days are over!
The Lurker: What?!
Phoebe: Yeah, from now on everyone you lurk, I'm gonna lurk first! You move on to someone else, I'm gonna be one step ahead of you, every single time!  When do you leave?
The Lurker: Also Monday.
Phoebe: What time? Maybe we can share a cab!
[Scene: Ross and Rachel's room, they've pretty much consumed the entire mini-bar. Needless to say, they're feeling no pain and are still playing blackjack.]
Rachel: Hit me. (He does so.) Hit me. (He does so.) Hit me. (He does so.) Hit me. (He does so.) Hit me. (He does so.) Hit me. (He does so.) Hit me. (She slows down with each one.)
Ross: (runs out of cards) We need more cards.
Rachel: Yeah, and also we need more umm, drinks. Hold on a second. (Gets up but stumbles a little bit.) Whup, okay. (She makes it to the phone and picks it up, without dialing.) Hello! Vegas? Yeah, we would like some more alcohol, and y'know what else? We would like some more beers. Hello? Ohh, I forgot to dial!
(They both start laughing. There's a knock on the door.)
Ross: That must be our alcohol and beers! (Gets up to answer it.)
Joey: Hey!
Ross: Ohh, it's Joey! I love Joey! (Hugs him.)
Rachel: Ohh, I love Joey! Joey lives with a duck! (Goes and hugs Joey.)
Joey: Hi!
Rachel: Hey!
Joey: Look-look-look you guys, I need some help! Okay? Someone is going to have to convince my hand twin to cooperate!
Ross: I'll do it. Hey, whatever you need me to do, I'm your man. (He starts to sit down on the bed. There's one problem though, he's about two feet to the left of it. Needless to say, he misses and falls on his butt.) (Looking up at Joey.) Whoa-oh-whoa!
Joey: Yeah! I'm fine! Thanks! (He starts to leave, but gets an idea and stops.) Hey Rach, how you doin'?
Rachel: I'm doin' good, baby. How you doin'?
Joey: Ross, don't let her drink anymore! (Exits)
Ross: Ohh, here's that Macadamia nut!
Rachel: Ohhh!!
Ross: (he puts it in his mouth) Nope! Something else. (Throws it back under the bed.)
Rachel: Oops! All right, so what do you want to do now?
Ross: I wanna get out of the room! Y'know, I I really miss downstairs.
Rachel: Okay, y'know what? There's only one way I'm leaving this hotel room.
[Cut to the casino, a very drunk and doodled on Rachel is walking arm in arm with an equally drunk and doodled on Ross are walking through the casino and greeting people on their way through.
Ross: Well hello! I'm Ross!
Rachel: Good luck to ya!
Ross: Excuse me sir, you've got a little something right here. (He points to the corner of his mouth and they both laugh.)
(They've made their way to the statue of the naked man that Chandler was leaning against earlier.)
Rachel: Wow!
Ross: (bowing) Hello!
Rachel: (bowing) Hello!
Ross and Rachel: (bowing) Hello!
(They both continue on and Ross meows like a cat.)
[Scene: The slot machines, we see some guy not having any luck. Both Phoebe and the Lurker are lurking him and each stick their heads around the corner at different times This is all set to that Pink Panther song. Finally the guy gives up and walks past the lurker's position, thus giving her the advantage. She scurries in and quickly drops a coin in the slot before Phoebe gets there. Phoebe arrives slightly later and pulls the arm just after the lurker deposits the coin and wins.]
Phoebe: I won! I won! I finally won!
The Lurker: I won! That was my quarter!
Phoebe: Fine! Here! Take a hike toots! (Gives back her quarter.)
(The security guard approaches.)
The Lurker: (to the guard) Excuse me, sir! This lady played my quarter, this is my money. (Motions to the jackpot.)
The Security Guard: (To Phoebe) Is that true miss?
Phoebe: (quietly) Sells drugs to kids.
The Security Guard: What?!
Phoebe: She sells drugs to kids. (The guard looks at the lurker.)
The Lurker: It was my quarter!
The Security Guard: (To Phoebe) Was it her quarter?
Phoebe: How about we talk about this over dinner?
The Security Guard: Okay lady, you're out of here.
Phoebe: No! No, you can't arrest me! No!! I won't go back!
The Security Guard: I'm just taking you outside!
Phoebe: Oh, okay. (Walks out.)
[Scene: The Gift Shop, Monica and Chandler are entering.]
Monica: Okay, come on, I can't get married until I get something old, something new, something borrowed, and something blue.
Chandler: Okay, all right, all right, all right! Okay! (Picks up a blue sweater.) Okay, here's something, here's something blue and new.
Monica: You're so efficient. I love you!
Chandler: Let's go! (Starts to leave.)
Monica: No-no-no! We need something old!
Chandler: Ohh, great, I have condom in my wallet I've had since I was twelve.
Monica: That'll work!
Chandler: I don't think so.
Monica: Okay, now we just need something borrowed!
Chandler: (looks around) Here just take this. (Hands her the sweater.)
Monica: That's stealing!
Chandler: No, we'll-we'll bring it back! Just put it under your dress.
(She does so and it makes her look pregnant.)
Monica: Ohh. (Rubs her fake stomach.)
Chandler: Okay, one thing at a time. (They run out to get married.)
[Scene: A blackjack table, Joey is moving in to try and get his hand twin (who's dealing) to join him in his evil plot to rule the world! "Join me, and together we'll rule the universe as father and son!" (Sorry, I had a little Star Wars creep in thereOoh, I have a big spoiler for The Phantom Menace, Yoda lives at the end! Ha-ha, spoiled it! Now you don't have to see it!)]
Joey: (sitting down) Ahhh! (Slides his hands across the table.)
Joey's Hand Twin: Are you gonna play?
Joey: No-no, I don't really have any money. Not yet, anyway (Shakes his hands.)
Joey's Hand Twin: You can't sit here if you're not gonna play.
Joey: (throws down a small wad of money, and as his hand twin starts to unfold it, Joey once again brings attention to their special gift to the world. {Y'know, looking at it now, they really don't have that similar of hands. Joey's are bigger.}) Ooh-ho-ho! (The dealer stares at him and he stops.)
Phoebe: (entering and sitting down at the table.) Hello. My name is Regina Phalange. I'm a businesswoman in town on business. Would you like to see my card? (Looks down) Ooh, what did I do with my file-a-facts? I must've left it in conference room B.
Joey's Hand Twin: (To Joey) 14.
Joey: Hit me! (He does so.)
Phoebe: Oh my God! May I just say that you two gentlemen have the exact same hands! They're identical! Now, I've never seen anything like that in the business world.
Joey's Hand Twin: Stop it!
Joey: Uhh, Ms. Phalange, may I ask you a question as an impartial person at-at this table?
Joey's Hand Twin: Please stop it!
Joey: Wouldn't you pay good money to see these identical hands showcased in some type of a uh, entertainment venue?
Joey's Hand Twin: (To Joey) If you leave now, I will chop off my hand and give it too you!
(The security guard from before approaches and Phoebe tries to turn her back on him.)
The Security Guard: (To Phoebe) Didn't I just throw you out of here?
Phoebe: No, you threw out Phoebe. I'm Ms. Regina Phalange. Phalange!
The Security Guard: Come on, lady! (Starts to escort her out.)
Joey's Hand Twin: Please, please take him too. (Motions to Joey.)
Joey: Me?! Oh come on, man! You can't do this! Come on! (Being dragged out by the guard) I'm your hand twin!!
[Scene: A Little White Chapel, Chandler and Monica are entering.]
Chandler: Hello! One marriage please!
Monica: Yep, we wanna get married!
The Attendant: Well, there's a service in progress. Have a seat.
Chandler and Monica: All right.
(They both sit down.)
Chandler: (singing) Dum! Dum-dum-dum! Dum! Dum! Dum! Dum-dum-dum!
Monica: What are you doing?
Chandler: Oh, that's The Wedding March. Does, does that freak you out?
Monica: No, only because that's the graduation song.
(The real Wedding March begins playing from behind the closed doors of the chapel.)
Chandler: Okay! (Stands up) This is it! (Claps his hands) We're gonna get married!

(Suddenly the doors burst open, and ROSS AND RACHEL COME OUT ARM-IN-ARM!!!!! And Rachel's carrying a bouquet!!! THEY GOT MARRIED!!!!)
Ross: Well, hello, Mrs. Ross! (Throws some rice.)
Rachel: Well, hello, Mr. Rachel! (Throws some more rice.)
(They storm out into the street.)
Rachel: Wait! (Gets her bearings) Okay!
(She goes one way; he goes the other. The camera pans back to Chandler and Monica, and needless to say, they're standing there dumbstruck as The King's (Elvis Presley to the yougin's) Viva, Las Vegas begins to play. Sing along with me now, "Viva! Las Vegas! Vivaaaaaa! Vivaaaaa! Las Vegassssss!!" Fade to Black.)
Ending Credits
[That's all folks, no teaser; just the big cliffhanger for season 6. Yes, there will be a season 6, and it'll start again in September. Have a good summer everyone!]


IT and Electronic Engineer, I'm passionate in IT and high techologies, self-starter and team player. I have already worked in condition in leveraging agile methodology. Freelancer in web developement since 2017, I traveled to Australia and Asia for 2 years.
I would describe my work ethics and myself to be spontaneous, punctual, motivated, hardworking and responsible, I’m happy to learn new things.
Web Master, Web Developer, Web Marketing, SEO Consulting, Community Management. Construction work in Australia, bartending in nightclub, housekeeping and maintenance in hostel.
| Septembre 2017 - Present |
| France, Australia |
Management and maintenance of the system of failure control of the parameters of equipment "Ionic Implanters" of production. Manager of a team of 15 technicians, responsible of 10 equipment for a production line. Installation of a surveillance system on photo-stabiliser equipment.
| 2014 - 2017 |
| France - Rousset |
Preventive maintenance on etching equipment
| 2012 - 2014 |
| France - Rousset |
Lifeguard for the swimming pool of Boulogne sur Gesse campsite, management of the bar, bartender for the nightclub.
| July-August 2012 |
| France - Boulogne /Gesse |
| 2014 - 2017 |
| France - Marseille |
| 2012 - 2014 |
| France - Istres |
| 2010 - 2012 |
| France - Marseille |
Boxe, Motorbike, Climbing, FreeDiving, Sport in general.
Video games, IT, DIY Home Automation. Web developer for a humanitarian association.
Travels (2017-2019 : Asia, Australia, New Zealand, Indonesia, Malaysia, Polinesia)
Guitar and Piano.


New hires at Abbott, Kite and Arrakis Therapeutics
The latest movers in pharma
Abbott
Ford currently serves as president and chief operating officer at Abbott, and will become the 13th CEO of Abbott. White is due to hand over the role on 31 March 2020, but will remain executive chairman of the board.
Starting off in Abbott’s Diabetes Care business, Ford has since served in many leadership roles within the company, including in the Nutrition and Medical Device businesses.
He worked as executive vice president of Medical Devices, in which he oversaw the integration fo St. Jude Medical – Abbott’s largest acquisition. He also led Abbott’s Diabetes Care business and the launch of the FreeStyle Libre. In October 2018, Ford was appointed president and chief operating officer.
"Robert is the right person for Abbott's future. He is a proven Abbott leader with significant experience running Abbott's global businesses. We're confident he will continue Abbott's outstanding legacy of success," said William Osborn, lead director and chair of the Nominations and Governance Committee of Abbott’s Board of Directors.
Kite
Kite, a Gilead company, has appointed two new additions to its leadership team.
Charles Calderaro has been appointed as global head of technical operations, and joins the company from BioMarin. At BioMarin, he served as senior vice president, global manufacturing, where he oversaw the leadership of the company’s international operations network.
Prior to BioMarin, Calderaro was the vice president of technical product management at Genentech.
Also joining Kite is Ken Takeshita, who has been appointed as global head of clinical development. He joins Kit from Sorrento Therapeutics, where is worked as senior vice president, clinical research, and held responsibility for clinical development strategy in oncology.
Previously, he spent many years at Celgene, where he was corporate vice president for clinical R7D and the therapeutic area head for Lymphoma and CLL.
Arrakis Therapeutics
She has nearly 30 years of experience in the biotech industry as a leader of emerging companies. Most recently, Bosley served as the chief executive officer of Editas Medicine, and previously worked as CEO of Avila Therapeutics until its acquisition by Celgene.
“Katrine’s experience building dynamic, science-driven companies will serve as a critical resource for Arrakis as we realise our vision of targeting RNA with small molecules to unlock new ways to treat human disease,” said Michael Gilman, CEO of Arrakis.
“The breadth of her expertise and her track record of creating value through focused drug development and creative business strategy will be tremendously important to Arrakis as we enter a period of substantial growth in our pipeline and business,” he added.


WebView Vulnerability
JavascriptInterface
uxss
intent loop
Intent URL
Change Password
Malicious
Malicious (Vibrate)
Malicious File
Endless popup
Testing
User Agent
Permission
Video Test
HTML5 camera Test


[gecode-users] different nr of solutions with and without GIST
Gustavo Gutierrez
ggutierrez at atlas.puj.edu.co
Fri Jan 9 14:02:04 CET 2009
Gustavo Gutierrez
On Fri, Jan 9, 2009 at 10:42 AM, Guido Tack <tack at ps.uni-sb.de> wrote:
> Gustavo Gutierrez wrote:
>
>> I am experiencing almost the same problem. There is a difference in the
>> number of solutions when i run my problem instance with or without gist. The
>> difference with the case reported is that for me the number of solutions
>> reported by gist is really large compared to the number of solutions of the
>> command line search. In my case the search without gist reports the right
>> number of solutions.
>>
>> As i am working with a new constraint system i think this is caused by
>> some bug in my implementation, but the question is: if it is a bug then both
>> search strategies should exhibit it, am i right?
>>
>
> Not necessarily. If it's due to non-monotonicity of a propagator, anything
> can happen - the shape and size of the tree might even depend on memory
> layout and other influences that are impossible to control. If the
> propagator is in addition not correct, also the number of solutions can
> differ substantially.
> In your case, does Gist return solutions that shouldn't be accepted as
> solutions, or does it return solutions more than once?
I removed all the propagators from my problem. Currently i am only branching
on one variable and i am getting different result from gist and the other
search. As there are no propagators, the shape of the search tree is easy
to guess and should have only 80 solutions. When i run the gist search i get
more than that number of solutions but an interesting thing is that clicking
or passing the mouse over a solution that should not be there leads to a
segmentation fault. Actual solutions to the problem are shown when double
clicking without any problem.
Regards,
Gustavo
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Three facts about me: I like dogs, I used to produce music professionally, and I enjoy gaming as well as making games. I went into Computer Science with the hopes that I would gain enough knowledge to program games on my own or with a company.
| Name of Project | Technologies Used |
|---|---|
| Website Dev | HTML,CSS,JS |
| Marvel Trivia | C++ |
| CSCI-1300 Final Project | C++ |


My Name is Divya Jyoti Das. I am working in Cumulus Systems Pvt. Ltd.
My Interst is programming.Hobbies is to play chess and Travelling


Choose a resource for a standard performance report.
Choose a resource for a custom performance report.
The Standard Performance Reports provide a stock way to easily visualize the critical SNMP data collected from managed nodes and interfaces throughout your network.
Custom Performance Reports can be used to produce a single graph that contains the data of your choice from a single interface or node. You can select the timeframe, line colors, line styles, and title of the graph and you can bookmark the results.


A simple interface to learn about actors/actresses The next big thing. Brought to you by Brimmy Moorig .


Secrets
This is our secret page ....
Click to change to yellow
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The Slate supports bindings in exactly the same way as the
Tk canvas. These can be used to implement moving of items and other
forms of interaction. The Slate also provides a higher-level
mechanism, based on the concept of interactors, as described by
Brad Myers and used in the Garnet system.
set slate [::tycho::Slate::demoslate]
set r [$slate create rectangle 60 20 80 40 -fill red]
set f [$slate create Frame 120 120 150 140 \
-borderwidth 4 -color green -tags fred]
Each interactor is an object that inherits from the Interactor
class. The most basic kind of interactor is the Follower, which
"follows" the mouse. Assuming you still have the Slate from earlier in
this tutorial (if not, you will need to go back and re-execute
the code), you can create an interactor with the interact
method:
set follower [$slate interactor Follower]
An interactor is "bound" to one or more objects with the
bind
command. For example, this will bind the follower
you just created to the items tagged with fred
(the
Frame):
$follower bind fred -button 1
You can now drag the frame, but not the rectangle, with the mouse!
To turn this off again, use unbind
:
$follower unbind fred -button 1
There are several other kinds of interactor. Bounder moves
an object within a specified region of the Slate. We'll create a
rectangle so you can see the region:
$slate create rectangle 50 50 200 200 -outline red
set bounder [$slate interactor Bounder -bounds {50 50 200 200}]
$bounder bind $r -button 1
-bounds
option is not given, the Bounder interactor keeps the object within the
bounds of the Slate. Bounder can be used constrain movement along
one axis:
$bounder configure -constrain x
Interactors can be cascaded, to make more complex interactions. For
example, we can create a Stepper interactor that quantizes
movement to a certain size, and cascade it with the bounder:
set stepper [$slate interactor Stepper -stepsize 10]
$bounder configure -constrain none
$bounder cascade $stepper


UN assembly condemns US embargo on Cuba, for 28th time
UNITED NATIONS: The UN General Assembly condemned the nearly 60-year-old US embargo on Cuba on Thursday (Nov 7) for the 28th year in a row, calling for an end to it by a vote of 187 to three.
Only Israel and Brazil voted with the US against the resolution. Two other US allies - Ukraine and Colombia - abstained.
First imposed on Oct 19, 1960 in response to Havana's nationalisation of US-owned oil refineries, and extended in 1962, the embargo is an enduring legacy of the Cold War hostilities between the two countries.
It was denounced as "anachronistic" and "inhumane" during two days of debate by the General Assembly.
In 2016, the US abstained for the first time in the annual UN vote amid a historic US rapprochement with Cuba under former president Barack Obama.
But diplomatic relations between the two countries have turned cold since Donald Trump's arrival in the White House.
Cuban Foreign Minister Bruno Rodriguez charged there has been "an escalation in aggression against Cuba" under Trump, whose government, he said, "does not hide its intention to economically asphyxiate Cuba and increase the damage, shortages and suffering of its people."
Havana claims the embargo has caused US$138 billion in damage to the island's economy, in today's dollars.
The US ambassador to the United Nations, Kelly Craft, blamed the Cuban regime, accusing it of abuses against its own people, and of sowing regional instability.
"We do not accept responsibility for these abuses," she said.
Brazil, now led by the ultra-conservative Jair Bolsonaro, voted for the first time with the United States. Last year, only Israel joined the US in voting against the resolution.
Brazilian Foreign Minister Ernesto Araujo said its decision to vote against Cuba was based on the need to combat communism.
"The influence that Cuba has over developing countries within the UN system is an embarrassment and should be stopped," Araujo said.
Colombia, which changed its vote from backing Cuba to abstaining, said that decision was prompted by Havana's "hostility towards Colombia" and its support for Venezuelan President Nicolas Maduro.


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