"AN ENTERPRISE VINEYARD PRODUCTION." "JULIE CHRISTIE..." "INFAHRENHEIT 451. ALEX SCOTT." "SCREENPLAY BY FRANCOIS TRUFFAUT AND JEAN LOUIS RICHARD." "FROM A NOVEL BY RAY BRADBURY." "MUSIC BY BERNARD HERMAN." "NICHOLAS ROWE." "COLOR BY TECHNICOLOR." "SID CAINE." "PRODUCTION AND COSTUME DESIGN TONY WALTON." "THOM NOBLE." "MICKEY DELAMAR." "PRODUCED BY LEWIS M. ALLEN." "DIRECTED BY FRANCOIS TRUFFAUT." "HELLO." "GET OUT!" "HURRY!" "WHAT?" "WHO IS THAT?" "GET OUT OF THERE!" "I..." "HELLO?" "HERE." "MONTAG?" "SIR." "A LITTLE BIT OF EVERYTHING." "EH?" "WHY WILL THEY DO IT?" "IT'S SHEER PERVERSITY." "BY THE WAY..." "PASS IT OVER." "WHAT DOES MONTAG DO WITH HIS DAY OFF DUTY?" "SIR." "MOW THE LAWN." "AND WHAT IF THE LAW FORBIDS THAT?" "SIR." "UH-HUH." "GOOD." "GOOD." "MONTAG MIGHT BE HEARING SOME EXCITING NEWS IN A DAY OR TWO. SIR?" "I TRUST THAT THE THOUGHT MAKES MONTAG HAPPY." "I THINK WE'RE NEIGHBORS." "I LIVE NEAR BLOCK 813." "I DO." "DO YOU KNOW WE MAKE THE SAME TRIP TOGETHER ALMOST EVERY DAY?" "DO WE?" "HMM. WE OUGHT TO TALK TO EACH OTHER." "I MEAN." "GO AHEAD." "TALK." "I CAN'T PROMISE TO THINK OF ANYTHING TO ANSWER THOUGH." "DON'T WORRY ABOUT THAT." "NOTHING CAN STOP ME." "MY UNCLE SAYS I AM A VERITABLE WELL OF WORDS." "HAS THIS UNCLE OF YOURS EVER WARNED YOU NEVER TO SPEAK TO STRANGERS?" "NO." "HE DID SAY ONCE IF ANYONE ASKED HOW OLD I WAS..." "TO SAY I WAS 20 YEARS OLD AND LIGHT IN THE HEAD." "THEY ALWAYS GO TOGETHER." ""LIGHT IN THE HEAD"?" "MMM." "LOOPY." "CRAZY." "YOU DON'T FRIGHTEN ME." "WHY SHOULD I?" "NO REASON REALLY." "I SUPPOSE. FRIGHTENED OF FIREMEN." "THIS IS MY STOP NOW." "MINE TOO." "NO." "NOT YET." "AN OFFICER HAS TO..." "I'M GOING TO BE PROMOTED SOON." "I COULD TELL WHAT YOU DO FOR A JOB." "BECAUSE OF THE SMELL OF KEROSENE?" "HUH." "ISN'T IT?" "MY WIFE DOESN'T LIKE IT VERY MUCH." "SHE SAYS IT LINGERS." "I DON'T MIND." "I THINK OF IT AS A..." "PERFUME." "LIKE ANY OTHER." "I DON'T THINK I'VE SEEN YOUR WIFE." "WHAT'S SHE LIKE?" "EXCEPT HER HAIR IS LONG." "RATHER LIKE ME?" "QUITE LIKE YOU." "WHAT'S IT MEAN?" "FAHRENHEIT 451." "WHY 451 RATHER THAN 813 OR 121?" "FAHRENHEIT 451 IS THE TEMPERATURE AT WHICH..." "BOOK PAPER CATCHES FIRE AND STARTS TO BURN." "ONLY I DON'T REALLY DARE." "GO AHEAD." "IS IT TRUE..." "THAT A LONG TIME AGO..." "FIREMEN USED TO PUT OUT FIRES AND NOT BURN BOOKS?" "YOUR UNCLE IS RIGHT." "YOU ARE LIGHT IN THE HEAD." "PUT FIRES OUT"?" "WHO TOLD YOU THAT?" "I DON'T KNOW." "SOMEONE." "BUT IS IT TRUE?" "WHAT A STRANGE IDEA." "HOUSES HAVE ALWAYS BEEN FIREPROOF." "OURS ISN'T." "IT SHOULD BE CONDEMNED ONE OF THESE DAYS." "AND YOU WILL HAVE TO MOVE..." "TO A HOUSE THAT IS FIREPROOF." "TOO BAD." "WHY DO YOU BURN BOOKS?" "WHAT?" "IT'S A JOB LIKE ANY OTHER." "GOOD WORK WITH LOTS OF VARIETY." "WALT WHITMAN;" "SCHOPENHAUER AND SATRE." "WE BURN THEM TO ASHES AND THEN BURN THE ASHES." "THAT'S OUR OFFICIAL MOTTO." "YOU DON'T LIKE BOOKS THEN?" "I ADORE IT." "BOOKS ARE JUST SO MUCH..." "RUBBISH." "THEY HAVE NO INTEREST." "THEN WHY DO SOME PEOPLE STILL READ THEM ALTHOUGH IT'S SO DANGEROUS?" "PRECISELY BECAUSE IT IS FORBIDDEN." "WHY IS IT FORBIDDEN?" "BECAUSE IT MAKES PEOPLE UNHAPPY." "DO YOU REALLY BELIEVE THAT?" "YES." "BOOKS DISTURB PEOPLE." "THEY MAKE THEM ANTISOCIAL." "DO YOU THINK I'M ANTISOCIAL?" "WHY DO YOU ASK?" "WELL..." "I'M A TEACHER." "NOT QUITE." "I'M STILL ON PROBATION. AND I DON'T THINK I SAID THE RIGHT THINGS." "I'M NOT AT ALL HAPPY ABOUT MY ANSWERS." "THAT'S PROBABLY WHY I'VE BEEN SO RUDE TO YOU." "HAVE I BEEN ANNOYING YOU?" "NOT AT ALL." "I WAS QUESTIONED THIS AFTERNOON AS WELL." "I DIDN'T DO TOO WELL EITHER." "THIS IS WHERE I LIVE." "YOU SEE?" "THIS IS MY HOUSE." "ONE MORE QUESTION." "ANOTHER ONE?" "JUST A TINY ONE." "WHAT IS IT?" "DO YOU EVER READ THE BOOKS YOU BURN?" "I'M NOT INTERESTED." "IT IS FORBIDDEN." "OF COURSE." "YOU HAPPY?" "WHAT?" "OF COURSE I'M HAPPY." "...SO YOU CAN PROTECT YOURSELF ON THE STREETS. COUSINS." "YOU WILL SEE..." "HOW A WOMAN CAN USE A MAN'S SUPERIOR WEIGHT TO HER OWN ADVANTAGE." "DID YOU SEE THAT?" "NOW LET'S WATCH THAT ONCE AGAIN NORMALLY." "AND NOW IN SLOW MOTION." "COUSINS." "I'M GOING TO BE PROMOTED." "LINDA?" "KNEES BENT SLIGHTLY AND TOES TURNED SLIGHTLY INWARDS." "MONTAG." "THERE." "NOW YOU SEE HOW EASILY SHE HAS DISPOSED OF HER..." "THE CAPTAIN TOLD ME WHILE WE WERE OUT ON A CALL." "WHAT DID YOU SAY?" "I'M TALKING ABOUT MY PROMOTION." "DEAR?" "HOW MUCH?" "HE DIDN'T MENTION THAT." "WE COULD MOVE TO A LARGER HOUSE." "WOULD YOU LIKE THAT?" "I'D RATHER HAVE A SECOND WALL-SET PUT IN. IT'S LIKE HAVING YOUR FAMILY GROW AROUND YOU." "HOW MANY OF THESE PILLS HAVE YOU TAKEN TODAY?" "WHAT'S THAT?" "THOSE." "HELP YOURSELF." "I'VE GOT ANOTHER BOTTLE." "DON'T CARRY ON LIKE THAT." "ONLY A FEW." "TONIGHT'S SPECIAL FOR ME." "I'VE GOT A PART INTHE FAMILY." "WHAT?" "OUR CAMPAIGN AGAINST THE ENEMIES OF THE PUBLIC PEACE..." "IS GAINING MOMENTUM." "TODAY'S FIGURES FOR OPERATIONS IN THE URBAN AREA ALONE..." "ACCOUNT FOR THE ELIMINATION OF THE TOTAL... 750 POUNDS OF CONVENTIONAL EDITIONS." "EIGHT HUNDRED AND THIRTY-SIX POUNDS OF FIRST EDITIONS..." "AND 17 POUNDS OF MANUSCRIPTS WERE ALSO DESTROYED." "PENDING RE-EDUCATION." "DID YOU SEE THAT?" "COUSIN CLAUDETTE'S GOT A BOUFFANT TONIGHT." "WHO?" "COUSIN CLAUDETTE." "WHO IS COUSIN CLAUDETTE?" "THE COUSIN ANNOUNCER." "THE ONE YOU DON'T LIKE." "I DON'T LIKE ANY OF THEM." "WHY DON'T YOU GET THE KITCHEN FIXED?" "YOU ARE AWFUL." "HURRY!" "I'LL BE ON IN A MINUTE!" "QUICKLY!" "QUICKLY!" "?" "[ TV Theme I DON'T UNDERSTAND." "HOW CAN YOU BE IN A PLAY?" "THEY'VE WRITTEN A PLAY WITH ONE PART MISSING." "THAT'S ME." "THEN I HAVE TO SPEAK." "AND I HAVE TO SAY WHAT I THINK. OUR FAMILY THEATER." "COME PLAY WITH US." "IN WHAT YOU ARE ABOUT TO SEE..." "ANY SIMILARITY WITH THE TRUTH OR WITH REAL LIFE WILL BE PURELY COINCIDENTAL." "DO BEAR THAT IN MIND." "WILLYOU COME PLAY WITH US?" "YOU WILL?" "GOOD!" "I THOUGHT YOU WOULD." "COUSINS." "BE ONE OF THE FAMILY." "DO YOU REALIZE WHAT A DILEMMA THIS IS?" "IT'S TERRIBLY DIFFICULT." "I DON'T SEE ANY WAY OUT OF IT." "BERNARD." "OF COURSE THERE'S A WAY OUT." "RIGHT?" "WHICH MAKES 14." "THEN WE SHOULD BE BACK TO 13 AGAIN." "PRECISELY." "THEN WE MUST INVITE MORE PEOPLE." "THAT'S AN IDEA." "WHAT ABOUT LOTTIE AND JAMES?" "THAT'LL MAKE 16." "AT LEAST WE WON'T BE 13." "BUT THEN THERE'S THE PROBLEM OF THE ROOMS." "FREDDIE AND LITTLE JOHN." "I DON'T SEE ANY PROBLEM THERE AT ALL." "WE CAN PUT THE TWO CHILDREN IN HELEN'S ROOM." "LINDA?" " GO AHEAD." "THEY'RE WAITING FOR YOU." " I THINK THAT..." "YOU SEE?" "LINDA AGREES WITH ME." "LOTTIE'S CHILDREN MUST GO IN WITH HELEN'S CHILDREN." "LINDA'S ABSOLUTELY RIGHT." "CHARLES." "THOUGH." "LOOK." "IF WE PUT YVONNE AT THE HEAD AND RICHARD AT HER RIGHT..." "BERNARD." "RICHARD ISN'T EVEN SPEAKING TO YVONNE." "OH?" "BECAUSE OF LESLIE." "OH!" "MADELEINE MUST BE AT THE HEAD." "MADELEINE IS OLDER THAN YVONNE." "SHE MIGHT EVEN BE OLDER THAN JACQUELINE." "I SEE NO PROBLEM THERE." "WE PUT MADELEINE AT THE HEAD OF THE TABLE." "LINDA?" "ABSOLUTELY." "IT MUST BE." "THERE'S STILL THE PROBLEM ABOUT THE ROOMS." "WHAT ROOMS ARE LEFT?" "THERE'S THE PINK ROOM." "WE COULD ALWAYS PUT LILIAN IN THE PINK ROOM." "WE CAN PUT SUSAN IN THE GREEN ROOM." "YES." "WHAT CAN WE DO WITH MONICA?" "LINDA?" "IN THE BLUE ROOM?" "YOU'RE RIGHT." "SHE'S RIGHT." "YOU'RE ABSOLUTELY FANTASTIC." "DIDN'T YOU?" "I GAVE ALL THE RIGHT ANSWERS." "WASN'T IT WONDERFUL?" "I COULD HAVE BEEN AN ACTRESS." "DON'T YOU THINK SO?" "THINK WHAT?" "THAT I COULD HAVE BEEN AN ACTRESS." "SURE YOU COULD HAVE BEEN AN ACTRESS." "I WONDER WHETHER JOYCE WAS WATCHING." "I DO HOPE SO." "I MUST RING HER TOMORROW AND FIND OUT WHAT SHE THOUGHT." "HOW DID YOU GET THE PART?" "THE HEAD OFTHE FAMILYRANG ME UP." "ME!" "AND SAID I WAS TO BE IN TONIGHT'S PLAY." "000 LINDAS IN THE WHOLE COUNTRY." "THAT'S NOT TRUE." "YOU DIDN'T HAVE TO TELL ME." "THAT WAS VERY MEAN." "MONTAG." "GOOD LUCK." "THANK YOU." "EH?" "IT SEEMS SO." "HOW DO YOU FEEL ABOUT IT?" "HAPPY?" "THE WIFE RATHER LIKES THE IDEA." "I SUPPOSE." "HURRY!" "ATTENTION!" "THAT WILL DO FOR TODAY." "GO BACK TO YOUR DESKS." "WHAT'S THIS?" "I TOLD YOU TWO I DID NOT WANT TO SEE YOU SITTING NEXT TO EACH OTHER." "YOU!" "YOU KNOW WHAT I MEAN." "COME AND SIT HERE." "LET US REVIEW YESTERDAY'S LESSON." "WE STUDIED HOW TO DETECT BOOKS HIDDEN DURING THE ACTUAL CONSTRUCTION OF A HOUSE." "THIS IS SOMEWHAT RARE BECAUSE IT'S VERY COSTLY;" "FOR ITS CEILINGS." "WE ALSO STUDIED CONCEALMENT INSIDE FURNITURE." "TRAINEE FIREMEN STONEMAN AND BLACK ARE TO REPORT TO CAPTAIN'S OFFICE IMMEDIATELY." "TRAINEE FIREMEN STONEMAN AND BLACK..." "ARE TO REPORT TO THE CAPTAIN'S OFFICE IMMEDIATELY." "WE WERE DISCUSSING CONCEALMENT INSIDE FURNITURE." "THE MOST PREVALENT FORM BEING THE FALSE ICEBOX OR THE FAKE TELEVISION SET." "WHAT OCCASIONALLY PRESENTS PROBLEMS ARE BOOKS HIDDEN IN SMALL QUANTITIES..." "IN EVERYDAY OBJECTS." "THE MOST COMMON AREA IS TO LOOK FOR IT..." "LIKE A CIGAR BOX OR A CHOCOLATE BOX..." "OR ANY OTHER OBJECT IN SIMILAR SHAPE." "I DEMONSTRATE HOW EVEN A CYLINDRICAL OBJECT CAN BE USED." "MONTAG WILL REPORT TO THE CAPTAIN'S OFFICE." "YOU." "HAND ME A PILE OF BOOKS." "GIVE EACH OF THE TRAINEES A BOOK." "EACH OF YOU WILL HIDE HIS BOOK SOMEWHERE IN THIS CLASSROOM." "I WILL GIVE YOU A DEMONSTRATION HOW TO SEARCH." "ONE MUST FIRST KNOW HOW TO HIDE." "WHAT SHALL I SAY?" "WE MET BY ACCIDENT." "THAT'S NO GOOD." "WHAT DO YOU WANT TO SAY?" "WE PLANNED IT?" "IT WAS YOUR IDEA." "YOU'RE THE ONE WHO THOUGHT OF IT." "SHUT UP!" "WE'RE..." "LISTEN..." "LET'S PLAY THIS BY EAR." "SIR." "WHAT TIME IS IT?" "SIR." "GET OUT!" "THIS IS THE LAST TIME!" "GET OUT!" "SIR." "SIR." "SIR." "SIR." "BILLIARDS?" "BASKETBALL?" "SIR." "HMM?" "STRENGTHEN THE GROUP SPIRIT." "ORGANIZE THE FUN." "HMM?" "AND YOU KEEP THEM HAPPY." "THAT'S WHAT MATTERS." "HMM?" "AM I RIGHT?" "SIR." "SHALL WE TALK A LITTLE ABOUT THIS PROMOTION OF YOURS?" "YOU HAVE MENTIONED THE POSSIBILITY TO YOUR WIFE?" "SIR." " AND HER REACTION?" "SHE THOUGHT WE MIGHT BE ABLE TO HAVE A SECOND WALL-SCREEN." "YOU ONLY HAVE THE ONE WALL CONVERTED." "I SEE." "AREN'T THEY?" "SIR." "I BELIEVE." "SIR." "WE HAVE NO CHILDREN." "A COMMISSION SEEMS IN ORDER." "I CAN'T SEE ANY REASON OFFHAND WHY IT SHOULDN'T GO THROUGH. WE MUST EXPECT TO BE WORKED REALLY VERY HARD. UNTIL WE CAN ARRANGE FOR NEW VOLUNTEERS TO BE DRAFTED." "I HEARD THE MEN TALKING ABOUT IT." "HOW LONG HAVE YOU BEEN WITH US?" "FOR SIX YEARS." "SIR." "FOR FIVE YEARS." "MONTAG HAS ONE QUALITY I APPRECIATE GREATLY." "HE SAYS VERY LITTLE." "HAVE YOU SEEN MY PERSONAL MEDALLION?" "IT'S A REMARKABLE LIKENESS." "YOU MUST REMIND ME TO LET YOU HAVE ONE SOMETIME." "LET'S GET BACK TO THIS PROMOTION OF YOURS." "I'VE BEEN LOOKING THROUGH YOUR FILE." "YOU KNOW." "TWO SETS OF SIX." "MONTAG." "LINDA?" "LINDA!" "HOSPITAL LISTENING." "IT'S ABOUT MY WIFE." "SHE..." "NAME AND ADDRESS." "UH..." "MONTAG." "BLOCK 813." "JUST A MOMENT." "YES." "AND I FOUND HER ON THE FLOOR UNCONSCIOUS." "DOES SHE TAKE PILLS?" "SHE..." "JUST A MOMENT." "I'LL CONNECT YOU WITH POISONING SECTION." "YES." "POISONING LISTENING." "IT'S ABOUT MY WIFE." "SHE..." "MONTAG." "BLOCK 813." "JUST A MOMENT." "HELLO?" "YES?" "AND RED NUMBER TWO." "IT'S A STIMULANT." "IT'S HARMLESS." "SHE'S PROBABLY TAKEN THE WRONG KIND OF SEDATIVE ON TOP OF THAT." "JUST A MOMENT." "LISTENING." "THEY ARE GOLDEN NUMBER EIGHT." "RIGHT." "STAY CLOSE TO HER." "THE AMBULANCE IS ON ITS WAY." "FOUR MINUTES." "WHAT SHOULD I DO IN THE MEANTIME?" "NOTHING." "WHERE IS THE DOCTOR?" "WHAT DOCTOR?" "THE DOCTOR THAT TOOK CARE OF MY WIFE." "ME AND HIM." "US." "WHO DID YOU EXPECT?" "CASES LIKE THAT..." "WE HANDLE 50 A DAY LIKE HER." "SIR." "SIR." "WE'LL GIVE HER A PUMP OUT AND FILL HER UP WITH NEW BLOOD." "SHE'LL BE AS GOOD AS NEW." "JUST YOU RELAX." "THIS ISN'T PRETTY TO LOOK AT." "YOU NEED A STRONG STOMACH." "YOU BETTER WAIT OUT THERE." "YOU JUST LEAVE IT ALL TO US." "WE'LL CALL YOU AS SOON AS SHE'S DONE." "THIS REGULATOR IS NOT AS REGULAR AS IT WAS." "COME HERE WITH THAT THING." "GET THE STOCKINGS OFF." "NEVER MIND THAT." "PUT THE DRESS ON THAT CHAIR." "YOU CAN COME IN NOW." "GOOD AS GOLD." "SIR." "YOU'VE GOT IT WRONG." "SHE'S ASLEEP." "NEVER MIND ABOUT HER." "YOUGET TO BED." "IT'LL ALL BE FORGOTTEN." "SHE'LL BE COMPLETELY WELL BY TOMORROW?" "SHE'LL BE ON TOP OF THE WORLD." "SHE'LL HAVE AN APPETITE FOR ALL SORTS OF THINGS." "THAT'S RIGHT." "SHE'LL BE STARVING." "YOU'LL FIND OUT." "I'M HUNGRY." "HOW DO YOU FEEL?" "HUNGRY." "REALLY HUNGRY." "I'M ABSOLUTELY STARVING." "I COULD EAT A HORSE." "DO YOU REMEMBER LAST NIGHT?" "WHAT A SLEEP." "I SLEPT LIKE A LOG." "LISTEN..." "YOU WERE..." "I'M ABSOLUTELY FAMISHED." "WILL YOU?" "DARLING." "TALK ALL YOU LIKE IF IT MAKES YOU HAPPY." "GO ON THEN." "WHAT ABOUT LAST NIGHT?" "NOTHING." "I CAN'T REMEMBER." "IT DOESN'T MATTER ANYWAY." "LOOK." "I'VE BOUGHT YOU A PRESENT TO CELEBRATE YOUR..." "I FORGET WHAT." "NEVER MIND." "DO YOU LIKE IT?" "ISN'T IT LOVELY?" "I DO." "VERY MUCH." "ISN'T IT SMART?" "IT'S THE VERY LATEST." "EVERYONE'S USING THEM NOW." "CAN I THROW YOUR OLD ONE AWAY?" "LINDA." "LINDA." "I'VE SOMETHING TO TELL YOU." "LINDA?" "WHAT ARE YOU DOING?" "LINDA?" "HEY!" "DO YOU EVER READ THE BOOKS YOU BURN?" "COME HERE." "COME HERE." "HERE." "WHAT'S ALL THIS?" "WHAT IS IT?" "EH?" "HEY!" "COME ON." "COME ON." "COME ON." "ALL RIGHT." "HOLD HIM." "BUT SOME BOYS STILL BOYCOTT THE BARBERSHOPS." "HERE YOU SEE A MOP-UP SQUAD AT WORK ON ONE OF THESE MESSY KNOW-IT-ALLS." "IT ALL GOES TO SHOW LAW ENFORCEMENT CAN BE FUN." "HOW COME THE DOOR IS NOT WORKING?" "YOU'RE JUST IN TIME." "DINNER IS NEARLY READY." "WHAT ARE YOU DOING?" "I'M COMING." "THE PERSONAL HISTORY OF DAVID COPPERFIELD..." "BY CHARLES DICKENS..." "WITH 40 ILLUSTRATIONS BY PHIZ." "AND HUMPHREY MILFORD. THE AMERICAN BRANCH." "35 WEST 32nd STREET." "DAVID COPPERFIELD." "CHAPTER ONE." "I AM BORN. THESE PAGES MUST SHOW. I RECORD THAT I WAS BORN..." "AT TWELVE O'CLOCK AT NIGHT. SIMULTANEOUSLY." "SIMULTANEOUSLY." "JUST A MOMENT." "GO ON." "COME ON." "AHA." "AH-AH." "EVERYTHING'S ALL RIGHT." "SO IT MUST BE..." "ALL RIGHT." "IT CERTAINLY DOESN'T LOOK THAT WAY." "WHAT'S WRONG?" "EVERYTHING." "IT WOULD TAKE TOO LONG TO..." "SOMETIMES I CAN'T STAND IT ANYMORE." "I'D JUST LIKE TO..." "LET'S GO SOMEWHERE QUIET THEN." "I HAVE PLENTY OF TIME." "LET'S GO OVER HERE." "WHEN WE WERE GOING OUT ON A CALL." "I WAS ON THE FIRE ENGINE." "IT'S FUNNY." "IT REMINDED ME OF SOMETHING." "A GIRL WHO USED TO WAIT..." "FOR A SOLDIER..." "BY A BARRACK GATE." "HOW WORRIED I WAS?" "MM-HMM." "I WAS RIGHT TO BE WORRIED." "I'VE BEEN DISMISSED." "WHY?" "WHAT REASON DID THEY GIVE?" "NONE AT ALL." "JUST AN OFFICIAL CALL." "SERVICES NO LONGER REQUIRED." "I'M NEVER TO GO TO THE SCHOOL ANYMORE." "THEY MUST GIVE YOU A REASON." "MAKE THEM TELL YOU WHY." "GO TO THE SCHOOL AND ASK." "I CAN'T DO THAT." "WHO KNOWS WHAT THEY MAY HAVE SAID ABOUT ME TO THE CHILDREN." "STRANGE." "I WONDER WHAT YOU SAID THAT MADE THE ANALYST..." "DON'T YOU HAVE ANY IDEA?" "SOMETHING YOU SAID OR DID?" "I NEVER DID GET ON WELL WITH THE STAFF." "THEY DISAPPROVE OF ME." "I DON'T ALWAYS STICK TO THE TIMETABLE AND..." "AND THEY DON'T LIKE THAT." "THE ONE I REPLACED." "THE SAME THING HAPPENED TO HER." "THEY DIDN'T LIKE HER EITHER." "NOW SHE'S IN SOME AWFUL KIND OF TROUBLE." "THEN IT WASN'T THE ANALYST." "IT WAS THE STAFF THAT WANTED TO GET RID OF YOU BECAUSE YOU ARE DIFFERENT." "LOOK AT THAT FELLOW OVER THERE." "WHAT'S HE DOING?" "THAT'S THE INFORMATION BOX." " HE CAN'T MAKE UP HIS MIND." " WHAT'S HE WANT TO FIND OUT?" "HE DOESN'T WANT TO FIND OUT ANYTHING." "HE KNOWS SOMEONE WHO HAS BOOKS. AND IS GOING TO DROP IT INTO THAT BOX." "HE'S AN INFORMANT." "LOOK AT HIM." "LIKE SOMEONE CIRCLING AROUND A WOMAN." "HE'S PUTTING SOMETHING IN HIS MOUTH." "IT'S A STIMULANT..." "TO WORK UP HIS NERVE." "HE WANTS TO MAKE SURE NO ONE CAN SEE HIM." "LOOK AT HIM." "HE'S WALKING AWAY." "YOU SEE?" "HE COULDN'T GO THROUGH WITH IT." "HE'LL BE BACK." "HERE HE COMES." "MAKE UP YOUR MIND." "THERE." "WHAT A RELIEF." "NOW HE'S GOT RID OF HIS NOISY NEIGHBOR..." "OR HIS BROTHER-IN-LAW WHO HAS GOT A BETTER JOB OR EVEN HIS MOTHER." "WHY NOT?" "IT'S TIME TO WORK." "GO BACK TO THE SCHOOL AND TRY TO FIND OUT." "I CAN'T DO THAT." "YOU MUST FIND AN EXCUSE TO GO BACK THERE." "SUPPOSE I OUGHT TO GO AND CLEAR OUT MY LOCKER." "I HAVE TO HURRY." "GOOD LUCK." "I'M NOT GOING." "YOU MUST COME WITH ME." "BUT I CAN'T." "I HAVE TO GO TO WORK." "I'LL TAKE CARE OF THAT." "COME ON." "LEAVE IT TO ME." "THE RODIER FIREHOUSE." "MISS." "RODIER FIREHOUSE LISTENING." "CAN I SPEAK TO..." "WHO'S CALLING?" " I'M SPEAKING FOR MONTAG." " YES?" "CAN I SPEAK TO THE CAPTAIN?" "ONE MOMENT." "CAPTAIN LISTENING." "THIS IS LINDA MONTAG." "MONTAG'S WIFE?" "YES." "WHAT CAN I DO FOR YOU?" "MY HUSBAND ASKED ME TO TELL YOU..." "HE'S BEEN TAKEN ILL AND CAN'T LEAVE HIS BED." "HE SHOULD BE UP BY THIS EVENING." "MADAM." "THANK YOU FOR INFORMING ME." " THANK YOU." "MONTAG'S WIFE." "HE'S NOT TOO WELL." "HE'S STAYING IN BED." "MONTAG?" "MMM." "IS HE?" "I SEE." "THAT'LL DO FOR NOW." "UNTIL THE MEETING." "OKAY." "NINE THIRTEENS ARE A HUNDRED AND SEVENTEEN." "NINE FOURTEENS ARE A HUNDRED AND TWENTY-SIX." "NINE FIFTEENS ARE A HUNDRED AND THIRTY-FIVE." "NINE SIXTEENS ARE A HUNDRED AND FORTY-FOUR." "NINE SEVENTEENS ARE A HUNDRED AND FIFTY-THREE." "THAT'S ROBERT." "NINE EIGHTEENS ARE A HUNDRED AND SIXTY-TWO." "NINE NINETEENS ARE A HUNDRED AND SEVENTY-ONE." "ROBERT." "NINE THIRTEENS ARE A HUNDRED AND SEVENTEEN." "THAT'S WHAT FRIGHTENED HIM!" "IT MUST HAVE BEEN YOUR UNIFORM." "GO AHEAD." "I'LL WAIT HERE." "NINE FIFTEENS ARE A HUNDRED AND THIRTY-FIVE." "ALL RIGHT." "NINE SIXTEENS ARE A HUNDRED AND FORTY-FOUR." "NINE SEVENTEENS ARE A HUNDRED AND FIFTY-THREE." "NINE EIGHTEENS ARE A HUNDRED AND SIXTY-THREE." "ONE TWELVE IS TWELVE." "TWO TWELVES IS TWENTY-FOUR." "THREE TWELVES IS THIRTY-SIX." "FOUR TWELVES IS FORTY-EIGHT." "FIVE TWELVES IS SIXTY." "SIX TWELVES IS SEVENTY-TWO." "SEVEN TWELVES IS EIGHTY-FOUR." "EIGHT TWELVES IS NINETY-SIX." "NINE TWELVES IS A HUNDRED AND EIGHT." "TEN TWELVES IS A HUNDRED AND TWENTY." "ELEVEN TWELVES IS A HUNDRED AND THIRTY-TWO." "TWELVE TWELVES..." "I'M GOING TO BE PROMOTED." "THEY'LL LISTEN TO ME THEN." "I'LL GO AND SEE YOUR PRINCIPAL MYSELF." "COME." "WHY?" "WHAT?" "HOW DID IT COME ABOUT?" "WHAT MADE IT BEGIN?" "WHAT MADE YOU WANT TO DO..." "HOW COULD SOMEONE LIKE YOU BE DOING THIS KIND OF WORK?" "I KNOW EVERYONE SAYS THAT." "BUT YOU!" "YOU'RE NOT LIKE THEM." "YOU LOOK AT ME." "WHY DID YOU CHOOSE THIS JOB?" "FOR YOU IT DOESN'T SEEM TO MAKE ANY SENSE." "DO YOU REMEMBER WHAT YOU ASKED ME THE OTHER DAY?" "IF I EVER READ THE BOOKS I BURN?" "REMEMBER?" "MM-HMM." "LAST NIGHT I READ ONE." "BECAUSE I'D BE ASHAMED OF MYSELF." "ASHAMED OF MYSELF." "IT WAS A LITTLE AFTER HALF PAST 11:00." "LINDA?" " I FOUND THESE THINGS IN THE HOUSE." "I DON'T WANT THESE THINGS." "THEY FRIGHTEN ME." "YOU SPEND YOUR WHOLE LIFE IN FRONT OF THAT "FAMILY" ON THE WALL." "THESE BOOKS AREMYFAMILY." "WHEN DID WE FIRST MEET?" "AND WHERE?" "WHAT?" "WHEN DID WE MEET FOR THE FIRST TIME?" "I DON'T KNOW." "LET ME THINK." "I REALLY CAN'T REMEMBER." "THAT'S RATHER SAD." "DON'T YOU THINK?" "I DO." "I THINK IT'S VERY SAD." "THERE'S A MAN." "THAT'S WHAT INTERESTS ME." "SO LEAVE THEM ALONE AND GO BACK TO BED." "HAVEN'T YOU?" "RHINOCEROS: THICK-SKINNED PERISSODACTYL MAMMALS..." "OF THE FAMILY..." "RHINOCEROTIDAE." "LOOK WHO'S HERE." "WHAT ABOUT IT?" "I THOUGHT YOU WERE ON SICK LEAVE." "SICK LEAVE?" "WHO GAVE YOU THAT IDEA?" "I DON'T REMEMBER." "I MUST HAVE GOT IT WRONG." "HURRY UP." "YOU'VE FORGOTTEN YOUR HELMET." "MONTAG?" "SOMETHING WRONG BETWEEN YOU AND THE POLE?" "LOOK!" "THERE'S GOING TO BE A FIRE." "MASTER RIDLEY." "BY GOD'S GRACE..." "AS I TRUST SHALL NEVER BE PUT OUT." "THE POLICE HAVEN'T DONE THEIR JOB VERY WELL." "WHO IS THIS WOMAN?" "SHE'S CERTAINLY WORTH LOOKING AT ANYWAY." "SIR." "SHE MUST HAVE BEEN OUT." "YOU WOULDN'T BE HERE." "YOU STAY HERE." "IN THERE!" "IN THERE." "GO ON." " DOWN THERE!" "THROW THEM ALL DOWN!" "BREAK IT OPEN!" "THAT'S IT." "THIS WAY!" "COME ON!" "DOWN THERE!" "THROW THEM ALL DOWN!" "ALL THE BOOKS!" "ALL OF THEM!" "THIS WAY!" "COME ON!" "THERE WAS A POOR WOODCUTTER WHOSE NAME WAS..." "THEY CAN'T HAVE MY BOOKS." "THEY'LL NEVER TAKE THEM AWAY." "SIR." "COME ON!" "QUICKLY!" "THIS IS A REAL EYEFUL." "MONTAG." "I KNEW IT." "I KNEW IT." "ALL THIS..." "THE EXISTENCE OF A SECRET... BUT THERE WAS NO WAY OF GETTING AT IT." "ONLY ONCE BEFORE HAVE I SEEN SO MANY BOOKS IN ONE PLACE." "I WAS JUST AN ORDINARY FIREMAN AT THE TIME." "I WASN'T EVEN QUALIFIED TO USE THE FLAMETHROWER." "MONTAG." "MONTAG. HE JUST ITCHES TO KNOW WHAT THESE BOOKS ARE ALL ABOUT." "HE JUST ACHES TO KNOW." "ISN'T THAT SO?" "THERE'S NOTHING THERE." "THE BOOKS HAVE NOTHING TO SAY!" "THESE ARE ALL NOVELS." "ALL ABOUT PEOPLE THAT NEVER EXISTED. MAKES THEM WANT TO LIVE IN OTHER WAYS THAT CAN NEVER REALLY BE." "WHAT'S HAPPENING?" "THIS HOUSE IS CONDEMNED." "THEY SAID TO BURN THE BOOKS HERE WITH EVERYTHING ELSE." "ISN'T IT?" "IT'S NEVER ANY GOOD BURNING EVERYTHING TOGETHER." "LET'S GET RID OF IT." "IT'S EVEN WORSE THAN THE NOVELS." "ALL OF THEM SAYING EXACTLY THE SAME THING:" "ONLY I AM RIGHT." "THE OTHERS ARE ALL IDIOTS." "THEY TELL YOU MAN'S DESTINY IS PREDETERMINED." "THEY SAY THAT HE HAS FREEDOM OF CHOICE." "THAT'S ALL." "PHILOSOPHY." "LONG DRESSES NEXT YEAR." "LOOK." "ALL STORIES OF THE DEAD." "BIOGRAPHY THAT'S CALLED." "AND AUTOBIOGRAPHY." "MY LIFE." "MY DIARY." "MY MEMOIRS." "MY INTIMATE MEMOIRS." "IT WAS JUST THE URGE TO WRITE. TO BE ABLE TO LOOK DOWN ON ALL THE OTHERS." "CRITIC'S PRIZE." "THIS IS A GOOD ONE." "HE HAD THE CRITICS ON HIS SIDE." "LUCKY FELLOW. ON AN AVERAGE EACH YEAR?" "200." "ANYBODY THAT PUT PEN TO PAPER WAS BOUND TO WIN SOME PRIZE SOMEDAY." "FRIDAY." "NIETZSCHE." "THE JEWS DIDN'T LIKE NIETZSCHE." "HERE'S A BOOK ABOUT LUNG CANCER." "WE BURN IT." "NOW THIS ONE MUST BE VERY PROFOUND." "THE ETHICS OF ARISTOTLE." "NOW ANYBODY THAT READ THAT MUST BELIEVE HE'S A CUT ABOVE ANYBODY THAT HADN'T." "MONTAG." "WE'VE ALL GOT TO BE ALIKE." "THE ONLY WAY TO BE HAPPY IS FOR EVERYONE TO BE MADE EQUAL." "MONTAG." "ALL THE BOOKS." "SIR." "WHAT'S THE MATTER?" "TROUBLE WITH THE OLD LADY DOWNSTAIRS." "SHE SAYS." "WON'T SHE?" "WON'T SHE?" "MADAM." "WE'RE GONNA BURN THE HOUSE." "NO." "WHAT DO YOU WANT?" "MARTYRDOM?" "YOU MUST HAVE READ THAT IN THERE." "I'M NOT GOING TO ASK YOU AGAIN." "ARE YOU GOING?" "THESE BOOKS WERE ALIVE." "THEY SPOKE TO ME." "GO AHEAD." "YOU'VE GOT TEN SECONDS." "TEN COUNT." "ONE." "TWO." "THREE." "FOUR." "FIVE." "SIX." "SEVEN." "EIGHT." " NINE." " NINE ELEVENS ARE NINETY-NINE." "NINE TWELVES ARE A HUNDRED AND EIGHT." "NINE THIRTEENS ARE A HUNDRED AND SEVENTEEN." "SHE CAN'T STAY HERE." "SHE REFUSES TO LEAVE." "LOOK OUT." "SHE MUST BE FORCED TO LEAVE." "BACK THERE!" "OPEN UP!" "OUTSIDE!" "MONTAG!" "MONTAG!" "GET OUT OF THERE!" "THIS WAY!" "MONTAG!" "MONTAG! HOWEVER ALIEN AND PECULIAR THEY MAY SEEM TO YOU." "DON'T DESPISE MINORITIES." "DOESN'T COUSIN MIDGE'S FACE LOOK SWOLLEN?" "THAT'S BECAUSE SHE'S PREGNANT." "IS THAT WHY?" "I THINK IT'S IRRESPONSIBLE TO HAVE CHILDREN." "JACKIE." "THEY CAN'T LET THE RACE DIE OUT." "BABIES GROW UP TO LOOK LIKE YOU." "THAT MUST BE FUN." "STRANGLE VIOLENCE." "SUPPRESS PREJUDICE." "HERE'S MONTAG." "BE TOLERANT TODAY." "BEING JUST PRETTY IS NOT ENOUGH." "THE WIFE WHO USES TRANSLUSIVES KNOWS BETTER THAN THAT." "BUT WATCH OUT FOR YOUR FRIENDS' HUSBANDS." "THEY'LL BE AROUND YOU LIKE FLIES. AND YOU'LL BE AS POPULAR AS EVER." "WOULD YOU EXCUSE ME?" "I LIKE HER HAIR LIKE THIS." "BE GOOD NOW." "COME ON OVER AND SIT WITH US." "YOU HAVEN'T SEEN JACKIE AND DORIS AND HELEN FOR AGES." "YOU KNOW." "LEAVE ME ALONE." "AREN'T YOU WELL?" "BUT IT'S VERY NAUGHTY." "...ARE BEING RECLASSIFIED." "TWO CELLS OF ANTISOCIALS WERE LOCATED EARLIER TODAY..." "IN THE WESTERN METROPOLITAN AREA." "THE POLICE HAVE DECLINED TO COMMENT SO FAR." "THE "REPORT THOSE WHO THREATEN YOU" CAMPAIGN... CHOSE TO BE BURNED WITH HER BOOKS RATHER THAN BEING SEPARATED FROM THEM." "IT'S NOT IN VERY GOOD TASTE." "MONTAG." "THINGS LIKE THAT DON'T HAPPEN." "YOU DON'T WANT TO HEAR ABOUT IT." "I SAW IT!" "YOUR HUSBAND!" "YOU DON'T EVEN KNOW WHERE HE IS!" "MONTAG!" "OF COURSE I KNOW." "HE'S BEEN CALLED ON RESERVE FOR SOME FIELD TRAINING." "OR TO FIGHT A LITTLE WAR." "DO YOU?" "WHY DO YOU CALL IT THAT?" "WHAT ABOUT IT?" "HE'S NOT ALLOWED TO CALL ME UNTIL IT'S ALL OVER." "IT'LL ONLY BE ABOUT A WEEK OR TWO." "HE'LL BE ALL RIGHT. IT'S ONLY OTHER WOMEN'S HUSBANDS WHO GET KILLED." "THAT'S TRUE." "I NEVER KNEW ANYONE WHO GOT KILLED IN A..." "NOT ANYONE WHOSE HUSBAND DIED LIKE THAT." "YES." "LIKE GLORIA'S HUSBAND A FEW NIGHTS AGO." "BUT NEVER THAT OTHER WAY." "ISN'T IT?" "THAT'S WHAT YOU CALL IT." "ALL OF YOU." "JUST LIKE THOSE HUSBANDS OF YOURS YOU DON'T EVEN KNOW ANYMORE." "YOU'RE JUST KILLING TIME!" "I..." "THANK YOU." "IT WAS A LOVELY AFTERNOON." "REALLY FUN." "YES." "SIT DOWN!" "SIT DOWN." "IT'LL ONLY TAKE A MINUTE." " WHATEVER IS THAT?" "DARLING." "IT'S NOT A BOOK?" "THAT'S WHAT IT IS." "IT'S A NOVEL." "YOU MUSTN'T!" "IT'S AGAINST THE LAW!" " QUIET." "SIT DOWN AND LISTEN." " SINCE MONTAG REALLY INSISTS." "I HOPE WE CAN DO AS WE PLEASE." "THERE CAN BE NO DISPARITY IN MARRIAGE..." "LIKE UNSUITABILITY OF MIND AND PURPOSE." "I HAD ENDEAVORED TO ADAPT DORA TO MYSELF AND FOUND IT IMPRACTICABLE." "TO SHARE WITH HER WHAT I COULD AND BE HAPPY. MADE DORA'S LIFE ALL SUNSHINE." "DORA WAS NOT STRONG." "I HAD HOPED THAT LIGHTER HANDS THAN MINE WOULD HELP TO MOLD HER CHARACTER..." "AND THAT A BABY'S SMILE UPON HER BREAST MIGHT CHANGE MY CHILD-WIFE TO A WOMAN." "IT WAS NOT TO BE." "MY PRETTY DORA." "WE THOUGHT SHE WOULD BE RUNNING ABOUT AS SHE USED TO DO IN A FEW DAYS. AND STILL SHE NEITHER RAN NOR WALKED." "I BEGAN TO CARRY HER DOWNSTAIRS EVERY MORNING AND UPSTAIRS EVERY NIGHT." "I FELT THAT SHE WAS LIGHTER IN MY ARMS. AS IF I WERE APPROACHING SOME FROZEN REGION..." "YET UNSEEN THAT NUMBED MY LIFE." "OVER ANY COMMUNING WITH MYSELF." "UNTIL ONE NIGHT WHEN IT WAS VERY STRONG UPON ME... LITTLE BLOSSOM.'" "AND TRIED TO THINK." "WHAT A FATAL NAME IT WAS." "AND HOW THE BLOSSOM..." "WITHERED IN ITS BLOOM UP IN THE TREE." "I KNEW THAT'S WHAT WOULD HAPPEN." "IT'S WHAT I'VE ALWAYS SAID." "NOVELS AND SUICIDE." "MONTAG." "YOU'RE A CRUEL MAN." "ALL THOSE WORDS;" "IDIOTIC WORDS." "EVIL WORDS THAT HURT PEOPLE." "ISN'T THERE ENOUGH TROUBLE AS IT IS?" "WHY DISTURB PEOPLE WITH THAT SORT OF FILTH?" "POOR DORIS." "LINDA." "WE WERE HAVING SUCH A NICE PARTY." "SUCH A SHAME." "I CAN'T BEAR TO KNOW THOSE FEELINGS." "I'D FORGOTTEN ALL ABOUT THOSE THINGS." "DORIS." "THEY WON'T COME BACK." "I'LL BE ALL ALONE." "I WON'T BE POPULAR ANYMORE." "THEY WON'T USE ME INTHE FAMILYANYMORE." "AND YOU MADE DORIS CRY!" "SHE CRIED BECAUSE IT IS TRUE." "WHAT ARE YOU GOING TO DO NOW?" "HAVEN'T YOU DONE ENOUGH HARM?" "LINDA." "I'VE GOT READING TO DO." "QUITE A LOT." "WHAT'S THE MATTER WITH YOU?" "AREN'T YOU WELL?" "IT'S NOTHING." "I'VE GOT TO READ." "I'VE GOT TO CATCH UP WITH THE REMEMBRANCE OF THE PAST!" "OVER TO THE HOUSE!" "TAKE OUT THE LINE." "UNCLE?" "DON'T WORRY." "GET GOING!" "ALL RIGHT." "TAKE YOUR TIME." "I'M COMING." "OPEN UP!" "COME ON!" "WE KNOW THERE'S SOMEONE IN THERE!" "WAIT A MINUTE." "I'M COMING." "COME ON!" "OPEN UP!" "ALL RIGHT!" "I'M COMING!" "COME ON." "WATCH IT." "YOU WATCH IT." "WHAT IS THIS?" "I'M MOVING THIS CHAIR." "I'M FED UP WITH IT IN THE MIDDLE OF THE ROOM." "AND THIS ONE..." "I'M GOING TO PUT..." "OVER HERE." "THERE." "AND I'M GOING TO CHANGE THOSE CURTAINS." "I'VE NEVER LIKED THEM." "I'M GONNA GET NEW ONES." "AND I'M GONNA CHANGE THE LAUNDRY BASKET." "I'VE DECIDED..." "YOU'RE RIGHT." "THE CHAIR'S MUCH BETTER OVER THERE." "YOU'RE NOT WELL." "YOU WERE TOSSING AND TURNING ALL NIGHT." "YOU KEPT ME AWAKE." "YOU OUGHT TO STAY HOME TODAY." "I'M GOING TO THE FIREHOUSE." "I MUST." "BECAUSE I DON'T KNOW IF I'M GOING THERE TOMORROW OR ANY OTHER DAY." "BUT WHAT ABOUT YOUR PROMOTION?" "MY PROMOTION?" "THAT WAS BEFORE." "MONTAG." "LAST NIGHT..." "YOU WERE TALKING IN YOUR SLEEP." "I DON'T KNOW WHAT." "I DIDN'T UNDERSTAND." "AND I DON'T UNDERSTAND." "WHAT'S MAKING YOU LIKE THIS?" "WHAT'S GOING ON IN YOUR HEAD?" "AND I DON'T WANT TO KNOW." "BUT ONE THING I DO WANT." "I WANT YOU TO GET RID OF THOSE BOOKS." "MONTAG." "PLEASE." "I WILL." "I PROMISE." "I'LL DO IT..." "AFTER I'VE READ THEM." "MONTAG." "I'LL LEAVE YOU." "I CAN'T LIVE WITH THOSE." "YOU'VE GOT TO MAKE A CHOICE." "MONTAG." "LINDA?" "I JUST DON'T KNOW." "EXCUSE ME." "DO YOU KNOW THE GIRL WHO LIVES HERE WITH HER UNCLE?" "CLARISSE." " THEY CAME FOR THEM." " WHO?" " TO TAKE THEM AWAY." " THE POLICE?" "NOT THE POLICE?" "THE FIREMEN?" "DON'T THEY?" "ONLY TO QUESTION THEM." "THEY LET THEM COME BACK." "CAN YOU?" "THEY WEREN'T LIKE US." "THEY WERE SPECIAL." "YOU SEE OVER THERE?" "AND THERE." "AND THERE TOO." "DO YOU SEE?" "NOW LOOK AT THEIR HOUSE." "THERE'S NOTHING." "YOU!" "COME HERE!" "WHAT'S THE MEANING OF THIS?" "SIR..." "LOOK!" "HOW OFTEN MUST I TALK TO YOU ABOUT THIS?" "DIDN'T I?" "WHY CAN'T YOU DO WHAT YOU'RE TOLD?" "EH?" "WHY CAN'T YOU?" "LOOK!" "LOOK AT YOU!" "LOOK!" "DID I TELL YOU TO..." "HAVEN'T YOU GOT A HEAD?" "IS THE CAPTAIN IN?" "HE JUST STEPPED OUT." "DIDN'T YOU PASS HIM?" "NO." "CAPTAIN." "YEAH?" "SIR." "IT'S ABOUT TIME." "SIR." "YOU'RE A GOOD MAN." "REMIND ME TO GIVE YOU ONE OF MY PERSONAL MEDALLIONS." "THE LIKENESS IS REMARKABLE." "YOU'LL SEE." "UH..." "SIR." "WAS IT?" "HOW DID YOU GET IN?" "I NEEDED SOME INFORMATION ABOUT SOME ARRESTS THAT WERE MADE LAST NIGHT." "I WANTED TO SEE SOME IDENTIFICATIONS." "IS HE?" "NOT AT ALL." "YOU SAID." "BUT THE IDENTIFICATIONS WOULDN'T BE THERE." "THEY'VE JUST BEEN HANDED TO ME." "LET'S SEE NOW." "LET'S SEE IF THEY'RE AMONGST THIS LOT." "THEY'RE THE ONES!" "I SEE." "A LITTLE YOUNG FOR HIM..." "I'D SAY." "HE'S HER UNCLE." "SIR." "I KNOW THEM SLIGHTLY." "THEY LIVE NEARBY." "AH." "THAT'S IT. BUT YOU CAN'T MOVE IN UNTIL THE NIECE HAS BEEN ARRESTED TOO." "SHE..." "SHE'S STILL AT LARGE THEN?" "YES." "LOOK AT THE IDENTIFICATION." "IT HASN'T BEEN STAMPED YET." "IT'S JUST A MATTER OF A DAY OR TWO." "WE'LL GET YOU YOUR HOUSE." "HMM?" "HOW DID YOU GET IN?" "WHAT'S ALL THIS ABOUT?" "HMM?" "STILL SHAKY?" "YOU SHOULDN'T HAVE COME IN." "LOOK AT YOU." "YOU LOOK LIKE DEATH." "THAT'S WHAT YOU NEED." "A NICE BIT OF FRESH AIR WILL PUT YOU RIGHT AGAIN. YOU MIGHT LET US KNOW." "IT MIGHT EXPEDITE THE MATTER OF THE HOUSE." "SIR." "I MUST TALK TO YOU." "NOT HERE." "WHAT HAPPENED?" "UNCLE WAS ARRESTED." "I GOT AWAY." "BUT HOW DID IT HAPPEN?" "THEY CAME LAST NIGHT." "WE WERE ALL ASLEEP." "COME ON." "I HAVE TO GET HOME." "IT'S TERRIBLY IMPORTANT." "UNCLE WOKE ME UP AND TOLD ME TO GET AWAY." "I ESCAPED THROUGH THE SKYLIGHT OVER THE ROOF." "THIS IS THE LAST PLACE YOU SHOULD HAVE COME TO." "BUT THERE'S SOMETHING I MUST FIND." "PLEASE STAY WITH ME." "I'M FRIGHTENED." "I'LL STAY WITH YOU." "IT MUST BE HERE SOMEWHERE." "WHAT MUST BE HERE?" "SOMETHING." "SOMETHING I HAVE TO FIND." "FIND AND DESTROY." "LET ME LOOK." "YOU WOULDN'T KNOW WHERE TO START LOOKING." "IT WAS MY JOB." "HOW BIG?" "ABOUT THIS BIG." "PAPERS." "OH." "IT'S NO USE." "WE'LL FIND IT." "DON'T YOU WORRY." "IT'S A LIST OF ADDRESSES." "FRIENDS OF MY UNCLE;" "WHO THEY ARE AND WHERE THEY'RE HIDING." "WE'LL FIND IT." "WHAT ARE YOU DOING?" "WE MUST DESTROY THESE." "UH-HUH." "I ALWAYS WANTED TO TELL YOU..." "OUR MEETING IN THE MONORAIL WAS NO ACCIDENT." "AND I FOLLOWED YOU." "I THOUGHT YOU COULD HELP US." "I KNEW IT WHEN THAT OLD WOMAN KILLED HERSELF." "I REALIZED THERE WAS A CONNECTION BETWEEN YOU." "YES." "SHE WAS AFRAID SHE'D TALK AND GIVE US AWAY." "YES." "AND I... LITTLE GIRL." "I CAN'T BE A FIREMAN ANYMORE." "WHAT IS THAT OVER THERE?" "THAT?" "THAT'S A ROCKING CHAIR." "PEOPLE USED TO SIT..." "OUTSIDE THEIR HOUSES ON WARM EVENINGS AND ROCK BACKWARDS AND FORWARDS." "REALLY?" "TALKING TO ANYONE PASSING BY." "JUST TALKING." "WE'LL HAVE TO GO AWAY FROM HERE." "I KNOW A PLACE." "MY UNCLE TOLD ME WHAT TO DO IF EVER HE WAS..." "IF EVER HE WAS TAKEN." "YOU FOLLOW THE RIVER UPSTREAM 'TIL YOU COME TO THE OLD STEAM RAILWAY LINE." "THEN YOU GO ON AND YOU GO ON UNTIL YOU GET TO WHERE THE BOOK PEOPLE LIVE." "BOOK." "THE BOOK PEOPLE." "YOU'VE NOT HEARD OF THEM?" "NO." "PEOPLE WHO VANISHED." "SOME WERE ARRESTED AND MANAGED TO ESCAPE." "OTHERS WERE RELEASED." "SOME DIDN'T WAIT TO BE ARRESTED." "THEY JUST HID THEMSELVES AWAY." "UP IN THE FARM COUNTRY;" "THE WOODS AND THE HILLS." "THEY LIVE THERE IN LITTLE GROUPS." "THE LAW CAN'T TOUCH THEM." "THEY LIVE QUITE PEACEABLY AND DO NOTHING THAT'S FORBIDDEN." "THEY MIGHT NOT LAST LONG." "BUT HOW CAN YOU CALL THEM BOOK PEOPLE..." "IF THEY DON'T DO ANYTHING AGAINST THE LAW? AND THEY BECOME THE BOOKS." "ARRESTED." "WHICH IS WHY THEY LIVE SO CAUTIOUSLY." "BECAUSE THE SECRET THEY CARRY IS THE MOST PRECIOUS SECRET IN THE WORLD." "ALL HUMAN KNOWLEDGE WOULD PASS AWAY." "NOT YET." "IT IS TOO SOON FOR ME." "I WAS STILL BURNING BOOKS." "PERHAPS." "BUT NOW EVERYTHING IN MY LIFE HAS SUDDENLY CHANGED." "I MUST STAY IN THE CITY." "I HAVE A PLAN." "I WILL HIDE A BOOK IN EVERY FIREMAN'S HOUSE AND THEN DENOUNCE HIM." "THE SYSTEM WILL EAT ITSELF." "WE MUST BURN THE PYROMANIACS OUT." "NOW WE HAVE TO GO." "SEPARATELY." "YOU TO YOUR BOOK PEOPLE AND ME TO STRIP THIS OFF." "WE SHALL SEE EACH OTHER AGAIN." "WE SHAN'T." "WHY PRETEND WE SHALL?" "YOU ARE RIGHT." "WE SHAN'T." "NO TIME TO LOSE." "SIR." "I WAS ON MY WAY TO TELL YOU..." "SIR." "MONTAG." "NOT ON THE EVE OF PROMOTION." "I SHAN'T BE COMING IN TOMORROW." "TOMORROW'S ANOTHER DAY." "TODAY YOU'RE UNDER MY COMMAND." "AS ONE MAN TO ANOTHER." "PLEASE." "PLEASE!" "NOT IN FRONT OF THE OTHERS." "JUST THIS ONE LAST CALL." "THEN YOU CAN DO AS YOU LIKE." "MONTAG." "THIS IS MY HOUSE!" "THAT'S RIGHT." "LINDA!" "I COULDN'T BEAR IT." "I JUST COULDN'T BEAR IT ANYMORE." "MONTAG KNOWS EXACTLY WHAT WE'RE LOOKING FOR." "I THINK WE CAN LEAVE IT TO HIM." "ONE MUST FIRST KNOW HOW TO HIDE." "ISN'T THAT SO?" "JUST CHECK THE REST OF THE HOUSE." "HURRY IT UP." "BRING US THE SPARKLER." "HE SHOULD DO THE HONORS." "WHAT ARE YOU DOING IN THERE!" "HAVE YOU GONE MAD?" "GET BACK IN THERE!" "JUST THE BOOKS!" "THE BOOKS!" "WHAT DO YOU THINK YOU'RE DOING?" "THERE'S NO NEED FOR THAT!" "MONTAG!" "THAT'S GOOD." "THAT'S WHAT I LIKE TO SEE." "SWEET REASON." "NOVELS AREN'T LIFE." "WHAT DID MONTAG HOPE TO GET OUT OF ALL THIS PRINT?" "HAPPINESS?" "WHAT A POOR IDIOT YOU MUST HAVE BEEN." "THIS GIBBERISH IS ENOUGH TO DRIVE A MAN MAD." "DID YOU?" "MONTAG MUST LEARN TO THINK A LITTLE." "ALL THESE RECIPES FOR HAPPINESS DISAGREE." "NOW LET THIS HEAP OF CONTRADICTIONS BURN ITSELF OUT." "ARE WORKING FOR MAN'S HAPPINESS. LUMINOUS AND BLACK." "WHO CAN EXPLAIN THE FASCINATION OF FIRE?" "WHAT DRAWS US TO IT?" "WHETHER WE'RE YOUNG OR OLD." "NOTHING TO SAY?" "THAT'S THE SPIRIT." "THAT'S REAL WISDOM." "HE STILL HAS ONE." "WHAT HAVE YOU GOT THERE?" "IS THIS YOUR SPECIAL BOOK?" "AND YOU'RE UNDER ARREST." "MONTAG." "GET OUT OF THERE!" "OUT OF HERE QUICK!" "HE'S GONE MAD!" "RIGHT NOW!" "GO!" "WATCH FOR A MAN RUNNING THROUGH THE STREETS." "REPEATING." "CALLING ALL CITIZENS." "MONTAG." "FIREMAN." "THE CRIMINAL IS ALONE AND ON FOOT." "LET EACH ONE STAND AT HIS FRONT DOOR." "LOOK AND LISTEN." "WATCH FOR A MAN RUNNING THROUGH THE STREETS." "REPEATING." "CALLING ALL CITIZENS." "MONTAG." "FIREMAN." "THE CRIMINAL IS ALONE AND ON FOOT." "LET EACH ONE STAND AT HIS FRONT DOOR." "LOOK AND LISTEN." "WE KNOW WHO YOU ARE." "YOU'RE THE MAN OF THE HOUR." "COME." "COME AND WITNESS YOUR OWN CAPTURE." "MY CAPTURE?" "THAT'S RIGHT." "OUR BEAUTIFUL COUSIN IS BEING..." "PARTICULARLY ENTERTAINING TODAY." "YOU'LL SEE." "I BEG YOUR PARDON." "I AMTHE JOURNAL OF HENRI BRILARD BY STENDHAL." "BUT TIME IS RUNNING OUT FAST." "THERE IT IS." "THE AERIAL PATROL HAS SIGHTED THE WANTED MAN." "THEY CAN'T KEEP THE VIEWERS WAITING MUCH LONGER." "THE SHOW MUST GO ON." "THEY'LL FIND SOMEBODY." "ANYBODY WILL DO TO PROVIDE THEM WITH THEIR CLIMAX." "THERE HE IS." "YOU CAN SEE HIM CLEARLY NOW. SCURRYING ABOUT LIKE A FRIGHTENED RAT." "COUSINS." "COUSINS." "MONTAG IS DEAD." "A CRIME AGAINST SOCIETY HAS BEEN AVENGED." "OF COURSE." "EVEN YOUR FRIENDS ARE BOUND TO BELIEVE YOU'RE DEAD." "HERE." "YOU MAY AS WELL SHED YOUR OLD SKIN." "THE MOON WAS SHINING SULKILY..." "BECAUSE SHE THOUGHT THE SUN..." "HAD GOT NO BUSINESS TO BE THERE..." "AFTER THE DAY WAS DONE." "' SHE SAID." "ARE YOU INTERESTED IN PLATO'SREPUBLIC?" "I AM PLATO'SREPUBLIC." "I'LL RECITE MYSELF FOR YOU WHENEVER YOU LIKE." "THANK YOU VERY MUCH." "NOW HERE'S WUTHERING HEIGHTS BY EMILY BRONTE." "AND HERE'STHE CORSAIR BY BYRON." "SHE USED TO BE MARRIED TO A CHIEF OF POLICE." "NOW THAT SKINNY FELLOW ISALICE IN WONDERLAND BY LEWIS CARROLL." "WHERE'SALICE THROUGH THE LOOKING-GLASSTODAY?" "SHE SHOULD BE SOMEWHERE ABOUT." "THERE'SPILGRIM'S PROGRESS BY JOHN BUNYAN." "HE ATE HIS BOOK SO THEY COULDN'T BURN IT." "WAITING FOR GODOT BY SAMUEL BECKETT." "YOU SEE THE LITTLE BLONDE COMING TOWARDS US?" "WATCH HER BLUSH." "I'M JEAN-PAUL SARTRE'S THE JEWISH QUESTION." "DELIGHTED TO MEET YOU." "I'MTHE MARTIAN CHRONICLES BY RAY BRADBURY." "ALLOW ME TO INTRODUCE..." "OH." "MAY I?" "CHARLES DICKENS." "ONCE I READ A BOOK HE WROTE:" "DAVID COPPERFIELD." "WE HAVE ADAVID COPPERFIELD AMONGST US." "HE'S WITH ANOTHER GROUP IN THE SOUTH." "I AMTHE PRINCE BY MACHIAVELLI." "OH." "YOU CAN'T JUDGE A BOOK BY ITS COVER." "I AM JANE AUSTIN'S PRIDE AND PREJUDICE." "I AM JANE AUSTIN'S PRIDE AND PREJUDICE." "BOTH OF YOU THE SAME BOOK?" "MY BROTHER IS VOLUME ONE." "MY BROTHER IS VOLUME TWO." "IT'S A GREAT PLEASURE TO MEET YOU." "WE CALL THE FIRST ONE PRIDE." "THE OTHER ONE'S PREJUDICE." "I DON'T THINK THEY LIKE IT MUCH." "MANY MORE SCATTERED AROUND." "WANDERING THE ROADS." "LIBRARIES." "IT WASN'T PLANNED." "IT JUST SO HAPPENED THAT A MAN HERE AND A MAN THERE LOVED SOME BOOK." "HE LEARNED IT." "AND WE CAME TOGETHER." "WE'RE A MINORITY OF UNDESIRABLES CRYING OUT IN THE WILDERNESS." "BUT IT WON'T ALWAYS BE SO." "TO RECITE WHAT WE'VE LEARNED." "AND THEN BOOKS WILL BE PRINTED AGAIN. THOSE WHO COME AFTER US WILL DO AGAIN AS WE HAVE DONE." "I HAVE ONE WITH ME." "YES?" "WHAT IS IT?" "LET ME SEE." "TALES OF MYSTERY AND IMAGINATION BY EDGAR ALLEN POE." "SO THAT WE CAN BURN IT." "YOU BURN IT?" "SO THAT NO ONE CAN TAKE THEM AWAY FROM US." "WE BURN THE BOOKS." "BUT WE KEEP THEM UP HERE WHERE NOBODY CAN FIND THEM." "WE'VE JUST BURNED THE MEMOIRS OF SAINT SIMON." "THAT MAN OVER THERE HASN'T MUCH LONGER TO LIVE." "HE'STHE WEIR OF HERMISTON BY ROBERT LOUIS STEVENSON." "THE BOY IS HIS NEPHEW." "SO THE BOY CAN BECOME THE BOOK." "' REPLIED ARCHIE." "AND I WILL BE BOLDLY FRANK." "I DO NOT LOVE MY FATHER." "I WONDER SOMETIMES IF I DO NOT HATE HIM." "' REPLIED ARCHIE." "AND I WILL BE BOLDLY FRANK." "I DO NOT LOVE MY FATHER." "I WONDER SOMETIMES IF I DO NOT HATE HIM." "PERHAPS MY SIN." "NOT MY FAULT." "PERHAPS MY SIN." "NOT MY FAULT." "HOW WAS I TO LOVE HIM?" "NEVER SMILED UPON ME." "I DO NOT THINK HE EVER TOUCHED ME." "NEVER SMILED UPON ME." "AND I DO NOT THINK HE EVER TOUCHED ME." "HE WAS MORE AFRAID OF DEATH THAN OF ANYTHING ELSE. WHILE THE FIRST SNOWS OF WINTER FELL." "HE WAS MORE AFRAID OF DEATH THAN OF ANYTHING ELSE." "AND HE DIED... " "AND HE DIED WHILE THE FIRST..." "HE DIED AS HE THOUGHT... " "AND HE DIED AS HE THOUGHT... WHILE THE FIRST SNOWS OF WINTER FELL." "' REPLIED ARCHIE." "AND I WILL BE BOLDLY FRANK." "I DO NOT LOVE MY FATHER." "I WONDER SOMETIMES IF I DO NOT HATE HIM." "PERHAPS MY SIN." "NOT MY FAULT." "NEVER SMILED UPON ME." "AND I DO NOT THINK HE EVER TOUCHED ME." "HE WAS MORE AFRAID OF DEATH THAN OF ANYTHING ELSE. WHILE THE FIRST SNOWS OF WINTER FELL." "I'M GOING TO RELATE A TALE FULL OF HORROR." "WERE IT NOT A CHRONICLE." "HOW MUCH THERE IS TO TELL..." "MR. PICKWICK..." "INC." "LOS ANGELES"


Q:

Coding Investigation, finding bore radius size

I'm actually not sure how to pose this question correctly, so let me just tell you what the homework states for me...
"They have bores (that dig the tunnel) that range from 0.25 metres to 8 metres in radius that increment in size by 0.25 metres (0.25, 0.5, 0.75… 7.75, 8).

At a minimum, your application will:
-Ask the user for the minimum required volume of the tunnel
-Ask the user for the exact length of the tunnel
-Use a loop to determine the bore-size required as well as the exact                   volume that would be produced with that bore.

For extra credit:

-Tell the user to extend the tunnel if the bore size required is greater than 8m.
-Allow the user to determine the volume of the tunnel with a given bore size and tunnel length
-Allow the user to determine the length of the tunnel with a given bore size and volume (in case the user would prefer to get an exact
  volume but is flexible with the tunnel length.)
-Provide the user with a list of alternatively shaped prisms (and their dimensions) that could fit the volume and length requirements."

I've tried this but it doesn't look correct;
from math import sqrt

a = float(input("What is the minimum volume that is required? (cubic metres): "))

b = float(input("How long do you need the tunnel to be? (metres): "))

pi = 3.14

r = sqrt(a/pi/b)

c = round(r, 2)

print(c)

For an input of a=250 and b=12 It provides an output of 2.58 when the answer is (supposedly) meant to be 2.75
I'm wondering, how do you round 2.58 to 2.75, and if you have the time, any ideas/help/hints on how to do the extra functionality part?

A:

You can use a loop to check which is the first element that is above a certain value, and stop once you've reached it. Generally speaking, it should be something like this:
minimum_bore_size = 0.25
bore_size_step = 0.25
maximum_bore_size = 8

required_bore_size = math.sqrt(a / b / math.pi)

if required_bore_size > maximum_bore_size:
    print ('required bore size too big')
    # exit your program somehow

bore_size = minimum_bore_size
while bore_size < maximum_bore_size:
    if bore_size < required_bore_size:
        bore_size = bore_size + bore_size_step
    else:
        volume = math.pow(bore_size,2) * math.pi * b
        print(round(bore_size,2))
        print(volume)
        break


Genetic variability of Campylobacter jejuni isolated from fresh and frozen broiler carcasses.
The aim of this study was to determine the genetic variability of Campylobacter jejuni isolates from poultry before and after freezing treatment in order to identify genotypes that would survive the treatment. C. jejuni was isolated from both fresh and frozen halves of the same carcass after freezing for 2 or more than 20 days at -20 degrees C. From 36 carcasses, representing five unrelated flocks in Norway, a total of 209 isolates were included in the study. Thirty-two of the isolates were recovered with a qualitative method while the remaining 177 were isolated using a quantitative method. Isolates were genotyped with fluorescent amplified fragment length polymorphism using MfeI and BglII restriction enzymes. Nine different genotypes were identified, however, one genotype was shown to be dominant in three different flocks. This genotype and the dominant genotype of another flock were found among isolates from fresh and frozen broiler halves. They were also shown to be identical to genotypes frequently identified among strains isolated from humans, cattle and poultry flocks in previous years. Freezing treatment or isolation method appeared not to select for a particular genotype. The results of the present study indicate that the freezing tolerance of strains is not genotype dependent.


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package org.python.modules.cjkcodecs;

import org.python.core.BufferProtocol;
import org.python.core.Py;
import org.python.core.PyBUF;
import org.python.core.PyBuffer;
import org.python.core.PyBytes;
import org.python.core.PyLong;
import org.python.core.PyObject;
import org.python.core.PyTuple;
import org.python.core.PyType;
import org.python.core.PyUnicode;
import org.python.expose.ExposedMethod;
import org.python.expose.ExposedType;

import java.nio.ByteBuffer;
import java.nio.charset.Charset;

@ExposedType(name = "MultibyteCodec")
public class PyMultibyteCodec extends PyObject {
    public static final PyType TYPE = PyType.fromClass(PyMultibyteCodec.class);
    private Charset charset;

    public PyMultibyteCodec(Charset charset) {
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    @ExposedMethod
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        }
        throw Py.TypeError("expected a str object");
    }

    @ExposedMethod
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        }
        throw Py.TypeError("expected a bytes object");
    }
}


1. Field of Invention
The present invention relates to an active vehicle with variable inclination mechanism and the method using the same. More particularly, the present invention relates to an active vehicle of a variable inclination mechanism that drives lateral movement by turning direction and drives two wheels to produce a opposite longitudinal displacement so as to change inclination.
2. Description of Related Art
Widely used active vehicles are two-wheeled vehicle, three-wheeled vehicle or even four-wheeled vehicle. The two-wheeled vehicles are bicycles and motorcycles. Compared to the three-wheeled vehicle or four-wheeled vehicle, the two-wheeled vehicles have more maneuverability, and oil consumption, vehicle volume and price are much lower.
The two-wheeled vehicle just has a front wheel and a rear wheel, while the two-wheeled vehicle is stationary, it should be supported by kickstand or the rider him/herself. Its not convenient for disabled riders.
Thus, to overcome aforementioned shortcoming, three-wheeled vehicles have been developed. Compared to the three-wheeled vehicles, the three-wheeled vehicles have much seat space and riding comfort, and the three-wheeled vehicles have self-supported capability while three-wheeled vehicles are stationary. Because the three-wheeled vehicles have three wheels, two of three wheels are disposed parallel and a triangle is defined by the three wheels. Thus, while the three-wheeled vehicles are stationary, the three-wheeled vehicles have self-supported capability at flat ground without external forces.
However, the three-wheeled vehicles in prior art have no mechanism for “leaning” while the three-wheeled vehicles enter the curve. Thus, whatever the three-wheeled vehicles have two parallel wheels in front of or behind of the vehicles, unlike the two-wheeled vehicle, the three-wheeled vehicles in prior art cannot provide inclination force by leaning in entry of curve so that the three-wheeled vehicles easily turn over.
To overcome this shortcoming, the three-wheeled vehicles in prior art have a leaning mechanism or suspension system with a linkage system at the two parallel wheels so as to have “leaning” capability based on weight and center of mass of vehicles. However, the leaning mechanism or suspension system should be operated by the driver's weight because a moment of force due to the driver's weight pushes the vehicle to lean. Thus, leaning mechanism or suspension system of the three-wheeled vehicles in prior art merely passively provide vehicles with “leaning” capability.
Furthermore, the leaning mechanism or suspension system of the three-wheeled vehicles in prior art operate independently, and cannot provide two wheels with real-time and synchronous change of leaning angle and cannot make sure whether the vehicles can safely enter and leave the curve.
Moreover, although the three-wheeled vehicles in prior art unlike two-wheeled vehicles needs additional kickstand while the three-wheeled vehicles are stationary, riders should use their legs to balance the vehicles before manually locking the leaning mechanism or suspension system to support the vehicles. It is not convenient for rider to support vehicles while in stationary.
For the forgoing reasons, there is a need for active vehicle with a variable inclination apparatus to provide sufficient inclination vehicle while the vehicle passes the curve with more riding safety.


Q:

Is it feasible to use t-SNE to reduce a dataset to one dimension?

Is it feasible to use t-SNE to reduce a dataset to one dimension?
Suppose that I have a matrix, $X$, can I reduce it to a column vector, $Y$ with t-SNE?
Suppose that $X$ has 100 columns, how much information can I expect to lose by reducing it to just a column vector with t-SNE (if possible)?
References:
L.J.P. van der Maaten and G.E. Hinton. Visualizing High-Dimensional Data Using t-SNE. Journal of Machine Learning Research 9(Nov):2579-2605, 2008.
• L.J.P. van der Maaten. Learning a Parametric Embedding by Preserving Local Structure. In Proceedings of the Twelfth International Conference on Artificial Intelligence and Statistics (AI-STATS), JMLR W&CP 5:384-391, 2009.
• L.J.P. van der Maaten. Barnes-Hut-SNE. In Proceedings of the International Conference on Learning Representations, 2013.
All text available at: http://homepage.tudelft.nl/19j49/t-SNE.html

A:

Yes, why not. t-SNE can be used to reduce any dimension to one-dimension. The question about how much information will get lost is not so simple. It is even not clear how to measure or define the information of a high dimensional data.


Adenovirus in blood clots from cases of infectious hepatitis.
Adenovirus type 5 was isolated from blood clots from 27 of 30 sporadic cases of infectious hepatitis. Only one isolation of virus, also adenovirus 5, was made from blood clots from 70 persons with no known contact with infectious hepatitis.


Smaller hazelnut crop predicted

PORTLAND — Federal agricultural officials predict that Oregon will produce 33,000 tons of hazelnuts this year, a 23 percent drop from last year but 20 percent more than in 2005.

The Associated Press

PORTLAND — Federal agricultural officials predict that Oregon will produce 33,000 tons of hazelnuts this year, a 23 percent drop from last year but 20 percent more than in 2005.

Officials say boom years are often followed by a down year. Polly Owen, manager of the Hazelnut Marketing Board, said researchers have not identified a single cause for the fluctuations. Owen said the forecast is higher than earlier estimates, so she saw this week's prediction as "extremely good news."

To arrive at the estimate, federal experts randomly picked 180 filbert orchards in the state. In the spring, they randomly selected two trees on each of those orchards, and then randomly marked two branches from each of those trees, said Chris Mertz, director of the Oregon field office of the National Agricultural Statistics Service.

Crews recently returned to those branches to pick nuts, which were delivered to the agricultural field office to be measured, weighed, cracked and analyzed. With the help of a computer program, the sample information was extrapolated for a statewide crop estimate.

Mertz said the estimates are usually pretty reliable. In 13 of the last 17 years, the forecast has been within 10 percent of the actual crop figure.

International market forces will determine whether growers will get high prices for this year's more modest crop. Turkey supplies 70 percent to 75 percent of the world's hazelnuts.

"We believe the price should be favorable," Owen said. "Their government in power is very much committed to not oversupplying the world."

Oregon supplies 3 percent to 5 percent of the world's crop, Owen said. Increasingly, those nuts, which are larger than the varieties grown by other countries, are exported to China and Hong Kong, where people eat them right out of the shell, Owen said.


Louis H. Jackson

Louis H. Jackson (1904–1960) was a British film producer. He oversaw production at British National Films during the 1940s.

Selected filmography
 Waltz Time (1945)
 Twilight Hour (1945)
 Loyal Heart (1946)
 The Laughing Lady (1946)
 Green Fingers (1947)
 Woman to Woman (1947)

References

Bibliography
 Harper, Sue. Women in British Cinema: Mad, Bad and Dangerous to Know. A&C Black, 2000.

External links

Category:1904 births
Category:1960 deaths
Category:Film producers from London


Rowing a tiny boat can make a person feel small, especially with the roar of seaplanes overhead. But from the back of a shell, rower Andy Brassington calls it a great example of urban coexistence.

Brassington has rowed for five years and estimates planes have taken off and landed hundreds of times around him, always without incident— despite the lake’s popularity.

“On a hot sunny weekend day, it looks like, where are you going to land? It looks like a chaotic slalom course of boats,” he said.

All that traffic on Lake Union got some KUOW listeners wondering, how DO seaplanes land here?

Pilot Yvette Marble has the answer. It’s acrobatics on the part of both pilot and plane. Seaplanes are capable of nimble maneuvering, while pilots stay keen to the dynamic conditions around them.

When she’s up in her Cessna 206 seaplane, Marble assesses the speed and direction of the wind and scans the water for an opening.

“When you're above looking down, you can really get a good idea of where everybody is and see the best areas for landing,” Marble said. “We're sizing up not just the positions of the boats, but what directions they're moving.”

Perspective is everything: Lake Union looks more spacious from the air.

Marble is the chief pilot for Seattle Seaplanes, a small operation located on Lake Union, and flies up to 12 times a day.

Landing on Lake Union never feels chaotic or dangerous, she said.

“We have to be alert and we have to be paying attention to what we're doing," she said. "But we're pilots, that’s what we do.”

Seaplanes have used Lake Union for over 100 years, yet interviews and archive searches didn’t turn up records of seaplane accidents on the lake.

In the 1980s, Kenmore Air began scheduled operations there, pilot and director of operations John Gowey said. Gowey flies during the summer five days a week; he’s now in his 29th year with the company.

“Since about 2008 I’ve noticed a steady uptick in the number of users on the lake,” Gowey said, particularly paddle boarders and kayakers.

But boaters have the right of way by law.

“We have to set up our take off and our landing in such a way that’s safe and avoids the other vessel traffic,” he said. “It’s easy to do when the lake’s not very crowded, it definitely does get more difficult as the lake gets more crowded.”

The summertime is “a little bit of a patience game,” as pilots have to wait for a clear path through boaters to emerge.

Seaplanes can curve if need be, and even take off at a 180-degree angle.

That super-power comes from rising up almost entirely off the pontoons (called floats) and riding on their edge, called a step.

“We don't have as much drag, and we're very maneuverable," she said. "We can just pivot on that point, so we can make turns to avoid boaters, and turning up to 180 degrees is possible.”

Seaplanes use this ability to take off down meandering rivers or in rugged terrain. Like this pilot:


WE ARE THE PLAZA 16 COALITION

WE ARE A UNIFIED MISSION DISTRICT

NO MONSTER IN THE MISSION

We are neighborhood residents, businesses, and community organizations from the 16th and Mission neighborhood and Mission District. We formed in the fall of 2013 to advocate for affordable housing in the Mission and to oppose the largest market-rate development ever proposed for the neighborhood, the development known as the Monster in the Mission. We have grown to a coalition of well over 100 organizations.

We believe in equitable development that creates healthy, vibrant, communities of opportunity. We believe this requires thoughtful, intentional, and community-based strategies to ensure that low-income communities and communities of color participate in and benefit from the decisions that shape our neighborhoods and our city’s transit-oriented development.

Read our vision statement for development in our neighborhood and our demands for development at 1979 Mission Street at the 16th and Mission BART plaza.

We made a commitment to ourselves and our community to ensure that the Mission would have it’s first ever in-neighborhood Planning Commission hearing about the largest proposed luxury development in the history of the Mission. When that original hearing was canceled on us we regrouped and kept organizing, planning for a new date, February 7th.

After 5 years of creeping over our community, Maximus, the corporation proposing the Monster, has to present their project to our community. While this is not the first time Maximus has come to the Mission, it is the first time that they have to talk about the Monster without being able to rely on confusion and false promises.

Having working-class Mission residents most impacted by displacement, rising rents and loss community have the right to lead development decisions is the goal. This hearing is a step to community controlled planning for the Mission. Let’s make history together!

When: Thursday, February 7th at 2:30pmWhere: Mission High School, 3750 18th St. Why: The first opportunity for our community to speak directly to the city and Maximus and let them know “No Monster in the Mission. Build 100% Affordable at 16th and Mission!”

If you have any questions about the hearing or about preparing for public comment contact info@plaza16.org.

*****Español Abajo*****

Dearest Community,
It is with anger in our bellies that we tell you that the No Monster in the Mission hearing on November 1st was canceled on us.

Starting last week, Maximus began a concentrated campaign of intimidation to keep the hearing from happening, even going as far as threatening violence at Mission High School which triggered the pulling of the original permit. This cloud of fear Maximus created around the hearing blew over to Everett Middle School and that permit was also denied last minute.

This postponement is an incredible disappointment and we are particularly disturbed that Maximus is employing the deeply racist stereotype of the Mission as “violent” to keep us from having an honest, public, and democratic process regarding the Monster.

But the Mission will not be intimidated by a Wall Street corporation. We will not back down. We are still planning to have a strong and powerful community event on November 1st. Please join us at 3 pm at 18th St and Dolores St.

We must not allow this setback to make us feel weak or make us freeze. The fact that Maximus has to resort to such dirty tricks to keep this hearing from happening shows us that they are deeply fearful of our voice. Let’s make sure they hear us, and let’s prepare for a hearing in the new year.

Español abajo:

After 5 years of creeping over our community, Maximus, the corporation proposing the Monster, will be coming to the to the Mission where they will have to finally make an honest presentation about their Monster.
While this is not the first time Maximus has come to the Mission, it is the first time that they have to talk about the Monster without being able to rely on confusion and false promises.

So, mark your calendar for Thursday, November 1st at Mission High School 3pm for the first time that the community gets an opportunity to speak directly to the city and Maximus and let them know “No Monster in the Mission. Build 100% Affordable at 16th and Mission!”

If you have any questions about the hearing or about preparing for public comment contact Maria@plaza16.org.

picture by Tim Porter. photography.timporter.com

We are excited to be in action with our community and fight for our right to decide what happens in our neighborhood. Below are the upcoming opportunities to take action against the Monster in the Mission. See you all soon!

Thursday, January 18th – Art Party for the Jan 25th March for Mission Street

In the great tradition of beautiful and culturally grounded affordable housing in the Mission built to meet our communities greatest need – a stable and healthy home to be able to thrive in – Plaza 16 developed an alternative project for 16th and Mission.
The community planning process began in August 2015 and engaged more than 300 community members across the span of 6 community planning meetings to develop the “Marvel in the Mission,” a community alternative to the Monster proposed by Maximus. Check out the video below about the community planning process from the point of view of some of the Latinx community in the Mission who were a part of it. Video by Causa Justa :: Just Cause Organizer, Lucas Solorzano

As people who live in this neighborhood every day – and some of us for generations – we know the housing solutions our community needs the most and we have put the work to design an alternative proposal.
In a contest between the Monster and the Marvel, the Marvel wins hands-down.
Help us make it a reality by sending a letter an email or making a phone call to the Planning Department and the D9 Supervisor’s office letting them all know that we need to #BuildTheMarvel.

Go out and grab this week’sSF Weekly and check-out Joe Kukura’s exposé about those scary Monster in the Mission BART ads.Joe’s sharp reporting connects the dots between the Monster in the Mission’s massively expensive “grassroots effort” and powerful Big Soda and Big Tobacco lobbyists “The ads say supporters of the project ‘not a Monster,’ but you might as well call them Monsters, Inc., because they’re many of the same corporate lobbying interests who recently fought for the tobacco industry and the soda industry… Further, Mission For All’s listed mailing address is that of a San Rafael corporate law firm called Nielsen Merksamer, which is also leading the lobbying effort against the flavored tobacco ban the San Francisco Board of Supervisors passed in June.”
Big Soda and Big Tobacco have long histories of exploiting working class communities of color, these developers pretend to have the Mission community in mind but we know this crew of monsters has no place in our neighborhood. Chirag Bhakta, Plaza 16 coalition member, says of the ads “Exploitation of people of color in an ad campaign to convince a mainly Latino, immigrant, low-income neighborhood that this gentrifying project is actually going to help the neighborhood comes out of Rapacious Marketing 101,” Bhakta says. “Most of the people who are showcased in these ads most likely are not going to be able to afford these units being built.”
This Halloween, stand with Plaza 16 and make sure the monsters don’t win!

Please take a moment today to help stop the Monster in the Mission. Thank you! Send an email to these addresses:

richhillissf@yahoo.com, dennis.richards@sfgov.org, planning@rodneyfong.com, christine.d.johnson@sfgov.org, joel.koppel@sfgov.org, myrna.melgar@sfgov.org, kathrin.moore@sfgov.org, Commissions.Secretary@sfgov.org
CC:
mayoredwinlee@sfgov.org, Hillary.Ronen@sfgov.org, Nate.Allbee@sfgov.org, john.rahaim@sfgov.org, richard.sucre@sfgov.org, debra.dwyer@sfgov.org, andy@plaza16.org
It’s always great if you can explain in your own words why you oppose the project but if you need it, here’s is a sample letter you can use or adapt. San Francisco Planning Commission
1650 Mission Street, Suite 400
San Francisco, CA 94103RE: Case No. 2013.1543, 1979 Mission Street Mixed-Use Project Dear President Hillis and Planning Commissioners,
I am writing to express our strong opposition to the project proposed for 1979 Mission Street by Maximus Real Estate Partners, known widely as the “Monster in the Mission.” As you know, the Mission District is facing a dire crisis of community and cultural displacement. To address this crisis, we must prioritize deeply affordable housing at this site, not a project of mostly luxury-priced housing that will further accelerate gentrification and the displacement of the existing residents, SRO hotels, mom and pop businesses, nonprofit organizations, arts and cultural spaces, PDR spaces etc. We urge you to recognize the urgent crisis facing the neighborhood, acknowledge the impact of the current massive and unsustainable imbalance of market-rate vs. affordable development in the neighborhood, and reject this project outright.
Furthermore, the Maximus project would have a significant negative impact on the Marshall Elementary School community. Not only would none of the housing in the project be affordable to the majority of families and employees at this Spanish immersion school, the project would also cast a shadow over the school’s playground for most of the school day. For many students this playground is their primary outdoor recreational space. The developer’s proposal to raise the playground would not sufficiently mitigate the shadow impact. We stand with the many Marshall community members who oppose this project due to its unaffordability and student-harming shadow impacts.With the overwhelming influx of market-rate development across the Mission, we must prioritize affordable housing at all remaining building sites. Yet as 16th and Mission is one of the City’s busiest public transportation hubs, affordable housing there is even more essential. Recent research confirms that low income households use public transit at much higher rates than higher income households that drive and/or use car shares at much higher rates. Therefore, building deeply affordable versus market-rate housing at 16th and Mission would benefit the environment and our city with reduced greenhouse emissions and less street congestion.The Maximus project would exacerbate the Mission’s displacement crisis, would cast both a metaphorical and literal shadow of the Marshall School community, and would likely result in both increased pollution and traffic. Instead of the Monster, our organization supports a plan for the site such as the “Marvel,” the community serving project envisioned and created with input from over 300 community members via a grassroots year-long process anchored by the Plaza 16 Coalition. We strongly urge you to fulfil your sacred duty as city planners and use your significant power to reject an unaffordable, community-harming Monster in the Mission and instead advocate for an affordable, community-serving Marvel.Sincerely,

WE NEED TO FLOOD HIS PHONES MONDAY AND TUESDAY (7/10 & 7/11)
David Chiu is the Assemblymember for the east side of SF and he is chair of the the critical last committee — Housing — for SB 35 and he can make the changes to this legislation to protecT the Mission District and other vulnerable neighborhoods in California.
TWO EASY STEPS — Takes less than one minute.
1). CALL: (916) 319 – 2017
2. SAY: “I am a constituent of Assemblymember Chiu and I urge him to oppose SB 35 unless it includes community coalition ammendments such as a ‘safe habor’ provision for our low income communities.”
PLEASE CALL NOW!
Here is a June 10 OpEd with further information on the bill and the impacts it would have on the Mission District and other vulnerable California neighborhoods: http://www.sfexaminer.com/senate-bill-35-will-cause-displacement-communities-color/
AND SIGN THE PETITION!
https://www.change.org/p/protect-our-low-income-communities-oppose-sb-35-unless-amended


/*
 * Copyright (c) 2019. Abstrium SAS <team (at) pydio.com>
 * This file is part of Pydio Cells.
 *
 * Pydio Cells is free software: you can redistribute it and/or modify
 * it under the terms of the GNU Affero General Public License as published by
 * the Free Software Foundation, either version 3 of the License, or
 * (at your option) any later version.
 *
 * Pydio Cells is distributed in the hope that it will be useful,
 * but WITHOUT ANY WARRANTY; without even the implied warranty of
 * MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
 * GNU Affero General Public License for more details.
 *
 * You should have received a copy of the GNU Affero General Public License
 * along with Pydio Cells.  If not, see <http://www.gnu.org/licenses/>.
 *
 * The latest code can be found at <https://pydio.com>.
 */

package net

import (
	"io"
	"math"
	"net/http"
)

// ProgressMonitor provides a TeeReader to wrap a reader and send a progress inside a dedicated channel
type ProgressMonitor struct {
	expectedSize uint64
	currentSize  uint64
	currentPg    float64
	progressChan chan float64
	doneChan     chan bool
	SizeChan     chan uint64
}

// BodyWithProgressMonitor creates a ProgressMonitor directly from an http.Response
func BodyWithProgressMonitor(resp *http.Response, progress chan float64, done chan bool) io.Reader {
	expected := uint64(0)
	if resp.ContentLength > 0 {
		expected = uint64(resp.ContentLength)
	}
	return io.TeeReader(resp.Body, NewProgressMonitor(expected, progress, done))
}

// NewProgressMonitor initialize a ProgressMonitor with the channels
func NewProgressMonitor(expected uint64, progress chan float64, done chan bool) *ProgressMonitor {
	m := &ProgressMonitor{
		expectedSize: expected,
		progressChan: progress,
		doneChan:     done,
	}
	return m
}

// Write implements the io.Writer interface to be used by a TeeReader
func (m *ProgressMonitor) Write(p []byte) (int, error) {
	n := len(p)
	m.currentSize += uint64(n)
	if m.progressChan != nil && m.expectedSize > 0 {
		progress100 := math.Floor(100 * float64(m.currentSize) / float64(m.expectedSize))
		if progress100 != m.currentPg {
			m.progressChan <- float64(m.currentSize) / float64(m.expectedSize)
		}
		m.currentPg = progress100
	}
	if m.SizeChan != nil {
		m.SizeChan <- m.currentSize
	}
	if m.doneChan != nil && m.expectedSize > 0 && m.currentSize == m.expectedSize {
		m.doneChan <- true
	}
	return n, nil
}


Biomarkers for antidepressant treatment response

September 20, 2012

(Medical Xpress)—Researchers from King's College London's Institute of Psychiatry (IoP) have identified new biomarkers for antidepressant treatment response, an important step towards developing personalised treatments for depression. The study, published today in Neuropsychopharmacology, is the first to identify blood biomarkers for antidepressant response in a clinical controlled study and is part of Genome-Based Therapeutic Drugs for Depression (GENDEP) project.

Professor Carmine Pariante, lead author of the study at the IoP at King's says: 'We've identified biomarkers in the blood which could help identify individuals less likely to respond to basic antidepressant treatment. This is a small study, but the findings are promising. Personalised treatments for depression could help us avoid the current 'trial and error' way of prescribing antidepressant medication.

'The study confirms previous evidence that increased inflammation is part of the mechanism leading to depression, especially to particular forms of depression that are less responsive to antidepressants. The study shows that we could use a blood-based "test" to personalise the treatment of depression. If a patient had high levels of inflammation, they could immediately begin with a more intensive treatment programme, such as combining antidepressants or stepping up the doses.'

Researchers aimed to identify two types of biomarkers: ones which could predict future response to antidepressant treatment (predictors), and others which are targeted by antidepressants and change over the course of treatment (targets).

Within human cells, information from genes is transcribed into m-RNA before the effect is visible as a physical or biochemical characteristic. Previous research has shown that depression interferes with three key biological systems: the glucocorticoid receptor (GR) complex, inflammation levels and neuroplasticity. The researchers therefore monitored how mRNA was produced for 15 specific genes linked to these three systems.

The study involved 74 depressed patients. Their levels of mRNA expression were tested before and after 8 weeks of treatment with either escitalopram (n=38) or nortriptyline (n=36). Escitalopram, a serotonin reuptake inhibitor and nortriptyline, a tricyclic antidepressant, are both commonly prescribed first line antidepressant treatments in the UK.

Individuals who did not respond well to treatment displayed significantly higher levels of three inflammation markers before treatment (IL-1B +33%; MIF +48% and TNF-a +39%), suggesting that these three biomarkers could be used to identify individuals who are least likely to respond to antidepressant treatment.

Individuals who underwent successful antidepressant treatment displayed reduced levels of inflammation (IL-6 -9%) and GR function (FKBP5 -11%) markers and higher levels of neuroplasticity markers (BNDF +48% and VGF +20%). These 'target' markers are different from the 'predictor' markers, suggesting that antidepressants do not adequately target the high levels of inflammation displayed in hard to treat individuals.

Professor Pariante adds: 'Additionally, these findings provide novel mechanistic insight into mRNA gene expression changes associated with antidepressant response which is likely to generate new ideas for novel and more effective antidepressants.'

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