#Computer Vision System Homework Help

[ai-answer-tool]

Unlock Your Potential with Desklib’s AI Academic Answer Assistance Tool

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Reliable Academic Support: The software gives AI-generated replies that are backed up by credible sources, making it accurate. This allows for assignment completion without hesitation.

24/7 Availability: AI is always there, providing around-the-clock learning support whenever a student needs it, compared to human tutors.

Improved Understanding: AI simplifies tough subjects into easy concepts to be learned without having to memorize it all.

Boosts Research Efficiency: Our AI searches scholarly sources and presents you with the most relevant material, without having to waste time sifting through unrelated material.

What Makes Desklib's AI Answer Tool Unique

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Conclusion

At Desklib, we endeavour to make learning smarter and more accessible. Desklib's AI Answer Tool offers AI Academic Assistance, helping you to perform better in studies. With Instant AI Academic Support for Students, learning, researching, and assignment work has never been more convenient. Join our tool today and experience the learning of tomorrow for yourself!

[educationtech]

5 Artificial Intelligence Project Ideas for Beginners [2025] - Arya College

Best College in Jaipur which is Arya College of Engineering & I.T. has five top AI projects for beginners that will not only help you learn essential concepts but also allow you to create something tangible:

1. AI-Powered Chatbot

Creating a chatbot is one of the most popular beginner projects in AI. This project involves building a conversational agent that can understand user queries and respond appropriately.

Duration: Approximately 10 hours

Complexity: Easy

Learning Outcomes: Gain insights into natural language processing (NLP) and chatbot frameworks like Rasa or Dialogflow.

Real-world applications: Customer service automation, personal assistants, and FAQ systems.

2. Handwritten Digit Recognition

This project utilizes the MNIST dataset to build a model that recognizes handwritten digits. It serves as an excellent introduction to machine learning and image classification.

Tools/Libraries: TensorFlow, Keras, or PyTorch

Learning Outcomes: Understand convolutional neural networks (CNNs) and image processing techniques.

Real-world applications: Optical character recognition (OCR) systems and automated data entry.

3. Spam Detection System

Developing a spam detection system involves classifying emails as spam or not spam based on their content. This project is a practical application of supervised learning algorithms.

Tools/Libraries: Scikit-learn, Pandas

Learning Outcomes: Learn about text classification, feature extraction, and model evaluation techniques.

Real-world applications: Email filtering systems and content moderation.

4. Music Genre Classification

In this project, you will classify music tracks into different genres using audio features. This project introduces you to audio processing and machine learning algorithms.

Tools/Libraries: Librosa for audio analysis, TensorFlow or Keras for model training

Learning Outcomes: Understand feature extraction from audio signals and classification techniques.

Real-world applications: Music recommendation systems and automated playlist generation.

5. Sentiment Analysis Tool

Building a sentiment analysis tool allows you to analyze customer reviews or social media posts to determine the overall sentiment (positive, negative, neutral). This project is highly relevant for businesses looking to gauge customer feedback.

Tools/Libraries: NLTK, TextBlob, or VADER

Learning Outcomes: Learn about text preprocessing, sentiment classification algorithms, and evaluation metrics.

Real-world applications: Market research, brand monitoring, and customer feedback analysis.

These projects provide an excellent foundation for understanding AI concepts while allowing you to apply your knowledge practically. Engaging in these hands-on experiences will enhance your skills and prepare you for more advanced AI challenges in the future.

What are some advanced NLP projects for professionals

1. Language Recognition System

Develop a system capable of accurately identifying and distinguishing between multiple languages from text input. This project requires a deep understanding of linguistic features and can be implemented using character n-gram models or deep learning architectures like recurrent neural networks (RNNs) and Transformers.

2. Image-Caption Generator

Create a model that generates descriptive captions for images by combining computer vision with NLP. This project involves analyzing visual content and producing coherent textual descriptions, which requires knowledge of both image processing and language models.

3. Homework Helper

Build an intelligent system that can assist students by answering questions related to their homework. This project can involve implementing a question-answering model that retrieves relevant information from educational resources.

4. Text Summarization Tool

Develop an advanced text summarization tool that can condense large documents into concise summaries. You can implement both extractive and abstractive summarization techniques using transformer-based models like BERT or GPT.

5. Recommendation System Using NLP

Create a recommendation system that utilizes user reviews and preferences to suggest products or services. This project can involve sentiment analysis to gauge user opinions and collaborative filtering techniques for personalized recommendations.

6. Generating Research Paper Titles

Train a model to generate titles for scientific papers based on their content. This innovative project can involve using GPT-2 or similar models trained on datasets of existing research titles.

7. Translate and Summarize News Articles

Build a web application that translates news articles from one language to another while also summarizing them. This project can utilize libraries such as Hugging Face Transformers for translation tasks combined with summarization techniques.

[theaccountingsavvy]

Mastering Managerial Accounting: Complex Concepts Simplified

Managerial accounting, a crucial aspect of any business's decision-making process, involves providing financial information to managers to assist in planning, controlling, and making informed business decisions. At DoMyAccountingAssignment.com, we specialize in offering Managerial Accounting Homework Help tailored to meet the needs of students at all levels. In this blog post, we'll delve into two master-level managerial accounting questions and provide comprehensive solutions to illustrate the depth of our expertise.

Understanding Activity-Based Costing (ABC)

One of the advanced topics in managerial accounting is Activity-Based Costing (ABC). ABC is a methodology that assigns overhead and indirect costs to related products and services. This method can provide more accurate product costing and insights into cost drivers, helping managers make better strategic decisions.

Question 1:

Describe the Activity-Based Costing (ABC) method and explain how it differs from traditional costing methods. Discuss the benefits and challenges of implementing ABC in a manufacturing company.

Solution:

Activity-Based Costing (ABC) is a sophisticated approach to allocating overhead costs more precisely than traditional costing methods. Unlike traditional costing, which assigns overhead costs to products based on a single, volume-based cost driver (such as direct labor hours or machine hours), ABC assigns costs to activities based on their use of resources. It then allocates those costs to products based on the extent to which each product uses the activities.

Key Steps in ABC:

Identify Activities: Determine the major activities that take place in the organization (e.g., machine setup, quality control, maintenance).

Assign Costs to Activities: Allocate the total overhead costs to each activity based on the resources consumed by those activities.

Determine Cost Drivers: Identify appropriate cost drivers for each activity (e.g., number of setups, inspection hours).

Calculate Activity Rates: Compute a cost rate per cost driver unit (e.g., cost per setup, cost per inspection hour).

Assign Costs to Products: Multiply the activity rates by the number of cost driver units consumed by each product to assign overhead costs to products.

Benefits of ABC:

Accuracy: Provides more precise product costing by considering the actual consumption of resources.

Insight: Offers insights into cost drivers and activities, helping managers understand the true cost of products and processes.

Decision-Making: Improves decision-making related to pricing, product mix, and process improvements.

Cost Control: Identifies high-cost activities and opportunities for cost reduction.

Challenges of ABC:

Complexity: Implementing ABC can be complex and time-consuming, requiring detailed data collection and analysis.

Cost: Higher implementation and maintenance costs compared to traditional costing systems.

Resistance to Change: Employees and managers may resist changing from a familiar system to a new, more complex one.

Data Requirements: Requires accurate and detailed data, which may not always be readily available.

In a manufacturing company, implementing ABC can significantly improve cost accuracy and resource utilization, leading to better strategic decisions. However, the company must weigh the benefits against the costs and complexities involved.

Exploring the Balanced Scorecard

Another essential concept in managerial accounting is the Balanced Scorecard (BSC). The BSC is a strategic planning and management system used to align business activities with the organization's vision and strategy, improve internal and external communications, and monitor performance against strategic goals.

Question 2:

Explain the Balanced Scorecard (BSC) approach and its four perspectives. How can a manufacturing company use the BSC to enhance its strategic management process?

Solution:

The Balanced Scorecard (BSC) is a comprehensive management tool that provides a framework for translating an organization's strategic objectives into a coherent set of performance measures. Developed by Robert Kaplan and David Norton, the BSC balances traditional financial measures with non-financial measures across four key perspectives:

Financial Perspective: Focuses on financial objectives and performance measures that indicate whether the company's strategy contributes to improving the bottom line. Examples include revenue growth, profitability, and return on investment.

Customer Perspective: Emphasizes customer satisfaction and market share goals. Measures include customer satisfaction scores, retention rates, and market share metrics. This perspective highlights the importance of delivering value to customers.

Internal Business Processes Perspective: Concentrates on the internal processes that drive the organization's success. Measures in this perspective might include cycle time, production efficiency, and quality indicators. This perspective aims to identify and improve critical processes that impact customer satisfaction and financial performance.

Learning and Growth Perspective: Focuses on the organization's capacity to innovate, improve, and learn. This includes employee training and development, knowledge management, and organizational culture. Metrics might include employee satisfaction, training hours per employee, and staff turnover rates.

Using the BSC in a Manufacturing Company:

A manufacturing company can utilize the BSC to enhance its strategic management process in several ways:

Aligning Objectives: The BSC helps align departmental and individual goals with the overall strategy of the company. By setting specific objectives and measures in each of the four perspectives, the company ensures that all parts of the organization work towards common goals.

Improving Performance Measurement: Traditional performance measurement systems often focus solely on financial metrics. The BSC provides a more balanced approach by including non-financial measures, offering a more comprehensive view of performance.

Identifying and Monitoring Key Metrics: The BSC helps identify key performance indicators (KPIs) that are critical to achieving strategic objectives. By regularly monitoring these KPIs, the company can track progress and make necessary adjustments.

Enhancing Communication and Understanding: The BSC facilitates better communication of the company's strategy and goals across all levels of the organization. This improves understanding and buy-in from employees, which is crucial for successful strategy implementation.

Driving Continuous Improvement: The BSC encourages continuous improvement by focusing on key areas such as process efficiency, customer satisfaction, and employee development. This ongoing focus helps the company stay competitive and adapt to changing market conditions.

By implementing the BSC, a manufacturing company can create a more strategic and integrated approach to management, ensuring that financial and non-financial measures are balanced and aligned with the company's long-term objectives.

Conclusion

Managerial accounting is a dynamic and essential field that supports strategic decision-making through advanced techniques like Activity-Based Costing and the Balanced Scorecard. At DoMyAccountingAssignment.com, we provide expert "Managerial Accounting Homework Help" to assist students in mastering these complex concepts. Our detailed solutions and comprehensive explanations ensure that students not only complete their assignments but also gain a deeper understanding of managerial accounting principles.

Whether you're struggling with cost allocation, strategic planning, or any other aspect of managerial accounting, our team of experts is here to help. By leveraging our expertise, you can excel in your studies and apply these concepts effectively in real-world scenarios. Explore our services today and take the first step towards academic and professional success in managerial accounting.

[kevincauthorportfolio]

How You Can Use AI To Make Travel More Affordable and Accessible

Traveling can be such a hassle. Who wants to stand in airport security lines, hope their flight is on time, and have to worry about your schedule while you're on vacation? Thanks to the power of AI, these hassles might be eliminated (or at least minimized) soon. In this article, we'll look at all the ways AI solutions are changing the face of travel. 

First, what exactly is AI? For our purposes, artificial intelligence (AI) can be defined as "...the simulation of human intelligence by machines, especially computer systems" [1]. Use cases for AI include natural language processing, speech recognition, and machine vision. Don't worry if these terms and phrases are a bit foreign to you; you won't need to be an expert on AI to harness its powers for yourself.  Here are some uses AI may have to make travel more accessible and affordable for those on a budget.  

Nix The Tour Guides:  Buying an expensive tour package not in your budget? Why not let AI help design your itinerary? Roam Around is a simple web-based tool powered by ChatGPT [2]. All you need to do is navigate to roamaround.io and enter the city you'd like to visit and how much time you have there [2]. ChatGPT will then generate an easy-to-read itinerary for you [2].  

For instance, the AI software suggests spending time at the Colosseum and traversing the historic neighborhood of Tivoli for a hypothetical five-day expedition to Rome. Arguably even cooler, the names of key sites are hyperlinked to pages that provide budget tours of the corresponding area. No tour guide needed!  

Time Your Purchases:   If you're one of those people constantly checking flights to grab the best prices, AI has got you covered. Hopper is a travel booking app that uses artificial intelligence to predict flight prices [3]. Hopper looks at historical price changes and predicts when prices are likely to increase or decrease based on past data [3]. The app can save you up to 40% on travel costs [3]. It works for hotels, rental cars, and flight costs, likely your biggest three expenses when you travel [3]. Hopper even plants two free trees when you travel to offset the carbon footprint from your travel [3]. Friendly for the planet and your wallet! 

Do Your Homework with Chatbots:  Sure, you could research all the data you need to plan your trip. However, that could take hours and add stress to your vacation. Why not let AI pull the info you need for you? The Kayak app contains a chatbot that can grab information at the click of a button [4]. The bot will give you details on flights, rental cars, and itinerary options and give you some activities to try [4]. It can also help you budget, as you can specify things like "Get me a flight from New York City to London for under $150" or ask where you can go with $300 this weekend [4].  

Know Before You Go:   We've all been there: you see a luxurious-looking property with gorgeous photos, only to book something that's nothing like what you were promised. Tools like Magpie use something called sentiment analysis to scope out emerging trends and adjust their search algorithms accordingly [5]. In other words, it combs through data like reviews to determine whether they're positive, negative, or neutral and uses that data to rank reviews. Destinations with worse reviews should get knocked to the bottom, saving you time and money when it comes to searching. After all, there's no better way to get destination info than from someone who's already been there.  

Virtual Vacations?  Got more of a staycation in mind? AI can help with that too. Virtual Reality or VR is a technology that simulates an immersive 3D world all around you. AI can create "physically and emotionally immersive travel that is unique to each user [5]." After AI chooses a site for you according to your needs, you can enjoy an immersive experience through companies like First Airlines [5]. This includes first-class service with four-course meals and virtual sightseeing [5]. If you're a "try before you buy" type of person, these immersive experiences can help you learn about a destination inside and out without ever having to physically go there. You can also search YouTube for 3D travel experiences you can view inside Google Cardboard and other VR headsets if you own one.  

These are just some of the ways AI is making travel more affordable, convenient, and accessible. With the advent of the internet and modern solutions such as chatbots, ChatGPT, virtual reality headsets, and artificial intelligence apps, it's easier than ever to find stays and times that work for you and your budget. You don't have to dent your bank account (or even leave your living room) to see the world, and much of it can be organized and planned out for you. As these tools and solutions evolve, it's possible they will further democratize the travel experience, making the same cultural expeditions more readily available to everyone.  

Burns, Ed, and Nicole Laskowski. "What Is Artificial Intelligence (AI)?: Definition from TechTarget." Edited by Linda Tucci, Enterprise AI, TechTarget, 24 Feb. 2023, techtarget.com/searchenterpriseai/definition/AI-Artificial-Intelligence. 2. Patkar, Mihir. "5 Free Travel Planning AI and Chatgpt Apps to Get an Instant Itinerary." MUO, 19 Feb. 2023, makeuseof.com/free-travel-planning-ai-chatgpt-apps/ 3. Germán. "Ai Travel Apps You Can Use Right Now (That Are Not Chatgpt) [2023]." AirLapse, 20 Feb. 2023, airlapse.net/blog/ai-travel-apps 4.Bulanov, Alexandr. "How Machine Learning and AI Can Improve Travel Services." Medium, Towards Data Science, 26 Feb. 2019, https://towardsdatascience.com/how-machine-learning-and-ai-can-improve-travel-services-3fc8a88664c4 5."5 Ways AI Will Revolutionize Travel." CATALYST, CATALYST, 15 Feb. 2023, catalyst.cm/stories-new/2023/2/14/5-ways-ai-will-revolutionize-travel

This article is also available to purchase on Constant Content here: https://www.constant-content.com/MoreDetails/1912373-Ways_Ai_is_Making_Travel_More_Accessible_and_Affordable.htm. Once purchased, you can change the byline and use it for your own blog or website. 

[emily-studies]

hey guys! i just wanted to share some tips on how I became a straight a student. i know grades should not be an obsession but I do think they should matter to a certain extent.

Now your grades should not define who you are but if you want to further your academic career, you came to the right place.

Tip #1: Find motivation and display it! when i was little, my biggest motivation was to make my parents proud. now older, i know that is not the healthy but that did motivate me to a lot of things like focus in school. but yours can be anything! what i like to do is go on pinterest and search up images that motivate me and add all it into a collage. I put this collage as my wallpaper on my computer so i can be reminded of it. you can print it out and frame it too! how to make a vision board! 1. search up motivating photos on pinterest (ex. your dream job, places you want to visit, ect.)

2. then go to canva and arrange them how you want to them.

if you don’t want to make a whole wallpaper, you can make a pinterest board!

check out mine here for inspo.

Tip #2: Get organized

you cannot be a straight a student if you do not know where your assignments are. you have to have a filing system—you cannot put papers into your bag. if you are not into the big filing folders or “each folder per class”

My filing system is this:

i bring one folder to school: in that folder i keep all my homework from different classes as well as notebook paper.

then i have a 5 subject notebook i take my notes in. i am going to go indept on how i take notes in a later blog post but i rewrite my notes when i get home.

then i have a science, math, and spanish notebook that i keep at home. depending on what classes you need notes it, you can buy a notebook to that class and keep it at home to study with.

Tip #3: Start using a planner

you need to start using a planner! it will save you from missing deadlines and keep you on track. you can use a physical or digital planner—I use both. My digital planner is my study life and for my physical planner i use my bullet journal.

it doesn’t have to be perfect, but it does have to be efficient and helpful. the purpose of your planner is to be useful and if you don’t use it, then how can you be mad when you miss a deadline?

Tip #4: DO NOT CRAM , instead plan out your review.

I am not going to lie, I do cram from time to time. And sometimes I do a get an amazing grade and sometimes I don’t. But I learned that when I plan my review and space it out, I tend to better. I posted a blog post on how I revise here! But if you plan out your reviews ahead of time, your brain would retain the information longer and process it better.

I use the application Anki to help me review flashcards! Now I got more into depth in my How i revise post but basically Anki plans out what you need to review that day for you. It is completely free on computers!

Tip #5: Set up a distraction free study area (and make it cute so ur inclined to study)

Let’s be honest, if you are not motivated to study somewhere, are you really going to study there? Hence, setting up an aesthetically cute study area! Now, this does not have to be something straight from Pinterest, it could literally be a clean desk with a pencil cup.

But make sure you also have everything you need! Like water or the homework you need to get done (sounds silly but i’ve done it before) This reduces your chances of getting up and getting distracted.

—

Now how would one apply this to their life? These are habits and habits need to be formed. You cannot implement this tips all in one day and expect them to stick. You need to slowly integrate this into your studying routine. This took me 3 years to implement and I am still working on it to this day. You need to trust the process and yourself.

Instagram | Pinterest | Goodreads

[leverage-commentary]

Leverage Season 2, Episode 13, The Future Job, Audio Commentary Transcript

Marc: Hello, Marc Roskin, producer and director of this episode.

Amy: Hi, Amy Berg, supervising producer and co-writer of this episode.

John: John Rogers, executive producer.

Chris: Chris Downy, executive producer, and co-writer of the Future Job.

John: Uh, this, did this start out of the haunting episode? Is this how the psychic came about?

Amy: The origin of this? No, the um, no I don't think so. Psychic Job was—

John: Was that Dean's?

Amy: No, it was literally a card that was on my board at the beginning of the season, along with Three Days of the Hunter, and Two Live Crew Job, so this was essentially plucked from the well.

John: This was one of the ones that sat there, that sat there for a long time, she was great, what, uh...

Marc: Jen Taylor, local Seattle actress. She was wonderful.

John: But it was Dean who really dug in on this one, because he really liked the bad guy. He really said, you know, ‘I really wanna hammer the fake psychics.’

Amy: Yeah, and he was the one who, sort of, had the vision of, sort of, making this a Parker episode and, sort of, getting to delve deeper into her backstory a little bit.

Chris: And there's Luke Perry.

John: Luke Perry was fantastic.

Amy: He was great.

John: How did we wind up casting Luke Perry?

Chris: I think it was suggested by our casting folks, and I think it was the first one on his list, and he said, Luke Perry would be fantastic for this role. And we all, we were kind of like wow. You know, you didn't really think of him as- as an evil psychic.

Marc: I would leave my wife for Luke Perry. 

[All Laugh]

John: Luke Perry—uh, as a director, why don't you talk about working with Luke Perry, Marc?

Marc: He was wonderful. I mean, you can just really, when someone has that much experience working in television, I mean, it's amazing. He was on time, he never left set, he was always talking about character and would take any suggestions, you know, from me as a director, if you wanted to go another way, just let me know; he was just a dream to work with.

John: Now, what was the idea on this particular setting for the psychic, instead of like a formal office, or like, what was the set dec idea on this?

Marc: Well we wanted to have him working out of, like, a home type office, and actually we had to find something that we could build on the stage to work on.

John: Oh so that wasn't a location, that was-

Marc: No, that was just our basic, uh, hospital and Gina apartment set.

John: [Laughs] The Frankenset.

Marc: Shot on the same day as this day, on the stage, in our bar.

John: Okay, cool. Nice shot through the glass, by the way. I didn't know those taps worked. If I'd known those taps worked I would have been up north a lot more often.

Marc: They work. As soon as you request it, Eric Bates we'll start pumping a keg through them.

John: And this actor playing the brother—

Marc: Uh, Eric Riedman, he was great, too. I mean, he really, really clicked with Tim in this scene. They really worked well together.

John: And it was interesting. We were trying to figure out—we had a great victim, but ordinarily our victim has already had the thing done to them, but in the design of this, you needed the victim to sort of be in suspension.

Amy: Yeah, we needed a proxy. And uh, the brother was sort of a great emotional investment tool for us.

John: Yeah. And Portland actor, just a really, really great job. That was a good, 'I hate that guy moment', when we made her pregnant. And uh—

Chris: And taking her house.

John: Take her house, don't leave money on the table.

Amy: I guess we should point out that, uh, I named a lot of these characters - with the exception of Dalton Rand, Luke Perry's character - after the assistants on our show.

John: Oh, this one is the one where we used all the—

Amy: Yeah, it's Wilson, it's Nicholas, and Ryan, and—

Chris: I love that logo there, by the way, that went by.

John: Oh yeah, who designed that? The great Dalton Rand logo?

Chris: Oh they did a great job.

John: It was actually designed by Derek, right? Our computer graphics guy?

Marc: Yeah, Derek Frederickson in Chicago.

John: He banged it up for us. And it is amazing, this is another one where you could assume we are doing one or the other of any of the very sundry famous psychics, but really they all use the same cons.

Amy: Yeah, they really do.

John: And I’ll also say, Derren Brown was a big influence on this episode.

Amy: Yeah, I think you and I are maybe a little too obsessed with Derren Brown, and uh—

John: He is dreamy.

Amy: He's dreamy and he's sort of an—

John: And a powerful, commanding presence.

Amy: And he's an expert in NLP, which a lot of the stuff we talk about in this episode is, and he debunks a lot of psychics and mediums and things of that sort.

John: That's a really interesting way, too, by doing shows that make it look like he has those abilities.

Amy: And Apollo Robbins, our consultant, was helpful in, sort of, submitting some great terminology for us to use throughout.

John: Oh yeah, that's right, the cold reading terminology, yeah. Um, now this, where was this set?

Marc: This was an actual cable access station that they, again, just opened the doors for us. We didn't have to change any of the logos or the numbers, the people working the camera are the actual camera crew—

Chris: Wow, that's great.

Marc: —of this station, they were wonderful.

Amy: They absorbed us into their own productions.

Chris: Just like Three Days of the Hunter, this is another example of Portland opening its doors to us.

Marc: So all those monitors, they had up and running and feeding through our system as well, it was great.

John: Now did you take a look at any of the extant shows, in order to, sort of, see how this works?

Marc: Uh, I did, and a lot of it at first was just to see the set. And everybody—once you start looking at their sets—were like 'oh, maybe ours is a little too pretty.' [All Laugh] Some of them were just like two chairs and an easel, with something leaning against it.

John: 'I'm gonna sketch what your dead mother is saying.'

Marc: And then our construction crew, you know, built the risers, so we can have some depth with the audience. This was a fun scene. It wasn't supposed to be a physical scene, but Eliot and Lathrop turned it into one, so it was kinda fun.

Chris: I love when he gets mad here.

Amy: This was supposed to be a con, and then it turned into something altogether different.

John: He's just really annoyed at that dude up in his face. And you know what's interesting is we- it was a little weird developing this, because all the tricks that a lot of fake psychics use—not the real psychics, of course, with giant lawyers behind them, but the fake psychics use—are actually techniques we use in the cons, and so it was kind of this weirdly recursive thing. It's like, we're kind of exposing to the audience how they do this, but we do it every week.

Amy: Yeah, we're exposing ourselves as much as we're exposing Dalton Rand here.

John: And this is where he goes into cold reading. What was the—and it's interesting, cold reading is a fascinating subject, there's actually a couple great books that Apollo Robbins hunted up, and the idea that just by playing the numbers, just by playing the odds, any one of these guys can hit at about 80 to 85 percent success rate.

Amy: Yeah, it's act- it's basically asking a series of questions, and, sort of, gauging reactions to people without knowing anything about them in advance. Whereas hot reads or warm reads, as they’re sometimes called, are basically doing your homework beforehand, and getting research on the people you're about to meet with and, sort of, using that knowledge to, sort of, manipulate them.

Chris: The hot read is really more what our guy's doing, which is kinda how this thing broke down in the episode, was when we hijack and sort of take it over and hot read.

Amy: Yeah. Well we, the team basically underestimates Dalton here, and he surprises them.

John: They think that once they throw him, they'll get him, and he's able to cold read Parker. Which is also a big thing, not just in anchoring Parker's story into the episode, but the show always works when the nemesis is a bit more formidable.

Amy: Absolutely.

John: And it was kind of important, especially since Luke's kind of a really nice, he's got a nice guy vibe, it was kinda really important to start to hammer in on the fact that this guy is as good as they are. If he knew they were coming, this would be a very different game.

Amy: And I think Tim is great in this scene, because he's playing the audience, he's like, ‘Wait a minute, like, we were supposed to come in and sort of take over this guy, and he's sort of manipulating Parker, and surprising me in turn.’

John: Wow, look at Beth there. She is working.

Chris: Now, how'd you work with her on this when you went into this scene?

Marc: Um, it was interesting, because the scenes we shot first are the scenes later where it was really emotional in the Leverage apartment, where she really broke down, so she was already at that place once, and she just brought it right back, and I think Luke worked really well with her.

John: I also like that beat in the van where Jeri sort of chose, it was a very nice choice, where Aldis has got Hardison really pissed off, and Jeri's just admiring the craft. She's not as emotionally invested in the team, so she can kind of step back and admire this guy's chops.

Marc: And this scene was just such a great scene where all of our actors work so well together in, not only just rehearsing it, but getting Beth to a certain place, you know, where she should be, they were all really emotionally involved in this, and took a lot of time to rehearse—

John: Probably took twice as long as we usually do to shoot this stuff.

Amy: Well yeah, it was the characters being really protective of Parker, and the actors being really protective of Beth, it was really great.

Chris: Well I think it was actually, when it was written, more angry. You know what I mean? And I think seeing the dailies, it was, like, she took it to this incredibly vulnerable place that I don't think it really was on the page.

John: Also big credit to Dean Devlin, because he also had pushed that.

Marc: He did, he did. And this was a great scene, we have all the emotional arc with Beth, but as you guys were just explaining, in the script we explain the hot read and the cold read and we break it all down.

John: Yeah, and this is—again, we are always agonizing over how to explain this stuff, and having someone with a specific emotional response or attitude in the scenes makes a giant difference. And having it be Parker, who the audience is very very fond of, really helps, you know. We're now dumping an enormous amount of exposition on your plate, and you don't care.

Chris: Right, because it's—you know, we're seeing her in this really, just devastated place.

Marc: And we just found out a lot about her past that we didn't know about.

John: And he—I love that look up, just like, ‘Help me out here, I got nothing.’

Chris: Well the thing about it, and we'll talk about it when we get there, but the way she plays the scene at the end, with the brother, really was informed by all this, which was not at all on the page at all.

Marc: Right.

Chris: Like, when she hugs the victim's brother, and we'll get there, it's as if she's hugging her own brother.

John: And also it's interesting, because—oddly, it certainly wasn't intended, but it's just the way TV shows evolve—it helps, sort of, explain her relationship with Eliot and Hardison, you know. That's sort of how she fell into that rhythm, and that sort of proxy family—

Chris: It was not intended.

John: I would like to say, I'd like to say it was a sort of subconscious Alan Moore idea space.

Amy: Speak for yourself Chris, I totally did that on purpose.

John: Like two years ahead, like two years in advance?

Chris: Oh sure. That's what you're supposed to do on these commentaries—

Amy: Yes, many many years.

Chris: —you're supposed to go 'well, you see, I laid these—'

John: 'So this moment, two years earlier—'

Amy: Reason we're awesome, number 427.

John: But here's what's amazing is, we really, we're always like, in the show, could we possibly fool people with this? And then when you do this, this explanation scene, could you possibly fool anyone? They do! This is how they do it! We're not making any of this up.

Amy: No.

John: If anything, we're giving them better tech.

Amy: We're giving them ideas on how to be better at it.

Chris: And by the way, from a technical standpoint, these scenes were very difficult to shoot because we're going from monitors to action—

Amy: To flashbacks.

Chris: —to flashbacks, very hard.

Marc: And they're all green screens on the day we're shooting them.

John: Oh that's right, we didn't have the footage.

Amy: Nothing was on these monitors.

Marc: Nothing is on the monitors.

Amy: All we had was a nice bulletin board.

Marc: Yeah, we had a little bulletin board to show that they had the seating chart. And here, one of my favorite lines is coming up, it's just a great release valve, with all this tension, and, and her emotions—crying.

John: Yeah, you can see her turning, too. There's the sort of old Parker coming back, and the anger kind of building up in her face.

Amy: Yeah it's like, wait a minute...

Marc: And then this line from Eliot. 'Can we kill him?' 

[All Laugh]

Chris: I think that was you.

John: Yeah that was, I think that was me. Quite sure. ‘Yeah, alright [Laughs] absolutely.’ I like, and Chris played it just right too, like...

Chris: Just a shrug.

John: And it's interesting, 'cause, that actually was intentional in the back half of the season this year. We really want to remind people, Eliot Spencer used to kill people. I mean, because it's really easy, because Chris is very charming, and he's very funny... yeah he was not a pleasant human being by any stretch of the imagination. And every now and then, you lose it a little, you know what I mean? You lose track of it, because he's such a nice guy. And who's that?

Marc: That is Lana Veenker, our casting associate there in good old Portland.

Amy: How did that come about? [Laughs]

Marc: You know what? We were just reading people and all of a sudden I'm like, ‘Why don't you read?’ 'No no no, I won't. Okay, gimme thirty seconds.' All of a sudden she read and we were like, 'Done.'

John: Done. We're out.

Chris: Didn't we write some pages where they have a long passionate kiss here? 

[All Laugh]

John: Yes, we did. We did—actually we didn't write them, you know, they were faxed in, and I don't know where they came from.

Chris: Handwritten.

Amy: Yeah I think it was a Portland IP address, somehow.

John: Yeah, it was a little creepy, to tell you the truth. [Amy Laughs] Ah, no. And this, uh—you know, we need a new name for the assistant who's not a Busey.

Chris: Uh... Well, I mean...

John: Because we've had a couple.

Chris: Lackey? It’s kind of a lackey.

Amy: Do people know—have we explained—

John: We've explained the Busey's on both seasons.

Amy: Okay good.

John: Uh, yeah, he's not quite a lackey, he's more of a henchman.

Chris: Henchman, yeah.

John: For those of you building the characters in Savage Worlds, he would have one wild die. [Laughs]

Amy: Lackies don't have lines, henchmen do.

John: Ah, there you go, good point.

Marc: And this scene as well, the opening scene in this office was shot at like, one in the morning, twelve o'clock at night, Luke's first day—

John: [Laughs] Welcome to Leverage, Luke.

Marc: Yeah, exactly. And he just rocked it out.

Amy: Yeah, he's great.

John: He landed unctuous. It was a pity because it was one of those performances where in the middle you're like, ‘Oh man, I love when we find an actor and we want to bring them back— oh wait, he's a villain.’ This almost never happens with villains.

Marc: Yeah.

John: Drew was the exception, but he was a good guy villain.

Chris: I think he mentioned that he was a—he is a con man here, and that he could always have a twin brother.

[All Laugh]

Amy: Without the beard and mustache.

John: This is, uh, I actually showed up on set, I think this day, or the—I flew in...

Amy: This was my first day too.

John: Yeah, and we arrived and Marc was in the middle of planning the most insane thing ever.

Amy: Well, the thing is, I put this camera move in the script thinking and hoping maybe just to freak Marc out—with no expectation that he could possibly pull it off—as a joke!

John: Oh like the giant blue whale structure.

Amy: Yeah, yeah, as a friggin joke, and then like, he shows me this move, and, like, I nearly died.

Marc: I thought about it, and I was like, ‘Well, can we do it?’ And our First AD David Wechsler and New York AD goes, 'Do you want it?' I'm like, 'Yeah.' He goes, 'Then we could do it.'

John: Yeah, Wex stops traffic in New York; stopping traffic in Portland wasn't—'cause that's what happened, I showed up and I'm like, 'I'm going to the set' and they're like, 'I'm sorry sir, you can't go. They stopped traffic.' 'Well I know, but I'm a writer' 'No no, they're doing some sort of s—' I'm four blocks away! What the hell?’

Chris: By the way, Jeri Ryan here, fantastic look from Nadine—

Amy: Yeah.

John: And she's also got a great character going here—

Marc: She looks fantastic.

Chris: Got a great character.

John: This is a softer character than Jeri usually gets to play, even in the cons.

Marc: A little hippie-ish, yeah.

Chris: The hair was great. I mean really, they nailed this.

Amy: Well Luke even comments on it, “It’s a little on the nose, but [laughs] it works for you.”

John: But that’s the idea, to just kind of you know, not try to overthink it.

Amy: Yeah, it’s great.

John: And it was interesting, again, the—Jeri was great for us and she was really fantastic all year, but you know one thing she mentioned is, she got to play roles that nobody usually lets her play, even within the cons.

Amy: Yup.

John: And there’s another clue for you, where she spent the last—the time before her con career.

Marc: And here comes the shot.

Amy: I’m excited just thinking about it.

John: I’m a little giddy. Yeah, there you go.

Chris: Oh, around the corner!

John: Now that’s all done in camera, so what happens is you have to have everyone within view of that camera freeze. And then the camera man basically runs, we put a steadicam through and then we digitally speed it up.

Marc: Poor Gary Camp.

Amy: Gary Camp!

John: Poor Gary Camp.

Chris: Now that I thought about it, I bet you in the finale that’s what prompted Dean to do that shot with Sterling. 

John: Right.

Chris: I bet Dean was like, he saw this and he was like ‘Oh you wanna try and top me with that? Well come and watch this!’

[All Laugh]

John: ‘I start and stop it four times!’

Chris: ‘I gave you your chance!’

Marc: But I don’t know, if you play it back you can see we also put some digital birds that are stopped—

John: Seriously? Like, if you slow-mo it you can see?

Marc: Yes. If you slow-mo it you’ll see two pigeons in the middle and we pass right past them.

Amy: That’s awesome.

John: I like the fact that, again, they’ve electrified the table, and that Nate is on board with Parker. ‘Cause again, that’s one of those little hints that Nate’s… sadism, for lack of a better word? is really starting to overtake his good judgment.

Amy: Yes. He’s—yeah it’s, little by little he’s starting to sort of fall to pieces here and sort of turn to the dark side.

John: Well, what’s nice is we started with the arc with the hospital one with- with the sadism, and then, you know, we had to sort of lean back on it for Gina’s arc. And then when we came back it was nice, that was basically the thrust of the back episodes. This was a lot of fun coming up with what the possible fucking visions could be. Oh that’s… I’m sorry, I’m drinking. [Amy Laughs] They’re used to me swearing on these by now! This really is like making, building a puzzle backwards.

Marc: This was really clever writing, and then to have the ability to shoot it was so much fun.

Amy: Aw. Thank you Rosky.

John: Yeah. We try to keep you entertained up there, after all your—this was only your fourth?

Marc: Yes.

Amy: Fourth episode?

John: Fourth episode, with no notice.

Marc: Yeah.

Amy: How was this episode different from the other three you’ve done?

Marc: It was fun to be in different places, you know, just to new places in Portland. It was fun to have a guest star like Luke to work with. And I loved having the emotional hook with Parker, ‘cause my first episode I did in the first season was a Parker episode, it was the Stork Job.

Amy: Oh! This is like your Parker bookend basically. That’s great.

John: Also it was interesting, watching with the sound off, I didn’t realize that’s one of the longest villain character scenes we’ve ever had. Like just when he’s parked there at the chair and she runs the con on him. Luke was really, really great.

Amy: He’s not bad to look at. [John Laughs] That’s kinda my job since you’re all dudes. [Laugh]

John: Well you know, I can appreciate a nice piece of man flesh as much as the next person. What is in this?

[All Laugh]

Marc: And the coffee finally spills.

John: And did we do the driving stunt there? No the driving—yes, the driving stunt’s after this.

Chris: It’s after this, yeah.

Amy: Yeah, yeah it was, the first part of it yeah.

John: But we shot it that day.

Amy: With the amazing, highly maneuverable Hyundai Genesis.

John: Hyundai Genesis was great. If you’re gonna murder someone with a car, the Hyundai Genesis is the way to go.

Marc: This was another local actor, I mean he just has… what a great face for television.

John: You know what, he looks a little like the British actor Peter Mullan actually, the guy who was on The Fixer?

Amy: He does! Yeah he does.

John: It’s really, I’ll tell you what Portland gave us - good cops.

Marc: Yes.

Amy: Oh yeah.

John: Our cops up there, ‘cause we just look at the Bottle show, and the three guys who played the Boston cops in the background, they’re just grounded.

Amy: This guy smells cop. [Laughs]

Chris: If you’re a cop-looking guy living in LA and you wanna get some work...

Everyone: Move to Portland.

Amy: We’ll employ you!

Chris: Just go! You listen to this right now? Load up the car, get up there! There’s work for you, my friend.

John: After these commentaries come out, people are gonna be on buses. There’s gonna be, like, bus tours for actors. And this was a lot of fun, was coming up—this was actually, I think we’d had the fortune cookie con in something. What was the story? Remember? We’d had it on the board for a while. The fortune cookies, the substituting.

Amy: Oh dude, so long ago; I wish I had the answer to that.

John: A lot of the, I mean that’s the thing is, there’s actually in the writer’s room a board of stuff.

Amy: Yeah.

John: And some of the stuff has been around long enough that it’s like, I know there was a provenance.

Amy: I think there was a fortune cookie con card.

Chris: Mm, I don’t know if a whole… might have been a story beat; it wasn’t a whole con.

John: Not a whole con, it was a story beat, yeah. But the idea of substituting—

Chris: This is a great- Here we go; here it is. [Laughs]

Amy: Look at it shining in the sun, beautiful.

John: And that’s a great—what was the choice on the, like in the moment, in the script it just says, ‘He realizes.’ How did you decide to go to the slow-mo and..?

Marc: I wanted to do a slow-mo in the 360; the world’s kinda spinning on him and just the— 

Amy: The camera’s a great touch, too. I like it.

Marc: Yeah, well I wanted the can to just show the proximity of how close he was, how much he’s tempted fate.

John: This was also one of the sequences that—who cut this?

Marc: This was Sonny.

John: This was one of the sequences where Sonny Baskin really, really, really slammed it together because this is always tricky, figuring out how the flashbacks work. In what order, in what pace, at what exact moment in the scene. And I think in the script we played around with showing some of it upfront, and then—

Chris: How much of the dialogue to replay was kind of the trick.

John: Exactly, how much we make sure the audience is following.

Marc: And I don’t think some people were understanding, like, why I took so long to shoot that car sequence when he stepped out. That it does play later, and it does have to have different feels and looks to it.

Amy: There’s two parts to it, yeah.

John: And again, this is another one where you have to anticipate, this guy checks credit reports, we know he checked the victim’s credit report earlier, you know.

Chris: And another thing is, one of the hallmarks of our show is that when we create a character, we don’t always create powerful con characters. We create characters that have vulnerabilities that our bad guys can exploit. So here, we created a fake story of her having bad credit and being in debt for hospital bills.

John: Yeah it’s like Chris in the MMA one, Kane, he plays in a very power-negative position in that. Pretty much every variant of a con character you can possibly find.

Amy: José! The name on the cup.

John: And Chris is ridiculously delighted to be doing this at this point actually. [All Laugh]

Amy: How can you tell?!

John: I think he’s just enjoying stealing—driving a truck to tell the truth. And I love the idea that Hardison would do this and this is just what he does. He spends his weekends filling fortune cookies with fake messages. He does all the grunt work.

Marc: That’s a good shot.

John: That is a great shot. And we’re locked in. And this was also tricky, too, because again, because the victim had not been burned yet, essentially, and it was a preventative con. It’s not something we usually do, and trying to figure out how to accelerate this con, and what exactly Con A was, was really—it kicked our asses to tell you the truth.

Chris: The danger was really the tricky part, when to introduce the danger.

John: And now we knew we wanted to do the maestro Hardison beat in this script. Marc, you had a very specific reference for this whole bit, which was the radio announcer in Warriors right?

Marc: Yes. 

John: Though Hardison is basically being a geek hacker—what year was that, 1980… Walter Hill, The Warriors…

Marc: Late 70s.

Amy: ‘79, or something. Around there.

John: Basically Marc reached back, like 35 years, and found himself a really great filmic reference for her side.

Chris: Well the key here is, the writing of it was making sure to go quickly from one, to the next, to the next.

John: Boom, boom, boom.

Chris: Each piece of information feeds to her, and she synthesizes it and comes to a conclusion.

John: It also helps explain how good Tara is.

Chris: Yeah.

John: She’s gonna run this con character as she’s getting all this crap dumped into her ear.

Amy: She’s playing vulnerable to him, but sort of expert to us.

John: I also love that he’s just given up at this point. We had not told the set people to put the orange soda in the fridge, but they just filled it and it just stayed that way for the year. I love that Nate’s just given up.

Chris: Yeah, this is Hardison’s war zone. He’s gonna need to be armed.

Amy: Gummy frogs, always important.

John: Gummy frogs, a call back from the magician episode. And Aldis really dug in there, really great job. Oh that’s Ire!

Amy: That’s Ire!

John: Was our…

Chris: Camera intern?

John: Camera intern, yeah. And she does some acting, and she was fantastic. 

Amy: Her audition was fantastic, yeah.

John: Yeah, that was one of the ones where it was like, ‘Okay we’ll audition you.’ At the end of the audition, ‘Wow…you have a career in this.’ [Laughs] But she’s going into camera work. She’s gonna, believe back this year as one of our camera people...

Chris: Oh she’s gonna come back? Oh that’s great.

John: And why the choices on the lights in the- the blue? Just liked it? Just like the set of one color tone?

Marc: Yeah, just liked it. Dave had an idea about it, and it just worked real well.

John: And it stayed consistent through this setting. It’s a very nice contrast with the sort of warm orange and wood tones of like, Nate’s apartment. It helps track locations a lot easier.

Marc: And Beth freaked out a lot of people when she walked on set with that wig.

Amy: Many many people did not recognize her.

John: I know, that’s really odd, right?

Amy: It was fun.

John: It’s a great wig.

Amy: Yeah it is.

John: Hair and makeup did a great job with that, ‘cause you guys sent me the photos and I was like, ‘I have to shoot the season finale. Did they cut her freaking hair?’ No, great wig. And this is hot read, this is our crew doing hot reads on the fly, and it’s a lot like the Bottle show, where it’s like, you can’t do the wire in two hours. In theory, you can’t hot read someone simultaneously as you’re conning them. Well, you know.

Amy: Maybe you can if you’re Leverage!

John: You’ve got the little camera movements here, is that, you tried to track those or do you just assume that Camp and—?

Chris: Yeah, you’re making sure as you move in one direction on one, you move in the other direction on the other?

Marc: Uh, a little bit. We always wanna keep the sliders going, just pushing in at the appropriate moments especially when Ire- I mean she just did such a great performance, and did it in one take.

Amy: One take; it was one take.

Chris: And didn’t you say to her, ‘Save a little bit ‘cause you may need to do this again’?

Marc: Yeah. I said, I said, ‘Don’t let it all out so fast.’ And Luke was so great with her. Knowing that... He’s seen her pulling cable, and all of a sudden she’s in front and having to break down.

John: He was great with her. Now here’s the thing, most people don’t know what sliders are, why don’t you explain what sliders are? Most people know cameras move left and right but they, you know-

Marc: Sliders are what we have on our dollies and tripods that allow the camera head to move, I guess laterally, left and right, in a fluid movement. Just drifting, so always- the background’s moving just ever so slightly, so it never looks too stale or stagnant. There’s my Warrior shot!

John: And I notice you punched in, like closer, closer, til you land on it. It’s very nice. Also, I like the fact that the name of the National Transportation Safety Board—is that, that’s the name of Parker’s friend from… Peggy Milbank, is like the name that’s coming up, that’s Parker’s friend from the first season.

Amy: Yeah, it’s sort of like a little inside joke.

John: And Hardison, ‘Get the hell out of my way.’ It’s interesting, this is a big, kind of, Nate as guardian episode, and he’s not driving it. It’s one of the great episode examples of where Tim Hutton and Nate kind of just ground it, is kind of the center of it. There’s Wade.

Amy: Wade Williams, awesome actor. Perfect for this role.

John: I was wondering how he would play this reaction, because she’s, you know, he’s giving her a line of bullshit, and he’s gotta, he’s in front of everyone.

Amy: Yeah, he knows he’s on camera.

John: That reminds me of that guy who proposed to his girlfriend at the basketball game and she turned him down.

Everyone: Oh yeah!

Marc: Then the mascot walks him off.

John: Just put a- just end it. No, Wade was fantastic, he’d just come off Prison Break? Wasn’t he a guard on that?

Chris: And we had a long search for that part, too.

John: Yeah, we read a lot of guys. Well, because the original dialogue was somewhat baroque. [Laugh]

Amy: It was! It wasn’t exactly an easy thing to pull off, which is why we ended up casting it out of LA. It was just a really meaty part.

John: Nice fight coming up here, by the way. They actually banged the hell out of that van. You had to hammer a dent out, didn’t you?

Marc: Oh yeah. Yes we did. 

John: Just every now and then you bounce a stuntie off a van. Jeri mixing it up. Jeri was in there, yeah. Good hit! 

Marc: Our local stunt actors and Kevin Jackson choreographed this. 

Amy: The moment where he, sort of, notes the tattoo on the guy’s hand.

John: It’s a nice beat. It’s interesting, the Portland stunt guys really dug in. Because we did a lot more stunts and a lot more fights than four or five movies that have shot up there combined, and they really rallied. They were fantastic. And this was the—

Chris: But here’s where he has to synthesize everything. I mean, now, you know, is where he really steps forward.

John: Well this is really where he digs in on the mastermind thing. This is a good, ‘Let me get this straight’ scene. This is a nice- the ‘let me get this straight’ scene is where you just reset for the audience, you know, just reset the stakes, reset the plot.

Amy: Also known as ‘So you’re telling me.’

Chris: It’s a general rule of writing to show, not tell, and the exception to that rule is when the situation is either so absurd or entertaining that you get a second laugh on the retelling of it.

Amy: Just commenting on it.

John: ‘I wanna get this straight,’ yeah. And you can also hide it in planning, or when the characters don’t have enough information. But no, because the episode at this point—

Chris: There it is, I think she just said ‘so let me get this straight.’ 

[All Laugh]

John: ‘Cause this is the point where the episode becomes an entirely different episode, because the first con worked. Again, because that’s always the trick on these, like, in theory you don’t want something to just fall out of the sky and be wrong.

Amy: Well they basically had Dalton Rand in the bag, and then, a totally unexpected-

Everyone: It worked too well.

John: This was a lovely shot. Marc?

Chris: Oh, I love this.

Marc: This was, I wanted to try and get this in one steadicam shot and just show the energy and movement throughout. I mean we spent so much time in this apartment that it’s fun to try and mix it up again.

Chris: Oh here we go, and up the stairs!

John: Nice, how many takes was that?

Marc: I think we did it in about three or four takes.

Amy: That’s crazy.

Chris: That was it? Now that was planned as a one- or, or was that just the end of the day, we gotta get this shot?

Marc: No, that was planned. That was one shot I wanted to try and do that had a little more energy and fun to it. 

John: Marc’s lived at that set for a lot of shots, he wants to vary it up a little.

Amy: Time to mix it up. 

Marc: And this, this was an idea that Connell had. When he saw the location and the time we’re shooting at, he said, ‘Let’s establish their faces,’ and then just, she’s walking into darkness.

John: Just bump into silhouette.

Chris: And she’s in boots, so let’s pan out from them, so, let’s be honest.

Amy: That’s what boots are for.

Marc: This happened to be in the paper factory.

John: Is this the The Bottle Job paper factory?

Marc: Yes, it’s just the area that didn’t have paper. 

[All Laugh]

John: Now, yes, now we’re basically—yeah, there you go. He’s really digging in on this. ‘Come, come join me!’

Marc: And that was his idea, he said, ‘Get the lady a chair!’

John: This entire speech, I think I did drunk. 

Amy: This was me taking notes on a notepad when you were drunk in the writer’s room, reeling off this speech. 

Chris: It was a big debate about the- about what we- this guy, what was called in the writer’s room the evil scary guy.

John: Evil scary guy.

Chris: The appearance of evil scary guy. We typically don’t have dangerous villains appear late in episodes. Usually we’ve established them and so this was the idea that we were gonna have evil scary guy come at this point in the episode and you know, put everyone in mortal danger. And you went off in a very oddly baroque manner.

John: Yeah. I really—‘cause what I was doing was actually making fun of the idea. Because I was like, ‘Seriously guys, we’re gonna do this? Some guy’s gonna show up and go ‘Gentlemen, I have a problem!’’ And I basically did this speech with, like, a fistful of scotch, and Berg and Chris sat on the same side of the table and they both looked at me and went, ‘Yeah.’

Chris: ‘Yeah, yeah if you like that. That’s great.’

John: ‘Pretty much. Exactly like that. Thanks gentlemen. Debate’s over.’

Chris: ‘Debate’s done.’

John: ‘Debate’s done. That was entertaining, we all enjoyed it, therefore it is in the episode.’

Marc: This was fun to shoot; we had a circle track with, you know, two cameras and two separate dollies.

John: Wait, at the same time?

Marc: Yes.

Chris: Wow.

John: Oh, Jesus Murphy. So where is the circle track laid down, it’s on the outside of this beam?

Marc: On the outside of the beam, and yeah, just around everybody. 

John: Two sizes.

Marc: Yeah, two sizes. And then at one point towards the end we, you know, change direction, just to mix it up a bit. But it was fun to have this type of villain. In the beginning we’re dealing with someone who’s smart, looking at bank statements, and now we’re dealing with a guy with a gun and thugs, who spent time in upstate New York.

John: Yeah, and he really sold it. And also it- the rule is: the villain has to suffer. And interestingly enough, we started Darlton Rand’s suffering really early in this episode. His loss of power here is really, he has just a bad back two acts. And Luke played it very nicely. Like right here, where he’s trying to keep control.

Marc: Yeah, when he’s trying to keep control, and he’s still trying to sell the idea that he’s the psychic. 

John: Wade is terrifying. That was nice, picking up around here as she was dropping into it; that was very nicely done.

Marc: Yes, Gary Camp and Dave Connell.

Chris: Now how long did this take? Do you remember how many takes you did with this, with the circle track?

Marc: I think this scene, we… I believe we did it in just over an hour. Yeah, but it’s a lot of dialogue, and Wade did such a great job because, you know, he had to do it so many different times.

John: And there’s a lot of looks in this. There’s a lot of angles in this.

Amy: He just cracks me up.

John: Yeah, he does. He’s so happy. Yeah, you gotta bang them up from both sides, you’ve gotta pick him up talking to them. There’s no good way except a circle track to shoot that.

Marc: Yeah. I think that Jeri sells this really well in this scene.

John: She does. A little distressed, a little—

Marc: Yeah he’s walking in one direction, no, it’s not, this way. And it’s nice seeing, shooting over, oops, too early.

John: It’s always a little too early. A little too early.  Timing is a big part of the show. And yeah, fainting damsel never, never fails. 

Amy: Best stall ever.

John: Where was this? Was this, like, the storage unit place? Or this was on the road outside?

Marc: Uh, this wasn’t far from our sound stage.

John: Really? Really, we shot near the sound stage?

Chris: We got a lot of mileage within a couple hundred yards of our sound stage.

Amy: Clackamas.

John: Beautiful scenic Clackamas. And this actually, the fake registration idea came from Darwyn Cooke’s comic book adaptation of Parker. The Donald Westlake novel. In the opening of it, remember, he has the thing with Parker and—it’s one of my favorite starts to a novel, Parker’s walking into New York on the Brooklyn Bridge, like, but on the street? And people are—So what happens is, in the 1960s, he goes and gets his replacement driver’s license, and then he ages it. Because… and we spent a little time in the room like, what doesn’t have your picture on it? What can we age believably that, and, yeah that was where the idea came from. And then constructing this backwards to get the series of clues was- was a long afternoon.

Amy: Yeah, that was a tough—but then we broke this episode in one day, so it wasn’t that tough.

Marc: But I wasn’t allowed to break the window.

Amy: Oh that’s right, I remember that. Yeah, we had to, she had to jimmy it open.

Chris: ‘Cause that glass is expensive.

John: Breakaway glass is not cheap. Uh, there’s something creepily sexual about this exchange.

Chris: ‘Can I have your overalls?’

Amy: Yeah, and the look on Tim’s face, too.

John: Yeah, well I think that might not be the matching dialogue with that take, ‘cause I think it got a little dirty in that shot. Now this is a great location. I think we actually broke into a couple of storage units for this. People don’t mind, it’s Portland, they’re totally cool with us doing that. Good stall, and then we finally get Nate into a costume for the stall. Storage units, the anonymity of modern life is the key to Leverage. Storage units, cell phones, instant messaging, email, you know, I don’t think you could do this show in the 50s. And there you go, yeah.

Chris: Here he is.

Marc: Uh-oh. Gun, danger.

John: And, is that Dashiel Hammett or Raymond Chandler’s rule?

Amy: Yeah, Dashiel Hammett’s.

John: Dashiel Hammett. When in doubt, have a guy enter with a gun. And we actually have on the board in the writers room, ‘Man entering with gun > man exiting with gun.’ You have to understand, dude coming in… And Tim has an enormous amount of fun.

Chris: And this is his fumfering bureaucrat.

Marc: This was a fun shot to do. Craning up just to see, and then that’s the CG building that we added in the background.

Chris: That’s right, to set up the ending.

John: Yeah, in the original ending it was all done through remote camera, and then Dean suggested that we actually put it, attached it to it, and since cable access shows are shot in the middle of fricking nowhere, it actually worked out fine. And whenever- Oh, there you go.

Amy: Well I think Dean’s idea of that was just, sort of, to give our villain a bigger comeuppance, if he had to, sort of, face his victims...

John: Face-to-face. And that’s interesting ‘cause we always go like, you need the gloat, but you also need the suffering. And in the non-him-showing-up version, we had—

Amy: It was basically just the gloat, yeah. I mean he still ends in jail, but.

John: We have the people upset, but you know, you don’t get him looking them right in the eye.

Marc: Small spaces to work in. 

[All Laugh]

Chris: How was it like, shooting the storage locker?

Marc: It was a little tough.

Amy: I remember this day.

Marc: You know, it was a double, but we just made it look like one, so we had room to always just have the camera on one side.

Amy: Yeah, there was actually another storage locker that opened up right next to this, to the left, so we could have somewhere to switch the cameras.

John: So did you throw up like a half-wall over on that side, or is it just, stack some boxes to feel like-

Marc: We just stack some boxes and just move the camera, but you’ll notice the camera’s usually on that side, looking that direction.

Chris: And here’s where he’s really starting to lose it, ‘cause he does have an arc, from inexplicably baroque, to just completely losing it.

John: No, he totally sold this. There’s no doubt about it whatsoever. And you guys took what was a joke pitch and turned it into a real character. That was just me on a long drunken rant. I’m inexplicably baroque, in the room, often! 

Amy: This is, by the way, true. 

John: Yeah. And Luke, losing it. Really the whole confession, the whole begging; he really sold it.

Marc: And of course, you know, time constraints. His stuff was shot all at night, hers was all in the daytime.

Amy: Of course. That’s how it works.

John: Really? So looking at Luke, you were looking, you had night behind you looking out?

Marc: It was night.

Chris: Here we go.

John and Chris: Det cord. 

[All Laugh]

Amy: Det cord is great. 

Marc: Our friend for the back half of season uh—

Amy: Thank you MythBusters for det cord.

John: Thank you MythBusters for showing us how det cord worked and how effectively—

Amy: I think I pulled that from a YouTube video.

John: Yeah, well we started with Thermite, remember? ‘Cause I remember how it melted through the car and you were like, ‘No, that’s too huge’, and you found us some det cord.

Marc: Here I just wanted to have a shot of Eliot’s arms.

John: So here’s a little something for the ladies, as my wife says. And now, this is very flashback heavy, but it’s all in continuity. You did a nice job of making sure we’ve seen just enough of these that we never floated. ‘Cause sometimes it’s like, ‘Oh god, do we know exactly where we are in this flashback?’

Chris: I think we compressed a little of it in editing too. I think there was a little bit more and we kind of just moved it all.

Amy: Yeah, there’s a lot more here than…

John: Ah, the network is unhappy; they’re gonna go get one of these real psychics now, not a fake psychic like this.

Chris: And then we get to see our victim again, and our other victim.

John: The proxy victim. 

Amy: And the camera lady’s like, ‘I don’t wanna be part of this,’ backing out of the scene.

John: And the begging and the pleading. There you go. And there’s all the people who’ve been hurt. 

Chris: The man from Michigan. 

John: Did he stay in a hotel? Why is he still there? He got his reading yesterday. I don’t remember why he…

Chris: He wanted to come back; he had more to find out.

John: I guess so, I guess so.

Marc: This is always fun when you shoot things on two different days, that end, and that end.

Chris: Is Tim looking at a tennis ball, what do you do?

John: Is that like Jurassic Park? Or it’s like this tennis ball on a hockey stick is Chris’ hair. ‘Just track this.’

Chris: You just make sure your script supervisor takes good notes of uh...

John: Look at that, you’re shooting past the car! He’s in the car. 

Chris: Nice, I never would have known that.

John: Nicely done. And this is actually, you know what? The president of the network the other day mentioned how much he loves the scenes where they’re all there. Where the guy actually, like, sees the whole- the whole con.

Amy: The family gloat, as opposed to just the singular gloat.

Marc: That’s the way we pull off this show in seven days - cheating.

Amy: Cheating very cinematically.

John: I prefer to call it cable awareness.

Amy: Cable awareness? Nice.

Marc: Now I think this next scene in the bar is, I think, one of my favorite wrap-up scenes that I’ve got to direct.

Amy: It’s one of my favorite, too.

Marc: It was one of these days where it was- there were so many tears on set.

John: We were coming to the end, too; we were getting there. Everyone was kind of rung up and spun up.

Marc: But everyone just, you know, Tim and Jeri and Beth and everybody, our guest actors, everybody just came in so strong and it was great.

John: This speech, by the way, you can really tell Tim’s a dad. That’s really how he lands this speech, it’s like, yeah.

Chris: Well the story, it’s an interesting story because the little peanut butter bit, a very good friend, a writer friend, Steve O’Donnell, who is a long time Letterman writer, and he has a twin brother Mark O’Donnell—also a writer, wrote the book to Hairspray. And I remember talking to him one time about the closeness of the two of them, and he said that they’re so close, that if you laid out peanut butter, that somebody spread on different pieces of bread, he could pick out his brother’s peanut butter. And it always stuck with me that that is something that, when I was writing this scene, that there’s just things that you see in your child that you just recognize from yourself or your father, and it has nothing to do with what you did, it’s all biological. And that was really, it did a beautiful job with it.

John: Nice landing on that. And Jeri there, by the way, she’s got a little glisten going there; she got a little moist.

Chris: And here’s this moment that was not scripted at all. Well, not intended in the script, but just through the acting.

John: But that was nice. Jeri landed the arc. She kind of completed Tara’s arc through there. 

Chris: Yeah, she got it.

John: She had gone through all six episodes and she, you know, a lot of actors would come in and take up the space and say thanks for the job, but she really put in the work from [unintelligible].

Chris: There it is. I mean, that’s like...

John: I mean, she’s breaking your heart there.

Chris: She’s hugging her brother.

Marc: And I just gotta make sure that she makes that eye contact with Nate.

Chris: And it was all because that part about her brother was added after that scene was written, but she brought it together in this moment.

John: It’s a lovely beat. We have very, very good actors.

Marc: Then we release the valve and let you chuckle here.

Chris: Yes. We call it, in the comedy business, a treacle cutter.

John: A treacle cutter, yeah. And also Kane really lands these beats. He really- it goes from a smile, all the way to annoyed. He hits both of the crucial Eliot beats here. It’s the grin, and then, ‘I’m gonna kick your ass.’ He really hits all the bases on that one.

Chris: And we kind of end on her surrogate brother here.

John: Yeah. Who she may sleep with. Still haven’t decided that.

Amy: It’s a little incestual.

John: Yeah, you know, all television’s a little incestual. 

Chris: Oh they’re all...

John: What, they’re all sleeping together, is that what you meant? What’s going on up there?

Chris: No, that’s—Come on. It’s like Star Wars.

John: Oh there you go, that’s perfectly legit. Anything you want to say to the nice folks?

Amy: Thanks everybody.

Marc: Thank you. It was a great episode to work on. 

Chris: Thank you guys.

John: And actually thanks for David Wechsler, ‘cause he came in late and really helped us out on that. Really good job. And hopefully Luke Perry will be back. Less evil.

Chris: As his twin brother.

John: There you go.

Chris: Why not?

[ethansmith62060]

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[hale-13]

Hold Onto the Faith as I Dig Another Grave

By Hale13

For the Summer of Whump Day 6 - Buried Alive

He can’t do it.

There’s just no way he can do it.

He can feel the air thinning, his eyesight gets steadily darker, he can almost smell fresh tilled earth (a rarity in the middle of New York City) and this is it.

He’s going to die.

Words: 2031, Chapters: 1/1 (Complete), Language: English

Fandoms: Spider-Man (Tom Holland Movies)

Rating: Gen

Relationships: Peter Parker & Ned Leeds, Peter Parker & Michelle Jones, Peter Parker & Tony Stark

Characters: Peter Parker, Ned Leeds, Michelle Jones, Tony Stark, Happy Hogan

TW: Absolutely none.

Read on AO3 or below the line break.

He can’t do it.

There’s just no way he can do it.

He can feel the air thinning, his eyesight gets steadily darker, he can almost smell fresh tilled earth (a rarity in the middle of New York City) and this is it.

He’s going to die.

“Could you be any more dramatic?” MJ asks from where she’s furiously typing into her laptop, he hair more frizzy than normal and her eyes pinched. Her usually unaffected demeanor is cracking a little at the edges and Peter has never seen her so frantic and disorganized – he feels a little bad about it.

“Seriously Peter,” Ned agrees from his section of the table where multi-colored index cards are scattered in a disorganized mess – he, too, looks on the verge of a breakdown but he’s not able to hide it as easily as Michelle – Ned always has worn his heart on his sleeve. “It’s your fault we waited until the last minute anyway,” his (now former – seriously Ned what the hell, how dare you) best friend accuses.

Peter just lets out a wounded animal noise as he edits his section of their PowerPoint, eyes nearly crossed he’s so close to the screen. Like that would help him edit any faster he thinks sardonically. “It’s not totally my fault,” he tried to rationalize.

“Yes it is,” MJ tells him bluntly, face buried in her over-highlighted notes on the vaccine apartheid in India and Africa for the comparative section of their presentation. “We could have been done weeks ago if you had actually come to the meetings we scheduled.”

“I came to the first one,” Peter protested, looking through his image folder for the proper photo for his slide – he had, at least, cropped and edited them all already so he had one less thing to do. “And besides, we divided the work up evenly – you didn’t even need me around to do your part.” He immediately flinched at the very clear ‘eat shit and die’ look Michelle gave him and murmured out a quick apology before ducking his head back into his work. Ned gave him a look of pity and a sad head shake, Peter just glared in response.

Ned bangs his head onto the table softly and moans. “Why do we always wait until the last minute? I hate waiting until the last minute.”

“Less whining, more writing,” Michelle says bluntly, adding a slide to the PowerPoint on their Google docs and making Peter groan. His job is to outline and find pictures, Michelle’s is to clean everything up and organize their presentation and Ned’s is to make sure that their presentation is cohesive and write out their speech. It’s a system that has, traditionally, worked well for them but this time may as well be a disaster. The only thing keeping them together at this point is MJ’s ruthless efficiency and Ned and Peter’s intense fear of failure.

“We were supposed to do this last week,” Ned continued, ignoring MJ’s order and then the kick she aimed as his shin; not even flinching at what was surely decent pain considering their friend had worn her Doc Marten’s to their meeting. “Why the hell did we let you cancel?”

“Because of that bank robbery remember?” Peter says, ignoring his own work for a second and risking MJ’s (well deserved not that he would admit it) wrath. “And then I got caught on patrol for a couple hours and then it was curfew.” He may have also been in the MedBay that night for a (minor) stab wound but he wasn’t telling them that – his friends worried enough about him as it was.

“Not that I necessarily support the police and the clear and rampant systemic racism of the entire system,” Michelle began, forcefully picking Ned’s head off the table and shoving a pen into his hands so he would continue working, “but that is their job. If we aren’t going to defund them the least they could do is handle a bank robbery.” This had been a frequent disagreement between the two of them for a while – MJ was one hundred percent correct in her viewpoint but Peter was a closet control freak who couldn’t leave well enough alone. They tried not to talk about it in polite conversation anymore.

“But there were hostages,” Peter whined, and there were. About twelve of them who all seemed more bored and annoyed than scared but that was the city for ya.

“And?” Michelle accused. “What do you think happened before you started running around in tights?”

“She has a point,” Ned said gently, organizing the index cards to be less chaotic.

Peter gave them both an irritated huff and muttered “They aren’t tights.”

“Spandex then,” Michelle said flippantly, waving her hand in his direction without looking up from her screen. Peter rolled his eyes.

“Well the next time we have a group project I’ll just send out a nice tweet asking all the criminals and muggers to put their crime on hold so I can do my homework,” Peter huffed sarcastically but without any real heat.

“If you wouldn’t mind,” Ned said, sounding relieved and Peter rolled his eyes again but got back to work. He was only on slide thirteen of twenty-five and, at the rate MJ was adding pages, he’d never finish. They worked in silence for a while, only breaking it to ask murmured questions before, finally, MJ snapped her laptop shut.

“Well if its not done at this point its not ever going to be,” she stated causing Ned to drop his pen and massage his cramping hand and Peter to let his head fall to the table in relief with a moan – his head was starting to throb and the words on his computer were swimming in front of his eyes. “Let’s try to get to school early tomorrow to do a couple run throughs before the presentation.” Peter glanced at the clock on the library wall and groaned, receiving a conciliatory pat on the back from Ned – he still had a ton of homework to get through before he could even think about sleeping.

“Want a ride home?” Ned asked a few minutes later when they were standing on the steps in front of the library. MJ’s mom had already been waiting when they stepped outside leaving just Ned and Peter to wait on Ned’s older sister.

“Nah,” Peter said, adjusting his too heavy backpack and rocking back on his heels. “Think I might swing home, just a quick patrol you know?”

The look Ned gave him was skeptical and disapproving but Peter chose to ignore it. He wouldn’t be out long anyway – just a quick run through the areas he knew were a problem and then home. Faster than the subway for sure. “Fine,” Ned grunted, thankfully holding in his opinion. “But you should go ahead and go before my sister gets here and insists on driving you,” Ned indicated to his tracking app, showing his sister only a few minutes away.

“Thanks man,” Peter said, initiating their handshake and trotting off around the corner to find a suitable alley to change in.

—————————————————

Three hours later, Peter fell through the window of his bedroom, collapsing on the floor and pulling his mask off. His hair was limp and sweaty where it clung to his head and his headache from earlier had gotten worse – the throbbing elevating up to a stabbing behind his eyes.

“One minute,” he told himself, panting and draping his elbow over his eyes. “You can have one minute and then you have work to do.”

“Talking to yourself?”

Peter jumped up, banging his head on the side of his bed with a wince, causing his vision to grey out a little and falling back on the floor to stare dazedly at the ceiling. Tony leaned over him to block his view, his expression mixed between humor and pity as Peter groaned and squeezed his eyes shut. “Don’t scare me like that!”

“Thought you had a tingle?” Tony teased, grabbing Peter’s hand and pulling him up to sit propped against the wall, ignoring the glare Peter shot him. “You’re lucky May’s working tonight.”

“Yeah I know,” Peter admitted. He was over two hours late for his midnight curfew and, if May had been home and not working in the ER, she would have skinned him alive and then grounded him for the foreseeable future.

“You’re even more lucky I covered for your scrawny spider ass and told her you were staying at the Tower tonight,” Tony said smugly, gesturing to the overnight bag that he had clearly packed for Peter. “Go ahead and change, you can shower once we get back to the Penthouse. You got everything you need for school?”

“Yeah,” Peter confirmed, stripping off the suit and pulling on an old pair of sweats and the t-shirt he had worn to school earlier. Changed and stumbling, he followed his mentor down to the town car that was waiting in front of the door to his apartment, crawling into the back seat and resting his aching head against the window; ignoring Happy’s tired look of disapproval in the rear view mirror.

“So,” Tony began, sitting across from him to make better eye contact. “Want to tell me why you’re out so late?”

“Well I was at the library with Ned and MJ working on a project for biology until about eleven-,”

“Why so late?” Tony interrupted, brows furrowed in thought. Peter bit his lip and averted his eyes and Tony nodded in understanding. “So you procrastinated until the last minute.”

“Maybe,” Peter conceded, eyes darting over to his bag and lingering for a second. Tony clocked the movement and let out a long suffering sigh, massaging his eyes with the thumb and forefinger on his right hand and grimacing .

“How much more do you have?”

“Uh…,” Peter squeaked out. “Just… just two problem sets in physics, one in calculus and five chapters of Jane Eyre to read.” Easily three to four hours of work and Peter was starting to feel buried and suffocated under the course load, his muscles started to tremble at the impending exhaustion he would be feeling the next day on little to no sleep.

Tony gave him a look of commiseration before asking “And when is all of this due?”

“The presentation is my last period of the day, right after lunch,” Peter answered. “Everything else is due in the morning.” Tony studied him for a moment before sighing.

“Here’s the offer: you go back to the Penthouse, take a shower and go to bed,” he held up a hand to halt Peter’s protest, “and I’ll tell May you have, what I assume to be, the start of a migraine,” Peter’s hand reached up subconsciously to rub his temple under his mentor’s knowing look. “She can call you out of school and I’ll take you at lunch so you don’t miss your presentation then you have all weekend to stick your nose in a book while I do some suit modifications. Square deal?”

Peter let out a sigh of relief and melted into the soft leather, nodding. “Deal.”

The rest of the ride was silent and Peter dozed until he was urged out of the car and into the elevator. Once they reached the Penthouse, Tony relieved him of his book bag and passed over the duffle he had packed, Peter not even bothering to put up a token protest as he was shoo’ed in the direction of his room. He pulled out his phone to text his group chat with Ned and MJ and saw that he already had a message waiting.

About thirty minutes before, MJ had sent a screenshot of the SpideyWatch twitter page that had a clear picture of him stopping a mugging just before he got home. The text under it said ‘see you at lunch for a practice run’ and Peter smiled a little, chest warm, as he sent the thumbs up emoji and tossed his phone onto his bed; he was looking forward to a scalding shower and eight hours of uninterrupted blissful sleep.

[m00nlitknight]

librarian helper

fandom: IT (2017) pairing:  henry bowers / goody-two-shoes reader word count:  1,635 warnings:  none to really point out? henry being henry?? summary:   Oh, how one tires of stagnant days. extra:   my favorite part of this is when richie said 'mullet-boy bowers' im iconic. i also finished this at like 3am pls b gentle i hope i wrote henry ok! feedback is highly appreciated, thank you for reading!

archive of our own link.

Monday mornings in Derry weren’t ideal, regardless of the context. Teens awoken far too early for their own good, forced to come to grips with the reality that it was the first day back from the weekend. Trudging through the crowded student body and longing for the day to be over just as soon as it was to begin. A variety of feelings made the air heavy and thick with a concoction so truthful to the high school experience; frustration, exhaustion, and the underlying scent of yearning.

Few an individual found themselves bragging of the weekend’s extracurricular activities, cackling with an unusual vigor and energy unlike the rest of their near-ghoulish peers. Others were sitting on the ground, rushing through their assignments with adrenaline only just granted to them; oh yes, the heart-stopping experience of forgetting that there was homework.

Fortunately, you’d hadn’t found yourself in that predicament this morning, having thoroughly done your homework on Friday night. Best to do it then push it off and forget it; your own philosophy. Not to say you hadn’t found yourself in the same situation in times past, nor were you above those whose memory’s had failed them.

Quietly you step up to your locker, opening it and glancing down to your left, where Richie Tozier was currently scribbling nonsense down on what you assumed to be Government. You hummed, putting your things away quickly and retrieving what looked to be the same assignment - some stupid worksheet the teacher assigned, no doubt some kind of busywork. Your class truly had no grasp on the concept of being ‘quiet,’ which annoyed you to no end.

You squatted down to his level, with his pencil not even ceasing as you set the paper in his peripheral. No teachers were at their morning posts yet, either that or the ones who were supposed to be there simply didn’t care to be there.

“Oh - uh, shit, how much?” His eyes shifted from you to the paper quickly as he fumbled to reach for something - likely his wallet.

“Nothing,” Your voice leaves you laced with amusement as you push the paper into his grasp. “Just don’t get caught with it, please.”

“Aw, c’mon! You can’t just hand it the fuck over for free, man, that’ll mean I owe you a solid.”

“Just consider it on the house, Tozier. It’ll be fine, you don’t owe me.”

“Okay, okay, but don’t come hollerin’ when you suddenly need a favor from ol’ Richie, alright?”

You hum in affirmation, turning back to your locker and beginning to sort through the things that would be needed for the day to come. Around you, energy began to rise, individuals of the student body reanimating through social interaction. The morning sun may not have been enough to revitalize them, but it appeared that the promise of teenage-to-teenage interaction was.

Richie finished his work with your worksheet quickly, shoving it back in your direction with a toothy grin. “Thanks, dude, you’re a fuckin’ lifesaver, I swear.”

“Like I said, it’s nothing! Do you need help with anything else? You know I have a basically free second period in the library.”

“Nah, thanks for the offer,” He seemed to finalize, standing up to go through his own locker. “I’ll make sure to send my dumbfuck friends your way if they happen to need any tutoring, though.”

You release a laugh through your nose, head shaking as you did so. Richie looked to you with a momentary smile, only to have it fall when he looked passed to the people around you.

“Alright, don’t panic,” naturally, you felt a little alarmed as a grimace crept onto his features. “ but I think you have a momentary peepin’ Tom right now.”

“Uh ... what ... do you mean?” You couldn’t help the faint caution and apprehension crawling into your voice.

“Mullet-boy Bowers is staring at you like ... really intensely,” he turned to you once again, putting an not-so-reassuring hand on your shoulder. “If I were you, I’d get the fuck outta dodge right now.”

With that, he stepped around you, maneuvering through the hallway - likely to class - and leaving you by your lonesome and, unfortunately, vulnerable. Quickly after his departure, the bell rang shrill overhead, signaling the beginning of class as students begrudgingly made their way to their first hour classes. You made yourself among their ranks, gathering your things to hopefully outrun ( or walk in this case ) any physical advancements the fellow student could’ve had on you.

The classroom’s door frame never felt more welcoming as you stepped foot into it, releasing a breath of comfort. Most of the class had yet to filter in, meaning there was more reign to choosing whatever seat you wanted. With a hum of appreciation, you step further in, choosing a seat not-too-close and not-too-far back for your liking, sitting down and preparing for class.

You keep your attention focused on your notebook for the beginning as classmates make their way in, sitting in various spots around the room and leaving you by yourself. Booted footfalls make their dreaded way over to you, finding themselves seated to your right. Sudden fear prickles your skin, suddenly making the room too warm and too cold at once while your shoulders tense. For the love of god, be anyone, anyone other than who you thought it was.

The seat creaks, likely with the weight of its occupant leaning into your vicinity. “Did’ja get the homework done, girlie?” You can almost hear the smirk in his whisper, as though he’s a wolf bearing his maw to a sheep. You tense further, shaking your head as you unconsciously lean further into the empty space you have right.

“S’funny...swear I saw you givin’ it to Trashmouth ‘fore class started,” The seats to your front and back were occupied by others, quite possibly remaining individuals who found an alliance with Henry. “Always thought’ch’re a good girl...be a shame if someone fucked that up for y’huh?”

Blackmail? That didn’t really seem like his style, then again it didn’t quite seem like you were being offered a choice of any kind - especially if he had the man power of his goons with him.

“So what’s it gonna be, huh? We ain’t got much time,” his voice transcribed his annoyance as your mulling was cut short, sliding the paper into his vision as he diligently scribbled the answers down. Across the room you caught the eye of Richie, quickly looking away in shame. You nearly miss the amused “s’what I thought,” murmured from Henry as he finishes the work quickly, shoving your desk with a bark of laughter.

The class continues on with its usually snail-like pace, much to your dismay as you keep your eyes locked on either the clock or your notebook. In front of you sat Belch Huggins, likely to his own humor since you were no longer able to see the board, and to your back sat Victor Criss who was able to sneak in an early nap. Through the paperballs being spat at or thrown at you from your right, you couldn’t help but feel that this was in some way better than having Patrick sit nearest to you - even if he was still creepily staring into your shoulder from behind Henry with what you could only guess was that irking grin. God forbid it was his expressionless face, that churned nervousness in your gut.

The bell rang once again overhead, signaling your freedom to the library as you scrambled to gather your things and rush passed before you had the chance to get cornered. Dumping what you had in your hands in your locker - you figured it would be for later you to organize - you did your best to scamper to the library unseen.

It seemed to have worked for the most part, aside from the bemused glances you garnered from teachers. Only momentary, they shrugged it off as you being a good kid in a hurry. As you entered the vicinity, you released another sigh of relief. If there was one thing you knew, it was that Henry Bowers wouldn’t be caught dead in a library. You didn’t really worry about his friends either, they were probably busy giving some unfortunate soul a swirlie, or whatever.

“Always on time, aren’t you?” The librarian, Ms. Andrews, rhetorical question was met with a beaming smile from you. “I’ve written things down for you to do, I’ll be in and out today helping the bookkeeper in the office.”

With a timid nod, you walked over to what she’d assigned you to do, looking through the short list with a thought of reaffirmation. Checking books back in, sorting back through them, and putting labels on new ones. You didn’t think you’d get through it all in the allotted time, though you were sure she’d been aware. Despite the world’s slow pace of going digital, Derry managed to lag behind - leaving you and your school with the unfortunate continuation of the paper system instead of being able to have the use of a computer.

“I’ll be back soon, dear, you know where where everything is,” she rounded the counter top before stepping out of the room, heels clicking loudly on the linoleum outside the carpeted room. A few moments later, the sound of boots made themselves apparent on the floor outside, going unnoticed by you as you began working on what had been assigned to you.

Looking up, your eyes met the smug gaze of Bowers himself - to which you tensed up once again. It stayed like what for an uncomfortable amount of time, the stuffy silence broken by the likes of you.

“Didn’t think you’d be a fan of the library,” you murmured, closing the book and setting it on the cart to be replaced.

“Wasn’t really, ‘till a lil’ birdy told me where my favorite bunny hangs out fer her second hour,” A sly smirk crawled onto his features as he watched you grimace over the use of the pet name.

He stepped forward, watching a physical flinch from you occur whilst he leaned his elbows onto the counter. It was stupid of him to get worked up over watching you squirm like that, but he had to admit there was definitely a feeling that came along with it. Leaning onto the counter, he gazed into your face. “What’ya say to us peelin’ outta here, goin’ and havin’ some actual fun?”

You fell silent at the question, blush darkening your features all the way to the ear. Unable to keep eye contact, you glanced to the pile of books that suddenly seemed way more interesting. “I’d say,” your voice came out so much more fragile then you’d meant it to as you looked back into his eyes. “Take me to dinner first.”

At your rebuttal, he found himself at a momentary loss for words, his own cheeks dusting with a faint pink. His smirk faltered, before returning at full force. “Can’t a man get a taste first, then?”

“ Uh, ” your mouth went dry, eyes suddenly widening. How could he be so forward?

“What’ll it be, doe-eyes?”

With a glance around the vacant library, you looked to him again. “Follow me.”

His smirk turned wolfish as you led him to the vague-privacy of the bookshelves. Once the doorway was out of sight, and the two of you were tucked away into a corner, you looked to him. “We’ll have to be quick...and quiet.”

He stepped to you, only partially caging you in with one hand. “I can do quick, but I can’t promise quiet, bunny.”

“W-we can’t do much,” you stammer, face flushing as he lowered himself to your neck. “I’m n-not that easy!” You squeak when you feel his lips press against your jugular, putting an embarrassed hand to your mouth.

“Thought we had to be quiet,” he chuckled.

You put your hands onto his face, dragging him backward to press a chaste kiss to his lips. Quickly, he swatted your hands away, coming to rest his own on your waist as you replaced your hands onto his shoulders. The kiss escalated to eyes being closed, lip nipping, and heads turning for a better angle.

You gently pulled away, in turn his hands beginning to roam your mid-section with curiosity as you caught your breath. When he brushed a certain spot, you couldn’t suppress a giggle, much to his amusement as he began to brush it intentionally.

“Henry!” You giggle, putting your hands on his chest to push him away.

“Y’know, I like the sound of my name on your lips, doe-eyes,” He pressed a kiss to your lips once again before pulling away completely. “Maybe you’ll be sayin’ it with more gusto tonight, huh?”

Your face flushes, eyes widening again. “Oh - oh! Uh, maybe..?”

“Meet me durin’ lunch, we’ll talk then,” and with a wink, he set out of the library.

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[eintsein]

The Mandatory Midday Break: Why You Should Take One and How

It’s Monday afternoon. I have two papers and a programming assignment due Wednesday, and an exam on Friday, not to mention two homework assignments I haven’t started on. But I’m sitting in a cafe with my earbuds in, listening to The Moth Radio podcast while I drink my cup of Cafe Au Lait and occasionally bite into my vanilla macaron. I’ve been sitting here for nearly 45 minutes and I don’t plan to start working again until another 15 minutes.

What am I doing? Shouldn’t I be working right now? Why am I wasting my time? Well, I’m taking one of my mandatory midday coffee breaks.

Why take a midday break?

You probably think you’re too busy to take breaks. You think there are way too many things on your to-do list that you can’t afford to lose even five minutes of time away from doing them.

This is how I used to see things, too. Even though I’ve been using the pomodoro method for a relatively long time, I discovered that I needed something more, especially since my daily college schedule very much tempts me into studying for long stretches of time. I used to think that whenever I didn’t have class, I had to study, but that was just harmful to my overall productivity.

These mandatory coffee breaks serve as a sort of mental reset, a time to wind down just a little bit so I can get back up refreshed and ready to tackle on more tasks. They help me stay sane and not feel stressed and overwhelmed by all the things I have to do, and they also help me restore focus so that I can achieve full concentration on my tasks after the break.

Sometimes we don’t realize how draining all the chaos of studying and working can be until we stop doing those things, so taking these breaks can definitely help you recenter yourself.

I’m sure you can see how these breaks are helpful, but how exactly do I take these breaks?

When?

I take my coffee breaks during the time of day when I would feel sluggish and slow, from 3:30 to 4:30 pm. This is of course different for everyone, but regardless of the exact time, if I chose instead to work during my slow hours, I wouldn’t get much done, and I’ll only end up feeling too tired to do much else the rest of the day.

Where?

As much as I can, I’d go someplace where I don’t normally study so I can get the entire ‘busy mindset’ out of my system. This place could be a cafe on campus, or even one of the quads or something.

One of my favorite ‘break spots’ is the art museum on campus. I could walk around the museum during my break, maybe even go to the fifth floor where there’s an amazing view of Ithaca, and then I’d have a cup of coffee in the lobby (you can make one for $1), and then continue studying or doing schoolwork in the lobby.

Another great place for a break is anywhere with outdoor seating. This also allows you to take a breath of fresh air and re-energize your brain to take in more information after your break. However, as the weather’s getting chilly here in Ithaca, outside’s not the best place to be when it’s not a very nice day out.

If you’re in high school, I realize you might not have the freedom to go wherever you wanted to; I wasn’t even allowed to leave school grounds during the day. You could simply go outside or again, go somewhere you don’t usually study - this would be the best option if you’re at home by the time you want to have your midday break. (I would go out to my terrace or sit in my living room.)

What to do?

During these breaks, I’d usually write in my journal, read a book, listen to music or podcast, or sometimes make music on my phone (with airplane mode turned on so I don’t get distracted by any notifications). Sometimes, if any of my friends are free, I’ll ask them to come along and we’ll chat (in practice, this is actually very difficult because my friends and I have vastly different schedules, so yeah).

If I’m feeling especially tired, I’ll go back to my dorm to take a nap. However, with the weather getting colder and the sky growing darker, it’s very very tempting to extend my power nap, so I just settle for a cup of coffee.

What if I don’t?

Sometimes you might feel guilty for taking such a long break, and I admit I sometimes still feel that way, but you have to remind yourself that taking this break will have a greater net positive effect than if you continue working.

I’ve noticed that on days that I don’t take a break - or even shorten my break - I perform less effectively on my tasks and I’m less productive. This could actually lead to sleeping later (which it had a couple times) and as you all know, lack of sleep reduces cognitive functioning.

I’ve definitely experienced physical consequences of not taking breaks: one time I was working on an assignment for my computer science course, but since I was a little behind, I didn’t take the midday break in fear that I wouldn’t finish it on time. However, by the time I finished, my head was so hazy and my vision was blurry and I couldn’t really do much else afterwards. The worst thing was, I also had a philosophy paper due that night which I’ve finished but still needed to revise one last time. I knew this was bad, so I took a 45 minute break afterwards, before I revised and submitted my paper.

I know it can be difficult to stray from your tasks once you’ve achieved a certain momentum, but trust me, you need to take that break. Like, ok, I managed to study for my philosophy midterm in 4-5 hours, but it could’ve easily taken me 10 if I hadn’t taken a midday break that one Tuesday afternoon.

Take a while every day to detach yourself from school or work. Don’t try to excuse yourself from having a break. Make time for a break. By mentally resetting your brain, you’ll achieve greater productivity for the rest of the day, and be able to tackle your remaining tasks more efficiently.

So yeah, mandatory midday breaks are one of the strategies I’ve been using to maintain wellness in my college life, and I hope you’ll consider making it a part of yours, too!

As always, if you have any questions or comments, feel free to drop me an ask :)

[uas-fics]

Title: Bonnets and Adoption Forms

Rating:T

Summary: While looking for a charging cord, Tweek comes across adoption forms in Criag's desk--adoption forms with only Craig's information filled out on them.

Ships: Creek

Other: For @creekcrew​‘s creek week.

When I read, I skip over words and I totally just read the prompt as "parents" and not "single parents" but I doubt y'all care about the mistake that much.

—-

Tweek finished the final stitch on the pale blue bonnet. Grinning, he turned in his seat to set the bonnet carefully on Stripe's head. With nimble fingers, he tied the little silver ribbon under Stripe's furry chin. He carefully adjusted the Pioneer dress he'd bought offline early that week.

"Stripe, you look perfect," Tweek told the guinea pig.

Stripe replied by attempting to chew on the ribbon. Tweek tucked the ribbon farther under his chin.

He pursed his lips. Craig would be home in twenty minutes or so from work, but Tweek wasn't sure Stripe could wait that long before taking the bonnet Tweek worked so hard on off his little head.

"Maybe I should take a picture," Tweek muttered under his breath. He reached back for his long-forgotten phone. His whole day off from work he'd spent adjusting the dress since it came a bit too big.

Tweek loved to dress Stripe up in all sorts of costumes: A dinosaur, a cowboy, a princess, an astronaut — seeing his little man dressed-up made Tweek smile every time.

It made Craig smile, too. Which was why he had to see Stripe dressed up as a guinea pig about to embark on a journey along the Oregon Trail to a new land of gold and carrot-treats.

Tweek even dug out his old cowboy hat to wear when he showed Craig. Unfortunately, the hat didn't fit anymore, but he could easily carry Stripe in it. It would be adorable!

Tweek pressed the power button on his phone. It didn't light up. With a frown, he held the button down. The screen flashed once then went dark. Out of power.

Swearing, Tweek stood from the table. Stripe scratched at the bonnet. Picking up the cowboy hat, Tweek deposited Stripe into it. He carried him across the kitchen to the living room. Careful of the precious pet, Tweek groped the ground near the side of the couch for a phone charging cord. With an 'Ah!', he pulled the cord up, only to find it had been chewed in half.

"Stripe, what did we talk about?" Tweek scolded, showing Stripe the frayed wires. "You could have been electrocuted!"

Stripe sniffed the cord then went back to nibbling on the bonnet ribbon. Tweek untied the bonnet and set it down in the hat. He would put it on when he went to take the picture.

"Maybe Craig has one in his office I can use."

Tweek gathered Stripe up. He headed down the hall, past the photos of their life — high school and college graduation, holding each other outside the restaurant the night Tweek proposed, looking dashing and so in love on their wedding, moving boxes into their own house.

Snapshots of the American Dream, as Craig's dad would say before Tweek's own started waxing philosophically about it.

Tweek pushed open the door to Craig's office.

Their house was a bit bigger than just the two of them would ever need, but the deal on it was too good to pass up at the time, thus each of them had their own private rooms to do whatever with. Tweek's held his architecture and modeling tools, along with his sewing supplies; in his, Craig kept a computer and star charts and Red Racer memorabilia.

Tweek paused to admire an animation cell from the second Red Racer movie proudly displayed on the wall. Craig had hugged him so tightly, Tweek was sure his spine would snap when he gave it to him for his birthday two years ago.

Still in the hat, Tweek set Stripe down on the floor before bending to his knees to search through the computer desk drawers. He pulled open the top and found an organized drawer full of office supplies, some of which Tweek was positive Craig didn't use for work. No phone charging cord though.

The next drawer held files in hanging folders. Knowing that the cord couldn't possibly in that drawer, Tweek started to shut it when he noticed some papers peeking through a gap in the files.

Craig liked things organized, Tweek knew, so he pushed the folders aside and reached down. All of the files were labeled, so it would be easy to find where these papers lived in Craig's organizational system.

week held the paper to his face to read it. His heart skipped a beat.

Adoption forms. They were adoption forms. Why would Craig have those?

Tweek fell back to his bottom, flipping through the papers. Half of the blank lines had been filled. All of Craig's information printed with his neat, clear handwriting in black ink doned the paper, but one of Tweek's information. Not even his name.

A cold sweat broke across his skin. The question wasn't only 'why did Craig have these' but also 'why didn't he full out Tweek's information as well?'

They'd talked once or twice about children: if they wanted them, and if they did want them, how would they have them, surrogate or adoption, but those conversations never went much further than 'maybe' and 'a surrogate would be awkward, don't you think?' then Tweek would quickly change the topic.

He knew Craig wanted kids someday, but Tweek wasn't sure himself. The idea of being a father was appealing enough — dropping the youngster off on the first day of kindergarten, soccer games, scouts, making fun of other PTA parents with Craig and showing them all up with his baking skills. As a thought experiment, he liked the idea of parenting but put into practice, there was too much that could go wrong.

What if their child was embarrassed having two dads? What if they threw temper tantrums that Tweek couldn't deal with without breaking down himself? What if he spoiled the child? And when the kid got older and more defiant? How would he handle that? He would ruin a kid for life!

That thought made Tweek's stomach twist.

"Tweek?"

Tweek jumped, swinging his head around. In the doorway, Craig frowned at him.

"I got off early," He explained, stepping and flicking on the light. Tweek blinked the stars from his vision as his husband crouched next to him. "Honey? What's wrong. You look sick."

Wordless, Tweek held up the forms and pointed. Craig winced.

"Oh. Um, those." Craig whistled nervously. "Those..."

"Craig," Tweek finally found his voice again, "why do you have these? Do you...you're not leaving me are you?"

Craig stared at him, eyes wide, as he processed the question. "Leaving you? Why would I leave you?"

"You only filled out your information! You're going to leave me and find a man who wants to adopt with you, right? Or are you going to raise a kid by yourself?" Tweek shook despite himself. Visions of waking up alone, cooking dinner for one, and being left in this big house with no one else clouded his mind's eye.

Craig pulled him into a hug. "I'm not leaving you." He tapped Tweek's wedding ring. "We had a whole big ceremony about that promise. Remember? Jimmy got drunk and tried to do his off-color stand-up to my grandma, and she smacked him with her purse?"

Tweek forced a smile. "She threw her punch on him as a warning first."

Craig nodded. "And he still kept talking."

The two shared a laugh. As they puttered out into silence. Tweek gripped the papers.

"Um," he started, "so..."

Craig looked away. He breathed a swear and said, "I wasn't going to show you those, but, uh, yeah. I filled those out a month or two ago. It was on a whim." He shrugged in a way Tweek knew he was lying. "I thought it would be good practice in case we ever did — "

"Craig do you really want to have a baby — err, a child — right now in our lives?" Tweek cut in.

Craig took a breath and met his eyes. "Yeah. I would." He put his hands on Tweek's shoulders and squeezed with a smile. "We would make the best dads in the world. We'd raise a smart and practical kid, babe."

"Or an impulsive and aloof one," Tweek muttered. Louder, he continued, "I don't think I would make a good dad. You would, but would they even let someone like me have a child?" He tapped his temple.

"Having an anxiety disorder doesn't make you a bad parent." Craig rolled his eyes. "If anything, it would make you a better one. Our child would never get hurt since you would have them in a life vest and pool floaties all the time."

Tweek snorted. "And you'd have to go to school every other day since they flipped off their teacher."

"I flipped off the teacher all the time, and I turned out just fine."

"Yeah, right!"

The two laughed again. Tweek pressed against his side, holding the papers up.

"Do you really think I'd be a good dad? If I knew that I would be, I don't think I'd mind having a kid with you."

Craig wrapped an arm around him and kissed the top of his head.

Before he could speak, Tweek heard a chewing sound. With a gasp, he twisted around to find Stripe had crawled out of the cowboy hat and found a computer wire to nibble on.

He snatched Stripe up, scolding him, before setting him in Craig's lap. Craig  'aaah'-ed at Stripe's dress.

"He has a bonnet too," Tweek told him, but made no move to retrieve the bonnet from the hat.

Craig chuckled, shaking his head.

"And you really think you wouldn't be a good dad?" He held up Stripe to tap his nose against Tweek's. "You're amazing with our fur son."

Tweek shrugged. "He's a pet. It's different with a human kid. I could really mess up. They could end up hating me."

"No one could hate you," Craig muttered into his hair. Tweek hummed, unsure.

As they sat there, he thought again about the idea of being a parent. He thought about helping with homework and braiding hair before school. He imagined camping trips in the back yard and hot cocoa with star-shaped marshmallows after making mid-winter snow angles. Even the temper tantrums and fights over the car he envisioned suddenly didn't seem so bad.

It wasn't like he would be alone. He wasn't going to be a single parent. He'd have Craig and Craig would have him. They'd fill out what the other lacked like they always did.

Tweek looped his arm around Craig's waist and kissed under his ear.

With a smile, Tweek offered, "If you give me a pen, I'll help you fill out my half of the form."

---

[matlabhwexperts-blog]

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[crashdevlin]

Bottle- 16: Vision

Bottle Masterlist

Author’s Note: Originally posted to ao3 (This is an edited and improved version), I work in info from the comics (Like Hawkeye was married to Mockingbird and Red Skull had a disappointing daughter) and I took a few liberties with what the scepter could do (but not really because the Mind Stone was used to create the Twins so what I did is not that far-fetched). This is a lot more angst than I realized when I wrote it, but it’s compelling angst.

Summary: Cassandra Campbell is a Stark Industries lab tech with dubious genetics and a history with the new Director of SHIELD. She’s been working in New York since right before the Chitauri invasion. What does she have to do with Loki, and what will happen when he returns? Starts post TDW and continues to the end of AoU.

Pairing(s): Phil Coulson x OFC (Past), Loki x OFC (Non-con), Clint Barton x OFC, Steve Rogers x OFC

Word Count: 2237

Story Warnings: So many, worst (to me) are bolded. Younger woman/older man relationship,non-con, mutilation, torture, mind control, PTSD, depression, alcoholism, forced abortions, bad things (non-con) in a church, insomnia, memory manipulation, eventual consensual oral sex (female and male receiving),

Chapter Warnings: none

Cassie looked over at Tony as they started through security at NEXUS. "Thank you."

"What?"

"For bringing me. For not leaving me at the farm with... Nothing against her, a couple years ago I wanted what she has, but I can't... imagine just staying home and raising kids and helping with homework and..." She lost her direction as a guard ran a metal detector down her body. "The housewife thing, back when I was with Phil, that was the goal, but... it's-"

"Boring. So boring. I wouldn't want that for you. Actually, if you tried to choose that life now, Blondie, I'd tell Hydra where you are. That ain't you and I'd rather you become Junior again than go full Stepford," Tony said, crossing to the other side of security. "Steve shouldn't have tried to leave you behind. You're of better use in Korea. Of course, his bus was pretty full with your boyfriend and his girlfriend, you know."

"Nat isn't-"

"If you think they've never bumped uglies, you're deluded," Tony said, walking away as Cassie's face fell.

"That's a great strategy, Tony. Put your bodyguard into a self-conscious spiral of inadequacy. Like the gorgeous, tall, gymnast ex-wife wasn't bad enough."

"What inadequacy? You think you're something less than Romanoff?"

Cassie walked up next to him. "Yeah. How could I possibly feel like less of a woman when compared to a legit ballerina-turned-assassin-turned-spy? She's also an amazing hacker and have you seen what she wears? I'd never be able to pull off the skintight clothes and-"

"But that's not your thing," Stark interrupted, turning and grabbing her shoulder and forcing her to look up at him. "That's never been your thing. When Barton was creepin' on you through a scope from the building across the street, you weren't doing acrobatics or wearing skintight anything. You were just being you. You don't need to compete with the ex-wife, or Nat... well, maybe Nat. She's very present in his life."

"You're not helping, Tony." She sighed, deeply. "I should've just kept to the 'no dating' thing."

"Would've been the smart move," Tony agreed, walking toward a guarded area. He smiled at the guards. "Tony Stark, Cassie Campbell. We need access."

The guards nodded and moved out of the way. A blond woman walked up. "Tony. How are you?"

"I'm good. This is Cassie, my new bodyguard," Tony said, prompting a look of disbelief from the tech. "She's stronger than she looks."

"Nice to meet you."

Cassie nodded as Tony walked to a set of computers and started to type. "A hacker who's faster than Ultron? He could be anywhere. And as this is the center of everything, I'm just a guy looking for a needle in the world's biggest haystack."

"How do you find it?" the tech asked.

"Pretty simple. You bring a magnet." Cassie sighed as he began an electronic attack on the Pentagon. "Oh, I'm decrypting nuclear codes and you don't want me to." He sang. "Come and get me."

"And if this force is malevolent?" Cassie asked. "We might be-"

"Found it!" Stark interrupted, tapping furiously at the keyboards. "Now, just to... wait a second. That looks familiar. And so does..."

"What is it?"

"Not what..." he said, a new window popping up on the right screen. "Who."

"Is that..." A familiar set of orange programming came up on the screen. "Jarvis!"

"Hello, Miss Campbell."

"That's amazing. He's the one who's been holding Ultron off?"

"Of course, he was. This is Jarvis. Greatest program ever created."

"Thank you, sir."

"Let's get back to the Tower," Tony said, pulling out his tablet and uploading Jarvis to it.

**********************

Cassie walked in with Tony as Clint tried to pry the cradle open. "Anything on Nat?" Banner asked, walking up wringing his hands, worriedly.

"We haven't heard," Cassie answered.

"But she's alive, or Ultron'd be rubbing our faces in it," Tony continued, walking up to the cradle as Clint hopped off of it.

"This is sealed tight."

"We're gonna need to access the program, break it down from within," Banner said, running his hand along the top of the cradle.

"Hm. Any chance Natasha might leave you a message, outside the internet? Old-school spy stuff?" Tony asked turning to Clint.

"There's some nets I can cast. Yeah. I'll find her," Clint said, heading downstairs.

Cassie walked to the cradle, running her hand along the metal, as well. "I can work on tissue degeneration," Bruce started. "If you can fry whatever operational system Cho implanted."

"Yeah, about that," Stark started prompting Cassie and Banner to turn to him.

"No," Bruce said, backing away.

"You have to trust me." Tony stepped forward.

"Kinda don't."

"Our ally? The guy protecting the military's nuclear codes? I found him," Tony said, flicking his tablet to bring up a hologram of Jarvis' consciousness.

"Hello, Dr. Banner."

"Ultron didn't go after Jarvis 'cause he was angry. He attacked him because he was scared of what he can do. So, Jarvis went underground. Okay? Scattered, dumped his memory, but not his protocols. He didn't even know he was in there, until I pieced him together."

"So, you want me to help you put Jarvis into this thing?"

"No, of course not! I want to help you put Jarvis in this thing. Cass'll help any way she can. We can count on her." Banner shook his head while Cassie looked down at the cradle, dumbly, feeling completely out of her depth. "We're out of my field here. You know bio-organics better than anyone."

"And you just assume that Jarvis' operational matrix can beat Ultron's?"

"Jarvis has been beating him. From the inside without knowing it," Tony said, staring across the cradle at Banner.

"This is an opportunity," Cassie said, finally coming to her senses and looking up from the cradle. "We can create Ultron's perfect self."

"Without the homicidal glitches he thinks are his winning personality, exactly. We have to," Tony finished.

"I believe it's worth a go," Jarvis said.

Banner scratched his head. "I'm in a loop! I'm caught in a time loop. This is exactly where it all went wrong."

"I know, I know. I know what everyone's going to say, but they're already saying it. We're mad scientists." Tony walked up, grasping Banner's shoulder. "We're monsters, buddy. You and Cassie actually are. You gotta own it. Make a stand." Banner shook his head as Tony pressured him.

"It's not a loop, Bruce. It's the end of the line," Cassie said, looking around Tony at him.

Banner looked down, then over at the cradle. "This is a bad idea."

"Unfortunately, it's the best one we have," she said, trying to force her lips to smile, but failing.

"Okay. Let's do this. Cassie, grab those cables, we're gonna have to connect the cradle to the computer in order to upload Jarvis into the synthetic body," Banner said.

******************

"This framework is not compatible," Tony said, tapping away on the computer.

"The genetic coding tower's at 97%. You have got to upload that schematic in the next three minutes."

Cassie moved to stand in front of Bruce as Steve and the Maximoffs walked into lab. "I'm gonna say this once," Steve commanded.

"How 'bout 'nonce'?"

"Shut it down," Cap demanded.

"Nope, not gonna happen," Tony spat back.

"You don't know what you're doing," Steve said.

"And you do? She's not in your head?" Bruce gestured at the witch.

"I know you're angry," she said, walking around to Steve's side.

"Oh, we're way past that. I could choke the life out of you and never change a shade."

"I don't even have to worry about that," Cassie added.

"Banner, after everything that's happened..." Steve started.

"That's nothing compared to what's coming!" Tony shouted.

"You don't know what's in there!" Wanda shouted back.

"This isn't a game!" Rogers shouted.

"The creature..." Wanda began as her twin ran around the lab, destroying and disconnecting everything.

"No, no. Go on. You were saying?" He threw the cables on the ground and looked around the lab.

A bullet came up through the glass, causing Pietro to fall through. Wanda called his name as Cassie looked down the hole at Clint, who stepped on the mutant and smiled. "What? You didn't see that coming?"

The computer beeped at Stark, so he started tapping at the keyboard again. "I'm rerouting the upload." Steve pulled his hand back and threw his shield at the computer and Tony, who blasted him with a repulsor beam and called the rest of his suit.

Banner grabbed Wanda from behind as Cassie moved to grab Steve's shield. "Go ahead, piss me off," Banner urged as Clint ran up the stairs.

Steve jumped at Tony, intent on punching the genius, but flew backwards as another repulsor beam hit him. Tony flew backward, too, as Cassie ran for the computer. "Reroute the upload," she whispered to herself in hopes that she could figure out how to do that. She was never that great with computers. Wanda pulled herself from Banner's arms in the confusion and used her 'magic' to hit him back away from her. Cassie's eyes fell on Thor as he ran into the room and jumped on top of the cradle, calling forth a lightning bolt to hit it. Warning: Power Overload came across the screen in front of her as the upload rapidly finished. The cradle exploded open, sending Thor flying backward and everyone else to shield their eyes.

A look of awe and fear crossed everyone's faces as the red synthetic man jumped out of the cradle and looked around as he stood. He jumped at Thor, who threw him out the lab window to the living area below.  He stopped just short of the glass on the outside of the building, flying in front of it and looking out at the city. Thor followed him down, as did Cap and Cassie. Thor put a hand up to stop Steve getting closer. His skin changed from almost completely red to red and green as he turned and flew to stand next to Thor in the living room. "I'm sorry, that was... odd." Jarvis' voice came out of the android. "Thank you," He addressed Thor. As he examined the Asgardian, a yellow cape appeared behind him.

"Thor. You helped create this?" Steve asked.

"I've had a vision. A whirlpool that sucks in all hope of life and at its center is that." Thor pointed to the android's forehead.

"The gem?" Cassie asked, stepping forward.

"It's the Mind Stone, Lady Cassie. It's one of six Infinity Stones. The greatest power in the universe, unparalleled in its destructive capabilities."

"Then, why would you bring it to..."

"Because Stark is right."

"Oh, it's definitely the end times," Banner said, under his breath.

"We were supporting this, remember?" Cassie put her hand on his shoulder.

"The Avengers cannot defeat Ultron," Thor continued.

"Not alone," the android added.

"Why does your 'vision' sound like Jarvis?"

"We... we reconfigured Jarvis' matrix to create something new," Tony answered, walking toward the android.

"I think I've had my fill of new."

"Then, go back to sleep," Cassie responded, earning her a hurt look from the captain.

"You think I'm a child of Ultron," Vision said.

"You're not?"

"I'm not Ultron. I am not Jarvis. I am... I am," he concluded.

"I looked in your head... and saw annihilation," Wanda accused, walking forward.

"Look again."

Clint scoffed. "Yeah. Her seal of approval means jack to me."

"Their powers, the horrors in our heads, Ultron himself, they all came from the Mind Stone. And they're nothing compared to what it can unleash. But with it on our side..." Thor started.

"Is it?" Cassie asked.

"Are you? On our side," Steve clarified.

"I don't think it's that simple," the Vision answered.

"Well, it better get real simple, real soon." Clint threatened.

"I am on the side of life. Ultron isn't. He will end it all."

"What's he waiting for?" Tony asked.

"You."

"Where?" Bruce asked.

"Sokovia," Clint answered. "He's got Nat there, too."

"If we're wrong about you..." Bruce started, walking forward with his hands clasps. "If you're the monster that Ultron made you to be..."

"What will you do?" Vision looked around at the group. The silent 'We will kill you' vibe spoke its words. He started to pace, walking past Banner. "I don't want to kill Ultron. He's unique, and he's in pain. But that pain will roll over the Earth, so he must be destroyed. Every form he's built, every trace of his presence on the 'net. We have to act now. And not one of us can do it without the others. Maybe I am a monster." He looked down at his hands. "I don't think I'd know if I were one. I'm not what you are, and not what you intended. So, there may be no way to make you trust me. But we need to go." He turned, offering Mjolnir to Thor. The Avengers' eyes focused on the hammer and Vision's lack of strain.

"Holy shit." Cassie scoffed as Thor took the hammer and Vision walked away.

"Right," Thor said, before walking up and patting Tony's shoulder. "Well done."

"Three minutes. Get what you need," Steve ordered.

"Yes, boss," Cassie said, running for the elevator.

"You going for guns?" Clint called after her.

"I'm going for anything I can get my hands on," she called back.

KITCHEN SINK TAGS @heyitscam99 @wonderlandfandomkingdom @unlikelysamwinchesteronahunt @mrs-meghan-winchester @henrymorganme @lonely-skys @allykat2108

[kiya-123]

How education system rule over the internet?

The Web has colossal potential to improve the quality of instruction and education, which is one of the columns of feasible improvement. This Web Society briefing diagrams ways in which policymakers can open that potential through an empowering system for get to to the Web. It sets out five needs for policymakers: foundation and get to, vision and approach, incorporation, capacity, and substance and gadgets. Together these speak to key contemplations for opening get to to the Web in back of instruction

Web, the foremost valuable innovation of cutting edge times which makes a difference us not as it were in our every day lives but too in proficient lives. For instructive purposes, it is broadly utilized to accumulate data and to do investigate or include to the information of various subjects. Internet plays an awfully imperative part in instruction. It is no question that in this advanced time everybody favors Google for their inquiries, issues or questions. Well known look motors like Google, Yahoo, etc. are the highest choice of individuals as they offer a straightforward and moment reach to the tremendous sum of data in fair many seconds. It contains a riches of information that can be looked at any time. The web has presented enhancements in innovation, communication, and online amusement.

Kiya learning is an Ed tech platform which helps the students to learn and understand the subject of academics sitting in the convenience of their homes.  Kiya learning provides one on one classes for the students so that they can build a good rapport with the teachers which will enhance their learning. The teachers of kiya learning are totally dedicated towards the learning of the students they provide a set of assignments after teaching every topic and give a lot of homework to ensure the studies are going at a perfect track.  We are a global organization and we are established in different countries of the world like Dubai Canada Australia Singapore and many more.  We have developed and research curriculum based on the country's curriculum of studies so that the students can feel that they're learning correct.  Kiya learning has different schools for studies. We teach regional languages as well as foreign languages . We are also focused in teaching all the subjects like English science social science maths computers for the children of every class and every age group.  we also focus on extracurricular activities as they build up the social skills of a student so we teach instrument playing like piano guitar tabla etc. We also teach them dance and yoga with Zumba the trending dance form. We also focus on the child singing abilities and the people who are interested in singing can join a classes we also teach students art and craft classes with increasing their social skills like personality development and public speaking courses. so in all we are in all rounder platform for students and we focus on each and every part of students life to ensure their great future.

visite our website to know more (https://kiyalearning.com/australia/)

[praveenjohny0]

How To Find the Best Applications for Your Business

Applications (“apps”) are at the heart of business in the 21st century. Web apps, mobile apps, and cloud apps are everywhere. Just as finding an organization without computers was nearly impossible 20 years ago, today, you won’t find one without a suite of apps operating their entire internal and external systems. From customer service applications to enterprise financial applications and SAP software applications, selecting the right software can be a daunting challenge.

Find the Best Mobile Application Development Company

Where to start?

Before you look for a technical solution, identify the business problem technology can solve. Develop a digital transformation roadmap to ensure the organization heads in the right direction. Our experts have helped numerous clients with developing digital roadmaps and executed them successfully.

Analyze your needs

Once you have a plan or roadmap developed, breakdown your vision into tangible and attainable goals. Use these goals to identify and prioritize your use cases and look to the market for available solutions. For instance, if you work in the retail industry, then the point of sale may be your highest priority. Start by looking at your existing system and research available and modern alternatives.

When you’re ready to begin shopping for applications, let us help you proceed with caution. We will assist you in selecting apps suited to your specific needs. Our philosophy is never to purchase or develop applications for our clients until we’ve reached a consensus of precisely what you need and what works in the long term.

Do your homework

It’s about more than choosing the application presumed to be “modern” or “trending.” Together we identify the tool most suitable for your team, goals, and workflows. Your competition might be using a particular application, but it may not be the most relevant to your team.

If you are thorough with your research upfront, it helps you avoid the trap of selecting the first application to meet most of your needs but not all of them. Our experience has shown us companies who don’t do their research will inevitably switch applications further down the road, which is a painful process. Take your time. Make sure the application you choose addresses your specific needs and provides value over the most extended period. Do not settle on the first application you find!.

Click for the Experienced Web Application or Website Development Company

You get what you pay for

Most companies say cost is the primary factor when choosing their application software. Fortunately, plenty of very inexpensive customer experience applications and digital applications are currently available on the market. However, you shouldn’t make your choice solely based on cost. Always consider price, but pay for value. Focus on usability, integration capabilities, and best-of-breed tools most fit to help your organization meet its goals. It's vital to remember applications can be expensive. But if it fits a need and helps your company do more, it will pay for itself over time.

Customize apps for your needs

It’s not uncommon to find products and applications to meet most but not all of your business needs. But, applications are customizable to cover the remaining use cases and fit your business process. Customization comes in different ways—app utilization, deployment, data capture, and much more. Beyond tweaking the product, customizing your experience ensures support cost stays manageable while the business can operate with the application’s features provided out-of-the-box.

Integrate everything

By integrating all your workflows, you maximize the value of your apps. No one application can address all your organizations’ use cases. You can use a customer relations management (CRM) application to store customer information and interactions or enterprise resource planning (ERP) software to manage company resources. Your human resource (HR) department may use a personnel management system, and Payroll may use another, and so on. To get the most value out of a system, your applications need to communicate.

Communicate, communicate, communicate for better adoption

Communicate everything and anything regarding your application choice. Inform your team why you chose this app, what problems it solves, and how to use it effectively in your work. You might even consider creating internal documentation for instructions on using the application for everyone to utilize.

aTeam Soft Solutions-Matching you with the most suitable applications

Choosing the correct apps is an exhausting, time-consuming process, involving countless hours of research, trial and error, and inevitably some failure. Let us help. We've done the research, we know the market has to offer, and we understand your company's industry. We're in a knowledgeable position to help you choose an application to fits your needs better than the others. See how it works, or contact us today, and let us help you make this choice an easy and enjoyable one.

Learn more about Leading Software Development company