Kalpana Chawla free essay sample

Teachers Day BY vtnay2085 Speech given on the Teachers Day. Ghiyasuddin School, Wednesday 13th September 2006 Madam Aishath Adam, Senior Assistant Principal, Supervisors, members of the staff, Teachers and Dear Students. Assalaam Alaikum and Good afternoon. Today, we are here to celebrate great teachers and great teaching. As a fellow teacher, I find awkward to speak about teachers or for teachers. But, first, let me convey to all the teachers, my personal greetings and best wishes on the teachers day. Dear Teachers: Though a fellow teacher, I want to say I am proud of you. I am proud of your edication to the profession and for the personal sacrifices you make to teach our children. I am delighted of your devotion to train their questing minds, and for your inspiration of their hopeful hearts. I am proud that you take this responsibility seriously †that you see it as sacred trust. We celebrate teachers day, because we value you. We will write a custom essay sample on Kalpana Chawla or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I want to remind you that all the parents, students and the wider community deeply appreciate your commitment to teaching and to the children. There is no substitute for education. Firstly, because its the most precious gift we can give our children. Secondly, because its the most critical investment in our future. And thirdly, because its the most effective strategy which will enable us to survive and to thrive in a changing world. Dear Students: I became a teacher because of some of the happy experiences I had in school. There were teachers who touched my soul; who helped me realize my own potential. I decided to become a teacher because I want to help change someones life. Sometimes, it is hard. We have our own families, financial life and life problems that challenge us, like everyone else. Sometimes we are exhausted by our workload nd responsibilities. This is why teachers need encouragement and support. So that in turn, we can devote ourselves to our students. Dear staff and students; On Teachers Day every year, we remember our teachers, we remember our childrens teachers. We recognize these very dedicated people. People who give of themselves and take a personal interest in their students. Teachers who have touched our liv es, moulded us into what we are today, and are helping to shape tomorrows people, tomorrows students. Just as a country is as good as its people, so its citizens are only as good as their teachers. Therefore a great deal depends on you, teachers, and I salute you, all of you, those here today, and those absent, for your passion, dedication, commitment and contributions. I wish to all the teachers a successful career in teaching   a career in which you find happiness, health, friendship and love. Happy Teachers Day and thank you. Kalpana Chawla By Vaishakhi Status Deceased Born July 1, 1961 Karnal, Haryana, India Died February 1, 2003 (aged 42) Over Texas Previous occupation Research Scientist Time in space 31d 14h 54m selection 1994 NASA Group Mission insignia Sts-87-patch. ng STS-107 Flight Insignia. svg Kalpana Chawla , was an Indian-American scientist and a NASA astronaut. She was one of seven crewmembers killed in the Space Shuttle Columbia disaster. Early life Kalpana Chawla was born in a Punjabi Hindu family at Karnal, Haryana, India. [l] She was born in Model Town Karnal. Kalpana in Hindi means imagination. Her interest in flying was inspired by J. R. D. Tata, a pionee ring Indian pilot and industrialist. [2][3]. Kalpana has two sisters (Sunita Deepa) and a brother (Sanjay). Being the youngest, the family members gave her the nickname Montu. She met and married Jean- Pierre Harrison, a flying instructor and aviation writer, in 1983 and became a naturalized United States citizen in 1990. [4] [edit] Education Chawla completed her earlier schooling at Tagore Public School, Karnal. She earned her B. E. degree in aeronautical engineering at Punjab Engineering College in Chandigarh in 1982. She moved to the United States in 1982 and obtained a M. S. degree in aerospace engineering from the University of Texas at Arlington (1984). Chawla went on to earn a second M. S. degree in 1986 and a Ph. D. degree in aerospace engineering in 1988 from the University of Colorado at Boulder. Later that year she began working for NASA Ames Research Center as vice president of Overset Methods, Inc. where she did CFD research on WSTOL. [2] Chawla held a Certificated Flight Instructor rating for airplanes, gliders and Commercial Pilot licenses for single and multiengine airplanes, seaplanes and gliders. She held an FCC issued Technician Class Amateur Radio license with the call sign KD5ESl. [edit] NASA career Chawla Joined the NASA astronaut corps in March 1995 and was selected for her first flight in 1998. that flew the Space Shuttle Columbia flight STS-87. Chawla was the first Indian-born oman and the second person of Indian origin to fly in space, following cosmonaut Rakesh Sharma who flew in 1984 in a Soviet spacecraft. On her first mission Chawla travelled over 10. 4 million miles

Free Essays on City Of Glass

Who’s Talking? In Paul Auster’s modern novel, City of Glass, an unlimited narrator is used to allow the reader to draw their own conclusions or ideas about what is truly going on in the story. The â€Å"all-knowing† narrator is almost similar to a God, knowing things that a single person could not possibly know. They know thoughts, ideas and personal information of several different characters. Auster leaves many details open about the story and forces readers to incorporate their own thoughts into the novel. City of Glass can be compared to an abstract work of art in which the â€Å"idea† is in the eye of the beholder. Two different people can read this novel and come up with two different ideas as to what happened in the end. Auster’s use of an unlimited narrator effectively involves the reader and prevents readers from just simply coming to the end to have it all explained, leaving no options to use their imagination and analysis. The unlimited narrator speaks as several different characters interchangeably throughout the book. First, the introduction is spoken directly to the reader, almost a one-on-one between reader and author. Auster writes, â€Å" The question is the story itself, and whether or not it means something is not for the story to tell.† Immediately we are give a personal introduction of the future events. The ending, â€Å"†¦it is not for the story to tell.†, indicates that the audience is the one to tell or the one to decipher the actual happenings in the plot and they are in fact involved with â€Å"the story itself†. Another role that is taken on by the narrator is introduced as Daniel Quinn. A significant amount of the book is described from his point of view. The narrator brings us through his daily routines, from following around Stillman, to using the bathroom. He uses extreme detail on his activities. Another role taken on by the narrator is of the mys terious man who recently returns from ... Free Essays on City Of Glass Free Essays on City Of Glass Who’s Talking? In Paul Auster’s modern novel, City of Glass, an unlimited narrator is used to allow the reader to draw their own conclusions or ideas about what is truly going on in the story. The â€Å"all-knowing† narrator is almost similar to a God, knowing things that a single person could not possibly know. They know thoughts, ideas and personal information of several different characters. Auster leaves many details open about the story and forces readers to incorporate their own thoughts into the novel. City of Glass can be compared to an abstract work of art in which the â€Å"idea† is in the eye of the beholder. Two different people can read this novel and come up with two different ideas as to what happened in the end. Auster’s use of an unlimited narrator effectively involves the reader and prevents readers from just simply coming to the end to have it all explained, leaving no options to use their imagination and analysis. The unlimited narrator speaks as several different characters interchangeably throughout the book. First, the introduction is spoken directly to the reader, almost a one-on-one between reader and author. Auster writes, â€Å" The question is the story itself, and whether or not it means something is not for the story to tell.† Immediately we are give a personal introduction of the future events. The ending, â€Å"†¦it is not for the story to tell.†, indicates that the audience is the one to tell or the one to decipher the actual happenings in the plot and they are in fact involved with â€Å"the story itself†. Another role that is taken on by the narrator is introduced as Daniel Quinn. A significant amount of the book is described from his point of view. The narrator brings us through his daily routines, from following around Stillman, to using the bathroom. He uses extreme detail on his activities. Another role taken on by the narrator is of the mys terious man who recently returns from ...

Book Report on Dear America Series- Diary of Hattie Campbell Essay Example for Free

Book Report on Dear America Series- Diary of Hattie Campbell Essay This book, written by Kristiana Gregory, is about a thirteen year old girl from Pennsylvania, Hattie Campbell. On her birthday, she was given a diary by her mother and her Aunt June. In the first entry, she mentions her Uncle Milton’s death three days ago while fixing her family’s barn and his funeral the eve of her birthday. At the funeral, the coffin fell out of their cart and was washed into the nearby river. Her father tried to save it but was almost sucked into the paddles of a riverboat. As a sign of apology, the riverboat captain agreed to give Mr Campbell and his family free tickets on his riverboat to go anywhere they wanted. That night, he announced that the family would be heading to the untamed West, at that time occupied by the Indians who were known to be violent. Mrs Campbell was very angry and initiated a â€Å"cold war† with her husband. Two days later, she relents and agrees to head out West. On the way out West, the family met a young adult named Tall Joe, who eventually becomes the captain of their group. Throughout the long trip, they lost many partners as their oxen died or they were shot by Indians. One day, Hattie and her friend, Pepper, are out playing and happened to stumble across what they thought were wild carrots and parsnips. They took some back as it was their turn to cook for the group. Back at camp, they got around their chores and started cooking. A little girl, Cassia, looked longingly at the â€Å"carrots and parsnips† and takes two bites before running off to play. Later, as they were rolling out pastry, they heard screams. They went in the direction of the screams and were horrified to find Pepper’s twin brother, Wade, and some of his friends lying on the ground, jaws clenched so tightly that nobody could pour charcoal and water into their systems to absorb the poison. In the end all of them except Wade died. The women were able to pour charcoal into his mouth. Hattie’s father then went to the tent where the kitchen was. When he saw the â€Å"carrots and parsnips†, he asked Hattie to cut some for him. He put it on the edge of his tongue and spat it out immediately. He said that it was actually water hemlock, a poisonous plant which could kill a horse if it just ate one. A man would die from a bite. They immediately remembered Cassia. They found her limp body and buried her together with the boys. The priest prayed over their graves. The next day, they called all the children and drew on the dirt to show them the difference between water hemlock and wild carrots and parsnips. Eventually, after twenty six months on the road, they reach their destination, Oregon. Along the way the accompanying Aunt June gave birth to a daughter, River Ann Valentine. The family, Aunt June and her husband settled in Oregon and became one of the first pioneers to make it to their destinations. Book Report on Dear America Series- Diary of Hattie Campbell. (2016, Dec 24).

Types of Aging Essay Example | Topics and Well Written Essays - 1750 words

Types of Aging - Essay Example exposure to toxins may dramatically reduce expectancy. Today’s society has witnessed a pronounced increase in longevity coupled with lowered birth rates. Aging bears both positive stereotypes (such as becoming wiser, more confident, and more motivated) and negative aspects such as predisposition to disease, disability, and depression arising from isolation which influences old people’s self esteem (Morgan and Kunkel 2011, p.11). Some years back, aging experience was not a cosy affair. Nevertheless, improvements in health and nutrition aided by technology have eased the experience making it more comfortable. Modern technology has improved the living conditions of many people. However, the increase in longevity has yielded shortcomings such as a rise in risk of abuse, exploitation, and neglect among the older people. Statistics from the Office for National Statistics (UK) indicate that the percentage of the population above 70 years will continue to surge through the 21st century. A report from the Office of National Statistics places the life expectancy of persons at 75 years, a figure that rises with dawn of each day. The contemporary society has undergone demographic, structural, and cultural transformations with the advent of aging populations. In fact, gerontologists have coined the term â€Å"global graying† to describe this phenomenon. ... Chronological age also aids in prediction of health problems within the population and is a common variable in research endeavours (Blackburn & Dulmus 2007, p.3). Biological/physiological aging refers to body changes that accompany advancement of years. The physical changes that occur in people are not all normal since they borrow heavily on lifestyle choices and cultural practices. Some of these changes can be modified, if not prevented. Psychological aging refers to how people act and feel about themselves as they age. As people age, the information processing capability such as reaction time, intelligence, learning, memory and problem solving are affected. Similarly, their personality and self concept is affected. For instance, a 90-year-old who is occupationally active may be considered as psychologically young (Morgan and Kunkel 2011, p.12). As people age, they become functional dependent. This is particularly more pronounced in mental functions such as learning of new languages (Hillier and Barrow (2011, p.48). Functional age helps in targeting of services to sub-groups guided by age and need e.g. identification of people with physical limitations and who need home care. Contemporary societies have been able to maintain a reasonable quality of life of the old while preserving their functional independence. In addition, as people age, social factors such as society’s perception of â€Å"growing old† or being â€Å"old† define and redefine the social construction of self. As individuals age, they are bombarded with contradictory social meanings, structures, and processes attached to age. Most of these constructions are erroneous accounts on the effect of aging on the physical and mental capabilities of the elders. People interpret events in

Managerial Accounting Essay Example | Topics and Well Written Essays - 500 words

Managerial Accounting - Essay Example Sales projections would be done in according to the consumers and population and whether it is liked by them or not. It will also look at competition and if mushroom brands have entered the market or not. A marketing manager will create surveys and shoot sales by promotion and sampling. This way, sales projections are likely to increase but may not necessarily increase actual sales due to some discrepancies in research. Underestimating sales projections may result in a mismatch for the profit goal. (Williams et al., 2005). A lot of the components of budgeting including sales projection accumulate to make up the master budget. When the master budget is understated, it might not meet the profit margin for the year. Therefore, other plans can halt as a result. If accurate figures are given and profits are likely to occur, expansion projects or other promotions could be thought of and money can be utilized. Any other resource such as labour needed to help in creating sales should be pre planned and a correct sales forecast would reduce any chances of shortages and mishaps. If sales are understated, operating, manufacturing, and other following costs will also be understated accordingly. Moreover, the goal should be to reduce all inefficiencies and add value throughout the value chain model.

Japanese Dining Etiquette Essay Example for Free

Japanese Dining Etiquette Essay Remembering your correct manners is very important in Japan, especially concerning the area of dining etiquettes. This applies especially to foreigners, who should try to remember at least the most basic rules†¦ In Japanese meals, it is customary to say ‘itadakimasu’ (‘I gratefully receive’) before your meal, and ‘gochisama deshita’ (‘thank you for the meal’) after you have finished. These traditional phrases are to show your appreciation for the meal, especially when someone cooks for you. The best way to start your meal is with a sip of soup. Then you should eat a little bit of each dish, in a ‘rotation’, until you finish all the dishes at about the same time. Do NOT complete one dish of food before moving onto the next. Remember that if you are eating from communal dishes, it is considered an important etiquette to pick up the food using the opposite end of your chopsticks, or serving chopsticks if any are provided. Do not start drinking until everyone at the table is served, and do not pour any drinks for yourself. This should only be done by others, and naturally, it is also your responsibility to periodically check your friends’ cups and fill them up if they are empty, too. NEVER stick chopsticks into rice standing up, as this is how rice is offered to the dead. If you haven’t already heard, it is perfectly acceptable to slurp your noodles in Japan, as people say it tastes better, and it also shows you are enjoying your meal. Remember that it is considered very rude to burp, blow your nose at the table, and talk about unappetizing topics. Lastly, remember to finish every little grain of rice in your bowl or plate, as rice is considered very precious. Also this shows the chef you appreciate his/her food very much. It is also considered polite to return all plates and dishes back to their original positions, and to place chopsticks back in their paper slips or holders. Bibliography http://www.japan-guide.com/e/e2005.html http://www.suite101.com/content/eating-japanese-dos-and-donts-a31496 http://www.japanesefood101.com/index.php/category/dining-etiquette/.

Chinese Shih Poetry And Philosophy Essay -- essays research papers

Since the beginning of time, man has sought to explain the world around him. This is called philosophy, a Greek word which means "love of wisdom." However, over the millennia it has come to mean much more. The philosophies of the ancient Chinese people, whether they explain nature or present ways to live a just life, became so complex that simple prose could not suitably express their meaning. Yet paradoxically, the simpler, less exact form of poetry does put forth the ideas. Nowhere is this more exemplified than in the literature pertaining to the two major schools of ancient Chinese thought; Taoism and Confucianism. Poets such as Tu Fu and Po Chà ¼-i expressed the ideas of Taoism and Confucianism, respectively, while their fellow poet T’ao Ch’ien expressed both, through their poetry. Confucianism is based on the ideas of Confucius, the man who gave the school of thought its name. The main goal of Confucianists was to return a gentlemanly society to China. The core of Confucianism concerned social structure. Confucius taught that a man should respect and obey those of higher rank than himself, whether they be the father of a family, or the emperor of a nation. But even with absolute obedience, Confucianists believed that men should practice restraint and benevolence in those inferior to them. At the same time, those in high status were expected to lead virtuous lives, and to set examples for those that followed them. Confucianists believed that the moral code of man was set down by heaven, and if those in positions of authority did not set good examples, then they would deposed by the forces of heaven. One of the first great Chinese poets to write of Confucianism was T’ao Ch’ien. T’ao Ch’ien’s poem Substance, Shadow, and Spirit shows a comparison between Confucianism, Buddhism, Taoism, and the views on life and death of each. A clear example of Confucian beliefs can be taken from this poem. He states, "Let us strive and labor while yet we may / To do some deed that men will praise." This clearly demonstrates the fact that Confucianists do not believe in reincarnation. Also, in his Poem on Returning to Dwell in the Country, T’ao Ch’ien writes, "In the same world men lead different lives; / Some at the court, some in the marketplace." These lines illustrate that for every man there is a place in an ... ...orld around him, which was full of chaos and turmoil. In the final section of the poem Substance, Shadow, and Spirit he discusses the Taoist view, which is that one should not worry about death, but should "go where Fate leads – Drift on the Stream of Infinite Flux" and "make as little fuss as you can," when death finally comes. His Poem on Returning to Dwell in the County also shows Taoist ideas on simplicity, and following the way of nature. Passages such as "Long I have loved to stroll among the hills and marshes, / And take my pleasure roaming the woods and fields," demonstrate the Taoist love for nature. Poets such as Po Chà ¼-i presented the ideas of in a form that better impacted the common man, and carried their ideas crystal clear to the intellectuals. His fellow poets, T’ao Ch’ien and Tu Fu presented images of nature so intense, that the reader could gain a sense of calm from reading their poems. These poems have passed the test of time, and have not weathered the slightest. The followers of these schools were gifted enough to state their beliefs in poetry so vivid that they still enlighten lovers of wisdom today.

Film Theory Outline Essay

From the very beginning of film, theorists have tried to dissect or understand the nature of the new medium of art. As a result various theories of film have emerged, such as feminist, auteur, psychoanalytical, Marxist, Editing and Structuralist. This essay attempts to give an outline of these various theories. One of the first theories to emerge is Editing theory, coming from the context of early Russian cinema. A key event in this regard is the experiment carried out by the film-maker Lev Kuleshov in 1918, in which he demonstrated that what the viewer perceives depends on how images are juxtaposed with each other through inter-cutting. See more: essay apa format Thus, when a human close-up is juxtaposed with a bowl of soup, the perception is of hunger, but when juxtaposed with a shot of a coffin the same close-up is perceived to express grief. Kuleshov concluded that juxtaposition was crucial towards the effect, and thus advocated the use montage in film-making. Other film-makers like Sergei Eisenstein played close attention to these findings, and made use of them in his masterpieces of montage, such as Battleship Potemkin and October. He also spelled out a comprehensive film theory based on editing in a highly influential essay from the late twenties. In it he outlined he various categories of editing, such as metric, rhythmic, tonal, overtonal, and intellectual. For example, with intellectual montage a scene may be inter-cut with something immediately unrelated, but which nevertheless works as metaphor is a more profound sense. The above came to constitute soviet montage theory, which was in contrast to the Hollywood system of continuity editing. Montage is a very visible component of film, whereas continuity editing aims to make inter-cutting invisible, so that the viewer may concentrate on the flow of the narrative in an easy way. Since the fifties a parallel theory of editing has emerged in the West which embodies the Hollywood ethos. In the same essay Eisenstein proposed a Hegelian interpretation of film montage, and which came to form the basis of Marxist film theory. He suggested that montage worked by the principle of the Hegelian dialectic, where thesis is said to beget antithesis, and are resolved in the end through synthesis. For example, when human close up is inter-cut with a glass of water, the viewer interprets this as thirst. If the face is the subject, then its antithesis is the object of vision, i. e. the glass of water. ‘Thirst’ is merely the synthesis of the two. It is present in neither of the two shots in consideration, yet emerges form the inter-cutting of the two. Of course, it was through the Hegelian dialectic that Marx had derived his famous concept of the proletariat revolution, and Marxism was the avowed principle of the Bolshevists. Therefore, it is not surprising that Eisenstein’s theories found a favorable audience in the Soviet Union. Indeed, it was instrumental in forming of Socialist realism, which became the state sponsored ideology in art. Marxist film theory soon found itself as defined in opposition to capitalistic and bourgeoisie art, in which the narrative of the protagonist finds prominence. Eisenstein’s films attempt to obliterate the presence of the protagonist, concentrating instead on the clash of images towards creating a larger ideological narrative. Even then he was accused by the authorities for not championing the workers, and for indulging in the internal mechanics of film, which was deemed to be a kind of formalism. Marxist theory held that the purpose of art is to overcome all ‘forms’ towards dialectical purification. Formalism was felt to be a bourgeoisie component. Marxist theory, as it has flourished both in the East and the West, concerns itself with dissecting films in order discredit bourgeoisie forms, usually those emerging from the Hollywood system. A native western theory of film was late in developing, and a crucial starting point was the theories developed by Andre Bazin, as editor of the French film magazine Cahiers du cinema. Up to that point films were seen as merely commercial vehicles, and Hollywood had evolved into a mighty and well groomed machine that churned films for the pleasure of the masses. Analyzing these films Bazin came to the conclusion that it was the director who left the most characteristic stamp, and as illustration he held up the work of directors like Alfred Hitchcock and Howard Hawks. He advocated that directors infuse their personal vision into the films under their charge, in order that they become the complete authors, which is the ideal state. This came to be known as the Auteur theory of film, which was given a more formal presentation by Francois Truffaut. Directors were described as using the camera as a pen towards composing their films. Another significant idea of Bazin’s was that film should aim for â€Å"objective reality†. This was in opposition to prevalent theory based on montage, which said that object of film is to manipulate reality. This instrumental approach led to the formulation of Structuralist film theory, which examines the structure of the components of film as they come together meaningfully. Instead of the dialectical approach of Eisenstein, the analysis takes into account conventional devices that have come to acquire meaning. The components that come into play are camera angle, lighting, juxtaposition, shot duration, cultural context etc. Meaning is usually accounted for by convention, and conventions change according to social and economic circumstances. For example, the highly commercial nature of Hollywood films has created the Institutional Mode of Representation, in which cinematic devices are used that make film viewing easy and exciting. For this reason it incorporates the established ideology with little departure from the norm. Other interpretations overlook the mechanics of production and instead considered the viewer as the focus of study. Psychoanalytic film theory offers such an interpretation. It is largely influenced by the views of the French philosopher Jacques Lacan regarding the child’s ‘mirror stage of development’. According to this theory the developing child endeavors to see a reflection of itself in all the objects it encounters. Psychoanalytic film theory replicates this situation with the viewer of film. The viewer is always looking for self-identification in the process of watching a film, and in this sense uses the medium as a mirror. It is usually the male protagonist who provides the focus of this identification, and functions as a conduit by which the desires of the viewer are played out. The film is said to have constructed a ‘gaze’ for the benefit of the viewer. Sometimes the gaze is simply the viewpoint of the protagonist; at other times, in the more graphic sequences, the viewer is allowed to gaze directly. Psychoanalytic theory is careful to point out that such identification is merely illusion, and therefore it differs from the identification of the child growing up, whose identifications come to form tangible character. Feminist film theory takes psychoanalytical theory a step further, in that it interprets the gaze as scopophilia, or ‘the desire to observe in secret’, which is also known as voyeurism. Such desire is sexual in origin, and feminist theory is framed in the context of the man wanted to gaze at the woman. Such a theory provides a ready explanation of the objectification of woman in film, a phenomena that has been noticed from the very beginnings of the medium. As in psychoanalytical theory, the male protagonist provides the focus of identification, but his specific desire is to objectify the women in the film, a desire which is vicariously shared by the viewer. There are three levels of objectification. First there is the camera’s point of view, then that of the protagonist, and finally that of the viewer himself, who is allowed to gaze at the women directly. Critics of this theory point out that the female viewer is not taken into account, for women also go to see the same films, and they enjoy them too. However Laura Mulvey has given convincing arguments to explain female enjoyment. She says that it is either through a masochistic identification, or a transsexual one. In the first the female takes secret pleasure in male domination. In the second, the female identifies with the male protagonist, and thus shares in the pleasure that men take. However, she is also continuously slipping back into her female identity, which is said to be a mask that she wears. Identification with the male pushes her uncomfortably close to the image of the subjected women, and the masquerade allows her to maintain a distance from it. Feminist film theory is a harsh criticism of the norms of cinema, which is also blamed on the patriarchal norms of society. The advocacy is to make films that overcome the norms, and therefore to make films that are free from female objectification.

Digital Fortress Chapter 76-80

Chapter 76 Outside the Seville airport terminal, a taxi sat idle, the meter running. The passenger in the wire-rim glasses gazed through the plate-glass windows of the well-lit terminal. He knew he'd arrived in time. He could see a blond girl. She was helping David Becker to a chair. Becker was apparently in pain. He does not yet know pain, the passenger thought. The girl pulled a small object from her pocket and held it out. Becker held it up and studied it in the light. Then he slipped it on his finger. He pulled a stack of bills from his pocket and paid the girl. They talked a few minutes longer, and then the girl hugged him. She waved, shouldered her duffel, and headed off across the concourse. At last, the man in the taxi thought. At last. Chapter 77 Strathmore stepped out of his office onto the landing with his gun leveled. Susan trailed close behind, wondering if Hale was still in Node 3. The light from Strathmore's monitor behind them threw eerie shadows of their bodies out across the grated platform. Susan inched closer to the commander. As they moved away from the door, the light faded, and they were plunged into darkness. The only light on the Crypto floor came from the stars above and the faint haze from behind the shattered Node 3 window. Strathmore inched forward, looking for the place where the narrow staircase began. Switching the Berretta to his left hand, he groped for the banister with his right. He figured he was probably just as bad a shot with his left, and he needed his right for support. Falling down this particular set of stairs could cripple someone for life, and Strathmore's dreams for his retirement did not involve a wheelchair. Susan, blinded by the blackness of the Crypto dome, descended with a hand on Strathmore's shoulder. Even at the distance of two feet, she could not see the commander's outline. As she stepped onto each metal tread, she shuffled her toes forward looking for the edge. Susan began having second thoughts about risking a visit to Node 3 to get Hale's pass-key. The commander insisted Hale wouldn't have the guts to touch them, but Susan wasn't so sure. Hale was desperate. He had two options: Escape Crypto or go to jail. A voice kept telling Susan they should wait for David's call and use his pass-key, but she knew there was no guarantee he would even find it. She wondered what was taking David so long. Susan swallowed her apprehension and kept going. Strathmore descended silently. There was no need to alert Hale they were coming. As they neared the bottom, Strathmore slowed, feeling for the final step. When he found it, the heel of his loafer clicked on hard black tile. Susan felt his shoulder tense. They'd entered the danger zone. Hale could be anywhere. In the distance, now hidden behind TRANSLTR, was their destination-Node 3. Susan prayed Hale was still there, lying on the floor, whimpering in pain like the dog he was. Strathmore let go of the railing and switched the gun back to his right hand. Without a word, he moved out into the darkness. Susan held tight to his shoulder. If she lost him, the only way she'd find him again was to speak. Hale might hear them. As they moved away from the safety of the stairs, Susan recalled late-night games of tag as a kid-she'd left home base, she was in the open. She was vulnerable. TRANSLTR was the only island in the vast black sea. Every few steps Strathmore stopped, gun poised, and listened. The only sound was the faint hum from below. Susan wanted to pull him back, back to safety, back to home base. There seemed to be faces in the dark all around her. Halfway to TRANSLTR, the silence of Crypto was broken. Somewhere in the darkness, seemingly right on top of them, a high-pitched beeping pierced the night. Strathmore spun, and Susan lost him. Fearful, Susan shot her arm out, groping for him. But the commander was gone. The space where his shoulder had been was now just empty air. She staggered forward into the emptiness. The beeping noise continued. It was nearby. Susan wheeled in the darkness. There was a rustle of clothing, and suddenly the beeping stopped. Susan froze. An instant later, as if from one of her worst childhood nightmares, a vision appeared. A face materialized directly in front of her. It was ghostly and green. It was the face of a demon, sharp shadows jutting upward across deformed features. She jumped back. She turned to run, but it grabbed her arm. â€Å"Don't move!† it commanded. For an instant, she thought she saw Hale in those two burning eyes. But the voice was not Hale's. And the touch was too soft. It was Strathmore. He was lit from beneath by a glowing object that he'd just pulled from his pocket. Her body sagged with relief. She felt herself start breathing again. The object in Strathmore's hand had some sort of electronic LED that was giving off a greenish glow. â€Å"Damn,† Strathmore cursed under his breath. â€Å"My new pager.† He stared in disgust at the SkyPager in his palm. He'd forgotten to engage the silent-ring feature. Ironically, he'd gone to a local electronics store to buy the device. He'd paid cash to keep it anonymous; nobody knew better than Strathmore how closely the NSA watched their own-and the digital messages sent and received from this pager were something Strathmore definitely needed to keep private. Susan looked around uneasily. If Hale hadn't known they were coming, he knew now. Strathmore pressed a few buttons and read the incoming message. He groaned quietly. It was more bad news from Spain-not from David Becker, but from the other party Strathmore had sent to Seville. Three thousand miles away, a mobile surveillance van sped along the darkened Seville streets. It had been commissioned by the NSA under â€Å"Umbra† secrecy from a military base in Rota. The two men inside were tense. It was not the first time they'd received emergency orders from Fort Meade, but the orders didn't usually come from so high up. The agent at the wheel called over his shoulder. â€Å"Any sign of our man?† The eyes of his partner never left the feed from the wide-angle video monitor on the roof. â€Å"No. Keep driving.† Chapter 78 Underneath the twisting mass of cables, Jabba was sweating. He was still on his back with a penlight clenched in his teeth. He'd gotten used to working late on weekends; the less hectic NSA hours were often the only times he could perform hardware maintenance. As he maneuvered the red-hot soldering iron through the maze of wires above him, he moved with exceptional care; singeing any of the dangling sheathes would be disaster. Just another few inches, he thought. The job was taking far longer than he'd imagined. Just as he brought the tip of the iron against the final thread of raw solder, his cellular phone rang sharply. Jabba startled, his arm twitched, and a large glob of sizzling, liquefied lead fell on his arm. â€Å"Shit!† He dropped the iron and practically swallowed his penlight. â€Å"Shit! Shit! Shit!† He scrubbed furiously at the drop of cooling solder. It rolled off, leaving an impressive welt. The chip he was trying to solder in place fell out and hit him in the head. â€Å"Goddamn it!† Jabba's phone summoned him again. He ignored it. â€Å"Midge,† he cursed under his breath. Damn you! Crypto's fine! The phone rang on. Jabba went back to work reseating the new chip. A minute later the chip was in place, but his phone was still ringing. For Christ's sake, Midge! Give it up! The phone rang another fifteen seconds and finally stopped. Jabba breathed a sigh of relief. Sixty seconds later the intercom overhead crackled. â€Å"Would the chief Sys-Sec please contact the main switchboard for a message.† Jabba rolled his eyes in disbelief. She just doesn't give up, does she? He ignored the page. Chapter 79 Strathmore replaced his Skypager in his pocket and peered through the darkness toward Node 3. He reached for Susan's hand. â€Å"Come on.† But their fingers never touched. There was a long guttural cry from out of the darkness. A thundering figure loomed-a Mack truck bearing down with no headlights. An instant later, there was a collision and Strathmore was skidding across the floor. It was Hale. The pager had given them away. Susan heard the Berretta fall. For a moment she was planted in place, unsure where to run, what to do. Her instincts told her to escape, but she didn't have the elevator code. Her heart told her to help Strathmore, but how? As she spun in desperation, she expected to hear the sounds of a life-and-death struggle on the floor, but there was nothing. Everything was suddenly silent-as if Hale had hit the commander and then disappeared back into the night. Susan waited, straining her eyes into the darkness, hoping Strathmore wasn't hurt. After what seemed like an eternity, she whispered, â€Å"Commander?† Even as she said it, she realized her mistake. An instant later Hale's odor welled up behind her. She turned too late. Without warning, she was twisting, gasping for air. She found herself crushed in a familiar headlock, her face against Hale's chest. â€Å"My balls are killing me.† Hale panted in her ear. Susan's knees buckled. The stars in the dome began to spin above her. Chapter 80 Hale clamped down on Susan's neck and yelled into the darkness. â€Å"Commander, I've got your sweetheart. I want out!† His demands were met with silence. Hale's grip tightened. â€Å"I'll break her neck!† A gun cocked directly behind them. Strathmore's voice was calm and even. â€Å"Let her go.† Susan winced in pain. â€Å"Commander!† Hale spun Susan's body toward the sound. â€Å"You shoot and you'll hit your precious Susan. You ready to take that chance?† Strathmore's voice moved closer. â€Å"Let her go.† â€Å"No way. You'll kill me.† â€Å"I'm not going to kill anyone.† â€Å"Oh, yeah? Tell that to Chartrukian!† Strathmore moved closer. â€Å"Chartrukian's dead.† â€Å"No shit. You killed him. I saw it!† â€Å"Give it up, Greg,† Strathmore said calmly. Hale clutched at Susan and whispered in her ear, â€Å"Strathmore pushed Chartrukian-I swear it!† â€Å"She's not going to fall for your divide-and-conquer technique,† Strathmore said, moving closer. â€Å"Let her go.† Hale hissed into the darkness, â€Å"Chartrukian was just a kid, for Christ's sake! Why'd you do it? To protect your little secret?† Strathmore stayed cool. â€Å"And what little secret is that?† â€Å"You know damn-fucking-well what secret that is! Digital Fortress!† â€Å"My, my,† Strathmore muttered condescendingly, his voice like an iceberg. â€Å"So you do know about Digital Fortress. I was starting to think you'd deny that too.† â€Å"Fuck you.† â€Å"A witty defense.† â€Å"You're a fool,† Hale spat. â€Å"For your information, TRANSLTR is overheating.† â€Å"Really?† Strathmore chuckled. â€Å"Let me guess-I should open the doors and call in the Sys-Secs?† â€Å"Exactly,† Hale fired back. â€Å"You'd be an idiot not to.† This time Strathmore laughed out loud. â€Å"That's your big play? TRANSLTR's overheating, so open the doors and let us out?† â€Å"It's true, dammit! I've been down to the sublevels! The aux power isn't pulling enough freon!† â€Å"Thanks for the tip,† Strathmore said. â€Å"But TRANSLTR's got automatic shutdown; if it's overheating, Digital Fortress will quit all by itself.† Hale sneered. â€Å"You're insane. What the fuck do I care if TRANSLTR blows? The damn machine should be outlawed anyway.† Strathmore sighed. â€Å"Child psychology only works on children, Greg. Let her go.† â€Å"So you can shoot me?† â€Å"I won't shoot you. I just want the pass-key.† â€Å"What pass-key?† Strathmore sighed again. â€Å"The one Tankado sent you.† â€Å"I have no idea what you're talking about.† â€Å"Liar!† Susan managed. â€Å"I saw Tankado's mail in your account!† Hale went rigid. He spun Susan around. â€Å"You went in my account?† â€Å"And you aborted my tracer,† she snapped. Hale felt his blood pressure skyrocket. He thought he'd covered his tracks; he had no idea Susan knew what he'd done. It was no wonder she wasn't buying a word he said. Hale felt the walls start to close in. He knew he could never talk his way out of that one-not in time. He whispered to her in desperation, â€Å"Susan†¦ Strathmore killed Chartrukian!† â€Å"Let her go,† the commander said evenly. â€Å"She doesn't believe you.† â€Å"Why should she?† Hale fired back. â€Å"You lying bastard! You've got her brainwashed! You only tell her what suits your needs! Does she know what you really plan to do with Digital Fortress?† â€Å"And what's that?† Strathmore taunted. Hale knew what he was about to say would either be his ticket to freedom or his death warrant. He took a deep breath and went for broke. â€Å"You plan to write a back door in Digital Fortress.† The words met with a bewildered silence from the darkness. Hale knew he had hit a bull's-eye. Apparently Strathmore's unflappable cool was being put to the test. â€Å"Who told you that?† he demanded, his voice rough around the edges. â€Å"I read it,† Hale said smugly, trying to capitalize on the change of momentum. â€Å"In one of your brainstorms.† â€Å"Impossible. I never print my brainstorms.† â€Å"I know. I read it directly off your account.† Strathmore seemed doubtful. â€Å"You got into my office?† â€Å"No. I snooped you from Node 3.† Hale forced a self-assured chuckle. He knew he'd need all the negotiating skills he'd learned in the marines to get out of Crypto alive. Strathmore edged closer, the Berretta leveled in the darkness. â€Å"How do you know about my back door?† â€Å"I told you, I snooped your account.† â€Å"Impossible.† Hale forced a cocky sneer. â€Å"One of the problems of hiring the best, Commander-sometimes they're better than you.† â€Å"Young man,† Strathmore seethed, â€Å"I don't know where you get your information, but you're in way over your head. You will let Ms. Fletcher go right now or I'll call in Security and have you thrown in jail for life.† â€Å"You won't do it,† Hale stated matter-of-factly. â€Å"Calling Security ruins your plans. I'll tell them everything.† Hale paused. â€Å"But let me out clean, and I'll never say a word about Digital Fortress.† â€Å"No deal,† Strathmore fired back. â€Å"I want the pass-key.† â€Å"I don't have any fucking pass-key!† â€Å"Enough lies!† Strathmore bellowed. â€Å"Where is it?† Hale clamped down on Susan's neck. â€Å"Let me out, or she dies!† Trevor Strathmore had done enough high-stakes bargaining in his life to know that Hale was in a very dangerous state of mind. The young cryptographer had painted himself into a corner, and a cornered opponent was always the most dangerous kind-desperate and unpredictable. Strathmore knew his next move was a critical one. Susan's life depended on it-and so did the future of Digital Fortress. Strathmore knew the first thing he had to do was release the tension of the situation. After a long moment, he sighed reluctantly. â€Å"Okay, Greg. You win. What do you want me to do?† Silence. Hale seemed momentarily unsure how to handle the commander's cooperative tone. He let up a bit on Susan's neck. â€Å"W-well†¦Ã¢â‚¬  he stammered, his voice wavering suddenly. â€Å"First thing you do is give me your gun. You're both coming with me.† â€Å"Hostages?† Strathmore laughed coldly. â€Å"Greg, you'll have to do better than that. There are about a dozen armed guards between here and the parking lot.† â€Å"I'm not a fool,† Hale snapped. â€Å"I'm taking your elevator. Susan comes with me! You stay!† â€Å"I hate to tell you this,† Strathmore replied, â€Å"but there's no power to the elevator.† â€Å"Bullshit!† Hale snapped. â€Å"The lift runs on power from the main building! I've seen the schematics!† â€Å"We tried it already,† Susan choked, trying to help. â€Å"It's dead.† â€Å"You're both so full of shit, it's incredible.† Hale tightened his grip. â€Å"If the elevator's dead, I'll abort TRANSLTR and restore power.† â€Å"The elevator takes a password,† Susan managed feistily. â€Å"Big deal.† Hale laughed. â€Å"I'm sure the commander will share. Won't you, Commander?† â€Å"No chance,† Strathmore hissed. Hale boiled over. â€Å"Now you listen to me, old man-here's the deal! You let Susan and me out through your elevator, we drive a few hours, and then I let her go.† Strathmore felt the stakes rising. He'd gotten Susan into this, and he needed to get her out. His voice stayed steady as a rock. â€Å"What about my plans for Digital Fortress?† Hale laughed. â€Å"You can write your back door-I won't say a word.† Then his voice turned ominous. â€Å"But the day I think you're tracking me, I go to the press with the whole story. I tell them Digital Fortress is tainted, and I sink this whole fucking organization!† Strathmore considered Hale's offer. It was clean and simple. Susan lived, and Digital Fortress got its back door. As long as Strathmore didn't chase Hale, the back door stayed a secret. Strathmore knew Hale couldn't keep his mouth shut for long. But still†¦ the knowledge of Digital Fortress was Hale's only insurance-maybe he'd be smart. Whatever happened, Strathmore knew Hale could be removed later if necessary. â€Å"Make up your mind, old man!† Hale taunted. â€Å"Are we leaving or not?† Hale's arms tightened around Susan like a vice. Strathmore knew that if he picked up the phone right now and called Security, Susan would live. He'd bet his life on it. He could see the scenario clearly. The call would take Hale completely by surprise. He would panic, and in the end, faced with a small army, Hale would be unable to act. After a brief standoff, he would give in. But if I call Security, Strathmore thought, my plan is ruined. Hale clamped down again. Susan cried out in pain. â€Å"What's it gonna be?† Hale yelled. â€Å"Do I kill her?† Strathmore considered his options. If he let Hale take Susan out of Crypto, there were no guarantees. Hale might drive for a while, park in the woods. He'd have a gun†¦. Strathmore's stomach turned. There was no telling what would happen before Hale set Susan free†¦ if he set her free. I've got to call Security, Strathmore decided. What else can I do? He pictured Hale in court, spilling his guts about Digital Fortress. My plan will be ruined. There must be some other way. â€Å"Decide!† Hale yelled, dragging Susan toward the staircase. Strathmore wasn't listening. If saving Susan meant his plans were ruined, then so be it-nothing was worth losing her. Susan Fletcher was a price Trevor Strathmore refused to pay. Hale had Susan's arm twisted behind her back and her neck bent to one side. â€Å"This is your last chance, old man! Give me the gun!† Strathmore's mind continued to race, searching for another option. There are always other options! Finally he spoke-quietly, almost sadly. â€Å"No, Greg, I'm sorry. I just can't let you go.† Hale choked in apparent shock. â€Å"What!† â€Å"I'm calling Security.† Susan gasped. â€Å"Commander! No!† Hale tightened his grip. â€Å"You call Security, and she dies!† Strathmore pulled the cellular off his belt and flicked it on. â€Å"Greg, you're bluffing.† â€Å"You'll never do it!† Hale yelled. â€Å"I'll talk! I'll ruin your plan! You're only hours away from your dream! Controlling all the data in the world! No more TRANSLTR. No more limits-just free information. It's a chance of a lifetime! You won't let it slip by!† Strathmore voice was like steel. â€Å"Watch me.† â€Å"But-but what about Susan?† Hale stammered. â€Å"You make that call, and she dies!† Strathmore held firm. â€Å"That's a chance I'm ready to take.† â€Å"Bullshit! You've got a bigger hard-on for her than you do for Digital Fortress! I know you! You won't risk it!† Susan began to make an angry rebuttal, but Strathmore beat her to it. â€Å"Young man! You don't know me! I take risks for a living. If you're looking to play hardball, let's play!† He started punching keys on his phone. â€Å"You misjudged me, son! Nobody threatens the lives of my employees and walks out!† He raised the phone and barked into the receiver, â€Å"Switchboard! Get me Security!† Hale began to torque Susan's neck. â€Å"I-I'll kill her. I swear it!† â€Å"You'll do no such thing!† Strathmore proclaimed. â€Å"Killing Susan will just make things wor-† He broke off and rammed the phone against his mouth. â€Å"Security! This is Commander Trevor Strathmore. We've got a hostage situation in Crypto! Get some men in here! Yes, now, goddamn it! We also have a generator failure. I want power routed from all available external sources. I want all systems on-line in five minutes! Greg Hale killed one of my junior Sys-Secs. He's holding my senior cryptographer hostage. You're cleared to use tear gas on all of us if necessary! If Mr. Hale doesn't cooperate, have snipers shoot him dead. I'll take full responsibility. Do it now!† Hale stood motionless-apparently limp in disbelief. His grip on Susan eased. Strathmore snapped his phone shut and shoved it back onto his belt. â€Å"Your move, Greg.†

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Conformity in To Kill a Mockingbird Essays Conformity in To Kill a Mockingbird Paper Conformity in To Kill a Mockingbird Paper Essay Topic: To Kill a Mockingbird If everyone was the same, the world would never change. This statement is supported in Harper Lee’s novel â€Å"To Kill A Mockingbird. In the novel, conformity is a mandatory social convention. When one doesn’t follow rules and regulations, others may see them as an outcast.In the novel Lee also explores the idea of how someones home life strongly affects them.Lee does this while demonstrating what it was like to live during the great depression, a time where racism was predominant.The protagonist of the story Scout Finch and her brother Jem are exposed to this racism and ignorance which is shown in the traditional behavior of the townspeople.But in the end, differences allow for positive growth and change within the community. By not conforming to gender roles it provides positive change and growth within the community.In the novel the main character Scout Finch is growing up along side her brother.She tends to be more of a tomboy who enjoys the same activities as her brother, Jem. During this time period girls were to wear dresses, â€Å"‘What are you doing in those overalls? You should be in a dress and camisole young lady!’† (Lee 135). Scout resists the norm and wears overalls for comfort. She is able to play and run better in pants rather than a dress that everyone wants her to wear. Scout does not care for being a lady, she does not want to be restricted to specific activities that she has no interest in because of her gender. She would much rather play alongside her brother. Later in the novel, her Aunt Alexandra moves in to help with the kids. â€Å"‘ We decided it would be best for you to have some feminine influences it won’t be many years Jean Louise before you become interested in boys and clothes’†(Lee 170).However Scout sees their housekeeper, Calpurnia, as the only female role model she needs in her life.Calpurnia has always let Scout express herself, and wear whatever she pleases.Scout parti

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