Tissues of the Body Assessment Questions and Answers free essay sample

Simple cuboidal epithelium m. Simple columnar epithelium n. Pseudostratified columnar epithelium o. Stratified squamous epithelium p. Stratified cuboidal epithelium q. Stratified columnar epithelium r. Transitional epithelium s. Glandular epithelium i. Lining of intestines ii. Lining of ducts of mammary glands iii. Lining of urinary bladder iv. Salivary glands v. Air sacs of lungs vi. Respiratory passages vii. Ductus deferens viii. Lining of kidney tubules ix. Outer layer of skin 6. Distinguish between exocrine and endocrine glands. (p. 01) * Exocrine-Glands that secrete their products into ducts that open onto surfaces, such as the skin or the lining of the digestive tract. * Endocrine- glands that secrete their products into tissue fluid or blood. 7. A gland that secretes substances out of cells by exocytosis is a(n) ________. (p. 101) t. Merocrine gland u. Apocrine gland v. Holocrine gland 8. Define extracellular matrix. (p. 102) * Composed of protein fibers, and a ground substanc e consisting of nonfibrous protein, other molecules, and fluid. We will write a custom essay sample on Tissues of the Body Assessment Questions and Answers or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The consistency varies from fluid to semisolid to solid. 9. Describe three major types of connective tissue cells. (p. 102) * Fixed cells- reside in the tissue for an extended period of time * Wandering cells- move through and appear in tissues temporarily, usually in response to injury or infection * Fibroblasts- large star shaped cells that produce fibers by secreting proteins into the extracellular matrix of connective tissues. 10. Distinguish between collagen and elastin. (p. 104) * Collagen- long, parallel bundles that are flexible but only slightly elastic. They have great strength in resisting a pulling force. They are important for holding structures together, like ligaments. * Elastin- thin fibers that branch, forming complex networks. They are weaker than collagen fibers, but they stretch easily and can go back to normal. They are found in vocal cords and other parts of the body that are frequently stretched. 11. Compare and contrast the different types of loose connective tissue. (p. 105) * Areolar tissue- forms delicate, thin membranes throughout the body. The cells of this tissue are located far apart and separated by a gel-like extracellular matrix containing many collagenous and elastic fibers. This tissue binds the skin to the underlying organs and fills spaces between muscles. * Adipose tissue- this tissue develops when certain cells store fat as droplets in their cytoplasm and enlarge. When these cells become so abundant that they crowd other cell types they form adipose tissue. Its found between muscles, around kidneys, behind the eyeballs, on the surface of the heart, and around certain joints. * Reticular tissue- composed of thin, collagenous fibers in a 3-D network. It helps provide the framework of certain internal organs, such as the liver and spleen. 12. Define dense connective tissue. p. 106) * Consists of many closely packed, thick, collagenous fibers and a fine network of elastic fibers. It has few cells, most of which are fibroblasts. The collagenous fibers are very strong, enabling the tissue to withstand pulling forces. As parts of tendons and ligaments. This tissue binds muscle to bone and bone to bone. 13. Explain why injured dense connective tissue and ca rtilage are usually slow to heal. (p. 106) * The blood supply to dense connective tissue is poor, which slows tissue repair * The lack of a direct blood supply to cartilage is also why cartilage heals slowly 14. Name the types of cartilages and describe their differences and similarities. (p. 106) * Hyaline- very fine collagenous fibers in its extracellular matrix and loks somewhat like white glass. Its found on the ends of bones in many joints, in the soft part of the nose, and in the supporting rings of the respiratory passages. Its important in the growth of most bones * Elastic- a dense network of elastic fibers and is more flexible than hyaline. It provides the framework for the external ears and for parts of the larynx. * Fibrocartilage-a very tough tissue, and has many collagenous fibers. It’s a shock absorber for structures that are subjected to pressure. 15. Describe how bone cells are organized in bone tissue. (p. 108) * Bone matrix is deposited in thin layers called lamellae, which form concentric patterns around tiny longitudinal tubes called central canals. Bone cells are located in lacunae, which are evenly spaced within the lamellae. 16. The fluid extracellular matrix of blood is called________. (p. 109) w. White blood cells x. Red blood cells y. Platelets z. Plasma {. Bone marrow 17. Identify the locations of four types of membranes in the body and indicate the types of tissues making up each membrane. p. 110) * Serous membranes lines body cavities that lack openings to the outside. A layer of simple squamous epithelium and a thin layer of loose connective tissue. * Mucous membranes line cavities and tubes that open to the outside of the body. Epithelium overlying a layer of loose connective tissue. * Cutaneous membrane is the skin. Epithelial tissue * Synovial membrane lines joints. Connective tissues 18. Compare and contrast skeletal, smooth, and cardiac muscle tissues. (p. 110) * 19. Distinguish between neurons and neurological cells with respect to their functions. (p. 111) *

Catherine Earnshaw as a dominating presence in Wuthering Heights essays

Catherine Earnshaw as a dominating presence in Wuthering Heights essays In the novel Wuthering Heights there was one character who had a dominating influence on the way the novel went. Her name was Catherine Earnshaw and even after she died she still left a lasting impression on the people around her and after she was gone people still made some decisions based on her. While she was alive she had Heathcliff and Edgar rapped around her finger; she could have made them do anything she wanted and sometimes she did. While Catherine was dying Heathcliff spent the most time with her and she knew that at that point he would do anything for her and she used that against him. There are many examples of Cathys dominance in the novel and they will all be discussed in detail. The major instance of Catherines dominance is one that continues through the entire novel and that is her influence over Heathcliff. Catherine acquires this grasp over Heathcliff by telling him that he is not good enough for her and that he is also not civilized enough for her to marry him. To make Heathcliff even more desperate Catherine decides she will get married to Edgar instead of Heathcliff; she is naive enough to think that by doing so she will be able to lift Heathcliff from the degradation into which he has been thrust by Hindley. When in fact this makes Heathcliff very jealous and he goes away to make him self more refined for Catherine. When Heathcliff returns to find Catherine has married Edgar it sends him over the edge he gets furious and revenge is on his mind. He thinks that if he marries Isabella that it would bring Catherine back into his arms. Of course this does not work it only succeeds in making Edgar furious. Edgar disowns Isabella and tells Catherine she is not allowed to see Heathcliff, this enrages Catherine and she locks herself in her room with no food or water. She hopes that this would change Edgars mind as well as give her th...

Rhetorical criticism using Ernest bormann's Fantasy theme approach and Essay - 1

Rhetorical criticism using Ernest bormann's Fantasy theme approach and Neo-Aristotelian approach on Barack Obama's first Inaugural Address - Essay Example However, many Americans questioned his ability to lead with enough background and skills to address these concerns. This thesis examines the president 2009 inaugural address. The analysis of this speech shows how the president rhetorically managed to alleviate the concern of the USA’s people. And, in what manner he was rhetorically able to convince Americans that he is the right person to led the nation to the right direction through this difficult times. First, present and explains the chosen theories within classical rhetoric and the genre of the address. He then uses the selected theories to analyze the Obama’s inaugural address. The writer then makes assessment and discussion of the thesis statement from this analysis. The thesis has Ernest Bormanns Fantasy theme approach and Neo-Aristotelian approach to determine the type of speech, the usage and appeal form used. By utilizing this approach, it was possible to deduce whether Obama’s inaugural speech was rhetoric. The Obama’s rhetoric inaugural address has its own genre. Themes such as reconciliation, renewal, and national unity are an example of what is crucial in the American political discourse of inaugural addresses. In most of the cases, the writer quotes examples from the past to unify the nation and show the people of the America how goal can be achieved, and issues dwelt with. Inaugural addresses always contain three key themes; ability to rediscover the united state of America, emphasis on what it mean to be an American citizen and to show people that it is time for a new beginning. Inaugural address is supposed to be non-partisan and unifying. They should make people feel that if they come together they can achieve more (Fafner, 1998). Most of the Americans have a major concern about domestic and international issue. With the election of a new president, people want to feel that the needed reforms are steered for the

U.S. in the New World Order's Affairs Essay Example | Topics and Well Written Essays - 1500 words

U.S. in the New World Order's Affairs - Essay Example The very famous use of the term new world order was in the speech made by President George H. W. Bush Sr. on September 11, 1990. â€Å"The leitmotif of modern American presidential politics is unquestionably an imperial theme, most blatantly expressed in his slogan, The New World Order and for 1991, the pax universalis† ( Tarplay, and Chaitkin 9). The main theme of his presidency is the formation and unification of a solitary and widespread empire that very much reflects the different stages of the Roman kingdom. In his speech, George Bush senior said, â€Å"The war in Iraq is a rare opportunity to move toward an historic period of cooperation. Out of these troubled times...a New World Order can emerge" (National Archives). To add to that, in his September 21, 1992 speech addressed to the United Nations he also urged the nations to develop and train military units as peacekeepers. He added that to be able to achieve this goal, each nation should work, train together and have coordinated efforts. These efforts refer to having a centralized command, control and operations on all aspects of any operation and communication. Through G.H.W Bush’s speech the Commission on Global Governance was created by the United Nations. Through this organization, a controversial report, Our Global Neighbourhood, was brought out in 1995. The report states reforms that will give the United Nations absolute power. It was also predicted in the report that there would be a world court, a unified tax system and a global police force. In short, world leaders are calling for a one world government. These were greatly criticized by many people but also, many people are unaware of these facts. Amazingly, after a decade from the George H.W. Bush speech, the United States was attacked on September 11, 2001. Adding to the mystery, it was during the presidency of George Bush senior’s son, George W. Bush, that the attacks accord. To many people, this is the continuation of the goal to establish a new world order by world leaders. Aside from the political aspects of the new world order, economy is also put into focus. This includes the control of oil, an international currency which would replace the US dollar. Moreover, there would be a world development fund that would provide equal finances to communist and free nations. This is where the World Bank and the Bank of International Settlements come into play. Some say that the global monetary crisis we are experiencing now is intended to institute a worldwide debt-based currency organized by global investors and distributed to individuals alongside biometric identification cards. Religion is another factor that is included in this new world order. It has an aim of introducing a new world religion. Some would postulate that the establishment of the World Council of Churches and the Parliament World Religions is to gain control of the world’s religion. Consequently, Barack Obama has been popularly linked to a new world order as well. Authors suggest that his administration has been building an international order. This is through empowering certain institutions and connections across the globe. If the Bush administration was assessed through the infamous Gulf War, the Libyan War functioned as an assessment of Obama’s governance. â€Å"The current dangerous situation in Libya has become a serious test for the international community’s resolve and credibility, especially in the context

Audio-Visual Techniques for Communication and Expression

Audio-Visual Techniques for Communication and Expression Use of Audio-Visual Techniques in expression of ideas – an insight into the use of effective techniques Word Count: 2554 Table of Contents (Jump to) 1. Introduction – Audi visual techniques and communication 1.1 Background of Study 2. Marry Me 2.1 Narrative 2.2 Characterisation 2.3 Genre convention and variation 2.4 Specific technical features 3. Photo Booth 3.1 Narrative 3.2 Characterisation 3.3 Genre convention and variation 3.4 Specific technical features 4. Conclusion References 1. Introduction – Audi visual techniques and communication The use of the different audio visual techniques in communication and expression of ideas has been widely regarded as an important and significant evolution of the different techniques used for communication that emerged from the use of print medium and incorporation of multimedia. Communication has always been an important part of human existence and throughout the history of mankind; the same has seen a transformation from mere papyrus sheets to the incorporation of the elements of sight and sound (Branston and Stafford, 2010). The opinion of experts on the transformation on the use of visual communication is diverse, but all of them are believed to be in affirmation with the fact that the use of different audio visual techniques in communication is considered to be the most effective and efficient by senders and receivers alike (Cunningham and Turner, 2010). The reason behind the same being the fact that the incorporation of the different audio visual formats helps in the presentation of the communication in a most concise manner, yet again enabling the sender to create a long lasting impression on the mind of the receivers (Chandler, 2004). 1.1 Background of Study The aim of this academic work is to highlight the importance of the different audio visual techniques and formats and its application to the creation of two astounding creations – short films, that have made it to the finals of Tropfest, considered being the most prestigious recognitions of Australian short film categories. What makes the feature more important and relevant is the fact that annually only 16 short films are considered by the jury as finalists from a pool of more than 700 entries annually. The two important finalists to the same event that have been selected for analysis in the study are director Michelle Lehmann’s Marry Me that had been adjudged the winner of 2008’s Tropfest. The other short film is that of Photo Booth, which had been directed by Michael Noonan (http://tropfest.com, 2014). The following sections of the academic work will be individually considering taking into consideration the narrative, characterisation, genre convention and specific technical features that have helped these short films receive the accolades (Cunningham and Turner, 2010) that have led to the popularity of the films in the Australian and International film circuit as well. 2. Marry Me Michelle Lehmann’s short film Marry Me that is of 7 minutes duration. The plot revolves around a little boy and girl with their individual attention and objects of interest. The following sections provide an insight into the narrative, characterisation, genre convention and highlight the technical features that have set the film apart from the rest of the entrants to the contest (O’Donnell, 1999). 2.1 Narrative The film is seen to revolve around the interest among two young individuals and the communication or the idea that has been expressed in the film has been carefully crafted, reflecting the different individual pursuits of two young people, which have been seen to have a strange co-incidence to real life drawing significant parallel to people’s needs and wants. The film depicts the girl is particularly interested in the boy who is overwhelmed by materialistic pursuits signified by the love for his little BMX bike. The message and expression of the idea of the film is clear through the emotions that have been captured through the girl’s expressions and gleam in eyes every time he sees the boy. The girl is depicted to have fallen in love with the bike riding boy and the same has been clearly expressed through the attempts by the girl to draw the boy’s attention through a number of different ways (http://tropfest.com, 2014). Many are of opinion that the film is about the complexities of emotions of the young, but it also subtly underpins the interest and love of two different people – love for the boy for the girl, and the boy’s (Jason) interest in nothing but the bike that he has. 2.2 Characterisation Michelle Lehmann had drawn crucial similarities to the character of the girl as she had stated that even as a 5 or 6 year old girl, she had experienced the same emotional tension as being attracted to a boy who had been her neighbour and like Jason, had been found to have a particular knack to materialistic pursuits that are considered to be natural (O’Donnell, 1999). The girl who is seen to endlessly pursuit her love interest in the film has been named Chloe and the boy Jason. In order to express her idea clearly to the audience, Michelle has carefully selected the two most astounding young actors in the roles of Chloe and Jason who have been able to win the hearts of the viewers through their childish charms and natural acting. For Jason, the need was to portray a character that was very much in skin of the role portrayed by him – a young BMX enthusiast and the ease with which Jason has been seen to express his disinterest for Chloe busy fixing the wheels of his little bike makes on feel as if it is almost real and not a short film. On the other hand, the role that had been portrayed by the young girl Chloe has been nothing less than au naturel. The determined look and the expression on her face towards the end of the short film as she approaches the high plank constructed by Jason leaves one spell bound and many would wonder whether the expression can be attributed to the next to impossible task in real life (http://tropfest.com, 2014). 2.3 Genre convention and variation The genre of the film is based on the complexities of human emotion and it needs to be highlighted that the message that has been attempted to be conveyed through the short film is largely based on the different emotional pulls and pushes one might experience at a young age. Much of the film is aimed at the general audience who would leave the screen enthralled and spellbound by the enigma of analysing the meaning and idea behind the short film. The convention of the genre is based on the fact that the theme of the film holds true for human beings in reality as well. Most individuals are often engaged in the tireless pursuit of something or the other in life that is perceived to have been difficult to attain for them. The same has been carefully highlighted in the feature film through Jason’s character as he is seen to remove the ancillary supporting wheels from his bike at first, failing to successfully ride his bike without the use of the same. In the background, the girl is shown being able to learn what Jason fails. A little later, Jason attempts a small jump off the plank created by him, which also leads to a fall. Chloe tries her best to impress Jason and draw Jason’s attention; successfully achieving the feats which Jason attempts to achieve a number of times (http://tropfest.com, 2014). The variation that needs to be highlighted in the same is that human beings sometimes become so engrossed in being able to achieve a particular job or accomplishment, that they end up undermining the abilities and success of other human beings that are near to him, failing to even to pay attention to any important or critical messages that the other might convey. The same has been specifically observed while Chloe tries to give her opinion to Jason about the bike and riding. 2.4 Specific technical features Though the film does not showcase any impressive graphic or video filming in conveying the message across, one cannot help but wonder about the smallest details that have been used in the film for spreading the intended message (Cunningham and Turner, 2010). For example, when Jason removes the red coloured attachments to the spokes of his bike wheel and expresses his disinterest in them, the emotional attachment of Chloe is also expressed through the same behaviour. In the same scene, if it is considered that Jason had been rotating the wheel simultaneously whereas Chloe is seen to focus more on Jason instead of her bike, the emotional quotient is carefully reflected. More camera focus has been devoted to capture emotions on Chloe’s face as it must have been found that the girl would be more expressive in terms of emoting by the director. These are small and important specifications that need to be captured and presented by any short film director to successfully convey the intended message and at the same time be able to keep the audience entertained. 3. Photo Booth Michael Noonan’s short film the Photo Booth is an interesting and contemporary take on the aspect of hope and despair that has been portrayed in the short film of around seven minutes’ duration. The film captures the important themes of human life and the message it tries to portray is an important aspect for critiques and short film enthusiasts around the world (O’Donnell, 1999). The short film revolves around three solders on a war torn landscape who suddenly find an abandoned photo booth in the middle of nowhere, whereby the pictures coming out as print carry messages for each of them. 3.1 Narrative The narrative of the short film revolves around three soldiers and their fate outside an abandoned photo booth in the middle of a war torn landscape that keeps the audience glued to the screen to wonder about the outcome and message of the film unlike that in the case of ‘Marry Me’. The narrative is unpredictable and has successfully incorporated one of the most critical elements of movie making – uncertainty and suspense. These are considered to have an everlasting impact on the viewer and many regard the same to have a lasting impact on the mind of the viewers as the key element of surprise and awe is always a key ingredient to the success of a film or small movie (http://tropfest.com, 2014). The narrative brings to light the plight of three soldiers who are trying their best to survive and do not know for themselves the future of their predicament in war. Suddenly, they are met with an unpredictable situation, that of a lonesome photo booth in top of a small hill. Curiosity is one of the most dignified and yet sometimes cursed traits of human behaviour and the same has been highlighted in the film as the soldiers wonder what awaits them at the photo booth and goes on to investigate, under estimating the threats of being exposed to enemy observation and gun point. 3.2 Characterisation The characterisation of the short film is an important attribute as it becomes the responsibility of the actors in the film to bring to life the relevance of each of the characters that are planned and incorporated in the film. The film revolves around the three soldiers and each of them is found to display three different emotions among human beings – adventure, curiosity and suspicion (http://tropfest.com, 2014). The first soldier who enters inside the photo booth is unsuspecting and is taken by surprise once the flashes of the camera start to go off. The second soldier is portrayed to have a trait of curiosity and wariness as he is seen to be cautious when he enters inside the photo booth after seeing what the first soldier had been presented with. The third soldier had to be portrayed to be suspicious of turn of events and this is the same reason why there have been extra alertness displayed by the first and the second soldier while guarding the booth as the third entered inside. The three of them have been shown to have different outcomes based on the character portrayed by them. The first one, unsuspecting and taking life as it is, is presented a picture which shows him part of a beautiful family comprising of a beautiful wife and twin daughters. The second soldiers displays mixed traits and is shown to receive a picture with only his companion who gradually disappears from the frames while the third is shot dead by enemy gunfire as he was the most suspicious one and enters the booth at the last. Through the characters, the director tries to portray the message that it is perception and thought process of individuals which leads to the outcomes. 3.3 Genre convention and variation There have been two specific genres displayed in the short film – that of human nature and the relation between the thoughts and outcomes faced by human beings in reality. It needs to be highlighted here the fact that initially the genre of the short film was thought to be related to war and the outcome of the film being rendered predictable. However, the message and surprise element of the film clearly unfolds when the pictures are presented to the soldiers (http://tropfest.com, 2014). In the end, what makes the film so interesting is that the film portrays a multitude of different factors that are related to human life and fate, and it is highlighted how the thought process of human beings influence the outcomes and fate that is met by individuals in the real world. Genre convention and variation is an important aspect of any communication to large section of viewers as the same enables the makers of the short films to captivate the interests of the audience and keep them glued to the outcome of the message to be portrayed in the film. 3.4 Specific technical features The film is considered to be richer in terms of the technical features that have been included in the film. The aim of the director was to include the elements of surprise more on the lines of shock and the same has been effectively incorporated in the sound designing of the film which makes the film more relatable to reality and one can identify the suspense and uncertainty that is faced by soldiers in the war field. Fear and anxiety has been portrayed well in the movie as the soldiers are successful in expressing the same feelings on their anguished faces (http://tropfest.com, 2014). Moreover, the loud snapping of the shutter of the camera has been effectively used to shock the audience which is considered to be an important component of film making. Especially in the last scene when the third soldier gets shot and there is an element of confusion clearly depicting the mental state and trauma of the soldier when he gets to see his picture in the photo is considered to be outstanding in highlighting the theme of despair as the soldier is shown to lose composure and his guard at the most critical time – in the face of enemy gunfire, when in the previous scenes, he is portrayed to be most suspicious of the circumstances. 4. Conclusion There are different factors and aspects that are considered to have an impact on the success of film making and the effectiveness of the director to incorporate these elements determine the ability of the production to captivate audiences and determine the outcomes of film making. This academic work was aimed at highlighting these specific factors in film making and the effective incorporation of the same in the two short films that have been highlighted in the study. References Branston, G. and Stafford, R. (2010). The media student’s book. London: Routledge. NB Chandler, G. (2004) Cut by Cut: Editing Your Film or Video. Studio City, CA: Michael Wiese Cunningham, S. and Turner, G. (2010). The media and communications in Australia. Sydney: Allen Unwin. Marry Me, Michelle Lehman (director), Australia, 2008  http://tropfest.com/au/2011/12/08/marry-me/ Morley, D. (1996) Television, Audiences and Cultural Studies. London : Routledge. ODonnell, P. (1999). The other 66 per cent? Rethinking the labour market for journalism graduates. Australian Journalism Review, 21(1), 123-142. Photo Booth,  Michael Noonan (director), Australia, 2012http://tropfest.com/au/2012/02/04/photo-booth/ Ruthven, K. (1998). The Future of Disciplines: A Report on Ignorance. In Knowing Ourselves and Others: The Humanities in Australia into the 21st Century. Australian Research Council Vol. 3, pp. 95-113.

Women, Sport and Film :: Argumentative Persuasive Essays

Women, Sport and Film Out of all the material we covered in this course, the ones that bear most directly on this question I think are the documentary about women in sports, and the movie "Girlfight". However, I felt that both of these films focussed on the issue from women's point of view. This is not to say that it isn't important or necessary to do so, but I started thinking about how men are also greatly affected by gender stereotyping. Being in a women's college, I feel like we focus a lot on the ways in which women are forced into certain roles, but we neglect to also look at how men are forced into certain roles. Last semester I watched the movie "Billy Elliot", about a young boy growing up in Newcastle, England, during the time of the miner's strike. I think the movie illustrates very well the costs and benefits of breaking gender stereotypes. Billy grows up in a mining family and his family consists of himself, his father, and his elder brother. He is surrounded only by male role models, and that too men who engage in manual labour. His father and his brother are both very "masculine" in the traditional sense of the word. The basic plot of the movie is that Billy wants to be a ballet dancer. His father wants him to learn boxing, but he sees a group of girls having ballet lessons at the same time and he starts taking ballet lessons on the sly. He turns out to be very talented, and his teacher wants him to apply to go to ballet school on a scholarship. The rest of the movie follows his progress and his struggle to be accepted by his family once he's been discovered. At first his father prohib its him from doing ballet, and calls him a "pouf", but Billy persists and is finally accepted by his family and community. I found it interesting that even though Billy is pre-pubescent, the mere fact that he wants to learn ballet induces people to question his sexuality even at such an early age. At an age when children aren't supposed to be sexual beings yet, Billy is under constant pressure to decide what his sexual orientation is, both by his family in that he has to defend himself, and by a friend of his in school who fits a certain stereotype of homosexuality and is romantically interested in him.

The Vampire Diaries: The Fury Chapter Fifteen

Elena watched Damon with mute dread. She knew that disturbing smile too well. But even as her heart sank, her mind threw a mocking question at her. What difference did it make? She and Stefan were going to die anyway. It only made sense for Damon to save himself. And it was wrong to expect him to go against his nature. She watched that beautiful, capricious smile with a feeling of sorrow for what Damon might have been. Katherine smiled back at him, enchanted. â€Å"We'll be so happy together. Once they're dead, I'll let you go. I didn't mean to hurt you, not really. I just got angry.† She put out a slender hand and stroked his cheek. â€Å"I'm sorry.† â€Å"Katherine,† he said. He was still smiling. â€Å"Yes.† She leaned closer. â€Å"Katherine†¦Ã¢â‚¬  â€Å"Yes, Damon?† â€Å"Go to hell.† Elena flinched from what happened next before it happened, feeling the violent upsurge of Power, of malevolent, unbridled Power. She screamed at the change in Katherine. That lovely face was twisting, mutating into something that was neither human nor animal. A red light blazed in Katherine's eyes as she fell on Damon, her fangs sinking into his throat. Talons sprang from her fingertips, and she raked Damon's already-bleeding chest with it, tearing into his skin while the blood flowed. Elena kept screaming, realizing dimly that the pain in her arms was from fighting the ropes that held her. She heard Stefan shouting, too, but above everything she heard the deafening shriek of Katherine's mental voice. Now you'll be sorry! Now I'm going to make you sorry! I'll kill you! I'll kill you! I'll kill you! I'll kill you! The words themselves hurt, like daggers stabbing into Elena's mind. The sheer Power of it stupefied her, rocking her back against the iron pickets. But there was no way to get away from it. It seemed to echo from all around her, hammering in her skull. Kill you! Kill you! Kill you! Elena fainted. Meredith, crouched beside Aunt Judith in the utility room, shifted her weight, straining to interpret the sounds outside the door. The dogs had gotten into the cellar; she wasn't sure how, but from the bloody muzzles of some of them, she thought they had broken through the ground-level windows. Now they were outside the utility room, but Meredith couldn't tell what they were doing. It was too quiet out there. â€Å"Hush,† Robert whispered quickly. â€Å"It's all right, sweetheart. Everything's going to be all right.† Meredith met his frightened, determined eyes over Margaret's tow head. We almost had you pegged for the Other Power, she thought. But there was no time to regret it now. â€Å"Where's Elena? Elena said she'd watch over me,† Margaret said, her eyes large and solemn. â€Å"She said she'd take care of me.† Aunt Judith put a hand to her mouth. â€Å"She is taking care of you,† Meredith whispered. â€Å"She just sent me to do it, that's all. It's the truth,† she added fiercely, and saw Robert's look of reproach melt into perplexity. Outside, the silence had given way to scratching and gnawing sounds. The dogs were at work on the door. Robert cradled Margaret's head closer to his chest. Bonnie didn't know how long they had been working. Hours, certainly. Forever, it seemed like. The dogs had gotten in through the kitchen and the old wooden side doors. So far, though, only about a dozen had gotten past the fires lit like barricades in front of these openings. And the men with guns had taken care of most of those. But Mr. Smallwood and his friends were now holding empty rifles. And they were running out of things to burn. Vickie had gotten hysterical a little while ago, screaming and holding her head as if something was hurting her. They'd been looking for ways to restrain her when she finally passed out. Bonnie went up to Matt, who was looking out over the fire through the demolished side door. He wasn't looking for dogs, she knew, but for something else much farther away. Something you couldn't see from here. â€Å"You had to go, Matt,† she said. â€Å"There was nothing else you could do.† He didn't answer or turn around. â€Å"It's almost dawn,† she said. â€Å"Maybe when that comes, the dogs will leave.† But even as she said it, she knew it wasn't true. Matt didn't answer. She touched his shoulder. â€Å"Stefan's with her. Stefan's there.† At last, Matt gave some response. He nodded. â€Å"Stefan's there,† he said. Brown and snarling, another shape charged out of the dark. It was much later when Elena came gradually to consciousness. She knew because she could see, not just by the handful of candles Katherine had lit but also by the cold gray dimness that filtered down from the crypt's opening. Damon? she thought. It was only after she had done it that she realized the word had not been spoken. Somehow, Katherine's shrieking had closed a circuit in her mind, or maybe it had awakened something sleeping. And Matt's blood had undoubtedly helped, giving her the strength to finally find her mental voice. She turned her head the other way. Stefan? His face was haggard with pain, but aware. Too aware. Elena almost wished that he were as insensible as Damon to what was happening to them. Elena, he returned. Where is she? Elena said, her eyes moving slowly around the room. Stefan looked toward the opening of the crypt. She went up there a while ago. Maybe to check on how the dogs are doing. Elena had thought she'd reached the limit of fear and dread, but it wasn't true. She hadn't remembered the others then. Elena, I'm sorry. Stefan's face was filled with what no words could express. It's not your fault, Stefan. You didn't do this to her. She did it to herself. Or-it just happened to her, because of what she is. What we are. Running beneath Elena's thoughts was the memory of how she had attacked Stefan in the woods, and how she had felt when she was racing toward Mr. Smallwood, planning her revenge. It could have been me, she said. No! You could never become like that. Elena didn't answer. If she had the Power now, what would she do to Katherine? What wouldn't she do to her? But she knew it would only upset Stefan more to talk about it. I thought Damon was going to betray us, she said. I did, too, said Stefan queerly. He was looking at his brother with an odd expression. Do you still hate him? Stefan's gaze darkened. No, he said quietly. No, I don't hate him anymore. Elena nodded. It was important, somehow. Then she started, her nerves hyper-alert, as something shadowed the entrance to the crypt. Stefan tensed, too. She's coming. Elena- I love you, Stefan, Elena said hopelessly, as the misty white shape hurtled down. Katherine took form in front of them. Of course, thought Elena. How could I have been so stupid? Damon rode with us in Alaric's car over the river. He crossed running water then, and probably lots of other times. He couldn't have been the Other Power. It was strange how she could think even though she was so frightened. It was as if one part of her mind stood watching from a distance. â€Å"I'm going to kill you now,† Katherine said conversationally. â€Å"Then I'm going under the river to kill your friends. I don't think the dogs have done it yet. But I'll take care of it myself.† â€Å"Let Elena go,† said Stefan. His voice was quenched but compelling all the same. â€Å"I haven't decided how to do it,† said Katherine, ignoring him. â€Å"I might roast you. There's almost enough light for that now. And I've got these.† She reached down the front of her gown and brought her closed hand out. â€Å"One-two-three!† she said, dropping two silver rings and a gold one onto the ground. Their stones shone blue as Katherine's eyes, blue as the stone in the necklace at Katherine's throat. Elena's hands twisted frantically and she felt the smooth bareness of her ring finger. It was true. She wouldn't have believed how naked she felt without that circlet of metal. It was necessary to her life, to her survival. Without it- â€Å"Without these you'll die,† Katherine said, scuffing the rings carelessly with the toe of one foot. â€Å"But I don't know if that's slow enough.† She paced back almost to the far wall of the crypt, her silver dress shimmering in the dim light. It was then that the idea came to Elena. She could move her hands. Enough to feel one with the other, enough to know that they weren't numb anymore. The ropes were looser. But Katherine was strong. Unbelievably strong. And faster than Elena, too. Even if Elena got free she would have time for only one quick act. She rotated one wrist, feeling the ropes give. â€Å"There are other ways,† Katherine said. â€Å"I could cut you and watch you bleed. I like watching.† Gritting her teeth, Elena exerted pressure against the rope. Her hand was bent at an excruciating angle, but she continued to press. She felt the burn of the rope slipping aside. â€Å"Or rats,† Katherine was saying pensively. â€Å"Rats could be fun. I could tell them when to start and when to stop.† Working the other hand free was much easier. Elena tried to give no sign of what was going on behind her back. She would have liked to call to Stefan with her mind, but she didn't dare. Not if there was any chance Katherine might hear. but she didn't dare. Not if there was any chance Katherine might hear. There was a rectangle of gray light on the floor. Dawn light. It was coming in through the crypt's opening. Katherine had already been out in that light. But†¦ Katherine smiled suddenly, her blue eyes sparkling. â€Å"I know! I'll drink you almost up and make you watch while I kill her! I'll leave you just enough strength so you see her die before you do. Doesn't that sound like a good plan?† Blithely, she clapped her hands and pirouetted again, dancing away. Just one more step, thought Elena. She saw Katherine approach the rectangle of light. Just one more step†¦ Katherine took the step. â€Å"That's it, then!† She started to turn around. â€Å"What a good-† Now! Yanking her cramped arms out of the last loops of rope, Elena rushed her. It was like the rush of a hunting cat. One desperate sprint to reach the prey. One chance. One hope. She struck Katherine with her full weight. The impact knocked them both into the rectangle of light. She felt Katherine's head crack against the stone floor. And felt the searing pain, as if her own body had been plunged into poison. It was a feeling like the burning dryness of hunger, only stronger. A thousand times stronger. It was unbearable. â€Å"Elena!† Stefan screamed, with mind and voice. Stefan, she thought. Beneath her Power surged as Katherine's stunned eyes focused. Her mouth twisted with rage, fangs bursting forth. They were so long they cut into the lower lip. That distorted mouth opened in a howl. Elena's clumsy hand fumbled at Katherine's throat. Her fingers closed on the cool metal of Katherine's blue necklace. With all her strength, she wrenched and felt the chain give way. She tried to clasp it, but her fingers felt thick and uncoordinated and Katherine's clawing hand scrabbled at it wildly. It spun away into the shadows. â€Å"Elena!† Stefan called again in that dreadful voice. She felt as if her body were filled with light. As if she were transparent. Only, light was pain. Beneath her, Katherine's warped face was looking up directly into the winter sky. Instead of a howl, there was a shrieking that went up and up. Elena tried to lift herself off, but she didn't have the strength. Katherine's face was rifting, cracking open. Lines of fire opened in it. The screaming reached a crescendo. Katherine's hair was aflame, her skin was blackening. Elena felt fire from both above and below. She saw Stefan's arms, red where they had been exposed to the sun and bleeding where he had torn free of his ropes. She saw his face, saw the stricken horror and grief. Then her eyes blurred and she saw nothing. Meredith and Robert, striking at the blood-soaked muzzles that thrust through the hole in the door, paused in confusion. The teeth had stopped snapping and tearing. One muzzle jerked and slid out of the way. Edging sideways to look at the other, Meredith saw that the dog's eyes were glazed and milky. They didn't move. She looked at Robert, who stood panting. There was no more noise from the cellar. Everything was silent. But they didn't dare to hope. Vickie's demented shrieking stopped as if it had been cut with a knife. The dog, which had sunk its teeth into Matt's thigh, stiffened and gave a convulsive shudder; then, its jaws released him. Gasping for breath, Bonnie swung to look beyond the dying fire. There was just enough light to see bodies of other dogs lying where they had fallen outside. She and Matt leaned on each other, looking around, bewildered. It had finally stopped snowing. Slowly, Elena opened her eyes. Everything was very clear and calm. She was glad the shrieking was over. That had been bad; it had hurt. Now, nothing hurt. She felt as if her body were filled with light again, but this time there was no pain. It was as if she were floating, very high and easy, on wafts of air. She almost felt she didn't have a body at all. She smiled. Turning her head didn't hurt, although it increased the loose, floating feeling. She saw, in the oblong of pale light on the floor, the smoldering remains of a silvery dress. Katherine's lie of five hundred years ago had become the truth. That was that, then. Elena looked away. She didn't wish anyone harm now, and she didn't want to waste time on Katherine. There were so many more important things. â€Å"Stefan,† she said and sighed, and smiled. Oh, this was nice. This must be how a bird felt. â€Å"I didn't mean for things to turn out this way,† she said, softly rueful. His green eyes were wet. They filled again, but he returned her smile. â€Å"I know,† he said. â€Å"I know, Elena.† It seemed to her that it had been a long while since she'd really looked at him. Since she'd taken time to appreciate how beautiful he was, with his dark hair and his eyes as green as oak leaves. But she saw it now, and she saw his soul shining through those eyes. It was worth it, she thought. I didn't want to die; I don't want to now. But I'd do it all over again if I had to. â€Å"I love you,† she whispered. â€Å"I love you,† he said, squeezing their joined hands. The strange, languorous lightness cradled her gently. She could scarcely feel Stefan holding her. She would have thought she'd be terrified. But she wasn't, not as long as Stefan was there. â€Å"The people at the dance-they'll be all right now, won't they?† she said. â€Å"They'll be all right now,† Stefan whispered. â€Å"You saved them.† â€Å"I didn't get to say good-bye to Bonnie and Meredith. Or Aunt Judith. You have to tell them I love them.† â€Å"I'll tell them,† Stefan said. â€Å"You can tell them yourself,† panted another voice, hoarse and unused sounding. Damon had pulled himself across the floor behind Stefan. His face was ravaged, streaked with blood, but his dark eyes burned at her. â€Å"Use your will, Elena. Hold on. You have the strength-â€Å" She smiled at him, waveringly. She knew the truth. What was happening was only finishing what had been started two weeks ago. She'd had thirteen days to get things straight, to make amends with Matt and say good-bye to Margaret. To tell Stefan she loved him. But now the grace period was up. Still, there was no point in hurting Damon. She loved Damon, too. â€Å"I'll try,† she promised. â€Å"We'll take you home,† he said. â€Å"But not yet,† she told him gently. â€Å"Let's wait just a little while.† Something happened in the fathomless black eyes, and the burning spark went out. Then she saw that Damon knew, too. â€Å"I'm not afraid,† she said. â€Å"Well-only a little.† A drowsiness had started, and she felt very comfortable, but as if she were falling asleep. Things were drifting away from her. An ache rose in her chest. She was not much afraid, but she was sorry. There were so many things she would miss, so many things she wished she had done. â€Å"Oh,† she said softly. â€Å"How funny.† underground room. Only this was a doorway into a different light. â€Å"How beautiful,† she murmured. â€Å"Stefan? I'm so tired.† â€Å"You can rest now,† he whispered. â€Å"You won't let go of me?† â€Å"No.† â€Å"Then I won't be afraid.† Something was shining on Damon's face. She reached toward it, touched it, and lifted her fingers away in wonder. â€Å"Don't be sad,† she told him, feeling the cool wetness on her fingertips. But a pang of worry disturbed her. Who was there to understand Damon now? Who would be there to push him, to try to see what was really inside him? â€Å"You have to take care of each other,† she said, realizing it. A little strength came back to her, like a candle flaring in the wind. â€Å"Stefan, will you promise? Promise to take care of each other?† â€Å"I promise,† he said. â€Å"Oh, Elena†¦Ã¢â‚¬  Waves of sleepiness were overcoming her. â€Å"That's good,† she said. â€Å"That's good, Stefan.† The doorway was closer, so close she could touch it now. She wondered if her parents were somewhere behind it. â€Å"Time to go home,† she whispered. And then the darkness and the shadows faded and there was nothing but light. Stefan held her while her eyes closed. And then he just held her, the tears he'd been keeping back falling without restraint. It was a different pain than when he'd pulled her out of the river. There was no anger in this, and no hatred, but a love that seemed to go on and on forever. It hurt even more. He looked at the rectangle of sunlight, just a step or two away from him. Elena had gone into the light. She'd left him here alone. Not for long, he thought. His ring was on the floor. He didn't even glance at it as he rose, his eyes on the shaft of sunlight shining down. A hand grabbed his arm and pulled him back. Stefan looked into his brother's face. Damon's eyes were dark as midnight, and he was holding Stefan's ring. As Stefan watched, unable to move, he forced the ring onto Stefan's finger and released him. yours, too. Take it. Take it and go.† He turned his face away. Stefan gazed at the golden circlet in his palm for a long time. Then his fingers closed over it and he looked back at Damon. His brother's eyes were shut, his breathing labored. He looked exhausted and in pain. And Stefan had made a promise to Elena. â€Å"Come on,† he said quietly, putting the ring in his pocket. â€Å"Let's get you some place where you can rest.† He put an arm around his brother to help him up. And then, for a moment, he just held on.