Black House Chapter Twenty-three

23 â€Å"ONE MORE !† says the guy from ESPN. It sounds more like an order than a request, and although Henry can't see the fellow, he knows this particular homeboy never played a sport in his life, pro or otherwise. He has the lardy, slightly oily aroma of someone who has been overweight almost from the jump. Sports is perhaps his compensation, with the power to still memories of clothes bought in the Husky section at Sears and all those childhood rhymes like â€Å"Fatty-fatty, two-by-four, had to do it on the floor, couldn't get through the bathroom door.† His name is Penniman. â€Å"Just like Little Richard!† he told Henry when they shook hands at the radio station. â€Å"Famous rock ‘n' roller from back in the fifties? Maybe you remember him.† â€Å"Vaguely,† Henry said, as if he hadn't at one time owned every single Little Richard had ever put out. â€Å"I believe he was one of the Founding Fathers.† Penniman laughed uproariously, and in that laugh Henry glimpsed a possible future for himself. But was it a future he wanted? People laughed at Howard Stern, too, and Howard Stern was a dork. â€Å"One more drink!† Penniman repeats now. They are in the bar of the Oak Tree Inn, where Penniman has tipped the bartender five bucks to switch the TV from bowling on ABC to ESPN, even though there's nothing on at this hour of the day except golf tips and bass fishing. â€Å"One more drink, just to seal the deal!† But they don't have a deal, and Henry isn't sure he wants to make one. Going national with George Rathbun as part of the ESPN radio package should be attractive, and he doesn't have any serious problem with changing the name of the show from Badger Barrage to ESPN Sports Barrage it would still focus primarily on the central and northern areas of the country but . . . But what? Before he can even get to work on the question, he smells it again: My Sin, the perfume his wife used to wear on certain evenings, when she wanted to send a certain signal. Lark was what he used to call her on those certain evenings, when the room was dark and they were both blind to everything but scents and textures and each other. Lark. â€Å"You know, I think I'm going to pass on that drink,† Henry says. â€Å"Got some work to do at home. But I'm going to think over your offer. And I mean seriously.† â€Å"Ah-ah-ah,† Penniman says, and Henry can tell from certain minute disturbances in the air that the man is shaking a finger beneath his nose. Henry wonders how Penniman would react if Henry suddenly darted his head forward and bit off the offending digit at the second knuckle. If Henry showed him a little Coulee Country hospitality Fisherman-style. How loud would Penniman yell? As loud as Little Richard before the instrumental break of â€Å"Tutti Frutti,† perhaps? Or not quite as loud as that? â€Å"Can't go till I'm ready to take you,† Mr. I'm Fat But It No Longer Matters tells him. â€Å"I'm your ride, y'know.† He's on his fourth gimlet, and his words are slightly slurred. My friend, Henry thinks, I'd poke a ferret up my ass before I'd get into a car with you at the wheel. â€Å"Actually, I can,† Henry says pleasantly. Nick Avery, the bartender, is having a kick-ass afternoon: the fat guy slipped him five to change the TV channel, and the blind guy slipped him five to call Skeeter's Taxi while the fat guy was in the bathroom, making a little room. â€Å"Huh?† â€Å"I said, ? ®Actually, I can.' Bartender?† â€Å"He's outside, sir,† Avery tells him. â€Å"Pulled up two minutes ago.† There is a hefty creak as Penniman turns on his bar stool. Henry can't see the man's frown as he takes in the taxi now idling in the hotel turnaround, but he can sense it. â€Å"Listen, Henry,† Penniman says. â€Å"I think you may lack a certain understanding of your current situation. There are stars in the firmament of sports radio, damned right there are people like the Fabulous Sports Babe and Tony Kornheiser make six figures a year just in speaking fees, six figures easy but you ain't there yet. That door is currently closed to you. But I, my friend, am one helluva doorman. The upshot is that if I say we ought to have one more drink, then â€Å" â€Å"Bartender,† Henry says quietly, then shakes his head. â€Å"I can't just call you bartender; it might work for Humphrey Bogart but it doesn't work for me. What's your name?† â€Å"Nick Avery, sir.† The last word comes out automatically, but Avery never would have used it when speaking to the other one, never in a million years. Both guys tipped him five, but the one in the dark glasses is the gent. It's got nothing to do with him being blind, it's just something he is. â€Å"Nick, who else is at the bar?† Avery looks around. In one of the back booths, two men are drinking beer. In the hall, a bellman is on the phone. At the bar itself, no one at all except for these two guys one slim, cool, and blind, the other fat, sweaty, and starting to be pissed off. â€Å"No one, sir.† â€Å"There's not a . . . lady?† Lark, he's almost said. There's not a lark? â€Å"No.† â€Å"Listen here,† Penniman says, and Henry thinks he's never heard anyone so unlike â€Å"Little Richard† Penniman in his entire life. This guy is whiter than Moby Dick . . . and probably about the same size. â€Å"We've got a lot more to discuss here.† Loh more t'dishcush is how it comes out. â€Å"Unless, that is† Unlesh â€Å"you're trying to let me know you're not interested.† Never in a million years, Penniman's voice says to Henry Leyden's educated ears. We're talking about putting a money machine in your living room, sweetheart, your very own private ATM, and there ain't no way in hell you're going to turn that down. â€Å"Nick, you don't smell perfume? Something very light and old-fashioned? My Sin, perhaps?† A flabby hand falls on Henry's shoulder like a hot-water bottle. â€Å"The sin, old buddy, would be for you to refuse to have another drink with me. Even a blindman could see th â€Å" â€Å"Suggest you get your hand off him,† Avery says, and perhaps Penniman's ears aren't entirely deaf to nuance, because the hand leaves Henry's shoulder at once. Then another hand comes in its place, higher up. It touches the back of Henry's neck in a cold caress that's there and then gone. Henry draws in breath. The smell of perfume comes with it. Usually scents fade after a period of exposure, as the receptors that caught them temporarily deaden. Not this time, though. Not this smell. â€Å"No perfume?† Henry almost pleads. The touch of her hand on his neck he can dismiss as a tactile hallucination. But his nose never betrays him. Never until now, anyway. â€Å"I'm sorry,† Avery says. â€Å"I can smell beer . . . peanuts . . . this man's gin and his aftershave . . .† Henry nods. The lights above the backbar slide across the dark lenses of his shades as he slips gracefully off his stool. â€Å"I think you want another drink, my friend,† Penniman says in what he no doubt believes to be a tone of polite menace. â€Å"One more drink, just to celebrate, and then I'll take you home in my Lexus.† Henry smells his wife's perfume. He's sure of it. And he seemed to feel the touch of his wife's hand on the back of his neck. Yet suddenly it's skinny little Morris Rosen he finds himself thinking about Morris, who wanted him to listen to â€Å"Where Did Our Love Go† as done by Dirtysperm. And of course for Henry to play it in his Wisconsin Rat persona. Morris Rosen, who has more integrity in one of his nail-chewed little fingers than this bozo has got in his entire body. He puts a hand on Penniman's forearm. He smiles into Penniman's unseen face, and feels the muscles beneath his palm relax. Penniman has decided he's going to get his way. Again. â€Å"You take my drink,† Henry says pleasantly, â€Å"add it to your drink, and then stick them both up your fat and bepimpled ass. If you need something to hold them in place, why, you can stick your job up there right after them.† Henry turns and walks briskly toward the door, orienting himself with his usual neat precision and holding one hand out in front of him as an insurance policy. Nick Avery has broken into spontaneous applause, but Henry barely hears this and Penniman he has already dismissed from his mind. What occupies him is the smell of My Sin perfume. It fades a little as he steps out into the afternoon heat . . . but is that not an amorous sigh he hears beside his left ear? The sort of sigh his wife sometimes made just before falling asleep after love? His Rhoda? His Lark? â€Å"Hello, the taxi!† he calls from the curb beneath the awning. â€Å"Right here, buddy what're you, blind?† â€Å"As a bat,† Henry agrees, and walks toward the sound of the voice. He'll go home, he'll put his feet up, he'll have a glass of tea, and then he'll listen to the damned 911 tape. That as yet unperformed chore may be what's causing his current case of the heebie-jeebies and shaky-shivers, knowing that he must sit in darkness and listen to the voice of a child-killing cannibal. Surely that must be it, because there's no reason to be afraid of his Lark, is there? If she were to return to return and haunt him she would surely haunt with love. Wouldn't she? Yes, he thinks, and lowers himself into the taxi's stifling back seat. â€Å"Where to, buddy?† â€Å"Norway Valley Road,† Henry says. â€Å"It's a white house with blue trim, standing back from the road. You'll see it not long after you cross the creek.† Henry settles back in the seat and turns his troubled face toward the open window. French Landing feels strange to him today . . . fraught. Like something that has slipped and slipped until it is now on the verge of simply falling off the table and smashing to pieces on the floor. Say that she has come back. Say that she has. If it's love she's come with, why does the smell of her perfume make me so uneasy? So almost revolted? And why was her touch (her imagined touch, he assures himself) so unpleasant? Why was her touch so cold? After the dazzle of the day, the living room of Beezer's crib is so dark that at first Jack can't make out anything. Then, when his eyes adjust a little, he sees why: blankets a double thickness, from the look have been hung over both of the living-room windows, and the door to the other downstairs room, almost certainly the kitchen, has been closed. â€Å"He can't stand the light,† Beezer says. He keeps his voice low so it won't carry across to the far side of the room, where the shape of a man lies on a couch. Another man is kneeling beside him. â€Å"Maybe the dog that bit him was rabid,† Jack says. He doesn't believe it. Beezer shakes his head decisively. â€Å"It isn't a phobic reaction. Doc says it's physiological. Where light falls on him, his skin starts to melt. You ever hear of anything like that?† â€Å"No.† And Jack has never smelled anything like the stench in this room, either. There's the buzz of not one but two table fans, and he can feel the cross-draft, but that stink is too gluey to move. There's the reek of spoiled meat of gangrene in torn flesh but Jack has smelled that before. It's the other smell that's getting to him, something like blood and funeral flowers and feces all mixed up together. He makes a gagging noise, can't help it, and Beezer looks at him with a certain impatient sympathy. â€Å"Bad, yeah, I know. But it's like the monkey house at the zoo, man you get used to it after a while.† The swing door to the other room opens, and a trim little woman with shoulder-length blond hair comes through. She's carrying a bowl. When the light strikes the figure lying on the couch, Mouse screams. It's a horribly thick sound, as if the man's lungs have begun to liquefy. Something maybe smoke, maybe steam starts to rise up from the skin of his forehead. â€Å"Hold on, Mouse,† the kneeling man says. It's Doc. Before the kitchen door swings all the way shut again, Jack is able to read what's pasted to his battered black bag. Somewhere in America there may be another medical man sporting a STEPPENWOLF RULES bumper sticker on the side of his physician's bag, but probably not in Wisconsin. The woman kneels beside Doc, who takes a cloth from the basin, wrings it out, and places it on Mouse's forehead. Mouse gives a shaky groan and begins to shiver all over. Water runs down his cheeks and into his beard. The beard seems to be coming out in mangy patches. Jack steps forward, telling himself he will get used to the smell, sure he will. Maybe it's even true. In the meantime he wishes for a little of the Vicks VapoRub most LAPD homicide detectives carry in their glove compartments as a matter of course. A dab under each nostril would be very welcome right now. There's a sound system (scruffy) and a pair of speakers in the corners of the room (huge), but no television. Stacked wooden crates filled with books line every wall without a door or a window in it, making the space seem even smaller than it is, almost cryptlike. Jack has a touch of claustrophobia in his makeup, and now this circuit warms up, increasing his discomfort. Most of the books seem to deal with religion and philosophy he sees Descartes, C. S. Lewis, the Bhagavad-Gita, Steven Avery's Tenets of Existence but there's also a lot of fiction, books on beer making, and (on top of one giant speaker) Albert Goldman's trash tome about Elvis Presley. On the other speaker is a photograph of a young girl with a splendid smile, freckles, and oceans of reddish-blond hair. Seeing the child who drew the hopscotch grid out front makes Jack Sawyer feel sick with anger and sorrow. Otherworldly beings and causes there may be, but there's also a sick old fuck prowling around who needs to be s topped. He'd do well to remember that. Bear Girl makes a space for Jack in front of the couch, moving gracefully even though she's on her knees and still holding the bowl. Jack sees that in it are two more wet cloths and a heap of melting ice cubes. The sight of them makes him thirstier than ever. He takes one and pops it into his mouth. Then he turns his attention to Mouse. A plaid blanket has been pulled up to his neck. His forehead and upper cheeks the places not covered by his decaying beard are pasty. His eyes are closed. His lips are drawn back to show teeth of startling whiteness. â€Å"Is he † Jack begins, and then Mouse's eyes open. Whatever Jack meant to ask leaves his head entirely. Around the hazel irises, Mouse's eyes have gone an uneasy, shifting scarlet. It's as if the man is looking into a terrible radioactive sunset. From the inner corners of his eyes, some sort of black scum is oozing. â€Å"The Book of Philosophical Transformation addresses most current dialectics,† Mouse says, speaking mellowly and lucidly, â€Å"and Machiavelli also speaks to these questions.† Jack can almost picture him in a lecture hall. Until his teeth begin to chatter, that is. â€Å"Mouse, it's Jack Sawyer.† No recognition in those weird red-and-hazel eyes. The black gunk at the corners of them seems to twitch, however, as if it is somehow sentient. Listening to him. â€Å"It's Hollywood,† Beezer murmurs. â€Å"The cop. Remember?† One of Mouse's hands lies on the plaid blanket. Jack takes it, and stifles a cry of surprise when it closes over his with amazing strength. It's hot, too. As hot as a biscuit just out of the oven. Mouse lets out a long, gasping sigh, and the stench is fetid bad meat, decayed flowers. He's rotting, Jack thinks. Rotting from the inside out. Oh Christ, help me through this. Christ may not, but the memory of Sophie might. Jack tries to fix her eyes in his memory, that lovely, level, clear blue gaze. â€Å"Listen,† Mouse says. â€Å"I'm listening.† Mouse seems to gather himself. Beneath the blanket, his body shivers in a loose, uncoordinated way that Jack guesses is next door to a seizure. Somewhere a clock is ticking. Somewhere a dog is barking. A boat hoots on the Mississippi. Other than these sounds, all is silence. Jack can remember only one other such suspension of the world's business in his entire life, and that was when he was in a Beverly Hills hospital, waiting for his mother to finish the long business of dying. Somewhere Ty Marshall is waiting to be rescued. Hoping to be rescued, at least. Somewhere there are Breakers hard at work, trying to destroy the axle upon which all existence spins. Here is only this eternal room with its feeble fans and noxious vapors. Mouse's eyes close, then open again. They fix upon the newcomer, and Jack is suddenly sure some great truth is going to be confided. The ice cube is gone from his mouth; Jack supposes he crunched it up and swallowed it without even realizing, but he doesn't dare take another. â€Å"Go on, buddy,† Doc says. â€Å"You get it out and then I'll load you up with another hypo of dope. The good stuff. Maybe you'll sleep.† Mouse pays no heed. His mutating eyes hold Jack's. His hand holds Jack's, tightening still more. Jack can almost feel the bones of his fingers grinding together. â€Å"Don't . . . go out and buy top-of-the-line equipment,† Mouse says, and sighs out another excruciatingly foul breath from his rotting lungs. â€Å"Don't . . . ?† â€Å"Most people give up brewing after . . . a year or two. Even dedicated . . . dedicated hobbyists. Making beer is not . . . is not for pussies.† Jack looks around at Beezer, who looks back impassively. â€Å"He's in and out. Be patient. Wait on him.† Mouse's grip tightens yet more, then loosens just as Jack is deciding he can take it no longer. â€Å"Get a big pot,† Mouse advises him. His eyes bulge. The reddish shadows come and go, come and go, fleeting across the curved landscape of his corneas, and Jack thinks, That's its shadow. The shadow of the Crimson King. Mouse has already got one foot in its court. â€Å"Five gallons . . . at least. You find the best ones are in . . . seafood supply stores. And for a fermentation vessel . . . plastic water-cooler jugs are good . . . they're lighter than glass, and . . . I'm burning up. Christ, Beez, I'm burning up!† â€Å"Fuck this, I'm going to shoot it to him,† Doc says, and snaps open his bag. Beezer grabs his arm. â€Å"Not yet.† Bloody tears begin to slip out of Mouse's eyes. The black goo seems to be forming into tiny tendrils. These reach greedily downward, as if trying to catch the moisture and drink it. â€Å"Fermentation lock and stopper,† Mouse whispers. â€Å"Thomas Merton is shit, never let anyone tell you different. No real thought there. You have to let the gases escape while keeping dust out. Jerry Garcia wasn't God. Kurt Cobain wasn't God. The perfume he smells is not that of his dead wife. He's caught the eye of the King. Gorg-ten-abbalah, ee-lee-lee. The opopanax is dead, long live the opopanax.† Jack leans more deeply into Mouse's smell. â€Å"Who's smelling perfume? Who's caught the eye of the King?† â€Å"The mad King, the bad King, the sad King. Ring-a-ding-ding, all hail the King.† â€Å"Mouse, who's caught the eye of the King?† Doc says, â€Å"I thought you wanted to know about â€Å" â€Å"Who?† Jack has no idea why this seems important to him, but it does. Is it something someone has said to him recently? Was it Dale? Tansy? Was it, God save us, Wendell Green? â€Å"Racking cane and hose,† Mouse says confidentially. â€Å"That's what you need when the fermentation's done! And you can't put beer in screw-top bottles! You â€Å" Mouse turns his head away from Jack, nestles it cozily in the hollow of his shoulder, opens his mouth, and vomits. Bear Girl screams. The vomit is pus-yellow and speckled with moving black bits like the crud in the corners of Mouse's eyes. It is alive. Beezer leaves the room in a hurry, not quite running, and Jack shades Mouse from the brief glare of kitchen sunlight as best he can. The hand clamped on Jack's loosens a little more. Jack turns to Doc. â€Å"Do you think he's going?† Doc shakes his head. â€Å"Passed out again. Poor old Mousie ain't getting off that easy.† He gives Jack a grim, haunted look. â€Å"This better be worth it, Mr. Policeman. ‘Cause if it ain't, I'm gonna replumb your sink.† Beezer comes back with a huge bundle of rags, and he's put on a pair of green kitchen gloves. Not speaking, he mops up the pool of vomit between Mouse's shoulder and the backrest of the couch. The black specks have ceased moving, and that's good. To have not seen them moving in the first place would have been even better. The vomit, Jack notices with dismay, has eaten into the couch's worn fabric like acid. â€Å"I'm going to pull the blanket down for a second or two,† Doc says, and Bear Girl gets up at once, still holding the bowl with the melting ice. She goes to one of the bookshelves and stands there with her back turned, trembling. â€Å"Doc, is this something I really need to see?† I think maybe it is. I don't think you know what you're dealing with, even now.† Doc takes hold of the blanket and eases it out from beneath Mouse's limp hand. Jack sees that more of the black stuff has begun to ooze from beneath the dying man's fingernails. â€Å"Remember that this happened only a couple of hours ago, Mr. Policeman.† He pulls the blanket down. Standing with her back to them, Susan â€Å"Bear Girl† Osgood faces the great works of Western philosophy and begins to cry silently. Jack tries to hold back his scream and cannot. Henry pays off the taxi, goes into his house, takes a deep and soothing breath of the air-conditioned cool. There is a faint aroma sweet and he tells himself it's just fresh-cut flowers, one of Mrs. Morton's specialties. He knows better, but wants no more to do with ghosts just now. He is actually feeling better, and he supposes he knows why: it was telling the ESPN guy to take his job and shove it. Nothing more apt to make a fellow's day, especially when the fellow in question is gainfully employed, possessed of two credit cards that are nowhere near the max-out point, and has a pitcher of cold iced tea in the fridge. Henry heads kitchenward now, making his way down the hall with one hand held out before him, testing the air for obstacles and displacements. There's no sound but the whisper of the air conditioner, the hum of the fridge, the clack of his heels on the hardwood . . . . . . and a sigh. An amorous sigh. Henry stands where he is for a moment, then turns cautiously. Is the sweet aroma a little stronger now, especially facing back in this direction, toward the living room and the front door? He thinks yes. And it's not flowers; no sense fooling himself about that. As always, the nose knows. That's the aroma of My Sin. â€Å"Rhoda?† he says, and then, lower: â€Å"Lark?† No answer. Of course not. He's just having the heebie-jeebies, that's all; those world-famous shaky-shivers, and why not? â€Å"Because I'm the sheik, baby,† Henry says. â€Å"The Sheik, the Shake, the Shook.† No smells. No sexy sighs. And yet he's haunted by the idea of his wife back in the living room, standing there in perfumed cerements of the grave, watching him silently as he came in and passed blindly before her. His Lark, come back from Noggin Mound Cemetery for a little visit. Maybe to listen to the latest Slobberbone CD. â€Å"Quit it,† he says softly. â€Å"Quit it, you dope.† He goes into his big, well-organized kitchen. On his way through the door he slaps a button on the panel there without even thinking about it. Mrs. Morton's voice comes from the overhead speaker, which is so high-tech she might almost be in the room. â€Å"Jack Sawyer was by, and he dropped off another tape he wants you to listen to. He said it was . . . you know, that man. That bad man.† â€Å"Bad man, right,† Henry murmurs, opening the refrigerator and enjoying the blast of cold air. His hand goes unerringly to one of three cans of Kingsland Lager stored inside the door. Never mind the iced tea. â€Å"Both of the tapes are in your studio, by the soundboard. Also, Jack wanted you to call him on his cell phone.† Mrs. Morton's voice takes on a faintly lecturing tone. â€Å"If you do speak to him, I hope you tell him to be careful. And be careful yourself.† A pause. â€Å"Also, don't forget to eat supper. It's all ready to go. Second shelf of the fridge, on your left.† â€Å"Nag, nag, nag,† Henry says, but he's smiling as he opens his beer. He goes to the telephone and dials Jack's number. On the seat of the Dodge Ram parked in front of 1 Nailhouse Row, Jack's cell phone comes to life. This time there's no one in the cab to be annoyed by its tiny but penetrating tweet. â€Å"The cellular customer you are trying to reach is currently not answering. Please try your call again later.† Henry hangs up, goes back to the doorway, and pushes another button on the panel there. The voices that deliver the time and temperature are all versions of his own, but he's programmed a random shuffle pattern into the gadget, so he never knows which one he's going to get. This time it's the Wisconsin Rat, screaming crazily into the sunny air-conditioned silence of his house, which has never felt so far from town as it does today: â€Å"Time's four twenty-two P.M.! Outside temperature's eighty-two! Inside temperature's seventy! What the hell do you care? What the hell does anyone care? Chew it up, eat it up, wash it down, it aaall â€Å" comes out the same place. Right. Henry thumbs the button again, silencing the Rat's trademark cry. How did it get late so fast? God, wasn't it just noon? For that matter, wasn't he just young, twenty years old and so full of spunk it was practically coming out of his ears? What That sigh comes again, derailing his mostly self-mocking train of thought. A sigh? Really? More likely just the air conditioner's compressor, cutting off. He can tell himself that, anyway. He can tell himself that if he wants to. â€Å"Is anyone here?† Henry asks. There is a tremble in his voice that he hates, an old man's palsied quaver. â€Å"Is anyone in the house with me?† For a terrible second he is almost afraid something will answer. Nothing does of course nothing does and he swallows half the can of beer in three long gulps. He decides he'll go back into the living room and read for a little while. Maybe Jack will call. Maybe he'll get himself a little more under control once he has a little fresh alcohol in his system. And maybe the world will end in the next five minutes, he thinks. That way you'll never have to deal with the voice on those damned tapes waiting in the studio. Those damned tapes lying there on the soundboard like unexploded bombs. Henry walks slowly back down the hall to the living room with one hand held out before him, telling himself he's not afraid, not a bit afraid of touching his wife's dead face. Jack Sawyer has seen a lot, he's traveled to places where you can't rent from Avis and the water tastes like wine, but he's never encountered anything like Mouse Baumann's leg. Or, rather, the pestilential, apocalyptic horror show that was Mouse Baumann's leg. Jack's first impulse once he's got himself back under something like control is to upbraid Doc for taking off Mouse's pants. Jack keeps thinking of sausages, and how the casing forces them to keep their shape even after the fry pan's sizzling on a red-hot burner. This is an undoubtedly stupid comparison, primo stupido, but the human mind under pressure puts on some pretty odd jinks and jumps. There's still the shape of a leg there sort of but the flesh has spread away from the bone. The skin is almost completely gone, melted to a runny substance that looks like a mixture of milk and bacon fat. The interwoven mat of muscle beneath what remains of the skin is sagging and undergoing the same cataclysmic metamorphosis. The infected leg is in a kind of undisciplined motion as the solid becomes liquid and the liquid sizzles relentlessly into the couch upon which Mouse is lying. Along with the almost insupportable stench of decay, Jack can smell scorching cloth and melting fabric. Poking out of this spreading, vaguely leglike mess is a foot that looks remarkably undamaged. If I wanted to, I could pull it right off . . . just like a squash off a vine. The thought gets to him in a way the sight of the grievously wounded leg hasn't quite been able to, and for a moment Jack can only bow his head, gagging and trying not to vomit down the front of his shirt. What perhaps saves him is a hand on his back. It's Beezer, offering what comfort he can. The rowdy color has completely left the Beez's face. He looks like a motorcyclist come back from the grave in an urban myth. â€Å"You see?† Doc is asking, and his voice seems to come from a great distance. â€Å"This ain't the chicken pox, my friend, although it looked a little like that while it was still getting cranked up. He's already exhibiting red spots on his left leg . . . his belly . . . his balls. That's pretty much what the skin around the bite looked like when we first got him back here, just some redness and swelling. I thought, ? ®Shit, ain't nothin' to this, I got enough Zithromax to put this on the run before sundown.' Well, you see what good the Zithro did. You see what good anything did. It's eating through the couch, and I'm guessing that when it finishes with the couch, it'll go right to work on the floor. This shit is hungry. So was it worth it, Hollywood? I guess only you and Mouse know the answer to that.† â€Å"He still knows where the house is,† Beezer says. â€Å"Me, I don't have a clue, even though we just came from there. You, either. Do you?† Doc shakes his head. â€Å"But Mouse, he knows.† â€Å"Susie, honey,† Doc says to Bear Girl. â€Å"Bring another blanket, would you? This one's damn near et through.† Bear Girl goes willingly enough. Jack gets to his feet. His legs are rubbery, but they hold him. â€Å"Shield him,† he tells Doc. â€Å"I'm going out to the kitchen. If I don't get a drink, I'm going to die.† Jack takes on water directly from the sink, swallowing until a spike plants itself in the center of his forehead and he belches like a horse. Then he just stands there, looking out into Beezer and Bear Girl's backyard. A neat little swing set has been planted there in the weedy desolation. It hurts Jack to look at it, but he looks anyway. After the lunacy of Mouse's leg, it seems important to remind himself that he's here for a reason. If the reminder hurts, so much the better. The sun, now turning gold as it eases itself down toward the Missis-sippi, glares in his eyes. Time hasn't been standing still after all, it seems. Not outside this little house, anyway. Outside 1 Nailhouse Row, time actually seems to have sped up. He's haunted by the idea that coming here was as pointless as detouring to Henry's house; tormented by the thought that Mr. Munshun and his boss, the abbalah, are running him around like a windup toy with a key in its back while they do their work. He can follow that buzz in his head to Black House, so why the hell doesn't he just get back in his truck and do it? The perfume he smells is not that of his dead wife. What does that mean? Why does the idea of someone smelling perfume make him so crazy and afraid? Beezer knocks on the kitchen door, making him jump. Jack's eye fixes on a sampler hung over the kitchen table. Instead of GOD BLESS OUR HOME, it reads HEAVY METAL THUNDER. With a carefully stitched HARLEY-DAVIDSON beneath. â€Å"Get back in here, man,† the Beez says. â€Å"He's awake again.† Henry's on a path in the woods or maybe it's a lane and something is behind him. Each time he turns to see in this dream he can see, but seeing is no blessing there's a little more of that something back there. It appears to be a man in evening dress, but the man is frightfully elongated, with spike teeth that jut over a smiling red lower lip. And he seems is it possible? to have only one eye. The first time Henry looks back, the shape is only a milky blur amid the trees. The next time he can make out the uneasy dark swim of its coat and a floating red blotch that might be a tie or an ascot. Up ahead of him is this thing's den, a stinking hole that only coincidentally looks like a house. Its presence buzzes in Henry's head. Instead of pine, the woods pressing in on either side smell of heavy, cloying perfume: My Sin. It's driving me, he thinks with dismay. Whatever that thing back there is, it's driving me like a steer toward the slaughterhouse. He thinks of cutting off the lane to his left or right, of using the miracle of his new sight to escape through the woods. Only there are things there, too. Dark, floating shapes like sooty scarves. He can almost see the closest. It's some sort of gigantic dog with a long tongue as red as the apparition's tie and bulging eyes. Can't let it drive me to the house, he thinks. I have to get out of this before it can get me there . . . but how? How? It comes to him with startling simplicity. All he has to do is wake up. Because this is a dream. This is just a â€Å"It's a dream!† Henry cries out, and jerks forward. He's not walking, he's sitting, sitting in his very own easy chair, and pretty soon he's going to have a very wet crotch because he fell asleep with a can of Kingsland Lager balanced there, and But there's no spill, because there's no can of beer. He feels cautiously to his right and yep, there it is, on the table with his book, a braille edition of Reflections in a Golden Eye. He must have put it there before first falling asleep and then falling into that horrible nightmare. Except Henry's pretty sure he didn't do any such thing. He was holding the book and the beer was between his legs, freeing his hands to touch the little upraised dots that tell the story. Something very considerately took both the book and the can after he dropped off, and put them on the table. Something that smells of My Sin perfume. The air reeks of it. Henry takes a long, slow breath with his nostrils flared and mouth tightly sealed shut. â€Å"No,† he says, speaking very clearly. â€Å"I can smell flowers . . . and rug shampoo . . . and fried onions from last night. Very faint but still there. The nose knows.† All true enough. But the smell had been there. It's gone now because she's gone, but she will be back. And suddenly he wants her to come. If he's frightened, surely it's the unknown he's frightened of, right? Only that and nothing more. He doesn't want to be alone here, with nothing for company but the memory of that rancid dream. And the tapes. He has to listen to the tapes. He promised Jack. Henry gets shakily to his feet and makes his way to the living-room control panel. This time he's greeted by the voice of Henry Shake, a mellow fellow if ever there was one. â€Å"Hey there, all you hoppin' cats and boppin' kitties, at the tone it's seven-fourteen P.M., Bulova Watch Time. Outside the temp is a very cool seventy-five degrees, and here in the Make-Believe Ballroom it's a very nifty seventy degrees. So why not get off your money, grab your honey, and make a little magic?† Seven-fourteen! When was the last time he fell asleep for almost three hours in the daytime? For that matter, when was the last time he had a dream in which he could see? The answer to that second question, so far as he can remember, is never. Where was that lane? What was the thing behind him? What was the place ahead of him, for that matter? â€Å"Doesn't matter,† Henry tells the empty room if it is empty. â€Å"It was a dream, that's all. The tapes, on the other hand . . .† He doesn't want to listen to them, has never wanted to listen to anything any less in his life (with the possible exception of Chicago singing â€Å"Does Anybody Really Know What Time It Is?†), but he has to. If it might save Ty Marshall's life, or the life of even one other child, he must. Slowly, dreading every step, Henry Leyden makes his blind way to his studio, where two cassettes wait for him on the soundboard. â€Å"In heaven there is no beer,† Mouse sings in a toneless, droning voice. His cheeks are now covered with ugly red patches, and his nose seems to be sinking sideways into his face, like an atoll after an undersea earthquake. â€Å"That's why we drink it here. And when . . . we're gone . . . from here . . . our friends will be drinking all the beer.† It's been like this for hours now: philosophical nuggets, instructions for the beginning beer-making enthusiast, snatches of song. The light coming through the blankets over the windows has dimmed appreciably. Mouse pauses, his eyes closed. Then he starts another ditty. â€Å"Hundred bottles of beer on the wall, one hundred bottles of beer . . . if one of those bottles should happen to fall . . .† â€Å"I have to go,† Jack says. He's hung in there as well as he can, convinced that Mouse is going to give him something, but he can wait no longer. Somewhere, Ty Marshall is waiting for him. â€Å"Hold on,† Doc says. He rummages in his bag and comes out with a hypodermic needle. He raises it in the dimness and taps the glass barrel with a fingernail. â€Å"What's that?† Doc gives Jack and Beezer a brief, grim smile. â€Å"Speed,† he says, and injects it into Mouse's arm. For a moment there's nothing. Then, as Jack is opening his mouth again to tell them he has to go, Mouse's eyes snap wide. They are now entirely red a bright and bleeding red. Yet when they turn in his direction, Jack knows that Mouse is seeing him. Maybe really seeing him for the first time since he got here. Bear Girl flees the room, trailing a single diminishing phrase behind her: â€Å"No more no more no more no more â€Å" â€Å"Fuck,† Mouse says in a rusty voice. â€Å"Fuck, I'm fucked. Ain't I?† Beezer touches the top of his friend's head briefly but tenderly. â€Å"Yeah, man. I think you are. Can you help us out?† â€Å"Bit me once. Just once, and now . . . now . . .† His hideous red gaze turns to Doc. â€Å"Can barely see you. Fuckin' eyes are all weird.† â€Å"You're going down,† Doc says. â€Å"Ain't gonna lie to you, man.† â€Å"Not yet I ain't,† Mouse says. â€Å"Gimme something to write on. To draw a map on. Quick. Dunno what you shot me with, Doc, but the stuff from the dog's stronger. I ain't gonna be compos long. Quick!† Beezer feels around at the foot of the couch and comes up with a trade-sized paperback. Given the heavy shit on the bookcases, Jack could almost laugh the book is The 7 Habits of Highly Effective People. Beezer tears off the back cover and hands it to Mouse with the blank side up. â€Å"Pencil,† Mouse croaks. â€Å"Hurry up. I got it all, man. I got it . . . up here.† He touches his forehead. A patch of skin the size of a quarter sloughs off at his touch. Mouse wipes it on the blanket as if it were a booger. Beezer pulls a gnawed stub of pencil from an inside pocket of his vest. Mouse takes it and makes a pathetic effort to smile. The black stuff oozing from the corners of his eyes has continued to build up, and now it lies on his cheeks like smears of decayed jelly. More of it is springing out of the pores on his forehead in minute black dots that remind Jack of Henry's braille books. When Mouse bites his lower lip in concentration, the tender flesh splits open at once. Blood begins dribbling into his beard. Jack supposes the rotted-meat smell is still there, but Beezer had been right: he's gotten used to it. Mouse turns the book cover sideways, then draws a series of quick squiggles. â€Å"Lookit,† he says to Jack. â€Å"This the Mississippi, right?† â€Å"Right,† Jack says. When he leans in, he starts getting the smell again. Up close it's not even a stench; it's a miasma trying to crawl down his throat. But Jack doesn't move away. He knows what an effort Mouse is making. The least he can do is play his part. â€Å"Here's downtown the Nelson, Lucky's, the Agincourt Theater, the Taproom . . . here's where Chase Street turns into Lyall Road, then Route 35 . . . here's Libertyville . . . the VFW . . . Goltz's . . . ah, Christ â€Å" Mouse begins to thrash on the couch. Sores on his face and upper body burst open and begin leaking. He screams with pain. The hand not holding the pencil goes to his face and paws at it ineffectually. Something inside Jack speaks up, then speaks in a shining, imperative voice he remembers from his time on the road all those years ago. He supposes it's the voice of the Talisman, or whatever remains of it in his mind and soul. It doesn't want him to talk, it's trying to kill him before he can talk, it's in the black stuff, maybe it is the black stuff, you've got to get rid of it Some things can only be done without the mind's prudish interference; when the work is nasty, instinct is often best. So it is without thinking that Jack reaches out, grasps the black slime oozing from Mouse's eyes between his fingers, and pulls. At first the stuff only stretches, as if made of rubber. At the same time Jack can feel it squirming and writhing in his grip, perhaps trying to pinch or bite him. Then it lets go with a twang sound. Jack throws the convulsing black tissue onto the floor with a cry. The stuff tries to slither beneath the couch Jack sees this even as he wipes his hands on his shirt, frantic with revulsion. Doc slams his bag down on one piece. Beezer squashes the other with the heel of a motorcycle boot. It makes a squittering sound. â€Å"What the fuck is that shit?† Doc asks. His voice, ordinarily husky, has gone up into a near-falsetto range. â€Å"What the fuck â€Å" â€Å"Nothing from here,† Jack says, â€Å"and never mind. Look at him! Look at Mouse!† The red glare in Mouse's eyes has retreated; for the moment he looks almost normal. Certainly he's seeing them, and the pain seems gone. â€Å"Thanks,† he breathes. â€Å"I only wish you could get it all that way, but man, it's already coming back. Pay attention.† â€Å"I'm listening,† Jack says. â€Å"You better,† Mouse replies. â€Å"You think you know. You think you can find the place again even if these two can't, and maybe you can, but maybe you don't know quite so much as you . . . ah, fuck.† From somewhere beneath the blanket there is a ghastly bursting sound as something gives way. Sweat runs down Mouse's face, mixing with the black poison venting from his pores and turning his beard a damp and dirty gray. His eyes roll up to Jack's, and Jack can see that red glare starting to haze over them again. â€Å"This sucks,† Mouse pants. â€Å"Never thought I'd go out this way. Lookit, Hollywood . . .† The dying man draws a small rectangle on his makeshift scribble of map. â€Å"This â€Å" â€Å"Ed's Eats, where we found Irma,† Jack says. â€Å"I know.† â€Å"All right,† Mouse whispers. â€Å"Good. Now look . . . over on the other side . . . the Schubert and Gale side . . . and to the west . . .† Mouse draws a line going north from Highway 35. He puts little circles on either side of it. Jack takes these to be representations of trees. And, across the front of the line like a gate: NO TRESPASSING. â€Å"Yeah,† Doc breathes. â€Å"That's where it was, all right. Black House.† Mouse takes no notice. His dimming gaze is fixed solely on Jack. â€Å"Listen to me, cop. Are you listening?† â€Å"Yes.† â€Å"Christ, you better be,† Mouse tells him. As it always has, the work captures Henry, absorbs him, takes him away. Boredom and sorrow have never been able to stand against this old captivation with sound from the sighted world. Apparently fear can't stand against it, either. The hardest moment isn't listening to the tapes but mustering the courage to stick the first one in the big TEAC audio deck. In that moment of hesitation he's sure he can smell his wife's perfume even in the soundproofed and air-filtered environment of the studio. In that moment of hesitation he is positive he isn't alone, that someone (or something) is standing just outside the studio door, looking in at him through the glass upper half. And that is, in fact, the absolute truth. Blessed with sight as we are, we can see what Henry cannot. We want to tell him what's out there, to lock the studio door, for the love of God lock it now, but we can only watch. Henry reaches for the PLAY button on the tape deck. Then his finger changes course and hits the intercom toggle instead. â€Å"Hello? Is anyone out there?† The figure standing in Henry's living room, looking in at him the way someone might look into an aquarium at a single exotic fish, makes no sound. The last of the sun's on the other side of the house and the living room is becoming quite dark, Henry being understandably forgetful when it comes to turning on the lights. Elmer Jesperson's amusing bee slippers (not that they amuse us much under these circumstances) are just about the brightest things out there. â€Å"Hello? Anyone?† The figure looking in through the glass half of the studio door is grinning. In one hand it is holding the hedge clippers from Henry's garage. â€Å"Last chance,† Henry says, and when there's still no response, he becomes the Wisconsin Rat, shrieking into the intercom, trying to startle whatever's out there into revealing itself: â€Å"Come on now, honey, come on now, you muthafukkah, talk to Ratty!† The figure peering in at Henry recoils as a snake might recoil when its prey makes a feint but it utters no sound. From between the grinning teeth comes a leathery old tongue, wagging and poking in derision. This creature has been into the perfume that Mrs. Morton has never had the heart to remove from the vanity in the little powder room adjacent to the master bedroom, and now Henry's visitor reeks of My Sin. Henry decides it's all just his imagination playing him up again oy, such a mistake, Morris Rosen would have told him, had Morris been there and hits PLAY with the tip of his finger. He hears a throat-clearing sound, and then Arnold Hrabowski identifies himself. The Fisherman interrupts him before he can even finish: Hello, asswipe. Henry rewinds, listens again: Hello, asswipe. Rewinds and listens yet again: Hello, asswipe. Yes, he has heard this voice before. He's sure of it. But where? The answer will come, answers of this sort always do eventually and getting there is half the fun. Henry listens, enrapt. His fingers dance back and forth over the tape deck's buttons like the fingers of a concert pianist over the keys of a Steinway. The feeling of being watched slips from him, although the figure outside the studio door the thing wearing the bee slippers and holding the hedge clippers never moves. Its smile has faded somewhat. A sulky expression is growing on its aged face. There is confusion in that look, and perhaps the first faint trace of fear. The old monster doesn't like it that the blind fish in the aquarium should have captured its voice. Of course it doesn't matter; maybe it's even part of the fun, but if it is, it's Mr. Munshun's fun, not its fun. And their fun should be the same . . . shouldn't i t? You have an emergency. Not me. You. â€Å"Not me, you,† Henry says. The mimicry is so good it's weird. â€Å"A little bit of sauerkraut in your salad, mein friend, ja?† Your worst nightmare . . . worst nightmare. Abbalah. I'm the Fisherman. Henry listening, intent. He lets the tape run awhile, then listens to the same phrase four times over: Kiss my scrote, you monkey . . . kiss my scrote, you monkey . . . you monkey . . . monkey . . . No, not monkey. The voice is actually saying munggey. MUNG-ghee. â€Å"I don't know where you are now, but you grew up in Chicago,† Henry murmurs. â€Å"South Side. And . . .† Warmth on his face. Suddenly he remembers warmth on his face. Why is that, friends and neighbors? Why is that, O great wise ones? You're no better'n a monkey on a stick. Monkey on a stick. Monkey â€Å"Monkey,† Henry says. He's rubbing his temples with the tips of his fingers now. â€Å"Monkey on a stick. MUNG-ghee on a stigg. Who said that?† He plays the 911: Kiss my scrote, you monkey. He plays his memory: You're no better'n a monkey on a stick. Warmth on his face. Heat? Light? Both? Henry pops out the 911 tape and sticks in the one Jack brought today. Hello, Judy. Are you Judy today, or are you Sophie? The abbalah sends his best, and Gorg says â€Å"Caw-caw-caw!† [Husky, phlegmy laughter.] Ty says hello, too. Your little boy is very lonely . . . When Tyler Marshall's weeping, terrified voice booms through the speakers, Henry winces and fast-forwards. Derr vill be morrr mur-derts. The accent much thicker now, a burlesque, a joke, Katzenjammer Kids Meet the Wolfman, but somehow even more revealing because of that. Der liddul chull-drun . . . havv-uz-ted like wheed. Like wheed. Havv-uz-ted like . . . â€Å"Harvested like a monkey on a stick,† Henry says. â€Å"MUNG-ghee. HAVV-us-ted. Who are you, you son of a bitch?† Back to the 911 tape. There are whips in hell and chains in Sheol. But it's almost vips in hell, almost chenz in Shayol. Vips. Chenz. MUNG-ghee on a stick. A stigg. â€Å"You're no better'n † Henry begins, and then, all at once, another line comes to him. â€Å"Lady Magowan's Nightmare.† That one's good. A bad nightmare of what? Vips in hell? Chenz in Shayol? Mung-ghees on sticks? â€Å"My God,† Henry says softly. â€Å"Oh . . . my . . . God. The dance. He was at the dance.† Now it all begins to fall into place. How stupid they have been! How criminally stupid! The boy's bike . . . it had been right there. Right there, for Christ's sake! They were all blind men, make them all umps. â€Å"But he was so old,† Henry whispers. â€Å"And senile! How were we supposed to guess such a man could be the Fisherman?† Other questions follow this one. If the Fisherman is a resident at Maxton Elder Care, for instance, where in God's name could he have stashed Ty Marshall? And how is the bastard getting around French Landing? Does he have a car somewhere? â€Å"Doesn't matter,† Henry murmurs. â€Å"Not now, anyway. Who is he and where is he? Those are the things that matter.† The warmth on his face his mind's first effort to locate the Fisherman's voice in time and place had been the spotlight, of course, Symphonic Stan's spotlight, the pink of ripening berries. And some woman, some nice old woman Mr. Stan, yoo-hoo, Mr. Stan? had asked him if he took requests. Only, before Stan could reply, a voice as flat and hard as two stones grinding together I was here first, old woman. had interrupted. Flat . . . and hard . . . and with that faint Germanic harshness that said South Side Chicago, probably second or even third generation. Not vass here first, not old vumman, but those telltale v's had been lurking, hadn't they? Ah yes. â€Å"Mung-ghee,† Henry says, looking straight ahead. Looking straight at Charles Burnside, had he only known it. â€Å"Stigg. Havv-us-ted. Hasta la vista . . . baby.† Was that what it came down to, in the end? A dotty old maniac who sounded a bit like Arnold Schwarzenegger? Who was the woman? If he can remember her name, he can call Jack . . . or Dale, if Jack's still not answering his phone . . . and put an end to French Landing's bad dream. Lady Magowan's Nightmare. That one's good. â€Å"Nightmare,† Henry says, then adjusting his voice: â€Å"Nahht-mare.† Once again the mimicry is good. Certainly too good for the old codger standing outside the studio door. He is now scowling bitterly and gnashing the hedge clippers in front of the glass. How can the blindman in there sound so much like him? It's not right; it's completely improper. The old monster longs to cut the vocal cords right out of Henry Leyden's throat. Soon, he promises himself, he will do that. And eat them. Sitting in the swivel chair, drumming his fingers nervously on the gleaming oak in front of him, Henry recalls the brief encounter at the bandstand. Not long into the Strawberry Fest dance, this had been. Tell me your name and what you'd like to hear. I am Alice Weathers, and . â€Å"Moonglow,† please. By Benny Goodman. â€Å"Alice Weathers,† Henry says. â€Å"That was her name, and if she doesn't know your name, my homicidal friend, then I'm a monkey on a stick.† He starts to get up, and that is when someone something begins to knock, very softly, on the glass upper half of the door. Bear Girl has drawn close, almost against her will, and now she, Jack, Doc, and the Beez are gathered around the sofa. Mouse has sunk halfway into it. He looks like a person dying badly in quicksand. Well, Jack thinks, there's no quicksand, but he's dying badly, all right. Guess there's no question about that. â€Å"Listen up,† Mouse tells them. The black goo is forming at the corners of his eyes again. Worse, it's trickling from the corners of his mouth. The stench of decay is stronger than ever as Mouse's inner workings give up the struggle. Jack is frankly amazed that they've lasted as long as they have. â€Å"You talk,† Beezer says. â€Å"We'll listen.† Mouse looks at Doc. â€Å"When I finish, give me the fireworks. The Cadillac dope. Understand?† â€Å"You want to get out ahead of whatever it is you've got.† Mouse nods. â€Å"I'm down with that,† Doc agrees. â€Å"You'll go out with a smile on your face.† â€Å"Doubt that, bro, but I'll give it a try.† Mouse shifts his reddening gaze to Beezer. â€Å"When it's done, wrap me up in one of the nylon tents that're in the garage. Stick me in the tub. I'm betting that by midnight, you'll be able to wash me down the drain like . . . like so much beer foam. I'd be careful, though. Don't . . . touch what's left.† Bear Girl bursts into tears. â€Å"Don't cry, darlin',† Mouse says. â€Å"I'm gonna get out ahead. Doc promised. Beez?† â€Å"Right here, buddy.† â€Å"You have a little service for me. Okay? Read a poem . . . the one by Auden . . . the one that always used to frost your balls . . .† † ? ®Thou shalt not read the Bible for its prose,' † Beezer says. He's crying. â€Å"You got it, Mousie.† â€Å"Play some Dead . . . ? ®Ripple,' maybe . . . and make sure you're full enough of Kingsland to christen me good and proper into the next life. Guess there won't . . . be any grave for you to piss on, but . . . do the best you can.† Jack laughs at that. He can't help it. And this time it's his turn to catch the full force of Mouse's crimson eyes. â€Å"Promise me you'll wait until tomorrow to go out there, cop.† â€Å"Mouse, I'm not sure I can do that.† â€Å"You gotta. Go out there tonight, you won't have to worry about the devil dog . . . the other things in the woods around that house . . . the other things . . .† The red eyes roll horribly. Black stuff trickles into Mouse's beard like tar. Then he somehow forces himself to go on. â€Å"The other things in those woods will eat you like candy.† â€Å"I think that's a chance I'll have to take,† Jack says, frowning. â€Å"There's a little boy somewhere â€Å" â€Å"Safe,† Mouse whispers. Jack raises his eyebrows, unsure if he's heard Mouse right. And even if he has, can he trust what he's heard? Mouse has some powerful, evil poison working in him. So far he's been able to withstand it, to communicate in spite of it, but â€Å"Safe for a little while,† Mouse says. â€Å"Not from everything . . . there's things that might still get him, I suppose . . . but for the time being he's safe from Mr. Munching. Is that his name? Munching?† â€Å"Munshun, I think. How do you know it?† Mouse favors Jack with a smile of surpassing eeriness. It is the smile of a dying sibyl. Once more he manages to touch his forehead, and Jack notes with horror that the man's fingers are now melting into one another and turning black from the nails down. â€Å"Got it up here, man. Got it alll up here. Told you that. And listen: it's better the kid should get eaten by some giant bug or rock crab over there . . . where he is . . . than that you should die trying to rescue him. If you do that, the abbalah will wind up with the kid for sure. That's what your . . . your friend says.† â€Å"What friend?† Doc asks suspiciously. â€Å"Never mind,† Mouse says. â€Å"Hollywood knows. Don'tcha, Holly-wood?† Jack nods reluctantly. It's Speedy, of course. Or Parkus, if you prefer. â€Å"Wait until tomorrow,† Mouse says. â€Å"High noon, when the sun's strongest in both worlds. Promise.† At first Jack can say nothing. He's torn, in something close to agony. â€Å"It'd be almost full dark before you could get back out Highway 35 anyway,† Bear Girl says quietly. â€Å"And there's bad shit in those woods, all right,† Doc says. â€Å"Makes the stuff in that Blair Witch Project look fuckin' tame. I don't think you want to try it in the dark. Not unless you got a death wish, that is.† â€Å"When you're done . . .† Mouse whispers. â€Å"When you're done . . . if any of you are left . . . burn the place to the ground. That hole. That tomb. Burn it to the ground, do you hear me? Close the door.† â€Å"Yeah,† Beezer says. â€Å"Heard and understood, buddy.† â€Å"Last thing,† Mouse says. He's speaking directly to Jack now. â€Å"You may be able to find it . . . but I think I got something else you need. It's a word. It's powerful to you because of something you . . . you touched. Once a long time ago. I don't understand that part, but . . .† â€Å"It's all right,† Jack tells him. â€Å"I do. What's the word, Mouse?† For a moment he doesn't think Mouse will, in the end, be able to tell him. Something is clearly struggling to keep him from saying the word, but in this struggle, Mouse comes out on top. It is, Jack thinks, very likely his life's last W. â€Å"D'yamba,† Mouse says. â€Å"Now you, Hollywood. You say it.† â€Å"D'yamba,† Jack says, and a row of weighty paperbacks slides from one of the makeshift shelves at the foot of the couch. They hang there in the dimming air . . . hang . . . hang . . . and then drop to the floor with a crash. Bear Girl voices a little scream. â€Å"Don't forget it,† Mouse says. â€Å"You're gonna need it.† â€Å"How? How am I going to need it?† Mouse shakes his head wearily. â€Å"Don't . . . know.† Beezer reaches over Jack's shoulder and takes the pitiful little scribble of map. â€Å"You're going to meet us tomorrow morning at the Sand Bar,† he tells Jack. â€Å"Get there by eleven-thirty, and we should be turning into that goddamned lane right around noon. In the meantime, maybe I'll just hold on to this. A little insurance policy to make sure you do things Mouse's way.† â€Å"Okay,† Jack says. He doesn't need the map to find Chummy Burn-side's Black House, but Mouse is almost certainly right: it's probably not the sort of place you want to tackle after dark. He hates to leave Ty Marshall in the furance-lands it feels wrong in a way that's almost sinful but he has to remember that there's more at stake here than one little boy lost. â€Å"Beezer, are you sure you want to go back there?† â€Å"Hell no, I don't want to go back,† Beezer says, almost indignantly. â€Å"But something killed my daughter my daughter! and it got here from there! You want to tell me you don't know that's true?† Jack makes no reply. Of course it's true. And of course he wants Doc and the Beez with him when he turns up the lane to Black House. If they can bear to come, that is. D'yamba, he thinks. D'yamba. Don't forget. He turns back to the couch. â€Å"Mouse, do you â€Å" â€Å"No,† Doc says. â€Å"Guess he won't need the Cadillac dope, after all.† â€Å"Huh?† Jack peers at the big brewer-biker stupidly. He feels stupid. Stupid and exhausted. â€Å"Nothin' tickin' but his watch,† Doc says, and then he begins to sing. After a moment Beezer joins in, then Bear Girl. Jack steps away from the couch with a thought queerly similar to Henry's: How did it get late so early? Just how in hell did that happen? â€Å"In heaven, there is no beer . . . that's why we drink it here . . . and when . . . we're gone . . . from here . . .† Jack tiptoes across the room. On the far side, there's a lighted Kingsland Premium Golden Pale Ale bar clock. Our old friend who is finally looking every year of his age and not quite so lucky peers at the time with disbelief, not accepting it until he has compared it to his own watch. Almost eight. He has been here for hours. Almost dark, and the Fisherman still out there someplace. Not to mention his otherworldly playmates. D'yamba, he thinks again as he opens the door. And, as he steps out onto the splintery porch and closes the door behind him, he speaks aloud with great sincerity into the darkening day: â€Å"Speedy, I'd like to wring your neck.†

Interventions: Special Education Essay

Monitoring development through observations, making assessments and targeting interventions can help lessen the likelihood of delays for children who are already at risk and can also prevent children who are not at risk from becoming at risk. Early intervention services include a variety of different resources and programmes that provide support to enhance a child’s development. These services are specifically tailored to meet a child’s individual needs. Services include: ? Assistive technology (devices a child might need) ? Audiology or hearing services ? Counselling and training for a family  ? Educational programmes ? Medical services ? Nursing services ? Nutrition services ? Occupational therapy ? Physical therapy ? Psychological services ? Respite services ? Speech/language Identify and meet any additional educational needs The Education Acts and the SEN Code of Practice provide frameworks for settings to identify and meet any additional educational needs. The Education Act 1996 states that a child or young person has special educational needs if â€Å"he or she has a learning difficulty which calls for special educational provision to be made for him or her†. Children with special educational needs all have learning difficulties and/or disabilities that make it harder for them to learn than most other children of the same age. These children may need extra or different help from that given to other children of the same age. The extra or different help could be a different way of teaching certain things, some help from an extra adult, or the use of a particular piece of equipment like a computer or a desk with a sloping top. Children may require extra or different help because they suffer from one or more difficulties such as: ? Physical or sensory difficulties ? Emotional and behavioural problems ? Problems with thinking and understanding ? Difficulties with speech and language ? How they relate to and behave with other people These problems could mean that a child has difficulties with all of their school work or problems could arise in particular areas of their work such as: ? Understanding information ? Reading, writing and number work ? Expressing themselves or understanding what others are saying ? Behaving properly in school ? Organising themselves? Forming relationships with other children or with adults The law says that children do not have learning difficulties just because their first language is not English, but of course some of these children may have learning difficulties in addition. To help make an early identification of those children who may have special educational needs, schools must regularly measure children’s performance and progress. These assessments can be made by referring to: ? Ongoing observation and assessment monitored by the teacher ? Standardised screening or assessment tools ? The outcomes from baseline assessment results ? The objectives specified in the National Literacy and Numeracy Strategy Frameworks ? The level descriptions within the National Curriculum at the end of a key stage The aim of any intervention is to provide as much help as is required, but not to intervene more than is necessary. The three levels of support that are set out in the Code of Practice are: 1. School Action (or Early Years Action for younger children) 2. School Action Plus (or Early Years Action Plus for younger children) 3. Provision outlined in a statement of SEN School action Once practitioners have identified that a child has special educational needs, the setting should intervene through School Action (or Early Years Action for younger children). At this level of support the class teacher, the school’s special educational needs coordinating officer (SENCO), a Home Learning College. Learning Support Assistant (LSA) or another member of the school’s staff gives the child extra help. The child has an Individual Education Plan (IEP) which gives details of the targets the pupils must work towards and the action/support that is required to help them to achieve those targets. IEPs will usually be linked to the main areas of literacy, mathematics, behaviour and social skills. The parents must be consulted and involved so that they too can help their child at home, in line with what the school is doing. The aim of School Action is to make it possible for the child to progress to the point where they no longer need extra help. School action plus If the intervention made as a result of School Action is not helping the child to meet his/her targets, the SENCO may need to seek advice and support from external sources, such as teaching support services and other agencies. An Educational Psychologist might be consulted to plan what forms of intervention might best help the pupil achieve the targets set out in his/her Individual Education Plan (IEP). This kind of intervention is referred to as School Action Plus (or Early Years Action Plus for younger children). The aim of School Action Plus support is to enable a child to progress so that they move from School Action Plus to School Action, or no longer need any extra help at all. Individual Education Children who are recognised as having SEN are entitled to an Individual Education Plan (IEP) as part of the School Action or School Action Plus process. An IEP should record what is different from, or additional to, those arrangements that are in place for the rest of the group or class. An IEP is written by the class teacher to help the parents and the school identify the child’s needs and to target areas of particular difficulty. Typically they focus on three or four targets that match the child’s needs. This document records the strategies that are to be employed to enable the child to progress. It should also show the steps that are to be taken to support the child’s learning and set a date for reviewing their progress. It will normally include information about: ? Learning targets for the child to reach in a given time ? Who will support the child and how that support will be organised ? What materials and methods should be used It may not always be possible to set measurable targets for every area of the curriculum, nevertheless, where targets are used, they can help individual pupils to focus energy and resources on raising standards in critical areas of the child’s school life. A statutory assessment In a great many cases, the individual needs of a child with SEN can be met via access to specialist approaches and equipment or to alternative or adapted activities that are available through School Action or School Action Plus. But there are a few exceptional circumstances, where children require more support than these two processes can provide. If the child does not make the expected advancement despite these measures, the school can ask the local education authority (LEA) to carry out a Statutory Assessment of special educational needs. The Statutory Assessment is a formal process where the LEA seeks advice from a number of different sources, for example: ? Educational advice ? Parental advice ? Medical advice ? Psychological advice ? Social services advice ? Any other advice which is considered desirable  At the end of the process the LEA will decide whether or not to issue the child with a statement of special educational needs. This statement describes all the child’s needs and special help requirements. There are many different types of professionals who can offer support to children who are not following the expected pattern of development, the support is usually coordinated by the schools, SENCO (Special Educational Needs Co-ordinator). If a child starts school with a disability the SENCO will have been informed by the child’s parents prior to the child starting. The child may already be receiving support from a number of professionals. For example a child with a physical disability may well be receiving treatment from a physiotherapist, with exercises given to strengthen their gross motor skills. The physiotherapist will co-ordinate with the SENCO as to the needs of the child and advise the school on what sort of support is needed in school to encourage development. Whist at school if a teacher becomes concerned about the development pattern of a child, they would inform the SENCO who is responsible for the identification of special needs. The SENCO would in turn speak to the child’s parents about their child’s development, and depending on the area of development concerned, suggest an assessment by an outside professional. The professional would in turn give the SENCO advice as to how the child should be supported in school in order to encourage development, this may involve the school providing support or it may involve the professional giving direct support. It is important that any needs are identified so that the correct support/intervention is given in order to prevent the development delay getting worse and spreading to other areas of the child’s development. Some of the interventions used are explained below. What is early intervention? Early intervention is a system of services that helps babies and toddlers with developmental delays or disabilities. Early intervention focuses on helping eligible babies and toddlers learn the basic and brand-new skills that typically develop during the first three years of life, such as: ? physical (reaching, rolling, crawling, and walking); ?cognitive (thinking, learning, solving problems); ?communication (talking, listening, understanding); ?social/emotional (playing, feeling secure and happy); and ? self-help (eating, dressing). Examples of early intervention services | If an infant or toddler has a disability or a developmental delay in one or more of these developmental areas, that child will likely be eligible for early intervention services. Those services will be tailored to meet the child’s individual needs and may include: ? Assistive technology (devices a child might need) ?Audiology or hearing services ?Speech and language services ?Counseling and training for a family ?Medical services ?Nursing services ?Nutrition services ?Occupational therapy ?Physical therapy? Psychological services Services may also be provided to address the needs and priorities of the child’s family. Family-directed services are meant to help family members understand the special needs of their child and how to enhance his or her development. Who’s eligible for early intervention? Early intervention is intended for infants and toddlers who have a developmental delay or disability. Eligibility is determined by evaluating the child (with parents’ consent) to see if the little one does, in fact, have a delay in development or a disability. Eligible children can receive  early intervention services from birth through the third birthday (and sometimes beyond). For some children, from birth | Sometimes it is known from the moment a child is born that early intervention services will be essential in helping the child grow and develop. Often this is so for children who are diagnosed at birth with a specific condition or who experience significant prematurity, very low birth weight, illness, or surgery soon after being born. Even before heading home from the hospital, this child’s parents may be given a referral to their local early intervention office. For others, because of delays in development | Some children have a relatively routine entry into the world, but may develop more slowly than others, experience set backs, or develop in ways that seem very different from other children. For these children, a visit with a developmental pediatrician and a thorough evaluation may lead to an early intervention referral. Parents don’t have to wait for a referral to early intervention, however. If you’re concerned about your child’s development, you may contact your local program directly and ask to have your child evaluated. That evaluation is provided free of charge. If you’re not sure how to locate the early intervention program in your community—keep reading. We give that information a bit further down the page. However a child comes to be referred, evaluated, and determined eligible, early intervention services provide vital support so that children with developmental needs can thrive and grow. The Early Intervention Grant (EIG) replaced a number of centrally directed grants to support services for children, young people and families.

Economic Analysis and Policy_Coursework Essay Example | Topics and Well Written Essays - 1000 words

Economic Analysis and Policy_Coursework - Essay Example In terms of agent’s utility, discretion based solutions are normally the best. On the other hand, policy options that are based on rules usually have little room for policy errors. However, such an approach requires a lot of confidence that the variables will perform as intended without any challenges. This is certainly difficult to realize for inflation targeting especially in the identification of financial stability (Langdana, 2009). Indeed, most rule-based approaches have faced many challenges especially when applied as an inflation target framework. In this respect, a discretionary framework is always appropriate in addressing the issue. It allows policy makers to learn much from the interaction between various relevant stakeholders. Nevertheless, it should be realized that the adaptability and flexibility of discretion comes with its own share of costs. There is limited predictability of the decision in addition to a tendency toward forbearance as policy makers are tempt ed to postpone backfiring decisions. In most rule-based approaches, policy reactions are normally left to some pre-defined automatic triggers and mechanisms. However, the use of rules might be difficult especially for a new policy which should be used across the world (Peston, 2010). (Question b) Indeed, the Taylor rule has greatly revolutionized the manner in which policy makers and central banks approach the issue of monetary policy. It frames policy actions in line with the various incoming information regarding economic conditions. In this case its contrasts the traditional period-by-period optimization problem. The rule has greatly brought into focus the need for adjusting policy rates more than one-for-one in responding to increased inflation. The rule is therefore used in adjusting prudent interest rates which can help in stabilizing the economy both in the short term and maintain growth in the long term. This is much opposed to inflation targeting which basically focuses on estimation of the inflation rates and attempting to fix the situation through interest rates (Barro, 2005). The attractiveness of the rule arises out of its ability to foster price stability and ensure full employment through a reduction of uncertainty. It further increases the credibility of future actions of the central bank. The rule might further avoid most inefficiency associated with time inconsistency through the use of discretionary policy. The Taylor rule indeed provided a compromise between the various competing schools of thought in a proper language often lacking in rhetorical passion. A recent application of the Taylor rule was made by the Federal Open Market Committee (FOMC) after inflation was seen to have risen by 2%. The rule provided a quantitative prescription on how the interest rates should be increased to address this change. Indeed, the Taylor rule has been important in addressing some of the challenges which conventional inflation targeting cannot reach. Howe ver, the rule also has its own challenges and is often used together with other approaches in real economic situations (Prachowny, (2011). Microeconomics (Question a) It is certainly true that firms prefer making more profits to less. Profit is certainly a very important concept in the operations of a

Introduction of Democracy Research Paper Example | Topics and Well Written Essays - 1750 words

Introduction of Democracy - Research Paper Example The constitution will  give power to the Congress to grant statehood to the district of Columbia according to this law. The residents of Washington D.C will then have full voting rights in both the houses of Congress (DC statehood). Citizens of Washington D.C should be granted equal voting rights by raising the status of the city to a state. The citizens should be allowed to vote representatives in the house of Congress in the same manner as it is allowed for the citizens of other states of America. This will ensure full voting rights to the residents accordingly as a democratic government is suppose to allow fair and equal voting rights to all its citizens. As the citizens of the city of Washington D.C pay federal taxes, there seem to be no reason of them being deprived of the very basic rule of democracy, that is, the right to vote. Paying federal taxes without being given the right to choose the representative for America is deemed unsatisfactory. Not giving voting rights is sim ilar to their treatment as international residents residing outside of the United States of America. Wade Henderson states, â€Å"The right to vote is fundamental in our democracy† (Leadership Conference on Civil Rights  2002). The Americans have long been striving for their voting rights. Their struggle to acquire voting rights has been a central policy in almost all their civil discussions. Many important laws have been enforced by the Congress regarding this matter over the past years. One such law includes the â€Å"Voting Rights Act of 1965†. Without giving the right to vote, the citizens of Washington D.C are just like spectators in an election. This is indeed unfair as it proves to be biased among the citizens of Washington and other cities; it produces a clear distinction among the citizens. There is no other country in the world which does not give voting rights to its citizens regardless of which ever state or district they belong to. Following the terroris t attacks of 9/11 on the twin towers in the U.S, the importance of the city of Washington was pointed out clearly. The terrorists destroyed the financial centre of the city of New York together with the central government in Washington D.C. Their attacks clearly reflected on all Americans, of every race, religion and color. Americans from around the nation condemned the attacks with utmost generosity for the victims and sadly, Washington D.C also had a share of the victims in the attacks of 9/11. Even after that, the citizens of the city of Washington were granted with no voting representations in the government which they were actually fighting for. To add to it, they were the first ones’ to respond to the Pentagon attack. The occupants of the city duly fulfill all their responsibilities like paying of taxes and services in the armed forces, yet they are deprived of such a basic right and cannot enjoy those privileges of equal voting which residents of other states enjoy. It is time that they should be declared the right to vote and choose their representative. The residents of the District of Columbia pay taxes at the rate of second highest per capita in the United States. Therefore, they should be fully represented in the Congress of America (Henderson. 2002). D.C was not a part of any state by the year 1801. This was in accordance to the  Ã¢â‚¬Å"District of Columbia Organic Act† passed by the Congress that very year. Thus, the District's residents lost the right to give votes and select their representatives. The residents of Washington City were eventually deprived to vote in the president election (American bar Association. 2006). In 1973, the Home Rule Act gave certain powers to the district

Case study11 Essay Example | Topics and Well Written Essays - 2000 words

Case study11 - Essay Example Audubon Park Zoo's promotions on support and awareness were directed by the Friends of the Zoo, Incorporated. Involved in the funding, operating and governing the zoo, it became the Audubon Institute taking the major share of the administrative functions in the zoo. The Audubon Zoo promotes membership to ensure cash flow. Membership fees significantly augment the income of the zoo along with the admissions and food and gift operations. The self-sustaining operations of the zoo can be linked to its good organizational structure and design. From having conditions in the early 1970's like "animal ghetto", "the New Orleans antiquarium" and "animal concentration camp", the Audubon Zoo had its share of improvement and development plans until its accreditation and was ranked as one of the top three zoos of its size in America. This organization underwent a series of metamorphosis due to lattice organization and core principles. The Audubon Zoo has a dominant horizontal organizational structure designed for learning in which there is shared tasks empowerment, relaxed hierarchy, few rules, face-to-face communication, many teams and task forces and decentralized decision-making. The Friends of the Zoo, Incorporated (FOTZ) turned Audubon Institute has its mission statement anchored on earth's life preservation through awareness and appreciation. Natural world's conservation and enrichment are also part of the mission. It was formed in 1974 for the purpose of increasing support and awareness of the Audubon Park Zoo. This simple task however logically changed as more needs arose due to the zoo's dramatic transformation. From just drawing interest and commitment from the public, the FOTZ were now involved in funding, operating and governing the zoo. At present, the Institute's goals gear toward conservation, education, research, economics and leadership. 1.1.2 Horizontal Information Linkages Horizontal information linkages refer to the amount of communication and coordination among an organization (Daft, 2004). The Audubon Park Zoo's organization as populated by FOTZ members, volunteers, zoo parents, city public, local enterprises, local television companies, city officials, neighborhood, etc. has highly encouraged communication and coordination everywhere in its organization. Such varied and loosely organized groups pose direct and indirect lines of communication between person to person and within and among groups. The advantage of the open lines of communication is improving the quality and efficiency of communication. 1.1.3 External Environment Environmental uncertainty increases

Marketing Planning and Strategy (M7_1) Assignment

Marketing Planning and Strategy (M7_1) - Assignment Example This has the effect of cost reduction and improved productivity through learning and experience curve and overall increased market command from brand consistency. Most customers in all products in the world opt for a user friendly products and the car manufacturing industry is not an exceptional. In the car firms, comfort, safety, reliability and convenience rules the market. In that respect, Sync technology is a superb feature that is incorporating all the above stated factors plus many others that no any car firm in the globe can rival. It should therefore be noted that this is has given Ford a competitive edge above the others (Pride & Ferrell, 2012).Due to the increasing social economics adjustments in the society, women are rapidly joining the work force and they wield a lot of influence with their particular influence in the market for small car. The rising cost of fuel is also pushing people to go for the small cars as a cost cutting strategy and all these has made Ford invest in small cars hence greater market

Case Study Assignment Example | Topics and Well Written Essays - 1000 words - 2

Case Study - Assignment Example In addition, monetary and fiscal policies will have an effect on the interest rates of the whole economy. Higher oil prices affect the global economy in a number of ways. Some of the factors include the transfer; when consumers buy oil, they transfer their wealth to oil producers. In our case, the decrease of oil prices makes the US dollar to be strong and causes repatriation of money to the Federal Reserve. The forces of demand and supply have affected the global prices. The laws of demand and supply state that as the price of a commodity increases, its demand decrease with the exception of a few while the law of supply states that as the supply of commodities decreases, its price increases. In the international oil prices the law of demand and supply applies. The diagram below demonstrates on the law of demand and supply for crude oil up to 2015. The supply of oil since last year has been increasing steadily than the actual demand which led to the decrease of oil prices as shown above. The supply was caused by stockpiling of unused oil. The chat above is used courtesy of International Energy Agency. However, in countries like Russia and Venezuela, its bad news. The oil producing and exporting company would not pass a resolution on this trend. Of a great interest is Saudi Arabia which has been blamed for not curbing its production thus leading to a high supply of crude oil and gas in the world. As a result, the prices went down by half which led to their economy to decline unlike in the US which has stored oil in barrels in their reserves. Another effect is that this causes price discrimination among various states especially the emerging economies. Countries like India and China compared to the US have greater price disparities due to oil prices fluctuation. The US in a way enjoy monopoly because of the strong currency and emerging economies currency continue to depreciate Hanke (2014). This is what causes

An experience Essay Example | Topics and Well Written Essays - 250 words

An experience - Essay Example Despite of my repeated requests, he insisted on driving. I gave up after trying for a very long time. He was driving very fast and did not take care of the speed limits of the road. His rash driving led to us being stopped by the police. They performed the alcohol test and his alcohol level was above the normal limits. We had broken the law and we had to face the consequences. We were locked up in jail. Our parents reached for our help. They paid the fine. It was a very difficult situation for me. I found it very difficult to face my family and I had placed them in a tough position. I felt very ashamed. I learnt an important lesson that rules and regulations are meant to be followed. This is not only for the good of the society but also for not letting down your family. When I saw the concerned faces of my parents, I realized how reckless I had been. I analyzed that from that day onwards I would always follow the correct path and never let my parents down. My personality has been determined by both environmental as well as genetic influence. The occurrences of my life have alerted and shaped my personality but my response to these occurrences is determined by genetic influence. This is owing to the fact that there are many situations in which I see myself reacting in a similar manner as my father does. Thus my personality has been molded by both genetic and environmental

Willingness to Pay Essay Example | Topics and Well Written Essays - 250 words

Willingness to Pay - Essay Example On the other hand, for a park or a green space to remain in good and attractive condition, regular maintenance, and improvements are mandatory. Costs are incurred in order for these services to be effectively provided to the public, hence necessary to charge the public a relatively small sums of money in order to meet the costs. Nevertheless, it is important to consult the public about the amount they are willing to pay for the services, amenity, or a resource hence the term â€Å"willingness to pay†. A good example of willingness to pay scenario is the residents of Boulder Colo in USA. The people of this area were willing to pay up to $234 per home in order to keep a five and a half acres of land preserved for public usage (Americantrials, 2014). This land had not been developed for long hence the community decided to be contributing the large sums of money in order for them to be using it as a park. Their decision could however be termed as highly brilliant since presence of this land as a park made the value of the surrounding properties to dramatically hike in price. Other recreational benefits that were accrued from the existence of the park included travelling costs incurred while visiting the park. Within a period of four years (1995-1999), the property price premiums were summing up to $140.2 million. There was also a net entertaining value of over $7.6 million (Americantrials, 2014). In conclusion, provision of opportunities for physical activities such as establishment of recreational areas like parks or provision of service may have so much economic benefit to the local government, private developers, and the to the residents of that the neighboring areas. Facilities like parks; availability of quality water among others raises the value of the properties and homes in the nearby area. Moreover, the cost incurred in maintaining such recreational facilities and resources is by far much lower than

Discussion board forum Assignment Example | Topics and Well Written Essays - 500 words - 4

Discussion board forum - Assignment Example Concurrently, it is domineering that ethical issues are considered during the formulation of the evaluation plan; likewise, the most common and essential considerations during the process include: informed consent, voluntary participation, do no harm (Beneficence), respect for confidentiality and anonymity, respect for privacy and assessment of only the relevant components. Informed consent is considered to be the most major ethical issue in conducting research and most of the experienced researchers give it the definition of a person expressively, willingly and logically, and in a clear and manifest way gives his consent (Deborah 2003). Basically, it is one of the most outright ways that a person’s autonomy is protected as it circles around that particular person being fully informed about the evaluation being conducted. The informed consent ethic seeks to integrate the rights of self-governing participants through autonomy and also prevent assaults on the integrity of the patient and protect personal freedom and genuineness (Johnstone 2009). Any additional information should also be provided in any event that the participant becomes distressed in any way since the main purpose of informed consent is that the participant is able to make informed decision as to whether they will participate in the evaluation or not. Normally, voluntary participation goes hand in hand with the informed consent ethic and means that the people participate in the evaluation free from intimidation and they are free to withdraw their participation at any time without negatively impacting on their involvement in future services or the current program and relationships with any of the researchers or research bodies involved (Deborah 2003). Sometimes there can be a lot of challenges especially in situations where one has the task of encouraging high risk youth to become engaged in a program hence making the situation difficult mostly when the

Cradle to Cradle Essay Example for Free

Cradle to Cradle Essay The ? rst key aspect of Cradle to Cradle ® in education is to move away from teaching children to feel guilty. We have faced a long period of all kinds of environmental disasters which has created a feeling that it would be better if we were not here. This is why people talk about minimising footprints. For education, however, that’s not a very positive message. There’s no doubt that sustainability has brought us a great deal of valuable expertise such as knowledge about supply chain management, logistics, toxicity, top soil, phosphate, nutrient recovery, material ? ows, etc. There is a wide range of knowledge that we can now use and build on. However, this has also led to us feeling guilty for being alive and being on earth. If this is the basis for education, you will not be able to inspire people to do new things. You can’t be innovative working from guilt because you’re trying to minimise feeling guilty. We now have the opportunity to use 30 years of environmental debate for innovation. To put plastic into the ocean is just stupid, just like making chemicals that damage biological systems. People become more creative when they feel appreciated and live without fear. It’s far more powerful to be proud of what you do. So the ? rst, and far most important thing is to tell children that we are happy that they are here. I’ve looked at over 50 different types of native tribes and learned that when people feel accepted and safe, they are always generous and friendly. Even the poorest of the poor share their things. I hope this book inspires teachers and educational policy makers to create more room for children and students to feel accepted and give them the opportunity to be proud of being here. Noodle to Noodle? There are many approaches that can be taken when teaching children about our planet. However, I would kindly like to ask you not to confuse the concepts of industrial ecology, sustainability and life cycle assessment with C2C ®, because otherwise it all just becomes ‘noodle to noodle’. Inspired by Cradle to Cradle ® 5 In my opinion, the concept of sustainability is especially unattractive for education. There is no innovation that is sustainable; otherwise it wouldn’t be an innovation. Sustainability always remains within the realm of existing systems, i. e. it always stays in the same paradigm. And just so that we’re clear, if we stay in the same paradigm, we will destroy the planet. Minimising your footprint, doesn’t help; we need to do things differently. People have been trying to do things that are less bad for many years now, but that just delays the process. We’ll just destroy the planet a little later. That doesn’t make sense. Cradle to Cradle is about innovation, quality and beauty. It’s not  ® And this requires long-term goals. By teaching children to set longterm positive goals, like: In 10 years we want to be soil ‘positive’, the educational system could make a dramatic change and generate endless innovation. Cradle to Cradle ® in education needs all your expertise This book showcases examples of the ? rst steps that are being taken to implement Cradle to Cradle ® in education. Several institutions in the Benelux countries are looking at how to implement C2C ® in their respective curricula. And there are similar developments in Denmark, Germany and Sweden as well. It’s amazing how fast it’s spreading. C2C ® helps empower students and teachers to become engineers, designers, architects, chemists, economists, communications specialists, managers, product developers, marketeers and urban planners because there is so much room to innovate. We need a change in education in all the different subjects. We need a whole range of skills to work together on solutions, and for that we need a whole range of quali? cations. Some people are more into operating things and others more into constructing, while some are more into conceptual work and others more into applying it. To really make things work, we need C2C ® principles to be applied to all ? elds. beautiful when it’s toxic. And it’s not beautiful when people can’t make a living either. These young kids want to be proud of what they do. Educational institutions have all the means to make young people feel accepted so they can be kind and generous. Sustainability is guilt management from the past. Why would we want to be less bad, when instead we can be good? Instead of talking about minimising our footprint, Cradle to Cradle is about making a big and positive footprint.  ® Positive intentions goals Education is always about intentions: Where do I want to be? What do I want to achieve? What is relevant for the people I’m working with? 6 Inspired by Cradle to Cradle ® I would be delighted if this book could help bridge the gap between the universities of applied sciences and the traditional universities because we need to develop solutions together. We need to combine theory with applications for ? nding answers to the question of how can we do this. Cradle to Cradle ® in education is about taking people as they are and supporting them to become what they want to be. This means looking at a C2C society. It’s about looking at what the human role is on this  ® While repairing the engine, the student mechanics automatically sorts the metals and other materials used, to make sure the other students have plenty of stuff to work with. Again. And again. And again. It has been a long day and Jeanne sits down for a second while watching over her lovely smelling hand creams, moisturisers and planet; it’s about innovation, a positive footprint, a system that allows us to be bene? cial, instead of less bad; it’s about giving people a long-term goal and a positive vision of where to go. Cradle to Cradle is about a positive agenda. To reach that goal, everybody needs to be on board. All your expertise and all your skills are essential. I hope this book invites and inspires you to look at how to translate C2C principles to your ? eld.  ® other skin products. She had been taught to read and really understand what is on the label. And these†¦ she Kind regards, Prof. Dr. Michael Braungart Hamburg, February 2011 Cradle to Cradle ® and C2C are registered trademarks of EPEA Internationale Umweltforschung GmbH and McDonough Braungart Design Chemistry, LLC.knows for a fact, have only nice, healthy things in it. Inspired by Cradle to Cradle ® 7 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 28 29 30 31 8 Inspired by Cradle to Cradle ® Ljiljana Wiersma-Rodic PhD Douglas Mulhall, Cradle to Cradle Chair, Erasmus University Cradle to Cradle ® is an innovation framework developed by Michael Braungart, and William McDonough and their colleagues in the 1990s for designing products and systems that are explicitly bene? cial to the individuals involved as well as to the natural environment and society at large. It is based on award-winning research started in the 1980s and continuing today at the Environmental Protection Encouragement Agency (EPEA) in Hamburg Germany, for designing bene? cial economic, social and environmental features into products, processes and systems. The approach was originally known as the Intelligent Product System, and was awarded the Oce van der Grinten Prize in 1993. The approach is primarily an entrepreneurial and innovation concept that starts by determining the intended bene? ts of a product or service instead of focusing on minimizing negative environmental impacts. Development and design of materials, products, production processes and entire systems are based on the principles of natural ecosystems, where the quality and effectiveness of material and energy ? ows are central features. Some examples of this include the development of human- friendly buildings that produce energy and clean air, or agricultural and other activities that help to restore topsoil as one of our most valuable natural resources. Much like in natural ecosystems, material ? ow partnerships play a key role in the implementation of Cradle to Cradle principles. C2C functions in three distinct but inter-related categories Philosophy E. g. the concept of positive intentions and being bene? cial instead of ‘less bad’. The concept of C2C as an innovation platform for improving quality. These philosophical approaches provide an inspirational basis that distinguishes C2C from conventional ‘sustainability’. The philosophy of C2C also allows for further development of C2C as well as healthy discussion over what is the purpose of human beings on this planet, as described by Michael Braungart in his introduction. Principles Three basic principles that guide implementation of the C2C philosophy. The distinguishing point about these principles is that they can each be implemented measurably so that progress can be determined toward a goal. Inspired by Cradle to Cradle ® 9 Application Tools The scienti? c, technical, economic, management and social tools that are used to implement the principles. C2C innovation starts by determining the intended value and de? ning one’s own positive, bene? cial intention. The process is then supported by a ‘road map’ prepared to ensure complementarity and synergy among the individual activities. An example is the ABC-X or ‘traf? c light’ system of assessing product ingredients for their de?ned use. is a nutrient for something else. This includes materials that are not normally considered to be waste. One of the fundamental laws of nature holds that residual materials from the metabolism of one organism constitute food for another organism. In a society that is based on Cradle to Cradle principles, all materials that we consider to be waste serve as input (nutrients, food) for a new cycle of production, time and time again. In this way, Cradle to Cradle eliminates the concept of waste because waste = food. The Cradle to Cradle concept distinguishes between consumption products and service products. Consumption products either get spent Principles The three basic principles of the Cradle to Cradle framework are: Waste = Food (everything is a nutrient for something else) Use current solar power income Celebrate diversity (biodiversity, conceptual diversity and cultural diversity). Waste = Food (everything is a nutrient for something else) There is often a misunderstanding of this principle due to the quick and catchy but somewhat misleading title. The important thing is not that waste becomes food for something else, but instead that everything 10 Inspired by Cradle to Cradle ®Ã‚  (consumed) or wear out during their period of use and, if anything is left over, it can be safely returned to the natural environment. Some examples of this include agricultural products like bread and butter, cosmetic products like soap and hand cream, and natural ? Bre clothes and shoes. Such materials are considered to be biological nutrients, as they feed into a natural biological metabolism (‘biosphere’). Biological nutrients, e. g. wood, can be used in pre-de? ned ‘cascades’, where the quality deteriorates from one application to the next, but in the end all of the material can go back into the biological cycle, in ways that are bene? cial for and thus not harmful to human health or the environment. As these materials come from the land, due care is required for these nutrients to indeed remain on land instead of ending up in the ocean, where processes of biological degradation are quite different to those of terrestrial ecosystems or a composting installation. Service products do not get consumed, but rather provide the user with a certain desired service. Some examples of this include cars, washing machines and TV sets. These products are usually made out of metals and various synthetic materials, which originate from renewable or non-renewable sources and are often hazardous to human health and the environment. As such, they cannot be safely returned to the environment if they are completely disassembled into their component materials and disposed of after special processing. Those types of processes are usually impractical or too expensive, so it makes more sense to keep the materials in technical cycles where they can be reused and do not enter the environment in concentrations that are hazardous. Moreover, they often contain rare metals that are available on earth in very limited amounts. For these reasons, they are considered technological nutrients and should be returned to the technological cycle (‘techno sphere’), where they will be used to make new products with the same level of quality, time and time again. A famous example of this is Herman Miller’s Mirra chair, which has been designed for disassembly and for its materials to be reused in high-quality applications at least 200 times. According to Cradle to Cradle, the worst possible designs are so-called monstrous hybrids, consisting of materials that cannot be separated after use their period of use, and thus cannot be returned safely to either of the two cycles. Design for Sustainability Eco-efficiency C2C Environmental cost accounting Global view Partnerships in total chain management Product Stewardship / LCA Integrated managent systems Management system focus Pollution prevention Compliance proactive Compliance reactive Waste/ costs/ noncompliance Unprepared Aware/reactive Proactive Mainstreaming. Outward view Inward focus Mature/highly integrative Use current solar power income The Cradle to Cradle concept assumes a reliance on renewable energy sources that ultimately originate from the sun, i. e. solar energy, wind energy, water and various innovative bio-based sources, provided that they meet requirements of the ? rst C2C Principle, and do not compete with food crops. For further explanation of current solar income please refer to Cradle to Cradle Criteria for the Built Environment (Mulhall c. s. , 2010) which contains an annex on C2C and Energy describing this more precisely. Inspired by Cradle to Cradle ® 11 Celebrate diversity Respect for diversity in all its forms, including biodiversity, cultural diversity, and diversity of ideas and innovation to suit local conditions, is an integral part of the Cradle to Cradle concept. Instead of relying solely on legislation as a means to of reconciling the perceived con? ict between economic interests and environmental protection, Cradle to Cradle encourages designers, entrepreneurs, policy-makers, material and other scientists alike to create systems and products that are  bene? Cial and add value to all three domains: the economy, society and the environment. under sustainability principles, individual mobile phones have become far more ef? cient, but collectively consume many times more materials and energy than they used to, because ef? ciency made them affordable for billions of users. Mobile phones produced under C2C principles are designed to make sure they can be effectively recovered at the same level of quality, not to minimize materials. This is a basic difference in approach for business. This is why C2C is often referred to as ‘surpassing’ or ‘going beyond’ sustainability. There are many other differences between C2C and sustainability as illustrated in the scheme on page 11. It is important for readers to Cradle to Cradle versus conventional Sustainability In further sections of this book you will frequently see reference to ‘sustainability’ when interviewees are discussing C2C. This is because companies often include C2C under their ‘sustainability’ portfolios. But actually this is not the ideal way to approach C2C because there are fundamental differences. Conventional sustainability usually attempts to minimize bad impacts through ef? ciency while C2C aims at improving bene? cial ones. To illustrate this let’s consider the case of mobile phones. Produced 12 Inspired by Cradle to Cradle ® keep this in mind when reading this book. It is also true that some application tools used for sustainability are also used for C2C1. 2. 1 Waste no more – The Van Gansewinkel Groep Roel Majoor, Organisational Development Manager (interviewed by Judith van Heeswijk) technological cycles. The constant conversion of waste into energy and raw materials is seen as added value. The company transformed from a traditional waste collector into a supplier of sustainable raw materials and energy. They seek sustainable solutions for their waste streams and consider their knowledge of waste as something of value to partners. Their goal is to work together in early product design stages so that they can ful? l a role and help deliver pro? table solutions for waste streams. Given that Van Gansewinkel has embraced the Cradle to Cradle The Van Gansewinkel Groep is a major player in waste management in Western Europe. It’s also one of the ?rst companies in Western Europe to fully implement Cradle to Cradle design in its business processes. The company’s sustainability ambitions have been translated into their business operations and into a strategy that includes Cradle to Cradle objectives. From their mission statement : 2 concept, this has also had implications for its operations and the way business (waste) processes are designed and managed. This means additional knowledge and competences are needed from employees. Since 2008, the company has been working together with EPEA to streamline knowledge in operations. They found that a lot of implicit knowledge about waste management is useful for understanding the transition to C2C. There was less explicit knowledge about C2C basic Inspired by Cradle to Cradle ® 13 †By seeing Cradle to Cradle as a guideline, we deal with raw material shortages and the CO2 problem. We assume opportunities and not debt management. † The company sees waste as a source of new raw materials and energy. They see their role as one that closes the biological and principles, so the company had to acquire additional knowledge about this. The EPEA shared these principles during a ?rst meeting. After that, practical knowledge and experience was even more important to bring employee knowledge up to a working level. The company understands that there is a signi? cant difference between knowing C2C in theory and predicting the way it will have to be applied in daily practice. The steps and processes have to be thought through and visualised several times to be able to thoroughly understand the principle. To really use C2C, insight into its use is essential. You have to make it your own. It is a radically different way of thinking and is, therefore, a paradigm shift. This means it also asks for a paradigm shift from employees. And in relation to customers’ needs in particular it is becoming more and more practical, as it also means that you ask the customer to think about waste from another perspective. The Van Gansewinkel employee has to be able to communicate the principle to the customer. Communication is something that should not be underestimated in the transition to C2C. Van Gansewinkel used three different training courses: waste managers, sales and marketing managers. A total of approximately 150 people took the course. The training course focused on large industry. 2 Sponsors training. A two-day EPEA training course for employees that need to know how to translate the C2C concept into the organisation. This training course was developed for managing directors, etc. 3 Advisors training: two one-day training in company courses for sales executives. It dealt with the basic principles and translating them into business operations. The training course focused on small and medium enterprises (SMEs). 1 Champions training: A four-day EPEA training course, in which the theory is brought to life and cases are studied. This training course was developed for regional management, key account managers, ‘Garbage Elefant’  © Franny Thonhauser 14 Inspired by Cradle to Cradle ® Large industry is able to close the biological and technological cycles itself, but that isn’t the case for SMEs, which are often just a small link in the production chain. Therefore, they are more dependent on other companies to change production and waste processes. Van Gansewinkel has turned out to be a chain facilitator in some cases. Van Gansewinkel has a reason for doing so because large volumes of waste are often necessary to be economically ef?  cient. Competences Van Gansewinkel states that working with C2C principles is more important than knowing them. General change management competences are essential and the three change management steps are: Management noticed that employees invest more time and energy in their work than their role requires. This is also evident at course reunions that take place a year after the training. Everyone is very willing to attend them and a lot of passion for the concept is shared. Technical issues From a technical point of view, it is mainly the strength of innovation that is important for the company. The company is implementing biomimicry for its innovation processes. It starts by learning to understand processes in nature and, from there, to develop and innovate the company’s processes. It’s a link between biology and technology or taking the ecological system into the technological one. Knowledge management Knowledge management has been very important for the main issues surrounding C2C transition. Several knowledge centres were opened to gather information and knowledge on materials and processes. It is not only the operators who have access to this information, but also account managers and local waste managers. These knowledge centres also provide information on where certain knowledge on materials is available and what speci? cs are accessible. 1 2 3 To raise awareness about the need for change. To highlight the momentum for change. To create a willingness to change It is only after you have taken these steps that you can work on the ability to change. The new competences for Van Gansewinkel were primarily change management ones. The main goal is to be able to address the story in a positive way, to tell it simply and convincingly, i. e. the sales pitch. Telling the story is not about selling a product, but about conveying an ideology. The employees have indicated that using the C2C concept adds more depth to their work and energises them. Inspired by Cradle to Cradle ® 15 Seeing as the company is moving towards a more facilitating position in the materials market, it is focusing more on logistics and purchases. New business opportunities have also arisen, e. g. it’s investigating the possibility of producing and selling recycled glass for the consumer market. The glass industry is reluctant to invest though, so Van Gansewinkel has decided to develop this business on its own. This shows how innovative its new role can be. Additional knowledge on the basic Cradle to Cradle principles is needed for vocational-level competences. The basic ideology has to be embedded, so that employees are able to convey it to others. Employees on the technical site who have a vocational education background have to deal with the concept when working on separation plants. The main part of the machines in the plants is developed within the company. Technical engineers and operators are consulted during the development of new separation lines. This process actually hasn’t changed since C2C has been implemented. The operators are used as part of the developing processes. Only the perspective, goals and market needs have changed. Current developments within the organisation are expected to be temporary, because the transition to C2C is now leading the way. In the future, all the necessary changes will be made. The current change asks for a more project-oriented way of working and for employees to invest more time in it. Over time, however, products in the waste stream will be more and more assembled or degradable. The company wants  Knowledge and education At the moment, the company has to consult others in the new ? elds of expertise required. For the very ? rst time ever, they have three technical university trainees for these ? elds, i. e. Geometrics; Industrial Design, and Energy Sciences and Operation Management Logistics. 16 Inspired by Cradle to Cradle ® to have its waste processes aligned with these products and material streams by then. At the moment, the company has to deal with different types of material streams. Over the next few years, all technical engineering education needs to focus more on design. Design principles have to be taught to higher education and academic students. C2C principles also impact the organisation. A roadmap 3 has been designed to change facilities, e. g. the vehicles, human resource management (diversity and employing senior personnel,) and to make internal processes more C2C proof. They admit that pursuing these ambitions is sometimes a bit dif? cult ? nancially speaking. Desso is the ? rst carpet manufacturer in Europe, the Middle East and Asia to adopt the Cradle to Cradle design philosophy and they are planning further geographical expansion into Latin America. Their carpets and arti? cial grass will be produced using manufacturing processes that rely on renewable energy, seek to conserve water and embrace social responsibility. Their products are made from environmentally friendly, pure materials that are safe for human 2. 2 Quality personnel DESSO Joris Bressers, Human Resource Advisor (interviewed by Judith van Heeswijk) health and are designed in such a way that they can be biologically or technologically recycled 5 at the end of their useful lives. Prior to formal Cradle to Cradle certi?cation being granted, products, materials and components must all undergo a rigorous assessment procedure. The initial stages of the certi? cation process comprise assessing raw materials in terms of human and environmental health criteria, and evaluating the manufacturing process according to recycling potentials, energy and water use, and social responsibility. EPEA will be supplied with detailed information regarding all the materials involved in DESSO’s products and processes. The future steps towards Cradle to Cradle certi? cation are: List all the chemicals a product contains. All compounds are also separated into their components (the base chemicals). Inspired by Cradle to Cradle ® 17 Carpet, carpet tile and arti? cial turf manufacturer Desso is one of the leading companies in its ? eld in Europe. Their Business Carpets division manufactures carpets for commercial locations such as of? ces, banks, retail units, public buildings, schools, universities, hospitals and care centres. Point 3 of DESSO’s innovation strategy is its ambition regarding Cradle to Cradle: 4. â€Å"Cradle to Cradle: Developing products and processes that will contribute towards a better environment and better indoor quality. † Material Safety Data Sheets are collected as well as all toxicological and eco toxicological data. EPEA evaluates all chemicals on 12 different criteria and gives an overall assessment, i. e. red, yellow or green. Work on phase-out plans for those chemicals that are given a red assessment. EPEA monitors these plans. DESSO has already launched its innovative EcoBase ® carpet tile backing – enabling the world’s ? rst Cradle to Cradle silver certi? cation for an entire carpet tile product. Competences In 2007, when they started on their Cradle to Cradle journey, DESSO needed additional expertise in the company primarily chemical expertise at the design stage. The marketing department also needed additional expertise on the basic C2C principles, in order to be able to communicate the added value of the certi? ed products. Special technical project teams were set up to develop new machines. The key values encouraged throughout the organisation – and required At this point in time, 90% of DESSO’s polyamide carpet tile collection is Cradle to Cradle certi?ed. 6 from every employee to ensure a successful Cradle to Cradle work method are ‘ownership’, common sense, ambition and integrity. Furthermore, Desso have seen that employees are motivated and driven by being involved in this ambitious, strategic change of direction. A large group of employees from the company from a variety of departments and disciplines were given a training course at EPEA and this expertise has since been transferred into the production processes. EPEA has been contributing to further increasing knowledge within the organisation. The company has found that it is one of  the leaders in implementing the concept and therefore had to discover and tackle a lot of issues themselves in the early stages. 18 Inspired by Cradle to Cradle ® Employee commitment to the Cradle to Cradle goals is of utmost importance, along with a strong belief in the philosophy. If they see for themselves that implementing it works, and that the market responds positively, that creates great encouragement to move ahead. DESSO created a Cradle to Cradle awareness team tasked with raising awareness on sustainable issues within the organisation, such as waste management. The company strategy places Cradle to Cradle as the top concern for every part of the organisation, and has identi? ed their production processes as the ? rst area to target. education organisations are sometimes not up to speed with the new developments within multinationals. The students are often not fully equipped with essential frontline knowledge. Moreover the multinationals have dif? culty ? nding new employees that can immediately take up a complicated subject like Cradle to Cradle and AkzoNobel needs these kinds of people as their ambition is to belong to the world’s most sustainable multinationals. The company seeks to attract genuinely motivated and interested students. A real compassion is essential, especially when it comes to sustainable issues. AkzoNobel took the initiative to search for those students another way. With some partners (BECO, Royal Cosun, DPI Value 2. 3 Factory of the Future Akzo Nobel Jan Verlaan, Ideation Manager (interviewed by Judith van Heeswijk) Centre, Search, Witteveen+Bos, and DSM), it developed a conceptual production environment based on sustainable principles, in terms of people (equity), planet (ecology) and pro?t (economy), for the total value chain. The aim of this virtual facility is to close the biological and technological cycles of a product and its related manufacturing as much as possible. AkzoNobel has extensive global experience cooperating with educational organisations both on traineeships and on projects. The impression of Jan Verlaan, Ideation manager at AkzoNobel, that universities and higher The critical factor in developing this virtual Factory of the Future 7 is sustainable design, in which Cradle to Cradle principles form the foundation where possible. The facility’s design showcases renewable energy, water management and active materials and transport management. Inspired by Cradle to Cradle ® 19 The Factory of the Future demonstrates the feasibility of a typical chemical plant designed according to a continuous loops system, i. e. a production environment based on sustainable principles for a positive footprint. All the partners realise that existing processes have to be redeveloped for sustainable development. Therefore, starting from scratch is essential. The project aims to generate an open concept for the factory, one that can be used by other companies and projects to bene? t society as a whole. The production environment will be suitable for a variety of sustainable products and production lines. The facility will be available as a training centre for users to train employees on new processes and products. The aim is to design not only a sustainable building, but also a sustainable production chain, which requires solutions at a much higher level. The Factory of the Future project also extends into a learning community. Students have to apply for the Honours course, which they follow for six months and which can lead to a graduation project. AkzoNobel reckons it will particularly need people from different disciplines who relate to sustainability. Production chains will become sustainable and will, therefore, change in the near future. Nonetheless, other aspects of enterprise will change. Financing structures, business 20 Inspired by Cradle to Cradle ® models, the legal system, policy, facility management, buildings, training, HR management, etc. ; all of these will change because of the increasing orientation towards sustainability that will become explicit when Cradle to Cradle is introduced into the organisation. They have people with chemical process.