27 skills found
karlicoss / PromnesiaAnother piece of your extended mind
karlicoss / HPIHuman Programming Interface 🧑👽🤖
parsify-dev / DesktopNext generation notepad-based calculator, built with extendibility and privacy in mind.
cldwalker / BosonA command/task framework similar to rake and thor built with extendability in mind.
danderfer / Comp Sci Sem 2According to all known laws of aviation, there is no way that a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway. Because bees don’t care what humans think is impossible.” SEQ. 75 - “INTRO TO BARRY” INT. BENSON HOUSE - DAY ANGLE ON: Sneakers on the ground. Camera PANS UP to reveal BARRY BENSON’S BEDROOM ANGLE ON: Barry’s hand flipping through different sweaters in his closet. BARRY Yellow black, yellow black, yellow black, yellow black, yellow black, yellow black...oohh, black and yellow... ANGLE ON: Barry wearing the sweater he picked, looking in the mirror. BARRY (CONT’D) Yeah, let’s shake it up a little. He picks the black and yellow one. He then goes to the sink, takes the top off a CONTAINER OF HONEY, and puts some honey into his hair. He squirts some in his mouth and gargles. Then he takes the lid off the bottle, and rolls some on like deodorant. CUT TO: INT. BENSON HOUSE KITCHEN - CONTINUOUS Barry’s mother, JANET BENSON, yells up at Barry. JANET BENSON Barry, breakfast is ready! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 1. INT. BARRY’S ROOM - CONTINUOUS BARRY Coming! SFX: Phone RINGING. Barry’s antennae vibrate as they RING like a phone. Barry’s hands are wet. He looks around for a towel. BARRY (CONT’D) Hang on a second! He wipes his hands on his sweater, and pulls his antennae down to his ear and mouth. BARRY (CONT'D) Hello? His best friend, ADAM FLAYMAN, is on the other end. ADAM Barry? BARRY Adam? ADAM Can you believe this is happening? BARRY Can’t believe it. I’ll pick you up. Barry sticks his stinger in a sharpener. SFX: BUZZING AS HIS STINGER IS SHARPENED. He tests the sharpness with his finger. SFX: Bing. BARRY (CONT’D) Looking sharp. ANGLE ON: Barry hovering down the hall, sliding down the staircase bannister. Barry’s mother, JANET BENSON, is in the kitchen. JANET BENSON Barry, why don’t you use the stairs? Your father paid good money for those. "Bee Movie" - JS REVISIONS 8/13/07 2. BARRY Sorry, I’m excited. Barry’s father, MARTIN BENSON, ENTERS. He’s reading a NEWSPAPER with the HEADLINE, “Queen gives birth to thousandtuplets: Resting Comfortably.” MARTIN BENSON Here’s the graduate. We’re very proud of you, Son. And a perfect report card, all B’s. JANET BENSON (mushing Barry’s hair) Very proud. BARRY Ma! I’ve got a thing going here. Barry re-adjusts his hair, starts to leave. JANET BENSON You’ve got some lint on your fuzz. She picks it off. BARRY Ow, that’s me! MARTIN BENSON Wave to us. We’ll be in row 118,000. Barry zips off. BARRY Bye! JANET BENSON Barry, I told you, stop flying in the house! CUT TO: SEQ. 750 - DRIVING TO GRADUATION EXT. BEE SUBURB - MORNING A GARAGE DOOR OPENS. Barry drives out in his CAR. "Bee Movie" - JS REVISIONS 8/13/07 3. ANGLE ON: Barry’s friend, ADAM FLAYMAN, standing by the curb. He’s reading a NEWSPAPER with the HEADLINE: “Frisbee Hits Hive: Internet Down. Bee-stander: “I heard a sound, and next thing I knew...wham-o!.” Barry drives up, stops in front of Adam. Adam jumps in. BARRY Hey, Adam. ADAM Hey, Barry. (pointing at Barry’s hair) Is that fuzz gel? BARRY A little. It’s a special day. Finally graduating. ADAM I never thought I’d make it. BARRY Yeah, three days of grade school, three days of high school. ADAM Those were so awkward. BARRY Three days of college. I’m glad I took off one day in the middle and just hitchhiked around the hive. ADAM You did come back different. They drive by a bee who’s jogging. ARTIE Hi Barry! BARRY (to a bee pedestrian) Hey Artie, growing a mustache? Looks good. Barry and Adam drive from the suburbs into the city. ADAM Hey, did you hear about Frankie? "Bee Movie" - JS REVISIONS 8/13/07 4. BARRY Yeah. ADAM You going to his funeral? BARRY No, I’m not going to his funeral. Everybody knows you sting someone you die, you don’t waste it on a squirrel. He was such a hot head. ADAM Yeah, I guess he could’ve just gotten out of the way. The DRIVE through a loop de loop. BARRY AND ADAM Whoa...Whooo...wheee!! ADAM I love this incorporating the amusement park right into our regular day. BARRY I guess that’s why they say we don’t need vacations. CUT TO: SEQ. 95 - GRADUATION EXT. GRADUATION CEREMONY - CONTINUOUS Barry and Adam come to a stop. They exit the car, and fly over the crowd to their seats. * BARRY * (re: graduation ceremony) * Boy, quite a bit of pomp...under * the circumstances. * They land in their seats. BARRY (CONT’D) Well Adam, today we are men. "Bee Movie" - JS REVISIONS 8/13/07 5. ADAM We are. BARRY Bee-men. ADAM Amen! BARRY Hallelujah. Barry hits Adam’s forehead. Adam goes into the rapture. An announcement comes over the PA. ANNOUNCER (V.O) Students, faculty, distinguished bees...please welcome, Dean Buzzwell. ANGLE ON: DEAN BUZZWELL steps up to the podium. The podium has a sign that reads: “Welcome Graduating Class of:”, with train-station style flipping numbers after it. BUZZWELL Welcome New Hive City graduating class of... The numbers on the podium change to 9:15. BUZZWELL (CONT’D) ...9:15. (he clears his throat) And that concludes our graduation ceremonies. And begins your career at Honex Industries. BARRY Are we going to pick our job today? ADAM I heard it’s just orientation. The rows of chairs change in transformer-like mechanical motion to Universal Studios type tour trams. Buzzwell walks off stage. BARRY (re: trams) Whoa, heads up! Here we go. "Bee Movie" - JS REVISIONS 8/13/07 6. SEQ. 125 - “FACTORY” FEMALE VOICE (V.O) Keep your hands and antennas inside the tram at all times. (in Spanish) Dejen las manos y antennas adentro del tram a todos tiempos. BARRY I wonder what it’s going to be like? ADAM A little scary. Barry shakes Adam. BARRY AND ADAM AAHHHH! The tram passes under SIGNS READING: “Honex: A Division of Honesco: A Part of the Hexagon Group.” TRUDY Welcome to Honex, a division of Honesco, and a part of the Hexagon group. BARRY This is it! The Honex doors OPEN, revealing the factory. BARRY (CONT’D) Wow. TRUDY We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant pollen jocks bring the nectar to the hive where our top secret formula is automatically color-corrected, scent adjusted and bubble contoured into this... Trudy GRABS a TEST TUBE OF HONEY from a technician. "Bee Movie" - JS REVISIONS 8/13/07 7. TRUDY (CONT’D) ...soothing, sweet syrup with its distinctive golden glow, you all know as... EVERYONE ON THE TRAM (in unison) H-o-n-e-y. Trudy flips the flask into the crowd, and laughs as they all scramble for it. ANGLE ON: A GIRL BEE catching the honey. ADAM (sotto) That girl was hot. BARRY (sotto) She’s my cousin. ADAM She is? BARRY Yes, we’re all cousins. ADAM Right. You’re right. TRUDY At Honex, we also constantly strive to improve every aspect of bee existence. These bees are stress testing a new helmet technology. ANGLE ON: A STUNT BEE in a HELMET getting hit with a NEWSPAPER, then a SHOE, then a FLYSWATTER. He gets up, and gives a “thumb’s up”. The graduate bees APPLAUD. ADAM (re: stunt bee) What do you think he makes? BARRY Not enough. TRUDY And here we have our latest advancement, the Krelman. "Bee Movie" - JS REVISIONS 8/13/07 8. BARRY Wow, what does that do? TRUDY Catches that little strand of honey that hangs after you pour it. Saves us millions. ANGLE ON: The Krelman machine. Bees with hand-shaped hats on, rotating around a wheel to catch drips of honey. Adam’s hand shoots up. ADAM Can anyone work on the Krelman? TRUDY Of course. Most bee jobs are small ones. But bees know that every small job, if it’s done well, means a lot. There are over 3000 different bee occupations. But choose carefully, because you’ll stay in the job that you pick for the rest of your life. The bees CHEER. ANGLE ON: Barry’s smile dropping slightly. BARRY The same job for the rest of your life? I didn’t know that. ADAM What’s the difference? TRUDY And you’ll be happy to know that bees as a species haven’t had one day off in 27 million years. BARRY So you’ll just work us to death? TRUDY (laughing) We’ll sure try. Everyone LAUGHS except Barry. "Bee Movie" - JS REVISIONS 8/13/07 9. The tram drops down a log-flume type steep drop. Cameras flash, as all the bees throw up their hands. The frame freezes into a snapshot. Barry looks concerned. The tram continues through 2 doors. FORM DISSOLVE TO: SEQ. 175 - “WALKING THE HIVE” INT. HONEX LOBBY ANGLE ON: The log-flume photo, as Barry looks at it. ADAM Wow. That blew my mind. BARRY (annoyed) “What’s the difference?” Adam, how could you say that? One job forever? That’s an insane choice to have to make. ADAM Well, I’m relieved. Now we only have to make one decision in life. BARRY But Adam, how could they never have told us that? ADAM Barry, why would you question anything? We’re bees. We’re the most perfectly functioning society on Earth. They walk by a newspaper stand with A SANDWICH BOARD READING: “Bee Goes Berserk: Stings Seven Then Self.” ANGLE ON: A BEE filling his car’s gas tank from a honey pump. He fills his car some, then takes a swig for himself. NEWSPAPER BEE (to the bee guzzling gas) Hey! Barry and Adam begin to cross the street. "Bee Movie" - JS REVISIONS 8/13/07 10. BARRY Yeah but Adam, did you ever think that maybe things work a little too well around here? They stop in the middle of the street. The traffic moves perfectly around them. ADAM Like what? Give me one example. BARRY (thinks) ...I don’t know. But you know what I’m talking about. They walk off. SEQ. 400 - “MEET THE JOCKS” SFX: The SOUND of Pollen Jocks. PAN DOWN from the Honex statue. J-GATE ANNOUNCER Please clear the gate. Royal Nectar Force on approach. Royal Nectar Force on approach. BARRY Wait a second. Check it out. Hey, hey, those are Pollen jocks. ADAM Wow. FOUR PATROL BEES FLY in through the hive’s giant Gothic entrance. The Patrol Bees are wearing fighter pilot helmets with black visors. ADAM (CONT’D) I’ve never seen them this close. BARRY They know what it’s like to go outside the hive. ADAM Yeah, but some of them don’t come back. "Bee Movie" - JS REVISIONS 8/13/07 11. The nectar from the pollen jocks is removed from their backpacks, and loaded into trucks on their way to Honex. A SMALL CROWD forms around the Patrol Bees. Each one has a PIT CREW that takes their nectar. Lou Loduca hurries a pit crew along: LOU LODUCA You guys did great! You’re monsters. You’re sky freaks! I love it! I love it! SCHOOL GIRLS are jumping up and down and squealing nearby. BARRY I wonder where those guys have just been? ADAM I don’t know. BARRY Their day’s not planned. Outside the hive, flying who-knows-where, doing who-knows-what. ADAM You can’t just decide one day to be a Pollen Jock. You have to be bred for that. BARRY Right. Pollen Jocks cross in close proximity to Barry and Adam. Some pollen falls off, onto Barry and Adam. BARRY (CONT’D) Look at that. That’s more pollen than you and I will ever see in a lifetime. ADAM (playing with the pollen) It’s just a status symbol. I think bees make too big a deal out of it. BARRY Perhaps, unless you’re wearing it, and the ladies see you wearing it. ANGLE ON: Two girl bees. "Bee Movie" - JS REVISIONS 8/13/07 12. ADAM Those ladies? Aren’t they our cousins too? BARRY Distant, distant. ANGLE ON: TWO POLLEN JOCKS. JACKSON Look at these two. SPLITZ Couple of Hive Harrys. JACKSON Let’s have some fun with them. The pollen jocks approach. Barry and Adam continue to talk to the girls. GIRL 1 It must be so dangerous being a pollen jock. BARRY Oh yeah, one time a bear had me pinned up against a mushroom. He had one paw on my throat, and with the other he was slapping me back and forth across the face. GIRL 1 Oh my. BARRY I never thought I’d knock him out. GIRL 2 (to Adam) And what were you doing during all of this? ADAM Obviously I was trying to alert the authorities. The girl swipes some pollen off of Adam with a finger. BARRY (re: pollen) I can autograph that if you want. "Bee Movie" - JS REVISIONS 8/13/07 13. JACKSON Little gusty out there today, wasn’t it, comrades? BARRY Yeah. Gusty. BUZZ You know, we’re going to hit a sunflower patch about six miles from here tomorrow. BARRY Six miles, huh? ADAM (whispering) Barry. BUZZ It’s a puddle-jump for us. But maybe you’re not up for it. BARRY Maybe I am. ADAM (whispering louder) You are not! BUZZ We’re going, oh-nine hundred at JGate. ADAM (re: j-gate) Whoa. BUZZ (leaning in, on top of Barry) What do you think, Buzzy Boy? Are you bee enough? BARRY I might be. It all depends on what oh-nine hundred means. CUT TO: SEQ. 450 - “THE BALCONY” "Bee Movie" - JS REVISIONS 8/13/07 14. INT. BENSON HOUSE BALCONY - LATER Barry is standing on the balcony alone, looking out over the city. Martin Benson ENTERS, sneaks up behind Barry and gooses him in his ribs. MARTIN BENSON Honex! BARRY Oh, Dad. You surprised me. MARTIN BENSON (laughing) Have you decided what you’re interested in, Son? BARRY Well, there’s a lot of choices. MARTIN BENSON But you only get one. Martin LAUGHS. BARRY Dad, do you ever get bored doing the same job every day? MARTIN BENSON Son, let me tell you something about stirring. (making the stirring motion) You grab that stick and you just move it around, and you stir it around. You get yourself into a rhythm, it’s a beautiful thing. BARRY You know dad, the more I think about it, maybe the honey field just isn’t right for me. MARTIN BENSON And you were thinking of what, making balloon animals? That’s a bad job for a guy with a stinger. "Bee Movie" - JS REVISIONS 8/13/07 15. BARRY Well no... MARTIN BENSON Janet, your son’s not sure he wants to go into honey. JANET BENSON Oh Barry, you are so funny sometimes. BARRY I’m not trying to be funny. MARTIN BENSON You’re not funny, you’re going into honey. Our son, the stirrer. JANET BENSON You’re going to be a stirrer?! BARRY No one’s listening to me. MARTIN BENSON Wait until you see the sticks I have for you. BARRY I can say anything I want right now. I’m going to get an ant tattoo. JANET BENSON Let’s open some fresh honey and celebrate. BARRY Maybe I’ll pierce my thorax! MARTIN BENSON (toasting) To honey! BARRY Shave my antennae! JANET BENSON To honey! "Bee Movie" - JS REVISIONS 8/13/07 16. BARRY Shack up with a grasshopper, get a gold tooth, and start calling everybody “Dawg.” CUT TO: SEQ. 760 - “JOB PLACEMENT” EXT. HONEX LOBBY - CONTINUOUS ANGLE ON: A BEE BUS STOP. One group of bees stands on the pavement, as another group hovers above them. A doubledecker bus pulls up. The hovering bees get on the top level, and the standing bees get on the bottom. Barry and Adam pull up outside of Honex. ADAM I can’t believe we’re starting work today. BARRY Today’s the day. Adam jumps out of the car. ADAM (O.C) Come on. All the good jobs will be gone. BARRY Yeah, right... ANGLE ON: A BOARD READING: “JOB PLACEMENT BOARD”. Buzzwell, the Bee Processor, is at the counter. Another BEE APPLICANT, SANDY SHRIMPKIN is EXITING. SANDY SHRIMPKIN Is it still available? BUZZWELL Hang on. (he looks at changing numbers on the board) Two left. And...one of them’s yours. Congratulations Son, step to the side please. "Bee Movie" - JS REVISIONS 8/13/07 17. SANDY SHRIMPKIN Yeah! ADAM (to Sandy, leaving) What did you get? SANDY SHRIMPKIN Picking the crud out. That is stellar! ADAM Wow. BUZZWELL (to Adam and Barry) Couple of newbies? ADAM Yes Sir. Our first day. We are ready. BUZZWELL Well, step up and make your choice. ANGLE ON: A CHART listing the different sectors of Honex. Heating, Cooling, Viscosity, Krelman, Pollen Counting, Stunt Bee, Pouring, Stirrer, Humming, Regurgitating, Front Desk, Hair Removal, Inspector No. 7, Chef, Lint Coordinator, Stripe Supervisor, Antennae-ball polisher, Mite Wrangler, Swatting Counselor, Wax Monkey, Wing Brusher, Hive Keeper, Restroom Attendant. ADAM (to Barry) You want to go first? BARRY No, you go. ADAM Oh my. What’s available? BUZZWELL Restroom attendant is always open, and not for the reason you think. ADAM Any chance of getting on to the Krelman, Sir? BUZZWELL Sure, you’re on. "Bee Movie" - JS REVISIONS 8/13/07 18. He plops the KRELMAN HAT onto Adam’s head. ANGLE ON: The job board. THE COLUMNS READ: “OCCUPATION” “POSITIONS AVAILABLE”, and “STATUS”. The middle column has numbers, and the right column has job openings flipping between “open”, “pending”, and “closed”. BUZZWELL (CONT’D) Oh, I’m sorry. The Krelman just closed out. ADAM Oh! He takes the hat off Adam. BUZZWELL Wax Monkey’s always open. The Krelman goes from “Closed” to “Open”. BUZZWELL (CONT’D) And the Krelman just opened up again. ADAM What happened? BUZZWELL Well, whenever a bee dies, that’s an opening. (pointing at the board) See that? He’s dead, dead, another dead one, deady, deadified, two more dead. Dead from the neck up, dead from the neck down. But, that’s life. ANGLE ON: Barry’s disturbed expression. ADAM (feeling pressure to decide) Oh, this is so hard. Heating, cooling, stunt bee, pourer, stirrer, humming, inspector no. 7, lint coordinator, stripe supervisor, antenna-ball polisher, mite wrangler-- Barry, Barry, what do you think I should-- Barry? Barry? "Bee Movie" - JS REVISIONS 8/13/07 19. Barry is gone. CUT TO: SEQ. 775 - “LOU LODUCA SPEECH” EXT. J-GATE - SAME TIME Splitz, Jackson, Buzz, Lou and two other BEES are going through final pre-flight checks. Barry ENTERS. LOU LODUCA Alright, we’ve got the sunflower patch in quadrant nine. Geranium window box on Sutton Place... Barry’s antennae rings, like a phone. ADAM (V.O) What happened to you? Where are you? Barry whispers throughout. BARRY I’m going out. ADAM (V.O) Out? Out where? BARRY Out there. ADAM (V.O) (putting it together) Oh no. BARRY I have to, before I go to work for the rest of my life. ADAM (V.O) You’re going to die! You’re crazy! Hello? BARRY Oh, another call coming in. "Bee Movie" - JS REVISIONS 8/13/07 20. ADAM (V.O) You’re cra-- Barry HANGS UP. ANGLE ON: Lou Loduca. LOU LODUCA If anyone’s feeling brave, there’s a Korean Deli on 83rd that gets their roses today. BARRY (timidly) Hey guys. BUZZ Well, look at that. SPLITZ Isn’t that the kid we saw yesterday? LOU LODUCA (to Barry) Hold it son, flight deck’s restricted. JACKSON It’s okay Lou, we’re going to take him up. Splitz and Jackson CHUCKLE. LOU LODUCA Really? Feeling lucky, are ya? A YOUNGER SMALLER BEE THAN BARRY, CHET, runs up with a release waiver for Barry to sign. CHET Sign here. Here. Just initial that. Thank you. LOU LODUCA Okay, you got a rain advisory today and as you all know, bees cannot fly in rain. So be careful. As always, (reading off clipboard) watch your brooms, hockey sticks, dogs, birds, bears, and bats. "Bee Movie" - JS REVISIONS 8/13/07 21. Also, I got a couple reports of root beer being poured on us. Murphy’s in a home because of it, just babbling like a cicada. BARRY That’s awful. LOU LODUCA And a reminder for all you rookies, bee law number one, absolutely no talking to humans. Alright, launch positions! The Jocks get into formation, chanting as they move. LOU LODUCA (CONT’D) Black and Yellow! JOCKS Hello! SPLITZ (to Barry) Are you ready for this, hot shot? BARRY Yeah. Yeah, bring it on. Barry NODS, terrified. BUZZ Wind! - CHECK! JOCK #1 Antennae! - CHECK! JOCK #2 Nectar pack! - CHECK! JACKSON Wings! - CHECK! SPLITZ Stinger! - CHECK! BARRY Scared out of my shorts - CHECK. LOU LODUCA Okay ladies, let’s move it out. Everyone FLIPS their goggles down. Pit crew bees CRANK their wings, and remove the starting blocks. We hear loud HUMMING. "Bee Movie" - JS REVISIONS 8/13/07 22. LOU LODUCA (CONT'D) LOU LODUCA (CONT’D) Pound those petunia's, you striped stem-suckers! All of you, drain those flowers! A FLIGHT DECK GUY in deep crouch hand-signals them out the archway as the backwash from the bee wings FLUTTERS his jump suit. Barry follows everyone. SEQ. 800 - “FLYING WITH THE JOCKS” The bees climb above tree tops in formation. Barry is euphoric. BARRY Whoa! I’m out! I can’t believe I’m out! So blue. Ha ha ha! (a beat) I feel so fast...and free. (re: kites in the sky) Box kite! Wow! They fly by several bicyclists, and approach a patch of flowers. BARRY (CONT'D) Flowers! SPLITZ This is blue leader. We have roses visual. Bring it around thirty degrees and hold. BARRY (sotto) Roses. JACKSON Thirty degrees, roger, bringing it around. Many pollen jocks break off from the main group. They use their equipment to collect nectar from flowers. Barry flies down to watch the jocks collect the nectar. JOCK Stand to the side kid, it’s got a bit of a kick. The jock fires the gun, and recoils. Barry watches the gun fill up with nectar. "Bee Movie" - JS REVISIONS 8/13/07 23. BARRY Oh, that is one Nectar Collector. JOCK You ever see pollination up close? BARRY No, Sir. He takes off, and the excess pollen dust falls causing the flowers to come back to life. JOCK (as he pollinates) I pick some pollen up over here, sprinkle it over here, maybe a dash over there, pinch on that one...see that? It’s a little bit of magic, ain’t it? The FLOWERS PERK UP as he pollinates. BARRY Wow. That’s amazing. Why do we do that? JOCK ...that’s pollen power, Kid. More pollen, more flowers, more nectar, more honey for us. BARRY Cool. The Jock WINKS at Barry. Barry rejoins the other jocks in the sky. They swoop in over a pond, kissing the surface. We see their image reflected in the water; they’re really moving. They fly over a fountain. BUZZ I’m picking up a lot of bright yellow, could be daisies. Don’t we need those? SPLITZ Copy that visual. We see what appear to be yellow flowers on a green field. "Bee Movie" - JS REVISIONS 8/13/07 24. They go into a deep bank and dive. BUZZ Hold on, one of these flowers seems to be on the move. SPLITZ Say again...Are you reporting a moving flower? BUZZ Affirmative. SEQ. 900 - “TENNIS GAME” The pollen jocks land. It is a tennis court with dozens of tennis balls. A COUPLE, VANESSA and KEN, plays tennis. The bees land right in the midst of a group of balls. KEN (O.C) That was on the line! The other bees start walking around amongst the immense, yellow globes. SPLITZ This is the coolest. What is it? They stop at a BALL on a white line and look up at it. JACKSON I don’t know, but I’m loving this color. SPLITZ (smelling tennis ball) Smells good. Not like a flower. But I like it. JACKSON Yeah, fuzzy. BUZZ Chemical-y. JACKSON Careful, guys, it’s a little grabby. Barry LANDS on a ball and COLLAPSES. "Bee Movie" - JS REVISIONS 8/13/07 25. BARRY Oh my sweet lord of bees. JACKSON Hey, candy brain, get off there! Barry attempts to pulls his legs off, but they stick. BARRY Problem! A tennis shoe and a hand ENTER FRAME. The hand picks up the ball with Barry underneath it. BARRY (CONT'D) Guys! BUZZ This could be bad. JACKSON Affirmative. Vanessa walks back to the service line, BOUNCES the ball. Each time it BOUNCES, the other bees cringe and GASP. ANGLE ON: Barry, terrified. Pure dumb luck, he’s not getting squished. BARRY (with each bounce) Very close...Gonna Hurt...Mamma’s little boy. SPLITZ You are way out of position, rookie. ANGLE ON: Vanessa serving. We see Barry and the ball up against the racket as she brings it back. She tosses the ball into the air; Barry’s eyes widen. The ball is STRUCK, and the rally is on. KEN Coming in at you like a missile! Ken HITS the ball back. Barry feels the g-forces. ANGLE ON: The Pollen Jocks watching Barry pass by them in SLOW MOTION. "Bee Movie" - JS REVISIONS 8/13/07 26. BARRY (in slow motion) Help me! JACKSON You know, I don't think these are flowers. SPLITZ Should we tell him? JACKSON I think he knows. BARRY (O.S) What is this?! Vanessa HITS a high arcing lob. Ken waits, poised for the return. We see Barry having trouble maneuvering the ball from fatigue. KEN (overly confident) Match point! ANGLE ON: Ken running up. He has a killer look in his eyes. He’s going to hit the ultimate overhead smash. KEN (CONT'D) You can just start packing up Honey, because I believe you’re about to eat it! ANGLE ON: Pollen Jocks. JACKSON Ahem! Ken is distracted by the jock. KEN What? No! He misses badly. The ball rockets into oblivion. Barry is still hanging on. ANGLE ON: Ken, berating himself. KEN (CONT’D) Oh, you cannot be serious. We hear the ball WHISTLING, and Barry SCREAMING. "Bee Movie" - JS REVISIONS 8/13/07 27. BARRY Yowser!!! SEQ. 1000 - “SUV” The ball flies through the air, and lands in the middle of the street. It bounces into the street again, and sticks in the grille of an SUV. INT. CAR ENGINE - CONTINUOUS BARRY’S POV: the grille of the SUV sucks him up. He tumbles through a black tunnel, whirling vanes, and pistons. BARRY AHHHHHHHHHHH!! OHHHH!! EECHHH!! AHHHHHH!! Barry gets chilled by the A/C system, and sees a frozen grasshopper. BARRY (CONT’D) (re: grasshopper) Eww, gross. CUT TO: INT. CAR - CONTINUOUS The car is packed with a typical suburban family: MOTHER, FATHER, eight-year old BOY, LITTLE GIRL in a car seat and a GRANDMOTHER. A big slobbery DOG is behind a grate. Barry pops into the passenger compartment, hitting the Mother’s magazine. MOTHER There’s a bee in the car! They all notice the bee and start SCREAMING. BARRY Aaahhhh! Barry tumbles around the car. We see the faces from his POV. MOTHER Do something! "Bee Movie" - JS REVISIONS 8/13/07 28. FATHER I’m driving! Barry flies by the little girl in her CAR SEAT. She waves hello. LITTLE GIRL Hi, bee. SON He’s back here! He’s going to sting me! The car SWERVES around the road. Barry flies into the back, where the slobbery dog SNAPS at him. Barry deftly avoids the jaws and gross, flying SPITTLE. MOTHER Nobody move. If you don’t move, he won’t sting you. Freeze! Everyone in the car freezes. Barry freezes. They stare at each other, eyes going back and forth, waiting to see who will make the first move. Barry blinks. GRANNY He blinked! Granny pulls out a can of HAIR SPRAY. SON Spray him, Granny! Granny sprays the hair spray everywhere. FATHER What are you doing? GRANNY It’s hair spray! Extra hold! MOTHER Kill it! Barry gets sprayed back by the hair spray, then sucked out of the sunroof. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 29. EXT. CITY STREET - CONTINUOUS BARRY Wow. The tension level out here is unbelievable. I’ve got to get home. As Barry flies down the street, it starts to RAIN. He nimbly avoids the rain at first. BARRY (CONT’D) Whoa. Whoa! Can’t fly in rain! Can’t fly in rain! Can’t fly in-- A couple of drops hit him, his wings go limp and he starts falling. BARRY (CONT'D) Mayday! Mayday! Bee going down! Barry sees a window ledge and aims for it and just makes it. Shivering and exhausted, he crawls into an open window as it CLOSES. SEQ. 1100 - “VANESSA SAVES BARRY” INT. VANESSA’S APARTMENT - CONTINUOUS Inside the window, Barry SHAKES off the rain like a dog. Vanessa, Ken, Andy, and Anna ENTER the apartment. VANESSA Ken, can you close the window please? KEN Huh? Oh. (to Andy) Hey, check out my new resume. I made it into a fold-out brochure. You see? It folds out. Ken holds up his brochure, with photos of himself, and a resume in the middle. ANGLE ON: Barry hiding behind the curtains, as Ken CLOSES THE WINDOW. "Bee Movie" - JS REVISIONS 8/13/07 30. BARRY Oh no, more humans. I don’t need this. Barry HOVERS up into the air and THROWS himself into the glass. BARRY (CONT’D) (dazed) Ow! What was that? He does it again, and then multiple more times. BARRY (CONT'D) Maybe this time...this time, this time, this time, this time, this time, this time, this time. Barry JUMPS onto the drapes. BARRY (CONT'D) (out of breath) Drapes! (then, re: glass) That is diabolical. KEN It’s fantastic. It’s got all my special skills, even my top ten favorite movies. ANDY What’s your number one? Star Wars? KEN Ah, I don’t go for that, (makes Star Wars noises), kind of stuff. ANGLE ON: Barry. BARRY No wonder we’re not supposed to talk to them. They’re out of their minds. KEN When I walk out of a job interview they’re flabbergasted. They can’t believe the things I say. Barry looks around and sees the LIGHT BULB FIXTURE in the middle of the ceiling. "Bee Movie" - JS REVISIONS 8/13/07 31. BARRY (re: light bulb) Oh, there’s the sun. Maybe that’s a way out. Barry takes off and heads straight for the light bulb. His POV: The seventy-five watt label grows as he gets closer. BARRY (CONT’D) I don’t remember the sun having a big seventy five on it. Barry HITS the bulb and is KNOCKED SILLY. He falls into a BOWL OF GUACAMOLE. Andy dips his chip in the guacamole, taking Barry with it. ANGLE ON: Ken and Andy. KEN I’ll tell you what. You know what? I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Barry’s POV: Giant human mouth opening. KEN (CONT’D) Wait! Stop! Beeeeeee! ANNA Kill it! Kill it! They all JUMP up from their chairs. Andy looks around for something to use. Ken comes in for the kill with a big TIMBERLAND BOOT on each hand. KEN Stand back. These are winter boots. Vanessa ENTERS, and stops Ken from squashing Barry. VANESSA (grabs Ken’s arm) Wait. Don’t kill him. CLOSE UP: on Barry’s puzzled face. KEN You know I’m allergic to them. This thing could kill me. "Bee Movie" - JS REVISIONS 8/13/07 32. VANESSA Why does his life have any less value than yours? She takes a GLASS TUMBLER and places it over Barry. KEN Why does his life have any less value than mine? Is that your statement? VANESSA I’m just saying, all life has value. You don’t know what he’s capable of feeling. Barry looks up through the glass and watches this conversation, astounded. Vanessa RIPS Ken’s resume in half and SLIDES it under the glass. KEN (wistful) My brochure. There’s a moment of eye contact as she carries Barry to the window. She opens it and sets him free. VANESSA There you go, little guy. KEN (O.C) I’m not scared of them. But, you know, it’s an allergic thing. ANDY (O.C) * Hey, why don’t you put that on your * resume-brochure? * KEN (O.C) It’s not funny, my whole face could puff up. ANDY (O.C) Make it one of your “Special Skills.” KEN (O.C) You know, knocking someone out is also a special skill. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 33. EXT. WINDOWSILL - CONTINUOUS Barry stares over the window frame. He can’t believe what’s just happened. It is still RAINING. DISSOLVE TO: SEQ. 1200 - “BARRY SPEAKS” EXT. WINDOWSILL - LATER Barry is still staring through the window. Inside, everyone’s saying their good-byes. KEN Vanessa, next week? Yogurt night? VANESSA Uh, yeah sure Ken. You know, whatever. KEN You can put carob chips on there. VANESSA Good night. KEN (as he exits) Supposed to be less calories, or something. VANESSA Bye. She shuts the door. Vanessa starts cleaning up. BARRY I’ve got to say something. She saved my life. I’ve got to say something. Alright, here it goes. Barry flies in. "Bee Movie" - JS REVISIONS 8/13/07 34. INT. VANESSA’S APARTMENT - CONTINUOUS Barry hides himself on different PRODUCTS placed along the kitchen shelves. He hides on a Bumblebee Tuna can, and a “Greetings From Coney Island” MUSCLE-MAN POSTCARD on the fridge. BARRY (on fridge) What would I say? (landing on a bottle) I could really get in trouble. He stands looking at Vanessa. BARRY (CONT'D) It’s a bee law. You’re not supposed to talk to a human. I can’t believe I’m doing this. I’ve got to. Oh, I can’t do it! Come on! No, yes, no, do it! I can’t. How should I start it? You like jazz? No, that’s no good. Here she comes. Speak, you fool. As Vanessa walks by, Barry takes a DEEP BREATH. BARRY (CONT’D) (cheerful) Umm...hi. Vanessa DROPS A STACK OF DISHES, and HOPS BACK. BARRY (CONT’D) I’m sorry. VANESSA You’re talking. BARRY Yes, I know, I know. VANESSA You’re talking. BARRY I know, I’m sorry. I’m so sorry. VANESSA It’s okay. It’s fine. It’s just, I know I’m dreaming, but I don’t recall going to bed. "Bee Movie" - JS REVISIONS 8/13/07 35. BARRY Well, you know I’m sure this is very disconcerting. VANESSA Well yeah. I mean this is a bit of a surprise to me. I mean...you’re a bee. BARRY Yeah, I am a bee, and you know I’m not supposed to be doing this, but they were all trying to kill me and if it wasn’t for you...I mean, I had to thank you. It’s just the way I was raised. Vanessa intentionally JABS her hand with a FORK. VANESSA Ow! BARRY That was a little weird. VANESSA (to herself) I’m talking to a bee. BARRY Yeah. VANESSA I’m talking to a bee. BARRY Anyway... VANESSA And a bee is talking to me... BARRY I just want you to know that I’m grateful, and I’m going to leave now. VANESSA Wait, wait, wait, wait, how did you learn to do that? BARRY What? "Bee Movie" - JS REVISIONS 8/13/07 36. VANESSA The talking thing. BARRY Same way you did, I guess. Mama, Dada, honey, you pick it up. VANESSA That’s very funny. BARRY Yeah. Bees are funny. If we didn’t laugh, we’d cry. With what we have to deal with. Vanessa LAUGHS. BARRY (CONT’D) Anyway. VANESSA Can I, uh, get you something? BARRY Like what? VANESSA I don’t know. I mean, I don’t know. Coffee? BARRY Well, uh, I don’t want to put you out. VANESSA It’s no trouble. BARRY Unless you’re making anyway. VANESSA Oh, it takes two minutes. BARRY Really? VANESSA It’s just coffee. BARRY I hate to impose. "Bee Movie" - JS REVISIONS 8/13/07 37. VANESSA Don’t be ridiculous. BARRY Actually, I would love a cup. VANESSA Hey, you want a little rum cake? BARRY I really shouldn’t. VANESSA Have a little rum cake. BARRY No, no, no, I can’t. VANESSA Oh, come on. BARRY You know, I’m trying to lose a couple micrograms here. VANESSA Where? BARRY Well... These stripes don’t help. VANESSA You look great. BARRY I don’t know if you know anything about fashion. Vanessa starts POURING the coffee through an imaginary cup and directly onto the floor. BARRY (CONT'D) Are you alright? VANESSA No. DISSOLVE TO: SEQ. 1300 - “ROOFTOP COFFEE” "Bee Movie" - JS REVISIONS 8/13/07 38. EXT. VANESSA’S ROOF - LATER Barry and Vanessa are drinking coffee on her roof terrace. He is perched on her keychain. BARRY ...He can’t get a taxi. He’s making the tie in the cab, as they’re flying up Madison. So he finally gets there. VANESSA Uh huh? BARRY He runs up the steps into the church, the wedding is on... VANESSA Yeah? BARRY ...and he says, watermelon? I thought you said Guatemalan. VANESSA Uh huh? BARRY Why would I marry a watermelon? Barry laughs. Vanessa doesn’t. VANESSA Oh! Is that, uh, a bee joke? BARRY Yeah, that’s the kind of stuff that we do. VANESSA Yeah, different. A BEAT. VANESSA (CONT’D) So anyway...what are you going to do, Barry? "Bee Movie" - JS REVISIONS 8/13/07 39. BARRY About work? I don’t know. I want to do my part for the hive, but I can’t do it the way they want. VANESSA I know how you feel. BARRY You do? VANESSA Sure, my parents wanted me to be a lawyer or doctor, but I wanted to be a florist. BARRY Really? VANESSA My only interest is flowers. BARRY Our new queen was just elected with that same campaign slogan. VANESSA Oh. BARRY Anyway, see there’s my hive, right there. You can see it. VANESSA Oh, you’re in Sheep Meadow. BARRY (excited) Yes! You know the turtle pond? VANESSA Yes? BARRY I’m right off of that. VANESSA Oh, no way. I know that area. Do you know I lost a toe-ring there once? BARRY Really? "Bee Movie" - JS REVISIONS 8/13/07 40. VANESSA Yes. BARRY Why do girls put rings on their toes? VANESSA Why not? BARRY I don’t know. It’s like putting a hat on your knee. VANESSA Really? Okay. A JANITOR in the background changes a LIGHTBULB. To him, it appears that Vanessa is talking to an imaginary friend. JANITOR You all right, ma’am? VANESSA Oh, yeah, fine. Just having two cups of coffee. BARRY Anyway, this has been great. (wiping his mouth) Thanks for the coffee. Barry gazes at Vanessa. VANESSA Oh yeah, it’s no trouble. BARRY Sorry I couldn’t finish it. Vanessa giggles. BARRY (CONT'D) (re: coffee) If I did, I’d be up the rest of my life. Ummm. Can I take a piece of this with me? VANESSA Sure. Here, have a crumb. She takes a CRUMB from the plate and hands it to Barry. "Bee Movie" - JS REVISIONS 8/13/07 41. BARRY (a little dreamy) Oh, thanks. VANESSA Yeah. There is an awkward pause. BARRY Alright, well then, I guess I’ll see you around, or not, or... VANESSA Okay Barry. BARRY And thank you so much again, for before. VANESSA Oh that? BARRY Yeah. VANESSA Oh, that was nothing. BARRY Well, not nothing, but, anyway... Vanessa extends her hand, and shakes Barry’s gingerly. The Janitor watches. The lightbulb shorts out. The Janitor FALLS. CUT TO: SEQ. 1400 - “HONEX” INT. HONEX BUILDING - NEXT DAY ANGLE ON: A TEST BEE WEARING A PARACHUTE is in a wind tunnel, hovering through increasingly heavy wind. SIGNS UNDER A FLASHING LIGHT READ: “Test In Progress” & “Hurricane Survival Test”. 2 BEES IN A LAB COATS are observing behind glass. "Bee Movie" - JS REVISIONS 8/13/07 42. LAB COAT BEE 1 This can’t possibly work. LAB COAT BEE 2 Well, he’s all set to go, we may as well try it. (into the mic) Okay Dave, pull the chute. The test bee opens his parachute. He’s instantly blown against the rear wall. Adam and Barry ENTER. ADAM Sounds amazing. BARRY Oh, it was amazing. It was the scariest, happiest moment of my life. ADAM Humans! Humans! I can’t believe you were with humans! Giant scary humans! What were they like? BARRY Huge and crazy. They talk crazy, they eat crazy giant things. They drive around real crazy. ADAM And do they try and kill you like on TV? BARRY Some of them. But some of them don’t. ADAM How’d you get back? BARRY Poodle. ADAM Look, you did it. And I’m glad. You saw whatever you wanted to see out there, you had your “experience”, and now you’re back, you can pick out your job, and everything can be normal. "Bee Movie" - JS REVISIONS 8/13/07 43. ANGLE ON: LAB BEES examining a CANDY CORN through a microscope. BARRY Well... ADAM Well? BARRY Well, I met someone. ADAM You met someone? Was she Bee-ish? BARRY Mmm. ADAM Not a WASP? Your parents will kill you. BARRY No, no, no, not a wasp. ADAM Spider? BARRY You know, I’m not attracted to the spiders. I know to everyone else it’s like the hottest thing with the eight legs and all. I can’t get by that face. Barry makes a spider face. ADAM So, who is she? BARRY She’s a human. ADAM Oh no, no, no, no. That didn’t happen. You didn’t do that. That is a bee law. You wouldn’t break a bee law. BARRY Her name’s Vanessa. "Bee Movie" - JS REVISIONS 8/13/07 44. ADAM Oh, oh boy! BARRY She’s so-o nice. And she’s a florist! ADAM Oh, no. No, no, no! You’re dating a human florist? BARRY We’re not dating. ADAM You’re flying outside the hive. You’re talking to human beings that attack our homes with power washers and M-80’s. That’s 1/8 of a stick of dynamite. BARRY She saved my life. And she understands me. ADAM This is over. Barry pulls out the crumb. BARRY Eat this. Barry stuffs the crumb into Adam’s face. ADAM This is not over. What was that? BARRY They call it a crumb. ADAM That was SO STINGING STRIPEY! BARRY And that’s not even what they eat. That just falls off what they eat. Do you know what a Cinnabon is? ADAM No. "Bee Movie" - JS REVISIONS 8/13/07 45. BARRY It’s bread... ADAM Come in here! BARRY and cinnamon, ADAM Be quiet! BARRY and frosting...they heat it up-- ADAM Sit down! INT. ADAM’S OFFICE - CONTINUOUS BARRY Really hot! ADAM Listen to me! We are not them. We’re us. There’s us and there’s them. BARRY Yes, but who can deny the heart that is yearning... Barry rolls his chair down the corridor. ADAM There’s no yearning. Stop yearning. Listen to me. You have got to start thinking bee, my friend. ANOTHER BEE JOINS IN. ANOTHER BEE Thinking bee. WIDER SHOT AS A 3RD BEE ENTERS, popping up over the cubicle wall. 3RD BEE Thinking bee. EVEN WIDER SHOT AS ALL THE BEES JOIN IN. "Bee Movie" - JS REVISIONS 8/13/07 46. OTHER BEES Thinking bee. Thinking bee. Thinking bee. CUT TO: SEQ. 1500 - “POOLSIDE NAGGING” EXT. BACKYARD PARENT’S HOUSE - DAY Barry sits on a RAFT in a hexagon honey pool, legs dangling into the water. Janet Benson and Martin Benson stand over him wearing big, sixties sunglasses and cabana-type outfits. The sun shines brightly behind their heads. JANET BENSON (O.C) There he is. He’s in the pool. MARTIN BENSON You know what your problem is, Barry? BARRY I’ve got to start thinking bee? MARTIN BENSON Barry, how much longer is this going to go on? It’s been three days. I don’t understand why you’re not working. BARRY Well, I’ve got a lot of big life decisions I’m thinking about. MARTIN BENSON What life? You have no life! You have no job! You’re barely a bee! Barry throws his hands in the air. BARRY Augh. JANET BENSON Would it kill you to just make a little honey? Barry ROLLS off the raft and SINKS to the bottom of the pool. We hear his parents’ MUFFLED VOICES from above the surface. "Bee Movie" - JS REVISIONS 8/13/07 47. JANET BENSON (CONT'D) (muffled) Barry, come out from under there. Your father’s talking to you. Martin, would you talk to him? MARTIN BENSON Barry, I’m talking to you. DISSOLVE TO: EXT. PICNIC AREA - DAY MUSIC: “Sugar Sugar” by the Archies. Barry and Vanessa are having a picnic. A MOSQUITO lands on Vanessa’s leg. She SWATS it violently. Barry’s head whips around, aghast. They stare at each other awkwardly in a frozen moment, then BURST INTO HYSTERICAL LAUGHTER. Vanessa GETS UP. VANESSA You coming? BARRY Got everything? VANESSA All set. Vanessa gets into a one-man Ultra Light plane with a black and yellow paint scheme. She puts on her helmet. BARRY You go ahead, I’ll catch up. VANESSA (come hither wink) Don’t be too long. The Ultra Light takes off. Barry catches up. They fly sideby-side. VANESSA (CONT’D) Watch this! Vanessa does a loop, and FLIES right into the side of a mountain, BURSTING into a huge ball of flames. "Bee Movie" - JS REVISIONS 8/13/07 48. BARRY (yelling, anguished) Vanessa! EXT. BARRY’S PARENT’S HOUSE - CONTINUOUS ANGLE ON: Barry’s face bursting through the surface of the pool, GASPING for air, eyes opening in horror. MARTIN BENSON We’re still here, Barry. JANET BENSON I told you not to yell at him. He doesn’t respond when you yell at him. MARTIN BENSON Then why are you yelling at me? JANET BENSON Because you don’t listen. MARTIN BENSON I’m not listening to this. Barry is toweling off, putting on his sweater. BARRY Sorry Mom, I’ve got to go. JANET BENSON Where are you going? BARRY Nowhere. I’m meeting a friend. Barry JUMPS off the balcony and EXITS. JANET BENSON (calling after him) A girl? Is this why you can’t decide? BARRY Bye! JANET BENSON I just hope she’s Bee-ish. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 49. SEQ. 1700 - “STREETWALK/SUPERMARKET” EXT. VANESSA’S FLORIST SHOP - DAY Vanessa FLIPS the sign to say “Sorry We Missed You”, and locks the door. ANGLE ON: A POSTER on Vanessa’s door for the Tournament of Roses Parade in Pasadena. BARRY So they have a huge parade of just flowers every year in Pasadena? VANESSA Oh, to be in the Tournament of Roses, that’s every florist’s dream. Up on a float, surrounded by flowers, crowds cheering. BARRY Wow, a tournament. Do the roses actually compete in athletic events? VANESSA No. Alright, I’ve got one. How come you don’t fly everywhere? BARRY It’s exhausting. Why don’t you run everywhere? VANESSA Hmmm. BARRY Isn’t that faster? VANESSA Yeah, okay. I see, I see. Alright, your turn. Barry and Vanessa walk/fly down a New York side street, no other pedestrians near them. BARRY Ah! Tivo. You can just freeze live TV? That’s insane. "Bee Movie" - JS REVISIONS 8/13/07 50. VANESSA What, you don’t have anything like that? BARRY We have Hivo, but it’s a disease. It’s a horrible, horrible disease. VANESSA Oh my. They turn the corner onto a busier avenue and people start to swat at Barry. MAN Dumb bees! VANESSA You must just want to sting all those jerks. BARRY We really try not to sting. It’s usually fatal for us. VANESSA So you really have to watch your temper? They ENTER a SUPERMARKET. CUT TO: INT. SUPERMARKET BARRY Oh yeah, very carefully. You kick a wall, take a walk, write an angry letter and throw it out. You work through it like any emotion-- anger, jealousy, (under his breath) lust. Barry hops on top of some cardboard boxes in the middle of an aisle. A stock boy, HECTOR, whacks him with a rolled up magazine. VANESSA (to Barry) Oh my goodness. Are you okay? "Bee Movie" - JS REVISIONS 8/13/07 51. BARRY Yeah. Whew! Vanessa WHACKS Hector over the head with the magazine. VANESSA (to Hector) What is wrong with you?! HECTOR It’s a bug. VANESSA Well he’s not bothering anybody. Get out of here, you creep. Vanessa pushes him, and Hector EXITS, muttering. BARRY (shaking it off) What was that, a Pick and Save circular? VANESSA Yeah, it was. How did you know? BARRY It felt like about ten pages. Seventy-five’s pretty much our limit. VANESSA Boy, you’ve really got that down to a science. BARRY Oh, we have to. I lost a cousin to Italian Vogue. VANESSA I’ll bet. Barry stops, sees the wall of honey jars. BARRY What, in the name of Mighty Hercules, is this? How did this get here? Cute Bee? Golden Blossom? Ray Liotta Private Select? VANESSA Is he that actor? "Bee Movie" - JS REVISIONS 8/13/07 52. BARRY I never heard of him. Why is this here? VANESSA For people. We eat it. BARRY Why? (gesturing around the market) You don’t have enough food of your own? VANESSA Well yes, we-- BARRY How do you even get it? VANESSA Well, bees make it... BARRY I know who makes it! And it’s hard to make it! There’s Heating and Cooling, and Stirring...you need a whole Krelman thing. VANESSA It’s organic. BARRY It’s our-ganic! VANESSA It’s just honey, Barry. BARRY Just...what?! Bees don’t know about this. This is stealing. A lot of stealing! You’ve taken our homes, our schools, our hospitals. This is all we have. And it’s on sale? I’m going to get to the bottom of this. I’m going to get to the bottom of all of this! He RIPS the label off the Ray Liotta Private Select. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 53. SEQ. 1800 - “WINDSHIELD” EXT. BACK OF SUPERMARKET LOADING DOCK - LATER THAT DAY Barry disguises himself by blacking out his yellow lines with a MAGIC MARKER and putting on some war paint. He sees Hector, the stock boy, with a knife CUTTING open cardboard boxes filled with honey jars. MAN You almost done? HECTOR Almost. Barry steps in some honey, making a SNAPPING noise. Hector stops and turns. HECTOR (CONT’D) He is here. I sense it. Hector grabs his BOX CUTTER. Barry REACTS, hides himself behind the box again. HECTOR (CONT’D) (talking too loud, to no one in particular) Well, I guess I’ll go home now, and just leave this nice honey out, with no one around. A BEAT. Hector pretends to exit. He takes a couple of steps in place. ANGLE ON: The honey jar. Barry steps out into a moody spotlight. BARRY You’re busted, box boy! HECTOR Ah ha! I knew I heard something. So, you can talk. Barry flies up, stinger out, pushing Hector up against the wall. As Hector backs up, he drops his knife. BARRY Oh, I can talk. And now you’re going to start talking. "Bee Movie" - JS REVISIONS 8/13/07 54. Where are you getting all the sweet stuff? Who’s your supplier?! HECTOR I don’t know what you’re talking about. I thought we were all friends. The last thing we want to do is upset any of you...bees! Hector grabs a PUSHPIN. Barry fences with his stinger. HECTOR (CONT’D) You’re too late. It’s ours now! BARRY You, sir, have crossed the wrong sword. HECTOR You, sir, are about to be lunch for my iguana, Ignacio! Barry and Hector get into a cross-swords, nose-to-nose confrontation. BARRY Where is the honey coming from? Barry knocks the pushpin out of his hand. Barry puts his stinger up to Hector’s nose. BARRY (CONT'D) Tell me where?! HECTOR (pointing to a truck) Honey Farms. It comes from Honey Farms. ANGLE ON: A Honey Farms truck leaving the parking lot. Barry turns, takes off after the truck through an alley. He follows the truck out onto a busy street, dodging a bus, and several cabs. CABBIE Crazy person! He flies through a metal pipe on the top of a truck. BARRY OOOHHH! "Bee Movie" - JS REVISIONS 8/13/07 55. BARRY (CONT'D) Barry grabs onto a bicycle messenger’s backpack. The honey farms truck starts to pull away. Barry uses the bungee cord to slingshot himself towards the truck. He lands on the windshield, where the wind plasters him to the glass. He looks up to find himself surrounded by what appear to be DEAD BUGS. He climbs across, working his way around the bodies. BARRY (CONT’D) Oh my. What horrible thing has happened here? Look at these faces. They never knew what hit them. And now they’re on the road to nowhere. A MOSQUITO opens his eyes. MOOSEBLOOD Pssst! Just keep still. BARRY What? You’re not dead? MOOSEBLOOD Do I look dead? Hey man, they will wipe anything that moves. Now, where are you headed? BARRY To Honey Farms. I am onto something huge here. MOOSEBLOOD I’m going to Alaska. Moose blood. Crazy stuff. Blows your head off. LADYBUG I’m going to Tacoma. BARRY (to fly) What about you? MOOSEBLOOD He really is dead. BARRY Alright. The WIPER comes towards them. "Bee Movie" - JS REVISIONS 8/13/07 56. MOOSEBLOOD Uh oh. BARRY What is that? MOOSEBLOOD Oh no! It’s a wiper, triple blade! BARRY Triple blade? MOOSEBLOOD Jump on. It’s your only chance, bee. They hang on as the wiper goes back and forth. MOOSEBLOOD (CONT'D) (yelling to the truck driver through the glass) Why does everything have to be so dog-gone clean?! How much do you people need to see? Open your eyes! Stick your head out the window! CUT TO: INT. TRUCK CAB SFX: Radio. RADIO VOICE For NPR News in Washington, I’m Carl Kasell. EXT. TRUCK WINDSHIELD MOOSEBLOOD But don’t kill no more bugs! The Mosquito is FLUNG off of the wiper. MOOSEBLOOD (CONT'D) Beeeeeeeeeeeeee! BARRY Moose blood guy! "Bee Movie" - JS REVISIONS 8/13/07 57. Barry slides toward the end of the wiper, is thrown off, but he grabs the AERIAL and hangs on for dear life. Barry looks across and sees a CRICKET on another vehicle in the exact same predicament. They look at each other and SCREAM in unison. BARRY AND CRICKET Aaaaaaaaaah! ANOTHER BUG grabs onto the aerial, and screams as well. INT. TRUCK CAB - SAME TIME DRIVER You hear something? TRUCKER PASSENGER Like what? DRIVER Like tiny screaming. TRUCKER PASSENGER Turn off the radio. The driver reaches down and PRESSES a button, lowering the aerial. EXT. TRUCK WINDSHIELD - SAME TIME Barry and the other bug do a “choose up” to the bottom, Barry wins. BARRY Aha! Then he finally has to let go and gets thrown into the truck horn atop cab. Mooseblood is inside. MOOSEBLOOD Hey, what’s up bee boy? BARRY Hey, Blood! DISSOLVE TO: "Bee Movie" - JS REVISIONS 8/13/07 58. INT. TRUCK HORN - LATER BARRY ...and it was just an endless row of honey jars as far as the eye could see. MOOSEBLOOD Wow. BARRY So I’m just assuming wherever this honey truck goes, that’s where they’re getting it. I mean, that honey’s ours! MOOSEBLOOD Bees hang tight. BARRY Well, we’re all jammed in there. It’s a close community. MOOSEBLOOD Not us, man. We’re on our own. Every mosquito is on his own. BARRY But what if you get in trouble? MOOSEBLOOD Trouble? You're a mosquito. You're in trouble! Nobody likes us. They’re just all smacking. People see a mosquito, smack, smack! BARRY At least you’re out in the world. You must meet a lot of girls. MOOSEBLOOD Mosquito girls try to trade up; get with a moth, dragonfly...mosquito girl don’t want no mosquito. A BLOOD MOBILE pulls up alongside. MOOSEBLOOD (CONT'D) Whoa, you have got to be kidding me. Mooseblood’s about to leave the building. So long bee. "Bee Movie" - JS REVISIONS 8/13/07 59. Mooseblood EXITS the horn, and jumps onto the blood mobile. MOOSEBLOOD (CONT'D) Hey guys. I knew I’d catch you all down here. Did you bring your crazy straws? CUT TO: SEQ. 1900 - “THE APIARY” EXT. APIARY - LATER Barry sees a SIGN, “Honey Farms” The truck comes to a stop. SFX: The Honey farms truck blares its horn. Barry flies out, lands on the hood. ANGLE ON: Two BEEKEEPERS, FREDDY and ELMO, walking around to the back of the gift shop. Barry follows them, and lands in a nearby tree FREDDY ...then we throw it in some jars, slap a label on it, and it’s pretty much pure profit. BARRY What is this place? ELMO Bees got a brain the size of a pinhead. FREDDY They are pinheads. The both LAUGH. ANGLE ON: Barry REACTING. They arrive at the back of the shop where one of them opens a SMOKER BOX. FREDDY (CONT’D) Hey, check out the new smoker. "Bee Movie" - JS REVISIONS 8/13/07 60. ELMO Oh, Sweet. That’s the one you want. FREDDY The Thomas 3000. BARRY Smoker? FREDDY 90 puffs a minute, semi-automatic. Twice the nicotine, all the tar. They LAUGH again, nefariously. FREDDY (CONT’D) Couple of breaths of this, and it knocks them right out. They make the honey, and we make the money. BARRY “They make the honey, and we make the money?” Barry climbs onto the netting of Freddy’s hat. He climbs up to the brim and looks over the edge. He sees the apiary boxes as Freddy SMOKES them. BARRY (CONT'D) Oh my. As Freddy turns around, Barry jumps into an open apiary box, and into an apartment. HOWARD and FRAN are just coming to from the smoking. BARRY (CONT’D) What’s going on? Are you okay? HOWARD Yeah, it doesn’t last too long. HE COUGHS a few times. BARRY How did you two get here? Do you know you’re in a fake hive with fake walls? HOWARD (pointing to a picture on the wall) "Bee Movie" - JS REVISIONS 8/13/07 61. Our queen was moved here, we had no choice. BARRY (looking at a picture on the wall) This is your queen? That’s a man in women’s clothes. That’s a dragqueen! The other wall opens. Barry sees the hundreds of apiary boxes. BARRY (CONT'D) What is this? Barry pulls out his camera, and starts snapping. BARRY (CONT’D) Oh no. There’s hundreds of them. (V.O, as Barry takes pictures) Bee honey, our honey, is being brazenly stolen on a massive scale. CUT TO: SEQ. 2100 - “BARRY TELLS FAMILY” INT. BARRY’S PARENT’S HOUSE - LIVING ROOM - LATER Barry has assembled his parents, Adam, and Uncle Carl. BARRY This is worse than anything the bears have done to us. And I intend to do something about it. JANET BENSON Oh Barry, stop. MARTIN BENSON Who told you that humans are taking our honey? That’s just a rumor. BARRY Do these look like rumors? Barry throws the PICTURES on the table. Uncle Carl, cleaning his glasses with his shirt tail, digs through a bowl of nuts with his finger. "Bee Movie" - JS REVISIONS 8/13/07 62. HOWARD (CONT'D) UNCLE CARL That’s a conspiracy theory. These are obviously doctored photos. JANET BENSON Barry, how did you get mixed up in all this? ADAM (jumping up) Because he’s been talking to humans! JANET BENSON Whaaat? MARTIN BENSON Talking to humans?! Oh Barry. ADAM He has a human girlfriend and they make out! JANET BENSON Make out? Barry? BARRY We do not. ADAM You wish you could. BARRY Who’s side are you on? ADAM The bees! Uncle Carl stands up and pulls his pants up to his chest. UNCLE CARL I dated a cricket once in San Antonio. Man, those crazy legs kept me up all night. Hotcheewah! JANET BENSON Barry, this is what you want to do with your life? BARRY This is what I want to do for all our lives. Nobody works harder than bees. "Bee Movie" - JS REVISIONS 8/13/07 63. Dad, I remember you coming home some nights so overworked, your hands were still stirring. You couldn’t stop them. MARTIN BENSON Ehhh... JANET BENSON (to Martin) I remember that. BARRY What right do they have to our hardearned honey? We’re living on two cups a year. They’re putting it in lip balm for no reason what-soever. MARTIN BENSON Even if it’s true, Barry, what could one bee do? BARRY I’m going to sting them where it really hurts. MARTIN BENSON In the face? BARRY No. MARTIN BENSON In the eye? That would really hurt. BARRY No. MARTIN BENSON Up the nose? That’s a killer. BARRY No. There’s only one place you can sting the humans. One place where it really matters. CUT TO: SEQ. 2300 - “HIVE AT 5 NEWS/BEE LARRY KING” "Bee Movie" - JS REVISIONS 8/13/07 64. BARRY (CONT'D) INT. NEWS STUDIO - DAY DRAMATIC NEWS MUSIC plays as the opening news sequence rolls. We see the “Hive at Five” logo, followed by shots of past news events: A BEE freeway chase, a BEE BEARD protest rally, and a BEAR pawing at the hive as the BEES flee in panic. BOB BUMBLE (V.O.) Hive at Five, the hive’s only full hour action news source... SHOTS of NEWSCASTERS flash up on screen. BOB BUMBLE (V.O.) (CONT'D) With Bob Bumble at the anchor desk... BOB has a big shock of anchorman hair, gray temples and overly white teeth. BOB BUMBLE (V.O.) (CONT'D) ...weather with Storm Stinger, sports with Buzz Larvi, and Jeanette Chung. JEANETTE is an Asian bee. BOB BUMBLE (CONT'D) Good evening, I’m Bob Bumble. JEANETTE CHUNG And I’m Jeanette Chung. BOB BUMBLE Our top story, a tri-county bee, Barry Benson... INSERT: Barry’s graduation picture. BOB BUMBLE (CONT'D) ...is saying he intends to sue the human race for stealing our honey, packaging it, and profiting from it illegally. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 65. INT. BEENN STUDIO - BEE LARRY KING LIVE BEE LARRY KING, wearing suspenders and glasses, is interviewing Barry. A LOWER-THIRD CHYRON reads: “Bee Larry King Live.” BEE LARRY KING Don’t forget, tomorrow night on Bee Larry King, we are going to have three former Queens all right here in our studio discussing their new book, “Classy Ladies,” out this week on Hexagon. (to Barry) Tonight, we’re talking to Barry Benson. Did you ever think, I’m just a kid from the hive, I can’t do this? BARRY Larry, bees have never been afraid to change the world. I mean, what about Bee-Columbus? Bee-Ghandi? Be-geesus? BEE LARRY KING Well, where I’m from you wouldn’t think of suing humans. We were thinking more like stick ball, candy stores. BARRY How old are you? BEE LARRY KING I want you to know that the entire bee community is supporting you in this case, which is certain to be the trial of the bee century. BARRY Thank you, Larry. You know, they have a Larry King in the human world, too. BEE LARRY KING It’s a common name. Next week on Bee Larry King... "Bee Movie" - JS REVISIONS 8/13/07 66. BARRY No, I mean he looks like you. And he has a show with suspenders and different colored dots behind him. BEE LARRY KING Next week on Bee Larry King... BARRY Old guy glasses, and there’s quotes along the bottom from the guest you’re watching even though you just heard them... BEE LARRY KING Bear week next week! They’re scary, they’re hairy, and they’re here live. Bee Larry King EXITS. BARRY Always leans forward, pointy shoulders, squinty eyes... (lights go out) Very Jewish. CUT TO: SEQ. 2400 - “FLOWER SHOP” INT. VANESSA’S FLOWER SHOP - NIGHT Stacks of law books are piled up, legal forms, etc. Vanessa is talking with Ken in the other room. KEN Look, in tennis, you attack at the point of weakness. VANESSA But it was my grandmother, Ken. She’s 81. KEN Honey, her backhand’s a joke. I’m not going to take advantage of that? "Bee Movie" - JS REVISIONS 8/13/07 67. BARRY (O.C) Quiet please. Actual work going on here. KEN Is that that same bee? BARRY (O.C) Yes it is. VANESSA I’m helping him sue the human race. KEN What? Barry ENTERS. BARRY Oh, hello. KEN Hello Bee. Barry flies over to Vanessa. VANESSA This is Ken. BARRY Yeah, I remember you. Timberland, size 10 1/2, Vibram sole I believe. KEN Why does he talk again, Hun? VANESSA (to Ken, sensing the tension) Listen, you’d better go because we’re really busy working. KEN But it’s our yogurt night. VANESSA (pushing him out the door) Oh...bye bye. She CLOSES the door. KEN Why is yogurt night so difficult?! "Bee Movie" - JS REVISIONS 8/13/07 68. Vanessa ENTERS the back room carrying coffee. VANESSA Oh you poor thing, you two have been at this for hours. BARRY Yes, and Adam here has been a huge help. ANGLE ON: A EMPTY CINNABON BOX with Adam asleep inside, covered in frosting. VANESSA How many sugars? BARRY Just one. I try not to use the competition. So, why are you helping me, anyway? VANESSA Bees have good qualities. BARRY (rowing on the sugar cube like a gondola) Si, Certo. VANESSA And it feels good to take my mind off the shop. I don’t know why, instead of flowers, people are giving balloon bouquets now. BARRY Yeah, those are great...if you’re 3. VANESSA And artificial flowers. BARRY (re: plastic flowers) Oh, they just get me psychotic! VANESSA Yeah, me too. BARRY The bent stingers, the pointless pollination. "Bee Movie" - JS REVISIONS 8/13/07 69. VANESSA Bees must hate those fake plastic things. BARRY There’s nothing worse than a daffodil that’s had work done. VANESSA (holding up the lawsuit documents) Well, maybe this can make up for it a little bit. CUT TO: EXT. VANESSA’S FLORIST SHOP They EXIT the store, and cross to the mailbox. VANESSA You know Barry, this lawsuit is a pretty big deal. BARRY I guess. VANESSA Are you sure that you want to go through with it? BARRY Am I sure? (kicking the envelope into the mailbox) When I’m done with the humans, they won’t be able to say, “Honey, I’m home,” without paying a royalty. CUT TO: SEQ. 2700 - “MEET MONTGOMERY” EXT. MANHATTAN COURTHOUSE - DAY P.O.V SHOT - A camera feed turns on, revealing a newsperson. "Bee Movie" - JS REVISIONS 8/13/07 70. PRESS PERSON #2 (talking to camera) Sarah, it’s an incredible scene here in downtown Manhattan where all eyes and ears of the world are anxiously waiting, because for the first time in history, we’re going to hear for ourselves if a honey bee can actually speak. ANGLE ON: Barry, Vanessa, and Adam getting out of the cab. The press spots Barry and Vanessa and pushes in. Adam sits on Vanessa’s shoulder. INT. COURTHOUSE - CONTINUOUS Barry, Vanessa, and Adam sit at the Plaintiff’s Table. VANESSA (turns to Barry) What have we gotten into here, Barry? BARRY I don’t know, but it’s pretty big, isn’t it? ADAM I can’t believe how many humans don’t have to be at work during the day. BARRY Hey, you think these billion dollar multinational food companies have good lawyers? CUT TO: EXT. COURTHOUSE STEPS - CONTINUOUS A BIG BLACK CAR pulls up. ANGLE ON: the grill filling the frame. We see the “L.T.M” monogram on the hood ornament. The defense lawyer, LAYTON T. MONTGOMERY comes out, squashing a bug on the pavement. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 71. INT. COURTHOUSE - CONTINUOUS Barry SHUDDERS. VANESSA What’s the matter? BARRY I don’t know. I just got a chill. Montgomery ENTERS. He walks by Barry’s table shaking a honey packet. MONTGOMERY Well, if it isn’t the B-Team. (re: the honey packet) Any of you boys work on this? He CHUCKLES. The JUDGE ENTERS. SEQ. 3000 - “WITNESSES” BAILIFF All rise! The Honorable Judge Bumbleton presiding. JUDGE (shuffling papers) Alright...Case number 4475, Superior Court of New York. Barry Bee Benson vs. the honey industry, is now in session. Mr. Montgomery, you are representing the five major food companies, collectively. ANGLE ON: Montgomery’s BRIEFCASE. It has an embossed emblem of an EAGLE, holding a gavel in one talon and a briefcase in the other. MONTGOMERY A privilege. JUDGE Mr. Benson. Barry STANDS. JUDGE (CONT’D) You are representing all bees of the world? "Bee Movie" - JS REVISIONS 8/13/07 72. Montgomery, the stenographer, and the jury lean in. CUT TO: EXT. COURTHOUSE - CONTINUOUS The spectators outside freeze. The helicopters angle forward to listen closely. CUT TO: INT. COURTHOUSE BARRY Bzzz bzzz bzzz...Ahh, I’m kidding, I’m kidding. Yes, your honor. We are ready to proceed. ANGLE ON: Courtroom hub-bub. JUDGE And Mr. Montgomery, your opening statement, please. Montgomery rises. MONTGOMERY (grumbles, clears his throat) Ladies and gentlemen of the jury. My grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we were to live in the topsy-turvy world Mr. Benson imagines, just think of what it would mean. Maybe I would have to negotiate with the silk worm for the elastic in my britches. Talking bee. How do we know this isn’t some sort of holographic motion picture capture Hollywood wizardry? They could be using laser beams, robotics, ventriloquism, cloning...for all we know he could be on steroids! Montgomery leers at Barry, who moves to the stand. "Bee Movie" - JS REVISIONS 8/13/07 73. JUDGE Mr. Benson? Barry makes his opening statement. BARRY Ladies and Gentlemen of the jury, there’s no trickery here. I’m just an ordinary bee. And as a bee, honey’s pretty important to me. It’s important to all bees. We invented it, we make it, and we protect it with our lives. Unfortunately, there are some people in this room who think they can take whatever they want from us cause we’re the little guys. And what I’m hoping is that after this is all over, you’ll see how by taking our honey, you’re not only taking away everything we have, but everything we are. ANGLE ON: Vanessa smiling. ANGLE ON: The BEE GALLERY wiping tears away. CUT TO: INT. BENSON HOUSE Barry’s family is watching the case on TV. JANET BENSON Oh, I wish he would dress like that all the time. So nice... CUT TO: INT. COURTROOM - LATER JUDGE Call your first witness. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 74. INT. COURTHOUSE - LATER BARRY So, Mr. Klauss Vanderhayden of Honey Farms. Pretty big company you have there? MR. VANDERHAYDEN I suppose so. BARRY And I see you also own HoneyBurton, and Hon-Ron. MR. VANDERHAYDEN Yes. They provide beekeepers for our farms. BARRY Beekeeper. I find that to be a very disturbing term, I have to say. I don’t imagine you employ any bee free-ers, do you? MR. VANDERHAYDEN No. BARRY I’m sorry. I couldn’t hear you. MR. VANDERHAYDEN (louder) No. BARRY No. Because you don’t free bees. You keep bees. And not only that, it seems you thought a bear would be an appropriate image for a jar of honey? MR. VANDERHAYDEN Well, they’re very lovable creatures. Yogi-bear, Fozzy-bear, Build-a-bear. BARRY Yeah, you mean like this?! Vanessa and the SUPERINTENDANT from her building ENTER with a GIANT FEROCIOUS GRIZZLY BEAR. He has a neck collar and chains extending from either side. "Bee Movie" - JS REVISIONS 8/13/07 75. By pulling the chains, they bring him directly in front of Vanderhayden. The bear LUNGES and ROARS. BARRY (CONT'D) Bears kill bees! How would you like his big hairy head crashing into your living room? Biting into your couch, spitting out your throwpillows...rowr, rowr! The bear REACTS. BEAR Rowr!! BARRY Okay, that’s enough. Take him away. Vanessa and the Superintendant pull the bear out of the courtroom. Vanderhayden TREMBLES. The judge GLARES at him. CUT TO: INT. COURTROOM- A LITTLE LATER Barry questions STING. BARRY So, Mr. Sting. Thank you for being here. Your name intrigues me, I have to say. Where have I heard it before? STING I was with a band called "The Police". BARRY But you've never been a police officer of any kind, have you? STING No, I haven't. "Bee Movie" - JS REVISIONS 8/13/07 76. BARRY No, you haven’t. And so, here we have yet another example of bee culture being casually stolen by a human for nothing more than a prance-about stage name. STING Oh please. BARRY Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say, (looking in folder) Mr. Gordon M. Sumner? The jury GASPS. MONTGOMERY (to his aides) That’s not his real name? You idiots! CUT TO: INT. COURTHOUSE- LATER BARRY Mr. Liotta, first may I offer my belated congratulations on your Emmy win for a guest spot on E.R. in 2005. LIOTTA Thank you. Thank you. Liotta LAUGHS MANIACALLY. BARRY I also see from your resume that you’re devilishly handsome, but with a churning inner turmoil that’s always ready to blow. LIOTTA I enjoy what I do. Is that a crime? "Bee Movie" - JS REVISIONS 8/13/07 77. BARRY Not yet it isn’t. But is this what it’s come to for you, Mr. Liotta? Exploiting tiny helpless bees so you don’t have to rehearse your part, and learn your lines, Sir? LIOTTA Watch it Benson, I could blow right now. BARRY This isn’t a goodfella. This is a badfella! LIOTTA (exploding, trying to smash Barry with the Emmy) Why doesn’t someone just step on this little creep and we can all go home? You’re all thinking it. Say it! JUDGE Order! Order in this courtroom! A MONTAGE OF NEWSPAPER HEADLINES FOLLOWS: NEW YORK POST: “Bees to Humans: Buzz Off”. NEW YORK TELEGRAM: “Sue Bee”. DAILY VARIETY: “Studio Dumps Liotta Project. Slams Door on Unlawful Entry 2.” CUT TO: SEQ. 3175 - “CANDLELIGHT DINNER” INT. VANESSA’S APARTMENT Barry and Vanessa are having a candle light dinner. Visible behind Barry is a “LITTLE MISSY” SET BOX, with the flaps open. BARRY Well, I just think that was awfully nice of that bear to pitch in like that. "Bee Movie" - JS REVISIONS 8/13/07 78. VANESSA I’m telling you, I think the jury’s on our side. BARRY Are we doing everything right...you know, legally? VANESSA I’m a florist. BARRY Right, right. Barry raises his glass. BARRY (CONT’D) Well, here’s to a great team. VANESSA To a great team. They toast. Ken ENTERS KEN Well hello. VANESSA Oh...Ken. BARRY Hello. VANESSA I didn’t think you were coming. KEN No, I was just late. I tried to call. But, (holding his cell phone) the battery... VANESSA I didn’t want all this to go to waste, so I called Barry. Luckily he was free. BARRY Yeah. KEN (gritting his teeth) Oh, that was lucky. "Bee Movie" - JS REVISIONS 8/13/07 79. VANESSA Well, there’s still a little left. I could heat it up. KEN Yeah, heat it up. Sure, whatever. Vanessa EXITS. Ken and Barry look at each other as Barry eats. BARRY So, I hear you’re quite a tennis player. I’m not much for the game myself. I find the ball a little grabby. KEN That’s where I usually sit. Right there. VANESSA (O.C) Ken, Barry was looking at your resume, and he agreed with me that “eating with chopsticks” isn’t really a special skill. KEN (to Barry) You think I don’t see what you’re doing? BARRY Hey look, I know how hard it is trying to find the right job. We certainly have that in common. KEN Do we? BARRY Well, bees have 100% employment, of course. But we do jobs like taking the crud out. KEN That’s just what I was thinking about doing. Ken holds his table knife up. It slips out of his hand. He goes under the table to pick it up. "Bee Movie" - JS REVISIONS 8/13/07 80. VANESSA Ken, I let Barry borrow your razor for his fuzz. I hope that was alright. Ken hits his head on the table. BARRY I’m going to go drain the old stinger. KEN Yeah, you do that. Barry EXITS to the bathroom, grabbing a small piece of a VARIETY MAGAZINE on the way. BARRY Oh, look at that. Ken slams the champagne down on the table. Ken closes his eyes and buries his face in his hands. He grabs a magazine on the way into the bathroom. SEQ. 2800 - “BARRY FIGHTS KEN” INT. BATHROOM - CONTINUOUS Ken ENTERS, closes the door behind him. He’s not happy. Barry is washing his hands. He glances back at Ken. KEN You know, I’ve just about had it with your little mind games. BARRY What’s that? KEN Italian Vogue. BARRY Mamma Mia, that’s a lot of pages. KEN It’s a lot of ads. BARRY Remember what Van said. Why is your life any more valuable than mine? "Bee Movie" - JS REVISIONS 8/13/07 81. KEN It’s funny, I just can’t seem to recall that! Ken WHACKS at Barry with the magazine. He misses and KNOCKS EVERYTHING OFF THE VANITY. Ken grabs a can of AIR FRESHENER. KEN (CONT'D) I think something stinks in here. He sprays at Barry. BARRY I love the smell of flowers. KEN Yeah? How do you like the smell of flames? Ken lights the stream. BARRY Not as much. Barry flies in a circle. Ken, trying to stay with him, spins in place. ANGLE ON: Flames outside the bathroom door. Ken slips on the Italian Vogue, falls backward into the shower, pulling down the shower curtain. The can hits him in the head, followed by the shower curtain rod, and the rubber duck. Ken reaches back, grabs the handheld shower head. He whips around, looking for Barry. ANGLE ON: A WATERBUG near the drain. WATERBUG Waterbug. Not taking sides. Barry is on the toilet tank. He comes out from behind a shampoo bottle, wearing a chapstick cap as a helmet. BARRY Ken, look at me! I’m wearing a chapstick hat. This is pathetic. ANGLE ON: Ken turning the hand shower nozzle from “GENTLE”, to “TURBO”, to “LETHAL”. "Bee Movie" - JS REVISIONS 8/13/07 82. KEN I’ve got issues! Ken fires the water at Barry, knocking him into the toilet. The items from the vanity (emory board, lipstick, eye curler, etc.) are on the toilet seat. Ken looks down at Barry. KEN (CONT'D) Well well well, a royal flush. BARRY You’re bluffing. KEN Am I? Ken flushes the toilet. Barry grabs the Emory board and uses it to surf. He puts his hand in the water while he’s surfing. Some water splashes on Ken. BARRY Surf’s up, dude! KEN Awww, poo water! He does some skate board-style half-pipe riding. Barry surfs out of the toilet. BARRY That bowl is gnarly. Ken tries to get a shot at him with the toilet brush. KEN Except for those dirty yellow rings. Vanessa ENTERS. VANESSA Kenneth! What are you doing? KEN You know what? I don’t even like honey! I don’t eat it! VANESSA We need to talk! "Bee Movie" - JS REVISIONS 8/13/07 83. She pulls Ken out by his ear. Ken glares at Barry. CUT TO: INT. HALLWAY - CONTINUOUS VANESSA He’s just a little bee. And he happens to be the nicest bee I’ve met in a long time. KEN Long time? What are you talking about? Are there other bugs in your life? VANESSA No, but there are other things bugging me in life. And you’re one of them! KEN Fine! Talking bees, no yogurt night...my nerves are fried from riding on this emotional rollercoaster. VANESSA Goodbye, Ken. KEN Augh! VANESSA Whew! Ken EXITS, then re-enters frame. KEN And for your information, I prefer sugar-free, artificial sweeteners, made by man! He EXITS again. The DOOR SLAMS behind him. VANESSA (to Barry) I’m sorry about all that. Ken RE-ENTERS. "Bee Movie" - JS REVISIONS 8/13/07 84. KEN I know it’s got an aftertaste! I like it! BARRY (re: Ken) I always felt there was some kind of barrier between Ken and me. (puts his hands in his pockets) I couldn’t overcome it. Oh well. VANESSA Are you going to be okay for the trial tomorrow? BARRY Oh, I believe Mr. Montgomery is about out of ideas. CUT TO: SEQ. 3300 - “ADAM STINGS MONTY” INT. COURTROOM - NEXT DAY ANGLE ON: Medium shot of Montgomery standing at his table. MONTGOMERY We would like to call Mr. Barry Benson Bee to the stand. ADAM (whispering to Vanessa) Now that’s a good idea. (to Barry) You can really see why he’s considered one of the very best lawyers-- Oh. Barry rolls his eyes. He gets up, takes the stand. A juror in a striped shirt APPLAUDS. MR. GAMMIL (whispering) Layton, you’ve got to weave some magic with this jury, or it’s going to be all over. Montgomery is holding a BOOK, “The Secret Life of Bees”. "Bee Movie" - JS REVISIONS 8/13/07 85. MONTGOMERY (confidently whispering) Oh, don’t worry Mr. Gammil. The only thing I have to do to turn this jury around is to remind them of what they don’t like about bees. (to Gammil) You got the tweezers? Mr. Gammil NODS, and pats his breast pocket. MR. GAMMIL Are you allergic? MONTGOMERY Only to losing, son. Only to losing. Montgomery approaches the stand. MONTGOMERY (CONT’D) Mr. Benson Bee. I’ll ask you what I think we’d all like to know. What exactly is your relationship to that woman? Montgomery points to Vanessa. BARRY We’re friends. MONTGOMERY Good friends? BARRY Yes. MONTGOMERY (softly in Barry’s face) How good? BARRY What? MONTGOMERY Do you live together? BARRY Wait a minute, this isn’t about-- "Bee Movie" - JS REVISIONS 8/13/07 86. MONTGOMERY Are you her little... (clearing throat) ... bed bug? BARRY (flustered) Hey, that’s not the kind of-- MONTGOMERY I’ve seen a bee documentary or two. Now, from what I understand, doesn’t your Queen give birth to all the bee children in the hive? BARRY Yeah, but-- MONTGOMERY So those aren’t even your real parents! ANGLE ON: Barry’s parents. MARTIN BENSON Oh, Barry. BARRY Yes they are! ADAM Hold me back! Vanessa holds him back with a COFFEE STIRRER. Montgomery points to Barry’s parents. MONTGOMERY You’re an illegitimate bee, aren’t you Benson? ADAM He’s denouncing bees! All the bees in the courtroom start to HUM. They’re agitated. MONTGOMERY And don’t y’all date your cousins? "Bee Movie" - JS REVISIONS 8/13/07 87. VANESSA (standing, letting go of Adam) Objection! Adam explodes from the table and flies towards Montgomery. ADAM I’m going to pin cushion this guy! Montgomery turns around and positions himself by the judge’s bench. He sticks his butt out. Montgomery winks at his team. BARRY Adam, don’t! It’s what he wants! Adam shoves Barry out of the way. Adam STINGS Montgomery in the butt. The jury REACTS, aghast. MONTGOMERY Ow! I’m hit! Oh, lordy, I am hit! The judge BANGS her gavel. JUDGE Order! Order! Please, Mr. Montgomery. MONTGOMERY The venom! The venom is coursing through my veins! I have been felled by a wing-ed beast of destruction. You see? You can’t treat them like equals. They’re strip-ed savages! Stinging’s the only thing they know! It’s their way! ANGLE ON: Adam, collapsed on the floor. Barry rushes to his side. BARRY Adam, stay with me. ADAM I can’t feel my legs. Montgomery falls on the Bailiff. BAILIFF Take it easy. "Bee Movie" - JS REVISIONS 8/13/07 88. MONTGOMERY Oh, what angel of mercy will come forward to suck the poison from my heaving buttocks? The JURY recoils. JUDGE Please, I will have order in this court. Order! Order, please! FADE TO: SEQ. 3400 - “ADAM AT HOSPITAL” INT. HOSPITAL - STREET LEVEL ROOM - DAY PRESS PERSON #1 (V.O) The case of the honey bees versus the human race took a pointed turn against the bees yesterday, when one of their legal team stung Layton T. Montgomery. Now here’s Don with the 5-day. A NURSE lets Barry into the room. Barry CARRIES a FLOWER. BARRY Thank you. Barry stands over Adam, in a bed. Barry lays the flower down next to him. The TV is on. BARRY (CONT'D) Hey buddy. ADAM Hey. BARRY Is there much pain? Adam has a BEE-SIZED PAINKILLER HONEY BUTTON near his head that he presses. ADAM (pressing the button) Yeah...I blew the whole case, didn’t I? "Bee Movie" - JS REVISIONS 8/13/07 89. BARRY Oh, it doesn’t matter. The important thing is you’re alive. You could have died. ADAM I’d be better off dead. Look at me. Adam THROWS the blanket off his lap, revealing a GREEN SANDWICH SWORD STINGER. ADAM (CONT’D) (voice cracking) They got it from the cafeteria, they got it from downstairs. In a tuna sandwich. Look, there’s a little celery still on it. BARRY What was it like to sting someone? ADAM I can’t explain it. It was all adrenaline...and then...ecstasy. Barry looks at Adam. BARRY Alright. ADAM You think that was all a trap? BARRY Of course. I’m sorry. I flew us right into this. What were we thinking? Look at us, we’re just a couple of bugs in this world. ADAM What do you think the humans will do to us if they win? BARRY I don’t know. ADAM I hear they put the roaches in motels. That doesn’t sound so bad. "Bee Movie" - JS REVISIONS 8/13/07 90. BARRY Adam, they check in, but they don’t check out. Adam GULPS. ADAM Oh my. ANGLE ON: the hospital window. We see THREE PEOPLE smoking outside on the sidewalk. The smoke drifts in. Adam COUGHS. ADAM (CONT’D) Say, could you get a nurse to close that window? BARRY Why? ADAM The smoke. Bees don’t smoke. BARRY Right. Bees don’t smoke. Bees don’t smoke! But some bees are smoking. Adam, that’s it! That’s our case. Adam starts putting his clothes on. ADAM It is? It’s not over? BARRY No. Get up. Get dressed. I’ve got to go somewhere. You get back the court and stall. Stall anyway you can. CUT TO: SEQ. 3500 - “SMOKING GUN” INT. COURTROOM - THE NEXT DAY Adam is folding a piece of paper into a boat. ADAM ...and assuming you’ve done step 29 correctly, you’re ready for the tub. "Bee Movie" - JS REVISIONS 8/13/07 91. ANGLE ON: The jury, all with paper boats of their own. JURORS Ooh. ANGLE ON: Montgomery frustrated with Gammil, who’s making a boat also. Monty crumples Gammil’s boat, and throws it at him. JUDGE Mr. Flayman? ADAM Yes? Yes, Your Honor? JUDGE Where is the rest of your team? ADAM (fumbling with his swordstinger) Well, your honor, it’s interesting. You know Bees are trained to fly kind of haphazardly and as a result quite often we don’t make very good time. I actually once heard a pretty funny story about a bee-- MONTGOMERY Your Honor, haven’t these ridiculous bugs taken up enough of this court’s valuable time? Montgomery rolls out from behind his table. He’s suspended in a LARGE BABY CHAIR with wheels. MONTGOMERY (CONT'D) How much longer are we going to allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients who have all run perfectly legitimate businesses. I move for a complete dismissal of this entire case. JUDGE Mr. Flayman, I am afraid I am going to have to consider Mr. Montgomery’s motion. "Bee Movie" - JS REVISIONS 8/13/07 92. ADAM But you can’t. We have a terrific case. MONTGOMERY Where is your proof? Where is the evidence? Show me the smoking gun. Barry bursts through the door. BARRY Hold it, your honor. You want a smoking gun? Here is your smoking gun. Vanessa ENTERS, holding a bee smoker Vanessa slams the beekeeper's SMOKER onto the judge’s bench. JUDGE What is that? BARRY It’s a Bee smoker. Montgomery GRABS the smoker. MONTGOMERY What, this? This harmless little contraption? This couldn’t hurt a fly, let alone a bee. He unintentionally points it towards the bee gallery, KNOCKING THEM ALL OUT. The jury GASPS. The press SNAPS pictures of them. BARRY Members of the jury, look at what has happened to bees who have never been asked, "Smoking or Non?" Is this what nature intended for us? To be forcibly addicted to these smoke machines in man-made wooden slat work camps? Living out our lives as honey slaves to the white man? Barry gestures dramatically towards Montgomery's racially mixed table. The BLACK LAWYER slowly moves his chair away. GAMMIL What are we going to do? "Bee Movie" - JS REVISIONS 8/13/07 93. MONTGOMERY (to Pross) He's playing the species card. Barry lands on the scale of justice, by the judge’s bench. It balances as he lands. BARRY Ladies and gentlemen, please, FreeThese-Bees! ANGLE ON: Jury, chanting "Free the bees". JUDGE The court finds in favor of the bees. The chaos continues. Barry flies over to Vanessa, with his hand up for a “high 5”. BARRY Vanessa, we won! VANESSA Yay! I knew you could do it. Highfive! She high 5’s Barry, sending him crashing to the table. He bounces right back up. VANESSA (CONT'D) Oh, sorry. BARRY Ow!! I’m okay. Vanessa, do you know what this means? All the honey is finally going to belong to the bees. Now we won’t have to work so hard all the time. Montgomery approaches Barry, surrounded by the press. The cameras and microphones go to Montgomery. MONTGOMERY (waving a finger) This is an unholy perversion of the balance of nature, Benson! You’ll regret this. ANGLE ON: Barry’s ‘deer in headlights’ expression, as the press pushes microphones in his face. "Bee Movie" - JS REVISIONS 8/13/07 94. PRESS PERSON 1 Barry, how much honey do you think is out there? BARRY Alright, alright, one at a time... SARAH Barry, who are you wearing? BARRY Uhhh, my sweater is Ralph Lauren, and I have no pants. The Press follows Barry as he EXITS. ANGLE ON: Adam and Vanessa. ADAM (putting papers away) What if Montgomery’s right? VANESSA What do you mean? ADAM We’ve been living the bee way a long time. 27 million years. DISSOLVE TO: SEQ. 3600 - “HONEY ROUNDUP” EXT. HONEY FARMS APIARY - MONTAGE SARAH (V.O) Congratulations on your victory. What are you going to demand as a settlement? BARRY (V.O) (over montage) First, we’re going to demand a complete shutdown of all bee work camps. Then, we want to get back all the honey that was ours to begin with. Every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, big-headed, bad breath, stink-machine. "Bee Movie" - JS REVISIONS 8/13/07 95. I believe we’re all aware of what they do in the woods. We will no longer tolerate derogatory beenegative nick-names, unnecessary inclusion of honey in bogus health products, and la-dee-da tea-time human snack garnishments. MONTAGE IMAGES: Close-up on an ATF JACKET, with the YELLOW LETTERS. Camera pulls back. We see an ARMY OF BEE AND HUMAN AGENTS wearing hastily made “Alcohol, Tobacco, Firearms, and Honey” jackets. Barry supervises. The gate to Honey Farms is locked permanently. All the smokers are collected and locked up. All the bees leave the Apiary. CUT TO: EXT. ATF OUTSIDE OF SUPERMARKET - MONTAGE Agents begin YANKING honey off the supermarket shelves, and out of shopping baskets. CUT TO: EXT. NEW HIVE CITY - MONTAGE The bees tear down a honey-bear statue. CUT TO: EXT. YELLOWSTONE FOREST - MONTAGE POV of a sniper’s crosshairs. An animated BEAR character looka-like, turns his head towards camera. BARRY Wait for my signal. ANGLE ON: Barry lowering his binoculars. BARRY (CONT'D) Take him out. The sniper SHOOTS the bear. It hits him in the shoulder. The bear looks at it. He gets woozy and the honey jar falls out of his lap, an ATF&H agent catches it. "Bee Movie" - JS REVISIONS 8/13/07 96. BARRY (V.O) (CONT'D) ATF&H AGENT (to the bear’s pig friend) He’ll have a little nausea for a few hours, then he’ll be fine. CUT TO: EXT. STING’S HOUSE - MONTAGE ATF&H agents SLAP CUFFS on Sting, who is meditating. STING But it’s just a prance-about stage name! CUT TO: INT. A WOMAN’S SHOWER - MONTAGE A WOMAN is taking a shower, and using honey shampoo. An ATF&H agent pulls the shower curtain aside, and grabs her bottle of shampoo. The woman SCREAMS. The agent turns to the 3 other agents, and Barry. ANGLE ON: Barry looking at the label on the shampoo bottle, shaking his head and writing in his clipboard. CUT TO: EXT. SUPERMARKET CAFE - MONTAGE Another customer, an old lady having her tea with a little jar of honey, gets her face pushed down onto the table and turned to the side by two agents. One of the agents has a gun on her. OLD LADY Can’t breathe. CUT TO: EXT. CENTRAL PARK - MONTAGE An OIL DRUM of honey is connected to Barry’s hive. "Bee Movie" - JS REVISIONS 8/13/07 97. BARRY Bring it in, boys. CUT TO: SEQ. 3650 - “NO MORE WORK” INT. HONEX - MONTAGE ANGLE ON: The honey goes past the 3-cup hash-mark, and begins to overflow. A WORKER BEE runs up to Buzzwell. WORKER BEE 1 Mr. Buzzwell, we just passed 3 cups, and there’s gallons mores coming. I think we need to shutdown. KEYCHAIN BEE (to Buzzwell) Shutdown? We’ve never shutdown. ANGLE ON: Buzzwell overlooking the factory floor. BUZZWELL Shutdown honey production! Stop making honey! ANGLE ON: TWO BEES, each with a KEY. BUZZWELL (CONT’D) Turn your key, Sir! They turn the keys simultaneously, War Games-style, shutting down the honey machines. ANGLE ON: the Taffy-Pull machine, Centrifuge, and Krelman all slowly come to a stop. The bees look around, bewildered. WORKER BEE 5 What do we do now? A BEAT. WORKER BEE 6 Cannon ball!! He jumps into a HONEY VAT, doesn’t penetrate the surface. He looks around, and slowly sinks down to his waist. "Bee Movie" - JS REVISIONS 8/13/07 98. EXT. HONEX FACTORY THE WHISTLE BLOWS, and the bees all stream out the exit. CUT TO: INT. J-GATE - CONTINUOUS Lou Loduca gives orders to the pollen jocks. LOU LODUCA We’re shutting down honey production. Mission abort. CUT TO: EXT. CENTRAL PARK Jackson receives the orders, mid-pollination. JACKSON Aborting pollination and nectar detail. Returning to base. CUT TO: EXT. NEW HIVE CITY ANGLE ON: Bees, putting sun-tan lotion on their noses and antennae, and sunning themselves on the balconies of the gyms. CUT TO: EXT. CENTRAL PARK ANGLE ON: THE FLOWERS starting to DROOP. CUT TO: INT. J-GATE J-Gate is deserted. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 99. EXT. NEW HIVE CITY ANGLE ON: Bees sunning themselves. A TIMER DINGS, and they all turn over. CUT TO: EXT. CENTRAL PARK TIME LAPSE of Central Park turning brown. CUT TO: EXT. VANESSA’S FLORIST SHOP CLOSE-UP SHOT: Vanessa writes “Sorry. No more flowers.” on a “Closed” sign, an turns it facing out. CUT TO: SEQ. 3700 - “IDLE HIVE” EXT. NEW HIVE CITY - DAY Barry flies at high speed. TRACKING SHOT into the hive, through the lobby of Honex, and into Adam’s office. CUT TO: INT. ADAM’S OFFICE - CONTINUOUS Barry meets Adam in his office. Adam’s office is in disarray. There are papers everywhere. He’s filling up his cardboard hexagon box. BARRY (out of breath) Adam, you wouldn’t believe how much honey was out there. ADAM Oh yeah? BARRY What’s going on around here? Where is everybody? Are they out celebrating? "Bee Movie" - JS REVISIONS 8/13/07 100. ADAM (exiting with a cardboard box of belongings) No, they’re just home. They don’t know what to do. BARRY Hmmm. ADAM They’re laying out, they’re sleeping in. I heard your Uncle Carl was on his way to San Antonio with a cricket. BARRY At least we got our honey back. They walk through the empty factory. ADAM Yeah, but sometimes I think, so what if the humans liked our honey? Who wouldn’t? It’s the greatest thing in the world. I was excited to be a part of making it. ANGLE ON: Adam’s desk on it’s side in the hall. ADAM (CONT’D) This was my new desk. This was my new job. I wanted to do it really well. And now...and now I can’t. Adam EXITS. CUT TO: SEQ. 3900 - “WORLD WITHOUT BEES” INT. STAIRWELL Vanessa and Barry are walking up the stairs to the roof. BARRY I don’t understand why they’re not happy. We have so much now. I thought their lives would be better. "Bee Movie" - JS REVISIONS 8/13/07 101. VANESSA Hmmm. BARRY They’re doing nothing. It’s amazing, honey really changes people. VANESSA You don’t have any idea what’s going on, do you? BARRY What did you want to show me? VANESSA This. They reach the top of the stairs. Vanessa opens the door. CUT TO: EXT. VANESSA’S ROOFTOP - CONTINUOUS Barry sees Vanessa’s flower pots and small garden have all turned brown. BARRY What happened here? VANESSA That is not the half of it... Vanessa turns Barry around with her two fingers, revealing the view of Central Park, which is also all brown. BARRY Oh no. Oh my. They’re all wilting. VANESSA Doesn’t look very good, does it? BARRY No. VANESSA And who’s fault do you think that is? "Bee Movie" - JS REVISIONS 8/13/07 102. BARRY Mmmm...you know, I’m going to guess, bees. VANESSA Bees? BARRY Specifically me. I guess I didn’t think that bees not needing to make honey would affect all these other things. VANESSA And it’s not just flowers. Fruits, vegetables...they all need bees. BARRY Well, that’s our whole SAT test right there. VANESSA So, you take away the produce, that affects the entire animal kingdom. And then, of course... BARRY The human species? VANESSA (clearing throat) Ahem! BARRY Oh. So, if there’s no more pollination, it could all just go south here, couldn’t it? VANESSA And I know this is also partly my fault. Barry takes a long SIGH. BARRY How about a suicide pact? VANESSA (not sure if he’s joking) How would we do it? BARRY I’ll sting you, you step on me. "Bee Movie" - JS REVISIONS 8/13/07 103. VANESSA That just kills you twice. BARRY Right, right. VANESSA Listen Barry. Sorry but I’ve got to get going. She EXITS. BARRY (looking out over the park) Had to open my mouth and talk... (looking back) Vanessa..? Vanessa is gone. CUT TO: SEQ. 3935 - “GOING TO PASADENA” EXT. NY STREET - CONTINUOUS Vanessa gets into a cab. Barry ENTERS. BARRY Vanessa. Why are you leaving? Where are you going? VANESSA To the final Tournament of Roses parade in Pasadena. They moved it up to this weekend because all the flowers are dying. It’s the last chance I’ll ever have to see it. BARRY Vanessa, I just want to say I’m sorry. I never meant it to turn out like this. VANESSA I know. Me neither. Vanessa cab drives away. "Bee Movie" - JS REVISIONS 8/13/07 104. BARRY (chuckling to himself) Tournament of Roses. Roses can’t do sports. Wait a minute...roses. Roses? Roses!? Vanessa! Barry follows shortly after. He catches up to it, and he pounds on the window. Barry follows shortly after Vanessa’s cab. He catches up to it, and he pounds on the window. INT. TAXI - CONTINUOUS Barry motions for her to roll the window down. She does so. BARRY Roses?! VANESSA Barry? BARRY (as he flies next to the cab) Roses are flowers. VANESSA Yes, they are. BARRY Flowers, bees, pollen! VANESSA I know. That’s why this is the last parade. BARRY Maybe not. The cab starts pulling ahead of Barry. BARRY (CONT'D) (re: driver) Could you ask him to slow down? VANESSA Could you slow down? The cabs slows. Barry flies in the window, and lands in the change box, which closes on him. "Bee Movie" - JS REVISIONS 8/13/07 105. VANESSA (CONT'D) Barry! Vanessa lets him out. Barry stands on the change box, in front of the driver’s license. BARRY Okay, I made a huge mistake! This is a total disaster, and it’s all my fault! VANESSA Yes, it kind of is. BARRY I’ve ruined the planet. And, I wanted to help with your flower shop. Instead, I’ve made it worse. VANESSA Actually, it’s completely closed down. BARRY Oh, I thought maybe you were remodeling. Nonetheless, I have another idea. And it’s greater than all my previous great ideas combined. VANESSA I don’t want to hear it. Vanessa closes the change box on Barry. BARRY (opening it again) Alright, here’s what I’m thinking. They have the roses, the roses have the pollen. I know every bee, plant, and flower bud in this park. All we’ve got to do is get what they’ve got back here with what we’ve got. VANESSA Bees... BARRY Park... VANESSA Pollen... "Bee Movie" - JS REVISIONS 8/13/07 106. BARRY Flowers... VANESSA Repollination! BARRY (on luggage handle, going up) Across the nation! CUT TO: SEQ. 3950 - “ROSE PARADE” EXT. PASADENA PARADE BARRY (V.O) Alright. Tournament of Roses. Pasadena, California. They’ve got nothing but flowers, floats, and cotton candy. Security will be tight. VANESSA I have an idea. CUT TO: EXT. FLOAT STAGING AREA ANGLE ON: Barry and Vanessa approaching a HEAVILY ARMED GUARD in front of the staging area. VANESSA Vanessa Bloome, FTD. Official floral business. He leans in to look at her badge. She SNAPS IT SHUT, VANESSA (CONT’D) Oh, it’s real. HEAVILY ARMED GUARD Sorry ma’am. That’s a nice brooch, by the way. VANESSA Thank you. It was a gift. "Bee Movie" - JS REVISIONS 8/13/07 107. They ENTER the staging area. BARRY (V.O) Then, once we’re inside, we just pick the right float. VANESSA How about the Princess and the Pea? BARRY Yeah. VANESSA I can be the princess, and-- BARRY ...yes, I think-- VANESSA You could be-- BARRY I’ve-- VANESSA The pea. BARRY Got it. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER Barry, dressed as a PEA, flies up and hovers in front of the princess on the “Princess and the Pea” float. The float is sponsored by Inflat-a-bed and a SIGN READS: “Inflat-a-bed: If it blows, it’s ours.” BARRY Sorry I’m late. Where should I sit? PRINCESS What are you? BARRY I believe I’m the pea. PRINCESS The pea? It’s supposed to be under the mattresses. "Bee Movie" - JS REVISIONS 8/13/07 108. BARRY Not in this fairy tale, sweetheart. PRINCESS I’m going to go talk to the marshall. BARRY You do that. This whole parade is a fiasco! She EXITS. Vanessa removes the step-ladder. The princess FALLS. Barry and Vanessa take off in the float. BARRY (CONT’D) Let’s see what this baby will do. ANGLE ON: Guy with headset talking to drivers. HEADSET GUY Hey! The float ZOOMS by. A young CHILD in the stands, TIMMY, cries. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER ANGLE ON: Vanessa putting the princess hat on. BARRY (V.O) Then all we do is blend in with traffic, without arousing suspicion. CUT TO: EXT. THE PARADE ROUTE - CONTINUOUS The floats go flying by the crowds. Barry and Vanessa’s float CRASHES through the fence. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 109. EXT. LA FREEWAY Vanessa and Barry speed, dodging and weaving, down the freeway. BARRY (V.O) And once we’re at the airport, there’s no stopping us. CUT TO: EXT. LAX AIRPORT Barry and Vanessa pull up to the curb, in front of an TSA AGENT WITH CLIPBOARD. TSA AGENT Stop. Security. Did you and your insect pack your own float? VANESSA (O.C) Yes. TSA AGENT Has this float been in your possession the entire time? VANESSA (O.C) Since the parade...yes. ANGLE ON: Barry holding his shoes. TSA AGENT Would you remove your shoes and everything in your pockets? Can you remove your stinger, Sir? BARRY That’s part of me. TSA AGENT I know. Just having some fun. Enjoy your flight. CUT TO: EXT. RUNWAY Barry and Vanessa’s airplane TAKES OFF. "Bee Movie" - JS REVISIONS 8/13/07 110. BARRY (O.C) Then, if we’re lucky, we’ll have just enough pollen to do the job. DISSOLVE TO: SEQ. 4025 - “COCKPIT FIGHT” INT. AIRPLANE Vanessa is on the aisle. Barry is on a laptop calculating flowers, pollen, number of bees, airspeed, etc. He does a “Stomp” dance on the keyboard. BARRY Can you believe how lucky we are? We have just enough pollen to do the job. I think this is going to work, Vanessa. VANESSA It’s got to work. PILOT (V.O) Attention passengers. This is Captain Scott. I’m afraid we have a bit of bad weather in the New York area. And looks like we’re going to be experiencing a couple of hours delay. VANESSA Barry, these are cut flowers with no water. They’ll never make it. BARRY I’ve got to get up there and talk to these guys. VANESSA Be careful. Barry flies up to the cockpit door. CUT TO: INT. COCKPIT - CONTINUOUS A female flight attendant, ANGELA, is in the cockpit with the pilots. "Bee Movie" - JS REVISIONS 8/13/07 111. There’s a KNOCK at the door. BARRY (C.O) Hey, can I get some help with this Sky Mall Magazine? I’d like to order the talking inflatable travel pool filter. ANGELA (to the pilots, irritated) Excuse me. CUT TO: EXT. CABIN - CONTINUOUS Angela opens the cockpit door and looks around. She doesn’t see anybody. ANGLE ON: Barry hidden on the yellow and black “caution” stripe. As Angela looks around, Barry zips into the cockpit. CUT TO: INT. COCKPIT BARRY Excuse me, Captain. I am in a real situation here... PILOT (pulling an earphone back, to the co-pilot) What did you say, Hal? CO-PILOT I didn’t say anything. PILOT (he sees Barry) Ahhh! Bee! BARRY No, no! Don’t freak out! There’s a chance my entire species-- CO-PILOT (taking off his earphones) Ahhh! "Bee Movie" - JS REVISIONS 8/13/07 112. The pilot grabs a “DUSTBUSTER” vacuum cleaner. He aims it around trying to vacuum up Barry. The co-pilot faces camera, as the pilot tries to suck Barry up. Barry is on the other side of the co-pilot. As they dosey-do, the toupee of the co-pilot begins to come up, still attached to the front. CO-PILOT (CONT'D) What are you doing? Stop! The toupee comes off the co-pilot’s head, and sticks in the Dustbuster. Barry runs across the bald head. BARRY Wait a minute! I’m an attorney! CO-PILOT Who’s an attorney? PILOT Don’t move. The pilot uses the Dustbuster to try and mash Barry, who is hovering in front of the co-pilot’s nose, and knocks out the co-pilot who falls out of his chair, hitting the life raft release button. The life raft inflates, hitting the pilot, knocking him into a wall and out cold. Barry surveys the situation. BARRY Oh, Barry. CUT TO: INT. AIRPLANE CABIN Vanessa studies her laptop, looking serious. SFX: PA CRACKLE. BARRY (V.O) (in captain voice) Good afternoon passengers, this is your captain speaking. Would a Miss Vanessa Bloome in 24F please report to the cockpit. And please hurry! "Bee Movie" - JS REVISIONS 8/13/07 113. ANGLE ON: The aisle, and Vanessa head popping up. CUT TO: INT. COCKPIT Vanessa ENTERS. VANESSA What happened here? BARRY I tried to talk to them, but then there was a Dustbuster, a toupee, a life raft exploded...Now one’s bald, one’s in a boat, and they’re both unconscious. VANESSA Is that another bee joke? BARRY No. No one’s flying the plane. The AIR TRAFFIC CONTROLLER, BUD, speaks over the radio. BUD This is JFK control tower. Flight 356, what’s your status? Vanessa presses a button, and the intercom comes on. VANESSA This is Vanessa Bloome. I’m a florist from New York. BUD Where’s the pilot? VANESSA He’s unconscious and so is the copilot. BUD Not good. Is there anyone onboard who has flight experience? A BEAT. BARRY As a matter of fact, there is. "Bee Movie" - JS REVISIONS 8/13/07 114. BUD Who’s that? VANESSA Barry Benson. BUD From the honey trial? Oh great. BARRY Vanessa, this is nothing more than a big metal bee. It’s got giant wings, huge engines. VANESSA I can’t fly a plane. BARRY Why not? Isn’t John Travolta a pilot? VANESSA Yes? BARRY How hard could it be? VANESSA Wait a minute. Barry, we’re headed into some lightning. CUT TO: Vanessa shrugs, and takes the controls. SEQ. 4150 - “BARRY FLIES PLANE” INT. BENSON HOUSE The family is all huddled around the TV at the Benson house. ANGLE ON: TV. Bob Bumble is broadcasting. BOB BUMBLE This is Bob Bumble. We have some late-breaking news from JFK airport, where a very suspenseful scene is developing. Barry Benson, fresh off his stunning legal victory... "Bee Movie" - JS REVISIONS 8/13/07 115. Adam SPRAYS a can of HONEY-WHIP into his mouth. ADAM That’s Barry. BOB BUMBLE ...is now attempting to land a plane, loaded with people, flowers, and an incapacitated flight crew. EVERYONE Flowers?! CUT TO: INT. AIR TRAFFIC CONTROL TOWER BUD Well, we have an electrical storm in the area, and two individuals at the controls of a jumbo jet with absolutely no flight experience. JEANETTE CHUNG Just a minute, Mr. Ditchwater, there’s a honey bee on that plane. BUD Oh, I’m quite familiar with Mr. Benson’s work, and his no-account compadres. Haven’t they done enough damage already? JEANETTE CHUNG But isn’t he your only hope right now? BUD Come on, technically a bee shouldn’t be able to fly at all. CUT TO: INT. COCKPIT. Barry REACTS BUD The wings are too small, their bodies are too big-- "Bee Movie" - JS REVISIONS 8/13/07 116. BARRY (over PA) Hey, hold on a second. Haven’t we heard this million times? The surface area of the wings, and the body mass doesn’t make sense? JEANETTE CHUNG Get this on the air. CAMERAMAN You got it! CUT TO: INT. BEE TV CONTROL ROOM An engineer throws a switch. BEE ENGINEER Stand by. We’re going live. The “ON AIR” sign illuminates. CUT TO: INT. VARIOUS SHOTS OF NEW HIVE CITY The news report plays on TV. The pollen jocks are sitting around, playing paddle-ball, Wheel-o, and one of them is spinning his helmet on his finger. Buzzwell is in an office cubicle, playing computer solitaire. Barry’s family and Adam watch from their living room. Bees sitting on the street curb turn around to watch the TV. BARRY Mr. Ditchwater, the way we work may be a mystery to you, because making honey takes a lot of bees doing a lot of small jobs. But let me tell you something about a small job. If you do it really well, it makes a big difference. More than we realized. To us, to everyone. That’s why I want to get bees back to doing what we do best. "Bee Movie" - JS REVISIONS 8/13/07 117. Working together. That’s the bee way. We’re not made of Jello. We get behind a fellow. Black and yellow. CROWD OF BEES Hello! CUT TO: INT. COCKPIT Barry is giving orders to Vanessa. BARRY Left, right, down, hover. VANESSA Hover? BARRY Forget hover. VANESSA You know what? This isn’t so hard. Vanessa pretends to HONK THE HORN. VANESSA (CONT’D) Beep, beep! Beep, beep! A BOLT OF LIGHTNING HITS the plane. The plane takes a sharp dip. VANESSA (CONT’D) Barry, what happened? BARRY (noticing the control panel) Wait a minute. I think we were on autopilot that whole time. VANESSA That may have been helping me. BARRY And now we’re not! VANESSA (V.O.) (folding her arms) Well, then it turns out I cannot fly a plane. "Bee Movie" - JS REVISIONS 8/13/07 118. BARRY (CONT'D) Vanessa struggles with the yoke. CUT TO: EXT. AIRPLANE The airplane goes into a steep dive. CUT TO: SEQ. 4175 - “CRASH LANDING” INT. J-GATE An ALERT SIGN READING: “Hive Alert. We Need:” Then the SIGNAL goes from “Two Bees” “Some Bees” “Every Bee There Is” Lou Loduca gathers the pollen jocks at J-Gate. LOU LODUCA All of you, let’s get behind this fellow. Move it out! The bees follow Lou Loduca, and EXIT J-Gate. CUT TO: INT. AIRPLANE COCKPIT BARRY Our only chance is if I do what I would do, and you copy me with the wings of the plane! VANESSA You don’t have to yell. BARRY I’m not yelling. We happen to be in a lot of trouble here. VANESSA It’s very hard to concentrate with that panicky tone in your voice. BARRY It’s not a tone. I’m panicking! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 119. EXT. JFK AIRPORT ANGLE ON: The bees arriving and massing at the airport. CUT TO: INT. COCKPIT Barry and Vanessa alternately SLAP EACH OTHER IN THE FACE. VANESSA I don’t think I can do this. BARRY Vanessa, pull yourself together. Listen to me, you have got to snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! CUT TO: EXT. AIRPLANE A GIGANTIC SWARM OF BEES flies in to hold the plane up. CUT TO: INT. COCKPIT - CONTINUOUS BARRY You snap out of it! VANESSA You snap out of it! "Bee Movie" - JS REVISIONS 8/13/07 120. BARRY You snap-- VANESSA Hold it! BARRY (about to slap her again) Why? Come on, it’s my turn. VANESSA How is the plane flying? Barry’s antennae ring. BARRY I don’t know. (answering) Hello? CUT TO: EXT. AIRPLANE ANGLE ON: The underside of the plane. The pollen jocks have massed all around the underbelly of the plane, and are holding it up. LOU LODUCA Hey Benson, have you got any flowers for a happy occasion in there? CUT TO: INT. COCKPIT Lou, Buzz, Splitz, and Jackson come up alongside the cockpit. BARRY The pollen jocks! VANESSA They do get behind a fellow. BARRY Black and yellow. LOU LODUCA (over headset) Hello. "Bee Movie" - JS REVISIONS 8/13/07 121. Alright you two, what do you say we drop this tin can on the blacktop? VANESSA What blacktop? Where? I can’t see anything. Can you? BARRY No, nothing. It’s all cloudy. CUT TO: EXT. RUNWAY Adam SHOUTS. ADAM Come on, you’ve got to think bee, Barry. Thinking bee, thinking bee. ANGLE ON: Overhead shot of runway. The bees are in the formation of a flower. In unison they move, causing the flower to FLASH YELLOW AND BLACK. BEES (chanting) Thinking bee, thinking bee. CUT TO: INT. COCKPIT We see through the swirling mist and clouds. A GIANT SHAPE OF A FLOWER is forming in the middle of the runway. BARRY Wait a minute. I think I’m feeling something. VANESSA What? BARRY I don’t know, but it’s strong. And it’s pulling me, like a 27 million year old instinct. Bring the nose of the plane down. "Bee Movie" - JS REVISIONS 8/13/07 122. LOU LODUCA (CONT'D) EXT. RUNWAY All the bees are on the runway chanting “Thinking Bee”. CUT TO: INT. CONTROL TOWER RICK What in the world is on the tarmac? ANGLE ON: Dave OTS onto runway seeing a flower being formed by millions of bees. BUD Get some lights on that! CUT TO: EXT. RUNWAY ANGLE ON: AIRCRAFT LANDING LIGHT SCAFFOLD by the side of the runway, illuminating the bees in their flower formation. INT. COCKPIT BARRY Vanessa, aim for the flower! VANESSA Oh, okay? BARRY Cut the engines! VANESSA Cut the engines? BARRY We’re going in on bee power. Ready boys? LOU LODUCA Affirmative. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 123. INT. AIRPLANE COCKPIT BARRY Good, good, easy now. Land on that flower! Ready boys? Give me full reverse. LOU LODUCA Spin it around! The plane attempts to land on top of an “Aloha Airlines” plane with flowers painted on it. BARRY (V.O) I mean the giant black and yellow pulsating flower made of millions of bees! VANESSA Which flower? BARRY That flower! VANESSA I’m aiming at the flower! The plane goes after a FAT GUY IN A HAWAIIAN SHIRT. BARRY (V.O) That’s a fat guy in a flowered shirt! The other other flower! The big one. He snaps a photo and runs away. BARRY (CONT'D) Full forward. Ready boys? Nose down. Bring your tail up. Rotate around it. VANESSA Oh, this is insane, Barry. BARRY This is the only way I know how to fly. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 124. AIR TRAFFIC CONTROL TOWER BUD Am I koo-koo kachoo, or is this plane flying in an insect-like pattern? CUT TO: EXT. RUNWAY BARRY (V.O) Get your nose in there. Don’t be afraid of it. Smell it. Full reverse! Easy, just drop it. Be a part of it. Aim for the center! Now drop it in. Drop it in, woman! The plane HOVERS and MANEUVERS, landing in the center of the giant flower, like a bee. The FLOWERS from the cargo hold spill out onto the runway. INT. AIPLANE CABIN The passengers are motionless for a beat. PASSENGER Come on already! They hear the “ding ding”, and all jump up to grab their luggage out of the overheads. SEQ. 4225 - “RUNWAY SPEECH” EXT. RUNWAY - CONTINUOUS The INFLATABLE SLIDES pop out the side of the plane. The passengers escape. Barry and Vanessa slide down out of the cockpit. Barry and Vanessa exhale a huge breath. VANESSA Barry, we did it. You taught me how to fly. Vanessa raises her hand up for a high five. "Bee Movie" - JS REVISIONS 8/13/07 125. BARRY Yes. No high five. VANESSA Right. ADAM Barry, it worked. Did you see the giant flower? BARRY What giant flower? Where? Of course I saw the flower! That was genius, man. Genius! ADAM Thank you. BARRY But we’re not done yet. Barry flies up to the wing of the plane, and addresses the bee crowd. BARRY (CONT’D) Listen everyone. This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We’re the only ones who make honey, pollinate flowers, and dress like this. If we’re going to survive as a species, this is our moment. So what do you all say? Are we going to be bees, or just Museum of Natural History key chains? BEES We’re bees! KEYCHAIN BEE Keychain! BARRY Then follow me... Except Keychain. BUZZ Hold on Barry. You’ve earned this. Buzz puts a pollen jock jacket and helmet with Barry’s name on it on Barry. "Bee Movie" - JS REVISIONS 8/13/07 126. BARRY I’m a pollen jock! (looking at the jacket. The sleeves are a little long) And it’s a perfect fit. All I’ve got to do are the sleeves. The Pollen Jocks toss Barry a gun. BARRY (CONT’D) Oh yeah! ANGLE ON: Martin and Janet Benson. JANET BENSON That’s our Barry. All the bees descend upon the flowers on the tarmac, and start collecting pollen. CUT TO: SEQ. 4250 - “RE-POLLINATION” EXT. SKIES - CONTINUOUS The squadron FLIES over the city, REPOLLINATING trees and flowers as they go. Barry breaks off from the group, towards Vanessa’s flower shop. CUT TO: EXT. VANESSA’S FLOWER SHOP - CONTINUOUS Barry REPOLLINATES Vanessa’s flowers. CUT TO: EXT. CENTRAL PARK - CONTINUOUS ANGLE ON: Timmy with a frisbee, as the bees fly by. TIMMY Mom, the bees are back! "Bee Movie" - JS REVISIONS 8/13/07 127. Central Park is completely repollinated by the bees. DISSOLVE TO: INT. HONEX - CONTINUOUS Honex is back to normal and everyone is busily working. ANGLE ON: Adam, putting his Krelman hat on. ADAM If anyone needs to make a call, now’s the time. I’ve got a feeling we’ll be working late tonight! The bees CHEER. CUT TO: SEQ. 4355 EXT: VANESSA’S FLOWER SHOP With a new sign out front. “Vanessa & Barry: Flowers, Honey, Legal Advice” DISSOLVE TO: INT: FLOWER COUNTER Vanessa doing a brisk trade with many customers. CUT TO: INT: FLOWER SHOP - CONTINUOUS Vanessa is selling flowers. In the background, there are SHELVES STOCKED WITH HONEY. VANESSA (O.C.) Don’t forget these. Have a great afternoon. Yes, can I help who’s next? Who’s next? Would you like some honey with that? It is beeapproved. SIGN ON THE BACK ROOM DOOR READS: “Barry Benson: Insects at Law”. "Bee Movie" - JS REVISIONS 8/13/07 128. Camera moves into the back room. ANGLE ON: Barry. ANGLE ON: Barry’s COW CLIENT. COW Milk, cream, cheese...it’s all me. And I don’t see a nickel. BARRY Uh huh? Uh huh? COW (breaking down) Sometimes I just feel like a piece of meat. BARRY I had no idea. VANESSA Barry? I’m sorry, have you got a moment? BARRY Would you excuse me? My mosquito associate here will be able to help you. Mooseblood ENTERS. MOOSEBLOOD Sorry I’m late. COW He’s a lawyer too? MOOSEBLOOD Ma’am, I was already a bloodsucking parasite. All I needed was * a briefcase. * ANGLE ON: Flower Counter. VANESSA (to customer) Have a great afternoon! (to Barry) Barry, I just got this huge tulip order for a wedding, and I can’t get them anywhere. "Bee Movie" - JS REVISIONS 8/13/07 129. BARRY Not a problem, Vannie. Just leave it to me. Vanessa turns back to deal with a customer. VANESSA You’re a life-saver, Barry. (to the next customer) Can I help who’s next? Who’s next? ANGLE ON: Vanessa smiling back at Barry. Barry smiles too, then snaps himself out of it. BARRY (speaks into his antennae) Alright. Scramble jocks, it’s time to fly! VANESSA Thank you, Barry! EXT. FLOWER SHOP - CONTINUOUS ANGLE ON: Ken and Andy walking down the street. KEN (noticing the new sign) Augh! What in the world? It’s that bee again! ANDY (guiding Ken protectively) Let it go, Kenny. KEN That bee is living my life! When will this nightmare end? ANDY Let it all go. They don’t break stride. ANGLE ON: Camera in front of Barry as he flies out the door and up into the sky. Pollen jocks fold in formation behind him as they zoom into the park. BARRY (to Splitz) Beautiful day to fly. "Bee Movie" - JS REVISIONS 8/13/07 130. JACKSON Sure is. BARRY Between you and me, I was dying to get out of that office. FADE OUT: "Bee Movie" - JS REVISIONS 8/13/07 131.
normal-computing / Extended Mind TransformersNo description available
karlicoss / ExobrainMy external brain 🧠
ashblue / Unity Elastic InventoryAn easy to use Unity inventory framework built with scaling and extendability in mind
rramatchandran / Big O Performance Java# big-o-performance A simple html app to demonstrate performance costs of data structures. - Clone the project - Navigate to the root of the project in a termina or command prompt - Run 'npm install' - Run 'npm start' - Go to the URL specified in the terminal or command prompt to try out the app. # This app was created from the Create React App NPM. Below are instructions from that project. Below you will find some information on how to perform common tasks. You can find the most recent version of this guide [here](https://github.com/facebookincubator/create-react-app/blob/master/template/README.md). ## Table of Contents - [Updating to New Releases](#updating-to-new-releases) - [Sending Feedback](#sending-feedback) - [Folder Structure](#folder-structure) - [Available Scripts](#available-scripts) - [npm start](#npm-start) - [npm run build](#npm-run-build) - [npm run eject](#npm-run-eject) - [Displaying Lint Output in the Editor](#displaying-lint-output-in-the-editor) - [Installing a Dependency](#installing-a-dependency) - [Importing a Component](#importing-a-component) - [Adding a Stylesheet](#adding-a-stylesheet) - [Post-Processing CSS](#post-processing-css) - [Adding Images and Fonts](#adding-images-and-fonts) - [Adding Bootstrap](#adding-bootstrap) - [Adding Flow](#adding-flow) - [Adding Custom Environment Variables](#adding-custom-environment-variables) - [Integrating with a Node Backend](#integrating-with-a-node-backend) - [Proxying API Requests in Development](#proxying-api-requests-in-development) - [Deployment](#deployment) - [Now](#now) - [Heroku](#heroku) - [Surge](#surge) - [GitHub Pages](#github-pages) - [Something Missing?](#something-missing) ## Updating to New Releases Create React App is divided into two packages: * `create-react-app` is a global command-line utility that you use to create new projects. * `react-scripts` is a development dependency in the generated projects (including this one). You almost never need to update `create-react-app` itself: it’s delegates all the setup to `react-scripts`. When you run `create-react-app`, it always creates the project with the latest version of `react-scripts` so you’ll get all the new features and improvements in newly created apps automatically. To update an existing project to a new version of `react-scripts`, [open the changelog](https://github.com/facebookincubator/create-react-app/blob/master/CHANGELOG.md), find the version you’re currently on (check `package.json` in this folder if you’re not sure), and apply the migration instructions for the newer versions. In most cases bumping the `react-scripts` version in `package.json` and running `npm install` in this folder should be enough, but it’s good to consult the [changelog](https://github.com/facebookincubator/create-react-app/blob/master/CHANGELOG.md) for potential breaking changes. We commit to keeping the breaking changes minimal so you can upgrade `react-scripts` painlessly. ## Sending Feedback We are always open to [your feedback](https://github.com/facebookincubator/create-react-app/issues). ## Folder Structure After creation, your project should look like this: ``` my-app/ README.md index.html favicon.ico node_modules/ package.json src/ App.css App.js index.css index.js logo.svg ``` For the project to build, **these files must exist with exact filenames**: * `index.html` is the page template; * `favicon.ico` is the icon you see in the browser tab; * `src/index.js` is the JavaScript entry point. You can delete or rename the other files. You may create subdirectories inside `src`. For faster rebuilds, only files inside `src` are processed by Webpack. You need to **put any JS and CSS files inside `src`**, or Webpack won’t see them. You can, however, create more top-level directories. They will not be included in the production build so you can use them for things like documentation. ## Available Scripts In the project directory, you can run: ### `npm start` Runs the app in the development mode.<br> Open [http://localhost:3000](http://localhost:3000) to view it in the browser. The page will reload if you make edits.<br> You will also see any lint errors in the console. ### `npm run build` Builds the app for production to the `build` folder.<br> It correctly bundles React in production mode and optimizes the build for the best performance. The build is minified and the filenames include the hashes.<br> Your app is ready to be deployed! ### `npm run eject` **Note: this is a one-way operation. Once you `eject`, you can’t go back!** If you aren’t satisfied with the build tool and configuration choices, you can `eject` at any time. This command will remove the single build dependency from your project. Instead, it will copy all the configuration files and the transitive dependencies (Webpack, Babel, ESLint, etc) right into your project so you have full control over them. All of the commands except `eject` will still work, but they will point to the copied scripts so you can tweak them. At this point you’re on your own. You don’t have to ever use `eject`. The curated feature set is suitable for small and middle deployments, and you shouldn’t feel obligated to use this feature. However we understand that this tool wouldn’t be useful if you couldn’t customize it when you are ready for it. ## Displaying Lint Output in the Editor >Note: this feature is available with `react-scripts@0.2.0` and higher. Some editors, including Sublime Text, Atom, and Visual Studio Code, provide plugins for ESLint. They are not required for linting. You should see the linter output right in your terminal as well as the browser console. However, if you prefer the lint results to appear right in your editor, there are some extra steps you can do. You would need to install an ESLint plugin for your editor first. >**A note for Atom `linter-eslint` users** >If you are using the Atom `linter-eslint` plugin, make sure that **Use global ESLint installation** option is checked: ><img src="http://i.imgur.com/yVNNHJM.png" width="300"> Then make sure `package.json` of your project ends with this block: ```js { // ... "eslintConfig": { "extends": "./node_modules/react-scripts/config/eslint.js" } } ``` Projects generated with `react-scripts@0.2.0` and higher should already have it. If you don’t need ESLint integration with your editor, you can safely delete those three lines from your `package.json`. Finally, you will need to install some packages *globally*: ```sh npm install -g eslint babel-eslint eslint-plugin-react eslint-plugin-import eslint-plugin-jsx-a11y eslint-plugin-flowtype ``` We recognize that this is suboptimal, but it is currently required due to the way we hide the ESLint dependency. The ESLint team is already [working on a solution to this](https://github.com/eslint/eslint/issues/3458) so this may become unnecessary in a couple of months. ## Installing a Dependency The generated project includes React and ReactDOM as dependencies. It also includes a set of scripts used by Create React App as a development dependency. You may install other dependencies (for example, React Router) with `npm`: ``` npm install --save <library-name> ``` ## Importing a Component This project setup supports ES6 modules thanks to Babel. While you can still use `require()` and `module.exports`, we encourage you to use [`import` and `export`](http://exploringjs.com/es6/ch_modules.html) instead. For example: ### `Button.js` ```js import React, { Component } from 'react'; class Button extends Component { render() { // ... } } export default Button; // Don’t forget to use export default! ``` ### `DangerButton.js` ```js import React, { Component } from 'react'; import Button from './Button'; // Import a component from another file class DangerButton extends Component { render() { return <Button color="red" />; } } export default DangerButton; ``` Be aware of the [difference between default and named exports](http://stackoverflow.com/questions/36795819/react-native-es-6-when-should-i-use-curly-braces-for-import/36796281#36796281). It is a common source of mistakes. We suggest that you stick to using default imports and exports when a module only exports a single thing (for example, a component). That’s what you get when you use `export default Button` and `import Button from './Button'`. Named exports are useful for utility modules that export several functions. A module may have at most one default export and as many named exports as you like. Learn more about ES6 modules: * [When to use the curly braces?](http://stackoverflow.com/questions/36795819/react-native-es-6-when-should-i-use-curly-braces-for-import/36796281#36796281) * [Exploring ES6: Modules](http://exploringjs.com/es6/ch_modules.html) * [Understanding ES6: Modules](https://leanpub.com/understandinges6/read#leanpub-auto-encapsulating-code-with-modules) ## Adding a Stylesheet This project setup uses [Webpack](https://webpack.github.io/) for handling all assets. Webpack offers a custom way of “extending” the concept of `import` beyond JavaScript. To express that a JavaScript file depends on a CSS file, you need to **import the CSS from the JavaScript file**: ### `Button.css` ```css .Button { padding: 20px; } ``` ### `Button.js` ```js import React, { Component } from 'react'; import './Button.css'; // Tell Webpack that Button.js uses these styles class Button extends Component { render() { // You can use them as regular CSS styles return <div className="Button" />; } } ``` **This is not required for React** but many people find this feature convenient. You can read about the benefits of this approach [here](https://medium.com/seek-ui-engineering/block-element-modifying-your-javascript-components-d7f99fcab52b). However you should be aware that this makes your code less portable to other build tools and environments than Webpack. In development, expressing dependencies this way allows your styles to be reloaded on the fly as you edit them. In production, all CSS files will be concatenated into a single minified `.css` file in the build output. If you are concerned about using Webpack-specific semantics, you can put all your CSS right into `src/index.css`. It would still be imported from `src/index.js`, but you could always remove that import if you later migrate to a different build tool. ## Post-Processing CSS This project setup minifies your CSS and adds vendor prefixes to it automatically through [Autoprefixer](https://github.com/postcss/autoprefixer) so you don’t need to worry about it. For example, this: ```css .App { display: flex; flex-direction: row; align-items: center; } ``` becomes this: ```css .App { display: -webkit-box; display: -ms-flexbox; display: flex; -webkit-box-orient: horizontal; -webkit-box-direction: normal; -ms-flex-direction: row; flex-direction: row; -webkit-box-align: center; -ms-flex-align: center; align-items: center; } ``` There is currently no support for preprocessors such as Less, or for sharing variables across CSS files. ## Adding Images and Fonts With Webpack, using static assets like images and fonts works similarly to CSS. You can **`import` an image right in a JavaScript module**. This tells Webpack to include that image in the bundle. Unlike CSS imports, importing an image or a font gives you a string value. This value is the final image path you can reference in your code. Here is an example: ```js import React from 'react'; import logo from './logo.png'; // Tell Webpack this JS file uses this image console.log(logo); // /logo.84287d09.png function Header() { // Import result is the URL of your image return <img src={logo} alt="Logo" />; } export default function Header; ``` This works in CSS too: ```css .Logo { background-image: url(./logo.png); } ``` Webpack finds all relative module references in CSS (they start with `./`) and replaces them with the final paths from the compiled bundle. If you make a typo or accidentally delete an important file, you will see a compilation error, just like when you import a non-existent JavaScript module. The final filenames in the compiled bundle are generated by Webpack from content hashes. If the file content changes in the future, Webpack will give it a different name in production so you don’t need to worry about long-term caching of assets. Please be advised that this is also a custom feature of Webpack. **It is not required for React** but many people enjoy it (and React Native uses a similar mechanism for images). However it may not be portable to some other environments, such as Node.js and Browserify. If you prefer to reference static assets in a more traditional way outside the module system, please let us know [in this issue](https://github.com/facebookincubator/create-react-app/issues/28), and we will consider support for this. ## Adding Bootstrap You don’t have to use [React Bootstrap](https://react-bootstrap.github.io) together with React but it is a popular library for integrating Bootstrap with React apps. If you need it, you can integrate it with Create React App by following these steps: Install React Bootstrap and Bootstrap from NPM. React Bootstrap does not include Bootstrap CSS so this needs to be installed as well: ``` npm install react-bootstrap --save npm install bootstrap@3 --save ``` Import Bootstrap CSS and optionally Bootstrap theme CSS in the ```src/index.js``` file: ```js import 'bootstrap/dist/css/bootstrap.css'; import 'bootstrap/dist/css/bootstrap-theme.css'; ``` Import required React Bootstrap components within ```src/App.js``` file or your custom component files: ```js import { Navbar, Jumbotron, Button } from 'react-bootstrap'; ``` Now you are ready to use the imported React Bootstrap components within your component hierarchy defined in the render method. Here is an example [`App.js`](https://gist.githubusercontent.com/gaearon/85d8c067f6af1e56277c82d19fd4da7b/raw/6158dd991b67284e9fc8d70b9d973efe87659d72/App.js) redone using React Bootstrap. ## Adding Flow Flow typing is currently [not supported out of the box](https://github.com/facebookincubator/create-react-app/issues/72) with the default `.flowconfig` generated by Flow. If you run it, you might get errors like this: ```js node_modules/fbjs/lib/Deferred.js.flow:60 60: Promise.prototype.done.apply(this._promise, arguments); ^^^^ property `done`. Property not found in 495: declare class Promise<+R> { ^ Promise. See lib: /private/tmp/flow/flowlib_34952d31/core.js:495 node_modules/fbjs/lib/shallowEqual.js.flow:29 29: return x !== 0 || 1 / (x: $FlowIssue) === 1 / (y: $FlowIssue); ^^^^^^^^^^ identifier `$FlowIssue`. Could not resolve name src/App.js:3 3: import logo from './logo.svg'; ^^^^^^^^^^^^ ./logo.svg. Required module not found src/App.js:4 4: import './App.css'; ^^^^^^^^^^^ ./App.css. Required module not found src/index.js:5 5: import './index.css'; ^^^^^^^^^^^^^ ./index.css. Required module not found ``` To fix this, change your `.flowconfig` to look like this: ```ini [libs] ./node_modules/fbjs/flow/lib [options] esproposal.class_static_fields=enable esproposal.class_instance_fields=enable module.name_mapper='^\(.*\)\.css$' -> 'react-scripts/config/flow/css' module.name_mapper='^\(.*\)\.\(jpg\|png\|gif\|eot\|otf\|webp\|svg\|ttf\|woff\|woff2\|mp4\|webm\)$' -> 'react-scripts/config/flow/file' suppress_type=$FlowIssue suppress_type=$FlowFixMe ``` Re-run flow, and you shouldn’t get any extra issues. If you later `eject`, you’ll need to replace `react-scripts` references with the `<PROJECT_ROOT>` placeholder, for example: ```ini module.name_mapper='^\(.*\)\.css$' -> '<PROJECT_ROOT>/config/flow/css' module.name_mapper='^\(.*\)\.\(jpg\|png\|gif\|eot\|otf\|webp\|svg\|ttf\|woff\|woff2\|mp4\|webm\)$' -> '<PROJECT_ROOT>/config/flow/file' ``` We will consider integrating more tightly with Flow in the future so that you don’t have to do this. ## Adding Custom Environment Variables >Note: this feature is available with `react-scripts@0.2.3` and higher. Your project can consume variables declared in your environment as if they were declared locally in your JS files. By default you will have `NODE_ENV` defined for you, and any other environment variables starting with `REACT_APP_`. These environment variables will be defined for you on `process.env`. For example, having an environment variable named `REACT_APP_SECRET_CODE` will be exposed in your JS as `process.env.REACT_APP_SECRET_CODE`, in addition to `process.env.NODE_ENV`. These environment variables can be useful for displaying information conditionally based on where the project is deployed or consuming sensitive data that lives outside of version control. First, you need to have environment variables defined, which can vary between OSes. For example, let's say you wanted to consume a secret defined in the environment inside a `<form>`: ```jsx render() { return ( <div> <small>You are running this application in <b>{process.env.NODE_ENV}</b> mode.</small> <form> <input type="hidden" defaultValue={process.env.REACT_APP_SECRET_CODE} /> </form> </div> ); } ``` The above form is looking for a variable called `REACT_APP_SECRET_CODE` from the environment. In order to consume this value, we need to have it defined in the environment: ### Windows (cmd.exe) ```cmd set REACT_APP_SECRET_CODE=abcdef&&npm start ``` (Note: the lack of whitespace is intentional.) ### Linux, OS X (Bash) ```bash REACT_APP_SECRET_CODE=abcdef npm start ``` > Note: Defining environment variables in this manner is temporary for the life of the shell session. Setting permanent environment variables is outside the scope of these docs. With our environment variable defined, we start the app and consume the values. Remember that the `NODE_ENV` variable will be set for you automatically. When you load the app in the browser and inspect the `<input>`, you will see its value set to `abcdef`, and the bold text will show the environment provided when using `npm start`: ```html <div> <small>You are running this application in <b>development</b> mode.</small> <form> <input type="hidden" value="abcdef" /> </form> </div> ``` Having access to the `NODE_ENV` is also useful for performing actions conditionally: ```js if (process.env.NODE_ENV !== 'production') { analytics.disable(); } ``` ## Integrating with a Node Backend Check out [this tutorial](https://www.fullstackreact.com/articles/using-create-react-app-with-a-server/) for instructions on integrating an app with a Node backend running on another port, and using `fetch()` to access it. You can find the companion GitHub repository [here](https://github.com/fullstackreact/food-lookup-demo). ## Proxying API Requests in Development >Note: this feature is available with `react-scripts@0.2.3` and higher. People often serve the front-end React app from the same host and port as their backend implementation. For example, a production setup might look like this after the app is deployed: ``` / - static server returns index.html with React app /todos - static server returns index.html with React app /api/todos - server handles any /api/* requests using the backend implementation ``` Such setup is **not** required. However, if you **do** have a setup like this, it is convenient to write requests like `fetch('/api/todos')` without worrying about redirecting them to another host or port during development. To tell the development server to proxy any unknown requests to your API server in development, add a `proxy` field to your `package.json`, for example: ```js "proxy": "http://localhost:4000", ``` This way, when you `fetch('/api/todos')` in development, the development server will recognize that it’s not a static asset, and will proxy your request to `http://localhost:4000/api/todos` as a fallback. Conveniently, this avoids [CORS issues](http://stackoverflow.com/questions/21854516/understanding-ajax-cors-and-security-considerations) and error messages like this in development: ``` Fetch API cannot load http://localhost:4000/api/todos. No 'Access-Control-Allow-Origin' header is present on the requested resource. Origin 'http://localhost:3000' is therefore not allowed access. If an opaque response serves your needs, set the request's mode to 'no-cors' to fetch the resource with CORS disabled. ``` Keep in mind that `proxy` only has effect in development (with `npm start`), and it is up to you to ensure that URLs like `/api/todos` point to the right thing in production. You don’t have to use the `/api` prefix. Any unrecognized request will be redirected to the specified `proxy`. Currently the `proxy` option only handles HTTP requests, and it won’t proxy WebSocket connections. If the `proxy` option is **not** flexible enough for you, alternatively you can: * Enable CORS on your server ([here’s how to do it for Express](http://enable-cors.org/server_expressjs.html)). * Use [environment variables](#adding-custom-environment-variables) to inject the right server host and port into your app. ## Deployment By default, Create React App produces a build assuming your app is hosted at the server root. To override this, specify the `homepage` in your `package.json`, for example: ```js "homepage": "http://mywebsite.com/relativepath", ``` This will let Create React App correctly infer the root path to use in the generated HTML file. ### Now See [this example](https://github.com/xkawi/create-react-app-now) for a zero-configuration single-command deployment with [now](https://zeit.co/now). ### Heroku Use the [Heroku Buildpack for Create React App](https://github.com/mars/create-react-app-buildpack). You can find instructions in [Deploying React with Zero Configuration](https://blog.heroku.com/deploying-react-with-zero-configuration). ### Surge Install the Surge CLI if you haven't already by running `npm install -g surge`. Run the `surge` command and log in you or create a new account. You just need to specify the *build* folder and your custom domain, and you are done. ```sh email: email@domain.com password: ******** project path: /path/to/project/build size: 7 files, 1.8 MB domain: create-react-app.surge.sh upload: [====================] 100%, eta: 0.0s propagate on CDN: [====================] 100% plan: Free users: email@domain.com IP Address: X.X.X.X Success! Project is published and running at create-react-app.surge.sh ``` Note that in order to support routers that use html5 `pushState` API, you may want to rename the `index.html` in your build folder to `200.html` before deploying to Surge. This [ensures that every URL falls back to that file](https://surge.sh/help/adding-a-200-page-for-client-side-routing). ### GitHub Pages >Note: this feature is available with `react-scripts@0.2.0` and higher. Open your `package.json` and add a `homepage` field: ```js "homepage": "http://myusername.github.io/my-app", ``` **The above step is important!** Create React App uses the `homepage` field to determine the root URL in the built HTML file. Now, whenever you run `npm run build`, you will see a cheat sheet with a sequence of commands to deploy to GitHub pages: ```sh git commit -am "Save local changes" git checkout -B gh-pages git add -f build git commit -am "Rebuild website" git filter-branch -f --prune-empty --subdirectory-filter build git push -f origin gh-pages git checkout - ``` You may copy and paste them, or put them into a custom shell script. You may also customize them for another hosting provider. Note that GitHub Pages doesn't support routers that use the HTML5 `pushState` history API under the hood (for example, React Router using `browserHistory`). This is because when there is a fresh page load for a url like `http://user.github.io/todomvc/todos/42`, where `/todos/42` is a frontend route, the GitHub Pages server returns 404 because it knows nothing of `/todos/42`. If you want to add a router to a project hosted on GitHub Pages, here are a couple of solutions: * You could switch from using HTML5 history API to routing with hashes. If you use React Router, you can switch to `hashHistory` for this effect, but the URL will be longer and more verbose (for example, `http://user.github.io/todomvc/#/todos/42?_k=yknaj`). [Read more](https://github.com/reactjs/react-router/blob/master/docs/guides/Histories.md#histories) about different history implementations in React Router. * Alternatively, you can use a trick to teach GitHub Pages to handle 404 by redirecting to your `index.html` page with a special redirect parameter. You would need to add a `404.html` file with the redirection code to the `build` folder before deploying your project, and you’ll need to add code handling the redirect parameter to `index.html`. You can find a detailed explanation of this technique [in this guide](https://github.com/rafrex/spa-github-pages). ## Something Missing? If you have ideas for more “How To” recipes that should be on this page, [let us know](https://github.com/facebookincubator/create-react-app/issues) or [contribute some!](https://github.com/facebookincubator/create-react-app/edit/master/template/README.md)
SOYJUN / FTP Implement Based On UDPThe aim of this assignment is to have you do UDP socket client / server programming with a focus on two broad aspects : Setting up the exchange between the client and server in a secure way despite the lack of a formal connection (as in TCP) between the two, so that ‘outsider’ UDP datagrams (broadcast, multicast, unicast - fortuitously or maliciously) cannot intrude on the communication. Introducing application-layer protocol data-transmission reliability, flow control and congestion control in the client and server using TCP-like ARQ sliding window mechanisms. The second item above is much more of a challenge to implement than the first, though neither is particularly trivial. But they are not tightly interdependent; each can be worked on separately at first and then integrated together at a later stage. Apart from the material in Chapters 8, 14 & 22 (especially Sections 22.5 - 22.7), and the experience you gained from the preceding assignment, you will also need to refer to the following : ioctl function (Chapter 17). get_ifi_info function (Section 17.6, Chapter 17). This function will be used by the server code to discover its node’s network interfaces so that it can bind all its interface IP addresses (see Section 22.6). ‘Race’ conditions (Section 20.5, Chapter 20) You also need a thorough understanding of how the TCP protocol implements reliable data transfer, flow control and congestion control. Chapters 17- 24 of TCP/IP Illustrated, Volume 1 by W. Richard Stevens gives a good overview of TCP. Though somewhat dated for some things (it was published in 1994), it remains, overall, a good basic reference. Overview This assignment asks you to implement a primitive file transfer protocol for Unix platforms, based on UDP, and with TCP-like reliability added to the transfer operation using timeouts and sliding-window mechanisms, and implementing flow and congestion control. The server is a concurrent server which can handle multiple clients simultaneously. A client gives the server the name of a file. The server forks off a child which reads directly from the file and transfers the contents over to the client using UDP datagrams. The client prints out the file contents as they come in, in order, with nothing missing and with no duplication of content, directly on to stdout (via the receiver sliding window, of course, but with no other intermediate buffering). The file to be transferred can be of arbitrary length, but its contents are always straightforward ascii text. As an aside let me mention that assuming the file contents ascii is not as restrictive as it sounds. We can always pretend, for example, that binary files are base64 encoded (“ASCII armor”). A real file transfer protocol would, of course, have to worry about transferring files between heterogeneous platforms with different file structure conventions and semantics. The sender would first have to transform the file into a platform-independent, protocol-defined, format (using, say, ASN.1, or some such standard), and the receiver would have to transform the received file into its platform’s native file format. This kind of thing can be fairly time consuming, and is certainly very tedious, to implement, with little educational value - it is not part of this assignment. Arguments for the server You should provide the server with an input file server.in from which it reads the following information, in the order shown, one item per line : Well-known port number for server. Maximum sending sliding-window size (in datagram units). You will not be handing in your server.in file. We shall create our own when we come to test your code. So it is important that you stick strictly to the file name and content conventions specified above. The same applies to the client.in input file below. Arguments for the client The client is to be provided with an input file client.in from which it reads the following information, in the order shown, one item per line : IP address of server (not the hostname). Well-known port number of server. filename to be transferred. Receiving sliding-window size (in datagram units). Random generator seed value. Probability p of datagram loss. This should be a real number in the range [ 0.0 , 1.0 ] (value 0.0 means no loss occurs; value 1.0 means all datagrams all lost). The mean µ, in milliseconds, for an exponential distribution controlling the rate at which the client reads received datagram payloads from its receive buffer. Operation Server starts up and reads its arguments from file server.in. As we shall see, when a client communicates with the server, the server will want to know what IP address that client is using to identify the server (i.e. , the destination IP address in the incoming datagram). Normally, this can be done relatively straightforwardly using the IP_RECVDESTADDR socket option, and picking up the information using the ancillary data (‘control information’) capability of the recvmsg function. Unfortunately, Solaris 2.10 does not support the IP_RECVDESTADDR option (nor, incidentally, does it support the msg_flags option in msghdr - see p.390). This considerably complicates things. In the absence of IP_RECVDESTADDR, what the server has to do as part of its initialization phase is to bind each IP address it has (and, simultaneously, its well-known port number, which it has read in from server.in) to a separate UDP socket. The code in Section 22.6, which uses the get_ifi_info function, shows you how to do that. However, there are important differences between that code and the version you want to implement. The code of Section 22.6 binds the IP addresses and forks off a child for each address that is bound to. We do not want to do that. Instead you should have an array of socket descriptors. For each IP address, create a new socket and bind the address (and well-known port number) to the socket without forking off child processes. Creating child processes comes later, when clients arrive. The code of Section 22.6 also attempts to bind broadcast addresses. We do not want to do this. It binds a wildcard IP address, which we certainly do not want to do either. We should bind strictly only unicast addresses (including the loopback address). The get_ifi_info function (which the code in Section 22.6 uses) has to be modified so that it also gets the network masks for the IP addresses of the node, and adds these to the information stored in the linked list of ifi_info structures (see Figure 17.5, p.471) it produces. As you go binding each IP address to a distinct socket, it will be useful for later processing to build your own array of structures, where a structure element records the following information for each socket : sockfd IP address bound to the socket network mask for the IP address subnet address (obtained by doing a bit-wise and between the IP address and its network mask) Report, in a ReadMe file which you hand in with your code, on the modifications you had to introduce to ensure that only unicast addresses are bound, and on your implementation of the array of structures described above. You should print out on stdout, with an appropriate message and appropriately formatted in dotted decimal notation, the IP address, network mask, and subnet address for each socket in your array of structures (you do not need to print the sockfd). The server now uses select to monitor the sockets it has created for incoming datagrams. When it returns from select, it must use recvfrom or recvmsg to read the incoming datagram (see 6. below). When a client starts, it first reads its arguments from the file client.in. The client checks if the server host is ‘local’ to its (extended) Ethernet. If so, all its communication to the server is to occur as MSG_DONTROUTE (or SO_DONTROUTE socket option). It determines if the server host is ‘local’ as follows. The first thing the client should do is to use the modified get_ifi_info function to obtain all of its IP addresses and associated network masks. Print out on stdout, in dotted decimal notation and with an appropriate message, the IP addresses and network masks obtained. In the following, IPserver designates the IP address the client will use to identify the server, and IPclient designates the IP address the client will choose to identify itself. The client checks whether the server is on the same host. If so, it should use the loopback address 127.0.0.1 for the server (i.e. , IPserver = 127.0.0.1). IPclient should also be set to the loopback address. Otherwise it proceeds as follows: IPserver is set to the IP address for the server in the client.in file. Given IPserver and the (unicast) IP addresses and network masks for the client returned by get_ifi_info in the linked list of ifi_info structures, you should be able to figure out if the server node is ‘local’ or not. This will be discussed in class; but let me just remind you here that you should use ‘longest prefix matching’ where applicable. If there are multiple client addresses, and the server host is ‘local’, the client chooses an IP address for itself, IPclient, which matches up as ‘local’ according to your examination above. If the server host is not ‘local’, then IPclient can be chosen arbitrarily. Print out on stdout the results of your examination, as to whether the server host is ‘local’ or not, as well as the IPclient and IPserver addresses selected. Note that this manner of determining whether the server is local or not is somewhat clumsy and ‘over-engineered’, and, as such, should be viewed more in the nature of a pedagogical exercise. Ideally, we would like to look up the server IP address(es) in the routing table (see Section 18.3). This requires that a routing socket be created, for which we need superuser privilege. Alternatively, we might want to dump out the routing table, using the sysctl function for example (see Section 18.4), and examine it directly. Unfortunately, Solaris 2.10 does not support sysctl. Furthermore, note that there is a slight problem with the address 130.245.1.123/24 assigned to compserv3 (see rightmost column of file hosts, and note that this particular compserv3 address “overlaps” with the 130.245.1.x/28 addresses in that same column assigned to compserv1, compserv2 & comserv4). In particular, if the client is running on compserv3 and the server on any of the other three compservs, and if that server node is also being identified to the client by its /28 (rather than its /24) address, then the client will get a “false positive” when it tests as to whether the server node is local or not. In other words, the client will deem the server node to be local, whereas in fact it should not be considered local. Because of this, it is perhaps best simply not to use compserv3 to run the client (but it is o.k. to use it to run the server). Finally, using MSG_DONTROUTE where possible would seem to gain us efficiency, in as much as the kernel does not need to consult the routing table for every datagram sent. But, in fact, that is not so. Recall that one effect of connect with UDP sockets is that routing information is obtained by the kernel at the time the connect is issued. That information is cached and used for subsequent sends from the connected socket (see p.255). The client now creates a UDP socket and calls bind on IPclient, with 0 as the port number. This will cause the kernel to bind an ephemeral port to the socket. After the bind, use the getsockname function (Section 4.10) to obtain IPclient and the ephemeral port number that has been assigned to the socket, and print that information out on stdout, with an appropriate message and appropriately formatted. The client connects its socket to IPserver and the well-known port number of the server. After the connect, use the getpeername function (Section 4.10) to obtain IPserver and the well-known port number of the server, and print that information out on stdout, with an appropriate message and appropriately formatted. The client sends a datagram to the server giving the filename for the transfer. This send needs to be backed up by a timeout in case the datagram is lost. Note that the incoming datagram from the client will be delivered to the server at the socket to which the destination IP address that the datagram is carrying has been bound. Thus, the server can obtain that address (it is, of course, IPserver) and thereby achieve what IP_RECVDESTADDR would have given us had it been available. Furthermore, the server process can obtain the IP address (this will, of course, be IPclient) and ephemeral port number of the client through the recvfrom or recvmsg functions. The server forks off a child process to handle the client. The server parent process goes back to the select to listen for new clients. Hereafter, and unless otherwise stated, whenever we refer to the ‘server’, we mean the server child process handling the client’s file transfer, not the server parent process. Typically, the first thing the server child would be expected to do is to close all sockets it ‘inherits’ from its parent. However, this is not the case with us. The server child does indeed close the sockets it inherited, but not the socket on which the client request arrived. It leaves that socket open for now. Call this socket the ‘listening’ socket. The server (child) then checks if the client host is local to its (extended) Ethernet. If so, all its communication to the client is to occur as MSG_DONTROUTE (or SO_DONTROUTE socket option). If IPserver (obtained in 5. above) is the loopback address, then we are done. Otherwise, the server has to proceed with the following step. Use the array of structures you built in 1. above, together with the addresses IPserver and IPclient to determine if the client is ‘local’. Print out on stdout the results of your examination, as to whether the client host is ‘local’ or not. The server (child) creates a UDP socket to handle file transfer to the client. Call this socket the ‘connection’ socket. It binds the socket to IPserver, with port number 0 so that its kernel assigns an ephemeral port. After the bind, use the getsockname function (Section 4.10) to obtain IPserver and the ephemeral port number that has been assigned to the socket, and print that information out on stdout, with an appropriate message and appropriately formatted. The server then connects this ‘connection’ socket to the client’s IPclient and ephemeral port number. The server now sends the client a datagram, in which it passes it the ephemeral port number of its ‘connection’ socket as the data payload of the datagram. This datagram is sent using the ‘listening’ socket inherited from its parent, otherwise the client (whose socket is connected to the server’s ‘listening’ socket at the latter’s well-known port number) will reject it. This datagram must be backed up by the ARQ mechanism, and retransmitted in the event of loss. Note that if this datagram is indeed lost, the client might well time out and retransmit its original request message (the one carrying the file name). In this event, you must somehow ensure that the parent server does not mistake this retransmitted request for a new client coming in, and spawn off yet another child to handle it. How do you do that? It is potentially more involved than it might seem. I will be discussing this in class, as well as ‘race’ conditions that could potentially arise, depending on how you code the mechanisms I present. When the client receives the datagram carrying the ephemeral port number of the server’s ‘connection’ socket, it reconnects its socket to the server’s ‘connection’ socket, using IPserver and the ephemeral port number received in the datagram (see p.254). It now uses this reconnected socket to send the server an acknowledgment. Note that this implies that, in the event of the server timing out, it should retransmit two copies of its ‘ephemeral port number’ message, one on its ‘listening’ socket and the other on its ‘connection’ socket (why?). When the server receives the acknowledgment, it closes the ‘listening’ socket it inherited from its parent. The server can now commence the file transfer through its ‘connection’ socket. The net effect of all these binds and connects at server and client is that no ‘outsider’ UDP datagram (broadcast, multicast, unicast - fortuitously or maliciously) can now intrude on the communication between server and client. Starting with the first datagram sent out, the client behaves as follows. Whenever a datagram arrives, or an ACK is about to be sent out (or, indeed, the initial datagram to the server giving the filename for the transfer), the client uses some random number generator function random() (initialized by the client.in argument value seed) to decide with probability p (another client.in argument value) if the datagram or ACK should be discarded by way of simulating transmission loss across the network. (I will briefly discuss in class how you do this.) Adding reliability to UDP The mechanisms you are to implement are based on TCP Reno. These include : Reliable data transmission using ARQ sliding-windows, with Fast Retransmit. Flow control via receiver window advertisements. Congestion control that implements : SlowStart Congestion Avoidance (‘Additive-Increase/Multiplicative Decrease’ – AIMD) Fast Recovery (but without the window-inflation aspect of Fast Recovery) Only some, and by no means all, of the details for these are covered below. The rest will be presented in class, especially those concerning flow control and TCP Reno’s congestion control mechanisms in general : Slow Start, Congestion Avoidance, Fast Retransmit and Fast Recovery. Implement a timeout mechanism on the sender (server) side. This is available to you from Stevens, Section 22.5 . Note, however, that you will need to modify the basic driving mechanism of Figure 22.7 appropriately since the situation at the sender side is not a repetitive cycle of send-receive, but rather a straightforward progression of send-send-send-send- . . . . . . . . . . . Also, modify the RTT and RTO mechanisms of Section 22.5 as specified below. I will be discussing the details of these modifications and the reasons for them in class. Modify function rtt_stop (Fig. 22.13) so that it uses integer arithmetic rather than floating point. This will entail your also having to modify some of the variable and function parameter declarations throughout Section 22.5 from float to int, as appropriate. In the unprrt.h header file (Fig. 22.10) set : RTT_RXTMIN to 1000 msec. (1 sec. instead of the current value 3 sec.) RTT_RXTMAX to 3000 msec. (3 sec. instead of the current value 60 sec.) RTT_MAXNREXMT to 12 (instead of the current value 3) In function rtt_timeout (Fig. 22.14), after doubling the RTO in line 86, pass its value through the function rtt_minmax of Fig. 22.11 (somewhat along the lines of what is done in line 77 of rtt_stop, Fig. 22.13). Finally, note that with the modification to integer calculation of the smoothed RTT and its variation, and given the small RTT values you will experience on the cs / sbpub network, these calculations should probably now be done on a millisecond or even microsecond scale (rather than in seconds, as is the case with Stevens’ code). Otherwise, small measured RTTs could show up as 0 on a scale of seconds, yielding a negative result when we subtract the smoothed RTT from the measured RTT (line 72 of rtt_stop, Fig. 22.13). Report the details of your modifications to the code of Section 22.5 in the ReadMe file which you hand in with your code. We need to have a sender sliding window mechanism for the retransmission of lost datagrams; and a receiver sliding window in order to ensure correct sequencing of received file contents, and some measure of flow control. You should implement something based on TCP Reno’s mechanisms, with cumulative acknowledgments, receiver window advertisements, and a congestion control mechanism I will explain in detail in class. For a reference on TCP’s mechanisms generally, see W. Richard Stevens, TCP/IP Illustrated, Volume 1 , especially Sections 20.2 - 20.4 of Chapter 20 , and Sections 21.1 - 21.8 of Chapter 21 . Bear in mind that our sequence numbers should count datagrams, not bytes as in TCP. Remember that the sender and receiver window sizes have to be set according to the argument values in client.in and server.in, respectively. Whenever the sender window becomes full and so ‘locks’, the server should print out a message to that effect on stdout. Similarly, whenever the receiver window ‘locks’, the client should print out a message on stdout. Be aware of the potential for deadlock when the receiver window ‘locks’. This situation is handled by having the receiver process send a duplicate ACK which acts as a window update when its window opens again (see Figure 20.3 and the discussion about it in TCP/IP Illustrated). However, this is not enough, because ACKs are not backed up by a timeout mechanism in the event they are lost. So we will also need to implement a persist timer driving window probes in the sender process (see Sections 22.1 & 22.2 in Chapter 22 of TCP/IP Illustrated). Note that you do not have to worry about the Silly Window Syndrome discussed in Section 22.3 of TCP/IP Illustrated since the receiver process consumes ‘full sized’ 512-byte messages from the receiver buffer (see 3. below). Report on the details of the ARQ mechanism you implemented in the ReadMe file you hand in. Indeed, you should report on all the TCP mechanisms you implemented in the ReadMe file, both the ones discussed here, and the ones I will be discussing in class. Make your datagram payload a fixed 512 bytes, inclusive of the file transfer protocol header (which must, at the very least, carry: the sequence number of the datagram; ACKs; and advertised window notifications). The client reads the file contents in its receive buffer and prints them out on stdout using a separate thread. This thread sits in a repetitive loop till all the file contents have been printed out, doing the following. It samples from an exponential distribution with mean µ milliseconds (read from the client.in file), sleeps for that number of milliseconds; wakes up to read and print all in-order file contents available in the receive buffer at that point; samples again from the exponential distribution; sleeps; and so on. The formula -1 × µ × ln( random( ) ) , where ln is the natural logarithm, yields variates from an exponential distribution with mean µ, based on the uniformly-distributed variates over ( 0 , 1 ) returned by random(). Note that you will need to implement some sort of mutual exclusion/semaphore mechanism on the client side so that the thread that sleeps and wakes up to consume from the receive buffer is not updating the state variables of the buffer at the same time as the main thread reading from the socket and depositing into the buffer is doing the same. Furthermore, we need to ensure that the main thread does not effectively monopolize the semaphore (and thus lock out for prolonged periods of time) the sleeping thread when the latter wakes up. See the textbook, Section 26.7, ‘Mutexes: Mutual Exclusion’, pp.697-701. You might also find Section 26.8, ‘Condition Variables’, pp.701-705, useful. You will need to devise some way by which the sender can notify the receiver when it has sent the last datagram of the file transfer, without the receiver mistaking that EOF marker as part of the file contents. (Also, note that the last data segment could be a “short” segment of less than 512 bytes – your client needs to be able to handle this correctly somehow.) When the sender receives an ACK for the last datagram of the transfer, the (child) server terminates. The parent server has to take care of cleaning up zombie children. Note that if we want a clean closing, the client process cannot simply terminate when the receiver ACKs the last datagram. This ACK could be lost, which would leave the (child) server process ‘hanging’, timing out, and retransmitting the last datagram. TCP attempts to deal with this problem by means of the TIME_WAIT state. You should have your receiver process behave similarly, sticking around in something akin to a TIME_WAIT state in case in case it needs to retransmit the ACK. In the ReadMe file you hand in, report on how you dealt with the issues raised here: sender notifying receiver of the last datagram, clean closing, and so on. Output Some of the output required from your program has been described in the section Operation above. I expect you to provide further output – clear, well-structured, well-laid-out, concise but sufficient and helpful – in the client and server windows by means of which we can trace the correct evolution of your TCP’s behaviour in all its intricacies : information (e.g., sequence number) on datagrams and acks sent and dropped, window advertisements, datagram retransmissions (and why : dup acks or RTO); entering/exiting Slow Start and Congestion Avoidance, ssthresh and cwnd values; sender and receiver windows locking/unlocking; etc., etc. . . . . The onus is on you to convince us that the TCP mechanisms you implemented are working correctly. Too many students do not put sufficient thought, creative imagination, time or effort into this. It is not the TA’s nor my responsibility to sit staring at an essentially blank screen, trying to summon up our paranormal psychology skills to figure out if your TCP implementation is really working correctly in all its very intricate aspects, simply because the transferred file seems to be printing o.k. in the client window. Nor is it our responsibility to strain our eyes and our patience wading through a mountain of obscure, ill-structured, hyper-messy, debugging-style output because, for example, your effort-conserving concept of what is ‘suitable’ is to dump your debugging output on us, relevant, irrelevant, and everything in between.
sanusanth / Javascript Basic ProgramWhat is JavaScript and what does it do? Before you start learning something new, it’s important to understand exactly what it is and what it does. This is especially useful when it comes to mastering a new programming language. In simple terms, JavaScript is a programming language used to make websites interactive. If you think about the basic makeup of a website, you have HTML, which describes and defines the basic content and structure of the website, then you have CSS, which tells the browser how this HTML content should be displayed—determining things like color and font. With just HTML and CSS, you have a website that looks good but doesn’t actually do much. JavaScript brings the website to life by adding functionality. JavaScript is responsible for elements that the user can interact with, such as drop-down menus, modal windows, and contact forms. It is also used to create things like animations, video players, and interactive maps. Nowadays, JavaScript is an all-purpose programming language—meaning it runs across the entire software stack. The most popular application of JavaScript is on the client side (aka frontend), but since Node.js came on the scene, many people run JavaScript on the server side (aka backend) as well. When used on the client side, JavaScript code is read, interpreted, and executed in the user’s web browser. When used on the server side, it is run on a remote computer. You can learn more about the difference between frontend and backend programming here. JavaScript isn’t only used to create websites. It can also be used to build browser-based games and, with the help of certain frameworks, mobile apps for different operating systems. The creation of new libraries and frameworks is also making it possible to build backend programs with JavaScript, such as web apps and server apps. Is it still worth learning JavaScript in 2021? The world of web development is constantly moving. With so many new tools popping up all the time, it can be extremely difficult to know where you should focus your efforts. As an aspiring developer, you’ll want to make sure that what you’re learning is still relevant in today’s industry. If you’re having doubts about JavaScript, it’s important to know that, since its creation in 1995, JavaScript is pretty much everywhere on the web—and that’s not likely to change any time soon. According to the 2020 StackOverflow developer survey, JavaScript is the most commonly used programming language for the eighth year in a row. It is currently used by 94.5% of all websites and, despite originally being designed as a client-side language, JavaScript has now made its way to the server-side of websites (thanks to Node.js), mobile devices (thanks to React Native and Ionic) and desktop (courtesy of Electron). As long as people are interacting with the web, you can assume that JavaScript is highly relevant—there’s no doubt that this is a language worth knowing! With that in mind, let’s look at some of the key benefits of becoming a JavaScript expert. Why learn JavaScript? The most obvious reason for learning JavaScript is if you have hopes of becoming a web developer. Even if you haven’t got your heart set on a tech career, being proficient in JavaScript will enable you to build websites from scratch—a pretty useful skill to have in today’s job market! If you do want to become a web developer, here are some of the main reasons why you should learn JavaScript: JavaScript experts are versatile JavaScript is an extremely versatile language. Once you’ve mastered it, the possibilities are endless: you can code on the client-side (frontend) using Angular and on the server-side (backend) using Node.js. You can also develop web, mobile, and desktop apps using React, React Native, and Electron, and you can even get involved in machine learning. If you want to become a frontend developer, JavaScript is a prerequisite. However, that’s not the only career path open to you as a JavaScript expert. Mastering this key programming language could see you go on to work in full-stack development, games development, information security software engineering, machine learning, and artificial intelligence—to name just a few! Ultimately, if you want any kind of development or engineering career, proficiency in JavaScript is a must. JavaScript experts are in-demand (and well-paid) JavaScript is the most popular programming language in the world, so it’s no wonder that JavaScript is one of the most sought-after skills in the web development industry today. According to the Devskiller IT Skills and Hiring Report 2020, 72% of companies are looking to hire JavaScript experts. Enter the search term “JavaScript” on job site Indeed and you’ll find over 40,000 jobs requiring this skill (in the US). Run the same search on LinkedIn and the results are in excess of 125,000. At the same time, the global demand for JavaScript seems to outweigh the expertise available on the market. According to this 2018 HackerRank report, 48% of employers worldwide need developers with JavaScript skills, while only 42% of student developers claim to be proficient in JavaScript. And, in their most recent report for 2020, HackerRank once again reports that JavaScript is the most popular language that hiring mangers look for in a web developer candidate. Not only are JavaScript experts in demand—they are also well-paid. In the United States, JavaScript developers earn an average yearly salary of $111,953 per year. We’ve covered this topic in more detail in our JavaScript salary guide, but as you can see, learning JavaScript can really boost your earning potential as a developer. JavaScript is beginner-friendly Compared to many other programming languages, JavaScript offers one of the more beginner-friendly entry points into the world of coding. The great thing about JavaScript is that it comes installed on every modern web browser—there’s no need to set up any kind of development environment, which means you can start coding with JavaScript right away! Another advantage of learning JavaScript as your first programming language is that you get instant feedback; with a minimal amount of JavaScript code, you’ll immediately see visible results. There’s also a huge JavaScript community on sites like Stack Overflow, so you’ll find plenty of support as you learn. Not only is JavaScript beginner-friendly; it will also set you up with some extremely valuable transferable skills. JavaScript supports object-oriented, functional, and imperative styles of programming—skills which can be transferred to any new language you might learn later on, such as Python, Java, or C++. JavaScript provides a crucial introduction to key principles and practices that you’ll take with you throughout your career as a developer. Should you learn plain JavaScript first or can you skip to frameworks and libraries? When deciding whether or not to learn JavaScript, what you’re really asking is whether or not you should learn “vanilla” JavaScript. Vanilla JavaScript just means plain JavaScript without any libraries or frameworks. Let’s explore what this means in more detail now. What is meant by vanilla JavaScript, libraries, and frameworks? If you research the term “vanilla JavaScript”, you might run into some confusion; however, all you need to know is that vanilla JavaScript is used to refer to native, standards-based, non-extended JavaScript. There is no difference between vanilla JavaScript and JavaScript—it’s just there to emphasize the usage of plain JavaScript without the use of libraries and frameworks. So what are libraries and frameworks? JavaScript libraries and frameworks both contain sets of prewritten, ready-to-use JavaScript code—but they’re not the same thing. You can think of a framework as your blueprint for building a website: it gives you a structure to work from, and contains ready-made components and tools that help you to build certain elements much quicker than if you were to code them from scratch. Some popular JavaScript frameworks include Angular, React, Vue, and Node.js. Frameworks also contain libraries. Libraries are smaller than frameworks, and tend to be used for more specific cases. A JavaScript library contains sets of JavaScript code which can be called upon to implement certain functions and features. Let’s imagine you want to code a particular element into your website. You could write, say, ten lines of JavaScript from scratch—or you could take the condensed, ready-made version from your chosen JavaScript library. Some examples of JavaScript libraries include jQuery, Lodash, and Underscore. The easiest way to understand how frameworks and libraries work together is to imagine you are building a house. The framework provides the foundation and the structure, while the library enables you to add in ready-made components (like furniture) rather than building your own from scratch. You can learn more about the relationship between languages and libraries in this post explaining the main differences between JavaScript and jQuery. For now, let’s go back to our original question: How important is it to learn vanilla JavaScript? Should you learn vanilla JavaScript first? When it comes to learning JavaScript, it can be tempting to skip ahead to those time-saving frameworks and libraries we just talked about—and many developers do. However, there are many compelling arguments for learning plain JavaScript first. While JavaScript frameworks may help you get the job done quicker, there’s only so far you can go if you don’t understand the core concepts behind these frameworks. Frontend developer Abhishek Nagekar describes how not learning vanilla JavaScript came back to bite him when he started learning the JavaScript frameworks Node and Express: “As I went to write more and more code in Node and Express, I began to get stuck at even the tiniest problems. Suddenly, I was surrounded with words like callbacks, closures, event loop and prototype. It felt like I got a reintroduction to JavaScript, but this time, it was not a toddler playing in its cradle, it was something of a mysterious monster, challenging me on every other step for not having taken it seriously.” The above Tweet references a long-running joke within the developer community, and although it dates way back to 2015, it’s still highly relevant today. If you want to become a developer who can innovate, not just execute, you need to understand the underlying principles of the web—not just the shortcuts. This means learning vanilla JavaScript before you move on to frameworks. In fact, understanding plain JavaScript will help you later on when it comes to deciding whether to use a framework for a certain project, and if so, which framework to use. Why Study JavaScript? JavaScript is one of the 3 languages all web developers must learn: 1. HTML to define the content of web pages 2. CSS to specify the layout of web pages 3. JavaScript to program the behavior of web pages Learning Speed In this tutorial, the learning speed is your choice. Everything is up to you. If you are struggling, take a break, or re-read the material. Always make sure you understand all the "Try-it-Yourself" examples. The only way to become a clever programmer is to: Practice. Practice. Practice. Code. Code. Code ! Commonly Asked Questions How do I get JavaScript? Where can I download JavaScript? Is JavaScript Free? You don't have to get or download JavaScript. JavaScript is already running in your browser on your computer, on your tablet, and on your smart-phone. JavaScript is free to use for everyone.
invalidjson / MyTwitterScraperReal-time twitter filter/scraper. Outputs to .csv file. Designed with low memory overhead in mind to allow running for extended periods.
whoisguan / GUAN Framework[ARCHIVED] 已迁移到 MIXIA-Framework repo
bitsacm / RadarRadar is a cross-platform mobile application built in Flutter. It is an app through which you could ask for help from nearby strangers, in an anonymous manner if needed. The initial project is developed keeping in mind the setting of a typical University. However, this can easily be extended to include other scenarios as well.
Lruihao / Vue Minder Editor Extended基于 fex-team/kityminder-core 和 Vue2 封装的在线脑图编辑组件
fdev31 / DrinkHigh-level micro CMS inspired by BlueBream (Zope) and Django, with simplicity of use & extend in mind. Based on ZODB, bottle & Jinja2.
projectworldsofficial / Online Attendance System In PhpAttendance-System ================= The project is meant to create an advanced attendance taking system to help teachers, students and college administration by automating the entire process. It is designed keeping scalability and code- reusability in mind, which means that the same project can be altered by changing few variables to get desired results. Furthermore, there’s scope of adding more functionality without disturbing any of the existing one. This is made possible by using Object Oriented Programming, a Modular for designing web service, and following large parts of MVC model. This allows us to extend the project to mobile applications and other environments. Video Demo : https://www.projectworlds.in/online-attendance
bitsenzes / How To Make A Successful Mobile AppTo make a effective mobile app, one thing you need to keep in mind is: Determine a problem which may be fixed by your app choose the features of your app The app should provide customer with tangible benefits including reducing costs via productivity enhancements, new earnings or enhancing the customer experience. Step 2: Recognize To create a successful mobile app, you need to identify or be manifest about: Application target users - An iphone app should be developed keeping in mind the target users of an application. Having a clear vision about the targeted group, enhance the success ratio of your app. Specific factors that should be considered while selecting mobile platforms and devices includes coverage, device support, performance and other features. Revenue model - The app market is booming like no time before. To be able to ensure this resource and generate earnings, app developer need to select appropriate approach in accordance with the app. You can find different models of making earnings from mobile applications including paid applications, separate application and in-app freemiums, commercials, subscription and pay for each download. These techniques can be employed to generate earnings. Direct Revenue Models - used to create successful mobile applications The graph describes a detailed account of application income models From this point you should also think about your budget, the amount of money you wish to set aside for the expansion, marketing and eventual release of your app. This a quick guide to the approximate costs for developing an app. Action 3: Design your software designing your app to get success in software development Designing your iphone app is yet another substantial factor in charge of success of an application on the market. An application developer must concentrate on the UI design, multi-touch gestures for touch-enabled devices and consider platform design standards as well. Today, emphasis is on the UI design of an app as it plays an essential role in the success of an app. Step 4: Determine method to develop the iphone app - native, web or cross Selecting the right approach for developing an software is highly important.Preferably, app development method must be in accordance with the time and budget limitations of any client. Native: Native software permits in delivering the best user experience but require important some talent to be developed. These software are basically program specific and require knowledge along with knowledge. Net: Web software are quick and cheap ones to develop and can run using multiple platforms. These are developed using HTML5, WEB PAGE and JavaScript code. These types of web software are less powerful than native programs. Hybrid: Hybrid approach is the new approach to develop any application.This approach combines prebuilt local containers with on-the-fly web coding in order to achieve the best of both worlds. In this method, the developer augments the internet code with native vocabulary to create unique features and access native APIs which can be not yet available through JavaScript. Step 5: Develop a prototype after identifying the approach is developing a prototype. That is actually the taking your idea and making it an application with some basic functionality.An auto dvd unit makes it quite easier to sell your idea to would-be who can now actually see the concrete benefits rather than just imagining or reading product explanation. It is rather helpful in attracting investors and working with manufacturers and finding licensees Step 6: Incorporate a suitable analytics tool use analytics to improve your application in order that it results in successful software development Step seven: Identify beta-testers. Beta testing is the first possibility to get feedback from your target customers. It is particularly significant as it enhances your visibility in the iphone app store. It not only reduce product chance but ensure you get that first push in the software store. To distinguish beta testers is another important job to ensure success of an app. Preparing for beta launch: Define focus on customer - It truly is highly important to identify and clearly define your targeted audience. This will allow you identify the right testers during your beta tester recruiting. Eliminate insects - Before beta screening your iphone app on different platforms you need to take into account vast majority of the devices which eliminate device specific insects. Identify goals - Beta testing is the best possibility to get real feedback from target customers. It provides a great chance to further understand marketplace and their requirements. Discovering goals for beta screening helps in focusing the efforts. These goals reduce your product launch chance. Step 8: Release and deploy the software Implementing an app requires plan, schedule and control over the movement of releases to test and live conditions. The objective of Deployment Management is to ensure the integrity of the live environment is protected and that the correct components are released. Step 9: Capture the metrics There has recently been substantial rise in the mobile app users in today's decade. As a result, the need to accumulate accurate metrics is highly important. As the amount of consumers using mobile applications steadily rises, the need to gather precise metrics from them is increasingly important. Unfortunately, many of the methods used to measure programs are taken from web stats. Funnel analysis signifies why users are failing to finish desired user actions including in-app purchases or ad clicks Measuring social discussing signifies what aspects of your application are recording the interest of your users Correlating demographic data with user behaviour Step 10: Upgrade your application with improvements and new features update and upgrade your mobile after you know that you have developed it properly - the last step to successful software development After capturing the metrics it becomes important to upgrade your app with advancements and revolutionary features. A new mobile iphone app without modern features loses its user friendliness extended range run. Upgrading your iphone app with innovative features enhances its visibility along with downloads of an app.
EmilianC / LoupeAn extendible reflection library for modern C++ with metadata support - designed with game development in mind.
SullyGreene / TinyAGIA Python-based framework for developing and orchestrating AI agents. TinyAGI is built with modularity in mind, featuring a dedicated CLI for managing agents, plugins, and chat sessions. Its architecture supports a variety of LLMs (e.g., Google Gemini, Ollama, OpenAI) and can be extended with custom tools and plugins for specialized tasks.
