Wednesday, February 29, 2012

Case Study No. 0270: Mr. Dewey/The Pagemaster

The Pagemaster- Whatever You Imagine
I have always loved The Pagemaster as a child and I thought it made sense to create a music video for it.
I do not own the video clips or audio in this movie.
Tags: Pagemaster Christopher Lloyd
Added: 3 years ago
From: Ballard103
Views: 105,118



Hunt, Maurice & Joe Johnston (Directors). The Pagemaster. United States: 20th Century Fox, 1994.

Starring: Christopher Lloyd (Mr. Dewey/Pagemaster); Macaulay Culkin (Richard Tyler)

Colorful entertainment about a boy who, seeking shelter from a storm, enters the library and meets the helpful Mr. Dewey. A gorgeous rotunda, a slip-and-fall, a journey on a runaway bookcart, and the real-boy-turned-animation finds himself in a land of adventure, fantasy and horror. Books are characters. Pirate book: "This is a library, mate. Not everything is as it seems." (Of course the boy gets shushed. I think there's a cinematic law about that.) The books dream of escaping the library. Mr. Dewey is also the Pagemaster: "Keeper of the books, guardian of the written word."



Mr. Dewey: Welcome to the library, young man. Don't tell me. You're here for a special book.
Richard: Mister...
Mr. Dewey: Stop stop stop. Allow me to guess. I have a talent for guessing what people need. You're in need of a fantasy! Brave knights, mythical fairies, ferocious dragons!
Richard: Look, all I want is...
Mr. Dewey: Adventure! Of course! You're a boy who loves adventure, brimming with wicked demons, cutthroat pirates.
Richard: No, no, that's not it.
Mr. Dewey: Horror! Oh, horror! Evil demons, wicked monsters, haunted houses, graveyards. Yes, it's horror for you, boy. I'm sure of it. Your library card, please.
Richard: I don't have one.
Mr. Dewey: [pulls out a brand new one] You do now. Sign here.
[Richard signs it]
Mr. Dewey: Richard Tyler, consider this your passport to the wonderful and quite unpredictable world of books.
Richard: But I don't want any books.
Mr. Dewey: Hmm?
Richard: That's what I've been trying to tell you. I only came in here 'cause of the storm.
Mr. Dewey: You mean you don't need...?
[Richard shakes his head]
Mr. Dewey: [disappointed] Oh, I see.

Case Study No. 0269: The Little Librarian

The Little Librarian
This is a great kit for imaginative, creative play. The Little Librarian made for hours of pretend play fun. It's great for one or several children 4+. Any kid who likes to play school, will LOVE this kit. It's made in the USA and it's fully recyclable.
Tags: Creative Toyshop creative play pretend play gift birthday gift gift for children eco-friendly recyclable made in the USA educational toy educational game
Added: 1 month ago
From: CreativeToyshop
Views: 86

The Little Librarian
Be a REAL Librarian!
Imaginative and creative play

Little Librarian
Be a real librarian.
Just add books!
Let's play library!
Encourages Reading!

["Prepping the library ... " appears on screen, as a little girl is organizing books in her room]
WOMAN: [from off camera] Is this your library?
LITTLE GIRL: Yes it is!
WOMAN: [from off camera] Okay.
LITTLE GIRL: But the library is closed right now, so I'm just setting up the books.
[cut to the little girl putting some magazines against the wall]
WOMAN: [from off camera] Oh, with some magazines too. That's a good idea.
LITTLE GIRL: Well, you can find these ...
WOMAN: [from off camera] Oh, okay ...
["The Little Librarian comes with a lot of stuff ..." appears on screen, then cut to a little boy looking through the book pockets]
WOMAN: [from off camera] What's in there?
LITTLE BOY: Nothing, these are just book pockets. See, you put the ... take these off and stick them to the back of books.
WOMAN: [from off camera] What else is in there?
[the boy takes out some more paper]
LITTLE BOY: Reading awards ...
WOMAN: [from off camera] Oh cool.
["And your very own library card ... " appears on screen]
WOMAN: [from off camera] Did you make your own library card yet?
LITTLE BOY: Right here.
[he picks up the card, then drops it]
WOMAN: [from off camera] Oops.
[he picks it up and shows it to the camera]
WOMAN: [from off camera] Mm hmm. Oh cool.
[cut to the boy showing more papers]
LITTLE BOY: Bookmarks ...
WOMAN: [from off camera] Mm hmm.
LITTLE BOY: Overdue slips.
WOMAN: [from off camera] Hmm, we need those.
WOMAN: [from off camera] Yeah ... [laughs]
LITTLE BOY: And book cards. That's what you put in the back of the book pockets.
WOMAN: [from off camera] Okay.
["A reading journal and much, much more" appears on screen]
LITTLE BOY: Reading journal ... You can record what you read.
WOMAN: [from off camera] Oh, okay.
[cut to the little girl in her room]
LITTLE GIRL: I think it's time for my customers today ...
WOMAN: [from off camera] Are you putting book pockets in the books?
LITTLE GIRL: Mm hmm, the new ones ...
["The library is now open and the librarian is at work ... " appears on screen, as the little girl sits at her "desk" while the little boy enters]
["This kit is made in the USA!" appears on screen]
LITTLE GIRL: Looking for some good books?
LITTLE BOY: Mm hmm ...
["Hours of imaginative play. And peaceful ... no fights, no bickering" appears on screen, then cut to the little girl taking out some book cards]
["A new customer comes in ... " appears on screen, then cut to the woman (walking on her knees) entering the "library"]
WOMAN: Hi, Misses Librarian! How are you?
LITTLE GIRL: Good, how are you?
WOMAN: Here's my library card. I'm looking for some books for my daughter.
[she puts the card on her "desk"]
WOMAN: And she is, like, seven years old. So, what do you recommend?
LITTLE GIRL: I know exactly the book she needs!
[she gets up and points to her book display]
LITTLE GIRL: This is a very good book that children like ...
WOMAN: Mm hmm. Could you show me that one?
LITTLE GIRL: This could be for, like, eight to ten, maybe.
WOMAN: Mm hmm.
[she takes the book and hands it to the woman]
LITTLE GIRL: But this one is, like ...
WOMAN: That's really good?
WOMAN: Okay.
[cut to the little girl writing on the book card]
LITTLE GIRL: Um, date due ...
WOMAN: That is today, right?
[she erases, then starts writing again]
LITTLE GIRL: Okay, it's gonna be ...
WOMAN: Oh, in December? Okay.
LITTLE GIRL: Do you want it then?
WOMAN: Yeah, and I can come back ...
[the little girl puts it in the book pocket]
LITTLE GIRL: Okay, do you need any other ones?
WOMAN: No, I think I'm okay for now, thank you.
WOMAN: Do you need to scan this or something?
[the woman picks up her library card]
WOMAN: Use my card ... Well, actually it's my son's card, but he let me use it today.
WOMAN: Did I tell you that I think you're the most beautiful librarian I've ever seen? That hair is to die for!
LITTLE GIRL: Oh thank you ...
[she "scans" the card]
[she plays with her ponytail]
LITTLE GIRL: I know, everyone wants this hair!
WOMAN: [laughs]
[she "scans" the date due card]
WOMAN: Great, it's all scanned?
[the girl hands her the book]
WOMAN: Thank you so much! See you in December!
LITTLE GIRL: [smiles] Bring it on December 1st!
WOMAN: Okay, bye!
[the girl suddenly holds out the library card]
LITTLE GIRL: Oh, here's you card!
[the woman (standing up) reaches out and takes it]
WOMAN: Oh, my card, I always forget my card ...

The Little Librarian
starring as "best gift ever"

Creative, imaginative, educational!

Available at



Little Librarian is the first personal library kit made just for kids! It encourages reading and is powered by creativity and imagination, not batteries!

The Little Librarian kit provides book lovers with everything they need to transform their book collection into a library. Kids can practice the important skills of organizing, sharing, borrowing, and returning. Book pockets, check out cards, library cards, and bookmarks are just like the ones from the real library. Little Librarians will issue overdue notices

Favorite books can be listed in the reading journal and shared with friends. Any kid who likes to play school will love this library kit - and play "library" just as much!

Made in the USA!!
Recommended for children 4 +


* 7 File Folders
* 15 Book Pockets
* 15 Book Cards
* 4 Library Cards
* 4 Reading Awards
* 6 Overdue slips
* 1 Reading Journal

Case Study No. 0268: Yomiko Readman

Read or Die - AMV - Yomiko's Ordinary?
Here is my new AMV. I heard this song awhile back and thought it would be cool to use with Yomiko Readman(Za paper) for numerous reasons. She's defintely one of the best anime characters around.

Song: Ordinary
Artist: Train
Anime: Read or Die OVA

I hope you enjoy. ;)
Tags: ROD Read or Die Train Ordinary AMV Rave Epic RaveEpic Yomiko Readman The Paper Miss Deep Drake Joker
Added: 4 years ago
From: RaveEpic
Views: 9,840


"Read or Die" takes place in an alternate history world where the British Empire has remained a major superpower. The Empire's continued existence is guaranteed by the British Library, an external intelligence agency working within the actual British Library and its Special Operations Division.

The series follows Yomiko Readman, also known as "The Paper", a superhuman agent of the Library's Special Operations (possessing a "double 0" certification that denotes a "license to kill", as in the James Bond series, although she rarely invokes it). In both the novels and anime, her adventures alternate between doing missions for the British Library and helping young novelist Nenene Sumiregawa.

The British Library is an institution devoted to the promotion of literacy and the greater glory of the British Empire. More than a mere library, the British Library is a powerful political organization with branches all over the world. The organization is led by Gentleman, an old man of extreme longevity and the power behind the throne of the British Empire.

The British Library Special Operations Division is the secret enforcement branch of the British Library. Based in a giant underground complex concealed beneath the Great Court at the British Museum, the Special Operations Division employs a number of agents with special powers and runs operations all over the world to fight book-related crime and terrorism, and to acquire rare works for the Library. Their slogan is "Peace to the books of the world, an iron hammer to those who would abuse them, and glory and wisdom to the British Empire!"

Yomiko Readman is a half-Japanese, half-English papermaster, an individual with the ability to control and influence paper. A substitute teacher in her spare time, she is the 19th British Library agent to earn the codename "The Paper". Her name is a play on her nature as a bibliophile -- the verb "to read" in Japanese is pronounced "yomu".



Yomiko Readman, also known as "The Paper", is a fictional character in the Japanese language novel series Read or Die, the manga and anime spin-offs of the books, and the sequel, R.O.D the TV. Though in appearance Japanese, she is in fact half-Japanese, half-English.

Yomiko is a bespectacled substitute teacher and an introvert. A bibliophile, she prefers to bury herself in her books. She spends almost all of her income on books, and her "apartment" is stacked floor to ceiling with books. She resides somewhere in Jinbo-cho, a neighborhood of Chiyoda, Tokyo known for numerous bookstores.

Yomiko is shown in always the same clothing, whether it be in the manga, OVA, or the TV series. She wears modest simple white blouse and a long black skirt, as well as a trenchcoat. This trenchcoat has many pockets and inner sections from which she can pull emergency supplies of paper "ammunition."

Yomiko's hair is also almost always unkempt. Joker provides a comb to her in the OVA when she is going with him to attend an important meeting with Mr. Gentleman, commenting that her grooming habits need improvement. She seems embarrassed by the comment, but apparently not embarrassed enough to actually correct the issue herself later. The only reason her hair appears managable in the OVA later on seems to be because Nancy fixed them into braids.

Yomiko is also a secret field agent for the British Library. She is a Paper User, a person with the ability to bend paper material to her will. She can make paper bulletproof or sharper than the sharpest sword. If she has enough paper, then she can construct a giant paper airplane that flies. The only limit to the effects she can create is her own imagination. In the OVA, it seems that she must have in her grasp of at least hands, teeth, or perhaps some other body part at least one piece of paper in a group of papers in order to manipulate them, though eventually by the time of R.O.D the TV she is able to manipulate paper by pure mental control.

In her capacity for the British Library, Yomiko often has to embark on dangerous missions. Though because of her clumsiness and social awkwardness she would not seem to make a very good secret agent, at one point allowing her emotions to get in the way of defeating an enemy, if receiving the proper support she can actually be quite useful, with ninja-like reflexes in combat and the ability to stay focused on the battle. She is considered one of the Library's top agents.

Tuesday, February 28, 2012

Case Study No. 0267: Mandy

Tags: Librarians
Added: 2 years ago
From: deanxavier
Views: 2,159

[Molly and Carl are discussing possible ways to convince Carl's friend Dupree to move out of their house]
MOLLY: What if ... he had a girlfriend?
CARL: [sarcastically] Good idea, but ... how's a guy with no job, no car, living on somebody's couch, gonna find any kinda girlfriend?
MOLLY: Our new librarian ... She seems really nice.
CARL: [incredulous] You wanna fix Dupree up with a really nice librarian?
MOLLY: [coyly smiles]
CARL: Listen, I've known the guy for twenty five years. I think he's more into the young, foreign ... non-librarian type.
MOLLY: Well, it wouldn't hurt to ask.
CARL: I wouldn't get my hopes up.
[cut to Molly showing Dupree a picture of the librarian in her elementary school's faculty guide]
DUPREE: [without hesitation] I'll do it.
MOLLY: [surprised] Oh, that's great ... Do, you wanna know anything about her?
DUPREE: Nope ... Well, does-does she have a car?
MOLLY: Yeah!




Russo, Anthony & Joe Russo (Directors). You, Me and Dupree. United States: Universal Pictures, 2006.

Starring: Owen Wilson (Randy Dupree, Librarian lover); Kate Hudson (Molly Peterson); Matt Dillon (Carl Peterson)

A newly married couple -- Molly and Carl -- find their lives disrupted when Dupree, Carl's lifelong friend and the best man at their wedding, crashes on the couch and shows every intention of simply staying there. Molly (an elementary school teacher) suggests to Carl that she arrange a date between Dupree and Mandy, the school librarian.

"She seems really nice," she tells her husband. Carl is skeptical.

"You want to fix Dupree up with a really nice librarian? Listen, I've known the guy for 25 years. I think he's more into the young, foreign, not-librarian type ... I wouldn't get my hopes up."

Yet when she asks Dupree his immediate response is "I'll do it." His only question is, "Does she have a car?" Fortunately she does. He half smiles, murmurs "Librarian!" and nods knowingly.

That night when Carl and Molly return home from a company dinner, they interrupt the couple ... um ... getting to know each other, shall we say? ... on their fold-out couch. All we see of Mandy in the flickering candle-light is one shapely elevated leg which Dupree is smearing with butter. Molly runs outside, shocked -- Mandy, after all, is a Mormon. (Carl, beyond surprise now, states flatly, "You fixed Dupree up with a Mormon librarian.") Molly is horrified by what she witnessed. "That butter dish was a wedding gift!"

Dupree rushes out of the house (holding couch pillows in strategic places) and wants to thank Molly for the best night of his life. "I'm in love!" At this point we see (through the window) the living room burst into flames. Later we get only a glimpse of Mandy's curly brown hair when Dupree sends her home in her car. (He compares her to Audrey Hepburn, if that's a hint as to her appearance and how classy she appears to him.) Dupree is asked to leave the next morning, when he announces that he's going to move in with Mandy ("The librarian," Carl confirms.).

That night they find Dupree sitting on a park bench in the pouring rain listening to Barry Manilow ("Mandy," of course). "Don't ask," he says miserably to Molly. Of course they take him home, one condition being "no more naked stuff." Later, when Dupree fills in for Carl for "Career Day" at Molly's school (despite his lack of one), he begs her to get the librarian to come to class and watch. "I think this will win her back." Of course she doesn't show, and after class Molly, with difficulty, explains that Mandy didn't come because "Mandy ... she has to ... she had ... she ... had a book ... that was ... lost." He's clearly upset.

"Dupree, there's something you need to know about Mandy. Well, it turns out ... she's a total slut. She's sleeping with half the male faculty."

"What?" he cries, "My Mandy?" He's tormented by the news. At this point we see a nerdy teacher going into a classroom and Dupree looks at Mandy and she reluctantly nods, and then the hunky coach passes by with his team (nod) , and then the janitor rolls his cart past them ("I'm afraid so." "He's not even on the faculty!"). Dupree concludes that he's a sucker and is heart-broken.

The (mostly unseen but still detailed) character of Mandy runs counter to the public image of "librarian," especially one who works in an elementary school, but the only character in the film who reacts to the label is Carl. I propose that he mirrors the reaction the screenwriter expects to get from the audience -- Carl voices what we're supposedly thinking. Molly's surprise that the woman is a slut is not related to the job title, just her being unaware of what was apparently common knowledge at the school.

Case Study No. 0266: Staff of the Camden-Carroll Library

Phantom Of The Library (part 1)
A tale of terror and intensity set in a isolated 4th floor of a library. A Librarian, Lyle, searches for his missing co-worker, Frank, Upon investigation he is met by a terror beyond imagination. The Phantom of the Library.
Tags: Phantom Of The Library Horror Indie
Added: 4 years ago
From: CiscoBro1
Views: 407

[scene opens outside the Camden-Carroll Library, then cut to inside the library as a male librarian is reshelving books when he drops one on the floor]
FRANK: [to himself] Shit ... If I have to touch another fucking book today, I think I'm gonna go crazy.
[he continues shelving]
FRANK: They don't pay me enough money to do this ... Not enough money at all.
[he hears a weird sound coming from down the hall]
FRANK: The fuck was that?
[he suddenly hears the same noise behind him, and drops the rest of his books]
FRANK: What the fuck?!
[he runs off and tries to make it to the stairwell, but the door opens by itself]
[cut to the POV of "something" as it looks at Frank, who falls down and tries to crawl away]
FRANK: Ahhh!
[cut to another male librarian reshelving some DVDs, but he drops one on the floor]
LYLE: Dammit ... Y'know, people rent movies all the fucking time, no one reads anymore. Can't say I blame 'em, since books suck!
[he looks at one of the DVDs before violently slamming it onto the shelf]
LYLE: "Harvey", that movie was made in like 1950 ... Nineteen fifty-shit! About a fucking rabbit, he lives with a rabbit! Who came up with that idea?
[he looks at the spine label on another DVD]
LYLE: What does this say? Where the fuck's the number? Oh, 791 ...
[he continues shelving DVDs, when another male librarian approaches]
LYLE: [to himself] Piece of shit, where do you go?
EVANS: Hey, Morelos!
LYLE: Hey ...
EVANS: Tell Frank to get his lazy ass back to work on the fourth floor!
LYLE: Hey ... Hey, I'm busy! I am shelving these movies, thank you very much.
EVANS: Dude, he's not doing a good job, tell him to go get his lazy ass--
LYLE: That's not my job!
EVANS: Go to the fourth floor!
LYLE: [sighs] Dammit. Well, let me finish shelving these books, I'll go up there and I'll set his lazy ass straight ... Dumb idiot, can never shelve books right.
[Evans motions for him to leave]
LYLE: What?!
EVANS: Come on!
LYLE: Quit waving your hands!
EVANS: Go! Go! Go!
LYLE: I'm gonna find out where Citizen Kane goes, because Orson Welles is a damn idiot that doesn't know how to shelve his own books!
EVANS: Go! Go! Go! Move!
[Lyle takes all of the remaining DVDs and just mashes them onto the shelf]
LYLE: Okay, I'm just gonna put them right here! Okay, I'm done, get outta my way!
[he shoves him out of the way and heads for the stairwell]
[cut to the stairwell, as Lyle slowly makes his way up the stairs, mumbling to himself]
LYLE: Mister Evans, he wants me to call him Mister Evans. I'm not calling him Mister Evans ... It's Sean, ya dumb prick! Make me go up to the fuckin' fourth floor where no one ever goes! That fuckin' Frank, dumbass! Up there shelvin' and shit, that doesn't even matter! No one wants to read about Russian history, or the Holocaust ...
[cut to Lyle exiting the stairwall]
LYLE: Frank? Where are ya, man? The hell are ya? Frank, you're supposed to be shelving these books, and you're fucking things up! And ... man, Frank!
[he walks past the bookshelves, as the figure of a man can be briefly seen at the other end of the hall (which Lyle fails to notice)]
LYLE: Y'know what? You are just ... You're wasting my time, making me come up here and help you shelve these books, and you just, you just disappear on me!
[he sees the books that Frank dropped]
LYLE: Dammit ... So I'll just pick up these dumb books.
[he bends down and begins reshelving them]
LYLE: Who cares ...
[he puts a book on the top shelf, but it falls back down by itself]
LYLE: The fuck?
[he continues shelving, but another book falls down]
LYLE: The hell, what is going on around here? These books are fallin' over ...
[another book falls by itself]
LYLE: Shit ... The hell is going on here?
[he picks the book up off the floor]
LYLE: Dammit ...
[he tries to put it back on the shelf, but it won't fit]
LYLE: Dammit, that doesn't fit on the shelf.
[he takes it and just tosses it on top of the other books on the shelf, then bends down and picks up another book ... but when he goes to shelve it, a gloved hand reaches out from the other side of the shelf and begins choking him]
LYLE: Ahh! Ahh!
[he takes a book off the shelf and begins hitting the hand with it, forcing the unseen assailant to let go and sending Lyle tumbling to the floor]
LYLE: Shit! Holy shit!
[he tries crawling away, when the figure (with "his" face covered in bandages and wearing a hat and trenchcoat) slowly walks towards him]
LYLE: What the fuck? What the fuck are you?
[the same noises that Frank heard begin to play, as Lyle continues crawling away]
LYLE: This isn't real ... Holy shit!
[the phantom grabs him by the leg]
LYLE: Shit ... oh god!
[he picks up a book and throws it at the phantom, knocking him down]
LYLE: Fuckin' ...
[he gets up, but the phantom also rises and slowly puts his hat back on]
LYLE: Oh, nice hat ...
[he runs off and hides behind one of the bookstacks, as the camera switches to the POV of the phantom as he looks for Lyle]
[cut to Lyle grabbing a book to defend himself as the phantom gets closer, then cut to another male librarian exiting the stairwell and looking at the clock in the room]
BRETT: That's not right ...
[he checks the time on his cell phone]
BRETT: Frank, Lyle! It's closing time!
[with the phantom distracted, Lyle leans out and hits him with the book, knocking him down]
[Lyle runs towards the stairwell]
BRETT: Lyle, what're you doing?
[Lyle knocks him down to make his escape, but finds that the stairwell door is locked, so he hides in the bathroom ... but when he runs in, Frank's limp body (which was propped up by the door) falls to the floor]
LYLE: Frank!
[he checks his pulse]
LYLE: Shit ... Oh my god, that fucker killed you!
[he props a chair up against the door, then cut to Brett picking his glasses up off the floor, when the phantom slowly walks up behind him]
[cut to the POV of the phantom, as Brett throws up his hands in terror]
BRETT: Ahh! Help!
[cut back to Lyle hiding in the bathroom]
BRETT: [from off camera] Ahhh!
[cut back to the POV of the phantom, as he makes his way towards the bathroom door]
[cut to Lyle struggling to keep the door closed, as the phantom pounds on it from the other side ... he eventually gives up and tries to hide in the stall (standing on the toilet so that the phantom can't see his feet) when he finds a can of "End Bac II" disinfectant spray]
[cut to the phantom opening the stall door, but Lyle sprays him in the eyes with the disinfectant (which can apparently penetrate through the phantom's sunglasses)]
PHANTOM: Ahh! Ahh!
[Lyle picks up the trash can, puts it over the phantom's head, then punches the can]
LYLE: Gotta get those keys!
[as the phantom falls to the floor, Lyle runs out and searches Brett's dead body for the keys to the stairwell ... he finds them, then tries to open the stairwell door]
LYLE: Gotta get outta here!
[just as he opens the door, the phantom emerges from the bathroom and grabs him]
LYLE: Holy shit!
[they tumble through the door and struggle]
LYLE: You killed Frank!
[Lyle kicks him, causing the phantom to fall down]
LYLE: You're dead, mother fucker!
[he punches the phantom, causing him to fall down the stairs]
LYLE: You're dead! Dead, mother fucker!
[as the phantom lies motionless at the bottom of the stairwell, Lyle gets up and opens the door back up]
LYLE: I'm gonna go get Frank! I'm gonna go get Frank!
[cut to outside the library, as Lyle carries Frank's lifeless body outside]
LYLE: [looks up and screams] Frank! Frank ...
[cut back to inside the library, as the phantom's POV shows him reaching over and picking his hat up off the floor]

Directed by: Evan Scott, Zach Barker & Eric B. Mauk
Based on the concept of "Phantom of the Waterplant"
Produced by: Evan Scott, Zach Barker & Eric B. Mauk
Edited by: Evan Scott, Zach Barker & Eric B. Mauk
Sound Design by: Evan Scott & Eric B. Mauk
Costume Design by: Evan Scott & Eric B. Mauk

Lyle - Evan Scott
Frank - Eric B. Mauk
Brett Bailey as Brett Bailey
A special guest appearance by Sean Wolfgang Amadeus Evans as Mr. Evans
And the Phantom - ???

Special Thanks to Morehead State University & Keith Stevens

The Phantom Will Be Back ...

A Cruise & Urban Vandals Production, 2007

Case Study No. 0265: Librarian of Unseen University

Discworld Game - The Librarian
Rincewind speaks to the Librarian of Unseen University.

Uploaded by request. :)
Tags: Discworld Rincewind
Added: 4 years ago
From: ChaosDrag0n
Views: 6,767

[Rincewind the Wizard enters the Unseen University Library, where a large orangutan wearing a green shirt is sitting behind the front desk]
RINCEWIND: Um ...hello?
RINCEWIND: Egad! You're not in charge here, are you?
LIBRARIAN: Ook ook ook ook!
RINCEWIND: Oh, I see. Well, that explains the filing system. Look, I don't know if you're quite the person that I want to see...
RINCEWIND: Yeah well, it's hard to explain really.
LIBRARIAN: Ook-ook ook ook?
RINCEWIND: Mm hmm, yeah ...Uh, "Oook eek oo oo ook?"
LIBRARIAN: Eek ook ook ook ook ook!
RINCEWIND: Oook ook ook?
RINCEWIND: Well, this is wonderful! I never knew that I could speak monkey!
[the Librarian climbs up onto the desk and bonks Rincewind over the head]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: Hi, do you mind if I monkey about in the library for a while?
[the Librarian climbs up onto the desk and bonks Rincewind over the head again]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: May I take a book from the library please?
LIBRARIAN: Oook ook.
RINCEWIND: Excuse me?
LIBRARIAN: Ook ook ook eek!
RINCEWIND: I see ... Um, I need something in order to take out a book.
LIBRARIAN: Oook ook.
RINCEWIND: Toothpaste? Fingers? Gloves? Something in your hand?
RINCEWIND: A dentist? Halitosis? You want, you want some mouthwash, that's it! You want some mouthwash! I'm sorry, but I'm already spoken for.
RINCEWIND: Oh, a library card! Oh, why didn't you say so in the first place? What happens if I just barge in without giving you a library card? Yes ... Now look, unfortunately, I don't have one, ape!
RINCEWIND: Uh, ape-on, upon my person! Yes, upon my person! Phew ... I didn't say Monkey!
[the Librarian climbs up onto the desk and bonks Rincewind over the head again]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: Hey! Whose monkey is this?
[the Librarian climbs up onto the desk and bonks Rincewind over the head again]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: Excuse me, my dear sir. Could you get me a tome called "Featherwinkle's Concise Compendium of Dragon's Lairs"?
LIBRARIAN: Ook ook ook ook ook.
LIBRARIAN: Ooook ook ook ook eek. Ook.
RINCEWIND: Yes. Uh, yes, I suppose so.
LIBRARIAN: Oook ook ook ook ook.
RINCEWIND: Mm hmm. Quite...Look, is there someone else here that I can speak to?
RINCEWIND: Well, you know ... Someone who isn't a monkey.
[the Librarian climbs up onto the desk and bonks Rincewind over the head again]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: No, I'll come back and get a book later.
LIBRARIAN: Ook ook ook?
RINCEWIND: Yes, I've gibbon up ... No! Not gibbon, monkey. Ape! Oh damn ...
[the Librarian climbs up onto the desk and bonks Rincewind over the head again]
RINCEWIND: Did you get the number of that donkey cart?
[Rincewind gets up]
RINCEWIND: This seems like a good cue to cease this whole silly conversation ...
[he takes a banana from his inventory and gives it to Librarian, who quickly eats it]
RINCEWIND: Excuse me, my dear sir. Could you get me a tome called "Featherwinkle's Concise Compendium of Dragon's Lairs"?
[the Librarian swings into the stacks like Tarzan and retrieves the book]



Discworld (a.k.a. Discworld: The Trouble With Dragons) is a graphic adventure game developed by Teeny Weeny Games and Perfect 10 Productions in mid-1995. It stars Rincewind the Wizard (voiced by Eric Idle) and is set on Terry Pratchett's Discworld. It was released on both floppy disk and CD-ROM, with the CD-ROM version featuring full voice acting for all characters. The game's plot is based roughly on the events in the book Guards! Guards!, but with Rincewind substituted for Samuel Vimes. The game also serves as a prologue to Moving Pictures.



The Librarian of Unseen University is a recurring character in Terry Pratchett's Discworld series of fantasy novels. The Librarian appeared in the first novel of the series, "The Colour of Magic", and was transformed into an orang-utan in "The Light Fantastic" as the Octavo fired a beam of magic upwards. On discovering that being an orang-utan had certain advantages for a librarian - he can climb up to high shelves, for example - he refused to be transformed back into a human and has remained an orang-utan ever since. The other wizards have gradually become used to the situation, to the extent that, from "Night Watch": 'if someone ever reported that there was an orang-utan in the Library, the wizards would probably go and ask the Librarian if he'd seen it.'

Being an ape, he is known for his violent reaction to most people calling him a "monkey." He speaks a language whose vocabulary consists primarily of the single word Ook (originally Oook), inflected for simple affirmations and negations. Eeek is also occasionally heard, particularly in moments of panic or rage. Nonetheless, most people seem able to understand him.

The Librarian's name has never been given in any of the books; he is always simply 'the Librarian.' If the Librarian's true name were known, he could be changed back into a human, and he has since The Last Continent carefully excised his name from the records of the University. The Discworld Companion hints that he may once have been Dr. Horace Worblehat, which goes most of the way to explaining why he is happier as an orang-utan. The Art of Discworld confirms that the Librarian was indeed Dr. Horace Worblehat, and that his fears of turning back into human are baseless at most. Rincewind is apparently the only wizard who still remembers the Librarian's name, but has agreed not to tell anyone.

The Librarian served a brief stint in the City Watch during the reign of terror caused by the dragon of Ankh-Morpork, where he helped to rescue Sam Vimes from the Patrician's cell. He retained an honorary position with the Watch, and is considered as of Thud! to be one of the first members of the 'Specials' – the Ankh-Morpork City Militia. In Soul Music, he joined the Band with Rocks In since his large hands and wide reach make him an excellent keyboard player. He remains the chief organist for the Unseen University, and does not consider an organ complete without a vox diabolica stop, a thunder pedal, and a 256-ft Earthquake pipe. Fortunately, the Johnson organ in the Great Hall of Unseen University is one of the few organs thus equipped.

The Librarian is a member of a small elite group of senior librarians who have the knowledge and ability to travel through L-space (short for "library-space"), an extradimensional space that connects all libraries and other large accumulations of books; this is the ultimate portrayal of Pratchett's concept that the written word has powerful magical properties on the Discworld, and that in large quantities all books warp space and time around them.

He used this knowledge of L-space to save books from the great library of Ephebe in Small Gods and to enter our world via the library of Sir Francis Walsingham in The Science of Discworld II. The very strict rules that members of this group are pledged to enforce are:

1) Silence
2) Books must be returned no later than the last date shown
3) Do not meddle with the nature of causality.

Of course, the Librarian has been known to break both the first and third rules on occasion, but he is adamant about the second.

In Men at Arms, it is stated that the Librarian likes being the Best Man at weddings because he is allowed to kiss the bridesmaids and they are not allowed to run away; in Lords and Ladies the Librarian served as the Best Man for Magrat and Verence. The cover of the Discworld picture book Where's My Cow? indicates that it has won the Ankh-Morpork Librarian's award.

The Librarian tends to spend his leisure hours at the Mended Drum, where he drinks quietly unless provoked, eats prodigious quantities of peanuts, and plays a ruthless game of Cripple Mr Onion with anyone foolish enough to take him on.

The Librarian appears in orang-utan form in the video games Discworld and Discworld II. In the 2008 TV adaptation of The Colour of Magic and The Light Fantastic, by Sky One, he appears in both human and orang-utan form. His human form is played by Nicolas Tennant, who had previously played Corporal Nobbs in Terry Pratchett's Hogfather. This adaptation also establishes his name as Horace Worblehat.



The Librarian is a faculty member, and so he must have once been a human wizard. A strong wave of magic, altering reality, transformed the Librarian into an orang-utan; at that time, his colleagues still remembered how he looked as a human (The Light Fantastic). Back then, wizards were much too busy to help him get back to his original human form (although there is no record of his asking for help, either). After things settled down, the Librarian's colleagues found that he liked being an orang-utan, and fought all efforts to transform him back to human. The Librarian found out that opposable toes come in very handy when climbing up the book-shelves and sorting books. Also, a very large and strong orang-utan has more plausible arguments when talking about dog-ears and overrun return deadlines. Although the senior wizards looked very hard for one, there are no rules in the university constitution forbidding an orang-utan to be a member of the college council.

In appearance he has the rubber-sack-filled-with-water look of a well grown, 300lb male. He has not, however, developed the overlarge cheek pads that are a feature of the dominant male orang-utan, and this is because, as an ex-officio member of the University faculty he quite rightly regards the Archchancellor as the dominant male, even though most Archchancellors do not sit high up in trees with leaves on their heads.

Very soon, people forgot how the Librarian looked as a human, or what his given name was (though the latter is true for most other faculty members as well). This was helped along by the Librarian methodically removing, defacing or otherwise altering any and all photographs and records of his name in the University files. It is rumoured that the Librarian was once Dr Horace Worblehat, but no one utters this out loud. We do know however that he was born in Moon Pond Lane, Ankh-Morpork. Nowadays, only people very new to the University or Ankh-Morpork will find themselves surprised that there is an orang-utan in a University Library, or in a pub. Indeed, if someone were to point out that there is an orang-utan in the library, the wizards would probably ask the librarian if he had seen it.

All the Librarian ever utters is 'ook' or 'eek', but by now the wizards, and especially Rincewind, are so used to this that they understand the Librarian perfectly. They can even translate the merest 'ook' into full-fledged literary English sentences.

The Librarian is a member of the Librarians of Time and Space, and has the understanding of the power of L-Space, and has used these powers to appear at certain times to ensure the safety of particular books, bringing them home to his precious Library at UU.

Monday, February 27, 2012

Case Study No. 0264: Veronda Pitchford

Movers & Shakers 2008: Veronda Pitchford
ULC's Veronda Pitchford tells LJ's Rebecca Miller why new or prospective librarians should make the schlep to ALA annual.
Tags: LibraryJournal ALA2008 M&S Movers&Shakers
Added: 3 years ago
From: LibraryJournal
Views: 206

[scene opens with Veronda Pitchford speaking directly to the camera]
REBECCA MILLER: [from off camera] We're here with Veronda Pitchford from the Urban Libraries Council. She was named a Mover largely for her work with recruiting ...
REBECCA MILLER: [from off camera] And what I'm wondering from her today, from one library chick to other library chicks and chucks, or ...
REBECCA MILLER: [from off camera] What do you say for guys?
VERONDA PITCHFORD: Die-hard library chicks ... and chucks, it can be chucks!
REBECCA MILLER: [from off camera] If you were gonna talk to these young librarians, or librarians-to-be about whether or not to make the schlep to ALA ...
REBECCA MILLER: [from off camera] Would you tell them to come?
VERONDA PITCHFORD: I would definitely tell them it's worth it, because it's a great way, in person, to build a network of people you know around the world. It's great to talk to people online, to Twitter them, to follow them, to be on Facebook with them. But this is a great way to expand what you see libraries as, and what they can be, and what you can be. I always tell people, especially new librarians, to find people who are doing things in the field that you think are really super-cool and go up and talk to them and say "Can we have lunch?" And that's best done in person, rather than a cold call virtually. Although I love-love-love being online and want everyone to do that as well, but nothing beats the face-to-face time. The people you wanna dig, so that's what I would say! Definitely come!
REBECCA MILLER: [from off camera] Cool, thanks a lot!
VERONDA PITCHFORD: Thank you! Library love!



Movers & Shakers, which Library Journal launched in 2002 to identify librarians, vendors, and others who are "shaping the future of libraries," is now over 400 innovators strong, with the addition of the Class of 2008. Together, these individuals comprise the coming generation of library leadership. They've embraced library technology, particularly library 2.0, "to provide exceptional service and kick-ass collections that respond to the real interest of patrons," as one of this year's Movers so aptly phrased it.

Overachievers all, they represent a Who's Who of creativity and library trends in the field. But, as we've discovered in the past eight years, there's no end to the number of library leaders we could include. We've already started compiling our own personal lists for next year.



Pure energy: that's one way to describe Veronda Pitchford, the assistant director of Chicago's Metropolitan Library System (MLS). And she uses that energy to transform the profession one recruit, one project, one library supporter at a time.

At work, she is involved with recruitment and taps her public relations B.A. to help member libraries market themselves inside and outside their organizations. She also works to coordinate Illinois Library Advocacy Day and leads training on how to "educate" legislators.

Go to a national library conference, and you're likely to see Pitchford at a microphone, infusing her subject with humor and necessary doses of the "real deal" attitude. She speaks on any number of issues—creating a forum for young leaders, addressing diversity and recruitment strategies, and developing marketing savvy.

"I really would like to see upper management diversified," Pitchford says, "not just in racial diversity but in age and thought." ALA's Spectrum Initiative is one approach, but "the funding is so low that it would take them a million years to catch up with the retirement boom that's going to happen." The rest of the profession has to get involved. "It shouldn't be the job of one entity to diversify the profession."

Librarians also need to learn "how to advocate for ourselves better. We don't tell our story enough, market ourselves, fundraise for ourselves." She recommends a much more aggressive stance: "Waiting for the budget from above is passive; we need to get out and advocate for libraries. If we don't step up to the plate, no one else will."

She speaks straight to the public library's core ethos. "I have a passion for the fact that libraries are one of the great equalizers in this society," she says. "When I start to talk to legislators about this, it is such a freakin' easy sell!"

Pitchford turns this take-no-prisoners position toward mentoring and recruiting as well. She believes it's never too early for recruitment. She works with high school students on job shadow days and gauges from them how well the profession is thriving. "Unfortunately, a lot of the same stereotypes are still out there. People have no idea what we do or how and that we're not all old white women."

Nor is there a single place for recruiting. Pitchford recently had a woman in her yoga class come up to talk with her about the profession. "It can happen anywhere."

Current position Assistant Director, Metropolitan Library System, Chicago
Degree MLS, North Carolina Central University, 1994
Board Member FOLUSA, Illinois Center for the Book, ALA Spectrum Initiative Advisory Council
Self-definition "Die-hard library chick"

Case Study No. 0263: Unnamed Female Librarian (Harry and the Hendersons)

harry and the hendersons library
harry and the hendersons
Tags: harry and the hendersons library
Added: 3 years ago
From: uncleslappy38
Views: 1,970

[scene opens with a closeup of an overweight female librarian sitting behind the reference desk]
LIBRARIAN: May I help you?
[cut to a harried-looking George Henderson standing in front of the desk]
GEORGE: Yes. Uh, I'm on my lunchbreak and I'm kind of in a hurry. Could you point me to some books on the, um ...
[he looks around and then whispers]
GEORGE: Bigfoot?
LIBRARIAN: Sasquatch?
GEORGE: [whispers] Sasquatch.
LIBRARIAN: [whispers] Sasquatch.
GEORGE: That's the one.
LIBRARIAN: [dryly] Fantasy, folklore, myths and legends. Basement stacks, take the stairs.
GEORGE: Thank you ...
[he quickly turns to leave]
LIBRARIAN: [yells after him] Could also try childrens' books ...
GEORGE: Oh, right!




Dear, William (Director). Harry and the Hendersons. United States: Amblin Entertainment, 1987.

Starring: Peggy Plat (Librarian); John Lithgow (George Henderson); Kevin Peter Hall (Harry)

The library scene is brief in this movie, as George Henderson goes to learn more about Bigfoot (his destructive souvenir of a family camping trip). The librarian is a youngish female with big glasses and an unfortunate mullet. They converse. "Could you point me to some books on the, uh, Bigfoot?" "Sasquatch?" "Sasquatch?" "Sasquatch." "That's the one." "Fantasy, folklore, myths and legends, basement stacks, take the stairs. You could also try children's books." One of the books he takes home is entitled Bigfoot One on One: A True Story by Oliver Dear (no doubt related to the film's director). George's son's review: "This book sucks!" The acting is well done and there are lots of familiar faces (David Suchet, decidedly NOT Hercule Poirot) in an otherwise unremarkable family film.

Case Study No. 0262: Lexi James

Tartan Mind by Selena Illyria ~ book trailer
Tartan Mind by Selena Illyria
Kameron Conroy doesn't like dealing with mortals, so he's startled by the sudden urge to protect Lexi James when she comes into his pub. An attack from a werewolf leads to a passionate encounter before Lexi rushes off without a goodbye. Five years later they meet again at Conall's wedding and have another steamy hook-up.

Lexi was running away from her family when she met Kameron. Now she's back in Scotland and has taken the position of town librarian. When her ex breaks into her home, Kameron is there to save her but at a great cost to him.

Kameron has lost control of his mental abilities. Saving Lexi caused him to become trapped in his own mind. Can Lexi find help for him? Will they overcome his past wounds to be together?
Tags: Werewolves ebook book erotic romantica erotic romance sex sexy changeling press erotica tartan
Added: 2 years ago
From: LizzieLynnLee
Views: 865

Selena Illyria presents

An attack from a werewolf
leads to a passionate encounter between them
But Lexi rushes off without a goodbye.
Just when Lexi needed him the most
Kameron saves her, but at great cost
Saving Lexi
caused him to become trapped in his own mind.
Will they overcome his past wounds to be together?

Available now at ChangelingPress.Com
Visit Selena at SelenaIllyria.Com



Lexi James is on the run from her domineering family when her car breaks down in the middle of nowhere. She goes for help at a local pub and meets Kameron Conroy. The couple is attacked by an enemy werewolf and spend the evening together. Lexi is forced to flee again without saying goodbye, leaving Kameron behind, struggling with his demons.

Five years later, Lexi and Kameron meet again at a wedding, tumbling into yet another passionate encounter. This time Lexi is working as the town librarian while the past stalks her. Kameron is injured while defending Lexi, leaving him trapped inside his own mind. It will take Lexi's love and the pack's combined efforts to save his life.

Tartan Mind is a truckload of revelations, intrigue and dark secrets. This fourth installment offered more info about the Scottish werewolves and Altair's (Iain's father) pack. The emotional intensity and heat factor matches Tartan Surprise, but there's more of a sinister presence. The narrative rings gothic; shadows from Lexi and Kameron's pasts haunt them like vengeful ghosts. For me, it lends a starkness to the plot that dramatically shifts the reader away from the more humorous overtones (Katherine and Iain's constant love play) to the corruption Lexi and Kameron have been exposed to. It will be very interesting to see where Ms. Illyria takes the series next because in Tartan Mind, there are certainly strong elements of suspense and danger flavoring the story.

Friday, February 24, 2012

Case Study No. 0261: Unnamed Female Librarian (A Day at the Library)

A Day at the Library
A moving picture illustrating typical day at the venerable public library, presenting the trials and tribulations of the public library clerk when faced with the horrific circumstances of those lowliest of scoundrels, book thieves.
Tags: Library Silent Film Police
Added: 4 years ago
From: rocinante1
Views: 4,473


[scene opens with black and white footage of a male patron approaching the female librarian at the front desk, when she looks over at something off camera]
LIBRARIAN: Who's that over there?
[the patron turns around, then cut to two shady-looking female patrons loitering around a bookshelf, as one of them tries to casually reach over and place a book under the other's jacket]
LIBRARIAN: Book thieves! What shall we do?
[the patron puts his hand over his mouth in alarm]
LIBRARIAN: I have an idea!
[she whistles, and a man wearing an old-fashioned policeman's helmet appears]
LIBRARIAN: The library policeman!
[he runs at the two female book thieves (who try to discard the stolent property) and beats them with his billy club, but they soon overpower him and begin hitting him with the stolent book]
[the librarian covers her eyes as the thieves celebrate their victory, then cut to the policeman dejectedly approaching the desk in defeat]
LIBRARIAN: I have an idea!
[the librarian reaches under her desk and hands the policeman a copy of "War and Peace", which he uses to konk the two still-celebrating thieves over their heads]
[cut to the policeman bringing the two thieves before the librarian at her desk]
LIBRARY POLICEMAN: These criminals need to be reformed!
[the librarian stands up and hands each of them a library card, which they happily accept]
BOOK THIEVES: Our own library cards!
["Some time later ... " appears on screen, then cut to the male patron speaking with the librarian]
PATRON: Tell me, who are those fine citizens over there?
[cut to the two former thieves (now properly dressed and wearing glasses) reading books, then back to the librarian]
LIBRARIAN: Why, they are patrons of the library!
PATRON: Libraries really do have the ability to change lives!

(c) Justin Termini

Case Study No. 0260: Unnamed Female Librarian (Librarians Attack!)

Librarians Attack!
A story and re-capturing of an attack on a cell phone user in a library. Librarians can be mean.
Tags: Librarians Attack! What You Watch David Perez John Hirsch library attack liberry cell phone cellphone reenactment
Added: 7 months ago
From: DavPerz
Views: 92

NARRATOR: [from off camera] Welcome back to "Attacked!"
[scene opens with a closeup of the unknown victim, obscured in shadow, being interviewed]
NARRATOR: [from off camera] What emotions were going through your head at that dire time?
VICTIM: [voice digitally altered] Fear. Surprise. I ... I just didn't see it coming.
NARRATOR: [from off camera] Take us through those terrible minutes.
[the victim breaks down crying]
VICTIM: I just wanna forget it all!
[scene changes to a "re-enactment" of the event, as a young man is walking through the library talking on his cell phone]
VICTIM: [from off camera] There I was, not doin' nuthing!
[cut back to the victim being interviewed]
VICTIM: Just minding my own business in the library. Taking care of some work ...
[cut back to the re-enactment, as the victim is approached by a "female" librarian wearing a yellow wig and glasses]
VICTIM: [from off camera] Out of nowhere, I ... I'm attacked!
[cut back to the victim being interviewed]
VICTIM: Something about a cell phone ... I don't really remember much, except ... except ...
[he breaks down crying again, then cut back to the re-enactment, as the librarian looks up from the reference desk, walks over to the victim, knocks the cell phone out of his hand, punches him, and then drags him out of the library by his hair]

Case Study No. 0259: Congress Library Clerk and Unnamed Male Librarian

Librery of Congress scene
Pivotal moment in the movie
Tags: librery of congress
Added: 2 years ago
From: AllThePrez
Views: 139

[scene opens with Woodward and Bernstein at the Library of Congress, looking for information, where they are speaking to a middle-aged man sitting at his desk]
CONGRESS LIBRARY CLERK: You want all the material requested by the White House? All White House transactions are confidential.
[he gives them a condescending smirk]
CONGRESS LIBRARY CLERK: [quietly] Thank you very much, gentlemen.
[they turn and leave, then the scene changes to the two men walking down a hallway]
BERNSTEIN: We need a sympathetic face.
WOODWARD: We're not gonna find one here.
[cut to Woodward and Bernstein talking to a young African American man with an afro and glasses]
MALE LIBRARIAN: You want every request since when?
BERNSTEIN: Uh, when did he start?
WOODWARD: July of '71.
BERNSTEIN: I imagine the whole last year.
MALE LIBRARIAN: I'm not sure you want 'em, but I got 'em ...
[he slides a large pile of request forms across the desk towards them]



Two young Washington Post reporters - Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) - struggle to uncover the facts of the break-in of the headquarters of the National Democratic Committee in "All the President's Men" (1976). As the journalists uncover leads in their search for the truth about this break-in, they find it necessary to contact several librarians. When Carl telephones a librarian at the White House Library about materials that Howard Hunt may have checked out, the librarian states that Hunt checked out some materials. She puts him on hold while she verifies her statement. When the librarian resumes the conversation, however, she maintains that her previous statement was incorrect and that she doesn't know Hunt and hangs up. The two reporters then visit a librarian (James Murtaugh) at the Library of Congress to obtain information about White House transactions. He is evidently a librarian in a mid-level management position with some degree of authority, as he quickly impedes their search by stating that "all White House transactions are confidential. Thank you very much, gentlemen." This librarian projects the image of an "only 38" male - thinning, receding hairline, and dressed in a suit and tie. To solidify his image, he has a personal office, a further indication of his administrative position.

To circumvent the rejection of this librarian, the two ingenious reporters go to another office in the library and ask another librarian (Jaye Stewart) for White House transaction records. This bespectacled librarian sports an Afro hairstyle and wears a long-sleeve, tan shirt with a necktie. Seated at a work station surrounded by book shelving, this librarian, definitely farther down the organizational chart than the previous librarian, informs informs the reporters, "I'm not sure you want 'em, but I got 'em." He then gives them hundreds of completed request forms which they filter through in the reading room.

In this specific case, library policy regarding the confidentiality of White House records is well understood and adhered to by supervisory personnel but not by the working librarians on the lower end of the organizational chart. The failure of all librarians to act in a consistent manner indicates that vertical communication (that is, administrators to middle managers to working librarians) within the organization is inadequate.

Thursday, February 23, 2012

Case Study No. 0258: Tori Amos (Wannabe Librarian)

Tori Amos Tales of A Librarian EPK part 1
Tori Amos Tales of A Librarian EPK part 1
Tags: Tori Amos Tales of Librarian EPK part Angels
Added: 3 years ago
From: beppilgrim
Views: 4,681


Tales of a Librarian (complete title: "A Tori Amos Collection: Tales of a Librarian") is the first retrospective compilation album by singer/songwriter Tori Amos. Given the option to be involved in the project, Amos elected to take a central role in the production of the collection, released in 2003 on her former label Atlantic Records.

Amos described the compilation as a "sonic autobiography", a title derived from her dislike of the term "greatest hits". Recording under the premise that a librarian is a "chronicler", Amos pieced together the collection in accordance with the Dewey Decimal System, extending the librarian theme of the album. Amos revisited the mixing of many of her own favorite songs from her career, focusing on those she thought were not fully realized in their original recordings and those that she felt explained her life story.

Song Title | DDC No.

"Precious Things" | 920: Collective Biography
"Silent All These Years" | 410: Linguistics; 414: Phonology
"Winter" | 520: Astronomy; 525: Seasons
"Crucify" | 230: Christianity and Christian theology; 234: Salvation and Grace (Forgiveness)
"Me And A Gun" | 360: Social Problems and Social Services; 362.8: Act of Rape
"Tear In Your Hand" | 110: Metaphysics; 110.113: Cosmology (Philosophy of Nature)
"Cornflake Girl" | 170: Ethics; 177: Ethics of Social Relations (Betrayal)
"God" | 230: Christianity and Christian Theory; 231: God
"Baker Baker" | 640: Home and Family Management; 641: Home and Drink
"Way Down" | 150: Psychology; 154: Subconscious and altered states
"Professional Widow" | 590: Animals; 595: Spiders
"Mr. Zebra" | 700: The Arts; 704: Special Topics in Art; 704.0397: Native American
"Spark" | 500: Natural Sciences; 501: Philosophy and Theory
"Playboy Mommy" | 610: Medicine and Health; 618: Miscarriage
"Jackie's Strength" | 970: History of North America; 973: United States History; 973.922: Early 1960's
"Bliss" | 120: Epistemology; 129: Origin and Destiny of Individual Souls
"Mary" | 360: Social Problems and Social Services; 363.7: Abuse of the Earth [Cross-referenced with 220: The Bible; 226: Mary Magdalene]
"Sweet Dreams" | 970: History of North America; 973.928: Politics of Illusion
"Angels" | 320: Political Science; 324: The Political Process
"Snow Cherries From France" | 390: Customs, Etiquette and Folklore; 398: Folklore



Tori Amos talks about the album:

I started thinking about, um, the music that has been part of my life since I was really little - two and a half, and Natashya my little girl asked me one day "What kind of music do you make Mummy?" and I started to think about it. And I wondered, if she were to play something in 20 years' time, did I have a compilation that could tell the story of this woman that was born in the 60s when Feminism was coming alive, and when America then was at a cross-road, um, as we've just been.

The viewpoint from a girl who was the daughter of a minister and played in bars outside of Washington DC for congressmen and lobbyists, their rent boys and their mistresses. And I thought, yeah, I need to put these tales together and weave the story.

My fascination with stories from people sitting around camp fires, hundreds of years ago, talking about the news, what's really happening not what those who are there want you to hear is happening. My grandfather would talk to me about, he was part Eastern Cherokee, um, how the stories were so important for the tribe and their culture and that's how they would know the zymology of the Europeans coming in, that's how they would know, um, what customs would work, what tricks would be played, and it was through the stories that everything... I found, the information was passed.

So yeah, I started to think about the idea of being a Librarian. Just of my own little stories, nobody else's. But it's quite a um, it's quite a key to have, the key to a woman's stories. I think because, on one hand, my mother's people come from America for thousands of years, and my father's people were the people that came a few hundred years ago. Yes, fought in the Revolutionary War, Scottish-Irish. So the conquered and the conqueror, but both of them live in my blood, and both of them have given me a way to see the world. I am a woman who is American although I live in Europe, and I felt like Natashya, living in England, needed to see a woman's point of view, at such a time of change for women, where I did not have to get married. I chose to get married. A man does not provide for me; I am the hunter, I provide for myself. Um, where a man is not cutting my deals; I cut the deals, and yet I can be a mommy and bring in the feminine energy, not as a Feminist necessarily, like Gloria Steinham had to do. A great woman, but we're of the next generation, and I felt like I needed to try and pull the stories together, classify them in way.

I guess there's a part of me over the years that, when I started producing, um, let's face it, I had been exposed to some great producers who... they were trying to drum into me an idea of producing, and how to be detached, and how to make good decisions, so as I sat in the producer's chair, I felt that I had to go back to the original Multis, that I did have access to. Now you must understand, as the music industry is imploding, and they're you know, getting rid of so many people, the tape librarians are going in the music industry, tapes are scattered around the world. I know people that have masters that are at a niece's college somewhere and they're eating off the master piece, it's crazy ... crazy making stuff. And so, tracking down my masters was quite tricky, sometimes I had to use copies, um, but I felt like when I found the Multis, that was our truth. So that day, what was put on tape, that is what I know, not the decisions that were made in the mix room later, maybe a promotions guy walked in and said, "Hey, Tori, strings aren't cool", you know, "You're not going to get played on the radio, get rid of those strings". And the poor string player, who dies three weeks later, god knows why, not because I got rid of his strings, hopefully, but his strings don't end up on the record. Why? Because of some coke-head that thought that, you know, we were going to get on the radio. So, yes, I'm in the producer's chair saying, okay, he is a coke-head so he made a good decision about the harpist, out of there, no harpist, but the strings stand, and those are the decisions I made.

Well, sometimes you know, it is about subtlety, and it isn't always about a frequency because if you... if you have a ghetto blaster and you're playing it out of that, it all might just sound the same to you and you just might not have any high end in your hearing (giggle) anyway, you might be part-deaf, so I don't know what you're going to hear. But, I felt like I discovered passages, um, music, and maybe it's only a two bar phrase, but to me, that's important. It might be a background vocal, it might be a string line, um, but you see this is sonic structure we're talking about. This is the shape of this entity which we call a song, and I felt that it was my duty, while I still think I have my thinking capacity, before it goes, I have to go back and bridge what we did then, the musicians, um, the songwriter, the producers, and what I know now, the reasons why certain decisions got made. Sometimes we couldn't afford the right microphone, therefore there was feedback all over the vocal tape, therefore we were tweaking out essence of vocal so that you didn't get this horrible frequency. Now that was not supposed to happen, and you could say to me well why don't you let that stand, and I'm saying to you, because Natashya, when she poured salt all over Duncan's sauce for dinner, he didn't serve it, he chucked it out, it's not what was planned. So therefore, you can go back to the original records and hear all those... things... but I was kind of refurbishing, reconditioning, what was on tape, it's there, and with the technology we have today, because the computer age is what it is now, I mean, what we've done in the last 10 years, that's a mass consciousness. What you can do...

...It is a little tricky, compiling your own life, because you know when I talk about a sense of detachment, I do put on the producer's hat and tell the artist, you know, you might need to go into the other room because I'm going to start editing, you know (chuckle)... and, it is about sticking to the narrative. We're telling a woman's story, almost an autobiography, of a woman that was born August 22nd, um, a few months to the day that JFK got shot. Her mother did lay her on the front lawn and prayed for Jackie's strength. And that is our entry point; that's not our order, I have a different narrative going, of course, but, we go back to this woman's life, and she did grow up as a minister's daughter, and she did start playing bars at 13, um, in the inner loop/outer loop of the belt way, for both sides: the democrats, the republicans, she did have Tip O'Neill, speaker of the house, on her piano bench singing "Bye Bye Blackbird".

Um, it's important that we understand that she was brought up in America's religious indoctrination, as well as its political indoctrination. It's important that we know she was raped, it's important that we know that um, she was part native American/part European, a mutt, and that she loved and had these personal experiences as well. And that's what we're seeing, so if you found this in 50 years' time, a hundred years' time, I'm not changing a note from the past of the original Multis because you need to hear in her voice... If I sang it now, I'm reflecting. I had to go back and say no, the "girl that was raped" is singing this song. If I sing it now, I'm the "woman that's healed" singing that song, do you understand?

I do think we all have a personal archive, yes, where we can go back, if we know how to get back, and extract that information and bring it back with us here and now. And the Dewey decimal system, the way we used it in the packaging, is a way for you. It gives you other clues, hidden meanings in the songs, um, how the writer was seeing them, how she categorised these songs for herself.

Picking an order for this work, um, has been something that I've sat with and sat with. A lot of this is based on sound, keys, frequency. Yes, narrative comes into play, this is not chronological. That is not a story, that's not the story I'm writing. Those pieces exist, we do have her as an infant, we do have her um, as a toddler playing. We have all that there, but, what I felt was very important was that I have to work within sonic architecture, and I've always talked about this. You must serve that as a musician, um, and sometimes those elements that come in, it is like a puzzle, certain things do not work because the rhythms pull from each other, and it does get discordant. So, one song really isn't something you're experiencing. No different than when you're walking in an exhibition and there are paintings next to each other, well if it's not laid out in a certain way, you can want to be running from that room, and you don't experience the paintings at all. So I had to take into consideration everything from, you know, keys, narrative, rhythm, and certain songs, some sit next to each other that you wouldn't think, but there is a reason.

Well, it's a very difficult one to talk about, favouring songs, because they've been good to me over the years, many of them coming, and I've always felt that they were their own entities. Now that means, they're not obviously like you or I, or someone listening, but we go back to the idea of consciousness. A song is a conscious thought, and yes, I'm interpreting it in my way, differently than the next person would interpret this thought, but I have to, um, in a sense, try and translate, and be true to this form. So, I don't see it as my child; I see it as consciousness that I am trying to just express. So that's what I hold true to, and to play favourites is tricky, but I do find that "Silent All These Years" comes up a lot for me.

It's not a track I like to play live most, but it is one of those songs that I find, in any room I'm in, whether it's um a very cynical group of people, or a heartbreaking situation, or a bit cheeky group of people (chuckle), it's one of those songs that seems to slip through, slip through easily, like water. You know, water doesn't leave that, that sticky feeling on your hands, you usually can have a drink of water and it's not going to bother you too much, and Silent is like water to me.

I think that the idea of Silent all these years is something that a lot of us go through, initially, when we're trying to find our voice. But I also think that it can be something you go through again in life, when you've chosen a path that might not set well with you, and you think you can handle it, just work maybe, and you're quiet about it, and you realise that you can't be silent anymore and you have to make a shift. And I think Silent all these years is one of these songs that always come back to me every few years when I'm making a big change.

"Angels" is a song that I wrote this summer, after touring America yet again, and seeing where we are as a country, at our cross-roads. I've been moved by people's visions, all over the world, touring... touring in Europe, and seeing where, as Americans, we have to look at our own shadows, and Angels is really a song that talks about what's really going on, their trapping Angels by the Potomac, and maybe because I grew up there, working, playing piano bar for those congressmen, for all those years, I felt like there was something that I've seen, and there's something that has to be said at this time.

Mary was originally on Little Earthquakes. Little Earthquakes got rejected, some of the people might know this, and they wanted me to take all the pianos off and (giggle) put guitars on, which then pianos weren't something that, um, were getting played a lot on the radio - this was a while ago, 1990 - and I found that Mary became very much about now, when I was in the Detroit Blackouts, very recently. When I wrote the song originally, we were going through environmental changes at the time. Mary being our Earth, Mary being the Magdalene, it is a cross-reference in the Dewey Decimal System: the idea of our Earth being a possession, the idea of "woman" being a possession, the idea of America being a possession to those who pimp her out, um, or your own country, whatever that is. And I really felt like, when I was in the blackout, that not only have things um, become clearer to me that we're again at a dangerous cross-roads, of what are we going to leave the next generation?

Because I've included "God" and "Crucify" on the album, which takes us from the Father and Son archetype in the Christian mythology idea, I felt like we had to have the Father and Son archetype politically, which George W and George Senior, I wrote "Sweet Dreams", and recorded it, in 1990, singing about events then, and strangely enough, when I was listening to it on the Multis again, I realised that this was very topical now, and that we are re-living some of the same feelings again, that in the mid-90s, when I was writing "Playboy Mommy" for instance, I never thought that we would be living again. I talk about American soldiers in Playboy Mommy, not thinking about that I'd be getting letters from American soldiers, which I did a few months ago, saying "I'm going somewhere, taking Scarlet with me to the Indian Ocean, taking Scarlet and trying to be true to my beliefs, but I'm torn". And these feelings were with me as I was compiling the record, so we re-recorded Sweet Dreams with a new arrangement.

I chose to include Playboy Mommy because, when I was listening to a lot of the old Multis, I had to be open to what I would find, not what I wanted to find, but what I would find. And yes, there were tapes that we put up, that, for whatever reason, did not weather the storm well. Maybe they weren't stored properly, um, maybe it wasn't recorded the way it should have been that day. There are a lot of maybes, but I had to pull back and make decisions based on a lot of things. Playboy Mommy I felt covered a point in this woman's life, a painful time. I think that was the most painful time of all for me in my whole life, was when I miscarried. I miscarried a few times, and this refers to that. The loss of knowing the soul that you feel you almost touched but you couldn't bring to life here on Earth, and yet there's something like a hymn, there's something almost um, I feel alive about Playboy Mommy, and when I heard it, I heard her spirit and her commitment to bringing this life to Earth, and it's joyous to me now. Maybe that's because I am a Mom, and I've... I sing it to Tash, and she sings it with me, and now, Playboy Mommy means something different because I've got to go play the piano (chuckle).

Well the reason that I chose the songs that I have chosen is because they cover many different events in this woman's life, and the important thing is that this woman is allowed to tell a story now. We have to remember that in many cultures and for a long time, women couldn't tell their stories, especially in the Christian faith where we don't even have Mary Magdalene's books. They say that there are writings, of course they weren't included. We don't know her point of view. I would've loved to know it. So, I really feel like there's something that I needed to stay true to; you can't get away from who you are, even though you might want to try. Your legacy is your legacy. This woman's upbringing, Tori Amos, that's who she is, and I tried to produce a work that was almost an autobiography, a sonic one, without um, trying to make everything okay, because some things... you know, some things weren't okay, but you hear how she copes with it. You see the picture she paints to get herself to the other side.

It's funny that certain songs, at the time, might have been written for revenge or because you know, I was A-A-A, having a moment. Because some of those relationships have changed; some of those people I can have a giggle with, some of them don't even know that it's about them, and some people of course I don't see or speak to because the songs were the end of that, that was it, done, over. And the song in a way is almost, ah, another dimension, and that person cannot cross through the song and I cannot cross back to them. That's the end. So, those were also included, but it's really to show you what this woman saw, and went through, from um you know, wild passionate feelings to, having a fantasy about somebody and that's not who they were.

Coming up against "Professional Widow" now, is delicious. At the time I had to cock my head, um, because I had just been in a real, you know, musician space, going back to harpsichords, early keyboards, and trying to, in this contemporary quote-unquote pop world, pull in a classical background, while the suits in the music industry were telling me what I needed to do to stay around, and I would say, "Yeah, but for you or for my soul?" And you know, they're not interested in your soul, unless they're drinking out of your shoe (chuckle) and you're partying that night. But honestly, I had to um, have a laugh at the time with Widow, but I love it now. I can really enjoy it, and I've included it in a way that it's with other Pele songs, which I felt needed to be there, songs that have a gospel choir, and songs that have brass, that we recorded in Ireland, so I felt like the whole Pele experience needed to be covered, but it's covered (giggle) in its extremes, but Pele was a very extreme time for me.

The extremes of having "Me and a Gun", and "Bliss" on the record, so there was "Me and a Gun" and "a man on my back", the song about the rape, into "Father, I killed my Monkey". I thought things were improving then (chuckle), and um, it was important that we take you out of this woman's rape in a way that shows you how she has transcended. It is not a love and let go experience, and I have found over the years, being part of RAINN, the Rape, Abuse and Incest National Network, and just hearing the letters from so many people, that you cannot be anywhere but where you are with it. And sometimes you may physically be gone for years, but they're still here. Now, how do you extract that? You can't find it when they probe you then, but it's as alive here, and she had to go inside herself and get out the voice that was subjugating her, and making her feel like that she committed a crime, and that she wasn't able to be passionate again. So she goes after that thinking, that patriarchal thinking, of subjugation, whether you're being raped physically, or whether it's psychologically, because the Church has done that for thousands of years, in all religions. How? They shame you, and they don't hold a place for you to become "whole", you know, they don't want you to become whole, in many cases, and that is what she's striving for.

When I see this work, what I was trying to achieve, was the medicine wheel, the idea of the Native American medicine wheel, which includes the four directions, and the four directions brings in different ideas, and different um, cultures, and light and darkness. It comes from all sides, and as above so below. So, in ceremony, um, you give tobacco to all six directions, and I tried to call in the songs as far as I could, in my own... what would you say?... in my Dewey Decimal System, to represent these six directions in this woman's life.

The reason that autobiographies are tricky, the reason that I was comfortable with song, putting it in song, is because we're hearing her voice at the time, so I'm not the person right now, singing Silent All These Years. You're hearing the person that was having such a hard time, just sitting up on her piano stool again, in a little house in L.A. behind the church, who for years and years and years had been rejected. Saying this piano thing, and this, is never going to happen, and for her to find that in herself is what we're hearing. Not me singing it to you saying, yeah okay, the piano thing worked. That's not what we wanted to hear. Autobiographies, because you don't have that, we can't go back to that voice, of that 24 year old having that conversation. We can't go back to that 12 year old who was writing that passage, but we can with the Multis, work with the material that was written at that time. So that's why I chose it in this way. There is a book coming that I'm working with this great writer, about process, creative process, and how to pull ether into tangible.

I do like my shoe collection. I must say, I do think that, if we're talking about stuff, I'm working on building a library as you know because, I mean, we do live in the sticks, and I like it when people come to visit that they can go and curl up with a book, you know, from anywhere, any culture, whatever you're interested in. There's a point of view. And it makes for good conversation. I think that's really important at the dinner table. But for those people who are size 7, they can have a really good time (chuckle) wandering around, as long as they don't go into the cow pasture with, you know, the low Butans, I'm okay.

I think to be a part of music, music is something that chooses us, and it is truly an elixir. I've never experienced anything in my life like music, because it doesn't make demands in a way that a relationship does. I do feel like it's boundless and endless. And when I've read that there's tone out in the galaxy... I was reading somewhere the other day that there was a place that had a B-Flat, that was its tone, one of my favourite keys, and I just was thinking to myself, the idea, the sounds that the universe makes, creates, and we're a part of that, when we want to give up and have a hard day, or we feel like we don't fit here on the planet, we have this opportunity to be part of creativity and that is just... that's why we're here.

Okay, "Snow Cherries from France" took a long time to write, yes, about 7 years maybe. Um, I finally finished it this summer. And it's not that it was just finished as far as a song goes, but I couldn't seem to find the point of view to sing it. I went back and forth, depending on if I was mad at my husband or not, I mean, it kept changing. But then finally I found a place with it, that I began to understand what it was saying to me, and in the recording I changed some of the quotes that he had said originally, no, she says. And because of that, it all began to make sense. So her position in it changed from when I started to write it, and she's a little more involved. She's a little more up to shenanigans than I thought she originally was, and that's why it worked.

I feel like, for whatever reason, this group of songs wanted to be together. Some songs people will say, how could you not have included this and that, and then you say, well I do have three strings, four strings songs on the record, and for instance, we included "Pretty Good Year" on the DVD because, again, for that moment in time when I was playing it that day, it was the last show, it was sound check... I only played it two other times on the whole tour. I mean like I'm talking about 150 shows, and for, again, that moment in time, Pretty Good Year was our way of saying goodbye to each other, the musicians, people I've loved, lived our lives together for many months, and in a year that's been filled with war, and we've had friends die - this year - and a boy came up to me and he told he had terminal cancer and he said, "Will you play Pretty Good Year for me?" And in that moment, um, she came. Her moulding when it came was not in good shape, so she was not going to make the record, but in the final hour, Pretty Good Year made the DVD, so those are the decisions that got made.

October 2003

Case Study No. 0257: Jade Taylor (library assistant) and Bernice Stacell

Kathleen Frazier as Bernice Stacle - Scene 1 - 06/14/06
Kathleen Frazier as Mrs. Bernice Stacle, Oakdale Librarian - Scene 1 - As The World Turns - June 14, 2006
Tags: as the world turns
Added: 1 year ago
From: kathleenfrazier
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[inside the Oakdale Public Library, a young female library assistant (Jade Taylor) is sitting at a desk filing cards, when the older female librarian (Bernice Stacell) approaches]
BERNICE: Jade ...
JADE: Oh, I've almost got those files re-ordered for you.
BERNICE: Thank you ... Listen, I just got a call from Mister Weber, the principal of Oakdale Latin.
JADE: [hesitates] Oh, about setting up a summer-school reading list?
BERNICE: He wanted to talk to me about this past semester. Apparently, one of the students there was caught cheating.
JADE: Oh, really? Well, what does that have to do with the library?
BERNICE: Mister Weber suspects that the student was aided and abetted by someone who works here ... would you know anything about that?
JADE: I don't even know how that could happen! I mean, how would one of us help somebody cheat? Why would we?
BERNICE: Jade, I know you're strapped for cash.
JADE: You think somebody paid me to? Miss Stacell, I never did anything like that, I swear.
BERNICE: Well, have you heard anything?
JADE: No, but ... Of course, this is a public library, and we do have computers here. So, if somebody wanted to do something without one of us knowing, I guess they could.
BERNICE: I suppose. It's just, I've seen you talking with the students quite a bit lately. I--
JADE: Well, it wasn't that long since I was in high school myself, and I guess they just feel comfortable talking to me ... I thought it was part of my job to try and help.
BERNICE: That ... it is. It's just--
JADE: Listen, I'm gonna keep my eyes and ears open and if I hear anything about anybody cheating, I will be the first to let you know.
BERNICE: Yes, you do that.
JADE: Okay.


[Jade is applying lipstick in the stacks]
BERNICE: [from off camera] Jade?
JADE: Oh, over here, Miss Stacell.
[she quickly hides the makeup in her bag and stashes it away, then pretends like she's reshelving books]
JADE: What's up?
BERNICE: I just spoke with Principal Weber over at Oakdale Latin.
JADE: Oh, did they ever find out about that person that helped that student buy the paper online?
BERNICE: As a matter of fact, yes. He knows the truth.
BERNICE: And so do I. So why don't we stop this charade?
JADE: [looks confused] Charade?
BERNICE: We know it was you, Jade.
JADE: Whoever's pointing the finger at me is lying!
BERNICE: No one's pointing any fingers, Jade, they don't have to. The evidence speaks for itself.
JADE: Evidence?
BERNICE: You weren't as careful as you thought.
JADE: What're you talking about?
BERNICE: The young man who bought the paper used your employee access code to log onto the Web.
JADE: Well, that doesn't prove anything. Obviously, he got a hold of my code somehow, or somebody else did and used it to log on.
BERNICE: Shall we call him in and ask him? Do you really wanna open this up into a full-blown investigation?
JADE: What choice are you giving me?
BERNICE: There is no choice. You're fired, effective immediately.
JADE: No, please don't do this. I need this job, I have nowhere else to go.
BERNICE: You should've thought of that before you abused your working privileges.
JADE: I'm telling you, I didn't do anything wrong!
BERNICE: My mind is made up, Jade. I want you to leave as peacefully and quickly as possible.


[Miss Stacell sees Jade and approaches her]
BERNICE: Jade? You're still here? I'm gonna need to ask for your key.
JADE: I left it at home. Maybe you could let me mail it to you.
BERNICE: [pause] I know you've been sleeping here. Spending nights, sleeping on the floor between the stacks. So obviously, you carry your key with you. Please hand it over.
JADE: I don't know what you're talking about.
BERNICE: The key, Jade. Now.
[she hesitates, then hands over the key]
BERNICE: There's a list of shelters in the front lobby, if you need to find a place to sleep. But it's not gonna be here anymore.



"As the World Turns" (Wednesday, 12th April 2006)

Lily announces to Jade that her free ride is over. She is going to get a job at the Oakdale Library - Lily has already made all the arrangements. Jade is less than thrilled. She tells Luke that Holden covered for her with Lily earlier, but Luke warns her that Holden wont take Jades side over his moms for long. Later, Jade meets Will at the library, and remarks, oh, yeah, hes the kid who killed Rose, right? Also at the library, Katie confides in Nancy how upset Mike is about Oakdale Confidential.



When Jade got wind that Lily knew the truth, she forced Luke into a lengthy game of deception. She set it up so that Lily would find them in bed together, thus beginning their fake relationship. Jade, who claimed to want to be a part of a "real" family, knew that Lily was going to kick her out, but with her and Luke now "together", and Luke threatening to leave town if Jade was kicked out, she knew that she was home free.

There was one condition to the deal, though. Jade told Luke that if he ever told his parents the truth, that they were not an item, she would tell them that he was gay. Lily realized that Luke would leave with Jade if she was kicked out and reluctantly decided to let her stay, but not for free. Lily made Jade move into a cabin on their property and got her a job at the public library as a clerk. The Luke and Jade act went on for several weeks before Luke finally had enough. He was ready to come out to his parents and, though Jade tried to convince him not to, he did. Upon learning that her son's relationship with the waif was fake, Lily kicked Jade out.

Since then, Jade has been secretly spending her nights in the library where she works. Desperate to find a place to stay, she met Will Munson, the young man who had poisoned Rose D'Angelo years earlier. She befriended him and talked him into buying a term paper over the Internet (Will needed to get an A to pass Biology class and graduate with his wife, Gwen). Will kept the term paper a secret from Gwen, citing Jade as "just a friend who helped", and when he passed with flying colors, Gwen was very grateful to Jade. When Mr. Weber, the principal at Oakdale Latin High School, found out that Will cheated on his exams, the young man was expelled from the school. On graduation night, Will found Jade in the woods and they became intoxicated, eventually having sex next to an old footbridge. After spending all night making love, Will instantly felt regret when he woke up with the beautiful Jade at his side. Not wanting to hurt Jade, but also not wanting to hurt his wife, Will told her they had to keep their night of intense passion a secret forever.