Friday, August 30, 2013

Case Study No. 0957: Unnamed Female Librarian (Art of Murder)

Let's Play - Art of Murder - FBIC - Part 21
Boss isn't in the office so we can't get a search warrant yet...So while we wait, we go to gather info on the victims. Adventure in the Library!

http://bli let-s-play-art-of-murder- fbi-confidential-part-7-5497094
Tags: the animated reviewer lets play
Added: 1 year ago
From: CoolFireBird
Views: 56

[scene opens with agent Nicole Bonnet at FBI Headquarters, as she speaks with the older female secretary]
NICOLE: Hey Ruth, Chief around?
RUTH: Nope, and before you ask, I've no idea when he'll be back.
NICOLE: Ah ... Hey, you've known him longer than I have. You think he's happy with my work?
RUTH: I'm sure he is, honey. Just don't count on him to actually say it.
NICOLE: Huh. So, how long have you known him?
RUTH: Oh, only a few months. He was in the Chicago office before.
NICOLE: You know his family or anything?
RUTH: No. He lost his wife not long before I started here. He's only just gotten over it, really. Organizing this office helped him a lot, but from what I gather, he's not the same man.
NICOLE: I'm wondering what the link is between all the victims ... Tatum's death doesn't follow the pattern. They were all wealthy, respectable, educated men.
RUTH: And Tatum?
NICOLE: He was a bum.
RUTH: We'll check the precinct's files on vagrancy busts and drifters. You never know.
NICOLE: Well I'll be ... Tatum had a diploma from New York University.
RUTH: Maybe it was fake? Like one of those online ones?
NICOLE: I don't think it was. He kept it rolled up in an old champagne bottle.
RUTH: Ah ha, so there's the connection then!
NICOLE: [pause] They were all alcoholics?
RUTH: No, the education. Whatever happened to him, Tatum was at least a well educated man.
NICOLE: Right ... And you know what else? All these guys were graduates of the same university!
RUTH: Were they more or less the same age? Maybe they studied together ...
NICOLE: Ruth! Genius! Maybe there's something to this ... I'm going down to the NYU Library on East 84th to check it out.
[the player exits FBI Headquarters and drives to the NYU Library]
NICOLE: [to herself] Respectable walls in a respectable library.
[the player enters the library, then goes into the microfilm room and clicks on the cabinet full of microfilm]
NICOLE: All the drawers are locked. Anyway, I'm here for books this time.
[the player enters the reading room and walks up to the counter, where she sees an elderly female librarian (short grey hair, brown cardigan sweater) using some sort of magnifying glass to read the book in front of her]
NICOLE: [to herself] So what's the librarian using if she doesn't have her glasses?
[the player clicks on the librarian]
NICOLE: Good morning, ma'am.
LIBRARIAN: Or rather, "good evening." Do you have a library card or university ID?
NICOLE: How's this?
[she holds up her FBI badge]
LIBRARIAN: Oh, I say ... and what brings the FBI to us today?
NICOLE: Well, I'm trying to find out about some former students from, say, 1982 to 1986. I thought perhaps there'd be some papers or records?
LIBRARIAN: And all that, today? I think you'd be here all week looking that lot up!
NICOLE: Okay, so let's start with something that would list students' names for that period.
LIBRARIAN: Yearbooks, then ... Hmm, do you know what?
LIBRARIAN: I'll have to close the reading room in a few minutes. I'm all alone here, you know.
NICOLE: I understand that, ma'am, but I'm conducting an investigation here.
LIBRARIAN: I was expecting a "but," young lady! Don't worry, I'll stay and help you.
LIBRARIAN: Yes indeed! Now, what was I saying? Oh yes, I'm all by my lonesome here.
NICOLE: Uuh yes, I noticed.
LIBRARIAN: I've been working in this library for thirty years, you know ... I retired five years ago.
NICOLE: Oh, so you came back, because you couldn't live without the books ... right?
LIBRARIAN: And do you know who my replacement is? My niece! She's at a librarians' conference in Europe.
NICOLE: You raised your own successor, well done! Anyway, to get back to the yearbooks ...
LIBRARIAN: Yes indeed. Now then, the university authorities are very fond of statistics, you know.
NICOLE: Ahh ... paperwork?
LIBRARIAN: Right. Now then, if you bring me the books you want, I can catalogue them and make the necessary statistical records.
NICOLE: Uhh, maybe you could point me in the right direction ...
LIBRARIAN: Over there, on the shelves, left of the doors. They're the yearbooks.
[the player heads for the library shelves, then clicks on "1986 NYU student yearbook"]
NICOLE: [to herself] I hope "Jessica Fletcher" there will help me.
[the book is added to the inventory, then the player returns to the counter]
NICOLE: Here they are.
LIBRARIAN: What is it exactly you're hoping to find in them?
NICOLE: Anything I can about four or five of your old students.
LIBRARIAN: I see. And what are their names?
NICOLE: Well ... Joel Tatum, Andrew Haig, Henry Fairbanks, John Rudolph, and Mark Chestum.
LIBRARIAN: Oh! Hold your horses there, sweetie ... Hmm. Okay, let's start with Tatum. Here's the index ... And here he is. Page two-twenty six. Now then, where are these other boys? Hmm, seems all their entries refer to page two-twenty six! Let's have a look there.
NICOLE: Thank you very much, ma'am.
LIBRARIAN: Oh, don't thank me too soon. This page has been torn out. Look, see?
NICOLE: Oh my god, is this Scooby Doo or what?
LIBRARIAN: Those meddling kids get worse with every generation! But I'll catch the little buggers, oh yes ...
NICOLE: Uh, are there any copies? Microfilms and so on?
LIBRARIAN: Microfilms? Why yes ... although the newer things are being scanned now, you know.
NICOLE: Uh huh. Do you think I could have a look at the microfilm for this page?
LIBRARIAN: Not today sweetie, I'm too tired now. Come back tomorrow. My niece will be back then, she's much better with the technical things.
[the player tries to exit the library]
NICOLE: [to herself] It wasn't a complete success, but I should still repay the librarian for her kindness.
[the player returns to the counter]
NICOLE: Listen, ma'am? Someone else may die today, and it's possible that that microfilm contains something I can use to stop anyone else from being hurt.
LIBRARIAN: Yes ... well, when you put it like that. Shocking, quite shocking. Well, I should leave now if I'm going to catch my bus. But there's one later on, too. I could always take that one instead. Alright then, sweetie, I'll help you. Okay FBI, you convinced me!
NICOLE: Terrific, thank you so much! Now, where are the microfilms? I'll try to find them the old fashioned way.
LIBRARIAN: You'd be better off playing the lottery. Higher chances.
NICOLE: Needle in a haystack, huh?
[the librarian laughs]
LIBRARIAN: The microfilm room is there on the right. Wait, from here, I can unlock all the drawers.
NICOLE: Sorry, there's a whole room full of microfilm?
LIBRARIAN: Of course.
[the player returns to the microfilm room and clicks on the cabinet full of microfilm]
NICOLE: Ah, screw it! There's more celluloid here than in George Lucas' garage ...
[the player returns to the counter]
NICOLE: You're right, I won't find anything this way.
LIBRARIAN: Never mind. In the meantime, I found the catalogue number. It's "zero one dash zero four four dash eight six" ... Go back to the microfilm room and you should find what you need quite easily.
[the player returns to the microfilm room and clicks on the cabinet full of microfilm]
NICOLE: "Oh one oh four four eight six?" The numbers here are totally different! Where'd she get this from?
[the player returns to the counter]
NICOLE: I'm sorry, there seems to be a problem. The microfilms in there have a totally different format.
LIBRARIAN: Well, I did tell you to come back tomorrow and talk to my niece.
NICOLE: May I call her?
LIBRARIAN: She's probably halfway over the Atlantic right now. I doubt she'd have her mobile switched on.
NICOLE: Well, do you know why the numbers are different?
LIBRARIAN: Well, it all changed in recent years, but it's hard to implement new systems like that. A few items always get left out. And I don't know how to convert the old catalogue numbers.
NICOLE: Okay, perhaps we can work it out together. What did the numbers in the old system represent?
LIBRARIAN: Well, that's easy. The first two digits were the catalogue section. The next three were the number of a specific item, and the last two were the year.
NICOLE: I see.
LIBRARIAN: Now, new catalogue numbers contain additional information, and the two-digit year numbers are now the full four.
NICOLE: So, the new catalogue number would be, like, "oh one oh four four nineteen eighty six?"
LIBRARIAN: Well, the item number is now a four-digit code, so in our case it'd probably be "zero zero four four." And the "zero one" would be "zero zero one" for sure ... Phew! Guess I knew more than I thought I did!
NICOLE: Guess so! Okay, let me look real quick for that microfilm now.
LIBRARIAN: Okay, but hurry along. It's getting late, you know.
[the player returns to the microfilm room and clicks on the cabinet full of microfilm, then clicks on the drawer marked "00104419867"]
[cut to a closeup of the interior of the drawer, where the player finds the boxed microfilm]
NICOLE: [to herself] It's been hiding in this drawer for far too long ... Let's see what secrets it holds.
[the microfilm is added to the inventory, then the player clicks on it]
NICOLE: [to herself] Such an archaic filing system! Almost a whole game in itself!
[the player returns to the reading room and speaks to the librarian]
LIBRARIAN: Oh, you found the microfilm! I'm beginning to think you'll find the murderer in there, too! The reader is in the reading room.
[the player clicks on the microfilm reader sitting on a nearby table]
NICOLE: [to herself] Okay, here we can look at the microfilm.
[the player clicks on the microfilm spindle, removing it from the machine]
NICOLE: [to herself] The reel may yet come in handy.
[the spindle is added to the inventory, then the player combines it with the microfilm]
NICOLE: [to herself] I managed to wind the film onto the reel.
[the player places the spindle back on the microfilm reader, then clicks the switch to turn it on, as images appear on the screen]
NICOLE: [to herself] The image is terrible ... oh, no lens!
[the player returns to the counter]
NICOLE: Is that the only machine?
LIBRARIAN: At the moment, yes. The others are being repaired ... Is there something wrong with that one?
NICOLE: The optics are broken. No focal lens.
LIBRARIAN: Oh, well, I really don't know how to help you there.
NICOLE: Uhh, wait a minute, isn't that the lens from the microfilm reader?
LIBRARIAN: I have no idea what it is, sweetie, but I find it useful sometimes ... I found it on the floor, you know.
NICOLE: Well, this is the lens for the microfilm reader. If you don't mind, I can fix it--
LIBRARIAN: Oh, I don't know about that. How would I read the very small print?
NICOLE: Don't you have glasses?
LIBRARIAN: Of course.
NICOLE: Well, why don't you just use them? I'm sure the students need the microfilm reader, too.
LIBRARIAN: Humph, but I don't know where my glasses are right now.
NICOLE: What, you lost them?
LIBRARIAN: No, no. They're around here somewhere. I only need them for reading, you know ... Now where did I put them? Oh, never mind. I was using a clever little piece of glass before. Where did I put that?
NICOLE: Uhh, yeah, let me take it over here where I can get a better look at it ...
LIBRARIAN: You know, FBI ... if you found my glasses, you'd be solving two problems in one go!
[the player looks around the reading room, then clicks on the pair of glasses sitting on a table in the back of the room]
NICOLE: [to herself] I haven't been to an ophthalmologist for awhile ...
[the glasses are added to the inventory, then the player returns to the counter]
NICOLE: Here you go, ma'am, I found your glasses!
[the librarian puts them on]
LIBRARIAN: Oh, how wonderful! What a clever detective you are, thank you so much!
NICOLE: Look, I know you're in a hurry to get home, but could I ask you for just a moment longer--
LIBRARIAN: Oh, no hurry, dear. I feel safer here with you, anyway!
NICOLE: Thank you. I'll be finished real soon now. Could I have another look at that lens?
LIBRARIAN: Yes, of course. Here it is.
[she places the focal lens on the desk, and the player adds it to his inventory]
LIBRARIAN: You can pop it in the reader, over on the other side of the reading room.
[the player returns to the microfilm reader and attaches the lens, as the image on the screen comes into focus]
NICOLE: [to herself] Finally! Now the text is clear.
[the player clicks on the screen]
NICOLE: [reading] "NYU students to follow in the footprints of Conquistadors! Amazon expedition underway!"
[the player clicks on the screen again]
NICOLE: [reading] "NYU Professor of Archaeology, Doctor Samuel Dickinson, is leading an expedition into the Amazon rainforest. Their itinerary recreates the journeys of the Spanish explorers of the sixteenth and seventeenth centuries. While the party's goal is the last of the great Incan treasures, the fabled hoard of Tupac Amaru, can the professor achieve what the Conquistadors did not? Will he find the legendary city of Akakor, treasure vault of an entire empire, the once-mighty Incas? The team, who has already left for Peru, consists mostly of NYU students."
[the player clicks on the screen again]
NICOLE: [reading] "List of participants in Professor Dickinson's expedition."
[the player clicks on the screen again]
NICOLE: [reading] "Samuel Dickinson. Professor of Pre-Colombian Archaeology at NYU. Expedition leader."
[the player clicks on the screen again]
NICOLE: [reading] "Alice Dickinson. The professor's daughter. Student."
[the player clicks on the screen again]
NICOLE: [reading] "William Warren. Assistant to the professor."
[the player clicks on the screen again]
NICOLE: [reading] "Andrew Haig. Student. Team doctor."
[the player clicks on the screen again]
NICOLE: [reading] "Henry Fairbanks. Student. Technician."
[the player clicks on the screen again]
NICOLE: [reading] "Mark Chestum. Student."
[the player clicks on the screen again]
NICOLE: [reading] "Joel Tatum. Student."
[the player clicks on the screen again]
NICOLE: [reading] "John Rudolph. Student."
[the player clicks on the screen again]
NICOLE: [reading] "Allan Branford. Student."
[the player clicks on the screen again]
NICOLE: [reading] "Noel Raches. Student."
[she stops reading]
NICOLE: [to herself] So all the victims were part of the expedition! Fairbanks, Haig, Rudolph, and Tatum ... Finally, we got ourselves a fact.
[the player clicks on the screen again]
NICOLE: [to herself] There's something here about the aftermath, too.
[the player clicks on the screen again]
NICOLE: [reading] "Tragedy in the jungle."
[the player clicks on the screen again]
NICOLE: [reading] "Our university community has lost an outstanding colleague and teacher, Professor of Archaeology Doctor Samuel Dickinson. His scientific and social achievements are writ large across the history of our university. He was last seen heading a scientific expedition to Peru, to find the legendary Incan treasure vaults left behind after the Conquistadors' invasion. In the course of the expedition, the professor, his daughter Alice, and fellow student Noel Raches all went missing. Raches' body was found later in the jungle. He had been killed by native Indians. Despite valiant attempts by other members of the expedition, led by Professor Dickinson's assistant William Warren, Dickinson and his daughter were never found. In the face of the Indian threat and increasingly difficult weather conditions, the remaining party members chose to withdraw. According to Mister Warren, the chances of finding the professor alive are virtually nil. We believe, though, that the professor and his students will live on in our university's history. Peace in their memory!"
[she stops reading]
NICOLE: [to herself] Warren! Warren! He's the linchpin of this whole story ... It's just him and Branford now. Now, are they both potential victims, or is one of them the murderer? Maybe they're in it together? Or maybe the murderer is someone not on the list. And where's the irrefutable proof that Huaquero killed Fairbanks? Are there two murderers at work here? Anyway, let's copy the list of participants. Maybe I can get out of here finally.
[a list of expedition members appears in the player's inventory]
NICOLE: [to herself] List of participants in Professor Dickinson's expedition.
[the player clicks on the screen again]
NICOLE: [to herself] Let's see this list again ... Must be a link between the expedition twenty years ago and the crimes now. Only thing this list connects is the victims with each other. Can we really explain the murders as a result of the events of the past? Why didn't Branford or Warren say anything about knowing the victims? That's fishy. What's stopping them from revealing information that could save their lives? Only if one or both of them were directly involved in the killings would it make sense to do so. We'll have to check their alibis again. Anyway, all the clues lead to Warren at the moment.
[the player clicks on the screen again]
NICOLE: [to herself] Drugs, Huaquero, expeditions in the jungle ... We must start from the expedition. That's where the fuse was lit. The drugs thing is probably incidental, don't want to get too hung up on that.
[the player returns to the counter]
NICOLE: Thank you very much, ma'am. I've got everything I need now.
LIBRARIAN: May I go home then?
NICOLE: Certainly, but if you'll just bear with me a second ...
[she dials her cell phone]
NICOLE: [into her phone] Federal Agent Nicole Bonnet, FBI. I need a patrol car to the library on East 84th. It's for an expert witness in a case I'm investigating. I'll need her driven home safely. Thank you.
[she hangs up]
NICOLE: Okay ma'am, a policeman will be along in five minutes to give you a ride home. Thank you very much for your time, you've been a tremendous help.
LIBRARIAN: Not at all. It was quite exciting, actually!
[the player exits the library]



"Art of Murder: FBI Confidential"
by City Interactive

This is the story of rookie FBI agent Nicole Bonnet, whose first assignment is to solve a grisly series of murders that target prominent and wealthy members of the community, with the killer's M.O. featuring a disturbing calling card: the apparently ritualistic removal of the victim's heart with an implement more suited to display in a museum than use for amateur dissection. The gruesome trail begins in New York City but the clues soon lead the intrepid rookie agent to the distant Peruvian city of Cusco, the ancient seat of the Inca Empire on the border of the forbidding Amazon Jungle.

Art of Murder has an exceptional combination of classic solutions with innovative ideas, such as the possibility of the heroine's death. This game is incredibly detailed and varied pre-rendered sceneries, enriched with background animation the graphics are designed by some of the best graphic artists and art directors in Poland. You will find a gripping atmosphere, created through the combination of an extraordinary storyline, beautiful graphics, three-dimensional characters who move in a natural way and cast realistic shadows, 5000 dialogue lines, original music and realistic sound effects.

Art of Murder is a point-and-click adventure, features a simple user-friendly interface coupled with a classic form of gameplay that has been optimized with the latest in cutting edge innovations, as well as allowing the possibility of the central character's death, point previously unseen in classic adventure games.



Enter the library and go "to the back". Enter the reading room. Pick up the glasses from the table. Approach the counter with the librarian and give her the glasses. Talk to her until she points you to the yearbooks on the left of the doors. Go there next.

Pick up the book in the middle. Show it to "Jessica Fletcher", the librarian. Talk to her again about copies thrice and she points you to the microfilm room. It is the door next to the reading room.

Click on the cabinet full of microfilm and return to the librarian. Back at the cabinet you need to click on the drawer with the number 00104419867. Take the boxed microfilm.

Back in the reading room, use the microfilm reader on the first desk as you enter. Take the empty reel from the machine and combine it with the empty reel. Place the new film reel into the reader and turn it on.

Click on the image to find that there is no lens. Talk to the librarian about it. She will eventually place a focal lens on the counter.

Pick up and place it into the reader and click on the image again. Click on the next one to get prints. Click on the image one more time. Finally talk to the librarian again to complete this section.

Case Study No. 0956: Unnamed Female Librarian (JustFab.Com)

JustFab 2012- National Commercial "Library"
0:30 is a monthly service, providing all FABshionista access to the hottest styles of the season and a personal stylist at an affordable price! Join today:
Tags: fashion modeling Commercial justfab justfabulous jsutfab shoes
Added: 1 year ago
From: JustFabulousOnline
Views: 13,681

[scene opens in a library, as two young female patrons are looking at a laptop while talking to each other in sexually suggestive overtones]
FEMALE PATRON 1: Oh, I couldn't!
FEMALE PATRON 2: Oh, yes you could!
[the camera zooms in on a young female librarian (blonde hair in a bun, glasses, purple blouse, very attractive) standing behind them in the stacks, then cuts to a nerdy male patron (glasses, plaid shirt) sitting across the table from them]
[they roll their eyes at him, then continue looking at their laptop]
FEMALE PATRON 1: Oh, are you kidding?
FEMALE PATRON 2: Oh, just do it ... I did!
[cut back to the librarian, as she approaches the patrons with a stern look on her face (apparently ready to reprimand them for looking at offensive material on library grounds)]
LIBRARIAN: Ladies, be quiet!
[she looks over their shoulders (the laptop's screen is facing away from the camera), then suddenly stops and takes off her glasses]
[cut to a shot of the laptop's screen, which shows that the three are looking at a high-heeled shoe on the "JustFab" website]
ANNOUNCER: Fulfill your wildest desires at JustFab Dot Com!
[cut to a wall filled with shoes]
ANNOUNCER: Our style experts hand-pick fabulous shoes that are right for you!
[cut to a closeup of a woman modeling a pair of high heels]
ANNOUNCER: For thirty-nine ninety-five, you get a pair of shoes, personal stylist, and free shipping!
[cut back to the library, as the three women cannot take their eyes off the laptop, while the male patron walks over with an incredulous look on his face]
[all three women smile (without looking at the man) and repeat "Shoes!"]
[all three women (again without taking their eyes off the screen) this time yell the word "Shoes!" altogether]
[cut to the JustFab Dot Com logo, as "Buy 1 Get 1 Free!" appears on screen]
ANNOUNCER: Get two for one now, at JustFab Dot Com!



In this week's episode of "Bar Confessionals", Director of Merchandise, Lesley, and Senior Graphic Designer, Johnny, answer your questions from last night's show, and show that in spite of all the drama, they heart each other on Valentine's Day.

Did you catch last night's episode of "Kimora: House of Fab"? If you missed it, we have a recap below.

Episode 4 Show Recap:

* SVP of Marketing, Sandra, and her team plan a new commercial. Based on the success of their previous commercial, they decide to have girls have a "shoe-gasm" in a library setting. There is $250,000 invested in the commercial, so everything should be perfect. Don joins the casting, because he wants to make sure it gets done right. At the casting, they look for a sexy librarian and a male nerd. Johnny's boyfriend comes in to audition for the male nerd, but the casting group thinks he's too young. The potential male nerds are very sexy, some take off their clothes. At the end, they find a a great nerd for the commercial. Angela, in-house stylist at JustFab, dresses the commercial cast members: college girl, nerd, and sexy librarian. During production, Sandra makes a lot of changes: skirt for sexy librarian and less moaning.
* Don feels the final video was a little over the top and cheesy. He isn't happy with the final outcome. Sandra and team head to the JustFab bar to regroup. They make changes and in the end, Don and Adam like the video. All the problems they saw with the commercial got fixed.
* Lesley celebrates her birthday. She finds it hard to balance her work and personal life. Rose wants to help Lesley with a plan for her dating life. She reaches out to Johnny for help. His idea was to stage a photoshoot for the "Get to Know Lesley" series on Facebook. Lesley becomes suspicious , when Johnny wants sexier pics. Kimora breaks up the photoshoot, since the campaign is not for months. Kimora wants to help set Lesley up on a date, so she sets Lesley up with her friend Charlie. On the day of the date, Lesley wants to cancel her date because of work. But Rose tells her she will finish the presentation, so Lesley can go. Lesley has a great time, and tells Kimora it was a great experience. Charlie, an associate of Kimora's from New York, is a web developer, Taurus, and saw a psychic who said he was miserable.
* Petra, SVP of Merchandise wants the merchandising directors to trend forecast for Spring 2013. Color, silhouette, and material trends are essential. Rose and Lesley put together mood boards to express what they think will be the hot new trends for 2013. They love peach, lighter pastel colors, coral, metallics, nautical, boat shoes, new florals. During a fabric store trip, they find out Petra went into labor. Johnny is invited to give his input on Rose and Lesley's mood boards. But Johnny ends up having a great time with Rose eating marshmellows. Lesley left agitated at their lack of attention. Overall trends: indigo and violet, nautical, peachy neons, clear closure, and turquoise. Kimora was not a fan of the high wedges, but Kimora loves the classic bag with the buckle details.

Case Study No. 0955: Alec Leamas, Nancy Perry, and Miss Crail

The Spy Who Came In From The Cold Part 2/12
The Spy Who Came in from the Cold (1965)

STARRING: Richard Burton (as Alec Leamas), Claire Bloom (as Nan Perry) and Oskar Werner (as Fiedler)
Tags: The Spy Who Came In From Cold Richard Burton Claire Bloom Oskar Werner
Added: 2 years ago
From: TaherAfman
Views: 3,952

[scene opens inside of the labor exchange department (where Alec Leamas is waiting for a job opening), as the camera focuses on a male clerk looking through his index cards]
MR. PITT: Leamas. Alec Leamas.
[Alec slowly gets up from the bench and approaches the desk]
ALEC: Leamas ...
[he hands the clerk his papers]
ALEC: The last time and the time before, I was seen by a Mister Melrose.
MR. PITT: My name is Pitt. Melrose has flu.
[he continues looking over his records]
MR. PITT: Not much of a stayer, are you?
ALEC: The jobs weren't exactly--
MR. PITT: Mister Leamas, fluent German isn't much use, even in an experienced sales representative, who's frequently speechless by lunchtime ... Vacancies for male nurses at Battersea General.
ALEC: Think I'd do better as a patient.
[with no reaction to his joke, the clerk continues looking through his files]
MR. PITT: Ah, here's one where your languages might help. Blantyre Institute of Psychical Research in Candahar Road. Five minutes on an Eleven bus. They want another assistant. Librarian's a Miss Crail.
[cut to the inside of the library, where an elderly female librarian is speaking on the phone]
MISS CRAIL: [into the phone] Well, I should gargle, Mama. Yes yes, I know, there's a lot of it about. Yes ... Yes. Yes, goodbye Mama.
[she hangs up, then notices Alec sitting in the chair in front of her]
MISS CRAIL: Can I help you?
[he gets up and approaches her]
ALEC: My name is Leamas. I was sent from the labor exchange by a Mister Pitt, as a possible new assistant.
MISS CRAIL: Oh. You have your qualification form?
[he takes a piece of paper out of his coat pocket and hands it to her, then notices a young female librarian walking around amongst the stacks behind Miss Crail's desk]
MISS CRAIL: You've used a card index?
ALEC: Now and then.
MISS CRAIL: Is your handwriting legible?
ALEC: Except at weekends.
MISS CRAIL: Our books used to be shelved and indexed under titles and authors. But now Brigadier Blantyre wants them rearranged and additionally indexed under subjects, with cross-references to authors and titles.
[she picks up an index card]
MISS CRAIL: Thus, "Phantasms of the Living" by Gurney, Myers and Podmore, has already been title-indexed under "P" for "Phantasms" and author-indexed under "G" for "Gurney", "M" for "Myers"--
ALEC: "P" for Podmore.
MISS CRAIL: Precisely.
[the young librarian looks in their direction and smiles, but continues shelving books]
MISS CRAIL: Now it must also be subject-indexed, under "A" for "Apparitions". Have you understood that?
ALEC: [coldly] They told me the job pays eleven-pounds-ten a week.
[the phone rings]
MISS CRAIL: Excuse me ...
[she answers the phone]
MISS CRAIL: [into the phone] Yes, Mama? Yes, Mama.
[cut to Miss Crail eating lunch at her desk, while in the back the young librarian is eating her lunch and Alec is looking through some books]
NANCY: Would you like to share my sandwiches?
ALEC: [coldly] Wouldn't dream of it.
NANCY: Something called Savory Spread.
ALEC: I still wouldn't dream of it.
NANCY: There isn't a cafe for miles.
ALEC: Any pubs?
NANCY: Well yes, but you can't get lunch in any of them.
ALEC: Ah, I'll be okay. Thank you.
[he gets up and walks away]




Ritt, Martin (Director). The Spy Who Came in from the Cold. United Kingdom: Paramount Pictures, 1965.

Starring: Richard Burton (Alec Leamas, Assistant Librarian); Claire Bloom (Nancy "Nan" Perry, Assistant Librarian); Anne Blake (Miss Crail, Librarian)

Based on the Novel: Le Carre, John. The Spy Who Came in from the Cold. New York: Coward-McCann, 1963.

At the height of the Cold War, when Alec Leamas must convince East German agents in London that he is a washed-up, burnt-out former British spy, he finds a crummy apartment, drinks his meals ... and gets a job in a library. The Bayswater Library for Psychic Research hires him to help Nan Perry re-index and cross-reference the collection. The librarian, Miss Crail, is bitter and sharp-tongued and (this is more evident in the book) takes a fervent dislike to poor Leamas. Nan, however, tucks him under wing and nurtures him right into bed. (Her name in the book is Elizabeth "Liz" Gold (she's Jewish), and as she is pretty and shapely and half his age, one wonders why she is lonely enough to fall for the disintegrating Leamas. I mean, FEMALE viewers/readers will wonder this. Males won't even think it odd.) Later, when Leamas tries to keep his captors from harming Nan, he declares, "She's just a frustrated little girl from a crackpot library." The library references are scant and irrelevant to Le Carré's complicated storyline, but we do see a small, special library under the control of a dragon librarian, and once again the setting serves as the place where characters first meet (see also Love Story, All the Queen's Men, Mad Love, etc.).



Working in the library, Alec meets Nan Perry (Claire Bloom); she is talkative, but Alec, initially, is unsociable. She offers to share her lunch with him, but he prefers to go to a pub.

After several days at the library, Alec pressents a respectable image. He dresses professionally, suit and tie. He reveals a sense of humor at the library with Nan when he asks about the subject heading for a book on werewolves. She pulls the book for him; he looks at the circulation page, remarking, "It seems popular." She replies that one patron checks it out monthly, and he theorizes, "Full moon." They both smile and giggle at his remark. As soon as the interaction between the two improves, Nan invites him to her apartment for dinner, beginning a romance that ends disastrously. Alec, always a British spy, utilizes the library and his library job to establish his pseudo-identity for an elaborate British espionage plot. When he is incarcerated for beating a shopkeeper, Alec loses his library job; after his release, Alec leaves Great Britain, seemingly defecting to the Communists.

Crail, the librarian-in-charge, resembles the stereotype - "only 38," blonde (angel wing bang; bun at crown), and dresses modestly but businesslike - dark suit jacket over a collarless, front button, light-colored blouse. She apparently spends a great deal of time conversing with her "MaMa" on the telephone; she cut short a conversation with her to interview Alec and is interrupted by "MaMa" during the interview. Crail is very understanding of Nan's request to take a vacation to Germany. When Nan mentions she has comrades (not friends) in Germany, Crail notes that she has "never held this [political activities] against you, Miss Perry. This is a free country." When informed that Nan will be visiting Leipzig, Crail remarks that she will tell her superior that Nan will be visiting "Germany, not East. He doesn't hold with the Russians." The communications between Crail and Nan are friendly and straightforward; they are very formal - it is always Miss Crail and Miss Perry. Although engaged in a minimal number of library tasks, such as interviewing Alec and placing magazines on a rack, Crail's interaction with Nan indicates that she is a competent supervisor, and one who has an interest in her subordinates, regardless of their political leanings.

Nan, a young, attractive brunette (full bang; A-line cut), performs various library tasks: she brings in the morning mail, carries books, shelves books, pushes a booktruck, and works in card files. She dresses modestly throughout the film; most often appearing in sweaters and skirts; at the tribunal procedding in East Germany, she appears in a tweed suit. At this tribunal hearing, Nan's fincances are disclosed - salary, 11 pounds; rent, three-pounds-ten; and savings, a few pounds. These are indicative of unpretentious living on a salary that is, as Nan states, "pretty small."

Such a humble environment, however, does not prohibit Nan from becoming a principled young woman who believes in peace and works as a member of the British Communist Party to achieve such a goal. During the tribunal hearing, which is Nan's first real experience with truth and deception in the Cold War, Alec (in an attempt to convince tribunal members that Nan is not a participant in the British espionage plot) decides to reveal his roel in the operation. To shleter Nan from involvement, Alec summarizes his evaluation of her principles, "As for the girl, she is nothing but a frustrated little thing from a crackpot library. She's no good to you. Send her home."

Thursday, August 29, 2013

Case Study No. 0954: "Librarians in Fashion"

Librarians in Fashion
An assessment of the stereotypes surrounding how librarians dress.
Tags: librarian chic geek chic librarian stereotypes sexy librarian frumpy
Added: 2 years ago
From: shrinetobarkley
Views: 25,494

[scene opens with a black-and-white photo of a female librarian (short hair, glasses, cardigan sweater, polka-dot skirt, sandals) reading while standing next to a pile of books, as "Librarians in Fashion" appears on screen]
["What does a librarian look like?" appears on screen]
["The predominant stereotype is that of a white female with 'nerdy glasses' and hair usually in some form of a bun. The world of fashion caters almost exclusively to this librarian." appears on screen]
[cut to several images of stereotypical librarians (an older female librarian wearing cats-eye glasses with a finger to her lips; a young blonde female librarian wearing glasses who is biting her finger in a seductive manner; a young female librarian standing next to a bookshelf wearing glasses and a green blouse; a young female librarian wearing glasses with a tight white blouse and a short black skirt; a blonde female librarian wearing a cardigan sweater and a grey skirt while carrying a stack of books) as "Google images: librarian" appears on screen]
[cut to another set of images (a black-and-white "manga" style drawing of a female librarian wearing glasses; a cartoon drawing of a female librarian with blonde hair and a tight white blouse; a young female librarian with her hair in a bun while looking over her glasses in a seductive manner; a black-and-white drawing of a young female librarian chewing on a pencil with her eyes closed)]
["How do librarians dress?" appears on screen]
["A widely-held belief is that librarians are an unfashionable bunch. We are described as 'prudish' ... " appears on screen]
[cut to an image of a young woman (blonde hair pulled back in a ponytail, glasses, "Amish"-style grey dress) sitting in a chair and reading a book, as "Prude in Glasses Reading a Book (tagged 'librarian')" appears on screen]
[cut to an image of a young female librarian (hair in a bun, glasses, brown cardigan sweater, plaid skirt, long white nylon stockings) holding a pair of books while jumping in the air with a smile on her face, as "Frumpy" appears on screen]
[cut to an image of an older female librarian (red hair, glasses, business suit) sitting between two large piles of books and smiling at the camera, as "Outdated" appears on screen]
["Fortunately, when you put similar styles on young, skinny models and send them down a runway the look becomes 'librarian chic'" appears on screen]
[cut to a Polaroid photo of several female models wearing beige-colored dresses with matching glasses, with "Ok, so seriously ... if librarians were really this gorgeous ... I think the % of male book readers would quadruple! - RD" written on the bottom]
[cut to another image of female models wearing darker-colored long dresses (but no glasses)]
[cut to another image of female models wearing brighter-colored dresses that feature high collars]
[cut to an image of a lone female model (hair done up in a "messy" bun, thick glasses, beige cardigan sweater, beige skirt), as "It's not frumpy or prudish ... it's 'pretty and proper'" appears on screen]
[cut to an image of two female models (long blue dresses with different overcoats for each), as "It's not outdated ... it 'can only be described as 70s librarian chic!'" appears on screen]
[cut to an image of another female model (hair in a bun, white blouse, red cardigan sweater, blue skirt, plaid bow tie), as "'She has the librarian-esque ugly-pretty thing going' (What?)" appears on screen]
["Polyvore dot com is a site where people who are into fashion go to create outfits or 'sets.' Just look at how normal people on polyvore would dress a librarian ... " appears on screen]
[cut to a still image labelled "Librarian" (featuring a shot of Rachel Weisz from "The Mummy") with several drab-looking dresses and a pair of ugly-looking shoes]
[cut to another still image (also labelled "Librarian") with more "plain" dresses alongside an ugly purse and a pair of high-heeled shoes]
[cut to another still image of a young woman (with her hair in a tight bun) sitting outside with a pug, next to a mannequin wearing a cardigan sweater and a pair of high-heeled shoes]
[cut to another still image (labelled "The Librarian") with a long sleeved blouse next to a copy of "Vogue" and a pair of cats-eye glasses]
[cut to another still image (labelled "Sexy Libarian" [sic]) featuring drab-colored sweaters and a pair of cats-eye glasses]
["Sexy librarian?" appears on screen]
["Another stereotype is that of the 'sexy' librarian. This one also contributes to the librarian's image in fashion" appears on screen]
[cut to a young female librarian (long blonde hair, pink blouse with the top button undone to reveal a white bra, short white skirt, high heels) sitting on a bookcart while biting on the temple of her red glasses in a seductive manner, as "It's the same basic look, with a shorter skirt, more cleavage, and higher heels. Glasses-licking is optional" appears on screen]
[cut to a cartoon drawing of a young female librarian (curly brown hair, glasses, white blouse with all of the buttons undone to expose her cleavage, brown skirt, nylon stockings) standing in the middle of a library with books all over the floor while holding a copy of "Moby Dick", as "Sometimes it can't be helped. Sometimes you're just working and your shirt breaks" appears on screen]
[cut to a young female librarian (black hair pulled up in a bun, glasses held down the bridge of her nose in a seductive manner, open purple blouse revealing a white bra underneath, black skirt), as "And sometimes you forget to even wear one" appears on screen]
[cut to a still image of Gil Elvgren's 1962 pin-up drawing "Hold Everything" (featuring a young red-headed librarian sitting on a library stepladder as she's trying to carry a pile of books in each arm, when her white dress gets caught on one of the shelves and rides up to reveal her garter belt), as "Or you're just innocently filing a copy of 'Spirit Lake' and your prudish dress gets caught and you make a sexy face" appears on screen]
["By the way ... if you're planning on being a librarian for Halloween, sexy is your only choice" appears on screen]
[cut to several images of models wearing "librarian" Halloween costumes (a brunette wearing a lowcut dress with glasses and a red scarf; another brunette wearing a cleavage-revealing blue blouse and a short skirt made to resemble a row of library books, while looking over her horn-rimmed glasses at the camera and putting a finger to her lips; a blonde wearing a midriff-bearing black blouse and a short black skirt with nylon stockings; another blonde with her hair up in a bun, looking down her glasses at the camera while wearing a cleavage-revealing tight black dress and red high heels), as "Librarian Costumes" appears on screen]
["Now let's compare ... " appears on screen]
[cut to three of the previously shown images: the librarian jumping in the air (labelled "Frumpy?"), the model in the "messy" bun (labelled "Fashionable?"), and the cartoon librarian holding "Moby Dick" (labelled "Sexy?")]
["What makes them all 'librarianesque'??" appears on screen]
["For whatever reason, certain styles and trends are just associated with the librarian look" appears on screen]
[cut to another set of black-and-white images (a female model wearing glasses and a long white skirt; a female librarian wearing a sweater vest and a short black skirt; a female librarian sitting on a step stool in a seductive fashion, holding a book while wearing a white blouse and short black skirt with nylon stockings and high heels; a closeup of a female librarian's long black skirt) as "Pencil skirts" appears on screen]
[cut to another set of black-and-white images (a female librarian biting down on her glasses in a seductive fashion, as the top button on her white blouse is undone; a female librarian in a white blouse reaching for a book on the top shelf; a blonde librarian - wearing a tight short sleeved white blouse that reveals a prominent sleeve tattoo on her left arm - looks over her shoulder towards the camera as she pulls a book from the shelf) as "White, button down shirts" appears on screen]
[cut to another set of images (a female librarian wearing a black cardigan sweater is reading a book; a female librarian wearing a grey cardigan sweater and a short grey skirt; a female librarian wearing a light-blue cardigan sweater and a short red skirt; a blonde female librarian, looking sternly at the camera, wearing a black cardigan sweater over a white blouse and a grey skirt while carrying a stack of books; a female librarian with a pixie haircut and a blue cardigan sweater is staring directly at the camera and putting a finger to her lips) as "Cardigans" appears on screen]
[cut to another set of images (a plain-looking female librarian with a blue cardigan sweater and a large white bow around her neck; a young female librarian with a white cardigan sweater tied in a bow around the neck and a short black skirt; a cartoon drawing of a blonde librarian in glasses wearing a red blouse with a bow around the neck and a short black skirt; a cartoon drawing of a female librarian wearing a green blouse with a white bow around her neck; a beige blouse with a bow laid out next to a grey skirt; a young female librarian wearing red hoop earrings and a dark-blue blouse with a bow around the neck) as "Ascot bows and bows in general" appears on screen]
[cut to another set of images (a female model wearing a violet dress, with "Shaped Waist Belt" written next to the red belt she's wearing; a female model wearing a white blouse and striped skirt with a black waist belt; a female model wearing a frilly white dress with a black waist belt; a black-and-white drawing of a "furry" librarian - denoted by the cat ears - with an ample bustline and wearing a tight waist belt) as "Waist belts" appears on screen]
[cut to another set of images (a female librarian reading a book while wearing a black cardigan sweater and a black-and-white polka dot skirt; a female librarian a red-and-white polka dot blouse and a slit skirt that reveals her garter belt; a young female librarian wearing a black-and-white polka dot blouse while carrying a large stack of books) as "And polka dots" appears on screen]
["Of course, this is just how the fashion world dictates we should dress ... according to the stereotype, librarians are walking fashion disasters, sporting:" appears on screen]
[cut to three images: a female librarian wearing a garish Christmas sweater (labelled "Tacky sweaters"), a closeup of a female librarian wearing sandals with socks (labelled "Socks with sandals"), and a single plain-looking shoe (labelled "Sensible shoes")]
[cut to a woman wearing a black dress with several rows of "books" printed on it, as "And stuff like this" appears on screen]
["How seriously are the stereotypes taken? Can they hurt the profession?" appears on screen]
["At a 2007 conference for librarians, a fashion designer named Paula Ryan gave a workshop to teach us how to dress professionally" appears on screen]
["A promotion for the workshop read - 'Librarians as a profession have a very conservative and dated image. If we want to transform our profession than surely we must start by transforming ourselves'" appears on screen]
["Librarians at one library responded with this ... " appears on screen]
[cut to a photo of four female librarians (wearing hideously-colored floral blouses and holding books entitled "Get Back in the Box" and "Making Strategy Happen") putting a finger to their lips and "shushing" the camera]
["The Reality" appears on screen]
["As shocking as it is, librarians don't look or dress like any of these stereotypical images. Librarians dress like ... (gasp) normal people! Also, we know about pants!" appears on screen]
[cut to several librarians posing for a group photo, as "Here's a giant group of actual librarians ... " appears on screen]
["There are 17 men in this picture" appears on screen]
["15 people are not white" appears on screen]
["Nobody was kicked out for dressing too badly ... the overall look is 'business casual'" appears on screen]
["Just like any profession!" appears on screen]
["Thanks for watching! 'Directed' by Leanne Jernigan" appears on screen]

Case Study No. 0953: Sydney

The Dunphy Kids All Grown Up - Modern Family
Phil and Claire get a glimpse at what could be the future version of their family in the episode, "The Future Dunphys."

Watch full episodes of Modern Family at http://abc.g modern-family?cid=YTV_MDF
Tags: Julie Bowen Claire Ty Burrell Phil future dunphy abc network tv television family gay partner buddies divorce mother widow widower colombian
Added: 4 months ago
From: ABCNetwork
Views: 965

[scene opens with Claire Dunphy lying in a hospital bed, as her husband Phil stands by her side (while also playing with the remote that raises the bed up and down)]
CLAIRE: Kids will always wanna quit when things get hard if you let them. This is a girl who was kicked out of college, the least she can do is stick it out at a little--
[he raises her head a little too high]
CLAIRE: Wait, Phil!
PHIL: Sorry ... Look, all we can do is give Haley the time to find out who she is.
CLAIRE: Or we could save that time and I could tell her who she is.
NORMAN: [from off camera] Lemmee know how that works out!
CLAIRE: Excuse me?
[camera pans out to show an elderly man in the bed next to them]
NORMAN: Oh sorry, but my TV doesn't work, and you're all I've got!
[he holds out his hand]
NORMAN: I'm Norman.
PHIL: Good to meetcha, Norman, what're you--
[he reaches out to shake his hand, then hesitates]
PHIL: [nervously] In for?
NORMAN: Triple bypass.
[relieved it's not something contagious, Phil follows through with a vigorous handshake]
PHIL: Awesome! And it sounded like you were agreeing with my parenting style, so please ... continue.
NORMAN: Well, I've raised three kids, and the main thing I learned is you have to let them be who they are.
PHIL: Thank you, Norman ...
[he pulls the curtain separating the two beds]
CLAIRE: [whispers] Just because he's behind a curtain doesn't make him a wizard ...
[two middle-aged women (one of whom has long black hair, glasses, and is wearing a black skirt with a yellow sweater over a white blouse) enter the room and walk up to Norman's bed]
ANGELA: Dad, I made you this necklace! It's good for healing ...
SYDNEY: There's no scientific evidence to back that up, Dad.
ANGELA: I married a doctor.
SYDNEY: I have three degrees.
NORMAN: Girls, where's your little brother? He didn't get his arm stuck in a vending machine again, did he?
[they all laugh, as the Dunphys eavesdrop]
CLAIRE: [whispers] Are you getting this?
PHIL: [whispers] Yes, they sound just like our kids, and they all got together to visit their dad.
CLAIRE: [whispers] Mm-hmm.
PHIL: [whispers] Who apparently did a pretty good job raising them.
CLAIRE: [whispers] Please, he sounds like an old hippie.
PHIL: [whispers] A wise, insightful old hippie ... A Jeff Bridges hippie!
[she shakes her head, as a younger man enters the room]
DUSTIN: Hey Dad!
NORMAN: There he is! Look at that sharp suit!
PHIL: [whispers] Oh my god, Luke gets huge!
DUSTIN: You've seen this, I wore it to Angela's wedding.
SYDNEY: Oh yeah, it's just like the one I had made for my little Jonathan!
[a nurse enters pushing a wheelchair]
NURSE: Okay, Misses Dunphy, time for your prep.
[she gets out of the bed and into the wheelchair]
PHIL: See what happens when parents get out of the way?
[he leans in next to her]
PHIL: [whispers] Weddings, babies, sharp suits ...
[he turns to the nurse]
PHIL: [whispers] Might wanna wheel her by the burn unit, she just got scorched.
[they exit, as Phil smiles to himself]
ANGELA: Wait, you made a suit for Jonathan? He's a cat.
[Phil's face suddenly falls, as he continues to eavesdrop]
SYDNEY: He's a hairless stray, he needs the suit for warmth! Y'know, that thing all of your husbands eventually stop feeling for you?
ANGELA: I did not come here to be insulted! I came here for Dad!
[Phil smiles again]
ANGELA: Dad ... I need five hundred dollars.
[his smile quickly disappears again]
SYDNEY: How can you need money? You have four divorce settlements!
ANGELA: Yeah, sorry I'm not some sad lonely exorcist!
SYDNEY: Archivist ... I'm an archivist!
DUSTIN: Ugh, this arguing! I might as well have just stayed in court!
PHIL: [whispers] Please be a lawyer, please be a lawyer ...
NORMAN: How'd it go?
DUSTIN: I got probation plus time served! Suck it!
SYDNEY: Oh, maybe now you'll stop siphoning electricity off the grid with a meathook ...
DUSTIN: Hey, look at me for a second ... When you die alone in your bed, Jonathan's going to eat you!
[she stops and looks around the room with a shocked expression]
ANGELA: [whispers] Yep.



Modern Family: The Future Dunphys

While at the hospital, Claire and Phil see an older version of their family; Manny and Jay visit a private school; Mitch and Cam organize a day for Gloria and Lily.

Original air date:
Wednesday, April 03, 2013 on ABC

Guest Stars:
Richard Riehle as Norman
Justine Bateman as Angela
Anastasia Basil as Sydney
Luka Jones as Dustin



"The Future Dunphys"
S4 / E19

Claire goes to the hospital for an angiogram, and while she's waiting to be wheeled off for the procedure, the older gentleman in the bed next door gets a visit from his three kids: a ditzy New Ager with four divorces to her credit, a humorless doctor living alone with stray cats, and a small-time criminal ("I got probation and time served!" he boasts), all three united in their disdain for their mother. Alarmed at this vision of their children's prospects, Claire and Phil separately resolve to change their parenting styles - which means that they essentially switch places, with Claire telling the kids they can do what they want, and Phil insisting they have to change their ways.

After a virtuoso sequence with two phones, two parents, and three kids passing them around, the Dunphy children decide that something is wrong and head for the hospital. But on the way they evolve from their initial instinct (their mom is sicker than she's let on) to the conclusion that, as usual, their folks are taking whatever personal issues they're dealing with and projecting them outward to screw up their kids. "Be better at being adults!" Luke yells at Phil and Claire, who are celebrating the relief of negative test results by twisting the hospital bed into a rather uncomfortable-looking position.

Case Study No. 0952: ELIJAH_208, DANO_374, and JOSEF_805

Let's Play Tron 2.0 part 16 - Digital Cattle Prod
YAH programs YAH!
Tags: Tron Legacy 2.0 Tron 2.0 Tron Legacy Daft Punk RPG FPS action adventure role playing game first person shooter Lightcycle Disney interactive cyberpunk videogame quest
Added: 1 year ago
From: countzeroLP
Views: 170

[the player walks up to a floating orb, as "CMD: Activate I/O Node" appears on screen]
NODE: Connecting to I/O Grid.
[the image of Ma3a (the computer's AI system) appears above the orb]
MA3A: Jet, what do you make of this?
[a digital transmission (featuring an unknown male voice) begins playing]
GUEST: Ma3a ... [garbled] ... you're still intact ... [garbled] ... sorry about revealing ... [garbled] ... correction ... [garbled] ... I had no choice ... [garbled] ... Tron legacy ... [garbled] ... must find it.
JET: Guest, who are you? Do you know an Alan Bradley? He works in--
NODE: User connection terminated.
[the transmission ends, and the image of Ma3a re-appears]
MA3A: Sorry Jet, the link with Guest has been broken.
JET: Tron ... that was a program my dad wrote years ago. But what's Tron Legacy?
MA3A: I have insufficient data to answer your request.
JET: There must be a connection between the correction algorithms and the Tron Legacy code.
MA3A: I'll perform a system search ... I have located a severely fragmented email that contains strings of text referring to Tron Legacy.
JET: Is it repairable?
MA3A: If you can manage to retrieve the three fragments of the email, reconstructing should not be a problem.
["Message: I/O Node conversation with Ma3a complete" appears on screen]
NODE: Node deactivated.
["Message: You have received a permission" appears on screen]
["Objective: Locate the Tron Legacy code" appears on screen]
["Tasks: enter the archive section and retrieve the Tron Legacy code email fragment #1, retrieve the Tron Legacy code email fragment #2, retrieve the Tron Legacy code email fragment #3" appears on screen]
[the player enters the archive stacks and talks to the "program" (a blue male humanoid figure) standing on a platform]
JET: Can you retrieve Tron Legacy code email fragment number one?
ELIJAH_208: Certainly.
[the platform he is standing on retracts backwards into the stacks area, then "Data Fragment (Located)" appears on screen as the platform returns to its original position]
ELIJAH_208: Here's fragment number one ... Have a nice microcycle.
[a blue screen pops up with the contents of the email fragment]

Subject: Tron Legacy Code
To: KevinFlynn[at]en dot com
From: AlanBradley[at]en dot com
Date: Aug-84

I'm a little confused. I noticed that the Tron Legacy code upgrade is no longer listed on the fourth quarter schedule. Is there something I should know?

Alan Bradley
Senior Programming Engineer

["Message: Fragment #1 received" appears on screen, as the player takes the "Data Stream" warp to "Archive Stack #2", where a yellow male humanoid is standing on a similar platform]
JET: Can you retrieve Tron Legacy code email fragment number two?
DANO_374: Sorry, that's restricted information.
JET: I need that fragment. How can I get it?
DANO_374: Eliminate the Finders scanning the stacks.
["Tasks: Eliminate the Finders scanning the stacks" appears on screen while the platform he is standing on retracts to the side, as the player uses his Identity Disc to defeat the floating enemies in the stacks area]
["Message: Finders eliminated" appears on screen, as the platform moves into the stacks area, then "Data Fragment (Located)" appears on screen as the platform returns to its original position]
DANO_374: Sorry for the delay ... Here's fragment number two.
[a blue screen pops up with the contents of the email fragment]

Subject: Tron Legacy Code
To: AlanBradley[at]en dot com
From: KevinFlynn[at]en dot com
Date: Aug-84

Sorry Alan, I'm pulling the plug on the Tron Legacy project. I know, I know ... I requested the upgrade, but as you know, research in digitization is behind schedule. In fact, destroying the Master Control Program has set us back to the stone age.

Anyway, the Board of Directors wants our top programmers moved to the project and you, my friend, are one of the best. Report to Walter on Monday.

I realize shelving Tron hurts, but look at it this way, you'll be working side by side with your lovely wife.

Kevin Flynn
Senior Executive V.P.

["Message: Fragment #2 received" appears on screen, as the player takes the "Data Stream" warp to "Archive Stack #3", where an orange male humanoid is standing on a similar platform]
JET: Can you retrieve Tron Legacy code email fragment number three?
JOSEF_805: Not while those Finders are scanning the stacks.
["Tasks: Eliminate the Finders scanning the stacks" appears on screen while the platform he is standing on rises to the top of the room, as the player uses his Identity Disc to defeat the floating enemies in the stacks area]
["Message: Finders eliminated" appears on screen, as the platform moves into the stacks area, then "Data Fragment (Located)" appears on screen as the platform returns to its original position]
JOSEF_805: Thanks for your patience ... Here's email fragment number three.
[a blue screen pops up with the contents of the email fragment]

Subject: Tron Legacy Code
To: KevinFlynn[at]en dot com
From: AlanBradley[at]en dot com
Date: Aug-84

As much as I hate the idea of putting a project half complete to the side, I can't deny the logic behind your decision. Tron Legacy is unnecessary if we are not able to digitize anything in the first place.

I'm putting the source code and the latest build notes on our dedicated memory mainframe, EN12-82.

Alan Bradley
Senior Programming Engineer

P.S. Oh, and yes, working with Lora should be great fun.

["Message: Fragmented Tron Legacy code email restored" appears on screen]
["Tasks: Access I/O Node and receive message from Ma3a" appears on screen, as the player returns to the floating orb]
NODE: Connecting to I/O Grid.
JET: Ma3a, I've got it. Tron Legacy appears to be an update to the original Tron program. My father stored the code on mainframe EN-twelve-dash-eighty-two. Are you familiar with this system?
MA3A: I am, but it is no longer online due to User-activated standby.
JET: Can we bring it back online?
MA3A: Yes, but only by routing power to its primary operating system.
JET: How do we do that?
MA3A: We can't. Power routers are ICP-occupied nodes. Without the proper set of permissions, even getting close is impossible.
JET: We'll have to find a way. Meet me at the exit port.



"Tron 2.0" is a first-person shooter computer game developed by Monolith Productions. According to Tron creator Steven Lisberger, Tron 2.0 was the official sequel to the 1982 film Tron, but was later declared non-canon by Tron: Legacy director Joseph Kosinski. The PC version of the game was released by Buena Vista Games on August 26, 2003. The Mac version was released by MacPlay on April 21, 2004.

Bruce Boxleitner reprises his role from the original film as Alan Bradley. Cindy Morgan, who also starred in the original film, voices a new character Ma3a, although Lora Bradley (now Alan's wife, deceased by the game's timeframe) is mentioned by name. Rebecca Romijn provides the voice of Mercury. A new 'light cycle' design was contributed to the game by Syd Mead. The game explained the Tron arcade game, which appears in-game, and film as based on Kevin Flynn's experiences inside ENCOM in the original film.

The story is centered around Alan's son Jethro ("Jet") Bradley. Since the film's events, ENCOM has been taken over by a company called Future Control Industries (fCon). After talking with his father who is kidnapped while on the phone with Jet, Jet is digitized by Ma3a, Alan's AI computer system, to aid her against Thorne, an executive from fCon improperly digitized into the computer who is now a virus throughout the system. Jet is mistakenly identified as the source of the corruption and captured by Kernel, the systems security control program.

After deciding that Jet is corrupted, Kernel spares Jet on the recommendation of Mercury, another program tasked to help Ma3a, and Jet is sent to the lightcycles game program. After winning several matches, Jet escapes the match with Mercury's help. After they find Ma3a, the server, corrupted beyond saving, is reformatted resulting in Mercury's demise. Jet escapes to the Internet with Ma3a and an uncompiled copy of Tron Legacy, an update of the original 'Tron' program written by Alan Bradley to protect Ma3a. After finding a compiling program on the Internet, Thorne appears to kill Ma3a while the Tron code is compiled and attached to her program. During this, Jet receives a communication from Guest, the User who had assigned Mercury to help Jet. Accessing a video uplink, Jet realizes too late that Guest is his father Alan, locked in a storage closet by fCon's officers Bazra, Popoff and Crowne, begging him not to compile the Legacy program. Legacy activates, revealing that its sole function is to kill any User in the digital world. Jet escapes, and fCon inadvertently saves him by capturing Ma3a in a search program.

Having recovered the correction algorithms necessary to digitize a human, Alan is sent to Thorne's corrupted server. Assisting the ICPs and Kernel, Jet reaches Thorne at the heart of the server and kills Kernel before he can destroy Thorne. Thorne, regaining a moment of lucidity, begs for forgiveness and tells Jet how to enter fCon's server.

Alan and Jet break into fCon's server, which the corporation is planning to use to distribute Datawraiths - digitized human hackers - across the worldwide information network. After Alan and Jet crash the server, the CEO of fCon (possibly Dillinger of the original film, though this is never confirmed) orders Baza, Popoff, and Crowne into the system themselves. Alan, wanting to verify the purity of the correction algorithms, removes them to inspect them as the three are digitized, resulting in a monstrous amalgam of the three, which chases Jet into the digitizing beam; whereupon Jet diverts the three out of the beam and escapes the computer.

The game, like the film, is set "inside" a computer and cheerfully uses and abuses computing conventions: players will find themselves in the flaming red environment of a firewall and the minimalistic white one of a PDA, battle viruses while fleeing a format, and wield a sniper rifle known as the LOL, additionally amplifying the damage with a skill called Megahurtz.

Programs in the systems also bear various names - ordinary programs have ordinary first names such as Frank_381 or Brian.exe; ICP programs have names resembling system tools such as servwatch.exe or sssys.dll; viruses have garbled names such as HA-HA-HA-0X0??? or 0XFFOOXXOR; resource hogs are named after parodies of popular software such as reelplyr.exe, netscope.exe or ImageShop5.0.exe; major viruses have script names such as viral_launcher.pyc and; and Datawraiths (being in essence digitized humans) feature email addresses such as AndyG[at] or GeoffK[at]

The leveling / experience point is represented as software versioning, and skills are subroutines Jet must earn. Depending on the environment, the player can only arm itself with a given amount that fits in the available memory. If attacked by viruses, subroutines can get fragmented or infected, and cannot be used before Jet defragments or disinfects them. If Jet encounters a program unknown to him, he can port it to his own system. Communication between programs is done via IO ports.

Jet can also find and read e-mail messages in certain systems, which partly reveal the game's background story, but also provide insight into the relationship between Alan and his son.



Walkthrough Part 8: Legacy Code
Location: Alan's Desktop PC

As soon as you regain control of Jet you will be asked to reconfigure your Subroutines so do so immediately and disinfect anything that may have been corrupted by those bothersome Z-Lots. To the left of Ma3a there will be Health and Energy Downloads so if need be, fill up before you talk to her.

Ma3a will tell you to access the Archive Bin next to her; do so and download the Video Archive to learn a little bit more about what happened in the lab earlier. Talk to Ma3a three times to learn about fCon, correction algorithms, and Jet's chances of going home. She will receive a signal and take off to the right. Find Ma3a next to an I/O Node and talk to her for your next task: reconfigure the system's com-ports.

Walk down the corridor and you will see four programs lined up; before you get to them, turn left to find two Archive Bins. The first one has 2 emails and an LOL (Alpha) so go ahead and download anything you need from there. You can't access the second bin yet so go back to the programs and talk to each one to get them to start working on the com-ports. After a moment you may notice that only one of the programs is actually working. In order to fix this, walk to the second I/O Node (near where the programs are lined up) and turn to the right to see a Com-port Configuration Panel. Cycle the Com-port Rings once and then talk to the program whose port is now accessible (example: if com-port three becomes accessible, talk to program three) and they will begin fixing the problem. Repeat this process until all four programs are at work and Ma3a will request an I/O Node Link with you. Activate the node to receive a cryptic transmission from an unknown guest. Ma3a will give you a permission and tell you to locate three pieces of a fragmented email regarding something called the Tron Legacy Code.

Go back to the inaccessible Archive Bin and walk past it. Activate the bridge and walk across it until you reach Health and Energy Downloads on the right side, and a program on the left. Talk to the program to receive Tron Legacy Code Email Fragment #1. Continue across the bridge and destroy the Finders that have appeared before entering the Data Stream to reach Archive Stack #2. The first Archive Bin holds a Triangulate (Beta) and an Unknown Subroutine (Beta). Both downloads will consume a LOT of energy so choose wisely. The second Archive Bin contains Permission 5 and an email. Activate the energy bridge, walk down it until you see Health and Energy Downloads and refill your energy to download whatever you skipped over at the bins. When you are ready talk to the program across from the Health and Energy Downloads and three Finders will attack you. Make the Archive a safe place by defeating the Finders and the program will retrieve Tron Legacy Code Email Fragment #2. Continue across the bridge through the Data Stream to Archive Stack #3.

Search the Archive Bin for an email and activate the bridge. Talk to the program located across from the Health and Energy Downloads and he will tell you that Finders are all over the archive. When he moves out of the way you will be attacked by an angry group of Finders. Dodge their attacks and defeat them as quickly as possible but watch out -- Finders coming in from the left and right sides of the bridge will also attack you. The best way to get rid of them is to crouch down on behind the left wall and take turns blasting the Finders in the archive and the Finders coming from the left; or you can do it the super easy way and use the LOL to snipe the Finders inside the Archive at super-human speed, taking them out and stopping the mad flow of Finders behind you (they will still be released, but nowhere near as quickly). Once the archive is cleared out you will receive Tron Legacy Code Email Fragment #3. Continue across the bridge and activate the I/O Node for Ma3a's message. Go into the next room and ride the platform back to the First Archive Floor. ICPs are up here now so be careful. The Archive Bin near the elevator cannot be accessed just yet so beat up on some ICP's and exit this corridor and go back to the energy bridge. Defeating the ICPs here gains you Permission 3. Go back to the previously unattainable Archive Bin to download Permission 8, an email, LOL (Alpha) an Unknown Subroutine, and a Suffusion (Beta). Run back to the exit platform where you first talked to Ma3a; she will be there near a switch. Configure the Exit Port to the Power Router Destination (push the switch) and get the hell out of there.

Wednesday, August 28, 2013

Case Study No. 0951: Unnamed Male Librarian (The Noisy Library)

The Noisy Library
The Noisy Library is a short video where although there is guitar hero, football, and many distractions in the library, the librarian fails to notice, except for the obnoxious eating of chips.
Tags: The Noisy Library disruptive student with librarian loud eating lays chips eat project school video film book books reading broadcasting class
Added: 1 year ago
From: DuctTapeWalletz
Views: 261

[scene opens with a young male librarian (brown hair, glasses, grey t-shirt) standing in the library with his hands folded behind his back as he reads a book, when a young male patron walks in (whom the librarian eyes suspiciously before returning to his book)]
[cut to the male patron sitting down, as he takes out a bag of potato chips and eats one (making loud crunching noises)]
[cut back to the librarian, as he glances up from his book]
[he suddenly shushes him violently]
[he takes off his glasses and addresses the patron]
LIBRARIAN: This is a library ... not a zoo!
[he shakes his head in disgust, then puts his glasses back on and resumes reading]
[cut to another male patron playing Guitar Hero in the library, as Guns N Roses' "Welcome to the Jungle" blasts loudly from the television's speakers]
[cut back to the first male patron, as he tries to casually eat another potato chip (but again crunches loudly)]
[cut to another male patron who slams his book shut and looks to his left with an exasperated look on his face ... as the camera pans over to show the chip-eating patron looking over and shrugging his shoulders]
[cut back to the librarian, who continues reading (but smiles as he bobs his head to the music)]
[cut back to the chip-eating patron, who sneaks in another chip (and again crunches loudly), then back to the librarian ... as he stops bobbing his head and takes off his glasses in frustration]
LIBRARIAN: Sir, sir, sir! Can ... can you not chew with your mouth closed? Please!
[he puts his glasses back on and continues reading ... but starts bobbing his head again to the music (and moves his hand back and forth as if he's scratching a record at the DJ booth)]
[cut back to the patron playing Guitar Hero, then three male patrons enter the library throwing a football around ... one goes "long" for the pass, and he bumps into the librarian]
[the librarian composes himself, then (from off camera) he hears the sounds of the patron chewing again, so he takes off his glasses and starts yelling]
LIBRARIAN: Do, do you see anyone else ... making any type of distraction?!
[cut to one of the patrons throwing the football, then back to the librarian as it hits him in the chest (which elicits no reaction out of him)]
[cut back to the chip-eating patron, who starts crinkling the bag trying to grab one more chip from the bottom (making even more noise)]
[cut back to the librarian, who rips off his glasses in exasperation and starts yelling again]
LIBRARIAN: The-the chips! The chips!
[he shakes his head, then cut back to the chip-eating patron]
PATRON: Y'know what? I am out of here! I am, I am so sick and tired of being disrespected!
[the patron stands up]
PATRON: You, you are the worst! The worst librarian ever!
[he storms off, then cut back to the librarian as his jaw drops and he puts a hand over his chest in shock at the accusation]
LIBRARIAN: Oh, oh ...
[he starts fanning himself, then takes off his glasses and can barely spit out the words to express his indignation]
LIBRARIAN: I have ... never!
[cut to the chip-eating patron leaving the library, slamming the door behind him]
[cut to the hallway outside the library, as the patron takes his bag of potato chips and shoves it into the chest of a passing young boy (before continuing to walk off)]
YOUNG BOY: Sweet! Potato chips!
[the boy takes the bag and walks into the library, then cut to the librarian as he smiles and waves at the boy]
[cut to the boy sitting down, as the librarian checks his watch and heads for the backroom]
[cut back to the boy, as he reaches into the bag (making loud crinkling noises)]
[cut back to the librarian, who stops dead in his tracks and slowly turns to look at the boy, removing his glasses and getting an angry look on his face as the scene cuts to black]

Case Study No. 0950: Mr. Falanzano, Miss Jepson, and Denise Pringle

A Day For Surprises
Greenfield Community College students perform the one act play "A Day for Surprises" written by John Guare. Recorded 5/9/09 at Greenfield Community College Sloan Theater.
Tags: Greenfield Community College GCC Greenfieldcc Educational Technology Cente
Added: 4 years ago
From: greenfieldcc
Views: 410

[scene opens with a male librarian sitting at a table and pasting plates into library books, when a female librarian enters the room]
JEPSON: Pardon me, sir, but you have got to look out your window!
FALANZANO: Your paste pot is dried up ... Less time picking up coffee nerves on coffee breaks, more time collecting overdue fines, we might have more of a library.
JEPSON: Mister Falanzano, you have got to look out your window!
[he continues applying paste to the books, hardly paying attention to what she is saying]
FALANZANO: And you used up your two week vacation already?
[he shakes his head]
FALANZANO: Frazzle frazzle frazzle, another nightmare year in the overdue fine room.
JEPSON: [yelling] Sir!
FALANZANO: Alright, alright ...
[he nonchalantly goes over and looks out the window, then quickly returns to his desk with a nervous look on his face]
JEPSON: Tell me what you see!
FALANZANO: It's what I don't see ...
JEPSON: What don't you see?
FALANZANO: There's no lion, the one closest to Forty Second Street.
[he dials his phone]
FALANZANO: [into the phone] Operator? Operator, yes. The stone lion, closest to Forty Second Street ...
JEPSON: [whispers] It's missing, isn't it?
FALANZANO: [into the phone] That stone lion is missing.
JEPSON: [whispers] I know where the stone lion is ...
[he turns to her with an annoyed look on his face]
FALANZANO: That stone lion weighs twenty eight thousand pounds!
JEPSON: [whispers] I know where the stone lion is!
[he shakes his head and puts the receiver back to his ear]
JEPSON: There's a stone lion in ...
[she points off camera]
JEPSON: I assume it's the same one ... There's a lion in the ladies room and it's eaten Miss Pringle!
[he turns to her again]
JEPSON: It's sitting in the ladies room with Miss Pringle's feet sticking out of its mouth! Out of the lion's mouth!
[he puts down the phone with a shocked expression]
JEPSON: I know it's Miss Pringle, I'd been admiring her blue beaded shoes only this morning ... and the way that she braided the hair on her legs into her new black lacy stockings.
[she fidgets and again motions off camera]
JEPSON: It's sitting right by the wash stand, just the way it sits out front ... only Miss Pringle's feet are sticking out of its mouth.
[she sighs and walks towards a nearby book truck]
JEPSON: I ran out of the library screaming, I ran right out onto Fifth Avenue. And when I saw that the lion closest to Forty Second Street was gone ... I thought I had gone insane. I thought I had snapped!
[she motions towards the books on the truck]
JEPSON: All this library paste ... Kids sniff this stuff! I thought it had got to me, but you see it too! I'm not alone! Thank you, Mister Falanzano!
[she goes over and hugs him (as he continues to stand motionless)]
JEPSON: Thank god for you ...
FALANZANO: It's ... it's eaten Miss Pringle?!
[he pushes her aside and runs off camera]
JEPSON: You stay outta there! That's No Man's Land!
[he returns holding a pair of blue shoes]
JEPSON: You peeked into No Man's Land ...
[she casually walks back to the truck and begins pasting plates into the books herself, then turns and looks back at Falanzano (as if she can't understand why he isn't also going back to business as usual)]
JEPSON: No need to worry, really. It says here ...
[she opens one of the books and begins flipping through the pages]
JEPSON: L, L, L, L, L ... "Linnaeum," "Linoleum."
[she stops at one page]
JEPSON: "Lion" ... Lion.
[she begins reading]
JEPSON: "After devouring prey, are satiated for two to three weeks."
[she slams the book shut and smiles at him]
JEPSON: We're safe, Mister Falanzano ... for another couple of weeks anyway.
[she continues sorting through the books]
FALANZANO: Miss Jepson, I ... I loved Miss Pringle!
[she answers him without even looking up from the books]
JEPSON: I liked her too, but for god's sake, let's not get all soppy eyed and sentimental ...
FALANZANO: Miss Pringle and I were going to be married!
[she closes the book she was working on and looks at him]
JEPSON: You sneakies! You and Miss Pringle ... Isn't this a day for surprises?
[she sighs]
JEPSON: You and Denise Pringle ... It's like all the surprises of the world store themselves up for a day when the one thing you do not need is a surprise.
[she goes back to pasting plates in the books, muttering to herself in bemusement]
JEPSON: You and Denise Pringle ... Sunuva gun.
[Mister Falanzano (still crestfallen) slowly walks back to his desk while carrying the shoes]
JEPSON: Like today ... Who needs a surprise today? I was going to go home, curl up with a good book, like any other night. Look at teh phone and welcome even a "Sorry, wrong number." Guiltily turn on my TV and watch re-runs of beautiful domestic comedies. "Father Knows Best." "Make Room for Daddy."
[she stares off wistfully]
JEPSON: "Hi, Lucy! Hi, Doris!" ... And then turn them off because it's time to water my geranium.
[she looks over at Mister Falanzano]
JEPSON: But today will give me something to think about ... A day for surprises.
[she puts down her book and starts walking towards his desk]
JEPSON: You and Miss ... Pringle?
FALANZANO: Me and Miss Pringle ...
[the sound of a lion's roar is suddenly heard off camera, as she jumps into his arms in fright ... which is quickly followed by the sound of the lion burping]
JEPSON: [pause] Would you like to ... come over to my place tonight?
JEPSON: Check over some books ...
FALANZANO: There's a lion outside the door!
JEPSON: Start something between the covers?
[he pushes her away]
FALANZANO: [yelling] Miss Jepson, my fiancee is dead!
JEPSON: Well, what do you want me to do? Start pasting Denise Pringle memorial stickers all over the Britannicas?
[she folds her arms]
JEPSON: I'll do it, but I'm not gonna waste my youth weeping over a not-very-attractive girl who was hardly worthy of you ...
[she sighs]
JEPSON: Life has handed us a surprise! There's so few surprises that I want to leap at the present life has given me ...
[she puts her hands on his face]
JEPSON: You feel so nice ... I wanna leap before the lion eats me!
[he pushes her hands away]
JEPSON: Those blue beaded shoes ... It's not the first time the lion's come to the ladies room and eaten one of the staff. Remember Miss Ramirez?
[he looks at her in shock]
FALANZANO: And nobody reports these horrors?!
JEPSON: There's a lot of lonely girls in this town, Mister Falanzano. You know what the biggest lie is? The more the merrier.
[he rubs his forehead and sits down]
FALANZANO: I don't understand!
[she walks over and rubs his shoulders]
JEPSON: Comfort. Comfort ... I'll sing you a song! A song by Sir Alfred Lord Tennyson. Yes, you'll like that.
[she starts to sing softly]
JEPSON: [singing] Charles gave Elizabeth a dodo.
[he gets up with a disgusted look on his face]
FALANZANO: Books? Poets?!
[he grabs a stack of book plates from the truck and throws them up in the air]
FALANZANO: Sir Alfred Lord Tennyson? I don't wanna hear about books!
[he stomps over to his desk, grabbing a book and tearing the pages out (as Miss Jepson looks on in shock)]
[he begins throwing books and plates all over the floor, eventually putting his head down on the desk and starts crying, while Miss Jepson tries to calmly clean up the book truck]
FALANZANO: My whole world was books, Miss Jepson ... It always has been. Until, until one night.
[he stands up straight]
FALANZANO: I came back late to the library, because I couldn't sleep and I wanted a book. I needed a book ... I demanded the company of a volume! And I heard whimpering from the stacks.
[he gets a far away look in his eyes]
FALANZANO: And there was Miss Pringle, whom I didn't even know had a pass key. Whom I'd never spoken to, even when we met at clearance sales at Marboro Books.
[he gestures off camera]
FALANZANO: There was Miss Pringle, whimpering and holding volumes of Lewis Carroll, Camus, Proust. The Joy of Cooking.
[he smiles]
FALANZANO: Holding these volumes and weeping ... the overdue cards in the backs of the books slipped out like tears that piled up around her ankles, and then her knees.
[he rubs his hands together]
FALANZANO: I cried out, "Miss Pringle!" She stopped and sniffed like a suddenly spied gazelle in some quiet tropical place.
[he leans forward and whispers]
FALANZANO: "Who is that?" she cried out. "I've spent twenty years of my precious life in school and I've just enrolled for classes in the fall. If I don't become a member of the human race soon, I'll kill myself! Who is that? Is that you, Mister Falanzano? Oh, please love me. I'm here. I'm ready."
[he steps away from his desk]
FALANZANO: And we raced to each other, and the wind our bodies created racing ... running to each other, set all the overdue cards flying into the air! Overdue cards no longer, but blossoms from a thank-god early spring.
[he looks down]
FALANZANO: Her pleas for help had sounded an echo ... a Little Sir Echo in my heart. And I quickly undressed her, and then myself. And while she arranged our things with a neatness that was her trademark and the bane of the overdue fine room, I arranged for us on the floor of the Neglected Masterpieces Section, a bed.
[he pantomimes moving things around on the floor]
FALANZANO: A couch made of photostats of Elizabethan love lyrics! She said, "I've never loved anyone so I want this to be good" ... I said "Oh, I've never loved anyone before either."
[he looks away wistfully]
FALANZANO: So, I took out a copy of "Love Without Fear," she took out a "Modern Manual on How to Do It," and we wrapped ...
[he rubs his hands together]
FALANZANO: Like Christmas packages for people you love, we wrapped our bodies! Our phosphorescent, glowing, about-to-become-human bodies around each other, and we began ... reading!
[he smiles]
FALANZANO: For the first time in our lives, we wore flesh for clothing instead of baggy tweed!
[he walks over towards Miss Jepson]
FALANZANO: After many months of this meeting at night in the stacks, undressing and reading all about the art and science of love ... "boning up," you might say, for our final exam.
[she looks away, as he becomes more animated]
FALANZANO: After many months of this study, we felt we had the system down ... Up. In. Oh oh oh.
[he gets behind the book truck and begins thrusting his pelvis while wheeling it back and forth in a suggestive manner]
FALANZANO: We wrote that formula down many times to make sure we knew it by rote ... In the world of sex, you want nothing to go wrong!
[he moves away from the truck]
FALANZANO: So, I bought contraceptives and she bought contraceptives, as we had been instructed to do in the New York Post's weekend series "Stop That Baby" ... and we finally felt we were ready.
[he gets a serious look on his face]
FALANZANO: There was a full moon that night. We took a quick gander at "Human Sexual Response" and cleared our throats. The library closed and we came out of our hiding places after the watchmen passed by, and we met in the stacks of the Rare Book Room!
[he closes his eyes and shakes his head]
FALANZANO: To be double sure, she had wrapped herself in Saran Wrap from head to toe ... and I remembered the lessons I was taught, and I pinned the Playmate of the Month over her head, and proceeded into her.
[he puts a hand over his heart]
FALANZANO: Perhaps some of the one hundred and twenty seven rubber devices I wore on my erect bookmark dulled some of the sensation. But I must say, all went well ... as well as Chapter Seven of "Ideal Marriage" and a pamphlet from the US Government Printing Office had led us to believe.
[he looks down]
FALANZANO: If we were doing it for credit, I would've given us an "A" ...
[he puts his hands on his hips and nods]
FALANZANO: An "A-plus!"
[his expression suddenly changes to one of self-doubt]
FALANZANO: Well ... "B-plus," anyway.
[he slowly walks back to his desk, keeping his back to Miss Jepson]
FALANZANO: Anyway ... A few weeks later, Miss Pringle came to me with tears in her eyes. You were having a coffee break. Tears in her water mark blue eyes. She stood me right here and placed my pasting hand on her womb.
[he places a hand over his stomach]
FALANZANO: I felt a swelling, a ... a distension. Life? Within her?
[he smiles]
FALANZANO: Somehow, despite the one hundred and twenty seven suits of armor, the eleven diaphragms, the six hundred and eighty two white pills, the three one-hundred-foot rolls of Saran Wrap ... somehow, despite all these precautions, life had managed to creep--
[he gets a defiant look on his face]
FALANZANO: No ... triumph through!
[he puts his other hand over his heart]
FALANZANO: I loved Miss Pringle!
[he suddenly puts his head down and starts pacing around his desk]
FALANZANO: She ... did not want the child. We took a book from the uptown Yorkville branch, where nobody knew us.
[he slams a book shut on his desk]
FALANZANO: We took out Ann Landers' "Getting Rid of that Senior Prom Boo-Boo and Put Yourself into Freshman Honors" ... It had all the information, technical and otherwise, to help us to get rid of our child.
[he looks off into the distance]
FALANZANO: What had been our photostatic bed of love now became an operating table, and I remember seeing between her legs the photostat of a poem by Sir Philip Sidney ... "Ring out your bells, let mourning shows be spread, for love is dead."
[he gets an angry look on his face]
FALANZANO: And I, who had been so proud of inserting life into a difficult envelope, proceeded again into Miss Pringle and removed ... n-not a child, not a miniature fetus of myself.
[he lowers his head]
FALANZANO: I removed ... my hand felt it, and I pulled out a small undeveloped volume of the "Complete Works of Doctor Spock."
[he shakes his head, then holds his thumb and forefinger only inches apart from each other]
FALANZANO: It was only this big! Time would've gestated it into a full set! Time and nature ... but what hurt me was that juice!
[he looks upward]
FALANZANO: That juice which I'd bragged ... Oh, that juice which I was so proud, hubristically proud for leaping so many hurdles like a Kentucky Derby Day dark horse winner!
[he shakes his head]
FALANZANO: No no, an Olympic runner who finally carries that Torch of Life and plants it at the very summit of Mount Olympus to claim it for himself ...
[he paces around his desk]
FALANZANO: That juice which I bragged to call triumphant, could only father ... could only create a dull set of books.
[he looks at Miss Jepson]
FALANZANO: Just the flour and water of library paste. Not semen at all ... My life has been lived in books. I had become a book.
[he looks around the room]
FALANZANO: Library paste ... We would've all been better off if we never opened a book.
[he buries his face in his hands, then Miss Jepson gets up and (taking the paste pot off his desk) begins pasting his hand, when she looks over his shoulder]
JEPSON: Look ... The lion's walking down the steps back to its perch.
[she sighs]
JEPSON: Isn't that New York for you, nobody even looks ... They all think it's "Candid Camera!" You could strut down Fifth Avenue N-U-D-E and nobody's even look!
[she takes his hand and places it on her chest ("pasting" them together), then again looks over his shoulder]
JEPSON: The lion is on its perch now. You'd never even know he moved ... except for that little piece of pink garter dangling from its tooth like a salmon.
[she begins placing paste on her free hand]
JEPSON: You'd never even know he moved ...
FALANZANO: You'd ... never even know he moved.
[she places her hand on his cheek (again "pasting" them together), then pulls him in for a hug and begins singing]
JEPSON: [singing] Charles gave Elizabeth a dodo, and never even offered one to me. A lovely lemon colored dodo, with eyes as green as grass ...
[her singing trails off, and the scene fades to black]



A Day for Surprises
John Guare

One Act

1 man, 1 woman: 2 total
Simple Interior

Book Type: DPS
Price: $6.00
ISBN/Code: 978-0-8222-0276-9

FEE: $35 per performance.

THE STORY: Zany and absurdist in style, this hilarious short play deals with the surprising day on which one of the stone lions in front of New York's Public Library left its perch long enough to devour one of the lady librarians. The victim was also the fiancée of a fellow worker—whose grief leads to an enormously funny recounting of their brief liaison. But, as the satiated lion resumes his customary perch, consolation is at hand in the form of another lady librarian, and we are aware that still more surprises are likely to come as life goes on its unpredictable way.



A Day for Surprises is a short one-act comedy about how people in modern society often live life vicariously while avoiding contact, love, and relationships with others. Guare sets the play in the New York Public Library, which he mocks as a staid, lifeless, and banal milieu. The two characters in the play are simply designated as A and B, reduced by their mundane positions to merely letters: this is particularly apropos since they both work in the library and are bibliophiles. B is actually Mr. Falanzano, in charge of the pasting room, and A, his subordinate, is Miss Jepson, who labors in the overdue fine office. Their daily drudgery is momentarily interrupted when the twenty-eight-thousand-pound stone lion on Forty-Second Street comes to life (the only thing alive in this library) and devours Denise Pringle, B's fiancee, in the ladies' room. Guare gives A and B, two lifeless individuals, exactly what they need: a surprise - something to shock them out of their daily inertia.

Miss Jepson needs some excitement to break the routine of her banal existence. She describes her evening's plans to Mr. Falanzano: "I was going to go home, curl up with a good book, like any other night - look at the phone and welcome even a Sorry Wrong Number ... Guiltily turn on my TV and watch re-runs of beautiful domestic comedies - Father Knows Best - Make Room For Daddy - hi, Lucy, hi, Doris! Then turn them off because it's time to water my geranium." Thus, after being surrounded by books all day long, Miss Jepson does not have enough imagination to do anything else but read. Then she turns to television to provide her with the domestic life that she lacks, interrupting her fantasy life only because the routine of watering her flowers demands it. Attracted to B, she invites him to her place to "start something between the covers" (19), indicating that she might have in mind merely a chat about books or perhaps something more romantic. She admits, "There's a lot of lonely girls in this town, Mr. Falanzano" (19).

Mr. Falanzano's life has also been fairly parochial, with books establishing an identity for him. As a result, the librarian, in frustration, proceeds to tear apart the books in the pasting room. He reveals how he got to know Miss Pringle for the first time. Mr. Falanzano returned to the library one evening when he could not sleep, hoping to find a good book. There he met Miss Pringle, who was totally absorbed in Lewis Carroll, Proust, Camus, and The Joy of Cooking. They had known each other earlier after having met during clearance sales at Marboro Books. Pursuing their common interest in reading books at the library, they soon fell in love. During the months that followed, they often would rendezvous in the stacks after the library was closed, strip themselves of their clothes, wrap their bodies around each other, and begin reading. They eventually decided to consummate the relationship: "I bought contraceptives and she bought contraceptives as we had been instructed to do in the New York Post's weekend series - Stop That Baby, and we finally felt we were ready. There was a full moon that night. We took a quick gander at Human Sexual Response and cleared our throats" (21). Guided by chapter seven of Ideal Marriage and a pamphlet from the U.S. Government Printing Office, they had sex together. Despite the precautions taken, Miss Pringle later became pregnant. The result of the pregnancy was their baby: a volume of the complete works of Doctor Spock. Mr. Falanzano laments that the only thing he could father was a set of dull books: "The flour and water of library paste. Not semen at all. My life has been lived in books" (22). A, overcome by this love story, begins pasting herself to B, the only way she can make contact with him.

A Day for Surprises contains several of the motifs Guare works into his more mature dramas. In this early play, Guare focuses on the need to live life fully rather than vicariously through words and images created by others. Guare is suggesting that imagination is the key to establishing an identity for oneself and to making contact with others who might share the same interests. However, being obsessed with anything (including books, television, media hype, or movies) can be distracting and ultimately mundane, leading us away from more imaginative and rewarding real experiences. Those who lead such parochial lives need to invigorate themselves every once in a while with a day for surprises. Similarly, Guare demonstrates that the form of his plays matches the content; what begins as realism is suspended from its inertia by Guare's absurd view of life, in which surprise turns conventional drama into something more creative and imaginative.