Friday, February 7, 2014

Case Study No. 1226: Patrik Schylstrom

Holes, Huts & Hidings: Mystery at Stockholm Public Library (Eng/Dan Subs)
3:59
Street Artist Adams has replaced nine padlocks around Stockholm city with his own.
The keys for the padlocks he has placed inside books along with a map to the location of the padlock.
The books have then been placed in Stockholm Public Library for people to access freely.
- As "a public service for public space".

Librarian Patrik Schylstrom tells about his thoughts when he first discovered these books.


If the English subtitles doesn't show up, make sure to turn captions on (CC or arrow-button) in lower right corner of the player.

(Also sorry if there's any mistakes in the subtitles, Swedish is not my native language).
Tags: Adams Itso Street Art graffiti Sweden Sverige Stockholm Library Bibliotek public Stadsbibliotek secret hemmelig nycklar, nogler keys Holes Huts Hidings Patrik Schylstrom Inside Outside 11. Time Akay Urban UE
Added: 2 years ago
From: Ptrisja
Views: 1,166

[scene opens with a male librarian speaking directly to the camera]
PATRIK: [translated] My name is Patrik Schylstrom, I am a librarian here at Stockholm Public Library.
[cut to footage outside of the library ("Stockholms Stadsbibliotek"), then back inside where the librarian is speaking directly to the camera]
PATRIK: [translated] As you can see, we have a lot of books. We have about half a million just here in the building.
[cut to footage of the books on the shelves, then back to the librarian]
PATRIK: [translated] Some months ago, we discovered something peculiar. At first one book, but then several books in a hall a little bit from here.
[cut to Patrik walking through the library]
PATRIK: [translated] The reason for the existence of libraries is so every human has the same right to gain information about society so one can influence society. That's an important democratic right. And that's why I found it interesting when we discovered a key in one of our books.
[he stops and points off camera]
PATRIK: [translated] If I remember right, it was one of the books behind me. In between one of the Stockholm books.
[he walks over to the shelves (passing several patrons), then stops]
PATRIK: [translated] Here we have the shelf with Stockholm literature. And in one of the books we found ... The book was hollow. It wasn't a real book, and there was no title as well.
[he shrugs his shoulders]
PATRIK: [translated] And inside that book, once opened, we found a key that hung on a small hook. It was as a little piece of art.
[cut to a closeup of the librarian]
PATRIK: [translated] And this artist calls himself Adams. He moves mostly in Stockholm. In subways and other public spaces in Stockholm. And this time he had placed hidden keys in books. And these keys go to different places ... Uh, old shelters, a variety of places around Stockholm. It could be under a bridge.
[he smiles]
PATRIK: [translated] And his idea was that people who needed it, homeless people or others that needed a place to sleep at night, could take this key and then sleep a night or two at the place and later return the key back to the shelf again.
[he shrugs again]
PATRIK: [translated] I don't know who has used it, but I do think it's a very interesting art project ... When we first discovered these books, I experienced several strong reactions from my colleagues.
[the camera pans back]
PATRIK: [translated] Some thought that ... "We have to report this! It is wrong, this we cannot have here! There should only be normal books at the library!"
[he smiles]
PATRIK: [translated] But some, like me, thought that this was very interesting, because it puts the finger on important issues ... Who is it that really takes care of the homeless? And who takes responsibility for them?
[he smiles]
PATRIK: [translated] If this is art, political art, then I think ... This really is of high level. Very important political art.
[cut to Patrik in another part of the library]
PATRIK: [translated] This project put thoughts in progress inside the heads of some of my colleagues and I. We have an idea. We are working on a project. Maybe we can work with others who are good at IT technology and the role-playing world, and hide keys. Maybe do hints around the library using the GPS function in people's cell phones. Having the libraries in Stockholm as a form of playroom with clues.
[he shrugs his shoulders]
PATRIK: [translated] At the same time, you'll learn things about finding and getting to ask questions about the city of Stockholm ... Like a quiz that's playful and educational at the same time.
[he smiles]
PATRIK: [translated] Sort of a mixture of role-playing and knowledge at once ... So we'll see if it turns into something. I hope so.
[cut to Patrik standing in another part of the library]
PATRIK: [translated] I wish I could meet Adams, I would like to meet him. This artist is a ... "street artist," I think they call themselves. Uh, they're not as anonymous as graffiti artists, but a lot of them do live a little in hiding.
[he gestures with his hand]
PATRIK: [translated] They're not as apparent, and I haven't met any ... but I'd like to meet him.
[he smiles]
PATRIK: [translated] I'd like to have a discussion about the public space ... Who has the right to it? Should everything be sold, or should there be a common outer for the whole community to take part in?
[he smiles]
PATRIK: [translated] And I think he would be very cool to have, down here at Stockholm Public Library ... Giving a lecture or something like that. He could be a perfect guest, I think. One of my favorite guests.

---

From wikipedia.org:

Adams, born 1969 or 1970, is the pseudonym of a graffiti writer and street artist from Stockholm, Sweden.

In his art, Adams highlighted issues of public space, including the phenomena of visibility and accessibility. He has built illegal houses on the river Spree in Berlin, and in a yard in Turku, Finland. Together with the Danish street artist Itso in 2003, Adams found an unused space under the Central Station in Copenhagen near track 12 and made it into a home using only material that they found on construction sites; they created a fully liveable room with framed pictures on the walls as well as a kitchen and beds. The room was discovered in 2007, in connection with construction work on the station, and was highlighted in a long feature on Danish television. Like a lot of other street art, a huge part of Adam's art is that it is erected in public places without permission , making it illegal.

Adam is also working on a project that he calls Arkitek, which is a kind of library space, where you can "borrow" access to rooms that are otherwise closed to the public. This project is described in the book "Holes, Huts and Hidings" from 2006, with art critic Peter Cornell in an essay highlighting Adams' place in art history and his significance for contemporary art.

Case Study No. 1225: Otto Kaiser

Cities in Motion: Preview Gameplay-Video I Car Crash
0:40
Librarian Otto Kaiser has crashed his Landrover on the corner of the Getreidemarkt and the Wienzeile. As you can see the police has closed of part of the road and a traffic-jam is starting to form to the rear of the crash.
Tags: cities in motion metro subway game transportation
Added: 3 years ago
From: SingletonMosby1863
Views: 3,591

[scene opens on The Wienzeile in Austrian city of Vienna, as the camera focuses on a blue SUV up on the curve with smoke coming out of the hood, while "February 26 1985" appears on screen and "A traffic accident has occurred!" runs along the bottom of the screen in red text]
[the player clicks on the car, as a portrait of the owner (male librarian, receding hairline, thick glasses, mustache) appears in the lower right-hand corner]

Otto Kaiser
- White Collar
- Apartment Building
-
-
-
- SUV
- Sudosttangente Wien
- Library
- By car

[the camera zooms out to show the entire neighborhood, as a picture of the car ("Wienzeile, 48% traffic") remains in the lower right-hand corner]

---

From paradoxplaza.com:

Cities in Motion (CIM) is a city-based mass transportation simulator for the PC. Players operate their own transportation company, building a public network with a variety of vehicle types, including buses, trams, and subway trains.By meeting the needs of city residents, the player tries to make as much profit as possible. Observing the changing and growing city, as well as the different types of people in it, is key to building a successful and efficient network.

* Explore four different cities: Vienna, Helsinki, Berlin, and Amsterdam
* Engage in a campaign with 12 scenarios, as well as a sandbox mode where all campaign cities are playable
* Experience realistic 3D graphics with more than 100 unique, highly detailed buildings
* Use the advanced map editor to create your own cities
* Immerse yourself in an advanced economic simulator as you struggle with banks and shifting economic trends
* Play through 100 years of transportation history throughout four eras, spanning from 1920 to 2020
* Choose between more than 30 different vehicles based on real-life models of buses, trams, water buses, helicopters, and subways, complete with an underground view
* Meet residents' travel needs as 7 different social groups exhibit different passenger behaviors
* Experience a real-time city and traffic simulator as each location's bustling population commutes between their homes, jobs, and leisure sites

Thursday, February 6, 2014

Case Study No. 1224: Staff of Unnamed Library (Puzzle To My Heart)

Puzzle To My Heart
8:49
"A puzzle-obsessed Stacks librarian discovers a series of codes in books that lead her to her one true love."

Turn up the volume, please! Made for my TFA 420 class. Check out the blog that documented the process at http://tfa420.blog spot.com/
Tags: alyssa ricigliano tfa 420 bsc student film student film puzzles puzzle librarian library solving mystery love story puzzle to my heart BSC TFA TFA college production puzzle to my heart tfa
Added: 2 years ago
From: BacklashSymphony
Views: 94

I'm Not On A Horse
Productions

Julia Squilla
James Matias
Ryan Conner

Puzzle to My Heart

[scene opens in a college library, as a female student worker is sitting down and playing with a Rubik's Cube, when a male student worker walks up behind her]
SIMON: Hey, Cassandra.
CASSANDRA: Hi.
SIMON: I have a patron request for you.
[he hands her a piece of paper, and she sighs]
CASSANDRA: Another one? That's like the third one today ...
SIMON: Someone's counting down to the end of their shift.
CASSANDRA: Well, my puzzle's can only keep me busy for so long.
[cut to a closeup of her Rubik's Cube, then Simon picks another one up off the table]
SIMON: I don't know how you finish these things. I can barely start 'em, let alone--
[she gets up and starts walking away (looking at the patron request and barely paying attention to him)]
CASSANDRA: I find 'em rather easy, actually. Um, I hafta go fill this out ... Can't keep the head patron waiting.
[she leaves, then he sits down and bangs his head on the table in frustration]
SIMON: Stupid, stupid! Of course she would find it easy!
[another male student worker walks up behind him and puts his hand on his shoulder]
NICK: Boy, have you got it bad ...
[he laughs, then sits down next to him]
NICK: Should'a said something funny. Chicks dig humor. Maybe she'd actually have a conversation with you, if you didn't screw it up everytime.
SIMON: Quit bustin' my balls, Nick ... You know I can't talk to the girl. It's bad enough that I hafta work with her four days a week.
NICK: Dude, you're higher up on the library chain than she is. Tell her you'll fire her if she doesn't go on a date with you.
SIMON: Oh yeah, that'll go over real well ...
NICK: Yeah, you're right. She'd probably punch you. You'd go out like a light.
SIMON: [pause] Remind me why we're friends again?
NICK: Because without me, you wouldn't have a girlfriend ... Oh right, you don't have a girlfriend.
SIMON: I want Cassandra, but she's just so unreachable. She always has her nose buried in one of those puzzles.
NICK: So you should write some sappy love note, or ... write some crap about your feelings in a crossword or something. Y'know what, I bet I could find a website that's already done it for you. Then you wouldn't have to do any work.
SIMON: It doesn't really work that--
CASSANDRA: [from off camera] What're you goons up to?
[cut to a shot of Cassandra standing behind them]
NICK: Oh, you know ... the usual. Just plotting to break into the Playboy Mansion.
[cut to Cassandra sitting on the floor in the stacks, trying to solve a logic puzzle instead of reshelving books]
[cut to another shot of Cassandra, as she notices Simon walking up, so she tries to hid the puzzle behind her back]
SIMON: Don't worry, I won't tell.
[she places the puzzle on a nearby bookcart]
CASSANDRA: Thanks. Um, you have a patron request for me?
SIMON: Not this time. I found something you might like to see.
[he hands her a copy of "The Onion Girl"]
SIMON: I found some writing inside that looks like a code. Maybe you can figure it out ...
CASSANDRA: Charles de Lint is one of my favorite authors, why would someone write in one of his books?
SIMON: I dunno, maybe he had something nice to say about him.
CASSANDRA: This code looks easy enough to crack. I think I can do it.
[cut to Cassandra alone in the library, as she looks through the book]
CASSANDRA: "Yakka?" It doesn't make any sense, that's not even a word ... They must mean the full word, not just the letter.
["I love Charles de Lint and" appears on screen]
CASSANDRA: "I love Charles de Lint and ... "The Glass Castle, Ninety Five."
[she closes the book]
CASSANDRA: It must be a page. I gotta look into this.
[cut to Cassandra pulling a copy of "The Glass Castle" off the shelf, as "Swings are one of my favorite things" appears on screen]
[cut to Simon sitting in the library, as Cassandra walks up behind him]
CASSANDRA: Simon, do you know where I can find a copy of "Catching Fire?"
SIMON: Who's the author?
CASSANDRA: Kay Nolte Smith.
SIMON: Check in the "P"s.
CASSANDRA: Awesome, thanks.
[she starts to walk away]
SIMON: Sure you're not looking for Suzanne Collins' book?
CASSANDRA: Actually, I'm not sure. Where would I find that?
SIMON: Should be under the "P"s as well ...
[cut to Cassandra pulling another book off the shelf and flipping through it, as "You remind me of flowers, and" appears on screen]
[cut to Cassandra pulling a copy of "The Shining" off the shelf and flipping through it, as "You know who I am, fine me" appears on screen]
[cut to a shot of Cassandra from the opposite side of a bookshelf, as she looks through the empty space where a book should be]
CASSANDRA: No! Where is it?
[cut to Cassandra walking up to the front desk, where she speaks to an elderly female librarian (brown hair, glasses)]
CASSANDRA: Hi.
JOANNE: Hi Cassie, how are you?
CASSANDRA: I'm fine, uh--
JOANN: That's good! Can I help you with something?
CASSANDRA: Actually, yeah. I was looking for a book, and I couldn't find it upstairs. Maybe you have it down here ... "Fahrenheit Four Fifty-One, Fiftieth Anniversary Edition?"
JOANN: Okay, let me check.
[she starts typing on the computer]
JOANNE: We do have it, but not the edition you're looking for. We have an older version.
CASSANDRA: Can you tell me who has it now?
JOANN: I'm sorry, I can't.
CASSANDRA: Please, just this one time? Please? Please, just this one time.
JOANN: [pause] I'm sorry, Cassie, but that's library policy. We can't reveal who has a book checked out.
[Nicke enters the scene]
NICK: Hey JoAnn, there's a kid in the POP department who's looking for a book. He needs some help.
JOANN: Okay.
[he leaves, then Joanne starts to get up]
JOANN: Cassie, the person who has the book will return it in three days. Uh, I'll come back later and reserve it for you.
CASSANDRA: Okay.
[she leaves, then Cassandra (after making sure she's gone) sits at the computer and accesses the patron file]
CASSANDRA: Simon ...
[cut to Simon reshelving books, when Cassandra walks up behind him]
CASSANDRA: Simon, I need to talk to you.
SIMON: Sure, what's up?
CASSANDRA: You have a book that I need.
[he smiles and plays innocent]
SIMON: Do I now? And what book would that be?
CASSANDRA: "Fahrenheit Four Fifty-One, Fiftieth Anniversary Edition."
SIMON: And what makes you think I have it?
CASSANDRA: I, uh ... the librarian told me that you have it.
SIMON: If I recall correctly, there is another copy available.
CASSANDRA: No, I need the one you have, I left something important in it.
SIMON: Oh? And what would that be?
CASSANDRA: Why are you asking so many questions? Just give it to me!
SIMON: What, I can't be interested?
CASSANDRA: Wait ... You know who it is. You know who it is I'm looking for!
SIMON: And how would I know that?
[cut to previous footage (now in black and white) of Simon giving her the initial book]
SIMON: I found some writing inside that looks like a code. Maybe you can figure it out.
[cut to more black and white footage of Simon]
SIMON: Sure you're not looking for Suzanne Collins' book?
[cut back to Cassandra with an incredulous look on her face]
CASSANDRA: No, there's no way!
SIMON: Why not?
CASSANDRA: Because ... because you're not capable of pulling off something like this!
SIMON: Why? Because I'm not you? I can't solve a Rubik's Cube, so that means I can't follow a simple code?
CASSANDRA: You can't even solve a basic puzzle, how could you possibly make something I couldn't--
SIMON: God, how can you be so selfish?
CASSANDRA: Selfish? I am not selfish!
SIMON: Yes you are! You don't care about anybody but yourself! All you care about is your stupid puzzles ... I did this to get your attention, and now that I have it, you're not who I thought you were!
[he starts to walk away]
SIMON: You want the book? Here!
[he takes a book off of his bookcart and throws it to the ground]
SIMON: I don't need it anymore! And I don't think I need you, either ...
[he walks away (as Cassandra bends down to pick up the book), then cut to Simon angrily reshelving books in another section of the library, when Nick walks up behind him]
SIMON: I'm not in the mood for your wisecracks ...
NICK: I know ...
SIMON: Then leave me alone.
NICK: She quit this morning. Just thought you should know ... Oh, and she left you something.
[he puts a piece of paper down on his bookcart and walks away, as he opens it up to find a note reading "I'm sorry, Simon"]
[cut to another angle of Simon reading the note, as Cassandra (out of her student worker uniform and wearing a white blouse with black pants) enters the scene]
CASSANDRA: Can you forgive me?
[he looks up, still with an annoyed look on his face]
SIMON: You aren't supposed to be up here.
CASSANDRA: I know, I just ... wanted to apologize.
SIMON: Why'd you quit?
CASSANDRA: JoAnn found out that I looked up who got out "Fahrenheit Four Fifty-One," and she had to write me up. I can't afford to lose another job, so I quit.
SIMON: Where you gonna work?
CASSANDRA: There's a coffee shop on campus that's hiring
SIMON: But you won't have time to do your puzzles ...
CASSANDRA: Yeah, but I'll have access to those awesome chai lattes.
[they both look at each other and say "They're my favorite!" at the same time, then laugh nervously]
CASSANDRA: So, I have a question for you.
SIMON: Shoot.
CASSANDRA: If you wanted to ask me out, why didn't you just do it?
SIMON: Well y'know, me and Nick were plotting to break into the Playboy Mansion--
[he smiles as she playfully hits him on the shoulder, and the scene cuts to black]

Produced, Directed, and Written by
Alyssa Ricigliano

Cassandra
Julia Squilla

Simon
James Matias

JoAnn
Carol Henning

Storyboard
Ashley Oberg

Sound by
Alyssa Ricigliano
Ryan Conner
Julia Squilla

Edited by
Alyssa Ricigliano

Music by
No Time to Think

---

From blogspot.com:

"Puzzle to my Heart" -- the story of a puzzle-obsessed Stacks librarian who discovers a code in a book and follows it to a series of books, each with a coded clue inside. You see, she never met a puzzle she didn't love. The code takes her on a journey of more codes in order to learn the identity of the person who created the greatest puzzle she would ever solve. Little does she know that the creator is someone she overlooks on a daily basis. This is an intellectual love story with a surprising twist.

After the opening credits roll over a montage of Rubik's cubes and other such fun puzzles, we meet our hero and heroine, Simon and Cassandra, respectively (whose names are subject to change). After Simon sends Cassandra off to fulfill a patron request, we meet Nick, Simon's closest male friend who lays down the first clue to solving the code creator's identity (not that it will be terribly difficult to figure out anyway). Later on, Simon discovers the first book with the first code written inside and presents it to Cassandra to solve. This leads Cassandra on the hunt to discover the next clues in the next series of books which leads her to the final book which can't be found as it has been taken out. Cassandra talks to a coworker about finding the person but due to library policy the name cannot be revealed. So Cassandra waits for the opportune moment to discover the person's name who took the book out and this leads her to find that the identity of (SPOILER) the creator of the code is actually Simon (I did mention it wouldn't be terribly difficult to figure out, didn't I?). After a short fight between the two, Cassandra quits her job. The next day, Nick gives Simon a letter from Cassandra and leaves before Cassandra appears and apologizes. She explains the reason why she quit and he forgives her (the ending is hopefully as funny out loud as it sounds in my head). The end. Ending credits have yet to be decided, but will likely mimic the opening credits.

Posted by Alyssa Ricigliano at 3:17 PM

Case Study No. 1223: National Taiwan University Librarian

Library Boyz
3:46
This is the English version of 2012 NTU library promotional video -"?????????"(http://www.you tube.com/watch?v= nTrNSQ7QwSM) ? The story is about four university students making use of university library's various resources and services to assist them in completing their "almost overdue" project. The video is entirely directed, filmed, and edited by the NTU librarians.
Tags: library National Taiwan University ????????? ?????
Added: 1 year ago
From: ntulibcv
Views: 157

This is a Story of Pain, Struggle, and Salvation between Four Young Men and the Library
Any Resemblance to Real Life Events are Purely Coincidental

[the first panel shows four male students (with "Sigh" word balloons floating above them) sitting in their dorm room]
[the second panel shows a closeup of two of the students]
STUDENT 1: So bored, is there anything to do?
STUDENT 2: How 'bout hanging out at the library?
[the third panel shows the four students as a giant ellipsis floats over them, soon replaced with a flashing lightbulb]
[the fourth panel shows the exterior of the National Taiwan University Library, as the four students "sneak" into the front entrance]
[the fifth panel shows the students passing through the Music Bay, when one of them stops and gets two red exclamation points above his head]
[the sixth panel shows the student with a pair of headphones, as he puts them on (with "Puts On" sound effect appearing above his head) and bobbing his head to the music while the others continue forward]
[the seventh panel shows the remaining students passing by the New Arrivals Desk, when one of them stops and gets two red exclamation points above his head]
[the eighth panel shows the student grabbing a book, as he sits down (with "Sits" sound effect appearing below his posterior) and starts reading while the others continue forward]
[the ninth panel shows the remaining students passing through the Casual Reading Area, when one of them stops and gets two red exclamation points above his head]
[the tenth panel shows the student grabbing a magazine, as he sits down (with "Sits" sound effect appearing below his posterior) and starts reading while the remaining student continue forward]
[the eleventh panel shows the last student passing through the Multimedia Services Center, when he stops and gets two red exclamation points above his head]
[the twelfth panel shows the student grabbing a DVD from the shelf, as he takes out his cellphone and begins typing]
[the thirteenth panel shows the other students answering their cellphones, each getting a "twinkle" effect on their glasses as they read the text message]
[the fourteenth panel shows the four students sitting on a couch in the library and watching the movie]
[the fifteenth panel shows a female professor (with "Prof." above her head) with a surprised look on her face]
[the sixteenth panel shows the professor walking up behind the students]
PROFESSOR: Is this the time for movies? You guys do remember tomorrow is group presentation day, right?
[the seventeenth panel shows the four students standing up (each of their heads replaced with the face from Edvard Munch's "The Scream") as "Uh-oh" appears above them in giant letters]
[the eighteenth panel shows one of the students with his hands up in panic]
STUDENT 1: What should we do?!
[the nineteenth panel shows another student holding his fist up defiantly]
STUDENT 2: We must work together!
[the twentieth panel shows the students standing together in unison]
STUDENT 3: I'll look for books!
STUDENT 1: I'll look into industry reports!
STUDENT 4: I'll photocopy the periodicals!
STUDENT 2: I'll put it all together!
[the twentieth panel shows them all raising their fists up against a red background, as "Move Out!" appears above them]
[the twenty first panel shows one of the students balling up his fists and screaming against a red background, as "Books!!" appears above him]
[the twenty second panel shows him checking the online catalog on his phone ("New York : Routledge, 2011 / E175.8 V35 2010"), then rushing off with motion lines behind him and "Go~" appearing above his head]
[the twenty third panel shows the stacks area, as the student's head pops up and a "twinkle" effect appears on his glasses]
[the twenty fourth panel shows the student standing in the stacks, holding books while "sparkly" effects surround his head]
[the twenty fifth panel shows a black background as "Meanwhile ... " appears on screen]
[the twenty sixth panel shows one of the students (the one who's going to "put it all together") calmly leaning against a column outside of the library, sipping a cup of tea as "Waiting for everyone" appears next to him]
[the twenty seventh panel shows one of the student's legs running against a red background, as "Industry Reports!" appears above him]
[the twenty eighth panel shows the student at the Reference Service desk speaking to a young female librarian, as he grabs a laptop computer and screams]
STUDENT 1: How do I search for foreign industry reports?!
[the twenty ninth panel shows the librarian with a "twinkle" effect on her glasses, as she points to her computer]
LIBRARIAN: You can use our Library Database.
[the thirtieth panel shows the student grabbing the computer monitor and screaming (as "Holy Cow!!!" appears above his head), as the librarian calmly starts typing]
LIBRARIAN: I'll demonstrate ...
[the thirty first panel shows a closeup of the student against a black backdrop, as "Learned 'Database' Perk" appears below him]
[the thirty second panel shows the student sitting at her desk and typing on the laptop, as the librarian stares at him with a large "sweat drop" effect appearing on the back of her head]
STUDENT 1: I'll use it right now!
LIBRARIAN: Do you have to do it here?
[the thirty third paenl shows a black background as "Meanwhile ... " appears on screen]
[the thirty fourth panel shows the "put it all together" student standing in a room by himself, doing stretches to crack his back]
[the thirty fifth panel shows one of the students against a red background, as "Photocopying Periodicals!!!!" appears above him]
[the thirty sixth panel shows the student carrying a large stack of bound periodicals out of the stacks against an orange background, as "Huuuooohar!!" appears above him]
[the thirty seventh panel shows the Photocopy Room, as the student reaches in from off panel and presses a button on the photocopy machine]
[the thirty eighth panel shows the student standing next to the photocopy machine while striking a triumphant pose, as "OK~!" appears above him]
[the thirty ninth panel shows a black background as "Meanwhile ... " appears on screen]
[the fortieth panel shows the "put it all together" student with his head down on one of the tables in the library, snoring loudly]
[the forty first panel shows the "industry reports" student slamming the laptop closed (as "Done!" appears above his hand), then taking out his cellphone as he begins typing]
[the forty second panel shows the words "We can start putting it together! Meet up at learning commons!!"]
[the forty third panel shows the other three students looking up (including the sleeping one), as two red exclamation points appear in the middle of the screen]
[the forty fourth panel shows the four students in the Learning Commons, each working on their individual tasks (typing on a laptop, shuffling through papers, writing in a notebook, leafing through a book) while sitting at the same desk]
[the forty fifth panel shows the "put it all together" student standing at the front of the room, gesturing towards a PowerPoint presentation on the projection screen, as the other students nod in approval]
[the forty sixth panel shows a white background as "Presentation Day" appears on screen]
[the forty seventh panel shows the four students standing against a red background]
[the forty eighth panel shows the students standing in front of a projection screen, which reads "The End! Thank You For Listening"]
[the forty ninth panel shows the professor giving them a thumbs up, as "Splendid Job! appears above her head]
[the fiftieth panel shows the four students cheering, as "Mission A-Ccom-Plished" appears above their heads]
[the fifty first panel shows a screenshot of the NTU Library's Facebook page, as the four students "burst" through the panel, each giving a thumbs up and screaming "Like!"]
[the camera zooms out to reveal someone off camera closing the manga, with "By NTU Library Multimedia Services Division" written on the back cover]

---

From ntu.edu.tw:

The National Taiwan University Library was established in 1928. It's currently the largest university library in Taiwan.

Case Study No. 1222: Tom the Ninja Librarian

"Ninja Librarian" book trailer
0:55
Ninja Librarian, by Rebecca M. Douglas
1490519769
Tags: ninja librarian
Added: 4 months ago
From: ToonLib
Views: 11

A humorous set of tall tales set in the highly fictional gold-country town of Skunk Corners

It's the story of a dusty, tough, unfriendly town that gets a new outlook on life thanks to ...

The Ninja Librarian

A mild-mannered librarian who offers his wisdom with a little extra when folks don't listen ...

---

From amazon.com:

The Ninja Librarian (Volume 1)
By Rebecca M Douglass

Skunk Corners is a pretty miserable place when the Ninja Librarian moves in. It's just another dusty, tough town in the dusty, tough hills. Folks there aren't too friendly, and they don't see much need for high-falutin' nonsense like schools--or libraries.

But from the moment the unassuming, white-haired gentleman steps off the train and into these tall tales, the changes in Skunk Corners begin, in equal parts exciting and bewildering to Big Al. The Ninja Librarian uses wisdom, patience, book-learning. . . .and a few well-placed kicks and jabs. . . to change the town, and Al, forever.

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From goodreads.com:

The Ninja Librarian is a collection of stories told to us by Skunk Corners' unlikely school teacher, Big Al, who watches with fascination as an older gentleman comes to town one day. The stranger means to reopen the town library, which no one in town thinks they have a use for. But a funny thing happens when they try to scare him off: he calmly reaches into his pocket for something that isn't a black handkerchief after all...

Completely absurd in premise but wonderfully realized, these stories follow Al and the ninja librarian (Tom) as problems large and small pop up, and are solved, in Skunk Corners. The writing captures the feeling of tales told around a campfire, and I'd imagine would make for great out-loud reading to children. However there is a depth and flow here that makes The Ninja Librarian equally enjoyable for adults. Big Al is an excellent point of view character and has a "voice" that makes this volume very easy reading and hard to put down.

Check any preconceived notions or predisposition against the off-beat at the door and experience a book that does one of the best things good stories can: make the reader smile a lot.

---

From ninjalibrarian.com:

Up to now, I have allowed young Alice to narrate events in our town of Skunk Corners, and for the most part she has done an admirable job. On deep reflection, however, I have determined to set straight the record on a few points.

Young Alice has an unfortunate tendency to depict me as both mysterious and, there is no other word for it, stuffy. I confess to the former, as both certain vows I took and long years of habit render me reticent about my personal life and history, and disinclined to explain myself. The charge of stuffiness, however, I most heartily deny. I am an educated man, of course, and inevitably I do speak as such. There is nothing wrong with that, and indeed I believe any attempt to speak and act otherwise would render me absurd. But to be formal is not to be stiff or stuffy.

That point settled, I wish to recount my experience of my arrival in Skunk Corners, as young Alice has very clearly expressed her own and the town's reaction to my arrival.

Skunk Corners did take me very much by surprise. Rather, on my arrival I saw much what I expected: a collection of ignorant people bent on demonstrating their ignorance. I responded as I had been taught, withholding judgment only from Alice, of whom I had been told something. I consider this forbearance to have been fortunate and highly rewarded.

For I did know something of the town before arriving. And I knew that the school teacher was a young woman who dressed and acted as a boy. I ought to have assumed her to be coarse and uneducated, and our first meeting certainly did little to change that idea.

And yet. She went out of her way to warn me of the welcome planned for me, and for that I would give her a chance, despite her coarse appearance and dreadful abuse of the language.

Young Alice herself has recorded the outcome of that decision, and you can conclude that in the end I found something different than the crude collection of cruder individuals I had anticipated. What Alice has not shared, simply because she does not know it, and I have been disinclined to tell her, is the manner of my passing my first night and morning in Skunk Corners.

I was all eyes and ears when I stepped off the train in this town that was to be my home for the next months. I have never told Alice, nor anyone else in Skunk Corners, but this was my first time out West. All my other assignments had been in the larger cities back East, as indeed are most Ninja Librarian assignments. It is in those cities, with their gangs on both sides of the law, that there is often the greatest need for a librarian who is both educated and skilled in the ways of the Ninja.

It had been some thirty years earlier that the heads of the Society had gotten the idea to build libraries in the new towns springing up out West. It was only now that they were realizing that some of those libraries needed to be staffed by the Society.

So there I was, after what seemed a lifetime riding trains of ever-shrinking dimensions, walking down the street of my first Western town.

It wasn't much to look at. Depot, church, Mercantile, teashop, bank, tavern, school, library, and a City Hall with a fine façade hiding a shoddy pine shack.

I noticed everything that day. No one was expecting me, but a number of idle men hung about the depot, so I introduced myself.

"Good day, gentlemen. I have come to serve as your librarian. You may call me Tom." They didn't, of course, call me any such thing. Two nodded, which I took as a greeting, and one spat on the platform, which I did not. A fourth called me something else entirely which I will not repeat here or anywhere.

Somehow, by the time I had crossed the platform and stepped into the dust of what they called Main Street, word had spread through the settlement, and every porch and doorway bore a watcher, not one of whom deigned to offer a greeting. At the end of the street, the library and school glared at each other across the dusty thoroughfare, just as the school children gazed at me in open hostility.

Of their teacher I saw nothing at that juncture, nor did I much wish to.

When finally I entered the library and closed the door behind me, I sagged with relief. In other places I had been librarian, a small violent element prevented a peaceful majority from using the library as they wished. In this gods-forsaken town, it seemed every resident wished me gone.

Or dead.

The thought did not fill me with either joy or hope that I would make a difference, though I would fulfill my vows and make every effort.

The contemplation of the interior of my rooms did little to comfort me. If the Society had thought to include a stove in their design for the living quarters, there was no indication of such now. Only an open hearth greeted me as the means to heat both myself and my meals. A stale smell of untouched books and dead air pervaded every corner.

I am quite aware that many of my new neighbors had lived and possibly even thrived in such conditions all their lives, less the books, of course. But, as a city man, I had a problem.

I had always boarded until now. I knew nothing of cookery, and while I felt confident that I could boil water and prepare the kind of simple repast to which I was meant to limit myself, I had no idea how to go about doing so on an open fire.

Thus, when I met Young Alice in the back entry of the library that night, it was not only that I had heard her enter and meant to discover the meaning of the intrusion. I was also escaping the clouds of smoke I had generated, first by kindling the fire without opening the damper, and then by burning my toast beyond all recognition. The warning which Alice delivered meant less to me at that time than my fear that I must starve in this forsaken outpost beyond the fringes of civilization.

However, by dint of much effort, I managed to produce boiling water and make a cup of tea. I made no further attempt to toast my bread, but rendered it edible by dipping it in the tea, and so contrived to still the demands of my interior until morning, when I was forced to do it all again.

Thus, you see, I was in no mood to put up with ill treatment the next day when the townsfolk gathered to send me back where I came from, upright or in a box. Had I been better fed, I might have been less quick to respond aggressively.

That, I suspect, would have been a pity. Some towns do require a firm hand.

---

From smashwords.com:

Skunk Corners is hard on librarians. Murderously hard on them, if you believe what Wild Harry Colson and Crazy Jake say. Even if they're stretching the truth a mite, it's true we haven't had a librarian stick it out here for more than a few weeks since the tough element took over some while back.

So when Tom - that was all the name he gave when he got off the train and saw us all staring - came to take over the Skunk Corners library, betting in town ran about fifty to one against him lasting two days. Hadn't the last librarian been more'n six feet tall, weighed 200 pounds, and still only made it ten days? This Tom character was not so tall, not so big, and edging on towards old. His only really impressive feature was his full head of white hair.

There was something about that hair, and the intensely blue eyes that met mine when I got closer, that struck me. That's why I matched those fifty bets. Everyone in town thought I was a chump for taking the bets, though no one said so, because no one here is dumb enough to call Big Al a fool. Of course, Tom only had to last forty-nine hours for me to collect on the bets, but once the bets were made, there were fifty men, women, and children in town bent on making sure they collected, so he faced more than the usual hostility. Since I didn't have the cash to pay up, I was equally bent on making him stay.

Tom hit Skunk Corners on the afternoon train, and disappeared straightaway into the library, the only brick building on Main Street. Which, Main being pretty much the only street in the Corners, made it the only brick building in town, period.

The library and the school occupied the far end of the street from the depot, so to get there he had to walk right past pretty much everyone in town. He glanced at the Mercantile, raised an eyebrow at the tavern and the bank sitting cheek-by-jowl, and nodded just a bit as he took in the imposing false front of our City Hall, which forms one side of our town square, a big name for a little patch of dirt. Then the librarian unlocked the door of the library and disappeared inside.

I watched him go, and then went back to work. But I made a point of sticking around the schoolhouse, casual-like, when the young 'uns got out, and eavesdropped on them bragging and boasting about how they'd run the new bookworm off. Funny, how they take against librarians, but mostly let their teacher alone. Not that they put much effort into their schooling, mind, but they don't run Teacher off, either. At least, no one's tried since I came to town.

When the kids had all scattered, I wandered down to Two-Timin' Tess's tavern for a while and listened to the guys making their boasts about how they'd clobber the fellow and dump him on the noon train. I had to give the youngsters credit for having more imagination than their elders. Finally I headed on down to Johnson's Mercantile, where the women were making their plans. Skunk Corners had it in for librarians, no question, and this Tom character had his work cut out for him, and that was just for surviving, let alone running a library.

I prowled around until dark, picking up a hint here and a notion there. Mostly folks seemed to figure on making a move when the library opened in the morning, so it occurred to me that if Tom just didn't open up, he'd be okay. It was with the intention of suggesting that he just lie low a while that I snuck in at the back door of the library.

I didn't knock, of course, just slipped my knife blade in at the bolt and popped it open, the way I've always done when I want a book. I couldn't go in the front door and let the whole town see Big Al checking out a book like just anyone. Not that much of anyone did check books out. A few took what they wanted, and brought them back if they felt like it, but most just went in to gawp at all the books they wouldn't know how to read, even if they wanted to. And they went in to make life miserable for the librarians, of course.

I stepped into the dark building - Tom hadn't seemed to feel the need for a light, or maybe he was too scared to show one - and stopped short. There he was, right in front of me. I mean, I never saw or heard him coming; he was just there.

For one moment, I felt a little scared, but then I had to laugh at myself. Me, Big Al, scared of little white-haired Tom-the-Librarian? It was just the surprise of seeing him there. If any of the previous librarians ever knew I'd snuck in, they'd hidden somewhere far from my path, because I never saw them. This one just stood still in front of me, moonlight through the windows lighting up the black silk handkerchief folded just so in his breast pocket.

"May I help you?"

Crazy as it sounds, that mild inquiry convinced me I'd made the right bet. I mean, if he was so eager to please, surely he'd listen to reason and just hole up here for a while. Maybe I could convince him the town's grudge would wear off if they didn't see him for two or three days. Just long enough for me to win my bet.

I laid it all out for him, not the bets, but the plans. The primer kids' plans to bring in a skunk. The ladies' ipecac casseroles. And the toughs at the tavern who'd most likely just pick a fight and flatten him. He listened in silence. Then he said, still in that polite, mild voice,

"Thank you. I do not anticipate any problems."

I goggled at him. Gaped. Stared, with my jaw down around my knees.

"Didn't you hear any a' what I was sayin', Mister? If the kids and the ladies don' worry you - but they oughta - you gotta know Wild Harry Colson and Crazy Jake and them will just chew you up and spit you out." I know how to talk almost like an educated soul, but he surprised me right into talking like a local.

Then he said the strangest thing, the thing I thought was a joke, or bravado, or just plain lunacy. He said,

"You need not worry about my safety. I am trained to kill."

About then, I decided to hightail it out of there. Craziness might be catching, and I didn't want any of that.

Well, I cleared out, and next morning the library opened at Ten O'clock sharp, just the way the sign out front had always said, though mostly it didn't. Open, I mean. Because there usually wasn't a librarian, or he'd be in the back, packing to leave town. Sometimes he'd be hiding under the bed.

I came in the usual way and kept watch through the wide crack in the door leading back into the librarian's quarters. I didn't figure it would do me any good to be seen around there, and someone might get it into his head that there was more than one way to get out of paying off that bet with me. So I kept out of sight and watched.

Not much happened at first. A few youngsters filtered in, ones I recognized as trouble. Then a couple of the ladies came with their covered dishes, all warm and friendly and welcoming. I knew better, of course. If Tom ate that stuff, he'd spend the rest of the day in the outhouse out back, at least until the big kids came and tipped it over on him.

Tom greeted the boys and pointed them to the children's books, a half dozen or so ragged volumes in one corner. I could have told him they couldn't read.

I should know, being their teacher, but I wasn't giving up my hiding place to share that old news.

When the ladies came, Tom accepted the hot dishes with thanks and put them on the windowsill, to be ready for lunch, he said. Then he sat down at the desk and began trying to make sense of the lender cards he'd found in some drawer or other. They must have made for bewildering reading, because I know for a fact no one has filled out a card in years. Not since Skunk Corners decided they had no use for librarians, nor for libraries, either, and that was back before my time.

Things stayed pretty quiet for the first hour or so. The kids in the corner did a lot of snickering, and I figured they were rigging some kind of booby-trap, or maybe just waiting for their cohorts to arrive with the town's namesake animal. The ladies wandered off, some picking up a book or two on their way, but making no move to sign them out. Tom just watched, and didn't try to interfere, and I figured he'd seen the way things were, after all.

Just before noon, Crazy Jake and Wild Harry Colson came in, and I braced myself for the inevitable. Nothing happened right off. They had to wait to catch Tom's attention, and he didn't seem to be terribly interested in them.

When a half dozen more boys came in carrying a box, Harry seemed to take it as a signal. Maybe he figured he'd better get on with it before the skunk cut loose. He let fly with a gob of tobacco spit onto the floor just in front of where Tom had stepped over to examine a bookshelf. Tom looked up and said, as though to a not-too-bright child,

"The spittoon is in the corner. Please make use of it in the future, sir."

Harry and Jake took the cue. They spat on the floor again and swaggered up to the diminutive librarian.

"Wha'd you say, bookworm?"

"I requested that you expectorate in the appropriate receptacle," came the incomprehensible response. The two toughs exchanged bewildered glances, before deciding how to take that.

"Ain't nobody talks to me that way," Harry snarled, and went into action.

The boys in the corner took his move as their signal, too, opening the box to release the dazed and unhappy black-and-white animal they'd somehow managed to trap without getting sprayed. Wild Harry Colson and Crazy Jake took another step toward the cornered librarian, and I looked away from the crack in the door, just for a moment. I couldn't help it. I hated to see the man go down. He'd made a brave stand, after all.

I jammed my eye back to that crack in time to see Tom, a black mask across his face, drop Harry and Jake with a pair of matched blows to the back of the head - opposite sides, one with each hand - then whirl and smack the skunk, just in the process of raising its tail, with a neat kick under its middle. He booted it gently out the door.

It was too bad for the townsfolk, crowded around the entrance to see the fun, that the skunk got all systems together and started spraying just as it cleared the doorway. I don't think it missed a one of them, and Johnson's Mercantile sold out of tinned tomato juice after the first five customers.

I pulled my attention back to the interior, and watched Tom catch Wild Harry Colson as he fell, somehow keeping him in motion to pitch him straight out the window, sweeping it clear of hot dishes on his way through. Crazy Jake went down like a ton of bricks; even the Ninja Librarian, as I now knew him to be, wasn't fast enough to catch both those former toughs on the way down. He never looked my way, but addressed the air.

"Come on out and lend a hand with this debris, Alice." Maybe it was the surprise of him knowing my real name, when some folks in town still didn't even know I was a girl, but I did as I was told.

When we'd deposited Jake at the bottom of the steps, the librarian brushed his hands off on his trousers, pulled the mask off and tucked it neatly into his breast pocket, where it once again resembled the black silk handkerchief I'd taken it for last night. Reentering the library, we looked around the now-empty room.

Tom cleared his throat with a deprecating "ahem," and finally looked at me as he spoke.

"Does that completely answer your question?"

I had no idea what he meant, but I learned.

Wednesday, February 5, 2014

Case Study No. 1221: Johnny McKee (library aide) and Chester Grindle

ALCATRAZ - Sneak Peek: "Johnny McKee"
1:03
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[Brad Turner (director of the TV show "Alcatraz") speaks directly to the camera]
BRAD TURNER: This episode is about yet another prisoner from Alcatraz who's found, and his specialty is to poison people.
[various scenes from the episode are shown, then cut to Sam Neil ("Emerson Hauser") speaking directly to the camera]
SAM NEIL: He's psychotic, he's dangerous and he kills people in deeply unpleasant ways.
[more scenes from the episode are shown, then cut to Sarah Jones ("Det. Rebecca Madsen") speaking directly to the camera]
SARAH JONES: There's a method to his madness. He also gets very experimental about the poisons that he uses as well.
[more scenes from the episode are shown, then cut back to Neil]
SAM NEIL: He's the sorta guy you don't wanna run into in a bar ... Don't let him buy you a drink, because it'll probably be your last.
[more scenes from the episode are shown]
SAM NEIL: Consider this a warning ...

---

From avclub.com:

Alcatraz
"Johnny McKee"
S1 / E7
Aired February 20, 2012

Every new series has its growing pains, struggling to shrug off the less-successful elements of its pilot while still building on the bits that worked from the get-go, but you can usually tell when a series has hit the point where the producers have finally figured out the formula they were looking for all along. Maybe it's a bit optimistic to say so, but it certainly seems like "Johnny McKee" might be that episode for Alcatraz.

First and foremost, things kicked off this evening neither with a flashback nor a look into one of the returning '63s but, rather, with Hauser visiting Lucy in Dr. Beauregard's facilities. It's not the most eventful visit as far as Hauser's concerned, as her condition remains unchanged despite Beauregard's best efforts to rouse her, but it was a scene that started out intriguing and became even more so by the end of the episode. Apparently, Lucy isn't waking up because her mind believes that the dreams she's dreaming are better than whatever awaits her in the real world, a fact which leads Beauregard to suggest that the sound of Hauser's voice might help bring her back. "She needs a reason, sir," says the doctor. "Love is a good one." Perhaps so, but the mere idea causes Hauser to hem, haw, and ultimately head out of the infirmary, leading Beauregard to ask, "What are you afraid of, Emerson?" The question goes unanswered, but as we learn later, it does not go unconsidered.

Okay, now it's time to check in on our '63 of the week. When we first see Johnny McKee, he's behind the bar of some trendy-looking Chinatown nightclub, doling out drinks with a side of Jules Verne, but when a mouthy patron comes up and gives him a bit of lip, he's straight over to whip up a poisonous concoction. Cue the first flashback of the evening, where we're witness to McKee being asked by fellow inmate Mikey Cullen to off the prison librarian, a "squirrely mug" who's screwing up the status quo by distributing shivs in the spines of certain library books. McKee's not particularly interested, but when Cullen growls, "You don't want to say 'no' to me," McKee shrugs and says, "I guess every schoolyard's got a bully." True enough. When we jump back to the present, we discover for the first time—but not the last—that McKee's gift for chemistry provides him with a perfect method for dispatching any bullies that cross his path. As the mouthy patron and his pals endure the effects of what's become their final beverage, McKee calmly folds his apron, sets it on the bar, and strolls off to find another job.

Back at Alcatraz HQ, we discover that the gang has got a search engine set up to troll YouTube for the sudden appearance of videos that might relate to '63s, then scan them with video-recognition software to identify any Alcatraz inmates and guards contained therein. Lo and behold, some quick-moving soul with an iPhone has captured the last moments of McKee's victims as well as a shot of the man behind their demise, calling it "Freaky Deaths at Club." (By the way, I question if even Hauser's seemingly lengthy reach can do away with every single appearance of a video that's gone viral, but I admire that the show is at least attempting to address that they're trying to keep the '63s and their crimes under wraps.)

Of McKee's present-day activities, the shot of him folding towels in front of a swimming pool filled with dead bodies was pretty damned creepy, but by the time the subway car situation came to pass, all of my interest was on the crime he was committing in the past. Maybe I'm the only one, but despite his comment about schoolyard bullies to Cullen in their initial encounter, I still figured that the librarian was going to be the one to go down. (Truth be told, I was hoping for a future episode entitled "Mikey Cullen," but somehow I'm guessing that's probably not going to happen now.) As such, it had already proved to be the most successful flashback for me even before we got the concluding scene with Dr. Sangupta getting the secret of Ginny Winters out of him ... which, as you may have already guessed, I also didn't see coming. Wow ...

The use of Jack Sylvane in the episode was also well done, not only by tying him into McKee's tale by having him be privy to the Ginny Winters story, but also by giving Madsen a few minutes with him, thereby opening her to later asking Hauser such very important questions as, "Exactly where is Sylvane being imprisoned, anyway? And who the hell is this Beauregard guy he mentioned?" And let's not forget those great last lines from Sylvane: "Your name's Madsen, right? You got the same eyes ... "

Things wrapped up with a nice bit of book-ending, as Hauser returned to Lucy's bedside and begrudgingly sat down to read to her. Turns out that Beauregard was just pulling his leg about his reading material, though: Instead of The Carpetbaggers, he's actually reading Ovid's Metamorphoses, which makes him a far better man than I am, as I had to look it up to even know what it was. (I've always been more of a Harold Robbins guy.) As Lucy continues to dream, however, we now know from Jack Sylvane that the '63s are not dreaming. Not anymore, anyway. Coincidence? Surely not.

This proved to be the best blend of both past and present and procedural and mythology since Alcatraz began. Now let's see if the show can keep it up.

---

From livedash.com:

["Alcatraz, Recreation Yard - 1960" appears on screen, as Johnny McKee reluctantly approaches fellow inmate Mikey Cullen]
MIKEY CULLEN: [introducing himself] Mikey Cullen.
JOHNNY MCKEE: I know who you are.
MIKEY CULLEN: I guess a loss of anonymity is the price you pay when people are scared of you.
[Johnny says nothing]
MIKEY CULLEN: I need a favor ... Squirrely mug jumpin' kings over there needs killin'.
[Johnny looks across the yard at Chester Grindle (played by Byron Noble), a smallish man with a receding hairline, who is playing checkers with another inmate]
JOHNNY MCKEE: Grindle the librarian? Why do you want to kill him?
MIKEY CULLEN: Selling pig stickers outta the library. I got my own guy selling shivs.
JOHNNY MCKEE: This place is lousy with murderers. Why me?
MIKEY CULLEN: Poison gets the job done quiet.
JOHNNY MCKEE: [pause] If I say no?
MIKEY CULLEN: You don't wanna say no to me ...
JOHNNY MCKEE: [looks away] I guess every schoolyard's got a bully ...
MIKEY CULLEN: Yeah, well, this ain't no schoolyard, McKee ... Get the job done, or it'll be you who needs killin'.

[...]

["Alcatraz, Library - 1960" appears on screen, as Grindle is reshelving books, when Johnny (also working in the library) walks up next to him]
JOHNNY MCKEE: I'm looking for a book. Uh, something sharp and to the point ... You get my drift?
CHESTER GRINDLE: You're a subtle bastard, huh? Maybe you landed this work detail just to get a sticker.
JOHNNY MCKEE: You got me.
CHESTER GRINDLE: Waddaya you got for me?
[Johnny pulls out an adult magazine from underneath his shirt and hands it to him, so Grindle leaves and returns holding a book with the shiv hidden inside the spine]
CHESTER GRINDLE: Sharpest sticker I got.
JOHNNY MCKEE: [pause] You going to movie night? It's a Western. "Born Reckless", with Mamie van Doren.
[Grindle doesn't look up, continuing to sort books]
CHESTER GRINDLE: I prefer to read.
JOHNNY MCKEE: It's a shame, I hear there's a flash of melon.
[he looks up longingly]
CHESTER GRINDLE: You just sweetened the deal, now, didn't ya? You bet I'll be there.

[...]

[the prisoners are gathering to watch the movie, when Johnny (holding the book with the hidden shiv) sees Grindle enter the room]
JOHNNY MCKEE: Hey, Grindle.
[he slaps the chair directly in front of him]
JOHNNY MCKEE: Saved you a good one.
[he sits down, as Cullen enters and takes the seat next to Johnny]
["Alcatraz, Chapel - 1960" appears on screen, as the prisoners begin chanting "Show! Show! Show!" for the movie to start ... This causes the warden to stand up at the front of the room]
EDWIN JAMES: Why do we all love a Western? In other company, I'd say it's the time-honored tradition of watching good triumph over evil. But here ... Amongst these decrepit masses, well, the thought just don't seem to apply. Heck, you lags don't know if you're on horseback or foot, if you're defecating or going blind.
[cut to a shot of Johnny with his arms crossed, then back to the warden]
EDWIN JAMES: Either way, you'll be stompin' and cloppin', and it won't for a moment concern you why ...
[he takes a piece of paper out of his pocket and begins reading]
EDWIN JAMES: "Born Reckless. Starring Mamie van Doren."
[he puts the paper back in his pocket, then holds up a finger]
EDWIN JAMES: Don't smoke.
[he signals for the lights to go out, then the crowd cheers as the movie begins]
MIKEY CULLEN: [whispers] Tick tock, McKee.
JOHNNY MCKEE: Just waiting for Mamie's grand finale ...

[...]

[as the movie draws to its conclusion, Johnny leans forward and slips out the shiv (covered with a poison he's concocted from nightshade growing around the prison yard]
GUARD: Movie's over! On your feet, let's go.
[the lights come back on, and the prisoners start filing out, when Johnny addresses Grindle]
JOHNNY MCKEE: You glad you came?
[Grindle remains motionless, so Johnny leans forward and taps him on the shoulder]
JOHNNY MCKEE: Hey, Grindle ...
[Grindle, apparently fine, turns and smiles]
CHESTER GRINDLE: Best melons I've seen in years ...
JOHNNY MCKEE: [smiles] The only melons you've seen in years.
[they get up to leave, as the guard notices that Cullen is still sitting down]
GUARD: Hey, Cullen ... Come on, let's move it.
[he pokes him with his nightstick, only to realize that Cullen is lifeless and foaming at the mouth]
GUARD: The hell?
[he checks for a pulse]
GUARD: He's dead ... Line up! Line up for count! No one leaves!
[everyone stops and line up against the wall]
CHESTER GRINDLE: [whispers to Johnny] Who you think had the stones to kill Cullen?
JOHNNY MCKEE: Could be anyone ... Nobody likes a bully.

[...]

[Johnny is in the infirmary, being interrogated by the warden and Dr. Singh Gupta]
SINGH GUPTA: You enjoy the movie last night?
JOHNNY MCKEE: Well, who doesn't enjoy a good Western?
EDWIN JAMES: [quietly] Michael Cullen, perhaps ... Looks as if that movie was his last.
SINGH GUPTA: Doctor Beauregard said he was poisoned. Wonder who could've managed such a feat in a room of forty people.
JOHNNY MCKEE: It's a real brain-twister.
SINGH GUPTA: You're very angry, Mister McKee. Try to hide it, but I can see it.
JOHNNY MCKEE: [feigning interest] Oooh, something good's coming, I can tell ...
EDWIN JAMES: Ding.
JOHNNY MCKEE: Okay, okay. I'll cooperate.
SINGH GUPTA: Tell me about the girl.
JOHNNY MCKEE: What girl?
SINGH GUPTA: Virginia Winters.
JOHNNY MCKEE: I don't know who that is.
EDWIN JAMES: Ding.
JOHNNY MCKEE: Or maybe, uh ... Yeah, I remember somebody with that name from school.
SINGH GUPTA: Was she your girlfriend?
JOHNNY MCKEE: No ... Just the prettiest girl in class.
SINGH GUPTA: But you had a date?
JOHNNY MCKEE: Egg cream is all. The local malt shop.
SINGH GUPTA: And then what happened?
JOHNNY MCKEE: Nothing.
EDWIN JAMES: Ding.
JOHNNY MCKEE: Nothing happened.
EDWIN JAMES: Ding, ding, ding.
JOHNNY MCKEE: You can ding from here to Kingdome Come. I'm telling you, nothing else happened.
SINGH GUPTA: So, after the egg creams, she didn't take you to the roof of the gym, where it was nice and dark? And she didn't kiss you and get your clothes off, and the lights didn't pop on, and the football team wasn't there, and they didn't laugh and throw firecrackers at you, and one of those cherry bombs didn't hit you in your privates and take your testicles, leaving you as half a man ...
[Johnny stares blankly, showing no emotion]
SINGH GUPTA: And you haven't spent your whole life looking for revenge?
[he says nothing]
SINGH GUPTA: I can help you with that memory, Mister McKee. I can make it go away. But first, you have to tell me the truth.
[she holds up a photo of a young woman with half her face burned off]
SINGH GUPTA: Who is this girl?
JOHNNY MCKEE: She, um ... She did all those things, as you said.
SINGH GUPTA: [quietly] And what did you do to her?
JOHNNY MCKEE: [pause] I burned her ... With acid.
[he starts to choke up]
JOHNNY MCKEE: You asked me what I, uh, dream about? I dream about her face.
SINGH GUPTA: [quietly] Okay, Johnny. Now I can help you.
[she turns and walks away]

Case Study No. 1220: Maria (Allein)

ALLEIN (2004) - Offizieller Trailer [Borderline-Thematik]
1:10
http://www.border line-ps.de/
http://kinokanal.blo g.de/
Tags: Levinia Wilson Richy Muller Borderline verruckt Selbstverletzung kleines Fernsehspiel Drama Schneiden Selbsthass Substanzmissbrauch f60.31 Psychiatrie Spielfilm Alone Maximilian Bruckner Thomas Durchschlag Arthouse Autorenfilm Problemfilm Victoria Mayer
Added: 1 year ago
From: Francis Craig
Views: 2,271

From alaeditions.org:

Alone [Allein] (2004, Germany). Lavinia Wilson as Maria works at a university library in Essen, Germany, but she has borderline personality disorder.

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From siff.net:

Alone (Allein)
Country: Germany
Year: 2004
Running time: 88 Minutes
Genre: Drama
Program: Contemporary World Cinema
Language: German
Sub-Titles: English Sub-Titles

Low self-esteem and substance abuse lead young Maria, librarian by day, into the seamy world of one-night pickups in the local nightclub scene. She starts to date a genuinely nice guy, but quickly backslides into her old ways when he leaves town for a week.

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From imdb.com:

Maria is a student at the university of Essen, Germany, living and working in a gray, unpleasant, and anonymous environment. While she has little problem finding someone for a one night stand, she rebuffs her lovers in such a rude way that they actually don't know what's going on. But what seems to be a negative attitude at first glance is in fact much worse: Maria is suffering from borderline syndrome, a serious psychotic disease that makes her fail to develop a continuous, reliable personality, from her own perspective as well as from the perspective of those she meets. Then one day, she bumps into Jan, a student who falls in love with her without delay. He's awaiting a hard time when he has to learn how hard it is to stay loyal and faithful to a person who, in her own words, "has a different world inside of her head" and who feels that "there is something inside of me that eats me up."