"You've got to give Duncan credit, it took most people ages to realise the lederhosen was painted on and not real clothing..." Jake Black is almost your average teen, fresh from high-school he jumps at the chance to move from Hobart to Adelaide, with the vague plan of taking engineering at the University. Like many of his generation who travel from home, he turns to Facebook to keep in touch with family and friends. If only his mother wouldn't call him every day to check on his diabetes. Or use his sister's account to spy on his activities. Perhaps this is why his parents were so eager for him to attend one of the city's residential colleges, where he is surrounded by two hundred students who can keep watch. However, college is more adventurous than Jake's parents bargained for... Ignoring the inevitable medical impacts of his new life style Jake struggles managing his mother and his new freedom, with mixed results on the public Facebook platform. A combination of short story written in status updates and posts, and a one-act play for small and large casts, Jake's Page is a comic yet heart-breaking tale of a young, type one diabetic and his Facebook Page.

The Seagull is a play by Russian dramatist Anton Chekhov is generally considered to be the first of his four major plays. It dramatizes the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Treplev. Anton was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov practiced as a medical doctor throughout most of his literary career.

In January 2004, Showtime debuted The L Word, the first prime-time commercial drama to centre around lesbian characters. Over the course of six seasons, the show depicted the lives and loves of an evolving circle of friends in West Hollywood, California, and was widely read as evidence of changing social attitudes toward gay people. Building on immediate critical attention, the show reigned as Showtime's most popular for its first three seasons and earned a large and enthusiastic audience. In The L Word, author Margaret T. McFadden argues that the show is important for its subject matter, its extended and deeply literate commentary on the history of representation of lesbians in popular media, and the formal innovations it deployed to rewrite that history. McFadden shows that the programme's creators, led by executive producer Ilene Chaiken, were well aware of the assumptions and expectations that viewers would bring to it after a history of stereotypical depictions of lesbians on television. They sought to satisfy a diverse group of viewers who wanted honest and appealing portrayals of their lives while still attracting a large enough mainstream audience to make The L Word commercially viable. In five chapters, McFadden explores how the show tackled these problems of representation by using reflexivity as a strategy to make meaning, undertaking a complicitous critique of Hollywood, skillfully using a soap-drama format to draw in its audience and ultimately creating its own complex representation of a lesbian community. While deconstructing the history of misrepresentation of lesbians, The L Word's new modes of storytelling and new perspectives made many aspects of lesbian experience, history and culture visible to a large audience. Fans of the show as well as readers interested in cultural studies and gay and lesbian pop cultural history will enjoy this astute volume.

Perhaps you've encountered that strange, unsettled feeling of familiarity - haven't you been here before? Hasn't this experience already happened in exactly the same way? What if that wasn't you. What if that was your duplicate, the result of an atomic experiment that has taken an unexpected turn, creating a process that can replicate and manipulate living matter - with untold potential, but terrifying consequences.

One year after losing his girlfriend in the attack on the World Trade Center, as Jack is slowly trying to piece his life back together, a postcard arrives. A postcard from a far off land, written in her handwriting, telling him she is waiting for him. Here the journey begins, as one man travels to Tibet, the Land of the Snow Lion, not entirely sure if he's chasing a woman, a ghost or his own sanity.

This is the screen play about a yougn teenager name Jerry; who wants to get a record deal; as he works a nine-to-five job; until he gets the deal; he have to struggle.

On March 3, 1969, audiences were captivated by the television "COLOR" broadcast of an intelligent, erotic, stunning motion picture, from Universal MCA and NBC TV. Doctor David Sorell, Psychiatrist, investigates the story of a young tortured woman; bedeviled, seduced, and violated; being pulled over to the lip of Hell. How can you fight the unreal? The unseen The unbelievable "Broadcast once - Then... gone The first made-for-televison horror film... As if blown away by a demon wind in the night, this intriguing teleplay has vanished Forgotten by most and now only a speculative memory from another era In this book, you will read, you will bring back the memory and the story that once was Between these pages, it lives again Rakashi lives yet again You will relive, and try not to "FEAR NO EVIL." Also contains commentary by Gary Gerani on early television horror films.

A cautionary tale in screenplay format, the Great American Light War originally appeared in New York University's "The Drama Review" in 1968 under the pen name D. Melmoth.

"I opened my business magazine, and that's when I saw the ad. Executive De-stressing. Get away from it all. Guided one-on-one wilderness camping. Our motto is "If you're not living on the edge, You're taking up TOO MUCH ROOM " Call Earl - the Camping Guy So I did, and I signed up on the spot. I'd never been camping before. I was really looking forward to it and Earl - well, Earl, he was quite the guy." Reminiscent of television's and theater's The Odd Couple, "The Camping Guy" follows the misadventures of Earl, an experienced woodsman, and Johnson, his inept city slicker client, as they spend a camping weekend in the wilds of the Rockies. What was intended to be a de-stressing weekend soon turns into a distressing one, as these two mismatched campers find themselves engaged in unintended and hilarious situations. Male bonding has never been more funny, nor more dangerous A Fringe Festival audience favorite, "The Camping Guy" has simple set requirements and a small cast, making it a favorite of both audiences and back stage production crews alike. If you like camping, or if you hate camping, you're going to love The Camping Guy"

The jungle is wild and tropical - and a deadly hush of anticipation hangs in the humid air. A man eludes pursuit in the murky water of a swamp pool. His scant clothing ripped and torn, he is obviously exhausted - and terrorized. His face is wild with panic, and he is near collapse. Cowering in fear, he is unaware of the threat of a deadly python, approaching silently from behind. Closer and closer...

Sandra O'Shea shows up to school early to beat the crowd and see the science exhibits before the crowd shows up. Three wild girls Audrey Karos (the mayor's daughter), Brenda McMillan and Jane Talley enter the gym putting their hands on the exhibits and banging into tables. Sandra gets worried and tells them to grow up. The three bullies beat Sandra up and throw her into a closet. It isn't much longer before Sandra learns to defend herself and stars in the boxing ring. This is the story of Sandra's fight for freedom. Sandra's freedom from bullies is attained from a series of fistfights; however her freedom from depression doesn't end until her late forties.

Sandra: Why don't the three of you grow the hell up

Audrey: Why don't you make me tater tot.

Brenda: Lookout, Sandy is getting hot.

Jane: Yeah, she might kick our a**es.

Sandra: Go to hell and get away from those projects.

Audrey: Move back, I want to break the project in front of you.

Sandra: No, I got here first and I'm looking at it.

Audrey: We'll kick your a** b*tch.

Sandra: No you won't.

Audrey: Let's kick her a** girls. (They beat Sandra up badly giving her a black eye, bloody nose, bloody mouth, and a bad bruise from a kick in the chest.) The three girls throw Sandra into the closet banging on it and calling her closet girl and nerd and tell her not to come out until they leave. The school nurse calls Sandra's parents to pick her up and take her home. When she gets home, Sandra asks her parents Dr. John O'Shea and Sherrie O'Shea if she can take up self defense.

This is the story of a group; that wants to get a record deal; with so many other band competing; for the record deal; it seems that the purple masters have a lot of work to do.

"House on Haunted: A William Castle Annotated Screamplay" is the never-before-seen working script from William Castle's archives and is a Living Screenplay(TM). "House on Haunted Hill" (written by Robb White) is a renowned work of producer and director William Castle, beloved for his signature-style fright-filled films and delivering "the gimmick" to the horror genre. "House on Haunted Hill" stars the inimitable Vincent Price and Emergo the skeleton who famously flew through theaters and taunted live audiences. "House on Haunted Hill: A William Castle Annotated Screamplay" features original script formatting, maintaining the integrity of the authentic screenplay replete with Castle's hand-written notes and actual leather-bound style of design that he used for every movie he made. William Castle Productions is offering this book complete with Emergo, simply sift through the pages back to front and scare yourself silly. The William Castle Annotated Screamplay for House on Haunted Hill includes a foreword by prolific director Joe Dante (Gremlins, The Howling). Dante calls House on Haunted Hill "an artifact worth having" and a "seminal 1950s picture." It also includes an introduction by William Castle's daughter, Terry Castle, who shares a personal perspective on this seminal piece of film history. And a historical perspective of the film by writer and illustrator Charlie Largent.

SHAPELESS is a One Act Play. A dark, satirical play within a play. It takes on eating disorders and body image in a "not so" typical manner. Four friends attempt to put on a play about eating disorders but cannot get past their own inhibitions to do so. It is not what you would expect. We have the game show NAME THOSE FLAWS. There is a scene with Adam and Eve and Dancing with food to name a few. It's a fast scenic play that is both gross, disgusting and enlightening. SHAPELESS played in Toronto at the Tarragon Theatre and had a very successful run. National Eating Disorder Awareness Week Picked it up and had it as their finale and it played at The Robert Gill Theatre in Toronto. My Name is Sean Carthew and I have a degree in acting from the University of Windsor. I have had a book, this play and a feature film produced. I feel that Shapeless makes a great read as it is not what you would expect when dealing with this issue. It will read differently for all as it is very visual and people will visualize it in many different ways. I think it should be on the stage again. Someone should pick it up and run with it as I feel it is very important and would make a great play for young people to do and/or what be a fantastic touring production as there is little or no production costs. I hope you enjoy it.

On Screenwriting and Love and Politics is a book by screenwriter Aviva Butt that invites the reader to take an up close view at writing a film script. Written in an engaging literary style, the book attempts to illuminate the emotions, theories, and process that go into crafting a screenplay. As a special appendix, the book includes the author's latest full-length screenplay "Blue Mist." On Screenwriting and Love and Politics also features an introduction from Gaetano Nino Martinetti, an award-winning cinematographer who contributes his views on the role of cinematography in making movies. "I write about love and politics. My screenplays are theatrical feature films on Middle Eastern subjects. This time with my screenplay "Blue Mist," the world situation and the Middle East come to New Zealand." - Aviva Butt Although she was born and raised in New York City, author Aviva Butt has lived all over the world and currently resides in Dunedin, New Zealand. Aviva is a prolific writer who has authored poems, short stories, screenplays, and two previous books. She has also translated many poems and short stories from Arabic and other languages. When she is not writing, Aviva enjoys going to the movies and listening to Indian and Middle Eastern music. Publisher's website: http: //sbpra.com/AvivaButt

The final story of J. J. Rhymes; is at hand; as the contract comes; to him; as the group comes together; as the chance at hand; with all the complete; puzzles; it seems that J. J. Rhymes will final break into the business; for one last time.

In this original screenplay, Sgt. Janet Lacey is a tall, tough uniformed sheriff's deputy with a reputation for being a regular Dirty Harriet. Herb Robbins is a short, bleeding heart liberal, assistant district attorney, who's just dismissed one of her cases because she didn't have a valid search warrant. And, tonight, she's stuck with him as her ride along. When a serial killer that Lacey has captured is gunned down while in her custody, her conduct becomes suspect. Later, when the dead man's mother is found murdered, a large amount of cash found on Lacey and a big drug stash discovered in her apartment, a warrant is issued for the officer's arrest. Robbins is the only one who believes that she's innocent, but can he help her?

The Warden- Isolation and family dysfunction lead a Warden's heir on a murderous spree of abductions and false imprisonments in this twisted drama.