Hench, by being set in the espionage genre, and following the henchman of an evil villain, offers a commentary on the modern working world by serving as a metaphor for the corporate workplace. The film follows a lowly henchman, Hank, who learns to challenge this corporate structure by achieving self-respect, thanks to an unlikely friendship with a James-Bond-esque agent. This creative explication explains how Hench achieves commentary on how large corporate structures operate to maintain control over employees, and the effects this has on individuals. It further highlights the tools and techniques used to formulate Hench into a fully realised feature screenplay.

Karmic Buyback: A Pilot Program, a screenplay, is the story of Oliver Harker, a water resources engineer in his early thirties, adrift in a world of lost social connections. Aside from this work, which he describes as "just a lot of redundant paperwork," his only connection to the outside world is his exuberant younger brother Van. With no father to speak of, and harboring long term resentment against his mother who ran away to Africa the day after Van's high school graduation, Oliver's defining tragic moment came three years earlier. It was then he discovered Eva, the woman he planned to marry, cheating with an old flame. Isolating himself from his few remaining friends, Oliver has become a short-tempered, unbearable grump. Meanwhile Eva, unbeknownst to Oliver, has recently died. She wakes to find herself in a strange, antiseptic afterlife where she is given the opportunity to repair some of the bad karma she accumulated in her short life, specifically in regard to Oliver. As Van begins to help him reestablish social ties, an accident which lands Oliver in the hospital finally draws their mother back across the Atlantic. Oliver must decide between Eva, in her foolish attempts to win him back as a result of the ultimately misguided Karmic Buyback Pilot Program, and the real people who love him.

This study used an experimental script awareness task to measure the script recognition and metacognitions of 129 English language learners (ELLs) in Senior Kindergarten from Chinese, Portuguese, or Spanish L1 backgrounds. Items formed two clusters: those involving the Latin alphabet and those involving symbolic script. Based on ability to name letters and read some words, children were divided into “readers” and “prereaders.” There were significant effects of home language and reading group: the Chinese ELLs were better at distinguishing items of symbolic script from the Latin alphabet items, but the Portuguese and Spanish ELLs were better at explaining their metacognitions. When the item was more similar to English, readers were more likely to accept it as English. Differences in script awareness development are discussed in relation to home language, reading ability, nonverbal ability, and vocabulary skills.

This study used an experimental script awareness task to measure the script recognition and metacognitions of 129 English language learners (ELLs) in Senior Kindergarten from Chinese, Portuguese, or Spanish L1 backgrounds. Items formed two clusters: those involving the Latin alphabet and those involving symbolic script. Based on ability to name letters and read some words, children were divided into “readers” and “prereaders.” There were significant effects of home language and reading group: the Chinese ELLs were better at distinguishing items of symbolic script from the Latin alphabet items, but the Portuguese and Spanish ELLs were better at explaining their metacognitions. When the item was more similar to English, readers were more likely to accept it as English. Differences in script awareness development are discussed in relation to home language, reading ability, nonverbal ability, and vocabulary skills.

In this thesis report traces I detail the process from the conception of the idea through the arduous development and finally the final product of Wayne Cheong’s narrative screenplay. Also included are the numerous revisions that have resulted from his involvement in this project. / text

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Approved for public release; distribution is unlimited / Because of the unique features of electromagnetic pulse (EMP) and Hazardous Electromagnetic Effects on Ordnance (HERO), much research and money has gone into protecting weapon systems and ordnance against it. The EMP and HERO phenomena do have a variety of differences and require differences of hardening technique to protect against it. However, they both involve radiation effects and can prematurely initiate ordnance via the electroexplosive device (EED). Protection of weapon systems and ordnance against electronic damage and upset plus EED initiation takes on more of an art form rather than science once basic principles are applied. Nevertheless by relating these two programs via the initiating temperature of the EED. they can be accurately compared with each other. Because of this observation, the two programs can be effectively combined to work jointly on ordnance hardening and protection including all forms of radiation type hazards, present and future. / http://archive.org/details/comparisonofemph00boga / Lieutenant. United States Navy

Approved for public release; distribution is unlimited / A computer model of the Coanda Refraction Jet Engine Test Cell facility was developed using the PHOENICS computer code. The PIIOENICS code was utilized to determine the steady state aerothermal characteristics of the test cell during the testing of an E404 gas turbine engine with afterburner in operation. Computer generated aerothermodynamic field variables of pressure, velocity and temperature parameters were compared to operational field test data. Observations regarding compared results as well as system behavior are presented. Additionally, recommendations of the applications of PHOENICS to future modeling projects are made. / http://archive.org/details/aerothermodynami00mara / Lieutenant, United States Navy

The screenplay for a narrative film is the key starting point in the development process, and writing a feature length screenplay is a particularly grueling process. This thesis traces my efforts to write a full, strong draft of a feature length screenplay, from conception to the current draft. The essay catalogs the notes I received on the screenplay, as well as my own ideas for changes and developments as I wrote the screenplay. After the essay, the current (as of this date, May of 2012) draft of the screenplay is attached as a presentation of my work reflected in the essay.

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