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                                              THE PROPOSAL                                                        Writtenby                                            Pete Chiarelli                                                                                June 16, 2006                    FADE IN:          INT. MARGARET'SAPARTMENT - EARLY MORNING          The sun peeks over the horizon.   There's a stunning view of          Central Park from this apartment, but whoever lives here isn't          watching.          As we wander throughexpensive furniture, a steady THUMP, THUMP,          THUMP echoes through the apartment.   Eventually, we see MARGARET          MILLS (37) running on a treadmill, watching "The O.C." on Tivo,          and reading amanuscript.          She sprints as the clock on her treadmill goes to zero.   As she          hits a button to stop the treadmill...          INT. WOMAN'S APARTMENT - EARLY MORNING          A hand knocks an alarmclock off a table to shut it up.   RICHARD          PAXTON (26) wakes up on pink sheets and looks around to figure          out where he is. There are multiple framed pictures of the same          model on thewalls.          Richard looks at the clock and gets up quickly when he sees it is          6:16 AM.   Unfortunately for him, he is very hung over.          RICHARD          Where are my clothes?          A blob beneaththe sheets next to him answers.   SIMONE is the          model on the walls and is really, really hot.          SIMONE          In the kitchen.   I think.   Can I make you          somecoffee?          RICHARD          Sorry, I gotta go.   I'm late.          Richard hurries to the kitchen.   Socks are on the butcher block          next to an empty champagne bottle.   Shoes in the sink.   Hefinds          his pants on the floor and puts them on.          RICHARD (cont'd)          Have you seen my belt?          Simone looks around and sees it tied to her headboard.          SIMONE          Inhere.          She unties the complicated knot.   Richard comes back half          dressed.   He swallows a little throwup.          RICHARD          Baby, I just can't do thisanymore.                                                  2.          INT. MARGARET'S APARTMENT - EARLY MORNING          Margaret puts on a black suit jacket.   Definitelynot off the          rack.   She makes sure she looks perfect in the mirror, and moves          off.          INT. WOMAN'S APARTMENT - EARLY MORNING          Reflected in the mirror above Simone's bed, Richardhurriedly          gets dressed as he talks.          RICHARD          You're just too much for me.   And I'm just          another guy too wrapped up in his job.          SIMONE          Fine.   Whatever.   Justgo.          Richard sits down on the bed and locks eyes with Simone.          RICHARD          Let's not end it like that. It's been an          amazing three and a half weeks.   Thank you.          And you shouldknow that you have the nicest          ass I've ever been with.          SIMONE          (TOUCHED)          You mean it?          RICHARD          I do.   It'smagnificent.          SIMONE          I work really hard on it.          RICHARD          I know you do.          Simone smiles and begins to seductively pull the sheets off her          naked body.   Richardshakes his head "no" and smiles.          RICHARD (cont'd)          I really gotta go.          INT. MARGARET'S KITCHEN - EARLY MORNING          CRUNCH.   Margaret eats a bowl of Kashi and soy milkwhile          standing and reading a manuscript.   Her eyes remain glued to her          reading as she rinses out her bowl and puts it in the dishwasher.          Her apartment is very quiet.          EXT. NEW YORKSTREET - MORNING          HONK!   A cab blares its horn at Richard as he runs across the          street.   His suit is rumpled and he checks hiswatch.                                                  3.          INT. MARGARET'S LOBBY - MORNING          DING!   The elevator opens and Margaret strides towards theexit          and the DOORMAN (60).   Before Margaret gets to the door, her CELL          PHONE RINGS.   She checks the caller ID and excitedly points at          her phone as she lets itring.          MARGARET          (to phone)          I knew you would call!   Now come on, tell me          what I want to hear.   Give it to me.          DOORMAN          You have to put it by your mouth sopeople          can hear you.          MARGARET          You should get paid extra for being so darn          funny.          Margaret straightens her jacket, answers the phone, and walks out          thedoor.          MARGARET (cont'd)          This is Margaret.          INT. SKYSCRAPER LOBBY - MORNING          Richard bursts into the skyscraper and runs into a Starbucks.          INT. STARBUCKS -MORNING - CONTINUOUS          Two coffees lie in wait for Richard.   JILLIAN, a lovely Barista,          smiles as he hurries to the counter.          JILLIAN          You're running latetoday.          RICHARD          Jillian, you are the best.          JILLIAN          If you think I'm good at this, you should          use that coffee cup sometime.          As he runs out the door, Richardglances at his cup and smiles at          Jillian's name and phone number written in Sharpie.          RICHARD          See ya tomorrow.          INT. SKYSCRAPER LOBBY - MORNING -CONTINUOUS          The elevator doors ahead of Richard begin to close.          RICHARD                                                  4.          Mercifully, a handreaches out and stops the doors.   Inside the          packed elevator, Richard's CO-WORKERS look sleepy.   One          particularly frustrated co-worker confronts Richard.          CO-WORKER #1          Howlong is she gonna make us come in by          seven?          RICHARD          She doesn't exactly consult with me on these          things.          CO-WORKER #1          Well this sucksass.          RICHARD          Welcome to my nightmare.          The doors close as...          EXT. NEW YORK STREET - MORNING          Margaret crosses the street and talks on thephone.          MARGARET          You've been thinking about our talk because          I'm right.   Everyone does publicity.   Roth,          McCourt, Russo.   Hell, Chabon practically          whores himself.   Knowwhat they have in          common?   A Pulitzer.          (off answer)          Yes, I know you haven't done it in twenty          years, but that's how long it's been since          you've written a book this good.          INT.ROYCE PUBLISHING - MORNING          Richard bursts out of the elevator and passes a clock reading          6:56 and a sign that announces "Royce Publishing."   He hauls ass          through a sea ofcubicles.   Along the way, grumpy employees          begrudgingly nod their good mornings.          At his desk, he pulls a tie out of a drawer and puts it on          without looking in the mirror.   Noticing his wrinkled suit,he          pulls out a SPRAY BOTTLE out of the same drawer, sprays it all          over his body, and then on his head to help mat down a tricky          cowlick.   Satisfied, he hurries into a nearby corneroffice.          INT. SKYSCRAPER LOBBY - MORNING          Margaret walks into the lobby and continues talking.   Employees          avoid her and pile into theelevator.                                                  5.          MARGARET          I'm not pushing so you'll sell more books,          I'm pushing because it'll be a crime ifthe          world doesn't hear that you wrote a genius          piece of literature.   Do the publicity.          Margaret waits for an answer and smiles when she hears "yes."          MARGARET (cont'd)          You're making theright decision!   Great          news.   Going into an elevator, think I'm          going to lose you...          Margaret hangs up.   Never give them a chance to change their          mind.          INT. MARGARET'S OFFICE -MORNING          Richard races to Margaret's computer and turns it on.   He picks          up papers strewn about the room.   He goes back to the computer,          and opens computer programs.          INT.ROYCE PUBLISHING - RECEPTION - MORNING          Margaret exits the elevator and receives an enthusiastic...          RECEPTIONIST          Good morning!          Margaret quickly walks by and gives onlythe slightest nod.          INT. ROYCE PUBLISHING - MORNING          Margaret walks through the cubicles and nods hello to her staff,          who all look busy on the phone.   When she turns the corner,they          stop their "conversations" in mid sentence and hang up.          INT. MARGARET'S OFFICE - MORNING          Richard stares at the printer as a sheet of paper comes out.   A          clock above thedoor reads 7:00 AM.   The paper clears the printer          and Richard grabs it quickly.          INT. ROYCE PUBLISHING - MORNING          Margaret opens the door to her office, and finds Richardstanding          at attention with papers in one hand and coffee in the other.          Her office looks perfect.          RICHARD          You've got a conference call in thirty, a          staff meeting at nine, and yourimmigration          lawyer sent some papers for you to sign.          MARGARET          Cancel the call, move the meeting toeight,          (MORE)                                                  6.          MARGARET (cont'd)          (big news)          I got Frank to dopublicity.          RICHARD          Nice job.          MARGARET          When I want your praise, I'll ask for it.          Is Bob here?          RICHARD          I'm sure.   You want him on thephone?          MARGARET          We're going to his office.   Grab your pad.          Richard calmly backs out of the office...          INT. RICHARD'S DESK - CONTINUOUS          ... but once he's out ofMargaret's sight he runs to his computer          and sends an instant message to the office "The Banshee is headed          to Bob's office."          INT. ROYCE PUBLISHING - MORNING          As the messagepops up on computers, the quiet office jumps to          life as everyone in a cubicle picks up their phone and resumes          their imaginary conversations.          INT. RICHARD'S DESK -MORNING          Margaret comes out to Richard's desk.   She notices his coffee cup          with Jillian's number on it.   She takes special notice of the          hearts that dot the "I's" inJillian.          MARGARET          That's cute.   You gonna call her today?          RICHARD          What?          Richard doesn't know what Margaret is talking about, until she          nods at the


<title>Ugly Truth, The Script at IMSDb.</title><meta name="description" content="Ugly Truth, The script at the Internet Movie Script Database."><meta name="keywords" content="Ugly Truth, Thescript, Ugly Truth, The movie script, Ugly Truth, The film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly" content="true"><metahttp-equiv="content-type" content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX,FOLLOW"><meta name=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css">

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                           THE UGLY TRUTH                      Screenplay/Revisions by                           NicoleEastman                           Tracey Jackson                             Peter Hume                   David Diamond & David Weissman                            Roger Kumble                       Current Revisions by                KarenMcCullah Lutz & Kirsten Smith                                                    February 14, 20081   INT. KPHX TV - LOBBY - DAY                                      1    ABBY RICHTER, 30's, pretty, driven and absolutely incontrol,    walks through the lobby, greeting the SECURITY GUARD.                        ABBY              Morning, Freddy.                        SECURITY GUARD              Morning, Abby. Anotherpeaceful              day?                        ABBY              If you say so...2   INT. KPHX - CORRIDOR - MORNING - MOMENTS LATER                  2    JOY, 40's, the associate producer, falls in step withAbby.                        JOY                  (panicked)              We've got problems.                         ABBY              There are no problems,Joy.   Only              solutions.                        JOY              The sky-cam on the traffic copter              has a cracked lens and they can't              fix it.                         ABBY              Okay, that's aproblem.                (thinking, then...)              Call Matt Hardwick down at Media              Services. He's got a few Sky Cams              and he owes me. Now, where are my              weathermen?    Joy opens a door toa waiting area.3   INT. KPHX - WAITING AREA - MORNING - CONTINUOUS                 3    Several portly LATINO MEN look up and wave at Abby.                           LATINO MEN              Heythere!                           ABBY              Hi, guys!    Abby waves back and closes thedoor.                                                      (CONTINUED)                                                                  2.           'THE UGLY TRUTH' - Numbered Script -2/14/20083   CONTINUED:                                                         3                           ABBY                 What's with the pot bellies?                           JOY                 Research shows peoplelike fat                 weathermen. It makes them feel                 safe.                           ABBY                 I like the one in the green and the                 one in the brown, but I want to see                 the one inthe green with less                 sideburns and the one in the brown                 with more, then I'll make my                 decision.                           LARRY (O.S.)                 Abby!    LARRY, 50's, the pompous,uptight anchor man, catches up to    them. He wears a makeup bib.                           ABBY                 Morning, Larry.                           LARRY                 I'm sorry to do this to you,Abby,                 but I don't think I can work with                 her anymore. It's bad enough I                 have to take her criticism at home.                 I can't do it on air, too. A man                 can only take somuch.    Abby nods, taking him seriously, but you can tell she's done    this before.                           ABBY                 You're not a man, Larry...                     (off his look)                 You're a newsman. Anewsman isn't                 defined by the easy times, Larry,                 he's defined by the difficult ones.                 Can you imagine Ted Koppel or Chris                 Hansen or Anderson Cooper having                 theirwives as co-anchor? Hell, no,                 because they couldn't handle it.                 But you can. You've got balls the                 size of Volkswagens. Don't think I                 haven'tnoticed.                                                            (CONTINUED)                                                                  3.           'THE UGLY TRUTH' - Numbered Script - 2/14/20083   CONTINUED:(2)                                                     3                        LARRY                  (re his balls)              I've only thought of them as blue              as of late, but you're right. They              are quite sizeable.But not              disproportionately so.                  (with pride)              I like to think of them as              aesthetically pleasing --    Abby steps away, not wanting to ponder Larry's balls anymore    than she hasto.                        ABBY              I think I've made my point.    Larry nods, appeased, as she reaches the door marked ABBY    RICHTER, PRODUCER, "ALBUQUERQUE A.M." She enters and...4   INT.KPHX - ABBY'S OFFICE - CONTINUOUS                                4    ...walks in on a shouting match between JOSH, a leftist angry    news writer, and DORI, the entertainment-leaningco-writer.                        DORI              Josh, nobody in Sacramento gives a                              *              crap about trees in Alaska! It's              notnewsworthy.                        JOSH              Oh, but full coverage on David              Beckham's new tattoo is vital?!    Larry's wife and co-anchor, GEORGIA, 40 and coiffed to the    gills, storms in, followed bythe show's GUEST CHEF.                        GEORGIA              He's trying to kill me! He knows I              can't eat crab, I'm allergic to it!                  (to the room)              Does anyone see this? Is thisa              hive?                        JOSH              It looks like syphilis to me.                        DORI                  (to Josh)              See that? You wouldn't even know              what syphilis looks like ifit              weren't for my story on Paris              Hilton.                                                            (CONTINUED)                                                                  4.           'THE UGLY TRUTH' - NumberedScript - 2/14/20084   CONTINUED:                                                         4                            GUEST CHEF                     (to Abby)                 She doesn't eat crab or beef or                 fish. Shedoesn't eat anything but                 chicken. You don't need a chef on                 this show. You need a box of                 McNuggets.    Everyone shouts at each other. Abby calmly pulls out a    whistle, puts it to hermouth and BLOWS.5   INT. KPHX - "SACRAMENTO AM" SET - MORNING                             5*    Cameras roll as the chef happily cooks away on the set.    Georgia and Larry taste samples of what he'sprepared.                           GEORGIA                 I have to tell you, Bruce. This is                 the best Chicken Kiev I've ever                 tasted.                           GUEST CHEF                 Actually it'sDuck Kiev. Duck makes                 an excellent alternative for                 chicken, Georgia.    JAVIER, the new fat weatherman, takes a huge bite.                           JAVIER                 Can I take home theleftovers?    They all laugh.                           LARRY                 When we return, our live Skycam                 traffic update and more on David                 Beckham's hundred thousanddollar                 tattoo.                           GEORGIA                 And what you can do to help                 preserve the ancient forests of                 Alaska -- and how it might help                 your Albuquerqueelectric bill.6   INT. KPHX - CONTROL ROOM - MORNING                                    6*    Abby and Joy stand next to CLIFF, the show's director.                           CLIFF                 Go tocommercial.                     (to Abby)                 I don't know how you do it.                                                            (CONTINUED)                                                                  5.           'THE UGLYTRUTH' - Numbered Script - 2/14/20086                                                                      6    CONTINUED:                           ABBY                 It's just a matter of staringthe                 chaos in the eye and showing it                 who's boss. Nice work, guys.    She pats him on the back and heads out of the control room.                           JOY                     (toAbby)                 Stuart wants to see you. He's                 freaking out.                           ABBY                     (worried)                 That means he got the numbers.7   INT. KPHX - STUART'S OFFICE -DAY                                     7    Abby talks to STUART WARDLOW, 60's, KPHX's curmudgeonly    general manager.                           STUART                 Have you seen the ratingsfor                 yesterday? We got beat by all the                 network shows, plus a rerun of                 "Who's the Boss". The one where                 the vacuum breaks.                           ABBY                 It's atemporary setback. This week                 we'll do better.                            STUART                 The guy with the cable access show                 on Channel 83 does better. If we                 programed JerrySpringer re-runs,                 we'd do a nine share at a quarter                 the price.    Abby looks worried.                           ABBY                 Please tell me you're not thinking                 of killing theshow.                           STUART                 I'm not, but I can guarantee you                 that's what the new management's                 thinking.                           ABBY                 Stuart,"Sacramento AM" is an award-                         *                 winning newsprogram.                                                            (CONTINUED)                                                                  6.           'THE UGLY TRUTH' - Numbered Script -2/14/20087   CONTINUED:                                                         7                           STUART                 Management doesn't listen to                 awards. It listens to numbers.                 We'renot a family-run station                 anymore, Abby. You're good at what                 you do, but you've got to get me                 some numbers. I've got two                 daughters in college and a sonin                 beauty school. I don't know how                 much you know about Vidal Sassoon                 but that shit ain't cheap.    Abby nods.                           ABBY                 You can count on me,Stuart.8   INT. KPHX - WOMEN'S BATHROOM - DAY                                    8*    Abby and Joy stand at the sinks.     Abby compulsively flosses         *    in front of themirror.                                                *                           ABBY                 I can't be letting corporate                 management dictate the content of                 this show. This is my show.I                 control it.    She rips out an extra two feet of floss.                               *                           ABBY (cont'd)                                   *                 I should cancel my date tonightand                       *                 make a list of ideas for sweeps.                           JOY                 Absolutely not. You should be out,                 observing humanity. Humanity's who                 watches our


<html><title>Point Break script</title><pre>                        POINT BREAK                             by                       James Cameron                             &                      Kathryn Bigelow                   From theScreenplay by                       W. Peter IliffFADE IN:We are in the belly of a wave.Light refracts in a constant collision of water.SLOW MOTION, the hallucinatory prisms, like liquiddiamonds taking flight,dreamlike...EXT.  OCEAN - DUSKBacklit against a flaming sun a solitary SURFER glidesacross the green glassy peak.  TIME IS STRETCHED until hismovements gain a grace and fluidity not of this world.Total Zenconcentration.  Body weight centered, eyesforward and on the next section.EXT.  URBAN STREET - DUSKSLOW MOTION ON a black sedan.Creeping along store fronts.  Past a Winchell's.PEOPLE splash steps downrain-washed sidewalks in DREAMMOTION.  The sedan turns past the FIRST VIRGINIA BANK andinto an alley.INT.  BLACK SEDANTWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoatsand hats.  Under theirhats strips of Scotch tape stretchtaut from the base of their nose to their forehead,hideously distorting their features.  Makes them look likehuman PIGS.EXT.  OCEANSILVERY in this light, almost metallic, as if fromsomefuture-scape.  The lone surfer SHREDS a long, endlessright wall.ACCELERATING INTO REAL TIME -- as he stares into the pit,digs in, drops into the sweet spot on the wave, hunkersdown.His moves becomingaggressive, frenzied--INT.  BLACK SEDANAn M-16 clip is SMACKED into place and cocked with aCACHACK!  Ammo clips are SNICK-SNICKED into handgun buttsand a long clip is SSSNICKED into an UZI.Watches arechecked.  The PIG NOSE people nod to eachother.EXT.  BANKPig Nose #1, steals into position near the glass doors,slams his back to the wall, weapon to cheek, breath fast.EXT.  OCEANFAST NOW -- the surfboard rips abrutal gash in the faceof the wave.  The surfer TRIMS down the line, pivoting theboard and going straight down, CARVING the bottom.  Heslashes viciously back toward the lip and--In a radical INVERTED AIR ATTACKsails SIX feet above thewave in an explosion of water--INT.  BANK--BAAAAAAMMM!Glass doors explode OPEN and Pig Nose #1 SPINS inside.  Hefires a burst into the ceiling.  BRRAAMM!!                         PIG NOSE#1          EVERYBODY on the floor!PEOPLE drop.VERY FAST HERE--Two bandits handle BANK EMPLOYEES and customers--Another PIG NOSE watches the door--Pig Nose #1 moves behind counter, Uzi and canvas sackinhand.INT.  SURVEILLANCE VANDark. Monitors SHOW SLOW SCANS of the bank INTERIOR.Two MEN wear headphones and black windbreakers with FBIstenciled on the back.  One watches withbinoculars.                         BINOCULARS          Bingo.  We're on.  Let's go.          Where's the big college          quarterback?!  Are you with us,          Utah?EXT.  BANK WALLA MAN in his twenties.  His head spinsrevealing rain-slicked hair and face, eyes wide, bright.  An edgyhandsomeness to him.He pops a stick of Wrigley's in his mouth, rests a shotgunon one leg and leans against the wall.  He wears aheadset... through whichwe hear the FBI guy yelling forhim.This is JOHNNY UTAH.                         BINOCULARS (FILTERED)          Utah, where the hell are ya!?Utah takes his headset off...INT.  BANKPig Nose #1 LEAPS over the counter, holdsa canvas sackfilled with booty from tellers' drawers.                         PIG NOSE #1          Fuckin' shake it!Pig Nose #2 nods with his snubby nose, hurries toward theexit.EXT.  FIRST VIRGINIA BANKThe bandits burstthrough the doors and sprint to thealley where they jump into the SEDAN.  THE DRIVER, theWOMAN PIG NOSE, punches it and the TIRES WHIRRR on theslick pavement.The sedan launches down the alley.Utahrunning.  Like a freight train.  Splashing through across-alley.  He doesn't break stride as he slams hisshoulder into a large, steel GARBAGE DUMPSTER.DRIVING it like a football training sled into the ALLEYwhere--THESEDAN LOCKS 'EM UP seconds too late as it SKIDS andSLAMS into it, CRUNCHING into the brick wall and--Still alive -- GRINDS into reverse back down the alley,HEADLIGHTS SMASHED, it guns it backward as--UTAHleaps over the dumpster and sprints after the car.He has a brick in his right hand.  He cocks it back.Johnny HEAVES the brick thirty yards and--SMASH!  The brick EXPLODES into the windshield,SPIDERWEBBING theglass.Lady Pignose flinches from the glass fragments thrown intoher face.                         LADY PIGNOSE          Son of a bitch!The car slews backward onto the street, slamming a parkedcar.  Lady Pignose slams thething into DRIVE, cuts thewheel hard, and punches it, skidding on wet pavement.UTAH hurtles from the alley.  He leaps, somehow TACKLESthe DRIVER'S door handle and is dragged along the street.He pulls himself up,reaches inside the window, and whipsthe steering wheel hard right.The SEDAN fishtails into a parked Toyota.  Utah bouncesforward, slamming into the asphalt.  Glass shards andcrushed steel are strewn everywhere, asradiator steamwhistles hot.Pig Nose #2, riding shotgun, is trapped.  Can't get hiscrushed door open.  The DRIVER pushes open her door.Gropes for her pistol.  Utah springs -- no respect for alady.  He slams the door,pins her arm and slams again andagain until the gun drops.  Utah kicks it away as thewoman collapses in pain.Pig Nose #1 bails out and runs across parking lot.  Utahleaps up onto the crushed hood and draws downwith theshotgun.                         UTAH          Halt.  FBI!Pig Nose #1 spins.  We sense reckless anger.  He raisesthe UZI.  Utah squeezes the trigger.No death.  No blood.Just buzzers and flashing bulbs.Pig Nose's flakvest lights up like a pinball machine.Utah's laser weapon hit the "kill zone".  Pig Nose ripsthe tape off his face and the FBI CADET shakes his head indisgust.OBSERVERS step forward.  Bank customers.  Bank tellers.AllFBI personnel.  MEDICAL STAFF offer the woman driverassistance.  Pig Nose #1 heads for Johnny, but is subduedby other agents.                         PIG NOSE #1 (FBI CADET)          I wanna say just two words toyou,          asshole, SIMU-LATION!!!  Johnny-          fuckin' Utah.  Guys like you will do          anything to win!Utah stares back in defiance.The SURVEILLANCE van pulls up nearby.BINOCULARS runs out and pinchestwo fingers together,right in Johnny's face.                         BINOCULARS          This far, Utah!  You're this far          from being the most overqualified          guy Burger King ever had.  Getme?!                         UTAH          Yes sir.  Sir?                         BINOCULARS          What?Johnny gestures to the car.                         UTAH          I did stop the perpetrators.Utah turns to go.  As he passes he casuallyraises hislaser-shotgun and re-triggers Pig Nose's flak vest.LIGHTS AND BUZZERS.Pig Nose explodes.  More agents restrain him.Screams and shoving matches and pissed off guys.Utah walks off, down the simulatedstreet, past a signwhich bears the FBI SEAL and reads "Combat Village,Quantico, Virginia."                                            DISSOLVE TO:EXT.  PACIFIC OCEAN - DAYRed sky.  A luminous Pacific.  Five footfaces.  Nicecurl.  A lineup of SURFERS wait outside the break.Silhouetted, bobbing like a pack of sea mammals.INT./ EXT.  TAXIA flood of orange through the windshield as the cab crawlsdown Ocean Park to thesea.  CAMERA HANDHELD from the backseat.The driver turns to us.                         DRIVER          Anywhere?  You don't care?                         UTAH (V.O.)          Anywhere.  I've just never seen the          oceanbefore.                                            CUT TO:EXT.  VENICE BEACHJOHNNY UTAH trudging across the sand, holding his shoes.Garment bag and a big duffel over his shoulder.He looks silly in his dark suit, tie loosened,wearing aturned around baseball cap.He wiggles his toes in the sand, looks around like a kid.A pack of BOUNCING BEAUTIES jog through frame.Utah grins, reaches up and turns his cap around.It reads "I LoveL.A."                                            CUT TO:EXT.  FEDERAL BUILDINGLooking down the face of the concrete monolith at Wilshireand Veteran.  Ant-like, Johnny Utah's tiny figure movestoward theentrance.                         VOICE (OVER)          Day One in LA, special agent Utah.          You may have been top two percent of          your class at Quantico but you have          exactly zero hours in thefield          here.  You know nothing...INT.  FEDERAL BUILDING - FBI BULLPENSupervising Agent BEN HARP leads Utah across the bullpen.Rows of desks.  Agents sitting at computer terminals.Data hell.  Looks like hegot a job at Xerox.                         HARP          You know less than nothing.  If you          even knew that you knew nothing, at          least that would be something, but          youdon't.                         UTAH          Yes, sir.Utah is wearing a suit, carrying a briefcase.  Harp ismid-thirties, confident of stride, tanned of skin, perfectof hair.  GQ.  Aggressive.                         HARP          Eating solidbreakfasts, Utah?                         UTAH          Sir?                         HARP          All the food groups?  Avoiding          sugar?  Caffeine?  I see to it that          my people maintain cardiovascular          fitness.  We stayoff hard liquor,          cigarettes...                         UTAH                  (poker face)          I take the skin off chicken.Harp glances at him, eyes narrowing.  They reach aglassed-in compound of small offices.  Harp swingsthedoor open and the other agents look up as Utah enters.                         HARP          This is us.  Bank Robbery.  And          you're in the bank-robbery capital          of the world--                         UTAH          1322last year in LA county.  Up 26          percent from the year before.                         HARP          That's right.  And we nailed over a          thousand of them.  We did it by          crunching data.  Goodcrime-scene          work, good lab work, good data-base          analysis.  Nobody had to tackle a          car once.  You getting the signal,          special agent?                         UTAH          Zero distortion, sir.He picks upa donut from someone's desk, a succulentglazed jelly.                         UTAH          I love these things.He looks right at Harp.  Takes a big fuck-you bite.                         HARP          You're a real blue-flamespecial,          aren't you, Utah?  I don't know why          they sent you to LA.  Must be an          asshole shortage.                         UTAH          Not so far.                                            CUT TO:UNDERWATERA bluefield with a pulsing network of rippling lines.VOOM!  A figure rockets down INTO FRAME in a curtain ofbubbles.  A gawky AGENT, in less than stylish FBI trunks,flails around blindfolded looking for bricks at the bottomofa pool.INT.  GYMNASIUM POOL - DAYThe pool casts wavy distortions upon TWO DOZEN MEN, allgrumbling as they stand in line, wearing T-shirts with FBIlogos, sweats and sneakers.  We hear a splash, and themenshuffle forward.                         PAPPAS (V.O.)          The dolls love this baby.  It brings          them luck when they rub it -- right          between their buttons.CLOSE ON tape measure wrapped around a generousbelly.PULL BACK to reveal VETERAN AGENT COREY measuring theample waist of ANGELO PAPPAS.  This 54 year old silverhaired Greek stands rubbing his belly like a Zulu chief.                         COREY          Angelo, weneed a bigger tape.                         PAPPAS          Just read the goddamn number.                         COREY          Still a 46.  Maybe we can cinch it          down, wear a girdle--                         PAPPAS          Screw youand this holistic fitness          crap!  At least my arms don't flap          in the wind.Corey secretly squeezes his bicep as...A whistle blows.  A broad shouldered MAN wearing an FBIcap barks at theGreek.                         BIG SHOULDERS          Okay, Pappas, let's put on the          blindfold.  Wanna see you retrieve          at least two bricks from the bottom.JOHNNY UTAH enters the pool area in thedistance.  Sayssomething to one of the agents.  Is pointed toward us as--Corey ties the blindfold and guides Pappas to the edge ofthe pool.                         PAPPAS          I've been in the field 33 years,          fired mypiece 23 times in the line          of duty, and I got no idea what a          blind man fetching bricks has gotta          do with being a Special Agent!Johnny has walked up.  Pappas, blindfolded, turns directlyto Utah as hecontinues, thinking it's Corey.                         PAPPAS          Added to which indignity, I got          three months left to retirement and          they saddle me with some blue-flamer          fresh out of Quantico for apartner.          Some quarterback punk, Johnny Unitas          or something.                         UTAH          The shit they pull, huh?Pappas snorts agreement and cannonballs into the pool.Huge backblast of water.  Theother agents hoot andholler.Corey swears and wipes off his clipboard.Johnny steps to the edge, looks down.We see the blindfolded Pappas groveling along the bottom.The other agents cheer as Pappas heads for thesurface.                         COREY          Here he comes.  Hold up a fish,          he'll take it right outta your hand.Pappas surfaces in an explosion of spray as he sputtersfor breath.  He grabs the edge and angrily slapstwobricks on the tiles.  He rips off the blindfold looks upand frowns.A HAND ENTERS FRAME to help him up.  Pappas takes it andJohnny hauls him on deck.                         COREY          Hey Shamu, this is yourguy.Pappas eyes the new agent warily.  Extends his hand.                         PAPPAS          Pappas.  Angelo Pappas.                         UTAH          Punk.  QuarterbackPunk.                         PAPPAS                  (grinning)          Welcome to Sea World, kid.INT.  SEDAN - DAYSERIES OF TIGHT SHOTSECU sweep hand of a dive watch clicks through theseconds.Magnum shells are fed intoa pump shotgun.Velcro straps of Second Chance body armor are fastened.White gloves are pulled snug over strong hands.A silk tie is straightened.  A shotgun slide is cocked.The sweep hand approaches the twelve.ALATEX MASK is pulled over the back of a man's head.                         VOICE          The little hand says...The mask turns into FULL CLOSE-UP.  It is RONALD REAGAN.                         REAGAN          ... let's rock androll.INT.  BANK OF AMERICABusiness as usual.  The scene so normal you know somethingis about to happen.  An exiting MAN stuffs bucks into hiswallet, reaching for the door which--SLAMS INWARD.  He is hit by a wallof EX-PRESIDENTS.REAGAN charges in with his buddies RICHARD M. NIXON,LYNDON BAINES JOHNSON and JOHN F. KENNEDY.Reagan throws the poor guy skidding across the floor.Nixon buttstrokes a guard, hard inthe nuts, with his 12gauge.The other guard goes for his holster -- finds himselffacing three shotguns and one very large handgun.Reagan sights down the pistol.                         REAGAN          Use a gun, go toheaven.The guard freezes.  White and sweaty.Tricky Dick slips up to him and collects the pistol.Kennedy covers the stunned customers.Johnson backs up against the door jam, watching thestreet, and the sedan idlingat the curb.                         REAGAN          EVERYBODY FREEZE!!  That's right.          ALL TELLERS step back from the          counter!  Hands on heads!  MOVE!!Nixon and Reagan move quickly to the counter asthetellers comply.                         REAGAN          Everybody else on the floor!  Do it!          On the floor, let's go.                         NIXON          SUCK LINOLEUM, BITCH!!  You got          earwax?!Nixon grabs a stunnedwoman by the arm and hurls her tothe floor.She lands hard.  Everyone is on the deck by now.The Presidents move fast.Reagan leaps onto the counter.  Stands up where he can seeall.Nixon hurdles to tellers' side andthey start moving downthe line together.  Reagan controlling the room as Nixonquickly empties the tellers' cash drawers into the sack.His hands move like lightning.                         REAGAN          Just staycool.  Everybody stay          cool.  Heads down.  Eyes down.  The          money's insured--TIGHT ON -- MONEY flying into the sack.                         REAGAN          -- it's not worth dying for.          Another 45 secondsof your time.          That's all.  Then -- Whoa, Tricky          Dick!Nixon pulls a pack of twenties back out of the bag andtosses it to the BANK MANAGER.  Who reflexively catchesit.Then drops it like a hot-potato justbefore--It EXPLODES into a cloud of blue ink.  The manager is dyedblue.Burnt money showers on the terrified customers.LBJ looks at his watch and WHISTLES.The bandits sprint for the front doors.Kennedy exits first,followed by Reagan.LBJ pauses under the surveillance camera, drops histrousers and MOONS.  Thank you is written across his whitebutt.BLACK AND WHITE VIDEO MONITOR--High angle, distorted wide shot.  LBJ hoistshis pants andsplits, followed out by Nixon, who exits backward with thefamous double peace-sign held high overhead.IMAGE FREEZES.  Victorious Nixon, grainy... something froma time warp.  The image SUDDENLYGOES INTO HIGH-SPEEDREVERSE.  The bank robbery sequence zips backward.                         PAPPAS (V.O.)          Twenty-seven banks in three years.          In and out in 90 seconds.  Nobody          ever getsshot.  We're talking solid          professionals.WE ARE IN--INT.  BANK CRIME SCENE - LATERUTAH & PAPPAS are watching a monitor in the glassed-inoffice.  The robbery REPLAYS on grainy BLACK &WHITEvideotape.The bandits barge in, raise shotguns and order everybodyto the floor.                         UTAH          Good move.                         PAPPAS          Yeah, they control the room well.          Stick strictly tothe cash drawers.VIDEO TAPE -- Utah is reverse-scanning.  The bandits walkBACKWARD into the bank.  The explosion of blue ink issucked back into the pack of money, then leaps back intoPresident Nixon'shand.                         UTAH          They don't go for the vault?                         PAPPAS          Never go for the vault.  They never          get greedy.                         UTAH          Smart.  You burn time in thevault.                         PAPPAS          Reagan usually drives.  Stolen          switch car, they leave it running at          the curb, looks parked from a          distance.  When they run, they dump          the vehicle andvanish.  And I mean          vanish.Utah stops the video, now FAST-FORWARDING it, stoppingwhere President Nixon separates the exploding "dye pack"planted with the money, before he tosses itaside.                         UTAH          Surgical.  Look at them separate the          dye packs.  Dick and Ronny know          their jobs.                         PAPPAS          The Ex-Presidents are the best I've          seen,kid.Outside the windowed partition POLICE OFFICERS interviewfrightened customers.Hotshot agents MUNOZ and COLE enter from the main floor ofthe bank.  Think they're veryslick.                         MUNOZ          Anytime you two are finished jerking          off watching MTV I need to get a          look at that tape.                         COLE                  (sloppy grin)          Hey, Pappas, you tell thekid your          theory on the Presidents?                         PAPPAS          Just take the tape, Cole.Now Munoz starts to smile.                         MUNOZ          Hang ten, Pappas, like totally          rad...                  (toUtah)          I gotta tell ya, the department          loves it.                         UTAH          What's he talking about, Angelo?Harp raps glass.  Cole and Munoz look sharp.Harp enters addressing Pappas andUtah.                         HARP          They found the drop car up on          Mulholland.  I want you two to go          work it.                         PAPPAS          What?  Now I'm working the drop car?          Who's handling thescene here?                         HARP          Cole and Munoz.  I'm uh... letting          them run with the ball for a while.Cole and Munoz gloat.                         PAPPAS          Cole and Munoz?  I been on this case          fortwo years.                         HARP                  (zeroing in on                   Pappas)          That's the point, isn't it?                         PAPPAS          Yeah, I get it.  Time to play let's          dick the old guys, huh,Harp?                         HARP          Supervising Special Agent, Harp.          Now I want you to go work the drop          car, okay, Angelo?  Okay?The Greek rises like a proudbull.                         PAPPAS          Sure.  No problem.  How about your          office?  Your office need vacuuming?          We could do that too.Pappas and Utah move toward the door.  It's a tightsqueeze as they passCole and Munoz.  Especially Pappas.                         PAPPAS          Excuse me.Read as fuck you.EXT.  MULHOLLAND SCENIC TURNOUT - NIGHTThe diamond field of LA glitters below.  The small parkingarea off


ï»¿The Project Gutenberg EBook of Palamon and Arcite, by John DrydenThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: Palamon and ArciteAuthor: John DrydenEditor: George E. EliotRelease Date: February, 2005 [EBook#7490]This file was first posted on May 10, 2003Last Updated: May 10, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PALAMON AND ARCITE ***Produced by Ted Garvin, Charles Franks andthe DistributedProofreaders TeamDRYDEN'S PALAMON AND ARCITEEdited With Introduction And Notes By George E. Eliot, A.M.English Master In The Morgan SchoolToHenry A. BeersProfessor Of English Literature InYale UniversityWho First Aroused My Interest In DrydenAnd Directed My Study Of His WorksThis Volume Is Respectfully InscribedPREFACE.To edit an English classic for study in secondary schools is difficult.The lack ofanything like uniformity in the type of examination requiredby the colleges and universities complicates treatment. Not only do twodistinct institutions differ in the scope and character of theirquestions, but the sameuniversity varies its demands from year to year.The only safe course to pursue is, therefore, a generally comprehensiveone. But here, again, we are hampered by limited space, and are forcedto content ourselves with abare outline, which the individualinstructor can fill in as much or as little as he pleases.The ignorance of most of our classical students in regard to the historyof English literature is appalling; and yet it is impossibleproperly tostudy a given work of a given author without some knowledge of thebackground against which that particular writer stands. I have,therefore, sketched the politics, society, and literature of the age inwhichDryden lived, and during which he gave to the world his _Palamonand Arcite_. In the critical comments of the introduction I havecontented myself with little more than hints. That particular line ofstudy, whether itconcerns the poet's style, his verse forms, or thepossession of the divine instinct itself, can be much moresatisfactorily developed by the instructor, as the student's knowledgeof the poem grows.It is certainly a subjectfor congratulation that so many youth will beintroduced, through the medium of Dryden's crisp and vigorous verse, toone of the tales of Chaucer. May it now, as in his own century,accomplish the poet's desire, andawaken in them appreciative admirationfor the old bard, the best story-teller in the English language.G. E. E. CLINTON, CONN., July 26, 1897.INTRODUCTION.THE BACKGROUND.The fifty years of Dryden's literaryproduction just fill the last halfof the seventeenth century. It was a period bristling with violentpolitical and religious prejudices, provocative of strife that amountedto revolution. Its social life ran the gamut from theseverity of theCommonwealth Puritan to the unbridled debauchery of the RestorationCourtier. In literature it experienced a remarkable transformation inpoetry, and developed modern prose, watched the production ofthegreatest English epics, smarted under the lash of the greatest Englishsatires, blushed at the brilliant wit of unspeakable comedies, andapplauded the beginnings of English criticism.When the period began, Englandwas a Commonwealth. Charles I., byobstinate insistence upon absolutism, by fickleness and faithlessness,had increased and strengthened his enemies. Parliament had seized thereins of government in 1642, hadcompletely established its authority atNaseby in 1645, and had beheaded the king in front of his own palace in1649. The army had accomplished these results, and the army proposed toenjoy the reward. Cromwell, theidolized commander of the Ironsides, wasplaced at the head of the new-formed state with the title of LordProtector; and for five years he ruled England, as she had been ruled byno sovereign since Elizabeth. Hesuppressed Parliamentary dissensionsand royalist uprisings, humbled the Dutch, took vengeance on theSpaniard, and made England indisputably mistress of the ocean. He wassucceeded, at his death in 1658, by hisson Richard; but the father'sstrong instinct for government had not been inherited by the son. Thenation, homesick for monarchy, was tiring of dissension and bickering,and by the Restoration of 1660 the son of CharlesI became Charles II ofEngland.Scarcely had the demonstrations of joy at the Restoration subsided whenLondon was visited by the devouring plague of 1665. All who could fledfrom the stricken city where thousands diedin a day. In 1666 came thegreat fire which swept from the Tower to the Temple; but, while itdestroyed a vast deal of property, it prevented by its violentpurification a recurrence of the plague, and made possibletherebuilding of the city with great sanitary and architecturalimprovements.Charles possessed some of the virtues of the Stuarts and most of theirfaults. His arbitrary irresponsibility shook the confidence of thenation inhis sincerity. Two parties, the Whigs and the Tories, cameinto being, and party spirit and party strife ran high. The question atissue was chiefly one of religion. The rank and file of ProtestantEngland was determinedagainst the revival of Romanism, which acontinuation of the Stuart line seemed to threaten. Charles was aProtestant only from expediency, and on his deathbed accepted the RomanCatholic faith; his brother James,Duke of York, the heir apparent, wasa professed Romanist.Such an outlook incited the Whigs, under the leadership of Shaftesbury,to support the claims of Charles' eldest illegitimate son, the Duke ofMonmouth, who, onthe death of his father in 1685, landed in England;but the promised uprising was scarcely more than a rabble of peasantry,and was easily suppressed. Then came the vengeance of James, as foolishas it was tyrannical.Judge Jeffries and his bloody assizes sent scoresof Protestants to the block or to the gallows, till England would endureno more. William, Prince of Orange, who had married Mary, the eldestdaughter of James, wasinvited to accept the English crown. He landed atTorbay, was joined by Churchill, the commander of the king's forces,and, on the precipitate flight of James, mounted the throne of England.This event stands in historyas the Protestant Revolution of 1688.During William's reign, which terminated in 1702, Stuart uprisings weresuccessfully suppressed, English liberties were guaranteed by the famousBill of Rights, Protestant successionwas assured, and liberaltoleration was extended to the various dissenting sects.Society had passed through quite as great variations as had politicsduring this half-century. The roistering Cavalier of the first Charles,withhis flowing locks and plumed hat, with his maypoles and morricedances, with his stage plays and bear-baitings, with his carousals andgallantries, had given way to the Puritan Roundhead. It was a serious,sober-mindedEngland in which the youth Dryden found himself. If thePuritan differed from the Cavalier in political principles, they wereeven more diametrically opposed in mode of life. An Act of Parliamentclosed the theaters in1642. Amusements of all kinds were frowned uponas frivolous, and many were suppressed by law. The old English feasts atMichaelmas, Christmas, Twelfth Night, and Candlemas were regarded asrelics of popery andwere condemned. The Puritan took his religionseriously, so seriously that it overpowered him. The energy and fervorof his religious life were illustrated in the work performed byCromwell's chaplain, John Howe, on anyone of the countless fast days."He began with his flock at nine in the morning, prayed during a quarterof an hour for blessing upon the day's work, then read and explained achapter for three-quarters of an hour, thenprayed for an hour, preachedfor an hour, and prayed again for a half an hour, then retired for aquarter of an hour's refreshment--the people singing all thewhile--returned to his pulpit, prayed for another hour, preachedforanother hour, and finished at four P.M."At the Restoration the pendulum swung back again. From the strainedmorality of the Puritans there was a sudden leap to the most extravagantlicense and the grossestimmorality, with the king and the court in thevan. The theaters were thrown wide open, women for the first time wentupon the stage, and they acted in plays whose moral tone is so low thatthey cannot now bepresented on the stage or read in the drawing-room.Of course they voiced the social conditions of the time. Marriage tieswere lightly regarded; no gallant but boasted his amours. Revelry ranriot; drunkenness became ahabit and gambling a craze. The courtscintillated with brilliant wits, conscienceless libertines, andscoffing atheists. It was an age of debauchery and disbelief.The splendor of this life sometimes dazzles, the lack ofconveniencesappalls. The post left London once a week. A journey to the country mustbe made in your own lumbering carriage, or on the snail-slow stagecoachover miserable roads, beset with highwaymen. Thenarrow, ill-lightedstreets, even of London, could not be traversed safely at night; andladies, borne to routs and levees in their sedan chairs, were lighted bylink-boys, and were carried by stalwart, broad-shoulderedbearers whocould wield well the staves in a street fight. Such were the conditionsof life and society which Dryden found in the last fifty years of theseventeenth century.Strong as were the contrasts in politics andmanners during Dryden'slifetime, they were paralleled by contrasts in literature no lessmarked. Dryden was born in 1631; he died in 1700. In the year of hisbirth died John Donne, the father of the Metaphysical bards,orMarinists; in the year of his death was born James Thomson, who was togive the first real start to the Romantic movement; while between thesetwo dates lies the period devoted to the development ofFrenchClassicism in English literature.At Dryden's birth Ben Jonson was the only one of the great Elizabethandramatists still living, and of the lesser stars in the same galaxy,Chapman, Massinger, Ford, Webster, andHeywood all died during hisboyhood and youth, while Shirley, the last of his line, lingered till1667. Of the older writers in prose, Selden alone remained; but asDryden grew to manhood, he had at hand, fresh from theprinters, thewhole wealth of Commonwealth prose, still somewhat clumsy with Latinismor tainted with Euphuism, but working steadily toward that simplestrength and graceful fluency with which he was himself to markthebeginning of modern English prose.Clarendon, with his magnificently involved style, began his famous_History of the Great Rebellion_ in 1641. Ten years later Hobbespublished the _Leviathan_, a sketch of an idealcommonwealth. Baxter,with his _Saints' Everlasting Rest_ sent a book of religious consolationinto every household. In 1642 Dr. Thomas Browne, with the simplicity ofa child and a quaintness that fascinates, publishedhis _ReligioMedici_; and in 1653 dear old simple-hearted Isaak Walton told us in his_Compleat Angler_ how to catch, dress, and cook fish. Thomas Fuller,born a score or more of years before Dryden, in the sametown,Aldwinkle, published in 1642 his _Holy and Profane State_, a collectionof brief and brisk character sketches, which come nearer modern prosethan anything of that time; while for inspired thought and purityofdiction the _Holy Living_, 1650, and the _Holy Dying_, 1651, of JeremyTaylor, a gifted young divine, rank preÃ«minent in the prose of theCommonwealth.But without question the ablest prose of the period came fromthe pen ofCromwell's Latin Secretary of State, John Milton. Milton stands in hisown time a peculiarly isolated figure. We never in thought associate himwith his contemporaries. Dryden had become the leading literaryfigurein London before Milton wrote his great epic; yet, were it not fordefinite chronology, we should scarcely realize that they worked in thesame century. While, therefore, no sketch of seventeenth-centuryliteraturecan exclude Milton, he must be taken by himself, withoutrelation to the development, forms, and spirit of his age, and must beregarded, rather, as a late-born Elizabethan.When Dryden was born, Milton at twenty-threewas just completing hisseven years at Cambridge, and as the younger poet grew through boyhood,the elder was enriching English verse with his _Juvenilia_. Then camethe twenty years of strife. As Secretary of theCommonwealth, he threwhimself into controversial prose. His _Iconoclast_, the _Divorce_pamphlets, the _Smectymnuus_ tracts, and the _Areopagitica_ date fromthis period. A strong partisan of the Commonwealth,he was in emphaticdisfavor at the Restoration. Blind and in hiding, deserted by one-timefriends, out of sympathy with his age, he fulfilled the promise of hisyouth: he turned again to poetry; and in _Paradise Lost_,_ParadiseRegained_, and _Samson Agonistes_ he has left us "something so writtenthat the world shall not willingly let it die."I have said that Milton's poetry differed distinctly from the poetry ofhis age. The verse thatDryden was reading as a schoolboy was quiteother than _L'Allegro_ and _Lycidas_. In the closing years of thepreceding century, John Donne had traveled in Italy. There the poetMarino was developing fantasticeccentricities in verse. Donne undersimilar influences adopted similar methods.To seize upon the quaintest possible thought and then to express it inas quaint a manner as possible became the chief aim of Englishpoetsduring the first three-quarters of the seventeenth century. Donne hadencountered trouble in obtaining his wife from her father. Finding onemorning a flea that had feasted during the night on his wife andhimself,he was overcome by its poetic possibilities, and wrote:  "This flea is you and I, and this  Our marriage bed and temple is;  Tho' parents frown, and you, we're met  And cloister'd in these living walls of jet."To strain afterconceits, to strive for quaintness of thought andexpression, was the striking characteristic of all the poets of thegeneration, to whom Dr. Johnson gave the title Metaphysical, and who arenow known as the Marinists.There were Quarles, with his Dutch_Emblems_; Vaughan, Sandys, Crashaw, and pure-souled George Herbert,with his _Temple_. There were Carew, with the _Rapture_; Wither and his"Shall I wasting in despair"; thetwo dashing Cavaliers Suckling andLovelace, the latter the only man who ever received an M.A. for hispersonal beauty. There was Herrick, the dispossessed Devonshire rector,with _Hesperides_ and _Noble Numbers_,freer than were the others fromthe beauty-marring conceits of the time. There, too, were to be foundthe gallant love-maker Waller, Cowley, the queen's secretary during herexile, and Marvell, Milton's assistantSecretary of State. But thesethree men were to pledge allegiance to a new sovereignty in Englishverse.In the civil strife, Waller had at first sided with Parliament, hadlater engaged in a plot against it, and after a year'simprisonment wasexiled to France. At this time the Academy, organized to introduce formand method in the French language and literature, held full sway.Malherbe was inculcating its principles, Corneille and MoliÃ¨rewerepracticing its tenets in their plays, and Boileau was following itsrules in his satires, when Waller and his associates came in contactwith this influence. The tendency was distinctly toward formalityandconventionality. Surfeited with the eccentricities and far-fetchedconceits of the Marinists, the exiled Englishmen welcomed the change;they espoused the French principles; and when at the Restoration theyreturnedto England with their king, whose taste had been trained in thesame school, they began at once to formalize and conventionalize Englishpoetry. The writers of the past, even the greatest writers of the past,wereregarded as men of genius, but without art; and English poetry wasthenceforth, in Dryden's own words, to start with Waller.Under the newly adopted canons of French taste, narrative and didacticverse, or satire, tookfirst place. Blank verse was tabooed as tooprose-like; so, too, were the enjambed rhymes. A succession of rhymedpentameter couplets, with the sense complete in each couplet, was setforth as the proper vehicle forpoetry; and this unenjambed distichfettered English verse for three-quarters of a century. In the drama thecharacters must be noble, the language dignified; the metrical form mustbe the rhymed couplet, and theunities of time, place, and action mustbe observed.Such, in brief, were the principles of French Classicism as applied toEnglish poetry, principles of which Dryden was the first great exponent,and which Pope in the nextgeneration carried to absolute perfection.Waller, Marvell, and Cowley all tried their pens in the new method,Cowley with least success; and they were the poets in vogue when Drydenhimself first attracted attention.Denham quite caught the favor of thecritics with his mild conventionalities; the Earl of Roscommon delightedthem with his rhymed _Essay on Translated Verse_; the brilliant courtwits, Rochester, Dorset, and Sedley,who were writing for pleasure andnot for publication, still clung to the frivolous lyric; but the most-readand worst-treated poet of the Restoration was Butler. He publishedhis _Hudibras_, a sharp satire on the extremePuritans, in 1663. Everyone read the book, laughed uproariously, and left the author to starvein a garret. Of Dryden's contemporaries in prose, there were Sir WilliamTemple, later the patron of Swift, John Locke whocontributed tophilosophy his _Essay Concerning the Human Understanding_, the twodiarists Evelyn and Pepys, and the critics Rymer and Langbaine; therewas Isaac Newton, who expounded in his _Principia_, 1687, thelaws ofgravitation; and there was the preaching tinker, who, confined inBedford jail, gave to the world in 1678 one of its greatest allegories,_Pilgrim's Progress_.Dryden was nearly thirty before the production of thedrama was resumedin England. Parliament had closed the theaters in 1642, and that was anextinguisher of dramatic genius. Davenant had vainly tried to elude thelaw, and finally succeeded in evading it by setting his_Siege ofRhodes_ to music, and producing the first English opera. At theRestoration, when the theaters were reopened, the dramas then producedreflected most vividly the looseness and immorality of the times.Theirworst feature was that "they possessed not wit enough to keep the massof moral putrefaction sweet."Davenant was prolific, Crowne wallowed in tragedy, Tate remodeledShakspere; so did Shadwell, who was laterto measure swords with Dryden,and receive for his rashness an unmerciful castigation. But by all oddsthe strongest name in tragedy was Thomas Otway, who smacks of trueElizabethan genius in the _Orphan_ and_Venice Preserved_. In comedy wereceive the brilliant work of Etheridge, the vigor of Wycherley, and, asthe century drew near its close, the dashing wit of Congreve, Vanbrugh,and Farquhar. This burst of brilliancy, inwhich the Restoration dramacloses, was the prelude to the Augustan Age of Queen Anne and the firstGeorges, the period wherein flourished that group of self-satisfied,exceptionally clever, ultra-classical wits who addeda peculiar zest andcharm to our literature. As Dryden grew to old age, these younger menwere already beginning to make themselves heard, though none had donegreat work. In poetry there were Prior, Gay, and Pope,while in prose wefind names that stand high in the roll of fame,--the story-teller Defoe,the bitter Swift, the rollicking Dick Steele, and delightful Addison.This is the background in politics, society, and letters on whichthelife of Dryden was laid during the last half of the seventeenth century.There were conditions in his environment which materially modified hislife and affected his literary form, and without a knowledge oftheseconditions no study of the man or his works can be effective orsatisfactory. Dryden was preÃ«minently a man of his times.LIFE OF DRYDEN.John Dryden was born at the vicarage of Aldwinkle, All Saints,inNorthamptonshire, August 9, 1631. His father, Erasmus Dryden, was thethird son of Sir Erasmus Dryden of Cannons Ashby. The estate descendedto Dryden's uncle, John, and is still in the family. His mother wasMaryPickering. Both the Drydens and Pickerings were Puritans, and wereranged on the side of Parliament in its struggle with Charles I. As aboy Dryden received his elementary education at Tichmarsh, and wentthenceto Westminster School, where he studied under the famous Dr.Busby. Here he first appeared in print with an elegiac poem on the deathof a schoolfellow, Lord Hastings. It possesses the peculiarities of theextremeMarinists. The boy had died from smallpox, and Dryden writes:"Each little pimple had a tear in it To wail the fault its rising didcommit."He entered Trinity College, Cambridge, May 18, 1650, took his B.A. in1654, and


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<title>"FRIDAY THE13th"</title>
              FADE IN:           1    EXT.  ROAD - DAY               The TRACK is SILENT.               The CAMERA looks at a sign.  Itreads:                                     CAMP CRYSTAL LAKE                                     Established 1935               Gradually we can begin to hear, in the BG, the SOUNDS of              CHILDRENplaying.                                                        CUT TO:           2    EXT. SOFTBALL FIELD - DAY               In the BG a few dozen CHILDREN, in camp uniforms,are enjoying              a game of softball.               In the FG CLAUDETTE is looking for someone.  CLAUDETTE is 17              years old.  She is pretty.  She wears a t-shirt with "Assistant              Counsellor"written on it.  She fills out the shirt very well.               Failing to find whomever she is looking for, CLAUDETTE walks              quickly in the opposite direction.               The CAMERA holds on thegame for a few seconds and we              SUPERIMPOSE:                                        JULY 4, 1958               The CHILDREN'S VOICES FADE slowly.                                                       CUT TO:           3    EXT. RIFLE RANGE - DAY               ECU as a COUNSELLOR squeezes off a shot.               Thepaper target is ripped in the black.               The COUNSELLOR hands the weapon to a CAMPER who snaps in at the              line.               CLAUDETTE shouts up to the COUNSELLOR from theBG.                                   CLAUDETTE                      Have you seen Barry?               The COUNSELLOR smiles.  Shrugs.                                  COUNSELLOR                      Heand Chloe were at the Lodge last time                      I saw him.               CLAUDETTE leaves.  The COUNSELLOR smiles.                                                        CUT TO:          4    EXT. MAIN LODGE - DAY               Two CHILDREN run by carrying Indian headdresses.  CLAUDETTE              passes them impatiently as she sees BARRY and CHLOE.              BARRY is leaning against the front rail of the porch, his arms              behind his head--the better to show off his physique to CHLOE,              and Assistant Counsellor, who is currently looking at himwith              cow eyes.  In the BG we can hear a portable radio blaring out              an Everly Brothers hit.               BARRY is 17, handsome and out for all he can get.  He is not              ashamed for beingcaught with this other good-looking girl.                                   CLAUDETTE                      We've got to talk.               BARRY looks at CHLOE, then eases off the rail.  Nods.                                  BARRY                      Okay.          5    BARRY puts an arms around CLAUDETTE, looks over his              shoulder at CHLOE, and saunters off with the former.              The Everly Brothers continue as we:                                                        CUT TO:           6    EXT. LAKE - DAY               From over the tops ofa rack of canoes we see BARRY and              CLAUDETTE walking along the shore.                                   CLAUDETTE                      You said we were special.                                  BARRY                      I meant everything.               In the BG, CHILDREN leap into thewater.                                  BARRY                            (continuing)                      You know what I said, though.                                   CLAUDETTE                      I can't, Barry...                                                       CUT TO:           7    EXT. FOREST - DAY               The TRACK goes SILENT.               BARRY & CLAUDETTE walkalong a path.  This is not an aimless              walk, for BARRY knows exactly where he wants to go.  He leaves              the path and goes to sit on a log in a small clearing.              CLAUDETTE hesitates, then goes tosit next to him.                                   BARRY                      I care very much.               He puts an arm around her and draws her close.  They kiss.              They separate.                                  CLAUDETTE                      Does Chloe kiss as good as I do?               BARRY decides to be politic.                                   BARRY                      Iwouldn't know.                                   CLAUDETTE                      Oh, you...               She kisses him and they are locked.               A bird calls, wheels across the patch of skyabove.               The CAMERA shifts to ANOTHER ANGLE:  Just beyond the thicket of              lacy vines.  It is a slow tracking shot which gives the              impression that we are watching the action from thePOV of              another person, an unseen visitor...watching the two teen-aged              Assistant Counsellors making their first sexual encounters.               This unseen observer will be called thePROWLER.               BARRY reaches up outside CLAUDETTE'S t-shirt to hold her              breast.  She reaches up to take his hand away.                                  BARRY                      Claudette...                                  CLAUDETTE                      Somebody'll see.                                  BARRY                      No, they won't...               He ends the argument by snaking his hand inside her t-shirt so              that part of her bra is exposed.  He seals herprotesting lips              by kissing her.               From the PROWLER's POV, the CAMERA MOVES to get a better angle.              A hand moves into FRAME and pulls back some branches to clear              thefield of vision.  A branch pops.                                   CLAUDETTE                            (in a thick whisper)                      Somebody's there, Barry.                                  BARRY                      Come on, Claudette.  A man's not made of                      stone.                                   CLAUDETTE                      Let's go back,Barry...                                   BARRY                      I need you so much, Claudette.               BARRY leans in and unhooks her bra.  They kiss again,              passionately.              The PROWLER pauses, then moves, never seen--except for a bit of              foot or hand--from the POV of the CAMERA, closer and closer as              the two TEENAGERS become more and moreoblivious.               Closer.  The THEME has snuck in.  It becomes discordant.  It              swells.  Closer.               QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed,the              perspiration streaking their flushed skin.               Suddenly CLAUDETTE looks up into the CAMERA with terror.               A hatchet flashes into FRAME and CLAUDETTE goes down underthe              blow.               The CAMERA TURNS TO BARRY.  The PROWLER's powerful hand has him              by the throat.  He backpeddles, trying to get away.               ANOTHER ANGLE: asBARRY is stopped against a tree.               A hunting knife soars against the leafy sky.              BARRY grabs the knife-hand at the wrist.  The knife falls to              the mossy floor of the clearing.              Two hands go for the free blade.  BARRY's hand has it.               There is a confused jumble of struggle.               Onto the bed of moss falls the little finger of the PROWLER.              REACTION SHOT:  BARRY, horrified by the sight.               The PROWLER's hand has the knife.  It moves quickly forward.              We can hear the blade strike.               BARRYstares up at the sky in a soundless shriek.               MCU the moss where the finger fell.  The PROWLER reaches into              FRAME, picks up the finger, and exits FRAME.               QUICK CUTTO:  CHLOE, out searching for the missing Counsellors.              She stands at the edge of the clearing, her hands pressed on her              temples, her throat filled with a scream of terror.  The MUSIC              hasstopped abruptly.               THE SCREEN BLEEDS TO WHITE.               It is completely SILENT.                                                        CUT TO:         8    TITLE SEQUENCE               The screen is completely black.  A small white shape starts to              ZOOMS towards the FG.  The shape becomes athree-dimensional              rendering of FRIDAY THE 13TH.  Just as it gets to its final              position, the FRIDAY 13 logo shatters a previously unseen pane              of glass.  There is a loud crash.  The logo shifts tothe upper              left corner of the FRAME as we ROLLS TITLES, white on black.               The THEME MUSIC is a reprise of the THEME we heard during the              Forest sequence, now done in a childlikearrangement.               TITLES END and the MUSIC fades out.                                                        DISSOLVE TO:           9    EXT. RURAL TOWN - EARLYMORNING               The TRACK is SILENT.               In a LONG SHOT we see the one main street.  A newspaper              delivery truck drives away from the CAMERA.  A GIRL walksdown              the street.              Superimposed title:                                        THE PRESENT               A MEDIUM SHOT in front of the bank reveals a day/date/time/temp              signwhich blinks:                                        FRIDAY, 13                                        7:01                                        60 Degrees                                       FRIDAY, 13                                        7:01                                        60 Degrees               We can begin to hear a small-town DJOVER as a pick-up truck              moves down the street past the GIRL in her late teens.  She has              a knapsack, a freshly scrubbed face, jeans, and a plaid shirt.              She wears her hair in a long braid.  Shewears Nike jogging              shoes.  This is ANNIE.                                   DJ (V.O.)                      It's 7:01 on Friday the 13th of June.                      This is Big Dave and it's time foryou                      lazy bones to GET OUT OF BED!  It's                      black cat day in Crystal Lake.  Don't                      forget the big drawing today to see who                      gets our FRIDAY THE 13TH