THE TELEVISION TEEN DRAMA AS FOLKTALE By

THE TELEVISION TEEN DRAMA AS FOLKTALE

By: Denna Jones S204043395

Submitted in partial fulfilment of the requirements for the degree Magister Artium in Applied Media Studies in the Faculty of Arts at the Nelson Mandela Metropolitan University

JANUARY 2011

SUPERVISOR: Mrs. Bianca Wright, HOD Department of Journalism, Media and Philosophy, Nelson Mandela Metropolitan University DECLARATION

I, DENNA LOUISE JONES, in accordance with Rule G4.6.3, hereby declare that:

 This treatise is the result of my own original research and that this work has not previously been submitted for assessment to another university.

 This research contained in this treatise is being submitted in partial fulfilment of the requirements for the degree Magister Artium in Applied Media Studies in the Faculty of Arts at the Nelson Mandela Metropolitan University in Port Elizabeth, South Africa.

 All sources used or referred to in this treatise have been documented and recognised.

I hereby give consent for my treatise, if accepted, to be made available to the Nelson Mandela Metropolitan University Library and for the title and summary to be made available to outside organisations.

SIGNED: DENNA LOUISE JONES

………………………………………………..

DATE: 28 JANUARY 2011

CONTENTS

Abstract 6

CHAPTER ONE : INTRODUCTION TO RESEARCH

1.1. From the tribal campfire to the modern lounge – the evolution of storytelling 7

1.2. Television in the home 8

1.3. Television is built into the rhythms of everyday life – a critical view 9

1.4. Television – the inheritor of popular culture 10

1.5. The teen television drama 11

1.6. Propp’s Morphology 13

1.7. Justification and Significance of Study 14

1.8. Problem Statement 15

1.9. Aim 15

1.10. Objectives 15

1.11. Research Design and Methods 15

1.12. Delimitations of Study 15

1.13. Conclusion 16

CHAPTER TWO : LITERATURE REVIEW

2.1. Introduction 17

2.2. Fairytales 17

2.3. Narrative Theories 22

2.4. The role of stories in society 25

2.5. Storytelling 2.0 and the changing role of the author 29

2.6. The advent of television and impact on society 32

2.7. The Teen Drama 40

2.8. Conclusion 43

CHAPTER THREE : RESEARCH DESIGN AND METHODS

3.1. Introduction 44

3.2. Research Framework 44

3.2.1. Research Question 44

3.2.2. Aims and Objectives of Study 44

3.2.3. The teen television dramas analysed 45

3.3. Research Design and Methods 45

3.4. Ethical Considerations 49

3.5. Conclusion 49

CHAPTER FOUR : RESEARCH FINDINGS

4.1. Introduction 50

4.2. Gossip Girl 50

4.3. The O.C. 61

4.4. One Tree Hill 68

CHAPTER FIVE : DISCUSSION

5.1. Introduction 73

5.2. The absence of a family member from home 73

5.3. The Villain 74

5.4. Lack and Desire 75

5.5. The Tests 76

5.6. The hero 76

5.7. The magical agent 77

5.8. The fairytale ending 77

5.9. Conclusion 78

CHAPTER 6 : CONCLUSION OF RESEARCH

6.1. Introduction 79 6.2. Summary of Research 79 6.3. Limitations of encountered during the study 79 6.4. Conclusion of Study 80 6.5. Recommendations of further study 81

ADDENDA

Addenda A – Propp’s Functions of the Dramatis Personae 82

Addenda B – Gossip Girl Transcript of Pilot Episode 89

Addenda C – The O.C. Transcript of Pilot Episode 124

Addenda D – One Tree Hill Transcript of Pilot Episode 149

ABSTRACT

In 1927 Vladimir Propp published a book in which he defined the characteristics and morphology of fairytales. His work was a groundbreaking one that forced scholars to question the way in which stories and storytelling affect the fabric of society and its ideals. Since 1927 much has changed with regards to the way in which stories are told. Technology has changed the way in which people interact and communicate with each other. Media conglomerates such as Walt Disney, Time Warner Company and News Corporation are driven to create stories and media that will deliver consumers to their advertisers.

This paper sought to examine the way in which the teen drama has redefined the fairytale, and to establish whether Propp’s work on the morphology of fairytales can still be seen as valid today.

Following an in depth literature review that sought to establish the foundations of fairytales, narratives, Propp’s morphology, the development of television as well as the teen television drama, the findings of this paper were established through a detailed content analysis of the first season of three modern teen television dramas – The O.C., One Tree Hill and Gossip Girl.

The research found that while some of Propp’s functions may have been adapted to take on a more modern role and a few others became defunct, the majority of the functions of the dramatis personae could be found almost unchanged within the teen television drama. Gossip Girl, in particular demonstrated that it was highly aware of its allusions to the fairytale analogy with numerous references throughout its first season to fairytales such as Snow White and the Seven Dwarves, Cinderella and Beauty and the Beast. More than any of the other shows, Gossip Girl appeared deliberate in its references to the world of fairytales, a world in which the damsel in distress is always rescued by her knight in shining armour, and where monarchy reigns supreme.

While humans have continued to evolve and the modes of storytelling have changed significantly since Propp first published his paper, the teen television drama has not yet redefined the characteristics of Propp’s morphology. At most it has modernised them making them relevant to the 21st century viewer.

Chapter 1: INTRODUCTION TO THE RESEARCH

1.1. From the tribal campfire to the modern lounge – the evolution of storytelling

For as long as there have been people walking the earth there have been stories told. We find evidence of this in the rock paintings of earliest man, and the legacy continues today in the radio, newspapers, books, films, plays and television shows that we listen to, read and watch every day (Tomaščikovā 2009:281). From the moment that humans are able to understand speech they are surrounded by narratives. Whether tales, jokes, novels, films, television news or cartoons, the fairytales, myths and legends of our ancestors continue to weave themselves into the fabric of society (Tomaščikovā 2009:281). Whether these narratives are simple or complex, individuals must be able to find a way of understanding the narrative and its function in order to make sense of the world around them (Tomaščikovā 2009:281).

From the moment that we are born, humans learn to “draw” and “tell” stories about their inner lives and experiences in the form of narrative (Tomaščikovā 2009:287). These stories and narratives serve as a means for individuals to understand their past experiences, as well as provide possible explanations and mediations of present experiences (Tomaščikovā 2009:287). Throughout history, stories have been used to teach and to pass the wisdom of the elders down from one generation to the next in order to ensure survival. As the years progressed, these stories became a part of culture and were turned into myths, legends and fairytales, captivating generations of young children and adults and helping them to learn about and engage with the world around them, as well as to understand the social customs and expectations of their societies (Ryan 2004:1).

Homi Bhabha (1990) writes that there cannot be identities “without a story which gives a sense of shape, space and time to the people”, and Thornham and Purvis suggest that without narrative “history becomes obscure, people less familiar and space and time less clear...Narratives are the principle means by which the past is made intelligible in the present” (2005:30).

As humans have developed over the years, so too have the channels of narration. Where once a story could only be passed on from one person to the next orally, today millions of stories are told every minute through access to thousands of television channels, radio stations, cell phone technology and the Internet. The world’s population has grown and developed exponentially since the end of the nineteenth century requiring fundamentally different forms of communication in order to make an effective or even tolerable society (Ellis 2000:6). As populations swelled, the nature of society and the role of individuals within society became fundamentally altered. Cities became more complex and subdivided and new forms of organisation in public infrastructure led to 7

the development of the “white collar worker”, an educated, industrial proletariat (Ellis 2000:7). Consumer industries began to develop as “white collar workers” began to demand better and more diverse goods. Towards the end of the nineteenth century homes began to acquire luxury goods such as pianos, gramophones and eventually electricity. Cinema was introduced as a means of entertainment followed by radio and television (Ellis 2000:9) In the sixty years following the introduction of television into households, the medium has come to be considered by many as one of the principle storytellers of the 20th century (Tomaščikovā 2009:281).

1.2. Television in the home

John Ellis describes the twentieth century as “the century of witness” (2000:9). Photography, cinema and television have allowed people to begin to perceive a world that exists beyond their immediate experience. Through these channels individuals have been brought face to face with the great events and horrors that have occurred over the past century. Many will remember watching on their television sets at home as the second plane crashed into the Twin Towers on the 11th of September 2001. The subsequent wars in Afghanistan and Iraq have been well televised with cameras placed inside the war tanks as soldiers prepare to attack the enemy. South Africa watched together as Nelson Mandela was released from prison and the world watched and celebrated together as Barack Obama was inaugurated as the first black president of the United States. Prince Charles and Diana’s wedding, the collapse of the Berlin Wall, the aftermath of the earthquake in Haiti, the first steps of Neil Armstrong on the moon, the death of Michael Jackson, the genocide in Darfur, the triumph of the Soccer World cup hosted in South Africa; photography, radio, film and television have brought individuals the world over into contact with the process of witness (Ellis 2000:10). Where once an individual could only know about what was happening in their immediate environment, individuals today are able to sit in their armchairs and explore and experience the world through their television sets. Through the rapid growth and distribution of radio and television sets, as well as the popularisation of shopping centres, diverse cultures which may once have seemed foreign, alien or remote, are now increasingly accessible to us (Barker 1991:1). Barker suggests that “the globalisation of television has become a proliferating resource for both the deconstruction and reconstruction of cultural identity (1999:3).

Television sets itself apart from cinema in that it is private and domestic (Crisell 2006:2). A trip to the cinema is one that requires a much higher degree of motivation than watching television in that it requires the individual to travel and pay money in order to watch the film. Television, however is

viewed in the privacy of the home with many distractions, surrounded by the routine of domestic life (Crisell 2006:2).

According to Crisell, the most significant difference between cinema and television is the fact that television is both live and continuous and carries both factual and fictional content (2006:2). News programmes are interspersed with soap operas, sitcoms, reality television shows and magazine shows. Because television exists within the private space of an individual and has become a part of everyday life it holds its viewers in “a relationship of co-intimacy” (Ellis 1982:139). Television characters become familiar figures who are loved and excused “with a tolerance that is quite remarkable” (Elllis 1982:139). People relate to these television characters as they belong to groups that are assumed to be “just like us”, familial or pseudo-familial groupings with shared values and beliefs (Thornham & Purvis 2005:6).

Since its introduction into the household, television has quickly become a site of popular knowledge about the world and daily brings people into contact with ways of life other than the one into which they have been born (Barker 1999:3). As such its impact on the development of a person’s self identity must be considered. Thompson (1995:43) argues that “we must not lose sight of the fact that, in a world increasingly permeated by the products of media industries, a major new arena has been created for the process of self fashioning”. Over the past twenty years, television has segmented its audiences to such an extent that exclusive television channels now exist for almost every niche market imaginable. In South Africa Mutichoice’s Digital Satellite Television (DStv) caters for adventurers (Discovery Channel), historians (History Channel), sports fanatics (Supersport channels and ESPN), babies and young children (Koowee and CBeebies), tweens (Disney, Nickelodeon and Cartoon Network), teenagers (Vuzu, Mzantsi, MTV, MK), crime enthusiasts (Crime Channel), and animal lovers (Animal Planet and National Geographic) amongst others. One hundred and fifty two channels for 152 different types of audiences. If one considers Thompson’s suggestion that the messages and meanings of television broadcasts are appropriated by individuals and “routinely incorporate them into their lives and sense of time and space”, the power of television broadcast to influence its audiences becomes apparent (cited in Barker 1999:4). This idea was perhaps first suggested by Raymond Williams writing in 1974 who suggested that “drama is, via television, built into the rhythms of everyday life” (cited in Thornham and Purvis 2005:2)

1.3. Television is built into the rhythms of everyday life – a critical view

The idea of television and television drama as built into the rhythm of life is one that was very strongly criticised by Adorno and Horkheimer in their paper on “The Culture Industry: Enlightenment

as Mass Deception” written in the 1940s. They suggest that “amusement under late capitalism is the prolongation of work” and that while television may be a sought after escape from the mechanized process of work, it merely reinforces the mechanization and ultimately the experiences are simply after – images of the work process itself (cited in Hollows, Hutchings and Jancovich 2000:11). Thus someone who is working on an assembly line repeating the same action every day returns home to escape however, upon closer examination, we find that in their evening routine the individual is simply repeating the mechanized steps of the work that they are trying to escape – opening the door, switching on the television, making dinner, sitting down to watch the television, cleaning the dishes and going to bed, night after night.

According to Adorno and Horkheimer, “the stronger the positions of the culture industry become, the more summarily it can deal with consumers’ needs, producing them, controlling them, disciplining them and even withdrawing amusement.” (cited in Hollows et al 2000:11).

Rick Altman suggests that the flow of television is a “product of a system in which audiences are treated as commodities that can be measured and sold to advertisers” (1986:40). According to the International Television Expert Group, the world television market in 2009 generated 268.9 billion euros. Of this, 121.9 billion euros (45%) was generated by the advertising revenue with the remainder of the figure made up by television subscriptions (paid for television) and public funding. Over the past fifty years the primary function of the mass media narrative has developed from one of providing audiences with entertainment and information to one that serves to provide support to the enormous media industry by enhancing the sales of its products (Fulton 2005:3). Thus Altman, Adorno and Horkheimer’s criticism’s are not unfounded.

Dwight Macdonald shares Adorno and Horkheimer’s deep suspicion of the mass media industry suggesting in his book that unlike ‘folk culture’, ‘mass culture’ is inauthentic and “fabricated by technicians hired by businessmen” (1994:30). He believes that mass culture is imposed upon rather than arising from ‘ordinary people’ and that its primary function is “to ensure the continued passivity of its working class audiences” – an idea very similar to that of Adorno and Horkheimer writing in the 1940s.

1.4. Television – the inheritor of popular culture

Writing in 1987, John Fiske suggests that “television is the inheritor of a popular culture in which orality plays a central role” (1987:105). He writes that the popularity of television can be attributed, in part, to the ease with which television programming can be inserted into “those forms of oral culture which have survived in a mass industrialised society” (Fiske 1987:106). Just as cave men 10

gathered around their fires with their families to tell stories about their day and teach lessons to their young, so modern humans gather around the water cooler at work to discuss the stories that they watched on television the night before. Thornham and Purvis suggest that rather than being the antithesis of ‘folk culture’, the fact that television is endlessly talked about suggests that it in fact exhibits many of the qualities of that culture (2005:10).

In his book on How culture moves through the world, Greg Urban identifies the “story” as the “transitory home of culture” (2001:3). He identifies “a story carried through the air in sounds, a gesture” as the simplest way in which culture is moved from one person to another and from region to region (Urban 2001:2). Thus the culture of the fairytale is able to move from one generation to the next as people continue to tell the stories to their children, in doing so reinforcing the culture within themselves.

These stories play an important role in the development of self identity as they are relayed to young children over and over again. These are the stories that are used to teach language and introduce social relationships, norms, morals and values thus linking to Gidden’s idea that self identity is the product of a world that pre-exists the individual (1991). The stories become the narratives that provide a “sense of shape, time and space to people” (Homi Bhabha 1990).

As children grow up and enter into adolescence and adulthood they take these stories with them and over the years the culture of the fairytale has found itself alive and well in the world of teenagers and adults. Television, film, magazines and books continue to profit by perpetuating the ideals of the fairytale so deeply ingrained in the psyche of the Western world. Websites such as disneybridal.com provide some proof of this phenomenon allowing grown women to fulfil their Disney fairytale fantasy by promising to deliver a fairytale wedding modelled after their favourite Disney Princess character.

1.5. The teen television drama

The teen television drama is one that demonstrates the legacy of the changes of television programming over the past twenty years, and is emblematic of the changes in television’s mode of production and distribution throughout the 1990s and into the 2000s (Caldwell 1995 cited in Green 2005:1). According to Caldwell the teen drama encapsulates his concept of “televisuality”, a term he uses to describe the new focus of television programming on style as a way in which to reinvigorate broadcast television and which indicates the rise of the niche audience appeal (cited in Green 2005:1).

As the soap opera gained popularity throughout the 1970s and into the eighties, the audience broadened to a point where the number of young people watching television was significant enough for television producers and executives to begin turning the focus of their story lines towards young people as central characters (Cassata 1995 cited in Green 2005:2). By the 1990s Beverley Hills, 90210, an hour long television drama based around the lives of young American teenagers living in the exclusive suburb of Beverley Hills, provided the “jolt on the television landscape...that would eventually transform television” (Owen 1997:72). The show was the first to introduce youth issues in an hour long drama format on primetime television (Green 2005:3). The show was distinct in that it did not attempt to appeal to a broad audience but rather focused closely on a group of characters who were all similar in age (Owen 1997:73 – 74).

In 2009, nine years after the last episode of Beverley Hills 90210 had aired, the show was reborn when producers developed 90210, a revamped, more modern version of the show. The show contained fresh young faces as well as featured character arcs of some of the original cast members such as Jennie Garth as Kelly who has grown up and become the high school guidance teacher, Shannon Doherty as Brenda who makes a guest appearance as the school drama director and Tori Spelling as Donna, Kelly’s best friend. The premise of the show remained the same as the first season focused on the story of a brother and sister facing the challenges of moving from conservative, small town Kansas City to Beverley Hills, one of the wealthiest suburbs in the United States. The original featured the Walsh siblings moving to Beverley Hills from small town Minnesota. While 90210 has certainly revamped some aspects of the original – replacing old cellphones with new ones, revamping the Peach Pit into a chic coffee- take away restaurant, modernising the cars that the characters drive, revamping the homes in which they live and most significantly including actors of colour in lead roles – much of the drama and scandal continues to remain the same (Keegan 2008:1). Issues such as drug abuse, teen pregnancy, peer pressure, underage drinking, and rape were explored first by the original and feature strongly in the first season of the remake suggesting that the narrative of the original continues to remain relevant, even today.

The focus of the teen drama is to examine the trials and tribulations suffered by young people working their way through adolescence (Green 2005:2). According to Davis and Dickinson (2004:6), the genre of teen television is an “inseparable feature of the society within which it exists”. Teen dramas such as Dawson’s Creek and Buffy the Vampire Slayer openly stressed their links to their young creators, Kevin Williamson and Joss Whedon respectively, and played on these links in an attempt to challenge the notion that television is “ephemeral, industrially manufactured, trashy and non-cinematic” (Green 2005:6). Recently shows such as The OC and Gossip Girl have similarly made

use of this technique in order to lift themselves above a devalued “teen television” status. The storylines of each of these shows work to reflect the society within which they exist, however the question of whether the shows are a reflection of the situations faced by teenagers today, or merely fuelling bad behaviours, has recently been raised (Whitten 2010).

1.6. Propp’s Morphology

The argument over whether narrative dictates reality or vice versa is one that intellectuals have attempted to uncover for many decades. In 1927 Vladimir Propp published his book The Morphology of the Folktale, a ground breaking work in defining the structure and characteristics of the fairytale. In his undertaking Propp closely examined 100 folktales seeking to establish a scientifically precise formula or morphology that could be used to categorize these tales. In working to establish the morphology of the folk tale, one of Propp’s methods was to begin telling young children a fictitious or non-traditional fairytale, asking them to complete the tale (Dundes 1968:xv). The child’s completion would then be checked against Propp’s hypothesized functions and more often than not confirmed (Dundes 1968:xv).

Propp’s morphology identified 31 functions of the dramatis personae within fairytales. Each function was “understood as an act of a character, defined from the point of view of its significance for the course of action” (Propp 1968:21). While not all of the functions were to be found in every tale, the sequence of the functions remained identical. The functions defined the roles of almost every character of the fairytale, from the hero to the villain, magical helper to victim. Throughout Propp’s study these tales, these functions presented themselves consistently and with little variation in sequence. While the individuals portraying the dramatis personae may have changed from one tale to another, their function always remained the same.

While Propp’s work focused on Aarne – Thompson tale types 300 – 749 (fairytales), it has been found that in fact his work can be applied to a much broader range of tales. Elements of his morphology can be found in African tales as discovered by Paulme, as well as American-Indian tales, epics such as The Odyssey, and even within the structure of folk dances and games (Dundes 1968:xiv). Dundes suggests that because cultural patterns often manifest themselves in a number of cultural materials “Propp’s analysis should be useful in analysing the structure of literary forms such as novels and plays, comic strips, motion pictures, tv plots and the like” (1968:xiv). Thus this paper seeks to use Propp’s work to analyse the teen television drama and to establish whether it has redefined the fairytale.

1.7. Justification and Significance of Study

The world has changed drastically since Propp first published his work on the structure of fairytales in 1927. Technology has changed the way in which people interact and communicate with each other. Media conglomerates such as Walt Disney, the Time Warner Company and News Corporation are driven to create stories and media that will deliver consumers to their advertisers. The family unit within the western world has broken down with one in two marriages ending in divorce. Children are said to have lost interest in reading, choosing instead to focus their attention on the latest Playstation and Xbox games, cellphone technology, television and the internet and social networking sites such as Facebook. Capitalism, materialism and celebrity worship have become the cornerstones of modern society with television reality shows such as My Super Sweet 16, Teen Cribs, Party Mammas, Laguna Beach and The Hills perpetuating the culture.

As technology has advanced and television sets and the Internet have surpassed books as the primary means of storytelling, we find that the nature of storytelling has had to adapt in order to survive. The primary function of mass media today is not just to inform or entertain people, but to support the enormous media industry by enhancing sales of its products (Fulton 2005:3). Thus our favourite television story characters do not just have a bag or a phone or pair of sunglasses, but a Prada bag, an iPhone and a pair of Police sunglasses. The heroes and heroines of the stories that we love to watch have become walking, talking billboards that enter into our daily lives via our favourite television shows and movies. Even the heroes and heroines of our favourite books are not immune to the pressure of the media industry to provide as much advertising space and generate as much revenue as possible.

As humans continue to evolve and develop new ways of storytelling and communicating with each other, a study establishing the way in which the television teen drama has redefined the characteristics of the fairytale as set out by Vladimir Propp, seeks to stimulate a debate as to whether the culture of storytelling has changed as much as we would believe it has, or if it is simply the technology of storytelling that has changed.

If one is able to determine the way in which the television teen drama has redefined the characteristics of the fairytale, the door is opened to further studies in which the redefined characteristics can be applied to other forms of narrative and the effects that these characteristics have on these narratives.

By establishing whether the characteristics of the fairytale have been redefined, one is also able to begin to investigate the reasons for the change in characteristics over the past 83 years and to begin 14

to predict future changes that may occur. If fairytales are said to be the blueprint of a culture or society, a study of their changing characteristics from one generation to the next may provide insight into the inner workings and development of a particular culture or society.

1.8. Problem Statement

How has television’s teen drama redefined the fairytale?

1.9. Aim

To investigate the way in which the modern teen drama on television has redefined the fairytale

1.10. Objectives

1.10.1. To determine whether the three selected teen dramas meet the criteria of folktales/fairytales as set out by Propp’s Morphology of the Folktale

1.10.2. To identify the ways in which the modern teen drama has adapted or undermined the characteristics of the fairytale as set out by Propp in The Morphology of the Folktale

1.11. Research Design and Methods

Each episode was viewed with the attempt to identify which of Propp’s 31 morphological functions of the dramatis personae were apparent. The overall season was then analysed in order to identify whether Propp’s functions were present only within a particular episode or whether different functions appeared within different episodes throughout the season. A full list of Propp’s characteristics can be found in Addenda A on page 84.

The findings for each drama are presented, followed by a conclusion that draws together the literature reviewed and findings of the research.

1.12. Delimitations of Study

The study is limited by the number of teen television dramas and seasons that were analysed. All three dramas were chosen on the basis of their viewing popularity and the fact that they had entered at least a second season. A more comprehensive conclusion would have been reached if 15

each of the teen dramas had finished airing all of their seasons on television and their stories completed. As it stands The O.C. is the only show that has completed its run. One Tree Hill is currently airing its eighth season in the United States, while Gossip Girl began airing its fourth season in September 2010.

Propp’s study focused on fairytales that had been completed and had a concrete beginning and end. Two of the three television shows that were selected for this study have yet to fully complete their storylines, thus while it is possible to identify many of Propp’s functions within the episodes and the seasons selected, the study remains open ended as the stories continue to be told.

This study was also limited by the fact that the teen dramas analysed were all created and produced in the United States of America in English. While the United States serves as the predominant source of the teen drama, the study would have been strengthened by a comparison of an America teen drama with one of a different nationality and language. It should be noted, however that the dramas that were selected have been syndicated in numerous countries around the world and dubbed into many different languages, suggesting a form of universality and perhaps pointing towards a change in cultures. Where once fairytales were unique to their culture, globalisation and the import of television programmes and movies has led to the dilution of these cultures and a move towards a world monoculture.

1.13. Conclusion

The following chapters will focus on the literature available in relation to the topic. Particular attention is given to fairytales and their role within society, the role of narratives, the advent and impact of television and the development of the teen television drama. This includes a brief overview of Propp’s morphology to be used later in the content analysis of the three television series.

CHAPTER 2: Literature Review

2.1. Introduction

The following chapter presents an overview of the development of storytelling and fairytales and the role of these narratives within society. The chapter begins with an introduction to fairytales and provides a brief summary of the way in which they have evolved from the stories told by the first humans around the tribal campfire to the popular animated films produced by entertainment companies such as Disney. After a brief discussion of Propp’s Morphology of the Folktale, we move towards identifying some of the more modern narrative theories that have developed since Propp’s initial work after which the role of stories within society is examined. The chapter also touches briefly on the future of storytelling and the changing role of the author before focusing on the advent of television and its impact on society, as well as a summary of the development of the teen television drama.

2.2. Fairytales

In her introduction to Teaching Thinking Skills through Fairytales and Fantasy, Nancy Polette writes that “fairytales and fantasy help to shape great minds” (2005:1). She cites Albert Einstein as a prime example of this and suggests that traditional tales help individuals to understand real humanity, nobility of character and the vitality of love (Polette 2005:1). Throughout history, stories have been used to teach and to pass the wisdom of the elders down from one generation to the next in order to ensure survival. As the years progressed, these stories became a part of culture and were turned into myths, legends and fairytales, captivating generations of young children and adults and helping them to learn about and engage with the world around them, as well as to understand the social customs and expectations of their societies (Ryan 2004:1).

While the term “fairytale” was only coined in the late 17th century by Madame d’Aulnoy, evidence from literary works suggests that fairy tales have existed for thousands of years with many of today’s well known fairytales having evolved from centuries-old stories that have appeared in varying forms in different cultures around the world (Gray 2005). Initially fairytales were meant as a means of adult entertainment, told at social gatherings where adults met (Chandler 2005:1). These fairytales contained elements of exhibitionism, rape and voyeurism and were far removed from the fairytales that are known today (Ryan 2004:1). The early nineteenth century saw the beginning of the transformation of fairytales into more child – friendly stories as peddlers, known as “Chapmen”, travelled from town to town in Europe selling household items, sheet music and affordable little books known as chapbooks. These books contained drastically edited versions of folktales, fairytales 17

and legends that the Chapmen had gathered on their travels (Chandler 2005:1). Simple to read and cheap to buy, these books soon gained a popularity amongst a young audience.

Authors such as the Brothers Grimm also contributed to the rise in popularity of the fairytale as they travelled around Germany collecting German fairytales, eventually publishing the tales in 1812 and 1815 (Heiner 1999).

Over the past two hundred years, the channels of storytelling have grown ever vast and varying – where once the only means of hearing a story was to have someone orally recite it to you, today children have access to stories via radio, television, cinema, digital books, read-a-long cds, the internet and cellphone technology.

In 1937 Walt Disney released his first feature length animation film, a fairytale, Snow White and the Seven Dwarves. The fairytale lives on today in the hearts and minds of hundreds of millions of people all over the world. Each year more than 200 million people watch a Disney film or home video, each week 395 million watch a Disney TV show and 212 million listen to Disney music, records or tapes (Giroux 1999 cited in Chandler 2004:1).

Since it was founded in 1923, the Walt Disney Company has worked to establish itself as the world’s leading family entertainment brand, committed to producing “unparalleled entertainment experiences based on the rich legacy of quality creative content and exceptional storytelling” (www.corporate.disney.go.com). Over the past 58 years the company has grown into one of the biggest media conglomerates in the world. The Walt Disney Corporation includes such heavyweight companies as Touchstone Pictures, Hollywood Pictures, Miramax and Pixar Animation; Disney Theatrical Productions are one of the largest producers of Broadway shows in the United States; the Disney Music Group contains Walt Disney Records, Hollywood Records and Lyric Street Records; and the Disney-ABC Television Group are the producers of shows such as Hannah Montana, Jonas Brothers, High School Musical 1,2 and 3 as well as Modern Family, Grey’s Anatomy, Desperate Housewives, Private Practice and The Bachelorette (http//abc.go.com/shows). Every day millions of young children and teenagers begin to develop their understanding of the world based on the fairytale narratives laid out by the Disney Company and similar entertainment companies. Similarly the ideals and values established by these shows in early childhood and adolescence continue to be reinforced amongst adults as conglomerates such as the Disney Company continue to produce the shows, movies and entertainment experiences sought by adult audiences as well.

In 1928, Vladimir Propp published the first edition of Morphology of the Folktale. In it he worked to identify and describe the characteristics and structure of the folk tale (fairytale). While authors 18

before him had attempted to define and divide folk tales into different categories and themes, Propp recognised that these methods were flawed as the boundaries between themes and categories often overlapped and became blurred (Propp 1968:6).

To Propp, the study of fairytales and folk tales (terms which he used interchangeably), had been pursued primarily on a genetic level and without attempts at a preliminary, systematic description (Propp 1968:5). He believed that the study of the tale had found itself “up a blind alley” and set about rectifying the problem (Propp 1968:3).

Propp recognised early in his work that “fairytales possess a quite particular structure which is immediately felt and which determines their category, even though we may not be aware of it” (1968:19). It is this structure that he focused his study and morphology on. He defines morphology as “a description of a tale according to its component parts and the relationship of these components to each other and to the whole” (1968:19).

According to Dundes, in his introduction to Propp’s Morphology of the Folktale, there exist two types of structural analysis within folklore – the syntagmatic and paradigmatic (1968:xi). The syntagmatic analysis works to describe the “chronological order of the linear sequence of elements within the text as reported by an informant” (Dundes 1968:xi). This approach focuses on what happens within the text and looks at the structure of the plots and the roles of the characters within the storyline (Tomaščikovā 2009:284).

The paradigmatic approach is more concerned with the pattern that underlies the folkoristic text, and seeks to uncover the meaning of the text to people (Dundes 1968:xii and Tomaščikovā 2009:284).

Propp’s work focused on the syntagmatic approach defining the motifs of a fairytale in terms of their functions, that is to say, in terms of “what the dramatis personae do independently of, by whom and in what way the function is fulfilled” (Pirkova-Jakobson 1958). Propp then stated the number of these functions obligatory for the fairytale and classified them according to their significance and position within the course of the narrative (Pirkova-Jakobson 1958). In his study Propp noted that while the names and behaviour of the dramatis personae might change from story to story, their function remained constant (Propp 1968:20). He defined the “function” as “the act of a character, defined from the point of view of its significance for the course of action” (Propp 1968:21).

Propp further elaborated on the concept of “function” within the fairytale by observing:

1. Functions of characters serve as stable, constant elements in a tale, independent of how and by whom they are fulfilled. They constitute the fundamental components of a tale.

2. The number of functions known to the fairytale is limited.

3. The sequence of functions is always identical. He noted here that while not all tales may contain all of the functions, the sequence of functions remained constant.

4. All fairytales are of one type in regard to their structure.

(Propp 1968:21 – 23)

These were the four main theses that Propp sought to prove, develop and elaborate on through his work on the morphology of fairytales. He did this by choosing to focus on the functions of the dramatis personae within the tale (Propp 1968:23). His morphology developed a list of 31 functions of the dramatis personae, starting with a member of the family absenting himself from home and ending with the hero getting married and ascending the throne (Propp 1968:26 – 63). In his introduction to Propp’s work, Dundes suggests that the fairytale is a “model in which one begins with an old nuclear family and ends finally with the formation of a new one” (1968:xiii). The significance of this observation will be examined later as the structure of the teen drama is uncovered.

One of the major criticisms of Propp’s work is that he examined only the structure of the text and made no effort to understand the fairytale in terms of the social and cultural context within which they would have developed (Dundes 1968:xii). If one considers that “narrative is a fundamental cultural process” (Fiske 1987:128), that “stories and narratives show as well as tell of the past (Thornham and Purvis 2005:30) and “whether narratives be simple or complex, individuals need to be able to understand what their function is in order to understand the world around them” (Tomaščikovā 2009:281), Propp’s decision to overlook the social and cultural context within which fairytales are developed appears to be a rather large oversight. The decision to do this however is one that Propp made deliberately as he drew the inspiration for his morphology from scientists such as Carolus Linnaeus who developed the first scientific classification for botany (Propp 1968:11). Propp aimed at creating categories or characteristics of the tale that would mimic the genus, species and varieties that Linnaeus has set out in his categorization of plants and animals (Propp 1968:25). Because of this Propp could not begin to take the social and cultural context of the fairytales into consideration as this would then begin to complicate his already complex task. Propp admits that his 20

research has not considered the enormous field of historical research within his morphology. Should he have chosen to branch off in this direction, Propp’s morphology would have found itself in the hands of historians, inexperienced in morphological problems, who would most probably not have seen a resemblance where one existed (Propp 1968:16).

2.3. Narrative Theories

After World War II there emerged three strands of narrative theories. The first of these strands understands narrative as a sequence of events. Within this strand the theorist will focus on the narrative itself independent of the medium used to convey it (Tomaščikovā 2009:282). The second strand understands narrative as a discourse, while the third and final strand presents narrative as a complex artefact, the meaning of which is endowed by the receiver (Tomaščikovā 2009:282). Propp, together with a number of other well known literary scholars subscribed to the first strand of narrative theory and it is this strand upon which Propp’s morphology is based upon.

While there have been many criticisms of Propp’s work since it was first released, the fact that the fairytale is the first significant narrative to which many people are exposed and that its elements motivate and continue to be found in many popular genres, cannot be denied (Tomaščikovā 2009:283). Narratives are powerful tools that are able to inform versions of the past and have the power to shape the way in which the present is understood (Thornham and Purvis 2005:30).

According to Thornham and Purvis (2005:29), narrative refers to the way in which “the stories of our culture are put together”. Tomaščikovā links the word “narrative” to its Latin root “narre” which means “to make known or convey information” (2009:281). Narratives are said to be an inherent part of the human psyche – “without narrative, history becomes obscure, people less familiar, and space and time less clear” (Thornham & Purvis 2005:30). While the definition of “narrative” may at first appear relatively simple and straightforward it is soon complicated by a number of small but essential considerations. When looking at the narrative of a story one must consider that the person who is telling the story (the narrator) is not the same as the author of the story. The author may write the story, but it is the voice of the narrator that the readers, listeners and viewers will hear (Thornham & Purvis 2005:32). The identity of the reader, listener or viewer is never constant, thus the story is constantly received and understood relative to the individual.

This idea of the unknown or implied audience and author was suggested by structuralist Seymour Chatman in 1978. Chatman suggested that narrative is a form of communication and that “real authors communicate a story by discourse to real audiences through implied authors and implied audiences” (Chatman 1978:483). As an author writes he can only imagine the audience that will buy his book and read his story. Audience profiles can be developed and the author can understand who he believes his audience to be, but he will never be able to know every single person within that audience. He is thus writing for an implied audience, the audience that he believes is going to read his story. Similarly the people who purchase and read the author’s book can never fully know the

author. While he may travel and present himself at book signings and radio and television interviews, it is impossible for every single person who has read his story to fully know and understand the author. As the audience reads they imagine the person who is telling the story, however this is where Thornham and Purvis’ idea that the person telling the story and the person actually writing the story may be two completely different people, begins to emerge. Thus as the audience reads, they imagine an implied author.

Chatman believed that a story could be divided into the content of the narrative which he described as the “what” of the narrative, and the discourse of the narrative, the “how” of the narrative (Chaman 1978 cited in Tomaščikovā:284). According to Chatman a narrative consists of two parts – the story and the discourse. The story consists of the content (the chain of events) and the existents (the characters and items of the setting), while the discourse is the means by which the content is expressed (Chatman 1978:478).

Structuralism is concerned with the relations of functions of elements in various systems. Structuralists are focused on the features common to all narratives, analysing the nature, form and functions of those narratives (Tomaščikovā 2009:284). Propp was one of the founders of this school of thought and greatly influenced many of the famous French structuralists that are known today (Tomaščikovā 2009:284).

The structuralist perspective provided by Propp and his counterparts served to provide a firm foundation upon which more recent critics have been able to base their analyses of narratives. Over the past thirty years critics have begun to move towards analysing narrative in relation to how stories create meanings and how narratives operate to encode stories (Thornham & Purvis 2005:33). By looking at the text’s internal dynamics between plot, image and sequence, Roland Barthes was one of the first to begin to highlight the way in which narrative structures give life and meaning to the text (Thornham & Purvis 2005:33).

Tzvetan Todorov proposed that all narratives operate according to a five part structure which is closely linked to Propp’s categorizations of characters and storyline. Todorov’s suggests that the structure of narrative consists of the following parts:

1. Equilibrium 2. A disruptive force that destabilises the initial balance 3. Recognition that the disordering event has taken place 4. Efforts made at restoration 5. Resolution is reached indicating that harmony is restored (Thornham & Purvis 2005:33)

Today most narrative structures do not adhere to these five elements in the simple and straightforward way in which they are presented by Todorov. Elements such as conflict or disruptive force and efforts towards resolution are instantly recognizable as the drivers of many of the narratives that we are familiar with today – whether on television, radio or in print.

Post structuralism works to analyse the structuration of a narrative, that is “the process through which the meaning is structured into narrative by both the writer and the reader” (Tomaščikovā 2009:287). Post structuralist post modern theorists work to deconstruct the narrative and focus on the role of the subject, reader, listener or viewer in the process of their understanding of the narrative as a form of communication (Tomaščikovā 2009:287). Within this analysis researchers are able to take into consideration the perspective and subjectivity with which an individual interprets the narrative and thus the analysis is able to be socially and culturally contextualised (Tomaščikovā 2009:287). The post modern analysis of narrative also works to recognise the presence of narrative in the discourse of media and the role that it plays in shaping the audience’s sense of reality (Tomaščikovā 2009:287).

2.4. The role of stories in society

“Storytelling is an art form that has been a most effective teaching tool for at least as long as history has been recorded” – Jim Lord The ancient custom of tale telling is one that has been practiced among all social classes since the first stories were told around the tribal fire (Pirkova-Jakobson 1958 cited in Propp 1968:xviiii & Tomaščikovā 2009:281). As they are passed down from one generation to the next, stories captivate the imaginations of young children and adults, helping them to learn about and engage with the world around them as well as understand the social customs and expectations of their societies (Ryan 2004:1). According to Tway (1985), storytelling has its roots in the attempt to explain life or the mysteries of the world in order for people to try and make sense of the universe that surrounds them.

According to The Call of Story Broadcast at Brigham Young University, stories serve to give culture its values, beliefs, goals and traditions and help to bind people together into a cohesive society (Ciardi:2010:2) This idea is supported by Greg Urban who identifies stories as the “transitory home of culture”, the simplest way in which culture is moved from one person to another and from region to region (Urban 2001:1).

According to Umaschi Bers and Cassell (2010:5), narrative fulfils three main functions within society: 1. Cognitive. According to Bartlett (1932) and Schank and Abelson (1995) personal stories are fundamental constituents of human memory. Each new experience is interpreted by an individual in terms of the old stories and generalised story scripts with which they are familiar. Stories provide people with a distinct way of ordering and understanding experiences within their everyday lives (Bruner 1986) 2. Social. Stories work to bring individuals together providing them with a common ground where they are able to relate to each other. Turner (1980) suggests that the tales which one knows and can tell often define the group or culture to which one belongs. Myths, legends, and traditional tales provide a sense of continuity between generations as well as models for human behaviour (Campbell 1988) 3. Emotional. Storytelling is often used with psychotherapy to enable individuals to develop a coherent life story (Polkinghorne 1988). Anna Freud and Erik Erikson demonstrated that through verbal-play storytelling, children are able to find both recreation and self – cure.

Stories and narratives surround people everyday – whether in tales, jokes, novels, films, cartoons, newspapers or television news programmes – individuals need to be able to understand their function in order to make sense of and understand the world that surrounds them (Tomaščikovā 2009:281). Stories are an essential part of self-identity, they provide people with a sense of shape, space and time and allow them to find ways of relating to and understanding each other (Bhabha 1990 & Thornham & Purvis 2005:30).

While many consider the process of developing self – identity an individual one, identity is something that can only be expressed through the language that one has been taught and in relation to the culture within which one has been brought up (Giddens 1991 cited in Barker 1999:15). As humans we are constituted as individuals in a social process using socially shared materials that we have obtained through socialisation and acculturalisation (Barker 1999:15)

Louis Althusser would argue here that this acculturisation of the individuals within a community works to reproduce the conditions of its (the society’s) production so that the capitalist world economy may continue to grow (Althusser 1994:100). According to Althusser (1994:100) “the ultimate condition of production is the reproduction of the conditions of production”. Production must therefore reproduce the productive forces and the existing relations of production. In his paper Ideology and Ideological State Apparatuses, Althusser suggests that the reproduction of labour – power takes place outside of the firm and starts at an early age as the proletariat parents reproduce themselves as they raise their children. Following this children are sent to school where they learn the rules of good behaviour as well as how to read, write and add (Althusser 1994:103). He takes pity on the young child who at his most vulnerable is squeezed between the family state apparatus (with lessons taught by parents) and the educational state apparatus, and stands little chance of developing his own identity and ideals and those of the state are forced upon him (Althusser 1994:118).

Althusser does not provide any solutions to his predicament of the development of identity within a capitalist society. Ultimately as individuals we cannot prevent ourselves from developing an identity whether influenced by the Althusser’s Ideological State Apparatuses or the culture and stories passed down to us by our ancestors. Without language and acculturalization the concept of personhood and identity would be unintelligible to the human race (Barker 1999:15) Without being able to understand what it is to be male or female, South African, British or Mongolian, a friend, a partner, a father or a mother, a person is unable to define themselves as those things. According to

Giddens “the use of standardized markers, especially to do with the attribution of age and gender, is fundamental in all societies” (1984:282 – 283).

The art of storytelling is central to the process of acculturalisation as stories help to inform versions of the past as well as shape how the present is understood in relation to them (Thornham & Purvis 2005:30).

According to Thornham and Purvis, narrative is a human construction that is central to all social activity (2004:30). In her paper on Storytelling and Oral History, Margaret Russell Ciardi, suggests that anyone who is capable of speaking is capable of telling a story and that in fact humans informally tell stories to each other every day as we give accounts of the mishaps and wonders of our day to our colleagues, friends and families (2010:3). The art of storytelling is one that is learnt from a very early age. Given the opportunity pre-schoolers will spontaneously engage in early literacy activities – listening as a story is told, paging through a storybook or even constructing stories of their own (Teale & Sulzby 1986 cited in Linebarger & Piotrowski 2009:48). Jacques Lacan suggests that it is through language that individuals are able to acquire a sense of identity, and that language and narrative together provide individuals with the means by which to make sense of the identities that they have developed for themselves (Lacan 1989 [1977]: 33 – 125). While Lacan is referring to narrative here, Thornham and Purvis’ definition of narrative suggests that it is concerned with the stories of a person’s culture (2005:29), thus Lacan’s work remains valid when considered in the context of stories and storytelling.

Margaret Russel Ciardi writes of the multiple benefits of stories and storytelling to children and adolescents as they begin to discover the world that surrounds them. She suggests that it is not just the telling of the story that is beneficial to these individuals, but listening as well. By listening to a story, individuals encounter both familiar and new language patterns and are able to learn new words or contexts for words with which they are already familiar (Ciardi 2010:3). Both the listener and the storyteller are also often able to find reflections of themselves in the stories and through the language of symbol are able to act out through the story fears and understandings that may not be as easily expressed in everyday life (Ciardi 2010:4). Ciardi suggests that by exploring the story territory orally, individuals are able to explore themselves and through the process of storytelling can come to learn a great deal about themselves (Ciardi 2010:4).

Ciardi also noted that individuals that are regularly exposed to stories are able to acquire a subconscious familiarity with the various narrative patterns and are able to begin to predict upcoming events (Ciardi 2010:4). This observation links us back to Propp’s morphology as one of

Propp’s methods in defining the morphology of the folk tale was to begin telling young children a fictitious or non-traditional tale and then asking them to complete the tale (Dundes 1968:xv). The child’s completion would then be checked against Propp’s hypothesized functions and more often than not confirmed (Dundes 1968:xv).

Ciardi’s claims are well supported by Bette Bosma who also writes of the importance of folk tales in helping children to make sense of the world around them (1992:6). She explains that through folk tales children are able to engage with a number of different explanations of natural phenomena that occur around them, allowing them to clarify their own views (Bosma 1992:6). While Bosma’s writing does not take into account the elements of Althusser and Urban’s more sinister and politically motivated accounts of culture and its movement through society, she does provide some insight into the benefit of folk tales in modern society and demonstrates the relevance of folk tales in society today.

Just as positive stories may have a positive effect on an individual’s identity and behaviour, so negative stories focusing on crime and violence have the potential to play a negative role in the development of an individual’s identity and behaviour. In his paper Seduction of the Innocent, Fredric Wertham recounts his experiences of working with delinquent and pre-delinquent children in the United States at the beginning of World War II. During this time Wertham started a special group, which came to be known as The Hookey Club. While a child might have learnt from comic books for the commission of the delinquent act, the group of adolescents who formed the Hookey Club never accepted this as an excuse (Wertham cited in Brooker & Jermyn 2003:62). However, the frequency with which comic books and the capers of the characters within them was recounted throughout the days of the Hookey Club suggests that while the members of the club may have been aware of the effects that reading comics had on their behaviour, they were certainly not immune to those effects.

Numerous accounts of inspiration found in comic books for shoplifting, burglary and violence towards other individuals were recounted to Wertham. In one reply to a question about a burglary that had been committed, the young perpetrator of the crime admitted: “I read comic books where they broke into a place. I got the idea to break into the house. I wanted money. I couldn’t go through the front door because I didn’t have the key. I didn’t think of the comic book.” (Wertham cited in Brooker & Jermyn 2003:62). A fifteen year old girl who also belonged to the club stated in one of the meetings that “in some of the crime comic books kids pick up ideas. They give them ideas of robbery and sex... (Wertham cited in Brooker & Jermyn 2003:64).

2.5. Storytelling 2.0 and the changing role of the author

As technology has expanded over the past century, so too have the mediums for storytelling. Transmedia storytelling is a phenomenon that has emerged in recent years and is fast becoming the norm rather than the exception (Toschi 2009:1). Transmedia storytelling is defined by Christi Dena (2004:2) as “any form of entertainment that involves a story which evolves over various forms of media”. Within this, each media, each channel serves to communicate different aspects of the story world. According to Henry Jenkins (2003):

‘In the ideal form of transmedia storytelling, each medium does what it does best—so that a story might be introduced in a film, expanded through television, novels, and comics, and its world might be explored and experienced through game play. Each franchise entry needs to be self-contained enough to enable autonomous consumption. That is, you don’t need to have seen the film to enjoy the game and vice-versa.’

(cited in Dena 2004:2)

As technology advances, the world of transmedia storytelling expands. Closely linked to transmedia is the idea of convergence which is defined by Baran and Davis (2009:22) as “the erasure of distinctions between media”. Jenkins expands on this by explaining that in the growing world of technology and multimedia, media audiences “will go almost anywhere in search of the kinds of entertainment experiences they want” (Jenkins 2008:2). The Harry Potter books have given way to the films, video games, additional books and multiple websites, each of these as popular as each other and in the audience search for more information about the story and additional entertainment there exist no distinctions between the different forms of media.

As the boundaries between different media grow ever more blurred so too do the boundaries between author and reader. Interactive storytelling and intelligent storytelling systems work to create a storytelling experience within which the decisions of the reader contribute to or affect the outcome of the story (Tanenbaum & Tomizu 2008:2). Within this form of storytelling there exist two approaches to the design of the story. The plot-centric approach in which the designer adapts an existing series of plot events to a user’s interactions and the character-centric approach which serves to dynamically assemble a story based on the readers decisions (Tanenbaum & Tomizu 2008:2). The plot – centric approach places the author and reader in direct conflict with each other as the unfolding of the story becomes “the subject of a computer mediated conflict between their

individual agendas” (Tanenbaum & Tomizu 2008:2). While the author remains present within the plot-centric approach, he is eliminated almost entirely within the character-centric approach as narrative of the story is treated as an “exclusively emergent phenomenon that arises out of a reader’s interpretation of the behaviours of the virtual characters” (Tanenbaum & Tomizu 2008:2).

According to Salen and Zimmerman, there exist four modes of interaction or levels of engagement that an individual may have with an interactive system:

1. Cognitive Interactivity which occurs primarily in the mind of the user. This mode is the dialectical interaction that exists between a person and a system.

2. Functional Interactivity – this occurs at the mechanical or utilitarian level and includes such actions as turning a page or clicking a button.

3. Explicit Interactivity – this is described as “participation with designed choices or procedures” and is connected to long term effects in the system over time.

4. “Beyond-the-object” interactivity – this is a cultural form of interaction and is commonly seen in fan culture through fan fiction and “cosplay”

(Salen & Zimmerman 2004 cited in Tanenbaum & Tomizu 2008:6)

The role of the author within these different levels of engagement appears to decrease as one moves from mode 1 to mode 4. In mode 1, the level of cognitive interactivity, the individual or user is completely reliant on the author or designer to provide the words or programming for the user to begin engagement with the book or programme. By the time that one reaches mode 4 the role of the author has diminished as the reader or user emerges “beyond-the-object” and the book or programme enters the culture of the individuals.

The role of the author in centuries past was imagined as that of a powerful, omniscient presence who encoded meaning in a text to be decoded – unmodified - by the reader, thus placing all control and thinking patterns in his hands (Tanenbaum & Tomizu 2008:3). Literary theory over the past hundred years has worked to provide an entirely different image of author-narrative-reader relations with scholars such as Bakhtin, Eco and Barthes producing significant works suggesting that narrative meaning is able to arise from the reader’s interpretation of, and interaction with a text (Tanenbaum &Tomizu 2008:3). Writing in 1935 Bakhtin was one of the first to understand the way in which the reader’s context works to affect the meaning of the narrative (Bakhtin 1981 cited in Tanenbaum & Tomizu 2008:3). Eco worked to describe all artistic experiences as ‘open’ and 30

described the role of the author as one who defines the field of possible interpretations for the reader, but who does not limit the role of the reader as a unique interpreter and co-creator of meaning (Eco 1989). Barthes’ view on the role of the author and narrative meaning was more extreme in that he defined the role of the author only as a “scriptor”, someone who was responsible for arranging and rearranging text. Barthes believed that the sole responsibility of meaning creation lay with the reader and the way in which they experienced and interpreted the text (Barthes 1977).

Whether listener, teller, author or user, whether through books, film, television, internet or gaming, stories are one of the primary ways in which the self is presented to others and us (Umaschi Bers & Cassell 2010:3). They have existed since the first cavemen etched their paintings into the walls of their caves and have continued to grow, develop and survive through wars and disaster, technology booms and failures. Without stories history becomes obscure, people less familiar and space and time less clear (Thornham & Purvis 2005:30). Without stories and language we are unable to understand the concept of personhood and identity and the concept of self identity would be lost entirely (Barker 1999:15). Gerbner contends that the basic difference between humans and other animals is that we live in world created by the stories that we tell (Gerbner 1967 cited in Morgan 2007:156). Without stories and storytelling we would simply be just another species existing on the planet.

2.6. The advent of television and impact on society

Television has become one of the principle storytellers of the 20th century (Tomaščikovā 2009 2009:281). Since it was first introduced into American homes in the 1940s and 1950s television has become one of the primary, if not only, sources of information, entertainment and enrichment for the majority of the world’s population (Crisell 2006:1). Television transformed the 20th century into “The Century of Witness” as it brought people face to face with the great events and disasters, the banal happenings and the horrors that were occurring in places and countries that they had previously never had access to (Ellis 2000:9). Through television humans know more and have seen more of the 20th and 21st centuries than any generation that has existed before (Ellis 2000:9). Television has allowed individuals access to diverse cultures, once considered ‘alien’ and remote, and today a person may choose to eat “Indian”, dress “Italian”, watch “American” and listen “African” (Hebdige 1990, Massey 1994 cited in Barker 1999:1). In short, television has transformed the world in which we live and the way in which we interact with it.

In his paper on Modernising Styles of Life: A Theory, Daniel Lerner suggests that radio, film and television “climax the evolution set into motion by Gutenberg (1958:53). Lerner writes of the great contributions that these mediums have made to the imaginary universe which not only involves more people but also involves them in a different order of experience (Lerner 1958:53). He sings the praises of armchair travel as a way for individuals to experience cultures and worlds outside their own through a mediated experience which prevents them from becoming “bewildered by the profusion of strange sights and sounds” (Lerner 1958:53).

While Ellis may agree with the concept of Lerner’s armchair traveller, he is quick to establish that “no one would claim that to witness an event in all its audio-visual fullness is the same as being present at it” (2000:11). Ellis acknowledges that both sensory evidence (smell and tactile sense) and social involvement are lacking within the television experience (2000:11), whereas Lerner suggests that it is precisely because of these lacking elements that the armchair traveller benefits. Ellis approaches the idea of people experiencing the world audio-visually through television and film cautiously, however he maintains that in treating the audio-visual experience as a form of witness, a distinct and new modality of experience is offered (Ellis 2000:11). Through audio-visual witness the viewer is able to experience an event from more points of view than someone who is physically present – they are able to view more angles, slow and fast motion, zoom ins and wide angles, repeated and refined images – thus allowing them to create a very different image of the event to the person who is physically present.

Ellis recognises however that no act of witness is ever unmediated (2000:11). Thornham and Purvis suggest that although “live coverage” may give the illusion of the viewer seeing events as they unfold, every image that is broadcast on television is subject to the process of selection, editing, perspective, point of view, camera angle and institutional positioning (2005:30).

Whether pre-recorded or broadcast as an event is happening, one of the central characteristics of television is that it always appears live (Ellis 2000:31, Thornham & Purvis 2005:30, Crisell 2006:2). Announcers talk directly to their audience, singers sing directly, comedians speak to the audience at home as though they are a part of the audience that they are performing for and newsreaders and talk show hosts talk directly to the camera (Ellis 2000:31, Crisell 2006:2). According to Ellis, television’s sense of liveness lies within the organisation of its transmission. While a television show may have been recorded weeks or months ago, it is transmitted live and thus able to claim the status of “liveness” (Ellis 2000:31).

The “liveness” of television and its ability to reach its viewers instantaneously makes it a vital medium for current events (Crisell 2006:2). One of the most crucial differences that exist between television and cinema is the fact that television carries both factual and fictional content (Crisell 2006:2). The continuous character of television pushes producers towards using factual content as the 24 hour, 365 day medium requires so much material that it must draw from the real world as well as the make believe one (Crisell 2006:2). Television can thus be considered a heterogeneous medium that broadcasts both fictional and factual content (Crisell 2006:3). Crisell suggests that television content can be divided into three categories:

1. Content made especially for television

2. Content which is made for other media but which television adopts or adapts eg cinema movies

3. Content which is not ‘made’ in the foregoing sense but is there for television to cover in the form of actuality or external events such as news, politics, current affairs, sport, music concerts etc

While the division of content into these three different categories appears to be neat and precise, Crisell admits that more often than not television content cannot be defined by only one category. While the content of the first two categories appears to be predominantly fictional with factual content falling into the third, in reality the boundaries between the three categories are often blurred (Crisell 2006:3). The documentary, for example, could be seen as spanning all three

categories, while the news broadcasts that we watch throughout the day are certainly produced and edited for television and could be defined by category one or three. When a television series such as ER places their characters in the Darfur region of Sudan as the show did in its episode “There Are No Angels Here” (series 12, May 2006), the lines between fact and fiction become blurred (Hendersen 2007:3).

Tomaščikovā notes that both fiction and non-fiction genres of mass media discourse have begun to be offered to the viewer in the form of narrative (2009:287). It is no longer possible to completely separate the world of fiction and non-fiction as the lines between them are blurred daily. Tomaščikovā suggests that the lines are not only blurred in horror films but in television news broadcasts that provide audiences with either constructed fiction or created reality through telling them stories (2009:287). Because the act of storytelling is one that is so natural to humans it becomes difficult to identify the ever increasing blur between the boundaries of entertainment and information (Tomaščikovā 2009:288). Morgan notes that the images of television are presented as a form of entertainment – whether sitcom, drama, TV movie, reality show or news-based programming – and agrees with Tomaščikovā that the presentation of material in this way works to erode the lines between entertainment and information (Morgan 2007:157).

Helen Fulton suggests that “feature films and documentaries tell us stories about ourselves and the world we live in. Television speaks back to us and offers us ‘reality’ in the form of hyperbole and parody. Journalism turns daily life into a story. Advertisements narrativise our fantasies and desires” (Fulton 2005:1). Ultimately television has transformed the fundamentally human and cultural process of storytelling into a “centralised, standardised, market driven, advertising-sponsored system” (Morgan 2007:156). While the stories of a culture used to be told face to face by members of a community, parents, teachers or clergy, today the role of storytelling has been taken over by television telling “most of the stories to most of the people most of the time” (Morgan 2007:156).

According to George Gerbner television tells three different kinds of stories:

1. Stories about how things work. These stories are termed fiction and work to illuminate the invisible dynamics of human life. These stories build a fantasy that informs the story that we call reality. 2. Stories about how things are. News stories fall into this category of stories which seek to confirm the visions, rules, priorities and goals of a particular society. 3. Stories of what to do. Otherwise known as advertisements, these are stories of value and choice. (cited in Morgan 2007:156)

Together these three forms of stories constitute mediated culture and are expressed through myth, legend, religion, education, art, science, law and fairytales (Morgan 2007:156).

Ellis takes a more favourable view of television suggesting that it “imbues the present moment with meanings” (2000:74). He argues that television enables its viewers to work through the major public and private concerns of their society by offering multiple stories and frameworks of explanation (Ellis 2000:74). Just as the cavemen would have gathered around the tribal fire to tell stories and pass on myths and legends, so it appears that television has taken the role of primary storyteller within the 20th and 21st centuries (Tomaščikovā 2009:281). John Fiske writes that because “narrative is such a fundamental cultural process, it is not surprising that television is predominantly narrational in mode” (1987:128).

If one is to consider the narrational structure of television programming it is immediately obvious that television does not use narrators as a source of narrative in the same way as novels (Thornham & Purvis 2005:32). The narrator within a novel is usually easily identified, while the television equivalent is less so. Television relies heavily on camera angles, shots, sequences, and character perspectives in order to identify the television drama’s narrative (Thornham & Purvis 2005:32). One also finds that whereas the author of a novel is the person who’s name is printed on the cover, the authorship of a television show can be attributed to multiple people including creators, producers, scriptwriters, and institutions (Thornham & Purvis 2005:33). Editors, presenters, actors, camera operators, sound and lighting engineers also contribute to the development and making of a television programme thus complicating the authorship of the programme even more (Crisell 2006:7). Crisell also suggests that due to the vast volume of material that must be created in order to fill television air time as effectively as possible, the individuals involved in making a television programme are often forced to create not just one but a series of programmes in a single process thus resorting to mass production (Crisell 2006:7). This process of mass production results in the formulaic, tried and tested programming with which the majority of television viewers are familiar. So while spatial media such as painting, sculpture, poetry and novels can be said to produce authorial artefacts, temporal media such as radio, television and cinema produce industrial artefacts (Crisell 2006:7).

In their book on The Contemporary Television Series, Michael Hammond and Lucy Mazdon argue that while broadcasters and television executives have increasingly been accused of “dumbing down” the content of television programming as a result of the process of mass production, a

significant number of quality shows have emerged in recent years (Hammond & Mazdon 2005:4). Due to the focus of their book on the television series, Hammond and Mazdon note that a large number of these quality shows take the form of the television series or serial and cite examples such as ER, Six Feet Under, Twenty Four and The X-Files (Hammond & Mazdon 2005:3). These shows are both popular with audiences and critics and are defined as “quality” in that they are marked as “more worthwhile, more significant and more enduring than much of the flow of contemporary television” (Hammond & Mazdon 2005:3).

While television producers may continue to work towards producing more quality television shows, the link between television, advertising and consumerist culture cannot be ignored. Ultimately these quality shows are produced in order to draw large audiences which in turn generate large advertising revenues for the broadcaster. According to Helen Fulton, the primary function of mass media narrative is not just to entertain and inform the viewer but, more importantly, to support the enormous media industry by enhancing the sales of its products (2005:3). This idea supports one suggested by Theodor Adorno in which the masses are seen as secondary, as “an object of calculation” by the media and culture industry (Brooker & Jermyn 2003:55). According to Adorno “the customer is not king, as the culture industry would have us believe, not its subject but its object” (Brooker & Jermyn 2003:55).

Television has undoubtedly contributed to the consumerist culture that exists in the majority of the world today. In 1995 Screen Digest reported that there were in excess of 850 million television sets in more than 160 countries watched by 2.5 billion people every day (Barker 1999:45). According to Bignell (2004:254), the average viewer watches 27 hours of television a week, an amount that suggests that television viewing is considered a leisure or recreational activity (Seymore – Ure 1996:12 – 13). In 1989 the merger of media companies Time and Warner created the largest media group in the world with a market capitalisation of $25 billion dollars (Barker 1999:47). When Paramount communications merged with Viacom, the owner of MTV, the result was a company worth $17 billion dollars and the fifth largest media group in the world (Barker 1999:47). According to Schiller “media fit into the world capitalist system by providing ideological support for capitalism and transnational corporations in particular (1969, 1985 cited in Barker 1999:52). Media narratives serve to “support conformity and uniformity by offering dominant opinions, preferred ideologies and agreed-upon models” (Tomaščikovā 2009:288)

One of the major concerns within this idea of television as the all powerful tool of capitalism is the effect which the medium has on the audiences who watch it. In his paper on What do young people

learn about the world from watching television, Michael Morgan suggests that television can potentially affect young people’s behaviours regarding violence and aggression as well as sex, it can affect how they dress and act, what they want to buy and how they define their identities. Television can also affect the way in which young people come to understand their place in the world (Morgan 2007:153). Thus the potential influence of television within the world of young people can be incredibly far reaching.

Dafna Lemish suggests that children of all races, genders, religions, ages and classes watch television, enjoy it tremendously, and learn more from it than any other socialising agent (2007:1). In a world where there exist so many different social arrangements, cultures, religions and languages, television is perhaps one of the most shared and homogenising mechanisms within children’s lives today (Lemish 2007:1 – 2). Within her book Lemish alludes to the ambivalent stance that people hold with regards to television – a stance that has been reflected in the writings of this paper too. There exists a constant tension between the idea of television as “messiah” and “demon”. Messiah in that it is potentially a medium that enriches people’s lives, stimulates their imagination and creativity, widens their education and knowledge and encourages multi-cultural tolerance; and demon in that it has the potential to numb the senses, encourage destructive behaviour towards others, lead to a deterioration of moral values and suppress local cultures (Lemish 2007:2).

In her book on Children and Television, Lemish suggests that for many years it has been wrongly assumed that television’s effect on children is unidirectional (2007:3). Research has demonstrated that children are not passive consumers of television but instead react to, think, feel and create meanings as they engage with the medium (Lemish 2007:3).

One of the benefits of television viewing for children is that it involves both socialisation and the social construction of reality. On the one hand, television introduces the child to the world outside of their “here” and “now”, expanding, interpreting, highlighting and legitimising social phenomena which they would encounter in reality (Lemish 2007:101). She notes that some researchers would suggest that television has taken over from religious institutions in that it serves to constantly reinforce certain ideological, mythological and factual patterns of thought, and so “functions to define the world and to legitimize the existing social order” (Lemish 2007:100). This idea supports that of Tomaščikovā’s writing on media narratives that support conformity and uniformity (2009:288).

However, on the other hand, children all over the world have been found to be active and selective participants in the viewing process (Lemish 2007:101). Children actively use television in order to

learn about the world around them – a process that helps them to define their own place within the world (Lemish 2007:101). This viewing process is also said to contribute to the child’s process of identity formation - be it of gender, sexuality, social or political nature. While the contribution of television and the media to this process of socialisation and identity formation is viewed negatively by critics such as Adorno and Tomaščikovā, Lemish presents the findings in a positive light suggesting that television and media can contribute positively to the development of children as they actively engage with the medium.

While Lemish’s approach to the impact of television on children may be more positive, she is also careful to consider the negative ways in which television may affect children and their identities. In her consideration of the impact of television on the construction of gender and gender roles, she delves into the stereotyping of characters that often occurs on television. She recognises the fact that television points to a social world that systematically differentiates men from women and that even children’s television offers a significant under-representation of female character leads (Lemish 2007:104).

Morgan notes too that there are many critical discrepancies between “the world” and “the world as portrayed on television” (Morgan 2007:157). As such his cultivation theory suggests that heavy exposure to television violence will contribute towards a person’s beliefs about the amount of violence within the real world (Morgan 2007:158). He defines this as “mean- world syndrome”. Viewers who watch more television over longer periods of time are more likely to think that most people “cannot be trusted”, that most people are “just looking out for themselves” and that “you can’t be too careful in dealing with people” (Morgan 2007:159).

An article published by the University of Ohio analysing the effect of television dramas on health behaviour amongst young adults aged 18 -25, found that the teen drama The O.C. had a more significant positive effect on the birth control methods of this age group than a news-format programme (Nauert February 2010). The study found that this age group related more to the fictional pregnancy scare situation faced by the characters in the television drama than they did when presented with the raw facts.

Co-author of the study and assistant professor of communication at the university, Emily Moyer- Gusé suggests that “a message that is hidden inside of a story may overcome some of the resistance people have to being told how to behave.” This idea strongly supports Thompson’s findings on the way in which people appropriate the messages they receive from watching the television.

This idea strongly supports Thompson’s findings that as people consume television they appropriate its messages and meanings and routinely incorporate them into their lives and sense of self (Barker 1999:4).

Over the past 70 years television has revolutionised the world that we live in. It has changed the way in which we tell stories, develop our sense of identity, witness the world around us and contributed to the growth of the world capitalist economy. While the introduction of Video Casette Recorder (VCR), Personal Video Recorders (PVRs), cable networks and internet downloads have contributed to a paradigm shift in the way in which television executives consider the programmes that they produce, this multi-billion dollar industry is far from fading without a fight.

2.7. The Teen Drama

While there exists minimal text analyses of the teen drama it could be argued that just as young children engage with folk tales to make sense of the world around them, so the teen drama series was created to allow teenagers to work towards making sense of the world around them. A “teen drama” is defined by its focus on the trials and tribulations faced by young people working their way through adolescence (Mosely 2001 cited in Green 2005:2). While the genre was virtually non- existent for the first 45 years of television, it came into prominence in the 1990s with entire channels dedicated to its content in countries such as the United States and Great Britain.

The teen drama emerged as television audiences became more fragmented (Mosely 2001). The introduction of cable networks, Personal Video Recorders (PVRs) and hundreds of satellite channels increased the control of the viewer over what they watched and contributed to the fragmentation of the television audiences. The television industry underwent a determined shift in profit base and the introduction of Fox Network in the United States shook up the oligopoly that had previously been held by the “Big Three” networks – ABC, NBC and CBS (Lin 1995:482).

During this time style became a distinguishing feature of good television, representing quality and attracting the viewers’ attention in amongst the cluttered schedules and increasingly alternative mediums (Green 2005:18). Caldwell coined the term “televisuality” to describe this phenomenon of the “stylisation of performance itself, a display of knowing exhibitionism” (Caldwell 1995:6). He recognised televisuality as the direct result of the crisis triggered by industrial changes in the modes of production, programming practices, the audience and its expectations and the economic slump (Caldwell 1995:4). Thus television was forced to change its fundamental paradigms, becoming a “system based on an extreme self consciousness of style” (Caldwell 1995:4). When The O.C., a teen drama based on the lives of teenagers living in the wealthy community of Newport, James Ponienwozik a reviewer for Time agreed with his fellow critics that the show followed the predictable formula of the soap opera, however he observed that the formula was delivered with “so much style and believability that it feels new again” (Time 11 August 2003).

According to New York Magazine the idea of the teen drama has existed since the story of Helen of Troy, the tale of a young teenage girl abducted by the king of Athens thus triggering a war of epic proportions (Pressler and Rovzaar 2010). Pressler and Rovzaar go on to suggest that the modern version of the teen drama can be traced back to John Hughes movies such as Sixteen Candles (1984). From here the genre is said to have grown and conquered the world of television with such series as

Beverly Hills, 902010, My So-Called Life and Dawson’s Creek in the 1990s and The OC, One Tree Hill, Gossip Girl and 90210, a remake of the 1990s classic, in the 2000s (Pressler and Rovzaar 2010).

The advent of youth-focused television is inextricably linked to the emergence of the teenager and the development of the youth market (Hall & Whannel 1994, Davis & Dickinson 2004). Joshua Green suggests that the teen drama is emblematic of the changes that began to take place within television’s mode of production and distribution throughout the 1990s (Green 2005:1). Prior to shows such as Beverley Hills, 90210, television executives were focused on producing shows that appealed to broad audiences by including characters of several ages (Owen 1997:73 – 74). The teen drama revolutionised this concept by focusing in on a group of characters who were all of a similar age (Owen 1997:73 – 74). Shows such as Beverley Hills, 90210, Dawson’s Creek, Buffy the Vampire Slayer and Roswell all featured young people as the principle driving forces of the show, and while parents were present in Beverley Hills, 90210 and Dawson’s Creek , they remained sidelined and often absent from entire episodes. Family structures were often replaced with social cliques (Owen 1997, Wolcott 1999 cited in Green 2005:5) and the young characters represented as “fully functioning sexual and social beings, acting without the restrictions of authority, yet not assuming the responsibilities that accompany adulthood”, thus representing the ideal world within which the majority of teenagers in the real world would love to exist (Green 2005:5).

Pressler and Rovzaar describe Gossip Girl, the most recently hugely popular teen drama instalment on television, as “the ultimate teen Frankendrama” (2010). The series provides viewers with an insight into the lives of the “rich and scandalous” teenagers on the Upper East Side of New York City. The first thirteen episodes of the show include a pregnancy scare, a marriage proposal, an attempted rape, a lost virginity, a near-deadly accident, a divorce, a suicide attempt, multiple thefts, blackmail, a drug addiction, a threesome, at least two counts of breaking and entering, and an eating disorder (Pressler and Rovzaar 2010). While this may be a storyline far from the wholesomeness of the Disney fairy tale, it may ironically move us closer to the original fairy tale which according to Chandler (2004:1) were never meant for children’s entertainment but instead as amusement for adults at social gatherings. Chandler notes that many of the original fairy tales included such harsh topics as exhibitionism, voyeurism and rape (2004:1).

According to Hills (2004:54), the text of a teen drama often employs a “therapeutising of its teen characters, drawing on hyper-articulation, self awareness and discourses of therapy”. In doing so the text is allowed to become self reflexive, particularly when dealing with the depiction of romantic

relationships. According to Hills this contributes to the appeal of quality and bid for cultural value (Hills 2004:54).

In a similar bid for quality and cultural value, teen dramas will often highlight their links to their creators. Dawson’s Creek and Buffy the Vampire Slayer both stressed their links to their creators, Kevin Williamson and Joss Whedon respectively (Green 2005:6). Similarly more recent shows such as The O.C. and Gossip Girl are strongly linked to their creator Josh Schwartz who at 26 was the youngest person ever to create a one-hour drama for network television (Boston Globe 5 August 2003). Growing up in Providence, Rhode Island, Schwartz lived the privileged lifestyle that is depicted in his shows. At 26, he believed his advantage lay in the fact that he was young and remembered “distinctly what it was like to be 16” (Kattakayam 2004).

According to Hay (2002), the teen drama is a genre that benefits from an approach that grasps the role of genres in relation to overall situations and socio-historical contexts (cited in Green 2005:7). Ultimately the teen drama is able to reflect the constantly changing environment within which teenagers exist. The success of Gossip Girl, for example, lies in the fact that it has embraced the technology available to viewers and successfully made use of it. Not only are fans able to watch the show as it airs on television but they are able to post sightings of the actors on gossip blogs, exchange rumours about the show and its stars on fan websites, give their opinion on the show as it is happening, and even play Gossip Girl’s Upper East Side on the computer programme Second Life (Pressler and Rovzaar 2010). The ultimate premise of the show is that we are all Gossip Girl.

The teen drama also benefits from the fact that the drama continues off screen when the cameras stop rolling. According to Pressler and Rovzaar (2010), more often than not the young, beautiful group of friends on television are also a young beautiful group of friends in real life. The stars of the shows live out the storylines in real life as well as on television, engaging in romantic relationships with each other, fighting and arguing with each other, breaking up and getting back together with each other. All of this is just as avidly consumed by the shows fans and serves to solidify the popularity of the teen drama within pop culture.

2.8. Conclusion

The literature reviewed provides a firm foundation upon which to begin the analyses of the television teen drama series selected. An understanding of the way in which fairytales and narrative theories continue to evolve with the advance of technology, as well as a clear definition of the teen drama allows for a better reading of Propp’s morphology in relation to the teen television drama series to be analysed.

The following chapter describes in further detail the research methodology and design that was used to establish whether television’s teen drama has redefined the fairy tale.

CHAPTER 3: Research Design and Methods

3.1. Introduction

The following chapter describes the research design and methods that were utilised in the attempt to establish whether the teen television drama has redefined the fairytale as set out by Propp’s work on the Morphology of the Folk Tale. The research conducted was empirical in nature and sought to establish the answer to the research question via the content analysis of three popular teen television dramas. The content analysis examined the first season of each of these dramas, tracking the presence of Propp’s morphological functions within each and determining whether these functions had in any way been altered or modernised by the teen drama.

3.2. Research Framework

This section provides a brief overview of the research question, aims and objectives of the study, an explanation of the way in which the teen television dramas were selected, as well as an explanation of the way in which the analyses were carried out.

3.2.1. Research Question

This study aimed to provide perspectives that could help answer the following research question:

“How has television’s teen drama redefined the fairytale?”

3.2.2. Aims and Objectives of Study

The research aims and objectives of the study were as follows:

AIM: To investigate the way in which the modern teen drama on television has redefined the fairytale

OBJECTIVES:

A. To determine whether the three selected teen dramas meet the criteria of folktales/fairytales as set out by Propp’s Morphology of the Folktale

B. To identify the ways in which the modern teen drama has adapted or undermined the characteristics of the fairytale as set out by Propp in The Morphology of the Folktale

3.2.3. The teen television dramas analysed

During this study three teen television dramas were analysed. The shows that were analysed were selected based on the following principles:

 Focus. The focus of each show had to be on the trials and tribulations of the teen characters as they work their way through adolescence, as per the definition of the teen drama defined by Mosley in Green (2005:2).

 Age Demographics. Each of the shows needed to be aimed at young adults between the ages of 15 and 25.

 Time length. Each show needed to be 40 minutes in length and fill a one hour television timeslot.

 Viewing popularity. Each of the shows must have sustained a weekly viewership of over one million viewers for the duration of its season.

Furthermore all three dramas must have aired in South Africa in a prime television slots (between 7 and 10pm). The dramas also needed to have been released on dvd and be available to rent or purchase.

Based on these principles the three teen television dramas selected to be analysed were:

1. Gossip Girl

2. The O.C.

3. One Tree Hill

3.3. Research Design and Methods

The research for this study was gathered using a qualitative approach. An in depth content analysis of the first season of three dramas was conducted to demonstrate the similarities and differences that exist in the structure and characteristics of Propp’s fairytales and those of the “modern day” fairytale.

A table of the functions of the Propp’s dramatis personae was drawn up and completed for every episode of the first season of each of the three television shows. Below follows a sample of this table:

Propp’s Functions of the Dramatis Evidence in Gossip Girl EP 1 Change in characteristic or Personae Pilot modernisation

1. One of the members of the family absents himself from home

2. An interdiction is addressed to the hero

3. The interdiction is violated

4. The villain makes an attempt at reconnaissance

5. The villain receives information about his victim

6. The villain attempts to deceive his victim in order to take possession of him or of his belongings

7. The victim submits to deception and thereby unwittingly helps his enemy

8. The villain causes harm or injury to a member of the family

8a. One member of a family either lacks something or desires to have something

9. Misfortune or lack is made known; the hero is approached with a request or command, he is allowed to go or is dispatched

10. The seeker agrees to or decides upon counteraction

11. The hero leaves home

12. The hero is tested, interrogated, attacked etc, which prepares the way for his receiving either a magical agent or helper

13. The hero reacts to the actions of the future donor

14. The hero acquires the use of a magical agent

15. The hero is transferred, delivered or led to the whereabouts of an object of search

16. The hero and villain join in direct combat

17. The hero is branded

18. The villain is defeated

19. The initial misfortune or lack is liquidated

20. The hero returns

21. The hero is pursued

22. Rescue of hero from pursuit

According to Propp, many of the tales will end here with the rescue of the hero from pursuit. The hero arrives home and if he has obtained the girl will marry her. However, the tale may also turn again with reappearance of the villain – sometimes in the same form as in the beginning, and sometimes in other forms which are new for a given tale.

If villain permits hero to live, it is again necessary to instigate a new search, thus a great barrier is once again created between hero and the object being sought. Once again everything begins anew – accidental meeting with donor, successfully completed ordeal or service rendered etc

This phenomenon attests to the fact that many tales are composed of two series of functions which may be labelled “moves”. A new villainous act creates a new “move” and in this manner, sometimes a whole series of tales combine into a single tale. This will be especially significant when working with the television series.

After hero has gone through new search, a new set of functions arises:

23. The hero, unrecognised, arrives home or in another country

24. A false hero presents unfounded claims

25. A difficult task is proposed to the hero

26. The task is resolved

27. The hero is recognised

28. The false villain is exposed

29. The hero is given a new appearance

30. The villain is punished

31. The hero is married and ascends the throne

A further breakdown of each of these functions as defined by Propp can be found in Addendum A.

This table was completed for each episode of the first season of the three television shows selected and the analysed in order to determine which of Propp’s functions of the dramatis personae were 48

present within the episodes and the extent to which these functions had become obsolete or modernised. Following in Propp’s footsteps, this analysis initially took on a syntagmatic approach by focusing only on the functions of the dramatis personae and the effect of the actions of the characters on the plot of each show; however in analysing each of the shows it was found that a paradigmatic approach was useful in examining some of the underlying themes and motives of the shows and their characters.

Following this a comparison of the three shows was conducted to determine whether the same functions had become obsolete or modernised across the three shows. A more paradigmatic approach was used here in order to establish the possible reasons for the consistency, modernisation or deletion of Propp’s functions within the teen television drama.

3.4. Ethical Considerations

As the research took place in the form of literary review and content analysis of three television shows there existed few ethical considerations. It was always ensured that any sensitive issues that arose within the content analysis of the television shows were handled with utmost dignity and respect and in no way would demean anyone who may have been through similar issues.

3.5. Conclusion

The literature review conducted along with the detailed syntagmatic content analysis of the three television shows followed by the paradigmatic comparison of all three of the shows worked to provide evidence that assisted in answering the research question posed and aims and objectives outlined.

The following chapter seeks to provide the detailed findings of the research conducted.

CHAPTER 4: Research Findings

4.1. Introduction

This chapter provides the detailed findings of the content analyses conducted on the first season of Gossip Girl, The O.C and One Tree Hill. A transcript of the pilot of each of the shows as well as Propp’s detailed breakdown of the function of the dramatis personae can be found in the Addenda following the conclusion of the paper. The individual content analyses of each of the shows is followed by a detailed discussion in which the shows are compared with each other and the reasons for the consistency, deletion or modernization of Propp’s functions are investigated.

4.2. Gossip Girl

When Gossip Girl first aired on American television in September 2007 its ratings were considered disappointing (Pressler and Rovzaar 2010). According to the ratings the show attracted the attention of just 2.5 million viewers every week – just over half the numbers of viewers of The O.C. in the season that it was cancelled (Pressler & Rovzaar 2010). While television ratings for the show were not high, new episodes consistently arrived at the number one most-downloaded spot on iTunes, and hundreds of thousands of viewers were found to be consistently downloading free week - old episodes from the broadcast channels website (Pressler & Rovzaar 2010). Gossip Girl appeared to be reaching an audience so young and tech-savvy that television executives had not yet managed to discern the best way in which to reach them.

While the majority of the show’s audience may be on the cutting edge of technology with regards to viewing, this paper seeks to examine the show in terms of Propp’s ideas of the morphology of the fairytale and to establish whether these 83 year old characteristics can still be applied to the teen drama today, or whether these characteristics are as far removed from the teen drama as the technology is from the ratings executives.

The broad premise of the show is to transport the viewer into the lives of a group of wealthy teenagers who live and play on the Upper East Side of New York. Each show is narrated by a seemingly omniscient narrator known as Gossip Girl whose identity is a closely guarded secret. Gossip Girl straddles the world of both the viewer and the characters within the show as she narrates the events of each show to the viewer through the gossip messages that have been sent to her website by the characters on the show. While no one knows the identity of Gossip Girl, the exclusive, complicated and sometimes vicious circle of characters rely on Gossip Girl’s website and

text messages in order to stay in touch with the latest scandals that are happening and to maintain their position within their clique.

The viewer is also able to explore the world of these wealthy teenagers together with Dan Humphrey and his sister Jenny who live in Brooklyn, a more middle class neighbourhood, but who attend a private high school on the Upper East Side. They are the outsiders who enter the inside of the upper echelons of Upper East Side through the relationships that they develop as the first season progresses.

Gossip Girl is a show rich in allusions to fairytales, monarchy and war. The characters are likened to various fairytale characters throughout the duration of the first season. Jenny Humphrey is described as Cinderella as she is put to work by Blair Waldorf, the evil stepsister, to obtain a position within the coveted clique of girls that Blair inhabits (Ep 6 The Handmaidens Tale). References to Blair as Snow White, Nate Archibald as Prince Charming and Serena van der Woodsen and Dan Humphrey as star crossed Romeo and Juliet-like characters abound throughout the first season of the show. The battle for ultimate social status dominates the plot lines of the series as Blair Waldorf and Jenny Humphrey enter into war with each other in a battle for the crown of queen of their clique of girls. References to monarchy abound throughout each episode as the girls strive for their fairytale ending in which they become the queen of society flanked by their handsome king.

Episode 6, The Handmaiden’s Tale also makes reference to Margaret Atwood’s novel of the same title, set in an America that has been taken over by a Fundamentalist Christian theocracy in which all of the freedoms gained by women in the United States are revoked, and language is forbidden to all but the male elite. The novel is narrated by Offred, a handmaiden valued for her viable ovaries. The handmaidens of the state are forced to provide children for the infertile women of a higher social status, the wives of The Commanders. While the comparison may be extreme, Jenny Humphrey takes the role of Offred in this episode, valued for nothing but her ability to run errands and create beautiful dresses for Blair. Throughout the season little voice is given to anyone who exists outside of the circle of the elite Upper East Siders, and anyone who tries to enter this circle must endure many tests of character before they are allowed entry. Blair’s social clique of which she is Queen, could be viewed as a version of the Faithful Commanders of Atwood’s novel. All who enter this clique are stripped of their dignity as they are given the position of slave and must endure the social torture meted upon them by Blair and her princesses. While Blair reigns supreme within this clique for the first few episodes of season one, it is interesting to note that her powerful facade quickly wilts in the presence of Nate and Chuck. This episode depicts her desperately trying to seduce Nate

and give him her virginity, while he pays no attention and instead professes his love to Jenny who he thinks is Serena at the climactic masked ball. The show perpetuates the ideal of women as victims who are only completed with a male counterpart.

As well as allusions to fairytales, the show contains endless references to classic movies such as Victor/Victoria, Breakfast at Tiffany’s, High Society, Roman Holiday and Much Ado about Nothing. The references are both reflected in the titles of various episodes as well as more obviously made in Blair’s dream sequences in which she takes the role of the female lead. The show also works to reference the films which paved the way forward for the presence of a teen drama on prime time television. References to The Breakfast Club, Sixteen Candles, and Desperately Seeking Susan are also made throughout the first season of the show. While some of these older references may not be recognised by a younger teen audience, references to films such as John Tucker Must Die (Blair Waldorf must Pie) and The Blair Witch Project (The Blair Bitch Project) are more easily recognisable and serve to demonstrate that no ideas are completely original and that the world of television and film making relies heavily on the work of the films, shows, directors and storytellers that come before.

This can also be said to apply to Propp’s work in which he found that all fairytales contained the same functions in identical sequence. While the individual playing the role of the villain, hero, victim or magical helper may change from tale to tale, he found that their functions stayed the same. This is true of many of the teen television shows and dramas that have preceded Gossip Girl as we will begin to find as we analyse The O.C. and One Tree Hill.

While Propp would have his fairytale begin with one of the members of the family absenting themselves from home, the first episode of Gossip Girl introduces the return of Serena van der Woodsen from boarding school. Through the narration of Gossip Girl, the viewer is made aware that this return is no ordinary one, and ultimately the question asked by Gossip Girl, “Why did she leave and why is she back” (Ep 1 Pilot) becomes the driving force of much of the plot within season one.

Within the first few minutes of the first episode Dan and Serena are set up in contrast to each other in order to emphasize the difference to their worlds. While both have arrived by train, Serena is depicted as lonely and sad with only a driver to greet her after a presumably long absence. Dan, however, arrives at the train station with his younger sister Jenny and both are greeted warmly by their father who has come to fetch them. The viewer is able immediately to sense a camaraderie and natural family closeness amongst the three Humphreys who are genuinely pleased to see each other again.

In this first episode Serena is twice set up on a balcony, isolated from the world below her, with Dan in the world below looking up at her. This imagery works to set up the idea of Dan and Serena as star crossed lovers from different worlds and introduces a Romeo and Juliet-like theme into the narrative.

While the role of Dan and Nate as heroes and Serena as the damsel in distress remain constant throughout the first season, the roles of villain and donor are more difficult to pin point as they can often change within the course of an episode. Perhaps the label of ultimate villain could be ascribed to Georgina, Serena’s arch nemesis, who appears in episodes 15 through 18 wreaking havoc wherever she goes as she attempts to destroy Serena’s world. While Chuck, Blair and Jenny are able to alternate between the role of villain and hero throughout the season, Georgina is presented as a sociopath with no redeeming qualities and with the sole purpose of bringing harm and destruction to Serena’s family life.

If we return to Propp’s morphology we find that each episode of Gossip Girl begins, as Propp suggests, with the absence of a family member from home. While Propp defined his “absence” in more physical terms – parents leave for work, the prince goes on a journey, the death of parents – Gossip Girl often explores the effect of emotional absence. Episode one portrays Lily van der Woodsen as emotionally absent from her children Serena and Eric. Eric is in hospital after having attempted to commit suicide, and it appears that Lily is more concerned with what society will think of her, than she is for Eric’s well being. Blair’s mother Eleanor too is emotionally absent in her daughter’s life. As a successful career woman with her own clothing line, Eleanor appears to be obsessed only with the superficial aspects of life such as appearance, youth and beauty. In a scene reminiscent of Snow White Eleanor tells Blair “you will never be more beautiful or thin or happy as you are right now...” (Ep 1 Pilot) as they stand in front of a mirror, Eleanor gazing at the youth and beauty that she once used to know.

Interdictions (function 2) are addressed to the different characters throughout the season. Almost every episode of Gossip Girl contains at least one interdiction in which a character is told not to do something. According to Propp an interdiction may also take the form of an inverted interdiction which is represented by an order or suggestion (Propp 1968:26). Examples of both forms of interdiction can be found throughout the first season of Gossip Girl. In episode three, Poison Ivy, Nate is instructed by his dad to “nail that interview today”, in episode seven, Victor/Victrola, Chuck is instructed by his father Bart Bass, “don’t say anything to Serena, don’t say anything to anyone”. Examples of the inverted interdiction can be found in episode 6, The Handmaiden’s Tale, as Blair

says to Serena ‘I want you to come *to the masked ball+, I trust you and him *Nate+”; as well as in episode nine where Serena announces to her mother and brother “We’re having Thanksgiving at the Humphries”. According to Propp, the fulfilment of the inverted interdiction (having Thanksgiving at the Humphries, going to the masked ball), has the same consequences as does the violation of an interdiction not to do something (1968:27).

While the interdiction is often easy to detect within an episode, the violation of some of these interdictions (function 3) is not always immediately apparent. However, if one considers the entire season these violations become clear. Lily for example commands Rufus Humphrey to stay out of her life in the very first episode. Initially it appears as though he willing to do so, however, as the season unfolds their lives become increasingly entangled as they rekindle their friendship, eventually kissing in episode six, The Handmaiden’s Tale, and ultimately sleeping together the day before Lily’s wedding to Bart Bass in episode 18, Much ‘I do’ About Nothing.

Within Propp’s morphology the violation of the interdiction often marks the introduction of the villain into the tale. The role of the villain is to disturb the peace of a happy family, to cause misfortune, damage or harm (Propp 1968:27). The villain in Propp’s morphology may be in the form of a dragon, a devil, bandits, a witch or a stepmother (Propp 1968:27). The villain in Gossip Girl is more difficult to define. Episode one introduces us to Chuck Bass as the ultimate villain who fulfils all of the roles that Propp has defined for him. He makes an attempt at reconnaissance (function 4) as he attempts to uncover why Serena has returned to New York and tries to determine who the new girl (Jenny Humphrey) is. He receives some information about his victim (function 5) when he discovers where Serena is on a particular evening and tracks her down at one of his father’s hotels. He attempts to deceive his victim in order to take possession of her (function 6) by using his powers of persuasion to isolate Serena tempting her with a grilled cheese and truffle sandwich in the kitchen of the hotel where he has paid the staff to leave early so that he may seduce her. He uses this approach later to isolate Jenny from the crowd in an attempt to sleep with her. In doing so Chuck causes both harm and injury to Serena and Jenny (function 8). He later joins in direct combat with the hero (function 16) as Dan Humphrey arrives to rescue his sister and punches Chuck. Chuck is defeated and banished by Serena who shouts “Don’t ever touch her again!” as she leaves the scene with Dan and Jenny.

While Chuck certainly portrays many of the characteristics of the villain in more than one episode throughout the season, we find too that underneath his villainous exterior lies a sensitive young man desperate for his father’s recognition and approval. By the end of the show Chuck becomes the

character that the audience loves to hate as he constantly alternates between the role of villain and hero.

Of the eighteen episodes of the first season of Gossip Girl, Chuck fulfils Propp’s role of the villain in five episodes, Blair in seven, and Jenny in five. The role of villain is also taken up by guest characters such as Carter Baizon in episode four, Bad News Blair, Elinor Waldorf in episode five, Dare Devil, Nate’s father, The Captain in episode seven, Victor/Victrola, Serena’s grandmother, Cece van der Woodsen in episode ten, Hi, Society and ultimately Georgina in episodes fifteen to eighteen. There exists within the first season only one episode in which an individual cannot be said to fulfil all of the characteristics of Propp’s villain. This is episode nine, Blair Waldorf Must Pie! Having noted this, one must consider that the villainous acts of previous episodes do contribute to the direction of this episode.

The world of the Upper East Side is one filled with desire, thus it is not a difficult task to identify Propp’s ninth morphological function, “*o+ne member of the family either lacks something or desires to have something”. Chuck desires his father’s love and approval, Dan desires Serena, Serena wants a clean slate, Jenny is desperate to enter Blair’s social clique, Blair is desperate to maintain her status as Queen Bee, Nate longs to break away from the shadow of his father; these are just some examples of the lack and desire that exist within the show. While these represent some of the overarching themes of lack and desire within the first season of Gossip Girl, each episode also contains within it elements of lack and desire that are specific to that show - Serena wants Blair to take a pregnancy test (Ep 13 A Thin Line Between Chuck and Nate), Jenny desires freedom from her father (Ep 16 All About My Brother), Dan wants to fix things with Serena (Ep 17 Woman on a Verge).

Throughout the first season of Gossip Girl it is Dan Humphrey and Nate Archibald who most frequently emerge as the heroes of the tale. Propp states that “the hero of a fairytale is that character who either suffers directly from the action of the villain in the complication, or who agrees to liquidate the misfortune or lack of another person (Propp 1968:50). Both characters consistently present themselves as capable of liquidating the lack or misfortune of those that they love. Throughout season one the role of parent and child appears to have been swopped as Nate shoulders the responsibility of a drug addicted father and a delicate mother who refuses to acknowledge her husband’s discrepancies. Nate’s loyalty to his family is tested throughout the season – having broken up with Blair he honours his parent’s wishes to resume his relationship with her in order to further his father’s business and accepts responsibility for the drugs belonging to his

father. Handsome, wealthy, honourable and loyal, Nate is portrayed as the ultimate Prince Charming of the Upper East Side.

Dan Humphrey is the outsider who eventually wins the heart of Serena van der Woodsen two years after he first met and fell in love with her. Like Nate, Dan is incredibly loyal to his family and shares the burden of raising his sister with his father. He is recognised as the hero from the very first episode in which he rescues his sister’s honour from the clutches of Chuck Bass. Throughout the season he continues to prove himself as the sensitive, intelligent hero who is in touch with his feelings and those of the people that surround him. In episode four, Bad News Blair, Dan seeks Blair out and comforts her when she is rejected by her mother for a modelling campaign. Dan opens up to Blair about his own devastation over his parents pending divorce. In doing so he is able to pave the way for Blair and Serena to reconcile and the day is saved. Dan is handsome, honourable, loyal, sensitive, smart and self aware. He is the new fairytale hero who is in touch with his feelings and is just as able to destroy the villain with a few cutting remarks as he is with a punch.

Propp’s ninth function in which the misfortune or lack is made known is evident throughout season one as each episode is marked by some crisis. In episode sixteen, All About My Brother, Blair approaches Dan to help her expose Jenny’s new boyfriend Asher who has been spotted kissing another man. Nate is approached for help by Jenny in episode fourteen, The Blair Bitch Project, when she finds herself in deep trouble after she steals a custom-made dress from a friend in order to keep up appearances. More often than not the misfortune or lack is made known through the release of information by Gossip Girl. In the world of the Upper East Side, the hero does not need to be dispatched or allowed to go out, he or she simply does what they need to do in order to protect their friends and family. Whereas Propp’s heroes would leave home (function 11) and travel vast distances to conquer the villain or rescue the victim, Gossip Girl’s heroes have no need to do this as all of the action takes place within a twenty minute travelling radius, thus this moment is not always as dramatic as it might be in the fairytales which Propp examined. However, the dramatic impact, within the context of the teen world, remains the same.

Throughout season one the characters of Gossip Girl are continuously tested (function 12) as they face their inner demons and those of their friends and family. Nate is continuously tested by his family situation, Dan is tested when Serena’s grandmother commands him to end his relationship with Serena (Ep 10,Hi, Society), Dan is tested when Serena starts to behave erratically (Ep 14 – 18), Blair is tested as Jenny attempts to infiltrate her perfectly ordered hierarchy, and Jenny is tested as she must decide whether the world of the Upper East Side is worth the sacrifices that she has made.

Each episode is marked by a number of tests that are not only faced by the heroes but often times the victims and the villains as well. These tests often serve to reflect the conflicts faced by teenagers outside of the world of fairytales. The majority of the tests defined by Propp involve physical labour on the part of the hero, or combat with a hostile creature (Propp 1968:40), however the tests faced by the characters in Gossip Girl are of a more introspective, soul seeking nature. Dan is challenged by his dad to “dig beneath the surface” of Blair (Ep 4, Bad News Blair) in order to understand the motive of her actions. Dan’s humility is tested as his father organises for him to serve drinks at an Ivy League function hosted by his school. Vanessa’s character is tested when Blair and Chuck both attempt to bribe her with money that she desperately needs but does not want to accept (Ep 12, School Lies). Rufus is tested as his daughter Jenny continues to rebel against him and immerses herself further in the world of the Upper East Side, a world that he is responsible for placing her in (Ep 16, All About My Brother). These tests all involve a battle of the mind as opposed to a physical battle. Characters are forced to face their inner demons who are often more dangerous than the ones outside.

Whereas Propp’s fairytale world would have the test prepare the way for the hero to receive a magical agent or helper, within the world of Gossip Girl, there is no magical agent and the helper is drawn from within the hero’s friendship circle. Initially the representation of the magical agent by alcohol or drugs was considered, however under no circumstances within the show does the consumption of alcohol or drugs by the hero result in the positive outcome of Propp’s magical agent.

Following the test, Propp’s hero reacts to the actions of the future donor (function 13). Here Propp provides a long list of the ways in which the hero may react. The one that is most prominent within the first season of Gossip Girl is that of the hero withstanding the test or rendering a service (Propp 1968:43). When begged by Serena not to enter into a romantic relationship with Rufus, Lily places the needs of her daughter before her own and chooses to give Rufus up (Ep 12, School Lies). Nate, Chuck, Blair and Dan put aside their differences to help Serena and defeat Georgina (Ep 17 and 18). Serena eventually decides to tell Dan everything (Ep 18, Much “I do” About Nothing).

From here, the hero is transferred, delivered or led to the whereabouts of the object of their search (function 15). This task is made significantly easier for the characters of the show through the use of mobile phones and Gossip Girl. Whereas the hero of Propp’s fairytale faces vast distances and has no means of communication with the object of his search, the hero of Gossip Girl need only pick up their phone and call the object of their search or enlist the help of others should the object of the

search not be willing to answer their phone as is the case in episode seventeen when Dan tries to track down Serena.

One of the highlights within an episode of Gossip Girl occurs as the hero and villain join in direct combat with each other (function 16). While some punches are thrown amongst the boys, it is the scheming and plotting of the girls that is often most entertaining to watch. Often it is not just the hero and villain who engage in combat but villain against villain too. The best example of this is that of Jenny and Blair who continuously engage in battle throughout the season in their bid to rule the school.

Following this the villain is defeated (function 18) and the initial misfortune or lack is liquidated (function 19). This is often where an episode or tale will draw to a close and the hero and the princess will marry each other. However Propp also makes an allowance for the reappearance of the villain, sometimes in the same form as they appeared at the beginning of the tale and sometimes in other forms which are new for a given tale (Propp 1968:58). This function is one that is often utilised by the producers of Gossip Girl in order to continue action forward into the next episode. After being rejected by Blair, Chuck sends a text message to Gossip Girl that confirms she slept with both himself and Nate in the same week, thus destroying her reputation amongst her peers (Ep 13, A Thin Line Between Chuck And Nate). Just as things appear to be righting themselves in Serena’s world, Georgina is introduced to the plot (Ep 15, Desperately Seeking Serena). Nate’s father emerges from rehabilitation a changed man, but Nate soon discovers that he has far from changed his manipulative ways (Ep 18, Much “I do” About Nothing).

The return of the villain sets into action the functions that have occurred before – a member of the family either lacks something or desires to have something, the misfortune or lack is made known, the hero is tested etc. From here a new set of functions arises as false heroes present unfounded claims (function 24) and the hero must face a difficult task (function 25).

Episode fourteen, for example, sees Jenny assume the role of false victim as she manipulates Nate into spending time with her on her birthday and ultimately uses him to re-enter into her battle of status with Blair. Episode sixteen also introduces us to a false hero in the disguise of Asher, Jenny’s boyfriend who, according to her is the perfect king to her queen. We later discover that Asher is homosexual and only using Jenny to cover this up.

While Propp’s testing of the hero (function 12) is easily separated from the difficult task that is presented to the hero (function 25), the distinction within Gossip Girl is less easily made. Once again the difficult task by Propp’s definition is one that is a physical ordeal, while the task within the world 58

of Gossip Girl is more often than not an emotional ordeal. Difficult tasks faced by Propp’s heroes include ordeal by food and drink in which the hero must eat a certain number of oxen, ordeal by fire in which he must bath in boiling water, a test of endurance in which he must spend seven years in a tin kingdom and the task of manufacture in which he must sew skirts or make bread (Propp 1968:60). Perhaps the task that characters within Gossip Girl would relate to the most is the ordeal of choice and riddle guessing (Propp 1968:60). Dan must choose whether to believe the lies about Serena or to trust her (Ep 14 – 18). Blair must choose to trust Serena and not run away to France (Ep 13 A Thin Line Between Chuck And Nate). After telling Serena that he loves her, Dan must try and understand why Serena cannot say it back to him and ultimately faces the difficult task of gaining her trust and explaining to her exactly why he loves her (Ep 13 A Thin Line Between Chuck And Nate).

From here the tale moves quickly towards its happy ending as the task is resolved (function 26), the hero is recognised (function 27), the false hero or villain is exposed (function 28), the villain is punished (function 30) and the hero is married and ascends the thrown (function 31).

While the first thirteen episodes successfully end in this way - tasks are resolved, the villain exposed and relationships reconciled – the last four episodes of the season work against Propp’s morphology with the final episode resulting in a marriage that is not based on true love, Dan and Serena breaking up, and Chuck, having swept Blair off her feet, returning to his womanising ways and setting Blair up for the ultimate heartbreak.

It is perhaps here that we must begin to take into consideration the continuous nature of television that demands that any show leave its audience wanting more so that they may tune in the next day, the next week or the next season to watch the show again (Thornham & Purvis 2005:2). The messy ending of the first season of Gossip Girl ensured that over 3.5 million fans tuned in for the premiere of season two with millions more downloading the episode once it had aired.

In addition, the end of the season may also be viewed as the division of the tale into two or more Propp’s “moves”. Within his morphology Propp noted that while many tales ended on function 22 with the rescue of the hero from pursuit, followed by his return home and marriage to the princess, there remained a number of tales in which another misfortune lay in store for the hero or the return of the villain marked the beginning of another series of functions (23 – 31). According to Propp this phenomenon attested to the fact that many tales consisted of two series of functions which he labelled “moves”, thus a new villainous act would create a new move, and in this manner a whole series of tales could be combined into a single tale (Propp 1968:59). Thus the first season of Gossip

Girl may be seen as the first in a series of tales or “moves” that will ultimately combine into a single tale when the series is completed.

4.3. The O.C.

The O.C. first aired on American television in August 2003. It was initially considered as something of an experiment by Fox network executives but soon went on to become the number one rated show in the United States within its timeslot and one of the Fox network’s biggest hits (Chocano 15 August 2004 Entertainment Weekly).

The show tells the story Ryan Atwood, a teenager from a poverty stricken, rough background, who enters the world of Orange County, California, a world defined by wealth, success and beauty. As Ryan is introduced to this magical world far removed from anything that he has ever known, he comes to understand that not all is as it seems and that the glossy exterior is a well maintained coat for the “dark side” that lurks underneath. The show serves to demonstrate that the fairytale world in which one assumes everyone is happy and carefree is in fact one that is inhabited by characters who are just as insecure and desperate for love and attention as people in the real world, and in fact are often haunted by many more demons than those less privileged than them.

The first episode of the season introduces us to Ryan stealing a car with his older brother who is clearly a bad influence on him. The scene depicts Ryan as a vulnerable young man torn between doing the right thing and his loyalty to his brother. The brothers are caught by the police and arrested. Due to his prior criminal record, Ryan’s brother is sent to prison, while Ryan is assigned District Attorney Sandy Cohen as his defence lawyer. Sandy recognises something of himself in Ryan and offers to help him in whichever way he can. Ryan is let off with a warning and placed on probation for his offence. On his return home he is banished from his house by his overwrought mother. With no one else to turn to Ryan calls Sandy and thus begins The O.C. as he enters the Cohen household and the world of Orange County, California.

The O.C. differs from other teen dramas in that it attempts to feature the parents of the teenagers in a way that “makes the adults every bit as compelling as the teens” (Boedeker 20 April 2004 Orlando Sentinel). The parents are depicted as slightly older versions of their teenage sons and daughters, with their own drama and scandals to deal with.

While various villains are introduced into the storyline throughout season one of The O.C., there are none quite as powerful as the inner demons of insecurity and the desperate need for love and approval that exist within each of the characters. The presence of these inner demons works to drive forward a large amount of the action that occurs within the show and thus must be taken into careful consideration.

If we begin to look at The O.C. in terms of Propp’s morphology we find that within the first ten minutes of the pilot Ryan has been banished from his home by his mother whom we are able to recognise as being emotionally absent from her son’s life. Thus we begin with the first of Propp’s functions in which a member of the family absents themselves from home. While Propp’s tales represent this absence as a nobler one in which parents leave for work or a father departs for battle, the emotional absence of Ryan’s mother from her son’s life and his ultimate banishment cannot be overlooked in terms of their contribution to the development of the tale.

Throughout the series episodes are marked by the absence of family members from the home. Ryan decides to run away from the Cohen household in episode two, Model Home, Marissa’s father absents himself from the family when her mother files for divorce in episode seven, The Escape, and Hailey Nichol returns from a long absence and causes chaos in episode fourteen, The Countdown. While there are numerous physical absences we find that much like Gossip Girl, the absence of a family member often takes the form of an emotional absence of a parent as is the case with Marissa Cooper, the victimised hero of the tale. While Marissa’s mother, Julie Cooper, is physically present within her daughter’s life she is only concerned with the superficial maintenance of the glossy exterior of their perfect family life and thus completely unavailable to her daughter emotionally. Summer Roberts’ father is both physically and emotionally absent from her life as he works long hours as a plastic surgeon leaving little time for his daughter.

If we continue onto Propp’s second function in which an interdiction is issued to the hero, we find that perhaps the most poignant of these is issued in the very first episode when Sandy’s wife, Kirsten, tells Ryan, “I want my husband to be right about you”. By the end of the second episode Ryan has been fully integrated into the Cohen family and works throughout the season to honour Kirsten’s request.

As with the first season of Gossip Girl, an interdiction may be issued within one episode and violated in subsequent episodes. In episode two, The Model Home, Sandy asks his son Seth to promise that he will never run away. This interdiction is only violated in the very last episode of the season when Seth, devastated by the departure of Ryan, leaves Orange County on his boat leaving only a note for his parents. This works to extend the tale into the second season of the show and thus the consequences of the violation of the interdiction issued in the first episode will only be carried out in season two.

The interdiction that Ryan most struggles with is one issued in episode seven when Sandy and Kirsten command Ryan to stop fighting with others. When threatened or angry Ryan’s first response

is often a physical one, thus the interdiction issued by Sandy and Kirsten is one that is often violated throughout the season. As the season progresses, Ryan’s ability to control his anger and impulsive behaviour show a real growth within his character and serve as a testament to the parenting skills of Sandy and Kirsten.

While the predominant villain throughout the series takes the form of the inner demons of insecurity and longing for acceptance, there do exist a few additional villains who are worthy of mention. Episode six, The Girlfriend, introduces the viewer to Caleb Nichol, Kirsten Cohen’s father. As Kirsten and Sandy argue over the arrival of her father, he enters the room stating, “speak of the devil and he doth appear”, thus pre-empting the villainous role that he is about to assume. Caleb is an overbearing, controlling and powerful man who will do whatever it takes to get what he wants. Upon his arrival, Caleb immediately begins causing harm by belittling and alienating Ryan, treating him more as a servant than a part of his family. Unhappy that his daughter has made the decision of allowing Ryan into her family without consulting him and threatened by her success in running a part of his company he attacks her confidence and self esteem and chooses to demote Kirsten. Throughout the series Caleb is associated with harm and the disruption of the happy family unit (function 8) . Ultimately he is defeated as his business dealings come under the scrutiny of the District Attorney office and he is faced with an investigation and possible prison time (Ep 27, The Ties That Bind).

Julie Cooper, Marissa’s mother, can also be said to fulfil the role of villain within the first season. Having come from a less privileged background, Julie is obsessed with maintaining her social position and wealth within Newport, no matter the cost. When Jimmy, her husband, loses all of their money through a series of bad investments, she quickly chooses to divorce him as he can no longer provide her with what she needs (Ep 4, The Debut), thus causing harm to her family unit by choosing to break it up. Episode ten, The Perfect Couple, sees Julie assume the disguise of “nice guy” when she approaches Marissa and apologises for her behaviour in her attempt to persuade her to come to a charity event that she is hosting as a means of relaunching herself into Newport society. Marissa submits to the deception (function 7) and agrees to go to the event, believing that there may be a chance that her mother and father could reconcile. At the event Ryan is tested (function 12) as he must decide whether or not to tell Marissa that he has seen Julie and Caleb kissing. When the truth is revealed to Marissa she is devastated, thus Julie’s actions have once again caused harm and emotional injury to her daughter (function 8). Marissa engages her mother in combat (function 16) when she takes to the stage at the event and reveals Julie and Caleb’s secret relationship. Thus the villain is revealed (function 28) and Julie is punished (function 30) as she loses her chance to

reconcile with her daughter. This episode has a true fairytale ending however as Ryan and Marissa’s relationship is strengthened and while they may not marry immediately and ascend the thrown (function 31), they share a passionate kiss and the perfect first date.

Within the world of The O.C. each of the characters is marked by a lack of something or the desire to have something (function 9). Within the first episode it is evident that Ryan is clearly in need of a loving family who value him, while Seth is in need of a friend and brother figure. Marissa lacks any form of self worth, while her mother Julie Cooper desires social status and wealth. Seth desires Summer Roberts and Ryan and Marissa desire each other setting up a large portion of the plot of the first season.

Throughout the first season the misfortune and lack is made known in various ways (function 10). More often than not a conversation is overheard as is the case when Marissa’s father approaches Kirsten for a loan, and is overheard by Seth, Ryan and Marissa (Ep 2, Model Home). When an inebriated Marissa is left unconscious on her doorstep by her friends, the audience and Ryan are both able to understand Marissa’s misfortune and Ryan is able to rush to her aid without the need of a call to dispatch.

The first season of The O.C. is defined by the tests that each of the characters must face (function 12). As the young teenage characters attempt to work their way through adolescence they are faced with a number of tests and difficult decisions. Throughout the season Ryan, in the role of hero is constantly tested and attacked. While some of the tests may not be as character-defining as others, they nevertheless serve to challenge Ryan and his friends. Ryan is tested as he must swallow his pride and ask Sandy for help (Ep 1, Pilot), in episode two he must decide whether to accept help from Seth or leave Newport, in episode six he is tested as Caleb’s new girlfriend makes it clear that she would like to cheat on Caleb with Ryan, Ryan and Marissa are both tested when they realise that they like each other but can do nothing about it (Ep 4, The Debut), Ryan is tested when his ex- girlfriend Theresa reveals that she is pregnant and the child might be his (Ep 25, The Shower).

Within Propp’s morphology the test is reserved exclusively for the hero, however, throughout the first season of The O.C. it is not just Ryan who is tested by the circumstances in which he finds himself. Seth’s desire for Summer is tested as she continuously turns down his advances, Kirsten and Sandy’s parenting skills are continuously tested as Seth and Ryan work their way through adolescence, Seth is tested when he is invited to meet Summer’s father (Ep 25, The Shower), Marissa is tested when she is forced by Caleb to help Kirsten plan Julie’s wedding shower (Ep 25), Summer’s

feelings for Seth are tested when he father expresses his dislike for him, Theresa is tested as she must decide what to do with her unplanned pregnancy.

Many of the tests faced by the characters serve to reflect those faced by teenagers in the real world. Within the first few episodes the characters are faced with issues of crime, drugs, alcohol and peer pressure. Once again there is no magical agent within the story line, while the magical helper is represented by various characters throughout the show. The biggest example of this is the role that Sandy Cohen plays within Ryan’s life as he helps to remove him from a life of poverty and crime and transplants him in the world of Orange County, continuously mentoring him with fatherly advice throughout the season.

While the characters may not always pass the tests that they are challenged with, it is the lessons learned from these tests that are most valuable. Marissa’s reaction to the test of her parents’ divorce is to escape through alcohol and drugs, ultimately ending up unconscious in a dark alley in a foreign country (Ep 7, The Escape). While Marissa may have failed her test, the show seeks to demonstrate to the audience the dangers of drug and alcohol abuse. Ryan, Summer and Seth share the role of hero within this episode as they all go in search of Marissa to try and rescue her. The closing scene of this episode is reminiscent of a Romeo and Juliet like scene as Ryan carries Marissa’s lifeless body out of the dark alley and towards help. It is only in the following episode that viewers are able to find out whether Marissa is alive or dead, thus forcing them to tune in the following week and reflecting the need for continuous flow in television.

This Romeo and Juliet – like scene works to reinforce the idea of Ryan and Marissa as star crossed lovers destined never to be happy together. Episode two pre-empts this as Ryan says to Marissa “we’re from different worlds, I’m not like you”, and the theme continues throughout season one – just as the two characters appear to be happy with each other an obstacle is always sent their way, and ultimately Ryan, amidst much heartache must sacrifice his love for Marissa leaving her behind and returning to Chino in order to help Theresa raise the child that might be his.

Within the show much of the drama and suspense is reserved for the scenes in which the villain and hero join in direct combat. While Ryan does engage in several physical confrontations with various villains throughout the show, in particular Luke, Marissa’s ex-boyfriend, the combat between villain and hero often takes place in the form of a confrontation. Sandy confronts Caleb over Kirsten’s demotion and the way in which he treats his daughter (Ep 6, The Girlfriend), Ryan confronts Marissa’s alcohol abuse and self destructive behaviour (Ep 13, The Best Chrismukkah Ever), Kirsten

confront her sister Hailey about her irresponsible behaviour (Ep 14, The Countdown), and Seth confronts Summer over her strange behaviour after the meeting with her father (Ep 25).

Marissa’s drug and alcohol overdose in Tijuana in episode seven results in a major breakthrough for Marissa in her struggle against her inner demons. While she continues to struggle with her fear of abandonment and self worth issues throughout the rest of the series, with a help of a therapist she is able to better control them. All of this is liquidated however in the final episode when Ryan leaves Newport to help Theresa raise her baby, and Marissa is once again left alone to deal with her demons turning to alcohol once more.

Apart from Oliver Trask, a disturbed and unstable young man who seeks to wreak havoc in Ryan and Marissa’s relationship from episodes fourteen to eighteen, the villains of The O.C. appear undefeatable. While they may be defeated in one episode, they emerge again two or three episodes later, beginning a new storyline. Propp made room for this within his morphology suggesting that this phenomenon divided the tale into two series of functions which he labelled “moves”. A new villainous act creates a new “move” and in this manner a whole series of tales may be combined into one tale (Propp 1968:59).

We find too that the misfortune or lack of something that is presented in one episode is often only liquidated (function 19) a few episodes later as this works to drive the show forward and link one episode to another. Thus while Marissa’s father, Jimmy, is forced to make known his ailing fortunes as early as the first episode, it is only episode seventeen when he enters into a business venture with Sandy, that his misfortune is liquidated. Similarly, even though Seth’s desire for Summer Roberts is made known in episode one, it is only in episode ten that Summer reciprocates those feelings by which stage Seth has realised his feelings for Anna, and the drama is continued until episode twenty when Seth and Summer both declare their love for each other.

From here The O.C. contains very few of the rest of Propp’s morphological functions until we arrive at function twenty-five in which a difficult task is proposed to the hero. As with Gossip Girl this function is difficult to differentiate from function twelve in which the hero is tested. Episode fourteen finds Ryan tasked with the impossible as, with only a few minutes to spare before midnight on New Years’ Eve, he must track down Marissa at Oliver’s party to tell her that he loves her. Ryan is tested as he attempts to discern whether he does in fact love Marissa, while his task is to find her and tell her before it is too late.

When he reaches her just on the stroke of midnight his task is resolved (function 28) and, in this particular episode, the hero (Ryan) is able to claim his princess (Marissa; function 31). Episode ten also ends with Propp’s ideal fairytale ending in which the hero obtains his princess.

While the first season of The O.C. ends with a wedding (of Caleb Nichol to Julie Cooper), this ending is far removed from Propp’s fairytale ending. Propp’s morphology contains no room for the marriage of one villain to another, however perhaps we could categorise this marriage under Propp’s 30th function in which the villain is punished. As the viewer watches the happy occasion they are aware of the fact that Caleb has just been informed by Sandy that he will be spending time in jail and that he is in fact broke – the ultimate punishment for Julie Cooper. The viewer is also aware of the fact that Julie is purely marrying Caleb for his money and thus Caleb is soon to be punished when Julie realises his true financial status.

Ultimately the hero (Ryan) must leave his princess behind to do what is right and honourable. While he may not be able to have a relationship with Marissa, both are able to profess their undying love for each other in a heart breaking scene during the wedding. Summer and Seth’s relationship is also jeopardised as Seth, heartbroken at Ryan’s departure, decides to run away on his boat leaving Summer behind.

Thus the viewer is left wanting more as the tale remains unresolved and they must tune into season two to find out what will happen.

4.4. One Tree Hill

One Tree Hill began airing in September 2003 on the WB television network in the United States. Between its first and second episode the show’s viewership almost doubled and the show is currently airing its eighth season in the United States.

One Tree Hill tells the story of two half - brothers living in the small town of Tree Hill. Both of a similar age, the brothers share a father but come from different mothers. The older of the two by a few months, Lucas Scott, is raised by his mother Karin without the support of his father who completely abandoned Karin when she discovered that she was pregnant sixteen years ago. The younger of the two by a few months, Nathan Scott is the apple of his father’s eye and has led what appears to be a privileged and easy life. The show follows the trials and tribulations of the brothers as their worlds begin to collide when Lucas joins the high school’s Ravens basketball team of which Nathan is the star.

The pilot episode seeks to establish the differences in the worlds of the two brothers from the very start. Abandoned by his father, Lucas is raised by his mother as a deeply intellectual young man who is in touch with his emotions and spends a lot of time reflecting upon himself and those around him. Nathan is the polar opposite of Lucas, a confident, spoiled young man who takes little notice of the feelings of those around him and who is pushed by his father to achieve excellence on the sporting field.

Much of Lucas’ life is defined by the absence of his father, Dan Scott. Thus we begin with Propp’s absence of a member of the family from the home (function 1). As well as being physically absent from Lucas’ life, Dan Scott is emotionally absent from both of his sons lives. We also find that all of the teen female characters within the story are marked by the absence of one or more parents. Haley James, Lucas’ best friend, is the youngest of a large family, and is for the most part allowed by her parents to do continue as she pleases. Throughout the first season the audience is only made aware of the fact that she has parents by a phone call made here and there to tell her mother that she is going to be late. Peyton Sawyer, Nathan’s troubled cheerleader girlfriend in the first few episodes of the show, is marked by the death of her mother and the continued absence of her father as he travels for work. Peyton’s best friend, Brooke Davis, makes no mention of her parents within the show and, like Haley, is allowed to do as she pleases. Unlike Haley who is focused on her academic work and is portrayed as a responsible young lady, Brooke is the resident party girl who is focused on cheerleading and attracting the attention of as many males as possible.

Each episode is marked by numerous interdictions that are addressed between various characters. Perhaps the most significant of these occurs within the first episode when Keith Scott, Lucas’ uncle, asks Whitey, the school basketball coach, to consider Lucas for his basketball team because “he should know that he’s good” (Ep 1, Pilot). This sets in action a sequence of events that drive the storyline forward as Lucas ultimately joins the basketball team and the brothers are forced to exist within close proximity to each other. While Lucas initially rejects Whitey’s offer to join the basketball team, Lucas’ friends offer him an interdiction forcing him to at least attempt to earn a place on the team.

When Dan Scott hears of the potential threat to Nathan’s role as star player of the basketball team, he immediately begins a campaign to undermine Lucas and bring harm to Lucas and his mother. Thus the villain enters the storyline (function 3). In episode two Dan makes an attempt at reconnaissance (function 4) when he visits Karin’s coffee shop and attempts to find out more information about Lucas in order to be able to play psychological mind games with him. Throughout the season Dan makes use of his influence over his son Nathan in his attempts to remove Lucas from the basketball team. In episode two Dan persuades Nathan to shut Lucas out of the basketball game by preventing him from getting the ball or scoring any points. Nathan, intimidated by his father and fearful of losing his position within the basketball team, has no choice but to do as his father commands. Under the disguise of fatherly love Dan continuously undermines Nathan’s confidence and self worth in his attempt to live his dreams through his son and to create a younger version of himself.

In episode three Nathan too takes on a disguise as he poses as a student in need of tutoring in order to persuade Haley, Lucas’ best friend, to tutor him, thus allowing himself entry into Lucas’ world and placing him in prime position to play psychological games with Lucas in order to prevent him from performing well on the basketball court. While Nathan is certainly not the villain within the show, the powerful influence of his father over him results in him taking on certain villainous characteristics in the first few episodes of the show before realising that he is being manipulated by his father.

Initially Lucas allows Dan and Nathan’s psychological mind games to affect him (function 7), however he becomes stronger as the season progresses and is soon able to stand up to both Nathan and Dan and outwit them.

The desire to have or lack of something (function 8a) plays a large role within the storyline of One Tree Hill. Nathan desires his father’s approval, Lucas desires an understanding of why his father has

abandoned him, Lucas desires to prove himself as an excellent basketball player (Ep 1, Pilot), Peyton seeks to draw a picture that means something to someone (Ep 2, The Places You Have Come To Fear The Most), Lucas desires Peyton, Nathan desires Haley, Brooke desires Lucas, Peyton seeks to repair her relationship with Brooke (Ep 20, What Is And What Should Never Be). Each show is driven forward by the desire or misfortune of the characters as they attempt to liquidate the misfortune or see their desires come to fruition.

In the first episode Lucas and Peyton share a moment on the side of the road when Peyton’s car breaks down and Lucas comes to her rescue. In this moment Lucas shares his misfortune (function 9) with Peyton as he explains to her why he gave up playing basketball so many years ago. In this moment the viewer becomes immediately aware of the strong sensitive side to Lucas thus endearing him as the modern day hero. By episode two we have learnt why Dan and Whitey disagree so much after Dan reveals to Nathan the drama of his final high school basketball game in which he sat out to prove to Whitey that he was the most important player on the team. We also learn why Karin missed Lucas’ first game when she reveals to Lucas that it was in the basketball gym that Dan chose basketball over her, thus making the gym a very painful place for her to revisit.

As with Gossip Girl and The O.C., much of One Tree Hill is defined by the tests that are faced by the various characters within the show. Lucas is continuously tested as he faces Nathan and Dan’s psychological and sometimes physical warfare. While initially he is vulnerable to the games that they play, Lucas emerges from the tests as a stronger, more mature character. When Nathan describes him as a “bastard” in an English class, Lucas’ initial reaction is to enter into physical combat with Nathan, thus falling straight into the trap that Nathan has laid for him. However, by the end of the episode, after being confronted by his mother and taking out his frustration on her, he apologizes and reflects on how lucky he is at all of the sacrifices that his mother has made for him, and how fortunate he is not to have Dan Scott as a part of his life (Ep 2, The Places You Have Come to Fear The Most). Once again this emphasizes Lucas’ strong sensitive side and demonstrates “therapeutising” of characters within the teen drama as suggested by Hill (2004:54)

While Gossip Girl and The O.C. lacked a replacement for Propp’s magical agent, this function is fulfilled in One Tree Hill by the books that Lucas enjoys reading. The end of almost every episode is marked by a voice over of a passage from a literary classic that Lucas is reading at the time. The passage serves to sum up the lessons learned within the show and reflect the inspiration that Lucas would have drawn from in order to face his challenge. Episode one finds Lucas drawing inspiration from John Steinbeck, episode two from Atlas Shrugged, episode three from e.e. cummings and so

on. The wise words of these authors serve as a magical agent often entering the tale at a point when Lucas is experiencing great turmoil.

While Lucas takes on the role of hero, we find that all of the characters within the show are tested alongside Lucas. Haley is tested when Nathan challenges her to tutor him (Ep 3, Are you true?), Peyton is tested as Lucas probes beneath her cheerleader exterior and challenges her to open up and allow people to know the ‘real’ her (Ep 4, Crash into you), Peyton is further tested when Lucas chooses Brooke over her (Ep 11, You Gotta Go There To Come Back), Brooke is tested when she realises that Lucas and Peyton have more in common than she and Lucas ever will (Ep 11, The Living Years), Nathan is tested when he must confront whether he still wants to play basketball (Ep 11) and as he realises that he needs to earn money in order to be able to pay for rent when he chooses to move out of his parents house amidst their divorce battle (Ep 20, What is and what should never be).

The early episodes of the show often find Lucas and Nathan in direct combat with each other whether on the basketball court or physically fighting each other. Within these early episodes Nathan is representative of his villainous father as he carries out his orders and attempts to keep Lucas off the basketball court. Lucas is victorious in his first confrontation with Nathan as the brothers take their battle to the basketball court and Lucas defeats Nathan for a position on the school basketball team. Later episodes find more confrontation between Dan and his wife, Karin and his brother as Nathan and Lucas begin to tolerate each other and start to bond.

Ultimately the villain, Dan, is defeated (function 18) as he loses the respect of both of his sons and is recognised as the manipulative and abusive father that he is. He is later punished (function 30) when his entire family unit appears to self destruct - Nathan confronts him in front of the basketball team and strips the Scott off the back of his basketball jersey; later Dan walks in on Keith and his Dan’s wife who have just slept together; and finally the episode ends with Dan on the brink of death having suffered what appears to be a heart attack (Ep 22, The Games That Play Us).

The last four episodes of the season herald the liquidation of much of the misfortune and lack that has haunted the characters throughout the season. Brooke and Peyton are able to reconcile their friendship as they work together to defeat the villainous Nikki (Ep 20, What Is And What Should Never Be), Karin apologizes to Keith after having turned down his proposal and thanks him for the amazing role model that he has been to Lucas (Ep 22,The Games That Play Us) and Lucas learns that Dan did want to play a part in his life but was prevented from doing so by Karin who believed she was protecting her son (Ep 21, The Leaving Song).

The final episode of the first season provides Nathan and Lucas with a full circle moment in which they are able to recognise each other as brothers and friends. Nathan works hard to help Lucas regain his fitness after an injury to his arm so that he may play in the most important basketball match of the season. While Lucas decides that he must leave Tree Hill in order to find himself again, we find evidence of Propp’s fairytale ending when Haley and Nathan reveal that they are married. Unlike the marriages in the final episodes of Gossip Girl and The O.C., Haley and Nathan’s marriage is one that is unmarked by scandal or sadness. It is the joining together of two good souls who are truly in love with each other and with that the first season of One Tree Hill draws to a close.

CHAPTER 5: DISCUSSION

5.1. Introduction

This chapter aims to highlight some of the similarities and differences that exist between Propp’s functions of the dramatis personae and those of the characters within the teen drama series analysed and to examine some of the ways in which Propp’s functions have been modernised. The chapter focuses on a few core functions that include the absence of a family member from the home (function 1), the role of the villain, the role of the hero, the presence of the magical agent as well as the fairytale ending.

5.2. The absence of a family member from home

The teen television drama is said to be characterized by absence of parent figures within the world of the teenagers allowing them to exist independently of their parents and to function as sexual and social beings, acting without the restrictions of authority (Green 2005:5). In recent years the teen drama has begun to move towards the reestablishment of the parent or adult figures within the show, focusing on them as individuals with their own complexities and storylines that run parallel to their children or the other teenage characters. This phenomenon is apparent in all three of the television shows analysed. The presence of the parents however does not serve to hinder the ability of the teen characters to function as sexual and social beings without the restrictions of authority. More often than not the parents are portrayed with a maturity level that is similar to their teenage counterparts and in all three shows it is not uncommon for the teenagers to appear wiser and sometimes more mature than their parents.

While the physical presence of parents within the teen drama has begun to be re-established, we find that all three of the shows demonstrate an emotional absence of some of the parents from their children’s lives. Thus we find that Propp’s first function in which a member of the family absents himself from home, is slightly modified and can be represented by an emotional absence rather than a physical one. All three shows demonstrate at least one example of the physical absence of a parent as well as the emotional absence. Within Gossip Girl, the character of Chuck Bass is marked by both the physical absence of his mother by death, and the emotional absence of his highly successful father. Serena and Eric van der Woodsen are marked by the physical absence of their father, and the emotional absence of their mother within the first few episodes of the season. Similarly Ryan of The O.C. is marked by the abandonment of his mother and absence of his father who is in prison, while Marissa is the product of her mother’s emotional abandonment. Lucas of One Tree Hill is marked by the emotional and physical 73

absence of his father, while the female teen characters are defined by the physical and emotional absence of their parents from the storyline.

In his introduction to Propp’s morphology Dundes suggests that the fairytale could be read as a model in which one begins with an old nuclear family and ends with the formation of a new one when the hero is married and ascends the throne (1968:xiii). While none of the families within the shows that have been analysed would be considered nuclear, apart from the Cohen family in The O.C., each of the shows does indeed begin with one family unit and ends with the formation of another.

According to Owen (1997) and Wolcott (1999), the family structure within the teen drama is often replaced with social cliques and friendships. While the three shows analysed all demonstrated the presence of some form of family unit, this unit was often marked by its dysfunction thus leading the teen characters to develop more stable structures for themselves within their social cliques or friendship groups. A good example of this can be found in Gossip Girl where Serena, Nate, Blair and Chuck, all marked by the complete dysfunction of their family units – Serena with a mother who has been married four times, Nate with a father who is under investigation for embezzlement and fraud and whose actions have destroyed his family, Blair with a father who has divorced her mother and entered a relationship with another man, and Chuck with an emotionally absent father – bond together to form a new unit in which Serena feels safe enough to reveal her darkest secret. Blair, Chuck and Nate take on the role of protective parent or siblings as they help Serena to confront her inner demons.

5.3. The Villain

The identity of the villain within the television shows analysed is often difficult to pin point as the villains are often presented with some redeeming qualities which serve to confuse the audience. The role of villain in Gossip Girl, for example, appears at first to be taken by Chuck Bass, however as the show progresses Chuck is revealed as a deeply sensitive character who desperately seeks the attention and approval of his father thus explaining some of his actions. Chuck also goes on to become a hero-like figure in combat with Georgina, a villain who enters the last few episodes of the season.

It is interesting to note that often the parents serve as villains. Bart Bass, Chuck’s father is portrayed as a powerful businessman who will stop at nothing to get what he wants and who has destroyed what remains of his family unit by completely isolating himself from his son. Elinor Waldorf appears as a villainous character within the first season of the Gossip Girl as she 74

constantly criticises Blair’s clothing and food choices, and would happily replace her daughter with another model for her clothing line without concern for Blair’s feelings or the repercussions of her actions on Blair and Serena’s friendship.

Caleb Nichol and Julie Cooper appear as the predominant villainous characters within The O.C., however as the show progresses, viewers gain insight into some of the motives behind their actions and through this are able to empathise to some extent with them. Similarly, Dan Scott of One Tree Hill is also depicted in the role of villain with glimpses of some redeeming qualities throughout the first season that allow the viewer to empathise with him.

The depiction of the parents as villains perhaps plays on the age old curse of parents around the world in which, no matter how loving or emotionally present they are within their children’s lives, they are automatically cast into the role of villain by their teenage sons and daughters as they set about the difficult task of guiding them through their teenage years.

While Propp’s villains are easily identified within the tale and contain no redeeming qualities, the villains of the teen drama are multidimensional and more difficult to identify. The primary villain of the teen drama appears to take the form of the inner demons of insecurity, desperation and the need for acceptance and power. Due to the breakdown of the family units within each of the shows caused by the emotional absence of many of the parental figures, the need for acceptance and the drive to develop a clique in which to feel loved or powerful, often work to blind the characters as to the destruction that they are causing in their wake.

5.4. Lack and Desire

While the identification of the villain may have become more difficult, it appears that the desires of the characters to have something (function 8a), have undergone very little change since 1927. Propp’s morphology identifies three possible forms of lack or desire:

1. Lack of a bride (or a friend or a human being generally)

2. A magical agent is needed

3. Wondrous objects are lacking such as the firebird, ducks with golden feathers

4. A specific form is lacking eg. The magic egg containing Koščéj’s death (or containing the love of a princess)

5. Rationalised forms: money, the means of existence are lacking

(Propp 1968:35 – 36)

From this list we are able to easily identify the two most significant desires that are apparent within all of the teen dramas, namely the lack of a friend or family unit as well as the lack of or desire to acquire money and with it power.

5.5. The Tests

Throughout all three of the shows the tests faced by the show’s characters serve as the driving force of much of the narrative. Significantly the tests are not only faced by the hero but by all of the characters within the show. While Propp’s tests served to prepare the way for the hero to receive a magical agent or helper, the tests faced by the characters within the teen drama series serve to demonstrate many of the challenges facing teenagers today. These include peer pressure, underage drinking, drugs and teen pregnancy. These issues could be read as the modern version of Propp’s hostile creatures which attempt to destroy the hero. While Propp’s heroes faced the threat of witches trying to place them in ovens, hosts attempting to feed them to the rats and witches attempting to behead them, the heroes of the teen drama series are faced with tests that challenge their emotional well being more so than their physical wellbeing.

5.6. The hero

Just as the villain is difficult to pin point within the teen drama series, so too is the hero as characters are able to move from the role of villain to hero or hero to villain within the course of an episode. Propp’s fairytale hero appears to remain unshaken by the circumstances in which he finds himself. Following a request or command, Propp’s hero is dispatched and leaves with the sole purpose of fulfilling the request or command. The threat of death, torture or pain is of no consequence to him. Within the teen drama, we find the hero more influenced by the threat of emotional pain, torture or death, making them more easily torn between making the right decision and a decision based on selfish motives. The hero within the teen drama is marked by the “therapeutising” of the characters within the teen drama series. Thus the heroes are often a deep thinkers weighing up all of the options and agonising over the decision to be made. They are not infallible as the hero of Propp’s morphology, but more prone to making mistakes and initially choosing to make decisions based on selfish motives. More often than not the heroes are then challenged further by the consequences of their decisions and ultimately work towards fixing the mistakes that they have made. Thus, while Propp’s heroes would seem to follow a straight line from the moment the request or command is issued to his return with the object of the search or the liquidation of the misfortune; the heroes of the teen drama series embark on a more winding journey of self discovery and lessons to be learnt.

While Propp’s morphology calls for only the hero to undergo the tests, attacks and interrogations, the teen drama series differs in that all of the characters within the series are forced to face various tests throughout the season. We also find that Propp’s hero faces a seemingly solitary journey in his quests, the journey made by the heroes of the teen drama series often involve a joining together of forces in order to overcome tests and challenges and to fight off villains.

5.7. The magical agent

The magical agent of Propp’s morphology loses its magical qualities, but is nonetheless apparent in the form of various characters placing themselves at the disposal of the heroes within the narrative of all three of the shows. While Propp’s magical agent is not known by the hero, the agents within the teen drama are often drawn from the heroes’ social circles and are well known to the hero. In the case of The O.C., Sandy Cohen serves as agent to Ryan when he offers him a place to stay and invites him into his family. Throughout the rest of the season Sandy continues to serve as an agent to Ryan, providing with advice and guiding him in the right direction. Sandy’s character also serves as agent to Jimmy Cooper later on in the season as he offers him the chance to redeem his reputation by entering into business with him.

The magical agent in One Tree Hill appears in the form of books by famous authors such as John Steinbeck and e.e. cummings as well as individuals. The books serve to provide guidance and inspiration to Lucas, the hero of the series, just as Propp’s magical agent serves to help the hero in his quest. Individuals such as the wizened basketball coach, Whitey, also serve to guide Lucas’ character in his journey of self discovery.

5.8. The fairytale ending

Propp’s final function of the dramatis personae sees the hero married and ascending the throne. While each of the first seasons of the teen drama series analysed ends with a wedding, these weddings are far from the happily ever after that Propp’s tales envisioned. Of the three weddings, only the wedding of Haley and Nathan in One Tree Hill one is motivated by true love and even here this is questioned as it is well known that Haley believed in waiting until marriage before sleeping with someone.

The weddings at the end of Gossip Girl and The O.C. serve as a backdrop for the tragic break-up of the epic relationships that have developed during the course of the season. Dan and Serena break up in the aftermath of the revelation of Serena’s past. Dan cannot let go of the fact that Serena hid so much from him and lied to him over and over again and the two characters find themselves back

where they were at the beginning of their relationship where Serena is not who Dan thought she was.

Ironically while Dan and Serena choose to end their relationship in the face of all of the lies that have been told, Lily van der Woodsen and Bart Bass continue to go ahead with their marriage even in the face of Lily’s adultery of which Bart is aware. Their marriage is clearly not based on love and trust but on Bart’s desire to have Lily another one of his possessions, and Lily’s desire for increased wealth and power within society.

This episode also sees Chuck return to his old womanising ways shortly after professing his feelings of intense “like” for Blair. Having arranged to meet her at the airport for a romantic trip to Italy, Chuck deserts Blair, choosing instead to pursue Lily’s new decorator. The audience is left to tune in the following season to learn of the outcome of Chuck’s actions.

The O.C. also features the wedding of Julie Cooper to Caleb Nichol, another dubious union that takes place more as a business transaction in which Julie Cooper is allowed to live the lavish lifestyle that she desires, while Caleb is in possession of yet another trophy. This wedding serves a backdrop to the tragic end of Ryan and Marissa’s relationship as Ryan must return to Chino to help Theresa raise the baby that may or may not be his. This ending is made ever more tragic by the fact that Ryan and Marissa appear to have a genuine love for each other and under any other circumstances would not have broken up.

Interestingly, Propp’s marriage as the final function of the dramatis personae makes no mention of love, merely of the hero receiving his reward for the completion of his quest. Thus the union of Lily and Bart and Julie and Caleb may be read as one that is just as successful as that of the hero in Propp’s morphology. Lily gains access to Bart’s kingdom and Julie gains access to Caleb’s kingdom, while Bart and Caleb take possession of yet another desired object.

5.9. Conclusion

This chapter served to highlight some of the ways in which Propp’s functions have remained similar to his original morphology, while others have developed and adapted over time to become representative of the 21st century narrative.

The following chapter seeks to provide a conclusion to the research of this study and its findings.

CHAPTER 6: CONCLUSION OF RESEARCH

6.1. Introduction

Concluding the research this chapter will provide a summary of the research conducted as well as some of the limitations encountered during the research process. The chapter ends with a final conclusion that serves to answer the research question posed at the beginning of this treatise as well as suggestions to additional areas of research.

6.2. Summary of Research

Investigating whether the modern teen drama television series has redefined the fairytale, the study focused on the analysis of three popular teen drama series in relation to the functions set out by Propp’s Morphology of the Folk Tale. The objectives of the paper sought to determine whether the three selected teen dramas met the criteria of the fairytale as set out by Propp’s work, and the n to identify the way in which the modern teen drama adapted or undermined Propp’s characteristics.

6.3. Limitations of encountered during the study

No major limitations were encountered in the duration of the study, however the study could have been improved had the following been taken into consideration:

 Propp’s study focused on fairytales that had been completed and had a concrete beginning and end. Two of the three television shows that were selected for this study have yet to fully complete their storylines, thus while it is possible to identify many of Propp’s functions within the episodes and the seasons selected, the study remains open ended as the stories continue to be told.

 This study was also limited by the fact that the teen dramas analysed were all created and produced in the United States of America in English. While the United States serves as the predominant source of the teen drama, the study would have been strengthened by a comparison of an American teen drama with one of a different nationality and language. This would have helped to establish whether Propp’s morphology is relevant only to the American teen drama and whether teen dramas from other countries adhere to or undermine Propp’s functions to a lesser or greater degree than the American teen drama.

6.4. Conclusion of Study

From the content analysis conducted of the three teen television shows it appears that the functions laid out by Propp’s Morphology of the Folktale remain relevant today. While some of the functions have been adapted, the majority remain instantly recognizable as Propp’s functions and continue to drive forward the narrative of fairytales today.

The ability to apply almost all of Propp’s functions to the modern day teen drama series provides conclusive proof that these series are in fact fairy tales or folk tales as defined by Propp. Just as the stories, myths and legends of old were passed down from one generation to the next in the form of fairytales, so the stories told within these series continue this tradition.

While Propp drew his functions from tales that had been completed and contained a set beginning and end, two of the three television series selected remain in broadcast with Gossip Girl having recently entered its fourth season and One Tree Hill in its eighth season. It thus remains to be seen whether Propp’s morphology can still be said to apply once these shows have been completed.

Propp’s recognition of the division of tales into “moves” serves to provide the exact starting point for understanding the nature of the television series and the way in which episodes and seasons relate to each other. Ultimately the entire series of Gossip Girl or One Tree Hill will serve to tell one tale made up of a series of moves represented by the seasons. The research currently demonstrates that Propp’s functions can be found in their entirety within a single episode or stretched out over multiple episodes or seasons. While Propp’s tales focused on a single storyline predominantly based around the hero and his quest, the teen television drama produces multiple storylines within an episode, some of which are completed within that episode and others which run into the following episodes or seasons in an attempt to maintain viewer interest from week to week.

Ultimately it appears that while humans have continued to evolve and the modes of storytelling have changed significantly since Propp first published his paper, the teen television drama has not

yet redefined the characteristics of Propp’s morphology. At most it has modernised them making them relevant to the 21st century viewer.

6.5. Recommendations of further study

Future studies revisiting the television series once they have been completed would serve to solidify or destabilise the conclusion reached in this study. As the stories continue to develop and new characters and plotline introduced it would be interesting to determine whether Propp’s functions are as recognizable in the last season of each show, as they were in the first. A multiple layered analysis following individual storylines within an episode and across seasons would also be interesting to determine the extent to which Propp’s functions are adapted or remain the same in the coming years.

A comparison of the series selected with future teen dramas would also be an interesting field of study in order to determine whether Propp’s functions continue to remain valid or if the adaptations of Propp’s functions continue to such an extent that a new set of functions is developed.

A study of the presence of Propp’s characteristics in a wider range of teen television dramas produced in different countries and languages in comparison to the teen dramas selected for this paper would also prove interesting and serve to demonstrate whether the characteristics of fairytales remain the same worldwide or change from culture to culture.

ADDENDA

Addenda A – Propp’s Functions of the Dramatis Personae

Addenda B – Gossip Girl Transcript of Pilot Episode

Addenda C – The O.C. Transcript of Pilot Episode

Addenda D – One Tree Hill Transcript of Pilot Episode

ADDDENDA A

Functions of the Dramatis Personae from Propp (1968:26 – 65)

1. One of the members of the family absents himself from home - Parents leave for work, prince goes on a journey, war, trade, business (member of older generation) - An intensified form of absentation is represented by the death of parents - Member of younger generation absent themselves 2. An interdiction is addressed to the hero - Do not..., weakened interdiction in form of mother giving advice eg don’t go fishing you’re still too little - An inverted interdiction is represented by order or suggestion eg. Bring breakfast into the field - The interdiction can also stem from the absence of parents eg. children left alone after death of parents 3. The interdiction is violated - At this point the villain enters the tale – role: to disturb the peace of a happy family, cause misfortune, damage or harm 4. The villain makes an attempt at reconnaissance - Reconnaissance has the aim of finding out the location of the children or sometimes of precious objects - An inverted reconnaissance occurs when intended victim questions the villain 5. The villain receives information about his victim 6. The villain attempts to deceive the victim in order to take possession of him or of his belongings - Villain usually assumes disguise - Villain uses persuasion - Villain proceeds to act by the direct application of magical means - The Villain employs other means of deception or coercion eg evil sisters place knives and spikes around window through which someone is supposed to fly 7. The victim submits to deception and thereby unwittingly helps his enemy - Hero agrees to all of villains persuations - Hero mechanically reacts to employment of magical or other means 8. The villain causes harm or injury to a member of the family

- This is important as it often results in actual movement of the tale 8a. One member of the family either lacks something or desires to have something 9. Misfortune or lack is made known, the hero is approached with a request or command, he is allowed to go out or is dispatched - Seeker hero – prince goes in search of kidnapped daughter - Victimised hero – narrative linked to fate of seized or banished boy or girl - A moment of mediation is present in both cases - Seeker heroes: a. A call for help is given with the resultant dispatch of the hero b. The hero is dispatched directly – presented in form of command or request c. The hero is allowed to depart from home – initiative for departure comes from hero and parents bestow their blessing d. Misfortune is announced – a mother tells son about the abduction of her daughter before he was born and he sets out in search of sister without having been told to do so by mother - Victimised heroes: a. The banished hero is transported away from home b. The hero condemned to death is secretly freed eg Snow White c. A lament is sung – specific for murder 10. The seeker agrees to or decides upon counteraction - “permit us to go in search of your princess” (seeker hero) 11. The hero leaves home - Departure of seeker hero and victimised hero is different – seeker hero goes in search of a goal, while victimised hero departs on beginning of a journey without searches - A new character introduces itself – the donor/provider usually in the forest/along the roadside - Hero obtains some agent (usually magical) which permits the eventual liquidation of misfortune 12. The hero is tested, interrogated or attacked which prepares the way for his receiving either magical agent or helper - Donor tests the hero eg hero has to do chores, serve as ferryman for 3 years - Donor greets and interrogates the hero - A dying or deceased person requests the rendering of a service - A prisoner begs for freedom

- The hero is approached with a request for mercy - Disputants request a division of property - A hostile creature attempts to destroy the hero - A hostile creature engages the hero in combat - The hero is shown a magical agent which is offered for exchange 13. The hero reacts to the actions of the future donor - Hero withstands a test - Hero answers a greeting - Renders a service - Frees a captive - Shows mercy to suppliant - Reconciles the disputants - Performs some or other service - Hero saves himself from an attempt on his life by employing the same tactics used by his adversary - Hero vanquishes his adversary - Hero agrees to exchange but immediately employs the magic power of the object exchanged against the barterer 14. The hero acquires the use of the magical agent 15. The hero is transferred, delivered or led to the whereabouts of an object of search - Generally the object of search is situated in another or different kingdom which may lie far away horizontally or high up or deep down vertically - Hero flies through the air - He travels on the ground or on water - He is led – a fox leads the route, a ball of thread - The route is shown to him – hedgehog points the way - He makes use of a stationary means of communication - He follows bloody tracks 16. The hero and the villain join in direct combat - Fight in an open field - Engage in competition – hero wins with help of cleverness - They play cards

17. The hero is branded - A brand is applied to the body - The hero receives a ring or a towel 18. The villain is defeated - The villain is beaten in open combat - He is defeated in contest - He loses at cards - He loses on being weighed - He is killed without preliminary fight – dragon is killed while asleep - He is banished directly 19. The initial misfortune or lack is liquidated - The object of a search is seized by use of force or cleverness - The object of search is obtained by several personages at once through a rapid interchange of their actions - The object of the search is obtained with the help of enticement – the hero lures the princess on board the ship with aid of golden objects and carries her away - The object of quest is obtained as the direct result of preceding actions - The object of search is obtained instantly through the use of the magical agent - The use of the magical agent overcomes poverty - The object of the search is caught - The spell of a person is broken - A slain person is revived - A captive is freed 20. The hero returns 21. The hero is pursued - Pursuer flies after the hero - He demands the guilty person - He pursues the hero rapidly transforming himself into various animals - Pursuers turn into alluring objects and place themselves in the path of the hero - The pursuer tries to devour the hero - The pursuer attempts to kill the hero - He tries to gnaw through a tree in which the hero is taking refuge

22. Rescue of the hero from pursuit - He is carried away through the air - The hero flees placing obstacles in the path of his pursuer - The hero, while in flight, changes into objects which make him unrecognizable - The hero hides himself during flight - The hero is hidden by blacksmiths - The hero saves himself while in flight by means of rapid transformations into animals, stones etc - He avoids the temptations of the transformed she-dragons - He does not allow himself to be devoured - He is saved from an attempt on his life - He jumps to another tree

A great many tales end on the note of rescue from pursuit. The hero arrives home and then, if he has obtained the girl marries her.

However, tale can also turn again with reappearance of the villain – sometimes in the same form a in the beginning, and sometimes in other forms which are new for a given tale.

If the villain permits the hero to live, it is again necessary to instigate a new search, thus a great spatial barrier is once again created between hero and the object being sought. Then everything begins anew – accidental meeting with donor, successfully completed ordeal or service rendered etc

After hero has gone through new search, a new set of functions arises:

23. The hero, unrecognised, arrives home or in another country 24. A false hero presents unfounded claims 25. A difficult task is proposed to the hero - Ordeal by food and drink – hero has to eat certain number of oxen - Ordeal by fire – bath in boiling water, bathe in red-hot iron bathhouse - Riddle guessing and similar ordeals - Ordeal of choice – to select sought after persons among 12 identical boys or girls

- Hide and seek – hide so that discovery is impossible - To kiss a princess in a window - To jump on top of the gates - Test of strength, adroitness or fortitude – pick up head of decapitated dragon, break in a horse, defeat a rival - Test of endurance – spend 7 years in tin kingdom - Tasks of supply and manufacture – supply medicine, obtain a wedding dress, build a palace in one night - Tasks of manufacture – sew shirts, bake bread - Other tasks – pick berries, cross a pit on a pole, find someone 26. The task is resolved 27. The hero is recognised - Recognised by a brand, mark, ring, by parents or family members , or accomplishment of difficult task 28. The false hero or villain is exposed - Sometimes as result of uncompleted task - Usually presented in the form of a story “Here the princess told everything as it was...” 29. The hero is given a new appearance - New appearance is directly effected by means of magical action of helper - The hero builds a marvellous palace - The hero puts on new garments - Rationalised and humorous forms 30. The villain is punished 31. The hero is married and ascends the thrown

ADDENDA B

GOSSIP GIRL 1X01 - PILOT ORIGINAL AIRDATE: Wed, Sep. 19th, 2007 @ 9pm (CW)

WRITTEN BY STEPHANIE SAVAGE, JOSH SCHWARTZ, CECILY VON ZIEGESAR DIRECTED BY MARK PIZNARSKI

======TRANSCRIPT: ======

[INT GRAND CENTRAL STATION, Serena walks in, a girl watches her and takes a photo with her cell phone]

Gossip Girl (Voice Over) Hey Upper East Siders, Gossip Girl here... and I have the biggest news ever. One of my many sources, Melanie91, sends us this: Spotted at Grand Central, bags in hand: Serena van der Woodsen. Was it only a year ago our It-Girl mysteriously disappeared for quote 'boarding school'? And just as suddenly she's back. Don't believe me? See for yourselves: Lucky for us, Melanie91 sent proof. Thanks for the photo, Mel!

[Rufus takes a look around the station and finds his son and daughter, he walks up and hugs them]

Rufus Dan, Jenny! Over here!

Jenny Hey, dad!

Rufus Hey, hey! You made it. Welcome back! How was your weekend? How was your mom?

Dan She's fine.

Jenny Good... fine, I guess.

Dan She's good and fine.

Rufus Like 'Maybe I should never have left Manhatten' fine or 'Taking a time-out from my marriage was the best idea I've ever had' fine?

Dan Dad, you know... I'm starving.

Rufus Let's go home. I'm cooking. Caprese salad with a little mozzarella di Bufala... yeah, I'm gonna make you guys...

[Rufus puts an arms around Jenny and they walk off, Dan turns around and notices Serena]

Gossip Girl (Voice Over) Spotted: Lonely Boy... can't believe the love of his life has returned. If only she knew who he was. But everyone knows Serena. And everyone is talking.

[EXT NEW YORK - Several people are standing in the streets, looking at the newest 'Gossip Girl' entry on their cell phones]

Gossip Girl Wonder what Blair Waldorf thinks. Sure, they're BFFs but we always thought Blair's boyfriend Nate had a thing for Serena.

[INT HOME OF THE WALDORFS - BATHROOM - Blair takes a look at a new text message: 'Serena is Back!!', she leaves the bathroom and rejoins a party, her mother, Eleanor, is talking to a friend]

Eleanor ...I have to design a dress for this woman.

[Eleanor turns to Blair]

Eleanor Blair, if you're gonna to wear one of my designs tell me about it so we can at least get it properly fitted.

Blair Thanks, mom. Keep that in mind. Great party.

[Eleanor turns back to her friend]

Eleanor She is my best advertisement.

[Nate, his father, Howie, and another guest are standing together]

Party Guest So, Nate, started thinking about college?

Howie Well, actually I'm a Dartmouth man.

Nate Yes, dad's always spoken very highly of Dartmouth. But I would like to check out west. You know, maybe USC, UCLA?

Howie His mother wouldn't hear of it. Dartmouth is far enough away for her.

Nate Yes, well... Dartmouth is my first choice.

[Blair walks up to her boyfriend, Nate, and his father, also called 'The Captain']

Blair Excuse me, captain. Nate, can I borrow you?

Nate Eh, sure. Excuse me for a second.

[Chuck, a friend of Nate's is sitting on the couch with Isabel and Katy]

Chuck Nathaniel, any interest in some fresh air?

[Chuck signals Nate that he wants to smoke a joint with him]

Nate When I get back?

Blair If he gets back!

[Blair leads Nate into her bedroom and pushes him onto the bed]

Nate What's going on?

Blair I wanna do this... It... Now.

Nate Now now? You wanted to wait...

Blair Not anymore.

Gossip Girl (Voice Over) Better lock it down with Nate, B. Clock's ticking.

[Chuck plays with his drink, looking bored, Isabel and Katy are reading their text mesages]

Katy My god, you'll never believe what's on 'Gossip Girl'.

Isabel Someone saw Serena get off a train at Grand Central.

Chuck Good, things were getting a little... dull around here.

[EXT HOME OF THE WALDORFS - The doorman opens the door of a town car, Serena gets out]

Serena Thank you.

[INT BLAIR'S BEDROOM - Blair and Nate are kissing on the bed, undressed]

Blair I love you. Nate Archiblaid. Always have, always will.

Nate I love you too.

[INT HOME OF THE WALDORFS - Serena walks in and gets noticed by Eleanor]

Eleanor Serena van der Woodsen? Is that you?

[Eleanor knocks on the door]

Eleanor Blair, it's Serena!

Nate Serena?

Blair Serena is at school. Kiss me.

Nate No, I think I heard your mom say she's here. Don't you wanna go say hey?

[Nate gets of the bed and starts getting dressed]

Blair Yeah... totally.

[INT HOME OF THE WALDORFS - Serena is walking through the party guest who start talking behind her back]

Party Guests ...I heard she is pregnant... rehab... she looks good...

[Serena walks up to her mother, Lily, who is talking to a friend]

Lily So I told him: Forget it, I don't care if it's mahogany. It clashes with my sofa.

Serena Mom... mom! Hey.

Lily Oh, Serena, darling.

[They hug each other]

Serena So, were is he? What, they haven't let him out yet?

Lily Let's not discuss this right now, ok? I thought you might want to see some of your friends.

Serena Thanks.

[Serena notices Nate on the other side of the room, Blair opens her bedroom door and walks into the room, blocking Nate from Serena's view, Serena and Blair hug]

Blair Hi, Serena, so good to see you.

Serena Good to see you.

Blair Come, we're about to have dinner.

Eleanor I'll set a place for you at the table next to Blair.

Serena Yeah, actually... there's somewhere I have to go.

Blair You're leaving?

Serena Yeah, I just... I don't feel well. I just wanted to come by and say hi. I'll see you at school tomorrow.

[Serena leaves the party]

Blair School... so I guess she's back for good.

Katy Didn't you know she was coming?

Blair Course I did. I just... wanted it to be a surprise.

Gossip Girl (Voice Over) Word is that S bailed on B's party in under 90 seconds and didn't even have one lemon shot. Has our bad girl really gone good? Or is it all just part of the act? 93

[INT OSTROFF CENTER - Serena walks in, passes the nurse's station and looks into a patient's room]

Nurse Young lady, you can't be here. Visting hours are over.

Serena I'm family. He's my brother.

[INT HOME OF THE HUMPREYS - DAN'S BEDROOM - Dan is looking at the blog of 'Gossip Girl']

Gossip Girl (Voice Over) Why'd she leave? Why'd she return? Send me all the deepth. And who am I? That's one secret I'll never tell. The only one. XOXO Gossip Girl.

END OF TEASER

[INT OSTROFF CENTER - ERIK'S ROOM - Serena's brother, Erik, finds Serena sleeping on a chair next to his bed and wakes her up]

Erik Serena... Serena, hey.

Serena Hey, how are you?

Erik You know, I've been better.

Serena Erik, I know I've been a terrible sister. I'm so happy to see you.

Erik Must be a lot of rumour why you're back.

Serena Yeah, but none of them mentioned you.

Erik Just like mom wants, hm?

[Lily enters]

Lily What do I want, baby? For Serena sleeping in her own bed, possibly wearing pyjamas.

Serena Morning, mom. Hey, I was just about to ask the doctor if I could take Erik to breakfast. Wanna come?

Lily Ehm, I think what I'll do is to get him a croissant down the street.

[Lily leaves the room, Serena storms after her]

Erik Serena, don't!

Serena Let me guess: You told everyone Erik is just visiting grandpa in Rhode Island.

Lily Your aunt Carol in Miami.

Serena So, you're actually hiding him. He tries to take his own life and you're worried it will cost you 'Mom Of The Year'?

Lily Serena, you've been gone. Doing who knows what with god knows who...

Serena I told you, boarding school was not like that.

Lily As happy as I am to have you home, you have no idea what it's been like.

[INT HOME OF THE HUMPHREYS - KITCHEN - Jenny organizes handwritten invitations, Rufus is making breakfast, Dan walks in]

Rufus Guess who's dad is cool!

Jenny It's a trick question.

Dan Yeah, 'cause it can't be ours.

Rufus Look at this!

[Rufus hands Dan an issue of 'Rolling Stone', Dan reads the front page]

Dan 'Top 10 Forgotten Bands Of The '90s'.

Rufus Yeah, check out who's number nine.

Jenny He is very proud.

Dan Hey, hey way to be forgotten!

Rufus But that's how you get remembered.

Jenny Maybe you'd care if dad's band was on 'Gossip Girl'.

Dan What? I don't read 'Gossip Girl'. That's... that's for chicks.

Jenny So that wasn't your laptop you've been to last night to read all about Serena van der Woodsen.

[Dan takes the magazine from Rufus]

Dan Holy stone, wow! Let me take a look at this again, dad. Very cool, looking hot, number nine!

Rufus Hey, what are you working on?

Jenny It's called the 'Kiss On The Lips' party. Everyone's going.

Dan You're invited to that?

[Jenny stares at Dan]

Dan Well, no offense if I sound surprised... since I've never been invited.

Jenny One of the girls in my art class saw my calligraphy and she said that if I addressed all the invitations that I got one.

Rufus Sounds very fair. Sweatshops could learn a thing or two.

Jenny Dad, this is not a platform for me to end capitalization. That's why you make us go to private schools.

Rufus That's for your education.

Jenny So we should be anonymous losers who eat lunch alone and never get invited to parties?

Dan Works for me.

Jenny Mom thinks it's a good idea.

Rufus And her judgment is always sound, right? Jenny, if you wanna go to that party you should go. You kids could use some fun.

[EXT THE PALACE HOTEL - Serena walks up to the front entrance, Nate is already waiting for her]

Serena Nate?

Nate Oh, hey! Uhm, your mom told me you guys are staying here at The Palace.

Serena Yeah, we're renovating... again. You know my mom: If it's not broke, break it. So what are you doing here?

Nate Oh, I just wanted to see how you were. You seemed kind of upset last night.

Serena I got to get going and change for school. I'm gonna be late.

Nate Serena...

Serena No, no.

Nate But you're back now.

Serena I didn't come back for you. Look, Blair's my best friend and you're her boyfriend and she loves you. That's the way things are supposed to be.

[EXT NEW YORK CITY - Dan runs across the street to catch his bus to school]

Taxi Driver Hey, watch were you're going!

[INT BUS - Chuck and Nate are sitting next to each other, Dan is standing in the alley]

Chuck Serena looked effing hot last night. There's something wrong with that level of perfection... it needs to be violated.

Nate You are deeply disturbed.

Chuck And yet you know I'm right. You're telling me if you had the chance...

Nate I have a girlfriend.

Chuck You guys have been dating since kindergarden and you haven't sealed the deal.

Nate Who says 'seal the seal'?

[Chuck signals Nate that they have arrived at school]

Chuck Come on.

[They get up, Dan is standing behind them, Chuck turns to Dan]

Chuck You following us or something?

Dan No, I... I go to your school. Identical uniforms, that's kind of a tip-off?

Nate That's funny.

[Chuck and Nate leave the bus, Dan talks to himself]

Dan So you guys wanna sit together at lunch?

[EXT MET - Blair, Isabel and Katy are sitting on the steps looking at the invitations, Jenny is standing next to them]

Isabel So cute! They should be framed or something.

Blair Not bad work. And here is yours... as promised.

[Blair hands Jenny one of the invitations]

Jenny Thanks.

[Serena walks up to them, eating a yoghurt]

Serena Hey, here you guys are. I looked all over the dining hall for you.

[Serena notices Jenny and shakes her hand]

Serena Oh, hi, I'm Serena.

Jenny I know, uhm, I mean, hi, I'm Jenny.

[Serena picks up one of the invitations]

Serena So, when's the party?

Blair Saturday. And you're kinda not invited. Since until 12 hours ago everyone thought you were at boarding school. And Jenny used up all the invites.

Jenny Uhm, actually...

Blair You can go now.

[Jenny leaves]

Blair Sorry.

Serena No, it's ok. I've got a lot of stuff to do anyway.

[Serena throws the invitation onto the steps]

Blair Well, we should get going then. Unless you want us to wait for you. Looks like you got a lot of yoghurt left.

Serena No, go ahead.

[Blair, Isabel and Katy walk away, Serena turns around]

Serena Blair, think we can meet tonight?

Blair I'd love to but I'm doing something with Nate tonight.

Serena The Palace, 8 o'clock. Nate will wait.

Gossip Girl (Voice Over) Spotted: At the steps of the Met, an S and B power struggle.

Blair I can probably do a half hour.

Gossip Girl (Voice Over) Did S think she could waltz home and things would be just like they were?

Serena Thanks for making the time.

Blair Your my best friend.

Gossip Girl (Voice Over) Did B think S would go down without a fight? Or can these two hotties work it out? There's nothing 'Gossip Girl' likes more than a good catfight. And this could be a classic.

[EXT NEW YORK CITY - Rufus is putting up flyers for a concert of his band 'Lincon Hawk', Dan is with him]

Dan Uh, you know... you know, dad, there's this thing called 'myspace' where you post all this information online. Save some trees, have a blog.

Rufus Maybe if musicians would get off their blogs and picked up their guitars then music business would be in better shape.

Dan Ok, like a true relic.

Rufus Thanks, son.

[Dan's cell phone rings, he takes a look at the new text message: Jenny (Mobile), Sep 24, 2007, 3:15:23 PM, HELP: EMERGENCY. 712 5TH AVE.]

Dan Hey dad, listen, uhm, I got to run. You'll be ok?

Rufus Yeah. You'll mom will be back. She's always been a free spirit. That's one of the reasons I fell for her in the first place.

Dan I meant with the flyers.

Rufus Luckily, staple guns are old-school. Go, I'm gonna be fine.

[INT OSTROFF CENTER - ERIK'S ROOM - Serena walks in]

Serena I talked to the nurse and I'm kidnapping you.

100

Erik We're going shopping, aren't we.

Serena We're going to Wendells... just for an hour though, I swear. I had a really bad day.

Erik Really? 'Cause I had a great day: A couple of pills, bunch of Rorschach tests... they had this green jelly for lunch.

Serena Mmh, yummy! Why didn't you save me any? Come on, we need to get you out of here before mom shows up.

[INT WENDELLS - DEPARTMENT STORE - Dan walks up to Jenny who's trying on a red dress]

Dan Jenny, what is it? What is wrong?

Jenny Do you like this on me?

Dan Wait... wait a second, is that why you needed me? I thought this was an emergency.

Jenny A fashion emergency. I mean, come on, I've never been to a big dance before.

Dan Neither have I.

Jenny Yeah, but mom's gone and dad's allergic to department stores.

Dan Well, you look good, Jen. You do, really.

Jenny Thanks. I'm mean, too bad it's more than our rent but I think I can sew something like it.

[Jenny notices Serena and Erik walking towards them]

Jenny Oh my gosh, it's Serena. Hi, Serena!

[Jenny takes an invitation adressed to 'Serena van der Woodsen' out of her bag, Dan panics and vanishes]

Serena Hey. Hey, Jenny, right?

101

Jenny Yeah.

Serena This is my...

Erik Stylist and personal shopper. Erik, hi.

Jenny Hi, uhm, this is my brother... or...

[Jenny gestures behind her, notices Dan is gone, Dan is hiding behind a rack of dresses, watching Serena]

Serena So is this your dress for the 'Kiss On The Lips' party?

Jenny Sort of. Speaking of that.

[Jenny gives Serena the invitation]

Jenny Here, I made you one during free period but anyone asks where you got it, I know nothing.

Serena Thanks.

[Serena and Erik walk away]

Jenny Dan, Dan?

[Serena turns around]

Serena Jenny, that dress would look even better in black.

Jenny Black. Cool. Thanks.

[EXT NEW YORK - PARK - Chuck and Nate are taking a walk, smoking a Joint]

Chuck This is some good stuff.

Nate Yeah, I'm gonna need it. Blair's mom's at the country house.

Chuck Yeah? Then maybe I should swipe some of my dad's viagra? Or my mom's paxils?

102

Nathaniel, you're finally about to have sex with your girlfiend. It's like you're heading to your execution.

Nate No, man. I'm good.

Chuck Talk to Chuck, buddy. You and Blair have been dating forever, all of a sudden there is a problem?

Nate There is no problem. It's just... do you ever feel like our whole lives have been planned out for us? That we're just gonna... end up like our parents?

Chuck Man, that's a dark thought.

Nate You know, aren't we entitled to choose... just to be happy?

Chuck Look, easy, Sokrates. What we're entitled to is a trust fund... maybe a house in the Hamptons, a prescription drug problem. Happiness does not seem to be on the menue. So smoke up and seal the deal with Blair... 'cause you're also entitled to tab that ass.

[INT THE PALACE HOTEL - BAR - Serena and Blair are sitting at the bar, Blair is drinking a Martini]

Serena So, how's your mom doing... with the divorce and everything?

Blair Great. So my dad left her for another man. She's lost 15 pounds, got an eye-lift. It's been good for her.

Serena I'm really sorry.

Blair Yeah, I could tell since you didn't call or write the entire time it was happening.

Serena No, I know... I was just... boarding school... it's like...

Blair I don't even know why you went to boarding school to begin with. Do you know how it felt, calling your house when you didn't show up at school and having your mom say: Serena didn't tell you that she moved to Connetticut?

Serena I just... I had to go. I needed to get away from everything. Please just trust me.

Blair How can I trust you when I feel like I don't even know you. 103

Serena Let's fix that. I saw you at school with Katy and Is and I get it. I don't want to take any of that away from you. I just...

Blair Because it's just yours to take if you want it?

Serena No, that's not what I mean. I... I miss you. I just want things to go back to the way they used to be. You know, walking to school togheter, dancing on tables at Bungalow, the nights when we were at your mom's country house. You were like my sister... and with our families... we need each other.

Blair Well, you missed some classic Eleanor Waldorf melt-downs. If it wasn't such a tragedy it would have been funny. Actually kinda was.

Serena Well, I wish I could have been there.

Blair You are now. I have to meet Nate. I kind of have something special and...

Serena Well, I don't want to keep you but...

[Serena hugs Blair]

Serena I love you, B.

Blair I love you too, S.

[Blair leaves]

Gossip Girl (Voice Over) Spotted: At The Palace Hotel, S and B having a heart to heart.

[Serena takes Blair's left over Martini and emptys it in one gulp]

Gossip Girl (Voice Over) Hmm, why so thirsty, S? You may have won over B for now but we still think you're hiding something.

[INT HOME OF THE HUMPHREYS - JENNY'S ROOM - Jenny is sitting at the sewing machine, Dan enters]

Dan Hey!

Jenny Ah, the invisible man returns. You know, I really had no idea you could move that fast.

104

Dan Yeah, well, your fashion emergency was solved, so... I figured my work was done.

Jenny Come on, Dan. Serena said hi to you at her 9th grade birthday party and you've never forgotten it.

Dan How could I? She was the only person who spoke to me. And I'm pretty sure she thought I was someone else.

Jenny Well, you know, she is actually nice. And if she did know you I think she would really like you.

Dan I don't know, I think she would be a tad overwhelmed by the glitz and the glamour of the Humphrey lifestyle.

Jenny Well, I heard she's living at The Palace Hotel.

Dan Well, my point exactly.

Jenny Probably sitting at the bar by herself, sipping Martinis... all alone. You know, it's actually kinda sad. Oh, and dad's at the gallery working late. He left money for dinner, so I was thinking Indian.

Dan You know... you know what, I think I'm... I'm gonna go out.

[Dan leaves]

Jenny Ok... good, 'cause I already ordered and only got enough for one.

[INT THE PALACE HOTEL - BAR - Chuck enters, shoves some women aside]

Chuck Hello, please.

[Chuck walks over to Serena who is having another Martini]

Chuck I love this town. I'm going to have to tell my parents the hotel they just bought is serving minors.

Serena And if you get a drink they are also serving pigs.

Chuck I love it when you talk dirty. 105

Serena You just love when a girl talks to you.

Chuck Actually, I prefer them when they're not talking.

Serena Oh, I've missed your witty banter.

Chuck Let's catch up. Take our clothes off, stare at each other.

Serena What about I just get a bit to eat. I've been drinking on an empty stomach.

Chuck I heard you didn't do that anymore.

Serena Special occasion.

Chuck Well, what about a grilled cheese with truffel oil? You do love truffels?

Serena Enough to know it's not on the menue.

Chuck But then I'm connected.

Serena Only because I'm hungry.

[INT HOME OF THE WALDORFS - BLAIR'S BEDROOM - The room is lit by candles, Nate enters, Blair is waiting for him in lingerie]

Nate Wow.

Blair Hi.

Nate Hi.

Blair Is it too much? I wanted it to be special.

[Blair kisses Nate but he pulls away]

Blair What's wrong?

106

Nate Look, I don't know how to say this... or if it's even the right thing to do but ehm... there's something I need to tell you.

[INT THE PALACE HOTEL - KITCHEN - Chuck puts a bundle of Dollar bills into the jacket of the chef, Alfonso and his staff leave]

Chuck Alfonso, you're stud. Now have good night, we're closing the kitchen early.

Serena Oh my god, this is so good.

Chuck Well, if you're looking for a way to thank me I've got a couple ideas.

Serena It's a sandwich, Chuck.

[Chuck touches Serena's thigh and leans in on her]

Serena This is... this is not happening right now.

Chuck You're worried Nate will find out?

Serena What?

Chuck Last year... the Sheperd wedding... think I don't know why you left town?

[FLASHBACK - ONE YEAR AGO - INT BAR - Serena is dancing on the bar, holding a bottle of champagne, Nate tries to stop her]

Nate Serena, you are not supposed to be here.

Serena Oh well, if the happy couple didn't want to put up a catch for the bar they should let me be where I want to be. Move!

Nate Let me see it!

Serena No, make me!

Nate I can do it, I can open it. Let me show you... here, come here. Let me see...

107

Serena No!

Nate Let me... stop?

[They both pull on the bottle until it opens with a loud bang]

Serena Nate!

Nate That never happens to me.

Serena It's ok. You're stronger than me, alright.

Nate Come here.

Serena Look at you, you're a mess.

Nate So are you.

[Serena and Nate are about to kiss]

[INT BLAIR'S BEDROOM - Nate turns his face away from Blair]

Blair But... that was it... you guys kissed.

[Nate shakes his head]

[FLASHBACK - ONE YEAR AGO - INT BAR - Serena and Nate make out heavily, undressing each other, Chuck watches from the balcony]

[INT THE PALACE HOTEL - KITCHEN]

Chuck Best friend and the boyfriend. That's pretty classy, S. I think you're more like me than you admit.

Serena No, no, that... that was then. I'm trying to change.

Chuck I liked you better before.

[Chuck tries to kiss Serena, she pushes him away] 108

Serena Stop it. Stop! No! Stop it!

[FLASHBACK - ONE YEAR AGO - INT BAR - Serena and Nate are having sex, Serena is gasping loudly]

[INT BLAIR'S BEDROOM - Blair pushes Nate away]

Blair I knew it! I always knew there was something! Get out!

[FLASHBACK - ONE YEAR AGO - INT BAR - Serena is sitting on top of Nate, riding him]

[INT THE PALACE HOTEL - KITCHEN - Chuck violenty tries to kiss Serena]

Serena Chuck, no!

[FLASHBACK - ONE YEAR AGO - INT BAR - Serena and Nate make out heavily]

[INT BLAIR'S BEDROOM - Blair falls onto her bed and starts crying]

[FLASHBACK - ONE YEAR AGO - INT BAR - Nate kisses Serena's breasts]

[INT BLAIR'S BEDROOM - Blair cries]

[INT THE PALACE HOTEL - KITCHEN - Chuck is still trying to kiss Serena]

Serena Get off of me!

[Serena kicks Chuck between the legs and storms off]

[INT THE PALACE HOTEL - BAR - Dan looks around the bar for Serena, she enters the bar and crashes into him, her purse flies to the ground, Dan helps her to pick up her things]

Dan I'm... so sorry, Are you ok?

[Serena takes her purse and runs off, Dan finds her cell phone on the floor and tries to tell Serena but she is already gone]

Gossip Girl (Voice Over) And just when B and S had built a bridge... it all had to come crashing down. But dry your eyes: the 'Kiss On The Lips' party is around the corner. And you know who loves parties? Gossip Girl.

[EXT - NEW YORK - PARK - Nate and his father are having a race, Howie wins]

Howie Nice try, son.

109

Nate Maybe next time.

Howie You seem upbeat this morning. Did you have fun with Blair last night?

Nate Actually, we got into a pretty big fight.

Howie You want my advice? Apologise. Even if it was her fault. Flowers, maybe some jewellery if she's really upset. Always works for your mother.

Nate I don't know. I think it may be for the best.

Howie Wait a minute, you guys broke up?

Nate Yeah, I guess we did.

Howie Blair is a great girl.

Nate I know. But I'm just not sure if she's the girl for me.

Howie But you guys have been dating since kindergarden.

Nate So I keep hearing.

Howie I mean, you love her, don't you?

Nate Yes, I do. I just think it might be good for us to take a break, you know.

Howie Maybe not right now. Eleanor Waldorf is gearing up to take her company public and I've been cording her for month to let me handle the deal.

Nate Then you should get it.

Howie I will get it... if you just help me out a little bit.

110

[Nate looks at his father in disbelief]

Howie What? You love her, she loves you. It's just a rough patch, that's all. You don't give up just because things are hard. Not in business or if your family is depending on you.

[INT - THE PALACE HOTEL - Dan is standing at the reception talking to the Concierge who is holding Serena's cell phone]

Concierge How did you know it was Miss van der Woodsen if you didn't read it and if you are not a guest at the hotel what were you doing there?

Dan What? Uhm, look, when Prince Charming found Cinderella's slipper they didn't accuse him of having a foot-fetish.

Concierge And you are Prince Charming? Well, there is Miss van der Woodsen now...

Dan No, no, no, no...

Concierge Serena!

[Serena turns around and walks over to the reception]

Dan Don't, don't...

Concierge Do you know this young man?

Dan She doesn't know me. Nobody knows me. It's cool, it's fine.

Serena Uhm, from last night, right? I'm sorry about that.

Dan You remember me?

[Dan turns back to the Concierge]

Dan She remembers me.

Concierge Well, he claims he found your cell phone.

111

Serena Oh, you found it.

[Lily walks over, carrying a cloth bag]

Serena Hey, mom.

Lily Guess what I found for you... a dress for 'Kiss On The Lips'. I saw the invitation on the nightstand.

Serena Oh, uhm, I'm not going to that.

Lily What do you mean? Blair's throwing it.

Serena Yeah, uhm... see the problem is I... by the time I got the invitation... I uhm, actually already had plans.

Lily Plans with whom?

Serena My friend.

Dan Eh, yeah, hi, nice to meet you Misses van der Woodsen. I'm Dan... Humphrey.

Lily What are you and Dan Humphrey doing?

Serena We... uhm...

[Dan shows Lily a flyer for his dad's concert]

Dan Eh, we're going to a concert tonight.

Lily Lincon Hawk?

Dan Yeah, 'Rolling Stone' named them one of the 'Top 10 Forgotten Bands Of The '90s'.

Serena Whooh! I'm a huge fan.

112

Dan Uh-hum.

Lily Well, this party would have been the perfect opportunity for you to announce your return but I guess I'll just keep the dress for myself.

[Lily walks off]

Serena Thank you.

Dan Yeah, no, I... it's not a problem, really.

[Dan starts walking off]

Serena So pick me up at eight?

Dan You really go out with some guy you don't know?

Serena Well, you can't be worse than the guys I do know.

[INT JAPANESE RESTAURANT - Blair and Nate are having dinner]

Nate Thanks for meeting me. Look, Blair, I really hurt you and I know that and I want to fix it.

Blair Really? And how are you gonna do that?

Nate I'm gonna put everything in the past. I'm not gonna see Serena again or even talk to her. It'll be like she doesn't exist.

Blair I think that's a good idea. Let's not mention it again. You gonna eat that?

[Blair picks up a piece of sushi from Nate's plate]

Nate That's it? 'Cause you were pretty upset last night... I mean, should we talk about this?

Blair There is nothing to talk about. I overreacted... you say it's in the past, it's in the past. I'm sure you have no feelings for her anymore. I just feel bad for Serena... she'll really miss you. What time does the limo come?

113

Nate Eight.

Blair Perfect.

[INT THE HUMPHREY'S ART GALLERY - Rufus is working, Lily walks in]

Rufus Lily! Are you shopping for some more art to match your furniture?

Lily Why is my dauthter going to one of your concerts?

Rufus 'Cause we're awesome.

Lily With your son?

Rufus Dan's got a date with Serena?

Lily Hmm.

Rufus Well, your kids were about to meet, it's a small island.

Lily You're sure it's not some ploy your using my daughter to get to me? Now that your wife left you?

Rufus How do you know about Alison?

Lily Like you said: Small island.

Rufus Oh, I get it: You hear about Alison, use your daughter as an excuse to start something.

Lily Yeah, in your dream!

Rufus Well, you are in my dreams, Lily... and one of them particular occurs finding you in the back of a Nine Inch Nails bus with your shoes in your earrings and Trent Reznor... oh, that happened!

Lily No need to rehash details of decades pass. So I moved on.

114

Rufus Yeah, from Chanterlane to Paris until you switched up rock stars for billionaires.

Lily You think you're so cute. Washed up band, crappy so-called 'art gallery'.

Rufus Well, not all of us have settlements from mulitple divorcés to sustain us.

Lily Just stay out of my life, Rufus!

[INT HOME OF THE HUMPHREYS - Jenny and Dan are standing in front of a mirror, getting ready to go out]

Jenny You're going out with Serena and I'm going to 'Kiss On The Lips'. Who said this family wasn't cool.

Dan Well, listen, I don't want to be late but you're looking great.

Jenny Same.

[Dan leaves, Rufus comes home, they pass in the hallway]

Dan See you at the concert, right dad.

Rufus I, uhm... ok. [Rufus sees Jenny and walks over to her]

Rufus Oh my god, my daughter is a woman.

Jenny Dad, you could just tell me I look nice instead of turning this into a sermon on the passage of time.

Rufus You look like... your mother.

Jenny Thanks.

[INT BLAIR'S BEDROOM - Blair is looking at herself in a full-length mirror, she's wearing a brown dress, Eleanor enters]

Eleanor Blair. let me see how it looks! Why are you wearing that one? Didn't you see the dress I left on the bed?

115

Blair I like this one.

Eleanor This one is not as elegant a choice as that one.

Blair Why do you care so much?

Eleanor Because I love you. Blair, you will never be more beautiful or thin or happy than you are right now. I just want you to make the most of it.

Blair I guess I have time to change.

Eleanor And put some product in your hair. The ends are dry.

[INT LIMOUSINE - Blair, Nate, Chuck, Isabel and Katy are laughing and drinking champagne]

[INT THE PALACE HOTEL - Dan enters and sees Serena standing on the gallery, they look at each other and smile]

[INT 'KISS ON THE LIPS' PARTY - Chuck, Isabel and Katy are standing at the bar, Chuck spots Jenny in the crowd]

Chuck Who's the newbie?

Katy Jenny Humphrey. She's a freshman.

Chuck I love freshman. They're so...

Isabel ...fresh?

Chuck Anything about her on 'Gossip Girl'?

Isabel No.

Mmh... till you're done with her.

[Chuck walks over to Jenny]

Chuck Hi, I'm Chuck.

116

Jenny I know, uhm, I mean, hi, I'm Jenny.

Chuck It's nice to meet you.

Jenny You too.

Chuck Thank you.

Gossip Girl (Voice Over) Looks like little Jen might end up with a new boy and a ticket to the inner circle. Or will C end up with another victim? I told you I love parties.

[EXT NEW YORK - Serena and Dan are walking down the street towards the back entrance of a club, the band is unloading their equipment]

Serena So I'm a little overdressed, aren't I?

Dan Honestly, I don't really have a problem with your appearance. Hey, come on, I want you to meet one of the guys in the band.

Serena Oh, so you're a groupie?

Dan Well, not quite.

[Dan leads Serena to Rufus]

Dan Serena, I'd like you to meet Rufus Humphrey. Dad, this is Serena.

Rufus Serena van der Woodsen. Oh, I don't know how I know that. Nice to meet you.

Serena Nice to meet you too.

Rufus You guys are a little early. It's gonna be a while before we take the stage.

Dan Yeah, I may have slightly overbudgeted it for travel time.

[One of Rufus' bandmates holds Rufus' guitar into the air]

117

Rufus' Bandmate Hey!

Rufus I should go tune that. Excuse me. Enjoy the show! Son, talk to you later.

[Rufus leaves]

Dan Yeah, see you.

Serena So you took me to meet your dad on our first date?

Dan So this... this is a date? Ah, maybe I should have worn my loafers then... and dress down a little bit.

[INT 'KISS ON THE LIPS' PARTY - Chuck leads Jenny upstairs]

Chuck Let's go and talk some in private.

Jenny Ok.

[They stop in the empty stairway]

Jenny This is definitely quieter but do you actually know where we're going or...

Chuck Here looks pretty good.

[Chuck leans in to kiss Jenny but she pulls away]

Jenny So, you said you wanted to talk. Uhm, what do you want to talk about?

Chuck How into you I am.

[Chuck starts kissing Jenny but after a few moments she pulls away again]

Chuck Ok, I am sorry. If you don't want to do anything that's cool. Let's start over.

Jenny Yeah, uhm... do you wanna start over back at the party?

118

Chuck Eh... have a glass of champagne, please?

Jenny Maybe one.

[While Chuck pours a glass of champagne, Jenny takes out her cell phone and starts texting]

[EXT CLUB - Serena and Dan leave the club, Dan holds the door open for her]

Serena Thanks.

[Dan stares at Serena]

Serena What?

Dan Sorry, nothing, nothing. I just, uhm... my sister was right: You're nice.

Serena You asked my out on a date and you didn't think I was nice?

Dan No, uh... I just thought you were hot. And technically, you asked me out.

Serena Oh, ok, ok, I see. So, uhm, sensible tortured soul boy is actually kind of superficial.

Dan Yeah, just a little bit.

Serena Good to know.

[Dan's cell phone rings, he takes a look at the new text message: Jenny (Mobile), Sep 25, 2007, 9:15:05 PM, HELP. EMERGENCY. NEED YOU, J.]

Dan Sorry.

[Dan gets another text message: Jenny (Mobile), Sep 25, 2007, 9:15:44 PM, 911, 4 REAL PLEASE. U KNOW Chuck?]

Serena Got a better offer?

119

Dan No, it's my sister. She's at that 'Kiss On The Lips' party, you know. She's having some problems with that guy Chuck. I'm sorry, I have to go.

Serena I'll go with you.

Dan No, really, that's ok.

Serena No, no, listen, if it's Chuck it's not ok.

[INT 'KISS ON THE LIPS' PARTY - Dan and Serena enter]

Dan I'm gonna do a lap, ok? Look for her.

Serena Yeah, ok.

[The guests notice Serena and start gossiping]

Party Guests ... Serena... it's Serena... oh my gosh... is she really here?... is that really her?... Blair said she wasn't invited... she is wasted... she is so brave...

[Isabel and Katy both get new text messages]

Isabel and Katy Serena's here?

Blair What is she doing here? She wasn't invited.

[Blair makes her way through the crowd towards Serena but Nate stops her]

Nate Blair, come on, are you really gonna kick her out?

Blair Did you invite her?

Nate What? No! God! I told you.

Blair Do not talk to her.

120

Nate I was going for a walk.

[Nate passes Serena without looking at her, Serena turns around and stares at Blair]

[EXT ROOF TOP - Chuck tries to kiss Jenny against her will]

Jenny No!

Chuck Quiet.

Jenny Stop!

[INT 'KISS ON THE LIPS' PARTY - Serena finds Dan]

Serena Hey, no luck?

Dan No, I haven't seen here anywhere.

Serena Come on, let's try upstairs.

[They go upstairs]

Dan There isn't going to be anybody up here. This is pointless.

[Serena finds a scarf on the floor]

Serena Dan!

Dan What?

Serena That's Chuck's scarf.

Dan Oh god!

[EXT ROOF TOP - Chuck is still trying to kiss Jenny, Dan runs over to them]

Jenny Get off. Stop! 121

Dan Hey, Jenny!

Serena Chuck! Get off of here!

[Chuck lets Jenny go, Dan hugs her]

Dan Are you ok?

[Dan walks over to Chuck who pushes him away]

Dan Son of a...

Chuck What the hell is your problem? It's a party. Things happen. Who are you anyway?

Dan How many times do I have to tell you? I'm in your class. My name is Dan Humphrey... and that is my little sister.

[Dan punches Chuck in the face, Chuck's nose is bleeding]

Serena Let's go. come on. [Serena pushes Chuck]

Serena Chuck, don't you ever touch her again!

Chuck Hey, you're life is over, slut! Don't forget: I know everything!

[INT 'KISS ON THE LIPS' PARTY - Blair watches Serena, Dan and Jenny leaving]

Dan You sure you're ok?

Jenny Yeah, I will be. Just take me home, ok?

[They step outside]

Dan So, think I've got a shot at a second date?

Serena Well, I don't think we can top this one.

122

Dan I did punch someone.

Serena True, we talk about it in the cab.

[They get into the cab, Nate watches them leave, Blair and Chuck stand outside too]

Blair She better not show her face again.

Chuck I'm actually hoping she will.

[INT CAB - Dan hugs Jenny, then looks at Serena who smiles at him, Serena turns and looks out of the side window]

Gossip Girl (Voice Over) Spotted: Serena... making an heroic exit from B's party. Too bad for her there's school on Monday. So, until next time. You know you love me... Gossip Girl.

END OF EPISODE

== GOSSIP GIRL ==

123

ADDENDA C

The O.C. Pilot

Airdate: 5 August 2003 Written by: Josh Schwartz Directed by: Doug Liman

SCENE 1

At night on a dark street two young men (Trey and Ryan) approach a car. There's graffiti on the walls and this doesn't look like a very nice neighbourhood. Trey raises a crow bar to smash the window.

Trey: I'm your big brother. If I don't teach you this who will?

Trey smashes the car window. Ryan jumps back. Trey opens the door and gets in.

Ryan: (looks over his shoulder uncertainly) I don't know, Trey.

Trey: (shouting) Quit being a little bitch. Get in!

Ryan slams the driver's door shut and goes around the back of the car to the passengers side.

Trey: (shouting) Yeah, come on!

Ryan looks back down the street as a police cruiser drives by. He pauses, not getting in.

Trey: Come on. Let's go Ryan!

The police cruiser reverses and turns to drive toward them, siren and lights turning on. Ryan quickly jumps in the car as Trey starts driving. Ryan looks worriedly back at the police car chasing them.

Trey: (amused) You should see your face, man. (laughs) Whoo! Yeah!

Another police car blocks their path but they Trey turns and avoids it. The chase continues. A police car rams the side of the car. The chase continues.

Ryan: (quickly, seeing they're about to collide with something) No, no, no, no, no!

They skid and slam into something. The police cars pull up.

Police: Hands up! Get them up! Hands on the dash where I can see them.

Trey and Ryan (who appear unharmed) put their hands up.

SCENE 2

124

In a jail Ryan is led by a guard through a hallway into a room. Now that we can get a good look at Ryan we see that he's young (16), blonde, well built and looks like a young Russell Crow. Seated at a table is Sandy Cohen, with papers and files spread all over. He has dark hair, bushy eyebrows and is wearing a suit. He looks to be in his late thirties to forties. He always seems to have an air of controlled enthusiasm and sincerity about him.

Looking up Sandy sees Ryan. The guard takes the handcuffs off Ryan.

Sandy: (stands up, sounding friendly but professional) Ryan. I'm Sandy Cohen. The court's appointed me your public defender.

Ryan looks at him, he doesn't seem very impressed. He sits down.

Sandy: (as he takes his seat again) You could do worse. You okay? They treating you alright?

Ryan: (avoiding eye contact) Where's my brother?

Sandy: Ah ... (looking at files) Trey is over 18, Trey stole a car, Trey had a gun in his pants and an ounce of pot in his jacket and a couple of priors. I'm guessing that right now Trey is looking at 3 to 5 years. But Trey's not my concern. This is your first time in lockup. I would assume you don't plan on coming back. Your grades are ... not great, suspended twice for fighting, truancy three times ... (looks up in surprise at Ryan who is still avoiding looking at him) Your test scores ... 98th percentile on your SAT ones. Ryan, 98th percentile, if you start going to class ... are you thinking about going to college?

Ryan snorts, still not looking at Sandy.

Sandy: Have you given any thought at all to your future? Dude, I'm on your side. Come on, help me out here-

Ryan: (interrupting but still not looking at Sandy) Modern medicine is advancing to the point where the average human life span will be one hundred. But I read this article that said social security's supposed to run out by the year two-thousand and twenty-five, which means people are going to have to stay at their jobs until they're ... (calculates quickly) eighty. So I don't want to commit to anything too soon.

Sandy: (laughs lightly) Look, I can plea this down to a misdemeanour. (Ryan looks at him) Petty fine, probation. But know this: stealing a car ‘cause your big brother told you to - its stupid, and its weak. Now those are two thing you can't afford to be anymore.

Ryan: Two more things.

Sandy: Do you want to change that? (Ryan's avoiding eye contact again) Then you have to get over the fact that life dealt you a bad hand. I get it. We're cut from the same deck, Ryan. I grew up no money, bad part of the Bronx, my father was gone, my mother worked all the time. I was pissed off, I was stupid.

Ryan: And look at you now.

Ryan gives Sandy a quick half grin.

125

Sandy: Smart kid like you. You got to have a plan. Some kind of a dream.

Ryan: (looking Sandy in the eyes) Yeah, right. Let me tell you something, okay? Where I'm from having a dream doesn't make you smart. Knowing it won't come true, that does.

SCENE 3

Day, Ryan and Sandy stand outside the jail.

Sandy: My office will contact you to remind you the date for your hearing.

Ryan: I'll remember.

An old car squeals around the corner, drives up on the sidewalk a bit then, comes to a stop in front of them.

A woman gets out. She's dressed pretty messy (shirt hanging off her shoulder, ill fitting sweater half hanging over her) and has frizzy blond hair. This is Mrs. Atwood, Ryan's Mom.

Mrs. Atwood: (angry, yelling) Unbelievable! What kinda family I got, huh? What the HELL did I do to deserve this family? You want to tell me that?

Sandy: Mrs. Atwood? I'm Sandy Cohen. I'm Ryan's attorney.

Mrs. Atwood: You should have left him there. Just like his Dad's doing. Just like his brother's gonna. (Ryan and Sandy look at each other) Let's go Ryan. (yelling) Now, Ryan!

Mrs. Atwood gets back in the car.

Sandy: I'm going to give you my card. My home number, you know, if you need something, if things get to be too much, call me.

Ryan takes the card.

Mrs. Atwood: (yelling) Let's go!

Ryan: All right!

SCENE 4

At the Atwood residence Mrs. Atwood pours herself a drink as Ryan stands across the room watching her. Her boyfriend A.J. sits watching t.v. The house is sort of open concept so they're all in the same room but it's a kitchen and a living room, not a very big place. The furniture looks pretty mismatched and old.

Mrs. Atwood: (still upset) I can't do this anymore, Ryan. I can't.

Ryan: I'm sorry, Mom.

Mrs. Atwood: I want you out of my house. (Ryan looks at her) I want you out! 126

Ryan: (upset) But Mom, where am I going to go?

A.J.: (not even looking away from the TV.) You heard your mother, man. Get your stuff and get out.

Ryan: Hey, this isn't your house, "man."

A.J. (getting up) Oh, you're a tough guy now?

Mrs. Atwood: A.J. don't. Ryan just get out.

Ryan: Why don't you worry about your own kids, A.J.? Instead of free loading off my Mom?

A.J. punches Ryan in the face twice.

Mrs. Atwood: Hey!

A.J. throws Ryan into a table. Mrs. Atwood turns away and lights a cigarette.

SCENE 5

Ryan zips up his backpack and leaves the house. The title "The O.C." comes on the screen but there's no opening credit sequence. Ryan rides away on his bike. It's not the best neighbourhood. The theme song

"California" starts playing. It plays throughout out the next sequence. Ryan uses a pay phone on a busy street.

Ryan: (on phone) Hey, can I crash with you tonight ... (disappointed sounding) all right.

He makes a number of calls but he appears to be getting frustrated. He slams the receiver down then hits the side of the phone several times. He pauses then searches his pockets and pulls out a rumpled business card and makes another call.

SCENE 6

Ryan sits on a low stone wall. We can see lots of graffiti on nearby buildings. An expensive black car pulls up in front of him. It's Sandy.

Sandy: Told you. You could do worse.

With Ryan's bike in the trunk of the car they drive off. First they go through a very dull and lower class looking area. Later they drive along the coast. Ryan looks out the window and sees teens playing on the beach, walking with surfboards as the sun sets.

Ryan: This is a nice car. I didn't know your kind of lawyer made money.

Sandy: No, we don't. My wife does.

SCENE 7

127

They drive through a guard station (or whatever you call the security checkpoint at the front of a gated community. They pull up the driveway to an enormous and very beautiful house. By this time it's dark out. The song ends.

They go to get out but Sandy pauses.

Sandy: Um, you know, why don't you wait here for a minute? I'll be back.

Sandy pulls the keys out automatically then sort of looks like he's trying to decide whether or not to take them.

Ryan: (sort of rolls his eyes) It's no fun if the key's in the car.

Sandy puts the key back in the ignition and gets out. Ryan waits in the car.

SCENE 8

In the kitchen of the Cohen's home Sandy and his wife talk. Kirsten Cohen is an attractive, young looking woman. She doesn't look especially "mom like" but she's likeable. She looks a little like Gwyneth Paltrow and appears to be a pretty even-tempered and sensible woman.

Kirsten: You brought him home? This is not a stray puppy, Sandy.

Sandy: I know that, Kirsten.

Kirsten: It was only a matter of time before you started bringing home felons.

Sandy: Ryan's in a felon.

Kirsten: Did you not meet him in jail?

Sandy: Yes ... technically. But it wasn't for a felony, I mean it was, but it won't be when I'm done.

Kirsten: You're endangering our home. Did you even think of Seth?

Sandy: It's only for the weekend, just till child services opens on Monday.

Kirsten: What if this is all a scam? What if he's just using you to case the house?

Sandy: He's not a criminal mastermind. He's a kid who has no one and nowhere to go. When- when did you become so cynical?

Kirsten: When did you become so self-righteous?

Sandy: Always been self-righteous. You used to find it charming.

Kirsten: He sleeps in the pool house.

Kirsten walks away.

128

Sandy: Where're you going?

Kirsten: To put my jewellery in the vault. (pause) Where do you think I'm going? Boy's going to need fresh sheets, towels and a toothbrush.

SCENE 9

Its now totally dark out and Ryan makes his way down to the end of the Cohen's driveway. He takes out a cigarette. He looks over and sees a young woman at the end of the driveway of the house next door, about fifteen to twenty feet away. She's sixteen, thin and beautiful. This is Marissa. At the click of his lighter she notices him.

Marissa: Who are you?

Ryan: Whoever you want me to be.

Marissa: (with an amused smirk) Okay.

Ryan lights his cigarette. Marissa looks back at the house behind her.

Marissa: Hey, can I bum a cigarette?

Ryan walks over to her gives her a cigarette then offers his lit one to her rather than his lighter. She leans close and puffs her cigarette against his. She smiles at him and he backs away to where he was standing before.

Marissa: So, what are you doing here, seriously?

Ryan: Seriously? (takes a drag from his cigarette and starts walking back to her) I stole a car. Crashed it. Actually my brother did. Since he had a gun and drugs on him he's in jail. I got out and my Mom threw me out. She was pissed off and drunk. So Mr. Cohen took me in.

Marissa: You're their cousin from Boston, right?

Ryan: Right.

Sandy walks up behind Ryan. Marissa drops her cigarette.

Sandy: Hi, Marissa.

Marissa: Hey, Mr. Cohen. I was just meeting your nephew.

Sandy: (looks confused for a moment) Oh. My favourite nephew, Ryan (claps Ryan on the back) All the way from Seattle.

Marissa: Seattle?

Ryan: Dad lives there. Mom lives in Boston.

Marissa: Hmm. 129

Sandy: So we're all really excited about your fashion show fund-raiser tomorrow night.

Marissa: Really? You are.

Sandy: (running a hand through his hair, taking a deep breath) No.

Marissa laughs obviously not surprised or upset by his honesty.

A big pick-up truck pulls up. The driver (a young man) calls out the window.

Driver: Come on, let's go.

Marissa: (to Ryan) Hey, you should come by, check it out. If you don't have other plans. See you.

Sandy: Good night.

Marissa climbs up into the truck and kisses the driver.

Driver: (to Marissa) Who's that kid?

They drive off.

Sandy: Let's go inside. (they start walking up the drive) Uh, there's no smoking in this house.

Ryan drops his cigarette and continues up the driveway. Sandy quickly runs back and stamps it out.

SCENE 10

Ryan and Sandy go into the pool house where Kirsten and Rosie the maid are. The pool house is looks more like a living room than a storage area. It's furnished and has light wood floors and the walls are all floor length windows. It's big and very nice.

Sandy: So this is where you're going to be staying. And this is the Queen of the manor herself, my wife

Kirsten.

Kirsten: (sounding polite but formal, like forced friendliness) Hello, Ryan, welcome to our home. If you need anything Rosie here can help you.

Ryan: Thank you, thanks very much.

Sandy: We'll see you in the morning. Make yourself comfortable.

They leave Ryan alone in the pool house.

SCENE 11

In the morning Ryan comes out of the pool house, blinking in the bright sunlight. He gets a better look around. There's a big pool, and a gorgeous view of green hillside, with the city beyond and the 130

ocean the other way. Ryan enters the main house and finds a teenage boy sitting cross legged on the floor in front of the TV playing a video game. This is Seth, the Cohen's son. He looks about Ryan's age but he doesn't share his strong build. He's got black curly hair, an alert expression and his mannerisms that are kind of jerky. He's a little bit of geeky by in an endearing rather than repulsive way and tends to talk rather quickly.

Seth: Hey.

Ryan: Hey.

Seth: Do you want to play?

Ryan shrugs.

SCENE 12

Some time later both guys are sitting on the floor. They look like they've made themselves comfortable and are eating breakfast at the same time as playing video games.

Seth: (quickly, excited) Oh, looks like someone's trying to be a hero but you got a little cocky. X O, X O it's an unbeatable combination. Oh, oh, ... (nearly shouting, excited) OH! What happened to your head, dude? Where did it go? I'm sorry did someone die? Oh, hey, do you want to play Grand Theft Auto? It's pretty cool, you can like, steal cars ... (realizes what he's said) Not that that's cool. Or uncool, I don't know, um-

Sandy comes in carrying groceries.

Sandy: I see you two have met. Seth, what are you doing inside on this beautiful day? Why don't you show Ryan around?

Seth: (sarcastically) Okay, cause it's so great around here. There's so much to do, Dad.

(Seth frequently uses sarcasm like this but he keeps him tone even when he says these things, kind of deadpan.)

Seth: (to Ryan) I don't know, unless, what do you want to do?

Ryan: What do you guys do around here?

SCENE 13

Seth and Ryan are on a catamaran on the water. It has a rainbow coloured sail and the name "Summer Breeze" is on the side. Seth pulls ropes to adjust the sails with familiarity. Ryan looks somewhat confused. Sometime later they have the boat stopped, floating in the water, and are sitting, talking.

Seth: I have, um, this plan. Well, I don't-I don't know you'd think but um, next July the trade winds shift west, I want to sail to Tahiti. I can do it in forty-four days, maybe even forty-two.

Ryan: Wow. That ... that sounds really cool, man.

131

Seth: Yeah. Just hit the high seas and catch fish right off the side of the boat. Grill them right there. (pause) Just total quiet. Solitude.

Ryan: You won't get lonely?

Seth: Well, I'll have Summer with me.

Ryan: (motioning to the boat they are on) You're going to take this to Tahiti?

Seth: (chuckles) Um, no. It's the girl the boat's named after.

Ryan: She must be pretty stoked.

Seth: Yeah, she has no idea. I've never talked to her before.

Ryan shakes his head a bit.

SCENE 14

On the beach the boat is now pulled up on the sand and Seth rolls up the sails. Sandy walks down the beach to them.

Sandy: Hey, fellas. I thought we'd head over to the fashion show at about 7.

Seth: Yeah, have fun.

Sandy: Come on. It's a whole new school year, Seth.

Seth: It's also the same kids, Dad. Why do they even need a fashion show? Everyday's a fashion show for these people.

Sandy: Yeah, well Ryan has to go. Marissa invited him.

Seth: (to Ryan) Marissa invited you? I've lived next door to Marissa for like, forever, her Dad almost got married to my Mom even, and, like, she's never even invited me to a birthday party.

Sandy: That is not true. They did not almost get married.

Seth: (dismissively) Eh.

Ryan: Hey, maybe Summer would be there.

Seth: That's interesting. She IS Marissa's best friend. (pause) Seven?

Sandy: Seven.

Seth: Seven. (starts walking away)

SCENE 15

132

Marissa stands out on her balcony. She sees Sandy, Seth and Ryan walking up the beach. She hears the doorbell and goes to the door. When she opens it there's a couple guys in suits there.

Man: Hello, again.

Marissa: My Dad's not here.

Man: And when can we expect him?

Marissa: I don't know.

Man: (unconvinced) Mmm Hmm. Well, then, when you see your father PLEASE remind him again how much we'd like to talk. Let me leave you another one of my cards. (hands her a business card, unenthusiastically) Have a good day.

Marissa closes the door. She looks at the card and it says "Steve Pearlman" and its from the "U.S. Securities and Exchange Commission." She goes to her Dad's study, near the front door. Inside is her father, Jimmy Cooper. He's a pretty average looking guy but he has a nervous air about him.

Jimmy: Hey. Thanks, Kiddo. I just didn't have time to deal with those guys right now.

Marissa: Who are they?

Jimmy: Suits. Bureaucrats. "The Man."

Marissa: But, I mean, everything's okay, right?

Jimmy: Yeah, it's just-it's just a thing with uh, a client. Nothing for you to worry about, okay?

Marissa leaves.

SCENE 16

In the pool house Ryan stands in front of a mirror and tries unsuccessfully to tie his tie. Finally he gives up and pulls on his suit jacket. There's a knock at the door then Sandy comes in.

Sandy: Wow. Look at that. It fits you beautifully. Where's your tie?

Ryan: I'm not going to wear one. Open collar - it's a good look.

Sandy: I didn't know how to tie a tie till I was 25. Come on, give me your tie. (Ryan gives the tie to Sandy) Button your top button. All right collar up. (Sandy ties Ryan's tie) Now, the skinny side has got to be shorter than the fat side. How much shorter changes tie to tie. Sometimes it's just a mystery. All right. So, you got to hang out with Seth. How was that? Was that...? Was that uh, all right? He's an interesting kid if you get to know him.

Ryan: He's cool.

Sandy: (pause) Cool. (pause) Alright, there you go. (finished with tie) Turn around, look at you. (Ryan turns and looks in the mirror, Sandy stands behind him) Huh? Beats a jumpsuit. 133

Ryan gives a little half smirk. Sandy leaves, Ryan keeps looking at himself in the mirror.

SCENE 17

At the Cooper home Julie and Kaitlin primp in front of a big mirror. Julie Cooper (Jimmy's wife) is rather flashy, with lots of make up and looks like she just might have had plastic surgery at some point. She's pretty much what you'd expect a stereotypical, rich wife to look like. Kaitlin looks about 8-10 years old and is all dressed up, hair done.

Kaitlin: Oh, Mom, do you like my nails?

Julie: Oh, I love them Kaitlin. Do you like my hair this straight or is it look Avril Lavigne?

Marissa comes up behind them.

Marissa: No, it looks good Mom.

Julie: Oh Marissa you look ... honey, I thought you were going to wear your hair down. Pulled back like that it's a little harsh on your angles.

Marissa looks disappointed by Julie's reaction. Jimmy comes into the room.

Jimmy: Okay, lets go.

Julie: It's going to be so amazing tonight. Are you going to wear the Donna Karen, Mariss? I thought it was very forgiving.

Jimmy: (to Marissa) You look beautiful, kiddo.

SCENE 18

At the fashion show well-dressed people mingle outside. Ryan, Seth, Sandy and Kirsten arrive. A waiter offers hors d'oeuvres to Ryan.

Waiter: Mushroom leek crescent? Crab and Brie phyllo?

Ryan just looks but doesn't touch the food on the tray. Seth leans in close.

Seth: Welcome to the dark side.

As Ryan walks a woman stops him.

WoMan: Oh, so, you must be the cousin from Boston, hmm? I don't know how you do it. I could just never live there. I HATE the cold.

Ryan just grins.

Later another woman talks to him and kind of pets his arm as she talks.

Woman: Do you ... like Seattle? I mean all that rain, isn't it depressing? 134

Later yet another woman talks to Ryan.

Woman: Did I hear you were from Canada?

Ryan: Yes, you did.

Woman: Mmm.

SCENE 19

Still outside at the fashion show party the sun has now gone down. Ryan make his way to the bar.

Ryan: (to the bar tender) Hi. Can I uh, can I get a seven and seven?

Ryan looks sort of surprised as the bar tender goes to get his drink. When he gets the drink Ryan takes a sip and just as he lowers the glass Kirsten has come over. She gives the drink a look. Ryan hands it over.

Kirsten: Thank you. (pause) I want my husband to be right about you.

SCENE 20

Still at the fashion show party a young couple walks past a young guy standing near the bar. The guy standing there is the same one that picked Marissa up earlier in the truck. His name is Luke and he's a jock type.

Young Guy: Hey, what's up?

Luke: Lock it up, Norland.

Young Guy: Lock it up, Luke.

After they pass Seth, standing nearby, waves to Luke.

Seth: Hey, Luke. What's up?

Luke: (pauses, then very friendly sounding) Hey! Yeah. (walks right up to Seth, suddenly very unfriendly) Suck it, queer!

Luke walks away but bumps into Ryan who holds his ground and stares at Luke. Luke walks away.

Seth: (in conversational tone) My vacation was great, too. Thank you for asking about it.

Seth notices some girls, including Marissa, standing some distance away. Ryan has his back to them.

Seth: Summer's right over there. (quickly) Look. I'm sorry, don't look. Don't look. But I mean you can look, but don't look like you're looking.

Sandy walks up to Seth and Ryan. Ryan looks over at the girls.

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Seth: Hey, Dad.

Sandy: Hey, guys.

Over across the way the girls look back. Summer is a young, attractive woman in her mid to late teens.

Summer: Who is that?

Marissa: The cousin, the pool boy? (laughs) I don't know.

Summer: Well, I'm going to find out.

Back on the boy's side Sandy points rather obviously.

Sandy: Is that Summer?

Seth: (looking/sounding embarrassed or nervous) You know, I'm, going to go, uh, sit.

Seth leaves.

Ryan: Way to salt his game, Mr. Cohen.

Ryan follows after Seth.

SCENE 21

Seth walks up to a table.

Seth: Hello, Chester. Are these seats taken?

We see it's the kids' table. All the kids look at least a good five or more years younger than Seth and Ryan. The kids don't answer Seth.

Seth: (taking a seat) Okay.

Ryan looks around then takes a seat. He looks at one of the kids at the table and the kid looks back at him.

Seth: So, Chester, are you looking forward to your next sailing lesson? You're making some really good strides. (the kid nods his head) Okay, I'm glad we had this little chance to catch up.

The kid still says nothing and Seth kind of gives him a weird look.

On stage Marissa comes out. People clap.

Marissa: (into microphone) Thank you, thank you. Thank you all so much for coming. Every year we put on a fashion show to raise money for the battered woman's shelter. It's such a good cause, you guys and we couldn't do any of it without your support and the support of Fashion Island and all their great stores. All right, enjoy the show! 136

Everyone applauds as the first model comes out. It's Summer.

Seth: She has Tahiti written all over her.

SCENE 22

The dressing room is big and full of people. Everyone's running around or getting dressed.

Random person: Has anyone seen my Betsey Johnson dress?

A woman in charge looks at one girl.

Woman: Oh, no. Much too much makeup.

An angry Mother comes up to her.

Girl: What are you doing putting my daughter in Calvin Klein? She was supposed to wear Vera Wang.

Woman: And she would if she had the chest to hold it up. It's called puberty, honey. It'll happen. (to models) Okay girls. Chop, chop!

SCENE 23

In a bathroom Marissa puts on lip gloss in front of a mirror. A coordinator girl pokes her head in.

Girl: Marissa, you're next.

When the coordinator girl leaves Marissa wipes under her eyes tiredly.

Summer comes in with two glasses in her hands (champagne or wine). She's either a bit drunk or really excited. Marissa smiles and suddenly seems just as excited.

Summer: (holding the two glasses) Look what I stole.

Marissa: (reaching in bag) Look what I stole.

Marissa pulls out a big bottle of vodka.

Summer: All right! Here. (gives her the glass)

Marissa: Thanks.

They clink glasses and drink.

SCENE 24

Marissa walks down the runway. Luke claps for her but she looks only at Ryan who looks back at her. Luke notices that and turns to someone sitting beside and says something to them looking angry.

SCENE 25 137

At a table the Cohens, the Coopers and some other people sit watching the show.

Kirsten: She's so beautiful, you guys.

Sandy: (to Jimmy) Coop, I think you spent more on that dress than I make in a year.

Man: That's why we trust him with our money. I expect to die a very rich man, Jimmy.

Sandy: Well, you're bound to be half right.

Jimmy looks upset or like he's going to throw up. Kirsten notices.

Kirsten: You okay, Jimmy?

Jimmy: Oh, yeah, it's just, uh, it's a little bit stuffy in here. (to Julie) Honey, I'm uh, going to get some fresh air, okay?

She ignores him. Jimmy leaves the table.

Julie: Marissa wanted to wear these Prada Mary Jane's but I told her she had to wear the stiletto Manolos.

Kirsten looks concerned, meets Sandy's eye.

SCENE 26

Ryan is in the bathroom washing up when Jimmy enters. He gives Ryan a distracted nod before ducking into a stall. Jimmy's freaking out, hands to his head, rips the toilet paper fixture off, making groaning noises. Finally he sits down on the toilet lid and starts sobbing. Ryan hears this as he fixes his tie in the mirror.

SCENE 27

As people leave the show Ryan walks down some steps and Summer comes over, grabs his arm.

Summer: Hey. Where you going? My friend Holly, no, well her parents, are letting us use their beach house, as a gift. You know, cause of all our hard work we did for charity.

Ryan half grins at her.

Summer: (flirty) If you need a ride... or... anything, I'm Summer.

Summer goes and joins her pack of excited, teenage girls and they head for a jeep. Ryan watches then heads over to Seth who is talking with an older gentleman.

Seth: Hey, ready to go?

Ryan: We should, uh, go to that party, at that girl Holly's place.

Seth: Uh, yeah, no, it's all right. 138

Ryan: Summer invited me.

Seth: Really? She did? (suddenly his face falls a bit)

Ryan: (quickly) Us, uh, she asked for you actually.

Seth: (not convinced) Really? She did?

They look over and the girls, standing out the top of the packed, topless jeep whoop.

Summer: (shouting) Come on!

Seth: That makes absolutely no sense but yes, we should go. (Turning to the gentleman he was talking to earlier) Um, we're going to go with them. Thanks, Gus.

Ryan and Seth get into the jeep with the girls. Ryan sees Marissa getting into Luke's truck.

Seth: If it sucks we can always bail.

SCENE 28

The jeep pulls up to the beach house and it's a party inside and out. Ryan and Seth walk inside. Rap music plays. There's a table full of bongs and someone snorts drugs off the table. A guy dancing puts his hand under a girl's shirt. A girl dancing takes off her dress. Ryan and Seth look around.

Ryan: Welcome to the dark side.

Ryan starts walking through and Seth follows looking nervous. Seth walks by the drug table.

Seth: (quietly) Oh, hey cocaine. That's awesome.

SCENE 29

At the drink table a bunch of girls stand fixing drinks and talking. Marissa pours vodka onto her glass.

Summer: (huffs) Is that a new purse?

Marissa: Yeah.

Girl: So cute.

Summer: Does your Dad ever say no? (nodding toward Ryan) Look who I brought.

Girl: He's cute.

Marissa pours more vodka into her glass.

Summer: I'm going to play him hot AND cold. You want to pee? I got to pee.

139

Summer and another girl go. Marissa walks away from the table. Luke watches her go then turns to a pig-tailed girl beside him.

Girl: Isn't it like, SO beautiful? The sand and the water...

Luke: Yeah. Hey, you wanna go check it out?

Girl: But, what about Marissa?

Luke: Hmm? Oh, no worries.

They walk out the door to the beach. Luke looks back over his shoulder a couple times then puts his hand on the girl's back and pulls her close. Ryan's at the keg pouring a drink. He sees them leave together.

SCENE 30

Outside the Cohen's home Kirsten throws out some trash. She sees Jimmy walking his dog and goes over to him.

Kirsten: Hey, Jimmy.

Jimmy: Hey.

Kirsten: (to the dog) Hey, Dusty.

Jimmy: Dusty, look who's here.

Kirsten: Are you really okay?

Jimmy: Oh, yeah, yeah. Yeah. (runs a nervous hand through his hair)

Kirsten: Cause you know you can always...

Jimmy: No, you know, I've just been working really hard. So who was that, that kid that you brought tonight. You have a cousin from Boston?

Kirsten: Uh... one of Sandy's clients. He... brought him home for the weekend.

Jimmy: Uh-huh.

Julie: (shouting from their doorway) Jimmy? Honey, did you get my fro yo?

Jimmy: (sighs then shouts back) No, I forgot.

Julie shrugs at him in a "well" kind of way.

Jimmy: (shouting) Uh, I'll, I'll go back.

Julie: Pistachio. Thanks, sweety. Hi, Kirsten. 140

Kirsten waves, Julie goes back inside and Kirsten and Jimmy laugh lightly.

Jimmy: Fro yo. You ever think this would be our lives?

Kirsten: Is Marissa back yet?

Jimmy: Oh, well, she usually stays out pretty late.

Kirsten: Well Seth never goes out.

Jimmy: Don't worry. I'm sure they're not doing anything we didn't do.

They laugh lightly.

Kirsten: (maybe sarcastic) Well, that's comforting.

SCENE 31

Back at the beach house party Seth opens a door and there's a threesome bubble bath going on in the room. He quickly turns away.

Seth: Wow. I'm sorry. I should really learn to knock in case there's a threesome going on in the bathroom.

He closes the door.

SCENE 32

At the drug table the guys look pretty out of it. A girl dressed in a bathing suit dances nearby.

Guy: (pointing) That's the keg! Everybody get naked!

Seth's standing closest to the guy and he sort of looks around.

SCENE 33

Marissa walks up to Ryan (who, incidentally, other than Seth, is the only one still wearing a suit).

Ryan: Hey.

Marissa: (takes the drink from his hand and drinks it) So, what do you think of Newport?

Ryan: I think I can get in less trouble where I'm from.

They look at each other.

Girls: (shouts from the card table) Hey, Coop! It's your turn to deal.

Marissa: (to Ryan) You have no idea.

141

She smiles and walks away.

SCENE 34

Over at the keg the guy who shouted about getting naked is now passed out.

Seth: I fixed the keg. (offers the guy a drink which, of course, he doesn't take) All right, more for me then.

Nearby a pack of nearly identical looking blonds all talk on their cell phones. Ryan stands nearby. Summer comes through the door, obviously drunk.

Summer: Look (pause) who I found. (goes over to Ryan and spills her drink on him) Ooops! I'm wasted.

Ryan brushes off the suit and she "helps" basically rubbing her hands on his chest. She wraps her arms around his neck.

Summer: So what's your name anyway?

Ryan: Ryan.

Ryan tries to push her off of him. Seth comes outside.

Seth: You got to come...

Seth stops talking when he sees them.

Seth: (upset) What are you doing?

Ryan: Hey, um... (moves away from Summer)

Summer: (sounding offended/insulted) Excuse me!

Seth: (upset) What are you doing? I named my boat after her.

Summer: (laughs) What? Eww, who ARE you?

Ryan: (quietly) It's not what you think. She's just a little but drunk.

Summer comes up behind Ryan and wraps her arms around his neck.

Summer: Come on, Ryan.

Ryan pulls her off. Seth walks off back into the house. Ryan chases after him.

Ryan: Seth, Seth, Seth.

Seth grabs Ryan and shoves him against something.

142

Ryan: (very upset) You know what? Why don't you just go back to Chino? I'm sure there's a really nice car in the parking lot you could steal.

Marissa and everyone else sees/hears this. Seth takes off down the beach.

Summer: (laughs) Chino? Eww...

Ryan walks away but nearly bumps into Marissa who just looks away. Ryan walks a little further into the house and notices people looking at him and talking about him.

SCENE 35

Seth walks down the beach to the fire and tosses something in. He nods at the guys there. Several of the guys around it start shoving him around.

Guy: Go home, geek.

Other Guy: (shoving Seth) Who invited you?

Ryan, still near the house, sees Seth getting shoved.

Seth: You guys really wouldn't hurt me, because, you know, that'd be so cliched. (they lift him up) Oh, I guess you're fans of the cliché.

Guy: Shut up.

Ryan: (running over) Hey, hey! Put him down! Put him down.

Seth: (upside down, still held by the guys) Hey, Ryan. (gasps) What's up?

Ryan: Put him down.

Luke: Hey, what's up, dude? You got a problem?

Luke's pulling on his shirt and the girl he left the party with earlier is there too and her hair/clothing looks a little "rumpled".

Ryan: You tell me.

The guys drop Seth to the sand. Ryan punches Luke in the face. Luke tackles Ryan and starts hitting him. A couple guys pile on. Seth pulls one off then pauses like he doesn't know what to do and gets punched in the face. Luke gets up and kicks Ryan who's laying on the sand.

Luke: (to Ryan, walking away) Welcome to the O.C., bitch! This is how it's done in Orange County.

Ryan lies on the sand as the guys walk away.

SCENE 36

143

Seth and Ryan enter the pool house looking beat up and tired. Ryan has an obvious bruise on his face. Seth plunks down on some cushions. Ryan slowly sits on the end of the bed and pulls off his tie, then suit jacket and shirt.

Seth: (a little drunk/goofy sounding) Well, I ... I don't know what to say ... except that you totally had my back out there. We're, like, in a fight club or something. I don't know. You know what I think? Ryan, I think that if you were to teach me some moves. I think that we could totally take ‘em next time. That's what I think. A little bit of that. (kicks foot while sitting down) You know what I mean? A little bit of that, that. (kicks feet from seated position) What do you think about that? Yeah. (they slap/shake hands) Oh, also, that wasn't exactly way that I first planned to talk to Summer. But, I am now on her radar. Do you think I should tell her about Tahiti? Do you?

Ryan: (smiles and rolls his head) Not yet.

Seth: That's what I thought. See that's what I was thinking. I wanted to make sure we were, like, on the same page. Quite a little night we had there. (curls up in the cushions, sleepy) I'm not going to forget it. Ryan, I'm not going to forget that one.

Ryan looks over to say something but sees Seth has fallen asleep on the pile of cushions, still wearing his suit.

SCENE 37

Ryan walks outside. He sees a jeep pull up at Marissa's house then Summer and another girl carry a passed out Marissa up the driveway. They are giggling and obviously drunk.

Summer: I can't believe her.

Girl: I swear to God she is so retarded sometimes.

Summer: Shouldn't her boyfriend be doing this? (giggles) He's so worthless.

They sort of trip/drop her. They giggle and shush each other.

Summer: (whispering) Coop, where are your keys? (no answer from Marissa, still passed out) How are we going to find her keys? (roots through Marissa's purse) I can't find her keys.

Girl: We can't wake her parents. Her dad'll go ballistic.

Summer: I know, I know. (gets up) Bye, Coop.

Girl: Call us.

Summer and the girl leave Marissa lying on her driveway. Ryan watches them leave. He goes down to where Marissa is and, after shooting a couple worried glances at the house, tries to wake her.

Ryan: (taping Marissa's arm lightly, whispering) Hey. (no response from Marissa, then to himself) Get your keys.

144

Ryan looks in her purse for the keys, still glancing at the house worriedly. Ryan carries Marissa (still passed out) to the pool house, puts her on the bed and covers her with a blanket.

SCENE 38

The next morning Ryan (he slept on some flat, mattress thing on the floor) wakes and sees the bed where he left Marissa is empty. Seth is still asleep on the cushions. Kirsten enters the pool house.

Kirsten: (sounding angry and relieved) Thank God. (sighs)

Seth stirs and half waves at her.

Kirsten: What happened to your face?

Seth: Mmm. I got into a fight.

Kirsten: With who? Why?

Seth: I don't really know. I don't really remember. Um... I was really drunk. Yeah, I think I still am a little bit. (slouches to lay back down)

Kirten: (pissed) Let's go, house, now.

Kirsten grabs Seth by the hand and yanks him up and pulls him out of the pool house.

At the doorway Seth turns and tries to wave as he stumbles through.

Seth: Later.

Kirsten glares at Ryan before shutting the door.

SCENE 39

Sandy (in beach attire) unloads his surfboard from the car. Kirsten walks over from the doorway.

Sandy: Oh, Honey, you should have seen the waves coming in. Six foot and it was going off-

Kirsten: (angry) Seth got into a fight.

Sandy: He did?

Kirsten: This is what happens when you let someone like this into our house. When you let our son hang out with criminals.

Sandy: Well, at least he has someone to hang out with. Don't salt his game, honey.

Kirsten: What the hell does that mean?

145

Sandy: I ... it ... I don't know. I just know that I'd rather have Seth hanging out with Ryan than some trust fund kid from around here who only cares about getting a new Beemer every year. There's a whole world outside this Newport beach bubble.

Kirsten: You don't seem to mind living in this bubble.

Sandy: I-I know there's something else out there. You remember when we were twenty-two? What did you say? You said you'd never... you'd never be like you parents, never have their life.

Kirsten: I was twenty-two. I stank of patchouli and I lived in the back of a mail truck.

Sandy: And you were fun. And rebellious... and... and... (smiles) you married me.

Kirsten: I can't. I'm sorry. I don't want this kid in my house anymore.

Kirsten starts walking back to the door.

Sandy: Where's he supposed to go?

Kirsten: (stops and turns) He has a family, Sandy. It's not up to you to decide whether or not they're good enough.

Kirsten goes back into the house.

SCENE 40

Kirsten goes into the kitchen and stands stiffly, arms crossed. She remains like that throughout the scene. Ryan is there looking out the window.

Kirsten: Look, Ryan, I don't mean to play bad cop. It's nothing personal.

Ryan walks over to the stove and pushes something with a spatula.

Kirsten: Is that bacon?

Ryan: I usually make breakfast at my house. My mom's not much of a cook so, ...

Kirsten: I'm sorry. You seem like a really nice kid.

Ryan: It's okay. (brings bacon to the set table) I get it. (walks over to where Kirsten's standing) You have a really nice family.

Ryan leaves the kitchen, his backpack with him.

SCENE 41

In his bedroom Seth sleeps. Ryan walks in and knocks on the door jam (the door was open).

Ryan: Hey, man.

146

Seth: (rolls over) Hey.

Ryan: Hi. So, ... I gotta jet.

Seth: Are you leaving? So ... (goes to get up but almost sits back down on the bed wincing like he's got a hangover) um. So, what's up? (walks over to Ryan)

Ryan: I got to go back. Try to figure some stuff out back home.

Seth: Okay. Well ... cool. Or ... not cool, but, uh, you know, what I think I mean.

Ryan offers his hand to shake.

Seth: Come here.

Seth pulls Ryan into a hug. Ryan slowly hugs back a bit. They part.

Seth: I'll come down to Chino. You know, I'll visit you. You can show me your world. Or your (finger quotes) hood, or ...

Ryan: All right.

Ryan turns to leave. Seth stops him.

Seth: Wait a second. Just wait a second. (walks over to the desk and grabs something then gives it to Ryan) Maybe there's someplace you want to go. (Ryan looks at the folded up map and flips it over, it's folded to show Tahiti) It's pretty good for ideas.

Ryan smiles and chuckles softly. He lightly slaps Seth in the face with the folded up map.

Seth: (amused) Ah!

Ryan leaves.

Seth: (smiles and waves) Okay.

SCENE 42

Ryan and Sandy are in the car (Ryan's bike is loaded in the trunk). As they pull out of the driveway Marissa is standing at the end of her drive and she watches them. Ryan looks pretty unhappy. He looks back over his shoulder, watching her as they drive away until Luke's truck pulls up and blocks his view. As they drive back to Chino Ryan looks sad (or thoughtful or depressed - it's all kinda hard to tell). Sandy looks pretty bummed too. They pull up to Ryan's house (there's an old mattress in the front yard, ratty easy chair on the porch).

Ryan: So, thanks. For everything.

Sandy: I'm going to make sure everything works out,

Ryan. 147

They get Ryan's bike out of the trunk. Ryan heads for the house.

Ryan: It's okay. I can take it from here.

Sandy stands by his car watching. Ryan unlocks the front door and goes to walk in but stops short, looking around. The house is empty except for some random, abandoned junk. All the furniture is gone. Ryan quickly looks in a couple rooms but finds nothing. He returns to the kitchen area and finds a note on the counter. Leaning his head against the cupboard he picks it up and crunches it in his hand. Sandy comes in the open front door and looks around. Ryan turns and looks back at him.

Sandy: Come on, let's go.

Ryan, looking kind of shocked and blank, walks over to the door. Sandy puts his arm around his shoulders and pulls the door shut as they leave.

148

ADDENDA D

One Tree Hill

1.01 - Pilot Written by Mark Schwahn l Directed by Bryan Gordon Original Airdate: 23 Sept. 2003

[In the gym]

DAN: Nathan. Remember, 20 shots -- no less.

NATHAN: Got it, dad.

DAN: Quit yakking and warm up.

[ At the Game: Cheers and applause ]

Announcer: Basket by Nathan Scott! He really looks sharp out there tonight. And now a steal by the ravens. They'll go on the offensive. Coach Whitey Durham urges them on. Tim Smith -- he's got Scott! And he hammers it home! ! He's already got 14 of the Ravens' 17 points tonight. Turn around jumper

Announcer: Nathan Scott! We haven't seen talent like this since his father, Dan, played for whitey. Here's Scott again -- another one! It's all Nathan Scott!

MOUTH: And here he is, ladies and gentlemen, Lucas Scott. What's happening, baby? 137 and 3 going into tonight's contest.

JUNK: He sucks.

MOUTH: And as a special bonus, we're joined in the booth by Junk Moreti.

JUNK: You don't have a booth.

JIMMY: Actually, he's 138 and 3 -- Lucas.

JUNK: Jeez, Edwards, but you can't remember to run a bar of soap under your pits? You smell bad, man. You're ripe.

COACH: You guys are stinking up the place! Time-out! Time-out! Get in here! Ravens! Come on, hustle, hustle, hustle! Just what in the hell is going on out there?

NATHAN: Whitey, relax. We're up by 9.

COACH: Tim...Go in for Nathan. All right, let's get out there and act like we've played the game before.

Player: Ravens on 3. 1, 2, 3. Ravens! Ravens! Ravens! Ravens! Go!

149

COACH: What have I told you about that? I don't care if we're up by 5 or 50. I'm still the coach. It's still my team.

NATHAN: Whatever you need to believe.

[back at the park]

MOUTH: Lucas Scott with the ball. And he currently nurses a big winning streak. Come on. 14-13, game point for team Scott. Oh!

[The scene switches back and forth between the park and the Gym]

ANNOUNCER: And the hawks pull within one. And you have to wonder where is Nathan Scott?

COACH: Go on.

PEYTON: Let's go, Nathan! Don't bother showering tonight.

MOUTH: For those of you at home, Lucas wears his black shorts tonight with his traditional white high-tops.

Jimmy: He is currently playing without a shoe contract, mouth.

ANNOUNCER: Under 20 seconds to go, and it's all tied up. Fasten your seat belts, folks. We're going down to the wire. Stolen by Nathan Scott! The ravens have it! They're gonna hold on 10 seconds remaining on the clock. Now five!

MOUTH: Luke flashes in the paint. Fergie finds one on the wing.

ANNOUNCER: Scott for the game!

MOUTH: Scott for the game!

[ Nathan and the team are in a school bus with Nathan driving. Peyton is driving and not paying attention to the road]

BOY: you, tell me we didn 't just steal a school bus, 'cause this feels like we just stole a school bus.

NATHAN: Dude, we just borrowed it, all right?

GIRL: So, Nathan, where's Peyton?

NATHAN: Who knows? Why?

* Train whistle blows as the bus approaches. Nathan is kissing the girl and doesn’t see it. +

[ bell clanging, train whistle blows ]

BOY: look out!

[ Girls screaming ] 150

[ tires screech as the bus stops- a police siren sounds]

[ tires screech as Peyton almost hits Lucas]

[ basketball bouncing ]

[The next day at the police station]

Officer: some of your parents see this latest incident as tomfoolery, a little prank. Personally, I see a little breaking and entering. Chief Wayman sees possession and consumption by minors and a smidgen of grand theft auto. That said, I think it's time we send a message. The following players were not involved and will not be reprimanded -- Jake Jagielski, Ruben Gutierrez, Tim smith, and Nathan Scott. As for the rest of you, all players involved are suspended from extracurricular activities, specifically basketball, for the rest of the season.

[Dan starts an argument with the coach]

DAN: So, you just walk away.

COACH: Well, well. Dan Scott.

DAN: Half the team suspended, Nathan triple-teamed the rest of the season, and you say nothing.

COACH: The inmates will not run the asylum.

DAN: You're despicable, you know that? Letting the dreams of this team just vanish. You're full of crap.

COACH: It comes with old age, constipation.

[back in the park]

JUNK: You guys remember Tom Dugan from grade school?

LUCAS: He used to live next door to you, right?

JUNK: Some guy snapped him with a wet towel, and he lost one of his testicles.

LUCAS: Come on.

SKILLS: Okay, junk.

JUNK: Just saying what I heard.

SKILLS: Anyway, man, what you reading these days?

LUCAS: Steinbeck -- "the winter of our discontent."

SKILLS: Let me hear some.

151

LUCAS: Nah.

SKILLS: Come on, dog. You know I be reading vicariously through you.

[The game stops as Peyton drives by]

JUNK: Peyton Sawyer. You seen her webcam? In her bedroom -- I hear she's naked on it, like, all the time.

[ Laughter ] what? I hear things.

LUCAS: You know, I saw her the other night. She almost ran me over, of course.

BOY: Yeah, she pretty fine, huh?

LUCAS: Ah, she's all right.

LUCAS: Just shoot for teams, all right?

[Back at the café]

LUCAS: Hey, mom.

KAREN: Hey, hon. Mmm.

LUCAS: It smells good in here. Did you change your hair?

KAREN:If by "change" you mean "dragged a brush through it," then yeah.

LUCAS: Well, it looks nice.

KAREN: Thank you.

HALEY: The magazine pages are sticky again. Little pervs.

HALEY: Oh, hey, Luke. You been reading this?

LUCAS: Is that the "why do I hang out with these people?" Issue, because you're on the cover of that, right?

HALEY: No, actually, it's the "my best friend is an idiot" issue, and there you are.

[ Scoffs ]

KAREN: Haley, would you like to join us?

HALEY: Hell, yes.

KAREN: So, honey, how was your day? 152

HALEY: Good, thanks.

HALEY: " Good" is relative, considering a third of the world is starving, which does not change the fact that I am clumsy as hell. Did I tell you that i fell down today? Yeah, slipped off the curb, face down, butt in the air.

Too graphic? Sorry. I'll just be quiet.

KAREN: So, I got something for you, Lucas.

HALEY: Actually, I found it. Not that I was looking for something specifically, which implies some hideous sort of "Joey loves Dawson " scenario and completely creep me out, but, you know, we saw it, and...

HALEY: Well, give him the book.

LUCAS: Wow. "Julius Caesar."

KAREN: "There's a tide in the affairs of men" -- or something like that.

LUCAS: Nice. Thank you, guys. Thank you very much.

HALEY: Whatever. That's what you're into.

[ In the coaches office]

[ chuckles ]

COACH: well, well, Keith Scott. What do you know?

KEITH: How you doing, whitey?

COACH: Take a load off.

KEITH: You, uh, you got a second?

COACH: Oh, I got a lot of seconds. Or haven't you heard?

KEITH: Oh, yeah, I heard.

[Keith takes out a flask and offers the coach a drink]

COACH: Just a little. A little more. That's good. That's good. I saw your little brother today -- Danny. He called me "despicable." Said I crush the dreams of young men.

KEITH: was he talking about himself or Nathan, do you think?

COACH: Both, I suppose. Hey, what did you average when you played for me?

KEITH: Oh, about 5,006 beers a night. 153

[ Laughs ]

COACH: well, at least you were consistent.

KEITH: Yeah, you gotta give me that. Hey, you know, uh... Lucas plays.

COACH: Lucas? Oh. Oh, Dan’s other son.

KEITH: Well, Karen’s son. Dan's on the birth certificate, but they never got married.

COACH: Where does he play?

KEITH: Uh...This park down by the river.

COACH: Oh, come on, Keith . If the kid had any promise, he'd be in the gym with the real players.

KEITH: Like Nathan, you mean? Come on, coach. Just take a little drive with me.

[At the park]

MOUTH: Luke is on fire tonight. How do you say "hot" in French?

BOY: Flambé.

MOUTH: Luke is flambé. Fergie finds Luke, who takes out junk again.

BOY: They never learn, mouth.

KEITH: That's what I’m talking about.

COACH: All right, and I'm not saying I am. Why put him through that?

KEITH: Because he should know that he's good -- not just playground good, but good, period. He could use that in his life.

COACH: We could all use that in our lives.

KEITH: Yeah. But we had our chance.

COACH: So, you and Karen -- are you, uh... Friends.

KEITH: Um... You know, I'm the kid's uncle, and I'm in their lives. It is what it is.

COACH: I remember when Dan told me Karen was pregnant right after their senior year I told him he should honor his scholarship and go to college.

KEITH: I'll tell you one thing -- you did Karen a favor. And Lucas, too. Now maybe you can do me one.

*In Peyton’s room+

154

NATHAN: What are you wasting your time at now?

PEYTON: I didn't hear you come in.

NATHAN: Oh, imagine that. You know nobody listens to this crap.

PEYTON: So, I waited for you tonight.

NATHAN: Yeah, the guys wanted to tip a few.

PEYTON: And you didn't even think to let me know?

NATHAN: That's why I came by. You want to come?

PEYTON: With the guys?

NATHAN: And me.

PEYTON: And the guys.

[ Sighs ]

NATHAN: you know what, Peyton? I'm getting really tired of this. I came here to spend time with you.

PEYTON: Yeah, me and half the team.

NATHAN: You want to be a @#%$? That's cool. Just listen to your loser rock, and I'll see you tomorrow.

PEYTON: How about you don't see me tomorrow?

NATHAN: Like I don't have other options.

NATHAN: Look, I'm sorry. Peyton, I'm really sorry. It's just a lot of these guys got suspended, so it's like this stupid bonding thing. Look, I wish it was just you and me. But I was hoping you'd come anyway -- make it a lot more bearable, okay?

[The coach enters a classroom, where Lucas, Nathan, and Peyton are]

COACH: Scott.

NATHAN: What's up, coach?

COACH: Not you. You.

[points to Lucas]

You-

[points to Nathan] 155

read a book or something.

[The coach and Lucas are talking in the gym]

COACH: Nice, isn't it? A lot of people like their gyms loud. I like mine like this -- quiet, clean... Kind of like a church. A lot of praying done here, anyway. You played ball in grade school. Why'd you quit?

LUCAS:I didn't.

COACH: What, four guys in the park? That's not exactly basketball.

LUCAS: Then what do you think we're doing out there?

COACH:I don't know. Planning a bank job? Look, I've got an opening in my lineup, varsity. Chance of a lifetime. What do you say?

LUCAS:I say those people that pray here are wasting their time. God doesn't watch sports.

[Back in the park]

SKILLS: Were you gonna tell us, man?

LUCAS: It's nothing.

SKILLS: Whitey asked you to play on the team, and it's nothing?

LUCAS: It's nothing 'cause I’m not playing -- not with those guys.

SKILLS: Luke, man, I’ve been guarding you almost every night since we was 12 years old, right?

LUCAS: And I won how many games?

SKILLS: It just seems like a waste to me, man.

LUCAS: Well, it doesn't to me. Don't you guys ever think that maybe we belong here?

SKILLS:No. We belong here. You've never belonged here.

LUCAS: Thanks a lot, skills. Just shoot for teams.

SKILLS: Yo, luke, man, you know you're one of my best friends, right? Ain't nothing never gonna change that, man. But keep it real. We ain't shooting for teams. We're shooting to be your excuse. And I ain't about to be a part of that, man.

[As Lucas comes home, he sees a package. He opens it and it’s a uniform. He is trying it on as his mom walks in.]

LUCAS: Somebody left it at the door.

KAREN: Take it off. 156

[Karen goes outside, and Lucas follows]

LUCAS: Mom, you okay?

KAREN: Yeah.

KAREN: Do you know who left it?

LUCAS: Coach Durham, probably. He asked me to play.

KAREN: Maybe you should.

[ Chuckles ]

LUCAS: you sound like Skills. Those guys refused to play today. They said they didn't want to be my excuse.

KAREN: How'd you feel about that?

LUCAS: Honestly? I was pissed. Those guys are supposed to be my friends.

KAREN: They are your friends.

[She shows him a picture of himself as a boy, with a basketball]

KAREN: Do you remember that?

LUCAS: My first leather basketball. That was the year that skills' father told us there was no Santa Claus.

KAREN: Yeah, and I tried to talk you out of it.

[ Chuckles ]

KAREN: then you said something I’ll never forget. You said you felt bad for the kids who never figured it out, because when they grew up and had kids of their own, there wouldn't be any gifts on Christmas morning. You're a good kid, Luke. But sometimes I feel like you're sitting out your life on account of me, and I don't want that for you. My past is not your future, okay?

[Nathan is lifting weights when his dad comes in]

DAN: What are you slinging?

NATHAN: About 160.

DAN: Give me that. Your mom called. She won't be back --what do you know about Whitey inviting...

NATHAN: Your son to play? 157

DAN: Don't call him that.

NATHAN: He's got our last name, dad.

DAN: The fact that he shares your last name is only wishful thinking on his mother's part. We were young -- summer after high school. We made a mistake.

NATHAN: You made a mistake, all right. I mean, this guy's a zombie.

DAN: Okay.

NATHAN: Look, it's kind of screwed up, all right? People talk about it.

[ Grunts ]

DAN: get out of there.

[Dan takes the weights]

DAN: I want you to go to this kid, encourage him not to play.

NATHAN: I'm not afraid of him, dad.

DAN: Well, you should be. We've worked too hard to have anyone coming in now, disrupting the offense, taking away shots. Anyway, this has more to do with Whitey and me than you.

NATHAN: Why do you say that?

DAN: It's a long story. If you want, I'll tell you someday. But for now, I want you to go to this kid and talk to him and trust me when I tell you, Nathan, there's a bigger picture here -- and this kid's not in it.

[Nathan is talking to his friends]

BOY: So, your pops finally mentioned the @#%$ spawn, huh? They say he's got game. Maybe we could use him.

NATHAN: Please. I can get us to the state championship with three blind guys and a cripple, which is practically what I got with you and what's left.

BOY: So, where are we going?

NATHAN: Let's go to the park.

[Dan and his friend go to the park to watch Lucas play]

NATHAN: Nice shot. Think you can hit that against a double team, down by 2, packed house telling you you suck? How about just two people telling you you suck?

LUCAS: What do you want? 158

NATHAN: What do I want? What do you want, man? I mean, other than my girlfriend and my spot in the lineup, huh? None of us want you on the team, man. I don't want you. The guys don't want you. My girlfriend sure as hell doesn’t want you. --but here's the deal. --You and me, one on one. You can name the time and place. If you win, I'll quit the team. If I win, you crawl back in your little hole and you remember your place in all this. Time and place, baby. Time and place.

[Dan walks off]

HALEY: So, Nathan challenged you. Are you gonna play him?

LUCAS:I don't know. It's not like I have anything to prove.

HALEY: But don't you just want to show him sometimes -- oh, damn!

[A flock of birds flys in front of Lucas and Haley]

HALEY: What is up?!

HALEY: I was attacked

Boy: a flock of crows last week! I'm totally serious!

LUCAS: by the way, it's a murder.

HALEY: What?

LUCAS: More than one crow is a murder

HALEY: I don't know what the hell you're talking about.

LUCAS:A parliament of owls, an exultation of larks, a murder of crows.

HALEY: I think that is why people think you're weird, right there.

[ Chuckles ]

LUCAS: ah, man. I would like to show him sometimes, though, what a mistake he's made.

HALEY: Dan?

LUCAS: Mostly for mom... And...Sometimes for me.

HALEY: So, Luke, what are ravens -- I mean, more than one?

LUCAS: An unkindness.

*Peyton’s car breaks down. Keith and Lucas are working on a car at the shop+

KEITH: Why wouldn't you play?

159

LUCAS:I do play -- every night.

KEITH: It's not the same, Luke.

LUCAS: Why? What makes it less of a game if people don't see it?

KEITH: I'll tell you why. When I was a kid, my father took me to Raleigh to see David Thompson play. I was 9 years old. I couldn't have cared less about basketball. But when Thompson stepped on the court, he was so young, so quick, and just so graceful that I was mesmerized. I couldn't take my eyes off him until late in the game, and I look up at my dad, and he's got tears in his eyes. 14,000 strangers and my father's crying because he's so beautiful. He played with such poetry that he made us feel like we were a part of it. You have a gift, Luke, and it's a crime not to let people see it, to hide it in the park. It's a damn shame. That's why.

[The phone rings]

KEITH:Keith 's body shop and towing.

*Lucas goes to tow Peyton’s car+

LUCAS: That's me inside your head.

PEYTON: What?

LUCAS: NOFX.

That's me inside your head it's the lyrics from –

PEYTON: I know the song.

[ Peyton uses her cell phone]

PEYTON: Nathan...It's me. All right, well, listen, my car broke down. You're gonna have to come pick me up. So leave the gym. Listen, it'll take you, like, 10 minutes. I'm on River Road around the curve. Well, sucks to be you.

LUCAS: Listen, are you sure you got a ride? I mean, I can wait if you want.

PEYTON: Yeah, that's what I want. Listen, have your dad call me with an estimate.

LUCAS: My uncle?

PEYTON: If that's your story.

LUCAS: Can I ask you a question?

PEYTON: It's a free country.

LUCAS: Why are you a cheerleader? No offense or anything, but you're about the least cheery person I know.

160

[Dan comes to see Keith at the shop]

DAN:Keith ! Hey! Hey, how you been, big brother?

KEITH: Not bad. How about you?

DAN: Good, good. Dealership's good. I sent you some business not long ago.

KEITH: Oh, yeah, I, uh... I meant to call you and thank you for that.

DAN: Yeah. Well, we're all busy, right? Right.

[Peyton is still waiting]

LUCAS: Come on. Let me give you a ride. I'll let you insult me.

PEYTON: First of all, you don't know me. Second of all, you don't know me. God, why are guys such jerks?!

LUCAS: Guys or Nathan?

PEYTON: Him. You.

LUCAS: I don't know. We share the same father.

PEYTON: Yeah, I heard that. He's kind of an @#%$. So that must suck, having to see him around.

LUCAS: For my mom. I never knew him.

PEYTON: But she told you he was your dad?

LUCAS: Yeah, eventually. We used to play in junior leagues together -- me and Nathan.

PEYTON: Basketball?

LUCAS: Yeah, and I loved it, and I was good at it. You ever have something that you knew that you were better at than almost anybody else?

PEYTON: Sex. --- Joke.

LUCAS: Anyway...Guys kept teasing me about it, about how Nathan’s dad was my dad, too. So I asked my mom, and she said he wasn't. But I get home, and I hear her crying in her room. I knew it was true. So I never went back. I told my mom it was because I didn't want to have to see his face. But... It was mostly because... I didn't want her to have to.

[ Sighs ]

PEYTON: So, why'd you just tell me all that? I mean, we don't even know each other.

161

LUCAS: Maybe that's the point.

[At the shop]

DAN: Nathan's got a shot here, Keith -- a real future.

KEITH: A real future. Let me ask you something. Do you ever even think about Lucas' future? Do you ever think about that?

DAN: I can't change the fact this kid exists. If I could, I would. The truth is, I told Karen I’d take care of it. But she --

[ keys jingle as Lucas walks in- he throws the key and runs out ]

[ basketball bouncing- Lucas confronts Nathan ]

LUCAS: tomorrow night, at the riverfront. But if I win, I'm gonna want something else.

[At the car dealership, Karen comes to see Dan]

DAN: I love that car. I love that car. My wife's got that car. I'm guessing you're not car shopping.

KAREN: He's a boy who wants to play basketball, reluctantly. I find it horrifying and amusing it takes something as simple as that to bring you around.

DAN: I'm only thinking of the kid.

KAREN: You have no right to think of him, not today or any other day of his life.

DAN: Are you finished?

KAREN: I haven't even started. We've asked nothing of you, and you have delivered in fine fashion. I'll expect that to continue. If Lucas decides to play, you'll do nothing. Anything else might make me angry and detract from the pleasant, cordial side you see now.

DAN: You know, I know your son doesn't exactly fit in, but Nathan is all-state, and I'm not sure why you'd want to humiliate your kid like that.

KAREN: You're right, Dan. I'd rather not humiliate him. You've done that enough. Nathan.

[At home, Dan sees Nathan has a pierced nipple]

NATHAN: What's up, dad?

DAN: If I wanted a daughter, I'd adopt one.

NATHAN: So you could abandon her, too? Just a joke, dad.

DAN: Yeah. And this bet tonight -- is that a joke, too? Or would you really quit the team? You have everything to lose here and nothing to gain.

162

NATHAN: Sometimes what you call "everything," I call "nothing."

DAN: I just think it's best if you don't do this, Nathan. We'll find another way.

NATHAN: No. Dad, I do a lot of stuff for you -- almost everything.

But I'm gonna do this for me.

*Peyton walks out of Nathan’s room wearing a towel+

PEYTON: Hi, Mr. Scott.

[Keith and Karen are talking]

KAREN: So, I would have preferred a warning shot on this one -- something to let me know what was coming with Lucas.

KEITH: Yeah, that's fair enough. But you should see him play, Karen. I mean, it's like -- it's like poetry, you know? And he's gonna be fine.

KAREN: Yeah, I know. Do you ever wonder about it, Keith -- how we got to this?

KEITH: Hanging out in the old cafe, lamenting the past, Haley listening in from behind?

HALEY: I am not listening. Okay, I was. I am.

KEITH: Right.

[ Chuckles ]

I just wondered how we got here so fast.

KAREN: I don't know. When I see Lucas in high school, it all seems like a blink of an eye. But otherwise, it seems like it's been forever.

[Peyton joins Lucas on the roof, and turns the lights on]

LUCAS: Wow.

PEYTON: Yeah.

LUCAS: This place looks great.

PEYTON: Thanks. I just finished putting up the lights. Miniature golf is never going to be the same. your mom is worried. She's downstairs with keith picking through her past.

LUCAS: Do you think I’m being selfish playing Nathan?

PEYTON: Do you?

LUCAS: A little bit. I mean, if I walked away, then my mom wouldn't be downstairs worried about it 163

now.

HALEY: You know, I don't say things like this very often 'cause it sounds weird, but... You're a really good guy, and I'm glad we're friends. But you and your mom worry too damn much.

[Back at the park, Mouth is getting ready to announce the game]

MOUTH: Good evening, ladies and gentlemen, and welcome to an historic night of basketball. I'm Mouth McFadden, along with my gamey partner, Jimmy Edwards, and, Jimmy, we're in for a treat tonight.

JIMMY: And who doesn't love a treat, Mouth? I know I do -- s'mores, ice cream, cake.

PEYTON: So, if you're not doing it for your dad, then why are you doing it?

NATHAN: You wouldn't get it. I guess not.

PEYTON: So what if this guy plays? Are you really that threatened?

NATHAN: I'm not threatened

Boy: anyone.

PEYTON: Well, then, why do it? To prove okay, so, what if he wins? What does he get?

NATHAN: He gets you.

[ Spectators talking indistinctly ]

MOUTH: just moments before the stroke of 12:00, and still no Nathan Scott.

JIMMY: The natives are getting restless, Mouth, judging by the crowd that envelops our booth.

JUNK: You don't have a booth.

MOUTH: Junk Moreti joins us now. Junk, you care to make a prediction?

JUNK: I predict you guys will be the two biggest morons out here.

MOUTH: And it looks like Nathan Scott has arrived, driven by car right onto the court. Crowd:

[ Chanting ]

Nathan! Nathan!

Boy: by the way, I hope you don't mind, but I told a few people.

[ Chanting continues ]

[ cheers and applause as the game starts]

164

BOY: come on, let's go, ba

Boy: ! Let's go, Nathan!

[ Spectators cheer ]

MOUTH: okay, folks, here we go -- 15 by ones. Make it, take it, win by one, and you can feel the intensity in the air.

NATHAN: You ready for this?

LUCAS: Why not?

NATHAN: It's your life.

LUCAS: Yeah. It is.

MOUTH: Oh-ho! A 25-footer rips the silk like Jimmy Edwards in a size 3 dress.

NATHAN: L Go ahead, man. I'll give you that all night.

[ Cheers and applause ]

LUCAS: what happened to all night?

NATHAN: Is that all you got, man? If that's all you got, this is over.

MOUTH: Yeah! All right!

JIMMY: This looks to be a battle, mouth. Uhh! Yeah! Yeah!

[The game goes on with both boys making great shots. Nathan elbows Lucas in the face]

LUCAS: No foul. Basket counts. Besides... You won't score again.

MOUTH: Oh, the basket counts, and it's 14-12, game point for Nathan. He could win it all right here. Nathan for the win. Holy crap!

[Lucas makes an unbelievable block]

MOUTH: Did you see that?! Someday men will write stories about that block. Children will be named after it. Argentinean women will weep for it. Luke gets a basket, and he's down

Boy: one.

NATHAN: You're down by one, man. Don't choke now.

MOUTH: Another dagger, and it's all tied up! I think I'm gonna puke.

CROWD: Come on, Nate! Come on, shut him down, Nathan!

165

MOUTH: This is it, folks -- no going back now. The next basket wins it.

NATHAN: He's never mentioned you, man --not once in all these years.

LUCAS: This is for my mom.

[Lucas makes the winning shot!]

MOUTH: Luke for the win! It's good! It's good! Lucas Scott takes it 15-14, and there is bedlam and delirium and felicity for all!

PEYTON: So, what did you bet? I win Nathan stays on the team

PEYTON: why?

LUCAS: Because it's the last thing he wants. And anyway, it's not about him.

[Nathan comes back]

NATHAN: Peyton.

LUCAS: I'll be seeing you.

*Scenes switch back and forth between all the main characters as we hear Lucas’ voice+

LUCAS: There is a tide in the affairs of men... Which, taken at the flood, leads on to fortune...

NATHAN: Don't worry, dad. Your dreams are still safe. ...

LUCAS: But omitted, and the voyage of their life is bound in shallows and miseries... On such a full sea are we now afloat...... And we must take the current when it serves...... Or lose the ventures before us.

[In the final scene, Lucas enters the gym. Everyone stops playing and stares at him. The scene pans out, and to the park]

166

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