AN ANALYSIS OF COMPOUND WORD FOUND IN

THE DIALOGUE OF “THE LONGEST WEEK”

MOVIE SCRIPT

A final project
submitted in partial fulfillment of the requirements
for the degree of Sarjana Pendidikan
in English

by
Novi Dwi Prihatin
11420292

DEPARTMENT OF ENGLISH EDUCATION

FACULTY OF LANGUAGE AND ARTS EDUCATION
UNIVERSITY OF PGRI SEMARANG
2015

i
 DECLARATION

I certify that this final project is definitely my own work. I am completely

responsible for the content of this final project. The other writers‟ opinions or

findings included in the final project are quoted or cited in accordance with ethical

standards.

Semarang, March 2015

Novi Dwi Prihatin

NPM. 11420292

ii
 APPROVAL

This final project entitled “AN ANALYSIS OF COMPOUND WORD FOUND IN

THE DIALOGUE OF “THE LONGEST WEEK” MOVIE SCRIPT” written by:

Name : Novi Dwi Prihatin

NPM : 11420292

Department : English Education

was approved by the team of advisors of the English Department of Faculty of

Language and Arts Education, University of PGRI Semarang on:

Day :

Date :

Semarang, 2015

Advisor I Advisor II

Dra. Siti Lestari, M.Pd. Entika Fani Prastikawati, S.Pd., M,Pd

NIP. 196112191985032002 NPP. 108601310

iii
 RATIFICATION

This final project has been ratified by the team of examiners of Department of

English Education of the Faculty of Language and Arts Education in University

of PGRI Semarang on:

Day :

Date :

The Team of Examiners

Sukma Nur Ardini, S.S., M. Pd

NPP. 108201277 (.......................................)
Examiner III

Dra. Siti Lestari, M. Pd

NIP. 196112191985032002 (.......................................)
Examiner / Advisor I

Entika Fani Prastikawati

NPP. 108601310 (.......................................)
Examiner / Advisor I

Drs. A. Wiyaka, M.Pd.

NIP.196412261990031002 (.......................................)
Chairman of English Department

Dra. Asropah, M.Pd.

NPP.936601104 (.......................................)
Dean of FPBS / Chairperson

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 MOTTO

Respect yourself, respect others, it is the true of victory.

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 DEDICATIONS

This final project is proudly dedicated to:

1. My beloved parents, Drs. Kapapi and Yulianti

2. My beloved older brothers, Purwo Heriyanto, Agung Heru Wibowo,

Sumanto, and Agus Tri Sulistyo.

3. My special one, Ahmad Muadib, S. Pd., Gr.

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 ACKNOWLEDGEMENT

First, I would like to express my gratitude to Allah SWT, for His blessing

and guidance because I have been able to finish the final project entitled: “AN

ANALYSIS OF COMPOUND WORD FOUND IN THE DIALOGUE OF “THE

LONGEST WEEK” MOVIE SCRIPT”.

To complete this final project, I accepted a lot of helps, supports, and

guidances. Therefore, I would like to thank to the following people who helped

me:

1. Dra. Asropah, M.Pd., the Dean of Faculty of Language and Arts

Education, who gave me permission to conduct this study.

2. Drs. A. Wiyaka, M.Pd., the Head of English Department of IKIP PGRI

Semarang.

3. Dra. Siti Lestari, M. Pd, the first advisor, for the guidance and advice that

had given a great contribution to the completion of this final project.

4. Entika Fani Prastikawati, S. Pd., M.Pd., the second advisor, for her

suggestions and advice.

5. All lecturers of English Department of IKIP PGRI Semarang for their

valuable lessons.

6. My beloved family, who always gave me helps and supports in completing

this final project.

7. My Special one, who always gave me great motivations and supports in

completing this final project.

vii
8. My best friends, Eli Susmiati, Yudha Aprilyani Rahayu, Siti Yuliani, Nita

Yuliati, Heny Munfa‟ati, Erlina Nurhayati, Siti Mufitasari, Arfiano

Chandra Desiandi, Riani Resti, and Bob Septian for always giving helps

and supports.

9. All my friends in Universitas PGRI Semarang, who always gave important

information and support to me.

Semarang, March 2015

The Writer

viii
 ABSTRACT
Prihatin, Novi Dwi. 2015. An Analysis of Compound Word Found in The
Dialogue of “The Longest Week” Movie Script. Final Project, English
Study Program, Faculty of Languages and Arts Education, University of
PGRI Semarang. Advisor I: Dra. Sii Lestari, M. Pd., Advisor II: Entika
Fani Prastikawati, S. Pd., M. Pd.

The objectives of this final project are: (1) to find out the compound words in
“The Longest Week” movie script. (2) to find out the types of compounding used
in the compound words found in “The Longest Week” movie script. (3) to find
out the dominant type of compounding used in the compound words found in
“The Longest Week” movie script.
The methodology used in this final project is descriptive qualitative. The object of
the study is the script of “The Longest Week” movie which written by Peter
Glanz.
The finding shows that there are 82 compound words found in the dialogue of
“The Longest Week” movie script. Then, there are two types of compounding
processes used in the compound words found in the script. They are endocentric
compound and exocentric compound. Furthermore, based on the analysis, there
are 30 compound words or 36,6 % of the total terms which use endocentric
compound in their forming process. Meanwhile, there are 52 compound words or
63, 4 % of the total terms which use exocentric compound in their forming
process. The finding above shows that exocentric compound is the dominant type
of compounding which used in the compound words found in the dialogue of
“The Longest Week” movie script.
Finally, I suggest that the English learners should be able to learn about English
word formation, especially compound word. Furthermore, I also give a suggestion
to the readers that they should understand about how the words formed, especially
for compound words.

Keywords: Compound Word, Dialogue, Movie Script, “The Longest Week”

Movie

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 TABLE OF CONTENTS

TITLE .................................................................................................... i

DECLARATION …………………………………………………….. ii

APPROVAL .......................................................................................... iii

RATIFICATION ................................................................................... iv

MOTTO .................................................................................................. v

DEDICATIONS .................................................................................... vi

ACKNOWLEDGEMENT ..................................................................... vii

ABSTRACT ........................................................................................... ix

TABLE OF CONTENTS .................................................................... x

CHAPTER I: INTRODUCTION

A. Background of the Study ............................................................ 1

B. Reasons for Choosing the Topic .................................................. 4

C. Statements of the Problem ........................................................... 4

D. Objectives of the Study ................................................................ 5

E. Significances of the Study ............................................................ 5

F. Definition of the Key Terms ......................................................... 6

G. Outline of the Study ..................................................................... 7

CHAPTER II: REVIEW OF LITERATURE

A. Related Literature ……………………………………………… 8

1. Morphology ………………………………………………... 8

2. Word Formation …………………………………………… 10

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 a. Compounding …………………………………………. 10

b. Borrowing …………………………………………….. 10

c. Coinage ……………………………………………….. 11

d. Blending ………………………………………………. 12

e. Clipping ………………………………………………. 13

f. Back Formation ………………………………………. 14

g. Conversion ……………………………………………. 14

h. Inflection ……………………………………………… 15

i. Derivation ……………………………………………… 16

j. Cliticisation ……………………………………………. 16

k. Reduplication ………………………………………….. 17

l. Abbreviation …………………………………………… 17

3. Compound Word …………………………………………… 18

4. “The Longest Week” Movie ……………………………….. 20

B. Previous Study …………………………………………………. 21

CHAPTER III: METHODOLOGY OF THE RESEARCH

A. Approach of the Research ……………………………………… 24

B. Role of the Researcher …………………………………………. 25

C. Object of the Study …………………………………………….. 25

D. Sources of the Data …………………………………………….. 25

E. Procedure of the Research ……………………………………... 26

F. Technique of Collecting Data …………………………………. 27

G. Technique of Analyzing Data …………………………………. 27

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CHAPTER IV: RESEARCH FINDINGS AND DISCUSSIONS

A. Research Findings ....................................................................... 29

B. Discussions .................................................................................. 37

CHAPTER V: CONCLUSIONS AND SUGGESTIONS

A. Conclusions ................................................................................ 49

B. Suggestions .................................................................................. 50

BIBLIOGRAPHY

APPENDICES

xii
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CHAPTER I

INTRODUCTION

This chapter presents background of the study, reason for choosing the

topic, statements of the problem, objectives of the study, significances of the

study, definitions of the key terms, and the outline of the thesis.

A. Background of the Study

Movie, also called film, the cinema, moving pictures, or the silver

screen, is a form of entertainment that enacts a story by sound and a sequence

of images giving the illusion of continuous movement (Advance English

Dictionary). The elements of movie are the sign system, costume, make up,

gesture, environment, attitude, expression, and dialogue.

Nowadays one of the big industries in this world is movie. Movie is

used to be entertainments for almost people in the world. Movie also can be

used to be an interesting media in learning English. The English learners can

enjoy the story of the movie and also study English. It will not make the

English learners feel bored in studying English.

Beside the explanation above, script is a written version of play or

other dramatic composition used in preparing for a performance.

Furthermore, Movie script does not only relate to drama which is performed

in stage, but also to movie production. Reading movie script can evoke

positive emotions within us. Reading movie script can make us believe

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in good things or think about the world problems. It invites us to change our

lives and to do noble actions. Movie scripts introduce the reader to the plot of

the story, the theme, the characters, the setting, the actors, and the language

that is used in the story. Elements of movie script are title page, copyright

information, story of the play, cast of the characters, synopsis of act and

scene, plot of scene, the play, plot of character and wardrobe, lighting plot,

and property plot.

Movie script contains conversation of the characters as a process of

communication. The language is the main tool in this process of

communication. Everyday we communicate to others, and we use language

for this communication. Furthermore, language itself consists of some parts,

such as morphemes, words, sentences, etc. Each part has its own function and

rule. Word as a part of language has important rule in forming a language.

People always use word to build a sentence, but people do not know where do

actually those millions words come from. People as the user of language

sometimes do not think about how a language is formed. There are millions

words used by people now. Every time people get more and more new words

unless they know the way it happens. Besides, word form has deep relation

with meaning. The meaning of the new word form is influenced by the

process of forming a word. This process is usually called word formation

process.
 3

According to Hatch and Brown (1995) and Francis Katamba (1993),

there are various of word formation processes that may occur in a sentence.

There are 12 (twelve) kinds of word formation process. One of the kinds of

word formation is compounding. Compounding is perhaps the most powerful

word building process for English (Hatch and Brown, 1995:189). The most

common compound words are two nouns combined to create a meaning with

differ from that of each of its parts. The other opinion came from O‟Grady in

his book entitled “How Children Learn Language” (1995:28). He stated that

A third very popular way to form new words in English involves

compounding – putting together two or more already existing words.

Furthermore, Plag (2003:132) stated that compounding is the most productive

type of word-formation process in English; it is perhaps also the most

controversial one in terms of its linguistic analysis. From these statements

above we know that compounding process has important role in forming

compound words in English.

Because of the great contribution of compound words in English, it is

necessary to learn further about compound words. There are many kinds of

sources for learning compound words. Movie script is one of the interesting

sources for learning compound words. “The Longest Week” movie script can

be an alternative source for learning compound words. Besides the interesting

story, “The Longest Week” movie script also contains diversity of multiple

linguistic features. The learners can study further about compound words in a

fun way with “The Longest Week” movie script.

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B. Reasons for Choosing the Topic

Considering the case I present, here are the reasons of choosing the

topic of this final project:

1. Compounding is the most productive type of word-formation process in

English; and also the most controversial one in terms of its linguistics

analysis (Plag 2003:132). Based on the statement above, it is a needed for

English learners to study more about compounding.

2. “The Longest Week” is one of the newest interesting drama comedies of

this year that released on September 5th, 2014.

3. Nowadays one of the big industries in this world is movie. Movie is used

to be entertainments for almost all people in the world. Moreover, movie

can be an alternative media for teaching and learning English.

C. Statements of the Problem

Considering the background and reason above, the problems of this

study can be stated as follows:

1. What are the compound words found in “The Longest Week” movie

script?

2. What are the types of compounding used in the compound words found in

“The Longest Week” movie script?

3. What is the dominant type of compounding used in the compound words

found in “The Longest Week” movie script?

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D. Objectives of the Study

Based on the statements of the problem above, the objectives of the

study are:

1. To find out the compound words in “The Longest Week” movie script.

2. To find out the types of compounding used in the compound words found

in “The Longest Week” movie script.

3. To find out the dominant type of compounding used in the compound

words found in “The Longest Week” movie script.

E. Significances of the Study

Based on my opinion, the significances of study can be devided into

four aspects, as follows:

1. For English learners

It is expected that this final project will be an alternative material source

for English learners in studying English word formation, especially for

compound word and the types of compounding.

2. For English teachers

Hopefully, English teachers can use this final project as their reference in

teaching English in order to make students more understand about word

formation, especially compound words and the types of compounding.

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3. For readers

After reading this final project, it is expected that the readers can enrich

their knowledge about word formation especially for compound word and

the types of compounding.

4. For writer

It is expected that the writer will have deeper understanding about word

formation especially for compound word and the types of compounding.

F. Definition of the Key Terms

To avoid wrong definition about the main problem I feel that is

needed to give explanation for some significant words used in the title.

1. Compound word is the combination of two, three (or even more member)

words to form a new word (Plag, 2003:133).

2. Dialogue is the things that are said by the characters in a story, movie,

play, etc. (http://www.merriam-webster.com/dictionary/dialogue)

3. Movie Script is written version of a play or movie

(https//www.vocabulary.com/dictionary/script).

4. “The Longest Week” movie is a drama comedy movie which released on

5th September 2014. “The Longest Week” Movie is the feature debut of

writer-director Peter Glanz, and Los Angeles-based production company,

YRF Entertainment.
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G. Outline of the Study

The final project is divided into five chapters. Each chapter contains

different topic.

Chapter I is introduction. It contains background of the study, reason

for choosing the topic, statements of the problem, objectives of the study,

significances of the study, and definition of the key terms.

Chapter II is review of literature. It talks about review of theories

relevant to variable containing morphology, word formation, compound

word, and “The Longest Week” movie.

Chapter III is methodology of the research. This chapter discusses

about type of the research, subject of the research, procedure of the research,

technique of collecting data and technique of analysizing data.

Chapter IV is research finding and discussions. This chapter consists

the research finding and discussion.

Chapter V is conclusion and suggestion. I conclude the finding and

give some suggestions based on the study which can be useful for the further

study.
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CHAPTER II

REVIEW OF LITERATURE

In this chapter, I review some related literature used in conducting the

study. The related literature comprises the concepts that are states the topic of the

study. I take references from some related books to enrich the theory.

A. Related Literature

1. Morphology

Morphology as a part of linguistic study has a lot of definitions from

some experts. According to Katamba (1993:2), morphology is the study of

the internal structure of words. It means that in morphology we learn about

the internal structure of words. It can be how words are formed, what the

processes to form new words, and any others. While Booij (2007:4) said in

his book entitles “The Grammar of Words” that morphology is the sub

discipline of linguistics that deals with such patterns. He explained further

that the existence of such patterns also implies that words may have an

internal constituent structure. For instance, walking can be divided into the

constituents walk and -ing. Therefore, morphology deals with the internal

constituent structure of words as well.

The other opinion came from Aronoff and Fudeman (2004:1-2), they

stated completely that in linguistics, morphology refers to the mental system

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involved in word formation or to the branch of linguistics that deals with

words, their internal structure, and how they are formed. Furthermore, they

also explained that the term morphology is generally attributed to the German

poet, novelist, playwright, and philosopher Johann Wolfgang von Goethe

(1749–1832), who coined it early in the nineteenth century in a biological

context. Its etymology is Greek: morph- means „shape, form‟, and

morphology is the study of form or forms. In biology, morphology refers to

the study of the form and structure of organisms, and in geology it refers to

the study of the configuration and evolution of land forms.

Another definition also came from Dostert (2009:18), she explained

that Morphology is used in linguistics to denote the study of words, both with

regard to their internal structure and their combination or formation to form

new or larger units. So, the meaning of morphology is the study about

structure, formation, and how to form new words and the larger unit.

Nida (1962:1) explained that morphology is the study of morphemes

and their arrangements in forming words. Some definitions above have the

same point that is morphology is a sub discipline study from linguistics that

concerns in the process of word formation. The main point of studying

morphology is on how to identify morphemes and their distributions and

combinations in forming words.

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2. Word Formation

According to Harley (2006:91), word formation is creating new word

by some innovative manipulation of an already existing word or words. It

means, word formation is the process of creating new words. There are 12

(twelve) processes of word formation. They are compounding, borrowing,

coinage, blending, clipping, back formation, conversion, inflection,

derivation, cliticization, reduplication, abbreviation.

a. Compounding

According to Katamba (2005:49), compounding is combining two

bases, which may be words in their own right, to form a new lexical item.

Another definition came from Plag (2003:133). He stated that

compounding (sometimes also called composition) is the combination of

two, three (or even more members) words to form a new word. From the

statements above, compounding is a process which combines two words to

form a new word.

Some examples of compound words are :

a) Postcard

b) Greenhouse

c) Overlook

b. Borrowing

According to Hatch and Brown (1995:170), it is all language-

borrowed word from other language. The forms of borrowed words are

usually adapted to the phonology of the borrowing language. In addition,

 11

Campbell stated that It is common for one language to take words from

another language and make them part of its own vocabulary: these are

called loanwords and the process is called linguistic borrowing. The other

explanation came from Katamba (2005). He explained that a language can

add to the number of words in its lexicon by borrowing vocabulary from

other languages. It means, some words in a language are taken from the

other language.

Some examples of borrowing words are:

a) Democracy, derived from Greek language demos and cratos.

b) Billabong, adapted from Australian aboriginal language, it is names

from topographical features.

c) Yogurt, a kind of drink which is fermented from milk, it is from

Turkish.

c. Coinage

According to Hatch and Brown (1995:175), coinage is a process

when a new word is needed but there are no appropriate borrowed word

and native word to express it. In addition, a new word which used to

mention something is the word which well-known. For example, brand

names (the first name product) sometimes become so widely used that they

are accepted as generic terms and generalized to other product name:

Kleenex for „facial tissue‟, Xerox for „photo copy‟ , Honda for

„motorcycle‟ , Indomie for „instant noodle‟. Coinage is also derived from

taking the name of individual, for example:

 12

a) Scientific terms, such as: watt, ohm, celsius (the inventors or

discoverers)

b) Boycott, originally came from the name of Captain Charles Boycott,

he was agent for Lord Earner‟s estates in County Mayo, Ireland where

in 1879 the estate was boycotted by the peasantry and Boycott forced

to leave Ireland.

d. Blending

According to Hatch and Brown (1995:211), blending is taking only

the beginning of one word and joining it to the end of the other word. It

means, a new word comes from two words which already exist then the

new word iis formed by taking only the beginning of one word and joining

it to the end of the other word. In addition, Harley (2006:101) stated that

blending is clip a couple of words and smooch them together to make a

new word whose meaning is connected to the meanings of the originals.

Furthermore, Plag (2003:122) stated that blending is combining two

(rarely three or more) words into one, deleting material from one or both

of the source words. From the statements above, it means that blending is a

kind of process to form a new word by taking the part of two words then

put the parts of two words together. The parts of the two words are the

beginning of the first word, and the last part of the other word.

Some examples of bending can be seen below:

a) brunch, from breakfast – lunch

b) motel, from motor – hotel

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c) smog, from smoke – fog

e. Clipping

According to Katamba (2005:124), clipping is the term for the

formation of a new word-form, with the same meaning as the original

lexical term, by lopping off a portion and reducing it to a monosyllabic or

disyllabic rump. It means the new word which formed by clipping process

has the same meaning with the original word. Katamba also explained

three categories of clipping, they are:

a) Fore clipping, are those with the first part of the original word cut

off, for examples: burger for hamburger, phone for telephone

b) Back clipping, where the tail –end of the original has been shorn off,

for examples: lab for laboratory , demo for demonstration

c) Fore-back clipping, where the first part and the tail –end of the

original has been cut off. This kind of clipping is rarest happened,

for examples : flue for influenza, jams for pajamas/pyjamas.

In addition, Harley (2006:95) stated that clipping is reducing a

multisyllabic word in size, usually to one or two syllables. Moreover, it is

often the case that a word is clipped because it comes into more common

usage – its frequency count increases – and speakers find that they do not

need to use the full sesquipedalian version to identify the concept.

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f. Back Formation

According to Katamba (2005:128), back formation is forming word

by removing affixes from a base. In addition, a new word comes from a

word already exist which is removed the affixes from the word or base.

Harley (2006:93) also stated that A back-formation is a subspecies of a

folk etymology that results in a totally new listeme entering the language.

It means that back formation process is a process which removing affixes

from a word. Furthermore, back formation occurs when a learner

encounters a word that contains a sound sequence that sounds like a

particular suffix.

Here are some examples of back formation:

a) housekeep from housekeeper

b) biograph from biography

g. Conversion

Conversion is the process of forming words without changing the

form of input word that function as base. The base might be in a noun or

verb form (Katamba, 1993:54). From the statement above, we can

conclude that in conversion process there is no changing the form of the

word, we just use the base in appropriate form. It can be as a noun, it also

can be as a verb.

There are several types of conversions:

a) Verb that comes from noun, example; ‟nail the door shut!‟

b) Verb that comes from adjective, example; „dry the clothes!‟

 15

c) Verb that comes from preposition, example; to out gay bishops

d) Noun that comes from verb, example; a permit, a report

In addition, Hatch and Brown (1995:179) stated that conversion is a

process which allows us to create additional lexical items out of those that

already exist. Furthermore, this process is not limited to one-syllable word.

h. Inflection

According to Hatch and Brown (1995:285), inflection is a word

formation by adding affixes so that it can create a new form without

changing the word class or meaning. Booij (2007:99) also stated that

inflection is the morphological marking of properties on a lexeme resulting

in a number of forms for that lexeme, a set of grammatical words. From

the statements above, we can conclude that in inflection process there is no

changing the class of word to form a new word.

There are some kinds of inflections:

a) Regular plural, e.g. :

key + (-s) = keys

b) Irregular plural, e.g. :

child = children

c) Zero plural morpheme, e.g. :

deer (singular) = deer (plural)

sheep (singular) = sheep (plural)

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i. Derivation

Hatch and Brown (1995:268) say that derivation morpheme makes

explicit the word class assignment of the word to make it into an adjective,

an adverb, or another part of speech. It means that in derivation process, a

word can be a new word by changing the class of the word with adding

morphemes. Here are examples of this kind of word formation process:

a) Noun to Adjective : boy + ish = boyish

b) Verb to Noun : sing + er = singer

c) Adjective to adverb : happy + ly = happily

d) Noun to Verb : vaccine + ate = vaccinate

Moreover, derivational morpheme forms new word by changing

the meaning of the base to which they are attached. For example, kind vs

unkind, obey vs disobey.

j. Cliticisation

According to Katamba (2005:108), a clitic is a bound morpheme

which is not an affix but which, nevertheless, occurs as part of a word.

Furthermore, cliticisation (the process of attaching clitics) takes place

post lexically after the word-formation rules of the lexicon have applied,

and following the application of syntactic rules.

There are some examples of cliticization:

a) I‟m leaving now

b) They‟re here now

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k. Reduplication

According to Hatch and Brown (1995:196), reduplication

duplicates all or part of the base to which it applies to mark a

grammatical or semantic contrast. Moreover, the process of reduplication

is not a powerful one in English, but it is in many languages of the world.

Furthermore, there are two kinds of this kind word formation process,

full reduplication and partial one. Full reduplication is the repetition of

the entire word while partial reduplication copies only part of the word.

a) Example of full reduplication in Indonesian :

Orang (man) ( orang-orang (men)

Anak (child) ( anak-anak (children)

b) Example of partial reduplication in Tagalog :

Takbuh (run) ( tatakbuh (will run)

Lakad (walk) ( lalakad (will walk)

l. Abbreviation

According to Katamba (2005:127), abbreviation is a process of

shortened forms that are created using the initial letters of words which

do not give permissible syllables. In addition, Plag (2003:126),

abbreviations are most commonly formed by taking initial letters of

multi-word sequences to make up a new word. Furthermore, although

abbreviation is largely a convention of written language, sometimes

abbreviations carry over into spoken language, for example:

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a) Written Abbreviations

cm – centimeter(s)

Dr. – doctor

b) Spoken-Written Abbreviations

A.M. – ante meridiem (in the morning)

VIP – very important person

Initialization and acronym are the types of abbreviation.

Initialization is another reduction process where each letter on the word is

pronounced (Hatch and Brown, 1995:210). The examples are LA for Los

Angeles, US for United State. Meanwhile, acronym is a word made up

abbreviation, too, but the result is pronounced as a word, not as list of

letters (Hatch and Brown, 1995:210), for examples ILO (International

Labor Organization), CIFOR (The Center For International Forestry

Research).

3. Compound Word

According to Hatch and Brown (1995:189), compounding is perhaps

the most powerful word building process for English. Moreover, the most

common compounds are two nouns combined to create a meaning with differ

from that of each of its parts, as in fire engine or toothbrush. The other

opinion is from O‟Grady in his book entitled “How Children Learn

Language” (1995:28). He stated that A third very popular way to form new

words in English involves compounding – putting together two or more

 19

already existing words. From the statement above, compounding is a process

which combines two or more words which already exist to form a new word.

There are three categories of compound word, they are:

a. Noun Compound is two words or more combined to create a noun

compound.

For example:

a) Postcard

b) Greenhouse

b. Verb Compound is two words or more combined to create a verb

compound.

For example:

a) Spoon-feed

b) Overlook

c. Adjective Compound is two words or more combined to create an

adjective compound.

For example:

a) Nationwide

b) Red hot

Katamba in his book entitles “English Words” (2005:50) divides types of

compounding into two:

2. Endocentric, compound that identifies the general class which the

meaning of the entire word belongs. (In most cases)

 20

For example:

a. Laser printer is a kind of printer

b. Postcard is a type of card

3. Exocentric, the meaning of compound does not follow from the

meaning of its parts in this way (In a smaller number of cases).

For example:

a. Greenbottle is not a type of bottle; rather, it is a fly of the genus

lucilia

b. Redneck is not a type of neck but an ultra consevative, white

working-class person

In conclusion, a compound word at least consists of two bases, both are

words, and at any rate, root morphemes (Katamba, 1993:54).

4. “The Longest Week” Movie

“The Longest Week” Movie is the feature debut of writer-director

Peter Glanz, and Los Angeles-based production company, YRF

Entertainment. It is a drama comedy movie which released 5th September

2014. It was adapted from Glanz‟s black-and-white short movie, “A

Relationship in Four Days”, which premiered in 2008. The story of “The

Longest Week” movie is about a man who falls in love with his

bestfriend‟s girlfriend. Conrad Valmont (Jason Bateman) is a New York

City debutante that has coasted through the years off his family's wealth.

Conrad's parents cut him off from their money and he has no place to live.
 21

While taking the subway, he sees Beatrice Fairbanks (Olivia Wilde), a

beautiful woman reading "Sense and Sensibility". The two merely look at

each other, but without a word, Beatrice slips Conrad her phone number

and gets off the train.

Conrad stays with his best friend Dylan Tate (Billy Crudup).

Together, they go to a party where Beatrice is in attendance. Beatrice is

Dylan‟s girlfriend. Throughout the week, Conrad and Beatrice start going

out behind Dylan's back, despite Dylan explicitly telling Conrad to not

make a move on Beatrice. Conrad confesses to Dylan that he has been

sleeping with Beatrice. Dylan angrily kicks him out, leaving Conrad to

move in with Beatrice. Still, Conrad fears that Beatrice will leave him if

she finds out he is broke.

B. Previous Study

This study is not the only one which analyzes word formation process

especially compounding. There are some previous studies that concern in this

topic; they were done by Elsy Morina (2010) and Rafica Sari (2011).

Elsy Morina (2010) in her study entitles “Compounding in Glamour

Magazines”. It was a case study of compounding used in “Glamour

Magazines”, the edition of June - October 2010. The objectives of this study

were (1) to find out the types of compounding in “Glamour Magazines” and

(2) to find out the dominant type of head element used in the compounding

found in “Glamour Magazines”. In her research, she collected the data by

 22

conducting observation method with note-taking technique. Then, she

analyzed the data by conducting Agih method and distributional method.

From her research, she found that there were two types of compounding

found in “Glamour Magazines”, they are endocentric and exocentric

compounding. Based on the finding, the dominant head element used in the

compounding found in “Glamour Magazines” is the head element hair.

Rafica Sari (2011) in her study entitles “Compounding in Information

Technology: A Morphological Study”. The objectives of the study comprises

three: first, to describe elements of compounding which were found in the

information technology, second, to describe the ways of writing compound

words found in the information technology, and third, to describe the types of

compounds which were related to the meanings in information technology.

To reach those, she applies the descriptive method. There were 49 data

analyzed represent the whole 82 data. The data consisted of 40 data of

compound nouns, one datum of compound adjective, and 8 data of compound

verbs. The theories used to analyze the data are based on the theory of

compounding from McCharty (2002), Spencer (2001), O‟Grady (1996) and

Katamba (1993). The data are taken from PCWorld magazines and Corpus of

Contemporary American English (COCA). Based on the analysis, compound

nouns with the elements Noun+Noun and Adjective+Noun are the two most

common elements in the process of compounding in information technology,

the way of writing compound words in information technology are mostly in

 23

closed/solid forms, and the types of compounds which are related to the

meanings are endocentric and exocentric compounds.

Analyzing movie script is not easy and very complicated, and there

has been no study about analyzing compound word in a movie script.

Therefore, I am interested in analyzing compound word in a movie script.

Moreover, I focus on the word formation process especially for compounding

process used in the compound words found in “The Longest Week” movie

script.
 24

CHAPTER III

METHODOLOGY OF THE RESEARCH

This chapter presents a discussion of the research methods used in this

study. The presentation includes approach of the research, role of the research,

object of the study, sources of data, procedure of the research, technique of

collecting data, and technique of data analysis.

A. Approach of the Research

The design of the research is descriptive qualitative approach. It is

used to make systemic and accurate descriptions occuring concerning the fact

and failure on the data analysis. Descriptive qualitative approach involves

organizing, accounting for and explaining the data; making sense of data in

terms of the participants‟ definitions of the situation, nothing patterns,

themes, categories and regularities (Cohen et al. 2007)

Based on the theory above, I conducted descriptive qualitative

approach to analyze the possible types of compounding used in the compound

words found in “The Longest Week” movie script. Then, I also conducted

descriptive qualitative approach to find out the types of compounding which

most common in using. Moreover, based on descriptive qualitative approach,

I collected, classified, analyzed the data and drew some conclusions based on

the findings.

24
 25

B. Role of the Researcher

In this research, I took the role as the observer. In descriptive

qualitative research, researcher is the key instrument. It means that I chose the

source data, collected the data, classified the data, analyzed the data,

interpreted the data, and draw the conclusion based on the findings. The

instrument of this research was documentation of “The Longest Week” movie

script.

C. Object of the Study

The object of the research was the script of “The Longest Week”

movie. “The Longest Week” movie is the feature debut of director Peter

Glanz, and Los Angeles-based production company, YRF Entertainment. It

was a drama comedy movie that released on September 5th 2014. This movie

was starring by Jason Bateman, Olivia Wilde, Billy Crudup, Jenny Slate. The

script of “The Longest Week” movie was written by Peter Glanz.

D. Sources of the Data

Sources of data are all information or subjects that should be collected

and chosen by the research (Cohen, Manion, and Morrison 2007:193).

Furthermore, they stated that there are two kinds of sources of data. The

sources of data are primary source of data and secondary source of data.

Primary sources of data had been described as those items that are original to
 26

the problem under study. While secondary sources of data are those that do

not bear a direct physical relationship to the event being studied.

Documents considered as primary sources include manuscripts,

charters, laws, achieves of official minutes or records, files, letters,

memoranda, memoirs, biography, official publications, wills, newspapers and

magazines, maps, diagrams, catalogues, films, paintings, inscriptions,

recordings, transcriptions, log books and research reports. In this research I

use primary sources of data to be analyzed. I take “The Longest Week” movie

script written by Peter Glanz.

E. Procedure of the Research

1. Looking for the movie script and checked the dialogue of “The Longest

Week” movie script one by one.

2. Identifying the dialogue in “The Longest Week” movie script to find the

compound words.

3. Analyzing the compound words found in “The Longest Week” movie

script based on the types of compounding.

4. Doing revision by revising the analysis of “The Longest Week” movie

script to get the best.

5. Calculating the compound words (endocentric and exocentric) based on

the analysis to know the dominant type of compounding used in the

compound words found in “The Longest Week” movie script.

 27

6. Making conclusion based on analysis of the types of compounding used in

the compound words found in “The Longest Week” movie script.

F. Technique of Collecting Data

In collecting the data, I conducted documentation and observation

method. Documentation method is a method of data collection by studying

books, transcriptions, newspapers, advertisements, magazines, etc. (Cohen,

Manion, and Morrison 2007:193). I conducted documentation method

because I gained the source of data from movie script. Meanwhile,

observation method is a method of collecting data by analyzing an object

systematically (Cohen, Manion, Morrison 2007:396). Thus, I analyzed the

source of data systematically so that I conducted the observation method.

G. Technique of Analyzing Data

In analyzing data, qualitative research was used in this final project.

Analyzing data in qualitative research occurs before, on going, and after the

process of the research. In data analysis, I took these following steps:

1. Reading

Reading is early activity in analyzing the data. I read the dialogue of the

movie script one by one.

2. Finding of compound words in the movie script

After reading, I looked for the compound words in the movie script.
 28

3. Identifying the types of compounding

After finding the compound words of the movie script, I analyzed and

observed the compound words based on the types of compounding.

For example :

Girlfriend

Girlfriend (N)

Girl (N) Friend (N)

The compound word „girlfriend‟ comes from the words „girl‟ and

„friend‟. „Girl‟ means a young female, while „friend‟ means a person

you know well and regard with affection and trust. „Girlfriend‟ is a

kind of friend. The meaning of „girlfriend‟ is any female friend or a

girl with whom a man is romantically involved.

4. Finding the dominant type of compounding used in the compound words

found in the movie script. Here is the percentage of the types of

compounding used in the compound words found in “The Longest Week”

movie script :

No Type of Compounding F f (%)

1 Endocentric 30 36, 6 %

2 Exocentric 52 63, 4 %

Total 82 100 %

5. Interpreting the findings of the research.

 29

CHAPTER IV

RESEARCH FINDINGS AND DISCUSSION

This chapter presents the research findings and discussion. As stated in

the previous chapter that the data was analyzed in order to find out the compound

words in “The Longest Week” movie script. Furthermore, this study tries to find

out what compounding process used in the compound words and the dominant

type of compounding used in the compound words found in “The Longest Week”

movie script. After analyzing the data, the result of the data analysis are below:

A. Research Findings

1. Compound Words Found in “The Longest Week” Movie Script.

The result of analyzing compound words in “The Longest Week”

movie script is reported here. As mentioned before, I analyzed the

compound words found in “The Longest Week” movie script. O‟Grady

(1995) stated that a third very popular way to form new words in English

involves compounding – putting together two or more already existing

words. Furthermore, I found 82 (eighty two) compound words in “The

Longest Week” movie script. The following is the table displays the

compound words which found in “The Longest Week” movie script.

29
 30

Table 4.1
The compound words found in “The Longest Week” movie script

No Compound Word No Compound Word

1 Adulthood 42 Nobody

2 Over – educated 43 Walked into

3 Under – employed 44 Otherwise

4 Cut off 45 Anyone

5 Girlfriend 46 Underwear

6 Something 47 Picked up

7 Boyfriend 48 Shut up

8 Lifetime 49 Pitiful

9 Weekend 50 Looking around

10 Birthday 51 Get into

11 Useful 52 Without

12 Understand 53 Everything

13 Subway 54 Sleep – over

14 Someone 55 Come out

15 Downtown 56 Came up

16 Set up 57 Kicking out

17 Set in 58 Somewhere

18 Got back 59 Sometimes

19 Come on 60 Headlight
 31

20 Piss off 61 Dry spell

21 Fashion line 62 Get in

22 Broke off 63 Turn on

23 Somebody 64 Washed – up

24 Running around 65 Moved in

25 Knee – high 66 Patch up

26 Break – up 67 Grow up

27 Bachelorhood 68 Coming home

28 Give back 69 Blow over

29 Get out 70 Call back

30 Overwhelming 71 Cover up

31 Go out 72 Bathroom

32 Make sure 73 Take back

33 Bump into 74 Make fun

34 Unisex 75 Lash out

35 Psychoanalysis 76 Went on

36 Pitfall 77 Worked out

37 Everybody 78 Household

38 Anything 79 Fashionable

39 Fantasy land 80 Ran into

40 Walking down 81 Made love

41 Sits around 82 Gave up

 32

Based on the table 4.1 above, there are 82 compound words

found in “The Longest Week” movie script. These compound words will

be analyzed based on the types of compounding in the next part.

2. Types of Compounding Process Used in The Compound Words Found

in “The Longest Week” Movie Script.

According to Katamba (2005), there are two types of

compounding. They are endocentric and exocentric compound.

Endocentric compound identifies the general class which the meaning of

the entire word belongs, while exocentric compound is compound which

the meaning does not follow from the meaning of its parts in this way.

Based on the theory above, I analyzed the types of

compounding used in the compound words found in “The Longest Week”

movie script. The analysis of each word is taken from Advance Cambridge

dictionary 3rd edition (2008). From the first result analyzing, there are 82

compound words in “The Longest Week” movie script. There are two

types of compounding used in the compound words found in “The Longest

Week” movie script. The category and frequency of the compounding used

in the data can be seen from the following table:

 33

Table 4.2
Types of Compounding Process Used in the Compound Words Found in
“The Longest Week” Movie Script

No Endocentric Exocentric

1 Over – educated Adulthood

2 Under – employed Something

3 Cut off Weekend

4 Girlfriend Useful

5 Boyfriend Understand

6 Lifetime Subway

7 Birthday Someone

8 Downtown Set up

9 Got back Set in

10 Running around Come on

11 Give back Piss off

12 Go out Fashion line

13 Make sure Broke off

14 Bump into Somebody

15 Psychoanalysis Knee – high

16 Pitfall Break up

17 Walking down Bachelorhood

 34

18 Sits around Get out

19 Underwear Overwhelming

20 Looking around Unisex

21 Sleep – over Everybody

22 Came up Anything

23 Headlight Fantasy land

24 Washed up Nobody

25 Patch up Walked into

26 Grow up Otherwise

27 Call back Anyone

28 Cover up Picked up

29 Bathroom Shut up

30 Take back Pitiful

31 Get into

32 Without

33 Everything

34 Come out

35 Kicking out

36 Somewhere

37 Sometimes
 35

38 Dry spell

39 Get in

40 Turn on

41 Moved in

42 Coming home

43 Blow over

44 Make fun of

45 Lash out

46 Went on

47 Worked out

48 Household

49 Ran into

50 Fashionable

51 Made love

52 Gave up

Based on the table 4.2 above, there are 82 terms which found in “The

Longest Week” movie script. These compound words classified into two types of

compounding process; endocentric and exocentric compound.

 36

3. The Dominant Type of Compounding Used in the Compound words

Found in “The Longest Week” Movie Script

The central part of the analysis of compound words is finding the

types of compounding used in each compound word in “The Longest Week”

movie script. Based on the analyzing, I found that there are two types of

compounding process which used in the compound words found in the

dialogue of “The Longest Week” movie script.

Table 4.3
The distribution of compounding used in the compound words found in
“The Longest Week” movie script

No Type of Compounding F f (%)

1 Endocentric 30 36, 6 %

2 Exocentric 52 63, 4 %

Total 82 100 %

Based on the table 4.3 above, the type of compounding process which

mostly used in the compound words found in “The Longest Week” movie

script is exocentric compound. Exocentric compound has 63,4 % of the total

terms.
 37

B. Discussions

In this section, I discuss the research findings in general using the

theory in chapter II.

After analyzing the eighty two compound words which found in “The

Longest Week” movie script, I found two types of compounding process.

Endocentric compound has 36,6 % of the total terms, while exocentric compound

has 63,4 % of the total terms. From the analyzing, I found that exocentric

compound is the dominant type of compounding process which used in the

compound words found in “The Longest Week” movie script.

As presented in chapter II, there are two kinds of the process of

compounding. They are endocentric compound and exocentric compound.

Exocentric compound is mostly used in compound words which found in “The

Longest Week” movie script. From the 82 compound words which found in “The

Longest Week” movie script, there are 52 compound words which use exocentric

compound in their process of forming. It means that exocentric compound has

63,4 % of the total terms.

The other process of compounding which used in the compound

words found in “The Longest Week” movie script is endocentric compound. From

the analysis, I found 30 compound words which use endocentric compound in

their process of forming. It means that endocentric compound has 36,6 % of the

total terms.
 38

The following is some examples of analyzing compound words found

in the dialogue of “The Longest Week” movie script based on the types of

compounding process. The analyzing of each word is taken from Advance

Cambridge dictionary 3rd edition (2008).

A. Endocentric compound

An interesting property of most compounds is that they are headed. This

means that one of the words that make up the compound is syntactically

dominant. In English the head is normally the item on the right hand of the

compound. The syntactic properties of the head are passed on to the entire

compound. Furthermore, the syntactic head is usually also the semantic head of

the compound. The non-head element in the compound specifies more narrowly

some characteristic of the head. If a compound identifies the general class which

the meaning of the entire word belongs, it is called an endocentric compound.

Here are some examples of compound words which used endocentric compound

in their forming:

1.

Dylan : “…they usually have a boyfriend or a husband... and Lord knows I've got

enough of that bad karma to last me a lifetime.”

Boyfriend (N)

Boy (N) Friend (N)

 39

The compound word „boyfriend‟ comes from the words „boy‟ and „friend‟. „Boy‟

means a youthful male person, while „friend‟ means a person you know well and

regard with affection and trust. „Boyfriend‟ is a kind of friend. The meaning of

„boyfriend‟ is a man who is the lover of a man or woman.

Lifetime (N)

Life (N) Time (N)

The compound word „lifetime‟ comes from the words „life‟ and „time‟. „Life‟

means the course of existence of an individual, while „time‟ means an indefinite

period. The meaning of „lifetime‟ is the period during which something is

functional (as between birth and death).

Conrad : “Well, I'm certainly not going to travel downtown and work for ten

hours a day for the best 20 years of my life doing some dull,…”

Downtown (N)

Down (Adj.) Town (N)

The compound word „downtown‟ comes from the words „down‟ and „town‟.

„Down‟ means being or moving lower in position or less in some value, while

„town‟ means an urban area with a fixed boundary that is smaller than a city.

Then, the meaning of „downtown‟ is the central area or commercial center of a

town.
 40

Dylan : “I got back a couple of days ago.”

Got back (Get back) (V)

Get (V) Back (Adv.)

The compound word „get back comes from the words „get‟ and „back‟. „Get‟

means coming into the possession of something concrete or abstract, while „back‟

means in or to or toward a former location. Then, the meaning of „get back‟ is

recovering something or somebody that appeared to be lost.

Maitre : “Hey, mister, give us back our ball. Interaction is inappropriate.”

Give back (V)

Give (V) Back (Adv.)

The compound word „give back‟ comes from the words „give‟ and „back‟. „Give‟

means transferring possession of something concrete or abstract to somebody,

while „back‟ means in or to or toward a former location. Furthermore, the

meaning of „give back‟ is refunding or returning.

Maitre : “Adorable....we just happen to bump into one another.”

Bump into (V)

 41

Bump (V) Into (Prep.)

The compound word „bump into‟ comes from the words „bump‟ and „into‟.

„Bump‟ means knocking against with force or violence, while „into‟ means going

inside. Furthermore, the meaning of „bump into‟ is colliding violently with an

obstacle.

Dylan : “…which ran counter to the debutante norm which favored incessant

psychoanalysis.”

Psychoanalysis (N)

Psycho (N) Analysis (N)

The compound word „psychoanalysis‟ comes from the words „psycho‟ and

„analysis‟. „Psycho‟ means a person afflicted with psychosis, while „analysis‟

means an investigation of the component parts of a whole and their relations in

making up the whole. Furthermore, „psychoanalysis‟ means a set of techniques for

exploring underlying motives and a method of treating various mental disorders.

Beatrice : “…I don't want to suffer the same pitfalls as my predecessors with my

sophomore effort.”

Pitfall (N)
 42

Pit (N) Fall (V)

The compound word „pitfall‟ comes from the words „pit‟ and „fall‟. „Pit‟ means a

sizeable hole (usually in the ground), while „fall‟ means moving downward and

lower, but not necessary all the way. Furthermore, „pitfall‟ means a trap in the

form of concealed hole.

Beatrice : “I don't want to get into details, but I've only got 36 hours of clean

underwear left.”

Underwear (N)

Under (Adj.) Wear (N)

The compound word „underwear‟ comes from the words „under‟ and „wear‟.

„Under‟ means located below or beneath something else, while „wear‟ means a

covering designed to be worn on a person‟s body. Furthermore, „underwear‟

means undergarment worn next to the skin and under the outer garments.

Dylan : “Are you kidding me? I just got out of a three-year relationship with

Jocelyn. Do you want to sleep over?”

Sleep – over (V)

Sleep (V) Over (Prep.)

 43

The compound word „sleep - over‟ comes from the words „sleep‟ and „over‟.

„Sleep‟ means being asleep, while „over‟ means more than; to a greater degree.

Furthermore, the meaning of „sleep – over‟ is sleeping overnight.

Conrad : “Call me back.”

Call back (V)

Call (V) Back (Adv.)

The compound word „call back‟ comes from the words „call‟ and „back‟. „Call‟

means getting or trying to get into communication (with someone) by telephone,

while „back‟ means in or to or toward a former location. Meanwhile, the meaning

of „call back‟ is recalling or returning or repeating a telephone call.

Exocentric Compound

At the semantic level, headedness is not consistently applied. A minority of

compounds have no semantic head. Furthermore, if the meaning of compound

does not follow from the meaning of its parts in this way, it is called an exocentric

compound. Here are some examples of exocentric compounds used in the

compound words found in “The Longest Week” movie script:

1.

Octave : “Wha... I don't understand.”

Understand (V)

Under (Adv.) Stand (V)

 44

The compound word „understand‟ comes from „under‟ and „stand‟. „Under‟

means through a range downward, while „stand‟ means holding one‟s ground;

maintaining a position; be steadfast or upright. The meaning of „understand‟ is

knowing and comprehend the nature or meaning of.

2.

Dylan : “Sure, come on in. So, what happened?”

Come on (Interjection)

Come (V) On (Prep.)

The compound word „come on‟ comes from the words „come‟ and „on‟. „Come‟

means moving toward or travel toward something or somebody or approach

something or somebody, while „on‟ means positioned at the upper surface of or

touching from above. Then, the meaning of „come on‟ is an expression of

encouragement.

3.

Conrad : “You know what really pisses me off about this whole thing is that I'm

the one who funded her entire vegan fashion line, and now that every socialite in

St. Bart's thinks it's fashionable.”

Pisses off (Piss off ) (V)

Piss (V) Off (Prep.)

 45

The compound word „Piss off‟ comes from the words „piss‟ and „off‟. „Piss‟

means eliminating urine, while „off‟ means disconnected or subtracted from.

Then, the meaning of „Piss off‟ is (idiomatic) to annoy, anger.

4.

Beatrice : “Nonetheless, everybody knows that there are certain pitfalls

associated with a sophomore effort that I simply want to avoid, period.”

Everybody (N)

Every (Determiner) Body (N)

The compound word „everybody‟ comes from the words „every‟ and „body‟.

„Every‟ means all of a countable group, without exception, while „body‟ means

the entire physical structure of an organism. Then, the meaning of „everybody‟ is

all people.

5.

Conrad : “Easy, easy! Now as we ease into adulthood, sometimes a good stiff

drink is the only excuse we have.”

Adulthood (N)

Adult (N) Hood (N)

The compound word „adulthood‟ comes from the word „adult‟ and „hood‟. „Adult‟

means a fully developed person from maturity onward, and „hood‟ means an

aggressive and violent young criminal. The meaning of „adulthood‟ is not a kind

of adult, but „adulthood‟ is the state (and responsibilities) of a person who has

attained maturity.
 46

6.

Conrad : “I need you to sleep somewhere else tonight.”

Somewhere (N)

Some (Determiner) Where (Adv.)

The compound word „somewhere‟ comes from the words „some‟ and „where‟.

„Some‟ means an unspecified quantity or number of, while „where‟ means (used

interrogatively, in either a direct or indirect question) at what place. Furthermore,

„somewhere‟ means an indefinite or unknown location.

7.

Dylan : “You're kicking me out?”

Kicking out (Kick out) (V)

Kick (V) Out (Prep.)

The compound word „kick up‟ comes from the words „kick‟ and „up‟. „Kick‟

means trash about or strike out with the feet, while „out‟ means away from the

inside. Meanwhile, the meaning of „kick out‟ is forcing to leave or move out.

8.

Conrad : “Oh, we're just going through a dry spell.”

Dry spell (N)

Dry (Adj.) Spell (N)

 47

The compound word „dry spell‟ comes from the words „dry‟ and „spell‟. „Dry‟

means free from liquid or no longer wet, while „spell‟ means a psychological state

induced by (or as if induced by) a magical incantation. Meanwhile, the meaning

of „dry spell‟ is a drawn-out period where the weather has been dry, for an

abnormally long time - shorter and not as severe as a drought.

9.

Dylan : “Have you ever noticed how people only lash out on others because

they're afraid of what they see if they see themselves?”

Lash out (V)

Lash (V) Out (Prep.)

The compound word „lash out‟ comes from the words „lash‟ and „out‟. „Lash‟

means beating severely with a whip or rod, while „out‟ means away from the

inside. Meanwhile, the meaning of „lash out‟ is attacking in speech or writing.

10.

Conrad : “Sh-h-h-h! Come on! Please turn on the lights.”

Turn on (V)

Turn (V) On (Prep.)

The compound word „turn on‟ comes from the words „turn‟ and „on‟. „Turn‟

means changing orientation or direction, while „on‟ means positioned at the upper

surface of, touching from above. Then, the meaning of „turn on‟ is cause to

operate by flipping a switch.

 48

Those examples above taken from the result of the analysis of

compounding processes which used in the compound words found in the dialogue

“The Longest Week” movie script. From the result analysis, there are 30

compound words which used endocentric compound and 52 compound words

which used exocentric compound in their forming process.

 49

CHAPTER V

CONCLUSIONS AND SUGGESTIONS

In this chapter, I would like to draw the conclusion and suggestion after analyzing

the data in the chapter IV. Firstly, I would like to draw some conclusions and in

the end of this chapter, I would like to propose the suggestions.

Conclusions

Based on the result of the study, the data analysis which mentioned in the

previous chapter, I take some conclusions as follows:

There are 82 compound words found in “The Longest Week” movie script. Each

compound word has different type of compounding process in their forming.

There are two kinds of processes of compounding. They are endocentric

compound and exocentric compound.

In “The Longest Week” movie script, there are 30 compound words which use

endocentric compound in their forming process, and there are 52 compound words

which used exocentric compound in their forming process.

Based on analysis, endocentric compound has 36,6 % of the total terms, while

exocentric compound has 63,4 % of the total terms. It means that exocentric

compound is the most dominant type of compounding processes used in the

compound words found in “The Longest Week” movie script.

49
 50

Suggestions

Based on the result of this study, I would like to give some suggestions. The

suggestions are proposed to:

English learners

English learners should be able to learn morphology, in this case is English word

formation, especially compound word. What compound word is and how to

analyze the compound word.

English teacher

English teacher should be able to explain about word formation especially for

compound word and be able to convey to the students clearly. For the example is

help a student to a develop their acknowledgement about the word formation,

especially compound word.

Readers

The readers should know the aims of the study and understand about how the

words formed, especially for compound words.

Writer

The writer should explain the result of the study as clear as possible so that the

readers can understand well.

 51

BIBLIOGRAPHY

Aronoff, Mark and Kirsten Fudeman. 2004. What is Morphology?. Victoria:

Blackwell Publishing.

Bauer, Laurie. 2001. Morphological Productivity. New York: Cambridge

University Press.

Booij, Geert. 2007. The Grammar Of Words: An Introduction To Morphology

(Revised Ed.). New York: Oxford University Press.

Campbell, Lyle. 1999. Historical Linguistics : An Introduction. Cambridge: The

MIT Press.

Cohen, Louise, et al. 2007. Research Method in Education (Revised Ed.). New
York: Routledge.

Grice, Paul. 1991. Studies in The Way of Words. Cambridge: Harvard University
Press.

Griffiths, Patrick. 2006. An Introduction to English Semantics and Pragmatics.

Edinburgh: Edinburgh University Press Ltd.

Harley, Heidi. 2006. English Words : A Linguistics Introduction. Victoria:

Blackwell Publishing

Hatch, E. and C. Brown. 1995. Vocabulary Semantic and Language Education.

Cambridge: Cambridge University Press

Katamba, Francis. 2005. English Words. New York: Roudledge.

McCarthy, Andrew Carstairs. 2002. An Introduction to English Morphology :

Words and Their Structure. Edinburgh: Edinburgh University Press.

Meyer, Charles F. 2009. Introducing English Morphology. Cambridge:

Cambridge University Press.

51
 52

Morina, Elsy. 2010. Compounding in “Glamour Magazine”. Final Project.

Padang: English Department - Faculty of Letter of University of Andalas.

Nida, Eugene A. 1949. Morphology : The Descriptive Analysis Of Words. Ann

Arbor: University of Michigan Press.

O‟Grady, William. 2005. How Children Learn Language. New York. Cambridge
University Press.

Plag, Ingo. 2003. Word-Formation In English. New York: Cambridge University

Press.

Rafica, Sari. 2011. Compounding in Information Technology: A Morphological

Study. Thesis. Bandung: English Studies Post Graduate Program of
University of Padjajaran.
 The Longest Week

Written by

Peter Glanz
Conrad Valmont, a man easing into adulthood at the age of 40. The over-
educated, under-employed heir to the Valmont Hotel fortune, Conrad is
cut off from his allowance following his parents' abrupt divorce and
tossed out into the unforgiving streets of the Upper West Side. Luckily,
he is taken in by his old friend Dylan and returns the favor by
immediately falling for Dylan's girlfriend, Beatrice.

CONRAD
I think that there's something wrong with me. For some reason I find that
the girls that I like as human beings, I'm not sexually attracted to, and
the ones that I am sexually attracted to.

DYLAN
I don't particularly like as human beings...
and on the rare occasion when one falls in both categories, they usually
have a boyfriend or a husband... and Lord knows I've got enough of that
bad karma to last me a lifetime. These are classic Freudian symptoms,
Conrad.

CONRAD
Haven't you ever read about defense mechanisms?

DYLAN
Actually I've always considered myself more of a Jungian.
Your phone is ringing again.

CONRAD
Please stop talking.
You stop talking.

DYLAN
All right.

CONRAD
Morning.

BEATRICE
It's 1 p.m.

CONRAD
Afternoon.
 BEATRICE
Conrad Valmont?

CONRAD
Yes, it's Conrad Valmont.

BERNARD
Oh, yes, Security will be there within the hour to escort you from the
premises.

CONRAD
What? But I've lived here since birth.

BEATRICE
This is Conrad Valmont.
Conrad was the son of a Grecian entrepreneur and a Caledonian
debutante.
His father, Jean-Louis Valmont, owned The Valmont Hotel as had his
father and his father before him.

(Their country home in Great Neck was the pantheon of summer

gatherings.
On the eve of his 51st year, Jean-Louis took Conrad's mother to the
south of France on what was to be a weekend excursion. It had since
turned into a lavish escapade around the world, lasting nearly three
decades. Over he subsequent years, Conrad was raised by The
Valmont's staff.
His chauffeur, Bernard, had taken Conrad to a Parisian brothel for
his 13th birthday as a sort of rite of passage into polite society. It
was a family tradition. At present, he was working on his magnum
opus, a great New York novel in the tradition of Fitzgerald and Edith
Wharton.)

JEAN
It was widely speculated as to where he was in the process of writing it.

MARIBEL
When asked, he would simply reply, I'm in the gathering stages. Conrad
had been in the gathering stages for several years now.

JEAN
Last week Thursday, Conrad's parents had capsized and had become
stranded on a small island in the Mediterranean. Having to spend
numerous days together without the distractions of wealth and a
transient lifestyle, they've come to a simple realization, they didn't
particularly like one another. Conrad's parents were to divorce by the
week's end and neither wanted to continue paying for Conrad's
extravagant lifestyle.
 JEAN
Hence, the Valmont board of trustees had requested hotel security to
escort Conrad from the premises by 2 p.m.

OCTAVE
Bunny, please make yourself useful. Get some more cigarettes, please.
Hey!

BUNNY
What?

OCTAVE
I'm hungry.

BUNNY
I'll be right there!

OCTAVE
Wha... I don't understand. What do you mean they won't accept the
charges?
Did you tell them it was Conrad Valmont?

OCTAVE
Hello. What are you smiling at?

BUNNY
Uh, nothing.

OCTAVE
Come on, Bunny.

OCTAVE
Bernard, please take us to the Belleville Caf.

BERNARD
Uh, I'm sorry. I-I can't.

BUNNY
Hey, it's me. I'm going to have this sorted out in no time.

BERNARD
I can't. I mean, it's orders from the boss. I'm sorry. Can you do me a
favor?

BUNNY
Name it.
 BERNARD
Can you take care of Napoleon while I'm gone?

BUNNY
Of course.

OCTAVE
This is lame!

BUNNY
I'm going to go.

OCTAVE
No, Bunny. Wait, wait, wait, wait, wait, wait.

BERNARD
Listen. Can I borrow some cash for a cab?

BUNNY
No. I'll be in touch.

(Conrad chose to ride the subway, a convention he rarely took up

since he had learned how to hail a cab at the age of seven.
But it was on this rare occasion that he first saw Beatrice.
Her unassuming beauty struck him at once, and as his eyes gazed
down, he couldn't help but notice she was reading Sense and
Sensibility.
Immediately, Conrad had reasoned she could be no older than 19
and would easily be molded into a girl of his liking.)

MARRIANE
Herein lies the eternal question, is it a grocery list... or her phone
number?

CONRAD
(It was at that moment Conrad realized he was going to see her naked.)
I think I'm in love.

MARRIANE
Conrad, you've only just met her.

CONRAD
I know.

MARRIANE
Is she attractive?
 CONRAD
Yes.

MARRIANE
You know, you have an unhealthy obsession with female beauty.

CONRAD
I don't care.

MARRIANE
Maybe you should try dating more homely women.

CONRAD
I don't think so. Take it from me, someone who's been married for 25
years, Conrad, inner beauty doesn't age.
MARRIANE
Conrad...

CONRAD
Yes...

MARRIANE
What are you going to do? You have no home.

CONRAD
Move in with Dylan.

MARRIANE
of course. How about money?

CONRAD
I'd need some. thank you. yes.

MARRIANE
Conrad, I'm not your accountant. I'm your analyst.

CONRAD
Well, I'm certainly not going to travel downtown and work for ten hours a
day for the best 20 years of my life doing some dull, unimaginative work,
certainly non-altruistic work, no thanks.

MARRIANE
Conrad, there's an interesting case study a colleague of mine did a few
years back.
The subject was a young German woman who had been diagnosed with a
brain tumor. It rendered her witty, charming, and quite likeable to most.
 CONRAD
You trying to set me up?

MARRIANE
Though she possessed all the aforementioned attributes, her life was
actually completely artificial. She had no meaning, no emotion, not a
care in the world.

CONRAD
Hm.

MARRIANE
She seemed utterly blissful to an outsider, but her family and friends
were worried, even horrified.
German neurologists called it witzelsucht, the joking disease. But
eventually, a dissolution set in and her life was left empty.

CONRAD
Are you saying that I have a brain tumor?

(Conrad's analyst had given Conrad a low-interest loan in the

amount of $217.33, the entirety of his wallet's remains. Conrad's
ego was in no position to admit the reality of his impoverishment.
Consequently, he had decided not to tell Dylan...)

BUNNY
Bonjour, comrade.

CONRAD
Bonjour.

BUNNY
This is Dylan Tate. Dylan was an antisocial socialist, a closet
conversationalist, a clinical neurotic. Possessing an inimitable talent for
the arts, Dylan had been afforded the opportunity to travel the world and
live a comfortable lifestyle at his own expense, something Conrad knew
nothing about.

BUNNY
Dylan Tate was the only personage of all Conrad's acquaintances whom
he admired, and to a bigger extent than he liked to admit to himself and
me.

CONRAD
How was Greece?

DYLAN
You mean Bhutan.
 CONRAD
Semantics.

DYLAN
I got back a couple of days ago.

CONRAD
Uh-hm.
Do you mind if I stay with you for a while?

DYLAN
Sure, come on in. So, what happened?

CONRAD
We are remodeling at The Valmont again.

DYLAN
Where's Jocelyn?

CONRAD
I don't know.
DYLAN
Ugh, it's been a couple of weeks. What I first perceived as cute and
endearing was actually quite exhausting, her episodic hysteria, her
chronic dissatisfaction, her endless pragmatism.

CONRAD
You know you two always do this, right?
One of you screams, the other one comes running back.

DYLAN
I-I bought her a Volvo.

CONRAD
You bought her a Vol, why, why do you always buy them a Volvo?

DYLAN
I don't know. It's like a free ticket to leave. How can I feel guilty, you
know? I bought her a Volvo.

CONRAD
You know what really pisses me off about this whole thing is that I'm the
one who funded her entire vegan fashion line, and now that every
socialite in St. Bart's thinks it's fashionable,

DYLAN
I get the swift kick.
 CONRAD
Swift kick? I thought you broke it off with her.

DYLAN
I did but still. So, over at the gallery, he set me up on a date last week.

CONRAD
That bad, huh?
You can always tell what somebody thinks of you by who they set you
up with.
Is it wrong to be aroused by a bunch of 17-year-old girls running around
with knee-high socks and polyester shorts?

BUNNY
Well, I guess that's a decision every man has to make for himself, but
yes, obviously yes. Conrad needs a girlfriend.

CONRAD
No, no, no. We don't need girlfriends. This is not the time for girlfriends.
This is a time for us to read and to write and to have deviant fetishistic
sex with prostitutes.

DYLAN
Please, this from a serial monogamist.
CONRAD
You've never even been with a prostitute. I understand that, if you'll
indulge me.

CONRAD
I'm going through a rough break-up. I need to have
certain...reassurances about the prospect of bachelorhood.

MAITRE
Look alive, look alive. Need a new goalie?

CONRAD
Don't make eye contact.

MAITRE
Hey, mister, give us back our ball. Interaction is inappropriate.

CONRAD
I can play.

MAITRE
Hm. We should move. Like little veal.
 CONRAD
So, I met a woman a couple weeks ago. I don't know, I can't get her out of
my head.

MAITRE
What happened to the prospects of bachelorhood?

CONRAD
I know. I just find it completely overwhelmingly tedious and unnerving.

MAITRE
So, tell me about the girl. What are the details?

CONRAD
She's like an ingenue in a Chekov play.
You know, one of those awfully romantic virtuous types, completely self-
inhibited, doesn't drink. Didn't have sex until she was 21, read the bulk
of the Victorian classics.

MAITRE
Jesus, sounds like a real keeper.

CONRAD
Oh, she is, she really is. I'm... I'm way over my head.

MAITRE
Is she attractive?
CONRAD
Hm, she's a model.
If I ever lost my fortune and was completely disinherited, could you ever
see me as a struggling bohemian artist type, hypothetically speaking, of
course?

MAITRE
That reminds me, do you want to come with me to the cocktail benefit at
the Woodruff Modern tonight?

CONRAD
Nope.

MAITRE
Come on.

CONRAD
You know I don't like those things.

MAITRE
It'll be fun. You can...
 CONRAD
Probably not.

MAITRE
Then you can, uh, meet the ingenue.

CONRAD
Is it a date?

MAITRE
Not exactly. We do this thing where we don't really go out together. We
just call each other to make sure the other is going to be at a certain
place at a preordained time

CONRAD
and then...

MAITRE
Adorable....we just happen to bump into one another.

CONRAD
It's less pressure.

MAITRE
So do you want to come to the cocktail party?

CONRAD
Well, I'll need a cocktail first.

MAITRE
Are you wearing perfume?

CONRAD
No, it's a new cologne that I'm wearing for my date. Why? What do you
think?

MAITRE
Well, I think it smells like perfume.

CONRAD
No, the woman at Bergdorf's told me that it's unisex.

MAITRE
And you wanted to smell sexually ambiguous?

DYLAN
Good evening and welcome to this evening's benefit.
 I must say I'm more than thrilled to see so many familiar faces.
Enjoy the complimentary hors d'oeuvres and champagne, and remember,
make a donation.

CONRAD
Cheers!

DYLAN
This is Beatrice Fairbanks.
Beatrice had attended a rather strict etiquette school on a bi-weekly
basis.

DYLAN
In doing so, Beatrice had been quietly instilled with a certain Victorian
idolatry, a paragon of virtue.
Beatrice had been forced at a young age to learn the works of Bach,
Chopin, and other masters of classical music, though secretly she'd
always wanted to play jazz. Oddly, Beatrice had opted to become and
editorial model......an occupation that only heightened her insecurities.

MAITRE
C'est magnifique! Un petite oiseau.

DYLAN
Beatrice was a firm believer in mystics, psychics, and the occult, which
ran counter to the debutante norm which favored incessant
psychoanalysis.

CONRAD
What does it mean? So what do you think of my cologne?

DYLAN
Oh, that's you. You probably didn't get a good... It's a little feminine.
CONRAD
The woman at Bergdorf's told me it was unisex.

MAITRE
Hi, she was clearly lying.

CONRAD
He smells pretty, doesn't he?

DYLAN
Um, Beatrice, this is my friend Conrad.

CONRAD
Conrad

BEATRICE
 Beatrice. We've met.

CONRAD
Just briefly.

BEATRICE
On the subway.

DYLAN
Subway?

BEATRICE
Uh-hm. I gave him my, um...

CONRAD
Scarf, she gave me her scarf. It was cold.

BEATRICE
I'm going to need that back from you.

CONRAD
Okay. I'll give it to you.

DYLAN
Uh-hm. I can get it... from you... to give to her.

CONRAD
I think I see foie gras. Want some... duck?

DYLAN
No. Take your time.

BEATRICE
He's... That's so nice of you.
CONRAD
Obviously I've got a target on my back. I didn't even know it,
I didn't even know it, and listen to this, my mistress says she doesn't
want to have sex because she's afraid she'll get pregnant.

DYLAN
I told her at the rate we have intercourse, the only way that's going to
happen is through immaculate conception.

CONRAD
Hm-hm.
Didn't you say she was on the pill?
 DYLAN
Yeah, yeah, she is, but she says she's afraid of the 1%, and besides, she
wants to get off. It gives her mood swings.

CONRAD
Awful, just awful.
You already have a wife that doesn't want to sleep with you. Touch. Don't
you find that the virtuous ideals of the Victorian authors is somewhat
unrealistic and sentimental?

DYLAN
No, not at all, and as the century went on, the scope of the genre became
far more complex.

CONRAD
You do realize that the monicker of Victorian literature ranges from the
Bronte sisters to Kipling?

DYLAN
Yes.

CONRAD
Have you ever actually read any of their books?

DYLAN
No, but I'm... I'm heavily considering it. She wouldn't have left...

CONRAD
There she is. Hey.

BEATRICE
Hi.

CONRAD
So, where... where you heading now?

BEATRICE
I have to go to bed. I have work in the morning.

CONRAD
Yeah, me too.
So, what are you working on these days?

BEATRICE
Nothing in particular. I'm open to new ideas.

CONRAD
You sound very ambitious.
 BEATRICE
Actually I am in the gathering stages of a novel. It is to be one of the great
New York novels in the tradition of Fitzgerald, Edith Wharton. He's been
in the gathering stages for over a decade.

CONRAD
Well, all good things take time.

BEATRICE
I rushed my first novel, I don't want to suffer the same pitfalls as my
predecessors with my sophomore effort.

CONRAD
I don't think you finished your first novel and I'm pretty sure it can't
qualify as a sophomore effort if you don't finish your first book. Finish it.

BEATRICE
Nonetheless, everybody knows that there are certain pitfalls associated
with a sophomore effort that I simply want to avoid, period.

CONRAD
Avoid it by not doing it.
Dylan.

BEATRICE
Well, good night.

CONRAD
Good night. Don't you try anything.

BEATRICE
I won't.

CONRAD
Don't try anything.

BEATRICE
I won't.

CONRAD
Don't.

BEATRICE
I...

(Nearly 30 minutes had passed, and Beatrice could still feel the rush
from Conrad's flirtation.
 Don't try anything.
I won't.
Not this one.
Dylan... I won't.
Don't try anything.
I won't!)
(The two friends' competitive nature which had spanned nearly
three decades stemmed from the simple fact that they each not only
envied the other but wanted secretly to be the other. Neither one
ever spoke of this.)

CORNAD
You know, just because you're almost 40 and still getting a weekly
allowance from your parents doesn't mean you can just do nothing for
the rest of your life.

JOCELYN
First of all, I'm writing a novel, as you well know.
Secondly, your statement is completely subjective and lacking any
substantive facts.
You're walking down a very dangerous road, my friend.

CORNAD
What road is that?

JOCELYN
The road to fantasyland, and when you take a trip to fantasyland, you
should always have a return ticket.

CORNAD
I don't even know what that means.

JOCELYN
At some point you're going to have to come to the same realization I did.

CORNAD
What's that?

JOCELYN
The rest of the world is never going to love you as much as your parents
do. Weren't you adopted?

CORNAD
I don't understand why you're interested in this guy.
He's just another philandering affluent type doomed to chronic
alcoholism, perpetual adolescence, and death by syphilis. He probably
sits around all day drinking Tom Collins and just performing acts of
mental masturbation.
 JOCELYN
That is such an unfair generalization. He's not like that.
For your information, he is writing a novel.

CORNAD
Oh. Aren't we all?
So, I'm thinking about taking it to the next level with Beatrice, and
actually asking her out to dinner tonight.

JOCELYN
Hm, bad move.

CORNAD
- Why?

JOCELYN
You just saw her last night.
You don't want to crowd her, make her think you're too eager.
Definitely wait.

CORNAD
How long?

JOCELYN
I don't know A day at least.

CORNAD
- Really?

JOCELYN
- Yeah, really.

CORNAD
Beatrice...yes, that's my plane.

JOCELYN
I never understood why someone would want to be a vegetarian. I mean,
do you, do you really love animals that much.

CORNAD
No, no, no. I just hate plants.

JOCELYN
You eat fish though, right?
CORNAD
Why? All the vegetarians eat fish. Well, I'm a Pisces.

JOCELYN
What's that got to do with it?
 CORNAD
I don't eat my own kind.

CORNAD
Beatrice, tell me, what is it like being a model, all those people staring at
you?

BEATRICE
It's like any other job, innocuous and demoralizing, but it pays well.

CORNAD
I'm serious. Tell me about yourself.

BEATRICE
All I know is that you, you, you do frequent the subway, and, and you
read Victorian and pre-Victorian literature, right?

CORNAD
Come on, I want to know, I want to know your fears. I'd like to know your
hopes. I want to know political ideologies and sexual preference. I don't
care what order.

BEATRICE
That's a lot of information for a first date.

CORNAD
That's true.

BEATRICE
How about you? What is it like being born with the proverbial silver
spoon?

CORNAD
All right.

BEATRICE
Well, you know, it, it is like any other job, it's innocuous and
demoralizing, but it pays really well.

(Beatrice was different. As their conversation continued, the two

spoke of French cinema and classic literature. He tried to be witty,
to make her laugh, and for a moment she resembled a statue, a bust
of an Aphrodite that he could only remember its gentle eyes but not
where the status itself had been.)

CONRAD
Shall we go have a cigarette?
 BEATRICE
Okay, yeah.

(Conrad often became attached to the idea of something and not to

the actual thing itself.)

CONRAD
So what is your novel about?

BEATRICE
I'm not so sure. I'm still figuring that part out.
I want you to try this.

CONRAD
Why? What is it?

BEATRICE
This is, it's a Valmont Executive. It is my family's brand.

CONRAD
It is, it is only the rarest and most exquisite cigarette in existence.

BEATRICE
It is pretty great, isn't it?

CONRAD
Sort of tastes like any other cigarette.

BEATRICE
How about the smell, right?

CORNAD
Smell? Smells like any other too.

BEATRICE
I mean, maybe I'm missing......something.

CORNAD
You don't get it. You just don't get it.

BEATRICE
I'm going to take two then.

CORNAD
Oh, that's good. That's healthy.
 (As the day wore on, Beatrice was playing hard to get.
Conrad's pseudo-intellectual banter was wearing thin, and so he
decided to proceed to plan B, get her drunk.)

CORNAD
Well, I know you don't drink, but they make an incredible Tom Collins,
okay?

BEATRICE
How often do you come here?

CORNAD
Uh, every once in a while. Here you go, Mr. Valmont. Lucky.
Cheers.

BEATRICE
Cheers.

CORNAD
Weird how nobody dances anymore, you know? That's funny coming
from someone who is not dancing.

BEATRICE
I don't dance.

CORNAD
You know, you're nothing like Dylan described.

BEATRICE
Why? What did he say?

CORNAD
He said you were self-inhibited and that you didn't drink.

BEATRICE
Well, a woman can wear many hats.

CORNAD
Oh yeah, what does that mean? It means a woman can be inhibited and
conservative with one man and virtually the opposite with another.

BEATRICE
Oh boy, even socialist regimes wait until their demise before they admit
such insincerity. Well, I'm not a socialist regime, I'm a woman.

CORNAD
You play that thing?
 BEATRICE
A little bit.

CORNAD
Will you play me a song?

BEATRICE
No.

CORNAD
Come on.

BEATRICE
Uh-uh.

CORNAD
Please! Beatrice.

BEATRICE
I'm not in the mood

CORNAD.
Are you going to make me beg?

BEATRICE
No. Maybe.

CORNAD
Come on, please? Just one.

(Beatrice loved the way Conrad walked into a room, the way he
waved his hands in the air every time he heard Bach, the way he
read her excerpts of Fitzgerald's short fiction before bed, the
precision with which he made a Tom Collins and a single Windsor
knot, his infallible wit and charm and the way he used words like
haberdashery, but most importantly, Beatrice loved the way he
looked at her.
Conrad loved the way Beatrice walked into a room, how she laughed
at his jokes no matter how convoluted or juvenile they seemed, the
way she bit her lip the moment before she played the piano, the
softness of her skin, the yellow in her eyes, the mole on her thigh,
but most importantly, Conrad loved to look at her.
Unfortunately, there were still two unavoidable problems,
Dylan, and that Conrad was broke, but most importantly that he was
lying concerning both.)
 CONRAD
Did you ever notice that when people become happy, they pack on a few
extra pounds?

BEATRICE
What are you trying to say?

CONRAD
No, no, no, nothing about you, Angel.

CONRAD
No, no, no.
I'm just, I'm making an observation.

BEATRICE
Oh. Are you saying that all fat people are happy?

CONRAD
Not at all, no.

BEATRICE
I'm merely stating that there are two categories of fat people, there is
happy fat and there is just fat.

CORNAD
No, no, no. Please.

BEATRICE
Just one. Just give me a little space.

CORNAD
I'm trying to cook, you know, it's not natural.

BEATRICE
Hey. That water is brown. That can't be healthy.

CORNAD
That's how I like it.

BEATRICE
Really?

CORNAD
Yep. Want me to get that?

BEATRICE
Nope.
 CORNAD
Well, how am I supposed to wash my hands?

BEATRICE
There's egg all over them.

BEATRICE
Hey, Dylan. Uh, no, not doing anything.

DYLAN
Oh, tonight?

BEATRICE
Uh, oh, oh, can you hang on one second?

DYLAN
He wants to take me to the theater tonight and he wants me to bring a
date for you.

BEATRICE
I'm, I'm not that good of a liar.

DYLAN
I sincerely doubt that.

BEATRICE
No, I'm sorry, we can't... I can't.

DYLAN
You did? Oh, that's so nice of you.

BEATRICE
Okay, well then, I'll see you at 7.

DYLAN
Okay, bye.

BEATRICE
There was nothing I could do. This is a bad idea.

CORNAD
I don't understand why you and Dylan always have to get into these
prepubescent competitions of which he always loses.

BEATRICE
I resent that. You know, I make a conscious effort to stay out of all forms
of competition with him.
 CORNAD
Well, you're uh, track record proves otherwise. Well, this girl is
important. Let me know if there's anything I can, um, I can do.

BEATRICE
Have you heard anything?
I can't get anyone to return my calls.

CONRAD
There are rumors, just rumors.

BEATRICE
I don't want to get into details, but I've only got 36 hours of clean
underwear left.

CONRAD
I've got no idea what to do, you know?
I feel like Napoleon after Waterloo, dying in exile on the coast of St.
Helena.

BEATRICE
It's going to be all right.

CONRAD
You think?

BEATRICE
I promise you. It's going to be all right.

CONRAD
All right. Listen, I need to take the antiques.

BEATRICE
You don't need to take everything.

CONRAD
They were in my family, and they belong to me.

BEATRICE
Your family, your family, I paid... That desk was from Marie Antoinette!

CONRAD
Oh, please!

BEATRICE
Yes, it was.
 WOMAN at GALLERY
I'm sorry, sir. No one picked up. Is there another number you'd like to
try?

CONRAD
Um, no, no, that's okay.

WOMAN at GALLERY
That's fine. Thank you.

CORNAD
I think that's a pretty good parent over there. Uh-hmm.
She's very uh, opinionated and judgmental...

BEATRICE
I told you this was a bad idea.

CORNAD
Shut up, shut up! Well then, tell me about it.

BEATRICE
Seriously?

CORNAD
Yes, seriously, of course!

BEATRICE
Here I am, I'm leaving.

CORNAD
Is this a joke?

BEATRICE
What a pitiful advocate you are!

CORNAD
Speak, whether it's a joke or not.
Uh, uh, why are you looking all around the room like that?

BEATRICE
Oh, you, you really are in a temper.

CORNAD
I wish to take a lover, or if not a lover, at least a cavalier. Whom do you
suggest? I shall abide by your choice from, from tomorrow, from this
 evening, whoever has the fancy to sing beneath my window will find my
door ajar.

BEATRICE
Well...

CORNAD
Well, nothing to say? Marry me! I sure don't like the way you're looking at
Dylan tonight.

BEATRICE
I am not doing anything.

CORNAD
Okay, maybe it's me, but I don't know.

BEATRICE
Just stop it!

CORNAD
I didn't even understand any of the Parisian speech.

BEATRICE
I think they were Canadian.

DIDIER (Hemming’s Waiter)

Bonsoir, Monsieur Valmont.

CONRAD
Hello, Didier.

DIDIER
Your usual table is waiting.

CONRAD
Great, thank you.

DIDIER
Will you be paying tonight or putting it on the books?

CONRAD
It will be on the books, and that goes for the whole table. So... Ah, very
well.

DIDIER
Please, right this way.

BEATRICE
Bonsoir.
 CONRAD
No, it's just a little bit, I'll just have a little.

BEATRICE
What did you think?

CONRAD
I don't know.

BEATRICE
I felt that it was sort of pretentious.

CONRAD
Uh-hm. It seemed like everyone who was in the theater was just there to
be seen.

BEATRICE
There to be seen?

CONRAD
It was a theater, it was pitch black in there. How am I supposed to care
about a group of over privileged, affluent types who go gallivanting
around without any sort of a moral compass.

BEATRICE
Yeah, affluent have plenty of problems.

CONRAD
I'm a mess.

BEATRICE
I'm sorry, but I'm very sensitive to an audience's reaction, and I couldn't
get into it. If they all jumped off a bridge, would you join them?

CONRAD
I hate that analogy, I really do, but maybe. Maybe there's a reason for
why they're all doing that. Maybe the bridge is about to explode and no
one told me.

BEATRICE
That's a good point.

CONRAD
And just how am I supposed to sympathize with these characters? No
one suffers any consequences for their actions, no one learns anything,
and nobody changes.
 BEATRICE
It was a satire.

CONRAD
I didn't get that at all.

BEATRICE
I love this place. It's so chic.

CONRAD
Wait, I thought you said that the door policy was discriminatory and this
place was insipid.

BEATRICE
Well, I did say that, but that was before I came inside.

CONRAD
I'm going to go. Count to five and then follow me.

DYLAN
Oh, are you wearing perfume?

JOCELYN
Excuse me?

DYLAN
Don't you feel a little bit strange about being an artist in a world that's
already so full of art?

JOCELYN
Isn't that sort of a waste?

DYLAN
I forget, what do you do?

JOCELYN
I'm getting a doctorate at Columbia in postmodern criticism.

DYLAN
Ugh, for me I think that people who are creative are really just indulgent.

JOCELYN
There's only so much, and we don't, we don't need any more, and there
are so many people who are without, you know, you should just be a
farmer.
You can always tell what someone thinks of you by who they set you up
with.

DYLAN
The only reason that I'm dancing with you is because I'm incredibly
drunk.
I despise you and everything that you stand for.

JOCELYN
Where are Conrad and Beatrice?

DYLAN
I don't know. You want to get another drink?

JOCELYN
You're a bit of a philistine, aren't you?

DYLAN
I'm sorry, wait, tell me your name again.

JOCELYN
Jocelyn.

DYLAN
Are you kidding me? I just got out of a three-year relationship with a
Jocelyn. Do you want to sleep over?

JOCELYN
Hm. Your place or mine? I live in a dorm.

DYLAN
Definitely mine. You know, I realized something the other day. Usually
the women that I like as human beings, I'm not sexually attracted to, and
the ones that I'm sexually attracted to, I don't particularly like as human
beings. On the rare occasion when one of them falls into both categories,
they usually have a boyfriend or a husband.

JOCELYN
What are you trying to say?

DYLAN
I'm trying to say, what I'm trying to say is, you know, it's great that you
don't have a boyfriend.

JOCELYN
Oh, but I am married. Is that a problem?

DYLAN
You're a cheater though.
 JOCELYN
Oh, uh-huh, yeah. Right?

BEATRICE
I've got to tell Dylan. I've got to tell him, right?

CONRAD
You tell him, you just come right out and you just let him know, you just
tell him.
You've got to tell him. You've got to tell him, got to tell him. You've got to
tell him.
Oh God! This was it. (This was the moment Conrad would right his
wrongs.)

CONRAD
Hey. (This was the moment he would bare his soul to his only friend.)

DYLAN
What's going on?

CONRAD
(This was the moment Conrad would ask for forgiveness.)
Nothing, nothing, nothing at all.

DYLAN
What? Does something seem like it's going on? Yeah, seemed like you
were about to say something.

CONRAD
No, uh-uh, no, no, not at all.

DYLAN
Where's uh, friend?

CONRAD
Oh, you mean Jocelyn?

DYLAN
No, the friend.

CONRAD
Yeah, the friend's name is Jocelyn.

DYLAN
Oh, really? Ironic. I don't want to talk about it.
 CONRAD
Didn't have sex with her, huh?

DYLAN
No, I didn't have sex with her. I had to talk to her all night. She only left
half an hour ago. It was horrible.

CONRAD
So what happened last night?

DYLAN
What happened was that it was amazing, and we talked until the sun
came up!

CONRAD
That's amazing! I have something I have to ask you.

DYLAN
Yes.

CONRAD
Are you sleeping with Beatrice?

DYLAN
Uh... No, no, no.

CONRAD
Good. Good man. Something I'd like to ask you. May I sleep with
Beatrice?

DYLAN
Definitely not! No!

CONRAD
Got something I'd like to tell you.

DYLAN
What is it now?

CONRAD
Beatrice and I are already together.

CONRAD
Dylan! Dylan! Dylan!

DYLAN
I'll kill you!
 CONRAD
Easy, easy! Now as we ease into adulthood, sometimes a good stiff drink
is the only excuse we have

DYLAN
for committing the atrocities... Ease into adulthood?

CONRAD
Yes. Now come on.

DYLAN
We're nearly 40!

CONRAD
I said I was sorry. Okay? I was going to...

DYLAN
You're a selfish asshole. Now hang on.

CONRAD
Selfish? Dylan, you're the one that's selfish. I might actually have a shot
with her, okay?

DYLAN
She could be the one. The one!

CONRAD
What are you, 14?

DYLAN
It's not charming anymore, Conrad.

CONRAD
I need you to sleep somewhere else tonight.

DYLAN
You're kicking me out?

CONRAD
And you realize by kicking me out, I'll probably move in with Beatrice?
Sometimes you're your own worst enemy.

(Conrad's ability to trust had been marred by years of betrayal and

deceit, for others had only dated or befriended him to gain access to
his wealth. He had been quoted on numerous occasions as saying
 that no one could be trusted. What he forgot to add was that
included himself.)

CONRAD
Well, I feel very, very conflicted.
I-I like the idea of living up at the summer home, you know, upstate, the
life of a reclusive writer. I really do, but I'm allergic to the grass and the
clean air, the bees, the ticks, the badgers, bunch of wildlife.

BUNNY
What are you trying to say, Conrad?

CONRAD
I'm going to move in with Beatrice.

BUNNY
Oh, oh, that's great news.

CONRAD
Thank you.

BUNNY
Does she know that you're broke and have no place else to go?

CONRAD
Yes.

BUNNY
Don't you feel guilty about Dylan?

CONRAD
Obviously, but you know, this is actually a very small city, and if you
meet an attractive girl, the chances are great that one of your friends has
already slept with her or wants to.

BUNNY
Hm. You're lying to yourself, Conrad.

CONRAD
I know. I'm okay with it.

(Ding-dong.)

BUNNY
Hi.

BEATRICE
Bonjour, mon amour.
 CONRAD
What's going on?

BEATRICE
I'm moving in.

CONRAD
What happen to Dylan's?

BEATRICE
I was allergic to his sheets, Egyptian cotton. I have Egyptian cotton.

BUNNY
Well, we'll have to do something about that.

CONRAD
I think I'm in love with you.

BEATRICE
How? It's only been two days. Then I'm in love with the idea of you.

CONRAD
Not the actual me?

BEATRICE
Well the idea of someone is always better.

CONRAD
You can't have sex with an idea.

BEATRICE
I'm telling you, don't put a scratch on it.

CONRAD
I won't. Your father is going to kill me.

BUNNY
She's waiting.

CONRAD
Oh, there it is.

BUNNY
Yeah, what do you see there?

CONRAD
Well, I mean it's obvious, kind of.
 BUNNY
Right. Explosive, it's explosive.

DYLAN
A car, right?

CONRAD
And do you see just the headlights? It's a female orgasm.

DYLAN
I think it's kind of clear. I don't...

CONRAD
That the driver is having?

BEATRICE
What's wrong?

CONRAD
Um, nothing.
(Sitting at Beatrice's piano, Conrad quietly read Dylan's note.
“In lieu of unnecessary explanations, please enjoy this Volvo.”
Conrad began to feel an odd sensation, one of guilt. He had never
felt the emotion before.)

CONRAD
I think I have a brain tumor.

BEATRICE
What?

CONRAD
Nothing. I'm not, I'm not in the mood. I'm sorry. Sorry. Sorry.

BEATRICE
You're never in the mood anymore. We had sex last night.

CONRAD
Yeah.

BEATRICE
You seemed a little distant.

CONRAD
Oh, we're just going through a dry spell.

BEATRICE
Dry spell?
 CONRAD
That's all.

BEATRICE
Okay.

(It's only been a week. Watching Beatrice as she delicately played

the piano,
Conrad felt horrible for his ceaseless deception. For a moment he
contemplated admitting his impoverishment. Then the moment
passed)

CONRAD
How can I be with someone that doesn't appreciate Bach or a Valmont.

BEATRICE
This is a classic story, Conrad.

CONRAD
Pygmalion.

BEATRICE
Have you even read Pygmalion.

CONRAD
This has nothing to do with Pygmalion.

BEATRICE
You should revisit that. Or get the notes or I'll read it to you. I've seen My
Fair Lady.

CONRAD
Okay, Beatrice, stop right there. Don't move, okay? Don't move. Like
that. Beautiful, you're beautiful.

BEATRICE
Give me love, give me love.

CONRAD
You love me?

BEATRICE
(Smile.)
Ah, voil.

CONRAD
You love me, you love me. Okay. Show me, show me. Show me you love
 me.
Show me.

BEATRICE
Okay. Love. Hate, now, like that.

CONRAD
Beautiful, beautiful. Love......hate. Love. Voil, one more?

(Chapter one. Greece is a place he had visited many times in his

mind, but on this day... Jumping forward, chapter three. Chapter
four.)

DYLAN
So how long are they going to be remodeling the Valmont?

BUNNY
Uh, a couple months maybe, I think.

DYLAN
What?

BUNNY
Sometimes they take a couple months. Yeah.

DYLAN
Months? You said weeks.

BUNNY
Well... Oh.

MARIANNE
Hey.

BUNNY
Hey. I got your gift.

DYLAN
Hm. Well, as good as it is to bump into you guys,
I have to go. I've got my opening tonight.

MARIANNE
What part of town is that in?

DYLAN
Whitman Gallery.
 MARIANNE
Maybe we'll see you there. Don't know the time.
Who's that girl?

DYLAN
Jocelyn.

MARIANNE
That's not Jocelyn.

DYLAN
I know, the uh, the other Jocelyn. Let's get in this car, come on. I've got
to go.

(Conrad had often professed that he led a life of the mind.

Unfortunately for him, his mind had been damaged by years of
abandonment, philandering, Tom Collins, and a two-pack-per-day
nicotine habit, not to mention an unhealthy Oedipal complex. The
weight of his guilt had finally become too heavy. The incessant
charade could go on no longer.)

CONRAD
What's wrong?

BEATRICE
Where were you? You left me in the concert.

CONRAD
You stayed, huh? Actually, I did. It was beautiful. We're out of cigarettes.

BEATRICE
Where are we going?

CORNAD
To The Valmont.

BEATRICE
Why are we hiding behind the bushes?

CORNAD
I need you to follow me on the count of three...

BEATRICE
What?

CORNAD
Ready? Go!
 CORNAD
Timothy. Frederick.
I don't believe you're supposed to...
Hello.

TIMOTHY
Mr. Valmont...

FREDERICK
Mr. Valmont.

TIMOTHY
Stop them!

CORNAD
What is going on?

FREDERICK
This is crazy.

CORNAD
I know. Isn't it fun?

TIMOTHY
Where are we going? Why are we...

CORNAD
Sh-h-h-h! Come on! Please turn on the lights.

TIMOTHY
What is happening?

CORNAD
It's a game. Hey, if you see my mother's jewels, get those.

TIMOTHY
What? No, we should not do that.

CORNAD
Sh-h-h-h! Uh.
I showed her, that washed-up debutante.

FREDERICK
Shit!

CORNAD
Really, really good work, Timothy.
 CORNAD
It's Frederick, sir.

FREDERICK
Yes, Frederick. Sorry.

JEAN-LOUISE
Yeah, I know. I thank you a lot in really picking up the pace.
Now you know where to return Mother's jewels, right. That's the
penthouse, the East wing, the Rhodesian cabinet, third drawer.

CORNAD
I've got my cigarettes.

MARIBEL
Please tell Bernard that I'm very sorry.

JEAN-LOUISE
I'll be right there, Honey.

BEATRICE
What was all that about? I'm not sure I even know anymore. Conrad,
what is going on?

CONRAD
You know, Beatrice, I only moved in with you because I've got no place
else to go. Okay? I'm broke.

BEATRICE
What do you mean?

CONRAD
I have nothing. I was kicked out of The Valmont. My parents cut me off.

BEATRICE
Conrad, you're nearly 40 years old.

CONRAD
Well, that's completely irrelevant. I've got separation anxiety,
abandonment issues.

BEATRICE
Are you saying you've been lying to me this entire time?

CONRAD
Yes, but I'm not the only liar. I saw you with Dylan earlier today.

BEATRICE
What? You've been following me now? I-I was trying to patch things up
between you. God, grow up! No, you are not honest with yourself. That's
your problem.

CONRAD
Okay? You're always acting so virtuous, you're always talking about how
you want to be a bohemian musician. In the end, you're just a model.

BEATRICE
But at least I have a job. You have just managed to coast through life
without worrying about money or anything else pertaining to reality. You
are just a philandering narcissist who is so afraid of being alone because
when you are alone, you are going to realize how empty your life is, and
you know what, I should have gone with Dylan because between the two
of you, he was the nice one. You are insufferable!

CONRAD
Didn't seem to bother you when I was flipping the bill.

BEATRICE
All right. You're just like the rest of them.
You are only with me for the money. I am the only girl you have ever been
with who wasn't just in it for the money, and besides, you were broke.

CORNAD
Well, you didn't know that.

(Staring into the grill of a bread truck,

Conrad couldn't help but think of the poor woman who had been
diagnosed with witzelsucht, the joking disease. In a daze, he
suddenly began to speak fluent German, though he had never
studied the language. He promptly lost consciousness.)

JEAN-LOUISE
Where does it hurt?

MARIBEL
Uh, uberall. Conrad's worst fear had come true. He was all alone.

MARIBEL
Hello? Who's this?

CONRAD
It's your son, Conrad.

MARIBEL
Hi. Connie. What's the... Where are you? What's that noise?
 CONRAD
Can't you see I'm preoccupied. When are you coming home?

MARIBEL
I don't know, Darling. Divorce of this stature can take some time.

CONRAD
How long do you think? Look, I have to go. Maybe this will all blow over.
I just saw the most amazing performance piece where a husband and
wife tied themselves together with a 10-foot rope for an entire year. It was
a commentary on the modern relationship. That is the most beautiful
metaphor
I've ever heard. What happened to them? They got a divorce.

MARIBEL
Hm. I heard you went out with Beatrice earlier.

CONRAD
She was trying to get me to do what we're doing right now.

CONRAD
Dylan, I guess you were right.

DYLAN
About what?

CONRAD
Sometimes I am my own worst enemy.

DYLAN
What happened to your face?

CONRAD
I got hit by a truck.

DYLAN
Uh-hm. Zeus is dead.

CONRAD
You could fetter my leg, but Zeus himself cannot get the better of my free
will.
And I want my Volvo back, that was just a joke. So how are things with
Jocelyn?

DYLAN
Oh, we broke up again. This time it's for good. I think she was stealing
 from me.
That's rough. How are things with Beatrice?

CONRAD
Not so good.

DYLAN
No? Well, it's not a surprise considering what an asshole you are.

CONRAD
I resent that.

DYLAN
Well, you should. It was an insult.

CONRAD
You're not still mad at me, are you?

DYLAN
Not at all... Maybe a little. I really thought Beatrice
and I were going to last.

CONRAD
What is it?

BEATRICE
Hi.

DYLAN
Hello. Now, you two seem like fans of literature.

BEATRICE
I have got a very impressive library at my apartment.

DYLAN
Really?

BEATRICE
Uh-hm. Do you want to see my Balzac collection? You sure you don't
want to do anything?

DYLAN
I can't, sorry. It would be a misrepresentation of how I feel inside. I don't
even know what that means.

BEATRICE
Well, that's exactly the problem.
 DYLAN
You can, uh, keep the Volvo. Beatrice, it's Conrad.

BEATRICE
Give me a call.

CONRAD
Call me back.

BEATRICE
What do you see, Conrad? Sex. And now?

CONRAD
Beatrice. I mean, sex. I mean, wait, Beatrice.

BEATRICE
Now? Sex. This isn't healthy, Conrad.

CONRAD
I know that.

(Meanwhile, Beatrice visited her Upper West Side mystic in an

attempt to find similar answers to her quandary. Unfortunately, her
prospects were less than ideal.)

CONRAD
I mean, I-I've only just moved in. She's already kicked me out. I don't
know what to do.

OCTAVE
Sometimes we have to make sacrifices for the ones we love.
This literary moral code of yours is completely unrealistic. This isn't a
Jane Austin novel, and I'm certainly not Emily Post. You have the moral
code of a Bolshevik, Conrad.

CONRAD
I mean, I'm, I'm having an existential crisis here. I can't stop thinking
about her.
I think I need to see a doctor.

OCTAVE
Conrad, I am a doctor.

CONRAD
Beatrice?
Beatrice?
Note to self, upon a second reading, my analyst was correct. It has
everything to do with Pygmalion.
 CONRAD
Dylan?

DYLAN
Wake up!

CONRAD
What? What is it?

DYLAN
I need Jocelyn's phone number.

CONRAD
Magnifique. Love, hate.

DYLAN
Stop! Don't move. Voil. Superb, superb.

CONRAD
Huh. Okay, let's uh, let's take a break. Hm.

BEATRICE
Hi. What happened to your head?

CONRAD
I got hit by a truck. Yeah. I like this music selection. Whose is it?

BEATRICE
What are you doing here?

DYLAN
I'm quitting. The whole act.

BEATRICE
Well, it wasn't the act that bothered me. It was the cover-up. Well, the act
was the cover-up. I have to go back to work.

CONRAD
Can I have one hour? I just need one hour.

BEATRICE
Okay. One hour.

CONRAD
Yeah, thanks.

BEATRICE
I'll be right here.
 CONRAD
I hate surprises.

BEATRICE
You're going to like this one.

CONRAD
I don't understand. It's for both of us. Don't get too excited. It's just a
rental.

BEATRICE
You didn't.

CONRAD
I did.

BEATRICE
How?

CONRAD
There's no leaks in the ceiling. Got his and her bathrooms. This water is
not brown.

BEATRICE
What's wrong?

CONRAD
Nothing.
So, did you actually go to the Picasso retrospective last week?

BEATRICE
It was horrid.

CONRAD
I know. I'm, I'm sorry, but I like his work, pretentious and adolescent.
You know, if he would just take a step back and have someone...

BEATRICE
Have you ever noticed that the people who make fun of people for being
pretentious are usually the pretentious ones? Have you ever noticed how
people only lash out on others because they're afraid of what they see if
they see themselves?

CORNAD
What if I tell you I love you? Does that mean I actually love myself?

BEATRICE
Exactly.
 CORNAD
I love you.

BEATRICE
I love you, too.

(It was at that moment, Conrad and Beatrice knew that it was over.
Beatrice couldn't help but feel sympathy for Conrad, not love, but
sympathy. One can often get confused for the other. As the two
exited the station, they waved good-bye to one another as usual. It
would be the last time they would ever see each other. It seemed
there was an unavoidable distinction between Conrad and Beatrice
that had rendered them incompatible. She was a hopeless romantic,
and he was romantically hopeless.
By the week's end, Conrad had received a telegram informing him of
his parents' reconciliation. Their week-long divorce had grown
tiresome, and they were to return home in two days' time. As much
as Beatrice had tried, she was unable to forget Conrad's actions.
Note to self, see doctor about possible brain tumor.
Conrad went on to keep the empty apartment as a sort of metaphor
for the void left by Beatrice. He told no one of its existence. It
wasn't until years later that Conrad would realize love was just like
communism, it was a great idea but never quite worked out. Conrad
may have told others that he was in search of a girlfriend, a future
wife, but it was merely rhetoric.
Conrad's search was for an idyllic beauty he would never attain.
Conrad often became attached to the idea of something and not the
actual thing itself.
Back in The Valmont with his credit cards once again active, Conrad
resumed the life he was accustomed to living, but something was
different.)

BUNNY
Like this one, right there. Get that one.

CORNAD
I missed it. Tell me why the hell are we fishing with spears?

BUNNY
What's wrong?

CORNAD
It's been a long week.

(With the matriarch of The Valmont household once again home,

Conrad was able to let out a decade of emotions and fears, for she
had long been the only person he would truly confide in.)
 CORNAD
I think there's something wrong with me.
(In an attempt to change his ways...)
Ding dong!

(...Conrad started down the road to redemption with the simple

gesture of quitting cigarettes, of getting his father's Austin-Healey
out of hock, and on one spring afternoon while Dylan was out,
Conrad snuck into his friend's apartment to finally repay him. He
not only monetarily compensated Dylan for his loan, but also
included the keys to his Volvo and an inflation-adjusted interest of
20%.)

CONRAD
These are classic symptoms.

OCTAVE
I think you're a closet agoraphobic.

CONRAD
I'm terminating our sessions.

OCTAVE
Conrad, can we talk about this later? I'm in the middle of a session.

CONRAD
I don't care. I'm getting worse. Beatrice broke up with me and I got hit by
a truck.
Look at me, I'm a mess.

OCTAVE
Why do you think that is? Your bad advice. Conrad, I've been your
therapist since you were nine years old.

CONRAD
Indeed, I think it's all that bad advice that made me the bad person I am
today.
It's going to take a very long time to recover from this. Farewell.

OCTAVE
Perhaps he had the wrong office. Hypothetically speaking, do you think
someone could have a Napoleonic complex without being particularly
short?

CONRAD
I don't believe so.
 OCTAVE
What would you call this hypothetical person then? An egoist?

CONRAD
Egoist. I think I'm an egoist.

OCTAVE
I've never told you this before, but... you're a horrible writer.

CONRAD
I know.

(After several years of deliberation and public speculation, Conrad

had finally finished his sophomore effort. His inability to complete
the novel had simply stemmed from his lack of understanding its
central character, of course. The central character was himself. The
book was published in the spring and received mixed reviews. He
proceeded to wave good-bye to Abigail as if routine, for he was
convinced that this was not the last time that they would ever see
each other. Harold went on to keep the empty apartment as sort of a
metaphor for the void left by Abigail.)

BUNNY
He told no one of its existence.

CONRAD
Thank you.

BUNNY
How do you respond to the criticism that your novel is inherently
derivative of the works of Fitzgerald and Edith Wharton?

CONRAD
Thank you.

BEATRICE
Mr. Valmont, I'm sorry, but I found the book and the central character
adolescent and his problems grossly inconsequential by modern social
standards. Don't you find his change at the end slightly contrived and
frankly, sophomoric. I completely disagree.
I find him quite likable and his change rather significant.

(At a matinee performance of Les Caprices de Marianne, the play

which the once tightly knit group had all seen together, Dylan ran
into Beatrice for the first time since her split with Conrad.
This was not a coincidence, however, for each had mysteriously
received a ticket two days prior. Conrad had sent the tickets in an
attempt to pay penance for his actions the previous week. The two
then went to a small bar in the West Village to speak about the play.
 They both enjoyed it and had seen it with a nostalgia for their old
times together. They made love that night and have been together
ever since. Dylan finally read Jane Austin's pre-Victorian classic
Sense and Sensibility. He found it neither sentimental nor
unrealistic, but actually quite relatable. Soon after their encounter
outside the Hudson Playhouse, Beatrice gave up her modeling
exploits and formed a jazz ensemble with Dylan. They achieved
moderate success and were happy. Consequently, they both put on
15 pounds. Conrad and Dylan continued their weekly conversations
over squash, and for the first time, Dylan won. Conrad saw this as a
sign of change. Dylan, however, merely felt a sense of satisfaction.
Conrad would go on to donate a large portion of his wealth to
various charities and philanthropic endeavors.
Unfortunately, it took losing everything for Conrad to finally
appreciate the economic stability he once had. He wasn't going to
take it for granted this time.)

DYLAN
I really despise the whole idea that by being over privileged and well
educated, that one has to live up to certain lofty expectations. For one,
you have to live under the proverbial shadow of said father and-or
namesake. Two, lofty expectations can only lead to failure, hm?
And three, more scientifically and mathematically speaking, if your
parents were a great success, I think a betting man would say that the
chances of lightning striking twice, especially in consecutive generations,
is very slim.

CONRAD
You do realize you're talking to your chauffeur.

DYLAN
Touch.

(After the lukewarm reception of his second novel, Conrad began to

spend more time in the country, to focus on the work, for it was
only there that he felt at ease. It appeared Conrad's allergies to grass
and clean air had been completely psychosomatic. He began to
reflect back on his week with Beatrice and thought of the old adage
"Tis better to have loved and lost than to have never loved at all."
Conrad reluctantly agreed, for he still thought of Beatrice often. At
the ripe age of 42, Conrad Valmont was finally growing up.)