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Anonymous committed 352c30a

More unicode punctuation.

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Files changed (5)

     - fix the formatting of the fortunes (especially IRC fortunes) in 
     Akregator.
 
+* Add some references to general Objectivism stuff on humour/TOWTF.
+
 * Add Term::ReadPassword to Task-Sites-ShlomiFish .
 
 * Update the instructions for how to build the homepage:
 
 http://www.shlomifish.org/lecture/Perl/Lightning/Opt-Multi-Task-in-PDL/
 
+* Convert "The Enemy and How I Helped to Fight It" Hebrew/English to unicode 
+punctuation.
+
 Minor Problems:
 ---------------
 

bin/t2_find_ascii_quotes.bash

 
 find dest/t2-homepage/ -regextype posix-extended -regex '.*x?html' -print | 
     sort | 
-    grep -vP '(catb-heb|WebMetaLecture/slides/examples|t2-homepage/rewrite\.html|humour/by-others/|humour/bits/COBOL-the-New-Age|humour/bits/Mastering-Cat|humour/fortunes/nyh-sigs|humour/fortunes/sharp-perl|humour/fortunes/sharp-programming|humour/fortunes/|humour/human-hacking/arabic-v2|humour/human-hacking/human-hacking-field-guide/|humour/human-hacking/human-hacking-field-guide-v2-arabic/)' | 
+    grep -vP '(catb-heb|WebMetaLecture/slides/examples|t2-homepage/rewrite\.html|humour/by-others/|humour/bits/COBOL-the-New-Age|humour/bits/Mastering-Cat|humour/fortunes/nyh-sigs|humour/fortunes/sharp-perl|humour/fortunes/sharp-programming|humour/fortunes/|humour/human-hacking/arabic-v2|humour/human-hacking/human-hacking-field-guide/|humour/human-hacking/human-hacking-field-guide-v2-arabic/|humour/TheEnemy/TheEnemy_eng\.html|humour/TheEnemy/The-Enemy-English-rev4\.html|humour/TheEnemy/The-Enemy-English-rev5\.html|humour/TheEnemy/The-Enemy-English-rev6\.html|humour/TheEnemy/The-Enemy-English-v7/|humour/TheEnemy/The-Enemy-Hebrew-v7\.html|humour/TheEnemy/The-Enemy-English-v7\.html|humour/TheEnemy/TheEnemy\.html|humour/TheEnemy/The-Enemy-rev[456]\.html)' | 
     temp_filter |
     xargs -d '\n' perl bin/find_ascii_quotes-xmlp.pl > results.txt

lib/screenplay-xml/txt/TOW_Fountainhead_1.txt

 
 [<b>Written by:</b> <a href="$(ROOT)/">Shlomi Fish</a>.]
 
-[<b>Note:</b> This is not a real "Friends" episode, but one written by Shlomi Fish. Being "Friends" fan-fiction, Fish disclaims all copyright claims to some of the characters and concepts presented here. This work also serves as a parody of the book "The Fountainhead" by Ayn Rand, which is also copyrighted, and the characters and concepts from it belong to the Ayn Rand estate.]
+[<b>Note:</b> This is not a real <i>Friends</i> episode, but one written by Shlomi Fish. Being <i>Friends</i> fan-fiction, Fish disclaims all copyright claims to some of the characters and concepts presented here. This work also serves as a parody of the book <i>The Fountainhead</i> by Ayn Rand, which is also copyrighted, and the characters and concepts from it belong to the Ayn Rand estate.]
 
-[The girls' apartment: Ross and Chandler are by the chair watching T.V., Joey is reading a book on the sofa. Monica is at the counter, preparing food. Rachel is sitting on a stool by the counter.]
+[The girls’ apartment: Ross and Chandler are by the chair watching T.V., Joey is reading a book on the sofa. Monica is at the counter, preparing food. Rachel is sitting on a stool by the counter.]
 
-Ross: I can't believe he could not tell the other guy wasn't really a dinosaur.
+Ross: I cant believe he could not tell the other guy wasnt really a dinosaur.
 
 Chandler: Well, cartoon characters usually have a difficulty seeing through disguises.
 
 
 Rachel: Which book? [bends over to look at the open pages]
 
-Joey: "The Fountainhead".
+Joey: <i>The Fountainhead</i>.
 
-Rachel: <b>The</b> "The Fountainhead" by Ayn Rand?
+Rachel: <b>The</b> <i>The Fountainhead</i> by Ayn Rand?
 
 Joey: Yes.
 
-Monica: So, you're dedicating some time to catch up with your reading?
+Monica: So, youre dedicating some time to catch up with your reading?
 
-Joey: Actually, I've already read it once, but I'm reading it again because there's a play brewing about it, and I have an audition for it today.
+Joey: Actually, Ive already read it once, but Im reading it again because theres a play brewing about it, and I have an audition for it today.
 
-Ross: You've already read it?
+Ross: Youve already read it?
 
-Joey: Yeah [puts the book down]. I was in acting school, and the guys decided to throw a discussion on it. So, I decided that I'll read the book so I can make a good impression on the ladies if y'know what I mean…
+Joey: Yeah [puts the book down]. I was in acting school, and the guys decided to throw a discussion on it. So, I decided that I’ll read the book so I can make a good impression on the ladies if y’know what I mean…
 
 Rachel: Yep, we know what you mean.
 
 Monica: So, did you get laid that night?
 
-Joey: No. I spent the entire night discussing "The Fountainhead". [pause] Interesting book.
+Joey: No. I spent the entire night discussing <i>The Fountainhead</i>. [pause] Interesting book.
 
 Chandler: Must have been one of the most stimulating nights of your life.
 
 
 Phoebe: [Entering.] Hiaaa, did I miss anything?
 
-Chandler: Well, Joey has an audition for a play version of  "The Fountainhead".
+Chandler: Well, Joey has an audition for a play version of  <i>The Fountainhead</i>.
 
 Phoebe: Oooh, [approaches] good for Joey [pats his head]. Did you read it already?
 
-Joey: Hey, know what we can do, so I can get prepared for the audition? Let's role-play our own version of "The Fountainhead".
+Joey: Hey, know what we can do, so I can get prepared for the audition? Lets role-play our own version of <i>The Fountainhead</i>.
 
 Rachel: Our own version? Why would we want to write our own version of it! This book is great.
 
-The others: "Yes." "One of the best books I ever read." "Can't get better than this"
+The others: "Yes." "One of the best books I ever read." "Cant get better than this"
 
 Joey: Come on, if you wanted to write it today, would you write the same book?
 
 [Silence. ]
 
-Phoebe: Well, for one thing: didn't it bother you that Dominique Francon, the main female character, didn't do anything in the best years of her life, except like… sleeping with people?
+Phoebe: Well, for one thing: didn’t it bother you that Dominique Francon, the main female character, didn’t do anything in the best years of her life, except like… sleeping with people?
 
-Ross: Yeah. All the characters in fact do nothing in the 20's and 30's, except maybe build some buildings.
+Ross: Yeah. All the characters in fact do nothing in the 20s and 30s, except maybe build some buildings.
 
-Joey: If you ask me: the book is too slow-paced for the 90's. I mean, in the 60's it may have worked but we're in the information age now.
+Joey: If you ask me: the book is too slow-paced for the 90s. I mean, in the 60s it may have worked but were in the information age now.
 
-Ross: Joey, "The Fountainhead" was written in 1943.
+Ross: Joey, <i>The Fountainhead</i> was written in 1943.
 
-Joey: Yeah, but it was still good enough in the 60's right? OK: our own version of "The Fountainhead" - here's what I think it should look like
+Joey: Yeah, but it was still good enough in the 60s right? OK: our own version of <i>The Fountainhead</i> - heres what I think it should look like
 
-[ The screen becomes liquidlike and blurry to indicate an imagined sequence. Then: a dramatic music is heard and a black and white screen appears with the title "The Fountainhead" and several building around. The slide changes to "Starring: Chandler Bing, Phoebe Buffet, Monica Geller" ]
+[ The screen becomes liquidlike and blurry to indicate an imagined sequence. Then: a dramatic music is heard and a black and white screen appears with the title <i>The Fountainhead</i> and several building around. The slide changes to "Starring: Chandler Bing, Phoebe Buffet, Monica Geller" ]
 
-Ross' Voice: Let's skip the opening, OK.
+Ross Voice: Lets skip the opening, OK.
 
 [The screen changes to a long shot of a provincial university and then the dean office is shown. The dean is standing in the middle holding one picture in each one of his hands.
 
 Ross enters the room in informal clothes, and with an Orange-colored hair.]
 
-[ Cut to the girls' apartment ]
+[ Cut to the girls apartment ]
 
-Chandler: Hey! How come you're playing Roark?
+Chandler: Hey! How come youre playing Roark?
 
 Ross: Cause… cause… I was the first!
 
-Chandler: Oh good, and who do we get to play? Why don't I play the overwhelmingly exciting role of Austen Heller. I'm doing it so Joey can have the role of Mike the Electrician.
+Chandler: Oh good, and who do we get to play? Why don’t I play the overwhelmingly exciting role of Austen Heller. I’m doing it so Joey can have the role of Mike the Electrician.
 
 Joey: Thanks, bud.
 
-Monica: Hey, give him some slack. We'll see how it develops.
+Monica: Hey, give him some slack. Well see how it develops.
 
 [Cut to the dean office]
 
 
 Dean: OK. Can you please climb this chair, and put it on top of the fireplace instead of the other photograph? [Roark does so, and replaces a photograph of the Partenon, with a black and white photo of the Taj Mahal]
 
-Dean: Thanks. Could you believe that it's some gigantic grave in India that no-one ever heard about?
+Dean: Thanks. Could you believe that its some gigantic grave in India that no-one ever heard about?
 
-Roark: Well, it's quite inspiring… at least aesthetically.
+Roark: Well, its quite inspiring… at least aesthetically.
 
 Dean: Well, back to why I called you here… Oh yes… about you being kicked out of this school.
 
 Roark: Yes.
 
-Dean: I'd like to let you know that I'll do everything I can so you'll be admitted back.
+Dean: Id like to let you know that Ill do everything I can so youll be admitted back.
 
 Roark: What?
 
-Dean: Mr. Roark, you have the will, character, and maybe even the talent of a genius. Therefore, I cannot afford the Stanton Institute of Technology to lose a man like you. In fact, I'd like to recommend them to extend your scholarship, so you can…
+Dean: Mr. Roark, you have the will, character, and maybe even the talent of a genius. Therefore, I cannot afford the Stanton Institute of Technology to lose a man like you. In fact, I’d like to recommend them to extend your scholarship, so you can…
 
-Roark: Sir, I'd like to leave, but thanks for your concern anyway.
+Roark: Sir, Id like to leave, but thanks for your concern anyway.
 
 Dean: Wha … wha … what? Are you sure?
 
 
 Dean: Anything I can do to change your mind?
 
-Roark: No, I feel like I've learned everything I needed to learn here.
+Roark: No, I feel like Ive learned everything I needed to learn here.
 
-Dean: Very well. [he's puzzled]
+Dean: Very well. [hes puzzled]
 
-Roark: I think I'm going to leave now. Thanks again.
+Roark: I think Im going to leave now. Thanks again.
 
-[Roark leaves the room, and on his way out meets Chandler who's wearing a black graduation cloak. ]
+[Roark leaves the room, and on his way out meets Chandler whos wearing a black graduation cloak. ]
 
 Peter Keating: Oh, hey Howard. How did it go?
 
 [Cut to Chandler? ]
 
-Chandler: Peter Keating? Me? [Thinks for a moment] Hey, does this mean I'll be role-playing the most physically attractive male character in this story?
+Chandler: Peter Keating? Me? [Thinks for a moment] Hey, does this mean I’ll be role-playing the most physically attractive male character in this story?
 
 Ross: I guess.
 
 
 [Cut to Roark and Keeting]
 
-Roark: Well, as far as you're concerned - I quit.
+Roark: Well, as far as youre concerned - I quit.
 
-Keeting: Hey - I knew this place wasn't big enough for you. What are you planning to do now?
+Keeting: Hey - I knew this place wasnt big enough for you. What are you planning to do now?
 
 Roark: Travel to New-York, and um… work for Henry Cameron.
 
-Keeting: That loser? … I mean: well, you're the architectural genius around here. Listen, why don't we get to the big apple together, and keep in touch. I'm going to find myself a nice job and all, but I suppose I can arrange you guys a commission or two. I'm good at those things.
+Keeting: That loser? … I mean: well, you’re the architectural genius around here. Listen, why don’t we get to the big apple together, and keep in touch. I’m going to find myself a nice job and all, but I suppose I can arrange you guys a commission or two. I’m good at those things.
 
 Roark: [Laconically] Yes, Peter. You are.
 
-Phoebe's voice: Oooh, now I want to continue. Let's see, yes. [ The scene
-changes to Ellsworth Toohey's home ] Keating and Roark, were not the only ones
-to arrive at New-York at that time. Catherine Halsey, Peter's valentine for
+Phoebe’s voice: Oooh, now I want to continue. Let’s see, yes. [ The scene
+changes to Ellsworth Toohey’s home ] Keating and Roark, were not the only ones
+to arrive at New-York at that time. Catherine Halsey, Peter’s valentine for
 many years, who had just lost her mother, was moving to reside with her uncle.
 The latter was Ellsworth Toohey, a creepy academic and journalist of the
 so-called "humanitarian" kind.
 
 Toohey: Catherine, my dear, come in please. You seem so cheerful despite the fact your mother died.
 
-Catherine: [Puts her suitcase on the floor.] Oh, you know… It's been two weeks, and I met this really funny woman on the train.
+Catherine: [Puts her suitcase on the floor.] Oh, you know… Its been two weeks, and I met this really funny woman on the train.
 
-Toohey: Well, as you know, I'm a very busy man, I receive very little money,
+Toohey: Well, as you know, Im a very busy man, I receive very little money,
 and my work is crucial to the welfare of, well… mankind. Still, hosting you
-is my moral duty, and I'll let you stay here and finance all your needs. I'll
+is my moral duty, and Ill let you stay here and finance all your needs. Ill
 even put you to school or college if that is what you want.
 
 Catherine: [Turns to face him.] Fuck you, Uncle Ellsworth!
 
 Toohey: I… beg your pardon?
 
-Catherine: Give me two or three days to find a job, I'll pay you the rent, and we'll share the bills. Otherwise, you'll probably use my "gratitude" to psychologically manipulate me and leave me incapable of surviving in the real world for at least ten years.
+Catherine: Give me two or three days to find a job, I’ll pay you the rent, and we’ll share the bills. Otherwise, you’ll probably use my "gratitude" to psychologically manipulate me and leave me incapable of surviving in the real world for at least ten years.
 
 [Toohey is bewildered]
 
 Toohey: Fine, pay the rent if you like. But where did you get that idea about the psychological manipulation and stuff?
 
-Catherine: Dah! It's in every second-rate romantic novel. What do you think about each of us cooking dinner on alternate days?
+Catherine: Dah! Its in every second-rate romantic novel. What do you think about each of us cooking dinner on alternate days?
 
 Toohey: Okay. Remember my cabbage pie?
 
 [Pause.]
 
-Catherine: On second thought: I'll do all the cooking.
+Catherine: On second thought: Ill do all the cooking.
 
-[ Cut to Cameron's Office door. Roark and Keating arrive there after climbing the stairs. ]
+[ Cut to Camerons Office door. Roark and Keating arrive there after climbing the stairs. ]
 
-Cameron: [Shouting from behind the door] You bastard, can't you do a basic design the right way? One day I'll have you fired. On second thought, one day I'll have all of you fired.
+Cameron: [Shouting from behind the door] You bastard, can’t you do a basic design the right way? One day I’ll have you fired. On second thought, one day I’ll have all of you fired.
 
-Keating: [Looking at the sign on the door] Well that's the place.
+Keating: [Looking at the sign on the door] Well thats the place.
 
 [Roark opens the door and they both enter. Cameron (depicted by Mr. Geller) is sitting at his desk looking at a design. ]
 
 
 Roark: Good morning, Mr. Cameron. My name is Howard Roark, and I just quit Stanton Tech so I can work for you. I have some designs which you may want to look at. [Hands him his designs.]
 
-Cameron: [While inspecting the designs] Very impressive… best ones I've seen in years. OK: you've got the job. Start working tomorrow. I'll give you 20 dollars per week.
+Cameron: [While inspecting the designs] Very impressive… best ones I’ve seen in years. OK: you’ve got the job. Start working tomorrow. I’ll give you 20 dollars per week.
 
 Keating: Sir, I was wondering if you could…
 
-Cameron: Sure thing. In that case, I'll give each of you 10 bucks a week.
+Cameron: Sure thing. In that case, Ill give each of you 10 bucks a week.
 
 [Keating shrugs, and smiles stupidly.]
 
-Chandler's Voice: With Roark by his side and with Peter Keating doing the
+Chandlers Voice: With Roark by his side and with Peter Keating doing the
 public-relations work, Cameron became the hottest architect in New-York by the
 end of the year. However, after Roark and Cameron had a long fight of whether
 the steps of a certain house should be white or light beige, Peter suggested
 Cameron, Roark and Keating smiling; Roark and Cameron fighting while Peter
 tries to calm them down; a photo of the Keating Foundation. ]
 
-[Cut to Catherine's apartment. She is hosting a book discussion with many of her female friends. Sophie (depicted by Bonnie, the friend Phoebe fixed up with ross) with long blonde hear and looking in her Victorian prime is there.]
+[Cut to Catherine’s apartment. She is hosting a book discussion with many of her female friends. Sophie (depicted by Bonnie, the friend Phoebe fixed up with ross) with long blonde hear and looking in her Victorian prime is there.]
 
-Catherine's Female Friend No. 1: So I was thinking Jane has no choice but to go back to Mr. Rochester. Otherwise, the readers will say: hey, it was a great story, but the ending is <b>so</b> out of place.
+Catherine’s Female Friend No. 1: So I was thinking Jane has no choice but to go back to Mr. Rochester. Otherwise, the readers will say: hey, it was a great story, but the ending is <b>so</b> out of place.
 
-[There's a knock on the door and Catherine rises to answer. It's Peter. ]
+[Theres a knock on the door and Catherine rises to answer. Its Peter. ]
 
-Catherine: Oh, hello Peter. Ahmm… you can't come in now.
+Catherine: Oh, hello Peter. Ahmm… you cant come in now.
 
 Peter: [With a tone of casual interest] Why, what are you doing now?
 
-Catherine: Ahmmm.. I'm having a book discussion.
+Catherine: Ahmmm.. Im having a book discussion.
 
 Peter: About which book?
 
 Catherine: Ahmmm… "Jane Eyre".
 
-Peter: Really? I love "Jane Eyre". [steps in] Oh, hello all! My name is Peter Keating, I'm a friend of Catherine's, and I'd really like to join you so you'll excuse me for interrupting. By the way, you can call me Peter.
+Peter: Really? I love "Jane Eyre". [steps in] Oh, hello all! My name is Peter Keating, I’m a friend of Catherine’s, and I’d really like to join you so you’ll excuse me for interrupting. By the way, you can call me Peter.
 
 Most of the other participants: Hhhhiiiiii…
 
 [ Cut to end of the discussion ]
 
-Peter: So you see why I think that Bronté purposely wrote the book so we'll wonder whether she is being anti-religious or pro-religious?
+Peter: So you see why I think that Bronté purposely wrote the book so well wonder whether she is being anti-religious or pro-religious?
 
-Catherine's Female Friend No. 2: Yes. Good bye, Mr. Keating!
+Catherines Female Friend No. 2: Yes. Good bye, Mr. Keating!
 
 Peter: Good-bye to you too, Miss Wellington.
 
 
 Catherine: [Reluctantly] No.
 
-Peter: Well, then since it's rather late, I'll be going now. It was a wonderful evening [kisses her on the chick]. Good Bye!
+Peter: Well, then since its rather late, Ill be going now. It was a wonderful evening [kisses her on the chick]. Good Bye!
 
-Catherine: Bye. [she closes the door after Peter and lies against the door. ] Ehmmmm… I'm going to die an old maid at this rate. [Walks forwards, off the door.]
+Catherine: Bye. [she closes the door after Peter and lies against the door. ] Ehmmmm… I’m going to die an old maid at this rate. [Walks forwards, off the door.]
 
 [Cut to an office desk. ]
 
-Monica's voice: However Peter was not alone. Romance was waiting for Howard too in the form of Dominique Francon, a newly employed journalist in the New-York Banner, the city most popular second-grade newspaper.
+Monica’s voice: However Peter was not alone. Romance was waiting for Howard too in the form of Dominique Francon, a newly employed journalist in the New-York Banner, the city most popular second-grade newspaper.
 
-[The camera zooms out to reveal Dominique (depicted by Rachel) organising her desk. Cut to Monica and Rachel's]
+[The camera zooms out to reveal Dominique (depicted by Rachel) organising her desk. Cut to Monica and Rachels]
 
 Rachel: <b>What?</b> Me? "Perfect beauty"? the most sought-after spinster in New-York city? As if!
 
 Joey: Why not?
 
-Rachel: For once, I'm not slim enough to fit into Rand's description.
+Rachel: For once, Im not slim enough to fit into Rands description.
 
-Ross: See, see, even you admit that you're chubby!
+Ross: See, see, even you admit that youre chubby!
 
 Monica: The thing is, Roark… Ross is my brother.
 
-Rachel: All right. [sarcastically] In order to prevent adultery I'll be Dominique Francon.
+Rachel: All right. [sarcastically] In order to prevent adultery Ill be Dominique Francon.
 
-[Cut to Dominique's office. Toohey approaches ]
+[Cut to Dominiques office. Toohey approaches ]
 
 Toohey: Hello, Miss Francon.
 
 
 Toohey: Well, just to inform that it has been my observation that you are very fond of Mr. Howard Roark.
 
-Dominique: Roark? What of all things made you think that I'm attracted to this orange-headed talentless architect?
+Dominique: Roark? What of all things made you think that Im attracted to this orange-headed talentless architect?
 
 Toohey: For instance the last party of Mrs. Holcombe.
 
 
 Dominique: Mr. Toohey, I should say it is my diagnosis that you over-estimate your “powers of observation”.
 
-Toohey: Miss Francon… I'm getting tired of this useless mind war. What do
+Toohey: Miss Francon… Im getting tired of this useless mind war. What do
 you say about us being fully sincere with one another?
 
-Dominique: Yeah, OK - that's a good idea.
+Dominique: Yeah, OK - thats a good idea.
 
-+++: OK, Mr. Toohey, here's the thing about Roark: [grabs Toohey by his collar and shakes him] I WANT HIM <b>BAD!</b>
++++: OK, Mr. Toohey, heres the thing about Roark: [grabs Toohey by his collar and shakes him] I WANT HIM <b>BAD!</b>
 
 Toohey: [Releases her hands of his collar.] Calm down, Miss Francon. I dare say my experience in this field had been… inadequate… but it is a common belief that sometimes it is best to simply tell him about it.
 
-[ Cut to Roark's house. He is sitting at a desk at the back of the frame, hears a door bell, opens the door. It's Dominique. ]
+[ Cut to Roarks house. He is sitting at a desk at the back of the frame, hears a door bell, opens the door. Its Dominique. ]
 
 Roark: Oh, Miss Francon, please come in.
 
 Dominique: [Enters] I want to sleep with you.
 
-Roark: [Interrupting her] That's very nice. I'd like to sleep with you too. But I've got some work to do, so I can't. [sits back at his desk.]
+Roark: [Interrupting her] Thats very nice. Id like to sleep with you too. But Ive got some work to do, so I cant. [sits back at his desk.]
 
-Dominique: Hrrr…  all right - pretend that I'm not here. Pretend that you'd rather work on your stupid buildings. You wouldn't even be distracted if I stood naked in the middle of the room!
+Dominique: Hrrr…  all right - pretend that I’m not here. Pretend that you’d rather work on your stupid buildings. You wouldn’t even be distracted if I stood naked in the middle of the room!
 
 Roark: Actually, that <b>would</b> distract me.
 
 
 Roark: I can see your reflection in the window. [ Pause. ] I should have thought about it when I designed this room.
 
-[Cut to Dominique's office. She is talking to Toohey]
+[Cut to Dominiques office. She is talking to Toohey]
 
 Dominique: Anyway, then we were tired of fooling around, so we went to bed, and I started telling him about my day, but you know men: he fell asleep immediately.
 
 
 +++: Wanna have lunch together?
 
-[Cut to the arbour of Sophie's mansion. Sophie is sitting on a chair next to a glass table. She is reading a book. The New-York Banner is laid on the table. Sophie is dressed in a light but very chic and elegant dress. Catherine enters, dressed much more plainly and in less style.]
+[Cut to the arbour of Sophie’s mansion. Sophie is sitting on a chair next to a glass table. She is reading a book. The New-York Banner is laid on the table. Sophie is dressed in a light but very chic and elegant dress. Catherine enters, dressed much more plainly and in less style.]
 
 Sophie: [In a heavy aristocratic English accent] Oh, Catherine, darling! Do come in!
 
 
 Catherine: You remember my boyfriend Peter?
 
-Sophie: Yes. Quite a dish, isn't he?
+Sophie: Yes. Quite a dish, isnt he?
 
 Catherine: Ahaa. Well, yes. He is quite a dish.
 
-Sophie: So what's your problem?
+Sophie: So whats your problem?
 
 Catherine: Well, how should I put it diplomatically…
 
-Sophie: He won't have sex with you.
+Sophie: He wont have sex with you.
 
 Catherine: Yes. Exactly.
 
 
 Sophie: Why not go visit him in his office for a start?
 
-[Cut to Peter's office entrance.]
+[Cut to Peters office entrance.]
 
-Keating's Secretary: Mr. Keating, there's a Miss Catherine Halsey here to see you.
+Keatings Secretary: Mr. Keating, theres a Miss Catherine Halsey here to see you.
 
-Keating: Let her in. [Catherine enters into Keating's office. Keating is there speaking with Roark.]
+Keating: Let her in. [Catherine enters into Keatings office. Keating is there speaking with Roark.]
 
 Keating: Hey Catherine, you remember Howard Roark, right?
 
 
 Catherine: [Disappointedly] Bye.
 
-[Cut to Sophie's house. Catherine and Sophie are sitting there talking.]
+[Cut to Sophies house. Catherine and Sophie are sitting there talking.]
 
 Catherine: So I went there, and Howard Roark was there, and Peter said they had to go to Jamaica to build some hotel out of wood or something.
 
 Sophie: Oh no. [She grabs the paper on the table.]
 
-Catherine: What's the matter.
+Catherine: Whats the matter.
 
 Sophie: Gail Wynand is in Jamaica. [Shows a copy of the New-York Banner with a picture of Joey with an all-face white beard on the cover.]
 
-[Cut to Monica and Rachel's]
+[Cut to Monica and Rachels]
 
-Joey: Gail Wynand? Yeah!! He's rich, powerful and has all the babes he wants.
+Joey: Gail Wynand? Yeah!! Hes rich, powerful and has all the babes he wants.
 
-Chandler: Reminds me of you. Except that you're not rich… or powerful.
+Chandler: Reminds me of you. Except that youre not rich… or powerful.
 
-[Cut back to Sophie's House]
+[Cut back to Sophies House]
 
 Catherine: So?
 
-Sophie: Oh, don't you know? Gail Wynand will certainly want to meet them and he will take them to somewhere hideously far away and you won't see them for months. Do you remember Albert Einstein?
+Sophie: Oh, don’t you know? Gail Wynand will certainly want to meet them and he will take them to somewhere hideously far away and you won’t see them for months. Do you remember Albert Einstein?
 
 Catherine: Yes, this physicist guy.
 
 Sophie: Well, last time he met Gail Wynand, he ended up in New Guinea!
 
-Catherine: In that case, there's only one thing I must do.
+Catherine: In that case, theres only one thing I must do.
 
-[Cut to an airport. Catherine is wearing a pilot's jacket and is walking forward. Sophie is besides her. ]
+[Cut to an airport. Catherine is wearing a pilots jacket and is walking forward. Sophie is besides her. ]
 
 Sophie: Catherine, are you out of you mind?
 
 
 Catherine: Oh come on! You said your father thinks of me as his own daughter.
 
-Sophie: But he won't let <b>me</b> near this thing, either!
+Sophie: But he wont let <b>me</b> near this thing, either!
 
-Catherine: He'll understand.
+Catherine: Hell understand.
 
-Sophie: You won't survive.
+Sophie: You wont survive.
 
-Catherine: Of course I would. I'm like a cat: nine lives. [climbs on the small airplane] Bye!
+Catherine: Of course I would. Im like a cat: nine lives. [climbs on the small airplane] Bye!
 
-[Cut to airplane. There's a pilot in the front seat. Catherine is seating in the back.]
+[Cut to airplane. Theres a pilot in the front seat. Catherine is seating in the back.]
 
-Airplane's Pilot: There's Jamaica down there.
+Airplanes Pilot: Theres Jamaica down there.
 
 Catherine: Thanks God.
 
 
 Catherine: Oh, oh!
 
-[Cut: Catherine's parachute falls down. Gets stuck on a date tree and Catherine falls down into a greenery field.]
+[Cut: Catherines parachute falls down. Gets stuck on a date tree and Catherine falls down into a greenery field.]
 
 Catherine: [Slowly] Eight lives left. [Looks and sees a four-leaf clover right in front of her eyes.] Oooohhh, [picks it up and get up] make it nine.
 
 [Cut to another place in Jamaica. Roark and Keating enter the frame.]
 
-Keating: OK, let's go see the building site.
+Keating: OK, lets go see the building site.
 
 [Gail Wynand enters]
 
-Wynand: Hey, Mr. Roark, Mr. Keating - welcome to Jamaica. My name is Gail Wynand, you must have heard of me, but here's my card, just in case. [Hands them a card.]
+Wynand: Hey, Mr. Roark, Mr. Keating - welcome to Jamaica. My name is Gail Wynand, you must have heard of me, but here’s my card, just in case. [Hands them a card.]
 
 Roark: [Reading the card] “Gail Wynand. Newspaper tycoon, perpetual traveler, and famous American playboy”.
 
 Wynand: This card is slightly out of date. I now see myself more as an <b>international</b> playboy. Anyway: meet Elizabeth, the current love of my life. [Elizabeth, depicted by Monica enters the frame.]
 
-[Cut to Monica and Rachel's]
+[Cut to Monica and Rachels]
 
-Monica: So I get to be Wynand's mistress de-jour?
+Monica: So I get to be Wynands mistress de-jour?
 
 Joey: Hey, do you have a better idea?
 
-Chandler: You can be my… I mean Peter's mother.
+Chandler: You can be my… I mean Peters mother.
 
 [Pause.]
 
-Monica: Wynand's mistress it is.
+Monica: Wynands mistress it is.
 
 [Cut to Jamaica]
 
-Elizabeth: Hey, aren't you…
+Elizabeth: Hey, arent you…
 
-Wynand: Howard Roark and Peter Keating. [In a Joey-like manner] Isn't it great?
+Wynand: Howard Roark and Peter Keating. [In a Joey-like manner] Isnt it great?
 
-[Catherine approaches them, she's very unkempt, very angry.]
+[Catherine approaches them, shes very unkempt, very angry.]
 
 Catherine: Yoooouuuu! [pointing at Keating]
 
 
 Elizabeth: Rousley.
 
-Roark: Gee, it was nice meeting you, Mr. Wynand, but I have a building to build. I'll meet you all in the evening, OK?
+Roark: Gee, it was nice meeting you, Mr. Wynand, but I have a building to build. Ill meet you all in the evening, OK?
 
 [ Roark leaves the fram. Wynand signals a local to come over.]
 
 
 [Cut to construction site. Roark is there, as well as many Jamaicans who are in the midst of building his building.]
 
-Joey's Voice: With half of Jamaica eager to help him, Roark found building the hotel went amazingly fast.
+Joeys Voice: With half of Jamaica eager to help him, Roark found building the hotel went amazingly fast.
 
-Dominique's voice from behind: You've certainly topped yourself this time, Mr. Roark.
+Dominiques voice from behind: Youve certainly topped yourself this time, Mr. Roark.
 
 Roark: Oh… Miss Francon, Hi. So, what are you doing here in Jamaica?
 
-Dominique: I'm doing my banner column on house tips from Caribbean Women.
+Dominique: Im doing my banner column on house tips from Caribbean Women.
 
-Roark: I have met Mr. Wynand, whom I believe is your boss. I'll be meeting him again this evening. How charming.
+Roark: I have met Mr. Wynand, whom I believe is your boss. Ill be meeting him again this evening. How charming.
 
 [Cut to a restaurant. Everybody is sitting there, dressed in a light but elegant way.]
 
-Wynand: So, I said to them: "No. I don't remember seeing anyone that looks like Woodrow Wilson passing by…"
+Wynand: So, I said to them: "No. I dont remember seeing anyone that looks like Woodrow Wilson passing by…"
 
 [Everybody laughes.]
 
-Wynand: You know, Howard, I think you're a great architect. And, Peter, you're very good as a publicist.
+Wynand: You know, Howard, I think youre a great architect. And, Peter, youre very good as a publicist.
 
 Keating and Roark: Thanks, Mr. Wynand.
 
-Wynand: Call me Gail. Anyway, what did you say if I told you that I'll arrange it so you two can never work build buildings or do public-relations stuff again? I'll even give you a monthly allowance?
+Wynand: Call me Gail. Anyway, what did you say if I told you that I’ll arrange it so you two can never work build buildings or do public-relations stuff again? I’ll even give you a monthly allowance?
 
 Elizabeth: Not again… [she puts her head in her hands.]
 
 
 Roark: [To Keating] How did you know that?
 
-Keating: Trade's secrets. So, does your offer still stand?
+Keating: Trades secrets. So, does your offer still stand?
 
 Wynand: Giving you an allowance so you can paint some stupid paintings and dig some stupid bones. No way!
 
-+++: In any case: I'm planning on setting sail with my Yacht tomorrow's 
-morning. Why don't you all join me?
++++: In any case: I’m planning on setting sail with my Yacht tomorrow’s 
+morning. Why don’t you all join me?
 
 Everybody else: “Yeah”, “yeah”, ”sounds like fun”.
 
 
 Roark: Cruising with you was a <b>bad</b> idea, Gail.
 
-Wynand: Hey, relax, so the yacht drowned. I'll just use my contacts to get us out of here. Now, what island this is… ahmmm. On second thought: it's uninhabited, so I don't have any contacts here.
+Wynand: Hey, relax, so the yacht drowned. I’ll just use my contacts to get us out of here. Now, what island this is… ahmmm. On second thought: it’s uninhabited, so I don’t have any contacts here.
 
-Keating: So now we don't have contacts either? I guess that means we'll have to build a boat or a raft, or something.
+Keating: So now we dont have contacts either? I guess that means well have to build a boat or a raft, or something.
 
 Wynand: Build a raft? I think calling for help by using radio waves is a much better idea.
 
-Roark: And how exactly are you going to build a radio transmitter? For one thing, we'll need a current source and some wires.
+Roark: And how exactly are you going to build a radio transmitter? For one thing, well need a current source and some wires.
 
 Wynand: So? I bet we can find one metal or another on this island.
 
-Roark: I'm with Peter: we can use stones to cut and carve the tress, and then use twines to tie them into a raft.
+Roark: Im with Peter: we can use stones to cut and carve the tress, and then use twines to tie them into a raft.
 
 [They wander off and continue arguing. Cut to the Fountain-girls]
 
 
 Catherine: [While putting her hand on the ground] I hate my life!
 
-Dominique: [In a caring tone] Why, what's the matter?
+Dominique: [In a caring tone] Why, whats the matter?
 
 Catherine: I can summarise my relationship with Peter in three words: anything but sex.
 
 
 Catherine: Really?
 
-Elizabeth: We have enough but not too much, and, besides, he's sweet, exciting, passionate … and he even lets me date other guys.
+Elizabeth: We have enough but not too much, and, besides, hes sweet, exciting, passionate … and he even lets me date other guys.
 
-Dominique: So, what's the problem?
+Dominique: So, whats the problem?
 
-Elizabeth: I don't know… there just isn't any tension. I'll want to get married - we'll get married. I'll want to have a baby - we'll have a baby. I'll want to get a divorce - he'll give me a million dollars and divorce me.
+Elizabeth: I don’t know… there just isn’t any tension. I’ll want to get married - we’ll get married. I’ll want to have a baby - we’ll have a baby. I’ll want to get a divorce - he’ll give me a million dollars and divorce me.
 
 [Cut to the fountain-boys.]
 
-Joey's Voice: [Trying to sound dramatic in an old-movie style] Will the boys never stop discussing what is the best way to get out of the island? [Cut to the fountain-girls] Will the girls do something beside complaining about their love lives? [Split picture with both trios] Are six of the most competent men and women in America…
+Joey’s Voice: [Trying to sound dramatic in an old-movie style] Will the boys never stop discussing what is the best way to get out of the island? [Cut to the fountain-girls] Will the girls do something beside complaining about their love lives? [Split picture with both trios] Are six of the most competent men and women in America…
 
 Wynand: Hey!
 
-Joey's Voice: … In the world… ever going to get out of that Caribbean
-island? Find out in the continuation of [The "The Fountainhead" slide is
+Joey’s Voice: … In the world… ever going to get out of that Caribbean
+island? Find out in the continuation of [The <i>The Fountainhead</i> slide is
 displayed] The Fountainhead.
 
-[Cut to Monica and Rachel's.]
+[Cut to Monica and Rachels.]
 
-Joey: I have to go to the audition now, so we'll have to continue this stuff later. [Rises and walks out] Bye!
+Joey: I have to go to the audition now, so well have to continue this stuff later. [Rises and walks out] Bye!
 
 The others: Bye!… Bye, Joey! Break a leg!…
 
 
 Phoebe: [In a poetical fashion] “Atlas shrugged from side to side. Alas, my end is near - the lady cried.”
 
-Monica: Ehmm… Pheebs? That's the "Mirror Crack'd from side to side".
+Monica: Ehmm… Pheebs? Thats the "Mirror Crackd from side to side".
 
-Phoebe: Oh! Ayn Rand wrote "The Mirror Crack'd" too?
+Phoebe: Oh! Ayn Rand wrote "The Mirror Crackd" too?
 
 Ross: No, Phoebe. That was Agatha Christie.
 
-Phoebe: Oh! Everybody knows that Ayn Rand wrote all of Agatha Christie's 
+Phoebe: Oh! Everybody knows that Ayn Rand wrote all of Agatha Christies 
 stories. 
 
 Chandler: [Tongue-in-cheek] <b>I</b> can totally believe that, Pheebs.

lib/screenplay-xml/txt/TOW_Fountainhead_2.txt

 
 [<b>Written by:</b> <a href="http://www.shlomifish.org/">Shlomi Fish</a>]
 
-[<b>Note:</b> This is not a real "Friends" episode, but one written by Shlomi
-Fish. Being "Friends" fan-fiction, Fish disclaims all copyright claims
-to some of the characters and concepts presented here. This work also serves
-as a parody of the book "The Fountainhead" by Ayn Rand, which is also
-copyrighted, and the characters and concepts from it belong to the Ayn
-Rand estate.]
+[<b>Note:</b> This is not a real <i>Friends</i> episode, but one written by
+Shlomi Fish. Being <i>Friends</i> fan-fiction, Fish disclaims all copyright
+claims to some of the characters and concepts presented here. This work also
+serves as a parody of the book <i>The Fountainhead</i> by Ayn Rand, which is also
+copyrighted, and the characters and concepts from it belong to the Ayn Rand
+estate.]
 
-
-[The girls' apartment: everybody except Joey are present. Joey enters through the door.]
+[The girls’ apartment: everybody except Joey are present. Joey enters through the door.]
 
 Joey: Hey guys! Guess what? I got a part!
 
-Everybody else: Gee that's great… What part is it?
+Everybody else: Gee thats great… What part is it?
 
-Joey: Remember that biker that sees Roark's recreation camp at the beginning of the fourth part? Well, I'm playing his college buddy!
+Joey: Remember that biker that sees Roarks recreation camp at the beginning of the fourth part? Well, Im playing his college buddy!
 
-Chandler: You got a part that's not even in the book.
+Chandler: You got a part thats not even in the book.
 
 Joey: No. The play is basically about a parallel plot with different characters that is some-how connected with what happens in the book.
 
 
 Ross: No. We were waiting for you.
 
-Joey: Gee thanks. [Sits down] So, why don't we continue from where we got to?
+Joey: Gee thanks. [Sits down] So, why dont we continue from where we got to?
 
-[The screen bubbles into the Caribbean island. The fountain-boys are standing near the beach talking, the girls are standing at the back of the frame. Everybody clothes are in worse condition, which indicates they been there for quite a while. Dominique walks towards the men, and it is clear from her expression that she's angry.]
+[The screen bubbles into the Caribbean island. The fountain-boys are standing near the beach talking, the girls are standing at the back of the frame. Everybody clothes are in worse condition, which indicates they been there for quite a while. Dominique walks towards the men, and it is clear from her expression that she’s angry.]
 
-Dominique: Howard, [she arrives at the boys' location] we've been on this
-island for three days now. We're sick of eating coconuts. We're sick of eating 
+Dominique: Howard, [she arrives at the boys’ location] we’ve been on this
+island for three days now. We’re sick of eating coconuts. We’re sick of eating 
 mangos…
 
-Roark: Ehhhm, Honey? Mangos don't grow in the Caribbean?
+Roark: Ehhhm, Honey? Mangos dont grow in the Caribbean?
 
-Dominique: They don't?
+Dominique: They dont?
 
 Roark: No, they are a native plant of the Old World.
 
-Dominque: Then we're sick of eating… whatever we ate. Will you get us out of
+Dominque: Then were sick of eating… whatever we ate. Will you get us out of
 this island?
 
 Roark: We are discussing how to get out of here right now.
 
-Dominique: You've been doing it for three days now!
+Dominique: Youve been doing it for three days now!
 
-Roark: But we've made important progress: we passed the brainstorming stage and right now we're in the solution analysis and evaluation stage.
+Roark: But weve made important progress: we passed the brainstorming stage and right now were in the solution analysis and evaluation stage.
 
 Dominique: Errgggh!
 
 [She walks away towards the girls.]
 
-Dominique: [To the other girls] Come on, let's get something moving around here.
+Dominique: [To the other girls] Come on, lets get something moving around here.
 
 Elizabeth: But, what can we do?
 
 
 [ Opening Credits ]
 
-[Long shot at one of the island's shores. It is filled with "Help!" inscriptions in various languages. Some are drawn with mud, and others are inlayed with stones and shells. Dominique and Elizabeth are standing near the outgrowth; Catherine is busy inlaying an "S.O.S"; Elizabeth is holding a long stick in her hands]
+[Long shot at one of the island’s shores. It is filled with "Help!" inscriptions in various languages. Some are drawn with mud, and others are inlayed with stones and shells. Dominique and Elizabeth are standing near the outgrowth; Catherine is busy inlaying an "S.O.S"; Elizabeth is holding a long stick in her hands]
 
-Elizabeth: Well, inscribing "Help!" all over the island's shores in every language a potential saviour of ours may understand, certainly cannot make matters worse.
+Elizabeth: Well, inscribing "Help!" all over the island’s shores in every language a potential saviour of ours may understand, certainly cannot make matters worse.
 
 [The boys are passing by, Wynand turns and takes a look.]
 
 
 [Camera zooms out to reveal the back of a woman wearing an extravagant dress.]
 
-French Woman: Oh, excuse me, for not introducing myself. My name is Brigitte de-Nouver, and I'm aan art critic. [Dominique and Catherine walk and stand beside Elizabeth] My husband and I were cruising the Caribbean in our yacht and then I saw it.
+French Woman: Oh, excuse me, for not introducing myself. My name is Brigitte de-Nouver, and I’m aan art critic. [Dominique and Catherine walk and stand beside Elizabeth] My husband and I were cruising the Caribbean in our yacht and then I saw it.
 
 Catherine: Saw what?
 
 Brigitte: This island… is the most powerful grandiose artwork I have ever
 seen. I must buy it from you!
 
-Dominique: Well, we don't really own this island, so I guess you can have it for free.
+Dominique: Well, we dont really own this island, so I guess you can have it for free.
 
 Brigitte: Really?
 
 
 Elizabeth: This yacht you said you have - can we board it and get the hell out of here?
 
-[ Cut to the fountain-boys. They are sitting in the middle of the island's plant growth, and still discussing the possible ways of getting out of the island. Brigitte passes by, leading a group of art enthusiasts.]
+[ Cut to the fountain-boys. They are sitting in the middle of the island’s plant growth, and still discussing the possible ways of getting out of the island. Brigitte passes by, leading a group of art enthusiasts.]
 
 Brigitte: [She stops.] And here we can see the New-York architect Howard Roark; his good friend Peter Keating the publicist [Peter raises his hand and waves at the crowd]; and Gail Wynand, the newspaper tycoon and famous American playboy…
 
 Wynand: Famous international playboy.
 
-Brigitte: …Famous international playboy. They are one of the island's most important aanimated details. Their presence amplify the irony in the situation those three women faced…
+Brigitte: …Famous international playboy. They are one of the island’s most important aanimated details. Their presence amplify the irony in the situation those three women faced…
 
 [A black man approaches the fountain-boys from the other side.]
 
 
 Keating: Yes.
 
-Man: My name is Rob, and I'm a boat-owner. Your lady-friends instructed me to bring you back to Jamaica.
+Man: My name is Rob, and Im a boat-owner. Your lady-friends instructed me to bring you back to Jamaica.
 
 Wynand: Our lady-friends?
 
-Keating: Gee, that's nice of them.
+Keating: Gee, thats nice of them.
 
 Roark: Yeah, it would have taken us several more days to finish this discussion. [They rise and start following Rob. ] Regarding what you said about the bonfire…
 
 [Cut to Jamaica, the fountain-girls are dressed in clean light dresses and sit next to a table]
 
-Elizabeth: I always wanted to be a Chef. I studied home economics at College and then I went to Memphis and opened a small restaurant of my own. But people there didn't like the fact of a woman being a chef, so they never went to my restaurant.
+Elizabeth: I always wanted to be a Chef. I studied home economics at College and then I went to Memphis and opened a small restaurant of my own. But people there didn’t like the fact of a woman being a chef, so they never went to my restaurant.
 
-+++: So, I moved to Philadelphia, which is a more liberal city. And then all the women-liberation activists got excited, and my restaurant was full just because I was a woman chef. But I want to be appreciated because of my food, not because I'm a woman. So, I decided to move to England, where they have achieved greater progress regarding women-rights.
++++: So, I moved to Philadelphia, which is a more liberal city. And then all the women-liberation activists got excited, and my restaurant was full just because I was a woman chef. But I want to be appreciated because of my food, not because I’m a woman. So, I decided to move to England, where they have achieved greater progress regarding women-rights.
 
 Dominique: And you were discriminated because of your sex, again. Oh dear!
 
 Elizabeth: No. People flocked to my restaurant, just because I was the only American chef in London.
 
-+++: So, I moved to the Canary islands, where people thought my food was a nice change, and didn't care much about me being a woman or not. And then Gail came by, and I decided to join him on his endless travels.
++++: So, I moved to the Canary islands, where people thought my food was a nice change, and didn’t care much about me being a woman or not. And then Gail came by, and I decided to join him on his endless travels.
 
 Catherine: Interesting life story.
 
 [The men come by and sit down.]
 
-Dominique: So, you're back.
+Dominique: So, youre back.
 
 Roark: Yep.
 
 
 Keating: Actually, Gail, I think we had enough recreation for now, and Howard and I will just head back to New-York.
 
-Wynand: Oh come on! Surely, there's something you'd like to do…
+Wynand: Oh come on! Surely, theres something youd like to do…
 
-Roark: Hmmm… not really. And besides, you're Gail Wynand, and you can arrange everything, so it kind of renders all the fun out of it…
+Roark: Hmmm… not really. And besides, youre Gail Wynand, and you can arrange everything, so it kind of renders all the fun out of it…
 
 Keating: Hold it right there! But, what if we go <b>against</b> Gail Wynand.
 
 
 Keating: Now, that would be an exciting challenge. So what do you all say?
 
-Roark and the women: "Yes", "Sounds nice", "We're in".
+Roark and the women: "Yes", "Sounds nice", "Were in".
 
-Wynand: Okay. How about that: I drop you off at the Mexican shore, and you'll try to get to the U.S., where you'll be safe.
+Wynand: Okay. How about that: I drop you off at the Mexican shore, and youll try to get to the U.S., where youll be safe.
 
 [Cut to the entrance to a Mexican town. The Fountain-gang minus Wynand are approaching.]
 
 Roark: Are you sure you want to split up?
 
-Elizabeth: Yes, we'll be OK. Like I said, splitting up will raise the chance of at least one of the groups arriving safely at the border, and us women are probably just slowing you down anyway.
+Elizabeth: Yes, we’ll be OK. Like I said, splitting up will raise the chance of at least one of the groups arriving safely at the border, and us women are probably just slowing you down anyway.
 
 Roark: OK. See you later.
 
 
 [Roark and Keating are entering the pueblo.]
 
-Keating: I wonder what Gail meant by him arranging to get us killed. We've walked for a long time and so-far nothing bad happened.
+Keating: I wonder what Gail meant by him arranging to get us killed. Weve walked for a long time and so-far nothing bad happened.
 
 [A large number of Mexicans spring from between the houses, holding rifles and pistols. They aim them at Peter and Roark.]
 
 Keating: Until now.
 
-Mexican Gang Leader: [He takes a brief look at a photo he's holding in his hand.] You are Howard Roark and Peter Keating, right?
+Mexican Gang Leader: [He takes a brief look at a photo hes holding in his hand.] You are Howard Roark and Peter Keating, right?
 
-Roark: That's right.
+Roark: Thats right.
 
 Gang Leader: Then Gail Wynand gave an order to have you killed.
 
-Keating: Hey, you can't just shoot two defenseless men like that!
+Keating: Hey, you cant just shoot two defenseless men like that!
 
 [Two pistols are thrown and they fall near the feet of the two.]
 
 
 Roark: No.
 
-Keating: Me neither. Let's run for it…
+Keating: Me neither. Lets run for it…
 
 [The two are running in the streets of the town, and the Mexicans chase them and shoot bullets at them. The camera cuts to a Mexican man who overseas the chase, he then shouts at the chasing gang.]
 
 
 Gang member: Excuse me?
 
-Mexican Man: You shouldn't kill those men just because Gail Wynand said so. We have to deduce what is good and moral by ourselves according to the immutable laws of logic, and regardless of the subjective whims of Gail Wynand, or anybody else for that matter. Killing those two men, who are perfectly innocent as far as we know, would be a wrong thing to do, and Gail Wynand's will cannot change that.
+Mexican Man: You shouldn’t kill those men just because Gail Wynand said so. We have to deduce what is good and moral by ourselves according to the immutable laws of logic, and regardless of the subjective whims of Gail Wynand, or anybody else for that matter. Killing those two men, who are perfectly innocent as far as we know, would be a wrong thing to do, and Gail Wynand’s will cannot change that.
 
-Gang members : [To themselves.] "Gee, his right", "Yeah, let's drop it off." [They disband.]
+Gang members : [To themselves.] "Gee, his right", "Yeah, lets drop it off." [They disband.]
 
-Former Gang Leader : [To Roark and Keating] Hey, sorry we've tried to kill you, amigos.
+Former Gang Leader : [To Roark and Keating] Hey, sorry weve tried to kill you, amigos.
 
 [Roark and Keating walk towards the Mexican man who saved them.]
 
 Keating: Gee, thanks for saving our lives.
 
-Mexican Man: Well, you're welcome. And besides: Gail Wynand said the exact same thing the last time he has been here.
+Mexican Man: Well, youre welcome. And besides: Gail Wynand said the exact same thing the last time he has been here.
 
-Keating: What's your name?
+Keating: Whats your name?
 
 Mexican Man: Pedro Dominguez.
 
-Keating: We'll send Gail your regards.
+Keating: Well send Gail your regards.
 
 Pedro: Thanks, man!
 
-[Cut. It's afternoon and Roark and Keating are walking in the middle of the desert.]
+[Cut. Its afternoon and Roark and Keating are walking in the middle of the desert.]
 
-Keating: You know, walking in the desert and avoiding those towns, was a good idea to stay out of trouble. But I'm getting thirsty. What do you say we sneak to a well?
+Keating: You know, walking in the desert and avoiding those towns, was a good idea to stay out of trouble. But I’m getting thirsty. What do you say we sneak to a well?
 
 Roark: As you wish, Peter.
 
 
 Keating: Do you suppose Gail has anything to do with it?
 
-[Cut. It's night. A long shot of a large wooden platform, with a tall wooden pole somewhere in its left side. The entire Indian tribe gathered in front of the platform.
+[Cut. It’s night. A long shot of a large wooden platform, with a tall wooden pole somewhere in its left side. The entire Indian tribe gathered in front of the platform.
 Close up on the pole. Keating is tied to it, and an Indian is finishing tying up Roark.]
 
-Roark: Peter, I have a confession to make. I didn't really show it, but I actually like you. And I really appreciate how you helped me and Cameron.
+Roark: Peter, I have a confession to make. I didnt really show it, but I actually like you. And I really appreciate how you helped me and Cameron.
 
-Keating: Gee, Roark, it's nice to hear that. I will cherish that thought for the next couple of… minutes.
+Keating: Gee, Roark, its nice to hear that. I will cherish that thought for the next couple of… minutes.
 
 [The Indian crowd start cheering and shouting. Long shot, then close up on the Indian chieftain who is standing in the middle of the platform. He knocks three times with his staff, and the crowd silences.]
 
 
 Indian Chief: Gaaaaiiiiill Wynand! We call for thee!
 
-[Sparks of light appear on one spot in the platform, and then there's smoke, and Wynand appears out of it.]
+[Sparks of light appear on one spot in the platform, and then theres smoke, and Wynand appears out of it.]
 
-Wynand: Hey, what happened? [Looks around.] Oh, it's you. Hey, nice to see you again.
+Wynand: Hey, what happened? [Looks around.] Oh, its you. Hey, nice to see you again.
 
 Indian Chief: We caught two of the men you requested to hunt down, and we are going to execute them.
 
 
 Wynand: Suit yourselves. [To the chief] You can proceed.
 
-[An Indian approaches Roark, and cuts down his ropes. After he's untied, Roark grabs the Indian's knife, rushes toward Wynand, take hold of him and holds the knife close to his throat.]
+[An Indian approaches Roark, and cuts down his ropes. After he’s untied, Roark grabs the Indian’s knife, rushes toward Wynand, take hold of him and holds the knife close to his throat.]
 
 Roark: Untie Peter, and let the three of us escape, or else Wynand gets it!
 
 
 [Later that night. Roark, Keating and Wynand are in the middle of the desert.]
 
-Keating: OK, Gail, I think we lost them. Roark and I have to cross the Rio-Grande, so you'll probably want to stay here.
+Keating: OK, Gail, I think we lost them. Roark and I have to cross the Rio-Grande, so youll probably want to stay here.
 
-Wynand: Naaah, I'll join you just for the excitement. Besides, those Indians may see me as a fallen god or something, so it might be dangerous for me to stay here too.
+Wynand: Naaah, I’ll join you just for the excitement. Besides, those Indians may see me as a fallen god or something, so it might be dangerous for me to stay here too.
 
 Keating: Welcome aboard. 
 
 
 +++: Oh, and Pedro Dominguez sends his regards.
 
-Wynand: Pedro? You've met the old chap? That's great! How he's doing nowadays?
+Wynand: Pedro? Youve met the old chap? Thats great! How hes doing nowadays?
 
-Roark: Oh, he's fine. He has saved us and everything, because he seems to be theonly rational thinker in Mexico.
+Roark: Oh, hes fine. He has saved us and everything, because he seems to be theonly rational thinker in Mexico.
 
 Wynand: Yes, I always liked him. I think that once we return to New York…
 
 Keating: If we return to New York…
 
-Wynand: Exactly… when and if we return to New York, I'm going to make Pedro
+Wynand: Exactly… when and if we return to New York, Im going to make Pedro
 in charge of the newly founded Spanish-speaking division of the Wynand
 Newspapers empire. I smell a huge business potential there… [he continues to talk]
 
 
 Wynand: Huh… We made it… We made it…
 
-Keating: Yes, finally we're safe, on the right side of the border. Gail, you didn't affect Americans to hunt us too, did you?
+Keating: Yes, finally were safe, on the right side of the border. Gail, you didnt affect Americans to hunt us too, did you?
 
 Wynand: No.
 
 
 Border Guard: Hey, you trespassers!
 
-Keating: Hey, that's OK. We're American citizens.
+Keating: Hey, thats OK. Were American citizens.
 
 Border Guard: If I had a nickel for every time I heard that. Nice accent, by the way. Anyway, you should come with me.
 
-+++: I don't believe it: Gail Wynand!! What are you doing crossing the border with those two trespassers?
++++: I dont believe it: Gail Wynand!! What are you doing crossing the border with those two trespassers?
 
-[Cut to the Jail. The three fountain-men are in there. The border guard approaches the cell's door and opens it.]
+[Cut to the Jail. The three fountain-men are in there. The border guard approaches the cells door and opens it.]
 
 Border Guard: Guess what? Someone paid up your bail. They identify themselves as your lady-friends.
 
 [ Dominique, Elizabeth and Catherine enter the frame. ]
 
-Dominique: Well, well, if it isn't deja-vu.
+Dominique: Well, well, if it isnt deja-vu.
 
 Roark: So how did you survive and arrive here safe and sound?
 
 
 [Cut to the Mexican village. Pedro is sitting next to table, and there are gun shots and war cries all around him.]
 
-Pedro: For some reason, I don't think that Gail Wynand had this in mind.
+Pedro: For some reason, I dont think that Gail Wynand had this in mind.
 
 [Cut to the Jail. ]
 
-Dominique: I wonder why you didn't do the same.
+Dominique: I wonder why you didnt do the same.
 
-Roark: Because it's the oldest trick in the book, dah! It would have taken out
+Roark: Because its the oldest trick in the book, dah! It would have taken out
 all the challenge.
 
 [Cut to the outside. Everybody except Wynand are there. The men have changed
 
 Wynand: Guess what? I got us tickets for a steam-boat up the coast of the U.S.A to New-York.
 
-Keating: That's great, Gail! When do we leave?
+Keating: Thats great, Gail! When do we leave?
 
 Wynand: In a couple of hours.
 
-[Cut to a long shot of the boat. It's evening. Cut to a corridor inside the boat. Wyand and Elizabeth enter it from one of the rooms. ]
+[Cut to a long shot of the boat. Its evening. Cut to a corridor inside the boat. Wyand and Elizabeth enter it from one of the rooms. ]
 
-Elizabeth: Gail, there's something I've got to tell you.
+Elizabeth: Gail, theres something Ive got to tell you.
 
 Wynand: What?
 
 Elizabeth: I want to move to New-York.
 
-Wynand: All right, we'll hang around New-York for a while.
+Wynand: All right, well hang around New-York for a while.
 
 Elizabeth: And, I want to stay in New-York.
 
 
 Elizabeth: I want to settle down.
 
-Wynand: But we can't settle down. Even my card says I'm a perpetual traveller.
+Wynand: But we cant settle down. Even my card says Im a perpetual traveller.
 
-Elizabeth: Well, I'm not.
+Elizabeth: Well, Im not.
 
-Wynand: But, you can't do this to me.
+Wynand: But, you cant do this to me.
 
-Elizabeth: In that case, we'll have to break up. Guess what the "Banner" will say after a woman broke up from you for the first time like, ever.
+Elizabeth: In that case, well have to break up. Guess what the "Banner" will say after a woman broke up from you for the first time like, ever.
 
 [They continue arguing. Cut to the corridor. Roark enters it from one of the doors, Dominique from another.]
 
 
 Roark: [Opens his eyes] A present, for me?
 
-Dominique: It's our ten months anniversary.
+Dominique: Its our ten months anniversary.
 
-Roark: [Starts to unwrap it] Thank you, that's … wait a second! Is this what you have in mind: a relationship full of gifts, memos, candlelight dinners… and dates?
+Roark: [Starts to unwrap it] Thank you, that’s … wait a second! Is this what you have in mind: a relationship full of gifts, memos, candlelight dinners… and dates?
 
-Dominique: Yes, what's wrong with that?
+Dominique: Yes, whats wrong with that?
 
-Roark: I thought I met the perfect woman: one you can have sex with at night, and forget about during the day. But it turns out you're like everybody else.
+Roark: I thought I met the perfect woman: one you can have sex with at night, and forget about during the day. But it turns out you’re like everybody else.
 
 Dominique: Well, Howard, you are such a pig!
 
-Roark: You have to understand that I can't let this relationship interfere with my work.
+Roark: You have to understand that I cant let this relationship interfere with my work.
 
 Dominique: My father warned me about men. He said "they are all the same, including me", but I thought some men are different, apparently I was wrong…
 
 [They continue arguing. Cut to the corridor, Keating and Catherine enter it from the deck.]
 
-Catherine: Oh, isn't it nice to see two couples sorting things out.
+Catherine: Oh, isnt it nice to see two couples sorting things out.
 
 Keating: Yes, really nice.
 
-Catherine: You know, I've been thinking about our relationship too…
+Catherine: You know, Ive been thinking about our relationship too…
 
 Keating: [Looks at the two arguing couples.] Oh no.
 
 
 Catherine: We should get married!
 
-[Cut to the ship's main hall. The wedding of Keating and Catherine is in progress.]
+[Cut to the ships main hall. The wedding of Keating and Catherine is in progress.]
 
 Judge: And do you Catherine Halsey, take this man to be your lawfully wedded husband?
 
 
 Judge: Then, by the power invested in me by the state of Georgia, I now pronounce you man and wife.
 
-[Keating and Catherine kiss each other, then exit the frame. Cut to the dock. It's night and  Roark, Dominique, Wynand and Elizabeth are standing there, looking at the ocean. Catherine and Keating join them.]
+[Keating and Catherine kiss each other, then exit the frame. Cut to the dock. It’s night and  Roark, Dominique, Wynand and Elizabeth are standing there, looking at the ocean. Catherine and Keating join them.]
 
-Dominique: Aren't you guys going to … you know?
+Dominique: Arent you guys going to … you know?
 
-Catherine: Oh no. We decided that we'll give me time to get along with Peter's mother, and stuff. And then, one quiet night, when we're both composed and relaxed… In any case, right now we want to spend some time with our friends.
+Catherine: Oh no. We decided that we’ll give me time to get along with Peter’s mother, and stuff. And then, one quiet night, when we’re both composed and relaxed… In any case, right now we want to spend some time with our friends.
 
-Wynand: You know, I think I'm going to marry Elizabeth too. I never liked a woman so much, since the crash I had on Judith Rodring in the tenth grade.
+Wynand: You know, I think I’m going to marry Elizabeth too. I never liked a woman so much, since the crash I had on Judith Rodring in the tenth grade.
 
-Roark: Gail, you didn't go to high school.
+Roark: Gail, you didnt go to high school.
 
-Keating: Yeah, you were born on Hell's Kitchen and…
+Keating: Yeah, you were born on Hells Kitchen and…
 
-Wynand: Oh, that. That's just a cover story! My father is loaded, and is still alive.
+Wynand: Oh, that. Thats just a cover story! My father is loaded, and is still alive.
 
 Keating: You had us fooled.
 
 Wynand: Well, yeah, OK. Anyway, after I graduated from Princeton, with honours,
-my father came to me and said: "Gail, what can I give so you'll become
+my father came to me and said: "Gail, what can I give so youll become
 independent?". So, I said, "Can you lend me a dollar so I can travel to
 New-York?"
 
-[ Long shot of the boat. Cut to Monica and Rachel's.]
+[ Long shot of the boat. Cut to Monica and Rachels.]
 
 Monica: The end?
 
-Joey: Yeah, I guess. Now let's make those cool epilogues.
+Joey: Yeah, I guess. Now lets make those cool epilogues.
 
 Ross: OK. After five years, Roark felt that he reached saturation as an architect [cut to an excavation site], so he and Cameron went to pioneer the field of paleontology.
 
 Roark: I think this bone belongs to a Homo Habilis.
 
-Cameron: No, look at the tip. It's definitely a Home Erectus.
+Cameron: No, look at the tip. Its definitely a Home Erectus.
 
 Roark: Homo Habilis.
 
 Cameron: Homo Erectus.
 
-Roark: I can't work with you. You're like my father.
+Roark: I cant work with you. Youre like my father.
 
-Cameron: Well, one of the reasons I don't have children is because I'm afraid my son will turn out like you.
+Cameron: Well, one of the reasons I dont have children is because Im afraid my son will turn out like you.
 
 [ Cut. Dominique is sitting in an office.]
 
-Rachel's Voice: Dominique Francon-Roark decided she needed a challenge so she became the president of the United States.
+Rachels Voice: Dominique Francon-Roark decided she needed a challenge so she became the president of the United States.
 
-Secretary from the outside: Mrs. President , there's a phone call for you.
+Secretary from the outside: Mrs. President , theres a phone call for you.
 
 Dominique: [Picks up the phone] Hello.
 
-Phone: Hello, Mrs. Roark? This is Mrs. Baum, your son's teacher. Your son got hurt.
+Phone: Hello, Mrs. Roark? This is Mrs. Baum, your sons teacher. Your son got hurt.
 
 Dominique: Oh, God.
 
-Phone: No, he's OK. He just told us to call you because his father is too busy.
+Phone: No, hes OK. He just told us to call you because his father is too busy.
 
-Dominique: Of course he's too busy. He's out there digging bones in Indonesia. And to think I fell for this guy just because he built some nice buildings.
+Dominique: Of course he’s too busy. He’s out there digging bones in Indonesia. And to think I fell for this guy just because he built some nice buildings.
 
-[Cut. Zoom on a detail in Keating's office. ]
+[Cut. Zoom on a detail in Keatings office. ]
 
-Chandler's Voice: Peter Keating continued to practice his skills as an architect, and got better in time.
+Chandlers Voice: Peter Keating continued to practice his skills as an architect, and got better in time.
 
-[Zoom out, Keating, Roark and Cameron are sitting in Keating's office. ]
+[Zoom out, Keating, Roark and Cameron are sitting in Keatings office. ]
 
 Keating: You guys look weary. Should I bring you something to drink?
 
-Roark: No, we're OK. Anyway, we heard you have made another sketch?
+Roark: No, were OK. Anyway, we heard you have made another sketch?
 
 Keating: Well, yes.
 
 
 Keating: Yes, here it is. [Picks it up from the table and hands it to Roark and Cameron.]
 
-Roark: That's very nice Peter, straight corridors and all.
+Roark: Thats very nice Peter, straight corridors and all.
 
-Cameron: But, I would place the windows a little higher, so there'll be more light.
+Cameron: But, I would place the windows a little higher, so therell be more light.
 
 Roark: Yes, and the stairs should not be separated from the corridor by a door.
 
 
 [Cut to a kitchen. Elizabeth is there, working.]
 
-Monica's Voice: Elizabeth settled down in New-York, and became a chef. And thanks to Dominique becoming president, she didn't suffer from any discrimination.
+Monica’s Voice: Elizabeth settled down in New-York, and became a chef. And thanks to Dominique becoming president, she didn’t suffer from any discrimination.
 
-[Cut to Keating's Kitchen. Catherine and Keating's mother (played by Alice Knight, Phoebe's brother's wife.) are standing there, talking.]
+[Cut to Keatings Kitchen. Catherine and Keatings mother (played by Alice Knight, Phoebes brothers wife.) are standing there, talking.]
 
-Phoebe's voice: Catherine got along great with Peter's mother.
+Phoebes voice: Catherine got along great with Peters mother.
 
 Catherine: Do you know the secret to a great lasagne is?
 
 
 Mrs. Keating: The famous Chef?
 
-Catherine: Yeah! Totally? I'm also good friends with her husband, Gail.
+Catherine: Yeah! Totally? Im also good friends with her husband, Gail.
 
 Mrs. Keating: Get out!
 
 
 +++: Catherine, you are a gem! Peter is so lucky to have you.
 
-Catherine: Yeah, he totally does. If it weren't for me, my uncle would have poisoned himself to death with his idea of good cooking.
+Catherine: Yeah, he totally does. If it werent for me, my uncle would have poisoned himself to death with his idea of good cooking.
 
-[Cut to Monica and Rachel's]
+[Cut to Monica and Rachels]
 
 Chandler: So, Joey what about you?
 
-Joey: I'll think about mine later.
+Joey: Ill think about mine later.
 
 Monica: You know, our story seems a bit strange in comparison to the original work.
 
-Chandler: I'd say: none of the good guys commits any crimes, and the bad guys… well, we don't have any bad guys.
+Chandler: Id say: none of the good guys commits any crimes, and the bad guys… well, we dont have any bad guys.
 
 Joey: You know, I wonder what Ayn Rand would have thought about it.
 
-Chandler: Well, if she had survived all of the five heart attacks she would have received when hearing our story, I'd say she would have totally dug it.
+Chandler: Well, if she had survived all of the five heart attacks she would have received when hearing our story, I’d say she would have totally dug it.
 
 [End Credits]
 
-[Cut to Wynand's office. He's sitting there at his desk.]
+[Cut to Wynands office. Hes sitting there at his desk.]
 
-Joey's Voice: After the events described previously, Gail Wynand decided to turn his newspaper into a benevolent newspaper, hailing the productive scions of America, etc. etc. So, he decided to get rid of some bad weed.
+Joey’s Voice: After the events described previously, Gail Wynand decided to turn his newspaper into a benevolent newspaper, hailing the productive scions of America, etc. etc. So, he decided to get rid of some bad weed.
 
 [Toohey enters through the door.]
 
 
 [Toohey sits down.]
 
-Wynand: Mr. Toohey, you're fired. Moreover, I'll make sure you'll never be able to publish a single word again…
+Wynand: Mr. Toohey, youre fired. Moreover, Ill make sure youll never be able to publish a single word again…
 
-Toohey: Mr. Wynand, [rises up and shakes Wynand's hand] I can't thank you enough, wait here.
+Toohey: Mr. Wynand, [rises up and shakes Wynands hand] I cant thank you enough, wait here.
 
-[Toohey leaves the office. Wynand waits, puzzled. After a few seconds, there's a cut to the door, showing Toohey entering with a belt around his neck.]
+[Toohey leaves the office. Wynand waits, puzzled. After a few seconds, there’s a cut to the door, showing Toohey entering with a belt around his neck.]
 
 Toohey: Your actions will allow me to launch my new career as a saxophone player. [He shows his saxophone.] Hear this!
 

t2/humour/TOWTF/index.html.wml

 <latemp_more_keywords "fountainhead,ayn rand,parody,spoof,humour,funny,screenplay,story,friends,television,tv,objectivism,randianism" />
 
 <p>
-This is a parody about Ayn Rand's novel, 
-<a href="http://en.wikipedia.org/wiki/The_Fountainhead">"The 
-Fountainhead"</a>, modelled around a two part episode of 
+This is a parody about Ayn Rand’s novel, 
+<a href="http://en.wikipedia.org/wiki/The_Fountainhead"><i>The 
+Fountainhead</i></a>, modelled around a two part episode of 
 <a href="http://en.wikipedia.org/wiki/Friends">the 
-Television show "Friends"</a>. 
+Television show <i>Friends</i></a>. 
 </p>
 
 <p>
 </ul>
 
 <define-tag reviews>
-A friend of mine who read the book, but didn't watch "Friends" found this
-piece highly entertaining. Moreover, an English lady I've been talking with
-online, who likes Friends and hasn't read the book yet, also liked reading
+A friend of mine who read the book, but didn’t watch <i>Friends</i> found this
+piece highly entertaining. Moreover, an English lady I’ve been talking with
+online, who likes Friends and hasn’t read the book yet, also liked reading
 this creation of mine. So it is probably good enough for people who are 
 familiar with only one of the two sources of inspiration.
 </define-tag>
 <p>
 Well, since this work is a parody of The Fountainhead (written by Ayn Rand
 and now still kept by the Ayn Rand estate), and contains characters from there,
-I am theoretically protected by the Copyright's
-<a href="http://en.wikipedia.org/wiki/Fair_use#Fair_use_and_parody">"right of 
-parody"</a> as part of "Fair Use". There are other parodies of Ayn Rand works
+I am theoretically protected by the Copyright’s
+<a href="http://en.wikipedia.org/wiki/Fair_use#Fair_use_and_parody">“right of 
+parody”</a> as part of ”Fair Use”. There are other parodies of Ayn Rand works
 online and possibely offline, and no one was sued yet.
 </p>
 
 <p>
-However, I have used characters and concepts from the T.V. show "Friends",
+However, I have used characters and concepts from the T.V. show <i>Friends</i>,
 and while some parts of my work parody the show in some respect, I consider
 it as an ordinary fan-fiction work of Friends, rather than as a parody of it. 
 As a result, I consider it a derivative work of Friends, which, like it or not 
 and according to the contemporary Copyright Law, may mean it is encumbered by
-the claims of its copyright holders. Again, I've seen other fan fiction of
+the claims of its copyright holders. Again, Ive seen other fan fiction of
 Friends around the Net.
 </p>
 
 <p>
-All the text in "The One with the Fountainhead" is original, and as far as
-I'm concerned can be used under the terms of
+All the text in <i>The One with the Fountainhead</i> is original, and as far as
+I’m concerned can be used under the terms of
 <a href="http://creativecommons.org/licenses/by-sa/3.0/">the Creative Commmons
 Attribution-ShareAlike licence Unported (CC-by-sa), either version 3.0, or at
 your option any later version</a>, but like I said, the situation is
 </p>
 
 <p>
-I'm putting it here on this site in hope it will amuse or inspire
+I’m putting it here on this site in hope it will amuse or inspire
 people, and also because it may encourage people to read the Fountainhead, or
-watch some episodes of Friends, both of which I can highly recommended. I'm not
+watch some episodes of Friends, both of which I can highly recommended. Im not
 charging people any money to download, build, or view the works, but I
-have some web-commercials which I'm making some small money from, and whicih
+have some web-commercials which Im making some small money from, and whicih
 I hope are acceptable to the copyright holders. Please don’t sue me.
 </p>
 
 
 <h2 id="links">Links</h2>
 
-<h3 id="other_ayn_rand_parodies">Other Parodies of Ayn Rand's Works</h3>
+<h3 id="other_ayn_rand_parodies">Other Parodies of Ayn Rands Works</h3>
 
 <ul>
 <li>
 <a href="http://www.noblesoul.com/orc/critics/humor.html">A list of
-other Parodies on Ayn Rand's Books</a>
+other Parodies on Ayn Rands Books</a>
 </li>
 <li>
 <a href="http://www.jeffcomp.com/faq/parody/">Another Fountainhead
 <li>
 <a href="http://en.wikipedia.org/wiki/Friends">Friends on the Wikipedia</a>.
 Also see their
-<a href="http://en.wikipedia.org/wiki/User:Shlomif/Running_gags_in_Friends">"Running 
-gags in Friends" page</a>.
+<a href="http://en.wikipedia.org/wiki/User:Shlomif/Running_gags_in_Friends">“Running 
+gags in Friends” page</a>.
 </li>
 <li>
-<a href="http://www.friendscafe.org/">The Friends' Café</a>
+<a href="http://www.friendscafe.org/">The Friends Café</a>
 </li>
 <li>
-<a href="http://www.friendsplace.com/">The Friends' Place</a>
+<a href="http://www.friendsplace.com/">The Friends Place</a>
 </li>
 </ul>
 
 
 <li>
 <a href="$(ROOT)/humour/by-others/hitchhiker-guide-to-star-trek-tng.html">The
-Hitchhiker's Guide to Star Trek - The Next Generation</a> - an old Internet
-cross of the <i>The Hitchhiker's Guide to the Galaxy</i> and
+Hitchhiker’s Guide to Star Trek - The Next Generation</a> - an old Internet
+cross of the <i>The Hitchhiker’s Guide to the Galaxy</i> and
 <i>Star Trek - The Next Generation</i>. Incredibly funny, and inspired me
 to cross <i>Friends</i> and <i>The Fountainhead</i> in a similar fashion.
 </li>
 <a href="http://en.wikipedia.org/wiki/The_Fountainhead"><i>The
 Fountainhead</i></a>
 - the actual novel by Ayn Rand, which I have read, and enjoyed immensly and it
-is probably my favourite "Adult-oriented book". I have heard mixed opinions of
+is probably my favourite Adult-oriented book. I have heard mixed opinions of
 it from other people who have read it, but even people who hated the book
 appear to enjoy my parody.
 </li>