Evan from group 1. I don't know if italics worked on this or the bold. We did what we could with the rough draft. The bits starting with a hyphen are blurbs that we still need to put into script form. Also, there are still some parts we need to elaborate on. But here's what we have.
Camera pans over New Orleans, focusing and descending slowly on partially collapsed bridge. A crew of construction workers clear away rubble. Narrator: (Voice Over) You're Jotham Powell? Cut to busy diner, camera slowly pans across bar, patrons sitting on stools, eating breakfast. All are watching the news on a small television behind the bar. Newscaster: Our top story today is a bridge collapse, causing injuries to two people... Camera continues pan, Narrator is sitting at a booth, across from him sits Jotham Powell, who sits awkwardly, glancing from the narrator to other people in the diner. Jotham: That's right. Narrator: (smiles kindly) I wanna make it clear that this is really a formality; no one really thinks anyone had any fault in the collapse. We just have to go through and make sure everyone did as much as possible to prevent this, so we don't get any lawsuits, you know? Jotham nods, still looks worried/awkward. Narrator: So, tell me a bit about what your crew thinks happened. Jotham: Well, the bridge was weakened after the hurricane, and there was an incident where the foundation cracked, bringing the bridge's condition to our attention. My crew and I-- Narrator: Did you bring the list of the names of your workers? Jotham: Yeah, here. J. pulls a folded page from his pocket, slides it across the table to N. Jotham: So we were working on the bridge, and we had it closed off and everything, with signs and all. J. pauses, looks around. Jotham: I suppose they just didn't see the signs. It must have been late... I don't know. N. smiles kindly, unfolds piece of paper, then gets up to leave. Narrator: I figured as much. Don't worry, Mr. Powell, I just have to ask your guys a few questions, then this'll be all wrapped up. Thanks for your time. Jotham: (distracted) Yeah, yeah... No problem. Any time.
Narrator gets out of his car, looks around, then begins to walk up a battered stone pathway, leading to a slightly run down house. Camera shows 'Frome' on the mailbox, letters falling off. Narrator knocks on the door, waits, no answer. Glances around, then knocks again, checking the folded piece of paper from Jotham. Neighbor: (Off-screen) Not home, I'd say. Narrator turns, camera pans to show old woman across the street, sitting in a rocking chair. Neighbor: Ethan's in the hospital, you know, and I would bet Zeena's there too, visiting. Narrator begins walking back down the path, getting closer to the old woman. Neighbor: Can't say I've seen you around before, young man. May I ask why you're looking for the Fromes? Narrator: Well, I'm part of an investigation of the bridge collapse, and Mr. Frome's name is on the list of workers who were working on the-- Neighbor: Terrible business, that. Such a shame, too. So much tragedy in one family. Narrator: I beg your pardon? I didn't realize Mr. Frome was hurt in the accident.. Neighbor: Well, yes. Another in a string of unfortunate events. Mother died, father died, wife sick... And he had such a promising future at college...
(Flashback)
Raining heavily, figures running into dorm building. Scene changes to Ethan's dorm room, LSU jersey hanging on the wall. TV is showing a weather report for the New Orleans area. Ethan sits, watching the report, hand on his chin, worried. Newscaster: Katrina is coming in heavy, folks, and it doesn't look like it'll be letting up any time soon. If you're smart, you'll have already gotten out, but if you're still in the city, get to shelter or some kind of safety. Ethan turns TV off, lays in bed, still worried. Scene changes to a couple days later. There's light rain falling as Ethan, looking gloomy and sad, leaves his dorm building, and enters a small square filled with people bustling around. Most are wearing FEMA jackets. Ethan pulls aside a young woman (Zeena). Ethan: Excuse me, uh, I just have a quick question... Zeena nods, glances back at group of FEMA workers. Ethan: (stuttering slightly) I need to know if its, ah, safe to go back in the city.. I've got family there, you see, and I need to get back to help them. Zeena surveys Ethan, gives him a small sympathetic smile. Zeena: It must be difficult for you, I'm sorry. I'd say it's relatively safe, just watch the waters, you know? Ethan brightens up a bit, smiles. Ethan: Thanks, that's great. Zeena nods, smiles again, turns back to FEMA workers after giving Ethan one more look. (Later) Dark hallway, Ethan is leaning up against a phone booth, talking into the phone. Ethan: Mom? Finally, I got through. Are you and Dad okay? (After a pause) Mom: Well, there was some flooding, and your father-- Line breaks up, Ethan can't hear. Ethan: What was that? Mom: Your father was swept away... He.. he hasn't been found yet, Ethan... Ethan: Oh my gosh...Dad…what about you mom? Are you okay? Mom: Well, I’m alive…that’s it really. Ethan: What happened Ma? Mom: Well I was trying to rescue your father as he got swept away in the tides, and I got cut by…I don’t know what…something. Ethan: Oh, just a cut, that’s good. Mom: Well, no…there’s this huge gash on my leg, and I think it’s getting infected. Ethan, I need you to come home. I don’t know if I can go on like this much longer. Ethan: But Mom…college…my degree… Mom: Ethan, I need you, please. Ethan: Okay Mom, I’m coming.
Ethan hangs up the phone and runs through the rain into his car. He slams the door, turns on his lights, and speeds off.
Cut to early daytime..Ethan is entering the city. Several areas are heavily flooded, and Ethan has much trouble maneuvering around finding roads that are safe to drive on. Several shots of dilapidated houses and stranded people, along with long food lines. Ethan finally pulls into his driveway. His house is quite dilapidated and damaged from the flood. He walks up to the front door, unlocks it, and walks inside. He looks around, calling out for his mother, and finds her in her bed, sleeping. Her leg is heavily bandaged, and Ethan wakes her. She tries to sit up, but grimaces in pain. Ethan sits on her bed and they embrace.
Ethan: Mom, how are you? Mom: Oh Ethan, I don’t know…I can’t walk. Ethan: (looking around) Mom, we can’t stay here. Look around…there’s mold growing on the walls, the basement is filled with water…it’s not good for you or me. Mom: Ethan, where can we go? Ethan: We’ll find somewhere…I don’t know how, or where, but we need to get out of this house. Mom: (sadly nods in agreement)
Fast forward, Ethan wheeling Mother around in a wheelchair outside of a trailer. It is implied that this is there temporary home. Brief montage of Ethan caring for his mother the best he can, and also trying to repair his house. Not very successful in either. Ethan soon realizes that he cannot support himself and his mother on the small funds they have, and knows that he needs a job. -Ethan goes out one night to a diner/bar, sees Zeena there, she greets him, asks how his mother is, Ethan talks about how he's having difficulty taking care of her, and needs to get a job so he can take care of finances as well -Zeena offers to watch out for his mom for a few days while he gets back on his feet, says FEMA has enough people out in the city
Ethan nervously approaches a construction scene surrounded by dilapidated buildings. This is an area of New Orleans that is higher up (French Quarter?) so the flood waters have receded. Ethan looks around, says a bunch of “Excuse me, Sorry” type exclamations, and looks for what seems to be a head guy. He shuffles up to the person.
Ethan: (quietly) Erm, excuse me sir… Construction worker seems busy telling others what to do and directing rebuilding, doesn’t hear Ethan. Ethan: (clears throat, says a bit louder). Sir? Head Worker: (gruffly) What?!? What do you want? Can’t you see we’re busy here? Look at all this destruction. We gotta rebuild all this stuff and help these people… Ethan: (seems to shrink away) I’m sorry, I was just wondering if…uhhh-- Head Worker: (interrupting) Out with it! We have work to do! Ethan: (splutters) if I could get a job.. Head Worker: (seems slightly more interested, but still gruff) Hmmm…what’s your reasoning kid? Ethan: (quickly and nervously) Well, my father died in the hurricane, and my mother’s really hurt…and I need money to help support us….uhhh…I spent two years in college majoring in engineering, but I didn’t finish ‘cause of the hurricane. (pleading) Please sir, I need this job. Head Worker: (hesitant) Uhh, I don’t know kid…we got a lot of people working on this already.. Ethan: I’m a really hard worker, and I can fix almost anything. Just gimme a chance, I’ll show you. Head Worker: (reluctantly) Ok, fine…get a hardhat from over there…you start now. Ethan: (excited, relieved) Oh thank you sir, thank you.
Ethan runs over to get a hardhat, then hurries over to a crowd of workers rebuilding a dilapidated house. He immediately starts helping them. The workers at first give him a curious look, but, realizing that he is aiding them in their work, resume to rebuilding.
Montage of Ethan working hard at the construction site. He seems a little less skilled than the other workers, but gets by alright. Several small clips of Ethan working at the site during the day, then at night coming home. Each night, Zeena greets him with a smile and a warm meal, to Ethan’s relief after a hard day at work. A few clips of Ethan and Zeena talking and laughing late at night, mixed in with clips of Zeena nursing Ethan’s sick mother. Ethan seems very distressed.
On the weekends or early evening after work, Ethan tries to fix up the house. Montage of him standing on a ladder with a hammer and nails, putting up siding, standing on scaffolding, doing the dirty stuff like cleaning out the flood-damaged basement, etc. Ethan is getting more and more stressed, and one night after working at the site and his house for hours, he comes into the house and collapses on the kitchen table. He begins to cry…tears roll down his cheek. Zeena tries to console him. Ethan: Zeena, I don’t know if I could ever manage this without your help. Zeena smiles sweetly, they embrace.
-Mother's condition is worsening, dies, is buried, few people in attendance, Ethan looking lost and hopeless, Zeena comforts him -They go back to the trailer, awkward, Zeena knows she should go, begins to say so, Ethan stops her, says he needs her, can't go it alone, they embrace, scene ends
The next morning: Ethan wakes up, looks over at Zeena, who is still sleeping. He quietly gets up and creeps into Mattie’s room down the hall. When he enters, she is sitting up in bed with red, puffy eyes. Ethan knows she heard the argument yesterday. She looks up, giving him a weak smile. Ethan advances forward and speaks to her in a quiet, urgent tone. Ethan: Matt, what’s gonna happen to you? What’re you gonna do back there? She doesn’t respond, but just shakes her head back and forth. Ethan: Could ya leave and run away from here? There’s a train leaving to Baton Rouge at 5:00, you can take it and get out. In a defeated tone, Mattie replies. Mattie: No puedo…They’ll catch me no matter what. silence Ethan: I’ll drive you to the station, at least. Zeena wants ya there by 3:00. (train taking her to the deportation center). Ethan leaves the room, with a last look at Mattie. A few hours later—Ethan is waiting in the car, and Mattie comes out of the house with a red hibiscus in her hair. Mattie enters the car, she looks scared. They don’t say anything. Ethan and Mattie are in Ethan’s rundown car. Ethan starts the engine and drives out of the house onto the pot-hole filled road Driving through town to get to the train station Ethan notices Mattie fiddling with something in her hands, but ignores it. A little while later Mattie: Ethan…I found this (pushes the letter Ethan had written onto the dashboard in front of him)…they sit in silence Ethan is looking astonished but fades to a saddened smile Ethan: Matt, if we could would ya? Would ya go with me? We could leave all this behind and go West…somewhere where the storm can’t get us and we can be libertes. Mattie: It’s no use Ethan…they’ll catch up with me anyway…there’s nowhere for me to hide anymore. (silence falls once again) Ethan: (sounding defeated) There’s about an hour before your train leaves, Matt. This might be your last chance to see the destruction which brought you here…Do you want to see it? Mattie looks down and nods ‘yes’ carefully They continue in silence as Ethan drives out to the borders of town where the destruction is. They sit in silence as Mattie gazes out the car window at the ruins the hurricane left. Mattie: How…this is just…oh Ethan, es horrible. I can’t imagine anything more devastating. (with tears in her eyes) Ethan: (sorrowfully mumbling) You haven’t even seen the worst of it… Mattie: ¿Qué? Ethan: Just over the bridge is the worst damage left behind. In a desperate voice Mattie says: Mattie: So take me Ethan…I have nowhere else to be…nowhere else to go. No hay nada más para mi. Ethan: Matt, remember what happened to Ned and Ruth…You heard Jotham say the next car to go over the bridge would cause it to collapse…you know that. Mattie: Ethan… (by this point Ethan has slowed the car to a stop) They look into each other’s eyes…Mattie’s seeming to be aflame with a red glow while Ethan’s initial look of fear fades to a hazy excitement. Ethan slowly presses down the gas and the car pulls forward, as if it is carrying a load of bricks behind it. As the bridge veers into sight Ethan begins talking hastily to Mattie. Ethan: Are you scared Matt? Mattie: I’m not scared…I feel safe with you They begin to pull forward, accelerating towards the normally threatening yellow caution tape, which now to Ethan seems more alluring than ominous. Ethan’s grip becomes tighter as the car moves faster. (As the car gets closer to the bridge, Jotham Powell who had been surveying the bridge from a boat a little ways off, frantically watched) As if on cue, the car torrents through the forbidding caution tape As the bridge crashes under the car, the noise echoes through Ethan’s mind, bringing back the noise of Zeena’s Hera statue crashing to the floor. Ethan’s leg jerks on the brake pedal in response to this, causing the entirety of his leg to have a brief but fierce muscle spasm. Ethan grasps Mattie’s hand as the car shatters the glass surface of the water. Mattie quickly becomes unconscious as the water envelopes them. As the water fills his lungs, the last thing Ethan remembers is the grip of a hand on his arm, ripping him from the sinking vehicle, and a red hibiscus sinking in the water.
Also, we need to add a few more things, like Ethan kissing Mattie (like he did in the kitchen in the book) and the whole thing about Mattie telling Ethan she loves him right before the suicide so she gets him wrapped around her finger.
The scene starts with a quick shot of Mattie clearing away the dishes. Rain patters against the window.
The camera moves to a window, where Ethan is gazing outside watching the cars drive by.
As Mattie is going to retrieve a candle from the table, she hits her knee on a chair.
Mattie: Mierdo! That hurts!
Mattie carries a candle into the living room.
The camera shifts to a focus on the flickering light of the candle, with Mattie out of focus on the right side. Mattie proceeds to light a fire and gather her old t-shirt and knitting supplies.
Ethan joins her and they both sit down to either sides of the focused candle.
Ethan lights a cigarette. Mattie begins to knit.
Camera shifts to looking over Mattie’s shoulder at Ethan (camera will do this for each person from now on until stated otherwise.)
Ethan: Mmm, that really hit the spot. Good cooking, Mattie.
Mattie: As my family say back home, gracias. Hope my food’s better.
Ethan: Yeah, it really has improved. (With a grin) Much better than Zeena’s cooking, at least.
Mattie chuckles.
Mattie (smiles): I’ve learned a lot since I came.
Ethan: You’ve really come a long way since your first days here—quite an accomplishment.
Mattie: That means a lot to me—thank you, Ethan.
Ethan: It’s no problem.
Camera switches to look at Ethan looking out the window.
The conversation dies down as the topic dwindles away. Ethan searches for conversation as he looks out the window. Ethan notices the cars and remembers the drive they were supposed to take.
Ethan: Say, weren’t we supposed to go driving tonight?\
Camera pans to include both individuals.
Lightning flashes in the window.
Mattie: That’s right! We were. I guess you forgot
The thunder booms.
Both turn their heads in idle acknowledgement.
Ethan: No, I didn’t. But it’s a bit too stormy out. I guess we’ll go tomorrow.
Mattie: I’d love that.
Camera shift to looking over Ethan’s shoulder from behind Ethan.
Ethan stares contentedly at Mattie’s face as the rain speeds up.
Ethan: But I’ve heard some things about the stability of the bridge. They say it’s ‘bout ready to collapse. D’ya think it’s safe?
Mattie: That don’t scare me.
Lighting strikes again.
Ethan: Jotham told me the other day that if one more car drives over that thing, it’ll go right under.
Thunder booms, closer this time.
Mattie: And you believe him?
Ethan (shrugs): I wouldn’t bet against Jotham. He has a sixth sense for this stuff.
Mattie (puzzled): A sixth sense?
Ethan: He’s got a feel for these things.
Camera closes up on body profile of the speaker.
Ethan (sighing): I guess we’re fine staying inside.
Mattie (contentedly sighs): Yeah, I guess you’re right.
Camera shifts to Ethan’s eyes, then to the fabric as Ethan stares at the fabric Mattie is using to sew.
Ethan: So, you’ll never guess who I saw kissing on my way home today…
Mattie blushes and directs a shy look toward her sewing.
Camera shifts to profile of each speaker.
Mattie: Kissing? That was probably Ned and Ruth…
Ethan (awkwardly): Oh, well, yeah. I guess they’ll be tying the knot eventually.
Mattie (still staring at her fabric): Mhm, I wouldn’t be surprised if they did it this summer.
Another flash of lightning and crash of thunder pass outside, even closer this time. Camera switches to view of room as this happens, lighting up surroundings. Then switches back to individuals speakers.
Ethan: Speaking of the summer, shouldn’t you be getting citizenship around then?
Mattie (defensive): Why do you say things like that? Is it because Denis suspects me?
Ethan (distressed): Denis? No, no, nothing like that. But what do you mean?
Mattie puts down her sewing due to the stress.
Mattie (sighs): I don’t know. It looked like he knew something last night.
Ethan: I still don’t get what you mean.
Mattie: It’s hard to say with men like him.
Ethan: Oh, O.K.? Well, he hasn’t said a word to me.
Mattie: I guess I’m just nervous.
Camera shifts to view of Mattie and Ethan from behind Ethan.
Mattie sits silently in her chair.
Ethan: Oh no, don’t let’s think about it.
Mattie continues to sit quietly.
Ethan reaches out and takes a hold of the fabric.
Mattie (awkwardly and very softly): Ethan…?
Lightning strikes and thunder bellows only a second apart, as Zeena’s cat jumps into Zeena’s chair.
The cat bears an eerie resemblance to Zeena in the light.
Ethan’s eyes droop down in exhaustion and he remains crouched by the fabric.
The awkwardness of the mood grows with each second of silence. In a vain effort to part the stillness, Ethan touches his lips softly do the fabric.
Instantaneously, the lightning strikes and thunder comes directly after it, the noise so close that it rattles the house.
Startled, Ethan pulls away and gets back to his seat.
The mood only becomes more awkward, the only noise in the air that of the sheets of rain on the windows. Mattie slowly shifts in her seat, avoiding direct eye contact with Ethan.
After a brief pause, she quietly gets up.
Mattie (awkwardly): Erm, Ethan, I think it’s time I sleep.
Ethan (even more awkwardly): Oh, right…
Mattie gets up, putting away her sewing tools and proceeding downstairs to bailout some water that had accumulated during the storm. She comes back up, her dress stained with wet spots from the water.
Mattie softly waves Ethan a goodnight.
Mattie (quietely): Good night…
Ethan musters up resolve for his reply, but it gets stuck in his throat, and the only response he gives is a quiet nod of the head.
As Mattie turns around and heads up the stairs, a creaking noise emanating with each step.
Ethan stares blankly, his eyes glazed over, long after Mattie makes it up the stairs. He begins to recall the last hour that seemed to go by like a blur, and his mind comes to a sudden realization—he had not once taken any initiative with Mattie.
With that, the lightning strikes once more followed by thunder, illuminating everything in the living room—the fireplace, Zeena’s armchair, and the cat. With a meow, the little animal jumps from its perched position on the armchair. With its absence, the fire goes out, leaving a disappointed Ethan Frome in its wake.
This is Group 6's rough draft script. WARNING: I did take some liberties: Zeena reveals that she knows Mattie's illegal alien status and Ethan has a car. Also, there is a blank space under the brief conversation with Mattie and Ethan in the beginning: we have the dialogue, but not accessible at the moment, but it's not that important.
ZEENA’S RETURN INT. SCENE - DESCRIPTION The weather is impeccable, belying the power outages the night before. The awkwardness seems to be forgotten except for a few sidelong glances that are slightly reverted when the other catches it. Many residents are out enjoying the sunshine, in-cluding Ethan and Mattie, who have just come in from a walk. They are enjoying their time together. Enter: Mattie and Ethan into the dilapidated house, Mattie’s laughter echoing through the peeling hallways, as they both settle into the living room, collapsing into the chairs. Mattie strikes up a conversation. MATTIE:
ETHAN: Mattie merrily turns on the television and they begin to watch television. The channel is tuned to the news, which is grimly relaying the still deplorable conditions in some parts of New Orleans. NEWSCASTER: “...more looting continues to plague residents in the Lower Ninth Ward of New Orleans. Many angry residents, still going days without adequate amounts of food and shelter are...” The laughter in Mattie and Ethan’s faces drain away as they sink into somber silence for a few seconds. Cue: Mattie impatiently switches the channel to something more lighthearted: MATTIE: No news is good news. I can’t stand to hear these terrible things. She switches the channel to the Discovery Channel. Ethan begins to express his admiration for the beautiful landscapes of Santa Fe (??? insert any place here, possibly Florida, where he is considering starting anew) They watch the TV screen silently for a few seconds. MATTIE (wistfully): It’s so beautiful. It looks like Mexico, so open and dry. ETHAN: I’ve been down to Florida, but I’ve never seen anything like that. Just imagine living there. (Ethan subconsciously glances quickly out the window towards the evidence of Katrina is visible) It’s an alien kind of beauty I’ve heard, that makes people feel so much freer. Mattie shoots Ethan a questioning look. MATTIE: Freer? I’d like to go there someday. All those reds and oranges of the desert...not something you see here. ETHAN: I know a man who left this place and went down there with his sweetheart. He did alright too, came back with a sweet baby girl and a blooming business. MATTIE: So it’s a place of new beginnings. The two lapse into contemplative, yet comfortable silence. Suddenly, the doorbell rings. Mattie and Ethan shoot each other confused faces: who could it be? Before they have time to react, the door is noisily opened by Zeena, coming in rear end first and towing a fair amount of bulky luggage behind her. In this position, she does not see the obvious surprise of the pair sitting behind her, with horrified looks on their faces. ZEENA (punctuating her words with violent tugs at her stuck luggage in the doorway): Can’t--anyone--help--me? ETHAN (snapping out of his shocked silence, and scrambling over to Zeena): Here- let me...(he takes over as Mattie springs out of her chair and begins tidying up the room and the kitchen in preparation. Zeena sinks exhaustedly into a chair and declares her exhaus-tion, attributing them to her worsening symptoms. ZEENA (letting out a sigh): The entire trip has been nothing but a nightmare. I saw the doctor and he said my symptoms are the worst he’s ever seen so far. He says I may need counseling or some kind of - Oh! Mattie? I forgot my coat in the car (Jotham’s or Ethans???) Be a dear and get it, will you? Mattie silently complies and leaves the room. As soon as she leaves, Zeena straightens up and her mouth tightens. The air in the room gone entirely still without the absence of Mattie. ETHAN: (wearily) How bad is it Zeena? ZEENA: (sharply) Ethan, I’m getting worse. The doctor recommends that I get rid of as much stress as possible. Even the tiniest things could disturb me. I may need professional help (here, Ethan inter-jects, presumable about pecuniary purposes but Zeena carries on as if she doesn’t hear him)...the bottom line is that this is serious and I need more help than that girl, Mattie (she jerks her head towards the vague direction of the car outside) has given. ETHAN: You mean you’re going to kick her out. ‘Cause you can’t do that, Zeena. She has nowhere to go. We’re the only place she has. ZEENA: (rather sharply) Don’t think I don’t know about Mattie, Ethan. Both of you think I’m not sharp enough to catch on, but I know when I smell something fishy. You think I haven’t noticed that government guy trailing Mattie? She’s illegal, Ethan, illegal! How much do you think I can take? I didn’t bargain to support a useless housekeeper, much less an illegal one. And something else you forgot to mention: our mortgage? We’re about to lose this house, whatever is left of it anyway. I thought you had the money to pay off the mortgage. ETHAN: (desperately; Zeena’s outburst has shocked him with what she knows and he is pale) Your a poor man’s wife, Zeena. But...that doesn’t mean she has to leave. She can work harder to deserve keep, and I can help you too Zeena! We’re the last chance she has, it’s only right to help her. I thought you were a FEMA worker, someone who helped people. ZEENA: (scoffs in spite, now extremely angry and shouting) And it was helping other people- your mother, Ethan- that I got this illness! All my colleagues said it was the least you could do to marry me after all I went through. ETHAN: (visible anger beginning to blossom on hi face) Zeena- (he takes a step towards her) now you... Zeena catches the empty place on the shelf where her Hera sta-tue, a treasured wedding gift, is missing. ZEENA: (quietly and menacing) Where is my Hera statue, Ethan? My wedding gift! ETHAN: (taking a deep breath) It’s in the cabinet, Zeena...the cat broke it. It was all an accident, it was all my fault-- ZEENA (catching the sight of the remaining shards of her beloved statue): Screaming hysterically, she drags Mattie, who has been listening outside and who has understood what Zeena has said despite her broken English, into the room. MATTIE: I’m sorry--I coul-couldn’t find your coat, Zeena! ZEENA (screaming hysterically): Did you do this? I know you did! Not even when [insert important person’s name here] came to dinner did I take my statue out of its spot. Why (Zeena chokes up) did you take it down? MATTIE: (cowering in fear and verging on tears) It was an accident--the cat--I’m sorry-- ZEENA: (now red in the face, looking fearsome, almost victo-rious, in her resplendent fury) This is the last straw! I knew it when other people told me it was a bad idea to take you in. I always said you were a bad girl, Mattie. Get out, GET OUT!(Zeena begins to physically abuse Mattie, shaking her in rage) ETHAN: (snapping out of his cowering reverie) Zeena, STOP. (He reaches into the cabinet and takes the frag-ments of the statue into his hands) Take your statue! What does it mean to you anyway? In an act of defiance, Ethan throws the shards onto the floor. Abject silence greets his action. Zeena’s eyes widen in shock. ZEENA: (hissing) You pick that up, Ethan Frome. Don’t forget that I’m your wife, and I deserve to be treated with respect, not with this, all for a petty, conniving, ILLEGAL IMMIGRANT (Mattie gasps). Zeena then leaves the room, sobbing, declaring that Mattie has robbed her of what “she has set the most store by.” Ethan stoops down from his towering posture from before, submissively picking up the pieces one by one as Zeena’s shrieking fade deeper into the house. Mattie sways a little from where she is standing, and, seeing Ethan, silently goes over to help him. EXT. SCENE - DESCRIPTION Dinner is a silent affair. Ethan angrily eats, Mattie listlessly prepares the table, while Zeena eats with much more appetite than usual, a trace of a smug smile crossing her smile as she sees Mattie. LATER THAT NIGHT: A sleepless Ethan gets out of bed, slipping out from under the covers he shares with his despised wife. After gazing at Mat-tie’s door for a few seconds, he steals to the kitchen, pulls out a napkin and, after hesitating for a few seconds, begins to write: “Zeena, I’ve done all I could for you, and I don’t see as it’s been any use. I don’t blame you, nor don’t I blame myself. Maybe both of us will do better separate. I’m going to try my luck outside of this hellhole, and you can sell whatever we have, and keep the money--” He tucks the note under a coffee mug, then goes outside to start the car. The car reluctantly grumbles to life and Ethan slowly pulls out of the driveway. He trundles past the houses on his street destroyed by the hurricane, debris still littering the street. In the moonlight, the destruction looks particularly eerie, like an alien landscape. In fact, the landscape begins to take on life and creaking and whistling sounds reverberate as the wind rushes over the ruins. Ethan continues to drive, past residents still outside after dark. They look at Ethan’s car as he drives past, and the feeling he gets is that he is leaving them behind. Ethan arrives at the ramp leading him to the highway until he suddenly sees a fallen tree partially blocking the very entrance of the highway. It is just enough to prevent Ethan’s car from fitting through the gap left. Ethan stalls the engine, turning off the car and sits under the stars on a deserted highway. He feels dwarfed, insignificant at the immense span of stars and sky over him and minute obstacle that is blocking all him from continuing. He turns on the radio, but songs of sadness, pity, and hope (should be include songs of hope) come one, adding more to Ethan’s misery. He takes out a map and realizes he has nowhere to go and no resources to get anywhere. Reluctantly, he heads back. He reaches the house by dawn, the morning’s light illuminating and exposing what he is coming back to. Mattie silently watches him from her bedroom window.
(Mattie's dancing, Denis sees her. A song ends and he goes over to her to ask her for the next one...)
D: "Can I have this dance?" M: "Um, sure." (uncertainly)
(They dance sort of awkwardly. Ethan is outside the dance hall, looking through a window. He looks longingly at Mattie and yearns to go inside and take Denis’s spot.)
D: "So... Mattie is it?" M: "Yes, how did you know my name?" D: "I've heard people say it. Does it have any special meaning?" M: "Mattie? No, my mother just chose it for me because she thought it was pretty." D: "Pretty name for a pretty lady." M: "Oh, um, thank you..." (creeped out) D: “So… your hair is a beautiful kind of dark. Are you Hispanic?” M: (nervously) “Maybe … maybe not. Why do you care?” D: “I’m just curious … you know, trying to get to know you better.” M: “Okay.” (looks away. There is an awkward pause.) D: “Well, are you?” M “Am I what?” (really annoyed now.) D: “Hispanic.” M: “Do I look Hispanic?” D: “Well, sort of. You have that dark skin, dark hair thing going for you. I think you look beautiful.” M: “Okay. Well, thanks.” (awkward pause again.) D: "Anyways, so uh, you live with the Fromes don't you?" M: "Yes actually." (looks for a way to leave...) "In fact, I see Ethan outside waiting for me now. I have to get going. It was nice meeting you Derek." D: "It's Denis. You sure you wouldn't like a ride home?" M: "Quite sure thank you. I don't ride with strangers. Have a good night."
She leaves rather quickly to walk with Ethan... Denis stands there in the middle of the dance floor looking dejected.
M: "Hello Ethan." E: "Hi Mattie. Did you have a nice time tonight?" M: "Oh, wonderful. It was amazing... the masks everywhere and the music and the dancing! I loved it. There was one... interesting... man though who kept asking me odd questions." E: "Who might that be?" M: "Denis, I think it was." E: "Denis Eady? I'm surprised he's even at a masked ball. Seems he wouldn't be the type." M: "Oh he said something about how hard it was being a government official or something. He offered to take me home, but I wanted to walk with you." E: "You did huh?" M: "Yes. Besides, you can't properly see the stars through a car window." E: "No, you sure can't. (pause) They're lovely tonight too aren't they?" M: "Stars always look lovely to me. When I was back in Mexico I used to look up at them and feel free... feel like I could do anything." E: "I used to sit out on the beach in Florida when I went to school and just gaze up at the night sky for hours. I love stars. They're beautiful... but they make me feel so insignificant. Like wow, I'm really only one small speck in this universe." M: "Oh Ethan, you're a lot more than that." (Maybe more stars dialogue?)
(people walking by, one person wearing skeleton costume but didn't put the mask on yet... Ethan thinks it's Zeena for a second but then realizes it's not)
M: "Ethan are you okay?" E: "Yes, of course. I just thought I saw Zeena walking by. Wouldn't that be crazy?" M: "Who'd you think was Zeena?" E: "The one in the skeleton costume." M: "Oh that would fit Zeena well." E: "I agree. Maybe I'll get her one for next Mardi Gras, or sooner." M: "All right Ethan, stop kidding around. I doubt Zeena would be happy to hear you're going to get her a skeleton costume." E: "No, I don't suppose she would. It doesn't matter too much anyway. Zeena never really likes to dress up or do things like that. She's never been a party person." M: "Ethan, aren't we by the bridge you're working on?" E: "Yes. You remember that?" M: "Of course I do. You think I don't listen when you tell me about your day?" E: "No it's not... wait, do you see a car out there?" M: "Where?" E: "On the bridge. Nobody's supposed to use that bridge yet! It's not totally repaired." M: "Actually I do see a car. ... Look! It's going over."
(the car goes over as the bridge semi-collapses)
M: Oh my God! E: Those people are very lucky to have made it across alive. I hope they’re okay! M: Let's go home Ethan … I don’t feel safe out here.
(they hurry faster, they meet up with Ned and Ruth...)
M: Guys what happened to your car?! R: Oh it's nothing. M: That is NOT nothing. N: We were just taking a shortcut. R: Yeah, we kind of went over the bridge. M: Are you all right?! N: Yeah we're fine. Just a couple of cuts and bruises. E: I can't believe that was you guys. You both could have been killed. N: Well the point is that we're not... and we'll think twice about using shortcuts again. E: If you guys really are all right I suppose we should get home. Zeena will probably be worried and besides, I can call the construction company and tell them about the semi-collapse. R: That's a good idea Ethan. Well, good night.
(Ethan and Mattie walk towards the house, trying to continue the conversation, but it becomes more awkward.)
E: Mattie, I don’t want you going anywhere near that bridge. 0A M: Of course I won’t. Why would I ever do that? (haha, this is sort of ironic) E: That’s not good enough. You have to swear. M: I… I swear. E: Good. I just wouldn’t be able to stand it if you ever got hurt. I really care about you Matt. M: I care about you too Ethan…
(The walk is now more awkward as Ethan and Mattie reach the steps to the house.)
E: I wonder if Zeena waited up for us. M: Oh! I hope she didn’t. I wouldn’t want her to stay up just to wait for us.
(Ethan and Mattie open the door and see Zeena standing right there.)
E: Hello Zeena! You didn’t have to stay up for us. Z: I know, but I was worried. Where have you guys been? M: Oh… well, we saw Ned and Ruth… Z: Never mind! Just get in quickly. The breeze is mighty strong today and I’m getting chills.
(As they enter the house…)
Z: Ethan. Let’s hurry up to bed. I am very tired from all of that worrying and… M: Oh Zeena! You didn’t have to worry about us! Z: (mutter to herself) Not you… E: What? Z: Nothing. Come on Ethan. (she starts walking up the stairs.) E: Hold up Zeena. I uh… Z: What is it? E: I can’t go up just yet. I um… um… have to call the construction site to tell them the bridge almost collapsed. Z: (exasperated) Hurry up! M: Good night Ethan.
(Ethan goes to make the phone call and then goes upstairs. He passes Mattie’s door and stops.)
E: Good night Mattie … be safe.
(Ethan enters his bedroom and closes the door behind him.) *** The scene fades to black and ends.
Scene 2: The camera pans over the entire French Quarter, finally halting and zooming in on an old Catholic Church in the French Quarter. It is a gloomy, cloudy day outside and a faint drizzle is falling outside. Outside, the chuch has been restored, but once the camera enters the church through the open doors, water damage is evident on the cross and the statue of Mary. The camera then focuses on Zeena and Ethan. Priest: Do you Ethan Frome take Zeena Smith to be your lawfully wedded wife, in sickness and health, for better or worse, ‘til death do you part? Ethan: (with a cold look on his face) I do. Priest: And do you, Miss Zeena Smith take Ethan Frome to be your lawfully wedded wife, in sickness and health, for better or worse, ‘til death do you part. Zeena: I Do (her voice wavering) Priest: I now pronounce you man and wife! Ethan and Zeena kiss only for a split second and face the small, yet boistuoious crowd of friends, relatives and coworkers.
Now at the reception: The crowd has moved to the Frome household, Ethan and Zeena were conversing with friends and coworkers. The camera focuses on the couple as they begin talking to Zeena’s aunt. Aunt: Congratulations, Ethan and Zeena Zeena/Ethan: Thank you Julie. Aunt: As a symbol of your love, I present to you the statue of Hera, the Greek goddess of marriage. I think that it will serve as a wonderful centerpiece at dinner. A foot tall statue made of red glass and rubies is given to Ethan. The statue seems to reflect a brilliant red light throughout the room like a spectroscope. Zeena: Thank you, Aunt Julie, I don’t know what to say, it’s beautiful. Aunt: No need to thank me, just treat the statue well, it’s a family heirloom. Zeena: Of course.
Later that night: the party has cleared out, and Ethan and Zeena are having a discussion in the sitting room. Zeena: Well, now what? Ethan: I was thinking that we could move west, maybe to California or Arizona. It’s sunny there, and there aren’t any hurricanes either. Zeena: What would we do out West? Ethan: I was thinking that maybe I could finish school, or I would start my own business building houses. I hear that homes are selling like crazy out there. Zeena: I would like that Ethan, but I don’t know how we could afford movin’ out there. We don’t have a car and we ‘aint got any money either. Ethan: Yeah, but I’ll work as hard as I can so we can afford it. Maybe Mr. Hale will already give me a raise. Zeena: I doubt it. I’m tired, I’m going to bed. Zeena heads up the stairs to the bedroom. Ethan, his dreams momentarily crushed, turns out the light and follows her up the stairs.
Three Weeks Later: Ethan is working on a new house outside the city, the sun is shining, but a cold wind causes the men to bundle up. The camera then shows Ethan and Jonathan hammering shingles into a roof. Jonathan: So Ethan, how’s the home front? Ethan: (sighing) Zeena’s sick, I don’t know what’s wrong with her but she refuses to get out of bed. Also, she keeps screaming out things in her dreams about the storm and the water. Jonathan: That awful, maybe she’s suffering from depression or something. Ethan: The doctor’s don’t know what’s wrong with her and I’m really havin’ trouble doing all the housework by myself. Jonathan: You should hire a housekeeper or somebody like that. Ethan: I would, but all of Zeena’s doctor visits are taking a toll on my paycheck. I don’t know what I’m going to do.
One Month Later: The camera zooms in on Zeena laying in bed and then the phone rings. Ethan is away, so Zeena grudgingly picks up. Zeena: Hello? Aunt: Hi Zeena, its your aunt Julie. I didn’t mean to wake you. Zeena: No worries. What do you need? Aunt: Well, I remember you saying that you needed a housekeeped a while ago, and something’s come up so I don’t need my housekeeper anymore. I was wondering if you’d like to have her. Zeena: Really? How much do you want for her. Aunt: How about this, I give her to you for free and you just give her a bet to sleep in. Zeena: Wait, what’s the catch? Aunt: No catch, Zeena. I’m just doing my best to help out a struggling relative. Zeena: Julie, thank you so much! You have no idea how much I appreciate this. Aunt: No problem, Zeena. I’ll drop her off at your place in about a week. Bye.
A montage of Mattie’s story up until this point will be shown, possibly being narrated by Mattie. The montage will show Mattie crossing the border from Mexico and winding up in El Paso, Texas. Later, she is hired by Zeena’s aunt and she works for her for several months until it is discovered by Zeena’s aunt that Mattie was an illegal immigrant. Zeena’s aunt then tries to get rid of Mattie to avoid punishment for employing an illegal immigrant.
The Picnic Scene. It is a warm, sunny day, and the camera pans to show a massiave habitat for humanity build occuring in an impoverished, destroyed neighborhood of New Orleans. Ethan, Jonathan and other employees of Andrew Hale are helping to build houses, while Mattie and several of her friends are enjoying a neighborhood picnin/block party. The camera then zooms in on Ethan and Jonathan talking outside of a house being built.
Ethan: I’m glad that we’re helping the community by volunteering at this Habitat for Humanity build. Jonathan: Yeah, it’s great to help New Orleans recover. Ethan: I just hope that we can finish in time to attend some of the picnic and the fireworks. I had to decline Mattie’s invitation because I’m volunteering. Jonathan: So do I, that picnic sure looks like fun.
As you can see, i'm missing the picnic scene, which i will post later.
Group 2: you guys covered almost everything, but I do you think you should show Mattie first arriving and Ethan and Zeena's first reaction? I just don't think it would flow well if all we saw was a montage of Mattie's background and then all of a sudden, Mattie having this great relationship with Ethan at the picnic and telling him she's an illegal immigrant. Also, perhaps you could highlight how bad Mattie is with housework as well and Zeena's growing dislike towards her.
Hello all. This is the first half of the 8th Scene. Please feel free to suggest any changes if you see any problems. Thank you. We will have the second part up by tomorrow.
Ethan Frome “The Epilogue”
There is a blackout and silence on screen, the click of a lamp turning on is heard and the shriveled hand of Mrs. Ruth Hale is seen pulling away from the pink lamp, the room lights up as she does this. The camera zooms out to see the arm belongs to Mrs. Ruth Hale who wears a long pink nightgown with ruffles around the neck. The camera zooms out to reveal Mrs. Hale in her entirety and follows her as she shuffles to her purple floral couch, wheeling her oxygen tank behind her. Mrs. Hale sits on the edge of the sofa, uncomfortably and hunched over, breathing laboriously. As she does this, the camera zooms out to reveal a mysterious man in a tan trench coat, standing stiffly by the doorway. The camera shot is now from directly across the room showing from left to right the armchair, Mrs. Hale sitting down on the couch, the detective in the doorway.
MRS. HALE (In a suspicious and unsure tone) Won’t you sit down, detective?
The camera zooms up and over them from the opposite corner of the room, watching through the ceiling fan. She motions with her arms to the chair to the left. He sits down in a yellow armchair to the left of the sofa on which Mrs. Hale is sitting. As she begins to speak, the camera zooms in on her troubled looking face, close enough to see the dried lipstick around her wrinkled lips, and the oxygen tubs coming out of her nose, and across her cheeks.
MRS. HALE There have been rumors around the neighborhood that you have had some questions about the Fromes. Not a pretty bunch to be entangled with. Used to be, (pause, then taking on an austere tone) until it happened…
As she does this, her head turns downward to the right to look at the floor, and a wistful look appears on her face, her eyes misty with memories of the troubled accident. Concurrently, the camera zooms out to reveal the entire couch that Mrs. Hale is sitting on and her entire body. As she looks to the floor, the camera follows her gaze and zooms to a glass table, which blocks her gaze from hitting the floor directly, where an unfocused and faded reflection of flashing ambulance lights are seen After a moment, the camera flashes to the Investigator.
INVESTIGATOR Well, Mrs. Hale, that’s exactly why I’m here. But what happened afterwards? That’s the one piece of the puzzle I can’t seem to put together.
The camera flashes to Mrs. Hale, who does not seem to hear him. Instead, she stares at the table, mesmerized by the lights. The camera pans bck to the Investigator.
The camera pans to the left of Mrs. Hale, revealing her profile and the Investigator’s full front sitting behind her. Mrs. Hale snaps back to attention.
MRS. HALE Well, dear (pause) where to even begin?
The camera cuts to the entire room. After a sigh, Mrs. Hale leans forward and reaches towards a green tin containing cigarettes. Pulling the lid off, she pulls one out and puts it to her lips. She looks to the Investigator, demanding with her eyes for him to light her cigarette. He fumbles through his coat pocket, finds a lighter, and fulfills her request. After a long drag, the camera cuts to a closeup of Mrs. Hale having a brief coughing fit. She then blows smoke directly into the camera lens. The smoke from her cigarette fades to smoke being released from an ambulance’s exhaust pipe.
MRS. HALE (Voiceover) Well, Jotham Powell was the first on the scene. The ambulances were there within minutes. I remember sittin’ right in this very chair when Lawrence Wilkins , y’know, the owner of the diner over on Main, called. It was hell for e’ryone who knew them, but I can’t imagine what it was like for poor Zeena.
As she speaks, the shot of the exhaust pipe zooms out to reveal a line of ambulances, police cars, and news trucks at accident scene. The camera cuts to two bloody stretchers, the white sheets soaked with crimson. The camera focuses on one stretcher, then pans down to a gnarled hand clenching a dripping piece of paper. The stretcher enters the ambulance, and the camera cuts to its flashing lights. The scene then fades back to Mrs. Hale’s face, where the flashing lights are seen in her eyes.
MRS. HALE Ethan and Mattie were in the hospital for months. The doctors didn’t think they would make it. Zeena was there for every minute of it…
The scene fades to a stark hospital hallway with sickly green walls. Zeena sits stiffly in an uncomfortable looking chair. She is wearing a yellow bandana, a stained white tanktop, and short denim cutoffs that accentuate her pale, starved figure. The camera cuts to Zeena’s hand, where she is turning a shard of red glass in her hand methodically. She gradually squeezes the shard, which causes a steady stream of blood to drip down her bony wrist and arm. The camera follows one drop as it makes its way down her limb and finally falls onto the linoleum floor. The camera cuts to Zeena’s face, which shows no indication of pain. Instead, she is serious and unemotional. The camera cross fades from Zeena’s unemotional face to Mrs. Hale’s bewildered face.
MRS. HALE Well I suppose that’s all there is to know about the Fromes. You can’t really understand their pain until you look straight into their eyes.
INVESTIGATOR (The camera zooming out to show both of them) So they say Mrs. Hale, but no one seems to tell me where they live.
MRS. HALE (Mrs. Hale, starring off into space, still immersed in the passed) Up the hill, the only house on Starkfield Avenue.
INVESTIGATOR (Getting up to leave) Well thank you for your time Mrs. Hale.
MRS. HALE (Snapping out of her trance) Well where are you going? We haven’t even had tea yet.
They both stand up and walk to the door, the camera following their backs.
INVESTIGATOR (as if to a child) Well I’m going off to see the Fromes Mrs. Hale, we just talked about that, remember?
MRS. HALE Oh, yes.
The camera cuts to the outside of Mrs. Hale’s house. It is yellow with peeling paint and fake purple flowers in the window boxes. The door opens and the investigator steps out. The camera follows him as he walks down the steps.
INVESTIGATOR Well, thank you very much, Mrs. Hale. The camera cuts back to Mrs. Hale, framed by the doorway, with her oxygen tank in tow and a cigarette dangling from her lips.
MRS. HALE (unaware of his absence) Goodbye, Mr. — What was your name, sir? The camera cuts to the Investigator on the sidewalk walking to the Frome house. He waves once more.
We also have issues and suggestions for the Groups.
1. Be careful in the use of Mattie's spanish. Be sure it makes sense! 2. Please choose between Jotham and Jonathan. The first scene who introduces him should let the class know. 3. Many of you are forgetting to include camera directions. These are very important. Do not forget to do this! 4. Still, dialogue can be lessened and visual directions can be increased. Keep in mind that this is a movie, so everything must be shown. Instead of saying that, for example, Zeena is angry, show this through her actions. This is the biggest improvement everyone can make. Do not assume that the audience knows the characters' feelings simply because you say it is so. They are not reading the script, they are watching a movie! 5. However, once something has been established, do not be repetitive and obvious in the dialogue. Much of the dialogue, including the moments of foreshadowing, can be made much more subtle. Not everything has to be explicitly said, but can be hinted at, or better yet, shown through visuals.
Also, per instruction of Mrs. Smith, Evan H. will be editing and formatting each scene into a more formal script. If each group would email their final draft, or as close to it as possible, to evhorwitz@gmail.com as soon as possible, and certainly by next Thursday or Friday, it would be much appreciated. Thank you. Jonathan and Group 8
Here's the entire 8th Scene. Please feel free to suggest changes.
Ethan Frome “The Epilogue”
There is a blackout and silence on screen. The click of a lamp turning on is heard and a shriveled hand is seen pulling away from the pink lamp. The room lights up as she does this. The camera zooms out to see the hand belongs to Mrs. Ruth Hale. She wears a long pink nightgown with a string of white pearls around her wrinkled neck. The camera zooms out to reveal Mrs. Hale in her entirety. It follows her as she shuffles to her purple floral couch wheeling her oxygen tank behind her. Mrs. Hale, uncomfortable and hunched over, sits at the edge of the sofa breathing laboriously. Meanwhile, the camera zooms out to reveal a mysterious man in a tan trench coat standing stiffly by the doorway. His left hand is in his pocket. The shot is now from directly across the room showing, from left to right, a yellow armchair, Mrs. Hale sitting down on the couch, and the detective in the doorway. MRS. HALE (In a suspicious and unsure tone) Won’t you sit down, detective?
The camera pans up and over them from the opposite corner of the room. The scene is seen through the ceiling fan. She motions with her hands to the armchair. He sits down. As she continues to speak, the camera zooms in on her troubled face close enough to see the dried lipstick around her wrinkled lips and the oxygen tubs coming out of her nose. MRS. HALE There’ve been rumors around the neighborhood that you have had some questions ‘bout the Fromes. Not a pretty bunch to be entangled with. Used to be (pause, then taking on an austere tone) until it happened.
As she says this, her head turns downward to the right. A wistful look appears on her face, her eyes misty with memories of the troubled accident. Simultaneously, the camera zooms out to reveal the entire couch. As she looks to the floor, the camera follows her gaze to a glass table, where an unfocused and faded reflection of flashing ambulance lights are seen. After a moment, the camera cuts to the Investigator.
INVESTIGATOR Well, Mrs. Hale, that’s exactly why I’m here. What happened afterwards? That’s the one piece of this puzzle I can’t seem to put together.
The camera cuts to Mrs. Hale, who does not seem to hear him. Instead, she stares at the table, mesmerized by her imagined lights. The camera pans back to the Investigator.
INVESTIGATOR (Concerned) Mrs. Hale? Mrs. Hale?
The camera shows a medium two-shot of Mrs. Hale’s profile and the Investigator. Mrs. Hale snaps back to attention.
MRS. HALE Well, dear (labored pause) where to begin?
The camera cuts to a view of the entire room. After a sigh, Mrs. Hale leans forward and reaches towards a green tin. Pulling the lid off, she pulls a cigarette out and puts it to her lips. She looks to the Investigator, demanding with her eyes that he light her cigarette. He fumbles through his coat, finds a lighter, and fulfills her request. After a long drag, the camera cuts to a close-up of Mrs. Hale having a brief coughing fit. She then blows smoke directly into the camera lens. The smoke from her cigarette fades to smoke being released from an ambulance’s exhaust pipe.
MRS. HALE (Voiceover) Well, J_____ Powell was the first on the scene. The ambulances were there within minutes. I memba’ sittin’ right in this very chair when Lawrence Wilkins , y’know, the owner of the diner over on Main, called. It was hell for e’ryone who knew them, but I can’t ‘magine what it was like for po’ Zeena.
As she speaks, the shot of the exhaust pipe zooms out to reveal a line of ambulances, police cars, and news trucks at the accident scene. The camera cuts to two bloody stretchers, the white sheets soaked with crimson. The camera focuses on one stretcher, then pans down to a gnarled hand clenching a dripping piece of paper. The stretcher enters the ambulance, and the camera cuts to its flashing lights. The scene then fades back to Mrs. Hale’s face, where the flashing lights are seen in her eyes.
MRS. HALE Ethan and Mattie was in the hospital fo’ months. The doctors didn’ think they would make it. Zeena was there fo’ e’ery minute of it…
The scene fades to a stark hospital hallway with sickly green walls. Zeena sits stiffly in an uncomfortable looking chair. She is wearing a yellow bandana, a stained white tank top, and short denim cutoffs that accentuate her pale, starved figure. The camera cuts to Zeena’s hand, where she is methodically turning a shard of red glass in her hand. She gradually squeezes the shard harder and harder, which causes a steady stream of blood to drip down her bony wrist and arm. The camera follows one drop as it makes its way down her arm and finally falls onto the linoleum floor. The camera cuts to Zeena’s face, which shows no indication of pain. Instead, she is serious and unemotional. The camera cross fades from Zeena’s unemotional face to Mrs. Hale’s pain-stricken face.
MRS. HALE Well I s’pose that’s all there is to know ‘bout the Fromes. You can’t really understand their pain till you look straight in their eyes.
The camera zooming out to show both of them
INVESTIGATOR So they say Mrs. Hale, but no one seems to be able to tell me where they live.
MRS. HALE (Staring off into space, immersed in the past) Up the hill, the only house on Starkfield Avenue.
INVESTIGATOR (Getting up to leave) Well, thank you for your time, Mrs. Hale.
MRS. HALE (Snapping out of her trance) Where are you going? We haven’t even had tea yet.
They both stand up and walk to the door, the camera following their backs.
INVESTIGATOR (as if talking to a child) I’m going off to see the Fromes, Mrs. Hale. We just talked about that, remember?
MRS. HALE Oh, yes.
The camera cuts to the outside of Mrs. Hale’s house. It is yellow with peeling paint and fake purple flowers in the window boxes. The door opens and the investigator steps out. The camera follows him as he walks down the steps.
INVESTIGATOR Thank you very much, Mrs. Hale.
The camera cuts back to Mrs. Hale, framed by the doorway, with her oxygen tank in tow and a cigarette dangling from her lips.
MRS. HALE (unaware of his absence) Goodbye, Mr. — What was your name, sir?
The camera cuts to the Investigator on the sidewalk walking to the Frome house. He waves once more.
The scene begins with the flash of the TV turning on. The TV is old and filled with static, yet hazily broadcasts a CNN report on the looming hurricane. It is silent. The TV lights up the silhouettes of the character in the room. The camera reveals the old brown television, the brown and dingy home of the Fromes and an armchair with a hand hanging off holding the remote. The camera backs up further through the spotted window pane, finally stopping as an over the shoulder shot. It shows back of the investigator’s head looking through the window of the Frome house. The investigator continues to watch in silence and hears faint footsteps and then sees the silhouette of an aged woman hunched over. She is thin and wiry. She comes over to the man in the arm chair, takes the remote, turns the TV off and drops it on the floor. She then slinks out of the view of the investigator. Then, suddenly, the sound of a car door shutting is heard. The investigator jumps and wheels around to see an overweight African American woman with a clipboard in hand. The camera follows his gaze and zooms in on this woman as she walks up the three cracking steps to the front door. From an angle, the camera shows the woman’s profile and will allow a small plane of view into the house if the door is cracked open. The woman knocks three times swiftly on the door with eerie reverberations. The door slowly opens, revealing the dark room within. Inside, the silhouette of the same wiry woman is hunched over a small shriveled figure in a wheelchair facing away from the door. Ethan Frome steps into the doorframe, filling it and blocking the view of these two women. The camera slowly pans up, allowing the audience to view him in all his decay. He wears brown work boots and too-short trousers. His knee is pointed inward in a sickly and unnatural manner. As the camera continues up, one leg is sickly thin while the other leg has normal musculature. One hip juts out to the side. Wearing a gray plaid shirt, he is hunched over to one side. Finally, his head is shown. His creased, pockmarked, and scarred skin falls downward. His cheekbones are very visible. His beady, sleepless eyes are barely seen under the flaps of wrinkled skin. Above are his grey, scraggly eyebrows. On his forehead is a massive scar, which maintains an eerie freshness, contrasting the rest of his appearance His dry, thin, mangled hair is tangled to his shoulders. Ethan eyes the woman questionably. The camera cuts to a two- person medium shot, revealing the woman and Ethan.
WOMAN (In a trite manner) Mr. Frome?
ETHAN FROME (In a suspicious bark). Ye’.
WOMAN My name is Mable Cartwright. I’m a social worker for the sixth district fo’ the city of New Orleans. (Points to clipboard) Accordin’ to my list you and the residents in this home qualify fo’ earl’ evacuation due to yo’, uh, (pause and looks Ethan up and down) disabilities. They stand there in silence. Suddenly, Ethan’s eyes make their way to the Investigator. His blank expression turns to pure fear. The Investigator walks into the shot, making his way to the door. Suddenly, a crazed shriek is heard from inside the house. The wiry woman runs into the doorframe, her eyes bulging and face contorted in rage. She lifts her spindly arm and slams the door with surprising force. Mabel shakes her head and begins to turn around.
MABEL (unimpressed) Well I neva’.
The camera follows Mabel down to her white station wagon with the New Orleans seal on the passenger door. She starts the car and drives away. The camera cuts to the Investigator and follows him as he slowly walks towards the front door. He bends down and opens the gold rusted mail slot. The Investigator sees the Frome’s living room, which then fills the shot. There, the wheel chair seen earlier is facing forward, which provides a clear view of the shriveled figure. She wears a gray shawl over a fading red dress. Her eyes are unfocused but eventually settle on the mail slot. The camera cuts to a close-up of her staring at the Investigator silently with a melancholy, haunting expression. The scene is broken by the Investigator shutting the mail slot. The camera cuts to him breathing heavily and turned away from the door, still crouched down and obviously disturbed by what he just saw. He then stands up and the camera follows his back as he makes his way to the other side of the house. As he walks by the window, the camera cuts to a view of Zeena through a dented window screen. She has a crazed look in her eye and her mouth is formed into a hard line. The camera cuts back to the Investigator looking frightened. A clap of loud thunder is heard and raindrops begin to appear on his cheeks. The camera zooms out to reveal rain staring to pour. He slowly starts to walk away from the Frome house, the camera following him, as the hurricane siren blares and the rain falls harder. The camera continues to follow his back and begins to slowly zoom out, revealing first the Frome house, then the neighborhood, then the entire city in chaos. Faint screams are heard along with the siren, and people run through the streets in a rushed panic. The CNN logo appears in one corner of the screen. In the other corner: “AC360: LIVE DISASTER COVERAGE FROM NEW ORLEANS.”
ANDERSON COOPER (Voiceover, upset) Again, this is the live disaster shot from New Orleans as Hurricane Hera begins to strike. The city has been turned into a mob scene, with citizens frantically trying to evacuate before it’s too late. Of course, this is reminiscent of Hurricane Katrina five years ago. We are now awaiting the press conference of Louisiana Governor Bobby Jindal as the entire CNN team keeps you updated on the storm.
The camera cuts to Louisiana governor Bobby Jindal sitting at his desk in front of the Louisiana and United States flags.
BOBBY JINDAL (stressed, frazzled)
At this time, I wish to issue a statement regarding the current situation in New Orleans: Unfortunately, our experts have determined that whoever has remained in the city has a very low chance of survival. Please make all possible efforts to evacuate if you have not already done so. All that we can do is hope for the best and pray that the smart ones have gotten away.
The scene cuts away to static and white noise. The camera cuts back to a dark New Orleans. Thunder and wind are heard, and lightning illuminates the city every few seconds. The camera quickly zooms back to the Frome house. Lightning strikes, and through a window the silhouettes of Mattie, Zeena, and Ethan are seen sitting, watching the blank television. With a final clap of thunder, the camera cuts to black. END
Brenna - I really like Ethan and Mattie's conversation. I think that Ethan should kiss Mattie right after ...
"Mattie: Ethan… (by this point Ethan has slowed the car to a stop) They look into each other’s eyes…Mattie’s seeming to be aflame with a red glow while Ethan’s initial look of fear fades to a hazy excitement."
I also think that right after they kiss, Ethan should tell Mattie he loves her. It would be an appropriate timing since it is the moment right before Ethan presses the gas pedal. In the book, Mattie finally expressed her feelings toward Ethan when she knew that she had no way out. At that moment in your script, Mattie and Ethan made their decision and their [almost] last words should be expressing their love for each other.
Also, for group 1, I think that you should make Ethan's reaction to the news of his father's death more dramatic. He also seems to give in too easily to his mother's demand for him to come back home. I got the impression that Ethan was almost glad to leave college to tend to his mother, but I think that he should be more reluctant because college was rather important to him in the book.
From what I've read so far, Zeena finds out that Mattie is an illegal immigrant, but has she known all along? Or did she find out later in the script?
I think we've all agreed that Ethan knows about Mattie's 'secret' much sooner than Zeena, but has their been a definite time where she tells him?
Group 8 - I really like the epilogue. I think it wraps up the story very well and Mrs. Hale's retelling of the incident was very believable.
Sharon: We don't think Ethan should kiss/tell Mattie that he loves her. Although our class has changed many aspects of the story, adding this would stray too far from the book and Ethan's character.
Also, we think all groups should write how the characters would talk. Try to hear the characters as you're writing and capture their dialect instead of writing with your own voice/natural speech.
Jon: We really think that taking out the kiss really takes away from the story. If we take out the kiss then what do you propose we substitute the kiss with to explain the relationship between between Ethan and Mattie?
Sharon: I feel that the way the script is written already shows the relationship between Ethan and Mattie. The fact that they are gazing so intently into each other's eyes shows their love for each other and our group really feels that have Ethan kiss Mattie really would not fit his personality. We feel that by not having Ethan kiss Mattie it shows how when they die, which they think that they are going to, he will be able to kiss her then. By not having them kiss, we are showing that Ethan is waiting to die, and that he is willing to sacrifice his entire life, in order to be in love with Mattie. We would be ruining the whole meaning behind having Ethan wanting to die with Mattie if we had him kiss her then.
Errr, sorry guys. Im filling in as blogger and putting our first rough drafts up really late, but we already have 2/3 of our 2nd draft done.
This is Group 4 with the Dinner scene:
[MORNING] Ethan, Mattie, Zeena and Jonathan are sitting at the table. The only sounds are form the cutlery scraping the dishes. Zeena looks horrible in her flannel shirt.
Zeena: Ethan, I feel horrible. My stomach pains are just excruciating. I hope I won’t throw up my breakfast. Ethan: (annoyed) Zeena. Mattie: (cautious) Oye, is there anything I can get you to ease your pains, Zeena? Zeena: (sternly) No. Ok, well, sugar.
Jonathan quietly continues eating in their midst. Ethan seems more interested in his food than anything else. Mattie goes for the sugar, but spills it on her way to the table.
Zeena: You’re useless Mattie!! Now I have to clean up this mess. Mattie: Lo siento, lo siento!! I’ll help clean, too.
Ethan quietly stands up and joins Mattie in cleaning up the sugar. Zeena observes like a hawk.
Zeena: Ethan, I have to go to Baton Rouge today. There’s this new doctor who might be able to finally figure out what’s wrong with me. But I have to stay overnight. (ftrowns) I need money for that, Ethan.
Ethan stands up and thinks.
Ethan: Well, if you need it, do it. Zeena: Good. Now that tha’s settled, I also need you to drive me. Ethan: Can’t Jonathan drive you? Zeena: NO! He drives recklessly and my blood pressure skyrockets! Aren’t you concerned about my health? Ethan: (annoyed) Zeena, I am concerned. Yet I’m also concerned about our money. For your overnight stay, I’l have to go to Andrew Hale and get some payments early. Hopefully, the amount will be a good $300. So, I cannot drive you and collect the money. Jonathan will drive you.
Zeena sighs. Jonathan slightly nods. Ethan goes back to his food. We see both Mattie and Zeena trying to catch Ethan’s attention. Mattie has been blushing the whole time.
Zeena is looking down at an AARP magazine. Showing what Zeena is concentrating on, the camera zooms into an advertisement for a new prescription for a medicine that is in the magazine. Zeena looks up from her magazine and glares at Ethan.
Zeena- (coughing flamboyantly as she speaks) Alright, Jonathan will drive me. Zeena pops the lasts pill in the bottle into her mouth. After taking her time to gulp down a glass of water, she wipes her mouth off with the back of her hand. Zeena then rips out the page about the new prescription medication. She folds the paper clumsily, and she unhurriedly shoves it into one of her pockets. She then weakly tosses the magazine at Mattie. Ethan and Jonathan watch the women curiously.
Zeena- (with a scowl on her face, and still coughing) Read it. There’s a thing or two for you to learn in here.
The camera focuses in on a subtitle on the cover of the magazine, “Good Housekeeping.”
Mattie- Gracias, prima. [Thank you, cousin.]
Mattie flips through the magazine. The pages are all dull and colorless, but one page catches Mattie’s attention. There are big, black letters in a red header box on one page titling the article, “Aphrodisiac Foods.” The camera zooms in for about 3 seconds. There are pictures of ginger and oysters. The camera zooms back out, showing the whole family at the table. Everyone has resumed eating, minding their own business. Mattie studies the article curiously for about 8 seconds, until Zeena starts coughing violently.
Zeena- Mattie, (cough) water!
Mattie- (surprised and worried) Oh Zeena!
Mattie jumps from her seat, nearly knocking it down. She grabs Zeena’s glass and rushes to the sink to fill it. The camera leaves the table and follows Mattie to the sink. As Mattie is waiting for the glass to fill, she helplessly sighs.
Mattie- (quietly sighing, as a whisper, with a defeated, kind of glum look) Zeena…
as luck would have it, there seems to be a sharing problem with the [EVENING] script... ill work on getting that sorted out.
Jon: In the book, on page 120-121 Mattie kissed Ethan. Instead of having Ethan kiss Mattie, it could just be the other way around. That way, it would better fit his character. Ethan doesn't necessarily have to take initiative.
Evan from group 1. I don't know if italics worked on this or the bold. We did what we could with the rough draft. The bits starting with a hyphen are blurbs that we still need to put into script form. Also, there are still some parts we need to elaborate on. But here's what we have.
ReplyDeleteCamera pans over New Orleans, focusing and descending slowly on partially collapsed bridge. A crew of construction workers clear away rubble.
Narrator: (Voice Over) You're Jotham Powell?
Cut to busy diner, camera slowly pans across bar, patrons sitting on stools, eating breakfast. All are watching the news on a small television behind the bar.
Newscaster: Our top story today is a bridge collapse, causing injuries to two people...
Camera continues pan, Narrator is sitting at a booth, across from him sits Jotham Powell, who sits awkwardly, glancing from the narrator to other people in the diner.
Jotham: That's right.
Narrator: (smiles kindly) I wanna make it clear that this is really a formality; no one really thinks anyone had any fault in the collapse. We just have to go through and make sure everyone did as much as possible to prevent this, so we don't get any lawsuits, you know?
Jotham nods, still looks worried/awkward.
Narrator: So, tell me a bit about what your crew thinks happened.
Jotham: Well, the bridge was weakened after the hurricane, and there was an incident where the foundation cracked, bringing the bridge's condition to our attention. My crew and I--
Narrator: Did you bring the list of the names of your workers?
Jotham: Yeah, here.
J. pulls a folded page from his pocket, slides it across the table to N.
Jotham: So we were working on the bridge, and we had it closed off and everything, with signs and all.
J. pauses, looks around.
Jotham: I suppose they just didn't see the signs. It must have been late... I don't know.
N. smiles kindly, unfolds piece of paper, then gets up to leave.
Narrator: I figured as much. Don't worry, Mr. Powell, I just have to ask your guys a few questions, then this'll be all wrapped up. Thanks for your time.
Jotham: (distracted) Yeah, yeah... No problem. Any time.
Narrator gets out of his car, looks around, then begins to walk up a battered stone pathway, leading to a slightly run down house. Camera shows 'Frome' on the mailbox, letters falling off. Narrator knocks on the door, waits, no answer. Glances around, then knocks again, checking the folded piece of paper from Jotham.
Neighbor: (Off-screen) Not home, I'd say.
Narrator turns, camera pans to show old woman across the street, sitting in a rocking chair.
Neighbor: Ethan's in the hospital, you know, and I would bet Zeena's there too, visiting.
Narrator begins walking back down the path, getting closer to the old woman.
Neighbor: Can't say I've seen you around before, young man. May I ask why you're looking for the Fromes?
Narrator: Well, I'm part of an investigation of the bridge collapse, and Mr. Frome's name is on the list of workers who were working on the--
Neighbor: Terrible business, that. Such a shame, too. So much tragedy in one family.
Narrator: I beg your pardon? I didn't realize Mr. Frome was hurt in the accident..
Neighbor: Well, yes. Another in a string of unfortunate events. Mother died, father died, wife sick... And he had such a promising future at college...
(Flashback)
Raining heavily, figures running into dorm building. Scene changes to Ethan's dorm room, LSU jersey hanging on the wall. TV is showing a weather report for the New Orleans area. Ethan sits, watching the report, hand on his chin, worried.
Newscaster: Katrina is coming in heavy, folks, and it doesn't look like it'll be letting up any time soon. If you're smart, you'll have already gotten out, but if you're still in the city, get to shelter or some kind of safety.
Ethan turns TV off, lays in bed, still worried.
Scene changes to a couple days later. There's light rain falling as Ethan, looking gloomy and sad, leaves his dorm building, and enters a small square filled with people bustling around. Most are wearing FEMA jackets. Ethan pulls aside a young woman (Zeena).
Ethan: Excuse me, uh, I just have a quick question...
Zeena nods, glances back at group of FEMA workers.
Ethan: (stuttering slightly) I need to know if its, ah, safe to go back in the city.. I've got family there, you see, and I need to get back to help them.
Zeena surveys Ethan, gives him a small sympathetic smile.
Zeena: It must be difficult for you, I'm sorry. I'd say it's relatively safe, just watch the waters, you know?
Ethan brightens up a bit, smiles.
Ethan: Thanks, that's great.
Zeena nods, smiles again, turns back to FEMA workers after giving Ethan one more look.
(Later)
Dark hallway, Ethan is leaning up against a phone booth, talking into the phone.
Ethan: Mom? Finally, I got through. Are you and Dad okay?
(After a pause) Mom: Well, there was some flooding, and your father--
Line breaks up, Ethan can't hear.
Ethan: What was that?
Mom: Your father was swept away... He.. he hasn't been found yet, Ethan...
Ethan: Oh my gosh...Dad…what about you mom? Are you okay?
Mom: Well, I’m alive…that’s it really.
Ethan: What happened Ma?
Mom: Well I was trying to rescue your father as he got swept away in the tides, and I got cut by…I don’t know what…something.
Ethan: Oh, just a cut, that’s good.
Mom: Well, no…there’s this huge gash on my leg, and I think it’s getting infected. Ethan, I need you to come home. I don’t know if I can go on like this much longer.
Ethan: But Mom…college…my degree…
Mom: Ethan, I need you, please.
Ethan: Okay Mom, I’m coming.
Ethan hangs up the phone and runs through the rain into his car. He slams the door, turns on his lights, and speeds off.
Cut to early daytime..Ethan is entering the city. Several areas are heavily flooded, and Ethan has much trouble maneuvering around finding roads that are safe to drive on. Several shots of dilapidated houses and stranded people, along with long food lines. Ethan finally pulls into his driveway. His house is quite dilapidated and damaged from the flood. He walks up to the front door, unlocks it, and walks inside. He looks around, calling out for his mother, and finds her in her bed, sleeping. Her leg is heavily bandaged, and Ethan wakes her. She tries to sit up, but grimaces in pain. Ethan sits on her bed and they embrace.
Ethan: Mom, how are you?
Mom: Oh Ethan, I don’t know…I can’t walk.
Ethan: (looking around) Mom, we can’t stay here. Look around…there’s mold growing on the walls, the basement is filled with water…it’s not good for you or me.
Mom: Ethan, where can we go?
Ethan: We’ll find somewhere…I don’t know how, or where, but we need to get out of this house.
Mom: (sadly nods in agreement)
Fast forward, Ethan wheeling Mother around in a wheelchair outside of a trailer. It is implied that this is there temporary home. Brief montage of Ethan caring for his mother the best he can, and also trying to repair his house. Not very successful in either. Ethan soon realizes that he cannot support himself and his mother on the small funds they have, and knows that he needs a job.
-Ethan goes out one night to a diner/bar, sees Zeena there, she greets him, asks how his mother is, Ethan talks about how he's having difficulty taking care of her, and needs to get a job so he can take care of finances as well
-Zeena offers to watch out for his mom for a few days while he gets back on his feet, says FEMA has enough people out in the city
Ethan nervously approaches a construction scene surrounded by dilapidated buildings. This is an area of New Orleans that is higher up (French Quarter?) so the flood waters have receded. Ethan looks around, says a bunch of “Excuse me, Sorry” type exclamations, and looks for what seems to be a head guy. He shuffles up to the person.
Ethan: (quietly) Erm, excuse me sir…
Construction worker seems busy telling others what to do and directing rebuilding, doesn’t hear Ethan.
Ethan: (clears throat, says a bit louder). Sir?
Head Worker: (gruffly) What?!? What do you want? Can’t you see we’re busy here? Look at all this destruction. We gotta rebuild all this stuff and help these people…
Ethan: (seems to shrink away) I’m sorry, I was just wondering if…uhhh--
Head Worker: (interrupting) Out with it! We have work to do!
Ethan: (splutters) if I could get a job..
Head Worker: (seems slightly more interested, but still gruff) Hmmm…what’s your reasoning kid?
Ethan: (quickly and nervously) Well, my father died in the hurricane, and my mother’s really hurt…and I need money to help support us….uhhh…I spent two years in college majoring in engineering, but I didn’t finish ‘cause of the hurricane. (pleading) Please sir, I need this job.
Head Worker: (hesitant) Uhh, I don’t know kid…we got a lot of people working on this already..
Ethan: I’m a really hard worker, and I can fix almost anything. Just gimme a chance, I’ll show you.
Head Worker: (reluctantly) Ok, fine…get a hardhat from over there…you start now.
Ethan: (excited, relieved) Oh thank you sir, thank you.
Ethan runs over to get a hardhat, then hurries over to a crowd of workers rebuilding a dilapidated house. He immediately starts helping them. The workers at first give him a curious look, but, realizing that he is aiding them in their work, resume to rebuilding.
Montage of Ethan working hard at the construction site. He seems a little less skilled than the other workers, but gets by alright. Several small clips of Ethan working at the site during the day, then at night coming home. Each night, Zeena greets him with a smile and a warm meal, to Ethan’s relief after a hard day at work. A few clips of Ethan and Zeena talking and laughing late at night, mixed in with clips of Zeena nursing Ethan’s sick mother. Ethan seems very distressed.
On the weekends or early evening after work, Ethan tries to fix up the house. Montage of him standing on a ladder with a hammer and nails, putting up siding, standing on scaffolding, doing the dirty stuff like cleaning out the flood-damaged basement, etc. Ethan is getting more and more stressed, and one night after working at the site and his house for hours, he comes into the house and collapses on the kitchen table. He begins to cry…tears roll down his cheek. Zeena tries to console him.
Ethan: Zeena, I don’t know if I could ever manage this without your help.
Zeena smiles sweetly, they embrace.
-Mother's condition is worsening, dies, is buried, few people in attendance, Ethan looking lost and hopeless, Zeena comforts him
-They go back to the trailer, awkward, Zeena knows she should go, begins to say so, Ethan stops her, says he needs her, can't go it alone, they embrace, scene ends
Group 7 rough draft:
ReplyDeleteThe next morning: Ethan wakes up, looks over at Zeena, who is still sleeping. He quietly gets up and creeps into Mattie’s room down the hall. When he enters, she is sitting up in bed with red, puffy eyes. Ethan knows she heard the argument yesterday. She looks up, giving him a weak smile. Ethan advances forward and speaks to her in a quiet, urgent tone.
Ethan: Matt, what’s gonna happen to you? What’re you gonna do back there?
She doesn’t respond, but just shakes her head back and forth.
Ethan: Could ya leave and run away from here? There’s a train leaving to Baton Rouge at 5:00, you can take it and get out.
In a defeated tone, Mattie replies.
Mattie: No puedo…They’ll catch me no matter what. silence
Ethan: I’ll drive you to the station, at least. Zeena wants ya there by 3:00. (train taking her to the deportation center). Ethan leaves the room, with a last look at Mattie.
A few hours later—Ethan is waiting in the car, and Mattie comes out of the house with a red hibiscus in her hair. Mattie enters the car, she looks scared. They don’t say anything.
Ethan and Mattie are in Ethan’s rundown car.
Ethan starts the engine and drives out of the house onto the pot-hole filled road
Driving through town to get to the train station
Ethan notices Mattie fiddling with something in her hands, but ignores it.
A little while later
Mattie: Ethan…I found this (pushes the letter Ethan had written onto the dashboard in front of him)…they sit in silence
Ethan is looking astonished but fades to a saddened smile
Ethan: Matt, if we could would ya? Would ya go with me? We could leave all this behind and go West…somewhere where the storm can’t get us and we can be libertes.
Mattie: It’s no use Ethan…they’ll catch up with me anyway…there’s nowhere for me to hide anymore. (silence falls once again)
Ethan: (sounding defeated) There’s about an hour before your train leaves, Matt. This might be your last chance to see the destruction which brought you here…Do you want to see it?
Mattie looks down and nods ‘yes’ carefully
They continue in silence as Ethan drives out to the borders of town where the destruction is.
They sit in silence as Mattie gazes out the car window at the ruins the hurricane left.
Mattie: How…this is just…oh Ethan, es horrible. I can’t imagine anything more devastating. (with tears in her eyes)
Ethan: (sorrowfully mumbling) You haven’t even seen the worst of it…
Mattie: ¿Qué?
Ethan: Just over the bridge is the worst damage left behind.
In a desperate voice Mattie says:
Mattie: So take me Ethan…I have nowhere else to be…nowhere else to go. No hay nada más para mi.
Ethan: Matt, remember what happened to Ned and Ruth…You heard Jotham say the next car to go over the bridge would cause it to collapse…you know that.
Mattie: Ethan… (by this point Ethan has slowed the car to a stop)
They look into each other’s eyes…Mattie’s seeming to be aflame with a red glow while Ethan’s initial look of fear fades to a hazy excitement.
Ethan slowly presses down the gas and the car pulls forward, as if it is carrying a load of bricks behind it.
As the bridge veers into sight Ethan begins talking hastily to Mattie.
Ethan: Are you scared Matt?
Mattie: I’m not scared…I feel safe with you
They begin to pull forward, accelerating towards the normally threatening yellow caution tape, which now to Ethan seems more alluring than ominous.
Ethan’s grip becomes tighter as the car moves faster. (As the car gets closer to the bridge, Jotham Powell who had been surveying the bridge from a boat a little ways off, frantically watched)
As if on cue, the car torrents through the forbidding caution tape
As the bridge crashes under the car, the noise echoes through Ethan’s mind, bringing back the noise of Zeena’s Hera statue crashing to the floor.
Ethan’s leg jerks on the brake pedal in response to this, causing the entirety of his leg to have a brief but fierce muscle spasm.
Ethan grasps Mattie’s hand as the car shatters the glass surface of the water.
Mattie quickly becomes unconscious as the water envelopes them.
As the water fills his lungs, the last thing Ethan remembers is the grip of a hand on his arm, ripping him from the sinking vehicle, and a red hibiscus sinking in the water.
Also, we need to add a few more things, like Ethan kissing Mattie (like he did in the kitchen in the book) and the whole thing about Mattie telling Ethan she loves him right before the suicide so she gets him wrapped around her finger.
The scene starts with a quick shot of Mattie clearing away the dishes. Rain patters against the window.
ReplyDeleteThe camera moves to a window, where Ethan is gazing outside watching the cars drive by.
As Mattie is going to retrieve a candle from the table, she hits her knee on a chair.
Mattie: Mierdo! That hurts!
Mattie carries a candle into the living room.
The camera shifts to a focus on the flickering light of the candle, with Mattie out of focus on the right side. Mattie proceeds to light a fire and gather her old t-shirt and knitting supplies.
Ethan joins her and they both sit down to either sides of the focused candle.
Ethan lights a cigarette. Mattie begins to knit.
Camera shifts to looking over Mattie’s shoulder at Ethan (camera will do this for each person from now on until stated otherwise.)
Ethan: Mmm, that really hit the spot. Good cooking, Mattie.
Mattie: As my family say back home, gracias. Hope my food’s better.
Ethan: Yeah, it really has improved. (With a grin) Much better than Zeena’s cooking, at least.
Mattie chuckles.
Mattie (smiles): I’ve learned a lot since I came.
Ethan: You’ve really come a long way since your first days here—quite an accomplishment.
Mattie: That means a lot to me—thank you, Ethan.
Ethan: It’s no problem.
Camera switches to look at Ethan looking out the window.
The conversation dies down as the topic dwindles away. Ethan searches for conversation as he looks out the window. Ethan notices the cars and remembers the drive they were supposed to take.
Ethan: Say, weren’t we supposed to go driving tonight?\
Camera pans to include both individuals.
Lightning flashes in the window.
Mattie: That’s right! We were. I guess you forgot
The thunder booms.
Both turn their heads in idle acknowledgement.
Ethan: No, I didn’t. But it’s a bit too stormy out. I guess we’ll go tomorrow.
Mattie: I’d love that.
Camera shift to looking over Ethan’s shoulder from behind Ethan.
Ethan stares contentedly at Mattie’s face as the rain speeds up.
Ethan: But I’ve heard some things about the stability of the bridge. They say it’s ‘bout ready to collapse. D’ya think it’s safe?
Mattie: That don’t scare me.
Lighting strikes again.
Ethan: Jotham told me the other day that if one more car drives over that thing, it’ll go right under.
Thunder booms, closer this time.
Mattie: And you believe him?
Ethan (shrugs): I wouldn’t bet against Jotham. He has a sixth sense for this stuff.
Mattie (puzzled): A sixth sense?
Ethan: He’s got a feel for these things.
Camera closes up on body profile of the speaker.
Ethan (sighing): I guess we’re fine staying inside.
Mattie (contentedly sighs): Yeah, I guess you’re right.
Camera shifts to Ethan’s eyes, then to the fabric as Ethan stares at the fabric Mattie is using to sew.
Ethan: So, you’ll never guess who I saw kissing on my way home today…
Mattie blushes and directs a shy look toward her sewing.
Camera shifts to profile of each speaker.
Mattie: Kissing? That was probably Ned and Ruth…
Ethan (awkwardly): Oh, well, yeah. I guess they’ll be tying the knot eventually.
Mattie (still staring at her fabric): Mhm, I wouldn’t be surprised if they did it this summer.
Another flash of lightning and crash of thunder pass outside, even closer this time. Camera switches to view of room as this happens, lighting up surroundings. Then switches back to individuals speakers.
Ethan: Speaking of the summer, shouldn’t you be getting citizenship around then?
Mattie (defensive): Why do you say things like that? Is it because Denis suspects me?
Ethan (distressed): Denis? No, no, nothing like that. But what do you mean?
Mattie puts down her sewing due to the stress.
Mattie (sighs): I don’t know. It looked like he knew something last night.
Ethan: I still don’t get what you mean.
Mattie: It’s hard to say with men like him.
Ethan: Oh, O.K.? Well, he hasn’t said a word to me.
Mattie: I guess I’m just nervous.
Camera shifts to view of Mattie and Ethan from behind Ethan.
Mattie sits silently in her chair.
Ethan: Oh no, don’t let’s think about it.
Mattie continues to sit quietly.
Ethan reaches out and takes a hold of the fabric.
Mattie (awkwardly and very softly): Ethan…?
Lightning strikes and thunder bellows only a second apart, as Zeena’s cat jumps into Zeena’s chair.
The cat bears an eerie resemblance to Zeena in the light.
Ethan’s eyes droop down in exhaustion and he remains crouched by the fabric.
The awkwardness of the mood grows with each second of silence. In a vain effort to part the stillness, Ethan touches his lips softly do the fabric.
Instantaneously, the lightning strikes and thunder comes directly after it, the noise so close that it rattles the house.
Startled, Ethan pulls away and gets back to his seat.
The mood only becomes more awkward, the only noise in the air that of the sheets of rain on the windows. Mattie slowly shifts in her seat, avoiding direct eye contact with Ethan.
After a brief pause, she quietly gets up.
Mattie (awkwardly): Erm, Ethan, I think it’s time I sleep.
Ethan (even more awkwardly): Oh, right…
Mattie gets up, putting away her sewing tools and proceeding downstairs to bailout some water that had accumulated during the storm. She comes back up, her dress stained with wet spots from the water.
Mattie softly waves Ethan a goodnight.
Mattie (quietely): Good night…
Ethan musters up resolve for his reply, but it gets stuck in his throat, and the only response he gives is a quiet nod of the head.
As Mattie turns around and heads up the stairs, a creaking noise emanating with each step.
Ethan stares blankly, his eyes glazed over, long after Mattie makes it up the stairs. He begins to recall the last hour that seemed to go by like a blur, and his mind comes to a sudden realization—he had not once taken any initiative with Mattie.
With that, the lightning strikes once more followed by thunder, illuminating everything in the living room—the fireplace, Zeena’s armchair, and the cat. With a meow, the little animal jumps from its perched position on the armchair. With its absence, the fire goes out, leaving a disappointed Ethan Frome in its wake.
[End Scene]
This is Group 6's rough draft script. WARNING: I did take some liberties: Zeena reveals that she knows Mattie's illegal alien status and Ethan has a car. Also, there is a blank space under the brief conversation with Mattie and Ethan in the beginning: we have the dialogue, but not accessible at the moment, but it's not that important.
ReplyDeleteZEENA’S RETURN
INT. SCENE - DESCRIPTION
The weather is impeccable, belying the power outages the night before. The awkwardness seems to be forgotten except for a few sidelong glances that are slightly reverted when the other catches it. Many residents are out enjoying the sunshine, in-cluding Ethan and Mattie, who have just come in from a walk. They are enjoying their time together.
Enter: Mattie and Ethan into the dilapidated house, Mattie’s laughter echoing through the peeling hallways, as they both settle into the living room, collapsing into the chairs. Mattie strikes up a conversation.
MATTIE:
ETHAN:
Mattie merrily turns on the television and they begin to watch television. The channel is tuned to the news, which is grimly relaying the still deplorable conditions in some parts of New Orleans.
NEWSCASTER:
“...more looting continues to plague residents in the Lower Ninth Ward of New Orleans. Many angry residents, still going days without adequate amounts of food and shelter are...”
The laughter in Mattie and Ethan’s faces drain away as they sink into somber silence for a few seconds.
Cue: Mattie impatiently switches the channel to something more lighthearted:
MATTIE:
No news is good news. I can’t stand to hear these terrible things.
She switches the channel to the Discovery Channel. Ethan begins to express his admiration for the beautiful landscapes of Santa Fe (??? insert any place here, possibly Florida, where he is considering starting anew)
They watch the TV screen silently for a few seconds.
MATTIE (wistfully):
It’s so beautiful. It looks like Mexico, so open and dry.
ETHAN:
I’ve been down to Florida, but I’ve never seen anything like that. Just imagine living there. (Ethan subconsciously glances quickly out the window towards the evidence of Katrina is visible) It’s an alien kind of beauty I’ve heard, that makes people feel so much freer.
Mattie shoots Ethan a questioning look.
MATTIE:
Freer? I’d like to go there someday. All those reds and oranges of the desert...not something you see here.
ETHAN:
I know a man who left this place and went down there with his sweetheart. He did alright too, came back with a sweet baby girl and a blooming business.
MATTIE:
So it’s a place of new beginnings.
The two lapse into contemplative, yet comfortable silence. Suddenly, the doorbell rings. Mattie and Ethan shoot each other confused faces: who could it be? Before they have time to react, the door is noisily opened by Zeena, coming in rear end first and towing a fair amount of bulky luggage behind her. In this position, she does not see the obvious surprise of the pair sitting behind her, with horrified looks on their faces.
ZEENA (punctuating her words with violent tugs at her stuck luggage in the doorway):
Can’t--anyone--help--me?
ETHAN (snapping out of his shocked silence, and scrambling over to Zeena):
Here- let me...(he takes over as Mattie springs out of her chair and begins tidying up the room and the kitchen in preparation.
Zeena sinks exhaustedly into a chair and declares her exhaus-tion, attributing them to her worsening symptoms.
ZEENA (letting out a sigh):
The entire trip has been nothing but a nightmare. I saw the doctor and he said my symptoms are the worst he’s ever seen so far. He says I may need counseling or some kind of - Oh! Mattie? I forgot my coat in the car (Jotham’s or Ethans???) Be a dear and get it, will you?
Mattie silently complies and leaves the room. As soon as she leaves, Zeena straightens up and her mouth tightens. The air in the room gone entirely still without the absence of Mattie.
ETHAN: (wearily)
How bad is it Zeena?
ZEENA: (sharply)
Ethan, I’m getting worse. The doctor recommends that I get rid of as much stress as possible. Even the tiniest things could disturb me. I may need professional help (here, Ethan inter-jects, presumable about pecuniary purposes but Zeena carries on as if she doesn’t hear him)...the bottom line is that this is serious and I need more help than that girl, Mattie (she jerks her head towards the vague direction of the car outside) has given.
ETHAN:
You mean you’re going to kick her out. ‘Cause you can’t do that, Zeena. She has nowhere to go. We’re the only place she has.
ZEENA: (rather sharply)
Don’t think I don’t know about Mattie, Ethan. Both of you think I’m not sharp enough to catch on, but I know when I smell something fishy. You think I haven’t noticed that government guy trailing Mattie? She’s illegal, Ethan, illegal! How much do you think I can take? I didn’t bargain to support a useless housekeeper, much less an illegal one. And something else you forgot to mention: our mortgage? We’re about to lose this house, whatever is left of it anyway. I thought you had the money to pay off the mortgage.
ETHAN: (desperately; Zeena’s outburst has shocked him with what she knows and he is pale)
Your a poor man’s wife, Zeena. But...that doesn’t mean she has to leave. She can work harder to deserve keep, and I can help you too Zeena! We’re the last chance she has, it’s only right to help her. I thought you were a FEMA worker, someone who helped people.
ZEENA: (scoffs in spite, now extremely angry and shouting)
And it was helping other people- your mother, Ethan- that I got this illness! All my colleagues said it was the least you could do to marry me after all I went through.
ETHAN: (visible anger beginning to blossom on hi face)
Zeena- (he takes a step towards her) now you...
Zeena catches the empty place on the shelf where her Hera sta-tue, a treasured wedding gift, is missing.
ZEENA: (quietly and menacing)
Where is my Hera statue, Ethan? My wedding gift!
ETHAN: (taking a deep breath)
It’s in the cabinet, Zeena...the cat broke it. It was all an accident, it was all my fault--
ZEENA (catching the sight of the remaining shards of her beloved statue):
Screaming hysterically, she drags Mattie, who has been listening outside and who has understood what Zeena has said despite her broken English, into the room.
MATTIE:
I’m sorry--I coul-couldn’t find your coat, Zeena!
ZEENA (screaming hysterically):
Did you do this? I know you did! Not even when [insert important person’s name here] came to dinner did I take my statue out of its spot. Why (Zeena chokes up) did you take it down?
MATTIE: (cowering in fear and verging on tears)
It was an accident--the cat--I’m sorry--
ZEENA: (now red in the face, looking fearsome, almost victo-rious, in her resplendent fury)
This is the last straw! I knew it when other people told me it was a bad idea to take you in. I always said you were a bad girl, Mattie. Get out, GET OUT!(Zeena begins to physically abuse Mattie, shaking her in rage)
ETHAN: (snapping out of his cowering reverie)
Zeena, STOP. (He reaches into the cabinet and takes the frag-ments of the statue into his hands) Take your statue! What does it mean to you anyway?
In an act of defiance, Ethan throws the shards onto the floor. Abject silence greets his action. Zeena’s eyes widen in shock.
ZEENA: (hissing)
You pick that up, Ethan Frome. Don’t forget that I’m your wife, and I deserve to be treated with respect, not with this, all for a petty, conniving, ILLEGAL IMMIGRANT (Mattie gasps).
Zeena then leaves the room, sobbing, declaring that Mattie has robbed her of what “she has set the most store by.” Ethan stoops down from his towering posture from before, submissively picking up the pieces one by one as Zeena’s shrieking fade deeper into the house. Mattie sways a little from where she is standing, and, seeing Ethan, silently goes over to help him.
EXT. SCENE - DESCRIPTION
Dinner is a silent affair. Ethan angrily eats, Mattie listlessly prepares the table, while Zeena eats with much more appetite than usual, a trace of a smug smile crossing her smile as she sees Mattie.
LATER THAT NIGHT:
A sleepless Ethan gets out of bed, slipping out from under the covers he shares with his despised wife. After gazing at Mat-tie’s door for a few seconds, he steals to the kitchen, pulls out a napkin and, after hesitating for a few seconds, begins to write:
“Zeena, I’ve done all I could for you, and I don’t see as it’s been any use. I don’t blame you, nor don’t I blame myself. Maybe both of us will do better separate. I’m going to try my luck outside of this hellhole, and you can sell whatever we have, and keep the money--”
He tucks the note under a coffee mug, then goes outside to start the car. The car reluctantly grumbles to life and Ethan slowly pulls out of the driveway. He trundles past the houses on his street destroyed by the hurricane, debris still littering the street. In the moonlight, the destruction looks particularly eerie, like an alien landscape. In fact, the landscape begins to take on life and creaking and whistling sounds reverberate as the wind rushes over the ruins. Ethan continues to drive, past residents still outside after dark. They look at Ethan’s car as he drives past, and the feeling he gets is that he is leaving them behind. Ethan arrives at the ramp leading him to the highway until he suddenly sees a fallen tree partially blocking the very entrance of the highway. It is just enough to prevent Ethan’s car from fitting through the gap left. Ethan stalls the engine, turning off the car and sits under the stars on a deserted highway. He feels dwarfed, insignificant at the immense span of stars and sky over him and minute obstacle that is blocking all him from continuing. He turns on the radio, but songs of sadness, pity, and hope (should be include songs of hope) come one, adding more to Ethan’s misery. He takes out a map and realizes he has nowhere to go and no resources to get anywhere. Reluctantly, he heads back. He reaches the house by dawn, the morning’s light illuminating and exposing what he is coming back to. Mattie silently watches him from her bedroom window.
Group 3 rough draft:
ReplyDelete(Mattie's dancing, Denis sees her. A song ends and he goes over to her to ask her for the next one...)
D: "Can I have this dance?"
M: "Um, sure." (uncertainly)
(They dance sort of awkwardly. Ethan is outside the dance hall, looking through a window. He looks longingly at Mattie and yearns to go inside and take Denis’s spot.)
D: "So... Mattie is it?"
M: "Yes, how did you know my name?"
D: "I've heard people say it. Does it have any special meaning?"
M: "Mattie? No, my mother just chose it for me because she thought it was pretty."
D: "Pretty name for a pretty lady."
M: "Oh, um, thank you..." (creeped out)
D: “So… your hair is a beautiful kind of dark. Are you Hispanic?”
M: (nervously) “Maybe … maybe not. Why do you care?”
D: “I’m just curious … you know, trying to get to know you better.”
M: “Okay.” (looks away. There is an awkward pause.)
D: “Well, are you?”
M “Am I what?” (really annoyed now.)
D: “Hispanic.”
M: “Do I look Hispanic?”
D: “Well, sort of. You have that dark skin, dark hair thing going for you. I think you look beautiful.”
M: “Okay. Well, thanks.” (awkward pause again.)
D: "Anyways, so uh, you live with the Fromes don't you?"
M: "Yes actually." (looks for a way to leave...) "In fact, I see Ethan outside waiting for me now. I have to get going. It was nice meeting you Derek."
D: "It's Denis. You sure you wouldn't like a ride home?"
M: "Quite sure thank you. I don't ride with strangers. Have a good night."
She leaves rather quickly to walk with Ethan... Denis stands there in the middle of the dance floor looking dejected.
M: "Hello Ethan."
E: "Hi Mattie. Did you have a nice time tonight?"
M: "Oh, wonderful. It was amazing... the masks everywhere and the music and the dancing! I loved it. There was one... interesting... man though who kept asking me odd questions."
E: "Who might that be?"
M: "Denis, I think it was."
E: "Denis Eady? I'm surprised he's even at a masked ball. Seems he wouldn't be the type."
M: "Oh he said something about how hard it was being a government official or something. He offered to take me home, but I wanted to walk with you."
E: "You did huh?"
M: "Yes. Besides, you can't properly see the stars through a car window."
E: "No, you sure can't. (pause) They're lovely tonight too aren't they?"
M: "Stars always look lovely to me. When I was back in Mexico I used to look up at them and feel free... feel like I could do anything."
E: "I used to sit out on the beach in Florida when I went to school and just gaze up at the night sky for hours. I love stars. They're beautiful... but they make me feel so insignificant. Like wow, I'm really only one small speck in this universe."
M: "Oh Ethan, you're a lot more than that."
(Maybe more stars dialogue?)
(people walking by, one person wearing skeleton costume but didn't put the mask on yet... Ethan thinks it's Zeena for a second but then realizes it's not)
M: "Ethan are you okay?"
E: "Yes, of course. I just thought I saw Zeena walking by. Wouldn't that be crazy?"
M: "Who'd you think was Zeena?"
E: "The one in the skeleton costume."
M: "Oh that would fit Zeena well."
E: "I agree. Maybe I'll get her one for next Mardi Gras, or sooner."
M: "All right Ethan, stop kidding around. I doubt Zeena would be happy to hear you're going to get her a skeleton costume."
E: "No, I don't suppose she would. It doesn't matter too much anyway. Zeena never really likes to dress up or do things like that. She's never been a party person."
M: "Ethan, aren't we by the bridge you're working on?"
E: "Yes. You remember that?"
M: "Of course I do. You think I don't listen when you tell me about your day?"
E: "No it's not... wait, do you see a car out there?"
M: "Where?"
E: "On the bridge. Nobody's supposed to use that bridge yet! It's not totally repaired."
M: "Actually I do see a car. ... Look! It's going over."
(the car goes over as the bridge semi-collapses)
M: Oh my God!
E: Those people are very lucky to have made it across alive. I hope they’re okay!
M: Let's go home Ethan … I don’t feel safe out here.
(they hurry faster, they meet up with Ned and Ruth...)
M: Guys what happened to your car?!
R: Oh it's nothing.
M: That is NOT nothing.
N: We were just taking a shortcut.
R: Yeah, we kind of went over the bridge.
M: Are you all right?!
N: Yeah we're fine. Just a couple of cuts and bruises.
E: I can't believe that was you guys. You both could have been killed.
N: Well the point is that we're not... and we'll think twice about using shortcuts again.
E: If you guys really are all right I suppose we should get home. Zeena will probably be worried and besides, I can call the construction company and tell them about the semi-collapse.
R: That's a good idea Ethan. Well, good night.
(Ethan and Mattie walk towards the house, trying to continue the conversation, but it becomes more awkward.)
E: Mattie, I don’t want you going anywhere near that bridge.
0A
M: Of course I won’t. Why would I ever do that? (haha, this is sort of ironic)
E: That’s not good enough. You have to swear.
M: I… I swear.
E: Good. I just wouldn’t be able to stand it if you ever got hurt. I really care about you Matt.
M: I care about you too Ethan…
(The walk is now more awkward as Ethan and Mattie reach the steps to the house.)
E: I wonder if Zeena waited up for us.
M: Oh! I hope she didn’t. I wouldn’t want her to stay up just to wait for us.
(Ethan and Mattie open the door and see Zeena standing right there.)
E: Hello Zeena! You didn’t have to stay up for us.
Z: I know, but I was worried. Where have you guys been?
M: Oh… well, we saw Ned and Ruth…
Z: Never mind! Just get in quickly. The breeze is mighty strong today and I’m getting chills.
(As they enter the house…)
Z: Ethan. Let’s hurry up to bed. I am very tired from all of that worrying and…
M: Oh Zeena! You didn’t have to worry about us!
Z: (mutter to herself) Not you…
E: What?
Z: Nothing. Come on Ethan. (she starts walking up the stairs.)
E: Hold up Zeena. I uh…
Z: What is it?
E: I can’t go up just yet. I um… um… have to call the construction site to tell them the bridge almost collapsed.
Z: (exasperated) Hurry up!
M: Good night Ethan.
(Ethan goes to make the phone call and then goes upstairs. He passes Mattie’s door and stops.)
E: Good night Mattie … be safe.
(Ethan enters his bedroom and closes the door behind him.)
*** The scene fades to black and ends.
Scene 2:
ReplyDeleteThe camera pans over the entire French Quarter, finally halting and zooming in on an old Catholic Church in the French Quarter. It is a gloomy, cloudy day outside and a faint drizzle is falling outside. Outside, the chuch has been restored, but once the camera enters the church through the open doors, water damage is evident on the cross and the statue of Mary. The camera then focuses on Zeena and Ethan.
Priest: Do you Ethan Frome take Zeena Smith to be your lawfully wedded wife, in sickness and health, for better or worse, ‘til death do you part?
Ethan: (with a cold look on his face) I do.
Priest: And do you, Miss Zeena Smith take Ethan Frome to be your lawfully wedded wife, in sickness and health, for better or worse, ‘til death do you part.
Zeena: I Do (her voice wavering)
Priest: I now pronounce you man and wife!
Ethan and Zeena kiss only for a split second and face the small, yet boistuoious crowd of friends, relatives and coworkers.
Now at the reception:
The crowd has moved to the Frome household, Ethan and Zeena were conversing with friends and coworkers. The camera focuses on the couple as they begin talking to Zeena’s aunt.
Aunt: Congratulations, Ethan and Zeena
Zeena/Ethan: Thank you Julie.
Aunt: As a symbol of your love, I present to you the statue of Hera, the Greek goddess of marriage. I think that it will serve as a wonderful centerpiece at dinner.
A foot tall statue made of red glass and rubies is given to Ethan. The statue seems to reflect a brilliant red light throughout the room like a spectroscope.
Zeena: Thank you, Aunt Julie, I don’t know what to say, it’s beautiful.
Aunt: No need to thank me, just treat the statue well, it’s a family heirloom.
Zeena: Of course.
Later that night: the party has cleared out, and Ethan and Zeena are having a discussion in the sitting room.
Zeena: Well, now what?
Ethan: I was thinking that we could move west, maybe to California or Arizona. It’s sunny there, and there aren’t any hurricanes either.
Zeena: What would we do out West?
Ethan: I was thinking that maybe I could finish school, or I would start my own business building houses. I hear that homes are selling like crazy out there.
Zeena: I would like that Ethan, but I don’t know how we could afford movin’ out there. We don’t have a car and we ‘aint got any money either.
Ethan: Yeah, but I’ll work as hard as I can so we can afford it. Maybe Mr. Hale will already give me a raise.
Zeena: I doubt it. I’m tired, I’m going to bed.
Zeena heads up the stairs to the bedroom. Ethan, his dreams momentarily crushed, turns out the light and follows her up the stairs.
Three Weeks Later:
Ethan is working on a new house outside the city, the sun is shining, but a cold wind causes the men to bundle up. The camera then shows Ethan and Jonathan hammering shingles into a roof.
Jonathan: So Ethan, how’s the home front?
Ethan: (sighing) Zeena’s sick, I don’t know what’s wrong with her but she refuses to get out of bed. Also, she keeps screaming out things in her dreams about the storm and the water.
Jonathan: That awful, maybe she’s suffering from depression or something.
Ethan: The doctor’s don’t know what’s wrong with her and I’m really havin’ trouble doing all the housework by myself.
Jonathan: You should hire a housekeeper or somebody like that.
Ethan: I would, but all of Zeena’s doctor visits are taking a toll on my paycheck. I don’t know what I’m going to do.
One Month Later:
The camera zooms in on Zeena laying in bed and then the phone rings. Ethan is away, so Zeena grudgingly picks up.
Zeena: Hello?
Aunt: Hi Zeena, its your aunt Julie. I didn’t mean to wake you.
Zeena: No worries. What do you need?
Aunt: Well, I remember you saying that you needed a housekeeped a while ago, and something’s come up so I don’t need my housekeeper anymore. I was wondering if you’d like to have her.
Zeena: Really? How much do you want for her.
Aunt: How about this, I give her to you for free and you just give her a bet to sleep in.
Zeena: Wait, what’s the catch?
Aunt: No catch, Zeena. I’m just doing my best to help out a struggling relative.
Zeena: Julie, thank you so much! You have no idea how much I appreciate this.
Aunt: No problem, Zeena. I’ll drop her off at your place in about a week. Bye.
A montage of Mattie’s story up until this point will be shown, possibly being narrated by Mattie. The montage will show Mattie crossing the border from Mexico and winding up in El Paso, Texas. Later, she is hired by Zeena’s aunt and she works for her for several months until it is discovered by Zeena’s aunt that Mattie was an illegal immigrant. Zeena’s aunt then tries to get rid of Mattie to avoid punishment for employing an illegal immigrant.
The Picnic Scene.
It is a warm, sunny day, and the camera pans to show a massiave habitat for humanity build occuring in an impoverished, destroyed neighborhood of New Orleans. Ethan, Jonathan and other employees of Andrew Hale are helping to build houses, while Mattie and several of her friends are enjoying a neighborhood picnin/block party. The camera then zooms in on Ethan and Jonathan talking outside of a house being built.
Ethan: I’m glad that we’re helping the community by volunteering at this Habitat for Humanity build.
Jonathan: Yeah, it’s great to help New Orleans recover.
Ethan: I just hope that we can finish in time to attend some of the picnic and the fireworks. I had to decline Mattie’s invitation because I’m volunteering.
Jonathan: So do I, that picnic sure looks like fun.
As you can see, i'm missing the picnic scene, which i will post later.
Group 2: you guys covered almost everything, but I do you think you should show Mattie first arriving and Ethan and Zeena's first reaction? I just don't think it would flow well if all we saw was a montage of Mattie's background and then all of a sudden, Mattie having this great relationship with Ethan at the picnic and telling him she's an illegal immigrant. Also, perhaps you could highlight how bad Mattie is with housework as well and Zeena's growing dislike towards her.
ReplyDeleteHello all. This is the first half of the 8th Scene. Please feel free to suggest any changes if you see any problems. Thank you. We will have the second part up by tomorrow.
ReplyDeleteEthan Frome
“The Epilogue”
There is a blackout and silence on screen, the click of a lamp turning on is heard and the shriveled hand of Mrs. Ruth Hale is seen pulling away from the pink lamp, the room lights up as she does this. The camera zooms out to see the arm belongs to Mrs. Ruth Hale who wears a long pink nightgown with ruffles around the neck. The camera zooms out to reveal Mrs. Hale in her entirety and follows her as she shuffles to her purple floral couch, wheeling her oxygen tank behind her. Mrs. Hale sits on the edge of the sofa, uncomfortably and hunched over, breathing laboriously.
As she does this, the camera zooms out to reveal a mysterious man in a tan trench coat, standing stiffly by the doorway.
The camera shot is now from directly across the room showing from left to right the armchair, Mrs. Hale sitting down on the couch, the detective in the doorway.
MRS. HALE
(In a suspicious and unsure tone)
Won’t you sit down, detective?
The camera zooms up and over them from the opposite corner of the room, watching through the ceiling fan. She motions with her arms to the chair to the left. He sits down in a yellow armchair to the left of the sofa on which Mrs. Hale is sitting. As she begins to speak, the camera zooms in on her troubled looking face, close enough to see the dried lipstick around her wrinkled lips, and the oxygen tubs coming out of her nose, and across her cheeks.
MRS. HALE
There have been rumors around the neighborhood that you have had some questions about the Fromes. Not a pretty bunch to be entangled with. Used to be, (pause, then taking on an austere tone) until it happened…
As she does this, her head turns downward to the right to look at the floor, and a wistful look appears on her face, her eyes misty with memories of the troubled accident. Concurrently, the camera zooms out to reveal the entire couch that Mrs. Hale is sitting on and her entire body. As she looks to the floor, the camera follows her gaze and zooms to a glass table, which blocks her gaze from hitting the floor directly, where an unfocused and faded reflection of flashing ambulance lights are seen After a moment, the camera flashes to the Investigator.
INVESTIGATOR
Well, Mrs. Hale, that’s exactly why I’m here. But what happened afterwards? That’s the one piece of the puzzle I can’t seem to put together.
The camera flashes to Mrs. Hale, who does not seem to hear him. Instead, she stares at the table, mesmerized by the lights. The camera pans bck to the Investigator.
INVESTIGATOR
(Concerned)
Mrs. Hale...? Mrs. Hale….
The camera pans to the left of Mrs. Hale, revealing her profile and the Investigator’s full front sitting behind her. Mrs. Hale snaps back to attention.
MRS. HALE
Well, dear (pause) where to even begin?
The camera cuts to the entire room. After a sigh, Mrs. Hale leans forward and reaches towards a green tin containing cigarettes. Pulling the lid off, she pulls one out and puts it to her lips. She looks to the Investigator, demanding with her eyes for him to light her cigarette. He fumbles through his coat pocket, finds a lighter, and fulfills her request. After a long drag, the camera cuts to a closeup of Mrs. Hale having a brief coughing fit. She then blows smoke directly into the camera lens. The smoke from her cigarette fades to smoke being released from an ambulance’s exhaust pipe.
MRS. HALE
(Voiceover)
Well, Jotham Powell was the first on the scene. The ambulances were there within minutes. I remember sittin’ right in this very chair when Lawrence Wilkins , y’know, the owner of the diner over on Main, called. It was hell for e’ryone who knew them, but I can’t imagine what it was like for poor Zeena.
As she speaks, the shot of the exhaust pipe zooms out to reveal a line of ambulances, police cars, and news trucks at accident scene. The camera cuts to two bloody stretchers, the white sheets soaked with crimson. The camera focuses on one stretcher, then pans down to a gnarled hand clenching a dripping piece of paper. The stretcher enters the ambulance, and the camera cuts to its flashing lights. The scene then fades back to Mrs. Hale’s face, where the flashing lights are seen in her eyes.
MRS. HALE
Ethan and Mattie were in the hospital for months. The doctors didn’t think they would make it. Zeena was there for every minute of it…
The scene fades to a stark hospital hallway with sickly green walls. Zeena sits stiffly in an uncomfortable looking chair. She is wearing a yellow bandana, a stained white tanktop, and short denim cutoffs that accentuate her pale, starved figure. The camera cuts to Zeena’s hand, where she is turning a shard of red glass in her hand methodically. She gradually squeezes the shard, which causes a steady stream of blood to drip down her bony wrist and arm. The camera follows one drop as it makes its way down her limb and finally falls onto the linoleum floor. The camera cuts to Zeena’s face, which shows no indication of pain. Instead, she is serious and unemotional. The camera cross fades from Zeena’s unemotional face to Mrs. Hale’s bewildered face.
MRS. HALE
Well I suppose that’s all there is to know about the Fromes. You can’t really understand their pain until you look straight into their eyes.
INVESTIGATOR
(The camera zooming out to show both of them)
So they say Mrs. Hale, but no one seems to tell me where they live.
MRS. HALE
(Mrs. Hale, starring off into space, still immersed in the passed)
Up the hill, the only house on Starkfield Avenue.
INVESTIGATOR
(Getting up to leave)
Well thank you for your time Mrs. Hale.
MRS. HALE
(Snapping out of her trance)
Well where are you going? We haven’t even had tea yet.
They both stand up and walk to the door, the camera following their backs.
INVESTIGATOR
(as if to a child)
Well I’m going off to see the Fromes Mrs. Hale, we just talked about that, remember?
MRS. HALE
Oh, yes.
The camera cuts to the outside of Mrs. Hale’s house. It is yellow with peeling paint and fake purple flowers in the window boxes. The door opens and the investigator steps out. The camera follows him as he walks down the steps.
INVESTIGATOR
Well, thank you very much, Mrs. Hale.
The camera cuts back to Mrs. Hale, framed by the doorway, with her oxygen tank in tow and a cigarette dangling from her lips.
MRS. HALE
(unaware of his absence)
Goodbye, Mr. — What was your name, sir?
The camera cuts to the Investigator on the sidewalk walking to the Frome house. He waves once more.
SCENE
We also have issues and suggestions for the Groups.
ReplyDelete1. Be careful in the use of Mattie's spanish. Be sure it makes sense!
2. Please choose between Jotham and Jonathan. The first scene who introduces him should let the class know.
3. Many of you are forgetting to include camera directions. These are very important. Do not forget to do this!
4. Still, dialogue can be lessened and visual directions can be increased. Keep in mind that this is a movie, so everything must be shown. Instead of saying that, for example, Zeena is angry, show this through her actions. This is the biggest improvement everyone can make. Do not assume that the audience knows the characters' feelings simply because you say it is so. They are not reading the script, they are watching a movie!
5. However, once something has been established, do not be repetitive and obvious in the dialogue. Much of the dialogue, including the moments of foreshadowing, can be made much more subtle. Not everything has to be explicitly said, but can be hinted at, or better yet, shown through visuals.
Also, per instruction of Mrs. Smith, Evan H. will be editing and formatting each scene into a more formal script. If each group would email their final draft, or as close to it as possible, to evhorwitz@gmail.com as soon as possible, and certainly by next Thursday or Friday, it would be much appreciated.
Thank you.
Jonathan and Group 8
Here's the entire 8th Scene. Please feel free to suggest changes.
ReplyDeleteEthan Frome
“The Epilogue”
There is a blackout and silence on screen. The click of a lamp turning on is heard and a shriveled hand is seen pulling away from the pink lamp. The room lights up as she does this. The camera zooms out to see the hand belongs to Mrs. Ruth Hale. She wears a long pink nightgown with a string of white pearls around her wrinkled neck. The camera zooms out to reveal Mrs. Hale in her entirety. It follows her as she shuffles to her purple floral couch wheeling her oxygen tank behind her. Mrs. Hale, uncomfortable and hunched over, sits at the edge of the sofa breathing laboriously.
Meanwhile, the camera zooms out to reveal a mysterious man in a tan trench coat standing stiffly by the doorway. His left hand is in his pocket.
The shot is now from directly across the room showing, from left to right, a yellow armchair, Mrs. Hale sitting down on the couch, and the detective in the doorway.
MRS. HALE
(In a suspicious and unsure tone)
Won’t you sit down, detective?
The camera pans up and over them from the opposite corner of the room. The scene is seen through the ceiling fan. She motions with her hands to the armchair. He sits down. As she continues to speak, the camera zooms in on her troubled face close enough to see the dried lipstick around her wrinkled lips and the oxygen tubs coming out of her nose.
MRS. HALE
There’ve been rumors around the neighborhood that you have had some questions ‘bout the Fromes. Not a pretty bunch to be entangled with. Used to be (pause, then taking on an austere tone) until it happened.
As she says this, her head turns downward to the right. A wistful look appears on her face, her eyes misty with memories of the troubled accident. Simultaneously, the camera zooms out to reveal the entire couch. As she looks to the floor, the camera follows her gaze to a glass table, where an unfocused and faded reflection of flashing ambulance lights are seen. After a moment, the camera cuts to the Investigator.
INVESTIGATOR
Well, Mrs. Hale, that’s exactly why I’m here. What happened afterwards? That’s the one piece of this puzzle I can’t seem to put together.
The camera cuts to Mrs. Hale, who does not seem to hear him. Instead, she stares at the table, mesmerized by her imagined lights. The camera pans back to the Investigator.
INVESTIGATOR
(Concerned)
Mrs. Hale? Mrs. Hale?
The camera shows a medium two-shot of Mrs. Hale’s profile and the Investigator. Mrs. Hale snaps back to attention.
MRS. HALE
Well, dear (labored pause) where to begin?
The camera cuts to a view of the entire room. After a sigh, Mrs. Hale leans forward and reaches towards a green tin. Pulling the lid off, she pulls a cigarette out and puts it to her lips. She looks to the Investigator, demanding with her eyes that he light her cigarette. He fumbles through his coat, finds a lighter, and fulfills her request. After a long drag, the camera cuts to a close-up of Mrs. Hale having a brief coughing fit. She then blows smoke directly into the camera lens. The smoke from her cigarette fades to smoke being released from an ambulance’s exhaust pipe.
MRS. HALE
(Voiceover)
Well, J_____ Powell was the first on the scene. The ambulances were there within minutes. I memba’ sittin’ right in this very chair when Lawrence Wilkins , y’know, the owner of the diner over on Main, called. It was hell for e’ryone who knew them, but I can’t ‘magine what it was like for po’ Zeena.
As she speaks, the shot of the exhaust pipe zooms out to reveal a line of ambulances, police cars, and news trucks at the accident scene. The camera cuts to two bloody stretchers, the white sheets soaked with crimson. The camera focuses on one stretcher, then pans down to a gnarled hand clenching a dripping piece of paper. The stretcher enters the ambulance, and the camera cuts to its flashing lights. The scene then fades back to Mrs. Hale’s face, where the flashing lights are seen in her eyes.
MRS. HALE
Ethan and Mattie was in the hospital fo’ months. The doctors didn’ think they would make it. Zeena was there fo’ e’ery minute of it…
The scene fades to a stark hospital hallway with sickly green walls. Zeena sits stiffly in an uncomfortable looking chair. She is wearing a yellow bandana, a stained white tank top, and short denim cutoffs that accentuate her pale, starved figure. The camera cuts to Zeena’s hand, where she is methodically turning a shard of red glass in her hand. She gradually squeezes the shard harder and harder, which causes a steady stream of blood to drip down her bony wrist and arm. The camera follows one drop as it makes its way down her arm and finally falls onto the linoleum floor. The camera cuts to Zeena’s face, which shows no indication of pain. Instead, she is serious and unemotional. The camera cross fades from Zeena’s unemotional face to Mrs. Hale’s pain-stricken face.
MRS. HALE
Well I s’pose that’s all there is to know ‘bout the Fromes. You can’t really understand their pain till you look straight in their eyes.
The camera zooming out to show both of them
INVESTIGATOR
So they say Mrs. Hale, but no one seems to be able to tell me where they live.
MRS. HALE
(Staring off into space, immersed in the past)
Up the hill, the only house on Starkfield Avenue.
INVESTIGATOR
(Getting up to leave)
Well, thank you for your time, Mrs. Hale.
MRS. HALE
(Snapping out of her trance)
Where are you going? We haven’t even had tea yet.
They both stand up and walk to the door, the camera following their backs.
INVESTIGATOR
(as if talking to a child)
I’m going off to see the Fromes, Mrs. Hale. We just talked about that, remember?
MRS. HALE
Oh, yes.
The camera cuts to the outside of Mrs. Hale’s house. It is yellow with peeling paint and fake purple flowers in the window boxes. The door opens and the investigator steps out. The camera follows him as he walks down the steps.
INVESTIGATOR
Thank you very much, Mrs. Hale.
The camera cuts back to Mrs. Hale, framed by the doorway, with her oxygen tank in tow and a cigarette dangling from her lips.
MRS. HALE
(unaware of his absence)
Goodbye, Mr. — What was your name, sir?
The camera cuts to the Investigator on the sidewalk walking to the Frome house. He waves once more.
The scene begins with the flash of the TV turning on. The TV is old and filled with static, yet hazily broadcasts a CNN report on the looming hurricane. It is silent. The TV lights up the silhouettes of the character in the room.
The camera reveals the old brown television, the brown and dingy home of the Fromes and an armchair with a hand hanging off holding the remote. The camera backs up further through the spotted window pane, finally stopping as an over the shoulder shot. It shows back of the investigator’s head looking through the window of the Frome house. The investigator continues to watch in silence and hears faint footsteps and then sees the silhouette of an aged woman hunched over. She is thin and wiry. She comes over to the man in the arm chair, takes the remote, turns the TV off and drops it on the floor. She then slinks out of the view of the investigator. Then, suddenly, the sound of a car door shutting is heard. The investigator jumps and wheels around to see an overweight African American woman with a clipboard in hand. The camera follows his gaze and zooms in on this woman as she walks up the three cracking steps to the front door. From an angle, the camera shows the woman’s profile and will allow a small plane of view into the house if the door is cracked open. The woman knocks three times swiftly on the door with eerie reverberations. The door slowly opens, revealing the dark room within. Inside, the silhouette of the same wiry woman is hunched over a small shriveled figure in a wheelchair facing away from the door. Ethan Frome steps into the doorframe, filling it and blocking the view of these two women. The camera slowly pans up, allowing the audience to view him in all his decay. He wears brown work boots and too-short trousers. His knee is pointed inward in a sickly and unnatural manner. As the camera continues up, one leg is sickly thin while the other leg has normal musculature. One hip juts out to the side. Wearing a gray plaid shirt, he is hunched over to one side. Finally, his head is shown. His creased, pockmarked, and scarred skin falls downward. His cheekbones are very visible. His beady, sleepless eyes are barely seen under the flaps of wrinkled skin. Above are his grey, scraggly eyebrows. On his forehead is a massive scar, which maintains an eerie freshness, contrasting the rest of his appearance His dry, thin, mangled hair is tangled to his shoulders. Ethan eyes the woman questionably. The camera cuts to a two- person medium shot, revealing the woman and Ethan.
WOMAN
(In a trite manner)
Mr. Frome?
ETHAN FROME
(In a suspicious bark).
Ye’.
WOMAN
My name is Mable Cartwright. I’m a social worker for the sixth district fo’ the city of New Orleans. (Points to clipboard) Accordin’ to my list you and the residents in this home qualify fo’ earl’ evacuation due to yo’, uh, (pause and looks Ethan up and down) disabilities.
They stand there in silence. Suddenly, Ethan’s eyes make their way to the Investigator. His blank expression turns to pure fear. The Investigator walks into the shot, making his way to the door. Suddenly, a crazed shriek is heard from inside the house. The wiry woman runs into the doorframe, her eyes bulging and face contorted in rage. She lifts her spindly arm and slams the door with surprising force. Mabel shakes her head and begins to turn around.
MABEL
(unimpressed)
Well I neva’.
The camera follows Mabel down to her white station wagon with the New Orleans seal on the passenger door. She starts the car and drives away. The camera cuts to the Investigator and follows him as he slowly walks towards the front door. He bends down and opens the gold rusted mail slot. The Investigator sees the Frome’s living room, which then fills the shot. There, the wheel chair seen earlier is facing forward, which provides a clear view of the shriveled figure. She wears a gray shawl over a fading red dress. Her eyes are unfocused but eventually settle on the mail slot. The camera cuts to a close-up of her staring at the Investigator silently with a melancholy, haunting expression. The scene is broken by the Investigator shutting the mail slot. The camera cuts to him breathing heavily and turned away from the door, still crouched down and obviously disturbed by what he just saw. He then stands up and the camera follows his back as he makes his way to the other side of the house. As he walks by the window, the camera cuts to a view of Zeena through a dented window screen. She has a crazed look in her eye and her mouth is formed into a hard line. The camera cuts back to the Investigator looking frightened. A clap of loud thunder is heard and raindrops begin to appear on his cheeks. The camera zooms out to reveal rain staring to pour. He slowly starts to walk away from the Frome house, the camera following him, as the hurricane siren blares and the rain falls harder. The camera continues to follow his back and begins to slowly zoom out, revealing first the Frome house, then the neighborhood, then the entire city in chaos. Faint screams are heard along with the siren, and people run through the streets in a rushed panic. The CNN logo appears in one corner of the screen. In the other corner: “AC360: LIVE DISASTER COVERAGE FROM NEW ORLEANS.”
ANDERSON COOPER
(Voiceover, upset)
Again, this is the live disaster shot from New Orleans as Hurricane Hera begins to strike. The city has been turned into a mob scene, with citizens frantically trying to evacuate before it’s too late. Of course, this is reminiscent of Hurricane Katrina five years ago. We are now awaiting the press conference of Louisiana Governor Bobby Jindal as the entire CNN team keeps you updated on the storm.
The camera cuts to Louisiana governor Bobby Jindal sitting at his desk in front of the Louisiana and United States flags.
BOBBY JINDAL
(stressed, frazzled)
At this time, I wish to issue a statement regarding the current situation in New Orleans: Unfortunately, our experts have determined that whoever has remained in the city has a very low chance of survival. Please make all possible efforts to evacuate if you have not already done so. All that we can do is hope for the best and pray that the smart ones have gotten away.
The scene cuts away to static and white noise. The camera cuts back to a dark New Orleans. Thunder and wind are heard, and lightning illuminates the city every few seconds. The camera quickly zooms back to the Frome house. Lightning strikes, and through a window the silhouettes of Mattie, Zeena, and Ethan are seen sitting, watching the blank television. With a final clap of thunder, the camera cuts to black.
END
Brenna - I really like Ethan and Mattie's conversation. I think that Ethan should kiss Mattie right after ...
ReplyDelete"Mattie: Ethan… (by this point Ethan has slowed the car to a stop)
They look into each other’s eyes…Mattie’s seeming to be aflame with a red glow while Ethan’s initial look of fear fades to a hazy excitement."
I also think that right after they kiss, Ethan should tell Mattie he loves her. It would be an appropriate timing since it is the moment right before Ethan presses the gas pedal. In the book, Mattie finally expressed her feelings toward Ethan when she knew that she had no way out. At that moment in your script, Mattie and Ethan made their decision and their [almost] last words should be expressing their love for each other.
Also, for group 1, I think that you should make Ethan's reaction to the news of his father's death more dramatic. He also seems to give in too easily to his mother's demand for him to come back home. I got the impression that Ethan was almost glad to leave college to tend to his mother, but I think that he should be more reluctant because college was rather important to him in the book.
ReplyDeleteFrom what I've read so far, Zeena finds out that Mattie is an illegal immigrant, but has she known all along? Or did she find out later in the script?
I think we've all agreed that Ethan knows about Mattie's 'secret' much sooner than Zeena, but has their been a definite time where she tells him?
Group 8 - I really like the epilogue. I think it wraps up the story very well and Mrs. Hale's retelling of the incident was very believable.
Sharon: We don't think Ethan should kiss/tell Mattie that he loves her. Although our class has changed many aspects of the story, adding this would stray too far from the book and Ethan's character.
ReplyDeleteAlso, we think all groups should write how the characters would talk. Try to hear the characters as you're writing and capture their dialect instead of writing with your own voice/natural speech.
Jon: We really think that taking out the kiss really takes away from the story. If we take out the kiss then what do you propose we substitute the kiss with to explain the relationship between between Ethan and Mattie?
ReplyDelete- Brendan and Sharon
Sharon: I feel that the way the script is written already shows the relationship between Ethan and Mattie. The fact that they are gazing so intently into each other's eyes shows their love for each other and our group really feels that have Ethan kiss Mattie really would not fit his personality. We feel that by not having Ethan kiss Mattie it shows how when they die, which they think that they are going to, he will be able to kiss her then. By not having them kiss, we are showing
ReplyDeletethat Ethan is waiting to die, and that he is willing to sacrifice his entire life, in order to be in love with Mattie. We would be ruining the whole meaning behind having Ethan wanting to die with Mattie if we had him kiss her then.
Errr, sorry guys. Im filling in as blogger and putting our first rough drafts up really late, but we already have 2/3 of our 2nd draft done.
ReplyDeleteThis is Group 4 with the Dinner scene:
[MORNING]
Ethan, Mattie, Zeena and Jonathan are sitting at the table. The only sounds are form the cutlery scraping the dishes. Zeena looks horrible in her flannel shirt.
Zeena: Ethan, I feel horrible. My stomach pains are just excruciating. I hope I won’t throw up my breakfast.
Ethan: (annoyed) Zeena.
Mattie: (cautious) Oye, is there anything I can get you to ease your pains, Zeena?
Zeena: (sternly) No. Ok, well, sugar.
Jonathan quietly continues eating in their midst. Ethan seems more interested in his food than anything else. Mattie goes for the sugar, but spills it on her way to the table.
Zeena: You’re useless Mattie!! Now I have to clean up this mess.
Mattie: Lo siento, lo siento!! I’ll help clean, too.
Ethan quietly stands up and joins Mattie in cleaning up the sugar. Zeena observes like a hawk.
Zeena: Ethan, I have to go to Baton Rouge today. There’s this new doctor who might be able to finally figure out what’s wrong with me. But I have to stay overnight. (ftrowns) I need money for that, Ethan.
Ethan stands up and thinks.
Ethan: Well, if you need it, do it.
Zeena: Good. Now that tha’s settled, I also need you to drive me.
Ethan: Can’t Jonathan drive you?
Zeena: NO! He drives recklessly and my blood pressure skyrockets! Aren’t you concerned about my health?
Ethan: (annoyed) Zeena, I am concerned. Yet I’m also concerned about our money. For your overnight stay, I’l have to go to Andrew Hale and get some payments early. Hopefully, the amount will be a good $300. So, I cannot drive you and collect the money. Jonathan will drive you.
Zeena sighs. Jonathan slightly nods. Ethan goes back to his food. We see both Mattie and Zeena trying to catch Ethan’s attention. Mattie has been blushing the whole time.
Zeena is looking down at an AARP magazine. Showing what Zeena is concentrating on, the camera zooms into an advertisement for a new prescription for a medicine that is in the magazine. Zeena looks up from her magazine and glares at Ethan.
Zeena- (coughing flamboyantly as she speaks) Alright, Jonathan will drive me.
Zeena pops the lasts pill in the bottle into her mouth. After taking her time to gulp down a glass of water, she wipes her mouth off with the back of her hand. Zeena then rips out the page about the new prescription medication. She folds the paper clumsily, and she unhurriedly shoves it into one of her pockets. She then weakly tosses the magazine at Mattie. Ethan and Jonathan watch the women curiously.
Zeena- (with a scowl on her face, and still coughing) Read it. There’s a thing or two for you to learn in here.
The camera focuses in on a subtitle on the cover of the magazine, “Good Housekeeping.”
Mattie- Gracias, prima. [Thank you, cousin.]
Mattie flips through the magazine. The pages are all dull and colorless, but one page catches Mattie’s attention. There are big, black letters in a red header box on one page titling the article, “Aphrodisiac Foods.” The camera zooms in for about 3 seconds. There are pictures of ginger and oysters. The camera zooms back out, showing the whole family at the table. Everyone has resumed eating, minding their own business. Mattie studies the article curiously for about 8 seconds, until Zeena starts coughing violently.
Zeena- Mattie, (cough) water!
Mattie- (surprised and worried) Oh Zeena!
Mattie jumps from her seat, nearly knocking it down. She grabs Zeena’s glass and rushes to the sink to fill it. The camera leaves the table and follows Mattie to the sink. As Mattie is waiting for the glass to fill, she helplessly sighs.
Mattie- (quietly sighing, as a whisper, with a defeated, kind of glum look) Zeena…
as luck would have it, there seems to be a sharing problem with the [EVENING] script...
ill work on getting that sorted out.
Daria, group 4
Jon: In the book, on page 120-121 Mattie kissed Ethan. Instead of having Ethan kiss Mattie, it could just be the other way around. That way, it would better fit his character. Ethan doesn't necessarily have to take initiative.
ReplyDelete