Hey Period 4!
I hope your breaks are going well and that you are all getting some rest in between revisions of your Ethan Frome Scripts!
As your group completes your second revision this week, please post them in this space.
A few guidelines:
State your group number and names
Be sure to italicize stage directions
If you have a chance by Sunday night, please try and read through the scripts.
Write down any questions you have about consistency/continuity problems. I will do the same.
I look forward to reading your work and I'm sure your classmates are, too.
Be ready for a crazy Monday class as we assemble our scripts.
In the meantime, enjoy the rest of your break!
Best,
Mrs. Smith
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Hello. Here is a second draft of the epilogue. Admittedly, we made few changes, but felt that they were not merited having spent many hours creating and revised the first draft. Also, it does not seem possible to make italics on the blog.
ReplyDeleteThanks.
Jon, Maya, Evan, Kim
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’ve had some questions ‘bout the Fromes. Not a pretty bunch to be entangled with. Used to be (pause, then taking on an austere tone) ‘til 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
Hey Group 8!
ReplyDeleteExcellent job! Really great description, very vivid and emotional. Nice incorporation of textual moments and characterizations!
Thanks for your work!
Mrs. Smith
ZEENA’S RETURN
ReplyDeleteINT. 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. The scene opens directly into a shot of Many residents are out enjoying the sunshine, including 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:
The weather has finally letup. It’s such a nice day today, with the sun shining and the sky crystal clear; the breeze feels so refreshing, too.
ETHAN:
Yea, really nice day. NOt too hot and humid, not too cold. A perfect day to just relax and enjoy- the type of day that eases all a man’s worries. I hope the weather stays like this...
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 getting increasingly angry with the federal government. Local officials and residents alike are questioning FEMA’s response and assistance, as the reconstruction process has turned painfully slow...”
The camera pans to Ethan’s face as soon as “FEMA” is mentioned, reminding him of Zeena. His face tightens and he sinks back into serious, uptight behavior. The laughter in Mattie face drain away as they sink into somber silence for a few seconds.
Cue: Mattie impatiently flips through the channels to find something more lighthearted:
MATTIE:
No news is good news. I can’t stand to hear these terrible things.
She lands on the Discovery Channel. Ethan begins to express his admiration for the beautiful landscapes of Santa Fe.
They watch the TV screen silently for a few seconds. It depicts a panoramic shot of the wide open desert of Santa Fe, New Mexico. The TV is next to the open window, where gleeful shouts of children can be heard. The shot of the TV with the landscape of Santa Fe is sharply juxtaposed with the ruined but cheerfully illuminated neighborhood that Ethan lives in.
NARRATOR (ON TV):
“The sweeping expanse of the Santa Fe desert, one can se, rising from the heart of the Tularosa Basin is one of the world's great natural wonders - the glistening white sands of New Mexico. Here, great wave-like dunes of gypsum sand have engulfed 275 square miles of desert and created the world's largest gypsum dune field. Plants and animals that have successfully adapted to this constantly changing environment...”
The camera pans to Mattie. While the narrator is speaking of the grandeur of New Mexico’s desert, the camera momentarily focuses on the TV, focuses out and blurs, and then instead focuses on the mangled landscape outside the window right next to the television while the TV describes the desert, sharply drawing the contrast between the vivid description of Santa Fe and Ethan’s reality.
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. If only...
Mattie is cut off by scuffling noises outside. The camera switches to the door, where steps can be heard on the front steps, the doorknob jiggles, and all of a sudden, the door bursts open. 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?
JONATHAN: (outside)
I’ll see you folks later. Hope you feel better, Zeena. It’s nice weather...I think I’ll walk, so don’t worry about making me dinner!
He leaves quickly, his fading footsteps echoing, finally leaving a heavy silence.
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 exhaustion, 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. 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 interjects, 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)
Are you sure about that, Ethan? Are you sure she doesn’t have a home to go back too...in MEXICO?!?! 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, some-..someone...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 his face)
Zeena- (he takes a step towards her) now you...
Zeena catches the empty place on the shelf where her Hera statue, a treasured wedding gift, is missing.
The camera is behind Ethan as he steps towards Zeena. The camera focuses in on Zeena’s suddenly narrowed eyes. The camera pans in a circle to behind Ethan, narrowing and focusing on the noticeable empty shelf behind him.
ZEENA:(catching the sight of the remaining shards of her beloved statue, quietly and menacing)
Where is my Hera statue, Ethan? My wedding gift!
ETHAN: (taking a deep breath)
It’s...it’s in the cabinet, Zeena...the cat broke it. It was all an accident, it was all my fault--
The scene changes to Mattie, outside in the driveway in the battered car, frantically pawing through the seats looking for Zeena’s coat. She hears the indistinguishable shouting, and alarmed, she exits the car and approaches the house where the shouting gets louder.
Zeena is screaming hysterically as Mattie opens the front door. As soon as Mattie opens the door, she is confronted with the scene of Zeena and Ethan yelling at each other, baggage strewn on the floor, and shards of the statue in the cabinet. Zeena 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 Mayor Nagin 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 victorious, 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!
The camera follows Zeena as she begins to throw her hands around, stomping to Mattie’s room, where the sounds of emptying drawers are heard. Handfuls of clothes are seen being ejected out of the room into the hallway.
ETHAN: (snapping out of his cowering reverie)
Zeena, STOP. (He reaches into the cabinet and takes the fragments of the statue into his hands) Take your statue! What does it mean to you anyway?
In an act of defiance, Ethan winds up to throw the shards onto the floor, the camera shooting to Mattie’s bedroom door. However, Zeena’s angry face fills the doorway and the camera, her eyes boring into Ethan, abject silence greeting him. Instead of throwing the shards, Ethan lets his hands drop down again, his shoulders slumping, the fight going out of him. His hands listlessly fall open so that the shards drop the floor. The camera shows the shards dropping in slow motion, clattering onto the floor.
ZEENA: (hissing and breaking the moment)
You pick that up, Ethan. 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
The scene is short and brief, showing the events afterwards. 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:
Cue: “Come Back” by Pearl Jam begins just as a sleepless Ethan gets out of bed, slipping out from under the covers he shares with his despised wife. The song continues to the end of the scene, ending as Ethan is pulling into the driveway later. After gazing at Mattie’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 thinks back to the days when he had a life full of promise. He wonders what happened to all those days of ambition and hope. Now those days are just memories, and he longs for those moments that fled so quickly. He turns on the radio, sits back in his chair,and closes his eyes as he listens to the soft words coming from the radio: (It’ really the background music, getting louder and the lyrics clearly audible, implying that its on the radio.)
“If I keep holdin’ on, will the light shine through
Under this broken roof…
It’s only rain that I feel…
And these days they linger on
And in the night…I been waiting for
The real possibility that I may meet you in my dream…
If I don’t Fall apart
Will the memories…”
The solemn song deepens Ethan’s own feelings of sorrow and pity. Tears gently and silently roll down his face. Outside, the clearness and perfection of the night is a contrasting, confusing backdrop to Ethan’s sorrow.
Ethan 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. The music ends and fades out at 2:50. Mattie silently watches him from her bedroom window.
Also, as a side note: we were discussing...could Zeena be a bit racist? It would fit well with her attitude towards Mattie.
Group 5
ReplyDeleteEd Li, Matt B., Arian J.
Script (2nd Draft):
The scene starts with a quick shot of Mattie clearing away the dishes. Rain patters against the window.
The next shot is Ethan gazing outside a window watching the cars drive by.
As Mattie is going to retrieve a candle from the table, she hits her knee on a chair.
Mattie(muttering): Mierdo, that hurts…
Mattie carries a candle into the living room.
Entering from the kitchen, a fireplace is on the right side. Three aged arm chairs are in the center of the room. Two are equidistant from the fire place facing each other; these shall be Ethan and Mattie’s chairs. One of the legs on Ethan’s chair is shorter than another, causing a slant. Mattie’s chair is red and slightly newer. There is one more equidistant from both chairs, facing the fire place; that being Zeena’s. Zeena’s arm chair is noticeably more worn-out. This all forms a rhombus-like shape involving the four objects. There is a small table next to the farthest arm chair which will have the knitting supplies. The table was once polished, but now looked old and was cracked. There is a larger table in the center of the arrangement. The window is on the left wall with blinds drawn up.
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(patting his stomach): Mmm, that really hit the spot. Good cooking, Mattie.
Mattie: As my family says back home: gracias. I 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: Yeah, 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.
The camera returns to focusing on individual speakers.
Ethan: No, I didn’t. But it’s a bit too stormy out. I guess we’ll go tomorrow.
Mattie(with a small smile): I’d love that.
Camera shift to looking over Ethan’s shoulder from behind Ethan.
The camera shows Ethan staring 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(eager to resume conversation): 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(worried): I’d like to know how.
Mattie: It’s hard to say. You sure he didn’t say anything to you?
Ethan: He hasn’t said a word to me.
Mattie: I guess…I guess I’m just nervous. I’m not going to think about it anymore
Camera shifts to show Ethan’s face.
Ethan(desperately): 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 camera shoots a close-up on the cat’s face, showing an eerie resemblance to Zeena in the light.
The camera shows Ethan’s eyes drooping down in exhaustion. 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. The camera has a close-up of Ethan’s lips on the fabric.
Instantaneously, the lightning strikes and thunder comes directly after it, the noise so close that it rattles the house.
A frontal shot from the center table shows Mattie getting up with Ethan’s lips still on the fabric.
Again the camera shall show each speaker as they talk.
Mattie (awkwardly): Erm, Ethan, I think it’s time I sleep.
Ethan (even more awkwardly): Oh, right…
Shots of Mattie show her putting away her sewing tools and proceeding downstairs to bail out some water that had accumulated during the storm. There is a quick shot of Ethan watching her before she comes back up, her dress stained with wet spots from the water.
The camera shoots Mattie on the stairs.
Mattie softly waves to Ethan.
Mattie (quietely): Good night…
The camera moves to a shot from the stairs. One sees Ethan start to respond, but he is only able to muster a nod of the head.
As Mattie turns around and heads up the stairs, a creaking noise emanates with each step.
The camera moves back to the stairs, facing Ethan. He stares blankly at Mattie as she enters her room. He looks at his hands, clenching them into fists with a frustrated and dejected look on his face.
Ethan(sighing): Damn…
The last shot is from the doorway from the kitchen. 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]
(don't know how to italicize)
Emily, doesn't your group mention Zeena's phone call with Denis Eady? Maybe Zeena could tell Ethan that she reported Mattie to Denis and that she'll have Mattie brought over to the deportation center the next day. This could happen during dinner, or right after she calls Mattie an illegal immigrant...I don't know.
ReplyDeleteAlso, I like the idea of Zeena being a little racist.
Group 7:
ReplyDeleteBrenna Lilley, Jackie Duhl, Rachel Rosenblum
SCENE BEGINS
The next morning--Camera pans on the bed: Ethan wakes up, looks over at Zeena, who is still sleeping. The camera focuses on Zeena. A shadow from the window passes over her face, making it look even more gray and hollow. Camera zooms out. Ethan quietly gets up and walks into Mattie’s room down the hall. The camera follows him. He enters, the camera focuses on Mattie: she is sitting up in bed with red, puffy eyes, wearing the khaki shorts and fitting blue T-shirt from the day before. Ethan knows she heard the argument yesterday about her deportment. The camera zooms out. Mattie looks up, giving him a weak smile. Ethan advances forward and sits next to Mattie on the bed, grabbing her hand. He speaks to her in a quiet, urgent tone.
ETHAN
Matt, you can't go! I won't let them take you.
Mattie begins to cry as she falls into Ethan's arms. Ethan holds Mattie and presses his cheek into her hair. He takes their intertwined hands and holds them to his heart. They stay this way for a moment. Mattie retreats from their embrace and sits up. Ethan speaks in a despaired tone.
ETHAN
Matt, what’s gonna happen to you? What’re ya 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 ya to the station, at least. Zeena wants ya there by 3:00. (train taking her to the deportation center)
Ethan leaves the room, but pauses at the door with a last look at Mattie. Camera cuts to focus on Mattie.
A few hours later—Mattie is trying to carry her suitcase down the stairs. Ethan appears at the top of the stairs, puts his hand on Mattie's. Mattie looks up at him.
ETHAN (In a soft tone)
Go wait in the car, Matt. I got this.
MATTIE
But Zeena's having a taxi come 'n get me.
ETHAN
I'll drive ya myself.
Mattie looks at Ethan, then nods, goes down the stairs and out the screen door. Ethan lugs the suitcase down the stairs. Zeena is sitting in the kitchen, but stands up once Ethan gets to the bottom. Camera focuses on Zeena. Zeena is still in her shabby pajama bottoms and ill-fitting T-shirt. Her hair is dead and limp at her shoulders.
ZEENA
Leave the bag by the door, the taxicab'll come an' get it.
Camera focuses on Ethan and Zeena.
ETHAN
I'll drive Mattie myself.
ZEENA
I want ya to stay here. Denis's havin' a taxi come to take her to the station. He won't trust no one else to take 'er.
In a more forceful tone, Ethan replies.
ETHAN
I said I'll take her myself.
Ethan walks out, the screen door slamming behind him. Camera focuses on the screen door. Zeena, with a sour look on her face, gets up and stands by the door, watching Ethan put the suitcase in the back of the truck. The camera cuts to the car and Ethan. Ethan enters the car, shuts the door and looks at Mattie. The scene is inside the car now and the camera focuses in on Mattie: Mattie is wearing jeans and a white T-shirt, but has a red hibiscus tucked behind her left ear. Mattie's face is turned, looking out of the passenger window. 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.
Mattie pushes the letter Ethan had written onto the dashboard in front of him; the camera focuses on letter. The camera zooms out again. Ethan slows a little, they sit in silence. Ethan is astonished but his face 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 they can’t get you...somewhere where we can be free together.
In a sad tone Mattie replies.
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 'bout an hour before your train leaves, Matt. This might be your last chance to see the destruction which brought ya here…Do ya wanna 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. It is quiet as Mattie gazes out the car window at the ruins the hurricane left. Camera pans outside of the car window, focuses on the destruction beyond the road. Camera cuts back to Ethan and Mattie.
MATTIE (with tears in her eyes)
How…this is just…oh Ethan, es horrible. I can’t imagine anything more devastating.
ETHAN (sorrowfully mumbling)
You haven’t even seen the worst of it…
Mattie looks at him. Ethan keeps on looking ahead.
ETHAN
Just over the broken bridge is the worst damage left behind.
The car is approaching the bridge. Camera focuses on bridge with the barring yellow caution tape, then back to Ethan and Mattie.
MATTIE (In a desperate tone)
So take me Ethan…I have nowhere else to go. No hay nada más para mÃ.
ETHAN
Matt, don't talk that way. 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.
By this point Ethan has slowed the car to a stop.
MATTIE
Oh Ethan…
Mattie flings her arms around Ethan's neck and presses her wet cheek to his. She whispers into his ear.
MATTIE
Goodbye.
Ethan holds her close and replies in a cry
ETHAN
Matt, I can't let them take you! You can't go!
Mattie frees herself from Ethan's arms, but replies with her head down.
MATTIE
If I don't go, what else will I do? There's nothing more for me...
ETHAN
I wish I could do something for ya, Matt...But I--I can't. Ethan stammers as a sob breaks through his throat.
Mattie lifts up her head and looks into Ethan's eyes.
MATTIE
Ethan...Take me across the bridge...so we won't have to ever cross another.
Ethan has a fearful/bewildered look on his face
ETHAN
Matt, what do ya mean?
MATTIE (in an urgent, low tone)
Take me across the bridge...so we'll always be with each other.
Ethan is silent for a while but than replies.
ETHAN
You're crazy, Matt. Why would I do that to us?
MATTIE
There'll be no us when I leave. We won't be together and I can't bear to be away from you.
As she says this, she grasps his hands.
You'll return to the house with Zeena...my room will be empty--the room where I used to listen to hear you come up the stairs. I'm sure Zeena will get someone else to replace me soon.
Ethan gazes at her with a torn look in his eyes. He drops his head and looks at their hands. He lifts his head. They look into each others' 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 the bridge comes closer, Ethan begins whispering hastily to Mattie. Camera angle switches, so that the camera appears as if it is in the backseat.
ETHAN
Are you scared Matt?
Mattie replies, but keeps her gaze forward on the approaching bridge.
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. Camera cuts to outside of the car: as the car gets closer to the bridge, the camera focuses in on Jotham Powell, who had been surveying the bridge from a boat a little ways off. He frantically waves his arms and shouts at them. The camera cuts back to the car. It torrents through the forbidding caution tape.
The camera zooms out. The bridge, which had been damaged during Katrina, begins to collapse. The piers, which were already unstable, fold in and the abutment blocks crumble. The road itself collapses. Now the scene is shown through Ethan's perspective. The noise of the breaking bridge echoes through Ethan’s mind, bringing back the noise of Zeena’s Hera statue crashing to the floor. An image of the breaking statue is recalled. The scene is shown through Ethan's eyes again. Ethan’s leg jerks on the brake pedal in response to the image of the statue, but to no avail. Ethan grasps Mattie’s hand. Camera cuts outside of the car and focuses on the car as it plunges into the water. Camera cuts to inside the car from the backseat. Ethan lurches forward then back from the impact of the car hitting the water. Mattie lurches forward, but hits her head on the dashboard.
Mattie quickly becomes unconscious from the blow as the water envelopes them. Ethan's side of the car crushes inward as a part of the bridge presses into the side of the car. Ethan's left leg is wounded and the glass from the window cuts his forehead. The scene is shown through Ethan's eyes: Blood begins to filter into the water and Ethan is losing consciousness. 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. As this is happening, the image is getting hazier, then black once unconsciousness hits him.
END SCENE
Sharon, Alex, Brendan
ReplyDeleteGroup 3, second rough draft of script
[The camera moves from a view of the sky diagonally down to the right in order to feature the front of a building. It’s not the most beautiful place in the world, but the bright sign over the entrance that reads “Mardi Gras Dance” makes it pop out from the rest of the dull landscape. There’s a reasonably large glass window below the sign and a door to the right complete with peeling paint. Music plays from inside the building and the bright lights radiate out onto the street. The camera cuts to a scene inside the building. There is a large dance floor, with people dancing in the middle and mingling in small groups on the outer edges. A few people are leaning against one wall, listening to music and surveying the dance. Almost everyone is clad in bright gowns or other extravagant clothing and a variety of masks grace people’s faces. The camera sweeps around the room and then rests on the corner of the room. From there, Denis Eady – an over-calculating man in a black business suit – watches the dance with much interest. The camera slowly zooms in on his face, but soon follows his gaze to show a couple dancing enthusiastically in the crowd. The woman is Mattie and she wears a beautiful red dress and a gorgeous mask, though it fails to hide her dark skin and long black hair. She has a smile on her face while dancing. The camera cuts back to Denis as he moves closer to get a better view. Soon he is weaving through the crowd to get near her, with the eagerness of a man who knows a song is just about to end. The camera cuts back and forth a few times between Mattie and the man dancing and Denis trying to get to them to show how frantic he is. Finally, the song ends and Mattie steps away from the man a little breathless, with a smile on her face. He leaves, walking past Denis who is very close now, and Mattie looks around as another song begins. It’s a slow song, in contrast with the fast one before it. Denis walks right up to Mattie and starts a conversation as he holds out his hand.]
D: "Can I have this dance?"
M: (smiling) "Sure."
[Denis puts his arms around Mattie’s waist and she’s slightly uncomfortable so she backs away a little. They dance sort of awkwardly for a second and the camera focuses on their faces – but not too close – as they talk. They’re constantly turning around too, in time with the music, but the camera is just straight-on so sometimes you don’t see both of their faces. As they dance though, neither of them block the camera with the back of their head so you can always see someone.]
D: "So... Mattie right?"
M: "Yeah, how did you know my name?"
D: "I've heard people say it. Does it have any special meaning?" (Denis twirls Mattie out gracefully as if showing off his dance moves, but she’s just surprised. She spins back in.)
M: "Mattie? No, my mother just chose it for me because she thought it was pretty."
D: "Pretty name for a pretty lady." (smiles)
M: "Oh, um, thank you..." (embarrassed and a little creeped out... her cheeks flush)
D: “Your hair is a beautiful dark color too.”
M: “Thanks. (looks around uncomfortably) Um… nice shirt.”
D: (laughs) “Thank you.”
M: “Why are you wearing a suit though? People usually dress up for Mardi Gras.”
D: “Well, my job’s pretty formal and I don’t really like to dress up for these things. (joking) Besides, don’t I look great in a suit?”
M: (joking) “Oh definitely. (seriously and inquisitively because she’s a bit confused) But if you don’t like these types of things why are you even here?”
D: “I only said I don’t like to dress up. Dances themselves are pretty fun.”
[The camera cuts to outside of the dance, so the music’s noticeably softer, and we see a shadowy figure emerging from down the street coming towards the camera. It’s gotten darker too. There are a few streetlights along the street, but barely and one of them flickers eerily. Stars dot the night sky. The figure comes closer, and into more light. We can tell it’s a middle-aged man. The camera returns to the dance, back to its position focused on Mattie and Denis dancing…]
M: “So, what job do you actually do?”
D: “I’m a government official. It’s very important but I spend most of my day buried with papers. I just thought that I’d go out tonight and have some fun.”
M: (awkwardly responding) “Well, that’s nice.” (She smiles to relieve tension, but Denis doesn’t take the hint. The smile’s quickly wiped from her face but he’s oblivious. He tries to continue the conversation. The camera slowly starts to zoom out to include more of their bodies and the surrounding people.)
D: “Yeah. So…”
M: “So…”
D: (clears throat) “You know, I don’t think I’ve seen you around before. Did you just move here?”
M: “You could say that. Why?”
D: “I’m just curious … you know, trying to get to know you better.”
M: “Right. That’s always good.” (She looks away. There is an awkward pause.)
[The scene cuts back to outside – this time a profile view which includes the whole building plus a bit of the street – and we see the man from before, Ethan Frome, almost at the large window. The camera follows his progress to the large window, where he stops. The light from the “Mardi Gras Dance” sign plays off his face as the camera pans from his left profile to a quarter-left view of him staring inside longingly. His face conveys both happiness and sorrow at the same time. The people inside are too enthralled in their dancing to even notice though. The camera zooms through the window so as to return to the dance. It pans around the room until we see Denis and Mattie again. It cuts to a frontal view of them dancing from the waist up and then proceeds to zoom out as they talk. ]
D: “Where did you move from?”
M: (distractedly and vaguely) “Oh, somewhere down south.”
D: “That’s cool. Florida? Texas? Mexico?” (slight emphasis on Mexico)
M: (nervously) “Does it really matter?”
D: “I was just wondering.”
M: (feigning innocence and ignorance) “Do you think I look Mexican?”
D: “Well, sort of. You have that dark skin, dark hair thing going for you.”
M: “I see.” (awkward pause again)
D: "Anyways, so uh, you live with the Fromes don't you?"
M: "Yes actually." (looks frantically for a way to leave and her face lights up as she looks past Denis...) "In fact, I see Ethan outside waiting for me right now. (quick shot of Ethan looking forlorn outside) I have to get going. (walking away, with a quick look back) It was nice meeting you Derek." (The song ends and there’s a momentary silence before the next one begins.)
D: "It's Denis. (He follows even as she quickly weaves through people.)
M: “Right.”
D: (catching up to her) “Mattie, you sure you wouldn't like a ride home?"
M: (looking forward, not at him, as she opens the door) "Quite sure thank you. I don't ride with strangers. Have a good night."
[We hear a thud as the door closes, and see Denis looking dejected. The camera then changes to show a different perspective on what just happened, so we see Mattie walk out the door as it closes behind her. She turns to see Ethan waiting near the window, by the edge of the building. He’s not staring inside anymore because he noticed she was coming out so he’s turned towards her already. He gives her a smile as she walks up to him.]
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. (They both start walking down the street as she continues. The camera is positioned so it shows both their whole faces, but from the side not straight forward. It moves backwards as they move forward, as if walking with them.) There was one... interesting... guy though who kept asking me odd questions."
E: "What was his name?”
M: "Denis, I think. Something like that."
E: "Denis Eady? I'm surprised he's even at a masked ball. Seems he wouldn't be the type."
M: "Well we just danced to one song. Then he offered to take me home, but I wanted to walk with you." (She looks down shyly, but just for a second)
E: (smiling) "You did huh?"
M: "Yeah. Besides, you can't properly see the stars through a car window."
E: "No, you sure can't. (Pause. The camera switches so that we see them from the front as if they’re walking towards us. Ethan slows down as he thinks about the stars.) They're beautiful tonight too aren't they?"
M: "They are. Stars always capture me with their unworldly beauty. When I was back in Mexico, I used to gaze into the night sky (looks up) and feel… free... feel like I could do anything if I really put my heart into it.”
E: (looks at her energetically, reminded of happier times) "I used to sit out on the beach in Florida when I went to school. I can still hear the waves crashing against the shore... the stars twinkling against the dark sky… (ending his reminiscence and returning to the present) I really love stars. They're absolutely beautiful... but they make me feel so insignificant. (Camera starts panning a little back to the position where you can see their faces, but from the side. Both Ethan and Mattie have slowed down.) Like wow, I'm really only one small speck in this universe." (They have now stopped completely.)
M: (looking at him intently, said with emotion) "Oh Ethan, you're a lot more than that.”
[We hear noise and then a bunch of people walk by, behind Ethan and Mattie, one person wearing a skeleton costume without the mask on yet. As they pass, Ethan sees Zeena’s face on the person wearing the skeleton costume. He quickly looks back but now it is just some other person. The people leave the screen and their noise recedes until we can barely hear it. Ethan looks a little spooked, but they continue walking. The camera goes back to the frontal view.]
M: (concerned) "Ethan are you okay?"
E: "Fine. (shaking his head quickly, as if to rid himself of a bad image) I just thought I saw Zeena walking by. (realizing the ridiculousness of this statement, and getting happy again) Now 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: "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 likes to dress up or do things like that. She's not a party person." (The camera zooms out and turns a little. A bridge is seen in the distance.)
M: "Ethan, aren't we by the bridge that you're working on?"
E: "Yes. You remember that?"
M: "Of course I do. (teasing) You think I don't listen when you tell me about your day?"
E: (looking at the bridge, smiling because he’s happy Mattie listens to what he talks about) "No it's not... (frantically, with a look of worry on his face) wait, do you see a car out there?"
M: (confused, squinting to see) "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. (pause) Look! It's going over."
(A car goes over the bridge as it semi-collapses. We see the headlights go all the way across, and Mattie and Ethan standing watching. The camera does a sort of close-up on them to see their reactions.)
M: Oh my God! (clutching Ethan in her distress)
E: (shocked) Wow. Those people are very lucky to have made it across alive.
M: I hope they’re okay.
E: Me too Matt.
M: (letting go of Ethan) All right, let's go home Ethan … I don’t feel safe out here.
[They hurry away from the place. The camera fades from them walking away to them walking down a different street to show some time has elapsed. As if seen from their eyes, the camera then shows a dented beat-up car carrying two cut and bruised passengers – Ned and Ruth – pull into a driveway.]
M: (running up to the car, as the windows roll down) Guys what happened to your car?!
R: Oh it's nothing.
M: That is NOT nothing. (Ethan reaches the car.)
N: We were just taking a shortcut.
R: Yeah, we kind of went over the bridge. (Ned and Ruth open their doors and start to get out. Ruth is on the side closest to us and ends up getting out near Mattie. Ned closes his door and walks around the front of the car. They try to slowly get to the house door.)
M: That was you guys! Are you all right?! Are you crazy? You could have been killed!
N: Well the point is we’re not. And we're fine Mattie. Just a couple of cuts and bruises.
E: I can't believe you two did that. That bridge was really dangerous. (Ned and Ruth are by their door and Ethan and Mattie look at them, still concerned.) Well, if you’re both really all right I guess we should just go home. Zeena will probably be worried sick. Besides, I can call the construction company and tell them about the semi-collapse. (Camera cuts to Ned and Ruth.)
R: That's a good idea Ethan.
N: Yeah Ethan, you should do that. (Camera starts zooming out so it catches all four people. Ned is trying to open the door using the key.)
E: Okay guys, good night.
R & N: Night Ethan! Night Mattie! (Ethan and Mattie start leaving. Their house is just at the end of the road.)
M: Wow. When I saw the dents on their car… you know, they almost scared me to death. I can’t believe they’d do anything so stupid.
E: Well I don’t want you going anywhere near that bridge Matt.
M: Of course I won’t Ethan. Why would I ever do that?
E: Oh, I don’t think you ever would but you have to swear to me. (He stops and looks at her. She stops because he does and returns his gaze.)
M: Ethan...
E: I’m serious Mattie.
M: (with resolve) All right... I swear.
E: Good. I wouldn’t be able to stand it if you ever got hurt. I care about you Matt.
M: I care about you too Ethan… (They’re nearing their house.)
E: And you know, I really appreciate all your help around the house. I do. Zeena too.
M: Right. Well thanks Ethan. I appreciate you two letting me live with you.
E: Yeah... 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.
[The walk has slowed and is now more awkward as Ethan and Mattie reach the steps to the house. They stop on the steps for a second, and then open to the door to find Zeena standing right there. We’re given a view of Zeena through the doorway, from behind Ethan and Mattie.]
E: (looking at her from the doorway, Mattie slightly behind him as if he’s sheltering her from Zeena’s animosity) Hello Zeena! You didn’t have to stay up.
Z: (snappish, a scowl on her face) I know, but I was worried. Where have you guys been?
M: Oh… well, we saw Ned and Ruth…
Z: (stepping forward, waving them in) Never mind! Just get in quickly. (Ethan goes inside, with Mattie right behind him. Zeena quickly closes the door.) The breeze is mighty strong today and I’m getting chills.
[Ethan and Mattie are standing awkwardly in the middle of the sparse room. Zeena starts going towards the stairs seen farther inside.]
Z: Okay Ethan. Let’s hurry up to bed. I’m very tired, what with worrying and all…
M: (genuinely) Zeena! You didn’t have to worry about us!
Z: (mutters to herself, pausing at the stairs) Not you…
E: What?
Z: Nothing. Come on upstairs. (She starts walking up the stairs.)
E: I will in a second Zeena. I have to do something. (Mattie slowly walks towards the stairs too, choosing a closer proximity to Zeena over looking like she’s trying to stay by Ethan.)
Z: What?
E: I uh... Look I just can’t go up yet. I um… have to call the construction site and tell them something.
Z: (exasperated) Well hurry up! (walks upstairs angrily)
M: (at the bottom of the stairs, looks sweetly at Ethan) Good night Ethan. (proceeds up the stairs gracefully, in contrast to Zeena)
[Ethan gazes at the stairs for a second and then smiles for a second as he thinks about Mattie. However, he quickly remembers his wife and actually goes to make the phone call. He walks into a different room, punches in a number and pauses for a second.]
E: Yes, it’s Ethan Frome. (pause) Yeah, well I just needed to report that the bridge we were working on semi-collapsed tonight. (pause) Um, some people drove over it as far as I can tell. It’s really dangerous... if one more car goes over it, it’ll collapse. (pause) Yes. (pause) Yes, I understand. (pause) Thank you. Good night. (He hangs up the phone and sits for a second, looking exhausted. Finally, he gets up and walks through the living room to the stairs. He climbs up them and sees light from under Mattie’s door. Stopping for a second he says under his breath...)
E: Good night Mattie … be safe.
(Ethan sadly enters his bedroom and closes the door behind him.)
END SCENE
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 give me a raise. I certainly deserve it.
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.
Mattie’s Arrival:
It is pouring rain outside and it is early morning. Ethan stands waiting by the road, drenched. A pickup truck speeds around the corner and up the street, spraying water on both sides. The truck stops just in front of Ethan, and out walks Zeena’s Aunt and Mattie, who slowly and nervously approaches Ethan.
Ethan: Julie, I’m glad to see you on this wonderful day. (Sarcastically)
Aunt: No problem Ethan. Where’s my niece Zeena?
Ethan: She’s cooped up in bed, just like every other day this month.
Aunt: Well, that sure is a shame, I hope she comes around soon.
Ethan: Yes, we all do.
Aunt: Well, here’s the housekeeper I promised, her name’s Mattie. She’s not great at the job, but since you’re getting her for nothing, she’ll be more than adequate.
Ethan: Well in Zeena’s state, anything will do. Does she talk?
Aunt: She’s fluent in English and Spanish.
Ethan: Perfect, thank you again Julie.
Ethan walks Mattie into the house slowly.
The Picnic Scene.
It is a warm, sunny day, and the camera pans to show a massive habitat for humanity build occurring 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 picnic/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.
Later, Ethan has finished working and joins Mattie at a picnic table for dinner. Ethan tentatively sits down next to Mattie and begins to talk with her.
Mattie: Ethan, I sure am glad that you could come and have a little dinner here after all of the hard work you have done.
Ethan: Yeah, so am I, working in that hot sun all day sure does take its toll on you.
Mattie: Ethan, I’ve got something I need to tell you.
Ethan: (curiously and excitedly) Well Mattie, shoot.
Mattie: Well Ethan it’s about why Zeena’s aunt gave me up to you for nothing.
Ethan: (surprised) What about that, Mattie?
Mattie: (shamefully and slowly) Ethan, I was given up to you for free because I am an illegal immigrant.
Ethan: (shocked) What? Why are you telling me this?
Mattie: Ethan, please, I just couldn’t lie to you anymore. You can’t tell anyone. Please.
Ethan: I’m sorry for snapping, Mattie. You’re secret’s safe with me. I promise.
Mattie: (with a sigh of relief) Oh, Ethan, thank you. Do you think Zeena knows and that’s why she’s been treating me poorly? Is she going to let go of me?
Ethan: No Mattie, I’m quite certain Zeena doesn’t know and don’t worry, you aren’t going to get fired. Now Mattie, so I am able to protect you, I want to know the whole story.
Mattie: Alright Ethan. About three years ago, I was living with my family in a small village outside of Mexico City called iztapalapa. My family and I were very poor, and to support them, I decided to come to America. I crossed the border in Texas around the city of El Paso and was hired as a housekeeper for a company in Dallas. It was then that I was assigned to work for Zeena’s Aunt. I worked there for three years until six months ago, she discovered I was an illegal immigrant. She wanted to throw me out, but instead she sent me to you five months ago. (As Mattie speaks, a montage of her story would be shown, showing her family, her crossing the border and going to work, and finally, Zeena’s Aunt discovering Mattie was an illegal immigrant and wanting to get rid of her.)
Ethan: Thank you for being honest Mattie, I promise you that no one will find out about this.
Mattie: Thank you again Ethan.
Mattie hugs Ethan to thank him and runs off. Ethan looks flustered and surprised that Mattie hugged him, yet he also wishes he could do it again.
GROUP FOUR-draft
ReplyDeleteZEENA GOES TO THE DOCTOR
The camera shows the whole kitchen. Ethan, Mattie, Zeena and Jonathan are sitting at the table. The only sounds are from the cutlery scraping the dishes. Zeena looks horrible in her flannel shirt and patterned scarf. The camera moves to show only Zeena and Ethan (Zeena sits at the head of the table, Ethan at her left).
Zeena: Ethan, I feel horrible. My stomach pains are just excruciating. I hope I won’t throw up my breakfast.
Ethan: (closes his eyes, sighing) Zeena.
The camera moves onto Mattie (the view only shows her head and shoulders).
Mattie: (uncomfortable, cautious) Oye, is there anything I can get you to ease your pains, Zeena? *Zeena is not shown on the camera, but we hear her off-screen*
Zeena: (sternly) No. *Mattie shrinks from her words* (relents slightly) Ok, well, sugar.
Mattie looks relieved. The camera expands to whole-kitchen view again. 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: (stands up, outraged) You’re worthless, Mattie!! Now I have to clean up this mess. Do you know how much stress this will cause me? I have to get every grain of sugar! I don’t want no roaches being attracted to this home! They’re worthless!
Mattie: (frantic, blushing) Lo siento, I’m sorry!! I’ll help clean, too.
Ethan quietly stands up and joins Mattie in cleaning up the sugar. Zeena observes like a hawk.
Zeena: (almost imperiously) 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. (frowns) I need money for that, Ethan.
The camera moves to a close-up of Ethan. Ethan stands up and has a ponderous look on his face.
Ethan: Well, if you need it, do it.
The view expands to the profiles of Ethan and Zeena. Mattie is seen crouching on the background.
Zeena: Good. Now that that’s settled, I also need you to drive me.
Ethan: (affronted) Can’t Jonathan drive you?
Zeena: NO! He drives recklessly and my blood pressure skyrockets! I’m surprised he wasn’t crashed and died yet! 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’ll 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.
Mattie has been kneeling motionless for a while and has heard everything. The camera changes to the whole kitchen view. Zeena shows that she is unconvinced. Jonathan stops eating, catches Ethan’s eye and nods. Ethan crouches and helps Mattie clean up. Zeena rigidly sits down. Everybody eventually resumes eating. We see both Mattie and Zeena trying to catch Ethan’s attention. Mattie is blushing.
Zeena finishes eating and pushes her plate to her right. She gets and begins reading an AARP magazine. Her frown lines increase as she reads something. The camera zooms into an advertisement for a cheap prescription for a new medicine that is in the magazine. Zeena looks up from her magazine and glares at Ethan. Camera pans over and shows Ethan is oblivious. The whole kitchen in now in view, with Zeena sitting with the magazine and Mattie, Ethan and Jonathan eating silently. She quickly shoots a glance at Mattie, then goes back to reading. Suddenly-
Zeena- (coughs flamboyantly, and twists her face in pain) ---pause---
[camera moves to Zeena close-up]
(any expression slides off her face; an icy tone) Alright, Jonathan will drive me.
*the underline shows slight emphasis on that word*
The camera follows Zeena as she pops the last pills from a 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. The camera follows Zeena’s arms (Mattie and Ethan are in the background) as she rips out the page from the magazine about the new prescription medication, folds the paper with shaking hands and unhurriedly shoves it into one of her pockets. She then weakly tosses the magazine at Mattie and the camera has expanded to show both of them directly across one another.
Zeena- (with a scowl on her face; flat but direct tone) Read it. There’s a thing or two for you to learn in there.
The camera again expands to show all the kitchen. Ethan and Jonathan look up from their food, surprised at Zeena’s tone. The camera focuses in on the cover of the magazine, “Good Housekeeping” before it moves up to Mattie’s startled face.
Mattie- (quickly changes visage from startled to glad; warm tone) Gracias, cousin.
The camera is now focused on Mattie. We hear the scrape of Zeena’s chair as she leaves the table and passes by Mattie in the bakcground. Mattie flips through the magazine. The pages are all dull and colorless and Mattie tilts her head a little to the right with sad, downcast eyes. Zeena suddenly comes back with more magazines. The camera view expands. Zeena stands over Mattie’s sitting form and dumps a load of magazines in front of Mattie. Several magazines fall off the table and Mattie dives under the table to get them. The camera does follows Mattie and shows her collecting the magazines under the table. She then notices Ethan’s legs and frantically tries to stand up, hitting her head on table.
The others yell- (Zeena is annoyed, Ethan sounds concerned, Jonathan just surprised)
Mattie!
The camera shows Mattie awkwardly climbing from under the table, abashed. Camera looks over Jonathan’s shoulder to show Ethan standing next to Zeena. Mattie smiles at Zeena then Ethan. Zeena shakes her head, sighs, and leaves. Ethan shows relief all over his face, nods, and sits back down. Mattie sits down also and looks at a magazine in her hand. The camera zooms to her as she holds a magazine almost vertically. It’s “Reader’s Digest” with a special issue on “Aphrodisiac Foods.” Mattie flips to a page and blushes after a few seconds. The camera zooms out for about 2 seconds as Mattie shyly glances away from Ethan. As she looks back to her magazine, the camera switches to over her shoulder. The article shows pictures of ginger root and oysters. Meanwhile, we hear Zeena having a violent coughing fit.
Zeena- (raspy voice) Mattie, (cough) water!
The camera is now positioned across the room from Mattie, so that we see her and Ethan, over Jonathan’s shoulder. Mattie jumps from her seat, nearly knocking it down. She grabs Zeena’s glass and rushes to the sink to fill it.
Mattie- (worried, almost frantic) I’m coming, Zeena!
Mattie runs out of the kitchen with the water. The camera is still over Jonathan’s shoulder
Ethan- (quietly sighing, as a whisper, with a defeated, kind of glum look) Zeena…
Only now does the camera have a close-up of Ethan. Fatigue is the only thing that shows on his face. While he finishes his food, Jonathan quietly walks around him. We hear the clink of plates in the sink. Ethan now stands up, and leaves the table with his empty plate and utensils. The final shot is Ethan’s chair pushed back, diagonal to the barren table.
DINNER SCENE
Ethan walks home from construction site and sees the wreckage of a bridge in background with the sun setting. Camera skips to Ethan approaching the house with the front door open.
Ethan - Mattie?! (a worried yelp, frantically looking around for Mattie, with fear in his eyes) You there?
A glow approaches the open door as Mattie appears in worn out, tight, blue jeans with a red t-shirt. She is holding a candle.
Ethan - Oh. (sighing with relief)
Camera scans her outfit and her red headband *sparkles*.
Mattie - Ethan, you are home (with a welcoming smile). I left the door open for you.
Mattie gestures towards him to come in.
Mattie - The lights went out (points to the ceiling and shrugs).
The camera follows them through the house and rests on table as Mattie goes to the stove seen in background, and Ethan exits into hallway. The cat jumps out of a table chair and follows Ethan. The camera follows Ethan and the cat as he hangs his shoddy coat.
Mattie - (from the kitchen, not in view, slightly shouting to be heard) Is work good?
The camera focuses back on the table and we see the details: ginger broth in soup bowls (the only ingredient that is floating on top), oysters in a big bowl, and the little Hera statue with the red light on in the center of the table. Mattie is already sitting down. Ethan walks in and sits down.
Ethan - It’s just the same thing every day, nothing new. Did anyone visit today?
Mattie - (Only Jonathan. He dropped by for a quick snack after driving Zeena.
They both start to eat. The red light is on the two of them and we see the cat standing off the side not in the light.
Ethan - (after one spoonful of the ginger soup) This is quite good, Mattie. Muy bien (with a strong American accent).
Mattie - Truly, Ethan? (tearing up) I cannot remember the last time a person said good about me. How do you say..? A compliment?
Ethan - Why (honestly surprised)? I’m sure you’ve gotten many compliments.
Mattie - No, Zeena never say it. I try, but it is very hard.
Ethan - Well (offering a warm smile, warmer with the glowing red light on his face) this supper good, Mattie.
Mattie - Gracias, Ethan (with a slightly teary smile).
Ethan - (clearing his throat) So, the construction has been going nicely. We’re getting a lot done and Mr. Hale says our team has been doing so well that our bridge might be completely fixed by the end of the month. (says this quickly and rather nervously)
Mattie - It’s too bad your team isn’t working on the bridge by the cemetery. The bridge’s poor condition will probably cause an issue for Zeena on the way home.
Ethan - Yes…it might. (long pause) Thanks for the dinner (mumbling).
Mattie nods. Ethan continues on his way to the sink to wash the dishes, out of the red glow, when suddenly the cat jumps onto the table and heads for the oysters.
Ethan and Mattie run to push to cat off the table.
Ethan and Mattie - Shoo!!
Their hands touch. The camera zooms in on this moment. However, as they pull their hands back apart, through their parting hands, the red glowing Hera statue is shown in slow motion, falling to the ground. There is no sound at this moment. Out of slow motion. A loud crash!
Mattie - No no no no no! (frantic crying voice)
Ethan is left with a startle, confused and scared expression on his face. He hesitates because he is unsure of what to do. Mattie, without any hesitation, hurridly bends over to pick up the pieces of the Hera statue as the cat meows besides her. Seeing Mattie so upset, Ethan reaches out a hand to rub her back in a consoling matter but pulls back at the last second. Instead, he just picks up the shards with her.
Mattie’s tears twinkle in the candle light as she puts shards into Ethan’s palms.
The camera follows Ethan walking to Zeena’s cabinet and putting the shards together inside. The camera follows Ethan back to the dinner table where Mattie, still on the ground, is taking the batteries out of the light-emitter. Ethan takes the batteries and the light-emitter from her and puts them back in the cabinet with the shards. When he returns again he sees Mattie cleaning the dishes, still crying.
Ethan - Don’t worry, Mattie. It’s alright. I can just get some glue and we can fix it right up. (But he has a worried expression on his face.)
Group 2: For the transition into our group's scene, at the end of your picnic scene, Ethan could look up at the light blue sky and the sky could transition into a dark, night sky twinkling with stars, which would be the setting for our group's scene.
ReplyDeleteGroup 4: I don't think we really need a transition because at the end of our script, Ethan closes the door behind him to go to sleep, and you're script starts with Zeena going to the doctor the next day.
ReplyDeleteOk, I posted this like half an hour ago, but for some reason, it didn't go through...I'm posting it again.
ReplyDeleteThis is group one's (Evan R., Nick, Dave) final script.
Camera pans over New Orleans, focusing and descending slowly on partially collapsed bridge. A crew of construction workers clears away rubble. 'Tears in the Rain’ by Joe Satriani plays as the camera flies over New Orleans. The song fades as soon as the Investigator begins talking.
Investigator: (Voice Over, talking to Jotham) 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: The investigation of a bridge collapse in New Orleans, causing two people to be injured, continues, as investigators search for a possible reason for the collapse in the wake of damages caused by Hurricane Katrina...
Camera continues pan. The investigator is sitting at a booth; a tan trench coat folded on the seat next to him, across from him sits Jotham Powell, who sits awkwardly, wearing a button up flannel shirt and jeans. He picks up and nervously rubs a pair of work gloves while glancing around the diner when not sending nervous looks at the Investigator.
Jotham: That's right.
Investigator: (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 but still looks apprehensive.
Investigator: 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--
Investigator: Did you bring the list of the names of your workers?
Jotham: Yeah, here.
Jotham pulls a folded page from his pocket and slides it across the table to the investigator.
Jotham: So we were working on the bridge, and we had it closed off and everything, with signs and all.
Jotham pauses and looks around. He coughs, then half shrugs, looking away as he does.
Jotham: I suppose they just didn't see the signs. It was late when it collapsed.
Investigator: You were there…when it happened, weren't you?
Jotham: (nods slightly) Yeah, I was.
Investigator: And...It was one of your men who got hurt, wasn't it, Mr. Powell?
Jotham: Yes, it was. Ethan, Ethan Frome.
Investigator: Did you or any of your other men have any... ah, conflicts with Mr. Frome?
Jotham looks startled, and then narrows his eyes at the Investigator.
Jotham: (tone becomes fierce) I don't really like what you're implying, mister.
Investigator raises his hands defensively, smiles kindly and laughs.
Investigator: I don't mean to offend, Mr. Powell, I just have to follow through every lead. Like I said, I believe this was an accident, but if there's foul play involved, it wouldn't do to let it go unpunished, right?
Jotham: (tone becomes more pleasant) I suppose so, but I don't believe anyone had any ill will towards Ethan. He was quiet, kept out of the way. Did his work, and that was that. Never fought with anyone, I promise you that.
Investigator nods and stands to leave. He holds his hand out to shake with Jotham, who, after a moment, returns the gesture.
Investigator: Thank you, Mr. Powell, for your time. I'm sure you're right, no one expects foul play. But have to be sure, you know.
Investigator nods to Jotham, then shrugs on his trench coat and turns to walk out the door. Camera fades out.
Camera fades in. The Investigator gets out of his car, looks around, and then walks up the rock path to a small white house. The paint is peeling on the house, and the front lawn is filled with weeds and brown patches where the grass has died. He stops to look at the mail box, which reads 'Gow’ in faint letters. Then, as light rain begins to fall, walks up the path to the door, flipping his coat's collar up. He reaches the door, and then knocks. Harmon Gow answers.
Gow: (suspiciously, with a deep, raspy voice) Can I help you?
Investigator: (smiling) Yes, I'm looking for an Ethan Frome, I was told he lives nearby…d'you know where, exactly?
Gow frowns slightly, rubs his chin, which is covered in stubble.
Gow: Dunno if you'd want to go there, friend. What's yer business with the Fromes?
Investigator: I'm investigating the bridge collapse that Mr. Frome was in, and I'd like to speak with him.
Gow: Nasty business, that. The Fromes never were the luckiest bunch, ever since Ethan was at college, engineering school, I think, 'n' then his father died and his mother got hurt in Katrina. Ethan had to come home straight away…he never even got his degree. Not like he had any choice though. His mom needed him.
Investigator: So he's had some family issues?
Gow: Sure, to say the least. (Gow looks uncomfortable for a moment, but then smiles again) They live a ways on down the road, though. Luck with the investigation.
Investigator waves, then walks away, down the street. The camera shows a first person view from Investigator's point of view, showing the street. Not knowing which house is the Fromes', he walks over to a well-kept house with a screen door, the front door open behind it. He approaches the front door, and peers through it. The camera is set behind the screen door, showing the Investigator looking through. The shot then switches behind him, and shows him reach to knock on the door. The camera fades to black.
(Flashback)
The shot is a close up, centered on a man's hand as he knocks at a wooden door. Ethan opens the door, wearing an LSU sweatshirt. Ethan moves to the side, and a Student walks inside.
Student: You watching the news? Katrina's hitting hard, man.
Camera pans to show a small dorm room, with two beds and a small TV. The room has very low lighting, and the two beds are very small and messy. There are books and papers all over the floor. Student reaches over and hits the power button, and the TV flickers to life.
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 sits down on one of the beds and looks thoughtfully at the TV.
The 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 stands on the outside of the crowd looking around before pulling aside a young woman (Zeena).
Ethan: (hesitantly) 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: (in a kind, understanding tone) Oh, I’m sorry…it must be difficult for you. 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: Hey, Mom? You can hear me? Thank God, it was taking forever to get through. The lines must be terrible... (Pause) Yes, I'm fine, I promise. There wasn't much damage, here, no one was really hurt. How're you and Dad? (Long pause, Ethan closes his eyes, takes a deep breath) They...haven't found him? (Shorter pause) Yeah, no, I understand. I can... I can come down soon. The FEMA workers said it should be-- (Line is breaking up. Shot changes to a distant shot of Ethan's dark outline against a faint light further down the hallway. Ethan slowly hangs up the phone, then rests his head against the phone booth. Scene fades.
Shot changes to outside a run-down house, which took heavy damage from the storm. Ethan gets out of his car, then sadly surveys the damage. He then walks slowly up the front door, which is open. Ethan's mother is sitting in a wheelchair in the doorway. As Ethan reaches her, he crouches down to her level, then gathers her in a hug.
Ethan: (whispering) It's alright, Mom... I'm home. Though, I can't say home is much, right now.
Mother: Well, yes, it needs a bit of work...
Ethan: I'll take care of it. We should move into something cheap for now, until I can fix the place up a bit.
Mother: It's good to have you home, dear.
Ethan frowns, but quickly turns it into a smile.
Ethan: It's... good to be home, Mom.
(Scene fades)
Camera shot of a trailer home. The sun is shining. After a few seconds, Ethan appears, wheeling his mother in a wheelchair in front of him. Ethan looks at the trailer home and seems somewhat disappointed, but then puts a smile on his face. Ethan begins to wheel his mother up the ramp on the side of the trailer home.
Ethan: Well here it is, Mom. Not too bad, is it?
Sunset, Ethan is sitting on the roof of his run down house, wearing jeans and an LSU t-shirt, hammering. He pauses, wipes sweat from his eyes, then looks up at the setting sun, sighing. The scene shifts to Ethan walking through the door to the trailer. Ethan's mother looks up, expectant.
Mother: Did you bring home something for dinner, Ethan?
Ethan runs his hand through his hair and glances at his mother.
Ethan: (sadly) We don't have money to spend on buying meals, Mom. I'll... cook something, if you're hungry.
Mother: (beaming) Thank you, dear.
Ethan walks over to the small kitchen area in the trailer, and pulls out a pan, looking at it balefully. He sets it in the sink and begins filling it with water. As it fills, he leans forward over the sink, rubbing his eyes. Camera fades to black.
Ethan arrives at a diner late at night. He is wearing old raggedy khakis and a wrinkled green t-shirt. His face and hair are wet from the rain outside. Ethan wipes his brow. He is very tired, and it shows on his face. Ethan sits at an empty booth next to a window and puts his head in his hands. For a few seconds, Ethan remains still, beginning to fall asleep, as the sound of the rain against the window is heard. Just as he starts to fade, Zeena, wearing a black and red raincoat with “FEMA” on the front, comes up taps him on the shoulder, and greets him with a bright smile, sitting across from him in the booth.
Zeena: Hey, I remember you…I see you got into the city okay.
Ethan: (tiredly) Yeah, I guess.
Zeena: (looks concerned) What’s wrong?
Ethan: It’s just my mom…..
Zeena: Oh?
Ethan: Yeah, she hurt her leg during the storm, and now she’s confined to a wheelchair.
Zeena: Oh, I’m sorry…but that’s not really that bad is it? (trying to cheer him up)
Ethan: Well, it wouldn’t be…but I think her leg is getting infected, and it’s spreading to her entire body.
Zeena: (looking concerned) Oh my.
Ethan: Yeah, and if that’s not bad enough, our house got hit really hard by the storm…we had to move to a trailer while we fix it up. I’m also short on cash, and I really need a job. Ya know, it seems like there’s so much going on right now, something has to give…I feel bad, too. With all the stuff going on, it feels like I’m neglecting my mom. I think I need an aid or something.
Zeena: (hesitantly) Well, if you really need help, I guess I could watch your mom.
Ethan: (sits up, surprised) Really? You don’t have to.
Zeena: (more certain) But I want to. There are enough FEMA workers in the city to take care of things. I can take care of your mom for a few days, at least until you get back on your feet.
Ethan: (stunned, grateful) Thank you….so much.
Zeena: (smiles) You’re welcome. Camera fades
Ethan nervously approaches a construction scene surrounded by dilapidated buildings. He is wearing a pair of jeans with a grease-stain on them and a fading blue t-shirt. His hair looks greasy and unruly. The camera pans around to show the devastation, and focuses in on houses where construction workers are working. This is an area of New Orleans that is higher up, 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 sees a tall, gruff-looking man barking directions to other workers, and slowly shuffles up to him.
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 sick…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 a cardboard box, pulls out a yellow hardhat, then hurries over to a crowd of workers rebuilding a dilapidated house. He immediately picks up a hammer and nails and begins securing some newly built wooden stairs. The workers at first give him a curious look, but, realizing that he is aiding them in their work, resume to rebuilding.
Fast forward a few days. Clip of Ethan standing on a ladder hammering the siding onto the house. He is wearing jean overalls with a beige long sleeve shirt under it, along with his hardhat on his head. He seems a little less skilled than the other workers…during his hammering, Ethan’s foot knocks the bucket of nails off of the ladder, and they spill all over the ground. The other construction workers are annoyed, and yell his name. Ethan, embarrassed, quickly climbs down the ladder, stoops to one knee, and begins to pick up the nails. Camera fades out.
Camera fades back in showing Ethan pulling into a parking lot at night. He shuts off his car and gets out, hardhat in hand. Ethan leans on the car for a second and closes his eyes, then slowly begins walking to his trailer in the distance. Camera switches to a shot of the trailer door from the inside of the house. Ethan opens the door, walks to the kitchen table, and lets himself fall onto the chair as his hardhat slips from his hand and hits the floor noisily. Zeena, startled, turns around from the kitchen counter, notices Ethan is home, and, with a warm smile, brings him a plate of meatloaf. The meatloaf is steaming and looks very appetizing. Ethan has no reaction to Zeena’s smile, and seems like he is in a trance. He picks up a fork next to his plate, and begins systematically eating the meatloaf.
Ethan is on top of his house with a hammer and nails in a construction hat working. Camera focuses on him hammering loose shingles onto the roof. The camera zooms in on Ethan’s face, and he appears tired. Next the camera shows Ethan down in the basement, turning a pipe that is slowly dripping water. Ethan looks completely exhausted. The scene switches to the backyard, where Ethan is standing on a ladder, dipping a paint brush into a white bucket of paint and painting his house. After a few seconds, Ethan stops, turns around, and sits down on the ladder. He is breathing heavily, and wipes sweat from his brow with the back of his hand.
Ethan: (out of breath, softly) Oh, I can’t take this anymore.
Camera fades out, and then fades back in showing Ethan pulling into a parking lot at night. He shuts off his car and gets out, holding his hardhat. Ethan leans stomach-first on his car for a few seconds, his head in his hands, then forcibly straightens himself up and begins walking to his trailer in the distance. After a few feet, Ethan’s hardhat slips from his hand, yet he keeps walking, neglecting to pick it up. The camera zooms in on Ethan’s face. His eyes are red and swollen, and there are tears rolling down his cheek. Camera switches to a shot of the trailer door from the inside of the house. Ethan opens the door, walks to the kitchen table and collapses into a chair. Ethan’s face is contorted, as if struggling to keep from completely breaking down.
Ethan: Zeena, can you fetch me some dinner?
Zeena gets up and serves him some meatloaf, Ethan takes it, grumbling, and begins to stuff his face with the food.
Zeena: Is there anything else I can do for you?
Ethan utters a soft grunt that Zeena seems to interpret as a no. She gives him a sympathetic look before walking to the sink to clean dishes. She rinses a few dishes, puts them in the dishwasher, then sits down across the table from Ethan.
Zeena: Ethan, how was work today?
Ethan: Zeena, I can’t take it any longer, every day, a new job, a new assignment…I’m worn down, there’s only so much a man can do.
Ethan breaks down into a quiet sob. Zeena puts her hand on Ethan’s shoulder.
Zeena: You are trying your hardest, and that is what matters, Ethan. You’ve done great work on the house and…
Ethan: It’s just… hard, I don’t know if I could ever manage this without your help.
Zeena smiles sweetly.
Scene switches to the bedroom where Ethan and Zeena stand by the door, and the mother lies in the bed. The bridge can be seen out the window.
Ethan: (hesitantly, fearfully) How is she doing, Zeena?
Zeena: Not too well. I bought some disinfectant ointment from the doctor this morning. It should help to ease some of the swelling in her leg. I have to apply the ointment three times a day to ensure that the gash can heal.
Camera fades in, following Ethan walking through the house. The camera pans to Ethan’s face, which looks very distressed and exhausted. He stops by his mother’s bedroom door, which is open. Zeena is shown applying the ointment to Ethan’s mother’s gash, with a sweet, sympathetic look on her face. The camera pans back to Ethan’s face. All signs of distress have disappeared, and a wide smile replaces them. Ethan walks up to Zeena and places his hand on her back. Zeena looks up at him, smiling.
A few days later, the camera fades in and shows Ethan’s mother lying on the bed. Ethan and Zeena are in the room, looking at Ethan’s mother with concerned faces. She has become much paler and thinner, and is in a coughing fit. She stops, and mouths words which are not audible. Realizing that she cannot be understood, she simply lies on her back and closes her eyes to sleep. She breathes slowly and heavily.
Ethan: (whispering) Zeena, what’r we gonna do? She doesn’t have much time left.
Zeena: (whispering) She’ll live, I know she will.
Ethan: (whispering) I don’t know.
Ethan walks over to the bed, and looks at his mom. Camera shows his mom’s head in Ethan’s arms. Camera shows Ethan next, staring at his mother’s face. Tears start to well up in his eyes. His mother, her eyes still closed lets out a hacking coughing fit. The laceration has changed into an ugly shade of brown, and it is clear that the infection shows no signs of letting up. His mom struggles to say something, but it is beyond her power to force words out. Camera shows her looking beseechingly at Ethan, like she has all in the world to say, but cannot say it. Ethan is at a loss for words. Slowly, Ethan’s mother’s eyes fade shut. Camera shows the entire room, with Ethan and Zeena by the bedside, and Ethan holding his mom’s head in his arms. They are but silhouettes against the backdrop of the window and the bridge. Ethan’s mom keeps coughing, with her eyes closed, then her coughing ceases. She resumes breathing heavily, but slowly, her breathing becomes faster and lighter, until it stops completely. After some time, Ethan’s hands leave her head and go to his own face. He leans over, grief-stricken. Zeena taps him on the back, and the two silhouettes embrace in the coming sunset cast into the room.
The scene changes to the kitchen two days later, where Ethan sits at the table. Zeena is washing dishes.
Ethan: Zeena, I have to plan the funeral for my mother.
Zeena stops washing dishes and takes a seat next to him.
Zeena: Relax, Ethan, I will take care of everything.
Ethan: Thank you Zeena. I really appreciate it.
Zeena shakes her head solemnly and rubs Ethan’s back, who begins to break down from sorrow. Camera zooms out on this scene.
Open up to a scene of the funeral. “One Republic – Apologize” by David Sides is playing in the background. The camera’s angle is above the people and the entire group is in view. There is a pastor with a black robe standing next to a brown coffin with flowers on top of it. The Hales and Jotham Powell are there, along with Ethan and Zeena. The men are wearing suits, and the women are wearing darkly colored dresses. Ethan’s hair is gelled back, which is a stark comparison to its normally unruly state. Everybody looks very sad, and occasionally glance over to Ethan with sympathetic looks as the pastor says prayers (his mouth is merely moving…the music drowns him out). There is a big window behind Ethan, and the bridge (that Ethan and Mattie will attempt suicide from) is in the background, and several construction workers are on it, working. During the service, Ethan has momentary glances over at Zeena, who tries to respond with sweet smiles each time, even though her eyes are filled with sadness. Ethan hangs his head and seems very upset, and Zeena takes his hand to try to comfort him. Camera fades to black, the song stops.
The camera opens up to a scene of Ethan fixing up his house in the city. He is standing on a ladder, struggling to fix up a window. Zeena is standing off into the distance, somewhat awkwardly. All of a sudden she runs over to Ethan.
Zeena: (rapidly, sadly) Oh Ethan, I have some bad news. I just got a call from FEMA this morning…they want me to go to another part of New Orleans and care for those who have been misplaced.
Ethan has a look of disbelief on his face, and immediately stops what he is doing. He climbs down the ladder to face Zeena.
Ethan: Oh Zeena, what will I do? You make it so much easier for me to manage my life. My job at the building site, working on this house…I don’t have time to cook or clean. Zeena, I can’t function without you.
Zeena: (reluctantly) Ethan, FEMA has given me instructions. I need to follow them.
Ethan: (imploringly) Zeena, I need you here. Isn’t there anything you can do?
Zeena: (stands still for a second, thinking) I’ll call FEMA and tell them that I feel it is best for me to remain here for a while.
Ethan: But then that will end eventually, and then what will I do? Zeena, I don’t want you to leave ever. Will you stay with me, here? Please?
Zeena: (surprised, yet happy…a wide smile crosses her face) Oh, Ethan…
Zeena and Ethan embrace
END OF SCENE