Monday, January 28, 2013

A Great Gatsby Screenplay


The Great Gatsby by F. Scott Fitzgerald is one of the novels students read in high school. I did enjoy the story as a teenager, but did not really appreciate the depth of the characters and environment. I enjoyed reading The Great Gatsby again. My class was asked to write a brief screenplay for one significant scene in the book. I chose a scene that I felt represented the entire book. The desperation and naivety of Gatsby, present in all of his actions, were prominent in this conversation with narrator Nick Carraway. I wanted my screenplay to reflect the original novel, with some influence from the 1974 film. Please excuse any format issues; I am unfamiliar with official screenplay format. I hope you enjoy this interpretation of The Great Gatsby.

FADE IN:

EXT.  GATSBY’S GARDEN – NIGHT

In the garden of Gatsby’s house in West Egg, the garden is decorated lavishly with lanterns and party tables.

The garden is full of well-trimmed white and red rose bushes, shaped into simple hedges. Exotic flower bushes surround the party tables, decorated with white silk cloths and colored bows. The garden paths are red and gray brick with jaunty garden lights on both sides. The tables are covered in empty champagne bottles and cocktail glasses. Chairs are knocked eschew or lay on the grass.
DISSOLVE TO:

EXT. GATSBY’S GARDEN- STAIRWAY - NIGHT

NICK, a man educated in Business Bonds and caught in the complex world of wealth and relationships, waits awkwardly. He is dressed in formal wear: a plain evening jacket over a white collared shirt and bow tie with black slacks.  His hair is combed neatly to one side. NICK fiddles anxiously with an empty champagne glass, glancing at the doorway to the garden.

GATSBY, a mysterious, wealthy man and friend of NICK, enters from stairway. He is dressed in similar formal wear, but of obvious wealth. His jacket is slightly scuffed and his bowtie is loose around his throat. GATSBY focuses his eyes on his feet as he descends, body tense.

GATSBY
                                                                 (Abruptly)  
She didn’t like it.

NICK
(Reassuringly, with a touch of impatience.)
Of course she did.

GATSBY violently shakes his head and gestures to remains of party. His expression is a mixture of confusion and sadness.

GATSBY
She didn’t like it! She didn’t have a good time.

GATSBY remains silent for a moment, while NICK stares contemplatively at GATSBY.

GATSBY
(Fusses with hair and collar)
I feel far away from her. It’s hard to make her understand.

GATSBY switches between staring at the remains of the party and NICK, gesturing resignedly. NICK watches in confusion.

NICK
You mean about the dance?

GATSBY
(Snapping impatiently, with a touch of scorn)
The dance? Old sport, the dance is unimportant.

NICK watches as GATSBY paces to –

THE COCKTAIL BAR

And places his hands on the table, shoulders hunched in frustration.  After a moment, he turns to face NICK, resting his hands on the table behind him. GATSBY shakes his head slowly in disbelief, ignoring NICK.

INTERCUT TO GARDEN BENCH

NICK has a moment of realization and stares in disbelief at GATSBY. NICK slowly sits on garden bench.

NICK (O.S)
He wants nothing less of Daisy than she should go to Tom and say: ‘I never loved you.”

NICK continues to stare at GATSBY.
           
NICK (O.S)
Gatsby did not even contemplate what would happen afterwards. He clearly imagined a sweet marriage to Daisy in Louisville, as if the past 5 years had not occurred.

INTERCUT TO COCKTAIL BAR

GATSBY
(With intense frustration, almost rage)
And she doesn’t understand! She used to be able to understand.

GATSBY physically sags against the table, sorrow replacing anger.

GATSBY
We’d sit for hours-

GATSBY abruptly stops speaking and paces over party-littered path to—

GARDEN BENCH


NICK
(Standing)
I wouldn’t ask too much of her.

NICK grabs GATSBY’s arm as the distraught man paces. NICK pats his shoulder, awkwardly comforting him.

NICK
(Watching GATSBY meaningfully)
You can’t repeat the past.

GATSBY freezes in place. He turns slowly to NICK and stares.  GATSBY’s mouth hangs a little open and his eyebrows lift.

GATSBY
(Slowly in disbelief)
Can’t repeat the past?

GATSBY’s voice rises fractionally.

GATSBY
Can’t repeat the past? Why of course you can!

GATSBY looks around garden wildly. His expression is exuberant with a touch of panic.

GATSBY
(Fixing his eyes on NICK with intensity)
I’m going to fix everything!

GATSBY nods decisively, straightening his bow tie and jacket. His eyes glaze a little and lower to the ground for a moment. Then GATSBY raises his eyes to NICK and his shoulder hunch defensively.

GATSBY
Just the way it was before. She’ll see!

GATSBY abruptly leaves garden and enters house. NICK collapses on garden bench and stares after GATSBY.


NICK (O.S.)
(Contemplatively)
Gatsby talked a lot about the past.

NICK pauses for a moment.
CAMERA follows NICK’s eyes to Doorway

NICK (O.S.)
And I gathered that he wanted to recover something. Some idea of himself, perhaps, that had gone into loving Daisy. His life had been confused and disordered since then…

INTERCUT MONOLOGUE to GATSBY

GATSBY walks determinedly down hallway.  His shoes click against the wooden floors with each step. His expression is a mixture of desperation and determination, focusing straight in front of him.


NICK (O.S.)
But if he could once return to a certain starting place and go over it all slowly, he could find out what that thing was…

CAMERA swings to face GATSBY’s back as he continues down hallway

FADE OUT:






A Short Story


Based on Miss Peregrine's Home for Peculiar Children by Ransom Riggs, my class was asked to create short stories from a series of photographs. I did enjoy the process, but my writing skills are a little rusty. I hope you enjoy the story!

I highly recommend Ransom Riggs' book.


The Circus on the Cruise Ship


Chapter 1
Dear Nathaniel

While I would like to start this story with a witty anecdote or describe an extravagant party, it is quite impossible to do so. In fact, I must do the exact opposite. For, you see, Nathanial Jackson was anything but happy.

Nathaniel Jackson was a bachelor who lived alone in a small flat in London. Nathaniel thought he was quite the catch, to be honest, and didn’t understand why he was a bachelor. He expected one of the lovely secretaries at work to be infatuated with him. Nathaniel was the youngest member of the anthropology department at the University of London at a respectable 32 years of age. He was the professor who taught the introductory class to the Anthropology major. Nathaniel felt, in his great knowledge, that he should be respected and admired by all of his students and coworkers.

In truth, they quite disliked him. Oh, please don’t get me wrong. His work ethic was quite wonderful and he had a wonderful sense of dry humor. His appearance was the problem. Nathaniel was a stern-looking gentleman. He wore a rather strange hat with a wide, floppy brim. It might have looked ridiculous, but the brim cast a rather foreboding shadow across his eyes. His eyebrows had the habit of furrowing and making Nathaniel look very cross. His moustache mostly intimidated the students and coworkers. It was a stiff, bristly path of hair that covered his mouth completely. It was incredibly difficult to tell if he was smiling or frowning. Most of Nathaniel’s acquaintances thought he frowned more often than he smiled. As such, the students avoided him outside of class and the secretaries thought him very mad.

Nathaniel was very self-conscious about his moustache. He grew it out on purpose in order to hide a frightening scar. He was injured as a soldier in the army, drafted into war as a younger man. The fight had frightened him and made him wonder if he would ever return to his education and receive his degree. When he survived with a jagged scar across his lips from a piece of shrapnel, he was quite happy to return to college. Before he had managed to grow his moustache, he hid his face behind a medical mask and told his classmates he had a passing medical problem. It worked quite well, though his classmates feared for his health. Some even gossiped that he must be hiding some hideous deformity behind the little mask. But that seems to matter very little now. At this moment, we are discussing the concerns of the bachelor professor of Anthropology!

Worried over his lack of love life, Nathaniel sought advice from his good friend Jackson Surnought. Jackson was a professor in the archaeology department. A good deal more popular than Nathaniel, Jackson was very welcome at student gatherings and promoted the Archaeology department with humor. Nathaniel had met Jackson at one such party. However, Nathaniel did not expect his colleague to arrive in an Egyptian Sarcophagus. The anthropologist thought Jackson was a little odd, but trusted his advice. With this trust in mind, Nathaniel asked Jackson for romantic help.

“Nathaniel, dear boy,” Jackson nodded sagely and draped an arm across Nathaniel’s shoulders. “You need to find a place to have fun and let go. Let the ladies see you as a joyful man with a big brain and a bigger heart.”
           
“And where would I go to display such frivolity?” Nathaniel questioned.

“Hmm,” Jackson murmured thoughtfully. “I know the perfect place! There is a strange circus in town. The entire spectacle takes place on a marvelous cruise ship.”

“A circus?” Nathaniel frowned at Jackson. “On a Cruise ship. I’m beginning to think you very mad, Jackson.”

“Oh, it sounds very strange, but it is true. Why don’t you go and enjoy yourself?” Jackson nudged the young Anthropologist’s shoulder and smiled cheerfully. “Even if you don’t find a lady, you can study the circus performers for your new investigation.”


Nathaniel was very hesitant about visiting a circus on a cruise ship. How did one even get to such an event? Did you buy a ticket to the circus or to the cruise? Was it a very long cruise? Nathaniel decided that he didn’t care. He went to the docks immediately after his classes.


Chapter 2
The Ship at the Dock


           
The docks at London were a curious mix of frightening and awe-inspiring. The entire area was shrouded in mist from the river and smog from the industrial factories. Some of the ships and wooden docks were stained and falling to pieces. However, the towering cranes and singing of productive dockhands were another matter entirely. Nathaniel was fascinated by the vitality present in such a dismal place. The most incredible part of the London docks was the majestic, gleaming cruise ship resting peacefully alongside a tidy dock.

            Surely this, thought Nathaniel, as he climbed the little ramp onto the deck, is the cruise ship with the circus. It is the only ship large enough to hold such a grand event.

            As Nathaniel stepped onto the deck, he was met by a well-dressed man with a cheerful smile. The stranger was dressed in a formal evening suit, with a little pocket watch and chain tucked into his waistcoat. He wore a black top hat with a little red ribbon around the base. He carried a little notebook in one hand and reached out to Nathaniel with the other.

            “Hello, good sir!” He shook Nathaniel’s hand heartily. “Welcome to The Elizabeth and her circus, The Fascinating and Unusual!”

            “’The Fascinating and Unusual,’ sir?” Nathaniel inquired.
           
            “Oh! Some friends or acquaintances must have directed you here! Little scamps probably didn’t tell you much about the show, did they?”

            “No, he didn’t. I think he wanted it to be a surprise.” Nathaniel peeked around the stranger. “But I would like to know more before I decide to buy a ticket. Whom should I speak to about the show?”

            “Oh dear! I’ve done it again.” The strange man straightened his jacket and bowed. “I am the Ringleader of the show. My name is the Good Sir Gottenheight! In apology for these rude manners of mine, let me offer you a free ticket to the circus. In fact, the show is about to start! Let me show you where to go!”

            Good Sir Gottenheight gently ushered Nathaniel across the deck and down a narrow staircase. A little frightened and alarmed, Nathaniel could only follow The Good Sir Gottenheight’s directions as they descended into the depths of the cruise ship.



Chapter 3
The Fascinating and Unusual

            Nathaniel and the Good Sir Gottenheight exited the staircase into a grand ballroom. The ballroom was a wide room with small booths, stalls, and display stages on both sides. Some of the booths had painted backdrops of forests or decorated theaters. The other booths had plain fabric drapes and small wooden stages. A member or team of The Fascinating and Unusual Circus occupied each area. Nathaniel hadn’t thought that a whole circus group could fit into such a space, but the grand ballroom was extraordinarily long. The room seemed to stretch to the entire length of the ship!

            Maybe the grand ballroom is the main attraction of the ship. Nathaniel thought as he glanced at the performers as they walked by. Maybe the ship is more a theater than an actual cruise vacation.

            While Nathaniel was a little wary, he began to enjoy himself as he explored the crowded ballroom. The room was filled with other guests: young children and their parents, curious gentlemen, groups of ladies with their parasols and fans, and cautious dockworkers. Nathaniel watched the dockworkers as they glanced into the first few booths before dashing out the door. Nathaniel laughed a little to himself; these workers probably skipped out on work for a little bit to see the show.

            The first booth in the ballroom was a young, half-clad woman of exotic origin. She wore a flowery lei around her neck and a European petticoat with flower designs. Her long, dark hair was falling about her waist like the tide on the shore. Nathaniel did not think she was so unusual, but he had studied several native tribes in foreign places. She was probably more interesting to the native Londoner.

            The Second booth held two sisters in white gowns, playing in front of a garden painting.  At first glance, Nathaniel thought the younger sister was braiding the elder’s hair. A closer look revealed the young girl was holding up her sister’s hair as it turned into a tall carnation! Her hair was turning into a flower!

            This must be a common circus or magician’s trick! But it certainly looks like real magic.  Nathaniel nodded and walked further down the ballroom.

            The booths at the end of the ballroom were definitely the strangest. In one booth, a man and woman were dressed in strange costumes. It looked as if their torsos had grown enormous faces with bulging eyes, thin noses, and wide smiles. Their heads were hidden behind large hats. Nathaniel considered the costumes for a moment and was incredibly startled when the man’s eye winked. Another booth was a small black bear controlling a marionette of a young woman in a white nightgown. Finally, the last booth held two women in zebra costumes. As he watched the women dance cheerfully, he realized that these were not costumes! The large, equine ears and tail moved independently!

            Nathaniel stumbled backwards in alarm. This was too strange! This wasn’t a circus at all. This was a freak show! Nathaniel shuddered and began to sprint towards the door of the grand ballroom. He had to escape this hellish nightmare. Perhaps he was not as happy as he could be in his ordinary life, but anything was better than what he encountered here!

            Why aren’t the other guests as alarmed as I am!? Nathaniel suddenly asked himself. I will ask one person before I run out the door. Who is closest to the ex---

            Nathaniel froze in alarm. The grand ballroom was completely empty. There were no other guests. The laughing children with their parents, the curious gentlemen in their afternoon dress, and the young ladies had vanished into thin air. Nathaniel was almost too frightened to look around the silent room, but he glanced slowly over one shoulder. And he screamed.



Chapter 4
The Elizabeth

            Standing directly behind Nathaniel was the young, exotic woman from the first booth. Only she looked nothing like the calm, dignified performer she once was. The flower lei and petticoat had vanished. Her face had sunken in at the cheeks and eye sockets into a grotesque mask as she stared at him. The thick waves of black hair was draped over her shoulders and flowed down her torso. The strands were moving and twisting like black mambas. Nathaniel stumbled towards the doorway and crashed against a sudden wall.

            Has the door closed? Am I trapped here?!

            “Nathaniel? Why are you leaving?” Good Sir Gottenheight frowned at the young anthropologist. “I told the performers to put on an especially good show today. Didn’t you enjoy it?”

            “Enjoy it?” Nathaniel asked, a hint of hysteria leaking into his voice. “Yes. I did enjoy it. I’m terribly sorry, but I need to return home. I’ve paperwork to grade for my classes!”

            “Oh, Nathaniel.” Good Sir Gottenheight shook his head. “Jackson told us how unhappy you were. None of the students liked you. The women avoided you. How could you ever be happy in such a sad place?”

            “What-“ Nathaniel swallowed against the lump in his throat. “What do you mean by ‘Jackson told us’?”

            “Jackson is an old friend of ours. He used to be our Egyptian performer, rising out of a sarcophagus and surprising the guests. You’d never guess how old he actually is with how spritely he acts.” Gottenheight smiled fondly. “Jackson asked if he could leave the circus for a bit of time. We agreed as long as he sent a replacement. And he nominated you!”

            “Me?!” Nathaniel was breathless with anxiety and fear. “But…but I’ve nothing fascinating or unusual!”

            “Oh, you certainly do! That lovely scar from your time in the army! A little…. theatrical magic and you’ll be a prize performer! And there’s simply no time to waste!”

            Good Sir Gottenheight smiled in pure delight and snapped his fingers. Even as Nathaniel heard the sound, ropes of black hair were wrapping around his arms and dragging him back down the grand ballroom.

            “Now, just hold still, Nathaniel dear! We’re going to make you a star!”


While I would like to end this story with Nathaniel’s escape from the circus, it is quite impossible to do so. In fact, I must do the exact opposite. For, you see, Nathanial Jackson was anything but happy.

Sunday, January 13, 2013

The Wizard of Oz by L. Frank Baum


The Wonderful Wizard of Oz. 1900. The
Wonderful Wizard of Oz by L. Frank Baum.
Web. 13 Jan. 2013. 
This is the first time I have actually read the original The Wizard of Oz by L. Frank Baum. My first encounter with the world of Oz and L. Frank Baum was actually the 1939 film, directed by Victor Fleming. Most audiences remember the spectacular Technicolor film and actress Judy Garland. Since I saw the film at a young age, I mostly remember the peculiar characters and song-sequences. It never occurred to me that the film was based on a fairytale.


            Amusingly enough, the introduction of the story is one of my favorite parts. The introduction comments on how the fairy tales of Grimm and Anderson are considered “historical.” Modern “wonder tales” dismiss the “stereotyped genie, dwarf and fairy” and the “horrible and blood-curdling incidents devised by their authors to point a fearsome moral to each tale.” A quick thought to the original Grimm fairy tales does include some rather disturbing violence, which is frequently edited out of modern collections and films. Baum further comments that the “modern child seeks only the entertainment in its wonder tales and gladly disperses with all disagreeable incident.” Bluntly, I find this hilarious. There are several events throughout The Wizard of Oz with death and violence, such as the Tin Woodman’s back story and the fights against the Wicked Witch’s minions. I suppose that all stories must have a villain and its minions, who must appear “evil” and have to be destroyed. All violence cannot be removed from fairy tales since the villain must be vanquished in the end. Still, I found this introduction interesting and humorous.

            Another aspect of the story that I found interesting was character development of the lead, Dorothy. In most stories, the main character encounters obstacles and a wide variety of people. These interactions provide information and motivation for the main character. The main character might realize a personality flaw, a new appreciation for life or relationships, or a moral. Dorothy actually develops very little as a character. She doesn’t learn any particular moral or solve any problems. The Scarecrow, Tin Woodman, and Lion conquer the obstacles and the journey continues. I believe that Dorothy acts more as a vehicle for the reader. By giving her very little personality or obvious skills, Dorothy makes a convenient void in the story. The reader, with a little imagination, can slip into her place and join the quest. Since The Wizard of Oz is a fairytale, a child or parent can provide interaction and information. However, my concerns or conclusions over her character may be a matter of time period.

The Wizard of Oz. 1939.  The Wizard of
Oz (1939).
Web. 13 Jan. 2013
           The Wizard of Oz was originally published in 1900. The year 1900 is an almost inconceivable time to anyone today.  Perhaps Dorothy is not an unusual character for this time period.What could life have been like 113 years ago? Many of my classmates brought up the idea of the “American Dream.” With the Industrial Age booming and the benefits of mass production, America was a place of opportunity. Some of this optimism and opportunity is present in The Wizard of Oz. The Yellow Brick Road is one obvious metaphor for “streets lined with gold.” The protagonists’ basic desires for a home, knowledge, love, and courage can all be compared to immigrants. One reference that can only be found in the original text is the spectacles in the Emerald City. The guard at the gates of the Emerald City demand that the protagonists wear spectacles. It is later revealed that these spectacles make the city appear to be made of emerald. This may refer to "rose-tinted glasses" or the American Dream, an ideal world with opportunity and a promise of a brighter future. Some people were quickly disillusioned of the American Dream, similar to the protagonists’ removal of the spectacles. On the flip side, the residents of the Emerald City never learn about the spectacles. One might argue that the residents wouldn’t even care about the truth. Maybe the immigrants felt similar. Even when surrounded by an America with the same problems as other nations, an immigrant might argue that anything is better and the future is still an opportunity.  My grandmother moved to the United States from Puerto Rico. She wanted more for her family and we have benefited. Such a situation is almost inconceivable to a young adult or child or today. The lessons and questions in The Wizard of Oz may have meant something different for a person in the 1900s. It would be interesting to compare the reactions of children and adults, from 1900 to 2013, to The Wizard of Oz. How much influence does the time period have on reactions?

Wicked. 2012. Hal Leonard Wicked A New
Musical Vocal Selections.
Web. 13 Jan. 2013
   The matter of the time period actually relates back to my first experience with The Wizard of Oz and our class discussion. I confessed earlier that the 1939 film was my first exposure to the story. I didn’t even know that there was a book series. If I was born in the 1920s, would I have read the original story? Would I have known it existed? Our professor asked the class, “What is the text of The Wizard of Oz?” In other words, what is the real Wizard of Oz? Is it the L. Frank Baum story? The 1939 film with Judy Garland? Maybe even the musical “Wicked” or the new film “Oz, the Great and Powerful”?  After some thought, I concluded that it would depend on when you were born. The older generations may automatically refer to the L. Frank Baum book, while my generation would refer to the 1939 film. Maybe future generations will talk about the musical or new film. I think the “real” Wizard of Oz depends on the person. What do you define as the “real” Wizard of Oz?


Theatrical Release Poster. 2013. Oz
the Great and Powerful. Web. 13 Jan.
2013.
           Personally, I like all variations of The Wizard of Oz by L. Frank Baum. The original story is an endearing children’s story. The characters have sincere, fascinating back stories and desires. The world of Oz is expansive with many different people and animals. There are deep metaphors and philosophical questions. The 1939 film is a milestone in American history. With a combination of black-and-white and Technicolor sequences, it marks new achievements in technology. It is an important part of many people’s childhoods. The musical “Wizard” provides another point-of-view about the origins of the Wicked Witch of the West and her motivations. The musical also has a beautiful soundtrack. “Oz, the Great and Powerful” is a new Disney film, which will reveal the origins of Oz and the back story of the most powerful wizard in the land. A consistent theme in all these variations is quirky and lovable characters. Even when the character is foreign or mystical, they are all motivated by human desires and flaws. I highly recommend all of these to any audience. I’ll be watching “Oz, the Great and Powerful” as soon as it is released. Please feel free to leave your opinion and suggestions.

Links for the Images: