Star Wars Episode V: The Empire Strikes Back Notes

Star Wars Episode V: The Empire Strikes Back was released on May 21, 1980. While George Lucas is well known for his part is writing the film’s story and acting as executive producer, Irvin Kershner was the director with Leigh Brackett and Lawrence Kasdan as additional writers.

http-//screenappeals.files.wordpress.com/
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The Empire Strikes Back was the second Star Wars film released, but fifth in the story chronologically. There has been some debate as to the “proper order” of the Star Wars films. Some views prefer to watch the film chronologically; beginning with the more recently released films. Others believe the original release dates are the most effective for plot. Another order is the “Machete Order”, where Star Wars Episode I is eliminated from the line-up due to confusing plot points and temporary characters.

I have seen Star Wars Episode V: The Empire Strikes Back before, but that was over 10 years ago. Since I’ve forgotten most of the plot, except for the general knowledge available to most audiences, I decided to provide art director’s notes for the film (wandering lightly into composition, costume, and visual effects.)

 I will be typing the notes as I read the original script. The notes will be marked with the same number as the appropriate text from the script. These notes will be based on first impressions of the reading and will not reflect the actual film or information provided later in the script. I will cover the initial scenes between Luke Skywalker and Han Solo. (There will be similarities between these characters and the original characters -  even with what little I remember, I’m afraid that their images were a little too embedded in my mind to be completely altered. I’ve included photos of actors and video game characters with similarities to my description for imagery. )

Art Director’s Notes

Star Wars: The Empire Strikes Back

Script by Leigh Brackett

1 + 2)

 Opening scene of white snowy landscape: wide shot covers several snow dunes.

http-//rachelinantarctica.wordpress.com/2012/10/21/
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The entire environment is covered in dramatic snowdrifts, which are piled into smooth hills like sand dunes in the desert. In the far, far distance, there are vague shapes of ice crystal formations, shooting directly from the snow into sky. There is a slight glittering of light off of the crystals and the occasional glare off of the smooth surface of the snow.  Some of the snow is shifting lazily down the dunes from a stiff wind, similar to the shifting of sands. Some of the snow is kicked up into clouds of flurries.  Lighting and Atmosphere provided by an alien, blue sun. The light is shining from one side, indicating a late afternoon sun and casting long shadows onto the snow.  The sun casts a cool light across the snow, but some warm colors are present as contrast. Despite the frigid temperature and the winds, there is an eerie stillness in the landscape. There are no visible signs of flora, fauna, or civilization. The entire snowy plain is visible.

Camera records dunes idly for a moment before rising and flipping to look in  the opposite direction. Similar landscape with dunes and snow flurries, but there is movement on distant dune. A sudden burst of snow flurries in the distant (similar to the wake of a water vessel at high speeds) appears in the distance. Camera zooms in to main character, Luke, mounted on white snow-lizard. The lizard is more visible at the current distance, while Luke is a simple shape on its back.

A Picture of Said Basilisk is a little
difficult to find. Please enjoy this
movie poster instead!
http-//cinemailoveyou.wordpress.com/
2010/12/28/346/movie-poster-
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“Mounted on white snow lizard” refers to CG animated beast, based on animatronic model and maquette. Design is based on mythological basilisk with eight legs and armored hide.  Basic anatomy is based on crocodile or alligator, but with extended legs for wider range of movement (Reference the movement of a Komodo Dragon for example.) Scale pattern is also based on crocodile or alligator with horizontal scales along the underside and thicker scales on joints and back. Extend the scales along the shoulder blades and hips into saddle-like pommels. Scales are primarily white with opalescent sheen. Some color reflects from Luke’s clothing, saddle, and sunlight. Lizard is moving at a fast place, plowing over the snow dunes and kicking up clouds of snow flurries. Its head and tail twist back and forth rapidly in a serpentine motion. Luke’s saddle is placed in back-center, between the shoulder and hip protrusions. Leather saddle sitting on dark blue cloth (similar to horse saddle.)  A leather muzzle and bridle with thick, wide strips attach around lizard’s head. The reins are drawn taught by Luke’s hands. As Luke and the lizard draw closer to the camera, his figure becomes more visible.

Luke dressed in plain snowsuit with padded torso, long sleeves, and thick legs. The suit is primarily a warm khaki color with accents of light and dark greys. There are large, button-fastened pockets on torso and the sides of the pant legs. Luke’s head is covered in a snow hood, lined with grey fur and attached around neck by zips and buttons. His face is covered with goggles (tinted grey, rounded glass lens placed into padded leather) and cloth scarf (visibly-woven, scarlet fabric tucked into hood and snowsuit) around neck and mouth. A ragged-edged, stained scarlet cloak is fastened around shoulders and upper torso, but is loose around the hips and drapes over legs. As the wind blows and the lizard moves, the cloak begins flapping behind Luke.  His face and hair are not visible under the thick layers of clothing.

Actor Bradley James would be a close match.
http-//www.radiotimes.com/news/2012-10-05/
bradley-james-merlin-has-grown-up-weve-grown-up.jpg

Camera waits in foreground as Luke rides from distant dune to foreground, crossing screen left to right. Luke passes camera on right; camera turns to follow.  Camera zooms in slowly as Luke raises himself in saddle and twists to look behind himself.  Zoom into face as Luke removes goggles and drops them to rest at his neck.

Luke is a young man, probably about 20-15 years of age. His face still appears young, but with a square chin and prominent cheekbones. His hair is a dirty-blond color with ragged edges from a haphazard haircut (as if from a knife or blade rather than scissors.) His bangs cling to his forehead from sweat. His eyes are a dark blue color, emphasized by the purple shadows under his eyes. Luke’s face is worn and tired as he looks around. He is visibly exhausted and impatient, shifting his weight and frowning intensely. Luke is young man, determined to prove himself and a little cocky. Luke’s eyes pan from (our) left to right. The lizard is shifting its weight from side to side, restlessly groaning and snarling.

3)

Camera set from Luke’s POV, pans right to left over snow dunes.  The view is similar to the earlier shots (scenes 1+2.) There is still no visible signs of life or civilization.

4)

            Camera flips to face Luke, focused on his face. Camera zooms out to include Luke’s torso in frame. Luke turns to face forward with camera rotating to follow. Luke smiles widely. Luke raises one hand to press against the side of his hood.

                                                            LUKE

                                             Han. Come in, Han Solo.

                                                                                                                               CUT TO

Character Nathan Drake from Uncharted would be
a good match.
http-//community.us.playstation.com/t5/
UNCHARTED-2-Among-Thieves/
Why-is-Drake-so-ugly-in-Uncharted-3/td-p/
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5)

            Camera shifts abruptly to a close up of Han Solo (from the shoulders up.) He is dressed in the same snowsuit as Luke and a black cloak. During scene shift and a few seconds afterwards, Han and his lizard are in full motion, running across snow dunes.  The dunes are similar to Luke’s location, but there are large formations of cracking ice in the distance. Camera zooms out as Han slows quickly to a halt. Camera holds at full figure-shot as Han removes his goggle and throws off his hood. Han Solo is a classically handsome man with a square jaw and broad shoulders. His skin is a little tanned and there are subtle scars along his jaw in the shape of small cuts. His hair is a dark chocolate brown color with purposefully-tousled edges.  Unlike Luke, his hair is pressed tidily into his hood and the few loose bangs are flipping in the winds. Han’s eyes are a mid-value green color with a few crows’ feet at the corners.  While Han is older, more experiences, and a good deal more patient, there is a touch of dare devil in his behavior. Han puts a hand against the side of his Hood.

6)

                                                            Han Solo

                                                Yeah, Luke. What is it?

7)

Camera shifts back to Luke. He is slowly directly the snow lizard forward and glancing around the snow dunes.

                                                            Luke

I’m at the north Ridge. No sign of Life. How About you? (While Luke is pessimistic about Hans findings, he cannot hide a lilt of hope in his tone.)

8)

http-//nichebrain.blogspot.com/2011/
05/star-wars-v-vi.jpg

            Camera stays on Luke with voice over from Han.

                                                            Han

                                                (Over Radio)

I’m at the Cliffs. I haven’t seen anything either. I guess the survey was right – the planet’s clean.  (His voice is a little frustrated as he sighs.) We might as well go back to Base. I’ll wait for you.

9)

Camera zooms in on Luke’s face as he continues the conversation. He is looking off screen to the right.

                                                Luke

            No, you go on. (Pauses and smiles a little) No use freezing to death.

Camera zooms out as Luke turns the lizard to the left. Camera frame now includes a large ice formation in the distance, catching sunlight and reflecting.

                                                Luke

There’s a real pretty ice formation on the other side of the ridge. I want to get a closer look at it. Follow you in a few minutes.

                       

Luke kicks the lizards in the side and yells, kicking off snow as the lizard sprints towards the ice formation. Camera cuts back to Han Solo.

10)

            Han gets an annoyed and concerned look as he presses his hand harder against his hood.

                                                            Han

Now wait a minute, Luke! Orders said just to the ridge. Don’t take any chances…

            Luke responds angrily, but the words do not carry across the radio. Han rolls his eyes.

                                                            Han

                         

            Okay, okay, I was just asking if you were…

Radio interrupts with piercing squeal and static before going silent. Han taps the side of his hood a few times before shrugging.

                                               Han

            All right. I guess he’s all right.  (Leans forward to pat snow lizard’s side) Come on, my   iceberg, let’s get back to where it’s warm. (Kicks lizard and moves forward as camera zooms out slowly) Or at least, warmer.

              Han kicks the lizard again and races away across tundra.

           

http-//www.avforums.com/movies/
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           This is my interpretation of the opening scene of Star Wars Episode V: The Empire Strikes Back.  I apologize for any awkwardness in the script or descriptions, I was a little unsure about the objective of this particular assignment. Also, a few apologies for the abundance of movie posters and display images, but it does reveal an interesting aspect of the original focus of the films. Notice how a majority of the focus and space is consumed by Darth Vader? Even in these images Dark Vader is portrayed as a larger-than-life and fearsome figure, looking over the heroes and casting a literal and figurative dark shadow across the galaxy. His presence has an entirely different interpretation when the films are viewed chronologically instead of by release date. Also, the images provided for character comparisons are a real actor (Bradley James is currently known for his part as Prince Arthur in the Merlin BBC series) and a video game character (Nathan Drake from Uncharted.) I recommend watching the Star Wars series (in whatever order you prefer!)Thank you very much for reading! I'm off to watch Star Wars!

            

The Medium is the Message?

            (To be honest, I didn’t understand the reading very well. I’m still confused as to whether the title is “The Medium is the Massage” or  “The Medium is the Message.” It seemed like there were many contradictions in the text. In any case, I decided to write about how media and the younger generation affect the workforce and management- a nod towards my current business class. I’ll edit this after the class discussion. )

http://spacecollective.org/sjef/4148/
The-medium-is-the-massage

McLuhan makes a note that “As new technologies come into play, people are less and less convinced of the importance of self-expression” (67.) This…is entirely incorrect.

A trend in today’s world is a movement towards self-expression. As technology spreads across the globe and more people become connected, an individual believes that someone- somewhere- will listen and agree with his thoughts. He can be heard as he has never been heard before. He demands attention, in one form or another, and shouts as loud as he can.

Children are taught, from adults and media, that an opinion matters.

 “Your ideas are the most important.”

“The world is a competition.”

“If you aren’t building your dream, you’re building someone else’s.”

A young adult - a teenager – a child learns that he must speak the loudest and have very strong opinions. If he does not, then he will be subdued and pressed into a “conformist corner.” He becomes the labor force of another person’s dreams. The younger generations will do anything to avoid the “common” or the “static.”

            “What do you know about the OLD world of business and management?” The business professor asks.

http://entrepreneurshipforum.org/
can-schools-teach-you-to-be-an-entrepreneur/

The students respond, “It is cold and mechanical. There is no life. There is no creativity. There is no humanity.”

“And what would make it more human?”

“Pass the power around. No single person should be in authority. We should all be heard!”

The younger generation wants to be heard. Even above someone who might know or seen more. “It isn’t a matter of experience, it’s a matter of creativity!” The student might refute that EVERYONE should be heard. But on the inside, HE wants to be the leader. There is little teamwork or cooperation in today’s world. But why? Did the older generations act like this when they were young?

http://www.official-top-ten.com/top-10-lists/
top-ten-characteristics-of-a-successful-entrepreneur/

McLuhan comments that the prior generations, who were limited to the education in schools and the limited television, were “more earnest, more dedicated.” Limited to an ancient education, which has long since fallen behind the progress of real life, this generation believes that conformity is good. A little office with the same chore everyday and the same accomplishments every year is perfectly acceptable.

The younger generation, which grew up on on-the-minute updates on tablets and the millisecond communications of the smart phones, thirsts for adventure and instant results. 

“If the job is boring, leave it!” 

The workforce shifts from the static, loyal worker of 50 years to the young contingent entrepreneur.

Media is everywhere and everything. As a child grows, he has access to thousands of devices. This generation affects the future and they want it now.

Lolita

This is a long post. A bit longer than required for this assignment.  I thought that it was best to write everything down at once since I never wish to discuss this topic ever again. Thank you.

http://gracefulslumber.blogspot.com/
2012/06/lo-lee-ta.html

                Lolita, a novel written by Vladimir Nabokov, was published in 1955 in Paris and 1958 in New York.  Lolita is famous for many different reasons, such as a subjective and unreliable narrator, sophisticated prose, and controversial topic of the narrator's relationship with an underage girl, nicknamed Lolita. Before writing about a significant quote and its influences throughout the novel, I would like to summarize the style and literary aspects of the novel.

                One of the most significant aspects of the novel is the use of language, by the author and the narrator. The author has added a fictional foreword to the novel, am introduction by a doctor from Massachusetts about the art and psychiatry of the novel. This fictional doctor creates several thoughts for the audience: a reassurance that this is a study of psychiatry instead of a simple sordid tale, a warning about the dangers of society and such depraved people, and how the narrator is both intriguing and horrifying in his story. The narrator used advanced language and vocabulary,  descriptive metaphors and analogies, and sympathetic pleas to garner the audience's attention and compassion. Though the subjects of the novel are controversial and sordid, some readers were distracted by the narrator's seemingly good nature and sophistication. Throughout the text, the narrator speaks directly to the audience and the fictional jury about his emotions and thoughts. He floridly speaks about remorse and realizations about his sins. This use of language is the most complex aspect of the novel since the reader must be vigilant about the point of view and the potential lies.  Another motifs is the narrator's constant references to art and history.

http://gracefulslumber.blogspot.com/
2012/06/lo-lee-ta.html

                The narrator references European history and art as an explanation for his behavior, his aesthetic ideals, and as justification for his crimes. The narrator creates the word "nymphets" for the young girls he watches. Even a horrid nick-name receives an elaborate description and history: "Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac)" (13). Another example is when Humbert first addresses the jury: "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple noble-winged seraphs, envied. Look at this tangle of thorns" (5).By referencing these myths and histories, the narrator is assuring the audience of his education and knowledge. The audience wonders if Humbert is as horrid as people might propose. Perhaps the situation was misunderstood and this novel is in fact the "love story" that people celebrate?

                At this point, I will introduce the quote that affected my entire reading of "Lolita" and reveals the twisted complexity and intrigue of the story.  After addressing the jury and describing his history, Humbert writes:

                My very photogenic mother died in a freak accident (picnic, lightning) 

             when I was three, and, save for a pocket of warmth in the darkest past, 

           nothing of her subsists within the hollows and dells of memory, over

               which, if you can still stand my style (I am writing under observation)...(6).

http://spoilersliterature.blogspot.com/2011/06/lolita.html

This seems an unusual quote to describe the entire novel. It arrives early in the plot, before the narrator even meets Lolita. But this quote alone affected my entire perception of the story. First "My very photogenic mother died in a freak accident (picnic, lightning) when I was three." This struck me as very odd. What a way to describe one's mother and her death. "My very photogenic mother" speaks of a kind of emotional detachment. He can appreciate her beauty, but takes very little note of how he learns of it and what emotions may have been displayed. It is unlikely he remembers her appearance at three years old, so he most likely learned of her from family and photographs. While his family or history is not a focus in the story, I was surprised he did not detail further. And just as I contemplated this though, he refutes with "and save for a pocket of warmth in the darkest past, nothing of her subsists within the hollows and dells of memory." Well. This hardly feels like a real emotional approach to any topic. This language is meant to impress and evoke emotion, with little felt on his part. Were you sympathetic when you read it? Did you consider how lost and alone he felt without the mother's love ? Well, this is the kind of emotional manipulation that the narrator casts throughout the story. This is what the reader must wade through in order to gain some semblance of the real plot and events. The events, of course, are fictional, but the real issue is how we receive the facts. The reader does not learn this story from any other point of view, only Humbert. And Humbert frequently stops to appeal to the audience and jury and make elaborate  poetry or descriptions. Once again, the narrator himself informs the reader : "if you can still stand my style." Not only his style, but a reminder. "I am writing under observation." The reader, you, are receiving one side of the story. His side of the story. He is writing under observation and in prison. He has good reason to be ....selective about his writings. At any point he can incriminate and damn himself.  From this point forward, the reader must sift through his florid writings and fabrications to see the real story. And the real Humbert and the real story are hideous things.

                I finish this novel with a shudder down my spine and an almost physical sickness in my stomach. And this illness only grows worse when I hear other readers comment on how "charming" or "intriguing" the narrator was before his "descent into madness." My curiosity about other reader's reactions led to some research about banning this novel from Advanced Placement English classes in high school. While this is not about banning the novel or preserving it for a study in literature, one student's response to the issue was startling. I will not cite the source or anything similar. The responses on this website were entirely anonymous. This is what the student wrote:

                People are still people, diseased with a love for younger people or not. Humbert is a nice   gentleman to me. He is not a beast. I would be friends with Humbert. I think that he’s intellectual, humorous, and a genuinely great guy.

http://able2know.org/topic/136827-1

The use of language and the manipulation of the facts and perspective allow the narrator to carefully tailor the story we receive. He is deceptive and some readers may not realize the depth of his lies. This man was mad long before his meeting with Lolita and this sordid affair. This is not a love story, in any way, shape, or form. This is a foray into the sick mind of a twisted, corrupt man. A man who is willing to murder, kidnap, drug, blackmail, manipulate, threaten, and harm for his own selfish desires. He tries to justify himself through his descriptions, his historical references, his different perspective, and his desperate calls of redemption and love. Is this story an excellent study in the manipulation of language in literature for a specific purpose? Yes. Definitely. Is it a story I enjoyed reading? No.

 Is there anything I learned? I could find something to learn, if I looked hard enough. But frankly, I'm too disgusted too continue any train of thought about this novel and will never look at or read this story again. Good bye.

Agatha Christie's Death on the Nile

http://games.softpedia.com/progScreenshots/
Agatha-Christie-Death-on-the-Nile-10-1-Trainer-Screenshot-
28443.html

     I was incredibly pleased to see Agatha Christie on the list for Pulp Fiction. My introduction to the Queen of Crime was not as glorious as I might hope. I found an interesting computer game called "And Then There Were None." A PC game based on Agatha Christie's novel And Then There Were None, a story where guests are trapped on an island and murdered one by one according to a children's rhyme. Actually, I failed the game quite horribly and have been hesitant to read that particular story. I did try another game "The Death on the Nile." This game was a hidden item genre with animated cut scenes. I enjoyed the game so much  that I found the original story. This is my second time reading Death on the Nile and I still enjoyed it. I went on to read the Short Stories of Miss Marple. I highly recommend Miss Marple since it has all the mystery and intrigue of a detective novel without the sense of arrogance and confusion.

     Agatha Christie is a well-known author of crime novels and short stories. Two of her most famous characters are the unusual detectives Hercule Poirot and Miss Jane Marple. Poirot and Miss Marple are considerably different than what one might expect from any detective genre story. There are a few stereotypes or landmarks of detectives novels that these stories skillfully allude and avoid.

Hercule Poirot.
http://www.express.co.uk/posts/view/212740/
Poirot-beats-axe-to-solve-more-murders

One of the landmarks of the detective genre is, of course, the detective. Most of the time, the detective is a private investigator, trained detective on a government team or local police squad, or a genius. One immediately considers Sherlock Holmes or the Private Investigators of Noir films. Poirot and Miss Marple decide to take a different route. Agatha Christie confesses herself that she was influenced by Marie Belloc Lowndes, Frank Howel Evans, Arthur Conan Doyle, and A.E.W. Mason. Poirot is a Belgian with dark hair, a curled moustache, fastidious appearance, and rather fussy behavior. Miss Marple is an elderly spinster, who uses her personal life experiences from her village of St. Mary Mead as inspiration for solving crime. With quirky and endearing personalities, Poirot and Miss Marple are more reminiscent of unusual relatives than detectives.

http://en.wikipedia.org/wiki/
Death_on_the_Nile

     Another landmark is the assistant or partner of the detective. Once again, I compare to Arthur Conan Doyle's Sherlock Holmes. Holmes was accompanied by his faithful companion, doctor, and veteran Dr. John Watson. The assistant is generally consistent throughout the story and acts as a guide for the audience. Occasionally, the assistant is a noticeable absence, such as the lone private investigator.  Poirot has a variety of companions and assistant, but one of his more regularly occurring friends is Colonel Race. In the story Death on the Nile, Colonel Race actually appears towards the end of the story due to his own investigation and joins Poirot. For another example of an interesting assistant, please read The Murder of Roger Ackroyd.  This story is a wonderful example of Agatha Christie's incredible plot twists. I would like to talk about the plot twist and would prefer not to completely spoil it. If you plan on reading the story, please skip to the next paragraph. If you do not mind a spoiler, please read the next sentence. The narrator of the story is Poirot's assistant and is, in fact, the murderer. I can't quote recall another story where the detective's assistant is the narrator and the murderer in one go. Do you?

     I enjoy reading detective novels, from Sir Arthur Conan Doyle's Sherlock Holmes to Agatha Christie's Miss Marple. I confess that I recommend Miss Marple more. I hope that you have a chance to read any story with Hercule Poirot or Miss Marple!

Do you really expect this to be the
face of a detective?
http://en.wikipedia.org/wiki/Miss_Marple

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: