My first script!

[Linsee DeJane]

So, we got this assignment in class to take a scene from the book we're reading and make it come alive. We plan on recording it on camera to get in everything. My group chose this scene, which I was granted the privilege to write. The story should be pretty easy to follow(I explain what's happening in detail) and I was hoping to see how you guys liked it! Any chance someone would luff me enough to skim through it?

[[Oh, also... I play Crazy Mary. Yeah, yeah, laugh at the irony of it all later! And guess what? We're using actual horses!!]]

CRAZY MARY

Written by Willa Cather, Screenplay by Taygirl

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Open up to a dark, pale white room void(if we have such a thing) of any sort of furniture other than a hard-looking bed, a dresser, and a nightstand(feel free to improvise here). Focus on a girl sitting on the bed, straight-jacket wrapped around her torso. She’s rocking uncontrollably back and forth, moving in time with the beat of her babbling.
Mary: (muttering) I have to get home I have to get home I have to get home I have to get home*breath* Me Ole needs me me Ole needs me what’s he gonna do wiv’out me what’s he gonna do wiv’out me I have t’ gets home I have t’ gets home…
Door opens, Mary’s head flies up to see the doctor with a very dangerous looking syringe. He/She turns to look at Mary, taking a step forward.
Doctor: I heard you were attacking another patient. We talked about this Mary.
Mary: I wants to go home I haves to get home let me goes home let me goes home…(continues to babble)
Doctor: I’m sorry, but I cannot trust you to act right of your own accord. Hold still.
The doctor approaches Mary slowly, hands raised to seem as if he/she wasn’t going to hurt her. Just before she gets the needle close Mary jumps off the bed.
Mary: I HAVES TO GETS HOME!
With a screech, Mary shoves the doctor away and runs out the door.
Doctor: Mary! Come back!
Doctor follows her out the door, scene fades out as he/she shouts Mary! one last time.

Fade back in. Everything’s dark, a very hard to discern shadow flits past the screen. It’s Mary, running barefoot away from the Asylum. Every now and then she ducks behind a bush and searches behind her, eyes scanning for any followers. We see her run too far to see, disappearing behind a shrub before flipping to the front of her, where she rushes up to the door of her husband’s house. She bangs spastically against the door until a short, fat man opens the door a crack to see who came to wake him up in the middle of the night.
Ole: What th‘-- Mary? Tha’ you? I’s a thought yous were in th’ Asylum!
Mary: (Hysterical) Don’t make me goes back it horrible! They stucked me wi’v needles ‘n’ tied me up ’n’ hitted me and locked me up oh please, oh please don’t make me goes back thurr!
Mary crumples to the ground, wrapping her arms around Ole’s legs, almost throwing him off balance. He looks at her, clearly upset that his wife is back, but he hasn’t the heart to force her into the Asylum again.
Ole: Alrigh‘, alrigh‘. It okay Mary you’s a safe. I wonna send a yous back there. Please, calm down. What would th’ neighbors think? (he pauses, looks around as if they were watching him) Gets up Mary, we need t’ get yous in th’ house. (he tugs on her arm, but she won’t let go.) Come on, get up darlin‘. Everything’s alrigh‘!(slightly frantic, Ole finally pulls Mary into the house. Cut to black)

Open once more, the sun rising in the east(or what-have-you). The camera falls on a bright church, where people are entering for a congregation. The skies are bright and blue, and the day seems quite beautiful. Ole shuffles himself in, as does Antonia, Mary, and Mrs. Shimerda(if we can work that out). Follow into the church as they take their respective seats. We hear a priest about to start the ceremony when the doors burst open and everyone’s eyes are on Lena, just arriving at the congregation. Pause for a sec with the camera focused on Lena, unsure what to do or say to the shocked crowd. Coming to, Antonia flits over and pulls her uncomfortably to the bench she had just vacated. Close up on Ole, watching Lena’s approach hungrily, a slightly blurred Mary behind him, a look of disgust stretched across her face. The congregation continues, and Ole’s eyes never leave Lena’s form. (However we do it…) The scene cuts to Lena as everyone stands to leave. She rushes out, totally humiliated. Ole follows close behind. She rushes out of the Church and heads for her horse, where she - in her nervousness - can’t seem to get on the steed. Ole follows her over and grasps her foot(or calf, whichever seems smoother on camera) and helps her mount. His fingers linger on her skin for a few seconds too long.
Ole: Careful dearie, don’t wanna to break those purty legs o’ yers. (or ‘There ya go darlin’!’)
The camera floats to Mary, face filled with fury. She screeches and throws herself forward toward Lena
Mary: Look out, you Lena Lingard, look out! I’sa come fer you, ya stinkin’, rottin’ witch!(or something like that)
Lena rides off at a trot, Mary running after her. When Mary stops and turns around, focus back to Lena as she laughs. The camera turns to Mary, who’s running back toward the hitch-bar and unties her steed, mounting quickly. She turns and goes off at a gallop, chasing Lena and gaining fast. Back to Lena, who turned back and saw Mary hot on her heels. Her face panicked, she whips the rains and takes off. Camera follows her until Mary and her horse rush by, her screaming cruel words(yet to be determined) until she’s too far to make out. Camera cuts to Lena, clumsily dismounting and rushing toward the Shimerda’s home. Antonia, who’d arrived back home already and the day was later than it had been before(Mary had been chasing her for some time now and Lena finally decided to head somewhere safe), appeared at the door at Lena’s pounding.
Antonia: Lena, what’s wrong?
Lena: (Out of breath, frantic) Crazy Mary…*huff*…after me.*gulp, pause for air* Help…!
At that, Antonia ushers her into the house. In the kitchen stands Mrs. Shimerda, who pauses in her kitchen-ly duties.
Mrs. Shimerda: Antonia, what matter… Lena? (pause) What you doing--(Antonia cuts her off)
Antonia: Crazy Mary’s at it again. She’s after Lena!
Without pausing for her response, Antonia leads Lena off, Mrs. Shimerda following close behind. They come to Antonia’s bedroom. Antonia makes a sweeping gesture toward the room.
Antonia: Stay in here, hide yourself. I’ll deal with Mary. (Lena nods, frightened and close to tears)
Antonia heads back to the kitchen, determined to turn Mary back the way she came. In less than a few moments, the sound of hooves drift toward the door, and Antonia heads toward the door to find Mary jumping off her mount and rushing to the door.
Antonia: Mary! It’s nice to see you. What brings you to our home?
Mary: I’s lookin’ fer Lena, the dirty rat. Hers after my husband!
Antonia: (wrings her hands nervously) Now, Mary don’t you think you may be assuming the worst?
Mary: No I ain’t! Tha’ girlie was a’ touchin’ mah husband ‘n’ gettin’ all witchy, a’ puttin’ a curse onna mah man!
Antonia: Well dear, I don’t know what to tell you, I haven’t seen her.
Mary: You’s a lyin’ one you is! Hers horsey a’ chewin’ round’ the back I saws it! I saws it I’s did!
Antonia: (purses lips; she’s not a good liar and doesn’t know what to say) Mz. Mary Benson! How dare you speak to me like that, and on my own property! I’s no liar!
Mary ignores Antonia and pushes past her into the house. She looks around, searching for Lena.
Mary: I knows she a’ hurr! She coul’na got no wheres else. (she spots a carving knife, which Antonia had previously been using to chop tomatoes. She grasps it between her fingers and lifts it up, weilding it haphazardly) You’s a show me tha’ durty wi’ch! (She swings the blade in an arc around her, making Antonia jump) I’s a gonna cut her real goodly(jabs forward), twists it anna I’mma gonna pulls it out and I’mma gonna stabs her again!(another jab) ‘N’ I’mma gonna cut hers up real goodly, show hers what a rel’gus woman do t’ protect her man! (Mrs. Shimerda covers up a laugh as she pushes herself from the doorway she’d been watching Mary from and walks over, grabbing a cloth and scooping a couple dozen tomatoes into the make-shift pouch)
Mrs. Shimerda: (Thrusts pouch toward Mary) Take. An’ go home we no Lena here. Go on, get. (Mary seems torn, clearly bent on cutting up Lena, but tempted to make off with the tomato treasure, something she rarely has as Ole is very lazy and never has the money for good produce. Finally after a few moments of deliberation, Mary drops the knife to the floor, snatches the bag of tomatoes and runs out the door. When the sound of hooves drift off in the distance Lena comes very timidly out from the back.)
Lena: Is she gone?
Mrs. Shimerda: Yep, yep.(she clucked about, tending to the kitchen duties once more.)
Lena: (still a bit frightened) Th-thank you.
Antonia: Any time.(she pauses, looking over at Lena. Mrs. Shimerda cuts in)
Mrs. Shimerda: Maybe you save yer-self and learn not to make somethings with your eyes at married men.
Lena: (ghost of a smirk) I never made anything to him with my eyes. I can’t help it if he hangs around, and I can’t order him off. It ain’t my prairie.

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So I figured at the end I'd explain a few little details as to why their grammar's so bad. The Bensons are supposed to be these very dirty, slightly crazy people. I saw them as very illiterate and always overemphasizing their gestures(the writer didn't put any dialogue in this scene except the last two lines of the play and the 'look out, lena lingard...' part, which I sliced up and messed with to fit my work). Think it's too much?[/blockquote]

[karlee]

*rolls*
That has to be one of the FUNNEST scenes to film. Not even kidding.
I think you did a great job capturing the illiteracy and the sort of prairie hick dialect (if that's not what you were going for, that was what I got out of it).

[Lorcan Furey]

Table of Contents

1. Title page
2. Table of contents
3. Center of Gravity
4. Reflection
5. Gas Law:
6. Assistants Page































Who: My arm; What: Center of Gravity; When: 19 May 2010; Where: Tami’s house; How

This picture was taken at Tami’s house on May 19th. It is a photograph of the a demonstration of the center of gravity. The way to do this was to find the centermost point where the plate didn’t topple over.

This picture is an example of utilizing the center of gravity, which is found by placing your finger in the spot where each edge of the plate weighs the same amount so no one side has enough weight to pull it down. It’s a simple matter of moving the item around until it doesn’t pull to one side and let go.























This picture was taken on the 16th of May at Tami’s house, in her kitchen. The idea is demonstrating thermodynamics. I took the picture.

This photograph demonstrates thermodynamics, specifically the first law of thermodynamics, where whenever heat(burner) is added to a system(water), it transforms(steam). I thought this would be a great way to show the physical change done simply by heating water.





























This picture was taken at Macaroni Grill (because of the famcy mirrors) in December, when my family went out to dinner together and I thought the mirrors looked pretty. It was done by placing the camera in between both mirrors and angling it to see the reflection of one mirror into the other which was reflecting that, and yadda-yadda=yadda. I took the photo. It is a photo of reflection.

This photo demonstrates reflection, where, between two mirrors and at a particular angle, you can see a never-ending set of mirrors, sort of like an illusion. Had I positioned it a little differently we could have only seen two mirrors, or even just one. As with everything to do with light and reflection, location matters.
















Assistant’s Page

Tami, my aunt, helped take pictures and come up with ideas we might try to make them work out.