Group Video

Group Screenplay

Becca Scheurich

Ben Smith

Ben Sax

Sidney Tan

Tristan Weitkamp

Act 2 Scenes 1 and 2 Screenplay

Scene 1

(Long, low angle shot of Banquo and Fleance.)

Banquo: How goes the night, boy?

Fleance: The moon is down; I have not heard the clock.

Banquo: And she goes down at twelve.

Fleance: I take’t, ‘tis later, sir.

(Camera cut to a shot where camera is mostly focused on Banquo.)

Banquo: Hold, take my sword. (Camera zooms in on Banquo.) There’s husbandry in heaven. Their candles are all out. Take thee that too. A heavy summons lies like lead upon me, and yet I would not sleep. Merciful powers, restrain in me the cursèd thoughts that nature gives way to in repose!

(Cut to scene where camera is shooting the back of Fleance’s back and Banquo’s front.)

Banquo: Give me my sword! Who’s there?

(Cut to shot of Macbeth and Servant and pans as they walk.)

Macbeth: A friend.

(Cut to shot of Banquo.)

Banquo: What, sit, not yet at rest? The king’s a-bed: He hath been in unusual pleasure, and sent forth great largess to your offices: This diamond he greets your wife withal, by the name of most kind hostess; and shut up in measureless content.

(Cut to long shot of Macbeth, Banquo, Servant and Fleance. Macbeth and Banquo closest to the camera. Fleance at Banquo’s side and servant at Macbeth’s side.)

Macbeth: Being unprepared, our will became the servant to defect, which else should free have wrought.

Banquo: All’s well. I dreamt last night of the three weird sisters: to you they have showed some truth.

Macbeth: I think not of them. Yet, when we can entreat an hour to serve, we would spend it in some words upon that business, if you would grant the time.

Banquo: At your kind’st leisure.

Macbeth: If you shall cleave to my consent, when ’tis, it shall make honor for you.

Banquo: So I lose none in seeking to augment it, but still keep my bosom franchised and allegiance clear, I shall be counseled.

Macbeth: Good repose the while!

Banquo: Thanks, sir. The like to you!

(Camera pans to follow Banquo leaving with Fleance and stops at a long shot of Macbeth while still seeing Banquo exiting.)

Macbeth: Go bid thy mistress, when my drink is ready, she strike upon the bell. Get thee to bed.

(Cuts to a low shot as servant leaves and Macbeth turns his back to camera as he watches servant leave. Macbeth then turns around again and faces the camera and cuts to a split second shot of the dagger and immediately cuts to a reaction shot of Macbeth.)

Macbeth: Is this a dagger which I see before me, the handle toward my hand? Come, let me clutch thee.

(Camera starts dolly panning around Macbeth.)

I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible to feeling as to sight, or art though but a dagger of the mind, a false creation, proceeding from the heat-oppressèd brain? 

(Cut to a long shot of Macbeth, turned slightly to his right side and at a slight high angle.)

I see thee yet, in form as palpable as this which now I draw.

(Cut to shot of dagger with Macbeth voiceover.)

Thou marshal’st me the way that I was going; and such an instrument I was to use.

(Same angle of the “I see thee yet” shot.)

Mine eyes are made the fools o’ th’ other senses, or else worth all the rest. I see thee still; and on thy blade and dudgeon

(Cut to shot of dagger with voiceover.)

Gouts of blood, which was not so before.

(High angle shot of Macbeth from behind and a slow pan around.)

There’s not such thing. It is the bloody business which informs thus to mine eyes. Now o’er the one half-world nature seems dead, and wicked dreams abuse pale Hecate’s offerings; and withered murder, alarmed by his sentinel, the wolf, whose howl’s his watch, thus with his stealthy pace, moves like a ghost.

(Cut to a front and slight high angle and follows Macbeth as he walks.)

Thou sure and firm-set earth, hear not my steps, which way they walk, for fear thy very stones prate of my whereabout, and take the present horror from the time, which now suits with it. Whiles I threat, he lives: words to the heat of deeds too cold breath gives.

(Cut to a shot where camera is behind Macbeth looking into the darkness when bell rings. Then Macbeth turns to the camera, but does not look directly at it.)

I go, and it is done: the bell invites me. Hear it not, Duncan, for it is a knell that summons thee to heaven, or to hell.

(Lights fade.)

Scene 2

(Shot straight on Lady Macbeth.)

Lady Macbeth: That which hath made them drunk hath made me bold; what hath quenched them hath given me fire. Hark! Peace! It was the owl that shrieked, the fatal bellman, which gives the stern’st good-night. He is about it. The doors are open, and the surfeited grooms do mock their charge with snores. I have drugged their possets, that death and nature do contend about them, whether they live or die.

Macbeth: Who’s there? What, ho?

(Keep same angle shot but Lady Macbeth looks surprised and camera begins to zoom out slowly.)

Lady Macbeth: Alack, I am afraid they have awaked and ’tis not done! Th’ attempt and not the deed confounds us. Hark! I laid their daggers ready; he could not miss ’em. Had he not resembled my father as he slept, I had don’t.

(Camera stays the same as Macbeth enters.)

My husband!

(Camera cuts to a close up of Macbeth and Lady Macbeth at a low angle.)

Macbeth: I have done the deed. Didst though not hear a noise?

Lady Macbeth: I heard the owl scream and the crickets cry. Did not you speak?

Macbeth: When?

Lady Macbeth: Now.

Macbeth: As I descended?

Lady Macbeth: Ay.

Macbeth: Hark! Who lies i’ th’ second chamber?

Lady Macbeth: Donalbain.

Macbeth: This is a sorry sight.

Lady Macbeth: A foolish thought, to say a sorry sight.

Macbeth: There’s one did laugh in’s sleep, and one cried “Murder!” that they did wake each other. I stood and heard them. But they did say their prayers, and addressed them again to sleep.

Lady Macbeth: There are two lodged together.

Macbeth: One cried “God bless us!” and “Amen” the other, as they had seen me with these hangman’s hands: list’ning their fear, I could not say “Amen,” when they did say “God bless us!”

Lady Macbeth: Consider it not so deeply.

Macbeth: But wherefore could not I pronounce “Amen”? I had most need of blessing, and “Amen” stuck in my throat.

Lady Macbeth: These deeds must not be thought after these ways; so, it will make us mad.

Macbeth: Methought I heard a voice cry “Sleep no more! Macbeth does murder sleep”-the innocent sleep, sleep that knits up the raveled sleave of care, the death of each day’s life, sore labor’s bath, balm of hurt minds, great nature’s second course, chief nourisher in life’s feast-

Lady Macbeth: What do you mean?

Macbeth: Still it cried “Sleep no more!” to all the house: “Glamis hath murdered sleep, and therefore Cawdor shall sleep no more: Macbeth shall sleep no more.”

Lady Macbeth: Who was it that thus cried? Why, worthy thane, you do unbend your noble strength, to think so brainsickly of things. Go get some water, and wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go carry them, and smear the sleepy grooms with blood.

Macbeth: I’ll go no more. I am afraid to think what I have done; look on’t again I dare not.

(Camera starts to zoom out.)

Lady Macbeth: Infirm of purpose! Give me the daggers. (Keep camera at zoomed out angle.) The sleeping and the dead are but as pictures. ’Tis the eye of childhood that fears a painted devil. If he do bleed, I’ll gild the faces of the grooms withal, for it must seem their guilt. (Exit. Cut to high angle shot. Knock within.)

Macbeth: Whence is that knocking? How isn’t with me, when every noise appalls me? What hands are here? Ha! They pluck out mine eyes! Will all great Neptune’s ocean wash this blood clean from my hand? No; this my hand will rather the multitudinous seas incarnadine, making the green one red. (Cut back to long shot as Lady Macbeth enters.)

Lady Macbeth: My hands are of your color, but I shame to wear a heart so white. (Knock.) I hear a knocking at the south entry. Retire we to our chamber. A little water clears us of this deed: How easy is it then! Your constancy hath left you unattended. (Knock.) Hark! More knocking. Get on your nightgown, lest occasion call us and show us to be watchers. Be not lost so poorly in your thoughts.

(Cut to close up of Macbeth.)

Macbeth: To know my deed, ’twere best not know myself. (Knock.) Wake Duncan with thy knocking! I would thou couldst! (Exit.) 

Scene Analysis

Becca Scheurich

Mrs. Wecker

Block 1

June 14, 2009

Illumination of Love

In The Notebook, Nicholas Sparks’ book comes to life in a beautifully made movie. No other story of two lovers has ever been so compelling. Noah, the poor country boy, and Allie, the rich city girl. The two go through every obstacle imaginable, including in the end of their lives, when Allie acquires Alzheimer’s Disease. However, Noah refuses to leave her and reads the story of their lives to her everyday in order to help her remember. The director, Nick Cassavetes, uses the lighting and reaction shots in order to reveal how much Allie means to Noah, and how he would never leave her, no matter what.

Throughout the scene where Allie remembers and then forgets Noah again, the lighting remains bright on Allie. In every shot, either a spotlight remains on her face, or backlighting illuminates her. This helps to keep the audience’s eyes focused on her. To add to this, she wears bright red clothes and light tan shoes, and has very light blonde hair. However, in comparison, Noah wears all dark clothes, has darker hair and the light does not usually focus on him. This emphasizes Allie even more and at all times. Through this, Cassavetes reveals how much Noah focuses on Allie, in turn revealing how much she means to him.

Cassavetes also uses the reaction shots of Noah in this same scene to reveal how much Allie means to him. While the couple dances, the camera cuts to a reaction shot of Noah. The audience sees his extremely loving expression, and can immediately realize just how much he loves her. Then, when the nurses rush in after she forgets him again, the camera cuts to yet another reaction shot of him. Tears fill his eyes, and his heart begins to bother him because of the stress the event puts him through when he already has heart problems to begin with. The sheer emotion that the reaction shots of Noah show reveal how much he cares about her. The fact that he still refuses to leave her later in the movie even though it worsens his own health shows how he would never leave her, no matter what could possibly happen to him.

The Notebook uses different techniques to display the degree of love between Noah and Allie. The camera emphasizes how Noah focuses on Allie by putting her in bright clothing in contrast to Noah’s dark clothing, and by putting her in the light for the majority of the scene. It also uses reaction shots of Noah to show just how much he cares for her. Although being with Allie ultimately hurts him, he sticks with her to the end. He refuses to ever leave her, even when his children ask him to come home. The degree of the couple’s love truly goes “’til death do us part”. 

Scene Proposal

Movie: The Notebook

Running time: 2:45

Scene Description: The scene begins after Allie remembered who Noah was. There is a close up on the couple dancing and talking about the kids and how the time flies by. There is a little bit of blacklighting, but the scene is still pretty dark with old music in the background, giving the scene a romantic feeling. Every now and then, there is a long shot of the couple dancing. After talking for a while, Allie suddenly forgets who Noah is, and panics. The music grows louder as she starts yelling for help and the lights come on. The camera puts focus on the nurses rushing through the doorway and follows them as they take Allie and sit her down. The focus then goes to a doctor rushing into the room and looking like he gives her a shot to calm her down. Every now and then the camera does a close up reaction shot back on Noah, with the lights on, the music playing loudly still, and him crying from seeing what they are doing to his wife. This scene then goes on to another scene showing old pictures of what looks like Allie and Noah together when they were younger.

Antigone

Choose two themes and discuss how each theme is similar or different to a theme in the other plays.

One theme shown throughout Anouilh's Antigone is strength within women. Antigone is the main character who displays strength within women and how women should fight for their beliefs just the same as men do. This is shown in Medea as well because no matter what happens, Medea does not sway with her decision to ruin Jason's life. She becomes strong enough to stand up for herself and express how she feels when she feels that Jason has betrayed her. However, in Oedipus the King, Jocasta displays herself as weak. She does not want to hear the truth about Oedipus because she is afraid, so she kills herself. There is also a part of Antigone where weakness in a woman is shown. Eurydice cannot deal with the death of her son, Haemon, so she kills herself. Although there are some examples of weakness in women, a motif of strength within women is more prominent.
Happiness is also a theme which appears throughout Anouilh's Antigone. It is portrayed differently for each character. This also appears the same way throughout Sophocles' Antigone. In Oedipus the King, happiness is talked about, but is really only associated with Oedipus. People continue to talk about how he was destined for misery and Oedipus addresses how he and his children will never experience joy. Happiness is also addressed in Medea in the same way as in Oedipus the King in the way that Medea is also miserable. She then destroys all happiness for those who betrayed her.

Antigone: Word Choice

• During Creon and Antigone's argument Anouilh repeats many words and ideas. Choose a word or idea and discuss how Anouilh uses the term.
  
• Sometimes Anouilh uses ambiguous terms, identify how the terms affect your interpretation of characters and their motivations.

One word that Anouilh uses constantly during Creon and Antigone's argument is happiness. Both Antigone and Creon argue about what true happiness is. "Life flows like water, and young people let it run away through your fingers" (Anouilh 41). Creon believes that life is what gives people happiness, and that people should live life fore happiness, even if you may have to sacrifice some of your wants to get happiness. However, Antigone's idea of happiness is extremely different. "I spit on your happiness! I spit on your idea of life- that life that must go on, come what may" (Anouilh 42). Antigone does not necessarily believe that one has to be living to be happy. She believes that people should be happy to sacrifice themselves for a cause that they believe in, that they should not be afraid to lose their lives for something so important to them. Antigone does not believe in sacrificing her wants and beliefs for anything.

Anouilh makes terms such as happiness ambiguous because each character has a different interpretation of what it means to them. Because of this, the reader is allowed more insight into the personality and beliefs of each character. It also allows the reader more insight into Anouilh's interpretation of who each character is. For example, using the quote from Antigone from above, the reader is able to see that Anouilh thinks that she will not sacrifice her beliefs and wants for anything.

Antigone

Think about the character you will be performing. What motivates him/her? What role does this motivation play? Use evidence from the play to defend your response.

In Anouilh's version of Antigone, Creon is motivated by his reputation. He doesn't want anyone to know that someone has dared to break his rules. "You are all guilty of neglect of duty, and you will be punished; but if the rumor spreads through Thebes that the body received burial, you will be shot- all three of you" (Anouilh 22). Creon does not want anyone to step all over him. He wants to make sure that he stays known as the king who no one can take advantage of or sway some other way than his own way. This motivation makes him come across as tyrranical, power-hungry, and uncaring. "Sir, I've got two kids" (Anouilh 22). The guard tries to convince Creon not to execute him because it couldn't have been him, but Creon insists that he is either brought the traitor or the guard dies. Even when the guard tells Creon about his family, Creon does not care.