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THE ADAPTATION OF A ONE-ACT PLAY
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Thesis for the Degree of M. A...
MiCHtGAN STATE UNWERSETY
RONALD L. GROW
1971

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ABSTRACT

THE ADAPTATION OF A ONE-ACT PLAY
INTO A MOTION PICTURE SCENARIO

BY
Ronald L. Grow

The objective of this thesis is to adapt a one-act
play into a film scenario. The play selected for this

adaptation is "Now I'm in Fivey's", written by Edward

 

McCoy, Professor of Radio, Television and Film at Temple
University.

The one-act play centers around an eight to ten
year-old boy who pretends to have an unusual handicap.
There is also an ambiguous condition as to whether the
protagonist is an orphan. Pretense is the theme of the
play and therefore is particularly adaptable to film.

Film techniques such as the freeze frame or stop
action, canted camera angles, quick—cut editing and slow
motion are used to reinforce the interpretation of the
one-act play by this writer.

Chapter two is the film script adaptation of the
play. In chapter three there is this writer's analysis
of the one—act play, examining the exposition, situation,

climax and resolution. The theme of the play as well as

Ronald L. Grow

the playwright's inconsistency of this theme is covered
in chapter three. The rationale of the camera angles
and treatment are also presented in chapter three.

Chapter four consists of translation differences from
a play script to a film script. Since the unity of time
problems of a play can be done very effectively in film
by fades and dissolves in the editing, several play scenes
were not used in the adaptation. In chapter four, these
scenes are reprinted and the reasons for omitting them
given.

The original draft of the adaptation has been included
in this thesis as Appendix A since this version was more
of a creative re-write of the play than a translative
adaptation. A statement as to why this original adaptation
was rejected is included.

Appendix B is the original play script written by

Edward McCoy.

THE ADAPTATION OF A ONE-ACT PLAY

INTO A MOTION PICTURE SCENARIO

BY

Ronald L. Grow

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Radio and Television

1971

f“ r-
sb70fifi

Copyright by
RONALD L. GROW
1971

Accepted by the faculty of the Department of
Television and Radio, College of'Communication Arts,
Michigan State University, in partial fulfillment of

the requirements for the Master of Arts degree.

Director of Thesis

 

iii

TABLE OF CONTENTS

Page

CIiAPTER ONE-'- INTRODUCTION. 0 o o o o o o o o o o o o 1

Synopsis of the OneeAct Play . . . . . . . . . 3

CHAPTER TWO--THE FILM SCENARIO OF THE PLAY . . . . . 4

CHAPTER THREE--INTERPRETATION OF ONE-ACT PLAY. . . . 27

The Exposition . . . . . . . . . . . . . . . . 27

The Situation. 0 O O O O . O O O O O O O O O O 28

The Climax 0 O O O O O O O O O 0 O O O O O O O 29

The Resolution . . . . . . . . . . . . . . . . 30

Thematic Problem Raised in the Adaptation . . 32

The Theme of the One—Act Play. . . . . . . . . 35

Rationale of Selected Camera Shots . . . . . . 36

CHAPTER FOUR--THE ADAPTATION TRANSLATION DIFFERENCES 39
Scenes of the One-Act Play Not Used in

Adaptation. . . . . . . . . . . . . . . . . 41

APPENDICES O O O O O 0 O O O O O O O I O O O O O C O 52

A. Original Draft on the Adaptation . . . . . 52

B. Now I'm In Fivey's . . . . . . . . . . . . 68

 

iv

CHAPTER ONE

INTRODUCTION

Since the drama and the motion picture are both
created primarily for viewing by an audience, rather than
the audience reading the scripts, it is less than ideal
to submit in written form both the original drama and the
motion picture scenario.

Ideally, the drama used in this thesis, "Now I'm In
Fivey's, should be performed by actors on a stage, which
would permit a more effective understanding and criticism
of the play.

It would also be ideaI if the scenario adaptation
could be produced for projecting on a motion picture
screen.

It is important, in respect to this thesis objective,
to keep in mind the preference of viewing the play and
motion picture rather than reading them. There is a
mind's-eye impression or image-building creation that
goes on in the reader's head that is circumvented to some
degree in the viewer's head. With words the reader's
mental impressions and visualizing are far more active

than the viewer's of a stage play or motion picture.

The more you present an audience, in terms of color,
texture, size and shape, the less the audience needs to
visualize. Anthony Newley, who assisted in writing the
book, lyrics and music for the broadway musical,

"Stop the World--I Want To Get Off", kept his stage pro—
duction as simple as possible to allow the audience more
mind's-eye creation. He said, "... The imaginations of
your audience can match the atmosphere created by the
actor with far more effective mind's-eye backdrops than
the average designer could hope to construct on stage."

These are important considerations when adapting a
play script that the adapter has not seen on stage. The
adapter cannot have the same visual impressions that the
playwright had when writing the dialogue. For example,
the playwright of "Now I'm In Fivej's", Edward McCoy,
used for the names of his children in his play, Meg and
Joe. When reading his play one might not accept the name
Meg, for an eight to ten year old child. However, one
would be less inclined to react to the name if one saw
an eight to ten year old child on stage whose name was
Meg.

The approach to the adaptation of McCoy's play was
to maintain as much of the original context, pacing and
effect. It should be pointed out that this writer had,
after reading the play, taken creative license and re—
written much of the play for the adaptation. This

original draft has been included as Appendix A.

SynOpsis of the One-Act Play

The story is about a boy named Joe who has no arms.
He apparently lives with other children his age in an
orphanage. The setting for the play is the orphanage
playground, which is surrounded by a brick wall. Meg, a
girl of the same age Who lives across the street, enters.
She learns that Joe has no arms, but decides that her
doll's arms can be his "new" arms. Meg runs home to get
Elsa, her doll. When she returns she sews the rag-doll
arms on the shoulders of Joe's jacket. After Meg leaves,
Joe shows off his "new" arms to Jake, the custodian of
the home. Shortly, Meg arrives in tears and wants her
doll's arms returned. Joe doesn't want to give the arms
back. In an instant, through a twist of Joe's body, the
attached doll's arm slaps meg's face. Joe now allows
Meg to take the doll's arms and she leaves. At this point,
Joe returns to the hopscotch game where the play began.
Suddenly and shockingly the audience learns that Joe does
have arms. .His real arms had been hidden under his jacket.
He picks up the stone marking the hopscotch squares and

says, "Now I'm in my fivey's", as the lights fade on the

play.

SHOT

CHAPTER TWO

THE FILM SCENARIO OF THE PLAY

PICTURE

CU OF JOE'S FEET. SLOW
TILT UP TO JOE'S FACE.

HIS LEGS ARE CROSSED WITH
ONLY THE TOE OF ONE SHOE
RESTING ON THE GROUND.
CAMERA STOPS AS TWO EMPTY
SLEEVES COME INTO VIEW.
JOE HAS NO ARMS. HIS
JACKET SLEEVES ARE GENTLY’
SWAYING IN THE WIND. '
SLOW TILT UP CONTINUES.
WHEN FACE COMES INTO VIEW’
WE SEE THAT JOE'S EYES ARE
CROSSED. CAMERA STAYS ON
CU OF JOE'S FACE. JOE '
UNCEOSSES HIS EYES. HIS
EYES NOW FOLLOW SOME MOVE-
MENT...PROBABLY THE CHIL-
DREN THAT WE CAN STILL
HEAR. JOE NOW MOVES LEFT,
HIDING MOST OF HIS FACE"
BEHIND A PLAYGROUND SLIDE.
WITH ONE EYE PEERING OUT
HE CONTINUES TO FOLLOW THE
CHILDREN'S MOVEMENT.

DIS TO WIDER SHOT SHOW-
ING JOE ALMOST HIDDEN
BEHIND SLIDE

SOUND
(WE HEAR CHILDREN PLAY-

ING, LAUGHING, RUNNING.)

KID: You stepped on the

line.

ANOTHER: I did not.

KID: You did. I saw you.

ANOTHER: I did not step
on the line. Did I step

on the line?

 

 

SHOT PICTURE SOUND
KID: Look, you can see
the chalk's erased away.
THIRD KID: I saw you.
You stepped right here.
ANOTHER: I did not ... I
3 JOE MOVES OUT FROM BEHIND ‘A SCHOOL BELL RINGS. THE
SLIDE. HE STANDS WAITING.
NOISE OF THE CHILDREN
SWELLS ... WE HEAR THEM
RUN OFF. NOW IT'S QUIET
EXCEPT FOR BIRDS AND
NATURAL SOUNDS.
4 LS AT CANTED ANGLE. IN
THE FOREGROUND OUT OF FOCUS
IS A LARGE STONE USED AS A
MARKER FOR HOPSCOTCH'GAME}
JOE IN BG BEGINS WALKING
TOWARD CAMERA. AS HE”
PASSES SWING HE KICKS IT
SO THAT IT SWINGS RATHER
HIGH. HE STOPS AT WATER
FOUNTAIN, STEPS ON FOOT-
PEDDLE BUT DOESN'T DRINK.
CONTINUES TOWARD CAMERA.
WHEN HE REACHES HOPSCOTCH"
GAME HE JUMPS THROUGH IT.
NOW WE ARE FOCUSED ON THE
STONE AND ONLY SEE JOE'S
SHOES AND PART OF HIS LEGS
STRADDLING THE STONE. NOW
A HAND REACHES IN AND PICKS
UP STONE.
5. CUT TO MCU OF JOE AS HE

TWISTS AROUND. THE FAST
TWIST AROUND STOPS WITH
JOE LOOKING DIRECTLY INTO
CANTED CAMERA. HIS EXPRES-
SION SHOWS SURPRISE MIXED
WITH FEAR.

 

SHOT PICTURE SOUND
6 FAST ZOOM TO JOE'S FACE MEG: Now you're in Fivey's.
ECU CAMERA STILL CANTED
7 MCU OF MEG. QUICK AFTER-
STATEMENT REACTION SHOT.
8 MS OF JOE GGE; I'm not in fivey's.
I never played before.
How could I be in.....
JOE RUNS TO BUTTERCUPf fivey's at the beginning?
9 MS OF MEG MEG: The stone over there
(POINTS) in fourey's. You
didn't step on the line.
I watched. (SHE YELLS
LOUDER NOW) Now you're in
fivey's. Right? (SHE
LAUGHS MERRILY...TOSSES
STONE DOWN.
10 CAMERA FOLLOWS MEG AND RUNS OVER TO A SWING
WHERE SHE SITS.) Right?
11 ECU OF JOE 193;: I ain't.
MEG: Will somebody push
me, please?
12 LOW, LOW ANGLE OF MS OF
MEG SITTING ON SWING.
WIDE ANGLE LENS DISTORTS
HER FEET WHEN SHE KICKS
THEM TOWARD CAMERA.
JOE WALKS INTO SHOT. GGE: How'd you get in the
Parneyhome? Who are you?

You don't belong here.

 

gar PICTURE SOUND
13 MS OF JOE, FAVORING
EMPTY SLEEVES Are you new?
14 MS OF MEG AS SHE STARTS
TO STAND UP IN SWING. MEG- I'm Meg.
15 REPEAT SHOT 13 JOE: You don't belong to
Parneyhome?
16 MS OF MEG SWAYING SWING MEG: I live across the
SIDEWAYS TRYING TO GRAB
SWING POST street.
17. REPEAT SHOT13 JOE: How'd you get in?
18 MS OF MEG. SHE NOW IS
CLIMBING SWING POST MEG: Climbed the fence
(wall).
19 ECU OF JOE JOE: That fence?
20 MEG JUMPS DOWN FROM SWING MEG: It isn't high. I
POST AND RUNS TO BUTTER-
CUP piled boxes that I got
from Katzman's.
NOW ON BUTTERCUP You oughta leave the gate
Open, so kids could come
in.
21 MCU OF JOE WHO STARTS TO JOE: Jake has the key.
FOLLOW THEN STOPS.
He keeps it locked.
MEG: Why does he?
22 CAMERA FOLLOWS JOE WHO JOE: I don't know. So we
KICKS ALL THE SWINGS
GETTING ALL OF THEM won't get out. I guess.
SWINGING.
I don't know.
23 ECU OF MEG MEG: You wanna get out?

 

EMPTY SWING HIGHER AND
HIGHER.

SHOT PECTURE SOUND
24 MS OF JOE. HE IS LOOKING JOE: I don‘t know...
AT HIS EMPTY SLEEVES.
(PAUSE) No. I don't.
MEG: You ever been out?
(JOE SHAKES HIS HEAD) Never
to the street? To school?
STILL LOOKING DOWN JOE: School's here.
25. CAMERA ZOOMS BACK AS MEG G: But I see the kids
MOVES TOWARD JOE AT
SWINGS. come out every day.
26 PROFILE SHOT OF TWO AS JOE: Not me. I stay here.
JOE WALKS INTO SWINGS
LETTING EACH ONE HIT HIM MEG: Why? (NO ANSWER)
IN ITS SWINGING. JOE IS
STOPPING THE SWINGING Why?
ACTION OF THE SWINGS AS
HE WALKS THROUGH THE JOE: Because. I don't
SWINGS.
know. Shut up.
27 MEG IN FOREGROUND GRABS MEG: Why wouldn't you
ONE OF THE SWINGS. JOE
IS IN BG WITH BACK TO push me on the swing?
CAMERA.
28 MS OF JOE FAVORING EMPTY JOE: Who wants to push a
SLEEVES
girl on a swing?
29 MS OF MEG WHO HAS TAKEN A MEG: Ascared?
POSITION IN ORDER TO PUSH
SWING. JOE: No, not ascared.
MEG PUSHES EMPTY SWING MEG: Ascared of swings,
HIGH
or girls?
30 JOE WALKS AWAY FROM SHOT JOE: No, not ascared of
TOWARD LARGE SAND BOX
anything.
31 MS OF MEG NOW PUSHING MEG: My brother were here,

he'd push me. All day long

if I wanted.

 

SHOT PICTURE SOUND
32 CU OF ONE OF JOE'S EMPTY JOE: Your brother?
SLEEVES WITH MEG IN M.G.
33 REPEAT SHOT 31 MEG: He can do everything.
34 MEG RUNS OVER TO SAND BOX Carve a three-link chain
AND STARTS DELICATELY
STEPPING NEXT TO CASTLES ... out of one piece of
AND SAND SCULPTURES THAT
OTHER CHILDREN HAVE MADE wood.
IN THE SAND BOX.
35 CU OF MEG'S SHOES AS SHE Skate fast as an automo-
ALMOST STEPS ON SAND
SCULPTURES. IT IS OBVIOUS bile. Make flowers grow
SHE IS TRYING TO STEP CLOSE
BUT NOT ON SCULPTURES. by looking at them.
JOE: What's his name?
MEG: He takes me to a play—
ground up the street...
twice as big as this. He
pushes me on swings and....
JOE'S FOOT COMES IN ON JOE: Why isn't he here?
TOP OF ONE OF SAND
SCULPTURES. HE CONTINUES Why didh't he climb into
TO STEP ON ALL THE SAND
SCULPTURES. the playground and boost
you over?
36 LOW ANGLE OF MEG LOOKING MEG: I came by myself.
DOWN.
37 TWO SHOT OF JOE AND MEG JOE: If I were someone's

brother, I wouldn't stay
outside. I'd be in here
with you and push you on
the swing. What kind of
brother do you have. What's

his name?

10

 

SHOT PICTURE SOUND
38 MS OF MEG WHO HAS DROPPED MEG: He hasn't any name.
DOWN TO FIX ONE OF THE
SAND CASTLES JOE HAS STEP- JOE: No name?
PEN ON. JOE'S EMPTY
SLEEVE IS VERY MUCH IN THE MEG: I just pretent him.
FOREGROUND OF THE SHOT
JOE: Make-believe?
MEG: I call him Joe...
but not out loud.
39 ECU OF JOE JOE: That's my name, Joe.
40 CAMERA TILTS TO MEG AS
SHE STANDS--LOOKS AT JOE
THEN HIS EMPTY SLEEVES.
SHE SLOWLY BEGINS TO
SWING HER ARMS FREELY.
JOE WATCHES
41 CU OF MEG MEG: Who took your arms?
Who cut them off?
42 CUT TO MS OF JOE... JOE: Nobody. Nobody did.
SHOWING BOTH SLEEVES
COuldn't I be born like
FRAME FREEZES FOR FOLLOW—
ING CONVERSATION. that?
MEG: I wasn't. Nobody I
know was born like that.
JOE: You were born like
you. I was born like me.
MEG: I don't believe you.
YOU had arms once, I bet.
FRAME CONTINUES ACTION JOE: Get out of here.
HERE JOE WALKS OUT OF
SHOT.
43 MCU OF MEG MEG: I'll push you on the

swing.

HOT PICTURE

44

45

46
47
48

49

50

ll

 

REPLY
CUT TO CU OF JOE

CUT TO CU OF MEG

SLEEVES

BUTTERCUP

SOUND
SWISH-PAN TO JOE THEN
FAST ZOOM TO JOE'S FACE
ECU OF MEG WAITING FOR
CUT TO MS OF JOE SHOWING
JOE: I can't hold on
MS OF MEG CROSSING TO MEG: Sit. Sit on the
Buttercup. I'll give you
a ride.
CAMERA TIGHTENS SHOT AS
MEG GRABS BUTTERCUP AND
PUSHES IT HARD. :MAKING
IT GO AROUND QUITE FAST.
JOE: Get out.

CAMERA BECOMES SUBJECTIVE.
RIDING THE BUTTERCUP FAST’
WE SEE JOE FLASH BY. THE
CAMERA IS CANTED SLIGHTLY
DISTORTING ANGLE MORE.

You don't belong in the
playground. Jake better

not find you here.

MEG: You don't like me,

do you?

GEE: No, I don't like you.
MEG: Yes, you do.

GQE; No, I don't.

MEG: Yes, you do.

G_E: Yes, I do only, only...

12

 

SHOT PICTURE SOUND

51 CU of MEG MEG: Only what?

52 CAMERA IS PROFILE AS IT JOE: I don't like you.

FOLLOWS JOE TO BUTTERCUP.
WE DON'T SEE MEG ON THIS You shouldn't be here.
MOVE.
(LOOKS OFF RIGHT) They'll
be coming out to look for
me in another minute.
I should be in. They have
to feed me.
53. CHANGE ANGLE SHOW JOE MEG: I feed our Sport at
WALKING INTO SHOT. MEG
IS FRAMED RIGHT ' home. It's time he had
his supper.

54 CU OF JOE JOE: Go on. Go feed him.
If Jake finds you here,
they'll keep you in the
home.

55 CUT TO MS OF MEG AND MEG: I like it here.

DOLLY BACK AS SHE RUNS
TO SWING.
56 MS OF JOE AT BUTTERCUP
57 MS OF MEG WHO SITS ON
SWING AND STARES AT JOE.
SHE“DOESN'T SWING

58 REPEAT SHOT 56 JOE: You wish I'd push
you on the swing, don't
you?

59 PROFILE SHOT OF MEG AS

SHE BEGINS TO PUMP HER-
SELF HIGH. ‘WHEN SHE
GETS QUITE HIGH SHE SAYS MEG: You couldn't.

l3

 

SHOT PICTUREE, SOUND
60 MS OF JOE STANDING ON JOE: Go home. Climb back
BUTTERCUP
over the fence.
61 REPEAT SHOT 59 MEG: I can't.
62 CUT TO JOE WHO IS BENDING
DOWN AS IF TO LOOK AT MEG
UPSIDE DOWN '
63 UPSIDE DOWN SHOT OF MEG MEG: There aren't any
ON SWING--SWINGING VERY
HIGH NOW boxes on this side. It's
too high on this side.
64 SAME ANGLE AS SHOT 62 AS JOE: This side? A wall's
JOE NOW SITTING STARTS
PUSHING WITH HIS FEET. the same on both sides,
THE BUTTERCUP BEGINS TO
TURN isn't it?
65 TIGHT SHOT OF MEG SWING- MEG: I got boxes on the
ING HIGH. CAMERA PANS
TO STAY WITH MEG. other side, from Katzman.
66 CAMERA RIDES WITH JOE ON JOE: If I had arms, I'd
BUTTERCUP WITH CU OF JOE.
THE B.G. MOVES BY NOT climb it. I'd climb it
TOO FAST.
and wouldn't need no boxes.
I'd push you on the swing
too. So high you would get
scared and tell me to stop.
67 PROFILE OF MEG WHO JUMPS MEG: What would you do if
OFF MOVING SWING AND MOVES
TOWARD JOE. you had arms?
68 CAMERA TAKES MEG'S POSI—

TION WATCHING JOE SLOWLY
TURNING AROUND ON A MS
OF JOE

MEG WALKS INTO SHOT GRABS
BUTTERCUP AND STOPS IT.
JOE IS FACING MEG NOW.

JOE: I'd drop things so I
could stoop ... and pick

'em up. What would I do?

14

 

SHOT PICTURE SOUND
MEG: Would you come out?
And I'd show the other kind
of buttercups? Flowers?
69 MCU OF JOE WHO NOW STANDS JOE: We have them here.
ON BUTTERCUP
70 MCU OF MEG MEG: And you'd pick a
bunch with me for my mother
and your mother...
71 MS OF JOE. HE SAYS ”I" JOE: Ioooooo.
THEN FRAME FREEZES OP-
TICALLY. WE HAVE PICKED
FIVE FRAMES OF A FAST ZOOM
TO JOE'S FACE FOR THIS
SPEECH
72 CLOSER FREEZE FRAME OF
JOE. JOE: ....don't....
73 CLOSER FREEZE FRAME OF
JOE. JOE: ....have...
74 CLOSER FREEZE FRAME OF
JOE. JOE: ooooooaooooo
75 CLOSEST FREEZE FRAME OF JCE: oooomOtheroooooo
THE ZOOM TO JOE'S FACE.
THE CADENCE OF THE CUTTING
WILL BE DETERMINED BY THE
NATURAL SPEED OF THIS
SPEECH. "I don't have a
mother."
76 REPEAT SHOT 70 MEG: I bet somewhere you
could get arms.
77 CAMERA FOLLOWS JOE OFF JOE: Most of the kids
BUTTERCUP TO DRINKING
FOUNTAIN here don't have mothers.
78 CAMERA FOLLOWS MEG MEG: SomeWhere there's a

FOLLOWING JOE

place they make arms and

15

 

SHOT PICTURE +§OUND
you could get a pair. We
could climb the wall and

79 CUT TO JOE'S FOOT SLAM- EQE: There aren't any

MING ON FOUNTAIN FOOT
PEDAL boxes on this side.
80 PROFILE SHOT OF JOE. EEE: You could climb over
WATER RISING INTO SHOT
WITH MEG CENTER IN/ by yourself you said, if
B.G. FACING CAMERA.
you had arms..
EQE: They can't make arms.
Not real ones. Not arms
that move.
EEE: I have a doll. She's
a big rag—doll. She's got
arms. Elsa. I think her
arms would fit you.
THE WATER STOPS
QQE: Elsa?
81 CU OF MEG'S FOOT.. EEG: I could get them.
MOVING ONTO FOUNTAIN
FOOT PEDAL

82 CU OF MEG I'd get them for you

83 CU OF JOE EQE; WOuld they be real?

84 CU OF MEG EEE: Elsa is. We'd... '

85 FREEZE FRAME play they were real.

86 CU OF JOE

87 CU OF MEG

SHOT

88

89

9O

16

PICTURE

CU OF JOE

TWO SHOT WITH MEG MOVING
INTO JOE. WATER STOPS.

MEG STARTS OFF AWAY
FROM CAMERA

CAMERA FOLLOWS BOTH AS
THEY NEAR WALL

SOUND

EQE: If we could get

them to stay on. What

make arms stay on?

EEE: I'd sew them on,
that's what. (TOUCHES

HIS SHOULDERS) Right there.
I'll bring a needle. Some
of mother's thread. I'll
sew them on. They'll stay.
JOE: When?

G: Today. I'll do it.
JOE: Somebody'll take the
boxes away to make a potato-
fire. You won't get in.
EEE: I will. I'll climb
up some way.

QQE; Even if you don't.
Even if the arms don't fit.
Come back the next time he's
got boxes...Katzman?

EEE: I'm coming back today.
I'll bring the thread and
needle. You wait.

JOE: If they fit.

ME : They'll fit.

SHOT

91

92

93

94

95

96

97

98

99

17

PICTURE

MS ON BOTH AT WALL NEW JOE:
ANGLE

On my back.

Up. Can

you make it?

MEG:

You're not as high

as Katzman's boxes.

LOW ANGLE OF MEG NOW MEG:
STANDING ON WALL

MEG SLOWLY EDGES HERSELF
DOWN OTHER SIDE OF WALL.

LS OF MEG RUNNING AWAY
FROM WALL...ACROSS STREET,
SHE RUNS TOWARD CAMERA.

MEG RUNS OUT OF TIGHT SHOT
INTO LS TOWARD HOUSE

FROM TOP OF STAIRCASE,
MEG RUNS UP AND PAST
CAMERA

MS OF MEG RUNNING INTO HER
BEDROOM..STOPS SUDDENLY,
LOOKS IN CORNER OF ROOM

CUT TO CU OF RAG-DOLL WITH
LONG ARMS.

MS OF MEG WALKING CLOSER
TO DOLL TOWARD CAMERA..
STOPS..TURNS. CROSSES TO
DOOR AND CLOSES IT..WAITS
FOR NOISES OR RESPONSES
FROM DOWNSTAIRS WHICH DON'T
COME. TURNS..WALKS TOWARD
CAMERA AND DOLL.

SHE

MS OF DOLL IN CORNER AS MEG
SITS NEXT TO DOLL. SHE STUDIES
DOLLS ARMS. LOOKS AT DOLL
AFFECTIONATELY. HUGS DOLL..
TURNS TOWARD DRESSER.

Have you got a hold?
You wait.

I'll wait.

Don't take too long.

SHOT

100

101

102

103
104
105
106

107

108
109

110

111

112

18

PICTURE EOUND

CU OF MEG'S FACE AS SHE
CROSSES TO DRESSER...
OPENS DRAWER..REMOVES
SCISSORS.

CAMERA TILTS DOWN TO
SCISSORS.

LS OF MEG AT DRESSER. SHE
CLOSES DRAWER..PICKS UP
TWO SAFETY PINS..LOOKS
TOWARD DOOR..THEN CROSSES
TO DOLL. SHE STOPS

ECU OF DOLL'S FACE
ECU OF MEG'S FACE
REPEAT SHOT 103

MS OF MEG AND DOLL. 'MEG
STUDIES DOLL. SHE HUGS
DOLL..TAKES SCISSORS--THEN
STOPS. RISES QUICKLY;-
CAMERA FOLLOWS AS SHE RE-
TURNS SCISSORS TO DRAWER
AND WAITS FOR SOMEONE TO
ENTER DOOR.

ECU OF MEG. SHE WAITS..
NOTHING HAPPENS, SHE LOOKS
AT DOLL.

ECU OF‘DOLL

MS OF MEG. CROSSES TO
DRAWER. GETS SCISSORS
CROSSES TO DOLL AND SITS.

CU OF DOLL'S HAND IN MEG'S
HAND. MEG SQUEEZES DOLL'S
HAND.

MCU OF MEG AND DOLL. MEG
HOLDS OUT ONE OF HER HANDS
50 WITH DOLL'S PADDED HAND
SHE CAN SLAP IT.

ECU OF DOLL'S HAND FALLING
FAST TOWARD MEG'S HAND

SHOT

113

114

115

116

117

118

119

120

121

122

123

19

PICTURE SOUND

QUICK CUT TO JOE'S FOOT
SLAMMING ON FOUNTAIN
FOOT PEDAL

MCU JOE TAKING A DRINK HE
CROSSES TO BUTTERCUP AND
SITS

ECU OF JOE'S FEET FROM

JOE'S VIEWPOINT. FEET

BEGIN TO PUSH BUTTERCUP
AROUND.

SUBJECTIVE VIEW FROM
BUTTERCUP TURNING AROUND.
ON THE FIRST PASS WE DON'T
SEE MEG. THEN WE DO...
CAMERA PASSES STOPS SUDDENLY
...BACKS UP TO MEG. WE SEE
MEG HOLDING TWO RAG-DOLL
ARMS O
NEE:

JOE:

CU OF MEG HOLDING OUT" "MEG:
DOLL'S ARMS

MS OF JOE MOVING IN TOWARD JOE:
MEG
look

TWO SHOT PROFILE MEG:

ECU OF MEG'S HANDS AS SHE Hold
PINS ONE ARM ON THE
SHOULDER OF JOE'S JACKET.

MS OF BOTH. JOE WALKS IN '
WIDE CIRCLE WITH ONLY ONE
ARM ATTACHED. HE IS
STUDYING ARM, HE RETURNS
TO MEG.

ECU OF MEG'S HAND PINNING
OTHER ARM ON

TWO SHOT MEG:

Joe.
You got them?

Here are the arms.

Will they fit? They
too small.
Well, try them on.

still Joe.

Do they work Joe?

(PAUSE) Move them. Move

them Joe. Go on.

fl-flflflr-mwu ‘
_ .n. . Meu~ ' - 2‘
I
I}
u

20

 

SHOT PICTURE l__SPOUND
QQE: No.

EEE: They won't go?

124 MS OF JOE. WE SEE J_OE_: I...I don't know.

BOTH ARMS
If I tried them..maYbe
(they wouldn't move.

125 CU OF MEG EEE: Try them... Try them.

126 REPEAT SHOT 124 EQE: I'll just..keep them
for awhile. They look good.

127 REPEAT SHOT 125 EEE: They look real good.
They look better on you
than they did on Elsa.

128 MS OF JOE LOOKING DOWN (EEE: I can't stay any

AT ARMS
longer, Joe. I gotta
leave. (PAUSE) The arms
won't move.

129 ECU OF JOE. EQE: You coming back?

(MEG NODS YES)
130 MS OF MEG AS SHE CROSSES EEQ: I'm glad we got the
TO SWING AND SITS
arms on. It was fun.

131 MCU OF JOE EQE: MaYbe they have to
get to know you before
they move.

132 MS OF MEG ON SWING EEE: You tried them?

133 REPEAT SHOT 131 EQE: I don't know

21

 

SHOT PICTURE SOUND
134 CAMERA FOLLOWS MEG MEG: You tried them and
JUMPING OFF SWING
RUNNING TO JOE you didn't tell me. You
been trying them all along?
135 TWO SHOT JOE: How..how do you try
them. I wished hard they'd
move. I thought..move,
arms. They have to get to
know you I guess.
MEG STARTS OUT MEG: You keep them till
tomorrow.
136 CU OF JOE JOE: Till tomorrow?
137 LS OF MEG LEAVING ME : See what happens.
I gotta go.
JOE: Thanks for the arms.
MEG: (YELLING) Thank Elsa.
I'll come and play again.
138 LS ZOOMING SLOWLY IN
TO JOE. ENDING ON MCU
OF JOE.
139 ELS OF JOE RUNNING TOWARD
HOPSCOTCH GAME. ALL
MOTION IS SLOW MOTION.
140 WHEN JOE REACHES HOPSCOTCH
GAME HE TWIRLS AROUND.
FRAME FREEZES
141 DIS TO JOE ON SWING MEG'S VOICE: My brother

 

FREEZE FRAME. SHOT SHOWS
DOLL'S HANDS HANGING ONTO were here he'd push me all
SWING CHAIN

day if I wanted.

SHOT

142

143

144

145

146

147

148

149

22

PICTURE

DIS TO ANOTHER FREEZE
FRAME JOE ON SWING
HIGHER IN AIR

DIS TO FREEZE FRAME

JOE STILL HIGHER

ON SWING. MAKE SURE
DOLL'S HANDS CAN BE SEEN
HOLDING ON SWING CHAIN

DIS TO SHOT FREEZE FRAME
STILL HIGHER

DIS TO ECU OF JOE'S FACE
LAUGHING. FREEZE FRAME
CONTINUED.

DIS TO FREEZE FRAME MS OF
JOE WITH DOLLS HANDS
HOLDING SWING OUT READY
TO PUSH IT.

DIS TO REPEAT FREEZE
FRAME. SWING NOW PUSHED
AHEAD

DIS TO ECU OF JOE'S FACE
LAUGHING
FREEZE FRAME CONTINUED

(EDITOR'S NOTE:

SOUND

He can do everything.
Carve a three-link

chain...

...out of one piece of
wood

Skate fast as an automo-
bile.

Make flowers grow by look—

ing at them.

He takes me to a playground
up the street....
...twice as big as this

one 0

FROM SCENE

140 THROUGH 148 WHICH ARE
ALL FREEZE FRAME CUTS. THE
LENGTH OF THE DISSOLUES CAN
BE ARBITRARILY DETERMINED.
THE POINT OF THESE DISSOLVES
AND FREEZE FRAMES IS TO
CREATE HOW JOE'S IMAGINA-
TION SEES THESE ARMS BEING
USED. IT IS AN ELAPSED
TIME SEQUENCE ALSO.)

CU OF JOE SITTING ON SWING He pushes me on swings
CONTINUE FREEZE FRAME.
and...

23

 

SHOT PICTURE ‘SOUND
SUDDENLY FREEZE FRAME
BECOMES ACTION. A HAND
COMES IN AND TOUCHES
JOE'S SHOULDER. JOE IS
STARTLED. MEG: You‘ll have to give
the arms back.
150 ECU OF JOE gpg: Give them back
151 ECU OF MEG .MEQ: (SHE LOOKS LIKE SHE
HAS BEEN CRYING) I have
to fix my doll...my
mother's mad. (PAUSE) You
think I gave you Elsa's
arms for keeps?
152 REPEAT "SHOT 150 1932;: You pinned them on;
153 REPEAT SHOT.151 'MEQ; I can get them off.
154 MCU OF JOE BACKING AWAY JQE; No.
155 MCU OF MEG MOVING IN MEG; I want them back.
I only gave them to you in
fun. Not for keeps.
156 REPEAT SHOT 154 19;: No.
157 REPEAT SHOT 155 MEG; I'll call my mother.
158 ECU OF JOE QQE; Call your mother.

JOE BEGINS TO BACK INTO
A CU SHOT

Call the whole damn world.
These arms are mine.
MEG: They're no good to

you.

They only hang there.

24

 

SHOT PICTUR§_ SOUND
MCU OF JOE STILL A halloween suit, that's
BACKING
what they are.
They aren't arms on you,
you just pretend.
MEG MOVES IN TOWARD JOE I want my Elsa's arms....
JOE SUDDENLY TURNS AWAY
159 ECU OF DOLL'S HAND
STARTING TO SWING AWAY
FROM JOE'S BODY
160 MCU OF JOE SHOT FAVORING
DOLL'S HAND NOW SWINGING
OUT MORE.
161 ECU OF DOLL'S HAND AS IT
SLAMS INTO MEG'S FACE.
CAMERA STAYS ON MEG'S
FACE
(CINEMATAGRAPHER'S'NOTE:
SHOTS 159, 160, 161 MIGHT
BE DONE AS SLOW MOTION)
162 CUT TO REACTION OF JOE--
ECU
163 QUICK CUT TO ECU OF MEG
164 QUICK CUT TO ECU OF JOE
165 QUICK CUT TO ECU OF MEG--
THEN SLOW ZOOM OUT
THEN SUDDENLY MEG CRIES JOE: Here. Meg.
MEG STOPS CRYING JOE: Here.
166 MCU OF JOE JOE: They're yours. They

MEG STARTS CRYING
AGAIN

belong to you.

JOE: Stop crying.

25

SHOT PICTURE 4;§QUND

167 MCU OF MEG MEG: (WIPING TEARS) We
shoulda played something
else. (SHE UNPINS ONE
ARM) She wasn't an old doll
...Elsa..she was new. My
mother's mad.

168 TWO SHOT JQE; Stop crying. They're
yours. Go on and sew them
back on Elsa. Go on (SHE

NOW HAS BOTH ARMS)

169 CU OF JOE I don't need them anymore.
170 ECU OF JOE I don't. Quit bawling.
Go on.

171 MS OF MEG AS SHE TURNS AND
RUNS INTO ELS TOWARD WALL
AND GATE. SHE PUSHES GATE
AND DISAPPEARS

172 MS OF JOE FOLLOWING HIM
TO HOPSCOTCH GAME AREA

173 LOW ANGLE OF JOE MOVING
INTO GAME AREA. HE JUMPS
THROUGH GAME TOWARD
CAMERA...TURNS JUMPS
THROUGH GAME AWAY FROM
CAMERA. WE CAN SEE HIS
WHOLE BODY NOW. HIS BACK
IS TO CAMERA. HE STOPS..
SUDDENLY HE TWISTS
AROUND..HIS JACKET FALLS
TO GROUND.

IMMEDIATELY WE SEE HIS
OWN ARMS AND FRAME
FREEZES. HOLD FOR 3
SECONDS.

26

SHOT PICTURE SOUND

174 FREEZE FRAME BECOMES SUPER
IMPOSITION AS ACTION OF
JOE'S MOVEMENT CONTINUES.
THE ACTION COMES OUT OF
THE FREEZE FRAME GIVING A
DOUBLE IMAGE...ONE FROZEN..
ONE CONTINUES ACTION. JOE
SPINS AROUND ONCE MORE

175 ECU OF JOE'S FACE AS HANDS
COVER FACE HE IS LAUGHING
AND HANDS ALMOST COVER
THIS EMOTION

176 MS OF JOE. SUPER FREEZE
FRAME DISS OUT HERE. HE
JUMPS THROUGH HOPSCOTCH
GAME. PICKS UP STONE
MARKER. WEIGHS IT IN HIS
HAND.

177 CU OF STONE IN HAND

178 MS OF JOE AS HE RUNS TO
WALL WHERE MEG FIRST
ENTERED

179 CANTED CAMERA SHOT NEXT TO
WALL AS JOE RUNS INTO SHOT
AND STOPS. HE LOOKS AT
STONE.. THEN LIGHTLY 5191:: Now I'm in fivey's.
TOSSES STONE OVER WALL.

STILL CANTED CAMERA PANS

AS JOE RUNS TO SWINGS.

HE SWINGS ONE SWING AS HIGH
AS POSSIBLE AND RUNS TOWARD
BUILDING AND OUT OF SHOT

AS SWING SLOWLY DIES DOWN.
THE CREDITS ARE SUPERED.
THE LAST CREDIT, PERHAPS
THE TITLE, IS FROZEN WITH
THE SWING ACTION FRAME.

FADE TO BLACK.

CHAPTER THREE

INTERPRETATION OF ONE-ACT PLAY

This writer's interpretation of the play, Which is
necessarily subjective, will be separated into the four
elements of a play: 1) Exposition, 2) Situation or
Conflict, 3) Climax, and 4) Resolution. Parenthetically,

this writer found the play sensitive and original.

The Exposition

The exposition of the play, that which the audience
must know in concert with or in advance to the situation
being presented, is written extremely well. All that is
told is that there is a boy named Joe, who has no arms.
Children the same age and dressed like Joe, indicate a
special children's school perhaps an orphanage. Meg, a
girl Joe's age, who lives across the street, enters and
talks about the fact that Joe has no arms. We learn that
along with Joe most of the other Children at the "home"
have no mothers. Except for the introduction of Jake, a
custodian of the "home", there is no other exposition.
Out of two-hundred seventy-five speeches, there are only

nine that represent exposition. In other words, the play

27

28

depends mainly on what will happen rather than what has

happened. ~The exposition is succinctly supportive.

The Situation

The situation centers around the relationship of Joe
and Meg, both children between the ages of eight and ten.
Meg is occupied with the idea of getting "new" arms on Joe,
using her doll, Elsa. Both children pretend things. Meg
pretends a brother whom, symbolically perhaps, she calls
Joe. Joe pretends he has no arms. Why? Maybe Joe seeks
attention. Possibly he is clever enough to play macabre
jokes on people for some sort of enjoyment. If in fact Joe
is an orphan, he may have expected psychological hangups
that manifest themselves in seeking sympathetic responses
and attention from those he needs social contact with.

Why he pretends no arms is not made clear. But then it
doesn‘t have to be made clear. Children's actions are fre-
quently impulsive and without apparent motives. His pre-
tense motivates Meg to run home and cut off the arms of

her rag-doll. She pins the arms on the shoulders of Joe's
jacket. But the "new" arms are not his for long. Meg's
mother is angry and has insisted that Meg return the doll's
arms. The success of the pretense in getting a gift (new
arms) may support another reason Jbe pretends. He may be a
spoiled kid who gets his own way either by deed or by

trick. Regardless, Joe dOesn't want to return the arms to

29

Meg. In an instant, as Joe twists his body, one of the

1 causes Joe to

doll's arms slap Meg's face. This crisis

say:
JOE: Here. Meg (MEG STOPS) Here. (SHE TURNS
AROUND) Come back. They're yours. They

belong to you. Stop crying. (KISSES HER)

MEG: (WIPING TEARS AND HER NOSE) We shoulda
played something else. (SHE IS PULLING OUT
STITCHES NOW) She wasn't an old doll...

E1sa...she was new. My mother's mad.

JOE: Stop crying. They're yours. Go on and

sew them back on Elsa. Go on. (SHE TAKES

THE ARMS AND TURNS TO GO) I don't need

them any more. I don‘t. Quit bawling.

Go on. (MEG GOES OFF...)
Joe's game has gone too far. He didn't want to cause any—
one a problem. He just wants the attention. The situation
has gone beyond what he can c0pe with. He doesn't need

the arms any more. She Should stop crying and go.

The Climax

The climax is the point of highest interest, the

point at which the audience makes its greatest emotional

 

1This is a crisis of the play, which differs from
the climax. Crisis is essentially a structural element of
the plot rather than an index of the emotional response
which an event may produce in a reader or spectator.

30

response. The place at which the action of the play stops
rising and becomes the falling action. As in many good
dramas, the climax is both shocking and at the end of the
play. It is when Joe's jacket faIls off and the audience
sees that Joe has arms. It is when the audience learns

that Joe has been pretending no arms. It is the denouement.

The Resolution

The resolution is the falling action that follows

the climax of the play. In order to clearly understand
Where the resolution begins, the descriptive, stage direc-
tions which include the climax and the resolution of the
play are reprinted here. It is the scene at the end of the
play when Meg has removed the dolI's arms from Joe's
jacket.

(MEG GOES OFF. JAKE SHAKES HIS HEAD, FOLLOWS

HER. JOE LOOKS DOWN AT HIS EMPTY SLEEVES,

WALKS OVER TO THE HOPSCOTCH PATTERN. STARTS

TO HOP THROUGH IT. WHEN HE GETS TO THE END

OF IT, HE DOES A "TWIST-AROUND", AND WHEN HE

DOES...
The rising action has now reached the climatic moment.
Here comes the climax.

HIS JACKET SWIRLS OFF AND HE HAS HIS OWN ARMS

BENEATH IT.

31

The remainder of the play is the resolution or falling
action from the turning point. It is extremely short but
does offer direction for interpretation.

HE LOOKS FIRST AT ONE, THEN THE OTHER.

SMILES. STOOPS DOWN AND PICKS UP HOPSCOTCH

MARKER. HE WEIGHS IT ONCE IN HIS HAND, THEN

TOSSES IT LIGHTLY OVER THE WALL...)

JOE: Now I'm in fivey's.

CURTAIN

2m :1 .~ {1.3 l" ‘3 TQATIS‘T I.‘-i‘1- ‘m . ~13 nig' ‘
f .

Joe looks at both arms and then smiles. His little
game is fun perhaps. His smile might reveal that he really
is happy that he does have arms after all. To this writer
the resolution means Joe succeeded in playing his game...
his pretense. He's happy about how he fooled someone into
believing he has no arms. His lightly tossing the stone
over the wall means to this writer that he's through with
his pretense. He'll think of another game to play tomorrow.

The beauty of this play is that no one really knows
for sure why Joe pretended he has no arms and no one really
knows for sure what his smile and lightly tossing of the
h0pscotch marker means. The play leaves the audience with
several questions. That is why is it an excellent play.

For the adaptation, this author maintains a stance
that Joe does play a game and decides to end it after it

causes Meg trouble at home and causes her to cry. Although

32

this author's stance and the playwright's stance may differ,
the total sum of the film script should have the same effect
on the audience as the play does. Here may be a play where

most of the resolution happens in the minds of the audience

as they are leaving the theater. After the curtain the

puzzle begins to swirl in their heads. Suddenly everything

wars-:32 .13
'1' '

I o
‘23."- »

about Joe becomes suspicious. Maybe Joe isn't an orphan
either. Perhaps Meg knew Joe had arms and pretended with
him just as She had pretended a brother named Joe. Perhaps
22th_of them pretended a delightful game until it got out

of their control. It happens with children....

Thematic Problems Raised in the Adaptation

As this writer sees it, the major problem in the adapta-
tion of this play deals with JOe's pretense. Until the end
of the play no one knows that Joe is pretending he has no
arms. And yet frequently, several others in the play sup-
port this falseness as a fact. Who besides Joe knows that
he has arms and is just pretending? Do the other kinds on
the playground know? Does Jake, the custodian know? How
can Joe or any boy carry off a pretense of no arms to his
classmates and the school custodian? This author must
assume that since Joe does have arms, his classmates and
the custodian know it. They might ignore the fact that Joe
pretends he doesn't have arms, especially if Joe doesn't '

include them too much in his pretense. However, in the

 

33

original play there is frequent support to the lie that Joe
has no arms. On speech 17, a classmate of Joe says,
KID: "Let's see Joe do it with his head or with
his feet." (LAUGHS)
The kid is referring to Joe pushing Meg on the swing. This
speech supports what the audience knows at this particular
time in the play...that Joe can't push Meg on the swing
because he has no arms. The question remains to this
author...why would the kid say that if he knew Joe had
arms? Because, one might say, he likes Joe's little lie
and plays along without questioning reality. Fair enough.
However, there are many other statements in speeches in
the original play that support Joe's pretense. The follow—
ing sequence is an example of diaIOgue in the play that
indicates a conscious collaboration in Joe's pretense.
JOE: I'm getting arms Jake. I'm waiting here
for them.
JAKE: Getting arms?
JOE: Yep.

JAKE

Where they--gonna come from?

JOE: Meg's bringing them. She's gonna sew them on.

JAKE: Sew them on? What you want with arms, Boy?
Look. Two a them. All they do is push a
broom, lock up doors.

JOE: I could play hopscotch--up to eighty's. You

wouldn't have to put my shoes on in the morning.

 

{PM‘“.-*‘ . ~. .

 

34

JAKE: That's my job.

JOE: I could slap Atsie's face.

JAKE: That ain't no way a boy should want new arms.

JOE: How did it feel When you got yours, Jake?

JAKE: My arms? Well...I dunno. I kind of always
had them. Far as I remember. Felt about the F1
same to me as...feet I guess. 1

JOE: Do me a favor, Jake?

JAKE: I'd help you if I could. But I'm no hand at

] mat? m‘il'vm‘i- Mia.

putting arms on people, Boy.

This dialogue seems harmless as long as the audience
believes that Joe does not have arms. Jake supports this
belief. However, it appears inconsistent and somewhat
unrealistic that Jake would play Joe's game. This author
has taken the position that any apparent collaboration has
to be much more subtle or eliminated completely in the
film script. Thematically, there seems to be no problem
if these dialogue sequences and supports to Joe's pretense
are eliminated.

In the adaptation of this play, the scenes with Jake
were eliminated. This decision was made for two reasons;
(1) Jake appears to be a collaborator with Joe's pretense
which this author cannot accept. (2) The playwright needs
these scenes to cover a time-lapse for Meg to go home and
get the doll‘s arms. Film techniques can accomplish this

real time objective either by following Meg's trip home

 

35

where she gets the arms or with a fade to indicate a time
lapse. Another change made in the adaptation was the
elimination of the other kids on the playground. This
decision focuses more attention on the protagonist, Joe,
reduces casting and direction problems and thematically
changes nothing. In the adaptatiOn the audience hears
the dialogue and general noisy chatter of the kids but
never sees them. The camera focuses on Joe almost hiding
from the kids as he watches them. After a bell rings the
noise of the kids fades. The camera then pans the play-
ground and reveals several pieces of playground equipment

still moving where the noisy kids had been moments before.

The Theme of the One—Act Play

The situation of the play is delightfully simple and
profoundly unexpected. The protagonist, Joe, seems some-
what helpless and alone. He is defensive and proud. One
might feel sympathy for Joe, until the climax of the play.
After the climax, or when we learn that Joe does have arms,
one's reaction might be mixed, confused and then suspicious.
At the climax the viewer realizes he has been put on by
Joe...that Joe has used us and our feelings. The whole

thing is a game33a pretense.” That is the theme of the

p1ay--pretense.

 

 

36

PRETENSE, n. l. a claim, as to distinction or
accomplishment; 2. make—believe; pretending.

3. a false claim; a false show of something.

4. something said or done for show. 5. a pretend—
ing, as at play, make-believe.1

It was this theme--this pretense or falseness that
guided the film scenario adaptation. Close—up shots were
used to highlight facial expressions to reinforce the pre—

tense.

Rationale of Selected Camera Shots

Using the theme of pretense to guide the selection of
shots, the film techniques of 1) Freeze frame, 2) Canted
camera angle, and 3) Slow motion action were used. All of
these techniques, which assist in distorting reality,
hopefully support the pretense. These techniques were used
at those times when a lie or pretending was going on. The
Opening shot, tilting up to reveal Joe has crossed his
eyes, acts as a symbolic tipoff for the character of Joe.

OPENING SHOT: CU OF JOE'S FEET. SLOW TILT-UP

TO JOE'S FACE. HIS LEGS ARE CROSSED WITH ONLY THE
TOE RESTING ON THE GROUND. CAMERA STOPS AS TWO
EMPTY SLEEVES COME INTO VIEW. JOE HAS NO ARMS.

HIS JACKET SLEEVES ARE GENTLY SWAYING IN THE WIND.
SLOW TILT-UP CONTINUES. WHEN FACE COMES INTO VIEW
WE SEE THAT JOE'S EYES ARE CROSSED. CAMERA STAYS
ON CU OF JOE'S FACE. JOE UNCROSSES HIS EYES. HIS
EYES NOW FOLLOW SOME MOVEMENT} PROBABLY THE CHILDREN
THAT WE CAN STILL HEAR. JOE NOW MOVES LEFT, HIDING
MOST OF HIS FACE BEHIND A PLAYGROUND SLIDE. WITH
ONE EYE PEERING OUT, HE CONTINUES TO FOLLOW THE
CHILDREN'S MOVEMENT.

 

1Funk and Wagnalls Standard Dictionary.

 

37

When a child tells a fib, sometimes he crosses his
fingers, legs or eyes.
In shorts 4, 5 and 6 the canted camera is used to
distort reality.
No. 4 LS AT CANTED ANGLE. IN THE FOREGROUND OUT OF FOCUS
IS A LARGE STONE MARKER USED IN THE HOPSCOTCH GAME.
JOE IN BG BEGINS WALKING TOWARD CAMERA. AS HE
PASSES SWING HE KICKS IT SO IT SWINGS VERY HIGH.
HE STOPS AT WATER FOUNTAIN. STEPS ON FOOT PEDAL
BUT DOESN'T DRINK. HE CONTINUES TOWARD CAMERA.
WHEN HE REACHES HOPSCOTCH GAME HE JUMPS THROUGH IT.
NOW WE ARE FOCUSED ON THE STONE, AND ONLY SEE JOE'S
FEET AND PART OF HIS LEGS STRADDLING THE STONE.
NOW A HAND REACHES IN AND PICKS UP STONE MARKER.
No. 5 CUT TO MCU OF JOE AS HE TWISTS AROUND. THE FAST
TWIST AROUND STOPS WITH JOE LOOKING INTO CANTED
CAMERA. HIS EXPRESSION SHOWS SURPRISE MIXED WITH
FEAR.

NO. 6 FAST ZOOM TO JOE'S FACE...ECU...CAMERA STILL
CANTED.

During shot 6 Meg says, "Now you're in fivey's."

During shot 42 the action freezes on the line:
"couldn't I be born like that?" Obviously this is a lie.
The action is stopped during this conversation as a symbolic
reaction to this statement.

For shot 66 the subjective camera is used to blur and
distort the picture. This subtle device is used to
distract slightly from what Joe was saying; what he would
do if he had arms.

Scenes 71 through 75 are particular frames selected
from a zoom shot on Joe. Five frames are used for freeze
frames; each one moving in closer. Here the action is

told by freeze frames because the interpretation of the

 

38

author suggests Joe is pretending about not having a mother.
He is probably telling another lie. Therefore, the picture
is distorted by freeze frame and jump cutting. Scene 85 is
another example of this.

When Joe receives the doll's hands he imagines what
the hands can do. Again freeze frame stills and jump cuts
are used to distort. These are scenes 140 through 149.
During this imaginary sequence we hear Meg's earlier conver-
sation repeated Which explains what Meg's "brother" would
do if he were at the playground.

The sequence of shots from 159, 160, and 161 are sug-
gested for slow motion to heighten the important action.

During scene 173, as Joe's jacket falls off revealing
his own arms, we freeze the action again. This is the
moment of the climax for the play. The revelation is stopped
to maximize the shock value of it. Now the freeze frame
is retained in a super imposition to keep the lie in view
as the truth now continues in live action.

The canted camera closes the last shot which symbolic—
ally supports the pretense of JOe; that nearly all of the
preceding was distorted--the playful fabrication of an

imaginative boy.

 

r"

CHAPTER FOUR

THE ADAPTATION TRANSLATION DIFFERENCES

There are several differences between a stage play
and a film. One difference is the ability of the camera
to choose a close-up view of the subject. The filmmaker
also has the advantage of selectivity, as well as magnifi-
cation. Another difference is the freedom of point of
view in film that stage directors, set designers and play-
wrights significantly lack in designing a play. The play-
goer may sit high in the baIcony, looking down on the
drama or at the side in the orchestra looking across the
stage. Wherever he sits he has a fixed view of the stage.

The moviegoer benefits from the changes in view that a.

camera can give him, including the close-up. The filmmaker

can intensify character by camera angles. The filmmaker

can distort and make caricatures by using certain film

techniques. These techniques may get in the way and become

primary languages as this writer felt with Orson Welles'
camera angles in "Citizen Kane". Nevertheless, these are
special differences and advantages of film over stage
drama.

Another difference is that the filmmaker has much

more flexibility to manipulate time and space than the

39

-. 1" ‘l~‘~.’1_lnlv..

 

4O

playwright. The filmmaker can use the flashback, flash
forward, quick cutting or jump cutting to change real
time. With the use of superimposition, the filmmaker can
show two actions at the same time to condense or manipu-
late time.

The filmmaker has all the time and space he needs
(financial considerations notwithstanding). When Meg runs
home to get the arms of her doll, the filmmaker can follow
her-:watch her cut the arms off. He brings a dimension
to the play that the playwright could not do as effectively
in a one-act play. And While Meg is off stage, the action
on stage must be long enough for the audience to believe
Meg has had time to run home, cut the doll's arms off and
return. The playwright therefore needs some kind of
scene to cover that time period. Since most of the action
of the one-act play in question centers around Joe and Meg,
and since Meg must leave the stage, the playwright must
have another character on stage to help carry the time
prOblem. The playwright may not want to continue with a
monologue by Joe, so Jake, the custodian is included in
the scene giving Joe someone to talk to. It is during this
scene and one that follows in which again, Jake and Joe talk
to cover a real time event situation, that the play suffers.
It suffers for two reasons. First of all, Jake's dialogue
appears to support Joe's little pretense which this writer

doesn't fully accept. Secondly, the pacing of the play

41

slows while this time covering scene is acted out.
Thematically, very little is offered to help move the plot
or story forward. In the film adaptation, both of these
scenes are replaced; one following Meg home and the other
a series of close-ups and pantomime reactions of Joe
toward his "new” arms.

The filmmaker probably is more of a poet than the play-
wright. By Optical techniques, editing and symbolic
camera shots, the filmmaker'ban create a poetic metaphor

or visual simile. He can also freeze a frame to focus

 

attention on a specific action. In the adaptation of
"Now I'm In Fivey's" the freeze frame was used when Joe's
jacket falls off revealing that he has arms.

In a sense, film represents falseness and is the best
medium for a play which has pretense as its central theme.
The camera does lie. It can move unexpectedly, change the
size of and distort reality. It can add light or subtract
light and change the naturalness of a character or an
object. The camera can blow up an object and focus on
highly selective points which can contribute to a lie or
pretense. Film then is an excellent medium for translating

"Now I'm In Fivey's" because its theme is pretense.

Scenes of the One—Act Play Not
Used in Adaptation

The original play script is included in this thesis

as Appendix B, for comparison purposes, since not all of

42

the play was used in the adaptation. In sequential order,
the following scenes were eliminated. This author's justi-
fication for the decision to eliminate or change is in-
cluded‘immediately afterward.

(THE KIDS COME BACK ON QUICKLY AND DASH THROUGH
EXERCISES ON THE APPARATUS)

MEG: Will somebody push me, please? (TO A BOY)
Will you?
BOY: Who wants to push a girl on a swing?

(HE POINTS TOWARD BUTTERCUP WHERE JOE IS STILL HIDDEN,
WITH JUST HIS FACE EXPOSED)

BOY: Let Joe.

ANOTHER: Let Venus push you. (ALL LAUGH)

MEG: I'm asking you.
JOE: I wouldn't...I....
KID: Let's see Joe do it with his head or with

his feet.

ANOTHER: Go on. Get him to push you. (LAUGHS)

MEG: I'm asking you.
KID: We ain't got time. (CLOCK STARTS TO STRIKE
OFF)

MEG: It doesn't take.....

ANOTHER: Look at the time. (ALL START OFF)
KID: The clock. It's a quarter of.

A GIRL: Last one to the dining hall's a jerk.
(THE KIDS DASH OFF SHOUTING) MEG AND JOE STAY.

MEG: Don't you go too?

43

This scene was omitted as previously stated to reduce
casting problems and also to remove dialogue that did not
necessarily advance the plot. There does not seem any
apparent reason for the kids to: 1) return so soon after
the bell rang, seconds before which caused them to exit.

2) return with any purpose or structural objective.

JOE: Why?

MEG: Did you ever live across the street from a
wall?

JOE: No. No. I never lived across the street

from anything. Always here.

MEG: Especially a wall that has a playground on

the other side?

This cut was primarily an arbitrary deletion based on
this author's questioning the meaning and usefulness of
the four speeches.

JOE: Climb back over the fence. Go home.

This speech was transposed since this author felt Joe
would respond with "Go home.." quickly..then add how to go.
The speech seemed an impulsive remark which may dictate
the declarative statement first.

JOE: They'll look for me when it gets dark. But

I'll be here. I'll hide behind the buttercup.
Call out when you get back. Call "Joe".

I'll know it's you and I'll come out.

44

(SHE STARTS OFF, TURNS BACK, RUNS, KISSES HIM. HE

STANDS AS THOUGH HE WANTS TO TOUCH HIS CHEEK WHERE

SHE KISSED IT, BUT SINCE HE HAS NO ARMS, HE RUBS

THE CHEEK AGAINST HIS SHOULDER. MEG IS STOPPED BY

THE WALL, CAN'T CLIMB UP IT. JOB GOES OVER, LEANS

HIS HEAD AND SHOULDERS AGAINST IT.)

JOE: On my back. Up. Can you make it?

If the production of a film can be done during daylight
hours, it has fewer problems. Any reference to ”getting
dark" or "..come back tonight.." were eliminated or changed
to "today." This keeps the production problems less
complicated.

(JOE TURNS, WALKS. STOPS AT HOPSCOTCH PATTERN)

JOE: She said I was in Fivey's.

(HE STARTS TO HOP THROUGH IT. AS HE DOES, A BOX COMES

HURTLING OVER THE WALL. HE FREEZES, STARES AT IT.

ANOTHER BOX COMES OVER THE WALL. HE RUNS TO THEM,

STANDS HELPLESS, LOOKING UP EXPECTING A THIRD.)

(CLANK OF A GATE OFF-STAGE. CLINK OF A BIG LOCK.
JOE TURNS, LOOKS REAR RIGHT. JAKE SHUFFLES IN.)

JOE: Jake!

'JAKE: Somebody left some boxes outside near the
wall. Figgered we could use 'em in the
basement.

JOE: Jake. Jake, you didn't—-lock the gate when

you came in?

JAKE: Always keep the gate locked. That's my
job, Joe.

JOE: Do you believe in miracles, Jake?

JAKE: They're looking for you, Boy. You wasn't

in to supper.

JOE:

JAKE:
JOE:
JAKE:

JOE:

JAKE:

JOE:

JAKE:
JOE:
JAKE
JOE:

JAKE:

JOE:

JAKE:

JOE:
JAKE:
JOE:

JAKE:

45

I'm getting arms, Jake. I'm waiting here
for them.

Getting arms?

Yep.

Where they--gonna come from?

Meg's bringing them. She's gonna sew them
on.

Sew them on?

What you want with arms?

Look. Two a them. All they do is push a
broom, lock up doors.

I could play hopscotch—-up to eighty's. You
wouldn't have to put my shoes on in the
morning.

That's my job.

I could slap Atsie's face.

That ain't no way a boy should want new arms.
How did it feel when you got yours, Jake?

My arms? Well--I dunno. I kind of always
had them. Far as I remember. Felt about
the same to me as--feet, I guess.

Do me a favor, Jake?

I'd help you if I could. But I'm no hand
at putting arms on people, Boy.

Leave the gate unlocked so she can come in?
Who's coming in?

Meg. (She has the arms.)

I gotta keep the gate locked. That's my job.

JOE:

JAKE:

JOE:

JAKE:

JOE:

JAKE:

JOE:

JAKE:
JOE:
JAKE:

JOE:

JAKE:

JOE:

MEG:
(JAKE

JOE:

46

You can leave it Open just this once?
Wouldn't be much left for me to do, if I
didn't keep the gates locked.

Unlock it, Jake!

I can't. I wouldn't be able to sleep if
I...—

(OFFSTAGE.) Joe! Joe!

That's her. That's her! She's got the
arms.

(OFFSTAGE.) Somebody took the boxes, Joe.
I can't climb up.

(TO JAKE.) Open the gate, Jake! Let her in.
Let her in, Jake.

I can't, I can't, Boy. I ain't allowed.
You're supposed to lock us in, not keep the
peoPle out.

I can't, I can't do it, Boy.

Suppose she belonged here and——

She don't, she's not——

Suppose she belonged here and was out there
and wanted to come back in?

I'd open up. I'd let her in, but-——-

She belongs here.

Joe! Can you hear me, Joe?

FINGERS HIS KEY-RING.)

(RAISING VOICE TO MEG.) Go over to the

gate. It's Jake. He'll let you in.

47

(JAKE WALKS OFF. JOE MOVES EXCITEDLY, GOES TO BUTTER-

CUP. LIGHTS HAVE DIMMED, MEG RUNS IN. SHE HAS A DOLL

IN ONE ARM, AND THE DOLL'S ARMS IN THE OTHER. SHE

STOPS, LOOKS AROUND CONFUSED IN THE DARKENED PLAY-

GROUND.)

As explained previously, the stage play needed a certain
amount of time covered to allow Meg to go home, cut the
doll's arms off and return. This scene was replaced with a
new scene with the camera following Meg home. It also
eliminated the character of Jake, reducing a casting and
directing problem.

MEG: Where are you, Joe?

JOE: Over here. The buttercup. Watch you don't

bump into a swing.

MEG: (MOVING TOWARD HIM.) I got them, Joe.
I---(BUMPS INTO BUTTERCUP.) Oh!

JOE: I told you watch out.

MEG: It's all right, just my knee. This is Elsa.
(KISSES DOLL QUICKLY, LAYS HER DOWN.) Here
are the arms.

Eliminated because it is a reference to the darkness

or lateness of the day.

MEG: Over here. We'll try them on.

(SHE BRINGS HIM CLOSER TO THE'WALL, WHERE A STREET

LAMP FROM OUTSIDE GIVES A LITTLE MORE LIGHT. JOE

STANDS STILL. MEG PUTS PINS IN HER MOUTH, HOLDS UP

ONE OF DOLL'S ARMS TO HIS COAT SHOULDER. PINS IT,

HOLDS UP THE OTHER, PINS IT. JAKE ENTERS.)

JOE: They fit.

MEG: It's dark. Hold still, Joe. Let me see.

JOE: They fit.

48

MEG: Hold still. Hold still and let me sew them
on.
(JAKE SHINES A FLASHLIGHT. 'MEG SEWS QUICKLY. JOE
STANDS LOOKING DAZEDLY AT HIS NEW ARMS. SHE
FINISHES.)
MEG: (EXCITEDLY.) Do they work, Joe? Move them!
(PAUSE) Move them, Joe. Go on!
Again, the references to the darkness were eliminated.
Speech 189 was eliminated since the author felt pinning
the arms on would be faster and perhaps more possible for a

young girl. All references to Jake were eliminated.

(SHE GOES OFF. JAKE STARTS TO FOLLOW.)

JOE: Whattaya think, Jake?
JAKE: (UNCOMFORTABLE; HE TURNS.) Prettiest arms

I ever seen.

JOE: Jake. I tried. They won't move.
JAKE: (HELPLESS.) WOn't huh?
JOE: I never believed things before, Jake.

I never believed in arms or going out, or
nothing. Till she said she had a doll with
arms my size. Even then I didn't want to.
I didn't want no doll's arms. Then she said
she'd sew them on. Sew arms on me!

JAKE: She did. She kept her word. You oughta----

JOE: Do you know all the things I've thought
since just an hour ago?

JAKE: Just having them there to look at-—even if

they'won't work-——that's something,.Joe.

49

JOE: It ain't. It ain't nothing. (PAUSE) You
think I only played? You think I played at
arms like kids play house?

JAKE: It's the best way, Joe. Like I said, you-——

JOE: I woulda climbed the wall. I woulda pushed
her on the swing. I woulda pointed (THROWS
HIS HEAD UP TOWARD THE SKY.) there—-that
star. You see it, Jake?

JAKE: Which one?

JOE: The one that's next to the bright on--near
those four there, about a foot above the

tower. See it?

JAKE: (HE DOESN'T.) Why--yep. I see the one you
mean.
JOE: You don't. I need a hand to point it out.

But I'd a given that to her.
JAKE: Give her a star?
JOE: That's not all. I would have carved a three

link chain. Outa one single solitary piece

of wood.
JAKE: You would?
JOE: ----I woulda been Joe---
JAKE: You are Joe. Anything else is wrong, but

still you're--—
JOE: ---Her brother. She wouldn‘t have to pretend.

JAKE (AT LOSS.) Well---

50

JOE: ---If the arms was real. They fit. But
they aren't real.

JAKE: I think they are! I think you gotta give
those arms a chance.

JOE: If they don't work, it's like a suit you‘d
wear on Halloween.

JAKE: They're real. I tell, Boy, those arms are
real.

(JOE LOOKS AT JAKE FOR A LONG MOMENT; THEN LOOKS OUT
TOWARD STREET-LAMP.)

JOE: Don't lock the gate yet, Jake.
JAKE: I gotta lock it soon.
JOE: I'm going out. I'm going out. I wanna find

her, I wanna tell her---
JAKE: Now, Joe! You can't do that. I gotta lock

the gate. I---

JOE: If you.lock it, Jake, I'll climb the wall.
JAKE: You can't do that! You—--

JOE: YOu mean I can't———my-arms-won't—work?
JAKE: I mean you can't--you-ain't-allowed.

JOE: You lock the gate, and I'll climb it, Jake.
JAKE: I'll lock the gate-—-when you get back.

(JOE RUNS OFF. JAKE STOPS AND PICKS UP BOXES. LOOKS
UP FOR THE STAR JOE HAS POINTED OUT.)

(MEG RUSHES ON, EXCITED, OUT OF BREATH.)
MEG: Where is he? Where's the boy?
JAKE: You mean where's Joe?

MEG: Where's Joe?

JAKE:

MEG:

JAKE:

MEG:

MEG:

(JAKE

Scene

51

He left a star for you. It's that one right
up there near--—-

I don't want any Stars. I played enough.

I want to talk to the boy.

Joe's out. He just went out.

Out there? He isn‘t out. He said he never
went out. (EYES JAKE SUSPICIOUSLY.) You
made him go to bed, I bet. (JAKE SHAKES HIS
HEAD "NO".) He's hiding behind the buttercup!
(SHE RUNS TO IT, BUT JOE ISN'T THERE.)

He's out.

(STILL NOT BELIEVING HIM) Joe! Joe!
(OFFSTAGE.) Don't yell so loud.

Joe! You §£§_out! I gotta tell you——-
(OFFSTAGE.) I'm coming in.

(TO JAKE.) He did go out.

This time I'll lock that gate for sure.

Not yet! (JOE'ENTERS.) Joe. You'll have

to give the arms back.

STOPS, TURNS.)

with Jake cut.

APPENDICES

APPENDIX A

ORIGINAL DRAFT ON THE ADAPTATION

After reading, as opposed to seeing, the play,

"Now I'm in Fivey's", this writer completed an adaptation
which was drastically different in theme and climax from
the original play. An argument and justification for the
treatment of the first draft could be given, but it seemed
to this writer that a more disciplined and strict course
of action Should be taken based on the assignment for this
thesis.

Adapt, according to Funk and Wagnalls Standard
Dictionary means:

1 To make suitable, as by remodeling to adapt a

novel for the theater. 2‘to modify (oneself) to

conform to a situation or environment. 3 to become

adjusted to a circumstance or environment:

Although the adapter of”original material'often takes
creative license and ends up with something different from
the original work, this writer questions whether, the
adapter has adapted or rewritten the original.

There are many examples of these creative changes.

which are the products of adaptation. In the play,

"Inherit the Wind", a drama about the Scopes trial in

52

53

Dayton, Tennessee, the playwright, for obvious dramatic
purposes, has the counselor fOr the defense, William
Jennings Bryan, suffer a heart attack while on the witness
stand. The actor portraying Bryan is carried off stage

and immediately it is announced that he is dead. This
dramatic touch makes good theater and it may be said that

to insure the necessary dramatic buildup and climatic

ending for the play, this had to be written this way.

Since the Scopes trial was based on an actual courtroom case
the playwright knew in fact, that Bryan died five days after
the trial was completed. Would the play have been as
successful, as meaningful, as dramatic, if the playwright
had followed facts? Where does adaptation end and creative
change begin. In the first draft, reproduced in Appendix A,
this writer has undoubtedly made a creative change in the
original play. The names of Joe and Meg were changed to
Eric and Susie since this writer felt the original names

did not suit eight to ten year old children.

54

SHOT PICTURE SOUND

l L.S. OF PLAYGROUND OF B.G. noises of children
ORPHANAGE. MANY CHILDREN playing.
CAN BE SEEN PLAYING ON
SWINGS, SLIDES, AND MERRY-
GO-ROUNDS. OTHERS ARE
CHASING A BALL NEAR THE
BUILDING. ALL OF THE
CHILDREN ARE WEARING
CLOTHES INDICATING AN
INSTITUTIONAL UNIFORM.

2 E.C.U. OF FEET JUMPING Hopskotch noises
ON HOPSKOTCH GAME.

3 E.C.U. OF STONE BEING
PICKED UP AND PLACED ON
NEXT SQUARE.

4 GROUND LEVEL OF HOPSKOTCH FIRST KID: You stepped on
GAME the line.
SECOND KID: I did not
'FIRST KID: You did too.

5 FROM GROUND LEVEL, SECOND KID: Did I step on
CAMERA ZOOMS THROUGH FEET a line?
AND CONTINUING GAME TO M. THIRD KID: Yes...see.
S. of ERIC, WHO HAS NO
ARMS.

6 C.U. OF ERIC'S FACE WATCH- (THE SCHOOL BELL RINGS.)
ING GAME. HIS EYES REVEAL
THAT HE TOO WANTS TO PLAY
THE GAME.

7 FAST ZOOM OUT REVEALING (NOISES OF CHILDREN RUNNING.)
THE FLURRY OF FEET AS
CHILDREN RETURN TO
BUILDING

8 HIGH ANGLE L.S. OF CHIL- KID: Last one in is...
DREN RUNNING INTO BUILDING.

9 SLOW ZOOM TO ERIC WALKING (B.G. NOISES FADE...SCENE

TO HOPSKOTCH GAME. BECOMES QUIET.)
10 M.C.U. OF ERIC SHOWING (NATURAL NOISES OF JUMPING
FEET. LEGS, AND EMPTY ON HOPSKOTCH.)

SLEEVES. HE JUMPS ON
HOPSKOTCH GAME.

SHOT

11

12

l3

14

15

16

17

18

19

20

21

22

55

PICTURE

LOW ANGLE OF ECU OF
ERIC'S FACE.

C.U. OF STONE ON HOPSKOTCH

GAME..HAND REACHES INTO
SHOT AND PICKS UP STONE.

CAMERA FOLLOWS HAND--PANS
TO FEET OF SMALL GIRL...
TILT TO FACE OF SUSIE.

C.U. OF ERIC'S FACE.
C.U. OF SUSIE'S FACE.

L.S. AS ERIC RUNS OUT ON
PLAYGROUND BEHIND MERRY-
GO-ROUND. SUSIE THROWS
DOWN STONE AND RUNS TO
SWINGS WHERE SHE SITS.

C.U. OF ERIC'S FACE HALF-
HIDDEN BEHIND MERRY-GO-
ROUND.

MCU OF SUSIE ON SWING.

CU OF ERIC’S FACE REVEAL-
ING THAT HE IS AWARE

THAT SUSIE IS TALKING TO
HIM. HE SHAKES HIS HEAD
II NO. ll

M.S. OF SUSIE IN SWING

CAMERA FOLLOWS SUSIE AS

SHE CROSSES TO ERIC. ERIC

COMES OUT BEHIND MERRY-
GO-ROUND. THEY STAND IN
FRONT OF EACH OTHER FOR
SEVERAL SECONDS WITHOUT
SPEAKING. '

SOUND

(IT'S QUIET.)

SUSIE: Now you're in fivey's.

(B.G. OF ERIC AND SUSIE
RUNNING ACROSS PLAYGROUND.)

SUSIE: Will somebody push
me, please?

SUSIE: Will somebody push
me, please?

C.U. OF SUSIE'S FACE AS SHE

STUDIES ERIC. SHE LOOKS
AT HIS EMPTY SLEEVES.

56

 

SHOT PICTURE SOUND
23 C.U. OF ERIC'S FACE.

HE LOOKS FROM SIDE TO

SIDE.

24 M.S. OF CLOSED GATE AT
WALL.

25 C.U. OF ERIC'S FACE LOOK-

ING LEFT. HE LOOKS AT
SUSIE.

26 M.S. OF THE TWO. AS SUSIE: I climbed the wall.
SUSIE SPEAKS. SHE RUNS
BACK TO SWING AND SITS.

27 C.U. OF ERIC'S FACE.

HE FROWNS...A PUZZLED
LOOK. HIS EXPRESSION
ASKS A QUESTION.

28 M.C.U. OF SUSIE ON SWING. SUSIE: I live right across
the street. Put some boxes
against the wall and climbed
over. I know your name.

29 M.C.U. OF ERIC ERIC: No, you don't...it's
Eric.

30 LOW ANGLE SHOT WITH ONE SUSIE: Why didn't you push
EMPTY SLEEVE IN FORE- me on the swing? (PAUSE)
GROUND AND SUSIE ON SWING Ascared?

IN B.G.

31 C.U. OF ERIC'S FACE.
HIS EXPRESSION BECOMES
OPAQUE.

32 M.C.U. OF SUSIE ON SWING
IN PROFILE. AS SUSIE
SPEAKS, THE CAMERA DOLLYS
BEHIND HER SHOWING ERIC
SLOWLY WALKING TOWARD SUSIE: My brother was here,
SWING. he'd push me. All day if I

wanted. He can do anything.

Carve a three-link chain...
out of one piece of wood.
Skate fast as automobiles.
Make...make flowers grow
just by looking at them.
He'd push me on the swing.

57

 

SHOT PICTURE SOUND
33 SLOW ZOOM TO FACE OF ERIC
AS HE MOVES INTO SWINGS. ERIC: Where is he?
34 M.S. OF BOTH IN PROFILE SUSIE: I don't know...
I just pretend.
ERIC: Make—believe?
SUSIE: I do make-believe
a lot..do you?
ERIC TURNS INTO CAMERA
WALKS INTO M.C.U. WITH
SUSIE IN B.G. THERE IS SUSIE: Do you know my name?
A SHORT PAUSE . ERIC : (SHAKES HIS HEAD)
SUSIE: Guess....
35 ERIC TURNS TO FACE SUSIE
AS CAMERA ZOOMS TO C.U.
OF SUSIE'S FACE. SUSIE: Who took your arms?
Who cut them off?
36 M.S. OF ERIC FACING ERIC: Nobody...(PAUSE)
SWINGS Couldn't I be...born this
way?
SUSIE WALKS INTO SHOT
WITH BACK TO CAMERA. WE
CAN SEE ERIC'S FACE. SUSIE: I wasn't. Nobody is
born like that.
ERIC: I was.
SUSIE RUNS INTO CAMERA
GRABBING SWINGS. SHE
TURNS TO ERIC. SUSIE: I'll push you on
the swing.
37 C.U. OF ERIC'S FACE WHICH
SAYS HE'D LIKE TO BUT HE
CAN'T HANG ON TO THE
SWING.
38 C.U. OF SUSIE'S FACE AS
HER EYES FIND THE EMPTY
SLEEVES.
39 HIGH ANGLE L.S. OF THE SUSIE: Sit on the merry-go-
TWO AS SUSIE RUNS TO round and I'll give you a

SUSIE PUSHES THE MERRY-
GO-ROUND AROUND FAST.
THEN JUMPS ON.

58

 

SHOT PICTURE SOUND
4O CAMERA BECOMES SUBJECTIVE.
RIDING THE MERRY-GO-ROUND,
WE SEE ERIC FLASH BY AS
THE RIDE SPINS. THE
MERRY-GO-ROUND SLOWS TO A
STOP AS ERIC COMES INTO
VIEW.
41 MEDIUM ZOOM TO M.C.U. OF
ERIC. HE IS SCOWLING.
42 CAMERA DOLLYS IN FOLLOWING SUSIE: You don't like me...
SUSIE WHO IS MOVING UP TO do you?
ERIC. CAMERA STOPS WITH A ERIC: (SHAKES HIS HEAD)
TWO SHOT OF ERIC'S FACE SUSIE: Yes, you do.
AND THE BACK OF SUSIE'S ERIC: (NODS HIS HEAD YES)...
HEAD. but.
43 C.U. OF SUSIE'S FACE.
SHE IS WAITING FOR HIS
ANSWER.

44 C.U. OF ERIC'S FACE. ERIC: You shouldn't be here.
They'll be coming out for me
in a minute. If Mr. Swazy
finds you here..they'll keep
you in here.

45 L.S. FROM SWINGS AS SUSIE

RUNS INTO SHOT SITTING ON (SUSIE LAUGHS)
SWINGS.
46 C.U. OF ERIC'S FACE. HE
DOESN‘T UNDERSTAND
SUS IE ' S REACT ION.
47 M.C.U. OF SUSIE ON SWING.
HER HEAD LOOKS BACK AND
OFF CAMERA TOWARD ERIC.
SHE IS WAITING FOR HIM‘
TO PUSH HER.

48 C.U. OF ERIC'S FACE. ERIC: Want me to push you.
SUSIE: You can't.

49 L.S. OF SWINGS. SUSIE

JUMPS OFF AND PUSHES IT
HIGH AS ERIC WALKS CLOSER
TO SHOT. ERIC LETS THE
FAST-SWINGING SWING ALMOST
HIT HIM. SUSIE RUNS TO
WATER FOUNTAIN.

59

 

SMQT PICTURE SOUND
50 FRONT-LOW SHOT OF SUSIE‘ SUSIE: I have some flowers
AT FOUNTAIN. SHE IS at my house.
PEDALING THE WATER ON ERIC: I have some too.
AND OFF.
51 M.S. PROFILE AS ERIC WALKS
INTO FRAME. SUSIE LOOKS
AROUND ON GROUND FOR
FLOWERS. ERIC: They're make-believe
SUSIE: My mother lets me
pick them.
WITH HIS FOOT ERIC EASES ERIC: I don't have a mother.
SUSIE'S FOOT OFF PEDAL
SO HE CAN TURN WATER ON
AND OFF. SUSIE: I bet somewhere you
could get arms.
ERIC: None of us here have
mothers...some do maybe.
SUSIE: Maybe somewhere there's
a place they can make arms for
you. We could climb the wall
and...
52 C.U. OF ERIC'S FACE ERIC: They can't make arms.
53 E.C.U. OF SUSIE'S FACE.
SHE LOOKS FIRST AT ERIC'S
FACE, THEN AT HIS ARMS.
54 L.S. OF THE TWO AS SUSIE
RUNS TOWARD WALL AND
FROM RIGHT TO LEFT IN
FRAME.
55 M.S. OF SUSIE RUNNING INTO SUSIE: Help me.
CAMERA. SHE STOPS, TURNS,
WAITS FOR ERIC WHO IS ERIC: You don't have to go.
FOLLOWING.
56 HIGH ANGLE FROM TOP OF
WALL SHOWING SUSIE LOOK-
ING UP. SHE CAN'T CLIMB
WALL. ERIC EALKS INTO
SHOT. AFTER A SECOND HE
BENDS TO HIS KNEES. REST-
ING HIS HEAD AGAINST
WALL. ERIC: On my back.
57 M.S. BEHIND THE TWO AS

SUSIE USES ERIC'S BACK TO
CLIMB ON TOP OF WALL.

SHOT

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61

62

63

64

65

66

67

6O

PICTURE

HIGH ANGLE SHOT LOOKING
DOWN TO A E.C.U. OF
ERIC'S FACE.

LOW ANGLE SHOT OF E.C.U.
OF SUSIE'S FACE.

HIGH ANGLE SHOT SAME AS
SHOT 57. ECU OF ERIC'S
FACE. HE LOOKS SAD...
DOESN'T WANT HER TO
LEAVE.

LOW ANGLE SHOT OF M.C.U.
OF SUSIE ON WALL. SHE
LOWERS HERSELF SO ONLY
HER HEAD IS VISIBLE.

SUSIE DROPS OUT OF SIGHT.

L.S. OF SUSIE RUNNING

AWAY FROM WALL..ACROSS
THE STREET. SHE RUNS

TOWARD CAMERA AND PAST
IT.

SUSIE RUNS OUT OF TIGHT

SHOT INTO L.S. INTO HOUSE.

FROM THE TOP OF A STAIR-
CASE, SUSIE RUNS UP THE
STAIRS PAST THE CAMERA.

M.S. OF SUSIE RUNNING INTO

BEDROOM, STOPS SUDDENLY,
LOOKS IN CORNER OF ROOM.

C.U. OF BIG RAGGY DOLL
WITH LONG ARMS.

M.S. OF SUSIE WALKING
CLOSER TO DOLL TOWARD
CAMERA. SHE STOPS..TURNS
AND CLOSES THE DOOR..

SOUND

SUSIE: I'll come back.

SUSIE: I live right across
the street.

(SUSIE RUNNING)

WAITS FOR NOISE OR RESPONSE

FROM DOWNSTAIRS WHICH
DOESN'T COME. TURNS,
WALKS TOWARD CAMERA.

61

SHOT PICTURE SOUND

68

69

7O

71

72
73
74

75

76

77

78

M.S. LOOKING AT DOLL.
SUSIE WALKS INTO SHOT AND
SITS. SHE STUDIES THE
DOLL'S ARMS. SUSIE LOOKS
TOWARD DRESSER.

C.U. OF SUSIE'S FACE AS
SHE WALKS TO DRESSER,
OPENS DRAWER, REMOVES
SCISSORS.

CAMERA PANS DOWN TO
SCISSORS.

L.S. OF SUSIE AT DRESSER.
SHE CLOSES DRAWER. PICKS
UP TWO SAFETY PINS, LOOKS
TOWARD DOOR, THEN CROSSES
TO DOLL.

C.U. OF DOLL'S FACE.
C.U. OF SUSIE'S FACE.

M.C.U. OF SUSIE AND DOLL.
SUSIE PUTS DOLL'S HAND IN
HER OWN. SHE RAISES DOLL'S
HAND TO SLAP HER OWN. SHE
STARTS THE DOLL'S HAND
DOWN INTO HER OWN.

ERIC'S FOOT HITS THE (HEAR FOOT SLAP PEDAL,
FOUNTAIN PEDAL VERY HARD THEN WATER RUNNING.)

L.S. OF ERIC AS HE TAKES
A DRINK. HE LOOKS AROUND.
TURNS AND WALKS SLOWLY

TO MERRY-GO-ROUND WHERE
HE SITS.

M.S. OF ERIC ON MERRY-GO-
ROUND. WITH HIS FEET, HE
PUSHES THE RIDE SLOWLY
AROUND.

SUBJECTIVE CAMERA RIDING

THE SLOWLY-TURNING4MERRY-
GO-ROUND. AS THE WALL '
COMES INTO VIEW, A BOX COMES
FLYING OVER WALL. THE"RIDE
STOPS QUICKLY AND THE CAMERA
FRAMES WALL AS ANOTHER BOX
COMES OVER.

SHOT

79

80

81

82

83

84

85

86

62

PICTURE SOUND

M.S. PROFILE OF ERIC ON

MERRY-GO-ROUND. THE

CAMERA PANS AS ERIC RUNS

TO WALL WAITING FOR MORE

BOXES. (THE NOISE OF UNLOCKING
GATE IS HEARD.)

C.U. OF ERIC'S FACE. HE
IS AFRAID.

C.U. OF GATE HANDLE BEING
TURNED FROM OUTSIDE. THE
GATE BEGINS TO OPEN.

L.S. OF ERIC TIGHT AGAINST
WALL ON LEFT OF FRAME,
GATE TO RIGHT OF FRAME.
MR. SWAZY ENTERS THROUGH
GATE CARRYING TWO BOXES.
ERIC IS TRYING NOT TO BE
SEEN. THE GATE SLOWLY
CLOSES BY ITSELF AS

MR. SWAZY WALKS OUT OF
FRAME.

C.U. OF ERIC'S FACE. HIS
EXPRESSION IS DESPAIR.

HE WONDERS HOW SUSIE WILL
GET OVER WALL NOW. '

L.S. HIGH ANGLE, SAME
FRAMING AS SHOT 82. ERIC
RUNS TO GATE AT RIGHT OF
FRAME.

M.S. OF ERIC AT GATE. WITH
HIS BODY HE IS ABLE TO PUSH
GATE OPEN. HE LETS IT
CLOSE AGAIN. NOW REASSURED
THAT SUSIE CAN ENTER
THROUGH GATE.

LOW ANGLE NEXT TO WALL.

ONE OF THE BOXES IN FORE-

GROUND. ERIC CAN BE SEEN

IN B.G. QUITE SOME DISTANCE.

HE RUNS INTO CAMERA STOP-

PING AT BOX. HE KICKS IT

OUT OF FRAME. SUSIE: (FROM OVER WALL)
Eric... Eric....

63

 

SHOT PICTURE SOUND
87 C.U. OF ERIC'S FACE. SUSIE: Somebody took my
boxes.
88 CAMERA ON M.C.U. FOLLOWS
ERIC AS HE RUNS TO GATE. (HEAR ERIC RUNNING)
ERIC STOPS AT GATE, PUSHES
IT OPEN WITH HIS FOOT.
ERIC MOVES BACK AWAY FROM
GATE.
89 M.L.S. BEHIND ERIC. CAMERA
VERY CLOSE TO WALL. SUSIE
FROM A DISTANT B.G. COMES
THROUGH GATE. SHE IS
CARRYING THE ARMS FROM HER
DOLL.
90 THE CAMERA BOOMS DOWN UNTIL
AN EMPTY SLEEVE CAN BE
SEEN. FRAME LEFT. SUSIE
IS WALKING INTO SHOT.
SUSIE: Here they are.
91 M.S. PROFILE OF TWO FACING
EACH OTHER. SUSIE HOLDS
ONE UP TO HIS SHOULDER.
THEN SHE BEGINS TO PIN IT
ON.
SUSIE: Hold still...they
SHE HAS FINISHED PINNING fit real good..there..do
ARMS they work? Move them.
92 C.U. OF ERIC'S FACE AS HE
STUDIES HIS NEW ARMS. ERIC: (SHAKES HIS HEAD)
93 M.S. PROFILE OF TWO SUSIE: They won't go?
ERIC: I...I don't know.
If I tried them..maybe
they wouldn't move.
SUSIE: Try them. Try them.
94 ERIC MOVES OUT OF FRAME. ERIC: I'll just...keep them
for awhile.
SUSIE: They look real good.
95 M.S. OF ERIC WALKING AWAY SUSIE: They look better on

FROM CAMERA. WE SEE BOTH
ARMS HANGING FROM HIS
SHOULDERS.

you than they did on Elsa.

64

 

SHOT PICTURE SOUND

ERIC TURNS AS CAMERA ZOOMS

TO C.U. OF HIS FACE. HE

SMILES.

96 M.L.S. OF ERIC. SUSIE: From here, they look
just like anybody's arms.
SUSIE'S MOTHER FROM ACROSS
THE STREET: Susan......

97 M.L.S. REVERSED, SHOWING SUSIE: (YELLING) Coming.

MOST OF ERIC IN FOREGROUND

INCLUDING ONE OF HIS ARMS.

SUSIE RUNS INTO M.C.U. SUSIE: Coming. I have to
go. (PAUSE) They look nice
on you. I'm glad you have
arms now. You tried them?
ERIC: I don‘t know. How
do you try them?

98 M.S. PROFILE WITH GATE IN SUSIE: You keep them till

B.G. tomorrow.

ERIC: Till tomorrow?
' SUSIE: See what happens.
I gotta go.
SUSIE RUNS TOWARD GATE.
ERIC: Thanks.
SUSIE'S MOTHER: Susan.
SUSIE: Thank Elsa...
(YELLING) Coming. I'll
come back tomorrow.
99 C.U. OF ERIC'S FACE

WATCHING SUSIE RUN OFF.

” SWAZY'S VOICE: (YELLING)
Eric.

ERIC TURNS QUICKLY TO

MR. SWAZY, SPEARED BY A

FEAR. ERIC: Yes?

100 M.L.S. OF MR. SWAZY'WALK- SWAZY: Who was that kid

ING TOWARD CAMERA. ERIC that just left? Is she one

IS UNSEEN. of our kids?

101 SUBJECTIVE CAMERA AGAIN

FROM HIGH ANGLE AND DOLLY-
ING INTO ERIC LOOKING AT
LENS

ERIC: (SHAKES HEAD NO)

65

 

SHOT PICTURE SOUND
102 LOW ANGLE OF M.C.U. OF
SWAZY. SWAZY: YOu better get inside.
103 THE CAMERA FOLLOWS SWAZY
AS HE WALKS PAST ERIC TO
WALL WHERE HE PICKS UP
BOXES, TURNS, AND HEADS
INTO BUILDING. SWAZY: Come on, Eric.
M.C.U. OF ERIC SHOWING
ARMS. HE IS PUZZLED
BECAUSE SWAZY DIDN'T
NOTICE HIS ARMS.
HE LOOKS AT HIS ARMS FOR
A MOMENT.
104 C.U. OF ERIC'S FACE. HE
TURNS--LOOKS AT SWING.
HE WALKS AWAY FROM CAMERA
TO SWINGS WHERE HE STOPS
AS IT HE WILL SIT DOWN.
105 M.C.U. OF ERIC FRAMED BY
SWING CHAIN. SUDDENLY A
HAND ENTERS FRAME RIGHT
GRABBING SWING CHAIN.
ERIC IS STARTLED. HE
TURNS QUICKLY. SUSIE: I got to have 'em
back.
106 M.S. OF TWO BY SWING. ERIC: What?
SUSIE: You hafta give me
my arms back.
107 C.U. OF ERIC'S FACE WITH ERIC: Give them back?
PUZZLED LOOK. SUSIE: I have to put 'em
back on Elsa..my mother's
mad. (PAUSE) You think I
gave you her arms for keep?
ERIC: You gave them to me.
SUSIE: No...I want them back.
I only gave you them for fun,
not for real.
108 L.S. OF ERIC RUNNING

INTO CAMERA.

SUSIE RUNS AFTER HIM.

SUSIE: I'll tell my mother.

66

SHOT PICTURE SOUND

109

110

111

112

113

114

115

BOTH ARE IN M.C.U. SHOT SUSIE: They're no good to

you anyway. They just hang
there. A halloween suit..
that's what they are. They're
just pretend arms, and I want
'em back.

ERIC TURNS QUICKLY. ERIC: No!

I

E.C.U. OF DOLL'S HAND AS

IT FLIES TO THE FACE OF
SUSIE. CAMERA HOLDS ON
HER FACE. SHE IS STARTLED.
SHE SLOWLY BEGINS TO CRY.

C.U. OF ERIC'S FACE. HE
IS CONFUSED BY THE ACCIDENT.

M.L.S. PROFILE AS SUSIE

SLOWLY WALKS TOWARD CAMERA.

ERIC MOVES TO HER STOPPING

HER IN A M.C.U. PROFILE. ERIC: Take them.
SUSIE: We shoulda played

SUSIE UNPINS THE ARMS. something else...She wasn't
old...Elsa was a new doll.
My mother's mad.

SUSIE HAS THE ARMS OFF.

C.U. OF SUSIE'S FACE WITH
TEARS.

C.U. OF ERIC'S FACE---HE‘S
SCOWLING.

M.L.S. OF THE TWO--AFTER A
SHORT PAUSE, SUSIE RUNS
OUT THROUGH GATE.

LOW ANGLE OF ERIC'S LEGS.
HE IS STANDING ON HOPSKOTCH
GAME. HE JUMPS THROUGH IT
ONCE. WE CANNOT SEE HIS
SLEEVES. ERIC MOVES TO THE
FOREGROUND OF THE SHOT.
SUDDENLY HIS JACKET FALLS
TO THE GROUND. HE KICKS IT
OUT OF HIS WAY AND JUMPS TO
THE FAR END OF THE HOP-
SKOTCH GAME. THE CAMERA
ZOOMS SLIGHTLY, CENTERING
ATTENTION ON THE STONE.
ERIC'S HAND REACHES DOWN
AND PICKS IT UP.

67

SHOT PICTURE

116

117

118

L.S. FROM HIGH ANGLE
REVEALS ERIC HAS TWO ARMS.
HE HOLDS STONE. WEIGHING
IT IN HIS HAND. THEN RUNS
SLIGHTLY LEFT AND TOWARD '
CAMERA. HE STOPS, THROWS
STONE OVER WALL.

SWAZY APPEARS AT DOOR OF
BUILDING.

E.C.U. OF PROFILE OF
ERIC'S FACE FRAMED LEFT
WITH SWAZY MOVING TOWARD
GATE FRAME RIGHT.’ ERIC
MOVES TO SWING WHERE HE"
PUSHES IT AS HARD AND HIGH
AS HE CAN.

SLOW FOLLOW ZOOM ON ERIC
AS HE MOVES INTO BUILDING.
HE IS SWINGING HIS ARMS
RAPIDLY. SWINGING THROUGH
THE SHOT IS THE SWING.

AS THE SWING DIES‘DOWN,
ERIC HAS DISAPPEARED INTO
BUILDING.

FADE TO BLACK

SOUND

SWAZY: Eric...you better
get in here..your mother
will be leaving soon.

ERIC: I'm coming.

SUSIE: (YELLING FROM OFF
CAMERA) Eric...the gate's
locked....Eric...

APPENDIX B

NOW I'M IN FIVEY'S

A one-act play by E. P. McCoy

(THE CURTAIN OPENS ON THE PLAYGROUND-SECTION OF AN
ORPHANS' "HOME". A BUTTERCUP RIGHT. MONKEY“BARS'.
REAR RIGHT. SWINGS. A SLIDING-BOARD. A DRINKING-
FOUNTAIN WITH A FOOT PEDAL. A SEVEN-FOOT STONE WALL
RUNS DIAGONALLY CENTER REAR TO OFF-STAGE LEFT.)

(IT IS LATE AFTERNOON.)

(KIDS, DRESSED IN THE UNIFORM OF THE "HOME" ARE
BALLETING THROUGH MANEUVERS ON THE APPARATUS: AND

IN THE CENTER, A GROUP OF THREE ARE PLAYING HOPSCOTCH.
KID: You stepped on the line.

ANOTHER: I did not.

KID: You did. I saw you.

ANOTHER: I did not step on the line. (TO A THIRD
KID.) Did I step on the line?

KID: Look, you can see the chalk's erased away.
THIRD KID: I saw you. You stepped right here.

(A BOY WHO HAS NO ARMS COMES ON HESITANTLY. HE IS
WEARING THE UNIFORM OF THE "HOME." HE IS JOE. HE
STANDS NEAR THE BUTTERCUP AND WATCHES THE HOPSCOTCH
GAME.)

ANOTHER: I did not. I-e—

(A CLOCK STARTS STRIKING OFF-STAGE. ALL FREEZE. TURN,
LOOK OFF RIGHT. THEN SCAMPER OFF GAILY WITH AD LIBBED
SHOUTS, LEAVING A LARGE COLORED MARKER IN THE HOP-
SCOTCH PATTERN.)

68

10

ll

12

13
14

15

16

69

(JOE WALKS SLOWLY IN THE DIRECTION THE OTHER KIDS
HAVE EXITED. STOPS, TURNS BACK TO PLAYGROUND. HE
GOES TO BUTTERCUP. KICKS IT GENTLY: WALKS TO WATER-
FOUNTAIN, PRESSES FOOT-PEDAL, DOESN'T DRINK.)

(SUDDENLY HE COMES QUICKLY DOWN TO HOPSCOTCH PATTERN.
STOPS. THEN HE STARTS TO HOP THROUGH IT. A GIRL IN
A BRIGHT PRINT DRESS APPEARS ATOP THE WALL. HIS BACK
IS TOWARD HER. WHEN HE GETS TO THE END OF THE HOP-
SCOTCH PATTERN AND DOES THE "TWIST-AROUND", SHE HAS
DROPPED DOWN TO THE GROUND. HE SEES HER, FREEZES.
SHE SKIPS OVER TO THE HOPSCOTCH PATTERN; PICKS UP

THE MARKER. HOLDS IT UP...)

MEG: Now you're in Fivey's.

(JOE RUNS BEHIND THE BUTTERCUP. JUST HIS HEAD STICKS
OVER THE TOP.)

JOE: I'm not in Fivey's. I never played before. How
could I be in Fivey's at the beginning?

MEG: The stone was there (POINTS) in Fourey's. You
didn't step on the line. I watched. Now you're in
Fivey's. Right?

(SHE LAUGHS MERRILY. TOSSES STONE DOWN, RUNS OVER TO
A SWING. SHE SITS ON IT.)

JOE: I ain't.

(THE KIDS COME BACK ON QUICKLY AND DASH THROUGH
EXERCISES ON THE APPARATUS.)

MEG: Will somebody push me, please? (TO A BOY.)
Will you?

BOY: Who wants to push a girl on a swing?

(HE POINTS TOWARD BUTTERCUP WHERE JOE IS STILL HIDDEN.
WITH JUST HIS FACE EXPOSED.)

BOY: Let Joe.

ANOTHER: Let Venus push you.
(ALL LAUGH.)

MEG: I'm asking ygg,

JOE: I wouldn't: I————

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25

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KID: Let's see Joe do it with his head or with his
feet. (LAUGHS.)

ANOTHER: Go on. Get M;m_to push you.

MEG: I'm asking you.

KID: We ain't got time.

(CLOCK STARTS TO STRIKE OFF.)

MEG: It doesn't take————

ANOTHER: MQQM_at the time!

(ALL STARE OFF.)

KID: The ClOCk! It's a quarter of.

A GIRL: Last one to the dining—hall's a jerk.
(THE KIDS DASH OFF SHOUTING. MEG AND JOE STAY.)
MEG: Don't you go too?

JOE: How'd you get in.the Parneyhome? Who are you?
YOu don't belong here. (PAUSE.) Are you new?

MEG: I'm Meg.

JOE: You don't belong to Parneyhome?
MEG: I live across the street.

JOE: How'd you get in?

MEG: Climbed the fence.

JOE: (LOOKS AT WALL.) That fence?

MEG: It isn't high. I piled boxes that I got from
Katzman's. (GETS OFF SWING, GOES TO BUTTERCUP.)

JOE : Why?
MEG: Did you ever live across the street from a wall?

JOE: No. No. I never lived across the street from
anything. Always here.'

MEG: Especially a wall that has a playground on the
other side? You oughta leave the gate open, so kids
Could come in.

38
39

4O

41
42
43
44
45
46
47
48
49
so

51
52
53
54
55
56
57

58
59

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71

JOE: Jake has the key. He keeps it locked.

MEG: Why does he?

JOE: I don't know. So we won't get out, I guess.
I don't know Why.

MEG: You wanna get out?

JOE: I don't know. (PAUSE.) No. I don't.

MEG: You ever bggg out?

(JOE SHAKES HIS HEAD "NO.")

MEG: Never to the street? To school?

JOE: School's here.

MEG: But I see the kids come out every day.

JOE: Not me. (LOOKS DOWN.) I stay here.

MEG: Why? (NO ANSWER.) Why?

JOE: Because. I don't know. Shut up.

(MEG GOES BACK TO SWING, SITS.)

MEG: Why wouldn't you push me on the swing?

JOE: Who wants to push a girl on a swing?

MEG: Ascared?

JOE: No, not ascared.

MEG: Ascared of swings, or girls?

JOE: No, not ascared of anything.

MEG: (HANGS HER HEAD BACK AND LOOKS UP AT TOP OF
SWINGS.) My brother were here, he'd push me. All

day long if I wanted.

JOE:

MEG:

Out of one piece of wood.

Your brother?

Carve a three-link chain.
Skate fast as automobiles.

He can do everything.

Make—-make flowers grow by lookin at them.

JOE:

name?

(COMING FROM BEHIND BUTTERCUP.) What's his

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62

63

64

65
66
67
68
69
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73

74

75
76
77
78
79

8O

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82

MEG:

Twice as big as this.

JOE:

72

He takes me to a playground up the street.
He pushes me on swings and----'

Why isn't he here? Why didn't he climb into

the playground and boost you over?

MEG:

JOE:

outside.
swing.

I came by myself.

If I were someone's brother, I wouldn't stay
I'd be in here with you and push you on the
What kind of a brother do you have? What's

his name?

JOE:
MEG:

JOE:
way?

MEG:

JOE:

He hasn't any name.
No name?
(SIGHS.) I just pretend him.
Make—believe?

I call him Joe--but not out loud.
(WONDER.)

That's my name. Joe.

(SOFTLY.) Who took your arms? Who cut them off?

Nobody. Nobody did. Couldn't I be--born this

I wasn't. Nobody I know was born like that.

YOu were born like you. I was born like...

(LOOKS AT HIS SHOULDERS.)...like me.

MEG:
JOE:
MEG:
JOE:

MEG:
ride

JOE:
Jake

MEG:

JOE:

I don't believe it.. You had arms once, I bet.
Get out of here.
(OFFERING.) I'll push you on the swing.
I can't hold on.
Sit.

Sit on the buttercup. I'll give you a

Go out. You don't belong in this playground.
better not find you here.
YOu don't like me, do you?

No, I don't like you.

83
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85
86
87

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89

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91
92
93

94

95‘

96

97

98

99

100

101

102

JOE:
MEG:
JOE:
MEG:

JOE:

(LOOKS OFF RIGHT.)
for me another minute.

73,

Yes, you do.
No, I don't.
Yes, you do.
I do.

Yes, Only--—only-—-

Only what?
I don't like you. You shouldn't be here.

They'll be coming out to look
I should be in. They have

to feed me.

MEG:

I feed our Sport at home. It's time he had

his supper.

JOE:

Go on. Go feed him. If Jake finds you here,

they'll keep you in the home.

MEG:

JOE:

MEG:
JOE:

MEG:

I like it here. .
You wish I'd push you on the swing, don't you?
You couldn't.

Climb back over the fence. Go home.

I can't. There aren't any boxes on this side.

It's too high on this side.

JOE: This Side. A wall's the same high on both
sides, isn't it? '

MEG: (SHAKES HER HEAD.) I got boxes on the other
side, from Katzman's.

JOE: If I had arms I'd climb it. I'd climb it and
wouldn't need no boxes. I'd push you on the swing
too. So high you would get scared and tell me stop.
MEG: What would you do if you had arms?

JOE: I'd drop things. So I could stoop...and pick
'em up. (PAUSE) What would I do!

MEG: Would you come out? And I'd show you the other

kind of buttercups?

JOE:

Flowers?

We have them here.

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120

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122

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74

MEG: ---and you'd pick a bunch with me for my mother
and your mother--

JOE: I don't have a mother.
MEG: I bet somewhere you could get arms.
JOE: Most of the kids here don't have no mothers.

MEG: Somewheres there's a place they make arms and
you could get a pair. We could climb the wall and-—

JOE: There aren't any boxes on this side.

MEG: You could climb over by yourself you said,
if you had arms..

JOE: They can't make arms. Not real ones, Not arms
that move.

MEG: I have a doll. She's a big rag-doll. She's
got arms. Elsa. I think her arms would fit you.

JOE: Elsa?

E

I could get them. I'd get them for you.
JOE: Would they be real?
MEG: Elsa is. We'd play they were real.

JOE: If we could get them to stay on. What makes
arms stay on?

MEG: I'd sew them on, that's what. (TOUCHES HIS
SHOULDERS.) Right there. I'll bring a needle.

Some of mother's thread. I'll sew them on. They'll
stay. '

JOE: When?

MEG: Tonight I'll do it. After supper.

JOE: YOu won't come back. Your mother won't let
you out.

MEG: I'll come right back. I'll bring the doll...
I won't wait till after supper.

JOE: Somebody'll take the boxes away to make a
potato-fire. You won't get in.

MEG: I will. I'll climb up some way.

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132

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75

JOE: Even if you don't. Even if the arms don't fit.
Come back the next time he's got boxes, Katzman?

MEG: I'm coming back tonight. I'll bring the thread
and needle. You wait.

JOE: If they fit.

MEG. They'll fit.

JOE: They'll look for me when it gets dark. But I'll
be here. I'll hide behind the buttercup. Call out
when you get back. Call "JOE"; I'll know it's you
and I'll come out.

SHE STARTS OFF, TURNS BACK, RUNS, KISSES HIM. HE
STANDS AS THOUGH HE WANTS TO TOUCH HIS CHEEK WHERE
SHE KISSED IT, BUT SINCE HE HAS NO ARMS, HE RUBS THE
CHEEK AGAINST HIS SHOULDER. MEG IS STOPPED BY THE

WALL, CAN'T CLIMB UP IT. JOE GOES OVER, LEANS HIS
HEAD AND SHOULDERS AGAINST IT.)

JOE: On my back. Up. Can you make it?

MEG: (GETTING UP.) You're not as high as Katzman's
boxes.

JOE: Have you got a hold?
(SHE'S UP ON TOP THE WALL NOW.)
MEG: You wait.

JOE: I'll wait. (SHE DISAPPEARS.) Don't take too
long.

MEG: (OFFSTAGE) I won't.

(JOE TURNS, WALKS. STOPS AT HOPSCOTCH PATTERN)

JOE: She said I was in'Fivey's.

(HE STARTS TO HOP THROUGH IT. AS HE DOES, A BOX
COMES-HURTLING OVER THE WALL. HE FREEZES, STARES AT
IT. ANOTHER BOX COMES OVER THE WALL. HE RUNS TO
THEM. STANDS HELPLESS, LOOKING UP EXPECTING A THIRD.)

(CLANK OF A GATE OFF-STAGE. CLINK OF A BIG LOCK.
JOE TURNS, LOOKS REAR RIGHT. JAKE SHUFFLES IN.)

JOE: Jake!

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JAKE: Somebody left some boxes outside near the
wall. Figured we could use 'em in the basement.

JOE: Jake. Jake, you didn't--lock the gate when you
came in?

JAKE: Always keep the gate locked. That's my job, Joe.
JOE: Do you believe in miracles, Jake?

JAKE: They're looking for you, Boy. You wasn't in
to supper.

JOE: I'm getting arms, Jake. I'm waiting here for
them.

JAKE: Getting arms?

JOE: Yep.

JAKE: Where they—-gonna come from?

JOE: Meg's bringing them. She's gonna sew them on.
JAKE: Sew them on? What you want with arms, Boy.
Look. Two a them. All they do is push a broom, lock

up doors.

JOE: I could play hOpscotch-—up to eighty's. You
wouldn't have to put my shoes on in the morning.

JAKE: That's my job.

JOE: I could slap Atsie's face.

JAKE: That ain't no way a boy should want new arms.
JOE: How did it feel when you got yours, Jake?
JAKE: My arms? Well--—I dunno. I kind of always
had them. Far as I remember. Felt about the same
to me as’feet, I'guess.

JOE: Do me a favor, Jake?

JAKE: I'd help you"if I could. But I'm no hand at
putting arms on people, Boy.

JOE: Leave the gate unlocked so she can come in?
JAKE: Who's coming in?

JOE: Meg. She has the arms.

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77

JAKE: I gotta keep the gate locked. That's my job.
JOE: You can leave it Open just this once?

JAKE: Wouldn't be much left for me to do, if I
didn't keep the gates locked.

JOE: Unlock it, Jake!

JAKE: I can't. I wouldn't be able to sleep if I--—

MEG. (OFFSTAGE.) Joe! Joe!
JOE: That's her. That's her! She's got the arms.

MEG: (OFFSTAGE.) Somebody took the boxes, Joe, I
can't climb up.

JOE: (TO JAKE.) Open the gate, Jake! Let her in.
Let her in Jake.

JAKE: I can't, I can't, Boy. I ain't allowed.

JOE: You're supposed to lock us in, not keep the
people out.

JAKE: I can't. I can't do it, Boy.
JOE: Suppose she belonged here and----
JAKE: She don't, She's not—-—

JOE: Suppose she belonged here and was out there
and wanted to come back in?

JAKE: I'd open up. I'd let her in, but——-
JOE: She belongs here.

MEG: Joe! Can you hear me, Joe?

(JAKE FINGERS HIS KEY-RING.)

JOE: (RAISING VOICE TO MEG.) Go over to the gate.
It's Jake. He'll let you in.

(JAKE WALKS OFF. JOE MOVES EXCITEDLY, GOES TO BUTTER-
CUP. LIGHTS HAVE DIMMED, MEG RUNS IN. SHE HAS A
DOLL IN ONE ARM, AND THE DOLL'S ARMS IN THE OTHER.
SHE STOPS. LOOKS AROUND CONFUSED IN THE DARKENED
PLAYGROUND.)

MEG: Joe. Joe?

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78

JOE: You got them?

5

Where are you, Joe?

JOE: Over here. The buttercup. Watch you don't
bump into a swing.

MEG: (MOVING TOWARD HIM.) I got them, Joe. I---
(BUMPS INTO BUTTERCUP.) Oh!

JOE: I told you watch out.

MEG: It's all right, just my knee. This is Elsa.
(KISSES DOLL QUICKLY, LAYS HER DOWN.) Here are the
arms.

JOE: Will they fit? They look too small.

MEG: Over here. we'11 try them on.

(SHE BRINGS HIM CLOSER TO THE WALL, WHERE A STREET
LAMP FROM OUTSIDE GIVES A LITTLE MORE LIGHT. JOE
STANDS STILL. MEG PUTS PINS IN HER MOUTH, HOLDS UP
ONE OF DOLL'S ARMS TO HIS COAT SHOULDER. PINS IT.
HOLDS UP THE OTHER. PINS IT. JAKE ENTERS.)

JOE: They fit.

MEG: It's dark. Hold still, Joe. Let me see.
JOE: They fit.

MEG: Hold still. Hold still and let me sew them on.

(JAKE SHINES A FLASHLIGHT. MEG SEWS QUICKLY. JOE
STANDS LOOKING DAZEDLY AT HIS NEW ARMS. SHE FINISHES.)

MEG: (EXCITEDLY.) Do they work, Joe? Move them!
(PAUSE) Move them, Joe. Go on!

JOE: N00
MEG: They won't go?

JOE: (BEWILDERED.) I---I don't know. If I tried
them---maybe they wouldn't move.

MEG: Try them. Try them. If they won‘t move, we'll
sew them on again. A different stitch.

JOE: I'll just---keep them for a while. They look
900d 0

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79.

MEG: They look real good. They look better on you
than they did on Elsa.

JAKE: I'm locking up the gate.

MEG: I can't stay any longer, Joe. My mother said
be in at eight. I gotta leave. (PAUSE) The arms
won't move?

JOE: You're coming back?

MEG: (SHAKES HER HEAD "YES".) I'm gLad we got the
arms on. It was fun. (SHE PICKS UP THE DOLL.)

JOE: (TO HIMSELF.) Maybe they have to get to know
you before they move.

MEG: (TURNS TO HIM} MILDLY ACCUSING.) You tried
them?

JOE: I don't know.

MEG: You tried them and you didn't tell me? You
been trying them all along?

JOE: How——how do you try them? I wished hard they'd
move. I thought: Move, arms. They have to get to
know you, I guess.

MEG: You keep them till tomorrow.

JOE: Till tomorrow?

A

See what happens. I gotta go.

JAKE: You better go before I lock the gate.
(MEG GRABS UP SEWING EQUIPMENT AND STARTS OFF.)
JOE: Thanks for the arms.

MEG: (OVER HER SHOULDER.) Thank Elsa. I'll come
and play again.

(SHE GOES OFF. JAKE STARTS TO FOLLOW.)
JOE: Whattaya think, Jake?

JAKE: (UNCOMFORTABLE: HE TURNS.) Prettiest arms
I ever seen.

JOE: Jake. I tried. They won't move.

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80

JAKE: (HELPLESS.) Won't, huh?

JOE: I never believed things before, Jake. I never
believed in arms or going out, or nothing. Till she
said she had a doll with arms my size. Even then I

didn't want to. I didn't want no doll's arms. Then
she said she'd sew them on. Sew arms on me!

JAKE: She did. She kept her word. You oughta———'

JOE: Do you know all the things I've thought since
just an hour ago?

JAKE: Just having them there to look at——-Even if
they won't work...that's something, Joe.

JOE: It ain't. It ain't nothing. (PAUSE.) You
think I only played? You think I played at arms like
kids play House? '

JAKE: It's the best way) Joe. Like I said, you--—-
JOE: I woulda climbed the wall. I woulda pushed her
on the swing. I woulda pointed (THROWS HIS HEAD UP

TOWARD THE SKY.) there—--that star. You see it,
Jake?

JAKE: Which one?

JOE: The one that's next to the bright one-—near those
four there, about a foot above the tower. See it?

JAKE: (HE DOESN'T.) Why---yep. I see the one you
mean.

JOE: YOu don't. I need a hand to point it out.
But I'd a given that to her.

JAKE: Given her a star?

JOE: That's not all. I would have carved a three-
link chain. Outa one single solitary piece of wood.

JAKE: You would?
JOE: —--I woulda been Joe-~-

JAKE: You are Joe. Anything else is wrong, but still
you're----

JOE: ---Her brother. She wouldn't have to pretend.

JAKE: (AT LOSS.) We11----

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81

JOE: ---If the arms was real. They fit. But they
aren't real.

JAKE: I think they are! I think you gotta give
those arms a Chance.

JOE: If they don't wOrk, it's like a suit you'd
wear on Halloween.

JAKE: They're real. I tell, Boy..those arms are real.

(JOE LOOKS AT JAKE FOR A LONG MOMENT; THEN LOOKS OUT
TOWARD STREET-LAMP.)

JOE: Don't lock the gate yet, Jake.
JAKE: I gotta lock it soon.

JOE: I'm going out. I'm going out. I wanna find her,
I wanna tell her-—-

JAKE: Now, Joe! You can't do that. I gotta lock
the gate. I—--

JOE: If you lock it, Jake, I'll climb the wall.
JAKE: You can't do that! YOu——-

JOE: You mean I can't—-my arms-won't—work?

JAKE: I mean you can't---you-ain't—allowed.

JOE: You lock the gate, and I'll climb it, Jake.
JAKE: I'll lock the gate---when you get back.

(JOE RUNS OFF. JAKE'STOPS AND PICKS UP BOXES. LOOKS
UP FOR THE STAR JOE HAS POINTED OUT.)

(MEG RUSHES 0N, EXCITED, OUT OF BREATH.)
MEG: Where is he? Where's the boy?
JAKE: You mean where's Joe?

MEG: Where's Joe?

JAKE: He left a star for you. It's the one right
up there near---

MEG: I don't want any stars. I played enough. I want
to talk to the boy.

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82

 

JAKE: Joe's out. He just went out.

MEG: Out there? He isn't out. He said he never went
out. (EYES JAKE SUSPECIOUSLY.) You made him go to
bed, I bet. (JAKE SHAKES HEAD "NO".) He's hiding
behind the buttercup! (SHE RUNS TO IT, BUT JOE ISN'T
THERE.)

JAKE: He's out.

MEG: (STILL NOT BELIEVING HIM) Joe! Joe!

JOE: (OFFSTAGE) Don't yell so loud.

MEG: Joe! YOu are out! I gotta tell you--——

JOE: (OFFSTAGE.) I'm coming in.

MEG: (TO JAKE.) He did go out.

JAKE: This time I‘ll lock that gate for sure.

MEG: Not yet! (JOE ENTERS.) Joe. You'll have to

give the arms back.

(JAKE STOPS, TURNS.)

JOE:

MEG:

(PAUSE)

JOE:

MEG:

Give them back?

I have to fix my doll, my mother's mad.
You think I gave you Elsa's arms for keeps?

YOu sewed them On.

They're only basted really. I can get them

off in no time.

JOE: NO.

MEG: I want them back! I only gave them to you in
fun. Not for keeps!

JOE: NO.

MEG: I'll call my mother.

JOE: Call your mother. Call the whole damn world.
Call Jake. These arms are mine.

MEG: They're no good to you. They only hang there.

A halloween pretend.

I want my Elsa's arms ba---

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83

(HE SLAPS HER FACE. THEY BOTH STAND STILL. THEN MEG
BEGINS TO CRY. JOE STARES AT HIS ARMS. MEG TURNS,
STARTS OFF, JAKE STANDS NOT SURE HE HAS SEEN RIGHT.)

JOE: Here, Meg. (MEG STOPS.) Here. (SHE TURNS
AROUND.) Come back. They're yours. They belong to
you. Stop crying.' (KISSES HER.)

MEG: (WIPING TEARS AND HER NOSE.) We shoulda played
something else. (SHE IS PULLING OUT STITCHES NOW.)
She wasn't an old doll--—Elsa—-—she was new. My '
mother's mad.

JOE: Stop crying. They're yours. Go on and sew
them back on Elsa. Go on. (SHE TAKES THE ARMS AND
TURNS TO G0.) I don't need them any more. I don't.
Quit bawling. Go on.

(MEG GOES OFF. JAKE SHAKES HIS HEAD, FOLLOWS HER.

JOE LOOKS DOWN AT HIS EMPTY SLEEVES. WALKS OVER TO

THE HOPSCOTCH PATTERN) STARTS TO HOP THROUGH IT.

WHEN HE GETS TO THE END OF IT, HE DOES THE "TWIST-
AROUND", AND WHEN HE DOES, HIS JACKET SWIRLS OFF AND
HE HAS HIS OWN ARMS BENEATH IT. HE LOOKS FIRST AT ONE.
THEN AT THE OTHER. SMILES. STOOPS DOWN AND PICKS UP
HOPSCOTCH MARKER. HE WEIGHS IT ONCE IN HIS HAND, THEN
TOSSES IT LIGHTLY OVER THE WALL...)

JOE: Now I'm in Fivey's.

CURTAIN

 

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