Script Writing

The Visit - Personal Response (Creative)

Regardless of choice, you MUST respond to the following prompt:

What does the text creator suggest to you about the nature of motivations that
direct an individual’s course of action?
Consider what happens to the dramatic circumstance of the text when you adapt characters, then
allow them to interact and choose where they’ll interact. In the space below, list the variables
that you would like to manipulate:
1.____________________________________________________________________________
2.____________________________________________________________________________
3.____________________________________________________________________________
Example ONE:
• Dialogue between 2 characters who have a relationship (ie. Ill’s conversation with the 2
‘witnesses’ what did he say to them? Ill’s first meeting alone with Claire)
• Stage directions communicating the movement of their bodies and positioning.
• Limited furniture set.
• Music which changes depending on mood.
Great opportunities: Potential Difficulties:
__________________________ _____________________________
__________________________ _____________________________
*Keep in mind that you are dealing with the growth and understanding of character(s). Consider
what could make this really great and what you need to beware of so this doesn’t turn trivial or
superficial.
Example TWO:
• Dialogue between an entire family of characters—(ie. Ill’s wife, son and daughter)
• Stage directions communicating the movement of their bodies and positioning.
• Empty set.
• Narrator voice over to explain the reality of the situation.
Great opportunities: Potential Difficulties:
__________________________ _____________________________
__________________________ _____________________________
Consider RAFT as a helpful tool:

R ole:
every time you speak the lines of a character, you’re embodying their motivations and reactions in realistic and
human ways. When characters interact, have them do so in authentic ways. You are their voices and their puppet-
master; you command every move. But, each time you do so, it’s from differing perspectives.

A udience:

the audience in this case is sitting in rows facing the stage. You must consider that you have a number of people
from a number of different backgrounds, each with a frame of reference that you cannot predict. Make this
experience accessible to anyone and everyone. Be clear in what you’re trying to achieve in adjusting the variables
you’ve chosen.

F ormat:

don’t worry about remembering how a screenplay or script is supposed to look in the real world. You can make this
very basic and still make it look like a script, and that’s all that matters. Write the character name and a colon before
each line s/he speaks. Start a new line for each character. Put stage directions in italics and place them where the
action should go—either next to a character’s lines or on a new line if they belong to everyone.

T one:

the danger here is to overuse hyperbole, using the limited time you have to be extreme. I.e. in an attempt to make
things sound important and critical, you may lose sight of the subtle and nuanced, that value might be in the quiet
moments of body language and movement around the stage. If you’re going to choose this form, take advantage of
the opportunities it gives you.
 Examples of Script Writing for The Great Gatsby

Discuss what the text creator suggests to you about how individuals pursue or compromise
their happiness.

***Please note the formatting and use of italicized stage directions.

EXAMPLE

The End of a Reckless Journey

The Buchanan Residence. Dimly lit kitchen. Enter Daisy and Tom Buchanan. In the dead of
night, both figures are sitting across from each other, holding hands.

DAISY: Oh, Tom. I-

TOM: You don’t have to explain it. I already know what happened. That bootlegger let the
anger get to him and tore right through the innocent girl in the street. Didn’t even stop to see if
she was dead because he’s a coward. I guess some people only care about pursuing their own
happiness, and if they are ignorant of their surroundings, it can lead to devastating consequences.
And he’s one of those people. He’s only concerned about himself! Only pretending to be a man.

(Daisy pulls both her hands away from Tom’s.)

DAISY: (She speaks in a quick and breathless manner.) No, that’s not what happened. Could
you please listen to me for once in your life please, Tom, please!

(Tom sits in total silence with a half-shocked face. He quickly regains composure and gestures
Daisy to continue.)

(Daisy takes a moment to collect herself.)

DAISY: (Her voice is fast and heightened) I- It was all my fault! It was I who was sitting in that
driver’s seat, Tom! Gatsby let me drive and I- I- ran over that poor, poor woman without even
looking back (Puts her face in her hands starting to cry). Tom, you have to believe me, please!
(Her voice breaks down into a fast and constant whispering) I wasn’t deliberate. I- I couldn’t
stop, Tom. I was horrified. I couldn’t compromise what we have. All I wanted was to go back
home. All I could think about was preserving our little family. Tom, please! I don’t know what to
do. All I know is that when people focus on the pursuit of their own happiness, they need to
ignore external forces, otherwise they may never be fulfilled and can lose everything and
everyone that is meaningful to them.