Kate Chopin's the Awakening: Screenplay as Interpretation

By Marilyn Hoder-Salmon | Go to book overview
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Edna has her easel set up and is sketching Adèle. Robert watches Edna draw from his vantage point on the top step. The camera slides across to the entranceway so that the gazebo trim becomes a border of the frame.

ROBERT: (To Edna) Your talent is immense!

ADÈLE: I've always thought so.

Robert leans against Edna, but she pulls away without comment. It is quiet for a moment. Then Edna speaks with exasperation.

EDNA: (She stops work.) This is not what I intended. Not at all.

The camera tilts over the drawing. Edna and Robert are partially in the frame. Again, Robert leans on Edna, and just as before, she moves away from the pressure of his body. The camera returns to the position of the preceding shot. Adèle looks up.

ADÈLE: May I see it now?

EDNA: (Still annoyed) Ah, why go on?

She takes the brush and obliterates her drawing with broad angry strokes. Then she crumples the sketch and lets it fall to the floor. Robert and Adèle exchange glances. Edna starts to pack up her paint box.

ROBERT: Shall I see if tea is ready?


Scene 3. Present time: Spring. Edna, lost in thought.

As Robert speaks the image dissolves into a shot of Edna in the "little house."

ADÈLE: (Offscreen) Is it time?

Edna lies on the settee just as she was in the earlier shot (act 2, scene 1). Now she holds an unfurled rough sketch in front of her. While the subject is vague, it appears to be an outline of a head in profile. All during this brief scene phrases of piano music that we have heard before are played, particularly the melodies from Mlle Reisz's concert [ Chopin, Etude in C-Sharp Minor, Op. 10, No. 4]. The

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