The Yellow Wallpaper
Shooting Script, April 1995
By Tony Romain
Based on the short story by Charlotte Perkins Gilman
Copyright 1995 Tony Romain All Rights Reserved
A1 BLACKNESS A1
There is the sound of a loud crash.
MALE VOICE
Jesus!
FEMALE VOICE
I'm sorry. I'm sorry.
MALE VOICE
Look what you just fucking did!
FEMALE VOICE
I'm sorry.
MALE VOICE
What the fuck is wrong with you!
There is the sound of glass being swept up. There are
footsteps.
MALE VOICE
(closer)
What's wrong with you?
FEMALE VOICE
I don't know.
MALE VOICE
You don't know.
FEMALE VOICE
(stammering)
I'm just, just...
MALE VOICE
Just what? Spit it out dumbshit!
FEMALE VOICE
I'm just tired.
MALE VOICE
(moving away)
Tired.
The man chuckles.
MALE VOICE
Get out of here! Get the fuck out
of here!
There is the sound of footsteps shuffling away. The
footsteps go up some wooden stairs.
1 INT. BARE ROOM - AFTERNOON 1
1 WIDE SHOT OF ROOM
KATHY, a young frumpy woman in her twenties comes into a room
and slams the door. She paces back and forth in the dusty
room nervously. She fidgets with her glasses. The room is
empty except for a desk and chair and a couple of old boxes.
Snatches of faded yellow paper are stuck on various parts of
the walls. She looks around at the boxes. She reaches into
a small cardboard box and pulls out an old typewriter. She
places it carefully on the desk. She sits down in front of
it and stares. She pulls a piece of paper from the box and
rolls it into the typewriter.
2 CLOSE UP KATHY
MALE VOICE
(O.S.)
Kathy!
3 CLOSE UP HANDS ON TYPEWRITER KEYS PAN TO
The woman looks up sharply. She turns back to the blank page
and begins typing. The clacking of the keys getting louder
and louder.
KATHY (V.O.)
(quietly)
It is very seldom that mere
ordinary...
2 EXT. COLONIAL MANSION - DAY - LATE 19th CENTURY 2
4 TRACKING SHOT ACROSS FRONT OF MANSION
The clacking of the typewriter keys echoes over an ornate
country mansion that lies situated in an estate that looks
right out of a storybook. The mansion is made of
cobblestones and is covered in ivy.
KATHY (V.O.)
(quietly)
...people like John and myself
secure ancestral halls for the
summer.
3 EXT. BACK LAWN - DAY 3
5 TRACKING SHOT ACROSS REAR OF MANSION
A single stone bench looks over the expanse behind the
mansion. Trees line the edge of the property.
KATHY (V.O.)
(quietly)
A colonial mansion, a hereditary
estate, I would say a haunted house,
and reach the height of romantic
felicity-but that would be asking
too much of fate!
4 INT. FRONT HALLWAY - DAY 4
6 WIDE SHOT OF ENTRYWAY
JOHN PARKER, a tall stately looking man is directing movers
carrying trunks. The hallway is wood paneled and it too
looks out of a 19th century romance novel.
7 MEDIUM ON JOHN
KATHY (V.O.)
(quietly)
Of course, John is most impudent
when it comes to such matters. My
imagination, he says, has a way of
running away from me.
8 TRACK AND PAN WITH KATHRYN AROUND ENTRYWAY AS SHE FOLLOWS
JOHN
A beautiful young woman, almost identical looking to Kathy,
walks into the front hallway and grins broadly at the beauty
of the entry. It is KATHRYN PARKER. She sits down playfully
in one of the couches John is directing the movers to move.
He shakes his head at her in mock anger. She glides away to
the window and gazes out at the expanse that the mansion is
situated on.
KATHRYN
John...it's just lovely.
Breathtaking.
John embraces Kathryn then puts his hand on her back and
nudges her slightly.
JOHN
It is, but there will be plenty of
time for admiring the beauty after
you've rested. It's been a busy day
for you and you need your rest.
KATHRYN
Oh for goodness sake John, I slept
nearly the whole carriage ride here.
JOHN
I beg to differ, my dear lady. When
you weren't pointing out to me, at
length the variety of flora we were
passing. You were chatting up the
other unfortunate passengers of our
coach who I dare say seemed to be
less then pleased at your interest
in their personal lives. Now, is
that the rest to which you were
referring?
Kathryn looks sheepishly at John and smiles tiredly.
KATHRYN
I suppose you're right...but I do
debate your suggestion that those
other passengers were displeased.
Why I think that...
John looks at Kathryn and shakes his head.
KATHRYN
All right dear, to bed.
JOHN
That's my good girl.
John kisses her on the head. Kathryn leaves the front area.
KATHY (V.O.)
(quietly)
I suppose one must expect the gentle
ribaldry that comes with marriage.
One must expect to laugh and be
laughed at...
5 INT. YELLOW ROOM - DAY 5
9 MEDIUM OF KATHRYN AT THE DOOR TO THE ROOM
Kathryn walks into a medium sized room with several trunks in
it. It looks very similar to the bare room from before. The
room has barred windows and a large cast iron bed bolted to
the floor. The wallpaper in the room is a dull yellow and
possesses a hideous pattern. Kathryn stops short as she
walks in and surveys the room.
10 MEDIUM P.O.V. PAN OF ROOM
11 SAME AS 9
John walks in behind her and grabs her around the waist. She
smiles.
KATHRYN
But these can't be our quarters?
JOHN
It's the only room big enough for
the two of us. The rooms downstairs
are all dry-rot and in grave
disrepair.
12 SAME AS 9 - PAN WITH HER
Kathryn strolls to the window and feels the bars, clutches
them.
KATHRYN
What did the previous tenants use
this room for?
13 DEEP FOCUS KATHRYN IN F.G. AND JOHN IN B.G.
JOHN
I believe it was their nursery. The
bars were so the children wouldn't
go mucking about the window. Now
dear...please, just relax. If it
bothers you that much, we can
discuss choosing another room later.
She lets go of the bars, but continues staring at them
sternly. Then her expression abruptly changes to a smile.
KATHRYN
Of course, of course dear.
John kisses her on the cheek then leaves the room, closing
the door behind him.
14 CLOSE UP FOLLOWING FINGER ALONG WALL
Kathryn trails her finger along the wall.
6 INT. DINING ROOM - DAY 6
15 TRACK AND PAN WITH KATHRYN INTO DINING ROOM
A vibrant small woman in her 20's JENNIE, is vigorously
cleaning the dining room. Kathryn sinks in and sits down at
the table. She is in her bed clothes.
16 MEDIUM ON KATHRYN'S FACE AND JENNIE'S REFLECTION APPEARS
ON TABLE
JENNIE
Miss Kathryn, what are you doing out
of bed? You'll catch a death of
cold.
Kathryn lays her head down on the table and smiles. She rubs
her reflection in the shiny surface of the table. Jennie
walks over to her and strokes her hair.
JENNIE
Would you like a cup of tea?
Kathryn lifts her head up.
KATHRYN
Yes please.
17 MEDIUM FOLLOWING KATHRYN AROUND THE ROOM
Jennie skirts off to the kitchen. Kathryn get up and strolls
around the dining room. She picks up and examines the
various knick-knacks around the room. She stops suddenly and
listens to the airy echo of the room. Jennie returns with a
silver tray with a tea service on it.
JENNIE
Now you sit right down.
Kathryn take Jennie's hand.
18 MEDIUM KATHRYN AND JENNIE
KATHRYN
Please sit with me.
Jennie starts laying out the tea service.
JENNIE
Oh, it wouldn't be proper Miss
Kathryn.
KATHRYN
Please Jennie. I know you're our
servant but that shouldn't mean we
can't talk. Besides, all this time
cooped up, I need some relief.
19 MEDIUM KATHRYN AND EMPTY CHAIR JENNIE SITS INTO FRAME
She motions towards a chair. Jennie looks touched and sits
down timidly.
JENNIE
Thank you. Thank you Miss Kathryn.
20 OVER THE SHOULDER ON KATHRYN
Kathryn blinks her eyes and looks dizzy for a moment. She
sucks in a deep breath. She drifts off, as though straining
to hear something. She looks around again. Far off in the
distance a typewriter is clacking away. Jennie breaks the
silence.
JENNIE
Are you alright Miss Kathryn?
Kathryn looks directly into Jennie's eyes, looking for some
recognition.
21 OVER THE SHOULDER ON JENNIE
There is none.
22 SAME AS 20
KATHRYN
Yes, yes, I'm fine. It's a lovely
house, is it not?
JENNIE
Yes, It is quite beautiful.
KATHRYN
A wonderful place to rest. Did you
see the gardens? I think I'll plant
some flowers. Wouldn't that be just
lovely?
23 SAME AS 21
JENNIE
It certainly would.
24 WIDE JENNIE AND KATHRYN SLOW ZOOM INTO KATHRYN
They sit in silence for a while, letting the house echo.
KATHRYN
So quiet...you can hear for miles.
She gets a mischievous look on her face and giggles.
KATHRYN
You can hear the bugs crawling in
the walls.
Kathryn gets up suddenly and walks across the room. She
picks up a small figurine and smiles at it. She leaves the
room oddly and awkwardly.
7 INT. YELLOW ROOM - DAY 7
26 MEDIUM OF DOOR AS KATHRYN WALKS IN TOWARDS CAMERA PANNING
WITH HER AS SHE WALKS BY
Kathryn comes into the room carrying the figurine in her
hand. She looks around the room quietly. She puts her hand
on the wall and traces the lines of the paper with her hand.
She tries to follow one of the lines only to be stopped by
its confusing patterns. She scratches at the paper. The
sound of children laughing echoes for a moment.
27 CLOSE ON FIGURINE
She looks down at the figurine and speaks to it.
28 WIDE OF KATHRYN
KATHRYN
A nursery.
Kathryn backs away from the wall. A small girl wearing a
grotesque plastic mask walks into the room. She circles
Kathryn slowly then leaves.
Kathryn looks around the room and laughs. She then turns
back to her study of the paper.
8 EXT. BACK LAWN - DAY 8
29 MEDIUM OF KATHRYN
Kathryn's eyes are closed.
30 WIDE OF KATHRYN
She opens them suddenly and gazes out over the back lawn of
the estate. A cool breeze blows through the air. She
shivers in her overcoat.
31 WIDE OF FIGURE
A figure stands alone near the rear of the property.
32 SAME AS 30
Kathryn waves to the figure but the figure does not respond.
9 INT. BARE ROOM - NIGHT - PRESENT DAY 9
33 MEDIUM OF KATHY AND TYPEWRITER
Kathy is seated alone in the moonlight at her typewriter.
She is mouthing some words to herself, slowly.
34 MEDIUM FROM BEHIND KATHY SLOW PAN UP TO MAN'S FACE
A man walks up behind her and sticks his hands on her
shoulders. His clothes are grungy and somewhat soiled. He
looks exactly like John.
MAN
What's this?
35 MEDIUM CLOSE UP OF HAND ON PAGE
He taps the page roughly.
36 SAME AS 33
KATHY
Nothing.
MAN
Is this what you've been doing all
day? What is this? You're a writer
now? Is that it?
The man rips the page from the typewriter.
MAN
What do you have to say? Huh? What
do you have to write about?
KATHY
Please.
MAN
Will you get out of the fucking
attic and do some work around here.
The man crumples the paper and throws it down. Kathy dives
after it sobbing. The man slams the door and leaves. Kathy
careful opens the paper and smoothes it out.
KATHY
(whispering)
...a colonial mansion, a hereditary
estate...
10 INT. DINING ROOM - EVENING - 19th CENTURY 10
37 SLOW TRACK INTO DINING ROOM
John and Kathryn are seated at a lushly decorated table for
dinner. Jennie zips in and out of the kitchen laying food
down.
JOHN
So how was your day? Did you rest
plenty?
KATHRYN
Yes dear...
38 OVER THE SHOULDER ON JOHN
JOHN
And did you...
39 OVER THE SHOULDER ON KATHRYN
KATHRYN
Yes I took my Phosphates or my
Phosphites, or whatever they're
called.
40 WIDE
JOHN
Good, good.
They begin to eat. They are silent except for the sound of
the clanging dishware.
41 TWO SHOT KATHRYN AND JOHN JENNIE WALKS INTO FRAME
KATHRYN
There was a woman out back today, on
the lawn.
42 MEDIUM JENNIE'S FACE
John turns to Jennie and looks at her questioningly. Jennie
averts her eyes and looks down.
43 SLOW TRACK FROM TWO SHOT WITH KATHRYN IN PROFILE AND JOHN
FULL TO JOHN IN PROFILE
He turns back to Kathryn suspiciously.
JOHN
And what was this women doing?
KATHRYN
Just standing, I waved but she just
stood there, motionless.
JOHN
Really.
KATHRYN
Yes.
JOHN
You realize Kathryn that our nearest
neighbors are miles from here. Just
what do you suppose a woman was
doing standing around on our
property?
KATHRYN
I don't know. Why don't you ask
her?
JOHN
I think what you saw, Kathryn, was a
deer that you imagined was a woman.
KATHRYN
I could quite clearly see her.
John turns away in the middle of Kathryn's sentence. He is
trying to hold something back.
JOHN
Are you going to start all of this
again?
KATHRYN
All of what?
John leans closer to Kathryn.
JOHN
These delusions of yours. They're
becoming tiresome.
KATHRYN
How can I stop myself from seeing
what I see? How can I...
JOHN
We came to the country so you could
put these outrageous thoughts behind
you. You will not get any better if
you indulge in these childish
fantasies. Your child needs a
mother and I need a wife.
Kathryn slides back in her chair tiredly.
KATHRYN
(somber)
I am your wife.
John begins eating again.
JOHN
That's right.
A11 BLACKNESS A11
44 CLOSE UP ON KATHRYN'S FACE
There is a murmurring of voices. They slowly become
intelligible. A typewriter can be heard, for a moment, it's
keys clicking away.
JOHN
(O.S)
I only want her to be well.
MAN
I know you do. Of course you do.
It must be terribly hard for you.
JOHN
I worry that, it's only going to get
worse.
11 INT. YELLOW ROOM - MORNING 11
44 CLOSE UP ON KATHRYN'S FACE
Kathryn opens her eyes, yet remains motionless. She listens.
MAN (O.S.)
You love her, don't you?
JOHN (O.S.)
Of course I do. What a thing to
say.
Kathryn gets up.
12 INT. ENTRY HALL - CONTINUOUS 12
45 P.O.V. FROM HIGH ANGLE DOWN
John and an older man, WEIR MITCHELL are standing in the
entry way chatting. Kathryn stops at the top of the stairs
leading down to the entry way.
MITCHELL
I don't mean to be...
John looks up at Kathryn.
JOHN
There's my good girl, do you
remember Dr. Mitchell?
46 P.O.V. LOW ANGLE UP
KATHRYN
Yes, are you hear to examine me
then?
47 SAME AS 45
MITCHELL
I'm here to speak with you. Talk to
you. Nothing more.
JOHN
Kathryn, why don't you go change and
then come down and speak with Dr.
Mitchell. He's come a very long way
to see you.
48 MEDIUM OF KATHRYN
KATHRYN
Yes.
13 EXT. BACK LAWN - DAY 13
49 MEDIUM WIDE OF MITCHELL AND KATHRYN
Mitchell is standing alone looking out over the expanse.
Kathryn approaches him slowly.
MITCHELL
Just beautiful.
(turning to her)
You're a very fortunate woman
Kathryn.
KATHRYN
And how is that Mr. Mitchell?
MITCHELL
You have a husband who loves you
very much.
KATHRYN
Yes...
She looks away, disturbed.
MITCHELL
And he's a very lucky man, to have a
young wife, so lovely.
She continues to look away, distracted.
MITCHELL
So why is it that you trouble him so
with these outbursts of yours?
KATHRYN
(worried)
I don't mean to. I just think...
50 MEDIUM OF MITCHELL
MITCHELL
There's your trouble my dear. I can
hear the wheels spinning in your
head. You think too much. A young
lady like yourself weighed down with
all of those thoughts. It's no
wonder you find yourself so...
51 MEDIUM OF KATHRYN
Kathryn is beginning to stare off.
52 SAME AS 50
MITCHELL
...debilitated. Just what is it
that's got your attention. You can
tell me.
53 SAME AS 51
She considers the question. Then answers finally.
54 SAME AS 49
KATHRYN
The wallpaper.
MITCHELL
Pardon me?
55 SAME AS 51
KATHRYN
It's a hideous pattern. Looping,
sweeping, puzzling, strangling. It
takes the best of me just to
remain...sane.
56 SAME AS 50
MITCHELL
I'm sorry dear, I don't quite
understand.
57 SAME AS 49
KATHRYN
And there's the figure...in the
pattern...I'm sorry Mr. Mitchell,
will you excuse me...I'm suddenly
very tired.
Kathryn abruptly turns and leaves. Mitchell stares after
her, wordlessly.
14 INT. LIBRARY - DAY 14
58 WIDE SHOT WITH KATHRYN OFF CENTER IN FRAME
Kathryn lays with her eyes closed on a couch in the sparsely
decorated living room. Some of the furniture is covered over
with sheets. The room is dark and shadow filled. She gets
up and wraps the sheet around her face. She creeps back and
forth in the living room, moaning. She steps forward and
back, droning. She drops to her knees and yells loudly,
holding her hands to her head.
59 MEDIUM CLOSE UP ON KATHRYN
Her voice echoes through the house. She cradles her hands
together, as if holding something.
15 INT. BARE ROOM - DAY - PRESENT DAY 15
60 MEDIUM CLOSE TWO SHOT OF GIRL AND KATHRYN SLOWLY CIRCLING
THEM
Kathy is holding a young girl in her arms. She is trying her
best to hold in her emotions. Her eyes are puffy and red.
There is a large bruise on the side of her face. The girl
lifts her head and looks at Kathy.
GIRL
When are you going to be better
Mommy?
KATHY
I don't know honey.
GIRL
I'm scared.
KATHY
So am I.
GIRL
Why are you always up here?
KATHY
I'm writing a story.
GIRL
Why?
Kathy pauses, thrown off by the question. She feels her
bruised face gently.
KATHY
I don't know.
Kathy turns away from the girl and stares into the wall. The
girl thinks for a moment.
GIRL
What's it about?
Kathy tries harder and harder to maintain her composure. She
continues staring at the wall.
61 SLOW PAN TOWARDS WALL
KATHY
It's about a woman. And her
husband. They live in a big
house...
16 INT. YELLOW ROOM - NIGHT - 19th CENTURY 16
62 MEDIUM SHOT CONTINUATION OF PAN FROM WALL TO KATHRYN IN
BED
Kathryn is sitting up in bed, staring at the wall, returning
the gaze. John is sound asleep next to her. The moon glows
off Kathryn wide open eyes as she stares.
KATHRYN
There's someone in the pattern,
John, someone in the walls, the
paper. The paper
Kathryn looks over at John, checking that he is still
sleeping. She looks back at the wall.
63 QUICK CUT TO DUTCH ANGLE
64 MEDIUM
65 SAME AS 64
KATHRYN
She shakes it back and forth, back
and forth. She swirls it around.
There is a loud scream.
17 INT. ENTRY WAY - NIGHT 17
66 CLOSE UP KATHRYN'S EYES
67 CLOSE UP JOHN'S EYES
Kathryn is screaming at John who is doing his best to contain
her.
68 CLOSE UP JOHN'S MOUTH
JOHN
Calm down Kathryn! Calm down!
69 CLOSE UP KATHRYN'S HANDS
KATHRYN
I need to go! I need to get out of
here!
70 CLOSE UP JOHN'S FEET
JOHN
Kathryn, you are in no condition to
be strolling about, unaccompanied,
through the crowded streets.
Believe me its better if you stay.
71 OMIT
72 CLOSE UP KATHRYN'S MOUTH
KATHRYN
Why can I never leave this house?!
What's out there!
73 CLOSE UP JOHN'S HANDS
JOHN
You are a very sick woman Kathryn.
You'll only endanger yourself by
going out.
74 CLOSE UP KATHRYN'S FEET
KATHRYN
I leave one room and appear in
another! Days go by in moments!
What's going on here!
JOHN
Calm down!
75 WIDE SHOT
John puts his arms around Kathryn. She struggles in his
grasp.
KATHRYN
You're hurting me.
She slowly stops struggling and finally relaxes.
JOHN
There child, you don't want to risk
your improvement by going into the
city, now do you?
Kathryn shakes her head slowly.
JOHN
Come now, you're just tired, you
need some rest.
John picks her up in his arms and carries her upstairs.
18 INT. YELLOW ROOM - NIGHT 18
76 WIDE SHOT OF ROOM FROM LOW ANGLE
The moon shines in brightly over the bed. John enters with
Kathryn in his arms and lays her down on the bed, then climbs
into be with her.
77 WIDE OVERHEAD SLOW ZOOM TO KATHRYN'S FACE
They begin to make love. They both breathe hard. Kathryn
stops suddenly and opens her eyes wide, without emotion.
John continues to move, oblivious. The moon glares off her
eyes as she stares calmly at the walls. They look as though
they are swirling.
19 INT. YELLOW ROOM - DAY - MONTAGE 19
78 CLOSE UP
-CLOSE ON the pattern. It swirls, and jumps at odd angles.
KATHY
(V.O.)
(whispering)
He is not a man. He is his fists,
his arms, his legs, his words, his
commands, his anger.
79 CLOSE UP
-A old faded photograph of John and Kathryn together, posed.
KATHY (V.O.)
(whispering)
She is my hands, my voice, my
awareness, my person.
-BLACKNESS
KATHY (V.O.)
(whispering)
But what am I?
19A INT. YELLOW ROOM - DAY 19A
80 MEDIUM OF KATHRYN
Kathryn is seated cross-legged in front of the wall.
KATHRYN
(softly)
I want you. I want to help you.
81 SAME AS 80 SLOW PAN UP TO JOHN WITH SLIGHTLY DUTCH ANGLE
FOLLOWING KATHRYN'S GAZE
John passes by the door to the room. He peers in slowly.
Kathryn turns around and meets his gaze. They say nothing.
John backs away nervously and shuts the door.
21 INT. BARE ROOM - DAY - PRESENT DAY 21
82 WIDE OF ROOM
Kathy gets up from her typewriter quickly, as if frightened
by something. She backs slowly away from the desk. She
laughs loudly, nervously.
KATHY
You're mine. You're mine. There's
no other way.
83 MEDIUM OF KATHY
She begins to breathe hard. A few giggles slip through her
gritted teeth. She sobs loudly.
KATHY
(gasping)
I'm not finished yet.
84 SAME AS 82
She paces back and forth mumbling to herself. Almost arguing
with herself. She slowly returns to the typewriter and
begins to type.
22 INT. DINING ROOM - DAY - 19th CENTURY 22
85 DEEP FOCUS WITH JOHN AND JENNIE IN F.G. AND KATHRYN IN B.G.
The typewriter clacking slowly echoes away. Kathryn sits
sipping some tea in the dining room. Jennie and John stand,
just outside of the door frame, talking to each other. They
smile plastically.
JOHN
It's a beautiful day isn't it.
JENNIE
Yes. A beautiful day.
JOHN
Don't you agree Kathryn?
KATHRYN
Can't you see her?! She's always
here! She always watching us!
Watching and waiting! Don't you see
her?!
John and Jennie ignore her comments and continue to look
placid.
JOHN
It certainly is.
Kathryn throws the tea cup at the wall, shattering it. John
and Jennie take no notice.
23 INT. YELLOW ROOM - DAY 23
86 MEDIUM OF JENNIE'S FACE AND HAND AT WALL
87 WIDE FROM DOOR TOWARDS JENNIE KATHRYN STEPS INTO FRAME
Jennie is feeling a piece of the wallpaper that is slightly
torn apart. Kathryn walks in the room.
88 LOW ANGLE UP AT KATHRYN
KATHRYN
What are you doing!
89 HIGH ANGLE DOWN AT JENNIE
Jennie turns around, shocked.
JENNIE
Oh my! Miss Kathryn. You scared
the wits out of me.
90 SAME AS 89 PAN WITH HER
Kathryn comes over to Jennie quickly.
KATHRYN
What are you doing?! Get out of
here! Get out of my room!
JENNIE
Miss Kathryn calm down! Please,
you're frightening me!
Kathryn is towering over the cowering Jennie. She grabs her
arm, hard.
KATHRYN
What right do you have?!
JENNIE
Whatever are you talking about?
Kathryn throws Jennie against the wall.
91 HIGN ANGLE DOWN ON JENNIE
Jennie covers her face and sobs as Kathryn comes closer.
92 LOW ANGLE UP ON KAHTRYN
Suddenly she pauses and is silent. The anger leaves her and
she smiles oddly. She thinks for a moment then speaks, as
though talking to a child.
KATHRYN
You don't understand, do you? Here.
(offering her hand)
Get up. You have to clean.
93 MEDIUM HIGH ANGLE DOWN ON JENNIE PAN UP WITH HER
Jennie abruptly changes her expression from terror to
placidity. She gets up and dusts herself off.
JENNIE
Yes, I do. I'll be off then.
Jennie shuffles out of the room. Kathryn touches the place
that Jennie had been touching and stares after her.
KATHRYN
Retched thing.
24 INT. DINING ROOM - DAY 24
94 SLOW TRACK INTO KATHRYN'S FACE
John and Kathryn are dining together at the table in silence.
Kathryn is seething.
JOHN
So, how was you day? Did you rest
plenty?
KATHRYN
(flatly)
Yes.
JOHN
And did you...
KATHRYN
(flatly,lingering on the words)
Yes, I took my phosphates or my
phosphites.
JOHN
Good, good.
Kathryn starts to say something but stops.
JOHN
You were going to say something?
Kathryn thinks for a moment.
KATHRYN
I'm feeling much better you
know...much clearer...
The silence continues.
JOHN
I'm glad to see that you're doing
better. Perhaps we can go into the
city soon.
KATHRYN
Yes, that would be lovely.
JOHN
Good. Good.
95 PAN TO JOHN FOLLOWING KATHRYN'S GAZE
John smiles broadly, almost insanely. There is a loud
crashing sound.
A25 BLACKNESS A25
The crashing sounds continue.
25 INT. BARE ROOM - NIGHT - PRESENT DAY 25
96 MEDIUM CLOSE UP OF KATHY HIGH ANGLE INTO CORNER
Kathy is cowering in a corner with her hands over her ears.
The banging and crashing continues.
MAN (O.S)
Kathy! Kathy! You better get down
her bitch! You better get the fuck
down here right now! Don't make me
come up there!
There is a banging on the door.
MAN (O.S.)
(mocking)
Where's Kathy?! Where's Kathy?!
Get out here you sick fuck!
The whole room shudders violently. Kathy scrunches herself
up and starts to sob.
97 SLOW PAN TO FALLING FLAKES
Some flakes of the yellow paper on the wall fall off from the
banging.
26 INT. YELLOW ROOM - MORNING 26
98 HIGN ANGLE DOWN AT BED PAN DOWN TEAR ON WALL TO KATHRYN
Kathryn wakes to the morning sun. There is a strip of
wallpaper missing the circumference of the room. She gets up
and examines the missing piece.
99 LOW ANGLE TWO SHOT OF KATHRYN AND JENNIE
Jennie walks in.
JENNIE
What happened here?
KATHRYN
It fell off in the night. The
vibrations.
JENNIE
Oh.
She pauses. Tbere is a long silence.
JENNIE
Come downstairs have some breakfast.
Kathryn follows her out of the room.
27 INT. DINING ROOM - CONTINUOUS 27
100 WIDE HIGH ANGLE DOWN AT KATHRYN AND JENNIE ENTERING
DINING ROOM
Kathryn sits down at the table. There is a large variety of
food laid out.
102 CAMERA AT TABLE LEVEL ANGLE UP ON JENNIE PAN DOWN TO
KATHRYN
JENNIE
You eat up. It's good for you.
Jennie sits down next to Kathryn at the table. Kathryn
smiles at her wanely then looks down to her plate.
103 CLOSE ON PLATE
There are hundreds of insects crawling around on it,
festering.
JENNIE
You seem to have improved a great...
104 SAME AS 102
Kathryn gets up slowly, staring at the plate. Jennie looks
at her and smiles happily.
JENNIE
All done then, splendid. I'll clean
these up.
She takes the dishes away.
KATHRYN
I'm finished.
28 INT. BARE ROOM - PRESENT DAY 28
105 MEDIUM OF KATHY AT TYPEWRITER
Kathy is sobbing to herself as she stares at her typewriter.
Her eyes are puffy and swollen. She mumbles to herself,
quietly at first, then loudly, as though she were arguing
with someone. She puts her hands over her face and laughs
maniacally. She rocks back and forth.
28A BLACKNESS 28A
The laughing continues to echo.
29 INT. YELLOW ROOM - DAY - 19th CENTURY 29
106 LOW ANGLE UP DEEP FOCUS WITH KATHRYN IN F.G.
The yellow room is now completely bare, except for the bed
nailed to the floor. The paper is still intact, minus the
piece torn away. Kathryn walks in slowly yet purposefully
she turns around in circles. Jennie walks in behind her.
Jennie begins to talk but no sounds come out of her mouth.
She begins to look paniced as she realizes she can not be
heard.
107 MEDIUM CLOSE ON KATHRYN AND JENNIE'S FACES KATHRYN IN\
PROFILE JENNIE FULL
KATHRYN
Don't strain yourself my dear. You
haven't anything left to say.
Kathryn holds her chin tenderly.
KATHRYN
Go on now. I'll wait here till John
returns.
108 SAME AS 106 PAN WITH HER BACK AND FORTH
Jennie nods and leaves quietly. Once she does, Kathryn shuts
the door and locks it with a key. She then runs to the
window and tosses the key out of it. She reaches down under
the mattress and pulls out a length of rope.
KATHRYN
If you try to get away I can tie
you!
109 SAME AS 108 SLIGHT DUTCH ANGLE
She starts to pull at some of the paper but can't reach much
of it. She tries to move the bed but it is nailed to the
floor.
KATHRYN
Damn this...damn.
110 MEDIUM CLOSE DUTCH ANGLE OF KATHRYN BITING
She bites the bed leg. Tears of yellow start to drop from
the ceiling. Small pieces of paper flutter about the room.
111 MEDIUM DUTCH ANGLE SLOWLY PANNING UP
Kathryn stands, rope in hand.
29A BLACKNESS 29A
There is a quiet shuddering sound. Gradually becoming
louder.
30 INT. YELLOW ROOM - DAY 30
112 SAME AS 111
Kathryn dances in the rain of paper.
KATHRYN
If you try to get away....!
Kathryn now has the rope tied around her neck in a noose.
The end hangs to the ground.
113 PAN WITH HER DUTCH ANGLE
Kathryn madly rips at the walls. There is noise everywhere.
There is a banging at the door.
31 INT. BARE ROOM - CONTINUOUS 31
114 QUICK PANS DUTCH ANGLE IN AND OUT OF FOCUS
Kathy is banging her head against the walls. Her face is
bruised and her clothes are torn. There is cacophony of
sound.
32 INT. YELLOW ROOM - DAY 32
115 QUICK PANS DUTCH ANGLE IN AND OUT OF FOCUS
Kathryn is banging at the walls and screaming.
JOHN (O.S.)
Open this door! Open this door!
KATHRYN
Silly young man!
JOHN (O.S.)
Open the door Kathryn!
KATHRYN
You silly fool!
Kathryn twitches and turns. She creeps around the room
hunched over. She laughs madly.
KATHRYN
Who's finished now!? Who's out
now?!
33 INT. BARE ROOM - PRESENT DAY - CONTINUOUS 33
116 WIDE LOW ANGLE ON DOOR WITH JUST LEGS IN F.G.
The man breaks the door down. Kathy's legs lay on the ground
motionless.
MAN
Jesus!
The man faints and slumps to the ground. The room fades to
yellow.
34 EXT. CITY STREET - DAY - PRESENT DAY 34
117 CLOSE UP ON FEET COMING INTO FRAME SLOWLY PULLING BACK
TO REVEAL KATHRYN PULL BACK MORE KATHRYN WALKS TOWARDS
CAMERA PAN WITH HER
There is complete silence. High rise buildings line the
empty street. Kathryn, in her tattered and dirty bed
clothes, steps timidly into the light of day. She smiles
like a child and runs laughing away, down the street,
dancing, skipping happily.
THE END
Copyright 1995 Tony Romain All Rights Reserved
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